ALT.DAYS

Episode #41

An ALT.DAYS Production,
A Division of Peel Productions, Inc.
Air Date: March 1, 1994
Time: Day After #40,
Morning to Evening

Copyright 1995

TEASER

ALICE'S RESTAURANT. BUSINESS IS SLOW. THERE ARE ONLY A FEW CUSTOMERS SEATED AT VARIOUS BOOTHS. ALICE IS POURING HERSELF A CUP OF COFFEE. JONAH IS WIPING THE UNOCCUPIED TABLETOPS. CARRIE ENTERS. JONAH SMILES AND WALKS OVER TO MEET HER.

JONAH: (DRAPING HIS TOWEL OVER HIS ARM AND DOING HIS BEST FRENCH ACCENT) Bon jour, Mademoiselle! How many een your party?

CARRIE: Um... just me.

JONAH: Follow me, si vous plait. I shall seat you.

JONAH LEADS CARRIE TO AN OPEN BOOTH. SHE SITS DOWN.

CARRIE: I'll have a blueberry muffin and orange juice.

JONAH: Oui, mademoiselle. Coming right up!

JONAH GOES TOWARD THE KITCHEN. HE TURNS TO ALICE AS HE REACHES THE DOOR.

ALICE: (CHUCKLING) Oui, monsieur!

ALICE POURS A GLASS OF ORANGE JUICE AS JONAH ENTERS THE KITCHEN. CARRIE WATCHES HIM, SMILING AND SHAKING HER HEAD. HE APPEARS A FEW MOMENTS LATER WITH A LARGE BLUEBERRY MUFFIN ON A PLATE. HE PICKS UP THE JUICE FROM ALICE AND GOES TO CARRIE'S BOOTH.

CARRIE: That was fast.

JONAH: (POSTURING) Like zee weend!

CARRIE: I'm impressed.

JONAH: But zere ees one zing wrong.

CARRIE: (CURIOUS) Oh?

JONAH: Eet makes my heart sad to see such a lovely lady dine alone. (MOTIONING TO THE EMPTY SEAT) May I?

CARRIE: Only if you cut the accent, Pierre.

JONAH: Deal.

HE SITS DOWN.

CARRIE: Try impossible. I can't think of anything to smile about.

JONAH: Man, you are down. You wanna talk about it?

ALICE COMES OVER.

JONAH: (STARTING TO GET UP) Oh, I'm sorry, Mrs. Horton. I didn't mean to take a break like that...

ALICE: It's fine, Jonah. Sit back down. I'm coming over here in hopes of finding a little excitement.

CARRIE: (GLUMLY) Sorry, but you won't find any here...

JONAH: (NODDING AT CARRIE) We've got a major case of the blues, Mrs. Horton.

ALICE: (SITTING DOWN) Oh, my. We can't have that. This is a happy restaurant. (BEAT) What is it, dear? What's bothering you?

CARRIE: It's... Austin.

ALICE: I heard what happened. I'm sorry...

JONAH: You're still upset about that, aren't you?

CARRIE: Yes, but his death isn't all of it...

JONAH: I'm confused.

CARRIE: I'm upset because I don't feel much of anything... no sadness, no sense of loss... nothing!

ALICE: Why does that upset you?

CARRIE: I loved him once. At least, I thought I did. Now, he's dead. I expected to feel some pain, grief... something.

JONAH: Well, you two had been apart for a long time...

ALICE: Jonah's right. You've moved on with your life.

CARRIE: I don't know. I think maybe it's just that I'm getting used to it.

ALICE: Getting used to what, dear?

CARRIE: The Brady curse.

ALICE AND JONAH ARE DUMBFOUNDED. CARRIE LOOKS DOWN AT HER BREAKFAST, THEN AT JONAH. HOLD ON CARRIE.

CUT TO: KAYLA'S BEDROOM. WE SEE KAYLA IN BED. SHE IS FITFULLY ASLEEP, TOSSING AND TURNING. FADE INTO KAYLA'S DREAM. KAYLA IS STANDING ON THE PIER, AND A MAN WITH AN EYE PATCH IS AT THE EDGE OF THE PIER.

STEVE: Sweetness!

KAYLA STARTS TOWARD HIM, BUT THE IMAGE OF STEVE VANISHES FROM THE EDGE OF THE PIER. WE HEAR HIS VOICE FROM THE OTHER END OF THE PIER.

KAYLA TURNS JUST IN TIME TO SEE THE IMAGE VANISH.

STEVE'S IMAGE REAPPEARS AT THE EDGE OF THE PIER.

KAYLA: (SOBBING) Oh, Steve...

STEVE'S IMAGE DISAPPEARS. KAYLA LOOKS AROUND, BUT SHE IS ALONE.

WE SEE KAYLA TOSSING AND TURNING VIOLENTLY.

THE SOUND OF HER VOICE AWAKENS KAYLA. SHE SITS UP IN BED, AND LOOKS AROUND THE ROOM.

SHE LOOKS AT THE CLOCK, AND THEN SEES THE PICTURE OF STEVE ON THE DRESSER. SHE REALIZES THE SOURCE OF HER DREAM.

HOLD ON KAYLA.

CUT TO: JANET'S OFFICE. JANET AND MORGAN ARE DISCUSSING LAWRENCE'S CASE OVER A NEARLY EMPTY BOX OF DONUTS.

MORGAN NODS IN AGREEMENT.

MORGAN: (PICKING UP "ALAMAIN #2") What I cannot believe is how little time he spent in jail for that rape. But these files... (BEAT) Too many people have worked on finding out what Lawrence Alamain is up to.

JANET: Usually I'd call that a curse against us, but I think in this case, the more heads involved, the better chance we have of nailing him.

MORGAN: Meaning...

JANET: Meaning that it's time to call a War Council.

MORGAN: (PUTTING THE FOLDER DOWN) And who do you want at this War Council?

JANET: Let's see... John Black, the Carvers, Jack Deveraux, and (PAUSING TO CONSIDER HER CHOICE) Alice Horton.

MORGAN: (SMILING) Mrs. Horton?

JANET: Morgan, that woman puts Miss Marple to shame. Besides, (LOOKING AT THE BOX ON HER DESK) we could use some more donuts.

MORGAN: (TRYING TO SUPPRESS A LAUGH) Okay... I'll go make some calls. Should I ask them to be here in an hour?

JANET: Make it two... (BEAT) I need to make up notes first. Just tell them that it's about Alamain. I'm sure that they will all be more than willing to come.

MORGAN: I think they'd walk through flames if it would put Alamain behind bars... for good.

OUT ON MORGAN.

ACT I

ALICE'S RESTAURANT. CARRIE, JONAH, AND ALICE ARE SEATED AT A BOOTH. IN PROGRESS.

CARRIE: I'm talking about what always happens when a Brady loves someone.

JONAH: What always happens?

CARRIE: We lose them.

JONAH: Come on, Carrie...

CARRIE: It's true. Kim lost Shane. Kayla lost Steve. John lost Isabella. Bo lost Carly and Hope.

ALICE: But...

CARRIE: Even the kids. Shawn-D lost his mother, Brady lost his mother, and the twins... The twins and I lost Diana and Yvette. (BEAT) If our loved ones aren't killed, they're kidnapped, or tortured, or scared away...

JONAH: (REACHING OVER AND TAKING CARRIE'S HAND) Some people are still around...

ALICE: It's true, some terrible things have happened to the Brady family. But you can't dwell on what has happened in the past.

CARRIE: (SLOWLY PULLING AWAY FROM JONAH) I can't help but think about it. Sometimes I think it's changed me, permanently.

JONAH: (UPSET THAT CARRIE HAS PULLED AWAY) What do you mean?

CARRIE: It's made me afraid... afraid to love someone...

ALICE: Why?

CARRIE: Because I'd always be worried about losing them.

JONAH: Carrie, you can't think like that.

ALICE: Jonah's right, you know. (BEAT) I've seen a lot of things happen to the Horton family over the years, and I can tell you this: We survive, no matter what. We love each other, and we draw strength from each other. The Bradys have done the same thing, and you'll continue to do so.

CARRIE: I feel like... this thing with Austin is the last straw. I can only handle so much.

ALICE: Don't underestimate your ability to overcome, dear.

JONAH: You're a lot stronger than you think.

CARRIE: Thanks, but I'm not so sure. (BEAT) I'm not so sure that I'll ever be able to love anyone.

JONAH: You don't mean that...

ALICE: (PICKING UP ON JONAH'S ANXIETY) Carrie, don't give up on love so easily. It can prevail in the most difficult situations.

CARRIE: (UNCONVINCED) I don't know...

JONAH: I hate to hear you talking like that.

ALICE: You're much too young to decide that you'll never fall in love. You'll need some time, but... (SMILING) I think there's still hope for you.

ALICE LOOKS UP AND NOTICES THAT TOM HAS ENTERED THE RESTAURANT.

ALICE STANDS UP.

ALICE: You can always call on me, if you need someone to listen.

CARRIE: Thanks.

ALICE WALKS OVER TO GREET TOM. CARRIE AND JONAH WATCH TOM AND ALICE AS THEY EXCHANGE A HUG AND A KISS.

JONAH: How do you know?

CARRIE: Do you really think that people can find a love like that nowadays?

JONAH: Yes. Yes, I do.

HOLD ON JONAH'S DETERMINATION.

CUT TO: JO'S APARTMENT. JO IS TIDYING UP THE APARTMENT. SHE STOPS TO LOOK AT A PICTURE OF STEVE AND KAYLA'S WEDDING WHEN THE DOORBELL RINGS. SHE OPENS THE DOOR TO REVEAL KAYLA.

KAYLA: It must be mental telepathy then. I thought you might need a visit from me as much as I need to be here.

JO HUGS KAYLA.

KAYLA NODS.

THE TWO WOMEN SIT ON THE COUCH.

KAYLA: And I remember the first time we met. I thought Steve was the most arrogant man I'd ever known. (BEAT) But underneath it all, he was the most caring.

JO: He didn't like to show it very often. (BEAT) Steve had a tough life and I blame myself for that. If only things could have been different.

KAYLA: Jo, you can't think like that. Eventually Steve came to understand why you gave him up. And he loved you.

JO: We didn't have a relationship like most mothers and sons have, I never expected that. But we did have something that was special to the two of us.

KAYLA: Do you remember that harmonica he played? It drove me crazy sometimes. I'd want to talk to him and he'd just keep playing.

JO: Oh, heavens yes. I could always tell how he was feeling by the song he was playing. After you and he finally got together, he always played happy ones.

KAYLA: I hope so, Jo. I hope I made him happy.

JO: You did. Steve loved you, Kayla. And Stephanie.

KAYLA: Love is a very precious thing, Jo.

JO: Yes it is. Something to be valued and nurtured.

KAYLA: I'm glad you've found it again with Vern.

JO: Oh... I wouldn't call it love just yet. But it is nice to have someone to share things with. Sometimes I get as excited and jittery as a schoolgirl. (BEAT) Is it like that with you and Marcus?

KAYLA: (LAUGHING) Sometimes. We've agreed to take things slowly. It's still a little scary, but I'm starting to have hope again. Now if I could just get Pop to lighten up...

JO: I know how you feel. Jack's been having a bit of a problem with the idea of me dating. But amazingly enough, he took the ski trip Vern and I went on quite well. He even suggested a bed and breakfast we might like.

KAYLA: Really? Jack? Hmmm... I guess love changes us all. Tell me, how was the skiing? Did you like it?

JO: (LAUGHING) Yes, once I finally learned how to stand up, we had a lot of fun.

KAYLA: Maybe Marcus and I should go away together.

JO: You should. It'd do you a world of good to get away from the pressures of Salem.

KAYLA LOOKS AT HER WATCH AND PICKS UP HER HANDBAG.

JO: No, dear, thanks. I was over early this morning to have my private chat with Steve. I expect you and Stephanie will want to do the same.

THE TWO WOMEN HUG AT THE DOOR.

KAYLA: I feel the same way about you. I'll talk to you later, okay?

JO CLOSES THE DOOR AND GOES BACK TO LOOK AT THE PICTURE. HOLD ON JO.

CUT TO: ALICE'S RESTAURANT. ALICE AND TOM SIT AT A BOOTH NEAR THE FRONT DOOR.

TOM: Only your smiling face, my darling.

A WAITRESS SETS A PLATE WITH TWO DONUTS IN FRONT OF TOM.

TOM: Well, the donut part goes without saying. I'm just taking a quick break before the hospital board meeting.

ALICE: I'm glad you're taking it here.

TOM: That looked like quite a conversation you were having with Carrie. Is she all right?

ALICE: Yes, and no. I'm a little worried about her, Tom. Everything seems to be taking such a toll on her... She's even talking about a "Brady Curse", that all the Bradys lose their loved ones.

TOM: Were you able to help?

ALICE: Not as much as I would have liked. She didn't seem to be listening.

TOM: Well, I remember a certain young lady, a Miss Jennifer Rose, who wouldn't listen to anything anyone said... except, of course, for her grandmother.

ALICE: So you think maybe Caroline could get through to Carrie?

TOM: I think it's worth a try. Even if she can't completely change Carrie's mind, I'm sure it will help her to talk about it.

ALICE: No wonder I married you, Tom Horton. Besides being incredibly handsome, you're also brilliant!

TOM: I must have been, to have proposed to you, Alice Grayson Horton. Now, go call Caroline. You won't be able to relax until you do...

ALICE: You're right. I'll be right back.

ALICE STANDS, THEN LEANS OVER AND GIVES TOM A KISS. SHE WALKS OVER TO THE PHONE ON THE COUNTER. AS SHE'S ABOUT TO PICK IT UP, IT RINGS. IT'S JANET YAMADA, TWO WAY.

JANET: Mrs. Horton? It's Janet Yamada.

ALICE: Yes, Captain, how nice to hear from you. Do you need us to send over some more donuts?

JANET: Tempting offer, Mrs. Horton. Your donuts are so delicious, they're dangerous!

ALICE: Well, thank you dear.

JANET: The reason I called was that I was hoping you could join us down at the Station this afternoon.

ALICE: The Station? Whatever for?

JANET: We have Lawrence Alamain in custody.

ALICE: You proved he killed Carly?

JANET: No. He's in for the burglary at Carver & Carver.

ALICE: That's all?

JANET: We're hoping it's a start. That's why I called. I need your help.

ALICE: Anything to put Lawrence behind bars and keep him away from my family.

JANET: I thought that those of us working on the Manning case could get together and discuss everything we know about Alamain. A War Council, if you like.

ALICE: I'll be there.

JANET: I knew I could count on you. Is 2 p.m. all right?

ALICE: Fine with me. I'll bring donuts.

JANET: (GROANS LAUGHINGLY) Of course you will. See you at 2!

ALICE: Yes, good-bye, dear.

ALICE HANGS UP THE PHONE.

OUT ON ALICE'S INTRIGUE.

ACT II

BRADY PUB. SHAWN IS WIPING THE BAR COUNTER WHEN CAROLINE ENTERS FROM THE KITCHEN.

SHAWN: Is that so? How's that fine lady doing?

CAROLINE: Fine. She's worried about Carrie.

SHAWN: What's wrong?

CAROLINE: It's Austin...

SHAWN: Aye. The poor girl has gone through so much at such a young age.

CAROLINE: I'm going to visit her later on and check to see how she's doing.

SHAWN: Good idea. Give her my love.

BO AND SHAWN-DOUGLAS ENTER. SHAWN AND CAROLINE LOOK TO THE DOOR.

BO: Hi Pop. Hi Ma! Hey, thanks for watching the sailor on such short notice.

CAROLINE: It's no trouble. I enjoy spending time with my grandson.

CAROLINE BENDS DOWN AND GIVES SHAWN-DOUGLAS A KISS.

CAROLINE: Sure, honey. Why don't you go sit at a table and I'll come by later and bring you some lunch.

SHAWN-DOUGLAS GOES TO SIT AT A TABLE AND BEGINS PLAYING HIS VIDEO GAME.

BO: Yeah, Bob and I are working a stake-out.

CAROLINE: Sounds dangerous.

BO: I haven't thought about it that way. I'm just glad that Bob trusts me enough to involve me in something like this so soon.

FROM THE TABLE WHERE SHAWN-DOUGLAS IS SITTING, BEEPS ARE HEARD FROM THE VIDEO GAME, ALONG WITH A FEW GROANS FROM SHAWN-DOUGLAS.

BO: Pretty good, so far. I'm getting used to being back out on the streets, and I think I'm beginning to win some respect from the other cops.

SHAWN-DOUGLAS STARTS TO HIT HIS VIDEO GAME ON THE TABLE. WHEN BO LOOKS OVER AT HIM, HE STOPS AND CONTINUES PLAYING.

BO: I'm afraid nothing much has changed, and it worries me. (SNAPPING HIS FINGERS) Oh, that reminds me. Don't forget about his appointment this afternoon with Dr. Ector.

SUDDENLY SHAWN-DOUGLAS THROWS HIS VIDEO GAME TO THE FLOOR AND STARTS TO SCREAM.

CAROLINE RUSHES OVER TO SHAWN-DOUGLAS, WHILE BO LOOKS AT HIS SON WITH WORRY.

SHAWN-DOUGLAS BEGINS TO CRY. CAROLINE HOLDS HIM AS HE WEEPS IN HER ARMS. SHAWN PUTS A COMFORTING HAND ON BO'S SHOULDER. HOLD ON BO, AS HE STANDS HELPLESSLY WATCHING HIS SON.

CUT TO: SALEM CEMETERY. KAYLA AND STEPHANIE ARE STANDING IN FRONT OF STEVE'S GRAVE. KAYLA HOLDS A BOUQUET OF YELLOW ROSES IN HER ARMS. STEPHANIE LOOKS AROUND AND POINTS TO A PATCH OF NEARBY DANDELIONS.

KAYLA: I think your father would like that, honey.

STEPHANIE CHEERFULLY SKIPS OFF TO PICK FLOWERS. KAYLA KNEELS DOWN AND PLACES THE ROSES ON STEVE'S GRAVE. SHE REACHES OVER AND LIGHTLY BRUSHES HER HAND OVER STEVE'S NAME ON THE GRAVESTONE.

KAYLA GLANCES AT STEPHANIE, WHO IS COLLECTING THE FLOWERS IN HER HANDS.

OFF IN THE DISTANCE, STEPHANIE SQUEALS WITH DELIGHT.

KAYLA TURNS AND SEES THAT MARCUS HAS ARRIVED AT THE CEMETERY. STEPHANIE RUNS UP TO HIM, AND THEY WALK OVER TO KAYLA.

KAYLA: (SMILING) I'm glad you came.

STEPHANIE: Uncle Marcus, look! (SHE HOLDS UP HER HANDFUL OF DANDELIONS) I picked these to give to Daddy!

MARCUS: They're beautiful, honey. Your daddy will like them... Especially since you picked them yourself.

STEPHANIE: Good. Then I'll get more.

STEPHANIE WALKS OFF TO PICK MORE FLOWERS. MARCUS AND KAYLA HOLD HANDS.

KAYLA: You two were very close.

MARCUS: All day, I kept getting this image of him in my mind.

KAYLA: Playing his harmonica?

MARCUS: (LAUGHING) How'd you guess?

KAYLA: Because he loved to play it...

MARCUS: And because he was so awful at it, too!

KAYLA LAUGHS AND LIGHTLY PUNCHES MARCUS ON THE ARM.

MARCUS: Oh, he'd probably say, "Homey, you try blowing some of that hot air yourself!"

STEPHANIE RUNS BACK TO THEM, CARRYING MORE FLOWERS AND PLACES THEM ON STEVE'S GRAVE.

STEPHANIE PUTS THE DANDELIONS DOWN NEXT TO KAYLA'S ROSES. KAYLA BRUSHES A TEAR FROM HER EYE AS SHE LOOKS ON.

KAYLA: Thanks, Marcus, but I don't feel much like going out.

MARCUS: (CRESTFALLEN) Okay...

KAYLA: (SEEING HIS EXPRESSION) But I do feel like staying in and ordering out. Want to come over for dinner?

STEPHANIE: Ooo, can we have pizza!?!

MARCUS: How can I turn down a date with two such lovely ladies?

KAYLA: Pizza it is. At our house. Tonight.

STEPHANIE: Yippee!!

STEPHANIE DANCES AROUND AND AS MARCUS WATCHES HER, HE SEEMS SUDDENLY SAD.

KAYLA: I know. I try to tell her everything I can, but I don't think she'll ever really know him.

MARCUS SITS ON THE GROUND AND MOTIONS TO STEPHANIE TO SIT NEXT TO HIM. KAYLA KNEELS BESIDES THEM.

STEPHANIE: Really? Were you friends?

MARCUS: The best! We did everything together.

KAYLA: You mean you got in trouble together.

MARCUS: (JOKING) Hey, who's telling the story?

KAYLA: I'm sorry. Please, proceed.

MARCUS: Good. I remember once when your daddy and I went into an old abandoned movie theater...

HOLD ON THE THREE, SITTING NEXT TO STEVE'S GRAVE.

CUT TO: SALEM PD/CONFERENCE ROOM. JOHN, ABE, LEXIE, JACK, ALICE AND MORGAN ARE SEATED, WHILE JANET IS STANDING AT THE HEAD OF THE TABLE. AN EASEL HOLDING LARGE SHEETS OF PAPER IS BESIDE HER. A BOX OF DONUTS IS ON THE TABLE.

ABE, JOHN, AND JACK SIMULTANEOUSLY REACH FOR THE DONUT BOX.

JANET: As you know, we have Lawrence Alamain in custody, and he will be charged in connection with the burglary at Carver and Carver. However, we're stumped as to what else we can charge him with.

JACK: (WIPES HIS FACE TO GET RID OF THE DONUT CRUMBS) Surely you have enough information to connect Lawrence to at least some of his nefarious activities.

JANET: Unfortunately, Mr. Deveraux, the police department's files are a disaster. (LOOKS AT LEXIE AND ABE) It's hard to see what happened and when. Investigations stopped for no apparent reason, several leads were never followed up on... (BEAT) We need help from all of you to pull this together.

ABE: I'm almost certain that Lawrence has someone in the Chief's office. Every time that we would get anything on Alamain, the case would be taken away.

JOHN: It's been like that for years... Lawrence only wants people to see that glossy facade, not the evil behind it.

MORGAN: Any idea on who Alamain has in the Chief's office?

JOHN: My bet would be on Deputy Chief Reilly. The order to drop the investigation on Steve's death and the link between Lawrence and Nick Corelli came from him.

MORGAN: So, we know who to avoid while we're trying to build this case.

JANET: What we need to do is get organized and pool all of our knowledge on Lawrence. I'm sure that if we work together, we can put him away for good.

OUT ON JANET'S DETERMINATION.

ACT III

CARRIE'S APARTMENT. CARRIE IS STRAIGHTENING UP AROUND HER APARTMENT WITH LITTLE ENTHUSIASM. THERE IS A KNOCK ON HER DOOR, AND CARRIE GOES TO ANSWER IT. SHE OPENS THE DOOR AND SEES CAROLINE.

CAROLINE: Hi honey. I hope I'm not dropping by at a bad time. I dropped Shawn-Douglas off for his appointment at the hospital, and thought I'd come by and see how you were doing.

CARRIE: Oh, it's not a bad time at all. In fact, I'm glad you came. Come in!

CAROLINE WALKS IN AND LOOKS AROUND.

CARRIE: Thanks! (BEAT) I was thinking about starting some tea. Would you like some?

CAROLINE: That would be nice, thank you.

CARRIE GOES INTO THE KITCHEN AND BEGINS MAKING TEA.

CAROLINE: Fine. Grandpa sends his love, and he insists you stop by for some chowder very soon.

CARRIE: Maybe I'll come by tomorrow.

CARRIE WALKS BACK INTO THE ROOM WITH TWO CUPS. SHE HANDS ONE TO CAROLINE AND SITS ON THE SOFA.

CARRIE: I have been feeling... depressed. I guess the trial and hearing about Austin must be getting to me.

CAROLINE: It is a lot to take in at once.

CARRIE: It's made me think that maybe our family is cursed.

CAROLINE: What do you mean cursed?

CARRIE: It seems that practically everyone in our family has had bad luck, especially when it comes to love.

CAROLINE: I've never thought about that in terms of a curse. Hmmm, I guess there must be a Horton curse, too.

CARRIE: You're right. There has been a lot of bad luck in both families.

CAROLINE: Carrie, dear, I know it's hard, but try not to dwell on the bad things. Remember, many good and wonderful things have happened as well.

CARRIE: I guess you're right. We're still a very close family.

CAROLINE: And we're always there for each other, no matter what.

CARRIE: Even so, I still don't know if I want to risk getting hurt by falling in love again.

CAROLINE: You're too young to make such a harsh decision.

CARRIE: I'm too afraid.

CAROLINE: Everyone has the same fears you do. Take it from an older and wiser woman, falling in love doesn't necessarily mean that you're destined to get hurt. Not all love stories end in tragedy.

CARRIE: I don't know if I really want to take that chance.

CAROLINE: But, you'll never know unless you do.

HOLD ON CARRIE.

CUT TO: JO'S APARTMENT. JO IS SITTING ON THE COUCH FOLDING LAUNDRY AND WATCHING A TALK SHOW. WHEN THE DOORBELL RINGS SHE TURNS OFF THE TELEVISION AND PUTS THE LAUNDRY BASKET ON THE FLOOR. SHE ANSWERS THE DOOR AND LETS IN VERN.

JO: I'm so glad to see you. Come in and I'll get you some iced tea.

THEY SIT ON THE COUCH.

JO: I'm perfectly fine.

VERN: I used to say that, too. After Nancy died, every day was hard. But some days were harder than others... her birthday, our anniversary, the kids' birthdays. (BEAT) The feelings may fade but they never go away. It's okay to admit it.

JO: All right, it's true. I do have those feelings. And lots of other ones. Ones that terrify me.

VERN ENVELOPS JO IN A HUG. HOLD ON JO'S ANXIETY.

CUT TO: SALEM PD/CONFERENCE ROOM. JANET, JACK, ALICE, JOHN, ABE, LEXIE, MORGAN. IN PROGRESS.

JACK: (POINTING TO THE FOLDERS) How much have the files given you?

JANET: Very little... There's a statement from you, Mrs. Horton.

ALICE: Yes, I gave it just after we came home.

JANET: There's also a statement from your granddaughter. You both said that you were kidnapped, and yet the investigation was dropped.

JOHN: We decided to go after him on the rape.

JACK CRINGES AT THE MEMORY.

JOHN: That was all we could get. It was pure luck...

JACK: With some help from Shane...

JOHN: (IGNORING JACK) That we got the tape that proved what had happened. (BEAT) When the plea-bargain came up, we all thought it was best... (BEAT) At that point in the trial, we didn't think we could get a conviction.

JACK: (UNEASY) Let's move on, shall we?

JANET: Okay, back to my question. What happened?

JOHN AND ALICE BOTH LOOK TO JACK.

ALICE: I went to New York to help her... I acted as the Von Leuschner nanny.

JACK: I also went to New York, in an effort to get her to come home. (BEAT) I came back to Salem when my brother was injured...

JOHN: We never had any solid proof, but it looked like Lawrence ordered the hit that was supposed to take out Bo, but got Steve Johnson instead.

MORGAN: And since Johnson was a cop...

JANET WRITES "JOHNSON OCTOBER '90" ON THE PAD SITTING ON THE EASEL.

JANET: Where he held you prisoner...

ALICE NODS IN AGREEMENT. LEXIE AND MORGAN ARE BUSY TAKING NOTES.

JANET: Francois?

ABE: Francois Von Leuschner, Carly's younger brother. His name is now legally Frankie Brady.

LEXIE: (MUSING) Why didn't Frankie file charges? Lawrence had kidnapped him, too...

MORGAN: Given what we've learned about his sister, maybe she told him to go sit in the Alamain dungeon for awhile...

JOHN: I tried to get him to talk, but he wouldn't. Carly could have told him to keep quiet...

ABE: But she's dead now... why wouldn't he have said something when he was here for her funeral?

JANET: (PLEASED TO SEE THAT EVERYONE IS CONTRIBUTING) Jack, what happened then?

JACK: That should be spelled out in your files, Captain.

JOHN: (SOTTO VOCE) The earthquake...

JANET: Earthquake? Mr. Black, we're trying to focus on what Lawrence has done.

JOHN: You don't understand... he caused an earthquake.

MORGAN: (DISBELIEVING) And how did he manage that?

JACK: He did something to the house... it felt like an earthquake. Most of us were in the tunnels underneath it at the time, except Roman... I mean John.

JANET: Where were you?

JOHN: I arrived a bit late, but in time to see the results. That stunt killed Leopold Alamain... (BEAT) My father.

ALICE REACHES FOR JOHN'S HAND, AND GIVES IT A REASSURING TAP.

JOHN: With Lawrence right behind us.

JANET ADDS THE WORDS "KIDNAPPING", "IMPRISONMENT", AND "EARTHQUAKE" TO THE LIST ON THE EASEL.

ALICE: That refinery nearly killed my great-grandson Shawn-Douglas.

JANET: But no charges came from that, either... (FLIPPING THROUGH HER NOTES) What about the explosion at the Gallery a couple of years ago? (PICKS UP THE FOLDER THAT SAYS "ALAMAIN #8 - GALLERY", THEN GLARES AT ABE AND JOHN) Surely you found more than this?

ABE: As I said, the investigation was stopped by someone upstairs. Just like all of the others...

JANET: (ANGRILY) And that's it?

JOHN: Each time we were told that the ISA was going to take over.

MORGAN: Did they?

JOHN: You would need to ask Shane about that...

JANET: I find it hard to believe that none of you followed up on your own...

ABE: The ISA doesn't like to be interfered with. They let us know that as far as they were concerned, any attempt we made on getting information against Lawrence would be frowned on. Come to think of it, it was Reilly who usually relayed that message...

JANET WRITES "ISA CONNECTION?" ON THE LIST.

MORGAN MOVES THE FILES OF THE TOPICS ALREADY DISCUSSED OFF OF THE TABLE.

LEXIE: Carly's death?

JANET: Everything we have is circumstantial. Until Shawn-Douglas remembers something, we don't have any evidence that Lawrence was involved in her death.

JOHN: Vivian and Ivan?

JACK: I don't know about Ivan, but Lawrence is still family to Vivian...

JANET: And she may not want to say too much, so that she can protect her nephew Nicholas' feelings. Still... (SHE WRITES "VIVIAN/IVAN" ON HER LIST)

ABE: What about the Codices? Mexico must want them back.

JANET: They are national treasures, and there is a letter in the files from the Deputy Minister of something from the Mexican government, complaining about the lousy job that we've done to get them back. ("CODICES" GOES ON TO THE LIST)

JACK: What about the cover-up following Lisanne Gardner's death?

LEXIE: I don't think so... what jury would convict someone for trying to protect their child?

ALICE: I know that I wouldn't...

SILENCE COMES OVER THE ROOM.

JACK GIVES JANET AN UNHAPPY GLARE, BUT SHE IGNORES IT.

JOHN: (SOTTO VOCE) Lucky me...

JANET: We've got to be careful. If Lawrence is telling Deputy Chief Reilly what to do or if he's got somebody at the ISA, this is not going to be easy. We can't have any loose ends... (BEAT) Lawrence's attorneys will be looking for any technicality that might get him off.

JOHN: That's a fact.

JANET: I want to thank you all again for coming down here today, and I promise to keep you informed.

ABE, LEXIE, JOHN, JACK AND ALICE GET UP FROM THE TABLE, SAY THEIR GOODBYES, AND LEAVE THE ROOM.

MORGAN: What are you going to do?

JANET: I'm going to call Shane Donovan. I think Mr. Black is right... he's the only one we can trust in the ISA.

OUT ON JANET'S DETERMINATION.

ACT IV

JAMES' OFFICE. JAMES AND SHAWN-D ARE KNEELING IN FRONT OF A PLASTIC PUNCHING BAG IN THE CORNER OF THE OFFICE. IT IS PAINTED WITH A RED ANGRY FACE ON ONE SIDE AND A YELLOW SUNSHINE FACE ON THE OTHER.

SHAWN-D: Yeah. I should try not to let them boil like soup. If I let them out slowly then I can feel better.

JAMES: That's exactly right. But it's hard isn't it?

SHAWN-D: Yeah. I forget sometimes to let them out slowly.

JAMES: That's why I want to introduce you to Mad Monty and (TURNING THE BAG AROUND) Happy Harry. When you feel upset, you can punch Mad Monty. And when you feel better you can give Happy Harry a hug.

SHAWN-D: It's really all right to punch it?

JAMES: Sure. (GIVING THE BAG A SHOVE) See? It comes right back. It won't break. Do you want to try it?

SHAWN-D: Okay.

JAMES: All right. I'll sit over here quietly and you tell me when you get tired.

JAMES SITS DOWN IN A CHAIR, OBSERVING SHAWN-DOUGLAS CLOSELY. SHAWN-DOUGLAS BATS THE PUNCHING BAG SLOWLY AT FIRST, AND THEN WITH MORE AGGRESSION. AS HE HITS IT HARDER AND HARDER, HE BEGINS TO CRY. WHEN HE STARTS KICKING THE BAG JAMES BECOMES CONCERNED.

SHAWN-D: No! I'm still mad! I'm mad at...

JAMES: Who? Your papa?

SHAWN-D: (PUNCHING MORE FURIOUSLY) Yes!

JAMES: What about Carly? Are you mad at her, too?

SHAWN-D: (SHOUTING) Yes! I hate her!

SUDDENLY SHAWN-DOUGLAS STARTS RUNNING FRANTICALLY AROUND THE OFFICE. HE KNOCKS JAMES' COFFEE CUP OFF THE TABLE, SHATTERING IT. HE PICKS UP A STUFFED UNICORN AND SWINGS IT SO HARD BY THE TAIL THAT THE STUFFING STARTS COMING OUT. HOLD ON JAMES TRYING TO RESTRAIN SHAWN-DOUGLAS.

CUT TO: EUTERPE. DOUG IS CONFERRING WITH IAN, AS JULIE ENTERS. DOUG SEES HER WALK IN.

JULIE WALKS UP TO DOUG AND THEY KISS.

IAN: Fine, Julie. I'm glad you're here. Maybe you can talk my boss into taking it easy and enjoying the ambiance for a change...

DOUG: With company like this lady, how could I do anything else? Ian, I leave the running of the club in your capable hands. Julie, would you care to join me at a table for a glass of chardonnay?

JULIE: It would be my pleasure.

IAN: Well, if the reins of command have been given unto me, I should check to see how the menu's coming tonight. You two... relax. Enjoy.

IAN HEADS OFF INTO THE KITCHEN, AS DOUG MOTIONS TO DAVE, WHO'S BEHIND THE BAR.

JULIE: Sounds wonderful.

DAVE IS ABOUT TO BRING THE WINE TO DOUG AND JULIE WHEN THE PHONE RINGS. HE SETS THE WINE ON THE BAR AND ANSWERS THE PHONE. NODDING, HE SETS THE RECEIVER DOWN ON THE BAR, PICKS UP THE TRAY AND BRINGS IT OVER TO THE TABLE.

JULIE: Thanks, Dave. (TO DOUG) Sorry darling, I'll be right back.

JULIE STANDS AND WALKS OVER TO THE BAR AND PICKS UP THE PHONE, ONE-WAY.

GO TO: EVE AS SHE HURRIES OUT OF THE OFFICE AND WALKS UP TO DOUG, WHO'S ABOUT TO SIP HIS WINE.

DOUG: There must be a mistake... Eve, let's go see your records. (TO JULIE) I'll be back in a moment...

JULIE NODS TO DOUG, WHILE APPARENTLY TRYING TO INTERRUPT A FRANTICALLY TALKING LUCILLE.

GO TO: DOUG AS HE WALKS OUT OF THE OFFICE, CLOSELY FOLLOWED BY EVE.

SUDDENLY, THERE IS A COMMOTION FROM THE KITCHEN, AND IAN RUSHES OUT. HE SPOTS DOUG.

THE KITCHEN DOORS BURST OPEN, AND LORENZO RUSHES OUT, CHASED BY AKI, WAVING A WICKED LOOKING MEAT CLEAVER. THEY MAKE A CIRCUIT OF THE DINING AREA, AND AKI CHASES LORENZO BACK INTO THE KITCHEN. YELLS AND CURSES IN ITALIAN AND JAPANESE RING THROUGH THE RESTAURANT.

IAN: Lorenzo used the last of the cilantro on the chicken dish he's doing tonight. Aki had it earmarked for use in the soup he was preparing...

DOUG: Did you call the supplier to bring more?

IAN: They'll be here in 30 minutes... (HE COCKS HIS HEAD, LISTENING TO THE SHOUTING FROM THE KITCHEN) But by the sound of things, that may be too late...

AMONGST THE CONFUSION, ROBERT ENTERS. HE SEES JULIE ON THE PHONE, STILL TRYING TO CALM DOWN LUCILLE AND GETTING SOMEWHAT AGITATED HERSELF. THEN HE HEARS THE NOISE FROM THE KITCHEN, AND SEES DOUG, IAN AND EVE. HE GOES TO THEM.

ROBERT SHAKES HIS HEAD AND PICKS UP A PIECE OF PAPER AND A PENCIL. HE WRITES "LARYNGITIS," POINTS TO HIS THROAT AND SHAKES HIS HEAD.

ROBERT SHAKES HIS HEAD.

THE SHOUTING FROM THE KITCHEN GROWS LOUDER, AND THE SOUND OF METAL ON METAL IS HEARD. THE DOOR BURSTS OPEN AGAIN, AND THIS TIME LORENZO IS CHASING AKI. LORENZO WIELDS A WICKED-LOOKING KITCHEN BLADE, WHILE AKI CARRIES HIS CLEAVER. SUDDENLY, AKI TURNS AND "FIGHTS." THE TWO MEN "DUEL" WITH THEIR KITCHEN IMPLEMENTS, FEINTING AND PARRYING. JULIE IS DISTRACTED ON THE PHONE, BUT DOUG, EVE, IAN AND ROBERT LOOK ON IN AMAZEMENT.

THE TWO CHEFS STOP IN SHOCK. DOUG WALKS OVER AND FIRMLY REMOVES THE "WEAPONS" FROM THEIR HANDS. HE GLARES AT THE TWO, AND POINTS BACK TO THE KITCHEN. BOTH RELUCTANTLY TURN AND WALK BACK TO THE KITCHEN. LORENZO MAKES A COMMENT IN ITALIAN TO AKI, WHO RESPONDS IN JAPANESE, AND GESTURES BACK TOWARDS DOUG. THEY RE-ENTER THE KITCHEN.

DOUG: I could do a double set... (LOOKING AT EVE) But I think we've got a qualified singer right here...

EVE: I could... I mean, if you wanted me to, I...

DOUG: Excellent idea, Eve, why don't you sing tonight? Would that be all right?

EVE: (LOOKING AROUND THE CLUB) Well, it's not Wings, but I guess I could give it a try.

DOUG: Great! Why don't you talk to Marty and see what you can work out. Ian, help them, if they need it.

IAN: Will do, mon general. (TO EVE) Come on, let's go find Marty and get this show on the road.

IAN AND EVE WALK OFF TO FIND MARTY.

ROBERT NODS, WRITES "THANK YOU" ON A PIECE OF PAPER, AND LEAVES. DOUG HEADS BACK TO THE TABLE, WHERE JULIE IS STILL ON THE PHONE.

JULIE HANGS UP THE PHONE, AS DOUG SETTLES BACK INTO HIS SEAT AND PICKS UP HIS AS YET UNTOUCHED WINE GLASS. JULIE SMILES WANLY AT HIM, WALKS OVER, SITS DOWN AND PICKS UP HERS.

JULIE: Weathering the trials and tribulations?

DOUG: And doing rather well, at that. (RAISING HIS GLASS) To you, my love...

JULIE: And you, darling...

HOLD ON THE TWO, TOASTING AND DRINKING.

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

VERN PUTS A COMFORTING ARM AROUND JO'S SHOULDERS.

JO: And I avenged him, didn't I?

VERN: (HESITANT) I suppose...

JO: I don't know what happened to me. It was like I wasn't in control of my own actions. (BEAT) Vern, I've always considered myself a fair person... and a good person...

VERN: Yes, you are.

JO: Then, how could a fair and good person commit... murder?

VERN: Jo, don't do this to yourself. Your own son was murdered by that man.

JO: But, does that justify committing another murder? I spent plenty of time in Bayview thinking about it, and no matter what, I feel guilty... and dirty.

VERN: Jo, you've already served your time. Try not to dwell in the past. It's only going to cause you more pain. Besides, there's nobody in the world who isn't going to think that you're a kind and loving woman.

JO: Maybe. You know the saddest part of all? Nick's death doesn't change the fact that Steve is never coming back.

TEARS START TO FORM IN JO'S EYES. VERN MOVES CLOSER AND GENTLY HOLDS JO. AFTER A MOMENT, JO STRAIGHTENS UP AND WIPES HER FACE.

VERN: It's the least I can do for someone as special you.

JO PLACES THE PALM OF HER HAND ON VERN'S CHEEK. VERN SMILES AND BRIEFLY GLANCES AT THE CLOCK ON THE WALL.

JO: Don't worry about me, I'll be okay. But, you'd better go. (SMILES) I know how my son gets when you're late.

VERN: If you're sure you'll be alright.

JO: I'm sure.

VERN: Would it be okay if I come back later? I'll bring Thai for dinner.

JO: That would be wonderful. Thank you.

VERN STANDS UP AND PUTS ON HIS COAT. HE BENDS DOWN TO KISS JO. AS VERN WALKS OUT, THE PHONE RINGS. JO WAVES AS VERN CLOSES THE DOOR. JO ANSWERS, ONE-WAY.

OUT ON JO, SMILING.

ACT V

JACK AND JENNIFER'S HOUSE. JACK WALKS IN, LEAFING THROUGH THE MAIL.

JACK TOSSES HIS COAT AND BRIEFCASE ON THE SOFA AS JENNIFER WALKS IN FROM THE KITCHEN. JACK SMILES WHEN HE SEES HER. HIS SMILE SLOWLY FADES WHEN HE SEES HER EXPRESSION.

JENNIFER: (ANGRY) What's going on, Jack?

JACK: What do you mean, what's going on? What did I do now?

JENNIFER: It's what you didn't do!

JACK: Did I forget another birthday? Anniversary?

JENNIFER: It's about Carly.

JACK: Carly?

JENNIFER: After Carly died, I wanted you to write an editorial about her life. It's been nearly 10 months, and still nothing! What's the problem?

JACK SITS DOWN ON THE COUCH WHILE JENNIFER STANDS.

JENNIFER: I don't believe you anymore, Jack. You're keeping something from you. Both you and Vern.

JACK: What...

JENNIFER CUTS OFF JACK.

JACK STANDS UP AND PUTS A REASSURING HAND ON JENNIFER'S SHOULDER. SHE BRUSHES HIM OFF.

JENNIFER: I am not imagining anything! What is so difficult about writing a story about a wonderful doctor who helped a lot of people?

JACK: It's not that easy.

JENNIFER: Why?

JACK: We've run into... complications.

JENNIFER: Out with it, Jack.

JACK: I don't think I should.

JENNIFER: I think you should.

JACK WALKS OVER TO THE MANTELPIECE. HE STARES INTO THE FIREPLACE FOR A MOMENT, THEN TURNS AROUND TO FACE JENNIFER.

JENNIFER: I'll be the judge of that.

JACK STARTS TO PACE.

JENNIFER: That doesn't surprise me. She didn't want the Alamains to find her.

JACK: It's more than that. She used several aliases at the many schools she attended. At first, we did think it was because of Lawrence. But, trouble seemed to follow her wherever she went.

JENNIFER: What do you mean?

JACK: Many of her teachers, fellow students... and even roommates fell victim to strange accidents.

JENNIFER: Those could've just been coincidences.

JACK STOPS PACING AND STANDS TO FACE JENNIFER.

JENNIFER: It's not possible! Carly was a wonderful and smart person. How could you believe this? (BEAT) Unless... her school records were tampered with... And someone else could have caused all the accidents.

JACK: What are you getting at?

JENNIFER: I bet Lawrence caused the accidents and changed the school records.

JACK: (SHAKING HIS HEAD) I'm sorry. I'd love to blame everything on Lawrence, but I'm afraid there's more.

JENNIFER: What else?

JACK: I'm not the only one who has found inconsistencies and lies in Carly's past. The Salem PD is currently conducting an investigation on Carly. There are some Interpol files...

JENNIFER: Interpol? But...

JACK: There's more...

JACK PICKS UP HIS BRIEFCASE AND OPENS IT. HE PULLS OUT A FILE AND HANDS IT TO JENNIFER. SHE SITS ON THE COUCH AND BEGINS READING. AFTER A MOMENT, SHE LOOKS UP, IN SHOCK.

HOLD ON JENNIFER'S SHOCK.

CUT TO: DONOVAN LIVING ROOM. SHANE IS SEATED IN HIS CHAIR, READING A BOOK, WHEN WE HEAR THE DOORBELL. SIMMONS ENTERS WITH JANET.

SHANE: Thank you, Simmons. Captain Yamada, do come in. (MOTIONING TOWARD THE COUCH) Shall we sit down?

JANET: Certainly.

SHANE: Would you like anything to drink? Simmons can brew some Earl Grey...

JANET: No, I'm fine, thank you.

SIMMONS NODS AND DISCREETLY EXITS. SHANE SITS DOWN IN HIS CHAIR. JANET SITS ON THE COUCH.

JANET: I am a bit anxious. And very curious.

SHANE: About what, pray tell?

JANET: The I.S.A.'s investigation of Lawrence Alamain.

SHANE: (BITTERLY) Oh, that...

JANET: Not a fond memory, Captain Donovan?

SHANE: No, not fond at all. What little there is...

JANET: What do you mean?

SHANE: I was pulled off of the case just when it started to get interesting.

JANET: I see. John Black and Abe Carver said the same thing.

SHANE: Yes, well, the I.S.A. tends to wrest control away from the locals.

JANET: But why were you taken off the case?

SHANE: I was put on another that was deemed to be of greater "international significance" by the powers that be.

JANET: I see. That's all they told you?

SHANE: Yes. I wasn't happy, but... it's bad form to question such decisions.

JANET: You don't think it was dropped, do you?

SHANE: I doubt it. If Alamain's not in prison, then the investigation is probably still ongoing.

JANET: Did you ever check up on it, to see how it was progressing?

SHANE: I did, once. However, such extra-curricular activity is generally frowned upon. (BEAT) Then, I was out of commission for quite a while after being disabled in that gallery explosion... But, I digress. I'm sorry I can't tell you more about the Alamain investigation.

JANET: So am I. (BEAT) This may be out of line, but...

SHANE: But, what?

JANET: Do you think you could ask around, find out what the I.S.A. knows?

SHANE: Hmmm... I could probably talk to some people I know.

JANET: I'd appreciate it. (BEAT) Perhaps the I.S.A. has some information that they could release to the Salem P.D., since we already have Alamain in custody.

SHANE: It's possible. I'll do some checking and see what I can find for you.

JANET: Thank you, Captain. I'm grateful.

SHANE: (SMILING) Don't thank me yet. Let's see if I can actually help, first.

JANET: Either way, I appreciate your willingness to cooperate.

SHANE: My pleasure. (BEAT) If and when I have some more information for you, perhaps we could discuss it over dinner?

JANET: (SURPRISED) Well, I... (BEAT) Yes, that would be fine.

SHANE: Very good.

JANET: In the meantime, I'm going to go ahead and file the burglary charges against Alamain. We'll follow through on those charges for now.

SHANE: Hopefully, we'll soon find something more.

JANET: Yes. Hopefully, we will.

OUT ON JANET.

ACT VI

JACK AND JENNIFER'S LIVING ROOM. JENNIFER IS SEATED ON THE COUCH, LOOKING AT THE CONTENTS OF A FILE FOLDER IN SHOCK AND DISBELIEF. JACK ENTERS FROM THE KITCHEN, CARRYING A CUP OF TEA. HE WALKS TO THE COUCH AND HANDS THE CUP TO JENNIFER.

JENNIFER: (TAKING THE CUP) Thank you.

JENNIFER TAKES A SIP OF THE TEA AND SETS THE CUP DOWN ON THE TABLE. JACK SITS DOWN NEXT TO HER.

JENNIFER: It is. I mean, I thought she was my best friend. I mourned her death. (BEAT) Now, I'm not even sure who Carly Manning was.

JACK: I knew it would be difficult for you to accept. That's why I didn't tell you everything right away. I wanted to be sure. I wanted to have proof.

JENNIFER: (TURNING TO LOOK AT JACK) I know. (BEAT) I'm not sure I would have done the same thing in your position, but I do understand why you kept it from me.

JACK: I knew how much it would hurt you. I wanted to protect you from that as long as I possibly could.

JENNIFER: That's sweet, Jack, but you knew I'd find out, didn't you?

JACK: Yes, I knew.

JENNIFER: I guess... I guess I'm glad that I heard it from you...

JACK: I'm glad, too.

JENNIFER: Even if I had to drag it out of you.

JACK: Well, I was a bit hesitant. You know what they say, about killing the messenger, and all that...

JACK SMILES. JENNIFER IS NOT AMUSED.

JENNIFER IGNORES HIS COMMENT AND TURNS TO LOOKS AT THE FILE AGAIN.

JACK: I think there were many Carly Mannings, capable of a myriad of things.

JENNIFER, VISIBLY UPSET, DROPS THE FILE ON THE COFFEE TABLE.

JENNIFER: (TERSELY) No. I'm not all right. I would have trusted Carly with my life, and now I don't know whether or not she ever cared about me. (BEAT) Do you know what the worst part is?

JACK: What?

JENNIFER: (ANGRILY) She's gone. She's gone and I'll never have the chance to confront her with this. I'll never be able to ask her, face to face, if the friendship that I depended on for so many years was nothing more than a lie.

JACK: (DISTANTLY) Yes, death does seem to come at the most inconvenient times. (BEAT) So many things left unresolved...

JENNIFER: What is that supposed to mean?

JACK: Nothing.

JACK GETS UP AND WALKS OVER TO THE END TABLE NEAR THE STAIRS.

JENNIFER STANDS UP.

JACK: Yes... (LOOKING AT THE PHOTOS ON THE TABLE)

JENNIFER: You are not. I'm trying to deal with the fact that the woman I thought of as my best friend was lying to me for years, and you're acting like it doesn't matter.

JACK PICKS UP A FRAMED PICTURE OF HIMSELF AND STEVE AS CHILDREN.

JACK, THE PICTURE STILL IN HIS HANDS, TURNS AROUND.

JENNIFER: You haven't heard a word...

JENNIFER'S VOICE TRAILS OFF AS SHE SEES THE PICTURE JACK IS HOLDING. SHE PUTS HER HAND TO HER MOUTH.

JENNIFER WALKS OVER TO JACK AND PUTS HER ARMS AROUND HIS WAIST. HE PUTS HIS ARMS AROUND HER, THE PICTURE STILL IN HIS HAND.

JACK: That's all right. I understand.

JENNIFER: You miss him, don't you? I know you don't like to admit it...

JACK: You're right. I don't like to admit it. (BEAT) And I do miss him. I miss him very much.

JENNIFER: I'm sorry .

JACK: I'm sorry, too. I'm sorry about the bad blood that ran between us for so long.

HE HOLDS UP THE PICTURE AND LOOKS AT IT.

JACK SQUEEZES JENNIFER TIGHTLY AND CLOSES HIS EYES. HOLD ON JACK.

CUT TO: ALLEYWAY/ONE OF SALEM'S SEEDIER NEIGHBORHOODS. THERE ARE SEVERAL DERELICT CARS AND PILES OF TRASH ON THE STREET. WE SEE A RUSTY AND DECREPIT-LOOKING VAN, PARKED OUTSIDE A RUN-DOWN HOUSE. INSIDE, WE FIND BO AND BOB, WITH SURVEILLANCE EQUIPMENT AROUND THEM, CAMERAS FOCUSED ON THE FRONT DOOR OF A HOUSE ACROSS THE STREET.

BO: It'd better work. I can think of better ways to catch creeps than by playing "Candid Camera" with them...

BOB: Welcome to the glamorous world of undercover work, Bo...

BO: Thanks. I don't think I've ever been this bored in my life. (TAPPING HIS FOOT)

BOB: Well, you won't be bored in a minute, because you'll be figuring a way to get your legs untied, after I tie them together to keep you from tapping your damn foot!

BO: Oh, I'm so sorry, Bob. But it's the only exercise I think I'll be getting tonight...

BOB: If you're lucky, Bo. If you're lucky...

BO FIDGETS NERVOUSLY, STILL TAPPING HIS FOOT. BOB GLARES AT HIM. BO STOPS, BUT THEN STARTS CRACKING HIS KNUCKLES. BOB REACHES OVER AND TAPS BO'S KNUCKLE WITH THE PENCIL HE'S HOLDING. BO IS ABOUT TO REACT, WHEN HE SEES ACTIVITY OUTSIDE. HE MOTIONS TO BOB, WHO QUICKLY GETS SEVERAL PICTURES OF THE SUSPECT BEFORE HE'S LET INSIDE. BO GROANS IN DISGUST.

BO: You're damn right I am. We should be arresting these SOB's, not taking their stupid picture! We have at least two of them... let's go in and bust them!

BOB: (SLOWLY) Go right ahead...

BO: You mean it? I can go take those guys out?

BOB: Sure. And then, after Yamada chews your butt out from here to Detroit, and throws you off the force for blowing a potentially vital undercover operation, you can get a job at Burger King making fries and never be bored again! You got it?

BO: Oh. (BEAT) Okay, so you have a point. But I hate sitting around waiting. It seems like that's all I do anymore. Wait for them to find evidence to get Larry Alamain for killing Carly. Wait for whenever it will be that losing her doesn't gnaw at me... Wait for something to get through to Shawn-Douglas and help him...

BOB: (MORE GENTLY) It's bad with your boy?

BO: He hasn't had a decent night's sleep in weeks. When he's not crying or withdrawn, he's throwing a tantrum. And there's nothing else I can do to help. Nothing...

BOB: So it's hard for you to sit here with even more nothing else to do?

BO: Exactly. Helpless again...

BOB: But you're there for Shawn-Douglas, right? You're there for support, and love?

BO: Of course...

BOB: And you're here to help? In case something went wrong, you'd be here to back me up, right?

BO: Yes...

BOB: Then, can't you see that you are doing something? Taking action isn't always fixing the problem directly. Sometimes, it's knowing when the best help you can be is just to be there.

BO NODS. HOLD ON THE TWO MEN.

CUT TO: EUTERPE. JULIE AND DOUG ARE AT THEIR TABLE, FINISHING DINNER.

DOUG: I'm glad our supplier is so service-oriented. I shudder to think what might have happened if we weren't able to get more in time.

THEY BOTH LAUGH.

DOUG: How so?

JULIE: It felt like I was neglecting you, when Midsummer was in the midst of the printing crisis. And before that, it was staffing, and after, getting the next few issues organized. I haven't been around much.

DOUG: Well, that's true, but it's your job. And you love it.

JULIE: True. But I love you more, and I don't want you to doubt that.

DOUG: I don't. But it did get me thinking... I'm considering finding myself a hobby...

JULIE: A hobby? Isn't the club...

DOUG: The club is, to some extent, my hobby; it's also my job. But it really doesn't keep me busy enough.

JULIE: Even after tonight?

DOUG: You saw what happened. Ian solved the receipt problem by deciphering Jasmin's handwriting, Eve's singing for Robert... with those two for assistants, there's not much that they can't take care of...

JULIE: You're not giving up Euterpe completely, are you?

DOUG: Oh, hardly. I enjoy being here, singing every once in a while, being in charge. But it doesn't completely occupy my time. So, I'm going to start thinking about a hobby.

JULIE: Well, darling, I think that could be a wonderful idea. Just so long as you remember... I intend to be your number one hobby, now and forever!

DOUG: No chance of me forgetting that, Fair Lady! You are my hobby, my diversion, my dearest and our relationship is my life's great work!

JULIE SMILES, AND LEANS OVER TO PASSIONATELY KISS DOUG. IAN NOTICES THIS, AND SUBTLY CHANGES THE MUSIC TO A SLOW-DANCE TUNE. THEIR KISS ENDED, DOUG STANDS AND GALLANTLY OFFERS HIS HAND TO JULIE, WHO TAKES IT WITH AN ADORING LOOK. THE TWO BEGIN TO DANCE, VERY CLOSE. OUT ON DOUG AND JULIE, ROMANTICALLY DANCING.

ACT VII

SALEM CEMETERY. WE SEE STEVE'S GRAVESTONE. THE SILENCE IS BROKEN BY THE SHUFFLE OF APPROACHING FOOTSTEPS. WE SEE THE FEET AS THEY REACH STEVE'S GRAVE. A SOMBER JACK IS REVEALED TO US.

HE LAYS A SMALL BOUQUET OF FLOWERS ON THE GRAVE, NEXT TO THE FLOWERS LEFT BY KAYLA AND STEPHANIE. THERE IS ALSO A LARGE BOUQUET FROM ADRIENNE.

HE SHOVES HIS HANDS INTO HIS POCKETS.

HE GRINS SLIGHTLY.

HE LOOKS BACK DOWN AT STEVE'S GRAVE.

JACK BEGINS TO PACE, WALKING AROUND THE GRAVE, FROM ONE SIDE TO THE OTHER, AS HE TALKS.

FEELING THE CHILL, HE PAUSES TO TURN UP THE COLLAR OF HIS COAT.

HE KNEELS DOWN.

HE LOOKS DOWN AT THE GROUND.

HE PAUSES, TAKING A DEEP BREATH.

HE STANDS UP AND BEGINS PACING AGAIN.

HE STOPS PACING.

HE PAUSES AND LOOKS UP TOWARD THE SKY.

HE TURNS TO LEAVE, BUT THEN QUICKLY TURNS BACK.

HE SMILES WRYLY.

HOLD ON JACK'S SMILE.

CUT TO: BRADY HOUSE/GUEST ROOM. CAROLINE IS TUCKING AN OBVIOUSLY TENSE SHAWN-DOUGLAS INTO BED, TRYING TO SOOTHE HIM AS BEST SHE CAN.

SHAWN-D: No thanks.

CAROLINE: Do you want the radio on?

SHAWN-D: No.

CAROLINE: All right, dear. I'll leave the hall light on like always. You'll call me if you need anything, right?

SHAWN-DOUGLAS TURNS OVER IN BED, HIS BACK TO CAROLINE. SHE REACHES OUT TO SMOOTH HIS HAIR BUT PULLS BACK.

CAROLINE: Goodnight, sweetheart.

CAROLINE LEAVES THE ROOM. WE SEE THE BESIDE CLOCK SHOWING 10:00 P.M. WE SEE THE TIME CHANGE. THE BEDSIDE CLOCK SHOWS ONE HOUR HAS PAST. SHAWN-DOUGLAS IS SLEEPING HEAVILY. WE SEE THE TIME CHANGE. THE BEDSIDE CLOCK NOW SHOWS 2:00 A.M. SHAWN-DOUGLAS IS RESTLESS. FADE INTO: SHAWN-DOUGLAS DREAM. HE IS STANDING ON THE DECK OF BO'S BOAT, IT IS VERY DARK. BO AND CARLY ARE EMBRACING ON THE DOCK. OUT OF THE DREAM, WE SEE SHAWN-DOUGLAS IN BED, TOSSING AND TURNING, TEARS STREAMING DOWN HIS FACE.

BACK TO SHAWN-DOUGLAS' DREAM: A GUN SHOT IS HEARD AND BO AND CARLY FALL DOWN. OUT OF THE DREAM AS WE SEE SHAWN-DOUGLAS IN BED, WAKING UP WITH A START.

SHAWN-DOUGLAS HUGS HIS KNEES AND BURIES HIS FACE, SOBBING. WE HEAR "EVERYBODY HURTS" BY R.E.M. BEGIN TO PLAY. SHAWN-D SITS UP, WIPES HIS FACE, THEN GETS OUT OF BED. HE WALKS OVER TO THE BEDSIDE CHAIR AND PULLS ON HIS JEANS AND SWEATSHIRT OVER HIS PAJAMAS. HE PICKS UP HIS KNAPSACK FROM THE FLOOR AND PUTS IN A FEW BOOKS AND TOYS. HE HESITATES AND THEN GOES TO THE CLOSET AND PUTS IN A BASEBALL CAP AND A SWEATER. HE GOES TO THE DRESSER AND REMOVES SOME CANDY FROM A DRAWER AND PUTS IT IN THE KNAPSACK AS WELL. HE LOOKS AROUND ONE LAST TIME AND THEN CRAWLS OUT THE WINDOW ONTO THE ROOF. OUT ON THE OPEN WINDOW. FADE TO BLACK.

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