JANET'S OFFICE. JANET IS TALKING ON THE PHONE, WHILE MORGAN LOOKS THROUGH SOME PAPERS ON HER DESK. IN PROGRESS.

MORGAN: And so...

JANET: Judge McGee agreed we have sufficient grounds to issue a search warrant for the Alamain house. We can pick it up from the court clerk in half an hour.

MORGAN: So the dealer's statement about selling that gun to Marais was enough to sway the judge?

JANET: That, and the fact that the dealer sold Marais the exact same type of bullet used in the shooting.

MORGAN: Yeah, the info on that bullet is certainly not common knowledge.

JANET: So, you feel up to another visit to the Alamain digs?

MORGAN: Oh, sure... I didn't have anything more exciting planned...

MORGAN RISES TO GO GET HIS GEAR.

MORGAN: Man, you rattled off those numbers pretty good for as short a time as you've been here...

JANET: Let's just say I'm a quick study. And I'm also an expert at finding needles in haystacks.

MORGAN: That's good, 'cause that's just what we're looking for.

MORGAN EXITS, AS JANET RISES, AND SLIPS ON HER HOLSTER AND JACKET.

CUT TO: DONOVAN LIVING ROOM/FOYER. A UNIFORMED POLICE OFFICER RINGS THE DOORBELL. KIMBERLY ANSWERS.

OFFICER: Kimberly Brady?

KIMBERLY: Yes, I'm Kimberly Brady, what can I do for you?

OFFICER: Ms. Brady, Capt. Yamada asked that I bring some of Dr. Manning's personal effects to you.

KIMBERLY: Thank you. Is this all of it?

OFFICER: No ma'am. The Captain is still using some of it for the investigation, but she's done with this and figured the family would like to have it.

KIMBERLY: Yes. Thank you, thank you very much.

KIMBERLY TAKES THE BOX AND THE OFFICER LEAVES, CLOSING THE DOOR. KIMBERLY GOES INTO THE LIVING ROOM AND OPENS THE BOX THERE ARE CLOTHES, JEWELRY, PICTURES, ETC. SHE STARTS TO GO THROUGH IT.

KIMBERLY GETS UP AND WALKS OUT OF THE ROOM. WE SEE A BLACK AND WHITE PICTURE PEEKING OUT OF THE SIDE OF THE BOX. HOLD ON THE PHOTO OF A WOMAN'S NECK WITH A BIRTHMARK.

CUT TO: CARVER & CARVER. ABE, LEXIE & CARRIE. THE OFFICE IS LOOKING A LOT BETTER, ONLY A FEW FILES STILL NEED TO BE PUT AWAY. CARRIE IS JUST GETTING OFF THE PHONE WHEN LEXIE AND ABE ENTER FROM THE BACK.

CARRIE: No, a wrong number.

ABE: Oh well. A watched phone never rings.

CARRIE: Do you two have a minute? I'd like to ask you something.

ABE: Sure we do. What's up?

CARRIE: Well, I was wondering if there was any possibility of working more hours. Since Billie moved out it's hard making the rent on my own.

ABE AND LEXIE EXCHANGE UNCOMFORTABLE LOOKS.

LEXIE: (HURRIEDLY) It's not with you personally or your work or anything like that.

ABE: No, no. It's just that we've lost a lot of clients since the break-in and money is tight here, too.

CARRIE: I thought since John is coming in we were doing OK.

ABE: Well, it could be better. John's offered to help us out, but...

LEXIE: What Abe is saying is he doesn't want to take handouts from John.

CARRIE: I know exactly how that feels. John offered to help me with the rent, but I couldn't take it either.

ABE: That's John, generous to a fault. I'm sorry about this, Carrie. Once we get reestablished and the clients start rolling in, you'll probably be begging us to let you have some time off.

LEXIE: You do understand, don't you?

CARRIE: Sure, of course. Never hurts to ask, though.

LEXIE: How will you manage the rent, though?

CARRIE: Oh, I'm not worried. One of the girls from Ballistix is looking for a place, maybe she'll want to move in.

ABE: That sounds like a good plan. But tell me if it doesn't work out and we'll figure something out, ok? Roman will kill me if he thinks I'm not looking out for you.

CARRIE: Oh, Dad's bark is worse than his bite, you know that as well as I do. But... don't tell him about all this, ok? I don't want him to worry.

LEXIE: And you don't want the lecture, right?

CARRIE: (LAUGHING) Right!

THE PHONE RINGS.

ABE AND LEXIE LEAVE TO ANSWER THE PHONE. CARRIE SIGHS AND PULLS A PIECE OF PAPER OUT OF HER POCKET. IT IS AN EVICTION NOTICE. AND OUT.

ALAMAIN LIVING ROOM/PORCH. JANET AND MORGAN HAVE JUST ARRIVED, THEY WALK UP TO THE FRONT DOOR.

MORGAN: This family is so full of lies it's a wonder they sleep at night.

JANET: In my experience, people like the Alamains don't have a conscience, so sleeping isn't a big problem for them.

MORGAN RINGS THE BELL. IVAN ANSWERS THE DOOR.

JANET: Well, Ivan, we have a search warrant for this house.

IVAN: (COOLY) Will you wait here in the foyer while I call for Mister Alamain?

MORGAN: Make it snappy.

IVAN SLOWLY WALKS OUT OF THE FOYER TO THE LIVING ROOM. WHERE LAWRENCE AND VIVIAN ARE SITTING.

IVAN: Sir, Captain Yamada is waiting in the foyer with a search warrant for this house.

LAWRENCE: (ANGRY) Search warrant, what the hell for? Excuse me Vivian, while I take care of this.

LAWRENCE WALKS TO THE FOYER AND VIVIAN FOLLOWS HIM NERVOUSLY.

JANET: Mr. Alamain, we have a search warrant for your house.

VIVIAN: And what is it that you're searching for?

MORGAN: We'll know when we find it.

JANET SIGNALS OUT THE DOOR FOR SEVERAL OFFICERS TO BEGIN TO SEARCH THE HOUSE.

THE OFFICERS DO AS DIRECTED, MORGAN AND JANET WALK TO IVAN'S ROOM. VIVIAN AND LAWRENCE SIT QUIETLY WHILE AN OFFICER SEARCHES THE ROOM. WHEN THE OFFICER LEAVES LAWRENCE BEGINS TO SPEAK.

VIVIAN: How should I know?

LAWRENCE: Vivian, you look a little nervous, is there something that you should be telling me right now.

VIVIAN: I have no idea what you mean, Lawrence. I know as much as you do.

CUT TO: IVAN'S ROOM. MORGAN IS IN THE CLOSET TAPPING ON SOME FLOOR BOARDS. HE FINDS A LOOSE ONE AND PRIES IT UP.

JANET WALKS OVER AND LOOKS AT THE GUN THAT MORGAN HAS PULLED FROM THE FLOOR.

JANET AND MORGAN LEAVE IVAN'S ROOM, IVAN'S GUN IN HAND.

CUT TO: ALAMAIN LIVING ROOM. IVAN HAS JUST FINISHED POURING VIVIAN A DRINK AND HANDS IT TO HER. IN PROGRESS.

AS VIVIAN IS SPEAKING, JANET AND MORGAN ENTER THE ROOM. MORGAN HAS THE GUN AND HAS PLACED IT IN A PLASTIC BAG TO PROTECT THE FINGER PRINTS. JANET TURNS TO IVAN.

IVAN: Yes.

JANET: Is this your gun?

IVAN: Yes.

JANET: Ivan Marais, you are under arrest for owning an unlicensed firearm.

VIVIAN: An unlicensed firearm... ridiculous!

JANET: (IGNORING VIVIAN) You have the right to remain silent...

VIVIAN: You can't do this. Ivan has done nothing wrong.

MORGAN: I'm sorry Ms. Alamain, but Ivan is being taken in under suspicion of murder.

JANET AND MORGAN LEAD IVAN OUT OF THE HOUSE.

LAWRENCE: Ivan, don't say a word. I'm going to call my attorney and have him meet you there.

HOLD ON LAWRENCE DIALING THE PHONE.

CUT TO: WINGS. DOUG IS STANDING NEAR THE BAR, IDLY TOYING WITH A CUP OF COFFEE. WE HEAR JULIE TALKING AS SHE COMES OUT OF THE KITCHEN.

JULIE WALKS UP TO THE BAR TO STAND NEXT TO DOUG.

JULIE: They say it's like falling off a bike.

DOUG: Managing a restaurant?

JULIE: Well, they say something is like falling off a bike and with Lorenzo as chef... falling off a bike seemed an appropriate metaphor.

DOUG: You are amazing...

DOUG STARES INTO HIS COFFEE CUP, LOST IN THOUGHT.

DOUG: No, but I have been doing some thinking about Wings. I know you've taken to it like you've never been gone...

JULIE: I have only been gone a few months...

DOUG: Well... maybe it is just that I've been gone for so long, but... this isn't Doug's Place anymore...

JULIE: Well you know the previous owner redid the entire decor... and... and...

DOUG: And what?

JULIE: (DISTRACTED) What dear?

DOUG: Julie, is something bothering you? Can I help?

JULIE: I was thinking about the previous owner.

DOUG: The previous owner?

JULIE: Nick Corelli.

DOUG: Nick Corelli? The pimp? The guy who helped David when he was on the run so many years ago?

JULIE: Exactly.

DOUG: Why were you thinking about Nick Corelli?

JULIE: I was really thinking about Nick and Eve.

DOUG: Nick and Eve? You've never really given me all the gory details of that story.

JULIE: Darling, it is much too complicated to go into right now. But I'm worried.

DOUG: About what?

JULIE: Eve. She seems so miserable. Not like the conniving nymph I remember.

DOUG: What do you think is responsible for her malaise?

JULIE: I don't think it's a "what." I think it's a "who."

DOUG: OK, then who is responsible for Eve's misery?

JULIE: You're looking at her, darling.

HOLD ON JULIE.

CUT TO: DONOVAN LIVING ROOM/FOYER. KIMBERLY IS SITTING ON THE COUCH, IN THE PROCESS OF GOING THROUGH CARLY'S THINGS. SHE HAS FINISHED WITH CARLY'S CLOTHES AND STACKED SOME OF THEM NEATLY ON THE FLOOR. SHE HAS STACKED OTHERS ON THE CUSHION BESIDE HER. SHE IS NOW CONCENTRATING ON A BOX OF OLD PHOTOGRAPHS AND OTHER MISCELLANEOUS PAPERS. SHE COMES TO THE BLACK AND WHITE PHOTO OF THE WOMAN'S BIRTHMARK, AND STARES AT IT, PUZZLED.

THE DOORBELL RINGS. KIMBERLY SETS THE PHOTO DOWN AND GOES TO ANSWER THE DOOR. SHE OPENS THE DOOR, AND JOHN IS LEANING AGAINST THE DOORJAMB, SMILING.

JOHN: Yeah, I guess going through that stuff would be a little too much for Bo to handle right now.... (HE LOOKS AROUND AWKWARDLY) Uhhh, Kim... is is okay if I come in?

KIMBERLY: (SMILING, EMBARRASSED) Of course, where are my manners? Please, come in.

JOHN: (ENTERING, CLOSING THE DOOR BEHIND HIM) Thanks.

THEY WALK FROM THE FOYER INTO THE LIVING ROOM.

JOHN: Sure, no problem. (LOOKING AROUND AT THE STACKS OF ITEMS) Would you like some help with what's left?

KIMBERLY: Thanks, I appreciate it.

JOHN MOVES THE STACK OF CLOTHING FROM THE COUCH TO THE FLOOR, AND SITS NEXT TO KIMBERLY. HE LOOKS AT THE STACK OF PAPERS SHE HAD BEEN SORTING. HIS EYES GROW WIDE WITH SHOCK AS HE SEES THE PHOTO OF THE WOMAN'S BIRTHMARK. HE PICKS UP THE PHOTO AND STARES AT IT.

KIMBERLY: John, what's wrong?

JOHN: This photograph. It's exactly like the photo I found in that satchel in Mexico...

KIMBERLY: The one that had those things...

JOHN: The only remaining tangible things I know I possessed before I was "programmed" to be Roman Brady. (BEAT) One of those things was a color version of this photo. (HOLDING UP THE PHOTOGRAPH)

HOLD ON JOHN. AND OUT.

SPECTATOR/JACK'S OFFICE. JACK IS SITTING AT HIS DESK LOOKING OVER THE MEAGER FILE ON CARLY.

VERN OPENS THE DOOR AND COMES IN.

JACK: You came in, didn't you?

VERN: And I have a feeling I'm going to be sorry for it.

JACK: Remember what I said about whining. So, did you find out anything else on Carly?

VERN: Nope. Nothing. Nada. Zip.

JACK: Come on, Vern, there's got to be something.

VERN: I'm telling you, there's nothing. All my questions lead to the same place. A dead end.

JACK: Well, I'm going to find a side street. (BEAT) And speaking of side streets, what did you and Jo do last night?

VERN: What's Jo got to do with a side street?

JACK: Never mind about that, Vern. Just answer the question.

VERN: We went for a walk and then I took her home, that's all.

JACK: See? A walk entails a street, doesn't it? And that better be all.

VERN: (SIGHING) (IGNORING JACK) Are you sure you want to go ahead with this story, Jack? I have a bad feeling about it. Something is going to backfire on us.

JACK: I certainly do, it's my duty as a journalist to find the truth.

VERN: Even if the truth hurts?

JACK: This is a big story, Vern. I don't know why it's taking so long to get a lead or where we'll end up when we get one, but we are doing this story.

VERN: You're the boss.

JACK: Exactly. "An don' you forget it Babbalouie!"

VERN: (BOWING) Yes, oh mighty "El Cabong."

THERE IS A KNOCK ON THE DOOR. A STAFFER POKES IN HIS HEAD. VERN TURNS TO LEAVE.

JACK: Tell him I'll be right with him.

STAFFER: Yes, sir.

THE STAFFER LEAVES AND VERN STARTS TO FOLLOW HIM.

VERN: Sure. Why'd you call him?

JACK: Lisanne was investigating Carly's medical records for that lawsuit against University Hospital. I thought he might have found something we could use.

VERN: I still don't think this is a good idea.

JACK: (REACHING FOR THE PHONE) No comment, Babbalouie.

HOLD ON JACK AS HE REACHES FOR THE PHONE.

CUT TO: JANET'S OFFICE. JANET, MORGAN, IVAN AND LAWRENCE'S ATTORNEY ARE SITTING AROUND A CONFERENCE TABLE. JANET IS QUESTIONING IVAN. FROM THE LOOK OF THOSE SITTING AT THE TABLE, THIS HAS BEEN GOING ON FOR A WHILE.

IVAN: (COOLY) I bought it.

JANET: From whom?

IVAN: From a man that sells guns.

JANET: OK, since you seem to be somewhat unwilling to discuss the gun, let's change the subject. Where were you on the night of the murder of Carly Manning?

IVAN: I was at home, at the Alamains.

JANET: Was there anyone there with you?

IVAN: I was alone in my room most of the evening.

JANET: Did anyone see you that night?

IVAN: I don't recall.

JANET: Why did you buy the gun?

IVAN: For protection.

JANET: Protection from what?

IVAN: Ms. Alamain was afraid of being robbed.

JANET: Ms. Alamain had already purchased a gun for her own protection. Did you really think she needed another one?

IVAN: One can never be too careful...

JANET: Why didn't you buy the gun legally?

IVAN: I didn't know that I was doing anything wrong.

JANET: You bought the gun so that you could kill Carly Manning, didn't you? And you bought it illegally to keep it from being traced back to you... isn't that what happened, Mr. Marais?

IVAN: (CALM) No, I most certainly did not. I bought the gun to protect the Alamains and myself from thieves.

JANET: Did Vivian Alamain ask you to buy this gun and then kill Carly Manning?

IVAN: No, she did not.

JANET GETS UP AND SIGNALS MORGAN TO JOIN HER OUTSIDE THE ROOM. MORGAN AND JANET STAND IN THE CORRIDOR. MORGAN SHUTS THE DOOR.

MORGAN: You may be interested to know that Ivan Marais passed a lie detector test during the Lisanne Gardner case. When the case was closed, we realized that he had been lying the whole time.

JANET: Interesting. I think we've got all we are going to get from him right now. Let's go back in and you can take him to his cell.

JANET AND MORGAN RE-ENTER THE ROOM.

IVAN LOOKS RELIEVED.

MORGAN WALKS OVER TO IVAN AND GESTURES FOR HIM TO STAND UP. HE LEADS IVAN OUT OF THE ROOM. HOLD ON IVAN'S RETREATING FIGURE, BEING LED AWAY.

CUT TO: DONOVAN LIVING ROOM/FOYER. JOHN AND KIMBERLY ARE STILL SEATED ON THE COUCH. JOHN IS STARING AT THE PHOTOGRAPH. IN PROGRESS.

JOHN: No, not really. I had given up on it. I was prepared to let the past stay in the past, and just concentrate on the present, and the future. Until Carly's funeral...

KIMBERLY: (SURPRISED) Carly's funeral? What happened at Carly's funeral that would make you want to start looking into your past?

JOHN: Remember the little musical interlude, after Tom Horton spoke?

KIMBERLY: Uh-huh...

JOHN: It was the "Sleeping Beauty Waltz." When Father Jordan mentioned the title, something clicked. Then, when the music started, I remembered something...

KIMBERLY: (EXCITED) Something from your past?

JOHN: I think so. I was dancing with a woman at some grand ball. There were lots of people in fancy clothes. The "Sleeping Beauty Waltz" was playing, and my partner was talking about how much she loved the music. Then I saw her face...

KIMBERLY: And? Did you recognize her?

JOHN: Oh, yeah, I recognized her, all right...

KIMBERLY: Well, who was it?

JOHN: It was Carly.

KIMBERLY: (SHOCKED) Carly? Carly Manning?

JOHN: Bingo.

KIMBERLY: Are you sure it was Carly?

JOHN: Either it was Carly, or her identical twin sister. (BEAT) There was one difference, though...

KIMBERLY: What's that?

JOHN: Carly had blond hair, not brown.

KIMBERLY: Hmmm. Wait, wasn't Carly a blond at one time? There was that business about Jennifer taking her place once while they were at school together...

JOHN: I don't know. All I know is that the woman in my flashback was blond, and she had Carly's face. (BEAT) And Carly's voice, now that I think about it. It must have been her.

KIMBERLY: What else did you remember?

JOHN: That's it. When I saw Carly's face, it kinda shocked me back into reality.

KIMBERLY: That's understandable. You certainly couldn't have expected to see Carly in any memories of your past.

JOHN: Anyway, that's why I wanted to talk to you. I wanted to see if you could help me make sense out of what I saw. (BEAT) And now this (HOLDING UP THE PHOTOGRAPH) pops up...

KIMBERLY: Do you think there's any connection?

JOHN: I'm not sure. They do seem to be two pieces of the same puzzle. (BEAT) But I have no idea where they fit.

OUT ON JOHN'S CONFUSION AND FRUSTRATION.

WINGS. DOUG AND JULIE, IN PROGRESS.

JULIE: It's a long story...

DOUG: I've got time...

JULIE: Well... When Nick died he left all his money to Eve, with one proviso.

DOUG: And that was?

JULIE: That Eve marry for love... And that I decide it was for love and not money.

DOUG: You're joking.

JULIE: I wish I were.

DOUG: Well, what happened?

JULIE: (SIGH) This is so complicated... Lawrence Alamain raped Jennifer.

DOUG: I know. When I think... But, wait, what does that have to do with Eve?

JULIE: Jennifer didn't tell Jack about the rape for a long time. Jack misunderstood her silence, her withdrawal and thought she didn't love him.

DOUG: How tragic for them both.

JULIE: It was. Anyway, at the same time Lawrence tried to steal the paper from Jack by buying him out.

DOUG: Is there no end to Alamain's evil?

JULIE: I think not... So to save the paper from Alamain, Jack needed money fast... And Eve wanted her inheritance...

DOUG: Don't tell me?

JULIE: Yes, Eve proposed to Jack. She agreed to pay off the paper, they would marry and she could get the rest of Nick's estate.

DOUG: And Jack accepted?

JULIE: Yes...

DOUG: And married Eve?

JULIE: Yes. I knew it wasn't for love, but Jack was so desperate... I couldn't let Alamain win... Jennifer wasn't talking... And I thought it would teach Eve a lesson.

DOUG: I can't believe this.

JULIE: I know it's a lot to swallow.

DOUG: You can say that again... But what does this have to do with Eve now and what happened to Jack and Eve?

JULIE: Jennifer finally told Jack the truth and they realized they loved each other. Jack divorced Eve and married Jennifer.

DOUG: And Eve?

JULIE: Eve had fallen for Frankie. Or at least I thought she had.

DOUG: And the money?

JULIE: This is where it gets interesting.

DOUG: I can't wait...

JULIE: Jack let everyone believe he kept all of Eve's money. But, he didn't.

DOUG: He didn't?

JULIE: No, he put it back in the trust fund.

DOUG: Then everyone should be happy. Jack married Jennifer and saved his paper, Eve is with Frankie and she has her money.

JULIE: Ummm... Eve doesn't know about the money.

DOUG: Doesn't know? Julie... how could you?

JULIE: It seemed like the right thing to do. I thought Frankie would be good for her. Would help her grow.

DOUG: And now?

JULIE: After seeing them together, I would guess that Eve is miserable.

DOUG: They hardly seemed the happy couple.

JULIE: And knowing Eve, I'll bet she's staying with Frankie for security, both emotional and financial.

DOUG: If that's the case, then what are you going to do? Will you tell Eve about the money?

JULIE: I don't know, Doug, I just don't know...

OUT ON JULIE'S DILEMMA.

CUT TO: ALAMAIN LIVING ROOM. VIVIAN AND LAWRENCE. IN PROGRESS.

LAWRENCE: I think we need to have a little chat first, Vivian.

VIVIAN: Can't this wait?

LAWRENCE: No, it can't.

VIVIAN: Well, then, what can I do for you, dear nephew?

LAWRENCE: Why did Ivan have that gun?

VIVIAN: I honestly have no idea.

LAWRENCE: Vivian, don't lie to me. I have had enough of your lies to last me a life time. Now, why did Ivan buy the gun?

VIVIAN: I am not lying to you. I have no idea what possessed him to buy it.

LAWRENCE: (SLOWLY) You don't suppose that he bought it and killed Carly to protect you from losing Nikki?

VIVIAN: No.

LAWRENCE: Vivian, Ivan didn't kill Carly to protect you?

VIVIAN: Don't be ridiculous. I said, "no."

LAWRENCE: Maybe it would be better for all of us if the police believed Ivan was guilty.

VIVIAN: What's that supposed to mean?

LAWRENCE: If Ivan is in jail as a suspect, it will protect Nikki. The police will never think to question Nikki while they have a suspect in custody.

VIVIAN: We can't do that to Ivan.

LAWRENCE: Can't we? Ivan can finally show his true family loyalty by taking the blame for killing Carly.

HOLD ON LAWRENCE.

CUT TO: SPECTATOR/JACK'S OFFICE. JACK IS ON THE PHONE, ONE-WAY. VERN IS SITTING IN THE CHAIR ACROSS FROM THE DESK. IN PROGRESS.

JACK HANGS UP THE PHONE, HIS HAND ON THE RECEIVER, IN THOUGHT.

VERN: What did he say? Do we have a lead?

JACK: (STARTLED) What?

VERN: Did Lisanne find Carly's medical records?

JACK: No, and not for lack of trying either.

VERN: So we're right back where we started. I say let's forget it and we'll just sugarcoat the whole thing.

JACK: No, we won't. Listen to this Vern. Lisanne found no record of an M.D. being awarded to Carly in either name. None of the schools she reportedly attended had ever heard of her.

VERN: Wasn't there a fire or something?

JACK: That may be so, but our Ms. Gardner took things one step further.

VERN: And?

JACK: It seems there is no record of Katerina legally changing her name to Carly Manning. Nor is there any evidence of a legal emigration to this country, no work visa, no green card, nothing.

VERN: That's not like the bureaucrats in the State Department.

JACK: No, it's not, is it? More and more it's looking like Carly Manning, M.D., just appeared out of thin air.

VERN: So we're dropping the whole thing now, right?

JACK: No, we most certainly are not. I just have to think for a bit where to look next. There are so many dead ends.

VERN: The whole thing is a dead end.

JACK: No. There's got to be something... somewhere... Some clue, some lead... and I will find it.

OUT ON JACK'S DETERMINATION.

DONOVAN LIVING ROOM. JOHN AND KIMBERLY ARE ON THE COUCH, TALKING. IN PROGRESS.

JOHN: (STARING AT THE PHOTOGRAPH AGAIN) No, yesterday's was the only one.

KIMBERLY: Let's try something. You have the photograph as a visual stimulus. Let's try adding some audio stimulation...

KIMBERLY GETS UP FROM THE COUCH AND GOES OVER TO THE STEREO.

JOHN: You think the combination of the music and this photo might trigger something in my memory?

KIMBERLY: I don't know for sure, but it's possible. Both have some connection to your past. Maybe putting them together will help you put some memories together... (PLACES CASSETTE IN THE STEREO)

KIMBERLY TURNS TO LOOK AT JOHN.

JOHN: Ready as I'll ever be. Let 'er rip.

KIMBERLY STARTS THE MUSIC, WALKS BACK OVER TO THE COUCH, AND SITS DOWN. JOHN LEANS BACK, FIXING HIS GAZE ON THE PHOTOGRAPH AS THE MUSIC SWELLS. HE SQUINTS AT THE PHOTOGRAPH AS HIS CONCENTRATION INTENSIFIES.

KIMBERLY: Give it some time. Just let it come, don't force it.

SEVERAL SECONDS PASS. WHEN NOTHING HAPPENS, JOHN, PAINED, SITS UP.

KIMBERLY: You're trying too hard, John. Here, I'll take this. (TAKES THE PHOTOGRAPH FROM HIS HAND AND SETS IT, FACE DOWN, ON THE STACK OF OTHER PAPERS) Now... (SOOTHINGLY) Just sit back... (PUTS HER HAND ON HIS SHOULDER AND GENTLY PUSHES HIM BACK AGAINST THE CUSHION) Relax... Listen to the music... Let your mind wander...

JOHN CLOSES HIS EYES, BUT THE TENSION IN HIS FACE BETRAYS HIS INTENSE CONCENTRATION. AFTER ABOUT A MINUTE, HE OPENS HIS EYES AND SITS UP.

KIMBERLY: It's okay... (PATS HIS KNEE) Don't worry about it...

KIMBERLY GETS UP, GOES OVER TO THE STEREO AND TURNS THE MUSIC OFF.

KIMBERLY: (RETURNING TO HER SEAT ON THE COUCH) It must really be hard. You have to try to be patient, though...

JOHN: There are so many questions. (BEAT) And I have no idea where to start looking for the answers.

KIMBERLY: What about Lawrence and Vivian?

JOHN: I can't trust Lawrence or Vivian... And maybe Carly could have helped me, but we'll never know, now that she's dead.

KIMBERLY: She did have this picture, though.

JOHN: Yes, she did. (HE PICKS UP THE PHOTOGRAPH) Can I hang on to this for a while?

KIMBERLY: Of course. I don't think Bo's ready to deal with all of Carly's things yet.

JOHN: Once he's had some time, I'll ask him about this. Maybe he knows something.

KIMBERLY: There's something else we could try, in the meantime.

JOHN: What's that?

KIMBERLY: Hypnosis. I could put you under, and see what we can find...

JOHN: I don't know, Kimmie. I'll have to think about it, okay?

KIMBERLY: Okay. (BEAT) You seem hesitant. Is there a problem? Something I can help clear up?

JOHN: No, not really. I'm just worried...

KIMBERLY: Worried that it won't work?

JOHN: Worried that it will work.

HOLD ON JOHN'S CONCERN.

CUT TO: CARVER AND CARVER. CARRIE IS TYPING SOME ENVELOPES. JONAH ENTERS.

CARRIE: Jonah, hi! Aren't you working at Alice's today?

JONAH: Yeah, but not until later. Can you go for a quick bite?

CARRIE TURNS AROUND AND LOOKS AT THE CLOCK.

JONAH: Let's go for Chinese, ok?

CARRIE: That would be ok, I guess.

JONAH: Well, you don't look thrilled. How about pizza? Don't tell me you're on a diet and you can only eat salad.

CARRIE: No, it's not the food...

JONAH: So what's the matter?

CARRIE PULLS THE EVICTION NOTICE OUT OF HER POCKET AND SHOWS IT TO JONAH.

JONAH: Oh, man. This says you have to pay up or be out in a week. What are you going to do?

CARRIE: I don't know. I asked Abe for more hours, but he said things were tight here.

JONAH: What about getting a roommate?

CARRIE: That's a possibility. On the one hand, having a roommate would be nice. But on the other, I don't really want to have to depend on someone else.

JONAH: Because Billie left you in the lurch?

CARRIE: I'm not blaming Billie for moving out, it was the best thing, but someone else could do the same thing.

JONAH: I guess you're going to have to find a cheaper place, then.

CARRIE: How am I going to do that in a week?

JONAH: I'll help you, silly. Come on, let's stop and get the paper and we can look at the listings while we eat.

CARRIE AND JONAH WALK OUT THE DOOR.

CUT TO: JANET'S OFFICE, JANET IS SEATED BEHIND HER DESK, MORGAN IS IDLY FLIPPING THROUGH IVAN'S STATEMENT.

MORGAN: Seems likely to me. If he didn't do the shooting, he must know who did.

JANET: Now we have to find out. Would it necessarily have to have been one of the Alamains, though?

MORGAN: Who else?

JANET: Who knows? I've contacted Interpol to see if he has a record... maybe there's someone else out there who wants Katerina Von Leuschner dead...

MORGAN: Someone who Ivan might know? Could he be some sort of agent? KGB?

JANET: Well... that'd make it easy, but I doubt it will go that way. KGB is rather a dinosaur in this day and age, isn't it?

MORGAN: I suppose you're right... too many James Bond movies, I guess...

JANET: (LAUGHS) Well, there's still the ISA, after all...

MORGAN: Seriously, though, I suppose some foreign agency could have something against the Von Leuschner family...

JANET: Exactly why I have them checking on Katerina Von Leuschner and Carly Manning. We'll see what they come up with...

SUDDENLY, THE DOOR FLIES OPEN, AND VIVIAN ALAMAIN STORMS IN, FOLLOWED BY AN APOLOGETIC AND ANGRY PETERS.

VIVIAN: I demand that you release my servant, Ivan Marais, to me at once.

JANET: (TO PETERS) That's ok, Officer... I'll handle this from here...

PETERS, RELIEVED, LEAVES, SHUTTING THE DOOR BEHIND HIM.

VIVIAN: (AGHAST) Arrest?

JANET: Mr. Marais refused to cooperate with our questioning, and he is suspected of purchasing an illegal firearm, so we are holding him in custody.

VIVIAN: Than I will post his bail. I will not have my employees being tortured in some jail cell...

MORGAN: (DRYLY) Well, it's not the Alamain Mansion, but we've stopped using thumb screws... and not an Iron Maiden in sight...

JANET: Mr. Marais will have his hearing tomorrow morning, at which time it will be determined whether he'll be bound over for trial...

VIVIAN: Trial??!

JANET: And the judge will set his bail. Then, you may post it if you wish.

VIVIAN: And what exactly will he be tried for? Ivan did nothing, he's been my trusted employee for years...

JANET: So trusted, you'd get his help to protect the real guilty party?

OUT ON VIVIAN'S FEAR.

CARVER AND CARVER. ABE AND LEXIE ARE STILL WORKING ON GETTING THE SCATTERED FILES PUT BACK TOGETHER AND AWAY. JOHN ENTERS.

ABE: No problem, John, you can just stay later, going through these files. (GRINS)

LEXIE: Don't listen to him... anyway, your office isn't even cleaned out and ready yet...

ABE: It hasn't quite made the transition from "file room" to "Partner's Office." And I hope you didn't get too used to the lofty view from your old office at Titan...

LEXIE: The only view you'll get here is of the beer signs at the liquor store next door...

JOHN: That's ok by me. The old office had a view, but that's about all it had... I'd much rather be working with people I like, doing a job I enjoy.

ABE: Well, we're damn glad to have you!

JOHN: I'm just not cut out to be the suit-and-tie type. I'll still have to drop by the office once in a while... just to manage some things, but they don't really need me...

LEXIE: And we do.

ABE: That's for sure...

JOHN: If it gets to be too much, I may just hire a business manager to take care of the Toscano holdings, and my interest in Titan... But my first priority, after seeing to Brady's future, of course, is right here.

ABE: Great! Now, instead of having one great cop (HE SMILES AT LEXIE) at my back, I have two.

JOHN: (GRINS) Ok, partners, what's the plan?

LEXIE: Well, I think our first order of business is to get Lawrence Alamain.

ABE: Lex and I are convinced he's the one behind all this mess, and quite possibly behind Carly's shooting, too.

JOHN: I'm afraid I'd have to agree with you... but do we really want to tangle with the new Salem Captain? I got the feeling Yamada won't be one to deal with interference in her investigation.

LEXIE: We've come up with an angle for that. We'll just have to dig into the past, go back a ways and uncover some of the nefarious deeds Lawrence was responsible for back then.

ABE: Once we've found something like that, we can nail Alamain, put him behind bars, all without stepping on any "official" toes, Yamada's included.

JOHN: Sounds workable to me... where do we start?

ABE AND LEXIE GRIN, AND LEXIE GESTURES TO THE PAPERWORK AROUND THEM. OUT ON THE THREE OF THEM, BEGINNING TO SORT FILES.

CUT TO: JACK/JENNIFER'S LIVING ROOM. JACK ENTERS THROUGH THE FRONT DOOR. AN ELABORATE LUNCH IS SET OUT, COMPLETE WITH CANDLES AND FLOWERS. A LARGE ENVELOPE RESTS ON A PLATE. JENNIFER COMES DOWN THE STAIRS.

JENNIFER: Why don't you open the envelope and find out?

JACK WALKS TO THE TABLE AND PICKS UP THE ENVELOPE. IT IS HAND-DECORATED WITH LITTLE HEARTS AND FLOWERS AND READS "JACK." JACK OPENS THE ENVELOPE.

JENNIFER: Just open it...

JACK OPENS THE ENVELOPE. INSIDE IS A LARGE, RED HAND-MADE HEART, WITH A LACE BORDER. IT READS: "TO MY BELOVED HUSBAND ON HIS BIRTHDAY. THIS CARD ENTITLES YOU TO ONE ROMANTIC WEEKEND IN THE WOODS. I LOVE YOU. JENNIFER."

JENNIFER WALKS TO JACK, PUTS HER ARMS AROUND HIM AND PULLS HIS HEAD DOWN FOR A LONG KISS.

JACK: Well, with Carly...

JENNIFER: To be honest, Jack, I had planned more than a card. I was going to kidnap you and take you to the cabin, just like you kidnapped me three years ago...

JACK: You were going to rent a fire truck?

JENNIFER: No, I'd rented a limo... but with everything... I just didn't think we should go right now. You understand, don't you?

JACK: (KISSING HER FOREHEAD) Of course, I understand. I know how upset you've been.

JENNIFER: Then you forgive me.

JACK: There's nothing to forgive.

JENNIFER: And you accept my invitation?

JACK: Just name the date and time and I'll be there.

JENNIFER: If I'm going to kidnap you I can't very well give you the date and time.

JACK: Then I'll just wait for the surprise.

JENNIFER: Jack, you're the best...

JACK: No, you are...

JENNIFER: No, you are...

JACK STOPS JENNIFER WITH A PASSIONATE KISS.

JACK: Would that be so bad? (NIBBLING HER EAR)

JENNIFER: Ummm... no... I mean, yes. (PULLING AWAY) Come on, let's eat.

JACK AND JENNIFER SIT DOWN AND BEGIN TO EAT.

JENNIFER: Jack... How about we change the subject?

JACK: You find the current subject distasteful?

JENNIFER: Distracting... So... how about those Bulls?

JACK: Come on, you can do better than that.

JENNIFER: OK. How is the story on Carly coming along?

JACK: (SMILING UNCOMFORTABLY) Like the little train that could... (SOTTO VOCE) Before it derailed...

JENNIFER: What?

JACK: Nothing, nothing. How is the child today?

JENNIFER: Abby's just fine. I just put her down for a nap so we could have some uninterrupted time together. (BEAT) Oh, Jack, while I was feeding Abby earlier, I got the most wonderful idea!

JACK: Do tell...

JENNIFER: I'm going to do a tribute to Carly on my show!

JACK: What do you mean, a "tribute"?

JENNIFER: I want to interview all the people Carly has helped as a doctor.

JACK: All the people Carly helped?

JENNIFER: Yes. And I'll interview her close friends, for a personal perspective. Maybe Frankie will even stay around long enough for me to interview him.

JACK: You want "Francoise" to talk about Carly?

JENNIFER: Yes. And when I'm done with this show, everyone will know what a great doctor and a wonderful person she was. Carly's done so much for so many people...

JACK: Carly's done a lot... Of that I'm almost certain...

JENNIFER: (IGNORING JACK) I'll probably have to do a two-parter, or a double-length show...

JACK: (SOTTO VOCE) Carly Manning, this was your life...

JENNIFER: What, Jack?

JACK: Err... (LOOKING AT HER SKEPTICALLY) Have you cleared this with Philip yet? It sounds like quite a big production. Better get signed-off from the bigwigs...

JENNIFER: I haven't talked to Philip about it yet, but I'm sure he'll love the idea. I'm meeting with him this afternoon.

JACK: You know, it's really good to see you so happy and energetic about something. Although I didn't think it would be Carly...

JENNIFER: Oh, Jack, I'm really excited about this. I think it's a really worthwhile thing to honor the memory of someone as warm and caring as Carly.

JACK: This is important to you, isn't it?

JENNIFER: This is very important to me. It'll be a good way for me to deal with the pain of losing her... (BEAT) (SHE LOOKS AT HER WATCH) Oh, I've gotta go... I have to be down at the studio. Can we continue the birthday celebration later?

JACK: You bet.

JENNIFER GETS UP AND COLLECTS HER PURSE AND KEYS. JACK GETS UP AND WALKS HER TO THE DOOR.

JACK: Absolutely. Good luck...

JENNIFER: Happy birthday... I love you...

THEY KISS. AND JENNIFER WALKS OUT THE DOOR.

JACK PAUSES, THEN CLOSES THE DOOR. HE MOVES TO THE FOOT OF THE STAIRS, CONCERNED.

HOLD ON JACK.

CUT TO: ALAMAIN LIVING ROOM. VIVIAN IS NO WHERE TO BE SEEN. LAWRENCE IS SITTING ON THE COUCH MINDLESSLY FLIPPING THROUGH SOME FILES. NICHOLAS ENTERS.

LAWRENCE: Well, hi Nikki. You sound a little sad. Want to tell me about it?

NICHOLAS: Why is Ivan in jail?

LAWRENCE: Nikki, how did you find out about Ivan?

NICHOLAS: I just saw Aunt Viv going to her car, I ran up and asked where she was going and she said that she was going to bail Ivan out of jail.

LAWRENCE: Well, Ivan has gotten into a little trouble with the law and Vivian is going to go take care of it.

NICHOLAS: Aunt Vivian takes care of Ivan, doesn't she?

LAWRENCE: Yes... Because Ivan takes care of her. He'd do anything for her...

NICHOLAS: Why does Ivan always do what Vivian wants?

LAWRENCE: Well Nikki, I'm not sure. (ALMOST TO HIMSELF) There's a lot I don't know about Ivan Marais... a lot that Vivian hasn't told me about their past. Perhaps it's time I started asking questions about our loyal family retainer.

OUT ON LAWRENCE, IN THOUGHT.

CARRIE'S APARTMENT. CARRIE AND JONAH ARE SITTING ON THE SOFA, LOOKING THROUGH THE CLASSIFIEDS.

CARRIE: Yeah, I got it. That makes what... five apartments I can afford?

JONAH: Better than nothing. Let's go check those suckers out!

CARRIE: Oh boy.

JONAH: I can tell you're excited.

CARRIE: If I had a car, I could live in it.

JONAH: Well, let's at least check these places out before you go and apply at the local homeless shelter.

CARRIE: I've got a bad feeling about this...

JONAH: (PULLING HER OUT THE DOOR) Come on!

ERIC CLAPTON'S "HARD TIMES" BEGINS PLAYING AS WE FADE INTO A MONTAGE. WE SEE CARRIE AND JONAH LOOK AT A VARIETY OF APARTMENTS. APARTMENT 1: THEY DRIVE UP TO WHAT APPEARS TO BE A RUN DOWN WAREHOUSE, THE PARKING LOT COVERED WITH WEEDS. THERE ARE NO STEPS UP TO THE FRONT ENTRANCE, JUST A LARGE DOOR PROPPED UP WITH CONCRETE BLOCKS THAT APPEARS TO BE ACTING AS A RAMP. THEY LOOK AT EACH OTHER AND DRIVE ON. APARTMENT 2: THEY ARE LOOKING INTO A DARK ROOM WITH BARRED WINDOWS. THERE IS A TOILET AND SINK SURROUNDED BY A CURTAIN IN THE CORNER. APARTMENT 3: THEY ARE STANDING IN A LARGE ROOM WITH AN ATTACHED KITCHEN. THE WALLPAPER IS HANGING IN STRIPS AND THERE ARE HOLES IN THE WINDOWS. APARTMENT 4: THEY DRIVE UP TO THE PARKING LOT AND SEE A BRAWL IN PROGRESS. THEY DRIVE ON. WE COME OUT ON MONTAGE ON THE LAST APARTMENT. THIS ONE IS SMALL, BUT CLEAN. THERE ARE DRAPES ON THE WINDOWS AND A SMALL KITCHEN.

LANDLORD: Well, this is just the display model. There's a 2 year waiting list to get in. And it's a $100 deposit to get on the list.

CARRIE: Oh. Jonah, are you sure you don't want to consider selling me your car?

HOLD ON CARRIE.

CUT TO: WINGS. THE PLACE IS EMPTY. JULIE SITS AT ONE OF THE TABLES, GOING OVER SOME RECEIPTS. DOUG ENTERS FROM THE BACK.

JULIE: Good ones, I hope...

DOUG: Mostly. But you know... so much has changed. It's strange... I feel at home here... and like a stranger in a strange land.

JULIE: Darling, it's been a while since you've seen Salem... So much has changed, especially this place.

DOUG: (DISTRACTED) Hmmmmm....

JULIE: But one thing that hasn't changed, these damned confusing receipts! I just don't understand why they can't make these at least appear as though they make sense!

DOUG: You don't like this part much, do you, Fair Lady?

JULIE: Wha... oh, the receipts, the inventory, the nuts and bolts of running the club? No, I suppose not. I always feel I could be doing something much more...

DOUG: Interesting?

JULIE: I suppose managing a club just isn't my style...

DOUG: Then take a break...

DOUG SWEEPS JULIE TO HER FEET, AND DANCES HER A FEW STEPS, HUMMING "THE MOST BEAUTIFUL GIRL IN THE WORLD". THEY KISS.

DOUG: Why must you?

JULIE: If I don't.....

DOUG: Has it occurred to you that I'm going to be bored silly in a week, if I don't have something to do while you run from meeting to conference?

JULIE: Well, I had just planned on keeping you as my love-slave...

DOUG: I'm that already, beautiful. Seriously, though... how would you feel if I told you I'd like to have the club back?

JULIE: Why... I think that's a wonderful idea, darling! But Wings... well, is Wings your style?

DOUG: No, it really isn't. I think I'd like to re-do it...

JULIE: Return it to being "Doug's Place"?

DOUG: Yes and no. I can't go back to the way Doug's Place was, because I'm not the "Doug" who's place it was...

JULIE: Not the music man with his foot caught in the door any more...

DOUG: I may always be that... But I'd like to create a new Doug's Place, one that reflects and symbolizes all the changes I've been through.

JULIE: Changes?

DOUG: I'm a wiser man... I'd like to think a better one... than I was when I left here... and I want to make a better place for myself here.

JULIE: That sounds marvelous, Doug. I think Salem is as ready for a new Doug's Place, as the new Doug is. Remember, I just want you to be happy, my darling... as happy as I am to have you back...

DOUG: I've got you in my arms... how could I be less than delirious? Of course, I've got the new club to plan, but that's not all...

JULIE: What else?

DOUG: Why, our wedding of course. We could even have it here, open the new Doug's Place with our friends and loved ones, and begin our new life together at the same time.

JULIE: You are such a romantic...

DOUG: How could I be any less, looking into your eyes?

THEY EXCHANGE A SMOLDERING LOOK, AND DISSOLVE INTO A PASSIONATE KISS.

CUT TO: JACK/JENNIFER LIVING ROOM. JACK IS PACING THE LIVING ROOM, MUTTERING TO HIMSELF.

JACK STOPS TALKING AS HE HEARS A KNOCK AT THE DOOR. HE OPENS THE DOOR TO FIND JO.

JACK: Thank you.

JO WALKS IN, A PRESENT IN HER HAND.

JACK: Thank you... Should I open it?

JO: Of course.

JACK OPENS THE PACKAGE. INSIDE IS A HANDMADE, CROSS STITCH, SAMPLER. IT READS: "SPECTATOR, SWEET, SPECTATOR."

JO: I made it in celebration of your getting back the Spectator.

JACK: Thank you, Jo... Really, it was nice of you to remember.

JO: You didn't expect me to forget my own son's birthday, did you?

JACK: No... although you seem so preoccupied with Vern lately...

JO: Jack, Vern and I are just friends...

JACK: Well... Vern said you went out last night.

JO: We went for a walk, and he walked me home.

JACK: And that's all you did?

JO: Jack! You're being ridiculous! Now, have you thought about what we talked about the other day?

JACK: What we talked about?

JO: That story on Carly. Are you sure you want to go through with it?

JACK: Look, it's out of my hands.

JO: So you say...

JACK: What are you doing here anyway? Don't you have some... some house cleaning to do? Or some trashy novel to read?

JO: No, I don't have any cleaning to do. And the last good novel I read was "In the Midnight Hour"... What did you do with it Jack?

JACK: That... garbage... is back in the attic where it belongs.

JO: Jack! That was a good novel!

JACK: Be that as it may, that manuscript will never see the light of day again. Now then... why don't you just run along home and read some magazine advice column or something?

JO: (LAUGHS) Jack! You are just so out of touch sometimes!

JACK: What? Me? I'm a newspaper man!

JO: Maybe. But you don't know much about women... or magazines.

JACK: And what exactly is that supposed to mean?

JO: What it means, son, is that there are practically no intelligent, thoughtful magazines aimed at women over 35. I, for one, do more than read advice columns.

JACK: There are hundreds of magazines on the market... Surely you like some of them.

JO: A few.. But it seems like advertisers or publishers or whoever the idiots in charge are... think women over 35 wither away or commit ritual suicide or something... Everything is aimed at women under 30...

JACK: (COMING TO A REALIZATION) Oh, really?

JO: Really. Don't they realize that older women have a lot to offer? Money, diverse interests... but they ignore us!

JACK: Well... that's certainly something to think about. As if I didn't have enough to think about...

JACK BEGINS PUSHING JO FIRMLY TOWARD THE DOOR.

JACK: Absolutely nothing.

JO: Oh no. I know that look. You're up to something, Jack. I can see the wheels turning.

JACK: There are no wheels turning. Look, why don't you just... go shopping or something. I think I may have some calls to make...

JO: But, Jack!

JACK: Bye now!

JO: Good-bye, son... Happy birthday...

JO LOOKS CONFUSED AS JACK PUSHES HER OUT THE DOOR.

OUT ON JACK'S FACE.

CUT TO: CARVER AND CARVER. CARRIE ENTERS THROUGH THE FRONT DOOR, FOLLOWED BY JONAH. BOTH ARE LOOKING TIRED AND FRUSTRATED.

JONAH: Try five disasters...

CARRIE SITS DOWN AT HER DESK. JONAH SITS ON THE EDGE OF THE DESK.

JONAH: People aren't living in them. That's why they're available. The previous occupants probably found better places... (BEAT) Or got robbed... or murdered...

CARRIE: (SHOCKED) Jonah!

JONAH: Face it, Carrie, a few of those places make living on the street look safe!

CARRIE: (PAINED) Please don't mention living on the street...

JONAH: Sorry. Seriously, though, what are you going to do?

CARRIE: (SHRUGGING, DESPONDENT) I don't know. Do you have any more ideas?

JONAH: Well, you could probably stay with us for a while, until you can find something permanent...

CARRIE: Thanks, but I can't. Abe and Lexie have already done enough for me by giving me this job.

JONAH: They'd do anything for you.

CARRIE: I know, but I want to make it on my own. I can't rely on other people all my life. It's time for me to stand on my own two feet.

JONAH: Okay, if that's what you want. (BEAT) Heyyyy... what about the Face of the Nineties contest?

CARRIE: (LOOKING DISAPPOINTED) Next idea...?

JONAH: What do you mean? There are cash prizes, right?

CARRIE: Yeah, but...

JONAH: And you deserve to win that contest, hands down. Scar or no scar.

CARRIE: (SMILING WEAKLY) Thanks, but...

JONAH: And you are a finalist, so...

CARRIE: Not anymore, I'm not.

JONAH: What do you mean, "not anymore"? What happened?

CARRIE: I got a letter form Bella magazine. I was disqualified because Marlena was on the Bella staff when I was entered. No relatives of Bella employees are allowed to enter any of the magazine contests.

JONAH: (ANGRY) Oh, man... So how come they made you a finalist, if you weren't even supposed to be able to enter?

CARRIE: They said it was a clerical error. I guess since Marlena goes by "Doctor Evans," they didn't figure out that we're related.

JONAH: (STILL ANGRY) That's so unfair, for them to get your hopes up like that...

CARRIE: It's okay, really. Now that Marlena's gone, I'm eligible for any future contests...

JONAH: That still doesn't make it right.

SEEING HOW UPSET JONAH IS, CARRIE BEGINS TO LAUGH.

CARRIE: (SMILING) Relax, Jonah. You're taking this news worse than I am.

JONAH: (SLIGHTLY SHAME-FACED) I'm just looking out for you... You're a pretty special person, Carrie Brady.

CARRIE: Thanks, Jonah, you're a good friend. But if I don't find a new place in a hurry, I'm going to be a pretty special homeless person...

HOLD ON CARRIE'S CONCERN.

CUT TO: JANET'S OFFICE, JANET, MORGAN, VIVIAN, IN PROGRESS.

VIVIAN: I assure you, Captain... I simply came down here to see that my servant is released immediately... I know nothing about any crime...

MORGAN: (SOTTO VOCE) and I'm the Queen of England...

JANET: Let's get down to business, Ms. Alamain. I know how you felt about Carly Manning...

VIVIAN: Why, the dear girl was as close to me as a daughter...

JANET: You hated her. You were in the middle of a very ugly custody battle, and you would have done anything to prevent her from getting Nicholas.

MORGAN: Anything...

JANET: It makes perfect sense that you would have wanted Carly dead, even if you had to kill her yourself...

VIVIAN: I did no such...

JANET: (INTERRUPTING) It also makes perfect sense that Ivan Marais would have helped you out. Why, he's practically one of the family, especially after that Lisanne Gardner incident...

VIVIAN: Lisanne's death was an accident, Ivan had nothing to do with anything...

JANET: But he did this time. He bought a gun from a street punk... a gun and ammunition.

MORGAN: He did it for you... to keep Nicholas from being torn away from you, and your nephew...

JANET: What doesn't make sense is your Beretta...

VIVIAN: I told you, that was stolen by the maid we fired... (SHE'S BEGINNING TO GET SOMEWHAT RATTLED)

MORGAN: And what would your ex-maid be doing with your gun... at the scene of Dr. Manning's shooting?

JANET: Yes, did your ex-maid have a grudge against Carly?

VIVIAN: How should I know... Carly Manning had made a number of enemies here... she wasn't a pleasant person...

JANET: I don't think that's it at all, Ms. Alamain. I think you know exactly who took your gun, took it down to the docks to kill Carly Manning...

MORGAN: But that person saw something, didn't they? Something that scared them so much, they panicked and dropped the gun...

VIVIAN: I really don't understand the point of all this...

JANET: Who was it, who took your gun to the docks??

MORGAN: And what did they see?

JANET: Yes, what did Nikki see that scared him so badly?

HOLD ON VIVIAN'S STARTLED LOOK.

CUT TO: WATB TV STUDIO. JENNIFER ENTERS IN A HURRY, WALKING OVER TO PHILIP, WHO LOOKS EXTREMELY STRESSED.

PHILIP: Jennifer? What are you doing here? I thought you were still off... Are you okay?

JENNIFER: We really need to talk. This is important.

PHILIP: (DISTRACTED) Yeah... we do need to talk. I hadn't expected...

JENNIFER: I have this really great idea for a show...

PHILIP: Jennifer, there's something I...

JENNIFER: I want to do a show on Carly!

PHILIP: I really don't think...

JENNIFER: We can interview Frankie, and we can talk about the MedVan, and all the great things she's done for the community...

PHILIP: Look, Jennifer...

JENNIFER: And once the audience sees what a great person she was, they'll all be interested in seeing that Lawrence Alamain is put behind bars for killing her...

PHILIP: I really wish you'd listen...

JENNIFER: I know it's short notice. But Philip, this is really important to me. It's a chance to do one last thing for Carly. A chance to help make sure Alamain is put behind bars for good, where he can never hurt anyone again.

PHILIP: I realize this is important to you.

JENNIFER: You do? Good. Do you think we could arrange to interview Frankie today?

PHILIP: Look, Jennifer, this is really hard for me to say.

JENNIFER: What?

PHILIP: You can't do this story.

JENNIFER: What? Why not? And who says? Did Jack put you up to this?

PHILIP: This has nothing to do with Jack. The problem is... (SIGHS IN FRUSTRATION) Look, maybe you should sit down.

JENNIFER: I don't want to sit down! Philip, what is going on?

PHILIP: Well... there's no easy way... I guess I'll just say it... (BEAT) I got the word when I got back to the office this morning. The show has been cancelled.

OUT ON JENNIFER'S SHOCK. FADE TO BLACK.