BO'S BOAT/INT. BO IS MAKING TOAST AND EGGS IN THE KITCHEN. WE HEAR CABINETS AND DRAWERS SLAMMING IN SHAWN-DOUGLAS' ROOM.

WE HEAR SHAWN-D FROM HIS ROOM.

BO: You don't sound fine, son. C'mon out and have some breakfast, and we'll talk, okay?

SHAWN-DOUGLAS EMERGES FROM THE BEDROOM, MOSTLY DRESSED, BUT LOOKING MUSSED AND WRINKLED.

SHAWN-D: I don't care. It's fine.

SHAWN-DOUGLAS SITS DOWN, AND BO PUTS A PLATE OF EGGS IN FRONT OF HIM. SHAWN-DOUGLAS PUSHES THE EGGS AROUND ON THE PLATE AS BO WATCHES.

SHAWN-D: Not really.

BO: Come on, son, what's wrong. Talk to me?

SHAWN-D: Why? Nothing I say will help, you'll still be going to work today.

BO: Is that what's bothering you?

SHAWN-DOUGLAS IS ABOUT TO REPLY, BUT THE PHONE RINGS. WITH AN IMPATIENT SIGH, BO ANSWERS. IT'S DOUG, TWO WAY.

DOUG: Hi, Bo, it's Doug. How are you and my favorite grandson doing?

BO: It's a little rugged here...

DOUG: The nightmares? Or something else?

BO: My job, this time. (HE SPEAKS QUIETLY INTO THE PHONE) He's pretty agitated... And he won't talk to me about it.

DOUG: I would normally hesitate to suggest this, but given the circumstances...

BO: I'm willing to try anything at this point...

DOUG: How would you feel if I took Shawn-Douglas today?

BO: Rather than him going to school?

DOUG: Yes. I think it might be better for him to spend the day with his doting grandpa. Maybe I can get him to open up...

BO: I couldn't agree with you more, Doug. Thanks for suggesting it...

DOUG: You know I'd do anything...

BO: I do. And I appreciate it more than I can say.

DOUG: I'll be by shortly, okay?

BO: Okay. See you then.

BO HANGS UP THE PHONE, AND WATCHES SHAWN-DOUGLAS TOYING WITH HIS FOOD. HOLD ON BO'S CONCERN.

CUT TO: CARVER KITCHEN/DINING AREA. THE TABLE HAS TWO PLACES SET. THERE IS A PLATE OF FRENCH TOAST, A PLATE OF BACON, A PLATE WITH SLICED FRUITS, A BOTTLE OF MAPLE SYRUP, A PITCHER OF MILK AND A PITCHER OF ORANGE JUICE ON THE TABLE. CARRIE ENTERS WITH HER EYES CLOSED. JONAH IS RIGHT BEHIND HER, GUIDING HER AS SHE WALKS.

JONAH: Okay, go ahead.

CARRIE OPENS HER EYES. SHE SMILES AS SHE SEES THE FOOD.

JONAH: It was no trouble at all. Come on, sit down.

JONAH PULLS OUT A CHAIR FOR CARRIE AND PUSHES IT IN FOR HER AS SHE SITS. HE THEN SITS DOWN ACROSS THE TABLE FROM HER. THEY BEGIN HELPING THEMSELVES TO THE FOOD. CARRIE LOOKS DISTRACTED AND IS QUIET.

CARRIE: (ABSENTLY) What? (SNAPPING OUT OF IT) Oh! I'm sure it'll be fine... just fine.

SHE TAKES A BITE OF THE FRENCH TOAST. JONAH LOOKS AT HER ANXIOUSLY.

JONAH: Uh-huh.

CARRIE: What?

JONAH: Exactly.

CARRIE: What are you talking about?

JONAH: I'm talking about whatever's got you so upset.

CARRIE: I'm not upset. I'm just fine.

JONAH: Yeah, right. (BEAT) You can't fool me, Brady. I know you too well.

CARRIE SETS HER FORK DOWN AND LOOKS AT JONAH. AFTER A FEW SECONDS, SHE STANDS UP AND GOES OVER TO THE WINDOW. AS SHE LOOKS OUT THE WINDOW, JONAH STANDS UP AND WALKS OVER TO HER.

CARRIE: I don't think you can.

JONAH: Why don't you tell me what the problem is, so I can at least try?

CARRIE: (TURNING TO JONAH) It's Austin.

JONAH: Still having a hard time with his dying?

CARRIE: I don't know what it is. (BEAT) I mean, if he can die so suddenly, so pointlessly... What does that mean for the rest of us?

CARRIE'S EYES BEGIN TO WATER. JONAH MOVES CLOSE AND PUTS HIS ARMS AROUND HER.

JONAH PULLS AWAY SLIGHTLY, SO HE CAN LOOK CARRIE IN THE EYE. TEARS ARE STREAMING DOWN CARRIE'S CHEEKS.

HE CAREFULLY LEANS IN AND KISSES THE TEARS ON HER LEFT CHEEK. WHEN SHE DOESN'T RESIST, HE SLOWLY MOVES OVER TO HER OTHER CHEEK AND KISSES IT. HE THEN PUTS HIS FINGER UNDER HER CHIN AND KISSES HER TENDERLY ON THE LIPS. SHE RAISES HER HAND UP TO HIS FACE AND BEGINS TO KISS HIM BACK WHEN LEXIE ENTERS THROUGH THE KITCHEN DOOR.

CARRIE QUICKLY TURNS AND LOOKS AT LEXIE. EMBARRASSED, SHE PUTS HER HAND TO HER MOUTH AND QUICKLY WALKS TOWARD THE KITCHEN DOOR.

CARRIE EXITS. LEXIE GIVES JONAH A QUESTIONING LOOK. JONAH LOOKS BACK ANGRILY AT LEXIE. HOLD ON JONAH.

CUT TO: JACK AND JENNIFER'S KITCHEN. JACK AND JENNIFER ARE STANDING AT THE KITCHEN COUNTER. JACK IS POURING COFFEE AND JENNIFER IS BUTTERING TOAST.

JENNIFER: Announce away, Mr. Deveraux.

JACK: I am pleased to say that The Deveraux Childcare Center is definitely a go.

JENNIFER DROPS HER BUTTER KNIFE AND GIVES JACK A BIG HUG.

JACK: I am delighted to report that all the red tape has been cut, and all obstacles have been removed. You and Maggie can start as soon as you like.

JENNIFER: There's so much to get done! Cribs, toys, workers...

JACK: I've got it all under control. The rooms have been painted, and the supplies have been delivered. All you need to do is gather a force of good do-bees and voilá! Instant daycare center!

JENNIFER: You're kidding?! You've done all that already? That's fantastic!

JENNIFER CROSSES THE KITCHEN AND PICKS UP THE PHONE.

JACK: What's that?

JENNIFER WALKS BACK TO JACK AND GIVES HIM A LINGERING KISS.

SHE PULLS AWAY, GIVES JACK A RADIANT SMILE, THEN WALKS BACK TO THE PHONE. OUT ON JENNIFER BUSILY DIALING THE PHONE WHILE JACK LOOKS ON IN AMUSEMENT.

CARVER KITCHEN/DINING AREA. JONAH AND LEXIE. IN PROGRESS.

LEXIE: Jonah, what's going on here?

JONAH: (MOTIONING TOWARD THE TABLE) Breakfast, what else?

LEXIE: Something else, that's for sure. You two weren't eating when I walked in.

JONAH: Everything's fine. It's nothing you need to worry about.

LEXIE: I think it is. Carrie didn't look "fine" when she walked out of here.

JONAH: She's upset about Austin's death. I was comforting her, giving her a shoulder to cry on.

LEXIE: That's funny, I didn't see her head on your shoulder.

JONAH STARTS TO WALK PAST LEXIE TOWARD THE DOOR.

LEXIE GRABS JONAH'S ARM, FORCING HIM TO TURN AND FACE HER.

JONAH: This is none of your business, Lexie, so why don't you just butt out?

LEXIE: Forget it, Jonah. Abe promised Roman that he would look after Carrie and make sure nothing happened to her. I'm going to help him keep that promise.

JONAH: What are you talking about? I'm not going to hurt Carrie...

LEXIE: (INTERRUPTING) Carrie is vulnerable right now. She's been through a lot in the past year. She was burned with acid, her parents moved away, Gus Bartoli's been after her... And now, someone she used to love has died.

JONAH: I know what Carrie's been through, I've been there with her through most of it. I'm trying to help her.

LEXIE: Are you? Or are you trying to take advantage of her emotional state?

JONAH GLARES AT LEXIE. HE IS SO ANGRY, HE IS SHAKING SLIGHTLY.

LEXIE: I have good reason...

JONAH: (POINTING AT HER) The only reason you have is that you don't like me. (BEAT) I would never take advantage of Carrie, or do anything to hurt her in any way. Bank on that.

LEXIE: Whatever your reasons, I think you should lay off right now. This is not the time for you to be putting the moves on her...

JONAH: (INTERRUPTING) I really don't care what you think! I care about her, and I'm going to be there for her. Whatever happens between us... that's between us.

LEXIE: If you really care about her, you'll keep your hormones in check.

JONAH: (TURNING TOWARD THE DOOR) This conversation is over...

LEXIE: Wait! What about this food?

JONAH: Someone spoiled my appetite. I'm going to go shoot some baskets.

LEXIE: I want this cleaned up...

JONAH: Later.

JONAH STORMS OUT OF THE KITCHEN. LEXIE WATCHES HIM, FRUSTRATED. HOLD ON LEXIE.

CUT TO: BO'S BOAT/INT. BO IS CLEANING UP THE BREAKFAST DISHES, WHEN DOUG ARRIVES, COMING DOWN THE STAIRS.

BO: Come on down, Doug. Good to see you!

THE TWO MEN HUG .

BO: He's getting changed, he decided he didn't want to wear yesterday's clothes after all.

DOUG: He's pretty upset, huh?

BO: Yeah. I'm probably going back to patrol duty today, and he is not happy about it.

DOUG: He's scared and insecure. He's terrified of losing you.

BO: I know... and I wish there was something I could do, but I have to do my job...

DOUG: I understand. And if it helps, I think you're doing fine, Bo, just fine. I know there's nothing more important to you than your son.

BO: Thanks. That helps. But I think there's more to it than my going back to work.

DOUG: You mean the nightmares about the shooting?

BO: Exactly.

DOUG: Any progress in therapy?

BO: Some. I keep hoping that something will come up that will fix this, once and for all. That Shawn-D will remember what's tormenting him so...

DOUG: Well, maybe the answer, at least for today, is to give the boy a break from all the stress... concentrate on having a good time.

BO: I hope it helps, but I should warn you... He doesn't seem to enjoy much these days... Poor little guy... (BO CATCHES SIGHT OF THE TIME) Oh, I'd better get going. You can lock up, right?

DOUG: We'll be fine. You go ahead. And have a good day at work.

BO: Thanks, Doug. (RAISING HIS VOICE TO BE HEARD) Hey, Sailor, I'm outta here. C'mere and give your old man a hug!

SHAWN-DOUGLAS COMES SLOWLY OUT OF HIS ROOM. HE'S CHANGED INTO CLEAN CLOTHES, BUT IS CLEARLY IN A BAD MOOD.

HE HUGS BO, WITH LITTLE ENTHUSIASM. BO SHOOTS A WORRIED GLANCE AT DOUG, WHO GIVES HIM A REASSURING SMILE. BO LEAVES.

SHAWN-D: Whatever...

HOLD ON SHAWN-DOUGLAS' APATHY

CUT TO: JANET'S OFFICE. BOB IS STANDING IN FRONT OF JANET'S DESK.

BOB: Yes, Ma'am.

JANET: I think it's time that we put Brady back on the street. But he needs a strong partner.

BOB: (CAUTIOUSLY) Am I to assume, Captain, that you'd like me to be that partner?

JANET: Yes. You're a good cop, you've been around for some time and you know what you're doing. I think you are the best person for Brady to model himself after.

BOB: Thank you, Captain.

BOB LOOKS AS IF HE IS GOING TO SAY SOMETHING ELSE, BUT STOPS.

BOB: No, no problem. I was just going to say that Brady's got a reputation for being a hot-head. But you already know that. I'll take care of it, Captain. When I'm through with him, Brady will be one of the best cops on the force.

JANET: Good, thank you, Bob. I trust you to do whatever is necessary.

THERE IS A KNOCK ON THE DOOR AND BO STICKS HIS HEAD IN.

BOB: Excuse me, I'll just go and pick up my duty assignment.

BOB LEAVES AND BO ENTERS.

BO: Yes?

JANET: I think it's time you were out on the street again. Unless you feel the timing is bad?

BO: (GRINNING) No, the timing is perfect. I'm ready.

JANET: This time out, though, you'll be working with a partner.

BO: A partner? Who is it?

JANET: Bob.

BO IS SILENT, BUT OBVIOUSLY UNCOMFORTABLE.

BO: Let's just say that Bob and I have had our differences in the past. Don't you think I'd work better with...

JANET: Hold it, right there. I'm only going to say this once, Brady. You're still on probation. You don't get a say in anything.

BO: (DEFENSIVE) But I've been busting my butt around here...

JANET: Keep edging closer to that line.

BO STRUGGLES TO CONTROL HIS TEMPER AND FINALLY SUCCEEDS.

BO: Thanks, Captain. (SOTTO VOCE) I think.

OUT ON BO'S UNCERTAINTY.

DEVERAUX CHILDCARE CENTER. THE LARGE ROOM IS PAINTED A CHEERY YELLOW COLOR. A WALLPAPER BORDER OF "ABCs" AND "123s" IS HALFWAY AROUND THE CEILING. THERE IS A BAY WINDOW ON ONE WALL. YELLOW AND WHITE GINGHAM CURTAINS SIT NEARBY, WAITING TO BE HUNG. THREE CRIBS ARE IN THE MIDDLE OF THE ROOM, BEING ASSEMBLED. MAGGIE, ALICE AND JENNIFER ARE UNPACKING SEVERAL LARGE BOXES.

MAGGIE: (POINTING) Why don't we put it over there near the sinks?

ALICE: Don't you think it would be better for the easels and painting area to be over there?

JENNIFER AND MAGGIE LOOK AT EACH OTHER.

MAGGIE: And the cots should definitely be away from the window...

JO ENTERS AND LOOKS AROUND IN AMAZEMENT.

JENNIFER: Jo! I didn't expect to see you here today.

JO: Where else would I be?

ALICE: Slooshing down the slopes?

MAGGIE: Curled up in front of a roaring fire with your sweetie?

JO BLUSHES AND THE WOMEN ALL GIGGLE.

JO: I thought that was part of your birthday gift from Jack.

JENNIFER: Yes, we just can't go right now because of Midsummer and opening the daycare center.

JO: You will, soon, don't worry. Now what can I do to help?

MAGGIE: Come help us decide where to put the puppet theater.

CALLIOPE COMES IN CARRYING A BOX. SHE IS WEARING A PLAID JUMPER WITH A PLEATED SKIRT OVER A WHITE BLOUSE WITH A PETER PAN COLLAR. SHE'S GOT ON TIGHTS AND "MARY JANE" SHOES. HER EARRINGS ARE BIG CRAYOLA CRAYONS.

SHE SETS DOWN THE BOX, REACHES IN AND COMES OUT WITH A SKUNK PUPPET ON ONE HAND AND A LION PUPPET ON THE OTHER.

ALICE: Chanel?

CALLIOPE: Just because she's a skunk doesn't mean she has to stink! (BEAT) I hope you don't mind that I whipped up some stuffed animals and puppets.

MAGGIE: Mind? Are you crazy? We love it!

JENNIFER IS DIGGING THROUGH THE BOX, OOHING AND AAHING OVER VARIOUS ANIMALS. SHE HOLDS UP A DEER PUPPET WITH BIG BLUE EYES.

ALICE: Well, he is a dear, after all.

EVERYONE LAUGHS. HOLD ON THE GROUP BUSILY SORTING TOYS, HANGING CURTAINS AND UNPACKING BOXES.

CUT TO: CARVER BACKYARD. JONAH GRABS HIS BASKETBALL FROM BESIDE THE STEPS, AND GOES OVER TO THE "COURT" THAT HIS FATHER BUILT YEARS BEFORE.

JONAH ATTEMPTS A SHOT, BUT IT MISSES. HE HAS TO GO INTO LEXIE'S FLOWER BED TO RETRIEVE THE BALL.

JONAH TAKES ANOTHER SHOT, BUT IT BOUNCES OFF THE RIM AND COMES RIGHT BACK TO HIM.

THE BACK DOOR OF THE HOUSE OPENS, BUT JONAH DOESN'T NOTICE. CARRIE STEPS OUTSIDE.

JONAH SHOOTS FROM THE FOUL LINE, AND MAKES A BASKET. CARRIE APPLAUDS, STARTLING JONAH, WHO TURNS AROUND.

JONAH: I didn't hear you come outside.

JONAH RETRIEVES THE BASKETBALL, WHICH HAD ROLLED INTO THE GRASS.

JONAH: I can't... the fate of the world depends on me never doing anything but what Lexie tells me to do.

JONAH BEGINS TO DRIBBLE THE BALL. CARRIE LOOKS AT HIM.

CARRIE: I'm not upset... I was a little surprised...

CARRIE STEALS THE BALL FROM JONAH IN MID-DRIBBLE.

CARRIE TURNS AND SHOOTS, MAKING HER FIRST BASKET.

JONAH SHOOTS AND MISSES. CARRIE LAUGHS AND RETRIEVES THE BALL. THEY CONTINUE TO PLAY AS THEY TALK.

JONAH: (SIGHING) Apparently, I'm an irresponsible, lazy, no-good loafer who only thinks of his own wants, and doesn't care about how my actions affect other people.

HE SHOOTS AND MAKES IT. CARRIE GETS THE BALL BACK.

JONAH: Have you listened to the way she talks to me? She has no respect for me, and doesn't trust any of my decisions.

CARRIE: Is this about me being here? Would it be better if I went back to my apartment?

JONAH: No way! Your safety comes before everything else. Even Lexie would agree to that. And I feel better knowing you're here where I can keep an eye on you.

CARRIE STOPS PLAYING AND LOOKS AT JONAH.

JONAH: It will get better, Carrie. Once the trial is over, then everything will be back to normal. You'll be safe.

JONAH REACHES FOR HER HAND. SHE SQUEEZES IT TIGHTLY.

HOLD ON CARRIE'S ANGUISH.

CUT TO: SQUAD ROOM, SALEM P.D. BO AND BOB ARE SEATED AT A TABLE, GOING OVER THEIR PATROL ASSIGNMENT. BOB IS HOLDING A CLIPBOARD.

BO: (TRYING TO SOUND CONFIDENT) You bet.

BOB: I know it's been a while for you. I'd understand if you're a little nervous...

BO: No, really, I'm fine. Let's get to it.

BOB: Okay. Fortunately, this isn't too bad of an assignment. (BEAT) Captain Yamada must want to start you out with something easy.

BOB SMILES, BUT BO IS NOT AMUSED.

BOB: I didn't mean anything by...

BO: (STANDING) No, I know what you meant. You're like everyone else, you don't think I can do my job...

BOB: Sit down, Brady.

BO: No, I'm not finished...

BOB STANDS UP QUICKLY AND SLAMS THE CLIPBOARD DOWN ON THE TABLE.

BO SITS DOWN, SCOWLING.

BO: I suppose you'll report me if I don't?

BOB: You bet your ass, I will. The rules are there to keep you and your partner alive. You break the rules, that puts you and me in danger. I'm not gonna put up with that.

BO TAKES A DEEP BREATH AND RELAXES A LITTLE. HE STARTS TO STAND.

BOB: I'm not finished.

BO SITS BACK DOWN.

BO: You don't need to threaten...

BOB: Your temper is legendary around here, Brady. I'm trying to put this in terms you'll understand.

BO: Well, I understand perfectly.

BOB: I have a gut feeling you could be a good cop. And since Captain Yamada has made it my job to make sure you live up to your potential, I'm taking it very seriously. (BEAT) You can be a good cop, and you can do it by working within the rules.

BOB SITS DOWN.

BO: Yes, we're clear.

BOB: Don't take this to mean you're supposed to shut up and do everything I say. I know you've got good instincts, and I don't want to discourage you from using them. (BEAT) But I'm not going to allow you to go off on your own. No more "supercop" crap.

BO: All right.

BOB: If we work as a team, and you let me give you some coaching, I think we can do a lot of good. (BEAT) I've been around for quite a while. I know what I'm doing.

BO: I know you do.

BOB: Okay. Now that we understand each other, let's get to work.

BOB STANDS UP. BO HESITATES, LOST IN THOUGHT.

BO STANDS UP.

BOB: Good. You should always be thinking... it's part of the job.

BOB OPENS THE DOOR.

BOB EXITS. BO STOPS IN THE DOORWAY AND LOOKS BACK AT THE TABLE. OUT ON BO'S DETERMINATION.

JULIE'S OFFICE. JACK, VERN, AND RICHARD ARE SEATED AROUND THE TABLE. IN PROGRESS.

VERN: I don't know, but I hope it's good news for a change.

RICHARD: I can't imagine anything else going wrong.

JACK: (SKEPTICAL) With Victor Kiriakis, anything's possible.

JULIE BURSTS THROUGH THE DOOR. IN ONE HAND, SHE HOLDS A COPY OF MIDSUMMER, IN THE OTHER A BOTTLE OF CHAMPAGNE.

JACK: Can it be?!

VERN: Our first issue!

JULIE: Yes, it's finally happened. After all our headaches, Midsummer is ready for all to see.

RICHARD: That's fantastic! Can we have a look?

JULIE: Sure, and while you're looking, I'll open the champagne.

JULIE HANDS RICHARD THE MAGAZINE. JACK AND VERN PEEK OVER RICHARD'S SHOULDER AS HE SCANS THROUGH THE PAGES. JUST AS JULIE POPS OPEN THE CHAMPAGNE BOTTLE, THERE IS A KNOCK AT THE DOOR.

JENNIFER AND JO OPEN THE DOOR AND WALK INSIDE.

JULIE: Jennifer, Jo, please come join our celebration!

JO: What are we celebrating?

JACK: (HOLDING UP THE COPY OF MIDSUMMER) The premier issue of Midsummer... hot off the presses!

JACK HANDS THE MAGAZINE TO JENNIFER.

JENNIFER GIVES JACK A HUG. JULIE STARTS POURING AND PASSING OUT THE CHAMPAGNE.

EVERYONE APPLAUDS JULIE, WHO TAKES A SMALL BOW.

JACK: To us!

THEY ALL RAISE THEIR GLASSES.

VERN: Thanks, Jo. Are you sure you don't want me to get you a soda?

JO: No, I'm fine. This is so exciting!

RICHARD: It certainly is. All the hard work definitely paid off.

JACK NOTICES THAT VERN AND JO ARE HOLDING HANDS, MAKING HIM SLIGHTLY UNCOMFORTABLE. HE CLEARS HIS THROAT TO GET EVERYONE'S ATTENTION.

JENNIFER BEAMS AT JACK, NEVER BREAKING HER GAZE.

EVERYONE: To Midsummer!

AS EVERYONE RAISES THEIR GLASS, THE DOOR TO JULIE'S OFFICE OPENS, AND VICTOR WALKS INSIDE. HOLD ON JULIE'S SURPRISE.

CUT TO: ALICE'S RESTAURANT. DOUG AND SHAWN-DOUGLAS ARE SITTING ACROSS FROM EACH OTHER IN A BOOTH. EACH HAS A HUGE HOT-FUDGE SUNDAE IN FRONT OF HIM.

SHAWN-DOUGLAS PLAYS WITH HIS ICE CREAM, SAYING NOTHING.

SHAWN-D: Sometimes I'd like to run away to somewhere like Alaska.

DOUG: And run a dog sled, like Will did?

SHAWN-D: Yeah. Those dogs were cool.

DOUG: I'd like to run away sometimes, too.

SHAWN-D: You would?

DOUG: Sure. But then I stop and think about everybody that I'd miss. I'd miss you something awful. (BEAT) Wouldn't you miss me if you went to Alaska? And your Papa?

SHAWN-D: (ANGRILY) I'm tired of missing people... I'm tired of losing people all the time.

SHAWN-DOUGLAS PUSHES HIS ICE CREAM DISH OFF THE TABLE AND IT HITS THE FLOOR WITH A CRASH.

SHAWN-DOUGLAS' HANDS ARE IN TIGHT FISTS ON THE TOP OF THE TABLE. DOUG REACHES OVER TO GRAB HIS HANDS, BUT HE PULLS AWAY. HOLD ON DOUG'S CONCERN.

CUT TO: CARVER BACKYARD. JONAH AND CARRIE. IN PROGRESS.

CARRIE: Jonah, can you honestly believe that anyone is safe in this world anymore? I mean, after what happened to Bo and Carly, the break-in at Carver & Carver, Hope's death at the hands of some madman... not to mention Austin...

JONAH: I know that it must have been a real shock to hear about him. Do you want to talk about it?

CARRIE: Our relationship was finished long before Austin left Salem... But... just as I'm getting ready to testify against Gus Bartoli and put Austin behind me for good, I hear about what happened to him and ... (A SINGLE TEAR FALLS DOWN HER CHEEK)

JONAH: It wasn't your fault, Carrie...

CARRIE: (SNIFFLING) I know... it was his choice to leave town. But it seems so bizarre... one minute, you can be young and energetic and think that you're invincible, and the next minute (SHE SNAPS HER FINGERS) you're dead...

JONAH: It's always hard to accept death. (BEAT) There are days at the hospital that can horrify you... When they bring in kids with gunshot wounds or babies who have been abused. It's frightening to think that we live in a world where that can happen. But, there are some good things, too...

CARRIE: (DRYING HER EYES) Like what?

JONAH: Like helping deliver a baby and watching his mother as she holds him for the first time... Seeing Red Cross volunteers as they go without sleep to help people who've lost everything... And like watching you risk everything to put a scum like Bartoli in jail...

CARRIE: (SMILING) I guess you're right, Jonah. But sometimes it's so confusing... Sometimes all I want to do is curl up in a little ball...

JONAH: And other times?

CARRIE: I want to see everything, do everything... Live for the moment, because that's all there might be...

OUT ON CARRIE LOOKING INTO JONAH'S EYES. JONAH TIGHTENING HIS HOLD ON HER HAND.

JULIE'S OFFICE. VICTOR STANDS IN THE DOORWAY. JULIE, JACK, RICHARD, VERN, JENNIFER, AND JO ALL LOOK AT HIM, TOO SURPRISED TO SPEAK.

JULIE: That's what happens when uninvited parties slither in unannounced, Victor. What are you doing here?

VICTOR: Julie, you wound me. Please, retract your talons. I only came by to congratulate the Midsummer staff on their first issue. It can be extremely difficult to get a new magazine off the ground. Your people deserve a lot of credit for overcoming such daunting odds.

JACK: Yes, Victor, I'm sure you know all about those "daunting odds." After all, you had a major hand in stacking them...

VICTOR: Jack, Jack... Always so quick to blame me for your difficulties. Some things never change.

JACK: Well, Victor, if you would stop trying to sabotage Deveraux Publishing, I wouldn't have to keep blaming you, now would I?

VICTOR: Surviving in the publishing business is... a challenge, to say the least. You never know what's going to happen or what lies around the next corner.

JULIE: Are you making a point of some kind, Victor?

VICTOR: Just this: If I were in your position, I wouldn't rest easy. Anything can happen.

JULIE: Is that supposed to be a threat?

VICTOR: Just some friendly advice.

JACK: Tell me, Victor, could it be that the Titan is feeling the pick of the eagles at his liver?

VICTOR: (AMUSED) Not at all. (BEAT) I'm sorry to disappoint you, Jack, but I'm not feeling threatened by any eagles... or pigeons, or canaries, or any other metaphor you may choose to represent your little publishing company.

JACK: Careful, Victor. As you warned us... I'm sorry, advised us... Overconfidence is a dangerous thing. You should heed your own advice.

VICTOR: Believe me Jack, if I thought I had anything about which to be concerned... I would be concerned.

JACK: Just remember that even the mighty can fall. And when they do fall, they fall hard... very hard.

VICTOR: Believe what you like, Jack. (BEAT) I'll take my leave now. This conversation is getting a bit stale.

VICTOR GOES TO THE DOOR.

VICTOR EXITS.

RICHARD: Easy, Julie, don't let him get to you. It's exactly what he wants.

JENNIFER: He's right, Julie. Don't let Victor intimidate you.

JULIE: Oh, I'm not intimidated, darling. I'm... I'm...

JENNIFER: Furious?

JULIE: Yes! That's the word! Thank you!

JO: (TO JACK) You handled yourself very well, son.

JACK: That's rule number one. Never let the enemy see you sweat.

VERN: So, you are sweating?

JACK: A little, for the time being. Victor still has us out-manned and outgunned.

JULIE: Fortunately, that isn't everything that counts.

JACK: Certainly not. We've got to outsmart him.

JENNIFER: Jack, what are you up to?

JACK: I have a plan to find the crack in the Titan's armor. Once I can do that, we'll be on our way.

RICHARD: What's the plan?

JULIE: (RESIGNEDLY) Don't bother asking. Jack's not ready to divulge the details...

JACK: Exactly. You'll just have to trust me for now.

JULIE AND JENNIFER LOOK AT EACH OTHER KNOWINGLY. BOTH OF THEM ROLL THEIR EYES.

JACK EXITS. JENNIFER LOOKS AFTER HIM SUSPICIOUSLY.

JULIE: Certainly, darling.

JENNIFER EXITS.

CUT TO: JACK'S OFFICE. JACK IS DIALING THE PHONE. ONE-WAY CONVERSATION.

JACK HANGS UP THE PHONE WITH A SATISFIED SMILE. HE GETS HIS COAT AND EXITS, CLOSING THE DOOR BEHIND. JACK WALKS THROUGH THE SPECTATOR OFFICE AND EXITS. AS JACK DISAPPEARS, JENNIFER STEPS OUT FROM BEHIND A LARGE POTTED PLANT.

HOLD ON JENNIFER'S SUSPICION.

CUT TO: CARVER KITCHEN. CARRIE WALKS TO THE REFRIGERATOR AND PULLS OUT A SODA. SHE TAKES A SIP, AND LOOKS OVER AT THE TELEPHONE.

SHE PICKS UP THE RECEIVER AND DIALS. ROMAN ANSWERS, TWO WAY.

CARRIE: Hi, Dad!

ROMAN: Carrie, is that you?

CARRIE: Yup! How's is everyone?

ROMAN: We're all doing fine. How are you?

CARRIE: All right... I guess...

ROMAN: Sweetheart, is something wrong?

CARRIE: No, everything's okay. I've been really busy lately, and I just realized that I forgot to call to wish you and Marlena a happy anniversary. Besides, I missed hearing your voice.

ROMAN: Thanks honey, and don't worry about forgetting to call. We realize how busy you must be.

CARRIE: I shouldn't be too busy for my family. How are Marlena and the twinners doing?

ROMAN: We're all doing great.

CARRIE: That's good...

ROMAN: Carrie, are you sure nothing's wrong?

CARRIE: Well...

ROMAN: What is it? Is it the trial?

CARRIE: In a roundabout way.

ROMAN: Is there anything I can do to help? Should I call Yamada or Hanlen?

CARRIE: Dad... I said in a roundabout way.

ROMAN: Sorry, you know me, I jump in first and ask questions later. Tell me what's wrong.

CARRIE: I just found out that Austin was killed in an accident...

ROMAN: Killed?

CARRIE: I don't know the details... Abe said it was a freak accident... Austin... didn't suffer...

ROMAN: I'm sorry, honey. I know you cared about him. Are you okay?

CARRIE: I don't know... He was so young...

ROMAN: Is there anything I can do to help?

CARRIE: Help? Funny... you didn't want us together...

ROMAN: I wanted what was best for you. He'd run a gambling ring... Fought in a fixed boxing match... I was trying to protect my little girl...

CARRIE: I'm not your little girl any more, Dad.

ROMAN: I know, but I still remember the day you walked into my life... You stole my heart...

CARRIE: It seems so long ago...

ROMAN: (WISTFUL) It seems like yesterday...

CARRIE: Dad?

ROMAN: Yes, honey?

CARRIE: Have I told you lately that I love you?

HOLD ON ROMAN'S SMILE.

CUT TO: THE COMMUNITY CENTER. KAYLA IS SETTING UP A VACCINATION BOOTH FOR THE LATEST ROUND OF FLU SHOTS.

MARCUS WALKS IN.

MARCUS: Hi, Kayla.

KAYLA: Marcus! I wasn't expecting you to be here today. What's the matter... couldn't stand to be away from me for even a day? (SHE SMILES DEMURELY, THEN STARTS TO GIGGLE)

MARCUS: (DRAMATICALLY) How could I stay away? I'm drawn to you like a moth to a flame. Like peanut butter to jelly. Like Winnie the Pooh to honey. Like... like...

MARCUS PAUSES, SEARCHING FOR ANOTHER ANALOGY TO ADD TO THE LIST, BUT BEFORE HE CAN ADD TO IT, KAYLA INTERRUPTS.

THEY BOTH LAUGH.

MARCUS: I'm here to administer the vaccinations. You did request that the hospital ask for volunteer doctors, didn't you?

KAYLA: I did, but...

MARCUS: But what?

KAYLA: I'm a little surprised to see you...

MARCUS: Hmmm... Why? Should I be offended?

KAYLA: No... But if anyone had told me a few years ago that the dashing young Dr. Hunter, materialistic plastic surgeon, would volunteer to give flu shots... I wouldn't have believed it.

MARCUS: I wouldn't have believed it either... but a lot of things have changed since then. (BEAT) And I wasn't that materialistic, was I?

KAYLA GRINS, AND MARCUS STARTS TO LAUGH.

KAYLA: What do you mean?

MARCUS: I never had you pegged as the administrative type, but you've taken to it beautifully...

KAYLA: Yeah, I guess I have. I loved being a nurse, but the work at the Community Center is much more satisfying to me now. I think it was a natural progression for me. (BEAT) Sort of like our friendship... it has grown with time and adapted to all of the changes in our lives... And it gets stronger every day...

MARCUS: It gets more wonderful every day...

MARCUS REACHES OUT AND CARESSES KAYLA'S FACE. HOLD ON MARCUS LOOKING INTENTLY AT KAYLA.

TITAN ALLEYWAY. JACK, WEARING COVERALLS, MEETS A SHADOWY FIGURE BEHIND TITAN, WHO HANDS HIM A MOP AND BUCKET, DUST CLOTHS, ETC. JACK TAKES AN ENVELOPE OUT OF HIS INSIDE POCKET AND HANDS IT TO "GEORGE." JACK PICKS UP HIS EQUIPMENT.

JACK: Yup.

"GEORGE" USES HIS KEY CARD TO OPEN THE ENTRANCE TO TITAN. GEORGE WATCHES JACK AS HE GOES INSIDE AND ENTERS THE STAIRWELL. GEORGE TURNS AND WALKS AWAY.

CUT TO: VICTOR'S OFFICE/CORRIDOR. JACK OPENS THE STAIRWELL DOOR AND WALKS INTO THE CORRIDOR. KATE ROBERTS COMES AROUND THE CORNER, HEADING FOR THE ELEVATOR TO GO HOME. JACK TURNS AND BUSILY BEGINS POLISHING VICTOR'S DOORKNOB UNTIL SHE GOES PAST. JACK TURNS THE DOORKNOB AND TO HIS SURPRISE THE DOOR OPENS. HE ENTERS THE OFFICE AND WALKS TO THE FILE CABINETS. HE PULLS OPEN A DRAWER.

JACK PULLS OUT A FILE, OPENS IT, TAKES A PEN AND PAD OUT OF HIS POCKET AND BEGINS TO JOT DOWN NOTES.

JACK CAREFULLY PUTS THE FILE BACK IN THE CABINET, WIPING AWAY ANY FINGERPRINTS. THEN HE LOOKS AROUND THE OFFICE. HE WALKS OVER TO VICTOR'S DESK AND SITS DOWN BEHIND IT. HE PULLS ON THE DRAWERS, BUT THE DESK IS LOCKED.

JACK TAKES A BOBBY PIN OUT OF ONE OF HIS POCKETS AND PICKS THE LOCK. HE LOOKS THROUGH THE TOP DRAWER BRIEFLY, THEN GOES TO THE FILE DRAWER. SEARCHING THROUGH IT, HE PULLS OUT A FILE.

JACK MAKES MORE NOTES AND CLOSES HIS PAD. HE PUTS THE FILE BACK IN THE DRAWER AND LOCKS THE DESK, DUSTING OFF THE DESK AND THE FILE WITH HIS RAG TO REMOVE ANY FINGERPRINTS. HE STANDS UP AND STRETCHES, THEN HEADS FOR THE DOOR. HE MAKES SURE TO PICK UP HIS MOP AND BUCKET, AND TAKES ONE LAST LOOK AROUND THE OFFICE TO MAKE SURE EVERYTHING IS THE WAY HE FOUND IT. SATISFIED, HE FLIPS OFF THE LIGHT.

JACK HEADS DOWN THE HALL TOWARDS THE STAIRWELL. THE DOOR TO THE JANITOR'S CLOSET ACROSS FROM VICTOR'S OFFICE OPENS. JENNIFER, DRESSED IN COVERALLS, PEEKS THROUGH A LARGE FEATHER DUSTER. HOLD ON JENNIFER HEADING DOWN THE HALL AFTER JACK.

CUT TO: EUTERPE. IAN AND JASMIN ARE CHECKING THE DINNER MENU AS DOUG AND SHAWN-DOUGLAS WALK IN.

IAN: Hi there! Nice to meet you. Your grandpa's always talking about you!

SHAWN-D: Really?

IAN: Yeah, he says that you're a pro at the video games. Maybe you can help me improve my score someday.

SHAWN-D: (SMILING) Sure, that would be fun!

JASMIN: Hello, Shawn-Douglas (BENDING DOWN TO SHAKE HIS HAND) You have the most beautiful big eyes!

SHAWN-D: Beautiful, ick! Like a girl?

JASMIN: Oh no, just like a dashing young superhero.

DOUG: (LAUGHING) Watch out, Shawn-D, or your head might get too big.

SHAWN-D: Can my head really grow that fast?

DOUG: Well, it can if you hang around these two long enough.

DAVE AND EVE WALK UP TO THE GROUP.

IAN: Yeah, here it is.

IAN HANDS EVE THE LIST.

DAVE: Sure I do. Hi Shawn-Douglas! You've certainly grown since I saw you last!

SHAWN-D: (STANDING TALL) Really? You think so?

EVE: Oh, definitely! You'll probably be tall enough to play professional basketball any day now.

SHAWN-D: Wow! I like basketball.

EVE: So do I. I used to play with my brother all the time. Do you remember Andrew?

SHAWN-D: Yeah, he's my cousin. We used to play together... I miss him...

EVE: So do I. But maybe one of these days I can take you to visit him?

SHAWN-D: I'd really like that.

JASMIN: How about if I go get some soda for y'all.

DOUG: Thanks, Jasmin, that'll be great.

IAN: Hey, Shawn-Douglas, how would you like to come up to the control booth with me to see how all the lights and sound works?

SHAWN-D: Okay. (HE TURNS TOWARD DOUG.) Grandpa, can I?

DOUG: Sure, have fun.

AS IAN AND SHAWN-DOUGLAS WALK AWAY, ROBERT APPROACHES DOUG.

DOUG: Bon jour, mon vieux! And how are you today?

ROBERT: Splendid!

DOUG: Are you ready to rehearse?

ROBERT: Mon Dieux. I left the sheet music for that new number in the car. I'll run and get it; I shouldn't be a moment.

DOUG: Great. Marty and I'll be warming up at the piano.

ROBERT WALKS OUT THE FRONT DOOR AS DOUG WALKS TO THE STAGE, WHERE MARTY WAITS, SEATED AT THE PIANO. DOUG LOOKS AT SOME SHEET MUSIC ON TOP OF THE PIANO AND HANDS IT TO MARTY.

MARTY BEGINS TO PLAY, "MY FUNNY VALENTINE."

CUT TO: PARKING LOT OUTSIDE OF EUTERPE. ROBERT IS WALKING BRISKLY TOWARDS HIS CAR. AS HE REACHES HIS CAR, HE DOUBLES OVER, OUT OF BREATH AND IN PAIN. THE SPELL QUICKLY PASSES, AND ROBERT STRAIGHTENS UP AND SHAKES HIS HEAD.

HOLD ON ROBERT AS HE OPENS HIS CAR DOOR.

CUT TO: PATROL CAR. BOB AND BO PULL INTO THE STATION. AS BOB TURNS OFF THE MOTOR AND BEGINS TO GATHER UP HIS HAT AND CLIPBOARD, BO YAWNS AND STRETCHES.

BOB: Spoken like a true rookie.

BO: What do you mean?

BOB: Let me ask you something first. What's your idea of a "good" day?

BO: Netting a few collars, sweeping the streets of scum, getting your adrenaline pumping...

BOB: That's where you're wrong, Brady.

BO: (DEFENSIVELY) But that's our job, isn't it?

BOB: Yeah, that's our job. But stop and think about it. Days like that, "exciting" days, are the ones where people get hurt. And sometimes killed. (BEAT) Cops, mostly.

BO IS SILENT.

BOB GETS OUT OF THE CAR AND HEADS TOWARDS THE STATION. OUT ON BO, STILL SITTING IN THE CAR, LOST IN THOUGHT.

TITAN PARKING GARAGE. JACK STANDS NEXT TO HIS CAR, FIDDLING WITH THE KEYS AS HE TRIES TO UNLOCK THE DOOR. JUST AS HE IS ABOUT TO OPEN IT, JENNIFER JUMPS BEHIND HIM FROM THE SHADOWS.

JACK JUMPS AND ALMOST SCREAMS, BUT JENNIFER COVERS HIS MOUTH WITH HER HAND. JACK'S EYES GROW WIDE AS HE INDIGNANTLY REMOVES JENNIFER'S HAND FROM HIS MOUTH.

JENNIFER: (SMILING) Hey, I asked first...

SUDDENLY CONSCIOUS OF HIS SURROUNDINGS, JACK OPENS THE DOOR TO HIS CAR.

JACK HOLDS THE DOOR OPEN FOR JENNIFER. HE FOLLOWS HER INSIDE THE CAR.

JACK: I had a late meeting.

JENNIFER: Why would you meet with the competition?

JACK: Why not? What's wrong with a little friendly one-on-one?

JENNIFER: I know nothing's friendly when it comes to you and Victor. Come on Jack, tell me the truth!

JENNIFER STARES AT JACK, WHO STARTS TO PERSPIRE.

JENNIFER: No you weren't. Come on, admit it! You were snooping, weren't you?

JACK: Snooping? Me?

JENNIFER: Jack...

JACK: Okay, so maybe I was.

JENNIFER SMILES, SATISFIED. JACK NOTICES THE CLOTHES SHE IS WEARING.

JENNIFER: (TRIUMPHANTLY) Yes, and you had no idea!

JACK: Just how did you manage that, my dear?

JENNIFER: Easy, I hopped into a cab, and said, "Follow that car!" Just like it's done in the movies.

JACK: Yes, but in the movies, sometimes the brave and (HE PUTS HIS ARM AROUND HER) beautiful heroine ends up getting taken prisoner by the bad guys.

JENNIFER PULLS JACK CLOSER TO HER.

JACK: You did, did you?

JENNIFER: Yes, and now he's my prisoner...

JENNIFER PULLS JACK INTO A DEEP PASSIONATE KISS. HOLD ON THE KISS.

CUT TO: EUTERPE. EVE IS SITTING AT A BACK TABLE, TAKING A BREAK. IAN PICKS UP TWO MINERAL WATERS FROM THE BAR AND JOINS HER AT THE TABLE.

EVE: (SOUTHERN ACCENT) Why, yes, kind sir, thank you. I was frightfully parched...

IAN: (WITH SIMILAR ACCENT) You're welcome, Mistress Eve... (HE DOFFS AN INVISIBLE HAT) I am yours to command...

EVE: (GIGGLES) You're being awfully nice to me lately... what's up?

IAN: Nothing. You deserve niceness, that's all. (BEAT) In spite of what you think.

EVE: (DEFENSIVELY) What I think? What do I think, Mr. Intuition?

IAN: (GENTLY) I didn't need my intuition, Eve. You project your feelings pretty well, for someone who's built up so much armor...

EVE: Armor? Maybe... But the world's a pretty rotten place sometimes... You need protection...

IAN: Not always. I noticed you were much more relaxed and... dare I say... positive sounding when you were talking to Doug's grandson. Why?

EVE: Honestly? I like kids. Some of the most fun I've had was playing with my kid brother, Andrew, and my little sister Jeannie.

IAN: Those are your Dad's kids with his second wife, right? Is it just because they're family?

EVE: No. I like kids in general. Mostly because they're so... so up-front. They don't play games with you like adults...

IAN: Sounds like you've had a lot of games played with you.

EVE: I have.

IAN: And now you play them, too.

EVE: And I've gotten really good. (BEAT) (SOFTLY) Sometimes, I don't even know if I'm playing a game, or being...

IAN: Real?

EVE: Exactly.

BEAT, WHILE BOTH TAKE A SIP OF WATER.

EVE: To win the lottery and retire to a tropical island?

IAN: Well, no. Not really. Money doesn't solve everything...

EVE: You won't convince me of that...

IAN: That's too bad. But I'll clarify. You know what I wish for us?

EVE: (INTRIGUED) You have a wish for "us"?

IAN: For our friendship...

EVE: Oh.

IAN: I'd like our friendship to be completely without games. I'd like us to be able to be totally honest with each other about things, and feel free to count on each other...

EVE: I... I'd like that too, Ian. Very much.

IAN SMILES AT EVE, WHO RETURNS HIS SMILE. THEN, WITH AN IMPISH GLEAM IN HIS EYE, HE HOLDS UP HIS PALM AND SPITS IN IT. EVE SHUDDERS IN DISGUST. BUT WHEN IAN HOLDS HIS HAND OUT TO HER, SHE LAUGHS, AND SPITS IN HER PALM, TOO. THEY SHAKE. IAN SMILES, WHILE EVE SHAKES HER HEAD, LAUGHING. HOLD ON THE TWO.

CUT TO: JULIE'S OFFICE. JULIE IS GOING OVER PAPERWORK WHEN WE SEE DOUG IN THE OPEN DOORWAY.

JULIE: Doug, darling... for you, definitely!

DOUG ENTERS AND JULIE RISES TO MEET HIM. THEY KISS, AND HOLD EACH OTHER FOR A MOMENT.

JULIE: The usual dreary paperwork associated with the publication of a magazine. I wasn't so much concentrating as stupefied...

DOUG: And how did the premier look?

JULIE: (REACHES BEHIND HER TO THE TABLE AND GETS A COPY, WHICH SHE FLOURISHES AT DOUG) What do you think? (SHE HANDS IT TO HIM)

DOUG: (LEAFS THROUGH THE MAGAZINE) This is beautiful, Julie... wonderful. I trust I can keep this copy to read at my leisure?

JULIE: Of course. I'm glad you like it. (SIGHS) I feel rather like I've given birth...

DOUG: Tired?

JULIE: A little drained. And it all begins again so quickly... (BEAT) Enough about Midsummer... How was your day with Shawn-Douglas?

DOUG: Frustrating. And worrisome. He's not the same boy I remember. Losing Carly, nearly losing Bo, it seems to have done something terrible to him.

JULIE: Was he still acting out his anger?

DOUG: He's upset, almost all the time. And frustrated, and yes, still angry. I wish I could find some clue... If only he'd tell me something... maybe I could help...

JULIE: He won't open up?

DOUG: It's almost more like he can't.

JULIE: Do you think it would help if I talked to him? Or do I remind him too much of his mother?

DOUG: I don't know... I don't know if memories of Hope help or hurt... The poor little guy has lost so many people he loves...

JULIE: We all have...

DOUG KISSES JULIE'S HAND.

DOUG: I think he would. And I know I'd love to be able to spend a day with my two favorite people...

JULIE: Then we'll set it up. I want Shawn-Douglas to be the happy boy he was...

DOUG: I know, love, so do I.

OUT ON DOUG.

KAYLA'S LIVING ROOM. KAYLA AND MARCUS ARE RELAXING ON THE SOFA. THERE IS A HALF-GALLON OF MINT CHOCOLATE CHIP ICE CREAM BETWEEN THEM.

KAYLA FEEDS THE ICE CREAM TO MARCUS, WHO LICKS IT OFF THE SPOON.

MARCUS TAKES HIS SPOON AND RAISES IT TO KAYLA'S MOUTH. BEFORE SHE CAN TASTE IT, HE MOVES THE SPOON AWAY, AND SMEARS THE UNDERSIDE ON HER LEFT CHEEK.

BUT HER PROTEST DIES AS MARCUS BEGINS TO KISS AWAY THE ICE CREAM ON HER CHEEK. THERE IS A SUDDEN STOMPING NOISE FROM UPSTAIRS. AND STEPHANIE APPEARS AT THE TOP OF THE STAIRS.

KAYLA: (TRYING TO COMPOSE HERSELF) What is it, Sweetness?

STEPHANIE: I wanted to say good-night to Uncle Marcus.

KAYLA TAKES A NAPKIN AND WIPES THE REST OF THE ICE CREAM OFF OF HER CHEEK. MARCUS IS LEANING BACK ON THE COUCH, SMILING AT HER.

MARCUS: (GETTING UP OFF THE COUCH) What can I say? I'm irresistible...

MARCUS STANDS AND TURNS TO STEPHANIE.

STEPHANIE: I'm a big girl. I can do that myself. I just wanted to say good-night.

WITH THAT STEPHANIE BLOWS MARCUS A KISS, TURNS AND WALKS BACK UP THE STAIRS.

MARCUS: (GRINNING) Her mother?

KAYLA: Not likely...

MARCUS: (MOVING THE ICE CREAM CONTAINER TO THE COFFEE TABLE) She's really a great kid, you know. You should be proud.

KAYLA: I am... she's everything that I ever imagined a child would be.

MARCUS: I'm glad she likes me... (BEAT) It would be... difficult for our relationship to continue if she didn't.

KAYLA: Marcus, that little girl loves you. But it's nice to know that her opinion means so much to you.

MARCUS: The opinion of both the ladies in this house means everything to me...

HOLD ON MARCUS.

CUT TO: JACK AND JENNIFER'S LIVING ROOM. JACK OPENS THE DOOR FOR JENNIFER. THEY WALK IN AND HE TAKES HER COAT.

JACK: My pleasure, Mrs. Deveraux.

JACK HANGS UP JENNIFER'S COAT, THEN HIS OWN, AS JENNIFER WALKS OVER TO THE ANSWERING MACHINE.

JACK COMES UP BEHIND JENNIFER AND PUTS HIS HANDS ON HER SHOULDERS.

JENNIFER: (TURNING TO FACE JACK) I was thinking the exact same thing. I'm hungry, but not for food...

JACK: (RAISING AN EYEBROW AND GRINNING MISCHIEVOUSLY) Well, we can't have you going hungry, now can we?

JACK PUTS HIS ARMS AROUND HER, AND THEY KISS PASSIONATELY.

JACK: (MOTIONING TOWARD THE STAIRS) Shall we?

JENNIFER: Uh-huh.

THEY BEGIN TO WALK TO THE STAIRS.

JACK: (CHUCKLING) Spying? Spying?

JENNIFER: Yes, spying.

THEY STOP ON THE LANDING AND JACK STARTS TO POSTURE LIKE JAMES BOND, AND SPEAKS WITH HIS BEST SEAN CONNERY-JAMES BOND ACCENT.

JENNIFER LAUGHS HYSTERICALLY.

JENNIFER: (COMPOSING HERSELF) I'm sorry, Mr.... What was your name, again?

JACK: Bond. James Bond.

JENNIFER: Oh, yes. Mr. Bond. I'm so sorry.

JACK: That's quite all right. I have to be careful in my line of work.

JENNIFER: Spying?

JACK: Well, yes... that, too. Actually, spying is not what I am most famous for, you know.

JENNIFER: Oh, no?

JACK: No. Bond is best known as the world's greatest womanizer.

JENNIFER: (PUTTING HER HANDS ON HER HIPS IN MOCK ANGER) Well! Wouldn't all this womanizing cause problems between Mr. and Mrs. Bond?

JACK: No, not really. All of those other women don't mean anything...

HE PUTS HIS ARMS AROUND JENNIFER.

JENNIFER: Good answer, Mr. Bond.

THEY KISS. JACK SCOOPS JENNIFER UP IN HIS ARMS.

HE FINISHES WALKING UP THE STAIRS.

CUT TO: JACK AND JENNIFER'S BEDROOM/CORRIDOR. JACK, WITH JENNIFER IN HIS ARMS, WALKS DOWN THE HALLWAY AND ENTERS THE BEDROOM. JENNIFER CLOSES THE DOOR BEHIND THEM. WE HEAR, "NOBODY DOES IT BETTER," BEGIN TO PLAY, THEN JENNIFER'S VOICE:

OUT ON THE BEDROOM DOOR. FADE TO BLACK.