BO'S BOAT. BO SITS ON THE EDGE OF HIS BED, STARING AT A WEDDING PHOTO.

THE PHONE RINGS. BO ANSWERS. IT IS DOUG, TWO WAY.

DOUG: Hello, Bo, it's Doug.

BO: Hi Doug. How are you today?

DOUG: All right. Ummm... I called to find out how you were doing.

BO: Fine. Why?

DOUG: Because... I mean... I thought... (DEEP BREATH) January 10th is...

BO: Hope's birthday.

DOUG: You remembered...

BO: Of course, I'll never forget anything about Hope.

DOUG: I didn't mean... I'm sorry. (BEAT) But you know what it's like when you're a father. You never forget the moment that baby is born and is placed in your arms.

BO: I know. It seems like only yesterday that Shawn-D was born...

DOUG: (SOTTO VOCE) And now my baby and her mother are both gone...

BO: Doug, are you all right?

DOUG: (DEEP BREATH) I'll be fine. I have a favor.

BO: Name it.

DOUG: If you don't mind, I'd like to spend some time today with my grandson... Hope's son...

BO: I think Shawn-D would like that.

DOUG: Thank you, Bo. Then I'll be by in bit to pick up Shawn-D.

BO: Okay, see you soon.

THEY HANG UP THE PHONE. BO PICKS UP THE PICTURE AGAIN. HOLD ON BO STARING AT THE PHOTO.

CUT TO: SALEM PLACE. MARCUS, CARRYING TWO LARGE SHOPPING BAGS, OPENS THE DOOR TO A STORE. A WOMAN WHOSE FACE WE CANNOT SEE, RUNS TOWARDS THE DOOR.

MARCUS HOLDS OPEN THE DOOR FOR A WOMAN WHO IS CARRYING A STACK OF PACKAGES SO HIGH, IT COVERS HER FACE.

THE WOMAN PUTS DOWN THE PACKAGES AND MARCUS SEES THAT IT IS JANET.

JANET: Hi Marcus! I didn't realize it was you! I wanted to get here early enough to exchange some gifts.

JANET STARTS TO PICK UP HER PACKAGES AGAIN. SHE NOTICES MARCUS' BAGS.

MARCUS: You've got it! (HE PICKS OUT A SHIRT FROM ONE OF HIS BAGS.) Tell me, just what is this color?

JANET: (LAUGHING) Whoa! I didn't think they made anything in puce these days.

MARCUS: Well, leave it to my Aunt Tish to have that impeccable taste.

JANET OPENS ONE OF HER PACKAGES AND PRODUCES A VERY FRILLY PINK BLOUSE.

MARCUS: (LAUGHS) Definitely not your style, Yamada!

JANET: Well, my oba-chan... my grandmother, doesn't seem to realize that I'm not sixteen years old anymore.

JANET MAKES A FACE AND PLACES THE BLOUSE BACK IN THE BOX.

JANET: Yes, I did. It was great to see the folks again... and of course New Orleans is always jamming on New Year's.

MARCUS: Sounds wild.

JANET: It was. I met a bunch of my old friends in the Quarter. Those guys sure know how to ring in the new year! How about yourself?

MARCUS: I went to the New Year's bash at Euterpe.

JANET: That's right. I remember Doug talking about it. How was it?

MARCUS: Great! Doug provided some very cool tunes.

JANET: I'm sure he did.

MARCUS: But, the definite highlight of the evening was when Officer Baroni grabbed the microphone and started serenading the new nurse in cardiology.

JANET: Oh boy, that must've been quite a sight. Baroni doesn't even have a great speaking voice, I can't imagine his singing.

JANET NOTICES THE CROWDS ENTERING THE STORE.

MARCUS: See ya Janet!

JANET AND MARCUS START WALKING IN OPPOSITE DIRECTIONS. HOLD ON THE CROWDS OF PEOPLE.

CUT TO: SPENCER'S OFFICE. SPENCER IS SEATED AT HIS DESK, WITH CARRIE SITTING ACROSS FROM HIM. IN PROGRESS.

CARRIE: It's no problem. Anything I can do to help the case against Gus Bartoli, I'll do it.

SPENCER: (CONCERNED) That's... the kind of attitude I like in a witness.

CARRIE: You don't sound very happy. Is there a problem?

SPENCER: Sort of.

CARRIE: What do you mean, "sort of"? Is it a problem with the case? We're still going to trial, aren't we?

SPENCER: That's the plan. Nothing's changed in that respect.

CARRIE: Then what is it?

SPENCER: I'll be frank with you. I'm concerned about your safety.

CARRIE: Because of the threats?

SPENCER: The threats, and the fact that people are following you. Not to mention the guy who assaulted you.

CARRIE: I can handle it. I'm still here, after all...

SPENCER: Yes, you've been fortunate... so far.

CARRIE: Listen, growing up a cop's daughter has taught me a lot. I know how to take care of myself.

SPENCER: I'm not doubting you. I know you're a very strong and courageous young woman...

CARRIE: But...

SPENCER: But you're dealing with people who make a living threatening and hurting people. I just hope that you don't get into a situation you can't handle.

CARRIE: Believe me, I'm very careful. And I've got lots of people looking out for me. My neighbors are watching for anyone suspicious, my Uncle Bo is checking up on me, and I know that some of the Salem P.D. officers are keeping tabs on me. (BEAT) I feel very well-protected.

SPENCER: I wish we could do more.

CARRIE: I appreciate everything you're doing. I want to testify and see Gus Bartoli put behind bars, where he belongs.

SPENCER: I admire your spirit. A lot of people would have given in to his threats.

CARRIE: I want to see that he's punished for what he did.

SPENCER: So do I. And I hope we can keep him from hurting you any more than he already has.

OUT ON SPENCER'S CONCERN.

DEVERAUX KITCHEN. THE KITCHEN IS SPOTLESS. CLEAN DISHES ARE SITTING IN THE RACK DRYING, THE TABLE IS SO CLEAN IT SHINES, AND THE FLOOR APPEARS TO HAVE BEEN RECENTLY WAXED. JENNIFER WANDERS IN, WEARING A FUZZY PINK BATHROBE AND PINK BUNNY SLIPPERS, STRETCHING AND YAWNING.

JENNIFER POURS HERSELF A BOWL OF "CHEERIOS", SITS DOWN AT THE KITCHEN TABLE AND BEGINS TO SLOWLY EAT. BUT SHE GETS UP, LEAVING THE NEARLY FULL BOWL OF CEREAL ON THE TABLE AND WALKS OUT THE KITCHEN DOOR INTO THE LIVING ROOM.

CUT TO: DEVERAUX LIVING ROOM. JENNIFER WALKS IN FROM THE KITCHEN.

JENNIFER POKES AROUND THE ROOM, BEFORE RESIGNEDLY FLOPPING DOWN ON THE SOFA. SHE PICKS UP THE REMOTE AND TURNS ON THE TELEVISION. THE STRAINS OF WHAT IS OBVIOUSLY A SOAP OPERA THEME ARE HEARD. JENNIFER STARES AT THE TELEVISION. HOLD ON JENNIFER'S APATHY.

CUT TO: JOHN'S OFFICE. JOHN IS SITTING AT HIS DESK, LEIGH SITS ACROSS FROM HIM. SHE IS SHOWING HIM A LARGE STACK OF PAPERS AND GESTURING EMPHATICALLY, AS HE LOOKS ON, BORED.

JOHN: Uh-huh.

LEIGH: You know, I am impressed. To think that of all the engineers and designers we employ, it took a guy on the assembly line to come up with a radical idea like this.

JOHN: Yeah... yeah, that's... interesting. We should give him a bonus.

LEIGH: Already done.

JOHN: That was fast.

LEIGH: I believe in moving quickly. In addition, I promoted him to team leader.

JOHN: To what?

LEIGH: Team leader.

JOHN: What's that?

LEIGH: (ANNOYED, BUT TRYING TO HIDE IT) Didn't you read the books and memos I sent you on team management?

JOHN: Well... I've been busy.

LEIGH: (SIGHS) In a nutshell, then?

JOHN: (WITH EXAGGERATED INTEREST) Yes?

LEIGH: While you were gone, I met with the board of directors as your proxy and convinced them to try team management on a trial basis.

JOHN: Uh-huh.

LEIGH: And believe me, it was like pulling teeth. But I had some pretty impressive statistics. The ones on improved profit margins seemed to do the trick.

JOHN: (EYES GLAZING) Uh-huh.

LEIGH: Anyway, now everyone has a voice. Ecosystems will be an example for other companies in Salem.

JOHN: Uh-huh.

LEIGH LOOKS CLOSELY AT JOHN, WHO OBVIOUSLY HASN'T BEEN LISTENING TO A WORD SHE HAS SAID.

JOHN: Uh-huh.

LEIGH SLAMS A FILE FOLDER DOWN IN FRONT OF JOHN, STARTLING HIM TO ATTENTION.

JOHN: Yes, I have!

LEIGH: Or is all of this going over your head?

JOHN: Look, just because I didn't have time to read a few books...

LEIGH: Or memos. Or magazine articles...

JOHN: At least I have a life!

LEIGH: Excuse me?

JOHN: A life. I'm not a workaholic.

LEIGH: Some of us have to work for a living!

JOHN: Well, since I'm obviously incompetent, why don't I just leave?

LEIGH: Why not?

JOHN GETS UP, PULLS HIS COAT OFF THE COAT RACK AND WALKS OUT OF THE OFFICE, SLAMMING THE DOOR BEHIND HIM. LEIGH SITS AT THE DESK AND BURIES HER HEAD IN THE STACK OF PAPERS.

CUT TO: JULIE'S OFFICE. JACK, JULIE, AND RICHARD ARE SEATED AROUND JULIE'S DESK, DISCUSSING THE LATEST DEVELOPMENTS WITH THE FIRST ISSUE OF MIDSUMMER MAGAZINE. IN PROGRESS.

JACK: Hallelujah!

JULIE: And at the price we agreed on.

RICHARD: Don't hand over that hefty bonus check quite yet, boss lady. There's a slight problem.

JACK: Define "slight" for me, Richard.

RICHARD: I sort of know the head honcho at McKinnon Printing over in Brookdale.

JACK: "Sort of?" I'm getting a bad feeling about this.

JULIE: Let him finish, Jack.

RICHARD: I dated his daughter a few times. (WICKED GRIN) But that's another story. Anyway, Marc agreed to take the job even though they're rushed...

JACK: Then what's the...

RICHARD: But we have to do all the layout and paste-up ourselves. By tonight.

JULIE: Ourselves? But they do all that by computer now.

RICHARD: Yes, when they have time to do it. Basically, they want camera ready copy.

JACK: Tonight?

RICHARD: Tonight.

BOTH JACK AND RICHARD LOOK A BIT GLOOMY.

RICHARD: It's an awfully big job, Julie.

JACK: I don't think it's possible....

JULIE PUTS DOWN HER PEN. SHE TAKES OFF HER JACKET AND BEGINS TO ROLL UP THE SLEEVES OF HER BLOUSE.

JACK AND RICHARD LOOK AT EACH OTHER AND EXCHANGE SLOW GRINS.

JULIE: You always were a smart one, darling. I, for one, have the power and the determination to get the first issue to McKinnon Printing tonight. Are you two with me?

RICHARD STICKS OUT HIS ARM AND HAND, PALM DOWN.

JACK AND JULIE PUT THEIR HANDS, ONE BY ONE, ON TOP OF RICHARD'S.

JULIE: Let's do it! Let's show Victor Kiriakis and all of Salem what we're made of...

OUT ON THE THREE HANDS.

ECOSYSTEMS. PATRICIA, JOHN'S SECRETARY, SITS AT HER DESK, WORKING ON HER COMPUTER. LEIGH WALKS UP.

PATRICIA: I'm sorry, he's left for the day.

LEIGH: Pardon?

PATRICIA: I said...

LEIGH: That's all right. I heard. I was... surprised... It's so early in the day...

PATRICIA LOOKS AT LEIGH, BUT SAYS NOTHING.

PATRICIA: More than I'd expect, but then, it's his company.

LEIGH: Yes... it is... (BEAT) Patricia, would you leave a message for him?

PATRICIA: Of course.

LEIGH: Tell Mr. Black, I'd like to see him. I owe him an apology.

PATRICIA: An apology?

LEIGH: Yes, because you are right, Patricia. This is his company and I was hired to run it. If he wants to take off the day, that's his prerogative. It's my job to see he can do that.

HOLD ON LEIGH.

CUT TO: SALEM PIER. JOHN WALKS DOWN THE STAIRS, LOOKING COLD AND DOWNCAST. HE SITS ON A CRATE, AND LOOKS OUT OVER THE RIVER.

JOHN HUDDLES DEEPER INTO HIS COAT, AND RUBS HIS GLOVED HANDS TOGETHER TO WARM THEM.

JOHN RISES, RUBS HIS HANDS TOGETHER AGAIN, THEN STICKS THEM INTO HIS POCKETS TO WARM THEM FURTHER. A CRINKLING SOUND GETS HIS ATTENTION IN THE COLD STILLNESS, AND HE PULLS A FOLDED SLIP OF PAPER OUT OF HIS POCKET.

JOHN UNFOLDS THE PAPER AND BEGINS TO READ.

JOHN LOOKS AT THE NOTE FRONT AND BACK, AS IF TRYING TO DISCERN ITS VALIDITY.

HOLD ON JOHN'S BEWILDERMENT.

CUT TO: ALAMAIN LIVING ROOM/FOYER. LAWRENCE IS STANDING IN THE FOYER SPEAKING ON THE TELEPHONE, ONE-WAY.

LAWRENCE HANGS UP THE PHONE AND STRIDES OVER TO THE BAR IN THE LIVING ROOM, WHERE HE POURS HIMSELF A DRINK. HE HOLDS UP THE GLASS, ADMIRING THE COLOR OF THE BRANDY BEFORE HE TAKES A SIP.

HE TAKES ANOTHER DRINK.

OUT ON LAWRENCE'S ANGER.

SALEM PLACE. MARCUS IS LOOKING IN A STORE WINDOW. HE BEGINS TO WALK AWAY, WITHOUT WATCHING WHERE HE IS GOING. WE SEE JANET, WHO IS ALSO WALKING WHILE LOOKING IN A STORE WINDOW. MARCUS AND JANET BUMP INTO EACH OTHER AND SPEAK SIMULTANEOUSLY.

JANET: Hey!

BOTH SMILE AS THEY SEE WHO THEY HAVE BUMPED INTO.

JANET: No kidding. I might have to cite you for reckless walking.

MARCUS: "Reckless walking." That's a new one on me.

JANET: It's a very serious charge.

MARCUS: Is it?

JANET: Absolutely. Carries a tough sentence.

MARCUS: I guess I'd better watch my step...

JANET: You'd better.

MARCUS: Tell me, am I under surveillance?

JANET: No. (SMILING) Should you be?

MARCUS: Not at all. I thought maybe you were following me.

JANET: Is that so?

MARCUS: Uh-huh. We seem to run into each other a lot...

JANET: Well, Doctor Hunter, I'm wondering if you're the one following me. (BEAT) You're not a stalker, are you?

MARCUS: I don't think so.

MARCUS PULLS THE LAPEL OF HIS OVERCOAT OVER HIS FACE, SO THAT THE LOWER HALF OF HIS FACE IS COVERED.

THEY BOTH LAUGH.

JANET: (HOLDING UP THREE BAGS) Yes, several of my well-intended, ill-chosen gifts are now either store credits or cash.

MARCUS: (LOOKING DOWN AT HIS ONE BAG) Yeah, they're much easier to carry that way.

JANET: Tell me about it! I think I'm shopped out for the day.

MARCUS: Me, too. (BEAT) Say, I was going to go over to Alice's Restaurant for a cup of coffee. Would you join me?

JANET: Thanks, I'd love to.

THEY BEGIN TO WALK.

MARCUS: He's coming along better than expected. (BEAT) But he's still got a long road ahead of him.

JANET: What about his family? How are they handling it?

MARCUS: They're coping. (HEAVY SIGH) It's terrible that they had to go through that... especially on Christmas.

JANET: But you were there, and you did what you could for them. I'm sure they're very grateful.

MARCUS: Yeah, well, I'm grateful to you for helping me snap out of my depression that night.

JANET: It was my pleasure. I know what it's like, working in a field where you see horrible things happen to good people.

MARCUS: I'm sure you do. (BEAT) You feel great when you're able to help people, but you feel terrible that they're thrown into situations where they need your help.

JANET: It's tough. But we do the best we can. We're only human...

MARCUS: True. But, as humans go, I think you're pretty extraordinary.

JANET: Why, thank you, Doctor. You're pretty extraordinary yourself.

HOLD ON JANET'S SMILE.

CUT TO: SALEM P.D. SQUAD ROOM. MORGAN IS BUSY GOING OVER SOME REPORTS, WHEN SPENCER ENTERS.

MORGAN: Always. And I swear, the spelling gets worse and worse. I feel like a third-grade teacher sometimes. (BEAT) So what brings you down here?

SPENCER: I wanted to check with you about Carrie Brady.

MORGAN: What's up?

SPENCER: I had a meeting with her earlier this morning.

MORGAN: Anything new?

SPENCER: Not really. We discussed the threats against her and how she's being followed.

MORGAN: You sure someone's following her?

SPENCER: As sure as we can be. Someone's keeping close tabs on Miss Brady, and I don't think it's her guardian angel.

MORGAN: How is she doing?

SPENCER: Full of assurances that she's fine, she'll handle it, she'll be okay. But I'm worried. This Bartoli character is a nasty customer. I wanted to check and make sure you have someone keeping an eye on her.

MORGAN: Did Carrie ask?

SPENCER: Do you honestly think she would? She puts up a brave front, but I think, deep down, she's scared.

MORGAN: No worries on our side. Captain's approved the overtime indefinitely...

SPENCER: That makes me feel better. Besides admiring Miss Brady as a person, she's also the only witness I have who can put Bartoli away.

MORGAN: Rest assured. Nothing will happen to Carrie if the SPD has anything to say. The guys are fighting over the duty roster to watch her. We do whatever is necessary to take care of one of our own.

HOLD ON MORGAN'S DETERMINATION.

CUT TO: CARRIE'S APARTMENT. CARRIE IS LYING ON THE COUCH SURROUNDED BY BOOKS AND PAPERS. SHE'S VERY FIDGETY, TWIRLING HER HAIR AND TAPPING HER PENCIL. SHE PUTS THE BOOK SHE IS READING FACE DOWN ON HER CHEST AND LOOKS UP AT THE CEILING.

CARRIE PUTS THE BOOK DOWN ON THE FLOOR. SHE GETS UP AND LOOKS OUT THE WINDOW. SHE FIDDLES WITH THE LOCK.

A NOISE IS HEARD OUT IN THE HALL. CARRIE GOES OVER TO THE FRONT DOOR AND PEEKS OUT.

CARRIE CLOSES THE DOOR AND LEANS AGAINST IT.

SHE GOES BACK TO THE COUCH AND PICKS UP THE BOOK AGAIN.

OUT ON CARRIE, STUDYING.

JULIE'S OFFICE. THE DESK AND SIDE TABLE HAVE BEEN CLEARED AND ARE COVERED WITH PAPERS AND WAX ROLLERS. JACK, JULIE AND VERN ARE HUNCHED OVER THE TABLE, LOOKING AT PIECES OF PAPER AND TRYING TO FIT THEM ON THE PAGES. RICHARD IS FRANTICALLY DIGGING IN A PILE OF PAPER. A CARTOON IS STUCK ON THE BACK OF HIS HEAD. IN PROGRESS.

JACK: Which one? There's only about a hundred of them!

VERN: All of which, I might add, had to be hand-trimmed...

RICHARD: The one to go with the opinion piece about older women being told they're incompetent!

VERN: (LOOKING STRANGELY AT RICHARD'S HEAD) The one with the woman wearing hair rollers and a mink coat?

RICHARD: Yes! That one! Where is it?

VERN: On your head.

RICHARD: Excuse me?

JACK: (LOOKING AT RICHARD) Yes, I concur with Vern. It's on your head.

JACK REACHES OVER AND SILENTLY HANDS THE CARTOON TO RICHARD.

JULIE: Darlings, it doesn't matter! Keep pasting!

VERN: Ya wohl. (SOTTO VOCE) And I thought Jack was the only one.

JACK: Excuse me?

VERN: Nothing. Just thinking how lucky I am you thought of me...

JULIE: Oh no....

JACK: What?

JULIE: This article won't all fit on page 33.

JACK: Well, put some of it on page 34!

JULIE: I thought of that, Jack, thank you. But page 34 is the page you just finished. That's full.

JACK: Oh.

THERE IS A KNOCK AT THE DOOR AND A PIZZA DELIVERY PERSON ENTERS, LOOKING AROUND IN AMAZEMENT.

JULIE: Thank you. (SHE GETS HER PURSE) Here's your money.

DELIVERY: Thanks. (LOOKING AROUND THE ROOM) Wow. This is sure cool.

JACK: Thank you for your editorial remarks. Maybe we can get you to write a column one day...

JACK PUSHES THE PIZZA DELIVERY PERSON OUT THE DOOR.

JULIE: Wait just a minute.

ALL THREE MEN TURN AND LOOK AT JULIE.

VERN NODS EMPHATICALLY IN AGREEMENT AND LOOKS POINTEDLY AT JACK.

JACK: Vern!

JULIE: I am truly sorry. It's just that this project has become very dear to my heart.

RICHARD: We understand, Julie.

JULIE: I don't know if you do, Richard. Since I've accepted this position, I've begun seriously looking at the magazine market. And what's out there made me... ill.

JACK: Tabloid journalism? Stories for shock value?

JULIE: There's always that. But I meant something else.

JACK: Such as?

JULIE: Nearly everything caters to the youth market and a certain preconceived standard of beauty.

RICHARD: Every age has had different notions of beauty.

JULIE: I know. But there was room for diversity. Not any more.

RICHARD: But that's changing. Some of the top models are African-American and...

JULIE: But they're young and thin and pretty.

VERN: I think that's a job requirement...

JULIE: But why? And why hold everyone to impossible standards? We can't all be six feet tall and gorgeous.

RICHARD: I hate to be obtuse, but, Julie, you are one of the most beautiful women I've ever met and arguably the smartest.

JULIE: Thank you, Richard, but that's not the point.

JACK: What is the point?

JULIE: When you read so-called women's magazines, there are articles on how to fight aging. How to starve yourself to be thin. How to wear makeup to look young. But there's nothing about learning to accept who you are. There's nothing on starting a career at 50 when the kids have left home. Women my age are invisible. We're something to be ashamed of. We're made to feel guilty for growing older. And I want to change that. I want to show the world that we are people. And we are productive, creative, energetic, worthwhile people.

HOLD ON JULIE'S PASSION.

CUT TO: PARK. DOUG IS SITTING ON A BENCH NEXT TO THE ICE-SKATING POND. SHAWN-D SKATES UP TO HIM.

DOUG: Hey, Shawn-D! You ready for a breather?

SHAWN-D: I guess so.

DOUG: (PATTING THE BENCH NEXT TO HIM) Have a seat.

SHAWN-D SITS DOWN.

SHAWN-D: (EXCITED) What is it?

DOUG PICKS UP TWO LARGE CUPS AND HANDS ONE TO SHAWN-D.

SHAWN-D: (TAKING THE CUP) Oh, boy! Thanks!

DOUG: Careful... It's hot.

SHAWN-D: I'll be careful.

THEY SIP THEIR HOT CHOCOLATE AS THEY TALK.

DOUG: (SMILING) Yes, I'm sure. Believe me, I'm much better on skis than on skates.

SHAWN-D: I've never been skiing. Will you teach me sometime?

DOUG: You betcha.

DOUG TURNS AND WATCHES SOME OF THE SKATERS ON THE POND.

DOUG: (STILL WATCHING THE SKATERS) Yes?

SHAWN-D: Are you feeling better?

DOUG: (TURNING TO SHAWN-D, SURPRISED) Am I... feeling better? What makes you ask?

SHAWN-D: I heard you and Papa talking on the phone. I know that you've been sad.

DOUG: Yes... yes, I have. I always get a little sad around your mama's birthday.

SHAWN-D: I miss Mama.

DOUG: So do I, Shawn-D. So do I. (BEAT) But, you still have your papa. And the two of you have lots of great memories.

SHAWN-D: Yeah, but we don't talk about mama.

DOUG: You don't?

SHAWN-D: Almost never...

DOUG: Why not?

SHAWN-D: It always makes Papa sad to talk about her, so I don't.

DOUG: Does it make you sad?

SHAWN-D: No. I want to talk about mama. I'm scared that if I don't... (LOWERS HIS HEAD)

DOUG: (LIFTING SHAWN-D'S CHIN WITH HIS HAND) What? What are you scared of?

SHAWN-D: (NEAR TEARS) I'm scared that I'll forget Mama.

DOUG: (PUTTING HIS ARM AROUND SHAWN-D) Oh, Shawn-Douglas... I don't think you'll ever forget your mother...

SHAWN-D: I hope not.

DOUG: Tell you what. I can show you lots of pictures of your mom.

SHAWN-D: Really?

DOUG: Yeah. And I can tell you stories about her. I can tell you about when she was your age, and when she was a teenager...

SHAWN-D: And when she fell in love with Papa?

DOUG: Yes, and when she fell in love with your papa.

SHAWN-D: (SMILING) I'd like that. I don't ever want to forget Mama.

DOUG: Well, I know I won't. And I'll make sure you don't, either.

SHAWN-D: Thanks, Grandpa Doug.

DOUG: You're welcome, Shawn-D. You're welcome.

THEY HUG. HOLD ON THEIR HUG.

CUT TO: JACK AND JENNIFER'S KITCHEN. ROSIE IS IN THE KITCHEN SETTING OUT A LARGE BOWL AND THE HAND MIXER. JENNIFER COMES IN AND LEANS AGAINST THE COUNTER.

ROSIE: It's all that fresh air. It's good for her. I used to take you out for walks every day, rain or shine.

JENNIFER: I remember. (BEAT) What are you doing?

ROSIE: I thought I'd whip up a batch of snickerdoodles. Jack seemed to like them.

JENNIFER: I'll say! I think I only got one. I'll get out the baking trays.

ROSIE: No, no, I'll do it. You should be relaxing.

JENNIFER: Rosie, I'm fine. I'm totally recovered. The doctor said so.

ROSIE: All the same, take advantage of it while you can. Pretty soon life will be hectic again and you'll be wishing for some time to yourself.

JENNIFER: I have to do something. I'll start dinner.

ROSIE: Already done. There's a casserole defrosting in the refrigerator.

JENNIFER: Okay. Then I'll fold the laundry.

ROSIE: Did it this morning.

JENNIFER: Rosie! How do you do it?

ROSIE: It just comes natural like. Now go and read a book or go shopping. Watch TV. Enjoy yourself.

JENNIFER: I guess I don't have a choice, do I?

OUT ON JENNIFER'S MELANCHOLY.

CARVER & CARVER DETECTIVE AGENCY. JOHN HAS JUST FINISHED READING IVAN'S LETTER TO ABE AND LEXIE. IN PROGRESS.

ABE: It definitely adds a new twist to how evil Lawrence can be.

LEXIE: Unless, of course, this letter is another ploy of Vivian's.

JOHN: That thought has crossed my mind. (STARTS PACING BACK AND FORTH) But, I don't trust Lawrence any farther than I can throw him. It would be just like him to control Vivian by keeping her captive in that house.

ABE: Just like he kept Jennifer and the others captive at his villa.

JOHN: Right. (HE STOPS PACING AND SITS DOWN) Then again, I don't trust Vivian much either. This could be another way of getting to my Alamain holdings.

LEXIE: Then, who do you trust the least?

JOHN: Definitely Lawrence. (HE PLACES HIS HAND ON HIS CHIN) I remembered something about Vivian when I was in Europe. She once gave me a Samurai doll when I was a child. I remember cherishing that doll.

ABE: So, somehow you feel connected to her?

JOHN: Yeah, weird, isn't it? I don't know, but I have this feeling that she really cared about me once.

LEXIE: Maybe you should try talking to Vivian. Feel her out. Make sure she's being honest with you.

ABE: Good idea. Plus, if you help her out, she may be able to give us some hard evidence against Lawrence.

JOHN: You're right. I'll head over and check things out. Besides, I'm worried about Nikki.

LEXIE: Is he okay?

JOHN: He seems fine. But I get the feeling that Nikki would rather be anywhere but in that house... with Lawrence.

HOLD ON JOHN.

CUT TO: CARRIE'S APARTMENT. CARRIE IS SITTING ON THE COUCH STUDYING. A BOOK IS OPEN ON HER LAP. IN PROGRESS.

CARRIE CLOSES HER BOOK AND STANDS UP.

SUDDENLY, ALL THE LIGHTS IN THE APARTMENT GO OUT.

LIGHT FOOTSTEPS ARE HEARD JUST OUTSIDE HER DOOR.

SHE HEARS THE KNOB TO THE FRONT DOOR START TO TURN.

CARRIE MAKES HER WAY OVER TO THE HALL CLOSET, WHERE SHE DIGS OUT A BASEBALL BAT. WITH HER ARMS SHAKING, SHE QUIETLY MOVES TO HIDE BEHIND THE FRONT DOOR, WHICH IS SLOWLY OPENING. CARRIE RAISES THE BAT OVER HER HEAD AS A FIGURE ENTERS THE ROOM.

CARRIE: Jonah?! Is that you?!

JONAH: Yeah. What's going on? (EYEING THE BAT) Has Spring training started?

CARRIE: What? No... I... the lights... Jonah... when will this end?

HOLD ON CARRIE.

CUT TO: MIDSUMMER. JULIE IS PLACING THE COVER PAGE ON TOP OF THE STACK OF PASTED-UP PAGES.

JULIE LOOKS TO HER LEFT, THEN TO HER RIGHT. BOTH JACK AND RICHARD ARE SLOUCHED IN CHAIRS, EXHAUSTED. RICHARD IS DOZING.

RICHARD: (WAKING UP) What?

JACK: Julie, I'm very excited.

JULIE: You don't look it.

JACK: Okay, maybe I'm too relieved to be excited.

RICHARD: (YAWNING) I'm excited, Julie... But I think I'm more tired than anything else.

JULIE: I gathered that much, darling. But it was all worth it. Our premiere issue is now ready to go to McKinnon Printing.

JACK: So it is. (BEAT) Why don't you two go home? I'll take this to the printer.

JACK GETS UP AND GOES TO THE TABLE. HE TAKES THE PASTE-UPS AND PUTS THEM IN A BOX.

JACK: No, no, it's all right. I'll take care of it.

RICHARD STANDS UP AND PICKS UP HIS COAT.

JULIE: Go right ahead, you deserve it. Thank you for all your hard work.

RICHARD: You bet, boss. Good night.

JULIE: Good night, Richard.

JACK: Yes, good night.

RICHARD WALKS OUT.

JACK: Yes, well, we were destined to succeed. You were an inspiration to us all, Julie.

JULIE: Oh, stop it...

JACK: No, I mean it. (BEAT) You exemplify everything "Midsummer" stands for. There's no question that I found the best possible Editor-in-Chief for this magazine.

JULIE: Well, thank you, darling. This Editor-in-Chief is going to drag her tired self home for some much-needed rest.

JACK: Good. One last thing...

JULIE: (PUTTING ON HER COAT) Yes?

JACK: Thank you for your dedication. I promise you that this is the last time you'll be doing paste-ups.

JULIE: I'll hold you to that, Jack.

JACK: (SMILING) I'm sure you will.

JULIE: Good night, Jack.

JACK: Good night.

JULIE EXITS.

THE TELEPHONE RINGS. JACK LOOKS AT THE PHONE QUIZZICALLY.

JACK PICKS UP THE RECEIVER, TWO-WAY.

JENNIFER: Jack?

JACK: Jennifer, hello!

JENNIFER: Hi.

JACK: (EXPECTING JENNIFER TO SAY SOMETHING) So...

JENNIFER: So...

JACK: So... to what do I owe this pleasure?

JENNIFER: Nothing, really. I thought I'd call and see how you're doing.

JACK: I see.

JENNIFER: So, how are you doing?

JACK: I'm fine, thank you. Tired. We've been pasting up all afternoon and evening.

JENNIFER: Oh. (BEAT) Isn't the printer supposed to do that?

JACK: (LOOKING AT HIS WATCH) Usually. This time is an exception.

JENNIFER: Oh.

JACK: Yes.

THERE IS AN UNCOMFORTABLE SILENCE.

JENNIFER: Yes?

JACK: Oh, you are still there...

JENNIFER: I'm here...

JACK: (SLIGHTLY IMPATIENTLY) Jennifer, I really need to get going. The printer is waiting for me to deliver the paste-ups.

JENNIFER: Oh, okay. Well...

JACK: (INTERRUPTING) I'll talk to you when I get home, all right?

JENNIFER: All right...

JACK: All right. Goodbye...

JENNIFER: Jack, wait!

JACK: Yes?

JENNIFER: When will you be home?

JACK: I'm not sure. I'm leaving right now for the printer's office. I want to stick around for a while and make sure they get things right. I'll probably be late.

JENNIFER: (DISAPPOINTED) Oh. Okay...

JACK: I'm going to go now. I'll be home as soon as I can, all right?

JENNIFER: All right. Goodbye, Jack.

JACK: Goodbye.

JACK HANGS UP THE PHONE. HE PICKS UP THE BOX AND WALKS QUICKLY TO THE DOOR. HE PAUSES AND LOOKS BACK AT THE PHONE. THEN HE LOOKS DOWN AT THE BOX OF PASTE-UPS IN HIS HANDS. HE TAKES ONE LAST, FORLORN LOOK AT THE PHONE AS HE TURNS OUT THE LIGHT. HE CLOSES THE DOOR BEHIND HIM. OUT ON THE CLOSED DOOR.

ALAMAIN LIVING ROOM/PORCH. JOHN, STANDING ON THE PORCH, RINGS THE BELL. NO ANSWER. HE RINGS AGAIN, BECOMING IMPATIENT. AS HE REACHES OUT TO TEST THE KNOB, THE DOOR OPENS. LAWRENCE STANDS IN THE DOORWAY.

JOHN: Is that any way to greet your brother, Larry? And what are you doing answering the door? Where's Ivan?

LAWRENCE: He's... working... in another part of the house.

JOHN: May I come in?

JOHN DOESN'T WAIT FOR AN ANSWER, BUT PUSHES PAST LAWRENCE AND ENTERS.

LAWRENCE: She's... resting. I'm not sure she should be disturbed.

JOHN: Why don't you let her decide? Point me to her room, and I'll go knock...

LAWRENCE: I think not. If you must see her...

JOHN: Oh, I must.

LAWRENCE: Wait a moment, I'll see if she's feeling up to it.

JOHN: Has she been ill? Should I call Bill Horton?

LAWRENCE: That won't be necessary. Wait here.

LAWRENCE GOES UP THE STAIRS, AS NICHOLAS COMES IN FROM THE KITCHEN.

JOHN: Nikki! C'mere, give your uncle a hug!

THE TWO HUG, NICHOLAS SMILING HAPPILY TO SEE JOHN.

JOHN: And I'm glad to see you, kiddo. Did you have a good Christmas?

NICHOLAS: (SUBDUED) It was pretty good, I guess.

JOHN NOTICES NICHOLAS' CHANGE OF MOOD, BUT DOESN'T COMMENT.

NICHOLAS: That'd be great! If La... Dad lets me go.

JOHN: (FIRMLY) If you want to go, then I'll make sure you do. (BEAT) Nikki, is everything okay?

NICHOLAS: No...

LAWRENCE COMES DOWN THE STAIRS, WITH VIVIAN. HE'S GOT HER ARM IN A GRIP SO TIGHT THAT HER FACE SHOWS THE PAIN, BUT HE RELEASES HER AS SOON AS HE SEES NICHOLAS. VIVIAN RUBS HER ARM, AND GOES TO NICHOLAS.

NICHOLAS: Not as much fun as if you had been there.

VIVIAN: That just wasn't.... possible.

JOHN: Are you ill? Lawrence said you were resting.

VIVIAN: I was....

VIVIAN NOTICES LAWRENCE'S WARNING GLANCE.

JOHN: Good. Because I've come to take you to dinner. Euterpe okay?

LAWRENCE: Vivian, I'm not sure that's such a good idea...

NICHOLAS: Oh, I think it's a great idea! It'll make you feel better, Auntie Viv!

LAWRENCE: But your health, Vivian.

VIVIAN LOOKS PLEADINGLY AT JOHN.

NICHOLAS: Go on, Auntie Viv... it'll be fun. C'mon, Dad, it'll be good for her.

LAWRENCE: (LOOKS AT NICHOLAS, THEN JOHN) Well, I suppose you should go, Vivian. Just don't be too long. There are... things that might not flourish without your presence. Your orchids... among others...

VIVIAN: I hardly think my... orchids will suffer if I dine with John.

LAWRENCE: Well, it's better to be safe, than to have a loss, don't you think?

VIVIAN: Yes... of course, Lawrence. And I will take care to see that nothing is... lost. Now, if you'll excuse me, I must go change. I'll just be a moment.

LAWRENCE SITS STIFFLY ON THE COUCH. NICHOLAS SITS CLOSE TO JOHN. VIVIAN WALKS TOWARDS THE STAIRS.

NICHOLAS: I thought the best thing about it was the chips and dip Cook made!

JOHN: (LAUGHING) Don't let the Badger fans hear you say that!

VIVIAN, NOW AT THE TOP OF THE STAIRS, WORRIEDLY LOOKS AT THE ATTIC DOOR.

HOLD ON VIVIAN'S DISTRESS.

CUT TO: CARRIE'S APARTMENT. CARRIE AND JONAH ARE STANDING IN THE DOORWAY. CARRIE IS STILL HOLDING THE BASEBALL BAT, BUT HER HANDS ARE SHAKING. IN PROGRESS.

CARRIE: I've been better. (BEAT) What are you doing here?

JONAH: (SLOWLY TAKING THE BAT FROM CARRIE) I stopped by to see how you were doing. I was down the hall when all the lights went out. I thought the power outage might freak you, so I came right in.

CARRIE: Why didn't you knock? I could have bashed in your brains!

JONAH: I'm sorry, I was worried about you.

CARRIE: (TEARS WELLING IN HER EYES) No, I'm sorry. It's not your fault. I shouldn't have yelled at you.

JONAH: (USING HIS FREE HAND TO CLOSE THE DOOR BEHIND HIM) It's okay. You have every right to be jumpy.

CARRIE PUTS HER ARMS AROUND JONAH'S WAIST AND BURIES HER HEAD IN HIS SHOULDER. HER BODY SHAKES AS SHE SOBS. JONAH PUTS HIS ARMS AROUND HER, STROKING HER HAIR WITH HIS FREE HAND.

JONAH CLOSES HIS EYES AND LEANS HIS HEAD AGAINST CARRIE'S. SHE TURNS HER HEAD SLIGHTLY SO SHE CAN SPEAK.

JONAH: You've got good reason to be scared.

CARRIE: Maybe so, but I feel like such a hypocrite...

JONAH: A hypocrite? Why?

CARRIE: Because...

CARRIE STANDS UP AND STEPS AWAY FROM JONAH.

CARRIE GOES TO THE KITCHEN AND GETS A FLASHLIGHT OUT OF A DRAWER.

CARRIE TURNS THE FLASHLIGHT ON AND WALKS TOWARD HER BEDROOM.

CARRIE GOES INTO HER ROOM. JONAH MOVES CAREFULLY TO THE SOFA AND SITS DOWN. CARRIE COMES OUT OF HER ROOM WITH THE LAMP AND A BOOK OF MATCHES. SHE SETS THE LAMP ON AN END TABLE AND SITS DOWN ON THE SOFA. SHE OPEN THE LAMP AND STRIKES A MATCH. SHE LIGHTS THE LAMP AND TURNS IT UP. SHE TURNS THE FLASHLIGHT OFF AND PUTS IT ON THE END TABLE.

JONAH: Okay, now what's this about you feeling like a hypocrite?

CARRIE: I was thinking about this morning. I met with the D.A. to talk about the case. He said he was concerned for my safety. I think he wanted to give me a chance to back out.

JONAH: And?

CARRIE: I put up this really brave front, like everything was fine. I told him I could take care of myself, that there was no way Gus was going to scare me out of testifying.

JONAH: Good for you!

CARRIE: Yeah, well... Ever since I've been home, I've been jumping at every little sound I hear, thinking he's coming for me. By the time you show up, I'm so scared I almost... (BEAT) I'm not exactly the picture of courage.

JONAH: I think you're too hard on yourself. This whole thing has me scared, and I'm not even the one testifying! I think you've been really courageous through this whole thing.

CARRIE: Thanks. I hope that I can get through this. I wish it was all over.

JONAH: Well, I'll do whatever I can to help you.

CARRIE: I appreciate it. (BEAT) I'm glad you're here, Jonah.

JONAH: (SMILING) Me, too.

STILL SHAKY, CARRIE FORCES A SMILE. HOLD ON CARRIE.

CUT TO: JACK AND JENNIFER'S LIVING ROOM. THE HOUSE IS DARK AND QUIET WHEN JACK WALKS IN THE FRONT DOOR.

HE TAKES OFF HIS COAT, THROWS IT ON THE SOFA, AND YAWNS.

EXHAUSTED, JACK MAKES HIS WAY UPSTAIRS.

CUT TO: JACK AND JENNIFER'S BEDROOM. JENNIFER IS SITTING IN BED, POURING A GLASS OF CHAMPAGNE. JACK WALKS INTO THE BEDROOM, AND IS SURPRISED WHEN HE SEES JENNIFER.

JENNIFER: I was waiting for you. Champagne? Pâté?

JENNIFER HANDS JACK THE GLASS AND REACHES FOR A SMALL PLATE OF PÂTÉ AND CRACKERS.

JENNIFER: Uh-huh.

JACK TAKES A SIP OF CHAMPAGNE AND A BITE OF PÂTÉ.

JACK SITS DOWN ON THE EDGE OF THE BED, POPS THE REST OF THE CRACKER IN HIS MOUTH AND PLACES THE GLASS ON THE SIDE TABLE. HE KICKS OFF HIS SHOES AND FALLS BACK ONTO THE BED.

JACK RUBS HIS TEMPLES WITH HIS FINGERTIPS.

JACK: Gladly... thanks.

JACK MOVES CLOSER TO JENNIFER, RESTING HIS HEAD IN HER LAP. HE CLOSES HIS EYES AS SHE MASSAGES HIS TEMPLES.

JENNIFER: Feels good?

JACK: Better than good.

JACK OPENS HIS EYES AND LOOKS UP AT JENNIFER. HE REACHES UP AND GENTLY TAKES HER HAND AND KISSES IT.

JENNIFER: Jack, you don't have to...

JACK: Yes I do. (BEAT) Jennifer, I almost lost you and I never want to take you for granted.

JENNIFER: I have to admit, I was a little hurt...

JACK SITS UP SO HE CAN LOOK INTO JENNIFER'S EYES.

JACK KISSES HER HAND.

JENNIFER: But, I'm starting to become dependent on you.

JACK: Stubborn, feisty Jennifer Horton Deveraux? Never.

JENNIFER: You'd be surprised.

JACK: Tell me...

JENNIFER: (DEEP BREATH) I sit around and wait for you to walk through the door...

JACK: This is bad?

JENNIFER: No, not wanting to see you and be with you. But I'm beginning to feel like I have no life outside of yours. We used to be partners and now...

JACK: I think I understand. You miss... (SMILING) your Nora to my Nick...

JENNIFER: Yes, I miss going out on ledges for and with you...

JACK: Tell you what, Mrs. D. Let me get a good night's sleep and we'll start the high-rise act tomorrow. Deal?

JENNIFER: Deal.

JENNIFER HOLDS OUT HER HAND AND THEY SHAKE HANDS. THEN JACK LEANS OVER AND TENDERLY KISSES JENNIFER. OUT ON THEIR EMBRACE.

ALAMAIN ATTIC. IVAN IS ABSENTLY READING A BOOK WHEN THE DOOR OPENS. NICHOLAS ENTERS, HOLDING THE KEY IN HIS HAND.

NICHOLAS: Lawrence is in a teleconference. He won't miss me for a few minutes. Did you know John came over?

IVAN: Yes. Your Aunt whispered through the door. They've gone to dinner.

NICHOLAS: Do you think he'll help us?

IVAN: I believe he will.

NICHOLAS: Me, too. (BEAT) Ivan, I want this to be over, for you and me and Auntie Viv to be safe.

IVAN: As do I. But you are not to worry about all of these problems, Master Nicholas. I will take care of you and your Aunt. You must concentrate on behaving normally around your father.

NICHOLAS: I'm doing a pretty good job.

IVAN: Indeed you are, although I hate asking you to play this charade.

NICHOLAS: Don't worry, Ivan. I will do whatever it takes to help Aunt Vivian... and you.

IVAN: Thank you, Nicholas.

IVAN PUTS HIS HAND ON NICHOLAS' SHOULDER.

NICHOLAS: I'll head down now.... But remember, Ivan, if you need anything, just bang on the floor twice, like we talked about. I'll get up here as soon as I can.

IVAN: You just run along, I will be fine.

NICHOLAS QUICKLY HUGS IVAN, THEN LEAVES.

HOLD ON IVAN'S DETERMINATION.

CUT TO: CARRIE'S APARTMENT / HALLWAY. THERE IS A KNOCK AT THE DOOR AND CARRIE OPENS IT. IN THE HALLWAY, THERE IS A LARGE CLUSTER OF PEOPLE WITH FLASHLIGHTS AND CANDLES.

CARRIE: Nope. Just Jonah.

MADDY: Good. When the lights went out, I was frantic! The first thing I thought of was that it had something to do with that Gus character...

CARRIE: Any idea what's up?

ROB: I checked the basement. It looks like we overloaded a circuit. I called the landlord and left a message on his machine.

SIOBHAN: Great. He's so slow we won't have power again till spring! Carrie, we checked the second floor and there's no one here but us poverty-stricken tenants.

ILLYANA: Erik and I checked the third floor and the roof. No one lurking up there either.

CARRIE: Guys, don't you think you're going a little overboard?

MOON: Hey, what're neighbors for?

ILLYANA: Yeah. And if you got yourself whacked, there'd be cops all over the place and sirens and questions and no one would be able to sleep for weeks!

MADDY: (TO ILLYANA) You are such a fountain of kindness, roomie.

ILLYANA: I try. So. What now?

SIOBHAN: I don't know about the rest of you, but this is still kinda spooky.

MOON: Yeah. Creeps me out, too. But hey, that Gus guy is a creepy character. But he'll have to go through us to get to you, Carrie!

CARRIE: Thanks. Really. You guys are great.

MOON: Are you sure you want to go ahead with testifying against him?

CARRIE: Yeah. I am. I thought about not doing it, but I won't let him win. The more he tries, the more stubborn I get.

JONAH: The girl is a Brady through and through. "Stubborn" is their middle name.

CARRIE: Thanks, Jonah. You're such a sweetie.

ILLYANA: Look, since we're all down here anyway, why not do something?

CARRIE: Like what?

ILLYANA: Like, Rob goes and gets his boom box, we set up flashlights and candles and have a party!

CARRIE: I guess that'd sure take my mind off of things...

MADDY: Then it's a party!

THERE IS A CHEER FROM THE GROUP. ROB WALKS OFF AFTER HIS BOOM BOX AS CARRIE OPENS THE DOOR AND LETS EVERYONE IN. HOLD ON THE PARTY-GOERS.

CUT TO: EUTERPE. JOHN AND VIVIAN ARE SEATED AT A TABLE. JOHN'S DINNER PLATE IS EMPTY, WHILE MOST OF VIVIAN'S FOOD STILL REMAINS.

VIVIAN: I suppose I'm not as hungry as I thought. I haven't been feeling well lately...

JOHN: Vivian, you can knock off the games. Lawrence isn't around to threaten you.

VIVIAN: He's threatening me as long as he has Nikki and Ivan in that house.

JOHN: Ivan's note said that Lawrence is holding you prisoner. What's going on?

VIVIAN: Before I tell you anything, I must have your word that this conversation is just between the two of us. If Lawrence were to find out...

JOHN: Don't worry, Vivian. I'm not going to do anything that would be of any help to Lawrence. I'm more inclined to do just the opposite.

VIVIAN: All right. (BEAT) What Ivan wrote is true. Lawrence is holding us in his attic. He only lets us out when he needs to project an image of normality.

JOHN: Like tonight?

VIVIAN: Like tonight. I was locked in the attic, not resting in bed.

JOHN: But why? Why is he doing this to you? Is it because you kept Nikki from him for eight years?

VIVIAN: Not exactly. It involves Nikki, but not in the way you think.

JOHN: How, then?

VIVIAN: I'm sure you're well aware of what kind of man Lawrence really is.

JOHN: Of course. He's unscrupulous, power-hungry, basically evil...

VIVIAN: Yes, you've got the general idea. Anyway, with Nikki, he has always painted himself as a wholesome, law-abiding businessman and father.

JOHN: But you know better...

VIVIAN: Yes, so that makes me a threat to Lawrence's relationship with his son. He's made it clear that there would be... severe consequences if I were to tell Nikki the truth.

JOHN: Severe consequences?

VIVIAN: He's already had Ivan beaten and he still threatens him, perhaps with death... And he's hinted that he might send me away, so I wouldn't be able to see Nikki.

JOHN: That sounds like my brother, all right. (BEAT) What prompted him to imprison you in your own home?

VIVIAN: A couple of months ago... late October, I believe... I began to fear for our safety. I was afraid of what Lawrence would do.

JOHN: Hmmm... Late October. I was in Switzerland at the time. What happened?

VIVIAN: Ivan and I attempted to flee with Nikki.

JOHN: You, Ivan, and Nikki tried to run away?

VIVIAN: Yes.

JOHN: But, why would Nikki go along with that? Unless... unless he had his own doubts about Lawrence.

VIVIAN: He did. He overheard a confrontation between Lawrence and Jennifer Deveraux, and it aroused his suspicions. The dear boy went to the library and looked up magazine and newspaper articles about his father.

JOHN: So he knows the truth?

VIVIAN: Most of it.

JOHN: Is Lawrence aware of this?

VIVIAN: No. If he were, Ivan and I would probably both be dead. (BEAT) Nikki has been doing his best to act like he knows nothing about his father's past deeds.

JOHN: That explains a lot.

VIVIAN: What do you mean?

JOHN: I've noticed that Nikki's been edgy and nervous lately.

VIVIAN: The whole ordeal has been such a strain on him. I don't know how much longer he can keep it up.

JOHN: It's not fair that a kid has to carry that kind of stuff around on his shoulders.

VIVIAN: No, it isn't. That's why we must get away, so we won't have to live a lie for our own safety. (BEAT) I'm so relieved that you've agreed to help us.

JOHN: But I haven't.

VIVIAN: (SHOCKED) What?

JOHN: I haven't agreed to anything.

VIVIAN: But... When you brought me here, I assumed...

JOHN: I got Ivan's note, and I wanted details. I haven't decided yet whether I'm going to do anything.

VIVIAN: (PLEADING) But you must! For Nikki's sake...

JOHN: Nikki's not the problem. The problem is... I don't really trust you, Vivian.

VIVIAN: Then why get involved at all...

JOHN: Because, frankly, I distrust Lawrence more than I distrust you. I don't doubt that he's doing what you say he's doing. But, before I get involved, I need to know that you're being straight with me.

VIVIAN: I can assure you, I'm being completely honest with you. I would never play games with Nikki's life.

JOHN: Maybe so, but pitting brother against brother could be very advantageous for you. And very lucrative...

VIVIAN: This isn't about money. This is about our lives, and our safety.

JOHN: Perhaps. You see, Vivian, I'm trying to find a reason why I should stick my neck out for you. You haven't exactly been kind to me since you discovered I was Forrest Alamain. Why should I turn around and help you now? What's in it for me?

JOHN NARROWS HIS GAZE. VIVIAN COOLLY RETURNS HIS STARE. HOLD ON VIVIAN. AND OUT. FADE TO BLACK.