ALT.DAYS

Episode #43

An ALT.DAYS Production,
A Division of Peel Productions, Inc.
Air Date: March 15, 1994
Time: The Day After #42,
Morning to Afternoon

Copyright 1995

TEASER

SMALL NURSES' STATION / LOUNGE. MARCUS IS HANDING A STACK OF PATIENT'S CHARTS BACK TO THE DUTY NURSE WHEN THE ELEVATOR DOORS OPEN, AND IAN EMERGES.

MARCUS: Ian!

MARCUS AND IAN SHAKE HANDS.

IAN: It's like the Marines say, I'm looking for a few good... doctors.

MARCUS LAUGHS.

MARCUS: I think I can handle that. Any particular specializations that you need?

IAN: A good General Practitioner is tops on my list, but I'll eventually need an ophthalmologist, allergist, and dentist.

MARCUS: Tell you what... I'll make up a list of names, and drop it off at Euterpe for you.

IAN: Thanks, Marcus. I really appreciate it.

MARCUS: No problem. Anything else?

IAN: Do you have time for a coffee break?

MARCUS: Only if you're buying...

IAN AND MARCUS BOTH LAUGH. MARCUS DIRECTS IAN INTO THE LOUNGE, WHERE THEY EACH GET SOME JUICE. THEY THEN SIT AT THE TABLE.

MARCUS RAISES HIS JUICE CUP TO TAKE A DRINK.

HOLD ON MARCUS, HIS JUICE CUP SUSPENDED IN MID-AIR.

CUT TO: BRADY PUB. JULIE AND DOUG ARE SITTING AT THE BAR, AS CAROLINE AND SHAWN STAND BEHIND IT, FIXING COFFEE AND VARIOUS BREAKFAST ITEMS. THERE IS A LARGE "CLOSED" SIGN ON THE DOOR, ALTHOUGH THE DOOR IN PROPPED OPEN. IT IS OBVIOUS THE GROUP HAS BEEN THERE ALL NIGHT.

JULIE: Thank you, Caroline.

JULIE AND DOUG SIP THEIR COFFEE.

SHAWN: Maybe Bo's right and Alamain took 'im.

CAROLINE: Shawn, don't even think that. A bag was packed. We all know how upset Shawn-D has been...

DOUG: So you think he ran away?

CAROLINE: I don't know...

JULIE: What did Dr. Ector say? He must have some idea of what Shawn-D might do...

DOUG: Dr. Ector...

JULIE: Did anyone call him?

DOUG: I will, right now.

DOUG STANDS AND GOES TO THE PHONE. WE DO NOT HEAR HIS CONVERSATION. AS DOUG CROSSES TO THE PHONE, CARRIE, JONAH, ABE AND LEXIE WALK IN.

SHAWN: None...

LEXIE: Then what can we do to help?

CAROLINE: We're not sure. Bo has talked to the police.

JULIE: Basically, everyone is out looking and we're holding down the fort... acting as a base of operations, if you will...

ABE: What did Roman say?

CAROLINE: No one's called him yet. We didn't want to worry him. But maybe now... Carrie?

CARRIE: I'll call Dad and Marlena...

DOUG JOINS THE GROUP AS CARRIE CROSSES TO THE PHONE.

DOUG: Just that the boy has been extremely upset. He thinks he might have been distraught enough to run away...

JULIE: Then why haven't we found him yet?

CAROLINE: I agree with Julie. If he ran away, we would have found him by now...

SHAWN: Now darlin', try and stay calm...

CAROLINE: Stay calm? How many more times must I go through this? The twins, Carrie, Stephanie... I can't take it any more...

SHAWN: (PUTTING HIS ARM AROUND HER) Caroline, you've got to be strong...

CAROLINE: I don't want to be strong. I want to know why this keeps happening to the Bradys. I want my grandson. (SHE BEGINS TO CRY)

SHAWN: Shh... darlin', don't cry. Shawn-Douglas will be all right... He has to be...

HOLD ON THE WORRIED GRANDPARENTS.

CUT TO: ALLEYWAY. SHAWN-DOUGLAS, LOOKING COLD AND BEDRAGGLED, IS WALKING SLOWLY ALONG THE EDGE OF A BUILDING. HE LOOKS BOTH WAYS TO MAKE SURE THAT NO ONE SEES HIM BEFORE CROSSING THE STREET. AS HE STARTS TO CROSS, A LARGE DOG APPEARS AND BEGINS TO BARK AT SHAWN-DOUGLAS. THE FRIGHTENED CHILD RETREATS BACK INTO THE ALLEYWAY AND HIDES BEHIND A DUMPSTER. HOLD ON SHAWN-DOUGLAS' TEARS.

CUT TO: JANET'S OFFICE. JANET AND MORGAN ARE GOING THROUGH SOME PAPERWORK.

MORGAN: Five robberies in eleven days within a six block radius, all with the same exact M.O.? It looks like one busy burglar...

THE DOOR TO THE OFFICE FLIES OPEN, AND BO CHARGES IN.

MORGAN: Brady, you have been told about pulling stunts like this.

BO: It's urgent.

JANET LOOKS AT BO, AND SEES THE FEAR IN HIS EYES.

BO: Yes... We still haven't found him. I'm sure he's been kidnapped.

OUT ON BO'S PANIC.

ACT I

SMALL NURSES' STATION/LOUNGE. MARCUS PUTS DOWN HIS CUP AND STARES AT IAN IN SHOCK. IAN, UNCONCERNED, CONTINUES DRINKING HIS JUICE.

IAN: Eve's mentioned him a few times. Everyone else seems to have the same reaction you do. What's the big mystery about the guy?

MARCUS: Look, Ian, I don't want to tell you who to hang around with. Far from it. But I'd watch out for Eve, if I were you. She can be trouble.

IAN: People have said that about me, too. So what?

MARCUS: I'm not talking let's-have-some-fun-trouble, it's a little more involved than that. You don't know her that well... Be careful.

IAN: Thanks for the warning, Marcus, but I prefer to judge someone's character by what I see and how that person treats me.

MARCUS: With Eve, what you see isn't necessarily what you get. She's good at playing games.

IAN TAKES ANOTHER DRINK OF JUICE AND SHRUGS.

HOLD ON IAN'S GRIN.

CUT TO: JOHN'S BATHROOM/BEDROOM. JOHN IS STANDING IN FRONT OF THE MIRROR SHAVING WHEN NICHOLAS BURSTS INTO THE ROOM. JOHN JUMPS, BUT MANAGES NOT TO CUT HIMSELF.

JOHN: (CONTINUING TO SHAVE) I am too, Nikki.

NICHOLAS: Did you know those stairs go right up to the roof? You can see forever!

JOHN RINSES HIS FACE AND HEADS INTO THE BEDROOM. HE STARTS LOOKING IN THE CLOSET. NICHOLAS GOES ALL THE WAY INTO THE CLOSET.

NICHOLAS: (MUFFLED) Cool!

NICHOLAS COMES OUT OF THE CLOSET WITH A YANKEES BASEBALL SHIRT HALF OVER HIS HEAD. HE CAN'T SEE WHERE HE'S GOING AND BUMPS INTO JOHN, WHO'S GOT ONE ARM IN HIS SHIRT. JOHN, AMUSED AND EXASPERATED GRABS NICHOLAS JUST AS HE'S ABOUT TO CRASH INTO A CHAIR.

NICHOLAS: Why don't you wear this today? Can we go to a baseball game together?

JOHN TUGS THE SHIRT OVER NICHOLAS' HEAD.

NICHOLAS: What about going to a game?

JOHN: When the season starts. Okay? Right now, I've got to get to work. (SEEING NICHOLAS' CRESTFALLEN EXPRESSION) Come on, help me pick out a tie.

NICHOLAS GOES TO THE TIE RACK AND IMMEDIATELY PULLS OUT A BRIGHTLY PATTERNED FLORAL TIE.

JOHN SWITCHES THE FLORAL FOR A MUTED PAISLEY. AS JOHN CROSSES TO THE MIRROR, NICHOLAS FOLLOWS HIM AND STARTS MOVING THINGS AROUND ON THE DRESSER.

JOHN STOPS TYING THE TIE AND LEAVES IT HANGING AROUND HIS NECK. HE TAKES THE WATCH FROM NICHOLAS AND PUTS IT ON. HE SITS DOWN ON THE BED TO PUT ON HIS SHOES. NICHOLAS TAKES A RUNNING LEAP ONTO THE BED AND BEGINS BOUNCING ON IT. JOHN ROLLS HIS EYES AND STARTS TO LAUGH SILENTLY, SURRENDERING TO NICHOLAS' YOUTHFUL ENTHUSIASM.

JOHN: I'm glad, Nikki. Brady likes you, too.

THERE IS A SOFT KNOCK AT THE DOOR AND IVAN ENTERS.

HOLD ON JOHN'S RAISED EYEBROW.

CUT TO: JANET'S OFFICE. JANET AND BO ARE TALKING. IN PROGRESS.

BO: No.

JANET: Then, how can you be sure? Yesterday you thought he'd run away. Have you found witnesses or signs of a struggle?

BO: No, nothing like that. My son is missing, dammit!

JANET: There's a huge difference between a missing child and a kidnapped one. What makes you think your son has been abducted?

BO: Because Lawrence Alamain was released on bail the same day that my boy vanished!

JANET: I'm afraid I don't see the connection. What are you trying to get at, Brady?

BO: I believe that Alamain hired someone to kill Carly. Now that he knows we're closing in on him, I bet he's trying to tie up all the loose ends by eliminating the only witness: Shawn-Douglas.

JANET: Interesting, but you have no concrete evidence on the murder or your son's disappearance.

BO: All I know is that my son is missing, and if there's anything that can tie Lawrence to this, I think it's worth a shot. Come on, Captain, I'm at my wit's end here!

JANET: I'm sorry, Brady, I know how tough this is for you.

BO: I just want my son home, safe and sound.

JANET: I know... (BEAT, AS SHE THINKS) Tell you what... Shawn-Douglas has now been officially missing nearly 24 hours. Although everything you've just told me is purely circumstantial, I don't think it would hurt to question Alamain... maybe rattle his cage a little...

BO: Thanks, Captain.

JANET: No thanks necessary. I want to find your son, too.

BO NODS. AS HE TURNS TO LEAVE THE OFFICE, JANET STOPS HIM.

BO: Yes, I do. I may be a hothead...

JANET GIVES HIM A LOOK.

JANET: Good...

BO: But could you do me a favor and let me know what you come up with?

JANET: Of course. And, Brady, hang in there... We will find your son.

BO: I hope you're right, Captain. I pray you're right...

OUT ON BO'S WORRY.

ACT II

JOHN'S BEDROOM/HALLWAY. JOHN, NICHOLAS, AND IVAN ARE STANDING NEAR THE DOORWAY. IN PROGRESS.

NICHOLAS GIGGLES, WHILE IVAN LOOKS OFFENDED.

IVAN TURNS TO LEAVE THE ROOM, BUT JOHN STOPS HIM.

IVAN: I thank you for your kindness. However, I have earned my living for as long as I can remember, and I am not about to start freeloading now.

JOHN: (SIGHS) You really don't have to do anything. But, if you'd like, you can take Nikki downstairs and fix him some breakfast.

IVAN: Although I like to dabble, cooking is not my forté, but I will do it, for you and for Nicholas.

AS IVAN AND NICHOLAS LEAVE THE BEDROOM, JOHN SILENTLY BANGS HIS FIST IN THE AIR. IVAN CLOSES THE DOOR, AS HE AND NICHOLAS EXIT TO THE HALLWAY.

NICHOLAS: How about some pancakes?

NICHOLAS AND IVAN HEAD DOWN THE STAIRS. BACK IN JOHN'S BEDROOM, JOHN IS TYING HIS TIE IN FRONT OF THE MIRROR. HE CHECKS HIMSELF OUT IN THE MIRROR AND PASSING INSPECTION, PICKS UP HIS JACKET AND PUTS IT ON. HE REACHES THE BEDROOM DOOR, JUST AS VIVIAN IS ABOUT TO STORM INSIDE.

VIVIAN: Just what do you think you're doing?

JOHN: Getting ready for work.

VIVIAN: No! Why are you forcing Ivan to cook?!

HOLD ON JOHN'S SURPRISE.

CUT TO: SMALL NURSES' STATION/LOUNGE. MARCUS AND IAN. IN PROGRESS.

IAN: Come on, Marcus... she's just a kid, really, can't be more than her mid-twenties. How could she possibly be that bad?

MARCUS: It's the past, man, a long time past. I kinda hate to dredge up all that old stuff again.

IAN: I understand. But I like Eve, and I want to help her get over this, whatever it is. So tell me, why is she still so hung up on Nick?

MARCUS: It's hard to talk about Nick without discussing Eve... they sort of go together...

IAN: Because they were in love?

MARCUS: Who told you that?

IAN: Eve did. Why?

MARCUS: It was a little... different than that. At least in the beginning. (SIGHS RELUCTANTLY) All right... Nick was a pimp. And Eve worked for him.

IAN: Eve was a...

MARCUS: A prostitute. A hooker. Yeah.

IAN: A what? Man... That's not at all what I expected...

MARCUS: What did you expect?

IAN: Some grand affaire du coeur... star-crossed lovers, the whole lost romance thing...

MARCUS: Maybe it was that, too. I really don't know all the gory details. Now Steve... Steve knew a lot more...

IAN: Steve, your friend from childhood? Kayla's late husband?

MARCUS: Yeah. Steve knew Nick, took him in for a while, when he needed help. Steve was like that...

IAN: Yeah, from what you've said, I'm real sorry I never got to meet Steve. But back to Eve... what else do you know?

MARCUS: Eve is the daughter of Shane Donovan, and Gabrielle Pascal, two ISA agents. Gabrielle kept Eve's existence to herself. Shane didn't even know about Eve until she came to town, around '87...

IAN: Where had Eve been?

MARCUS: With foster parents. Not great ones, from what little I know. Eve came to Salem to find her father, and pretty much fell in with a bad crowd. Like Nick.

IAN: So Eve got involved with Nick, and started hooking for him?

MARCUS: From what I can remember. Shane, and his wife, Kimberly Brady Donovan, finally helped get her out of the business, but...

IAN: She straightened out, right? I mean, you do things when you're young that you look back on and think... "What in the world was I doing?"

MARCUS: Well, most of us do, but Eve seems destined to fall in with "wrong crowds."

IAN: More "wrong" than a pimp?

MARCUS: After quitting the streets, Eve got involved withe some BMOC types at High School. They convinced her to set up Nick for a big drag race. There was an accident, and she thought she'd killed Nick.

IAN: But he wasn't dead?

MARCUS: No... this was when Steve helped him out. He was badly burned, but alive. I ended up doing the reconstructive surgery on him.

IAN: What a story!

MARCUS: And that's not all...

HOLD ON IAN'S LOOK OF AMAZEMENT.

CUT TO: JACK'S OFFICE. THE DOOR IS OPEN. JACK IS WORKING ON THE FINAL VERSION OF THE CARLY STORY. VERN IS READING THE DRAFT PRINTOUT.

JACK: You don't know what, Vern? The winning lottery numbers? How the Cubs will do this year? Why the Bodyguard Soundtrack won the Grammy for best album?

VERN: (GLARING AT JACK) I don't know if running this story is a good idea.

JACK: It's a great story, Vern. You know that. (BEAT) Now, spellcheck... (JACK LOOKS AT THE KEYBOARD) Control-F2, then 3 to check the whole document.

VERN: I'm still worried, Jack.

JACK: You worry too much, Vern. There's no reason not to run this story. Jennifer and Bo have been told. It's not a pretty truth, but the world deserves to know about it.

JENNIFER: (WALKING THROUGH THE DOORWAY) The world deserves to know the truth about what, Jack?

OUT ON JENNIFER'S QUESTIONING LOOK.

ACT III

SMALL NURSES' STATION/LOUNGE. MARCUS AND IAN, IN PROGRESS.

MARCUS: More than you could possibly imagine.

IAN: Tell me. I want to know it all.

MARCUS: Eve's been kidnapped, nearly raped by a violent john, and had her faced slashed by the so-called Salem Knifer.

IAN: I don't know what to say. The Salem Knifer?

MARCUS: Don't ask. It's a long and ugly story...

IAN: Poor Eve... She's suffered so much... (BEAT) But how did the Eve/Nick story end?

MARCUS: Nick was shot and killed... by Steve's mother, Jo Johnson.

IAN: Jo Johnson? Why? What happened?

MARCUS: (SOFTLY) Because Nick killed Steve...

IAN: Oh, man, Marcus, I'm sorry. I didn't mean to bring up all these bad memories. But I don't understand... how could Eve love a killer?

MARCUS: I don't know. How could Nick kill a friend?

IAN: You tell me, you knew them...

MARCUS: I... Steve and Nick were friends... Nick gave Steve and Kayla their house. Nick paid for plastic surgery for a kid that Steve was helping. He seemed like a pretty good guy, after all the pimp business was over.

IAN: What happened to him?

MARCUS: He changed, I guess. Maybe he was forced back into the whole crime thing, maybe he got tired of going straight. We'll never know for sure now...

THE TWO ARE SILENT FOR A MOMENT, BUT THE QUIET IS INTERRUPTED BY A PAGE FOR "DR. HUNTER".

IAN: Yeah. Thanks, Marcus.

MARCUS LEAVES, AS IAN CONTINUES TO SIT IN THE LOUNGE.

HOLD ON IAN'S DETERMINATION.

CUT TO: JOHN'S LOFT. VIVIAN AND JOHN ARE WALKING DOWN THE STAIRS. VIVIAN IS VISIBLY UPSET.

VIVIAN: Even if he did offer, I won't have him tiring himself when he should be recuperating from his ordeal with Lawrence.

VIVIAN AND JOHN REACH THE KITCHEN, WHERE IVAN IS PREPARING BREAKFAST FOR NICHOLAS. THE KITCHEN IS A MESS. FLOUR IS SPRINKLED EVERYWHERE, ESPECIALLY ON IVAN'S FACE. TWO EGGS ARE CRACKED ON THE FLOOR. PANCAKE BATTER IS SPLATTERED ON THE COUNTER. ON ONE PLATE, SITS A STACK OF BURNT PANCAKES. NICHOLAS SITS ON THE COUNTER NEXT TO THE PLATE, AS IVAN ATTEMPTS TO POUR THE BATTER ONTO A SKILLET.

VIVIAN: What on earth?!

IVAN AND NICHOLAS TURN TO SEE A SURPRISED VIVIAN AND JOHN.

VIVIAN: No, thank you. Nikki, get off the counter. You know it's not proper.

NICHOLAS JUMPS OFF THE COUNTER, AND LANDS ON ONE OF THE SMASHED EGGS ON THE FLOOR.

JOHN: Let's see if we can clean up some of this mess.

IVAN: I apologize for the mess, sir. I am not usually required to make pancakes.

JOHN: It's all right, Ivan. Why don't you take a break and clean yourself up.

JOHN TAKES OFF HIS JACKET, AND GRABS A SPONGE FROM THE SINK.

NICHOLAS: The pancakes!

JOHN RUSHES TO TURN OFF THE STOVE.

JOHN: Hey Nikki, why don't you have some cereal instead. We'll do pancakes tomorrow.

IVAN GRABS A TOWEL AND STARTS BRUSHING HIMSELF OFF. HE AND VIVIAN HEAD INTO THE LIVING ROOM.

VIVIAN TAKES A FINGER AND LIFTS IVAN'S HEAD UP.

IVAN: Such as hiding bodies, arranging escapes, and spying?

VIVIAN: (SMILING) Exactly. Ivan, you're the perfect man about the house for this discerning hostess.

IVAN SNEEZES WHEN SOME OF THE FLOUR FROM HIS FACE BEGINS TO TICKLE HIS NOSE. AS HE SNEEZES, PUFFS OF FLOUR FLY OFF OF HIM. VIVIAN LAUGHS. HOLD ON THE TWO.

CUT TO: BRADY PUB. SHAWN AND CAROLINE ARE PACING NERVOUSLY. JONAH, ABE, AND LEXIE ARE SEATED AT A TABLE, TALKING. DOUG AND JULIE ARE SEATED IN THE ADJOINING BOOTH. CARRIE IS TALKING ON THE PHONE AT THE BAR, ONE-WAY.

CARRIE HANGS UP THE PHONE AND WALKS OVER TO SHAWN AND CAROLINE, WHO ARE NOW STANDING TALKING TO DOUG AND JULIE.

CARRIE: He and Marlena wanted everyone to know that we're in their prayers, and they said to let them know when Shawn-D turns up, or if there's anything they can do. (BEAT) Dad said he'd be out on the next plane if we need him.

SHAWN: God bless 'im. I don't think we need anythin' that drastic just yet. I think if we wait a little while longer, there's a good chance the lad will come home on his own.

DOUG: I hope you're right, Shawn.

JULIE: Do you really think there's a chance of that happening?

DOUG: Yes, I do. He's been through a terrible ordeal, and I've seen what it's done to him. He's a very disturbed little boy.

CAROLINE SITS IN THE BOOTH WITH DOUG AND JULIE. SHAWN PULLS UP A CHAIR. CARRIE SITS NEXT TO JONAH.

DOUG: I think that's the most logical explanation. He's got so much hurt and anger locked up inside. He doesn't know how to deal with it, so I think he's trying to run away from it.

JULIE: I hope you're right, darling.

LEXIE: This is so frustrating. I feel so helpless.

ABE: (PUTTING HIS HAND ON LEXIE'S) We all do.

JONAH: There has to be something we can do...

THE FRONT DOOR OPENS AND MORGAN ENTERS. EVERYONE QUICKLY TURNS TO SEE WHO IT IS.

ABE: Hey, Morgan. What brings you here?

MORGAN: (HOLDING UP A STACK OF FLIERS) Shawn-Douglas Brady.

CARRIE: What are those?

MORGAN: Fliers. Bo told us what happened. Almost everyone in the department is pitching in to help. We got a photo from Bo and had these fliers printed up. All the beat cops are passing them out. A lot of the detectives are helping, too.

SHAWN: I think that's a grand idea. Thank you.

CAROLINE: We appreciate the help. Please pass along our thanks to all the officers.

MORGAN: Will do. We could use some help passing out these fliers. Any volunteers?

CARRIE: Yeah, me!

JONAH: Me, too!

ABE AND LEXIE LOOK AT EACH OTHER.

MORGAN: Great. Come with me, guys. We've got more fliers outside. (TO SHAWN, CAROLINE, DOUG, AND JULIE) We'll let you folks know the minute we hear anything.

DOUG: Thank you.

ABE, LEXIE, JONAH, AND CARRIE GET UP AND FOLLOW MORGAN.

CAROLINE: All right, dear. Good luck!

ABE, LEXIE, JONAH, CARRIE, AND MORGAN EXIT.

DOUG: (PUTTING HIS ARM AROUND HER) Everything's going to be fine, don't worry...

THE DOOR OPENS AGAIN. THIS TIME, VICTOR AND NICO ENTER. SHAWN QUICKLY STANDS UP.

VICTOR: I came to find out if there's been any news about Shawn-Douglas. Has he been found?

CAROLINE: No, not yet. The police are involved, now. They're searching all over town.

SHAWN: Aye, we'll be findin' him soon, now.

VICTOR: I hope so. (BEAT) In the meantime, I'd like to help.

SHAWN: We don't need none of your kinda help.

CAROLINE: Shawn...

SHAWN: I'm sorry, Caroline. I know I promised to put our differences aside for the boy's sake... But I can't stand to have him around. (TO VICTOR) I want you to leave.

VICTOR: I'm sorry, Shawn, but I'm not going to stand by and do nothing. Shawn-Douglas is my grandson, too.

SHAWN: I don't wanna hear it! (ADVANCING TOWARD VICTOR) I asked you politely to leave, but if I have to, I'll...

NICO STEPS FORWARD. CAROLINE STANDS UP AND GRABS SHAWN'S ARM. JULIE ALSO GETS UP AND STANDS BETWEEN SHAWN AND VICTOR.

JULIE: Shawn, let me talk to Victor for a moment.

DOUG: (APPREHENSIVELY) Julie...

JULIE: (TO DOUG) It's all right, darling.

JULIE AND VICTOR TAKE A FEW STEPS AWAY FROM THE GROUP.

VICTOR: I won't leave. Shawn-Douglas is my family.

JULIE: I understand, Victor. I wasn't going to ask you to leave.

VICTOR: Then what?

JULIE: I know you have a number of contacts in... all different avenues of Salem, so to speak. Could you talk to them, find out if any of them have seen Shawn-Douglas?

VICTOR: I was in contact with most of them last night. (BEAT) But it may be time to check with them again.

JULIE: Thank you... There's one more thing.

VICTOR: Yes?

JULIE: Bo seems to think that Lawrence Alamain may be involved...

VICTOR: Lawrence? He wouldn't dare... He knows what I'd do to him...

JULIE: Please, Victor, just find out.

VICTOR: You can be sure of it. If Alamain has anything to do with this, he'll pay. No one tries to hurt my family and gets away with it. No one.

OUT ON VICTOR'S FURY.

ACT IV

EUTERPE. MARTY IS ON STAGE, REHEARSING AT THE PIANO AND MAKING NOTES. DAVE IS WALKING AROUND THE CLUB CHECKING THE TABLE SETTINGS, LIGHTING CANDLES, CHECKING STOCK, ETC. IAN WALKS IN. HE STANDS FOR A MOMENT LISTENING TO MARTY PLAYING "MY WAY" THEN APPROACHES HIM.

MARTY: Everyone loves the Chairman. I thought it would be nice. Especially after they cut him off the other night at the Grammy's.

IAN: That was a crying shame, wasn't it?

MARTY: We're going to start out with some of the Tommy Dorsey tunes, and I've just about got Doug and Eve to agree to do a duet at the end.

IAN: That should be great, the crowd will love it. Speaking of Doug, you've known him for a long time, huh?

MARTY: I've been here since he first opened the club. It was called Doug's Place back then.

IAN: Wow. Doug's a great guy and a great boss.

MARTY: Yes, he is...

IAN: You've been here all along? Even when it was owned by that other guy, what was his name? Nick?

MARTY: Yeah, Nick Corelli. He renamed the club Wings after that song, "Wind Beneath My Wings."

IAN: What was he like to work for?

MARTY: He was a good boss. Had a thing for old Bogie films.

IAN: What was he like?

MARTY: I get paid to play the piano, I mind my own business. Besides, Nick is gone. The past should stay in the past.

MARTY BEGINS PLAYING "NEW YORK, NEW YORK." IAN, FRUSTRATED, LEAVES THE STAGE. HE SPOTS DAVE AT THE BAR AND GOES OVER.

DAVE: (PROUDLY) Almost 20 years! And all of them right here in this very club, in one form or another.

IAN: Really? So you worked for Nick?

DAVE: Sure did.

IAN: What can you tell me about him?

DAVE: Well, he bought the club from the previous owner, Neil Curtis.

EVE IS IN THE FOYER, JUST ABOUT TO WALK IN, WHEN SHE HEARS DAVE'S REPLY. SHE STOPS FOR A MOMENT TO LISTEN, UNNOTICED BY EITHER MAN.

DAVE: Well, it's my understanding that he bought the club for Eve.

IAN: Nick bought this club for Eve? As a gift? A tribute? What?

EVE WALKS ALL THE WAY INTO THE CLUB AND GRABS IAN BY THE ARM, TURNING HIM TO FACE HER.

HOLD ON EVE'S ANGER.

CUT TO: JOHN'S OFFICE. JOHN IS SEATED AT HIS DESK, LOOKING OVER CONTRACTS. HE IS OBVIOUSLY DISTRACTED. HE FINALLY PUSHES THE CONTRACTS ASIDE IN FRUSTRATION. HE OPENS HIS BRIEFCASE AND PULLS OUT A PACKAGE OF NEWLY-DEVELOPED PHOTOGRAPHS.

HE TAKES THE PHOTOS OUT OF THE PACKAGE AND BEGINS LOOKING THROUGH THEM. HE PAUSES AND LOOKS CLOSELY AT A PHOTO OF BO, SHAWN-DOUGLAS, BRADY, AND HIMSELF. HE SIGHS AND LOOKS SADLY AT THE PHOTO.

THERE IS A KNOCK AT THE DOOR.

LEIGH ENTERS.

JOHN: Ms. McCloud. (MOTIONING TO A CHAIR) Please, have a seat.

LEIGH: Thank you.

LEIGH SITS DOWN.

LEIGH: Nothing, really. I wanted to tell you how impressed I was with your Aunt Vivian.

JOHN: (CAUTIOUSLY) She's... one of a kind, to be sure.

LEIGH: I think she's a remarkable woman.

JOHN: I suppose so.

LEIGH: You don't sound very certain.

JOHN: I'm more certain about some things than I am about others.

LEIGH: Such as...?

JOHN: I'm certain that she is a remarkable woman. (BEAT) But I don't know if I can trust her.

LEIGH: I see. (BEAT) Well, everything I know about her is positive. She's very good with business, she's been helping you... I think you can at least give her the benefit of the doubt.

JOHN: I don't know...

LEIGH: Maybe it would help if you spent more time with her, got to know her a little better?

JOHN: Perhaps. (TO HIMSELF, BUT LOUD ENOUGH THAT LEIGH HEARS) I guess I'll have the chance to do that, whether I want to or not.

LEIGH: What do you mean?

JOHN: (COVERING) Oh, I... I just meant that I've been spending a lot more time with Vivian and Nikki lately. (SMILING) You know, talking business with Vivian, talking baseball with Nikki...

LEIGH: Nikki... that's your nephew, right?

JOHN: Right. (BITTERLY) He's Lawrence's son.

LEIGH SENSES JOHN'S TENSION AT THE MENTION OF LAWRENCE, SO SHE CHANGES THE SUBJECT.

JOHN: A working lunch...

LEIGH: Of course! Is there any other kind?

JOHN: For you, I wonder...

LEIGH: What do you say?

JOHN: I'm not sure that today's a good day...

LEIGH: Why not?

JOHN: It's a family thing. I'm worried about my nephew.

LEIGH: Is something wrong with Nikki?

JOHN: (ABSENTLY) No...

LEIGH: I'm sorry, I didn't mean to pry...

JOHN: (SUDDENLY MORE ALERT) Oh, no, that's all right. I wasn't talking about Nikki, I was talking about Shawn-Douglas.

LEIGH: Shawn-Douglas...?

JOHN: Yes, Shawn-Douglas Brady. (BEAT) He's not officially my nephew... It's a long story. He's Bo Brady's son.

LEIGH: What's wrong? Why are you worried?

JOHN: Shawn-D's been missing since yesterday. (BEAT) We think he may have been kidnapped.

LEIGH, SURPRISED, SAYS NOTHING. HOLD ON JOHN'S CONCERN.

CUT TO: KAYLA'S LIVING ROOM. THE ROOM IS DECORATED FOR STEPHANIE'S BIRTHDAY PARTY. PINK AND WHITE STREAMERS AND BALLOONS ARE EVERYWHERE. A LARGE BANNER, READING "HAPPY BIRTHDAY, STEPHANIE," IS HANGING FROM THE WALL. KAYLA IS ARRANGING NAPKINS AND PARTY HATS ON THE DINING TABLE WHEN THE DOORBELL RINGS. SHE GOES TO THE DOOR AND ANSWERS IT. MARCUS IS STANDING THERE, LOOKING TENSE.

MARCUS ENTERS. KAYLA CLOSES THE DOOR. SHE IS SURPRISED BY HIS SILENCE.

MARCUS TURNS TO HER.

KAYLA: What are you talking about?

MARCUS: I'm talking about Shawn-Douglas.

KAYLA: (SUBDUED) Oh...

MARCUS: Yeah. (BEAT) Why didn't you tell me about it?

KAYLA: I was going to...

MARCUS: When?

KAYLA: I'm sorry.

MARCUS: I had to find out from Janet.

KAYLA: I didn't want you to worry.

MARCUS: Kayla, come on! I thought we were supposed to be a couple!

KAYLA: We are...

MARCUS: A couple doesn't keep things from each other. They share everything. The good and the bad.

KAYLA: (TEARS WELLING IN HER EYES) I know. (BEAT) You're right.

MARCUS: (SEEING HOW UPSET SHE IS) Hey, I'm sorry. I didn't mean to jump down your throat like that.

HE REACHES OUT AND PULLS HER CLOSE TO HIM. SHE HUGS HIM TIGHT AND SOBS.

HE GENTLY STROKES HER HAIR. SHE PULLS BACK AND LOOKS UP AT HIM.

MARCUS: Forget about it?

KAYLA: I... just couldn't face it. The whole family is so distraught... Bo's beside himself with worry.

MARCUS: It must be terrible for everyone. I can only imagine what it must feel like.

KAYLA: I know exactly what it feels like. Hearing about Shawn-Douglas brought back all the memories of the time Stephanie was kidnapped.

MARCUS: I'm sorry...

KAYLA: (TEARS ROLLING DOWN HER FACE) I remember feeling terrified that I'd never see my little girl again. I remember feeling so frustrated and so helpless, because there was nothing I could do to help her.

MARCUS: But you did get her back, and she was okay. (BEAT) And Bo's going to get Shawn-Douglas back, too. Everything will be fine.

KAYLA: Will it? What if you're wrong, Marcus? What if something's happened to Shawn-Douglas?

OUT ON KAYLA'S WORRY.

ACT V

JOHN'S OFFICE. JOHN AND LEIGH, IN PROGRESS.

LEIGH: (OBVIOUSLY DISTURBED BY THE NEWS) This is terrible. (BEAT) What's being done to find him?

JOHN: The family has been checking all over town, but no luck so far. The police have been alerted, flyers are being put up, and the local television stations will be airing his picture at every news break.

LEIGH: Is there anything that I can do to help?

JOHN: Thank you for the offer, Leigh, but I think that the police and the family are doing all that can be done to find Shawn-Douglas.

LEIGH: Well, how about you then? You could use a break. (BEAT) Why don't I take you and Vivian to lunch at Euterpe?

JOHN: I don't know...

LEIGH: You just said that the police and the Bradys were doing everything possible to find him.

JOHN: I did say that, didn't I? (RELUCTANTLY) Okay, I'll call Vivian and see if she would like to come.

HOLD ON JOHN DIALING THE PHONE.

CUT TO: EUTERPE. EVE AND IAN STAND, FACING EACH OTHER. DAVE LOOKS AS IF HE WISHES HE WERE ANYWHERE ELSE, BUT HERE. IN PROGRESS.

IAN: Calm down, Eve.

DAVE: I think I need to speak with Aki in the kitchen.

DAVE HASTILY WALKS AWAY TOWARDS THE KITCHEN.

IAN: (INNOCENTLY) I was curious. I know how much Nick meant to you.

EVE: Why don't you mind your own business!

EVE WHIRLS AROUND AND TRIES TO WALK AWAY. IAN FOLLOWS HER.

EVE STOPS AND LOOKS AT IAN.

EVE: If you wanted to know something, why didn't you ask me? I will not tolerate people talking about me... or Nick, behind my back!

IAN PUTS A HAND ON EVE'S ARM.

EVE ANGRILY BRUSHES IAN'S HAND OFF HER ARM.

IAN: (SOFTLY) Not me. I'm sorry if you feel that way. Someone must've hurt you very badly for you to be so cynical.

EVE LOOKS SURPRISED, AND SOFTENS A LITTLE.

IAN: Why?

EVE: There are only two people who have ever thought about me. My father and...

IAN: Nick. He must have been a very special person.

EVE: He was. (DEFENSIVE) And I don't want to talk about him anymore.

EVE EYES IAN SUSPICIOUSLY.

IAN: It doesn't really matter what anyone says... the past is the past.

EVE: (SARCASTICALLY) Yeah, right.

IAN: Believe it, Eve.

EVE: Why should I?

IAN: Because I'm your friend... and one day I'll prove it to you.

IAN WALKS OFF, AS EVE LOOKS HIS WAY. HOLD ON EVE, NONPLUSSED.

CUT TO: JACK'S OFFICE. JACK IS AT HIS DESK. VERN IS SITTING NEXT TO HIM, THE DRAFT COPY OF THE CARLY STORY STILL IN HAND. JENNIFER IS A FEW STEPS INSIDE THE DOORWAY. IN PROGRESS.

JACK: (SURPRISED) Jennifer! (BEAT) Come in, sit down.

VERN DROPS THE DRAFT COPY ON JACK'S DESK AND STANDS UP.

JENNIFER WALKS TO THE CHAIR.

JENNIFER SITS DOWN.

JENNIFER: 'Bye, Vern.

VERN EXITS.

JACK PICKS UP THE DRAFT COPY. HE PAUSES A MOMENT, THEN HANDS IT TO JENNIFER.

JENNIFER TAKES THE ARTICLE AND READS THE FIRST FEW LINES. SHE LOOKS AT JACK IN SHOCK.

JACK: Yes, it is.

JENNIFER: Jack, you can't print this!

JACK: Why not? (BEAT) Don't worry, I'm running it through the spell-checker, first...

JENNIFER: (ANGRILY) Jack, this has nothing to do with spelling errors! I'm talking about what this article will do to people, how much it will hurt them!

JACK: I thought that you and Bo would be the only ones really hurt, and both of you know everything, now. I think it's safe.

JENNIFER: I think you're wrong. (BEAT) She's dead, Jack. Can't you let it rest? Can't we just put this whole thing behind us?

JACK: I'm sorry, I... I can't.

JENNIFER: Why not?

JACK: Because I'm a newspaperman. (BEAT) Believe it or not, that's important to me.

JENNIFER: I do believe it, Jack. I know how important it is to you.

JACK: No, I'm not sure you do. Not completely. (LONG BEAT) There was a time when I didn't have a great deal of integrity or credibility. Maybe that was part of being a politician, I don't know.

JENNIFER: But, you're not like that anymore.

JACK: That's right, I'm not. This paper has given me that credibility, that integrity.

JENNIFER: Jack, those things were always there. It just took time for them to surface.

JACK: Maybe so, but I don't think I ever would have found those qualities if I hadn't spent the last several years in this chair. (BEAT) This paper played a major role in making me what I am. I feel like I owe it something in return. I try to repay that debt by doing the best job I can possibly do.

JENNIFER: I know. And I think you've squared your debt. You do your job very well.

JACK: Thank you. (BEAT) So, you see why I have to run this story? If I'm going to do my job, I have to print the truth.

JENNIFER: I hear what you're saying, Jack. I understand your dedication, and your desire to do a good job.

JACK: I'm glad.

JENNIFER: But I still don't think you should print this story.

JACK SIGHS RESIGNEDLY.

JACK: I understand that, but I can't...

JENNIFER: (INTERRUPTING) Jack, they're your family, too!

JACK: I know that. But, it can't make a difference.

JENNIFER: It has to!

JACK: Look... I think that this story will make it clear that Carly was the guilty party. She deceived the hospital, just like she deceived everyone else.

JENNIFER: And what if some people don't see it that way? I don't think it's worth it to take that kind of chance with the hospital's future, or with Dad's and Grandpa's careers.

JACK: All right. I can see we're not getting anywhere. (BEAT) How about this: I'll delay printing the story until talking to your father and grandfather. I'll give them enough time to formulate an "official" position on the Carly Manning matter before the story hits the stands.

JENNIFER: Thank you, Jack. I wish you wouldn't print the story at all, but I appreciate your talking to Dad and Grandpa first.

JACK: I hope so. This goes against my better judgement as a journalist, you know...

JACK IS INTERRUPTED BY THE TELEPHONE RINGING. HE ANSWERS IT. ONE-WAY.

JACK'S EYES WIDEN.

JACK SLOWLY HANGS UP THE PHONE.

JACK: It's Shawn-Douglas. (BEAT) He's missing.

OUT ON JACK.

ACT VI

EUTERPE. VIVIAN AND LEIGH ENTER, DEEP IN CONVERSATION. JOHN IS TRAILING ALONG BEHIND. DAVE SHOWS THEM TO A TABLE AND HANDS THEM MENUS. LEIGH BEGINS TO READ, BUT VIVIAN WAVES HERS AWAY. JOHN LOOKS PREOCCUPIED AND DOESN'T EVEN SEEM TO NOTICE IT.

LEIGH: That sounds lovely. I'll have the same.

LEIGH HANDS THE MENU BACK TO DAVE. THE THREE OF THEM LOOK EXPECTANTLY AT JOHN.

JOHN: What? Oh... um... That sounds fine.

DAVE BUSTLES OFF TOWARDS THE KITCHEN.

LEIGH: I can't take all the credit. It was a sound business to start with. But I did want to talk to you about that new manufacturing process.

VIVIAN: Oh yes. As I told John, I think we should definitely go ahead with it once things are a bit more stabilized. Which shouldn't be too long. Isn't that right, John?

JOHN: (STARTLED) Uh... right. Absolutely.

LEIGH: I agree with that, but let me run this by you. What if we implemented it in stages? We could break it down like this...

AS THE TWO WOMEN TALK, CLOSE UP ON JOHN. FADE INTO: JOHN'S FLASHBACK OF THE TIME THE TWINS WERE MISSING. THEN TO STEVE AND KAYLA, SICK WITH WORRY ABOUT STEPHANIE. FADE OUT OF FLASHBACK TO: JOHN'S FACE. JOHN STANDS UP ABRUPTLY, CAUSING VIVIAN AND LEIGH TO STARE.

VIVIAN: I thought you considered me family, John.

JOHN: You are and I do. But I'm talking about the Bradys. They need me right now, especially Bo. I'm sorry, I've got to go.

JOHN STRIDES OUT OF THE CLUB, WHILE LEIGH AND VIVIAN LOOK ON. HOLD ON LEIGH AND VIVIAN EXCHANGING LOOKS.

CUT TO: KAYLA'S LIVING ROOM. IN PROGRESS. MARCUS CONTINUES TO HOLD KAYLA AND STROKE HER HAIR AS SHE SOBS. SHE BEGINS TO CALM DOWN AND PULLS AWAY FROM HIM TO WIPE HER EYES.

KAYLA: No, I've talked to all of them on the phone. They convinced me to stay here and go ahead with Stephanie's party. After all, there's not much we can do but sit and wait.

MARCUS: Will you be able to do that? It's not going to be easy having a house full of kids and worry about one who's missing.

KAYLA: I have to, for Stephanie's sake. She's been looking forward to this party for so long. And she's already been disappointed once when she caught the flu.

MARCUS: As long as you're sure. I'll do whatever you want.

KAYLA: Let's go ahead with the party. Stephanie doesn't know about Shawn-Douglas, so don't mention it. I didn't want to frighten her.

AT THAT MOMENT STEPHANIE COMES BOUNDING DOWN THE STAIRS, DRESSED IN HER BEST PARTY DRESS, ONE SHOE OFF AND ONE SHOE ON.

KAYLA: Okay, come over here and I'll help you.

KAYLA SITS ON THE STAIRS AND STARTS PUTTING ON STEPHANIE'S SHOE. STEPHANIE STARTS TO SQUIRM, TRYING TO SEE ALL THE BALLOONS AND DECORATIONS.

STEPHANIE: I love them! I'm glad you're here, Uncle Marcus.

THE DOORBELL RINGS AND WE HEAR CHILDREN'S LAUGHTER OUTSIDE. STEPHANIE SQUEALS AND RUNS TO THE DOOR. KAYLA STANDS UP AND TAKES A DEEP BREATH. MARCUS TAKES HER HAND.

KAYLA GIVES HIM A WOBBLY SMILE, AS THE CROWD OF CHILDREN BEGIN TO COME IN. HOLD ON KAYLA WATCHING STEPHANIE.

CUT TO: BRADY PUB. WE SEE BO WALK INTO THE PUB, AND WALK OVER TO THE BAR, WHERE DOUG, JULIE, SHAWN, AND CAROLINE SIT, THE PHONE WITHIN EASY REACH. BO SITS THE STACK OF FLIERS HE'S CARRYING ON THE BAR.

BO: No, nothing... I was hoping you might have heard something...

SHAWN: Sorry, son, no...

BO: I've been out on the street for the last two hours, putting up fliers. I'll head back out in a minute, but I wanted to check in...

CAROLINE: Bo, you're not going back out until you have something to eat... maybe some chowder? You've got to take care of yourself...

JULIE: Your mother's right, darling. It won't help Shawn-Douglas if his father wears himself out completely.

BO: A glass of water's fine, Ma, I'm not hungry...

CAROLINE TURNS TO POUR BO A GLASS OF WATER AND DISH UP SOME CHOWDER.

SHAWN: What are you leadin' to, Doug?

DOUG: Is it possible Shawn-Douglas ran away?

BO: I suppose anything is possible. He's never run off before, never even threatened to... but considering how he's been, recently...

JULIE: Have you found anything else out about the possibility of Lawrence Alamain being involved?

BO: Not yet. Captain Yamada agreed to bring him in for questioning...

SHAWN: Well, it wouldn't surprise me if he did do it. That man is scum, there's no depth he wouldn't sink to...

JULIE: And well I know it. I was there, in Alamania, when he held us prisoner, raped Jennifer, killed his own father... he is an evil man... (SHE SHUDDERS)

DOUG PUTS HIS ARM AROUND JULIE COMFORTINGLY. CAROLINE HANDS BO A GLASS OF WATER, AND THE BOWL OF CHOWDER. HE SMILES AND SHAKES HIS HEAD AS HE TAKES THE CHOWDER, WHICH HE TOYS WITH. THE DOOR OF THE PUB OPENS, AND JOHN COMES IN, AND JOINS THE GROUP AT THE BAR.

DOUG: No, not yet. But fliers are going up as we speak, so I'm sure we'll hear something soon...

JULIE: Of course we will!

JOHN: I just came by... to see if I could help. If there's anything I can do, anything... just name it...

SHAWN: You are a good lad, John Black, and it's proud I am to have you in the family...

CAROLINE: Yes, thank you, John. But I'm not sure what you can do...

JULIE: Or any of us can do, except stay calm, and be strong...

CAROLINE: And pray...

OUT ON THE WORRIED GROUP.

ACT VII

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

THE DOOR OPENS, AND BOB ESCORTS LAWRENCE INSIDE.

LAWRENCE: (FURIOUS) I demand to know why I've been dragged down here! My bail was paid yesterday, giving me the right to spend my evenings peacefully at home. When my attorneys get through with the Salem Police...

JANET: (INTERRUPTING) Pipe down, Mr. Alamain, and have a seat. I just want to ask you a few questions.

LAWRENCE RELUCTANTLY SITS IN A CHAIR IN FRONT OF JANET'S DESK. BOB PULLS UP A CHAIR AND SITS NEXT TO LAWRENCE.

JANET: Shawn-Douglas Brady is missing.

LAWRENCE: Yes, I know.

JANET: You do? How?

LAWRENCE: I found out last night, from John Black.

JANET: (SUSPICIOUSLY) He just thought you should know?

LAWRENCE: Hardly. His main objectives were to accuse me of abducting the boy, and then to threaten me.

JANET: But you knew nothing about Shawn-Douglas' disappearance until John Black told you?

LAWRENCE: I believe that's what I just said.

JANET: So you wouldn't have any idea who might want to kidnap Shawn-Douglas?

LAWRENCE: No, I wouldn't. Perhaps you should talk to some of the criminals that Brady has roughed up in the past.

JANET: Perhaps. (BEAT) I have another idea, though. Perhaps Shawn-Douglas was taken by the person who shot Bo Brady and Carly Manning.

LAWRENCE: If that's your theory, Captain, then I suggest you try to find that person. I had nothing to do with that incident.

JANET: Nothing that's been proven, at least.

LAWRENCE: (THREATENING) You'd best be very careful, Captain. I won't allow you to slander me.

JANET: And I won't allow you to lie and slither your way out of this! I want the truth!

LAWRENCE: (ADAMANTLY) I've given you the truth!

JANET PAUSES, GLARING AT LAWRENCE AND SHAKING HER HEAD. AFTER A BEAT, SHE SPEAKS.

LAWRENCE: You're right, I couldn't! (BEAT) I may be a number of things, Captain, but I am not a kidnapper of small children.

JANET: And I'm supposed to believe that?

LAWRENCE: I don't give a damn what you believe. I have a young son of my own, a son who was taken from me at one time. I know exactly how it feels to have your child stolen from you. (BEAT) I wouldn't wish that feeling on anyone... not even my worst enemy.

JANET: Not even Bo Brady?

LAWRENCE: No. Not even Bo Brady.

HOLD ON LAWRENCE.

CUT TO: BRADY PUB. PETER GABRIEL'S "MERCY STREET" PLAYS AS WE BEGIN A MONTAGE. WE SEE SHAWN BEHIND THE BAR OF THE PUB, SLOWLY WIPING IT DOWN. CAROLINE, DOUG AND JULIE ARE SITTING AT THE BAR. DOUG HAS HIS HEAD IN HIS HANDS, JULIE IS GENTLY STROKING HIS HAIR. CAROLINE DABS AT HER EYES WITH A TISSUE, AND SHAWN PUTS A HAND COMFORTINGLY OVER HER OTHER HAND. ALL LOOK SAD AND LOST.

CUT TO: VICTOR'S STUDY. VICTOR IS SITTING, ALONE AT HIS DESK. HE'S HOLDING AND LOOKING AT A FRAMED PICTURE OF SHAWN-DOUGLAS. HE SETS IT DOWN AND OPENS A DRAWER, PULLING OUT A CRAYON DRAWING, WHICH IS SIGNED AT THE BOTTOM "TO GRANDPA VICTOR, LOVE SHAWN-DOUGLAS". VICTOR STARES AT THE PICTURE SADLY, AND BRUSQUELY BRUSHES AT THE TEAR THAT FORMS IN THE CORNER OF HIS EYE.

CUT TO: THE SALEM PIER. BO IS SITTING ON A BENCH ON THE PIER, LOOKING OUT AT THE WATER. HIS FACE LOOKS BLEAK. JOHN COMES DOWN THE STAIRS BEHIND HIM, AND JOINS HIM, SITTING DOWN NEXT TO BO. JOHN PUTS HIS ARM AROUND BO'S SHOULDERS, AND BO STIFFENS, THEN CRUMPLES AS HE BEGINS TO CRY.

CUT TO: THE ALLEYWAY. SHAWN-DOUGLAS IS HUDDLED BEHIND A DUMPSTER, SCARED AND DIRTY. A RAT RUNS BY, AND HE SHRIEKS AND CRIES HARDER, CALLING FOR HIS PAPA. CLOSE ON SHAWN-DOUGLAS' TEAR-STAINED FACE, AND OUT. FADE TO BLACK.

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