AIRPLANE/FIRST CLASS SECTION. JOHN IS SEATED WITH HIS LAP-TOP ON THE TABLE IN FRONT OF HIM, ORGANIZING HIS ITINERARY.

A STEWARDESS WALKS UP, UNNOTICED BY JOHN.

JOHN: (STARTLES SLIGHTLY AT THE INTERRUPTION) Ahh, yes, (CHECKS HER NAME TAG) Leslie, I'll be finished in a minute...

LESLIE: Looks like you're working pretty hard on something. Are you visiting Geneva on business, then? Or finishing up the business so you can have some fun...

JOHN: In a manner of speaking, yes, it's business. I'm a PI, you see, and I'm investigating a case.

LESLIE: Ooooh, that must be terribly dangerous! I do hope your life isn't at stake or anything... it'd be so sad to think of such a... nice man in harm's way...

JOHN: I don't think I'll be in too much danger, really.

LESLIE: Well, um... if you need a break from all that tense, difficult PI stuff... I have a little place in Geneva... I'd be happy to fix you dinner.... maybe help you relax a little...

JOHN: (REALIZATION) That's very... nice of you Leslie, but I'm afraid I'll be pretty busy most of the time. (BEAT) I'd better finish this up before we land...

LESLIE: Yes, I suppose you'd better. Is there anything else I can get you?

JOHN: No thanks, I'm just fine.

LESLIE WALKS BACK DOWN THE AISLE.

HOLD ON JOHN.

CUT TO: DONOVAN DINING ROOM. KIMBERLY AND PHILIP ARE SITTING DOWN TO A BREAKFAST OF BACON AND EGGS.

KIMBERLY: Still upstairs.

PHILIP: Doesn't think we're good enough to eat with?

KIMBERLY: Philip!

PHILIP: Sorry. It just gets to me, the way she treats you. I hate it.

KIMBERLY: It's just... her way.

PHILIP: And biting people is a pit bull's way. That doesn't stop people from shooting them.

KIMBERLY: Now Philip... be good. Please.

PHILIP: All right. For you. (HE LOOKS INTO HER EYES AS HE HOLDS HER HANDS) So, do you think we have to worry about her walking in on us?

KIMBERLY: (GIGGLES) She's probably still in bed...

PHILIP: Good. Cause I have something important I need to talk to you about.

KIMBERLY: Does it have something to do with that mysterious phone call you made yesterday?

PHILIP: It has everything to do with that phone call.

KIMBERLY: Well?

PHILIP: I called up an old buddy of mine. Seems he's working on a new project, and my name has been mentioned for director.

KIMBERLY: That's wonderful! What sort of project?

PHILIP: Well, right now they have it down as a mini-series. But if it gets good enough ratings they're talking about spinning it off into a series.

KIMBERLY: Really?! Oh, honey! I knew everything would work out! (SHE SQUEEZES HIS HAND)

PHILIP: Whoa, whoa. Calm down. I don't have the job yet!

KIMBERLY: But you will. I know it!

PHILIP: There's just one thing...

KIMBERLY: What?

PHILIP: You do realize, don't you, that if I take this job it'll mean moving back to Hollywood?

HOLD ON KIMBERLY.

CUT TO: ALICE'S RESTAURANT. JONAH IS SITTING IN A BOOTH, EATING AN OMELETTE AND HOME FRIES. CARRIE ENTERS.

JONAH: Sure! (GESTURES TO THE SEAT ACROSS FROM HIM) Have you eaten?

CARRIE: Yeah, I had one of those frozen waffles before I left the house. What are you doing out so early?

JONAH: I pulled the early shift today. Which is just as well, I've got a test to study for this afternoon.

CARRIE REACHES OVER AND STEALS SOME OF JONAH'S HOME FRIES. SHE CHEWS FOR A BIT, THEN SPITS THEM OUT IN A NAPKIN AND GRABS JONAH'S WATER GLASS AND TAKES A GULP.

JONAH: (GRINNING) Wimp! How's the apartment coming along?

CARRIE: (PUTTING DOWN JONAH'S WATER GLASS) Great! Siobhan came over last night to help me hang pictures. It's really starting to feel like home. And I'm never late for work.

JONAH: You really like working with Abe and Lexie, don't you? Don't forget that I got you the job.

CARRIE: How could I not? They're great people. And now that John's there, too...

JONAH: How long does he think he'll be in Europe?

CARRIE IS STARING OFF INTO SPACE AND DOESN'T ANSWER.

CARRIE: (STARTLED) John? Oh, no. It's good that he's finally going to get some answers. I was just... thinking.

JONAH: About?

CARRIE: It's nothing important.

JONAH: Come on, we're buddies. You can tell me.

CARRIE: You're right. Ok. (DEEP BREATH) It's about my scar. I think I might have the surgery.

JONAH: That's great!

CARRIE: Is it? I'm scared to death. What if it doesn't work and I look worse than I do now? And how am I going to pay for it?

JONAH: Your dad and Marlena said they'd help, right? What did they say?

CARRIE: I haven't told them yet. I've got an appointment with Marcus this afternoon. I'm going to call them after I hear what he has to say.

JONAH: Well then, you have nothing to worry about. Marcus is the best. I'm sure he'll be able to help.

CARRIE: I'm still scared. Will you come with me and hold my hand?

JONAH: (HOLDS OUT HIS HAND) You don't have to ask twice.

OUT ON CARRIE'S WORRY.

MORGAN AND CANDIS' HOME. MORGAN AND CANDIS ARE PREPARING FOR THEIR AFTERNOON BRUNCH WITH MARCUS, KAYLA AND JANET. AS THEY ARE BUSY WITH FINAL PREPARATIONS, THE DOORBELL RINGS.

MORGAN: Your wish is my command, darling.

MORGAN ANSWERS THE DOOR, IT IS JANET.

JANET: Morgan, we're off duty now, please feel free to call me Janet.

MORGAN: Oh yeah, I sometimes forget. Can I get you something to drink, Janet? (SMILES) OJ, milk, iced tea, coffee?

JANET: An iced tea would be great, thanks.

CANDIS COMES IN FROM THE KITCHEN WITH 2 ICED TEAS IN HAND.

CANDIS: (SMILING) I know you so well.

CANDIS HANDS ONE ICED TEA TO MORGAN AND THE OTHER TO JANET.

CANDIS: It was our pleasure. And at the very least, it's my way of saying thanks for all your help at the Community Center.

JANET: Helping was my pleasure. How are things coming at the Center?

CANDIS: Great, we got most of the painting done...

THE DOORBELL RINGS.

CANDIS ANSWERS THE DOOR AND GREETS KAYLA AND MARCUS.

MARCUS: Thanks. And before I forget, I need to apologize.

CANDIS: Apologize for what?

MARCUS: I have an appointment and I'm going to have to leave early...

KAYLA: Ahh... the life of a successful surgeon...

JANET: Sounds like the life of a successful cop...

MARCUS SEES JANET, SMILES AND WALKS OVER TO SIT NEXT TO HER ON THE COUCH.

CANDIS: No shop talk. That's an order.

MARCUS: Yes, ma'am.

CANDIS: How about I get you something cool to drink?

MARCUS: Sounds great.

KAYLA: (TO CANDIS) Yes, thanks. Let me help you with those drinks.

KAYLA AND CANDIS GO TO THE KITCHEN.

JANET: Oh they keep us busy, don't they Morg?

MORGAN: Yeah, especially the Manning Murder case... We just can't seem to close it.

MARCUS: That's tough... on everyone.

JANET: It is... I'm sorry, you must have been a friend of Carly Manning's.

MARCUS: I was. I think I was the first person she met in Salem...

JANET: Lucky Dr. Manning...

MARCUS IS SURPRISED BY THE UNEXPECTED COMPLIMENT, BUT SMILES.

KAYLA AND CANDIS COME IN WITH A TRAY OF ICED TEA GLASSES AND A PITCHER OF TEA. KAYLA POURS A GLASS FOR HERSELF AND MARCUS.

CANDIS: I second that. Hear, hear.

MARCUS: To us...

MARCUS CLINKS GLASSES WITH JANET. KAYLA NOTICES THIS.

CANDIS: That's great... I was beginning to lose hope. Kayla, Marcus, I can't thank you enough. You've made the difference.

KAYLA: No, thank you for keeping the Center going.

CANDIS: No, thank you, I've been trying to get large donations this past year and failing...

KAYLA You can hardly call it failing when you kept the Center open.

CANDIS: But you and Marcus...

MARCUS: Ladies, enough with the mutual admiration society. How about we all give each other one big "thank you" and then eat? I don't mean to be rude, but all this gratitude has made me hungry.

EVERYONE LAUGHS.

MORGAN: I was wondering when you were going to suggest that, my stomach is growling like crazy.

CANDIS: You are incorrigible...

KAYLA: Candis, don't blame Morgan, I think Marcus started the whole thing...

MARCUS: Sure, blame me... Geeze, what I have to put up with...

MORGAN: Pax, OK. Sit, eat, enjoy...

MARCUS: You don't have to ask me twice...

THEY ALL SIT.

THEY BEGIN PASSING DISHES AND SERVING THEMSELVES. EVERYONE SAMPLES THE FOOD.

JANET: Yes, everything is wonderful.

CANDIS: Thanks.

MORGAN: My wife... I think I'll keep her...

CANDIS: (HITTING MORGAN) Argh! I can't believe you said that. You are pond scum, you are navel lint... And you obviously want to die a slow, painful and very early death.

MORGAN: (SMILING WICKEDLY) It's true, I'm scum... Sometimes I just can't resist...

MARCUS: (WRYLY) So how long have you two been together?

CANDIS: Too long.

MORGAN: Hey, what's that supposed to mean? (TO MARCUS) We met several years ago at a charity benefit and have been together every since. What about you and Kayla?

KAYLA AND MARCUS LOOK AT EACH OTHER. THERE IS AN UNCOMFORTABLE SILENCE.

MARCUS: (LOOKING AT HER) You would have made it just fine without me.

KAYLA: No, I wouldn't...

CANDIS: (TACTFULLY CHANGING THE SUBJECT) So Marcus, tell us about your life as a plastic surgeon.

JANET: I thought we had a gag order on shop talk...

MARCUS LOOKS AT HIS WATCH.

MARCUS STANDS UP TO LEAVE, CANDIS GETS UP TO WALK HIM TO THE DOOR.

MARCUS: So am I. But brunch was wonderful. (LOOKING AT JANET) I hope we can get together again, soon. Bye all, and thanks again.

KAYLA LOOKS AT MARCUS AND JANET. MARCUS WALKS OUT TO A CHORUS OF "GOOD-BYES."

CUT TO: GENEVA AIRPORT. SHANE DONOVAN IS STANDING IMPATIENTLY NEAR THE END OF THE CAUSEWAY. HE ANXIOUSLY SEARCHES EVERY FACE GETTING OFF THE PLANE. HE SEES JOHN AND WALKS FORWARD.

JOHN: (MAKING HIS WAY THROUGH THE CROWD) Shane! Hey, man, is it good to see a friendly face!

THE TWO MEN CLASP HANDS.

JOHN: Frustrated.

SHANE: So you said. I'm afraid it's going to get worse.

JOHN: What do you mean? You couldn't get anything on your end?

SHANE: No, I mean we have to try and locate your luggage. I can think of only a few things in this world more frustrating than trying to find your luggage in an airport.

JOHN: (LAUGHS) Yeah, you got that right. Okay, let's try and follow these signs.

THE TWO MEN BEGIN WALKING DOWN THE CROWDED CORRIDORS, OCCASIONALLY LOOKING LOST.

SHANE: They're great. Andrew is learning how to ride and I think Jeannie wants to become an artist.

JOHN: No problems?

SHANE: They miss their Mum, of course, but they love the School. I have a small house nearby and they live at home when I'm there and at the School when I'm away. And Peachie visits all the time...

JOHN: How is Peachie?

SHANE: She's in fine form. Swears she'll never retire... She seems to think she's John Wayne... or James Bond.

JOHN: I think maybe she is...

SHANE: How is everything in Salem?

JOHN: Well, I told you about Carly.

SHANE: Yes... such a loss...

JOHN: It was, especially for Bo..

SHANE: How is Bo holding up?

JOHN: He's hanging in there. But it's tough.

SHANE: I've been meaning to call him... I think I'll do just that later today.

JOHN: I'm sure he'd like that. The family's rallied around him. And Kayla's been a big help.

SHANE: Kayla's in Salem?

JOHN: Yeah, Kayla came home.

SHANE: To stay?

JOHN: Sure looks like it. She and Marcus are working on getting the Community Center back on track.

SHANE: Kayla and Marcus?

JOHN: Yeah... Are you... okay, talking about Kayla?

SHANE: Yes, yes, I'm fine. I realize now, looking back, that getting involved with Kayla was a big mistake for both of us. I will always care about her, but...

JOHN: Enough said, that's in the past.

SHANE: Yes, it is...

JOHN: Did I tell you Doug and Julie came back and decided to stay in town?

SHANE: No, you didn't. That's good to hear. Julie's always been one of my favorite people. And Doug... I have a suspicion he still thinks of me as Hope's butler.

JOHN: (LAUGHING) He might... I'd nearly forgotten your, what shall I call it, Salem debut.

SHANE: I haven't. I don't think I'll ever live it down. (LAUGHS) (BEAT) How's Eve?

JOHN: You know about Eve and Frankie, right?

SHANE: Know? She said in her last letter that she and Frankie were going to Carly's funeral.

JOHN: And she hasn't... called or written since then?

SHANE: No. What's she done now?

JOHN: Well...

SHANE: John, I'm used to this sort of thing. What's she done this time and how bad is it?

JOHN: Well, you have to understand, most of what I heard came through the grapevine, so it may not be too reliable.

SHANE: I'm sure it's not too far off base.

JOHN: Well, what I heard was this. Julie told her Jack had put the money back in her trust fund, so she dumped Frankie.

SHANE: Bloody hell... And I thought she had finally settled down...

JOHN: Yeah, well, from what I heard, things weren't quite what they seemed in the relationship.

SHANE: With Eve, they never are. I suppose I should call later and get her side of the story...

JOHN: Sorry man. I shouldn't have told you about Eve till we got settled in a little more.

SHANE: No, I'm sorry. I just had no idea. I can't help but worry about Eve and wonder if things will ever work out for her.

JOHN: All you can do is wait and see, and try to help whenever you can. But it's her life.

SHANE: I know. But sometimes she seems so intent on self-destruction... it's almost as if she deliberately sabotages her life... I suppose I shouldn't dwell on it. There could be a perfectly reasonable explanation...

JOHN: (DOUBTFUL) Yeah. There could. Look, not to be rude, but could we change the subject to something a little closer to home?

SHANE: Of course. What's the topic of choice?

JOHN: Me, I'm afraid. (BEAT) Have you found any leads on my past, or my connection to Carly?

HOLD ON JOHN.

CUT TO: BRADY PUB. THE PUB IS NOT YET OPEN. CAROLINE IS ARRANGING CHAIRS IN THE BACKGROUND. BO IS SITTING AT A BOOTH, WITH HIS CHECKBOOK AND A CALCULATOR. SHAWN-DOUGLAS SITS OPPOSITE BO, INTENSELY DRAWING PICTURES.

CAROLINE: (WALKING OVER TO BO) Bo, what is it dear? What's wrong?

BO: Oh, Ma. It's my damned bank account. I didn't have as much saved up as I thought.

CAROLINE STARTS TO RESPOND, BUT COUGHS.

CAROLINE: I'm feeling much better today, dear. Don't worry. But tell me, just how bad off are you, financially?

BO: I've basically got enough to support myself and Shawn-D for two months. 'Course, that's just for the basics.

CAROLINE: What about Hope's money? Didn't she leave plenty for Shawn-Douglas?

BO: It's still in the Trust, so it can't be used until Shawn-D is eighteen.

CAROLINE: Well son, I have to be honest with you. Your father and I are pretty strapped financially. We'll help you and Shawn-Douglas as much as we can, but I'm afraid it can't be much.

BO: Ma, I didn't realize...

CAROLINE: Well, you've been preoccupied. It's understandable.

BO: I shouldn't be that preoccupied. I'm sorry.

CAROLINE: You have nothing to be sorry about. And don't you worry about us. We will be fine. We're worried about you. How's the job search going?

BO: It's not. I can't seem to find anything. It's just not happening.

CAROLINE: What will you do? After all, you've got your son to think about.

CAROLINE LOOKS OVER TO SHAWN-DOUGLAS, WHO IS STILL AT HIS DRAWING.

BO LOOKS AT SHAWN-DOUGLAS AGAIN.

BO AND CAROLINE BOTH LOOK DOWN AND TAKE A CLOSE LOOK AT SHAWN-DOUGLAS' DRAWING. THEY GASP IN HORROR. SHAWN-DOUGLAS STOPS DRAWING AND SITS BACK, AS IF HE JUST REALIZED PEOPLE WERE AROUND HIM. BO PICKS UP THE DRAWING AND LOOKS AT IT. SHAWN-DOUGLAS' DRAWING DEPICTS A DEAD BODY, WITH BLOOD FLOWING EVERYWHERE.

SHAWN-DOUGLAS' LIPS START TO QUIVER AS TEARS FORM IN HIS EYES.

SHAWN-D: Papa... (STARTS TO CRY HARDER, AND CAN'T TALK)

CAROLINE SITS NEXT TO SHAWN-DOUGLAS, WHO SOBS IN HER ARMS. BO AND CAROLINE EXCHANGE WORRIED LOOKS. OUT ON BO'S CONCERN.

JULIE'S OFFICE. JULIE IS ON THE PHONE, ONE-WAY, WITH HER DECORATOR WHILE SIMULTANEOUSLY ORGANIZING HER PERSONNEL FILES AND PLACING THEM IN A FILING CABINET.

JULIE'S INTERCOM BUZZES.

EVE: (FROM THE INTERCOM SPEAKER) Julie, Mister Weatherby's on line two.

JULIE: Well, take a message dear, I'm in the middle of another call right now. And come in here when you're done. I need you to do something for me. (PUSHING A BUTTON ON HER PHONE) Hi, Natasha. Yes, the sooner you can get here, the better. Tomorrow morning? Hmmm... I'll transfer you to my... assistant, and she'll set up an appointment. Yes, I look forward to seeing you again. Au revoir, darling.

JULIE PUTS NATASHA ON HOLD AND BUZZES EVE ON THE INTERCOM. EVE'S VOICE COMES OVER THE SPEAKER.

JULIE: Eve, please pick up line one. It's Natasha, my decorator. Set up an appointment with her for tomorrow morning. An hour should be fine. And please get in here quickly, I'm on a tight schedule this morning.

JULIE SHUFFLES THROUGH SOME PAPERS UNTIL SHE FINDS ONE WITH SOME NOTES SCRIBBLED ON IT.

EVE OPENS THE DOOR AND WALKS IN WITHOUT KNOCKING. SHE IS TRYING TO HIDE HER ANNOYANCE, BUT FAILING.

JULIE: Eve, in an office setting, it is customary for you to knock before entering your boss' office.

EVE: Sorry.

JULIE: Try to remember next time. I need you to take this staff list and make fifty copies. (SHE HANDS EVE A SHEET OF PAPER)

EVE: But the copy machine's broken...

JULIE: Then call the service number and ask them to fix it. In the meantime, there's a copy machine on each floor. Find one that works. I need those copies pronto.

EVE: (IN A HUFF) All right.

EVE WALKS OUT THE DOOR, PAPERS IN HAND.

JACK ENTERS AND HURRIEDLY SHUTS THE DOOR BEHIND HIM.

JACK: (STILL LEANING AGAINST THE DOOR) What is Eve doing here?

JULIE: Oh, you saw her? Well, you're still in one piece, so I guess she didn't see you...

JACK: No, not this time. (SOTTO VOCE) I always wondered what we kept in that hall closet... Anyway, you didn't answer my question. What is Eve doing here?

JACK WALKS OVER AND SITS ACROSS FROM JULIE.

JACK'S JAW DROPS IN DISBELIEF.

JULIE: I did.

JACK: You can't.

JULIE: I can. You said I could have anyone I wanted.

JACK: I was talking about human beings, not harpies...

JULIE: Jack, stop. Eve is my assistant, and that's that.

JACK: You realize, she's going to find me eventually, and do me bodily harm...

JULIE: I doubt it, Jack. She needs this job, so she can't go around attacking her employers.

JACK: You have a point, I think. (BEAT) Well, before Eve so rudely distracted me, I wanted to know what you have in mind for the premiere issue of "Midsummer."

JULIE: I was just perusing my notes. I want to cover topics that will generate a lot of response. I think a "Letters to the Editor" page should be a key part of this magazine.

JACK: Sounds good...

JULIE: I want to really grab the readers, give them some juicy issues to get them talking. Not too controversial, but definitely discussion-generating.

JACK: What kind of topics?

JULIE: Well, I thought a piece on the changing role of women in the work place would be good. And perhaps an article entitled "Over Forty and Proud of It," with some interviews with local women. I want to make our readers feel good about themselves.

JACK: Excellent. Back to the response issue. Sometimes, the direct approach is the best. How about a survey of some kind?

JULIE: (WRITING ON HER SHEET) Hmmm, that might work...

THERE IS A KNOCK AT THE DOOR.

RICHARD HUNT ENTERS.

RICHARD TAKES A SEAT NEXT TO JACK.

JACK: Richard.

JULIE: Jack and I were just brainstorming for ideas on what to do for the premiere issue of "Midsummer."

RICHARD: I was thinking about that myself...

JULIE: And what did you come up with?

RICHARD: Actually, I'd like to hear your ideas first and get a feel for the general direction the magazine is taking.

JULIE: Well, you know that the target audience is women over forty. We want to make a big impact with this first issue, to get them talking. I want lots of letters, lots of feedback from the readers.

RICHARD: I think that's good...

JULIE: Something about women in the business world, trying to break into the big-time board rooms...

JACK: The old "glass ceiling"...

JULIE: It's still there, Jack...

RICHARD: I think it's a great topic. We're in the nineties now, and women still have to deal with sexism in the ivory towers.

JULIE: On a more positive note, I'd like to interview some women who are over forty and successful, proud, real contributors to society. Something to inspire the readers...

RICHARD: (SMILING) You'd be an excellent subject yourself, Julie.

JULIE: Oh, I don't know...

JACK: No, he's right. You're an icon in this town.

JULIE: An icon? I don't know if I like that...

RICHARD: I think we should feature you and your role in the magazine. It will assure the readers that what we're publishing is for them, and that one of their own is in charge.

JACK: Why stop there? We could do a feature story on all of the Horton women. We have four generations of Horton women in Salem right now. I can't think of a better subject for a feature.

JULIE: I thought of that myself... But, Jack, aren't you just a little biased?

JACK: Yes, but I'm also right.

RICHARD: It sounds great. It has that family appeal, and we can get four different perspectives on...

JACK: Actually, we'd probably have to settle for three. My daughter isn't much of an interview subject, I'm afraid. She isn't talking yet.

RICHARD: I still like the idea. (GLANCING AT HIS WATCH) Julie, I have another appointment, so I have to be going. Let's meet tomorrow and discuss this further, okay?

JULIE: Fine, just call Eve, my assistant, and schedule something with her.

JACK CRINGES AT THE MENTION OF EVE. RICHARD GETS UP AND GOES TO THE DOOR.

JACK: Good-bye.

RICHARD WALKS OUT.

JACK: Absolutely.

JULIE: Well, Richard and I will hash it out.

JACK: Good. Now, I'd better be going...

JULIE: There's one more thing... I still have some holes in my staff. Can I count on your help to fill them?

JACK: Of course. We can discuss it over lunch, or something. (HE STANDS) Now, is there a back door to this office, so I can avoid your assistant a while longer?

JULIE: I'm afraid not. But, I can send her off on an errand somewhere, so you can make your escape.

JACK: Thanks.

JULIE: You are more than welcome...

HOLD ON JULIE'S SMILE.

CUT TO: DONOVAN LIVING ROOM. KIMBERLY IS SITTING ON THE SOFA WRITING IN A FILE WHEN PHILIP COMES IN.

KIMBERLY: Hi! What's going on? Have you heard anything yet?

PHILIP: Yeah. That phone call I got a while back...

KIMBERLY: That was them, wasn't it?

PHILIP: Uh huh. The producer said the job's mine, if I want it.

KIMBERLY: If you want it? Of course you want it!

PHILIP: You're right. I want it. I want it so badly I can taste it. This project could be my big break, my chance to get into the big league.

KIMBERLY: And this is really what you want to do?

PHILIP: This is really what I want to do.

KIMBERLY: Well then, it's all set. We'll move back to L.A. I guess it was a stroke of luck you didn't sell the house after all.

PHILIP: You're sure?

KIMBERLY: I love you. And I want to be there for you, just like you've been there for me.

PHILIP: Even if it means leaving your family, your friends?

KIMBERLY: It'll be hard. But my family will understand. And you and I... we're a family too now. We stick together. Like I said, after all you've done for me...

PHILIP: Have I told you lately how much I love you?

KIMBERLY: No... I don't think so.

PHILIP KISSES HER PASSIONATELY.

KIMBERLY: (BREATHLESS) Likewise. Now then. I guess I better find some way to break this to my family.

PHILIP: (WALKS BEHIND HER AND HUGS HER) You'll do just fine. I know it.

KIMBERLY: Thanks honey...

HOLD ON PHILIP HOLDING KIMBERLY.

CUT TO: JOHN'S HOTEL ROOM, GENEVA. JOHN IS SETTLING IN, AS SHANE KNOCKS ON THE DOOR AND THEN OPENS IT AND WALKS IN WITHOUT WAITING FOR AN ANSWER.

SHANE: Well, things are progressing. I'm not sure how quickly, nor how smoothly, however...

JOHN: From what I've seen so far, any progress is a good thing. (BEAT) Hey, Shane, I really want to thank you for all your help...

SHANE: It's nothing, really...

JOHN: Hardly nothing! Making all my travel and hotel arrangements, setting it up with the ISA so I can access their files...

SHANE: Well, you were ISA yourself, after a fashion...

JOHN: I really do appreciate everything you've done. Knowing you'd be here to help, convinced me to come.

SHANE: That's what friends are for. Besides, I should be thanking you.

JOHN: How so?

SHANE: Do you know what my last "big" ISA case was?

JOHN: Do tell...

SHANE: A top secret mission... to recover stolen Shar-Peis.

JOHN: Dogs?

SHANE: Dogs. There was a little more to it... or ISA wouldn't have gotten involved...

JOHN: Were they criminal dogs?

SHANE: Not exactly... they were using the stolen dogs to smuggle drugs... under their flaps of skin...

JOHN: That's terrible.

SHANE: It was. But it wasn't exactly danger and derring-do. The ISA's been positively boring, since tensions with the former Soviet Union have ceased. Don't get me wrong, I'm thrilled the political climate has settled somewhat, but I didn't get involved with the ISA to chase dogs across the border! I was looking for adventure, and delving into your past certainly qualifies.

JOHN: I'm not sure about that... it's hard to have an adventure when you've got no leads, and virtually no clues...

SHANE: Now, John, you know as well as I do, there are always leads. They just might not appear as you'd expect them to.

JOHN: Well, you sound more optimistic than I feel. Is there a reason for that?

SHANE: In fact, there is. I've done a little nosing around since you first called, and I think I have a few leads on your mystery lady...

JOHN: Dani?

SHANE: Indeed. What say we head over to ISA headquarters, and I can brief you more thorougly, with the materials at hand.

JOHN: Sounds good to me. The sooner we can find something... anything, the sooner I can get on with my life....

OUT ON JOHN.

BRADY PUB. BO AND CAROLINE ARE SITTING AT A BOOTH, DEEP IN CONVERSATION, WHEN DOUG OPENS THE FRONT DOOR AND ENTERS. DOUG SEES CAROLINE AND BO AND WALKS OVER TO THEIR TABLE.

CAROLINE: Good morning, Doug. (STARTS TO STAND) What can I get for this morning?

DOUG: Please, don't let me interrupt. I was just looking for Julie.

BO: Julie?

DOUG: Yes, she said she had a breakfast meeting with Jack and I thought they still might be here.

CAROLINE: They left hours ago. They seemed to be deeply involved in some discussion about type faces...

DOUG: Type faces? Never mind. I'm sure it had something to do with their new magazine. If you'll excuse me, I'll let you get back to your conversation...

CAROLINE: Well, Doug, actually, we were... Bo... don't you think we should talk to Doug?

BO: I don't want to worry anyone unnecessarily...

DOUG: Worry me about what?

BO: It's Shawn-D...

DOUG: Shawn-Douglas? What's wrong with my grandson?

BO: Maybe you'd better sit down and take a look at this.

DOUG JOINS THEM AS BO HANDS DOUG SHAWN-D'S GORY DRAWING.

BO: He did. And I confess, combined with his other behavior, I'm getting worried.

DOUG: Jennifer was telling us about the problems she had with Shawn-Douglas when she was baby-sitting...

BO: I just don't know what to do. I know he's upset about Carly...

DOUG: Maybe the little guy needs a change. I know how upset you've been... Maybe he's picking up on that.

BO: Are you saying I'm causing Shawn-D's problems?

DOUG: Bo, I am not blaming you, I know the hell you've been through. It's just Shawn-D is going through it, too. And I'm worried about him.

BO: You're right, I'm sorry.

DOUG: How about if I offer to take him for the day? We can go play miniature golf, go to a ball game, something different, something fun...

BO: That could help. I know it gets lonely for him being alone with me at the boat or here with Mom and Pop at the pub so much. It's just when I'm working...

DOUG: No need to explain. I'm back in Salem now and I can and want to help my grandson...

BO: I know sometimes I don't show it, but my son is the most important thing in my life...

DOUG: I understand. When you're a father, you want the best for your children...

BO: I know that's what you wanted for Hope and I know that's what she wanted for Shawn-D...

DOUG: Yes, she adored that little boy...

BO: And so do I. (BEAT) Let me go get him, he's resting upstairs. And Doug... Thanks. This means a lot... to both of us...

HOLD ON BO.

CUT TO: JULIE'S OFFICE. JULIE IS SITTING AT HER DESK, WORKING. THERE IS A KNOCK AT THE DOOR.

THE DOOR OPENS AND VICTOR ENTERS.

JULIE STANDS.

JULIE: I think that depends on you, Victor.

VICTOR: I wanted to stop by and wish you luck with this new venture of Jack's... You'll need it.

JULIE: Thank you, Victor, for the "good" wishes, but Jack and I are doing just fine.

VICTOR: Julie, you don't mean to say you're serious about this?

JULIE: Deadly serious.

VICTOR: Interesting choice of words...

AT THAT MOMENT, JACK BURSTS IN.

VICTOR: Jack, vultures only circle over dead and dying creatures... Are you already conceding defeat?

JACK: Defeat? When I own the Spectator free and clear? Vanquished? When I'm the proud owner of the newly created Deveraux Publishing Incorporated? Conquered? When I've bested the great Victor Kiriakis? Think again, Victor.

VICTOR: Jack, have your brief moment in the sun. Enjoy it. Because it won't last.

JACK: My moment in the sun? Care to join me, Victor? No, I suppose you can't. Creatures of the night find so little comfort in the light of day.

VICTOR: (IGNORING JACK) And Julie, I'm surprised at you, I always thought you were a winner. I can't imagine why you're here.

JULIE: Can't you, Victor? Jack made me an offer I couldn't refuse.

VICTOR: Did it involve a horse's head?

JULIE: That's more your style, Victor. No, Jack offered me challenge, excitement, creative control, and the power to show men everywhere that women don't have to be 20 to be exciting.

VICTOR: I have always known that...

JULIE: Have you? Perhaps you can give me the median age of all your, what shall we call them, fiancées?

JACK: Touché, Victor.

VICTOR: You two gloat now, but you're very small fish in a very big pond. Just be careful you don't get eaten.

JACK: I think you're the one you might find filleted.

VICTOR: I wouldn't bet on that, I don't like to lose.

JACK: Neither do I. And this time I've most certainly won.

VICTOR: Well, wouldn't the Senator be proud of you, Jack.

JACK: I don't give a damn what he would think. Nor do I care what you think.

JULIE: Victor, I think you've outstayed your welcome.

VICTOR: I'm being asked to leave? Ahhh... but our time together was all too brief.

JACK: "Our" time together has been an eternity too long for me, Victor. Good-day.

VICTOR: Good-day. But remember Jack, I never make the same mistake twice. If I were you, I'd be very careful. You never know when a "titan" might try to take over your little publishing company.

JACK: A "Titan?" Hmmm You remember what happened to them, don't you? They ruled until they were overthrown by the Olympians.

JULIE: By Jove, Victor, I think Jack's got you there.

VICTOR: (SMILES) As much as I've enjoyed this, I think I shall bid you farewell.

VICTOR TURNS AND WALKS OUT THE DOOR. JULIE AND JACK LOOK AT EACH OTHER AND SMILE.

JULIE: I could say the same about you. You done good, kid.

JACK: Thanks, but he'll be back.

JULIE: I know. And we'll be ready...

JACK HOLDS OUT HIS HAND AND THEY SHAKE. HOLD ON JACK AND JULIE.

CUT TO: EVE'S DESK. EVE IS SITTING AT HER DESK, CONCENTRATING ON A STACK OF PAPERS IN A FOLDER. WHEN SHE HEARS VICTOR COME OUT OF JULIE'S OFFICE, SHE DROPS THE FOLDER ON HER DESK AND TYPES DILIGENTLY ON HER COMPUTER KEYBOARD. SHE LOOKS UP AND SEES VICTOR, STARTLED THAT IT'S HIM.

VICTOR: I walked in...

EVE: You walked in?

VICTOR: Is the concept of bipedal locomotion too difficult for you to grasp, Eve?

EVE: Victor, I understand everything about you. My dad told me everything.

VICTOR: Ah... the good captain. How is he?

EVE: None of your damned business.

VICTOR: (SMILES) It seems no one wants to talk to me today. Perhaps I'll go for a stroll in the park...

VICTOR WALKS OUT.

EVE LOOKS AROUND TO SEE IF ANYONE IS WATCHING, THEN RESUMES HER STUDY OF THE FOLDER'S CONTENTS. WE SEE THE FOLDER. IT READS "TRUELOVE, INC. - THE MATCHMAKERS OF THE 90'S." EVE FLIPS THROUGH THE PAGES IN THE FOLDER, WHICH CONSISTS OF BIOGRAPHIES AND PICTURES OF VARIOUS MEN. EVE MUTTERS TO HERSELF AS SHE COMMENTS ON EACH PERSON.

EVE RIPS OUT THE BIO AND PICTURE AND THROWS IT IN THE GARBAGE CAN NEXT TO HER DESK. EVE FLIPS TO THE NEXT BIO.

EVE THROWS THE BIO AND PICTURE IN THE TRASH. EVE SIGHS, AS SHE LOOKS AT THE NEXT ONE.

FLIPS TO NEXT PAGE.

EVE CLOSES THE FOLDER UP AND SIGHS.

EVE GRABS HER PURSE OUT OF THE DESK DRAWER, OPENS IT AND TAKES OUT HER LIPSTICK. SHE APPLIES THE LIPSTICK.

AS EVE LEAVES HER DESK, THE PHONE STARTS TO RING. EVE LOOKS AT THE PHONE, THEN TURNS AND WAVES HER HAND AT IT, BRUSHING IT OFF AS SHE WALKS AWAY. OUT ON THE RINGING PHONE.

MARCUS' OFFICE. MARCUS IS SITTING AT HIS DESK, JONAH AND CARRIE ARE SITTING ACROSS FROM HIM.

MARCUS: My pleasure. I imagine you have a lot of questions for me.

CARRIE: Yeah. I want to know what you think you can do for me, how the procedure works... what you do, exactly.

MARCUS: Okay, but let's take a step back. Before we decide on any surgery, or anything else, I'll want to examine your scar thoroughly, and run a few tests.

JONAH: But you can help her, right?

MARCUS: I'll know more after running those tests. For now, let's say that surgery is a solution. The procedure I would most likely use is called a skin graft. What we do is take a piece of healthy skin from another part of your body and use that to replace the damaged skin.

CARRIE: (CONCERNED) But that means I'll have another scar...

MARCUS: That's true, but it will be a lot smaller. We take a piece of healthy skin that smaller than the scar, and we sort of stretch it. And we can take the healthy skin from a less visible area. It's not ideal, but the benefits do outweigh the costs.

JONAH: What are the chances of success?

MARCUS: There is a chance that the graft won't take, and the scar will still be visible.

CARRIE: (GROWING MORE CONCERNED) Then what would I do?

JONAH: Then we'd try again, with another graft...

CARRIE: And put another scar on my body?...

JONAH TAKES HER HAND.

CARRIE: (LOOKING AT JONAH) Yeah, I'm really lucky that Jonah was there for me...

JONAH: I'm glad I was there...

MARCUS: Okay, so let's think positively. (BEAT) What else do you want to know about the procedure?

CARRIE: Well... I'm really worried about how much it will cost.

MARCUS: Do you have insurance?

CARRIE: No, I guess I don't. When I was going to school, I had a student policy, but since I didn't re-enroll, the policy was cancelled. And I'm no longer Dad and Marlena's dependent...

JONAH: Can't the hospital help out, keep the costs down?

MARCUS: Since Marlena used to be on staff here, it's a professional courtesy to give her family members a break on costs where we can. (BEAT) I also got a call from John Black.

CARRIE: From John? About me?

MARCUS: Yes. He said that if you decided to go through with the surgery, he would take care of your bills.

CARRIE: (STILL WORRIED) I just don't know...

JONAH: Hey, that's an offer you can't turn down.

CARRIE: It's not that. If John wants to help, I'd accept, gratefully, but...

MARCUS'S BEEPER GOES OFF. HE TAKES IT OFF OF HIS BELT AND CHECKS THE NUMBER.

MARCUS PICKS UP THE PHONE AND DIALS, ONE-WAY.

JONAH: Is it an emergency?

MARCUS: (STANDING UP AND MOVING TOWARD THE DOOR) Not a medical one. I just need to go down and sign some requisition forms. You two stay here, I'll be back soon.

MARCUS WALKS OUT THE DOOR.

CARRIE: Jonah, I'm scared.

JONAH: I know. It's a scary thing. But you're here, you're taking the first steps. Do you want to get rid of that scar?

CARRIE: Yes.

JONAH: Why?

CARRIE: Why? Isn't it obvious?

JONAH: Just tell me. Why do you want to remove your scar?

CARRIE: So I can feel whole again. So when I walk down the street, I'll know that people aren't pitying me. So that if I'm attracted to someone, I can be with him and know that he's with me because he cares about me, not because he feels sorry for me.

JONAH: And is all that worth having a small scar on some other, less conspicuous, part of your body?

CARRIE: Yeah...

JONAH: And is it worth the risk of not succeeding the first time?

CARRIE: I don't know. I don't know if I could handle the disappointment.

JONAH: That's what you need to decide. And remember, there's a very good chance that it will succeed the first time.

MARCUS ENTERS AND SITS BACK DOWN AT HIS DESK.

CARRIE: Well...

JONAH LOOKS AT HER ANXIOUSLY.

JONAH: (SMILING) You mean?...

CARRIE: If everthing checks out, I want to do it. I want to have the surgery.

HOLD ON CARRIE.

CUT TO: BRADY PUB. THE LUNCH HOUR RUSH IS IN FULL SWING. MOST OF THE TABLES ARE OCCUPIED. SHAWN IS BUSY BEHIND THE BAR. THE FRONT DOOR OPENS AND KIMBERLY AND PHILIP ENTER.

SHAWN: (NOTICING KIMBERLY AND PHILIP WAVING) Hello sweetheart! Hello Philip!

KIMBERLY: (APPROACHING BAR) Hi Pop. Where's Ma?

SHAWN (CALLING BACK INTO KITCHEN) Caroline! Hurry yourself out here, darlin'. Kimmie and Philip are here!

CAROLINE ENTERS BAR AREA, DRYING OFF HER HANDS A DISH TOWEL.

KIMBERLY: How are you feeling, Ma?

CAROLINE: Much better. (BEAT) And it's a good thing, too. This place needs all the help it can get.

KIMBERLY: Do you two have a minute? There's something Philip and I want to talk to you about.

CAROLINE: (MOTIONING TO AN EMPTY TABLE) We can sit here.

SHAWN, CAROLINE, PHILIP, AND KIMBERLY ALL SIT AT THE TABLE.

PHILIP: Actually, we have some good news.

KIMBERLY: (SMILING AT PHILIP) Philip is going to produce a new mini-series.

SHAWN: That's wonderful news...

CAROLINE: Yes. Congratulations, dear.

PHILIP: Thank you. It's all very exciting. I've been itching to get back into it.

CAROLINE: Will you be filming here in Salem?

KIMBERLY: Well, Ma, here's the down side of it...

SHAWN: (INTERRUPTING) You're moving back to California, aren't you?

KIMBERLY: I'm afraid so. It's won't be forever. And this is a perfect opportunity for Philip.

PHILIP: Kim's right. This is the opportunity I've been waiting for. It could be my chance to break into bigger projects.

SHAWN: I'm happy for you, son. But I'll sure miss my best and brightest.

PHILIP: Of course, we'll be back for visits, and we'd want you both to come visit us as much as you'd like.

CAROLINE: (REACHING FOR KIMBERLY AND PHILIP'S HANDS) As much as we hate seeing the two of you go, I understand that this is something, Philip, you can't pass up. How soon do you have to leave?

PHILIP: As soon as we can pack. Production doesn't start until next month, but I need to start preparing almost immediately.

KIMBERLY: As soon as we tie up things in Salem, we'll be heading West.

SHAWN: Well, I hope you'll let us give you an official Brady send-off.

CAROLINE: Yes! We'll have a big get-together with family and friends here tonight!

KIMBERLY: That sounds great.

PHILIP: Yes, thank you. Shawn, Caroline, I want to thank you both for welcoming me into your family.

SHAWN: It was our pleasure, son.

KIMBERLY: (LOOKING AT HER WATCH) Philip, we'd better get back and start packing if we want to make our own party tonight.

THEY ALL GET UP AND HUG EACH OTHER.

KIMBERLY AND PHILIP LEAVE THE PUB AS SHAWN AND CAROLINE WAVE GOOD-BYE. THEN CAROLINE SPRINGS INTO ACTION.

SHAWN PULLS OUT HIS PHONE/ADDRESS BOOK, PICKS UP THE PHONE AND STARTS DIALING, WHILE CAROLINE RUSHES OFF TO THE KITCHEN.

CUT TO: JANET'S OFFICE. JANET IS AT HER DESK DOING PAPERWORK. BO OPENS THE DOOR AND STARTS TO ENTER. HE PAUSES, ROLLING HIS EYES. HE TAPS ON THE DOOR AND POKES HIS HEAD IN.

JANET: (NOT LOOKING UP FROM HER PAPERWORK) Sure, Mister Brady. Come in... take a seat.

BO ENTERS WARILY AND PULLS UP A CHAIR IN FRONT OF JANET'S DESK.

BO SITS.

JANET: (STILL NOT LOOKING UP FROM HER PAPERWORK) Well? What's on your mind?

BO: I came to... I came to ask for my job back. I want to be a cop again, if you'll let me.

JANET FINALLY STOPS WORKING ON HER PAPERWORK AND LOOKS UP AT BO.

BO: (GRUDGINGLY) The other day, I wasn't thinking clearly.

JANET: You what?

BO: I wasn't thinking clearly. I lost my temper.

JANET: That you did. But you did not submit a letter of resignation. And I haven't gotten around to filling out termination papers for you.

BO: You mean...

JANET: I mean you're still a cop, but one more outburst like the other day, and you'll be out within an hour. That's a promise.

BO: (GETTING AGITATED) But I had good reason...

JANET: Don't start, Brady. I'm serious...

BO: (CALMING DOWN) Okay, okay...

JANET: I'll consider the last few days as a leave of absence.

BO: Thank you.

JANET: When you're ready to come back...

BO: I'm ready.

JANET: Are you sure?

BO: Yeah. I need the money, and I need the work. If I just hang around all day, I'll just think about Carly, and I'll go crazy.

JANET: Okay, if you're ready, then I'll put you on desk duty.

BO: (GETTING UPSET AGAIN) But Captain...

JANET: Temper, Brady. Remember...

BO CALMS DOWN.

BO: What about the investigation of Carly's murder?

JANET: Morgan and I are handling it. That won't change. (BEAT) And I want you to keep your distance from Lawrence Alamain. If you harass him at all, you're gone.

BO: (TENSELY) Captain, this investigation is important to me. She was the woman I was going to marry. I can't just sit back and wait for the outcome.

JANET: I'll make you a deal. You lay off of Lawrence Alamain, and I'll keep you updated on our progress. Off the record, of course.

BO: Of course. (BEAT) I guess I can live with that...

JANET: Good, because you don't have a choice.

BO: What about once my arm heals?

JANET: We'll have to see what I.A. says...

BO: Internal Affairs? Are they investigating me?

JANET: Let's just say they've been keeping a close eye on you from day one. From your shaky academy record, to your quick move to undercover work, to the Cash Bowman incident...

BO: I didn't realize they were watching me. I never heard anything...

JANET: I imagine your brother and Abe Carver were able to deflect most of the scrutiny while they were here...

BO: But they've been gone for a while now...

JANET: Well, I've been doing a little dancing of my own.

BO: (SURPRISED) You? You've been looking out for me?

JANET: Don't look so shocked. I look out for the people under my command.

BO: Captain, if I've been such a royal pain in your butt from the beginning, why have you bothered protecting me from I.A.?

OUT ON JANET.

SALEM PLACE CINEMA. A LARGE MOVIE POSTER ADVERTISES "JURASSIC PARK". JACK AND JENNIFER ARE STROLLING UP TOWARDS THE POSTER, AND STOP NEAR IT.

JACK: (LOOKING AT POSTER) Mindless may be just what you're getting. Are you sure you don't want to see "Orlando", or maybe "Much Ado"?

JENNIFER: No! I want to see "Jurassic." C'mon, Jack, the effects are supposed to be great. And it'll be pure escapism, just what we need. Besides, the book was pretty good...

JACK: Compared to what??

JENNIFER: Oh, Jack, relax. This was your idea, after all. Tell you what... I'll buy you some of those gross, chewy jujube things you like...

JACK: And popcorn?

JENNIFER: Definitely popcorn...

JACK: In that case, you've got yourself a deal. Lead on, Mrs. Deveraux, into the realm of the dinosaurs...

JENNIFER GIGGLES AND TAKES JACK'S HAND. THEY STOP WHEN THEY HEAR A FAMILIAR VOICE HAIL THEM. MICKEY, MAGGIE AND BILL WALK UP.

JACK: I'm afraid so...

JENNIFER: Yes!

JENNIFER HUGS BILL, THEN MICKEY AND MAGGIE.

MAGGIE: We sure are... Mickey kidnapped me from my volunteer work at the hospital, and we managed to convince Bill to take a break and join us. (MOCK-CONSPIRATORIALLY TO JENNIFER) We think your father works too hard...

JENNIFER: So what else is new?

MICKEY: How's that beautiful baby of yours?

JACK: The child is well, she's staying with Jo today, so we could make our escape...

MAGGIE: Well, good. All work and no play, and all that... Will you two be at the Brady Pub tonight for Kim and Philip's going-away party?

BILL: And more importantly, will you be bringing the lovely Abby so I can spoil her a little?

JENNIFER: Yes to both. But don't spoil her too much, her Daddy already does that...

BILL: (MOCK ANGRY) Hey, Jack, you're in my territory! The grandpa is supposed to do all the spoiling!

JACK: But that's with ordinary children... My daughter is extraordinary, and should by rights be spoiled by several doting family members...

MAGGIE: Jennifer, Jack, if you ever need a sitter, and Caroline or Jo isn't available, do give me a call. You know I adore children... Honestly, this movie is the most excitement I've had in a long time...

MICKEY: Hey, what about last night...

MAGGIE: (BLUSHES) Oh, definitely last night...

EVERYONE LAUGHS.

BILL AND MICKEY MOCK-FIGHT EACH OTHER OUT OF THE WAY TO GET INSIDE, AS MAGGIE WATCHES IN AMUSEMENT. JENNIFER GETS JACK BY THE ARM AND HOLDS HIM BACK.

JENNIFER: Don't worry... if worse comes to worse, I'll buy. I just wanted to tell you I had an idea... an interesting idea...

JACK: And that is...

JENNIFER: I need to think about it a little more. Remind me later, and I'll tell you.

JENNIFER COMES AROUND BETWEEN JACK AND THE ENTRANCE AND KISSES HIM QUICKLY.

JENNIFER GIGGLES AND DASHES MADLY FOR THE ENTRANCE TO THE MOVIE. JACK LOOKS HEAVENWARD, AND GETS OUT HIS WALLET, AS HE ENTERS THE THEATER.

CUT TO: SALEM MINIATURE GOLF PARK. DOUG AND SHAWN-DOUGLAS ARE ON THE SIXTH HOLE. DOUG IS STANDING AT THE MARKER, EXPLAINING THE TACTICS TO SHAWN-DOUGLAS, WHO IS SEATED AT A BENCH.

SHAWN-DOUGLAS WATCHES DOUG WITH APPARENT INTEREST. DOUG POSITIONS HIS FEET AND TAKES A SMOOTH SWING AT THE GOLF BALL. BOTH DOUG AND SHAWN-DOUGLAS WATCH, AS THE BALL BOUNCES OFF THE CLOSED DOOR, SKIPS OVER THE WALL, AND LANDS IN A NEARBY POND. DOUG MOCKS HORROR AS HE PRETENDS TO BREAK HIS CLUB OVER HIS KNEE. SHAWN-DOUGLAS STARTS TO GIGGLE.

DOUG: It appears I have.

DOUG LOOKS AS A LITTLE BOY HITS HIS BALL DIRECTLY INTO THE OPEN DOOR.

THEY START WALKING DOWN A PATH.

SHAWN-D: Uh huh! Thank you for bringing me.

SUDDENLY AN ATTRACTIVE WOMAN WITH LONGISH BRUNETTE HAIR WALKS PAST THEM. SHAWN-DOUGLAS RUNS AFTER HER.

THE WOMAN TURNS AROUND TOWARDS SHAWN-DOUGLAS, AND NOTICING HIS DISTRESS, CROUCHES DOWN NEXT TO HIM. SHAWN-DOUGLAS LOOKS AT HER, AND BEGINS POUNDING ON HER WITH HIS FISTS. HE IS CRYING, WHEN DOUG FINALLY REACHES THEM AND PULLS SHAWN-D TO HIM. THE WOMAN STANDS UP, SHOCKED.

WOMAN: I understand. (LOOKS AT A SOBBING SHAWN-DOUGLAS) I hope he's okay.

DOUG: I'm sure he will be.

THE WOMAN WALKS AWAY. DOUG CROUCHES DOWN TO A STILL SOBBING SHAWN-DOUGLAS.

SHAWN-DOUGLAS CONTINUES TO CRY.

DOUG PICKS UP SHAWN-DOUGLAS AND CARRIES HIS SOBBING GRANDSON BACK TOWARDS THE CAR.

CUT TO: TRUELOVE AGENCY. THE TRUELOVE AGENCY IS DONE IN SHADES OF WHITE AND RED. EVE IS SITTING UNCOMFORTABLY ON A RED FUZZY COUCH WITH HEART-SHAPED PILLOWS WHEN A SECRETARY WEARING A HEART-SHAPED PIN WALKS OUT OF AN OFFICE.

EVE: (JUMPS UP) Yes, that's me.

SECRETARY: Please follow me... one of our counselors will see you now.

EVE FOLLOWS THE SECRETARY INTO A LARGE GLASSED-IN OFFICE. INSIDE IS A TALL, THIN MAN WITH A LARGE MOUSTACHE. THE SECRETARY CLOSES THE DOOR BEHIND HER AS SHE LEAVES.

EVE: Yes, that's me!

PERCY: My name is Percy, and I'll be your personal counselor to true love while you are a client here. I try to personalize our services as much as possible, which is why I like to establish a relationship with all of my clients...

EVE: Look, I'm in a hurry. Can we cut to the chase please?

PERCY: (RAISES AN EYEBROW) Excuse me?

EVE: This is all really nice, but I don't care about a relationship with you. I need a man.

PERCY: Er. All right. Just what is it you're looking for?

EVE: Well, preferably someone rich.

PERCY: And?

EVE: And male.

PERCY: And?

EVE: That's about it.

PERCY: Nothing more concrete in mind? No dream mate for life?

EVE: (BEAT) Just a dream. And he's gone. So I'll take whatever I can get.

PERCY: You're sure you wouldn't want to narrow the criteria just a teeny bit?

EVE: All right. I want a man who is rich, powerful, and fascinating.

PERCY: Well, we have dealt with some of them, but I'm afraid they're all more interested in me. (SMIRKS)

EVE: (SIMPERING SMILE) How wonderful for you.

PERCY: Yes, it is, isn't it? Now then, down to business.

EVE: Finally.

PERCY: Excuse me?

EVE: Nothing.

PERCY: All right. I can't set you up with someone who meets all of your criteria, but I can try and set you up with someone who meets at least some of them. How does Saturday sound?

EVE: Saturday?

PERCY: Saturday. You know, the first full day of the weekend?

EVE: I know about Saturday.

PERCY: Oh, really?

EVE: I think we're misunderstanding each other here. I want a date every night.

PERCY: Every night?

EVE: Yes, every night. You know, the dark time that follows every day?

PERCY: Thank you for clarifying that.

EVE: You're welcome. As I was saying. I want at least one date every weeknight, and two on Saturday.

PERCY: Will you be taking Sunday off?

EVE: I'll keep Sunday open in case I find someone on my own. Now, are we clear?

PERCY: As mud.

EVE: Okay, I'll use little words. Me want man. Me want marry.

PERCY: I can see why you came to us...

EVE: Look, can you help me or not?

PERCY: I'll certainly do my best.

EVE: (GETTING UP) You'd better.

PERCY: (SOTTO VOCE) Although this could be the challenge of my professional career.

EVE: Excuse me?

PERCY: I said I love a challenge. I'll call you as quickly as possible when I find a... lucky candidate.

EVE: (SWEETLY) Thank you.

EVE GETS UP, OPENS THE DOOR AND WALKS OUT WITHOUT LOOKING BACK.

HOLD ON PERCY. AND OUT.

SHANE'S OFFICE AT I.S.A. HEADQUARTERS IN GENEVA. SHANE IS SITTING AT HIS DESK, JOHN IS SITTING ACROSS FROM HIM. IN PROGRESS.

JOHN: Just a couple of things. I remember that she had blond hair...

SHANE: Blond hair? That's odd...

JOHN: Yeah, I don't know what to make of it. Maybe it'll prove to be useful later. (BEAT) The other thing I remember is her saying that "The Sleeping Beauty Waltz" was her favorite.

SHANE: That was the music at the funeral, right? The music that triggered the memory?

JOHN: Yeah.

SHANE: Anything else?

JOHN: No, that's it. That's all I've been able to remember. I know it's not much to go on...

SHANE: Don't worry about it. We've almost pinned down Danielle Stevens.

JOHN: What did you come up with?

SHANE: We should know soon. I got a lead on her whereabouts, and I have someone following up.

JOHN: I'm hoping maybe she can shed some light on this...

SHANE: How about Abe and Lexie? Have they come up with anything?

JOHN: No, not really. They're pretty busy with the investigation of Lawrence Alamain.

SHANE: Well, Lawrence and Carly were involved at one time. Maybe there's a connection.

JOHN: I don't know. It's possible, but the story I heard was that Carly didn't know Lawrence was Lawrence when they were involved. It was when she found out who he really was that she ran away.

SHANE: Still, I think it's a good idea to keep in touch with them. Maybe we can all help each other out.

JOHN: Of course. I had planned to keep tabs on things back in Salem anyway.

SHANE: Does anyone else in Salem have any information about Carly's past?

JOHN: Well, the Salem PD is investigating her murder, but I don't think they'll do much delving into her past. They probably wouldn't be of much help anyway... I don't have the pull down there that I used to.

SHANE: You may as well try. It doesn't hurt to tap all possible resources. Someone may be of help without even realizing it.

JOHN: You know, there is someone else. I talked to Alice Horton before I left, and she mentioned that Jack Deveraux was doing a retrospective on Carly's life for the Spectator.

SHANE: Jack, my old stake-out buddy? I think you should definitely give Mister Deveraux a call...

JOHN: Yeah, and I should probably pick Jennifer's brain as well. After all, she was Carly's best friend. Maybe she can remember some things from their school days.

SHANE: Good idea. Why don't you...

THE PHONE RINGS. SHANE PICKS IT UP, ONE WAY.

SHANE HANGS UP THE PHONE.

SHANE: We've found Danielle Stevens... in Brussels.

JOHN: (SMILING) I'm impressed, Cap'n. I thought she would be much harder to corral.

SHANE: There's more...

JOHN: (HIS SMILE GIVING WAY TO CONCERN) What is it?

SHANE: Well, we didn't have to catch her. The police had already done that for us.

JOHN: The police?

SHANE: Yes. Apparently, Danielle's gotten herself into a bit of trouble. She's currently in the custody of the Brussels police.

HOLD ON JOHN'S SURPRISE.

CUT TO: DOUG'S CAR. THE PASSENGER SIDE DOOR IS OPEN, DOUG IS SITTING SIDEWAYS WITH HIS LEGS ON THE GROUND. SHAWN-DOUGLAS IS ON HIS LAP, HIS HEAD ON DOUG'S SHOULDER. SHAWN-DOUGLAS HAS STOPPED SOBBING, BUT IS STILL SNIFFLING. DOUG IS WIPING HIS GRANDSON'S FACE WITH A HANDKERCHIEF.

SHAWN-D: That lady's not mad at me, is she?

DOUG: Of course not. You miss Carly, don't you?

SHAWN-D: I miss her real bad, Grandpa Doug.

DOUG: Listen, I think we should talk about something, ok?

SHAWN-D: Ok.

DOUG: (DEEP BREATH) Shawn-Douglas, I know it's hard to lose someone you love. Sometimes it's unbearable. Sometimes it hurts so much we forget everything but the pain...

SHAWN-D: Yeah. I know...

DOUG: Is that how you feel Shawn-Douglas?

SHAWN-D: Sometimes...

DOUG: That's what I want to talk to you about. We've all been worried about you.

SHAWN-D: Why?

DOUG: You act like you don't like anyone or anything...

SHAWN-D: I don't want to.

DOUG: You don't want to what?

SHAWN-D: I don't want to like anyone.

DOUG: (LIFTING SHAWN-D'S CHIN WITH HIS FINGER, SO HE CAN LOOK INTO THE BOY'S EYES) Why would you say something like that? We all love you...

SHAWN-D: I know... But it doesn't make any difference.

DOUG: You mean you don't care that we love you?

SHAWN-D: No, because you'll still die and leave me all alone.

DOUG: Shawn-Douglas, we would never leave you...

SHAWN-D: You would! Everyone leaves me!

DOUG: I know it must seem like that to you... But...

SHAWN-D: Mama went to be an angel and I never even kissed her good-bye...

DOUG: Neither did I... (NEAR TEARS) I miss your Mama, too.

SHAWN-D: I don't want Papa to go be an angel. Or you or Aunt Julie. Or Grandpa Shawn or Grandma...

DOUG HUGS SHAWN-DOUGLAS TO HIM.

SHAWN-D: That's what Carly said. But she left. And I tried to be good, so she wouldn't go away.

DOUG: She didn't go away because of you...

SHAWN-D: She did! So now I'm going to be mean to everyone. Then you have to stay here and make me behave. You can't leave me.

DOUG: Oh, Shawn-Douglas... How can I make you understand? We love you whether you're good or bad... And we are not all going to leave you.

SHAWN-D: You promise?

DOUG: I promise.

SHAWN-D: Double dog, swear?

DOUG: Double dog, swear...

SHAWN-D: You wouldn't fib, would you?

DOUG: No...

SHAWN-D: OK...

DOUG: We need to talk about something else...

SHAWN-D: Me being mean?

DOUG: Yes. Don't you think it's better to be a good boy and make everyone happy, than be a bad boy and make everyone sad?

SHAWN-D: I guess so.

DOUG: Can we make a deal?

SHAWN-D: What kind of deal?

DOUG: Whenever you feel scared or alone, I want you to go and tell your Papa. Or come tell me or another grown-up.

SHAWN-D: OK. And then what?

DOUG: And then we'll give you a great big hug. (HE HUGS SHAWN-DOUGLAS) Feel better?

SHAWN-D: Yeah.

DOUG: Me, too.

SHAWN-D: Grandpa Doug?

DOUG: Yes?

SHAWN-D: Are you sure you won't be going away?

DOUG: I'm positive.

DOUG PUTS HIS HEAD AGAINST SHAWN-DOUGLAS'. HOLD ON DOUG'S WORRY.

CUT TO: JANET'S OFFICE, BO AND JANET. IN PROGRESS.

JANET: Brady, you've been under a lot of stress lately... Sometimes trauma makes people respond with anger and frustration...

BO: What's your point?

JANET: My point is that I don't like to see anyone ruin their life... (BEAT) Bo, I see the potential in you to be a good cop... a damned good cop...

BO LOOKS AT HER SMUGLY AS IF SAYING "I KNEW THAT ALL ALONG."

BO: But what?

JANET: You have to learn to get a hold of your temper.

BO: Now just a minute...

JANET: See what I mean? I give you a piece of constructive criticism and you immediately go on the defensive.

BO: But...

JANET: No "buts." You're a cop and your life is on the line every time you're on duty. When you get angry, when you lose control, you only endanger yourself and anyone with you.

BO: I know I have a hot temper... but when I get mad I get mad.

JANET: Don't you see? Yelling at a superior won't get you anywhere but fired. Hitting a perp unnecessarily won't land you anywhere but jail. And going off half-cocked will get you killed.

BO: Fine, I'll work on it.

JANET: You will do more than work on it. Your behavior will change, or I will take your badge. Do I make myself clear?

BO: Crystal...

JANET: What did you say, Officer?

BO: (STRAIGHTENING UP) Yes, Captain.

JANET: Fine. We need to go over what will be expected of you when you return to duty.

BO: Yes, Ma'am.

JANET: Brady, when you report for duty, you will be in uniform and your hair will be cut at regulation length.

BO: What? I...

JANET: Officer?

BO: Yes, Captain.

JANET: I know that Captain Carver let you magically skip from rookie to Vice. But you are a Rookie. You will do desk duty until your arm heals and you are cleared for active duty.

BO: And then?

JANET: And then we'll see Officer Brady. We will see...

OUT ON JANET.

BRADY PUB. THERE ARE BALLOONS EVERYWHERE AND A BIG BANNER THAT READS: "GOOD-BYE AND GOOD LUCK, PHILIP AND KIM." SHAWN IS AT THE BAR, POURING DRINKS. CAROLINE IS CHECKING TO SEE THERE'S ENOUGH FOOD. PHILIP AND KIMBERLY ARE GREETING PEOPLE AS THEY COME IN. KAYLA, MARCUS AND STEPHANIE ARE SEATED AT A TABLE. JONAH AND CARRIE ARE AT THE BUFFET. TOM, ALICE, MICKEY AND MAGGIE ARE ALL SITTING TOGETHER AT A LARGE BOOTH. JACK, JENNIFER, JULIE, JO AND ABIGAIL ARE SITTING AT THE ADJACENT BOOTH. IN PROGRESS.

JACK: I swear Julie, Jennifer forced me into it. I didn't want to go...

JENNIFER: Right, Jack, and I forced you to eat two boxes of Jujubes and a large popcorn?

JACK: (GROAN) Don't remind me... Is there a doctor in the house?

BILL: (REACHING ACROSS THE SEAT BACK AND SLAPPING JACK ON THE SHOULDER) There's a family full of them, Jack.

GO TO: KIMBERLY AND PHILIP AT THE DOOR, TALKING TO ABE AND LEXIE AS THEY ENTER.

KIMBERLY: I know... but it was such a wonderful opportunity for Philip...

PHILIP: And Kim has already contacted the hospital where she used to work. They want her back counselling troubled kids.

LEXIE: Congratulations, Kim, that's wonderful.

KIMBERLY: I'm happy. And I talked to Shane... once Philip and I are settled in L.A., Andrew and Jeannie are coming out for a long visit.

ABE: You talked to Shane today?

KIMBERLY: Yes, I did. And before you ask. John got there safe and sound.

ABE: Good. I just hope Shane can help John find what he's looking for.

KIMBERLY: So do I, Abe. So do I.

GO TO: JULIE, WHO IS TALKING TO ALICE.

ALICE: I'm so happy for Doug. (SMILES)

JULIE: Yes, Doug and Robert have always been so close... (HESITATING SLIGHTLY) Doug is like a second father to CJ...

JACK HAS BEEN LISTENING TO THE CONVERSATION.

JENNIFER: It's a long story...

JACK: How come every time I ask a question about your convoluted family history you tell me it's a long story?

JULIE: (LAUGHING) That's just life when you're married to a Horton, Jack, darling.

JACK: I hope I can make sense of it all someday. Maybe I should get a scorecard?

JENNIFER: Jack! It's not that bad.

JENNIFER TAKES JACK'S ARM AND GIVES HIM A PLAYFUL HUG.

GO TO: BO AS HE ENTERS THE PUB. BO STANDS SOMEWHAT APART FROM THE FESTIVITIES FOR A MOMENT, THEN WALKS TO THE BAR AND GETS A BEER. HE TAKES A SIP AND SEES DOUG AND SHAWN-DOUGLAS ENTER. BO MOVES TO INTERCEPT THEM.

SHAWN-D: We had a good time, mostly. Hey, Papa, 'scuse me a minute. I wanna apologize to Jennifer for being so bratty yesterday.

BO: (STUNNED) You want to... well, great, Shawn-D. Grandpa Doug and I will be right here when you're done.

SHAWN-DOUGLAS GRINS AT HIS FATHER, AND RUNS TO SPEAK TO JENNIFER. BO WATCHES FOR A MOMENT, THEN TURNS BACK TO DOUG.

DOUG: No, that was his own idea, first I heard of it was just now. And we did have a really good day...

BO: It seems like that was just what he needed. He's back to his old self.

DOUG: Bo, I don't think so. That boy is still troubled. We talked some, but...

BO: But?

DOUG: But I just have this feeling that we didn't get to the bottom of what's bothering him.

BO: Isn't it obvious, losing Carly is what's bothering him.

DOUG: That's definitely part of it. No question. But I just have a gut feeling there's something more going on.

BO: Like what?

DOUG: I'm not sure. But Shawn-D has never had such a horrible temper or seemed so angry...

BO: Well, he is a Brady, and my son... and I've been told... (GRIMACES SLIGHTLY) recently, in fact, that I have a pretty bad temper...

DOUG: That you do, Bo. But you're an adult, and to some extent, you choose to display that temper of yours. Shawn-Douglas is just a little boy, one who seems to be in the throes of some serious trauma. (BEAT) Bo, have you thought at all about therapy?

BO: Therapy? A shrink?

DOUG: More like a counselor, I'd imagine. Someone who's expert at children, and handling children's' issues and traumas. Someone who can talk to Shawn-D, and maybe get to the bottom of what's bothering him.

BO: I hadn't thought about it like that... but you're right. He's been through so much...

DOUG: (QUIETLY) We all have...

BO: You think I should see a counsellor?

DOUG: There are family therapists, who work with all the members of a family...

BO: I hate to admit it, Doug, but I think you just might have something there... Maybe I'll give Marlena a call tomorrow, and see if she can recommend someone.

DOUG: I think that's a wonderful idea, Bo. This has been terribly hard on you and Shawn-Douglas, and sometimes, you just can't handle everything on your own.

BO: I haven't had to, you know. Mom and Pop, and the family has been terrific. And you, Doug... you've been a great help... I know we haven't always been on the best of terms (BEAT) but I do appreciate your help and concern...

DOUG: (SOFTLY) What's family for, if not to help? No matter what...

DOUG HOLDS OUT HIS ARMS SLIGHTLY, AND BO DOES SO ALSO. THE TWO HUG, AWKWARDLY AT FIRST, BUT WITH GROWING AFFECTION. ON BO'S FACE, THEN HOLD ON DOUG. AND OUT. AND FADE TO BLACK.