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An ALT.DAYS Production,
A Division of Peel Productions, Inc.
Air Date: February 28, 1995
Time: Several Days After #88,
Morning to Evening
Copyright 1995
ISLAND RESORT. JOHN AND HOLLY ARE FINISHING UP A TENNIS MATCH. JOHN SCORES THE LAST POINT. HOLLY JUMPS THE NET TO CONGRATULATE HIM.
HOLLY: Good game.
JOHN: That's a fact. (BEAT) You gave me quite a run for the money.
HOLLY: I like a tough competitor. It makes me play better.
JOHN: C'mon. Let's go get something cold to drink.
JOHN AND HOLLY WALK OVER TO A TABLE UNDER AN UMBRELLA. A WAITER APPROACHES. THEY EACH ORDER ICED TEA.
HOLLY: So, what do you feel like doing the rest of the day?
JOHN: Not sure I feel like doing anything in particular.
HOLLY: How 'bout a swim in the ocean this afternoon?
JOHN LOOKS UP IN SURPRISE.
HOLLY: (CONT'D) Then, later, we can have dinner.
JOHN: (SMILING) Don't be shy, Holly, tell me what you really think we should do.
HOLLY: I'm used to speaking my mind. (BEAT) Does that bother you?
JOHN: I'm too flattered to be bothered. (SMILE) So, why don't we call it a plan?
HOLD ON JOHN SMILING.
CUT TO: UNIVERSITY HOSPITAL CAFETERIA. MARCUS IS SITTING AT A BOOTH EATING A SANDWICH. KAYLA WALKS UP, CARRYING A SALAD.
KAYLA: Sorry I'm late.
MARCUS: That's okay. Hope you don't mind, I started eating already.
KAYLA: (LAUGHING) I know never to come between you and your appetite.
KAYLA SITS DOWN AND SIGHS.
MARCUS: No problems, I hope.
KAYLA: I was trying to rework next week's schedule.
MARCUS: I thought you had that worked out already.
KAYLA: Yeah, I did. But I just had a little chat with Doctor Benton. Seems he's having a problem working with Nurse Wong and doesn't want her to be scheduled during his shifts.
MARCUS: That Benton sure has some nerve. Lisa's one of the best nurses we've got.
KAYLA: I agree. Benton's pretty hot-headed, and apparently this isn't the first run-in he's had with a nurse.
MARCUS: Yeah, he's definitely got an attitude problem.
KAYLA: He's also a very good surgeon. (BEAT) While I want to help him out, my nurses are my first priority. Lisa's got three kids and her schedule is really tight.
MARCUS: So the schedule sticks?
KAYLA: Absolutely.
MARCUS: Good for you! (BEAT) Now that's taken care of, let's get down to discussing the really important stuff.
HOLD ON MARCUS' SUGGESTION.
CUT TO: NICK'S CAFE AMERICAIN. EVERYONE IS WORKING AT BREAKNECK SPEED. NICK IS SLOWLY WALKING AROUND THE CAFE SUPERVISING THE ACTIVITY. CONSTRUCTION WORKERS ARE TOUCHING UP THE STRUCTURE. AN INTERIOR DESIGNER IS WORKING ON THE LIGHTING ON THE STAGE. A CITY INSPECTOR IS ESCORTED BY DAVE OVER TO NICK. BEFORE DAVE AND THE INSPECTOR ARRIVE, SAM APPROACHES NICK.
SAM: So, Nick...
NICK: Whaddya think, Sam?
SAM: I think it's going to be close.
NICK: Yeah... (BEAT) But, I think we can get it all done before the opening.
OUT ON NICK'S OPTIMISM.
UNIVERSITY HOSPITAL CAFETERIA. KAYLA AND MARCUS. IN PROGRESS.
KAYLA: And what important stuff are you talking about, Dr. Hunter?
MARCUS: Oh, I don't know... the weather, that awful awards show that was on a few nights ago, Dr. Drew's return from Ethiopia, or...
KAYLA: Or?
MARCUS: Maybe our wedding? (BEAT) Have you decided what kind of wedding you'd like to have?
KAYLA: Oh Marcus... I haven't really given it much thought. With the new job and the trouble it was to come up with a way to tell my folks about us getting married... I just haven't had the time to think about wedding plans.
MARCUS: (TAKING KAYLA'S HAND) And that's why I want to help out. So, should we go the small, intimate route, or should I go book the convention center?
KAYLA: Well... I would like to invite everyone, but I'm not sure it's appropriate.
MARCUS: Does Miss Manners have any rules of etiquette on second marriages?
KAYLA: Second? Check your math again, my dear.
MARCUS LOOKS AT HER, SLIGHTLY PUZZLED.
KAYLA: (CONT'D) This will be my fourth wedding; first Jack, then Steve, and then Steve again, and now you.
MARCUS: So you're not counting the almost wedding with Steve, while you were expecting Stephanie?
KAYLA: Yeah, well... no vows were exchanged. So technically, this will be number four. (BEAT) But it's your first wedding...
MARCUS: And my last.
KAYLA: So do you have a preference on what kind of wedding to have?
MARCUS: Kayla, as long as you're there, and Steffi's there, nothing else matters.
HOLD ON MARCUS' SMILE.
CUT TO: JACK'S OFFICE. JACK IS AT HIS DESK, AND JENNIFER AND VERN ARE SITTING ACROSS FROM HIM. JACK IS LOOKING AT HIS WATCH EVERY FIVE SECONDS.
VERN: Are we sure that these are the correct statistics?
JENNIFER: The Salem PBS foundation assures me that they are correct. The first batch they sent didn't account for their expenditures during the fundraisers.
VERN: So Jack, do you want this on page one of the Metro section, or on the front page?
JACK STARES AT HIS WATCH.
VERN: (CONT'D) Jack?
JENNIFER: (WAVING HER HAND IN FRONT OF JACK'S FACE) Earth to Jack...
JACK: (STARTLED) Sorry...
VERN: Well?
JACK: Well, what?
VERN: The PBS story... where do you want to run it?
JACK: Front page, bottom right corner, Vern.
VERN JOTS DOWN A NOTE.
JENNIFER: What's going on, Jack? You've been mesmerized by your watch all day...
JACK: Richard's friend Ashley is supposed to be bringing her photos in today. I'm just anxious to see them.
VERN: When I talked to her a couple of days ago, Ashley indicated that her photos could shake up a lot of people. Do you think they're as hot as she claims?
JACK: Ms. Bellafiore's reputation is pretty solid... if she says they're hot, I'm inclined to believe her. Richard seems to think she's got something, and I doubt he'd bring her to me if he thought she were prone to stretching the truth.
VERN: But she's given you no specifics?
JACK: Not yet, Vern. But soon...
HOLD ON JACK AS HE CHECKS HIS WATCH AGAIN.
CUT TO: ISLAND RESORT. JOHN AND HOLLY ARE COMING UP THE BEACH AFTER AN ENERGETIC SWIM. THEY EACH GRAB A TOWEL AND START DRYING OFF. JOHN SPREADS A TOWEL OUT FOR EACH OF THEM. HOLLY LIES FACE DOWN ON HER TOWEL.
HOLLY: Before you get too comfortable, would you mind rubbing some sunscreen on my back?
JOHN: Not a problem.
JOHN POURS SOME SUNSCREEN ON HER BACK, AND LEGS AND BEGINS TO MASSAGE IN THE OIL.
HOLLY: You've got great hands.
JOHN: Thanks.
HOLLY: They're very strong. Do you work out?
JOHN: A bit... You must work out, too. (JOHN BEGINS WORKING THE SUNSCREEN ON HOLLY'S LEGS.) You don't get legs like this from sitting.
HOLLY: I take care of myself. Mmmm... You have a great future as a sunscreen applicator. Have you thought of making a career switch?
JOHN: I thought about it, but I have a son to support, and that doesn't pay enough.
HOLLY: Where did you learn to do that with your hands?
JOHN: You inspire me. (FINISHING WITH THE SUNSCREEN) How's that?
HOLLY: Great. Now, you lie down and I'll do you.
JOHN: Thanks. (JOHN STARTS APPLYING SUNSCREEN) I think I'll take care of it myself.
OUT ON HOLLY'S DISAPPOINTMENT.
NICK'S CAFE AMERICAIN. NICK AND DAVE ARE SITTING AT A TABLE. THEY ARE LOOKING OVER WAITER AND WAITRESS APPLICATIONS.
NICK: Dave, I really want to thank you for your help.
DAVE: The pleasure is all mine.
NICK: I suppose I should thank Doug, too, for letting me borrow you for a couple of hours. If I can't get his best Maitre d' to work for me, I can at least have you to help me out here.
DAVE: (HOLDING UP THE STACK OF APPLICATIONS) Do any of these look hopeful to you?
NICK: You tell me. You're the expert.
DAVE: I think there's a handful of potential waiters and waitresses here. I really liked the one with the photographic memory.
NICK: Yeah, we could save some money on notepaper.
A TALL BLONDE WOMAN WALKS INTO THE CAFE. SHE LOOKS A LITTLE FRAZZLED, AS SHE APPROACHES NICK AND DAVE.
NICK: Can I help you, Miss?
URSULA: Yeah, sure. That would be great.
NICK AND DAVE LOOK AT URSULA, WAITING FOR HER TO CONTINUE. WHEN SHE DOESN'T, DAVE ATTEMPTS TO PROMPT HER.
DAVE: Are you here for the waitress position?
URSULA: (HAPPILY SURPRISED) Yes! That's what I'm here for.
NICK LOOKS AT URSULA, CONFUSED.
URSULA: I had two things to do today, and I wrote down the addresses, but didn't write down what they were for. So, I was here to either apply for a job or get a haircut.
NICK, SLIGHTLY AMUSED, LEANS BACK IN HIS CHAIR.
DAVE: Now, Miss...
URSULA: Just call me Ursula.
DAVE: Okay, Ursula. Do you have any experience?
URSULA: Experience with what?
DAVE: Food service.
URSULA: Oh that. Do you mean actually waiting on tables?
DAVE: Yes, do you have any experience with that?
URSULA: Uh-huh.
DAVE: Great. (HANDS URSULA AN APPLICATION AND A PENCIL.) Why don't you fill this out, and we'll talk some more.
URSULA LOOKS AT THE PENCIL, IN HORROR.
NICK: Is there something wrong?
URSULA: Do you have another pencil?
NICK: I think so. What's wrong with this one?
URSULA: It just doesn't feel right.
DAVE FINDS ANOTHER PENCIL AND HANDS IT TO URSULA. AFTER INSPECTING THE PENCIL, URSULA SEEMS SATISFIED. DAVE POINTS HER TO A TABLE WHERE SHE CAN SIT AND FILL OUT THE APPLICATION. AT THE PIANO, SAM STARTS TO PLAY THE THEME FROM "THE TWILIGHT ZONE." HOLD ON NICK, AS HE TAKES A DEEP BREATH.
CUT TO: JOHNNY ANGEL'S. BO AND BOB ARE HAVING LUNCH.
BO: So, did you make it by the hospital last night?
BOB: I sure did. Morgan seems to be in pretty good spirits. Dr. Horton said his condition is improving, slowly but steadily.
BO: That's good to hear. I'm gonna try to stop by and see him soon. We've just had so little spare time lately, I've felt like I should spend it with Shawn-D.
BOB: I'm sure Morgan would understand that. (STUDYING BO) Is that the only reason you haven't visited him?
BO: What other reason would there be?
BOB: Well... Sometimes, it's hard for a cop to see another cop laid up in the hospital like that. It reminds us of our own mortality.
BO: And that we might end up like Morgan, or worse.
BOB NODS.
BO: (CONT'D) I can't say that the thought hasn't crossed my mind, but that's not why I haven't gone to see Morgan. I think about the risks every day... every time I hug my son before I go off to work.
BOB: Good. You shouldn't dwell on the possibilities, but you have to keep your perspective. We're definitely not invincible.
BO: That's the truth. I'll sure be glad when Morgan's back. Things just aren't the same without him.
BOB: I know.
BO: But, at least Abe's back on the force. I think his reinstatement could be a real morale booster. I know it's boosted mine.
BOB: (CAUTIOUSLY) Abe's a good man. And a good cop.
BO: But...?
BOB: But, I wonder if he and Captain Yamada are going to be butting heads all the time. They've got very different philosophies about how to run a police department.
BO: Yeah, you're right. Abe's a people person. He relates well to everyone.
BOB: No doubt about that.
BO: And he cut me a lot of slack when I first joined the force.
BOB: Maybe too much slack.
BO: Yeah, probably. Not that Abe wasn't a first class commander, or anything, but... Captain Yamada's leadership has been a good thing for me.
BOB: I think it's been good for the whole department.
BO: I've really learned the importance of professionalism, and discipline, and... Geez, if someone would have told me two years ago that I'd be talking like this, I would've told them they were nuts.
BOB: You've come a long way, partner. You're turning into a really good cop.
BO: (SMILING) As good as my partner?
BOB: (TEASING) Well... I wouldn't go that far.
THEY SMILE AND SHARE A LAUGH. HOLD ON THEIR AMUSEMENT.
CUT TO: JACK'S OFFICE. VERN, JENNIFER, AND JACK. IN PROGRESS.
JACK: Vern, have you seen that story Stevens was working on? I need a strong follow-up to the "Homeless" story we ran.
VERN: I'll go see what's keeping him.
VERN LEAVES. AS THE DOOR SHUTS, THE PHONE RINGS. JACK ANSWERS. TWO WAY.
JACK: Spectator. Deveraux here.
ADRIENNE: Kiriakis here.
JACK: Adrienne?
JUSTIN: And, Justin.
JACK: How are you? It's so good to hear your voices. I'm going to put you on speakerphone so Jennifer can say hello, too.
JACK PRESSES THE SPEAKERPHONE BUTTON.
JENNIFER: Hello Adrienne and Justin!
ADRIENNE/JUSTIN: Hi, Jennifer.
ADRIENNE: We called to thank you for the train set you sent Alexander for his birthday.
JENNIFER: Did he like it?
JUSTIN: Did he like it? (LAUGHS) We had to put it together right then and there. It took everything we had to get him to go to bed that night.
JACK: A boy after my own heart. I think the old-fashioned gifts are the best. None of this morphin, ninja, alien stuff for my family.
ADRIENNE: I'm sorry he isn't here to say thank you himself.
JENNIFER: Where are the boys?
JUSTIN: Soccer practice, piano practice, and sleeping. You'll have to guess who's doing what.
ADRIENNE: How's Abby? When are you bringing her down to visit her cousins?
JACK: Abigail is beautiful and brilliant like her mother.
JENNIFER: And, a flatterer like her father. (BEAT) As for when we are coming to visit, we are hoping to get away at the end of this summer. We'll keep you posted.
ADRIENNE: Justin, we should get going. We still have to pick up the boys from soccer and piano.
JUSTIN: Right. It was good talking to you.
JACK: Take care.
JENNIFER: All our love.
JUSTIN AND ADRIENNE HANG UP.
JACK: I miss them a lot. It would be great for Abby to have her Kiriakis cousins around.
JENNIFER: Let's start talking about going there to visit. (BEAT) But, first, I have to check out a source for one of my stories. I'll be right back. I don't want to miss Ashley's photos.
OUT ON JACK, SHAKING HIS HEAD.
MARCUS' OFFICE. MARCUS IS REVIEWING SOME X-RAYS WHEN KAYLA WALKS IN. MARCUS TURNS AROUND, SURPRISED.
MARCUS: Hello, gorgeous. Not that I'm complaining or anything, but didn't we just see each other a little while ago?
KAYLA WALKS UP AND GIVES MARCUS A QUICK KISS.
KAYLA: That's one of the advantages of working in the same place. We can see each other whenever we want, as often as we want.
MARCUS: True. (GRINNING) But don't let Bill hear you say that, he'll think we're slacking off. So, what's up?
KAYLA: After our conversation earlier, I've been thinking about the wedding. What do you think about a small, intimate ceremony with just family and a few close friends? With maybe a big reception for everyone else afterwards?
MARCUS: Whatever you want, hon. The most important thing to me is that we're husband and wife when the day is over.
KAYLA HUGS MARCUS.
KAYLA: We will be, you can count on it. (BEAT) What about the wedding party? I'd like to keep that small, too.
MARCUS: Jack's agreed to be best man.
KAYLA: And I talked to Kimmie. She's thrilled to be my matron of honor and can be on a plane anytime. And Stephanie will be the flower girl, of course.
MARCUS: Good, we've got one more thing settled.
KAYLA: I'm sure the rest of the family will pitch in if we need help.
MARCUS: (FROWNING) What about your Dad? How will he feel about giving the bride away?
HOLD ON MARCUS' UNEASINESS.
CUT TO: JOHNNY ANGELS. BOB AND BO ARE FINISHING UP THEIR LUNCH. BOB GETS UP FROM THEIR TABLE.
BOB: I'm going to get a milkshake for the road... you want anything?
BO: No thanks... I think I'll just finish the one I've got.
BOB WALKS OVER TO THE COUNTER TO ORDER HIS MILKSHAKE. LEIGH PASSES BY BO'S TABLE, JUST AS HE REACHES THE BOTTOM OF THE MILKSHAKE WITH HIS STRAW.
LEIGH: Lovely sound, Officer Brady.
BO: (SHEEPISHLY) Thank you, Ms. McCloud.
LEIGH: You haven't happened to have heard from Mr. Black lately, have you?
BO: Nah... He called my folks once he got to his hotel, but I really don't think anyone else is going to hear from him until he comes home. (SMILE) He's probably either stretched out on the beach or enjoying the local... scenery as we speak...
HOLD ON BO'S GRIN.
CUT TO: ISLAND RESORT. JOHN AND HOLLY ARE HAVING DINNER. THEY ARE SEATED AT ONE OF THE RESTAURANT'S OUTDOOR TABLES, WHICH OVERLOOKS THE BEACH. THERE IS A SOFT BREEZE BLOWING. THE SUN IS SETTING IN THE HORIZON, PAINTING THE SKY IN BRILLIANT SHADES OF RED AND PURPLE. THEIR TABLE IS LIT BY AN OIL-BURNING LAMP. JOHN IS GAZING AT THE SUNSET. HOLLY IS GAZING AT JOHN.
JOHN: (AWESTRUCK) Wow. What a view.
HOLLY: That's a fact.
JOHN: (BLINKING) What? I'm sorry, Holly. You were saying...?
HOLLY: I was just agreeing with you about the view.
JOHN: I haven't seen a sunset like that in a long time.
HOLLY: (ABSENTLY, STILL FOCUSED ON JOHN) Yes, I guess the sunset's nice, too...
JOHN: Too? Then what were you...
HOLLY SMILES SEDUCTIVELY. JOHN CATCHES ON AND SMILES, A LITTLE EMBARRASSED.
HOLLY: What?
JOHN: Nothing. You just caught me a little off-guard.
HOLLY: (SMILING) Good. I wouldn't want to bore you.
JOHN: No chance of that.
HOLLY: Listen, John... I've always been a very up-front person. I don't believe in mincing words or playing games.
JOHN: Yet another thing we have in common.
HOLLY: I'm glad. Because I want to tell you something.
JOHN: (INTRIGUED) I'm listening...
HOLLY: It's pretty obvious to me that you and I have been having a great time these past few days.
JOHN: (NODDING) Agreed.
HOLLY: And I think we've really enjoyed each other's company.
JOHN: Yes... I haven't felt this at ease, this relaxed, in a real long time.
HOLLY: I'm very attracted to you, John.
JOHN: I...
JOHN PAUSES. HOLLY'S WORDS FINALLY REGISTER, AND HE LOOKS AT HER WITH SURPRISE.
JOHN: (CONT'D) What did you say?
HOLLY: You heard me correctly the first time. I'm very attracted to you. (BEAT) And, unless I've horribly misread the signals I'm getting, you're attracted to me, too.
JOHN: You... I...
JOHN SMILES SHEEPISHLY AND CHUCKLES. HOLLY LOOKS AT HIM INTENTLY.
HOLLY: Hmmm... Not exactly the reaction I expected.
JOHN: I'm sorry...
HOLLY: No need to apologize. (BEAT) I'd still like to know, though... Am I right? Is the attraction mutual?
JOHN: (REGAINING HIS COMPOSURE) I... You're a very beautiful woman, Holly. And smart. And exciting.
HOLLY SMILES.
JOHN: (CONT'D) Yes, I'm attracted to you. I'd have to be some kind of fool not to be.
HOLLY REACHES OVER AND TAKES JOHN'S HAND, INTERLOCKING HER FINGERS IN HIS.
HOLLY: Well, John, if that's the case...
HOLLY PAUSES AND LOOKS DEEP INTO HIS EYES.
HOLLY: (CONT'D) Why haven't we done anything about it? What's been stopping us?
OUT ON HOLLY'S QUESTION.
NICK'S CAFE AMERICAIN. NICK AND SAM ARE AT A TABLE. A CIGARETTE IS BURNING IN THE ASHTRAY. THERE ARE TWO HALF FULL GLASSES OF SOFT DRINKS. PAPERS ARE SPREAD OUT OVER THE TABLE.
SAM: I'm not sure how much help I can be, Nick. I haven't been in Salem long enough to know who the right people are to invite.
NICK: That's OK. Any ideas you have will help.
SAM: Maybe we should start with that guy who owns Euterpe. You two seem like friends.
NICK: Doug Williams. Good start. And, his wife Julie. Which means we should invite their friend, Robert and his son, CJ.
SAM: And, who's that cop I've seen you talking to?
NICK: You don't miss a thing, do you? That's Shane Donovan and he's a spy, not a cop. But for respectability, we should invite Captain Yamada of the SPD.
SAM IS WRITING NAMES DOWN AS FAST AS NICK CAN CALL THEM OUT.
NICK: (CONT'D) Of course, we can't have an opening without Salem's leading family, the Hortons. Add Mickey and Maggie Horton, Alice Horton, Bill Horton, Jack and Jennifer Deveraux. Oh, Geez, and we want to include the Bradys. Put down Shawn and Caroline Brady, Bo Brady, Kayla Brady and Marcus Hunter. John Black. Make sure you get John Black's name down.
SAM: What about that friend of yours who does the music at Euterpe?
NICK: Ian Moreland? Perfect. He's becoming a good friend... But, if I invite Ian... what do I do about Eve?
SAM: The hostess at Euterpe? What do you have to do with her?
LYNN COMES OUT OF THE KITCHEN AND WALKS OVER TO NICK AND SAM.
NICK: (SEEING LYNN) Never mind. We don't need to talk about that.
LYNN: Talk about what?
HOLD ON NICK.
CUT TO: MARCUS' OFFICE. MARCUS AND KAYLA. IN PROGRESS.
KAYLA: (PUTTING HER HAND ON MARCUS') Don't you worry about Pop. He's truly happy for us. He'll be there to walk me down the aisle.
MARCUS: Maybe so, but will he actually give you away when you two reach the altar?
KAYLA: (SMILING) What do you think he'd do, hang onto me forever?
MARCUS: The thought did cross my mind.
KAYLA: You're being silly. (BEAT) Believe me, my father is no longer standing in the way of our happiness.
MARCUS: I wish I could be as certain as you.
KAYLA: You can be, if you would just loosen up a little. Listen... Pop and I had a talk. He told me that he wants me to be happy. That's all he ever wanted.
MARCUS: He's said that all along. What changed?
KAYLA: I guess he was finally convinced that being with you does make me happy.
MARCUS: Heck, I've know that for a long time.
KAYLA: So have I. It just took Pop a little longer to realize it. (BEAT) You may not believe this, but once he has something set in his mind, he can be just a little stubborn.
MARCUS: A little?!
KAYLA: (DEADPAN) Uh-huh.
THEY LOOK AT EACH OTHER FOR A MOMENT IN SILENCE, THEN BOTH BREAK DOWN LAUGHING. AFTER HE CATCHES HIS BREATH, MARCUS SPEAKS.
MARCUS: That gets my vote for understatement of the decade!
KAYLA: (WITH MOCK SERIOUSNESS) Hey, watch it... That's my father, and your future father-in-law, you're talking about.
MARCUS: Okay, I'll be nice. (BEAT) I can't say too much about that stubborn streak, since it does run in the family...
KAYLA: (SUSPICIOUSLY) And just what are you saying?
MARCUS: I'm saying, Kayla Brady Johnson, that you are a stubborn woman...
KAYLA NARROWS HER GAZE.
MARCUS: (CONT'D) And it's one of the many things that I love about you. I wouldn't have you any other way.
KAYLA: Good answer.
MARCUS: I'm glad you think so.
KAYLA PAUSES, SEEMINGLY LOST IN THOUGHT. SHE SMILES.
MARCUS: (CONT'D) (CURIOUS) What's that smile for?
KAYLA: Think about it... The only obstacle we had to overcome has been taken away! There's absolutely nothing to keep us from becoming husband and wife.
MARCUS: Um... Maybe you'd better knock on wood after saying that.
KAYLA: Oh, pooh. I'm not going to worry about superstitions. I'm just going to enjoy this feeling.
MARCUS: If you say so... (BEAT) Well, if there are no more obstacles, maybe we should think about setting a date?
KAYLA: (HOLDING UP A BOOKLET) I brought my day planner.
MARCUS: (OPENING HIS DESK DRAWER) And I've got my calendar right here...
MARCUS OPENS HIS CALENDAR. KAYLA DOES THE SAME, HER PLANNER FALLS OPEN TO THE FIRST WEEK IN MARCH. SHE LOOKS AT THE DATES, AND HER SMILE FADES.
MARCUS: (CONT'D) Okay... Do we want a summer wedding, or an autumn wedding?
KAYLA DOESN'T RESPOND. SHE CONTINUES TO LOOK SADLY AT HER PLANNER.
MARCUS: (CONT'D) Kayla?
MARCUS LOOKS UP AND NOTICES KAYLA'S EXPRESSION.
MARCUS: (CONT'D) Kay, what is it? What's wrong?
KAYLA LOOKS AT MARCUS WITH THE SAME SAD EXPRESSION. HOLD ON KAYLA.
CUT TO: JACK'S OFFICE. JACK IS REVIEWING THE BUDGET.
JACK: (SOTTO VOCE) What the... these young paper deliverers are robbing us blind!
THERE'S A KNOCK AT THE DOOR.
JACK: (CONT'D) Come in!
THE DOOR OPENS. A SMILING ASHLEY ENTERS, CARRYING A LARGE ENVELOPE. RICHARD ENTERS BEHIND HER, AND CLOSES THE DOOR.
ASHLEY: Hello there, Jack!
JACK: Good afternoon... (GLANCING AT HIS WATCH) I was expecting you a bit earlier today.
RICHARD: I'm afraid that's my fault, Jack.
ASHLEY: Yeah. He insisted on being in the darkroom with me, and it slowed me down.
RICHARD: I wanted to watch the master at work. Besides, how often does one get to see a Pulitzer-caliber story develop?
ASHLEY AND JACK BOTH GROAN.
ASHLEY: Trust me, Hunt... photographic humor is not your thing.
RICHARD: Anyway, these pictures are great, Jack. They'll blow the lid off of a major government cover-up.
JACK: And get Ms. Bellafiore her Pulitzer, right?
ASHLEY: Yep... And if we play our cards right, we'll all have an awards ceremony to go to.
OUT ON ASHLEY'S EXCITEMENT.
ISLAND RESORT. IN PROGRESS. JOHN SQUIRMS IN HIS SEAT A BIT AND FEIGNS GREAT INTEREST IN HIS DRINK TO BUY A LITTLE MORE TIME. HOLLY LOOKS AS IF SHE KNOWS EXACTLY WHAT HE IS DOING, BUT DOESN'T SAY ANYTHING. FINALLY, JOHN PUTS THE DRINK DOWN AND LOOKS HOLLY IN THE EYE.
JOHN: I don't really know what to say to you.
HOLLY: Why not just be honest?
JOHN: Ok. (DEEP BREATH) The honest truth is... I'm out of practice.
JOHN LOOKS AT HOLLY TO SEE HER REACTION. SHE SMILES ENCOURAGINGLY.
JOHN: (CONT'D) My wife died just over two years ago. Since then, I've been raising a toddler, running a new business and trying to get my life in order.
HOLLY LEANS HER CHIN ON HER FIST, LISTENING.
JOHN: (CONT'D) I haven't... been with anyone... in quite some time. (DEEP BREATH) And frankly, I'm not sure how I'd do. Part of me, lots of me, would rather not know.
HOLLY LEANS OVER AND PUTS HER HAND OVER JOHN'S.
HOLLY: Thank you for being up front with me.
A SLOW BALLAD BEGINS PLAYING. HOLLY GESTURES TO THE DANCE FLOOR.
HOLLY: I think it's time you were reminded of what you've been missing out on. Why don't we dance?
JOHN NODS AND GOES AROUND THE TABLE TO PULL OUT HOLLY'S CHAIR FOR HER. SHE TAKES HIS HAND AND LEADS HIM TO THE DANCE FLOOR. HE HOLDS HER A CHASTE DISTANCE AWAY. HOLLY SHAKES HER HEAD "NO" AND MOVES IN CLOSER. JOHN INHALES THE SCENT OF HER HAIR AND REACHES UP TO TOUCH IT, BUT STOPS. THEY SWAY TO THE MUSIC FOR A MOMENT. HOLLY SLIPS ONE HAND UP AROUND JOHN'S NECK AND BEGINS TOYING WITH HIS HAIR. SHE RUNS HER FINGERS LIGHTLY OVER HIS LIPS. JOHN, MORE CONFIDENT, RUNS HIS HAND UP AND DOWN HER BACK. HOLLY MOVES IN EVEN CLOSER, PUTTING HER HEAD ON JOHN'S SHOULDER. JOHN TIGHTENS HIS HOLD ON HER, CLOSING HIS EYES IN PLEASURE. HOLD ON THE TWO DANCING.
CUT TO: NICK'S CAFE AMERICAIN. NICK, SAM, AND LYNN. IN PROGRESS. SAM OPENS HIS MOUTH TO ANSWER LYNN. BEFORE SAM HAS A CHANCE TO SAY ANYTHING, NICK INTERJECTS.
NICK: Oh, I just didn't want to talk about whether I preferred Bombay to Tanquerey.
LYNN: (NODDING HER HEAD KNOWINGLY) Uh-huh, sure.
SAM SMILES AND STARTS TO IMPROVISE ON THE PIANO.
NICK: (CHANGING THE SUBJECT) So, you ready for opening night?
LYNN: Yes, I think I am. (BEAT) I do want to go over some of my song choices, if you have a minute.
NICK: Certainly. Have a seat.
LYNN SITS DOWN AT THE TABLE, NEXT TO NICK. NICK NOTICES THE NECKLACE THAT LYNN IS WEARING.
NICK: (CONT'D) Interesting design. Is it Indian?
LYNN: Yes, Zuni. I picked it up last year in Arizona.
NICK: (NODDING) I like it.
LYNN: Thanks. (FINGERING THE NECKLACE) That reminds me. What about my costuming? Who decides what I wear?
NICK: Why don't I leave that up to you? You seem to have a good head for fashion.
LYNN: Thanks. I've got some ideas. I don't think you'll be disappointed.
NICK: Good. Now, about those song selections?
LYNN PLACES A STACK OF SHEET MUSIC IN FRONT OF NICK. HOLD ON THE TWO, IN DISCUSSION.
CUT TO: MARCUS' OFFICE. MARCUS AND KAYLA. IN PROGRESS.
MARCUS: What's that long face for? Don't you have any open dates for our wedding?
KAYLA: No... It's just that I didn't realize March was coming up so soon.
MARCUS: March... What? Oh... Steve's birthday is this Thursday... March 2nd.
KAYLA: (EYES WELLING WITH TEARS) Marcus, I'm sorry. Sometimes it hits me at the most unexpected moments...
KAYLA REACHES FOR A TISSUE AS MARCUS STANDS UP AND WALKS AROUND THE DESK. HE KNEELS NEXT TO KAYLA AND TAKES HER HAND.
MARCUS: You don't have to apologize to me. And, you never have to hide your feelings from me.
KAYLA: I don't... I won't... It's just that I don't want you to think... I don't want Steve to come between us...
MARCUS: He couldn't. Steve wasn't only like a brother to me. He was a brother to me. And I know my homey would want us together and would wish us all happiness.
KAYLA: (SNIFFLING AND WIPING HER EYES) You're right, Marcus. You're absolutely right.
MARCUS: (PULLS KAYLA CLOSE FOR A BIG HUG) I always am...
KAYLA: Oh? Well then, how did I get lucky enough to find someone as understanding as you?
MARCUS: 'Must have been the same luck as I had finding someone as wonderful as you.
OUT ON KAYLA'S SMILE.
JACK'S OFFICE. JACK, RICHARD, AND ASHLEY. IN PROGRESS.
RICHARD: (ROLLING HIS EYES) Heaven help us all if Ashley ever does get that Pulitzer.
ASHLEY: And just what do you mean by that?
RICHARD: Your head would swell so big, you wouldn't be able to get in the front door.
ASHLEY: (SOCKING RICHARD IN THE ARM) Shut up! (BEAT) You're just jealous, because I'm going to win a Pulitzer before you do.
RICHARD: (SMILING) Ah, but Ashley... My true satisfaction comes from being the best I can at what I do, and doing work I can be proud of. Awards and accolades secondary to that. (BEAT) Isn't that right, Jack?
JACK: (GLANCING SIDEWAYS AT HIS FERRARO AWARD ON THE WALL) Well... I see nothing wrong with winning awards... It can actually be quite beneficial...
ASHLEY: (SMILING WITH SATISFACTION) There you go.
RICHARD: (GROANING) Thanks a lot, Jack...
JACK: All right, children, if we're done fooling around, I'd like to get down to business.
ASHLEY: Of course.
THE DOOR OPENS AND JENNIFER ENTERS.
JENNIFER: Hi, guys! Did I miss anything?
JACK: No, just a little discussion about various and sundry awards and their merit in the greater scheme of life and the cosmos...
JENNIFER: Oh... nothing important, then.
RICHARD: Not at all.
ASHLEY: Hmph. I think a Pulitzer is something important...
JACK: (INTERRUPTING) Ashley was just about to show us her greatly-anticipated photos.
JENNIFER: Great! Let's have a look!
ASHLEY: Okay...
WITH A FLOURISH, ASHLEY HANDS AN ENVELOPE OVER TO JACK. JACK TAKES THE ENVELOPE AND LOOKS AT IT FOR A MOMENT, THEN LOOKS BACK AT ASHLEY. HOLD ON ASHLEY'S ANTICIPATION.
CUT TO: ISLAND RESORT. IN THE BACKGROUND, WE HEAR THE SONG "(DO YOU GET) EXCITED?" BY ROXETTE. JOHN IS STANDING AND LOOKING OUT THE BALCONY OF HOLLY'S ROOM. HIS SHIRT IS OFF, AND THE WARM BREEZE BLOWS THROUGH HIS HAIR. HOLLY WALKS UP TO JOHN AND PUTS HER HAND ON HIS BACK. HE TURNS TO FACE HER AND CATCHES HIS BREATH. HOLLY IS DRESSED IN A LONG, DEEP EMERALD SILK NIGHTGOWN.
JOHN: You're... beautiful.
HOLLY REACHES UP TO CUP JOHN'S CHEEK. JOHN TAKES HER HAND AND KISSES THE INSIDE OF HER PALM. AFTER A MOMENT, HE CLOSES HIS EYES AND TAKES A DEEP BREATH.
HOLLY: Is everything all right?
JOHN: Yes. (BEAT) You just... take my breath away.
HOLLY PLACES HER HANDS ON JOHN'S CHEST. SHE MOVES SO THAT HER FACE IS INCHES AWAY FROM JOHN'S.
HOLLY: Having trouble breathing?
JOHN: I think I'll be fine.
HOLLY: Good. I wouldn't want to have you pass out on me.
HOLLY BEGINS TO KISS JOHN'S CHEST. THEN, JOHN BENDS DOWN AND KISSES HOLLY, SOFTLY ON HER LIPS. THEY LOOK AT EACH OTHER AND SMILE. THEY KISS AGAIN, THIS TIME MORE PASSIONATELY. JOHN BREAKS THE KISS AND LOOKS DEEPLY INTO HOLLY'S EYES. HE SWEEPS HOLLY INTO HIS ARMS AND CARRIES HER INTO THE BEDROOM. THE BED IS A FOUR-POSTER CANOPY BED, SURROUNDED BY WHITE, BILLOWY, TRANSLUCENT DRAPES. JOHN GENTLY PLACES HOLLY ON THE BED AND THEY KISS AGAIN. THROUGH THE DRAPES, WE SEE THEIR SILHOUETTES, KISSING. HOLD ON THE TWO SILHOUETTES.
CUT TO: NICK'S CAFE AMERICAIN. THE CLUB IS EMPTY EXCEPT FOR NICK AND SAM. ONLY A FEW LIGHTS ARE ON. SAM IS AT THE PIANO, IMPROVISING. NICK LIGHTS A CIGARETTE AND SLOWLY WALKS THROUGH THE CLUB. HE STANDS BEHIND THE BAR, BENDS TO CHECK THE STOCK, AND THEN WIPES AN IMAGINARY SPOT OFF THE MIRROR. NICK THEN MOVES TO FOYER, STRAIGHTENING OUT THE ERTE' PRINTS. NICK RETURNS TO THE DINING ROOM AND LOOKS AROUND CRITICALLY. HE PLAYS WITH THE NEWLY REPAIRED SPOTLIGHT. SAM CONTINUES TO PLAY, AMUSED. FINALLY NICK WALKS ON STAGE AND INTO THE SPOTLIGHT. HOLD ON NICK, NODDING WITH APPROVAL AS HE LOOKS OUT OVER THE CLUB.
KAYLA'S LIVING ROOM. KAYLA IS SITTING ON THE COUCH, FLIPPING THROUGH A BRIDAL MAGAZINE. SEVERAL MORE SIT ON THE COFFEE TABLE.
KAYLA: (LAUGHING) A mini-skirt and tuxedos for the bridesmaids... Things sure have changed in a few years.
KAYLA CONTINUES TO FLIP THE PAGES, COMMENTING AS SHE GOES.
KAYLA: (CONT'D) Ugly... really ugly... too cute... too young... too much cleavage... icky fabric... (BEAT) I'm not 20 years old anymore, that's for sure. I can't see myself in any of these dresses.
KAYLA PUTS THE MAGAZINE DOWN AND GOES OVER TO A CHEST IN THE CORNER. SHE OPENS IT AND TAKES OUT A PHOTO ALBUM. SHE OPENS IT TO REVEAL THE PICTURES FROM SHE AND STEVE'S FIRST WEDDING ON THE YACHT. SHE RUNS A FINGER OVER STEVE'S FACE, SMILING SADLY. KAYLA TURNS A FEW MORE PAGES BEFORE CLOSING THE ALBUM AND PUTTING IT BACK IN THE CHEST. SHE CATCHES SIGHT OF HER ENGAGEMENT RING AND HOLDS IT UP TO SPARKLE IN THE LIGHT. SMILING HAPPILY, KAYLA GOES BACK TO THE COUCH AND PICKS UP ANOTHER MAGAZINE.
KAYLA: (CONT'D) Let's see what's in this one... Now, here's a possibility!
HOLD ON KAYLA, LOOKING CLOSER AT THE PHOTOGRAPH.
CUT TO: JACK'S OFFICE. JACK, JENNIFER, RICHARD, AND ASHLEY. IN PROGRESS.
JACK: All right, let's see what we have here...
JACK TEARS THE SEAL ON THE ENVELOPE. JENNIFER, RICHARD, AND ASHLEY ALL MOVE AROUND THE DESK AND STAND BEHIND HIM, LOOKING OVER HIS SHOULDER. HE LOOKS AT THE THREE OF THEM BEMUSEDLY. WHEN IT'S EVIDENT THEY DON'T PLAN ON MOVING, JACK SIGHS AND REMOVED THE PHOTOS FROM THE ENVELOPE.
JACK: (CONT'D) (LOOKING AT THE FIRST PHOTO) Hmmm...
JACK PASSES THE PHOTO TO JENNIFER AND LOOKS AT THE NEXT ONE.
JACK: (CONT'D) Yes... Very good work...
JACK CONTINUES THROUGH THE STACK OF PHOTOS, PASSING THEM TO JENNIFER, WHO PASSES THEM TO RICHARD, WHO PASSES THEM TO ASHLEY.
JENNIFER: Ashley, these are great shots...
ASHLEY: Thank you.
RICHARD: I must say, I'm impressed.
ASHLEY: (TEASINGLY NUDGING RICHARD) See? That wasn't so hard to say, was it?
RICHARD SMILES.
JACK: I concur with Richard. This is very impressive work, Ms. Bellafiore. (BEAT) I was still somewhat skeptical about your story, but now... I see that it's true. It's really happening, even now.
ASHLEY: I know. Maybe now, the authorities can do something about it.
JACK: If they aren't already aware of the situation...
JENNIFER: Is this Jack Deveraux talking? The one who said our government wouldn't let such a thing go on?
JACK: I am allowed to change my mind. (HOLDING UP THE STACK OF PHOTOS) After all, how can I argue against proof like this?
VERN KNOCKS AT THE DOOR AND QUICKLY ENTERS.
VERN: I'm sorry to interrupt, Jack, but we need Jennifer right away.
JENNIFER: It can't wait?
VERN: No, it can't. It seem that the last few paragraphs of your feature have vanished.
JENNIFER: Don't worry, Vern, I'm sure I have it on disk.
VERN: I knew you would.
JENNIFER: (TO JACK) I'll be back to check out the rest of these later, okay?
JACK: Okay.
JENNIFER WALKS TOWARD THE DOOR.
JENNIFER: Great work, Ashley! Congratulations!
ASHLEY: Thanks!
VERN AND JENNIFER EXIT AND CLOSE THE DOOR. JACK RESUMES LOOKING THROUGH THE PHOTOS AND PASSING THEM TO RICHARD. NEAR THE END OF THE STACK, HE HANDS ONE TO RICHARD, THINKS A MOMENT, THEN GRABS IT BACK.
RICHARD: What...?
JACK HANDS THE REST OF THE STACK TO RICHARD AND SETS THE SINGLE PHOTO ON HIS DESK. HE HUNCHES OVER IT AND PEERS CLOSELY AT IT.
RICHARD: (CONT'D) Jack, what is it?
JACK: (STILL INTENT ON THE PHOTO) I'm not sure...
JACK TAKES A MAGNIFYING GLASS OUT OF HIS DESK DRAWER AND HOLDS IT NEAR THE EDGE OF THE PHOTO.
ASHLEY: What do you see?
JACK: (HANDING THE MAGNIFYING GLASS TO RICHARD) Take a look at the right side, near the edge.
RICHARD HOLDS THE GLASS OVER THE EDGE AND LOOKS CLOSELY. ASHLEY MOVES AROUND SO SHE CAN LOOK OVER RICHARD'S SHOULDER.
RICHARD: There's a man there...
JACK: Yes.
ASHLEY: The one with the light-colored hair?
JACK: Yes.
ASHLEY: I remember him...
JACK: (ANXIOUSLY) What? What do you remember?
ASHLEY: The guards were beating him.
JACK GRIMACES.
RICHARD: Wait a second... There's a dark spot. Like there's something covering part of his face. (BEAT) What do you think it is?
ASHLEY: It's hard to tell. It could be a shadow.
JACK: (DISTANTLY) Or it could be something else...
JACK PICKS UP THE PHOTO AND LOOKS AT IT, WIDE-EYED.
RICHARD: What?
JACK: An eye patch...
HOLD ON JACK.
CUT TO: ISLAND RESORT. "WALK ON THE OCEAN" BY TOAD THE WET SPROCKET BEGINS TO PLAY. WE SEE THE ROOM IS LIT BY MOONLIGHT. THE WARM BREEZE BLOWS THE CURTAINS THROUGH THE OPEN FRENCH DOORS. WE SEE JOHN AND HOLLY IN BED. JOHN RUNS HIS FINGER ACROSS HOLLY'S CHEEK. THERE IS NO RESPONSE BY A SLEEPING HOLLY. JOHN SLOWLY LIFTS THE SHEETS AND ROLLS OUT OF BED WEARING ONLY HIS BOXER SHORTS. HE CROSSES THE ROOM TO THE BALCONY. HE LEANS ON THE BANNISTER, ADMIRING THE MOONLIGHT REFLECTING OFF THE OCEAN. OUT ON JOHN SMILING CONTENTEDLY. FADE TO BLACK.