CHURCH. THE INSIDE OF THE CHURCH IS DESERTED AS BO AND SHAWN-DOUGLAS ENTER. BO IS SAD, WHILE SHAWN-DOUGLAS IS UPSET AND CONFUSED.

BO: Yes, Shawn-D?

SHAWN-D: I remember this place.

BO: You do?

SHAWN-D: This is the place we came after mama died.

BO: Yeah, you're right. And now we're here to bury Carly.

SHAWN-D: How come?

BO: How come what?

SHAWN-D: Why do we come here when people die?

BO: (KNEELS DOWN SO HE'S FACING SHAWN-DOUGLAS) Well, it's like this. When someone dies, people are sad.

SHAWN-D: Uh huh.

BO: And that's why we get together. To talk about the person who left us, and to be together to try and help each other be a little less sad.

SHAWN-D: But talking about Carly makes you sad.

BO: Yeah. It does. But saying it in front of everyone... it's different. We're doing it for us, and we're doing it for her.

SHAWN-D: You mean she can hear you?

BO: I think so. It's like saying good-bye.

SHAWN-D: Oh. Papa?

BO: Yes?

SHAWN-D: Is it okay if I say something about Carly, too?

BO: (HUGS SHAWN-DOUGLAS, FIGHTING TEARS) Sure, sailor. I think Carly would really like that.

HOLD ON FATHER AND SON AS THEY HOLD EACH OTHER IN THE DIMLY LIT NAVE OF THE CHURCH.

CUT TO: JANET'S OFFICE. JANET IS AT HER DESK, SURROUNDED BY BOXES, ON THE FLOOR AND THE NEARBY TABLE AND DESK. SHE IS LOOKING THROUGH PAPERWORK, AND WE SEE THAT THE BOXES CONTAIN CARLY'S PAPERS AND THINGS, WHICH JANET HAS CAREFULLY SORTED AND LABELED. SHE BEGINS LOOKING THROUGH ONE BOX, IN FRONT OF HER ON THE DESK, SHE HAS MARKED THIS BOX "???". WE SEE DOCUMENTS INSIDE THE BOX, SOME OFFICIAL LOOKING AND SOME SCRAPS OF PAPER. SOME BEAR THE NAME "CARLY MANNING", SOME, "KATERINA VON LEUSCHNER". JANET LOOKS MORE AND MORE PERPLEXED THE DEEPER SHE DIGS INTO THE BOX. MORGAN ENTERS

JANET: Yes, "finally" is the word. I've never seen so many strange papers and documents... and so many loose ends.

MORGAN: Well, here's another one for you... they found a gun on the docks.

JANET: Is it the murder weapon, do you think?

MORGAN: Not possible, I'm afraid. It's a Beretta, which as you know, doesn't fire the kind of bullets they found in Bo.

JANET: Is it tied to the murder??

MORGAN: Weeeelll, it could be. You see, it's registered to a very interesting person... one with a lot to gain if Carly Manning died.

JANET: That being...

MORGAN: The dragon-lady, Vivian Alamain.

JANET: Hmmm... that is interesting...

MORGAN: You want me to go check her out?

JANET: Actually, why don't we both go? I could use an excuse to get away from all this paper, and I can't resist the chance to meet the figure from myth and legend, the Vivian Alamain.

MORGAN: Then let's go.

MORGAN AND JANET WALK OUT THE OFFICE DOOR.

CUT TO: CHURCH. THE CHURCH IS BEGINNING TO FILL UP, AS PEOPLE SLOWLY FILE IN. JACK AND JENNIFER ARE SITTING IN A PEW NEAR THE FRONT OF THE CHURCH, JACK HOLDING JENNIFER'S HAND AS SHE RESTS HER HEAD ON HIS SHOULDER. THEY TURN AS JO AND VERN WALK IN TOGETHER.

JACK: No.

JENNIFER: Well, I think it's sweet.

JACK: Jennifer, you think everything's sweet.

JENNIFER: So?

JACK: So... sometimes vinegar is more interesting...

JENNIFER: Whatever you say, Jack.

JENNIFER SMILES AND WAVES AT VERN AND JO, WHO SIT BEHIND THEM.

JENNIFER: I'm still pretty shaken, but...

JO: If you need someone to talk to...

JENNIFER: Thanks, Jo.

CAROLINE AND SHAWN ARRIVE AND WALK OVER TO BO. CAROLINE HUGS HIM.

BO: I don't have a choice, do I Ma?

CAROLINE: I just wish...

BO: Yeah. So do I...

SHAWN PUTS HIS HAND ON BO'S SHOULDER BUT STIFFENS AS VICTOR WALKS UP TO THEM.

VICTOR: I came to pay my final respects to Carly... I'm not here to cause trouble. I'll leave, if that's what you want.

BO AND CAROLINE LOOK AT EACH OTHER.

BO, SHAWN AND CAROLINE WALK TO THE FRONT PEW, AND CAROLINE TURNS FOR A LAST LOOK AT VICTOR. THEY SIT WITH KIMBERLY, PHILIP, ROMAN, MAX, CARRIE AND JONAH. AS VICTOR WALKS TOWARDS A PEW IN THE BACK, JULIE AND DOUG ENTER. THE MEET IN THE AISLE.

VICTOR: Why not?

JULIE: Well, considering how things were between you and Carly...

VICTOR: That was a long time ago, Mrs. Williams.

JULIE: True. A lot has changed since then. Quite a lot...

VICTOR: And Doug, what a pleasure to see you again.

DOUG: Well, I wish I could say the same, Victor. But then I'd be lying. Excuse us, please.

DOUG AND JULIE SIT WITH TOM, ALICE, MICKEY AND MAGGIE, AS VICTOR SITS IN THE BACK OF THE CHURCH, NICO WITH HIM. FRANKIE AND EVE WALK IN. MAX WAVES EXCITEDLY WHEN HE SEES FRANKIE.

FRANKIE: Hey, Max! How are you?

MAX: I missed you, Frankie! Will you stay for a while?

FRANKIE: Well, Max...

EVE: We don't know yet, Max. We might.

MAX: Good!

FRANKIE: Look, why don't we talk later... we'll get together tomorrow, okay?

MAX: Okay!

FRANKIE AND EVE SIT WITH THE BRADYS, FRANKIE BESIDE A WIGGLING MAX. FRANKIE LOOKS LIKE HE IS TRYING TO KEEP FROM CRYING. EVE IS TRYING VERY HARD TO KEEP FROM SHOWING HER EXCITEMENT AS JACK WATCHES HER.

JENNIFER: She looks more like the cat that ate the canary.

JACK: I wonder what she's up to....

JULIE IS ALSO WATCHING EVE.

JULIE: What? Oh... I'm afraid so. I'm afraid I may have made a very big mistake.

DOUG: Oh?

JULIE: Later, darling.

ABE, LEXIE AND JOHN ENTER AND SIT WITH CARRIE AND THE BRADYS. THERE ARE HUGS AND HANDSHAKES ALL AROUND. ROMAN AND JOHN SHAKE HANDS AS CARRIE LOOKS ON, OBVIOUSLY PLEASED. FATHER JORDAN ENTERS.

EVERYONE BEGINS SETTLING DOWN. THERE IS A NOISE AT THE BACK OF THE CHURCH, THE SOUND OF THE DOOR CLOSING. THE CONGREGATION TURNS AND THEIR IS AN AUDIBLE GASP AS LAWRENCE AND NICHOLAS ALAMAIN ENTER THE CHURCH. AND OUT.

CHURCH. IN PROGRESS. LAWRENCE GETS ONE STEP OUT OF THE FOYER BEFORE BO SPRINGS FROM HIS SEAT AND STRIDES UP THE AISLE TO STOP HIM. ROMAN, ANTICIPATING TROUBLE, LEAVES HIS SEAT AND FOLLOWS BO.

LAWRENCE: Well, isn't it rather obvious? I'm here to pay my last respects to the mother of my child. (PUTS HIS ARM AROUND NICHOLAS)

BO: You've got a lot of nerve, coming here and talking about respect. You don't have any respect, or any feelings, for anyone but yourself.

LAWRENCE: Au contraire. There was a time when I cared very much for Katerina. She and I shared something very special once... (BEAT, AS LAWRENCE SEES THAT HE IS MAKING BO ANGRIER) And how could I deny our child the chance to say a final good-bye to his mother?

BO: My problem is not with Nikki. My problem is with you. (POINTS AT LAWRENCE, HIS FINGER ONLY A FEW INCHES FROM LAWRENCE'S FACE) You know damn well why you have no right to be here at Carly's memorial. Everyone in Salem knows that you're the one who killed her! (JABS HIS POINTING FINGER EVEN CLOSER TO LAWRENCE'S FACE)

LAWRENCE: (LOOKING DOWN HIS NOSE AT BO'S FINGER) Oh, really? So I am responsible for Katerina's death, am I?

BO: (LOWERING HIS HAND) That's right, Alamain, and I'm going to make sure that you pay dearly for it...

LAWRENCE: Well, before you arrest, try, and convict me, Officer Brady, perhaps you should turn that judicious eye upon yourself?

BO: (READY TO EXPLODE) What the hell are you talking about?

LAWRENCE: After all, this is the second time that being in love with you has proved to be fatal for a young lady...

BO: (LUNGING AT LAWRENCE) You bastard! I'll kill you!

ROMAN GRABS BO AROUND THE TORSO, PREVENTING HIM FROM REACHING LAWRENCE. LAWRENCE TAKES A STEP BACKWARD, AND NICHOLAS JUMPS BEHIND HIM. BO STRUGGLES TO BREAK FREE FROM ROMAN'S GRASP.

ROMAN: (STILL HOLDING BO) Bo! Bo! This is a church! Think about Carly!

HEARING CARLY'S NAME CAUSES BO TO SLOWLY SETTLE DOWN. HE STOPS STRUGGLING, BUT CONTINUES TO STARE LAWRENCE STRAIGHT IN THE EYE. ROMAN RELEASES HIS GRIP, BUT KEEPS A HOLD ON BO'S GOOD ARM.

NICHOLAS: (STEPPING OUT FROM BEHIND LAWRENCE) Dad?

LAWRENCE: (STILL STARING AT BO) Yes, Nicholas?

NICHOLAS: Dad, let's go. I didn't really like her, anyway. I don't need to say good-bye. I just want to leave.

LAWRENCE: (LOOKING DOWN AT NICHOLAS) All right, Nikki, we'll go. (LOOKING BACK AT BO AND FLASHING HIS EVIL, SNAKE-EYED, HINT-OF-A-GRIN) We'll leave now, for Katerina's sake. I'll bid her farewell another time, on my own. I know that she wouldn't want an ugly scene at her memorial. (BEAT) I, at least, will respect her wishes.

BO BEGINS TO MOVE TOWARD LAWRENCE, BUT ROMAN TIGHTENS HIS GRIP ON BO'S ARM. LAWRENCE AND NICHOLAS TURN AND EXIT THROUGH THE FRONT DOORS OF THE CHURCH, HAND IN HAND. HOLD ON BO'S FACE AS THE SOUND OF THE DOORS CLOSING CAN BE HEARD.

CUT TO: ALAMAIN MANSION. JANET AND MORGAN WALK TO THE FRONT DOOR. JANET RINGS THE DOORBELL, AND TURNS TO MORGAN.

MORGAN: Yeah, I guess you could say that.

JANET: What exactly is it that the Alamain family does to get all this money?

MORGAN: (FROWNING) You know, I don't really know. They seem to dabble in a lot of things. Oil, movies... I don't know what all.

JANET: Hm. That could bear looking into.

MORGAN: You think they may be involved in something illegal?

JANET: Not necessarily. Although from what I've heard I really wouldn't rule it out.

MORGAN: True.

JANET: I'm just thinking maybe knowing who they do business with might give us some leads. These people seem to be up to something, and I want to know what it is.

THEY HEAR FOOTSTEPS INSIDE AND STRAIGHTEN UP AS IVAN OPENS THE DOOR.

JANET: We're here to see Ms. Vivian Alamain.

IVAN: And who may I say is calling?

JANET: Captain Yamada and Lieutenant Morgan, SPD.

IVAN: Yes. Please come in. (LEADS THEM INTO THE LIVING ROOM) I will tell madam at once.

JANET: Thank you.

IVAN GOES UPSTAIRS AS JANET PACES THE ROOM.

JANET: Morgan, upscale isn't the word. It's been a while since I took an art history class, but if all this stuff is genuine, it's probably worth more than you and I get paid in a year.

MORGAN WHISTLES SOFTLY. THEN, VIVIAN COMES DOWN THE STEPS.

JANET: (SITTING ON THE SOFA AND PULLING OUT A NOTEBOOK) Ms. Alamain, we need to ask you a few questions...

VIVIAN: Yes? About what? I assure you, I'll do everything I can.... Oh, but where are my manners? Can I get either of you something to drink?

JANET: No thank you, ma'am. Now then, if I may?

VIVIAN: Yes?

JANET: Do you own a gun?

VIVIAN: Yes, I do. I bought it because, well, a single woman just can't be too careful these days. I'm sure you understand, Captain. You are Captain Yamada, aren't you?

JANET: Yes, ma'am. And this is Lt. Morgan.

VIVIAN: My nephew was quite impressed with you...

JANET: Yes, ma'am. Now, getting back to your gun...

VIVIAN: Yes?

JANET: What type of gun is it?

VIVIAN: I'm not really sure... I think it's a Beretta... yes, I'm sure that's what it is.

JANET: Have you used it recently?

VIVIAN: No... not in over a year.

JANET: Would you mind showing us the gun?

VIVIAN: Well, certainly... what exactly is going on?

JANET: I'll explain in a few minutes...

VIVIAN: Well, all right. Ivan!

IVAN: Yes, madame?

VIVIAN: Ivan, would you please get my pistol? It's locked in a box upstairs in my dresser...

IVAN: Certainly, madam.

VIVIAN: Well... you're sure I can't get you anything? Coffee? Tea?

MORGAN: No thanks, ma'am.

VIVIAN BEGINS TAPPING HER FINGERNAILS RESTLESSLY. SHE GIVES A START AS IVAN APPEARS AT THE TOP OF THE STAIRS.

VIVIAN: Yes, Ivan?

IVAN: I'm sorry madam... I don't understand this... your gun is gone!

VIVIAN: What?!? It's missing? Dear lord, what could have happened?

HOLD ON VIVIAN'S SEEMINGLY SHOCKED EXPRESSION.

CUT TO: CHURCH. FATHER JORDAN HAS JUST CONCLUDED THE MASS. IN PROGRESS.

TOM WALKS TO THE LECTURN.

TOM'S EYES MEET BO'S, AND BOTH SMILE WEAKLY.

TOM AND ALICE EXCHANGE LOOKS, BOTH KNOWING HOW MUCH THE TRAUMA CENTER MEANS TO HIM, AND HOW IMPORTANT CARLY'S CONTRIBUTIONS WERE.

TOM RETURNS TO HIS SEAT. AND JORDAN RETURNS TO THE LECTURN.

AS THE MUSIC BEGINS TO PLAY, JOHN STIFFENS, HIS EYES WIDENING. HE STARES OFF INTO SPACE.

THE MUSIC SWELLS. JOHN CLOSES HIS EYES AND LISTENS. THE MUSIC TRIGGERS SOMETHING IN HIS MEMORY, AND HE SEES AN IMAGE. WE FADE TO: A DARKENED ROOM, WITH LIGHTS FLICKERING HERE AND THERE. AS THE IMAGE COMES INTO FOCUS, WE SEE THAT JOHN IS IN A BALLROOM. THE "SLEEPING BEAUTY WALTZ" IS PLAYING, AND HE IS DANCING WITH A WOMAN, DANCING VERY CLOSE. HER HEAD IS RESTING AGAINST HIS NECK AND SHOULDER, SO WE CANNOT SEE HER FACE. WE SEE THAT SHE HAS LONG BLONDE HAIR. WE ALSO SEE SEVERAL OTHER COUPLES DANCING. THEY ARE ALL ELABORATELY DRESSED IN EXPENSIVE CLOTHES, AND EVEN MORE EXPENSIVE JEWELRY. JOHN HEARS A VOICE, AND REALIZES IT IS COMING FROM HIS DANCE PARTNER. SHE IS SAYING, "I LOVE THIS MUSIC..." SHE RAISES HER HEAD AND LOOKS UP AT HIM, JUST AS HE MOVES TO KISS HER. JOHN SEES HER FACE. FADE OUT OF FLASHBACK AS JOHN'S EYES SNAP OPEN. HOLD ON JOHN'S SHOCK AS HE REALIZES WHOSE FACE HE HAS REMEMBERED.

OUT ON JOHN'S SHOCK.

ALAMAIN LIVING ROOM/PORCH. A SHOCKED VIVIAN STANDS WHILE IVAN LOOKS ON WITH A SLIGHT TOUCH OF FEAR IN HIS EYES, UNNOTICEABLE TO JANET AND MORGAN. IN PROGRESS.

VIVIAN: No, I have always kept it locked in my jewelry box.

JANET: You are sure about this?

VIVIAN: Of course, I'm sure. I honestly don't understand this. I haven't touched that gun since I purchased it.

JANET: And why did you purchase a gun?

VIVIAN: For protection, what else?

JANET: And now Mr. Marais says it's gone? Where do you think it is?

VIVIAN: Obviously someone must have broken in and stolen it, I can't imagine anything else...

MORGAN: Is there anything missing besides the gun?

VIVIAN: Ivan, have you noticed anything else missing?

IVAN: No Madam, but do you remember the maid that was let go for stealing silverware?

VIVIAN: Oh yes, now I remember...

IVAN: Perhaps she took the gun.

VIVIAN: Ivan, thank you. That must be exactly what happened. Yes, the maid did it. Now, what was her name? Lisa? Lisa something?

IVAN: Lisa Jones.

JANET WRITES THE NAME DOWN IN HER NOTEBOOK

JANET: We are unable to release that information at this time, but we will check on the maid and see if there is any connection between her and your stolen gun.

VIVIAN: If that's all you need...

JANET: In the meantime, don't make any travelling plans, we may need you to answer some more questions.

VIVIAN: I'll try not to jump on the next plane to Rio.

JANET: (IGNORING VIVIAN) Thank you for your time.

VIVIAN: Leaving so soon? Ivan, will you escort the Captain and the Lieutenant to the door?

IVAN: Oui, madam.

JANET AND MORGAN WALK TO THE FRONT DOOR, IVAN OPENS IT FOR THEM AND THEY EXIT. IVAN RETURNS TO VIVIAN.

IVAN: Yes, Madam.

IVAN POURS VIVIAN A BOURBON FROM THE DECANTER.

VIVIAN: Thank you, Ivan. Do you think they believed us?

IVAN: I hope so.

VIVIAN: So do I Ivan, so do I. We must never let the police find out that Nikki was at the boat when Carly was shot. I will do whatever it takes to protect my son.

HOLD ON VIVIAN'S THREAT.

CUT TO: PATROL CAR. JANET AND MORGAN, ARE BUCKLING THEIR SEAT BELTS.

MORGAN: The truth?

JANET: Of course.

MORGAN: I think that Ms. Alamain is a devious woman used to getting her way, and I think that she is definitely hiding something.

JANET TURNS TO TAKE A FINAL LOOK AT THE ALAMAIN MANSION.

MORGAN STARTS THE CAR. AND THEY BEGIN TO DRIVE.

JANET: She has to know we realize her gun couldn't have been the murder weapon. Or maybe she doesn't...

MORGAN: Well, we know it couldn't be, based on the bullet we recovered. Maybe she thinks she did it?

JANET: But that would mean she had fired her weapon, and if that was the case, we would have found another bullet, a casing, something...

MORGAN: True. So what was it doing at the scene of the crime?

JANET: And why the story about the maid stealing it? I really doubt that's the truth.

MORGAN: Could she have gone to the pier to kill Carly, to get custody of the boy, and happen upon the real killer?

JANET: And panic, drop the gun, and run? Frankly, Vivian Alamain doesn't appear to be the panicking type.

MORGAN: Yeah, she does look like a measure of ice-water runs through her veins.

JANET: And if she did see the killer, or the murder itself, why would she run? Why not call for help...

MORGAN: (DRYLY) Or finish the job...

JANET: That, too. I suppose if she saw the shooter, and it was someone she knew, she might have panicked... but that still doesn't seem like her style.

MORGAN: So maybe it wasn't Vivian at all. Maybe someone else in the Alamain household took the gun...

JANET: Someone Vivian would cover for? Let's think about that, shall we...

HOLD ON JANET, DEEP IN THOUGHT.

CUT TO: CHURCH. THE MUSIC STOPS PLAYING. JACK, JENNIFER, ABIGAIL, JO AND VERN ARE SITTING IN A PEW. JACK IN HOLDING ABIGAIL. JENNIFER STANDS, JACK GENTLY SQUEEZES HER HAND AND MOUTHS "I LOVE YOU." JENNIFER WALKS UP TO THE LECTURN. SHE PAUSES TO COMPOSE HERSELF, TAKES A DEEP BREATH AND BEGINS.

WE SEE JACK, WHO IS INTENTLY WATCHING JENNIFER, HIS EYES FILLED WITH LOVE.

AS JENNIFER IS TALKING, JO QUIETLY QUESTIONS JACK.

JACK DOESN'T ANSWER JO, BUT WATCHES HIS WIFE THOUGHTFULLY. JO REACHES OVER AND TAKES VERN'S HAND. JENNIFER IS FINISHING HER EULOGY TO CARLY AND BEGINS TO SPEAK TO CARLY DIRECTLY, NOW OPENLY CRYING.

JENNIFER LEAVES THE PODIUM, STOPS IN FRONT OF THE CASKET AND LAYS A SINGLE RED ROSE ON THE LID. A TEAR FALLS NEXT TO THE ROSE. OUT ON THE ROSE AND TEAR DROP.

CHURCH. IN PROGRESS. JENNIFER LEAVES THE PODIUM AS FRANKIE WALKS UP. THEY EMBRACE. FRANKIE IS CRYING AND JENNIFER WHISPERS SOMETHING TO HIM, PUTTING HER HAND ON HIS SHOULDER. AS JENNIFER RETURNS TO HER SEAT, WE SEE EVE, WHO IS LOOKING AT JENNIFER WITH NARROWED EYES. FRANKIE CLEARS HIS THROAT AND EVE STRAIGHTENS UP AND LOOKS TOWARDS HIM.

WE SEE EVE, WHO SQUIRMS IN HER SEAT A BIT.

WE SEE JACK, WHO STARTS PAYING MORE ATTENTION.

WE SEE SHAWN, CAROLINE AND A BEAMING MAX.

EVE SMILES BRIGHTLY. BEHIND HER WE SEE BOTH JULIE AND JACK WITH SKEPTICAL EXPRESSIONS.

WE SEE JACK RAISE AN EYEBROW.

WE SEE EVE WHO LOOKS LIKE SHE WOULD LIKE TO GAG BUT HIDES IT WELL.

WE SEE THE CONGREGATION, MOST OF WHOM ARE DABBING AT THEIR EYES.

CUT TO: JANET'S OFFICE. JANET AND MORGAN ARE GOING OVER A CHART THEY'VE DRAWN THAT LISTS THE ENTIRE ALAMAIN HOUSEHOLD.

MORGAN: Let's see... the cook... oh, and the guy who takes care of the cars... phew! Wouldn't you like to have this big staff taking care of all your chores??

JANET: I don't know... all those servants... it could get oppressive. That house certainly is. What do you think about the staff. Should we even consider them?

MORGAN: I doubt it... most of them are day help, not live-in, and Vivian would hardly try and cover for the "help," anyway.

JANET: And none have been with the Alamains very long. None, that is, except the butler... ahhh.... Ivan Marais. He's been with Vivian for a long time.

MORGAN: Ok, let's not worry about anyone but Lawrence, Vivian, Nicholas and Ivan. Start with Lawrence. He certainly had a motive...

JANET: Yes, that he did, and from what I've heard and seen about Mr. Alamain, he wouldn't shrink from murder to make his life simpler...

MORGAN: But can you picture Lawrence dropping the gun at the first sign of trouble? I can't.

JANET: Me neither. I don't think Lawrence or Vivian would panic like that, no matter what they saw.

MORGAN: So that leaves Ivan and Nikki.

JANET: Ivan. What do we know about him?

MORGAN: Nothing beyond that he works for Vivian, and seems extremely loyal and protective of her.

JANET: Loyal enough to kill for her?

MORGAN: Maybe. We don't even know who this Ivan fellow is. He could be anything from an actor playing a butler, to a real butler, to a professional hit man.

JANET: Let's keep a sharp eye on Mr. Marais, then, shall we?

MORGAN: Ok, what about Nicholas Alamain?

JANET: Well, he definitely was not Dr. Manning's biggest fan, even if she was his mother.

MORGAN: But to contemplate killing his own mom? That's pretty heavy...

JANET: But he was under some severe stress.

MORGAN: And there was the Lisanne Gardner incident.

JANET: I think I heard about that. Refresh my memory...

MORGAN: Young master Nicholas came upon his Aunt Vivian and Lisanne fighting, and he pushed Lisanne off his Aunt. Lisanne fell back onto a stone cat on the floor, and hit her head. She died instantly.

JANET: That's right. And the whole household covered up for it, didn't they? Until Bo Brady found the stone cat?

MORGAN: That they did. Makes you wonder...

JANET: It does, indeed. He could have gone to the docks to kill Carly, or maybe just scare her, but got scared off himself.

MORGAN: He might have panicked enough to drop the gun... And Vivian would definitely try and protect him...

JANET: Young Mr. Alamain may not be the shooter, but he may know who is...

HOLD ON MORGAN AND JANET'S SPECULATION.

CUT TO: CHURCH. IN PROGRESS. BO IS SLOWLY WALKING UP TO THE ALTAR. HE STEPS UP TO THE PODIUM AND BOWS HIS HEAD FOR SEVERAL SECONDS. WHEN HE LOOKS UP TO FACE THE GROUP, TEARS ARE STREAMING DOWN HIS CHEEKS.

BO STOPS MOMENTARILY TO GATHER HIS THOUGHTS.

WE SEE DOUG AND JULIE BOTH BEGIN TO CRY, AND TAKE EACH OTHER'S HAND.

BO BREAKS DOWN CRYING, UNABLE TO SPEAK, HE FINALLY TAKES A DEEP BREATH AND RESUMES.

BO BEGINS TO BREAK DOWN AGAIN. HE TRIES TO SPEAK THROUGH HIS SOBS.

BO BREAKS DOWN COMPLETELY, LEANING ON THE LECTURN AND BURYING HIS FACE IN HIS ARM. SHAWN-DOUGLAS RUNS UP TO THE ALTAR AND STANDS BESIDE HIM.

BO LOOKS UP, AND STANDS UP ENOUGH TO LET SHAWN-DOUGLAS EMBRACE HIM. OUT ON BO AND SHAWN-DOUGLAS.

CHURCH. JULIE, BO, CAROLINE, DOUG, SHAWN-DOUGLAS, VICTOR. PEOPLE ARE GATHERING UP THEIR THINGS, WHEN JULIE STEPS UP TO THE LECTURN.

THERE IS GENERAL CONSENSUS AND EVERYONE BEGINS TO FILE OUT OF THE CHURCH. BO IS STILL STANDING BY THE ALTAR, HOLDING SHAWN-DOUGLAS AWKWARDLY, TRYING NOT TO PUT MUCH STRAIN ON HIS LEFT ARM. DOUG APPROACHES AND RUFFLES SHAWN-DOUGLAS' HAIR.

BO: I don't think so...

SHAWN-D: (AT THE SAME TIME AS BO) Yes please, Grandpa Doug.

DOUG GIVES A NERVOUS LAUGH AND BO SHRUGS HIS SHOULDERS.

SHAWN-D: Thanks, Papa.

DOUG TAKES SHAWN-DOUGLAS FROM BO.

DOUG AND SHAWN-DOUGLAS HEAD DOWN THE AISLE, BO FOLLOWING. JULIE SEES VICTOR STANDING ALONE, A LITTLE OFF TO THE SIDE.

VICTOR: Julie. No, no thank you.

JULIE: Are you sure? I can't bear the thought of you in that big house all alone.

VICTOR: I'll be all right. It's just that... after all of this... Wings reminds me...

JULIE PUTS HER HAND ON VICTOR'S ARM.

VICTOR: Thank you, but no. I think it would be best if I didn't. Now you'd better hurry or Doug and Shawn-Douglas will leave without you.

JULIE: Well, you know best. God bless, Victor.

JULIE EXITS. HOLD ON VICTOR LOST IN THOUGHT.

CUT TO: ALAMAIN MANSION. VIVIAN AND IVAN ARE IN THE LIVING ROOM. VIVIAN, SITTING ON THE SOFA, FINISHES HER FIRST DRINK AND GETS UP TO POUR HERSELF ANOTHER. LAWRENCE WALKS IN. VIVIAN LOOKS AT IVAN THAN BACK AT LAWRENCE.

VIVIAN: Captain Yamada just left with one of her cronies. They found my gun and came here to question me.

LAWRENCE: (LOOKS ANGRILY AT IVAN) Obviously, Ivan did a wonderful job of finding it.

IVAN LOOKS HURT.

IVAN WALKS UP THE STAIRS.

LAWRENCE: Vivian, need I remind you how we rely on Ivan? But lately it seems as if he isn't as dedicated to this family as he once was.

VIVIAN: Lawrence, that's ridiculous. Ivan would do anything for me.

LAWRENCE: What about the mistakes he made while trying to dispose of Lisanne's body?

VIVIAN: Human error... no one's perfect, dear boy. Now can we please get back to the matter at hand?

LAWRENCE: All right, Vivian, tell me, how exactly did you handle the police?

VIVIAN: (SMILES) I acted like I had no idea that the gun was missing. Ivan mentioned the maid that we fired...

LAWRENCE: (IMPATIENT) Yes?

VIVIAN: So we let them believe that the gun may have been stolen from my jewelry box by our ex-maid.

LAWRENCE: Well, do you think they bought it?

VIVIAN: I hope so, otherwise, this could turn into another game.

LAWRENCE: A game?

VIVIAN: Like we played with Lisanne's death.

LAWRENCE: Ahhh... Vivian, don't worry. I always enjoy a little game of "cat and mouse." (BEAT) And never doubt, I will do anything to protect Nikki. Anything.

HOLD ON LAWRENCE, DEEP IN THOUGHT.

CUT TO: WINGS. A LARGE BUFFET TABLE IS SET UP NEXT TO THE BAR. CARRIE, JOHN, JONAH, LEXIE AND ABE ARE FILLING PLATES FOR THEMSELVES. SHAWN, CAROLINE, MAX, SHAWN-DOUGLAS AND BO ARE ALREADY SEATED. ROMAN, KAYLA, MARCUS AND STEPHANIE ARE AT THE NEXT TABLE. SHAWN-DOUGLAS HAS A DISH OF ICE CREAM IN FRONT OF HIM, SHAWN AND CAROLINE ARE PICKING AT FOOD, BUT BO HAS NOTHING. MAGGIE, JULIE, AND DOUG ARE STANDING BY THE DOOR.

DOUG: It was. (HE GESTURES TO THE BUFFET) But you've done a wonderful job here. What comes after is just as important as the service itself.

JULIE: You know what they say, food and drink are part of every stage in life, happy or sad.

DAVE APPROACHES, LOOKING A BIT HARRIED. HE THROWS A QUICK SMILE AT JULIE AND DOUG.

DOUG: (EMBRACING DAVE) Dave! You old dog, tell me you're not still keeping this place running?

DAVE: (BIG GRIN) Well, if you couldn't get rid of me what makes you think Julie and Maggie could?

DOUG: (LAUGHING) You've got a point there.

DAVE: I'd love to catch up some more, but...

MAGGIE: What is it, Dave?

DAVE: It's Lorenzo. He's doing it again.

MAGGIE: (GROANS) Oh no.

JULIE: Which is it this time, stale basil or late bakery delivery?

DAVE: Neither. It's worse. Small shrimp.

MAGGIE AND JULIE: (IN UNISON) Uh oh!

JULIE: (TO MAGGIE) I'll come with you, darling. No one knows better than me what it's like to face Lorenzo while he's brandishing a cleaver.

JULIE, MAGGIE AND DAVE EXIT TOWARDS THE KITCHEN WHILE DOUG LOOKS ON, SHAKING HIS HEAD AND CHUCKLING. BY THIS TIME, CARRIE AND JONAH HAVE GONE TO SIT WITH KAYLA AND MARCUS. JOHN, ABE AND LEXIE ARE AT A TABLE ON THE OTHER SIDE OF BO. GO TO: KIMBERLY AND PHILIP WHO ENTER AND HEAD STRAIGHT FOR BO.

BO: I know, Kimmie.

PHILIP: If there's anything we can do...

BO: Thanks, Philip.

KIMBERLY: Can I get you a plate? Some coffee? Anything?

BO: No, nothing. (HE LOOKS AT CAROLINE) Ma? Will you keep an eye on Shawn-D? I'll be right back.

BO EXITS TOWARDS THE BACK OF THE RESTAURANT, AS EVERYONE LOOKS AFTER HIM.

SHAWN: He'll be all right. We'll help him get through it.

SHAWN-D: Don't forget me too, Grandpa!

PHILIP: Yeah, you too, sport. Looks like your ice cream's all gone. Want some more?

SHAWN-D: Yeah!

JOHN GETS UP FROM THE NEXT TABLE AND SIDE-STEPS PHILIP AND SHAWN-DOUGLAS. IN THE BACKGROUND, EVE AND FRANKIE ENTER. EVE SITS DOWN, LOOKING AROUND HAPPILY, WHILE FRANKIE HEADS FOR THE BUFFET. GO TO: JOHN AS HE WALKS UP TO KIMBERLY.

KIMBERLY: For you, two minutes.

JOHN: There's something important I need to talk to you about, but now's not the time or place. What are you doing tomorrow?

KIMBERLY: I'm free all day, so come on over to the house whenever you can.

JOHN: Great, thanks.

JOHN SITS DOWN AT HIS TABLE AGAIN. KIMBERLY TURNS TOWARDS THE BUFFET, BUT SEEING EVE SHE MAKES A DETOUR. GO TO: EVE AND KIMBERLY.

EVE: Oh yes, all those mud packs, you know.

FRANKIE, PHILIP AND SHAWN-DOUGLAS RETURN. PHILIP IS TRYING TO JUGGLE TWO HUGE ICE CREAM SUNDAES AND KEEP AN EYE ON THE PLATE OF COOKIES SHAWN-DOUGLAS IS CARRYING. GO TO: FRANKIE, PHILIP, AND SHAWN-DOUGLAS AS THEY JOIN KIMBERLY AND EVE.

SHAWN-D: One is for Max. And Philip likes these cookies.

FRANKIE: Oh, right, of course!

SHAWN-D: Did you really look a lion right in the eye?

FRANKIE: I sure did. I'll tell you and Max all about it tomorrow. I even have some pictures.

EVE: (FLATLY) Look, Frankie. It's Kimberly.

FRANKIE: Kimmie. It's good to see you again.

KIMBERLY: Frankie, I am so sorry about Carly.

FRANKIE: Thank you. It's going to be tough, but I've got Eve here to help me get through it. (TO EVE) Right, Eve?

EVE: (BRIGHTLY) Oh, absolutely.

KIMBERLY TAKES A SUNDAE FROM PHILIP.

PHILIP: Nice to meet you, Eve.

PHILIP PUTS OUT HIS HAND TO SHAKE, THEN PULLS IT BACK WHEN HE SEES THAT IT IS ALL STICKY.

EVE: (LOOKING PHILIP UP AND DOWN) Philip, is it? Nice to meet you, too. (TO KIMBERLY) Speaking of Dad, how is he? Where is he?

KIMBERLY: He's off on an assignment, you know how he is about work. Philip and I are staying at the house while he's away. We'd love to have you for dinner while you're here.

EVE: Oh I'd love to have dinner with you in my father's house. It will be just like the good old days, won't it?

KIMBERLY: (AMUSED) Yes, won't it?

PHILIP: Well, we'll set a date then. (HOLDING UP THE ICE CREAM) But right now, I think we'd better get going before this all melts.

PHILIP, KIMBERLY AND SHAWN-DOUGLAS ALL RETURN TO THE TABLE. SHAWN-DOUGLAS AND MAX DIVE INTO THE ICE CREAM AND COOKIES, WHILE PHILIP AND KIMBERLY CHAT TO SHAWN AND CAROLINE. BO RETURNS AND STANDS QUIETLY IN THE BACK, WATCHING EVERYONE, HIS EYES FILL WITH TEARS AND HE QUIETLY SLIPS OUT THE DOOR, THINKING NO ONE HAS SEEN HIM. ROMAN, HOWEVER, HAS BEEN WATCHING CLOSELY, AND EXCUSES HIMSELF TO FOLLOW BO. AND OUT.

WINGS. JENNIFER IS RETURNING FROM THE LADIES' ROOM AND WALKS UP TO JACK, WHO HAS A SOUR LOOK AS HE STARES ACROSS THE ROOM AT JO AND VERN, WHO ARE SEATED TOGETHER AT A TABLE. KAYLA AND MARCUS ARE AT THEIR TABLE. JONAH AND CARRIE ARE AT THE BAR.

BEFORE JACK CAN ANSWER, SHE MOVES CLOSER, PUTS HER ARM AROUND HIS WAIST, AND FOLLOWS HIS GAZE ACROSS THE ROOM UNTIL SHE SEES WHO HE IS STARING AT.

JACK: No, it's Jo. And it's Vern. It's not "Jo and Vern."

JENNIFER:(STEPPING AWAY FROM JACK SO SHE CAN TALK FACE TO FACE) Jack, I don't understand why seeing them together is such a problem for you. I think it's wonderful that they have each other's companionship.

JACK: "Wonderful" isn't exactly the word that comes to my mind. And neither is "sweet," for that matter.

JENNIFER: (MILDLY FRUSTRATED) Jack, look at them! (LOOKS AT JO AND VERN, THEN BACK AT JACK) It's easy to see how much they enjoy each other's company. Why are you so opposed to them being together?

JACK: I just think don't think they're right for each other...

JENNIFER: Right? What could be wrong with Vern? He's a very sweet, kind, and considerate man. And he's so patient... after all, he's put up with you for quite a while, now.

JACK: Thank you, my dear...

JENNIFER: And it's obvious that he really cares about Jo. You should be happy that she's found someone like that!

JACK: I'd be happier if it was someone else...

JENNIFER: Jack, this is Jo's life. She has every right to be with Vern, if she wants to be.

JACK: I'm just looking out for Jo, that's all.

JENNIFER: What's wrong, Jack? Isn't any man good enough for your mother?

JACK LOOKS AT JO AND VERN, THEN LOOKS AT JENNIFER, THEN BACK AT JO AND VERN. GO TO: JO AND VERN.

JO: No. No, Vern, I'm not all right. All this senseless violence reminds me of Steve. (BEGINS TO CRY)

VERN: Jo, please...

JO: I'm just afraid of what will happen next. Bo is so angry. He doesn't seem to understand that violence begets violence, and the cycle never ends.

VERN: (TAKING A HANDKERCHIEF OUT OF HIS POCKET AND HANDING IT TO JO) I know what Bo is going through. I'll never forget when I lost my wife...

JO: (WIPING HER EYES) But with you, it was different. You didn't feel the need for revenge, the burning desire to make someone pay...

VERN: (TO HIMSELF, LOOKING AWAY FROM JO) That's because I blamed myself...

JO: Vern? What did you say?

VERN: I said that Lorraine killed herself. Who could I take revenge on?

JO: That college professor...

VERN: I didn't know about Professor Newirth until last year. And even if I had known... avenging her death wouldn't have brought her back.

JO: You're right. Most people don't seem to understand that. (BEAT) So much violence...

JO SHUDDERS. VERN PUTS HIS ARM AROUND HER AND PULLS HER CLOSE, AS SHE RESTS HER HEAD ON HIS SHOULDER. GO TO: CARRIE AND JONAH, WHO ARE STANDING NEAR THE BAR, DRINKING SODAS.

CARRIE: I'm okay, Jonah. Thanks. (BEAT) I've been feeling sorry for myself lately, because of my scar. But after what happened to Carly, I'm just grateful to still be alive. I realize now that things could have been much worse.

JONAH: I guess you could say that there is one good thing that comes out of a tragedy like this... a sense of perspective.

CARRIE: Yeah, you're right. It's too bad, though, that it takes something like this to give us that perspective.

JONAH: That just seems to be human nature.

CARRIE: Well, I'm going to try to keep this perspective. I really do have a lot to be grateful for, a lot more than so many other people. I'm going to do my best to remember that. (SMILES)

GO TO: KAYLA AND MARCUS, AT THEIR TABLE.

KAYLA: (SMILING WEAKLY) Yes, Doctor. I just don't really feel like eating right now. This whole situation has been a lot tougher than I thought it would be.

MARCUS: Thinking about Steve, huh?

KAYLA: Yes...

MARCUS: Yeah, me too. It really hit home when Jennifer was up there, talking about how Carly was her best friend. (BEAT) Some wounds never heal completely.

KAYLA: That's true, but it's worth the pain when I think of all the wonderful times I had with Steve.

MARCUS: You're right. We were both really lucky to have him in our lives.

KAYLA SEES JO AND VERN AT THEIR TABLE.

MARCUS: Maybe you should go over and say hello...

KAYLA: No, not right now. I want to talk with Jo, of course, but she and Vern look so comfortable together. I don't want to disturb them. (BEAT) It's nice to see that she's finally found someone, though. (SIGHS)

MARCUS: And what about you? Have you found someone? Steve wouldn't want you to be alone. He'd want you to be happy.

KAYLA: I know. To tell you the truth, after Shane... I tried dating, but nothing ever worked out. Compared to Steve, all the men I dated seemed so... boring.

MARCUS: (SMILING) That's my homey. Never a dull moment.

KAYLA RETURNS MARCUS' SMILE. HOLD ON KAYLA.

CUT TO: JANET'S OFFICE. JANET'S USUALLY IMMACULATE OFFICE IS A MESS, PAPERS, INCLUDING PILES OF INFORMATION CHARTS AND FILES, ARE STREWN ABOUT. A FEW REMAINING SLICES OF PIZZA, IN THEIR BOX, LIE ON THE FLOOR IN A CORNER, AND THE TRASH CONTAINS SEVERAL SODA CANS. JANET AND MORGAN ARE EXHAUSTED, BUT STILL WORKING.

MORGAN: Yup. One from the Alamain house, who went to the docks with Vivian's gun, to scare or shoot Carly because of the custody case.

JANET: And one who actually shoots Bo and Carly.

MORGAN: And the latter scares the Alamain person badly enough that they drop the gun and run.

JANET: But which Alamain? Could both the shooter and the possible witness have been Alamains?

MORGAN: Certainly possible. But equally possible that they weren't.

JANET: If we can figure out which of the Alamains was at the scene with Vivian's gun, we can question them...

MORGAN: And see if they saw the killer.

JANET: But who was the killer after? Brady or Manning?

MORGAN: And why bother knocking out the boy? If the shooter was good, quick, there would have been no reason to enter the boat at all...

JANET: And it would have been very unlikely the child would have awakened until after the shot, at which point the killer would have been in the process of making a hasty, hard-to-see retreat.

MORGAN: The boy could have awakened, and come up on deck, there was a trail of blood...

JANET: And maybe the killer didn't want to make an unnecessary hit, especially on a child.

MORGAN: But if someone wanted to kill Bo, or Carly, why shoot both? Why not wait until the target was alone?

JANET: Lord knows in both their lines of work, there are plenty of times to catch them alone if you wanted to kill them.

MORGAN: And the most puzzling thing... why didn't they finish the job? This case has all the hallmarks of a professional job, but I don't know of any hitmen that would fail to be sure their mark was dead.

JANET: Did someone scare them off? It seems to me we're back to the Alamains, and Vivian's gun.

MORGAN: I think if we catch the right Alamain, they can help us catch the killer.

HOLD ON MORGAN'S CONTEMPLATIVE LOOK.

CUT TO: WINGS. JACK WALKS UP TO JULIE. IN PROGRESS.

JULIE THROWS HER ARMS AROUND JACK AND GIVES HIM A HUG, MUCH TO HIS EMBARRASSMENT.

JACK: (EXTRICATING HIMSELF FROM JULIE'S EMBRACE) And I haven't had a chance to properly thank you.

JULIE: For what?

JACK: For what? For calling in favors, calling the ISA, whatever it is you did exactly to get me my money and my paper back.

JULIE: (WAVES HER HAND) Oh darling, that was nothing.

JACK: Not to me. To me it was everything...

JULIE: (SOFTLY) I know...

JACK: When you left I told you were a great friend to me and Jennifer... little did I suspect how great a friend...

JULIE: You know me... I think I might have been a fairy godmother in a previous life.

JACK: Funny you should say that... I told someone that maybe there were such sprites...

JULIE: A sprite? Hmmm... I'll take that as a compliment... Now, Jack, to the really important things.

JACK: Important?

JULIE: Yes, important. Now that you've got the paper back, what are you going to do with it?

JACK: Do with it? I want to make it the number one paper in the country.

JULIE: And then?

JACK: And then? Isn't that enough?

JULIE: Never. Come on, Jack. Where did the old Jack Deveraux go? What happened to those big dreams, all those plans?

JACK: I think they ran into... no... were run over... by reality.

JULIE: Jack... don't waste all those dreams on mundane reality... hold onto them... they're what keep you going... and sometimes they come true.

JACK: You mean you and Doug?

JULIE: Or you and Jennifer...

JACK: Touché.

JULIE: Or the paper... Jack, follow your dreams...

JACK: You're beginning to sound like one of those inspirational TV ads...

JULIE: I don't care. You know what Langston Hughes said about dreams deferred.

JACK: They "dry up like a raisin in the sun?"

JACK: Exactly. Jack, make your grand vision, whatever it might be, come true. Push, shove, fight... do whatever has to be done. Don't just settle. You're better than that...

JACK: And I suspect, so are you...

JULIE: Oh darling, everyone knows I never settle for anything...

JACK: Julie, did anyone ever tell you, you can be... well... pushy?

JULIE: Darling... if you think that's pushy... wait until I decide to take your daughter under my wing... Auntie Mame won't be able to hold a candle to me.

JACK SMILES, BUT WE SEE JULIE HAS GOT HIM THINKING. OUT ON JACK.

JANET'S OFFICE. SLIGHTLY CLEANER, THE PIZZA AND BOX ARE GONE. JANET IS NOW SHUFFLING THROUGH PAPERS IN THE "???" BOX, WHILE MORGAN LOOKS ON, DEEP IN THOUGHT...

MORGAN: (LAUGHS) I just can't believe this hasn't come up before. I forgot, you wouldn't know. Carly was Katerina Von Leuschner.

JANET: And why was that?

MORGAN: Well, it's a long story...

JANET: Like I'm going somewhere?

MORGAN: Ok. As far as I know, Carly was born to a very powerful and influential family in Europe.

JANET: Like the Alamains?

MORGAN: Exactly. So much so that Carly, or Katerina, was betrothed in an arranged marriage to the Alamain heir, Lawrence.

JANET: Hmmm. Interesting.

MORGAN: It gets better. Katerina didn't want to be married off like that, so she ran off and changed her name to Carly Manning.

JANET: Then how did Nikki come to be? Kimberly Brady said something about Carly and Lawrence...

MORGAN: While she was Carly, or was it Katerina? Anyway... she met a man and fell in love. He was using an assumed name, so she didn't know it was really Lawrence Alamain. When she found out, she left him, but she was already pregnant with Nikki. The rest you know.

JANET: But I have a feeling there's more...

MORGAN: Well, yes... Katerina was supposed to marry at age 25, but Jennifer Deveraux, her best friend, wanted to spare Carly that, so she impersonated Carly...

JANET: (INTERRUPTS) But how? Jennifer Deveraux is a natural blond, right? And Carly Manning has brown hair.

MORGAN: Apparently, Katerina changed her name and her hair color. Plus, Jennifer had stood in for Carly once in boarding school, when Lawrence was there, so Lawrence supposedly thought she was Katerina.

JANET: This is pretty convoluted stuff!

MORGAN: Certainly is. So Jennifer plans to masquerade as Katerina, and then gracefully bow out of the marriage, but instead she gets trapped into it instead. It seems Lawrence knew all along she was Jennifer and not Katerina. Lawrence takes her back to his homeland, her family goes after her to rescue her, Lawrence rapes Jennifer, and then traps the Hortons, Jack Deveraux and their friends in his Estate, planning to kill them. Everyone got away ok, but it was all very bizarre.

JANET: Indeed. And very suspicious, too. Where in the world are marriages still arranged legally? And why couldn't she just say "no", or emigrate to the U.S. and become a citizen to avoid the marriage? Is she even a U.S. citizen now?

MORGAN: Good question.

JANET: And there are more. Like, why are there no medical school records, diplomas, report cards, that sort of thing, in her effects? What name did she attend school under?

MORGAN: Hmmmm...

JANET: And did she only have two names, or were there more? Did she get her name changed legally? This is all very strange, none of the pieces fit, especially these papers and things.

MORGAN: Now that I start to think about it... you're definitely right. There are a lot of unanswered questions about Carly/Katerina.

JANET: Didn't anyone think to check these things?

MORGAN: It's just that she was so nice, and such a talented doctor, no one thought to question her. There was some talk a while back about investigating her educational history, you know, check her records from medical school, but that was dropped. No one's really bothered to check out anything regarding her past.

JANET: Until now.

HOLD ON JANET'S DETERMINATION.

CUT TO: WINGS/PENTHOUSE. THE PENTHOUSE IS STILL DECORATED WITH NICK'S THINGS, HIS POSTERS HANG ON THE WALL, ETC. THE FURNITURE IS COVERED WITH DROP CLOTHES AND EVERYTHING IS VEILED WITH A LAYER OF DUST. DOUG OPENS THE DOOR AND WALKS IN. HE SLOWLY WALKS AROUND THE ROOM, LOOKING AT THE DUST-COVERED POSTERS, PEEKING UNDER THE DROP-CLOTHES, ETC. JULIE OPENS THE DOOR.

DOUG: No. I was just looking around our old haunt.

JULIE: And what do you think?

DOUG: It's not Doug's Place anymore.

JULIE: No, it isn't...

DOUG: It's not even good old "Blondie's."

JULIE: I told you about the changes...

DOUG: But hearing and seeing are two different things. This is so different.

JULIE: Is that bad?

DOUG: I don't know. It just seems like... like I've lost all my touchstones in Salem.

JULIE: A lot has changed since you've been gone.

DOUG: It seems like nothing is the same in Salem. Jennifer is grown and has a daughter of her own. Shawn-D is so big... So many people I knew and loved are gone... I don't have anything to hold onto...

JULIE: Hold onto me, darling, hold onto me.

THEY EMBRACE, THEN SEPARATE.

JULIE: "That you can't go home again?" I don't believe that.

DOUG: Are you sure, Julie? Are you sure I haven't stayed away too long?

JULIE: Do I think you were away too long? Yes. Do I think we wasted too many precious years? Yes. But I think you can make up for all that time.

DOUG: You do?

JULIE: Of course. Shawn-D loves you, he's obviously thrilled you're home. Grandpa, Grandma... the whole family is happy we are back together.

DOUG: What about Bo?

JULIE: Bo is in such pain right now... but I think you two can work out any problems you had in the past.

DOUG: I hope so.

JULIE: And "Hope" is what you two have in common. You have "hope" for the future and you have Hope Williams Brady, a woman you both loved.

DOUG: Sometimes I almost expect her to walk around the corner...

JULIE: Doug... please... you didn't see her... see that explosion...

DOUG: (PUTTING HIS ARM AROUND JULIE) I'm sorry, Fair Lady, she was your sister and you loved her, too... and you saw her... Forgive me?

JULIE: (WIPING AWAY A TEAR) There's nothing to forgive. We all loved her. And we all remember her. (DEEP BREATH) Now, let's get back to the family.

DOUG: Agreed. I may not have been there to help my family when Hope... when Hope... (BEAT) But I'm here now. I'm here for Bo, for Shawn-D... for them all.

DOUG TAKES JULIE'S HAND AND THE WALK OUT THE DOOR.

CUT TO: WOODS. WE SEE BO, SITTING ON A FALLEN LOG IN A SMALL CLEARING IN THE WOODS. IT'S BEAUTIFUL IN THE MOONLIGHT, SMALL WILDFLOWERS BLOOM AT THE BASES OF THE TREES, AND MOSS ADORNS THE TREE ROOTS LIKE A CARPET.

BO PUTS HIS HEAD IN HIS HANDS. ROMAN WALKS FROM THE TREES BEHIND BO, WHERE HE'S BEEN STANDING THE WHOLE TIME.

BO: (STARTLED) Roman... wha... Why can't I? Both loved me. Both died tragically, senselessly...

ROMAN: And by other hands than yours, Bo. Ernesto Toscano ended Hope's life, and we don't know...

BO GLARES AT ROMAN.

BO: But it's just...

ROMAN: It's hard. I know, little brother, you've had more than your share of pain. But think about the joy, the love you gave Hope and Carly when you were together.

BO: It wasn't enough...

ROMAN: Enough? It was everything. They both loved you so much... Hope gave you that beautiful boy of yours, and Carly loved him dearly...

BO: But it ended too soon...

ROMAN: Yes, your time with them was cut short. But I know, wherever Hope and Carly are, they both know how much you're hurting, and they both know you would never have hurt them... None of this is your fault.

BO: But why... why did I lose them both...

ROMAN: I just don't know... Bo, I don't know...

BO BEGINS TO CRY IN EARNEST AGAIN, AND ROMAN WALKS TO HIM AND HUGS HIM. OUT ON THE TWO.

WINGS. JACK, JENNIFER, JO AND VERN ARE ALL STANDING AT THE BUFFET, LOOKING OVER THE FOOD. IN PROGRESS.

JACK: Well...

JO: (TRYING TO CHANGE THE SUBJECT) Jennifer, will you look at this lovely shrimp salad. I know that's your favorite. Can I put some on your plate?

JACK: Mmmm, that does look good. Almost as good as green tuna noodle casserole.

JO: Jack, you hate my tuna casserole.

VERN: I love it. I could eat it three times a day.

JACK: No, I don't. Who said I hated your tuna casserole?

JO: Why, you did!

JACK: When did I...

JENNIFER: Jack.

JACK: (TOYING WITH HIS FORK) Yes?

JENNIFER: The article?

JACK: Yes, yes, the article.

JENNIFER: Well?

JACK: Well...

VERN: We're hard at work, Jenny girl. We're digging up all kinds of things about Carly.

JACK: That's us, like busy little moles, dig, dig, dig.

VERN: We want it to be perfect.

JACK: Yes, perfect.

JENNIFER: Well, I wish you would hurry. It's important that everyone know the truth about Carly.

JACK: Yes, the truth will be out soon enough.

JENNIFER: What are you talking about?

VERN: He's talking about a masterpiece, a work of art. Just wait until you read it.

JACK: Yes, it certainly will be a masterpiece. But these things take time, Jennifer. Did Michelangelo hack out "David" in a few hours? Did Van Gogh paint the first sunflowers of the season? Did the Impressionists play connect-the-dots?

JENNIFER: Ok, Jack, I get the point.

JACK: I will print no story before it's time. (SOTTO VOCE) And this one's getting riper every day...

HOLD ON JACK.

CUT TO: JANET'S OFFICE. SOMEWHAT CLEANER STILL. THE FILES AND PAPERS HAVE BEEN RE-SORTED, AND THE TRASH EMPTIED. JANET AND MORGAN HAVE RISEN FROM THEIR SEATS, AND ARE STRETCHING.

HE AND JANET LAUGH.

MORGAN: (DRYLY) Oh, joy!

JANET: It's been fun...

MORGAN: Oh, yeah. Definitely. Haven't had this much fun since my last dentist appointment.

MORGAN AND JANET LAUGH. PETERS TAPS AT THE DOOR, AND AT JANET'S NOD, OPENS IT.

PETERS: Captain, Lieutenant, we have someone in holding I think you should talk to.

JANET: About...

PETERS: Might know something about this Manning/Brady case.

MORGAN: We're right behind you...

GO TO: JANET AND MORGAN AS THEY FOLLOW PETERS TO AN INTERROGATION ROOM, WHERE A SCRUFFY LOOKING YOUNG MAN SITS WITH HIS PUBLIC DEFENDER. PETERS USHERS JANET AND MORGAN IN, AND AT A LOOK FROM JANET, EXPLAINS.

LAWYER: Allegedly in the process of...

PETERS: (IGNORES HIM) In the process of selling crack to a couple of teens. We were going through standard booking procedure, but after he talked to him (GESTURING TO THE LAWYER) he suddenly got talkative.

MORGAN: And what did he have to say?

PETERS: That he has some information we might find useful regarding the Manning murder.

JANET: Yeah, right. So what can you tell us?

PERP: What's in it for me, lady?

JANET: (SLIGHTLY MENACING) I don't know yet. Why don't you start talking, and I'll see if I'm inspired to tell you.

PERP: Well, a few days before that Doc was offed, I sold a gun. And this weren't no baby gun, either, it was a serious piece.

MORGAN: How serious?

PERP: An automatic, one big enough to shoot a bullet that could'a gone through two people, easy. This smart shopper also bought some ammo. Full-steel jacket, 9mm.

JANET: I'm getting inspired. Keep going.

PERP: Not unless I know we have a deal.

JANET: Ok. We'll bring the charges down to possession, and we won't bust you for confessing to illegal sale of firearms.

MORGAN: You'll probably get off with a fine. That is, unless we see you in here again...

PERP: Naw, man, I was just sellin' a little, so's my sister could get an operation...

MORGAN: Yeah, right. Go on, now, cut to the chase...

JANET: Who was that smart shopper, anyway?

PERP: It was this funny talking foreign guy. I wouldn't a thought about it, except I saw him later drivin' that big limo for that Alamain guy.

JANET: Describe him...

PERP: Ahh, medium build, blond, real cold eyes, and like I said, he talked funny. He was older than me, maybe 35?

MORGAN: The kid who takes care of the cars is a local guy, about 22. He's not the driver, the Alamains don't have a chauffeur. The only one who drives them around is...

JANET: (INTERRUPTS) Ivan Marais!

HOLD ON JANET'S EPIPHANY.

CUT TO: SALEM CEMETERY. WE SEE THE FRESHLY TURNED EARTH OF CARLY'S GRAVE, THE HEADSTONE GLEAMING WHITE IN THE MOONLIGHT. THE INSCRIPTION READS: "CARLY MANNING, GOODNIGHT, SWEET PRINCESS". BO WALKS TO THE GRAVE, AND SITS DOWN BESIDE IT. TEARS STREAM DOWN HIS FACE AS HE SITS QUIETLY FOR A MOMENT, ABSORBING THE STRANGE PEACE OF THE SCENE.

UNSEEN BY BO, A FIGURE QUIETLY APPROACHES AND STANDS IN THE SHADOWS, HIDDEN.

MUSIC SWELLS AND WE HEAR CHRIS ISAAK'S, "FUNERAL IN THE RAIN." BO SIGHS DEEPLY, AND PLACES A KISS ON HIS FINGER-TIPS, WHICH HE PRESSES TO CARLY'S NAME ON THE HEADSTONE. HE STANDS AND WALKS AWAY FROM HER GRAVE. THE FIGURE, CLOAKED AND HOODED, QUIETLY APPROACHES THE GRAVE AND STANDS FOR A MOMENT. FROM THE FOLDS OF ITS CLOAK, THE FIGURE PRODUCES A LARGE, BRILLIANTLY PURPLE HIBISCUS FLOWER, AND LAYS IT GENTLY ON THE GRAVE, WITH A GLOVED HAND. OUT ON THE FLOWER. FADE TO BLACK.