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MARQUETTE COVE POLICE DEPARTMENT
Robert Bale feels uneasy as he walks into the police station, not quite sure what to expect after receiving a rather vague phone call from a woman named Heather Crane.
Unfortunately, there could be a myriad of reasons for him being summoned. And somehow, he has a feeling it has to do with his son Alec. Robert hates himself for thinking it, but at least now with his son's demise, his family won't be tortured any further with having to enduring a trial for Robert's wife's murder this spring.
"Robert! Are you okay?"
Robert turns to find a smiling Leslie Hanley standing in the doorway. Breathing a sigh of relief and grateful to have a friendly face with him, he quickly embraces her.
"Better now that you're here," Robert says. "But...and don't think I don't appreciate it, why are you here? How'd you know I was at the station?"
"I didn't," Leslie says. "I was the courthouse filing out paperwork, and I saw your car in the parking lot."
Wrinkles form on Robert's face as he squints, confused. "You were at the courthouse?"
"As of this morning, I am officially annulled from my marriage to Michael Hanley," Leslie says. "I'm back to being the old Leslie Moore."
"Moore? So you and Sean have —"
"No, it's just a name," Leslie interjects. "It's on most of my old legal documents anyway, and my children have the name. And besides, I'm still legally married to Sean since he isn't actually dead."
"I can't imagine Michael is going to take this well."
"You know what? I don't really care. I'm so glad that chapter of my life is finally over," Leslie insists. "My children, and this new child I'm carrying can start fresh. With no lies and deception."
"I'm happy for you," Robert says.
"How have you been? You haven't been around the house lately."
"I've been busy dealing with everything for Alec's memorial service," Robert says. "Surprisingly, Felicia has let me handle most of the details. Perhaps she's done wishing death upon me."
Leslie smirks. "Maybe."
"Robert Bale?"
Robert and Leslie glance up at the blond woman approaching them. She has a professional, yet icy demeanor that indicates she's purely about police procedure and has little room for the emotions that are often involved in cases.
"Yes," Robert says. "Are you..."
"Detective Heather Crane," Heather says, extending a hand. "I've called you down to the station to have a discussion with you about your stepdaughter."
Robert and Leslie are equally dumfounded.
"Step...what did you just say?"
"Alexis Lopez," Heather says. Still sensing his confusion, she hands him a dossier. "I'm sorry, you weren't aware that Alexis Lopez is the daughter of your late wife Melissa Bale?"
"Not a single one?"
"No," Eric says, addressing the woman sitting at the end of the table. "Sean won't sell. Valerie's nuttier than a loon in prison. Ariel doesn't even know what the hell a share is. And the rest of the investors...this is ridiculous. How the hell am I supposed to stage a takeover of Hanley?"
"Perhaps this corporate takeover was ill-fated," the woman says, weariness setting into her voice.
"Then we need a new plan," Eric insists. "A new plan to bring the Hanley family back together. With me at the head. Doing what Michael was supposed to do."
"Running the company. Raising a good family."
The woman laughs.
"The Hanleys are nothing but a joke," she says. "They have been for years. Kidnappings and arson and jail sentences. You're the only one I trust now, Eric."
"Thank you, I appreciate the vote of confidence —"
Eric is interrupted as a loud banging sound echoes at the conference room door. He hurriedly rushes to the door, peering through a tiny crack to catch a glimpse of who's in the hallway.
"Michael! I know you're in there!"
Hearing Sean's voice answers Eric's inquiry. He unlocks the door and slides out, making sure to keep Sean out the conference room. "What do you want?"
"Eric," Sean Moore says, stopping for a moment to catch his breath. "Where is your father?"
"I don't know, maybe try his office?" Eric snaps. "This is a professional building, Sean. Can you keep the street where it's supposed to be? In the street?"
Sean rolls his eyes. "Thanks for your help."
"You know, you're not busy desecrating my mother's memory anymore, so why don't you just get the hell out of our lives?" Eric demands.
"Already taken care of," Sean says. "Your father tossed everything I own out of the mansion."
FARRAH LOUIS' APARTMENT
Farrah Louis sits silently at the kitchen table, staring at him. He knows that she is feeling a mix emotions... astonishment, horror, and confusion... but that will soon be over. She's still in love with Alec Bale, of that he is sure.
Which means she'll do anything he says.
"Alec," Farrah says finally, her hands shaking as she lifts a mug of coffee.
"Billy. My name is Billy, you stupid bitch," is what the young man wishes to say. But Billy is no friend of Farrah's...she won't be so easy to manipulate if she knows it is not Alec she's speaking to. And so instead, he responds, "Yes, Farrah. It's really me."
"Of...course it is," Farrah says. "It has to be. And that's..."
"This is Phillip," Billy says, cradling Alec's son close to him. "I stuck him in an open drawer with some blankets earlier, since you don't have a crib."
"I...I can get one?"
"We're not staying long," Billy insists.
"Everyone thinks you're dead."
"And we need to keep it that way. No one can know I'm alive, otherwise they'll try and lock me up for murder," Billy says. "And they'll take me away from my son."
Farrah shakes her head, still trying to take this all in. "But the hospital?"
"We fell into a sewer tunnel underneath the hospital and I was able to crawl out with Phillip. It's a miracle we're alive. And I knew that if I could trust anyone to help me, it's you."
Billy moves toward Farrah, allowing her to get a closer look at the young boy sleeping in his arms.
"Phillip and I need your help," Billy says. "You know all those things that happened before...I was so screwed up, because of what my dad did to me. I can't let him win. I need to keep this child away from him."
"I understand," Farrah says.
"I know you do," Billy says. "Your father...he did the same thing to you when you were younger. Or tried to, at least. Imagine what I've been going through for years."
Farrah nods weakly.
"So you'll help me?" Billy says, moving toward the open dresser in the living room and placing Phillip into it. He tucks the child in for a nap, making sure he's covered with a warm blanket. "You'll help us?"
"Yes, I will," Farrah says, following Billy to the dresser. "He's...he's so tiny."
He takes her hand in his own and leans forward, kissing her gently on the lips. She almost resists, but ultimately gives into his passionate embrace.
"I don't know how I'll ever be able to thank you," Billy whispers as they sink to the floor.
FORMER REYNOLDS HOME
Lifting a picture frame, Ricard Branch stares wistfully at a family photograph of the Reynolds. Pictured are Sara and Darren, with their parents who have since left Marquette Cove, not having returned home in years.
They weren't even present for Sara's funeral. They didn't care about her as much as Ric did.
She was the love of his life, and he wasn't able to be with her during her final hours. And the people who purportedly care about her aren't here. They've abandoned her childhood home and left all of these memories vacant.
How ironic that the one place most obvious to Ric to hide out was the place that no police officer had bothered to look. Of course, the Marquette Cove Police Department was hardly a crack team, but he expected some modicum of police work.
They'd made short work sending Ric off to jail once Quentin Blood exposed his involvement in Erin Maddock's murder. He was sent up the river for something he was barely involved in, and something he was subsequently blackmailed for.
And so now, those who knew the truth behind Sara's death were going to pay the piper. When Ric witnessed Chris Server rising from his grave after his funeral, and Blake Thomas right above the grave site, he knew he couldn't go back to prison.
It's why he ran.
And now, following Blake had finally hit pay dirt. Chris was still alive and living in the basement of Blake's old home. Which meant Chris was some sort of monster, just like Quentin had been.
"I'll find out what happened to you," Ric says softly, gently touching Sara's face in the photograph. "I'll make —"
He is startled as the picture frame flies out of his hands and slams against the wall. Ric stares at the broken frame, frozen in shock. He's unsure whether to pick up the frame or back away from it.
He hears a soft whispering sound in his ear.
"Ric..."
"Who's there?" Ric says, his voice quaking.
The picture frame shakes gently, then rises into the air. The remaining shards of glass tumble to the floor as the photograph slides out. Ric is unable to move as the photograph flies toward his face. The photograph is torn into smaller pieces until only the image of Sara remains.
"Ric..."
"...Sara?"
"Yes," Damon Johnson says, smiling as he's aware that Ric can't see him. He's only able to witness the objects Damon moves in his air. "It's me, Ric. It's Sara...and I need your help."
"You need my help?"
"I know who killed me."
MARQUETTE COVE POLICE DEPARTMENT
"Is that everything?" Alexis Lopez asks, speaking softly as she fills out the paperwork stacked before her.
This is all moving incredibly fast for her. She hasn't seen Ryan Phillips since she was carted into the police station and accused of trying to kill him. He was sent on his way apparently, but that didn't mean he was going to leave her alone.
She was beginning to wonder what she had gotten herself into. All for the privilege of being able to escape the prison she'd been locked in for years.
"Yes, that's everything," Aaron Maddock says, standing above Alexis with a bright smile on his face. "You'll finally get to come home to a nice bed. Your mother's childhood home."
"My mother."
The shock has worn off. Alexis has accepted that Melissa Bale was her biological mother, but her not being a part of her life just made her like any other parental figure Alexis had to cope with.
She feels so much older than she is. She's barely even twenty-one. She should be in college with her friends, enjoying life. Not being carted from one hell to the next.
With this man she doesn't entirely trust, but a man that is the key to her eventual freedom. Kyle promised her this much.
"You're going to love living with us," Rebecca Li insists.
"What does she mean?" Alexis asks.
Aaron rolls his eyes. "Ignore her. There's a gas leak."
"Sweetie, I'm talking about —"
Aaron grabs Rebecca by the arm. "How about we finish this conversation later? Go play in traffic."
Rebecca pulls her arm away and straightens her jacket. "Fine. I have pressing matters."
As she strides out the conference room, she runs smack into an approaching Robert and Leslie. They watch her with confusion, wondering what she could possibly have to do with any of this.
"Rebecca...right?" Robert asks.
"Yes," Rebecca nods. "If you'll excuse me, I have to see a man about a hair extension." She pats Leslie on the shoulder. "You know how it is, girl."
"Um...sure," Leslie mutters, grateful as Rebecca saunters off. "What is that woman's deal?"
"She hangs around with Aaron, so she has to be mentally disturbed," Robert says.
"Is that any way to talk about family?" Aaron asks, emerging from the conference room with Alexis in tow.
"Alexis!" Robert gasps. "You're...you're not in the hospital."
"The hospital kind of collapsed, Robert," Leslie whispers.
"Oh, right," Robert says, rushing to embrace Alexis. "I just heard the news. How are you taking this?"
"Why is he touching me?" Alexis demands, pulling away from Robert.
She wants to know the man who was in love with her mother, but the mere thought of him touching her brings up memories of her own father, Victor. And they're too much to bear.
"I'm sorry, I didn't mean —"
"Don't mind him," Aaron says. "He has a problem with touching people inappropriately."
"You son of a bitch!" Robert snarls. "I ought to —"
"Gentlemen," Heather says, stepping between the arguing men. "This is not the place." She turns to Aaron. "You're free to go."
"What do you mean? Where's he going with Alexis?" Robert demands.
"For the time being, he has protective custody of Alexis," Heather says. "It's a stipulation of her release from police custody."
"But I'm her mother's husband," Robert insists, looking at Alexis for any kind of support.
Alexis shakes her head, taking Aaron by the arm. "I don't even know you."
Robert's heart sinks as Aaron and Alexis exit the police station. He turns to watch them go, clenching his hands into fist. Sensing his pain, Leslie reaches out and takes his right hand, clasping it with her own.
"Don't worry, Robert," Leslie says. "We'll figure this out."
"Why do people keep taking things from me?" Robert wonders aloud, the sadness in his voice devastating to her.
HANLEY ENTERPRISES
"Michael requested to see me," Yolanda Holland says, trapped in an embittered struggle with Michael's assistant, Holly. "Why the hell would I make that up?"
"A lot of your type like to come in here and request things," Holly snits, ignoring Yolanda as she returns to her Outlook inbox.
"My type?"
"Yeah, you fancy girls," Holly says. "I'm sorry that I'm not wearing Donna Karen, but you'll have to sit here and wait for Mr. Hanley just like everyone else. He is in a meeting. Please have a seat."
"Jesus, take the wheel," Yolanda mutters, plopping down on the nearby couch in the waiting area. Yolanda reaches for a magazine, finally resting on a copy of US Weekly. She flips through the pages absent-mindedly until she comes across an item on The Blackthornes.
"Production goes belly up after an self-imposed hiatus by hack writer Andy Eckles, placing the future of his latest series, a futuristic Mad Men set in the Appalachian Mountains in limbo," she reads aloud, laughing to herself.
She still can't believe she was left high and dry by Andy, and the rest of the cast just high tailed it back to Los Angeles for fear of a lawsuit from the actual Blackthornes family if they tried to get any more money out of Eckles' fictional characters. A little tabloid schadenfreude was just what the doctor order.
Yolanda continues reading, "Most of the cast have already fielded offers from high-profile studios, all save for washed-up actress Yolanda Holland...might I suggest local community theatre in Marquette Cove..." Yolanda slams down the magazine. "How dare they print that! That anonymous bitch!"
Yolanda glances up and notices that Sean and Eric have now approached Holly's desk, a wild determination in Sean's eyes. "Sean?"
"Yolanda...what are you doing here?" Sean says, now noticing his sister-in-law's presence.
"Michael requested a meeting with me," Michael says. "I assume it was about me leaving my damn sister alone or something irritating like that. The people in this town are so goddamn pushy. Why are you here?"
"He threw my stuff out of the mansion," Sean says, glumly. "For all intents and purposes, I'm homeless. And I'm not exactly rolling in dough here."
Yolanda's eyes light up. "Why don't you move in with me?"
Sean grimaces. "I don't know if Leslie would like that."
"Who cares? I'm living in that huge penthouse suite at the Plaza. There's plenty of room."
"Are you...are you sure?" Sean asks.
"Of course I'm sure. You're family," Yolanda says, smiling. "Why don't we get out of here and find some people willing to move your stuff into the Plaza for minimum wage?"
"Thank you," Sean says. He turns to Eric before they leave. "Tell your father that —"
"You're not done with him, blah blah blah," Eric finishes. "I got it."
Sean shakes his head in disdain and follows Yolanda toward the elevators. As Eric watches them go, Holly saunters over to Eric and rubs his shoulder gently.
"Don't worry, I didn't tell them that your father's not in there," Holly whispers. "And they have no idea you had me tell Riley to toss Sean's stuff out, or arranged for Yolanda to have a quote-unquote meeting with Michael."
Eric rolls his eyes. "What's with the exposition? I already know that. It's why my plan worked. And how many times do I have to tell you I'm a fag? I'm not interested, so get lost. You're ruining my dramatic stare at the elevator."
Holly sadly hangs her head and returns to her desk, leaving Eric to watch the elevator. Yolanda and Sean are long gone by now, but that doesn't stop his scowl from slowly turning into a grin.
