From: fburgess@awinc.com (Frank Burgess)
Subject: RotSoaps: Double Identity

Pam
Double Identity
Written by Pam Purdy (GPurdy3507@aol.com)

FADE IN:

1. INT. WSPR TV STUDIO - DAY

CAMERA OPENS on a TIGHT CLOSEUP of DINAH. Her expression is a symphony of
mixed emotions--false perkiness overlaying barely suppressed fury.

DINAH: So, for everybody who wants to get out and enjoy this beautiful
Saturday and have a great rest of the weekend, I'm just tickled pink to tell
you there's not a cloud in the sky. And you know what that means, folks.

CAMERA PULLS BACK slightly to show that she is wearing a green pixie hat.

DINAH (singing): "The sun'll come out tomorrow..."

CAMERA PULLS BACK to show DINAH in front of a weather map. She is dressed in
a skimpy green pixie costume, and she bounces a big yellow beach ball.

DINAH (singing): "Bet your bottom dollar that tomorrow there'll be sun..."

As she continues singing and cavorting in front of the weather map, we see
MALLOY, seated behind the anchor desk, grinning his head off, and HOLLY, in
a business suit, standing near a studio camera and covering her mouth to
keep from laughing out loud. MATT, wearing headphones and holding a
clipboard, kneels in front of the studio camera and gives hand signals.

DINAH: "Tomorrow, tomorrow, I love you, tomorrow, you're only a day away."

MATT signals MALLOY, and the studio camera swings toward him. DINAH
instantly drops her perky pose and seethes.

MALLOY: Well, thank you, Nixie. I'm sure our viewers won't soon forget that
little tune of yours. Especially our viewers out in farm country, who are
facing their fifth straight week of drought. That's it for the Noon News.
See you again right here for the WSPR Evening News at 6 p.m.

MATT gives a signal, the lights go down on the anchor desk, and MALLOY
bursts out laughing.

MALLOY: Good God, Holly! Next time warn me, okay? Whose idea was that?

DINAH rips off her body mike, tosses it on the floor, and dashes across the
studio, intersecting with HOLLY as she crosses to MALLOY.

DINAH: You...you...dried up, frustrated old hag! How dare you humiliate me
like that!
HOLLY (unperturbed): Better practice some more, Dinah. You almost dropped
the ball.

As HOLLY continues crossing to MALLOY, DINAH seizes MATT's arm.

DINAH: Can you believe that? What are they trying to do to me?
MATT (unsympathetic): You're lucky to have a job. Now that it turns out you
never were Mrs. Roger Thorpe, you've got a lot of bills to pay.
DINAH: And what about you? Uncle Josh kicked you out of his construction
company, and here you are running around the studio like a glorified office
boy. (Makes a grab for his headset.)
MATT (catching her wrist): Floor director, Dinah. Watch out you don't get
pixie dust on my equipment.
DINAH (snatching her hand away): Speaking of your equipment, there's not
much call for it lately. The Contessa's lost interest in her pretty boy.
MATT: And whose fault is that?
DINAH: Not mine. I didn't blab to my mother about us.
MATT: Well, I certainly didn't. But somebody must've. It's the only thing
that makes sense. I-- (Stops and listens to a voice in his ear.) They want
me in the production booth. (Starts off.)
DINAH: Matt, wait. We have to figure this out. (Turning on the charm): Let's
have dinner tonight, like we used to. Just me and you.
MATT (shaking her off): I'm busy.

He goes off toward the booth, and she exits in a snit toward the dressing
room. As she rushes past the anchor desk where HOLLY is conferring with
MALLOY, her pixie cap falls to the floor.

HOLLY: So anyway, it was all Roger's idea. We're an independent station. Our
news shows come in dead last in the ratings for this market. The network
affiliates in Chicago all have meteorologists and weather radar and who
knows what high-tech hokum. Roger's convinced we'll never beat them
head-to-head, so he came up with this gimmick. (Smiling): And I came up with
our new anchorman. You should see your fan mail, Malloy.
MALLOY: Are they raving over my editorial on the Fifth Street Renaissance?
HOLLY: More like rhapsodizing over your beautiful eyes. And checking to be
sure you're really not married.
MALLOY (pretending to be miffed): I hate being a sex object. (Shifting
gears): Be sure and tell them I'm free. Which reminds me--are we still on
for tonight?
HOLLY: Right after the six o'clock news. But we'll have to stop and pick
something up on the way. Mom's visiting my brother Ken in California, and
the cupboard is bare. (Scooping up the pixie cap, she calls out in the
direction DINAH went off): Oh, Nixie! You forgot your cap.

CLOSE SHOT of the cap in HOLLY's hands.

2. INT. CHILDCARE CENTER - DAY

CAMERA OPENS on a CLOSEUP of PETEY, wearing a "wolf suit" for his role as
Max in "Where the Wild Things Are," by Maurice Sendak. WE HEAR children
roaring and stomping.

ELENI (off): "And when he came to the place where the wild things are they
roared their terrible roars and gnashed their terrible teeth and rolled
their terrible eyes and showed their terrible claws 'til Max said..."
PETEY: "BE STILL!"

CAMERA PULLS BACK to show PETEY standing on a green plastic crate,
surrounded MARINA, SHAYNE, MARAH, LIZZIE, and various Fifth Street
neighborhood children, who are dressed as Wild Things in masks made of paper
plates and monster costumes made of grocery bags. Their stomping and roaring
sputters to a stop, and they stand stock-still. We also see ELENI on the
sidelines, reading from a picture book.

ELENI: "...and tamed them with the magic trick of staring into all their
yellow eyes without blinking once and they were frightened and called him
the most wild thing of all and made him king of all wild things."

MARAH places a crown of gold paper on PETEY's head.

PETEY: "And now..."
ELENI: "...cried Max..."
PETEY: "...let the wild rumpus start!"

Shaking tambourines and maracas, the children whoop it up around PETEY, who
hops off his crate and joins the dance. LONG SHOT shows REVA, taking photos
with a still camera, and FLETCHER, writing in a reporter's notebook. The
childcare center is makeshift, but there are shelves of books and blocks, a
housekeeping corner with child-size kitchen appliances, a couple of easels,
and small chairs around a long low table where juice and cookies have been
set out. LIZZIE and SHAYNE rumpus with such gusto that MARINA withdraws to
ELENI's side. Sucking her thumb, MARINA clutches ELENI's skirt. MARAH, the
tallest of the dancers, tries to keep the rumpus from spiraling out of
control by stepping between children and moving them around whenever the
going gets rough. Then everybody stops dead when PETEY gives the cue.

PETEY: "Now stop!"
ELENI: "...Max said and sent the wild things off to bed without their
supper." (Closes the book.) That's as far as we've got.

REVA (applauding enthusiastically): That was just great! (Catching herself
up short): Whoops, I'm sorry. I'm a newshound now. I'm not supposed to take
sides.
FLETCHER: A photojournalist, please. (Consulting his notebook): Let me be
sure I've got this straight, Eleni. On weekdays you're running this place as
a childcare center.
ELENI: That's right. Preschoolers only.
FLETCHER: But on Saturdays you have drama classes for kids of all ages.
ELENI: Up to age 10. I'm hoping to add preteens if I can scare up more
volunteers.
REVA: And it's not just drama, Fletch. They made their own costumes. And
they have music and art and dance--
FLETCHER: Reva!
REVA: Okay. I'll be quiet. (Locks her lips and throw away the key.)
FLETCHER: I just need to ask a couple of more questions, and then--
MARAH: Miss Eleni? The natives are getting restless.
ELENI: Get them settled down for juice and cookies, would you, Marah?
MARAH: Everybody line up for--
SHAYNE: Juice and cookies. All right!

He starts a stampede, but LIZZIE beats him to a seat at the head of the
table near the juice pitcher. He tries to push her out of the chair. but she
won't budge. MARAH intervenes and, as the others take their places, she
moves SHAYNE into a chair next to LIZZIE.

MARAH: You hit, you sit.
ELENI: Sorry about that. You know, I'm really flattered that the editor
himself would come down here to write about our little center.
FLETCHER: Are you kidding? We're practically neighbors. The Fifth Street
Renaissance is my beat. And also...I miss being around kids.

ELENI squeezes his arm, and REVA gives him a sympathetic look.

MARAH: Aren't you coming, Petey?
PETEY (standing on his crate again and striking a pose): Did you get a
picture of me, Ms. Cooper?
REVA: I sure did, Petey. Lots of pictures.
PETEY (hops down): I was good, wasn't I?
REVA: You were totally cool.
PETEY (walking toward the table): I was totally cool.
SHAYNE (to LIZZIE): You took one of my cookies.
LIZZIE: No I didn't.
SHAYNE: Yes you did, you doodyhead.
LIZZIE: I am rubber, you are glue. Everything you say bounces off of me and
sticks to you.
SHAYNE: (raises his fist).
MARAH (hauling him to his feet): Petey, you take this chair.

While she moves SHAYNE to a empty chair far from LIZZIE and switches the
untouched juice and cookies there for the ones SHAYNE has been eating, WE HEAR:

REVA (off): He's a handful.
ELENI (off): If I had another one like Marah, I wouldn't need more volunteers.

ANGLE ON REVA, ELENI, and FLETCHER as he closes his notebook.

FLETCHER: Well, that does it for now. We'd better get back to the _Journal_
before Ben accidentally deletes the next edition.
PETEY (off): You took one of my cookies.
LIZZIE (off): No I didn't.
ELENI: Oh my goodness! (Exits out of frame).
REVA: You told a fib. You didn't say you were filling in for Blake.
FLETCHER: With all the problems Eleni's having with Frank, I thought she
didn't need to hear another horror story. Divorce is a bitch. As who should
know better than you?
REVA: Yeah, but look at me now, Fletch. I'm happy. Poor but happy.
FLETCHER: (looks stricken).
REVA: Oh heck, I'm sorry. Brain calling Reva. I didn't mean to rub it in.
FLETCHER: It's not just losing Meg and breaking up with Holly. Ever since
Claire came back to town, I've started to worry about Kyle Sampson. What if
he came back to stake a claim to Ben? I just can't lose Ben, Reva. I've lost
too much already.

3. INT. LEO'S LAW OFFICE - DAY

ROSS and LEO are seated on one side of a shiny mahogany table. BLAKE and
KATHLEEN sit on the other side. Each couple has a metal pitcher and two
water glasses in front of them. The table is the only shiny thing in Leo's
office, which otherwise looks rather shabby. Sunlight streams through
half-open Venetian blinds.

KATHLEEN: Mrs. Marler wants Mr. Marler to have the carriage house.
ROSS: Mr. Marler doesn't want--
LEO (hushing him with a raised hand): Mr. Marler wants Mrs. Marler to have
the carriage house.
BLAKE: I don't give a hoot in--
KATHLEEN (silencing her with a hand on her shoulder): The house was Mr.
Marler's long before he married Mrs. Marler. She has her own apartment now.
ROSS: Well, hip-hooray for--
LEO: Mr. Marler has taken a room at his club. He wants Mrs. Marler to have
the house and all of the furniture.
BLAKE: I don't need--
KATHLEEN: Mrs. Marler doesn't need all of the furniture. It's just a small
apartment. All she wants is (checking a list) the old furniture they put in
storage when they got the new--
ROSS: _You_ want the old furniture? _I_ want the old furniture.
LEO: What?
BLAKE: I love that old couch.
KATHLEEN: I think we're being very--
ROSS: Not as much as I do. I love that old couch a lot more than--
LEO: Ross, please. We're got thousands of dollars in assets to--
BLAKE: And our old coffee table. And the three-way lamp.
KATHLEEN: Blake, let's not get bogged down in--
ROSS: And how about our bed?
BLAKE: (goes rigid).
ROSS: I'm sure you want that, don't you? Many happy memories there. Many
different happy memories.
BLAKE (trying to control herself): Like you never made a mistake.
LEO: Let's try to keep this discussion on--
BLAKE: If I hadn't caught you kissing Malibu Mandy--
ROSS: Yeah, right. You wouldn't have played doctor with Rick.
KATHLEEN: Let's try to focus on the financial--
BLAKE: That's right, I wouldn't. I wouldn't have got drunk. I wouldn't--
ROSS: Were you drunk when you changed the test results, Blake? Were you
drunk when you lied to me over and over about our "identical" twins?
LEO: This isn't getting us--
BLAKE (rising): Don't you dare lecture me. I'm your wife, not your daughter.
I made mistakes, big ones. I've apologized for them over and over. And I
paid a big price. I lost both my babies.
KATHLEEN: I think we'd all better just cool it before--
ROSS: Maybe if I hadn't married a woman who was young enough to be my
daughter, I could have had a wife with more common sense.
BLAKE (snatches up a pitcher and flings the water at ROSS. To KATHLEEN): Is
that cool enough for you?

4. INT. COMPANY - DAY

CLOSE SHOT of BRIDGET pouring bottled water into a glass. CAMERA PULLS BACK
to show her standing behind the counter and VANESSA sitting on a stool in
front of it. VANESSA drinks half the glass down.

VAN: Thanks, I needed that. If this heat doesn't break soon...
BRIDGET (wiping her neck with a tea towel): It's murder. I got all the fans
going in here and the door wide open. Wish I could afford to have the place
air-conditioned.
I thought about using Henry's money for it, but--
VAN: Too practical. Daddy wanted you to buy something frivolous for
yourself. (Takes another sip of water.) How's Peter holding up?
BRIDGET: He comes on like gangbusters. Doesn't feel the heat. (Wiping the
counter): Sure you don't mind picking him up?
VAN: Not at all. I'm dying to see Eleni's new childcare center.
BRIDGET: I just thought, since you've gone back to work--
VAN: Even the President of Lewis Oil gets Saturday off. And now that H.B.'s
back in harness as CEO...No, the only reason I don't come over more often--
BRIDGET: Is you're afraid to run into Matt. Well, don't worry. Since Holly
took him on full time at WSPR, he works practically around the clock.
VAN: What's that about? Holly, I mean.
BRIDGET: All I know's what Roger told me when he came to see his grandson,
that he can't run WSPR and Spaulding, too. And Holly needed something
after...something to take her mind off, you know, losing Meg and Fletcher
and all.
VAN: I know how that feels. Seems like Bill and I just rattle around in our
enormous house. It's been such a pleasure having H.B. with us, but now he's
bound and determined to get a place of his own. He's across the street,
actually, looking at a house with his real estate agent. Hornblower, her
name is, if you can believe that.
BRIDGET: I wish I could rattle, sometimes. Between my grandmother and Aunt
Nola and Stacey and J...
VAN: And Hart.
BRIDGET: And Hart. (Drawing a drink from the soda fountain): Why don't you
tell Uncle Quint to get on the stick? I think Aunt Nola would go back to him
if--
VAN: Would you take a man back who dumped you for another woman?
BRIDGET (quietly): Yes I would.
VAN: I'm sorry. That was tactless. Dinah has certainly managed to create a
maximum of havoc in a minimum of time.
BRIDGET: You mean having Roger committed? Or Hart's bungee cord stunt? Or is
there something else?
VAN: Oh, Bridget, it's so complicated. So many problems. I wish I could tell
you exactly what she--
MATT (off): God, it's hot in here.

CAMERA ANGLE WIDENS to show MATT in the doorway, mopping his brow with a
handkerchief. He starts across the room but freezes when he sees VANESSA.
They stare at one another.

5. INT. WSPR DRESSING ROOM - DAY

MARCUS is lounging in a chair at the dressing table. DINAH is undressing
behind a screen. She flings the bits and pieces of her pixie costume over
the top of the screen to punctuate her speech.

DINAH: Problems? You have problems? What the hell problems do you have? I'm
the one who has problems.
MARCUS: Well, let's see. I've got a great day job working for Indiana
Chamberlain at the Lighthouse of Doom--
DINAH: Whereas I've got a scut job as a damn weather pixie in a stupid green
suit.
MARCUS: And a great gig blowing sax at the Towers--
DINAH: Whereas I'll be lucky if they don't kick me out of my motel room at
the end of the week. I can't ask Holly for an advance. I can't do it. She'd
love to see me crawl.
MARCUS: _And_ I've got a beautiful, sexy girlfriend--
DINAH: Sexy? Stacey? She's built like a milk cow. (Coming out from behind
the screen in a silky lavender teddy): Now, this is sexy.
MARCUS: Good grief, Dinah, I'm your friend, not a eunuch in your harem. Go
put some clothes on.
DINAH (withdrawing, satisfied): So what's your problem?
MARCUS: My problem is, my best friend is very unhappy.
DINAH: And I am. Very, very unhappy. Roger's still got all my money stashed
away. And now I can't even get half his money by divorcing him, because it
turns out we never were legally married. He's still Mr. Alexandra Spaulding.
But the worst part is--

She comes out again, now wearing a skinny little dress. He zips it up the
back for her.

DINAH: The worst part is, Matt treats me like dirt. I have to see him every
day, and he can't get away from me fast enough. I thought it was because
Mother came home from the sanitarium. But now I'm not so sure. Why, Marcus?
Why doesn't Matt want me any more?

6. INT. COMPANY - DAY

MATT and VANESSA stare and one another. BRIDGET makes a move to go.

VAN: Don't go Bridget. I... (She's at a loss for words.)
MATT: Sorry. I didn't realize you'd be here. I just came over to pick up an
early dinner for the crew. Can you whip me up a dozen hamburgers and some
fries, Bridgie?
BRIDGET: Oh great! Just what I needed--to slave over a hot grill and a
deep-fat fryer. Won't they settle for tuna sandwiches and potato salad?
MATT: Not these guys. Strictly burgers and fries. (As BRIDGET turns toward
the grill, MATT approaches VANESSA.) You look...absolutely beautiful, Con--
VAN: (winces).
MATT: Vanessa. You do.
VAN (rising): I'm sorry. I can't talk now. I'm meeting H.B.

She starts to cross to the door, and he pursues her. They zigzag across the
room through the next exchange.

MATT: Can't you stay and talk to me awhile?
VAN: No, I can't. I...H.B. is waiting.
MATT: But how are we ever going to work things out if we don't talk face to
face?
VAN: My lawyer can talk to your lawyer.
MATT: I haven't got a lawyer. I don't want a lawyer. I want you, Contessa.
VAN: Don't call me that! That phase of my life is over.
MATT: Why? Why is it over? Is it your health? Is that why you're avoiding
me? Is there something about you that you don't want me to see?
VAN: I'm fine. I'm just as you see me. I...I can see clearly now. It's over.
MATT: It's not over. (Seizing her by the shoulders): I don't want it to be
over. I still love you as much as I did when we were stranded on our island.
VAN: (can't break free and doesn't really want to).
MATT: No, that's not true. I love you even more because I almost lost you.
For God's sake, Vanessa, after all we've been through--
H.B. (off): You ready to go, darlin'?

CAMERA ANGLE WIDENS to show H.B. in the doorway.

VAN (tearing herself away): I'm sorry. I can't do this now. We have to pick
up Peter at the childcare center.

MATT stands helplessly looking after VANESSA as she and H.B. exit.

7. EXT. FIFTH STREET INTERSECTION - DAY

CLOSE SHOT of a banner reading "Fifth Street Childcare." CAMERA PULLS BACK
to show the banner hanging over the door of a storefront on a corner of
Fifth Street. On the other side of the cross street, we see the Gates of
Dawn realty office. FLETCHER and REVA come hurrying along Fifth Street
toward the Childcare Center.

REVA: I'm sorry, Fletch. Even though Lizzie spilled juice on my camera, I
thought the film was okay until I got it into the darkroom.
FLETCHER: We're just lucky Eleni said she'd put the kids through their paces
again if the two of us would help her get 'em back in their costumes. Come
on, come on! We got a deadline, and right now there's a big hole in the
front page of Lifestyle.

ANGLE ON SUSAN PIPER as she comes walking along the opposite side of the
cross street. FLETCH grabs REVA's arm and pulls her into the doorway of the
Childcare Center.

FLETCHER (whispering): Oh my God! It can't be. Reva, quick! Get her picture.
REVA: What?
FLETCHER: That woman across the street. Grab her picture before she gets inside.

Oblivious to them, SUSAN is unlocking the door. REVA take a photo of her
from the back before she vanishes into the office.

REVA: Who was that?
FLETCHER: Can't be who I think it was. At least I hope not. I'll have to
study the picture before I get too steamed up. If that's her office, she's
not going anywhere. Have you noticed, Reva, there's a lot of weird
characters in Springfield these days?

8. INT. MRS. POPOV'S ROOM AT THE CLINIC - NIGHT

CLOSEUP of MRS. POPOV, propped up in her hospital bed at the Marty Kinder
Memorial Clinic. She wears a pretty bed jacket over an institutional nightgown.

MRS. POPOV: I saw the King of Hell in the hallway.

CAMERA PULLS BACK to show UNCLE STAVROS sitting by her bedside. His
second-best suit is moth-eaten and wrinkled.

STAVROS: You gotta stop saying that stuff, Olga, or Natasha will never sign
the papers to let you out of this loonybin.
MRS. POPOV: She won't anyway. I went home for a visit...was it last Sunday
or the Sunday before last? My poor head! But I know what I saw. I saw a TV
big as a chest of drawers in my daughter's living room. How could she afford
such a thing? Somebody's paying her to keep me locked up here. And I know
who it is now. It's the King of Hell.
STAVROS: Olga, Olga, Olga! First it was the Archangel Zachary. Now it's the--
MRS. POPOV: I told that reporter about him--the one with the curly red hair,
used to go out with Frankie. And then Harley came, our little Harley. She's
all grown up now, and she gave me this bed jacket. I told the both of them
about Zachary and the suitcase and the money that saved Fifth Street.
STAVROS: And ruined Mr. Spaulding. I heard Buzz and Reva in the kitchen. I
was making the moussaka special, and I heard Reva say Mr. Spaulding lost
every penny after Buzz paid people to stay on so as Mr. Spaulding couldn't
tear down the buildings and put up them there yuppie condo coffee shop
boutiques. So now he has to marry a crazy woman, comes from a family of
billionaires in South America or South Africa or somewheres.
MRS. POPOV: And all because an angel gave me the money. I'm not lying about
it. I'm not like you. I'm a God-fearing woman. And I swear on the Baby
Jesus-- (She crosses herself in the Russian Orthodox fashion.) --that I did
see Zachary on the pier, and I saw him again right here in the chapel, and I
saw him again last night in the hallway with the King of Hell, who called
him a gyro or a pyro and a fatso or a schizo and shook him like he was a
puppy and cried and said he was a disgrace to the family name.
STAVROS: Who cried? Who's a fatso?
MRS. POPOV: The King of Hell cried. Isn't that strange?
STAVROS: You can say that again. (Checking his pocket watch): Look, Olga, I
gotta get back to the diner. But here's what I think. (Rising): Even if
every word you say is the God's honest truth, just keep your lip zipped
about it. Then maybe someday you'll get out of here. Angel or no angel,
there's money is this, and it don't pay to meddle with rich folks.

With that, STAVROS exits. MRS. POPOV looks after him wistfully, her lower
lip quivering.

MRS. POPOV (to herself): I did see them. And there is something funny going
on. But if it helps me get home, I'll keep quiet.

A KNOCK at the door. MRS. POPOV brightens.

MRS. POPOV: Stavros? Is that you?
ZACHARY (entering, one hand behind his back): No, Mrs. Popov, it is I.
MRS. POPOV (crossing herself): Thank you, Baby Jesus! I almost gave up hope,
but here you are.
ZACHARY (advancing on the foot of her bed): I wanted to come before now, but
there is a great deal of wickedness in this world, and I have been very
busy. (Revealing the hidden hand, which holds a bottle of rubbing alcohol):
You have been such a good and faithful servant that I want to do something
for you. (Twitching back the blankets at the foot of her bed): Would you
like a foot rub?

CLOSE SHOT of ZACHARY pouring alcohol on the sheet at the end of the bed,
concealed by the mound of bedclothes.

MRS. POPOV (off): That would be heavenly. But I'm a poor old woman, and you're--

CLOSE SHOT of ZACHARY surreptitiously removing a lighter from his pants
pocket and flicking on the flame.

ZACHARY: Didn't Jesus wash the feet of his disciples?

CLOSE SHOT of the lighter moving closer to the alcohol-drenched sheet.
CLOSEUP of MRS. POPOV, who is blissed out. Suddenly her expression turns to
one of horror and she points a trembling finger toward the door. 

MRS. POPOV: Look out! Look out! It's the King of Hell!

ANGLE ON the doorway, where we see the DOCTOR [played by Anthony Herrera],
looking grim.

9. INT. GROCERY STORE - NIGHT

In a small mom-and-pop grocery store with four aisles, we see HOLLY and
MALLOY pushing their cart down aisle one and up aisle two, while MATT and
LAURA push their cart down aisle four and up aisle three. Eventually the two
couples will meet at the top of aisles two and three, in the front of the
store, where LOLA sits at the cash register reading a soap magazine.

MALLOY (plucking a package from the cart): What's this stuff?
HOLLY: Instant black beans and rice. Just add water. Total nutrition in a bag.
MALLOY: You must be kidding. (Putting the package back on the shelf): I ate
enough prepackaged food in the mountains.
HOLLY: Did you climb Everest?
MALLOY: Not yet. Worst climb I ever had was actually a walk. Hiked almost to
the top of Machu Picchu and had to turn back because my lungs gave out on
me. Air's very thin in Peru. I climbed in the Swiss Alps a time or two.
Mostly I climb the wall at the Rock Gym.
HOLLY: I used to live in Switzerland. In Gstaad.
MALLOY: Too rich for my blood.
HOLLY: Mine too. My ex-husband was in business there. Everybody else would
be out on the slopes. He'd be working the phones.

MATT (indicating a jar of horse radish Laura holds in her hand): What's that
for? Corned beef and cabbage?
LAURA: Hardly. It's for the wasabi. Got the tuna this morning at the Fifth
Street Fish Market.
MATT: Everybody keeps trying to feed me tuna salad.
LAURA: Sashimi, darling. I make my own sashimi.
MATT: What's that?
LAURA: You'll love it.
MATT: I don't know. (Moving closer to her, suggestively): I'm a strictly a
red meat and potatoes kind of guy.

MALLOY: What was he like, your ex-husband?
HOLLY: I'll tell you what I always tell everybody. He was about as appealing
as acid rain.
MALLOY: So I guess you don't keep in touch then.
HOLLY: Does Linda Hamilton keep in touch with the Terminator? He had a wife
or two before me and probably some after. I was just a blip on his radar
screen. At least it got Blake a good education. He put all his children and
stepchildren into fancy boarding schools. (Picking up a package): Spaghetti.
Can't go wrong with spaghetti.
MALLOY: What line of work was he in?
HOLLY: Something to do with pharmaceuticals. He traveled a lot. Flew his own
plane. (Picking up another package): Or do you prefer linguini?
MALLOY (with a killer smile): I'm easy.

MATT: You didn't used to be so prissy. What would Roger think if he knew
about your old boyfriend, Mr. Whatisname, Gotrocks, whoever? Couldn't keep
his lady happy so he sent her to the Malibu Madam just to get her off his case.
LAURA: Roger has his hands full with Alex. He couldn't care less about my
rent-a-hunk days. Didn't I use my influence to get you a cushy new job?
Anyway, if you tell Roger about me, I'll have to tell Van about Dinah.
MATT (trying to maintain a poker face): What about Dinah?
LAURA: Oh, grow up, Matt. Every time the two of you come within a mile of
one another, it feels like the bull just got into the cow barn. I'm a
farmer's daughter, don't forget. Reach me down the soy sauce, would you,
darling? The low-sodium soy sauce.
MATT: I kind of like Chinese food. Ma used to give us chop suey every once
in a while.
LAURA: Chop suey? Bite your tongue.
MATT (crowding her again): I will if you will.
LAURA: Leave me the hell alone!

At this moment, the two carts meet head-on. LAURA's voice is loud enough to
cause LOLA to glance up from her magazine.

HOLLY: Matt! What on earth---
LAURA (unflappable): Hello, Holly. This must be the new talent Roger told me
about. (To MALLOY, holding out her hand): I'm Laura Jessup, Mr....
MALLOY (shaking hands): Malloy, Declan Malloy.
LAURA: Roger expects great things from you at WSPR. He asked me to consult
with Matt about some purchases for production, Holly.
HOLLY: Did he? I thought that was my job.
LAURA: Just doing the spadework, getting a wish list. You'll make the final
decision, of course. Well, it's been lovely seeing you, but I must get back
to the penthouse and make dinner. We're having sashimi.
HOLLY (intimidated): Me too. I mean, get back to my house. To make dinner.
It's spaghetti.
LAURA: How nice.
LOLA: Which one of you two gets to go first?
LAURA (smiling): This reminds me of my school days. (Gesturing to Holly):
Age before beauty.
HOLLY: Pearls before swine.

10. INT. SPAULDING DINING ROOM - NIGHT

ALEX and ROGER sit at the head and foot of the dinner table; ALAN, SONNI,
ALAN-MICHAEL, and HARLEY sit on one side, while AMANDA, RICK, GILLY, and
PHILLIP sit on the other side. GINGER is serving. CAMERA OPENS on a CLOSE
SHOT 	of GINGER's hand ladling soup into ALAN's dish. It is steaming hot and
an unappetizing grayish-white color.

ALAN: What the devil is this?
GINGER: Vickysooazzy.
ALAN: Vichyssoise? _Vichyssoise_? It's hot!
GINGER: Hot as can be. (Slopping some in SONNI's dish): And loaded with
taters. Put some meat on your bones, Miss Sonni.
SONNI: (wipes spattered soup off her blouse with her napkin).
ALEX (coughing discreetly): I believe my brother means that vichyssoise is
supposed to be served cold.
GINGER: Who knew? (Serving A-M): Gotta take that up with Donna, Mistress.
ALAN-MICHAEL: Donna's cooking? Oh brother!
GINGER: And she had a heck of a time keeping the frills on them lamb chops,
lemme tell you. (Serving HARLEY): Damn near set the whole oven on fire.
ALAN: Oh my God!
HARLEY: This looks very good, Ginger. (Blowing on a spoonful): My grandpop
used to make potato soup.
ROGER (rising, to Alex): I'll have a word with Donna, dear.
ALEX (rising): I'll go.
ROGER: No, I'll go. (Exits.)
GINGER (calling after him): You want soup, Master?
ALAN (giving a snort): The king's in his castle, all's not right with the world.
AMANDA: Beggars can't be choosers, Father. I'll have some of that soup,
please. I'm starved!
GINGER (serving AMANDA): If the soup's supposed to be cold, then why's the
ice cream supposed to be hot? Sounds backasswards to me.
RICK: Are we having Baked Alaska? Yum! Mo used to make the greatest Baked
Alaska. She went on a cooking kick and took a course one time.
GILLY: My mother joined an entree-of-the-month club. Every month she'd get a
different frozen main dish in the mail. That's the first time I ever
ate...what's it called? Beef in a pastry shell? It's way too much when
you're ten.
GINGER (having served RICK and GILLY, moving on to PHILLIP): Sounds kind of
like pigs in a blanket to me.
PHILLIP (waving her off): None for me, thanks. I'm saving myself for the
"lamb chops."

ROGER re-enters, followed by DONNA, in an apron, hair sweaty, flour smeared
on her cheek.

ROGER: I saved the rack of lamb. (Sits down.)
DONNA (to ALEX): I know you said pink, Mistress, but I saw on Geraldo where
a lot of little kids died from eating meat that wasn't cooked through.
ALEX: That was hamburger, Donna, at a...fast food place. And please remember
to call me Mrs. Thorpe.
DONNA: Well, okay, but if you gonna be changing your name every two minutes,
it's easier if we just call you Mistress and let it go at that.
ROGER: That will be all, Donna.
ALAN: (sneers).
RICK (sipping soup): Hey, this is pretty good.
ALEX: Excuse me, Rick. We haven't said grace yet. Roger, will you do the
honors, dear?
ROGER: Uh, I'm afraid I'm not particularly religious.
ALAN: I'll say it. (Looking straight at Roger): For what we are about to
receive, oh Lord, 
make us truly grateful. (Shaking out his napkin): And God help us, or these
numskulls will poison us all.

11. INT. MRS. POPOV'S ROOM - NIGHT

When he sees the DOCTOR in the doorway, ZACHARY freezes, the lighter not
quite touching the sheet.

MRS. POPOV: Look out!

The DOCTOR lunges at ZACHARY and wraps him in a bear hug. The lighter falls
to the floor and goes out.

DOCTOR: Up to your old tricks again. Damn it, Marty, can't I leave you alone
for a minute?
ZACHARY: No you cannot. (Laughs wildly.) I am your cross to bear.
DOCTOR: Don't make me give you another shot.
MRS. POPOV: Help! Help!
ZACHARY: You tell him, sister!
DOCTOR: Don't make me put you in the jacket.
ZACHARY (wilting): Not the jacket. I'll be good.
MRS. POPOV: Don't you dare hurt him.
DOCTOR (in a commanding voice): Be quiet!

MRS. POPOV shrinks back in her bed. The DOCTOR sits ZACHARY down in a chair
near the door, pockets the lighter, and takes a seat beside MRS. POPOV,
talking to her as if she were a child.

DOCTOR: It's for his own good. I'm sorry I had to speak sharply to you.
(Holding out his hand): I'm the Doctor.
MRS. POPOV: (is afraid to shake it).
ZACHARY (dull and defeated): No he's not. Don't believe him. He's not a real
doctor. He paid some college to give him an honorary degree.
DOCTOR: That's enough, Marty. I'm not a medical doctor, Mrs. Popov. My
doctorate is in business administration. My company owns the company that
owns this clinic.
MRS. POPOV (to herself): Don't meddle with rich folks.
DOCTOR: I'm sorry this patient disturbed you. He's a paranoid schizophrenic.
ZACHARY: (gives a short, bitter laugh).
DOCTOR: It came on him suddenly, in boarding school, and he's never quite
been the same.
MRS. POPOV: Para-who?
DOCTOR: He also has a little problem with fire.
ZACHARY: (laughs heartily).
DOCTOR: He actually took lessons once so he could walk on hot coals. But
that's neither here nor there. I'm sure this whole incident has been very
upsetting for you. I understand you've had good results from talking to the
Reverend Smith.
MRS. POPOV (rallying): Yes, the Reverend Smith. Where is he? I want the
Reverend Smith.

12. EXT. HOLLY'S TOWNHOUSE - NIGHT

CLOSEUP of REVEREND SMITH, looking intent. CAMERA PULLS BACK to show him
standing in a clump of bushes and peering through a bay window at the living
room in Holly's townhouse. We see HOLLY and MALLOY sitting on a couch behind
a coffee table. She is pouring him a cup of coffee from a china pot. He says
something, and she laughs. SMITH scowls.

13. INT. HOLLY'S LIVING ROOM - NIGHT

HOLLY: What did your mother call you, then?
MALLOY: Eileen, mostly. Paddy sometimes. I was the youngest of seven, and
she usually ran through all their names before she got to me. But nobody
ever calls me Declan. Like Mulder on _The X-Files_. Nobody ever calls him Fox.
HOLLY: Is that a good show?
MALLOY: I like it. It can be pretty farfetched--sewer monsters and alien
clones with ice picks. But it can also be pretty funny.
HOLLY: I'll have to give it a try. Coffee okay?
MALLOY: (nods).
HOLLY: Sorry I forgot about dessert.
MALLOY: I'm not. (Setting down his coffee cup): I'm hoping you'll let me
finish dinner with lips a la Holly. (Moves closer but waits for a response.)
HOLLY: I believe that is on the menu tonight.

As he kisses her, we see SMITH peering through the window at them. He looks
fit to be tied. In mid-kiss, HOLLY suddenly bursts out laughing.

MALLOY (disconcerted): Have I forgotten how to do this? It's been awhile.
HOLLY: I'm sorry, I'm sorry. I just got to thinking how funny it was to be
kissing you and still calling you by your last name. I mean, what am I going
to say if I end up being madly in love with you--"I adore you, Malloy"?
MALLOY: Sounds good to me. What say we try it again, with a little less
thinking?

They kiss again. SMITH barely restrains himself from putting his fist
through the window.

14. INT. SPAULDING LIBRARY - NIGHT

Both looking a little furtive, GILLY and ROGER slip into the library. He
closes the door and crosses to the desk. She hesitates to follow him.

GILLY: This doesn't sound right to me.
ROGER: Quit thinking so much and look at these figures. It won't take
Phillip that long to show Rick the new billiard table.
GILLY (crossing to him slowly): You're not my favorite person.
ROGER: I know that. I know I walked all over you. What can I say? That was
the old Roger. I can be obnoxious when I'm cornered. But I'm back on top
now, and I plan to stay there. Take a look at my calculations. You won't be
sorry.
GILLY: (bends over the desk).
ROGER (pointing): This is what Alex has, and these are my shares. Plus she
has Nick's proxy. This is our total. Got it? Now, these are Alan-Michael's
holdings, and this is what he votes as proxy for Hope.
GILLY: Who's that?
ROGER: His mother. Alan's ex-wife. She's been living in Switzerland for
years. He had to settle a bundle on her when they divorced because she
caught him having an affair with... It's a long story. The point is,
Alan-Michael's total shares roughly equal ours. Then there's Alan. He holds
zip, zilch, zero. Gave 'em all to Amanda. But she'll never vote with Alex,
not after the Malibu Madam business.
GILLY: They hate each other's guts.
ROGER: Well put. So--Alan-Michael, Hope, and Amanda are just about even with
Alex, Nick, and me, unless...
GILLY: Unless Phillip votes with you. He has the balance of power.
ROGER: Indeed he does...

15. INT. SPAULDING SECRET PASSAGE - NIGHT

CAMERA SHOOTING PAST SUSAN PIPER, smoking a cigarette in her ever-present
holder, as she observes them through the spy hole.

ROGER: Indeed he does. And it's your job to see he uses his power for good
instead of for evil.
GILLY (laughing): Okay, Roger. What's in it for us?

16. EXT. HOLLY'S TOWNHOUSE - NIGHT

SMITH withdraws deeper into the bushes as he sees MALLOY and HOLLY cross the
living room toward the front door, which opens. They step out onto a small
front porch.

HOLLY: Goodnight, Malloy.
MALLOY: Goodnight, Lindsey.
HOLLY: Oh, please! Anything but that. When I first got into television, I
was using that name. Now I'm sort of stuck with it, professionally speaking.
But I think I'll go back to Norris anyway.
MALLOY: Why not? It worked for Farah Fawcett-Majors. (Gives her a quick kiss
on the nose.) I'll wait 'til you get inside.
HOLLY: That's all right. This is a family neighborhood. I'm going to look at
the stars for a while. With this heat wave, night's the best time to be
outdoors.

Giving her a small salute, MALLOY exits, and soon WE HEAR his car drive off.
HOLLY looks pensively at the sky. Now that she's alone, she's sad again.

HOLLY (softly): "Star light, star bright, very first star I've seen tonight,
I wish I may, I wish I might--"

SMITH springs out of nowhere, throws a blanket over her head, and bundles
her off into the bushes.

17. INT. SPAULDING SECRET PASSAGE - NIGHT

CAMERA SHOOTING PAST SUSAN at ROGER and GILLY in the library.

ROGER: I have quite a nice surprise in store for Mr. Phillip Spaulding--vice
president in charge of all our foreign holdings. It's a major, major plum.
GILLY: Not as major as president of the whole shebang. Phillip won't settle
for less. Why don't you move up to CEO and--
ROGER: No can do. Alex wants that for herself.

ANGLE ON SUSAN as her cell phone trills. She answers it quickly, to silence
the sound.

SUSAN: This had better be good...Never mind where I am. Where are
you?...What! Have you lost all your marbles? (To herself): Ask a stupid
question...What the hell'd you do that for? Forget it. I'll meet you there.
Just don't do anything else crazy. (Snaps the phone shut.)

18. EXT. SPAULDING MANSION - NIGHT

BUZZ and HAWK are lurking by the fence that surrounds the Spaulding estate.
HAWK kneels down with his fingers interlocked, preparing to boost BUZZ over
the wall.

BUZZ: This is crazy, Hawk.
HAWK: Come on! You done it before a bunch of times. Alexandra told me. Said
you was always sneaking in here to see her or that other lady.
BUZZ: Jenna.
HAWK: Jenna, yeah. She was Mrs. Roger Thorpe too _and_ lived to regret it.
Leastways that's how I remember it, time you had a few too many and started
to babble about the 
bad old days, 'fore you married my Reva.
BUZZ: Jenna. (He sighs.) Roger really mucked her over.
HAWK: Same as he's gonna do to Alexandra, if we don't get the goods on him
mighty damn quick. Come on. You're just a pip-squeak. I'll boost you over,
and you let me in by the gate.
BUZZ: I got caught a bunch of times, too.
HAWK: Horsefeathers! Them Spauldings think they're so high and mighty, but a
baby could break in this place. Remember Tina and her no-good partner? They
waltzed right on in here without a by-your-leave. Do it for Alexandra. You
got a weak spot for her. I know you do.
BUZZ: (hesitates).
HAWK: Do it for Jenna then.

Reluctantly, BUZZ puts his foot on HAWK's hands, and HAWK gives him a boost.
As his head tops the fence, he stops short, clutching the iron bars.

BUZZ (whispering): Cheese it! Somebody's coming.

We see HAWK straining to support BUZZ as an inconspicuous side door opens.
SUSAN steals out and leaves quickly by the back gate. HAWK loses his grip
and collapses on the grass, BUZZ falling on top of him.

HAWK: Shhh!
BUZZ: You shhh! What'd you have to drop me for?
HAWK: You may be puny, but you're heavier than a ton of bricks. Where's that
door go to? The coal cellar?
BUZZ: The _coal_ cellar?
HAWK: This house goes back a ways. Where's it lead to?
BUZZ: Never noticed it before. Who was that woman, I'd like to know.
HAWK: Got no idea. (Picking himself up and dusting himself off): Let's get a
move on. I reckon I got one more alley-oop left in me.

This time HAWK succeeds in boosting BUZZ over the wall. CAMERA FOLLOWS HAWK
around the wall to the gate. Just as BUZZ is about to unlatch it, the back
porch door opens, spilling light on the lawn.

HAWK: Get down!

They duck out of sight as SONNI comes out of the house and leaves by the
back gate, passing so close to BUZZ that her skirt brushes his cheek. Once
she's out of sight, BUZZ lets HAWK in.

HAWK: You know who that was, don't you? One sick little chickie. Sonni,
Solita, whoever. Tried to hurt my Reva. She's another one of Roger Thorpe's
old lights of love.
BUZZ: She's not engaged to Alan?
HAWK: Now she is. Poor, pitiful Alexandra! Surrounded on all sides. Get
cracking, Buzzman. And don't let's make a racket.

From: fburgess@awinc.com (Frank Burgess)
Subject: RotSoaps: Double Identity


19. INT. - SFPD SQUAD ROOM - NIGHT

CLOSE SHOT of the phone on LEVY's desk. It RINGS loudly. LEVY picks it up.

LEVY: Sergeant Levy....When was this? (Jotting a note on a pad): Okay. We'll
handle it. (Hangs up.) Cleary! Cooper!

FRANK and NELL hurry to LEVY's desk, which is cluttered with papers and two
large, half-eaten pizzas.

NELL: What's up, Sarge?
LEVY: Silent alarm went off. Somebody just hopped the fence at the Spaulding
place. Security company called it in.
FRANK: We'll get right on it.
LEVY: Remember what happened before. I'll have your badge if you futz it up
this time.
NELL: You can count on us, Sarge.

As they leave, he absent-mindedly chomps on a piece of cold pizza.

20. EXT. SPAULDING MANSION - NIGHT

BUZZ and HAWK are approaching the side door when the back door opens once
again, and light spreads across the lawn. They scramble for the wall beside
the side door and stand pressed against it, shushing one another. PHILLIP
comes out and leaves by the gate.

HAWK: Dang! Another close one. Must be holding a Elks convention here.
BUZZ: How do I get myself into these things?
HAWK: Quit your griping and open the door.
BUZZ: (carefully opens the side door a crack).
HAWK: Looky here what I got. (Takes a roll of masking tape out of his jacket
and tapes the latch.)
BUZZ: Where do you come up with these ideas? Watergate burglars' manual?
HAWK: I know what I'm doing. Let's see where this leads to. (Slips inside.)
BUZZ: I got a bad feeling about this. (Follows him.)

21. INT. MOTEL ROOM - NIGHT

In a seedy motel room, JOSH and SONNI stand halfway between the door and the
bed. They are locked in a passionate clinch. SONNI finally comes up for air.

SONNI: Mmmmm! That felt good.
JOSH: I shouldn't be here.
SONNI: Shouldn't, couldn't, wouldn't--what the hell! (Starts to unbutton his
shirt.)
JOSH: I'm a husband, I'm a father--
SONNI: You're the vice president of Lewis Oil. (Nibbles his ear.) And
wouldn't you like to know what I know?
JOSH: Something about Spaulding Enterprises.
SONNI: Something juicy. (Placing his hands on the front of her blouse): One
tidbit for every button. I saw a piece of paper tonight.
JOSH (unbuttoning the top button): A piece of paper?
SONNI: A list of all the family holdings--who owns what shares of Spaulding
stock. Want to know what Alan owns?
JOSH (unbuttoning the next button): Tell me.
SONNI: Not a damn thing. (Laughing): I thought I was marrying him for his
money. Turns out he's marrying me for mine. Roger told me.
JOSH: But you don't have any money. Your family cut you off without a cent.
SONNI: (hums a little tune).
JOSH: (unbuttons the next button).
SONNI: Roger says they're in on it with him. Alan and the Carreras. It's a
power play to seize control of Spaulding. But a power play--
JOSH: Means a power vacuum. Spaulding is ripe for the plucking.
SONNI: And you're just the guy who can pluck it. (Rips her blouse open,
scattering the remaining buttons and revealing a low-cut, lacy black bra.)
Let's show my dear family just how bad I can be.

22. EXT. SPAULDING MANSION - NIGHT

FRANK and NELL come walking stealthily around the side of the Spaulding
mansion, shining flashlights here and there. NELL's light falls on the side
door, and they see the tape. FRANK raises a finger to his lips and creeps
inside, followed by NELL.

23. INT. CLUB CHUCK - NIGHT

The Club Chuck is a dive on Fifth Street, popular for its late hours, great
jukebox, and cheap booze. It's a long, narrow room. A bar runs along one
side of the room; chairs and tables line the other side. TINA is tending
bar. PHILLIP and REVA sit on barstools halfway along, and WANDA and LEO have
a table in the rear, near the jukebox.

LEO (indicating PHILLIP and REVA): There's an odd couple.
WANDA: Not really. (Sips her frozen daiquiri.) When Reva was married to--I
forget if it was Josh or Billy--her and Phillip used to paint the town red.
They're a combustible combination. I like combustible combinations, don't you?
LEO: (sips his gin and tonic to stall for time).

TINA: Hi, Reva. What'll it be?
REVA: Bourbon and branch.
PHILLIP: Scotch and soda.
TINA: (mixes the drinks).
PHILLIP: Thanks for meeting me here.
REVA: No problem.
PHILLIP: It's just...I've got no one to talk to. Rick thinks I'm a heel for
starting in with Gilly before my divorce from Beth is even final.
REVA: He should talk.
PHILLIP: The Blake thing, that was different. They were both plastered. And
she's a snake.
REVA: I kind of like her. (Accepting her drink): Thanks, Tina. I see a lot
of her now I'm working at the _Journal_.
PHILLIP: Better you than me. (Accepting his drink): Thank you. But Gilly and
I, that's kind of...If you can't be with the one you love, love the one
you're with.
REVA: I know the name of that tune.
PHILLIP (looking around): This place is dead tonight. (Fishing a coin out of
his pocket): Drop a quarter in the jukebox. Pick something hot.
REVA: When have I not?

She crosses to the jukebox and spots WANDA and LEO.

REVA: Wanda, hey! I didn't see you. Is this your latest?
LEO: We're just friends.
WANDA (hitching her chair close to his): Good friends. Where's Buzz tonight,
Reva?
REVA: He and Pop went out to the wholesale food market on Route 29. It never
closes. Pop told me they had to pick something up.

REVA puts a coin in the jukebox, punches a number, and WE HEAR the Troggs
doing "Wild Thing." The song continues to play over the next scene.

24. INT. SPAULDING SECRET PASSAGE - NIGHT

CAMERA SHOOTING PAST BUZZ and HAWK as they jostle for position and peer
through the spy hole at ROGER and ALEX, both in dressing gowns. She's
sitting in an armchair reading a book. He's sitting opposite her in the mate
to that chair, sipping a glass of brandy and reading the _Wall Street
Journal_. There is no interaction between them.
HAWK and BUZZ exchange glances, then turn back to look through the hole.
Suddenly their heads are flashlit, and they whirl to face us with their
hands in the air. REACTION SHOT of NELL and FRANK with guns drawn, both
amazed, as the song ends abruptly.

25. INT. CLUB CHUCK - NIGHT

PHILLIP (slapping his glass on the counter): Hit me again.
TINA: Are you driving, honey?
PHILLIP: I'm flying.
REVA: I'll pour him into a cab.
PHILLIP: Have another. Come on.
REVA: I got an early day tomorrow.
PHILLIP: To hell with tomorrow. (To Tina): Hit her again.

WE HEAR the buzzer that indicates new customers. Tina presses a button that
unlatches the door. LILLIAN and HAMP enter, she in an evening gown, he in a
tux. They take stools at the end of the bar close to the door. PHILLIP
scrunches down on his stool and tries to hide behind REVA. LEO takes one
look at LILLIAN and starts to quiver like a bird dog on point. WANDA isn't
pleased.

LILLIAN: What a night! I feel like a truck ran over me. Hi, Tina. The usual,
please.
HAMP: Never saw a bigger crowd at the Towers. We'll be lucky if the fire
marshal doesn't shut us down.
LILLIAN: I didn't like that man, though. The one who was talking to Dahlia.
(Accepting a glass of sherry:) Thanks, Tina.
HAMP: A&R man out of New York. (Accepting a glass of beer): This is gonna
hit the spot. I know what you mean. Something sleazy about him. (Swings
around on his stool and spots Reva): Reva. How you doin', honey?
REVA (sheepishly): Hi, Hamp.
LILLIAN: Phillip! What are you up to now?

26. INT. - SFPD SQUAD ROOM - NIGHT

NELL keeps a sharp eye on BUZZ and HAWK, in handcuffs. FRANK is using LEVY's
phone while LEVY folds up pizza cartons and stuffs them into a waste basket.

FRANK (hanging up): No answer.
HAWK (spluttering): But...but...Reva's got to be home. It's damn near one
o'clock in the morning. Where the hell's your wife, Buzz?
BUZZ: (shrugs).
LEVY: Lock 'em up.

27. INT. CLUB CHUCK - NIGHT

As the jukebox plays "Love Is the Drug," by Roxy Music, PHILLIP and REVA
dance in the narrow space between the tables and the bar. LILLIAN
practically has steam coming out of her ears. HAMP looks like he's seen it
all before.

WANDA: Wanna dance, honey?
LEO (staring at LILLIAN): Not now.
WANDA: (sulks).

REVA: Lil is staring at us.
PHILLIP: Let her.
REVA: Buzz is gonna wonder where I am.
PHILLIP: Let him.
REVA: Well, I guess it's all right. We're just good friends. (She abandons
herself to the dance.)

28. INT. KINDER CLINIC OFFICE - NIGHT

The walls are papered in faux green marble. Reproductions of Oriental rugs
are scattered on the floor. Gas logs are burning in a faux gray marble
fireplace. The Doctor's enormous desk has been artificially distressed and
holds a computer, a high-tech phone, a very tidy in-out basket, a lamp with
a dark green shade, and a small brass clock with a pendulum. The DOCTOR sits
behind his desk in an imposing red leatherette chair and works at the
computer. The blinds are drawn on a single window; the fire, the lamp, and
the computer screen provide the only light. WE HEAR a tapping at the door,
and then LAURA enters. The DOCTOR looks up. She gives him an enigmatic
smile. He looks at her without expression. She raises one eyebrow, walks
over to a straight chair in front of the desk, and sits down, crossing her
shapely legs. He continues to regard her silently.

LAURA: Always make the other person speak first. It's a neat trick.
DOCTOR: (leans backs in his chair and rests his hands in his lap).
LAURA: I got your message. Obviously.
DOCTOR: (continues to level his gaze at her face).
LAURA (shivering): I see you still keep a fire burning and the air
conditioning turned up high enough for polar bears. Some things never change.
DOCTOR: (drums his fingers on his knees).
LAURA (tired of playing): What the hell do you want?
DOCTOR (coldly): Tell me what you've done to Holly.

29. INT. HELICOPTER - NIGHT

SUSAN PIPER sits in the pilot's seat of the small copter. SMITH is in the
passenger seat with an unconscious HOLLY on his lap. She moans, and her head
twists on his shoulder. WE HEAR the rotors beating. He points out the window
at something below.

SMITH: That's it down there.
SUSAN: You are out of your ever-lovin' blue-eyed mind. They're going to kill
us for this.
SMITH: No they're not. My orders were to take care of Holly. I am taking
care of her.
SUSAN (craning her neck): I can't land on that. There's rubbish all over the
place.
SMITH: Who said anything about landing?

30. INT. KINDER CLINIC OFFICE - NIGHT

LAURA: So everything's under control. She went for Malloy like a cat goes
for cream. I saw them tonight, in fact, at a grocery store. Very domestic.
DOCTOR: "The Reverend Smith" was supposed to take care of Holly.
LAURA: Smithy? Don't make me laugh. You haven't met him. Oh no, you sit up
in your ivory tower in Gstaad and move us around like so many chess pieces.
Well, darling, some of your pawns have minds of their own. "The Reverend
Smith" is out of his gourd. The guy is totally wacko. He's incapable of
following orders.
DOCTOR: You think you can control Malloy any better? Sometimes, Laura, you
can be very naive.
LAURA: Look, I'm the one on the front lines here. I'm the field agent. And
I'm telling you we can't trust Smithy. He gets his instructions direct from
the planet Venus through the fillings in his teeth.

31. EXT. ABANDONED HIGH-RISE ROOFTOP - NIGHT

Spotlit by the helicopter (which is out of sight), the rooftop of a derelict
high-rise is littered with scraps of tar paper, bits of broken lawn
furniture, chunks of wood, shards of glass, and paper trash. WE HEAR the
helicopter rotors beating. A rope ladder drops into frame. SMITH descends
it, carrying HOLLY on his back. After he reaches the bottom of the ladder
and steps onto the roof, he looks up and waves. The ladder is pulled up, and
WE HEAR the helicopter receding into the distance. HOLLY groans. SMITH
shifts her weight on his back and carries her over to a door. They exit into
the building.

32. INT. KINDER CLINIC OFFICE - NIGHT

LAURA: Why is everybody so obsessed with Holly? I can't see it myself. To
me, she's just a middle-aged woman in frumpy clothes who has a lot of bad
hair days.
DOCTOR: Be quiet! I don't have time for this petty jealousy of yours.
(Reining himself in): All right. Let's table Holly for the moment. Tell me
about Roger.
LAURA: What's to tell? He leapt at the chance to get back into Spaulding.
You called that one right on the button. He's got Alan hopping mad, just as
you predicted. Alan will do anything to force Roger out. He snapped up Sonni
like she was the cheese and he was the rat. He actually thinks the Carrera
fortune will give him the leverage to--
DOCTOR: I prefer not to talk about the Carreras.
LAURA: Why am I not surprised? Getting you to talk about your association
with the Carreras is like getting Amanda Spaulding to reminisce about her
days in Malibu. You're on top of the world now. You're making billions in
legal drugs. I'm sure you'd like to forget how you made your first million.
DOCTOR (slapping his hands on the desk): Sometimes, Laura, you go too far.
Sometimes you presume on our friendship.
LAURA: Friendship? (Smiles wryly.) Is that what you call it? Anyway, Alan
tore up half the buildings on Fifth Street before the bottom fell out of
Advantage Systems. Now he can't afford to fix them or demolish them. He's
financially ruined.

33. INT. ABANDONED HIGH-RISE TOP FLOOR - NIGHT

Lit by moonlight streaming through the shattered windows and a single
lantern resting on the floor, the top story of the abandoned high-rise has
chunks of plaster torn from the walls and sheets of plaster dangling from
the ceiling. Glass litters the floor. The interior walls have been knocked
down, leaving only wooden frames between rooms. Sinks have been ripped half
out of the walls, and so have all but one of the toilets. An old stove lies
on its side in the middle of the floor. HOLLY lies beside it. SMITH kneels
next to her, holding one of her wrists in his hands and rubbing it.

SMITH: Please, Holly, wake up. I didn't give you that much medicine. Please
be all right.
HOLLY (groggy): What...Where...
SMITH: It's all right, Holly. It's me, the Reverend Smith. I saved you.

He sits beside her, pulls her into a sitting position, and puts his arm
around her, letting her head rest on his shoulder. Woozy, she looks around.

HOLLY: Where...where are we?
SMITH: In a safe place. Where nobody can touch you. He was going to kill
you, Holly.
HOLLY: What...Who...
SMITH: That phony-baloney anchorman. She meets him behind the tool shed at
the clinic. They don't think I know.
HOLLY: I can't...focus. What's wrong with me?
SMITH: I had to give you something. Something they used to give
me...Something they give patients at the clinic to keep them quiet. I had to
get you away from him.
HOLLY: Away from...who?
SMITH: Malloy, gosh darn it! He's a hired gun. She told him to get rid of
you. But you're safe now. (Caressing her shoulder): Holly, my Holly, nobody
will ever hurt you again.
HOLLY (gathering her forces): I want you to listen to me very carefully.
I'm...I'm out of it now, but I'm going to pull myself together. And if
you...even think about...touching me, I will hunt you down and--
SMITH: No!

He jerks away as if she'd scalded him, jumps up, and paces the floor.

SMITH: It's not like that. I would never, never touch you. Nobody should
ever touch you. You're an angel. You're the most beautiful, the most wonderful--
HOLLY (realization dawning): You're him, aren't you? When you first came to
Springfield, everybody said you looked like him, and you talked like him,
but you couldn't be him. The police checked it out. They said he was still
locked away in a mental hospital. But you're him, aren't you? You're Brent
Lawrence.

34. INT. KINDER CLINIC OFFICE - NIGHT

LAURA: If you ask me, "The Reverend Smith" should still be locked up in a
padded cell.
DOCTOR: He has his uses.
LAURA: And who knows more about using people than you do? You even used your
own son, Marty or Zachary or whatever he's calling himself these days, to
deliver the money to Mrs. Popov that brought down Advantage Systems and put
Alan right where you want him.
DOCTOR: I do not care to discuss my son with you.
LAURA: Fair enough. Then let's discuss that other nutcase, the one who
thinks she sold her soul to the devil, Susan Piper or Hornblower or whoever
the hell she is. She claims your son--
DOCTOR: (scowls at her).
LAURA: She claims Zachary rescued her from a burning pit of fire, but, if I
have my dates right, he was only a child when Piper fell into that lava pit
someplace in the Caribbean or Latin America or...Oh my God! It was one of
their plantations, wasn't it? Where the Carreras grow their own special
crop. And it wasn't Zachary who rescued her, it was--
DOCTOR (rising): That's enough!
LAURA (unfazed): Keep your shirt on, darling. Just tell me one more little
thing. Why does he call himself Marty Kinder?
DOCTOR (repressively): Kinder was my mother's name. I was christened
Dietrich Kinder-Lindsey.

35. INT. ABANDONED HIGH-RISE TOP FLOOR - NIGHT

SMITH: Brent Lawrence is dead. I'm the Reverend Smith now. God sent His
messenger to speak to me in the chapel. He told me what to do. He told me to
protect you from the King of Hell and his minions. (Hunkering down beside
Holly): You mustn't ever see Malloy again, Holly. If you do, he'll kill you.
HOLLY (still groggy): I can't believe--

SOUND of a helicopter beating overhead.

SMITH: It doesn't matter. Nobody can touch you here. You're safe now.
(Crossing toward the door to the roof): I'll be back. I'll take care of you.
(Opens the door.)
HOLLY (struggling to her feet): Wait!
SMITH: I'll be back soon, my angel. (Exits.)
HOLLY: Damn it to hell! All right, Holly, get a grip. You've been in worse
pickles than this. By the time that lunatic gets back, you'll be long gone.

She crosses to the elevator and looks down the shaft. The cage is on the
bottom floor, and the cables are frayed. She shudders.

HOLLY: I'm not that desperate. There has to be a staircase somewhere.

She considers two doors opposite the door to the roof.

HOLLY: The lady or the tiger? I'll take door number two.

She opens it. REVERSE ANGLE shows a ripped up staircase and a sheer drop.
Teetering on the edge, HOLLY screams.

36. EXT. LIGHTHOUSE - DAY

ANGLE ON QUINT and AMANDA as they stand at the base of the lighthouse
looking up. WE HEAR gulls crying and ducks quacking.

QUINT: You ever hear the joke about the man who fell out a tenth-floor
window? When he passed the fifth floor, somebody called out, "How're you
doing?," and he said, "Okay so far."
AMANDA: Are you really going to tear down the lighthouse?
QUINT: I hope it doesn't come to that, but the way it is now, half-wrecked
and half-renovated...Have you found Zachary for me yet?
AMANDA: He's vanished without a trace. And we're not the only ones looking
for him. Alan-Michael believes he's the key to finding Lucy.
QUINT: Damn!
 
He sits down on the ground beside the lighthouse, picks up a digging tool,
and begins to clean it with a cloth. AMANDA, who is wearing a low-cut,
gold-colored sundress that shows off her voluptuous figure, hesitates a
moment, then sits down on the sandy grass beside him, closer than need be.

QUINT: If it comes to that, I really don't need his permission. He was just
renting the lighthouse from Ed, who is holding it in trust for the Society
for the Preservation of Historic Lighthouses.
AMANDA: The who?
QUINT: Springfield is landlocked, Amanda. There's only this one small lake,
fed by a river that's fed by a river that's fed by the Mississippi. There'd
be no point is building a lighthouse here.
AMANDA: Then how--
QUINT: The preservation society moved it here from Lake Michigan nearly
sixty years ago. It was going to be demolished, so they moved it to preserve
it. Ironic, no?
AMANDA: Very ironic. Does it really have to go?
QUINT: Well, if I can't find what I'm looking for around the lighthouse,
I'll have to look underneath it.
AMANDA: Is it worth it?
QUINT: I think so. There's an enormous fortune at stake.
AMANDA: A fortune in what?
QUINT: For now, the less you know the better, believe me.
AMANDA (ingratiatingly): Whatever you say, Quint. Can I help you clean your
tools?

Without waiting for an answer, she leans across him, pressing the side of
one ripe breast against his chest, and reaches for a tool.

NOLA (off): Working hard, dear?

CAMERA PULLS BACK to show NOLA, wearing khaki shorts, a camp shirt, and a
safari hat. AMANDA takes her time sitting up straight. QUINT seems
oblivious, but perhaps he enjoys letting NOLA see he is still attractive to
women.

AMANDA: Hello, Nola. Have you brought us another basket of goodies?
NOLA: Not today. It wouldn't hurt you to skip a meal or two.
AMANDA: Don't worry about me. If I get hungry, I'm sure I can find something
yummy to eat.
QUINT: What is it, Nola?
NOLA: I'm worried about the children. Our children. I'm worried about them
crawling through that cave at Laurel Falls.
QUINT: It's Sunday. It's their day off. Stacey's leading the charge. She's
been caving for years. J's almost as good.
NOLA: What about Marcus and Abby? They're novices.
QUINT: Stacey will keep them in line.
NOLA: What about bears?
QUINT: There are no bears in Springfield.
NOLA: What about rabid raccoons?
AMANDA: Don't raccoons live in trees?
NOLA: You never know what you'll find in a cave.

CLOSEUP of NOLA, who is worried and distracted.

DISSOLVE TO:

37. INT. TUNNEL LEADING INTO A CAVERN - DAY

QUINT and NOLA, both dressed as adventurers a la _Indiana Jones_ are
crawling through a narrow, dark tunnel in the rocks. As they continue, him
leading the way, they dislodge bits on gravel that rain down on their heads.

NOLA: Are we there yet?
QUINT: Almost. Any minute now. I can see the light at the end of the tunnel.
NOLA: I can't wait! We'll be rich, rich, rich beyond our wildest dreams!

A moment later, they crawl out of the tunnel into a cavern. QUINT plucks a
torch from the cave wall and sets it alight. REACTION SHOT of QUINT and
NOLA, who are stunned. POV SHOT of AMANDA, standing on a pedestal in the
center of the cavern. She is naked except for a few scraps of cloth, and she
is painted from head to foot in gold.
When she speaks, her voice is amplified to echo through the cavern.

AMANDA: Bow down and worship me!

QUINT falls to his knees. CLOSEUP of NOLA. Her mouth opens.

DISSOLVE TO:

38. EXT. LIGHTHOUSE - DAY

NOLA (screaming): Nooooo!
QUINT (bewildered): No what, Nola?
NOLA (shaking off her fantasy): No I don't want our children to explore that
cave. No I don't care if you're happy to sit here all day polishing your
tool with this bimbo. Yes I am going to find someone who's willing to help
me. I'm going to find Kelly.
AMANDA: Good grief, Nola, get over yourself. Everybody and his brother knows
Kelly is gay.

CLOSEUP of NOLA, who is thunderstruck.

39. CEDARS RECEPTION ROOM - DAY

KELLY, in street clothes, comes out of the corridor and approaches the
reception desk, where RICK and ANNIE, wearing hospital scrubs, are deep in
conversation.

KELLY: Ring out, wild bells! My shift is over. I got twelve hours of weekend
left to have fun.
RICK: Don't tell me, let me guess. You're going sailing. Swimming? Mountain
climbing? Scuba diving?
KELLY: (shakes off each of these suggestions). I'm going to Mars. Mars, the
supermarket. And I'm going to Laundry Land. But first I'm going--
RICK: They found life on Mars, you know, pal.
KELLY: More life than there is in Springfield, probably. Don't you miss
Chicago, Rick?
RICK: Bright lights, big city.
KELLY: You lived there, too, didn't you, Annie? Don't you miss it?
ANNIE: Not really. (Sadly): All things considered, I've been very happy here.
KELLY: Well, wish me luck, folks. I'm off to the fleshpots of the
Springfield Mall. (Exits.)
RICK: Sorry about that. You were saying...
ANNIE: I was saying that Josh didn't get home 'til nearly four a.m. About
one a.m. I called Reva's, but nobody answered.
RICK: That doesn't mean they were together. Where did Josh say he'd been?
ANNIE: He told me a story that wouldn't fool a child, about Lewis
Construction merging with Lewis Oil and having to drive somewhere to meet
some suppliers and falling asleep in his car by the side of the road. And
all the time he just looked so damn guilty. I know a lot about guilt, Rick.
RICK: Annie, you're not thinking of--
ANNIE: Using again, to forget my troubles? No, thank you. Right now I've
just got one problem. If I start getting loaded again, I'll have two.
RICK: Sometimes you take my breath away. You know--
LILLIAN (off): Rick. Thank goodness! I've been looking all over for you.

LILLIAN, in her nurse's uniform, comes out of the corridor and hurries to
the desk.

RICK: We went out on an emergency call. Kid got his head stuck in a--
LILLIAN: If you have any influence on Phillip, you have to give him a good
talking-to.
Last night he got drunk and went out and tore up the town and did everything
but dance on the tabletops with Reva, of all people.
ANNIE: With who?
LILLIAN: With Reva. He's having a fling with Reva. Gilly was bad enough, but
this is the absolute limit. If Beth ever finds out--
RICK: Phillip and Reva? I don't think so.
LILLIAN: Hamp and I saw them with our very own eyes, drunk as two skunks and
falling all over one another.
ANNIE (insincerely): That's awful.
RICK: I don't know what to say. This really sounds screwy to me, but--
BEA (off): Could somebody give me a hand?

BEA, pushing HART in his wheelchair, is stuck in the half-open double doors
that lead into the reception room. RICK rushes to hold a door open.

ANNIE: When are we going to get automatic doors?
RICK: Dad's working on it.
LILLIAN (angry): Well, we should have them. We really should. I believe it's
mandated by federal law.
RICK: How's everybody doing, Grandma Bea?
BEA (out of breath): We're fine. No problems. I brought Hart in for his
hydrotherapy. Excuse me. It's so hot out. I just have to sit down a minute.
(Collapses on the couch.)
ANNIE (cheerfully): Let me take him, Mrs. Reardon. You can come get him
later. (Pushing Hart's chair, she starts off toward the corridor.) How are
you today, Hart?
HART: (helpless to speak, frowns darkly).
ANNIE: This heat is terrible, isn't it? A nice session in the pool will pick
you right up.

They exit. LILLIAN comes around and sits next to BEA.

LILLIAN: You all right? Can I get you anything? A glass of water?
BEA (fanning herself with a magazine): No, thank you. When is it going to
rain? I just don't think I can stand this weather another minute. (Tears up.)
LILLIAN: That's not all, is it? If you need somebody to talk to...
BEA: It's my children, of course, and my grandchildren. You know. You have a
daughter. I worry about all of them. Nola. Matt. Kathleen. J and Stacey. But
Bridget is the worst. She loves him so. And he's not getting any better.
It's a heavy burden for such a young thing. When can we ever stop worrying
about our children, Mrs. Raines?
LILLIAN (fiercely): Never!

40. INT. SPRINGFIELD MALL - DAY

The mall is having a "sidewalk" sale. Stores along the main concourse have
put out merchandise on tables and racks. These include a trendy clothing
store, a store that sells housewares, and a music and video store. White
benches line the center of the concourse. CAMERA OPENS on CLAIRE and
MICHELLE, shuffling through the racks outside the clothing store. MICHELLE
wears shorts and a short-sleeved, cropped sweatshirt that reads, in bold
letters, "WHATEVER."

CLAIRE: I'm not exactly June Cleaver. I haven't got a clue what kids are
wearing these days. Do you like this? (Holds up a tank top decorated with
sequins.)
MICHELLE (flipping through the hangers listlessly): Not really.
CLAIRE: See? That's me. Completely clueless. How about this? (Holds up a
sundress in a sunflower pattern.)
MICHELLE: (shakes her head).
CLAIRE: I don't get the sunflower thing. Explain it to me. All of a sudden
there were sunflowers on everything--T-shirts, pants, dresses. Where did
that come from?
MICHELLE: (shrugs).
CLAIRE: Look, sweetie, I know it's probably not your life's biggest thrill
to have me descend on you out of nowhere. I know you're probably thinking,
"What does _she_ want?" Well, I don't want anything. Okay. That's not
exactly true. I just want to do a few...mother-daughter things with you.
MICHELLE (barely audible): You're not my mother.
CLAIRE (unruffled): See? I told you. I'm no good at the mom thing. 

41. INT. HOLLY'S TOWNHOUSE - DAY

BARBARA is talking on the phone in the living room. She looks very worried.

BARBARA: I know you're going to say I'm just an overanxious mother, but when
I got back early from California and--
BLAKE (over the phone): Why was that, Grandma?
BARBARA (exasperated): It's his new...whatever the kids call it nowadays.
The woman Ken lives with. She could hardly wait to get rid of me. Fuss,
fuss, fuss all the time. Everything has to be done the way she wants it. But
that's not why I called. When I couldn't find Holly, and I saw that her bed
hadn't been slept in--
BLAKE (over the phone): There could be a simple reason for that.
BARBARA: I know that. I'm not completely out of touch. But it's after noon
now. And she's not at the TV station. So I just wondered if you could ask
Fletcher--

42. INT. JOURNAL NEWSROOM - DAY

BLAKE is seated at her desk, talking on the phone.

BLAKE: Fletcher? There's not a chance in hell she spent the night with him.
I can see him from where I'm sitting, and Ben told me he was here most of
the night and came back early this morning.
BARBARA (over the phone): But...if you could just ask him.
BLAKE: Well, okay, but--
FLETCHER (off, bellowing): Ben!
BLAKE (calling back): He's on his lunch break, Fletch.

FLETCHER comes into the frame. His clothing is rumpled. He carries a
Styrofoam cup.

FLETCHER: Coffee machine's busted. How can I write without coffee?
BLAKE: I'll take a look at it. You haven't seen Holly, have you?
FLETCHER: Holly? No. Why? What's up?
BLAKE: Oh, nothing.
FLETCHER: Okay. (Exits.)
BLAKE (to BARBARA): He hasn't seen her. Did you check her suitcases? Maybe
she went away for the weekend.

43. INT. HOLLY'S TOWNHOUSE - DAY

BARBARA: Without calling to tell me?
BLAKE (over the phone): Maybe she called, and you'd left already.
BARBARA: Then wouldn't she leave a note?
BLAKE (over the phone): You're really worried, aren't you?
BARBARA: No, no, I'm sure it's nothing. There's a bed and breakfast on Lake
Michigan that she's very fond of. Maybe she went there to get away from this
heat. I'll check her suitcases. And I'll call the TV station again. But I'm
sure I'm just being an overanxious mother.

44. INT. SPRINGFIELD MALL - DAY

CLAIRE (holding up a crocheted vest): This would look cute on you.
MICHELLE: (doesn't bother to look up from the rack where she is pretending
to study the sale items).
CLAIRE: Okay. So I wasn't nuts about the idea of being a full-time mother.
And Mo was. And Ed is your father, after all. And then I had brain surgery
and thought I was in love with my doctor, and I ran off with him, and that
was another nine-day wonder. I mean, 1 baby isn't a puppy. You can't bring
it home for Christmas and then take it back to the pound and go chasing
after your latest craze. You wouldn't have liked that, would you?
MICHELLE (trying not to show any feelings at all): No I wouldn't. And I don't.

Her composure breaks, and she turns on her heel and races away down the
concourse, briefly colliding with ED and KATHLEEN, who are examining kitchen
items on a table outside the housewares store. Barely breaking stride,
MICHELLE goes on running.

ED: Michelle! (To KATHLEEN): I'd better go after her.
KATHLEEN: Better not.
ED: So speaks the expert.
KATHLEEN: Maybe I don't have kids of my own, but I was a teenage girl once.
She would've stopped if she'd wanted to talk to you.
ED: You're probably right. Damn that Claire! I knew it was a mistake to let
her see Michelle.
KATHLEEN: Like you had a choice. (Holding up a teapot): What do you say to
this one?
ED: I say it's got such a small lid you can't get your hand inside to scrub
off the mineral deposits. You ought to write a book, Kathy. "One Hundred
Ways I've Failed to Boil Water."
KATHLEEN: So I was working on Blake's divorce papers, and I forgot I left
the kettle on. So sue me. This one's got a big lid.
ED (looking up): Yeah, but-- Oh. Hi, Kelly.

ANGLE ON KELLY and WYATT, who are looking over the housewares on a table on
the other side of the entrance to the store.

KELLY: Hey, Ed. How's it going? (To WYATT, in a lowered voice): Think he
gets the picture?
WYATT: I don't know. Why don't you try wearing a sign?
KELLY: Maybe a T-shirt with a pink triangle.
WYATT: I will if you will. I can't believe you want to buy another
cappuccino machine.
KELLY: Uh uh. Get this straight now. I have an espresso machine and a French
press. My cappuccino machine is on its last legs. We won't find anything
halfway decent here. Let's go to Chicago next time we're both free.
WYATT: Chicago, always Chicago. It's dirty, it's noisy, it's crawling with
muggers--
KELLY: And they don't roll up the sidewalks at 10 p.m.
WYATT: I've had it with the bar scene. I'd a lot rather read a book or rent
a movie or take a hike--
KELLY: You can keep the great outdoors. Give me neon and asphalt. Mother
Nature is highly overrated, if you ask me.

45. INT. TUNNEL LEADING INTO A CAVERN - DAY

STACEY, MARCUS, J, and ABBY, in that order, are crawling through a narrow,
dark tunnel in the rocks. Bits on gravel rain down on their helmets, which
have built-in lights like miners' hats. Each of them wears kneepads, heavy
clothing, gloves, and a caver's pack.

STACEY: Isn't this great?
MARCUS: Well, it's a lot cooler in here than it is outside. I'll say that
for it. Glad you made me wear these kneepads.
STACEY: Rocks are rough. How's Abby doing?

J. rolls over on his back and signs to ABBY, who signs back.

J: She's loving it.
STACEY: I think we'll be able to stand up soon. I see light up ahead.
MARCUS: How'd you ever get around your mother? She was dead set against this.
J: Stacey just put her foot down. She knows how to handle Mom.

46. INT. SPRINGFIELD MALL - DAY

BEN and DAHLIA are picking over piles of CDs on a table outside the music
and video store. BILL sits on a nearby bench, looking glum. MICHELLE arrives
and sits down beside him.

BILL: How'd it go?
MICHELLE: (pulls her knees up to her chin and wraps her arms around her legs).
BILL: Disaster, huh? You and me both. Summer's almost gone, school starts in
a couple of weeks. We should be doing fun stuff.
MICHELLE: You were happy when your mom came home.
BILL: Yeah, for about five minutes. Then this mess with Matt started. Now
Mom walks around like a zombie, pretending she's got everything under control.
MICHELLE (trying to conceal her jealousy): At least you have Dahlia.
BILL: Do I? Number one, she's got this massive crush on Dr. Nelson. Number
two, every night at the Towers there's guys trying to get her to go to New York.
MICHELLE (a little cheered): Really?
BILL: Would you believe, last night one of them tried to bribe me to
persuade her to sign with him? Like, why don't I just stab myself in the
back? This summer has been a total disaster.

47. INT. TUNNEL LEADING INTO A CAVERN - DAY

STACEY, MARCUS, J, and ABBY have reached the end of the tunnel.

STACEY: Okay. One at a time. First me.

She crawls out into the cavern, removes a flashlight from her pack, and
sweeps the light around the cavern. Heaps of boulders surround a small pool.
Light pour in from a "chimney" in the rocks over the pool.

STACEY: Wow! Now you, Marcus. (Waits for him to follow her.) Hold up a
minute, J. (After MARCUS emerges): Okay. Come ahead.

J starts to crawl out of the tunnel, but as the flashlight swings away from
him, he misjudges his position and stands up too soon. His helmet strikes
the entrance to the tunnel, and a shower of rocks falls behind him. J whirls
around.

J: Abby! Oh my God!
STACEY: Shhh! Keep your voice down. You'll bring this whole place down
around our ears. (Shines her light on the sealed tunnel.)
MARCUS: It's not like she can hear you, man.
J: How are we going to know if she's okay?
STACEY: More to the point, how is she going to know we're not okay? We're
sealed in here, you idiot. It's a sure pop we can't go back the way we came.
J. Do you think she knows Morse code? We could tap-- Oh.
MARCUS: Wait. That's not a completely stupid idea.
J: Thanks, dude.
MARCUS: No, what I mean is, Abby can dance, right? We've both danced with
her. And how does she hear the music?
J: She doesn't hear it. She...She feels it through the floor! So if we beat
out some kind of rhythm on this side of the rocks--
STACEY: You could bring a ton of boulders down on her head. God, what was I
thinking? I should have listened to Mom.

48. INT. SPRINGFIELD MALL - DAY

MICHELLE: How much did he offer you?
BILL: Who? Oh, the A&R man. It wasn't money. If I tell you, you have to
promise to keep it a secret.
MICHELLE (liking the idea of having a secret with Bill): Sure.
BILL: Promise.
MICHELLE: I swear.

After checking to be sure they're not observed, BILL leans forward a little
and tugs something partly out of his pants pocket. MICHELLE peers at it.
CLOSE SHOT of the corner of a glassine bag filled with white powder.

MICHELLE (big-eyed): Is that...cocaine?
BILL: Shhh! No. It's heroin.
MICHELLE (scared but fascinated): And you're carrying it around?
BILL: Sure. Why not? (Stuffs it in his pocket and sits back on the bench.)
Just in case I decide to try it.
MICHELLE: But...but you wouldn't, would you? I mean, you're...you're an
alcoholic.
BILL: This isn't booze, Michelle. It's totally different. Anyway, I don't
plan on becoming a junkie. I just want to try it once, see if it's as cool
as they say.
MICHELLE: I don't know...
BILL: Come on. Don't you wonder what it's like? This whole summer had been
such a total wipeout. Wouldn't you like to do one thing just for the hell of it?
MICHELLE: I...I'm not sure.
BILL: Let's go out to my car. (Rising): We can think about it.
MICHELLE (rising): Well, maybe.
DAHLIA (looking up from the CDs): Hey! Where are you guys going?
BILL: I forgot something in the car.
BEN: Well, hurry up. I gotta get back to the paper, or Dad will kill me.

BILL takes MICHELLE's hand, and they hurry away. BEN plucks a CD from the pile.

BEN: Garbage. Hey! I heard this is awesome.

49. INT. PADDED CELL AT THE KINDER CLINIC - DAY

A WOMAN [played by Ellen Wheeler] stands by a window and stares through a
grate at a patch of blue sky. She has fair hair and is painfully thin. She
wears an expensive black suit, but she is barefoot, and her makeup is faded
and smeared. She doesn't realize it, but she's chewing her lower lip and
swaying ever so slightly. The door opens, and she spins around to see
DIETRICH LINDSEY (aka the Doctor), holding a hypodermic needle.

WOMAN: It's about time. I've got a bad case of the collywobbles.
LINDSEY: Oh God, why did you have to start in again after I had your blood
cleaned out last time?
WOMAN: I'm a junkie, dear. A drunk and junkie. You knew that when you
married me. It's part of the package. Gimme gimme gimme.

Disgusted, he takes her arm, pushes up her sleeve, holds her arm up to the
sunlight, and squeezes it here and there.

WOMAN: Come on, come on!
LINDSEY: I can't find a vein.
WOMAN: Yes you can. God knows you've had enough practice.

He finally finds a vein and injects her.

WOMAN (sighing deeply): Hello, sunshine! (Wandering aimlessly around the
room): I don't like this place. I hate it here. I want to go home.
LINDSEY: I have someone looking for a house for us now.
WOMAN: I don't want a house. I want to go home to Gstaad.
LINDSEY: You know we can't do that.
WOMAN: Because of Marty?
LINDSEY: And because I have business here in Springfield.
WOMAN (zoning out): I hate Springfield. You can't maroon me in this
backwater town. Springfield is finished for me.
LINDSEY: Well, it's not finished for me, Hope. I'm just getting started here.

50. INT. ABANDONED HIGH-RISE TOP FLOOR - DAY

HOLLY is once again examining the elevator cables, which still look frayed.
Automatically, she tries to check her watch and sees her naked wrist.

HOLLY: Why did he have to take my watch? I can't tell how long I've been
stranded here. How long since I called out for help? Okay. Here goes nothing.

She punches the elevator button. The cables creak and groan. The cage rises
a little, then grinds to a halt.

HOLLY: There goes my last hope. (Pacing): The stairs are shot. The
elevator's stuck. Nobody comes when I call. But the good news is, I probably
have at least until sunset before that maniac will dare bring his helicopter
in again, him and whoever flew it for him. (Pressing her fingers to her
temples): I'd kill for my headache pills. All right. All right. Think,
Holly, think. First thing is, when Brent comes back, I'll be ready for him.

She tips forward a sheet of plywood that leans against the wall. We see
behind it a short piece of pipe with a sharp end. She replaces the plywood.

HOLLY: I'll have plenty of warning, and I'll give him one hell of a
surprise. But I hope it doesn't come to that. I have to keep trying to get
out of here. Okay. Even if this whole block is condemned, somebody must pass
by here sometime. I'm sure it's been fifteen minutes since I called out
last. It feels like fifteen minutes.

With that, she strides to a window, leans out, and shouts.

HOLLY: Help! Help! Somebody help me!
MALLOY (off): I'm coming, Holly. Hold on.

HOLLY is astounded. She leans farther out of the window.

51. EXT. ABANDONED HIGH-RISE - DAY

MALLOY is climbing the building. He wears a track suit and lightweight rock
shoes. He carries a coil of nylon rope on his back. One by one, he places
his pitons (metal spikes with a ring in one end), clips the rope to them
with carabiners (metal rings), and hauls himself from point to point. Now he
is about one floor below HOLLY, who is leaning out of the window.

HOLLY: Oh my God, it's you! How did you find me?
MALLOY: Your mother called the station. I always wanted to try buildering,
but it's pretty much illegal.
HOLLY (suspiciously): Yes, but how did you find me?
MALLOY: Tell you later. Right now I'm going to throw you a rope with a spike
on the end. Get ready.

He swings one end of his climbing rope like a lariat and tosses it to her.
She misses it the first time but catches it the second.

MALLOY: Good catch! Now--put the spike into the windowsill and pound it in
hard. It's hot as hell out here, and there's not enough chalk in the world
to keep my hands from sweating. Find something to hammer with, because
pretty soon that spike will be the main thing that stands between me and the
sidewalk.

TIGHT CLOSEUP of HOLLY, who is completely betwixt and between.

HOLLY: Oh my God! What should I do?

FADE OUT