TITAN PUBLISHING OFFICES. THERE IS LOTS OF ACTION IN THE HALLS AND OFFICES, PRESS TIME FOR "BELLA" HAS JUST BEEN MOVED UP. JOHN GETS OFF THE ELEVATOR.

MIKE: (RUSHED, KEEPS WALKING) John... hi... I've got to get these proofs downstairs. We'll talk later!

A FEW OTHER PEOPLE GO BY. SOME SAY HELLO, OTHERS IGNORE JOHN, BUT NO ONE STOPS TO CHAT.

HE STOPS AT HIS SECRETARY'S DESK. SHE IS DRESSED FAIRLY CONSERVATIVELY. THERE ARE NO PERSONAL ITEMS OR PICTURES ON HER DESK.

PATRICIA: (EXTREMELY POLITE) I prefer Patricia, Mr. Black. The latest budget reports are on your desk; they need to be back to Mr. Kyle by noon.

SHE GESTURES TO THE NEARBY COFFEE SERVICE.

JOHN: (YAWNING) Coffee sounds great, Patty ... um, I mean Patricia. Brady and I were up late last night watching the Yankees. That was some game, wasn't it?

PATRICIA: I don't really watch sports, Mr. Black. How do you take your coffee?

JOHN: (JOKING) Oh, I'll get it. I don't want to be accused of being old-fashioned, now do I?

PATRICIA: (COOLY) I wouldn't dream of it, sir.

JOHN WINCES SLIGHTLY. THIS CONVERSATION IS GOING NO WHERE AND HE'S NOT USED TO GETTING THIS REACTION FROM WOMEN. HE TRIES AGAIN.

PATRICIA: (STANDING UP) That's a rather personal question, isn't it, Mr. Black? If you'll excuse me, I need to get these figures to Accounting... unless you need me for anything?

JOHN: (SIGHING) No, no, go on. I'll just go get started on those budget reports for Jerry.

PATRICIA LEAVES HER DESK AND EXITS DOWN THE HALL. JOHN GOES INTO HIS OFFICE. THE WALLS ARE PAINTED CREAMY WHITE AND THE CARPETING IS GREY. THERE ARE SOME GENERIC LANDSCAPES ON THE WALL. THE FURNITURE IS A DARK WOOD AND THERE IS A SMALL GREY COUCH BY THE WINDOW. IT SCREAMS "CORPORATE DECORATOR." HE LOOKS AROUND, SETTING THE COFFEE CUP DOWN ON THE END TABLE.

HE SITS AT THE DESK AND BEGINS TO LOOK OVER THE BUDGET REPORTS, BUT IS SOON DISTRACTED. HE PICKS UP BRADY'S PICTURE.

HE LOOKS AT THE PICTURE FOR A MOMENT MORE, SMILING. HE GOES BACK TO WORK, REACHING FOR HIS COFFEE CUP, WHICH IS OVER BY THE COUCH.

HE GOES OVER TO GET IT AND SITS ON THE COUCH LOOKING OUT THE WINDOW.

HE GOES BACK TO THE DESK AND SITS DOWN. HE LOOKS AT THE BUDGET REPORTS AND THEN AT THE WINDOW.

HE REACHES FOR HIS JACKET.

JOHN THROWS HIS JACKET OVER HIS SHOULDER AND WALKS OUT THE DOOR.

CUT TO: JACK/JENNIFER BEDROOM. JENNIFER IS IN BED ASLEEP. SHE IS WEARING HER PAJAMAS AND THE COVERS ARE ASKEW, AS IF SHE'S BEEN TOSSING AND TURNING ALL NIGHT. THE BABY MONITOR IS ON THE BEDSIDE TABLE. WE HEAR ABIGAIL'S CRY THROUGH THE MONITOR AND JENNIFER STIRS.

SHE REACHES HER HAND OVER TO JACK'S SIDE OF THE BED AND FINDS THE EMPTY PILLOW. SHE OPENS HER EYES AND SITS UP, REMEMBERING JACK IS GONE.

ABIGAIL'S CRIES GROW STRONGER.

CUT TO: KAYLA'S HOUSE/LOS ANGELES. WE SEE A LARGE, SUNNY ROOM WITH A HUGE PICTURE WINDOW AND SLIDING GLASS DOOR. THE BEACH IS VISIBLE THROUGH THE WINDOW. KAYLA IS SITTING AT A TABLE DRINKING A GLASS OF JUICE. THE DOOR OPENS AND MARCUS HUNTER WALKS IN, WEARING SHORTS AND A T-SHIRT.

MARCUS: Yeah, it was great. You are so lucky that Philip rented his place to you.

KAYLA: I know... and at a family-discount price. I'd never be able to afford a view like this otherwise. (GESTURING TOWARDS THE WINDOW)

MARCUS: It is spectacular. I'm really going to miss this.

KAYLA: And I'm really going to miss you.

MARCUS: Me? Are you sure?

KAYLA: (LAUGHING) Yes, I'm sure. This week has passed so quickly. It seems like you just got here for the conference.

MARCUS: I know, it has gone quickly. But it's been so great being here. I've really missed my old friend.

KAYLA: And she's missed you.

MARCUS: Well, if you really miss me, then why don't you come back to Salem?

KAYLA: I confess, since you've been here, I've really been thinking about that. I miss my family, my friends...

MARCUS: I still can't believe you actually left us.

KAYLA: After Steve... died, after that mess with Shane, I just felt like I had to get away, to make a clean start.

MARCUS: And have you?

KAYLA: I love my job and living here so near the beach is a dream. But I think maybe I'm ready to go home.

THE PHONE RINGS, KAYLA ANSWERS, PHONE-CALL, ONE-WAY.

MARCUS: How's Jo doing?

KAYLA: She's fine, she called to ask about Jack.

MARCUS: Jack, as in Deveraux?

KAYLA: Yes, it seems he's out here on business. Jo wanted me to tell him to call Julie. It seems he still hasn't checked into his hotel. Jo was worried, she said Jack and Jennifer had a fight.

MARCUS: I hope everything is all right, you know Jack...

THE DOORBELL RINGS. KAYLA WALKS OVER AND OPENS THE DOOR. TO HER SURPRISE, JACK IS STANDING THERE, NEWSPAPER IN HAND.

HOLD ON JACK. AND OUT.

KAYLA HOUSE/LOS ANGELES. JACK IS STANDING ON THE PORCH, HE LOOKS TIRED AND DISHEVELED. IN PROGRESS.

JACK: (OBVIOUSLY TIRED, ALMOST BABBLING) Good morning, Kayla. Or is it afternoon? I don't think I changed my watch... (TAPS WRISTWATCH) I was just driving by on my way in from the airport. I had this flight from hell, I've been stuck in some airport in Texas, or was it Idaho or maybe Utah, since yesterday. Anyway, I was on my way to the hotel and I knew you lived in the neighborhood, so I drove by and... well...

KAYLA: Jack, would you like to come in?

JACK: (UNSURE) If you... (SEES MARCUS) Marcus, my best man, how are you?

MARCUS: I seem to be doing a lot better than you. Why don't you come in?

JACK ENTERS. THEY STAND RATHER UNCOMFORTABLY.

THEY ALL SIT.

JACK: That's right. I think I've found a backer for the Spectator.

KAYLA: That's wonderful. Jo told me how worried you've been.

JACK: (TIREDLY) It's been hard. Harder than you know...

KAYLA: Jack, you seem exhausted, can I fix you something?

JACK: I don't want to be a bother.

KAYLA: No bother. We were all going to have a nice brunch out on the terrace. Join us. I'm sure Stephanie would like to see her Uncle.

JACK: How is my niece? I haven't seen her in ages...

KAYLA: She's gorgeous, intelligent...

MARCUS: Not that Kayla's prejudiced in any way.

KAYLA: Come on, Marcus, every parent thinks their child is perfect.

MARCUS: If you say so.

KAYLA: I'll bet Jack does nothing but talk about Abigail. In fact, I'll bet he has a wallet full of pictures with him right now. Jack?

JACK: I do have one or two...

KAYLA: See? Wait until you're a parent, Marcus.

MARCUS: That could be a long wait.

KAYLA: (TO JACK) Can you believe this? Marcus have been telling me for years that there are no women in Salem.

MARCUS: The good ones either left (LOOKING AT KAYLA) or are married. Hey Jack, speaking of married women, how's Jennifer?

JACK: Jennifer?

MARCUS: Your wife. Remember her? You got married at the Fair Grounds. You almost stood her up. I was best man...

JACK: Jennifer... I really don't know how she is.

MARCUS: Why? Is something wrong?

JACK: Something? Everything is wrong. I think my marriage may be over.

HOLD ON JACK'S FACE.

CUT TO: JACK/JENNIFER BEDROOM. JENNIFER IS WALKING BACK AND FORTH WITH ABIGAIL. THE BABY IS FUSSY AND WILL NOT BE COMFORTED.

ABIGAIL CONTINUES TO CRY.

ABIGAIL STILL FUSSES. SUDDENLY JENNIFER REALIZES WHAT'S WRONG.

HOLD ON JENNIFER'S FACE.

CUT TO: CARVER DETECTIVE AGENCY. MUSIC PLAYS ON A LARGE PORTABLE RADIO: BOBBY MCFERRIN'S, "DON'T WORRY, BE HAPPY." ABE, LEXIE, AND JONAH ARE DRESSED IN OLD BLUE JEANS AND PAINT-SPLATTERED SWEATSHIRTS, THEY ARE PAINTING THE RECEPTION AREA. THE WALLS ARE HALF PALE MAUVE AND HALF DINGY OLD, WHITE. ABE, LEXIE AND JONAH ARE DANCING AROUND, PAINTING, LAUGHING, HAVING A GREAT TIME. JOHN WALKS IN.

ABE: We're painting.

JOHN: I can see that. I went by the station to see you and they told me you'd resigned and gave me this address.

ABE: I've been meaning to call you, but it all happened so fast...

JOHN: What happened? Will you please tell me what the hell is going on?

HOLD ON JOHN'S CONSTERNATION. AND OUT.

CARRIE'S APARTMENT. THE PLACE IS A MESS, CLOTHES, NEWSPAPERS, MAGAZINES ARE STREWN AROUND THE APT. IN THE KITCHEN AREA, WE SEE A LARGE ASSORTMENT OF EMPTY FOOD WRAPPERS, PRIMARILY JUNK FOOD, DIRTY DISHES, ETC. CARRIE IS DRESSED IN SWEATS, SITTING ON THE FLOOR, STARING AT THE TV, A REMOTE CONTROL IN HER HAND. SHE CHANGES CHANNELS AND WE HEAR THE ANNOUNCEMENTS AS SHE PASSES BY: "COMING NEXT: ASK DR. LOVE;" (CLICK) "AND THIS CREAM MADE ME LOOK YOUNGER IN JUST SEVEN DAYS..." (CLICK) "LOOK OUT, HE'S GOT A GUN..." (CLICK) "NO, MONA, IT WILL NEVER WORK, EVERYONE KNOWS THAT I'M YOUR BROTHER, NOT YOUR FATHER AND THAT YOU WERE RAISED BY WOLVES..." (CLICK) "MOIST LIPS..." (CLICK) "FEEL FRESH..." (CLICK) "FIRMER THIGHS IN ONLY 10 DAYS..." (CLICK) "TODAY, GERALDO TALKS TO WOMEN SO BEAUTIFUL, THEY CAN'T GET A DATE." CARRIE TOSSES THE REMOTE AT THE TV, GETS UP, WALKS OVER TO THE REFRIGERATOR AND OPENS IT. SHE GRABS A GALLON OF CHOCOLATE COOKIE DOUGH ICE CREAM AND A SPOON AND SITS DOWN AT THE TABLE AND STARTS TO EAT. THEN SHE SPIES HER SCHOOL BOOKS ON THE TABLE. SHE PUTS DOWN THE SPOON AND OPENS ONE OF THE BOOKS. SHE STARTS TO READ, THEN ABRUPTLY SLAMS CLOSED THE BOOK. SHE WALKS OVER TO THE PHONE AND DIALS.

CARRIE PICKS UP THE ICE CREAM CARTON, AND WALKS BACK OVER TO THE TV AND SITS ON THE FLOOR. SHE TAKES THE TEDDY BEAR SHAWN-D GAVE HER AND SNUGGLES IT NEXT TO HER, THEN SHE PICKS UP THE REMOTE, TURNS ON THE TV AND STARTS TO CHANGE CHANNELS. WE HEAR THE ANNOUNCER, "IS BEAUTY ONLY SKIN DEEP? MAKE-OVERS FOR WOMEN WITH FACIAL DISFIGUREMENTS. NEXT ON DONAHUE." CARRIE LIGHTS UP. HOLD ON HER INTENSE INTEREST.

CUT TO: CARVER DETECTIVE AGENCY. IN PROGRESS.

LEXIE: All I ever seemed to do was fill out paperwork.

ABE: The budget cuts were just going to get worse. In the last election, the voters voted against a proposition that would have provided funding for more cops.

LEXIE: And so much of what we were doing seemed to be playing politics. And Chief Samuels never liked the fact that Abe and I were married.

ABE: We were both burned out and with Roman gone, it just seemed like time to move on. So... we decided to go into business for ourselves.

JOHN: OK, I'm convinced. Congratulations!

ABE: Thanks. We're hiring a receptionist this afternoon. Would you like to apply?

JOHN: No, thanks. I already have a job.

ABE: Yeah, but you're a desk jockey. No more thrills, no excitement...

JOHN: No more all-night stake-outs in the dead of Winter in an unheated car, no more chasing drugged-out nuts with guns...

ABE: It wasn't that bad. It's exciting. Admit it, once you get hooked on that kind of life, it's hard to leave it behind.

JOHN: I'm happy where I am.

ABE: If you say so.

JOHN: I say so. Now, I've gotta go, but I wish you all the best.

ABE AND JOHN SHAKE HANDS AND JOHN LEAVES. ABE TURNS TO LEXIE.

ABE: Not a single word.

HOLD ON ABE'S FACE.

CUT TO: ALAMAIN MANSION, LIVING ROOM. VIVIAN IS SITTING ON THE COUCH FLIPPING THROUGH A MAGAZINE. IVAN ENTERS.

IVAN: Nothing out of the ordinary, Madame.

VIVIAN: I'll be the judge of that. Now tell me everything. What exactly did she do and when exactly did she do it?

IVAN TAKES OUT A SMALL NOTEBOOK AND BEGINS TO READ FROM IT.

VIVIAN: (BORED) Yes, yes, get on with it. What else, Ivan?

IVAN: At 10:40, she went to the pharmacy. She purchased shampoo, Kleenex, and had a prescription refilled.

VIVIAN ROLLS HER EYES AND PUTS THE MAGAZINE OVER HER FACE.

VIVIAN THROWS THE MAGAZINE TO THE FLOOR, FRUSTRATED.

IVAN: Madame?

VIVIAN: This isn't working at all. At this rate all I'll find out is what brand of toothpaste she prefers.

IVAN: I believe it is Tartar Control Crest, Madame.

VIVIAN: (IGNORING HIM) I know she is up to something. I just have to catch her at it.

IVAN: Do you wish me to continue following Dr. Manning, Madame?

VIVIAN: (TO HERSELF) Unless she's gotten someone else to help her...

IVAN: Madame?

VIVIAN: No, Ivan. I can do without your boring commentary. I will find out what Carly is up to. There must be another... (BEAT) Ivan, I want you to watch Bo Brady.

HOLD ON VIVIAN'S FACE. AND OUT.

CARRIE'S APARTMENT. IN PROGRESS. THE DONAHUE THEME MUSIC PLAYS AS THE SHOW ENDS. CARRIE LEAPS UP WITH A SMILE. SHE GOES TO HER CLOSET AND STARTS SORTING THROUGH HER CLOTHES. SHE HOLDS DRESSES IN FRONT OF HER, CHECKS THE MIRROR, THEN TOSSES THEM ASIDE. SOON THERE IS A JUMBLE OF CLOTHING AT HER FEET.

THEN CARRIE PICKS A MINI DRESS. OBVIOUSLY NEW, IT STILL HAS THE PRICE TAGS ON IT. CARRIE HOLDS IT IN FRONT OF HER.

FADE TO CARRIE AS SHE STANDS IN FRONT OF THE MIRROR, CURLING HER HAIR WITH A CURLING IRON. THE BACKGROUND MUSIC SWELLS AND WE HEAR: CYNDI LAUPER'S "GIRLS JUST WANNA HAVE FUN." FADE TO CARRIE AS SHE STARTS TO PUT ON MAKE-UP. FADE OUT AND FADE BACK IN AS CARRIE IS JUST FINISHING WITH HER LIPSTICK. SHE HAS USED ALL OF THE MAKE-UP TRICKS AND LOOKS GOOD, THE SCAR IS BARELY NOTICEABLE. SHE TURNS HER HEAD IN THE MIRROR TO BE SURE THE SCAR IS HIDDEN. A LOOK OF UNCERTAINTY CROSSES HER FACE.

CARRIE TURNS FROM THE MIRROR, THEN STOPS AND FACES IT AGAIN. SHE STARTS TO DEBATE HERSELF IN THE MIRROR.

CARRIE GRABS HER PURSE AND KEYS AND RUNS OUT THE DOOR, LAUGHING, AS THE MUSIC SWELLS.

CUT TO: KAYLA HOUSE/LOS ANGELES. IN PROGRESS.

JACK: It's very complicated.

MARCUS: It's always complicated with you, Jack.

JACK LOOKS AT MARCUS.

JACK: It is complicated. But the condensed version is that I did something stupid, we had a fight, Jennifer threw me out of the house... And I don't know if she wants me back.

KAYLA: What do you want?

JACK: What do you mean?

KAYLA: I mean, what do you want? Jack, I know you better than most people (BEAT) and I know that above all else, you love Jennifer.

JACK: I do. But I don't think Jennifer believes that anymore.

KAYLA: Then you should tell her.

JACK: That's what Jo said.

KAYLA: Jo's right. Jack, when two people love each other, they have to fight to stay together. They have to fight for each other, for each precious second, because you never know when it will all be taken away from you...

KAYLA'S EYES WELL WITH TEARS, SHE CAN'T GO ON. JACK AND MARCUS EXCHANGE A LOOK AS THEY BOTH REALIZE SHE IS TALKING ABOUT STEVE.

JACK TAKES OUT HIS HANDKERCHIEF AND HANDS IT TO KAYLA, SHE DRIES HER EYES.

JACK: And I (BEAT) needed him... I still need him. I need his advice...

KAYLA: Jack, Steve always tried to tell you that you were stronger than you thought. That you could do whatever you wanted. Steve believed in you.

JACK: He did, didn't he?

MARCUS: He did. When we were growing up in that orphanage, all he could talk about was having a family. Well, homey got his wish... He had Kayla, Stephanie, Jo, Adrienne and you, Jack. Steve knew family was the most important thing.

JACK: You're right.

KAYLA: Steve loved us all.

JACK: I know... And I (BEAT) loved him. But I never got the chance to tell him...

KAYLA: He knew.

JACK: Did he?

KAYLA: Yes.

JACK: But I should have told him. He shouldn't have had to guess. You know, Kayla, you were right. We do have to tell the people we love that we do love them before it is too late.

HOLD ON JACK'S FACE.

CUT TO: HORTON KITCHEN. ALICE IS PUTTING THE FINISHING TOUCHES ON SOME OF HER FAMOUS DONUTS. JENNIFER OPENS THE KITCHEN DOOR AND LETS HERSELF IN, SHE IS PUSHING ABIGAIL IN A STROLLER.

ALICE: What a wonderful surprise, my granddaughter and my great-granddaughter.

JENNIFER: We came by for a fresh-baked donut.

ALICE, ALWAYS PERCEPTIVE, IMMEDIATELY NOTICES JENNIFER'S RED AND PUFFY EYES WITH THE DARK CIRCLES UNDERNEATH.

HOLD ON JENNIFER'S FACE. AND OUT.

HORTON KITCHEN. ALICE AND JENNIFER ARE SEATED AT THE TABLE, A PLATE OF DONUTS NEARBY. ABIGAIL IS ASLEEP IN HER STROLLER. IN PROGRESS.

ALICE: Jennifer, you didn't.

JENNIFER: I did.

ALICE: Where is he now?

JENNIFER: Jo told me he left for L.A. on business, he came by the house to pick up some things. He didn't even bother to leave me a note...

ALICE: Maybe he didn't know what to say.

JENNIFER: Maybe he doesn't have anything to say... to me.

ALICE: Jennifer, you have got to talk to Jack. When will he be back?

JENNIFER: I don't know.

ABIGAIL WHIMPERS IN HER SLEEP. JENNIFER CHECKS ON HER. SHE'S FINE.

ALICE: Is she the only one who misses him?

JENNIFER: What do you mean?

ALICE: Are you sure you don't feel the same as your daughter? Are you sure you don't miss him, too.

JENNIFER: Yes, I do miss him. I love him. But he's hurt me so many times...

ALICE: Maybe that comes with loving Jack.

JENNIFER: Maybe if I thought he really loved me, but he obviously cares about the paper more than his family.

ALICE: Jennifer, you know that isn't true. Jack loves you more than anything or anyone in this world.

JENNIFER: I wish I could believe that.

ALICE: You can. (BEAT) You know, when you first told me that you loved Jack, I had my doubts. I wasn't sure he was the man for you because of his past... I was afraid that he might hurt you.

JENNIFER: (DEFENDING JACK WITHOUT THINKING) Grandma, Jack would never hurt me.

ALICE: See? You do know Jack. Jack loves you and he will do anything to protect you, to take care of you.

JENNIFER: I can take care of myself.

ALICE: I know you can, but I think Jack needs to feel like he can take care of his family. Tom has always felt a great responsibility to take care of me, his children, his grandchildren and now, even his great-grandchildren...

JENNIFER: Grandpa has always been wonderful to me and now he's the same way with Abby.

ALICE: Well, maybe Jack is more like your Grandfather than you think. Maybe Jack is just trying to take care of you. I grant you, other men might not do it the way Jack does...

JENNIFER: Jack is bossy, arrogant, and always trying to run my life, I'm used to that. But this mess with Billie and the money...

ALICE: Jennifer, I'm not saying what Jack did is right, but do you think that maybe he did the wrong thing for all the right reasons?

JENNIFER: I don't know...

ALICE: Every couple has disagreements.

JENNIFER: But it seems like all Jack and I do lately is fight.

ALICE: I remember you telling me that you liked that. It was challenging.

JENNIFER: Maybe I did like it. Maybe I still do... I don't know... It's just... sometimes I wish we were more like other couples.

ALICE: Why?

JENNIFER: Why? Because it would be easier.

ALICE: Easier isn't better, it's just easier. You once told me that one of the reasons you loved Jack was because he was different.

JENNIFER: But sometimes "ordinary" seems so appealing...

ALICE: Jennifer, I think there's only one question you really need to ask, do you love Jack?

JENNIFER: Yes. I always have, and I'm afraid I always will.

ALICE: Then I think it's simple. Do you want to give up your marriage? Do you want to raise Abby alone? Do you want to live without Jack? Or... do you want to fight for him?

HOLD ON JENNIFER'S FACE, AS SHE PONDERS THE QUESTION.

CUT TO: BALLISTIX/SALEM PLACE. CARRIE IS PUTTING OUT A NEW SHIPMENT OF SHIRTS. SHE IS TRYING TO ACT NORMAL. SHE IS SELF-CONSCIOUS, BUT THE MAKE-UP HAS GIVEN HER SOME CONFIDENCE.

CARRIE: Um, ok, I guess.

WOMAN: (NOTICING CARRIE'S CAREFULLY HIDDEN SCAR, BUT BEING POLITE) Oh dear. It does seem a little short, doesn't it? What do you think?

CHILD: (LOUDLY) Mommy, what happened to that girl's neck? It's ugly!

OTHER CUSTOMERS AND STAFF LOOK OVER AND BEGIN TO STARE.

CHILD: But it is ugly! It looks like Freddie Kruger!

WOMAN: (RED FACED, TO CARRIE) I'm terribly sorry. She hasn't learned her manners yet. It's not that bad, really. Your make-up is beautiful and they can do wonders with plastic surgery now.

CARRIE: (UPSET) It's OK, really. I'm going to have to get used to it.

CARRIE HANDS BACK THE DRESS.

CARRIE GOES TO THE EMPLOYEE LOUNGE. A CO-WORKER, SHARON, FOLLOWS.

CARRIE: (HUDDLED AGAINST A WALL) Yeah. I just need a few minutes, ok?

SHARON: Look, don't let that upset you. You know how little kids are. It really isn't that bad.

CARRIE: (TRYING NOT TO CRY) Yes it is.

THE MANAGER, MANDY, ENTERS.

SHARON EXITS.

CARRIE: (BITTERLY) Yeah, I'm tired Mandy. Tired of people telling me I look like a freak!

MANDY: Look, maybe you came back too soon. Do you need more time off to recuperate? Or I could put you in the stock room if you're uncomfortable on the sales floor...

CARRIE: Why don't you just say it, Mandy? You don't want me around. I'm scaring the customers, right?

MANDY: Carrie...

CARRIE: Well, it's true, isn't it?

MANDY: (DELICATELY) Well, sales are down today, but...

CARRIE: (CRYING OPENLY NOW) Great! That's just great! I thought people would accept me. I thought I looked OK, but I was wrong. Mandy, I'm out of here. And you don't even have to pay me for the two hours.

CARRIE RUNS OUT ON THE STORE.

CUT TO: PIER. JOHN IS SITTING, BAREFOOT, ON THE PIER, HOLDING BRADY ON HIS LAP. BRADY IS "HOLDING" A FISHING POLE, WITH JOHN'S HELP. BO WALKS UP AND UNSEEN BY JOHN, WATCHES THE TWO.

BO: This sounds familiar...

JOHN: (STARTLED, THEN SMILING) Bo... How are you?

BO: Good. And you? Although I don't think I need to ask.

JOHN: Just sitting here playing hookey from work with my son.

BO: Sounds perfect. I remember having this same kind of afternoon with Shawn-D. And before that...

JOHN: Before that, Pop having this same conversation with... with... (BEAT) you and Roman... (AWKWARD) I guess I'm still remembering Roman's childhood...

BO: The kind of conditioning that was done to you is hard to overcome, don't sweat it. (BEAT) Besides, if the memories are happy ones, why not just keep 'em?

JOHN: Memories of you and Shawn are certainly better for me and Brady than Alamain childhood memories, that's for sure.

BO: Actually, it's the Alamains I wanted to talk to you about.

BO SITS ON PIER NEXT TO JOHN AND BRADY.

BO: It's more like what Carly wants to do. She's talking about getting custody of Nikki, to get him out of that house and away from Vivian and Lawrence.

JOHN: I can't say that I blame her, I wouldn't want this little guy exposed to those two for any length of time. What's the plan?

BO: That's the part that worries me. The best way to do it would be to dig up some dirt on Larry and Viv, and use that to convince the judge they're unfit.

JOHN: Any judge would give Nikki to Carly.

BO: But what's that gonna do to Nikki? I'm not sure the kid can take that kind of stress, especially after everything he's been through.

JOHN: Well, kids are pretty tough, but I see your point. It couldn't be easy for a sensitive kid like Nikki to find out the terrible things Lawrence and Vivian have done. Is there a way to set up joint custody or something?

JOHN SHIFTS BRADY, WHO HAS FALLEN ASLEEP, IN HIS ARMS, AND SETTLES HIM IN HIS CARRIER.

JOHN: We all know Vivian will stop at nothing to keep Nikki.

BO: And all of Vivian's lies about his mother have got to be rough on Nikki, too.

JOHN: Old rock and a hard place, eh?

BO: Yeah, I just don't know what would be best for Nikki.

JOHN: Tough decision, Bo, but if Carly is determined to get permanent custody of Nikki, she's going to need your help and support.

BO: She's got it. I love that little boy. He's a great kid.

JOHN: You'll just have to make sure and keep it as easy on Nikki as possible, explain things to him every step of the way.

BO: Nikki's smart, he'll listen.

JOHN: I learned raising Carrie and the twinners that if you're open with a kid, if you shoot straight and don't try and fool 'em, even the difficult stuff is easier to handle.

BO: Do you think Lawrence and Vivian will let it be that easy, though? I can't see those two letting Nikki go without one helluva fight.

JOHN: For all her faults, I think Vivian does love Nikki. And I know he adores her. But she will fight Carly.

BO: And Nikki will be caught in the middle.

JOHN: And I don't know about Lawrence...

BO: If Larry decides to get vengeful, it'll be worse. (BEAT) To hear that your father is a bad guy is one thing, to see it in action is a whole 'nother story.

JOHN: You're thinking about Victor, aren't you?

BO: Yeah... I know how Nikki is gonna feel. I've been there, man, I know what it's like to be the son of someone like that... It messes up your mind. (BEAT) I don't want Nikki to go through what I have.

JOHN: One of these days, Bo, we'll have to have a long talk about Vic.

BO: I don't...

JOHN: (INTERRUPTS) But only when you want to hear what I have to say. Now, though, you've got Nikki on your mind...

BO: So supposing we do decide to go after Larry, and get custody of Nikki? I know Larry's your brother...

JOHN: He may be my biological brother, but as far as I'm concerned, my real brother is right here with me.

BO: (BO SMILES, TOUCHED) So you're gonna be ok with this?

JOHN: Yeah... I think the one person we all need to think about is Nikki.

BO: Then you'll help?

JOHN: If I can.

BO: Think. Do you know about anything that could nail Larry?

JOHN: I suspect a few of Larry's current dirty deeds, but nothing I can prove. But maybe... (BEAT) I can tell you that there's a lot of information that's not in the official police files on Lawrence Alamain.

BO: Information like what?

JOHN: I'd tell you if I could, Bo, but I just can't.

BO: Can't or won't? What gives?

JOHN: Bo, there are plenty of pieces of the puzzle you can put together to make a case against the Alamains, and if you give me a day or two, maybe I can give you some leads...

BO: That'd be great. There's a lot of dirt to dig on Larry, but research has never been my strong suit.

JOHN: No, files were never your forte...

BO: I'd rather bust somebody in the act than dig up evidence on possible crimes, but I'm afraid that isn't going to be much help with a slick customer like Lawrence.

JOHN: I have another idea for you...

BO: I'm listening...

JOHN: I have it on good authority that two excellent PI's have opened up an office in Salem.

BO: Yeah, I'd heard that Abe and Lexie were in business, d'ya think they can help with this?

JOHN: I'm sure of it. Not only would they be happy to check into the dirty deeds of brother Larry, I know for a fact that they could use a paying customer like Carly.

BRADY SUDDENLY STIRS, AND LETS OUT A WAIL. JOHN BEGINS TO PACK UP.

BO: Hey, thanks, bro. You've already done a lot...

BO HITS JOHN AFFECTIONATELY ON THE SHOULDER, AND KISSES LITTLE BRADY'S HEAD. JOHN LEAVES. BO PICKS UP A COUPLE OF STONES AND SKIPS THEM ON THE WATER, DEEP IN THOUGHT, THEN TURNS AND HEADS BACK UP TO THE STREET. GO TO: BACK OF PIER AREA, BENEATH THE UPPER WALKWAY. IVAN IS STANDING IN THE SHADOWS. HE'S OBVIOUSLY HEARD EVERY WORD. AND OUT.

CARVER AGENCY OFFICE/CORR. ABE IS INTERVIEWING AN ARRAY OF APPLICANTS. IN PROGRESS. A LARGE MAN SITS AT ABE'S DESK. HE IS WEARING HEAVY COMBAT BOOTS WITH CHAINS AROUND THE TOPS, LEATHER TROUSERS, A LEATHER JACKET, AND NO SHIRT. HIS HEAD IS SHAVED AND HAS BOLDLY COLORED DRAGONS TATTOOED UPON IT.

LEATHER: Well, I threw one out a window once...

FADE OUT ON LEATHER-CLAD MAN, FADE IN TO A WOMAN SITTING IN THE SAME CHAIR, SHE'S VERY WELL-DRESSED, VERY COUNTRY-CLUB.

FADE OUT ON WOMAN #1, FADE IN ON A PROFESSIONAL-LOOKING WOMAN, VERY PRIM AND PROPER.

FADE OUT ON MPD WOMAN AND FADE IN ON ABE'S FACE, AS HE LISTENS TO ANOTHER MALE APPLICANT.

HOLD ON MAN'S FACE, HE'S IN FULL CLOWN MAKE-UP. GO TO: THE AGENCY RECEPTION AREA. WE SEE AN ODD ASSORTMENT OF STRANGELY-DRESSED INDIVIDUALS, SEVERAL TALKING TO THEMSELVES, ONE IS CLEARLY PICKING THE POCKET OF THE MAN IN FRONT OF HIM. LEXIE WALKS IN, CARRYING WHAT IS OBVIOUSLY A LARGE BAG OF TAKE-OUT FOOD. SHE LOOKS AT THE CROWD IN THE OUTER OFFICE, WALKS PAST THEM AND GOES INTO ABE'S OFFICE.

LEXIE PUTS THE BAG DOWN.

LEXIE: What do you need?

ABE: Some sane applicants.

LEXIE: Is it really that bad?

ABE: Yes. (BEAT) You know, Lex, maybe we shouldn't have said, "No experience necessary" in the advertisement...

LEXIE: Chin up, hon, there's only 25 more to interview... I'll be back later.

ABE: Coward.

LEXIE WINKS AND WALKS OUT THE DOOR. HOLD ON ABE'S DISMAYED FACE, THEN FADE OUT. FADE IN TO A WOMAN SITTING IN THE NOW-FAMILIAR CHAIR, WEARING ALL BLACK

FADE OUT ON WOMAN IN BLACK, FADE IN ON ABE AS HE REACHES INTO HIS DESK DRAWER, PULLS OUT TWO ASPIRIN, PICKS UP A WATER GLASS, TAKES THE ASPIRIN AND GROANS. A MOTHERLY-LOOKING WOMAN NOW SITS IN THE CHAIR.

FADE OUT ON WOMAN'S INCESSANT CHATTER, FADE IN ON A MAN IN CHAIR, WEARING FULL ROBES OF RAINBOW COLORS, SEVERAL CRYSTALS AROUND HIS NECK.

ABE SHAKES HIS HEAD AND REACHES INTO HIS DESK DRAWER, THIS TIME PULLING OUT A LARGE BOTTLE OF ANTACID TABLETS. HE TAKES A HANDFUL.

FADE OUT ON ABE AS HE LAYS HIS HEAD ON THE DESK, FADE IN ON A MAN IN THE CHAIR, WEARING BAGGY SHORTS, T-SHIRT AND BASEBALL CAP, HIGH-TOP SHOES.

FADE OUT ON THE RAPPER, FADE IN ON ABE SITTING BEHIND THE DESK, NOW INTERVIEWING A WOMAN IN PURPLE WITH A MATCHING PURPLE TOY POODLE WHO IS BARKING NON-STOP AT ABE FROM HER LAP.

ABE: Thank you for coming in...

BO WALKS IN, UNANNOUNCED.

BO STOPS AND STARES AS HE SPOTS THE PURPLE WOMAN AND DOG. ABE PRACTICALLY JUMPS FROM HIS CHAIR IN GLEE.

ABE WALKS OVER TO THE DOOR, OPENS IT, THE WOMAN EXITS AND ABE ADDRESSES THE GROUP ASSEMBLED IN THE OUTER OFFICE.

BO AND ABE WATCH THE ASSORTMENT OF HUMANITY FILE OUT THE DOOR, THE ONE WE SAW PICK A POCKET EARLIER HAS DECIDEDLY BULGY POCKETS.

ABE: Would you believe, potential receptionists? (SIGH) If you never remember anything else I ever tell you, Bo, remember this: never advertise a job "no experience necessary"...

BO: I'll remember that...

ABE: So what brings you by? You wouldn't happen to want to change careers and become a receptionist?

BO: Nah, but I'll keep it in mind. Actually, I'm here as a potential client...

ABE: Why didn't you say so?

PLAYFULLY, ABE TAKES OUT HIS HANDKERCHIEF AND DUSTS OFF THE CHAIR.

BO AND ABE LAUGH, ABE PULLS HIS DESK CHAIR AROUND AND THEY SIT FACING EACH OTHER.

ABE: Sounds serious.

BO: It is. Carly wants to get full custody of Nikki, but she thinks the only way to do it is to get info on Lawrence Alamain and his aunt to prove they're unfit as guardians.

ABE: That'll be a tall order, considering how well Lawrence generally covers his tracks. But I'm sure he slipped up somewhere, maybe several somewheres. We'll just have to find them.

BO: My biggest concern is that whatever we do doesn't hurt Nikki himself... Do you think we can find anything so potentially damaging to Lawrence that he'll give up Nikki without a fight?

ABE: It's possible... although that'd be some find, Bo. But maybe it won't be as hard as it seems, if we look in the right places...

LEXIE WALKS INTO THE OFFICE.

ABE: I sent them packing.

LEXIE: Abe... We really need a receptionist.

ABE: I just couldn't take it anymore, Lex, besides company came.

LEXIE: Hi, Bo, what brings you to Carver and Carver?

LEXIE WALKS PAST BO, PATS HIS SHOULDER, PERCHES AT THE END OF THE ABE'S DESK, SMILES AT ABE AND PUTS HER FEET UP ON ABE'S LAP, FACING BOTH MEN.

LEXIE: Won't that be hard on the boy, newly-discovered parents, and the only mother he's ever known, fighting for custody?

BO: That's what I'm afraid of, so I was just telling Abe we'll need to find something pretty big, so Larry and Viv won't make an ugly, vicious battle of it.

ABE: To find something that threatening to Lawrence, well, that could take some time. Just how committed to this idea is Carly?

BO: Committed enough that money is no object. However, she'd like to get started and get the wheels in motion. She doesn't like the idea of Nikki living at the Alamain mansion any more than I do.

LEXIE: I can certainly understand that. Of course, we'll do whatever we can, for you and Carly...

ABE: You bet, Bo. And it can be as hands-on as you want, if you're interested in helping out...

BO: I definitely am. I'd love to get Larry dead-to-rights and put him away, so he can't bother Carly or her son. And if you don't mind, John might be able to help, too.

ABE: Great. It's been a while since I've worked with John, it'll be good to work with my old partner again. (BEAT) Do you have anything for us to start with?

BO: Not really just yet, but John said he'd have a couple of leads in a few days.

LEXIE: Well, we can get some background checking started...

ABE: (INTERRUPTS) Yeah, Lex, I'll do that, and you can interview the next round of "What's My Aberration."

LEXIE: Oh, thanks!

ABE: Well, now that we've got our first paying customer, I say we celebrate! Let's head over to Alice's Restaurant and the cheeseburgers are on me!

BO: I'd love to, but I've got to get back to Carly and tell her what's going on. You two have a great time, and I'll see you tomorrow.

BO LEAVES AS ABE AND LEXIE SAY "GOOD-BYE."

LEXIE: And one that can help friends.

ABE GRINS, GETS UP, AND GRABS LEXIE. THEY DANCE HAPPILY AROUND THE ROOM, GIGGLING LIKE TWO KIDS. THE DANCE SLOWS AND SOON THEY KISS PASSIONATELY. ABE REACHES AROUND LEXIE AND PUSHES SHUT THE DOOR. FADE OUT ON THE DOOR WHICH READS: "CARVER AND CARVER, PRIVATE INVESTIGATIONS". AND OUT.

CARVER DETECTIVE AGENCY/LEXIE'S OFFICE. LEXIE AND JONAH ARE UNPACKING SOME BOXES.

LEXIE CONTINUES TO UNPACK, LOOKING AT JONAH OUT OF THE CORNER OF HER EYE.

SHE LOOKS DIRECTLY AT JONAH NOW.

JONAH: (SQUIRMING) Maybe he took somebody else?

LEXIE: Who?

JONAH: (SHEEPISHLY) Ok, it wasn't Abe, it was me. Some of the guys and I went there after class.

LEXIE: (ANGRY) And you charged it to Abe's card?! Jonah, you have your own card, why didn't you put it on that? And why did you treat everyone?

JONAH: (DEFENSIVE) Well, they've treated me plenty of times. I didn't want to look ungrateful or cheap!

LEXIE: That still doesn't explain why it's on Abe's bill.

JONAH: (EMBARRASSED) My card's maxed out, it wouldn't go through. I didn't want to look like a fool after I'd already said it was on me, so I used Abe's card.

LEXIE: You're up to the limit! Jonah, what have you been buying?

JONAH: Well... there were books for this semester... and I needed some new clothes... and... and... I needed stuff!

LEXIE: (DETERMINED) This is the last time. Look around you, Jonah.

SHE GESTURES AROUND THE ROOM.

JONAH: (APOLOGETIC) It won't happen again, Lexie. Honest.

LEXIE: (VERY SERIOUS) We've heard that tune before. But I mean it this time. No sliding around Abe, either. If it happens again, you'll have to answer to me.

JONAH: (DEFENSIVE) Okay, I said it wouldn't happen again!

LEXIE HANDS HIM A PIECE OF NEWSPAPER.

JONAH: (PUZZLED) Looking for what?

LEXIE: You are getting a job, young man. From here on in you're responsible for your own life and your own debts. And I want you to pay for that meal.

JONAH: (SHOCKED) A job? You want me to get a job?

HOLD ON JONAH'S SHOCKED EXPRESSION.

CUT TO: KAYLA HOUSE/LOS ANGELES. KAYLA, JACK AND MARCUS ARE SITTING ON THE SOFA. IN PROGRESS.

JACK: If you're sure.

KAYLA: I am. Marcus is using the guest room, but this (PATTING CUSHION) is a sofa bed.

JACK: I don't want to be an imposition...

KAYLA: Jack, shut up. You're my daughter's Uncle and I will not have you staying in a hotel.

JACK: I don't know...

KAYLA: What would Steve say?

JACK LOOKS AT KAYLA AND STOPS ARGUING.

JACK LOOKS SO DEPRESSED AND WEARY THAT KAYLA AND MARCUS EXCHANGE A LOOK. MARCUS SLAPS JACK ON THE BACK AND GETS UP.

JACK: (GLUMLY) Why?

MARCUS: Maybe breathing in some of that fresh sea salt air will bring the color back to your cheeks.

KAYLA: That's a great idea. I'll go get Stephanie.

THEY ALL STAND.

MARCUS: Jack, let's go...

THEY STAND AND HEAD TOWARDS THE DOOR. AND OUT.

ALAMAIN LIVING ROOM. VIVIAN IS SITTING ON THE SOFA, SIPPING A CUP OF TEA. LAWRENCE WALKS IN.

LAWRENCE: Hello, Vivian. Don't you look like the cat that swallowed the canary. What are you up to?

VIVIAN: Nothing. I've just come across some information you might find... interesting.

LAWRENCE: Spit it out, Vivian. I'm really not in the mood for this.

VIVIAN: It seems that Bo Brady hired some private investigators today.

LAWRENCE: And how do you know that?

VIVIAN: I have my ways...

LAWRENCE: What do I care, if that dolt hires an investigator.

VIVIAN: I think perhaps you should ask yourself why he did it before you ask if you should care.

LAWRENCE: Vivian, I warned you, I'm not in the mood for your little games...

VIVIAN: Lawrence, sometimes you can be so dull. Carly is a bad influence on you...

LAWRENCE: Vivian...

VIVIAN: All right. It seems Officer Brady hired the Carvers to investigate us.

LAWRENCE: He's tried to get us before and failed. He doesn't scare me.

VIVIAN: Lawrence, you misunderstand. Carly asked him to do it.

LAWRENCE: Carly? She wouldn't.

VIVIAN: She would and did. It seems she is planning on asking for sole custody of your son.

LAWRENCE: She wouldn't do that.

VIVIAN: Lawrence, I tried to warn you about her. She wants Nikki all to herself. She wants to take him away from us.

LAWRENCE: Vivian, this is just another one of your games.

VIVIAN: I wish it were. But Carly and Bo are trying to get something, anything that they can use against us in court.

LAWRENCE: I'll call Carly, this is all a misunderstanding.

VIVIAN: Lawrence! Are you so enthralled with that woman that you can't see the truth?

LAWRENCE: What truth?

VIVIAN: That she's been so pleasant, so agreeable, so malleable, because she wants to take Nikki away from us. But Nikki destroyed her plan, so she has to take more drastic measures.

LAWRENCE: Nikki? What does he have to do with this?

VIVIAN: Lawrence, you may be so besotted you don't see the truth about Carly, but Nikki does. He knows what she really is and he knows we're the ones who really love him.

LAWRENCE: Nikki just needs to get to know Carly.

VIVIAN: I know her, Lawrence, you're the one who doesn't.

VIVIAN PULLS OUT A TAPE RECORDER. WE HEAR BO TELLING ABE THAT CARLY WANTS THEM TO FIND SOMETHING ON THE ALAMAINS, SO SHE CAN GET SOLE CUSTODY OF NICHOLAS.

VIVIAN: No, it isn't. Now do you believe me?

LAWRENCE: How did you get that?

VIVIAN: Let's just say the Carvers haven't found the perfect receptionist just yet. But does it matter how I got it? All that matters is that bitch is trying to steal Nikki! Are you just going to let her take him or are you going to fight for your son?

LAWRENCE: Don't worry Vivian. I'll fight. I'd kill Katerina before I let her take my son away from me.

HOLD ON LAWRENCE'S ANGER.

CUT TO: BEACH/LOS ANGELES. JACK, KAYLA AND MARCUS ARE WALKING DOWN THE BEACH. JACK IS CARRYING STEPHANIE.

MARCUS: And as I recall, Jack, you were dressed as a nurse.

JACK: Please, not in front of the child.

KAYLA: (LAUGHING) You could be right, Jack. Stephanie might not be ready for a nurse Jacqueline story.

JACK: Hey, Steve did some pretty strange things, too.

MARCUS: Yeah, remember the time...

AND AS THE MUSIC SWELLS, "TEARS IN HEAVEN" BY ERIC CLAPTON, WE FADE TO MONTAGE: JACK, KAYLA, MARCUS AND STEVE, THE DAY STEPHANIE WAS BORN AND JACK SNUCK INTO THE ROOM DRESSED IN A SURGICAL GOWN WITH A NURSE'S CAP; JACK, JENNIFER, KAYLA AND STEVE, WHEN JENNIFER AND JACK SURPRISED STEVE AND KAYLA WITH A ROMANTIC DINNER AND KAYLA HANDED STEPHANIE TO JACK; JACK AND STEVE ON THE FRONT PORCH, AFTER THE CRUISE, WHEN JACK TOLD STEVE ABOUT JENNIFER; THE FAMILY DINNER WHEN KAYLA TAKES JACK'S HAND AS JENNIFER, JO, AND STEVE LOOK ON; STEVE AND MARCUS PLAYING THE BLUES AT THE BRADY FISH MARKET; STEVE AND KAYLA'S FIRST WEDDING WITH MARCUS AS BEST MAN; STEVE AND KAYLA'S SECOND WEDDING WHEN JACK WALKS UP THE AISLE AND HANDS THE RING TO STEVE; JACK, MARCUS AND KAYLA AT STEVE'S BEDSIDE, AS HE LAY NEAR DEATH; JACK IN HIS OFFICE, AFTER STEVE DIED, JACK HOLDING THE PICTURE OF HIMSELF AND STEVE AS CHILDREN. MUSIC LOWERS SO WE CAN HEAR JACK'S LINE: "And I loved you, too, Steve." BRING MUSIC BACK UP AND HOLD ON PHOTO. AND OUT. FADE TO BACK.