JO'S LIVING ROOM. THERE IS A SMALL CHRISTMAS TREE, DECORATED WITH CRANBERRIES AND POPCORN STRINGS, SITTING ON A TABLE IN THE CORNER. JO, VERN AND STEPHANIE ARE SITTING ON THE FLOOR COLORING IN STEPHANIE'S COLORING BOOKS.

STEPHANIE: No! I like mag... mag...

JO: It's "magenta," honey.

STEPHANIE: Oh. Well, I like it.

STEPHANIE BEGINS SCRIBBLING ON THE PAGE.

JO LOOKS AT STEPHANIE, WHO HAS STOPPED DRAWING AND IS NOW YAWNING.

STEPHANIE: I guess so. Can I have some cookies?

JO: All right, but only one.

STEPHANIE: Two?

JO: Well... grandmothers are supposed to spoil their grandchildren. OK, two.

STEPHANIE: Thank you.

JO: Now, let's get you into bed, all right young lady?

JO AND STEPHANIE WALK BACK TOWARD THE BEDROOM AS VERN BEGINS PICKING UP THE CRAYONS AND COLORING BOOK. JO SUDDENLY WALKS BACK IN, GOES PAST VERN AND HEADS INTO THE KITCHEN. SHE WALKS OUT CARRYING TWO COOKIES.

AS VERN LAUGHS, JO WALKS BACK INTO THE BEDROOM. VERN FINISHES PICKING UP THE COLORING SUPPLIES AS JO WALKS INTO THE LIVING ROOM.

JO: I know. I have no idea where she gets it.

VERN: Neither do I. I know none of your children are intractable, stubborn, feisty or just plain argumentative.

JO: Well... maybe she does get a little of it from her Johnson blood.

VERN: Now there's a surprise.

JO: Her mother is also a strong-willed woman.

VERN: That's the truth. It's amazing what Kayla's accomplished the short time she's been back.

JO: I know. I'm so proud of her...

VERN: That Benefit was incredible. And Kayla's the one responsible. I hope she's not pushing herself too hard.

JO: Kayla's strong. I've learned she can take care of herself.

VERN: You're right. I'm just a worrier.

JO: I know... and you're good at it.

VERN AND JO SMILE AT EACH OTHER.

JO: Yes?

VERN: Has Jack said anything to you about that number we did at the Benefit?

JO: No. No, he hasn't.

VERN: He hasn't said anything to me either.

JO: You sound suspicious...

VERN: It's nothing personal. But when it comes to Jack... I worry when he doesn't say anything. It means he's up to something.

HOLD ON VERN'S WORRY.

CUT TO: SALEM POLICE STATION. BO SITS AT HIS DESK. THE "HAND-PRINT TURKEYS" HAVE BEEN REMOVED AND THE DESK IS NOW DECORATED WITH HANDMADE CHRISTMAS TREES AND SNOWMEN. BO IS ON THE PHONE, ONE WAY.

BO HANGS UP THE PHONE AS BOB WALKS BY CARRYING A BOX OF GIFT-WRAPPED PRESENTS.

BOB: Nah, this is the last of them for today. (BEAT) But it would be great if you could pick up tomorrow's load.

BO: Sure thing. I've got to drop off some boxes to Peters for the Clothe-A-Kid project, so I can swing around and pick them up on the way back.

BOB: You're really getting into this, aren't you?

BO: I'm having fun. And it feels good to do something for the community. Thanks for asking me to help.

BOB: (GRINNING) I don't care what your friends say about you, Brady. You're not half bad.

BO: (GRINNING BACK) Thanks.

JANET POKES HER HEAD OUT OF HER OFFICE.

BOB: Uh oh. Good luck.

BO AND BOB EXCHANGE LOOKS, AND BOB CONTINUES DOWN THE HALL. BO, A BIT NERVOUS, STANDS UP AND CHECKS TO SEE THAT HIS UNIFORM IS "SPIT POLISHED." HE KNOCKS ON JANET'S DOOR AND ENTERS. GO TO: JANET'S OFFICE.

JANET: You've shown a lot of improvement these past few weeks, Brady.

BO: Thank you. I've tried to do a good job.

JANET: What do you think of going back out on the streets?

BO: (CAUTIOUS) I like the idea. Paperwork can get boring after a while. (BEAT) Not that I don't realize its important...

JANET: It's ok, Brady. I understood what you meant. I'll see what I can do about finding a partner for you.

BO: (SMILING) Thank you, Captain.

JANET: Remember, you're still on probation. You've done fine so far and I'm proud of your progress, but your teamwork skills are doubtful at best.

HOLD ON BO'S FADING SMILE.

CUT TO: BRADY KITCHEN. CAROLINE STANDS WITH HER HANDS ON HER HIPS. SHAWN HAS HIS ARMS CROSSED DEFENSIVELY. THEY HAVE OBVIOUSLY BEEN ARGUING. IN PROGRESS.

SHAWN: I've told ya time and again how I feel about this, but do you ever bother to listen to me?

CAROLINE: You're being ridiculous.

SHAWN: No, I'm not. You will not look at this situation in the right way.

CAROLINE: The right way? You mean your way.

SHAWN: In this case, my way is the right way...

CAROLINE: I don't see why you're making such a fuss. All I want to do is have Kayla and Marcus over for dinner.

SHAWN: And I say, "no." It's a mistake, the two of them going out together.

CAROLINE: They care about each other. They make each other happy. What's wrong about that?

SHAWN: They may be happy now, but in the long run, it's a mistake. I'm trying to keep Kayla from being hurt later.

CAROLINE: Why can't you let Kayla make her own decision without butting in?

SHAWN: Butting in? Is that what it is? It's protecting my girl, that's what it is!

CAROLINE: "Your girl?" She's a grown woman, Shawn. Why can't you just treat her like one?

SHAWN: When she shows me she can make the right decisions, then I'll stop speaking my mind.

OUT ON CAROLINE AND SHAWN.

JACK AND JENNIFER'S BEDROOM. JACK IS STANDING IN FRONT OF A MIRROR, ADJUSTING HIS NECKTIE, WHILE JENNIFER IS SEATED AT HER ARMOIRE BRUSHING HER HAIR. SHE LOOKS AT JACK THROUGH THE REFLECTION IN HER MIRROR AND TURNS TOWARDS HIM.

JACK: Of course. Why do you ask?

JENNIFER: Because that necktie does not go with that suit. (LOOKING DOWN) And you're wearing one black shoe and one brown one.

JACK: (LOOKING DOWN AT HIS FEET) Oh... the lights were probably off when I put on my shoes. (HE LIFTS UP HIS TIE) And I think this tie looks fine.

JENNIFER: Come on, Jack! I know you better. Except for that brief leisure suit period, you're usually very "GQ" or at least "Fortune 500." Now what's up?

JACK WALKS OVER TO THE CLOSET, PICKS UP A BLACK SHOE, WALKS OVER TO SIT ON THE EDGE OF THE BED AND CHANGES HIS SHOE.

JACK WALKS OVER TO THE CLOSET AND PICKS OUT A NEW TIE.

JACK: I'm not... (HE TURNS TOWARDS JENNIFER) avoiding eye contact.

JENNIFER: You are so. You're looking at my nose.

JACK: (TRYING TO SMILE) You've got such a cute little button nose.

JENNIFER: Jack!

JACK: OK, so maybe I'm a little distracted this morning.

JACK SITS DOWN ON THE BED. JENNIFER STANDS UP AND GOES TO SIT DOWN NEXT TO HIM.

JACK: It's Jo.

JENNIFER: There's nothing wrong with her, is there?

JACK: Well no... not exactly.

JENNIFER: Then what is it?

JACK: This "relationship" she's having with Vern...

JENNIFER: Jo and Vern make a very sweet couple.

JACK: "Sweet" is not the issue...

HOLD ON JENNIFER'S CONFUSION.

CUT TO: KAYLA'S KITCHEN. KAYLA IS SITTING AT THE KITCHEN TABLE, TRYING TO BALANCE HER CHECKBOOK. SUDDENLY, SHE THROWS HER PEN DOWN ON THE TABLE, STANDS UP, AND STARTS PACING BACK AND FORTH.

KAYLA STOPS PACING AND BEGINS TO SPEAK AS IF TALKING TO SOMEONE ELSE.

KAYLA TAPS HER FINGERS LIGHTLY ON HER JAW.

KAYLA THROWS UP HER ARMS.

KAYLA GRABS HER PURSE AND HEADS OUT THE DOOR.

CUT TO: JULIE'S OFFICE. JULIE AND RICHARD ARE SITTING AT JULIE'S DESK SORTING THROUGH SEVERAL NEAT PILES OF PAPER.

JULIE: Yes, she's a marvel, isn't she? She even color coded the appointments on my calendar.

RICHARD: Quite a change, isn't it?

JULIE: And a welcome one.

JULIE BEGINS LOOKING THROUGH ANOTHER PILE OF PAPERS, PULLS ONE A SHEET AND STARES AT IT INTENTLY.

RICHARD: What's what?

JULIE: This is the contract for the Salem Cable Company.

RICHARD: And?

JULIE: It's not signed...

RICHARD: (SITTING UP STRAIGHT) It's not?

JULIE: Let me look at the others...

JULIE BEGINS PULLING MORE PAPERS OUT OF THE STACK AS RICHARD EXAMINES THE FIRST CONTRACT.

RICHARD: How many?

JULIE: It looks like a total of eight. (BEAT) Oh no.

RICHARD: What? What?

JULIE: These can't be Eve's mistakes. I'm certain we corrected all of those.

RICHARD: (LOOKING AT A SHEET OF PAPER) No. I don't think this is Eve's doing, however much we might like to believe that.

JULIE: What was your first clue, Detective Hunt?

RICHARD: Look at the date on the Premier Mortgage contract. November 23. Eve was gone.

JULIE: If Eve didn't squirrel away these contracts in her desk and not send them off, why aren't they signed?

RICHARD: Here's one with a note attached.

JULIE: Let me see that.

JULIE REACHES OVER AND TAKES THE PAPER FROM RICHARD AND READS THE NOTE.

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

THE PHONE RINGS. JULIE ANSWERS IT. ONE WAY.

RICHARD: Well?

JULIE: That was the printer.

RICHARD: Don't tell me... The building caught fire? He ran out of ink?

JULIE: Not quite. He said that he's very sorry, but a "situation" has arisen.

RICHARD: A "situation?"

JULIE: That's what he called it. It seems that due to "circumstances beyond his control," he won't be able to print the first issue of Midsummer.

OUT ON RICHARD'S DISBELIEF.

JO'S APARTMENT. JO AND VERN ARE SITTING ON THE SOFA. IN PROGRESS.

JO: Really?

VERN: Being able to spend quiet time with you... talking, having lunch...

JO: You enjoy that?

VERN: There's no pressure, no tension... It's... nice.

JO: I think it's nice, too.

VERN: I haven't felt this way in a long time.

JO: You haven't?

VERN: No. You make me... happy.

JO: I'm glad. I... I like having you here.

VERN: You do? You're not just saying that?

JO: Of course not. (BEAT) I remember all those years with Duke. It was as if no matter what I did, it wasn't good enough... I was never good enough.

VERN: Jo... You don't have to talk about this.

JO: Yes, I do. Because as time went on and the beatings began, I started to believe him. I loved him... and he made me blame myself for everything he did. But you... you're completely different...

VERN: Thank, God.

JO: With you, I feel like I can hold my own. I feel... appreciated...

VERN: You are appreciated...

VERN HESITANTLY PUTS HIS ARM AROUND JO'S SHOULDER. SHE LOOKS AT HIM FOR A MINUTE, THEN SHE SHIFTS A LITTLE SO THAT HER HEAD IS RESTING ON HIS SHOULDER. HOLD ON JO AND VERN.

CUT TO: JACK AND JENNIFER'S BEDROOM. JACK AND JENNIFER, IN PROGRESS.

JACK: I mean, regardless of how "sweet" they look or act together... I don't think Vern is the right man for Jo.

JENNIFER: (FRUSTRATED) Come on, Jack. We've been over this before. Vern is one of the kindest, most thoughtful men we know. And he cares about Jo.

JACK: (SIGHS) All right, all right. Maybe Vern isn't really the problem. At least, not the major part.

JENNIFER: Then what is? I'd really like to know.

JACK SITS DOWN NEXT TO JENNIFER ON THE BED.

JENNIFER: Of course you do. She's your mother.

JACK: But it's more than that. It's... (BEAT) Let me put it this way: I grew up with Anjelica Deveraux as a mother. She cared for me and made sure I had everything I wanted.

JENNIFER: But...?

JACK: But there was always something missing. I don't know if I can put my finger on it. Maybe it was because I was adopted. There wasn't that... that connection, that mutual need and understanding. Certainly, Anjelica loved me, but I don't think I was... central to her life.

JENNIFER: And with Jo, there's that connection?

JACK: Yes. Jo is different from Anjelica. She has a... vulnerability about her... I know that what I do, and what happens to me, deeply affects her. (BEAT) It's not like that with anyone else. Even with you, it's not the same thing.

JACK TAKES JENNIFER'S HAND AND KISSES IT.

JENNIFER: A pain in the butt?

JACK: (IGNORING JENNIFER'S COMMENTARY) Even when the Hodgkin's was bad, and I was angry at the world, wondering "why me?" (BEAT) Jo always took the time to listen.

JENNIFER: She's a very special lady, that's for sure.

JACK: You know my favorite slippers, the knitted ones?

JENNIFER: (SMILING) Yes, I know them well. I wear them sometimes.

JACK COCKS AN EYEBROW, BUT MAKES NO COMMENT.

JACK: Jo knitted those for me. (BEAT) I still treasure them.

JENNIFER: I'm sorry. I didn't mean to borrow them without asking...

JACK: (SMILING) No, no, it's all right. I was thinking... When Jo gave me those slippers, I didn't know who she really was.

JENNIFER LOOKS KNOWINGLY AT JACK.

JENNIFER: I think I understand.

JACK: Do tell...

JENNIFER: You don't want to share Jo with someone else, do you?

JACK IS SLIGHTLY TAKEN ABACK. HOLD ON JACK.

CUT TO: BRADY KITCHEN. CAROLINE AND SHAWN ARE GLARING AT EACH OTHER IN FRUSTRATION WHEN THERE IS A KNOCK AT THE DOOR. CAROLINE ANSWERS IT. IT IS KAYLA.

KAYLA: (NERVOUS) I came to see Pop. Is he here?

CAROLINE: Yes, he certainly is.

CAROLINE STEPS ASIDE SO THAT KAYLA CAN SEE SHAWN STANDING IN THE KITCHEN. KAYLA WALKS OVER TO SHAWN, TAKES A DEEP BREATH, AND BEGINS.

SHAWN: Kayla, darlin', I do love you, but sometimes you don't see things so clearly...

KAYLA: What?

SHAWN: Sometimes, it takes a little distance to get... to get perspective on things.

KAYLA: Perspective? You mean to say that you have perspective?

SHAWN: Darlin, what I mean is, you are a sweet young lady, and....

KAYLA: "Young lady?" Pop, I am an adult woman...

SHAWN: All right. You're a sweet woman. But you're too trusting, too willing to believe everything will work out.

KAYLA: Pop, you act like I'm a child.

SHAWN: I don't mean to. But I think you're too trusting and that's gonna get you hurt.

KAYLA: I'm an adult. I have a daughter of my own. I think I can be trusted to make decisions about my own relationships.

SHAWN: Kayla, you believe in happy endings. Not everything's like that... Look at how Shane hurt you.

KAYLA: That was different...

SHAWN: I tried to tell ya, I did. But did you listen?

KAYLA: You tried to tell me? You lectured me. You treated me like a child...

CAROLINE: Why don't you two calm down...

KAYLA: No. We need to finish this.

CAROLINE: What about a nice cup of tea?

SHAWN: No, Caroline. She's right. This is something we need to finish.

OUT ON SHAWN AND KAYLA SQUARING OFF.

JULIE'S OFFICE. JULIE AND RICHARD ARE HARRIED. RICHARD'S TIE IS ASKEW. JULIE HAS REMOVED HER JACKET AND ROLLED UP HER SLEEVES. IN PROGRESS.

RICHARD: You're telling me. We'll have to be prepared to pay big bucks to get someone else to do it on short notice.

JULIE: That's going to eat into our budget.

JULIE STANDS, GOES TO THE FILE CABINET AND PULLS OUT SOME FILES. SHE HANDS ONE TO RICHARD.

THERE IS A KNOCK ON THE DOOR AND DOUG ENTERS.

JULIE: (DISTRACTED) Doug, darling... We're in the middle of something...

RICHARD: Care to witness the crisis du jour?

JULIE LEANS OVER HER DESK, INTENT ON STUDYING THE BUDGET.

RICHARD: Try the year 2000. (STANDING AND LEANING OVER JULIE'S DESK) Look, Julie. We can cut out this whole line item. What do you think?

DOUG, UNNOTICED BY RICHARD AND JULIE, LEAVES. HE LOOKS OVER HIS SHOULDER AT JULIE AND RICHARD, LEANING HEAD-TO-HEAD OVER THE DESK, THEN CLOSES THE DOOR BEHIND HIM.

RICHARD: I don't know how this could have happened. What could possibly make the printer back out of our contract?

JULIE SUDDENLY STOPS IN HER TRACKS.

RICHARD: I'm not following you.

JULIE: Victor Kiriakis!

RICHARD: Ah ha. You may be onto something.

JULIE: Oh, I'll bet you the best cognac in town that I am. (SHE PICKS UP THE PHONE) Let's call Jack and bring in some reinforcements.

HOLD ON JULIE DIALLING THE PHONE.

CUT TO: JACK AND JENNIFER'S BEDROOM. JACK AND JENNIFER, IN PROGRESS.

JENNIFER: No, of course not. But, you should understand that Jo needs the kind of love that we have, too. In fact, she may need it more.

JACK: What do you mean?

JENNIFER: Think about all those years she spent in an abusive marriage with Duke.

JACK: Those were painful years.

JENNIFER: Doesn't she deserve a chance at real happiness?

JACK: Of course she does. And it's not that I don't want her to be happy...

JENNIFER: Then what is it?

JACK: It's... Vern. I mean, I work with the man. He's my Sancho Panza. (BEAT) In many ways, he's like a...

JACK IS INTERRUPTED BY THE RINGING OF THE PHONE. HE WALKS OVER AND ANSWERS IT, ONE WAY.

JACK HANGS UP THE PHONE AND REACHES FOR HIS COAT.

JACK: Julie needs me at the office, ASAP.

JENNIFER: Sounds serious.

JACK: It is. I'll explain it all tonight.

JACK GIVES JENNIFER A KISS AND RUNS OUT OF THE ROOM.

CUT TO: JACK AND JENNIFER'S KITCHEN. THERE IS A LARGE DELLA ROBBIA WREATH DISPLAYED IN THE KITCHEN WINDOW. ABIGAIL SITS IN HER HIGH CHAIR. ROSIE IS FEEDING HER. WE HEAR A DOOR SLAM AND JENNIFER WALKS INTO THE KITCHEN.

JENNIFER: Morning Rosie!

JENNIFER BENDS DOWN AND GIVES ABIGAIL A KISS.

ROSIE: Oh, she just loves her apple sauce.

JENNIFER: Mmmm, it does look good!

ABIGAIL EXTENDS A HAND WITH APPLE SAUCE ALL OVER OUT TO JENNIFER.

ROSIE WIPES ABIGAIL'S HAND, WHILE JENNIFER STARTS MAKING A POT OF COFFEE. JENNIFER PUTTERS ABOUT THE KITCHEN, GETTING OUT THE COFFEE CUPS, CREAM, SUGAR, ETC.

JENNIFER: Mmmm... mmm...

ROSIE: And maybe sugar cookies... Abby might like to help me decorate them.

JENNIFER: (ABSENTLY) I'm sure she'd love to...

ROSIE: (TESTING) And then we thought we'd hike into the woods and cut down our own tree. Abby can carry the axe...

JENNIFER: Yes... Sounds fine...

ROSIE LOOKS AT ABIGAIL AND SHAKES HER HEAD.

JENNIFER: I was thinking about a conversation I had with Jack. We were talking about his mother.

ROSIE: Jo's a lovely lady.

JENNIFER: Yes, she is. (BEAT) You know, in an odd way I'm jealous of Jack.

ROSIE: How's that?

JENNIFER: At least Jack has a mother who he can talk to and share things with... I don't have that.

ROSIE: I'm sorry. It must be difficult.

JENNIFER: Yes, but it's probably worse for Dad. I don't have a mother and he doesn't have a wife.

ROSIE: I wonder if your father's lonely? Does he see anyone?

JENNIFER: I don't think so. (BEAT) I wonder how I'd feel seeing him with another woman.

HOLD ON JENNIFER, DEEP IN THOUGHT.

CUT TO: JANET'S OFFICE. JANET'S DOOR IS OPEN, AND WE SEE HER AT HER DESK. MORGAN WALKS BY, SHE SEES HIM, AND CALLS HIM IN.

MORGAN: For you, I could probably manage five.

JANET: Great. Close the door, please...

MORGAN WALKS IN, SHUTS THE DOOR, AND TAKES A SEAT.

MORGAN: In what capacity, if I may ask?

JANET: Patrol officer, with a partner.

MORGAN: Well...

JANET: That's not exactly the response I was looking for... You have misgivings?

MORGAN: Yes and no. Bo's been doing fine here at the station. In fact, he's been performing above requirements for a desk officer.

JANET: I sense a "but"...

MORGAN: But... (SMILES) he also has constant supervision here. He knows he's being watched. Now, don't get me wrong, it's not that I'm afraid he'll shirk duty or slack off. It's just the opposite.

JANET: I think I see where you're headed...

MORGAN: I suspect you do. You know how it is on the street, it requires constant judgement calls.

JANET: And Brady doesn't generally display good judgement.

MORGAN: I wouldn't say that, exactly. It's that he tends, or tended, to focus too much on getting the "bad guy," regardless of consequences, to himself, the department, or his partner.

JANET: He has that Macho Super Hero complex so many young cops have, doesn't he?

MORGAN: That, and he was encouraged, or at least, not discouraged in that attitude by his superiors, Roman and Abe. To their credit, they did try and restrain him. But it was tough. They were getting pressure from their superiors to catch perps, and that's one thing Bo does extremely well.

JANET: But his methods are such that I'd bet a lot of the cases got thrown out on procedural errors.

MORGAN: Exactly. Once we lost a major dealer because Bo didn't Mirandize him properly. Bo said the dealer was unconscious. He was unconscious because Bo slammed him into a wall when he tried to run, instead of cuffing him when he had the chance...

JANET: And I'll bet the perp tried to file a civil suit...

MORGAN: He was pursuaded not to. But we did lose the collar.

JANET: I was planning to put a partner with him. Do you think that would help?

MORGAN: Depends on the partner. His last partner was a pretty promising officer, her name was Taylor...

JANET: I think I heard about her...

MORGAN: Yeah, it was tough, losing her. But when she and Bo were partners, you couldn't tell it was Taylor that was the senior officer. Bo used to order her around like she was the rookie...

JANET: She let him?

MORGAN: He was Roman's brother and Carver's friend. She was afraid to say anything to them, and didn't want to go over their heads, out of respect. Besides, Bo's a pretty persuasive guy, as well as being a strong personality.

JANET: Then it sounds like the key is finding Brady a partner who's more forceful than he is.

MORGAN: (ROLLS HIS EYES) That might work, if you could find that person. I wish you luck, Captain, you'll need it...

OUT ON JANET'S SPECULATION.

EUTERPE. IAN IS SITTING AT THE BAR, HIS FEET PROPPED UP ON A STOOL, SIPPING A GLASS OF ORANGE JUICE. HE IS WATCHING DAVE HANG AN EVERGREEN GARLAND AROUND THE RESERVATION DESK. DOUG WALKS IN.

DOUG: I've had better days. (SIGHS) Tell me, did you fix that sound problem?

IAN: Doug, it only happened last night.

DOUG: Does this mean it isn't fixed?

IAN: We tried it today and everyone said it sounded fine.

DOUG: Sounded fine? Come on, Ian, you know better than that, make sure it's right.

IAN: You got it, boss.

DOUG SPIES EVE, GOING OVER THE BOOKS. HE WALKS OVER TO HER.

EVE: But, there wasn't time...

DOUG: Eve, in the club business, you can be here today and gone tomorrow if you don't make time...

EVE: (SALUTING) Right away, sir. Yes sir. From now on, I'm working 25 hours a day...

DOUG SHAKES HIS HEAD, THEN DISAPPEARS INTO HIS OFFICE. EVE SPIES JASMIN, WHO'S WEARING HER USUAL GAUZY, TIE-DYED ATTIRE.

JASMIN: I've told you, Eve, Doug said he wants us all to dress comfortably.

EVE: If I were Doug, I'd fling you right back into the '60s by your gauzy little...

JASMIN: Eve, I don't see why you have such a problem with what I wear.

EVE: It looks... tasteless. And I want this place to have some class... (BEAT) like it used to...

JASMIN: Class? Like it used to when the pimp ran it? Yeah... that was class...

EVE: How dare you? You... you... tasteless, classless, 60s flashback... slut! Get back to work before I have you fired!

EVE STALKS AWAY, AS JASMIN SHAKES HER HEAD. IAN WALKS UP TO JASMIN.

JASMIN: I'm fine. It'll take more than a little vitriol to get me down. I can handle Miss Eve Donovan.

IAN: I'll bet you can. But, don't be too hard on her. Doug said something to her about her work and...

IAN PAUSES, HEARING EVE'S ANGRY VOICE, AND LORENZO'S SHOUTING FROM THE KITCHEN.

JASMIN: I don't think that's all there is to it. Eve's got a lot more bothering her... A lot more...

IAN: Such as?

JASMIN: She used to sleep with the club's owner, you know.

IAN: Eve... and... Doug??

JASMIN: No, silly, not Doug. Could you even imagine him with Eve after meeting Mrs. Williams?

IAN: No, I can't. So which owner?

JASMIN: The criminal type... The one who owned the club between Doug then and Doug now.

IAN: Who was he?

JASMIN: His name was Nick something or other... He was a pimp.

IAN: A pimp?

JASMIN: Yeah, and he got murdered on Halloween a few years ago. It was the talk of the town for months...

IAN: I'll bet... No wonder Eve never mentions him...

JASMIN: Just don't say I told you, ok?

IAN: Mum's the word...

EVE SLAMS OUT OF THE KITCHEN DOOR.

JASMIN EXITS QUICKLY, AS IAN WATCHES EVE WITH INTEREST. SHE NOTICES HIS PERUSAL, AND GLARES AT HIM POINTEDLY. HE STICKS OUT HIS TONGUE AT HER, WHICH SURPRISES A GIGGLE OUT OF HER. HOLD ON EVE'S AMUSEMENT.

CUT TO: JULIE'S OFFICE. JULIE IS ON THE PHONE, ONE WAY. RICHARD IS LOOKING THROUGH THE YELLOW PAGES. JACK OPENS THE DOOR, KNOCKING ON IT AT THE SAME TIME. HE LOOKS AT JULIE AND RICHARD AND RAISES HIS EYEBROW CURIOUSLY.

RICHARD: (LOOKING UP FROM THE PHONE BOOK) Julie...

JULIE PAUSES AND TAKES A DEEP BREATH.

JULIE SLAMS DOWN THE PHONE.

JACK: Please, let's hold off the screaming. Does someone want to tell me what this is about?

JULIE: Jack, we've got trouble. Our printer is backing out on the first issue of Midsummer.

RICHARD: We've been trying to find another printer...

JULIE: I think Victor's trying to sabotage Midsummer.

JACK: Victor?

JULIE: Yes. Titan has a lot of clout in Salem, and it would be just like Victor to use it to stop the publication of Midsummer.

JACK: Yes, it certainly would. Not only is he our direct competitor, but he thrives on making my life difficult.

RICHARD: What are we going to do about it?

JACK: First, let's get our facts straight. Who's the printer?

RICHARD: Wells Printing.

JACK: Did you talk to Jim Wells?

JULIE: No.

JACK: Well, allow me. Jim and I go way back. Harper did Jim a few favors a long time ago... I'm still collecting.

JACK PICKS UP JULIE'S PHONE. HE LOOKS UP THE NUMBER IN HER ROLODEX AND DIALS. BRENDA, JIM WELLS' ASSISTANT, ANSWERS. TWO WAY.

JACK: Hello, Brenda. Jack Deveraux here.

BRENDA: Oh, hello, Mr. Deveraux. What can I do for you?

JACK: I need to bend Jim's ear for a moment. Is he in?

BRENDA: Yes, he is, but he's in a meeting at the moment...

JACK: (LOOKING AT HIS WATCH) Come now, Brenda. I know Jim, and he never schedules meetings between eleven and two.

BRENDA: Well... He's asked me to hold all calls.

JACK: But surely, he'd want to talk to me.

BRENDA: I don't know...

JACK: It's all right, Brenda. Just give me a clue. If anyone asks, I never heard it from you.

BRENDA: (HESITANTLY) Well, all right, Mr. Deveraux. But you didn't hear it from me.

JACK: Not a whisper.

BRENDA: He's having me screen calls because of the problem with Midsummer magazine.

JACK: (FEIGNING SURPRISE) There's a problem with the Midsummer premiere?

BRENDA: You mean you didn't... Can you hold for a minute, Mr. Deveraux?

JACK: (SMILING) Certainly.

JACK COVERS THE RECEIVER.

JULIE AND RICHARD LOOK AT JACK SKEPTICALLY, THEN LOOK AT EACH OTHER. JIM WELLS PICKS UP ON THE OTHER END OF THE PHONE LINE.

JACK: Jim, hello!

WELLS: What's up, kid?

JACK: Jim, I heard some very disappointing news about the premiere issue of Midsummer magazine. We had a contract with you to print it, but you never signed. What seems to be the problem?

WELLS: (UNCOMFORTABLE) Listen, Jack, I'm really sorry...

JACK: No need to be sorry. You'll do the issue, of course. Just tell me what's wrong with the contract, and I'll have it fixed. We're on a tight schedule here, and I'm not in the mood to quibble over fine print...

WELLS: Jack, it's not about the contract. The contract is fine...

JACK: Then what's the problem, Jim?

WELLS: I hate to leave you in such a rough spot, but we got a last minute request from one of our biggest customers...

JACK: I see. (HIS GAZE NARROWS) Jim, you do want to continue doing business with Deveraux Publishing, don't you?

WELLS: Of course we do, Jack. I really don't have a choice in the matter. This other customer called late last night, and we simply can't turn them down. They bring us too much business.

JACK: I hope they bring you lots of business, Jim, to fill the gap that I'll be leaving...

WELLS: Please, Jack. If I could handle both orders, you know I would. They're too big. There's no way I could deliver on both.

JACK: Fine, Jim, fine. (BEAT) Tell me, who's this big client you can't turn down?

WELLS: Titan Publishing.

JACK: Of course. (BEAT) Well, I must be going. I need to find a new printer.

WELLS: Jack...

JACK: We'll talk later. Much later.

JACK HANGS UP THE PHONE.

JACK: Of course. (BEAT) It's just that Victor is the one controlling things... for now.

JACK PULLS UP A CHAIR AND SITS DOWN.

HOLD ON JACK'S DETERMINATION.

CUT TO: BRADY KITCHEN. SHAWN AND KAYLA ARE ARGUING, THEIR VOICES GETTING GRADUALLY LOUDER, UNTIL THEY ARE SHOUTING AT EACH OTHER. CAROLINE HAS GIVEN UP TRYING TO MEDIATE, AND SITS AND WATCHES. IN PROGRESS.

KAYLA: Yes, I hear you. I don't believe what I'm hearing, but I hear it.

SHAWN: What's wrong with tryin' to protect your flesh an' blood from getting hurt? I don't understand it...

KAYLA: There's nothing wrong with it, but you're taking it too far! You're completely unreasonable...

SHAWN: (INTERRUPTING) Unreasonable? What the devil are you talkin' about...

KAYLA: I am a grown woman, Pop! I am fully capable of making decisions for myself. If I want your advice, I'll ask for it!

SHAWN: Oh, so that's how it's gonna be! "Sure, I'll listen, Pop, but only when I ask. Just shut up the rest of the time..."

KAYLA: (EXASPERATED) I don't know why I even bother. You're completely blind to my point of view...

SHAWN: I'm sorry, but it's hard to be understandin' when you're not makin' any sense at all! You wear your heart on your sleeve, and you go chargin' into a situation where you're only goin' to get hurt...

KAYLA: (INTERRUPTING) How do you know I'm going to get hurt? Maybe Marcus and I are really happy together! Did you think of that?

SHAWN: It's wrong, I tell you! Marcus is a good man, but it's just not right, you two seein' each other!

KAYLA: (SARCASTICALLY) So, that's it. You speak, that's the way it is, and there's no more discussion about it.

SHAWN: I know when I'm right. If you ignore what I'm tellin' you, you're just goin' to end up hurt!

KAYLA: Of course, if I were Kimberly, we wouldn't be having this argument!

SHAWN: What's that supposed to mean...

KAYLA: Oh, no, your "best and brightest" never does anything wrong, does she?

SHAWN: (ANGRILY) Don't you talk that way about your sister...

KAYLA: (NEAR TEARS) Oh, no, Kimmie is perfect. (BEAT) She dates Cal Winters, the psycho. She dates Lawrence Alamain...

SHAWN: Stop! I don't want to hear that monster's name spoken in my house!

CAROLINE, UNABLE TO BEAR IT ANY LONGER, STANDS UP.

THE FRONT DOOR OPENS, AND BO ENTERS, WITH SHAWN-D RIGHT BEHIND HIM, CLUTCHING HIS FATHER'S HAND.

SHAWN-D: (HIS VOICE CRACKS) Grandpa? Aunt Kayla? Why is everyone mad? Is it me?

SHAWN-DOUGLAS THROWS HIS ARMS AROUND BO'S WAIST AND BEGINS TO CRY. BO TRIES TO COMFORT HIM.

SHAWN: I'm sorry, son. I didn't mean to upset the boy. Shawn-Douglas, c'mere...

SHAWN-DOUGLAS SLOWLY GOES OVER TO SHAWN, WHO PICKS HIM UP AND GIVES HIM A BEAR HUG.

SHAWN-D: Okay, Grandpa. If you say so.

SHAWN: I say so. No more tears, okay?

SHAWN-D: Okay.

KAYLA: I'm sorry, Bo. (TO SHAWN-DOUGLAS) I didn't mean to shout, Shawn-D. I made a mistake. Will you forgive me?

SHAWN-D: (SNIFFLES) Sure, Aunt Kayla. Everyone makes mistakes.

SHAWN: (GLARING AT KAYLA) Yes, lad, everyone makes mistakes.

KAYLA GLARES ANGRILY BACK AT SHAWN. BO NOTES THE TENSION BETWEEN THEM.

KAYLA: I don't know...

CAROLINE: Oh, come on now, Kayla. I think you should...

BO: Come on. I could use my big sister's ear for a little while.

KAYLA: Well, okay.

BO: Good! Are you ready to go, Sailor?

SHAWN-D: Uh-huh.

SHAWN SETS SHAWN-DOUGLAS DOWN.

BO OPENS THE FRONT DOOR AND NUDGES SHAWN-DOUGLAS OUT.

BO EXITS. KAYLA FOLLOWS, PAUSING AT THE DOOR. SHE TURNS TO CAROLINE.

CAROLINE: It's all right, dear.

KAYLA LOOKS AT SHAWN WITH AN ICY STARE. SHAWN HUFFS AND FOLDS HIS ARMS. KAYLA SHAKES HER HEAD.

KAYLA EXITS, PULLING THE DOOR CLOSED BEHIND HER. CAROLINE TURNS AND LOOKS ANGRILY AT SHAWN, WHO SHAKES HIS HEAD IN FRUSTRATION. OUT ON SHAWN.

JO'S APARTMENT. JO AND VERN ARE SITTING ON THE COUCH WATCHING "WHEEL OF FORTUNE."

JO: A "U"? There's no U in "The Man of La Mancha!"

THE DOORBELL RINGS. JO TURNS THE TV OFF WITH THE REMOTE AS SHE GETS UP TO ANSWER THE DOOR. IT'S JENNIFER.

JENNIFER: I hope you're not busy... (WALKING INTO THE ROOM) Vern! Hi! I thought you were home sick.

VERN: (SHEEPISH) I just didn't want Jack to know that I was with Jo.

JENNIFER: Don't worry, I'll keep your secret. But why did you have to see Jo on a weekday?

VERN: I had something special I wanted to ask Jo and I thought I'd lose my nerve if I waited until the weekend.

JENNIFER: (LOOKING AT JO) Oh. Is it a secret? Or can a nosy daughter-in-law ask what it is?

VERN: I've asked Jo to go away with me for a weekend in the mountains.

JENNIFER: Really? That's a wonderful idea!

JO: (BLUSHING) I haven't decided yet.

VERN: I'm going to leave you two alone.

JENNIFER: Oh, no, don't leave on my account. I just came by to say hello.

VERN: That's ok, Jenny girl. As long as I have the afternoon off I might as well head on home and get started on that laundry that's been piling up. (TO JO) I'll call you later, all right?

JO: All right.

HOLD ON JO'S BLUSH.

CUT TO: JULIE'S OFFICE. JACK NOW LOOKS AS DISHEVELED AS JULIE AND RICHARD. THE THREE OF THEM SIT CLOSELY TOGETHER.

RICHARD: What are we going to do about it?

JULIE: How are we going to get the first issue out on time?

JACK: And more importantly, to my mind, how are we going to get back at Victor?

RICHARD: I'll go and start calling all the printers in the area. Maybe someone can do it... (HOLDING UP A PIECE OF PAPER) We're agreed on this figure, right?

JULIE: Yes, absolutely.

RICHARD: I'll see what I can do. With any luck...

RICHARD STANDS AND WALKS OUT THE DOOR.

JULIE: No, Eve had nothing to do with this, Jack. We checked.

JACK: I'm sure she didn't. I never thought I'd say this, and I'll probably get struck by lightning for it, but this is one time Eve could have come in handy.

JULIE: Revenge is one of her specialties, I must say.

JACK: And sabotage and mayhem are Victor's.

JULIE: (FUMING) How dare Victor do this! It's not only terrible business practice, but I consider it a personal affront.

JACK: Don't worry, we'll find some way to pay him back. Maybe not now, maybe not next week, but it will happen.

JULIE: I'm not going to wait that long, Jack.

JULIE TAKES HER PURSE FROM THE DRAWER.

JULIE STORMS OUT THE DOOR.

HOLD ON JACK LOOKING OUT JULIE'S OFFICE DOOR.

CUT TO: BO'S BOAT / EXT. KAYLA IS SEATED ON THE UPPER DECK. BO EMERGES FROM BELOW, CARRYING TWO BEERS. HE HANDS ONE TO KAYLA AND SITS DOWN NEXT TO HER.

KAYLA: Thanks. (BEAT) Is Shawn-D okay?

BO: Yeah, he's working on his homework.

KAYLA: I'm really sorry about that scene earlier. I didn't want to upset anyone.

BO: Don't worry about it, Kay. I'm sure he's recovered.

KAYLA: How's he doing with everything else? How are the sessions with the doctor going?

BO: I think the sessions are going well. (BEAT) Doctor Ector is good. And I think it's helping Shawn-D to have someone besides me to confide in.

KAYLA: But...

BO: But what?

KAYLA: Come on, little brother. I know that look. Doctor Ector may be helping, but something's still bothering you.

BO: You're right... I can't put anything past you, can I?

KAYLA: No way.

BO: Well, I have a conference with Shawn-D's teachers later this week, and I'm worried about it.

KAYLA: Why? Has he been having trouble at school?

BO: Not that I know of. I don't think he's had any more outbursts... But he doesn't ever want to talk to me about school. I'm worried that everything that's going on with me, and with Carly's death, is distracting him. I hope his grades aren't suffering because of me.

BO LOWERS HIS HEAD AND STARES AT THE FLOOR. KAYLA PUTS HER HAND ON HIS SHOULDER.

BO: Yeah, I know. But it wasn't Shawn-D's fault, either, and he's still suffering...

KAYLA: It's not fair, I know. But you can't bring her back. All you can do now is get through this, and help your son get through it. (BEAT) And you will get through it. Believe me.

BO LOOKS AT KAYLA AND SMILES.

BO: How'd you get to be so smart?

KAYLA: Oh, I don't know... Experience, I guess. (BEAT) Of course, my wisdom seems to be something that's debatable lately.

BO: Uh-oh... Are you talking about you and Pop?

KAYLA: Yes...

BO: What were all the fireworks about, anyway? It looked like you were about ready to knock off his block...

KAYLA: He makes me so angry sometimes...

BO: That's one of the reasons I invited you over. I thought you guys could use a little time to cool off.

KAYLA: You were right. I'm glad you got me out of there before I said anything I would regret. (SMILING) You're pretty smart yourself...

BO: Well, cooling-off time is something I've had a lot of experience with. I've used enough in my lifetime for two or three people.

KAYLA: I think it runs in the family.

BO: So, what were you and Pop arguing about?

KAYLA: Me and Marcus. Pop doesn't think we should see each other.

BO: Mmmm. I can imagine how that discussion went...

KAYLA: I know you can. That's what's so frustrating. He's treating me exactly like he did when I was fifteen years old!

BO: I know that drill. He's right, you're wrong, end of discussion.

KAYLA: Exactly! There was a time when he was right, but not anymore. I'm a big girl now, and I can make my own decisions.

BO: I know you can. (BEAT) And, deep down, I think Pop does, too. He just holds on too tight sometimes.

KAYLA: Well, if he keeps holding on this tight, he's going to lose his grip completely...

BO: Come on, Kay. You don't really mean that. Sure, Pop is overbearing and opinionated...

KAYLA: You can say that again...

BO: Sure, Pop is overbearing and opinionated...

THEY BOTH LAUGH.

KAYLA: I know that. I just wish he would work on his methods.

BO: Well, you know what they say about an old dog...

KAYLA: Yeah, well, there's one trick that Pop definitely needs to learn.

BO: What's that?

KAYLA: He needs to learn to treat me like an adult, and respect my wishes and my decisions. (BEAT) If I want to continue seeing Marcus, I'm going to do it. Pop is going to have to deal with it.

OUT ON KAYLA'S DETERMINATION.

EUTERPE. DOUG IS SITTING AT A TABLE, SCOWLING AT THE MENU. IAN WALKS UP AND SITS ACROSS FROM DOUG.

IAN: Doug, I suspect you're not going to be pleased with anything today.

DOUG: What does that mean?

IAN: Only that you've been like a bear with a sore paw all day. Look around... see how everyone is trying to avoid you?

DOUG: So why are you so brave?

IAN: Because I recognize a man in need of a friend...

DOUG: Pretty discerning of you, Ian. Were you a therapist in another life?

IAN: Something similar. Listen, why don't you take off? Eve and I can handle the club tonight, won't be a problem.

DOUG: That might be the best idea.

IAN: Wanna talk about it?

DOUG: It's nothing... I think I overreacted a bit... I went by Julie's office today, to say hello, and I love you, and she ignored me...

IAN: Ignored you?

DOUG: It was bad timing on my part, I know... She was obviously dealing with some sort of crisis.

IAN: Sounds like she's under some pretty serious stress.

DOUG: You're right... it's just... difficult. I'm so used to us being in total harmony...

IAN: That the dissonance effects you more than normal. I know. I've been there.

DOUG: I suspect you've been many places, Ian. Some day, I'd like to hear more about them.

IAN: And so you will. But for now, you should go home. Do something nice for yourself. Or better still, how about doing something nice for your Fair Lady?

DOUG: Now, that's an idea! (BRIGHTENING) I'll go home, and fix a relaxing, romantic dinner for the two of us. We can just unwind, and be together.

IAN: Now you're talking, boss man! Don't forget the champagne...

DOUG: Not a chance. Thanks, Ian. Call me if you need anything...

IAN: Don't worry. I won't!

DOUG RISES AND GETS HIS COAT. HE WAVES AT EVE AND SHOOTS HER A BIG SMILE, AS HE LEAVES. EVE WALKS OVER TO SIT WITH IAN, AMAZED.

IAN: Just a talent I have. See, I did it to you, too. Turned your bad mood to good, with a flick of my wit.

EVE: You did, at that. But what I want to know is, why?

HOLD ON EVE'S PUZZLEMENT.

CUT TO: JO'S APARTMENT. JENNIFER AND JO ARE SITTING ON THE SOFA. JENNIFER IS ADMIRING A VASE FILLED WITH BEAUTIFUL RED ROSES.

JO: Yes, it was. (BEAT) Jennifer, I need your advice.

JENNIFER: Advice? On what?

JO: (DEEP BREATH) Duke and I got married at a very young age... It was such a long time ago. I'm afraid I've forgotten all about dating... and such. I'm scared...

JENNIFER: Oh Jo! Vern is a great guy, and you're a wonderful woman. Don't worry, everything will work out. You'll see!

JO: (WORRIED) I don't know. What if I do something wrong... something that will mess up everything? And what am I going to do about this weekend alone with Vern?

JENNIFER PUTS A REASSURING HAND ON JO'S SHOULDER.

JO: It's... not that.

JENNIFER: Then what is it?

JO: Well... oh gee... what about sex?

JENNIFER IS TAKEN A LITTLE BY SURPRISE.

JO STANDS UP AND STARTS PACING BACK AND FORTH.

JO WRINGS HER HANDS TOGETHER. JENNIFER STANDS UP AND PUTS HER HANDS OVER JO'S.

JO LOOKS AT JENNIFER AND GIVES A LITTLE SMILE.

JO: One step at a time... One day at a time... Advice I know well... Thank you, Jennifer.

JENNIFER: Hey, that's what daughters-in-law are for!

JO HUGS JENNIFER. HOLD ON THE TWO.

CUT TO: BO'S BOAT/EXT. BO AND KAYLA, IN PROGRESS.

BO: Different how? And from what?

KAYLA: With Shane, things seemed awkward... forced. I really cared about him. But I'm not sure now, what was love, and what was concern because he was a friend in pain.

BO: That can be a fine line...

KAYLA: But with Marcus, it feels... natural. Like we're blending together without work or worry. It's almost effortless.

BO: I'm not sure I know how that feels. It wasn't that way with Carly, as much as I love... loved her. And it definitely wasn't effortless with Hope. Too many fireworks with my Fancy Face...

KAYLA: I know, it was that way with Steve, all passion, fire, ecstasy... and agony. With Marcus, it's quieter, sweeter...

BO: I'm happy for you, Sis. Sounds like things are going good. I think Marcus is a great guy, and if he makes you happy... then I like him even better.

KAYLA: Thanks, Bo. It's nice to know someone in the family supports me. (BEAT) How're things going with you at the station?

BO: It's getting interesting. Yamada told me today she's thinking about putting me back out on the street.

KAYLA: How do you feel about that?

BO: Mixed. I want to get out there again, but I'm not sure how I'll do. She wants me to have a partner...

KAYLA: You don't want one?

BO: I'm not sure. I've always been better working on my own, even back in school. I'm used to being the "star", but I'm not accustomed to being a team player. That'll be a stretch, and I'm not sure I'm ready for it.

KAYLA: I think you may not be giving yourself enough credit, Bo. I think you'll adjust just fine. Besides, it's scary out there, wouldn't it be better to have a partner?

BO: That's it. I'm used to taking care of myself. I'll have to expand my focus to include a partner... But I agree, it is dangerous on the street...

UNNOTICED, SHAWN-DOUGLAS HAS BEEN LISTENING TO THE LAST PART OF THE CONVERSATION. HE SUDDENLY APPEARS AND LAUNCHES HIMSELF AT BO, SHOUTING.

BO: Sailor, calm down! Let's talk about it...

SHAWN-DOUGLAS BREAKS DOWN SOBBING IN BO'S ARMS. KAYLA MOTIONS THAT SHE'S GOING TO LEAVE, AND BO NODS GRATEFULLY. OUT ON BO HOLDING HIS SOBBING SON.

EUTERPE. IAN AND EVE, IN PROGRESS.

EVE: I mean, why bother? Why did you try to cheer me up?

IAN: Hmm... I think... No, I know. I was a saint in a previous life.

EVE: A saint?

IAN: Yeah... That's the ticket... I was dating Shirley MacLaine and she told... no... channelled me... Since then, I've had this major problem working with bad vibes. Yeah.

EVE: Yeah. Right. You know, maybe I could get you to stick a little closer, make sure my vibes don't get too messed up...

IAN: (LAUGHS) I should have seen that line coming!

EVE: Huh?

IAN: I probably would've used it myself!

EVE: Oh? (DOES A VALLEY GIRL IMITATION) So, we're like telepathically and karmically in synch? Like wow!

IAN: No. (SIGHS). Not really. You remind me of me, a couple of years back.

EVE: What do you mean?

IAN: I think we have more in common than I thought at first.

EVE: What do you mean? Will you quit being mysterious and give me a straight answer?

IAN: Nope. I think... yes, I prefer to remain a man of mystery.

HE WALKS OFF DRAMATICALLY, AS EVE LOOKS ON IN CONFUSION.

ON THE OTHER SIDE OF THE CLUB, IAN GRINS AND BEGINS AIR-WALTZING AN INVISIBLE PARTNER AS HE DANCES OUT THE DOOR.

SHE LOOKS AT THE DOOR SPECULATIVELY, AND GIGGLES. HOLD ON EVE'S SMILE.

CUT TO: BO'S BOAT / EXT. BO AND SHAWN-DOUGLAS, IN PROGRESS.

SHAWN-D: (SNIFFLES) But Papa, why? I don't want you to go back on the streets!

BO: But I have to, son, it's my job.

SHAWN-D: Then quit!

BO: I can't. Being a cop is what I do, just like going to school is what you do. And I want to be good at it, and that means working on the street and catching the bad guys.

SHAWN-D: It's dangerous... you could, you could... get killed... like Mama and like Carly! You might die, and I'd be all alone! Don't leave me, Papa, don't!

SHAWN-DOUGLAS BURSTS INTO WRACKING SOBS AGAIN, AS BO HOLDS HIM, LOOKING HELPLESS. HOLD ON BO COMFORTING HIS SON.

CUT TO: DOUG & JULIE'S DINING ROOM. THE DINING TABLE IS SET WITH THEIR BEST CHINA AND CRYSTAL. THERE IS A BEAUTIFUL CENTERPIECE OF RED, PINK AND WHITE ROSES WITH TWO LONG PINK TAPERS. DOUG IS DRESSED IS TAN CHINOS AND AN OPEN POLO SHIRT, WITH AN APRON OVER IT. HE IS FLIPPING THROUGH SOME COOKBOOKS.

SMILING, DOUG WALKS INTO THE KITCHEN.

CUT TO: JULIE'S CAR. JULIE IS GRIPPING THE WHEEL SO TIGHTLY HER KNUCKLES ARE WHITE.

CUT TO: DOUG & JULIE'S DINING ROOM. DOUG WALKS IN, NOW DRESSED IN GREY TROUSERS, A BLUE AND WHITE STRIPED BUTTON-DOWN SHIRT AND A NAVY BLAZER WITH GOLD BUTTONS. AT HIS THROAT IS A NAVY AND MAROON SILK ASCOT. HE CHECKS THE DINING ROOM TABLE AND PULLS A PINK ROSE OUT OF THE CENTERPIECE FOR HIS LAPEL. HE GOES TO THE ENTERTAINMENT CENTER IN THE LIVING ROOM AND STARTS FLIPPING THROUGH THE CDs.

DOUG LOOKS AT HIS WATCH AND THEN GOES TO THE WINDOW.

HE CROSSES BACK TO THE DINING ROOM TABLE AND LIGHTS THE CANDLES. THE BUZZER FROM THE KITCHEN TIMER GOES OFF.

DOUG HEADS INTO THE KITCHEN.

CUT TO: KIRIAKIS STUDY/FOYER. JULIE FORCEFULLY BANGS THE DOOR KNOCKER. SHE TAPS HER FOOT IMPATIENTLY. NICO OPENS THE DOOR AND BREAKS INTO A WIDE GRIN.

JULIE: Hello, Nico. You're looking you're usual broad-shouldered self. Come stai?

NICO: Bene adesso... Better now... that I am back in Salem and able to see... la piu bella donna del mondo...

JULIE: The most beautiful girl in the world? I think my husband beat you to that line, Nico.

NICO: No... I am distraught... Piu bella is not enough... You are she who draws fire to the moon...

JULIE: Now Dante... You always were a charmer, Nico. I'd love to stay and chat, but I need to see Victor. Now.

NICO: You wound me, Giuglietta. I thought you were here to see me.

JULIE: Nico, sei cosi gentile, pero...

NICO: Si... I understand. This is business. Come, Mr. Kiriakis is in his study.

NICO LEADS JULIE TO VICTOR'S STUDY AND KNOCKS ON THE DOOR.

CUT TO: DOUG & JULIE'S DINING ROOM. DINNER IS ALL OUT ON THE TABLE. DOUG IS PACING BACK AND FORTH, LOOKING AT HIS WATCH.

HE GOES TO THE WINDOW AND LOOKS OUT.

DOUG PICKS UP THE PHONE AND DIALS, ONE WAY.

DOUG HANGS UP THE PHONE, WORRIED.

CUT TO: KIRIAKIS STUDY. VICTOR LOOKS UP FROM HIS DESK AS NICO ESCORTS JULIE INSIDE. JULIE WALKS UP AND SLAMS HER PURSE DOWN ON HIS DESK.

JULIE: Cut the pleasantries, Victor. I know what you're doing and it is going to stop.

VICTOR: I have no idea what you are talking about. Please, sit down. Can I have Nico get you some coffee?

JULIE: (THROUGH GRITTED TEETH) This isn't a social call, Victor.

VICTOR WAVES NICO AWAY. NICO LOOKS FROM JULIE TO VICTOR, RAISES AN EYEBROW AND SILENTLY DISAPPEARS.

JULIE: You can stop messing with my magazine, Victor. I know you "persuaded" Jim Wells to turn down our contract to print Midsummer, so don't deny it.

VICTOR: I did nothing of the kind, Julie. Jim Wells has been under contract with Titan Publishing for years. I simply won't trust my printing to anyone else. I needed a big job done immediately and Jim knows that I throw him a lot of business. It was unavoidable.

JULIE: Unavoidable, my eye. You know, Victor, I thought better of you. I don't know why I did, but I did.

VICTOR: Business is business, Julie. Never let personal feelings interfere with that. I learned that a long time ago, and you'd do well to learn it as well.

JULIE: If that's a gauntlet, Victor, consider yourself slapped with it. You've just made an enemy of me... And you shouldn't have.

JULIE TURNS ON HER HEEL AND STORMS OUT. THE STUDY DOOR SLAMS BEHIND HER.

HOLD ON VICTOR'S OBVIOUS INTRIGUE.

CUT TO: DOUG & JULIE'S. DOUG IS SITTING AT THE TABLE, HIS CHIN ON HIS FIST. HIS JACKET IS HANGING ON THE BACK OF THE CHAIR AND HIS SHIRT SLEEVES ARE ROLLED UP. THE CANDLES HAVE BURNED DOWN TO NUBS AND WAX IS PUDDLED ON THE TABLECLOTH. THE WINE BOTTLE IS OPEN AND IT'S OBVIOUS THAT HE'S ALREADY EATEN. HE LOOKS AT HIS WATCH AND SIGHS. HE TAKES THE REMAINING FOOD INTO THE KITCHEN. HE RETURNS AND BLOWS OUT THE CANDLES.

DOUG GOES TO THE STAIRS AND FLIPS THE LIGHT OFF AS HE CLIMBS THEM. CLOSE UP ON THE GRANDFATHER CLOCK, AS WE SEE 15 MINUTES HAVE PASSED. JULIE ENTERS THE HOUSE, SHRUGS OFF HER COAT AND SHOES AND HEADS UP THE STAIRS WITHOUT EVER TURNING ON THE LIGHT. OUT ON THE WILTED ROSES IN THE CENTERPIECE. FADE TO BLACK.