beebs

It is, I have most of this episode. Donna was apparently Jennifer's babysitter at the time, and Laura came to the house and demanded Donna let her leave with Jennifer. Laura did worry in the past about inheriting her mother's mental illness, so it was smart of Elizabeth Harrower to play on that history. I do wonder, not having made it to the March 1979 headwriter change, whether she was a good shift from Ann Marcus' melodrama. It seems far more intense, contemplative than what I've been reading. I've heard reviews that call 1979 DAYS boring and slow. I suspect that was Harrower yanking back the pacing vs. Marcus' breakneck speed of storytelling. I feel like, because there was such a lack of teen characters ready to go after the first few years, DAYS rushed to fill that gap with Mike and David, but it really caused a lot of problems for them, as Julie went from star young adult character, to middle-aged talk-to overnight. I remember hearing SSH was not exactly impressed by it either.

Yeah the other pictures are a little better, I admit. God, DAYS was certainly a very...blonde show back then, wasn't it? Other than Julie and Maggie, every leading lady on the show was blonde at this point. How weird. Interesting to me that they were so lauded at the Emmys in '79. I suppose the acting and production made up for a lot of the storylines, because I cannot see these competing with what Y&R, GL, GH, AMC, or OLTL were serving up at the time, for example. They have a core of heavy hitters, and they're misusing them terribly! I REALLY hope they do a lot more with Tom and Alice than have Alice preach the gospel to Margo. They started to when Ann Marcus first came on, but it seems like Tom in particular was, for the first time in the show's history, really detached from the action by '78. It suddenly hit me as I was reading the most recent entries. I do wonder if the increasing prominence of young demographics is to blame for this, especially with ABC being so dominant in that area at the time. I am noticing a lot of hastily introduced young characters right now, and none of them seem to be sticking, despite how much they dominate airtime. God, Janice doesn't even LOOK like she wants to be there 🤣

That might be the funniest wedding photo I've ever seen. WTF 🤣🤣🤣 I feel it says something about Patty Weaver's charisma that she was able to be so popular in two roles despite the writing for her being so unforgiving (especially at DAYS, though I disliked what a perpetual victim she was at Y&R too). August time! So, the direction they're going with Maggie/Mickey/Janice/Joanne is starting to become clear. Basically, Mickey, Maggie, and Joanne all agree to not let Janice know that Joanne is her natural mother. Except Hope overheard someone talk about it, so Hope opens her big mouth to Janice, who is now treating Maggie like sh*t. She starts taking a few drinks because, between Janice rejecting her, and Mickey working so much, she feels isolated. Of course, the drinking makes it worse, so when Mickey asks her to do things, Maggie has a "migraine". Janice and Melissa are becoming fast friends, and with Maggie drinking so much and Janice being so snipey toward her, Maggie doesn't mind. Except... Linda has her big party for Steve, and Maggie decides not to go, because of her "migraines". Mickey gets there and sees Joanne working the party, and is even more pissed off when Linda tells him that Joanne is her permanent maid. Mickey's suddenly glad Maggie had that "migraine". He confronts Joanne about it, but insists that Mickey let her keep the job, as it's the only stability she has and it isn't even really in Salem (since it's out at Bob's lakehouse). Mickey isn't entirely convinced but goes along with it. He does end up breaking the news to her. Melissa invites Janice to a party at her house. Maggie doesn't want Janice to go, Mickey says that that would be the worst thing for her relationship with Janice. So, now Janice is going to Melissa's regularly, and now is spending all kinds of time with Joanne, while Maggie stands back in silent horror at, and, instead of stepping in to do something about it, drinks about it. Janice eventually asks Joanne if she's her real mom, but Joanne tells her that if they wish to stay friends, Janice must never ask that question again. Mickey and Maggie, meanwhile, are somehow convinced Janice doesn't know she's adopted. That somehow Janice is just...rebelling? And do nothing except wring their hands. Another story that required everyone to lose a few IQ points to make work, it seems. Laura, who, incidentally, thinks Maggie is overreacting in her fears that Joanne wants to take Janice away, finally convinces Bill to come with her to check on Maggie. They find the house on fire, and Maggie taking a nap after getting sloshed because Janice is at a sleepover at Melissa's. The next morning, Maggie picks Janice up at the Andersons' and rips Joanne a new one, telling her to get out of town or she'll press kidnapping charges after her little fairy godmother stunt in Florida. THE TEENS OF '78 DESCEND UPON SALEM Ann Marcus certainly loves inventing family members for characters on this show. Within a week of each other, we get Neil's cousin Pete Curtis (played by Meegan King) and Chris' sister Amy Kositchek show up. Pete instantly falls for Donna, who is uninterested in him because she's got a creepy infatuation with Don! So THAT's why she's been such a pain in Marlena's backside all this time. Pete is apparently of age, so Neil wans him to back off since Donna is 15. He doesn't listen, and Don encourages Donna to go because she has no friends her own age (Salem apparently was going through a baby rut in the Mid 60s if this is Don's solution). Donna intentionally withholds an apology message from Don to Marlena after one of their endless arguments. An interesting note, Marlena's ex Dr. Paul Whitman comes back to town for a second time (this man was Marlena's great love before she came to Salem, which made JER's inventing Alex North all the more silly). He came before after Marlena got out of Bayview in '77. He comes for a short visit, and once again tries to insinuate himself in Marlena's life while she on the outs with Don. But Marlena insists she will marry Don. Donna uses this to make Don angry and jealous again. When Don confronts Marlena about it, she blames Donna, and Don storms out. Fool. Amy, meanwhile, comes to town looking for a job for college tuition. She initially wants a loan, and Mary's willing to give one to her, but because Chris is a typical man of the 70s and doesn't want to be outshone by his ladyfriend, he refuses. Chris and Mary want to officially move in together, but Chris will only do so if they adhere to HIS lifestyle. Which, because he quit the executive position at Anderson, is pretty sh*tty. He feels guilty, and moves out. David finally tracks Jeri down while Trish is in Italy, takes "Timmy", moves back to Salem, hires Amy as his nanny, and renames him Scott. Then finds out from Danny that Valerie moved back to Washington and, I guess because she realized his life is with Scotty and she's not gonna raise this twit's baby for her, cuts David off permanently (for now). I think they're trying to hint at something more than a employer/employee relationship with Amy, though I know that won't go far. Doug and Julie continues to be a nonsense story. Theresa isn't interested in Doug romantically, but is flirting with him anyway because she wants to get him involved more seriously in the record business. This irritates Julie, who takes off with Steve to Europe to buy more antiques for her new project, an antiques store. When she returns, she gets snarly with Theresa, insisting she stay the hell away from Doug. Doug finds Julie's jealousy adorable. Theresa can't handle the suspicions and hostility, and threatens to quit and leave town after nearly falling off the wagon (God knows why this woman with a drinking problem is working at a bar, but I digress). Doug convinces her to stay. Greg is offered a position at a hospital in Chicago. Amanda doesn't want him to take the position, as she's already feeling neglected by him in Salem. Margo turns to Alice for comfort about the fact she's dying. Alice proselytizes at her until she's in a good mood again. Is it just me or is Ann Marcus dropping a LOT of stories midway here? Like...an unusual number of stories and story threads get picked up, only to disappear from view and memory within weeks, sometimes before they even begin. Is Linda even trying to gather dirt on the Andersons anymore? She rebuffs Bob's insinuation that they start a family, but otherwise has been pretty quiet this month. She's done NOTHING with the information on Neil and Mary's affair, and there's been no mention of her trying to find information on Brooke at all. I can't tell if that's an Ann Marcus failing or bad summary writing on SOD's part. I really don't like how quickly Maggie turns to drinking. It was a rather instantaneous addiction that came out of left field a bit. I could see depression, maybe, but the turn to the bottle was abrupt. Laura/Bill/Kate stays on the backburner, though it seems like Elaine Princi stays on the show into 1979, so maybe they're coming back to it. They definitely were ramping it up before, only to drop it before it even really happened. All to focus on Donna's daddy issues. Yikes!

Okay, July 1978 is even more bonkers than June, somehow. I'm realizing that I'm going to have to take advantage of both the weekly Tune In Tomorrow updates and SOD because SOD is REALLY bad at fleshing out their stories. Entire beats of stories are missing from their recaps, and it's shockingly hard to follow the stories if you aren't able to watch. The nice part about DSN was that, if you weren't watching, you still got a real sense of exactly what was going on on the show, regardless. SOD, not so much. Struggling a bit to figure out where to begin with this. Suffice to say, the Anderson story remains the only story worth watching, but even THAT is starting to get chipped away at. I...am thoroughly unsurprised by the .9 ratings drop DAYS had during 1977-78. Though after reading TIT's recaps, even June made a lot more sense. So... Follow me here. Going back to June a bit, they fleshed out Samantha's story a bit more than what SOD talked about. Sam's guilt about what she did to Marlena really eats at her, so she left for Hollywood for a new film. I suppose Sam's guilt and resolve to clean herself up from her pill addiction really made it plain to Marlena that Sam really did love her, thus explaining her forgiveness, but I still feel like it was a bit easy for Marlena to forgive so quickly. In July, Marlena gets the memo about Don, and returns from Colorado in time for Bill to realize that if he doesn't inject Don with this EXPERIMENTAL DRUG, Don will DIE! (oh brother) Apparently this staph infection has caused internal bleeding, which necessitated surgery. Don gets the drug, he recovers...except HE'S DEAF (I literally hollered upon reading this, WTF!!) He's mopey and brooding in the typical Don fashion about this, and it pisses Marlena right off, until she makes it clear to him how he's hurting her, then he magically becomes tender and loving again...until he decides to move back into his own apartment instead of with Marlena. Apparently Donna is now trying to break Don and Marlena up?? Again, NO idea why she's suddenly become enamoured with Don at Marlena's expense, when she was super chummy with Marlena before, but Marlena is now very resentful of Donna's intrusion, even though she precipitated it. Donna moves into the Horton house, since, apparently she doesn't like Marlena anymore. Also, Greg thinks Marlena is not just rundown from her annus horribilis but actually physically ill (were they hinting at Chronic Fatigue Syndrome?) Apparently completely absent from the SOD recaps was that Linda was all set to move into a new house with Melissa and Bob, only to have it burn down just before she moved in, thus the houseswap with Neil. Neil is being so generous with Linda as a means to potentially get in her pants (the ol' horndog). Linda isn't interested, but will gladly take whatever he's offering (sucker). Chris' job with a rival company of Anderson's was a low level job to keep money coming in while Chris set up his own business with Mary. This does, however, lead to a new opportunity. The new employer utilizes Chris' connections to Anderson to head up an environmental group objecting to Anderson's new project. Anderson's new project takes them into the last remaining wildlife refuge in Salem city boundary (this is starting to sound like my fanfic! Yikes!) and Chris works to try to convince Anderson to build in a different location. Bob agrees, Linda decides to, instead, fight to destroy Chris and his new employer, Jim Bradley, in order to make sure Anderson's new project goes ahead in its initial (cheaper) location. While this goes on, Linda continues to manipulate, throwing Steve a huge welcome party to outdo the Hortons, and simultaneously starts fishing for info about Brooke's involvement with the Andersons, after listening in on Mary tips her off. Jeri MOVED from Salem to meet Trish and live with/take care of Timmy/Scotty. I still don't know why Whiny Trish is so insistent David not see TimmyScotty. A PI tracks down Jeri and Trish in California, where Trish is getting into films. David decides to go to California to bring TimmyScotty home, but the family warns him not to in case of a court battle. Because, even though Trish did exactly the same thing, if David does it, it constitutes kidnapping and will play against him in court. At the same time David plans this trip, Trish gets a role in a film to be shot in Italy (spaghetti western, I'm presuming). She's bringing Jeri and the kid with her. This will end well. Before David leaves, a plant manager at Anderson lets him know that Paul Grant died of a heart attack. He comforts Valerie, and they seem on the path to full reconciliation again.I honestly do not see how Ann Marcus' plan was not to have David and Valerie as endgame, given the way the story is moving here. Why go to the trouble of killing Paul off otherwise? Bland Margo decides to start dating other men after rejecting Mike's marriage proposal. Mike's jealous. A week later they reconcile, and then marry. Whoopie! Steve returns to Salem, and immediately becomes involved in a whole whack of stories. First, Doug hires a new singer to replace Whiny Trish (I confess I've always found Patty Weaver's singing akin to nails on a chalkboard). Her name? THERESA! Theresa, played by Elisabeth Brooks (Toronto, represent!), is immediately Steve's romantic fixation, and yet makes Julie jealous as well. Money starts disappearing from Doug's Place. Robert suspects Theresa. It is obviously actually Steve. Steve meets Mary, and is instantly attracted. Doug suspects Steve is only after Mary's money. Doug is a moron, and hires Steve at the club. Mickey tries to get Joanne out of town ASAP, but Bill and Tom insist that Joanne stay to recuperate, with Bill feeling responsible for his patient. Mickey reluctantly agrees. They'll regret this. Beebs' thoughts: There is too much going on now. Most of it is bad. I really wish someone would explain to me how Trish was a popular character for eight years, because I find her utterly insufferable. Bill and Kate is well and truly dropped, I think. I'm fairly certain that they tried to make Kate Roberts into Kate Winograd when the character was first introduced (Alice very definitely recalled Austin's eyes as being extremely familiar, and Julie warned Bill about selling the house to Jack and Jennifer because "you know what happened in that house", it was absolutely being set up). But JER played FAR too fast and loose with history here. And the fact that it was only 15 years in the past at that point, it seems ludicrous to be THAT liberal with history if you don't plan to be faithful to it. Though, it is telling that the story began under Sheri Anderson. I suspect if Sheri had remained, that the massive plot holes would have been filled in a lot better than they were, but even then, given the fact that their relationship never evolved past flirtation, I would have difficulty buying Lucas as their son. Onto August! Apologies if this is less than cogent. I'm a bottle of wine in as I type this, so, bear with me.

Yeah, Laura...I don't even think was MENTIONED in SOD for the month. It's really weird.I think they had relegated her back to being the catch-all psychiatrist and nothing more for the moment while they figured out what to do with her and Bill.I think the only mention she got at all might have been in giving Donna psychotherapy after she tried to kill herself.

So it looks like May 1978 was the last Daytime Serial Newsletter, and that's a shame, because I'm not entirely enamoured with (I'm guessing) SOD's writeups. They're more detailed, technically, but somehow a touch more shallow, and because they jump between storylines, it's harder to follow what happens. I'm finding myself with a number of questions as to character motivations that I didn't get with DSN. Anyway, a lot happened in June 1978, so I'll just go into that one. So Donna so screws up her young life that she threatens to jump off a ledge. Marlena and Don talk her down, but while helping her in, Don falls off and ends up in the hospital. He's fine for awhile, but develops a staph infection and is at death's door by month's end. Marlena at first is bitter with Donna (she can't help but be hostile to Donna, but Sam tortures and nearly kills her but it's okay because...drugs???), but Donna ends up in the UH psych ward and breaks out to visit Don, and tells him she's sorry she's hurting the people she loves (meaning Don and Marlena, d'awww *gag*) and signs his cast, saying "you're the greatest". Apparently all is forgiven, but Marlena is still so stressed that Bill and Don sent her to her parents' in Colorado, and she's off camping with her dad, so Marlena doesn't realize Don's now a step from death. Oops! Doug and Julie, fresh off Julie's exoneration for Larry Atwood's murder, go to Paris on holiday. There they try to track down Julie's brother Steve (Stephen Schnetzer). I guess he blew through his inheritance, because he's now scammed a loan out of both Doug AND Julie without the other one knowing. Joanne Barnes has kidnapped Janice, promising she's a fairy godmother who'll take Janice to Disney World for a week and no one will notice she's gone because time will actually stay still in Salem. Of course, Mickey and Maggie notice, and get an anonymous note on their doorstep saying Janice is fine and she'll be brought back "when I'm done with her". When this doesn't inspire confidence, they report Janice missing. The last day Janice and Joanne are in Florida, Joanne has a heart attack and ends up in hospital. Her doctor in Florida traces a pill bottle he found in her things to Tom Horton. After a week of Joanne's name coming up repeatedly, the Hortons put two and two together and realize Joanne is actually Janice's bio mom and Mickey and Maggie fly down to reunite with Janice, who's happy to see them, but is now, of course, enamoured with Joanne. Maggie's sympathetic, but Mickey wants to go home and forget Joanne ever existed (probably where the smart money is, tbh). Maggie hears Joanne talk about how she's a welfare patient and her surgery is basically at the back of the line behind the paying patients. If she doesn't have her heart surgery for her angina soon, she'll die. Mickey gets sucked in and arranges for Bill to do Joanne's surgery in Salem. I would say this is compassionate and kind hearted of them, but I know where this story is going, so I think they're all putzes for going along with this right now. ANYWAY, Margo decides not to marry Mike because of her leukemia and dumps him, and now Mike's mopey again and transfers out of town with Anderson. Byeeeee. Jeri hears from whiny Trish, who wants Jeri to come visit her at a secret location, and to not tell David, because...reasons. I should point out right now an error I made earlier in these posts. Sybil--er--Trish did NOT kill her father. Jack Clayton was her STEPfather. Her bio dad is remarried and Timmy/Scotty is living with him, for reasons that have never been made particularly clear to me. Jeri takes about ten minutes to call bullsh!t on Trish's demand and calls David and says to come to her place and they'd head out to meet Trish and "Timmy" together...then leaves early without David when she changes her mind, leaving a note saying she's sorry for the past [???] but is loyal to her [stupid] daughter, not David and the Hortons. So Jeri goes to meet Trish, tells her to let David see his son, and Trish says no, and apparently continues to not give a good reason for it. (My loathing for this character never ceases to grow exponentially with every passing month I read). David, meanwhile, is miserable, until he goes to a party at Mary and Chris' and finds Valerie there! They start dating again. I feel like Ann Marcus really did see David and Valerie as a strong pairing, but with Tina Andrews gone, and I suspect the brass at either Columbia, NBC, or within Corday being reticent to revisit the interracial romance, she couldn't do more than dip her toes in periodically. It's a shame, because I've enjoyed David and Valerie together. She is a calm, steadying hand in David's life, while the other women in David's life are so transient and wildly unpredictable. It's a real shame Ann Marcus' attempts to feature the Grants more heavily were stifled, because you can clearly tell there was an interest there. The strongest story on the show continues to be the Anderson family drama. Chris quits as an Anderson exec after repeated run-ins with Linda, who's continuing to manipulate the company and Bob to her advantage. Chris attempts to start his own construction firm, and convinces Mary to join him. Bob returns from a business trip to discover both Mary and Chris have quit, and Linda won't give any indication as to why. Bob doesn't press. Chris then lands a job with a rival firm to Anderson, so...so much for going it alone, I guess. SOD really cocks up the timeline here, but from what I'm figuring out, Neil offered to homeswap with Linda and Bob, giving Bob and Linda the keys to Neil and Phyllis' house (since Phyllis is out of the country pretending she isn't married to a philandering twunt), and Neil moves into Linda's apartment. Chris and Mary find this out by having an intimate moment interrupted by Melissa, as Mary's house is on Neil and Phyllis' property. So Mary goes down to Neil's to ask him if he offered the houseswap or Phyllis (curiously THIS beat was earlier in the SOD article than the explanation of the houseswap, so I got a little confused for a minute). Neil confirms that he did, and then quickly changes the subject before Mary can tear him in half for it to their affair. Mary goes to leave, but it's too late, Linda's in the doorway and overheard the whole thing. Now she has ammunition she can lord over Mary's head at will. I feel like they were really setting up to make Linda the queen bee of Salem. Manipulator, business powerhouse. A similar role to what Kate Roberts would take on in more recent history. It's a shame they took her too far later on. I really enjoy her, and Margaret Mason is made for that kind of role. I would just LOVE to see her in action. These stories are, otherwise, so clunky, and melodramatic for no reason, it's hard to engage in them. I see Bill and Kate's affair storyline has been sidelined. Possibly to be picked up later, but it seems it never extended further than flirtation and angst. Onto July! *braces himself* ETA: I am really glad you guys are enjoying this. It's a lot of fun to read and share with you all. And until Sony stops being the dragon sitting on their mountain of gold and lets us actually view the archive, I guess this is as close as we'll get to being able to actually SEE the episodes.

EPISODE 186 Written by A. Washington-Beeby Story Consultant: C. Nathaniel Richardson & Nick Monarco Kim stands in her living room, held in Andrew's arms tightly, her tears over Roman subsiding through her son's comfort. ANDREW: It's okay, Mom. It's okay. As Andrew cradles his mother, Kim reaches around, holding her son. She feels the soothing comfort of someone to lean on. KIM: (laughs) I know. I...Andrew, I missed you so much. ANDREW: Shhh...I'm here now. KIM: I know. Just...with mom, and Kayla, and Roman. I just...I feel so alone. ANDREW: I know. But I'm here now. And whether you believe it or not, Marlena is too. Kim breaks away from Andrew's embrace upon hearing Marlena's name. Wiping away her tears, and turns away. KIM: (sigh) Yeah. ANDREW: Somehow I don't feel like you agree. Kim throws up her hands, before sitting down on the couch. KIM: Oh Andrew, I do. I...(sigh) Marlena's family to me. You know that. I just...she's been so caught up in trying to unlock this mystery of Roman's illness that I feel like she's forgotten there's a man underneath. It's almost like he's a...case she needs to solve. ANDREW: Oh come on, Mom. You know that's not true. She cares about Uncle Roman. He's the father of her children, for crying out loud! KIM: I know that! I just...maybe I'm just angry at the situation and lashing out, but...I think she figures these test results tomorrow are going to unlock some kind of...hidden DiMera conspiracy, and I...I don't think it will. And I don't think Roman has the time left for us to be playing detective. It's just not worth it. Andrew puts a hand to Kim's back, rubbing his mom's back gently, comforting her. --- In the basement dungeon of Stefano's compound in Italy, the candelight flickers, dimly illuminating the dank room. Eventually, as we pan the room, we find two bodies laying unconscious on the ground, locked in a cell. The flickering light reveals it's Steve and Bo. The light hits Steve's eye, as Steve begins to wake up, slowly stirring on the ground. After a moment of silently laying there, blinking to try to focus on his surroundings, Steve manages to focus. At the very end of his outstretched arm, his eye spots something up against the wall. Curious, he reaches out for it as far as he can. Finally reaching it, and taking it into his hand, he slowly, painfully pulls it toward him, analyzing it closely. It's hard. Metallic. Yet delicate. It seems familiar to him. A locket. --- Anita stands between Tyler and Brady in the kitchen of her cabin, a pleading look in her eye as Tyler holds her back away from Brady. ANITA: Please, Brady. I'm telling you the truth. If there was any way I could have been there...gotten to know you all these years, don't you think I would? Brady steps in closer to Anita, an almost-maniacal look in his eyes, as he very quietly answers her question. BRADY: I don't believe a single word that comes out of your lying mouth. Tyler steps in once again, trying to cool the situation down before Brady's anger builds any further. TYLER: Brady, please. She's telling the truth. Brady's eyes dart toward Tyler, the same quiet, simmering rage in his voice as he turns his attentions to Tyler. BRADY: And you know all about the truth, huh? Doing all of Victor's dirty work all these years, and we had to pretend we didn't know who you were? TYLER: Brady... BRADY: You put on a hell of show, Tyler. Upright businessman, philanthropist. Brady chuckles as he steps over toward Tyler, the same unhinged look in his eye. BRADY: When all along you were Victor Kiriakis' lackey. Nothing more. Bravo. Brady applauds loudly, mockingly, as Tyler and Anita stand in frustration, helpless in the face of Brady's anger. TYLER: Brady, please. BRADY: Oh what. You gonna try to...to spin her story another way for me? You always could convince people of pretty much anything. So why not a dumb sap like me, huh? Easy mark! TYLER: Brady, Ernesto was dangerous. It was the only way to keep your grandmother safe. No one was trying to pull the wool over your eyes. Brady laughs, in complete disbelief over what he's hearing. He shakes his head. BRADY: Well, you sure fooled me. Just like everyone else in my life. I just keep getting lied to. For "my own protection". Right? Well, I'm sick of it. You don't have to worry about protecting me anymore. I'm done. Brady turns to walk out of the cabin, as Anita tries to run after him. Tyler stops her just before Brady races out the cabin door. ANITA: Brady! Anita winces as the door slams behind Brady. Tyler holds Anita's arm, as Anita tries to fight herself free for a moment, before quickly giving in, sobbing on Tyler's shoulder, as he pulls her in close to him, comforting her as she cries. --- --- At the Kiriakis mansion, Alex Kiriakis opens the door to his bedroom. His wife, Noelle Kiriakis, turns around from her seat her in front of her vanity, as she finishes putting on a layer of skin cream on her face. She smiles as her husband enters the room. NOELLE: Alex! Alex responds, though with far less enthusiasm as his wife, given his far more emotionally intense day. ALEX: Hey. I'm home. NOELLE: So I see. Noelle gets up from her vanity and wraps her arms around Alex's neck, gently kissing him on the lips as a welcome home. NOELLE: How was your day? Alex smiles weakly, before removing himself from his wife's arms and flopping down on the bed next to them, exhausted. ALEX: That answer your question? Noelle looks down at her husband, amused by his theatrics. NOELLE: Yeah, that says it all, really. Noelle kneels on the bed next to her husband, casually rubbing his chest as she tries to speak to him. NOELLE: So really, though, what'd you get up to? ALEX: Not a whole lot...less than I wanted to. We ah...we tried the new menu at the Penthouse Grille. Noelle perks up at the news. NOELLE: OO! Yes! I got the invite today! The gala tomorrow! ALEX: Yeah. NOELLE: You excited for the big event? ALEX: Yeah...yeah I am. Alex fades off, as he thinks over his interactions with Will while they were at dinner. His recollections are abruptly halted by Noelle's kiss on his cheek. NOELLE: Good. Cos I picked up a new dress. I think you're gonna love it. Alex sits up from the bed, half-interested in what Noelle's saying. ALEX: That's awesome. I can't wait. Noelle catches wind of Alex's less-than-enthusiastic response, and her face drops, as Alex begins to strip his work clothes off. Noelle looks on with a combination of arousal and frustration, as Alex pulls his shirt, then his pants off, in preparation to head to the ensuite bathroom before bed. NOELLE: Yeah, I can tell. ALEX: Look, I'm...I'm sorry, babe. I just...I'm so tired, I gotta get cleaned up for bed, kay? Alex leans in to kiss Noelle on the cheek, but she leans away, pointing to the facial cream on her face. NOELLE: The...cream... ALEX: Right. Alex down sheepishly, as he backs off his wife, and walks into the bathroom, shutting the door behind him. Noelle sighs, irritated by her husband's lack of interest in her. --- Kim sits on the sofa in her apartment, as Andrew stands behind her in the kitchenette, pouring them both a glass of red wine. They sit in silence for a moment, while Kim stares off into the abyss. Andrew watches over Kim carefully before finally speaking, snapping his mother out of her apparent trance. ANDREW: Mom? You alright? Kim looks back, shifting her body in her seat, smiling warmly at her son, but with a hint of sadness in her eyes. KIM: Yeah. Yeah, I'm okay. Just thinking about what's gonna happen tomorrow. ANDREW: At the hospital with Marlena? Kim nods, slipping back into thought about the tests. KIM: I'm still not sure this is the best thing to do...but I also know that it's important to know whether the gene that might've caused Roman's dementia...might be passed on to Sami and Eric. ANDREW: You're not convinced that's her reason for doing the tests, are you? Kim scoffs at Andrew's question. KIM: I KNOW it's not her reason. I mean.... Andrew hands Kim a glass of wine, looking down at her disapprovingly. Kim sees Andrew's face and relents immediately, as Andrew sits down on the sofa opposite Kim. KIM: I don't think it's the only reason. ANDREW: It probably isn't. But, knowing Marlena as long as we both have...when has she ever done anything for purely, single-mindedly selfish reasons? Kim sighs, realizing her son's right. KIM: Yeah. Kim looks up at Andrew, smiling with a sense of relief. KIM: Where have you been all these months while I've been...(sigh) flustered and stressed out! ANDREW: I was just a call away, you know. KIM: I know. But I am so grateful you're here now, Andrew. It's been so lonely without you...your Aunt Kayla...your sister. Kim begins to tear up, as Andrew puts a hand on Kim's back, gently rubbing her back, as Kim tries to hold her sadness in. ANDREW: I know. I'm here now, though. And Theresa will get better, Mom. You know that. Who knows? Maybe we'll hear some good news tomorrow. Kim looks curiously at Andrew. KIM: Andrew...are you...how are you feeling about seeing Theresa tomorrow? Andrew frowns slightly at Kim's question, unsure of the best response. ANDREW: I'll be fine. I think it's important that I see her. KIM: I do too. I think you being there will really help her with her recovery, Andrew. It's....it's very important. To her, and for me. Andrew smiles, with a pinch of sadness in his face. ANDREW: I agree. Andrew gets up from the couch, ready for bed. He drinks the rest of his wine as he gets up, and places his glass on the kitchen island. ANDREW: Look, I ah...I gotta get to the hotel, Mom. I have to get some work done on this story about the campaign for governor, and... KIM: Oh, no no, I...don't let me keep you. Kim gets up from the couch, and gives Andrew an incredibly warm hug. It lasts a few seconds, and it's clear that Kim is reticent to let him go. KIM: I am so grateful to have you home again. ANDREW: Thanks, Mom. Andrew lets go of his mom, before walking toward the door. He stops, as Kim turns to tearfully say goodnight. Andrew smiles back as he opens the door. ANDREW: Goodnight. KIM: Night! As Andrew closes the door to Kim's apartment, Kim stands, smiling as she brushes her tears away. --- At Anita's cabin, she pulls out of Tyler's embrace, despondent over Brady's walking out. She begins to head for the door. ANITA: Let go of me, Tyler! TYLER: Anita! Don't do it! Anita stops in her tracks, but looks out the window as Brady walks away. TYLER: Anita, he needs to be alone right now. Anita's lips purse together, angered by Tyler's words. She turns suddenly to face Tyler, hurt obvious in her voice. ANITA: You did this. TYLER: Anita, he needed to know. ANITA: No, he didn't! Not now! Tyler, he's miserable. You don't understand. He drove off that embankment to commit suicide! He wanted nothing to do with his life in Salem. Tyler looks sheepishly, as Anita turns her attentions back out toward the dark night, hoping to see Brady re-emerge. Her tone softens as she continues to speak of her grandson. ANITA: He was trying to forget. To build a new life for himself here, a simpler life...and he found it. Anita tenses up, turning back around to face Tyler, her voice raising again as she spits her words at him. ANITA: Until you showed up, with your stupid phone call, and you ruined everything. TYLER: (sigh) Anita, I'm sorry. I didn't realize his mental state when I asked you to tell him who you are. ANITA: You never do. And you should've asked me, Tyler. It wasn't time yet. Damn it, Tyler. He wasn't ready to know yet. TYLER: Anita, when did you think would be the right time? Anita turns away from Tyler again, holding herself, rubbing her arms gently to comfort herself as she listens to Tyler speak. TYLER: You know as well as I do that the months would drag on, and Brady would stay tucked away here, hidden from reality, from his past. You here, pacifying him. Making believe you're just this benevolent stranger who just happened to take him in? Purely out of the goodness of her heart. Who loves him just because he's a special boy? Anita sighs, shaking her head at what Tyler's telling her. The uncomfortable truths she's hearing almost too much to hear. ANITA: Oh shut up... TYLER: And then what? After you've spent months lying to him. Tyler steps in closer to Anita, speaking softly to her, but firmly. TYLER: Anita, do you honestly think that the truth would've been any easier if it came out then? Anita turns to Tyler, speaking in as measured a tone as she can muster through her upset. ANITA: Maybe not. But I would have had time to help Brady recover emotionally, so that the truth wouldn't put salt in the wounds he already has. As it stands, he's still running, Tyler. And that's what I'm afraid of. Anita walks back toward her front door, looking helplessly out into the dark night. ANITA: I'm afraid he's not gonna stop. And we'll lose him for good. --- Outside Anita's cabin, Brady desperately attempts to open Anita's SUV, but can't find the key. Pulling frantically on the door handle, he smacks the door, in a fury. BRADY: Dammit! Looking around him, Brady contemplates running off into the night, but he sees only blackness, and thinks better of it. After a moment, he finally finds the right one and hops inside. Brady turns the key, but the enging makes a gurgling sound. BRADY: Come on....come on! He attempts once again, but the same result. When the ignition fails to engage, Brady slams on the steering wheel in frustration, giving up. BRADY: Damn! DAMN! (sigh) Brady leans back in the drivers' seat, sobbing in pain and confusion about the discovery that Anita is actually his long-presumed-dead grandmother. --- In the basement dungeon of Stefano's Italian island compound, Steve sits up slowly, holding his head in immense pain from his earlier blow to the head. STEVE: Ughhh, Stefano, these goons of yours don't mellow with age, man. He holds a piece of jewelery he found on the ground in the cell that he and Bo are currently locked in. A locket. He opens the locket, and sees a familiar picture inside. Steve inhales suddenly, shocked by what he's discovered inside. Suddenly forgetting about the immense, pounding pain his head is in, Steve immediately leans over to Bo's unconscious body, and desperately attempts to revive him. STEVE: Bo! Bo! Steve shakes Bo's shoulders, gently slapping his face hoping to wake Bo up. STEVE: Come on, partner! I got something to show you, man! It's big! Come oooon, dude! Bo begins to come around, grunting in pain, as he begins to return to consciousness. BO: Ughhh, come on, man, I'm hurtin' here. STEVE: Heh, yeah well, so am I but I got something that'll put a little pep back in your step. Bo slowly gets up, shaking his head and rubbing his eyes, before his eyes bug out as his head begins to throb. BO: Ohhhh MAN! STEVE: Yeah, I know, but come on, partner. Focus here. Steve holds up the opened locket for Bo, who takes it in his hand. He looks it over closely. BO: Okay, it's a locket. What about it? STEVE: Look at the picture. Bo inspects the picture inside the locket. His eyes begin to widen. BO: Steve, this...this is Jack's, isn't it? Steve nods, excitedly. STEVE: That's right, my man. And you know damn well it hasn't been here very long. These goons woulda found it ages ago and destroyed it, especially if they were gonna throw us in here. So that only means one thing. Bo looks up from the locket, a hint of a pained smile on his face. BO: Jack didn't die when the elevator collapsed. STEVE: You got it! He's probably alive, Bo! My baby brother's alive! Steve can't hide his excited smile, as he reaches across to hug Bo, who looks simply stunned by the turn of events. ---

Yayyyyy retcons incoming 🙃🙃🙃

Unless Ann Marcus did a 180 on this, it seems he isn't! Donna blew the whole scam by telling the lawyer who was representing Lorraine in the custody suit all about the scam because she stupidly thought he was in on it. Her actual father is apparently some GI who Lorraine slept with before moving in with Don. She was already pregnant when she lived with Don.

I just logged back in and realized how long that post was. I should never post at 3am with insomnia. I am SO sorry, Y'all. 😂😂😂

Made to May 1978 now in the Daytime Serial Newsletters. Ann Marcus seems to have settled into the job as headwriter now a year in, and is starting to find her groove. It's still not anything like it had been in Bell or Pat Falken Smith, but her show is finding its footing. I think if I'm to look at Ann Marcus' run through cynical modern eyes, it's easier to find fault in it than it is in the context of where daytime soaps were in 1978. I'll agree with @Paul Raven that Julie being raped by Larry Atwood was unnecessary, but I think part of me looks at it that way because SO MANY women on DAYS have been raped now, it just seems excessive. But by 1978, only Laura had experienced this, and under vastly different circumstances, so I don't necessarily think the twist was ill-advised. Am I a fan of the Atwood underworld caper? No. But I've seen worse. Larry Atwood murder story is somewhat interesting, but I think years of GH centring so heavily on the mob has put me off any kind of underworld story on soaps. At least this organization seems a little slapdash, and not omnipotent like some of these organizations tend to be, but then that leads to me not taking them all that seriously either. I never get the sense that Larry Atwood or his associates are a real and pressing threat over Doug and Julie. Doug, indeed, is off singing on cruise ships all this time, and isn't exactly calling on anyone to watch over Julie while he's away. He just seems to sorta...leave her to her own devices. I also think revealing Arlo Roberts, bit player waiter from Doug's Place who was a plant by Larry to try to undermine Doug and Julie's business was a cop-out. I would've much rather seen someone like Jeri Clayton be revealed to be Larry's killer, especially considering her ties to Atwood, and her anger at what she perceived to be Larry's two-timing her with Julie. Have her kill him, and block out the memory of that, plus the revelation that Julie was raped, which would be what incites Jeri to kill him, and we've got a story. It's not like Jeri was a cornerstone of the show, but she mattered far more than Arlo the Waiter. Sam throwing Marlena in Bayview and taking over her life is another story that's been done so many times since, I can't help but roll my eyes at it, but it was a well-constructed story, at least. There's scripts posted from when Sam visits Marlena in Bayview, demanding she consent to shock therapy which I was fortunate enough to read (thanks Jason47!) that are very intense. Sam is cold, and menacing to Marlena, even threatening to kill her if she doesn't comply, before realizing that, DUH, SHE'S SAM! She can sign her OWN damn consent form! Of course, Marlena's saved, and Sam goes to rehab, but when Don and Marlena are to be married the next year, Marlena agrees to have Sam be her maid of honour??? Between Sam and now Ben, Marlena may be the most selectively forgiving person on the planet. One angle of Ann Marcus' show I'm really liking is how she's writing the Andersons. Phyllis and Linda, in particular, have flourished under her. I like how cunning Linda has become, playing Tommy and Bob against each other, all with the plan of not just marrying Bob, but becoming indispensable to his business, and, indeed, the REAL person with all the power at Anderson. It's been a fascinating transformation and I find myself rooting for her at every turn. Mary and Chris have been a decent match as well. I've also been really enjoying Phyllis finally growing a spine against all the sh!tty men in her life. The moment she finds out about her husband Neil carrying on an affair with her daughter, Mary, she begins to sabotage their relationship, calling Neil on dates with Mary that Mary doesn't show up to because Mary never made the date to begin with. Later, Phyllis cavorts about with her tennis instructor right in front of Neil while refusing to share Neil's bed. Mary won't speak to Neil either, so a sex-starved Neil tries to try it on with the nurse at his clinic, and she immediately quits in response! Brilliant! After years of Neil being a slimebucket and a horndog, he finally gets some comeuppance, and Phyllis regains some power. The best part for me was reading that she finally ended up leaving for a few months on a world tour after this because she "got bored" with emasculating Neil. An absolute delight. I notice the hotshot Dr. Griffin and his teenage daughter who was set to be paired with Mike got dropped with a quickness, as did Danny Grant and Toni's story. DAYS is now back to being lilly-white, I guess. Trish randomly decides she doesn't actually love David and runs off to Gary, Indiana (of all places) where Arlo the waiter has her singing at some random club, and just has her baby adopted out (Timothy but I know he eventually somehow becomes Scotty??). I'm guessing Patty Weaver left the show around this time because this seems like a real sharp left turn in the story, with Mike now hooking up with Chris' new secretary Margo, who immediately is diagnosed with leukemia and we're supposed to care a lot about her because she's mousy and blonde, I think. Mike goes running after her when she finds out, because she "doesn't want to be loved out of pity" (barf), but Mike flies cross-country to Margo's twatty mother's house and throws a bunch of platitudes at her and she falls for it and now they're getting married. Yawn. Cue what I know to be the slowest death from cancer in soap opera history. The Barton family saga ended in a nice neat little bow. Abused wife Jean tries to leave her husband, Fred. He trips over her suitcase while he's trying to get at her, falls down the stairs and has to go into surgery for a head injury. Because the hotshot Dr. Griffin was too busy looking for his daughter that night who was on a date with some dweeb he didn't like, Dr. Griffin couldn't be bothered to do the surgery. Bill and Kate found an intern to do it, but the guy was so nervous he ran off, so Bill had to, despite still having a sh!te hand after Mickey shot him while in his psychotic rage over Laura. Fred Barton wakes up and can't walk. Laura says it's psychosomatic. Fred sues University Hospital, so Kate and Bill are up for dismissal with the hospital board. The intern turns out to be a spineless rat who conveniently neglects to share his part in the debacle with the board and says Bill MADE him leave the OR, so Kate and Bill are fired. This is where Kate and Bill get to the point of emotional affair (it so far hasn't become sexual), as Laura feels Bill is threatened by the fact she's working and he isn't, and Bill and Kate were getting close as Bill became more involved in anesthesiology, which Kate is the head of for UH, or I guess, was, until she got sacked. Either way, they manage to convince the intern to stop being a baby and tell the truth, Kate and Bill are rehired, and Kate won't screw Bill because he's married. So...for now, that's it for that angle. Incidentally, the only discernible characteristic I've been able to uncover about Kate Winograd is that she REALLY REALLY REALLY doesn't want to be "the other woman". So, A+ character development there. The Bartons, on the other hand...Fred gets on an elevator with Marlena, who tries to shrink him on the fly. He's not having it, but then the elevator gets stuck between floors and Marlena has time to work her magic, and he goes on about how his mom got beat by his drunk dad and he has a sad and that's why he's a prick to his wife when he's stressed. A week later, he shows up to court and walks. His case against UH is dropped, Fred suddenly decides therapy is A-OK, and suddenly, Mickey & Maggie might as well have an empty apartment above them, because we never hear from the Bartons again... ...or Kate Woodville's Marie, who apparently disintegrated into the counselling program she was volunteering at after Alice finally snapped at her for taking over her home and family. Interesting that, other than a few minute conversation on the subject, Tommy and Marie's bonkers history was all-but-ignored on this run. I wonder what Ann Marcus' plan was for Marie, cos it certainly went nowhere. Also, Janice's bio mom moves into Mickey & Maggie's neighbourhood and is apparently pretending to be Janice's fairy godmother. This will end well. Aaaaand finally, we get to Don's senatorial campaign, in which the big scandal was going to be Marlena and Don LIVING IN SIN, causing Don to temporarily move out. This becomes mitigated by Don proposing...until Lorraine shows up. Lorraine apparently lived with Don for a month in 1964 until he found out she was turning tricks, and he never heard from her again, but apparently now he has a daughter: Tracey E. Bregman's Donna. And despite being clumsily named after him, he turns out not to even be her father, and it was all a scam to get money out of Don. Except, when it all was exposed, Lorraine skips town and leaves Donna in Salem??? WTF! So now she's Marlena's ward-du-jour. *inhales* Again, I think my biggest complaint about Ann Marcus' writing of this show is that it moves SO FAST she has burned through all this story in just one year. It must have been INCREDIBLY jarring for the audience so accustomed to tightly-focused, slow-moving psychological character studies, and suddenly having so much big-stakes, largely plot-based story thrust at them like this. There really is little room for dramatic tension, and when I read some of these writeups, I am absolutely rolling my eyes at a lot more of the plot points than I ever did under PFS, who I spent more time considering the nuance of the characters' behaviours with. It feels like Ann Marcus' intention was to play with similar themes as before, but in a far shallower, perhaps more accessible way, but I think that sells the audience short, as DAYS was extremely successful for a very long time without dumbing down the story. I still really enjoy the more empowering way she writes many of the women of the show, but it really does feel a lot more stereotypically soap opera than what came before, and that's disappointing, because it comes off as lazy writing. Anyway, onto June we go. More ramblings to come.

Thanks for the links @victoria foxton, and yeah, I'm less than engaged in Ann Marcus' stories so far, tbh. I watched the March 1979 episode earlier, which is early in Elizabeth Harrower's run. It already seems to be shifting back into a more intense style of the Bell era. Stephanie frying her fingertips off to stop the folks at Anderson from finding out she's actually Brooke is still shocking viewing 40 years later. As silly as the whole "Brooke comes back with a new name and face" story was (another Ann Marcus plotty story twist), I really do wish her identity had come out more naturally, and Stephanie had stuck around post-1980. She was a fascinating character to me.

I love it. And you're absolutely right. Play it so slowly we hardly notice it happening until it's right in our faces. It can so easily be done, especially since the real story is Maggie's insecurity, and longing for the simplicity of her previous country life. Eventually, that could've even led to Maggie resenting Mickey having come into her life, driving him back toward Linda, for example. Ann Marcus seems allergic to this kind of story so far, as everything I listed above, plus Brooke spying on Bob, getting caught, and trying to run out of town and crashing her car and "dying", all within her first five months. It's absolute whiplash compared to previous years.

LOL thank you @AbcNbc247, I'm gonna keep reading the Daytime Serial Newsletters and maybe post a little more about what happens as I go along. Do we know when the last DSN was published? I really like the detail they put into their summaries. It honestly feels as though Ann Marcus put all the stories on fast-forward and simplified everyone's emotions in order to get a handle on the show. I can appreciate how, as a new writer coming into a show you're somewhat unfamiliar with, this particular show would be daunting and rather dense from a characterization point of view. But, having said this, I totally get why people say she dumbed the characters down. And yes, the stories are relatively melodramatic and less controversial than what PFS was writing. It suddenly feels like a stereotypical soap, which is especially unfortunate, given what Ann Marcus was handed when she arrived. The only thing I will give Ann Marcus credit for is that her DAYS seems to have the women more dominant in story, and gives them a lot more agency than PFS, who seemed to have rather aggressive men dominating the narrative. Phyllis exacting revenge on her gross, philandering sleaze husband Neil has been delightful, and a nice surprise considering how psychologically fragile she was previously. Either way, I'll keep reading and update everyone on my findings, haha. I'm curious to see the change between Ann Marcus and Elizabeth Harrower. I really love this angle. It seems a much more organic way to lead to alcoholism for Maggie, and takes the threads PFS laid out and runs with them, as opposed to dropping them like a sack of cement, which appears to be what happened. I honestly wonder if that wasn't Ann Marcus abandoning a story that had been accused of being too heavy and unpopular. I don't really fault her for that, given the state the show was in when she arrived, but it seems as though she overlooked the decade that that story had been front-and-centre on the show, and, in doing so, threw away the loyalty of the millions who had stuck with it through all that time. I feel like it would've been far better payoff to stick with PFS' plan to see Mickey through that recovery to finally struggle to earn the trust and respect of the community and his loved ones again. The newsletters suggest that while Mickey's time in Bayview was heavy, but it was handled carefully and thoughtfully, and was heading in an optimistic direction. Why not stick with it? Maybe follow it through to another big court case that Mickey successfully tries, signalling his return to prominence in the community. Perhaps tied to the baby Dougie custody case?

Thanks for that, it's reassuring to know that the newsletters are giving me a relatively clear picture of what's going on. It's true, Doug and Julie's wedding seemed to really seal their fate in terms of story prominence. Suddenly both characters are sidelined and mostly are talk-to's after their wedding, up until the custody fight for baby Dougie in Summer '77. I have to say, it's another story I'm kinda going WTF about, largely because, wouldn't this be an optimal time to reveal that Dougie is actually Doug's son, allowing Doug and Julie to perhaps fight for custody? Instead the secret stays a secret, and Rebecca leaves town with her immature, grumpy boyfriend Johnny AND Dougie. I get that it was to give story to Robert, who was married to Rebecca, but I still find it an odd direction to go in, and it leaves Doug and Julie once again on the peripheral of the action, when the fact they're happily married and raising Hope together would only strengthen the tension and stakes of the custody story, IMO. I would certainly care more about Doug & Julie fighting Rebecca & Johnny for custody, knowing both sides have more of a chance of victory. Definitely agree about Maggie. Just her feeling like a fish out of water could've really heightened the drama, and with Linda still lurking about, still trying to win Mickey over, there was years of story still able to be told there. Seems silly to throw it all out the window so quickly, but, as you said, the focus on middle-aged characters was starting to be a real problem here. I suspect this is why the focus was shifted so heavily to whiny Mike and perpetual victim Trish. Not having seen any of the Lauras in any long term capacity barring Jamie Lyn Bauer (and believe me, I know she's Laura Horton in name only), it's hard to really see the dynamic shift in earnest here. I've obviously seen Susan Flannery for years, so I have a good picture of how she would have fit into the role, but the other two are almost entirely mysteries to me, having only seen quick flashes of them. Do you have any insights into how either Susan Oliver or Rosemary Forsythe played the character? I also wonder if the recast Marie wasn't working either. I know Lanna Saunders was successful in the role, but I didn't even realize Marie had come back in '77. Do you remember anything about Kate Woodville in the role? She looks, to my eyes, nothing like either Marie before or after her, so I struggle a bit to picture her in the role.

So, obviously not being old enough to have watched at the time, I've been instead reading the Daytime Serial Newsletter write-ups about the show from this era, and...even just reading the writeups from the beginning through to Ann Marcus' tenure, you can see a definite shift the moment Pat Falken Smith leaves in April 1977 and Ann Marcus takes over. The writing is suddenly far less psychological, the stories are less compelling and emotional, though definitely still rooted in the same characterizations as before. The writing is far more broad, and it becomes much more plot-based. I appreciate that there wasn't a real rush to end the David/Valerie story like I've come to believe. Valerie and David split up, but remain in limbo while David tries to sort out what to do about his fathering Trish's baby, and Ann Marcus even gives Danny Grant more of a story, starting a romance with Trish's roommate Toni, but instead of the drama coming from characters we know and interpersonal drama, the main source of conflict for Danny and Toni is this mob type named Kenny who's stalking and ultimately attacks Toni and Trish in an attempt to track down Toni's baby's father. Of course, in hitting Trish, Trish goes into early labour. Then Danny shows up, and Kenny pulls a gun on him! Trish faints and it distracts Kenny long enough for Toni to get the gun and give it to Danny, who saves the day! It's a bit more the type of story DAYS would take on in the 80s, albeit with far less flights of fancy and high-stakes treasures and such, than what it had been known for in the past, and frankly, I don't like this shift. Marlena's story also takes a shallow turn. Under PFS, Marlena and Don seemed set to enter into a triangle with Sharon Duval, who seems be written at the beginning as a sexually provocative socialite whose main trouble seems to be replacing the affections denied her by her absentee husband with sex with other men. Suddenly within weeks of Ann Marcus taking over, Sharon becomes a different character, seemingly deranged with "sexual confusion" and confesses her love for her friend Julie, who has an (IMO) uncharacteristically homophobic reaction to the news, considering Julie's otherwise very open-minded attitude toward David and Valerie's relationship, plus the fact she was living in San Francisco for a year or two in the late 60s, you'd think she'd have dropped some of these rather provincial attitudes, but I guess I'm looking at it from my smug, modern perspective. Oh well. Sharon is so distraught by being rejected by Julie she twice attempts suicide (I mean, I know Julie's the most desired woman in Salem at this time, but come on!) and is sent to Bayview, before her husband finally shows up and whisks her away to Spain, never to be seen or heard from again. It's at this point that Don and Marlena have to deal with Sam showing up, and they proceed to hit everyone over the head with the notion that Sam and Marlena are SO SIMILAR that everyone's always confusing one for the other, despite the fact Sam and Marlena's voices are distinctly different pitches and Sam has decidedly harsher features than Marlena. I could definitely see that this was where folks got the impression the characters were being dumbed down. You'd have to be pretty dim to confuse these two women if you knew they were twins. Elsewhere you get relatively decent stuff like Tom having a series of strokes that requires Marie to come to town to look after him, taking a leave of absence from the nunnery in NYC. This leads to a story where Marie is so helpful to Tom and effective in the household, that Alice, usually a very active woman, becomes bored and depressed, feeling sidelined by her own daughter. Yet doesn't think to actually TALK to Marie about any of this, just mopes to her temporary doctor, Dr. Griffin about it, who then decides to perform a hysterectomy on her (!!!) because his "experimental testing equipment" told him there MIGHT be a problem later on if he doesn't. Bill and Tom don't like this doctor very much, as they see him as a hotshot, but because Bill was so mouthy about how pissed off he was that Greg Peters got the Chief-of-staff job over Tom (which, in part, caused Tom's stroke), Greg reflexively sides with this hotshot doctor over the Hortons. Maggie and Mickey's struggles are sidelined, as under PFS, they were still struggling to rekindle their relationship after Mickey's breakdown over Bill raping Laura, suddenly all is well, and they get an apartment in town and nothing's wrong with their relationship. Instead, Maggie's now a confidant to her upstairs neighbour, an abused wife named Jean Barton. I'm sure it's an important story to tell, but there's still enough meat to Mickey and Maggie's story, that I think to rush a full reconciliation when you have so many other characters that could still complicate their road to happiness, it seems a little unnecessary, and I can't help but feel it's a little PSA-story-by-numbers. It may have played out onscreen with a fair bit more nuance, but the summaries are quite detailed, and I've never felt that vibe before Ann Marcus' arrival. I'll keep reading and maybe fill some more info in, but I am fascinated by the Vietnamese character Ann Marcus spoke of leading to her being replaced by Elizabeth Harrower in '79. I expect NBC were gunshy after the response David/Valerie received, though I suspect the ratings drop was more due to the fact that the stories grew very intense and heavy in 1976, and there seemed to be an intense focus on Mike and Trish, two characters I tend to find rather eyeroll-worthy. I wonder if the viewing audience were similarly put off not by David and Valerie, nor Mickey's breakdown, which are often cited as being the 1-2 punch that caused DAYS' ratings drop in 1976-77, but the intense focus given to Trish's endless string of problems at the expense of other stories during that time. Again, I'm just going off Daytime Serial Newsletter, but considering February 1977's breakdown was almost ENTIRELY centred around Trish whacking her pervy father to death with an iron and immediately splitting into three personalities (which, thanks to Ann Marcus, were almost immediately magically integrated by May), I have reason to believe she dominated story near the end of PFS' run, and considering what a perpetual victim Trish seems to be, and what an irritating whiner Mike seems to be, I wouldn't be surprised if that put more people off than anything else. Okay, rant over.🤣 Also, if I'm super-wrong about any of this, PLEASE feel free to fill me in, because I'm fascinated by what I'm reading, but since I can't actually watch in real time, the newsletters are the closest thing I have to go on.

EPISODE 185 Written by A. Washington-Beeby Story Consultant: C. Nathaniel Richardson & Nick Monarco Brady stands in Anita's living room, stunned by her announcement that Anita is not, in fact, a kind stranger that plucked him from the river, but his grandmother, Loretta Toscano. He struggles to speak a single word, sputtering as Anita tears up, Tyler holding her shoulders, trying to keep her calm. BRADY: Wh....what did you say? Anita stands shaking before Brady, terrified of what this revelation will do, before repeating herself. ANITA: I am Loretta Toscano. Brady, I am...your grandmother. Brady catches his breath after a moment, and clumsily tries to form a response without snapping at his grandmother. BRADY: I...you...you can't be my grandmother. My grandmother died decades ago, she...my mother died of cancer, and... ANITA: I know, Brady. I desperately wanted to be there, but it wasn't safe-- Brady snaps upon hearing this, turning his back to his grandmother, and beginning to pace the kitchenette nervously, before turning around suddenly, startling Anita with his anger, and raised voice. BRADY: Oh come on, lady! I don't buy it. Not for a second. If you were really my grandmother, and you were ANYTHING like the woman you claim was your daughter, wild horses wouldn't keep you from seeing your daughter before she died. Tyler steps in, hoping to calm Brady down, to no avail. TYLER: Brady, calm down. Anita is not lyling to you, she IS your grandmother, I prom-- BRADY: Bull! Brady turns to look at Anita, an almost-maniacal glint in his eye, as he stares her down. BRADY: Now, if, and I mean IF you really are my grandmother, I want an explanation about where you've been all these years. Anita shivers, partly in fear, and partly in sadness, as she hears Brady's demand loud and clear. BRADY: And I want it, right, now. --- In the parking garage under the condo building where Marlena lives, Kim and Marlena shake hands, while Andrew looks on. KIM: It's a date. I'll come with you to the hospital tomorrow at... MARLENA: Meet me at 10am. KIM: Where, exactly? MARLENA: Just outside Dr. Grant's office. 6th floor. Marlena smiles, as does Kim, albeit weakly. Kim nods in agreement, as Marlena looks over to Andrew, beaming brightly at the handsome young man. MARLENA: And if you'd like to come, it would be great to spend more time with you. It's been way too long. ANDREW: Tell me about it! I've missed you. And Salem. KIM: And we've missed you. MARLENA: We have. Marlena leans over to give Andrew a warm hug, before looking warmly at Kim, squeezing Kim's hand. MARLENA: I'm sorry to have put you through so much worry. I really am. Kim smiles back, still half-heartedly, as Marlena collects herself to head back upstairs. KIM: Thank you. MARLENA: I'll see you both tomorrow. KIM: Sure thing. ANDREW: Goodnight, Marlena. MARLENA: Goodnight, Andrew. Kim. Marlena walks away, heading for the elevators, as Kim looks on. Andrew puts his hands on her shoulders, trying to comfort his troubled mother. --- Sonny gets up from the sofa inside his apartment with Will, as Will shuts the door of the kitchen cabinet, having grabbed a glass for a drink of water. Sonny is stunned by what he's just heard Will tell him. SONNY: I'm sorry, Gabi moved out? Sonny stares at the open door to Gabi's room, seeing for himself that the room is virtually empty after Gabi's move to Nick's, earlier in the day. Will turns on the tap, almost spitefully nonchalant in his reaction to the news, the polar opposite of Sonny's panic. WILL: This afternoon. Will turns the tap off, having filled his glass, and turns back toward Sonny. Will is visibly annoyed by Gabi's departure, but replying glibly and dismissively. WILL: I'm sure Nick sent movers in within minutes of hearing the news. I'm amazed they kept a crib for Ari. I expected they'd take any trace of her too. SONNY: I'm afraid to ask-- WILL: Don't worry. Ari's staying with us. I didn't...take her tonight, I left her with Mom. I just... Will sighs, looking down as his sarcastic demeanour softens, turning to a grim resignation. He paces the room, as Sonny watches him, still in disbelief. WILL: I needed some time to...process...everything. SONNY: I can imagine. Wh....when did you...when did you hear the news? Will responds automatically, without thinking until he's halfway through his sentence. WILL: Oh I heard it when I was out to dinner with Alex-- Will catches himself, and stops just after revealing the truth of what he did with his evening. WILL: ...Alex and I were at the Penthouse Grille for work...sort of a...press preview of sorts, and....Maggie came in. Told us what she walked into at the breakfast table this morning. Sonny remains surprised, probably too stunned to absorb most of what Will's just told him, nor his strange reaction to telling Sonny about the dinner, but stammers out his next question. SONNY: Did um...did Maggie say why Gabi made the decision? Will shakes his head. Still looking off at the ground mindlessly. WILL: Nah. Nah, I didn't give her the chance to explain. I...I took off right away to the studio to...confront Nick. Get some answers out of him. SONNY: And? WILL: Well, they were already setting up for Nicole's special, so...Alex and I stayed in the studio to watch. And then... SONNY: And then the light fell. Will looks up at Sonny momentarily, then away again, nodding. WILL: You heard. SONNY: Heh, I think everyone in the state heard...or saw. Will chuckles to himself a moment, rubbing his eyes from exhaustion as he does. WILL: Yeah. Yeah, I'm sure. As Will chuckles to himself, Sonny looks intensely at Will as Will rubs his eyes, speaking seriously to him. SONNY: That...begs the question, though. And I want you to be 100% honest with me. Sonny hesitates momentarily before asking his question, almost afraid of the answer. Will tenses up, worried about what Sonny might ask. SONNY: Did you rig that light to fall on the stage? Will looks up suddenly, surprised by Sonny's question. Sonny continues to look intensely into Will's eyes. SONNY: Were you so angry at Nick, that you were willing to try to kill him? Will is stunned, and can't answer, while Sonny frustratedly demands an answer. SONNY: Will! Tell me! Were you?? --- --- Brady stands, incensed by Anita's deception. He steps in close to her, almost hissing his words to his grandmother, while Tyler hangs back, trying to observe the situation and keep everyone calm (and failing). BRADY: Well? I'm waiting. Anita doesn't respond right away, prompting Brady to speak up once more. BRADY: Where have you been? Anita, holding her head in her hands, uncovers her face after a moment, tears in her eyes. She finally responds, regaining some of her composure through her tears. ANITA: I was here. I was here all along. Watching. Waiting for any news I could get. Anita tries to step toward Brady, to take his hand in hers, but Brady recoils from her. Anita sees this immediately and stops herself. Instead, she sombrely relays her past to him. ANITA: Victor wouldn't let me come to Salem. When Ernesto found out about my affair with Victor, he nearly killed me with that poison. Victor managed to make it look like I'd died, but whisked me away out of danger just in time, and... Anita stops, before turning to face Tyler, taking his hand in hers. ANITA: Victor had Tyler set me up with a new home. A new life. He demanded I never come back for my children until he knew for a fact it was safe to do so. BRADY: And it's been safe for years. Ernesto died before I was even born, and yet here you are. Anita looks down, frustrated and ashamed. ANITA: I know. And I probably should've fought harder, but...after awhile, you just lose the fight. And besides, just when I finally worked up the nerve, Hope came back and Victor was spooked. He figured...maybe Ernesto had managed to survive as well. BRADY: So you stayed here. Playing dead. Anita looks up at Brady, making her position clear to her grandson. She retorts firmly. ANITA: So I settled for the life I could have. I had already made a life out here. I met a lovely man. Had another daughter, got to know her children...I had a great life, Brady. Anita turns to face Brady, and looks him firmly in the eyes as she finishes her thought. ANITA: But I never forgot my other family, Brady. And I made sure I stayed in touch with, and up to date about you. You mean the world to me. You must believe that. Brady looks back with a look of skepticism, his words cutting Anita like a knife. BRADY: And what if I don't? --- After a tense moment staring at each other, Will begins to crack up at Sonny's assertion that he was the one responsible for the light falling at WXIR. WILL: Sonny, I WISH I had thought of that. But see, this is how you know I wasn't the one who did it. SONNY: Why? WILL: Because if I had done it? I wouldn't miss. SONNY: Not funny. Will cracks up even more at Sonny's serious tone, walking casually into the living area as he quips to Sonny about murdering Nick. WILL: It's hilarious! What are you talking about? Sonny sighs and walks back over to the couch, sitting down on the sofa again, overwhelmed by everything that's gone down today. Will, meanwhile, takes a sip of water, then continues to talk about his day. WILL: But seriously, though. I didn't see anything that would help them figure out who dropped the light on the stage. SONNY: Did you get a chance to talk to Nick at all? WILL: Eventually. I ended up driving him, Anjelica, and Alex back to the Kiriakis mansion. Sonny turns to look at Will, amused and surprised. SONNY: Anjelica? You drove Anjelica Deveraux home? Will, you drive a compact car with cloth seats-- WILL: Oh I know. And I heard all about it from her, believe me. Sonny chuckles as Will continues. WILL: Ugh, that wasn't the worst part of the ride, though. SONNY: Oh? Will sits on the arm of the sofa, next to Sonny. WILL: Yeah. After gloating about Gabi moving in with him, Nick tried to imply something was going on between Alex and I. Sonny tries to stifle a laugh, failing miserably. SONNY: You cannot be serious. Will feigns being wounded by Sonny's laughter. WILL: I'm sorry, I didn't realize it was that hard to believe someone like Alex could POSSIBLY be interested in me. Sonny playfully jabs Will in the ribs, causing Will to crumple in, shouting out in pain. WILL: Ow! Stop! SONNY: Whatever, you know you're stuck with me. Sonny starts to tickle Will, as Will wraps his arms around Sonny. Will yelps in discomfort from the tickling, as he inadvertently lands in Sonny's lap. WILL: Ah! Fine, fine! You win! (laughs) Sonny finally stops tickling Will, figuring he's won, and the two look at each other lovingly. SONNY: Good. Cos you know what I wanna do for you tomorrow to take your mind off all the stuff with Nick? WILL: What? SONNY: I wanna sit down and start pinning down our wedding plans. Will beams at Sonny even mentioning their upcoming wedding. WILL: It's a deal. SONNY: Good. I think we've left enough of this up to your mom. It's time you and I take care of some things ourselves. What do you say? Will rests his forehead against Sonny's. WILL: I think you're right. Sounds like the perfect day. And you know what's a great way to start that perfect day? Sonny smiles, kissing Will gently on the lips before answering his question. SONNY: What? WILL: Having the perfect night. SONNY: Mmmm, I think you're right. Will giggles, leaning in to kiss Sonny once, twice, three times, before grabbing his collar and pinning him down on the couch, just out of our view. --- Kim and Andrew enter Kim's apartment, exhausted from the emotional situation at Marlena's. Kim flips the lightswitch on, as Andrew shuts the door behind them. Andrew calls out to Kim, who takes off her jacket, and heads for the closet, completely oblivious to her son's calls. ANDREW: Mom. Mom? KIM: You know Andrew, I swear that whole...scare with Roman wore me right out. Kim hangs her coat up, almost in a trance. Andrew walks over to her, pulling her hand down after she hangs up her coat. ANDREW: Mom. Kim stops herself. She looks down at her hand, being held firmly in Andrew's, before looking up at her son, fear, hurt, and anger in her eyes. KIM: Andrew, I... ANDREW: Mom, are you alright? Kim looks into Andrew's concerned eyes, and immediately wells up. She nods, before cracking, weeping openly as she wraps her arms around her son, trying to calm herself down, as Andrew comforts her. ANDREW: It's okay, Mom. It's okay. --- Arriving back upstairs in her penthouse, Marlena closes the door, and sees Abe emerge from the bedroom, having laid Roman down to sleep. Marlena smiles half-heartedly at Abe. MARLENA: How is he? ABE: Pretty shaken up. But he's asleep now. He'll be okay. Marlena sighs, as Abe looks at her, very worried for her. ABE: What about you, though? Marlena shrugs, as Abe takes Marlena's hand in his. MARLENA: I'll be alright. ABE: You sure? Marlena nods. MARLENA: My main concern is Roman. ABE: I have to tell you, Marlena...under the circumstances...I cannot afford to have Roman stay on the police force. Marlena sighs, knowing Abe's right. She nods reluctantly. MARLENA: I agree. Unfortunately, I think, at this rate, Roman staying on the force will...definitely be more harmful than helpful. ABE: I think you're right. Look, Marlena, I plan to put Roman on medical leave for the time being. I don't want to retire him completely until we have an official diagnosis. MARLENA: That makes sense. I'm actually planning to get a firm answer on that tomorrow. So I'll let you know as soon as we hear something. Abe smiles half-heartedly, nodding appreciatively. ABE: Thank you. Leave letting Roman know to me. I'll tell him on Monday. I ah...I better go. MARLENA: No, thank YOU. I know it's...incredibly late to be out. Marlena guides Abe toward the door, as they continue saying their goodbyes. ABE: It's no trouble at all. Believe me, I feel a lot better helping you out, under the circumstances. MARLENA: I appreciate it so very much, Abe. Abe and Marlena hug warmly, before Abe opens the door to leave. MARLENA: Thanks again. ABE: Goodnight, Marlena. Abe walks toward the elevator, before Marlena closes the door behind him. Now alone in the apartment, except for Roman, Marlena walks silently over to Roman's door. In the shadows created by the moonlight beaming in through his window, Marlena watches him sleep. As James Blake's "Retrograde" begins to play, Marlena quietly cries as she thinks about the decline of her former husband. --- [0:49] As a light dimly flickers, we see the outline of two bodies laying unconscious in the basement of Stefano's compound in Italy. Despite the darkness of the night, we begin to see Steve and Bo's faces, as they lay unconscious in a cell in the basement. [1:39] Across from them, in the next cell, The Patient sits, tied to his chair. [2:15] He shakes, trying in vain to escape the restraints, while his eyes, forced to remain open, view a slideshow of violent images and short videos, punctuated by flashes of John Black's face. [2:29] We see closeups of the Patient's hand, clenched tightly, fighting the restraints, as he's tormented by the pictures being shown to him. We snap, with each beat of the music, between the images on the screen, and back to The Patient. His eye, his tied-up hand, his bound ankle, fighting to break free. [2:53] We cut to black, as the music continues to play hauntingly, as the hourglass appears for the closing credits to the end of the song. ---

EPISODE 184 Written by A. Washington-Beeby Story Consultant: C. Nathaniel Richardson & Nick Monarco Marlena sits with Roman in his SUV in the undergorund parking of her building. She appears concerned about him, as Roman stares out the front windshield, almost acting as though she's not there. Outside the vehicle, Kim, Andrew, and Abe look in on them. After a moment's awkward silence between then, Marlena tries to coax him out of his apparent trance. MARLENA: Roman? Roman continues to look out his window, looking out at Kimberly in particular. His focused stare unnerves Kim, which Marlena catches, momentarily looking out toward Kim herself. MARLENA: Roman, that woman right there, that's Kimberly. Honey, your sister is alive. She's fine. Roman, still looking at Kim, blinks momentarily, his fixation starting to break, as he shakes his head in disbelief. ROMAN: Nah...no, that....that's not... MARLENA: It's true, Roman. ROMAN: No, Doc. She...I was out in the country by the Lake Road, and...there was...there was a woman in the back of this blue truck, and...she had red hair. She was dead, it...it was Kimmy. I tried to radio in and...I...I just... Roman shakes his head, becoming visibly distressed by what Marlena's told him. Marlena motions to Abe to step in, she calmly leans in closer to Roman to try to get his attention. MARLENA: Roman! Roman. Abe is going to take you inside, and we can relax. Okay? ROMAN: No--no, Doc. That's not...damn it, you're lying! You're all lying to me! It was Kimmy in that SUV, you gotta find her! Roman slams his fists on the steering wheel, as Abe rushes in to collect Roman. Marlena puts her hand on Roman's shoulder tenderly, though her voice raises with concern. MARLENA: Roman! No one is lying to you, I promise. Kimmy is okay. Now come on. It's okay. Roman holds in his sobbing, before giving in, and letting Abe take him out of the car. As Roman and Abe head up toward the elevator, Kim and Andrew stand back away from Roman. Andrew holds his mother's shoulders as they watch Abe take Roman up to Marlena's penthouse. As they do, Marlena leaves Roman's vehicle herself. Looking serious, she walks slowly over to a visibly upset Kim. MARLENA: Kimberly. I hate to keep harping on this, but...I thought I should let you know what's happening with Roman, and what I'm planning to do. Kim turns around suddenly, fighting tears, with a hostile look on her face, as she looks to a stoic, serious Marlena. --- Eric waits by the elevators down the hall from the TV studio at WXIR for Nicole. He plans to pick Nicole up from the TV studio, and finds her walking toward the elevators with Hope, as they emerge from scouring the studio for evidence of the light "accident". HOPE: So we'll inspect the cuts to the wire, and check for fingerprints. Should have it all analyzed by Monday. NICOLE: Works for me. HOPE: Now, has there been anyone other than Abigail that's been around the station anytime in the last week? Nicole looks around, racking her brain to think of an answer, she clocks onto one suddenly. NICOLE: Jerome. HOPE: I'm sorry? NICOLE: Jerome, Abigail's friend. I wanna say his last name is Grant? Handsome guy, black...mid-20s? HOPE: He's been here? NICOLE: Yeah...he and Abigail were out for lunch, just like a friendly lunch date thing, and he was helping her out with some research one day, and he came by. Hope's interest is piqued, she probes further. HOPE: Did he seem to be...engaged or...? NICOLE: Oh, no, he was totally into it. I didn't really think much of it, though. He's a postgrad student at Salem U, so...this is right up his alley. The gears almost visibly turning in Hope's mind, she and Nicole finish their long stroll down the hallway toward Eric. Nicole and Hope finally approach Eric, who gets up from his seat in the waiting area by the elevators. Once Nicole arrives, she wraps her arm around Eric's back, gently kissing his lips as a hello. ERIC: Ready to roll? NICOLE: I think so. Unless you need anything else from me? Hope shakes her head, fairly comfortable with what she's collected so far. HOPE: No, I think you're good for tonight. Look, thanks for everything, and ah...one thing. Make sure you call me first thing tomorrow morning, just in case they have any questions at the lab that might fill in any information gaps, okay? Nicole nods, before turning to Eric. NICOLE: Come on, let's go. ERIC: Night, Hope. HOPE: Night, Eric. Eric presses the 'down' button on the elevator, as Hope surprises them with a final question. HOPE: OH! One thing! Do you know if Abby left for the night? NICOLE: Ahhh, I sent her home about a half hour ago when you told me, but...I didn't see her leave. Hope looks back toward the studio. HOPE: Hm. NICOLE: She's probably just being her usual eager beaver self and double checking some things in the control room. HOPE: Alright, thanks. I'll have a look for her. The doors to the elevator open, and Eric and Nicole step on. Eric waves to Hope, who smiles warmly at her nephew. HOPE: Night! As the doors to the elevator close, Hope notices a small drop of blood on the floor by the foot of the elevator door. Curious, she kneels down by it. Realizing for sure what it is, she calls another officer over. HOPE: Gabe! GABE: Yeah? Hope waits til Gabe's run over, before pointing down at the blood drop. HOPE: Blood. get a sample to the lab and find out how long it's been there. GABE: Got it. Hope steps away from the elevator, and looks around her. She lingers momentarily, looking as Gabe collects the blood sample from the floor, speaking to herself softly before carrying on to find Abby. HOPE: Jerome Grant, hm? What a coincidence. Hope raises one eyebrow, as she heads back toward the studio, in hopes of finding Abigail to question her on the night's events. --- At Anita's cabin, Tyler walks back into the kitchen area, where Anita stands with Brady. They turn to face Tyler as they hear his footsteps walking away from the phone after his call to Victor. Anita speaks nervously after a moment. ANITA: Tyler...h-how's Victor? Tyler folds his arms before him, debating whether to be honest with her or not. TYLER: He's fine. He'll be released from the hospital tomorrow. BRADY: And what about you? TYLER: (sigh) I....I have to leave Salem. BRADY: What? Tyler nods. Trying to make it clear that it's not a big deal to him. TYLER: Call it...early retirement. I'll have to finalize some arrangements, and I'll be off to the Costa Del Sol by the weekend. Brady tenses up, before Anita interjects. ANITA: And just what are those arrangements? Tyler hesitates momentarily, with Anita continuing before Tyler gets a chance to respond. ANITA: Tyler, please tell me you won't let Victor know that Brady's staying here. Tyler doesn't respond again, panicking Anita. ANITA: PROMISE ME, TYLER! Tyler finally cuts in, responding firmly in an exasperated tone. TYLER: Alright! Fine. On one condition. Anita shakes her head, knowing what Tyler is about to suggest. Tyler points to Brady as he offers his demand. TYLER: You tell him who you really are. And you do it right now, or I will. --- --- Kim stands with Andrew and Marlena in the parking garage below Marlena's building, her arms folded, as she speaks to Marlena pointedly. KIM: Alright, Marlena. What have you planned for my brother now? Another DNA test to make sure he isn't another imposter sent by Stefano to upend all our lives? MARLENA: Kim-- KIM: Look, I don't...I don't want to fight with you again. You're...you're a dear friend of mine, you're basically family, but...Marlena, I don't understand where your head's at with this. I mean, it's....it's so obvious to me that this is dementia, and that my brother needs treatment, and the sooner, the better. Marlena nods in agreement with Kim, before interjecting with her support. MARLENA: And I agree. Completely. Kim looks at Marlena, somewhat skeptical, and equally surprised. MARLENA: That's what I wanted to discuss with you. I was hoping you could join Roman and I at University Hospital tomorrow morning. We're meeting Eric there for a battery of tests, and then Valerie and I were going to go over a treatment plan for Roman-- KIM: Tests. DNA tests. Am I right? Marlena sighs, nodding before carrying on. MARLENA: Yes, I admit it. But Kimberly, I only want to run the test to be sure that the gene that caused Roman's and Caroline's dementia hasn't been passed along to Eric. Or potentially to Sami, or Carrie. Kim seems somewhat unmoved, and after a moment, Marlena continues. MARLENA: Kimberly...I didn't do this as some kind of roundabout deception to get the DNA tests done. It was honestly a bonus, just to give myself peace of mind. But I also want you to know that I am serious about Roman's condition, and I want to keep him with us as long as possible. Believe me. Marlena puts her hand on Kim's arm, trying to be of some comfort to her, as she explains herself passionately. MARLENA: Now please. Come with me tomorrow. I promise you, you will be an active part of our plans for your brother. It would mean an awful lot. To him and to me. Kim takes a moment, with Andrew joining in with Marlena in attempting to convince Kim to go. ANDREW: Mom, I...I think it might be a smart idea. It might help...give you a sense of empowerment over the situation. I think you'd feel a lot more at ease if you had that right now. Kim looks at Andrew, then Marlena, before slowly nodding. KIM: Alright...I'll be there. Kim extends a hand to Marlena in peace offering. Marlena smiles, as she shakes Kim's hand firmly. MARLENA: It's a date. --- Will walks into, then shuts the door to his apartment with Sonny. The apartment sits dark, as Sonny's gone to bed. Will sighs, exhausted from a frustrating day. Flipping the lights on, he slowly hangs up his jacket, and sets his new briefcase down in the closet, as a frustrated Sonny emerges from the bedroom. SONNY: Will! Will turns around with a start when Sonny calls out to him. WILL: Sonny! Sonny looks at his fiancé with a mix of exhaustion and annoyance. SONNY: You made it. Would've been nice if you'd called. Will sighs, walking toward Sonny. WILL: Sorry. I know I should've. I just... SONNY: I know, I know. The big day's coming. WILL: PR for Titan is...it's a lot of work. SONNY: I know. More than you realize. Sonny speaks in a resigned tone, as he sits himself down on the couch, just before Will flops down beside him. SONNY: Look, I'm sorry if I've been...less than enthusiastic about this job. I just...I don't want you sucked into my family's problems, and working for them...you just, you can't escape them. WILL: Sonny, I'm going to be sucked into them no matter what. Will turns his head, a cock-eyed smile on his face as he touches Sonny's cheek gently. WILL: I'm marrying you. Remember? Sonny smiles, laughing softly to himself. SONNY: Yeah. And I can't wait. WILL: Neither can I. Will leans in to kiss Sonny gently on the lips. After their kiss, Sonny stares at his fiancé, soaking him in. WILL: Look, don't worry about my job. If you're willing to move past it, I am too. SONNY: Deal. (sigh) Speaking of work, how was it today? Will takes the opportunity to get up from the couch, walking around to the other side of it, presumably toward the kitchenette. WILL: Oh, fine. Until I heard the news about Gabi. Sonny straightens his posture, wondering what Will means. SONNY: Wh...what news? WILL: Oh, you didn't hear? SONNY: Will...Will, what are you talking about? I knew she was out, but I figured she was visiting Rafe, and... Will laughs, rubbing his eyes in exhausted frustration, as Sonny turns his body while still on the sofa to face Will. WILL: Oh no. No, Mom's watching Ari. No, the reason you don't see Gabi right now is... Will walks over to Gabi's bedroom door, throws it open and turns on the light, revealing it to be empty. WILL: Because she moved out. And in with Nick Fallon. Sonny's jaw drops, as he looks into Gabi's room, completely dumfounded. --- Outside the WXIR studio, standing by the elevators, Hope confers with another officer about the drops of blood found on the ground. As they talk, and the officer snaps photos, Abby walks to the elevator to leave, surprised to see Hope still there. ABBY: Hope! HOPE: Abigail! I'm glad you're still here, I was looking for you. ABBY: Yeah, I, ah, just had to go up to the control room and finalize a couple...paperwork things before I went home. Why...why, what's up? HOPE: Well, I need you to make a statement about the accident, if you can. Abby looks at Hope, stumped at what she could offer. ABBY: Honestly, Hope, I...I don't know what I could tell you, I was so busy with all my...papers and trying to keep the show running, I...honestly, if I could tell you anything, I swear I would. HOPE: And you didn't bring anyone along with you to the studio? Abby furrows her brow, unsure what Hope's implying with her question. ABBY: What do you mean? HOPE: I mean, more than a couple people have seen you at the WXIR offices with Jerome Grant the last few days, and-- Abby cuts Hope off, slightly insulted by Hope's implication. ABBY: Whuh, what are you implying, Hope? Hope is caught off guard by Abby's defensiveness. Abby catches herself and backtracks when Hope's expression changes in reaction to Abby's response. ABBY: Look, I...I actually specifically told Jerome not to come tonight. I didn't feel comfortable having him here in such a high-pressure environment. Especially when I'm so new. HOPE: You worried he'd distract you? Abby shrugs, trying to downplay her inner conflict. ABBY: I guess. (sigh) Look, if you're wondering whether Jerome might have been here and potentially tampered with the cables, I'm almost 100% certain he wasn't here. But as to who WAS up on that scaffolding? I have no idea. Hope nods, disappointed by the lack of information Abby was able to provide. ABBY: Look, I gotta go. HOPE: Yeah, sure. If you do remember anything at all, even if you think it's not worth mentioning, give me a call, 'kay? Abby nods quickly, as she presses the 'down' button on the elevator. ABBY: I will. Night, Hope. The elevator door opens, and Abby steps on, leaving Hope behind with a couple other officers. HOPE: Night, Abby. Hope sighs, still sensing her bad feeling about Jerome Grant isn't misplaced. Hope mutters to herself. HOPE: He's gotta tie into this somehow. But how? --- Brady steps in between Tyler and Anita, baffled by the exchange occurring before him. BRADY: Okay, does someone mind explaining to me what's going on here? Anita tries to cool Brady's curiosity, speaking dismissively, before being cut off by Tyler. ANITA: Brady, it's-- TYLER: ...Promise me, Anita. ANITA: Why, Tyler? What does it benefit you to put this on him now? Tyler steps in close to Anita, looking her square in the eyes. TYLER: He has a right to know. I've always thought that. ANITA: Then why now? TYLER: Because he's here now. It made no sense to tell him before. And quite frankly, if you're so adamant that there's no threat against you, then I don't see why you haven't already. Anita turns away from Tyler, as Brady stands to one side, confused. BRADY: Tell me what? Anita stands, facing away from both Brady and Tyler, tearing up. Brady is getting increasingly agitated the longer he has to wait for some kind of response. BRADY: Dammit, would someone just tell me what's going on here? Tyler walks over, putting a hand on Anita's shoulder, as she turns to him, shaking her head. ANITA: I can't do it. TYLER: Of course you can. Tyler takes Anita and turns her to face Brady. He gently answers his question. TYLER: Brady, meet your grandmother, Loretta Toscano. Brady's eyes widen in shock, as he realizes who Anita really is. ---

No, it's a fair point. I think there's too many cooks in the kitchen right now for anything good to come out. I just wish there was at least some coherent story as the end result. I don't understand how the execs are so allergic to compelling storytelling.

Yup. Mojo was absolutely Vivien. And I feel like Clay Collins was this fusion of David Banning and Chris Kositchek in mannerism. I'm sure I'm missing a couple more moments that stood out to me, but... Yeah. The similarities absolutely did not get past me.

Definitely check out Days of the Week. It's all on YouTube. I'll be honest, whoever wrote that sketch had NBC daytime on all the time, cos there was a lot of little things that stuck out to me as familiar. Thank you! It's probably just my own impossible standards that make me self-critical, but it's reassuring to hear others enjoy my ideas. We have a world of talent in this forum, and it frustrates me so much that none of that talent is ever seen onscreen on any of the big shows. We struggle through our own little projects here and there, thankfully. But it really annoys me how insular the TV soap world is. Its basically eating itself. The ones that seem to get ahead are definitely NOT the ones whose ideas I enjoy seeing actualized.

I mean, obviously I've been working on a DAYS fanfic here for years. I've got so many years of story mapped out still, and honestly, considering I've been working on this for 6 years now, finishing up a lot of my initial stories are starting to pain me because I've changed and grown so much in that time, that I spend more time filling in plot holes and gritting my teeth through a lot of what I'm posting, while dreaming of the stuff that's to come that I never seem to get to. At least it motivates me to continue, I guess! As for my own soap, absolutely. When I was 12 (so around 1998-99), I worked as a paperboy for the local newspaper in my hometown, and to make the miserable cold Canadian winter mornings bearable, I'd plot out a soap in my mind. Well, I never forgot about it, and over time, have developed it further and further, while never quite getting it down on paper (on disk? Online???). I think I began to blog it here for a minute as A World Away, and it basically revolved around a small Northern city in some undetermined US state with a automotive company as its central industry. The two quarrelling families being the founding family of the Atlantic Motor Co., and their rival family, who head up the local factory union. I forget the family names but they're written down somewhere there. A third family would act as a sort of bridge between the two, and by the time I was writing it in adulthood, it was essentially as rooted in messy psychosexual drama as I could make it without weirding myself out. One of the stories that I especially enjoyed plotting out was the twins falling for the same man. The rich family would be highly conservative, they would have fraternal twins, Jennifer and Robert, who both fall for the same handsome doctor at the local hospital, Michael, who ends up being bisexual and in love with both of them, but knowing how rigid their family is (as well as his own), he keeps a lid on his orientation. This is in part to protect Robert, who, when the family DOES eventually find out, is excommunicated from the family, and forced to resign from his job. Robert and Michael then concoct a plan to have Robert "die" very publicly, and then secretly work together to take over the company from under the family's nose, while the family blame Michael for Robert's supposed death. The same family that rejected him now fight Michael over Robert's will, and even try to sue Michael for medical malpractice. There's a scene I've kept in my mind all these years, of Robert's bigoted family heading to the board meeting where they'll meet the CEO of the company that's taken theirs over, hoping desperately that they'll be able to keep some control of the company they helped build. When the chair at the head of the table spins around, and Robert's looking back at them, the look of sheer horror on their faces as Robert fires each and every one of them is so delicious to me. Of course, Robert will be as otherwise viciously conservative as the others in the family, but in this one particular instance, he's in direct opposition to his family's views. This would eventually complicate his future relationship with Michael, but I'm getting ahead of myself. UGH, I need to actually write this show out properly. One day.

EPISODE 183 Written by A. Washington-Beeby Story Consultant: C. Nathaniel Richardson & Nick Monarco It's a cool dark night on the outskirts of Salem. A chilly wind has kicked up, as Tyler Houston steps toward the front door of Anita Hernandez's cabin. He knocks, as he looks out at the dark night around him. Rubbing his hands together to keep them warm in the cold, he tenses his body as he awaits Anita. Opening the front door, Anita is surprised to see Tyler standing there. ANITA: What the--what are you doing here? TYLER: (sigh) It's a long story. Tyler waits a beat before continuing. TYLER: May I uh...may I come in? Anita hesitates, looking back inside at Brady, who's just entered the living room, curious about why Anita's at the door. TYLER: I know he's here, Anita. BRADY: Who's... Anita opens the door to let Tyler in, as Brady stands back in the kitchen area, stunned to see Tyler again. BRADY: Tyler...wh...look, if you came to track me down, I, I just can't-- Tyler steps into the room, and holds his hand up to stop Brady from continuing. TYLER: Brady....no one knows you're here. And no one's going to know. Okay? I didn't come here to try to get you back to Salem. Anita interjects, slightly annoyed by Tyler's return visit. ANITA: So why are you here, then? Once wasn't enough? TYLER: Look, I...ah, something's happened, and I need to leave town. And I won't be back. ANITA: What? Why? TYLER: It's...a long story, but I need to call Victor first, and on a secure line. That's why I'm here. Anita nods slowly, confused by Tyler's vague information. She motions toward the landline phone, as Tyler nods in appreciation, and heads over to call Victor. Anita turns to face a very baffled Brady, to whom she gives an equally confused expression. --- At the Grant house, Jerome sits with his grandmother on the living room couch. He wears a strange expression as he questions his grandmother. JEROME: You talk like you got some real beef with the Hortons. Valerie shifts uncomfortably, trying to be somewhat dismissive of what she's already expressed to Jerome about the Hortons, but failing. VALERIE: I don't really have beef, but like...(sigh) How shall I put it? Jerome laughs, breaking Valerie's thought. JEROME: ...But you got beef with 'em! VALERIE: Look, don't get me wrong, Jerome. They're lovely people. They do their best. I have worked alongside this family for years. But I also know they have their fair share of problems. Ones that are extremely easy for a man like you to get caught up in. And I don't want that for you. I've...pulled your behind out of enough jams for one lifetime. Valerie notices Jerome's crooked collar, and awkwardly, lovingly adjusts it as she fidgets to distract from her nervousness at the subject at hand. Jerome gently flinches, tickled by his grandmother's touch. JEROME: Okay, I get that. But...what you mean? What kind of problems? Valerie stops fidgeting and sighs, before deciding to tell Jerome. VALERIE: Well...your Uncle Eli's father, for one. Jerome turns his head quickly to look at Valerie's sheepish expression. --- Marlena and Abe head into the underground parking at Marlena's building. Marlena trails Abe, who is eager to get going. Abe looks back to see Marlena, slowly walking towards him, clutching herself as she walks, deep in thought. Abe walks over to Marlena, and comforts her as they walk toward Abe's car, Abe seeing Marlena clearly distressed by Roman's absence. ABE: We'll find him, Marlena. Marlena sighs, leaning against Abe as they walk. MARLENA: I know. Still doesn't make me worry any less. No sooner has Marlena finished her sentence do Kim and Andrew pull into a spot right near Abe and Marlena. Kim honks her horn, startling Marlena, as they both step out of Kim's car. Marlena looks stunned to see Andrew. MARLENA: Oh my...Oh my God, Andrew! Ohh it's so good to see you! Oh, when did you get into town? Andrew laughs as he gives his former aunt a hug, while Kim looks on, somewhat less-than-impressed by Marlena's enthusiasm, under the circumstances. KIM: He ah...he just arrived tonight. We were finishing up dinner when we got the call. MARLENA: Ohh, it's so good to see you. Oh that must've been a fantastic surprise for you, Kim. Kim nods, with a subdued expression as she tries to speed things along to limit her time with Marlena, whom she's upset with. KIM: It was. It was just what I needed. Look, um...I don't wanna...break up the reunion or anything, but....I think we need to start dealing with why we're here. ABE: Kim is right. I think we need to split up and keep each other on a three way call. MARLENA: Makes sense. I can take the route down Riverside Drive. KIM: Andrew and I can cover the south end. ABE: And I'll handle the centre. Alright, let's get on this, the longer we take, the farther away he might have gotten. As Abe, Kim, Marlena, and Andrew prepare to separate, we see inside the car just a few steps away from where they've congregated. Inside, Roman sits silently in the car, with the engine off. He's almost in a trance, as he states straight out from the drivers' seat, seemingly completely unaware of his surroundings. --- --- Jerome looks quizzically at Valerie as they both sit on the sofa inside Valerie's house. JEROME: Grandma, what about Uncle Eli? Valerie takes Jerome's hand, and holds it gently, as she begins to explain the story. VALERIE:Well... Valerie breathes in deeply, as she considers her words extremely carefully. VALERIE: See...you remember I told you about when I lived here allll those years ago, right? JEROME: Mmhmm. VALERIE: Well...I fell in love with a young man here named David Banning, and he just happens to be Miss Abigail Deveraux's cousin. Jerome slowly nods, making the connection. JEROME: And that...didn't go well. VALERIE: Oh no, it was...I mean, it wasn't without its problems, but our relationship was fine. We loved each other. His family was incredibly kind to me, but...they...they had problems. I worked for Abigail's grandmother at University Hospital, and she...she spent a long time in an institution. Abigail's grandfather was a great surgeon, and a very kind man, but...very troubled. David was an alcoholic, like your grandfather. (sigh) I think the pressure was too much for him. JEROME: What happened to you and David, then? Valerie sighs, looking down at nothing in particular as she reminisces. VALERIE: He had a baby. With his cousin's girlfriend. JEROME: I'm sorry. VALERIE: I'm not broken up about it. Years later, we met again, away from Salem, and...you know, I think being with him away from Salem was a real blessing. We could be together without the pressure of our families and...people who knew us. It was a great time. It wasn't long but...Uncle Eli came from it, and...it means I have a reminder in my life of that special time. Valerie takes Jerome's hand in hers, and smiles wistfully. VALERIE: Look, all I'm trying to say is, the Hortons are lovely people, but don't get bogged down in their problems. They'll take you with them. JEROME: I won't, Grandma. VALERIE: Don't be so sure. I know how you take on the problems of people you care about, baby. I don't want you to sucked into something you can't get out of. Jerome half-smiles, as Valerie pulls him into a tight hug. As she holds her grandson, she looks out from over Jerome's shoulder, a very worried look in her eyes. --- At Anita's cabin, Brady pulls Anita aside and quietly asks her about Tyler, who's stood in the corner of the room, using her landline phone. BRADY: Anita...how do you know that man? ANITA: Brady, it's not a big deal-- BRADY: The hell it's not! Anita, I do not feel comfortable with that man in this house. He works for my grandfather... Anita holds up her hands, trying to keep Brady from getting excited (and loud), as she attempts to explain the situation. ANITA: Brady, don't...don't worry. Look, Tyler has come by before, and he didn't say anything about you being here then-- BRADY: What??! That's supposed to make me feel better? ANITA: Just don't...shhh...Brady. Listen to me. Brady stops himself from continuing, giving Anita a chance to finish, but folds his arms, looking mistrustfully at her. ANITA: I will make sure he doesn't tell anyone you're here. I don't think he will, anyway, but I'll make sure. Okay? Brady unfolds his arms, unsure if Anita will be able to convince Tyler. On the phone, Tyler reaches University Hospital main reception desk. TYLER: (into phone) Yes, may I be put through to Mr. Victor Kiriakis' room, please? After a moment's wait, Tyler perks up again, hearing the phone ring in Victor's room. ... In Victor's hospital room, the phone rings. Victor, watching TV in bed, grumbles silently about the interruption to his show, turning the TV set off with the remote by his bed before picking up the phone, answering exasperated. VICTOR: (into phone) What? ... TYLER: (into phone) Victor! It's Tyler! ... VICTOR: (into phone) Oh, look who it is! The World's Worst Hired Help. You had one job, and I assume you're calling to apologize for botching it? ... Tyler looks utterly baffled by Victor's snarky comment. TYLER: (into phone) Wh...Victor, what are you talking about? VICTOR: (via phone) He's still alive, you idiot! Tyler looks over at Brady and Anita, trying to speak in pointed but hushed tones. TYLER: (into phone) Nick? ... VICTOR: (into phone) Exactly. And now it's too late to make another attempt, so don't even bother trying. I can only imagine the Salem PD all over that studio as we speak collecting whatever they can to tie your sorry ass to it. So forget it. I sent you a portion of what I promised you, but only if you get out of town. ... VICTOR: (via phone) ...and get out tonight. Tyler looks stunned, unable to respond to Victor, as the receiver drops from his ear. --- Hope stands with Nicole and Eric in the WXIR studio, still relatively dressed up from her date with Aiden. She looks around, as other officers snap photos of the fallen lighting rig. Nicole stands in the middle of the studio, arms folded, and explains what happened during the filming of her TV special. NICOLE: And that's when I heard the snap, and then the light just...came down. Hope looks up at the scaffolding high above the soundstage. She squints slightly, as she mulls over what Nicole's told her. After a moment, she asks Nicole a question in a somewhat official "police" tone. HOPE: Right. Nicole, did you see any...movement up there at all? Maybe someone was on set who shouldn't have been there? Nicole shakes her head, certain of her answer. NICOLE: No. I mean, we had a lot of guests in the studio but...no one was anywhere they shouldn't be. I didn't see any movement above us until the light, and that's what caught my attention. ERIC: And you're sure it wasn't an accident, then? NICOLE: It couldn't have been. Honestly, Nick's been involved in all kinds of things lately that I think make him a target. I mean, the light that fell was almost exactly over where he was sitting when it dropped. I can almost guarantee someone was trying to kill him. Eric looks to Hope with concern, wrapping his arm around Nicole. Hope appears surprised, before quickly raising her eyes back toward the lighting rig. --- Anjelica and Liam stand on the foggy pier, Anjelica points at Liam accusingly, speaking quietly but hissing her words at him. ANJELICA: You are letting your feelings get in the way of our goal, and it's becoming a liability. LIAM: My feelings? ANJELICA: Absolutely. You want to disengage because you're bitter about losing me to Stefano-- LIAM: It's not that... ANJELICA: So NOW, you're going to put your energies into Jennifer Horton, which is fine by me, but whatever energy you have left goes to screwing me over as some kind of twisted catharsis for your broken heart. And let me tell you, Mr. Frasier: that's not going to happen. Liam stares as Anjelica steps in close to Liam, part flirtingly, part threateningly. After a moment, Liam leans in for a kiss. Anjelica catches him and backs away, never taking her eyes off Liam, as he looks on with disappointment. ANJELICA: I want to remind you that you're already in this up to your neck, whether you want to be or not. Therefore, if you ever want to be reuinted with your long-lost love... Anjelica discretely holds out the gun once again, waiting for Liam to take it from her. ANJELICA: You need to take care of the problem. As soon as possible. Liam looks down, mulling over his options for a moment before taking the gun from Anjelica, sighing as he puts the gun in his coat pocket. LIAM: Consider it done. Liam turns away without another word, and heads up the stairs away from the pier, leaving Anjelica alone. She watches as Liam walks up the stairs, before turning away, sighing as the stress of her situation weighs on her. --- Kim, Andrew, and Abe walk away from their huddle in the car park at Marlena's condominium, as Marlena lingers behind, deep in thought, but jumping slightly when Abe touches her arm to get her attention as he walks away. ABE: I'll bring the car around, Marlena. Marlena smiles at Abe, as he walks toward the car. Looking away into the sea of cars before her, Marlena spots Roman's SUV parked nearby. After a moment's glance, she realizes someone's inside. It's Roman. Suddenly frenzied, she calls out to Abe, hoping he'll double back to where she is. MARLENA: Abe? Abe! Abe, he's here! Marlena makes a beeline for Roman's SUV, tapping on the front hood, as Roman stares ahead, in his own world as he sits in his parked vehicle. MARLENA: Roman? Marlena frantically tries to open the passenger's side door, to no avail. She bangs on the passenger's side window, as Roman looks her way. MARLENA: Roman! It's Doc, open the door, please! Roman hesitates for a moment, as though still in his trance, before finally unlocking the door. Marlena steps inside, as Kim and Andrew also double back, and Abe arrives. MARLENA: Roman, I was so worried about you. ROMAN: Doc, I... MARLENA: Roman... Marlena takes Roman's hand in hers, and holds it, realizing how very cold it is. She kisses it, and smiles warmly, as she begins to tear up again. MARLENA: Roman, we're all so glad you're safe. Abe, Andrew, Kim, and I we were all about to head off to look for you! Roman looks puzzled, as he looks out at Abe, Andrew, and Kim, who are standing outside the vehicle, deep concern in their eyes. He looks back at Marlena. ROMAN: Doc, that...that can't be. Kimmy's dead. I saw her! Marlena's jaw drops, baffled by Roman's obviously-untrue statement. ---

EPISODE 182 Written by A. Washington-Beeby Story Consultant: C. Nathaniel Richardson & Nick Monarco Marlena emerges from her bedroom at her penthouse, freshly changed into her street clothes, as the doorbell rings. She calls out to the person ringing the bell, as she heads for the door. MARLENA: Coming! Marlena walks over and opens the door to find Abe there. She quickly motions him inside. MARLENA: Abe! Thank you, I know it's short notice. Abe steps inside and gives Marlena a quick hug. ABE: It's alright. I'm glad you called. Have you heard anything? MARLENA: Not a word. ABE: (sigh) Alright. How long since you've heard anything? MARLENA: I mean, he...he was working, so I didn't think anything was wrong, but...I woke up and checked the entire penthouse, he's nowhere to be seen. Abe nods, then looks down sorrowfully. ABE: He's....he's in worse shape than any of us thought. Marlena stops, and looks at Abe. Her energy shifting as she turns to look his way. After a moment, Marlena nods in agreement. MARLENA: I umm...I've been taking him for tests at the hospital. We...we aren't 100% sure what's going on. ABE: It's obviously dementia of some kind. MARLENA: Well, that's what we assume, but...I have reason to believe Stefano is involved somehow. Abe sighs, shaking his head. ABE: Wouldn't surprise me. But...considering his performance at work... Abe hesitates momentarily, before continuing. Marlena furrows her brow, not sure she likes what Abe is about to say. ABE: I'm starting to believe it would be a good idea to...(sigh) ask Roman to take a leave of absence from the force. --- Tyler drives down the dark highway leading out of Salem. The occasional passing car shines its headlights his way as they drive opposite him down the road. Tyler is looking on intensely, as he thinks back to the events of the evening. *** FLASHBACK TO EPISODE 167: Tyler sits on a stool next to Victor's hospital bed, reeling from the news that Nick's working for Stefano. TYLER: Victor, are you absolutely sure Nick told you he was funded by Stefano. You didn't mishear him. VICTOR: 100%. Tyler shakes his head, resigned but not totally surprised by the news. TYLER: You know, it makes almost too much sense. VICTOR: I agree. That's why we have to take action, immediately. TYLER: What kind of action? VICTOR: Simple. We'll send Stefano a message, and clean up the filth that's rotting this town from the inside. Tyler sighs, knowing what Victor's implying. TYLER: Victor, we can't be working underhandedly. VICTOR: Too late. The gloves are already off. Get rid of Nick Fallon. By any means neccessary. Victor looks steely-eyed at a concerned Tyler, who is far less convinced of Victor's plan than Victor is. *** Tyler is distracted by a passing car's bright lights, that snap him back to reality with a jolt. Tyler struggles to see and his car begins to swerve onto the gravel at the edge of the road. TYLER: Dammit! As Tyler swerves to get the car back onto the road, he brakes to stop the car before he causes an accident. Pulling over, he stops and leans his head back against the headrest, trying to regain his composure. After a moment, and a heavy sigh or two, Tyler looks out his drivers' side window, then at his GPS. He realizes he's right by Anita's cabin. TYLER: Well, I'll be damned. He decides to pull in, turning suddenly in to the darkened country gravel driveway. --- It's a foggy night, as Anjelica stands alone on the pier. She's dressed in a long black coat and wide-brimmed hat semi-obscuring her face. She paces slowly checking around her to be sure she remains safe, as she waits for Liam to meet her. ANJELICA: (sigh) Come on, Liam, get down here. No sooner has those words come out of her mouth, than Liam walks down the steps of the pier to meet her. Anjelica turns to look at him, looking a bit annoyed. ANJELICA: Took you long enough. LIAM: Sorry, had to wait for Jenn to nod off. ANJELICA: Ahhh yes, precious Jennifer Horton. Liam rolls his eyes, as Anjelica sarcastically waxes poetic about Liam's partner. ANJELICA: Love of your life. Apple of your eye. Tell me, Liam: did you take an extra moment before you departed to watch your beloved as she slept as well? LIAM: You're hilarious, Anj. Now, what did I come all the way down here for, exactly? Anjelica gives Liam an intense deadpan look as she pulls a gun from her coat pocket and places it in Liam's hand. LIAM: What's this for? ANJELICA: Our little problem we were discussing earlier? I want you to take care of him. Liam looks down at the gun, then up at Anjelica, stunned by what she's asking of him. --- --- Jerome shuts the front door to the Grant family home, and steps inside quietly. Inside, Valerie emerges from the kitchen entrance and looks stern, but relieved to see her grandson home. VALERIE: Jerome Grant, where have you been? Jerome stops himself at the first step of the staircase heading upstairs when he hears Valerie's voice. JEROME: Hey, Grandma, uh...Sorry I'm so late. VALERIE: Well, I don't really mind that, but the fact you didn't even text me or call? JEROME: Nah, I know. I should've. VALERIE: You're damned right. Valerie turns and heads into the living room, with Jerome reluctantly following behind her as she continues to speak to him. VALERIE: You know, I've been worried about you. You're avoiding coming home again, and-- JEROME: Grandma, you don't have to worry about me. I'm fine. Valerie stops in front of the couch, and turns to face Jerome, who's slowly stepping into the room. VALERIE: And that's exactly the same conversation we had in Toronto before we moved down here. And I didn't buy it then, and I don't buy it now. Valerie motions to Jerome to join her on the sofa, before sitting down. VALERIE: Come on, baby. Let's talk. Jerome complies, as he sits down next to Valerie. JEROME: Grandma, I know what you're gonna say, and-- VALERIE: No, I don't think you do. Now, listen. I know you're grown, and I can't stop you from doing what you wanna do, but I can and I will tell you what I think about it. And what you're doing right now, it is way too familiar to me. JEROME: Grandma, I promise you, I am not falling into those same patterns. Look, Kaylie and Siobhan are far behind me, now. I don't...I don't even know what made you think of them. VALERIE: Well, different things. Jerome looks at Valerie, a bit confused. JEROME: Like what? VALERIE: Well, you know how I had you set up that video chat for the interview I was doing? Jerome tenses up slightly, becoming uncomfortable with her story. JEROME: Yeah... VALERIE: Well, we hired that girl, and...you know, it's funny, there's...there's something about her. She looks just a little like that girl Siobhan you knew in school. Jerome looks intensely at Valerie, hoping she doesn't make the connection. Valerie continues her story, looking away from Jerome as she recalls their journey back to Salem. VALERIE: You know, I started thinking about it, and...you know, I know they're far behind you, and...you know...after your father was killed, I just...we moved her for a fresh start. Somewhere that felt like home, but...somewhere we could forget the bad memories, bad habits. Valerie takes Jerome's hand in hers, she smiles as she looks at Jerome. VALERIE: I don't want you to fall back into them. JEROME: I promise, Grandma. That's not happening. Things are going well! I'm...doing my research for my thesis, and...I met someone. Valerie perks up at the news. VALERIE: Ooh! Who is this fine young lady? JEROME: Her name is Abigail Deveraux. I met her mom, Jennifer today. I think she said she works at the hospital as well. Valerie raises an eyebrow at Jennifer's name. VALERIE: Jennifer Horton? JEROME: Yeah, I think so. Valerie sighs, shaking her head, as Jerome looks confused. VALERIE: Oh boy. Jerome chuckles at his grandmother's reaction to the news, still puzzled by her less-than-enthusiastic response. JEROME: What? What do you mean? Valerie sighs, taking a second before answering Jerome's question. VALERIE: Look, I'm not gonna tell you you're forbidden to see this girl, but you need to tread lightly with Hortons. They are messy. Okay? Jerome frowns, curious about what his grandmother means. --- At the pier, Liam's face scrunches up after Anjelica has handed him a revolver, confused by Anjelica's request. LIAM: What, am I your hitman now? ANJELICA: You are part of the team that's meant to be helping me get through this plan in one piece. Liam looks down at the gun, shaking his head, as Anjelica slowly walks around behind him, placing a hand on his shoulder as she speaks gently in his ear. ANJELICA: You don't want to let the team down, do you? Liam turns his head slightly, giving Anjelica a deathly glare as he holds the gun in his hand tightly. --- Marlena looks at Abe, disappointed and worried. MARLENA: Oh no, Abe, don't take Roman off the force-- ABE: No...no, Marlena, I'm serious. He's made too many mistakes recently. He has completely...just...blanked out on entire cases. Important ones! He could be putting himself in danger every time he steps out of the house. Marlena steps in closer to Abe, pleading with him to reconsider. MARLENA: Abe, if...if it is Alzheimer's...I want to be sure of the diagnosis first, but...if it is...I firmly believe keeping Roman working for as long as possible can only help him cognitively. ABE: And put him in the line of fire! MARLENA: Not if he does admin-- Abe shakes his head, getting riled up as he tries to resist laughing at Marlena's suggestion. ABE: Marlena, be serious! Can you honestly imagine Roman Brady accepting administrative work? Marlena looks down solemnly. She shakes her head, realizing Abe's right. ABE: Now, I will wait for the official diagnosis before I do this, but I am asking that you have the doctors confirm this diagnosis ASAP. Every day we wait, the more danger Roman's in. Marlena nods in agreement. She looks up at the ceiling, sighing in frustration. MARLENA: You're right. I'll have Roman head down to the hospital first thing tomorrow. ABE: Alright. As Abe responds, Marlena gets a text message from Kim. Taking her cell phone from her coffee table, she checks it, before turning to Abe. MARLENA: It's Kimberly. She's downstairs. ABE: Alright, let's meet her down there. Abe and Marlena head for the door. As Abe races out, Marlena is stopped by a picture of her with Roman, Carrie, Sami, and Eric, from when Sami and Eric were newborns. She spots the picture on her mantle by the door, and looks it over, tearing up. Taking a moment to look the picture over, she sets it back down on the mantle and heads out of the penthouse, locking the door behind her. --- Tyler pulls into Anita's property, his headlights guiding him down the dark country dirt road. Approaching the cabin, Tyler stops the car outside, and gets out after turning the car off. He slowly walks up to the front door, seeing the bright lights inside. He stops, noticing movement through the window. Peeking carefully through the window, he makes out a familiar face. TYLER: My God. Inside, Brady finishes the last of the dishes, turning to Anita and smiling warmly, as they laugh and joke. Tyler is stunned. Brady is alive. ---

EPISODE 181 Written by A. Washington-Beeby Story Consultant: C. Nathaniel Richardson & Nick Monarco Gabi stands in Nick's room at the Kiriakis mansion, holding the pictures he's had hidden in his desk drawer of Gabi, Sami, and Kate trying to drown him in her hand. She's relieved to have finally found them, holding the pictures up to her chest, smiling for the first time in ages. GABI: Oh my God, yes. As she celebrates her mission being completed to retrieve the photos, lurking on the other side of the door is Nick, who is spying on her through the slight crack in said door. He practically seethes, livid as he watches her invade his privacy and betray his trust, but he keeps silent and still, observing her every move, as he grips the handle of the door tightly. Gabi, oblivious to the threat behind her, flips through the photos, before stumbling upon one pic that takes her aback: Abby in a liplock with EJ. Gabi looks stunned. Realizing what she's unintentially uncovered, she hastily shoves the pictures back in the envelope, and walks them over to her purse, stuffing them inside. As she does this, Nick watches her closely, seeing what she's done with the pictures. Before Gabi can catch a glimpse of Nick, he walks away, defusing the situation. Gabi closes her purse, and looks up to the ceiling, taken aback by the picture she's seen of EJ and Abby. GABI: Oh God, you guys. What did you get yourselves into. (sigh) I gotta get out of here. Gabi sighs, before getting up from sitting on the bed, and rushes out of the room, making sure everything is as she found it. Turning the light off and shutting the door completely behind her. After leaving Nick's bedroom, Gabi checks both ways down the hallway, before walking away toward her own bedroom. As Gabi walks past, a face looms from the linen closet next to Nick's room. It's Nick, making sure he's hidden before heading back for his room. From the dark of the closet, he threatens Gabi softly. NICK: You haven't won yet, Gabi. I'll make sure of that. They're poisoning your mind against me. And we can't have that. Can we? --- In the Kiriakis living room, Anjelica and Alex walk in after being dropped off by Will. Anjelica sets down her bag, as Alex sets his things down on the desk. Neither speak at first, but Alex looks at his mother, worry in his eyes. Anjelica catches this look, and furrows her brow in annoyance. ANJELICA: What? ALEX: Anjelica, are you sure you're okay? Anjelica looks away, as she steps over to the bar, and pours herself a drink. ANJELICA: I'm fine. Never been better! Anjelica downs the drink in one shot, and Alex looks at her, not believing a word she says. ALEX: Somehow I doubt that. Anjelica glares at him, as she pours herself another drink. ANJELICA: Well, other than my nerves being shot after nearly being killed by a stage light...I'm feeling fresh as a daisy. Anjelica quickly turns to look at Alex, her mockingly chipper tone of voice suddenly dropping to a threateningly low pitch as she holds a second glass up. ANJELICA: Drink? Alex isn't amused by Anjelica's snark, and glares at his mother, disapprovingly. ALEX: I'll pass. Come on, Mother. Tell me what's bothering you. You've been miserable since we left the studio. ANJELICA: I'm just trying to figure out whether Nick Fallon was onto something or not. ALEX: What do you mean by that? ANJELICA: I mean between you and Will Horton. Alex drops his shoulders, looking away in frustration. --- Roman drives out along a quiet country road in the dark of the night. Over the radio, he hears an announcement. RADIO HOST: (via radio) An update from WXIR-TV. The Walker Report, the live television special hosted by local investigative journalist Nicole Walker, was abruptly cut short midshow tonight after an overhead stage light fell on the soundstage, nearly striking newly-appointed Titan CEO Nick Fallon, as well as Candidate for State Governor, Anjelica Deveraux. Both are said to be fine, but shaken up, and Salem Police are investigating the potential for foul play. More news as it becomes available. As an advertisement kicks in, Roman is surprised by the news, but is quickly distracted by the reflection of a tail light on an SUV up ahead, obscured by nearby bushes. ROMAN: What da... Intrigued, Roman pulls over to investigate. Stopping his car at the side of the quiet country road, Roman gets out, and fumbles with his phone to turn on his cell phone flashlight. Slowly walking over to the abandoned vehicle hidden in the brush, Roman inspects the vehicle, a concerned look on his face. He looks around the otherwise-abandoned roadway, checking to see if anyone's around. When he sees nobody, he flashes the phone light into the front seat. Nothing. Slowly walking back to the back seats... Only a snorkel, and a roll of duct tape. Roman tilts his head slightly, confused by what he sees. Even slower, Roman steps back toward the rear of the SUV, inhaling deeply as he spots more scuba gear, but freezes when he sees in the very corner... A woman's dead body, ghost white from laying there overnight. We see that it is Crystal Clarke's body, though Roman doesn't recognize her. ROMAN: Damn. --- --- In the Kiriakis living room, Alex folds his arms, annoyed by his mother's inference about his relationship with Will. ALEX: You know, I don't appreciate you insinuating that there's anything going on between Will and myself that's not professional. Anjelica takes a sip of her drink, then turns to face her son, a sour, dismissive expression on her face. ANJELICA: Wouldn't be the first time. ALEX: Mom-- ANJELICA: Look, Alex, you know I am supportive of you no matter what, but I cannot stress to you enough that I am running on a family values platform in this campaign, and that requires my family to maintain that appearance as well. That. Includes. You. Alex steps in closer to his mother, speaking firmly, while also appearing visibly uncomfortable. ALEX: Besides the fact that that's not how support works, I'm telling you, Will is my right hand at work. That's it. And he is very good at his work. ANJELICA: And that's where you leave it. At work. Alex, clearly agitated, begins to raise his voice to Anjelica. ALEX: Mother, I can't believe that Nick teasing Will has got you so worked up. Anjelica begins to, in turn, raise her voice to Alex, trying to make her point as clear as possible. ANJELICA: That's not what's working me up, Alex. It's the fact he sees something going on between you. And whether it's there or not, other people are seeing it, and they will start to talk. Alex leans in close to Anjelica and softly, but firmly, punctuates his point. ALEX: Let them. Alex turns to walk away, but Anjelica follows him, trying to look him in the eyes as she shouts out to him. ANJELICA: I will do no such thing! I am running for the highest office in the state. I have our family's legacy on my back here. And I will not let it be ruined once again because the men in this family can't get a handle on their moral compass! Alex laughs sarcastically at Anjelica's comment, raising his voice to match hers. ALEX: Ohhhh, I think murdering sex workers is a little different-- ANJELICA: Not to these people, it isn't! You need to keep up appearances, Alexander Kiriakis. We need to present an image of good ol' American apple-pie eatin' wholesomeness for my sake, AND for yours. Alex cools his tone, and scratches the back of his neck, before speaking again. ALEX: And after the campaign ends? Then what? ANJELICA: I don't care after the campaign ends, you can ruin your life all you want! ALEX: Bull! Face it, Mother. You're always going to have your nose in every relationship I have. I don't even know why I bother having relationships at all, quite frankly! ANJELICA: Oh, now it's a relationship. I'm sure your WIFE would love to hear that! Alex sighs, rolling his eyes at his mother. She ignores him, and continues. ANJELICA: Let me tell you something, dear son of mine: I involve myself because I care about you, and your happiness. ALEX: And if you care so much about my happiness, I'd kindly ask you to butt out. Alex throws his hands up, walking around Anjelica as he heads for the stairs, exhausted from arguing. ALEX: Look, I need to get to bed. I'm tired. ANJELICA: Alexander, don't walk away from me-- ALEX: There is nothing to say. Anjelica, I am happily married, that's the end of it. Okay? Goodnight. ANJELICA: Alex... Alex walks away, as Anjelica watches him, frustrated. --- Marlena emerges from her darkened Penthouse bedroom, wearing her nightgown. She wears a worried expression as she calls out to the empty room. MARLENA: Roman?? Roman, are you there? Marlena walks over to the lamp on the side table in the living room, immediately looking around now that the lights are on. She's stunned by Roman's absence. MARLENA: Roman? Taking a moment to think, she walks over to the front closet door, opening it to see Roman's shoes not there. She realizes immediately that something's wrong, and rushes over to her sideboard, where her cell phone's been left to charge overnight. Picking it up, she calls Roman. It rings... And rings... and rings.... After the fourth ring, the call goes to voice mail. Marlena waits through Roman's voice mail message to leave one for him. ROMAN: (via voice mail) It's Roman, leave a message. The beep afterward prompts Marlena to leave a somewhat uncertain message. Not wanting to alarm Roman, Marlena holds it together and restrains herself into a calm masquerade. MARLENA: (into phone) Ah Roman, it's Doc. I'm....I'm just a bit worried, it's....it's midnight and I was expecting you back at the penthouse by now. If you....if you are able to give me a call. If you're...if you're lost at all...just....just call me back, okay? Let me know where you are...or if you need me to come out to meet you. Alright. Marlena hangs up the phone, now more worried than ever. After a moment's hesitation, Marlena checks her watch. It's past midnight. She calls Abe, who answers after two rings. MARLENA: (into phone) Abe? Abe, it's Marlena....I'm...I'm calling because Roman is missing again, and I could really use your help in tracking him down....yes, if you want to meet here at the penthouse. Please, as soon as you can. Thanks. Marlena hangs up, and after a moment's hesitation, makes one more call. ... Kim is just walking into her apartment after dinner with Andrew, when she hears her cell phone ring. KIM: Oh wow, who could be calling at this hour? ANDREW: Could be important. Kim pulls the phone out and looks at who it is. Her face drops as she looks up at her son. KIM: Honey, I gotta take this. ANDREW: Sure! No problem. Kim answers the phone with a definite harshness in her greeting. KIM: (into phone) Yes? ... MARLENA: (into phone) Ah, Kim, it's Marlena...I just...I'm sorry to call so late, but...it's Roman. He's missing again. I don't mean to alarm you, but...I could use your help tracking him down. ... Kim is shocked, and worried, her tone changes slightly in her response to Marlena's request. KIM: (into phone) Oh Gosh, ahh...yeah. Yeah, I'll be right over. .... MARLENA: (into phone) Thank you, Kim...I'm sorry about this, I know it's late. KIM: (via phone) It's fine. MARLENA: (into phone) Listen, Kim, if you don't mind, I just wanted to take a moment to apo-- KIM: (via phone) Listen, Marlena, I can't really talk right now, just...I'll be right over, okay? Kim hangs up the phone, with Marlena wincing after the call ends, hurt by the terseness in Kim's voice, and their strained relationship thanks to Roman's decline. She puts down her phone, as she leans against the edge of the sideboard. MARLENA: Please God, let him be alright. Marlena turns and walks toward her bedroom to get changed back into her street clothes. --- Roman, still stunned by the sight of Nurse Crystal Clarke's body in the backseat of the abandoned SUV he's spotted in the bush, panics as he looks around in the dark, trying to figure out what to do. He remembers after a moment to check his phone to call for help, but there's no signal. ROMAN: Dammit! No signal out here. He races over to his car. Opening the door, he climbs inside to try to radio into dispatch for help, but his hands tremble, as he realizes he can't remember how to operate the radio. He drops the receiver, and puts his idling vehicle into gear, taking off back down the road in hopes of getting back to Salem to call for help. --- Nick returns to his room, now that Gabi's gone. He shuts the door behind him, looking around the room to see what's out of place. Realizing nothing's out of place, meaning if he hadn't caught her, he would've never noticed Gabi was in his room. He pulls open his desk drawer, and makes sure the manila envelope he'd hidden inside was missing, before slamming it shut in frustration. NICK: Dammit! Damn you, Gabi. He holds his head, trying to avoid another migraine, when his cell phone rings. It's Sheryl. He rolls his eyes as he answers the phone, pinching his nose to try to stop the throbbing in his head from worsening. NICK: (into phone) Sheryl, what do you want? ... Sheryl paces her living room at her new apartment, phone in her ear, her game face on, as she sarcastically replies to Nick. SHERYL: (into phone) You know, I just love your phone manner. It's so warm and genuine. ... Nick leans against the desk in his room, shutting his eyes and grimacing through the dull pain. NICK: (into phone) Sheryl, I don't have time for this right now, what do you want? SHERYL: (via phone) I want to give you some advice, Nick... ... SHERYL: (into phone) You remember what happened tonight at the studio? With the falling stage lights? ... NICK: (into phone) Obviously. ... SHERYL: (into phone) Well, you should know....that was my doing. ... Nick's eyes open as Sheryl lies to Nick about her responsibility for the "accident" at the TV station. SHERYL: (via phone) And I want you to know that it was not my intention to miss. So you'd better watch your step before you make your next move... NICK: (into phone) Or what? ... Sheryl gives an evil smile as she purrs her threat through the phone to Nick. SHERYL: (into phone) Or it'll be your very...last...move. Understood? ... Nick slowly begins to crack up, laughing through the phone at a surprised Sheryl. NICK: (into phone) You have got to be kidding me. SHERYL: (via phone) I am deadly serious, Nick. Nick laughs over the phone yet again, shaking his head as he begins to walk toward his bedroom window. NICK: (into phone) Sheryl, you don't get it, do you? I know full well it wasn't you who dropped that light on me. There's no way, because up until two hours ago, you thought someone else botched the virus operation. ... At Sheryl's end, Sheryl's smile drops from her face, as she realizes Nick's got her dead to rights. NICK: (via phone) So, because I'm such a nice, forgiving guy, I'm gonna make you a little deal. Alright? Sheryl sighs before answering Nick, putting a hand on her hip in frustration. SHERYL: (into phone) And just what kinda deal would that be? ... Nick looks out his bedroom window, his steely eyes looking straight ahead into the night as he delivers his own threat to Sheryl. NICK: (into phone) You get Jordan and leave town forever tonight, or those photos of you and Jordan that I was going to show on Nicole's TV special? I'm gonna take them straight to the police station. Got that? ... Sheryl tenses up, sighing once again, but this time with a certain pent-up rage. SHERYL: (into phone) Loud and clear. ... NICK: (into phone) You got 12 hours, Sheryl. Don't test me. Nick presses "End Call", his eyes never moving from looking outside. ... The double beep of Nick ending the call signals to Sheryl to drop her show of strength, her body unclenching from the tense back-and-forth. She grunts in frustration, before slamming her phone into the side table next to her. She looks around frantically, trying to figure out exactly what to do next. --- In her own bedroom at the Kiriakis house, Gabi texts EJ on her cell phone, as she stands with the manila envelope she's just collected from Nick's desk drawer in her other hand. She texts EJ: got the pics The photo of EJ in a compromising position with Abigail is out of the envelope, as Gabi stares at it carefully while hitting "send". Gabi looks up from the photos after a moment, stunned by the photo she holds in her hands. ---