>From: "Pat C." > > THE ROAD TO HART > > - By Pat C. - > >Starring: Holly, Roger, Blake > >Major Supporting Cast: A-M, Peter, Rick, Ed >Other Supporting Cast: Fletcher, Ben, Ross, Nadine, Leo, Bridget, > Dr. Sedgewick, Gilly, Alex, Nola, Frank, > Hawk >Cameo Appearances: Hamp, Dinah, Eleni, Lillian >And Introducing: Jessie, Katie, (Day players), John (new > contract player) > >(Please note that I was half way through this story before Deenie was >brutally murdered on GL. Although I stopped writing her into scenes at >that point, I left in her early scene as my farewell tribute to Deenie! >Those of you who are FollyWorld members may occasionally get a sense of >deja vue, because excerpts from this script have recently been included in >the FW story line. However, they were originally written for RotSoaps. >Also, in the interests of keeping this somewhere near the recommended >length, I've cut out several scenes or parts of scenes, and replaced them >with Summaries.) > >----------------------------------------------- >Scene 1 > >It's an early evening in late October at Hollybend. Ben enters the >kitchen to see Holly spooning lima beans from a pot into a serving bowl. > >Ben - Ooohh...Lima Beans? Gross . . . I thought this was Pizza night! > >Holly - Nope. It's Lima bean night. We are going to start eating healthy >from now on. At least until this baby is born. > >Ben begins to set the table, and Fletcher joins them, takes the bowl from >Holly and unenthusiastically dishes the limas onto their plates. > >Fletcher: Hey Ben! What did the pot say to the Lima beans? > >Ben stares at Fletch blankly. > >Fletcher: Don't get all mushy on me. > >Ben and Holly groan. > >Fletcher: Okay, How about this one. How many lima beans does it take to >screw in a light bulb? > >Ben: Oh, that's an easy one...(looks at the limas with disgust) None. You >eat one and you don't feel like scre...(Fletcher's hand over Ben's mouth >successfully muffles part of the answer) ..mmmph..ng anything. > >The phone rings and Holly (smiling) picks it up. Across the room she sees >Ben and Fletch raiding the refrigerator, and dumping their beans back in >the pot. > >Holly: Lindsey-Reade residence. (She listens to the voice on the other >end) Well, of course I don't mind taking the opening tomorrow. But my >next appointment isn't for two weeks, you know. (Listens) Well, sure, I'll >be there. > >Holly looks slightly concerned. As she hangs up the phone she grabs her >coat and heads for the door. > >Holly: I'm going to get us something substantial to eat, guys. Be back in >a jif. > >Off Holly leaving, we cut to the Marler living room where Blake is looking >through her wallet. She pulls out a photo of Peter and begins to stare at >it thoughtfully. Ross enters looking for something. > >Ross: Blake, have you seen that Wyman brief I was working on? > >Blake: You know who I miss, honey? (Still staring at Peter's photo) > >Ross: Let's focus on what I'm missing first. I've got to be in court on >that case at 9:00 a.m. tomorrow and... (starts rummaging through piles of >papers) > >Blake: I don't know...maybe it's all this obsessing about a baby that's >got me thinking about him...I'm in the mood to have my family close to >me... > >Ross: I'm in the mood to win this case tomorrow...will you move and let >me look at that stuff you're sitting on? > >(Blake stands up and paces the room, still lost in her thoughts) > >Blake: ...not that we were ever close...in fact, I hated him for the >longest time...I really was a jealous baby... > >Ross: Ah...here it is...now I get to spend the next three hours reviewing >it! > >Blake:...but, you know, right before he left I was beginning to get a >glimpse of what it would be like to have a brother... > >Ross: What are you talking about, Blake? > >Blake: Hart! I miss Hart! > >Off a melancholy Blake we cut to a man lying in a hospital bed. We can't >see his face, but the camera scans the room from his point of view. His >eyes are following the young nurse who's preparing to give him a massage. >She smiles affectionately. > >Nurse: This is my favorite time of the day - I get to manipulate this >beautiful bod of yours, John. > >John doesn't speak but we hear what he's thinking, 'Too bad I can't return >the favor.' > >Nurse: (smiling) Who knows, maybe someday you'll return the favor. > >John: (thinking) Yeah...right. And maybe someday my father will get >what's coming to him. > >Off John we cut to the Towers Club, where Roger Thorpe is sitting at the >bar with Leo Flynn. > >Roger: Ohio? Where exactly? > >Leo: Well...we haven't pinpointed the exact location yet... > >Roger: Leo, I want results...I'm certainly paying enough to these >clowns...who are they by the way - relatives of yours? > >Leo: Roger! I wouldn't indulge in nepotism.. > >Roger: Right. And I've been faithful to all my wives. > >Leo: These are legitimate investigators and they're on top of this thing. >They've assured me that they're putting all their manpower on this >search... > >Roger: Can the assurances, Leo. I want you to stay on these guys, >breathing down their necks... > >Roger's voice trails off as he watches Holly walk through the bar and stop >at the door to talk to Hamp. Off Roger's curious expression we cut to >Holly and Hamp. > >Holly: Hi Hamp. What do you have that's fast... to take out? > >Hamp: Besides me..?....well, the Chicken Scampi's very hot tonight. > >Holly: Ummm...sounds good. How about three orders (looks admiringly at >the food on the other tables) and ... how about something ...to a... >snack on... > >Hamp: While you're waiting? Sure. Let me show you to a table in the >lounge. (He seats her) > >As Hamp walks away, Roger strolls over to Holly's table. > >Roger: May I join you? > >Holly: Since you ask... no. > >Roger: Afraid? > >Holly: No, Roger. One of the perks of not being your keeper anymore is >the fact that I no longer have to endure your company. > >Roger: My keeper? What a bizarre take you have on things, Hol. > >Holly: Happily, not as bizarre as I used to be Rog. > >Holly watches with disgust as Roger sits down at her table. A waiter >brings Holly a snack. As Roger gets ready to help himself, Holly pulls >the plate closer to her side of the table. > >Roger: What are you doing here, anyway? Looking for a prince so you can >kiss him and turn him into a frog? > >Holly: Right. (between bites of food) But I'm afraid you don't fit the >bill. But more to the point, what are you doing here? Looking for sweet >young things so you can kiss them and turn them into bimbos? > >Roger: Now Holly, don't knock sweet young things. Just because it's been >a while since anyone mistook you for one. > >Holly: For which I'm eternally grateful, given your proclivities. (She >stuffs in more food) > >Roger: Yes, my tastes have changed, what can I say? (He reaches across the >table and grabs some food from her plate.) I finally understand the >meaning of the phrase 'Sweet Bird of Youth'. > >Holly: Please...(still concentrating on the food) don't feel you have to >share this new understanding with me... > >Roger: There's just something about waking up next to a 'young' wife that >really jump starts my day - if you know what I mean. > >Holly stuffs the last of her 'snack' into her mouth, swallows it and leans >back in her chair giving Roger that killer Holster look. > >Holly: I'm sooo happy for you, Roger. And of course I'm intensely >interested in your latest philosophical speculations...but I really have >to run. (She stands) > >Roger: Oh...giving up on finding that prince, huh? > >Holly: Actually, I've already found my prince...and he's waiting for me at >home....And guess what Roger...we do a lot of kissing - among other things >- and he hasn't turned into a frog yet! > >Holly sees a look of pain flash across Roger's face as she turns to leave. >Roger calls after her.. > >Roger: Ribbit,... Ribbit > >Off Roger's impassive expression, we fade to black. > >------------------------------------------------ >Scene 2 > >Nadine has joined Leo at the Towers bar, and they're watching Roger who is >still sulking at the table he recently shared with Holly. Roger reaches >across the table and picks up Holly's glass and stares at it thoughtfully. >Then he raises it in a mock toast to the air and takes a sip. He hangs >onto the glass as if some of Holly's spirit still lingers. Off Roger's >distracted face, we cut to Nadine and Leo. > >Nadine: Boy, he's still got it bad for Holly, doesn't he? > >Leo: Rog? Oh, sure. And every time he runs into her he's got to get in >her face. For a smart guy, he sure is dumb where she's concerned. I mean >how many ways is he going to let her dump on him before he gets the >message.? She's over him! > >Nadine: Do you think so? I mean, really? > >Leo: You don't? > >Nadine: I don't know. There was something about their aura tonight... > >Leo: Nadine...don't start that psychic stuff... > >Nadine: Well, there was! Everyone has their own, you know. But with >Roger and Holly tonight, it looked like they were surrounded by a single >aura! > >Off Nadine, we cut to Roger getting up from the table. He walks over to >the chair Holly was sitting on and glides his hand along the back. He >picks up her used napkin, puts it in his pocket...and leaves. > >Off Roger leaving we cut to Holly on the pay phone at Company. > >[SUMMARY - Holly stops at Company on the way home to pick up dessert. She >just hung up the pay phone after a call to Fletch. She's staring out the >window and notices Peter about to ride his tricycle into the street. She >runs out and rescues him. Bridget is close behind and takes Peter from >Holly, hugging him tightly with relief.] > >Bridget: You silly... (gives him a big kiss)...you sure do love that bike. > >The three head back into Company, Peter resting his head on Bridget's >shoulder. Close on Peter's face as he mugs for the camera. > >Bridget: You know, the last I heard of your Dad he was taking off on a >bike, too! > >Off Peter's face we cut to John, in the Hospital. The young nurse and two >orderlies are standing by the bed. > >Nurse: I know. You don't feel like socializing tonight. But it's been >two days, John. I can't let this go any longer. I'm going to get you >down to the rec room and maybe you'll change your mind. > >She motions to the two aides, who lift John into a wheelchair. John's >body stiffens, but he still doesn't speak. > >On John's exit we fade to black. > >_____________________________ >Scene 3 > >[SUMMARY -Next Morning. Holly is sitting in the waiting room of Dr. >Sedgewick's office. As she leafs through a magazine, another woman about >Holly's age enters carrying a toddler. The child seems unusually quiet >and unresponsive. The woman smiles and takes a seat. Dr. Sedgewick walks >through, showing another patient out the door, and brings Holly back to >her office.] > >Off their exit we cut to Spaulding Enterprises where Alex is sitting at >her desk yelling into the phone. > >[SUMMARY - Alex tells her listener to spare no expense to get him' >necessary medical care, hangs up, A-M comes in and asks for an explanation >about the half million the foundation gave to a small rehab center in >Ohio. He doesn't buy her explanation.] > >Off Alan-Michael's skeptical expression we cut to Holly in Dr. Sedgewick's >office. Holly's sitting across the desk from Dr. Sedgewick who is looking >through Holly's chart. > >Dr. Sedgewick: Holly...you're aware of the increased risk of chromosome >damage in children born to women over 35. Have you thought any more about >the tests? > >Holly: (ruefully) You know me, Margaret. I try to avoid thinking about >unpleasant things! > >Dr. Sedgewick: (Nods her head in agreement, smiling) I *do* know... that's >why I wanted you to come in today. These tests are usually done by the >eighteenth week. So, if your going to do anything, we would want to >arrange it soon. We usually do the blood work between 14 and 16 weeks and >the amnio if we get a positive on the blood tests. > >Holly: Well suppose these tests show that there is chromosome damage? >What then? > >Off Holly's concerned expression we cut to Roger's office at WSPR, >where he and Gilly are discussing Dinah's new role at the station. > >Roger: Gilly, I want everything Dinah authorizes cleared through me... I >don't care how much foot stomping she does.... > >Gilly: Oh, don't worry...(rolling her eyes at the thought of that bimbette >trying to tell her what to do) If she stomps her feet at me I'll stomp >right back. (Brief tangent here while the Gilster has a fantasy that she's >wearing heavy duty boots with cleats in the soles and she's stomping all >over the whiner's smirking, sneering face) > >Roger: (with a grimace of understanding) Good strategy...(the phone rings >and he reaches for it) will you excuse me? > >Gilly: (heading for the door) Sure. I have things to do, anyway. >(Thinking she must go buy a pair of those boots today.) > >Gilly leaves and Roger picks up the phone. > >Roger: Yes? (Listens) Well, it's about time, Leo. Give me his location. >(Roger grabs a pen and starts writing.) Ohio..Valley...the what? >Rehabilitation Center? What do they rehabilitate? Is he working there >or... (It's obvious from Roger's face that the news is not good). Do you >know how much damage there was? .... Okay. I'm going down there tonight. >Tell your men to stay put. I want to meet with them. I'll call you later > >Roger puts down the phone, and runs his fingers through his hair in >frustration. He then quickly picks it up again and buzzes his secretary. > >Roger: Bonnie. Get me directions to the Ohio Valley Center and make an >appointment for me to meet with the people in charge - tonight. Tell my >wife I've been called out of town and I'll call her later with details. >I'm going home to pack. You can fax me the directions there. I plan to >leave in an hour. (He hangs up the phone and quickly packs his briefcase, >picks up the framed photo of his grandson and stares at it with sadness. >Then he lays that in the briefcase too, shuts it, grabs his coat and walks >out.) > >Off Roger's exit we cut to the hospital waiting room, where Holly and Dr. >Sedgewick are approaching the female patient in the waiting room. > >Dr. Sedgewick: Jessie, how's Katie today? Here for a check-up? (Margaret >brushes the baby's hair off her face with affection). Holly Lindsey, meet >Jessie Irvin. I know what an advocate you are for DS children, Jessie, >and you're always willing to spread the word so I thought you'd be the >best one to answer some of Holly's questions. > >Jessie: I recognize your name from the masthead of the Journal'. I love >what you've done with it since you took over! > >Holly: Well, thank you! I've been putting in a lot of extra time recently >because I ... imagine I won't have the energy for it soon... Especially >if...well, I guess you know what... > >Dr. Sedgewick makes her excuses and leaves. Holly and Jessie acknowledge >her departure and go to sit on the couch. > >Jessie: Your concerned about the possibility of Downs Syndrome. (Holly >looks surprised at her frankness and she smiles with understanding) And, >yes, Katie has Downs Syndrome. She's moderately retarded and given our >current knowledge on the subject, experts predict she'll max out at a >mental age of 8. Right now she's two chronologically, but developmentally >about one. > >Holly: She's a beautiful child... > >Jessie: Yes. We're very lucky to have her. And with the progress that's >being made every day in this field - new technologies, new methods of >education - I think her potential is unlimited...I don't care *what* the >experts say! We focus on each day as it comes. > >Rick Bauer enters the waiting room and his eyes light up when he sees >Katie. He walks towards her stroller. > >Rick: Katie, my love! (Lifting her out of the stroller and holding her >tenderly) I heard you were gracing us with your presence today! > >Rick gives Katie a brief and informal medical once-over, all the time >keeping up a running monologue, until Katie begins to gurgle. He looks >over at Holly and Jessie. > >Rick: And two more of my favorite women! Holly...Jessie...(he carries >Katie over to the couch and sits down between them). Now what did I do to >deserve to be surrounded by such a plethora of pulchritude...I ask you? >(Needless to say the three females in the room are totally gaga by this >point and unable to utter a word. He turns to Holly) And what brings my >favorite, former, step-mama into the old chop-shop today? > >Off Rick's smiling face we cut to Company, where Blake and Ross are having >breakfast. Blake is holding Peter on her lap, trying to convince him to >eat his cheerios dry this morning. > >Blake: Watch, Peter (she puts a spoonful in her mouth and chews them >loudly). Ummmm....much better without that nasty milk. And listen (she >crunches some more) They're a lot crunchier this way, too. > >Peter gives her that skeptical grin of his that seems to say >'Yeah...Right...tell me another one, Aunt Blake.' And reaches for the >milk. > >Ross: Uh...isn't milk supposed to be good for kids, Blake? > >Blake: Oh, all right. What the heck! I need to send this outfit to the >cleaners, anyway. > >Ross: Well, I'm glad that's settled. Let's hope the Wyman case goes that >smoothly. (Looks at his watch) Speaking of which, I've gotta get to court. > >Blake: Uh...honey, before you go...what would you say if I ...took on a >little P.I. work on the side. Frank could probably ... > >Ross: (smiles, thinking that's a good way to take her mind off the >pregnancy thing) A great idea...you have my full support...now I really >gotta run... (He chugs some coffee, grabs his things, gives Blake and >Peter a kiss and leaves) > >As Blake and Peter stare at each, both thinking Now what?', we fade to >Black. > >------------------------------------------------ >Scene 4 >We open on Holly, Rick and Jessie in the Hospital waiting room. Rick is >sitting between Holly and Jessie and holding the baby. > >Rick: So what brings you here to the old meat factory, Hol? (He pats her >stomach) No doubt it's related to my soon-to-be favorite could-have-been >step-brother and/or sister...? > >Holly: (with a wistful look) Just trying to get myself...prepared... > >Ricks face takes on a serious expression for a moment, and his eyes >flicker with understanding. He gives Holly an appraising look. > >Rick: (distracted by his thoughts) Jessie can sure be a big help >there...but...you know what, Holly? (Beat) The most important thing to be >prepared for...is... to be prepared to love em! (He looks at Katie, >putting his face in close to hers) Isn't that right, beautiful? >Yeah...you tell them...goo...goo...goo...(He puts his ear close to her >mouth as if to hear what she's saying) What's that?...Why what a thing to >say! You vamp... (he stands up and carries her back to the stroller)..you >seductress... well, I can see I'm going to have to keep my distance from >you in future...(he puts her back in the stroller carefully, looks at >Holly and Jessie as he heads for the door) Take care, Jessie. And >Holly...Dad says, ditch that Fletcher creep and come back to him...he >misses your...uh...your tea, that's it... he hasn't had a decent cup of >tea in years! > >Holly: (laughing) Get out of here. I've had all the Bauer charm I can >take for one day... > >Rick exits and Holly turns to Jessie. Off their laughter we cut to >Company where Blake and Peter have just finished eating breakfast. > >Blake: (Stands and picks up Peter) Well, I'll tell you what, buddy. How >would you like to go see your Aunt Deenie? > >Peter smiles broadly and claps his hands with his usual charisma, as they >stroll over to the counter where Bridget and Nola are working. On their >approach, Bridget smiles and Nola glares. > >Bridget: Hi, big boy! Did you eat all your cheerios? (Again, that >charismatic response from Peter - no telling what it will be exactly, but >we know it will be full of charisma.) > >Blake: Yes, he did. Even the ones that dropped on my skirt. He must be a >big help around the house, Bridget. > >Bridget: Oh, yes. He's the original superboy...aren't you punkin? (Peter >tosses out a witty ad-lib in response) > >Blake: How would you like me to take this guy off your hands for the >morning? I'm going over to the diner and I'll bet Nadine would love to >see him. > >Bridget: What about it fella? (Peter says See ya, mom. Buh, bye. Catch ya >later', or words to that effect) Well, I guess that's settled. Have fun, >guys! > >Blake: (calling back over her shoulder as they walk away) We'll be back >after lunch. > >On their exit we cut to Nola, still glaring. > >Nola: I don't know why you let that woman spend so much time with >Peter. > >Bridget: You mean Blake? > >Nola: She's Roger Thorpe's daughter, that's all I know - and that's >enough! > >Bridget: Oh, Blake's great! And she's crazy about Petey. > >Nola: She's got that Thorpe blood in her...I don't trust her. > >Bridget: No, actually I think Blake's more like her mother. > >Nola: Well, that's not exactly an endorsement. After all, the woman let >Roger Thorpe father her child, didn't she...I think that says it all. > >Off Bridget's giggle, and Nola's disapproving face, we cut to Holly and >Jessie in the hospital waiting room. Holly is holding Katie. > >Holly: (turning to Jessie) Tell me more about this new technology you >mentioned. > >Jessie: (smiles) Thinking of doing a story...? > >Holly: Yes.. I am! (she hands the baby back to Jessie, stands up, and >starts pacing the waiting room enthusiastically) ...I could allay my own >fears, get material for the paper...and give some PR to a good cause! > >Jessie: Okay, let me put you in touch with the people who are doing state >of the art work in this field! There's a small, under funded rehab center >in Ohio, and your article could do wonders for their fund-raising >campaign. I'll even set up an interview for you if you like. > >Holly: (Looks at Jessie with envy) You know...you're amazing! (Sighs) I >wonder...(thoughtful for a minute) will I be the kind of person who can >cope with a child with special needs? > >Jessie: Holly, we usually become whatever life requires us to be. > >On Holly, thinking that's rarely been true in her case, (but we love you >anyway, Holster) we fade to black. (But not before Dr. Rick Bauer strolls >through the waiting room wearing only his shorts and Holly invites him >over to sit on her lap....oh, wait, that was in the x rated version. >Sorry.) > >__________________________________ >Scene 5 > >A little later the same day. Blake and Peter enter the diner, where Frank >is sitting in a booth with Eleni. Frank sees them and waves them over. >Eleni goes back to work. > >Frank: Waaallll...whata ya want, Blake? Geez, I can't even relax with my >wife for a minute without... > >Blake: (looks around at the booth) Is this *our* booth, Frank. I don't >recall...it's been so long now... > >Off Frank's surprised face we cut to Dr. Ed Bauer's office. He's sitting >at his desk and there's a knock on the door. Holly sticks her head in. >Ed sees her and smiles, gets up and walks toward the door. > >Holly: Do you have time to talk to a long lost friend? (They hug) > >Ed: Well...(Arm in arm they walk toward the couch)... for this particular >long lost friend...I always have time. > >Holly: (turning to face Ed and looking quite desperate) Ed...I think I'm >going insane! > >Off Holly we cut to Frank and Blake at the diner. Frank grimaces and >looks around quickly to locate Eleni. > >Frank: Shhh..Blake...what's with you...are you insane? > >Blake: No more than usual. But I am desperate. Frank, you gotta help >me...(Peter looks worried) > >Frank: (concerned now) Whaja do now, Blake. I'm tellin' you, if it's >anything illegal, I don't want to know...I'm not gonna ruin... > >Blake: (grabbing his arm) Cool it, Frank. It's not illegal (Peter is >relieved - so is Frank) I want to...I'm *determined to*...find my >brother...to find Hart. > >Frank: (stiffens) Can't help you. (He sits back, folds his arms and clamps >his lips together) > >Blake: Ohhh...please..please..please...please..please.. Frank. > >Frank: Nope. Can't do it. > >Blake: (the light dawns) Ah, hah...you know something! What'd I tell you >Petey? Your big brother Frank's got some info for us! > >Frank: Uh...actually, I think I'm only related to the pillow... > >Blake: (smiling) Oh, Frank, you're such a hoot (Peter giggles)...but I >still want to hear what you know about Hart. (She looks over at the next >booth) You know, Peter, as I recall ...I think it was *that* booth... > >Frank: I can't. (Looking sincere, now) I owe my client confidentiality.. >.and if you were any kind of *real* P.I., you'd appreciate that, Blake. > >Blake: Ok, Petey. I guess it's time to bring in the big guns. > >Peter agrees. Blake turns Peter around so Frank can see his face straight >on. > >Blake: Frank, just look at this sweet little face and tell him you're >going to condemn him to growing up never knowing his father. > >Off Frank beginning to weaken, we cut to Ed's Office. > >Holly: I looked at that sweet little face and thought ... ...I thought... >how could anyone not want this child? (Obviously in panic) But you want to >know the truth, Ed? > >Ed: Usually. > >Holly: I don't want a child with special needs! I know...that makes me >just as shallow and self-absorbed as that poor child Roger is married >to...but that's how I feel! This past year has just been too much... > >Ed: Have you talked to Fletcher about this? > >Holly: (she just remembered something and tears well up in her eyes) Talk >to...Fletcher... (she starts sobbing). Ed, I'm beginning to realize that >Fletcher and I don't even know each other! You more than anyone must know >that the main reason I rushed into this marriage was to get away from >Roger. Don't get me wrong, Fletch is a wonderful guy, fun to be with, >trustworthy as a boy scout - and I *do* love him. But we don't really >know each other. And every time he does something that shows me how >little he knows me I think of Roger - it was the same way with him! > >Ed: Holly, have you thought...I mean...maybe it's *you*! > >Holly: (Stops sobbing and stiffens with anger. She makes an effort to >leave.) Well, thanks a lot Ed. I don't need you to tell me that! Of >course it's me. I'm just a rotten person... > >Ed: (pulling her back to the couch, he back peddles a bit, realizing she's >not ready for that much honesty right now) Woah...easy honey...I just >meant that...maybe it's the hormones that are shaking you up right now... >(Wrong again Bozo, Holly becomes even *more* p*ssed at poor Dr. Ed with >that remark) > >Holly: (She sits back very calmly and gives him the evil eye) So you're >telling me this is all in my head, that my life is just perfect and if I >can just manage to ride out this hormone roller coaster everything will be >all right? > >Ed: ( getting that famous Bauer twinkle in his eye that he inherited from >Rick) What...you mean the fact that you just managed to get through a year >of babysitting Rog and another six months of madly maneuvering to get out >from under his thumb, and you only succeed by marrying a man who was >little more than a colleague six months previously and who you rarely saw >in the intervening six months because you were so preoccupied with said >mad maneuvering, and two weeks after the wedding you get pregnant and now >find out that this child may be born with some chromosome damage? Is that >what we're whining about today, Miss Migraine Molly? > >As Ed's monologue progressed, Holly's face changed from anger, to >curiosity, to smiles, to laughter and finally they're both laughing so >hard their eyes begin to tear, and they fall into each other's arms in a >big hug. Off Holly and Ed's hug we cut to the Diner where Blake is >harassing Frank for information about Hart. > >Blake: Tell Peter, Frank... Tell him you refuse to help him find his >Dad...tell him it's no big deal to grow up wondering where his father >is... Tell him... > >Frank: All right...(relenting after being directly exposed to the full >force of Petey's charisma) Look, the best I can do is give you a hint... > >Blake: Great. Ooohhh (she hugs Peter) Let's hear it for the boy! I knew >you could bring him around, sweetie (Peter is pleased). Well...give! > >Frank: Okay...think about it Blake. Who's the one person in Springfield >who Hart probably still trusts? > >As Blake puzzles over Frank's question we cut to Ed's office, > >Holly: I can always trust you to help me find my sense of humor Ed. > >Ed and Holly are standing at the open door, hugging goodby. Rick passes >and stops. They break up their hug. > >Rick: Well, don't you two look mighty chummy. Don't tell me you've been >hitting the ole' teapot together for old times sake. What'd you give him >this time Holly - Ginseng or Mocha Java? (puts his arm around Ed's >shoulders) I feel I must tell you, Holly, Dad's not being entirely >faithful to you - the other day I caught him ... drinking tea with >Lillian! ( Holly is laughing hysterically) > >Ed: (smiling wryly and shoving Rick towards the exit) Shut up, ya big >lug...and get back to work. > >Rick: (struggling with Ed, but finally losing he shouts back over his >shoulder) Ooohh, Holly...and wait'll you hear...he was even...dipping his >tea bag into her cup!!!! > >Holly: (When she finally stops laughing and catches her breath, getting >serious for a minute) I just hope I have what it takes to handle a child >with special needs. > >Ed: (with the Bauer twinkle in the eye) Well...think of it this way honey >...you lived with a what-we-call adult with special needs for the better >part of a year and you managed to handle *him* pretty well! > >Holly: (cheers up at the thought) You know...you're right! > >Off Holly and Ed's goodby hug we cut to the diner. > >Blake: Hmmm...who does Hart trust? ...well, it's not me...and he probably >thinks Mom's still living with Dad...Bridget took that trip to Canada with >the Dodger...(On Frank's sudden frown she looks up and sees Roger >standing over her) > >Roger: Did someone mention my name? > >On Roger thinking God, I love it when they let me end a scene like this, ' >we fade to black. >--------------------------------------------------- >Scene 6 > >Open on the diner with Roger standing over Blake and Frank's booth. > >Roger: (Smiles at Peter) Hi, guy! Howya doin'? > >Blake: Hello, Dad. (Peter looks more pleased than Blake) > >Frank: (preparing to make a quick exit) Well, give it some thought, >Blake... you're close. I'll talk to you later. (He walks away.) > >Blake: (calling after him) Thanks Frank. I owe you! > >Roger: May I join you? (He reaches out for Peter who smiles and goes into >his arms) > >Blake: I guess you will, anyway. > >Roger: (he sits down with Peter settled comfortably on his lap) Honey, you >get more like your mother every day (smiles) ...not that that's a *bad* >thing. (Beat) Well, do I want to know why my name came up in your >conversation with Springfield's less-than-finest? > >Blake: (ignoring his question) This isn't one of your usual hangouts. What >brings you here, Dad? > >Roger: Well, I heard my two favorite relatives (Peter interrupts, jumping >up and down and pointing toward the door yelling Lolly, lolly...', Blake >and Roger turn and see Holly and Lillian enter the diner) > >Blake: (looking disgusted) And Peter's getting more like *you* every day! >Well, that answers my question about why you're hear. > >Roger: (with a wistful smile) What...you think I'm stalking your mother? >(He struggles with Peter who is still straining to get to Holly) Please, >Blake. Give me a little more credit. > >Holly and Lillian approach their booth. Holly begins to walk by thinking >Blake will understand, but she doesn't have the heart to deny Peter a big >Holster hug. When she reaches the table Peter finally breaks free of >Roger's grasp and jumps into Holly's arms. Lillian greets everyone and >moves on to find a booth. Roger and Holly stare at each other wordlessly, >both wary from their last encounter. > >Holly: Hello Blake...well..isn't this... > >Roger: ...something... > >Holly: (noticing Blake's panic) Don't worry, honey. Your father and I >aren't going to make a scene (looks at Rog with distaste)...and even if >he's so inclined, I'm not going to participate. > >Roger: No scenes coming from this direction. I've filled my quota of >scenes for the month. > >Holly: Yes, I notice your new wife has taken over the role of scene-maker >in your marriage. > >Roger: Now, don't be catty, Holly. ... just because my wife is young and >exciting and knows how to make a splash. > >Blake: (She's hurt, assuming he's referring to her embarrassing dunk in the >swimming-pool) Gee, thanks Dad. > >Holly: (laughing with surprise at what she thinks is Roger's self-mocking >reference to the champagne incident.) That she does! > >Roger - puzzled at their reactions - looks at Blake then at Holly, and >finally understands Holly's amusement. At first he's annoyed, then he >smiles reluctantly and then laughs and we get one of those Rog/Hol >eye-lock moments. Blake and Peter join in the laugh, not really >understanding the reason but preferring the laughter to a shouting match. >When Roger continues to stare, Holly stops laughing, and avoids his eyes. >She's ready to move on. > >Holly: (hugs and kisses to Peter) Bye sweetie. (She gives Peter back to >Roger, and turns to Blake) Stop by the table before you go, honey. We >haven't talked in a while. > >Blake: (knowing that means she has some news) Sure...in a bit. > >Holly joins Lil, and Blake stares at Roger staring at Holly. > >[SUMMARY - Blake stays to talk to Roger for a few minutes, pretending to >tolerate him so she can pump him for information about Hart. It works. >Once she manages to make the Alex-Hart connection she moves on to talk to >Holly] > >Roger: (Hugs Peter as Blake leaves)Well, us guys are gonna get us some >burgers, how does that sound Peter? (His eyes once again shift to Holly >and she is staring back) > > On THE LOOK we fade to Black. >---------------------------------- >Scene 7 > >[SUMMARY - Later that day, Holly's on the pay phone at the diner. >Leaves a message with Ben to tell Fletch she's going out of town >overnight. She then leaves.] > >Off Holly's exit we cut to Blake and A-M in his office at Spaulding. He's >sitting behind the desk, she's trying to look relaxed but can't stop >moving around the room, picking up objects and putting them down where >they don't belong > >A-M: (irritated) Blake, would you stand still for a minute? > >Blake: (stops and looks at him) Sorry...you used to like it when I moved. > >Their eyes meet and they have sort of a mini-version of that famous >Roger/Holly eye-lock (suitable for couples who have known each other less >than ten years) while both of them remember the good times and vow that - >should their current loves ever ditch them - they'll look each other up >again. Blake of course has the better deal in this scene, since she gets >to look into A-M's eyes - not that Blake doesn't have nice eyes, too, but >hey they're not A-M's eyes... > >A-M: (thinking too bad he lost his edge a few months ago or he could >engage in some double entendres and sexual banter here. But he's a good >boy now so he just says). I'm busy, Blake. What is it? > >Blake: Well...you know Alan-Michael, I just realized...after all that work >we did a couple of years ago to get you in that CEO seat...do you know >I've never once had the chance to actually see it... to see you sitting >behind that desk...barking out orders, making deals... > >A-M:(not so far removed from his smooth-talking days that he doesn't >recognize a snow job) Unh...hunh...and your second reason for being here >is...? > >Blake: (optimistically) I want you to put me in charge of Spaulding >security. > >Off Blake's hopeful expression we cut to Roger in his car on the way to >Ohio. He fools with the radio, switching stations, but all he can get is >country music. Frustrated, he shuts it off and plays a classical CD. > >Roger: What is this place ... Texas? (He peers out the window) >Hmmm...detour...well...let's see where you're going to take me ...(pulling >up a map on the screen on his dashboard, he finds his current location) >...not good... Looks like it's going to add about two hours to the trip >(he punches up a few more route options on his computer) ...no hope there. >I guess I have no choice (he makes a turn at the detour sign and takes out >his car phone, dialing the Rehab Center). Hello. This is Roger Thorpe. I >have an appointment with the administrator at five and it looks like I'm >not going to make it until seven. (Listens) How about tomorrow? Good. (He >hangs up). And I thought this would be faster than flying ... > >Off Roger's exasperated face we cut to Alex and Hawk in her office at >Spaulding > >[SUMMARY - Hawk and Alex have a passionate love scene, thankfully off >camera, and then have one of their funny spats, on camera. Then Alex >sends Hawk to spy on A-M.] > >Off Hawk, we cut to A-M's office. > >A-M: (trying to hold back the laughter)You...you...want to be....Head of >security at Spaulding! > >A-M barks out a laugh, sits back in his chair and stares at her with >amusement while shaking his head in disbelief. Then he starts laughing, >stands up and walks toward her. Blake looks a little frightened as he >approaches. > >A-M: I love you Blake! (Still laughing he puts his arms around her, lifts >her a few inches from the floor and twirls her around) I absolutely adore >you. > >Off A-M's laughing face and Blake's astonished one, we cut to holly in her >car, on her way to the clinic. > >Holly: I absolutely refuse to drive two more hours without getting some >food! > >She has already taken the detour, and is checking her map to get her >bearings. She pulls over to get a better look at the map. It's dark out so >she turns on the inside car light, and pops an Aretha CD into the CD >player. > >Holly: I can't believe it...(she starts the car again, digging in her bag >for some food, she finds only a piece of gum) no restaurants... this road >is deserted. > >About 500 yards along the road she sees a car stopped at the side. She >speeds up slightly not intending to stop until she recognizes the profile >of the occupant. She pulls in front of it and opens the window on the >passenger side. > >Off Holly's amused face, we cut to A-M's office where Alan-Michael is >still twirling Blake around. > >A-M: You always could make me laugh. (Sets her down, grabs her shoulders >and looks in her eyes) and boy have I missed that lately... I've missed >*you* lately...and you know I'm almost tempted to give you the job just so >I can keep you hanging around here. > >(Voice over - Holly) What are you doing hanging around here? > >Off A-M we cut to Holly's car, with Roger looking in the window. > >Roger: May I join you? > >Holly: (sarcastically) No, I just stopped to ask for directions...and >would you please lose that tired line?... I'm starting to hear those words >in my nightmares... > >Roger: Oh..right...let's see...how would hubby-boy the Eagle Scout put it >'Hey, Red, move over and let a man take the wheel'... tell me, does that >guy even *know* your real name? > >Holly: He knows the important things. > >Roger: Yeah...right... like what time the game's on and ... when to remind >you to pick up some beer! > >Holly: Oh, who the h*ll needs this anyway...? (she shuts the window and >just misses Roger's nose as he quickly withdraws) > >Off Holly's angry face we cut to A-M's office. > >Blake: (brightens) Ooohh...Alan-Michael...I knew you'd come >through...you won't regret... > >A-M (interrupting) Woah! Wait a minute...I said *almost*...as in, the >answer is NO! > >Blake: (outraged, she belts him a good one on his upper arm) You jerk! >How could you lead me on that way! > >A-M: (Strolls to his desk and sits on the edge, staring her down, more >amused than angry) Okay...exactly what bit of Spaulding information are >you trying to dig up and who's it for? > >Blake: (pacing again) That's not it at all, Alan-Michael. It's just >that...I need to keep busy. I've been getting so obsessed about having a >baby that...well, I'm afraid I'm starting to turn Ross off. > >A-M: Impossible! > >Blake: Oh, you don't know, A-M. I'm not the same girl I used to be! I've >turned into a total and complete wimp. > >Cut to Holly's car where Roger is sitting in the passenger seat and slams >the door shut. He's mad. > >Roger: That Prozac your newspaper boy's been feeding you must be >wearing off! > >Holly starts the car and pulls out quickly, causing Roger to jerk >forward. > >Holly: Yeah, and you're a poster boy for the wonders of Zen Meditation! > >On Holly's angry face we fade to Black. >------------------------------------------------------ >Scene 8 > >Open on A-M's office, where he and Blake are still arguing about her job >request. > >Blake: I'm counting on this job to help me get my edge back! All I ever >talk about and think about anymore is babies...... or how to get Ross in >the sack so we can *make* a baby. That's not the girl Ross fell in love >with... > >A-M: But, Blake.... I've changed too... All I ever think about and talk >about any more is Lucy... that's not so unusual....it's called maturing! >...isn't it? > >Off Alan-Michael we cut to Holly's car, where Roger is adjusting the seat >to get more leg room. > >Holly: Do you ever plan to grow up, Roger? > >Roger: Well, I've thought about it Holly, but then you wouldn't have >anybody to play with! > >Holly: (eyes on the road) I manage. > >Roger: Oh, that's right! You live with Peter Pan now, don't you? > >Holly: I'll take Peter Pan over Vlad the Impaler any day! > >Off Roger's laugh we cut to A-M's office. > >Blake: Well (sarcastic)... you must think about something other than Lucy >sometimes - how else could you be running this multi-million dollar >corporation? > >A-M: Obviously you've never met Susan and Marion! > >Blake: Oh, I don't care how many great right hands you >have...Alan-Michael, you've got a career...you've got a place to go every >day...you've got people who depend on you... I've got nobody but Ross and >this non-existent baby, and I'm afraid I'm draining him dry! > >A-M: (Trying not to react to Blake's probably unintentional double >entendre - but not entirely succeeding) Ooohh...that bad, is it? ...uh...I >... see ...hmmm (then realizes she's being sincere) Look Blake. I'd love >to give you a job...heck...I'll give you a glowing reference...I'll even >set up job interviews for you with some of my buddies... But Spaulding? >Nunh, unh...past history says... Blake and Spaulding do not mix. > >Off Blake's reaction we cut to Holly's car. Roger's rifling through her CD >collection. > >Holly: You're getting them all mixed up! > >Roger: I think we need some soothing music right about now. If my life >has to be in your hands I want them to be relaxed hands. Hey...why don't >I drive for a while? > >Holly: No thanks. You've already junked one car on this road today! > >Off Holly we cut to A-M's office. > >Blake: Okay. What would it take? How about a probationary period? A >free trial? Start me out small...I have references... > >A-M: I'm your reference... > >Blake: I mean as a PI! Frank will vouch for me. Interview me, test me, >run me through personnel - I'll jump through any hoops you want! > >A-M: All right!!! (Blake screams and rushes over to hug him and he tries >to avoid her but fails) G*d I'd forgotten how persistent you are. > >Off Blake's beaming face we cut to Holly's car. > >Holly: All Right!! Drive! (She abruptly steers the car off the road and >stops) You never give up, do you? > >Roger: Hardly ever. (He gets out of the car) Hey, Holly...uh...I think you >got us into a ditch here... > >Holly: Well, I'll just back it out! You push. > >They try, but the car won't move. > >Roger: (getting in the car) It looks like the frame's stuck on something. > >Holly: Something told me this was going to be the day from hell! > >Off Holly we cut to A-M's office. He finally manages to extricate himself >from Blake's greatful embrace and puts her down in a chair. > >A-M: Look... you can start out small. I'm thinking maybe the Spaulding >Foundation. The Board has had some questions lately and I don't want them >to get any more surprises. I'll have you talk to Alex for details, since >she's running the Foundation these days...but you'll report to me. > >Blake: (thinking this is even more perfect than she'd hoped) Oh, is she >going to hate this! > >A-M: Changing your mind? > >Blake: No. This'll be fun. I'll enjoy watching Alex squirm. >(thinking) And I'll find out what she knows about Hart!' > >A-M: (grinning) Yeah...we're soo bad... almost seems like old >times...doesn't it? > >Off their mutual merriment we cut to Holly's car, where she and Roger are >sleeping. We fade to Black. > >--------------------------------------- >Scene 9 > >Later that night. Roger and Holly are sleeping in the car . Open on >Roger's face, the moonlight shining on it makes it look white with his >dark eyebrows seeming more pronounced than usual. Camera shifts to >Holly's face, and her forehead is wrinkled. She begins to move around >restlessly. She's dreaming... > >Off Holly sleeping we cut to Holly's dream. She's at a costume ball, when >a man resembling Roger - but dressed much like a Transylvanian Count >(Vlad) - approaches her. (GL could probably use old 5th Street Ball >footage for much of this dream sequence). > >Vlad: May I join you? (When he smiles, she can see that he has two large, >pointy, fang-like teeth, which in a Transylvanian Count is usually a sure >sign that he's a vampire) > >Holly: Aaahhhh!!! (She tries to run away but she's frozen with fear) > >Vlad: Don't be afraid, Holly. All I want to do is just suck all the life >right out of you... is that too much to ask? > >Holly: No! (Still unable to move) I mean...Yes!... Go away... > >Vlad: But I need to so bad... and hubby will never notice the difference >anyway ... please, Holly. > >Off Roger-as-Vlad we cut to RealRoger. It's dawn, they're still in the car >and Roger is gently touching Holly's arm, trying to wake her. > >Roger: We need to get moving. Wake up...please, Holly...wake up. > >On Holly, still sleeping restlessly, we fade to Black. > >TO BE CONTINUED NEXT MONTH... > > ********************************************* >Pat C. "It is not necessary to understand things >patricia@epix.net in order to argue about them" - Beaumarchais > *********************************************