Subject: Rotsoap: Roger's Revenge - Part 11 ROGER'S REVENGE - PART 11 SCENE: Airport in Paris. 10 A.M. Amanda watches Leo out of the corner of her eye as she walks beside him toward the baggage claim area. Hmm... it's hard to tell, since their liaison took place in such cramped quarters, but she does believe that Leo is quite the little studmuffin. She'd like to try him out on a horizontal surface to be sure, but the vertical version was certainly satisfying. Her cynical musings are interrupted when she realizes that Leo has taken her hand as they walk through the crowded airport. She gets a lump in her throat and her eyes get blurry. No man has held her hand since she was twelve years old. She makes a joke to cover her feelings. Amanda: Does this mean we're engaged? Leo: (flustered) Well, I . . . certainly . . . I would be honored. (he stops and turns to her) Amanda, I hope you know that I don't take it lightly . . . what happened between us . . . I would be most happy to make any kind of commitment you feel . . . This sweet man doesn't know she was kidding! Amanda feels surprise . . . along with an overwhelming urge to hug him. She can't ever remember feeling so . . . protective toward anyone before. Some of her feelings must be showing on her face, because Leo stops talking abruptly, and then flashes an insincere smile. Leo: (with bravado) Oh, you were kidding, right? Of course, of course. I was kidding too. Umm. . . will you excuse me? There's something I have to do. Amanda: (watches him walk away) Leo . . . (he turns to her) . . . don't go. SCENE: A Barn Outside Antibes. 10 a.m. Roger woke before Holly and did some exploring. He found some freshly washed clothes hanging outside to dry and borrowed them. He was even lucky enough to find a pair of shoes left out on the porch . . . probably not a woman's, more likely a young boy's left out because they were covered with mud and his mother didn't want him to track dirt into the house. Roger is sitting on a log putting on his shoes as Holly comes out of the barn wearing her new clothes. She's carrying the shoes, trying to wipe the mud off, so she doesn't notice the expression on his face when he catches sight of her. He doesn't know when he's seen her look so beautiful. The simple white blouse and printed skirt are probably the kind of thing the local peasants wear to a fiesta. The blouse is delicately made, and falls off Holly's shoulders - probably more than it should - since the clothes were obviously made for a larger woman. When he's finished putting on his shoes, he takes the tube of antiseptic from his pocket. Roger: Give me your foot. I want to see how that ankle is doing. Holly: (puts her foot up on his lap) Okay, Dr. Thorpe. Holly's words send a chill through Roger's body. He looks up and he can tell that she feels it too. Neither of them remembers their dream, but as they stare into each other's eyes, they both have the strangest feeling that they've lived this moment before. Holly: (Trying to bring herself back to reality) What's next? We've got no I.D., no clothes, no transportation, no money. Most of my things are back in Cannes and that's closer than Nice . . . so I guess we should go back there. Then I suppose we're going to pick up the tape? Roger: (thoughtfully) No. I think we better leave that where it is for now. Holly: Why? Roger: Because there's something very strange going on here. This was just too easy, Holly. (Gets up and starts pacing) I think . . . that's just what they're expecting us to do . . . go after the tape. Holly: (stands up quickly) You mean they're following us? Roger: I wouldn't be at all surprised. Holly: But . . . if they were planning to let us escape anyway, why didn't they just let us do it last night? Why the fake rape scene? Why tie us up? Roger: I've been wondering about that too. And the only thing I can come up with is . . . they were stalling for time. There's something they wanted to do . . . Suddenly Roger's head jerks up, he turns to Holly with an expression of horror as he's hit with the realization . . . Roger: Peter! They got Peter! SCENE: Hotel in Nice. 10 a.m. Bridget and Hart are lying in bed with their arms around each other. Hart: (kisses Bridget's nose) I guess there's no reason to rush back to Cannes, since we don't have to worry about the phantom phone call from the nonexistent kidnappers. Bridget: (smiling) I can't believe you don't hate me for what I did. Hart: Hate you? (Holds her tightly) I should thank you! You got me away from Dinah . . . and kept me from making the worst mistake of my life. (Kisses her hair) Bridget, I needed a real kick in the butt . . .I was really out of control this last year. Or maybe the problem is . . . I was letting Dinah control me. Besides . . . (he stares into her eyes) How could I hate you? (Kisses her) I love you, Bridget. Bridget realizes she's no longer seeing Roger's face. When she and Hart made love this time, she only saw him. Bridget: I love you, too, Hart. Hart: But what about Roger? Is that over? Bridget: (smiles) It never really started . . .Roger and I aren't lovers. That marriage was just part of the big plan. . . for a while there I thought I was falling in love with him, but now I realize it was just infatuation. You know, an older, powerful man, giving me all that attention. And I think I saw a lot of things in him that I love about you. Plus . . . I think maybe I was just using him . . . to protect myself from my feelings for you. But . . . I always knew Roger could never love me. That part of him belongs to somebody else. SCENE: Paris. Marley's apartment. 10 a.m. Dinah and Frances are standing in the lobby of an apartment building in Paris. Dinah is checking the names on the mailboxes. Dinah: Here it is, "Marley Diniro - 2B" Good. It's close to street level. You stay here and let me know if she comes back. I'll be breaking the window to get in, so when I get inside I'll just leave it open and I'll be able to hear your signal. Remember, if you see her, yell "Taxi," and I'll get out. Frances: You're crazy! I think you better just cut your losses and get out of Paris! Find a new identity! This is way too risky. Dinah: Do I look like I'm sweating? Hey, she's got more to lose than I do. Sombody wants her dead. I'm just giving her a little reminder. A few minutes later, Dinah is standing on the fire escape on the side of the building, raising the window to Marley's room. She brushes the fragments of broken glass off the window sill and climbs into the room. As soon as she stands up, someone jumps on top of her and knocks her to the floor. They're sitting on her back and their hands are around her throat. Marley: Got you! (She tightens her hands around Dinah's neck and begins banging her head against the floor) If you ever want to be capable of thinking another coherent thought, you better tell me quick why you've been trying to scare me! Dinah: (breathless) Stop! Please! I'll explain. Marley loosens her grip slightly and in that instant, Dinah pushes herself up to her knees and in the process she throws Marley off her back. Marley lands on the floor a few feet away and Dinah tries to run for the door. But Marley crawls after her, grabs her ankle and yanks, causing Dinah to fall. Marley: Give it up, girlfriend. I've been wrestling sheep for five years. You're no match for me. SCENE: Hotel in Cannes. 11 a.m. Holly and Roger get back to the hotel in Cannes and check at the desk for messages. Holly: Nothing from Bridget and Hart? Roger: (Looks through a pile of phone messages) No. (Dials the house phone) But I got about a dozen from . . . (stops himself, remembering he hasn't told Holly about Vanessa being alive) . . . Holly, why don't you call their Hotel in Nice and I'll return these calls? Holly gets on the other house phone, and Roger dials Vanessa. Roger: It's me. What's wrong? (Listens and closes his eyes, his face goes white) I was afraid of that. When was he last seen? Roger puts down the phone just as Holly walks up to him. Holly: (sees his devastation) Was it . . .? Roger: Yes. Peter's missing. We better get packed. We have to get to Paris. Did you reach Hart and Bridget? Holly: No. (Wants to take his hand, but she can see he's withdrawn inside himself) The operator said they aren't answering their phone. Roger: Yes. Well, they'll probably be safer staying in Nice anyway. (Looks at his messages) I got a message from Vaughn. I better see what he wants. SCENE: Hotel in Nice. Bridget and Hart are lying on their sides in the bed, facing each other. Bridget lightly caresses Hart's face with her finger. Bridget: (grinning) So, you like it when I kick butt. Hart: (smiling) I like everything you do. (Thinks for a minute and then shakes his head) I can't believe some of the things I did last year! I can't believe that was really me! (Frowns) Bridget . . . when I'm angry I yell, I break things, I may even get the urge to run someone down with my car. But, desecrating my mother's memory? Trying to drive my father insane? . . . and what's even worse, using some of the few honest emotions he has - his love for me and my mother - to do it! Bridget, that's not me! That's not my MO! Bridget: Hart . . . you said you let Dinah control you last year. Why did you? HART: (sighs) I probably should have told you about this when I first came back to town. Because it could effect Peter. Bridget: You're scaring me. Don't tell me you have some kind of genetic disease. Hart: In a way . . . but probably not the way you think. I've never told you what I was doing all those years that I was away from Springfield. Bridget: What were you doing? Hart: I was finding out just how much I was like my father . . . like Roger. Bridget: Well, I knew you had his temper. . . Hart: Yes. But I'm not talking about that. I'm talking about the way he gets obsessed with things. The way he has of focusing on one thing to the point where it destroys everything else in his life. Bridget: Sort of like his obsession with taking over Spaulding? Hart: Yes. Only for me, the obsession was . . . gambling. I'm a gambling addict, Bridget. Bridget: (frightened, sad) But I thought . . . somebody who was addicted to something couldn't stop doing it . . . last night . . . you stopped . . . Hart: Because of you . . . because of Petey . . . if you hadn't been here Bridget, I probably would have kept on playing until I lost everything. I still might do that. That's why as soon as I woke up this morning and felt that old urge, I called my sponsor and then I found a French version of Gambler's Anonymous, and I went to a meeting. Hart is expecting Bridget to be disgusted with his admission, but he sees that she's staring at him with compassion, so he continues. Hart: When I came back to town last year, I'd just gotten out of rehab. And it was scary. I came from a place where every move I made was controlled . . . out into the world where I had to control myself. And I guess I was looking for someone to take over the job. Dinah was more than happy to oblige. Bridget: Oh, Hart . . . why didn't you tell anyone? Why didn't you ask us to help you? Hart: Who would I ask? You? I wasn't about to give you any more reason to keep me away from Peter! Roger? The last time I went to him for help he turned me down. I might have gone to him two years ago . . . when he was living with Holly. I really thought then that he was turning his life around. Because I knew Holly would never put up with him otherwise. But then I got back to town, and I found they broke up. I found him playing the same old games, going down that same old self-destructive path, and it made me see myself thirty years from now, still making the same mistakes. I hated him for that. I hated him for not giving me hope that I could change. Because if he can't change, why should I think that I can? Bridget: But Hart . . . wait a minute. You may have some of Roger's qualities, but that doesn't mean you're destined to relive his life . . . anymore than Petey is destined to relive yours. Hart: Well that's the other thing, Bridget. When I think about Peter, it makes me even more determined to beat this thing. I love him too much to make him grow up with a gambler for a father. So . . . why doesn't Roger love me enough to change? SCENE: Airport. Paris. Amanda and Leo are sitting in the waiting area at the gate. Leo believes that Amanda is just amusing herself with him and he's decided to keep his distance. At the moment, he's pretending to read the paper, but his French is a little rusty so he's having trouble keeping up the pretense. Every so often, Amanda - who is fluent in French - asks him a question about one of the stories. He's been trying to bluff but he can tell it's not working. Amanda: Did you come to Paris just to sit in the airport, Leo? I can think of a lot better things to do. Leo: Well, you're free to go do them. No one's handcuffing you to that chair. Amanda: Interesting idea. Is that a particular fantasy of yours? Leo: (trying to remain aloof, he puts down his paper) Amanda, as I told you before, I'm here on business for a client, the exact nature of which is a matter of attorney-client privilege. So I think it would be better if we parted company. Amanda: Oh, I love it when you go all pompous on me! Leo leans back in his chair and closes his eyes, pretending to sleep. Amanda: Well, I think I'm going to go get an ice cream cone. Can I get you one? Leo: No. I'm going to sleep. Amanda: Would you like me to bring mine back here so you can watch me eat it? Leo: (keeps his eyes closed, but he can't keep from smiling) I thought you were on a diet? Amanda: We'll see. Maybe if we're lucky, they'll have some orange sherbert. (She walks away, and Leo opens his eyes to watch her) SCENE: Hotel in Cannes. Roger's on the phone talking to Vaughn, and Holly's standing at the front desk talking to the clerk. Holly: I'm having trouble getting through to the Melia Elysee Palace Hotel in Nice. Is there something you can do . . . maybe get an operator to interrupt some calls or something? Clerk: (picks up the phone) I'll see what I can do. Roger: (off camera) Just do it! This is an emergency. Holly: (turns to see Roger looking closer to panic than she's ever seen him) What's wrong? Roger: (pulls her out of earshot of the clerk) Vaughn found out what was inside that videotape, Holly. . . it's explosives! An extremely powerful form of explosives. A very minute quantity can do major damage - like blow up a jet in flight . . . Holly: (fearing she already knows the answer) Where's the tape? Roger: I hid it in Hart's suite . . . Hart and Bridget's suite . . . in Nice. We have to warn them to get out . . . Holly notices the clerk waving to her and they return to the desk. Clerk: The reason you can't get through to the Palace is because there was an explosion. They've evacuated . . . Roger: (reaches across the desk and grabs the man's jacket) Was anyone hurt . . . killed? Holly: (seeing the man's confusion and fear) His son was staying there. And his . . . wife . . . Clerk: Yes . . . the explosion destroyed several rooms . . . on the top three floors of the hotel. But they don't have any victims' names yet. Holly: (sees Roger heading for a sofa by the wall and turns to the clerk) Thank you for your help. Would you keep trying . . . please? (Writes down Hart and Bridget's names) And let us know if you get any word on either of these people? Then she follows Roger and sits down beside him. Holly: (reaches for his hand) It's not your fault, Roger . . . Roger: (pulls his hand away and puts his fingertips to his forehead) No . . . I can't think about that now. I have to think . . . (taps his forehead) . . . what should I do? Roger puts his hands on his lap and closes his eyes, takes a deep breath and blows it out slowly. He repeats this several times, and Holly just watches him. After a few moments, he turns to her. Roger: It's no good, Holly. It's not working. I don't know . . . I finally know how people feel when . . . someone asks them what they'd do if they saw their two children drowning . . . and they could only save one. I have to go to Paris and look for Peter . . . but Hart could be hurt in Nice . Holly: And Bridget . . . Roger: (covers his eyes with his hand) And Bridget . . . what I've dragged her into . . . Holly: (touches his arm gently) Roger, I don't mean to sound callous, but . . . at this point . . . Hart and Bridget either got out before the explosion . . . or most likely they're already dead. Roger: No! (Puts his hands on her shoulders) No . . . they could be buried under some rubble . . . they could be trapped in that building and nobody knows they're in there . . . Holly: (stands up) Okay. You go to Paris. I'll go to Nice and find out what happened to Hart and Bridget. I'll go pack. Roger: (stands up and grabs her hand) No, Holly. You can't do that. It's too dangerous. Holly: But it's our only choice! And besides, the tape already exploded. There's no danger now . . . Roger: You have to stay with me. (Puts his arms around her) I have to know at least that you're all right. Peter, Hart, Bridget . . . could all be dead right now! I couldn't bear to lose you too! SCENE: Marley's apartment. Paris. Marley had turned off the lights while she was waiting for her mysterious intruder. Now she turns them on and stares at the woman lying semi-conscious on the floor. It's like looking in a fun-house mirror! This woman's face is a somewhat distorted version of what she used to look like. The features are close to her own, but something's not quite right. As Dinah begins to wake up and opens her eyes, the difference becomes even more apparent. Marley is shocked to see those cold, snake-like, eyes, staring at her from a face so similar to her own - or what used to be her own. She covers her confusion and decides to play dumb for a while. Marley: Who are you and what do you want? Dinah: I'm a fan, Miss Diniro. I'm a big fan of yours. I wanted to get something of yours to remember you by. I thought I saw you leave earlier so I didn't think I'd be disturbing you. Marley: (smirks, thinking that voice sounds vaguely familiar) You must have seen Michelle. Pretty good resemblance, isn't there? Especially when you can't see our eyes. But tell me, fan, what kind of fan breaks a window just to pick up souvenirs? Dinah: Oh, I know I went too far. I shouldn't have broken in. But I was planning to leave you some money for repairs. As Dinah speaks, she moves her hand slowly toward her purse, lying on the floor a few feet away. But Marley reaches it first and takes out the wallet. She pulls out the driver's license, smirks, then stares down at Dinah with contempt. Marley: Okay, who are you? And why are you impersonating Dinah Marler? SCENE: Paris. Airport. Amanda returns to the waiting area just in time to hear Leo's page. "Leo Flynn, you have a phone call at the ticket counter." She watches as he jumps up and approaches the desk. CUT TO Leo on the phone. Leo: Finally! Where the hell have you been, Roger? And where's this package you wanted me to pick up? Roger: The pick-up's off, Leo. Peter's been kidnapped. Meet me at the clinic. I should be there in about two hours. Leo: Peter? How did that happen? Roger: I'm not sure, but I think Dinah's involved with the people who have him. Amanda is at Leo's side as he hangs up the phone. Amanda: Bad news? Leo: (distracted) Uh . . . yes. (Looks at Amanda with narrowed eyes) You're friends with Dinah Marler, aren't you? Amanda: Sure. I was planning to pay her a visit while . .. Leo: You know where she's staying in Paris? (Amanda nods) Good. Come with me. (He takes her hand and they head for the exit) SCENE: Hotel in Cannes. Roger is knocking on the door of Holly's hotel room. But there's no answer. He looks at his watch and realizes he's running a little late. Probably because he called Vaughn to make sure he had an agent in Nice who could look for Hart and Bridget. Roger: (knocks again) Holly? Are you ready? (Puts his hand to his head) Maybe she thought we were meeting in the lobby. Roger takes the elevator down to the lobby and goes to the cashier. Roger: I'm checking out. (He puts his key on the counter and looks around the lobby for Holly) Clerk: (handing him his bill) There's a message for you, sir. Roger signs the bill and opens the message. It's a note from Holly. Roger hears Holly's voice as he reads it: "Roger, I've gone to Nice to look for Bridget and Hart. Thank you for not saying it but . . . I'm responsible for this. If it weren't for me you never would have had that tape. So whatever happened to Hart and Bridget . . . it's my fault. I have to do this. When I find them, we'll come to Paris and meet you at Hart's hotel. Good Luck, Holly." Roger: (crumbles up the note angrily, clenching his fist) Dammit, Holly! Roger flings her note down to the floor and walks toward the exit. Then he stops and looks back at the note, returns to where it lays on the floor and picks it up, stuffing it in his pocket. >> >"Republicans understand the importance of bondage between mother and child." >--Former U.S Vice-President Dan Quayle on Republican Family Values. >> >"Republicans understand the importance of bondage between mother and child." >--Former U.S Vice-President Dan Quayle on Republican Family Values. > "Republicans understand the importance of bondage between mother and child." --Former U.S Vice-President Dan Quayle on Republican Family Values. >>>> >>"Republicans understand the importance of bondage between mother and child." >>--Former U.S Vice-President Dan Quayle on Republican Family Values. >> >