ROGER'S REVENGE Part 7 - 12/17/96 - By Pat C., patricia@epix.net - [SUMMARY: Roger and Bridget entered into a platonic marriage to get revenge against Hart and Dinah; they left Petey in the hospital with Van and lured Hart to the Riviera by faking a kidnapping; Holly dumped Fletcher and left Meg with Blake to go off to the Riviera in search of dirt on Dinah and a little fun. Blake and Leo snooped around at the farm and managed to find evidence that Dinah had been working as a courier and siphoning large sums of money from Ross's account, using her wedding as a cover; In Paris, Dinah had a visit from Frances, an old friend from her days as a prostitute, and her former pimp, Victor, who revealed that she used to be a drug addict; In Cannes, Holly intercepted a videotape that was meant for Dinah, but Roger managed to get it away from Holly before she found out it was child pornography; Holly is intrigued by Jacques (Anthony Herrera), an artist she met at the gallery where she picked up the videotape.] IN THE LAST EPISODE: Roger told Bridget that their revenge had to leave Hart penniless, loveless and childless; he was about to show Holly the real tape when he got a call from his loan sharks, telling him that if he didn't return the tape they would kill his family; at that point Roger stopped caring about revenge and is now concerned with getting Holly, Bridget and Hart out of town until he works out the situation with his creditors; Bridget backed out of the Hart-seduction plan, confessing to Roger that she is now in love with him; Roger told her he loves her like a daughter but would never get involved with her romantically; Holly overheard their conversation and told Roger she thinks he really does love Bridget; Jacques had just discovered that Holly is the same woman who picked up the videotape; he followed her to the hotel and overheard her conversation with Roger, and Holly agreed to go to his Villa in Antibes for dinner; Bridget and Hart are planning to go to Nice to find the mysterious Jules who can give them a lead on Petey's "kidnapper"; Blake had planned to let Roger know that the videotape was meant for Dinah, but she went into labor and Ross rushed her to the hospital; Roger thinks the child pornography tape is part of a story Holly's working on. ROGER'S REVENGE - Part 7 SCENE: Cannes. Hotel Martinez. Roger's room. Two days later. ROGER: (on the phone talking to his old agency boss) Nobody's getting this tape, Vaughn . . . not until my family is back home . . . safe. Not you and not my creditors. VAUGHN: Don't be foolish, Roger. Doesn't it strike you as odd that these people are so desperate to get that tape? Surely they must know that you can make copies which would be as damning to them as the original. ROGER: (walking over to the table where he has two VCRs running) Speaking of copies, you read my mind. And of course I realize there's something else going on with this tape! So why don't you give me some tips on what to look for? What's hot in the world of international crime these days? VAUGHN: The agency has professionals who can take that thing apart in our labs and find out what's going on. We'll get it back to you in a few hours. ROGER: Not necessary. I'm going to do it myself. As soon as I finish making this copy. VAUGHN: I have no doubt that you can take it apart. But can you put it back together carefully enough so they won't notice that you tampered with it? ROGER: (grins) I could if your boys would talk me through it over the phone. VAUGHN: You know I can't do that, Roger. And fond as I am of you, I'm beginning to lose patience. ROGER: (narrows his eyes) Just what is it you think is on this tape, Vaughn? Besides the obvious? VAUGHN: Let's just say, it could be extremely unhealthy for you to hang onto that tape much longer. And I'm saying this as a friend, Roger. SCENE: Holly at Jacques' Villa in Antibes. Holly is sitting on a bench in the garden, wearing a white dress, holding a bouquet of flowers. She idly smells one of the flowers as she stares off into space. PAN to Jacques, standing behind an easel, staring at Holly with his palette and paint brush in hand. JACQUES: You're still in Cannes. You're still thinking about him, aren't you? HOLLY: (guiltily) No! JACQUES: (with a sad smile) Holly . . . I've been there, you know. You don't have to hide it from me. The only way you're going to get over him is to talk about it. HOLLY: I wasn't thinking about Roger! (annoyed, she stands up and) I was thinking that (pulls at the dress) . . . this isn't me! What am I supposed to be? Some kind of wood nymph? JACQUES: (Laughing, he walks over to Holly and rearranges the hair around her face.) That is what I find so delightful about you, Holly. You are many things. And yes, there are times when I see something of the gamin in you. (As Holly rolls her eyes, he sits down beside her with resignation) But I can see that right now, you are definitely not in a wood nymph mood. HOLLY: (with a sarcastic smile) Do me a favor, huh? If you ever do catch me in a wood nymph kind of mood . . . just shoot me. SCENE: Nice, France. Bridget and Hart are walking along the Promenade Des Anglais looking out onto the "Bay of Angels" in Nice. Hart is staring down at Bridget, her eyes hidden behind dark glasses. HART: Bridget, what happened? You've been . . . different. Ever since that night . . .something's different about you. Something happened . . . something happened between you and Roger, didn't it Bridget? BRIDGET: (puts on a phony smile) Well of course something happened! We're on our honeymoon, sweetie. Something happens just about every night. HART: (gets a look of disgust on his face) I'm sorry I mentioned it. Let's change the subject. Bridget sighs with relief, remembering her last conversation with Roger. FLASHBACK: Cannes. Two days earlier. It was the day after she blurted out to Roger that she loved him, and he rejected her. She was having a quick breakfast in the dining room, hoping to get out before she ran into Roger. No such luck. ROGER: (standing beside the table) Bridget. . . about last night. . . Bridget looks up, glad that he can't see her eyes because she's wearing sunglasses. BRIDGET: Last night? ROGER: The last thing I wanted was to hurt you . . . BRIDGET: Hurt me? (talking fast ) Oh, hey . . . you didn't think I was serious, didya, Rog? (Laughing) No . . . I was just shining you on . . . you know . . . practicing for Hart . . . (she took out a stick of gum and started chewing it) ROGER: Practicing? BRIDGET: Sure! I kinda lost my nerve . . . for a second there . . . so I like . . . figured if I could get to you . . . Hart would be a cinch . . . ROGER: I . . . see . . .(laughing) . . . well, you certainly were convincing! Hart doesn't stand a chance. Bridget wasn't sure if he believed her, or if he was just trying to let her save face. She made some excuse about meeting Hart and got out of there fast. That was two days ago. [END FLASHBACK] SCENE: Nice, France. Now, Bridget turns to the impressive building to their right. The word "CASINO" is prominently but tastefully displayed on it's facade. She walks toward the door, but then she notices Hart's hesitation. BRIDGET: Come on . . . this is the place. Hart just stands there, looking at the building, he gets a tortured look on his face. HART: I can't . . . go in there. BRIDGET: (impatient) You want to find Jules, right? HART: Right. (Looks around desperately, then looks down at his dusty jeans, at the motorcycle helmet in his hand) But . . . we're not dressed for a place like this, Bridge. (He almost looks relieved at the thought) They'll kick us out. BRIDGET: Are you kidding? All these places care about is whether you have money, and you've got three million dollars. If they give us any hassles we'll just tell them to call your accountant. SCENE: Cannes. Hotel Martinez. Roger is sitting at the desk, holding the videotape and staring at the monitor of his laptop computer. ROGER: (to himself) Okay Vaughn . . . if you want to play it that way . . . fine. Why do I need you . . . (clicks on his web browser) . . . when I have my computer? He finds his bookmark for the "Virtual World of Spies and Intelligence" and laughs when the page appears and the theme from "Mission Impossible" starts playing. ROGER: (turning down the sound) Well, that's new! (Clicks on an icon) Let's see what people are smuggling in videotapes these days. (He scans a few pages, then frowns and checks his watch) Two o'clock. That means it's 8 a.m. in Springfield. (reaches for the phone) Leo should be at the office by now. (Dials and waits patiently while the phone rings, then grimaces as he hears Leo's taped message on the answering machine) Leo . . . I'm going to be out most of the day, but there's something I want you to check out for me. Call me tonight, after 6 pm your time. (He disconnects and a few minutes later the phone rings. He recognizes the voice.) VOICE: The money or the tape, by midnight tonight. ROGER: I can get you the tape, but I need another day. VOICE: I think you are stalling, Mr. Thorpe. ROGER: No, I have too much respect for you to do that. How about if I give you half the money by tonight as a show of good faith? And the tape tomorrow? VOICE: Half the money by tonight, the tape by midnight tomorrow . . . and . . . you will do a little job for us. ROGER: (tenses up, certain that he's going to ask him to kill someone) What? VOICE: You will purchase some art. ROGER: (relieved, he starts wondering where he's going to get $250,000 by tonight, he decides he'll have to track down Hart and Bridget in Nice) . . . Agreed. SCENE: Jacques' Villa in Antibes. Holly comes out of the shower, wrapped in a towel and drying her hair. Jacques is standing at the foot of her bed. HOLLY: (flustered) Did you want something? JACQUES: You're not wearing . . . (he stares intently at her bare arms and shoulders, then his eyes travel slowly down to her legs revealed below the towel) . . . the dress. I was hoping to convince you to pose for me another hour. The light is just perfect right now. (He walks toward her) Forgive me cherie, but you inspire me with a passion . . . to paint . . . that I haven't felt in years. HOLLY: Well, that's very flattering, Jacques. But in the past few days I've posed for you in every possible setting and state of dress, from ball gowns in the library, to jeans by the old swimming hole and I've enjoyed it . . . I really have. But this dress . . . (picks up the lacy white dress on the bed) . . .something about this dress makes me cringe. Maybe it's because the last time I wore a dress like this I made the biggest mistake of my life. (Thinking back to the 5th street ball) I ran toward the wrong man. Holly walks to the window and looks out at the garden, remembering Fletcher's proclamation of love in front of all of Springfield. How foolish it was, to put her faith in vows of love from a man who . . . didn't know her at all, really. All he knew was that she wanted an escape route - a way to get away from Roger. And he was glad to provide it. And what did he want? (Thinks about it) He wanted a Mommy. She remembers now that Fletcher once accused her of secretly having a "nurturing nature". And she had become his nurturer. She had married a man with the emotional maturity of an early adolescent. And she had turned herself into a mommy to accommodate him. JACQUES: (walks up behind Holly and puts his hands on her arms, turning her toward him) Forgive me, cherie. You don't like that dress? We will burn it! And all your bad memories will go up in smoke too! HOLLY: (laughing) I wish it were that easy. JACQUES: (looks inspired) Wait! Why don't you pose for me just as you are! (He runs his hands up her arms) The color of your skin . . . it is unlike anything I've seen before. I must get it on canvas. . . HOLLY: You want to paint me . . .(touches the front of her towel) . . . wearing this? A towel? JACQUES: (very excited) You won't even have to move . . . we'll do it right here . . . (goes toward the door, then turns) . . . I'll just get my paints and canvas and be back in a moment. He leaves and Holly smiles with disbelief, shaking her head. Then she shrugs and sits down on the window seat, continuing the train of thought she'd begun earlier. Later that evening . . . SCENE: Dingy hall in a cheap run-down apartment building in Paris. Dinah looks like she hasn't had a bath in days and hasn't slept or ate in a week. She doesn't seem to notice the paint-chipped door as she knocks. It's opened by her old friend Frances of the red hair who takes one look at Dinah and pulls her into the room. FRANCES: Woah! Girlfriend, what ran into you? DINAH: (her voice is weak) Frances . . . I . . . need to make some money. Can you set me up with a few of your clients? FRANCES: (looks her up and down) Honey . . . have you looked at yourself in the mirror lately? You're not exactly in mint condition. DINAH: So what? Tell them to close their eyes . . . or turn the lights out. . . FRANCES: (leading her to a chair) You need a drink. (She starts pouring one from a bottle on the dresser) Now tell me what's up with you? Why do you need money so bad? I thought you had plenty. DINAH: (takes the drink and gulps it down quickly) Victor took it all FRANCES: (folds her arms) Oh, girl . . . don't tell me you're usin' again? DINAH: (jumps up and grabs Frances' arm) That's why I need to make some money! If you don't get me some clients, Victor will. . . and you know what his are like . . . Frances gets a look of fear in her eyes. SCENE: Springfield. Cedars Hospital. Ross and Blake are sitting side by side on the bed, leaning back against the headboard, each holding a baby. Blake's head is on Ross's shoulder, the babies are sleeping. BLAKE: (yawning) I don't want to sleep yet. I'm too happy to sleep . . . ROSS: (glowing) I know, honey. The worst is over and we came through it. Now all we have to do is enjoy our two healthy boys . . . and each other. . . for the rest of our lives. BLAKE: But, I should call Dad . . . (dozing off) ROSS: (startled) Dad? (Sees Blake is asleep) Why would you want to call Roger? (Picks up the phone) I'll try to reach Holly again. SCENE: Jacques' Villa in Antibes. Holly is dressed in a slinky black strapless dress, carrying a cape and purse and heading for the door, when Jacques comes down the stairs. JACQUES: Are you going out? HOLLY: Yes! (Paces edgily) I need . . . to get away . . . to be around people . . . Jacques, I need to use a phone! I assume you don't mind if I borrow your car? JACQUES: (frowning) No . . . of course not. But Holly, I'm expecting guests . . . some potential buyers . . . HOLLY: Good! Then you won't get lonely while I'm out. JACQUES: (putting his hands on her arms from behind, he leans over and kisses her bare shoulder) I could be surrounded by millions of people and still be lonely if you aren't with me, cherie. HOLLY: (turns and gives him a hug, smiling) You are so good for my ego, Jacques! JACQUES: (pulls back slightly and tilts her face up to his) I could be good for you in other ways . . . if you would let me. He kisses her, and Holly responds. Then she pulls away. HOLLY: Don't think I'm not tempted. I find you extremely attractive . . . and there's nothing I'd like more than to block out the pain in my life with sex right now. But that wouldn't be fair to you. I would be using you. JACQUES: Use me! Go ahead! I put myself at your disposal . . . gladly. HOLLY: (laughs) I can't right now. I really do have to get to a phone! (Looks at him with curiosity) And honestly, Jacques, I don't know how a man like you can live in a house without a phone. It's . . . unheard of in this day and age . . . it's practically . . . obscene. (Smiles) I bet it's even illegal! JACQUES: Well, there are no other houses for miles, you know. So the expense of running phone lines would be mine alone. And besides, I only use this place as a retreat, when I want to work. . . when I don't want to be disturbed. HOLLY: Well, I have to tell you, it's been damned inconvenient running into town every day to use the phone. And then I keep getting busy signals or answering machines. I haven't talked to my daughter in days . . . she'll be worried sick! They hear the doorbell ring. JACQUES: That's probably my buyers. Please just stay for an hour and help me make them welcome. Maybe we can convince them to go into town with us later. Holly turns her back and looks out the window, wondering how she has gotten herself so tied up so quickly in this man's life. She's known him less than a week and already she is giving up her own life for his. Does she have so little identity of her own? Is that why it's so easy to lose it? First as Mrs. Ed Bauer, the perfect doctor's wife, then the hardened consort of the Swiss media mogul, the loyal confidant of the town pariah, the sainted mother of the sainted newsman's child, and now she's playing hostess to Jacques potential customers? . . . Who is she, really? As Jacques watches her warily, a man enters the study and approaches Jacques with outstretched hands. JACQUES: Monsieur Rolande. I am proud to welcome you to my home. Holly resigns herself to yet another delay in her plans to call Blake. M. ROLANDE: I hope you don't mind, but I have brought along a colleague who is interested in your work . . . Adam Knight. The hairs on the back of Holly's neck stand straight up, her jaw drops, her eyes close and even before she turns to face him, she knows . . .