AIRPLANE. JOHN AND SHANE ARE SEATED SIDE BY SIDE IN THE FIRST CLASS CABIN.

SHANE: It won't be long now.

JOHN: I must say, Cap'n, I'm impressed with how quickly you located the Von Leuschner's house in Vienna.

SHANE: Ahhh, it didn't take much. As I told you before, we observed Henri Von Leuschner for quite a while. When you first called me, I checked our files and I noticed that he had a home in Vienna. I just didn't think...

JOHN: You didn't think that it was important at the time.

SHANE: Exactly. See what I told you, about clues being there without your realizing it?

JOHN: (SMILING) And you were right. (BEAT) I knew there was a reason I called you...

SHANE: (SMILING) I aim to please.

JOHN: I wonder what we're going to find when we get there...

SHANE: Are you all right? You look a little nervous.

JOHN: I guess I am, a little. (BEAT) It's the same thing with each discovery. At first, I get excited, because I think I'm about to learn something about my past...

SHANE: And then?

JOHN: And then, I get a little scared, because I'm afraid I may not like what I find.

SHANE: I wouldn't worry too much about it. You have a lot of people back in Salem who care about you. They'll still care about you, no matter what you find out.

JOHN: (SMILING) That's exactly what Carrie told me before I left.

SHANE: Smart girl.

JOHN: Yeah, she is...

JOHN AND SHANE ARE JOSTLED IN THEIR SEATS AS THE PLANE TOUCHES DOWN.

SHANE: By the way, how is Carrie doing?

JOHN: She sounded fine. The surgery went without a hitch, and Marcus is optimistic that the graft will take.

SHANE: Glad to hear it...

WE HEAR THE CAPTAIN'S VOICE OVER THE INTERCOM.

JOHN'S EYES GROW WIDE AS THE CAPTAIN SPEAKS. SHANE MISTAKENLY THINKS THAT JOHN DID NOT UNDERSTAND THE CAPTAIN.

JOHN: (INTERRUPTING) To stay in our seats, and we can get off the plane in five minutes.

SHANE: (SURPRISED) Now I'm the one who's impressed. I didn't know that you understood German.

JOHN: (SHOCKED) Neither did I.

HOLD ON JOHN.

CUT TO: BRADY LIVING ROOM. KAYLA IS NERVOUSLY PACING UP AND DOWN THE ROOM, TURNING OCCASIONALLY TO LOOK AT THE PHONE.

KAYLA MARCHES OVER TO THE COUCH AND PICKS UP THE PHONE. SHE PUNCHES OUT MOST OF THE NUMBERS, PAUSES AND THEN HANGS UP.

SHE RESUMES HER PACING.

KAYLA PUTS A HAND UP TO HER MOUTH, AS IF TO BITE HER FINGERNAILS, BUT STOPS HERSELF.

KAYLA GOES TO THE PHONE AND PUNCHES IN THE NUMBERS, ONE WAY.

KAYLA HANGS UP THE PHONE AND FLOPS ON THE COUCH WITH A SIGH OF RELIEF.

HOLD ON KAYLA'S NERVOUSNESS.

CUT TO: SALEM PD. JANET AND MORGAN ARE IN JANET'S OFFICE, DRINKING COFFEE, LOOKING OVER SOME FILES.

MORGAN: One of our boys is talking to someone right now. There's a lady who lives above the store that was robbed, and we think she may have seen something.

BEFORE JANET HAS A CHANCE TO RESPOND, THE DOOR TO HER OFFICE OPENS, AND VICTOR KIRIAKIS ENTERS.

VICTOR: That's because I didn't.

JANET IS SLIGHTLY ANNOYED, BUT COVERS.

VICTOR: No, you weren't.

JANET: Well, then would you mind waiting outside while I finish up with Officer Morgan?

VICTOR: Yes, I would mind very much.

JANET AND MORGAN LOOK AT EACH OTHER, MILDLY ASTONISHED.

JANET: And why should I do that?

VICTOR LOOKS AT MORGAN.

JANET: Morgan, do you mind?

MORGAN: No prob, boss. We'll finish up later.

MORGAN GETS UP AND LEAVES THE OFFICE, CLOSING THE DOOR BEHIND HIM. VICTOR SITS DOWN IN THE CHAIR OPPOSITE JANET.

VICTOR: Before I tell you anything, Captain Yamada, I'd like some information from you.

OUT ON JANET, STUNNED AT VICTOR'S AFFRONT.

CARRIE'S HOSPITAL ROOM. CARRIE IS DRESSED AND SITTING ON THE EDGE OF HER BED, TALKING ON THE PHONE. ONE-WAY.

CARRIE SEES MARCUS AT THE DOOR

CARRIE HANGS UP WITH A RELIEVED SIGH.

CARRIE: Yeah. I love him to death, but he's more worried about this than me.

MARCUS: That's what parenting is all about.

CARRIE: Yeah. Driving your kids crazy.

MARCUS: So, how are you feeling today?

CARRIE: Kinda stiff, sore. But basically okay.

MARCUS: Part of that's the anesthesia. It takes it a while to wear off. You should probably feel some discomfort for the next day or two, and have some swelling.

CARRIE: How much?

MARCUS: Not much. Enough to be noticeable. It's perfectly normal. In a few days, once the swelling goes down, we can take off the bandages.

CARRIE: (DRAWING IN A DEEP BREATH) So... what do you think?

MARCUS: I don't want to make any promises. All we can do is wait.

CARRIE: I don't know... I'm nervous.

MARCUS: That's normal. But taking off the bandages, or peeking, won't tell us anything. All we can do is wait. Just be patient, okay?

CARRIE: I know... I just want to know what I'll look like.

JONAH WALKS IN.

HOLD ON JONAH'S GRIN.

CUT TO: ALAMAIN LIVING ROOM. VIVIAN IS SITTING ON THE SOFA DRINKING A CUP OF COFFEE AND READING A BOOK WHEN LAWRENCE COMES IN. SHE LOOKS UP NERVOUSLY AS HE POURS HIMSELF A CUP OF COFFEE AND SITS NEXT TO HER AND BEGINS READING THE PAPER.

LAWRENCE: (RATTLING THE PAPER, NOT LOOKING AT HER) Yes, Vivian?

VIVIAN: We... we need to talk.

LAWRENCE: Indeed?

VIVIAN: Things have been... strained lately. I think if we just... talk, and confide in each other, we can clear up some of these... misunderstandings.

LAWRENCE: Really?

VIVIAN: Darling, why won't you just tell me what you were doing the night Carly was murdered?

LAWRENCE TURNS THE PAGE OF THE PAPER.

LAWRENCE: (COLDLY) I think you have more important issues with which to concern yourself, don't you, Vivian?

VIVIAN: (NERVOUSLY) Such as?

LAWRENCE: Making sure nothing happens to upset my son.

VIVIAN: I'm just worried, Lawrence... if you'd just tell me, we could find some way to cover it up...

LAWRENCE: I have nothing to hide Vivian. I did not kill Katerina.

VIVIAN: Well, you know that and I know that, but the police don't. They suspect you... And the Salem Police have been known to make mistakes...

LAWRENCE: Don't concern yourself.

VIVIAN: I just worry... What would it be like for Nikki, growing up with his father behind bars?

LAWRENCE: Nicholas will never have to go through that, especially with his Aunt Vivian protecting him.

VIVIAN: But Lawrence, you have been caught before... you even went to prison for rape...

LAWRENCE: (PUTTING HIS PAPER DOWN AND TURNING TO VIVIAN) (COLD AND MENACING) I never want to hear you refer to that... incident again.

LAWRENCE LEANS TOWARD VIVIAN, WHO RECOILS.

LAWRENCE REACHES OUT AND TAKES VIVIAN'S FACE IN HIS HAND AS HE LEANS FORWARD, TIGHTENING HIS GRIP ON HER NECK.

VIVIAN: (TRYING TO RETAIN HER COMPOSURE) Of course not, it was just a... slip... a mistake I will not repeat.

LAWRENCE: You had better not. In fact, if anyone says anything about me to Nikki... the consequences could be... painful.

VIVIAN: (WHISPERING) What do you mean?

LAWRENCE: Katerina died a quick, painless death. It would be a pity if someone like, say, Ivan, was to suffer a traumatic accident, don't you think?

VIVIAN: I... (LONG BEAT) I'll make sure Nikki never finds out.

LAWRENCE: Good.

LAWRENCE GOES BACK TO READING HIS PAPER, AS VIVIAN REACHES UP AND MASSAGES HER NECK WHERE LAWRENCE HAD HELD HER. HOLD ON VIVIAN.

CUT TO: VON LEUSCHNER SUMMER HOUSE, VIENNA.. JOHN AND SHANE DRIVE UP THE LANE, FOLLOWED BY A LITTLE GOLF-CART. THEY PULL UP AND STOP, AND A WIZENED LITTLE OLD MAN, WALTER, GETS OUT OF THE GOLF-CART AND GOES UP THE STEPS TO UNLOCK THE DOOR. JOHN AND SHANE MEET HIM AT THE STEPS

WALTER: (WEARING A CONSPICUOUS HEARING AID) No, thanks, I already ate. But you go ahead.

SHANE: Yes... well.. thanks. We'll let you know when we're through.

WALTER: Size nine, but I'd rather wear slippers...

JOHN: (TO WALTER'S HEARING AID): Thank you, we'll be here for a while.

WALTER: Well, fine... bye!

WALTER SHUFFLES BACK TO HIS CART AND DRIVES OFF.

JOHN: I bet he came with the house.

SHANE: You don't suppose he might remember you?

JOHN: He didn't seem to, but even if he did, it might be tough to establish.

SHANE: You're probably right.

AS JOHN AND SHANE SPEAK, THEY ENTER THE HOUSE. THE MAIN ENTRANCE HALLWAY IS LARGE AND OPEN, WITH STAIRS AHEAD AND TO THE RIGHT THAT SPIRAL TO THE SECOND FLOOR. THE FURNISHINGS ARE DUSTY, BUT OF GOOD QUALITY. SHANE AND JOHN VEER LEFT, TOWARDS A LARGE ROOM THAT APPEARS TO OPEN INTO THE FOYER.

JOHN: Not really, but it's hard to tell.. I want to feel something familiar...

JOHN AND SHANE ENTER A LARGE ROOM WITH NUMEROUS PIECES OF FURNITURE, ALL COVERED.

JOHN AND SHANE CONTINUE THROUGH THE LIVING ROOM, THROUGH A LARGE DOUBLE DOORWAY TOWARDS THE BACK OF THE HOUSE. THIS ROOM IS HUGE, AND EMPTY, WITH A RAISED STAGE IN ONE CORNER, AND A FEW COVERED CHAIRS ON THE PERIMETER. THERE IS A DOOR LEADING OUT TO THE BACK, AND NEAR THE CORNER ON THE SIDE.

JOHN: No... (BEAT) Wait...

JOHN CLOSES HIS EYES AND STANDS QUITELY. HE BEGINS TO SWAY SLOWLY BACK AND FORTH. SUDDENLY HE OPENS HIS EYES...

JOHN BEGINS WALKING AROUND THE ROOM POINTING TO VARIOUS AREAS.

SHANE: Who's at the party, John...

JOHN: Ahhh... I can't quite see... oh... there are so many people (CLOSING HIS EYES AGAIN) There's a huge knot of women, girls really, over there, all in pastels... pretty... men by the bar, servants, waiters, all in uniform...

SHANE: Anyone you know?

JOHN: (EYES STILL CLOSED) No, no, just lots of rich, well-dressed people... wait, everything's quieting down... the orchestra is stopping... through the doors.. oh, lord, I know her, I do... it's Katerina... she's the hostess, they're all greeting her, fawning over her... she's walking towards... towards me...

OUT ON JOHN'S FACE.

JANET'S OFFICE. JANET IS SEATED AT HER DESK, VICTOR IS STANDING IN FRONT OF IT. IN PROGRESS.

VICTOR PULLS UP THE CHAIR AND SITS.

VICTOR: I'd like to know what you have uncovered in your investigation of Dr. Manning.

JANET: You know I can't give you that kind of information.

VICTOR: What if I offered you a trade?

JANET: A trade?

VICTOR: Yes. I'll tell you what I know and you tell me what you know.

JANET: Perhaps. But I don't know the stakes. I think you would come out the clear winner in this trade.

VICTOR: And you don't like to lose, Captain?

JANET: No. And I suspect neither do you.

VICTOR: True.

JANET: So tell me what you know about Carly Manning and we'll see...

VICTOR: I don't know much.

JANET: Hardly the way to begin our trade...

VICTOR: All right, I have reason to believe that there was more to Carly Manning than anyone in Salem supposed.

JANET: Exactly the reason we are currently investigating Dr. Manning's background in connection with her murder.

VICTOR: And what have you discovered?

JANET: No, I've given you something. Now it's your turn. Quid pro quo.

VICTOR: (SMILING SLIGHTLY) All right. When I found out about Bo and Carly's engagement, I wasn't exactly overjoyed.

JANET: Why was that?

VICTOR: I think it was my paternal instincts. My own marriage to Carly was an unpleasant experience, and I wanted to protect my son from a similar fate.

JANET: Why did you think he needed to be protected?

VICTOR: My family means everything to me, Captain, especially my son.

JANET: I understand. But why did you think Bo needed to be protected from Carly?

VICTOR IS SILENT FOR SEVERAL SECONDS AS HE CONTEMPLATES.

JANET: Yes?

VICTOR: But once we were married, everything changed. She changed...

HOLD ON VICTOR.

CUT TO: WINGS. KAYLA, JULIE, JENNIFER, ALICE, MAGGIE AND JO ARE ALL SITTING AT A TABLE AS DAVE BRINGS THEM DRINKS.

JULIE: That's all. Thanks Dave... and remind me to tell my husband to give you a raise.

DAVE: Don't worry, I won't forget!

DAVE LEAVES AS THE LADIES SETTLE DOWN.

JULIE: Darling, your phone call was so mysterious, how could we be expected to stay away?

MAGGIE: You sounded so excited... what's going on?

KAYLA: Well, as you know, Marcus and I have been working to help revitalize the Community Center.

JO: Do you need our help with that?

KAYLA: In a way... what we really need is money.

JULIE: Name your amount, dear.

KAYLA: Thanks, Julie, I may take you up on that later. But, what I had in mind was a fund raiser.

JO: A fund raiser?

KAYLA: Yes. I'd like to have a dinner to raise money to help the center. The kind of thing where you pay $100 per plate...

ALICE: What do you need us to do?

KAYLA: Well, first of all I should let you know my Mom has already volunteered. She's offered to help with the food.

JULIE: I can help with that, too. In fact...

JULIE PAUSES AND LIGHTLY TAPS HER FINGER TO HER BROW.

JULIE: Why don't I talk to Doug? we could have the fund raiser at Wings!

HOLD ON JULIE'S EXCITEMENT.

CUT TO: VON LEUSCHNER SUMMER HOUSE, VIENNA. JOHN AND SHANE, IN PROGRESS.

JOHN: (OPENS EYES) Yes. Carly. Dressed to the nines... But why?

SHANE: At least that confirms you knew Carly, obviously fairly well...

JOHN: But how well? And under what circumstances? Let's look around some more and see what else brings back memories...

JOHN AND SHANE WALK TOWARDS THE DOOR TO THE SIDE AND GO THROUGH IT. THIS WAS THE FORMAL DINING ROOM, THOUGH SHEETS NOW COVER THE TABLE AND CHAIRS. JOHN NOTICES A LARGE CHINA HUTCH AGAINST A WALL, AND GOES OVER TO IT.

JOHN REACHES IN AND GETS OUT A LOVELY CRYSTAL WINE GOBLET. JOHN CLOSES HIS EYES AND ROLLS THE GOBLET IN HIS HANDS. FADE IN: WE SEE JOHN SITTING AT THE TABLE, SET FORMALLY, BUT ONLY FOR TWO. JOHN IS HOLDING THE WINE GLASS IN HIS HAND, IT'S FILLED WITH A RICH RED WINE. HE HEARS A NOISE AND LOOKS OVER, AS A DOOR IN THE BACK OPENS AND A SERVANT ENTERS WITH A TRAY CONTAINING PLATTERS AND PLATES. JOHN WATCHES AS THE SERVANT ARRANGES THE VARIOUS DISHES ON THE TABLE. THE SERVANT LEAVES AND JOHN IS ALONE. JUST AS HE LIFTS HIS GLASS TO DRINK, HE HEARS A NOISE BEHIND HIM. JOHN RISES AND TURNS, AND BEHIND HIM STANDS CARLY. SHE IS GORGEOUSLY DRESSED IN A SEXY GOLD GOWN THAT LEAVES LITTLE TO THE IMAGINATION. JOHN SETS THE GLASS DOWN, AND CARLY COMES INTO HIS ARMS. THEY KISS PASSIONATELY. FADE OUT AS SUDDENLY THERE IS A CRASH, AND JOHN OPENS HIS EYES WITH A START TO DISCOVER HE'S DROPPED THE GOBLET HE WAS HOLDING.

JOHN: I was with Carly again... This time, I was kissing her...

SHANE: Well that seems to confirm that you two were fairly close... ahh... friends...

JOHN LEAVES THE DINING ROOM, STILL SOMEWHAT SHAKEN. SHANE FOLLOWS HIM. JOHN STANDS IN THE FOYER UNCERTAINLY, THEN ENTERS ANOTHER DOOR ON THE OTHER SIDE. IT IS THE LIBRARY, WITH SHELVES AND SHELVES OF TOMES, AND SEVERAL COMFORTABLE CHAIRS. THERE IS A CORNER FIREPLACE WITH CUSHIONS ON THE FLOOR IN FRONT OF IT. JOHN WALKS QUICKLY OVER, THEN SINKS TO HIS KNEES IN FRONT OF THE FIREPLACE, CLOSING HIS EYES AGAIN. FADE IN ON A FIRE IN THE FIRE PLACE. WE SEE JOHN LOUNGING ON THE CUSHIONS. HE IS HOLDING A GOBLET OF WINE. WE SEE THAT HE IS NOT ALONE. CARLY LIES WITH HIM BENEATH A QUILT, THEY ARE BOTH OBVIOUSLY NAKED. JOHN REACHES UNDER ONE OF THE CUSHIONS AND PULLS OUT AN EMERALD BRACELET. JOHN SENSUOUSLY TRAILS THE BRACELET ACROSS CARLY'S BARE ARM. SHE SEES IT AND QUICKLY TAKES IT FROM HIM, PURRING WITH DELIGHT AS SHE FASTENS THE BRACELET ON HER ARM. CARLY THEN TURNS AND SHOWERS HIS FACE WITH KISSES. FADE OUT TO JOHN'S FACE.

SHANE: What's the matter, John, you've gone white as a sheet.

JOHN: I remembered Carly... an emerald bracelet... Dear God, Shane, I think we were lovers.

OUT ON JOHN'S UPSET.

ALAMAIN LIVING ROOM. VIVIAN IS TENDING TO HER ORCHIDS AS LAWRENCE SITS ON THE SOFA READING. HE APPEARS CALM, WHILE HER HANDS ARE SHAKING AND SHE KEEPS GLANCING NERVOUSLY AT HIM. SHE ISN'T PAYING MUCH ATTENTION TO THE ORCHIDS SHE'S CUTTING AND ACCIDENTALLY GASHES HER THUMB OPEN AND DROPS THE ORCHIDS.

LAWRENCE: (NOT LOOKING UP) What is it now?

VIVIAN: I cut myself. And thank you for your concern.

LAWRENCE: Be sure you don't bleed on the rug. You know how difficult it is to get out blood.

VIVIAN GLARES AT HIM AS SHE WRAPS THE BLEEDING THUMB IN HER SHIRT-TAIL.

LAWRENCE: Why don't you call Ivan? That's his job.

VIVIAN: You're just going to sit there as I bleed to death?

LAWRENCE: Don't be melodramatic. I don't think you'll bleed to death from a cut thumb.

VIVIAN: Not that you care...

LAWRENCE: I've had enough of your whining. Good day, Vivian.

LAWRENCE GETS UP, TOSSES HIS PAPER ON THE TABLE AND WALKS OUT OF THE ROOM.

IVAN WALKS IN, FROM THE DIRECTION OPPOSITE LAWRENCE'S DEPARTURE.

VIVIAN: Thank you. I take it you heard?

IVAN: Naturally.

VIVIAN: Ivan, I'm becoming more worried about Lawrence.

IVAN: I agree.

VIVIAN: He won't even let me leave the house any more. And Nikki is beginning to pick up on the tensions.

IVAN: Master Nicholas is a perceptive young man.

VIVIAN: But what must he be going through? Lawrence has practically made us prisoners here... I'm sure Nikki has noticed that.

IVAN: May I suggest again, that you should both leave?

VIVIAN: And do what? We have no money, nowhere to go. And he's found us before. I'm afraid of what he'll do if we run and he catches us this time. I'm afraid he'll decide you and I are expendable.

IVAN: He is very close to that point already, madame. If we stay much longer...

VIVIAN: Damn him! I loathe being trapped like this!

IVAN: I may be able to get us some help.

VIVIAN: Help? What do you mean?

IVAN: I know some people who may be able to help us escape Mr. Alamain.

VIVIAN: (LONG BEAT AS VIVIAN LOOKS AT IVAN) Contact them. But be as discreet as possible. If Lawrence even suspects we're trying to escape...

IVAN: Yes, madame, I understand.

VIVIAN: If necessary, we must be able to get out of here at a moment's notice. He will do anything to keep Nikki here... anything.

IVAN: I will do my best.

VIVIAN: You always do. You contact your friends... I'll try and come up with some way of financing this escape without Lawrence catching on to us.

IVAN: I will try and talk with them today.

VIVIAN: Good. And Ivan?

IVAN: Oui?

VIVIAN: Be careful.

IVAN: You also, Madame.

IVAN EXITS AS VIVIAN STANDS IN THE ROOM, THE BLOOD DRIPPING UNNOTICED FROM HER THUMB.

HOLD ON VIVIAN.

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

VICTOR: Well, she transformed from devoted wife, to bored wife almost immediately.

JANET: Was she unfaithful or overworked at the hospital? I need details.

VICTOR: She would get these phone calls... she wouldn't say much and then she would immediately leave to run an "errand."

JANET: Anything else about these phone calls or errands?

VICTOR: Let's just say that while Carly was my wife, I made it my business to know her whereabouts, and she frequented some odd places.

JANET: What kind of places?

VICTOR: Out of the way phone boothes... a blue-collar bar down by the docks... but mostly phone boothes... it was always a different one, so I could never get a trace on the calls.

JANET: I see. Why did you marry Dr. Manning? You certainly didn't trust her.

VICTOR: (IGNORING THE GIBE) As I told you earlier, she helped me recover from a stroke. She was kind to me.

JANET: Kind?

VICTOR: I lead a very lonely life, Captain, and she gave me something I lacked... companionship.

JANET: Companionship and phone booths? Are you sure that is all the information you have?

VICTOR: That is all that I know.

VICTOR STANDS AND PICKS UP HIS OVERCOAT AS IF TO LEAVE, BUT TURNS BACK TO JANET.

JANET: Yes?

VICTOR: Bo was poisoned by a virus to which there was no known cure.

JANET: Yes, I know about the virus. The ISA was involved. One of their agents was infected. What more can you tell me?

VICTOR: There was a woman that had fallen for Bo, and was jealous of Carly. She meant to poison Carly and rid herself of her rival, but she made a fatal mistake and ended up giving the virus to Bo.

JANET: Yes? That's all on file. The woman, Emmy, ended up dead. What more can you add?

VICTOR: Well, Carly loved Bo so much that she spent night and day working to find a cure.

JANET: Hardly surprising, she was his fiancée.

VICTOR: Perhaps. But I have always found it odd that Carly would find the antidote at the last possible moment... It was so... heroic...

JANET: She saved Bo's life and that of the ISA agent. She was a hero.

VICTOR: Was she? I wonder...

JANET: Care to elaborate Mr. Kiriakis?

VICTOR: Honestly?

JANET: As you are able.

VICTOR: All right, Captain. I think Carly developed the virus, had Emmy administer it to Bo and then waited until Bo almost died before giving him the antidote.

JANET: Any proof of this?

VICTOR: No, just a hunch I've had.

JANET: A hunch? (LAUGHS) A hunch? (SOTTO VOCE) In this town everyone thinks they're Hercule Poirot. (TO VICTOR) All right Mr. Kiriakis, assuming you're right. What's the motive?

VICTOR: The motive?

JANET: Yes, tell me why Dr. Carly Manning would try and kill her own fiancé.

MORGAN KNOCKS ON THE DOOR AND WALKS IN WITHOUT WAITING FOR AN ANSWER. HE HANDS JANET A COUPLE SHEETS OF PAPER.

MORGAN TURNS AND SEES VICTOR STARING AT JANET.

VICTOR: Not at all. (TO JANET) Captain, I can see that you're busy. I've certainly taken enough of your time.

JANET: Leaving? I thought you wanted information from me.

VICTOR: Don't worry, Captain. I got what I came for...

JANET: All right, Mr. Kiriakis. We're finished... for now. Thank-you for stopping by. If you remember anything else, please let us know.

VICTOR: Never fear.

JANET: I don't.

VICTOR: (SMILING) Good-day.

VICTOR TURNS AND LEAVES. MORGAN TURNS TO JANET.

JANET: I'd say it was a draw.

MORGAN: Huh?

JANET: Never mind. Let's just say Victor had some interesting insights into the life and times of Carly Manning.

MORGAN: Anything you want to share?

JANET: Yes. But first pull every file you can find, beg, or borrow. I want to know everything there is to know about Victor Kiriakis.

HOLD ON JANET.

CUT TO: VON LEUSCHNER SUMMER HOUSE, VIENNA /EXT. GARDENS. JOHN AND SHANE ARE OUTSIDE IN THE GARDENS. THEY ARE STROLLING ALONG A PATH LINED WITH ROSE BUSHES OF EVERY COLOR. A WHITE GAZEBO IS AHEAD OF THEM. TO THE RIGHT IS A FORMAL KNOT GARDEN WITH A CHERUB FOUNTAIN. TO THE LEFT IS A CROQUET LAWN.

JOHN: Yeah, a little. I don't know where all this is leading me, Shane. And I'm not sure I want to find out.

SHANE: Maybe it will help if we talk about something else. These gardens, for instance. Beautiful aren't they?

JOHN: They really are. IzzyB talked about having a garden like this someday. Just look at all these roses...

JOHN REACHES OUT TO A ROSE AND WE SEE JOHN'S FLASHBACK, A FLASH OF A BRIDAL BOUQUET OF RED AND WHITE ROSES.

JOHN: (LOST IN THOUGHT) It's all because of the wedding...

SHANE: Wedding?... What's because of the wedding? The gardens? John?... Have you remembered something? Whose wedding?

JOHN: (SHAKING HIS HEAD) I don't know. I just know that there was a wedding right here in this garden.

SHANE: Well, that's another good sign, isn't it? You've remembered something else.

JOHN: Not totally...

SHANE: Listen, if you don't mind, I'm going to go and make a phone call. I want to call Geneva and make sure things with Danielle are going smoothly.

JOHN: (DISTRACTED) Go ahead. (BEAT) I think I'll just wander out here for a while.

SHANE: Right then. I'll be back in a bit.

SHANE RETURNS DOWN THE PATH. JOHN WANDERS A LITTLE BIT MORE AND THEN WALKS UP TO THE GAZEBO. HE PAUSES WITH ONE HAND ON A PILLAR AND ONE FOOT ON ONE STEP. JOHN ENTERS AND STANDS IN THE MIDDLE OF THE GAZEBO. HE FLASHES BACK TO A WEDDING. WE SEE TWO HANDS, A MAN'S AND A WOMAN'S. THE MAN IS PUTTING A WEDDING BAND ONTO THE WOMAN'S THIRD FINGER. PAN UP THE WOMAN'S ARM AND TORSO TO REVEAL A SMILING BLONDE CARLY, WEARING A VEIL AND A WREATH OF WHITE ROSES. SHE MOUTHS THE WORDS "I LOVE YOU, JOHN." WE COME BACK TO THE PRESENT. JOHN, WHITE-FACED, SITS DOWN ON THE STEPS.

OUT ON JOHN'S CONFUSION AND DISTRESS.

UNIVERSITY HOSPITAL/CARRIE'S ROOM. AN OPEN OVERNIGHT BAG IS ON THE BED. CARRIE, DRESSED AND WITH A BANDAGED FACE, IS SITTING ON THE BED. THE WHITE TEDDY BEAR SITS IN THE VISITOR'S CHAIR. JONAH ENTERS FROM THE BATHROOM AND WAVES CARRIE'S TOOTHBRUSH.

CARRIE: Oh, thanks, Jonah. I guess I missed that.

JONAH: (PEERING UNDER THE BED) Anything else you missed? Slippers? Robe? Your head?

CARRIE: (LAUGHING) Stop it!

JONAH: And speaking of your head... Look what I brought you.

JONAH PULLS A PIECE OF PAPER OUT OF HIS BACK POCKET AND HANDS IT TO CARRIE.

JONAH: You could be a bit more enthusiastic, you know.

CARRIE: I'm sorry. It's just that I'm nervous. I hope I can handle a full course load again.

JONAH: You'll do fine. You'll see.

CAROLINE POKES HER HEAD AROUND THE DOOR.

CARRIE: Grandma! I'm so glad to see you!

JONAH: Hi, Mrs. Brady.

CAROLINE: I'm sorry I didn't come by earlier, dear. I've just been so busy with the little ones. How are you feeling?

CARRIE: I feel much better today. They're letting me go home.

CAROLINE: That's wonderful! Do you need anything? A ride home?

CARRIE: No, I'm ok, really. Jonah's going to bring me home. And Dad was just on the phone checking up on me and even John called this morning.

CAROLINE: That's because we love you, sweetheart. I'll tell you what. I've got to run over to Wings and help your Aunt Kayla plan a fund raiser for the Community Center. But I'll bring you over some chowder tonight so you don't have to cook.

CARRIE: That would be wonderful, Grandma. I can't think of anything I'd like better. And tell Aunt Kay that I'll help with the fund raiser, if she needs me.

CAROLINE: (KISSING CARRIE) I will. Now if you need anything you just call me or Grandpa, ok?

CARRIE: I will.

CAROLINE EXITS. A NURSE COMES IN WITH A HANDFUL OF PAPERS.

CARRIE: Once I sign these I'm free to go home?

JONAH: You are. So sign them and let's blow this Popsicle stand.

CARRIE: (HESITATING) Once I'm home... it's just me and the bandages and wait and see...

JONAH: No, once you're out of here, it's back to your life.

CARRIE: (RESOLUTE) You're right. No regrets, no matter how the surgery turns out.

CARRIE SIGNS THE FORMS WITH A FLOURISH AND HANDS THEM BACK TO THE NURSE.

JONAH: Your carriage awaits, milady.

CARRIE: Then varlet knave, let us depart.

JONAH: (GROANING) You have all the makings of an English major. All right, milady, let us depart.

JONAH OFFERS CARRIE HIS ARM AND THEY WALK OUT THE DOOR, LAUGHING.

CUT TO: BO'S BOAT. BO COMES OUT OF SHAWN-DOUGLAS' ROOM AND QUIETLY SHUTS THE DOOR. BO WALKS TO THE SINK, BUT IS INTERRUPTED BY THE LIGHT RINGING OF THE SHIP'S BELL. HE GOES TOPSIDE TO FIND VICTOR WAITING FOR HIM. BO IS OBVIOUSLY NOT HAPPY TO SEE VICTOR.

BO: He's doing better. (STILTED) Thank you for asking.

VICTOR: No need to thank me, Bo... in spite of what you think of me, you and Shawn-Douglas are part of my family. I'm concerned about his welfare... (QUIETLY) and yours...

BO: Yeah, yeah, right. (SOFTENING) Well, my sailor's hand is doing better, but I'm a little worried about him, just the same.

VICTOR: In what way? Is he still having a difficult time dealing with Carly's death?

BO: He is. Losing Hope the way we did... then to lose Carly so violently...

VICTOR: Do you think he'll be able to deal with it?

BO: He has to. But I don't want to make him do it on his own... We're going to start seeing a therapist, Dr. Ector.

VICTOR: Yes, Dr. Ector. I've heard some good things about him. But, Bo, I want you to know, if he doesn't work out, we can bring in specialists, whatever it takes... I want to help...

BO: (UNCOMFORTABLE) Yes, well, Victor, thank you. I think Dr. Ector will do just fine. Now, if that's it...

VICTOR: Actually, I also was curious as to whether you have any new information on Carly's death.

BO: You're never just curious, Victor... what's the angle...

VICTOR: No angle, Bo. I just know how upset you are... how devastated... And I'd hoped there might be some leads to whoever did this to Carly... to you...

BO: No, nothing, really. Captain Yamada is keeping this one close to the vest...

VICTOR: I have to wonder who would ever want to see Carly dead. I can't imagine her having any enemies...

BO: Except Lawrence...

VICTOR: Except Lawrence. Has there been any evidence to prove he did it?

BO: Nothing solid, just my gut feeling. But I'm not ruling out any possibility. (LOOKING CLOSELY AT VICTOR) After all, this wasn't the first attempt on Carly's life... or mine...

VICTOR DIGESTS THIS COMMENT QUIETLY, APPARENTLY DECIDING NOT TO RESPOND. INSTEAD HE CHANGES TACK.

BO: There wouldn't be any to turn up!

VICTOR: Are you sure, Bo? Did you know all there was to know about Carly's past?

BO: I knew all I needed to. I loved her, she loved me... (HIS VOICE BREAKS)

VICTOR: I'm sorry, Bo, I truly am. Both that you lost the woman you loved, and that I've upset you...

BO: Don't flatter yourself, Victor, you didn't upset me...

VICTOR: I'm not here to fight with you, Bo.

BO: Then drop the subject.

VICTOR: Of course. I'm simply concerned with my son's and grandson's well-being. I am entitled to worry about you, after all...

BO: (GRUDGINGLY) Yeah, I suppose... hey, sorry I got so... well... anyway, I've had a lot going on, with Shawn-D and work and everything...

VICTOR: I understand. I want you to know, though, that you need never concern yourself with being out of work, or without funds... I will always be available to help you, if you should need it...

BO: I don't need... ahh... Thanks, but I can take care of things. Shawn-D and I will be fine. Besides, the job isn't just money, it's about proving I can do it, and do it well...

VICTOR: Of course you can, and I understand that drive. I'd go so far as to say I know where you got it... (HE HOLDS UP HIS HAND TO WARD OFF BO'S REPLY) But I've said what I came to say, and I am glad that Shawn-Douglas is healing, and will be feeling even better shortly. All I want is the best for you and the boy, Bo, if you believe nothing else of me, believe that.

BO: (SOFTLY) I do... Thank you, Victor.

HOLD ON BO AND VICTOR.

CUT TO: WINGS. KAYLA, JULIE, ALICE, JENNIFER, MAGGIE, AND JO ARE ALL DISCUSSING PLANS FOR THE FUND RAISER.

KAYLA: Yes, hopefully we can work out all the details.

CAROLINE WALKS IN AND JOINS THE OTHERS.

CAROLINE: Wonderful. I just came from seeing Carrie.

ALICE: How is she doing?

CAROLINE: She's doing wonderfully. In fact, she's being released today.

KAYLA: That's great! I'll have to give her a call later.

CAROLINE: How are things going with the fund raiser?

KAYLA: Well ma, it looks like we'll have plenty of help from everyone here.

JENNIFER: It also looks like we'll have our work cut out for us too. I'll go give Jack a call to make sure this gets plenty of publicity in the Spectator.

JENNIFER GETS UP, AND PASSES DOUG ON HER WAY TO THE PHONE. DOUG GREETS THE LADIES.

JULIE: Darling! I'm so glad to see you.

DOUG: What brings all you lovely ladies together today?

KAYLA: We're planning to hold a fund raiser to help the Community Center.

DOUG: What a wonderful idea. Let me know if there's anything I can do to help.

JULIE: Actually, darling, there is. What do you think about holding the fund raiser right here at Wings?

DOUG: Oh no! I would love to host it, but unfortunately, I just met with the architect and he's already scheduled crews to come in and start working on the renovations.

KAYLA: Oh, that's too bad.

JENNIFER RETURNS TO THE TABLE AND SITS DOWN.

MAGGIE: Yes! That way, everyone can have a first-hand look at what they're helping to improve.

JO: I'm sure with plenty of ideas and decorations, we could fix it up nicely.

KAYLA: You know, it just might work. (LOOKING AT HER WATCH) If you will excuse me, I have to get going now, if I want to change in time for dinner. Why don't I give you all a call in a day or two and we can work on the plans some more?

AS EVERYONE GETS UP TO LEAVE, JO PULLS JENNIFER ASIDE.

JENNIFER: No, he was busy. I'll talk to him tonight. (LOOKING AT JO'S NEW DRESS) By the way, Jo, you look very nice.

JO: Thank you. I'm meeting Vern here for dinner in a little while.

JENNIFER: Are you? That's great!

JO: Yes, but I'm afraid Jack wouldn't think so.

JENNIFER: Come on, you know Jack loves Vern... although he'd never admit it. He's just a little touchy about the two of you...

JO: I know, he thinks he's looking out for me. But he doesn't make it easy on Vern.

JENNIFER: Jack doesn't make it easy on anyone... that's why we all love him. Life with Jack is an adventure.

JO: Think we could be a little less adventurous tonight and keep this between the two of us? I wouldn't want anything to spoil Vern's evening.

JENNIFER: No problem. Besides it looks like Jack's going to be too busy to think of anything else but work today. He'll probably come straight home.

JO: Then I'd better not keep you. Thanks, dear. Take care of yourself and that cute granddaughter of mine.

JENNIFER: I will. And, Jo, tell Vern I feel like being a matron of honor.

OUT ON JENNIFER'S SMILE.

VON LEUSCHNER SUMMER HOUSE, VIENNA/GARDEN. JOHN IS SITTING IN THE GAZEBO, ABSENTLY FINGERING A BLOSSOM FROM A PLANT GROWING UP AND AROUND THE GAZEBO. SHANE RETURNS.

JOHN: What happened?

SHANE: Just a problem with extradition. Shouldn't be too difficult to clear up, but they need me to be there personally. I'll be flying back to Geneva in 2 hours, so we'd better get going.

JOHN: Go ahead... I think... it makes sense for me to stay.

SHANE: Stay? Really?

JOHN: This place was apparently a large part of my past. I've had more flashbacks here than anywhere. So if I want to find out all there is to know about my past...

SHANE: I see your point. What about food? A bed?

JOHN: Well, the water must be on, or this garden wouldn't look nearly so good. There are beds in the house, and I'll just keep the lunch you had the hotel pack for us. Come back tomorrow when you can, I'll be fine.

SHANE: Of course you will... and, after all, there is always Walter..

JOHN: Yes, there's definitely Walter

BOTH MEN LAUGH.

JOHN: Great. Thanks. And if I'm not at the hotel when you get back, I'll be here... remembering...

SHANE: Just be careful. I have the feeling your memory is rather like a time bomb...

JOHN: But I don't think I'll self-destruct when I really start remembering... just the opposite, I hope.

SHANE: Well, I'd better go call that taxi...

JOHN: Have a good trip, and take care of Danielle...

SHANE: You can count on it. Good-bye..

JOHN: 'Bye...

SHANE LEAVES, AND JOHN GETS UP AND BEGINS TO WALK AROUND THE GARDEN. THERE'S A BOXWOOD MAZE OFF IN THE DISTANCE, AND A WELL-MANICURED ROSE GARDEN AHEAD. HE WALKS OVER TO IT.

JOHN WALKS OVER AND STANDS BY A BEAUTIFUL GALLICA, OR FRENCH ROSE BUSH. IT IS A CARDINAL DE RICHELIEU. HE STARES AT THE DARK, WINE RED FLOWERS, THEN BENDS OVER AND INHALES DEEPLY OF THEIR FRAGRANCE. HE PLUCKS A FLOWER AND BRUSHES IT GENTLY ACROSS HIS LIPS. JOHN CLOSES HIS EYES. FADE IN: WE SEE JOHN STANDING IN THAT SAME SPOT, BUT HE IS WITH DANIELLE. SHE LOOKS LOVELY WEARING A GAUZY WHITE GOWN. SHE'S LAUGHING AT SOMETHING HE'S SAID, AND HE SMILES DOWN AT HER. HE PLUCKS A ROSE BLOSSOM, REMOVING THE THORNS WITH A POCKET KNIFE. HE THEN TUCKS THE DEEP CRIMSON FLOWER BEHIND DANIELLE'S EAR. DANIELLE TOUCHES THE FLOWER AND SMILES AS JOHN KISSES HER CHEEK AND INHALES THE MIXED PERFUME OF ROSE AND DANIELLE. HIS LIPS TRAIL FROM HER CHEEK TO HER LIPS. FADE OUT ON THE KISS AND FADE INTO JOHN HOLDING THE ROSE AGAINST HIS LIPS.

HOLD ON JOHN.

CUT TO: WINGS. JENNIFER IS GETTING ABIGAIL'S THINGS TOGETHER. ABIGAIL SITS IN HER STROLLER. ALICE WALKS UP AND PUTS HER HAND ON JENNIFER'S SHOULDER.

ALICE: I wanted to talk to you before I went home.

JENNIFER: Sure, what is it?

BOTH ALICE AND JENNIFER SIT DOWN.

JENNIFER: (EXCITED) Did you find anything?

ALICE: Well, yes. I looked through her hospital files.

JENNIFER: And...

ALICE: Everything seemed perfect. All the dates were there, and everything looked good.

JENNIFER: (TRIUMPHANTLY) I knew that all that garbage about Carly's supposed tainted past had to be false! She was a wonderful doctor, and those papers prove it.

ALICE: Yes, she seemed like a wonderful doctor. But, there's something I should tell you.

JENNIFER: What?

ALICE: Some of the dates on Carly's records don't match up.

JENNIFER: I don't understand.

ALICE: Well, the date that documents her years as a pre-med student coincide with the date that she gave birth to Nikki. She couldn't possibly have been a medical student when she said she was.

JENNIFER: That's impossible. It must be a mistake.

ALICE: I'm afraid not. We've double-checked everything.

JENNIFER: I can't believe this! Carly wouldn't do this on purpose. Someone must've changed the documents to try to make her look bad.

ALICE: Who on earth would do something like that?

JENNIFER BREATHES DEEPLY.

ALICE: What?!

JENNIFER: Yes! He must've changed the records when Carly was trying to gain custody of Nikki.

ALICE: I don't know. This was so obscure, I don't think anyone would've noticed it.

JENNIFER: It has to be him. I can't let him destroy Carly's memory.

JENNIFER STANDS UP.

ALICE: Why, of course dear. Where are you going?

JENNIFER STORMS OFF BEFORE HEARING ALICE'S QUESTION.

HOLD ON ALICE'S WORRY.

GO TO: JO AND VERN WHO ARE SITTING AT A TABLE LOOKING AT MENUS. MARCUS AND KAYLA ARRIVE AND AS DAVE SEATS THEM, THEY NOTICE JO AND VERN, WHO WAVE.

VERN: That Doctor Hunter is a good man.

JO LOOKS SLIGHTLY WORRIED.

JO: Oh, nothing really. As much as I'm happy that Kayla is getting on with her life, it's just hard for me to see her with anyone other than Steve.

VERN: You really miss your son, don't you?

JO: Yes, I do.

JO SIGHS, AND THEN LOOKS AT HER MENU.

GO TO: MARCUS AND KAYLA. KAYLA APPEARS TO BE SLIGHTLY NERVOUS.

KAYLA: Um, yes. Everyone seems really excited about it.

KAYLA BURIES HER NOSE IN THE MENU.

KAYLA: (STILL LOOKING AT MENU) Fine.

MARCUS PUTS HIS MENU DOWN, AND TAKES KAYLA'S MENU FROM HER.

A WAITER COMES TO TAKE THEIR ORDER, BRIEFLY INTERRUPTING THEM.

WAITER: Of course.

THE WAITER NODS AND WALKS AWAY.

KAYLA TAKES A DEEP BREATH.

MARCUS: Did something happen?

KAYLA: Well, yes and no.

MARCUS: Uh, huh...

KAYLA: Well, there is something I want to talk to you about.

MARCUS: Come on... out with it. After all, good friends should be able to say anything to each other.

KAYLA: Yes, we are good friends.

MARCUS: And...

KAYLA: And... um... well, Marcus ... I'm starting to have feelings for you that are more than just friendly.

OUT ON MARCUS' SURPRISE.

VON LEUSCHNER SUMMER HOUSE, VIENNA / LIBRARY. JOHN IS IN THE LIBRARY, IDLY LEAFING THROUGH SOME BOOKS. HE HOLDS A VOLUME IN HIS HANDS AS WE HEAR A CRASH. FADE INTO JOHN STANDING IN FRONT ON THE SAME SHELF, BENDING OVER TO PICK UP A BOOK THAT RESTS NEAR HIS FEET. AS HE BENDS OVER, ANOTHER BOOK COMES SAILING OVER HIS HEAD, BARELY MISSING HIM. HE STRAIGHTENS.

JOHN: Katerina, why? Why did you lie to me?

CARLY: How dare you!

JOHN: What was the point? Why couldn't you have been straight with me? I thought... I thought...

CARLY: You thought what? That it would be all right for you to conduct your own private little investigation?

JOHN: I had to, I had to know the truth. And now I know that you've been lying from the start...

CARLY: You've got some nerve... accusing me of lying... when all along it was you. You deceived me...

JOHN FURIOUS, TURNS AND SHOVES AN ENTIRE SHELF OF BOOKS TO THE FLOOR WITH A TERRIBLE CRASH. FADE OUT TO JOHN AS THE BOOK HE WAS HOLDING SLIPS FROM HIS NERVELESS FINGERS. HOLD ON JOHN'S SHOCK.

CUT TO: WINGS. KAYLA AND MARCUS, IN PROGRESS.

MARCUS: Yes, I heard you...

KAYLA: Oh, I've gone and ruined everything now, haven't I? Just pretend I never said it.

KAYLA PUSHES BACK HER CHAIR AND BEGINS TO STAND UP.

MARCUS REACHES OUT AND GRABS HER HAND.

KAYLA SLOWLY SITS DOWN.

MARCUS: No, I don't. You just surprised me, that's all. I never thought I'd hear those words from you...

KAYLA: Me neither. But there it is. (BEAT) Are you saying you feel the same way?

DAVID CROSBY'S "HERO" BEGINS TO PLAY IN THE BACKGROUND. MARCUS CONTINUES TO HOLD KAYLA'S HAND.

KAYLA: Shane walked in on us. I remember. Things have changed since then, Marcus. I've changed since then.

MARCUS: I have, too. But ...

KAYLA: But you'd rather just be friends, is that it?

MARCUS: It's not that. It's just that... well... it's a little uncomfortable, thinking of you in a romantic light... after trying so hard not to all these years. And... I may as well say it... I feel kind of disloyal to Steve.

KAYLA: I know. I'm feeling a bit of that myself. He was so much a part of our lives. But, Marcus, if anyone would approve, don't you think Steve would?

MARCUS: Yes, I think he would. You know, I think Homey always knew how I felt about you. He was just too much of a gentleman to mention it.

KAYLA: Steve always protected the people he loved...

MARCUS: And he loved us both...

KAYLA: I know. (BEAT) Why don't we just take things slowly and see where that takes us? If it feels uncomfortable or it isn't working out, we'll just go back to being friends. Agreed?

MARCUS: Agreed. I always want to be your friend, Kay. No matter what.

HOLD ON THEIR CLASPED HANDS.

CUT TO: ALAMAIN LIVING ROOM. VIVIAN IS ON THE SOFA, READING AND DRINKING TEA. LAWRENCE ENTERS THE ROOM CARRYING SOME PAPERS. HE IS VISIBLY UPSET.

VIVIAN: (NOT LOOKING UP FROM HER MAGAZINE) Can't it wait? I'm terribly fascinated by this article...

LAWRENCE: (SNATCHING THE MAGAZINE FROM HER HANDS AND THROWING IT ON THE GROUND) Now, Vivian.

VIVIAN: (SHOCKED AND ANGRY) Are you losing your mind, Lawrence?

LAWRENCE: I want to know what the hell you're doing with these boarding school enrollment forms! (THRUSTING THE PAPERS INTO VIVIAN'S FACE)

VIVIAN: (GRABBING THE PAPERS FROM LAWRENCE'S HAND) What were you doing in my room?

LAWRENCE: This is my house, Vivian. Every one of these rooms is mine. You're just a guest. (BEAT) For now.

VIVIAN: Is that supposed to be a threat?

LAWRENCE: You can take it however you wish. I want to know why you have those enrollment forms?

VIVIAN: I'm thinking about re-enrolling Nikki in boarding school.

LAWRENCE: I think you're the one who's lost your mind, Vivian, if you think I'll allow you to send my son off to school in Europe.

VIVIAN: I'm trying to think of what's best for Nikki. He could use some stability, and the school would provide him with an excellent educational environment.

LAWRENCE: Give it a rest, Vivian. Your only concern is to get Nikki away from me and have him all to yourself. He's my son, and he's staying here with me.

VIVIAN: But...

LAWRENCE: End of discussion, Vivian. There's nothing more to say about it.

VIVIAN: I can't stand idly by and watch you mold that innocent child into a... a...

LAWRENCE: What, Vivian? Go ahead and spit it out.

VIVIAN: Let's just say that I can think of some better role models for Nikki.

LAWRENCE: Oh, that's priceless, coming from the woman who kidnapped him as an infant and lied to him and his true parents for eight years! You have no right to judge me.

VIVIAN: I did what I had to do to protect Nikki...

LAWRENCE: Spare me, Vivian. I've heard all of this before. The truth is, you wanted to have Nikki all to yourself, and you didn't give a damn about who you hurt in the process.

VIVIAN: (STANDING UP) I don't have to listen to this.

VIVIAN WALKS PAST LAWRENCE. HE GRABS HER ARM AND TURNS HER AROUND FORCEFULLY.

VIVIAN, FRIGHTENED, WRENCHES HER ARM OUT OF LAWRENCE'S GRASP AND WALKS QUICKLY OUT OF THE ROOM AND UP THE STAIRS. LAWRENCE STARES AFTER HER.

THERE IS A KNOCK AT THE DOOR.

THERE IS ANOTHER KNOCK, LOUDER THAN THE FIRST.

LAWRENCE GOES TO THE ENTRY AND OPENS THE DOOR TO A FURIOUS JENNIFER.

LAWRENCE: (SARCASTICALLY) Won't you come in?

JENNIFER: I would never enter your house.

LAWRENCE: As you wish, but what will the neighbors say?

JENNIFER: I don't give a damn. Lawrence, I know what you're trying to do and you won't get away with it.

LAWRENCE: (OBVIOUSLY ANNOYED) I'm really not in the mood to play guessing games, so why don't you just tell me what you're talking about?

JENNIFER: You know damn well what I'm talking about. You're trying to ruin Carly's reputation by tampering with her school records.

LAWRENCE: I see. First, according to Bo Brady, I killed her. Now, according to you, I'm trying to ruin her reputation. (SIGHS) Well, if that's all you came to tell me... (HE BEGINS TO REACH FOR THE DOORKNOB)

JENNIFER: Don't think that you're going to sweep this under the rug like all the other horrible things you've done. I'm going to stop you, and I'm going to make you pay.

LAWRENCE: (GRINNING EVILLY AND STEPPING TOWARDS JENNIFER) So, that's what you think? (HE STEPS CLOSER, AND LOOKS DOWN HIS NOSE AT HER) Let me tell you what I think. (HIS SMILE GIVES WAY TO RESTRAINED ANGER) I think you should go home to your husband and your baby daughter, and mind your own business.

JENNIFER STARTS TO SPEAK, BUT LAWRENCE INTERRUPTS HER.

LAWRENCE REACHES UP AS IF TO CARESS JENNIFER'S FACE, BUT SHE PULLS BACK.

OUT ON JENNIFER'S ANGER AND FEAR.

WINGS. JO AND VERN. IN PROGRESS.

VERN: Me, too. This pasta is delicious...

JO: I wasn't talking about the food, Vern...

VERN: Oh?

JO: (SMILING) No, silly. I was referring to the company.

VERN: (SHEEPISHLY) Oh... I see. Of course. I mean, I feel the same way. Yeah, that's what I mean.

JO: (CHUCKLING) Vern, take it easy. You're so tense...

VERN: I'm sorry, Jo. I keep expecting to turn around and see Jack standing there, with that disapproving look on his face. You know that look.

JO: Yes, I know that look. But don't you worry. I talked to Jennifer earlier, and she said that Jack is working late tonight, and then he'll probably go straight home.

VERN: And he doesn't know we're having dinner together?

JO: Well, I didn't tell him. Did you?

VERN: No.

JO: And Jennifer promised not to tell him either. So, I think we're safe for tonight. Okay?

VERN: (SMILING WITH RELIEF) Okay. (BEAT) Don't get me wrong, Jo. You know how I feel about Jack. He's sort of like another son to me. But when it comes to you, I just can't win with him.

JO: I know. I guess being protective is his way of showing that he cares. (SIGHS) Anyway, that's enough talk about Jack.

VERN: All right. (HE NOTICES THAT HER GLASS IS ALMOST EMPTY) Would you like another ginger ale?

JO: Yes, thank you.

VERN LOOKS AROUND.

VERN GETS UP AND GOES TO THE BAR. JACK ENTERS, LOOKING WORRIED. HE LOOKS AROUND THE ROOM. HE DOESN'T NOTICE JO, BUT HE SEES KAYLA AND MARCUS. HE WALKS OVER TO THEIR TABLE.

MARCUS: Jack.

KAYLA: Hello, Jack.

JACK: Listen, I'm sorry to interrupt, but I'm trying to find Jennifer. I thought that she would be home by now, but she's not. (TO KAYLA) And that last place she told me she would be today was meeting you here.

KAYLA: Well, she was here earlier, but our meeting was over some time ago. I don't know where she went after that. I'm sorry.

JACK: That's okay. Thanks anyway...

KAYLA: Wait. Jo was at our meeting, too. Why don't you ask her if she knows where Jennifer is?

JACK: Yes, I'll give her a call...

MARCUS: Why don't you just walk over and talk to her?

JACK: Jo's here?

KAYLA: Yes, Jack. Right over there. (SHE POINTS TO JO)

JACK: (LOOKING OVER AT JO) Yes, so she is. Thanks.

JACK LEAVES MARCUS AND KAYLA AND WALKS OVER TO JO AND VERN'S TABLE. JO IS WATCHING VERN AT THE BAR AND DOESN'T SEE JACK APPROACHING.

JO: (STARTLED) Jack!

JACK: I'm sorry, I didn't mean to frighten you.

JO: Oh, it's not that. I just didn't expect to see you here. (SHE GLANCES NERVOUSLY TOWARD VERN AT THE BAR)

JACK: Didn't expect...?

JO: I spoke to Jennifer earlier, and she said that you were working late and going straight home.

OVER JACK'S SHOULDER, WE SEE VERN LOOKING OVER AT THE TABLE. HE SEES JACK TALKING TO JO. SURPRISED, HE QUICKLY TURNS HIS BACK TO THEM AND LEANS AGAINST THE BAR.

JO: No, son, she didn't. At least, not to me. (BEAT) I did see her talking to Mrs. Horton, though. Maybe she knows where Jennifer is.

JACK: Yes, maybe. Thanks, Jo.

JACK TURNS TO LEAVE. VERN THEN BEGINS TO WALK OVER WITH TWO DRINKS IN HAND. JACK THEN TURNS BACK TO JO.

JO: (NERVOUSLY, SEEING THAT VERN IS ON HIS WAY OVER) Yes?

JACK: Nothing. It's just surprising to see you having dinner here alone.

JO: (GLANCING NERVOUSLY AT VERN'S DINNER PLATE, HOPING JACK DOESN'T NOTICE IT) Well, I just needed a change of scenery.

JACK: And you look very nice... for just having dinner alone.

JO: (LOOKING MORE NERVOUS, AFRAID THAT JACK HAS FIGURED OUT SHE'S ON A DATE) Thank you, son. I just wanted to make sure I was appropriately dressed. This is a nice restaurant.

JACK: (OBVIOUSLY PREOCCUPIED) Yes. Well, good night.

JO: Good night.

JACK TURNS AND WALKS TOWARD THE DOOR. HE SPOTS VERN, DESPITE VERN'S EFFORTS TO AVOID BEING SEEN. JACK EYES NARROW CURIOUSLY. HE LOOKS AT VERN, THEN AT JO, THEN BACK AT VERN. THEN HE SHAKES HIS HEAD AND WALKS OUT. VERN RETURNS TO THE TABLE.

JO: I don't know. I think he's much more concerned about someone else right now.

HOLD ON JO'S WORRY.

CUT TO: VON LEUSCHNER LIVING ROOM, VIENNA. JOHN ENTERS, STILL FLUSTERED ABOUT HIS MOST RECENT MEMORY. HE STOPS AND LOOKS BACK TOWARDS THE LIBRARY, TAKING A DEEP BREATH. HE PAUSES, THEN TURNS BACK TOWARDS THE LIVING ROOM, RUBBING HIS EYES AND BRUSHING HIS HAIR BACK.

JOHN GOES TO AN EASY CHAIR AND SITS DOWN, EXHAUSTED.

JOHN LEANS BACK IN THE EASY CHAIR.

JOHN LOOKS AT THE FIREPLACE. HIS EYES WIDEN, AS IF HE IS ABOUT TO REMEMBER SOMETHING, BUT HE DOESN'T. HE BLINKS A FEW TIMES.

JOHN LAYS BACK AND CLOSES HIS EYES.

JOHN'S VOICE TRAILS OFF AS HE FALLS ASLEEP. FADE IN TO: THE LIVING ROOM DOORWAY. SOMEONE IS APPROACHING THE ROOM AND CASTING A SHADOW ON THE FLOOR. GO TO: JOHN'S SLEEPING FACE. GO TO: THE LIVING ROOM FLOOR. A PAIR OF FEET, IN BLACK WOMEN'S SHOES, WALKS CAUTIOUSLY TOWARD THE FIREPLACE. ONE FOOT STEPS ON A BOARD THAT CREAKS SLIGHTLY. THE FEET STOP. GO TO: JOHN'S FACE. AFTER A FEW SECONDS, HE OPENS ONE EYE JUST SLIGHTLY. GO TO: THE FIREPLACE. A BLOND-HAIRED WOMAN IS PULLING TWO BRICKS AWAY FROM THE FIREPLACE. SHE THEN TURNS THEM TO THE SIDE, AS IF THEY ARE ON HINGES, REVEALING A SECRET COMPARTMENT. GO TO: JOHN'S FACE. HE IS VERY CURIOUS, AND OPENS BOTH EYES WIDER. GO TO: THE FIREPLACE. THE WOMAN TAKES A LETTER FROM HER POCKET, AND PLACES IT IN THE COMPARTMENT. SHE SLOWLY TURNS THE BRICKS BACK, AND PUSHES THEM BACK INTO POSITION. SHE SUDDENLY STOPS, AS IF SHE KNOWS SHE IS BEING WATCHED. GO TO: JOHN'S FACE. HE TRIES TO CLOSE HIS EYES ENOUGH TO APPEAR THAT HE IS SLEEPING, BUT LEAVE THEM OPEN ENOUGH TO SEE. GO TO: THE FIREPLACE. THE WOMAN SLOWLY STANDS UP AND TURNS AROUND. GO TO: JOHN'S FACE. HIS EYES WIDEN. GO TO: THE FIREPLACE. THE WOMAN HAS TURNED TO FACE HIM. IT IS CARLY. SHE GLARES AT HIM WITH AN EVIL SCOWL.

FADE OUT ON CARLY'S SCOWL, AS JOHN SNAPS AWAKE AND NEARLY JUMPS OUT OF THE CHAIR. HE INHALES DEEPLY AND RUBS HIS FACE WITH HIS HANDS. HE SLOWLY DROPS HIS HANDS AND LOOKS CAUTIOUSLY AT THE FIREPLACE. NO ONE IS THERE.

JOHN STANDS UP AND WALKS OVER TO THE FIREPLACE. HE KNEELS DOWN AND PULLS AT THE BRICKS THAT HE "SAW" CARLY PULL OUT. THE BRICKS COME OUT, AND HE TURNS THEM TO THE SIDE. HE REACHES INSIDE AND PULLS OUT A STACK OF PAPERS AND LETTERS. HE LOOKS IN AND SEES THAT THE COMPARTMENT IS NOW EMPTY, SO HE CLOSES IT. HE STANDS UP AND WALKS BACK TO THE EASY CHAIR. HE SITS DOWN AND STARTS LOOKING THROUGH THE PAPERS.

HOLD ON JOHN.

CUT TO: ALAMAIN LIVING ROOM. IN PROGRESS. AS LAWRENCE STEPS CLOSER TO JENNIFER, SHE STEPS BACKWARD, BUT HE STAYS CLOSE TO HER.

JENNIFER: You've hurt a lot of people, Lawrence. But this time you've gone too far.

LAWRENCE: Have I? What do you intend to do about it?

JENNIFER: I intend to stop you. And make sure you don't ruin Carly's good name.

LAWRENCE: You know, Mrs. Deveraux, you are full of surprises.

LAWRENCE REACHES TO CARESS HER FACE. JENNIFER PULLS BACK IN REVULSION.

LAWRENCE COMES CLOSER, NEARLY BACKING JENNIFER OFF THE PORCH AND INTO THE BUSHES.

LAWRENCE: I remember it well. You were waiting for me... in my bedroom. And now you've come to me again....

LAWRENCE LEANS FORWARD AS IF TO KISS HER. JENNIFER SHOVES HIM AWAY.

GO TO: THE STAIRS, AS NICHOLAS BEGINS TO WALK DOWN THE STAIRS AND INTO THE FOYER. WHEN HE HEARS THE CONFRONTATION, HE STOPS AND LISTENS. GO TO: ENTRYWAY/PORCH.

JENNIFER: (AFRAID, BUT HOLDING HER OWN) Yes. I'm not trapped alone with you here. Salem is my home. My husband is here...

LAWRENCE: Ah, yes, dear Jack, my old fencing partner. Tell me, does your knight in shining armor know you're here?

JENNIFER: (BEAT) Yes. Jack knows exactly where I am.

LAWRENCE: (COMING CLOSER AGAIN) You make such a terrible liar... we both know he would never let you come here alone.

JENNIFER: I'm warning you, Lawrence...

LAWRENCE: You are warning me? Be careful, my dear. You could be hurt again if you cross me. So could your lovely child.

JENNIFER: Don't you dare threaten my daughter. I would kill you myself before I let you near her.

LAWRENCE: Like a mother tiger protecting her cub... This is a whole new side of you I've never seen... and I thought I'd seen all of you...

JENNIFER: You disgust me. I won't let you hurt me or my family. And I won't let you hurt Carly.

LAWRENCE: Carly's dead, or have you forgotten?

JENNIFER: And you probably killed her.

LAWRENCE: I would be careful. Spreading that kind of malicious gossip could make it easy for me to file a lawsuit.

JENNIFER: Gossip? Everyone knows how evil you are. You destroyed Carly, why can't you let her rest in peace?

LAWRENCE: Ironic, isn't it? The last time you tried to defend the honor of your dear friend, Katerina, you ended up in my bed... it was quite enjoyable...

JENNIFER: Damn you Lawrence. You raped me.

LAWRENCE: You wanted me. You came to me.

JENNIFER: You raped me and you went to jail for it. You aren't even human, Lawrence. You're some sort of spineless ugly thing that lives under a rock and is scared of the light.

LAWRENCE: My, my. Aren't you poetic? I'm sure your husband could do much better. That is if he were here to protect you...

JENNIFER: You've gotten away with too much. You murdered Steve. You raped me. You almost killed my grandmother and my friends. You killed your own father. You probably killed Carly, and now you're trying to destroy her name.

GO TO: THE STAIRS. NICHOLAS SINKS DOWN, DISTRAUGHT, SHAKING HIS HEAD IN DENIAL, TEARS RUNNING DOWN HIS FACE. GO TO: THE PORCH.

JENNIFER TURNS AND RUNS OFF THE PORCH. LAWRENCE WATCHES HER RETREATING FORM.

LAWRENCE LAUGHS. HOLD ON LAWRENCE. THEN GO TO: NICHOLAS AS HE SITS ON THE STAIRS, SOBBING. OUT ON NICHOLAS. FADE TO BLACK.