Subject: Rotsoap: Roger's Revenge - Part 10 ROGER'S REVENGE - Part 10 SCENE: Plane to Paris. 9 p.m. Leo sits on the plane daydreaming about Amanda. What a refined and intelligent woman - and she seems to be interested in him. He'll have to bring her home to meet his mother. Mother has been after him for years to give her grandchildren but no woman was ever good enough for her. But Amanda is a Spaulding. Surely, mother would approve. It's been a long time since he had a girlfriend he could take home to mother. It's been a long time since he had a girlfriend who didn't carry her own scanner and ask to see his Visa before they got into bed. Oh. . . but, wait . . . he's getting carried away. He just met her . . . maybe she's already seeing someone . . .of course! She must already be taken! A woman like that must have men banging down her door. . . The stewardess taps him on the shoulder. Stew: Mr. Flynn? You're wanted in the rear of the plane. Leo: Me? (stands up) What is it? Stew: A young lady needs your assistance. Leo walks to the back of the plane and sees Amanda Spaulding standing in the door of the restroom. Leo: Ms. Spaulding! It's you! I didn't know you were on this flight. Amanda: Would you help me with something Leo? Leo: Oh course! What . . . what . . . Amanda: (pulling him into the restroom) Come on in and I'll show you. (She closes and locks the door) SCENE: Hotel in Nice. Bridget was standing on the balcony of their hotel suite, confused and depressed, thinking about Roger. Hart came out to join her. Hart: You're worried about Peter, aren't you? (She doesn't answer, her eyes begin to tear) Don't you think I'm worried too? But we can't do anything to help Peter tonight. (Turns her to face him) We can help each other, though. He lifts her up and Bridget is expecting him to carry her back to bed. But instead, he sits down on a lounge chair on the balcony with her on his lap. Hart: Look at those stars, Bridget. (He lays back and stares at the sky) You know, I bet wherever Peter is right now, he's looking at those same stars. Do you think? Bridget: (a wave of guilt rushes over her) Yes. Hart: And I bet . . . I bet if we can figure out which one of those stars he's looking at right this minute . . . I bet we can send him a message. I bet we can tell him not to be afraid . . . that everything's going to be all right. Bridget: (puts her face in her hands and wipes away her tears. Then she tries to smile) Oh, you bet . . . huh? Hart: Yep. Bridget: Well, I guess I'll have to trust you on that since you're such an expert gambler. Bridget feels a surge of tenderness for Hart, trying to make her feel better when he's in so much pain himself. Bridget: (points to the sky) There . . . that's the one. Hart: Okay. That's the one we'll concentrate on. They both stare at the star for several minutes, and then simultaneously they turn to each other with a smile. Bridget: Did you . . .? Hart: Yes. I think he heard us. Bridget: He was smiling. . . Hart: Yeah . . . that sort of lopsided grin he does . . . Bridget: (lays her head on Hart's chest) Yes . . . They fall asleep in each other's arms. SCENE: Paris Bistro. Marley returns to her dressing room after the last set to find it totally destroyed. Everything slashable is slashed - her clothes, shoes, the curtains on the windows, the lights surrounding the mirror are smashed and a message is written on the mirror in deep red lipstick. "Your face is next, Marley." Marley begins picking things up, trying not to think about what this means. Michelle, the waitress, walks in. Michelle: My God! What happened in here? Marley: I think someone is trying to scare me. Michelle: Is it working? Marley: (stands up) Michelle, I've got to get out of here. I'm sure the manager is going to want to call in the police about this, but I'm in no shape to answer questions right now. Could you cover for me? Michelle: Sure . . . but if you're in some kind of trouble, Marley, I don't think you should walk home alone. Let me go with you. Marley: (hugs her) Don't worry. I'll be fine. (Stares at Michelle's blond hair and gets an idea) But, you know, there is something you could do for me. (Rummages through her purse) Are you busy tomorrow morning? Marley takes out a pair of sunglasses and places them on Michelle's face. Then she pulls Michelle's hair off her face and stands back to survey the effect. Marley: This could work. SCENE: Jacques' Villa 4 am. Roger and Holly have managed to get their hands free, and his feet untied, and now Roger is just about finished loosening the ropes around Holly's ankles. He gets the rope off and frowns. Roger: Your ankle's bleeding, Holly. Does it hurt? Holly: Not much. She watches as Roger dabs it with his handkerchief. Roger: Looks like a bad rope burn. (Stands) Let me see if I can find some antiseptic. Holly: Roger, shouldn't we get out of here? Roger: (turns at the bathroom door) If we're gonna be on the run, it won't help much if you have an infected ankle. Roger returns with a tube of cream, and kneels at her feet by the side of the bed. Holly watches his face with curiosity as he applies the cream to her wound and then ties the handkerchief around her ankle. She remembers that it always amazed her how gentle those large hands could be. Holly: (trying to rid her mind of sentimental thoughts) How do *my* feet smell. Roger: (looks up with a serious expression) They smell . . . (lifts her uninjured foot to his nose and sniffs, his eyes never leaving hers) . . . they smell . . . just like the rest of you . . . just like . . . Roger rubs her foot between his hands to warm her toes, and Holly waits for him to say more, but instead, he reaches for his socks. Roger: You'll have to wear these, Hol. I'm afraid they took your shoes, too. (He holds the sock out, inviting her to slide her foot into it.) Do you mind? Holly: Of course not. (she can't resist reaching out and smoothing a few stray hairs off his face) I was just teasing, you know . . . about your feet. The expression on her face makes Roger's stomach do flip flops. As he pulls his socks over Holly's ankles, he thinks it's probably a good thing they have to get out of here right now, because otherwise he might be tempted to keep moving his hands right up her legs . . . and she doesn't look like she'd object. The thought that he could be falling in love with her again so easily, is frightening. That would be a really dumb thing to do . . . especially since he's just lately gotten over the fall out from the last time he fell in love with her. But no . . . it's probably just a combination of looking at her bare legs for the past several hours, knowing she's not wearing anything under that shirt, rolling around on the bed with her for half the night, and now seeing her looking like she's forgotten all of his past transgressions and remembers only the good times . . . Holly: Roger . . . She's been trying to get his attention for the last several minutes, but he's been lost in thought. Finally he hears her. Holly: Roger, shouldn't we be going? SCENE: Nice. Hart and Bridget's Hotel Suite. 6 a.m. Hart enters the suite quietly, trying not to wake Bridget. He looks toward the bedroom door and smiles fondly at the thought of Bridget probably sleeping off a killer hangover. Poor kid. She really needed to forget last night. She's trying to be brave about Peter. (Frowns) And Roger sure hasn't been much help. Roger's not exactly the kind of guy a woman can turn to when she needs some comfort. Hart looks at his watch. 6:00 a.m. . . he'll give her a couple more hours to sleep and then they've got to get packed and drive back to Cannes so they'll be there in time for the phone call from Peter's kidnappers. On the way back they'll have plenty of time to talk. That's when he'll tell her. . . that he's breaking it off with Dinah. What a mistake that was! . . . it's been days since he talked to Dinah and he doesn't even miss her. Every time he hears Bridget speak he realizes what a relief it is not to hear Dinah's screeching voice in his ears. Bridget has the kind of voice he could listen to for the rest of his life. As soon as they get Peter back, he and Bridget . . . Bridget . . . She's still married to Roger. What kind of a marriage is it though? Where is Roger? He enters the bedroom and finds the bed empty. Where's Bridget? (He leaves the suite) A few minutes later, Hart finds Bridget in the casino, sitting at a slot machine with a cup of silver dollars. He watches as she sticks in one coin after the other, not even stopping to see if she won, almost like a robot who is determined to empty that cup as fast as she can. He walks up behind her. Hart: Bridget! Bridget jumps guiltily at the sound of his voice and almost drops the cup. Bridget: (not turning around) You came back? (Sounds bored) I figured you went back to Paris to see your fiance. Hart: No, of course not. There was just something I needed to do. I thought I'd be back before you woke up. Bridget: (stands up) Oh, really? (Sarcastically) I thought you were trying to relive our wonderful romantic past - you know, where we make love and you leave town the next day? What happened? Did you forget the part where you tell me how much in love you are with some other woman before you leave? Bridget grabs her money and heads for the elevator. Hart: (follows her into the elevator) Does any of that matter right now? Why are you bringing up ancient history? Peter's gone! Our son is missing! Bridget's anger for all the years that Hart rejected her, all the times he treated her like a cute little puppy and she just meekly accepted that role, and the times she had to watch him obsessing over some other woman . . . it all wells up uncontrollably and she just wants to strike out at him. . . to let him know she's no longer the victim. Now he's the victim. She doesn't think about the consequences. Bridget: (yelling) No he's not missing! Peter's fine! Hart: (not sure he really heard her, he just stares at her for a minute) What? Bridget: (louder) Peter is safe and happy in a convent in Paris. He was never kidnaped . . . Hart: (Bridget's words are still not really registering) Peter's . . . safe? (slowly his face takes on an expression of relief.) . . . Peter's safe . . . (He puts his hands on Bridget's shoulders and looks into her eyes) Bridget, is this the truth? He's really okay? She still wants to hurt him, but part of her is glad to see that the look of fear that Hart's been wearing for the last week has disappeared. Bridget: (stares defiantly into his eyes) How many different ways do I have to say this? At this moment, Peter is probably being spoiled big time by a group of adoring nuns. SCENE: Barn outside of Antibes. 6 a.m. Roger and Holly have stopped in a barn, a few miles from Jacques' Villa to rest. Since Jacques took Holly's clothes, they brought a blanket with them from the Villa and Roger has laid it on a pile of hay. Roger: We better get some sleep before we go any farther. Holly lays down on the blanket and closes her eyes. Then she starts turning restlessly, trying to find a comfortable spot. Suddenly, she sits up and starts scratching her legs. Holly: This blanket is so thin . . . I can feel the hay sticking right through it. Roger: (looking down at her with amusement) You're just like that princess in the fairytale . . . you know, the one who could feel a pea under ten layers of mattress? Holly: Since when did you become familiar with fairytales, Roger? Roger: (joining her on the blanket) Since my grandson forced me to watch the video twenty times in one weekend. It was either that or let him put a can of peas under his mattress. (Roger notices that her legs are covered with a light rash) Maybe you're allergic to hay. (He lies down on his back and taps his bare chest) Why not use me for a mattress? Holly looks skeptical. Roger: Come on, Holly. I've managed to resist you for the last six hours. Surely you must realize by now that I'm immune to you. Unless . . . maybe you're afraid that you're not immune to me? Holly can't resist the thought of sleeping in Roger's arms one more time. And since he's obviously not interested in her . . . what harm could it do? She moves toward him tentatively touches him, then pulls away . . . Holly's reaction takes him by surprise. Suddenly she looks so vulnerable, like maybe his words hit a nerve. As she lays her body on top of his, Roger cups her face in his hands. For a moment, he looks like he's going to kiss her, but instead he kisses her forehead and says, "Get some sleep." Just before she falls asleep, Holly thinks she hears Roger saying, "I love you, Hol . . ." She burrows her face against his chest, trying to get closer to him. "I love you too, Roger." When Roger hears her words he takes a deep breath and lets it out slowly. Something is filling up his chest so that he almost feels like he's about to burst. But he doesn't know if it's joy or fear . . . pain or love. He hadn't meant to put his thoughts into words. In fact, he was sure that he hadn't. Was she reading his mind? He tries to sleep . . . then tries to empty his mind of all thoughts. But it's no good. Holly seems to be pulling him into her dreams. Roger: (stroking her hair tenderly and sighing) I've tried to stay away from you, Holly. I've done everything I know how to keep a distance between us. But life always seems to make that impossible. (He falls asleep) CUT TO Roger's Dream. Holly: What are we going to do, Roger? Why does it have to be so hard? Roger: I don't know. But I'm afraid to try again with you. I don't like feeling this vulnerable. The only trouble is . . . with anybody else, I don't feel anything at all. Holly: Maybe there's a way. Maybe there's a way that we can be together . . . and happy. Roger: Yes . . . if not in this life . . . maybe in the next . . . Holly: (smiles, as though this idea gives her a feeling of peace) Of course . . . that's what we'll do! In the next life we'll do it right. But . . . how will I know it's you? What do you want to come back as? Roger: (thinks about it) How about a doctor? You've always liked doctors. Holly: (teasing) And you've always liked to play doctor. Roger: That's true. Especially with you. (kisses her) Okay, your turn. What will you be in your next life? Holly: Um . . . let's see . . . maybe I could be . . . a Spaulding? You've always liked Spauldings. Roger: I don't know. I think I'd still want you to be Holly. . . it just wouldn't be the same if you weren't Holly. . . CUT TO Roger and Holly lying together in the Barn. Roger's arms tighten around Holly and they're both smiling in their sleep. SCENE: Hotel in Nice. Bridget and Hart are back in their hotel suite. Bridget is sitting on the sofa, leaning back with her hands across her chest, staring coldly, angrily at Hart, who is standing over her. Hart: So . . . this was all a lie? This whole kidnapping story was a lie just to hurt me? Bridget: That's right. And it worked, didn't it? But then you managed to bag another one of your father's wives in the process, so you have nothing to complain about. So why don't you just leave! Run back to your precious Dinah and leave me alone! Do you think I've been enjoying this? Playing like I'm your best friend when all the time I've been wishing I never had to see your face again! Hart: Then . . . why did you do it? Why did you go along with Roger's schemes? Why didn't you just let me marry Dinah? Bridget: Because I wanted you to know how it feels! I wanted you to know what it's like to lose! You think you can treat somebody the way you treated me last year and then just walk away? You think just because you're young and gorgeous that women should be grateful when you let them make fools of themselves over you? You think you can leave a woman pregnant and alone and then just walk back into her life three years later and threaten to take away custody of her child? It was bad enough when you picked that skinny, man-eating, soulless bitch over me, but then you were planning to give her Petey, too? I hated you for that Hart Jessup! (Starts banging on his chest) I hated you so bad I wanted to kill you! And if Roger hadn't come up with this other plan, that's just what I was ready to do. You can thank Roger for saving your life! Hart puts his arms around her to stop the beating and Bridget bursts into tears. Hart speaks softly, trying to comfort her. Hart: It's okay . . . it's okay, Bridget . . . I understand . . . shhhh . . . we're okay . . . don't worry . . . (he notices her beginning to calm down) . . . but you know, you're wrong if you think I don't know what it means to lose. There's something I have to tell you . . . something about my past. But first . . . (he picks her up in his arms) . . . I think we both need to get some sleep. (He carries her into the bedroom) >> >"Republicans understand the importance of bondage between mother and child." >--Former U.S Vice-President Dan Quayle on Republican Family Values. >> >"Republicans understand the importance of bondage between mother and child." >--Former U.S Vice-President Dan Quayle on Republican Family Values. > "Republicans understand the importance of bondage between mother and child." --Former U.S Vice-President Dan Quayle on Republican Family Values. >>>> >>"Republicans understand the importance of bondage between mother and child." >>--Former U.S Vice-President Dan Quayle on Republican Family Values. >> >