ALT.DAYS

Episode #66

An ALT.DAYS Production,
A Division of Peel Productions, Inc.
Air Date: August 23, 1994
Time: Several Days After #65,
Morning to Evening

Copyright 1995

TEASER

NICK'S ROOM, SALEM INN. NICK IS READING THE PAPER. THERE IS A KNOCK AT THE DOOR. HE GOES TO THE DOOR AND OPENS IT TO REVEAL A GRIM-FACED JACK.

JACK: Mr. Nick Corelli.

NICK: (STEPPING ASIDE) Please, come in.

JACK: (ENTERING) Thank you.

NICK: And do me a favor... call me Nick. Every time someone calls me "Mr. Corelli," it makes me feel as if I'm back up on that damned witness stand. I don't like it.

JACK: If you insist.

NICK: (MOTIONING TO A CHAIR) Have a seat, Jack. (BEAT) It's okay if I call you Jack, isn't it?

JACK: (SITTING DOWN) For the sake of this interview, I don't see why not. It doesn't have to mean we're friends...

NICK: (SITTING DOWN ACROSS FROM JACK) No, I guess not. (LONG BEAT) If there's something on your mind, Jack, why don't you just spit it out? We might as well know where we stand with each other.

JACK: All right, I'll tell you what's on my mind. (BEAT) I'm not sure what I want to do more right now: interview you and write your story, or beat the living hell out of you.

NICK: Come on, Jack, don't hold back. Tell me how you really feel.

JACK: You wanted to know where I stand. Well, here's where I stand: For the last four years, I thought you were the one responsible for my brother's death. I took great satisfaction in the knowledge that you were burning in hell for it. (BEAT) Now, I learn that you're alive, that you weren't responsible, and that you were a protected witness against the man who did kill Steve.

NICK: I guess that changed your opinion a little, huh?

JACK: Perhaps. Of course, your disappearance meant that my mother was convicted of murder and locked in a sanitarium.

NICK: Look, Jack, I know that this whole thing with Alamain has been hell on your family. I know that I'm not your favorite guy in the world.

JACK: You could say that...

NICK: But, I can't change what's happened. I can't bring back Steve. (BEAT) All I can do is tell the truth, and make sure that everyone knows exactly what kind of a slimebag Lawrence Alamain is. (BEAT) It's not much, but we can at least get something worthwhile out of this whole mess.

JACK: Point taken. (BEAT) We should do all we can to ensure that Steve didn't give his live completely in vain.

NICK: Exactly. (BEAT) That's why I agreed to talk to you. I'm gonna give you the whole story.

HOLD ON NICK.

CUT TO: JOHN'S LOFT. JOHN AND BRADY ARE IN THE KITCHEN. BRADY IS SITTING IN HIS HIGH CHAIR, WHILE JOHN IS PREPARING BREAKFAST. AN UNSHAVEN JOHN IS WEARING A BATHROBE, AND LOOKS HAGGARD.

BRADY: Crunch!

JOHN: Captain Crunch, eh? (TAKES DOWN THE CEREAL BOX FROM A CUPBOARD AND LOOKS AT IT) It's not the most nutritious breakfast, but heck, at least it's easy to fix.

JOHN POURS THE CEREAL FOR BRADY, WHO HAPPILY STARTS TO MUNCH AWAY.

JOHN GOES TO POUR HIMSELF A MUG OF COFFEE.

JOHN TURNS AROUND AND LOOKS AT BRADY, WHO CONTINUES EATING HIS BREAKFAST.

SUDDENLY, JOHN SLAMS HIS COFFEE MUG ON THE COUNTER AND WALKS OUT OF THE KITCHEN.

JOHN PICKS UP THE TELEPHONE AND DIALS. ONE-WAY.

JOHN HANGS UP THE PHONE. HOLD ON JOHN'S WORRY.

CUT TO: EUTERPE. IAN AND DAVE ARE SETTING UP THE STAGE FOR THE EVENING.

DAVE: Perfect.

THE TWO MEN MOVE THE TABLE. DAVE SETS THE FLOWERS ON TOP. IAN STEPS OFF STAGE AND LOOKS OVER THE STAGE AS A WHOLE.

DAVE JOINS IAN OFF STAGE.

IAN: Hmmm... Doug strikes me as the extravagant type. I'll bet there've been some major disagreements between you two...

DAVE: Not really. Doug trusts my judgment.

IAN: As I am learning to...

IAN GOES TO THE BAR TO POUR A CUP OF COFFEE.

DAVE: Tea, thanks. I'll get it.

DAVE STEPS BEHIND THE BAR AND GETS A TEA BAG. DAVE GRABS A CUP AND ADDS HOT WATER AND THE TEA BAG. HE STARTS ABSENTMINDEDLY DIPPING THE TEA BAG.

DAVE: Not really. I try and get along with everyone...

IAN: But I'm sure Nick is very different from Doug.

DAVE: (SHRUGGING) They were both great to me.

IAN: What was it like working for Nick?

DAVE Nick did a great job running Wings. It was an elegant club with a sophisticated clientele.

IAN: You're not going to give me any dirt, are you?

DAVE: "Dirt" is not my forte. (BEAT) If you really want to know about Nick, you should ask Eve. She's the expert.

DOUG ENTERS AND OVERHEARS.

IAN: She's the expert on Nick.

DOUG: I see. (BEAT) It seems like everyone is talking about Corelli today. But why you, Ian? Why the sudden interest?

IAN: He was important to Eve. Eve's a good friend of mine. So what's important to her, is important to me.

DAVE: (EVER SENSITIVE) Excuse me, gentlemen. I want to make a few changes to the stage.

DOUG: Oh, Dave. Before you go... I'll need the private dining room this afternoon.

DAVE: I think its free. I'll check the reservations. If its not, I'll make the necessary changes.

DOUG: Thanks. Mickey Horton is coming over. We have some business to discuss. Serious business...

HOLD ON DOUG'S CONCERN.

ACT I

NICK'S ROOM, SALEM INN. JACK AND NICK. IN PROGRESS.

NICK: Wait a minute, Jack. I swear, I had no idea that Jo was prosecuted. (HOLDS UP HIS RIGHT HAND WITH HIS INDEX AND MIDDLE FINGER UPRIGHT) Scout's honor.

JACK: Were you also unaware that she was sent to serve her sentence at Bayview?

NICK: (SURPRISED) You're kidding? The looney bin? Man, that's rough. (BEAT) At least, I hope they treated her fairly.

JACK DROPS HIS NOTEBOOK TO HIS LAP.

NICK: Of course it ain't fair. Life ain't fair! (STANDS UP AND STARTS PACING) The ISA promised me that she wouldn't be locked up!

JACK: They lied.

NICK: You're darned right, they lied! They've lied to me about almost everything!

JACK PICKS UP HIS NOTEBOOK AND JOTS DOWN A FEW NOTES.

NICK WALKS OVER TO THE WINDOW SILL AND LOOKS OUT AT THE CITY. HOLD ON NICK'S FRUSTRATION.

CUT TO: BRADY'S ROOM. JOHN IS FASTENING BRADY'S SHOES.

BRADY: Ve-co?

JOHN: Yep, Velcro. When I was a kid, I had to learn to tie shoelaces... (BEAT) When I was a kid... (SHAKING HIS HEAD) As if I really remembered...

JOHN CHECKS OUT BRADY'S OUTFIT.

BRADY TODDLES OVER TO HIS TOY BOX, PICKS UP A STUFFED LION AND BRINGS IT BACK TO JOHN.

JOHN: Yep, that's Simba...

BRADY: Play with lion...

JOHN: Play? Well... I really should be going to work...

BRADY: No play? (HIS LOWER LIP STARTS TO TREMBLE)

JOHN: Now wait... I didn't say no... (PICKS UP BRADY) Maybe that's what we should do. You and I can spend the day together... playing...

JOHN WALKS OVER AND SITS IN THE ROCKING CHAIR AND ROCKS BRADY.

BRADY: Lion!

JOHN: Yes, we can see lions at the zoo.

BRADY: Zoo!

JOHN: Tell you what... I'll call Patricia and tell her I won't be in. Then I'll call Daycare...

BRADY CLAPS AND GIGGLES.

JOHN: You like Daycare? Hmmm... Maybe you wanna see your girlfriend, Abigail...

BRADY: Abby... Lizzie... Vickie...

JOHN: I should have known. My son the toddler-stud. You've already got the girls lined up.

BRADY: Up?

JOHN: I guess I better get used to that, huh? Maybe I should put in a number vendor outside the door, so when the babes show up, they can take a number and get in line.

BRADY SQUIRMS AND JOHN PUTS HIM DOWN. BRADY STANDS WITH HIS HANDS ON HIS FATHER'S KNEES.

BRADY; Smart!

JOHN: Yes, you're smart... just like your mother. (SADNESS GIVES WAY TO HUMOR) Let's just hope you're a better driver. Smart as a whip and handsome. What a catch you're going to be.

BRADY: Catch.

JOHN: I guess we should call everyone and tell them we're playing hookey today.

BRADY: Hookey!

JOHN PICKS UP BRADY AND WALKS OUT OF THE ROOM.

CUT TO: JOHN'S LOFT. JOHN AND BRADY COMING DOWNSTAIRS. JOHN WALKS OVER TO THE PHONE AND DIALS. TWO WAY.

JOHN: This is Mr. Black, Patty.

PATRICIA: Patricia.

JOHN: Patricia. (BEAT) How are you?

PATRICIA: I am well, sir. And you?

JOHN: Good. Thanks, Pat... uh, Patricia. And I wanted to let you know, I won't be in today.

PATRICIA: I see.

JOHN: Would you mind letting Ms. McCloud know?

PATRICIA: (SHE'S HEARD THIS BEFORE) Of course, Mr. Black. Will there be anything else?

JOHN: No. Thanks, Patricia. G'bye.

HOLD ON PATRICIA'S AGGRAVATION.

CUT TO: EUTERPE. MICKEY ARRIVES AND LOOKS AROUND FOR DOUG. DAVE GREETS HIM, PICKING UP A MENU.

DAVE LEADS THE WAY, MOTIONING FOR JASMIN TO FOLLOW HIM AND MICKEY.

CUT TO: EUTERPE/PRIVATE DINING ROOM. MICKEY, DAVE AND JASMIN ENTER. DOUG STANDS AND SHAKES HANDS WITH MICKEY.

MICKEY: You know I'm always on call for family.

DAVE: Can I get you gentleman anything to drink while Jasmin takes your order? Coffee? Tea?

DOUG: Coffee sounds great, Dave. Thanks.

MICKEY: Me too, but make mine decaf. (BEAT) Oh and Dave, before I forget. Abe Carver is meeting me here to discuss a case we're working on. If Doug and I are still busy, can you make sure he's comfortable?

DAVE: Sure thing, that's what the boss here pays me for. That'll be two coffees coming right up.

DAVE NODS TO JASMIN AS HE LEAVES. MICKEY OPENS THE MENU AND STARTS TO LOOK THROUGH IT.

DOUG: The smell of Lorenzo's famous bouillabaisse has been driving me crazy all morning! I'll have that.

JASMIN GRINS AND MAKES A NOTE ON HER PAD.

MICKEY MOVES HIS HEAD FROM SIDE TO SIDE.

JASMIN TAKES THE MENUS OFF THE TABLE AND LEAVES, CLOSING THE DOOR QUIETLY.

DOUG: I'm sure you do, so I won't beat around the bush. (BEAT) Can Nick take the club away from me?

OUT ON DOUG'S WORRY.

ACT II

EUTERPE / PRIVATE DINING ROOM. DOUG AND MICKEY. IN PROGRESS.

DOUG: I don't mean to be pessimistic, Mickey, but I feel like I have to prepare for the worst. If there's a possibility that Nick can take Euterpe away from me, I want to be ready.

MICKEY: I understand. To tell you the truth, I'm not quite sure how this would play out in court. It's a complicated case with a lot of extraordinary circumstances. Working out ownership of the estate of someone who's come back from the dead is not something that's going to have much legal precedent to go on.

DOUG: You're right, I guess it wouldn't. (BEAT) We'll just have to take it at face value. How will all of these extenuating circumstances affect things?

MICKEY: (FLIPPING THROUGH A LEGAL PAD) I've been making some notes... Here's what I have so far: You and Julie are the legal owners of the land, and you've been the owners since long before Nick came along.

DOUG: That must work in our favor.

MICKEY: It does. However, before he was declared dead, Nick owned the building itself, which he bought from Neil Curtis. (BEAT) He willed the building to Julie, and when Nick was declared dead, ownership passed to her.

DOUG: Okay, so what happens, now that we know Nick isn't dead?

MICKEY: Well, now that Nick is alive, the will is null and void. Technically, he has the right to reclaim everything that the will disbursed.

DOUG: (HEAVY SIGH) That doesn't sound good. (BEAT) If Nick does decide to try to reclaim the club, what are the chances that he'll succeed?

MICKEY: If he does, then he'd be acting within his rights, so he'd have a very good chance. But...

DOUG: (LOOKING DOWN AND PROPPING HIS HEAD ON HIS HAND) Oh...

MICKEY: Wait... There's something else that'll have to be considered.

DOUG: (LOOKING UP) What's that?

MICKEY: (LOOKING AT HIS NOTEPAD) Since you took over the club, you've made significant capital improvements to the building. That investment has given you a "stake," so to speak. (BEAT) Nick couldn't just take back ownership of the building without somehow compensating you for all that you've invested in the renovations.

DOUG: That's all well and good, but I don't want "compensation." My investment in this club goes way beyond the money for renovations. I've put my heart and soul into it. There's no way a check can compensate me for that.

MICKEY: I know.

DOUG: Euterpe is like a part of me. I can't just sell off a part of me and go on my merry way. (BEAT) I want this club, and I'll do whatever I can to keep it.

MICKEY: I understand how you feel, Doug. I understand why you'd want to fight this. (BEAT) I'd just hate to see the final decision made in the courts.

DOUG: Do you have an alternative?

MICKEY: Possibly. I have an idea...

DOUG: Let's hear it.

MICKEY: Okay. You can avoid the courts altogether, if... If you and Nick could work out some kind of agreement.

DOUG PONDERS MICKEY'S SUGGESTION. HOLD ON DOUG'S CONTEMPLATION.

CUT TO: COMMUNITY CENTER. CANDIS IS SORTING DONATED CLOTHES. SHE IS TOSSING MEN'S CLOTHES TO THE RIGHT, WOMEN'S CLOTHES TO THE LEFT, CHILDREN'S CLOTHES INTO A THIRD PILE. CANDIS HOLDS UP A SHIRT THAT IS WORN, FADED, AND TORN.

MORGAN ENTERS, CARRYING A LARGE BASKET WHICH HE TRIES TO HIDE BEHIND HIS BACK. CANDIS HEARS THE DOOR OPEN AND TURNS TO SEE WHO IT IS.

CANDIS RETURNS TO SORTING CLOTHES WITHOUT GETTING A GOOD LOOK AT MORGAN.

CANDIS: You are too good to me. How is your day going?

MORGAN: Okay. I guess. It could be better.

CANDIS: (DISTRACTED) What's troubling you? Do you want to talk about it?

MORGAN: I don't know. You seem pretty busy.

CANDIS IS STILL SORTING CLOTHES.

MORGAN: (PURPOSELY VAGUE) Well, I found this thing and I don't know what to do with it.

CANDIS: Thing? Hon, I don't know what you're talking about.

CANDIS STOPS SORTING CLOTHES AND TURNS TO LOOK AT MORGAN.

CANDIS WALKS OVER AND KISSES MORGAN.

MORGAN: C'mon. Let's head to the park.

CANDIS: No can do. I'm the only one around until 2:00. Let's go into the lunch room. It's not very romantic, but it's private.

CUT TO: COMMUNITY CENTER / LUNCH ROOM. CANDIS AND MORGAN ENTER, MORGAN CARRIES THE BASKET. MORGAN TURNS ON THE RADIO AND SEARCHES FOR SOME ROMANTIC MUSIC. MORGAN TAKES OUT CANDLES AND LIGHTS THEM. HE TURNS OFF THE FLUORESCENT LIGHTS.

CANDIS TAKES OUT THE TABLECLOTH AND SETS OUT THE FOOD. MORGAN PULLS OUT A BOTTLE OF WINE AND FILLS TWO GLASSES.

MORGAN: Precisely why I got non-alcoholic wine.

CANDIS: My hero. You think of everything.

MORGAN: Including peach cobbler for dessert.

THEY SERVE THEMSELVES AND BEGIN EATING.

MORGAN: I wonder? (WICKED GRIN)

WE HEAR THE RADIO, AN ANNOUNCER'S VOICE COMING ON AS THE MUSIC STOPS.

MORGAN: Ya know, I can see already that no matter how hard I try, this isn't going to be a romantic lunch.

CANDIS: I'll see if I can't find some way to pay you back anyway. (SMILES SEDUCTIVELY)

THE RADIO CONTINUES TO BLARE.

MORGAN STANDS AND TURNS OFF THE RADIO.

CANDIS: Good idea.

CANDIS STARES INTO HER GLASS, OBVIOUSLY LOST IN THOUGHT.

CANDIS: You can? How?

MORGAN WALKS OVER TO CANDIS.

HE SLIDES HIS FINGER DOWN THE LINE. HE KISSES HER AND RETURNS TO HIS OWN CHAIR.

MORGAN: Do you really want to know? Or, is that a way to avoid telling me what you're worried about?

CANDIS: Touché. (BEAT) You know that they are trying to put Alamain away for killing Steve Johnson, Kayla's late husband.

MORGAN: And, you're worried about Kayla.

CANDIS: It has brought up a lot of painful memories for her.

MORGAN: Have you talked to her? Have you asked her how she feels?

CANDIS: Yes. She's holding up pretty well. Marcus is helping her.

MORGAN: Marcus is a good guy.

CANDIS: Yes, he is. But, Kayla is furious at the ISA for lying to her.

MORGAN: No one can blame her.

CANDIS: Can the ISA do that, Morgan? Can they just hold onto information like that?

HOLD ONTO CANDIS' DISBELIEF.

CUT TO: NICK'S ROOM, SALEM INN. NICK AND JACK. IN PROGRESS.

NICK: You got that right. The ISA is a bunch of equal opportunity liars. (BEAT) It seems like the only one who didn't get screwed over back then was Alamain.

JACK: (TAKING NOTES) Yes, it certainly does...

NICK: It would actually be kinda funny, if so many good people hadn't been hurt.

JACK: Indeed. (BEAT) All right, let's start going over the facts. Events, players, connections...

NICK: Okay. Where do you want to start?

JACK: Let's start with my brother's death. And Lawrence's involvement.

NICK: Sure. (BEAT) First, there's one thing I wanna make clear: Steve Johnson was a friend. I never would have done anything to hurt him.

JACK: All right.. .

NICK: (ANGRILY) If I had known what Alamain had planned to do to Steve in the hospital... (BEAT, CALMER) I would have stopped it.

JACK: But you didn't know...?

NICK: No. Not until it was too late. (BEAT) Alamain and his flunkie... Gregory... They kept me in the dark.

JACK: So how did you finally find out?

NICK: I wanted to try to keep control of the situation. I figured the best way to do that was to get Lawrence to put me in charge. I went to him and asked him if he wanted me to... handle Steve. (BEAT) That's when he told me that he already had the situation "taken care of."

JACK: Yes, and we all know what that meant...

NICK: I wish I could've gotten to him in time.

JACK: So do I. (BEAT) But, I must give you credit.

NICK: Oh, yeah? For what?

JACK: You were working to bring down Lawrence. (BEAT) Right now, that sounds very, very appealing... Too bad you weren't successful four years ago.

NICK: (FRUSTRATED) That's what really burns me. We could've done it back then. We had the evidence. (BEAT) Hell, until recently, I thought Alamain was in jail.

JACK: Unfortunately, things didn't work out that way.

NICK: No, they didn't. I feel bad about that.

JACK: It's nice to know that someone does. (BEAT) The way I see it, after everything the Johnson family has suffered through for the sake of this "case," someone owes us. Someone owes us big time. And I'm ready to collect.

NICK: I hope you're not holding your breath, waiting for anything from those ISA jerks.

JACK: Hardly. (BEAT) You, on the other hand... I'm counting on you to do what you can to pay us back.

NICK: (PAUSES AND TAKES A DEEP BREATH) Y'know, in order to nail Alamain, I had to give up my life here. I thought that was bad, but at least I'm still breathin'. I still have a chance to get back my life. (BEAT) What happened to you Johnsons is a crime. Your mother had to go to Bayview for something she didn't do. And Steve... He can't get back his life. (BEAT) At the very least, you guys deserve the truth.

JACK: And you're prepared to give it?

NICK: Yeah. It's only fair.

JACK: I want to know everything. What you did before, during, and after you became involved with the case... Everything you can tell me about the ISA's involvement... And everything you know about Lawrence and his crimes.

NICK: Like I said before, you'll get the whole story.

JACK: Excellent. Let's get started...

OUT ON JACK'S ANTICIPATION.

ACT III

JAMES' OFFICE. JAMES AND JOHN ARE SEATED. IN PROGRESS.

JOHN: No. (BEAT) And I think I'm glad...

JAMES: Glad? I thought you wanted to remember your past.

JOHN: I do want to remember, but...

JAMES: But what?

JOHN: Now I'm afraid of what I might remember.

JAMES: What's changed?

JOHN: It's Lawrence and the trial... What if Forrest... what if I was as bad as Lawrence? I don't want to remember that...

JAMES: Have you had any memories that might lead you to that conclusion?

JOHN: No, but... but for so long, I thought I was Roman... I bought into being Roman... strong, brave, loyal, honest, compassionate and loving...

JAMES: And now?

JOHN: Now, I wonder if it was all part of the programming. What if I was evil, dishonest, and selfish like Lawrence?

JAMES: John, we've had no indication that you were like that.

JOHN: But what if? What if that's what I remember about my life as Forrest?

JAMES: Then we'll deal with it when the time comes.

JOHN: But that's the point. I don't think I can deal with it.

JAMES: Take a look at yourself, at your life. Even after you found out you were not Roman Brady, you still showed the same positive traits.

JOHN: But what if they were Roman's, and not mine?

JAMES: Does it matter? You are those things, regardless of the source. Whether Forrest was once good or bad, it's the man you are now that matters.

JOHN: So you say...

JAMES: John, do you see yourself suddenly becoming a cruel, uncaring person if you discover that long ago and far away that Forrest was?

JOHN: No, I don't think so...

JAMES: Then you are not those evil things. You choose how you behave in the world, every day, every moment.

JOHN: I'd like to believe that, Doc, but until I remember my past, I don't know if I can.

HOLD ON JOHN'S CONCERN.

CUT TO: JULIE'S OFFICE. JULIE AND RICHARD ARE REVIEWING THE NEXT ISSUE OF THE MAGAZINE.

RICHARD: That shouldn't be a problem. (LOOKING OVER THE PAGES IN QUESTION) I think we can make it bigger, and not spill over onto another page.

JULIE: Other than that, I can't find anything wrong.

RICHARD: Another masterpiece... you sure that you don't want to add a short article on the Alamain trial?

JULIE: I think it's better if we hold off on it until next month. We'll be able to present the whole picture by then. And maybe we could do a story on Jo Johnson. Everything she has gone through in her life... a profile in courage, if you will...

RICHARD: I got the basics of the story from Vern; she's a strong lady. (BEAT) But do you think Jack would go for it?

JULIE: If Jo wanted to do it, there's no way he'd say no.

THE INTERCOM BUZZES. WE SEE JULIE'S ASSISTANT LUCILLE SEATED AT HER DESK.

JULIE: Thank you, Lucille. Please send him in.

RICHARD: Sounds like my cue to leave. (BEAT) I'll get right on the changes we noted, and I'll make sure that the revised version is on your desk by close of business today.

RICHARD COLLECTS HIS NOTES, AND HEADS TOWARD THE DOOR. AS RICHARD WALKS OUT, SHANE ENTERS, AND CLOSES THE DOOR BEHIND HIM.

HOLD ON JULIE'S WORRY.

CUT TO: COMMUNITY CENTER. LEXIE WALKS IN, CARRYING A STACK OF PAPERS. CANDIS AND MORGAN GREET HER.

LEXIE: I'm doing great.

MORGAN: How's that old man of yours?

LEXIE: (LAUGHS) He's wonderful, of course.

CANDIS: Is there anything we can do for you, Lexie?

LEXIE: Actually, there is.

LEXIE HANDS CANDIS SOME OF THE PAPERS SHE IS HOLDING.

CANDIS: Certainly!

MORGAN: This neighborhood watch program is a good idea. I wish more of Salem's communities would start something like this.

CANDIS: No question that it's needed.

LEXIE: We want to get the whole neighborhood involved.

MORGAN: I wish you a lotta luck with it.

LEXIE: Thanks. (BEAT) Hey, it's good to see you, Morgan. You haven't been around here much lately.

MORGAN: I know, but you should understand the unpredictable life of a cop, Lex.

LEXIE: (WHISTLES) Boy, do I ever!

CANDIS: I think this is only the second time we've had lunch together during the entire time we've been married.

MORGAN: If I'd known you were keeping track, I'd do this more often.

MORGAN KISSES CANDIS ON THE CHEEK.

LEXIE: It's a little slow right now, but we're doing okay.

MORGAN: Hey, maybe you should come back to the force, so that I can retire.

CANDIS GIVES MORGAN A FUNNY LOOK, AND THEN STARTS TO LAUGH.

MORGAN AND LEXIE JOIN CANDIS, LAUGHING. OUT ON THE THREE.

ACT IV

JULIE'S OFFICE. JULIE AND SHANE. IN PROGRESS.

JULIE: Has she said anything about him to you?

SHANE: Only that she wished he were dead. (BEAT) Dammit, Julie, I know this is a bizarre situation, but Eve is only making it worse for herself by acting this way.

JULIE: Doug and I are both concerned about her. (BEAT) Do you think it would help her if Doug called and asked her to come back to work? Show her how much she's needed?

SHANE: I don't know if that's a good idea, Julie. (BEAT) Eve's strongest memories of Nick are at the club. (BEAT) I keep hoping that she'll snap out of this... mood she's in.

JULIE: (GRINNING) And go back to being the feisty, stubborn Eve we all know and, sometimes, love?

SHANE: I want my little girl to be happy, Julie. (BEAT) But I'm afraid that she'll never trust anyone again because of Nick...

JULIE: And what she sees as Nick's betrayal of her love.

SHANE: Exactly. And I hate it because there's not a damn thing that I can do to convince her otherwise.

HOLD ON SHANE'S CONCERN.

CUT TO: EUTERPE / PRIVATE DINING ROOM. JASMIN IS SETTING DOWN PLATES IN FRONT OF DOUG AND MICKEY.

DOUG: This looks absolutely wonderful. I'm fine, thank you, Jasmin.

MICKEY: Me, too.

JASMIN: Enjoy your lunch.

JASMIN DEPARTS AND BOTH DOUG AND MICKEY DIG IN TO THEIR FOOD. DOUG CLOSES HIS EYES WITH ENJOYMENT AND LEANS BACK IN HIS CHAIR.

MICKEY: (LAUGHING) You really are in your element in this atmosphere, aren't you?

DOUG: I can't imagine being anywhere else or doing anything else. (BEAT) So you think I should take the bull by the horns and speak to Nick again?

MICKEY: I certainly do. Any kind of legal action could take years and years to go through the court system.

DOUG: I know that it must be difficult for Nick to come back and see all these changes... I want to be fair to him.

MICKEY: Just the fact that you feel like that is a good start to working out a compromise. Talk to Nick, see what kind of deal you can work out.

DOUG: I will. But there's a limit to my compassion. There is absolutely no way whatsoever that I am going to give up my club.

HOLD ON DOUG'S DETERMINATION.

CUT TO: JAMES' OFFICE. JAMES AND JOHN. IN PROGRESS.

JOHN: Do I?

JAMES: Yes. It's evident that Roman Brady, and his life, are very much on your mind.

JOHN: Yeah, I guess you're right.

JAMES: Why? I thought that you had come to terms with losing that life, a life that wasn't your own. You told me that you had put that loss behind you.

JOHN: I know. I have put it behind me. (BEAT) It's just that... Well, this particular week is hard.

JAMES: Why? What makes it difficult?

JOHN: After I showed up in Salem, back in 1986, and figured out that I was... I mean, once everyone was convinced that I was Roman... (EXASPERATED) Geez, what a mess...

JAMES: Please, go on. You believed that you had discovered your identity as Roman Brady, and...

JOHN: Doc and I decided to renew our wedding vows. (BEAT) The ceremony was held on August 22nd.

JAMES: I see. I can understand why a memory like that would affect you. (BEAT) You said this week is difficult. Is there something more?

JOHN: Yeah. (BEAT) Roman's birthday is the 26th.

JAMES: (MAKING NOTES) Mmmm...

JOHN: Each year since I learned that I wasn't Roman, I dread this week. (BEAT) I try to put it out of my mind, but I can't.

JAMES: Why not?

JOHN: It keeps coming back to haunt me. It seems like, every time I turn around, there's something there that reminds me of my life as Roman.

JAMES: Perhaps you should get away for a while, remove yourself from all these reminders, and clear your mind of thoughts about Roman Brady.

JOHN: I've thought about that. I thought that maybe a clean break from Salem would help me remember my life prior to coming here.

JAMES: And...?

JOHN: I couldn't do that. All of my friends are here. And, even though the Bradys aren't my real family, they treat me like one of their own. (BEAT) And then there's Brady. He's growing, starting to make friends here. Vic's here, too. IzzyB would want Brady to grow up being close to his grandpa. I couldn't uproot him like that.

JAMES: Is that the only reason?

JOHN: No. (BEAT) If it were, it would still be good enough for me. But no, there's something else.

JAMES: Can you tell me what it is?

JOHN: I... I don't want to let go of those memories of Roman's life, or the people associated with them. (BEAT) It's kind of ironic, but Roman's life seems much more real to me than anything I can remember about Forrest Alamain, John Stevens, or even John Black.

JAMES: It's safer, more secure. The memories of Roman that you have are complete.

JOHN: Yeah. Everything else is so fragmented, so unclear.

JAMES: I think maybe you're hanging onto the stability of Roman's memories. It's natural for you to be afraid to let go of that stability and venture into the unknown realm of your own past.

JOHN: I'm not afraid...

JAMES: Maybe not consciously, and not for yourself.

JOHN: What do you mean?

JAMES: You're a father. You don't want to leave Salem because you want to provide stability for your son.

JOHN: That's true.

JAMES: So, perhaps you're subconsciously clinging to Roman's life, because of its stability, rather than try to find your own life, which is an unknown.

JOHN: Maybe you're right. (BEAT) But I know I can't have Roman's life.

JAMES: That's the conflict. You know you can't have it, but deep inside, you still want it.

JOHN: So, what do we do about it?

JAMES: I think we should try hypnosis again. Maybe that will help you break through the block in your subconscious. (BEAT) I do know one thing... You won't be completely at peace with yourself until you resolve this internal conflict, and find your own memories.

OUT ON JOHN'S CONCERN.

ACT V

EUTERPE. RICHARD ENTERS, AND WAITS TO BE SEATED.

DAVE: (PICKING UP A MENU) Follow me.

DAVE ESCORTS RICHARD TO A TABLE NEAR THE SOUND ROOM DOOR, AND GIVES HIM HIS MENU.

RICHARD SURVEYS THE ROOM CAUTIOUSLY TO SEE WHO IS THERE.

KEN, THE WAITER, WALKS UP TO THE TABLE.

RICHARD: Iced tea, please. (BEAT) And I'll have the grilled chicken sandwich.

KEN WRITES DOWN THE ORDER, THEN COLLECTS THE MENU.

AS KEN WALKS AWAY, RICHARD REACHES INTO HIS SUIT JACKET POCKET, AND EXTRACTS A POSTCARD.

THE POSTCARD IS OF ORLY AIRPORT IN PARIS. IT'S FROM ASHLEY. RICHARD TURNS IT OVER TO READ AND WE HEAR:

AS RICHARD PUTS THE POSTCARD BACK IN HIS JACKET POCKET.

HOLD ON RICHARD.

CUT TO: EUTERPE / PRIVATE DINING ROOM. MICKEY AND DOUG HAVE FINISHED THEIR LUNCH, BOTH PLATES HAVE BEEN PUSHED AWAY. THEY ARE LINGERING OVER THEIR COFFEE.

MICKEY: No thanks necessary. And let me know how things work out with Nick.

DOUG: I will. I have to figure out what else I can bring to the bargaining table, before I set up a meeting with him.

DOUG STANDS AND GESTURES TO THE DOOR. MICKEY STANDS AND THEY MOVE TOWARDS THE EXIT.

MICKEY: (LOOKING AT HIS WATCH) Me, too. Abe is probably here by now.

DOUG AND MICKEY EXIT.

CUT TO: EUTERPE / MAIN DINING ROOM. DOUG AND MICKEY EMERGE FROM THE PRIVATE DINING ROOM. MICKEY LOOKS AROUND AND SPOTS ABE AT A TABLE BY THE STAGE. HE WAVES, ABE WAVES BACK. MICKEY AND DOUG GO OVER AND SHAKE HANDS WITH ABE.

ABE: Not at all.

DOUG: Good to see you again, Abe. Has Dave been taking care of you?

ABE: (HOLDING UP A GLASS) Of course.

DOUG: I'll leave you gentlemen to it, then.

DOUG LEAVES, STOPPING AT THE LECTERN FOR A WORD WITH DAVE. MICKEY SITS DOWN. HOLD ON MICKEY AND ABE.

CUT TO: SALEM INN, NICK'S ROOM. NICK IS STANDING ON THE HOTEL ROOM BALCONY, LOOKING OUT AT SALEM'S CITYSCAPE.

NICK LEANS OVER, ONTO THE BALCONY WALL, AND TAKES A DEEP BREATH.

NICK LOOKS AT HIS WATCH, THEN TURNS AROUND AND WALKS INSIDE THE ROOM. HE PICKS UP THE PHONE AND DIALS.

CUT TO: DONOVAN LIVING ROOM. WE HEAR THE TELEPHONE RINGING. AFTER FOUR RINGS, THE ANSWERING MACHINE PICKS UP.

CUT TO: NICK'S ROOM. WITHOUT SPEAKING, NICK HANGS UP THE PHONE.

CUT TO: DONOVAN LIVING ROOM. WE SEE EVE SITTING, STARING AT THE ANSWERING MACHINE. OUT ON EVE.

ACT VI

EUTERPE. DOUG IS STANDING WITH MARTY, GOING OVER THE MUSIC FOR THE EVENING, WHEN JULIE ARRIVES. JULIE SNEAKS UP ON DOUG AND HUGS HIM FROM BEHIND. MARTY GRINS AND DISCREETLY DEPARTS.

JULIE STEPS AROUND DOUG, KEEPING HER ARMS AROUND HIM.

DOUG: They try. But I ward them off. (PALMS OUT) "Sorry, ladies, my heart and my hugs are for my Fair Lady only."

JULIE: (KISSING DOUG QUICKLY) That's better.

THEY BREAK APART AND SIT DOWN AT A TABLE.

JULIE: Interestingly. (BEAT) I met with Shane earlier. Eve's still withdrawn and upset. I wish there was something we could do to help.

DOUG: Eve did call me earlier today. She asked if she could have a few more days, I told her to take as much time as she needs.

JULIE: That was very sweet, darling. I'm sure Eve appreciates it. Are you sure you won't be short-handed?

DOUG: We'll be all right. For all her faults, Eve's a good employee. And I think she's got potential... I want her to be happy... (BEAT) Someone in this mess should be...

JULIE: That sounds ominous. What else happened today?

DOUG: I know it might sound premature, but I asked Mickey to come by and give me some advice about Nick's will. I wanted to find out if Nick can take the club away from me.

JULIE: And?

DOUG: Mickey said that since Nick is alive the will would probably be declared null and void. Although since Nick and the ISA faked his death...

JULIE: The club could still be yours?

DOUG: Maybe. Or Nick's. But the capital improvements I've made, and the fact that we still own the land, all work in my favor.

JULIE: So what are you planning to do?

DOUG: Mickey suggested, and I agree, that the only way to avoid a long, drawn-out court battle is to come to some sort of agreement with Nick regarding the club.

JULIE: Like?

DOUG: That's where I need your help. You know Nick better than I. What would be a fair compromise?

HOLD ON JULIE'S SPECULATION.

CUT TO: JOHN'S LOFT. JOHN SITS ON THE COUCH WATCHING BRADY, WHO IS CONCENTRATING ON PUTTING ANIMAL-SHAPED PIECES INTO A PUZZLE BOARD.

BRADY: Puzzle?

JOHN: Yeah, my whole life. (SIGHS) You know I saw Dr. Ector today? We talked about my fears... about being more like Lawrence than Roman.

BRADY: (HOLDING UP A PUZZLE HORSE) Horsey! Giddyap!

JOHN: Yeah, you and I should visit Grandpa Victor's stable. Would you like to ride a horse again?

BRADY: (MOVES THE HORSE UP AND DOWN) Yeah! Ride horsey at Grandpa Vic's! (HE PUTS THE HORSE INTO ITS SPACE IN THE PUZZLE)

JOHN: Good boy, you got another one in! Only two more to go. (SAD LAUGH) I wish I had it that easy. But I feel better after talking to Dr. Ector. Your Grandma Caroline was pretty smart to suggest I see him.

BRADY: Gramma Caro's!

JOHN: Yes, Grandma Caroline. You know, I really am lucky... Even if I'm not Roman, I have a good family in the Bradys.

BRADY PUTS THE SECOND TO LAST PUZZLE PIECE IN ITS PLACE, AND PICKS UP THE FINAL ONE.

BRADY TRIUMPHANTLY SMILES UP AT JOHN, AS HE PUTS THE LAST PIECE IN THE PUZZLE.

JOHN PICKS UP BRADY AND TOSSES HIM IN THE AIR. BRADY GIGGLES, AND JOHN HOLDS HIM CLOSE.

BRADY: Love you, Dada!

HOLD ON THE TWO, HUGGING.

CUT TO: DONOVAN LIVING ROOM. SHANE IS ON THE TELEPHONE WITH KIMBERLY, TWO-WAY. IN PROGRESS.

KIMBERLY: Shane, there's nothing else that you can do. (BEAT) Eve is angry with Nick right now, and that's all she's ready to feel. (BEAT) She'll deal with this when she's able. Forcing the issue will only make it worse.

SHANE SIGHS.

SHANE: That I did, and I appreciate it. (BEAT) Kiss the children for me?

KIMBERLY: I will. Call again if you need me.

SHANE: I will.

KIMBERLY: Good-bye, Shane.

SHANE: Good-bye, Kim.

SHANE HANGS UP THE PHONE. OUT ON SHANE, LOST IN THOUGHT.

ACT VII

SALEM INN, NICK'S ROOM. NIGHTTIME IN THE CITY, AND THE MOON IS FULL. NICK IS TAKING IT ALL IN FROM HIS BALCONY. HE TAKES A SLOW DRAG OFF HIS CIGARETTE AS HE WATCHES THE ACTIVITY BELOW.

HE THROWS HIS CIGARETTE TO THE BALCONY FLOOR, AND STEPS ON IT TO PUT IT OUT.

NICK GOES BACK INTO THE HOTEL ROOM, AND GRABS HIS LEATHER JACKET. HE PULLS A SET OF CAR KEYS FROM HIS POCKET.

NICK WALKS OUT OF THE ROOM, AND SLAMS THE DOOR BEHIND HIM.

HOLD ON NICK.

CUT TO: JACK AND JENNIFER'S LIVING ROOM. JENNIFER IS SEATED ON THE SOFA, READING THE LATEST ISSUE OF "MIDSUMMER." THE FRONT DOOR OPENS, AND JACK DRAGS IN, LOOKING EXHAUSTED. JENNIFER TURNS TO JACK.

JACK: You waited up...

JENNIFER: (PUTTING THE MAGAZINE DOWN AND RISING) Of course I did...

JACK: (MOTIONING TO JENNIFER) Don't get up. I'll come join you.

JENNIFER: (SITTING BACK DOWN) Okay.

JACK SETS HIS BRIEFCASE DOWN AND HANGS HIS COAT ON THE COAT RACK. HE GOES OVER TO THE COUCH AND SLUMPS DOWN NEXT TO JENNIFER.

JACK: (FLATLY) I got it. The most sought-after story in Salem... The most sought-after story in this part of the country... and I got it.

JENNIFER: (OBVIOUSLY PLEASED) Jack, that's wonderful!

JACK: The Chronicle would kill for this story. (BEAT) I'm going to run it as a five-part series... front page, all the way.

JENNIFER: I'm so proud of you.

JACK: Thank you. (UNENTHUSIASTICALLY) Hell, this story could win me another Ferraro award.

JENNIFER, NOTING JACK'S TONE, LOOKS AT HIM SUSPICIOUSLY.

JACK: And... none of it matters. Not really.

JENNIFER: What do you mean, it doesn't matter? This is the story of the year!

JACK: Possibly the decade. (BEAT) But doing this story won't bring back Steve, and it won't give these last four years... four horrible years... back to Jo.

JACK QUICKLY STANDS UP AND BEGINS PACING. JENNIFER LOOKS ON WITH CONCERN.

JENNIFER STANDS UP AND GOES OVER TO JACK, TAKING JACK'S STILL-RAISED FIST IN HER HANDS.

JACK: But, I didn't stop him. I was too late. He had already...

JENNIFER: (PUTTING HER FINGER TO JACK'S LIPS) That's not what I mean. (BEAT) You saved me afterwards. You were the one that helped me get through everything that followed.

JACK: (CALMING) I felt so helpless... I couldn't help...

JENNIFER: But you did help me, more than you'll ever know. You loved me, you supported me, and you gave me hope. (BEAT) You were the one who gave me the strength to stand up to Lawrence.

JACK: No... You're the strong one. That strength was already there.

JENNIFER: But without you, it wouldn't have been enough. (BEAT) Without your help, I wouldn't have been able to get through it.

JENNIFER PUTS HER ARMS AROUND JACK'S WAIST.

JACK: (SMILING FAINTLY) As if you weren't already...

JENNIFER: Times like this require a little something extra. (BEAT) Whatever it takes to get us through this, I'll do it. For you, for Abby, for Jo... For all of us.

JACK PUTS HIS ARMS AROUND JENNIFER AND LEANS HIS HEAD AGAINST HERS. A SINGLE TEAR FALLS DOWN HIS CHEEK. HOLD ON THEIR EMBRACE. AND OUT. FADE TO BLACK.

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