JANET'S OFFICE. JANET, VIVIAN AND MORGAN, IN PROGRESS.

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 your nephew see that scared him so badly?

VIVIAN: I don't know what you mean...

JANET: Again, Ms. Alamain... what did Nicholas Alamain see that made him drop your gun and run? Did he know the killer?

VIVIAN: Nikki was... that is... he wasn't anywhere near... he was in bed, at home....

MORGAN: And I suppose if we ask young Mr. Alamain, he'd say the same?

VIVIAN: Ask Nikki... why, you can't possibly mean...

JANET: It's very simple. Either you will bring in your nephew, so we can informally chat with him, or we can send a squad car out to pick him up. Which will it be?

HOLD ON VIVIAN'S LOOK OF PANIC.

CUT TO: TV STUDIO. JENNIFER, PHILIP, IN PROGRESS.

PHILIP: Yes, I'm as shocked as you are. This just came down this morning.

JENNIFER: (SHAKING HER HEAD) Cancelled? Philip, what happened?

PHILIP: It's not your fault. The local affiliates love us... the ratings are good in Salem. It's just the network...

JENNIFER: The network what?

PHILIP: To be honest, they want more controversy, a more "in your face" kind of show. Something that can compete with Oprah, Sally, Montel and Phil...

JENNIFER: So where does this leave us? What about locally?

PHILIP: The locals have been talking about picking up the show, but with the big boys going for a harder show... I don't know. I'm really sorry, Jenn... with everything else...

JENNIFER: (STUNNED) First my best friend and now my livelihood...

PHILIP: Jenn, I'm so sorry, I don't know what else to say...

JENNIFER: Philip... I have to go...

PHILIP: You ok?

JENNIFER: No... I need Jack and Abigail. I need to go home.

HOLD ON JENNIFER'S FACE.

CUT TO: LOFT. JOHN AND ABE ARE SITTING ON THE COUCH GOING THROUGH FILES ON THE ALAMAINS. ABE IS CONCENTRATING INTENTLY, WHILE JOHN'S MIND SEEMS TO BE ELSEWHERE.

JOHN: Well, partner, I was having a real tough time concentrating on anything with those stacks of mixed-up files staring me in the face... (LOOKS DOWN AT SOME PAPERS BRIEFLY, THEN TURNS TO STARE OUT THE WINDOW)

ABE: I hear you, partner. If we're going to try to nail Lawrence, we have to be focused. He doesn't slip up very often, so we've got to be ready for that small window of opportunity, you know?

JOHN: (PREOCCUPIED) Uh-huh...

ABE: John, are you with me?

JOHN: (SNAPPING OUT OF IT) What? Oh, yeah, yeah. I'm sorry, Abe.

ABE: You know, we came over here to get away from distractions, but it seems like you've been nothing but distracted all afternoon. Do you want to talk about it?

JOHN: I would, but I'm not sure where to begin, or what to say.

ABE: Well, why don't you start with what has you so preoccupied. Is something wrong?

JOHN: I don't really know. (BEAT) I guess you could say that what's wrong is... not knowing.

ABE: Not knowing?

JOHN: Not knowing squat about my past, except for a few bits and pieces.

ABE: I thought you had decided to leave all of that behind you...

JOHN: I had, I did. I was actually doing a pretty good job of it, too. Isabella was there, and we were happy together. Then, when she... (BEAT) Well, I still had Brady. I was all set to just concentrate on my future, and my son's future. I thought I had it all together...

ABE: I think you did...

JOHN: But then my past started coming back to haunt me...

ABE: What do you mean? What happened?

JOHN: At Carly's memorial service, I remembered something from my past.

ABE: What was it?

JOHN: It was triggered by that music, the "Sleeping Beauty Waltz." The music started, and before I knew it, I was having this flashback.

ABE: Flashback? You mean you remembered something from your past?

JOHN: Yes. I was dancing to that same music. There were lots of people. It must have been some big party...

ABE: Did any of the people look familiar?

JOHN: Only one... the woman I was dancing with.

ABE: That's great! Maybe you can track her down...

JOHN: No need. She's here in Salem.

ABE: Here in Salem? That's quite a stroke of luck. Have you talked to her? Can she help you...

JOHN: She can't help me at all... she's dead. (BEAT) The woman in my flashback was Carly.

ABE: (SHOCKED) Carly? Are you sure?

JOHN: Sure as I can be...

ABE: You weren't just seeing Carly's face because of the service, because she was on your mind at the time?

JOHN: I guess that's possible. Lord knows my memory of my life before I came to Salem isn't exactly reliable... who knows how badly Stefano messed up my head. (BEAT) Still, I feel in my gut that the memory was genuine. For now, at least, I have to assume that it really happened.

ABE: But how... I mean, you and Carly? It's unbelievable...

JOHN: I know. I'm having trouble believing it myself.

ABE: So what are you going to do now?

JOHN: I don't really know, partner. It's not much to go on...

ABE: Can you pinpoint anything else? The place, the date? Anything?

JOHN: I don't know the how, where, why, or exactly when. All I can tell you is that it seems I knew Carly years ago, before I ever came to Salem.

OUT ON JOHN.

JANET'S OFFICE. JANET, MORGAN AND VIVIAN, IN PROGRESS.

MORGAN: So he was there?

VIVIAN: I suppose it will all come out eventually, so I might as well cooperate... (DRAMATICALLY) throw myself on your mercy, for Nikki's sake...

JANET: Listen, Ms. Alamain, we know Nicholas couldn't have been the assailant, your Beretta is much too small to do the kind of damage that was done.

MORGAN: But your nephew might have seen something, or someone, he might be able to help us track down the person who did this.

JANET: He might know something important, something he doesn't realize might help us. We only want to talk with him.

VIVIAN: I suppose it wouldn't do any harm... you will be... less interrogative with him, won't you...

MORGAN: Hey, I've got kids myself. We're not going to grill the boy, just talk to him a little.

VIVIAN: What about Ivan? Is he to be freed?

JANET: We'll have to fine him for possession of an illegal firearm, and of course, confiscate the weapon, but it seems that will be all... for now.

MORGAN: But make sure Marais, you and Mr. Alamain, remain available to us... just in case...

JANET: Why don't you go and get your nephew, and we'll take care of Ivan. After our interview with the boy, you'll all be free to go.

HOLD ON VIVIAN'S RELIEF.

CUT TO: JACK/JENNIFER LIVING ROOM. JACK IS DASHING ABOUT THE LIVING ROOM. FIRST TO THE PHONE, THEN THE COMPUTER, THERE ARE STACKS OF PAPERS EVERYWHERE.

JENNIFER OPENS THE FRONT DOOR AND WALKS IN.

JENNIFER: Idea?

JACK: Julie wanted to know what I planned to do next...

JENNIFER: Next to what?

JACK: No, "next" as in now that I've got the paper back.

JENNIFER: The paper isn't enough?

JACK: Julie reminded me that I used to have big dreams and now there's no reason not to go for them.

JENNIFER: Big dreams... Yeah... I know how that feels.

JACK: And then Jo said something about older woman not having a publishing voice and it all just sort of came together...

JENNIFER: What came together?

JACK: My idea for a new magazine aimed at women over 40. Isn't it a brilliant? We'll corner the market. We'll make millions. Deveraux Publishing will become a household word...

JENNIFER: (BARELY ABLE TO HOLD HER TEARS) Yeah, that's a good idea...

JACK: Jennifer, what do you mean good idea? It's brilliant, amazing, stunning, phenomemal, spectacular... not "good."

JENNIFER BEGINS TO CRY.

JENNIFER: Oh, Jack...

JENNIFER THROWS HERSELF INTO JACK'S ARM. HE HOLDS HER, STROKING HER HAIR, AND JENNIFER BEGINS TO CALM DOWN.

JENNIFER: It's my show.

JACK: Your talk show?

JENNIFER: They cancelled it.

JACK: Cancelled it?

JENNIFER: Yes, Philip just told me.

JACK: Isn't there anything you can do?

JENNIFER: No, it's all over.

JACK: I'm so sorry, I know how much the show meant to you.

JENNIFER: Now all it means is that I'm a failure.

JACK: Don't say that, don't ever say that. You are not a failure. You are a respected journalist... a Ferraro winner.

JENNIFER: That was a long time ago...

JACK: Not that long ago. And you have a beautiful baby girl... and a husband who loves you.

JENNIFER: And I love you. (BEAT) And Abby? What is Abby going to think of me? She's going to think I'm a failure.

JACK: Our daughter is going to think no such thing. She knows how much you love her and that's what's important to her.

JENNIFER: But I've been so caught up in my work, I feel like I've been neglecting her. And for what? A job that I lost.

JACK: Jennifer...

JENNIFER: Maybe I shouldn't have gone back to work so soon. Maybe I should have stayed with the paper. Maybe I should just stop working and devote myself to being a housewife.

HOLD ON JENNIFER'S DILEMMA.

CUT TO: ALICE'S RESTAURANT. LEXIE IS SITTING AT A BOOTH, GLANCING AT HER WATCH. JOHN AND ABE ENTER. SEEING LEXIE, THEY JOIN HER AT THE BOOTH. ABE SITS NEXT TO HER, JOHN SITS ACROSS FROM THE TWO OF THEM.

LEXIE: I was beginning to wonder what happened to you two...

JOHN: I'm the one to blame, Lexie. It really wasn't Abe's fault.

LEXIE: Don't worry about it, John. It's not like I have any great news.

ABE: No luck at the Hall of Records, huh?

LEXIE: Nothing. All of Jencon's permits, licenses, and other dealings with City Hall seem to be in order. Nothing out of the ordinary that would merit looking into.

JOHN: Well, just because Lawrence signed on all the dotted lines doesn't mean he followed the rules. We'll just have to find another way to catch him in the act.

ABE: Yeah, it's not like there's a chance we won't find anything. We just have to keep digging until we find it.

LEXIE: So, what had you two so engrossed that you almost forgot about lunch?

JOHN: I was telling Abe about a memory flash I had at Carly's memorial service. Something from my past that crept up on me...

LEXIE: You don't exactly sound happy about it.

JOHN: I'm not sure how to feel about it. It seems that every time I'm ready to move on and forget my past, it finds a way to come back.

ABE: Instead of forgetting the past, I thought you'd like to remember it...

JOHN: Remember? Yeah. But I'm really tired of getting ambushed at every turn. I wish I could just piece together my past, deal with it, and put it to rest for good.

LEXIE: But where would you start?

ABE: That's one of the things we were talking about.

JOHN: Yeah, and we didn't really come up with any good solutions. (BEAT) The one person who would probably have all the answers is Stefano DiMera...

ABE: Unfortunately, he's not exactly known for being helpful or candid...

JOHN: Not to mention alive. It seems that most of the answers I need went up in smoke in that temple in Chichén Itzá.

LEXIE: Maybe Stefano was the only one with the entire story, but other people must have pieces of it, right?

JOHN: There was another person who could have helped. But now, she's just like Stefano... dead.

LEXIE: Who was that?

ABE: (TO JOHN) You're talking about Carly, right?

LEXIE: Carly? Wait a minute, John. What would Carly know about your past?

JOHN: I wish I could tell you, Lexie. I never got the chance to find out.

LEXIE: But what makes you think she knew something?

JOHN: That memory I mentioned, the one about my past... It was a memory of Carly. I have good reason to believe that we knew each other long before I came to Salem.

LEXIE: But if she knew you before, how come she never brought it up after she came to Salem herself?

JOHN: Probably because I didn't have the same face back then...

LEXIE: Of course. I'd almost forgotten about your plastic surgery. (BEAT) But, wait... it became common knowledge when you discovered you were Forrest Alamain. Why didn't Carly make the connection then?

JOHN: Good point. I guess it's possible that when she knew me before, it wasn't as Forrest Alamain. Maybe I was John Stevens at that time, or maybe I was using some other name.

ABE: Do you know if you used any other names?

JOHN: (ANGRY AND FRUSTRATED) I just can't remember... If only I had had that damned flashback sooner, while Carly was still alive. Maybe I could have learned something...

LEXIE: There are still other people who might know something that could help you... Lawrence and Vivian.

ABE: She's right, partner. They're the only people still living who we know, for sure, are connected to your past...

JOHN: There's also Danielle. Of course, tracking her down would be a whole mystery in itself...

LEXIE: Well, you know where to find Lawrence and Vivian...

JOHN: You guys are right, I know. I've thought about them a lot. I've just been putting it off.

ABE: I'm sure it would difficult to trust anything they may tell you...

JOHN: Yeah, there's a really good chance that they'll lie to me.

LEXIE: There's also a chance you may be able to get some of the truth out of them.

JOHN: I know. I know that, either way, I won't find out until I try. (BEAT) I don't like them, and they don't like me. But right now, going to them seems to be my only option. (SIGHS) I guess it's time I just bit the bullet and did it.

HOLD ON JOHN'S DECISION. AND OUT.

CARVER & CARVER/CORRIDOR. CARRIE IS SITTING AT HER DESK, JONAH, WEARING CUT-OFFS AND A TANK TOP, SITS IN THE CHAIR ACROSS FROM HER.

CARRIE: But where? And I only have a week, remember?

JONAH: My offer is still open, you know.

CARRIE: I know. But I told Dad and Marlena I was old enough to take care of myself and I will.

JONAH: Just because you (SINGING) get by with a little help from your friends doesn't mean you're a failure.

CARRIE: I know. I want to do it on my own.

JONAH: Ok, but if you change your mind ...

JOHN, LEXIE, AND ABE ENTER, RETURNING FROM LUNCH. THEY ARE TALKING ANIMATEDLY ABOUT A POSSIBLE CASE.

LEXIE SEES JONAH.

JONAH: I was just...

LEXIE: You were just what? Come on, Carrie's got work to do, stop bothering her.

JONAH: But I only came by to...

LEXIE: No "buts." Now get on over to Alice's before she decides to give your job to someone else.

JONAH: My shift doesn't start until 4:00, I have plenty of time.

LEXIE: No you don't. You've got to go home and change first. You can't show up for work looking like that.

JONAH: What's wrong with the way I look?

LEXIE: Get going, Jonah.

JONAH: (SIGHING) Ok, ok, I'm going.

JONAH EXITS. CARRIE OBVIOUSLY FEELS AWKWARD AND BUSIES HERSELF WITH SOME FILING. JOHN AND ABE EXCHANGE LOOKS AND HEAD TOWARDS THE OFFICES IN THE BACK. LEXIE FOLLOWS.

LEXIE: You're too easy on him. That boy needs to learn the value of hard work.

JOHN: He's young yet, he'll learn.

LEXIE: He won't be young forever and he'd better learn before it's too late.

HOLD ON LEXIE'S CONCERN.

CUT TO: JACK/JENNIFER LIVING ROOM. JENNIFER, LOST AND FORLORN, IS SITTING ON THE SOFA. JACK COMES DOWN THE STAIRS, CARRYING ABIGAIL.

JENNIFER: Abby...

JACK HANDS ABIGAIL TO JENNIFER, WHO HUGS AND KISSES HER.

JENNIFER: You're right... Nothing else seems important when I'm with Abby... and her Daddy.

JACK: (SITTING NEXT TO JENNIFER AND PUTTING HIS ARM AROUND HER) I know this is hard on you, Jennifer. Especially so soon after Carly... But you'll get through this. Our daughter and I will help you.

JENNIFER: I couldn't get through this without you two. But it's hard. I thought I was doing a good job...

JACK: You were doing a good job.

JENNIFER: Not good enough.

JACK: Jennifer, that's just the way television works. Everything depends on the ratings, not quality, not creativity, and certainly not talent.

JENNIFER: I don't like to believe that...

JACK: Believe it. The powers that be want sex and violence, shallow sensationalism, beefcake and cheesecake... not heart and soul and imagination.

JENNIFER: Maybe...

JACK: No "maybes." That's the way it is. And, to be frank, I think you're too good for that. I've always thought you were too good for that.

THE PHONE RINGS.

JENNIFER: Go ahead... Abby and I can wait...

JACK GETS UP TO ANSWER THE PHONE.

HOLD ON JENNIFER'S DILEMMA.

CUT TO: ALAMAIN LIVING ROOM. NICHOLAS AND LAWRENCE ARE PLAYING CHESS IN THE LIVING ROOM.

LAWRENCE: I'm sure that she will be home soon. She's just checking on Ivan.

AS LAWRENCE IS SPEAKING, VIVIAN WALKS IN THE ROOM. NICHOLAS RUNS OVER TO HER AND SHE BENDS DOWN TO HUG HIM.

VIVIAN: Yes, Ivan is going to be just fine (STANDS UP AND TURNS TO LAWRENCE). Lawrence, may I speak to you in private?

NICHOLAS: No, not in private, I want to know what's going on.

VIVIAN: Nikki, you'll find out what's going on as soon as I talk to Lawrence about it. Now why don't you go get some of those cookies that Cook made.

NICHOLAS: You promise you'll tell me?

VIVIAN: I promise.

NICHOLAS: Ok, but I'll be right back.

NICHOLAS LEAVES THE ROOM.

VIVIAN: The police know that Nikki was down on the docks with my gun.

LAWRENCE: My God, Vivian, just how did they figure it out?

VIVIAN: It seems as if we finally have someone in the Police Dept. who has brains and knows how to use them. Now the good Captain wants me to bring Nikki down to answer some questions.

LAWRENCE: What kind of questions?

VIVIAN: Yamada wants to know if Nikki saw anything that night.

LAWRENCE: And did he?

VIVIAN: Lawrence, if you mean is Nikki protecting me, the answer is no. But I could ask you the same question.

LAWRENCE: And you already know the answer. (BEAT) Well, "if it were done, best be that it were done quickly."

LAWRENCE CALLS TO NICHOLAS.

NICHOLAS ENTERS THE ROOM WITH A PLATE OF COOKIES.

VIVIAN: Nikki, you remember the night that Carly was killed?

NICHOLAS: Yes.

VIVIAN: Well, the police want you to come down to the station and answer some questions for them.

NICHOLAS: What kind of questions?

LAWRENCE: They just want to know if you saw anything unusual that night. All you have to do is tell them the truth and everything will be fine. Are you up for that?

NICHOLAS: I guess so. They don't think I killed her do they?

VIVIAN: No they don't, they just want to know if you saw anything.

NICHOLAS: Will this help Ivan?

VIVIAN: Yes.

NICHOLAS: Will the police stop bothering us all the time?

VIVIAN: I think so.

NICHOLAS: Then let's go.

VIVIAN: That's my little love... (GLARING AT LAWRENCE) At least one of the men in this house is acting like an Alamain. Come along, Nikki.

VIVIAN WALKS OVER TO NICHOLAS AND TAKES HIS HAND. VIVIAN AND NICHOLAS WALK OUT THE FRONT DOOR, HAND IN HAND, AS A STUNNED LAWRENCE STARES AFTER THEM. AND OUT.

CARVER & CARVER. CARRIE IS JUST PUTTING DOWN THE PHONE WHEN A YOUNG WOMAN ENTERS. SHE'S TALL, ABOUT 23, HAS SHORT RED HAIR AND FRECKLES. SHE'S DRESSED IN JEANS AND A FADED T-SHIRT THAT READS "SPRING BREAK '91, DAYTONA BEACH."

CARRIE: No, I haven't seen any one like that.

WOMAN: (STAMPING HER FOOT) Damn. I've only got an hour to get my rent check in. I'll go look in the basement. Maybe he's finally checking that hot water heater.

THE WOMAN TURNS TO GO OUT THE DOOR.

WOMAN: Yeah, at least one since old Mrs. Harris moved to Arizona to be with her grandkids. (SHE WAVES AN ENVELOPE) And maybe two, if I don't find the landlord soon.

CARRIE: Expensive?

WOMAN: (LAUGHING) In this neighborhood? Rent's $150 a month plus a $350 damage deposit. They're not fancy or anything, but they're clean and roach-free.

CARRIE: That sounds perfect! I've been looking for an apartment...

WOMAN: Well, maybe we'll be neighbors... if I find the landlord before the rent is due. I've gotta run.

CARRIE: OK. If I see the landlord I'll tell him you're looking for him.

WOMAN: (OVER HER SHOULDER) 'Preciate it! And if I find him first, I'll tell him to expect you.

CARRIE: Great, thanks!

THE WOMAN EXITS.

HOLD ON CARRIE'S EXCITEMENT.

CUT TO: BRADY KITCHEN. KAYLA IS STANDING AT THE MANTEL LOOKING AT THE FAMILY PHOTOGRAPHS. SHE SMILES AT THE ONE OF HER AND KIMBERLY STANDING BACK TO BACK. SHE LOOKS A LITTLE WISTFUL AT ONE OF STEPHANIE AS A TINY BABY.

SHE MOVES TO A PICTURE OF HER FIRST WEDDING TO STEVE, ON THE BOAT. SHE TOUCHES STEVE'S FACE.

SHE SHAKES HERSELF AND MOVES ON TO THE OTHER PICTURES. ROMAN AND MARLENA'S ENGAGEMENT PICTURE, JEANNIE, ANDREW AND SHANE NEXT TO A CHRISTMAS TREE, SHAWN AND CAROLINE IN THE FISH MARKET. SHE STOPS AGAIN AT A PICTURE OF BO, CARLY AND SHAWN-DOUGLAS ON THE "FANCY FACE." SHE PICKS IT UP.

THERE IS A KNOCK AT THE DOOR AND MARCUS WALKS IN WITHOUT WAITING.

KAYLA: Hi, Marcus...

MARCUS: Well that's not much of a welcome. Let's try that again.

MARCUS GOES OUT AND COMES IN AGAIN.

KAYLA: (LAUGHING) Hi Marcus! Just great!

MARCUS COMES OVER AND HUGS HER. HE SEES THE PICTURE IN HER HAND.

KAYLA: It's hard not to be.

MARCUS: I know.

HE BENDS OVER TO GET A BETTER LOOK AT HER FACE.

KAYLA: You know it does.

MARCUS: (PUTTING AN ARM AROUND HER) Who would know better than me? But that's in the past. We have to live in the present.

MARCUS LOOKS AROUND AND SPIES KAYLA'S PURSE HANGING FROM THE BACK OF A KITCHEN CHAIR AND PICKS IT UP.

KAYLA: Well...

MARCUS: (WHEEDLING) I'll even wear it on my head if it will make the Johnson girls laugh...

KAYLA: Ok, then, that makes all the difference! Let's go.

AS KAYLA DISAPPEARS THROUGH THE DOOR TO THE BACK, WE HEAR HER CALLING STEPHANIE.

MARCUS: (SHOUTING) Hey! I never said anything about treating!

HOLD ON MARCUS SMILING.

CUT TO: SALEM INN/EVE'S ROOM/CORRIDOR. JULIE KNOCKS ON THE DOOR, EVE ANSWERS.

JULIE: Eve darling. I'm fine. How are YOU? And more importantly, how are you and Frankie?

EVE: (SOTTO VOCE) The odd couple...

JULIE: What was that?

EVE: A wonderful couple... like Julia and Lyle... Bruce and Demi, Loni and Burt... oh guess not... um... no Julie, everything is peachy in paradise.

JULIE: Wonderful. I can't tell you how happy I am to hear that. I would be devastated if this really wasn't the love of your life and exactly what you wanted.

EVE: No, no... it's love all right. (TRYING TO HIDE HER NAUSEA)

JULIE: That's so good to hear. Now I can tell you.

EVE: Tell me what?

JULIE: After you and Frankie left for your African adventure, I discovered that Jack had returned all your money to the trust fund.

EVE: (HER EYES GROWING WIDER) What?

JULIE: Yes, I received a statement regarding the funds and checked it. It seems that Jack put back every cent.

EVE: Every cent?

JULIE: Yes darling. But after seeing how blissful you and Frankie were... I didn't want the money to come between you when you were together and in love...

EVE: (MUTTERING) Together... in love...

JULIE: Yes. And now I know I made the right decision since you both are still cooing and...

EVE: (CUTTING HER OFF) Cooing my butt!

JULIE: Eve...

EVE: You knew? You knew? Aaaaarrrrrrrgggghhh!! I spent all that time in the wilderness, in the mud, in the bugs, with no hot water, no electricity, no decent food, no manicures, no new clothes, no nothing... and you knew? Jack finally does one decent thing in his life and puts the money back and you don't get on the first plane to Timbuktu and tell me? You let me rot in that hell hole?

JULIE: Eve dear... You just told me that everything was "peachy in paradise"?

EVE: You mean "Preachy in Paradise." Frankie Brady is the most self-centered, self-righteous, holier-than-thou, do-gooder that I have ever had the displeasure of knowing.

JULIE: But I thought that you two were in love...

EVE: Love? Riiiighht. I thought that we were in love. At least I thought that he loved me...

JULIE: And he didn't?

EVE: (BITTER) No. He didn't want Eve... he wanted a re-creation of his perfect, sweet Jennifer.

JULIE: Are you sure? Frankie seems to care for you... maybe you can work it out.

EVE: Frankie makes me sick. The last thing I want to do is go back with him to that pit of inhumanity!

JULIE: Eve, I'm sorry. I never knew you felt this way... if I had had any inkling before you left...

EVE: So all the money is there?

JULIE: Every cent.

EVE: If you'll excuse me... I have to find a certain weasel and have a talk with him...

JULIE: Of course. We'll discuss the details later. I don't know what else to say.

JULIE WALKS TO THE DOOR AND OPENS IT.

EVE SHUTS THE DOOR AS JULIE WALKS DOWN THE HALLWAY SHAKING HER HEAD.

OUT ON JULIE.

ABIGAIL'S ROOM/CORRIDOR. JENNIFER IS ROCKING ABIGAIL, WHO'S FIGHTING SLEEP, HOLDING ONTO A STUFFED LAMB THAT IS PLAYING "BRAHM'S LULLABY". JACK ENTERS, TIPTOEING.

JENNIFER: Just about.

THEY ARE QUIET FOR A MOMENT, GAZING AT ABIGAIL.

JENNIFER: A bit better. I've been sitting here with Abby trying to reevaluate my priorities.

JACK: And?

JENNIFER: On the one hand, I feel guilty about not spending enough time with Abby. She's growing up so fast.

ABIGAIL HAS FINALLY DROPPED OFF AND JENNIFER GETS UP SLOWLY FROM THE ROCKING CHAIR AND PUTS ABIGAIL IN THE CRIB. JACK FOLLOWS AND COVERS ABIGAIL WITH A BLANKET AND PUTS THE TOY LAMB IN BESIDE HER.

JACK: You already are.

JENNIFER: I don't mean just as a mommy. I want to set a good example for Abby, show her that she can be anything and do anything.

JACK: Well, whatever you decide to do, I'll support you.

ABIGAIL STIRS AND THEY BOTH FREEZE. ABIGAIL SEEMS TO SETTLE DOWN AGAIN AND BOTH OF THEM CREEP OUT OF THE NURSERY INTO THE CORRIDOR. JACK CLOSES THE DOOR.

JACK: Actually, it was something Jo said.

JENNIFER: What did she say?

JACK: She said there's a large untapped audience out there... an audience of older women. And I could be just the man to tap them!

JENNIFER: (SKEPTICAL) Well, it sounds like a good idea. But what kind of experience do you have with older women and their concerns?

JACK: (WITH A GLEAM IN HIS EYE) Well, there was that time in...

JENNIFER: Jack! Be serious!

JACK: I am being serious. You see, once there was...

JENNIFER: Spare me the gory details. I'm talking about the magazine.

JACK: The details weren't that gory...

JENNIFER: Jack... Be serious. The last time I looked you were a younger man, not an older woman... Unless you count that incident a few years ago...

JACK: Please, I don't even like to think about that.

JENNIFER: Sorry. But Jack, what do you know about starting up a magazine geared towards women over 40? Are you planning to be Editor?

JACK: I hadn't really thought about it. I guess so...

JENNIFER: You'll do that and run the Spectator, too?

JACK: For a while...

JENNIFER: Jack, if you want to do this, do it right. Hire someone who knows something about the subject.

HOLD ON JACK'S SPECULATION.

CUT TO: ALICE'S RESTAURANT. JONAH IS TAKING A CUSTOMER'S ORDER AS KAYLA, MARCUS, AND STEPHANIE ENTER, MARCUS CARRYING STEPHANIE PIGGY-BACK STYLE. THEY PROCEED TO A BOOTH. KAYLA AND STEPHANIE SIT ON ONE SIDE, MARCUS SITS ON THE OTHER. JONAH FINISHES WITH THE OTHER CUSTOMER AND THEN WALKS OVER TO THEM, EXCITED.

KAYLA: We're fine, thanks...

MARCUS: Actually, I've prescribed something for these two ladies, and I'm making sure that they get their medicine.

JONAH: (SLIDING INTO THE BOOTH NEXT TO STEPHANIE) Oh, yeah? Hey, Stephanie, what kind of medicine is Doctor Marcus giving you?

STEPHANIE: (GRINNING) Ice cream!

ALL CHUCKLE AT STEPHANIE'S ENTHUSIASM.

STEPHANIE: Hot fudge!

ALICE ENTERS FROM THE KITCHEN, AND PROCEEDS TOWARD THE GROUP.

JONAH: (STANDING UP) Um, no, ma'am...

ALICE: Don't you have work to do?

JONAH: Um, yes, ma'am...

ALICE: (SITTING WHERE JONAH HAD BEEN, NEXT TO STEPHANIE) Then, get to it! (BEAT, AS SHE BREAKS INTO A SMILE) And smile. Customers like service with a smile...

JONAH: (SMILING) Yes, ma'am! (TO KAYLA AND MARCUS) Will that be three hot fudge sundaes?

KAYLA: Sounds good...

MARCUS: Three hot fudge sundaes, it is.

JONAH: Anything on those? Cherries? Whipped cream? Peanuts?

STEPHANIE: Everything!

MARCUS: Same for me. Kayla?

KAYLA: Just the hot fudge for me, thanks.

JONAH: (WRITING ON HIS NOTE PAD) Three hot fudge sundaes, two with the works. Coming right up! (EXITS TO THE KITCHEN)

ALICE: (SMILING) Sometimes the help just needs a good, swift kick!

THEY ALL LAUGH.

STEPHANIE: Okay...

ALICE: You've gotten so big!

MARCUS: Tell me about it! I carried her all the way in here! Oh! My back! (REACHES AROUND TO HIS LOWER BACK, IN MOCK PAIN)

STEPHANIE: (TO KAYLA) Mommy, what's wrong with Uncle Marcus?

KAYLA: (SMILING) Uncle Marcus is fine, honey. He's just being silly...

MARCUS: Ouch. No sympathy at all...

ALICE: So, Kayla, now that we finally have you back in Salem, what are your plans?

KAYLA: I don't really know, Mrs. Horton. I'm going to stay in Salem, but that's the only certainty at this point.

ALICE: What do you think, Stephanie? Are you going to like living in Salem, near your Grandma and Grandpa, and your Aunt Kim, and Uncle Bo?

STEPHANIE: Uh-huh...

MARCUS: And your Uncle Marcus...

MARCUS MAKES A FUNNY, CROSS-EYED FACE AT STEPHANIE. STEPHANIE LAUGHS HYSTERICALLY.

ALICE: Of course, dear. It's important that you take some time to be with your family. You need them right now, and they need you.

KAYLA: I know. (BEAT) But, I can't stay idle for too long. I was thinking of stopping by the Community Center, just to see how it's doing.

MARCUS: I think that's a great idea, Kayla. How about if we stop by after we have our ice cream?

KAYLA: Okay...

JONAH ENTERS FROM THE KITCHEN, CARRYING A TRAY WITH THREE HOT FUDGE SUNDAES, AND PROCEEDS TO THE BOOTH.

ALICE: (STANDING UP) Well, I'll let you get to work on that ice cream! I'm so glad you all came by. Enjoy! (LEANING OVER TOWARD STEPHANIE) Good-bye, Stephanie...

STEPHANIE: 'Bye... (PLUNGES A SPOONFUL OF ICE CREAM INTO HER MOUTH)

KAYLA: Thanks, Mrs. Horton.

ALICE EXITS INTO THE KITCHEN.

MARCUS: Sure, Jonah. (TO KAYLA) I'll be right back. Don't let Stephanie eat all of my ice cream...

JONAH AND MARCUS WALK OVER TO THE COUNTER. JONAH SETS HIS TRAY DOWN.

MARCUS: (CURIOUS) Her face? What about it?

JONAH: You didn't see the scar?

MARCUS: (SURPRISED) No, I didn't...

JONAH: Well, she was in an accident, and some acid was splashed on her face and neck, here (POINTING TO HIS OWN CHEEK AND NECK). She had to wait for a while, of course, to see how well it would heal on its own...

MARCUS: Wait a minute, what kind of an accident?

JONAH: Look, it's a long story, and it would probably be better if Carrie told you herself. The point is, I think her face has healed as much as it's going to, on its own.

MARCUS: And...

JONAH: And I was wondering if there's something you could do to help her?

MARCUS: Well, I'd have to see the scars for myself, first. Anything's possible.

JONAH: Then you'll help her?

MARCUS: I'll do whatever I can, of course, but I'll need to examine her face thoroughly before I can make any promises.

JONAH: (PICKING UP HIS TRAY, AS IF TO LEAVE) Thanks, man, I really appreciate...

MARCUS: Hold on a minute, Jonah. I've worked with a lot of patients who have been scarred by accidents.

JONAH: And? (JONAH'S ENTHUSIASM FADES)

MARCUS: And it can be complicated, especially when you're talking about damage to the face...

JONAH: So, what are you saying?

MARCUS: I'm saying that I'm sure Carrie has as much scarring on the inside as on the outside, if not more...

JONAH: Well, I've been spending quite a bit of time with her lately, and I think she's dealing with it. Psychologically, she seems to be in good shape...

MARCUS: Maybe so, but I'm not going to push anything on her. She's the only one who really knows when she's ready. Okay?

JONAH: Okay. It's Carrie's move, then. (BEAT) Thanks, Marcus.

JONAH EXITS TO KITCHEN. HOLD ON MARCUS, IN THOUGHT.

CUT TO: JANET'S OFFICE. JANET AND MORGAN ARE SITTING AT JANET'S DESK WHEN LAWRENCE, NICHOLAS AND VIVIAN ARRIVE AND KNOCK ON HER DOOR.

AS THE ALAMAINS ENTER, JANET STANDS UP.

JANET: Thank you, Ms. Alamain, we appreciate your cooperation.

JANET WALKS OVER TO NICHOLAS.

NICHOLAS: Everyone calls me "Nikki."

JANET: OK, Nikki, why don't you sit down... all of you.

NICHOLAS SITS IN FRONT OF JANET'S DESK, JANET PULLS UP A CHAIR NEXT TO HIM. LAWRENCE AND VIVIAN SIT AGAINST THE WALL. MORGAN STAYS NEAR JANET'S DESK.

NICHOLAS: I'm fine, thank-you.

LAWRENCE: Let's just dispense with the pleasantries and get on with it.

VIVIAN: Lawrence, please, Captain Yamada is just trying to make Nikki more comfortable.

JANET: Thank you, Ms. Alamain, but I can handle this. (TO NICHOLAS) Nikki, do you remember the night Dr. Manning was shot?

NICHOLAS: Yes.

JANET: You were there that night, weren't you?

NICHOLAS LOOKS AT VIVIAN WHO NODS.

JANET: Ok, Nikki, when you got down to the dock, what did you see?

NICHOLAS: I got there when the ambulances did. I couldn't see too much because of the rain, and the smoke from all the cars down there.

JANET: How long did you stay?

NICHOLAS: I wanted to see what was going on, so I stayed and watched for a couple minutes. I heard something about someone getting shot.

JANET: Did you see anyone hanging around the dock?

NICHOLAS: No, I didn't see anything but all the ambulances and the paramedics.

MORGAN: Are you sure?

NICHOLAS: Yes, I'm sure. I'm not stupid, you know.

JANET: No one ever said you were, Nikki. We just needed to make sure you didn't see anything.

NICHOLAS: Well, I didn't. Now will you just leave us alone?

MORGAN: You didn't see Ivan, or your father or you Aunt Vivian at the docks?

NICHOLAS: No... Dad left before me. So did Ivan.

MORGAN LOOKS AT JANET, SOMEWHAT SURPRISED AND SHRUGS HIS SHOULDERS. LAWRENCE AND VIVIAN EXCHANGE A GLANCE.

JANET TURNS TO THE ALAMAINS.

LAWRENCE AND VIVIAN STAND.

JANET: I said you are all free to go. Just don't leave town. I may want to talk to you again.

LAWRENCE: Next time will it be rubber hoses and a darkened room?

JANET: (IGNORING LAWRENCE) Your butler, Ivan Marais, is free to go as well. You can meet him outside in about 10 minutes.

VIVIAN: Thank you, Captain.

LAWRENCE, VIVIAN AND NICHOLAS WALK OUT THE DOOR.

JANET: I think the kid is telling the truth. I don't think that he saw anything that night.

MORGAN: That doesn't explain why he was down at the docks with a gun.

JANET: And it doesn't explain where Lawrence and Vivian really were that night.

MORGAN: You caught that?

JANET: Of course I did. Nikki said his father and Ivan both left the house. And he didn't mention Vivian. Somehow I don't think the Alamains were having the quiet evening at home that they used as an alibi. Especially not Lawrence. Or Ivan.

MORGAN: And maybe Vivian, too.

JANET: And maybe Vivian, too. (BEAT) You know, Morgan, one of those people could still be our killer.

HOLD ON JANET. AND OUT.

DONOVAN LIVING ROOM/FOYER. KIMBERLY AND PHILIP ARE SITTING ON THE SOFA. PHILIP LOOKS UPSET, AND KIMBERLY SEEMS CONCERNED.

KIMBERLY: And I wish there was something I could do to take your mind off this.

PHILIP: Maybe it's my fault. Maybe I wasn't a good enough producer.

KIMBERLY: That's ridiculous. It's not your fault the ratings weren't very good.

PHILIP: Maybe... what if I had exerted more control? I guess I'll never know.

KIMBERLY: There's no point in worrying about something that's beyond your control. Trust me. (SHE BEGINS MASSAGING HIS BACK) Just try and relax. Worrying won't help anything.

PHILIP: I know... it's just that I don't know what to do now. I mean, Salem isn't exactly Hollywood.

KIMBERLY: Definitely.

PHILIP: I don't know if I'll be able to get another job.

KIMBERLY: You could check at the TV station...

PHILIP: Yeah. But what with all the budget cuts...

KIMBERLY: Yeah...

PHILIP: But I don't want to get some nine to five job. I don't think I could do that. I'm just not cut out for it.

KIMBERLY: I know... it means a lot to me to see you happy.

PHILIP: I've grown to really love Salem. Your family is great, the city is great... a wonderful place to live. But...

KIMBERLY: But being able to work in the industry is more important?

PHILIP: Ever since I was a little kid I wanted to work in TV and movies. I used to stare at the screen and say "someday I'll make something like this." It's in my blood. I can't just give it up.

KIMBERLY: (HUGGING HIM) Maybe you won't have to. Maybe things will work out.

PHILIP: But what if they don't?

KIMBERLY: Let's not talk about what if. Let's just try and forget all this for right now.

PHILIP: You're right. (STRETCHES). I've pulled muscles I forgot I had. Let's just... I don't know. Let's just rent a tape and have a nice dinner and relax, okay?

KIMBERLY: That's the spirit!

THE DOORBELL RINGS

KIMBERLY: No, that's okay. I'm up.

KIMBERLY OPENS THE DOOR TO FIND JOHN OUTSIDE.

JOHN: No. I wish. I just stopped by to ask some advice.

KIMBERLY: Sure. Come on in.

JOHN ENTERS, BUT STANDS AWKWARDLY IN THE FOYER.

KIMBERLY: I'd thought of that, too.

JOHN: Do you think I should talk to them? I don't have any other leads to go on.

KIMBERLY: I really don't know what to tell you. I wish I did. On the one hand, the Alamains may have the answers. On the other hand...

JOHN: You don't trust them.

KIMBERLY: Only about as far as I can throw them. And they certainly haven't shown any inclination to talk to you, or to share much of anything.

JOHN: Yeah. I wouldn't even consider it, but there's just so many dead ends.

KIMBERLY: I'm sorry, I just can't help you on this one. It has to be your call.

JOHN: Yeah, well, that's what I figured. I guess I better think on it a while longer.

KIMBERLY: Good luck.

JOHN: Yeah, thanks.

JOHN LEAVES. HOLD ON KIMBERLY'S CONCERN.

CUT TO: JACK/JENNIFER'S LIVING ROOM. JACK AND JENNIFER ARE WALKING DOWN THE STAIRS TOGETHER. IN PROGRESS.

JENNIFER: (SLUGGING JACK IN THE ARM) Enough, Jack...

JACK: (GRABBING HIS ARM) All right, all right... ouch. (RUBS HIS ARM) As I was saying, you're right. I don't have a great deal of experience with older women...

JACK AND JENNIFER PROCEED FROM THE STAIRS TO THE COUCH, WHERE THEY SIT DOWN.

JENNIFER: Jack! (COCKS HER ARM TO SLUG HIM AGAIN)

JACK: (JUMPING UP) What, what?! You know, you'd better check for video cameras before you proceed to batter me... I could sue...

JENNIFER: Sit down, Jack, and listen to me for minute.

JACK HESITATES.

JENNIFER: No, I won't beat you...

JACK RELUCTANTLY SITS BACK DOWN.

JACK: (WARILY EYEING JENNIFER) I'll do my best...

JENNIFER: Listen, Jack. Women over 40 are no different than women under 40. They have a wide range of interests. They're interested in the arts, music, politics...

JACK: Politics?

JENNIFER: Yes, politics. They're voters, aren't they? They want to know the issues just like any other age group. Now, as I was saying, they're interested in politics, business, sports...

JACK: Sports?

JENNIFER: (MILDLY ANNOYED) Jack, there are women in their forties and fifties and more, who could run circles around you.

JACK: Or punch me out...

JENNIFER: (IGNORING JACK) Jack, have you looked around lately? Just between the two of us, we know lots of older women who are successful in all different walks of life.

JACK: Such as?

JENNIFER: Such as my grandmother, and her work at the hospital...

JACK: Yes...

JENNIFER: And Kate Roberts, who is successful in the publishing business...

JACK: Hrrmph...

JENNIFER: And your own mother...

JACK: Jo?

JENNIFER: Yes, Jo. She's a very strong woman. She's wonderful with children. And she's taking night classes, trying to grow and improve herself. I have a lot of admiration for your mother.

JACK: I suppose you're right...

JENNIFER: You know I'm right. (BEAT) And then there's Julie...

JACK PERKS UP AT THE MENTION OF JULIE'S NAME, A GLEAM IN HIS EYE.

JACK LEANS OVER AND PLANTS A HUGE KISS ON JENNIFER, WHO IS STUNNED AND COMPLETELY CONFUSED.

JACK: Just think with me for a second... Julie has saved the Spectator not once, but twice. If not for her, the future Deveraux publishing empire would be nothing more than a pipe dream!

JENNIFER: So...

JACK: So, in order to thank her for her support, I'll make her Editor-in-chief of the new magazine!

JENNIFER: (EXCITED) Jack, I think that's a terrific idea. You're right, it is perfect. Julie could make the magazine a huge success.

JACK: Absolutely. Who better to be in charge of this magazine than a member of the target audience? And such a successful and worldly member, to boot. (BEAT) In fact, I think I should go talk to her right away. I can't afford to waste a minute!

JACK GETS UP AND HEADS TOWARD THE FRONT DOOR. JENNIFER FOLLOWS.

JACK: Yes?

JENNIFER: (PUTTING HER ARMS AROUND HIM) I think this is a wonderful thing you're doing.

JACK: Thank you. I hope Julie agrees...

JENNIFER: I'm sure she will. Go on, go get yourself an editor...

THEY KISS GOOD-BYE, AND JACK EXITS. JENNIFER WATCHES HIM GO, SMILING. HOLD ON JENNIFER.

CUT TO: BRADY KITCHEN. MAX AND FRANKIE ARE SITTING AT THE KITCHEN TABLE. ON ONE SIDE OF THE TABLE ARE PHOTOGRAPHS FROM AFRICA. MAX IS SHOWING FRANKIE SOME OF HIS ART WORK FROM SCHOOL.

FRANKIE: This is great, Max. And you got an A!

MAX: I made it for you. You can have it.

FRANKIE: Thanks! I'll hang it up in my hut. That way I can see it every day.

MAX: Do you have to go back to Africa? I miss you.

FRANKIE: I miss you, too. But a lot of people are counting on me. Remember I told you about those sick goats?

MAX: Yeah, but anybody could help them get better. It doesn't have to be you.

FRANKIE: Well, no, it doesn't. But I want to be there. I can make a difference.

MAX: Can't you just send Eve?

FRANKIE: All by herself? Wouldn't she get lonely?

MAX: Who cares?

FRANKIE: Max! I thought you liked Eve.

MAX: I just said I did because you liked her. She's not very nice to me when you're not around.

FRANKIE: Now, I'm sure that's not true. Eve has changed a lot the past few years. She's sweet, caring, generous. She never yells anymore.

MAX: If you say so.

FRANKIE: C'mon, don't be like that. You just don't know her like I do. I love her, she's the perfect woman for me.

MAX: I still wish you would stay in Salem.

FRANKIE: I'm sorry, Max. But Africa is my home now. Maybe when you're older Shawn and Caroline will let you come visit me and then we'll go see the lions together. Wouldn't you like that?

MAX: That would be great! (BEAT) But it will be a long time before Mom lets me go. She'd be scared something would happen.

FRANKIE: Well, that's a mom's job, I guess. In the meantime we'll write letters and I'll tell you everything that the lions are doing, and you can send me more pictures, ok?

MAX: Ok.

FRANKIE: Oh... I am going to miss you...

FRANKIE AND MAX HUG. AND OUT.

CARVER AND CARVER. CARRIE IS SITTING AT HER DESK FLIPPING THROUGH A MAGAZINE WHEN JONAH STICKS HIS HEAD IN THE DOOR.

CARRIE: Hi Jonah!

CARRIE RUNS UP AND HUGS HIM, GRINNING.

CARRIE: Guess what?!

JONAH: Um.... you won the lottery?

CARRIE: Nope. Better.

JONAH: Better than winning the lottery?

CARRIE: Yup. Better than winning the lottery.

JONAH: You found out you're the missing heir to the British throne?

CARRIE: Nope. Better.

JONAH: What is it? What are you trying to do, torture me? Cause if you are, I'm not giving you a ride home.

CARRIE: Okay, okay. I found an apartment!

JONAH: Seriously?

CARRIE: Seriously.

JONAH: Wow! That's great!

CARRIE: Yeah. And guess where it is?

JONAH: No more guessing games. I'm no good at them.

CARRIE: Well, you got that one right.

JONAH: Yeah, thanks. So?

CARRIE: It's right upstairs.

JONAH: Upstairs from...?

CARRIE: Here.

JONAH: Upstairs from here?

CARRIE: Uh huh.

JONAH: Wow. That's pretty cool.

CARRIE: Yeah. Now I don't have to worry about getting to work. And there's a grocery store two blocks away, so not having a car won't be a problem.

JONAH: Aren't you kinda spooked about the neighborhood, though?

CARRIE: A little. But I've worked here a little bit now... I'm not as scared as I was.

JONAH: Good for you. So, how'd you find out about this place?

CARRIE: One of the renters from upstairs was looking for the landlord, to pay her rent, and mentioned there were vacancies.

JONAH: How much does this place cost?

CARRIE: It's $150 a month, plus a $350 deposit.

JONAH: Wait a minute. Three hundred and fifty dollars? Where are you gonna get that kind of money?

CARRIE: I've already got it. Well, practically.

JONAH: What'd you do, knock off that liquor store down the street?

CARRIE: Yeah, right. No, there was this girl that used to come over and study sometimes, and she really liked my furniture.

JONAH: Uh oh.

CARRIE: So, I called her up and told her if she could get the money to me today, I'd sell it all to her for $800.

JONAH: Wow. Not bad. How much furniture are we talking here?

CARRIE: Well... the dining room set. And the living room stuff, the sofa and chair...and the stereo...

JONAH: What are you going to eat on? Sit on?

CARRIE: It's not a big deal. At least I'm not out on the street.

JONAH: Didn't Billie take a lot of stuff when she left?

CARRIE: Yeah. But hey, I can just buy new stuff later, right? I mean, I have the money to get a place now. Plus, I'll have almost three months rent. That's what's important.

JONAH: Yeah. You're right. Sorry.

CARRIE: No problem. I was just so worried, and now everything's worked out! This is great!

JONAH: Yeah. So, when do you move in?

CARRIE: Um.

JONAH: Um? Oh no. What now?

CARRIE: Well, I never actually found the landlord.

JONAH: So this isn't exactly... set.

CARRIE: Well, no. But at least I know I've got the money. And once I find this guy...

JONAH: Yeah. You're probably right. Look, how about I take you home, we'll stop by the grocery on the way and get some stuff, and we'll have some burgers and nachos and be sofa spuds till your friend comes to steal the sofa?

CARRIE: Sounds good. Let's go. (STARTS OUT THE DOOR)

JONAH: Carrie.

CARRIE: Yeah. (STOPPING)

JONAH: Look, just don't get too excited. This might not work out, you know.

CARRIE: But it might.

JONAH: Yeah. It probably will. But if it doesn't... you know my offer till stands.

CARRIE: Yeah. Thanks. Now let's get moving!

JONAH: Okay, okay! You know, sometimes I think you just hang out with me cause I have a car...

CARRIE: Oh no! I'm caught!

THE TWO LAUGH AS THEY WALK OUT THE DOOR.

CUT TO: SALEM COMMUNITY CENTER. KAYLA, MARCUS AND STEPHANIE WALK UP. THE OUTSIDE IS A BIT MORE UNKEMPT LOOKING THAN IN THE PAST.

STEPHANIE: Was I born?

KAYLA: No, sweetness, you weren't born yet. Daddy and I, and Uncle Marcus, and Uncle Bo, and some other wonderful friends built this, to help people.

KAYLA, MARCUS AND STEPHANIE ENTER THE BUILDING. BEYOND THE DOOR, IT'S APPARENT THAT THE INSIDE HAS SEEN BETTER DAYS AS WELL. CLEARLY, SOMEONE HAS DONE THEIR BEST, BUT EVERYTHING LOOKS RUN-DOWN. EQUIPMENT HAS BEEN USED TO THE BREAKING POINT, MURALS ARE PAINTED ON THE WALLS TO HIDE CHIPS IN THE PAINT AND OLD GRAFFITI, THE FURNITURE IS RICKETY AND WORN LOOKING, AND SEVERAL STRIPS OF DUCT TAPE COVER A JAGGED BREAK IN ONE OF THE WINDOWS.

A STRIKING WOMAN WALKS UP TO THEM, DRESSED IN LEGGINGS AND LEOTARD, A SWEATER HANGS OVER HER SHOULDERS.

KAYLA: I'm Kayla Johnson, and this is my daughter, Stephanie, and my good friend Marcus Hunter.

STEPHANIE DISCOVERS SOME PICTURE BOOKS IN THE CORNER, AND BUSIES HERSELF LOOKING THROUGH THEM.

CANDIS SHAKES KAYLA'S AND MARCUS' HANDS.

CANDIS: You're Roman's sister, that explains why you look familiar. Didn't you and your husband build this place?

KAYLA: That's right. This was a dream of Steve's... What happened? Everything's so run-down...

CANDIS: What happened was apathy and cut funding. My staff and I are breaking our backs keeping this place up and running.

KAYLA: Please tell me more about this apathy and funding problems?

CANDIS: Well the apathy I can handle... My staff and I more than make up for that in enthusiasm. But the money problems... well, there's only so much we can do.

MARCUS: I thought the Hospital made this center a priority.

CANDIS: It used to be... but other projects, like the Trauma Center, and the MedVan, were deemed more important.

MARCUS: Carly's pet projects...

CANDIS: Don't get me wrong, both are certainly worthwhile, wonderful projects, but... well... this center is dear to me...

KAYLA: Me, too. But what's that about the funding going to the MedVan? I thought Carly Manning paid for that.

CANDIS: Oh, the initial expense, yes. But the upkeep, stocking the supplies, personnel, it all adds up. And it all comes from the same pool that our funds come from.

MARCUS: I guess I have been away from the Center for too long. I would never have let it come to this. Is there anything we can do to help out?

CANDIS: Well, we can always use willing volunteers and supplies.

KAYLA: But without funds...

CANDIS: Well, if either of you have an in with the Hospital big-wigs, you're welcome to plead our case with them. Who knows... it might help.

KAYLA: I'll do everything I can... (TO MARCUS) Marcus, I think I just found out what I want to do in Salem.

HOLD ON KAYLA'S DECISION.

CUT TO: SALEM INN. EVE IS LAYING ON HER BED, STARING UP AT THE CEILING. SHE IS FUMING, AND HAS OBVIOUSLY BEEN CRYING RECENTLY. HER SUITCASES ARE LAYING EMPTY ON THE FLOOR, AND HER CLOTHES ARE STREWN THROUGHOUT THE ROOM. THERE IS A KNOCK AT THE DOOR. EVE SITS UP AND GLARES AT THE DOOR, SAYING NOTHING. THERE IS ANOTHER KNOCK, AND WE HEAR FRANKIE'S VOICE FROM THE OTHER SIDE OF THE DOOR.

EVE: Come in!

FRANKIE ENTERS.

EVE: (FURIOUS) I sound upset because I am upset!

FRANKIE LOOKS AROUND, SEEING THE SCATTERED CLOTHING AND LUGGAGE.

EVE: You weren't here, so I had to take it out on my wardrobe! (SHE EXHALES SLOWLY, REGAINING HER COMPOSURE) Why don't you sit down?

FRANKIE WALKS OVER TO THE BED AND TENTATIVELY STARTS TO SIT DOWN.

FRANKIE SITS IN THE CHAIR.

EVE: I'll tell you what has me so upset. I just had a visit from Julie...

FRANKIE: So, how is Julie? I really need to thank her for doing such a great job with the dinner last night...

EVE: Julie's fine... now shut up.

FRANKIE: Eve, what has gotten into you?

EVE: I just found out that I've been torturing myself needlessly for months.

FRANKIE: Torturing yourself?

EVE: Jack took my money, and I thought it was gone for good. But, Julie just told me that he gave it back, not long after I left with you.

FRANKIE: That's nice...

EVE: (IGNORING FRANKIE, TO HERSELF) Of course, she didn't bother to tell me at the time. No, she just let me go off into the jungle...

FRANKIE: Eve, I don't understand. Why are you getting so worked up about money? The old Eve would be all excited, but you're not like that anymore...

EVE: Oh please, don't start. I simply cannot take it anymore. (AS SHE LOOKS AT FRANKIE'S BLANK EXPRESSION, VOICE CRACKING) You really don't get it, do you?

FRANKIE: No, I guess I don't. Why don't you explain it to me?

EVE: Gladly, Frankie dear. When I decided to go with you to Africa, I thought it was because I really cared about you. I actually thought I was in love with you...

FRANKIE: What do you mean, you thought...

EVE: (POINTING HER FINGER AT HIM MENACINGLY) Don't interrupt me Frankie. As I was saying, I really thought I loved you. It didn't take me long, though, to see you as you really are... a shallow, manipulative, self-righteous, holier-than-thou little creep.

FRANKIE: Eve, I don't...

EVE: (PICKING UP A SHOE) Frankie, I'm warning you. Interrupt me again, and the shoe flies.

FRANKIE SQUIRMS AS HE FIGHTS HIS URGE TO SPEAK.

FRANKIE OPENS HIS MOUTH. EVE RAISES THE SHOE THREATENINGLY.

FRANKIE CLOSES HIS MOUTH AND RESUMES SQUIRMING.

FRANKIE SHAKES HIS HEAD.

FRANKIE: Now Eve, that's not true...

EVE: You idiot, you proved that yourself, by trying to make me a "better person."

FRANKIE: But if you were so unhappy, why did you stay?

EVE: I figured you still had a shot at getting the Von Leuschner fortune back, so I stayed with you.

FRANKIE: You stayed for the money?

EVE: I figured if no one would ever love me for who I was, I might as well play the role of the sweet little sap, and go for the money and power, right?

FRANKIE: You don't mean that, Eve. You're just upset...

EVE: No, I'm not. Now I have my own money and I don't need to spend another minute with you. It's over, Frankie.

FRANKIE: I don't know what to say. I thought you'd changed so much, that you'd come so far...

EVE: You still don't get it, do you? I haven't changed at all! The whole thing was an act!

FRANKIE: But Eve, I love...

EVE: Don't insult me by telling me you love me! You never loved me! You loved a figment of your imagination! You loved someone you created in your head, not me!

FRANKIE: No, Eve, that was you, that is you.

EVE: I've got news for you, Frankie boy, your Pygmalion Eve never existed, and she never will. And I'll never play that part again.

FRANKIE: What about our life in Africa?

EVE: You're going back to Africa without me. I'm staying here in Salem.

FRANKIE: Eve...

EVE: Just go, get out of here. Go back to your little tribe in the jungle. I don't ever want to see you again.

FRANKIE GETS UP AND WALKS TO THE DOOR. HE TURNS BACK TO EVE.

EVE: (BITTERLY) You never even knew me. There's no way you could have really loved me. Go... Just go.....

FRANKIE OPENS THE DOOR, TAKES A LONG LOOK AT EVE, THEN WALKS OUT, CLOSING THE DOOR BEHIND HIM. EVE GLARES AT THE DOOR FOR A FEW SECONDS, HURLS THE SHOE AT IT, THEN COLLAPSES, CRYING, ON THE BED. OUT ON EVE.

ALAMAIN LIVING ROOM. LAWRENCE IS SITTING IN A CHAIR, READING A PAPER, WHILE NICHOLAS AND VIVIAN SIT ON THE SOFA. IVAN STANDS BEHIND VIVIAN. THERE IS A VERY OBVIOUS TENSION IN THE AIR.

VIVIAN: Yes, Lawrence?

LAWRENCE: This has certainly been an... interesting day, hasn't it?

VIVIAN: Quite. Thank you for pointing that out, Lawrence.

LAWRENCE: (WARNING) Vivian...

VIVIAN GLARES BACK AT LAWRENCE, UNFLINCHING. HE LOOKS AWAY.

NICHOLAS: (INTERRUPTING, SENSING THE TENSION) It's okay. I mean, they were pretty nice and all. And it got us Ivan back.

LAWRENCE: Yes, it most certainly did.

LAWRENCE GLARES POINTEDLY AT IVAN, WHO IGNORES HIM.

LAWRENCE: Of course. Thank you for being so considerate. But it really wasn't necessary. (GLARES AT VIVIAN ONCE MORE) It wasn't necessary at all.

VIVIAN: Nicholas, isn't it about your bedtime?

NICHOLAS: Aunt Viv, do I have to?

VIVIAN: Yes, dear. You've had a long day. You need your rest.

NICHOLAS SULLENLY WALKS UPSTAIRS. LAWRENCE GETS UP.

LAWRENCE AND NICHOLAS GO UPSTAIRS AS IVAN CROSSES IN FRONT OF VIVIAN.

VIVIAN: Yes, Ivan?

IVAN: I... I wished to thank you.

VIVIAN: What for?

IVAN: For getting me out of jail. You could have left me, but instead you brought Nicholas and helped me. For that I thank you.

VIVIAN: There's no need, Ivan. You've been with me so long... and helped me so often. I feel that I have an obligation.

IVAN: An obligation?

VIVIAN: You've been loyal to me for many years now. I want to make sure you understand that loyalty goes both ways. It's my way of repaying you. My thanks. You're part of the family now.

IVAN: (BEAT) Thank you.

VIVIAN: (AWKWARDLY) Well. Now that we have that out of the way... perhaps it's time we both retire also?

IVAN: Very good, madame. Good night.

VIVIAN: Good night, Ivan.

IVAN LEAVES, AS VIVIAN SITS ON THE SOFA, LOST IN THOUGHT. LAWRENCE COMES BACK DOWN THE STEPS.

LAWRENCE: No. I told him he could stay up and read for a little while.

VIVIAN: Well, I suppose it couldn't hurt him. He's had a stressful day.

LAWRENCE: And whose fault is that?

VIVIAN: What do you mean?

LAWRENCE: Vivian, if you had just left Ivan, none of this would have happened! My son wouldn't have been dragged down to the police station like a common criminal!

VIVIAN: What was I supposed to do? After all Ivan has done for us, you expected me to just leave him?

LAWRENCE: Yes! Don't you understand, Vivian? By letting the police know about Nikki, you've also managed to blow all of our alibis for that night!

HOLD ON VIVIAN'S REALIZATION.

CUT TO: JANET'S OFFICE. JANET AND MORGAN ARE SITTING, SOMEWHAT RELAXED.

JANET: Not only do I excuse you, I wholeheartedly agree. None of this makes any sense whatsoever.

MORGAN: I just feel if I could get one detail with some meaning, one little foothold, it might start falling together... but so far... pfffttt!

JANET: It has all the earmarks of a professional hit. Except... why wasn't it finished?

MORGAN: Why were Carly Manning and Bo Brady left alive?

JANET: No professional I've ever heard of leaves the scene without confirming the hit.

MORGAN: And professionals rarely get scared away before that confirmation. But this one must have.

JANET: Professional or no, the shooter was definitely scared or startled enough to take off. But by what? If we knew that...

THEY ARE INTERRUPTED BY PETERS, WHO KNOCKS AT THE DOOR. JANET MOTIONS HIM IN.

JANET: Thank you, Peters.

PETERS HANDS THE PAPERS TO JANET AND LEAVES.

HOLD ON MORGAN'S FRUSTRATION.

CUT TO: WINGS. JULIE AND DOUG ARE HAVING WHAT IS CLEARLY A LATE SUPPER, THE CLUB IN EMPTY.

DOUG: Only the sweetness of your lips compares, Fair Lady...

JULIE DIPS HER FINGER IN HER MOUSSE, AND RUNS CHOCOLATE AROUND DOUG'S MOUTH, THEN LEANS OVER AND KISSES IT OFF...

DOUG: And I can think of some other sweet spots...

JULIE: Perhaps we should finish dessert someplace more... ahhh...

WE HEAR POUNDING ON THE DOOR, AND SEE JACK PEERING INTO THE DIMLY LIT RESTAURANT. HE SPIES JULIE AND DOUG, AND WAVES THEM TO THE DOOR.

JULIE: That's OK, darling, we will. In the meanwhile, let's see what Jack has to say... he's generally entertaining...

JULIE HAS RISEN AND WALKS OVER TO UNLOCK THE DOOR FOR JACK. HE ENTERS AND THEY CHAT AS THEY WALK BACK TO THE TABLE WHERE DOUG SITS, OBVIOUSLY CURIOUS.

JACK: Julie, my dear Julie, I have a little proposition for you...

JULIE AND JACK ARRIVE AT THE TABLE.

DOUG: (RISES) Jack, a pleasure. I've heard quite a lot about you...

JACK AND DOUG SHAKE HANDS.

DOUG: Doug, please. Any cousin of Julie's is definitely a cousin of mine. Now what's this about a proposition for my Fair Lady?

JACK: It's a business proposal, actually, and one I hope she won't be able to resist.

JULIE: It sounds intriguing, but first things first... can I get you anything? Dinner, a glass of wine, a dish of this delightful mousse?

JACK: Well, if it's chocolate...

DOUG: Ahhh... a man after my own heart. If it isn't chocolate, it isn't dessert. Why don't I go into the kitchen and get Jack some mousse, and he can tell you all about his proposal?

JACK: Thank you.

DOUG HEADS OFF TO THE KITCHEN, WHISTLING TO HIMSELF.

JULIE: Go on...

JACK: It seems that there are no magazines targeted at a more mature female audience. There are plenty that pander to youth...

JULIE: Like Victor's "Bella?"

JACK: Exactly. But none that pay homage to women over 40, and to my mind, no group of people is more deserving of their own magazine, their own voice.

JULIE: It's true, Jack. I've browsed the magazine section and I feel virtually ignored by publishers. Every magazine seems to have a 15 year old pre-pubescent on the cover.

JACK: Exactly what I'm saying. I can't imagine how all these publishers have been so blind, as to ignore wonderful ladies like yourself...

JULIE: Flattery, Jack...

DOUG RETURNS WITH JACK'S DESSERT.

JACK: Trust me, Mr. Williams, although the lovely Mrs. Williams would tempt any man, I'm very much in love with another Horton lady.

DOUG: There's something special about them, isn't there, Jack?

JACK: You can say that again...

JULIE: Would you two stop talking about me as if I weren't here and let Jack get back to the conversation at hand?

JACK: Anyway, as I was thinking about this horrible state of affairs...

DOUG: What horrible state of affairs?

JULIE: That magazine publishers primarily target the very young.

JACK: As I was trying to say... it hit me. Why not have Deveraux publishing create a new magazine, targeted at women, not teens? A magazine that addresses their needs, concerns, feelings, one that celebrates their lives, achievements, successes...

JULIE: Jack, that sounds divine! I'd read it!

JACK: I want you to do more than read it, Julie, I want you to be the Editor.

JULIE: Me, Editor?

JACK: Yes, you. You were wonderful at the Spectator. I think Vern still misses you...

JULIE: I don't know what to say...

JACK: Say yes...

JULIE: I'd need help.

JACK: And you'd get it. We'd work closely together. And one of my reporters used to be an associate editor at one of the big news magazines. He's been begging for a change.

JULIE: I don't know...

DOUG: It does sound like a wonderful opportunity, Julie.

JULIE: It certainly does...

JACK: Is that a "yes?"

JULIE: Jack, darling, do you mind if I think about it a little bit more? I want to make sure that it's the right thing for all of us.

JACK: It is.

JULIE: And if I decide to do it, that will mean making sure my other business concerns are under control.

JACK: By all means... but please do decide soon. I want to get "Midsummer" off the ground as soon as possible.

DOUG: "Midsummer"... As in a "Midsummer Night's Dream?"

JULIE: Or as in the midsummer of one's life?

JACK: Yes on both counts. It just... fit. Just like Julie "fits" as Editor... if she agrees...

JULIE: As long as no one calls me "Hippolyta."

JACK: Agreed. Does this mean you'll do it?

JULIE: I promise I'll give you an answer this week, Jack.

JACK: How about tomorrow morning?

JULIE: Don't push it.

JACK: All right, then I guess I've done all I can tonight, so I will bid you "adieu."

JACK STARTS TO LEAVE.

JACK: Warn me?

JULIE: Yes. I wanted you to know that I talked to Eve?

JACK: (WEAKLY) You talked to Eve?

JULIE: Yes. And you'd better batten down the hatches and prepare for the onslaught of Hurricane Eve.

OUT ON JACK'S HORROR AT THE MENTION OF EVE. FADE TO BLACK.