![[AWO]](../awo-small.gif)
Previous |
Next |
Episode |
Moral
Previous |
Next |
Episode |
Moral
Date: 26 Oct 1997 11:34:01 -0500
From: pitman@anotherwayout.com (Kent M Pitman)
Newsgroups: rec.arts.tv.soaps.cbs
Subject: Y&R: AWO#70: "Dumbage & 'Bomination"
Message-ID: <sfwu3e4pjpi.fsf@world.std.com>
INSIDE... * Genoa City detectives discuss their wily baiting tactics.
* Danny and Cricket make guest appearances on TV in NY.
* Little Daniel plays hard.
* Victoria focuses on a new target.
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
ANOTHER WAY OUT, Episode 70, 26-Oct-97 by Kent Pitman (kmp@harlequin.com)
"Dumbage & 'Bomination"
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
Detectives Bates and Wiley are in the lunchroom of the Genoa City Police
Station chuckling over their abusive treatment of Ryan. Salena says, "Don't
you just love it when a suspect is as distracted as Ryan was on some
peripheral matter--" "Yeah, like his wife's health," Bates chimes in.
"Exactly!" Says Salena. "He was so worried about the old bag he didn't even
care that he was handing us all we needed to convict him." A grungy looking
street person sits nearby awaiting something. He wheezes, "If he was caring
about his wife so much, why would he have shot her in the first place?"
Salena glares at him, "Shut up, old man. Another impertinent question like
that and we'll put you next on the list of people to harass."
Paul, Cricket, and Danny are in New York after talking to Brian. Paul gets a
phone call from Lynne. "One of our key clients is about to pull out, Paul,"
says Lynne. "I'll be back right away," says Paul. He hangs up and asks if
anyone wants to go along with him. Big surprise--Cricket and Danny will stay.
Paul shrugs, kisses Cricket, grabs his briefcase and heads off. As he closes
the door and walks to the elevator, a door opens and Lynne pops her head out.
"Psssst!" she whispers, "Paul, it's me!" Paul looks very surprised. "Lynne?
I thought you just called me from Genoa City." "Sorry, boss. I made up the
whole thing. Come here, I want to show you what I've got set up." He enters
the room and we can see a bunch of high tech recording equipment set up. On
the TV are Danny and Cricket talking to each other, but the volume is turned
down. "Lynne, that's the room I just came from!" Paul says. "That's right,
Boss. I think these two are about to have an affair and I thought I'd get the
evidence for you." "Lynne, they're not about to do any such--" He stops as he
sees Danny and Cricket kiss. "Turn up the volume," Paul says. "I want to
hear this..."
Bates and Wiley continue their discussion. "If I can pin this on Ryan McNeil,
they'll have to promote me. I don't care what they keep saying about what a
great guy Carl Williams was and how he's coming back--I've done my time in
this role and it's time I got what I was due. I mean, look at how I
prosecuted Jill Abbott--" "Hey, wasn't she later found innocent?" the street
person interjects. "On a technicality," Salena says. "That she was innocent?
That was a technicality?" the street person says. "Technically, yes," says
Salena. "But now, Ryan, on the other hand..." she adds. "But you two just
said Ryan probably didn't do it." Detective Bates turns to the man and says
in a stern voice, "Listen, Buster, have you been listening or what? The
commander-to-be here's already said that's a mere technicality. It's not our
job to worry about guilt and innocence. It's our job to build respect for law
enforcement. Ya got that?" The man nods. "Oh, I see. Yeah, I got that," he
says in almost a whisper.
Paul is in bed with Lynne. The flickering light on them suggests they are
still watching the TV view of Cricket's room, where she and Danny have
presumably fallen into the sack by now. Paul and Lynne are wide awake staring
at the screen. "Wow," says Lynne, "this surveillance stuff really gets my
motor going." Paul sits up and sips some champagne. "Me, too," he says.
Then his eyes widen and he adds, "Wow--Chris never did that with me," he says,
pointing at the screen. "Oh, you like that, do you, boss? I'll make a note,"
says Lynne. "Thanks, Lynne. You're the best." "Took you long enough to
realize," Lynne mutters. On the TV, Cricket is reaching for the phone. "Uh,
oh--she's going to make a call--what if she calls the office?" Paul asks.
"Relax, boss. It'll forward to here..." There is the muffled sound of a
phone ringing. Lynne opens a suitcase near the bed and picks up one of
several phones. This one is labeled `Office/Paul'. "Paul Williams
Investigations," Lynne says with an official tone. "Lynne, it's Chris. Is my
husband there?" "Chris!" Lynne says with feigned enthusiasm. "Yes, he's here.
One sec." She holds out the phone and says (presumably for Cricket's
benefit), "It's your wife." Paul takes the phone and says, "Hi there. How's
the undercover work?" Cricket is uncomfortable with the needling, and tries
to avoid the question. "Uh, something's come up," she says, not knowing that
Paul can see what she's eyeing as she says it. "I'm going to be here in New
York a bit longer than I thought." Paul shakes his head sadly but admits
nothing. "Well, just know I'm with you in spirit," Paul says. She nods and
hangs up.
Bates is virtually salivating over their technique this time around. "I gotta
hand it to you, Detective Wiley, that was such a good idea of yours to ask him
FIRST if he'd touched the gun BEFORE mentioning his fingerprints. The look on
his face when he changed his story was--well, it makes you wish you had a
hidden camera." "What would a hidden camera do? Are you guys stringing for
one of those sensationalized cop shows?" the street person asks. Salena sighs.
"No, old man. It's purely for law enforcement purposes. When the perp sees
himself--" "Or herself," Bates says. "Right, himself or herself, on the TV
saying really embarrassing things, well, ... it really nails the case down.
Juries just eat that stuff up." "But you didn't have one with Ryan," the
street person says. "No," she says. "It was checked out by someone from
our undercover unit on police corruption." The street person nods. "That'd
be me," he says, revealing the camera that's been taping this conversation.
He stands, places the camera (still rolling) on the table, and pulls a
latex mask from his face. "Carl Williams!" says Salena, surprised. "The
same," says Carl. "And I'm glad to know these camera things hold up so well
in court." He nods to two other detectives who move in to cuff Salena
and Bates. "Detectives Bates and Wiley, you're under arrest for the abuse of
your office, harrassing civilians, and generally being repeated screw-ups.
If you have anything to say in your own defense--anything I haven't already
captured on videotape, I mean--I'd suggest you save it until you have a
lawyer."
Nikki is looking out of her living room window with a pair of binoculars. The
phone rings and Sarah answers. "Landers residence... Oh, just a minute--
she's right here." Nikki doesn't turn from the window but asks impatiently
"Who is it?" "It's your daughter, ma'am," says Sarah. "She says it's
important." Nikki sighs, removes one of her daisy earrings, and juts her hand
out for the phone--all without turning from the window. "Victoria?" she says
distractedly when Sarah has handed her the phone. "Hi, Mom, I was wondering
if you noticed that Jack had dropped by." Nikki nods and says, "I had indeed.
He's down at the Tack Estate--" "Looking through the window at whatever Cole
and Ashley are doing," Victoria finishes. "How do you know that?" Nikki says.
"Because, Mom, I'm upstairs in my room doing just what you're doing--watching
Cole and Ashley myself. But Mom, I can't see any more because Jack's head is
in the way." Nikki says, "I know. Isn't that the most aggravating thing?"
Victoria says, "So I was wondering if you could find some way to get him to
move." "Me? Why me?" "Well, you're closer. And besides, I don't want to
risk letting Cole know I'm paying attention to his house." Nikki says, "Well,
Victoria, if you were just LIVING with your husband you wouldn't have to be
spying on him." "Oh, Mom, please spare me. Are you going to help me or not?"
"Ok, ok. I guess I can leave my post at the window just this once, but you
have to tell me everything that happens later, agreed?" "Oh, yeah, sure.
Like I'm going to tell you every little adulterous detail..." "If you want
me to get Jack to move, you will." "Ok, ok. We're wasting too much time.
Who knows what they could be doing in there."
Joani is laying on the living room couch reading a magazine and Little Daniel
runs in. She drops the magazine to the floor, and Daniel responds by dropping
his airplane and jumping up on her. He pushes one arm back above her head and
starts to carress her breasts as he leans down and tries to force a tongue
kiss on her. Joani jumps up, knocking Daniel about half way across the room.
"Daniel!" she squeals. "What are you doing??!" He looks at her, confused.
"Aren't you my friend?" he says. "Of course I'm your friend, Daniel, but--
Daniel, you just can't--" He cuts her off. "Mom said that that's what friends
do. That friends hug and kiss their friends all the time." "Well, Daniel,
not like that." "But she was hugging and kissing her friend Michael." Joani
struggles for a good explanation. "Daniel, Michael is her lawyer." "So?"
he asks. "Well, you know that everything that happens between a lawyer and
their client is confidential, don't you?" He nods. "Ok, then. So when
you see your mom and Michael together, you have to pretend you don't see, ok?"
"Ok," he says with a sigh.
Nikki puts down the phone and calls Sarah. "Yes, Mrs. Landers?" Sarah says.
"Sarah, see that a glass of lemonade is delivered on a platter to Jack Abbott
down in front of the Tack Estate, will you? And make sure he knows I sent
it." "Right away, ma'am," she says and goes back into the kitchen. Nikki
goes back to her watching but when Sarah doesn't come back out, she goes to
peek into the kitchen where she sees Sarah on a cell phone looking through
binoculars at the Tack Estate. "Sarah! I thought I asked you to--" The new
maid cuts her off: "--to see that some lemonade is delivered. It's being
delivered as we speak." She points with her binoculars. Nikki raises the
binoculars that hang around her neck and looks through the kitchen window
with them. "Oh!" she says, as she sees Miguel come from the direction of
Nick's house to deliver the lemonade. "I called Miguel to do it. He was
on his way back from Nick and Sharon's anyway, and--" "And that way you
wouldn't have to miss any of the action down at the Tack Estate." Sarah
blushes. "Yes, ma'am." Nikki looks as Jack finally moves from the window.
"Wow, you can really see well from in here," she comments. "Well, we
servants have to be on top of the goings on around here," Sarah says
apologetically. Nikki nods. "Yes, I suppose you do. Well, thank you Sarah.
I'm sorry I doubted you." She goes back into the living room to greet Jack.
At the police station, we see Little Daniel being brought in in handcuffs.
"I demand to make a phone call," he says. He is led to a phone call and
handed a quarter. "Do you need help dialing?" Detective Adams asks him.
"Get away, I can do it myself," Daniel says, pulling a scrap of paper from
his pocket and starting to dial.
Jack enters with Miguel, who immediately ducks into the kitchen. "Hello,
Nikki," Jack greets the lady of the house. "Hello, Jack," she says. "I guess
I don't have to ask what brings you by," she says with a smile. "Nor do I
have to ask how you knew I was here," he says, casting his gaze to the
binoculars around her neck. "Oh, these? No, I--found them laying around the
house. They're probably Victoria's..." There is a sudden commotion at the
stairs and Victoria comes charging down. "Mom! They're going to do it if we
don't do something!" Victoria says. Jack chuckles at the binoculars around
her neck and mutters to Nikki, "No, I don't think they're hers." Nikki turns
to the kitchen, but before she can utter half of Miguel's name, Miguel enters
with a tray of two lemonades. Jack says, "And with that timing, I don't
suppose they're Miguel's either." Miguel zips out the back and goes rushing
toward the Tack Estate to meddle with what otherwise would be certain
adultery as the conversation in the living room lightens a bit. "That was
close," Victoria says. "It certainly was," Nikki says, "I just don't know
how much of this I can take." She picks up her coat and starts to rush out.
"Where are you going, Mom?" "To tell your father he cannot have any more
children. I know I take a lot of heat for having nothing to do all day, but
being a busybody is HARD WORK and I just don't think I can keep doing it for
another twenty years. Now your father is just going to have to see reason
on this vasectomy issue and that's that!" She slams the door behind her.
In the privacy of an interview room, Cricket asks Little Daniel what happened.
"I tried to rob a liquor store," Daniel says. "And why?" "I thought it would
help get me friends," Daniel says. "And did it?" "Well, you're my friend,
aren't you?" She nods, "Of course, I'm your friend. I'm also your
godmother." "My fairy godmother?" "No, not a fairy godmother. Just a friend
godmother." "Oh good!" he says. "Then it worked." He jumps up on her and
repeats what he tried with Joani. "Daniel! What are you doing??" she cries.
"Phyllis said I could. She said this is what people do when they're friends.
That they hug and kiss." "Not like that!" Cricket says, completely horrified.
"I'm going to get your father in here to have a talk with you." He pulls a
whip from his pants leg and snaps it at Cricket. "Stop it right there,
Counsellor," he says with an evil grin. "You're bound by attorney-client
privilege, remember?"
Jack chuckles. "What's so funny?" Victoria asks. Jack says, "Just the
thought of the Big V confronting the Big V, that's all." He laughs again.
"Well, you know what they say," Victoria says enigmatically. "What's that?"
Jack asks. "Small minds are amused by small things," she says. "Hey, you
accusing me of having a small mind?" "Jack Abbott," she says, "I never
accused you of being small. But you're welcome to follow me up to my room and
prove it if you want..." She turns and walks back up the stairs. Jack
follows behind her haltingly calling up the stairs. "You're forgetting, young
lady, that I used to be your father," he says. "STEP father," she says. "And
now an EX-step-father. Certainly no blood relative," she says as she
disappears into her room. Jack is out in the hall. "Victoria, I was just down
at the Tack Estate--it looks like things aren't going so well with you and
your husband. Do you want to talk about it?" She calls to him, "No, I don't
want to TALK about it. Will you get in here? We're wasting time!"
Jack is sweating a little. "Victoria, your mother--" "Come on, Jack. Mom's
out of the house." "But what would she say?" "She'd be glad you and I got to
spend some quality time together." "As father and daughter." "Oh, Jack, she
romanticizes everything. She's on her way to talk to her other husband right
now. I can't help that she lives in the past. I need to live in the present,
Jack." "But, I, Diane--" "Oh, I see. You want to live in the past, too. She
married my father, Jack. Besides, maybe if you hang out with me, I can
arrange some double dates for us--you and me and Dad and Diane." "Victoria, I
can't," he protests. "You're just a little--" She steps back out into the
hall in her standard-issue Y&R dominatrix outfit. "Little?" She asks.
"Diane had an outfit just like that," Jack mutters. "Silence!" she says,
cracking her whip. "They're on sale at Fenmore's. I'm sure everyone in town
has one by now. But they were such a good price, I could hardly resist. And
anyway, there are just too many spineless women around this town. It's about
time some of us took a little charge around here. Now get in that room before
I have to spank you!"
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
Copyright 1997 Kent M. Pitman. All Rights Reserved.
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
"Another Way Out" takes plotline state at time of publication and shows that
there are interesting places right around the corner. The goal, besides
having some fun with good-natured parody, is to challenge the notion that we
must be mired in certain tired plotlines for months just to have a good time.
There is always another way out...
Archives of this and older episodes of "Another Way Out"
as well as the more serious "morals" that underly them,
can be found at: http://world.std.com/~pitman/awo/index.html
Don't forget to try the "character index" and "ratings index"!