ALT.DAYS

Episode #40

An ALT.DAYS Production,
A Division of Peel Productions, Inc.
Air Date: February 22, 1994
Time: Day After #39,
Morning to Evening

Copyright 1995

TEASER

JACK'S OFFICE. JACK OPENS THE DOOR AND IS SURPRISED TO SEE THAT HIS DESK, THE CHAIRS, AND MUCH OF THE FLOOR ARE COVERED WITH PILES OF PAPERS. JACK PAUSES TO DOUBLE-CHECK THAT THIS IS HIS OFFICE, THEN CLOSES THE DOOR.

JACK SURVEYS THE ROOM, AND FOLLOWS THE NARROW PATH OF UNCOVERED FLOOR TO HIS DESK. HE HAS JUST REACHED HIS CHAIR, WHEN THE OFFICE DOOR FLIES OPEN.

JACK: And good morning to you too, Vern. I take it that you're responsible for the new filing system?

VERN: Make jokes all you want, Jack, but while you've been off trying to make Deveraux Publishing a worldwide power, the Spectator has been falling apart.

JACK: I think you're exaggerating just a bit, Vern. And, may I ask, if things are in such a state of decay, why did you take off for your little ski weekend with Jo?

JACK SITS DOWN, WHILE VERN STANDS IN FRONT OF JACK'S DESK, GETTING ANGRIER BY THE SECOND.

HOLD ON VERN'S ICY STARE.

CUT TO: JANET'S OFFICE. JANET AND MORGAN ARE SEATED AT THE DESK REVIEWING THE DAY'S AGENDA.

MORGAN: No prob, boss.

THE DOOR SWINGS OPEN. BO ENTERS, "ESCORTED" BY BOB. ONCE INSIDE, BO SHAKES HIMSELF LOOSE FROM BOB'S GRIP.

BOB: It appears that Brady here was trying to bully himself into the interrogation room.

JANET: What were you thinking, Brady? You know interrogation is restricted.

BO: I heard that Lawrence Alamain was arrested.

JANET: Yes, we arrested him last night. What were you doing trying to get in to see him?

BO: That scum murdered the woman I loved and I was going in there to get the proof I need.

JANET: Come off it, Brady. You know the protocol.

BO: I know I can shake the truth outta him!

JANET: If you do, you'll put us so far back, we'll never solve this case. Now listen to me. You stay away from Lawrence Alamain. Do you hear me, officer?

HOLD ON BO'S DEFIANCE.

CUT TO: ABE & LEXIE'S KITCHEN. ABE AND LEXIE ARE SITTING AT THE TABLE, EATING BREAKFAST.

ABE: Not much, I'm afraid. Unless, of course, you count a missing briefcase, and Mrs. Winslow's prized cat mysteriously becoming pregnant exciting.

LEXIE: (SIGHING) Why can't we ever get cases like Magnum or Sam Spade?

ABE: Yeah, I'd even go for one of Jessica Fletcher's mysteries.

LEXIE: I guess there's more excitement on TV than in real life.

ABE: Yeah... Things aren't as glamorous in reality as they are on TV.

LEXIE STANDS UP AND POURS ANOTHER CUP OF COFFEE, WHEN THERE IS A KNOCK ON THE DOOR. ABE GETS UP TO ANSWER THE DOOR TO A MIDDLE-AGED WOMAN.

ABE SHOWS MRS. COLEMAN INTO THE LIVING ROOM.

COLEMAN: Oh no, thank you. I can't stay long.

ABE: I hope nothing's wrong. Are the teenagers next door bothering you again?

COLEMAN: No, they haven't had any wild parties in quite a while. Actually, I'd like to ask a favor of the two of you.

LEXIE: Anything. What can we do?

COLEMAN: Can you recommend a good shooting instructor?

LEXIE DROPS HER COFFEE CUP ON THE FLOOR. OUT ON ABE AND LEXIE'S SURPRISE.

ACT I

COMMUNITY CENTER / KAYLA'S OFFICE. KAYLA SITS AT HER DESK. MARCUS SITS ACROSS FROM HER. THEY ARE REVIEWING THE COMMUNITY CENTER'S BUDGET. THE CALCULATOR ON HER DESK HAS A LONG TAPE RUNNING, AS THEY ARE CHECKING EVERY LINE. IN PROGRESS.

KAYLA RIPS THE TAPE FROM THE MACHINE AND TRIUMPHANTLY CIRCLES THE POSITIVE TOTAL.

KAYLA: I can't take all of the credit, Marcus. The benefit at Euterpe gave us a lot of publicity, and that's what made the difference.

MARCUS: So, Kayla, now that this place is back on its feet, what's next?

KAYLA: I haven't decided on anything in particular yet. I do want to start a support group for young mothers, but Mrs. Carlotti of Social Services hasn't gotten back with me yet on some of the specifics. Do you have something in mind?

MARCUS: Well... (PAUSING, AS IF TO JUDGE HER MOOD) It's about the boxing ring. I know that it was important to Steve, but... (HIS VOICE TRAILS OFF)

KAYLA: But?

MARCUS: Boxing is too violent, Kayla. Sure, it can be a good outlet for some of the kids, but most of those who are interested in it now are the troublemakers. The Center is for everyone's benefit, and I think that the money and the space can be put to better use. (BEAT) Besides, we don't have anyone who really knows what they're doing in the ring.

KAYLA: It would free up a lot of space...

MARCUS: Exactly. You could have yoga classes or aerobics in there, or even hold some self defense courses. I'll bet that you could get Lexie and Abe to help organize those.

KAYLA: I know that you're right, Marcus. (BEAT) The ring was Steve's project, but priorities have changed. (ALMOST WHISPERING) We've got to move on.

MARCUS: Are you okay, Kayla?

KAYLA: (HER VOICE RETURNS TO NORMAL) I'm fine, Marcus. I want to thank you for helping me sift through the budget.

MARCUS: All part of the service.

KAYLA: But I can't let you go unrewarded. How would you like to come over for an early dinner?

MARCUS: That sounds great! What time?

KAYLA: (LOOKS AT HER WATCH) How about 6:00?

MARCUS GETS UP, LIGHTLY KISSES KAYLA AND HEADS FOR THE DOOR.

KAYLA: You'd better...

HOLD ON MARCUS WALKING OUT THE DOOR AS KAYLA LOOKS AFTER HIM.

CUT TO: JANET'S OFFICE. JANET AND MORGAN ARE SEATED, BO AND BOB ARE STANDING. BO AND JANET ARE FACING OFF. IN PROGRESS.

BO: (WITH MOCK ENTHUSIASM) Yes, ma'am!

JANET: Can the attitude. I'm not going to let you risk a good bust because you can't control your temper.

BO: But Captain! He's the one who killed Carly Manning!

BOB: (TO BO) Brady...

BO TURNS TO BOB.

BO, TIGHT-LIPPED, TURNS BACK TO JANET.

BO: Burglary? That's it?

JANET: Right now, burglary is the only charge that we can make stick. We have a solid case, so we're going with it.

BO: You know damn well he's guilty of more than burglary.

BOB: (WARNING) Brady...

MORGAN: Knowing is one thing, proving is another.

BO: Well, maybe we'd have more proof if we had someone on the case who really wants to solve it.

JANET: And what is that supposed to mean?

BO: No one's come up with any leads in months. I'm surprised the file's still open.

BEHIND BO, BOB ROLLS HIS EYES AND PUTS HIS HAND TO HIS FOREHEAD IN EXASPERATION. MORGAN SHIFTS UNCOMFORTABLY IN HIS SEAT. JANET TAKES A DEEP BREATH. SHE PUTS BOTH HANDS ON HER DESK AND STANDS UP.

BO: (WARILY) I'm listening.

JANET: I don't ever want to hear you accuse someone in this department of not making an effort to solve a case. We're all on the same team, and I won't have you, or anyone else, bad-mouthing their fellow officers. Is that understood?

BOB ELBOWS BO.

JANET: As for this investigation, you don't know what the hell you're talking about.

BO: But...

JANET: (POINTING A FINGER AT BO) No. (BEAT) I'm going to let you walk out of here right now and calm down. If you're willing to have a rational, constructive conversation, then you can come back.

JANET SITS DOWN.

BO: Yes, ma'am.

JANET: Good. (BEAT) Now, get the hell out of my office.

BO TURNS AND EXITS HASTILY. BOB FOLLOWS CLOSE BEHIND, SHAKING HIS HEAD AND LOOKING HEAVENWARD. JANET WATCHES THEM LEAVE. WHEN THE DOOR CLOSES, SHE TURNS TO LOOK AT MORGAN, WHO IS TUGGING AT HIS COLLAR. HOLD ON JANET.

CUT TO: DOUG & JULIE'S KITCHEN. JULIE IS SEATED AT THE TABLE, SIPPING COFFEE, WHILE DOUG STANDS AT THE STOVE MAKING FRENCH TOAST. AS DOUG PUTS A PLATE IN FRONT OF HER, JULIE REACHES UP TO GIVE HIM A LINGERING KISS.

JULIE: No reason. Just my way of saying thank you for spoiling me this morning. (BEAT) And last night.

DOUG: Then I'll have to remember my manners and say you're welcome.

DOUG KISSES JULIE. THEY PULL APART SLOWLY AND DOUG SITS IN THE CHAIR OPPOSITE JULIE.

JULIE: Being the boss does have its advantages, darling. (BEAT) Most of the time, anyway.

THERE IS A KNOCK AT THE KITCHEN DOOR. JULIE AND DOUG LOOK AT EACH OTHER WITH SURPRISE. JULIE GETS UP AND ANSWERS THE DOOR TO REVEAL SHANE.

SHANE: Hello, Julie, Doug... good to see you.

DOUG: Good to see you, Shane, but why the back door? Part of the official sleuthing code?

SHANE: Nothing so dramatic. I saw you in the window when I drove up. Doug, how are you?

DOUG: Never better. Can I interest you in some coffee, a bite of my special french toast?

SHANE JOINS DOUG AND JULIE AT THE KITCHEN TABLE.

JULIE: I really haven't seen much of her lately. Is anything wrong?

SHANE: I'm not sure. I'm worried about her. She's seemed down lately. And when I asked her about it, she said Nick's death is still affecting her.

JULIE: That is worrisome. I would have thought that was all behind her... especially after Frankie...

SHANE: And I don't have to tell you again how I felt when I found out Eve was husband hunting at that dating service.

JULIE: Eve's been after the inheritance money ever since Nick's will was read.

SHANE: I wish he'd never left her that money in the first place.

JULIE: But he did, and like it or not I'm the one who decides when Eve gets it. Do you think I should just hand it over and be done with it?

SHANE: No, I don't. I know it won't make her happy. (BEAT) But I don't know what will...

JULIE: Neither do I.

DOUG: Can I stick in my two cents here? I haven't had any problems whatsoever with Eve. She knows the club business inside and out.

SHANE: Eve? My Eve?

JULIE: What about that argument she had with Aki?

DOUG: Oh that's nothing. Aki argues with everyone who comes into his kitchen, even me.

JULIE: So you think there's hope for Eve?

DOUG: Hope? Definitely. Eve reminds me of a certain willful young lady I once knew.

DOUG SALUTES JULIE WITH HIS COFFEE CUP.

SHANE: Doug, you're amazing.

DOUG: How so?

SHANE: You seem to believe in miracles...

DOUG: No... maybe the power of positive thinking...

JULIE: Shane, don't believe him for a minute. He does believe in miracles. And he's worked a few himself...

SHANE: And you think you can work one with Eve?

DOUG: Yes, I do.

SHANE: And you don't think I have anything to worry about?

DOUG: (SMILING) I never said that... With Eve I suspect you'll always have something to worry about.

SHANE STANDS UP TO LEAVE. JULIE AND DOUG ESCORT HIM TO THE DOOR.

DOUG: Believe me, Shane, over-protectiveness and daughters go hand in hand. (BEAT) I should know... I had one of the most stubborn, obstinate...

SHANE: Beautiful, loving daughters in the world.

DOUG STOPS AND STARES AT SHANE, SURPRISED, THEN REALIZATION DAWNS.

SHANE: (MAKING A SLIGHT BOW) Shane Donovan, butler extraordinaire...

DOUG: Shane, you looked after my daughter, now I'll look after yours. Don't worry. Everything will work out with Eve. I'll see to it.

SHANE: Thank you, Doug. Your help means a lot.

SHANE AND DOUG SHAKE HANDS AS JULIE LOOKS ON. AS THE DOOR CLOSES BEHIND SHANE, HE PAUSES ON THE STEPS. OUT ON SHANE.

ACT II

JACK'S OFFICE. JACK IS SEATED AT HIS DESK. VERN STANDS IN FRONT OF HIM. IN PROGRESS.

JACK: Calm down, calm down.

VERN: How can I be calm? You left us in the lurch, and now we're struggling to keep our heads above water.

JACK: (WINCING) Please, Vern, no more clichés... (BEAT) All right, all right. I admit, I was a bit lax in my duties as Owner and Publisher of the Spectator, but I had good reason. There was an emergency situation at Midsummer, and I had to take care of it.

VERN: Jack, I was right there by your side. But now we have an emergency situation here. What are you going to do about it?

JACK: I'm going to do what every good executive does... delegate. Where do we start?

VERN: (PICKING UP A FILE FOLDER OFF OF JACK'S DESK) Let's start with the probe into the mayor's campaign funds...

JACK: Hmmm... Give it to Collins. It'll be a good challenge for her.

VERN: Okay. (PICKING UP ANOTHER FILE FOLDER) What about the strike threats at Allied Manufacturing?

JACK: Pollard. He's done labor relations stories before.

VERN: (PICKING UP ANOTHER FOLDER) Ummm... the Governor's visit?

JACK: Waters.

VERN: (SURPRISED) This is actually working, boss.

JACK: Of course it's working.

VERN: (PICKING UP ANOTHER FILE FOLDER) The Carly Manning story. Are we putting this one in the circular file?

JACK: Absolutely not!

VERN: Come on, Jack. You really should leave this one alone. It's only going to hurt people... especially Jennifer.

JACK: Vern, Jennifer asked me to find out the truth about Carly. I found out, and now I have to print it.

VERN: You don't have to do anything! (HOLDING UP THE FILE) You could easily lose this.

JACK: The public has a right to know.

VERN: The public? Is that all you care about? What about Jennifer? What's it going to do to her when you print the truth about Carly?

JACK: Vern, let me remind you, I'm not the only one who knows the truth about Carly Manning. There were several parties represented at our little meeting at Carver and Carver. (BEAT) Jennifer is going to hear the truth, sooner or later. I'd rather that she heard it from me.

VERN: Well... Maybe you're right.

JACK: Of course I'm right.

VERN: So, I suppose you'll want to take this file?

JACK: Actually, why don't you lock it up in the filing cabinet, where it'll be safe? I don't want Jennifer reading it...

JACK'S PHONE RINGS. HE ANSWERS IT. PHONE CONVERSATION, ONE WAY.

THERE IS A KNOCK ON THE DOOR.

ONE OF THE WORKERS FROM THE PRINTING ROOM ENTERS.

VERN: Sure... (LOOKING AT JACK) This can wait...

VERN DROPS THE CARLY MANNING FILE ON JACK'S DESK AND EXITS. JACK IS STILL TALKING ON THE PHONE WITH JENNIFER AND DOES NOT NOTICE.

JACK LOOKS AROUND HIS DESK FOR A BLANK PIECE OF PAPER. HE MOVES SOME FILES OUT OF HIS WAY AND PUTS THEM ON TOP OF THE MANNING FILE, THE CORNER OF WHICH IS STILL VISIBLE. HOLD ON THE FILE.

CUT TO: ABE & LEXIE'S KITCHEN. ABE'S MOUTH HANGS OPEN IN SHOCK AND LEXIE HURRIEDLY MOPS UP THE COFFEE SHE SPILLED. LEXIE IS THE FIRST TO RECOVER. IN PROGRESS.

COLEMAN: Ronald was mugged. They beat him pretty badly and he won't be out of the hospital until next week.

LEXIE: How terrible for you! Are you all right? Is there anything we can do?

ABE: This is the first I heard that your son got mugged. I had no idea. I would have come over to the house if I'd known.

COLEMAN: You couldn't have done anything. And Ronald will heal. But I don't feel safe anymore, so I went out and bought a gun. Now I need to learn how to shoot it.

LEXIE: I know that having a gun can make you feel safe, but pulling a gun on a mugger isn't a good idea. They can overpower you and use your own gun against you.

ABE: And you know what the statistics are about gun casualties and accidents in the home where guns are kept...

COLEMAN: I know all those things, I thought this over very carefully. I don't feel like I have a choice anymore. This neighborhood isn't safe.

ABE: But getting a gun won't change the neighborhood. It'll only make things worse.

LEXIE: Abe's right. The neighborhood has got to work together. One or two people getting guns won't make things better.

COLEMAN: Look, I've got the gun and I want to know how to shoot it. Can you help me or not?

ABE: You're really determined to do this, aren't you?

LEXIE: Are you sure we can't change your mind?

COLEMAN: No, my mind is made up.

ABE AND LEXIE EXCHANGE LOOKS. ABE GOES TO THE PHONE BOOK AND WRITES DOWN A NAME AND NUMBER ON A PIECE OF PAPER. HE HANDS IT TO MRS. COLEMAN.

COLEMAN: Thank you, Abe. And Lexie. I knew that I could come to you.

MRS. COLEMAN LEAVES BY THE BACK DOOR, CLUTCHING THE SLIP OF PAPER.

HOLD ON ABE AND LEXIE'S CONCERN.

CUT TO: EUTERPE. EVE IS ON THE PHONE, ONE-WAY. IN PROGRESS.

EVE HANGS UP THE PHONE, AS CALLIOPE ENTERS, CARRYING A LARGE GARMENT BAG. SHE IS WEARING AN OUTFIT THAT IS COVERED WITH PIN CUSHIONS. A LARGE PIN CUSHION HAT RESTS ON HER HEAD.

EVE: (LOOKING AROUND) Um, I'm tied up right now, but...

EVE SPIES JASMIN WALKING INTO THE DINING ROOM, CARRYING A PILE OF TABLECLOTHS.

JASMIN: Sure, but these tables need to be set.

EVE: Okay, I'll get someone to do that.

CALLIOPE PUTS HER ARM AROUND JASMIN AND LEADS HER OVER TO THE STAGE. EVE SPOTS ONE OF THE WAITERS AND GRABS HIS ARM.

KEN: 'Scuse me, but you just told me to help Aki in the kitchen. Make up your mind, babe!

EVE OPENS HER MOUTH TO SCREAM, BUT BITES HER LIP.

KEN WALKS INTO THE KITCHEN AS EVE GRIPS HER FISTS TOGETHER. SEEING THAT NOBODY ELSE IS AROUND, SHE STARTS ARRANGING THE TABLECLOTHS HERSELF.

ROBERT, WHO HAS BEEN AT THE PIANO, WALKS UP TO EVE.

EVE: (HESITANTLY) Are you sure? I don't know much about arrangements.

ROBERT: I need help with the stage setup.

EVE: Oh... Okay...

ROBERT LEADS EVE TO THE STAGE. THEY PASS CALLIOPE AND JASMIN. JASMIN WEARS A LONG SILK KIMONO. CALLIOPE IS FUSSING WITH THE HEMLINE.

ROBERT: Probably because tonight's theme is the music of Japan.

EVE AND ROBERT REACH THE STAGE.

EVE: A koto? Is that one of those big flat zither thingies?

ROBERT: (LAUGHING) Close enough.

EVE: (POINTING) How about over there, towards the side. We could put some plants around that area so it will blend in, without hiding it.

ROBERT: Good idea. Now, what about the taiko drums?

EVE: You're planning on bringing those in? How are people going to be able to talk with all that racket?

ROBERT: I think everyone will enjoy it. The group performing puts on quite a show.

EVE: Whatever you say. Well, since the drums won't be as subtle as the koto, you should probably go ahead and have them set up center stage.

ROBERT: That's what I figured. Thanks for your help, Eve.

ROBERT GOES OFF TO TALK TO ONE OF THE MUSICIANS. EVE WALKS TOWARD THE TABLES. SHE NOTICES THE WAITER WALKING OUT OF THE KITCHEN.

KEN: Sure thing, sweetheart!

EVE GRIMACES, BUT WALKS AWAY.

SUDDENLY EVE STOPS AND RUNS INTO THE KITCHEN. WE HEAR CLAMORING AND LOUD VOICES. CALLIOPE, JASMIN, AND ROBERT ALL NOTICE THE EXCHANGE COMING FROM THE KITCHEN. EVE EMERGES, BOWING TOWARDS THE KITCHEN.

EVE RUSHES TO THE RESERVATION BOOK AND QUICKLY SCRIBBLES SOMETHING DOWN. SHE PICKS UP A PAD OF PAPER AND CONTINUES TO WRITE.

EVE WALKS OUT OF THE DINING ROOM AS CALLIOPE AND JASMIN WATCH HER DEPART. ROBERT JOINS CALLIOPE AND JASMIN.

JASMIN: I don't know, but something's definitely got that mind of her's rolling.

CALLIOPE: Oh dear! From the looks of it, I'd say she's preparing to pounce on some poor unsuspecting victim for dinner.

ROBERT: You mean she's asking the man to dinner... or he's the main course?

OUT ON THE THREE, LAUGHING.

ACT III

JANET'S OFFICE. JANET IS AT HER DESK DOING PAPERWORK WHEN THERE IS A KNOCK AT THE DOOR.

BO ENTERS.

JANET: That depends. Have you calmed down?

BO: Yes.

JANET: All right. (NODDING TOWARD A CHAIR IN FRONT OF HER DESK) Have a seat.

BO CLOSES THE DOOR BEHIND HIM AND GOES TO THE CHAIR AND SITS DOWN.

JANET: You bet you were. You had three strikes in one swing... You second-guessed a fellow officer. You questioned the competency of a superior officer. And you did all of this in front of other officers.

BO: I know, I...

JANET: Brady, I'm doing the talking. (BEAT) You're lucky to still be here. A less forgiving C.O. would have thrown you out in the street a long time ago. I mean literally thrown you out, too! If you ever pull a stunt like that again, you'll be gone before you can say, "I'm sorry." You're at the end of the rope, Brady.

JANET PAUSES AND TAKES A DEEP BREATH. BO SQUIRMS A LITTLE.

BO: No, Captain, you made yourself very clear.

JANET: Good. Now, it's your turn. You'd better have a damn good explanation for your behavior.

BO: I'll do my best. (BEAT) Seeing Lawrence in custody got me thinking about Carly's murder. I got scared... I panicked.

JANET: Scared? Of what?

BO: I'm scared for my son. (BEAT) You see, I'm certain that Lawrence is responsible for Carly's murder...

JANET BEGINS TO PROTEST, BUT BO STOPS HER.

JANET: Assuming you're right... I can see how you'd be terrified for your son.

BO: I'm not trying to make excuses...

JANET: That's good, because there is no excuse. I just wanted to know what, if anything, was going on inside your head. Now I know. (BEAT) And, I understand.

BO: Thank you. (BEAT) Can I ask what you're going to do with Alamain, now that you have him in custody?

JANET: We're going to work the burglary angle as much as we can. I don't think we're going to get a confession out of him.

BO: (TENSE) What about the murder?

JANET: I told you, Brady, we have no case against him in the Manning shooting.

BO: But, you've got him now. This may be the only chance. You know he'll be out on bail by tomorrow. (BEAT) Isn't there any way you can squeeze him until he gives us the identity of the killer?

JANET: I'm afraid not. But, if we find some evidence that links Lawrence Alamain to Dr. Manning's murder, you can bet we'll bring him in for questioning.

BO: (RELUCTANTLY) I... I guess that'll have to be enough.

JANET: It has to be. You don't have a choice in the matter.

BO NODS GRUDGINGLY.

BO: I'm ready to hit the street.

JANET: All right.

BO PAUSES.

BO: (STANDING UP) Yes, ma'am.

BO TURNS AND EXITS. JANET WATCHES HIM LEAVE. HOLD ON JANET'S CONCERN.

CUT TO: ABE & LEXIE'S KITCHEN. LEXIE POURS MORE COFFEE FOR HERSELF AND ABE.

ABE: I'm worried, too. People might think guns make them safer, but in the end it only makes things worse.

LEXIE: We've been talking about getting a neighborhood watch group started and everyone seemed enthusiastic about it. What happened? Why didn't anyone run with it?

ABE: Maybe we'll have to start it after all.

LEXIE: I don't see how we can. We don't exactly work regular hours which makes it hard to have meetings.

JONAH COMES IN THE BACK DOOR AND PUTS SOME BOOKS DOWN ON THE COUNTER.

LEXIE: Shouldn't you be in a class?

JONAH: No, I had a lab. I came home to change for work. Unless you want me to go in smelling of formaldehyde.

ABE: Of course not. (BEAT) We just had a visitor. Mrs. Coleman went out and got herself a gun and wants to learn how to shoot it. She doesn't feel safe.

JONAH: Well, I don't either sometimes, but I'm not going to go out and get a gun and become a vigilante.

ABE: What do you think about setting up a neighborhood watch?

JONAH: I think it's a great idea, but I don't know how I could help. You two are the cop types.

ABE: Everybody can help. All it takes is two sharp eyes and the desire to look out for each other.

JONAH: Okay... If we're really going to do this then I guess you can count me in. Tell me what to do.

LEXIE: We've got to find a way to get organized. Talking about it isn't going to make it happen.

THE PHONE RINGS. JONAH LOOKS AT THE CLOCK AS LEXIE GETS UP TO ANSWER IT, ONE-WAY.

JONAH DASHES OUT THE DOOR.

LEXIE HANGS UP THE PHONE AND TURNS TO ABE.

ABE: What did Janet have to say?

LEXIE: They've just arrested Lawrence Alamain. They have proof that he was behind the burglary at our place.

HOLD ON ABE'S REALIZATION.

CUT TO: ALAMAIN SOLARIUM. VIVIAN IS TENDING TO HER ORCHIDS, LOST IN THOUGHT. SHE'S TRIMMING OFF SOME DEAD BLOSSOMS, THEN LOOKS DOWN AND DISCOVERS SHE'S CUT OFF SEVERAL NEW BLOOMS. IVAN COMES IN, AND PAUSES IN THE DOORWAY AS VIVIAN STAMPS HER FOOT IN ANNOYANCE, THEN GATHERS UP THE CUTTINGS.

VIVIAN: Nothing will soothe me now, I'm afraid. (BITTER LAUGH) That's the point, I am afraid. And I hate it...

IVAN: What do you fear? Mr. Alamain is in jail, we are free from that terrible attic...

VIVIAN: Oh, don't underestimate my nephew. Just because he's in jail doesn't mean he's not a danger to us.

IVAN: I can't imagine...

VIVIAN: I can, oh, yes, I certainly can. He's not about to let anything get in the way of what he wants... What if he tries to hurt Nikki? Or steal him away from us?

IVAN: You need not fear, Madame... Vivian. I will care for you and Master Nicholas. You may count on that.

VIVIAN: Oh Ivan... I have no idea what I would have done without you these past weeks.

IVAN: It has been my pleasure to be here for you...

VIVIAN: And so you have. But it's so frustrating... I do have ways of taking care of... problems. Under normal circumstances, I'm more than capable of... handling these sorts of things.

IVAN: There is no question of that. I, myself, have seen you deal with any number of difficult situations.

VIVIAN: (SMILES) Indeed. But regardless of how I feel about him now, Lawrence is family. I could never hurt him. Besides, we're under such close scrutiny...

IVAN: The presence of the Salem Police Department has not escaped you?

VIVIAN: Hardly. They're not known for subtlety. But they keep me from my usual methods and leave me feeling... helpless.

IVAN: You are anything but that, Madame. And we will come through this, you must trust me.

VIVIAN: Oh, Ivan, I do. But I wish we could get away, go somewhere far beyond Lawrence's reach.

OUT ON VIVIAN'S FRUSTRATION.

ACT IV

JACK'S OFFICE. VERN IS BACK FROM SOLVING THE PRINTING ROOM DILEMMA, AND BROUGHT A CART FOR MOVING FILES WHEN HE RETURNED. THE MESS HAS BEEN GREATLY REDUCED FROM WHEN JACK FIRST ARRIVED. IN PROGRESS.

JACK: Let's see... (CHECKING HIS LIST OF STORY ASSIGNMENTS) Matthews.

VERN PUTS A POST-IT NOTE ON THE FOLDER, WRITES "MATTHEWS" ON IT, THEN PLACES THAT FOLDER ON THE CART FOR DISTRIBUTION. JACK IS SORTING THROUGH THE STACK OF FILES IN THE MIDDLE OF HIS DESK.

VERN: She can handle it. The City Council has been quiet this week...

THERE IS A KNOCK AT THE DOOR. JENNIFER ENTERS BEFORE JACK OR VERN CAN RESPOND.

VERN: Hey, Jenny Girl. What brings you by?

JENNIFER: I was hoping that Jack could get away for a late lunch.

JACK: (LOOKING AT THE CLOCK) I'm afraid that what I told you earlier was right... There's just too much work here for me to get away.

JENNIFER: Well, then let me help. Three heads are better than two, right?

JACK: Yes, well, (SEARCHING FOR THE WORDS) Vern and I have a good system for determining the status of these stories, and I don't think there's much that you could do.

JENNIFER: (INDIGNANT) Jack, I used to work here, remember? I know how things are really done. You and Vern have never had a system for anything.

VERN: (CHUCKLING) She's got you there, Jack.

JACK: (GLARING AT VERN, THEN TURNING TO JENNIFER) I thought you wanted lunch.

JENNIFER: We'll order something in. Now, (PICKING UP A FOLDER) is this all there is on the car thefts from the mall parking lot?

JACK: Jennifer...

VERN: (LAUGHING) Don't fight it, Jack. You know she always wins...

JACK: Vern... I hate it when you're right. Order lunch.

VERN GOES TO THE PHONE AND DIALS. WE CANNOT HEAR HIM.

JACK: Jennifer... (BEAT) Nothing of importance has been added to it since the last time we discussed it. I've been busy with Midsummer and... and...

VERN HANGS UP THE PHONE IN TIME TO HEAR JACK COVERING.

JENNIFER: Oh... I was just hoping that you had found out something that you hadn't mentioned yet. (BEAT) Every day the trail of information gets colder...

VERN: Now, Jenny Girl, you know that if there is any information available, Jack will find it.

JACK: And once I know all of the facts, I'll tell you.

JENNIFER: I know... but I'm afraid that Carly won't be remembered for all of the wonderful things she did.

JACK: Don't worry. Everyone will know what kind of person Carly was.

JENNIFER: What do you mean?

JACK: Nothing. Uh... Vern... Where's lunch? You did call the deli, didn't you?

VERN: Yes I did, Jack. I stood right here and called them. You saw me.

JACK IS MAKING FACIAL GESTURES, TRYING TO GET VERN TO UNDERSTAND HE'S ATTEMPTING TO DISTRACT JENNIFER AGAIN.

JENNIFER SUSPICIOUSLY WATCHES THE TWO MEN, SHE KNOWS THEIR SONG AND DANCE. JACK PICKS UP A FOLDER AND BURIES HIS NOSE IN IT. VERN REACHES FOR JACK'S TELEPHONE, AND NOTICES THAT THE WORD "CARLY" IS VISIBLE ON THE FOLDER AT THE BOTTOM OF THE PILE FROM WHICH JENNIFER IS WORKING. AT THE SAME INSTANT, JACK REACHES FOR A PEN, AND ALSO NOTICES THE FOLDER. HOLD ON JACK STARING AT THE FOLDER IN HORROR.

CUT TO: KAYLA'S KITCHEN. KAYLA IS MAKING A SALAD AND STEPHANIE IS "HELPING".

KAYLA: That's good, Steffi, but you can stop now. The salad doesn't need too much carrot in it.

KAYLA FINISHES THE SALAD PREPARATION, AND PUTS IT IN THE REFRIGERATOR. SHE STARTS TO PREPARE THE BROCCOLI FOR STEAMING.

KAYLA: This dinner is for Uncle Marcus, Steffi. I want it to be special.

STEPHANIE: (SMILING) You didn't tell me Uncle Marcus was coming!

KAYLA: Uncle Marcus is coming to have dinner with just me, Steffi. Your Grandma Jo will be here to get you in a few minutes.

STEPHANIE: (DISAPPOINTED) Oh... But I want to have dinner with you and Uncle Marcus.

KAYLA: Next time, okay?

STEPHANIE: Okay...

KAYLA: Besides, your Grandma Jo wants to see you. Don't you want to have dinner with her?

STEPHANIE: Will Grandma Jo have green tuna noodles?

KAYLA: I'm pretty sure that she will, since she knows that you love it.

STEPHANIE SMILES AGAIN, AND KAYLA GIVES HER A HUG. KAYLA GOES BACK TO FIXING THE BROCCOLI.

KAYLA: Steffi, your birthday party is still a few days away, but it will be wonderful, I promise.

KAYLA TRIES TO GO BACK TO WHAT SHE WAS DOING, BUT STEPHANIE IS FIDGETING.

KAYLA: (SHOCKED) Why do you think that?

STEPHANIE: My friends Tracy and Ellen said that when two grown-ups who aren't your mommy and daddy spend lots of time together, that means that they're getting married.

KAYLA: Steffi honey, I'm afraid that your friends aren't right. Just because two people spend a lot of time together doesn't mean that they're getting married. (SHE STROKES STEPHANIE'S HAIR) I'm probably not going to get married again for a long time...

HOLD ON KAYLA, HUGGING STEPHANIE.

CUT TO: JOHN'S OFFICE, ECOSYSTEMS. JOHN IS SEATED AT HIS DESK. HE IS ATTEMPTING TO READ THROUGH A STACK OF MEMOS, BUT IS OBVIOUSLY DISTRACTED.

JOHN TEARS A SHEET OF PAPER FROM A NOTEPAD AND CRUMPLES IT INTO A BALL.

JOHN TURNS AND SHOOTS THE PAPER BALL TOWARD A WASTEBASKET THAT HAS BEEN SET NEXT TO THE WALL. THE BALL SAILS INTO THE WASTEBASKET.

JOHN TURNS BACK TO THE MEMOS AND AGAIN ATTEMPTS TO READ. HE TAKES THE MEMO OFF THE TOP AND READS IT. HE RAISES AN EYEBROW IN DISBELIEF.

JOHN FOLDS THE MEMO INTO A PAPER AIRPLANE AND THROWS IT TOWARD THE WASTEBASKET. IT DOESN'T FLY VERY WELL, AND LANDS ON THE FLOOR, NEXT TO SEVERAL PAPER BALLS THAT DIDN'T FIND THE BASKET.

JOHN TURNS TO LOOK AT A FRAMED PHOTO OF BRADY SITTING ON THE END OF HIS DESK. SMILING, HE PICKS UP THE PHOTO.

THERE IS A KNOCK AT THE DOOR. JOHN PUTS THE PHOTO BACK IN PLACE. HE LOOKS AT THE DOOR, THEN AT THE WASTEBASKET. HE STARTS TO GET UP TO PICK UP THE PAPERS, BUT THEN SITS BACK DOWN, SHAKING HIS HEAD.

JOHN PICKS UP A MEMO AND PRETENDS TO READ, ATTEMPTING TO LOOK BUSY. LEIGH ENTERS.

JOHN: Ms. McCloud.

LEIGH GLANCES AT THE WASTEBASKET. SHE SIGHS AND WALKS OVER TO IT.

LEIGH PICKS UP THE PAPER AIRPLANE AND READS IT. SHE GIVES JOHN A QUESTIONING LOOK. JOHN SHRUGS.

LEIGH CONTINUES LOOKING AT JOHN WITH THE SAME EXPRESSION. SUDDENLY, SHE BREAKS DOWN AND SMILES. JOHN SMILES WITH RELIEF. LEIGH WALKS OVER TO THE DESK.

JOHN: Please...

LEIGH SITS DOWN AS SHE CRUMPLES THE PAPER INTO A BALL. SHE LOOKS OVER TO THE WASTEBASKET.

JOHN: My heartfelt congratulations.

LEIGH: Come on...

JOHN: Hey, I know better than to bet against you.

LEIGH: Where's your sense of adventure? (BEAT) I don't play much basketball, you know...

JOHN: All right. Lunch at Euterpe. You make it, I buy. You miss, you buy.

LEIGH: Deal.

LEIGH TURNS AND SHOOTS THE PAPER BALL. IT LANDS IN THE CENTER OF THE WASTEBASKET. SHE SMILES. JOHN SHAKES HIS HEAD.

JOHN: I should've known...

LEIGH: Actually, I didn't come in here to beat you at yet another sport...

JOHN CHUCKLES DEFIANTLY.

JOHN: There's a switch, you asking me. Shoot.

LEIGH: I'm looking for investment opportunities here in Salem.

JOHN: (SMILING) I see. Well, I'm flattered that you would ask for my advice, but I think you'd be better off talking to Victor. He knows a lot more about that stuff than I do.

LEIGH: Oh, I've already spoken to Victor. He did give me some good ideas...

JOHN: But...

LEIGH: But, you know Victor. Always thinking on a grand scale. I'm also interested in smaller ventures, things that are a little off the beaten path. Small businesses, start-up companies, that kind of thing.

JOHN: Hmmm, let me think... (BEAT) No, nothing comes to mind...

JOHN GLANCES AT AN ISSUE OF THE SPECTATOR SITTING ON HIS DESK.

LEIGH: Deveraux Publishing...

JOHN: (PICKING UP THE SPECTATOR) Yeah. They put out a good newspaper. And, they just started publishing a new magazine, "Midsummer."

LEIGH: It sounds interesting. I'll look into it. Any others?

JOHN: (PUTTING THE SPECTATOR BACK ON THE DESK) Not off the top of my head. (BEAT) If I think of anything else, I'll let you know.

LEIGH: Good. Thanks for your time.

JOHN: No problem.

LEIGH: (STANDING UP) I'll check with Patricia to see when you're available for lunch.

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

LEIGH EXITS. JOHN IS ABOUT TO PICK UP ANOTHER MEMO WHEN THE INTERCOM BUZZES. JOHN PRESSES THE BUTTON.

PATRICIA: (V.O.) Captain Yamada of the Salem P.D. is on line one, Mr. Black.

JOHN: I'll take it, thanks.

JOHN PICKS UP THE PHONE, TWO-WAY.

JANET: Hello, Mr. Black. And it's what I can do for you. You might want to know that we arrested your brother, Lawrence Alamain, last night.

JOHN: Arrested? What's the charge?

JANET: Burglary. We have evidence that he was involved with the break-in at Carver and Carver.

JOHN: I see. (BEAT) Thanks for the information, Captain. I appreciate the call.

JANET: You're welcome. Good-bye.

JOHN: Good-bye.

JOHN HANGS UP THE PHONE. HE GETS UP AND GRABS HIS COAT. HE EXITS FROM HIS OFFICE.

GO TO: PATRICIA'S DESK. JOHN WALKS OVER.

PATRICIA: All right, Mr. Black.

JOHN GOES TO THE ELEVATOR AND PRESSES THE "DOWN" BUTTON. THE DOORS OPEN, AND HE STEPS INSIDE. HE PRESSES A BUTTON, AND THE DOORS CLOSE. OUT ON JOHN'S CONCERN AS THE DOORS CLOSE.

ACT V

MARCUS' APARTMENT. MARCUS IS WALKING OUT OF HIS ROOM, BUTTONING HIS SHIRT, WHEN HE HEARS A KNOCK ON THE DOOR. HE ANSWERS IT, AND FINDS IAN ON HIS DOORSTEP.

IAN: Marcus...

THE TWO MEN ENTHUSIASTICALLY SHAKE HANDS.

MARCUS: Not for a little bit. I like to get ready early, in case I change my mind about what to wear...

IAN: Always the clothes horse, Dr. Hunter? Good to know some things haven't changed...

MARCUS: Nope. Still got a closet full. Here, sit down, relax. Can I get you something?

IAN: No, I'm fine. I just got to feeling bad... I haven't been by to visit you since I blew into town.

MARCUS: Yeah... we've said "hi" at the club a couple of times, but that's been it. How's it goin'?

IAN: Good. Really good. I love working at Euterpe. Doug Williams is quite a guy.

MARCUS: And I'm sure he appreciates your musical input. You still hooked on that Gothic stuff?

IAN: Sisters? A little... when I'm depressed. I've been on a jazz kick lately. It's been great researching acts to book at the club, a real broadening of my musical horizons...

MARCUS: You'll have to keep me posted when you book some really out-there talents. You find yourself missing California?

IAN: Some. I mean, that last earthquake... I'm glad I missed out on that excitement. But I do miss the weather... I'm not getting used to the cold here. But I love the job, and I've met some great people... Doug, Julie, Jasmin, Eve...

MARCUS: Eve? Oooh, man, watch out for that girl. She is trouble, no doubt about it.

IAN: It's not a problem, Marcus. I've got a pretty good feel for who Eve really is... and I like her. But you know she's not my type... (BEAT) Speaking of which, it appears you might have found yours. Dinner tonight, is it with Kayla Johnson?

MARCUS: It is. It's getting serious...

IAN: I don't believe it... Marcus Play-The-Field Hunter is getting serious? Kayla must be amazing.

MARCUS: She is. We've always been close, but lately, well... lately there's a new intensity about it. I'm seeing her in new ways, and I'm liking what I see. A lot.

IAN: Doesn't she have a little girl?

MARCUS: You're pretty well informed for the new kid in town. Yes, Stephanie, who I love like she was my own. She seems to like me, too.

IAN: Well, what's not to like? You always were good at charming the ladies, regardless of age.

MARCUS: Well, there're only two ladies I'm working on charming right now.

IAN: And it won't help your case if you're late for dinner! Besides, I've got to jam. Duty calls, and all that. Maybe I'll treat the dinner crowd to some Gothic, now that you've reminded me...

MARCUS: I think I'm glad we're eating at Kayla's.

BOTH MEN LAUGH.

IAN STANDS UP AND WALKS TO THE DOOR.

MARCUS: Sounds good.

MARCUS OPENS THE DOOR, AND IAN STEPS OUT. HE SKETCHES A FORMAL BOW, WHICH, LAUGHING, MARCUS RETURNS. HOLD ON IAN.

CUT TO: ALAMAIN LIVING ROOM/FOYER. VIVIAN AND IVAN ARE SITTING ON THE COUCH, TALKING QUIETLY WHEN NICHOLAS COMES DOWN THE STAIRS. HE HESITANTLY STANDS IN THE DOORWAY. VIVIAN HOLDS OUT HER ARMS TO HIM.

NICHOLAS SITS BETWEEN THE TWO AND GIVES VIVIAN A BRIEF HUG.

NICHOLAS: I don't know. I feel... weird.

VIVIAN: (FEELING HIS FOREHEAD) Are you sick? Does your stomach hurt? Would you like me to have Cook make you some soup?

NICHOLAS: No, I'm not sick. I was talking about the police coming here.

IVAN: It must have been very difficult for you to see your father arrested. I am sorry.

NICHOLAS: I'm not sorry. I'm glad he's in jail. (BEAT) That's what's weird about it. Shouldn't I be upset? I should love him, shouldn't I?

VIVIAN WRAPS NICHOLAS IN A TIGHT HUG. OVER HIS HEAD, SHE AND IVAN EXCHANGE GLANCES.

NICHOLAS: I'm glad I have you, Aunt Viv. But...

VIVIAN: But what?

NICHOLAS: Sometimes I wish I had normal parents and a normal life.

VIVIAN: Don't you worry anymore about it, darling. If you want to be normal then I'll do my best to make it so.

NICHOLAS: What will we do now?

IVAN: We're not locked in the attic any longer and you don't have to be afraid. Things will be much better in this house now. You will see.

NICHOLAS: (LOOKING AROUND) I don't like it here anymore. It's spooky and it gives me the creeps.

VIVIAN: Maybe we can move into a hotel far away. Would you like that?

NICHOLAS: Maybe...

IVAN: How can we manage that, Madame?

VIVIAN: There must still be some things around here I can sell. I'll find a way. I'll do anything for Nikki.

HOLD ON VIVIAN'S DETERMINATION. CUT TO: JACK'S OFFICE. JACK IS SEATED AT HIS DESK. JENNIFER HAS PULLED UP A CHAIR OPPOSITE HIM. VERN IS STANDING NEXT TO THE CART. ALL THREE ARE SORTING THROUGH FILE FOLDERS. JACK AND VERN ARE EXCHANGING NERVOUS GLANCES.

JACK: That's fine.

JACK LOOKS ANXIOUSLY AT THE PILE JENNIFER IS SORTING. THE FILE ON CARLY MANNING IS AT THE BOTTOM OF THE PILE. THE CORNER OF THE FILE IS PROTRUDING AND IS IN PLAIN SIGHT. BEHIND JENNIFER, VERN EYES THE FILE.

JACK GLANCES AND NODS AT VERN.

VERN TRIES TO PULL THE CARLY FILE OUT OF THE PILE.

JENNIFER: You're right. General news it is.

JENNIFER MOVES BACK TO HER SEAT. VERN, UNABLE TO GET THE CARLY FILE, QUICKLY SHUFFLES BACK TO THE CART, TRYING TO AVOID BEING NOTICED.

VERN: Me? Oh, nothing.

JENNIFER: Why were you looking over my shoulder?

VERN: I... I wasn't.

JENNIFER: Vern...

VERN: I wanted to see how you were progressing.

JENNIFER: Very well, thanks. I'll be to the bottom of this stack in no time.

VERN: (SOTTO VOCE) That's what I'm afraid of.

JENNIFER GLANCES SUSPICIOUSLY AT VERN. JACK RUBS HIS CHIN NERVOUSLY, DEEP IN THOUGHT. HIS EYES ARE FIXED ON THE CARLY FILE. HIS EYES GROW WIDE AS HE GETS AN IDEA. HE LOOKS AROUND HIS DESK AND SPIES A PILE OF FOLDERS NEAR THE EDGE. HE GLANCES AT JENNIFER TO MAKE SURE SHE ISN'T LOOKING, THEN PUSHES THE STACK OF FOLDERS ONTO THE FLOOR.

JENNIFER: But I'm almost done here...

JACK: Please.

JENNIFER: All right.

JENNIFER GETS UP AND GOES OVER TO THE OTHER END OF THE DESK TO HELP JACK PICK UP THE FOLDERS. JACK GLANCES BACK AT VERN AND GRITS HIS TEETH, AS IF TO SAY, "NOW!" VERN QUICKLY GOES TO JENNIFER'S STACK AND PULLS OUT THE CARLY FILE. HE PUTS IT ON THE CART.

JACK: Oh, I don't know. Not watching what I was doing, I guess.

THEY FINISH PICKING UP THE FILES AND PUT THEM BACK ON THE DESK.

JENNIFER: You're welcome.

JACK RETURNS TO HIS SEAT, JENNIFER TO HERS. SHE NOTICES THAT HER STACK HAS BEEN MOVED.

JACK: (INNOCENTLY) No.

JENNIFER TURNS TO VERN.

VERN: (NERVOUSLY) No, Jenny Girl, I didn't.

JENNIFER TURNS BACK AROUND AND RESUMES SORTING.

JACK: (STANDING UP) Here, I'll help you with that. There are quite a few files there...

JACK OPENS THE DOOR FOR VERN, WHO PUSHES THE CART THROUGH.

JENNIFER: Fine.

JACK AND VERN TRY TO WALK THROUGH THE DOORWAY AT THE SAME TIME, BUMPING INTO EACH OTHER. ANNOYED, JACK BACKS AWAY.

VERN EXITS, FOLLOWED BY JACK, WHO CLOSES THE DOOR. JENNIFER WATCHES THEM LEAVE.

OUT ON JENNIFER'S SUSPICION.

ACT VI

EUTERPE / PRIVATE DINING ROOM. EVE IS PUTTING THE FINISHING TOUCHES ON A BEAUTIFULLY SET TABLE. SHE'S WEARING A SIMPLE, SPAGHETTI-STRAP SHEATH DRESS OF SAPPHIRE BLUE CRUSHED VELVET THAT FLARES SLIGHTLY AT THE HEMLINE. HER HAIR AND MAKEUP ARE PERFECT. CANDLES GLOW AMIDST A SMALL FLORAL ARRANGEMENT, AND TWO COVERED PLATES OBVIOUSLY CONTAIN A GOURMET DINNER. EVE SURVEYS THE SCENE AND SMILES.

CUT TO: EUTERPE CONTROL ROOM. IAN PICKS UP HIS CLIPBOARD FROM WHERE IT HANGS ON THE WALL, AND SPIES A NOTE ON IT THAT WASN'T THERE BEFORE. HE (AND WE) READ: "PLEASE COME TO THE PRIVATE DINING ROOM IMMEDIATELY." IAN, PERPLEXED, HEADS OUT THE DOOR.

CUT TO: EUTERPE / PRIVATE DINING ROOM. EVE IS TRYING OUT DIFFERENT WAYS OF STANDING TO BEST DISPLAY HER DRESS. JUST AS SHE ATTEMPTS A DIFFERENT POSE, THE DOOR OPENS.

EVE: Yes, it's me. Are you surprised?

IAN: That's putting it mildly... (HE SURVEYS THE ROMANTIC SCENE)

EVE: It's for you. For us. So I can thank you... (SHE WALKS TO HIM AND PUTS A HAND ON HIS CHEST) Thank you, for being so good to me... for being my friend...

IAN GENTLY REMOVES EVE'S HAND FROM HIS CHEST, SQUEEZES IT SOFTLY, AND LOWERS IT TO HER SIDE.

EVE: Act? Can't I be... (SHE PURRS) grateful? Appreciative? Friendly?

IAN: You can be all those things. But be them as Eve, not as your Sex-Kitten-Everything-For-The-Man act, okay? I'm not interested in your routines.

EVE: (HURT) My... routine? I just wanted to give you something... something nice...

IAN: And I truly thank you. But if I sit down to dinner, I want it to be with you, my real friend. Not your act. I thought we'd settled this days ago... we even pressed spit on it..

EVE: (GIGGLES IN SPITE OF HERSELF) I suppose we did. I'm sorry, Ian... it's just... sometimes it's hard to know what's real, and what isn't. Old habits die hard, y'know?

IAN: I know. And that's why I tell it to you straight. Because I'm far more interested in the real Eve. Now, shall we eat?

HOLD ON IAN, PULLING OUT EVE'S CHAIR FOR HER.

CUT TO: ALAMAIN LIVING ROOM/FOYER. VIVIAN IS SITTING AT A DESK WHEN THE DOORBELL RINGS. SHE GETS UP, AND OPENS THE DOOR TO JOHN.

JOHN: I heard that Lawrence was arrested, and wanted to check to see how you were doing.

VIVIAN: Please, come inside.

JOHN ENTERS THE HOUSE, AND VIVIAN LEADS HIM INTO THE LIVING ROOM. THEY SIT DOWN ON THE COUCH.

JOHN: No thank you. I can't stay long. How are you?

VIVIAN: Well, it probably comes as no surprise to you that I'm relieved to see Lawrence arrested, but I must admit I'm also worried...

JOHN: (SURPRISED) You're kidding. This is the man who held you hostage and had Ivan beaten. After everything he's done to you, I'd think you'd be jumping up and down to see him behind bars. I can't believe you're worried about him.

VIVIAN: You misunderstand. I am... relieved to be free, but I hate to think of what this will do to the family name.

JOHN: (BITTER LAUGH) The precious Alamain name? Vivian, even coming from you...

VIVIAN: That's not all...

JOHN: What else?

VIVIAN: I'm afraid of what else Lawrence might do.

JOHN: He can't do much locked up.

VIVIAN: No, he can't, but remember he's a very wealthy man. All he has to do is post bail, and he'll be free to come home... And when he does... (SHUDDERS)

JOHN: He can't hurt you now. You're free to leave.

VIVIAN: That's not possible. As you should recall, I no longer have any money of my own. I have no means to leave...

JOHN: I could put you up in a hotel.

VIVIAN: Thank you, but no. You know what Lawrence is capable of. He might try to kidnap Nikki, or hurt Ivan or myself. (BEAT) We wouldn't be safe.

JOHN: You're right, it could be dangerous.

JOHN STANDS UP AND PACES BACK AND FORTH FOR A MOMENT. FINALLY, HE TURNS TOWARDS VIVIAN.

VIVIAN: Bayview? County jail? Perhaps the morgue?

JOHN: No, Vivian... My loft. You, Nikki, and Ivan are staying with me.

HOLD ON VIVIAN'S SURPRISE.

CUT TO: KAYLA'S DINING ROOM. KAYLA AND MARCUS HAVE FINISHED DINNER AND DESSERT AND ARE ENJOYING AN AFTER DINNER DRINK. THEY LOOK VERY RELAXED.

MARCUS: (PATTING HIS STOMACH) You make dynamite cheesecake, Kay, but I've got to exert some self control.

THERE IS A COMPANIONABLE SILENCE FOR A MOMENT, EACH OF THEM LOST IN THEIR OWN THOUGHTS. KAYLA CLEARS HER THROAT.

MARCUS: (TEASING) I knew it! You lured me here to paint that spare room!

KAYLA: Actually, I wanted to have a serious talk with you. (BEAT) About our relationship.

MARCUS: (STILL TEASING) Uh-oh. I've heard this before. This is the part where the girl says "Let's just be friends."

KAYLA: We are friends. We became friends through our love for Steve. (BEAT) But now we have a relationship of our own. A different one.

MARCUS: Yes, it is different. That's natural, we're different people now, aren't we?

KAYLA: Yes. And I want to talk about where this relationship is going. What the future holds for us.

MARCUS REACHES ACROSS THE TABLE AND TAKES KAYLA'S HAND.

KAYLA: I am so glad you said that. Because that's what I want too. (BEAT) But there's more involved than just the two of us.

MARCUS: You're talking about your family?

KAYLA: Yes, especially Pop. And there's Stephanie.

MARCUS: I'm willing to deal with Shawn. And you know I love Stephanie to death.

KAYLA: She loves you, too.

MARCUS: So, it's official?

KAYLA: Yeah... it's official. We are now a couple.

OUT ON THE TWO SMILING AT EACH OTHER.

ACT VII

DOUG & JULIE'S LIVING ROOM. DOUG AND JULIE ARE SPENDING A QUIET EVENING TOGETHER. JULIE IS SITTING ON THE COUCH READING A MYSTERY NOVEL, WHILE DOUG READS THE LATEST ISSUE OF "BON APPETIT." WINE GLASSES AND SOME CHEESE AND CRACKERS ARE ON THE COFFEE TABLE, WHILE "UN BALLO IN MASCHERA" BY VERDI PLAYS SOFTLY ON THE STEREO. THE DOORBELL RINGS AND DOUG MOTIONS TO JULIE TO STAY SEATED. HE ANSWERS IT AND WAVES ROBERT IN.

ROBERT HOLDS UP AN "AIRMAIL" ENVELOPE.

JULIE PATS THE COUCH CUSHION NEXT TO HER.

DOUG POURS ROBERT A GLASS OF WINE FROM THE BAR AND HANDS IT TO HIM.

ROBERT: That son of mine... ever the world traveller. (POSING) I wonder where he gets it from?

THE THREE LAUGH.

ROBERT OPENS THE LETTER AND BEGINS SMOOTHING OUT THE PAGES.

DOUG: And we echo that sentiment, right darling?

JULIE: Ah, yes. Florence will always be one of my favorite cities...

ROBERT: All right then, mes amis, let's hear the news. (CLEARING HIS THROAT) "Buon giorno, Papa. There aren't many tourists at the Uffizi today so the painting is slow..."

HOLD ON THE THREE, INTENT ON THE CONTENTS OF THE LETTER.

CUT TO: EUTERPE/PRIVATE DINING ROOM. EVE AND IAN ARE FINISHING THEIR MEAL. EVE LAUGHS AT A STORY IAN IS TELLING. IN PROGRESS.

EVE: (LAUGHING) But... did they dance?

IAN: (LAUGHS) That's the funniest part... they did! The Center manager told me afterwards that the attendees told him never to hire any DJ but me!

THE TWO LAUGH COMPANIONABLY.

EVE STANDS UP AND PUSHES THE PLAY BUTTON ON A STRATEGICALLY PLACED PORTABLE CD PLAYER. WE HEAR SINATRA SINGING, "THE WAY YOU LOOK TONIGHT." AS THE MUSIC PLAYS, EVE SWAYS OVER TO THE LIGHT SWITCH AND DIMS THE LIGHTS. IAN TRIES NOT TO LAUGH WHEN HE HEARS SINATRA, BUT THEN EVE WALKS UP BEHIND HIM, AND PUTS HER HANDS ON HIS SHOULDERS, MASSAGING HIM SOFTLY. IAN PUTS HIS HANDS OVER HIS SHOULDERS TO CATCH EVE'S, THEN HE STANDS AND FACES HER, STILL HOLDING HER NOW-CROSSED HANDS.

BEFORE EVE CAN SAY ANYTHING, IAN'S LEFT THE ROOM. HE RETURNS QUICKLY WITH A CD CASE, FROM WHICH HE EXTRACTS A CD AND PUTS IT ON THE PLAYER. HE PUSHES PLAY. AS THE MUSIC STARTS, HE WALKS OVER AND TURNS THE LIGHTS UP. THE CD BEGINS, IT'S THE SISTERS OF MERCY, "TEMPLE OF LOVE." IAN TURNS UP THE VOLUME AND HOLDS HIS HAND OUT TO EVE.

EVE: What is this?

IAN: Early Gothic, Sisters of Mercy. This mix is a little more pop-like...

EVE: Is there any music you don't listen to?

IAN: Not that I can think of. Except maybe overly romantic elevator music....

EVE STANDS STILL, BUT IAN IS DANCING WITH ABANDON AROUND HER. SHE IS TRYING NOT TO LAUGH.

IAN: Someday you'll dance?

EVE: No, someday, I'll figure you out.

IAN: Well, don't hold your breath, hon... you'll turn as blue as your dress if you do.

EVE LAUGHS AND SHRUGS HER SHOULDERS, THEN BEGINS TO DANCE WITH IAN. HOLD ON THE TWO, DANCING.

CUT TO: JACK'S OFFICE. JENNIFER IS SORTING THROUGH THE MESS LEFT ON JACK'S DESK.

SHE PAUSES, AND GLANCES AT JACK'S FILE CABINET.

SHE RUNS TO THE DOOR, CRACKS IT OPEN, AND PEEKS OUT.

JENNIFER SHUTS THE DOOR AND PICKS UP HER PURSE. SHE LOOKS THROUGH IT AND FINDS A BOBBY PIN.

SHE WALKS OVER TO JACK'S FILE CABINET AND PICKS THE LOCK WITH THE BOBBY PIN.

SUDDENLY, JENNIFER HEARS FOOTSTEPS. SHE QUICKLY SLAMS THE FILE CABINET AND RUSHES ACROSS THE ROOM AND SITS DOWN. JACK OPENS THE DOOR AND WALKS INSIDE.

JENNIFER: (INNOCENT) I... I tripped over the chair. I can be so clumsy...

JACK LOOKS AROUND THE OFFICE, SUSPICIOUS.

JENNIFER: You know, you really should keep your office a little cleaner. That way people like me wouldn't trip all over the place.

JACK: But, a clean office is a sign of a sick mind. (BEAT) I'm calling it a night. Are you ready to go home?

JACK PICKS UP HIS BRIEFCASE. JENNIFER STANDS UP, LOOKS AROUND THE OFFICE, THEN PLAYFULLY DRAGS HER FINGER ACROSS JACK'S CHEST. SHE MOVES TO LOCK THE DOOR.

JACK: (RAISING AN EYEBROW) Exactly what are you suggesting, Mrs. Deveraux?

JENNIFER WALKS BACK TO JACK AND WRAPS HER ARMS AROUND HIM.

JENNIFER PULLS JACK INTO A PASSIONATE KISS. JACK TOSSES HIS BRIEFCASE ON THE FLOOR, AS JENNIFER LOOSENS HIS TIE. OUT ON JACK'S TIE, FALLING TO THE FLOOR. FADE TO BLACK.

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