Days of Our Lives: Fans Missing the Good Old Days

My alternative Days of Our Lives storylines are being continued on my Days of Our Lives blog at http://elfmagic.blogspot.com/ along with articles about Days and soap operas. Please pop on over and catch up. Don't forget to vote in my polls.
Thanks
Theresa

Soap Operas: The Cliff Hanger-The Backbone of the Genre

Soap Operas: The Cliff Hanger-The Backbone of the Genre
By
Theresa Chaze

The cliffhanger has been the both a source of pleasure and bane to soap opera viewer since the genre was created. It is one of the hooks that keep the viewers coming back. From radio to daytime to the emergence of primetime soaps, the cliffhanger has been the one element that has remained constant. However, in the past few years with the movement away from the traditional soap opera format to one that is more titillating, the cliffhanger has also been cast aside.

In the era of multi-media and channel options, cliff hangers have become more important than ever in the success of a soap opera. With so many choices, all shows need to give the viewers a reason to keep tuning in. Historically, cliff hangers have been the genre’s best tools to create loyal fans. According the World English dictionary, the definition of a cliffhanger is:

1. Arts literature ending left teasingly unresolved: an unresolved ending in a serialized drama or book that leaves the audience or reader desperate to know what will happen in the next part

2. Arts drama serial with suspenseful endings: a drama serial that has episodes that often end in suspenseful unresolved endings

3. Tense situation: a situation full of tension or suspense because it is not clear what will happen next

By keeping the audience guessing, the writers insure they will tune in next time to learn what happens to their favorite characters. However, the more invested the viewer is in the characters the easier it is to hook them. Yet on the flip side, it is nearly impossible to retain the interest of the viewers if they can’t identify with the character or if the plot doesn‘t fit within the perimeters the show has already established. The more the viewers care about the characters, the more likely they will be loyal to the show.

Cliff hangers need storylines that are not only well written, but also well thought out and exactly timed. Cutting the scene in the middle of the action is not a cliff hanger; it is a poorly placed cut. In order to be effective, it has to be the logical progression of the plot throughout the episode. By properly organizing and timing the sequence of scenes, the writer builds the suspense and drama. Inter-cutting the primary storyline to build a secondary, not only heightens the tension, but it also initiates the next primary storyline and helps insure the show will end at climatic moment. As with comedy, timing isn't the only thing, it's everything.

Many of the current soaps have given up writing the complicated storylines that are associated with cliff hangers in favor of gratuitous sexual scenes that aren’t based in plot or character. Instead of developing characters or stories the viewers can identify with and care about, the writers have chosen to focus shallow characters and plots that more closely resemble soft porn, which is why the genre has been slowly dying. In traditional soaps, sex was the end result of romance that was gradually created over weeks of teasing, testing and sexual tension. Instant romance and relationships give nothing for the viewer to look forward to since they already know what the end results will be sex. Until the writers return to storylines, which are based on suspense, drama, romance and humor, cliff hangers will be a thing of the past, taking with them the whole genre.

Days of Our Lives

Days of Our Lives

Alternative Storyline for Days of Our Lives
Here is the next installment of my alternative storylines for Days of Our Lives.

This is what I previously posted on the NBC Days boards http://geocities.com/tirgana/daysofourlives.pdf

http://www.geocities.com/tirgana/Days10-16.pdf

http://www.geocities.com/tirgana/days10-26-08.pdf

http://www.geocities.com/tirgana/days10-31-08.pdf

http://www.geocities.com/tirgana/days11-2-08.pdf

The newest entry is at http://www.geocities.com/tirgana/days11-15-08.pdf


The last three entries aren't in the proper format; I'll fix it later.

If you like what you are reading, please leave me a comment here or on the NBC message boards. Or better yet contact the executive producers at

Gary Tomlin or Ken Corday
Corday Productions
3400 W. Olive Avenue
suite 170 Burbank CA
91505-4630

818-295-2821

Days of Our Lives

Alternative Storyline for Days of Our Lives
Here is the next installment of my alternative storylines for Days of Our Lives.

This is what I previously posted on the NBC Days boards http://geocities.com/tirgana/daysofourlives.pdf

http://www.geocities.com/tirgana/Days10-16.pdf

http://www.geocities.com/tirgana/days10-26-08.pdf

http://www.geocities.com/tirgana/days10-31-08.pdf

The newest entry is at http://www.geocities.com/tirgana/days11-2-08.pdf


The last three entries aren't in the proper format; I'll fix it later.

If you like what you are reading, please leave me a comment here or on the NBC message boards. Or better yet contact the executive producers at

Gary Tomlin or Ken Corday
Corday Productions
3400 W. Olive Avenue
suite 170 Burbank CA
91505-4630

818-295-2821

Days of Our Lives

To read more of my alternative universe for Day of Our Lives, plus article on the characters and writing for soap operas, please go to http://elfmagic.blogspot.com/

Days of Our Lives 10-16-2008

Days of Our Lives 10-16-2008
Here is the next installment of my alternative storylines for Days of Our Lives.

This is what I previously posted on the NBC Days boards http://geocities.com/tirgana/daysofourlives.pdf

http://geocities.com/tirgana/Days10-16.pdf


If you like what you are reading, please leave me a comment here or on the NBC message boards. Or better yet contact the executive producers at

Gary Tomlin or Ken Corday
Corday Productions
3400 W. Olive Avenue
suite 170 Burbank CA
91505-4630

818-295-2820

I want to Be the Head Writer of Days of Our Lives

For generations Days of Our Lives has been not only much loved but the top rated Daytime soap, being the leader in suspense, drama, romance, and comedy, as well as social issues. As the sand fell through the hour glass, we laughed, cried and waited with baited breath for Monday as the cliffhanger left us dangling on Friday. We had a our favorite heroes and villains--couples we cheered for and those we knew who were doomed for failure. When it became clear that the writers no longer had a clear understanding of the characters and history, I started writing my own storylines, which brought back the romance, suspense and drama that Days was well known for.

To read the viewers reviews and script go to http://elfmagic.blogspot.com/

Writing and Producing a Soap Opera

Writing and Producing Soap Operas

Soap Opera Storylines

Soap operas storylines have a 13 week rotation schedule which is based on one primary, 2-3 secondary and multiple filler plots. Although primary storyline may contain several sub-plots, there is one central theme or question that runs through from beginning to end. Unlike movies, soaps and all continuing series have plots that are designed to over lap; it is this intertwining of stories that keeps the show running indefinitely.

Over the decades the format has become very styled and fixed; the timeline is broken in to thirds. During the first third, the primary characters are introduced and the conflict is launched. In the middle third the conflict is developed by adding sub-plots, which gives both helpful and misleading details. The final third is the resolution to the conflict. Even though the portions are listed as being in thirds, they are rarely expressed in equal lengths of time. More often than not it is the middle section that is the longest and contains the most drama.

Each storyline has five sections: beginning, mid-point, body of the story, conflict resolution and the denouement (also call the end of the end). In the beginning, characters are introduced and the conflict identified. At the mid-point a crisis develops that forces the main character to make decisions. The body of the story is where the main characters works through the conflict. The conflict resolution is just that; the characters must face the challenge with either a positive or negative result. Denouement is French for end of the end. It is the last of the story that gives a hint to what will happen in the future. Not all stories have this tail at the end, but I think it is a nice touch In soaps, the denouement, becomes the basis of the next storyline that will involve the characters. The beginning and the mid-point will usually be found in the first third. The characters are introduced and the conflict is set up. The middle third contains the mid point and most of the body of the story. This section contains the clues--both real and false, the subplots, and character development. The body contains the bulk of the story. It gives dimension to the characters and adds suspense, by heightening the drama as the characters are forced to make decisions which limit or change their options. A correctly written conflict is best describes as staircase. With each step, more information is given, but also options are limited. The conflict resolution, including the crisis moment and solution, and the denouement will be contained in the third section. However, in soaps, the end is never the end, but the beginning of another storyline.

The primary storyline is the one that is front and center. It consumes the most air time and resources of the show. However its development is very specifically controlled to maximize suspense and keep the viewers coming back. Usually the primary story airs on Mondays, Wednesdays and Fridays. Fridays used to be the cliffhanger day that left the viewer hanging, insuring they that they would be back on Monday. The first part of Monday was to resolve the tense moment from the week before, while the second half started the story moving forward. Wednesdays are also hump days for storylines. They are designed to keep the plot moving forward and set up the viewer for the cliffhanger on Friday.


Secondary storylines air on Tuesdays and Thursdays. Although there may be two or three, one will be favored and will become the next primary storyline once the current one is resolved. Usually at the mid point which is about week seven, one of the secondary stories will be accelerated. However, it’s own clock will not started until it takes center stage.

Filler stories are plots that have just begun to form or scenes that are character building. They are unstructured and can be placed any where time needs to be filled or a character needs to be developed. Although they may seem like fluff, in reality they are a very important parts of the soap structure.

Scripts

Soaps, like all scripts written for commercial television, have four different versions: creative, working, shooting and post production.

The creative script is very much like a stage play. It contains the dialogue, some stage direction, and the scene transitions. But very little else. It is the starting point and ending reference point for every episode.

The working script is more detailed. The page is divided into two columns; one for the audio or what the audience will hear, the other half contains what they will see. The audio describes what audience will hear--dialogue, music, special effects, etc. The video half explains what is happening on the screen. It has all the blocking of the actors and the props. It is the equivalent of the storyboard in movies.

Shooting scripts are used primarily by the directors and techs; however, the cast also finds the information useful. . This script list the specific shots for each camera and in what order the cameras will be used as well as what the camera need to focus on. The director along with the audio tech, stage manager and camera operators will organize the shots and the lighting after watching the rehearsal. Although the director preside over the set, the cast does have input into the blocking and their characters portrayal. Television is not only a team sport, but it is also an interdependent activity. In spite of the egos, the cast and crew do need to work together in order to create a quality product.

Both the working and shooting scripts are organized for convenient and efficient production. All scenes that use one set will be shot together and edited to be in their proper order. These scripts are also the time keepers for the episode. During rehearsal the scenes are timed in order to keep the proper flow and to keep the episode within the broadcast time limits.

Post Production is where the individual shots are edited together into a complete scene. Music, special effects and credits are added. The scenes are then edited together into a complete package that will fit into the broadcast format for time and commercial breaks.

Broadcast Standards for Hour TV Shows

Even though a show technically fills an hour, the show itself is not an hour long. Commercials take up from six to eight minutes of air time in order to make a profit.

Not only does the FCC still regulate the amount of advertising that can be shown in entertainment shows, but they also have standards that the stations must comply with.
Stations are legally required to identify themselves at the top and bottom of the hour; however, they have a two minutes margin on either side in order to meet the standard. The identification must include the station’s call letters and location. During sweeps weeks, most stations also identify themselves at the quarter hour in order to insure their station receives the proper credit for the viewers.

The amount of advertising breaks in a show depends on the target audience. Children’s programming is more restrictive; not only is the advertising time shorter, but there has to be a very clear separation between programming and ad. Advertising for adults or general audience programming is not as restrictive, but the time is also limited to 6 minutes during the half hour plus the 1 1/2 minutes between, which leave only 22 minutes for actual show time.

In soaps, there are breaks at the top, bottom, and around the quarter hour. In addition there is also a floating break. At the bottom of the hour there are is actually closer to a three minute break which is split between the network and the local station. It is the reason for the five second bumper that states the show will be continuing. The second half hour continues with the same format of three breaks during and the one at the end.

Soaps are a for profit business. However, each time they break away for advertising, they risk loosing their audience, which is why the pace and flow are so important when it comes to the writing, directing and editing. It is the reason why scenes are cut at climatic moments for commercials and why a well written show ends with a cliffhanger. If you keep the view hungry for more, they will keep coming back to the table.

Days of Our Lives Spoiler: Murder in Salem That Will be No Mystery

Murder in Salem That Will Be No Mystery

Days of our Lives is setting up the murder of Trent. The suspects have already been lined up; each threatening to kill him for their own reasons. But in short, who cares?

Trent Robbins is a physics professor who appears in Salem initially to be Nick's advisor. However, later it is learned that he is Max's biological father and part of Nicole's past. In the months Trent has been on the air, he has gone from being a dead beat dad to someone who would pimp out his daughter to pay his gambling debts. Along the way he has pissed off a good portion of the Salemites.

Recently, it was released that the character would be murdered (Again, I say-who cares?) and Salem will be embroiled in a great murder mystery. However, there will not be much mystery for those who are long time soap fans. The writers have already telegraphed their moves.

The suspects:

Max Brady--He hated Trent for deserting him as a child and abusing his mother. In addition, after he found his half-sister, he learn that Trent attempted to pimp her out to pay his gambling debt.

Melanie--Trent's daughter now hates him for lying about having a brother and using her to try to pay his debts.

Caroline Brady--Max is her son, even if she didn't give birth to him. Trent hurt and continues to hurt him. Like any Mama Bear, she is rising up to protect her young.

Nick--Trent is threatening to expose Max's help in receiving Nick's grant, thereby discounting all of Nick's work, which would cost him his grant.

John Black-DiMera--Trent made the moves on Marlena, which triggered John's jealousy. John is becoming increasing unstable; the blackouts are just around the corner, opening the door to John not remembering what he did during the time Trent was murdered.

Marlena Black--Trent has been harassing her trying to force he into a relationship. She has repeatedly told him to buzz of, but like any pest he didn't listen, so she has threatened to squash him.

Nicole--Trent used and abused her in the past, deserting her when she needed him the most. From the get-go she hated him. However, that hate deepened the more he manipulated her. He revealed that he had never divorced her, which meant that she was never legally married to Victor. The revelation cost her the divorce settlement.

The unnamed bookie--It has been revealed that Trent is a compulsive gambler, who is heavy into debt to those who break legs for fun.

All of those listed above have threatened to kill Trent; hence the so called murder mystery. However, there isn't a mystery.

Caroline will think Max did it so she will try to cover it up. implicating himself.

Max will think Melanie did it so he will try to cover it up, implicating himself.

Stephanie will think Max did it so she will lie and in doing so make Max look more guilty. She will has her Papa to find the real killer. Steve PI will be led to the gambling underworld where he will unravel Trent's gambling history.

Nick will be a suspect because of his motive as well as he will be seen in the area; however, he will be quickly moved from the suspect list to the witness list.

Chelsea will come to his defense, trying to get Nick back. She will lie in order to give Nick an alibi that he doesn’t actually need; thereby, putting him back on the suspect list.

John will see Trent threatening/making another pass at Marlena. Marlena and Trent will fight. Marlena will be knocked unconscious. When she wakes up, John will be incapacitated-either unconscious or in a trance. Trent will be dead. Marlena will get John out of there, thinking he killed Trent. She will be briefly be a suspect. John won’t remember anything until the crucial moment when he gets his memory back.

Nicole will be a prime suspect because of the money and the marriage. However, EJ will come to her rescue when he digs in to Trent’s past and learns that yes they were divorced and Victor still has to give her the money. However, this will happen after there is some question about Trent being the father of Nicole’s baby and EJ revealing that he doesn’t care--he loves her anyway.


However, the identity of the murder will come will come out of left field. Steve’s investigation will lead him into the gambling underworld; however, it will also reveal Melanie’s mother and the true murderer . Melanie’s mother will appear in town if she isn’t there already. No it isn’t Nicole. But a meek, mousy woman who has been abused by Trent for years. She will finally gain the backbone to put an end to Trent’s abusing her daughter by killing him dead.

Alternative Storyline for Days of Our Lives Part 30

EXT: DOCKS: NIGHT
Roman and Alyssa walk along the docks on the warm late summer night.

ALYSSA
This is what you wanted to show me? The docks? How romantic.

ROMAN
You don‘t sound impressed..

ALYSSA
It’s the docks.

ROMAN
Here yes. Follow me. Careful.

Roman leads her to the end of the dock over looking the lake. A light fog hovers over the water, obscuring the reflection of the moon. The waves gentle lap against the dock and the shore.

What do you think?

ALYSSA
That’s it’s this just about time the insane serial killer attacks?

ROMAN
You don’t think it’s romantic?

Alyssa shakes her head.

No.

ALYSSA
Sorry.

ROMAN
Don’t be sorry. Where would you like to go?

ALYSSA
Now. Home. It’s late.

ROMAN
I see. May I at least walk you back to your car?

ALYSSA
You better.
(Tucking her arm through his)
Next time. I’ll plan the date.

ROMAN
Then there will be a next time.

ALYSSA
I hope so.

ROMAN
Me too. Is breakfast too soon?

ALYSSA
How about lunch tomorrow? I’ll pack a lunch and we can meet in the park across from city hall.

ROMAN
You cook?

ALYSSA
I was a cook for a while at a small family restaurant.

ROMAN
Were you any good?

ALYSSA
People cried when I left.

ROMAN
That’s pretty good. Do you want me to bring anything?

ALYSSA
Just you cute self.

ROMAN
That I can easily do.
CUT

INT: STEFANO'S STAGE: TIMELESS
Exhausted Stefano looks at the back of the theatre. For each step forward he takes, the back of the theatre retreats.

STEFANO
I will not give up. My legacy depends on it.

The woman's laughter echoes around him, increasing in volume.

Shut up! Shut up! You stupid bitch!

WOMAN
Your legacy?

STEFANO
(Stopping)
I am a man of power and wealth.

WOMAN
Who is hated.

STEFANO
I'm respected.

WOMAN
People will be waiting in line to dance on your grave.

STEFANO
I will waste no more time on you. I'm going to get out of here.

(Continuing to fight his way forward)

Celeste and her friends will help me. We will take care of you. Just like we did before.

WOMAN
Celeste is currently occupied.

STEFANO
What did you do to her?

WOMAN
The two of you have much in common right now. But don't worry. I won't kill your marionette. I can't say the same for your daughter.

STEFANO
Leave Alexandra alone!

WOMAN
When I am done with your spawn. I will come for you. Until that time--

The theatre lights suddenly go up on the full auditorium. The orchestra is posed and ready to play. Stunned, Stefano looks around. The audience applauds.

enjoy your make believe. Sing your songs. Accept their adoration.

STEFANO
This is not real.

WOMAN
Accept your heart’s desire.
(Seductively)
It’s what you always wanted. Just walk back on the stage. Take center stage. They love you.

STEFANO
This not real!

WOMAN
Not real?

FEMALE AUDIENCE MEMBER
(Reaching out to take his hand)
What’s the matter, maestro? Are you feeling well?

STEFANO
You’re not real.

FEMALE AUDIENCE MEMBER
(Standing and cupping his face in her hands)
Please sing for us.

STEFANO
(Pushing her away and focusing on the door)
No!

Stefano’s mother appears center stage.

MOTHER
Mio figlio. (My son)

STEFANO
(Shocked)
Madre! (Mother)

MOTHER
Venite a me. (Come to me.) Ti amo. (I love you.). Essere mio figlio. (Be my son again.)

STEFANO
How can this be?

MOTHER
Non ho mai smesso di amare te. (I never stopped loving you.).
(Reaching out to him)
Come avete fatto quando si erano un bambino. (Sing for me again, my son. As you did when you were a child.)
(Pleading)
Mio figlio. Stefano, mio figlio di nuovo.
(My child. Stefano, be my son again.)

Confused, Stefano looks from the door to the stage.

STEFANO
Ti amo madre. (I love you mother.)

MOTHER
Venite a me. (Come to me.)

STEFANO
(Looking around at the audience then back at the door)
Mother, I can’t. You aren’t real.
(Screaming to the woman)
You bitch! This be beyond cruel! She’s not real!

His mother, the audience and the orchestra vanish. Stefano is left alone in the dark.

I am Stefano DiMera. I will go through that door!

WOMAN
(Mocking)
I am Stefano DiMera. I will go through that door!

STEFANO
When it is my time to die, I will find you.

WOMAN
Looking forward to it. That time is closer than you think.

The doors opens and closes. Their banging sounds intertwines with her laugher as it echoes off the walls.
CUT

INT: DIMERA STUDY: NIGHT
The room is dark except for a light by the couch and the entranceway light shining in through the doors. Dressed only in pajama bottoms, John creeps into the room, looking for Marlena. He doesn’t see her laying on the couch. Dressed in a robe, Marlena lays on the couch looking through an album and making notes. Smugly, he walks across the room and picks up a scrapbook.

MARLENA
You are so busted.

JOHN
(Startled)
Blondie. What are you doing there?

MARLENA
Taking notes.

JOHN
You haven’t won. The night isn’t over. I was just concerned when I didn’t hear you come upstairs.

MARLENA
Nice try.

JOHN
It’s true.

MARLENA
Remember who you are talking to.

JOHN
Fine. What do you want?

MARLENA
The feud with you and Philip to end. I want you to make peace.

JOHN
(Taking note of her robe)
Are you sure that’s what you want?
(Marlena smiles back and closes the front of her robe)
Not going to happen.

MARLENA
You’re going to welsh on a bet.

JOHN
Chose something else.

MARLENA
The terms were anything I wanted.

JOHN
The night isn’t over.

MARLENA
True. You can agree now or spend the rest of the night walking up and down the stairs. You choose.

JOHN
Don’t you have appointments tomorrow morning?

MARLENA
I’m canceling them to be here. Remember?

JOHN
We can make better use of the couch. We’re both already properly dressed

MARLENA
You haven’t won the bed.

JOHN
Freudian slip.

MARLENA
You being down here makes me the winner. Pay up.

JOHN
If I win we both win.

MARLENA
If you let go of this stupid war, everyone wins.

JOHN
You’re not going to let go of this?

MARLENA
Nope.

JOHN
(Walking toward the door)
Fine.

MARLENA
John.
(He stops)
I’ll know it if you go back into Stefano’s study.

Annoyed, John walks back in to room and sits the chair across from her. He turns on the light and picks up a scrapbook. Marlena chuckles.

JOHN
I’m not talking to you.

Marlena laughs.
CUT

INT: DIMERA STUDY: MORNING
The scrapbooks have been separated into different piles according to topic. A buffet breakfast has been set up. John walks in and pours himself a cup of coffee. Marlena follows a few moments later. They are freshly showered and changed.

MARLENA
(Seeing the coffee)
Good. I could use that.

JOHN
(Walking to the desk)
I’m still not talking to you.

MARLENA
(Pouring herself a cup of coffee and picking up a pastry)
Is Tony here?

John mumbles.

Guess not. Have you heard from EJ?

There is a knock at the front door.

You not talking to me will make sharing information more difficult.

Tony and Anna walk in. From above the perspective follows them in.

Tony and Anna good morning.

TONY
Good morning. I thought Anna could help with our quest. I asked her to come with me.

MARLENA
Of course. Good morning, Anna.

TONY
You both look tired.

JOHN
Blondie kept me up all night.

ANNA
Marlena!

MARLENA
We had a bet.

TONY
It must have been some bet.

MARLENA
John lost and he’s trying to welsh.

ANNE
John?

JOHN
It’d be more fun if I won.

ANNA
I don’t know how much help I can be. I didn’t meet Stefano until we both came to Salem.

JOHN
I talked to Delia.

TONY
Is she still alive?

JOHN
Yes. And she would like to keep it that way. She wouldn't even talk to me until she found out Stefano was in a coma.

ANNA
That's understandable.

MARLENA
Stefano closed up the west wing when he came back to Salem after the first time he faked his death.

ANNA
I'm a little confused.

MARLENA
A couple of weeks ago, Sami found the west wing door. I never understood what she was looking for.

JOHN
She was going to help me redecorate so you would feel more comfortable living here.

MARLENA
I didn't know that.

JOHN
The long and the short of it is that Rolf and EJ didn't want us to open it. I did anyway. Celeste said that a avenging spirit was released. She cursed Stefano and all his children. Since then both EJ, Lexie and Celeste have been attacked. Celeste was finally going to tell Lexie who the woman was, but she was attacked.

MARLENA
She's in the hospital unconscious. There isn’t a medical reason why. According to all the tests, Celeste should be awake.

ANNA
Lexie must be frantic.

TONY
I know I’m going to regret asking. Why did she curse father?

MARLENA
Stefano killed her daughter and locked her way until she died At first, I thought it was Renee. Especially after Sami found the white cat.

TONY.
(Hesitant)
I don’t know if this means anything. You said two weeks ago. It was about then weird things started happening. Strange dreams. I’ve also been finding white roses.

ANNA
Maybe she was trying to hurt you too.

TONY
No they were actually quite pleasant. Speaking of Renee, reminded me.

ANNA
You still dream of Renee?

TONY
The spirit couldn’t be Renee. She didn’t have any children

JOHN
After some persuasion, Rolf took us to Stefano’s real study. It’s where he kept computer and private papers.

TONY
What was on the computer?

JOHN
We’ll never know. It self destructed before I could unlock the password.

MARLENA
However, we did find all these scrapbooks. Tony, you may or may not be pleased. That stack over there is of your time on the island. It seems you were never far from Stefano’s sight.

TONY
Bloody wonderful. But it does answer a few questions.

ANNA
I’d like to see them.

TONY
No you wouldn’t.

ANNA
Oh really.

JOHN
They are really quite revealing.

MARLENA
We thought we go through them together. Maybe one of them would trigger a memory.

Unseen, the blanket slips off the couch and covers one stack.

JOHN
Where do you want to start?

ANNA
With Tony’s.

TONY
Let’s not.

MARLENA
That large stack starts when Stefano came to Salem.

TONY
Shouldn’t EJ be here.

JOHN
He’s currently MIA.

MARLENA
I’ve left messages, asking him to be here this morning.

ANNA
Maybe he’s hurt.

JOHN
He’ll turn up. Until then, let’s get started.
CUT

INT: LUCAS’S HOSPITAL ROOM: MORNING
Although he is in pain, Lucas is alert and awake. Miles has just finished examining him.

MILES
Looking good. I’m going to send the nurse in to remove the drain.

The officer steps forward and clears his throat. Miles turns and addresses him.

Yes, I know. Only specific people can come in. Just so you know I’m going file an official protest. Patients have a right to privacy. If I had wanted to kill him, it would have easier for me to do it on the operating table.

OFFICER
I’m just doing my job.

LUCAS
It’s okay. When do I get out?

MILES
Keep it up. Tomorrow.

LUCAS
Why not today?

MILES
Your rib punctured your lung and came damn close to your heart. Your body needs time to work through the trauma.

LUCAS
I can do that at home.

MILES
I would prefer you to be here Besides, your secure location isn’t ready yet.

LUCAS
What do you mean by that?

OFFICER
A safe house. Commander Brady is arranging for you to go directly from the hospital into hiding.

LUCAS
That isn’t necessary. I can ID the guy.

OFFICER
You’ll have to talk to Commander Brady.

LUCAS
There‘s something else going on? What is it?

OFFICER
An officer was murdered yesterday behind the station. He had evidence in your case. Rob had a wife and family.

LUCAS
How could that happen? Roman knows how to find the guys!

MILES
Calm down.

LUCAS
How can I calm down? A man was killed because what I know.

MILES
If you don’t calm down, I’ll sedate you. And there is a very beautiful woman waiting out there to see you. Do you want to see her or take a nap?

LUCAS
Fine.

MILES
(To the officer)
No more details Got it.

Without waiting for an answer, Miles walks out.
CUT
INT: HOSPITAL HALLWAY: MORNING
Sami is talking to Daniel. Miles walks up.

MILES
(To Sami)
You can go in.

SAMI
Thanks.

MILES
Just don’t upset him.

SAMI
Is he okay?

MILES
He’ll be fine. Just keep the conversation mellow. If his blood pressure goes up, you be doing all the talking and he’ll be doing all the sleeping. Understand.

SAMI
Light happy talk. Got it.

Sami goes inside.

DANIEL
How is he really?

MILES
It could have been a lot worse. Isn’t today you day off?

DANIEL
I had to check on a patient.

MILES
Which one? I’ll take over for the day.

DANIEL
(Uncomfortable)
Thanks for the offer. It’s not necessary. How long will Horton be here?

MILES
At least another day.

There is a loud explosion outside in the parking lot. Moments later the man who questioned Bo outside the Pub gets off the elevator; he is dressed in a patrolman’s uniform. He immediately runs to the officer standing watch outside Lucas’s room.

MAN FROM THE PUB
Carver wants you downstairs to help with crowd control. Blackburn can handle the babysitting duty alone for a few.

OFFICER AT THE DOOR
What’s the code word?

MAN FROM THE PUB
Your ass. If you don’t get downstairs.

OFFICER AT THE DOOR
Commander Brady gave me a specific code word. I don’t move without it.

MAN FROM THE PUB
Carver out ranks Brady.

Daniel followed by Miles walk over

DANIEL
Problem?

MAN FROM THE PUB
Police matter. None of your concern.

MILES
Take it outside. This is a hospital.

SAMI
(Opening the door)
What’s going on?

The officer is standing beside her in the room.

MAN FROM THE PUB
What are you doing in there?

DANIEL
That’s Commander Brady’s daughter.

PLAIN CLOTHES DETECTIVE
(Walking up)
Ms Brady go back in the room. Everything is under control.

SAMI
It sounded like an explosion

PLAIN CLOTHES DECTECTIVE
A car blew up in the parking lot. Please go back in the room.
(To the man from the pub)
I don’t know who gave you your orders. They are Horton security. I’m Ms Brady’s. You don’t belong up here.

MAN FROM THE PUB
I must have made a mistake.

PLAIN CLOTHES DETECTIVE
Name.

The man from the pub back towards the stairs

Wait a minute.

The detective follows. The man runs into the stair well.

(To the officer at the door)

You stay here.

The detective runs after him, disappearing beyond the door.

I said stop!

There is a gun shot.
CUT

Alternative Storyline for Days of Our Lives Part 29

INT: EMERGENCY TREATMENT ROOM: NIGHT
Celeste lays unconscious on the bed. Sitting by her bedside, Lexie holds her hand. Abe walks in. Lexie runs to him.

LEXIE
(Crying)
She's not waking up.

ABE
I’m sorry I wasn’t here for you. Tell me what happened.

LEXIE
It was her.

ABE
Her?

LEXIE
Her the spirit. Mom was going to tell me. She didn’t get a chance. The back door burst open. Mom just flew across the room.
(Hesitating)
Theo stopped her from coming in. Abe, he stood in front of her and told her to go away. And she did.

ABE
You saw her?

LEXIE
Not clearly.

ABE
Where is Theo?

LEXIE
He’s up in daycare. We were in the waiting room. Abe, he said the strangest thing. He said, Mom wouldn’t wake up until she was done. Mom must know a way to stop her.

ABE
When Celeste wakes--

LEXIE
She should be awake. There is no reason for her to still be unconscious. Her injuries are minor. No broken bones. According to the CT, she has a slight concussion. Her EEG is normal.
CUT

INT: REALM BETWEEN LIFE AND DEATH: NO TIME
Celeste stands in a darkened room except for the incandescent mists swirls around her. Yet she doesn’t try to find her way out.

CELESTE
I know you are here. Show yourself.

The woman steps closer, yet remains cloaked in the shadows.

WOMAN
You should have never helped Stefano.

CELESTE
You gave me no choice.

WOMAN
You always had a choice. I did not.

CELESTE
Do you think I had any more freedom than you? I gave up my daughter just as you did.

WOMAN
His evil still poisoned her.

CELESTE
Not completely. Alexandra made mistakes. But she has made up for them. She’s a doctor. She saves people.

WOMAN
My daughter never had a chance to make up for her mistakes.

CELESTE
That is not my fault! Not my daughter’s fault.

WOMAN
She found true love; Stefano stole it from her. All those things your daughter experienced--love, marriage, a child of her own--my daughter was deprived of.

CELESTE
There is still a chance.

WOMAN
More lies! Here you are. Here you shall wait.

CELESTE
You can’t do this!

WOMAN
(Backing into the darkness)
As you left me. Now I leave you. When it is done, I will free you. I wasn’t able to say good-bye to my daughter. I would not deprive you of the same.

CELESTE
Please. I beg you. Take me. I will do penance for her.

WOMAN
You will watch them lower her lifeless body into the cold ground and know that you were responsible.

The woman leaves. Celeste is left alone in the mist and darkness.

CELESTE
(Screaming)
No!
CUT
INT: EMERGENCY TREATMENT ROOM: NIGHT
Lexie sits next to the bed, again holding Celeste’s hand. Abe stands to her.

ABE
I’ll take Theo home.

LEXIE
Tell him I love him.

ABE
Are you sure you don’t want to come with us?

LEXIE
I need to be here. If-when she wakes up.

ABE
I’m sorry I wasn’t here sooner.

LEXIE
There wasn’t anything you could do.

ABE
I’m still sorry. Marlena called.

LEXIE
Did they find anything?

ABE
Stefano’s private study. She didn’t give me any details. She wanted you to come to the mansion tomorrow morning.

LEXIE
I can’t promise that.

ABE
I’ll tell her. She also called Tony and EJ. They plan is to compare notes.

LEXIE
I wouldn’t have much to share. They knew him much better. Father never really trusted me enough to let me into his world.

ABE
Which I am eternally grateful for.

LEXIE
Me too. Give Theo a kiss for me.

ABE
(Kissing her cheek)
I will Try to get some sleep. Wearing yourself out won’t help her.

LEXIE
I’ll--we’ll be fine. I’ve arranged for a room with an extra bed for me. Night sweetheart. I’ll miss you.

ABE
If you need me call. I love you.

LEXIE
I love you too.

Abe leaves.

Mom. You have to wake up. We need you.
CUT




INT: HOSPITAL DOCTOR’S LOUNGE: NIGHT
Dr. Dan is alone in the room, talking on his phone.

DANIEL
I told you... Listen....Just listen. It was too soon. I told you that....Not even me. It wouldn’t have mattered. There are guards inside and out....I’ll talk to Bo or Roman tomorrow. They both trust me...If I push it, they’ll get suspicious...There isn’t a hurry. I looked at his chart. Lucas will be here for at least a couple of days....Don’t worry about her...I don’t know what Lane was doing with him. Horton is involved with Samantha Brady... That’s right. Roman Brady’s daughter. Bo Brady’s niece. You go after her and I’m out...When it comes to their family--they’re crazy. The Brady’s and the Hell’s Angels--All on one....Let me handle it. With Lexie’s history, let just say I know how to play her. She helps me or I’ll threaten to tell her husband we had an affair... No. Of course not. But the rumor mill has already begun to turn...I’m having a good time with her. Don’t worry. When the time comes he’ll be Chelsea’s father more than he is a cop...Give me time. I’ll take care of Luca. The only way he’s leaving the hospital is in a body bag. Accidents happen all the time.

He hangs up his phone.

Damn.
CUT

INT: BEDROOM OF BED AND BREAKFAST: NIGHT
Ava and EJ snuggle in bed, basking in love’s after glow.

EJ
I’m hungry.

AVA
(Teasing)
Hungry? You can think of food now?

EJ
(Tracing his finger up her harm)
Just think of all that lovely chocolate. Just right over there. And you. And me.
(Nibbling on her ear lobe)
And this big beautiful bed. All together.

AVA
(Rolling over to face him)
You. Me. Together. In this big beautiful bed. Hum?

Slowly her index finger circle around one of his nipples before, her hand massages his bare chest downward.

Whatever will we do?

EJ
I have a few ideas.

AVA
You do? Please share.

EJ
(Teasing)
We could watch the telly.

AVA
The telly? The Disney channel perhaps?

EJ
I was thinking of a cooking show.

AVA
A cooking show? Any particular one?

EJ
(Shifting in bed so she is lying beside him and looking up)
Most definitely. It demonstrates unique ways to serve deserts in bed.

AVA
You've already seen it.

EJ
(His hand trails down her bare shoulder past her breast and rests on her stomach)
Once or twice.

AVA
What about the crumbs?

EJ
Crumbs? There won't be any.

AVA
I see. How do you do that?

EJ
(Kissing down her neck)
You remember to lick your plate clean.

On the night stand, EJ's phone rings.

AVA
That's your phone.

EJ
I don't hear anything.

AVA
It could be important.

EJ
(Tossing his phone across the room)
Nothing. No one is more important.

AVA
I like the way you think.
(Tossing her phone in the same general direction)
Where were we. Oh, yes. Just about there.
CUT

EXT: CHEZ ROUGE: NIGHT
Chloe and Philip are leaving. They walk toward the park

CHLOE
Did you like the new songs?

PHILIP
Trying to send message.

CHLOE
You could say that.

PHILIP
Not very subtly.

CHLOE
I wasn't trying to be subtle.

PHILIP
Good thing.

They walk the path in silence.

CHLOE
Philip.

PHILIP
Chloe.

CHLOE
(Stopping him)
I'm serious.

PHILIP
The night is too beautiful to be serious.

CHLOE
I need to start living again.

PHILIP
Were you dead?

CHLOE
Inside. Yes. When I lost Brady, a piece of my heart died.

PHILIP
You weren’t responsible.

CHLOE
Not completely. Brady made his mistakes. But so did I.. I should have--

PHILIP
Should have. Could have. Would have. It’s over. You can’t go back.

CHLOE
I know. I want to go forward. Singing at Chez Rouge is a new beginning. I’m happy for the first time in a long time.

PHILIP
What’s the problem?

CHLOE
You are.

PHILIP
Me?

CHLOE
I know we said friend with benefits. But I’m not willing to settle any more. I let Brady push me away. I gave up on my marriage. What I need to know from you--do we have anything--anything between us that is worth fighting for?
PHILIP
I don't know.

CHLOE
Honest and vague. What or should I say who do you want Philip? I will fight for you if there is something to fight for. But I'm not just going to be the sure thing if you can't find another playmate. You need to stop sending me mixed signals.

PHILIP
I'm not doing that.

CHLOE
You're not? You are all loving and protective, until little miss southern bell bats he eyes.

PHILIP
That's not the way it is.

CHLOE
Philip, you can't be every woman's knight in shining armor. At some point you have to decide in whose barn your horse is going to live.

PHILIP
Nice metaphor.

CHLOE
You're stalling.

PHILIP
You're jealous.

CHLOE
Call it what you like. But it's time to make a decision.

PHILIP
I remember saying something similar to you.

CHLOE
This is payback?

PHILIP
No. That's not what I meant.

CHLOE
What did you mean?

PHILIP
Back then you asked for me to be patient and understanding. Now I'm asking for you for the same.

CHLOE
(Backing away)
I'm sorry that I hurt you.

PHILIP
Where you going?

CHLOE
Home.

PHILIP
You can't go by yourself.

CHLOE
Sorry Philip. No benefits tonight.

Chloe runs into the park.

PHILIP
Chloe! Wait! Chloe, it's not safe!

Philip runs after her.
CUT

EXT: ANOTHER PART OF THE PARK: NIGHT
Miles and Kate are walking on the path toward Kate's car in the parking lot.

KATE
I don't care what anyone says. Once you are a parent, you are always a parent--no matter how old your children are.

MILES
It's true. It's also true that at some point they have to take responsibility for their own lives.

KATE
So you're not going to help your son.

MILES
I will be loving and supportive. But this time he has to climb out of the hole he dug.

KATE
What if he can't

MILES
That's up to him.

KATE
Tough love. I don't think I could do it.

MILES
I never thought I could either. But this time he didn't just hurt himself. He hurt others. I won't support that.

KATE
He's your son.

MILES
Yes he is. He is also an adult who needs to be held responsible for his actions. We bailed him out more times than I can count. Each time it was worse. I feel partially responsible.

KATE
You shouldn't.

MILES
Thanks. It's time to talk about something else.

KATE
I'm sorry.

MILES
Me too. Did you hear A Chorus Line is touring again? It'll be at the Chicago Theatre for three weeks.

KATE
I heard too late. It was sold out. Oh well. Maybe it's for the best. I saw at the Shubert Theatre many years ago. It was amazing.

MILES
I have two tickets.

KATE
Two tickets?

MILES
On Friday.

KATE
On Friday?

MILES
Main floor.

KATE
Is that an invitation?

MILES
You could say that.

KATE
(Teasing)
Oh good. Otherwise, I would have to mug you.

MILES
(Startled)
You mug me.

KATE
Don't be so shocked. Not only am I stronger than I look, but I have moves that would take down a ninja.

MILES
Oh really like what?

KATE
(Walking ahead of him)
No. No. I might hurt you. Then you couldn't take me to Chicago.

Miles catches up with her and reaches out to take her arm. Kate flips him on his back. however, he grabs her and pulls her down on top of him. She pins him to the ground. Instead of struggling, Miles smiles up at her.
CUT

EXT: ANOTHER PART OF THE PARK PATH: NIGHT
Following the path, Chloe runs away from Philip.

PHILIP
(Off camera)
Chloe wait up

Chloe rounds a curve in the path to find Kate and Miles. She stops short.

CHLOE
Kate?

KATE
It's not what it looks like.

CHLOE
What are you doing? Trying to get a date?

Kate attempts to get off of Miles. He holds her down .

MILES
(Teasing)
Okay, okay. I'll go out with you!

Philip arrives. Without thinking, he pushes past Chloe to help his mother. Chloe grabs his arm and steps into his path.

CHLOE
Calm down.

PHILIP
(Angrily)
He's hurting--

MILES
(Letting go)
Whose on top of whom?

CHLOE
Chill. It's just part of your mother's mating ritual.

KATE
(Standing)
It's not what you think.

PHILIP
I don't know what to think.

KATE
Look. I'm not hurt.

MILES
(Getting to his feet)
I'm not to sure about me. Where did you learn to do that?

PHILIP
Mother, what do you think you were doing?

KATE
If it's any of your business--having fun.

Chloe quietly slips away.

PHILIP
What would people think?

KATE
There is no reason to take that tone with me. I'm your mother not your daughter!

MILES
Why do I suddenly feel like a teenage who just brought his date home late.

PHILIP
You could have hurt her!

KATE
I'm not made of glass.

MILES
(To Kate)
You're stronger than you look.

KATE
Thanks. I take self defense classes at the gym.

MILES
(Poking her arm muscle)
Wow. I need to check that out.

KATE
Sorry women only. Do you want to get a drink?

MILES
(Looking briefly at Philip)
Love too if it's a twosome.

KATE
(To Philip)
You still here.

PHILIP
We need to talk.

KATE
Yes we do. But not now. We--not including you are going for a drink.
(Kissing his cheek)
Good night Philip. I love you. Don't follow us.

Kate takes Miles arm and walks down the path. Philip stares. Suddenly, he looks around for Chloe only to find himself alone.
CUT

INT: DIMERA MANSION ENTRANCE WAY: NIGHT
Sami opens the door and pushes the stroller inside. The twins are asleep. She closes the door. Marlena walks out of the study.

MARLENA
Sami, we were worried. How is Lucas?

SAMI
Sorry. I had to stop off and pick up a few things. Dad arranged protection.

JOHN
(Walking out, carrying one of Stefano’s scrapbooks)
Are you sure they are trust worthy?

SAMI
Of course. My father would make sure.

MARLENA
Sami!

SAMI
Sorry, John. It’s been a long day. Lucas is doing good.

JOHN
Did they say when he would be released?

SAMI
Not for a couple of days.

JOHN
Good enough. I’ve made arrangements to have the cottage opened tomorrow. Blonde, if you’ll make a list what kind of medical supplies he’ll need, I’ll have make sure they are there.

MARLENA
I’ll talk to Miles. Do you still think it’s necessary.

JOHN
They killed a cop behind the station. You tell me. Would your rather be safe than sorry?

MARLENA
Go point.

JOHN
(To Sami)
Don’t worry about hauling the rugrats’ stuff. There’ll be a complete nursery--on the opposite of the cottage. All you need is their favorite toys

MARLENA
When did you have a chance to do all that?

JOHN
While you were catnapping? Speaking of which, you’ll have to make arrangement for your furball. It’s not coming with.

SAMI
I’ll talk to Rolf. Then again maybe not. I’ll think of something tomorrow. Night.

MARLENA
Night Sami

JOHN
Sleep well.

Sami pushes the stroller down the hall.
CUT

INT: DIMERA STUDY: NIGHT
John and Marlena walk in. They have begun to separate the scrapbooks into piles according to subject. Sticky notes with information have been attached to those they have looked through. There are at least 50 more that they haven’t looked at.

JOHN
(Opening)
This were obviously taken on one of his islands. It has a women and a child.
MARLENA
I started a possibility pile over there.

JOHN
Don't thinks so. The woman and child appear to still be alive.
(Setting it aside)
I'll put it in the maybe pile anyway. Who knows maybe they knew the child that died. The first seems to be from the early to mid 80's.

MARLENA
How do you know that is when the room was boarded up?

JOHN
I found Delia.

MARLENA
I remember her. She worked for Stefano for years.

JOHN
She said that the west wing was closed off except for a small staff. It was right after Stefano came back from the dead.

MARLENA
Which time?

JOHN
I think the first.

MARLENA
Did she know why?

JOHN
Stefano made it clear that no one was to ask questions.

MARLENA
At least we know about when. To bad we know why?
(Opening another one)
Another one of Tony on the island.
(Putting it on top of a stack)
This stack is filled with pictures of him while he was on the island. I don’t know how he is going to react when he finds out.

JOHN
He’ll probably be pissed as hell. I would.

MARLENA
Maybe Tony will know. That could be why Stefano replaced him with Andre. Imagine living 20 years in little more than a shack.

JOHN
The house in those pictures isn’t a shack. It makes all this look like a ghetto.

MARLENA
(Yawning)
Really? I wonder who house it is?

JOHN
Tired?

MARLENA
Very. Aren’t you?

JOHN
I’m too wired.

MARLENA
Nothing new about that..

JOHN
Let’s not go there.

MARLENA
It was the part of you that made miracle happen. You saved me and so many others because you wouldn’t--couldn’t give up. You just instinctively knew what questions to ask and where to look.

JOHN
I’m not that man any more.

MARLENA
Just because you don’t have the memories, doesn’t mean that you aren’t the same person at the core. I’m willing to bet you that you won’t be able to sleep until you go through every one of these and organize them.

JOHN
(Sitting closely beside her)
Okay. What’s the wager?

MARLENA
I’m so sure this I will to bet anything you like.
JOHN
(Nuzzling her neck)
Anything?

MARLENA
Anything.

JOHN
(Nipping her ear)
Are you sure?

MARLENA
Definitely. Don’t you want to know what I want when I win?

JOHN
It’s not going to happen.

MARLENA
Are you sure?

JOHN
Definitely.

MARLENA
So when--

JOHN
If--

MARLENA
When I win, I can have anything I want?

JOHN
What do you want?

MARLENA
I haven’t decided.

JOHN
(Standing up)
You can pay up in the morning. I’m going to bed.

MARLENA
It won’t last.

JOHN
Want a bet?

MARLENA
We just did.

JOHN
(Walking out of the room)
Easiest bet I ever won.

Marlena picks up another scrapbook. John walks back in.

Aren’t you going to bed?

MARLENA
Not yet.

JOHN
You said you were tired.

MARLENA
I will in a little while.

JOHN
Okay. Fine. Good night.

Marlena waggles her fingers at him. He starts to mirror her but catches himself. Instead, he walks part way upstairs before coming back down

Did you reach Tony and EJ?

MARLENA
You were sitting right there when I talked to Tony.

JOHN
What about EJ?

MARLENA
You were standing over there when I left the third message to be here tomorrow morning.

JOHN
Maybe you should call again?

MARLENA
It’s late.

JOHN
Then you should go to bed.

MARLENA
I will right after I win the bet.

JOHN
Not going to happen, Blondie.

John runs up the stairs.

MARLENA
That won’t last long.
CUT

EXT: DOCKS: NIGHT
Roman and Alyssa walk along the docks on the warm late summer night.

ALYSSA
This is what you wanted to show me? The docks? How romantic.

ROMAN
You sound skeptical.

ALYSSA
It’s the docks.

ROMAN
Here yes. Follow me. Careful.

Roman leads her to the end of the dock over looking the lake. A light fog hovers over the water, obscuring the reflection of the moon. The waves gentle lap against the dock and the shore.

What do you think?

ALYSSA
It’s this just about time the insane serial killer attacks?

ROMAN
You don’t think it’s romantic?

Alyssa shakes her head.

No.

ALYSSA
Sorry.

ROMAN
Don’t be sorry. Where would you like to go?

ALYSSA
Now. Home. It’s late.

ROMAN
I see. May I at least walk you back to your car?

ALYSSA
You better.
(Tucking her arm through his)
Next time. I’ll plan the date.

ROMAN
Then there will be a next time.

ALYSSA
I hope so.

ROMAN
Me too. Is breakfast too soon?

ALYSSA
How about lunch tomorrow? I’ll pack a lunch and we can meet in the park across from city hall.

ROMAN
You cook?

ALYSSA
I was a cook for a while at a small family restaurant.

ROMAN
Were you any good?

ALYSSA
People cried when I left.

ROMAN
That’s pretty good. Do you want me to bring anything?

ALYSSA
Just you cute self.

ROMAN
That I can easily do.
CUT

Alternative Storyline for Days of Our Lives Part 28

EXT: FOUNTAIN IN THE PARK: EVENING
Forlorn Kate walks toward the fountain. She sits next to the dedication plate and traces John’s name. Carrying take out from the Pub, Miles walks down the path toward the street on the other side of the park. He sees her.

MILES
Kate? Kate Roberts

Kate looks up.

What are you doing here by yourself?

Kate waves him off.

Are you crying?

KATE
Me. No.

MILES
(Walking over)
Yes you are.

KATE
See no tears.

MILES
No tears on the outside. But you’re still crying.

KATE
Thank you for saving my son. I’m so worried about him.

MILES
Why do I get the feeling that isn’t why you are crying.

KATE
(Slapping the marker and standing)
It doesn’t matter.

MILES
(Stepping in her path)
Of course it does. Sometimes talking it gives you a fresh perspective.

KATE
It won’t change anything. No matter what I do. Did you know that Marlena built this as a tribute to their love.

MILES
I heard that.

KATE
After all they have been through, they still love each other--even if John remember any of it.

MILES
I heard the talk. I can’t even imagine what it’s like to have your entire past wiped away.

KATE
Sometimes it doesn’t seem like a bad idea to me.

MILES
In theory, maybe. But no matter what my son has done, I wouldn’t want to forget him.

KATE
You have a point. I love my children with my whole heart.
(Laughing at herself)
I just can seem to find a way for them to love me back.

MILES
I’m sure that’s not true.

KATE
Not completely. I’m afraid all the time.

MILES
Of what?

KATE
That I’ll loose them. There’s nothing wrong with a mother protecting her children.

MILES
No. There isn’t. But loving also means letting go.

KATE
I just want to help them be happy.

MILES
Maybe you try to hard? Or maybe you just need to diversify.

KATE
Diversify?

MILES
Help more people? Like me. Maybe you can help me.

KATE
I’ll talk to the hospital board for you.

MILES
Thanks. But that’s not what I meant. I have all this food. Share it with me.

KATE
I’m not hungry.

MILES
I hate eating alone.

KATE
I’m terrible company.

MILES
I’m fabulous company. Besides, you owe me. I did save your son.

KATE
Well...if you put it like that. Let me buy you dinner at Chez Rouge.

MILES
(Holding the bags up)
Great. The picnic tables are over there. There is more than enough. If you don’t like lemonade, there is a soda machine over there.

KATE
Are you sure you don’t want to go to Chez Rouge? Doug Williams is singing.

MILES
(Walking toward the picnic table)
Mother Nature is singing. If you stop to listen with your heart , you’ll can hear what it has been looking for.

KATE
Hum...you were a hippie in a previous life.

MILES
Still am. The summer of love never ends.. Not if you don’t want it to.

KATE
(Mostly to herself)
If that were only true.
CUT

INT: STEFANO’S STUDY: NIGHT
Marlena and John are sleeping on the couch. The door slowly opens. A person wearing black shoes steps in the room. The floor creaks. John’s eyes open. The camera pans up to reveal Rolf; he looks around the room and starts toward the desk. He walks past the couch, without seeing John and Marlena

JOHN
Rolf. What are you doing?

ROLF
(Startled)
I was just cleaning up the dirty dishes.

JOHN
(Carefully getting off the couch)
Are you sure you weren’t going to clean out the computer?

ROLF
Why would I do that?

Their voices awake Marlena.

JOHN
For the same reason you didn’t tell me about this room.

MARLENA
John, what’s going on? Rolf?

JOHN
Rolf, came to clean up.

ROLF
That’s my job.

MARLENA
What’s Stefano’s mother name?

ROLF
Why do you ask?

JOHN
She wants to know.

ROLF
Elizabeth.

JOHN
(Walking around behind the desk)
Blondie, do you think that’s it? We have only one more try.

MARLENA
Stefano’s whole life has revolved around how Colleen and Santos hurt his mother. Using something that remind him of her would keep him focused.

JOHN
Is that true?

ROLF
I don’t know.

JOHN
Rolfie?

ROLF
I don’t know. Scout’s honor.

MARLENA
Were you ever a Boy Scout?

ROLF
No. But I wanted to be.

John types, but stop before he presses enter.

MARLENA
What wrong?

JOHN
It’s too easy.
(Typing as he speaks)
Colleen Brady.

The computer starts booking up.

I’m in.

Stefano’s face appears on the screen and his laughter echoes around the room. The screen flickers briefly and goes to black. The hard drive is dead.

Son of a

MARLENA
What happened?

JOHN
I guessed wrong.
CUT

INT: BEDROOM OF BED AND BREAKFAST: NIGHT
In the center of the room is a large canoped bed. The flames from large pillar candles illuminate the room, giving the room romantic aura of times long past. The breeze blowing threw the open windows and balony doors makes them dance. Romantic music plays in the background, intertwining with the songs of the crickets, frogs and Nightingales. A bottle of wine chills in a bucket of ice. Beside it are platters of chocolates covered strawberries and other delicate sweets as well as fruits and cheeses. Two robes are neatly folded on the antique rocking chair. The balony over looks a small lake

AVA
(Off screen)
She said the second door on the right.

EJ
This must be it.

The door knob turns and the door opens. Ava and EJ walk wearing their own clothes.

AVA
It’s beautiful.

EJ
(Closing the door and locking it)
Yes, you are.

AVA
They don’t even know us. Look what they did for us.

EJ
(Caressing her cheek)
I don’t want to talk about or think about anyone else. It’s just us. You and me.

They passionately kiss.

AVA
EJ.

EJ
What darling?

AVA
You smell like horse again.

EJ
So do you.

AVA
Yes. I do. I wish I could have kept that dress. At least for the night.

EJ
You looked beautiful.

AVA
(Giggling)
You looked like you were ready for high tide.

EJ
I don’t care.

AVA
You don’t.

EJ
(Shaking his head)
The only thing that matters is that you are here with me. You have made my heart whole. No one and nothing can change that.

Unbuttoning his shirt, she kisses his chest. Her hands slide up his chest, removing his shirt. It drops to the floor. Gently he picks her up; craddling her in his arms, he kisses her and carries her to the bed. Slowly as if they kiss and caress each other as if they are trying to make this one night last forever. In the distance, an owl hoots.
CUT

INT: HOSPITAL HALLWAY: NIGHT
A police officer stands guard outside Lucas’s room. Daniel walks up and tries to go in. The officer intercepts him.

OFFICER
I’m sorry. Only authorized peronnal.

DANIEL
I’m the doctor on duty. I need to check on Lucas.

OFFICER
Sorry. Per Roman Brady only those on the list go inside.

DANIEL
I’m a friend of his mother. I promised Kate I would keep a close eye on him.

OFFICER
Sorry. It’d be my job.

The door opens. With his gun drawn, another officer appears.

SECOND OFFICER
Problem Hank?

DANIEL
No problem.

OFFICER
You’ll have to clear it with the Comander.

DANIEL
Right. I’ll do it tomorrow.

Daniel continues down the hall to the nurses station. He walks past the nurses at the desk and goes into the room behind the desk.
CUT

INT: ROOM BEHIND NURSE’S STATON: NIGHT
Daniel walks in and closes the door. He pulls a syringe out of his pocket.

DANIEL
Damn!

The door opens. Quickly, he tosses it in the hazmat box.

NURSE
Is everything alright?

DANIEL
Fine. Just fine.

He walks past her and down the hall in the opposite direction of Lucas’s room.

SECOND NURSE
What was that all about?

NURSE
I haven’t a clue.
CUT

Alternative Storyline for Days of Our Lives Part 27

INT: CHEZ ROUGE: NIGHT
Doug is on the stage singing “I Remember You”. Chloe is a the bar with Philip waiting to go on. Roman is at the other end of the bar, watching Doug and talking to Julie.

CHLOE
Do I look all right?

PHILIP
Why are you so nervous?

CHLOE
After what happened this afternoon, how can I not be.

PHILIP
I’m here. Roman’s here.

Morgan walks in and looks around. Seeing Philip, she walks to him.

CHLOE
Lucas was attacked in the middle of Salem Square. Besides I’m opening up with a new song.

PHILIP
The truth comes out.

CHLOE
It’s different.

MORGAN
Philip, I was looking for you.

PHILIP
You found me.

MORGAN
I need to talk to you.

CHLOE
(Annoyed)
Hello, Morgan. What is it this time?

MORGAN
Chloe, I didn’t expect to see you here.

CHLOE
I work here.

MORGAN
A little beneath an international opera star.

CHLOE
(Sexual undertone)
You have no idea what is beneath me.

MORGAN
Philip, I really need to talk to you--alone.

PHILIP
Can’t it wait.

MORGAN
It’s about my father.

CHLOE
(Under her breath)
Isn’t it always.

MORGAN
It’s important.

PHILIP
Chloe, we’ll just be a minute. Morgan, let’s go out on the terrace.

CHLOE
Don’t leave on my account. I need to go talk to Julie.

Chloe walks to the other end of the bar.

ROMAN
I thought Julie was just talking about a piano. There is a five piece orchestra.

JULIE
You know Doug. He can’t do anything small.

ROMAN
I think it’s wonderful. Hi Chloe.

CHLOE
Hi.

JULIE
What’s wrong?

CHLOE
(Faking a Southern accent)
Miss Magnolia has another emergency. She just has to talk to Philip about her daddy.

ROMAN
This is a little out of my expertise. I’m going to call my date and see what’s keeping her.

Roman walks toward the front entrance.

JULIE
(Looking at the other end of the bar)
You’re not going to just give up like that?

CHLOE
What can I do?

JULIE
Fight for what is yours.

CHLOE
He’s not mine.

JULIE
He is if you want him. I’ve seen the way he looks at you.

CHLOE
How can I compete with her damsel in distress routine?

JULIE
Mark your turf.

CHLOE
Mark my turf?

JULIE
You’re bright, talent and beautiful. Use your God given assets to get his attention.

CHLOE
If my dress was any lower, I would have a wardrobe malfunction.

JULIE
Looks only get their attention. To reel him in you have to be smarter and tougher than the competition. And believe me Morgan isn’t much competition unless you give her room to be. Yesterday, you rehearsed Albert’s friend song.

CHLOE
Yea.

JULIE
Got down enough to sing in?

CHLOE
Yes, but that’s not what Doug is going to announce.

JULIE
Let me take care of it.
CUT
EXT: CHEZ ROUGE: NIGHT
Roman is on his phone.

ROMAN
Hi, Alyssa. Roman. I’m at Chez Rouge. Could you give me a call?

He hangs up. Kate walks up.

KATE
Problem?

ROMAN
Not really. Katie, you look nice?

KATE
You clean up real nice too.
(Looking around)
Where’s your date?

ROMAN
She’s running a little late.

KATE
Oh. I see. How about if I buy you a drink while you wait? I’ll order you a Kamikaze.

ROMAN
Why in the world would you do that?

KATE
I saw the way you were looking at Marlena. You have never gotten over her.

ROMAN
Katie, Katie.

KATE
Isn’t that why you faked having a date?

ROMAN
I didn’t fake anything. Alyssa is just late.

KATE
Alyssa? How long have you known her?

ROMAN
We went to school together.

KATE
High school sweetheart?

Alyssa walks up.

ROMAN
No, actually she gave me a black eye. Hello, pretty lady. We were just talking about you. Kate. Alyssa. Alyssa. Kate.

ALYSSA
(Extending her hand)
It’s nice to meet one of Roman’s friends.

KATE
I’m his ex-wife.

ROMAN
Katie, be nice.

KATE
I am being nice.

ALYSSA
It’s good to meet you any way.
(To Roman)
I’m sorry I’m late.

ROMAN
No problem.
(To Kate)
It was nice seeing you again.

Roman and Alyssa walk inside, leaving Kate outside alone. She starts to go in, but changes her mind and walks toward the park.
CUT
INT: STANLEY AND MARIE’S BEDROOM: NIGHT
The shower can be heard from the bathroom. Stanley walks in carrying a large dress box. The water is turned off

STANLEY
Ava. There has been a change in plans. I called Martin. He is coming here.

AVA
(Walks out wearing a bathrobe)
I smell better at least.

STANLEY
I called Marie. She wanted you to wear this.
(Offering her the box)
It’s her wedding dress.

AVA
I couldn’t. That’s for family.

STANLEY
Marie wouldn’t have offered if she didn’t want you to wear it.

AVA
(Taking the box)
Thank you.

STANLEY
It might be a bit big. But Martin’s wife, Cheryl will becoming with him. She’ll be able to make it look nice.

Ava takes the dress out of the box. Made with silk and lace, it was designed after Renaissance era with full puffy sleeves and square cut bodice. It has a long and flowing train made of lace.

AVA
It’s beautiful.

STANLEY
Marie made it. There isn’t a vale. We wanted to see each other.

AVA
(Kissing his cheek)
It doesn’t need it. Thank you Stanley

STANLEY
(Patting his stomach)
My suits, well let say they would take a lot more alternating. I dug out one of my son’s suits. It’ll fit better in the waist. But I wouldn’t be taking any full length picture.

Ava’s confused.

You’ll see. I’ll send Cheryl up when she gets here.

Stanley walks out and closes the door. Smiling, Ava holds the dress up to herself and looks in the mirror.
CUT
INT: STEFANO’S OFFICE: NIGHT
John at the computer. His untouched dinner sets on the desk. Marlena sits across the room, finishing her dinner.

JOHN
I think I have it.

He types and pushes enter. The computer beeps at him

Not it.

MARLENA
That’s two.

JOHN
I was sure it Santo.

MARLENA
You were just as sure it was phoenix.

JOHN
Do you think you can do better?

MARLENA
Yes. I’d wait to talk to EJ and Tony.

JOHN
I can do it.

MARLENA
Try his mother’s name.

JOHN
Why?

MARLENA
(Standing and walking to the desk)
Look around. He built a shrine to her.

JOHN
Stefano isn’t that sentimental.

MARLENA
That’s one thing that hasn’t changed. You’re still stubborn.

JOHN
I prefer tenacious.

MARLENA
Same thing.

JOHN
Mine sounds better.

MARLENA
Fine.
(Pulling off one of the scrapbooks)
Do what you want? But don’t complain later.

JOHN
Me complain?

Astonished, Marlena takes the scrapbook back to the chair and opens it up.

I never complain. I express my displeasure in a clear, concise manor.

MARLENA
(Turning the pages)
Keep telling yourself that. One of us will start to believe it.
CUT

INT: FRONT HALLWAY TO STANLEY AND MARIE’S HOUSE: NIGHT
EJ, Stanley and Martin stand by the fire place. In his early twenties Martin is dressed in jeans and a t-shirt. He looks more like a college student than an ordained minister and township clerk. EJ is dressed in a late 60’s black suit that was better suited for a high school prom. It fits; however, the pants are about three inches too short.

MARTIN
It’s a good thing you called when you did. Cheryl and I were just getting ready to leave for Chicago. We have Cubbie tickets They have a double header at Wrigley tomorrow.

STANLEY
Love the field.

MARTIN
Don’t even go there.

EJ
Ava and I are very grateful.

MARTIN
I didn’t have much choice. Marie called Cheryl.

STANLEY
Translation. They thought it was romantic and Cheryl didn’t give him a choice.

MARTIN
Exactly. No wedding. No Wrigley.

EJ
I’m sorry.

MARTIN
Don’t worry about it. Do you have a ring?

EJ
No.

MARTIN
Marie didn’t think you would. We stopped on the way here.
(Pulling a ring out pocket)
It‘s nice, but nothing fancy. We‘ll settle up later. Cheryl picked a bouquet from our garden. She also called the Staninski’s in town. They have a bed and breakfast. Pat is holding a room for the two of you. If you don‘t have other plans, give her a call and she’ll spiffy it up for a romantic honeymoon night.

EJ
I don’t know what to say.

STANLEY
Mayfield may just a little county place. But know the true meaning of friendship and family.

CHERYL
(Off camera)
We’re ready.

MARTIN
Okay. We’re starting the music.

Stanley goes to his desktop computer. With a click of the mouse, the wedding march begins. Quickly, he returns to EJ’s side. Wearing a sundress, Cheryl walks down the stairs ahead of Ava. Ava follows, the train flowing behind her. She stumbles on the last step and falls. EJ runs to her, helping her up.

EJ
Are you okay?

AVA
As long as I’m with you, I won’t be anything else.

EJ
Always and forever.

With Cheryl in the lead, they walk into the living room. Ava hands her the bouquet and Stanley mutes the music.

We are gathered here to legalize the bond that EJ DiMera and Ava Vitali already have created in their hearts and their souls. Their paths briefly led each other in different directions, yet their souls longed for the love they found in each other. Although they were separated, they were never truly parted. The fates, seeing the longing their hearts, brought them back to each other to rekindle the love and passion that will last all the days of their lives.

MERGING OF SCENES WITH INT: CHAZ ROUGE: NIGHT
Doug is singing “My Romance/You‘re Nearer” to the crowded dining room. Roman and Alyssa sit at a dinner table. Roman smiles at her. Alyssa smiles back. Julie walks around towards the side of the stage to stand just outside the spotlight. Philip talks with Morgan. He looks up at Chloe and smiles at her.

INT: STANLEY AND MARIE’S LIVING ROOM: NIGHT
Doug sings as a voice over. Martin continues with the ceremony. EJ and Ava take each other hands. Martin blesses the rings and gives one to EJ. He slips it on Ava’s finger and kisses it. Martin gives the second to Ava, who puts it on EJ’s finger. Their fingers intertwine.

INT: CHEZ ROUGE: NIGHT
Doug sings slowly moving in Julie’s direction. He extends his hand and she takes it; he pulls her on the stage, singing directly to her. He finishes the song and he kisses her.

At the same time, EJ and Ava kiss.
FADE
INT: CHEZ ROUGE: NIGHT
The crowd applauds.

DOUG
(To the audience)
Oh, you all still here.

JULIE
We are on the stage.

Crowd laughs.

DOUG
I can’t see anyone but you fair lady.

JULIE
Yes, that may be true my darling. But they can definitely see us.

DOUG
Okay, in that case. Chloe would you pretty please come up and sing. So I can take this beautiful woman in the moonlight.

CHLOE
(Walking up)
I would love to.

JULIE
Albert, there as been a little change. Chloe is going to be singing your friend, Suz Tyler-McPhee’s song.

ALBERT
She is?

CHLOE
I’ll do the other one second.

Julie and Doug leave the stage, walking toward the balcony.

ALBERT
Okay by me.

DOUG
What was that all about?

Albert is seen talking to the other musicians.

JULIE
Never mind. Didn’t you promise me moonlight?

The music starts and Chloe sings Voodoo Mamma copy righted and used with the permission of Tyler-McPhee.

Well, I stumbled on a letter
To my man in the mail,
The contents of the letter
Turned my face all white and pale.
It was written on some paper
That smelled of cheap perfume,
From some low-rent kind of woman.
Guess I better get my broom.

DOUG
What’s that--

Julie passionately kisses him and walks out on the balcony. He looks to the stage then a the doorway.

Who cares?

Doug follows her. Chloe sings from the stage. Morgan and Philip don’t seem to notice. Still singing, Chloe steps off the stage and weaves through the tables; the spotlight follows her.


And go see Mamma
Yeaaaa, Voodoo Mamma.
Keep away from my man,
Mamma do her voodoo on you.

My Mamma lives out in the swamp
In a spooky little shack,
Lotta of folk will try to find her,
Not a lot will make it back.
I said, ‘Mamma, what do I do?
Some woman wants many man.’
Mamma sprinkled something on the note,
Then placed it in my hand.

That’s my Mamma,
Mamma do her Voodoo on you.

Mamma said, ‘A spell has been cast,
And it carries her name.
With every thought of your man
More weight she will gain.
Just a pound or two at first,
We’ll give her a little chance,
But if she persists by noon
She won’t fit in her pants!’

Yea that’s my Mamma,
Mamma do her Voodoo on you.

Mamma said, ‘If she keeps it up
That girl will be aghast,
When she looks in the mirror
And see she’s grown a thick mustache.
Well, her slender thighs will swell
And her ample breasts will sag.
Well, honey it won’t take long
To turn that woman into a hag.

That’s my Mamma,
Mamma do her Voodoo on you.

Chloe works her to where Philip and Morgan are standing. They notice her. Chloe steps between them and sings to Morgan. Philip is both embarrassed and flattered. He doesn’t move. However, Morgan backs away. Chloe follows.

Mamma said, ‘honey wait til midnight,
When the moon is full and bright.
Then light this note on fire,
You know, the flames will make it right.’
She spun around in circles.
Arms raised in the moon’s new light.
Then she danced a little dance and
Disappeared into the night.


Morgan leaves. Chloe returns to Philip.

That’s my Mamma,
Mamma do her Voodoo on you.

Now, women be forewarned
If you mess with a married man,
You better give him up
You know he’s stolen contraband.
Well, I wouldn’t be so sure,
As if it were routine
He may just have a mother-in-law
Like my Mamma, the Voodoo Queen.

Well, that’s my Mamma,
Yeaaaaah, Voodoo Mamma.
Keep away from my man,
Mamma do her Voodoo on you.

The song ends. Chloe quickly kisses Philip and returns to the stage.

ROMAN
What’s that all about?

ALYSSA
Looks like she is laying claiming what’s hers.

ROMAN
They’re not married.

ALYSSA
Not yet.

ROMAN
You sound as if you approve.

ALYSSA
I do.

ROMAN
(Teasing)
Now you’re scaring me.

ALYSSA
(Touching his hand)
There is nothing wrong with telling the world, this is mind-you can’t have.

ROMAN
(Placing his hand on top of hers)
You’re right. There is nothing wrong with that.
CUT

INT: STEFANO’S STUDY: NIGHT
Frustrated, John stares at the computer screen. Marlena as fallen asleep on the couch. Several of the scrapbooks have been stacked on the table. He looks up and smiles. He walks around the couch and drapes the throw over her. Leaning over, he kisses her cheek. Marlena wakes and turns her head so that their lips touch.

MARLENA
(Sleepily)
John.

Taking his hand, she pulls him closer to her. John slides over the back of the couch and snuggles behind her. They fit together perfectly.

I love you.

Marlena falls back to sleep. John momentarily watches her before he too starts to doze off. The door knob turns; the door slowly opens
CUT

Alternative Days of Our Lives Storyline Part 26

EXT: FIELD: EVENING
A brilliant sunset is the backdrop EJ and Ava are slowly riding back to the barn. Both are lost in thought. They stop just beyond the pet cemetery. The horses fuss.

EJ
I don't want go back.

AVA
Me either.

EJ
Thank you for this beautiful dream.

AVA
It doesn't have to be a dream.

EJ
Ava, you could very well go to prison for a long time.

AVA
It's not going to happen.

EJ
I can't guarantee that.

AVA
My Daddy can. It's already taken care of.

EJ
Then why did he ask me to represent you?

AVA
He wanted to make up for backing down to Stefano.

EJ
Three people died--

AVA
They weren't suppose to. No one was supposed to get hurt.

EJ
They're still dead.

AVA
I know. I truly wish I could change that. But I can't. I thought Patch-Steve would make my heart whole. He couldn't. He wasn't the missing piece. You were. Steve was just a band-aid. It was only after Patch disappeared did Daddy realize that he had done to me. He went to Stefano to try to fix it. He told Daddy that if we did anything to interfere with his plans that he would find a special use for me.

EJ
I didn't know that.

AVA
You wouldn't. He didn't tell me until he learned you were here and Stefano was incapacitated. If Stefano had been alive and well, he would have taken me out of the country that night. I know Daddy has done a lot of terrible things, but your father scared him.

EJ
He as that affect on people.

AVA
EJ, you don’t understand. Daddy said he would have killed me himself before he let Stefano put me in his album di ritagli di coppa

EJ
His what?

AVA
A scrapbook of his trophies.

EJ
I know what it means. Why would he put you in there?

AVA
It is where he puts remembrances of all the people he owns. Do you think he will ever wake up?

EJ
I don’t know. The doctors don’t think so.

AVA
What do you think?

EJ
I think- I think if anyone could it would be him.

AVA
I want to get married.

EJ
We are. Remember the whole on knee bit. If you need a reminder...

EJ pulls the guides his horse closer to hers. Leaning over, he passionately kisses her.

Remember?

AVA
Vaguely.

He kisses her again half pulling her on to his horse. Ava eagerly responds, but suddenly pulls away.

I’m afraid. I have a bad feeling.

EJ
You feel good to me.

AVA
I’m afraid it won’t last. It’s like feeling I had just before my mother died.
(Desperately)
Marry me.

EJ
We will.

AVA
Today. Let’s fly to Vegas.

EJ
You can’t leave the state. You’ll forfeit your bond. Besides, you always dreamed of a big wedding. With your father walking you down the isle.

AVA
I don’t care about any of that. I just don’t want to loose you again.

EJ
You won’t.

AVA
Please EJ. Marry me now.

EJ
There is a 24-hour wait for the license. We could get the license tomorrow.

AVA
And married the next day.

EJ kisses her.
CUT

INT: DIMERA MANSION: EVENING
John and Marlena enter.

JOHN
(Yelling)
Rolf! Rofl!

MARLENA
He’s in another room. Not dead.

JOHN
The louder I yell, the faster he runs.

Rolf runs in from the back of the house.

He’s fun to watch.

MARLENA
That’s mean.

JOHN
Yes, it is.

ROLF
Yes, Sir.

JOHN
(Walking into the study)
Blondie, want a drink.

Marlena and Rolf watch him disappear into the study.
CUT

INT: DIMERA STUDY: EVENING
John pours himself a drink.

JOHN
Rolf!

ROLF
(Walking in)
I’m right here.

Marlena follows as far as the door.

JOHN
Blondie, want a drink.

MARLENA
I’m not a dog to be ordered about.

JOHN
Didn’t think you were. So you don’t want a drink?

MARLENA
No, thank you.

JOHN
Okay doke. Rolf, Marlena and I have some questions for you. It would behoove you to answer them quickly and honestly.

ROLF
I’ll do my best.

JOHN
Do better.

MARLENA
(Walking in)
We need to know who was in that room.

ROLF
I don’t know.

JOHN
I don’t believe you.

MARLENA
Neither do I.

ROLF
It’s the truth. The only one who knows all Stefano’s secrets is Stefano. It’s the way he kept control. None of the division knew about the others. He ran is organization like an octopus. He was the center controlling the hundreds of arms. In this case, Stefano, Celeste and three others knew. One of those are dead. The other two I don’t know.

JOHN
I have a fairly good idea of what Stefano was into.

ROLF
Respectfully you don’t.

JOHN
I’ve gone through everything.

ROLF
Have you?

JOHN
Are you saying that I haven’t?

MARLENA
Rolf, is there more?

ROLF
There is always more.

JOHN
You didn’t tell me, why?

ROLF
You didn’t ask.

JOHN
Well?

ROLF
Well, what?

JOHN
Is there more?

ROLF
Yes.


MARLENA
Where is it?

ROLF
(Uncomfortable)
I don’t know if I should--

JOHN
Rolfie, you’re testing my patience.

ROLF
In his study.

JOHN
This is the study.

ROLF
Not so much.

MARLENA
Take us there.

JOHN
Now.

ROLF
Very well. God protect me if Stefano every wakes up.

JOHN
Lie to me and you won’t have to worry about Stefano. Lead the way.

Shaking his head, Rolf leads them out of the study.
CUT

INT: HOSPITAL ROOM: EVENING
Lucas is lying asleep in the bed. Sami paces the room, while talking on the phone.

SAMI
Thanks, Hope. Are you sure you don’t mind? He was awake a little while ago. I will. But pain meds are keeping him groggy. He might not remember much until morning. They are letting me stay just a few minutes after visiting hours.

LUCAS
(Waking up)
Sami?

SAMI
Lucas is awake again. I’ll pick up the twins in an hour, two the most. Thanks Hope.
(Going the bed)
You’re awake. How do you feel?

LUCAS
(Painful)
I hurt. My side.
(Reaching over he finds the drain tube)

SAMI
(Gently taking his hand)
It a drain. You had surgery. Do you remember what happened?

LUCAS
Sort of. I remember the guard from Statesville. Then just pieces.

SAMI
You’re safe now.

LUCAS
What about Chloe and Philip?

SAMI
They are both fine. Bo arranged for a guard on your door. He’s someone that he trusts.

LUCAS
I had the strangest dream. You told me that Johnny was my son.

SAMI
He is Lucas. That is what I wanted to tell you.

LUCAS
How?

SAMI
I had Lexi run another test in secret. She also had Abe run it through the police lab. It’s true. You are Johnny’s father.

LUCAS
(Sleepily)
Does EJ know?

SAMI
He’s out of our lives.

LUCAS
(Touching her cheek)
Thank you.

SAMI
You’re welcome. But you have to get better. You have diaper duty.

LUCAS
Potty training here we come.

Lucas falls asleep. Sami tenderly kisses his lips.
CUT

INT: BARN: EVENING
Ava is taking the saddle off her horse. EJ has already taken the saddle of his; he is unbuckling the bridle.

EJ
Are you sure you don’t want me to help you?

STANLEY
(Walking in)
I thought you were going to stay out all night.

AVA
Weren’t you going to see Marie?

STANLEY
(Taking the saddle from her)
Already back. She’s happy about the two of you. She wants me to weasel an invitation to the wedding.

EJ
What are you doing tomorrow?

STANLEY
Tomorrow. I didn’t think you had a license.

EJ
We don’t.

AVA
I’m superstitious.

STANLEY
Nothing wrong with that.

AVA
I wanted to fly to Vegas and get married tonight.

STANLEY
It can’t be the plane fare.

EJ
There are legal issues.

AVA
I just have the feeling that if we don’t get married now, we never will.

STANLEY
After living with Marie all these years, I’ve learned to trust women’s intuition. Let me make a call.

Stanley walks into the tack room.

EJ
I’ll pick you up first thing in the morning to get the license. Then we can go out for breakfast.

AVA
Don’t we have to get a blood test or something?

EJ
Not in this state. But we both have to go with ID.
(Kissing her)
Where in the state do you want to honeymoon?

AVA
In bed.

EJ
Of course. But don’t you want to do something special?

AVA
Oh, I guarantee it will be special.

EJ
That’s a given.

STANLEY
(Walking out)
Okay. Let’s go.

EJ
Go where?

STANLEY
The courthouse. Martin is meeting us there. That is if you don’t mind being married in Grant County instead of Salem. But we have to go now. He has plans for later this evening.

AVA
I don’t mind not having the dress or my daddy here, but I smell like horse.

EJ
So do I.

STANLEY
I wasn’t going to mention it. If you hurry, you can take a shower.

AVA
But my clothes--

STANLEY
Let me worry about that. Now bustle to the house

EJ
Bustle?

STANLEY
(Taking the reigns)
Get moving kid or go to your wedding smelling like a horse. There is a shower in the bathroom in the main hallway. EJ use that one. Ava, you can use the one off Marie and my bedroom.
CUT

INT: STEFANO’S STUDY: EVENING
The room is dark.

ROLF
(Off camera)
I still don’t feel comfortable doing this.

JOHN
(Off camera)
Unlock the door or someone will be locking a door on you.

ROLF
(Off camera)
Very well.

The lock clicks. The door opens. Rolf walks in and turns on the light. It is a room over looks the backyard of the mansion. The sunset can be seen fading in the western sky. The room contains a combination of Roman and Egyptian art, while the furniture is Colonial. The color scheme is dark blues and purples that could be best described as regal. There are dark red sashes hanging around the windows and the door. On either side of the door is a candle opera with a red candle that had been partially burned. Yet, instead of being foreboding, it has a comfortable feel to it. There is a computer on the desk along with a multi-line phone. The shelves are filled with old books, pictures of his parents and his children. John and Marlena follow.

JOHN
Now this is my kind of room.

MARLENA
(Picking up one of the framed baby picture off the table)
It makes him seem almost human.

ROLF
He can be. He loved his mother dearly. He had few pictures of her. That one is his favorite. He had a copy made for every one of his homes. No matter which one he slept in he would always light a candle to her before retiring for the night.

JOHN
Where’s the information about the woman in the room?

ROLF
I still don’t know.

JOHN
(Making himself comfortable behind the desk)
Then why didn’t you want us to open the west wing.

ROLF
I was following Stefano’s orders.

MARLENA
Where would you start looking?

JOHN
(Turning on the computer)
What’s the password?

ROLF
I don’t know to both your questions.

JOHN
You not being very helpful. Should I start questioning your loyalty?

ROLF
Do what you will. I can’t tell you what I don’t know.

MARLENA
Don’t know or won’t say?

ROLF
Don’t know.

MARLENA
Will you help us search?

ROLF
Would you trust me not to try to hide something?

MARLENA
Good point.

ROLF
(Backing out of the room)
Then I will leave you to it.

JOHN
(Pulling a photograph album off the shelf)
Wait. Why are there so many photo albums?

ROLF
They aren’t important. Stefano like to take pictures.

JOHN
Pictures?

ROLF
Of people and places he found interesting. He didn’t have much of an eye for the camera.

MARLENA
Maybe the there is a picture of her.

ROLF
Do you know what she looks like?

MARLENA
Petite with dark hair.

ROLF
I’m sure you find several hundred of those. Some of them might even be clear enough to see the faces and not have Stefano’s finger in the picture.

JOHN
(Putting the album back)
Fine. He was a lousy photographer. What’s the password on the computer?

ROLF
I still don’t know. The third wrong guess fries the hard drive.

MARLENA
That’s just great.

JOHN
If it was easy. Anybody could do it.

Rolf turns to leave.

Call Anthony and Junior. Tell them to get their butts over here.

MARLENA
Let’s wait until morning. Maybe the two of us can find what we need. Or at least a get a good start.

JOHN
I’m not leaving his room until I boot this thing up.

MARLENA
You’d better bring us a pot of coffee.

JOHN
And dinner. Tell my nephews to be here first thing in the morning for family pow-wow.

ROLF
What about Alexandra?

MARLENA
Call her. But she might not be able to come. Celeste is in the hospital

ROLF
What happened to her?

JOHN
She was attacked by the evil spirit in the room.

ROLF
Aren’t you afraid your prying will make her angrier?

MARLENA
We’re looking for a way to stop her.

ROLF
The only way to do that is lock her back in the room.

JOHN
You said that you didn’t know who she is.

ROLF
If Stefano could have stopped her, he would have. He wouldn’t have just locked her away.

MARLENA
Not necessarily. He likes kidnapping people and holding them against their will.

ROLF
(Walking out the door)
Some things are best left alone. You don’t want to listen to me. Don’t listen to me. I’ll make the calls and get dinner.
CUT
INT: HALLWAY OUTSIDE STEFANO’S OFFICE: EVENING.
Rolf closes the door.

ROLF
I don’t know what will be worse. Stefano will have my head if they discover his secrets.
John, will if he doesn’t. But if John finds what he is looking for he will loose everything else.
CUT