Episode 124, originally published 15-Apr-99

Round Numbers

Will Jack succeed in rounding up the opposing numbers?
Will Sharon and Alice survive round one together?
Will Nick and the rescue party round up Victor before his number is up?
Will having Meg around make it easier for Tony to make his numbers?
With Katherine not around, is Esther outnumbered?

In Victor's office, Jack is going over the accounts as Brad enters. "Are we ready for the big meeting, Jack?" Jack frowns. "This isn't going as well as I expected." "I just can't trust you to do anything, can I, Jacko?" Brad says, trying to bump Jack out of the chair. Jack doesn't budge, but points to the screen. "I've done this six different ways and I'm coming to a conclusion." "What conclusion, Jack? Come on, don't play riddles with me. We don't have time for that." "There aren't enough votes." Brad looks at the screen, drawing his finger back and forth on the screen then looks back to Jack. "You're sure? Maybe we need to find more of these guys." "There aren't any more--this is all of them." "Wait a minute--you're saying that with all the votes of the minority stock holders, they still don't add up to more than the shares that Victor holds?" Jack nods. "That's about the size of it." "But there are so many of them. How could that be?" "I don't know," Jack says, "but I'm starting to wonder if this is why they call them `minority' shareholders--I just assumed it was a pejorative term for people that were used to getting kicked around. But what if--maybe--it refers to the fact that they own a minority of the shares?" Brad shakes his head. "That would be bad," he says, "because that would mean you-know-who still owns a majority of the shares." Jack nods. "And when he gets back, we're toast." "Wait, I've got an idea," Brad says. "Where's that program you used to up the number of dollars Victor had committed to Forrester? Can we use it to issue us a few extra shares?" "I don't know," Jack says thoughtfully. "But it's worth a try..."

* * * * *

The courtroom stage is set. Michael and Alice on one side, Cricket and Sharon on the other. The air is tense. Al Fenton is on the stand and all eyes turn to Michael, who says, "We're done with this witness."

Cricket smiles slyly and pats Sharon's hand. "Don't worry," she whispers smugly as she stands to address Al. "Mr. Fenton--am I right in believing you've been convicted of exposing yourself to a child, isn't that right?" "Uh, well, technically, but it was a mistake--" he protests. "Please don't volunteer information," she says to him. "Just answer the question." He ignores her. "It's not fair--you don't understand. It was all a big frame-up," he pleads. But the damage is done. Cricket sits back in her seat and smiles coolly at Michael. Al looks to Alice, who gives him a harsh stare back. She shakes her head tearfully and mouths "It's over." Al shamefacedly slinks out the side door.

"We're sunk," Alice whispers to Michael, who sits quietly, thinking. "Not yet," he says to her after a moment. "Your Honor, we call Nick Newman." Cricket looks uncertainly to Sharon as Nick moves to the stand. Sharon looks equally puzzled as we hear Nick being sworn in in background. Michael stands and addresses the court. "Your Honor, Ms. Williams has attempted to sully my client by going after her husband--I've called this witness to even the score." He turns to Nick. "Mr. Newman, have you ever had sex with my girlfriend, Grace Turner?" Nick looks nervously at Sharon, but Sharon speaks up. "Your Honor," she says, "I know all about their little fling at the hotel--I've forgiven him for that." Michael smiles. "I'm not talking about that little fling--though I thank you for mentioning it. I'm asking about the previous year. A certain night in little Noah's room. Did he tell you about that?" Cricket stands. "Objection," she says, "my client is not on the stand." The judge nods. "Address your questions to the witness," he says. "I have, Your Honor," Michael says. "I have a question pending." "I can't remember that far back," Nick admits. "Sex with Grace--in little Noah's room--you had it, did you not?" Michael asks pointedly.

Sharon stares at Nicholas as he prepares to answer this long-dreaded question. "Do I have to answer?" Nick asks the Judge. "You must tell the truth," the Judge says. "The truth is that it was a mistake." "That's what Al Fenton said," Michael notes. "Oh, and Mr. Newman, was your young son there at the time?" "Yes, but--" "So technically, you exposed yourself in front of the poor lad." "Yes, but only technically." "Only technically," Michael repeats for emphasis. "Same as my client's husband. Except..." he says, pausing. He looks to Sharon, then continues. "MY client," he adds, "immediately said it was over with her husband when SHE learned her husband had `technically' and `mistakenly' exposed himself in front of a small child. I guess Mrs. Newman isn't willing to--" "Wait!" Sharon cries. "I never want to see my husband again!" she declares firmly. "But--" Nick starts to whine. He stops short, though, seeing Sharon is pointing toward the door and shaking her head in disdain. Nick is escorted out. Michael sits back at his desk and nods curtly to Cricket.

"Your Honor," Cricket says, "I'd like to ask for a recess." The judge sighs and considers the request skeptically. "I'd like to keep this moving." "Me, too, Your Honor. But Mr. Baldwin's skill in the courtroom has me very hot and I feel a need to go outside to, uh, cool down." The judge turns to Michael and asks, "Do you also need to `cool down'?" Michael nods. The judge waves them away. Alice and Sharon start to rise but the judge motions them to remain seated. "Just a minute," he says. They look back at him puzzled. "Didn't you call a recess?" Sharon asks. "No, actually," explains the judge. "I didn't. I just wanted to get those two and their disguised sexual sparring out of the room so we could get down to brass tacks here." Alice needs more convincing. "Well, what do you expect us to do without our lawyers? Mud wrestle?" The judge ponders the idea thoughtfully a moment, then bangs his gavel. "Bailiff, bring on the mud. We're going to solve this once and for all..."

In the judge's chambers, Michael and Cricket are straightening their clothes, looking a great deal calmer. "Shall we?" Michael says, gesturing toward the door. She picks up her leather briefcase, tucking it under her arm. "After you," she says. "No, I insist," he says, taking the door and pulling it open. There is a stunned look on their face as he opens it--but NOT stunned silence. Anything but silence. The mud wrestling event is underway and everyone is yelling as Sharon and Alice, half clothed in tatters and covered with mud scratch and tear at each other. "Objection," Michael and Cricket both say in unison. The judge looks to them. "On what basis?" he asks. "They're rolling in mud." "And you weren't just doing the same?" the judge asks. "That was different," Cricket says, blushing. "She means--voluntary, Your Honor," Michael adds. "So was this," the Judge notes. "No one made them fight. They've been itching to tear each other's eyes out since the start of this proceeding. It's the only justice either of them wants, and I'm determined to give it to them. Besides, their cases are so evenly balanced, I couldn't think of another way."

The camera continues to follow the two women fighting for much longer than is necessary to move the plot along. Michael is visibly enjoying this, and blurts out, "Your Honor, I wish to propose." "What's your proposal?" the Judge asks. "No, I mean, I want to marry my client," Michael says. "Really?" Alice says, looking up long enough to size him up. But she is jumped by Sharon and pulled back into the mud. "Hey!" Cricket shrieks. "That's not fair. You can't propose to her. She's your CLIENT," she protests. "And I'm just defending my client's interests," Michael explains. "That is what I'm here for, isn't it? She needs a husband in order to have a proper family--and I can provide her with one. Besides, she looks really good covered in mud..." Cricket looks back at Alice and Sharon. "But--but--I want to propose, too." The judge shakes his head. "I'm sorry, young lady--not in THIS state. And besides, you're married. Can you propose a substitute? A man, perhaps?" Cricket looks around the room for Tony, but then realizes he has gone to Daytona to spoil Meg's innocence. "No one?" the judge asks impatiently. Cricket sighs. The judge bangs his gavel. "Very well, then. I award Alice to Mr. Baldwin, and the child to Alice. Oh, and, Mr. Baldwin, don't forget to file papers for an annulment--we wouldn't want to end up like Mr. Newman, would we?" He bangs his gavel. "Call the next case."

* * * * *

In the New Mexico desert, Nick inspects the crash site. "We think he walked this way," one of the rescue workers says, pointing away from the scene. Nick looks uncertain. "How can you be sure unless you've walked in my father's shoes?" He tosses down some of Victor's shoes. The man starts to say, "Well, actually, we--" But Nick cuts him off again. "And my father had his leg broken, right?" The rescuer nods. Nick hits his own leg with a hammer, breaking it. "Damn, that really hurt," Nick admits. "So what do you think?" the rescue worker asks. "Which way would your dad have gone?" Nick points the same direction as the rescue worker had. "That's what we thought, too." "Wow," Nick says, "and you didn't have to break your leg to know? How did you do it?" "Well, we followed the footprints away from the crash. In fact, that's how we knew he had a broken leg." "Oh, right," Nick says. "Now, what do I do about this broken leg--can we get someone in here to fix it for me?" he asks. The rescuer shakes his head. "I'm sorry, Nick. These things take time to heal." "Time? But I don't have time--I have to rescue my father."

As Nick fusses with the rescue workers about how to proceed in the search for Victor, his cell phone rings. "M'boy?" comes a voice from the other end. "Dad!" Nick says. "Yes, it's me. I'm happy, and you shouldn't try to find me." "Dad, you're sounding like you've found Hope's farm again." "Better than that, m'boy--I've found a Chet. He's a real man's man. And we're happier where we are than..." A crackling of static comes over the top of what he's saying. "Dad, you're breaking up," Nick says. "No, m'boy, just the opposite. Tell your mommy I'm sorry--but at least this time I didn't find another woman." "But Dad, the company. It's in the toilet--Jack took it over." "Well, now, if Jack took it over then it belongs in the toilet." "Well, what about my inheritance?" "M'boy, some things in life can't be given--they have to be earned. Now I have to go. And don't try to find me. Chet and I will be destroying our cell phone so that no one can track us." Nick listens helplessly as Victor tells him "Good-bye, m'boy. Break a leg." There is a click on the line and then silence. Nick looks at his already-broken leg and whispers, "I'm one step ahead of you, Dad."

* * * * *

In Daytona, Meg and Tony are out on the beach making love. "Let's do it again," Meg says. "It doesn't work that way," Tony explains. "I have to wait a while before I can." Meg points down the beach at another couple. "I've been watching them for hours--they've done it three or four times." Tony shakes his head. "Meg, I told ya but ya wouldn't listen--you shouldn't have gone for an older guy like me. Younger guys last longer. Now come on, let's get back to the room--I'm starting to get worried about all that money we left sitting out on the bed." She sighs. "Ok, ok," she says. The two get up and pull towels around them and walk back to their beachfront room. As they arrive, they notice the door is open. "Did you leave that open?" Tony says. Meg shakes her head. "Nope. I'm sure it was locked." He runs ahead to see. "Meg, the money's gone! This is BAD. I am in deep doo-doo."

Meg looks at Tony, puzzled. "What's the problem? Can't you just call Cal and ask him to wire you some more? That's what I do when I run out of money." "Meg, this is serious money we're talking about--the kind of money people kill you for." Meg frowns. "Oh, you mean, like billions." Tony sits on the bed and slumps his head into his hands. "Might as well be. Fifty thousand dollars." Meg brightens. "Oh!" she says. "What do you mean `oh'?" he asks. "Well, if it's only in the thousands--I can help you. Would a check be ok?" "Meg, you can write a check for fifty thousand dollars?" "Sure, why not?" she says, and starts writing. "Meg, you're a saint. Thanks!"

Meg and Tony arrive at the place where they are to pick up the car. "Got the money?" a big burly guy asks. "Right here," Meg says, handing over a check. The man looks at her suspiciously. "I asked for cash." "Well, we had our cash stolen, and you'll just have to take a check," Meg says. "It's out of state," the man says. "Can I see some ID?" She pulls out her wallet and hands him a driver's license. "This looks fake," the man says. "Oh, sorry," she says, taking back the ID and handing him a different one. "That was my fake ID for buying alcohol--this is my real one." The man eyes the license and then her. "This sounds real fishy," he says. "This check is in the name of a Keith Dennison--that your nickname?" "That's my father. He lets me write checks on his account, ok?" "Look, just give us the car will ya?" Tony urges. "We're supposed to have been back days ago but we got ... delayed." He winks at Meg. The man looks at the two of them skeptically, but has run out of excuses. "All right, the car's there. You better get moving--Cal's expecting you back tomorrow, and he's piping mad. He's got a big deal lined up and he wants the car. He's been calling and calling on the cell phone he gave you but you haven't been answering." "Oh, right--I turned it off," Tony says, reaching into his pocket and turning on the phone again. "Just one more thing," Meg says. "Could I get a receipt for that check?" "A receipt?" the man asks. Meg nods. "Dad said I should always ask for a receipt." He sighs and makes one out. "Make it to Keith Dennison," she says.

At the Genoa City airport, Meg and Tony are coming off the plane. "See how much easier and more efficient it was flying back?" Meg says to him. "I never knew you could fly a car, that's all," Tony says. "That's how my family travels all the time. It's really convenient." Just then, Trisha runs up. "Meg, thank goo'ness you're here!" she says. Meg looks puzzled. "What's the mater?" "Dad's been arrested!" "Arrested? Why? How?" "Suspicion of interstate drug trafficking. That's all I know." "Come on--we have to go to the police station and fetch him. Do you have any luggage?" "Just Tony's car," Meg explains. Trisha nods. "Well, we'll just leave it on the baggage carousel and come get it later. Come on, we have to hurry." Before they can go, though, a police officer walks up and asks, "Megan Dennison?" Meg nods. "I'm going to have to ask you to come with me." "Where?" she asks. "To the police station." "Oh, good," she says with relief. "We were just on our way to see Dad. Can my sister and my friend Tony come, too?" "Are they involved in this, too?" the officer asks. Meg looks surprised at the question. "Well, of course they are." "All right, then, you're all under arrest." "Arrest?" Trish asks. The man nods. "Accessories after the fact." Trish looks shocked. "Meg, can they do this? I'm so sorry." She points down at her wardrobe and explains, "I was in a hurry dressing this morning--I just couldn't stay to accessorize at the same time. I had to rush out of the house. But I didn't know it was a crime!"

* * * * *

At Kay's, the phone rings and Esther answers. "Chancellor Estate," she says. A whispered voice at the other end of the line says, "Esther? Is that you?" Esther looks around and sees no one. She covers her hand over the microphone and speaks softly into it. "Mrs. C.? Oh, am I glad to hear from you." "Shhh," Katherine says. "Esther, I just called to make sure Jill hasn't remodeled the house in my absence." "Well, it's not that she hasn't tried a few times," Esther says, "but I've stopped her. So far. But she's getting bolder and bolder the longer you're away. Mrs. C., I need help--you have to come back." "I'm not ready to come back, Esther, but I've got an idea." "An idea?" "Yes, now listen to me--a young woman is going to come to the door with a message. You are to make SURE you receive the message. You alone--no one else. You'll understand when you get it." "Do I open it?" "Of course you open it, Esther. It will give you the power you need to hold Jill at bay until I get back." The doorbell rings. "The doorbell," Esther says. "Well, don't just stand there, Esther. Go answer it. I'm going now." "Oh, goodbye, Mrs. C. Come back soon!" Esther whispers. She puts down the phone and goes to the door.

Katherine's friend Mack is at the door. She hands Esther a small envelope. "Is this from--?" Esther starts to ask, but the girl puts a finger in front of her lips to quiet Esther down. "Won't you come in?" Esther asks. The girl shakes her head and runs off. Esther takes the envelope and then, hearing Jill coming, she sticks it under her apron. "Who was that at the door, Esther?" Jill asks. "Just someone selling something," Esther days. Jill gazes out the door to see Mack running away. "Well, one look at you and your sense of fashion taste and she probably figured you were a lost sale--look at how you scared her off, Esther," Jill says, pointing. "Go ahead, make fun. You're going to be sorry when Mrs. C. gets back." "IF she gets back," Jill says. "The longer she's gone, the more I think she finally got some sense and decided to go somewhere where she's wanted--if there even IS such a place." Esther scurries off to the kitchen to read the message.

Later in the evening at the Chancellor estate, Esther enters dressed in an elaborately expensive gown. She sits at the other end of the table from Jill and rings a small bell. "What ARE you doing?" Jill asks. "I'm calling my maid--it's dinner time, you know," Esther says. A woman enters and places food in front of Esther, removing a silver cover for Esther to approve it. Esther nods gracefully and says "Thank you, Mildred." The woman backs away, bowing. Jill sits staring. "What was that?" she asks. Shirley, who was serving Jill at the time, has also stopped, transfixed. "Dinner. Haven't you ever seen dinner served?" Esther says. Then she glances at the TV-dinner Shirley has brought Jill. "Oh, I see," says Esther, "It's been so long since you had a decent meal that you've forgotten what it's like. Well, I'd offer you some, but I'm very hungry and I'm afraid there won't be any leftovers." "Esther, I've had just about enough," Jill says. "You go back into the kitchen right away and get that maid's costume of yours." "It's not a costume," Esther says, "it's a uniform. And no, I will not. I'm the lady of the house now and I can do as I please." Jill laughs. "In your dreams, Esther."

Esther pulls out the letter and hands it to Jill. "What's this?" Jill asks. "Read it," Esther says. Jill looks it over. "To Whom It May Concern," she begins. "This looks like Katherine's chicken-scratching," Jill says. "It is Mrs. C.'s and she is not a chicken. Just read." Jill continues, "In the event of my absence for a period of more than two weeks, it is important that my role as community leader be upheld. I therefore appoint Esther to take my place as controller of my estate and to manage my affairs while I'm away. She has my authority to act as proxy in any matter she sees fit--and particularly as it applies to making sure that Jill is kept in her proper place." Jill looks up and says, "Proper place? What is that? Proper place! This is my proper place--here in this house." "I don't think that's what she meant," Esther says. "Well, too bad," Jill says, "because I'm not moving." "Well, neither am I," Esther says. "You may have been able to drive Mrs. C. away but I'm not as smart as she is, so I'm not going anywhere," Esther says. "You can say that again," Jill mutters.

Later, the doorbell is ringing but no one is answering. Jill comes running in to find Esther lounging on the couch. "Why aren't you answering that?" Jill asks. "It's not my job to answer the door--I'm above all of that now." "Oh, you are, are you? Just like that?" "Just like you rose above doing her nails," Esther says. The doorbell continues to ring. "Aren't you going to answer it?" Esther asks, not moving. "Aren't you?" Jill says, crossing her arms and standing firm. The bell continues to ring. Finally Jill goes to the phone. "It's the door, Jill, not the phone." "I know that," Jill quips. She listens for a moment after dialing, then says, "John, thank God you're there. I need to see you right away. No--don't come to the house. No one would answer the door--never mind, I can't explain. I'll come to you. Wait right there."

Seemingly a few moments later, Jill enters John's office. "Jill?" he asks, surprised to see her so quickly. "I flew over," Jill says apologetically. "It's Esther--I just can't take her any more." "Doesn't she keep the house clean?" "Not any more--she's found a letter from Katherine that appoints her Katherine's replacement. John, I just can't take it. I never thought I'd hear myself say it, but I really miss Katherine and I want her back." "You do?" Jill nods. "I do, John. Seeing Esther there at the other end of my dinner table--I suddenly realized that Katherine really isn't so bad. I could maybe even learn to like her. Just please, John, anything. Find out how to get Katherine back." "Well, I don't know if Katherine is ever coming back. You'll just have to learn to live with Esther." "But--Esther is young. With Katherine I could at least hope that she'd keel over one day. But Esther--she could be there forever." "I don't know what to tell you, Jill." "Sell it, John." "You're kidding, right?" "No, I'm serious--I can't take it. Just sell it. And do it quick before Katherine returns to buy the other half." "Funny you should mention that because a young woman showed up today wanting to make an offer on the house. I told her it was impossible, but she insisted and left a contract of sale with me. If you're serious, you can sign it." "Was it a good offer?" "Oh, yes. Very generous. But are you sure you want to do this?" "Have you ever seen Esther in formal dinner attire?" Jill asks. "I understand," John says. He pushes the contract in front of her ahd she signs. "Congratulations, Jill, you are now a very wealthy woman." "And Esther will have someone else's house to haunt," Jill says smugly. Mack enters and asks, "Is that my contract?" John nods, taking the check Mack had left and handing it to Jill. He hands the deed and contract of sale to Mack. "Thank you," she says. "Can I ask your name, by the way?" Jill asks. "Certainly," it's Webster. "Mack Webster--I'm Nina Chancellor's daughter."

That's all for this episode. Hope you learned something. Don't miss Episode 125!
If you missed any older episodes, see the index.

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