ISA HEADQUARTERS, GENEVA. JOHN AND SHANE ARE BOTH ON THE PHONE, ONE-WAY, VISIBLY EXHAUSTED AND FRUSTRATED. IN PROGRESS.

SHANE: Right. As long as she's not going anywhere... Right. We'll get back with you straight away.

JOHN: Thank you, Good-bye.

SHANE: Good-bye.

SHANE AND JOHN HANG UP SIMULTANEOUSLY.

JOHN: We have an appointment with Headmistress Spenser at the boarding school here in Geneva.

SHANE: Good.

JOHN: How about you?

SHANE: Danielle is still being held by the Brussels authorities. They won't do anything until they get further word from us.

JOHN: Great. (SIGHS) It's about time some of this started coming together.

SHANE: You look spent.

JOHN: I am wiped out. That jet lag must be catching up to me.

SHANE: I have a few meetings to attend. Why don't you go back to the hotel and get some rest? We can meet later for tea.

JOHN: Tea? I was thinking more along the lines of a pint.

SHANE: You prefer Guinness to Earl Gray?

JOHN: Doesn't everyone?

SHANE: I'll ignore that. Let's say we meet at the Pub across from the hotel in about (LOOKS AT WATCH) two hours? We can go on to St. Genevieve's from there.

JOHN: I hope this Headmistress can do something for us.

SHANE: So do I, John. So do I. For everyone's sake.

HOLD ON JOHN.

CUT TO: JACK/JENNIFER LIVING ROOM. JENNIFER COMES OUT OF THE KITCHEN CARRYING ABIGAIL AND GOES TO THE PHONE. JENNIFER MAKES A PHONE CALL, TWO-WAY.

JENNIFER: Grandma?

ALICE: Good morning, Jennifer.

JENNIFER: Hi! Good morning to you, too. I'm hoping you can help me out with something...

ALICE: You just name it dear.

JENNIFER: You remember when I was telling you about Jack's investigation of Carly?

ALICE: Yes...

JENNIFER: Well, he hasn't found much, so I figured I'd do some digging of my own.

ALICE: Aha. The old "if you want something done right, do it yourself."

JENNIFER: Exactly.

ALICE: But what makes you think you can find anything new?

JENNIFER: I just think Jack's looking in the wrong places...

ALICE: Well, whatever I can do to help...

JENNIFER: How about I pick you up in half an hour?

ALICE: Sounds wonderful to me.

JENNIFER: Okay, see you then.

ALICE: Good-bye.

HOLD ON JENNIFER'S EXCITEMENT.

CUT TO: DONOVAN LIVING ROOM/FOYER/PORCH. PHILIP IS COMING DOWN THE STAIRS, ARMS LOADED WITH BAGS AND A PURSE HANGING FROM HIS MOUTH. KIMBERLY IS RIGHT BEHIND HIM WITH A SMALL SUITCASE AND AN OVERNIGHT BAG. EVE IS STANDING IN THE FOYER LOOKING AT HER FINGERNAILS.

PHILIP: (VOICE MUFFLED BY THE PURSE HANGING OUT HIS MOUTH) Ou ould ake this urse om me.

EVE: Pardon?

PHILIP: 'e urse...

EVE: Oh, the purse? I'm sorry, I just did my nails and I don't want to muff them up.

PHILIP FINALLY MAKES IT DOWN THE STAIRS AND DROPS THE BAGS AND THE PURSE TO THE GROUND NEXT TO THE OTHER SUITCASES.

PHILIP: (SARCASTICALLY) Thanks Eve, your generosity is appreciated.

EVE: (SMILING) You're welcome, Philip.

PHILIP: (TO KIMBERLY) Well, that should be the last of them.

KIMBERLY: I can't believe that we're done... I didn't think we would ever get all these things packed.

PHILIP: Neither did I, but we're done, now all we have left to do is say good-bye.

KIMBERLY: (LOOKING AROUND AT ALL THE BAGS) How can a whole life be packed into just a few bags? (RUNNING HER HAND LIGHTLY OVER THE BANNISTER) So many memories... I will really miss this place.

PHILIP: Honey, we'll be back for visits...

KIMBERLY: But it's not the same as living here, so close to my family...

PHILIP: Your family is always welcome in our home.

KIMBERLY: I know... it's just hard.

PHILIP: (LEANS OVER AND KISSES KIMBERLY'S CHEEK) I know, honey I know. (BEAT) Well, I'm going to put the bags in the car.

PHILIP PICKS UP TWO OF THE SUITCASES AND GOES OUT THE DOOR. EVE STARTS HEADING UP THE STAIRS.

EVE: You don't have to worry, Step-Mommy, dearest. The house is going to be fine. I'm not a kid anymore, I can handle it.

KIMBERLY: (SIGHS) I know that, Eve. What I was going to say was that if you ever need anything, all you have to do is call.

EVE: (SOTTO VOCE) When hell freezes over.

KIMBERLY: What?

PHILIP COMES IN AND GRABS A COUPLE MORE BAGS.

KIMBERLY: (OBVIOUSLY DOESN'T BELIEVE HER) The number is written in the address book in the desk drawer.

PHILIP COMES BACK IN AND PICKS UP THE LAST OF THE BAGS.

PHILIP OFFERS HIS HAND BUT EVE IS LOOKING CLOSELY AT HER NAILS AND IGNORES HIM.

PHILIP: (WRYLY) Thanks. (TURNS TO KIMBERLY) Kim, I'll meet you outside.

KIMBERLY: Ok, just one moment...

PHILIP WALKS OUT THE DOOR. KIMBERLY WALKS OVER TO EVE AND GIVES HER A HUG.

EVE: (HUGGING HER BACK, STIFFLY) Ok, I promise.

KIMBERLY: Well good-bye then.

EVE: Yeah, good-bye.

KIMBERLY WALKS TO THE DOOR. EVE CLOSES THE DOOR AND STANDS PEEKING OUT THE WINDOW, WATCHING KIMBERLY AND PHILIP WALK TO THE CAR. WE SEE KIMBERLY STOP AND TURN TO LOOK AT THE HOUSE.

GO TO: PHILIP AS HE TURNS TO KIMBERLY AND WIPES A TEAR FROM HER EYE AND PUTS HIS ARM AROUND HER.

KIMBERLY: I know... there are just so many memories in this house...

PHILIP: Well then, I guess we will just have to make more memories in our new home.

KIMBERLY: (PERKING UP) You know, you're right. We're starting a new and wonderful life together. And we will make our own memories...

KIMBERLY AND PHILIP WALK TO THE CAR AND GET IN. GO TO: EVE, WHO IS STILL PEEKING OUT THE WINDOW. AS THE CAR STARTS, EVE SPINS AROUND AND STARTS TWIRLING THROUGH THE FOYER INTO THE LIVING ROOM.

OUT ON EVE TWIRLING AROUND THE LIVING ROOM.

JACK'S OFFICE. JACK IS SITTING AT HIS DESK, STARING INTENTLY AT HIS PHONE.

THE PHONE RINGS AND JACK JUMPS.

JACK PICKS UP THE PHONE, ONE WAY.

HOLD ON JACK AS HE FRANTICALLY SCRIBBLES NOTES.

CUT TO: JULIE'S OFFICE. JULIE AND RICHARD ARE SITTING ACROSS FROM EACH OTHER, BOTH HOLDING SHEAFS OF NOTES, PADS, AND PENCILS. IN PROGRESS.

RICHARD: The ones that have been around the block a time or two, have been exposed to a variety of people, places and things, and aren't afraid to speak their minds and go after what they want...

JULIE: (SMILE) I knew you were perfect for this job. You sound like you know a few of these women personally.

RICHARD: A few. (BEAT) I realize the main target audience is women over 40, but I think we can expand on that a bit.

JULIE: I do too. I want to attract women in their 30's as well. I believe that old saying about life beginning at 30.

RICHARD: And coming into its own at 40?

JULIE: Exactly, darling.

RICHARD: Let's talk about Jack's idea for the feature on the Horton women. I like it. It's got local color, it's multi-generational, and it will appeal to our audience.

JULIE: I'm not saying this just because I'm a member of the family in question, you understand, but I feel it's a good contrast between strong women, the different environments they live in, and the choices they make.

RICHARD: What you're trying to get across is that a woman's strength lies not in choosing correctly but living happily with the choice?

JULIE: Yes, our readers have the whole world at their feet. They know themselves well enough to choose some paths over others. For instance, my grandmother grew up in an age where women didn't work outside the home. Some would call that a disadvantage, but it made her happy. Even now, with her hospital and community projects, working in her home still makes her happiest.

RICHARD: While you and Jennifer have had access to totally different opportunities.

JULIE: And who knows what dear little Abby will have to choose from? We could be dandling the future President on our knees.

THERE IS A KNOCK ON THE DOOR. A WOMAN WITH LONG DARK HAIR POKES HER HEAD AROUND THE DOOR. IT IS DIANE LAKE. SHE LOOKS UNCOMFORTABLE WHEN SHE REALIZES THIS IS JULIE'S OFFICE.

RICHARD: (STANDING) Diane! Come in, come in. (GESTURES) Diane Lake, meet Julie Williams, Editor-in-Chief of Midsummer.

JULIE STANDS AND SHAKES DIANE'S HAND.

DIANE: You'd know more about that than I do. Guess who's got your old job?

RICHARD: You're kidding.

DIANE: Nope. Deveraux made me a honey of an offer. Better than anything he ever gave you, I'll bet.

JULIE: Jack Deveraux?

RICHARD: Following in my footsteps again, eh?

DIANE: In your dreams. More like cleaning up your messes.

RICHARD: Oh really? I seem to recall a time when I saved your butt. Something about a story on corruption in the county jail...

DIANE: That was one time, Hunt. You helped me out one time. You'll never let me forget it will you?

RICHARD: Of course not. Any good reporter has a long and detailed memory.

DIANE: Yeah. My favorite memory is of the time we were both trying to get that scoop on illegal fishing activities and you fell head first into...

RICHARD: Let's not get into that, shall we?

DIANE: Spoilsport. Well, I just wanted to say hello and let you know that for once we're working on the same side of the fence. I'll let you two get back to work.

DIANE TURNS TO JULIE AND PUTS OUT HER HAND, WHICH JULIE TAKES.

DIANE EXITS. RICHARD SHAKES HIS HEAD AS JULIE LAUGHS.

RICHARD: Hazards of the job.

JULIE: Oh, but that's what makes a job interesting, Richard... The people you meet.

HOLD ON JULIE'S AMUSEMENT.

CUT TO: KIMBERLY AND PHILIP WALK INTO THE PUB. THEY ARE GREETED BY CAROLINE WHO IS BEHIND THE BAR.

CAROLINE: Hi you two. All set to leave?

PHILIP: Yep, we just stopped in to say good-bye before we head to the airport.

KIMBERLY: Where's Pop?

CAROLINE: He's in back, why don't you have a cup of coffee and I'll go get him.

CAROLINE POURS TWO CUPS OF COFFEE AND HEADS TO THE BACK.

CAROLINE AND SHAWN COME IN TO THE BAR.

KIMBERLY: I know, it's just that I'm gonna miss this place.

CAROLINE: And we are going to miss you like you wouldn't believe. (TURNS TO PHILIP) And you too, Philip.

PHILIP: Thanks Caroline, for everything. I really feel like I'm a part of this family.

SHAWN: Well you are, son. And I want you two to promise to come back and visit all the time, especially with those grand-children of mine.

CAROLINE: Yes, you know you can always come home.

KIMBERLY: Thanks Ma, and you two have to come and visit us in California. You need to take more vacations.

CAROLINE: (SMILING) You're right about that, we haven't taken a vacation in years...

KIMBERLY: I have an idea. When Philip and I get married, we'll fly the whole family out for the wedding. And I promise that you won't be stuck with baby-sitting all the grand-children.

CAROLINE: That's a wonderful idea and I'm happy to hear that you two are still planning on getting married.

PHILIP: As soon as things settle down. (LOOKS AT WATCH) Honey, I hate to do this, but we really have to leave.

KIMBERLY: Well, Ma, I guess this is good-bye.

CAROLINE: I guess so.

KIMBERLY AND CAROLINE HUG, THEY ARE BOTH CRYING.

CAROLINE: Of course, don't worry about Bo, he'll be fine, it'll just take some time...

PHILIP AND SHAWN SHAKE HANDS.

PHILIP: Of course.

KIMBERLY AND SHAWN HUG WHILE PHILIP AND CAROLINE HUG. THE FOUR OF THEM BREAK APART. TEARS ARE STREAMING DOWN KIMBERLY'S FACE AS KIMBERLY AND PHILIP TURN TO LEAVE.

CAROLINE: Good-bye Philip. Take care of yourselves.

KIMBERLY: By Ma and Pop. I love you. We'll talk to you soon.

KIMBERLY AND PHILIP LEAVE THE PUB. OUT ON SHAWN PUTTING HIS ARM AROUND CAROLINE.

JACK'S OFFICE. THE DOOR TO JACK'S OFFICE OPENS, AND JACK PEEKS OUT. HE LOOKS AROUND BRIEFLY, UNTIL HE SPOTS VERN. VERN IS TALKING TO A FEW REPORTERS. JACK ATTEMPTS TO WHISPER, BUT THEY ALL HEAR HIM.

VERN: What is it Jack? Can it wait?

JACK: No, it cannot! I need to see you in my office ASAP!

JACK WALKS BACK INTO HIS OFFICE.

VERN WALKS INTO JACK'S OFFICE. JACK IS PACING BACK AND FORTH.

VERN SHUTS THE DOOR AND SITS DOWN.

JACK STOPS PACING, AND WALKS TO HIS DESK. HE PICKS UP A FOLDER AND POINTS IT AT VERN.

VERN: (DISBELIEF) You actually found something?

JACK: Of course I found something. Why do you think I called you in here? For my own amusement?

VERN: I don't know, Jack. You're always coming up with some harebrained idea. (BEAT) Anyway, what did you find out?

JACK: Well, I got a call back from a Dean at a school that Carly attended in France. This person recognized Carly immediately. (OPENS FOLDER AND READS NOTES) Apparently, Carly was posing as a Theater Arts major by the name of "Kathryn Von Leis".

VERN: Another alias...

JACK: Yes, and it gets better ... or worse. (CONTINUING TO READ NOTES) Apparently, "Kathryn" was a convincing actress and excelled in her theater classes... But it continues: "Kathryn failed to apply herself" in her other courses.

VERN: Theater Arts? I would've thought she studied science.

JACK: Good point. I wonder where she picked up her medical skills?

JACK PAUSES TO THINK A MOMENT, THEN CONTINUES WITH HIS NOTES.

VERN: Mysterious fates? Like what?

JACK: Well, the Dean wouldn't elaborate, but she did mention that one student who won the lead in a play that "Kathryn" wanted, was involved in a terrible automobile accident.

VERN: What?!? Was she killed?

JACK: No, but she left the school soon after.

VERN: We should try to contact this person.

JACK: Good idea. Get on it right away! (LOOKING BACK AT NOTES) The Dean said that Kathryn ... Carly ... Katerina ... whoever... didn't stay in this school very long. (CLOSES FOLDER) That's all I have.

VERN: Well, it's enough. Jenny-girl is not going to like this one bit when she hears it.

HOLD ON JACK, KNOWING VERN IS RIGHT.

CUT TO: TV STATION/FILE ROOM. ALICE IS SITTING AT A TABLE LOOKING THROUGH SOME FILES. ABIGAIL IS CRYING AND JENNIFER IS WALKING UP AND DOWN THE ROOM WITH HER DAUGHTER WHILE READING OUT OF ANOTHER FILE.

ALICE: I remember how Carly worked day and night in that lab to save Miss Peach and Bo.

JENNIFER: Yes, she certainly put all her energy into everything she did.

JENNIFER BOUNCES ABIGAIL, WHO CONTINUES TO CRY.

ALICE: Here's an article on the MedVan, one about Carly going down into that well to save Shawn-Douglas, a bio on Carly, one on her father. Nothing we didn't know before.

JENNIFER: I just don't understand it. Why can't I find anything on Carly's life before she came to Salem? She had to go somewhere after leaving St. Genevieve's.

ABIGAIL'S CRIES GROW STRONGER.

ALICE: (STANDING UP) Here let me take her for a bit. You sit down.

ALICE TAKES ABIGAIL AND BEGINS TO PACE WITH HER. JENNIFER SITS DOWN.

JENNIFER: Well, we've checked the library and Jack's been trying to contact people at the Sorbonne or some of the other schools Carly attended... It's so frustrating.

ALICE: It is frustrating. Tom didn't come up with very much more from the hospital records. I just don't understand it.

JENNIFER: I don't either, it's like...

WE HEAR A SOFT SNORING SOUND.

SILENCE.

WE HEAR THE SOUND AGAIN.

JENNIFER GETS UP AND LOOKS AT ABIGAIL, WHO IS SLEEPING.

ALICE: I'll take your word on that. But this little girl was just ready to go to sleep.

JENNIFER: No, it's you, Grandma. You've got the magic touch. Can you come over every night and put Abby to bed until all her teeth come in?

ALICE: Now, Jennifer Rose, stop all this nonsense. You are perfectly capable of dealing with a teething baby.

JENNIFER: I don't know...

ALICE: Well I do. And that's the end of it.

JENNIFER: Yes, Grandma.

ALICE: Now, wheel Abby's stroller over here and I'll lay her down. Then we can get back to work on finding out something about Carly.

HOLD ON ALICE.

CUT TO: AIRPLANE/INT. THE PLANE HAS JUST BEGUN TO TAXI OUT THE GATE. PHILIP STUFFS A BAG UNDER THE SEAT IN FRONT ON HIM.

KIMBERLY DOESN'T RESPOND. SHE IS STARING OUT THE WINDOW, A FEW TEARS RUNNING DOWN HER FACE.

KIMBERLY: (WIPES HER EYES AND TURNS TO HIM) Did you say something?

PHILIP: I just commented that we barely made it. (LOOKS AT KIMBERLY AND SEES HER TEARS) Kim, honey, I'm sorry for taking you away from your home and your family.

KIMBERLY: Oh Philip, don't be sorry, it's just that Salem is home and I'm going to miss it.

PHILIP: Honey, someday California will be home to you again, like it was before you came back to Salem.

KIMBERLY: I hope so. I really need to settle down in one place and get my life back together. (BEAT) Then maybe I can be with my children...

PHILIP: I know how much you want that, Kim. You love those kids.

KIMBERLY: More than life. But they're better off with Shane, at least until we know I'm...

PHILIP: Kimberly, you will be fine. Lacey and Clare haven't come out in months. And we will work with the therapist that Marlena recommended.

KIMBERLY: Yes, I'll work with her day and night if I have to.

PHILIP: In the meantime, Jeannie and Andrew can come for visits.

KIMBERLY: You mean that?

PHILIP: Of course, I love those kids. And Shane knows we would both take very good care of them.

KIMBERLY: (LEANS OVER AND HUGS HIM HARD) Oh Philip, I love you so much.

PHILIP: And I love you.

PHILIP SMILES AND HOLDS ON TO KIMBERLY. OUT ON PHILIP KISSING HER FOREHEAD.

BRADY KITCHEN. CAROLINE IS CLEANING UP THE REMAINS OF A MEAL, SINGING WITH NEIL DIAMOND TO "SONG, SUNG, BLUE". DOUG ENTERS FROM THE PUB, AND JOINS HER IN THE CHORUS. CAROLINE STARTLES, BUT RECOGNIZES THE VOICE, AND THEY FINISH THE SONG TOGETHER.

DOUG: Not in the least. In fact, I found our duet delightful.

CAROLINE: Now, you're just being nice... but I appreciate it... Can I get you something? A cup of coffee, some chowder?

DOUG: Coffee sounds great, if you have some on...

CAROLINE: Fresh pot right here

CAROLINE POURS HIM A CUP, AND FRESHENS HER OWN. SHE GESTURES FOR DOUG TO SIT AT THE KITCHEN TABLE WHERE SHE JOINS HIM.

DOUG: I was in the neighborhood

CAROLINE LAUGHS.

CAROLINE: Better, thanks, and quite ready for a break. Shawn-D is in the spare bedroom, building the perfect racetrack for his cars...

DOUG: How's he been acting?

CAROLINE: It varies. Sometimes, he's just normal, happy Shawn-D, others, he's sad, moody, fussy and generally just not himself.

DOUG: Any idea what causes the mood shifts?

CAROLINE: Not really. There seems to be some connection with the mood of people around him...

DOUG: How so?

CAROLINE: Well, with being under the weather, and with Kimmie and Philip leaving, I haven't been in the best mood myself...

DOUG: And that effects Shawn-Douglas?

CAROLINE: It seems to, more than normal.

DOUG: You feeling any better about Kim leaving?

CAROLINE: Some. Rationally, I know that they had to leave... Philip's career is at a critical point, and Kimmie loves him so much, she had to go with him. But emotionally...

DOUG: It's hard to lose a child, even if it's just to L.A...

CAROLINE: Exactly. Especially with all this family's gone through in the last few months. Roman and Marlena moving, losing Carly, the pain Bo and Shawn-Douglas are going through...

DOUG: Don't forget, Kayla's come back, with Stephanie.

CAROLINE: Yes, it's just wonderful having them here...

DOUG: And things will work out for Bo and Shawn-Douglas... too many people love them and are concerned for them, for things not to work out...

CAROLINE: (REACHES OUT TO CLASP DOUG'S HAND) Not the least of them being you. It's so good to have you and Julie back in town... we missed you...

DOUG: It certainly is great to be back, among friends and family. It's funny, you don't know how important that is until you do without for a while...

CAROLINE: So what are you up to since you've returned?

DOUG: Well, Julie and I are house-hunting...

CAROLINE: What about the penthouse?

DOUG: That's Julie's place... I wanted us to make a place for ourselves together...

CAROLINE: How romantic! And how wonderful for you both...

DOUG: And of course, I'm planning to take over the management of Wings... Julie's up to her ears in "Midsummer"...

CAROLINE: Jack's magazine, right? It sounds just great, a magazine focussed on women over 30...

DOUG: Yes, and with my Fair Lady at the helm, it's sure to be a huge success.

CAROLINE: Well, I'll definitely be a subscriber!

DOUG: Me too. Even if I'm not a woman over 30... being madly in love with one qualifies me as an interested party...

THEY LAUGH. SUDDENLY, THERE'S A CRASH FROM THE BACK OF THE HOUSE. CAROLINE STARTLES. DOUG LOOKS CONCERNED AND STARTS TO RISE AS WE HEAR ANOTHER CRASH AND A SHOUT.

CAROLINE: I don't know... but it's coming from Shawn-D's room....

DOUG AND CAROLINE RUSH DOWN THE HALL TO THE SOURCE OF THE NOISE.

CUT TO: MIDSUMMER OFFICES, EVE'S DESK. EVE IS SITTING AT HER DESK, LOOKING EXTREMELY BORED AND CHEWING GUM. SHE HEARS FOOTSTEPS AROUND THE CORNER, SITS UP STRAIGHT AND BEGINS FURIOUSLY TYPING NONSENSE ON HER TERMINAL. SHE LOOKS UP AND SMILES WHEN SHE SEES RICHARD COME AROUND THE CORNER.

RICHARD: I'm looking for Julie.

EVE: She's not in at the moment. I'm Eve, her personal assistant.

EVE HOLDS OUT HER HAND, WHICH RICHARD SHAKES.

EVE: Really? I guess that means we'll be seeing a lot of each other.

RICHARD: Probably. (TURNS TO GO) I guess this can wait.

EVE: Is there something I can do? Julie and I have worked closely together since... I think it was 1990... I'm sure whatever it is you need, I can take care of it.

RICHARD: That's okay. Thanks anyway.

EVE: Okay.

RICHARD: See you around.

EVE: I'll be looking forward to it!

RICHARD WALKS OFF AS EVE STARES AT HIM.

EVE GETS UP AND CROSSES TO JULIE'S OFFICE AND TRIES THE DOOR. FINDING IT LOCKED, SHE GOES BACK AND FISHES A BOBBY PIN OUT OF HER PURSE. SHE UNBENDS IT AND STICKS IT IN THE DOOR, JIGGLING IT UNTIL THE LOCK IS DISENGAGED.

EVE BEGINS LOOKING THROUGH JULIE'S FILE CABINETS, LOOKING AROUND AT EVERY NOISE SHE HEARS. SHE OPENS JULIE'S DESK DRAWERS AND PULLS OUT A STACK OF FOLDERS.

EVE SITS IN JULIE'S CHAIR, PROPPING HER FEET ON THE DESK AS SHE READS THE FOLDER.

THERE IS A VOICE OUTSIDE THE OFFICE.

EVE: Shoot!

EVE QUICKLY PICKS UP ALL THE FOLDERS AND DIVES UNDER THE DESK.

EVE WAITS UNTIL THERE IS TOTAL SILENCE BEFORE NERVOUSLY STICKING HER HEAD OUT FROM UNDER THE DESK AND LOOKING AROUND.

EVE PUTS THE FOLDERS BACK, SMOOTHS HER RUMPLED SKIRT, AND LOCKS THE OFFICE AS SHE LEAVES.

HOLD ON EVE, SMILING, AS SHE SITS DOWN AND PUTS HER FEET UP ON THE DESK.

CUT TO: BEDROOM/BRADY HOUSE. CAROLINE AND DOUG RUN INTO THE BEDROOM. MATCHBOX RACE CARS ARE SCATTERED ALL OVER THE FLOOR, AND REMNANTS OF A RACE TRACK ARE BROKEN INTO PIECES AND SCATTERED AS WELL. SHAWN-DOUGLAS IS SITTING ON THE FLOOR IN A CORNER. HIS ARMS ARE CROSSED AND HE IS QUIET. CAROLINE WALKS OVER TO SHAWN-DOUGLAS, AND SITS ON A CHAIR NEXT TO HIM.

CAROLINE BENDS DOWN AND REACHES OUT TO SHAWN-DOUGLAS. HE TURNS AWAY FROM HER WITHOUT SAYING A WORD. DOUG APPROACHES CAROLINE AND PLACES A HAND ON HER SHOULDER.

CAROLINE: Of course not.

CAROLINE STANDS UP AND TOUCHES SHAWN-DOUGLAS' CHEEK BEFORE LEAVING THE BEDROOM. DOUG SITS ON THE FLOOR NEXT TO SHAWN-DOUGLAS.

SHAWN-DOUGLAS TURNS TOWARDS DOUG.

DOUG: That was a loud noise for just an accident. Are you sure that's what happened?

SHAWN-D: Well...

DOUG: Come on, tell your Grandpa Doug what really happened.

SHAWN-D: You'll be mad...

DOUG: No I won't. I promise. I just want you to tell me the truth.

SHAWN-D: I was playing... and I just started thinking about Carly.

DOUG: And that made you sad?

SHAWN-D: No, it made me mad that she's gone.

DOUG: So, you tore your track apart?

SHAWN-D: Yes. (BEAT) I'm sorry. Am I in trouble now?

DOUG: No, no, of course not. We all get angry sometimes. (BEAT) But remember what we talked about the other day?

SHAWN-D: To talk to a grown-up when I get mad?

DOUG: Yes. Or whenever you're feeling sad, too. Do you think you can try to remember next time?

SHAWN-D: I'll try.

DOUG: Now, why don't I help you clean up this mess so we can show your grandma what a good boy you are.

SHAWN-D: OK.

OUT ON DOUG AND SHAWN-DOUGLAS PICKING UP THE CARS AS DOUG LOOKS AT HIS GRANDSON WITH CONCERN.

HORTON LIVING ROOM. JENNIFER AND ALICE ARE SITTING ON THE SOFA. A SLEEPING ABIGAIL IS LYING IN JENNIFER'S LAP.

ALICE: You've said you tried, but she seemed reluctant...

JENNIFER: I know, but I'm sure there was a good reason for it.

ALICE: (PATTING JENNIFER'S HAND) I'm sure you're right, darling. I just wish we knew what it was.

JENNIFER: Me too. And I wish Carly were here...

ALICE: You miss her a lot, don't you?

JENNIFER: She was my friend. And now that it's too late, I realize...

ALICE: You realize?

JENNIFER: I'm just afraid I wasn't a good enough friend to her.

ALICE: Whatever do you mean?

JENNIFER: Well, we didn't spend as much time together as we should have.

ALICE: You both have... or had... very full lives.

JENNIFER: But maybe the reason she kept these secrets from me about her past was because she wasn't sure if she could trust me.

ALICE: That's ridiculous. I'm sure Carly had her reasons. And your friendship wasn't one of them.

JENNIFER: Maybe. I just feel like I let her down. And that's why this is so important to me, Grandma. I won't let her down again.

ALICE: You're a wonderful friend, Jennifer Rose. And I'm sure that we'll find the truth.

ABIGAIL STIRS AND WAKES WITH A LOUD CRY.

ABIGAIL CALMS DOWN AS SHE IS ROCKED.

ALICE: Why don't I get the teething ring you put in the freezer? I'm sure it's cold now.

JENNIFER: Thanks, Grandma.

ALICE WALKS INTO THE KITCHEN AS JENNIFER ROCKS ABIGAIL. ALMOST IMMEDIATELY ALICE REAPPEARS WITH THE TEETHING RING.

JENNIFER PUTS THE TEETHING RING IN ABIGAIL'S MOUTH AND IT SEEMS TO HELP.

ALICE: That's what Grandmothers are for.

JENNIFER: And I thank God for you every day. But raising a child can be so hard.

ALICE: No one ever said being a parent was an easy job.

JENNIFER: I know. But it is pretty tough. And I'm lucky enough to have a family that supports me...

ALICE: We all love you and Abby. And Jack, of course.

JENNIFER: Every mother should be so fortunate. (BEAT) But maybe they could be...

ALICE: You've had a thought?

JENNIFER: Yeah. But I need to talk to Jack and Aunt Maggie first.

ALICE: Whatever you say dear. (BEAT) Now how about some donuts to fortify us after our little adventure?

HOLD ON ALICE.

CUT TO: BRADY KITCHEN. CAROLINE IS SITTING AT THE TABLE FIDDLING WITH HER COFFEE CUP. DOUG COMES FROM THE BEDROOM HALLWAY.

DOUG: I'm afraid this isn't the first time, though...

CAROLINE: No, it isn't, but it seems like he's getting more upset each tantrum. I thought time would help...

DOUG: I don't know, Caroline. I wish I did. But I just don't know what will help Shawn-Douglas. I suggested to Bo that he might consider a therapist...

CAROLINE: What did he say to that?

DOUG: He was generally responsive, but he's had so much on his mind lately, I wonder if he's called anyone...

CAROLINE: I don't know who I worry about more, Shawn-D, or his father...

DOUG: Shawn-D said he was upset about Carly's death, and I'm sure that's part of it, but I can't help feeling there's more to it than that...

CAROLINE: More that a trained children's therapist might uncover?

DOUG: Exactly.

CAROLINE: It's unfortunate that Kimmie had to leave so suddenly, she might have been able to help out.

DOUG: True. But I'm sure there's someone in Salem who's qualified and caring. I just hope Bo makes the time to find one...

CAROLINE: I'm sure he will, Doug. He cares the world for that little boy. He's just been so distracted lately, what with his job difficulties...

DOUG: Did he get his job back?

CAROLINE: He did. But it was terribly hard on him, to swallow his pride like that...

DOUG: It was probably good for him... I'm glad it worked out. He has such potential...

CAROLINE: He certainly does, both as a cop, and a father. I just hope all that's happened to him doesn't...

DOUG: (PATS CAROLINE'S HAND COMFORTINGLY) It won't, Caroline. We won't let it...

HOLD ON THEIR CONCERN.

CUT TO: SHANE'S CAR. EN ROUTE TO BOARDING SCHOOL. IN PROGRESS.

SHANE: Excellent! I'm sure everything will go wonderfully for her...

JOHN: I sure hope so. She's been through so much, she deserves for it to work out...

SHANE: Speaking of someone who's been through a lot... How is Kimberly? (BEAT) And Philip, of course...

JOHN: Fine, fine. I talked to Caroline yesterday, and it seems Kim and Philip left for LA sometime today...

SHANE: L.A? I thought Kim was happy to be back in Salem.

JOHN: She was... but Philip's show, you know, Jennifer's talk show, was cancelled...

SHANE: I actually heard about that. Rotten luck for Jennifer, and for Philip...

JOHN: It was that. Anyway, Philip got a great offer from a friend of his in L.A., to produce a mini-series that could spin-off into a regular show. He couldn't pass it up, so they're moving back to his old place in L.A.

SHANE: I'm surprised Kimberly didn't at least call me...

JOHN: Hey, Shane, are you OK with this? You sound sort of... down about it all...

SHANE: No, John, I assure you I'm fine with it. I just want Kimberly to be happy, and it seems she is happy with Philip... he seems rather good for her... (BEAT) Better than I was...

JOHN: C'mon, you know that's not true. You and Kimmie had a wonderful relationship, and you were good for her. It was more circumstances, than anything, that broke you apart... (BEAT) Do you... Are you still...

SHANE: In love with Kimberly? I suppose I shall always love her. But you're right, really, it was the strange twists life takes...

JOHN: Strange... got that right...

SHANE: I will be forever grateful to Kimberly, and to Kayla, too. They both taught me a great deal about life and love...

JOHN: Sorta how I feel about IzzyB.... and Doc...

SHANE: But we must go on, old man, and see what lessons the next adventure will bring...

JOHN: I wonder what this adventure will bring... If I'll be glad, or sorry I found out more about my past...

SHANE: Now, don't worry so much. All will be well, in the end. You're a strong person, and a good one, nothing you find out will change that...

JOHN: Thanks, Shane... that helps...

SHANE: (GLANCING AT A PIECE OF PAPER) Well, according to the directions, the boarding school should be down this street a half-mile...

JOHN: Here we go, then... I just hope it's worth it...

OUT ON JOHN'S ANXIETY.

DONOVAN LIVING ROOM/FOYER. EVE ENTERS THE FRONT DOOR, ACCOMPANIED BY A MUSCULAR BLONDE MAN, TED, IN HIS MID-TWENTIES.

TED: Yeah... Too bad we had to see the early show. It's much more gnarly watching "Vampire Jocks" when more people are there, so you can throw more popcorn.

EVE: Oh, too bad.

TED NOTICES THE LIVING ROOM.

TED WALKS INTO THE LIVING ROOM, MUCH TO EVE'S DISTRESS. EVE FOLLOWS TED.

TED SITS ON THE COUCH.

JUST AS EVE IS RELUCTANTLY SITTING DOWN, SHE HEARS THE DOORBELL RING. SHE JUMPS UP.

EVE EXITS THE LIVING ROOM, CLOSING THE DOOR BEHIND HER.

EVE LOOKS AROUND, AND NOTICES A PAIR OF EYEGLASSES ON A TABLE IN THE ENTRY HALL. SHE PUTS THE GLASSES ON, AND ALMOST MISSES THE DOORKNOB AS SHE ANSWERS THE DOOR. A TALL, THIN MAN IN HIS EARLY TWENTIES STANDS AT THE DOOR. HE IS WEARING COURDEROYS, AND A LONG SLEEVE BUTTON-DOWN SHIRT. HE HAS UNRULY DARK BROWN CURLY HAIR AND IS WEARING A PAIR OF PLASTIC RIMMED BLACK GLASSES. HE IS HOLDING A BOUQUET OF FLOWERS. EVE TAKES ONE LOOK AT HIM AND PUTS ON HER BEST FAKE SMILE.

ARTHUR: Uh, hi.

ARTHUR HANDS EVE THE FLOWERS AND SHE PUTS THEM ON A NEARBY TABLE.

ARTHUR: Sure.

EVE: I'll just be a minute.

EVE GOES BACK INTO THE LIVING ROOM, REMOVES THE GLASSES, AND SHAKES HER HEAD, TRYING TO ADJUST HER VISION. TED IS LIFTING A SET OF ENCYCLOPEDIAS AS IF THEY WERE WEIGHTS.

TED: (ADMIRING HIS MUSCLES) I could've gotten rid of him for you.

EVE: That's okay. I didn't have any problems.

THEY HEAR A NOISE IN THE ENTRY HALL.

EVE LEAVES TED WITH HIS MOUTH OPEN. SHE GOES BACK INTO THE ENTRY HALL, PUTS THE GLASSES BACK ON, AND CLOSES THE DOOR BEHIND HER. ARTHUR IS HOLDING A VASE IN HIS HANDS.

EVE SQUINTS AT THE VASE.

ARTHUR: Is there a rest room I can use?

EVE: (POINTING) Right down the hall to your left.

ARTHUR WALKS TOWARDS THE REST ROOM.

EVE WALKS BACK INTO THE LIVING ROOM AND TAKES OFF THE GLASSES. TED HAS MOVED MOST OF THE FURNITURE AND IS STANDING IN THE MIDDLE OF THE ROOM.

EVE: I don't think...

TED PULLS EVE TO HIM.

TED GRABS EVE AND PUSHES HER TO THE FLOOR. DISGUSTED, EVE GETS UP, STRAIGHTENS, AND DODGES TED AS HE LUNGES FOR HER ONCE AGAIN. TED FALLS OVER THE COUCH AND EVE SCREAMS.

TED: Dad? Shotgun? What?!?

TED PANICS AND BOLTS OUT THE DOOR INTO THE FOYER, NOT LOOKING BACK. HE NEARLY RUNS INTO ARTHUR, WHO HAS RETURNED FROM THE REST ROOM. TED RUNS OUT THE FRONT DOOR, LEAVING IT WIDE OPEN.

EVE WALKS CALMLY INTO THE FOYER.

EVE LEADS ARTHUR, WHO IS STILL IN SHOCK, OUT THE DOOR.

CUT TO: JULIE'S PENTHOUSE. DOUG IS SITTING ON THE SOFA, LOOKING THROUGH A SMALL STACK OF REAL ESTATE BOOKS. A LARGER STACK HAS BEEN SET ASIDE NEXT TO THE SOFA. HE SETS MORE OF THE BOOKS ASIDE, UNTIL HE IS LEFT HOLDING ONLY TWO.

THE ELEVATOR DOORS OPEN, AND JULIE ENTERS.

JULIE: It is your wife, and she's had a long day...

DOUG: Well, you come sit down here, and I'll see what I can do to make you feel better.

JULIE: You are the master of that art, darling...

JULIE WALKS OVER TO THE SOFA. SHE LEANS DOWN AND GIVES DOUG A KISS, THEN SITS DOWN NEXT TO HIM. HE PUTS ONE ARM AROUND HER. IN THE OTHER HAND, HE HOLDS THE TWO REAL ESTATE BOOKS.

JULIE: That's wonderful, darling. Let's have a look-see... (TAKING ONE OF THE BOOKS FROM DOUG AND OPENING TO THE PAGE HE MARKED) Hmmm...

DOUG: Well?

JULIE: I like the looks of it from the outside photo. (BEAT) What about the others? (SHE LEANS OVER, NODDING AT THE BOOK IN DOUG'S HAND)

DOUG: (OPENING TO THE FIRST MARKED PAGE) I really like the layout of this one...

JULIE: Yes... I can see why. It's lovely...

DOUG: (TURNING TO THE OTHER MARKED PAGE) And the master bedroom in this one is what impressed me the most.

JULIE: (SMILING) Ahhh, yes. The master bedroom is very important... (SHE KISSES DOUG'S CHEEK, THEN RESUMES LOOKING IN THE BOOK DOUG IS HOLDING) Uh-huh... (HER EYES GROW WIDE) That's a lot of square footage for a master bedroom...

DOUG: (SMILING) I know. That's what I like about it.

JULIE: All three look appealing, darling, but there's only so much you can tell about a house from a floor plan and a photograph of the outside.

DOUG: I know. That's why we're going to look at them tonight.

JULIE: (SURPRISED) Tonight? (SIGHS) But Doug, I had a long day at work, and I'm tired.

DOUG: I'm sorry, dear. I got so excited when I narrowed the field to three choices. I'm anxious to get us moved into a new home... So we can really start our new life together.

JULIE: I know you are...

DOUG: It's just that I stayed away too long. I wasted a great deal of precious time, and I didn't want to waste another day.

JULIE: Well...

DOUG: Please, darling? Won't choosing a new home revitalize you?

JULIE: (SMILING) The idea does have its merits. I guess I could be persuaded...

DOUG: My love... (LEANS OVER AND KISSES HER) I promise... (ANOTHER KISS) that it will be... (ANOTHER KISS) well worth your while. (A FINAL, LONG KISS)

JULIE: All right, you've persuaded me. (MOCKING A THREATENING TONE) But it better be worth it. (BEAT) Go ahead and call the realtor.

DOUG: No need, darling. I already told the realtor we'd be meeting her. (GLANCING AT HIS WATCH) She'll be at the first house in twenty minutes.

JULIE: (SHOCKED, BUT SMILING) Doug Williams!

DOUG SHRUGS.

DOUG: But you do know better. I just know my Fair Lady very well...

JULIE: Better than anyone else...

THEY EMBRACE IN A PASSIONATE KISS. HOLD ON THEIR KISS.

CUT TO: ST. GENEVIEVE'S BOARDING SCHOOL / HEADMISTRESS' OFFICE. SHANE IS SITTING DOWN, WHILE JOHN LOOKS OUT OF THE WINDOW. IN PROGRESS.

JOHN: I have to be. For my sake as well as for Brady.

THE DOOR OPENS AND HEADMISTRESS SPENSER ENTERS THE ROOM. SHE IS AN OLDER LADY, VERY DIGNIFIED, WITH GRAYING HAIR TIED BACK IN A TIGHT KNOT. SHANE STANDS UP AND JOHN TURNS FROM THE WINDOW.

JOHN: That's me. Thanks for meeting with us. (EXTENDS HAND)

SPENSER: (POLITELY SHAKING HIS HAND) Pleased to meet you Mr. Black.

SHANE: (OFFERING HIS HAND) And I am Captain Shane Donovan of the ISA. How do you do Ms. Spenser?

SPENSER: (SHAKING SHANE'S HAND) Does this have anything to do with the ISA?

MS. SPENSER SITS AT HER DESK WHILE BOTH SHANE AND JOHN SIT OPPOSITE HER.

SPENSER: Of course, Captain. Now, I understand that you have some questions about a former student.

JOHN: Yes. Do you remember a student by the name of Katerina Von Leuschner? I believe she attended the school in the late 1970's to early 1980's.

SHANE OPENS HIS BRIEFCASE AND PULLS OUT A PHOTOGRAPH. HE HANDS THE PHOTO TO MS. SPENSER.

SPENSER: Yes, I remember Katerina very well. (LOOKS AT PHOTOGRAPH) She changed her hair color.

JOHN: ... and her name. In Salem, she went by the name of Dr. Carly Manning.

SPENSER: Doctor?

JOHN: Ms. Spenser, do you remember anything in particular about Katerina?

SPENSER: Yes. I remember that she transferred into the school mid-semester, which is rarely allowed.

JOHN: Do you remember that she had a roommate: Jennifer Horton?

SPENSER: Horton...

SHANE HANDS HER A PHOTOGRAPH OF JENNIFER. MS. SPENSER LOOKS AT THE PHOTO.

OUT ON JOHN AND SHANE'S SURPRISE.

WINGS. EVE, WEARING A RED MINISKIRT AND A BLACK LACE TANK TOP, IS SITTING AT A TABLE WITH A DARK-HAIRED MAN, ARTHUR, WHO MIGHT BE ATTRACTIVE IF HE WERE WEARING A SUIT THAT FIT, USED DANDRUFF SHAMPOO AND TOOK THE MASKING TAPE OFF HIS GLASSES.

ARTHUR: Oh yes, it all started when Great Great-Grandpa found that gusher in the North Pasture. Never had to work a day in his life after that.

EVE: Really? That must have been wonderful.

ARTHUR: I guess so. But oil's not really my thing. I leave that to the others. It did however, lead me to my true calling... Geology. (HE BEGINS TO DRAW ON HIS NAPKIN) See, generally in an area with oil you'll find limestone, which looks like this...

EVE TRIES TO LOOK INTERESTED, BUT SHE IS CLEARLY BORED TO DEATH. SHE BEGINS TO LOOK AROUND THE RESTAURANT AT THE OTHER DINERS. DAVE COMES UP TO THE TABLE.

EVE: I'd like a Margarita with extra salt, please Dave.

DAVE: Ok, one Margarita coming up. And for you sir?

ARTHUR: And then when the continental plates shifted, that caused the...

DAVE GIVES EVE A QUIZZICAL LOOK. EVE MAKES A FACE AT HIM. SHE SHAKES ARTHUR'S ARM.

DAVE SNORTS AND EVE GLARES AT HIM.

ARTHUR: A drink? As in alcohol?

EVE: Yeah. I'm having a Margarita. Do you want one?

ARTHUR: You should be careful, Eve. Alcohol can seriously affect your senses.

EVE: (SOTTO VOCE) God I hope so. (TO ARTHUR) How about coffee? (TO DAVE) Bring some coffee, Dave.

DAVE ROLLS HIS EYES AT EVE AND LEAVES.

EVE: Not tonight it won't. You'll be too tired from dancing.

ARTHUR: Dancing? I don't want to dance.

EVE STANDS UP AND PULLS ARTHUR OUT OF HIS CHAIR TOWARDS THE DANCE FLOOR.

ARTHUR: But... I don't know how.

EVE: It's easy. I'll teach you. It's a slow song. Nothing to it. You'll see.

EVE PULLS ARTHUR INTO HER ARMS AND BEGINS TO LEAD HIM AROUND THE DANCE FLOOR. SHE WINCES AS HE COMES DOWN HARD ON ONE OF HER FEET. WE SEE DAVE AT THE BAR, OPENLY LAUGHING WITH THE BARTENDER. EVE SEES HIM AS SHE TURNS AROUND AND GIVES HIM THE EVIL EYE. DAVE MAKES A SHOW OF TRYING TO KEEP A STRAIGHT FACE WHILE POURING ARTHUR'S COFFEE. HOLD ON EVE WINCING, AS ARTHUR STEPS ON HER FOOT AGAIN.

CUT TO: ST. GENEVIEVE'S BOARDING SCHOOL. JOHN, SHANE, AND HEADMISTRESS SPENSER. IN PROGRESS.

SPENSER: Her hair color. As soon as Katerina saw Jennifer's long blonde hair, she also had to be a blonde. Katerina dyed her hair within a week of moving into the dormitories.

SHANE: What else was odd about her behavior?

SPENSER: They didn't start out as roommates. Katerina was assigned the room next to Jennifer's. But as I recall soon after, maybe two weeks, Katerina's roommate had to leave. It was very sudden.

JOHN: What about Jennifer's roommate?

SPENSER: Tragic. Her roommate's parents were both killed instantly in an accident in Monaco. You know, those hairpin turns where Grace Kelly died. Brigitte left to stay with her younger siblings. That's when Katerina moved in with Jennifer.

JOHN: Anything else odd about Car... I mean Katerina's behavior?

SPENSER: Katerina never did anything without Jennifer. They became "instant" best friends. Katerina attended the same classes, they ate together, went on holiday together. They were inseparable. As I recall the House Mother referred to them as the Bobsey Twins.

JOHN: Bobsey Twins.... hmm... Anything else that you can recall?

SPENSER: Not at the moment, but I will think more about it. There are still a few instructors that may remember Mlle. Von Leuschner.

SHANE: Mlle. Spenser, may we see Katerina's academic records?

SPENSER: Certainly, Captain. If you will excuse me. I'll ask the Registrar to pull them.

MLLE. SPENSER WALKS OUT OF THE OFFICE.

SHANE: I don't know. But I don't like it.

JOHN: I hear you. I think there was much more to Carly Manning than anyone ever suspected.

HOLD ON JOHN..

CUT TO: JACK/JENNIFER LIVING ROOM. JACK ENTERS THROUGH THE FRONT DOOR. HE LOOKS AROUND, THEN GOES TO THE COUCH AND SITS DOWN. HE OPENS HIS BRIEFCASE AND TAKES OUT A FILE FOLDER. HE SETS THE BRIEFCASE ON THE TABLE AND BEGINS READING THROUGH THE CONTENTS OF THE FOLDER.

JENNIFER APPEARS AT THE TOP OF THE STAIRS.

JENNIFER COMES DOWN THE STAIRS.

JENNIFER WALKS OVER TO THE COUCH, GIVES JACK A QUICK KISS, AND SITS DOWN. SHE IS VISIBLY UNHAPPY.

JENNIFER: Yes, Abby's fine. I just put her to bed. She was pretty cranky today. She cried and fussed all afternoon.

JACK: Her teeth?

JENNIFER: Yes, they're bothering her. I suppose I shouldn't have taken her out...

JACK: Out? What did you girls do today?

JENNIFER: Grandma and I went to the library and to the TV station to try to find more information about Carly's background.

JACK: And you took the child with you?

JENNIFER: Yes. I wanted to have Abby with me today.

JACK: Jo couldn't baby-sit?

JENNIFER: She's preparing for an exam in her night class. I didn't want to ask her to sacrifice her studying time to watch Abby when I could do it.

JACK: I see... Good for you. Good for Jo... (BEAT) So, did you find anything on Carly's past?

JENNIFER: No, not a thing. That's why I'm upset. It was so frustrating. I couldn't find a single scrap of information about Carly's life before she came to Salem.

JACK: I'm sorry. I'm sorry you had such bad luck.

JENNIFER: I had horrible luck.

JACK: Well, I had better... (STOPS HIMSELF)

JENNIFER: You had better what?

JACK SAYS NOTHING.

JACK: I...

JENNIFER: Jack, what did you find out?

JACK: It really isn't much...

JENNIFER: Jack, don't lie to me. If you know something, I want you to tell me. I want to know the truth.

JACK: (SIGHS) All right. I'll tell you what I found. (BEAT) I faxed a photograph of Carly to several private schools in Europe. Today, I received a call from a girls' school in France that Carly had attended. The person recognized her face.

JENNIFER: Well, that's good. What did this person tell you?

JACK: I'm not so sure how good it is. (BEAT) At this school, she used the name Kathryn Von Leis. She was a studying theatre arts.

JENNIFER: I don't understand...

JACK: I don't understand it either. This is just what they told me. She didn't stay at the school very long. Apparently, there were several incidents at the school soon after Kathryn Von Leis arrived, and she was involved in all of them, at least indirectly.

JENNIFER: What kind of incidents?

JACK: The details aren't important.

JENNIFER: Jack, tell me.

JACK: Let's just say that there were some girls that didn't get along with Kathryn and they all left the school... one way or another.

JENNIFER: (SHOCKED) Oh, my God...

JACK: I know, it's terribly shocking to find these things out about Carly, but...

JENNIFER: No, Jack, what's shocking is that you could believe such terrible lies!

JACK: What..

JENNIFER: Don't you see what's going on?

JACK: No, I guess I don't...

JENNIFER: It's obvious. Someone is trying to hurt Carly, even now. Even after she's dead. She's gone, so they're trying to destroy her reputation, her good name!

JACK: But who would do that?

JENNIFER: It's obviously Lawrence Alamain who's doing this. He's trying to get back at Carly for trying to get custody of Nikki...

JACK: Jennifer, that doesn't make any sense. He wouldn't have anything to gain by...

JENNIFER: That doesn't matter! He's sick, Jack, sick! Have you forgotten what he did to me?

JACK: No, I could never forget...

JENNIFER: This is the only way he could hurt her now... by trying to make people believe she was an evil person.

JACK: I don't know. I don't have any reason to doubt that...

JENNIFER: I don't believe it. Carly was incapable of hurting anyone! How can you even think that those stories are true?

JACK: Think for a minute, Jennifer. You said yourself that Carly would never talk about her life between the time when you two were in school together and when she came to Salem. There must be a reason for that...

JENNIFER: (STANDING UP) I've heard enough of this garbage. I refuse to listen to any more. You're wrong, Jack Deveraux. Carly was a wonderful and caring person, and that's the truth. Anything else is malicious lies.

JENNIFER STORMS UP THE STAIRS TO THE BEDROOM AND SLAMS THE DOOR. JACK LOOKS UP TOWARD THE BEDROOM. OUT ON JACK.

LOCATION SHOOT: A BEAUTIFUL PALLADIAN VILLA IN THE HILLS, JUST OUTSIDE OF SALEM PROPER. DOUG AND JULIE ARE STANDING IN THE DRIVEWAY ADMIRING THE FRONT OF THE HOUSE. TRACY, THEIR REAL ESTATE AGENT, IS STANDING BEHIND THEM.

JULIE: (AWESTRUCK) Oh, Doug...

DOUG: That's good, right?

JULIE: This is it. This is the one.

DOUG: But, darling, we still have one more house to look at. Let's not be hasty...

JULIE: (LOOKING AT DOUG AND RAISING AN EYEBROW) Darling, you know I always make wise, carefully-thought-out decisions.

DOUG: Well, I do recall a few instances...

JULIE: (PUTTING A FINGER TO DOUG'S LIPS) But we won't discuss those now. (BEAT) Let's have a look inside.

JULIE WALKS TOWARD THE FRONT DOOR. DOUG STEPS ASIDE SO TRACY CAN WALK AHEAD OF HIM. THEY REACH THE FRONT DOOR. TRACY OPENS THE LOCK BOX AND, SEEING JULIE'S EXCITEMENT, HANDS HER THE KEY.

JULIE: (TAKING THE KEY) Oh, thank you, Tracy.

JULIE UNLOCKS THE FRONT DOOR. SHE WALKS IN AND TURNS ON THE FOYER LIGHT, TOTALLY ABSORBED. SHE LEAVES THE KEY IN THE FRONT DOOR LOCK. DOUG TAKES THE KEY AND HANDS IT BACK TO TRACY.

TRACY: (SMILING) All right, Mr. Williams.

TRACY PUTS THE KEY BACK IN THE LOCK BOX AND CLOSES IT.

TRACY: That would be great, Mr. Williams. Shall I give you a call tomorrow?

DOUG: Okay. It looks like we have a winner here. (NODDING AT THE HOUSE)

TRACY: It's an excellent choice. (BEAT) Well, good night.

DOUG: Good night, Tracy.

TRACY WALKS BACK TOWARD HER CAR. DOUG ENTERS THE HOUSE. HE FINDS JULIE IN THE KITCHEN.

JULIE: Doug, this house is magnificent! The columns outside, the marbled tiles, hardwood flooring...

DOUG: Wait until you see the upstairs. (HE EXTENDS HIS HAND) Come on...

JULIE: (TAKING HIS HAND) Lead on, darling...

THEY GO UP THE STAIRS TO THE MASTER BEDROOM. AS THEY ENTER, JULIE GASPS.

DOUG: (SMILING) That's not the best part. Come on...

HE TAKES HER TO A SMALL, GLASS PANED DOOR. HE OPENS THE DOOR, AND THEY WALK OUT ONTO THE VERANDA. THEY HAVE A BIRD'S-EYE VIEW OF THE LAKE.

DOUG: A beautiful view for my beautiful lady...

DOUG PULLS HER CLOSE, AND THEY KISS PASSIONATELY.

DOUG: Are you sure?

JULIE: I'm sure.

DOUG: I had a feeling you would be.

JULIE: (TURNING TO LOOK AT THE LAKE) This is the perfect place for us to start our new life together.

DOUG: I agree. New life, new home, new careers...

JULIE: New careers? Does that mean that you've decided what you want to do with the club?

DOUG: Not quite. I want to think on it a little while longer. There is one thing I've decided though...

JULIE: What's that?

DOUG: I think it's time to take another walk down the aisle.

JULIE: You mean?...

DOUG: I want to say "I do" all over again.

JULIE: Oh, darling... (KISSES HIM)

DOUG: Is that a "yes"?

JULIE: Of course it is.

THEY WALK OUT TO THE RAILING. DOUG PUTS HIS ARM AROUND JULIE AND SIGHS.

DOUG: This talk of starting a new life just made me think of Bo and Shawn-Douglas. (BEAT) They have to start a new life, too, but not by their own choice.

JULIE: I know...

DOUG: And while I'm happy about our new start, I'm equally sad about theirs.

JULIE: It's terrible, darling. First Hope, then Carly...

DOUG: I don't know if I'm ever going to be able to forgive myself for running out on them...

JULIE: Doug, you can't keep torturing yourself about it. You were in pain, too. You lost your daughter...

DOUG: Still, I should have been there for my grandson.

JULIE: Well, you can't do anything about that now. What's done is done. What you can do is be there for him now.

DOUG: You're right. And I will be.

JULIE: We will be.

JULIE PUTS HER ARMS AROUND DOUG. HOLD ON THEIR EMBRACE.

CUT TO: SHANE'S OFFICE AT I.S.A. HEADQUARTERS IN GENEVA. SHANE AND JOHN ARE GOING THROUGH COPIES OF CARLY'S ACADEMIC RECORDS.

JOHN: The very least. It's amazing how many different schools she attended. Why would any kid have to move around so much?

SHANE: I don't know. It's not like she attended what you Americans call public schools, and had to change when her parents moved.

JOHN: Do we know that's why she was in school? Because her parents were moving around?

SHANE: I'll have the computer chaps cross-reference these dates against the activities of Henri Von Leuschner during the same time periods.

JOHN: Was Henri Von Leuschner under investigation?

SHANE: Not that I know of. He was, however, a very wealthy and powerful man. We like to keep people like that within our peripheral vision.

JOHN: In case they decide to use their wealth and power for not-so-noble purposes?

SHANE: Exactly.

JOHN: It won't hurt to cross-reference the dates. But my guess is that we're not going to find anything.

SHANE: Why not?

JOHN: Like you said, these were all private schools. Where her father was, or what he was doing, shouldn't have had any effect on where Carly went to school.

SHANE: What do you think happened?

JOHN: I think Carly's moves from school to school were because of Carly, not her father. Look at some of the notes on these transfer records. (HE HANDS SHANE A SMALL STACK OF PAPERS)

SHANE: (QUICKLY SKIMMING THE PAPERS) Hmmm... These are all worded very diplomatically, but...

JOHN: But they all have the same tone.

SHANE: (STILL SKIMMING) Yes. It seems like Carly had social and disciplinary problems at all of her schools.

JOHN: Uh-huh. But since Henri Von Leuschner was such a wealthy and powerful man, no one wanted to tell him that he had a discipline case for a daughter.

SHANE: It's just so hard to believe. This is so unlike the Doctor Carly Manning we all thought we knew.

JOHN: It does seem crazy. (BEAT) I guess I'm just getting used to dealing with crazy. The few things I know about my own past aren't exactly normal...

SHANE: I guess it's all relative.

JOHN: Yeah, I guess so... (BEAT) Anyway, back to Carly. I think we have a pretty solid pattern established here.

SHANE: Yes, it seems we do. Carly goes to a new school...

JOHN: She doesn't get along with some of her fellow students...

SHANE: Strange things start to happen to those fellow students...

JOHN: And soon those students have departed for one reason or another.

SHANE: Academically, she only applied herself in drama and theatre classes...

JOHN: Getting her in trouble with the administration...

SHANE: And leading to her transfer to another new school.

JOHN: Whew. She kept quite busy. And then there's the name thing...

SHANE: Yes, she did have more than a few aliases.

JOHN: Wouldn't the schools be suspicious about that? I mean, it's pretty easy to figure out, if you just examine her records closely enough.

SHANE: I'm not sure that anyone at these schools would have taken the time. Even if they did, remember that these families pay tens of thousands of dollars for their children to attend these schools...

JOHN: And the school officials aren't going to ask a lot of questions, as long as they're getting their tuition money.

SHANE: (SHRUGGING) That's the way of the aristocracy.

JOHN: I guess so...

SHANE: All of this information about Carly is interesting, but it hasn't really helped us uncover anything about your past...

JOHN: You're right. Still, I'd like to follow through with it. We know that Carly's past is linked to mine somehow...

SHANE: That's true.

JOHN: So it can't hurt to learn everything we can about her past, and hopefully find out something about mine in the process.

SHANE: You're right.

JOHN: What's the status on Danielle? When will we be able to question her?

SHANE: I've got someone arranging that with the authorities in Brussels. We should be able to see her in the next day or two.

JOHN: Good, good... (BEAT, AS HE LOOKS AT THE PAPERS) Y'know, all of these records have good information, but I think we learned the most from talking to Ms. Spenser.

SHANE: I think you're right. We could call all of these schools and see if there are people there who remember Carly...

JOHN: I've got another idea. Before we go checking out all of these schools, I should call Jennifer. She was Carly's classmate. I'd like to get her perspective.

SHANE: Good idea. You can also talk to Jack and find out how the research for his article is going.

JOHN: Yeah... Maybe if we pool our resources, we'll finally be able to put all the pieces of the puzzle together...

HOLD ON JOHN.

CUT TO: JACK AND JENNIFER'S HOUSE. JACK IS SITTING ON THE SOFA, LOOKING LONGINGLY UP THE STAIRS.

JACK STANDS UP AND BEGINS TO PACE BACK AND FORTH.

JACK SITS BACK DOWN ON THE SOFA AND PULLS THE "CARLY FILE" OUT OF HIS BRIEFCASE.

JACK OPENS THE FILE AND BEGINS LOOKING THROUGH THE PAPERS.

JACK STANDS UP AND MOVES TOWARD THE FRONT DOOR.

JACK OPENS THE FRONT DOOR AND WALKS OUT ONTO THE PORCH.

JACK PAUSES TO LOOK UP AT THE STARS.

HOLD ON JACK'S DETERMINATION. FADE TO BLACK.