From llhalbl@indirect.com Sat Feb 17 11:17:19 1996 Received: from soda.CSUA.Berkeley.EDU (soda.CSUA.Berkeley.EDU [128.32.43.52]) by shellx.best.com (8.6.12/8.6.5) with ESMTP id LAA22901 for ; Sat, 17 Feb 1996 11:17:15 -0800 Received: from ns1.indirect.com (ns1.indirect.com [165.247.1.3]) by soda.CSUA.Berkeley.EDU (8.6.12/8.6.12) with ESMTP id LAA24356 for ; Sat, 17 Feb 1996 11:16:47 -0800 Received: from Laura.hollyberry.com (s26.abq-dialin2.hollyberry.com [165.247.25.26]) by ns1.indirect.com (8.6.12/8.6.6) with SMTP id MAA16807; Sat, 17 Feb 1996 12:11:56 -0700 Date: Sat, 17 Feb 1996 12:11:56 -0700 Message-Id: <199602171911.MAA16807@ns1.indirect.com> X-Sender: llhalbl@mail.indirect.com X-Mailer: Windows Eudora Version 1.4.3 Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" To: patricia@epix.net, Raymond_Prososki@notes.pw.com, jhood@lib.law.du.edu, wheless@sunchem.chem.uga.edu, bsmith@raven.cybercomm.net, Dame_Myra_Hess@msn.com, spring@levy.org, perrys@server.iadfw.net, 103107.220@compuserve.com, sheffler@connect.net, amurphy1@shrike.depaul.edu, llhalbl@indirect.com, trish@swsmail.atlanta.com, smarcel@utk.edu, doody@u.washington.edu, nnakova@direct.ca, anne@knowles.com, dawndra@metronet.com, MarcEditor@aol.com, cdaveb@csua.berkeley.edu, agilbert@mi.net, U6F1C@WVNVM.WVNET.EDU, fburgess@mail.awinc.com, harpo@bora.dacom.co.kr, stoney@dialin.ind.net, JCLOUTI@mtl.unisysgsg.com, esnyder@leland.Stanford.EDU, waltersm@gusun.acc.georgetown.edu, Lindafff@aol.com, Alan.Hench@mail.utexas.edu, bodacia@tdl.com, JohnsonCR@GANDLF.UINDY.EDU, satw01@interserv.com, sylvi@iglou.com, passalcq@IS2.NYU.EDU, amatthew@gtd.eds.com, Sclaney@aol.com, MLuba@gnn.com, ekeller@ycp.edu, Lilpeste@aol.com, Heather.Blair@netserver.ConnRiver.net, frank@cpi.computerpower.com, MOONC@LOKI.AGECON.KSU.EDU, Patti415@aol.com, GPurdy3507@aol.com, nmnsfld@www.signalsoft.com, longstrs@GVSU.EDU, sstrake@ycp.edu, jfleming@mnsinc.com, 102752.1303@compuserve.com, rjabour@eagle.liunet.edu From: llhalbl@indirect.com (Laura ) Subject: Feb RotSoap: Road to Hart, Episode 4 Status: RO > ROAD TO HART - Episode 4 > - by Pat C. - > patricia@epix.net > >[Summary of Episode 3] >Alex went to see Hart and brought him a laptop. Roger discovered he has >a double named Robert Toombes, who's working at the clinic. With Hart >refusing to see him and Holly still missing, Roger called in Leo to help. >Meanwhile, Holly found shelter in a cabin occupied by Robert, who she >believes is really Roger. Blake and Alan-Michael discovered that the >Foundation was funding an agency that deals in illegal adoptions and child >abduction. Bridget and Lucy signed up for classes at the University and >Lucy quit Spaulding. Rick babysat for Peter and unknowingly allowed >Hawk to abduct him. Rick asked Bridget to take him out to dinner and >dancing. > > - 4th Episode - > >Starring: Holly, Roger, Blake, Hart, Rick, Bridget, Alan-Michael, Peter, >Robert >Supporting Cast: Leo, Alex, Hawk, Nola >Cameos: Lucy, Marah, Annie > >ACKNOWLEDGMENT: The idea for the character of Robert, and much >of his history, was contributed by Ms. Malinda Griffin. >--------------------------------- >SCENE 21 > >As the car pulls up in front of a friendly-looking house on a quiet secluded >country road, Peter turns to Hawk with suspicion. He raises one eyebrow, >demanding an explanation. > >Hawk: Well, here we are young'un. Say hello to your new home. > >Peter: Where's Mommy Van? > >Hawk: Oh, she'll be along shortly. > >Hawk gets Petey and his suitcase into the house, and then returns to the car >for his own suitcase. Peter closes the door, locking Hawk outside, and >begins to explore the house. > >Cut to Bridget and Rick at the dance at SFU. They're about to have their >first slow dance of the night when Bridget stops in her tracks. > >Bridget: Did you hear that? It sounded like . . . > >Rick: What? > >Bridget: No . . .it couldn't be. I thought I heard Petey . . . calling >"Mommy". . . > >Lucy: (interrupts them) Have you seen Alan-Michael? I was supposed to >meet him here. > >Bridget: No. . . haven't seen him. > >Rick: Me neither. I haven't even seen much of Bridget . . . except when >she's dancing on tables. What will Pete say when I tell him how you've >been behaving behind his back? > >Bridget: (to Lucy) Rick's just jealous cause nobody asked him to dance on >a table. (To Rick) Aunt Maureen never told me you Bauer boys had such >fragile egos. > >Rick: Oh, didn't you know? That's the key to our charm - poor self-image >. . . it gets the ladies every time. > >Bridget: (patting his cheek) Gee . . . and here I thought it was those puppy-dog eyes . . . > >Cut to Roger and Leo at the rehab clinic. > >Roger: I take it Holly's not in Springfield? > >Leo: Nobody's seen her. I checked everywhere, Roger. . . Cedars . . . her >home . . .is there anyplace else she could be? Her step-son said she was >supposed to call last night. . .but he didn't seem to be worried . . . yet. > >Roger: What about Blake? > >Leo: No . . . I couldn't reach her . . . > >Roger: Okay. I'll call Chrissy myself. Now, I think we can make use of >those bozos of yours after all. I'm gonna take them with me back to the >spot where the car broke down and we're gonna comb that whole area for >Holly. I want you to stay here and keep an eye on Hart. > >Leo: Uh . . . how bad is it, Rog? > >Roger: Bad enough that he needs physical therapy I guess or he wouldn't >be in this place. But for all I know he could have a broken leg . . . whatever >happened it can't be too bad, since he's still got enough strength to hate me >. . . as much as ever. > >Cut to Hart thinking about Roger. > >Hart: He knows I'm here but at least he doesn't know what's wrong with >me. The last thing I want is his pity. (He struggles to reach the mirror on >the tray table in front of him and stares at the bandages on his face that are >supposed to come off tomorrow) The next time I see Roger Thorpe, I >want to be strong enough to hurt him bad. I want to make him suffer as >much as he's made other people suffer. (He lays down the mirror and >begins practicing his arm exercises. He feels sure that he can lift his left arm >a half an inch higher than he did yesterday) I don't want to have to look at >that phony sincere expression of his until I have the strength to smack it >right off his face . . . > >Cut to Alex at Spaulding, recalling her recent visit with Hart. She'd >promised to keep Roger away from him, but couldn't get in to see the >clinic administrator before she left. She had left instructions with the >receptionist . . .but didn't have much faith that the woman could hold out >against one of Roger's con jobs. > >Alex: (picks up her phone and dials) The only way Hart's going to get >away from Roger is to transfer to a new clinic . . . > >Without knocking, Blake and Alan-Michael enter her office. > >Alex: I've already answered all your questions about the rehab center . . . > >Alan-Michael: It's not about that Aunt Alex . . . > >Blake: I knew you were cold and selfish, Alex, but even I never thought >you'd do something like this! > >Cut to Holly and Robert in the cabin. She was getting ready to leave and he >blocked the door. > >Robert: How did you know about the birthmark? > >The look of fear in his eyes seems real, and convinces Holly that there is >more going on here than she at first suspected. > >Holly: You really don't remember, do you? If I tell you, will you believe >me? > >Robert: I . . . don't know. It's been a long time since I've believed anyone. > >Fade to black. > >-------------------------- >SCENE 22 > >Open on Blake, Alan-Michael and Alex at Spaulding. > >Alex: Hello to you too, Blake. I see that time and the aging process >haven't smoothed your edges one bit . . . you're still a rough chip off of >Roger Thorpe's block. The only thing you inherited from your mother is >her smart mouth. > >A-M: (shouting) That's enough . . . will you two please save the meeting of >the mutual admiration society for another time? And make it some time >when I'm not around! If you can't do that then leave. I'll handle this >myself. > >Blake: Sorry, boss. > >Alex: (ignoring Blake and turning to A-M) Why don't you tell me what's >going on? > >A-M: Spaulding foundation is funding an organization that appears to be in >the baby-selling business. > >Alex: That's absurd. We check every agency thoroughly before we award >any grants. > >Blake: (rolling her eyes) Yeah, right . . . and how often do you check them >after that? > >A-M: Aunt Alex, this agency (opens a folder and shows it to Alex) . . >.Green Mountain Family Connection . . . we've been funding them about >five years. When was the last time they were investigated? > >Alex: Why . . . I'll have to look at the records . . . of course we get a report >every year, but . . . > >A-M: Don't bother looking at their annual report. We already know that's >been falsified. They lied about their income, Blake found huge bank >deposits that they never reported, and their new Financial Vice President >has charges pending in at least two other states related to illegal adoption >schemes. > >Cut to Peter. He's taken a tour of the house and doesn't see anything >familiar so he returns to the kitchen and makes himself a peanut butter >sandwich. As he sits at the counter he can see Hawk peering in the window >making faces. Peter waves and starts to giggle. > >Peter: Bird man IS funny. > >When Peter is finished eating, he makes Hawk a sandwich too and sets it >outside the front door while Hawk is banging on the back door. >He then opens his suitcase and gets out his cellular phone - a Christmas >present from his Pop-pop. The phone is preprogrammed, and he pushes >the "3" to call Van. Marah answers. > >Peter: Where's Mommy? > >Marah: Do you know who your Mommy is? I don't. > >Peter stares at the phone, then rolls his eyes. > >Annie: Marah, sweetie, let Mommy talk. Who's calling? > >Peter: I'm lost! > >Annie: Who is this? > >Marah: (pushing the button on the phone to disconnect Petey) Mommy, >no! You said we could have a sewing bee today! > >Annie: All right honey. Mommy always keeps her word. > >Peter hears the dial tone, frowns with frustration and pushes "2" for the >Boarding House. > >Cut to Hart. He's playing with his computer when his favorite nurse comes >in. He's been checking out some of the adult graphics on the web and finds >them to be a great incentive to improve his computer skills. > >Nurse: Ready for your massage, lover? > >Hart: (thinking) Where were you five minutes ago? > >As she gives him a rub down, he decides this is a lot better than pictures. > >Nurse: I have some free time later, I'll come back and read to you for a >while if you like. > >Cut to Bridget and Rick. They're half way through their first dance when >an attractive blonde woman comes over and cuts in. Rick is courteous as >usual, and turns to her with a smile. > >Rick: You remind me of one of my ex-wives . . . no actually you remind me >of at least two of them . . . > >Woman: That's funny, you remind me of one of my future husbands . . . > >Rick: Are you psychic? > >Woman: No, just persistent . . . > >Rick: I like that in a woman. Does that mean I get to play hard to get? > >Woman: Oh, please do. I love a challenge. > >Bridget watches them with a smile. As she backs away toward the edge of >the dance floor she backs right into Nola. > >Nola: Well, you just blew another one. > >Bridget: What are you talking about? > >Nola: You let another perfectly gorgeous guy slip through your fingers. If >you were truly a Reardon you'd have found a way to keep Rick away from >that piranha. > >Bridget: (looks in the direction of Nola's glance) Rick? Are you crazy? >We're just buds, Nola. Rick and I are cousins for crap's sake . . . > >Nola: Not really. . . only by marriage. > >Bridget: Well, he's old enough to be my . . . my uncle . . . yeah isn't he at >least as old as one of my uncles? > >Rick: (coming up behind her) Oh, at least. But I hope you won't hold that >against him. > >Cut to Holly and Robert at the cabin. They're sitting at the table. Holly >has just finished relaying a digested version of her history with Roger and >she's still lost in her memories. Robert is staring at her in amazement. > >Robert: (He gets up and starts pacing, his hands going to his head, a habit >that reminds her of Roger) And yet, you stopped to pick up this man >when his car broke down? Why is that? > >Holly: You know, I didn't even think about it. I mean it never occurred to >me not to stop. At least I know he's not a serial killer. > >Robert: But he's a rapist! He raped you! I don't understand how you >could even look at him again, let alone sleep with him! > >Holly: Have you ever been hurt by someone you loved? > >Robert: (has a brief flash of images from a recurring nightmare.) Yes. > >Holly: Did it make you stop loving them? Or feeling connected to them? >Or wanting to believe that they were sorry and would never do it again? > >Robert: No. But there are limits . . . to what I'd do to work things out. Or >how far I'd even want to work things out. I mean, I guess I could see you >wanting to make peace with him, but how could you actually fall in love >with him again? > >Holly had begun to forget who she was talking to, but this question brings >her back to the present. > >Holly: Oh . . . this is too bizarre . . . to hear that question coming from >those lips . . . I can't discuss this with you Roger . . . Robert . . . whatever >your name is today. . . > >Robert: (standing) Well, your history with Roger certainly explains your >attitude toward me. Do we really look that much alike? > >Holly: You could be identical twins. Now, are you going to tell me why >you're so certain that you're not Roger? > >Robert: Yes. . . (he walks to the closet and pulls out something long and >black that looks like a robe. Putting it on, he pulls a white collar from the >pocket and fixes it around his neck) . . . because I'm a priest. > >Holly stares in shock. > >Cut to Roger in his car driving through the blizzard. He's on the phone >with Blake. > >Roger: Have you talked to your mom today? > >Blake: No. What's it to you? > >Roger: When did you see her last? > >Blake: Dad, why the sudden interest in mom? You two go for months >without seeing each other. Besides, I thought you were out of town >yourself. > >Roger: I am. It's not important. Something came up, a question that I >thought she could answer. But it can wait. > >As Blake rolls her eyes, we cut to Leo, standing outside of Hart's room at >the clinic. He's disguised as an orderly and even though Hart probably >won't recognize him with his long hair, beard and glasses, he's not >planning to enter his room. As he looks in the window, the nurse returns >with the book to read to Hart. > >Nurse: Oh, I'm so glad you're here. Now I won't have to disappoint him. > >Leo: What? > >Nurse: Well, I promised to read to him, but I've been assigned to another >floor and I just came by to tell him the bad news. Would you mind doing >it? He's such a nice kid . . . > >Leo: I can't . . . I've never . . . what's wrong with him? > >Nurse: Spinal injury. He's quadriplegic and non-verbal. > >Fade to black on Leo's devastated face, wondering how Roger is going to >live with this news. > >-------------------------------------------- >SCENE 23 > >Open on Blake at Spaulding, hanging up the phone and turning to Alex and >A-M. > >Blake: So did you tell her my plan? > >Alex: Why don't we just call the police? > >A-M: Normally I would. But with the talent we've got on the force these >days . . . I don't trust them not to mess this one up too. And that would be >a disaster for Spaulding - as well as the kids and families involved. > >Alex: And you think Blake can do any better? > >Blake: Don't forget, Alex. I'm the one who uncovered this scam - my first >day on the job. How many years did this little gem escape your notice? > >Alex: (dryly) Oh, spare me the self-promotion campaign, Blake. All right. >I'll convince Green Mountain to put Mr. and Mrs. Marler at the head of >their waiting list for adoptions. (She picks up the phone and dials Green >Mountain, then looks at Blake) I'm sure you've told Ross about this plan >of yours . . .? > >A-M: See if you can get us an appointment for tonight. Use your clout. >(Looks at his watch) Oohh . . . I was supposed to meet Lucy hours ago. >I'd better go find her and let her know I'll be working all night. (Looks at >Blake) Meet you back here in an hour. > >Cut to Nola and Bridget at the dance. The blonde has once again asked >Rick to dance, and Bridget and Nola are watching them from the side of >the room. > >Bridget: So why don't you go after Rick? > >Nola: Been there . . . done that . . . > >Bridget: (laughing) Where? In one of your legendary dreams? > >Nola: (Gives her a mysterious smile) Be nice now, little girl, and maybe I'll >tell you all of my secrets some day. Your Aunt Nola has had a rich and >satisfying love life. I'm just taking a brief hiatus right now. > >Bridget: Well, maybe that's what I'm doing, too. > >Nola: Brief? Seems to me it's been over a year since Dylan left town. And >before that it was . . . how long since Hart? > >Rick: (comes up and pulls Bridget away) Okay. That does it. I'm going to >take you away from all of this. We've had enough frivolity for one >evening. It's time for some serious talk. Bye, Nola . . . . (They leave) > >Cut to Holly and Robert at the cabin. Holly has a look of shock on her >face as she stares at Robert in his priest's robe. At first she is speechless. >She points at him and moves her lips but no words come out. Then she >begins to smile and finally begins laughing hysterically. > >Holly: (while laughing ) Tell me the truth, Roger . . . have we been >abducted by aliens? Are we in the middle of some alternate universe here? >(She walks around him, staring at his robe) Is it Halloween again already >and nobody told me? (Her laughter begins to turn to tears) Oh, you are >really good. I always said you were great at your work and this proves it >because I almost believed this dual personality story. But now you've gone >too far. If I don't get away from you right now I'm going to go completely >over the edge. Please . . . somebody . . . get this man out of my life! > >She throws herself down on the sofa, face down and covers her head with a >pillow. Robert grabs a coat and walks out. Holly hears the door slam and >peeks out from under the pillow. Satisfied that Roger is gone she gets up >and looks out the window. > >Holly: Am I insane? Why do I always fall for that man's con jobs? When >will I learn to just stay as far away from him as possible? (She starts pacing >the room and begins to shiver. She notices that the fire has died). It's >getting cold in here. And of course Roger couldn't have bothered to bring >in more wood before he left. > >She gets her coat and goes out the back door. Cut to Roger approaching >the front door of the cabin. He looks in one of the windows and sees the >empty room. > >Roger: Well, this is the only shelter within walking distance of where the >car broke down . . . if Holly's not here . . . (He knocks on the door and >then pushes it open and enters.) Anybody home? (Looks at the dead fire) >Probably not or they wouldn't have let the fire go out. (He briefly searches >the place looking for signs of Holly. Then stares around the room until his >eyes settle on the bed.) Oh, Holly, if only we had found this place together >. . . >Cut to Peter, sitting on the sofa watching television. Actually, he's playing >with the remote (something he's not allowed to do at home) and enjoying >the chance to flip the channels endlessly. He's trying to see how fast he can >flip them. Then he glances down at his cell phone and decides it's time to >get back to work. He'd been getting busy signals at the Boarding house >for the last hour. He also tried pop-pop's number (code "1") but there was >no answer. He's about to try again, when he's interrupted by the sound of >moaning at the front door. > >Hawk: Oooohhhh . . . my stummy . . . awwww . . . ye poisoned me boy! >How could ye do this to your own grampa? > >Peter (thinking Hawk is stretching the relationship a bit) goes to the >medicine cabinet in the bathroom and gets a bottle of the pink stuff that >Annie always takes after she's been drinking. He opens the door but leaves >the chain on, and sets the bottle out on the porch. > >Cut to Bridget and Rick, back at the boarding house sitting at the kitchen >table eating leftover lasagne. > >Bridget: So did you get her phone number? > >Rick: Which one? Oh, you mean the blonde? Well, sure - for my Dad, of >course. She's too old for me. > >Bridget: Too old? She's younger than you are! > >Rick: We Bauer men like em young. Haven't you noticed? That's how we >keep our youthful vitality. Besides Dad won't let me date any women over >30 - he's afraid of the competition. > >Bridget: Hey, she had a pretty good line though. (mimics the blond's >voice) "You remind me of one of my future husbands." I'll have to try it >some time. > >Rick: Oh, no, don't use that one. > >Bridget: Why not? > >Rick: When a woman mentions marriage before you even know her name it >tends to scare a guy off. > >Bridget: From what I heard, you brought up the subject first. > >Rick: Well that's different. It's okay for a man to mention marriage. >Women like that. > >Bridget: (gives him a look) Hmmm... your age is showing, Rick. If you're >serious about getting younger women, I'd cool it with the sexist humor. It >doesn't go over too big with my generation. > >She gets up to get more coffee and Rick smiles, thinking to himself that his >young cuz has a good point there. > >------------------------ >SCENE 24 > >Open on Blake and Alan-Michael in the car driving to Green Mountain. >They're both wearing glasses, and both have their hair straight and severe >and combed back off their faces. They're trying to look like a couple of >dorks. > >A-M: (annoyed) When I hired you to do security I never said you could >recruit me as one of your operatives, Blake. > >Blake: We need a Mr. Marler and you know Ross would never agree to >this. > >A-M: Well, where's your staff? Why couldn't one of them do it? > >Blake: When have I even had the time to meet my staff . . . this is my first >day on the job. Besides, we're so good at playing a married couple . . . > >A-M: (looks at himself in the rearview mirror and then looks at Blake. He >starts to laugh.) Well, we certainly look like we belong together. > >Blake: (starts laughing too) Do I look as bad as you do? > >A-M: Worse! > >Blake: Good! You should never underestimate the value of a pathetic >appearance. It really throws your opponents off their guard. > >Cut to Roger, standing at the motel door giving orders to his henchmen. > >Roger: Keep scouring that area. Work your way out from the cabin in a >twenty mile radius. I'll relieve you in four hours. > >He lays back on the bed, hands behind his head and remembers the moment >when he stared into the window of the cabin, expecting to see Holly. He >quickly drifts into sleep and begins to dream . . . Holly is standing at the >counter pouring herself some coffee when Roger walks up behind her and >pulls her toward him kissing her neck. > >DreamRoger: Forget the coffee, let's have a mid-morning snack. > >DreamHolly: Great idea. What's on the menu? > >DreamRoger: Why don't we start with some hot and spicy Holly, and then >move on to filet of Holly, and for dessert I'll have some Holly flambe. > >DreamHolly: What, no Roger on the menu? > >DreamRoger: Mais certainement, mon cherie. He will be served to your >exact specifications. But I hope you'll specify soon because he's much >better when served fresh. > >DreamHolly: You're always fresh, Roger. That's what I like about you. > >DreamRoger: (picks her up and carries her to the bed) Is that the only thing >you like about me? I guess I need to jog your memory . . . > >Cut to Holly, sitting on the sofa in the cabin. Robert hasn't returned yet >but she's calmer now and starts thinking. > >Holly: Oh, Roger. There's no such thing as a happy medium for you is >there? It's either Saint or Devil with you . . . > >She pictures Roger dressed all in black standing in front of her with his >boyish grin, the faintest hint of horns sticking out of his hair. > >DevilRoger: Come on Hol, loosen up. We're all alone here in the middle >of nowhere, just you and me, a bed and a fire. In fact, forget the bed . . for >that matter who needs the fire; you and I could always light quite a fire >between us. We could have a lot of fun . . nobody would ever have to >know. . . > >Suddenly Roger in white appears on the other side of her. > >SaintRoger: My love for you is pure and true, Holly. You mean much more >than sex to me. I don't want to be with you until you can give yourself to >me completely. Let's live here together like brother and sister and I'll help >you to discover your spirituality. > >Holly begins to laugh at the image just as Robert walks in the door. > >Robert: Can I assume you're in a good mood, or is that hysteria? > >Fade to black. >_____________________ >SCENE 25 > >Blake and A-M are still in the car going to Green Mountain. > >Blake: You know, Dad called me today trying to find Mom. > >A-M: Oh, are they speaking again? > >Blake: I wouldn't care if that's all it was, but when he starts going out of >his way to track her down it scares me. I hope he's not getting involved in >Mom's life again. > >A-M: I always thought Holly was one of the few people who could hold >her own with Roger. I don't think you have to worry about her. One thing >I've learned about parents . . .You have to let them grow up and make >their own mistakes. > >Blake: Oh, I know you're right Alan-Michael, but it's so hard to let go >after holding their hands all these years. . .and besides, they just keep >making the same mistakes over and over. It's like watching reruns. > >A-M: Some people prefer re-runs. > >Cut to Roger, still enjoying himself with DreamHolly, when the phone >rings. > >DreamHolly: Better answer that. > >DreamRoger: But I didn't get my dessert yet . . . > >Dream Holly: Oh, you will . . . > >The phone rings again and this time Roger answers it. It's Leo. > >Leo: Any sign of Holly? > >Roger: (reluctantly shaking off the image of DreamHolly) . . . no. . . I'm >going out to relieve one of the searchers now. . . you'll have to get a few >more guys out here tomorrow. . . > >Leo: Roger you better come to the clinic first thing in the morning. > >Roger: What is it Leo? If it's that important I'll come back tonight. > >Leo: You can't get in here now. It's locked up for the night. > >Roger: Well, what's the problem? > >Leo: Hart's injuries are . . . well . . . it's not what you expected. . . I'd >rather tell you in person. > >Roger: Tell me now. (close on Roger's reaction as Leo tells him the news) >Oh . . . no . . . (he hangs up the phone and collapses on the edge of the bed, >his mind conjuring up an image of Hart lying motionless in the clinic. He >puts his head in his hands) . . . NO . . . this can't be . . . not Hart . . . (then >he goes to the door and opens it wide, letting the heavy snow blast him in >the face) Holly . . .where are you . . . I need you . . . > >Cut to Holly, sitting in front of the fire with Robert. > >Holly: Don't ask me to explain my feelings for Roger to you. I've spent >over half my life trying to understand that relationship and its still a mystery >to me. Does everything always have to be dissected and analyzed? Can't I >just file it under "Big Mistake" . . . and move on? > >Robert: I don't know. Can you? > >Holly: I keep trying. But Roger makes it awfully difficult. > >Robert: Do you believe in God, Holly? > >Holly: (laughing) From Roger to God? That's quite a leap! (Thinks about >it) I guess you could say I'm an agnostic. I don't think about it much, and >when I do I have a lot of questions. > >Robert: Where do you look when you need help? Some people look to >themselves, some look to other people, and some look to a higher power. >Which type are you? > >Holly: Hmmm . . . (Gets up and walks over to the sink) I guess I look to >other people most often . . . usually to a man. I've always thought that the >right man would be the answer to all of my problems. > >Robert: And have you found him? > >Holly: (she begins filling a kettle with water) I think I'm beginning to >realize that there's no such thing as the perfect man. And if there were I >don't think he could solve all my problems - only I can do that. > >Robert: (comes over and sits down at the counter. He looks at her with >skepticism) At least you know the right words to say. > >Holly: (laughing) Thanks. Not very convincing am I? I figure if I say that >often enough I might actually come to believe it. (Putting the kettle on the >stove, she joins him at the counter) But you know I can't help being >disappointed all the same. . . that I can't have that kind of love. I mean . . . > life would be so much more . . . > >Robert: What? . . . Predictable?. . . Safe? > >Holly: Maybe . . .(she gets up and starts pacing) I know it's kind of a funny >way to describe a relationship with Roger . . . but . . . maybe the reason I'm >so drawn to Roger is that he's one of the few men I've been with who >seems willing to go along with my delusion. He seems to want that same >type of relationship . . . where we are everything to each other. I guess it >sounds pretty sick to you. > >Robert: To want to lose yourself in another person? > >Holly: Yes. > >Robert: I don't know. . . sometimes I think that's why I entered the >priesthood. . . > >Cut to Leo, in Hart's room. > >Leo: So, you like it here kid? They treat you okay? > >Hart: (thinking) if you're doing a survey put my vote down for more of the >cute young female nurses and a lot less of the scruffy, middle-aged, male >orderly-types. > >Leo: That's some computer you got there. Guess your family bought it for >you, huh? > >Hart: (frowns and his forehead wrinkles) Don't get any ideas, pal. The >security around here is tight. > >Leo: Well, let's see, what should I read to you today? > >Hart: (thinking) You mean you know how to read? > >Leo: (picks up a book from the table) Ah. . . Yeats. One of my favorites >too! (opens the book and reads) "The coming of wisdom with time" > >Cut to Bridget and Rick drinking coffee at the kitchen table. > >Rick: Got any more tips for me on how to attract younger women? > >Bridget: (looks him over) Well, attracting them isn't the problem. Every >girl at that dance was in love with you on sight. (Pulls a couple of curls >down onto his forehead) . . . that's even better. (Opens a few more buttons >on his shirt) And it never hurts to show a hint of chest. . . > >Rick: Should I wear some gold chains . . . I think Dad still has the ones he >used to wear in the 70's . . . > >Bridget: Oh, definitely . . . gold chains are in . . .the girls will be drooling >for you . . . no prob. But . . . can you hang on to them once you get them? >That's the question . . . > >Rick: Right now I'll settle for part one. I'm not sure I want to hang on to >them, since I haven't met them yet. > >Just then the phone rings and Bridget ruffles Rick's hair as she passes to >pick it up. "Funny, funny guy . . ." > >Bridget: Peter? Hi, punkin! What are you doing up this late? (Listens) >Can I talk to Vanessa? (Listens) Well, who's there with you? (Listens) >Honey, you stay by that phone and I'll call you back as soon as I talk to >Vanessa. Why don't you lie down for a while till I get there? > >She hangs up and dials the Lewis's. > >Annie: Hello. > >Bridget: I want to talk to Peter. > >Annie: I can't wake him this late. Call him tomorrow. > >Bridget: If you don't put my son on the phone in the next two minutes I'm >coming over there. (She waits) > >Rick: (joining her by the phone) What's wrong? > >Bridget: Peter just called me and said he was lost. > >Cut to Leo, reading to Hart. . . > >Leo: "Though leaves are many, the root is one;" >As he reads we cut from Hart to Hawk sleeping in the car and Peter >sleeping on the sofa with his phone. > >Leo:"Through all the lying days of my youth" >Cut to Bridget and Rick rushing out of the Boarding house and Blake and >A-M laughing together in the car. > >Leo: "I swayed my leaves and flowers in the sun" >Cut to Holly and Robert sitting in rockers in front of the fire, drinking hot >tea. > >Leo: "Now I may wither into the truth." >Cut to Roger, alone, leaving the motel room in the blizzard to make one >more attempt to find Holly. > >Fade to black. > "It does not necessarily follow that a deep, intricate character is more or less estimable than such a one as yours.....but intricate characters are the most amusing. They have at least that advantage." Lizzy speaking to Mr. Bingley, Pride & Prejudice, Jane Austen