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An ALT.DAYS Production,
A Division of Peel Productions, Inc.
Air Date: November 30, 1994
Time: Several Days After #79,
Afternoon to Evening
Copyright 1994
ROBERT'S HOSPITAL ROOM/CORRIDOR. CJ IS SITTING IN A CHAIR NEXT TO ROBERT'S BED. ROBERT IS STILL UNCONSCIOUS.
CJ: It's funny, the memories that come back at a time like this. (BEAT) I remember when I was about 5, and you'd let me sit on your lap and drive the car into the garage. (BEAT) And at night, you would put me on your shoulders and give me a ride into bed.
CJ STANDS AND LIGHTLY STROKES HIS FATHER'S HAIR.
CJ: (CONT'D) Remember the summer I was home and we flew to London and went to the horse track? I lost so much money that day, I was embarrassed to tell you. Finally, on the last race, I said, "If Doug were here, he'd bet on the number three horse." I knew he would, because the horse's name was "Lady Fair." (RUEFUL GRIN) It was some three-legged old nag that was going off at 30 to one, but we bet on it for Doug's sake. Mon dieux, I never heard you laugh so hard as when that horse won. We must have looked like such fools, standing there laughing ourselves into convulsions over winning a race.
CJ HOLDS ROBERT'S HAND.
CJ: (CONT'D) We've had a lot of good times together... And there is no better father on the face of the earth. I don't know what I'd do if you left me, Papa. (BEAT) I don't know what I'd do.
HOLD ON CJ.
GO TO: CORRIDOR OUTSIDE ROBERT'S ROOM. DOUG AND JULIE ARE LOOKING THROUGH A GLASS WINDOW AT ROBERT AND CJ. WHEN THEY SEE CJ LEAN HIS HEAD ON ROBERT'S BED, DOUG TURNS AWAY. JULIE PUTS HER HAND ON HIS ARM.
JULIE: Doug, darling, what is it?
DOUG: I can't take too much more of this. Look at CJ, he's so distraught...
JULIE LOOKS BACK AT CJ, WORRIED. SHE LEANS HER HEAD ON DOUG'S SHOULDER.
JULIE: I'm worried about CJ, too. He's putting up a brave front, but I hear him roaming around the house in the middle of the night... obviously too worried to sleep...
DOUG: If only Robert would show some change, any little improvement...
JULIE: And if he doesn't?
DOUG: Don't even think that! It would destroy CJ. (BEAT) It might destroy me, as well.
JULIE: Then for both your sakes, don't you think it's time that CJ knew the truth about who his father really is?
HOLD ON JULIE'S QUESTION.
CUT TO: DEVERAUX DAYCARE. JENNIFER WALKS IN THE DOORWAY, AND IS SPOTTED BY ABIGAIL. ABIGAIL RUNS OVER TO HER MOTHER AND THEY HUG.
JENNIFER: Thank you, sweetheart! Mommy needed that. (BEAT) Now, why don't you go back and play a bit, while I talk to Mrs. Muir?
ABIGAIL: Okay, Mommy.
ABIGAIL RUNS BACK TO HER FRIENDS. JENNIFER WALKS OVER TO WHERE NORMA IS STANDING.
NORMA: Hello, Jennifer. What brings you down here?
JENNIFER: I thought I'd check on my favorite little girl.
NORMA: I know she's always happy to see her Mommy... and her Daddy... I know he tries to hide it, but you can tell Jack dotes on her...
JENNIFER: (SMILING) Don't let Jack hear you say that. But it's true, Abby has him wrapped around her little finger...
NORMA: Like her mother?
JENNIFER: I'll plead the fifth on that... So tell me, how was your Thanksgiving?
NORMA: Deft change of subject.
JENNIFER: Thanks.
NORMA: My son Colin and his family came up for the weekend and we had a family celebration. It was lovely. How about you?
JENNIFER: I had a good Thanksgiving... The first without my Grandfather... But everyone worked hard to make it special... especially my Dad. (BEAT) And, speaking of Dad, I haven't had a chance to ask you what you thought of the Halloween party... and my father.
OUT ON JENNIFER'S INQUISITION.
DEVERAUX DAYCARE. JENNIFER AND NORMA. IN PROGRESS.
NORMA: Subtlety isn't your strong suit, is it?
JENNIFER: (SIGHS) No, not really. Ask Jack. I chased the man all over Salem... and a cruise ship and an island...
NORMA: Hmmm... now this sounds intriguing, maybe I should ask about you and Jack...
JENNIFER: Better not, sometimes I mortify him with discussions of our past... adventures.
NORMA: Why?
JENNIFER: It blows his corporate image...
NORMA: I don't know... chasing around an island might improve his image.
JENNIFER: Don't let him hear you say that... And speaking of change of subject, you just made a nice parry yourself.
NORMA: Did I?
JENNIFER: You know you did. I'd asked about the party...
NORMA: The party was quite nice...
JENNIFER: And my father...
NORMA: Your father...
JENNIFER IS INTENT, PROBABLY EXPECTING A WEDDING ANNOUNCEMENT.
NORMA: (CONT'D) Your father was... nice...
JENNIFER: Nice?
NORMA: Yes, he seemed quite nice...
JENNIFER: That's it?
NORMA: No, but...
JENNIFER: Come on, tell me truth... I can take it. Jack told me this was a bad idea...
NORMA: Not a bad idea, I did like your father, but... he seemed so... sad. He tried to hide it, but it... I don't know, permeated his whole being.
JENNIFER: He does try and hide it, doesn't he? But I see it... it's always there...
NORMA: What is it? What, or who, has broken his heart?
JENNIFER: I don't know if I should tell you... maybe I should let Dad tell you.
NORMA: Is it that bad?
JENNIFER: It's about my mother.
HOLD ON JENNIFER.
CUT TO: RICHARD'S OFFICE. RICHARD'S DESK IS COVERED WITH PAPERS. RICHARD IS CONCENTRATING ON THE WORK. HIS HAIR IS MUSSED AND HIS EYES HAVE DARK CIRCLES UNDER THEM. THERE IS A KNOCK ON THE DOOR.
RICHARD: Come in...
JACK OPENS THE DOOR.
JACK: I just stopped in to see how things are going.
RICHARD: They're going... Everything's falling into place.
JACK: Doing your job and Julie's is a Herculean task.
RICHARD: It's time consuming, I'll grant you. I can't remember the last time I saw daylight.
JACK: Well, I want you to know that I'm grateful to have someone of your caliber taking care of things while Julie is unavailable.
RICHARD: I'm glad to do it. And I know Julie's concerned about Robert. Any word on his progress?
JACK: Jennifer's been keeping close tabs through her father. The last I heard, there wasn't any change. He's still unconscious.
RICHARD: It seems like there are a lot of people pulling for him.
JACK: There are. The entire Horton clan... and trust me... en masse, they're a formidable family.
RICHARD: So I've gathered... Robert's a lucky man to have so many people who care about him.
HOLD ON JACK AND RICHARD.
CUT TO: JOHN'S OFFICE. JOHN AND LEIGH ARE SITTING AT HIS DESK. JOHN IS SCRUTINIZING A DOCUMENT, AS LEIGH EXPLAINS ITS PURPOSE. NEXT TO LEIGH IS A SMALL STACK OF MORE PAPERS, ON JOHN'S OTHER SIDE IS A MUCH LARGER STACK, ALREADY SIGNED.
LEIGH: So you see, if Ecosystems acquires this manufacturing company, it will mean very little cost on the books, but a great savings over buying the parts.
JOHN: (RESIGNEDLY SIGNING) I'll take your word for it.
LEIGH: You'll have to do more than that, eventually, John, if you want to make it in business.
JOHN: (SOTTO VOCE) Who says I want to make it in business?
LEIGH LOOKS AT HIM, INDIGNANT, AS SHE GETS ANOTHER PAPER FOR HIM TO SIGN.
LEIGH: Now this is just approval for the employee stock purchase plan to go into effect in 1995. This will mean that the employees will...
LEIGH IS INTERRUPTED BY PATRICIA, ON THE INTERCOM.
PATRICIA: Mr. Black... Shane Donovan is on the phone.
LEIGH: He's bus...
JOHN: (GLARING AT LEIGH) Put him through.
THE PHONE RINGS AND JOHN PICKS IT UP, TWO WAY.
JOHN: (CONT'D) Shane, I'm so glad you called. What's up?
SHANE: Well, I was wondering if you might be free for lunch today. I believe I have a lead on that key of Katerina's.
JOHN: That's great, Shane, of course I can make it. Shall we say (HE CONSULTS HIS WATCH) 12:30?
LEIGH IS CLEARLY PERTURBED.
SHANE: Perfect. Euterpe?
JOHN: Euterpe is fine, guv'nor, I'll see you there. Bye.
SHANE: Ta ta and all that rot...
JOHN HANGS UP THE PHONE, AND NOTICES LEIGH'S AGGRAVATION.
JOHN: (SIGHS) What'd I do this time?
LEIGH: Well, we're not even halfway through the paperwork, and yet, here you are, running off again.
JOHN: It's lunch. Even busy, high-powered executives get to go to lunch, don't they??
LEIGH: Generally, if, and only if, their paperwork is all done.
JOHN: Well, you have me for the next 90 minutes, Ms. McCloud... I suggest we get signing.
LEIGH: I suppose we'll have to... (SHE PRESSES THE INTERCOM BUTTON) Patricia, please bring in the rest of the documents.
PATRICIA STAGGERS IN UNDER ANOTHER FOOT-HIGH STACK OF PAPERWORK. OUT ON JOHN'S DISMAY.
CORRIDOR OUTSIDE ROBERT'S ROOM. DOUG LOOKS AT JULIE INCREDULOUSLY.
DOUG: Julie, how can you even suggest such a thing?
JULIE: I'm worried about both of you.
DOUG: I swore to Robert, years ago, that CJ would never know the truth about his parentage. That's a sacred trust, I can't go back on it. (BEAT) Besides, what good would it do now?
JULIE: It could do a lot of good. CJ wouldn't feel so alone. He'd know that he had a family who's here for him and will take care of him ... if anything should happen to Robert.
DOUG TURNS AWAY FROM JULIE AND RUNS HIS HANDS THROUGH HIS HAIR.
DOUG: Don't say that! Nothing is going to happen to Robert!
DOUG TAKES A DEEP BREATH, AND SPEAKS MORE CALMLY.
DOUG: (CONT'D) He is going to get through this fine. It's just taking longer than we thought.
JULIE: Darling, believe me, I want that more than anything in the world. But I think we should be prepared, just in case...
DOUG: (INTERRUPTING) I can't talk about this right now. Not now. (BEAT) I have to go take care of some business. You'll stay here with CJ?
DOUG KISSES JULIE ON THE CHEEK AND QUICKLY WALKS AWAY. JULIE STANDS WATCHING HIM WALK AWAY, BEWILDERED.
JULIE: Of course, darling. I'll always be here for you.
HOLD ON JULIE, TURNING TO WATCH CJ.
CUT TO: BRADY KITCHEN. BO, SHAWN-DOUGLAS, MAX, CAROLINE, AND SHAWN SIT AT THE TABLE, SNACKING ON COOKIES AND MILK. IN PROGRESS.
BO: So, the last appointment with Dr. Ector was pretty good. The guy really knows his stuff. And, Sailor is making big progress.
SHAWN: The Brady determination is kicking in, I see.
CAROLINE: When is your next appointment?
BO: We have a standing appointment on Tuesdays at 2:00.
SHAWN-D: I get out of school early.
MAX: I wouldn't mind goin' to a shrink, if it meant ditchin' school.
SHAWN-D: I'm not ditchin' school.
MAX: You're not in school. You're ditchin'.
SHAWN-D: I got permission.
MAX: I'm tellin' your teacher, Shawn-D.
SHAWN-D: Go ahead, butthead. I've got permission to be outta school.
MAX STANDS AND TAKES HIS DISHES TO THE SINK THEN HEADS OUT OF THE ROOM.
MAX: Man, Shawn-D, are you gonna get it when your teacher finds out you're ditchin' school.
MAX EXITS.
SHAWN-D: Papa, am I gonna get in trouble for going to see Dr. Ector?
BO: No, of course not. Your teacher and I already discussed your appointments with Dr. Ector. She knows where you're going. It's okay. Max is just giving you a hard time.
SHAWN: Seems like he was doing more than that...
SHAWN-D: What do you mean, Grandpa?
SHAWN: Max's argument distracted his mother long enough to get him out of helping clean up.
SHAWN-D: Ohh... (TO CAROLINE) I'll help you clean up, Grandma.
CAROLINE: Thanks, Shawn-Douglas. You're a darling...
SHAWN-DOUGLAS AND CAROLINE STAND AND BEGIN CLEARING THE DISHES FROM THE TABLE. WHEN THEY WALK OVER TO THE SINK, SHAWN TURNS TO BO.
SHAWN: Bo, there's something I need to discuss with you.
BO: Sure, Pop. What is it?
SHAWN: Let's go in the other room. We need to talk alone.
HOLD ON SHAWN'S SECRECY.
CUT TO: RICHARD'S OFFICE. RICHARD AND JACK. IN PROGRESS.
JACK: I don't know if lying in a hospital bed constitutes "luck."
RICHARD: No... that part is not lucky. But the support... I must confess to a touch of envy...
JACK: Envy?
RICHARD: As sad as this has been, it is nice to see a friendship that is as strong as the one Robert has with Doug and Julie.
JACK: Yeah... I can't imagine having a friendship that's lasted decades...
RICHARD: Or centuries...
JACK: Pardon?
RICHARD: Nothing... I was just thinking out loud... Guess I've seen one too many movies this week...
JACK: Okay... (HE CHECKS HIS WATCH) I think I must be going. By now Vern is probably going crazy trying to find me. So... call if you need anything and Richard... a piece of advice...
RICHARD: Yes?
JACK: Lay off the horror films when you're working long hours...
RICHARD: (SMILES) I'll think about it... Bye, Jack.
JACK: Guess that's my cue. Later, Richard...
JACK TURNS TO LEAVE. AS THE DOOR CLOSES BEHIND JACK, RICHARD'S TELEPHONE RINGS. OUT ON THE RINGING PHONE.
RICHARD'S OFFICE. RICHARD PICKS UP THE PHONE. IT'S ASHLEY. TWO WAY.
RICHARD: Midsummer, Hunt here.
ASHLEY: Still working for a two-bit operation, I see.
RICHARD: Ashley!
ASHLEY: One and the same...
RICHARD: Two bit operation, you say? At least I've got a nice cushy office. Are you still sleeping outdoors?
ASHLEY: Nah, I bought a tent with that last bonus check.
RICHARD: (SERIOUS) Ashley, where are you?
ASHLEY: Oh, no, you don't, you can't trick me that easily.
RICHARD: I've been worried about you. Are you all right?
ASHLEY: I'm fine. I should have the missing photos back any day now. (BEAT) Along with some information on the party who stole them.
RICHARD: I don't like the sound of this.
ASHLEY: Chicken. This is an even bigger story than I could have ever hoped for. I hope your publisher friend has big bucks.
RICHARD: Ashley, I'm getting tired of the guessing game. Just tell me what's going on.
ASHLEY: No can do over the phone.
RICHARD: Surely you can tell me something.
ASHLEY: Okay. Don't be surprised if I show up on your doorstep in the next few weeks. Gotta go. Bye.
RICHARD: Ashley! Wait!
A DIAL TONE BLARES FROM THE PHONE. HOLD ON RICHARD LOOKING AT THE RECEIVER IN HIS HAND.
CUT TO: DEVERAUX DAYCARE. JENNIFER AND NORMA. IN PROGRESS.
NORMA: I understand. The death of a parent or a spouse can be a nearly mortal blow. How long your father has been a widower?
JENNIFER: A widower? He's not... I mean, my mother's not...
NORMA: I'm sorry, Jennifer. Since your father seems so lost, I assumed that he was a widower. (BEAT) Then, how long since the divorce? It must have been painful...
JENNIFER: Oh boy. (DEEP BREATH) I know this is going to sound awfully confusing to you, but my parents aren't divorced.
NORMA: Let me get this straight. Your parents aren't divorced, and your mother is still alive?
JENNIFER: Yes...
NORMA: Now, it's obvious that you're playing matchmaker with your father and me. If your parents are still married, this makes no sense whatsoever.
JENNIFER: I'm sorry, Norma. I owe you an explanation, but it's a long story.
NORMA LOOKS OVER AT THE CHILDREN, WHO CONTINUE TO PLAY NICELY AMONGST THEMSELVES.
NORMA: I've got some time, if you do.
JENNIFER: Okay, but I think we should sit down for this one.
HOLD ON JENNIFER.
CUT TO: BRADY LIVING ROOM. SHAWN AND BO SIT DOWN, AND SHAWN STARES AT HIS HANDS FOR A MOMENT, SOMEWHAT RELUCTANT TO BEGIN. FINALLY, HE MEETS BO'S GAZE AND SPEAKS.
SHAWN: It's worried I am about your sister.
BO: Kimmy? What's wrong?
SHAWN: Not Kimberly, Kayla.
BO: Why would you be worried about Kayla? She and Stephanie are fine. They have a great house, Kay's happy at the Center, and things are going well with Marcus...
BO NOTICES SHAWN'S DISCOMFITURE AT THE MENTION OF MARCUS' NAME.
BO: (CONT'D) Is it Marcus?
SHAWN: That it is. I just don't think he belongs with my little girl.
BO: But Pop, Marcus is a great guy! He's done a lot for this family.
SHAWN: I'll not argue that with you, he's a fine man.
BO: Then what's the problem?
SHAWN: It just isn't right, that's all.
BO: I'm still not sure what you mean.
SHAWN: It's not... proper. Not at all. There are plenty of nice men that Kayla could be seeing.
BO: But she wants to be seeing Marcus. Pop, they're in love. He obviously adores Stephanie, and he'd do anything for Kay. I think you're wrong this time.
SHAWN: And I'm sayin' I'm right... it just won't work for them.
THERE'S A MOMENT'S SILENCE, AS BO DIGESTS HIS FATHER'S COMMENTS.
BO: Okay, if that's what you believe. But remember, your negative attitude will only push Kayla away from you, not Marcus. And I don't think you want that.
SHAWN: No, I don't. But she's got to be made to see that this thing with Marcus... it just isn't for the best.
OUT ON SHAWN'S STUBBORNNESS.
CARRIE'S APARTMENT. THE LIVING ROOM IS FILLED WITH PACKING BOXES. CARRIE IS WRAPPING DISHES WITH NEWSPAPER, AND PLACING THEM IN ONE OF THE BOXES. ON THE OTHER SIDE OF THE ROOM, JONAH SITS, DEJECTEDLY PACKING AWAY SOME BOOKS.
CARRIE: Hey, Jonah. Can you hand me some more newspapers?
JONAH STARES AT A BOOK THAT HE IS HOLDING, AND SAYS NOTHING TO CARRIE.
CARRIE: (CONT'D) Jonah? (BEAT) Earth to Carver!
JONAH STANDS UP. STILL HOLDING THE BOOK, HE PICKS UP A STACK OF NEWSPAPERS AND WALKS OVER TO CARRIE.
JONAH: Here.
JONAH HANDS THE NEWSPAPERS TO CARRIE, AND CONTINUES TO STARE AT THE BOOK.
CARRIE: Whatcha got there?
JONAH: Charlotte's Web.
CARRIE: (LAUGHING) I can't believe I still have that book.
JONAH: Remember when our fourth grade class did a play of "Charlotte's Web"?
CARRIE: Yeah. I was Fern, and you were Wilbur.
JONAH: (SIGHS) It was great.
CARRIE: I don't know about that. As I recall, Templeton the rat forgot most of his lines, and your pig nose kept falling off.
JONAH: Well, I look back on that with fond memories.
CARRIE LOOKS AT JONAH, PUZZLED.
CARRIE: What's up with you, Carver? You've been in this blue funk all day long.
JONAH: How can you leave me like this, Carrie?
CARRIE: Leave you? I'm not leaving you. I'm not even going to be gone for that long.
JONAH: It seems like forever. Besides, it's not like you to run away from things.
CARRIE: I'm not running away, Jonah. I'm going to spend some time with my mother.
JONAH: I don't care what you call it. It's not going to be the same here without you.
CARRIE: I'll be back before you know it. Besides, now I won't be here to bother you, and you'll actually be able to get some serious studying done.
JONAH: (UNENTHUSIASTICALLY) Yeah, I guess so.
HOLD ON JONAH'S SADNESS.
CUT TO: NICK'S CAFE. NICK IS AT THE BAR, WATCHING AS THE CONTRACTORS WORK ON THE REMODELING. THERE ARE SEEMINGLY MILES OF WIRING HANGING FROM THE EXPOSED CEILING PANELS. THE PAINTERS ARE WORKING IN THE FOYER, WHILE ANOTHER SET OF WORKERS IS INSTALLING A SECTION OF MARBLE FLOORING. THE PLUMBER WALKS PAST NICK AND GOES BEHIND THE BAR. DOUG WALKS IN, AND TAKES A LONG LOOK AT ALL THE ACTIVITY. DOUG THEN WALKS UP BEHIND NICK, AND TAPS HIM ON THE SHOULDER.
DOUG: Contractors are us. You buy it, we'll build it... in just five years... or more... as the weather holds or the crow flies or...
NICK: (TURNING AROUND QUICKLY) What the... (SHAKING HIS HEAD) For a minute that sounded so real, I was ready to call 911...
DOUG: For yourself or for the contractors?
NICK: I'm not sure... Might depend on my mood...
DOUG: I'll remember that... (LOOKING AROUND) Seriously, the place looks like it's starting to shape up.
NICK: I hope so... I'd forgotten what a hassle this sort of thing is... Of course, I've been gone so long, I've forgotten a lot of things...
DOUG: What did Thomas Wolf say?
NICK: You can't go home again?
DOUG: I think that was it... Is it true?
NICK: I don't know... You tell me... You came back to Salem after a long absence...
DOUG: Well, you can go home again... As long as there are people there waiting for your return...
NICK: Great... I may as well book the next plane out...
DOUG: Come on, it can't be that bad.
NICK: Can't it?
DOUG: No, it can't... You're alive, you're starting a new club... a new life... And some people... some people are clinging to life...
NICK: (REALIZATION) Doug, I'm sorry... Of course, Robert... How is he? Has there been any change?
HOLD ON NICK'S CONCERN.
CUT TO: EUTERPE. SHANE IS SEATED AND PERUSING A MENU WHEN JOHN ENTERS.
JOHN: Shane, hi! Sorry I'm late, but my CEO had me up to my ears in forms and documents.
SHANE: No problem. I came a little early to try and talk to Eve, but I haven't seen her.
DAVE ARRIVES WITH SHANE'S GLASS OF WINE.
DAVE: Here you go... Mr. Black, would you care for anything to drink?
JOHN: After the morning I had... a beer sounds wonderful. Draft, please.
DAVE: Very good, Mr. Black.
DAVE GOES TO FETCH JOHN'S DRINK.
JOHN: So, I'm anxious to hear what you've found out.
SHANE: Well, it's definitely the key to a safety deposit box.
JOHN: Yes! I know that box will contain information about my past...
SHANE: Don't forget, John, we still have to figure out where the bank is that holds this box. It could be anywhere.
JOHN: That's a fact. But at least now that you've narrowed it down, I'm one solid step closer to finding out about my past. (BEAT) And once I do that, I can move into my future.
OUT ON JOHN'S HAPPINESS.
CARRIE'S APT. CARRIE AND JONAH. IN PROGRESS.
CARRIE: Jonah, I really need this time away...
JONAH: I know... But I'm gonna miss you, Carrie.
CARRIE: I'll miss you, too. (BEAT) But, I need to see my Mom. I think maybe she'll have some insight into making life easier to understand.
JONAH: You think someone else can help you do that?
CARRIE: I think everyone has something to teach me. I need some distance and time away from Salem to change my perspective. (BEAT) Even my Dad agreed it was a good idea. (SMILE) Although, he is a little concerned about prolonged exposure to Anna DiMera...
JONAH: I thought you came back to Salem because things with your Mom weren't all that rosy.
CARRIE: It'll be different this time. Last time, I was running away from something. This time, I'm running to something.
JONAH: How am I going to get along without you?
CARRIE: You'll do just fine. And I'll be back before you know it...
CARRIE CROSSES THE ROOM AND HUGS JONAH. HOLD ON THE TWO HUGGING.
CUT TO: NICK'S CAFE. NICK AND DOUG. IN PROGRESS.
DOUG: The bottom line is that Robert is still unconscious and in critical condition.
NICK: I heard he has a son who came back to Salem.
DOUG: CJ. Yeah. He's a great kid... man... He spends a lot of time with Robert. If anyone can bring Robert around, he can.
NICK: Are they close?
DOUG: They're about the only family each of them has.
NICK: Why don't you bring CJ here one day? It sounds like he could use a break from the hospital.
DOUG: Thanks. I'll try to do that.
NICK: Now... what brings you here?
DOUG: I was on my way to Euterpe and thought I'd come by and see what the competition was up to.
NICK: Well, we're not much competition now. But, give us some time.
DOUG: (LOOKING AROUND) It's coming along great. It shouldn't be too long before you're up and running.
NICK: I'll be glad for that day. I love running a restaurant. But, I wasn't cut out for putting one together.
DOUG: You're more interested in the finished product than the process?
NICK: Something like that... (BEAT) Hey, how 'bout a drink? There's no one I would rather christen my bar with.
DOUG: I think I'll pass for today.
DOUG STARTS WALKING TO THE DOOR.
DOUG: (CONT'D) There seems to be a lot that needs your attention, so I'll take a raincheck.
NICK: You got it... anytime. Thanks for coming by.
DOUG: You know I'm expecting an invitation to the Grand Opening.
NICK: You're at the top of the list.
DOUG: I'd better be... (SALUTING) Au revoir...
NICK: (WRY SMILE) Au revoir...
HOLD ON NICK.
CUT TO: JACK'S OFFICE. JACK, A PENCIL BEHIND HIS EAR, HAS A STACK OF FINANCIAL REPORTS IN FRONT OF HIM. HE KEEPS FLIPPING FROM ONE TO ANOTHER, PUZZLED. HE TURNS TO HIS TERMINAL AND OPENS A FILE, RUNNING HIS FINGER DOWN THE SCREEN. HE DOUBLE-CHECKS THE REPORTS. HE PULLS A FILE FOLDER OUT OF HIS BOTTOM DRAWER AND CHECKS THAT AGAINST THE SCREEN AND THE REPORTS. FINALLY, HE PULLS A CALCULATOR OVER AND DOES SOME QUICK ADDITION.
JACK: Nope, that still doesn't seem right. I wonder if... (BELLOWING) Vern! Vern, get in here! Vern!!
OUT ON JACK TAPPING HIS PENCIL WAITING FOR VERN.
JACK'S OFFICE. VERN, COAT IN HAND, WALKS IN THROUGH THE OPEN OFFICE DOOR.
VERN: What is it now, Jack? (BEAT) For once, I was going to go home on time.
JACK: Sorry Vern, but you'll just have to miss the daily reruns of "Three's Company." (BEAT) I've been going over some of our expenditures for the Spectator and for Midsummer. (BEAT) It looks like some of our vendors aren't playing by the rules.
VERN SETS HIS COAT DOWN ON THE CHAIR AND WALKS OVER TO THE DESK. HE TAKES THE SPREADSHEET THAT JACK HANDS HIM.
JACK: (CONT'D) Now, I think we've still got a couple of hours left today in which we can get some answers.
VERN IS ENGROSSED IN THE SPREADSHEET.
JACK: (CONT'D) Vern?
VERN: Yeah, Jack... I see what you're talking about. (BEAT) I have a few calls that I can make...
JACK: Good! Let me know if you find out anything, and I'll make a few calls of my own...
VERN: Right, boss.
VERN PICKS UP HIS COAT AND STARTS TO WALK OUT OF THE OFFICE. HOLD ON JACK AS HE DIALS THE PHONE.
CUT TO: EUTERPE. EVE STORMS INTO THE DINING AREA. SHE STOPS SHORT, IN FRONT OF ONE OF THE TABLES. WITH HER HANDS ON HER HIPS, SHE TURNS AROUND AND GLOWERS AT A BUS BOY, JAMES.
EVE: Why hasn't this table been cleared yet?! What is wrong with you?
JAMES: That's not my station.
EVE: I don't care if it's your station or not. Clear this table if you want a paycheck at the end of this month.
IAN WALKS INTO THE DINING AREA. HE STANDS AND WATCHES THE SCENE. JAMES GRUMBLES SOMETHING UNDER HIS VOICE AS HE STARTS TO CLEAR THE TABLE.
EVE: (CONT'D) (FURIOUS) What was it I just heard you call me?!
BEFORE EVE RIPS JAMES TO SHREDS, IAN WALKS UP BEHIND EVE AND LINKS ARMS WITH HER.
IAN: Eve, darling! There's something I want to show you over by the bar.
EVE GIVES IAN A STRANGE LOOK, AS HE PULLS HER TOWARDS THE BAR.
EVE: What is it, Ian?
IAN: I just wanted to stop you before you committed an act of violence.
EVE: You're so thoughtful.
IAN: (SMILING) Thank you. (BEAT) So, what's with you today? Wake up on the wrong side of the bed?
EVE: You wouldn't even know.
SHANE WALKS UP TO EVE AND IAN. HE GIVES EVE A KISS.
SHANE: Hello, sweetheart.
EVE: Oh... hi, dad. I thought you were meeting John for lunch.
SHANE: I was, but he left a while ago. I was hoping to catch my lovely daughter, but I see that another young man has caught your eye.
EVE: It's only Ian.
IAN: (MOCKING HORROR) Only Ian. Is that what I've been reduced to?
EVE: (IGNORING IAN) I'm sorry, Dad. Can we do this another time? I'm not really in the chatty mood.
SHANE: Of course. But please, do take care of yourself. I do worry about you.
EVE: I'll be fine.
EVE GIVES SHANE A KISS BEFORE WALKING OUT OF THE DINING AREA. IAN TURNS TO SHANE.
IAN: There's something I wanted to talk to you about, if you have the time.
SHANE: Of course. What is it?
IAN: It's about Eve. You know that ever since Nick's been back in town, she's refused to talk to him.
SHANE: Yes. I understand it's been extremely frustrating for him.
IAN: I know I haven't gotten anywhere with her, but what do you think about seeing if she'll be convinced to at least talk with him?
SHANE: I don't know. My daughter's a very stubborn young lady. I doubt if she'd even listen to me.
IAN: Do you think she'll listen to a therapist?
SHANE: The idea of having her see somebody about this did occur to me... but I don't think either of us wants to be the one to suggest it to her.
IAN TAKES A DEEP BREATH AND NODS IN AGREEMENT. HOLD ON THE TWO.
CUT TO: DEVERAUX DAYCARE. JENNIFER AND NORMA ARE DEEP IN CONVERSATION. IN PROGRESS.
JENNIFER: So that's the whole story in a nutshell. I know it sounds like something out of a soap opera...
NORMA: Maybe... But what a hard thing for you and your family to have to go through. Especially Bill.
JENNIFER: It's been difficult, but it's also been 14 years...
NORMA: That's a long time to be without a wife and mother.
JENNIFER: Yes... But it's time my father moved on with his life. (BEAT) That's why I'm trying so hard to get him to socialize more and have some fun. I hope you understand.
NORMA: Of course I do, dear. I think that's very sweet of you.
JENNIFER LOOKS AT THE CLOCK AND JUMPS UP.
JENNIFER: Oh my gosh, look at the time! I've been sitting here bending your ear for way too long... you'll want to be getting home.
JENNIFER STARTS TO GATHER UP ABIGAIL'S BELONGINGS, COAT, HAT, MITTENS, ETC.
JENNIFER: Abby, honey, come on, it's time to go home.
ABIGAIL COMES RUNNING OVER AND JENNIFER PICKS HER UP.
JENNIFER: Say good-bye to Mrs. Muir and you'll see her tomorrow.
ABIGAIL: Bye, Miz Mur... See you 'morrow.
NORMA: Good night, Abigail! And goodnight to you too, Jennifer.
JENNIFER AND ABIGAIL LEAVE. OUT ON NORMA'S SPECULATION.
ROBERT'S HOSPITAL ROOM/CORRIDOR. CJ EXITS ROBERT'S ROOM, OBVIOUSLY SHAKEN. HE STANDS, FOR A MOMENT, GATHERING HIMSELF, AND THEN LOOKS AROUND. HE SEES JULIE WAITING FOR HIM JUST AS SHE LOOKS UP FROM HER ELECTRONIC NOTEBOOK. SHE PUTS IT AWAY AND STANDS, AS CJ WALKS OVER TO HER.
JULIE: Has there been any change?
CJ: None that I could see...
JULIE: Let's sit, darling....
JULIE SITS DOWN, AND CJ SLUMPS DEJECTEDLY BESIDE HER.
JULIE: (CONT'D) You look exhausted, maybe we should go home?
CJ: I have to stay... at least until Dr. Horton makes his rounds, to see if there's any improvement.
JULIE: Well, knowing Uncle Bill, he'll be like clockwork, so it won't be too long...
JULIE LOOKS OVER AND NOTICES THAT TEARS ARE RUNNING DOWN CJ'S FACE AS HE SILENTLY CRIES.
JULIE: (CONT'D) CJ, darling, it will be all right. Robert will get better...
CJ: But if he doesn't? What if he doesn't? He's all I've got. I'll be alone...
JULIE: (TAKING CJ'S HAND IN BOTH OF HERS) No, you will not. Even if the worst does happen (SHE TAKES A DEEP BREATH) You still have your... you still have Doug... and me...
HOLD ON JULIE.
CUT TO: JACK'S OFFICE. JACK IS TALKING ON THE TELEPHONE. ONE WAY.
JACK: Thank you very much for that little bit of information. I owe you one.
VERN WALKS INTO JACK'S OFFICE, JUST AS JACK IS HANGING UP THE PHONE.
VERN: Find out anything?
JACK: Yes, as a matter of fact, I did. (BEAT) Hold onto your hat Vern, because it seems as though our good friend Victor Kiriakis is up to his old tricks.
VERN: (SITS DOWN) Victor?! You're kidding!
JACK: I kid you not. This came from a very reliable source.
VERN: (WORRIED) I don't know about this, Jack. The last time Victor tried something, we all nearly lost our jobs. I don't know if we can take this again.
JACK: I wouldn't worry about it too much. This time, I think we can handle it.
VERN: What are you talking about?
JACK: After the last incident, I took out a little bit of insurance against Mr. Kiriakis. Maybe now is the time to use it.
VERN: What kind of insurance? What are you getting yourself into now, Jack?
JACK HOLDS UP HIS INDEX FINGER.
JACK: Not just yet, Vern. Wait and see... wait and see.
HOLD ON JACK'S DEVIOUS GRIN. AND OUT. FADE TO BLACK.