Episode 19

Fade In: Nighttime.  Exterior of Patsy’s yellow Volkswagen as she drives along the road and it sputters and chugs.  Dissolve to Interior of her car.  She is in the driver’s seat sniffling and drying her eyes with her handkerchief with the initials PB on them as she drives sporadically.

Patsy: Peter I must see Peter and explain myself to him.  Tell him how much I love him and then everything will be all right.  We’ll be together forever.  No more Kayleigh.  No more Maria and most of all no more Roxann.  It will be just Peter and I.

Announcer: Patsy Brewster is driving into a night that will forever change her destiny in a town called Briarwood.

Opening Montage

Fade In: Interior.  Peter Andrews living room.  He is seated in his comfortable chair reading The Briarwood Courier as Maria enters with a tray of coffee and desert.  She places it down gently on the table.

Peter: Ah, Maria, the dinner was delicious.  Even my beautiful wife Ellie God rest her soul couldn’t cook as well as you.

Maria: Thank you, Mister Andrews.

Peter: Your welcome.  (Maria pours his coffee and puts in the cream and sugar and hands it to him all the while looking at him sheepishly.) Was there something else?

Maria: No I was just thinking.

Peter: About what?

Maria: Oh it doesn’t matter.

Peter: Come, Maria, tell me what it is.

Maria: Well the way you speak of your late wife so lovingly I’m hoping one day that I will be fortunate enough to meet such a man.

Peter: I don’t see why not.  You’re a beautiful woman but, of course, you must know that.

Maria: Me, no.  I could never be as beautiful as your late wife or your fiancée Patsy Brewster.  (Peter spills some of his coffee on his hand and then puts his coffee down abruptly.) Oh, did  your burn yourself?

Peter: No, I’m fine.

Maria: Let me get a cold towel for your hands.

Peter: Please, Maria, don’t fuss.

Maria: It’s just that you have such beautiful hands.  Strong and masculine.  I didn’t mean to say that.  Excuse me.  I should go now.  (She starts to exit.)

Peter: Maria? (She turns) Could you stay?  I know it’s childish of me and I feel awkward for even admitting this but I feel lonely tonight.  Do you ever feel that way?

Maria: (She nods): Many times, Mister Andrews.

Peter: Please call me Peter for tonight anyway.  I’m sorry, Maria, I’m behaving foolishly.  It’s just that it was difficult at the office today.

Maria: I could tell you were troubled when you came home earlier than you usually do.

Peter: I couldn’t go back.  Not after what happened.  Aren’t you going to ask me what happened?

Maria: I don’t believe it’s a woman’s place to pry, Mis–I mean, Peter.

Peter: How refreshing you are, Maria.  All women seem to do today is pry and offer their two cents particularly Roxann DuPres.  Do you know her?  (Maria shakes her head.) Lucky for you.  She came to the office today, took Patsy out to lunch, and then when Patsy came back drunk, mind you, she turned into some kind of wild woman.  I’d never seen her that way before.  It was all Roxann’s doing I’m sure of it.

Maria: Why would Roxann DuPres do that to you, Peter?

Peter: I’m sure I don’t know.  All I’ve been to her since she returned to Briarwood is kind and considerate.

CUT-TO: Flashes of Peter and Roxann making love.

CUT-TO: Back to Peter in his living room.

Peter: Then Patsy had to gall to point out that her Father owned our law firm and essentially said I was replaceable.  The only reason the Judge kept me there was because of her.

Maria: (Gasps): That’s a terrible thing to say, Peter.  You are a brilliant attorney and a wonderful father.  You are a man Patsy Brewster should get down on her knees and thank God for.  I know I would if you were mine.

Peter: (Surprised): Maria?

Maria: (Embarrassed): I’ve said too much.  I should go.

(She starts to run out.  He grabs her hand.  She turns.  They look at each other and then suddenly kiss passionately and begin making love.)

CUT-TO: Exterior.  Peter’s driveway.  Patsy’s car pulls up.  She turns it off as it sputters.  Patsy exits the car.

Patsy: (She is drying her eyes again with the handkerchief initialed PB and accidentally drops it while looking into her bag and finding her key): Now I know Peter always locks his front door and I want to surprise him so I’ll just unlock it (She unlocks the door)

Patsy’s POV she sees Peter and Maria making love on the living room floor.

Patsy: Oh my!  (She runs out.)

Peter: (Looking up): Did you hear something?  (Maria shakes her head and then they passionately kiss again.)

CUT-TO: Interior.  Patsy’s car.  Patsy hastily gets in and is in tears.  She starts up her car and then sputters away.

CUT-TO: Interior.  Joan and Ted’s living room.  They are each reading sections of The Briarwood Courier while classical music softly plays.

Joan: Now this is just delightful, don’t you think?  (He grunts.) Ted!  (He looks up) Don’t you think this is delightful?  You and I sitting here reading the paper and listening to classical music?

Ted: To be honest about it, Joan, could you turn the music off?  It’s giving me a headache.

Joan: Well I like it.  It’s Brahms Concerto in–

Ted: Joan, please!

Joan: Yes, dear.  (She turns off the radio.) More coffee?

Ted: No, I’m fine.

Joan: Dessert?  I could cut you another piece of my apple upside down cake.

Ted: No, thank you.

Joan: All right, Ted.  What is it?

Ted: What is what?

Joan: You’re angry at me because I questioned why you went out of the house the other night at 2 AM is that it?

Ted: I’m not angry at you, Joan.

Joan: Yes you are.  I can always tell when you get angry with me.  You’re angry because I went behind your back after you told me you had a hospital emergency at 2 AM and I asked Ida if that was true.  You feel as if I don’t believe you and that’s what has made you angry.

Ted: Joan, really–

Joan: All I can say is, Ted, that I’m sorry for ever doubting and I ask for your forgiveness.  Can you forgive me, Ted?

Ted: (Quietly): Yes, Joan, I forgive you.

Joan: What?

Ted: (Louder): I said I forgive you.

Joan: Thank you, Ted.  It’s so good of you to forgive me.  Although I’m not entirely sure what you are forgiving me for.

Ted: What?  You just asked…

Joan: Because after I spoke to Ida and she told me that you had been to the hospital on an emergency I went back to the Nurses Station–which is my domain since I am Head Nurse–and looked on the roster and in the charts if anything had occurred at the hospital at two am yesterday and nothing–I mean NOTHING–had so why am I asking you for forgiveness, Theodore James Norris–when obviously you are lying to me once again!  Answer me that will you?

Ted: Why you!

(Ted smacks Joan so hard across the face that she falls down and cries out in pain.)

Ted: Who are you to question me?  I only married you because you were pregnant with my child!  At least you told me it is mine!

Joan: Jeff is your son.  Who else would it be?  Oh my God, I’m bleeding.

Ted: Good.  I hope you bleed to death.

(He storms out as she holds her face.)

CUT-TO: Exterior.  Nighttime.  It is starting to rain.  We see Patsy’s Volkswagen sputter up to The Shanty with the light missing on the letter “S”.  It sputters and dies.

CUT-TO: Interior.  Patsy’s car.  She is in the driver’s seat.

Patsy: Oh, come on.  Don’t die on me now.  Ohhhh!  (She hits the steering wheel. Looking around.) Where am I?  (She reaches into her bag and pulls out her cell phone.) I have to call someone but who?  Oh I know.  (She looks at her phone and sees the battery has died.) Oh, Patsy, you silly ninny you forgot to charge your phone.  Well maybe I could go in there.

CUT-TO: Exterior.  Patsy’s car in the parking lot of The Shanty.

(Patsy exits her vehicle in the rain taking her bag.  She looks uneasily at The Shanty but knows she has no place else to go and heads into it.)

CUT-TO: Interior.  The Shanty.  A motley crew of individuals and couples are in this dark shady place.  Wendy and Michaels are over at the dart board throwing darts with other men.  People alone at the seedy bar and people together at the seedy tables eating food, drinking, kissing.  Patsy enters cautiously.

Patsy: (Quietly): Hello?  Hello?  (Someone falls down in front of her and she shrieks.  Michaels looks over and recognizes her.)

Michaels: That’s Miss Brewster.  What’s she doing in here?

Wendy: I’ll go ask her.

Michaels: No I will.  It’s your throw anyway.

Patsy: (To the bartender who isn’t paying her any attention): Pardon me.  Pardon me, Sir, I mean, um, Ma’am.

Michaels: Miss Brewster

Patsy: Ow!

Michaels: It’s me, Michaels.  I work for your Aunt Amy at Briarcliff.

Patsy: Oh, yes, Michaels, of course.  How do you do?

Michaels: I do fine.  Pardon my asking this, Miss Brewster, but what is a beautiful woman like you doing in a dump like this?

Patsy: Well you see what happened is I was out for a night drive and ah my car sputtered and kind of died out there and I tried to use my phone but I forgot to charge it so it’s dead and so I came in here to look for a friendly face who would help me–

Michaels: Help you how, Miss?

Patsy: Oh, I don’t really know.  Maybe use their phone to call someone but I wouldn’t know who to call or (she breaks down in tears)

Michaels: Oh, now, there’s no need to cry like that.  Come over here and sit down and I’ll get you a drink.

Patsy: Oh, no, no drinks.  That’s what started all this trouble with Peter (cries louder.)

Wendy: (Coming over): Jesus, Michaels, what did you do to the poor lady?

Michaels: Go get her a drink.  Seems like she needs one.

(Michaels sits in the booth with Patsy and tries to comfort her.)

CUT-TO: Interior.  Jim Andrews office.  He is seated at his desk doing paper work.

Jim’s voice: I am so Goddamn bored.  Doing paper work.  Healing the sick and for what?  So they get sick all over again and die.  Useless.  My life is useless. Unless I were Chief of Staff of this crummy hospital then I could move on to another hospital and then another until I was somebody.  If only that lousy Ted Norris did something so reprehensible that it would cause the Board to fire him.  But no.  That Mister Squeaky Clean makes me want to vomit and so does his dumb wife Joan.  Joanie.  She was fun until she started getting all serious and telling me she wanted to marry me.  Christ, who the hell wants to get married and to her? Forget it. What about Barbara?  She wanted to get married too.  No way except she said she still had that letter that would incriminate me.  It would show I told her to come to Briarwood and blackmail the Judge into giving us his millions.  I didn’t want to kill her.  Some times I forget I even did but I couldn’t let her–(His phone rings breaking him out of his reverie.  He looks at the phone.  Says) Hello, Paris.  Meet you?  Well, sure, things are quiet here and I don’t see any harm in escaping for an hour or two.  Do you want me to pick you up at Briarwood or you’re going to meet me at my place?  In about an hour or so.  See you then.  (He hangs up the phone and smiles.)

CUT-TO: Interior.  Patsy’s bedroom.  The bed is made and her doll Abigail sits on her bed.  There is a sharp knock on the door and then it is opened by Amy, who enters with Simon closely behind her.

Amy: Patsy, I demand you–where could that silly fool have gone?  That dumb doll.  I thought she’d gotten rid of that years ago.  (She grabs the doll to put it in the trash and Abigail’s head falls off.  Simon hisses.) Don’t be afraid, Simon.  It’s just her head after all. (She picks up the head and tries to put it back on Abigail but sees something white inside the doll.  She puts the doll on the bed as well as her head and puts her hand inside the doll pulling out a white lined piece of paper with writing on it that we do not see but that terrifies Amy.  Simon hisses again.)

CUT-TO: Interior.  Peter’s foyer.  He is coming from his kitchen feeling very happy dressed in his pajamas, slippers, robe.  He begins to head up the stairs and then scuffs his slipper on Patsy’s handkerchief.

Peter’s voice: What’s this?  (He picks it up and sees the initials PB.) That sound while Maria and I were–it was Patsy.  She saw us!  If she goes home and tells the Judge I’m finished in Briarwood and with the Judge’s influence maybe I’m finished everywhere.  I have to go find Patsy.  I have to stop her somehow.

CUT-TO: Interior.  The Shanty.  It’s mostly deserted as Patsy is seated at the table with Michaels, who’s all over her.

Patsy: Stop.

Michaels: Aw, come on.

Patsy: I’ve asked you to stop.

Michaels: You didn’t ask me before I bought you all those drinks.

Patsy: Don’t be so tiresome.  I didn’t ask you to buy me anything.  I asked you to let me use your phone so I could call someone or at the very least you could have driven me home.

Michaels: I’ll drive you home now.

Patsy: You are in no condition to drive and neither am I.  I’ll call a taxi.

Michaels: At this time of night?  In Briarwood.  You’d do better to walk.

Patsy: That’s what a very good idea.

Michaels: Come on, Miss Brewster, it’s pouring out.

Patsy: I don’t care.  I do far better out in the rain than spending another minute here with you.

Michaels: (Grabbing her arm): Don’t yous go getting all uppity with me.  I took yous in.  I helped yous out.  You don’t see nobody else in here buying yous drinks being your friend listening to your crying and whining.  That’s me that’s done that for yous.  Don’t yous forget it.

Patsy: Unhand me, Sir!  (He lets go.) I am saying Good night.  (She starts to exit.)

Michaels: Aw, come on, Miss-

Patsy: (Opening the door to the pouring rain): I said Good night.  (She exits.)

(Michaels returns to his table and sees the empty glasses and he’s furious.)

Michaels: She ain’t gonna get away with that.  No sir!

(He charges out.)

CUT-TO: Nighttime.  2 AM.  Pouring Rain.  Patsy is on the side of the road soaking wet a complete and total mess.  We do not see this but she sees a car coming and we hear it stop. We hear someone get out of the car and the car door close. Patsy is happy.

Patsy: Oh, thank God, you’re here.

Pull in tight on Patsy so we see nothing but her face and then hear a squeak and see her eyes bulge.

CUT-TO: Interior.  Roxann’s bedroom.  Roxann is in bed asleep.  She bolts upright in bed and feels her throat.

Roxann: (She screams): Patsy!

Fade to Black








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