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An ALT.DAYS Production,
A Division of Peel Productions, Inc.
Air Date: January 31, 1995
Time: Several Days After #84,
Morning to Early Evening
Copyright 1995
JOHN'S LOFT. JOHN IS ON THE PHONE WITH CARRIE, TWO-WAY. IN PROGRESS.
JOHN: And so her plan had almost succeeded, when the accident happened.
CARRIE: I can't believe it.
JOHN: I know it's quite a shock.
CARRIE: She had everyone fooled. (BEAT) We all thought she was such a wonderful person...
JOHN: She was an expert liar.
CARRIE: I'll say. I thought that maybe someone would nominate Carly for sainthood.
JOHN: (CHUCKLING) Well, I don't know if I'd go that far, but she was convincing.
CARRIE: I'm just glad that she didn't get a chance to hurt anyone... I mean, I'm not glad that she's dead, but...
JOHN: I understand, Punkin. I know how you feel.
CARRIE: So, now that you've regained your memory, what are you going to do?
JOHN: Well, I haven't got it all back yet. I still have to piece the entire picture together.
CARRIE: But you basically know everything you need to know, right?
JOHN: Yeah. (BEAT) Yeah, I guess I do.
CARRIE: So, what's next?
JOHN: I... I don't know. (BEAT) I've spent so much time looking for my past, looking for all the answers to my questions. I didn't really give any thought to what I'd do once I found those answers.
CARRIE: I'm sure you'll figure it out. I believe in you.
JOHN: Oh, yeah?
CARRIE: Yeah. And I understand what you're going through.
JOHN: You do?
CARRIE: Sure. Now that you've got your memory back, it's like you're free. You've got all these possibilities in front of you, and now you're trying to figure out which way to go.
JOHN: (SURPRISED) My, my... When did you get so insightful?
CARRIE: (SMILING) What do you mean? I've always been this insightful.
JOHN: Nice try, but I know better. I've known you since you were ten, remember?
CARRIE: Yes, I remember. (BEAT) All that time, I've loved you and respected you.
JOHN: Even when you were giving me so much grief?
CARRIE: Even then.
JOHN: Well, thanks, Punkin.
CARRIE: And whatever you decide to do, I'll support you.
JOHN: That means a lot to me. Thank you. (BEAT) I hope you know how much I love you, too, and how proud I am of you.
CARRIE: I do. (BEAT) But, don't let that stop you from reminding me.
JOHN: (SMILING) Don't worry. I won't.
CARRIE GRINS. HOLD ON CARRIE.
CUT TO: JACK'S OFFICE. JACK IS STARING AT THE BLANK COMPUTER SCREEN.
JACK: (SOTTO VOCE) Chechnya... Kobe... Newt... Aircraft safety... Ethics in journalism... the State of the Union address... the not-so-Super Bowl...
THE OFFICE DOOR OPENS, REVEALING JENNIFER. JACK DOESN'T NOTICE UNTIL SHE TAPS ON THE DOOR.
JENNIFER: Hi. (BEAT) 'You busy?
JACK: Somewhat... I'm trying to find an editorial topic that doesn't involve former football players. (BEAT) Did you finish the piece on the community empowerment program?
JENNIFER: It'll be done before close of business; I'm interviewing Councilman Maine at noon to get his reasons for opposing it.
JACK: Good!
JENNIFER SITS DOWN IN ONE OF THE CHAIRS IN FRONT OF JACK'S DESK.
JACK: (CONT'D) Was there something else?
JENNIFER: Can't I just stop in to see my husband now and then?
JACK: Well...
JENNIFER: Plus, I wanted to remind you about the birthday party for Grandma and Uncle Mickey tonight at Euterpe. (BEAT) You didn't forget, did you Jack?
JACK: (STAMMERING) No no... it's just that... that I've never known the Hortons to combine their celebrations before.
JENNIFER: Yeah, well... normally that would be true. But since Grandpa... (LONG BEAT) Maggie thought this might be easier on Grandma.
HOLD ON JENNIFER'S CONCERN.
CUT TO: UNIVERSITY HOSPITAL. BILL AND KAYLA ARE WALKING THROUGH THE HALLS OF THE HOSPITAL. KAYLA CARRIES A NOTEBOOK WITH HER, TAKING DOWN NOTES AS BILL TALKS. THEY STOP AND TALK WITH ONE OF THE DOCTORS.
BILL: Kayla, I'd like to introduce you to our head resident in ER, Doctor Mark Green. (BEAT) Doctor Green, this is our new head nurse, Kayla Johnson.
MARK: Nurse Johnson, it's a pleasure to meet you. The other doctors here all have great things to say about you.
KAYLA: Thank you, Doctor Green, and likewise. Bill's been telling me about everything you've done here since you started. I look forward to working with you.
MARK'S BEEPER GOES OFF.
MARK: Duty calls. I'm sure we'll run into each other soon.
MARK GOES TO A NEARBY TELEPHONE. BILL AND KAYLA WALK ONWARD. A NURSE, CAROL FELL, GREETS KAYLA.
CAROL: Kayla! I heard today was your first day back.
CAROL GIVES KAYLA A HUG.
KAYLA: Hi Carol! It's great to see you again.
CAROL: I can't tell you how glad I am that you're back at University... and as our fearless leader.
KAYLA: Thanks. I'm sure I've got a lot of catching up to do.
CAROL: Oh, not too much has changed. We still have to harass Mortgenstein to sign his charts, and Doctor Ross is still hounding all the ladies.
BILL COVERS HIS EARS, BUT SMILES.
BILL: I don't know if it's safe for me to hear all this gossip.
CAROL AND KAYLA LAUGH.
CAROL: It's good to have you back, Kayla.
BILL AND KAYLA CONTINUE TO WALK DOWN THE HALL.
KAYLA: It's good to see some familiar faces around here. It helps ease those "first day jitters".
BILL: Don't tell me you're nervous?
KAYLA: No, not nervous. I think I'm just excited about everything.
BILL: That's good to hear, because we're all so enthusiastic about having you here.
KAYLA HUGS THE NOTEBOOK CLOSE TO HER, AND SMILES.
KAYLA: I think... no, I know I'm going to like it here.
OUT ON KAYLA'S SMILE.
THE LOFT. JOHN AND CARRIE ARE ON THE PHONE. IN PROGRESS.
JOHN: So what about you, Punkin? How is life with Anna?
CARRIE: (ENTHUSIASTIC) I'm having a ball! Last night we went to the opera. I didn't understand a word of it, but it was wonderful!
JOHN: (LAUGHING) I'm glad you're having a good time.
CARRIE: I am.
JOHN: And you've been working out your differences?
CARRIE: We're working on it. We've had some really good talks. It's just that...
JOHN: What?
CARRIE: Sometimes I feel like I'm the parent. You know? Mom can be a bit... ummm...
JOHN: Irresponsible?
CARRIE: Yeah, that's it... And that's part of the reason we didn't always get along. I wanted her to be tougher on me.
JOHN: Everyone's got a different idea of parenting, Carrie. But Anna loves you and that's the most important thing.
CARRIE: And I love her, too. I guess now that I'm older I can understand a little better where she's coming from.
JOHN: That's a good thing. And someday when you have your own kids you'll understand even more.
CARRIE: (LAUGHING) Please, John. That's a long way off.
JOHN: (STERN) It had better be!
CARRIE: (SING-SONG) Yes, Dad. (BEAT) I'm really glad you called, John.
JOHN: Me, too. I'll let you know what I decide to do about everything.
CARRIE: And I'll let you know what's happening on this end, too. I love you, John. Give Brady a hug and a kiss for me when he wakes up from his nap, okay?
JOHN: I will. Be good, Punkin. Bye.
CARRIE AND JOHN HANG UP. HOLD ON JOHN STARING AT THE PHONE.
CUT TO: JANET'S OFFICE. JANET IS ON THE TELEPHONE WITH COUNCILMAN BLAKE. TWO-WAY.
BLAKE: (ANGRY) What do you have to say for yourself this time, Yamada?
JANET: I'm not sure. Good morning?
BLAKE: Don't play innocent with me. (BEAT) This morning's Spectator says that there were two more carjackings this week.
JANET: Oh that...
BLAKE: Exactly what does your department plan to do about this?
JANET TAKES A DEEP BREATH AND CLOSES HER EYES BEFORE RESPONDING.
JANET: Councilman Blake, as I've stated before, we doubled the number of officers on this case.
BLAKE: Do you have any suspects?
JANET: Not yet, but I've got patrols out everywhere.
BLAKE: Listen to me, Yamada. As a representative of the citizens of Salem, I have a responsibility to keep these people safe. I don't think I have to tell you that nobody feels very safe these days.
JANET: I understand. Believe me, I'm doing everything in my power to catch whoever is responsible.
BLAKE: I'm glad we understand each other. (BEAT) Good day, Captain.
JANET HANGS UP THE PHONE. SHE PUTS HER HEAD ON HER DESK AND MOANS. THE DOOR OPENS, AND MORGAN WALKS IN.
MORGAN: Uh-oh. This looks bad. What's wrong?
HOLD ON JANET, SHAKING HER HEAD.
CUT TO: JACK'S OFFICE. JACK AND JENNIFER. IN PROGRESS.
JACK: You're probably right... that good old Horton spirit does do wonders for the soul...
JENNIFER: Jack...
JACK: Sorry. (BEAT) It's just completely different from the way that I was raised. (LONG BEAT) Harper and Anjelica's idea of family unity was to have everyone in the same country at one time.
JACK TAKES JENNIFER'S HAND.
JACK: (CONT'D) But now...
JENNIFER: Now?
JACK: Yes, now... now that I have you and our child, I've seen the light.
WITHOUT LETTING GO OF JACK'S HAND, JENNIFER COMES AROUND THE DESK AND SITS ON HIS LAP.
JENNIFER: So tell me Jack, what does the light look like?
JACK: Would you believe a blue lava lamp?
JENNIFER: (SMILE) Only you, Mr. D...
JACK: (SERIOUS) I used to live in a very gray world, Jennifer. (BEAT) You and Abigail have brought the color into my life. And for that, I am forever thankful.
JENNIFER KISSES JACK. THE KISS IS INTERRUPTED BY THE INTERCOM; IT'S JACK'S SECRETARY, LISA.
LISA: (V.O.) Mr. Deveraux, Mr. Scofield says that he needs you down at the loading dock. (BEAT) Something about the new design on the delivery trucks...
JACK: Thank you, Lisa... tell Vern I'll be right there.
THE INTERCOM CLICKS OFF.
JACK: (CONT'D) It's taken a week for the painters to redo the trucks with the new logo. (BEAT) Care to come with me?
JENNIFER: I think I'll pass.
JENNIFER GETS UP OFF JACK'S LAP. JACK STANDS, AND GIVES JENNIFER A QUICK KISS.
JENNIFER: (CONT'D) Bye, Jack.
JACK TIPS HIS IMAGINARY HAT TO JENNIFER, THEN LEAVES. JENNIFER SITS BACK DOWN IN JACK'S CHAIR, AND PICKS UP THE PHOTO OF HERSELF AND ABIGAIL.
JENNIFER: (CONT'D) (TO THE PHOTO) Abby my dear, your Daddy has brought color into my life, too... no matter how much he may try to deny it. (BEAT) And we will always be there to make sure that you get to experience the whole rainbow.
OUT ON JENNIFER'S SMILE.
JOHN'S LOFT. JOHN IS SITTING IN THE ROCKING CHAIR WITH BRADY.
JOHN: Did you have a good nap there, Slugger?
BRADY RUBS HIS EYES AND YAWNS.
BRADY: Uh-huh.
JOHN: Good. (BEAT) I know you have no idea what your crazy old man was talking about before, but I need to tell you anyway.
BRADY SMILES AT JOHN, AND BLINKS SLEEPILY.
JOHN: (CONT'D) I've had so many questions for so long. Finally, I have some answers. One of those answers is that your pop is... who?
BRADY POINTS AT JOHN.
BRADY: Dad!
JOHN: That's a fact, Slugger. I'm your dad, but who am I? I'm not Roman Brady, and I'm definitely not Forrest Alamain.
BRADY LEANS HIS HEAD AGAINST JOHN'S CHEST.
JOHN: (CONT'D) The only skin I feel slightly comfortable in is John Black's. (BEAT) But, who the hell is John Black really?
JOHN ROCKS A MOMENT, LOOKING AT BRADY.
JOHN: (CONT'D) I'm gonna need some more help with this one.
JOHN REACHES OVER AND PICKS UP THE CORDLESS TELEPHONE. HOLD ON JOHN, DIALING.
CUT TO: RICHARD'S OFFICE. RICHARD IS READING THROUGH SOME OF HIS NOTES WHEN THE PHONE RINGS. RICHARD ANSWERS. IT'S ASHLEY, TWO-WAY.
RICHARD: Richard Hunt.
ASHLEY: Man, you have gotta do something about that monotone greeting of yours.
RICHARD: Always a pleasure to talk to you, too, Ashley.
ASHLEY: Do you ever answer the phone with an original line?
RICHARD: Wait, let me try again...
RICHARD COVERS THE MOUTHPIECE WITH HIS HAND FOR A SECOND, THEN UNCOVERS IT.
RICHARD: (WITH "FEELING") Midsummer Magazine. This is Richard.
ASHLEY: I like it! Much better!
RICHARD: I aim to please. (BEAT) So, what's up? Where are you?
ASHLEY: Second question first: I'm home.
RICHARD: New York?
ASHLEY: Where else?
RICHARD: And the first question?
ASHLEY: I'm calling you, just like you asked.
RICHARD: (TEASING) Wow. I'm amazed. Astounded. Awestruck...
ASHLEY: (INTERRUPTING) And completely full of it.
RICHARD: I'm just so surprised to hear you heeding my advice.
ASHLEY: Hey, if I get good advice, I take it. (BEAT) Even if it comes from you.
RICHARD: (MUSING) You're such a dear. Whatever would I do without you?
ASHLEY: Oh, wither and die, I suppose.
RICHARD: Hardly. (BEAT) So, back to my first question: What's going on?
ASHLEY: Well, I've talked to some people I know, and they tell me that my story is an even hotter item than I thought.
RICHARD: Oh, really?
ASHLEY: Yeah. (BEAT) This thing could have implications all over the place.
RICHARD: Meaning?
ASHLEY: Meaning, I won't discuss it over the phone.
RICHARD: (SOTTO VOCE) How did I know that was coming?
ASHLEY: What was that?
RICHARD: Oh, nothing.
ASHLEY: More grumbling, I'm sure.
RICHARD: (WRY) Well, gee, Ashley, I would love to give you my opinion on the implications of your story-to-end-all-stories, but I'm afraid I don't really know anything about it.
ASHLEY: (POUTING) No need to get nasty.
RICHARD: Sorry.
ASHLEY: I was calling to tell you that I'm ready to get my photos and my notes together and come to Salem to see you.
RICHARD: (SMILING) Great!
ASHLEY: (STILL POUTING) Now I'm not so sure, though. Maybe you don't really want to see me.
RICHARD: (SOOTHING) Oh, come on. You know I'd love to see you.
ASHLEY: And my story.
RICHARD: And your story. (BEAT) There's someone else here in Salem who's mighty anxious to see your story, too.
ASHLEY: Oh?
RICHARD: Yes. Jack Deveraux is mighty interested. (BEAT) The longer he has to wait, the more interested he becomes.
ASHLEY: 'Sounds like someone else I know.
RICHARD LAUGHS.
ASHLEY: (CONT'D) Well, we'll just have to see if we can deal, then.
RICHARD: I'm sure we can. (BEAT) So, will you call me when you know your flight number, so I can pick you up?
ASHLEY: (GRINNING MISCHIEVOUSLY) Maybe. (BEAT) Maybe I'll surprise you.
RICHARD: Ah, but Ashley, I expect you to surprise me. So it's really not much of a surprise.
ASHLEY: (THROWN BY RICHARD'S COMMENT) Wait... So, if I don't surprise you, then I... (BEAT) Oh, stop it, Richard!
RICHARD LAUGHS.
RICHARD: I just have to keep you on your toes.
ASHLEY: Yeah, well, with friends like you... (BEAT) I'd better go. You probably have some work you should be doing.
RICHARD: All right. I'll see you soon.
ASHLEY: Yeah, you will. (BEAT) 'Bye, Richard.
RICHARD: 'Bye.
RICHARD HANGS UP THE PHONE. HE SMILES AND TURNS BACK TO HIS NOTES.
RICHARD: (CONT'D) (ABSENTLY) Ashley, I hope this story of yours lives up to the hype...
HOLD ON RICHARD.
CUT TO: NICK'S CAFE AMERICAIN. THE CLUB HAS REALLY SHAPED UP BEAUTIFULLY. THE THEME IS ART-DECO AND EVERYTHING IS IN SHADES OF BLACK AND GREY WITH SOME IVORY AND DEEP RUBY FOR CONTRAST. TWO LARGE ERTE' PRINTS HANG IN THE ENTRANCE WAY. IN THE MAIN DINING ROOM, THERE ARE MANY SMALL INTIMATE TABLES COVERED WITH WHITE CLOTHS AND ADORNED WITH CANDLES. MUCH OF THE SPACE IS TAKEN UP WITH A PARQUET DANCE FLOOR. A SMALL STAGE AREA IS SET UP WITH A PIANO AND MICROPHONE. A MAN SITS AT THE PIANO, WAITING PATIENTLY. NICK SITS AT ONE OF THE TABLES NEAR THE STAGE.
NICK: What do you say, Sam? Ready to start this audition business?
SAM: I don't see how you'll get a singer otherwise, Boss.
NICK LIGHTS A CIGARETTE. HE INHALES DEEPLY AND BLOWS OUT A STREAM OF SMOKE.
NICK: You're right. I gotta be outta my head for doing this, but here goes nothing.
AT NICK'S NOD, THE FRONT DOOR IS OPENED AND A STREAM OF WOMEN POUR IN. GO TO MONTAGE: A WOMAN WITH SHORT BLONDE HAIR HELD BACK BY DUCK BARRETTES AND WEARING A BABYDOLL DRESS AND COMBAT BOOTS SCREAMS INTO THE MICROPHONE. NICK SHAKES HIS HEAD NO. A TALL WOMAN WEARING A FRINGED JACKET AND A DENIM SKIRT STRUMS HER GUITAR. NICK SMILES A NO THANKS AND LIGHTS ANOTHER CIGARETTE. A RED-HAIRED WOMAN IN A LONG BLACK VELVET GOWN PLAYS A HARP. ANOTHER IN A LEATHER BUSTIER AND A GARTER BELT MAKES LOVE TO THE MICROPHONE. THREE OLDER WOMEN IN POUFFY GINGHAM DRESSES SING A CAPPELLA. A YOUNG GIRL WITH A VERY LARGE HAIR BOW SINGS AND WAVES A FLAG AS HER MOTHER DIRECTS HER FROM ANOTHER TABLE. NICK NOW HAS A BOTTLE ON THE TABLE IN FRONT OF HIM AND TWO FULL ASHTRAYS. HE RUNS HIS HAND THROUGH HIS HAIR AND EXCHANGES A LOOK WITH SAM.
NICK: (CONT'D) Sam, promise that you'll hit me over the head if I ever do anything like this again. (DEEP BREATH) Next!
OUT ON NICK, TAKING A LARGE DRINK.
BRADY PUB. JOHN COMES IN THE DOOR, WHEELING BRADY IN HIS STROLLER. CAROLINE COMES OUT FROM BEHIND THE BAR TO GREET THEM. SHAWN COMES OUT FROM THE KITCHEN AND WAVES.
CAROLINE: Here they are!
CAROLINE TAKES BRADY OUT OF THE STROLLER AND SHE AND JOHN WALK TOWARDS THE BAR.
JOHN: Thanks for pinch hitting on such short notice, Caroline.
CAROLINE: It's no trouble at all. It sounded important.
JOHN SLIDES ONTO A BAR STOOL AND TAKES BRADY BACK FROM CAROLINE TO TAKE OFF HIS COAT.
JOHN: It is. I was lucky to find Dr. Ector with a free afternoon. (LONG BEAT) I've got some news. Some of it good and some of it bad. And I need your advice.
SHAWN: What is it, lad?
JOHN: Well, the good news is that I've finally found all the pieces of my past. That key I found in the attic belonged to a safe deposit box in Brookville. Carly's diaries were in it.
SHAWN: And they told you all about your past? Well, that's grand! You've been wanting this for a long time.
JOHN: I feel like a weight's been lifted off my shoulders. But... not all the news was good.
CAROLINE: What is it, dear?
JOHN: I found out that Carly was setting me up to gain the Alamain fortune. I was supposed to be killed, but her accomplice had other ideas... ideas that included Roman.
SHAWN: Roman? But that could only mean... (HORRIFIED) Carly was involved with Stefano DiMera!?
JOHN: Yes. And when things didn't work out with me... well, it seems like she was using Bo to get to the Kiriakis empire.
CAROLINE: I can't believe this.
SHAWN: She certainly fooled us all, didn't she?
JOHN: That's a fact. I've had some memories that made me doubt Carly's intentions. And all this just confirmed it.
CAROLINE: Stefano DiMera and Carly... I don't know what to say...
JOHN: It is all a bit much to take in, isn't it? That's why I need your advice. I'm worried about what this could do to Bo.
CAROLINE: I see what you mean. Dealing with his grief and Shawn-Douglas' trauma was bad enough...
JOHN: But this is going to come out of left field. Should I tell him anything at all? Or just let his memories of Carly stay intact?
HOLD ON JOHN'S ANGUISH.
CUT TO: JULIE'S OFFICE. JULIE AND RICHARD ARE BUSY WORKING ON THE LATEST ISSUE OF MIDSUMMER.
RICHARD: I forgot to tell you that the printers called while you were at lunch.
JULIE: Yes?
RICHARD: They said that they wouldn't be able to do that special fold-out section we talked about.
JULIE: You're kidding! With the outrageous fees they charge us, you'd think they could handle something like this.
RICHARD: Don't worry. I already found another printer vendor who could handle it.
JULIE: Richard, you're a savior! Once again, you've gone above and beyond the call of duty.
RICHARD: It was no big deal.
JULIE: No big deal, my foot. You single-handedly held down the fort when Robert was ill. I and the entire magazine are forever in your debt.
RICHARD: C'mon Julie, you're embarrassing me.
JULIE: I'm your boss, I'm allowed to embarrass you.
RICHARD: To be honest Julie, I was happy to help out. You're my friend, not just my boss.
JULIE: In that case, thank you for being such a good friend.
JULIE LEANS OVER AND GIVES RICHARD A KISS ON THE CHEEK. AS SHE DOES THIS, DOUG WALKS IN THE OFFICE. HOLD ON DOUG.
CUT TO: KAYLA'S OFFICE. KAYLA IS CHECKING OUT THE DESK DRAWERS.
KAYLA: Didn't Nurse Brewer clean this out before she left? (BEAT) This is worse than Ma and Pop's attic!
THERE'S A KNOCK AT THE DOOR.
KAYLA: (CONT'D) Come in!
MARCUS ENTERS, CARRYING A SMALL POTTED PHILODENDRON.
MARCUS: I was going to bring you cut flowers, but I thought you might like a plant instead.
KAYLA: It's beautiful, Marcus. But you get to repot it when it outgrows this one.
KAYLA PUTS THE PLANT DOWN ON THE CORNER OF HER DESK.
KAYLA: (CONT'D) Care for the grand tour?
MARCUS: (TAKING KAYLA'S ARM) Why yes, yes I would, Nurse Brady.
KAYLA: Well now, over here (POINTING TO HER RIGHT) we have a lovely beige wall, which just happens to match this one over here (POINTING TO HER LEFT). Now, if you'll come with me...
KAYLA PLAYFULLY DRAGS MARCUS TO THE WINDOW.
KAYLA: (CONT'D) And here we have a wonderful view of the parking lot...
KAYLA NOW PULLS MARCUS BACK TO THE CENTER OF THE ROOM.
KAYLA: (CONT'D) One plastic couch, circa 1965. And, a desk that may hold the true secret of what happened to Jimmy Hoffa.
MARCUS FINALLY CRACKS, AND STARTS TO LAUGH. KAYLA JOINS HIM, AND THEY BOTH COLLAPSE ON THE COUCH.
MARCUS: So, did Bill officially introduce you to everyone?
KAYLA: Everyone but the chief of Plastic Surgery.
MARCUS: (STARTING TO GET UP) Well, we better go next door and tell Dr. Horton that he's been derelict in his duty...
KAYLA: (PULLING MARCUS BACK DOWN ONTO THE COUCH) Don't you dare!. This is the first time I've sat down since I got here this morning.
MARCUS: 'You excited about all this?
KAYLA: Yes... and I'm a little scared, too. Being the Head Nurse at a large hospital is a huge responsibility, and I'm sure I don't know the half of what I should. (SMILES) But this is going to be the most challenging position I've ever had, and I can't wait to get started.
MARCUS: I'm proud of you, Kayla. You wanted this, and you fought to get it.
MARCUS' BEEPER GOES OFF.
MARCUS: (CONT'D) Let me check on this.
WHILE MARCUS IS DIALING THE PHONE, KAYLA SINKS FURTHER DOWN ON THE COUCH.
KAYLA: (SOTTO VOCE) Now if I can just find a way to tell my family about our plans, life would be perfect...
OUT ON KAYLA'S TURMOIL.
BRADY PUB. JOHN, CAROLINE, SHAWN, AND BRADY. IN PROGRESS.
CAROLINE: I don't think keeping this from Bo is the answer, John.
JOHN: You think he'd want to know about Kater... about Carly?
CAROLINE: I don't know. But I do think he would be hurt more if he found out later, and found out that you didn't tell him.
SHAWN: Ma's right, you know. It's a terrible thing what Carly did, but lyin' to Bo about it would only make it worse.
JOHN: So you think I should be straight with Bo, tell him everything?
SHAWN: Aye. Keepin' secrets will only hurt the both of you.
CAROLINE: Don't be afraid to tell him, John. He's your... Well, I mean, he's...
JOHN: You're right, Caroline. As far as Bo and I are concerned, he is my brother. (BEAT) And I've gotta tell him the whole truth. It's the only way we'll be able to get beyond this and get on with our lives.
CAROLINE: I really think he'll be able to handle it. It's been over a year and a half since Carly died.
JOHN: I know, but still...
CAROLINE: Bo's a lot stronger, now. (BEAT) And if things get rough, I think Dr. Ector can help. He's done such a wonderful job with Bo and Shawn-Douglas.
JOHN: Yeah, Dr. Ector's really good. That's why I'm seeing him this afternoon.
BRADY: Doc-ter!
JOHN: (TAKING BRADY FROM CAROLINE) That's right, Slugger, your Pop's goin' to see the doctor.
BRADY: Daddy sick?
JOHN: No, kiddo, we're just gonna talk. That's all.
BRADY: Oh. (BEAT) Stay Gramma?
SHAWN: You betcha, laddie! And Grampa, too!
BRADY CLAPS AND SMILES.
SHAWN: (CONT'D) John, I'm wonderin'... Maybe this is somethin' the whole family should hear at once. I imagine that tellin' the whole story is somethin' you don't wanna be doin' a lot of.
JOHN: (HESITANT) I dunno, Shawn. I don't want to burden all of the Bradys with this...
CAROLINE: John, please... You know it's not a burden at all. No matter what your name is, or what's in your past, you will always be a Brady.
JOHN: Thank you.
CAROLINE: But this is your business, and your decision. You can tell people, or not, however and whenever you choose.
SHAWN: I was just thinkin' of what might be easier for you, lad. I didn't mean to put any pressure on you.
JOHN: You didn't, Shawn. (BEAT) And I think you're right. The fewer times I have to tell this story, the better.
CAROLINE: So, should I call a family meeting?
JOHN: I'd appreciate it.
CAROLINE: Okay, when?
JOHN: How about this evening?
SHAWN: Consider it done.
JOHN: Thank you. Both of you.
BRADY: Tank you.
JOHN: (SMILING) The Slugger and I are both grateful for your love and your support.
CAROLINE: It's our pleasure.
JOHN HUGS BRADY. HOLD ON FATHER AND SON.
CUT TO: JULIE'S OFFICE. DOUG, HAVING JUST CAUGHT JULIE KISSING RICHARD ON THE CHEEK, STANDS IN THE DOORWAY, SCOWLING. JULIE GRINS IMPUDENTLY.
JULIE: Richard, quick! Hide in the closet! It's my husband!
RICHARD TAKES IN DOUG'S REACTION AND LOOKS AT JULIE IN HORROR. IT TAKES HIM A MOMENT TO REALIZE THAT SHE'S JOKING. SHE CONTINUES TO GRIN. SHRUGGING, RICHARD REALIZES IT'S PROBABLY BETTER TO JOIN IN.
RICHARD: It's too late, my little buttercup, he's already seen us. (TO DOUG) I suppose this means we'll have to duel at dawn.
JULIE: (LAUGHING OPENLY) Buttercup!?
DOUG: (NOT TERRIBLY AMUSED) Dawn it is. I'll bring the pistols.
RICHARD STANDS UP AND HEADS FOR THE DOOR. DOUG MOVES INTO THE OFFICE.
RICHARD: But I'm so much better at sabres. C'est la vie!
AS RICHARD OPENS THE DOOR HE TURNS BACK AND SHAKES HIS FIST PLAYFULLY AT JULIE, SETTING HER LAUGHING AGAIN. DOUG SITS IN THE CHAIR THAT RICHARD JUST VACATED AND CROSSES HIS ARMS OVER HIS CHEST. JULIE TAKES ONE ARM AND PRIES IT OFF HIM UNTIL SHE CAN HOLD HIS HAND.
JULIE: You look atrocious in green, darling. Do lighten up.
DOUG: You didn't just find your wife kissing another man.
JULIE: (TEASING) How perfectly awful! And she makes a habit of it, does she? (BEAT) Richard is my very good friend. And he'd like to be your friend, too, if you'd ever stop scowling at him.
DOUG: Hmmmph.
JULIE: I was thanking him, quite innocently, since you seem to need an explanation, for holding down the fort here at Midsummer during Robert's illness. (BEAT) Now, what about tonight?
DOUG: Everything is just about ready. I've been working on the arrangements all morning. We'll give Alice and Mickey a birthday celebration to remember.
JULIE: Wonderful! And what about CJ and Robert?
DOUG: They'll be there as well. I talked to Bill and as long as Robert doesn't overdo everything will be fine.
JULIE: Good. I'll keep a close eye on him just in case.
DOUG: I'm sure we all will. I ran the menu by Bill as well and he approved. Lorenzo and Aki have been busy all morning cooking nothing but heart-smart items for Robert.
HOLD ON DOUG'S SATISFACTION.
CUT TO: JAMES' OFFICE. JAMES IS SEATED BEHIND HIS DESK. THERE IS A KNOCK AT THE DOOR.
JAMES: Come in!
JOHN ENTERS.
JOHN: Hey, Doc.
JAMES: (STANDING) John, good to see you.
JOHN CLOSES THE DOOR AND WALKS OVER TO THE DESK.
JOHN: (SHAKING JAMES' HAND) Thanks for seeing me on such short notice.
JAMES: Not a problem. You caught me on a rare, slow afternoon.
THEY SIT DOWN.
JAMES: (CONT'D) So, what can I do for you?
JOHN: Well, Doc, I'm trying to find a sense of direction. (BEAT) Like a I told you on the phone, I took your advice and went looking for Katerina's journals.
JAMES: And you found them.
JOHN: That's a fact. And with them, I found the missing pieces of my past.
JAMES: You don't sound exactly happy about it.
JOHN: I'm not sure how to feel.
JAMES: Tell me... Were your fears realized? Did you find something in your past that you're not sure you can deal with?
JOHN: No, it's not that. It's just... (BEAT) Well, I don't know what it's just. I guess that's why I'm here.
JAMES: All right. (BEAT) You've found your past, your identity. Is it something you can live with?
JOHN: I don't exactly have a choice.
JAMES: True, but you could have found something upsetting, something that changed the way you feel about yourself.
JOHN: You're right, I could have. But I didn't. (BEAT) My past isn't the problem.
JAMES: Then what is the problem?
JOHN: I guess it's... my future.
JAMES: And what's problematic about your future?
JOHN: I don't really know.
JAMES: You must have some idea.
JOHN: No, I mean I don't really know what my future is.
JAMES: I see... Now we're getting somewhere.
JOHN: We are? I feel just the opposite.
JAMES: Meaning what? How is it that you feel?
JOHN: I feel like I... I have no motivation, nothing to drive me. (BEAT) When I thought I was Roman Brady, there was Marlena, and Carrie, and the twins. (BEAT) Then, as John Black, I had Isabella and Brady. I still have Brady, but it's just not the same...
JAMES: Like there's something missing?
JOHN: Maybe so. It's not that I don't love Brady, or that he isn't a handful...
JAMES: Of course not.
JOHN: And then, there's Forrest Alamain. I don't feel like I ever really was Forrest. That whole life feels so foreign and strange to me. It's like the life of someone else that I knew. (BEAT) And let's not forget John Stevens... and Danielle.
JAMES: There's no question that it's all a lot to deal with.
JOHN: So, Doc, how am I supposed to choose? All these memories, all these lives... How do I decide which one is really me?
JAMES: Perhaps you don't.
JOHN: Then who will?
JAMES: Who says you have to choose at all?
JOHN: What are you saying?
JAMES: It seems to me that who you are is a combination of all of these identities. Under each of these names, you had experiences that played a role in making you the man you are today.
JOHN: So you're saying I'm all of them?
JAMES: Or that all of them are you. With the exception of the those that were implanted by Stefano DiMera, your memories are your own. (BEAT) Don't think that you have to renounce your claim to any of them. Keep them, treasure them, learn from them.
JOHN NODS HIS HEAD SLOWLY.
JOHN: I guess that makes sense.
JAMES: Think it over. You have plenty of time.
JOHN: You're right. (BEAT) But, even if I can settle for being a combination of all my various identities, I think I'd better stick with one name.
JAMES: That sounds like a good idea.
JOHN: To tell you the truth, I think I feel most comfortable as John Black.
JAMES: Well, then, John Black you should be...
JOHN NODS APPROVINGLY. OUT ON JOHN'S CONVICTION.
EUTERPE. IAN IS SITTING AT A TABLE IN THE BACK OF THE DINING ROOM, READING THE PAPER. EVE BRINGS OVER TWO GLASSES OF ICED TEA AND SITS DOWN NEXT TO HIM. SHE PEEKS AT THE PAPER.
EVE: The classifieds? (SLIGHTLY PANICKED) You're not leaving, are you?
IAN: (CHUCKLING) Not unless Ed McMahon and Dick Clark show up on my doorstep with a very big check.
EVE: Then what's with the want ads?
IAN: It never hurts to see what's out there. (BEAT) For instance, here's an ad you might be interested in. (READING) "Torch singer wanted. Must have class and style. Knowledge of club business helpful." That's you all over, Eve.
EVE: Maybe. (BEAT) But I like it here at Euterpe. Doug gives me a lot of freedom; I might not get that somewhere else.
IAN: True, but you'd get to sing a lot more than you do here. And the salary mentioned looks good... I hear this is going to be a very stylish place, very elegant...
A LOOK OF RECOGNITION SLOWLY COMES OVER EVE'S FACE. SHE SMILES SADLY.
EVE: You're talking about Nick's place.
IAN HOLDS OUT BOTH HANDS IN A "STOP" GESTURE.
IAN: (IN A RUSH) Now before you go getting mad at me, I was just...
EVE: (INTERRUPTING) I'm not mad at you. I know you're just trying to be my friend and look out for me.
IAN: (SURPRISED) Whoa, wait a minute. Did I just hear you say that you know I have your best interests at heart? (HOLDING OUT HIS FIST) Speak into this microphone, darling. I've got to have this on tape.
EVE: (SMILING) Okay, okay, I deserve that. I haven't acknowledged it before, but I really do appreciate your friendship and concern, Ian. (SERIOUS) But please, no more about Nick, all right? (BEAT) It's too late for us to patch things up.
HOLD ON EVE'S SADNESS.
CUT TO: JAMES' OFFICE. JAMES AND JOHN. IN PROGRESS.
JAMES: So, Mr. John Black, what is it that you want to do now? What's the first thing that comes to mind?
JOHN: I'm not sure. (BEAT) I've got my son. He seems pretty happy with the way things are...
JAMES: That's good, but I'm talking about you. What do you want to do with your life?
JOHN: I dunno, Doc.
JAMES: Okay, let's start with something easier. What don't you want to do?
JOHN: Well... (BEAT) I feel kinda bad saying it, but... As hard as I've been trying, I can't get into this corporate executive thing. It's not me. (BEAT) I guess I've known for quite a while, now. I just didn't want to admit it to myself.
JAMES: Well, that's one thing you can check off of your list.
JOHN: And the P.I. thing. It's okay, and I enjoy working with Abe and Lexie, but... I haven't really been there much. I don't think that's what I'm looking for, either.
JAMES: All right. I think that's a good start. Sometimes we have to draw conclusions through a process of elimination. (BEAT) When inspiration fails us, anyway.
JOHN: Yeah. I'm not exactly feeling inspired these days.
JAMES: Don't worry. Like I said before, you've got plenty of time. Don't rush into any decisions. Take the time to think them over carefully.
JOHN: I hear you. (BEAT) Y'know, maybe that's what I really need right now.
JAMES: What's that?
JOHN: Time. Time away from everyone and everything. Time to sort everything out.
JAMES: I agree. I think some quiet contemplation would be good for you.
JOHN: Yeah, some quiet time alone. Just me. (BEAT) Well... me, Roman Brady, Forrest Alamain, John Stevens...
JAMES: They all add up to the same man.
JOHN: Well, the good thing is that I only need one airline ticket to take us all on a trip...
THEY LAUGH.
JAMES: I guess you have your next step, then.
JOHN: Not quite. (BEAT) Before I have my time alone, there's something important I have to do.
JAMES: And that is...?
JOHN: I have to tell my family everything I've learned. (BEAT) They've stood by me through thick and thin. I owe it to them to give them the truth. About me, about Katerina... All of it.
HOLD ON JOHN'S RESOLUTION.
CUT TO: SALEM POLICE DEPARTMENT/SQUAD ROOM. JANET IS ADDRESSING A ROOM FULL OF UNIFORMED OFFICERS.
JANET: We can catch these creeps, people. (BEAT) Wisniewski and Brady have been hard at work trying to catch these carjackers...
A FEW MUTED CHUCKLES ARE HEARD, AND THE OFFICER BEHIND BO PLAYFULLY TOUSLES HIS HAIR.
JANET: (CONT'D) But we've all got to be on the lookout. Anything, and I mean anything, that you find out, you pass along to Bob and Bo. (BEAT) That's it, folks... get a good night's sleep so that you're fresh for tomorrow.
JANET WALKS TOWARD HER OFFICE WHILE THE OFFICERS START TO FILE OUT OF THE SQUAD ROOM. AS JANET SITS DOWN AT HER DESK, MORGAN ENTERS HER OFFICE.
MORGAN: 'Having fun?
JANET LEERS AT MORGAN AS HE SITS DOWN ACROSS FROM HER.
JANET: Maybe if Councilman Blake wasn't calling every time I turn around, it might not seem so damn overwhelming.
MORGAN: The way things have been going lately, we may never collar the carjackers.
JANET: Don't even think it, Lieutenant. (BEAT) Wisniewski and Brady are close to a breakthrough... I can feel it. (YAWNING) But it's not going to happen tonight.
MORGAN: Care to join Candis and I for dinner tonight? It might help you relax...
JANET: Thanks for the offer, but not tonight. (BEAT) Does Candis always let you bring home strays?
MORGAN: It's a tradition in her family. (BEAT) That's how she got me.
JANET AND MORGAN BOTH LAUGH. MORGAN GETS UP AND HEADS FOR THE DOOR.
MORGAN: (CONT'D) 'See you in the morning.
JANET: Goodnight.
OUT ON A YAWNING JANET.
EUTERPE / PRIVATE DINING ROOM. THE HORTON FAMILY HAS JUST ARRIVED AND EVERYONE IS GREETING EACH OTHER. DOUG IS FUSSING A LITTLE, TAKING EVERYONE'S COATS AND SEEING EVERYONE SETTLED. DOUG BEGINS TO POUR THE WINE. THERE'S SPARKLING CIDER FOR MAGGIE. BILL LIFTS HIS GLASS.
BILL: (TEASING) Here's to my aging brother!
MICKEY: (LAUGHING) Hey, watch it little brother... I can still beat the tar out of you, just like when we were kids...
BILL: You could never beat me...
MICKEY: Oh yeah? (STARTS TO TAKE OFF HIS JACKET AND ROLL UP HIS SLEEVE) Wanna arm wrestle?
MAGGIE: Will you two ever grow up?
BILL AND MICKEY BOTH LOOK AT MAGGIE, SMILE AND SHAKE THEIR HEADS. EVERYONE LAUGHS AT THEM.
DOUG: I'm not playing referee tonight, you two. So eat, drink and be merry...
BILL AND MICKEY SIT. DOUG TURNS TO ALICE, WHO IS SEATED NEXT TO HIM.
DOUG: (CONT'D) And how is our birthday girl, tonight?
ALICE: (SUBDUED) Fine, Doug.
DOUG: Just fine? No plans to party hearty?
ALICE: I think at my age I'm past all that.
MAGGIE AND JULIE EXCHANGE A LOOK. ALICE IS FEELING HER AGE WITHOUT TOM BESIDE HER.
MAGGIE: That's nonsense. Age is an attitude, not a number.
JULIE: That's right, Grandma. You can still run circles around all of us.
BILL: And you do!
ALICE SMILES AND PERKS UP A LITTLE BIT.
CUT TO: BRADY LIVING ROOM. JOHN, BO (IN UNIFORM), SHAWN, MAX AND CAROLINE ARE SEATED IN THE LIVING ROOM. THERE IS A SPEAKERPHONE SITTING IN THE MIDDLE OF THE COFFEE TABLE.
JOHN: (TO THE PHONE) Can you hear us okay, Kimmie?
KIMBERLY: (V.O.) Just fine, John.
PHILIP: (V.O.) You're coming in loud and clear.
JOHN: Good.
CAROLINE: It was a great idea for you to bring in this speakerphone, John.
SHAWN: Aye, now Kimmie and Philip can get everything first-hand.
KAYLA ENTERS FROM THE HALLWAY.
KAYLA: Okay, the kids are all settled with something to play with...
KAYLA SITS DOWN NEXT TO BO.
BO: (WHISPERING) So, where's the good doctor?
KAYLA: (WHISPERING BACK) I left him at the hospital. I didn't think this was the time to announce that he'll be part of the family soon.
BO: (NODDING) You're probably right.
JOHN: Okay, I guess we can get started. I asked Shawn and Caroline to call this meeting because I've... I've discovered the missing pieces of my past.
KIMBERLY: (V.O.) John, that's wonderful news!
JOHN: Well, partially. There are good points and bad points.
PHILIP: (V.O.) What do you mean?
JOHN: Let me start at the beginning. I'll try to keep this as brief as possible without leaving out any important details.
SHAWN: Take your time, son.
JOHN: You all know that I had memory flashes of me and Katerina. I knew there was some kind of connection to her in my past. During my sessions with Dr. Ector, I finally remembered seeing a page in Katerina's journals.
KAYLA: And you remembered what you read?
JOHN: No. Unfortunately, I couldn't get a fix on what was actually written on the page. (BEAT) But, I was able to do even better. I went through the things of Carly's that Caroline had kept, and found a safe deposit box key. When I found that box, with Shane's help, (NODDING AT SHANE) I found the journals.
BO: And what did you find in the journals?
CAROLINE LOOKS AT BO WITH CONCERN.
JOHN: I found... I found out that, several years ago, Katerina was after the Alamain fortune. She first tried to get it by marrying Lawrence.
CAROLINE: But they never actually married, right? What happened?
JOHN: Well, it's kind of complicated. The short version is: Danielle knew about some shady dealings that Katerina was involved in, and Katerina was afraid that Dani would tell Lawrence.
BO: That's a funny one. Like Larry would disapprove...
JOHN: But Katerina didn't know Lawrence well enough, then. She thought he was Prince Charming. Kind of ironic, actually. (BEAT) Anyway, she blew her chance with Lawrence. So, she set her sights on me.
BO TENSES, WHICH JOHN NOTICES.
JOHN: (CONT'D) Dani and I had gotten married, but Katerina didn't let that stop her. She told Dani to leave me, or we'd both be killed.
BO: And Danielle bought it?
JOHN: Yup. She vanished. (BEAT) And Katerina suddenly showed up to console me. She deceived me into thinking she was there to help. I believed her... Hell, I married her...
BO: When did you start to doubt her?
JOHN: When she began talking about the Alamain family, and how I should "claim my birthright."
KAYLA: What did you do?
JOHN: I didn't really get a chance to do anything. We started arguing more and more. I was trying to figure out what she was thinking, and she got nervous, and enlisted the help of her mentor. He stepped in, kidnapped me, and brainwashed me.
BO: Oh, my God...
KIMBERLY: (V.O.) Then, Carly was involved with...
JOHN: Stefano DiMera. You all know, more or less, what happened to me and Roman from that point on.
SHAWN: All too well. (BEAT) I can't believe that Carly was mixed up with the likes of DiMera.
CAROLINE: It's shocking...
JOHN: Unfortunately, there's more.
KAYLA: What more could there be?
BO: (QUIETLY) Her relationship with me...
JOHN: I'm sorry, Bo.
BO: It's okay. After hearing what she did to Larry and you, I can see what's coming next.
SHAWN: Oh, no. (BEAT) Not Bo, too...
JOHN: I'm afraid so. Carly knew that Bo was Victor's son. She figured that she could get her hands on the Kiriakis empire through Bo.
KAYLA HUGS BO.
KAYLA: I'm sorry...
BO: Me, too. (BEAT) But, it's done. All we can do now is move on.
KIMBERLY: (V.O.) What are you going to do now, John?
JOHN: I've talked it over with Dr. Ector, and we both agree that I need to take some time and sort all of this out, and let it sink in. Now that I know what my past is, I have to really start thinking seriously about my future. (BEAT) I'm going to take a short vacation, get out of town.
KAYLA: You've certainly earned a little peace and quiet.
JOHN: (TO CAROLINE) I really hate to impose like this, Caroline, but I was hoping that you and Shawn could look after Brady while I'm gone. It'll only be about a week...
CAROLINE: Say no more. We'd be delighted to have Brady come stay with us.
SHAWN: (NODDING) That we would.
BO, STILL CLEARLY UPSET, STANDS UP.
BO: Excuse me, I think I need to get a little fresh air.
BO WALKS OVER TO THE FRONT DOOR AND EXITS. EVERYONE WATCHES HIM WITH CONCERN.
KIMBERLY: (V.O.) I'm worried about Bo, guys. (BEAT) Not discounting what you've been through, John, but...
JOHN: I understand. I think I know, better than anyone, what Bo's feeling right now.
JOHN STANDS UP.
JOHN: (CONT'D) I'm gonna go talk to him.
JOHN WALKS OVER TO THE FRONT DOOR. HE PAUSES AND LOOKS BACK AT THE FAMILY. HOLD ON JOHN'S CONCERN.
CUT TO: EUTERPE. JACK AND JENNIFER ARRIVE WITH ABIGAIL. EVERYONE OOHS AND AAHS AT ABIGAIL'S VELVET HAT AND MATCHING DRESS. JENNIFER LEANS DOWN AND WHISPERS IN ABIGAIL'S EAR AND HANDS HER A SMALL BOX. ABIGAIL RUNS TO ALICE.
ABIGAIL: Happy day, Gamma!
ALICE GIVES ABIGAIL A BIG HUG AND OPENS THE BOX TO REVEAL A HANDPRINT CAST IN PLASTER OF PARIS.
ALICE: Why Abby, darling, it's your little hand, here with your name and age. I love it! Thank you!
JENNIFER WHISPERS INTO ABIGAIL'S EAR AGAIN AND HANDS HER A FRAME. ABIGAIL RUNS TO MICKEY.
ABIGAIL: Happy day, Unca Mickey!
MICKEY GRINS AND HOLDS UP A PURPLE AND ORANGE PICTURE OF SNOW WHITE. HE LEANS DOWN AND KISSES THE TOP OF ABIGAIL'S HEAD.
MICKEY: It's a framed Abigail Deveraux... from her purple period, I'd say... Thank you, sweetheart.
THE HANDPRINT AND THE PICTURE GET PASSED AROUND THE TABLE. THE DOOR OPENS AGAIN AND CJ AND ROBERT APPEAR. CJ IS SOLICITOUS, HELPING ROBERT DOWN THE STEPS. ROBERT SEEMS SOMEWHAT IMPATIENT WITH HIS SLOW PROGRESS, BUT GRATEFUL FOR THE HELP. THE FAMILY MAKES AN EVEN BIGGER FUSS OVER ROBERT. DOUG DRAWS FORWARD A CUSHIONY CHAIR WITH MULTIPLE PILLOWS AND GESTURES FOR ROBERT TO SIT. HE EVEN PRODUCES A BLANKET FOR ROBERT'S LAP.
ROBERT: Mon vieux, I am fine. Please, do not make such a fuss. You are embarrassing me.
DOUG: What do you mean, you're fine? Does this mean you are ready to move out of my house?
ROBERT CONSIDERS FOR A MOMENT. HE WINKS AT THE CROWD, LEANS BACK IN THE CHAIR AND PULLS THE BLANKET CLOSER.
ROBERT: I think in that case, I am still feeling a little weak.
OUT ON EVERYONE'S LAUGHTER.
BRADY PORCH. BO IS STANDING ON THE STEPS OF THE PORCH, WHEN JOHN COMES OUTSIDE TO JOIN HIM.
BO: How's it going in there?
JOHN: I think they're still trying to take it all in.
BO: It's sure a lot to digest.
JOHN: Yeah. I was worried about letting the whole family know all of this... especially you, Bo.
BO: I've gotta admit, it wasn't easy hearing about Carly. (HE LAUGHS) She really played me for a fool.
JOHN: Hey, she had us all fooled.
BO: At first, I wanted to beat myself up over it because I should've known she was lying.
JOHN: You shouldn't be so hard on yourself.
BO: Yeah, I realize that what she did to you was much worse.
JOHN: She hurt a lot of people. (BEAT) I hope this doesn't make things bad between the two of us.
BO: Of course not. If anything, I would think we could help each other understand it all.
JOHN: (LAUGHS) Yeah, we could form a support group.
BO: We could call it "Carly Anonymous."
JOHN: Seriously, I know it would help me to have somebody to talk to... somebody who knows what I went through.
BO: I'm here for ya, John.
JOHN: We're here for each other.
BO: You got it.
BO HOLDS OUT HIS HAND. JOHN SMILES AND SHAKES BO'S HAND. HOLD ON THE TWO.
CUT TO: EUTERPE. THE HORTON CLAN. IN PROGRESS.
CJ: I think mon pere just wants to spend his days flirting with la belle Julie at the kitchen table.
ROBERT: (DEADPAN) Wouldn't you?
CJ LAUGHS.
ROBERT: (CONT'D) Besides, my heart can only get better if it spends its days beating strongly for such a beautiful woman.
ROBERT TAKES JULIE'S HAND AND KISSES IT. DOUG TAKES JULIE'S HAND AWAY FROM ROBERT.
DOUG: Now stop that! (BEAT) There are just too many people flirting with my wife today.
JULIE: There, there darling... You know that I only have eyes for you.
JULIE GIVES DOUG A KISS. THE MOMENT IS BROKEN WHEN DAVE WHEELS OUT THE BIRTHDAY CAKE, AND STOPS IT BETWEEN ALICE AND MICKEY.
ABIGAIL: Cake!
EVERYONE LAUGHS AT ABIGAIL'S ENTHUSIASM. DAVE LIGHTS THE TWO CANDLES ON THE CAKE.
DOUG: And a one and a two and a ...
DOUG CONDUCTS THE CROWD AS THEY SING "HAPPY BIRTHDAY". HOLD ON THE SINGERS.
CUT TO: STOPLIGHT AT THE CORNER OF MAIN AND SEVENTH STREETS. MORGAN IS STOPPED AT THE LIGHT, BEHIND A LARGE VAN. THERE IS NO OTHER TRAFFIC AROUND.
MORGAN: (SOTTO VOCE) No matter what time it is, I always hit every red light on the way home.
THE POLICE RADIO CRACKLES.
RADIO: (V.O.) Units 45 and 73, suspect is now at Livingston and Park.
MORGAN: (SOTTO VOCE) What is this world coming to?
ANOTHER CAR PULLS UP SLOWLY BEHIND MORGAN.
RADIO: (V.O.) Unit 23, armed robbery at Mitchell and Fleetwood.
MORGAN: (SOTTO VOCE) Candis' brother had the right idea... that place in Arizona sounds pretty good right now.
THE LIGHT GOES GREEN, BUT THE VAN DOESN'T MOVE. AFTER ABOUT FIFTEEN SECONDS, MORGAN HONKS HIS HORN.
MORGAN: (CONT'D) (YELLING) I'll write you a ticket...
THE CAR BEHIND RAMS INTO MORGAN, WHICH SENDS MORGAN'S CAR INTO THE VAN.
MORGAN: (CONT'D) What the hell?
MORGAN STARTS TO GET OUT OF THE CAR, AND PUTS HIS HAND ON HIS SIDEARM. AS HE STARTS WALKING TOWARDS THE CAR THAT HIT HIM, A MAN EMERGES FROM THE VAN. MORGAN TURNS WHEN HE HEARS THE MAN'S FOOTSTEPS.
MORGAN: (CONT'D) Police!
A SHOT RINGS OUT, AND MORGAN FALLS TO THE GROUND. THE MAN FROM THE VAN GETS INTO MORGAN'S CAR. HE HITS THE HORN, AND THE VAN RACES OFF. MORGAN'S CAR AND THE CAR THAT HIT IT THEN SPEED AWAY.
MORGAN: (CONT'D) (WEAKLY) Help...
OUT ON MORGAN AS HE LIES BLEEDING IN THE ROADWAY. FADE TO BLACK.