ALT.DAYS

Episode #59

An ALT.DAYS Production,
A Division of Peel Productions, Inc.
Air Date: July 5, 1994
Time: Several Days After #58,
Morning to Evening

Copyright 1995

TEASER

MYRTLE BEACH RESORT SUITE/CORR. KAYLA AND MARCUS WALK DOWN THE CORRIDOR. THEY EACH CARRY AN OVERNIGHT BAG.

MARCUS AND KAYLA ARRIVE AT THEIR ROOM. MARCUS INSERTS THE KEY INTO THE LOCK.

MARCUS: I know, I know. But everybody's doing it now.

KAYLA: I thought the hospital was bad.

MARCUS: At least there wasn't a metal detector in the Hotel Lobby.

MARCUS OPENS THE DOOR TO THE SUITE. THEY WALK IN. THEY LOOK AROUND THE ROOM. WE SEE A LARGE, BEAUTIFULLY DECORATED, "LIVING ROOM" AREA. THEY SET DOWN THEIR LUGGAGE.

MARCUS: Glad you like it. We aim to please.

KAYLA: And you did...

KAYLA AND MARCUS SHARE AN INTENSE LOOK, BUT KAYLA SHYLY LOOKS AWAY.

KAYLA: You would...

MARCUS: Someone did say they supplied a well-stocked fridge...

KAYLA: You and your stomach...

MARCUS: Hey a man's gotta eat...

MARCUS HEADS TOWARDS THE KITCHEN.

MARCUS: You talk about my stomach... What about your... vanity?

KAYLA: Vanity?

MARCUS: Come on... you're going in there to see if there's enough room for all those goos and creams you ladies use...

KAYLA: So, you think I need those "goos?"

MARCUS: (MAKING A HASTY RETREAT) I'm checking the kitchen...

MARCUS WALKS INTO THE KITCHEN AND KAYLA INTO THE BATHROOM. WE HEAR KAYLA'S VOICE FROM THE BATHROOM.

KAYLA WALKS BACK TO JOINS MARCUS. HE'S JUST EXITING THE KITCHEN.

KAYLA: Big enough for two... (SUDDENLY BLUSHING) I mean... ahhhh...

MARCUS: I know what you meant... (REASSURING SMILE) So, want to know what's in the fridge?

KAYLA: A jar of peanut butter and a six-pack?

MARCUS: Bagels, cream cheese... milk, orange juice, wine...

KAYLA: What? No lox?

MARCUS: No lox. This is South Carolina, not New York, remember?

KAYLA: I guess they wouldn't have lox in Myrtle Beach, would they?

MARCUS Maybe some crabs, but probably no lox.

KAYLA: Too bad... I like lox and bagels in the morning...

MARCUS: I'm sure we could call room service...

KAYLA: Don't you dare. We have this gorgeous room and we're here together... I can live without smoked salmon...

MARCUS: What a trooper.

KAYLA: (SALUTING) Trooper Brady, sir! At your service.

MARCUS: Well, Trooper Brady... (LOOKING AROUND) We've toured the inside, what's say we tour the outside and check out the view? We've got a terrace...

MARCUS HOLDS OUT HIS HAND AND SMILES. KAYLA TAKES HIS HAND AND THEY WALK ONTO THE TERRACE. THERE'S A TABLE AND CHAIRS SET UP FOR OUTDOOR DINING AND TWO CHAISE LOUNGES. THERE'S ALSO A FABULOUS VIEW.

MARCUS: (LOOKING AT KAYLA) It is beautiful, isn't it?

KAYLA BLUSHES AGAIN AS SHE REALIZES MARCUS IS TALKING ABOUT HER, NOT THE VIEW. SHE SMILES AND BEGINS TO WALK THE LENGTH OF THE TERRACE.

KAYLA WALKS TO THE END OF THE TERRACE AND SLIDES OPEN ANOTHER GLASS DOOR.

KAYLA WALKS BACK INTO THE SUITE AND MARCUS FOLLOWS HER. THEY HAVE WALKED INTO THE BEDROOM. IN THE CENTER OF THE ROOM IS A KING-SIZED CANOPY BED.

MARCUS: Yes?

KAYLA: Did somebody make a mistake at the front desk?

MARCUS: I did ask for a room with two...

KAYLA: I wasn't expecting to stay in the honeymoon suite.

MARCUS: Neither was I. (BEAT) Tell you what, I'll do downstairs and ask for a room change.

KAYLA SHAKES HER HEAD NERVOUSLY.

THEY EXCHANGE A LOOK.

MARCUS NOTES KAYLA'S HESITANCY.

KAYLA: Closer?

MARCUS: Yes... let's go down to the beach. A little salt breeze and sand is just what the doctor ordered.

KAYLA: (SMILING) Okay, doctor. That sounds like the perfect prescription.

HOLD ON KAYLA'S SMILE.

CUT TO: JACK'S OFFICE. JACK ENTERS, SORTING THROUGH HIS TELEPHONE MESSAGES AS HE WALKS. HE SITS DOWN, AND PLACES HIS BRIEFCASE ON THE DESK TOP, WHILE CONTINUING TO GO THROUGH THE STACK OF MESSAGE SLIPS.

JACK REACHES THE BOTTOM OF THE PILE OF MESSAGES, AND READS IT ALOUD.

JACK SETS DOWN THE MESSAGES ON HIS DESK, AND THEN OPENS HIS BRIEFCASE. HE PULLS OUT A STACK OF FOLDERS, CLOSES THE BRIEFCASE, AND PLACES IT ON THE FLOOR.

JACK MOVES HIS FOLDERS TO THE SIDE, UNCOVERING A COPY OF TODAY'S SPECTATOR. IT'S OPEN TO THE PERSONALS SECTION. ONE OF THE BLOCKS IS FRAMED IN PINK HI-LIGHTER.

JACK PICKS UP THE NEWSPAPER, LOOKS AT THE AD, THEN CAREFULLY FOLDS UP THE PAPER.

HOLD ON JACK'S SMILE.

CUT TO: JAMES' OFFICE. JOHN IS SITTING ON THE SOFA IN JAMES' OFFICE. HE IS TRYING TO SOLVE A RUBIK'S CUBE, WHEN JAMES ENTERS AND SITS DOWN IN A CHAIR OPPOSITE JOHN.

JAMES: It's a very clever puzzle.

JOHN: Each time I get one side finished, I've completely messed up the other sides. (PLACES THE RUBIK'S CUBE DOWN) Kind of like my life.

JAMES: How so?

JOHN: Each time I think I've fixed one aspect of my life, another seems to get screwed up. I've been concentrating so much on Lawrence, that I've ignored my past. I'm afraid that I waited too long to do anything about it.

JAMES: I take it, you haven't remembered anything since our last meeting.

JOHN: Zilch. (BEAT) It's so damn frustrating!

JAMES: Have you considered hypnosis?

JOHN: Hypnosis? Do you think it might work?

JAMES: There's always a chance.

JOHN: I'm willing to try anything.

JAMES: I should warn you that it's a risky option, and doesn't always work. Plus, your previous brainwashing might interfere.

JOHN: It's worth a try. What can I lose now?

JAMES: Very well. Make yourself comfortable, and we'll begin.

JOHN LEANS BACK INTO THE COUCH AND CLOSES HIS EYES. OUT ON JOHN.

ACT I

JANET'S OFFICE. JANET, SPENCER AND SHANE ARE GATHERED AROUND JANET'S TABLE. PAPERS AND FOLDERS ARE SPREAD AROUND.

SHANE: (CAUTIOUS) I think it will... Let's just say that I've got someone on the inside at the ISA.

SPENCER: Can this person be trusted? It's not unlike the ISA to do a double-cross.

SHANE: Normally, I'd agree with you on that point, but I can assure you that this person is on the up and up. I'd stake my very life on it... and have, on occasion.

JANET: Do you mind my asking who it is?

SHANE: My source prefers to remain anonymous for now. I can tell you, however, that it's someone who'll be happy to see Lawrence Alamain stay behind bars.

JANET: And they're willing to help us?

SHANE: Definitely. There are just a few details to be worked out.

SPENCER: The trial will be here before we know it, Captain. You and your source had better put something together... fast.

HOLD ON SPENCER'S CONCERN.

CUT TO: JENNIFER'S OFFICE. JENNIFER IS AT HER DESK, WORKING AT HER COMPUTER. THERE'S A KNOCK AT THE DOOR.

WITH A FLOURISH, SHE FINISHES WHAT SHE WAS WRITING, AND SENDS IT TO THE PRINTER.

A DELIVERYMAN FROM "EMMA'S DELIVERY SERVICE" ENTERS, CARRYING A BOUQUET OF PINK AND WHITE BALLOONS, AND A BOX OF GODIVA CHOCOLATES.

JENNIFER NODS.

THE DELIVERYMAN HANDS JENNIFER THE CLIPBOARD, AND SHE SIGNS ON THE MARKED LINE. JENNIFER REACHES INTO HER PURSE, AND WITHDRAWS SOME CASH TO TIP HIM.

THE DELIVERYMAN LEAVES, AND CLOSES THE OFFICE DOOR BEHIND HIM. JENNIFER ADMIRES THE BALLOONS, THEN NOTICES A CARD ATTACHED TO THE BOX OF CHOCOLATES. SHE TAKES THE CARD OUT OF THE ENVELOPE.

JENNIFER PUTS DOWN THE CARD.

HOLD ON JENNIFER'S GRIN.

CUT TO: MYRTLE BEACH RESORT/BEACH. MARCUS AND KAYLA, WEARING SHORTS AND TANK TOPS, WALK, HAND IN HAND, ALONG THE BEACH. KAYLA LOOKS OUT AT THE OCEAN. SHE SEEMS DISTANT. MARCUS STUDIES HER FACE.

KAYLA: No. I'm glad we're here... It's beautiful...

THEY CONTINUE TO WALK ALONG THE BEACH AND FIND A PATCH OF SEA OATS.

KAYLA: Only if you would.

MARCUS: All right... since this is a vacation... let's stop and smell the roses...

THEY SPREAD TOWELS ALONG THE SAND AND SIT.

KAYLA: Is that what those are? I don't remember them from L.A. beaches...

MARCUS: They're native to the Southern coasts... It's illegal to pick them. They're supposed to protect the beach.

KAYLA: How?

MARCUS: By binding the sand...

KAYLA: (SMILING) You know, Dr. Hunter, you never cease to amaze me...

MARCUS: Why? What'd I do?

KAYLA: (SMILING, LIGHTLY TEASING) I thought the medical, and not the botanical sciences, were your speciality... But I can see, I was mistaken. You're a true Renaissance man...

MARCUS: (FLUSTERED) Well... I think I read about them in an issue of "Nature..." No big deal...

KAYLA: Ahhh... you say that now. But when you're around Stephanie full-time, you'll see how important this kind of knowledge is...

MARCUS: Around Stephanie full-time? Hmmm... does that mean I'd be around her mother full-time?

KAYLA: I... I... meant... Ummm... lovely scenery, huh?

MARCUS: Kay, are you nervous?

KAYLA: Me, nervous? Why would I be nervous? I mean, we've know each other seven years... longer than most married couples... We must know everything about each other...

MARCUS: Ummm... Kay...

KAYLA: Yes?

MARCUS: You must be nervous... you're babbling...

KAYLA: I'm not babbling... (SEES MARCUS' LOOK) Okay, so maybe I am... But I'm not nervous... not exactly... I just want our holiday to be perfect.

MARCUS TAKES KAYLA'S HAND INTO HIS.

KAYLA LOOKS AT MARCUS, THEN AT THE SURF, FINDING ANOTHER DISTRACTION.

MARCUS: You could... Sometimes you just gotta take the plunge.

KAYLA: (IGNORING THE DEEPER MEANING OF MARCUS' COMMENT) Me? Wind surf? I don't think so.

MARCUS: Come on. You're the one who said she needed a vacation. Relax a little.

KAYLA: Doctor's orders?

MARCUS: Doctor's orders!

KAYLA KICKS OFF HER SHOES, STANDS AND WALKS TO THE EDGE OF THE WATER. SHE DIPS ONE TOE IN THE WATER.

MARCUS STANDS AND WALKS UP TO KAYLA.

KAYLA: I can't take it?

KAYLA, WITH A WICKED GRIM, KICKS WATER ALL OVER MARCUS.

KAYLA LAUGHS AS MARCUS BEATS A HASTY RETREAT AND FLOPS DOWN ON HIS TOWEL, QUICKLY DRYING HIS FEET. SHE SKIPS UP TO HIM, SMILING.

KAYLA: You're right. I needed a vacation... I don't think I've had a real vacation since... since...

MARCUS: Since?

KAYLA: Since Steve died...

MARCUS: Do you think about him all the time?

KAYLA: All of the time? No... But sometimes things remind me of him... Sometimes I see him in the way Stephanie turns her head and looks at me... or in the way she laughs...

MARCUS: You miss him...

KAYLA: Of course, don't you?

MARCUS: Yes... But...

KAYLA AND MARCUS LOOK AT EACH OTHER.

OUT ON KAYLA.

ACT II

JAMES' OFFICE. JOHN SITS ON THE COUCH WITH HIS EYES CLOSED. JAMES SITS NEXT TO HIM IN A CHAIR.

JOHN: Yes.

JAMES: Good. You can open your eyes.

JOHN OPENS HIS EYES.

WE SEE JOHN CONCENTRATING. HE SUDDENLY SEEMS TO REMEMBER SOMETHING.

JOHN: My name is John Stevens.

JAMES: Where are you now, John?

JOHN: Paris.

JAMES: Are you with someone?

JOHN: I think so. (BEAT) I'm not sure...

JAMES: Is it Katerina?

JOHN: It's too fuzzy. I don't know.

JAMES: That's all right. Let's try something else. (BEAT) Can you remember anyone that John Stevens loved or cared about?

JOHN: (SMILING) Dani...

JAMES: Danielle Stevens?

JOHN: Yes...

JOHN, SMILING, CLOSES HIS EYES AND BEGINS TO LIGHTLY SWAY.

JOHN: I'm not sure...

JAMES: What are you doing?

JOHN: Dancing...

FADE INTO JOHN'S FLASHBACK OF A LAVISH BALLROOM. HE IS DRESSED IN A TUXEDO. DANIELLE IS DRESSED IN AN ELEGANT BLACK GOWN. THEY ARE DANCING CLOSE TOGETHER. JOHN TAKES DANIELLE'S CHIN WITH HIS FINGERTIPS AND LIFTS HER FACE UP TO HIS. THEIR LIPS MEET IN A PASSIONATE KISS.

WE FADE OUT OF THE DANCE AND INTO JOHN'S FLASHBACK OF A DARK ROOM. HE STANDS NEAR THE WINDOW, LOOKING OUT AT THE RAIN OUTSIDE. BEHIND HIM, DANIELLE SITS IN A CHAIR, CRYING. FADE OUT OF THE FLASHBACK. IN JAMES' OFFICE, JOHN'S EXPRESSION TURNS TO ANGUISH.

JOHN: I hurt her so much.

JAMES: Who?

JOHN: Danielle...

JAMES: But she forgave you?

JOHN: Yes... she loves me...

JAMES MAKES A FEW NOTES.

JOHN: Katerina...

JAMES: Katerina Von Leuschner?

JOHN: Yes... that was her maiden name...

JAMES: What can you tell me about her?

JOHN: (SMILING) She has a great laugh.

WE SEE JOHN'S FLASHBACK TO A GARDEN. HE IS SITTING ON A BENCH IN A GAZEBO. KATERINA SITS NEXT TO HIM, LAUGHING. JOHN HANDS KATERINA A ROSE. SHE HOLDS IT UP TO SMELL. JOHN REACHES OVER AND CARESSES HER FACE. FADE OUT OF FLASHBACK TO JOHN'S SMILE.

JAMES: The two of you were... close?

JOHN: Yes. We shared everything. (HE FROWNS) At least, I thought we did.

WE SEE JOHN FLASHBACK TO THE GARDEN. THIS TIME, KATERINA STANDS IN THE GAZEBO. SHE HOLDS A ROSE. JOHN RUNS UP BEHIND HER, ANGRY. HE TEARS THE ROSE OUT OF HER HAND AND THROWS IT TO THE GROUND. KATERINA, STARTLED, RUNS AWAY. JOHN LOOKS DOWN AT HIS HAND. IT BLEEDS FROM A WOUND CAUSED BY A THORN IN THE ROSE. FADE OUT OF FLASHBACK TO JOHN'S FROWN.

JAMES: About what?

JOHN: I can't trust her ever again!

JAMES: Why?

JOHN: (ANGRY) Why? She's a liar, a cheat... she tried to destroy me...

JOHN BECOMES VISIBLY AGITATED.

JOHN OPENS HIS EYES. HOLD ON JOHN.

CUT TO: JANET'S OFFICE. SPENCER HAS DEPARTED. SHANE AND JANET ARE TALKING. IN PROGRESS.

SHANE: No, not right now. I can't. (BEAT) Perhaps when this is over...

JANET: You're a tough customer, Captain Donovan.

SHANE: (SMILING) As are you, Captain Yamada.

SHANE BEGINS TO GATHER SOME FILES FROM JANET'S DESK.

JANET: Agreed. (BEAT) I hope it all pays off. I hope your contact can help us.

SHANE: I can tell you, with the utmost certainty, that we can rely on this person.

JANET: Strong words...

SHANE: There's no one I trust more. (BEAT) Especially in this particular case.

JANET: Alamain must have done something horrible to your source.

SHANE: Lawrence Alamain has done far too many horrible things to far too many people... My contact included.

JANET: So putting Alamain away would be sweet revenge for... (SEARCHING) him?

SHANE: Nice try, Captain.

JANET: Oh, well. You can't blame me for trying...

SHANE: No. (BEAT) But winning this case isn't about revenge. It's about justice.

JANET: So, whose justice are we talking about now? Your contact's, or your own?

SHANE: I'm talking about justice for all the people Lawrence has harmed. (BEAT) People I love... loved...

JANET: Did he do something to someone close to you?

SHANE: It's long ago and far way...

JANET: You said, "loved," in the past tense... Did Alamain commit... murder?

SHANE: To my knowledge, the only murder he's connected to is that of Steve Johnson. Of course, we could never prove that connection. (BEAT) That's not to what I was referring...

THERE IS A BRIEF SILENCE, AS JANET LOOKS AT SHANE INQUISITIVELY.

SHANE: (WARILY) All right...

JANET: Did Lawrence Alamain have anything to do with the break-up of your marriage?

SHANE: (SIGHS) No. (BEAT) No, I can't put the blame for that on Lawrence. My marriage ended on its own. As did the relationship that followed...

JANET: I'm sorry...

SHANE: (STANDING AND PICKING UP HIS FILES) I really should go.

JANET: (STANDING) I didn't mean to pry...

SHANE: That's quite all right. Don't worry about it. (BEAT) I'll call you after I talk to my contact.

JANET: Great. I really appreciate your help.

SHANE: It's my pleasure. (BEAT) We all have a stake in this.

SHANE WALKS TO THE DOOR.

SHANE OPENS THE DOOR.

SHANE: Cheers.

SHANE EXITS. JANET SITS DOWN AND SIGHS HEAVILY.

HOLD ON JANET'S SADNESS.

CUT TO: ALICE'S RESTAURANT. JO AND VERN ARE SITTING IN A BOOTH WITH STEPHANIE BETWEEN THEM. BOTH JO AND VERN HAVE FINISHED EATING. STEPHANIE IS DAWDLING, "PAINTING" WITH HER FRENCH FRIES AND KETCHUP.

JO: (TO STEPHANIE) Don't paint with your food, sweetie. We'll go and get you some paper and some paints later, okay?

STEPHANIE: (EATING A FRENCH FRY) Okay, Grandma Jo. I like staying with you.

JO LEANS OVER AND GIVES STEPHANIE A HUG.

VERN: I hope Kayla and Marcus enjoy Myrtle Beach. I hear the golf there is fantastic.

JO: I'm so happy the two of them got together. It's obvious they care about each other and they both deserve to be happy.

STEPHANIE: Uncle Marcus said he'd take me to see "The Lion King" when he and Mommy get home. And we can get Milk Duds!

VERN: Wow! That's pretty special, Stephanie.

STEPHANIE: That's 'cause I'm special!

VERN: (LAUGHING) You're right, you are!

ALICE COMES BY THE TABLE.

JO: Oh yes, we're fine. I can't tell you how good it is to see you out and about.

ALICE: Thank you, Jo. I'm doing all right. (BEAT) Steffi, you get a clown sundae with your hot dog. How would you like to come with me to the kitchen and make it?

STEPHANIE STARTS BOUNCING UP AND DOWN AND CLAPPING HER HANDS. VERN STANDS UP TO LET HER OUT AND SHE STARTS DANCING AROUND ALICE.

ALICE: (LAUGHING) You certainly can! (TO JO AND VERN) We'll be right back.

JO: (LAUGHING) We'll be waiting. (BEAT) I don't know where that child gets the energy...

VERN: I'd like to have some of it for myself, I can tell you that. (BEAT) Can I ask you something, Jo?

JO: Of course you can, Vern. You don't have to ask.

VERN: I wanted to know how the sessions with Dr. Ector were going. (RUSHING) You don't have to tell me details. It's just that you seem... different... more calm somehow.

JO: Really? It shows? I certainly feel calmer. (BEAT) I feel like I'm finally coming to terms with Steve's death. And Nick's. I haven't felt this good in a long time.

HOLD ON JO'S THOUGHTFULNESS.

ACT III

MYRTLE BEACH RESORT. WE HEAR BRUCE HORNSBY'S, "HARBOR LIGHTS" PLAY AS WE GO INTO A MONTAGE OF MARCUS AND KAYLA ON THE BEACH. WE SEE MARCUS AND KAYLA COLLECTING SEA SHELLS. WE SEE MARCUS ON THE SHORE, TEACHING KAYLA HOW TO SKIM STONES ALONG THE WATER. WE SEE KAYLA, SPLASHING MARCUS WITH WATER ONCE AGAIN. SHE SCURRIES AWAY AS MARCUS GIVES CHASE. WE SEE THEM RUNNING ALONG THE SAND. MARCUS "CATCHES" KAYLA, BUT SHE "ESCAPES" WHEN HE LEANS IN FOR A KISS. HE FINALLY "CAPTURES" HER, PICKS HER UP IN HIS ARMS AND THREATENS TO DROP HER IN THE WATER. INSTEAD, KAYLA THROWS HER ARMS AROUND MARCUS. A SURPRISED MARCUS NEARLY DROPS HER, INSTEAD RELEASING HER TO STAND. THEY STAND WITH THEIR FEET IN THE WATER, LOOKING AT ONE ANOTHER. KAYLA SMILES AS MARCUS LEANS DOWN TO KISS HER. HOLD ON THE EMBRACE.

CUT TO: JACK'S OFFICE. JACK IS SITTING BEHIND HIS DESK. RICHARD AND DIANE ARE SITTING ACROSS FROM HIM.

JACK: Are those women going to get back their money?

DIANE: Probably not. It's a shame that scum like this prey on people when they're vulnerable.

RICHARD: That's why I think tying this in to the story Midsummer is doing on grief is a great idea... We can help make other women aware of these kinds of things so they can protect themselves.

JACK: I agree, it's a good angle. Just how did you two think of this idea, anyway?

RICHARD AND DIANE EXCHANGE A LOOK. RICHARD WINKS.

THERE IS A KNOCK ON THE DOOR AND LISA, JACK'S SECRETARY, COMES IN CARRYING A LARGE BOUQUET OF ROSES, MOST OF THEM RED, THREE WHITE ONES IN THE CENTER.

RICHARD LETS OUT A LONG WHISTLE.

JACK BLUSHES AS LISA SETS THE VASE DOWN ON THE DESK.

RICHARD: I hope they're from his wife...

JACK REACHES OUT FOR THE CARD.

RICHARD: Then they'd better be from Jennifer! Because no way am I going to get roped into hiding them if they're from someone else. Not that you could hide them, they're huge!

DIANE: Jealous, Hunt? Hasn't a woman ever sent you flowers?

RICHARD: Countless times in fact. Now if you're asking me if the right woman has done so...

DIANE BLUSHES AND LOOKS DOWN AT HER HANDS. RICHARD SMILES, BUT SHE DOESN'T SEE IT.

JACK, WHO'S SITTING GAZING AT THE CARD WITH A GOOFY GRIN ON HIS FACE, STARTLES.

RICHARD REACHES OUT HIS HAND FOR THE CARD.

JACK WHISKS THE CARD OUT OF RICHARD'S REACH AND PUTS IT IN HIS POCKET.

DIANE: Hunt! That's personal! It's probably mushy stuff.

RICHARD: That's why I want to see it! There might be something in there I could use...

HOLD ON RICHARD AND DIANE PLAYFULLY BICKERING, WHILE JACK STANDS THERE PATTING HIS POCKET AND LOOKING AT THE ROSES.

CUT TO: JAMES' OFFICE. JOHN IS DRINKING FROM A GLASS OF WATER AS JAMES MAKES SOME NOTES.

JOHN: I've calmed down, if that's what you mean.

JAMES: You still sound upset.

JOHN: I am.

JAMES: What are you upset about?

JOHN: I'm frustrated that I can't remember more! (BEAT) Even with hypnosis, I'm still in the dark.

JAMES: Not necessarily. You wouldn't have reacted so strongly if we weren't getting somewhere.

JOHN: So what happens next?

JAMES: I want to slow things down and take careful assessment of your thoughts, your feelings...

JOHN: I didn't think we could possibly go any slower...

JAMES: Trust me. (BEAT) Let's talk about what you're feeling right now.

JOHN: (RESIGNEDLY) Okay. You are the doc, Doc.

JAMES Good. (BEAT) Now, tell me how you feel about the two women in your past... (LOOKING AT HIS NOTEPAD) Danielle and... Katerina.

JOHN: Dani... Dani was my first wife. (BEAT) At least, the first wife that I can remember. We were very much in love.

JAMES: What about now?

JOHN: I still have feelings for her... even after all this time. She's always been, and always will be, very special to me.

JAMES: All right... What about Katerina?

JOHN TENSES AND INHALES DEEPLY. JAMES NOTES HIS REACTION.

JAMES: And this hatred overrides the feelings you had for her in the past?

JOHN: Whatever we had in the past was a charade, engineered by Katerina. (BEAT) She destroyed so many lives... mine included.

JAMES: What makes you say that?

JOHN: I have proof of some of the horrible things she did. (BEAT) I went to Europe last year, hoping to regain my memory. I spent some time in a country house that I apparently shared with Katerina. When I was there, I discovered letters addressed to her from a mystery man. He was helping her trick me into marriage so she could get her hands on my share of the Alamain fortune.

JAMES: (MAKING MORE NOTES) I see... Any idea who this "mystery man" might be?

JOHN: No. The letters were only signed with a "P."

JAMES: And that doesn't mean anything to you?

JOHN: Not as far as I can remember. (BEAT) I can't think of anyone that I remember knowing, or that I remember Katerina knowing, whose name began with "P." Not that that means much.

JAMES: What do you mean?

JOHN: Looking back now, I realize how little I actually knew about Katerina when I married her. She obviously kept her relationship with this guy a secret from me... Which makes sense, since he was helping her to run a scam on me.

JAMES: That sounds logical.

JOHN: Hmmm... Now that I think about it, the letters had a paternalistic tone to them... like they were from a mentor or... a father. Maybe "P" stands for "pere"...

JAMES: "Father," in French.

JOHN: Yes... (BEAT) There's no real proof of that, but I haven't been able to come up with any other ideas...

JAMES: Well, I think we should bring this session to a close. We've made some good progress today.

JOHN: You think so?

JAMES: Yes, I do.

JOHN: Perhaps we should keep going, while we've got this momentum.

JAMES: (SMILING) Patience, John. We're not running a marathon. The psyche is a fragile thing. We don't want to push it too hard.

JOHN: Sure. Whatever you say.

JAMES: But keep that positive attitude. It can only help.

JOHN: (STANDING AND EXTENDING HIS HAND) Thank you, Dr. Ector.

JAMES: (STANDING AND SHAKING JOHN'S HAND) You're welcome. Denise can set you up for another appointment.

JOHN: (GOING TO THE DOOR) I'll be seeing you again... soon.

JAMES: Good-bye, John.

JOHN EXITS.

GO TO: RECEPTION AREA OUTSIDE JAMES' OFFICE. JOHN PAUSES OUTSIDE JAMES' OFFICE DOOR.

OUT ON JOHN'S DETERMINATION.

ACT IV

EUTERPE. RICHARD AND DIANE ARRIVE FOR THEIR DINNER DATE. DAVE GREETS THEM.

RICHARD: Yes.

RICHARD LEANS CLOSE TO DAVE AND WHISPERS INTO HIS EAR.

DAVE: (CONFUSED) Umm... certainly. Right this way...

DAVE LEADS RICHARD AND DIANE TO A TABLE. RICHARD LOOKS AROUND, TRYING TO SPOT EVE. THEY SIT DOWN.

RICHARD: Yes, please... (LOOKING AT DIANE) Champagne?

DIANE: (SUSPICIOUSLY) Okay...

RICHARD: (TO DAVE) A bottle of Cristal, please.

DAVE: Excellent choice, sir.

DAVE DEPARTS. RICHARD IS STILL LOOKING AROUND THE ROOM.

RICHARD: (SMILING) Hardly. (BEAT) I'm just... people watching.

DIANE: And who is it you're watching?

RICHARD: No one in particular.

DIANE: (UNCONVINCED) Whatever you say. (BEAT) So, why champagne? Celebrating something?

RICHARD: Perhaps...

DIANE: Well, I hope to have cause for celebration soon...

RICHARD: Oh, really? And what would that be?

DIANE: The Alamain trial. Now that's a story I can really sink my teeth into.

RICHARD: So, Jack's assigned you to cover the trial?

DIANE: Well... Not exactly. Not yet. (BEAT) But I'm obviously the most qualified. I can't see him giving it to anyone else.

RICHARD: Absolutely.

THERE IS A MOMENT OF UNCOMFORTABLE SILENCE.

DIANE: That's an odd question, Hunt.

RICHARD: Could you do me a favor?

DIANE: (WARILY) That depends...

RICHARD: Would you call me "Richard," if only for tonight?

DIANE LOOKS SUSPICIOUSLY AT RICHARD.

RICHARD: There... that wasn't so hard, was it?

DIANE: Feels weird.

RICHARD: Give it some time. I'm sure you'll get used to it.

DIANE: (SMILING SLIGHTLY) I dunno... maybe. (BEAT) I'm still not used to you being so... friendly...

RICHARD: Well, we are on the same team, now. It's not like the old days, where we were in direct competition.

DIANE: I liked the old days... The competition kept me sharp.

RICHARD: You don't need my competition to keep you sharp. (TAKING HER HAND) You, my dear, are one of the best.

DIANE: Yeah, well...

RICHARD KISSES DIANE'S HAND. SHE SMILES FOR AN MOMENT, BUT THEN PULLS AWAY HER HAND AND NARROWS HER GAZE.

RICHARD LOOKS AT DIANE. HOLD ON RICHARD.

GO TO: JACK, AS HE WALKS IN AND LOOKS AROUND. HE SEES JENNIFER ALREADY SEATED AND WALKS OVER TO THEIR TABLE. SHE IS WEARING THE RED DRESS SHE WORE WHEN JACK FIRST PROPOSED TO HER (ON THE ROOF).

JENNIFER: I'm glad you saw it.

JACK: How could I miss it?

JENNIFER: With the mess on your desk, I couldn't be sure.

JACK LEANS OVER TO KISS JENNIFER AND SITS DOWN.

JENNIFER: Thank you, kind sir... And Happy Anniversary.

JACK: I've seen that dress before...

JENNIFER: You have...

JACK: That night... on the roof...

JENNIFER: I said it was the most romantic night of my life... and it was... it was all I'd ever dreamed...

JACK: You said so was I...

JENNIFER: And you still are...

JACK LEANS OVER TO KISS JENNIFER.

JACK: I thought you might like them. I remember your sweet tooth.

JENNIFER PUTS HER HAND OVER JACK'S.

JACK: Then you'll look forward to dessert. (JACK CARESSES JENNIFER'S HAND WITH HIS) But first, (SHAKES A FINGER AT JENNIFER) shame on you for embarrassing me with those flowers at the office.

JENNIFER: Why, is the powerful CEO of Deveraux Publishing too manly to receive flowers from his wife?

JACK: Never... in private. But, I don't think I'll ever hear the end of it from Richard.

JENNIFER: Good. I want everyone to know how much I love you. (BEAT) Starting with tonight. I have a very romantic dinner planned.

A WAITER ARRIVES WITH CHAMPAGNE. HE POURS SOME INTO EACH OF THEIR GLASSES.

JENNIFER: I can't believe it's been three years already.

JACK: Time sure flies...

JENNIFER: Do you remember our wedding?

JACK: Yes. (APPREHENSIVE) Are we going to play this game again where I don't remember what color the flowers were, and you get angry with me?

JENNIFER: (LAUGHING) No, of course not. But you must remember how you proposed to me.

JACK: Which time?

JENNIFER: The last time.

JACK: How could I forget? I don't think most of Salem can forget... seeing as how it appeared in most of their living rooms.

JENNIFER: I didn't care about those cameras. All I could see was you. (BEAT) I'm just glad that you overcame your hysterical laryngitis before saying your vows.

JACK: At least I didn't lose my hearing. I wouldn't have been able to hear you recite that lovely poem.

JENNIFER: I believe what that poem had to say. When we got married, our adventure truly began.

JACK REACHES OUT AND RUNS HIS FINGERTIPS DOWN THE SIDE OF JENNIFER'S FACE. THEY LOOK LOVINGLY INTO EACH OTHER'S EYES. THEIR WAITER APPEARS WITH A PLATE OF APPETIZERS. THE WAITER SETS DOWN THE PLATE. JACK LOOKS AT THE PLATE, THEN QUIZZICALLY LOOKS AT JENNIFER.

JENNIFER: I hear they're an aphrodisiac.

JACK: Then let's dig in!

JENNIFER: Now I'm really looking forward to dessert.

JACK: Patience my dear, patience.

JENNIFER STARTS TO EAT. JACK WATCHES HER FOR A MOMENT.

JACK: In a moment... But first...

JACK REACHES INTO HIS POCKET AND TAKES OUT A SMALL PACKAGE.

JENNIFER OPENS THE PACKAGE, WHICH REVEALS A CONTINUOUS BAND OF DIAMONDS, CIRCLING A PLATINUM BAND.

JACK: (POINTING TO THE RING) This ring represents our love... our marriage: never-ending... never broken...

JENNIFER: I'll cherish it, always. (BEAT) Can you put it on my finger?

JENNIFER HOLDS OUT HER HAND, WHILE JACK SLIPS THE RING ON HER FINGER.

JENNIFER ADMIRES THE RING ON HER FINGER, THEN LEANS OVER TO KISS JACK. SHE PULLS BACK, AND BENDS DOWN TO REACH INTO A SHOPPING BAG UNDER THE TABLE. SHE PULLS OUT A RECTANGULAR PACKAGE.

JACK OPENS HIS PRESENT. IT IS A BEAUTIFUL CHERRY WOOD PICTURE FRAME SURROUNDING A PHOTOGRAPH OF JENNIFER AND ABIGAIL.

JENNIFER: Do you like it?

JACK: It's perfect. It will have a place of honor on my desk. (BEAT) Thank you.

JENNIFER LEANS OVER AND KISSES JACK AGAIN.

HOLD ON JACK AND JENNIFER, AS THEY LOOK INTO EACH OTHER'S EYES.

CUT TO: MYRTLE BEACH RESORT/DINING ROOM. KAYLA AND MARCUS SIT AT A TABLE NEAR THE WINDOW, OVERLOOKING THE BEACH. CANDLES ARE LIT ON ALL THE TABLES. KAYLA AND MARCUS SIP SOME EXOTIC FRUIT DRINKS.

KAYLA: If I did, it was all your fault.

MARCUS: Hmmm... Okay, I plead guilty. I wanted to spend as much time with you as possible.

KAYLA: All right... if you're guilty, so am I. (SMILING) I've had a wonderful day. I don't want it to ever end.

MARCUS: Who says it has to?

MARCUS RAISES HIS GLASS.

KAYLA: (SMILING) To us...

THEY SIP THEIR DRINKS AND SHARE A LOVING LOOK.

KAYLA: For me?

MARCUS: Uh-huh... Close your eyes and hold out your hand.

KAYLA LOOKS SKEPTICAL, BUT CLOSES HER EYES AND HOLDS OUT HER RIGHT HAND. MARCUS PULLS A CHARM BRACELET OUT OF HIS POCKET AND FASTENS IT TO KAYLA'S WRIST. KAYLA OPENS HER EYES TO ADMIRE THE BRACELET.

THE BRACELET'S CHARMS ARE AN ASSORTMENT OF GOLD SEA SHELLS.

KAYLA: I thank you... but I won't need a bracelet. I'll have you with me to remind me...

KAYLA LEANS ACROSS THE TABLE TO KISS MARCUS. AS THEY KISS WE SUDDENLY HEAR A DRUNKEN VOICE EXCLAIM,

OUT ON KAYLA'S AND MARCUS' SURPRISE AS THEY PULL APART.

ACT V

EUTERPE. JACK AND JENNIFER SIT AND SIP CHAMPAGNE.

JACK: Jennifer! (BEAT) I'll have you know that I have excellent taste in jewelry, and didn't need any assistance.

JENNIFER: Well, that's good, because I was thinking that when Abby's a little older, I would get her a pearl necklace. But since you're the jewelry expert, I'll let you do it.

JACK: She's still much too young for such things. (BEAT) Now, if we start buying savings bonds for her...

JENNIFER SHAKES HER HEAD WHILE LAUGHING AT JACK'S INHERENT LOVE OF PROFIT. AS JENNIFER LAUGHS, EVE WALKS UP TO THEIR TABLE, CARRYING A PAD OF PAPER AND A PEN.

JACK LOOKS AT EVE, THEN AT JENNIFER, THEN BACK TO EVE.

EVE: (ICY) Then why don't you ask your waiter, Jack? Do I look like I'm waiting tables?

JACK: Well, let's see Eve, you're in a restaurant, you're going from table to table, and you have a writing instrument and papyrus.

EVE GLARES AT JACK, WHILE JENNIFER TRIES TO STIFLE A GIGGLE. EVE THEN WALKS AWAY, HEADED TO THE BAR.

JACK: She set it up so perfectly... I couldn't help myself.

WE HEAR A FANFARE ON THE PIANO AND THE SPOTLIGHT COMES UP ON DOUG AND ROBERT, WHO ARE ON STAGE. MARTY SITS AT THE PIANO.

THE AUDIENCE APPLAUDS. ROBERT WALKS ON STAGE AND BEGINS TO "WONDERFUL WONDERFUL". JACK AND JENNIFER LOOK AT EACH OTHER FOR A MOMENT. THEN JACK STANDS AND OFFERS JENNIFER HIS HAND.

JENNIFER: This... and every dance for the rest of my life...

JACK SMILES AND LEADS JENNIFER TO THE DANCE FLOOR. AS THEY DANCE, WE SEE DOUG SIGNAL THE BOOTH AND A SPOTLIGHT COMES ON, SPOTLIGHTING JACK AND JENNIFER. THEY DON'T SEEM TO NOTICE, AS THEY ENJOY EACH OTHER AND THE DANCE. EVE WATCHES THEM FOR A MOMENT, THEN MAKING A FACE, WALKS FROM THE BAR TO THE DOOR OF THE SOUND ROOM, WHERE IAN IS STANDING.

EVE: Excuse me?

IAN: Come off it, Eve, not sixty seconds ago you were in some sort of verbal warfare with the Deveraux's. (BEAT) What gives?

EVE: (COOL) Well, Ian, if you must know... Jack is my ex-husband.

IAN: (STUNNED) What?

EVE: Which word did you not understand?

IAN: I... It's just that I've never seen two people more in love than Jack and Jennifer Deveraux. (BEAT) Did Jennifer split up you and Jack?

HOLD ON EVE'S ANNOYANCE AT THE QUESTION.

GO TO: RICHARD AND DIANE.

RICHARD: (INTERRUPTING) Richard...

DIANE: Come on, Richard. Out with it.

RICHARD: All right. (BEAT) I'll tell you what I'm doing.

DIANE: This should be good...

RICHARD: In addition to enjoying a fine dinner with good company...

DIANE EYES HIM SUSPICIOUSLY.

DIANE: (ANGRILY) You're using me to make someone jealous? You've got some nerve, Hunt...

DIANE STARTS TO GET UP, BUT RICHARD REACHES OVER AND GENTLY PUTS A HAND ON HER SHOULDER.

DIANE LOOKS DOWN AT RICHARD'S HAND ON HER SHOULDER, THEN LOOKS RICHARD IN THE EYES. RICHARD MOVES HIS HAND DOWN HER ARM UNTIL IT RESTS ON HER HAND.

DIANE: (GRUDGINGLY) Okay... keep talking.

RICHARD: I'm not trying to make this girl jealous. (BEAT) Actually, it's just the opposite. She's got a... crush on me, and I'm trying to discourage her without hurting her feelings.

DIANE: (PULLING HER HAND BACK AND ROLLING HER EYES) Oh, please... You've got some ego.

RICHARD: Believe me, this girl hasn't been subtle.

DIANE: Okay, assuming she is after you... (BEAT) It still comes back to you using me.

RICHARD: (SURPRISED) You're really hurt...

DIANE: Of course I'm hurt. (BEAT) I do have feelings, you know...

RICHARD: I know. And I didn't mean to hurt them.

DIANE: Well, you did.

RICHARD: I'm sorry.

DIANE: You'd better be. (BEAT) Tell me something...

RICHARD: Sure.

DIANE: Why me?

RICHARD: That's easy. I wanted this girl to think that I was involved with a woman so beautiful and intelligent that she couldn't compete. (BEAT) That's when I thought of you.

DIANE SMILES DESPITE HERSELF.

DIANE: You're taking a big gamble on my sportsmanship.

RICHARD: Only because I have faith in you.

DIANE: Well...

RICHARD GIVES DIANE A PLEADING LOOK.

RICHARD SIGHS WITH RELIEF.

RICHARD SMILES.

RICHARD'S SMILE FADES.

RICHARD: Thank you.

DAVE ARRIVES WITH THE CHAMPAGNE. HE POURS TWO GLASSES AND THEN LEAVES THE BOTTLE AS HE DEPARTS.

RICHARD PICKS UP A GLASS AND RAISES IT.

DIANE PICKS UP HER GLASS AND CLINKS IT WITH RICHARD'S.

RICHARD: And... to us.

DIANE PAUSES FOR A MOMENT. SHE THEN SMILES.

THEY CLINK GLASSES. HOLD ON THE TWO, SIPPING CHAMPAGNE.

CUT TO: MYRTLE BEACH RESORT/DINING ROOM. KAYLA, MARCUS AND THE REDNECK. IN PROGRESS.

REDNECK: You deaf? It's a wonder places like this let you people in here!

MARCUS: (TRYING TO CONTROL HIS TEMPER) Sir, we'd like to enjoy our evening. If you would leave us alone, we could do that.

REDNECK: I oughta have you thrown out. It's your kind who give Myrtle Beach a bad name!

KAYLA: Sir, we're trying to have a nice, quiet dinner. Why don't you leave us in peace?

REDNECK TRIES TO WALK, BUT HE WOBBLES.

MARCUS STANDS, CALMLY, BUT OBVIOUSLY ANGRY.

KAYLA: Marcus! No... please...

KAYLA STANDS UP AND MOTIONS TO THE MANAGER, WHO HAS NOTICED THE COMMOTION.

REDNECK: Come on... boy... I can handle you...

THE REDNECK DRUNKENLY WEAVES TOWARDS THE DOOR.

MARCUS: I don't know... I might make him see the light...

KAYLA: And he's obviously had too much to drink. (BEAT) You're a much better man than he'll ever be, don't sink to his level...

MARCUS: You heard him.

KAYLA: What does he know?

THE REDNECK STAGGERS BACK TOWARDS THEIR TABLE.

AS HE SWAYS TOWARDS KAYLA AND MARCUS, THE REDNECK IS INTERCEPTED BY THE MANAGER.

REDNECK: Who the hell are you?

MANAGER: I'm the manager here, and I'm afraid I'll have to ask you to leave.

REDNECK: You let... them... in here (POINTS TO MARCUS AND KAYLA) But you want me to leave?

MANAGER: They are guests here. You are the one who is causing trouble.

REDNECK: (POINTING) It's his fault! It's people like him! They're responsible for the mess we're in.

MANAGER: Sir, will you leave nicely or do I have to call the police?

REDNECK: (SULKING) Okay. I'll leave. I don't want to be here anyway, with the likes of them.

THE REDNECK DEPARTS WITH A LITTLE HELP FROM ONE OF THE LARGER WAITERS. KAYLA BREATHES A SIGH OF RELIEF AND SINKS BACK DOWN INTO HER CHAIR.

MARCUS: That's very nice of you, but...

KAYLA: Marcus, would you mind if we left now? All of a sudden I'm not feeling very hungry.

MARCUS: But... you heard the lady. I think we'll pass on dinner tonight...

MANAGER: Please... again accept my apologies... And all your meals will be as our guests... It's the least we can do...

MARCUS: Fine, thank you. Now if you will excuse us...

MARCUS WALKS OVER TO KAYLA AND PULLS OUT HER CHAIR. HE OFFERS HER HIS ARM. KAYLA LINKS HER ARM WITH HIS AND THEY WALK OUT OF THE DINING ROOM, ARM IN ARM, HEADS HELD HIGH. OUT ON THEIR EXIT.

ACT VI

HORTON LIVING ROOM. ROSIE AND ALICE ARE SITTING ON THE COUCH. ABIGAIL SITS ON THE FLOOR, PLAYING WITH HER TOYS.

ALICE: I'm glad to have the company.

ROSIE: I know that it's been a... difficult time. I just hope we're not putting you out...

ALICE: Nonsense. You're a dear friend, Rosie, and I welcome any time that I have to spend with my great-granddaughter.

ROSIE: After my husband passed away, I went through so many emotions. One minute I wanted to be alone, and the next I couldn't stand it. (BEAT) Do let us know if it gets to be too much.

ALICE: I will. (PATS ROSIE'S HAND) And thank you for understanding.

BILL WALKS INTO THE ROOM CARRYING A TRAY CONTAINING THREE COFFEE MUGS. HE SETS IT DOWN ON THE COFFEE TABLE AND HANDS ALICE AND ROSIE EACH A MUG. HE BENDS DOWN AND SCOOPS ABIGAIL UP INTO HIS ARMS BEFORE TAKING A SEAT.

ABIGAIL: Cookie!

ABIGAIL TAKES THE COOKIE AND BEGINS TO HAPPILY MUNCH ON IT.

ALICE: Can you believe they've been married for three years?

BILL: It seems like almost yesterday I was walking Jennifer down the aisle.

ROSIE: I can still remember when Jennifer Rosie was born...

BILL: Who could forget?

ALICE: In the middle of a snowstorm... (TO BILL) And you delivered your own daughter.

BILL: It was a true miracle. Laura and I could hardly believe we had a baby girl.

ROSIE: Laura... I miss her. I can see her smile in Jennifer's face every day.

BILL: Yes, and it seems to have been passed down into little Abigail. Whenever I see Jennifer or Abby... I think of Laura...

ALICE: That goes to show that we never really lose the people we love.

ABIGAIL YAWNS, AND ROSIE STANDS TO PICK HER UP.

ABIGAIL: Nite, nite.

BILL: Good-night, honey.

ALICE: Sweet dreams, Abby.

ROSIE TAKES ABIGAIL UPSTAIRS. ALICE TURNS TO BILL AND LIGHTLY TOUCHES HIS FACE.

BILL: Dad's a tough act to follow... but I'm definitely going to do my best to not let down his memory.

BILL TAKES ALICE'S HAND IN HIS. HOLD ON THE TENDER MOMENT.

CUT TO: EUTERPE. EVE AND IAN. IN PROGRESS.

IAN: I still don't get it. If you and Jack never got along, why in the world did you get married?

EVE STARES AT IAN, UNWILLING TO GIVE HIM THE REAL ANSWER: FOR MONEY.

EVE: Ian, let me sum up my relationship with Jack Deveraux like this: it was the longest four months of my life. (BEAT) After that, the story is too boring to tell, and I would appreciate it if you would leave it alone.

IAN TURNS BACK TO WATCH JACK AND JENNIFER DANCE. EVE GRIMACES AS JACK DIPS JENNIFER. THE SONG FINISHES AND JACK AND JENNIFER KISS. HOLD ON THE AUDIENCE'S APPLAUSE AS ROBERT FINISHES SINGING AND THE DANCE ENDS.

CUT TO: JANET'S APARTMENT. THE DOOR OPENS AND JANET COMES IN CARRYING A GROCERY BAG. SHE SETS HER BRIEFCASE DOWN ON THE FLOOR AND KICKS OFF HER SHOES. ISIS, HER ABYSSINIAN CAT, JUMPS UP ON THE COUCH AND BEGINS TO MEOW. JANET REACHES OUT TO PET HER.

JANET GOES INTO THE KITCHEN WITH THE GROCERIES, ISIS FOLLOWING, MEOWING ALL THE WAY. JANET REACHES INTO THE BAG AND PULLS OUT A CAN OF CAT FOOD. OPENING THE CAN, JANET BEGINS SPOONING THE FOOD INTO A DISH.

JANET SETS THE DISH OF CAT FOOD ON THE FLOOR AND WASHES HER HANDS. SHE PULLS OUT A BOTTLE OF WINE FROM THE REFRIGERATOR, UNCORKS IT AND POURS SOME INTO A GLASS.

JANET CROSSES BACK INTO THE LIVING ROOM, FLIPPING ON THE STEREO AS SHE GOES BY. SHE SITS ON THE EDGE OF THE COUCH, PULLING THE PINS OUT OF HER HAIR. THAT DONE, SHE TAKES A SIP OF THE WINE AS SHE RELAXES AGAINST THE COUCH CUSHIONS AND PROPS HER FEET ON THE COFFEE TABLE. THE BODEAN'S "BEAUJOLAIS" BEGINS TO PLAY ON THE RADIO.

AS JANET LISTENS, TEARS BEGIN TO ROLL DOWN HER FACE. ISIS JUMPS UP ON THE COUCH AND SETTLE'S IN JANET'S LAP. JANET BEGINS TO STROKE ISIS.

OUT ON JANET'S PAIN.

ACT VII

EUTERPE. EVE AND IAN. IN PROGRESS.

EVE: Fine. I won't.

IAN LOOKS PAST EVE AND NOTICES RICHARD AND DIANE. HE TRIES NOT TO SMILE.

EVE TURNS AND, FOLLOWING IAN'S GAZE, SPIES RICHARD AND DIANE. THEY ARE LAUGHING. DIANE PUTS HER HAND ON RICHARD'S.

IAN: (TRYING TO HIDE HIS AMUSEMENT) Something wrong, Eve?

EVE: (TURNING TO IAN) Wrong? No. Nothing's wrong.

EVE TURNS BACK TO WATCH RICHARD AND DIANE.

IAN, SHAKING HIS HEAD, DISAPPEARS INTO THE SOUND BOOTH. EVE CONTINUES TO GLARE AT RICHARD AND DIANE.

GO TO: RICHARD AND DIANE.

RICHARD: If she's got a glare that could melt diamonds, that's her.

DIANE: You're not going to look?

RICHARD: I wouldn't dare.

DIANE: Well, I'm sure it's her. (BEAT) I don't know if your plan is going to work, but we've definitely caught her attention.

RICHARD: To be honest, I'm enjoying myself so much now that I almost don't care how she reacts.

DIANE: Unless she assaults me, or something...

RICHARD: Yes, we couldn't have that...

DIANE: (GLANCING QUICKLY AT EVE) Eh... I could take her...

RICHARD: Oh?

DIANE: Sure. No problem.

RICHARD: Going to fight for me now? I'm flattered...

DIANE: Don't push it. (BEAT) If she comes after you with a salad fork, you're on your own...

RICHARD: (IN MOCK HORROR) She has a salad fork?

DIANE LAUGHS. RICHARD LAUGHS WITH HER. THE SONG, "WE'VE GOT TONIGHT," BY KENNY ROGERS AND SHEENA EASTON, BEGINS TO PLAY.

DIANE: Sure.

RICHARD AND DIANE STAND AND MAKE THEIR WAY TO THE DANCE FLOOR. THEY BEGIN DANCING LIKE FRIENDS, WITH A COMFORTABLE AMOUNT OF SPACE BETWEEN THEM.

GO TO: EVE AND IAN, WHO HAS COME BACK OUT OF THE SOUND BOOTH.

IAN: (INNOCENTLY) I dunno. I picked it out earlier this evening. Why?

EVE: (GRUFFLY) Never mind.

EVE CONTINUES TO GLARE AT RICHARD AND DIANE.

GO TO: RICHARD AND DIANE. THEY ARE NOW DANCING MUCH CLOSER. HE NOW HAS BOTH ARMS AROUND HER WAIST. SHE IS RESTING HER HEAD AGAINST HIS CHEST AND CARESSING THE BACK OF HIS NECK WITH HER HAND.

RICHARD: Probably. I'm sure she could just about snap.

DIANE: (LOOKING UP AT RICHARD WITH A MISCHIEVOUS GRIN) Let's find out...

RICHARD: What?

DIANE: Let's see how far we can push her.

RICHARD: I don't know...

DIANE: Awww, come on. Live a little.

RICHARD: (RESIGNEDLY) Okay. What do we do?

DIANE: Follow my lead...

DIANE GENTLY PULLS RICHARD'S HEAD DOWN AND KISSES HIM. HE PULLS BACK SLIGHTLY, AND THEY SMILE AT EACH OTHER. SUDDENLY, THEY KISS AGAIN, LONGER AND MORE PASSIONATELY.

GO TO: EVE AND IAN. EVE IS FUMING.

IAN: Eve, what...?

EVE: (INTERRUPTING) Oh, shut up, Ian!

EVE STORMS OUT OF THE ROOM. IAN PUTS HIS HAND TO HIS MOUTH TO KEEP FROM LAUGHING.

GO TO: RICHARD AND DIANE. THEY PULL AWAY FROM EACH OTHER. DIANE WINKS AT RICHARD AND LOOKS OVER HIS SHOULDER. SHE SEES EVE BEAT A HASTY RETREAT.

HOLD ON RICHARD'S SMILE.

CUT TO: JACK AND JENNIFER'S BEDROOM/CORRIDOR. JACK CARRIES JENNIFER IN HIS ARMS. THEY NEAR THE BEDROOM DOOR.

JACK: But it's so much more... fun... to carry you.

JACK NIBBLES JENNIFER'S NECK.

JACK: I'm sure what I have in mind will cure anything that ails me.

JENNIFER: And what do you have in mind?

JACK: (DEVILISH SMILE) Just you wait and see...

THEY REACH THE BEDROOM DOOR AND JENNIFER REACHES DOWN TO THE DOORKNOB AND OPENS THE DOOR. THEY WALK INTO THE BEDROOM AND JENNIFER GASPS. CANDLES SURROUND THE ROOM, AND ROSE PETALS COVER THE BED.

JACK: Do you like it?

JENNIFER GENTLY KISSES JACK..

JENNIFER GENTLY PULLS JACK BACK INTO A KISS. AFTER A MOMENT, THEY BREAK AND JENNIFER SMILES.

JACK: Perhaps. I can always go see if we have any more chocolate chip cookie dough ice cream in the freezer. I know you and your sweet tooth.

JACK LETS JENNIFER SLIDE DOWN AGAINST HIM AS HE RELEASES HER TO STAND ON THE FLOOR. JACK STARTS TO HEAD FOR THE DOOR, WHEN JENNIFER STOPS HIM.

JACK: Very well. Then we'll lock ourselves in here the rest of the night.

JENNIFER: That sounds like a good plan to me.

JACK SMILES, AND REACHES FOR A LONG-STEMMED PINK ROSE ON ONE OF THE PILLOWS. HE HANDS IT TO JENNIFER.

JACK CUPS JENNIFER'S FACE WITH HIS HANDS AND KISSES HER PASSIONATELY. THEY CONTINUE TO KISS, AS THEY SLOWLY SINK TO THE BED. HOLD ON THEIR EMBRACE.

CUT TO: MYRTLE BEACH RESORT SUITE. KAYLA AND MARCUS HAVE RETURNED TO THEIR ROOM. MARCUS STILL LOOKS TENSE. KAYLA KICKS OFF HER SHOES AND PUTS HER HAND ON HIS SHOULDER.

MARCUS: A little bit, I guess. But it still bothers me...

KAYLA: It bothers me, too. Lucky the manager came by, I might have hit the guy myself.

MARCUS: Knowing you, you might have... Didn't I say you were my dragonslayer?

KAYLA: And I am... but...

MARCUS: But...

KAYLA: I don't want one uneducated clod to destroy our weekend... Right now, there are more important things to consider...

MARCUS: You're right. We came here to have a good time and I shouldn't let an ignorant jerk like that get the best of me.

KAYLA: That's the spirit. (BEAT) Let's have a nightcap out on the balcony.

MARCUS GRABS TWO GLASSES AND A BOTTLE FROM THE COUNTER WHILE KAYLA OPENS THE BALCONY DOORS. THEY STAND LEANING AGAINST THE RAILING, LOOKING OUT AT THE OCEAN. KAYLA HOLDS HER FACE UP TO THE SKY.

MARCUS: It's a very calming sound...

THEY ARE SILENT FOR A MOMENT.

MARCUS: (NOT TAKING HIS EYES FROM KAYLA'S FACE) I've never seen one quite so beautiful.

KAYLA TURNS TO LOOK AT HIM. REALIZING THAT HE'S TALKING ABOUT HER, SHE BLUSHES AND LOOKS DOWN. MARCUS REACHES OUT AND PUTTING HIS FINGER UNDER HER CHIN, RAISES HER HEAD. THEY LOOK INTO EACH OTHER'S EYES, DRAWING CLOSER. MARCUS LEANS DOWN TO KISS KAYLA. THEIR EMBRACE BECOMES MORE PASSIONATE. KAYLA BREAKS AWAY.

KAYLA PUTS HER HAND OVER HIS MOUTH.

KAYLA TAKES HIS HAND AND PULLS HIM INTO THE BEDROOM. SHE STANDS IN FRONT OF THE BED.

KAYLA NODS AND REACHES UP TO PULL MARCUS INTO ANOTHER KISS. PULLING AWAY AGAIN, KAYLA STARTS TO UNDO THE BUTTONS ON HIS SHIRT AND KISSES HIS CHEST. HE REACHES AROUND HER TO SLIDE DOWN THE ZIPPER OF HER DRESS. KISSING AGAIN, THEY SIT ON THE BED AND THEN SLOWLY RECLINE. HOLD ON THEIR EMBRACE. AND OUT. FADE TO BLACK.

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