Fade In: Interior of the Hospital lounge. Barbara is pacing with her cup of coffee as Jim barges into the room.
Barbara: Oh, Jim, I’m glad you’re here. I want to talk to you.
Jim: (Getting a cup of coffee): I don’t have time. I have patients to see unless of course I should stand here again and let your friend Roxann humiliate me for your perverse pleasure.
Barbara: She was defending me, Jim, that’s all.
Jim: I didn’t know you and she were so tight.
Barbara: We’re not. I met her yesterday for the first time. Look, Jim, I’m sorry okay.
Jim: Okay. So you’re sorry. Good for you. I have to go.
Barbara: Aren’t you sorry about something?
Jim: No. Should I be?
Barbara: This morning when you told me you didn’t love me and you called me a whore. That’s why I laughed at Roxann calling you a second-rate doctor. What you said hurt me very much.
Jim: Oh, so this is the part where I fall down on my knees and beg your forgiveness? Is that right? When have you ever known me to do that?
Jim: Right and I’m not about to start now. Goodbye, Barbara.
Barbara: Jim, can’t we at least meet and talk this through. At your house? Tonight?
Jim: And give me one good reason why I would want to do that?
Barbara: (Holding a faded letter in her hand): Is this reason enough?
Close up of a nervous Jim
Close up of a smiling Barbara
Announcer: The day did not begin good for Barbara Lane but it may end in ways she never suspected in a town called Briarwood.
Fade back into the same scene as we left it.
Jim: And what is that?
Barbara: It’s the letter you wrote me detailing our plans to take the Judge’s millions and run off to the Bahamas.
Jim: (Lunges but he doesn’t get the letter): Give me that!
Barbara: I’ll scream. I swear I will! Now will you meet me or do I have to go to the police with this letter? (Jim looks incredulous.) I will. I don’t care. I’ll turn us both in.
Jim: All right. We’ll meet tonight at my house. I won’t be out of here til midnight.
Barbara: Midnight at your house. I’ll be waiting.
Close up of Barbara
CUT-TO: Interior. Outside the Hospital Lounge. Joan is standing there having heard every word.
Jim: Joan, what are you doing here?
Joan: I came looking for you, Doctor. It’s the patient in 3A.
Jim: How long have you been standing here?
Joan: I just came here to get you–
Jim: All right. All right. Come on.
(Jim exits the scene as we close up on a horrified Joan)
CUT-TO: Exterior. Briarcliff as we slowly pan to the interior of Jeff’s car. He is in the front seat as is Paris.
Jeff: So you’re finally here in the big house?
Jeff: My parents always talk of this place as the big house. The mansion on the hill. It’s haunted you know.
Paris: No shit but at least that explains Aunt Amy. She’s a real freak and so is Uncle Raymond. I mean I know Mom loves him but he’s weird.
Jeff: So why stay?
Paris: You saw the story all over social media. We are broke. Why else would be here? I hate this place.
Jeff: I hope you don’t hate everything.
Paris: Huh? Oh no you and Robin are nice but I’d love to be back in Paris. That’s where I was born so my Mom and Julian name me after the city.
Paris: Julian DuPres! He was my Dad but he didn’t like being called that. He wanted me to call him by his first name so I did. I don’t think I ever called him Dad. He was a fascinating, warm, loving man and so talented. I love him and miss him very much. He o’d on coke. What are you looking at? Have you heard anything I said?
Jeff: Not really. I just kept looking at you and realize how much I want you.
Paris: Back off. What about Robin? Isn’t she your girlfriend?
Jeff: So? Are you going to say you don’t find me handsome?
Paris: No you are very handsome.
Jeff: So? What’s the harm? I mean Robin’s nice but she’s a kid. I’m twenty and she’s eighteen–
Paris: And I’m seventeen. (He looks amazed) Yeah. Seventeen. Not even barely legal.
Jeff: You don’t act seventeen and you don’t look seventeen.
Paris: I had to grow up fast with Roxann and Julian DuPres and now that you mention it what is the harm?
(Jeff and Paris begin to kiss)
CUT-TO: Interior. Raymond’s room. He is sitting down while Amy stands at the doorway.
Raymond: Roxann and I had wonderful time. It was so nice to be outside again. People looked me so strangely. It was funny to see their expressions.
Amy: Well they hadn’t seen you in eighteen years, Raymond.
Raymond: I think Doctor Norris thought I was dead. You didn’t tell people I was dead, did you, Amy?
Amy: Don’t be ridiculous, Raymond.
Raymond: What did you tell people?
Amy: About what?
Raymond: When they didn’t see me any more? Did you tell them I was dead?
Amy: Raymond, you’ve been out for the first time in eighteen years. You’re babbling. You’re exhausted and you need to rest. Come lay on your bed.
Raymond: (Laying on the bed): But what did you say people when they asked where I was?
Amy: If you must know once I put you in this room for your own good when I went out into Briarwood no one ever asked about you. You were completely forgotten. As if you had never been born. Does that answer your question?
Raymond: (Hurt): Oh.
Amy: Now close your eyes and rest. I’ll be back up later with your dinner.
Raymond: Roxann’s going to take me out again. Maybe tomorrow.
Raymond: She said she would.
Amy: I said no.
Amy: Raymond, you are my brother. I know what’s best.
Raymond: I don’t like being locked away in this room.
Amy: How dare you question my care for you! You never would have done that if Roxann had not returned and interfered in how I run this house.
Raymond: Don’t say mean things about Roxann.
Amy: This is my house and I will say what I want when I want and do as I see fit. You are being locked up in the room for your own good. I will not allow an interloper to come into my territory and destroy all that I have built.
CUT-TO: Interior. The small hallway outside Raymond’s door. Amy enters and Raymond is crying and she closes the heavy door and locks it. We hear him run to the door and pound on it. She looks at Simon who purrs.
CUT-TO: Interior. The Brewster Drawing Room. Amy enters as the phone is ringing. She answers it.
Amy: Yes? Oh, it’s you. No it’s tomorrow night. You should try to remember that. (Slams down the receiver.) Incompetent fool.
CUT-TO: Interior. Peter’s foyer. Maria, the maid, is on her phone. She is a beautiful Latino woman who looks unlike everyone else in town.
Maria: (Into the phone): Yes, I see. Goodbye. (She hangs up her cell phone as Peter enters.) Oh, Mister Andrews, let me take your coat.
Peter: Thank you, Maria.
Maria: (Taking his coat): Is it starting to rain out?
Peter: Does it ever stop raining in Briarwood? (Maria smiles as she hangs up the coat.) Where’s Kayleigh?
Maria: She’s upstairs in her room doing her lessons.
Peter: I’ll go upstairs and see her. The dinner smells marvelous.
Maria: It’s a special recipe of mine. I hope you like it.
Peter: Where did you materialize from Maria?
Peter: Six months ago I had old Mrs. Hodges taking care of Kayleigh and I and all of sudden Mrs. Hodges drops dead and you appear out of nowhere.
Maria: (Giggles): No out of no where, Mister Andrews. I had a life before I came to work for you and your daughter.
Peter: I assumed so but you never speak of it.
Maria: I’m not here so I can talk about my life. I am here to make yours and Kayleigh’s happier. Will Miss Brewster be joining you and Kayleigh for dinner tonight?
Peter: No Patsy is exhausted from the Judge’s ordeal. She’s going to go home and rest. I’ll see about Kayleigh now.
(Peter exits up the stairs as Maria smiles to herself.)
CUT-TO: Interior. Kayleigh’s bedroom. She is seated at her table doing her lessons as Peter gently knocks and enters.
Peter: Hello, darling. (He embraces her.) How was your day?
Kayleigh: It was good. My new piano teacher came.
Peter: Do you like her?
Kayleigh: Yes. Very much. Her name is Meg. It’s all right if I call her that, isn’t it?
Peter: Of course if she told you too. Did she?
Peter: Then you may. Now put your lessons away and let’s go down to dinner. Maria has made a special dinner just for us.
Kayleigh: Just us? Patsy won’t be here?
Peter: (Warningly): Kayleigh. Patsy and I will be married soon and then she will be your mother.
Kayleigh: Stepmother! There are lots of stepmother’s who are wonderful but not her. She hates me.
Peter: She doesn’t hate you and you don’t hate her. You both need to time to get to know each other better, that’s all. Now put your lessons away, get washed up, and come downstairs for dinner. (He kisses her on the forehead and starts to exit.)
Kayleigh: My friend Meg. She said I could call her my friend. She’s so sweet and smells so pretty. Do you know who she reminds me of?
Peter: No. Who?
CUT-TO: Exterior. It is raining heavily as we see a dingy small bar that has the electric lights of “The Shanty” on the building but the “S” is burnt out. We slowly dissolve to the interior. We see Roxann at the bar getting a drink and then turning around in the dimly lit room for a place to sit. She moves over to a beaten up booth. She lets out a small gasp when she sees someone there.
Joan: (Sitting there at the table wearing her sunglasses and beside her a couple of empty martini glasses.): Hello, Roxann. Sit down. The more the merrier.
Roxann: (Sitting): Are you all right?
Joan: Of course. Why wouldn’t I be? You’re not going to tell me how surprised you are to see me here, are you? You’re slumming it too.
Roxann: Yes I am but when I went to your house last night-
Roxann: (Nods): Uninvited. You were so prim and proper and now to find you sitting here getting drunk at this dive bar.
Joan: Don’t sit here and judge me. You are this international fashion designer who has more money than God suddenly back here broke and scrounging around for any money you can get even praying your Father dies so you can have your share. Judging me?
Roxann: I’m not judging you, Joan. I’m surprised that’s all. Look, let’s just sit here in peace and enjoy our drinks.
Joan: You know, Roxann, you always were to cause trouble.
Roxann: How’s that?
Joan: Remember when we were kids you would always be the one to throw the rock at April Messinger. Bop right in the forehead and she had to get three stitches. You were suspended from school for a week, remember?
Roxann: You’re right. Bop right in her forehead. At least it cured her crossed eyes but if I remember correctly I threw the rock at her because she was bullying you and when I got in trouble for it you never said anything in my defense.
Joan: Oh, is that what happened?
Roxann: Yes that’s what happened.
Joan: I don’t remember that part.
Roxann: I didn’t think you would.
Joan: How about that time with Peter?
Roxann: What are you talking about?
Joan: Roxann, you and I were best friends. You told me about Peter.
Roxann: I did?
Joan: Now who doesn’t remember?
(Roxann phones rings.)
Roxann: Excuse me. (Answers the phone.) Hi, Paris. What is it? She what? Oh, Christ! I’ll be right there. (Hangs up.)
Joan: Trouble in Paradise?
Roxann: I could ask you the same question. Couldn’t I, Joanie?
Close up of Roxann then Joan
CUT-TO: Interior. We see an Axe slam into Raymond’s door and split it. Pull back to show Roxann is using the ax. We hear Raymond crying behind the door as Paris stands off to the other side.
Amy: GET AWAY FROM THAT DOOR.
Roxann: It’s all right, Uncle. I’ll be right in.
Amy: I SAID GET AWAY–(She pulls Roxann around)
Roxann: I swear to God if you don’t get away from me right now I’ll cut your Goddamn head off and I don’t give a shit who if I rot in hell. At least you’ll be dead!
(Roxann turns and makes one final blow to the door and it opens. She and Paris run in to Uncle Raymond, who is sniveling and crying.)
Roxann: It’s all right, Uncle. It’s all right. Paris, take him downstairs and get him washed up.
Paris: (Helping him): Come on, Uncle Raymond. Come on.
(Paris and Raymond exit past Amy)
Amy: (To Roxann): I want to see you downstairs now.
Roxann: It’s been a long day, Amy. I’m tired. I’m going to take care of Uncle Raymond and then I’m going to bed and you can go fuck yourself.
Amy: You still have that Axe in your hand. I dare you to use it.
Roxann: You know I would but as odd as this sounds with I have planned for you it’s going to hurt much more than it would to cut off your head.
CUT-TO: Exterior. The Shanty. All lights in the sign and the windows are off. Joan exits unsteadily from the bar and heads over to her car. She fumbles with her car keys and is clearly drunk.
We see Joan’s face and then we slowly fade back to the beginning of this episode when Barbara and Jim were talking about the letter.
When that ends we slowly fade back to Joan behind the steering wheel of her car. Joan quietly whispers the name “Jim”.
CUT-TO: Interior of Barbara’s car. She is in the driver’s seat. Her car stalls. She hits the steering wheel and yells No! She mutters piece of shit, etc. She exits her vehicle.
CUT-TO: Interior. Joan’s car. Joan is crying uncontrollably behind the wheel of her car as the rain pours. It sounds like she might of hit something but she keeps driving and crying.
CUT-TO: Interior. Jim’s car. He is in the driver’s seat. From the POV of Jim’s windshield with the rain falling on it but not torrential. He sees Barbara’s abandoned car and says Barbara?
CUT-TO: Exterior. Jim pulls his car up in back of Barbara’s. He exits his vehicle. Barbara isn’t anywhere to be found. He sees her pocketbook in the front seat. He opens the door and takes the pocketbook, opens it, finds the letter and puts it in his pocket. He starts to leave when he hears Barbara calling for help. He looks down the ravine.
CUT-TO: Exterior. Barbara laying at the bottom of the ravine. Jim appears and sees she is badly hurt.
Jim: Barbara? What happened?
Barbara: Jim! Help me, Jim. Help me.
Jim: I’ll help you, Barbara. (He takes a handkerchief out of his pocket and then places it over his hand and see him place it on Barbara’s throat.)
We see Barbara’s arm fall limp by her side.
CUT-TO: Exterior. The darkened road as Jim is climbing up from the ravine. He puts the bloodied handkerchief in his pocket. He looks to see if anyone else is coming but no one is. He gets into this car.
CUT-TO: Interior of Jim’s car. He’s in his driver’s seat. He’s shaken by what he’s done but seems to be pleased. He pulls the letter out of his pocket. He opens it. It is completely blank.
Close up of Jim
Fade to Black