VON LEUSCHNER HOUSE, VIENNA. JOHN IS ON THE PHONE WITH SHANE, TWO-WAY.

SHANE: I understand your excitement, but I'm afraid there has been a little problem.

JOHN: She hasn't escaped, has she?

SHANE: No, nothing like that. There's a problem extraditing her to Switzerland. She won't be here until tomorrow at the earliest.

JOHN: It's ok, gov'nor. Actually, this gives me an excuse to do something I've been avoiding.

SHANE: Like what?

JOHN: Visiting the old homestead.

SHANE: The old homestead?

JOHN: The Alamain estate. I have to go there and deal with that part of my life once and for all.

HOLD ON JOHN'S APPREHENSION.

CUT TO: JANET'S OFFICE. JANET IS SITTING AT HER DESK FILLING OUT FORMS AND LISTENING TO A TAPE OF AARON NEVILLE'S "LOUISIANA, 1927" WHEN THERE IS A KNOCK AT THE DOOR.

FRED POKES HIS HEAD IN.

JANET: Yes?

FRED: We just brought someone in, ma'am, and I thought maybe you'd want to be in on it.

JANET: What's going on? Come in and shut the door.

FRED WALKS IN AND STANDS UNCOMFORTABLY IN FRONT OF HER.

JANET LOOKS BLANKLY AT HIM AS FRED SHIFTS HIS WEIGHT NERVOUSLY.

JANET: (STILL IN THE DARK) Uh huh.

FRED: Well, something went down... Reed was supposed to throw a fight and refused to, at least according to the rumor mill.

JANET: Uh huh.

FRED: Bartoli lost a lot of money and decided to get revenge.

JANET: Uh huh.

FRED: So after a big party Uptown, Bartoli stalked Reed and Brady and threw acid in the girl's face.

JANET: (HORRIFIED) Oh my God.

FRED: Yeah. She had surgery earlier this week... We took up a collection to send her flowers, remember?

JANET: Yeah. I remember someone mentioning Brady's kid being in the hospital, but I had no idea...

FRED: Well. I figured since her dad used to be the Captain, you might be interested in this one.

JANET: (GRIMLY) You're right. Bring in Bartoli.

FRED: (SMILING) Yes, ma'am.

FRED GOES TO THE DOOR AND OPENS IT AS BOB AND JOE BRING IN GUS. THEY SEAT GUS IN A CHAIR IN THE MIDDLE OF THE ROOM.

GUS: (ARROGANTLY) Yeah.

JANET: We have some questions for you about Carrie Brady and the night of February 26, 1993.

GUS: Hey, I was outta town that night.

JANET: That's not what I hear.

GUS: Look, lady, I don't give a damn what you hear. I was out of town with my sick sister. Anyone who says I wasn't is a damn liar!

JANET: (TO FRED) Has he been mirandized?

FRED: Yes, ma'am.

JANET: Good. (TO GUS) So you can prove you were out of town that night?

GUS: Hell yes! I was set up. I ain't saying nothing else till I get a lawyer.

JANET: If that's the way you want to play it. I can call the public defender's office and get you a lawyer, or you can call someone yourself.

GUS: I'm a taxpayer. Call the public defender.

JANET: Fine. They'll send someone down here and then we'll continue this conversation.

JANET WALKS TO HER DESK AND PICKS UP THE PHONE. HOLD ON JANET DIALING.

CUT TO: SALEM GENERAL. JACK, WHITE-FACED AND WILD-HAIRED, RUNS INTO THE EMERGENCY ROOM. HE SKIDS INTO THE DESK WITH A THUD.

NURSE: (LOOKING TOWARD THE DOOR) Are you bringing someone in? Is there an emergency?

JACK: (PANTING) I got a call... they said there was an accident...

NURSE: Ok, sir, catch your breath. I need to know your name.

JACK: Deveraux. (DEEP BREATH) Jack Deveraux.

NURSE: All right, Mr. Deveraux. And you said your wife is here?

JACK: I don't know, dammit. Someone called and said she was here and I had to come...

NURSE: And your wife's name?

JACK: My wife (DEEP BREATH) is Jennifer Deveraux. Now will you tell me what the hell is going on?

THE NURSE TYPES SOMETHING INTO HER TERMINAL.

JACK: But how is she? What happened? When can I see her?

NURSE: I afraid I don't have any more information than that, sir. Dr. Granger is one of the best physicians we have. He'll be out to speak to you as soon as he can.

JACK: Abigail, my daughter. Where is she? Is she all right?

NURSE: (CHECKING) The paramedics only brought in one person...

JACK: (NEAR PANIC) My wife was on her way to pick up our baby. She might have been in the car.

THE NURSE BEGINS TO DIAL THE PHONE.

JACK: Please hurry...

THE NURSE CONNECTS WITH SALEM P.D., ONE WAY.

WE SEE JACK'S HANDS GRIPPING THE COUNTER, HIS KNUCKLES ARE WHITE.

WE SEE JACK ROCKING BACK AND FORTH.

OUT ON JACK'S TERROR.

SM. NURSES' STATION/LOUNGE. BO AND SHAWN-DOUGLAS ARE WALKING, BUT IT'S OBVIOUS THAT SHAWN-D IS RELUCTANT. FINALLY, BO STOPS WHEN HIS SON'S RESISTANCE BECOMES TOO GREAT TO IGNORE. BO PULLS SHAWN-DOUGLAS INTO AN ALCOVE WITH SOME CHAIRS, AND SITS DOWN, WITH SHAWN-DOUGLAS STANDING BETWEEN HIS LEGS.

BO ATTEMPTS TO BE LIGHT, BUT SHAWN-DOUGLAS' MOOD IS UNCHANGED.

SHAWN-DOUGLAS STARTS CRYING, AND BO TAKES THE BOY INTO HIS ARMS FOR A MOMENT, THEN RELEASES HIM SO HE CAN LOOK INTO HIS EYES.

SHAWN-D: I'm scared, Papa... I changed my mind, I wanna go home...

BO: Son, we talked about this... Dr. Ector won't give you a shot or examine you. He's just going to talk to you about things.

SHAWN-D: (SUSPICIOUS) Things like what?

BO: Oh, things you like to do, and school, and how you feel about things...

SHAWN-D: Will he ask me about... about Mommy? And you?

BO: Probably, but he'll only want to talk about it to make you feel better.

SHAWN-D: Are you sure, Papa?

BO: Yes, son, I'm sure... what's really worrying you, sailor?

SHAWN-D: I don't want... I'm afraid... I saw this TV show... the little girl felt bad all the time, and they took her away... away from her Papa...

BO: Oh, Shawn-D... Son, that's not going to happen here. That was TV, and the situation was different. I'll tell you one thing for sure, no one will take you away from me. I'd never let them.

SHAWN-D: You promise, Papa?

BO: I promise. I love you, Shawn-Douglas, and there's no way we'll ever be separated.

BO PULLS SHAWN-D BACK INTO HIS ARMS. HOLD ON FATHER AND SON HUGGING.

CUT TO: CARVER DINING ROOM. THE OAK TABLE IS SET WITH FLORAL PLACEMATS AND NAPKINS, A VASE OF DAISIES IN THE CENTER. LEXIE AND ABE HAVE JUST BROUGHT IN THE SERVING DISHES AND JOIN CARRIE AND JONAH, WHO ARE SEATED, AT THE TABLE.

CARRIE: I love it! It's so nice to have a home cooked meal again.

EVERYONE BEGINS TO HELP THEMSELVES AND PASS AROUND SERVING DISHES.

CARRIE: Hey, anyone can mistake horseradish for mayonnaise.

ABE: I don't think I want to know about that mistake... (BEAT) So what's your schedule going to be like this semester, Jonah?

JONAH: Not too bad, I'm only going to carry 12 units so I can...

LEXIE: Party?

JONAH: I was going to say work more hours. I could use the extra money.

LEXIE: To pay off those bills from partying last semester, no doubt.

JONAH: (DEFENSIVELY) I didn't ...

CARRIE: (QUICKLY) I'm really excited about getting back to classes this semester, too. I'm taking this anthropology class that sounds really great...

ABE: Have you decided on a major yet, Carrie?

JONAH AND LEXIE GLARE AT EACH OTHER FOR A BIT LONGER, THEN RESUME EATING. ABE AND CARRIE EXCHANGE CURIOUS GLANCES.

ABE: (LAUGHING) No way! I was a hotel management major, a history major, a psychology major, a business major, an English major...

JONAH: Those are pretty diverse interests.

ABE: Did I say I was interested in all of them? (HE PUNCHES JONAH ON THE SHOULDER) I was trying to get girls!

CARRIE: Is that how you met, Lexie?

LEXIE SNORTS BUT DOESN'T JOIN THE CONVERSATION.

ABE: Oh sure it did! Most of the time. I remember once... There was this girl I just had to meet and she wouldn't give me the time of day.

CARRIE: What did you do?

ABE: The only thing I could do. I declared myself an art major and signed up as a life model.

CARRIE: Isn't that...

JONAH: Nude modeling?!

LEXIE LOOKS ABE UP AND DOWN AND BEGINS LAUGHING. CARRIE AND JONAH JOIN IN. HOLD ON ABE'S INDIGNANT EXPRESSION.

CUT TO: HORTON LIVING ROOM. BILL IS SITTING ON THE FLOOR PLAYING WITH ABIGAIL. TOM AND ALICE SIT ON THE COUCH AND WATCH.

ABIGAIL COOS.

TOM: (PATERNAL PRIDE) We're both lucky to have such wonderful children and grandchildren. Speaking of which, (LOOKS AT HIS WATCH) shouldn't Jennifer be here by now?

ALICE: She and Jack have had so little time together lately that they've probably lost track of the hour.

BILL: I, for one, am glad they have... it gives me more time to spoil my little Abigail.

BILL AND ABIGAIL BEGIN TO PLAY AS THE PHONE RINGS.

ALICE PICKS UP THE PHONE, TWO WAY.

JACK: Mrs. Horton?

ALICE: Jack darling, we were just talking about...

JACK: Is the Child still with you?

ALICE: Well of course Abigail is here. Where else would she be?

JACK: (SOFTLY) Thank God...

ALICE: (CONT'D) And why are you asking such a foolish question... (TRAILS OFF AS SHE REALIZES SOMETHING IS WRONG) Jack? Why are you looking for Abigail? Where is Jennifer?

TOM AND BILL START TO LISTEN.

ALICE: JACK! Tell me.

JACK: She's been in an accident. Her car...

ALICE: Oh Lord! (TURNING TO GRAB TOM'S HAND) Jack... she's not...

JACK: No! No... she's... she's in surgery.

ALICE: Surgery? Where?

JACK: Salem General.

ALICE: How is she?

JACK: Mrs. Horton, I... I... don't know... I can't find out anything. They won't tell me anything... What if... what if...

ALICE: Jack, hold on. We'll be right there. Jennifer Rose will be fine. You must believe that.

JACK: I have to believe that...

OUT ON JACK'S ANGUISH.

ALAMAIN ESTATE. A RENTAL CAR PULLS UP TO THE ELABORATE GATES AND JOHN GETS OUT. HE STANDS BY THE SIDE OF THE CAR FOR A MOMENT, LOOKING UP AT THE HOUSE. HE TAKES A DEEP BREATH AND APPROACHES THE GATE. TWO GUARDS COME OUT AND BLOCK HIS PATH.

JOHN: I'm Forrest Alamain. This is my home.

KARL: Forrest Alamain?

JOHN: I'm Lawrence's younger brother. I just want to have a look around; I haven't been here since I was a child.

KARL: Show us your I.D.

JOHN REACHES FOR HIS WALLET AND HANDS HIS I.D. TO ONE OF THE GUARDS. THEY BOTH PEER AT IT AND TURN IT OVER A FEW TIMES.

JOHN: It's a long story. I changed my name. I won't bore you with the details.

KARL: Come off it, buddy. The Alamains are an important, powerful family. Why would you want to change your name?

JOHN: Like I said, it's a long story. I just want to look around, reminisce a little. You guys can understand that, right?

SVEN: Hey! I just "reminisced." You can't be Forrest, he's dead!

JOHN: Well, actually they only thought I was dead...

KARL DRAWS HIS GUN AND POINTS IT AT JOHN.

HOLD ON JOHN, RAISING HIS HANDS.

CUT TO: SALEM GENERAL. JACK IS STANDING IN FRONT OF THE NURSES' STATION, VISIBLY DISTRAUGHT. A NURSE, HOLDING A STACK OF FORMS, IS TRYING TO TALK TO JACK.

JACK PULLS HIS WALLET OUT OF HIS POCKET, OPENS IT, AND TAKES OUT A CARD. HE HANDS THE CARD TO THE NURSE.

NURSE: I'm sorry, Mr. Deveraux. I understand what you're going through right now, but we really need you to fill out the forms.

JACK: Nobody knows what I'm going through right now...

NURSE: Please, Mr. Deveraux.

JACK: Why don't you all just go to Hell!

JACK ANGRILY BRUSHES OFF THE NURSE, AND GOES TO STAND IN FRONT OF THE O.R. DOOR, WATCHING IN DESPERATION. JOE AND BOB ENTER. JOE PRESENTS HIS BADGE TO THE NURSE.

THE NURSE MOTIONS TOWARDS JACK. JOE AND BOB WALK UP TO JACK, WHO TURNS TO THEM. THEY PRESENT THEIR BADGES TO JACK.

JACK: Officers.

BOB: We received the call about your child...

JOE: We've searched the accident site, but...

JACK: My daughter is safe. She's at her great-grandparents'.

JOE: Good. (BEAT) I realize this is not a good time for you, but we have a couple of questions we'd like to ask you.

JACK: Well, I've got a few questions, myself. How the Hell did this happen? My wife is an excellent driver.

JOE CONSULTS HIS NOTES.

JACK: (PAINFULLY) A drunk driver?

BOB: We're currently searching for witnesses to the accident.

JACK: And her car?

BOB: It's been impounded for evidence.

JOE NOTICES JACK'S DISTRESS AND MOTIONS TO BOB.

JACK: Thank you.

JACK TURNS AND GOES BACK TO STARING AT THE O.R. DOOR. JOE AND BOB LEAVE.

TOM AND BILL ENTER, WITH ALICE FOLLOWING CLOSE BEHIND, HOLDING ABIGAIL. THEY SEE JACK.

JACK TURNS TO SEE THEM. HE WALKS DIRECTLY TO ALICE AND TAKES ABIGAIL INTO HIS ARMS, HOLDING HER TIGHTLY. ALICE PUTS HER ARM ON JACK'S SHOULDER.

JACK: I don't know. Nobody will tell me anything.

BILL: (CONCERNED) Let me see if I can find out who's in charge and get some answers.

JACK: (STRUGGLING) Thank you. I've tried, but...

BILL: That's okay, Jack, I understand. That's what family is for, to help.

JACK TOUCHES ABIGAIL'S FACE.

TOM: Let me take care of that.

JACK: Thank you... I don't...

ALICE: Don't you worry, Jack. We're here now and we're going to take care of you and Jennifer.

BILL AND TOM WALK UP TO THE NURSES' STATION. HOLD ON JACK, WITH ABIGAIL FIRMLY HUGGED TO HIS CHEST.

CUT TO: CARVER DINING ROOM/HALLWAY. JONAH AND CARRIE ARE CLEARING THE DINING ROOM TABLE WHEN ABE PULLS LEXIE ASIDE, INTO THE HALLWAY.

LEXIE: What?

ABE: That little scene in there with Jonah.

LEXIE: Oh, that.

ABE: Yeah. That. Don't you think you were being a little hard on him?

LEXIE: No. I don't.

ABE: Look, it's obvious he's trying hard. It's not easy working and going to school at the same time. I should know.

LEXIE: He needs to find out now that life isn't easy, that nothing's handed to you on a silver platter, like some of his med school friends. He has to learn that if you want to succeed, you have to work for it.

ABE: Look, I just think you should cut him some slack, okay?

LEXIE LOOKS AT HIM IN SILENCE.

CUT TO: CARVER KITCHEN. CARRIE IS SCRAPING OFF THE PLATES AS JONAH RINSES THEM AND FILLS THE SINK WITH SOAPY WATER.

JONAH: Sure. Totally cool.

CARRIE: Yeah. You and Lexie kinda got into it out there.

JONAH: Yup.

CARRIE: Wanna talk about it?

JONAH: I don't wanna dump all over you.

CARRIE: C'mon. What are friends for?

JONAH: Okay. I wish I knew what her problem is. I mean, it's like no matter what I do, it's never good enough for her.

CARRIE: Like what?

JONAH: Remember I told you about her catching me using Abe's credit card?

CARRIE: Yeah. You're paying it off, right?

JONAH: Not fast enough for her.

CARRIE: You've really buckled down lately...

JONAH: Still not good enough. Nothing's ever good enough. No matter what I do...

CARRIE: So what's her problem?

JONAH: I don't know. But every time I turn around I'm doing something wrong. It's getting harder and harder to live with her. I don't know how much longer I can take it.

CARRIE: I'm really sorry...

THERE IS A KNOCK AT THE DOOR.

CUT TO: FRONT HALLWAY. ABE ANSWERS THE DOOR TO FIND JANET STANDING THERE.

JANET: Hello, Mr. Carver. I'm looking for Carrie Brady. Is she here?

ABE: (CONFUSED) Yes...

JANET: I'd like to see her, please.

ABE: May I ask why?

JANET: Official police business.

ABE: It must be important for the Captain herself to make a personal call.

JANET: Consider it a professional courtesy. Carrie is, after all, the former Captain's daughter.

ABE: I thought you didn't play favorites.

JANET: (IGNORING THE JIBE) May I please see her?

ABE: (TURNING AND YELLING) Carrie!

CARRIE WALKS IN, DRYING HER HANDS ON A HAND TOWEL.

ABE: A visitor, for you...

CARRIE: For me? (LOOKING AT CAPTAIN YAMADA)

JANET: Miss Brady, I'm Captain Yamada, with the Salem P.D. I'd like you to come down to the station with me.

CARRIE: Why?

JANET: We need you to look at a line-up. We may have caught the man who attacked you.

HOLD ON CARRIE'S SURPRISE. AND OUT.

UNIVERSITY HOSPITAL CORRIDOR. BO AND SHAWN-DOUGLAS ARE TALKING QUIETLY TO EACH OTHER, IN FRONT OF THE DOOR TO DR. ECTOR'S OFFICE. THEY FAIL TO NOTICE AS A MAN HURRIEDLY TURNS THE CORNER, HIS ARMS FULL OF STUFFED ANIMALS OF ALL SHAPES, SIZES AND COLORS. AS THE MAN APPROACHES, HE SEES SHAWN-DOUGLAS AT THE LAST MINUTE, AND IN ATTEMPTING TO AVOID THE BOY, HE TRIPS ON THE TAIL OF A LARGE STUFFED LION, AND FALLS BACKWARDS. THE MAN ENDS UP SITTING ON HIS SOMEWHAT BRUISED POSTERIOR AMIDST A SEA OF STUFFED ANIMALS, AS BO AND SHAWN-DOUGLAS, UNABLE TO CONTROL THEIR LAUGHTER, LOOK ON.

SHAWN-DOUGLAS GIGGLES.

AT THIS, SHAWN-DOUGLAS CONVULSES IN MORE HELPLESS LAUGHTER, AS BO AND THE MYSTERY MAN SMILE AT HIS MIRTH.

JAMES: Think nothing of it, young man. Restitution is easily achieved... if I could ask your help?

BO OFFERS HIM A HAND UP AND THE MAN STANDS.

JAMES: Just inside the door (POINTS TO DR. ECTOR'S DOOR.)

BO: Are you...

JAMES: Dr. James Ector, at your service (HOLDS OUT HIS HAND)

BO: (SHAKES HANDS) And I'm Bo Brady. And this is my son, Shawn-Douglas.

DR. ECTOR GRAVELY EXTENDS HIS HAND, WHICH SHAWN-DOUGLAS DELIGHTEDLY SHAKES.

JAMES GRABS SEVERAL NEARBY ANIMALS AND TAKES THEM INTO THE OFFICE. BO HESITATES, AND LEANS DOWN TO WHISPER TO SHAWN-DOUGLAS.

SHAWN-D: He seems pretty ok... And I'm not "lion."

HOLD ON BO AND SHAWN-D PICKING UP STUFFED ANIMALS. SHAWN-D LAUGHING AT HIS OWN JOKE.

CUT TO: WINGS. THE CLUB IS STILL A SHAMBLES, BUT WE CAN SEE PROGRESS IS BEING MADE. THE WALLS ARE FRESHLY PAINTED AND THE STAGE IS NEARLY COMPLETED. JULIE, DOUG, MICKEY AND MAGGIE WALK IN FROM THE KITCHEN AREA.

JULIE: You know me, darling, when I get my mind set on something...

DOUG: Nothing can stop her.

MICKEY: She's a Horton, that's for sure. Tell me, when are you going to start booking acts?

DOUG: Why? Are you planning to audition?

MICKEY: I might... (CLEARING HIS THROAT, HE SINGS) "Standing on the corner, watching all the girls, watching all the girls go by..."

MAGGIE: Ohh... does that bring back memories.

DOUG: Of your courtship?

MICKEY: No! The Variety Show... Or have you forgotten?

JULIE: How could we ever forget the famous, or was that infamous, Cat Scanner Review?

DOUG: We worked on that for weeks. Let's see... my beautiful wife did a strip tease...

JULIE: And you and Maggie did the tango...

DOUG TURNS TO MAGGIE.

DOUG AND MAGGIE DO A FEW STEPS, TO MICKEY AND JULIE'S APPLAUSE. MAGGIE AND DOUG TAKE A BOW.

MAGGIE: Not bad... but I still bet Rosie and Robert would get the big applause.

DOUG: Ahhh... they were the best... the best people. You know, those were good times in Salem. I really miss them...

JULIE: As do we all...

THE PHONE RINGS.

DOUG ANSWERS THE PHONE, ONE WAY.

DOUG HANGS UP THE PHONE.

DOUG: That was Alice. She's at Salem General with Tom, Bill, Jack and Abby.

MAGGIE: It's Jennifer...

DOUG: Yes, she's been in a car accident. Alice said it was serious.

JULIE: Come on, let's go. The family needs us.

MAGGIE: Jack must be frantic...

MICKEY: And Bill...

DOUG: (GRABBING HIS CAR KEYS) I'll drive.

JULIE, DOUG, MICKEY, AND MAGGIE HEAD OUT THE DOOR.

CUT TO: ALAMAIN ESTATE. JOHN IS FACING OFF WITH THE TWO GUARDS AT THE GATE. KARL IS POINTING A GUN AT HIM. IN PROGRESS.

KARL: Not until you tell us who you really are and what you are doing here.

JOHN: Okay, I asked you nicely...

JOHN KICKS THE GUN OUT OF KARL'S HAND. HE THEN PIVOTS AND SPIN-KICKS KARL IN THE STOMACH. KARL DOUBLES OVER, AND JOHN SMASHES HIS KNEE INTO KARL'S FACE. KARL CRUMPLES TO THE GROUND. JOHN TURNS TO SVEN, WHO HAS DRAWN HIS GUN AND IS POINTING IT AT JOHN'S HEAD.

JOHN HESITATES, AS HE SEES AN OLDER, DISTINGUISHED-LOOKING MAN APPROACH THE GATE FROM THE INSIDE. WITHOUT A SECOND THOUGHT, HE CALLS OUT TO THE MAN.

JOHN'S IS SHOCKED WHEN HE REALIZES THAT HE REMEMBERS THE MAN.

JOHN: Franz, over here!

FRANZ ARRIVES AT THE GATE.

JOHN: Franz, it's me. Forrest.

FRANZ: (SHOCKED) Forrest?

SVEN: (PULLING BACK THE HAMMER ON HIS GUN) I'll tell you one last time...

FRANZ: (OPENING THE GATE) Put that gun away! (TO JOHN) Forrest, is it really you? (HE WALKS TOWARDS JOHN) I heard that you were alive, but I didn't really believe...

SVEN: Sir, this man's identification says that his name is John Black, not Forrest Alamain.

FRANZ: (ANGRILY TO SVEN) I'll handle this. (HE LOOKS CLOSELY AT JOHN'S FACE) Yes... Yes, it is you, Forrest. Your appearance has changed quite a bit, but the eyes... I'd know those eyes anywhere. It's good to see you, boy.

FRANZ REACHES OUT AND HUGS JOHN. JOHN, LOOKING VERY CONFUSED, WEAKLY HUGS HIM BACK. THEY SEPARATE.

JOHN: Well, I felt that it was time I came back here and resolved my past with the Alamain family.

FRANZ: What do you mean?

JOHN: It's a very long and complicated story... and I don't even know the whole of it.

FRANZ: You don't know...?

JOHN: The short version is: I was brainwashed several years ago. All of my memories were buried, and I was programmed to assume another man's identity.

FRANZ: (SHOCKED) My God...

JOHN: A couple years ago I found out I wasn't that man, and that I was really Forrest Alamain. Now, I'm finally starting to remember things from my true past.

FRANZ: Amazing...

JOHN: Yeah, it's pretty hard to believe. Perhaps you can help me. I still don't remember much from my childhood.

FRANZ: You remembered me.

JOHN: I remember your name and your face, and I know you were around when I was young, but nothing more comes to mind.

FRANZ: When I was 18 years old, I came to work here as a guard. My chief responsibility was watching over you and your brother. (BEAT) Come, let's continue this discussion inside, where we'll be more comfortable. (HE MOTIONS TOWARD THE GATE)

JOHN: All right.

FRANZ: (OPENING THE GATE) As Captain of the Guard, it is my pleasure to welcome you home, Master Forrest.

JOHN NODS TO FRANZ AND WALKS THROUGH THE GATE. FRANZ TURNS AND WALKS BY JOHN'S SIDE. SVEN CLOSES THE GATE BEHIND THEM. HOLD ON THE BACKS OF JOHN AND FRANZ AS THEY WALK TOWARD THE HOUSE. AND OUT.

SALEM P.D. JANET, CARRIE, AND THE PUBLIC DEFENDER (PD) ARE SITTING IN A DARKENED ROOM LOOKING THROUGH A WINDOW INTO THE ROOM WHERE LINEUPS ARE DONE. CARRIE IS NERVOUS, THE PD IS BORED.

CARRIE: No, I just want to get it over with.

JANET GETS UP AND GOES ACROSS THE ROOM TO PRESS AN INTERCOM BUTTON. SHE RETURNS TO HER SEAT AS WE SEE BOB LEAD IN A GROUP OF MEN, INCLUDING FRED AND GUS. HE INSTRUCTS THEM TO FACE FORWARD, THEN TO THE SIDE, THEN FORWARD AGAIN.

JANET: Which man, Carrie?

CARRIE: Third from the right, the one in the striped shirt.

JANET: Are you sure?

CARRIE: Positive.

JANET: Let the record show, Ms. Brady has positively identified Gus Bartoli as her assailant.

PD: An identification does not mean my client is guilty, Captain. Ms. Brady here admits that it has been a while since she's seen Mr. Bartoli and she did meet him under questionable circumstances...

CARRIE: What are you saying?

PD: Well, your boyfriend was known to be running a gambling ring. And he did introduce you to my client...

JANET: Save that for a judge. The I.D. is good enough for us. We're officially charging Mr. Bartoli with aggravated assault.

THE PD LEAVES THE ROOM, WHILE JANET SIGNALS TO BOB TO TAKE THE MEN OUT.

JANET: I'll need you to make a statement and then we'll take Gus down to booking and show him to a nice comfy cell.

CARRIE: What do you need to know.

JANET GRABS A PAD FROM THE TABLE.

CARRIE: (DEEP BREATH) Gus threatened Austin after he refused to throw a fight. Austin and I were at a party for the Face of the 90's contest for Bella Magazine. I won! I was so happy that night. Austin and I planned to go away for the weekend to celebrate. We were so happy, so excited. Austin picked me up and twirled me around. I saw Gus and this other guy behind us. (SHE BEGINS TO TOUCH HER FACE) Gus threw something and it hit me in the face. It hurt real bad, it burned. I think I passed out. When I came to I was in the hospital and they said it was acid and I would be scarred.

JANET: Would you be willing to get up in court and testify against Gus? Tell them what you just told me?

CARRIE: I think so.

JANET: I need a definite answer, Carrie.

CARRIE: (STILL TOUCHING HER FACE) I'm scared. I really thought I was over this. What with the surgery and all. But I guess going over it, seeing Gus again, it's taken a lot out of me.

JANET: You're not only an eye witness, you're the victim. Without you, we can't put him away.

CARRIE: (DEEP BREATH) Ok. Yes. I'll do it.

JANET: (PUTTING HER ARM AROUND CARRIE) Good girl. I'm proud of you.

CARRIE: I want Gus to go to prison for what he did to me. He will, won't he?

JANET: If we have any say in the matter, he will. I'll let the District Attorney's office know and they'll get in touch with you.

HOLD ON CARRIE, TOUCHING HER FACE.

CUT TO: SALEM GENERAL. ALICE IS SITTING DOWN, HOLDING ABIGAIL IN HER LAP. JACK IS PACING BACK AND FORTH IN FRONT OF HER.

JACK: I can't... I just can't... sit here and do nothing.

ALICE: I know it's hard...

JACK: My wife is in there, going through God knows what, and no one will tell me anything...

ALICE: Don't worry, Jack, I'm sure Tom and Bill will be able to find out something.

TOM AND BILL ENTER.

JACK: (RUSHING TO MEET TOM AND BILL) Doctor Horton! And... Doctor Horton. What's going on? How is Jennifer?

BILL: Jack, calm down...

TOM: We weren't able to learn very much, I'm afraid.

JACK: Tell me...

BILL: She's in O.R. The attending surgeon is still in with her.

JACK: I knew that. How is she? Will she be all right? Why can't someone tell me that?

TOM: I'm sorry, Jack. There wasn't anyone available who could tell us more about her condition.

JACK: But you're doctors! They can't just shut you out like the rest of us.

BILL: (FRUSTRATED) Unfortunately, Jack, they can. This isn't University Hospital.

JACK: (TURNING AND WALKING AWAY) I can't believe this... this can't be happening...

JULIE, DOUG, MAGGIE, AND MICKEY ENTER. JULIE WALKS OVER TO JACK AND PUTS HER ARMS AROUND HIM. DOUG, MAGGIE, AND MICKEY JOIN THE OTHERS.

JACK BEGINS TO PULL AWAY FROM JULIE. BUT SUDDENLY HE THROWS HIS ARMS AROUND HER AND HOLDS HER TIGHT, SURPRISING BOTH OF THEM. THEY FINALLY SEPARATE.

JACK: No, we haven't. No one at this place will tell us anything.

JULIE: Uncle Bill, what's going on?

BILL: We tried, Julie, but there's nothing to tell, not yet. Jennifer's still in surgery.

JULIE: But she's going to be all right...

DOUG: Of course she is. She's a healthy, strong, young woman.

ALICE: Yes, she's going to be just fine.

MICKEY: She's a fighter. She'll pull through.

MAGGIE: (TO JACK) She'll be okay. And so will you. All three of you will get through this.

JACK: (TAKING ABIGAIL FROM ALICE) I wish I could believe all of you, but I'm just not sure... I'm not sure that everything's going to be all right.

JACK BEGINS TO WALK, ROCKING ABIGAIL IN HIS ARMS.

HOLD ON JACK AND ABIGAIL.

CUT TO: ALAMAIN ESTATE. JOHN AND FRANZ ARE WALKING ALONG A PATH ON THE SIDE OF THE MAIN HOUSE. JOHN SEES A PAVED ROADWAY LEADING TO A HUGE GARAGE WITH FIVE DOORS.

FRANZ: Yes, you spent many hours there with your father and the chauffeur, caring for the cars. You were quite the little mechanic's assistant.

THEY WALK TOWARD THE GARAGE AS THEY CONTINUE TALKING.

FRANZ: (PAUSING A MOMENT IN CONTEMPLATION) Yes... Yes, young Lawrence also came here, though not as often as you.

THEY REACH THE NEAREST GARAGE DOOR. JOHN FINDS A BUTTON NEXT TO THE DOOR AND PRESSES IT. THE DOOR OPENS AUTOMATICALLY, AND HE STEPS INSIDE. THE SPACE IS EMPTY.

FRANZ: Yes, your brother was always more adept at intellectual pursuits.

JOHN: Sometimes he couldn't do what father asked him to... And Leopold would get angry with him.

JOHN FLASHES BACK TO A TIME WHEN HE WAS HELPING THE CHAUFFEUR WAX ONE CAR WHILE LEOPOLD AND A YOUNG LAWRENCE WORK ON ANOTHER. WE SEE LEOPOLD SHOUTING AT LAWRENCE. FINALLY, LEOPOLD GESTURES ANGRILY TOWARD THE HOUSE, AND LAWRENCE WALKS AWAY, CRYING. JOHN COMES OUT OF THE FLASHBACK.

JOHN LEAVES THE GARAGE AND PRESSES THE BUTTON TO CLOSE THE DOOR. HE GLANCES TOWARD THE REAR OF THE HOUSE AND SMILES.

FRANZ: Oh, yes, I remember the many summer days you spent in that garden.

THEY WALK DOWN A PATH TOWARD THE GARDEN.

FRANZ: (CHUCKLING) Yes... Fortunately, I was always able to find you.

JOHN AND FRANZ WIND THROUGH THE ROWS OF FLOWERS. HE STOPS TO GAZE AT A ROW OF ORCHIDS.

FRANZ: Your Aunt Vivian used to tend to the orchids herself when she visited. They were always very special to her.

JOHN CLOSES HIS EYES AND REMEMBERS ANOTHER TIME IN HIS CHILDHOOD. WE SEE VIVIAN AND A YOUNG FORREST. VIVIAN HAS BROUGHT HIM OUTSIDE AMONG THE ORCHIDS. SHE IS SMILING AND HAS SOMETHING HIDDEN BEHIND HER BACK.

VIVIAN: It's a very special surprise for you, Forrest.

VIVIAN PRODUCES A SMALL DOLL DRESSED UP LIKE A SAMURAI WARRIOR. IT HAS SILK ROBES AND WEAPONS MADE OF BALSA WOOD.

VIVIAN: Yes, darling, straight from Japan. (HANDING THE DOLL TO HIM) Now, be very careful with him. He's very fragile.

FORREST: I'll put him in my special place, where he'll be safe.

WE SEE JOHN OPEN HIS EYES AND TURN TO LOOK AT THE HOUSE.

FRANZ: Certainly, follow me.

THEY WALK BACK TO THE HOUSE, AND ENTER THOUGH A SET OF GLASS-PANED DOUBLE DOORS THAT OPEN INTO A SMALL LIBRARY. JOHN PAUSES A MOMENT AND LOOKS AROUND.

THEY CONTINUE THROUGH A LARGE DINING ROOM AND INTO THE MAIN ENTRY. THEY WALK UP A WINDING STAIRCASE TO THE SECOND FLOOR. THEY PROCEED DOWN A LONG HALLWAY, PASSING SEVERAL ROOMS. FINALLY, FRANZ STOPS. HE TAKES A KEY RING OUT OF HIS POCKET AND UNLOCKS THE DOOR. HE OPENS THE DOOR AND MOTIONS TO JOHN TO ENTER.

JOHN ENTERS AND TURNS ON A LIGHT.

JOHN: (LOOKING AROUND) Yes, it's just as it was... Just as I remember it.

THE ROOM IS SPACIOUS BUT DARK AND COVERED WITH A THICK BLANKET OF DUST. IT HAS A KING-SIZED BED, A DESK, AND A LARGE SET OF DRESSER DRAWERS. THERE ARE TWO DOORS, ONE ON THE LEFT WALL AND ONE ON THE RIGHT. JOHN OPENS THE DOOR ON THE LEFT, AND SEES THAT IT LEADS TO A SMALL BATHROOM. HE PROCEEDS TO THE OTHER DOOR, AND OPENS IT INTO REVEAL A WALK-IN CLOSET.

JOHN: I had a "safe place," someplace only I knew about. (BEAT) I had a treasure box there...

JOHN WALKS TO THE MIDDLE OF THE ROOM AND THEN TURNS IN A CIRCLE, LOOKING UP AND DOWN. HE STOPS WHEN HE IS FACING THE DRESSER DRAWERS. HE WALKS OVER TO THE RIGHT OF THE DRAWERS AND KNEELS DOWN. HE LIFTS UP ONE OF THE FLOORBOARDS. HE REACHES INSIDE AND PULLS OUT A SMALL WOODEN BOX WITH A LOCK ON IT. HE REPLACES THE FLOORBOARD AND TAKES THE BOX OVER TO THE DESK.

JOHN: We'll find out in a minute.

JOHN OPENS THE SECOND DRAWER OF THE DESK AND REMOVES A KEY. HE USES THE KEY TO OPEN THE TREASURE BOX. HE REACHES INSIDE AND PULLS OUT THE SAMURAI DOLL.

OUT ON JOHN'S SMILE.

JANET'S OFFICE. ABE AND LEXIE ARE WAITING OUTSIDE THE OFFICE, SHARING SURPRISED LOOKS AT THE INDUSTRY AND GENERAL WELL-RUN APPEARANCE OF THE PLACE. JANET OPENS THE DOOR AND SHOWS IN THE TWO.

ABE: Thank you, Captain Yamada.

LEXIE: And please, call us Abe and Lexie...

JANET: And call me Janet, please.

ABE: Did Carrie I.D. Bartoli?

JANET: Yes, she did. The D.A. is pressing charges for aggravated assault.

ABE: Good. I hope they put away that S.O.B. for a long time...

ABE LOOKS AROUND AND IS OBVIOUSLY SURPRISED AT THE APPEARANCE OF HIS OLD OFFICE. ALL THE DEBRIS IS GONE, THERE ARE TIDY STORAGE AREAS, COLORED FOLDERS WITH CASE NAMES STENCILED ON THEM AND EVERYTHING IS CLEAN AND POLISHED. THERE IS EVEN A COLORFUL PAINTING ON THE WALL, AND A SMALL, COMFORTABLE CHAIR IN THE CORNER WITH A THROW PILLOW ON IT.

ABE: What... oh... it just looks so different...

JANET: You'll find many things have changed here.

ABE: But... but it's decorated... I don't think Roman and I ever thought once about pillows or paintings... we never bothered with that stuff...

JANET: It became clear to me upon assuming command that there were many things that you and Captain Brady never "bothered with"...

ABE: Hey, the department was in good shape when you "assumed command", Captain... (BRISTLING) even if we didn't put up paintings...

JANET: If you consider nepotism, sloppy record keeping and a breakdown of discipline "good shape", then I'd have to agree with you. By the way, I decided that all those empty pizza boxes weren't related to a case, so I threw them out. I hope you don't mind...

ABE: (TIGHTLY) Did the department provide you with the white gloves, or did you use your own? And is goose-stepping mandatory or optional?

LEXIE: Abe... please... Captain Yamada... Janet... has graciously given us her time to discuss the break-in at the agency... not... um... to compare leadership styles...

JANET: Indeed, Lexie, indeed.

LEXIE: So have you gotten any leads?

JANET: We're still looking, but we've uncovered nothing new so far...

ABE: (SOTTO VOCE) So much for leadership styles...

LEXIE: (KICKS ABE WITH HER FOOT) Nothing?

ABE: Frankly, I wouldn't look any further than Lawrence Alamain.

JANET: We have, but as my policy is to neither encourage nor sustain vendettas, we haven't done any major investigation in his direction, since he lacks real motive...

ABE: Lacks motive? Only if you're short-sighted enough not to consider our investigation into his background for what was to be Carly's custody case, and his generally unsavory practices motive enough...

JANET: Must I remind you, Carver, I make the decisions now as to what constitutes motive?

ABE: Might I remind you, Captain, that you have, so far, nothing new as far as leads go?

JANET: (DEEP BREATH) This is getting us no-where. We clearly both have a different perception... rather than letting that bring us to daggers-drawn, why don't we try to use that to our best advantage?

LEXIE: What do you mean?

JANET: Exactly this: I'll share with you certain information regarding the Manning murder investigation, in return for your cooperation in sharing what you've uncovered about her background, and Lawrence Alamain's, among other things.

ABE: Other things being subject to negotiation?

JANET: Of course. If we combine all our styles and expertise, maybe we can work as a team to put the pieces together and solve these cases...

HOLD ON ABE AND LEXIE'S EXCHANGED LOOK.

CUT TO: UNIVERSITY HOSPITAL. DR. JAMES ECTOR, BO, AND SHAWN-DOUGLAS ARE IN JAMES' OFFICE. SHAWN-DOUGLAS IS LOOKING THROUGH SOME OF THE MANY TOYS.

JAMES: You're very welcome. You have a fine son, Mr. Brady.

BO: Yeah, he's pretty special.

JAMES: Mr. Brady, would you mind waiting in the lobby while I speak with Shawn-Douglas alone?

BO Um, I think he might need me.

JAMES: If he asks for you, I'll call you in right away. I think he might be a little more willing to speak with me, if we're alone.

BO: (RELUCTANTLY) OK. (TO SHAWN-DOUGLAS) I'll just be outside the door, Sailor.

SHAWN-D: OK. Bye, Papa.

BO EXITS THE OFFICE AND SHUTS THE DOOR.

JAMES PATS A LARGE BEANBAG. SHAWN-DOUGLAS SITS DOWN, BUT LOOKS NERVOUS. JAMES SITS ON A COUCH OPPOSITE SHAWN-DOUGLAS.

SHAWN-D: I guess so.

JAMES: I don't want you to be afraid.

SHAWN-D: I'm not scared. I just don't want to mess things up again.

JAMES: There's no way you can mess things up. I just want to talk to you.

SHAWN-D: (RELIEVED) Oh, good.

JAMES: Shawn-Douglas, did your father explain to you why you're here?

SHAWN-D: Uh huh. He said you can help me with my feelings.

JAMES: Good. Is it okay to talk about how you feel?

SHAWN-D: I guess so. I haven't been feeling very happy.

JAMES: For how long?

SHAWN-D: Ever since Carly died.

JAMES: Was Carly your mother?

SHAWN-D: No. My mommy died a long time ago.

JAMES: Do you miss your mommy?

SHAWN-D: Yes. (BEAT) I can't remember her all the time.

JAMES: What do you remember?

SHAWN-D: She smelled really pretty...

JAMES: And?

SHAWN-D: Her hair was long and pretty. She used to let me brush it. I like looking at her pictures.

JAMES: Do you remember anything else?

SHAWN-D: I always felt good when I was with her. My Papa was happy, too.

JAMES: And, what about Carly? What was she like?

SHAWN-D: She made my Papa happy again.

JAMES: And you?

SHAWN-D: She was always very nice to me.

JAMES: Anything else?

SHAWN-D: (DISTRACTED) Not really.

JAMES: That's okay. How do you like school, Shawn-Douglas?

SHAWN-D: It's ok...

HOLD ON THE TWO IN CONVERSATION.

CUT TO: SALEM GENERAL. JACK IS PACING ANXIOUSLY BACK AND FORTH. EVERY SO OFTEN, HE GLANCES IN THE DIRECTION OF THE OPERATING ROOM. ALICE IS SITTING IN A CHAIR, HOLDING ABIGAIL, WHILE MAGGIE, TOM, AND JULIE ARE SITTING ON A NEARBY COUCH. DOUG STANDS NEXT TO JULIE, WITH HIS ARM ON HER SHOULDER. MICKEY IS FLIPPING THROUGH A MAGAZINE. BILL STANDS AGAINST A WALL, STARING OFF INTO SPACE.

JACK STOPS PACING AND LOOKS TOWARDS THE O.R.

ALICE: Why don't we all go down to the cafeteria and get some coffee? Jack, it might do you good to take a break.

JACK: (STARING AT ALICE IN DISBELIEF) Coffee? I don't want coffee! I want Jennifer!

JULIE: Jack, calm down. Shouting isn't going to help Jennifer.

JACK: I don't want to calm down! I want...

JACK IS CUT OFF BY ABIGAIL CRYING. TURNING TOWARDS HIS DAUGHTER, JACK NOTICES THAT ALICE IS ON THE VERGE OF TEARS.

JACK PUTS A HAND ON ALICE'S SHOULDER AND BENDS DOWN TO PICK UP ABIGAIL, WHO QUIETS IMMEDIATELY IN JACK'S ARMS.

BILL WALKS UP TO JACK.

ALICE: But we need to stick together in times like these.

JULIE: (STANDING UP) Grandma's right. (BEAT) Why doesn't everyone go to the cafeteria for coffee, and bring some back for me and Jack. I'd like to talk to Jack alone.

MAGGIE: That sounds like a good idea. (TO JACK) Can I take Abby?

JACK: I don't know...

JULIE: I'm sure she'll be just fine.

JACK HANDS ABIGAIL TO MAGGIE. DOUG KISSES JULIE ON HER CHEEK. EVERYONE EXCEPT JULIE AND JACK HEAD TO THE CAFETERIA.

JULIE: (MOTIONING TO THE COUCH) Let's have a seat.

JACK: You know, I don't really feel like talking.

JULIE: Jack dear, I know how much you're hurting and how much you love Jennifer.

JACK: Why is it, that in situations like this, everyone always states the obvious? Of course, I love Jennifer. Of course, I'm worried to death about her. What else would I be?

JACK SITS DOWN ON THE COUCH.

JULIE: To help you?

JACK: Help me? No one can help me.

JACK STANDS UP AGAIN.

JACK COVERS HIS FACE.

JACK SITS DOWN AND TURNS TO JULIE.

JULIE GENTLY RUNS A HAND THROUGH JACK'S HAIR.

JACK LOOKS AT JULIE AND SEES HER PAIN.

JACK TAKES JULIE'S HAND AND KISSES IT. THE TEARS SLOWLY FLOW FROM JULIE'S EYES. JACK TAKES OUT HIS HANDKERCHIEF AND HANDS IT TO HER. JULIE SMILES AND DRIES HER EYES.

JACK SUDDENLY STANDS UP.

OUT ON JACK EXITING THE WAITING ROOM AS JULIE LOOKS AFTER HIM.

DR. ECTOR'S OFFICE. SHAWN-D AND JAMES ECTOR, IN PROGRESS.

SHAWN-D: They are. My grandma makes me pancakes for breakfast when I stay over at their house.

JAMES: And you stay with them a lot?

SHAWN-D: Yeah... Papa's awful busy...

JAMES: Tell me, how do you feel about your father?

SHAWN-D: I love my Papa. But...

JAMES: But, what?

SHAWN-D: But, I'm scared that I'll lose him.

JAMES: Why is that?

SHAWN-D: Because everyone I love leaves me. I tried to stop that from happening.

JAMES: How?

SHAWN-D: I tried to be really mean, so that nobody would love me. Then they wouldn't leave me.

JAMES: And did that work?

SHAWN-D: No. My grandpa Doug said it was a bad idea. He told me to talk to a grown-up when I felt bad.

JAMES: Did you?

SHAWN-D: I tried, but it didn't work either.

JAMES: Do you talk to your father when you feel bad?

SHAWN-D: He used to be busy, but now he's spending more time with me.

JAMES: Do you like spending more time with your father?

SHAWN-D: Oh, yes! After Carly... died... Papa paid more attention to me.

JAMES: But, before Carly died, he didn't?

SHAWN-D: No. It was almost like I wasn't there.

JAMES: How did that make you feel?

SHAWN-D: Angry... and sad.

JAMES: Do you miss Carly?

SHAWN-D: Yes... sometimes.

JAMES: What do you mean?

SHAWN-D: Sometimes, I'm glad she's gone, because now my Papa doesn't ignore me anymore.

HOLD ON JAMES' INTRIGUE.

CUT TO: ALAMAIN ESTATE. JOHN IS STANDING AT THE DOUBLE DOORS THAT LEAD TO THE GARDEN. HE HAS THE SAMURAI DOLL IN ONE HAND AND AN OLD PHOTOGRAPH IN THE OTHER.

JOHN LOOKS TO HIS RIGHT AND SEES A LARGE TABLE ON THE PATIO. HE REMEMBERS A WARM SUMMER NIGHT, WE SEE A BRIEF FLASH OF JOHN (FORREST), LAWRENCE, AND THEIR PARENTS AT DINNER ON THE PATIO.

JOHN WANDERS INTO THE GARDEN. HE PAUSES MOMENTARILY TO LOOK AT THE TREE THAT LEOPOLD PLANTED. HE THEN WALKS OVER TO THE SWIMMING POOL, KNEELING DOWN BY THE EDGE OF THE POOL.

AS HE STARES AT THE WATER, JOHN RECALLS THE SOUND OF SPLASHING WATER AND THE SOUND OF HIS VOICE CALLING TO LAWRENCE FOR HELP. HE SHUDDERS, AND SHAKES HIS HEAD. HE STANDS UP SLOWLY, STILL STARING AT THE WATER. AFTER A PAUSE, HE WALKS AWAY FROM THE POOL AND WANDERS AMONG THE TREES LINING THE YARD. HE STOPS TO LEAN AGAINST ONE OF THE LARGER TREES. HE LOOKS AT THE PHOTOGRAPH. IT IS A PICTURE OF HIM AND LAWRENCE AS YOUNG BOYS. THEY ARE STANDING HAND-IN-HAND AND SMILING.

JOHN PUTS THE PHOTOGRAPH IN HIS POCKET AND HOLDS UP THE SAMURAI DOLL, LOOKING CLOSELY AT IT.

JOHN SIGHS RESIGNEDLY AND WALKS BACK TO THE HOUSE. HE ENTERS THE DOUBLE DOORS AND GOES INTO THE LIBRARY. HE WALKS OVER TO A DESK AND PICKS UP THE PHONE AND DIALS, TWO-WAY.

JOHN: Shane, it's John.

SHANE: John, where are you?

JOHN: I'm still at the family estate.

SHANE: How goes the walk down memory lane?

JOHN: Better than I expected. I'm remembering everything.

SHANE: Everything?

JOHN: Well, everything about my early childhood, the times I spent living here.

SHANE: How much longer do you plan on staying?

JOHN: I'm finished here, I think. I'll catch a flight back to Geneva tonight.

SHANE: Good. That's perfect timing.

JOHN: What do you mean?

SHANE: We finally worked out a transfer for Danielle. She'll be arriving tomorrow morning.

JOHN: Shane, that great! I'll get back there as soon as I can.

SHANE: Good. I'd like for us to talk before we start questioning Danielle.

JOHN: Do you have something?

SHANE: Well, I've been reading those letters of Carly's that you faxed to me from Vienna, and I've been checking the facts...

JOHN: And?

SHANE: Let's not discuss it over the phone. It can wait until tonight when you get back.

JOHN: Okay. I'm going to head to the airport now and get the first available flight. I'll call you from the airport and let you know when I'll be getting in.

SHANE: Very good.

JOHN: Hey, Shane...

SHANE: Yes?

JOHN: I can't thank you enough for your help. I couldn't have done this without you.

SHANE: It's my pleasure, John. Hopefully, between the information in Carly's letters and whatever we can find out from Danielle, we'll have all of the pieces of the puzzle.

JOHN: Yeah, I hope Dani can help clear up some of the mysteries we still haven't solved.

SHANE: We'll find out tomorrow.

JOHN: Right. I'm gonna go now. I'll call you later.

SHANE: Okay. Good-bye, John.

JOHN: 'Bye.

JOHN HANGS UP THE PHONE.

HOLD ON JOHN.

CUT TO: HOSPITAL CHAPEL. JACK SLOWLY OPENS THE DOOR AND STEPS INSIDE. HE LOOKS AROUND NERVOUSLY. WHEN HE IS CERTAIN THAT HE IS ALONE, HE SITS DOWN IN A PEW NEAR THE BACK OF THE CHAPEL. HE STARES AT THE ALTAR FOR A LONG BEAT.

JACK LEANS BACK, FOLDING HIS HANDS TOGETHER IN HIS LAP.

JACK PAUSES AND EXHALES DEEPLY.

JACK LEANS FORWARD, RESTING HIS ELBOWS ON HIS KNEES AND HIS CHIN ON HIS CLASPED HANDS.

JACK STANDS UP IN THE AISLE, PLACING HIS HANDS IN HIS POCKETS.

A SINGLE TEAR FALLS FROM HIS EYE. HE WIPES THE TEAR AWAY AND SLOWLY WALKS UP THE AISLE TOWARD THE ALTAR.

TEARS BEGAN TO ROLL DOWN HIS CHEEKS.

JACK KNEELS DOWN AT THE ALTAR.

JACK CLOSES HIS EYES AND LOWERS HIS HEAD. CLOSE IN ON JACK'S FACE, THEN SLOWLY PULL BACK TO A LONG SHOT OF JACK KNEELING AT THE ALTAR. AND OUT.

CARVER BEDROOM. ABE AND LEXIE ARE DRESSED FOR BED. ABE IS IN BLUE COTTON PAJAMAS AND A LOUD RED GREEN AND PURPLE PRINT BATHROBE. LEXIE IS WEARING A LONG COTTON GOWN AND A PINK SATIN ROBE WITH A FLORAL PRINT. THEY ARE BOTH SIPPING GLASSES OF WINE AS THEY SIT ON THE BED.

LEXIE: You can say that again. I'm glad that slimebag Bartoli is behind bars. I want to see him pay for what he did to Carrie.

ABE: Me, too. I just hope he doesn't get off. This `sick sister' routine is so old...

LEXIE: But sometimes effective.

ABE: I guess we just have to wait and see... and trust the system. It does work. Most of the time.

LEXIE: Yeah. I just hope this one doesn't slip between the cracks.

ABE: (LONG BEAT AS HE PLAYS WITH HIS WINEGLASS) You know, it sure felt strange, sitting in that office again... on the wrong side of the desk.

LEXIE: Miss it?

ABE: Every once in a while. But I'm glad I left.

LEXIE: Me, too. I like feeling like we're doing something on our own.

ABE: So. What do you think of the Captain's offer?

LEXIE: I don't know.

ABE: Makes two of us.

LEXIE: I wonder if we can trust her?

ABE: I think so. She seems to be a capable cop. A little too... dictatorial for my tastes, but a good cop.

LEXIE: I agree. But only to a point. I think there are definite lines she won't cross.

ABE: Agreed.

LEXIE: And it could be good to get an outsider's viewpoint.

ABE: True. But then again, knowing local history can help. Does she know any better than to trust people like Lawrence and Victor?

LEXIE: If she has cop instincts...

ABE: Seems to me she has desk jockey instincts.

LEXIE: Feeling cranky, are we?

ABE: Sorry. Those little jabs of hers...

LEXIE: I wonder how long this truce will last?

ABE: And what will she expect from us in the future?

LEXIE: (LAUGHING) God, Abe! Would you listen to us? Did you ever think you'd see the day when we would debate about working with the SPD?

ABE: (CHUCKLING) No, I guess not. It's funny. I guess if I were in her shoes, I'd be pretty fed up with us about now...

LEXIE: Yeah. And complaining to your wife about thick-skulled PIs who refuse to help the police.

ABE: I guess that settles it then.

LEXIE: Guess so. But I want to see some hard evidence of her intentions before we give her everything.

ABE: Are you thinking what I'm thinking?

LEXIE: Some of the evidence we have doesn't really relate to Carly's murder...

ABE: Nope. Some of it is strictly on Alamain.

LEXIE: And none of it has to do with his relationship to her...

ABE: Like that phone number from John...

LEXIE: Exactly.

ABE: Exactly.

HOLD ON ABE AND LEXIE LOOKING AT EACH OTHER.

CUT TO: DR. ECTOR'S OFFICE/CORRIDOR. BO IS WAITING, FIDGETING, IN THE CORRIDOR. HE STARTS TOWARDS THE DOOR, HAND OUTSTRETCHED TO OPEN IT, THEN SHAKES HIS HEAD AND RESUMES STANDING ACROSS FROM THE DOOR. HE AGAIN STARTS TOWARDS THE DOOR, AND AGAIN DECIDES THE BETTER OF IT. JUST THEN THE DOOR OPENS, AND JAMES GESTURES BO INSIDE. SHAWN-DOUGLAS IS INTENTLY EXAMINING A STUFFED BEAR, CLEARLY TRYING TO HIDE HIS AGITATION. BO TAKES THIS IN, AND LOOKS QUESTIONINGLY AT THE DOCTOR.

JAMES: He's going to be fine, but I think I'd like to talk to him once weekly for a while.

BO: Is that good or bad?

JAMES: There is no such judgement regarding counselling, Mr. Brady. It simply is what I think will help him most.

BO: Ok... we can manage that.

JAMES: In addition, I'd like to see you both in a few weeks, so we can discuss the family dynamics between you...

BO: Consider me available for whatever you need... I'm totally committed to helping Shawn-D get better...

JAMES: He's a very confused and angry young man right now... My task is to determine exactly why, and persuade him to discuss it with me in detail...

BO: Should I do anything at home?

JAMES: Just listen to him, really listen, and give feed-back that supports his self-esteem. He needs a positive and stable environment. Be with him as much as you can.

BO: Ok, Dr. Ector.

JAMES: Call me James. I'll see you next week, Shawn-Douglas, Mr. Brady...

BO: (TO JAMES) Bo, please. (TO SHAWN-D) Shawn-D, come on, let's see if they have your favorite chocolate-ripple ice-cream at the cafeteria...

JAMES: They do, Shawn-Douglas. It's my favorite, too. I had some today at lunch.

SHAWN-D: Thanks, Dr. Ector... I'll see you next week... Bye...

JAMES: Good-bye...

BO AND SHAWN-D WALK OUT THE DOOR, TOWARDS THE CAFETERIA, AS JAMES LOOKS AFTER THEM.

CUT TO: HOSPITAL CAFETERIA. SHAWN-DOUGLAS IS QUIET AS BO BUYS HIM A CHOCOLATE-RIPPLE ICE-CREAM CONE AND THEY SIT AT A TABLE.

SHAWN-D: He's ok, and he's got some neat stuff in his office...

BO: Do you think you'll like talking to him every week?

SHAWN-D: I guess so...

BO: Are you still afraid?

SHAWN-D: Not really, Papa. Dr. Ector said he thinks you're a good Papa, and that you and I will do fine.

BO: That's good, Shawn-D. I told you he was a smart guy.

SHAWN-DOUGLAS DOESN'T COMMENT, BUT CONTINUES LICKING AT HIS ICE-CREAM CONE.

SHAWN-D: That's what you want... really?

BO: More than anything else in the whole, wide, world...

SHAWN-D: (SMILES) I love you, Papa...

BO: And I love you, Shawn-D.

HOLD ON SHAWN-DOUGLAS' HAPPY, ICE-CREAM SMEARED FACE.

CUT TO: SALEM GENERAL. JULIE IS SITTING ALONE, HER HEAD IN HER HANDS. ALICE, BILL, (HOLDING TWO FOAM CUPS OF COFFEE), TOM, DOUG, MICKEY, MAGGIE, AND ABIGAIL, RETURN FROM THE CAFETERIA.

BILL: (HANDING JULIE A CUP) Has there been any word?

DOUG SITS DOWN NEXT TO JULIE AND PUTS HIS ARM AROUND HER.

MAGGIE: I'm sure he's not too far away.

JACK ENTERS FROM BEHIND THEM.

JACK WALKS UP TO MAGGIE AND TAKES ABIGAIL FROM HER ARMS. JACK HUGS HIS DAUGHTER TO HIM.

MAGGIE: (PATTING HIS ARM) Of course I don't mind, Jack.

ALICE: Jack, have you called Jo? I'm sure she would want to be here for you.

JACK: No, no. No need to call Jo until we know something.

MAGGIE: I think you should call her Jack. You need your family now, too.

JACK: No. Absolutely not. It's a little crowded in here already, don't you think? But I forgot. It's the more the merrier with you Hortons, isn't it? What next, the Mormon Tabernacle Choir?

JACK GOES TO STAND IN A DIFFERENT PART OF THE ROOM, HUGGING ABIGAIL TO HIM.

BILL: Leave him alone, Mick. Jack's worried and afraid. He's just venting.

JACK LOOKS UP IN SURPRISE. BILL WALKS OVER AND STANDS IN FRONT OF JACK.

JACK NODS AND HE AND BILL EXCHANGE A LOOK OF UNDERSTANDING. AT THAT MOMENT, DR. GRANGER ENTERS THE ROOM, A BIT STUNNED WHEN HE SEES THE ASSEMBLED CLAN. EVERYONE IMMEDIATELY SITS UP STRAIGHTER WHEN THEY NOTICE HIM. ALICE AND TOM HOLD HANDS, MICKEY AND MAGGIE MOVE CLOSER TOGETHER, DOUG PUTS BOTH ARMS AROUND JULIE. BILL AND JACK GET ALMOST STIFF IN THEIR POSTURE.

JACK NEARLY JUMPS FORWARD.

GRANGER: One thing at a time.

BILL: How did the surgery go?

GRANGER: As you probably know by now, Mrs. Deveraux's vehicle was broad-sided by another car. If she hadn't been wearing her seatbelt... Well, she'd probably be dead...

JACK SWAYS. JULIE GETS UP AND OFFERS TO TAKE ABIGAIL BUT JACK SHAKES HIS HEAD. EVERYONE IMMEDIATELY GETS UP AND SURROUNDS JACK. JACK SHIFTS ABIGAIL ONTO HIS OTHER HIP, HUGGING HER TIGHTER.

TOM: And?

GRANGER: We were successful.

JACK VISIBLY LETS OUT HIS BREATH.

BILL: What is it?

GRANGER: Mrs. Deveraux also suffered a severe head trauma. Perhaps there was something heavy in the car and it struck her. (HE NODS AT ABIGAIL) Maybe the child seat wasn't belted in all the way. We don't know exactly what it was.

JACK: What does that mean? What are you telling me? What's wrong?

BILL: Jack, son. Let the doctor finish.

GRANGER: What it means for the moment, Mr. Deveraux, is that your wife is in a coma.

JACK: A coma? For how long? It's only temporary, right?

GRANGER: I don't know. All we can do is wait and see. I'm sorry. I wish I had better news for you.

THE ROOM EXPLODES INTO SOUND AS EVERYONE BEGINS TO TALK AT ONCE. JULIE STARTS TO CRY. MAGGIE HEADS FOR THE PHONE. JACK HEARS NONE OF IT, HE STARES STRAIGHT AHEAD, HUGGING ABIGAIL TIGHTLY. OUT ON JACK'S SHOCK AND HORROR. FADE TO BLACK.