For generations Days of Our Lives has been not only much loved but the top rated Daytime soap, being the leader in suspense, drama, romance, and comedy, as well as social issues. As the sand fell through the hour glass, we laughed, cried and waited with baited breath for Monday as the cliffhanger left us dangling on Friday. We had a our favorite heroes and villains--couples we cheered for and those we knew who were doomed for failure. When it became clear that the writers no longer had a clear understanding of the characters and history, I started writing my own storylines, which brought back the romance, suspense and drama that Days was well known for.

To read the viewers reviews and script go to http://elfmagic.blogspot.com/

Celtic Goddesses Reawaken in a Magical Tale of Love and Betrayal
By
Theresa Chaze

Magic, romance and karmic justice combine in a new Celtic fantasy novel from Theresa Chaze. Released as an ebook, which is available on her site, as well as part of the Amazon Kindle program, Nict For Ure Selfe (Not For Ourselves) honors the Celtic Goddesses and the Wiccan tradition. Unlike most authors, who write magical fantasy, Theresa Chaze is a Wiccan Priestess who uses authentic magic in her novels. In many ways, her fiction can be considered a Book of Shadows.

After attending a local Pagan festival, Alyssa finds herself to be a target of Sheriff Deputy Nevel’s violent obsession. Her complaints only bring on more abuse. Her friends and coworkers are harassed. No one in in her life is safe from persecution. Alyssa doesn't understand why he and his comrades singled her out. In desperation, she performs a karmic ritual so that she may understand his hatred of her. Instead of a message, her soul takes her spirit back to the time when the Goddesses and Gods of old had not yet given way to the Christos and clan traditions could mean life or death. “Nict For Ure Selfe” (Not For Ourselves) a suspenseful tale of betrayal as traditions and love are tested by the changing times and greedy men whose lust for power continued into their next incarnations

Nict For Ure Self (Not for Ourselves) is available in a PDF ebook through the author’s site at www.theresachaze.com or through the Amazon Kindle program after March 21, 2008.


An excerpt:

Alyssa struck the match. Instantly, the end burst into flame. She held it to the wick of the white candle until it ignited. Pinching off the match head, she placed on the table. Taking a deep breath, she flipped her long chestnut color braid back over her shoulder; it bounced and swung around her waist. Focusing on her intent, she started the ritual. “Goddesses--Maiden, Mother, Crone I call to thee and ask that you appear to me.” Picking up the candle, she held it above the surface of the water. Its glow illuminated just beyond the rim of the black bowl and reflected off the clear surface. “On this darkest of night, grant me the portal to make things right. Let me see clearly the moments of the past, so that I may understand what is happening at last.” Tapping the edge with the candlestick, the glass on glass echoed throughout the dark room. The vibration rippled through the water. “As I created a wave in the glass, so I ask you help me with my task.” She set the candlestick next to the bowl and placed her hands on either side palms down. “Let me see where his hatred of me had begun, so that his vengeance can be undone. Why he stalks me I know not why, yet I know the answer lies in times gone by. Take me back to the time and place, so that I may end the conflict with haste and grace.” Picking up the four raven feathers, she held them above the candle. "Goddesses of the raven and night, who left these feathers as a symbol of your might. I call you now to come me, to create a justice that even the blind may see. I call your forth to this land to guide the karmic hand. For those who have done harm to me, let their reckoning begin now--so mote it be.” Placing the feathers equal distance around the bowl, Alyssa paused for a moment to let their energy settle around her.

Stretching her neck side to side, she took a deep breath and allowed her Priestess training to relax her body into a meditative state. The outer world fell away as she sank deeper within her self and started climbing the stairs to her own soul. Into the darkness, the staircase spiraled upward, until she reached the iridescent platform where her Akashic record was held. Suspended in the darkness of endless time, Alyssa looked for a guide to help her. But she was alone. In the past, there had always been someone there to act as a guide to help her face the challenge. Uncertain, she stepped up to the pedestal. If she was to atone for a past error, she would be give direction. However, if she was merely a player as another strutted and fretted through a karmic lesson, than she could do little more than watch. The book lay open before her. On it, fate continued to write. “Book of all my lives, show me karmic tie that echoes into this life.” The pages flipped, stopping twice before it came to rest on the life named Shannon Marie Cullen.

The image of a red haired young woman lifted up off the page and hovered above. Her heart shaped face still had the softness of youth. Yet the hazel eyes sparkled with old wisdom. She wore her dark auburn hair pulled back into a long, single braid. Although she seemed familiar, Alyssa felt no emotional connection to her. There was no bond or sense of being between them. Only a faint familiarity like a tune whose melody echoes in the back of your mind, yet you cannot remember the words or the context in which you heard it. She reached out to touch the image; it reached back. Yet before their fingertips touched, Shannon Marie vanished only to be replaced by a three dimensional screening of wooded forest. Rich and lush it sported multiple shades of green, tans and browns as the forest became fields and forest once again. As her perspective changed, Alyssa felt herself zooming to focus on the scene that was most important. Yet it was more than just pictures and sounds. The smell of the fields and rushing of the river below sparked memories and long sleeping emotions. No matter where her life led her, she could never find the safe sense of home. Fear always kept her from letting her roots grow too deep. She had never understood. Her childhood was no better or worse than anyone else's. Yet as her spirit drew closer, the familiarity once again made her crave the comfort of home.

Through breaks in the leaves, she saw two girls running quickly. She knew who they were, yet she didn't feel connected. Instead, like a moderated film, she watched them from above. Instead recalling her own memories, the information flowed to her in unspoken words and images as if someone was narrating their story to catch her up with the story.

Shannon Marie ran breathlessly up the glen, quickly followed by her younger sister, Rachael. Although a year and two months younger, Rachael looked more like Shannon Marie's twin. Both girls favored their Scottish heritage with their flaming hair and outspoken temperaments. Their two older sisters, Elizabeth Marie and Katherine Anne favored their mother's French heritage both physically and in temperament. Fair-haired beauties they openly used their feminine assets to manipulate others to get what they wanted. The plain spoken of mannerism of the patriarch of the family along with his two youngest daughters frequently came into conflict with the matriarch and the eldest sisters' elitism as they boasted of their unclaimable link to the French throne. They refused to see that no matter which man laid down with the mother, the child could lay no claim to parentage unless they were acknowledged by both the father and family. Jacqueline Marie Katherine de Medici may have lay with the King of France, but the daughter they created was conceived above the sheets--not beneath them. Jacqueline refused to be silenced at court about the parentage of her growing child within her. It was the reason Marie marked her for death. But instead of a curse, the midnight escaped to Scotland became a blessing as the people’s revolution sought out the privileged nobles.

In the highlands, Abigail Marie Katherine de Medici was born without a father; the fortune and power of the de Medici family hid the stain, but was never washed away. Having valuable connections in the English and Italian courts, Jacqueline was received as her family station required. Eventually she attained a small estate and fitted herself into the region. Unlike the women born in Scotland, Jacqueline, followed her de Medici heritage, keeping control over her assets and her life. But it was her wit and cleverness, which turned the small estate into one of the most prosperous in the Parish. It was the second reason Abigail was never considered a suitable match for any of the legitimate Clan heir. The heads of clans refused to allow a match unless the son would take total control of the estate and fortunes. Jacqueline refused to relinquish her power. Abigail resent her mother for it. Richard Connell had approach her with an offer of marriage; he was the second largest estate holder in the Parish and under consideration to become the next Parish Chief. Jacqueline refused and arranged a match with Shawn Jacob Michael Cullen. Only he was willing to break with tradition. Instead of insisting on control, he offered himself as steward to Jacqueline, claiming nothing for himself and agreeing to allow her to chose who inherited the de Medici affluence. The eldest son of Michael James Cullen he saw Abigail as an opportunity to restore his clan's fortunes. Reluctantly Abigail agreed; his family estate was not as large as the Connell, but his clan connection opened the path to gain legitimacy and a title. The match was made for the benefit of both families.

Shannon never thought of Seanhair as a woman of wealth and power, only as her Grandmother. None of that interested her, no matter how Seanhair attempted to entice her. She loved hearing stories about France before the revolution, but for some reason, both she and Papa were more concerned about her to becoming more aware of estate business. The month before she officially starting attending to estate business independently. Her decisions carried nearly as much weight as her father's.

Alyssa felt the connection Shannon Marie had with her father. It drew her closer to the young woman for it was something she had always wanted and never had for reasons that were beyond her control. The richness of their love bond awakened her own sadness and sense of loss. He had died before she was born. The only things she knew of him was what her older sister told her. Their mother had stubbornly refused to talk about him. Without warning, Alyssa reached out to more fully connect with the young red head. Suddenly she felt the grass beneath her feet and the breeze on her face. She was no longer an observer, but part of the drama and seeing through Shannon's eyes.

The strange feeling again crept up on Shannon Marie and she stopped half way up the hill. The strange awareness seemed to be happening more often. At first, it was only in her dreams that she could sense spirits around her. The feelings kept getting more intense and harder to ignore. But this time it was different. In a way familiar. Papa had told her that her Aunt Margaret had the same gift. She could see the Earth Folk and the spirits who had not yet crossed over. She asked Bridget to bless her with the same gift; the night of the next full moon, she had her first dream. Since then, the encounters with the dead had become nightly. Sighing, Shannon shook her head, trying to clear the thoughts. But instead of vanishing the image of an older woman with reddish hair reached for her. Her greenish eyes were so familiar, yet she had never seen them before. She was not afraid, yet she was reluctant to take her hand. The spirit of the raven flew between them and the woman backed away, but did not leave.

Suddenly Alyssa felt herself being pulled away. She remained connected, yet she was no longer in direct contact with Shannon Marie. The emotional bond that had started to form had been thinned, but not broken.

The raven circle and flew back towards them. Shannon followed its flight and it brought her attention back to the hillside. She did not know why her mind filled itself with such things. It was almost as if someone was trying to give her wisdom she was not ready to understand. Each time the feeling passed, she felt that something important had happened, yet she was unable to see how it in fit in her life. She slowly started climb the hill again. It was like the lessons Seanhair was teaching her about the lands and court. It did not interest her, but her grandmother’s behavior told her that the lessons were important. None of the information was new. It was all old. Yet, it seemed so essential the closer she got to her seventeen birthday. Suddenly there were no more stories or gossip about the other clans’ secrets or stories about the French court, but a constant testing of what she had learned about the estate.

Reaching the crest, she caught up with Rachael. Shannon Marie pointed to the gathering at the bottom. “I told you Papa would make them wait for us!” She readjusted her crossbow, freeing it from the fold of her breeches. Her attire was another point of contention between their parents. Breeches, boots and wool shirts were not proper dress for ladies. Father always snapped back that if she had provided him with a son, he would have left the girls to her raising. But she had not, so she needed to be content with the two older girls. The two younger were his to raise as he saw fit. Shannon Marie was grateful he had always won. The thought of being turned into court pony turned her stomach. She disappear into the marshes first.

“Hot damn!” Diverting from the path, Rachael leaped a fallen log for no other reason that it was there and ran down towards the gathering at the bottom.

Shannon Marie stopped for a moment. The sun was warm on her face. The lush greenery of early summer was old enough to be fully developed, yet young enough to still have a multitude of shades of green. For a moment, she felt homesick as if she had been away for a long time. She blinked and the feeling vanished as quickly as it had come.

Light a two hour white candle and say

Releasing to Karma

Allow this candle to be the light
which guides my soul through this dark night.
Releasing the need to do harm
I give them into Justices' arms.
Let not my anger and hatred block their way
and hold them from justice one more day.
In peace, love and harmony I allow myself to move on
into the bright future beyond.
I forgive them and me
in complete humility.
Allow my grace to begin
so I can heal from within.
On bended knee and open heart
I ask for the rage to depart.
Grant me the strength and wisdom to move on
so others shall not be put upon.
Goddesses and Gods of Justice I ask you to arbitrate
in this place and in the now to put an end to the hate.
Let your wisdom be the guide
to reveal where truth does hide.
Let it be reveal in such a means
that it can not be again made unseen.
Let it be written across the sky
in letters to be seen by every eye.
May each and every one who was drawn in
find their karma is ready to begin.
With open heart and lesson learned
all my doors and windows are ready to receive blessings I have earned.


For more rituals, spells and information about Wicca read Out of the Shadows and Into the Light, available on at www.theresachaze.com as an ebook and on Amazon as a Kindle

Writing and Producing Soap Operas

Soap Opera Storylines

Soap operas storylines have a 13 week rotation schedule which is based on one primary, 2-3 secondary and multiple filler plots. Although primary storyline may contain several sub-plots, there is one central theme or question that runs through from beginning to end. Unlike movies, soaps and all continuing series have plots that are designed to over lap; it is this intertwining of stories that keeps the show running indefinitely.

Over the decades the format has become very styled and fixed; the timeline is broken in to thirds. During the first third, the primary characters are introduced and the conflict is launched. In the middle third the conflict is developed by adding sub-plots, which gives both helpful and misleading details. The final third is the resolution to the conflict. Even though the portions are listed as being in thirds, they are rarely expressed in equal lengths of time. More often than not it is the middle section that is the longest and contains the most drama.

Each storyline has five sections: beginning, mid-point, body of the story, conflict resolution and the denouement (also call the end of the end). In the beginning, characters are introduced and the conflict identified. At the mid-point a crisis develops that forces the main character to make decisions. The body of the story is where the main characters works through the conflict. The conflict resolution is just that; the characters must face the challenge with either a positive or negative result. Denouement is French for end of the end. It is the last of the story that gives a hint to what will happen in the future. Not all stories have this tail at the end, but I think it is a nice touch In soaps, the denouement, becomes the basis of the next storyline that will involve the characters. The beginning and the mid-point will usually be found in the first third. The characters are introduced and the conflict is set up. The middle third contains the mid point and most of the body of the story. This section contains the clues--both real and false, the subplots, and character development. The body contains the bulk of the story. It gives dimension to the characters and adds suspense, by heightening the drama as the characters are forced to make decisions which limit or change their options. A correctly written conflict is best describes as staircase. With each step, more information is given, but also options are limited. The conflict resolution, including the crisis moment and solution, and the denouement will be contained in the third section. However, in soaps, the end is never the end, but the beginning of another storyline.

The primary storyline is the one that is front and center. It consumes the most air time and resources of the show. However its development is very specifically controlled to maximize suspense and keep the viewers coming back. Usually the primary story airs on Mondays, Wednesdays and Fridays. Fridays used to be the cliffhanger day that left the viewer hanging, insuring they that they would be back on Monday. The first part of Monday was to resolve the tense moment from the week before, while the second half started the story moving forward. Wednesdays are also hump days for storylines. They are designed to keep the plot moving forward and set up the viewer for the cliffhanger on Friday.


Secondary storylines air on Tuesdays and Thursdays. Although there may be two or three, one will be favored and will become the next primary storyline once the current one is resolved. Usually at the mid point which is about week seven, one of the secondary stories will be accelerated. However, it’s own clock will not started until it takes center stage.

Filler stories are plots that have just begun to form or scenes that are character building. They are unstructured and can be placed any where time needs to be filled or a character needs to be developed. Although they may seem like fluff, in reality they are a very important parts of the soap structure.

Scripts

Soaps, like all scripts written for commercial television, have four different versions: creative, working, shooting and post production.

The creative script is very much like a stage play. It contains the dialogue, some stage direction, and the scene transitions. But very little else. It is the starting point and ending reference point for every episode.

The working script is more detailed. The page is divided into two columns; one for the audio or what the audience will hear, the other half contains what they will see. The audio describes what audience will hear--dialogue, music, special effects, etc. The video half explains what is happening on the screen. It has all the blocking of the actors and the props. It is the equivalent of the storyboard in movies.

Shooting scripts are used primarily by the directors and techs; however, the cast also finds the information useful. . This script list the specific shots for each camera and in what order the cameras will be used as well as what the camera need to focus on. The director along with the audio tech, stage manager and camera operators will organize the shots and the lighting after watching the rehearsal. Although the director preside over the set, the cast does have input into the blocking and their characters portrayal. Television is not only a team sport, but it is also an interdependent activity. In spite of the egos, the cast and crew do need to work together in order to create a quality product.

Both the working and shooting scripts are organized for convenient and efficient production. All scenes that use one set will be shot together and edited to be in their proper order. These scripts are also the time keepers for the episode. During rehearsal the scenes are timed in order to keep the proper flow and to keep the episode within the broadcast time limits.

Post Production is where the individual shots are edited together into a complete scene. Music, special effects and credits are added. The scenes are then edited together into a complete package that will fit into the broadcast format for time and commercial breaks.

Broadcast Standards for Hour TV Shows

Even though a show technically fills an hour, the show itself is not an hour long. Commercials take up from six to eight minutes of air time in order to make a profit.

Not only does the FCC still regulate the amount of advertising that can be shown in entertainment shows, but they also have standards that the stations must comply with.
Stations are legally required to identify themselves at the top and bottom of the hour; however, they have a two minutes margin on either side in order to meet the standard. The identification must include the station’s call letters and location. During sweeps weeks, most stations also identify themselves at the quarter hour in order to insure their station receives the proper credit for the viewers.

The amount of advertising breaks in a show depends on the target audience. Children’s programming is more restrictive; not only is the advertising time shorter, but there has to be a very clear separation between programming and ad. Advertising for adults or general audience programming is not as restrictive, but the time is also limited to 6 minutes during the half hour plus the 1 1/2 minutes between, which leave only 22 minutes for actual show time.

In soaps, there are breaks at the top, bottom, and around the quarter hour. In addition there is also a floating break. At the bottom of the hour there are is actually closer to a three minute break which is split between the network and the local station. It is the reason for the five second bumper that states the show will be continuing. The second half hour continues with the same format of three breaks during and the one at the end.

Soaps are a for profit business. However, each time they break away for advertising, they risk loosing their audience, which is why the pace and flow are so important when it comes to the writing, directing and editing. It is the reason why scenes are cut at climatic moments for commercials and why a well written show ends with a cliffhanger. If you keep the view hungry for more, they will keep coming back to the table.

Writing Tip: Creating Conflict
By
Theresa Chaze


Conflict is the stress factor, which not only propels the character to change, but also keeps the reader turning pages. By definition in literature, conflict is plot tension: opposition between or among characters or forces in a literary work that shapes or motivates the action of the character. No matter what genre, the conflict creates the drama, which is the backbone of the story. Without the suspense it creates, there would be no reason for the reader to be drawn in to the tale.

Conflict is not limited to physical altercation, but involves any plot twist, turn or ploy that causes emotional, spiritual or physical distress. Threatening to punch someone can create fear, but so withholding love can have the same effect. One is physical the other is emotion, yet they can have the same result. It is the stressor that causes discord and confusion within and around the main character. However, story conflict involves more than a single event; it is better described as a building of scenes one on another like a staircase, until the character has limited choices. By narrowing the character's options, her or his possibilities are limited, thereby forcing the character into a crisis situation. If done correctly, the readers are further drawn into the story, as they anticipating the next plot twists and the eventual resolution.

Traditionally there are four conflict themes to both short stories and novels, however, in From Blank Page to Book Shelves, there is a fifth.

Man against himself
Man against man
Man against nature
Man against God or spirituality
Man against Fate or Karma (This is explained in From Blank Page to Book Shelves.)

Each theme is a generic conflict category, which help organize the characters and plot. They help define the roles of the characters in relation to their challenges. In this case, man is used as a generic term for person or main character; sometimes the central character isn’t human, but term would still apply. It is the focal point character to which I refer. In small pieces, such as short stories, there is only one conflict theme. However, in longer pieces such as novellas and novels, there are usually diverse characters so there can be more than one theme or a series interdependent themes that guide the reader to the central conflict.

From Blank Page to Book Shelves--How to Successfully Create and Market Your Book is a new ebook, which explain not only more about conflict, but also about character development, story plot progression and other writing tips. It will also make your publishing experience more successful by helping the author to ask the right questions. The marketing information includes how to effectively use SEO keywords in press releases and low cost to free promotional options. Currently, this ebook is available as an Amazon Kindle or on the author's website, www.theresachaze.com for $7.00. Copies bought on the author's site are accompanied by a 345 page listing of over 2000 independent bookstores.

An essay of love, passion and loss by Michael Witherspoon


To watch the video go here http://www.youtube.com/watch?v=Hv5UaIGhixc

Politicizing the Financial Crisis

Both parties are using this national crisis to further their own agendas. Instead of focusing on the good of the country, they have used this emergency to beat up each other up. Early Thursday afternoon, there was basic agreement reached until McCain arrived and the political games began. Within a couple of hours, the bi-partisan spirit had evaporated.

Greed and stupidity created the credit crisis. Financial companies who became top heavy with exorbitant salaries and bonus for the management was the fuse. The deceptive loan practices combined with loans made in bad faith by both parties were the match. However, it was the gluttony of the oil companies who were the explosive. The domino effect of the rapidly rising gas prices destabilized the economy, increasing the cost of living and forcing businesses to cut back on payroll. While jobs were lost or down sized, people were paying more just too simply exist. The cost of living increases combined with the escalating interest rates were more than some households could withstand. Solvent households began to dissolve under the financial pressure, which in turned destabilized the already fragile balance of the financial system. The undermining of the financial institutions has had a cascading effect on the whole economy. Although governmental intervention is not the preferred route, it is the only one left at this point in time that will act as stopgap to the collapse of the country’s financial structure.

McCain suspending his campaign to jump on his white horse to rush to save the economy look more like a fool riding a hobbyhorse instead of knight in shining armor. Both Obama and McCain are only two senators out of a hundred. Neither of them were serving on any financial or banking committee; therefore, they didn’t need to have their boots on the ground for an agreement to be hammered out. On September 19, a bailout agreement had been written; there were still issues to be worked out. However, at a press conference at 1:41 pm eastern on September 25, a bi-partisan press released announced that an agreement had been reached. Yet it was soon after McCain’s arrival that Republicans suddenly withdrew their support. Without a doubt, McCain used his influence within his party to squash the agreement in order to further his own political agenda. It was quite clear McCain and his comrades wanted to bolster his falling numbers by attaching his name to the bailout. Who knows what was said behind Republican closed doors that made the agreeing member change their minds. The end results revealed that they cared more about partisan politics than effectively dealing with the issue at hand.

If politics and partisanships were replaced by common sense and good business, the solutions would be simple. By addressing the core issues appropriate measures could be taken.

The issues:

1. Rising gas prices have increased the cost of living and eliminated jobs.

2. Rising interest rates from flexible loans have caused people to default on their mortgages.

3. Excessive salaries and bonuses for loan executives as well as for those in oil companies and the oil speculation have caused harm to the companies involved as well as country’s economic health.

4. The defaulting mortgages have caused the financial institutions to become unstable.

Solutions:

An immediate cure for the energy crisis won’t happen over night. However, a great deal of the price increases are based on oil speculation. If a mandate was set that purchaser had to accept delivery of the oil within 30 days of purchase, the speculator would be forced to rethink their investment. It would not be a permanent solution, but it would make the price of gas drop.

The bailout would have to not only shore up the economy from the business end, but help the consumer as well.

1. Flexible mortgage rates would be immediately lowered back to the initial rate and permanently fixed with credit given for any monies paid in interest at the higher rate to be immediately taken off the loan.

2. Those in foreclosure should be given the opportunity to refinance at the original rate and start fresh.

3. All bonuses paid to the management of the loan companies for the past 12 months need to be immediately be repaid. If their company is failing they weren’t doing their job and don’t deserve to be rewarded. If they can’t write a check, then assets and property need to be seized.

4. No golden parachutes for anyone in the failing companies. Their actions have caused people to loose their homes; it is only right that the favor be returned.

5. There should be extreme oversight to how the people’s money is spent. If an administrator uses a tissue to blow her or his nose, there needs to be a full explanation in triplicate to how many tissues were used and why.

6. The bailout is a loan not a gift. Stockholders accepted profits that their company didn’t have the financial stability to give. Until the company has paid back the taxpayers in full, no dividends will be given.

7. Executives will no longer be paid exorbitant salaries or benefits. In businesses in other countries, CEO’s are paid 20% more than the person who takes out the trash. There are no expense accounts or special treatments for sitting behind a desk.

8. Each company will be assigned nine executors. There needs to be a 2/3 major in order for an expenditure to be approved.

7. There needs be a public accounting of all business activity every month. Every expenditure and the reason for it needs to be released to the media for prime time release. Shuffling the information out in the late Friday afternoon dump will not be acceptable.

9. All restrictions will remain effective until the loan has been repaid and the company has once again become solvent on its own.


Uncomplicated and practical, these simply stated restrictions will not only stabilize the economy but also rebuild the financial base of the country.

Murder in Salem That Will Be No Mystery

Days of our Lives is setting up the murder of Trent. The suspects have already been lined up; each threatening to kill him for their own reasons. But in short, who cares?

Trent Robbins is a physics professor who appears in Salem initially to be Nick's advisor. However, later it is learned that he is Max's biological father and part of Nicole's past. In the months Trent has been on the air, he has gone from being a dead beat dad to someone who would pimp out his daughter to pay his gambling debts. Along the way he has pissed off a good portion of the Salemites.

Recently, it was released that the character would be murdered (Again, I say-who cares?) and Salem will be embroiled in a great murder mystery. However, there will not be much mystery for those who are long time soap fans. The writers have already telegraphed their moves.

The suspects:

Max Brady--He hated Trent for deserting him as a child and abusing his mother. In addition, after he found his half-sister, he learn that Trent attempted to pimp her out to pay his gambling debt.

Melanie--Trent's daughter now hates him for lying about having a brother and using her to try to pay his debts.

Caroline Brady--Max is her son, even if she didn't give birth to him. Trent hurt and continues to hurt him. Like any Mama Bear, she is rising up to protect her young.

Nick--Trent is threatening to expose Max's help in receiving Nick's grant, thereby discounting all of Nick's work, which would cost him his grant.

John Black-DiMera--Trent made the moves on Marlena, which triggered John's jealousy. John is becoming increasing unstable; the blackouts are just around the corner, opening the door to John not remembering what he did during the time Trent was murdered.

Marlena Black--Trent has been harassing her trying to force he into a relationship. She has repeatedly told him to buzz of, but like any pest he didn't listen, so she has threatened to squash him.

Nicole--Trent used and abused her in the past, deserting her when she needed him the most. From the get-go she hated him. However, that hate deepened the more he manipulated her. He revealed that he had never divorced her, which meant that she was never legally married to Victor. The revelation cost her the divorce settlement.

The unnamed bookie--It has been revealed that Trent is a compulsive gambler, who is heavy into debt to those who break legs for fun.

All of those listed above have threatened to kill Trent; hence the so called murder mystery. However, there isn't a mystery.

Caroline will think Max did it so she will try to cover it up. implicating himself.

Max will think Melanie did it so he will try to cover it up, implicating himself.

Stephanie will think Max did it so she will lie and in doing so make Max look more guilty. She will has her Papa to find the real killer. Steve PI will be led to the gambling underworld where he will unravel Trent's gambling history.

Nick will be a suspect because of his motive as well as he will be seen in the area; however, he will be quickly moved from the suspect list to the witness list.

Chelsea will come to his defense, trying to get Nick back. She will lie in order to give Nick an alibi that he doesn’t actually need; thereby, putting him back on the suspect list.

John will see Trent threatening/making another pass at Marlena. Marlena and Trent will fight. Marlena will be knocked unconscious. When she wakes up, John will be incapacitated-either unconscious or in a trance. Trent will be dead. Marlena will get John out of there, thinking he killed Trent. She will be briefly be a suspect. John won’t remember anything until the crucial moment when he gets his memory back.

Nicole will be a prime suspect because of the money and the marriage. However, EJ will come to her rescue when he digs in to Trent’s past and learns that yes they were divorced and Victor still has to give her the money. However, this will happen after there is some question about Trent being the father of Nicole’s baby and EJ revealing that he doesn’t care--he loves her anyway.


However, the identity of the murder will come will come out of left field. Steve’s investigation will lead him into the gambling underworld; however, it will also reveal Melanie’s mother and the true murderer . Melanie’s mother will appear in town if she isn’t there already. No it isn’t Nicole. But a meek, mousy woman who has been abused by Trent for years. She will finally gain the backbone to put an end to Trent’s abusing her daughter by killing him dead.

INT: HOSPITAL HALLWAY: NIGHT
The officer at the door pushes Sami into the room. The one inside pulls her the rest of the way in and slams the door.

OFFICER AT THE DOOR
(Into his mic)
Shots fired. Possible officer down. North stairwell of University Hospital.

ABE
(Off camera)
Do not--I repeat do not leave your post

OFFICER AT THE DOOR
What about--

ABE
(Off camera)
Keep everyone away from the door. Swat is coming in.

OFFICER AT THE DOOR
What about--

ABE
(Off camera)
If you move more than ten feet from that door, you're fired!.

OFFICER AT THE DOOR
Affirmative.

Daniel walks toward the elevator, while Miles starts toward the stairway door.

(To Miles)
Down go down there!

MILES
Some might be hurt!

OFFICER AT THE DOOR
(Reaching for his gun)
I gave you an order.

MILES
(Pointing at his hand)
You're going to shoot me?

OFFICER AT THE DOOR
(To Daniel)
Don't move!

Daniel stops and raises his hands. The south stairway door opens six officers in full swat gear run onto the floor and down the hall. On the way they clear the hallway by asking people to step into the nearest room and close the door. The nurses at the station are herded into the room behind the desk. Two stop in the center of the hallway with the threesome. The others continue through the stairway door.

SWAT 1
Officer, you were told to stay by your objective.

OFFICER AT THE DOOR
I was detaining witnesses.

SWAT 1
Suspects are detained. Witnesses are protected.

MILES
He was going to shoot me.

DANIEL
That's what it looked like to me.

OFFICER AT THE DOOR
He ignored my order.

SWAT OFFICER 2
(Shaking his head in disgust)
Carver, your man needs to be relieved of duty.

ABE
(Angrily)
Send him down and stand by until his replacement gets there.

SWAT 2
Will do. Get going.

Angrily the officer marches to the elevator.

Take the stairs. The elevator is stopped between floor.

SWAT 1
(Knocking on Lucas's door)
Did you copy in?
CUT
INT: LUCAS'S HOSPITAL ROOM: MORNING
Sami is sitting on the bed next to Lucas. The officer is at the door.

OFFICER
Affirmative.
(To Sami and Lucas)
Better make yourselves comfortable. But not too comfortable.
(To Lucas)
You just had surgery and I’m still in the room.

SAMI
What do you think happened?

OFFICER
You know as much I do.

LUCAS
It can’t be good.

SAMI
How are your feeling?

LUCAS
I hurt. How’s my new son?

OFFICER
You just have baby?

SAMI
Almost a year ago.

LUCAS
I just learned I was the father.

SAMI
First we thought Johnny was Lucas then the test--

OFFICER
(Waving his hand)
Way to much information. You both seem happy. Congratulations.

SAMI
Thanks.

LUCAS
How is EJ taking it?

SAMI
I haven’t seen him.

LUCAS
I wonder what he’s planning.
CUT
INT: B & B BATHROOM: MORNING.
Ava reclining on EJ as they take a bubble bath in an old fashion claw foot tube. Their fingers intertwine and he kisses her ring.

EJ
I need to get you a real wedding ring. Something big and shiny.

AVA
If you must.

EJ
I must. I must.

AVA
(Holding it up to the light)
I like it this one.

EJ
You don’t want a big diamond to show off.

AVA
(Shrugging)
The ring doesn’t matter as long as I’m in your heart.

They passionately kiss. One of their cell phone can be heard ringing from the bedroom.

Is that yours or mine?

EJ
Sounds like mine.

AVA
Aren’t you going to answer it.

EJ
Whoever it is can bugger off.

AVA
(Looking up at him)
What if it’s important?

EJ
(Embracing her)
I’m busy.

Rolling over to face him, she kisses down his chest. There is a sudden banging on the bedroom door.

MALE VOICE
Sheriff’s department.

EJ
What’s the problem officer?

MALE VOICE
You EJ DiMera?

EJ
Yes. What’s the problem?

MALE VOICE
Open the door.

EJ
What the--just a second!

EJ gets out of the tube, quickly drying himself off he wraps the towel around his middle Ava stays in the tube.

AVA
I’ll save you place.

EJ
This better be good.
(Opening the door)
Yes officer?

The sheriff’s deputy looks him up and down as if he can’t believe his eyes; the camera follows his gaze. Although, the sheriff has a big booming voice, he’s a short, slender man who could have doubled for Don Knotts.

SHERIFF
Little late to be taking a bath.

EJ
Is there some sort of bathing law in this county?

SHERIFF
You’re all wrinkly.

EJ
My new wife and I are on honeymoon.

SHERIFF
Oh, I see. Your uncle called.

EJ
My uncle?

SHERIFF
John Black. He was worried about you? Seems you haven’t been answering you phone.

EJ
(Closing the door)
I’m not a truant child.

SHERIFF
He said its a family emergency. You need to go home immediately.

Wearing a robe, Ava walks up behind EJ.

Miss.

AVA
(Holding up her ring)
Mrs. Mrs. EJ DiMera.

SHERIFF
You’re all wrinkly too. I didn’t know these rooms had more than one tube.

EJ
They don’t.

SHERIFF
(Embarrassed)
That would mean you were in the tube together.

EJ
(Closing the door)
Yes it would. If you will excuse us, we’re going to pick up where we left off.
CUT
INT: B & B BEDROOM: MORNING

SHERIFF
(Off screen)
Well. I. You. He said it was life or death.

EJ
(To the Sheriff)
I’ll take care of it. Thank you.

AVA
You should at least call.

EJ
(Putting on his pants)
No. I’m going to kill him in person.
CUT

INT: LUCAS’S HOSPITAL ROOM: MORNING
The officer stands near the door, listening to the police chatter on his radio. Sami stands at the window, looking out.

SAMI
The fire is out.

LUCAS
How many cars?

SAMI
Looks like three. My dad and Abe walked in a few minutes ago.
(To the officer)
Are they coming up?

OFFICER
Should be here in about five.

LUCAS
Do you have any more details?

OFFICER
Sorry. I can’t.

LUCAS
You don’t know or you can’t say?

OFFICER
Both.

LUCAS
Come man. I need to know how much blood I’m responsible for?

SAMI
None. You didn’t do it..
(To the officer)
Tell him. You did the right thing.

OFFICER
I don’t know nothing about nothing.

SAMI
How is the detective?

OFFICER
(Looks away then back)
Dead.

SAMI
What about the other guy?

OFFICER
He’s dead too. I don’t know what you’re into buddy--but you’re racking up a hell of a body count.

SAMI
You don’t know what you are talking about!

LUCAS
Sami don’t.

SAMI
No. He’s implying that it’s your fault it isn’t!

OFFICER
There are two dead cops.

SAMI
He didn’t start this. The guards at Statesville did.

OFFICER
They were just doing their job.

SAMI
Beating up inmates is part of their job?

OFFICER
Who said they were the ones?

LUCAS
I do.

OFFICER
You must have been a troublemaker.

There is a knock at the door.

ROMAN
(Off camera)
Brady and Carver. We’re coming in. Codeword Jack of all trades.

The officer opens the door. Abe and Roman walk in; Miles follows.

Is there a problem in here. I heard loud voices.

LUCAS
Nothing worth mentioning.

SAMI
(Pointing to the officer)
He’s blaming Lucas.

ABE
Obviously he doesn’t have his facts straight.

MILES
I would like to lodge an official complaint. He put my patient at risk and violate his civil rights.

ABE
Those are serious charges.

MILES
I asked him leave during the exam. He refused.

ROMAN
Is that true?

OFFICER
He’s a convicted felon.

ABE
No. He is a witness and a victim of a violent crime.

MILES
That’s been his attitude since he got here. Both him and the other one.

ABE
Officer, I want you to join your partner in my office. Don’t leave until I get there.

Angrily, the officer walks to the door.

Leave your gun with the desk sergeant.

OFFICER
What about my badge?

ABE
We’ll talk about that when I get there.

The officer leaves.

I’m sorry Lucas.

LUCAS
I understand.

SAMI
I don’t.

ROMAN
Sami, calm down. Let us take care of it.

MILES
I need you all to leave. I’ll remove the drain and make sure it is safe for him to travel.

SAMI
I thought he wasn’t going to be released until tomorrow.

ROMAN
Things have changed. We’ll talk about it in the hall.

Sami, Roman and Able leave, closing the door behind them.
CUT
INT: HOSPITAL HALLWAY.

SAMI
What wrong?

ROMAN
First the twins are safe.

SAMI
The twins!

ABE
There was traffic in Maggie’s neighborhood that concerned us. So we sent someone.

SAMI
Someone like him.

ROMAN
No someone like Hope. Relax. We do know what we are doing?

SAMI
I’m sorry.

ROMAN
You’re stressed. I understand. Right now you have to focus. We’ve had to move our plans up. If Lucas can travel, you have to be moved to safe location today


SAMI
What happened?

ABE
We can’t give details on open investigation.

ROMAN
You really don’t need to know.

SAMI
Don’t need or are you afraid I’ll go ballistic? Don’t look at me like that. I know that sometimes I get a little nuts.

ROMAN
A little?

ABE
Not a word. I’m not saying a word.

SAMI
You just did.

ROMAN
Focus Sami. I’ve already talked to John. He’s taking care of the transportation between the manor and the cottage. Hope is going to meet us there with the twins. You need to pack for everyone, including Lucas.

SAMI
For how long?

ABE
We don’t know.

SAMI
You are scaring me.

The door opens and Miles walks out, closing the door behind him. Immediately, Sami walks in.

MILES
(To Abe and Roman)
I’d like him to stay another day.

ABE
That wouldn’t be a good idea.

MILES
I understand. I’ll have the supplies Marlena needs, including an antibiotic. Just in case. You can pick them up on the way out.

ROMAN
Thanks.

MILES
Don’t thank me. I’m not happy about any of this.

ABE
Neither are we.

ROMAN
But it’s the only way we’re to root out the corruption

MILES
I’ll take care of the paperwork.

Miles walks to the nurse’s station.

ABE
We have to get these guys. Two department funerals are enough.

ROMAN
Amen to that.
CUT

INT: DIMERA STUDY: LATE MORNING
Tony, Anna, Marlena and John are looking through the scrapbooks from Salem. From above the perspective watches and listens.

MARLENA
So many I remember.

ANNA
We were so young.

TONY
And foolish.
(Looking at picture of Renee)
If we only knew then what we do now.

JOHN
One of the benefit of not having a past is that there are no regrets.

ANNA
There's also no special moments. First kisses. First fights.

TONY
The making love afterwards.

The perspective focuses on Tony. Bitter, sweetly Tony remembers his moments with Renee. http://www.youtube.com/watch?v=FTHIWzLmylE

I wasn't teasing. I loved you.

ANNA
(Walking to him)
Tony, what are you looking at?

Tony snaps back to the present. Quickly, he sets the scrapbook on the table.

TONY
Old memories. Shouldn't EJ be here.

The Perspective focuses on Anna. One of the scrapbooks falls off the table and hits Anna’s foot.

ANNA
Ow!

TONY
Did I do that? I’m sorry

ANNA
Talk about the past coming back to hurt you.

JOHN
He'll be here shortly.

MARLENA
How do you know?

JOHN
I tracked him down through his GPS.

TONY
I didn't know he had a GPS.

JOHN
He does now.

MARLENA
John, what did you do?

There is a knock at the front door.

JOHN
(Walking out of the room)
I'll get it. Rolf is making lunch.

ANNA
Am I the only one who just got a cold chill up their spine?

JOHN
(Returning with Hope and the Twins)
Look who I found.

MARLENA
My goodness there you are. Hi Hope.

HOPE
Hi. Tony. Anna. I didn’t expect to see you here.

ANNA
Look at them. What I wouldn't give for one of my own.

TONY
If you ask nicely, maybe Samantha will loan you hers.

JOHN
Run Tony. Save yourself.

TONY
(To John)
Like I'd get away that easily.

HOPE
Do you know about the change in plans?

JOHN
All taken care of. The copter will be here at two.

MARLENA
When did you get a helicopter?

JOHN
Right after I lost my plane.

MARLENA
You replaced the plane.

JOHN
Now I have both. At one point, Stefano must have had one. There is a landing pad in the back and at the cottage. Mine’s better.

ANNA
Boys and their toys. Tony aren't they beautiful.

JOHN
These are big boy toys.

TONY
(Distracted)
Yes. Of course.

MARLENA
(Walking to Tony)
Old memories.

The Perspective focuses on Tony and Marlena.

TONY
You could say that.

MARLENA
She was very special.

TONY
Ever wonder what you life would have been like if--

MARLENA
Don’t go there.

HOPE
They missed their nap. I thought I’d put them down and start packing.

ANNA
Packing? Where is Sami going?

While Anna is holding Alie, she reaches out to the Perspective.

JOHN
We’re all going on adventure.

ANNA
Where?

JOHN
If I told you, I’d have to kill you.

ANNA
John.

MARLENA
It’s very complicated. Lucas was not only a witness to but was also suffered abuse at Statesville. Mickey documented it when he picked up.


HOPE
There was enough evidence to trigger an investigation. Lucas has agreed to testify. The last beating was a warning for him to keep his mouth shut.

TONY
Surely the authorities are protecting him.

JOHN
Not so much. He was nearly killed in Salem's Place yesterday afternoon.

HOPE
Not only are we taking it seriously, but it's also very personal. An officer was murdered on his way to log in evidence. This morning there was an attempt was made on Lucas’s life. Several cars were blown up in the hospital parking lot as distraction. There was shoot out. A detective and the assassin were both killed.

ANNA
I can't believe this is happening.

HOPE
Whoever is behind this knows enough about our procedures to get around them.

MARLENA
That's why John is taking us all to one of Stefano's safe houses.

TONY
You found one of his retreats. I'm impressed.

HOPE
No one on the force will know where they are. If we don' t know, there can be no leaks. Is there an easy way to get the stroller up to the nursery.

ANNA
(Picking up Ali)
Why take it up? You just have to bring it right back down. I'll care his little one up if you take her brother.

HOPE
Deal. Where is the nursery?

JOHN
I'll have Rolf take you there.
(Shouting)
Rolf.

TONY
Isn't he making lunch?

MARLENA
John likes tormenting him.

TONY
Oh.

JOHN
Rolf!

ROLF
(Running in he looks around)
More people for lunch.

JOHN
Most likely. But first take these two beautiful women up the west wing.

ROLF
I won't--can't--

JOHN
Rolf get over it. That's probably the safest place for you. She's out. If I were her, I wouldn't want anything to do with it.
(Rolf is unmoved)
Fine. You don't have to go in. Just show them to the door.

ROLF
Fine.

Carrying the children, Anna and Hope follow Rolf upstairs.

TONY
Do you trust him?

JOHN
Hell no!

The front door slams open, startling everyone. EJ marches in followed by Ava.

EJ
(Screaming)
John!
(Furious EJ enters the study)
You have gone to far!

JOHN
(Calmly)
When I call you, I expect you to answer.

EJ
You don't own me!

MARLENA
Calm down. We were worried.

EJ
Like I believe that. Tony, what are you doing here?

TONY
Ghost busting.

EJ
You don't believe that crap.

MARLENA
It's true.

EJ
It's superstitious nonsense!

JOHN
What was so important that you couldn’t return a phone call?

AVA
That would be me.

TONY
Big bad you kept him from answering his phone.

AVA
(Showing off her ring)
Big bad me did a lot of things to him.

TONY
All of which I enjoyed immensely.

JOHN
Elvis, I see you spared no expense when it came to the ring. How long were you at the gumball machine?

AVA
(Angrily swings at John)
You son of --

EJ
(Intercepting her fist and kisses it)
Darling, don’t worry about it. I’ll take care of it.
(To John)
I’m here. What do you want?

MARLENA
While we were looking for information about the identity of the woman, we found Stefano’s study.

EJ
Hold the presses! We’re standing in it.

JOHN
His real study. This is just for show. Unfortunately, he booby trapped his computer. All that information is gone.

MARLENA
We did find his scrapbooks.

Ava looks around the room at the different scrapbooks.

We were hoping that they would give us a lead.

AVA
These are his di ritagli di coppa. That’s what he called them.

The Perspective focus on Ava, circling her as if it was trying to remember her.

TONY
How would you know that?

AVA
Daddy and Stefano not only did business together, they were friends.

EJ
Ava and I grew up together. We were going to get married.
(Bitterly)
My father had other plans for me.

MARLENA
How well did you know Stefano?

AVA
Me not well. But my parents did. Stefano would hold the huge galas. My mother would act as hostess.

EJ
I remember those.

AVA
That’s how EJ and met.
(Sadly)
She was murdered during one of them.

EJ
I thought it was a car accident.

AVA
It’s not true. She died in a car, but it was on one of Stefano’s islands. She was organizing Andrea Lee’s coming out party. .

JOHN
Was this reminiscent of a pre-civil war mansion only gaudy? Half way up a hill with terrace gardens.

AVA
That’s the one

JOHN
(Pointing to a stack of scrapbooks)
You might find interesting pictures of your mother.

AVA
It was the only time we had been there. If there are pictures of us, they would be elsewhere.
(Picking up the open one on the table)
I could help with the European books. Who are you looking for?

MARLENA
You would be too young to know. We’ve narrowed down the timeline to the mid-80’s. That’s when the west wing was sealed.

AVA
Sealed? I don’t get it.

EJ
To keep a spirit locked away so she couldn’t carry out her curse against Stefano and his progeny.

AVA
Stefano cursed. Who would have thought it?

TONY
Apparently Stefano killed her daughter and locked her away.

JOHN
When Sami and I opened the door, we freed her to carry out her revenge.

MARLENA
She’s probably the one who tried to stab you.

AVA
Someone tried to stab you.

EJ
That was Samantha.

JOHN
Actually it wasn’t.

MARLENA
She has attacked others. Lexie was nearly killed. Celeste is in the hospital.

TONY
I’ve been having weird dreams--

EJ
John, do you believe this nonsense?

JOHN
I know there is a mystery.

AVA
(Opening the scrapbook)
I love a good mystery.

TONY
That one’s from Salem.

AVA
(Looking at the pictures)
I know her.

MARLENA
Who?

AVA
(Pointing to Renee)
Her.

MARLENA
Renee?

AVA
She’s a lot older now. But that’s her.

TONY
Andre murdered her. I saw her body.


JOHN
There are at least three of us in this room who have come back from the dead.

TONY
I was never dead.

EJ
Just kidnapped and held prisoner.

AVA
I saw her last year.

THE WOMAN
(Screaming)
You lie! It’s a trick!

The book is ripped from Ava's hands and thrown against the wall. The several of the pictures fall out. The album catches fire. Tony stomps out the flames. A large statue is thrown at Ava. EJ pulls her out of the way. The other piles scrap books smolder One by one they ignite. Tony tries to put out the flames; they immediately reignite.

TONY
Stop! We're trying to help you!

Furniture is over turned. EJ, Ava and John dodge lamps, books--picture fly off the walls. EJ does his best to shield Ava, who seems to be the primary target. A decanter of amber liquid is picked up by an unseen hand.

JOHN
(Pointing)
Not the Scotch!

The decanter is thrown at him. He dives to the floor. It smashes on the wall behind where his head would have been Marlena runs to him.

MARLENA
Are you alright?

JOHN
Wow! The ghost stuff is actually real!

While he stands next to Marlena, he is no longer a target.

MARLENA
You think?

JOHN
Wait a minute. You have our rolls reversed. I’m the sarcastic smart ass.

Marlena walks away and the cigar box flies of the desk toward John’s head; he blocks it. It bounces off his arm and smashes on the wall. As John dodges flying objects, he notices that neither Marlena or Tony are being attacked.

THE WOMAN
(Crying)
My daughter. He murdered her and she never knew!

MARLENA
I know that voice. How do I know that voice?

JOHN
If you know who she is, don’t keep it to yourself!

MARLENA
(To the woman)
What didn't you daughter know? Tell me. Let me help you.

The woman's voice becomes clearing and more localized to the area of the room in front of the large mirror. The fuzzy image of a petite dark hair woman appears in the broken glass, further distorting the image.

THE WOMAN
I kept the secret for so long. She never knew how much I loved her. What I did to keep her safe.

MARLENA
I'm sure she knew.

THE WOMAN
When I told her, it was to late.

MARLENA
What secret. Let us help you?

THE WOMAN
You can't help. Stefano found out and he punished me. He told me so. He said he'd make me pay. And he did.

TONY
What does this have do with Renee?

THE WOMAN
She was my daughter!

MARLENA
Lee?

THE WOMAN (LEE)
Marlena, you were right. I didn't think it through. It was my fault. My fault he murdered my daughter

AVA
(Screaming)
Renee's not dead!

THE WOMAN (LEE)
(Her image become very clear in the mirror)
It's a DiMera trick! You would say anything.

TONY
(Grabbing Ava)
Where did you see her.

EJ
(Freeing Ava)
Stop it! You're hurting her!

AVA
The night my mother died. She was on the island. They were talking. Stefano saw them. when my mother saw him, that's when she ran away. He was so angry.

TONY
Where is this island? Tell me!

THE WOMAN (LEE)

Her image stretches out of the mirror becoming 3 dimensional but not solid. Ava backs away. EJ attempts to protect her. With a wave of her hand, Lee knocks him across the room. Stunned, he slides down the wall to the floor

It's a lie! She’s dead. Stefano laughed when he told me. He broke my heart and he laughed.

Walking through the furniture between them, she pursues Ava around the room.

I saw the two of you together. You are just trying to save him. It won't work. He's just like his father. Just as cruel and manipulative.

AVA
He's not!

MARLENA
Lee, stop! Listen to me.

THE WOMAN (LEE)
No more talk. No more lies.
(To EJ)
Before you die, you are going know what it's like watch someone you love die in front of you.

AVA
She's not dead. I saw her!

THE WOMAN (LEE)
It's not true. I saw it. Andre killed her in the garden.
(A large shard of glass is lifted off the floor)
You will die as she did.

MARLENA
That's not the way it happened!

The doors and windows slam shut.

TONY
Lee.. You can't do this! Let me find out the truth!

The chard soars across the room, piecing Ava's chest.

EJ
(Screaming)
Ava!

For a moment, Ava stands staring at the glass protruding her chest before she crumples to the floor. EJ scrambles to her, cradling her in his arms.

Stay with me. Marlena saver her.

THE WOMAN (LEE)
I’m sorry Marlena. I can’t let you do that.
With a flip of her hand, Marlena is thrown against the wall. She is knocked unconscious.

Watch her died. Don’t worry. The pain won’t last long. Death will reunite you.
CUT



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In March, 2006 I contacted Pagefree to publish my novels Awakening the Dragon and Dragon Domain. They were highly recommended by another author, Janet Elaine Smith, which is why I chose them. The price we agreed on was 350.00 per book for the formatting and cover along with a one year listing with Ingram and Baker & Taylor; this price included a free level one edit, which is spelling, punctuation and grammar

I received the proof for Dragon Domain on March 16, 2006. They had the wrong title. They added a table of contents; it was not in the original and isn't done in fiction novels. They added blank pages to unnecessarily inflate the cost of the book. The editing was inconsistent and poorly done. Basic spelling, punctuation and grammar errors that a simple spell check were missed. Letters at the beginning of sentences were left out. They changed words that changed the meaning of the sentence. Kim tried to convince me that "horses" is a two symbol word that could be hyphenation: I had her change it back. There were 40 corrections that I sent back in from the proof, most of which should have already been corrected by the level one edit. Pagefree attempted to charge me for 30 of them. I refused.

Before Pagefree received my payment they were helpful and easy to contact; however, that changed once I made payment. It took longer and longer to get a phone call or an email. They claimed to have computer and email issues.

On March 20, I sent Awakening the Dragon. On April 18, I finally received the proof for Awakening the Dragon. Although they claimed to do a basic level edit, there was no evidence of it. In fact, there were more mistakes in the text than when I sent it to them. Again it was spelling, grammar and punctuation mistakes that a simple spell check would have caught. When I complained, Kim sent me this email on April 20.


Good morning, Theresa,
As most companies do, we monitor many of the popular discussion lists for customer satisfaction comments. We never clarify any situation publicly on those lists as we feel that is disloyal to our customers – our goal is to improve issues, not aggravate them.
I believe that you are feeling misled with regard to the Basic Edit which was included freely in your publishing package. I fear you may have been under some mistaken impression as to what that includes and have relied upon it too heavily in the production of your books. I wanted to point this out for you as it may help you in your review edits.
The Basic Edit was advertised as such:
For a limited time, all new book submissions placed with PageFree will receive a FREE Basic Edit as defined in our Data Form. For books which have already been edited, this is an excellent opportunity for a last “once-over” before your book becomes public. If you feel your book is a better candidate for our In-Depth Editing services, consider this newsletter as a coupon for a 15% discount from those services. Submissions must be received between February 8th and March 15th to be eligible. If your book isn’t quite completed and you would like to take advantage, we recommend you submit the completed Data Form or use our Online Submission to reserve your spot in production.
From the Data Form:
EDITING
Basic Edit - Includes basic spelling, grammar, and punctuation utilizing professional editor and automated software.
Both books were given the aforementioned edit and this should only be done on books which were in-depth edited beforehand. While many things were corrected (I, myself, in fact are responsible for the outed to ousted substitution – they are roughly interchangeable words), the frequent internal thoughts requiring italics issue you had with Dragon Domain are not subject to discovery in anything less than an In-Depth Edit. However, I did not charge you for those amendments you submitted, you will remember.
On your second book, “Awakening”, I corrected not only those problems brought to light by the automated edit – but recognizing your tendency to overlook the internal thoughts issue, I searched for any occurrence of “he thought” or “she thought” – and corrected them if there was a problem. I also noted that you tended to confuse when to capitalize the initial letter in Mom or Dad – and did a search for these issues as well. There is one additional tendency which I felt it important to bring to your attention now – and this is, again, very unlikely to be caught in an automated edit as there is no way to sort out the incidence. You have a tendency to use punctuation incorrectly in dialogue – as example –
“Get out of the way of the fire.” Julie said.
Naturally, in this case, “Julie said” would not stand alone as a complete sentence, so the two must be combined with a comma.
“Get out of the way of the fire,” Julie said.
I’m sure you are aware of this, and in your writing haste, perhaps were more intent on communicating your thoughts.
We hesitate to point out these issues with authors – it has many times come back to haunt us as the author becomes offended and attacks. Unfortunately, it is the nature of our business that we are often blamed for problems that have nothing to do with us – generally arise from misunderstanding of information. I hope you will accept the aforesaid in the vein it was intended.
A good rule of thumb for relying on the basic edit is: is the incorrect text actually “correct” in another instance? If so, then the software will not recognize the error. Only the In-Depth Edit which is a complete read through by a professional editor will pick up on that.
My last comment would be that if you have some problem with PageFree, I would ask that you address it to me and not post it publicly where I, out of respect, will not differ with you. Self-publishing authors have enough difficulty overcoming the prejudices the traditionals spread through media channels and we need to keep our ranks close and professional. It’s also difficult for us when we are the second or third attempt company – we are often expected to make up for issues which arose before us. I’m not sure you are aware of it, but there are some author groups, and I will not specify because it is an upcoming case with the Federal government, which are being run by those with an interest in seeing digital publishing fail. They are used to encourage irrational, stampeding sort of misinformation. I am not suggesting that the list I saw your post on is one of these – but there is a group of individuals who are about to approach the Federal Trade Commission to seek an injunction against the groups which are, expose and stop the behavior. We were not interested in such a legal action, but always believe it is far better to handle communication issues privately.
I thank you for taking the time to read through this as I know your time is limited with your upcoming new job. I believe if you will check your dialogue for the sort of issue I mentioned above, that should help considerably. Your books are well-written and I know authors are often forced to self-edit due to the expense of hiring a professional external editor. Books of your size would take 2-3 days each to completely read through and correct – and that is an expensive proposition.
Sincerely,
Kim"

Late on April 20, I received the updated proof of Awakening the Dragon. I didn’t have a chance to look at it for a few days.

On April 21, I received the revised proof of Dragon Domain. I chose to believe Kim when she said that the those edits as well as others were made. I approved the proof without looking at it. My mistake.

A couple days later I started looking through the proof of Awakening the Dragon. Not only didn’t their basic edit, catch my errors, Pagefree added new ones. On May 1, I received the following email from Kim.

Theresa, not sure what to write here… I feel I’ve gone above and beyond to help you with the errors in your book. The Basic Edit is intended as a “once over” and doesn’t recognize words as incorrect, if they are correct when used in another context. Example, you have on page 197, “Now your blaming” changed to “Now you’re blaming” – both your and you’re are words so it’s not going to pick up on that. I went beyond the free edit and made well over a hundred changes in each book (in-depth edit kind of changes) as it is – now you’ve sent 112 more, ten of which are included in your package. I know last time you went rather public and accused us of mistreatment – but the fact remains that the manuscripts both needed in-depth edits and the free edit was never intended or advertised to fix these problems. Making all these corrections is too much – it’s not fair to folks who order in-depth edits.
I’d like to hear your thinking on this.

If they had done the basic edit, it would have caught “your” instead of “you’re”. It proves that they did not even do the basic edit. Kim again replied with their definition of a basic edit, which again included basic punctuation, grammar and spelling.

On May 2, I sent the following email:

Kim,
It was my understanding the basic edit included running it through the spell check to catch punctuation, spelling and grammar errors. If that had been done many of the errors would have been fixed. The predominate problem with Awakening the Dragon was punctuation. and grammar.
Yes, you have been very helpful. Yes, this is a business for both of us. As I see it we have three options. The corrections can be made and we go from there. I pull Awaken the Dragon, make the corrections and resubmit under the same agreement. Or I pull both books and your company reimburses me.
Theresa

Kim responded:

Hi Theresa ~
Your books WERE run through the spell check. It DID catch many errors – and I personally caught a few hundred more. It does not, by definition or ability, if you understand automated spell checkers, catch words which are of themselves proper words – just improperly used.
As I said, I will make those corrections which come under the definition – but this will not fix your books – many errors remain. (and I’m referring to those which you haven’t listed)
If you wish to pull Awaken the Dragon, there is a $99 new layout fee, which may be your best bet.
As for your third choice, there are no refunds, per Publishing Agreement, and, given the amount of work and generosity of spirit demonstrated, I am saddened that you would even consider this an option.
I will move forward with making qualifying corrections.

My response:

Kim
Once I realized my new computer hadn't been doing the grammar check, I reran it. I'm running XP; nearly all the punctuation, spelling and miss-used words came up to be fixed. Part of editing is also fixing the errors; it doesn't matter if it's one or four hundred that is part of the job. I'll resubmit it, but I will not pay the extra fee. We are both partially responsible.
As for pulling them all together, I would only do this as a last option and would truly hate to do it. But I've already been taken advantage of by two other publishers. Both of which claimed to do a full edit. Dragon Domain was to be published by Spiral. It had a gone through the edit process--most of which I had to go back and repair. He changed spurted to spirited--so Maxie had blood spirited from his lip. Publish America never put the edits into the final product.
Let me know your decision. I will be able to resubmit by Monday at the latest.
Theresa

On May 4, I received a second proof for Awakening the Dragon. I immediately contacted Kim. Her response was to ask for an additional $99.00 for a new layout. I printed out the proof and sent it back; I was going to pay the 99.00. However, instead of accepting the changes, Kim asked for more money. On May 8, I received the following.

Good morning, Theresa ~
As I mentioned and you’ll see from a previous email – to get the $99.00 new layout fee – you have to work from an extracted text we send you from the InDesign file. That’s because when you make your corrections, and haven’t changed the formatting, we can substitute the text with far less re-working – hence the reduced fee. If you submit a whole new MSWord .doc that wasn’t an extraction, we can’t do that and then the book carries a $299 new layout fee.
So – I have attached two things for you:
1) The extracted text from the InDesign file. You’ll want to make your corrections in it and not do ANY re-formatting, such as alignments, adding tabs or spaces for alignment, etc.
2) I took a look at the Word .doc you sent for substitution (which would not be useable for the $99 new layout fee) and highlighted in yellow quite a few corrections you might have missed just in this section (document named “Needed Changes”). If you can include these in your re-submission of the extracted text, you won’t have to pay to have them corrected down the road – just trying to save you some money.
Thanks!
Kim

I flatly refused and threatened legal action. On May 8, I received the another proof. This one contained formatting errors. Paragraphs that had been combined, sentences were cut off.

On May 9, I received the correct proof--again. I checked that the previous errors were fixed. However, it never occurred to me that they wouldn’t go back a restructure the book to accommodate the cha