BILL'S CAR. BILL AND JENNIFER ARE IN THE FRONT SEAT. ABIGAIL IS IN THE BACK, IN HER CAR SEAT, HOLDING HER STUFFED DOG, CHARLIE.

BILL: Of course, I'm sure. (BEAT) Are you?

JENNIFER: Yes. I want to see Mom and I want Abby to meet her. I just didn't want to make you feel like you had to go...

BILL: There'll be no more of that, Jennifer Rose. I have always visited your mother, and I always will.

JENNIFER: I'm sorry.

BILL: Nothing to be sorry for. I don't blame you for thinking I might not want to see your mother. It is difficult for me to see Laura in her condition.

JENNIFER: I wish there was something else we could do to help her.

BILL: I do too, honey, but all we can do is love her. (HE PATS JENNIFER'S HAND)

JENNIFER: Dad?

BILL: Yes?

JENNIFER: I was wondering... Are you very lonely?

BILL: Why do you ask?

JENNIFER: I wanted to know if I could help...

BILL: You do help.

JENNIFER: How?

BILL: You help me by being here... and being you. (BEAT) You, Abby, and the family are all I need.

HOLD ON JENNIFER'S SKEPTICISM.

CUT TO: JAMES' OFFICE. SHAWN-DOUGLAS IS SITTING ON THE COUCH. DR. JAMES ECTOR, SEATED IN A CHAIR ACROSS FROM SHAWN-DOUGLAS, OPENS UP THE BOY'S FILE.

SHAWN-D: No, my papa said those cost too much, but when my feet stop growing I can get any shoes I want.

JAMES: Your father's a smart man.

SHAWN-D: Uh-huh.

JAMES BENDS HIS HEAD DOWN TO READ THROUGH THE FILE. SHAWN-DOUGLAS FIDGETS.

SHAWN-D: I can't remember them.

JAMES: Okay, well if you can't remember what your dreams were about, can you tell me how the dreams made you feel?

CLEARLY UPSET, SHAWN-DOUGLAS STARTS TO KICK HIS FEET AGAINST THE COUCH AND SHAKES HIS HEAD.

SHAWN-DOUGLAS TENTATIVELY NODS.

SHAWN-DOUGLAS CLOSES HIS EYES AND CONCENTRATES. HE SUDDENLY APPEARS TO REMEMBER SOMETHING AS HE OPENS HIS EYES IN SURPRISE.

HOLD ON SHAWN-DOUGLAS' PANIC.

CUT TO: ALAMAIN LIVING ROOM/FOYER/FRONT PORCH. WE SEE THE FRONT DOOR, THEN A GLOVED HAND ON THE DOORKNOB OPENING THE DOOR. A MAN ENTERS THE HOUSE, HIS FACE IN SHADOW. WE FOLLOW HIM FROM THE FOYER INTO THE LIVING ROOM. HE STOPS TO PICK UP A VASE, ADMIRES A JADE DRAGON, AND RUNS HIS HAND OVER AN ANTIQUE TABLE. MOVING TO THE BAR, HE POURS HIMSELF A DRINK. HE SITS ON THE SOFA, PROPPING HIS FEET UP ON THE COFFEE TABLE. LAWRENCE WALKS IN, SEES THE MAN, ANDY, AND STOPS SHORT.

ANDY: You're kidding, right? Breaking and entering is my profession.

LAWRENCE: You were told to leave town.

ANDY: We have some unfinished business, you and I.

LAWRENCE: What do you want?

ANDY: (LAUGHING) You are slipping, aren't you? Money, of course. (BEAT) I want more money.

OUT ON LAWRENCE'S ANGER.

JAMES' OFFICE. JAMES IS TRYING TO CALM DOWN SHAWN-DOUGLAS. IN PROGRESS.

JAMES TAKES A TISSUE FROM THE BOX ON HIS DESK AND OFFERS IT TO THE BOY, WHO IS SLOWLY CALMING DOWN.

SHAWN-D: I'm... I'm sorry. I didn't mean to cry...

JAMES: Crying is a good thing, Shawn-Douglas. It means you have emotions that are too strong to keep inside and you feel safe enough to let them out.

SHAWN-D: (SNIFFLING) I guess...

JAMES: Can you tell me how you feel?

SHAWN-D: I don't know...

JAMES: Can you tell me what you remembered.

SHAWN-D: (SHAKING HIS HEAD) Nothing.

JAMES: You didn't remember one of your dreams?

SHAWN-D: No.

JAMES: Okay, if you can't remember the dreams, can you tell me how they make you feel?

SHAWN-D: Scared. But Papa gets upset when I cry, or have bad dreams...

JAMES: He's just worried about you. He wants the scary thoughts and feelings to go away. He wants you to feel safe and happy. So do I. Do you think maybe if you try and remember the dreams, some of the scary feelings will go away?

SHAWN-D: Nooooo! I'm afraid... I can't. (HE BEGINS TO CRY SOFTLY AGAIN).

JAMES GETS UP FROM HIS CHAIR AND SITS NEXT TO SHAWN-DOUGLAS ON THE COUCH.

SHAWN-DOUGLAS SHAKES HIS HEAD.

SHAWN-DOUGLAS BECOMES INCREASINGLY AGITATED.

SUDDENLY, SHAWN-DOUGLAS STARTS SCREAMING, AND LASHES OUT AT JAMES, BEATING ON THE DOCTOR'S CHEST WITH HIS FISTS.

HOLD ON SHAWN-DOUGLAS' DREAD.

CUT TO: ALAMAIN LIVING ROOM. LAWRENCE AND ANDY ARE FACING OFF. IN PROGRESS.

ANDY: Yeah, but without us "two-bit hoods," who would you get to do your dirty work for you, Mr. High-and-Mighty Alamain? You don't look like the type that could pull off a burglary.

LAWRENCE: Fortunately, I don't have to concern myself with such things. There's no shortage of trash like you... Cliché though it sounds, your kind are a dime-a-dozen.

ANDY: Not this time. That job I did for you at Carver and Carver was dangerous. I deserve more than what you paid me... a lot more.

LAWRENCE: I see. (SMILES) Well, never let it be said that I'm not a fair man.

ANDY: So you're going to give me the money?

LAWRENCE: (STILL SMILING) Don't be ridiculous. (BEAT) (HIS SMILE VANISHES) I'm going to give you a warning.

ANDY: Ooh, I'm shakin' in my boots.

LAWRENCE: I don't know how much you know about me, but you should know this: I always keep my promises.

ANDY: Yeah, so?

LAWRENCE: So... What size shoe do you wear?

ANDY: What size? Ten, why?

LAWRENCE: Because I'm going to make you a promise. (BEAT) If you ever show your face in my house again, I'm going to outfit you with a new pair of shoes... cement... and you'll be modeling them at the bottom of the Salem River. Do I make myself clear?

ANDY: (UNDAUNTED) Yeah, I get your drift. I don't think that'll be happening.

LAWRENCE: Weren't you listening when I told you about keeping my promises?

ANDY: Yeah, I heard you fine. I'm not as dumb as you think I am.

LAWRENCE: That's not saying much...

ANDY: I've still got a trick or two up my sleeve.

LAWRENCE: Is that so?

ANDY: That's right. I've got a way to make sure nothing happens to me... and to make you pay me however much money I want.

ANDY SMILES. LAWRENCE ANGRILY GLARES AT HIM. HOLD ON LAWRENCE.

CUT TO: ALAMAIN ATTIC. WE SEE VIVIAN AS SHE CRANES HER NECK OUT A TINY, GRIMY WINDOW. WE SOON DISCOVER THAT HER BARE FEET ARE PLANTED ON IVAN'S SHOULDERS. IVAN IS STRUGGLING VALIANTLY TO KEEP HER STABLE, WHILE SHE KEEPS WIGGLING TO GET A BETTER VIEW.

IVAN: There has never been a reason, Madame. No one has been locked up here and forced to use these windows... until now...

VIVIAN: I heard someone and I can see the car. But I simply don't recognize it. If I could just tell who it was... Perhaps it's someone John sent to help us...

IVAN: (STRAINING TO KEEP VIVIAN ON HIS SHOULDERS) That would be wonderful, Madame, but how would we be able to tell?

VIVIAN: Oh, this is useless, I just can't tell who...

VIVIAN HEARS A NOISE AND STARTS, NEARLY CAUSING IVAN TO DROP HER.

IVAN: Perhaps, Madame, but if you persist in making sudden movements, the next noise you hear will be the sound of your lovely self hitting the floor...

VIVIAN: Then put me down! I must see if I can hear anyone out there...

IVAN CAREFULLY LOWERS VIVIAN, WHO IS DOING NOTHING TO MAKE THE PROCESS EASIER. AS SOON AS HER FEET TOUCH THE GROUND, SHE RUNS OVER TO PRESS HER EAR TO THE DOOR.

IVAN: (STRAIGHTENING HIS SHIRT AND RUBBING HIS TORTURED SHOULDERS) One moment, Madame. While it is my delight to support you in all things, I must make some minor adjustments before leaping into your next project...

VIVIAN: Ivan!

IVAN: Coming, Madame.

IVAN JOINS HER AT THE DOOR, AND BOTH PRESS THEIR EARS TO THE WOOD.

IVAN: It sounds like a man.

VIVIAN: But no one I recognize. I wonder... is this good news, or bad, for us?

IVAN: Or perhaps no news at all...

OUT ON VIVIAN AND IVAN, STRAINING TO HEAR.

BILL'S CAR. BILL, JENNIFER, AND ABIGAIL EN ROUTE TO BAYVIEW. IN PROGRESS.

BILL: Yes?

JENNIFER: Are you okay? You're so quiet...

BILL: Oh, I'm sorry. (BEAT) You started me thinking...

JENNIFER: About what?

BILL: You asked if I was lonely. (BEAT) Sometimes, I get very lonely. Sometimes I want nothing more than to have your mom in my arms, to be able to talk to her, and have her respond.

JENNIFER: I'm sorry, I didn't mean to dredge up bad feelings...

BILL: No, no, it's okay. (BEAT) Then, I was thinking about all the good times, before your mom became ill. I wouldn't trade those times for anything in the world.

JENNIFER: So it was worth it?

BILL: Absolutely.

JENNIFER: Do you...

BILL: What?

JENNIFER: Do you think there's any chance of Mom ever coming out of the catatonia?

BILL: No... I don't think so. There's no way we can know with 100 percent certainty, but the odds are astronomical. (BEAT) Even if, by some miracle, she were to come out of it, she wouldn't be the same woman I loved.

JENNIFER: What do you mean?

BILL: The catatonia is only part of her illness. She'd still be schizophrenic... (SIGHS) I accepted a long time ago that I'd never get Laura back... It could never be like it was before.

JENNIFER: (HER EYES WELLING WITH TEARS) I'm sorry, Dad.

BILL: I know in my mind that it's hopeless, that she's never coming back. (BEAT) But my heart just can't seem to let her go.

JENNIFER: I know. You can't stop loving her.

BILL: It kills me that I can go and see her, and her body's there, but her mind... her spirit...

TEARS FALL DOWN JENNIFER'S CHEEKS. SHE WIPES THEM AWAY.

BILL: No. I want you and Abby to spend time with Laura. I want her to see you. (BEAT) You and Abby are the most tangible evidence of the love that she and I shared. I want her to see you and to remember... if she can.

JENNIFER: If you're sure.

BILL: I'm sure.

JENNIFER: I want Abby to meet Mom, too. I want her to realize that she has another grandma, and I want her to understand about Mom's condition.

BILL: That will probably take some time, you know. It's hard for a young child to understand.

JENNIFER: I know. (BEAT) I'm sorry that Abby's never going to get to know her Grandma Laura.

BILL TURNS THE CAR INTO THE BAYVIEW PARKING LOT. HE PULLS INTO AN OPEN PARKING SPACE AND TURNS THE CAR OFF.

JENNIFER: Yeah. I'm ready.

BILL TAKES JENNIFER'S HAND AND THEY SMILE AT EACH OTHER. HOLD ON BILL'S SMILE.

CUT TO: ALAMAIN LIVING ROOM. LAWRENCE AND ANDY. IN PROGRESS.

ANDY: Oh, I couldn't, could I?

LAWRENCE: You're wasting my time, Mr. Mitchell.

LAWRENCE STARTS TO LEAVE THE ROOM, WHEN ANDY PULLS OUT A SMALL TAPE RECORDER.

ANDY PRESSES THE PLAY BUTTON. AS THE VOICES ON THE RECORDING BEGIN, LAWRENCE STOPS, TURNS AND LISTENS. WE HEAR:

ANDY: Yes, Mr. Alamain. You want me to break into the Carver & Carver Detective Agency and rip off any files that implicate you.

LAWRENCE: Very good.

ANDY STOPS THE TAPE.

FURIOUS, LAWRENCE WALKS UP TO ANDY AND GRABS THE RECORDER OUT OF HIS HANDS. HE TAKES THE TAPE OUT AND THROWS IT INTO THE FIREPLACE. ANDY STARTS LAUGHING.

LAWRENCE GRABS ANDY BY THE COLLAR.

ANDY SHRUGS HIMSELF LOOSE FROM LAWRENCE.

PLEASED WITH HIMSELF, ANDY CONFIDENTLY FOLDS HIS ARMS TOGETHER. HOLD ON A FUMING LAWRENCE.

CUT TO: DR. JAMES ECTOR'S OFFICE. BO AND JAMES ARE TALKING. IN PROGRESS.

BO: I'm sorry, Doc. He's not usually so violent. He's really a good kid.

JAMES: Of course he is, Bo. And there's no need to apologize. You're not at fault here.

BO: But he's my son. He's my responsibility.

JAMES: Under normal circumstances, yes, you are somewhat responsible for his actions. However, both you and your son are victims of extraordinary circumstances. That's why I'm here to help.

BO: Okay, Doc, so what do we do now?

JAMES: Well, Shawn-Douglas' behavior today confirms what I've been thinking.

BO: Which is?

JAMES: I think we should slow down things even more.

BO: But...

JAMES: As I told you earlier, there is a good reason that he's suppressing the memory of that night. When he's ready to deal with that memory, it will come out.

BO: But what do we do in the meantime?

JAMES: Continue to be supportive... and patient. Forcing the issue would only make things worse. I don't want Shawn-Douglas to remember anything before he's ready. That could be painful enough to traumatize him permanently.

BO: I don't want that.

JAMES: Nobody does. It's evident that Shawn-Douglas is suffering, and our first instinct is to resolve that problem quickly to end his suffering.

BO: That's why I've been so anxious. I want my boy to be happy again.

JAMES: If we take our time, and let him recall things naturally, I think there's a very good chance of that. If we let Shawn-Douglas' mind work at its own pace, I think he'll be able to remember everything without suffering any serious psychological damage.

BO: It's so hard to know what to do. If Shawn-D does remember what happened that night, it could affect his sanity. But, if he doesn't remember, then the killer stays out on the street, and he could come after Shawn-D.

JAMES: It sounds like you have a lot of things to think about.

BO: Yeah, I guess I do.

JAMES: Do me a favor, and think about them carefully, for Shawn-Douglas' sake.

BO: I will. (BEAT) Any advice you can give me?

JAMES: I've been trained to care for Shawn-Douglas' mind, and protect him from psychological harm. You've been trained to protect him from physical dangers. I think our best chance to help your son is to work together, and let each of us do what he does best.

BO: (STANDING) Thanks, Doc. I'll keep that in mind. I want what's best for Shawn-D.

JAMES: (STANDING) I want the same thing.

THEY SHAKE HANDS. BO GOES TO THE DOOR AND OPENS IT. HE NODS TOWARD JAMES WHO NODS BACK WITH A SMILE. BO EXITS.

CUT TO: SMALL NURSES' STATION/LOUNGE. SHAWN-DOUGLAS IS SITTING ON THE COUNTER, DRINKING A SODA AND TALKING TO THE NURSE. HE TURNS AND SEES BO.

BO: You ready to go, Sailor?

SHAWN-D: Yeah.

BO PICKS UP SHAWN-DOUGLAS. HE TURNS TO THE NURSE.

NURSE: Oh, you're welcome. It was my pleasure.

BO: Let's go, Shawn-D.

BO GOES TO THE ELEVATOR AND PRESSES THE "DOWN" BUTTON. THE DOORS OPEN AND HE STEPS INSIDE, STILL CARRYING SHAWN-DOUGLAS. OUT ON BO'S WORRY AS THE ELEVATOR DOORS CLOSE.

BAYVIEW SANITARIUM. BILL AND JENNIFER, HOLDING ABIGAIL, ARE STANDING AT THE NURSES' STATION FILLING OUT VISITOR FORMS. A NURSE IS PUTTING AN ID TAG ON JENNIFER'S PURSE AND PUTTING BILL'S WALLET, KEYS AND CHANGE INTO AN ENVELOPE.

JENNIFER: We understand.

NURSE: Before you go in, I want to prepare you for Mrs. Horton's condition.

BILL: (HOPEFUL) Has there been any change?

THE FOUR OF THEM BEGIN WALKING DOWN THE HALL. JENNIFER IS HOLDING ABIGAIL AND BILL HAS HIS ARM AROUND JENNIFER'S WAIST.

JENNIFER: None at all?

NURSE: No. Catatonia is still very much a mystery. It's a shame.

BILL: I can't say I'm optimistic, but miracles can happen...

NURSE: I wish I could give you some kind of hope, but...

THEY STOP IN FRONT OF A DOOR.

THE NURSE DEPARTS AND BILL AND JENNIFER STAND LOOKING AT EACH OTHER. BILL REACHES OUT FOR THE DOOR.

JENNIFER TAKES A DEEP BREATH AND SHIFTS ABIGAIL MORE FIRMLY ONTO HER HIP, KISSING HER ON THE FOREHEAD.

BILL OPENS THE DOOR TO LAURA'S ROOM. LAURA IS SITTING IN A CHAIR, SILHOUETTED AGAINST THE WINDOW. SHE IS MOTIONLESS. HOLD ON LAURA.

CUT TO: EUTERPE. A POSTER ON AN EASEL SITS BY THE ENTRANCE, PROCLAIMING THE RETURN OF NORM DE PLUME AND SALEM'S FINEST POETIC ENTERTAINMENT. DOUG, CARRYING A CLIPBOARD, LOOKS A BIT ANXIOUS AS HE CHECKS THINGS OFF HIS LIST. JULIE IS ON THE STAGE, FUSSING WITH THE MICROPHONE AND A STOOL. EVE WALKS BY AND JULIE WAYLAYS HER.

EVE: But Doug just asked me to go to the wine cellar...

JULIE: Please, dear. It's on your way. It won't take but a second of your time.

EVE: Do I have a choice?

EVE STALKS OFF, AS JULIE WATCHES HER, SMILING RUEFULLY.

CUT TO: EUTERPE SOUND BOOTH. IAN IS UNDER A COUNTER, FUSSING WITH THE ELECTRICAL SYSTEM.

EVE THROWS OPEN THE DOOR, STARTLING IAN AND CAUSING HIM TO BUMP HIS HEAD.

IAN: Jeez, Eve, don't you ever knock?

EVE: Oh, did you hurt your little head? Do you want me to kiss it and make it all better?

IAN: (LAUGHING) And let you get close enough to get those hooks in me? No way!

EVE LOOKS LIKE SHE CAN'T QUITE DECIDE WHETHER TO BE ANGRY OR HURT AT THAT REMARK.

IAN: Oh, come on, you know I was joking. (BEAT) Aren't you excited about Poetry Night?

EVE: Now I know you're joking. Between Doug and Julie, I'm being run ragged. And all for a bunch of freaky beatniks.

IAN: Eve! Where's your "pilgrim soul?"

EVE: Thanksgiving was months ago, Ian.

IAN: Poetry feeds the soul, Eve. It's the universal language of love, hope, despair..

EVE: Oh puleeze...

IAN: We're talking Byron... Whitman... Maya Angelou...

EVE YAWNS.

EVE: Yeah, you're getting through loud and clear. You're as weird as the rest of them. I'm going to hide in the wine cellar where it's safe.

EVE WALKS OUT, SLAMMING THE DOOR BEHIND HER. HOLD ON IAN, SHAKING HIS HEAD.

CUT TO: ALAMAIN LIVING ROOM. LAWRENCE AND ANDY ARE FACING EACH OTHER BY THE FIREPLACE. LAWRENCE IS FUMING. ANDY IS CALM. IN PROGRESS.

ANDY: That's exactly why I have more than one copy of that tape. (BEAT) Now. Do I get my money or not?

LAWRENCE: (THROUGH CLENCHED TEETH) Get out of my house, this instant. Before I have you thrown out.

ANDY: I'll go. But not because you want me to. (HE MOVES TOWARDS THE DOOR) You've got one week to pay me the money or I go to the police.

ANDY WALKS OUT. LAWRENCE STORMS OVER TO THE BAR AND POURS HIMSELF A DRINK. NICHOLAS COMES INTO THE LIVING ROOM AND WALKS UP BEHIND LAWRENCE. LAWRENCE TURNS SO QUICKLY, HIS DRINK SPLASHES ONTO HIS EXPENSIVE SUIT.

NICHOLAS JUMPS AND STARES AT LAWRENCE FOR A MOMENT, THEN BURSTS INTO TEARS. LAWRENCE KNEELS DOWN AND TRIES TO HUG NICHOLAS.

NICHOLAS PULLS AWAY AND RUNS TO THE SOFA, WHERE HE SOBS INTO A PILLOW. LAWRENCE TRIES TO SIT NEXT TO HIM, BUT NICHOLAS FLINCHES AWAY.

NICHOLAS LOOKS UP AT LAWRENCE, TEARS STREAMING DOWN HIS FACE. HE HITS LAWRENCE WITH THE PILLOW.

BEFORE LAWRENCE CAN REACT, NICHOLAS RUNS OUT OF THE ROOM AND UP THE STAIRS. OUT ON LAWRENCE HUGGING THE PILLOW TO HIM.

ALAMAIN ATTIC. IVAN SITS, WHILE VIVIAN PACES BACK AND FORTH. SUDDENLY, VIVIAN HEARS SOMETHING.

IVAN: I did not hear anything, Madame.

VIVIAN RUNS TOWARD THE ATTIC DOOR AND PRESSES HER EAR AGAINST IT.

IVAN GOES TO THE DOOR AND PRESSES HIS EAR TO IT.

VIVIAN: Yes, I can hear Lawrence shouting. Whoever he's arguing with has definitely gotten him in a spell!

THEY HEAR THE SOUND OF A DOOR SLAM.

RELUCTANTLY, IVAN WALKS OVER TO THE WINDOW AND HELPS VIVIAN STAND, ONCE AGAIN, ON HIS SHOULDERS. VIVIAN STRAINS TO SEE OUT THE WINDOW.

IVAN: What does he look like, Madame?

VIVIAN: Well, he's a rather scrawny-looking fellow with dirty blonde hair that goes down to the middle of his back. He's getting into the car. (BEAT) There he goes. All right, Ivan, you may let me down.

IVAN HELPS VIVIAN DOWN AND BEGINS TO RUB HIS SHOULDERS AGAIN.

VIVIAN: Really?! When was this? You must remember, this could be important.

IVAN: I remember it clearly. It was the day before Katerina was killed. I remember because it was the last person who visited Mr. Alamain before the murder.

VIVIAN: (INTRIGUED) Do you remember why that man came to see Lawrence?

IVAN: No, I apologize, but Mr. Alamain sent me out of the room shortly after the man arrived.

VIVIAN: Damn! I wish we knew more. (SHE STARTS PACING AGAIN)

IVAN: Do you suppose Mr. Alamain hired that man to shoot Katerina?

VIVIAN: It's not out of the realm of possibility. But, Lawrence wouldn't conduct a meeting like that in his own home... I wonder...

SUDDENLY NICHOLAS BURSTS THROUGH THE DOOR. HE IS CRYING.

NICHOLAS LOOKS AT VIVIAN AND RUSHES INTO HER ARMS. HOLD ON A SOBBING NICHOLAS.

CUT TO: BAYVIEW SANITARIUM / LAURA'S ROOM. LAURA SITS VERY STILL AND QUIET IN A CHAIR. JENNIFER STANDS CLOSE TO THE DOOR, HOLDING ABIGAIL. BILL KNEELS IN FRONT OF LAURA.

HE TAKES HIS HAND AND LIGHTLY PLACES IT ON LAURA'S MOTIONLESS HAND. LAURA STARES, EITHER NOT SEEING OR NOT ACKNOWLEDGING BILL.

HE PULLS LAURA'S HAND CLOSE TO HIS CHEST.

BILL STARTS TO CRY. HE STANDS UP AND TURNS HIS BACK TO LAURA. JENNIFER WALKS UP TO BILL AND PUTS HER HAND ON HIS SHOULDER. BILL STEPS BACK AND JENNIFER PULLS UP A CHAIR IN FRONT OF LAURA. SHE SITS DOWN, SITTING ABIGAIL ON HER LAP.

JENNIFER HOLDS ABIGAIL UP TO LAURA, WHO CONTINUES TO STARE OFF IN THE DISTANCE.

ABIGAIL: Gramma!

JENNIFER: (TO ABIGAIL) Right... Grandma Laura... (BEAT) Mom, Abby's such a wonderful little girl. Jack and I couldn't be happier. She's talking and even walking a few steps already. She's been growing so fast!

ABIGAIL STARTS TO FUSS.

JENNIFER: Uh-oh. (SHE FEELS ABIGAIL'S DIAPER.) I'm going to have to change her. Dad?

JENNIFER GETS UP, WALKS OVER TO LAURA'S BED AND STARTS TO CHANGE ABIGAIL'S DIAPER. HAVING REGAINED HIS COMPOSURE, BILL TAKES THE CHAIR THAT JENNIFER VACATED.

BILL REACHES OUT AND LIGHTLY TOUCHES LAURA'S CHEEK.

JENNIFER LOOKS AT BILL, TEARS IN HER EYES. HOLD ON BILL, SOFTLY CARESSING LAURA'S FACE.

CUT TO: EUTERPE. GUESTS ARE ARRIVING AND ARE BEING SEATED BY EVE AND JASMIN. JULIE IS CHECKING RESERVATIONS AS TOM, ALICE, MICKEY AND MAGGIE ARRIVE. AFTER HUGS AND GREETINGS, JULIE SHOWS THEM TO THE HORTON TABLE, WHICH IS FRONT AND CENTER.

TOM: "Norm" is a little nervous, but he's as ready as he'll ever be....

ALICE: You'll do fine, dear. And this time, I'll be here to see your debut.

MAGGIE: This is going to be such fun!

DOUG ARRIVES, WITH CALLIOPE IN TOW. SHE'S WEARING EXAGGERATED "POET" CLOTHES, A WHITE FLOWING BLOUSE WITH 3 INCH CUFFS, A PAISLEY VELVET VEST, TIGHT KNEE BREECHES AND SHOES WITH OUTRAGEOUS GOLD BUCKLES. HER EARRINGS ARE TINY BUSTS OF SHAKESPEARE AND SHE'S WEARING A FLOPPY VELVET HAT IN THE SAME PATTERN AS THE VEST. THEY JOIN THE OTHERS.

CALLIOPE: I just want to remind you, Doug Williams, whose idea this was! Tom, I'm so excited about seeing Norm perform again...

DOUG: It's true, this couldn't have happened without Calliope!

ALICE: Yes, dear, your idea seems to be a great success. Will you be reading tonight?

CALLIOPE: Unless I lose my nerve....

MICKEY: You? Impossible!

ALL LAUGH. DOUG CATCHES DAVE'S EYE AND NODS. DAVE GETS BEHIND THE BAR AND BRINGS OUT AN ICE BUCKET WITH CHAMPAGNE CHILLING AND GLASSES. HE DELIVERS IT TO THE HORTON TABLE.

JULIE: To celebrate the wedding anniversary of my favorite uncle, and my best friend!

TOM: Hear, hear!

THEY ALL DRINK TO MICKEY AND MAGGIE, WHO SMILE, DRINK, THEN SHARE A PASSIONATE KISS. THE REST OF THE HORTONS APPLAUD.

MAGGIE: I do love you, Mickey Horton!

MICKEY AND MAGGIE KISS. OUT ON THE ANNIVERSARY COUPLE AND THE FAMILY.

EUTERPE. MARCUS AND JANET ARRIVE TOGETHER FOR DINNER. THEY WALK UP TO THE RESERVATION DESK AND WAIT TO BE SEATED.

JANET: Yeah, it sure is packed.

EVE WALKS UP.

JANET: Yes, we do. It should be under Yamada.

EVE LOOKS THROUGH THE RESERVATION LIST AND MARKS JANET'S NAME OFF. SHE GRABS TWO MENUS.

EVE LEADS MARCUS AND JANET TO A TABLE.

EVE: I wish all these beatniks would just stay "on the road" with Kerouac!

EVE WALKS AWAY AS JANET AND MARCUS SIT. JANET LOOKS AFTER HER.

MARCUS: That's just Eve. She's had a tough life, and I think the attitude is a cover. She can be a sweet kid.

JANET: I can understand that. I've worked with enough tough kids with problem pasts.

MARCUS: Speaking of, how's the workload?

JANET: Busy, as usual... and frustrating.

MARCUS: Carly's murder case?

JANET: How'd you guess?

MARCUS: It's what's on everybody's mind at the hospital. No offense, but nobody can figure out why it hasn't been solved yet.

JANET: That's the frustrating part. I can't believe that as long as we've been working on the case, we haven't made any real progress.

MARCUS: I don't know the details, but if the hospital rumors are true, Carly lead quite a mystery life.

JANET: I can't really talk about it. Let's just say that we've got more questions than answers.

MARCUS: Give it time. You're bound to come up with something. You're a smart cop... I've got faith in you.

JANET: Thank you, Marcus.

GO TO: THE STAGE. DOUG WALKS UP TO THE MICROPHONE AND TRIES TO GET EVERYONE'S ATTENTION.

GO TO: JANET AND MARCUS WHO LOOK PLEASANTLY SURPRISED.

MARCUS: Neither did I. This should be fun!

JANET: You bet. Are you going to try your hand at it?

MARCUS: You've got to be kidding! The only poem I know, starts with "I once knew a lady from France..."

JANET: I get the picture.

MARCUS AND JANET BREAK OUT INTO LAUGHTER.

GO TO: EVE, STANDING AT THE RESERVATION DESK. SHANE WALKS IN.

SHANE: Oh, I wouldn't miss poetry night.

EVE: You mean you actually want to listen to this drivel?

SHANE: Better than that. I plan on reading a little original poetry myself.

EVE: (HORRIFIED) No! Dad, you can't!

SHANE: And, just why not?

EVE: Look around. Practically everyone we know is here tonight!

SHANE: (LAUGHING) Don't worry, honey. I won't embarrass you.

SHANE SMILES AND WALKS OFF. HOLD ON EVE'S WORRY.

CUT TO: ALAMAIN ATTIC. VIVIAN IS SITTING ON THE COUCH, WITH NICHOLAS BESIDE HER. IVAN IS STANDING BETWEEN THEM AND THE DOOR. IN PROGRESS.

NICHOLAS: I heard... I heard yelling. It scared me, I thought maybe Lawrence was yelling at you or Ivan. So I went downstairs to see.

VIVIAN: And what did you see?

NICHOLAS: Some man I've never seen before. I watched him go...

VIVIAN: Did you hear what they were saying?

NICHOLAS: I think they were arguing about money.

VIVIAN: Money? Hmmm... So then what happened?

NICHOLAS: The man left and I walked up behind Lawrence... He turned around and yelled at me.

NICHOLAS STARTS TO SOFTLY CRY. IVAN WALKS OVER AND GENTLY PUTS HIS HAND ON NICHOLAS' SHOULDER, THEN OFFERS HIM THE HANDKERCHIEF FROM HIS FRONT POCKET, WHICH NICHOLAS GRATEFULLY TAKES.

VIVIAN: Oh, my poor love... (SHE PUTS HER ARMS AROUND NICHOLAS) This is so much for you to deal with... You're so young... so sensitive. But I don't want you to worry... Lawrence would never hurt you....

NICHOLAS: But he might hurt you... or Ivan. And I'd be alone...

IVAN: That will never happen, Master Nicholas. I have pledged upon my honor to keep you and your Aunt Vivian safe, and that is what I shall do.

VIVIAN SMILES TREMULOUSLY UP AT IVAN, WHILE NICHOLAS GATHERS HIMSELF UP A BIT.

VIVIAN: That's a good idea, darling. You go back to your room, and try and relax. Have the cook fix you a snack.

NICHOLAS: I'm not hungry. I think I'll play with my computer... It... distracts me.

NICHOLAS HUGS VIVIAN, THEN IVAN, AND HEADS OUT THE DOOR. VIVIAN LOOKS AT IVAN, HER EYES WELLING WITH TEARS.

HOLD ON VIVIAN'S WORRY.

CUT TO: EUTERPE. DOUG, JULIE, TOM, ALICE, MICKEY AND MAGGIE ARE CHATTING WHEN SHANE SPIES THEM AND APPROACHES THEIR TABLE.

TOM: No, just Norm. So far, anyway.

ALICE: Why don't you join us, Shane? There's plenty of room.

SHANE: Terribly kind of you, don't mind if I do.

JULIE: (TO SHANE) Champagne? We're celebrating Mickey and Maggie's anniversary.

SHANE: Thank you, Julie... and happiest of anniversaries, you two...

SHANE RAISES HIS GLASS, THEN SIPS. PAST THE HORTON TABLE, AT THE DOOR, WE SEE JACK ENTER, OBVIOUSLY ILL-AT-EASE. HE SEES THE HORTON TABLE, AND APPROACHES. ALICE GREETS HIM WARMLY.

ALICE RISES, HUGS JACK AND MOTIONS HIM TO A CHAIR NEXT TO HERS.

JULIE: You're absolutely right, Grandma, far too hard. Here, Jack, relax, have some champagne, and enjoy the show.

DOUG: The show! I should probably get that going, shouldn't I? Has anyone seen Calliope? She's first up.

MAGGIE: She said something about making a quick change... I'm sure she'll be ready.

DOUG: Okay, then let's get this show on the road.

DOUG STANDS AND WALKS UP TO THE STAGE. HE SIGNALS THE BOOTH AND THE STAGE LIGHTS COME UP. THE AUDIENCE QUIETS.

THE AUDIENCE APPLAUDS.

CALLIOPE COMES ON STAGE. SHE'S DRESSED COMPLETELY IN WHITE, IN A SHINY FABRIC REMINISCENT OF PORCELAIN. SHE WEARS A HAT THAT CLOSELY RESEMBLES A TOILET SEAT AND LID. HER EARRINGS ARE MINIATURE SCRUB BRUSHES. SERIOUSLY, SHE APPROACHES THE MICROPHONE, NERVOUSLY OPENS HER FOLDED PIECE OF PAPER, AND WITHOUT PREAMBLE, BEGINS TO READ.

CALLIOPE FOLDS UP THE PAPER AND LOOKS NERVOUSLY OUT AT THE SOMEWHAT STUNNED AUDIENCE. THE HORTON TABLE IMMEDIATELY BEGINS ENTHUSIASTICALLY CLAPPING. THE REST OF THE AUDIENCE SOON JOINS THEM. CALLIOPE SMILES, FLASHES THE AUDIENCE A SAUCY BOW AND WALKS OFF STAGE. DOUG COMES BACK OUT, SMILING.

A YOUNG WOMAN, SUEDE, WALKS ON STAGE FROM THE AUDIENCE. SHE IS WEARING ALL BLACK.

THERE IS LONG BEAT, THEN THE AUDIENCE BEGINS TO APPLAUD, WHICH STARTLES SUEDE. SHE LOOKS UP FROM THE PAPER SHE'S HOLDING AND GIVES THE CROWD A BEATIFIC SMILE. SHE WALKS OFF STAGE.

BOB COMES ON STAGE, OBVIOUSLY NERVOUS. HE TAKES HIS POEM FROM THE POCKET OF HIS FLANNEL SHIRT, AND READS:

BOB FINISHES AND GRINS WIDELY AT THE AUDIENCE, WHO APPLAUDS. DOUG COMES OUT AND GESTURES TO BOB TO TAKE A BOW. THE TWO SHAKE HANDS, AND BOB REJOINS THE AUDIENCE.

CUT TO: THE CONTROL BOOTH, WHERE IAN IS ADJUSTING SOUND LEVELS. EVE WANDERS IN, AND SIGHS DISGUSTEDLY.

IAN: I think it's great! I mean, not all of us are Blake or cummings, but I think everyone has a little poetry in their soul. What about you, Eve? Got an offering for tonight?

EVE: I'd rather be suspended by my toes until blood comes out my nose...

IAN: See! That rhymed! You do have a poetic soul!

EVE ROLLS HER EYES AND WALKS OUT OF THE BOOTH IN DISGUST, SLAMMING THE DOOR.

CUT TO: THE STAGE. DOUG STANDS IN THE SPOTLIGHT.

TOM, IN HIS "NORM" OUTFIT, COMPLETE WITH DARK GLASSES AND BERET, COMES OUT ON STAGE. HE CARRIES ONE DEEP RED ROSE, WHICH HE GALLANTLY THROWS TO ALICE, WHO CATCHES IT AND BLOWS HIM A KISS. OUT ON TOM, SMILING.

BO'S BOAT/INT. BO AND SHAWN-DOUGLAS ARE AT THE KITCHEN SINK. BO IS WASHING DISHES, SHAWN-DOUGLAS IS DRYING THEM. BO HANDS THE LAST PLATE TO SHAWN-DOUGLAS.

SHAWN-DOUGLAS TAKES THE PLATE AND DRIES IT. BOTH OF THEM TURN AND LOOK TOWARD THE STAIRS AS VICTOR'S VOICE IS HEARD FROM ABOVE.

SHAWN-DOUGLAS SETS THE PLATE AND TOWEL ON THE COUNTER AND GOES UP THE STAIRS.

BO FOLLOWS SHAWN-DOUGLAS UP THE STAIRS.

CUT TO: BO'S BOAT/EXT. VICTOR IS STANDING ON THE PIER. BO AND SHAWN-D EMERGE FROM BELOW. VICTOR LOOKS TOWARDS BO.

BO: Sure, Victor.

VICTOR COMES ABOARD AND IS GREETED BY A HUG FROM SHAWN-DOUGLAS.

VICTOR: Well, I'm glad to see you, too, Shawn-Douglas.

BO: So, Victor, what are you... What brings you here?

VICTOR: (TAKING A SMALL BOX OUT OF HIS COAT POCKET) I brought a present for Shawn-Douglas.

VICTOR HANDS THE BOX TO SHAWN-DOUGLAS, WHO QUICKLY OPENS IT.

SHAWN-DOUGLAS GIVES VICTOR ANOTHER HUG.

SHAWN-DOUGLAS MOVES TOWARD THE STAIRS.

BO: Just for a little while, Shawn-D. It's almost time for you to go to bed.

VICTOR: You go ahead and get it started. I'll be along in a minute .

SHAWN-DOUGLAS GOES BELOW. VICTOR TURNS TO BO.

BO: I'm feeling fine.

VICTOR: Pardon me for saying so, but you look haggard.

BO: (BRUSHING HIS HAIR BACK WITH HIS HAND) Yeah, well... It's been a long day... for both of us...

VICTOR: Oh? Is something wrong with Shawn-Douglas?

BO: No, I wouldn't say that. But we had an intense session with Dr. Ector.

VICTOR: How is that going? Are you making progress?

BO: I think so, but it's going slowly.

VICTOR: You don't sound pleased.

BO: No, I'm pleased...

VICTOR: Then what's wrong?

BO: (HESITANTLY) There have been some... strange things happening recently.

VICTOR: What kind of "strange things?"

BO: It's probably nothing and I'm just being the over-protective father...

VICTOR: Bo, if something is wrong, you can tell me. I only want to help.

BO: I'm sorry, Victor, but I'm not sure I should tell you anything.

VICTOR: Bo, please. I know you have reason to be suspicious of me, but if this concerns my grandson, you can trust me. I only want what's best for him.

BO: Okay. (BEAT) But if anything happens to my son, I won't rule out anyone as a suspect.

VICTOR: Fair enough. Why don't you fill me in so I can try to help protect him?

BO: Like I said, it's not much. I've gotten some crank calls... You know, I answer, and the person hangs up. And I sometimes think that someone is watching Shawn-D while he's outdoors.

VICTOR: Do you have anything else? A description of this person you think is watching him?

BO: No, not yet.

VICTOR: Well, I'll make some calls, and see if I can find out anything.

BO: Okay.

VICTOR: Is it all right if I go below to see Shawn-Douglas?

BO: Sure. Go ahead.

VICTOR GOES TO THE STAIRS.

VICTOR: Yes?

BO: I... appreciate your wanting to help.

VICTOR: Thank you. You know I'd do anything to protect my family.

VICTOR GOES DOWN THE STAIRS. BO STARES AFTER HIM, CONCERNED. HOLD ON BO.

CUT TO: BAYVIEW SANITARIUM / LAURA'S ROOM / CORRIDOR. BILL AND JENNIFER ARE SITTING IN CHAIRS IN FRONT OF LAURA, WHO REMAINS MOTIONLESS. ABIGAIL SITS ON JENNIFER'S LAP. IN PROGRESS.

JENNIFER GLANCES AT LAURA, WHO REMAINS STILL. BILL LOOKS OUT THE WINDOW AND PUTS A HAND ON JENNIFER'S ARM.

JENNIFER: Yes... I think Abby is starting to get restless.

ABIGAIL: Grampa, want bear.

BILL: (TO ABIGAIL) We'll go find him in just a minute, okay?

ABIGAIL: Okay.

JENNIFER REACHES OVER AND HUGS LAURA.

JENNIFER, HOLDING ABIGAIL, STANDS UP AND HEADS TOWARDS THE DOOR. SHE OPENS IT AND TURNS TO BILL.

BILL: Thanks, honey.

JENNIFER AND ABIGAIL LEAVE. BILL MOVES HIS CHAIR CLOSER TO LAURA, AND TAKES HER HAND INTO HIS.

GO TO: CORRIDOR. JENNIFER IS SITTING DOWN IN A CHAIR, WHILE ABIGAIL TROTS BACK AND FORTH IN FRONT OF HER.

ABIGAIL STOPS IN FRONT OF JENNIFER AND LOOKS AT HER.

JENNIFER SMILES AT ABIGAIL AND LIFTS HER UP INTO HER LAP.

ABIGAIL: Daddy! Go see?

JENNIFER: Yes, honey, we're going home now. I can't wait to see your daddy either.

ABIGAIL STARTS TO GIGGLE.

GO TO: LAURA'S ROOM. BILL BENDS OVER AND KISSES LAURA SOFTLY ON HER CHEEK.

BILL STANDS UP, WALKS TOWARDS THE DOOR, AND OPENS IT. BEFORE LEAVING THE ROOM, HE TURNS AROUND TO LOOK AT LAURA. SHE IS QUIET AND MOTIONLESS, WITH THE SAME BLANK EXPRESSION ON HER FACE. BILL LEAVES THE ROOM AND CLOSES THE DOOR. GO TO: CORRIDOR. AS BILL EXITS THE ROOM, JENNIFER STANDS UP, WHILE ABIGAIL SITS ON THE CHAIR.

JENNIFER: Uh-huh. Are you okay, Dad?

BILL: I'm a little shaky, but I'll be fine. The important thing is that I saw her.

BILL PUTS HIS ARM AROUND JENNIFER.

JENNIFER: I'm glad I came.

BILL: Ready to go home, Abby?

ABIGAIL: Yippee!

BILL LAUGHS AND BENDS DOWN TO LIFT UP ABIGAIL. HOLD ON BILL AND JENNIFER AS THEY WALK AWAY FROM LAURA'S ROOM.

CUT TO: EUTERPE. DOUG, SHANE, EVE, JACK, MICKEY, MAGGIE, TOM, ALICE, JULIE. EVERYONE IN THE CLUB IS SMILING; POETRY NIGHT IS A SUCCESS. THE HORTON TABLE, IN PARTICULAR, IS HAVING A WONDERFUL TIME.

TOM: We have Calliope to thank for that. I don't think Norm would have come out of retirement without her coaxing.

JULIE: I don't believe that for a second, Grandpa. You can't keep a muse quiet forever.

DOUG COMES UP TO THE TABLE, CARRYING HIS CLIPBOARD. EVE IS FOLLOWING BEHIND.

EVE: Dad. Please. Don't do this.

SHANE ONLY SMILES AT EVE AND GOES TOWARD THE STAGE. EVE PLOPS DOWN IN THE CHAIR HE HAS JUST VACATED, SLOUCHING DOWN AS LOW AS SHE POSSIBLY CAN WITHOUT ACTUALLY HITTING THE FLOOR. SHE IS COVERING HER FACE WITH HER HAIR.

THE RAPPER POETS EXIT THE STAGE TO APPLAUSE. SHANE WALKS TO THE MICROPHONE AND CLEARS HIS THROAT.

EVE SLOWLY PEEKS OUT FROM UNDER HER HAIR AND STRAIGHTENS UP.

(HE SHOOTS A GRIN AT EVE, WHO SLOWLY SMILES BACK)

AS THE APPLAUSE SWELLS, SHANE BOWS AND HEADS BACK TO THE TABLE. EVE GREETS HIM HALFWAY, HUGGING HIM TIGHTLY.

EVE: You were wonderful! I love you, Dad.

BACK AT THE HORTON TABLE, MICKEY AND MAGGIE ARE NUDGING JACK, WHO IS DOING HIS BEST TO IGNORE THEM. TOM CATCHES DOUG'S EYE AND POINTS TO JACK.

MAGGIE: Yes, Jack. Do something from Shakespeare. I love that.

JULIE: Please?

JACK: Absolutely not. The hounds of hell could not drag me up there.

FROM THE STAGE, DOUG ANNOUNCES:

JACK WHEELS AROUND AND LOOKS AT ALL THE HORTONS.

ALL THE HORTONS SMILE INNOCENTLY. SHANE, RESUMING HIS SEAT, LAUGHS. JACK TAKES THE STAGE, MOCKINGLY SHAKING HIS FIST AT DOUG. THE STAGE LIGHTS DARKEN UNTIL ONLY A SINGLE SPOTLIGHT REMAINS ON JACK. JACK LOOKS AROUND THE ROOM, OBVIOUSLY TRYING TO THINK OF SOMETHING TO SAY. HE SUDDENLY SMILES, CLEARS HIS THROAT AND BEGINS.

THE SPOTLIGHT GOES OUT, LEAVING THE STAGE IN DARKNESS. THE AUDIENCE APPLAUDS ENTHUSIASTICALLY. THE HOUSE LIGHTS COME UP. OUT ON JACK'S BOW.

ALAMAIN ATTIC. VIVIAN IS PACING BACK AND FORTH, NERVOUSLY PICKING AT HER CUTICLES. IVAN LOOKS ON CONCERNED.

IVAN: I'm sure Mr. Black is working on a plan this very minute, Madame.

VIVIAN SUDDENLY SITS DOWN ON A BOX AND PUTS HER HEAD IN HER HANDS.

IVAN KNEELS BESIDE HER. HE TAKES HER HANDS AWAY FROM HER FACE AND LOOKS INTO HER FACE.

VIVIAN: I haven't picked my nails since I was a child...

IVAN GETS UP TO SIT BESIDE VIVIAN AND PUTS HIS ARMS AROUND HER.

VIVIAN PUTS HER HAND UP TO IVAN'S FACE.

IVAN: I would do anything for you... (BEAT) Vivian.

VIVIAN: (SOFTLY) You called me by name...

IVAN: It is a beautiful name. I have always thought so.

VIVIAN: Things are changing between us, aren't they, Ivan?

IVAN: I want them to.

VIVIAN: You remind me so much of your brother... So intense when you want something.

IVAN: I've never thought that was a bad thing...

VIVIAN: Oh, Ivan. I don't mean to discourage you. I do care about you. (BEAT) But right now I am concerned with our safety... perhaps our very lives...

IVAN: You are right, of course. We can speak of our... friendship later. In the meantime, we will get through this together.

VIVIAN: Yes, together. I feel better, Ivan. You have given me strength. Thank you...

HOLD ON THE COUPLE.

CUT TO: EUTERPE. JANET AND MARCUS ARE AT A TABLE ENJOYING BOTH THEIR DINNER AND POETRY NIGHT. IN PROGRESS.

MARCUS: Hey, no need to thank me. I'm having a great time.

JANET: Still, I want you to know how much I appreciate it. It's nice to spend a relaxing evening with someone who isn't a cop.

MARCUS: Hey, what are friends for?

JANET: Exactly. (BEAT) I hope this doesn't cause any trouble between you and Kayla... Us having dinner, I mean.

MARCUS: No, it won't. I talked to Kayla, and she understands that you and I are just friends. (BEAT) And I'm glad I got the chance to spend some time with my friend.

JANET: Good. Hey, how about if the three of us get together sometime? Then, Kayla could see for herself that she has nothing to worry about.

MARCUS: That's a great idea. I mean, I don't think Kayla really needs that much reassurance, but I do think the three of us would have fun together.

JANET: I agree. Let's do it sometime soon.

MARCUS: Okay! I'll check with Kayla and let you know.

MARCUS LOOKS ACROSS THE ROOM AND SPIES A HANDSOME MAN STANDING ALONE AT THE BAR.

JANET: Who's the fourth?

MARCUS: Well... (GESTURING TOWARD THE MAN AT THE BAR) Dr. Thompson over there is an anesthesiologist at University Hospital. He's single, and he's a really nice guy...

MARCUS IS INTERRUPTED BY JANET'S LAUGHTER.

JANET: Oh, you just reminded me of something... Please, Marcus, don't try to play match-maker with me.

MARCUS: Why not? I think you two...

JANET: (INTERRUPTING) No, please. My brother was the last one to set me up on a date, and that was three years ago.

MARCUS: What happened?

JANET: Let's just say that it was such a disaster, everyone in my family has been afraid to fix me up since.

MARCUS: Ouch. That bad, huh?

JANET: You have no idea. (BEAT) Maybe I'll tell you about it sometime. For the time being, I just want to make some good friends in Salem. At this point in my life, a relationship would be too much for me to handle.

MARCUS: Okay, I get the point. No match-making, just hanging out with friends.

JANET: Thank you.

THE LIGHTS DIM. EVERYONE LOOKS AROUND TO SEE WHAT IS HAPPENING.

MARCUS: I don't know. It must be something special.

GO TO: THE STAGE. IAN STEPS ONTO THE STAGE, A SINGLE SPOTLIGHT FOLLOWING HIM. HE IS DRESSED AS ROMEO, AND BEGINS TO RECITE FROM THE BALCONY SCENE FROM "ROMEO AND JULIET."

A SECOND SPOTLIGHT COMES ON, REVEALING DAVE STANDING ON TOP OF THE PIANO. HE IS DRESSED AS JULIET, COMPLETE WITH MAKE-UP AND A WIG OF LONG, DARK HAIR. THE AUDIENCE ROARS WITH LAUGHTER. HE SPEAKS IN A HIGH FALSETTO VOICE AND USES OVER-EXAGGERATED FEMININE BODY LANGUAGE.

IAN: (SCRATCHING HIS CHIN) (RECITING ALOUD)
Shall I hear more, or shall I speak at this?

DAVE: (RECITING ALOUD)
'Tis but thy name that is my enemy;
Thou art thyself, though not a Montague.
What's Montague? it is nor hand, nor foot,
Nor arm, nor face, nor any other part
Belonging to a man. O, be some other name!
What's in a name? that which we call a rose
By any other name would smell as sweet;
So Romeo would, were he not Romeo call'd,
Retain that dear perfection which he owes
Without that title. Romeo, doff thy name,
And for that name which is no part of thee
Take all myself.

DAVE PUTS HIS HANDS TO HIS CHEST.

DAVE: (RECITING ALOUD)
How camest thou hither, tell me, and wherefore?
The orchard walls are high and hard to climb,
And the place death, considering who thou art,
If any of my kinsmen find thee here.

IAN MOTIONS GRANDLY ABOUT HIM AS HE REPLIES.

DAVE: (HIS VOICE QUIVERING WITH FRIGHT) (RECITING ALOUD)
If they do see thee, they will murder thee.

IAN: (RECITING ALOUD)
Alack, there lies more peril in thine eye
Than twenty of their swords: look thou but sweet,
And I am proof against their enmity.

DAVE: (RECITING ALOUD)
'Tis almost morning; I would have thee gone:
And yet no further than a wanton's bird;
Who lets it hop a little from her hand,
Like a poor prisoner in his twisted gyves,
And with a silk thread plucks it back again,
So loving-jealous of his liberty.

IAN: (HOLDING HIS ARMS OUT LIKE WINGS) (RECITING ALOUD)
I would I were thy bird.

DAVE: (RECITING ALOUD)
Sweet, so would I:
Yet I should kill thee with much cherishing.
(PUTTING HIS HAND TO HIS FOREHEAD)
Good night, good night parting is such sweet sorrow,
That I shall say good night till it be morrow.

DAVE TURNS AWAY FROM IAN, AND THE SPOTLIGHT ON HIM GOES OUT. IAN IS NOW IN THE SPOTLIGHT ALONE.

THE SPOTLIGHT ON IAN GOES OUT. THE LIGHTS COME BACK ON, REVEALING IAN AND DAVE STANDING TOGETHER AT CENTER STAGE, BOWING. THEY RECEIVE A STANDING OVATION, APPLAUSE COMBINED WITH LAUGHTER. DOUG COMES ON STAGE AS IAN AND DAVE EXIT.

DOUG CLAPS, AND THE AUDIENCE FOLLOWS SUIT. WHEN THE APPLAUSE DIES DOWN, DOUG CONTINUES.

THE CROWD APPLAUDS.

DOUG CLEARS HIS THROAT.

JULIE STANDS AND EMBRACES DOUG. THE AUDIENCE APPLAUDS LOUDLY. HOLD ON DOUG AND JULIE'S EMBRACE. AND OUT. FADE TO BLACK.