> THE ROAD TO HART > - By Pat C. - > >[Summary of Episode 2] > >Roger and Holly got separated on the way to the Ohio Rehab Clinic when the >car broke down and they each went off in different directions looking for >help. Bridget remembered Hart, and Rick encouraged her to move forward >with her life. John began learning to communicate through a computer, >lost his temper and smashed it. The whiner got trampled while Christmas >shopping and Gilly and Blake finally got a little revenge. Blake started >her new job as Head of Security for the Spaulding Foundation, through >which she hopes to get information on Hart. Lucy got motivated to go back >to school and inadvertently took the file on the Ohio Rehab Clinic from >Blake's office. She asked Bridget to help her register for classes at >SFU. Roger got the car moving again with the help of a tow truck, while >Holly found her way to an isolated cabin in the woods, occupied by a man >who looks like Roger. > > - 3rd Episode - > >Starring: Holly, Roger, Blake, Hart, Rick, Bridget, Alan-Michael >Supporting Cast: Peter, Lucy, Leo, Alex, Hawk, Vanessa, Nola, Ross, >Dinah >Introducing: Robert > >ACKNOWLEDGMENT: The idea for the character of Robert, and much >of his history, was contributed by Ms. Malinda Griffin. >--------------------------------- >Scene 16 > >We open on Rick and Peter in the Boarding House kitchen. Peter is sitting >very stiffly in a chair, his arms folded across his chest and he's staring >at Rick with disapproval. He's got his traveling clothes on and his >little suitcase is sitting beside his chair, all in preparation for the >arrival of Vanessa. > >Rick: Okay, you're tired of playing with the farm . . . how about a ride? >Yeah, you'd like a ride on your bike, right Pete? > >Peter's expression changes to one of scorn. > >Rick: Hmmm . . . well . . . I can see I'm not your favorite baby sitter >but, (looks at his watch) Vanessa won't be here for another hour . . . > >Peter raises his eyebrow in disgust and begins tapping his foot - or he >would be tapping his foot if it reached the floor, but instead he's just >shaking it in the air. > >Rick: All right. I'm sorry for what I said about your pop-pop. I was just >kidding. Didn't mean a word of it. You gotta realize Pete, that's just >the way I am. Always running off at the mouth without thinking. He's >really a very nice man, I'm sure. > >Off Peter's somewhat softening expression, we cut to Holly and Roger's >double in the cabin. Holly has just finished ranting at the man she >thinks is Roger for abandoning her in the car all night. Roger's double >is leaning back on the bed, supporting himself with his elbows. > >Roger-double (RD): You obviously think you know me. What I'm wondering is >. . . who is it that you think I am? > >Holly looks at him like he's insane. > >Holly: This isn't the time for character analysis, Roger, is there a >phone? Did you call a tow truck? > >RD: No phone. This is a retreat. > >Holly: What are we going to do? > >RD stands up, grabs the shirt from the bed post and puts it on. > >RD: I'll make some breakfast. You obviously need to get some protein to >your brain fast. (He looks at her stomach) Am I the father? > >Holly: Roger, we've been through all that. Don't try to distract me. You >really have gone mad. > >RD: Something tells me you're already there. > >Holly: Gee, how can you tell! (She walks to the bed, sits on the edge and >bounces up and down to test the springs) Hmmm...comfortable... (she lies >down) ...let me know when breakfast is ready. I like my eggs over easy >and my bacon crisp... > >RD looks at the woman making herself at home on his bed and realizes that >in the last ten minutes he's completely forgotten his own personal hell. >He decides that she's probably harmless...a patient from the clinic ...on >some experimental medication no doubt... > >Off RD, we cut to Roger at the Ohio Rehab Clinic. He learned from the tow >truck driver that the clinic was only five miles away. After driving >around looking for Holly with no success, he decided to try the clinic, >thinking she might have hitched a ride there. > >As Roger walks into the building he's greeted by everyone he passes. He >can't remember ever getting such a warm reception anywhere - not since his >days as CEO of Spaulding. He begins to notice that they're calling him by >some name... a name he doesn't recognize. Finally a man in a white >uniform stops him. > >Aide: Hey, Robert, can you cover some of my schedule next week? > >Roger suddenly realizes that he's been mistaken for a clinic employee. >Curious, he decides to go along with this delusion. > >Roger: Sure, pal, just let me know what days. > >Aide: Great. > >As the aide walks away Roger calls after him. > >Roger: Hey I haven't seen the schedule yet. You got a copy? > >Aide: (pulling a sheet of paper from his pocket) Sure, I've got another >one. Keep it. (He walks away.) > >Roger quickly eyeballs the schedule and finds the name - Robert Toombs. > >Roger: So, I work in pediatrics! (he looks at his watch) And it looks like >I'm on duty right about now. Think I'll go check myself out. But first, >I'll find Holly. > >Off Roger we cut to Lucy and Bridget at the registration desk at >Springfield University. > >Lucy: Come on Bridget, it'll be fun. We can study together . . . and >think of all the cute guys you'll meet. > >Bridget looks around at the boys registering for classes. > >Bridget: These juveniles? Why would I want to meet them? Oh, maybe I could >earn some extra money babysitting. > >Lucy: (sarcastically) Oh, yeah. I forgot. You're an old lady of >twenty-two now. Besides, I was talking about the professors . . .(she >nudges Bridget and points to a guy who looks to be in his late twenties) . >. .how about that? Is that mature, or what? > >Bridget looks in the direction she's pointing and sees a tall, >good-looking guy with light brown hair staring back at her. > >Bridget: Uh yeah, I'd say that's . . . mature . . . (she looks at Lucy) >Does Alan-Michael know you lust after other men? > >Off Bridget we cut to Alan-Michael in his office at Spaulding. Blake >walks in carrying a mop and a broom. > >Blake: Very funny, Alan-Michael! > >A-M: I thought you'd enjoy that. > >Blake: Just for that, maybe I won't tell you what I've discovered! > >On Blake, we fade to black. > >----------------------------------------- >Scene 17 > >We open on Alex, standing outside of John's door at the clinic. A doctor >is with her. > >Alex: Is there anything I should know? Anything special I should do? I >can't believe . . . I'm actually nervous . . . afraid I'll say or do the >wrong thing. > >Dr: Do you know this young man well? Do you care about him? > >Alex: Of course. He's like a . . . like a son to me. I'd do anything for >him. > >Dr: Then just do what comes naturally and you'll be fine. > >They enter the room. John is sitting up in his bed, propped against the >pillows. Alex is shocked by the bandage which covers one side of his face, >the result of his recent violent encounter with the computer. She can >just barely tell from the small section of face still visible, that this >is the young boy she used to know. > >Alex: Hello . . . John. It's good to see you. I've wanted to come for so >long, but the doctors said you didn't want any . . . > >She stops as John turns his face away and looks at the wall. She turns to >the doctor. > >Alex: Could I talk to John alone? > >Dr: Certainly. (He leaves) > >Alex walks over to the side of the bed and reaches her hand out as if to >touch John's face. > >Alex: Won't you look at me? It's been so long since I've seen you, and >I've missed you very much. > >John turns his head and meets Alex's eyes. She can see that there are >tears in his, and she wipes them away with her hand. > >Alex: Hello, Hart. > >Off Alex, we cut to A-M and Blake. > >A-M: Well of course you'll tell me what you found out, Blake. You can >never resist demonstrating how clever you are. > >Blake: True. You know me too well. (She begins pacing) Alan-Michael. . >.this is big. . . I mean really big. I've probably already earned my >first year's salary! And . . . this is going to be a real PR coup for you. >In fact, it will probably guarantee your re-appointment as CEO. Which, of >course, benefits me since lord knows I'd hate to end up working for Amanda >. . . or Alex . . . or even, God forbid, Alan . . . > >A-M: (interrupts her) Will you get off your tangents and come back to >earth Blake. What's with you these days? You used to be so focused. Now >you can't even keep up a train of thought. . . > >Blake: Oh, tangents are a good thing, A-M. If I hadn't been going off on >a tangent I never would have discovered this. In fact, I think from now >on I'm going to try to go off on tangents as often as possible. You >should try it to! It can really lead to some amazing things . . . > >A-M: (yells) Enough! Quiet! (Blake stops.) Sit down. > >She does, but she sits on the edge of her seat. > >Blake: I'm sitting. But when you hear this you're gonna be jumping up and >down, too. > >The door opens and Dinah walks in. > >Dinah: Okay, Blake. Where's your mother? Is she with Roger? > >Off Blake we cut to Holly, sleeping in the cabin. RD is sitting at the >table, drinking coffee. He's trying to figure out what to do about this >strange woman, afraid that by the time she wakes up her medication will >have worn off and he'll have a real problem getting her back to the >clinic. He walks over to the bed and looks down at her. Her eyes open. > >Holly: Forget it, Roger. Haven't we covered this ground before? > >RD kneels down beside the bed. > >Holly: And don't beg. You know how I hate it when you beg. > >RD reaches under the bed and pulls out a pair of shoes. He sits down on >the side of the bed and puts them on. > >RD: I don't know who this Roger is, but I must remember to say an >especially long prayer of thanks tonight that I'm not him. > >Holly: (sitting up) Oh, not the fake amnesia thing again. It hasn't even >been a year since the last time you pulled that one, Roger. Don't you >usually like to wait a decent interval before recycling your scams? > >RD: So Roger likes to pretend he doesn't know you? Ha ha! I wonder why? > >Off RD, we cut to Roger in the clinic administrator's office. At first >he'd been a bit reluctant to keep this appointment, afraid the man might >notice a resemblance between Mr. Thorpe and Robert Toombs. But after >seeing the outer office, he realized this guy probably doesn't mingle with >the hired help. With the aid of some grease on his hair, dark glasses and >a phony mustache (he always carries one - a holdover from his agency days) >he changed his appearance enough to avoid any future embarrassments should >he find the need to pose as Robert. > >Roger: I can't see my son? Why? > >Admin.: I can't even say whether your son is here or not! > >Roger: Why? > >Admin.: Patient confidentiality. > >Roger: But maybe he'd want to see me if he knew I were here. > >Admin.: I can assure you if your son were here he would be informed of >your desire to see him. > >Roger: So, you're saying, my son doesn't want to see me? > >Admin.: No. I'm saying . . . > >Roger: Dammit! Will you stop spouting bureaucratic dogma and speak to >me in English? My son has been badly injured and needs my help and >you're keeping me away from him because of some inane rules! > >Admin.: Mr. Thorpe, I can understand your concern. But the patients here >have little enough control over their lives as it is. Do you really think >it would help them to be forced to see people against their wishes? > >Roger: I'm sure there are plenty of people in this place they're forced to >see every day against their wishes! Strangers, yet! But the people who >care about them are kept away! > >Admin.: Mr. Thorpe, I realize this is difficult for you, and believe me we >constantly encourage our patients to see their loved ones, but we must >respect the wishes of the patient. It would only hurt your relationship >in the long-run if you forced yourself on him. > >Roger: How . . .how is he? Does he need anything? (He looks around the >office) Well of course he does. This place can't be cheap. How is he >paying for his care? I'll take over all of his expenses . . . > >Admin.: The clinic is completely funded by . . . private donations. > >Roger: Well, I don't want my son on any charity ward! > >Admin.: (amused) Mr. Thorpe, does this look like a charity ward? I can >assure you that the Ohio Rehab Clinic is world renowned, and is in the >forefront of technology where cases such as your son's are concerned. > >Roger: Okay, how about extras. Surely there must be something . . . > >Admin.: (standing) I think it will ease your mind if I take you on a tour >of the clinic. > >Roger: (thinking it won't hurt to get the lay of the land from an expert) >Lead the way! > >Off Roger, we cut to Rick and Peter at the Boarding House. Peter has >decided to accept Rick's apology and the two of them are eating peanut >butter and jelly sandwiches. > >Peter: This is good. > >Rick: Ummm . . .yeah, this is my favorite meal. Oh, ya know what else is >good? Peanut butter and marshmallow! Ever try it, Pete? > >Peter: No. > >Rick: Well, maybe next time I babysit I'll make it for you. What do you >think? > >Peter: Oh, I don't know . . . (Thinking: Don't crowd me buddy. I haven't >said there'd be a next time, yet). > >Just then Hawk walks in the back door. > >Hawk: I'm here to pick-up the boy. > >Peter leans back in his chair with disappointment. He's tired and wants >to see his mommy Vanessa! But he's getting used to this. This happens a >lot. > >Rick: Where's Vanessa? > >Hawk: Too busy. She's over at Spaulding fussing with that Thorpe girl . . >. you know, the one with all that frizzy orange hair, what's always >talkin' about babies and sech? > >Peter: Let's go see Blake. > >Hawk: Yeah . . . that's it, Blake. Went and got herself a job at >Spaulding! I'm wonderin' who she laid down with to get sich a fancy >office! Or mebbe they jist feel sorry for er what with all that orange >hair . . . > >Rick: That must be it, Hawk. But what does this have to do with Vanessa? > >Peter gets down off the chair, picks up his suitcase and heads for the >door. > >Peter: Let's go! > >Rick picks Peter up and turns to Hawk. > >Hawk: Don't ask me! I don't question my betters about their doins. Alls >I know is, I'm takin' the boy! (He tries to take Petey from Rick) > >Rick: Not so fast, Hawk. I think I'll give Vanessa a call. Take off your >toupee and stay a while. > >Peter: (smiling) Yeah! Let's call Mommy Van! > >On Peter, we fade to black. >------------------------------------------------------- >Scene 18 > >We open on Bridget and Lucy at SFU, checking out the guys. > >Bridget: I didn't think engaged women were allowed to look at other men. > >Lucy: Hey, it never hurts to keep up with what's out there - just in case >I want to fix up a single friend, of course. > >Bridget: I don't know, Lucy. If I had Alan-Michael waiting for me, I sure >wouldn't waste any time worrying about my single friends. > >Lucy: You? Oh, Bridget, when you were in love with Dylan you were the most >overbearing, interfering, match-maker in Springfield. I had to resort to >personal ads just to get you off my back! (Smiling, she puts her arm >around Bridget's shoulder and leads her towards the registration desk.) >Well, now I'm going to return the "favor". > >Bridget: Uh, oh! > >As Bridget and Lucy approach the desk, the woman behind the counter >looks up from the papers she was working on and smiles in recognition. > >Bridget: Nola! What the heck are you doing here? > >Nola: Working. I just got hired this morning and I've already had three >offers to go to this dance they're having tonight. I only accepted two of >them, though. One of the guys was jail bait. . . Hi, Lucy. > >Lucy: Nola, I'm so glad you're here! You can help me talk Bridget into >signing up for some classes with me. > >Bridget: I don't have time for school. I've got Peter, Company, the >Boarding House . . . > >Lucy: I'll help you with all that, Bridget. And you can help me with >classes. I was never the best student, you know. Dad and I were always >too busy pulling scams to scrape up money for food and rent . . . > >Bridget: But you're smart, Lucy! > >Lucy: I know. But school is about more than being smart. . . > >Bridget can see that this school thing means a lot to Lucy. She begins to >relent. > >Nola: What did you have in mind? (Starts looking through the catalogue) >Auto mechanics? Bet you'd run into a lot of guys there! Or how about >Quantum Physics? Take it from me, intellectuals are great in bed! Just >imagine all that knowledge about force and motion applied to some >practical purpose! > >Bridget: Nola, cut that out! You'll embarrass Lucy! > >Lucy: Not at all. I know just what you mean about intellectuals, Nola. I >always make Alan-Michael wear his glasses to bed! Of course, he has to >take them off after a while because they start fogging up. > >Nola: They make a spray that prevents that. > >Bridget: Okay, if you two are done swapping recipes, can we get back to >the course schedule? I don't have all day - my customers are waiting. > >Lucy: (looks at her watch) Oh, you're right! I've got to get back to >Spaulding! Nola, could you sign me up for Psych 101 and Rehab Therapy? >And get Bridge to take at least one of them? > >Nola: Sure. I'll get the paperwork started and you can stop back after >work to get your course schedule. > >Lucy leaves and Bridget gets ready to join her. > >Bridget: Wait, Lucy. I'll come with you. > >Nola: Stop right there, Bridget Reardon! > >Off Bridget's grimace, we cut to Alex in Hart's room. She's sitting >beside the bed, showing him photographs from an album. > >Alex: And there's Buttercup's latest foal. Do you remember when you >helped to deliver Buttercup? We were up all night with that one, weren't >we? I always thought you would be a veterinarian some day. > >Hart: (turns his head away in disgust, and thinks) I shouldn't have let >her come. She pities me, just like all the rest of them. And why >shouldn't they? I'm pitiful! > >Alex realizes what her words implied, and berates herself for her >thoughtlessness. There are tears in her eyes, and her voice quivers as >she begins to talk to Hart. > >Alex: Hart? I still think you'll be a veterinarian. In fact, I know it. >The Hart Jessup who delivered that premature, underweight foal, and stayed >by her side night and day for two weeks keeping her alive even after her >own mother rejected her . . . that Hart Jessup can do anything he wants to >do. And I'm the one who's going to make sure he doesn't forget it. > >Alex can't stop the tears from flowing and she reaches for a tissue, >dabbing her eyes and blowing her nose. Hart reaches for her hand and >clasps it. > >Alex: I want . . . you to know that . . . I'm not crying because I feel >sorry for you, Hart. These are tears of joy. I'm . . . so grateful that >you trusted me enough . . . that I'm the one you contacted when you needed >help. There aren't many people who . . . feel that way about me these >days. > >Hart: (squeezing her hand more tightly, thinks) Maybe she does mean it. >Alex is the one person, besides grand dad, who never lied to me. > >Alex: (blowing her nose again and standing) Well, that's enough tears for >one day. I have a present for you. > >She picks up a small case from the floor, and sets it on his lap. > >Alex: (smiling) I heard you had . . . an accident with your last computer. >So I thought you might like to try a laptop. > >Hart: (thinking) Oh, Alex. You have to have a lap before you can use a >laptop! > >Alex: Here, let me show you how it works. I even got you an online >account! (She suddenly gets an idea) Hey! Let's see if we can find any >Veterinary schools that have courses you can take through E-mail! > >Once she gets it set up, Hart puts his hands on the keyboard and begins >slowly and painfully to type out the letters . . .r . . .o . . .g . . .e . >. .r He looks at Alex with fear in his eyes. > >Alex: Roger? You want to know about Roger? > >Hart shakes his head, closes his eyes and sits back, frustrated and >exhausted. > >Off Hart we cut to Roger on the phone with Leo. > >Roger: I told you Leo. My car broke down and she picked me up. > >Leo: That's amazing, Roger. You certainly have the devil's own luck! >That she should just happen to be driving along when you needed a ride . . >. it must be kismet. . . > >Roger: Stop rambling, Leo, and get your legal behind down here fast. I >need a front man. > >Leo: I'm sorry, Roger, it's just so overwhelming . . . this is big news . >. . you've got your dream come true . . . you and Holly, alone together, >away from Springfield. Just think how much progress you can make . . . > >Roger: (shouting) Leo, when they finally kick you out of the legal >profession, you should take up writing romance novels. I don't HAVE >Holly, all right? I lost her! She's gone, got it? Your fairytale ending >is not here yet, because the princess has vanished and the prince has >discovered he has a double running around who apparently has been working >as an aide in a rehab clinic. Not only that, but the heir to the throne >is refusing all visitors and is residing here under an assumed name. So if >I don't see your sorry face within the next three hours you better think >about buying yourself a lap top and learning how to type because I'll make >sure you never work as a lawyer in this state again. > >Leo: Bye, Roger. I'm on my way. > >Off Roger's disgusted face we cut to Blake, A-M and Dinah at Spaulding. > >Blake: My mother's with Roger? > >Dinah: Yeah. Where is she? I've already been to that depressing office of >hers - God, no wonder the woman's so pale. Can't they afford lights in >that place? I don't know what Roger ever saw in her. She's got no taste in >clothes, never wears any makeup - and I won't even say what I think of >that loser husband of hers. > >A-M: (standing) Dinah, get out of here before I call security. I think you >had too much Vichy water while you were traveling abroad, because you've >gotten too damn Vichy for my taste. > >Dinah: (suddenly smiles and tries to flirt with him) You're so funny, >Alan-Michael. You always were the cleverest Spaulding. I know you'll >tell me where I can find that (looks at Blake) . . . pregnant cow who >can't leave my husband alone. > >Blake is furious, but manages to keep her cool as she walks up to Dinah >and stares her right in the face. Meanwhile, Alan-Michael signals for the >security guards. > >Blake: Okay, dear. I guess it's time you knew the truth, so you can >finally move on with your life. My mother and father have been having an >affair for months, and now they've run away together. I know this is >going to be hard on you for a while, so feel free to call me if you ever >need a shoulder to cry on. I'm here for you. > >Dinah: You expect me to believe that? Roger would never want another woman >now that he's had me! (Takes a mirror out of her purse and checks her >make-up) He just pities her, that's all. And I don't blame him - she is >pitiful! > >Blake: That's right dear. You just hang onto that denial for as long as >you need it. They say it's the first step on the road to recovery. Let me >give you the name of a good therapist. (She hands Dinah a business card) >I hear great things about this woman. Haven't tried her myself, since Ross >is all the therapy I need. > >The security guards enter the office and Alan-Michael signals them to take >Dinah. They each grab one of her arms and begin to ease her toward the >door. > >Dinah: Get your hands off me, you cretins! You can't treat me like this! >I own a TV station . . . I'm an heiress . . . > >A-M: (to guards) Take a picture of that woman before she goes, and don't >let her back in the building unless she can show you a diploma from charm >school or a discharge certificate from the local mental health clinic. > >As the security guards drag her through the outer office, Dinah is heard >to say, "You can't make a fool out of me . . . Dinah Marler Thorpe always >wins . . . it's in my contract!" > >Blake and A-M exchange wicked little grins. > >Blake: Ahhh . . . what a pleasant way to start the day! > >A-M: Yes, isn't it? > >Off Alan-Michael, we fade to black. >------------------------------------- >Scene 19 > >We open on Holly and RD in the cabin. > >Holly: (laying back down on the bed) Well, this is getting us nowhere. >I'm not sure what you're trying to pull, but you're obviously better at >role-playing than I am. I guess with all that undercover work you'd have >to be. So let's say . . . you're not Roger. Who are you? > >RD: Robert Toombs. > >Holly: Same initials. Convenient. Do you have any ID? > >RD looks at her suspiciously. > >Holly: I didn't think so. > >RD: Of course, I have identification. > >He reaches in his back pocket and comes up empty. Then he goes over to >the desk and pulls a wallet out of the drawer. He shows her his driver's >license. > >Holly: Yeah. Well, you probably carry five or ten spare ID's with you at >all times. > >Robert: This Roger sounds like a talented guy. > >Holly: He likes to think so. > >Robert: So where did he learn to fake ID's? > >Holly: Oh, he doesn't do them himself. He's got connections from . . . >wait a minute . . . why am I saying "he"? We're talking about you! > >Robert gets up and begins clearing off the table, until he notices Holly >staring at the food. > >Robert: Help yourself, if you're hungry. (Holly comes over and picks up >some toast.) Why is it so important to you to prove that I'm Roger? > >Holly: (between bites) It's not important to me. It's just a fact. > >Robert: Okay. If I were Roger, what would we be doing right now? > >Holly: (She pours herself some orange juice) Exactly what we are doing - >arguing. > >Robert: And how long would this last? > >Holly: (thinks about it) Until one of us walks away - or starts laughing. > >Robert: I see. Do you think you're going to start laughing now? > >Holly: I think I'm going to start crying. > >Robert: Then I think I'm going to start walking away. > >He picks up his coat and walks out the door, leaving Holly to stare after >him in disbelief. > >Off Holly, we cut to Rick at the Boarding House on the phone with Vanessa. > >Rick: You're busy doing what? > >Vanessa: Oh, I'm making curtains for Blake's new office. I never had >much interest in sewing before, but Blake just seems to bring out my >mothering instinct! > >Rick: I see. But Pete was really looking forward to seeing you. > >Peter: I want to talk to Mommy Van. > >Vanessa: I heard that. Tell Peter, Mommy said "Hi" and that I'll see him >when he gets here. Oh, and tell him, " Mommy wuvs ooh, Petey Pie!" > >Rick: (to Petey) Uh . . . Mommy wuvs ooh, Petey Pie. > >Peter throws Rick a look of disdain. > >Rick: (To Vanessa) I don't know why you can't tell him yourself. I think >it lost something in the translation. > >Vanessa: No, he'll be fine. I'm making good progress on these curtains and >I'm afraid if I stop I'll lose my momentum. And besides, I have to press >a few of Blake's clothes for work . . . > >Rick: Vanessa!!! What is this Blake thing? Your three year old son is >sitting her depressed and confused and you're playing mommy to a >twenty-five year old? > >Vanessa: Oh, Petey's a dear, of course, but you know, Rick, he does have >another mother. And then there's his Aunt Nola - who must be good for >something. He even has a grandfather, who, evil though he may be, >certainly gives him plenty of attention. But poor Blake has no one! No >one but me! > >Rick: What about Holly? > >Vanessa: Who? > >Rick: Blake's mother! The red head? Well, she used to be a red head, I >think her hair's brown now . . . > >Vanessa: Oh. Didn't she move away last summer? > >Rick: No. I've seen her. She's been to Cedars several times in the past >few months to help her husband through this pregnancy. > >Vanessa: Oh, is Fletcher pregnant? How odd. > >Off Vanessa's astonished face, we cut to Blake and A-M at Spaulding. > >A-M: Now, where were we before we were so rudely interrupted? > >Before Blake can speak, Ross sticks his head in the door. > >Ross: Honey, can I see you in your office for a minute? I have an >office-warming present I want to give you. (He looks at A-M) You don't >mind, do you Alan-Michael? > >Alan-Michael sees Lucy standing at the door and is suddenly greatful for >Ross's interruption. > >A-M: Not at all. Take your time! > >Blake and Ross leave, and Lucy enters. Alan-Michael walks over to her >and puts his hands on her waist, staring into her eyes. > >A-M: All signed up for classes? Feeling better now? > >Lucy: Yes. . . all signed up. And feeling better. I just hope you'll be >feeling better . . . when you hear what I have to tell you. Alan-Michael >. . . I quit. > >Off Alan-Michael, we fade to black. > >-------------------- >Scene 20 > >Bridget walks into the Boarding House kitchen and is surprised to see Rick >standing at the sink, wearing one of her aprons and a dishtowel tied >around his head like a sweatband to counteract the effects of the steam >rising from the water in the sink - which is overflowing onto the floor. > >Bridget: You're still here? Van was supposed to pick up Peter hours ago! > >Rick: Oh, he's gone. > >Bridget: (looking around the kitchen) What did you do? > >Rick: It's not as bad as it looks, Bridget. I . . . well, I thought I >could help you get a jump on the dinner crowd by making up a batch of my >world famous lasagne . . . > >He nods toward the three large trays of lasagne covering the table. >Bridget takes a bite and realizes this is the best thing she's ever tasted >in her life. > >Bridget: Rick, this is . . . this lasagne is amazing! > >Rick: Oh, it's nothing. Although it has been written up in a book about >the "Great Chefs of Springfield". There are only two of us, you know. Me >and some guy named Mort. > >Bridget: Why did you do this? > >Rick: Hmm . . .good question. I just got this uncontrollable urge to get >my hands around something and squeeze the life out of it - and I figured >pasta dough was the safest bet. > >Bridget: I know the feeling. > >Rick: Or maybe I'm just trying to get in Pete's good graces. . . That >kid's got one mean stare! I don't think he likes me. > >Bridget: Petey likes everyone! > >Rick: Everyone but me, it seems. He even likes Hawk Shayne! > >Bridget: What makes you say that? > >Rick: Well, when Hawk came to get him, Pete said, and I quote, "Bird Man's >funny. I wanna go with Bird Man!" > >Bridget: Hawk took Petey? Vanessa didn't say anything about that. > >Rick: It's okay. I called her and she "okayed" it. > >Bridget: Oh. Well, I guess it's . . . "okay" then. (She looks around the >kitchen again) This was so nice of you, Rick. I'd like to return the >favor. > >Rick: You could buy me dinner! I don't think I could face lasagne right >now. > >Bridget: I will! And . . . I'll even take you dancing! That is, if you >don't mind hanging out with college kids. > >Rick: Are you kidding, kid? Some of the most interesting people I know >are college kids! > >Off Rick, we cut to Roger and Leo, in the crowded lobby of the rehab >clinic. > >Roger: Well, it took you long enough. > >Leo: I flew . . . literally flew, Roger . . . to be by your side in your >time of need. . . have you found the princess, yet? > >Roger: Will you forget the fairytales for a minute! Did you bring the >items I asked for? > >Leo: How can you doubt me, Roger? Of course. . . > >Leo motions to two brawny men who emerge from the crowd in the lobby, >carrying several suitcases and grocery bags. > >Roger: Who are these clowns? I told you to come alone! > >Leo: Not to worry, Rog. These men are trustworthy. I can vouch for them. >And I thought we might need reinforcements in case . . . > >Roger: How many times do I have to tell you Leo, don't think. I do the >thinking. You're the front man, I do the thinking. Can you remember >that? > >Leo: Uh. . .sure, Rog. You're the front man. . . er, uh, I mean. . . I'm >the front man, Rog does the thinking. Got it. Now can we talk about the >princess? I'm worried about her. You know, Rog, I never wanted to admit >this to you because I was afraid you'd take it the wrong way. . . but I've >always been very fond of the prin . . . er Holly. > >Roger: (rolling his eyes) Oh, Holly, where are you? > >Off Roger, we cut to Holly, alone in the cabin. She's finishing up the >dishes, surprised that Roger hasn't returned yet. She's beginning to >wonder if maybe Roger has really lost his memory. Perhaps he had an >accident somewhere between the car and this cabin and . . .but then, why >would he think his name was Robert Toombs? Maybe he found the wallet >before she got there and just assumed it was his? Or, maybe . . . she >suddenly realizes that Roger never told her where he was headed when she >picked him up - they were too busy arguing to think about mundane details >like their ultimate destination! Maybe this whole thing was a set-up for >some under cover job for the agency. Roger's been short of funds lately . >. . maybe he took on an assignment to replenish his bank account. Then >there's the outlandish possibility that this man really isn't Roger . . . > >Holly puts on her coat and walks outside. Surprised to see that it's >snowing, she's even more surprised to see the man who calls himself >Robert, sitting on the steps, his head resting in his hands. She walks >over and sits down beside him. > >Holly: I guess one of us is going to have to concede defeat, here, and I >guess it's going to be me. I don't know what's going on with you, but >it's clear that you want me to leave - so I will. But before I go, will >you satisfy my curiosity about something? > >Robert: What? > >Holly touches his coat collar where it covers the back of his neck, and >Robert flinches, pulling away from her. > >Robert: What are you doing? > >Holly: Well . . . if you're really not Roger Thorpe . . . then you won't >have a star-shaped birth mark on the back of your neck. > >A look of shock crosses Robert's face, and when she again reaches for his >collar he's too startled to stop her. She sees the birth mark. It was the >same birth mark that she used to stare at those nights when she was >cuddled up against his back after they made love . . . the same >star-shaped, birth mark she used to kiss before she fell asleep with her >head on his shoulder. Robert quickly recovers his composure and stares at >Holly impassively. > >Holly: Well, I have my answer. And I'll go. > >Holly goes into the house to get her purse, and Robert follows her. > >Holly: Roger, I wish you could be honest with me. I mean. . . if you're on >a mission of some sort, well . . .I can understand why you don't want me >here. But if you've been hurt and lost your memory . . . I just hate to >leave you here all alone . . . > >She heads for the door but Robert beats her to it and blocks her exit. > >Robert: Wait. You can't leave now. I think. . . you know too much. > >Holly: (walks toward the bed and sits down) Well, I've always thought so, >but I didn't think you'd ever admit it, Roger. > >Off Holly, we cut to Blake in her office sitting with her feet propped up >on the bare desk, it's former contents still scattered across the floor. >Ross has left and she's fully clothed, but she's briefly reliving her >recent interlude with her husband, while half-heartedly reviewing the >information she wants to present to Alan-Michael. Suddenly, she sits bolt >upright and starts reading more carefully. A-M walks in, and the >appearance of Blake's desk brings to mind similar encounters they shared >in days gone by. > >A-M: I hope the desk was satisfactory? > >Blake: (Still engrossed in her reading) Most satisfactory. > >A-M: Pardon me for breaking the spell, but do you mind telling me about >this earth shattering discovery, that's going to guarantee my reign as >CEO? > >Blake looks up with pain and fear in her eyes. > >Blake: That doesn't matter anymore. This is much more important. >Alan-Michael . . . I think . . . the Spaulding Foundation has been funding >an agency that's involved in illegal adoptions and child abduction! > >Off Alan-Michael's shocked face, we cut to Hawk and Peter in the car. Hawk >glances over at Peter furtively, and turns onto a road that heads in the >opposite direction from the Chamberlain mansion. But Peter is smiling, >unaware that anything is amiss. He's thinking only about how great it >will be to finally see his Mommy Van again. > >Freeze frame on Peter's angelic and unsuspecting face, and 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 > ********************************************* > > > > > > > YEEAAAHHHH STTEEEEEEELLLLLEEEEEERRRRRRRSSSSSSSSSSSSS!!!!!!!!! YEEAAAHHHHH STTEEEEEEELLLLLEEEEEERRRRRRRSSSSSSSSSSS!!!!!!!!!! YEEAAAHHHHHH STTEEEEEEELLLLLEEEEEERRRRRRRSSSSSSSSS!!!!!!!!!!! YEEAAAHHHHHHH STTEEEEEEELLLLLEEEEEERRRRRRRSSSSSSS!!!!!!!!!!!! YEEAAAHHHHHHHH STTEEEEEEELLLLLEEEEEERRRRRRRSSSSS!!!!!!!!!!!!! YEEAAAHHHHHHHHH STTEEEEEEELLLLLEEEEEERRRRRRRSSS!!!!!!!!!!!!!! YEEAAAHHHHHHHHHH STTEEEEEEELLLLLEEEEEERRRRRRRS!!!!!!!!!!!!!!!