Roger's Revenge (Doing Dirt) - Parts 1, 2 and 3 By Pat C., patricia@epix.net Background: It's a month after Roger was released from the mental hospital. He and Dinah got a quickie divorce and Dinah and Hart are planning their wedding. Ross has insisted on paying for it and had to take out a second mortgage on the Carriage House to do it. SCENE: The Newly Remodeled Company - Co. Roger and Bridget are sitting at a table in Co., deep in conversation. Roger: Believe me Bridget, I've spent a life time practicing revenge - and I've finally come to realize the truth of that old maxim, "Living well is the best revenge." Bridget: Cut the crap, Roger. I want Hart--hurt. In pain. I want him to pay. How do we do that? [Toga:gldisclist, 10/9/96] Holly: (OC) Yes, how will you do that, Roger . . . I'd be very interested to hear your answer. Roger: (jumps up with a smile) Holly, you're speaking to me! Well, this calls for a celebration. Bridget, my love, (gives Bridget a kiss on the cheek) . . . would you get us some coffee - and some of those wonderful rolls you made for breakfast this morning! Holly stares after Bridget as she walks to the kitchen, then looks at Roger with skepticism and sees that he's still wearing the same fatuous, phony, innocent expression he's been hiding behind since he left the mental hospital. Holly: (dryly) Is my hearing failing me . . . or did you just call that child "my love"? Roger: (pulls out a chair for her and motions her to sit down) No, Holly. Your hearing is still as perfect as the rest of you. (He innocently adds) Although they do say that the prolonged use of red hair dye can have a deleterious effect on the brain. Holly: (rolls her eyes) And what do they say about black hair dye, Roger? Roger: (seeming not to take offense) Your point is well taken . . . but I understand Grecian formula is harmless. Speaking of red hair - what a perfect segue into the subject at hand - the story of my fairytale romance with --- Bridget Reardon. Holly: I can't wait! You were always good at telling fairytales, Roger. Roger: (ignores her sarcasm) It's a miracle, Holly! Here Bridget's been right under my nose for years and I never realized . . . how much she reminds me of you! Of course at first it was the red hair that drew me to her . . . but then I came to realize that the similarities go much deeper. Holly: Right. We're both females, both born in the twentieth century . . . umm . . . help me out here Roger . . . Roger: I understand completely . . . you're skeptical about this and I don't blame you a bit. Holly: Okay, Roger . . . you managed to change the subject on me for a minute there but I'm back on track now - and I want to know what you have planned for Dinah. Roger: Dinah? Why should you care about Dinah? Holly: Care about her? You really *are* insane, aren't you Roger? I don't care about her . . .(her voice turns to cold steel) . . . I want to bury the bitch! Roger laughs with surprise, and for the first time in months, Holly gets a glimpse of the real Roger behind the mask. But he quickly covers by changing it to a sad smile. Roger: Holly! I'm shocked . . . truly shocked to hear you talk like that. Bridget: (walks up to the table and throws a basket of rolls down in front of him) Well, I'm not. I say "bury the bitch" too -- right along with that hypocritical, himbo son of yours. I'll even order them matching coffins and pay for them with the money I saved by remodeling Co from Ollie's Discount Warehouse. Roger has a hard time keeping a straight face as he looks at the two women standing over him . . . two red heads, two identical stances - hands on hips, tapping one foot impatiently on the floor, the same expression of outrage on their faces. Yes, he thinks, everything's going according to plan. Roger: Now, girls. . . I really can't listen to this kind of talk. I've got an appointment with my Zen master this morning and I must keep my mind pure . . . Roger's speech is interrupted when Fletcher walks up and grabs Holly's arm. Fletcher: What are you doing here, Red? With him? This is the man who raped and tortured you for years . . . if you don't care about yourself, at least think of your child. What will Meg do if Roger kills you? (Before Holly can speak, he pulls her up from the table and out the door) Bridget: (staring after Fletcher with contempt) Better make that three coffins. Roger no longer bothers to hide his smile, as he thinks to himself that marrying Bridget was the smartest move he's made in years. Roger: (putting a paternal arm around Jet's shoulders) Come, sweetheart. I think you should join me at my session today. A little meditation will do wonders for you. Bridget: What about my make over? You promised, Roger. Roger: (walking her to the door, he speaks soothingly) Yes, you'll get your make over too. We're flying to Paris this afternoon. . . which is why I want you to relax and let go of all this bitterness and hatred. (As they walk out the door) And then we're going to make a little side trip to the Riviera . . . SCENE: Hollybend. Fletcher is still dragging Holly by the arm as they enter the house. He pushes her down on the sofa and stands over her menacingly. Holly: (starts to get up) Fletcher, I have to . . . Fletcher: (blocks her with his hand) I'm doing the talking! Holly: But Meg is . . . Fletcher: (shouting) Meg? Your gonna pretend you care about Meg, now? Funny, isn't it? When you're with your rapist you don't give our daughter a thought. All you think about is him! Holly: That's not true! I . . . Fletcher: Don't talk to me about truth. Our whole life is a lie, isn't it? Holly: (stands up) I'm not going to listen to this. Fletcher: (stands in front of her so she can't move. The strong odor of alcohol on his breath repulses her) You still want him, don't you? Admit it! (Pushes her backward till she lands on the sofa) Holly: Fletcher . . . you're scaring me. . . why are you acting like this? What are you doing? Fletcher: What am I doing? I'm being a man! Isn't this the way a man is supposed to act? Isn't this the way you like it? Holly sits back on the sofa and folds her arms across her chest, staring at Fletcher intently. Holly: You think I enjoy being pushed around and bullied? Why would you think that? Fletcher: Well, how else do you explain the fact of Roger? How else do you explain why you continue to love the man who raped you, abused you and tortured you for years. He made your life a living hell, and you keep going back to him! Holly: Roger abused and tortured me for years? And where was I while this was going on? When did this happen? Fletcher: Well, everybody knows . . . Holly: (standing up) Everybody knows? Everybody knows nothing! I'm the only one who knows about my life . . . Fletcher: (laughs) You? Roger Thorpe has you so brainwashed . . . Holly: Roger Thorpe raped me - and you know how much I liked it? I'll tell you how much I liked it! I pressed charges against him . . . and when that didn't work, I shot him . . . And that was fifteen years ago. He hasn't tried it since. Oh, wait . . . three years ago I was afraid he was going to do it again, and you know what I did? I knocked him out with a paperweight, and then I bought a gun. So don't make the mistake of thinking that just because I was raped once that I'm fair game for any man who's on a power trip. Because I've learned a lot in the past few years. And one thing I've learned is how to recognize the early warning signs . . . and mister you're showing all the signs of an abuser . . . and I'm not waiting around for the punch line. Fletcher: (laughs nervously) Me? An abuser? Red, what are you talking about? I'm one of the good guys. Holly: The way you dragged me out of that court room the other day . . . and then again today at Co? That's become a habit with you - I can't remember when the last time was I left a room under my own steam. Then there's your penchant for telling me where I can go, what I can do, who I can associate with (raises her voice) . . . what I should think! Fletcher: But I . . . Holly: You've completely rewritten my history with Roger to fit your own sick imagination, and then you never miss an opportunity to beat me over the head with the idea that my living with him was the shameful act of a weak victim who only became strong by loving you! Fletcher: I'm just protecting you . . . Holly: I don't need your god damn protection! I'm an adult . . . I can use a gun - probably better than you can. I lived with Roger Thorpe for a year - and you want to know something? In that year I felt a whole hell of a lot more like a person than I have since I married you. You know, Roger used to listen to me when I talked to him. He actually looked me in the eye when I was speaking. He didn't interrupt me before I could get three words out of my mouth . . .and not once did he touch me with anything but love. Fletcher: Yeah, I'll bet. And is he still touching you with love? Holly: (stares at him fiercely) Get out! Get out of my house! (Goes to the window and pulls down the curtain) Take your damn plaid curtains and your matching plaid slip covers (She marches into the bedroom and Fletcher follows her in amazement. She begins pulling his mementos off the walls) and your tacky artwork and your putrid gym shoes (pulls his things out of the closet and throws them in a pile) . . . and get out! This marriage is dead. And I plan to bury it before it buries me! THE FOLLOWING DAY. . . SCENE: Paris. Marc Jacobs boutique. Bridget walks out from behind the curtain in a shiny, black leather trench coat, over a long gold metallic skirt and gold turtle neck sweater, a glitter velour skull cap and open-toed platform sandals. Bridget: What do you think? Roger: Perfect! Everything looks perfect on you! (Turns to the store manager) We'll take it. And everything else she tried on today. (Gives Bridget a hug) Hart isn't going to know what hit him! Bridget: (clenches her fists) And this isn't all I'm going to hit him with . . . Roger: Tut, tut, dearest . . . remember your mantra . . . Bridget: Oh, right . . . "fornicators must die, fornicators must die" Roger gives her an indulgent smile as he hands the store clerk his credit card. Roger: She'll wear this outfit. You can send the rest to our hotel. (To Bridget) And now, I'm going to drop you off at that salon you picked out - was it Frederic Fekkai? . . . for the rest of the day, and Peter and I will take in a few museums. SCENE: Carriage House. Blake: Babysit for a week? But what about Grandma? Holly: I don't trust her judgment right now. To her, Fletcher can do no wrong. I just know once she hears about this break-up . . . Blake: You and Fletch broke up? Holly: I kicked him out! Blake: Mom . . . (pats the sofa beside her) sit down and start at the beginning. You broke up with Fletcher and you're going on a vacation . . . what brought all this on? Holly: (sits down) Your father . . . well, not him exactly . . . his little tart of an ex-wife. Blake: Shh . . . Mom . . . that's Ross's daughter you're talking about! Holly: See . . . this is what I mean . . . that spoiled little bitch is ruining my daughter's life and she's going to pay . . . I'm going to make her pay . . . Blake: She hurt Meg? Holly: Meg? Of course not! I'm talking about you! It's bad enough that she's driving Ross into bankruptcy with these ridiculous wedding plans of hers. But now that I've heard how she conned you into betraying your own father . . . (gives Blake a look like she's trying to fathom how this could have happened) . . . allowing him to have electroshock for god's sake . . . Blake: (starts to cry) I'm sorry, Mom . . . I thought you . . . Holly: (hugs her tightly) Oh, honey, I don't blame you . . . in fact, I blame myself more than you . . . but mostly I blame Dinah! Blake: (blows her nose) You blame yourself? Why, Mom? Holly: (looks apologetic) Because I've been a rotten role model of what a wife should be. From the moment I got married, I traded in my identity . . .I turned my life over to Fletcher. I let him *define* me! I was no longer "Holly Norris Bauer Thorpe Lindsey" I was "Red". Blake: (thinks about it) But don't you do that with every man . . . didn't you do that with Dad? Holly: (smiles, embarrassed) You're right, honey. But you know . . . (gets a far away look in her eyes) with your father, I always held back a little - I suppose because we were just SO different . . . we were always locking horns about something or other. I suppose that kept me from being too completely consumed by him. . . Blake: So, does this mean you and Dad are getting back . . . Holly: (stands up and looks at Blake sternly) Roger? Never! I'm through with men, period! Or at least I'm through with love! (Starts pacing and waving her hands in the air) I'm going to start having fun! Why should I have to play dutiful wife to a bullying, loudmouthed, self-important, boor, who's only credential for the role of romantic hero is the fact that he's never raped me, while Roger gets to jump into bed with one young bimbo after another . . .(stops and looks at Blake with an expression of outrage on her face) . . . which reminds me . . . did you know your father is now married to Bridget Reardon? Part II SCENE: Paris. Day 2. Though it's still early morning in Springfield, it's mid-afternoon in Paris and Bridget is luxuriating in the expensive attentions of the staff at Frederic Fekkai Beaute. At the moment, she's enjoying a vigorous massage, her face is covered with a mud mask, and her hair wrapped in a towel. Bridget: (to the masseuse) I'm going to drive him crazy. I'm going to be so beautiful he'll be jumping out of his pants to get to me . . . (raises her head with a thought) . . . should I let him? Hey, it has been over a year since Skunk left . . . what the heck . . . that'll make the video more interesting . . .only this time I'll be sure and use protection . . . no telling what kind of STDs he's picked up from that whore of his . . . (puts down her head with a satisfied smile) Ummm. . .. That's nice . . . could you do the shoulders some more . . . ? SCENE: Hospital, somewhere in Europe. Van is sitting up in bed, watching a video of Peter and Bill playing baseball. She smiles as Petey hits his bat against the ground, keeping his eye on Bill who is serving as pitcher. She looks up as the door opens, then smiles uncertainly. Van: Did you bring him? Roger: Yes, he's in the playroom right now. Do you feel up to taking a walk? SCENE: Carriage House. Holly: (taking a cup of coffee from Blake) Okay. Let's look at the way this girl has operated since she got back to Springfield. Her first move was to steal the proceeds from a charity benefit - money that was supposed to help poor hardworking people put a roof over their heads; then she goes on to kidnap a baby - her own brother, no less - then she stages her own kidnapping almost costing Matt his life, marries a known felon and when he behaves in a way that any rational human being would have predicted he'd behave, she buries his son alive and then has him subjected to unnecessary electroshock treatment without batting an eye! And this is how she acts when she's around people who know her - can you imagine what she was doing in Europe? Blake: (clutches her stomach and eyes Holly warily) I don't think I want to know. . . I'm *sure* Ross doesn't want to know. Holly: Honey, isn't it better to find out now before she victimizes someone else? Just look at Hart. He used to be a pretty decent kid. Do you honestly want to see him tied to her for life? Do you want her around your children? Blake: (suspicious) Mom, was this Dad's idea? Holly: No, I'm sure he's got a plan, but he's not sharing it with me. He doesn't trust me anymore (with a wistful smile) . . . not that I blame him, after I spent the last year spouting Fletcher's anti-Roger propaganda like some ventriloquist's dummy. Blake: Well, why don't you just let Dad take care of Dinah? Holly: Why should I? I'm a professional journalist - though you wouldn't know it if you looked at the way I've been spending my time in the past year. I've had plenty of experience digging into people's past lives, I lived in Europe for over ten years, I need a vacation . . . and to tell the truth, honey, I need some . . . excitement . . . adventure . . . (Blake gets a worried frown on her face) . . .but most of all, honey, I need to do something for you . . . Blake: What you can do for me is stick around, so you can be here for me when the twins are born - which could be any day now . .. . Holly: Oh, I'll be back by then . . . do you think I'd miss the birth of my first . . . (stumbles over the word) . . . grandchildren? Blake: Okay. . . how do you plan to do this? And how do you expect to unearth anything on Dinah if Daddy couldn't do it? I mean, don't you think he would have investigated her before he married her? Or at least after they started having problems! Holly: (thoughtful) Yes, that is odd. As a matter of fact your father has acted rather out of character ever since she came to town. I guess that's why it was so easy for me to believe he'd had a breakdown. I mean, the idea that a lightweight like Dinah could outsmart Roger is ludicrous! Actually, the idea that he would even bother to go after her paltry few million dollars is ludicrous! So, either Dinah is some type of professional, or Roger has been losing it for some time now. (Gets an inspiration) Blake! Do you suppose Dinah started drugging him even before they were married? Blake: Yeah! That whole Dad vs. Dinah scenario always struck me like a major league hitter going up against a peewee team. Holly: Exactly. (Thinking) So . . . my first move is going to be to go out to Hart's farm and see what I can dig up. (Grins) and then I'm going to take a thorough tour of your step-daughter's old stomping grounds. SCENE: Hospital Van: (leans back against her pillow with a sigh) Thank you, Roger. I have to say this is uncharacteristically kind of you. Roger: No problem. Van: But even though my illness has mellowed me somewhat, I'm still enough in control of my faculties to realize that this kindness of yours does not come without a price. Roger: (smiles) Sure, I'll want something in return. But nothing that should overly distress you, believe me. Van: Well . . . don't keep me in suspense! What is it? Roger: I don't want to say just yet. . . in case things don't work out as planned. Just believe me, what I'm going to ask of you will be more of a joy than a burden. DAY THREE . . . . SCENE: Jessup Farm. Mid-morning. As Holly approaches the porch, she recognizes the rose bush that Roger planted a few years ago - the day he told her his dream to make this place a home where they could all live together as a family - the Thorpe Family dynasty. The flowers were dead now, but the bush seemed to be thriving. She opens the screen door and sticks her head inside. Holly: Hart? (She steps inside) The old cot is still there... the one Roger laid on when he was wounded from Billy Lewis' bullet. She almost thinks she can still see the blood stain on the wooden frame. She pictures Roger, taking a cup of coffee from her with a shaky hand, saying, "I used to dream about this when I was out on a mission. .." The sound of a car, disturbs her memories and she goes to the door. It's the mailman. He sees her at the door so he hands the mail directly to her and leaves. Holly absently carries it inside, and then notices that the envelope on top is addressed to "Mrs. Roger Thorpe". She gets a small smile on her face, then glances from side to side. Holly: Well . . . (as she opens the letter). . .I *used* to be Mrs. Roger Thorpe. SCENE: Jessup Farm. Barn. Hart and Dinah are rolling around in the hay, when Dinah abruptly pushes him off her and sits up. Dinah: Honey, I can't concentrate on this right now! I've got so much to do before the wedding. Hart: Why don't we go into the house . . .you'll be much more relaxed in that great big bed of mine. Dinah: (stands up) Yes, let's . . . I've got tons of phone calls to make . . . and I think I'm going to have to go to New York to find a decent dress. Everything in this hick town is garbage . . . of course I suppose the Springfield natives don't know any better . . . Hart: I guess I could swing a trip to New York. (Grins) . . . and since neither of us is a nine-to-fiver, we don't have to worry about getting time off . . . SCENE: Carriage House. Ross: (walks in the door and kisses Blake's stomach) Hello, little ones. Did you know your big sister is getting married . . . and you're going to get to plan the wedding! Blake: (with a look of disgust she rolls her eyes) They are? Ross . . . what are you saying? Ross: (standing up, he cups her face in his hands and looks at her lovingly) Darling, Dinah really needs your help. She's completely overwhelmed with this wedding planning - and I don't think Hart is any help at all - I'd be surprised if that kid's ever even attended a wedding . . .(looks embarrassed) and I was hoping you could steer her toward a few bargains . . . you know how my little girl is with money . . . Blake: (under her breath) Yes, especially other people's money. (phony smile) Ross, I'm so disappointed . . . I would love to spend more time with Dinah, . . .(with a slight tinge of sarcasm) . . And I'm sure planning a wedding together would be a great way for us to bond. . .(Ross notices the hint of sarcasm and looks at her closely to see if she's serious, but her face looks completely innocent) . . . but I can't. (Takes his hand and walks him back to the nursery) I'm babysitting Meg for the next few weeks while Mom's out of town. SCENE: Jessup Farm. Holly is reading the letter that was addressed to Dinah. "Mrs. Thorpe. Your merchandise is ready. Please pick it up in person." Holly: Well, I suppose it could be something for the wedding. (Looks at the return address) But why would she go all the way to Cannes for wedding invitations? And why didn't they just call her? Holly enters the house and begins searching haphazardly through desk drawers until she notices a folder on top marked "Wedding". She looks at the "To Do" list but doesn't see any mention of Cannes. Holly: (she glances at the guest list and grins) Oh, dear . . . I'm not on the guest list! I'm crushed. . . Suddenly she hears the back door slam. In a panic, she hurriedly closes the drawers and straightens the top of the desk. Hart: Holly . . . what are you doing? Holly: (realizing that in her rush to clean up she put Dinah's letter from Cannes in one of the drawers, her face takes on the expression of panic that makes her next words even more convincing) Oh, Hart . . . you're okay . . . I'm so relieved . . . (she walks over and touches his arm) . . . when I saw the open door . . . the empty house . . . I was afraid Roger had done something . . . Dinah stares at Holly with a blank expression, then walks over to the desk and begins looking through the papers. She heads upstairs, carrying the wedding folder with her. Hart: (looking at Holly with suspicion) Now, why are you really here? SCENE: Springfield Journal. Noon. Fletcher Reade is alone in Holly's office. The phone rings. Voice OC: May I speak to Holly Lindsey? Fletcher: Ed? Ed Bauer? Is that you? Ed: Fletcher? How are you, buddy! So, you working as both publisher and editor now? Fletcher: Uh, yeah . . . Holly's gone. (choking back the tears) She left me. SCENE: Roger and Bridget in a red sports car on the road to Provence. Bridget is driving and the wind is blowing her newly short-cropped hair off her face. As Roger looks at her, he marvels at the difference a little money and attention can make in a person's appearance. Roger: Well, Mrs. Thorpe. . . a month ago, did you ever think you'd be honeymooning in the south of France? Bridget: (giggles) Nope! (Takes her eyes from the road to stare at his profile) You know, Roger . . . for an old man, you sure know how to show a girl a good time. Roger: (smiles ruefully) That's what I love about you, Bridget. You're always so . . . painfully honest. Bridget: (grimaces) Yeah . . . I guess that's why I'm so popular with the guys. But, you know . . . I think the reason I'm honest with you is because I know your ego is big enough to take it. I like that in a man. Roger: (smiles as he looks at her with new respect) Very good save, there! You should be a politician, Bridget! Bridget: (raises her eyebrows, then focuses on the road as they come to a particularly sharp curve) Yeah, what a shame . . . I don't think felons are allowed to run for office. Roger: (laughing, he musses her hair affectionately) Trust me . . . you're not going to be convicted of a felony . . . I'll keep you out of trouble. Bridget: (throws him a skeptical glance before turning her attention back to the road) Funny . . . that's what Elvis always used to say . . . SCENE: Springfield Journal. Fletcher is on the phone with Ed. Fletcher: She said I was a bully . . . that she saw warning signals . . . she actually believes that I would be capable of abusing her! Ed: And, you don't think you are? Capable of abuse? Fletcher: Me? (laughs without humor) Ed . . . when have you known me to be violent? Ed: I haven't. But then, have you ever known me to be violent? Fletcher: Of course not! Ed: So I guess you couldn't picture me ever hitting a woman then? Fletcher: No . . . you're one of the good guys, Ed. Now Roger Thorpe . . . him I can picture . . . Ed: Well . . . (hesitates, reluctant to recall this period in his life) I guess you'll have to rethink your assumptions then . . . Fletcher: What do you mean? Ed: There was a time when . . . I was a textbook example of the typical wife beater . . . SCENE: Jessup Farm. Hart: What are you doing here, Holly? Holly's eyes are drawn to the desk, her mind is racing trying to figure out how to get that letter before Dinah sees it. Did it have a date on it? She can't remember... maybe Dinah will assume it's something she's already seen and not bother to look . . . Hart: (walks toward her with suspicion in his eyes) I've been back in Springfield almost a year now, and you never bothered to come out here. What is it, you felt like taking a trip down memory lane . . . need a fix of that old Roger Thorpe magic again? Holly reflects that he inherited at least one thing from his father - the ability to read her mind. But this is not the Hart she used to know. She stares in his eyes, searching for a glimmer ... some sign that at least a small piece of that boy remains. Holly: I know, this is unusual... but Blake was worried about you and Roger's hearing took a lot out of her, she's been a little tired lately with the pregnancy . . . Hart: (looks concerned) Is Blake okay? SCENE: Bridget and Roger on the road to Provence. Roger: (smiling and relaxed he turns to Bridget) So, tell me about this Elvis. Should I be flattered by the comparison? Bridget: Maybe . . . (grinning) yeah you might be flattered . . . if you've always had a secret desire to ride a cycle, wear black leather and hotwire cars for a living. Roger: (laughing at the image) Bridget! I'm shocked! And here I thought you were such an upstanding citizen. Bridget: Yeah, a real dork, huh? Roger: Well, I certainly never realized you had such a checkered past. I'm impressed. Bridget: With my checkered past? Roger: No . . . with the way you've managed to turn your life around. You put me to shame. (Looks at Bridget with surprise, realizing that he just might mean that) SCENE: Airport. Later that night. Holly's on the phone with Blake. Holly: I'm pretty sure I remember the address, but I'd still rather not let Dinah see that letter. She might start wondering who opened it. Blake: (smiling conspiratorially) Oh great! Does this mean I get to go on a reconnaissance mission out to Hart's farm? And here I was getting jealous thinking you were going to have all the fun. Holly: Just be very careful, Blake. (Smiling) Remember, you can't run as fast these days. ANNOUNCEMENT: Flight 703 to Paris, boarding at gate 11. Holly: There's my flight, gotta go. I'll call you tomorrow. Oh . . . in case you need to reach me before then, I'm staying at the Hotel Martinez in Cannes. SCENE: Carriage House. The next morning. Blake is sitting on the sofa, holding Meg on her lap. She's exercising Meg's legs as she talks to her. Blake: (giving her a kiss on the cheek) Oh, Meggie, I'm so glad I finally have a sister. You know, I already adore the boys and I can't wait until they get here . . . but every once in a while . . . just for a second mind you . . . I wonder what it would be like to have a little girl. (Lifts her up and looks in her eyes) And that's why I'm so glad you're staying here for the next few weeks. It'll be just like having my own little girl (lays her down and starts the exercises again) . . . I can't wait until you're grown up and we can swap clothes . . . and recipes . . .(self-deprecating smile) well, maybe not recipes. . . but, I'll teach you how to wear makeup . . . (grins wickedly and gives her a wink) . . . and later on . . . if you're very good . . .I'll even teach you how to seduce men . . . The phone rings and Blake picks up Meg and walks over to answer it. Blake: (to Meg) Only just don't seduce any of *my* men . . . (into the phone) Marler residence. Dinah: Oh, good. You're there. Blake, I have to go out of town for a few days and Daddy said you'd be able to help out with the wedding. So here's what I want you to do. (Starts reading from a list) Pick up the wedding invitations, then call the Country Club . . . Blake holds the phone away from her ear and makes a face at Meg. Dinah keeps talking for several minutes but we can't hear what she's saying, only the endless droning of her voice coming through the receiver. When she stops talking, Blake puts the phone back to her ear. Blake: (realizes this is the perfect opportunity to snoop around the farm) Why don't you just leave me a list - I'll come out and pick it up later. Oh... but I have to warn you I probably won't get to all of it. . . I'm babysitting Meg for the next few weeks. And that means daily infant stimulation classes and a couple of times a week we go to that clinic out of town, and then there's . . . Dinah: Why do you have to do it? Where's her mother? Blake: (smiling with glee at Meg, she manages to keep the laughter from her voice) Oh, Mom had to go out of town on a story. Dinah: Well . . . she's got some nerve, doesn't she? What, she just picks up and leaves you saddled with that . . . that Disability Child? Blake: (thinks to herself) Child, I've been saddled with a disability from the moment you got back from Europe. (Speaking into the phone) Uh . . . Dinah . . . I believe you mean Differently Abled or perhaps you're thinking of DS as in child with Downs Syndrome. But personally, I prefer to just call her Meg. DAY FIVE . . . . . SCENE: Cannes. Exterior. Holly is walking along the Rue D'Antibbes in Cannes, looking at the numbers on the buildings. She stops at number 70. Holly: An art gallery? (She tries the door) Locked! (Then notices the cardboard clock dangling inside the window) Damn! Closed for lunch... I forgot I'm in the land of three-hour lunches now. (She looks down the street at the other shops) Maybe it wasn't 70 Rue D'Antibbes . . . maybe it was number seven . . . or seventy-seven (grimaces) . . . face it Holly, you don't really know where you're going, do you? Off Camera: A very profound question. But then, does any of us know where we're going . . . really? And doesn't that make life more exciting? SCENE: Cannes. Hotel Martinez. Roger looks out the window of his hotel room at the Mediterranean. The afternoon sun has turned the normally cobalt-blue sea to a deep red. He notices Bridget, strolling alone by the docks, her small figure wrapped up in jeans and a leather jacket, hands in pockets - she stops and kicks one of the pilings, then leans on a post, resting her chin in her hands and gazes out at the sea. His first reaction is to smile fondly, thinking how much she reminds him of Peter when he's exploring on the farm. From this distance, with her hair cut short, she almost looks like a little boy. Then he frowns. The droop in her shoulders suggests that she's losing her confidence. And that's not good. That could blow their whole plan. He grabs his coat and leaves. A few minutes later Roger finds Bridget sitting on the edge of a pier, her legs dangling over the side. He sits down beside her. Roger: I think we should celebrate tonight. . . this caper deserves a fitting kickoff! Bridget: I can't do it, Roger. Roger: Of course you can do it! You're Cleopatra, Mata-hari and Delila all rolled into one! Bridget: Yeah, sure! (Stands up) Look at me, Roger! (Opens her jacket) Does this look like the body of a seductress? I'm a joke! Why would Hart want me when he has Dinah to go home to! Roger: Are you serious? You're worried about Dinah? Believe me between the two of you there's no contest! Dinah is about as seductive as a well-chewed dog bone. Bridget: Well, Hart obviously wants her . . . and you wanted her! You were married to her, Roger! Roger: That marriage was mostly about getting a reaction from . . .other people. Believe me, I would have married Dinah no matter what she looked like. Although, if she looked like you I would have enjoyed it a lot more. (Bridget looks startled) Honey, if all a man wants in bed with him is a body, he can go to a prostitute. All Dinah has is a body - and not much of one at that. There's nothing inside! (Taps her head lightly) . . . nothing behind the eyes! I'm not easily frightened, but I'll tell you . . . waking up in the morning and looking into those cold, dead eyes of hers . . . wheww. . . (shivers) . . .now that was scary! Bridget: (laughs) Yeah, but I'll bet Hart's not looking at her eyes! Roger: Once we put our plan into motion, he's not going to be looking at her at all - he'll be looking at you. And you've got something she'll never have (cups her face in his hands and looks in her eyes) . . .you've got soul, Bridget. You've got heart and soul and humor and intelligence and caring . . . and it's all right out there for everyone to see. Bridget just stares at him, trying to take in everything he said and wondering if he's telling the truth. Roger puts his arm around her shoulder and walks her back toward the hotel. Roger: (smiles down at her) And on top of all that . . . you've got a new wardrobe! Now you don't think I would have wasted all that money on you if I didn't think you had the stuff to pull this off, do you? Bridget: (as they walk away) Hey, Roger . . .you never did tell me where you got the money. I thought Dinah cleaned you out. Roger: (squeezes her shoulder) Now, Bridget . . . I can't tell you all my secrets . . . (smiles cryptically) . . . let's just say I diversified my investments. SCENE: New York City. Hotel Room. Dinah and Hart are rolling around on the bed. The television is on with the sound muted, and Dinah's eye is caught by something on the screen. She pushes Hart off of her. Dinah: (pointing to the TV) Ooooh...ooh...ooh.... that's it! That's the dress I want. Turn the sound up, Hart. Hart, glassy eyed and breathing heavily, looks first at Dinah and then at the television screen. He moves toward her and begins kissing her again. She pushes him away and jumps out of bed. Dinah: (angrily) Oh hell, I guess I'll have to do it myself! (Turns up the sound) TV Reporter: The new Mrs. Kennedy wore a priceless original pearl-colored silk crepe dress designed by Narciso Rodriguez, who creates one of Paris designer Nino Cerruti's couture lines. Dinah: (runs to the desk for a pen and paper and starts making notes while talking to herself) Silk tulle veil . . . crystal- beaded . . . sleek... (starts shouting to the TV) THE DESIGNER! WHO'S THE DESIGNER! (To Hart) Oh, damn damn damn . . . this is all your fault . . . I missed the name of the designer . . . Hart, now fully alert, lays back on the bed with his hands behind his head and stares at Dinah with resignation. Hart: I think they said something like Rodriguez. Dinah: (writes it down) Well, where can I find him? Is he in New York? Hart: Honey . . . (gets out of bed and joins her). . . didn't you hear the reporter say that gown was priceless? Dinah: (puzzled stare) Yeah? So? Hart: So . . .(with a tolerant smile, as though stating the obvious) . . . couldn't you just get a picture of it and have one made to look like it? Dinah: (stiffens and gives him a cold stare) You mean I don't deserve to have a priceless gown? Hart: Well, sure . . . but Ross . . . he's already taken a second mortgage . . . Dinah: (throws down the paper and pen angrily) I'm so sick of you throwing that up to me! Can't you forget about "Daddy's" great sacrifices for a minute and just once think about me! SCENE: Cannes. Outside the Art Gallery. The shopkeeper unlocks the door, then stands back so Holly can enter. Man: Lucky for you I had a light lunch today. I don't normally open until 2:30 but I'm getting ready for an exhibit by a new artist in a few days. Holly: Well, then I'll try not to waste your time, because you must be busy. (Stares appreciatively at the paintings on the walls) I'm not even sure this is the right place . . . I got a letter telling me there was a package here for me to pick up. . . (embarrassed) . . . unfortunately, my husband threw the letter away so I don't have the exact address. Man: (raises his eyebrows) Oh . . . and what was in the package? Holly mentally hits herself over the head for not expecting this question. Of course they would want her to identify the "merchandise." Holly: Well, I don't really know . . . (thinking fast) . . . uh . . . I'm getting married, you see, and I guess I assumed it was a wedding present. Man: Isn't that a bit unusual . . . to make a bride travel thousands of miles for a wedding present? I mean, you're obviously not familiar with Cannes... and from your accent I'd guess you're American. Holly is feeling sillier by the minute, and beginning to realize that she's in way over her head here. She decides she better just get to the bottom line and then get out fast. Holly: Yes, my family is very . . . eccentric . . . you learn to expect the unexpected . . . so, do you have a package for Mrs. Thorpe? Man: (looks at her curiously, then shrugs) I'll have to check our order book in the back room . . . you say you got this letter a few days ago? Holly: The day before yesterday, actually. The man goes to the back room and Holly wanders around looking at the paintings for a few minutes. Suddenly, she claps her hand to her mouth in embarrassment. She gets an image of herself saying, "...my husband threw the letter away..." and then, a few minutes later "...I'm getting married.." She glances toward the back room, nervously, then hurries out the door. DAY SIX . . . . SCENE: Cannes. Hotel Martinez. Restaurant. The following night. Roger sits at a table, watching Bridget walk toward him from across the room. She's wearing one of her new dresses, long, grey, body-hugging, jersey-like material with straps criss-crossing in the back. He notices several men following her with their eyes as she crosses the room, and he's relieved to see that her confidence has returned. From the big grin on her face, he can tell she has good news. Roger: (smiling) What? Bridget: (sits down) Matt told me they're in Paris! (Her grin expands into a big smile) And Roger, you won't believe why they came over . . . Roger: (grinning) They're getting married in Notre Dame Cathedral? Bridget: (considering) Hey, that's an idea! I'll bet that would clean out their bank accounts. But this is almost as good . . .(giggling so hard she can hardly get the words out) Dinah . . . has decided . . . (breathless from laughing) . . . she has to have a designer wedding gown! Roger: (laughing, he stands) Things are coming together even sooner than I expected. If they're in Paris already, then it's time for me to make my call. A few minutes later, Roger is hanging up the phone in the lobby when he hears, "Paging Mrs. Roger Thorpe...will Mrs. Roger Thorpe please come to the registration desk." He looks up, startled to see Holly approaching the desk, then shaking hands with the man who is standing there. Roger quickly ducks behind a pillar, and watches them, his face a mixture of annoyance, frustration and curiosity. PAN to Holly at the desk. Man: I hope you'll forgive me for making you wait around the shop yesterday . . . I don't blame you for leaving. Holly: (relieved that he didn't seem to notice the holes in her story) I had another appointment . . . Man: I got a call from my new artist . . . having first-night jitters . . .and I had to calm him down and then I forgot about you completely . . . Holly: No problem. You really didn't have to come all this way . . . Man: Oh, but I did! You see, (pulls a package out of his coat) . . . there was a package for you . . . Mrs. Thorpe. And since you traveled such a great distance to get it, I figured it was very important . . .(hands her a small box, wrapped in brown paper.) And to make up for my rudeness yesterday, here's a free ticket for the exhibit tomorrow night. Hope to see you there . . . oh, and your husband is welcome too, of course. (he leaves) PAN to Roger as he watches Holly head for the elevator, then he sees Bridget coming out of the restaurant and heading for the registration desk to answer the page for "Mrs. Thorpe." He manages to grab her and pull her behind the pillar only seconds before Holly enters the elevator and turns to face the lobby. Bridget and Roger are both breathing heavily, leaning back against the pillar, Roger ducks his head out and sees that the elevator doors have closed. He relaxes - Bridget is still in a panic. Bridget: What the hell . . . you scared me to death! (Still having trouble catching her breath) What's going on? Roger: Holly's here. Bridget: (looking puzzled, then she relaxes and smiles) Oh, good . . . maybe SHE can seduce Hart . . . She turns to follow Holly to the elevator, but Roger pulls her back. Roger: Not just yet . . .Holly can't know we're here quite yet . . . there's something I have to do first . . . SCENE: Carriage House. Ross walks in the door, lays down his briefcase and makes a drink. Ross: (shouting) Honey . . . you here? The phone rings and he answers it. Ross: Ross Marler. . . (As he listens, his face turns red and finally he explodes) No! I did not tell my daughter she could charge a $40,000 wedding dress to my account. (He has a thought and his anger changes to a slow smile) . . . and I was just about to report that card as stolen. So, I would appreciate it if you would confiscate the card. (Slams down the phone and yells for Blake). Honneeey.... I thought you were gonna keep an eye on Dinah? SCENE: Jessup Farm. Blake stands in the middle of the living room and looks at her watch. Blake: (talking to herself) Okay, I've got an hour till I have to pick up Meg (looks around) . . . Yeah, I can probably do this in an hour. She walks to the desk and finds the list of chores Dinah left for her. Blake: (grinning) Well, we won't be needing this, boys. (She takes the list into the kitchen and tears it into little pieces, stuffing them down the garbage disposal.) Up in the bedroom, Blake rummages through drawers, pulling out some of Dinah's lingerie, she holds it up for inspection. Blake: (looks down at her stomach and pats it) I hope you two guys have your eyes shut down there. She opens the drawer beside the bed and pulls out a pair of handcuffs. Raising her eyebrows, she makes a disgusted face. Blake: (holding the cuffs at a distance in front of her) I didn't need to know this. (She throws them back in the drawer) Sorry, Ross . . . this completely ruins Tuesdays for me now . . . SCENE: Hotel in Paris. Dinah and Hart are rolling around on the bed when the phone rings. Hart picks it up. Dinah turns to the bedside table, picks up a pen and paper and begins making notes. Hart: (frustrated) Yeah? Bridget: (her voice near hysteria, her body relaxed, stretched out on the bed in her grey Ralph Lauren) Hart! Petey's been kidnapped! PAN to Roger sitting across the room smiling with approval. Hart: (sitting up) Kidnapped! But how? Why? Why would anyone . . . Bridget: (holds the phone between her shoulder and ear so she can file a nail) I guess they know that you have money . . . Hart: Of course! How much do they want? What did they say? Did you get a note? Dinah stares at Hart with narrowed eyes. Bridget: They haven't told us what they want yet. We're just supposed to wait until they contact us. Hart: Tell me where you are, Bridget. I want to be there too. At the mention of Bridget's name, Dinah becomes alert. She tries to grab the phone. Instead Hart grabs her pen and paper and starts writing down the information Bridget's giving him. Then he hangs up. Hart: (standing, he starts dressing) Get dressed. We have to go to Cannes . . . Peter's been kidnapped. Dinah: (laughing) Oh, sure. Hart, how naive can you be? Don't you get it? This is Roger's . . .duh . . . clever revenge plan! Do you honestly think Peter could be snatched with Roger - an ex-agent - as his bodyguard? Hart: Roger couldn't even protect himself from us . . . why do you think he'd be able to protect his grandson? Dinah: From us . . . that's the key. Not everyone is as brilliant as we are, Hart. Hart: (continues dressing) Well, you may be right. But I have to know for sure. Are you coming or staying here? Dinah: (lays back confidently and yawns) We're both staying here. I have an appointment with Rodriguez tomorrow and I don't want to be in Paris alone. Hart: (throws a few clothes in a suitcase and walks to the door) I'll call you when I get to Cannes. (He leaves. Dinah stares at the door with no expression.) SCENE: Hospital in Paris. Van is sitting in a wheelchair and Petey's standing a few feet away with a plastic bat, hitting it against the floor, waiting for her pitch. She raises her arm then lowers it and sighs. Petey puts the bat down carefully and runs to her, wrapping his arms around her legs and laying his head on her lap. Petey: Mommy, when you comin home? Van: (strokes his head) Soon, honey . . .I'm not sure exactly when . . . but it won't be too much longer (she gets a worried frown, wondering what will happen when he gets back to Springfield and starts telling stories about "seeing Mommy." Just then the phone rings and she picks it up.) Bridget: (smiling) How's my Punkin? Van: (looks at Petey playing with his toys across the room) Your Punkin is just fine. Bridget . . . thank you. He's like a miracle for me! (Her eyes start tearing) Being with him is just . . . Bridget: (feeling guilty that she hasn't told Van about the fake kidnaping) Don't thank me . . . it was Roger's idea. Van: Yes . . . well maybe I'm thanking you for being such a good influence on Roger, then. I have to admit I was very concerned when I first heard about your marriage . . . Bridget: (changing the subject) Vanessa . . . I have to say this . . .it's going to be very hard for me . . . keeping this from Matt . . . SCENE: Cannes. Holly's hotel room. Holly: (on the phone, laughing) Blake, I'm a failure as a spy . . . my technique was so bad it was embarrassing! When the gallery owner didn't come back, I figured he was either calling the police or he was rounding up his partners in crime . . . so I skipped out! Blake: (worried) Well, I told you, Mom . . .leave this to Dad . . . you don't know what you're getting into here. Holly: No . . . actually . . . (still laughing) . . . the real reason he didn't come back is . . . he forgot about me! If that isn't a blow to my ego! Anyway, now I have Dinah's "merchandise," but I still don't have a clue what it is. (Holds up an unlabeled videotape in front of her) Blake: Can't the hotel get you a VCR? Holly: No! For three hundred dollars a night, wouldn't you expect that would be part of the package? (Laughs). . . but the desk clerk did make a point of telling me that they had several "adult" channels available on cable, for a minimal charge. Blake: (laughs) Oh, speaking of adult toys, Mom, you won't believe what I found in Dinah's bedroom! Holly: (suddenly serious) Honey! Did you find the letter? Blake: (frowns) No . . . that's not good, huh? Holly: I don't know . . . (doesn't want to worry Blake) . . .you know, the more I think about it . . . there's absolutely no reason to think that Dinah's involved in anything sinister. I've probably been jumping to conclusions here . . . remember what happened with Eve? Blake: (laughs) Yes! That poor woman! Between the two of us we blamed her for everything but burning down the Lighthouse! Holly: Exactly! And half the things I accused her of were really your father . . . (her voice trails off as she has a thought) . . . Blake, where IS Roger? SCENE: Cannes. Roger's hotel room. Roger comes out of the shower, surprised to find Bridget still sitting on his bed, propped against the headboard, deep in thought with a frown on her face. Roger: I thought you were going back to your own room? Bridget: Hmm? Roger: Are you still worried about your brother? Bridget: Yes. (Gets up and starts pacing) I have to think this through . . .I can't decide what's the best thing . . . Roger thinks how much she reminds him of Holly - that fierce determination to do the right thing . . . a concept he always found quite alien . . . Roger: (worried that Bridget is going to blow their plan by telling Matt about Vanessa) Think of it this way . . . suppose Vanessa doesn't make it? Then your brother will have to mourn her twice! Bridget: (stares at him knowingly) That wouldn't really bother you, would it? Roger: What? Bridget: If Vanessa doesn't make it. Roger: (raises his eyebrows) Bridget, I've never claimed to be an altruist. And the Lewis/Chamberlain clan have never exactly welcomed me to their bosom. So why should I care one way or the other what happens to Vanessa? Bridget: (Moves a step back) Woah . . . you really *are* a cold one, aren't you? Roger: (staring at her coldly) Yes, I am. Bridget: Are you trying to scare me, Roger? Cause if you are you're doing a damn good job of it. . . and when I get scared I usually run. Roger: (slowly smiles) No, little one, I'm not trying to scare you . . .(touches her hair affectionately) why would I want to scare you away? We've got a job to do! (Puts his arm around her and walks her to the door) Now, shouldn't you be getting to bed? Bridget: Oh, yeah . . . I thought now that Dinah and Hart are on their way to Cannes . . .and especially now that Holly's here . . . I thought I'd better stay in your room so they don't get suspicious. So I gave up my room. Roger: (thoughtfully) Probably a good idea . . .(looks around the room) . . . but it's going to be sort of awkward, don't you think? (Rubs his chin) Although, I guess I could push two chairs together . . . (frowns at the thought of the stiff muscles he's going to have tomorrow) Bridget: Now that's crazy! We can both sleep on the bed (sees Roger's raised eyebrows) . . . haven't you ever done the platonic thing? My friends and I do it all the time to save money. Roger: (laughing inwardly at the obvious generation gap) Uh, no, Bridget . . . I can't say that I've ever done "the platonic thing." Bridget: (with a questioning look) I hope you're not worried that I'm going to . . .(makes a face indicating revulsion) . . . attack you or something? Roger: (laughs, shaking his head) Okay. You win. Just the memory of that look, should be enough to keep me on my own side of the bed. SCENE: Cannes. Holly's hotel room. It's the middle of the night and Holly is awakened by the ringing of the phone. Holly: (picks it up without opening her eyes. She yawns) Yah? Blake: (her voice lowered so Ross doesn't hear her) Mom. . . I'm sorry I woke you, but . . . I've been thinking about that tape. Holly: (Still half asleep) That's nice, honey. Blake: I think you should put it in the hotel safe. Holly: (rolls her eyes and pulls the covers up around her neck) Would I have to get out of bed to do that? Blake: (scolding) Mom! This could be serious! I mean, don't you think it was kinda strange the way that man from the gallery knew where to find you? SCENE: Cannes. Roger's hotel room. Roger awakens to a banging on the door. He had been sleeping on top of the bedspread with his clothes on. Now he pulls down the bedspread and removes his shirt to maintain the marriage charade. Then he opens the door and steps aside as Hart rushes in and runs over to the bed where Bridget is sitting up rubbing her eyes. *THE ROLE OF HART IS NOW BEING PLAYED BY LENNY STAAB* Hart: (looks from Roger to the bed to Bridget and shakes his head in disgust) Have you heard anything from the kidnappers, Bridget? Bridget sobs and Hart sits down on the bed, putting his arms around her. Roger sees that Bridget is fully awake now and ready to play her part. Roger: (grabbing his shirt) I'll leave you two alone for a few minutes and see what I can find out from my contacts. SCENE: Holly's Room. Holly, still not fully awake, grumpily throws on a pair of slacks and a sweater, grabs the videotape and her room key, and heads out the door. In the hall, she realizes she got the sweater on backwards. She shrugs and keeps walking. Holly: (mumbles to herself) The things I do to be a GOOD mother! She looks at the tape in her hand and hear's Blake's warning voice, "Mom, I don't think it's safe to keep that tape in your room." Holly: (looks up and down the empty hall) Yeah, and how safe is it to be wandering around deserted hallways at three o'clock in the morning! She slips the tape under her sweater and walks to the elevator. As she waits for the doors to open, she's grabbed from behind and pulled into a dark alcove. Suddenly the arms around her loosen, she hears a struggle the sounds of fist against flesh, then the sounds of feet running away. She sees the silhouette of a man in the entrance to the alcove, the hall light shines from behind his head, leaving his face in darkness. He holds up the videotape, "Is this yours?"