ROGER'S REVENGE - PART 8 - 12/17/96 - By Pat C., patricia@epix.net - LATER THAT NIGHT. SCENE: Casino in Nice. Bridget is awed by the elegance of the entrance hall - marble floors, glittering chandeliers, plushly upholstered chairs, silent waiters, unobtrusively carrying sterling silver trays with complimentary food and drink from the bar and restaurant to the various gaming rooms so the richly-dressed customers are free to continue gambling non-stop. She looks at Hart, who blends in quite nicely in his new dark suit. BRIDGET: Well, you were right! I'm glad you suggested we buy new clothes. (She looks down at her body, wrapped in a tight, short gold lame dress with spaghetti straps, and frowns) But if I'd known we'd need to go formal, I could have brought some dresses along. All those Paris originals that Roger bought me are just hanging in that closet back in Cannes! HART: Oh, not you too, Bridget! What is it with you women and clothes? Well, I'm sorry I didn't buy you a Paris original (lowers his voice) but I've got to save my money for Peter's ransom. BRIDGET: That's what I meant. If I had brought my clothes along you wouldn't have had to spend any money at all. (She turns toward one of the gaming rooms) Let's start in here. I bet Jules is the slot machine type. HART: (hesitates) Uh. . . you look. I'll wait in the bar. And if he knows anything about gambling, he's not wasting his money on the slots - he's probably playing chemin de fer. BRIDGET: Huh? I never heard of that one. Of course, the only time I've ever been in a casino is when Skunk took me on that river boat that docks at Connelsville. Lucky for me I only brought fifty dollars with me, 'cause I lost it all in five minutes playing black jack. Boy, those dealers move fast! HART: Good idea. (takes out his wallet and removes a hundred dollar bill, then hands the wallet to Bridget) I want you to hold on to this for me, Bridge. BRIDGET: Me? I just told you I lost fifty dollars in five minutes! HART: (presses the wallet into her hands) I trust you. I know you won't let Peter down. You keep this and don't give it back to me until we walk out that door. SCENE: Paris. street corner outside a French bistro. Dinah and Frances are standing together by the curb, their clothing barely covers them and Dinah is shivering, stomping her feet and rubbing her arms to keep warm. FRANCES: That act ain't exactly going to attract too many John's, Deedee. The idea is to look hot, not cold. DINAH: (angry) When I asked you to introduce me to some of your customers, this isn't what I had in mind. FRANCES: Hey, this is my life these days, hon. It's either this or Victor. DINAH: (thinks about Amanda Spaulding) Well, I've got a friend back in Springfield who could probably tell us how to do this right. FRANCES: (watches the crowds going into the bistro) They must have a new act tonight. I wonder if it's any good. DINAH: (looks toward the bistro) Who cares if their act's any good . . . as long as their heating system works? (Pulls her toward the door) Come on! They enter the building and go down the stairs to the basement. The room is large and dark and the air is heavy with smoke - all of the tables are filled. DINAH: (looks around) Maybe we can pick up a customer in here? FRANCES: I wouldn't try it, Deedee. (Dinah looks puzzled) Undercover cops. The place is crawling with them. You want a drink? Come on, I'll buy. They make their way to the bar. As they sit down they notice the lights are lowered and conversations begin to dwindle. They look at the stage. EMCEE: Here she is, ladies and gentlemen, the woman you've all been waiting for - Marley Diniro! Frances hears a strange noise coming from the seat beside her and turns to see Dinah, hyperventilating. SCENE: Jacques Villa in Antibes Holly makes her way over to the group of men. She glances briefly at the man being introduced as Adam Knight, but he hasn't yet noticed her. Then she looks at Jacques, certain that he will recognize Adam Knight as "Roger Thorpe" . . . the man he saw her talking to in Cannes. But Jacques gives no sign of recognition, only holding out his hand graciously to Roger. JACQUES: I will be happy to show you my work, Mr. Knight. I hope we will be able to come to terms that are mutually agreeable. He looks at Roger, but Roger is looking at Holly. ROGER: I always try to be . . . agreeable. Roger's mind is racing. As soon as he saw Jacques Faber, he knew him to be Holly's latest lover, the artist. So when Holly appeared, he was able to face her impassively, showing no signs of recognition. But on the inside he's in turmoil. What is she doing with these people? He thought she was safely out of town on a holiday with her lover. Now it turns out she's going to be right in the line of fire! JACQUES: (puts his arm around Holly and pulls her into their circle) And this is my house guest, Holly Norris. Roger studies Holly's face closely, trying to judge her intentions. Will she betray him? SCENE: Springfield. Cedars Hospital. Blake is sleeping, and Ross gets out of bed carefully and puts the babies in their cradles, gives Blake a soft kiss on the cheek and quietly leaves the room to try calling Holly again. When he gets out of sight, Leo emerges from an empty room nearby and sneaks into Blake's room. LEO: (whispering) Blake? Are you awake? (He walks closer to the bed and touches her arm) Blake? BLAKE: (stirs slightly but doesn't open her eyes) No, Ross . . . fraternal .. . they're fraternal . . . LEO: (raising his eyebrows) I guess childbirth takes a lot out of you, huh? He walks over to the corner and looks at the babies. This puts him out of sight when the door opens and someone else walks in. He turns with guilt, expecting to see Ross returning. Instead he sees Amanda Spaulding. The sight of her leaves him speechless. Amanda is also surprised. She had expected to have a little chat with Blake about her babies' paternity. She locks eyes with Leo. Neither speaks. Both are wondering about the other's identity, both are trying to come up with some plausible excuse for being in Blake's hospital room. SCENE: Casino in Nice, France. Roger and Bridget are standing in an alcove off the main hall. BRIDGET: What are you doing here? ROGER: Several things. (Looks around to be sure they can't be overheard) First, have you talked to Vanessa lately? BRIDGET: Of course. I call her every day. But I couldn't reach her today for some reason . . . ROGER: (interrupts her) I think it would be best if you don't call her again for a while. No sense in taking any chances. (Bridget looks puzzled) You want this plan to work, don't you? BRIDGET: Sure, okay. But shouldn't we at least let her know . . . ROGER: Please, Bridget. Just trust me on this. Now, I also need your help with something else. Holly's here. And the people she's with think my name is Adam Knight. So it would probably be best if you and I aren't seen together. And if we can't avoid contact, just be sure you don't call me Roger. Oh, yeah and on the outside chance that Hart should get the urge to talk to me, will you try to talk him out of it? He would blow my cover for sure. (She nods) Okay. Have you ever played chemin de fer? BRIDGET: No. But Hart has. ROGER: Good. I want you to get him into the chemin de fer room and my people will take it from there. BRIDGET: I thought you wanted Hart to lose all his money in a poker game in Monaco? ROGER: Plans have changed. My people are here tonight so it will be chemin de fer in Nice instead of poker in Monaco. BRIDGET: (frowns) One problem, Roger. Hart doesn't want to gamble because he thinks he's going to need all his money to pay Peter's ransom. (Takes out Hart's wallet) He even gave me his wallet to hold for him. ROGER: (raises his eyebrows) He gave you his wallet? (Smiles and holds out his hand) Let's see what we have here . . . (he takes the bills out of the wallet and counts them) . . . a thousand in cash and five thousand in traveler's checks . . . (he puts them in his pocket and grins at Bridget) . . . such a good boy! This will do nicely. BRIDGET: Do what? Why are you taking Hart's money? What will I tell him? ROGER: Tell him you lost it gambling . . . (He returns the wallet to Bridget) BRIDGET: He knows I would never do something like that. ROGER: You would if it was going to save Peter's life. See, you're going to tell Hart that I heard from the kidnappers today and they want $5 million. You know he only has $3 million, so you got desperate and you thought you could win the rest of the money by gambling. BRIDGET: Okay, I can do that. And maybe I will. But you have to tell me first why you're stealing Hart's money. ROGER: (puts his hands on Bridget's shoulder) Honey, you've trusted me this far . . . can't you trust me a little longer? BRIDGET: Yes. I trusted you, Roger. But maybe I was wrong. Because . . . I think maybe you're not always what you seem. ROGER: (looks her in the eyes) No . . . I'm not. But I thought you knew that, Bridget. BRIDGET: I did, didn't I? I guess I just forgot for a while there. ROGER: (relieved, and a bit saddened by this) But one thing you can trust . . . is that what I'm doing will not hurt Hart . . . or you . . . or even Dinah for that matter. I don't hurt my family . . . I don't hurt the people I love . . . BRIDGET: Maybe you don't set out to hurt them, Roger . . . but I think you're careless with them . . . I think you're very careless with the people who love you . . . As Roger stares at Bridget's earnest little face, her words keep echoing in his ears, "You're very careless with the people who love you." SCENE: Casino - Ladies Lounge Holly is sitting in the ladies lounge, on the phone, patiently listening to the sound of Blake's taped voice on the Marler answering machine. She leaves a message. HOLLY: Okay, Blake. Sorry I missed you, honey. I've been staying at Jacques' Villa for a few days because he wants to paint me. And I want . . . The image of Roger and Bridget as she just saw them - standing together in a secluded alcove, engrossed in intimate conversation - flashes through her mind. Her eyes tear, and she pastes a phony smile on her face. HOLLY: . . . I just want to forget about everything for a while and let somebody spoil me for a change . . . which is what Jacques has been doing. He's so sweet, Blake . . . oh, don't worry I'm not rushing into anything. And I'm sure this mood won't last and I'll be back on our mystery in a few days . . . Holly hears the ending beep on Blake's answering machine and makes a face, hanging up. She decides it's probably better that she didn't tell Blake about Roger being at Jacques' Villa -- no telling who might hear a message left on an answering machine. She shakes her head, trying to get the image of Roger and Bridget out of her mind. But she can't. From the way they were looking at each other it was obvious that their feelings run very deep. She remembers when Roger used to look at her that way . . . SCENE: Casino Bar. Hart is sitting at a table in the corner, three empty beer bottles lined up in front of him. He's paying a waiter for a fourth bottle and watching the door, as Bridget enters. He gets up and meets her. HART: (takes her arm and leads her to the door) Come on, let's go. Jules isn't here. BRIDGET: Hart where have you been? I've been looking everywhere for you . . . and then when I couldn't find you I had to think of a way to make more money and now I lost $6000 . . . HART: (he holds her arms to calm her) Bridget, slow down. I don't know what you're talking about. BRIDGET: We heard from the kidnappers. They want $5 million in 48 hours. . . and you only have $3 million. HART: You heard from . . . the kidnappers .. . (puts his face in his hands, then lets out his breath, slowly) Then he's alive! (grabs her shoulders) Bridget, you don't know how worried I was . . . that he was already dead. . . that he'd been kidnapped by some psycho . . . I didn't want to worry you, but . . . this is good news! Did you talk to Peter? BRIDGET: No. Watching Hart in pain, Bridget begins to feel a strong surge of guilt about what she and Roger are doing. She's tempted to just tell him the truth . . . or she could pretend to get another phone call saying Peter's been rescued. But from the way Roger's been acting the past few days and from the things he said tonight, she has a feeling that Roger's involved in something else . . . something bigger than this revenge plan . . . and he still needs Hart to lose . . . BRIDGET: But Roger told the kidnappers that we want proof that Peter's okay. So they arranged a phone call for noon tomorrow . . . we'll be able to talk to him then. She decides to call Vanessa later and set this up. SCENE: Casino in Nice, France. Roger is at the Black Jack table, hoping to turn Hart's $6000 into $250,000, in case Bridget can't convince Hart to lose big at chemin de fer. He sees Holly approaching him with a determined look in her eyes and knows she's about to grill him. Looking at his watch, he realizes he doesn't have time for this right now. It's 9 p.m. and he's got three hours to come up with the money. HOLLY: (sitting down beside him) Well, aren't you the high roller! ROGER: Yes. (smiles suggestively) Would you like me to stake you? HOLLY: (smiles grudgingly) You've got it backwards, Roger. I'm supposed to be staking you. . . wood is what's called for, I believe. ROGER: Perhaps, it's more true to literary tradition . . . but my way is lots more fun. HOLLY: I guess it depends on which side of the stake you're on. ROGER: As I recall, you always enjoyed it from either side. HOLLY: (decides it's time to change the subject) Much as I love these little trips down memory lane, Roger, could we come back to the present? First of all, don't think I don't know what you're doing. ROGER: (little smile) What am I doing, Holly? HOLLY: You're trying to be so offensive that I'll walk away. ROGER: Aw . . . what a pity! Here I thought I was being charming. . . .and - just for the record - even though it's always a pleasure to view you from the rear, I prefer it in close-up. HOLLY: I'm glad you enjoy the sight of me walking away from you, Roger . . . since you see it so often. And I promise you, you'll see it again . . . just as soon as you tell me . . . what are you doing posing as Adam Knight? And what are your plans for Hart and Dinah? ROGER: How about if we strike a little deal here, Holly. You tell me about this story you're doing and I'll tell you all my secrets. (Looks above her head) But not right now . . . your Frenchman is headed this way. (Looks down at Holly) Since you've already surmised that I want you out of here, would you do me a favor and take him with you? HOLLY: Okay. But I'm serious, Roger. If you don't fill me in on your plans tonight, I'll blow your cover. ROGER: (grins) I'll be glad to fill you in tonight, Holly. And you can still blow my cover or anything else that comes to mind. Holly starts coughing to cover her laughter. She jumps up from the table and intercepts Jacques before he gets a chance to settle in next to Roger. HOLLY: (hanging seductively on his arm) I'm tired of entertaining your customers. I think it's time for you to start entertaining me . . . at home. JACQUES: Do you mean it, cherie? HOLLY: Let's go back to your villa and I'll prove to you how much I mean it. (They leave) SCENE: Casino - Lobby. Hart's at a pay phone, talking to Bridget as he dials. HART: Don't worry about it. We're $2 million short, so that $6000 isn't going to make any difference. Besides, I know you did it because you love Peter. BRIDGET: Do you? Hart's understanding makes Bridget feel even more guilty. It occurs to her that it's a good thing she's not in love with Hart any longer because when he finds out the truth he's going to hate her forever. He's going to be mad as hell . . . he might even try to take Petey away from her . . . HART: Of course I understand. I might have done the same thing . . . if I didn't know I could get the money from Dinah. (Into the phone) Can you connect me to Dinah Marler's room? BRIDGET: I hope you're right. (She relaxes, realizing that if Dinah and Hart are both penniless they won't be able to pay a lawyer to sue for custody) Hart hangs up the phone and puts his face in his hands for a moment, trying to make a hard decision. Then he looks at Bridget. HART: She's not there. You better give me my wallet, Bridge. I think we're going to have to try your way. SCENE: Paris Bistro. Frances watches Dinah's panic as a slim, blond aristocratic looking woman in her mid-twenties steps to the microphone. (played by Anne Heche) Her hair is short and brushed back severely from her face, a perfect setting for her classic features. Her eyes look sad and older than her years. The audience cheers as she begins to sing. DINAH: (her words coming out in a whisper between gasps) It's . . . it's . . . her! (she grabs Frances arm) I've got to get out of here. FRANCES: Who? What are you talking about? DINAH: (still gasping for air) She colored her hair . . . and she's had a little work done on her face . . . but I saw the "after" pictures. (she grabs Frances' hand and pulls her out of the bistro. Once outside, she turns to Frances) That's her . . . I'm sure of it! FRANCES: Her who? DINAH: Well who do you think? (glares impatiently at Frances and turns her to face the poster of Marley Diniro) Who is the one person in this world I least want to see? FRANCES: Victor? Roger? Hart's son? DINAH: No! I'm talking about a woman! The woman who went into a witness protection program five years ago? The woman who was supposed to be safely tucked away on a New Zealand sheep ranch for the rest of her life? FRANCES: (sympathetic grimace) Uh, oh, Deedee! Sounds like you just hit the end of the line on your one-way ticket to easy street. SCENE: Jacques' Villa in Antibes. Later that night. As Holly and Jacques enter her bedroom he takes her in his arms and kisses her. After a moment she leans her head back and takes a deep breath. HOLLY: Jacques, what kind of cologne are you wearing? JACQUES: None. I guess you just like the way I smell. Just as I like the way you smell (buries his face in her hair and inhales deeply) . . . and the way you taste (kisses her neck, then her lips and begins removing her dress) You know what that means? Holly is enjoying the attention, and doesn't object when he picks her up and carries her toward the bed. HOLLY: What does it mean? JACQUES: That there is a chemical attraction between us . . . Holly begins to notice that the smell of the cologne is getting stronger as they move closer to the bed. She realizes that what she smells is not Jacques' body chemistry, but cologne . . . a very familiar cologne . . . Roger's cologne! HOLLY: Jacques, would you get us some wine? JACQUES: (lays her down on the bed) Of course, cherie . . . later . . . He lies down beside her, but Holly rolls to the other side of the bed and sits up. HOLLY: (running her hands through her hair provocatively) But I would be so much more relaxed if I had some wine now . . . JACQUES: (kisses her then stands up reluctantly) As you wish . . . I won't be long . . . As soon as he closes the door behind him, Holly jumps out of the bed and starts looking for Roger. . . in the closet, the bathroom, out on the terrace, but no one is there. As she turns back to the room, she's grabbed from behind and a hand covers her mouth. Holly stomps down hard on her attacker's foot, and jabs him in the ribs with her elbow. ROGER: (louder than he intended) Holly! It's me! (He limps over to the bed holding his side, then sits down and takes off his shoe, examining his foot.) HOLLY: (looks petulant) I know. Maybe next time you'll call first. Or at least knock before coming into my bedroom. ROGER: (narrows his eyes) Well I'm sorry I spoiled your fun, Holly . . . or should I say, "cherie". I know how long it's been. HOLLY: What were you planning to do . . . watch? Will you just get out of here? Jacques will be back any minute. ROGER: You're the one who insisted we talk tonight. HOLLY: Well, I changed my mind. I can think of better ways of spending my night than listening to your latest confession. ROGER: (grabs her arms) Holly, this is serious! What's more important, your sex-life or your real life?