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An ALT.DAYS Production,
A Division of Peel Productions, Inc.
Air Date: March 16, 1995
Time: Several Days After #90,
Afternoon to Evening
Copyright 1995
JACK & JENNIFER'S LIVING ROOM. JACK IS SITTING AT THE DESK AND HAS SOME PAPERWORK SPREAD OUT IN FRONT OF HIM. HE SEEMS TO BE WRITING, HOLDING A PEN IN HIS HAND.
JACK: "And if we, the American people, are to accept the outcome of this vote..."
JACK'S VOICE TRAILS OFF. HE PUTS DOWN HIS PEN AND PUTS HIS FACE IN HIS HANDS.
JACK: (CONT'D) This is ridiculous... I can't concentrate...
JACK GETS UP AND GOES INTO THE KITCHEN. JENNIFER UNLOCKS THE FRONT DOOR, AND ENTERS. AS SHE HANGS UP HER COAT, JACK RE-ENTERS THE LIVING ROOM.
JENNIFER: Jack! What are you doing here?
JACK: I live here.
JACK SITS DOWN ON THE COUCH.
JENNIFER: Yeah, but... why are you home early?
JENNIFER CROSSES THE LIVING ROOM AND SITS NEXT TO JACK, PUTTING HER HAND ON HIS FOREHEAD.
JENNIFER: (CONT'D) Are you sick? You don't seem to have a fever...
JACK: (DISTRACTED) Just a bit of a headache... I needed some peace and quiet.
JENNIFER: Oh... Can you tell me what it is that's giving you this headache?
JACK DOESN'T ANSWER AND TRIES TO AVOID JENNIFER'S GAZE.
JENNIFER: (CONT'D) Jack? Talk to me.
HOLD ON JENNIFER.
CUT TO: NICK'S CAFE AMERICAIN. ALL HELL IS BREAKING LOOSE AS OPENING NIGHT IS ONLY HOURS AWAY. IN THE MIDST OF ALL THE CHAOS, NICK PACES BACK AND FORTH, CHAIN SMOKING AND PALE. LOUIS IS IN A CORNER GOING OVER THE EVENING'S SPECIALS WITH THE SERVERS.
LOUIS: No, no. It's shallots of beef in wine sauce. The lamb doesn't have a sauce at all...
SAM IS PLAYING THE PIANO, TRYING DIFFERENT ARRANGEMENTS OF THE SAME SONG. THE SOUND OF POTS CRASHING AND PEOPLE YELLING COMES FROM THE KITCHEN. NICK PUFFS AWAY STEADILY. BUSSERS COME OUT WITH STACKS OF TABLECLOTHS AND NAPKINS TO BEGIN SETTING THE TABLES. LOUIS LEAVES THE SERVERS FOR A MOMENT.
LOUIS: (CONT'D) Wait! You call that a lotus flower? Now watch carefully. I'll show you again how to fold the napkins.
THE BARTENDERS ARE COVERING THE BAR WITH BOTTLES OF EVERY SHAPE AND SIZE. NICK CONTINUES TO PACE.
BARTENDER #1: Who stocked the bar anyway? I can't find the Tanqueray!
BARTENDER #2: Forget the Tanqueray, what idiot put the gin next to the creme de menthe? The whole setup is going to have to be changed!
CALLIOPE COMES CRASHING IN AT FULL SPEED, TOWING A ROLLING RACK A RACK FULL OF UNIFORMS.
CALLIOPE: Sorry I'm late! Are these the classiest, snazziest uniforms you've ever seen or what!?
NICK SUDDENLY STOPS PACING. HE STUBS OUT HIS CIGARETTE VIOLENTLY.
NICK: Aaaaaaiiiiiiieeeeeeeeeee!!!!!!!!
THE CAFE BECOMES QUIET AS EVERYONE STARES AT NICK IN SHOCK. LOUIS AND SAM RUSH OVER TO HIM.
LOUIS: Nick, what's wrong?
SAM: You ok, boss?
NICK STRAIGHTENS HIS TIE AND SMOOTHS BACK HIS HAIR. THE REST OF THE STAFF GOES BACK TO THEIR WORK, EVERY NOW AND THEN SNEAKING LOOKS AT NICK.
NICK: I'm much better now that I've gotten that out of my system, thank you very much. I'd forgotten what it was like to open a club.
SAM: This is going to be an opening like Salem has never seen. We're a sell-out.
LOUIS: Yup, not an empty table in the place. And the phone is still ringing off the hook with people trying to get in.
NICK SMILES. HOLD ON NICK, LOUIS & SAM CONFERRING.
CUT TO: UNIVERSITY HOSPITAL. CANDIS IS SITTING IN A CHAIR QUIETLY WHILE MARCUS CHECKS MORGAN.
MARCUS: (WAVING A LIGHT IN FRONT OF MORGAN'S EYE) Fine. You should be able to go home in couple of days.
MORGAN: Thank goodness. I've had about all the lyin' around I can take for one lifetime.
CANDIS STANDS AND HUGS MARCUS.
CANDIS: Thank you, Dr. Hunter. That's the best news we could have gotten.
MARCUS: You have to give the credit to your husband. I've never seen anyone recover as quickly.
CANDIS: I'll call Denise tonight and give her the good news. She'll be able to put all her concentration back into studying now.
MORGAN: No need to call her. She calls here between classes. I'll give her the good news myself.
MARCUS: Well, then, I'll leave the two of you alone to celebrate the good news.
MORGAN: Thanks, again, Doc. I appreciate your attention and good work.
CANDIS: We both do.
MARCUS: All part of the service...
MARCUS WAVES AND EXITS.
CANDIS: And, Lt. Morgan, now that we know you're gonna be all right, we've got some tough decisions ahead of us.
OUT ON MORGAN'S SURPRISE.
JACK AND JENNIFER'S LIVING ROOM. JACK AND JENNIFER. IN PROGRESS.
JENNIFER: Come on, Jack. You can tell me what's wrong.
JACK: No. I'm sorry. I really don't think I can.
JENNIFER: What about the love and the trust we have?
JACK: I don't see how...
JENNIFER: (INTERRUPTING) What about everything we've gone through... together?
JENNIFER PLACES HER HANDS OVER JACK'S.
JENNIFER: (CONT'D) Even when we were penniless, we managed to work through our problems.
JACK: No thanks to Baby Howie.
JENNIFER: If there are obstacles, we get through them. Look at what happened to us on the island.
JACK: You mean being stranded and nearly killed?
JENNIFER: No, I mean seeing through all the bad and discovering our love for each other.
JENNIFER LOOKS INTO JACK'S EYES AND SQUEEZES HIS HANDS.
JENNIFER: (CONT'D) See, Jack? There's nothing we can't solve as long as we work together.
JACK GENTLY BRUSHES JENNIFER'S FACE WITH HIS HAND.
JACK: (SOFTLY) Believe me, I do love you... and I do trust you. Trust me... This problem has nothing to do with you... or us. It's something that I have to figure out on my own.
HOLD ON JACK.
CUT TO: MORGAN'S ROOM, UNIVERSITY HOSPITAL. MORGAN AND CANDIS. IN PROGRESS.
MORGAN: Tough decisions? What decisions might those be?
CANDIS: We need to talk about what to do when you come home. It's time to think about the future.
MORGAN: I'm way ahead of you.
CANDIS: Oh?
MORGAN: I've already been thinking about the future. (BEAT) I can't wait to get back out there and nail these carjackers. I just hope I don't have to sit on the sidelines too long...
CANDIS: (INTERRUPTING) That is exactly what we have to talk about.
MORGAN: What about it?
CANDIS: You want to go right back out on the street.
MORGAN: Of course! That's my job.
CANDIS: That's not your only job. You're not just a cop. You're also a husband and a father.
MORGAN: What are you saying?
CANDIS: I'm saying that I don't want you to go back out in the line of fire again.
MORGAN: (SIGHS) I guess I should've seen this coming.
CANDIS: Just hear me out. (BEAT) When I was sitting in that waiting room, waiting to find out whether or not you were going to live or die, I started asking myself some tough questions.
MORGAN: Like...?
CANDIS: The one that echoed over and over in my mind was, "Is it worth it?" I know how much you believe in what you're doing. I believe in it, too. I love you for it.
MORGAN: Then you've just answered the question.
CANDIS: It's not that simple. After what's happened, I'm just beginning to think that the risk is too great. I don't know if I could live without you.
MORGAN: I know how you feel, honey. I feel the same way about you. But, if I'm not doing what I love, if I'm not out there making a difference, I don't know if you'll be able to live with me. I don't think I will.
CANDIS: There are lots of ways to make contributions to this world. Look at me.
MORGAN: I know. The work you do at the Community Center is fantastic. But...
CANDIS: (INTERRUPTING) But nothing. If we really tried, I know we could find another way for you to feel useful, to feel like you're making a difference. A way that wouldn't risk your life, day in and day out.
MORGAN: You've been a cop's wife for a lotta years, now. You've always known the risks.
CANDIS: Yes, I've always known. And, until now, I've been able to accept those risks, because I know that police work is what you love. But after coming so close to losing you forever, I don't think I can accept those risks any longer.
MORGAN: (TAKING HER HAND) I know you can do it. You always have. You've been wonderful about handling the potential dangers of my job.
CANDIS: That's just it, Morgan. Potential dangers are one thing. But look where we are right now. We're not talking about potential dangers anymore.
HOLD ON CANDIS.
CUT TO: THE PIER NEAR THE BRADY PUB. BO AND SHAWN-DOUGLAS ARE FISHING.
BO: Man, oh, man, Shawn-D. There's nothing like spring thaw. (DEEP BREATH) It is a beautiful day.
SHAWN-D: Yup. A perfect day for fishin', huh?
BO: Exactly. And a perfect day to spend with my best friend.
SHAWN-DOUGLAS SMILES, THEN TURNS HIS HEAD AS HE HEARS A CAR PULL UP.
SHAWN-D: That looks like Uncle John's car.
BO: He's back early.
JOHN WALKS UP THE PIER AND JOINS BO AND SHAWN-DOUGLAS. BO AND JOHN SHAKE HANDS.
BO: (CONT'D) Welcome back. I wasn't expecting you so soon.
JOHN: I just got in. Stopped by to see you first thing.
BO: How was the vacation?
JOHN: Warm water... White sand... There was plenty to do. I was busier than a one-armed paper hanger.
BO: (TEASING) I'll bet... balmy breezes, cold drinks, you know, the kind with the little umbrellas, beautiful women...
JOHN LOOKS A BIT SHELL-SHOCKED, THEN LOOKS AWAY, OUT TOWARDS THE WATER. BO REALIZES SOMETHING IS UP.
BO: (CONT'D) (TO SHAWN-DOUGLAS) Sailor, why don't you take the fish we caught up to your grandma?
SHAWN-D: OK, Poppa.
SHAWN-DOUGLAS PICKS UP THE FISH AND HEADS TO THE PUB.
BO: OK, John... What's wrong?
OUT ON JOHN.
JANET'S OFFICE. JANET IS ON THE TELEPHONE, ONE-WAY.
JANET: Now, Councilman Blake, I thought I had explained this to you already. ... If you have a questions about how your daughter's case is being handled, you can take it up with Captain Carver. He's directly in charge of the officers on the case... Yes, sir, I am his boss, but he has the file now, and I'm sure that you'll be able to speak with him just as easily as you have with me... Good day, Councilman...
JANET HANGS UP THE PHONE, AND TURNS TO LOOK OUT THE WINDOW.
JANET: (CONT'D) I thought one of the perks of this new job was that Blake wouldn't be calling me anymore...
THERE'S A KNOCK AT THE DOOR.
JANET: (CONT'D) Come!
ABE ENTERS, CARRYING A FILE FOLDER. HE CLOSES THE DOOR BEHIND HIM, AND TAKES A SEAT ACROSS FROM JANET.
JANET: I know this will brighten your day considerably, but you can expect a message from Councilman Blake when you get back to your office.
ABE: Wonderful... (ABE HANDS JANET THE FOLDER) Commander, I've been reviewing the manpower summaries and I don't see how I can meet all the requirements unless we get an increase in the budget. I either need more bodies out there, or more money for the overtime fund.
JANET: You're a creative man, Captain... find a way.
ABE: Commander, I have looked at the figures, but let me give you some examples... We have to respond to every burglar alarm, however, last month sixty-three percent of those were false alarms. Then the mayor wants ten sobriety checkpoints around town on the weekends... Wonderful idea, but all it gives us is more drunk-driving arrests, not fewer drunk drivers. And look at all the hours we put in shutting down the crack house on Thomas Street. That didn't even put a dent in the drug trade. We're supposed to be the good guys and we can't keep up.
JANET: Understood. But unfortunately, I don't have a counterfeiting ring set up in the basement to fund all of this. Because of the hold up in Washington, we don't have any federal money. And we have gotten all we're going to get from the governor... he's putting every available dime into the new prison in Cabel County. And the city council wants to cut our funds. (SHAKING HER HEAD) We have to make do.
ABE: Make do? I've tried. You vetoed my idea of sending out one officer per patrol car.
JANET: Of course, I did. With all the potential dangers out there, I don't want anyone answering a call without some backup.
ABE: All right then... can I cancel the plans for the bicycle patrols? We haven't bought the bikes yet and it's not as if our guys on Schwinns are going to catch the guys driving the Ferraris.
JANET HANDS THE FOLDER BACK TO ABE.
JANET: I think you're wrong... in my experience, bike patrols have been very effective. Figure out how many man-hours you can fund from the savings of cancelling the program, and then we'll discuss it.
ABE SHAKES HIS HEAD.
JANET: (CONT'D) Abe, I know this is not an easy job... I just had it, remember? I know the statistics... the crime rate is skyrocketing, but a defeatist attitude isn't going to help anything...
THE OFFICE DOOR OPENS SLOWLY. SHANE IS KNOCKING ON THE DOOR AS IT OPENS.
SHANE: Bad time?
JANET: The Captain and I were just finishing up.
ABE NODS AT JANET AND STANDS.
ABE: Shane...
ABE EXITS THE OFFICE, AND CLOSES THE DOOR BEHIND HIM. SHANE TAKES THE CHAIR ABE JUST VACATED.
SHANE: Fun day at the office?
JANET CHUCKLES TIREDLY.
JANET: Oh yeah, I "love" my job...
SHANE: Well then, does this mean that a night of dining and dancing at Nick's is out?
HOLD ON SHANE'S QUESTION.
CUT TO: JACK & JENNIFER'S LIVING ROOM. JACK AND JENNIFER. IN PROGRESS.
JENNIFER: You're sure that I can't do anything?
JACK NODS.
JENNIFER: (CONT'D) Okay then... I'm going to go upstairs and start getting ready for tonight.
JACK: Tonight?
JENNIFER: The opening at Nick's...
JACK: Ah yes, Mr. Corelli.
JENNIFER: (INSPECTING JACK'S ATTIRE) Hmmm... I guess you don't need to change, but you definitely need a different tie for this evening. I'm going to head upstairs and take a shower. Once I'm dressed I'll bring you a tie that goes with my outfit. Okay?
JACK: Fine...
JENNIFER KISSES JACK, THEN GETS UP AND HEADS FOR THE STAIRS. AS SHE WALKS UP, SHE WATCHES JACK SITTING MOTIONLESS ON THE COUCH.
JENNIFER: (SOTTO VOCE) Why won't you tell me what's wrong, Jack?
JENNIFER EXITS INTO THE UPSTAIRS HALLWAY. JACK STANDS, WALKS OVER TO THE MANTEL, AND PICKS UP THE CHRISTMAS 1989 PHOTO OF HIS FAMILY: STEVE, JO, ADRIENNE, AND JACK.
JACK: (TO THE PHOTO) Am I grasping at straws here? Imagining that some blurry image could be... more...
JACK TAKES THE PHOTO WITH HIM AS HE GOES BACK TO THE COUCH.
JACK: (CONT'D) Do I feel guilty about what we didn't get to say? All the time we didn't get to spend together?
JACK STARES AT THE PHOTO AND SEEMS TO HAVE A REVELATION.
JACK: (CONT'D) Come on, Deveraux... snap out of it. You're a reporter! It's time to do some research.
HOLD ON JACK.
CUT TO: UNIVERSITY HOSPITAL. CANDIS AND MORGAN. IN PROGRESS.
CANDIS: (SOFTLY) I love you, Morgan.
CANDIS CROSSES THE ROOM AND TAKES MORGAN'S HAND.
MORGAN: And, I love you.
CANDIS: I know you love being a cop...
MORGAN: It's more than just that. It's what I do. It's who I am.
CANDIS: No, Morgan, you're more than that. You're a father and a husband, too.
MORGAN: Then, you don't understand.
CANDIS: I understand that I can't stand this senseless violence, anymore.
MORGAN: Who do you think will help stop it, if I'm not there?
CANDIS: There are plenty of other cops on the force. There are lots of young... (SHE STOPS HERSELF)
MORGAN: Younger? Lots of younger cops on the force?
CANDIS: Yes. Younger. Morgan, for the 25 years of our marriage, I put up with the possibility that you could be hurt. I can't take it any more.
MORGAN: What do you want me to do? Take some desk job? Waste away behind a desk?
CANDIS: What about retirement?
MORGAN: I'm too young to retire.
CANDIS: You've been on the force for 27 years!
MORGAN: I don't mean I haven't been on the force long enough, I mean that I'm too young to retire. What would I do if I retired?
OUT ON MORGAN'S QUESTION.
UNIVERSITY HOSPITAL, MORGAN'S ROOM. CANDIS AND MORGAN. IN PROGRESS.
CANDIS: There are lots of things a young, retired police officer can do.
MORGAN: Such as?
CANDIS: You could do volunteer work with children. Take up a musical instrument.
MORGAN SHAKES HIS HEAD.
CANDIS: You could paint.
MORGAN LAUGHS OUTRIGHT.
MORGAN: Yeah, me, paint.
CANDIS: Ok, forget the painting. We always talked about travelling. This could be our chance to see all those places we've only dreamed about.
MORGAN: I don't know, baby. All that sounds so... boring. I'd miss the police work.
CANDIS: (SERIOUS) Morgan. Listen to me. The only way you could leave the SPD and not miss it... is if you were killed in the line of duty.
CANDIS TAKES MORGAN'S FACE IN HER HANDS.
CANDIS: (CONT'D) And that is exactly what almost happened. Are you saying you want to go out there again and see if you can get it right this time?
MORGAN PALES AND TAKES CANDIS' HANDS FROM HIS FACE. HE GRASPS THEM TIGHTLY.
MORGAN: You're right, Candis. I'll think about retirement.
HOLD ON MORGAN'S PREDICAMENT.
CUT TO: EUTERPE. DOUG AND IAN STAND NEAR THE FRONT DOOR. EVE IS SETTING TABLES FOR THE DINNER CROWD.
IAN: The music is set for tonight... Aki and Lorenzo have been living in chef harmony... Eve hasn't threatened Jasmin today... So...
DOUG: So, there shouldn't be any problems for the next few hours.
IAN: Exactly. Relax and have a great time at Nick's.
DOUG: You're right. I don't know why I worry.
IAN: Neither do I. Now go. I'll see you over at Nick's Cafe Americain in a bit.
EVE WALKS UP AT THE MENTION OF NICK'S.
EVE: Nick's Cafe Americain? Is he still having that Bogart delusion?
DOUG: (IGNORING THE QUESTION) Eve, are you sure you can handle things here while we're gone?
EVE MIGHT HAVE A SARCASTIC RETORT, BUT IAN INTERRUPTS.
IAN: Of course, she can. I'll just make one more double-check, then I'll see you and Julie at Nick's.
DOUG EYES IAN AND EVE, SMILES AND WALKS AWAY, SHAKING HIS HEAD.
IAN: (CONT'D) You know, Eve, with Nick's opening up tonight, it should be slow here tonight.
EVE: I guess so.
IAN: So, Dave might not mind watching the proverbial store.
EVE: Are you giving me the night off?
IAN: Maybe... I thought you might like to come with me to Nick's.
EVE: No way.
IAN: C'mon, Eve. I don't have a date. And, I know you want to go.
EVE: If Nick had wanted me at his opening, he would have invited me.
IAN: The way you treat Nick, why would he invite you?
EVE: The way I treat Nick? What about the way Nick treated me?
IAN: This conversation is getting stale, Eve. How many times have we had it?
EVE: Fine, then let's start a new one. Why would he want me there tonight? I've seen him with that singer.
IAN: You mean, Lynn Hampton? Nick says she's a real talent.
EVE: Talent? Is that what you call it? I'll bet he's already sleeping with her...
HOLD ON EVE'S JEALOUSY.
CUT TO: JACK AND JENNIFER'S LIVING ROOM. JACK IS SEATED ON THE SOFA, DIALING THE CORDLESS PHONE. HE HAS A PEN IN HIS HAND AND A NOTEPAD ON HIS LEG.
JACK: All right, Billy Jack, let's see if you can't get to the truth...
JACK FINISHED DIALING AND PUTS THE PHONE TO HIS EAR. TWO-WAY PHONE CONVERSATION AS RICHARD ANSWERS ON THE OTHER END.
RICHARD: Midsummer, Richard Hunt speaking.
JACK: Richard, I'm glad I caught you. It's Jack.
RICHARD: Hi, Jack. What's up?
JACK: I have a question for you. Didn't you contract someone to do some computer work with graphics and photos in the last issue of Midsummer?
RICHARD: Yes, I did. Did you like the effect?
JACK: Yes, it was very good. Very eye-catching. Tell me, who did you hire for that job?
RICHARD: His name's Jordan Scott. He's an independent consultant.
JACK: Works for himself, eh? His business must be good, if he can afford that kind of multimedia equipment.
RICHARD: Actually, he did the work at Salem U. He does quite a bit of contract work for them.
JACK: Salem U.? Now, where did they get the equipment?
RICHARD: Research grant, I think.
JACK: I see. Could you give me Mr. Scott's phone number? I'd like to give him a call to discuss... a project.
RICHARD: What kind of project? If you don't mind my asking...
JACK: I, um, I have some photos of Abigail that I'd like to have enlarged... as a birthday gift for Jennifer.
RICHARD: (THUMBING THROUGH HIS ROLODEX) Jack, there are lots of photo places that do enlargements. Why would you need someone with Jordan's expertise?
JACK: Well... He's good, right?
RICHARD: The best I've found.
JACK: Well, I'll have nothing but the best for my family. Besides, I'd like to do something creative with these portraits... Perhaps put the child in a pirate costume... Or dress her up like a cowgirl...
RICHARD: I must admit, I'm a little surprised. It doesn't sound like something you'd do.
JACK: Exactly. Which is why I'm doing it... to surprise Jennifer.
RICHARD: I think you will.
JACK: I hope so. Now, this is just between you and me, all right? I don't want the surprise to be spoiled.
RICHARD: Absolutely. Your secret's safe with me.
JACK: Good. So, what's the number?
RICHARD: (READING FROM HIS ROLODEX) It's 555-3745.
JACK: (WRITING IN THE NOTEPAD) 3745... got it. Thank you, Richard.
RICHARD: You're welcome. Hey, are you and Jennifer going to the opening at Nick's club tonight?
JACK: Yes, we are.
RICHARD: Good, then I'll see you there.
JACK: See you there. Goodbye, Richard... and thanks, again.
RICHARD: My pleasure. Goodbye, Jack.
JACK HANGS UP THE PHONE AND SETS IT DOWN.
JACK: Well, Mr. Jordan Scott, I hope you can help me get to the bottom of this mystery. (BEAT) Whether it's good news or bad news, I have to know.
OUT ON JACK.
PIER. JOHN AND BO. IN PROGRESS.
JOHN: Oh, I dunno...
BO: Well, it's obvious something's got you down. What is it?
THEY SIT DOWN.
JOHN: I've been thinking... All this time, I've been searching for my past, trying to regain my memory so that I could really have an identity, a sense of who I am.
BO: And you've done that, right?
JOHN: Yes and no. I have remembered everything. And I thought that I would be happy about it. I thought all my questions would be answered.
BO: But...?
JOHN: But I've discovered that figuring out who I was before hasn't really helped me figure out who I am now, or who I want to be. (BEAT) Besides my son, my life has been pretty empty.
BO: (TEASING) So what am I, chopped liver?
JOHN: No, no, that's not what I meant. You and the Bradys have been great, and I love you all. But my relationship with your family only came about because of Stefano's games. It's not really... mine, you know?
BO: Yeah, I think so. Still, you know it doesn't matter how we were brought together...
JOHN: I know. And, most of the time, I don't worry about it. But, during my vacation, I stopped to think about John Black's life, the part that's separate from John Stevens, or Forrest Alamain, or Roman Brady. There's just not much there at all.
BO: Well, I know that there've been some things in my past that I'm not too proud of. But, what's done is done. I've just tried to learn from those mistakes. I guess what I'm trying to say is: If you're not happy with what you see when you look back, then start looking forward, and try to do better.
JOHN: (SMILING) That sounds like a pretty good plan.
BO: (SHRUGGING) It seems to get me through.
JOHN: I think I have spent enough time looking back. I've lost track of the future. It's definitely time for me to turn that around. I had blinders on for a long time. I didn't even realize what I was missing. Love, for one...
BO: Ahhh, the "L" word. What made you think of that?
JOHN: (SIGHS) I'd rather not talk about it right now.
BO: Okay, whatever you say.
JOHN: Let's just say that I've been reminded of what it was like to have a woman in my life. I miss it.
BO: I hear that. (BEAT) But I'd think you wouldn't have any problem finding lots of ladies to keep you company.
JOHN: Depends on your definition of "company." (BEAT) I want more than just a casual fling. I want a life partner, someone who's my lover and my best friend. Someone who would not only be right for me, but would also be a good mother to Brady.
BO: Sounds like we're on the same wavelength. I think you've just described the kind of woman I'm looking for.
JOHN: Oh, yeah? So you have been looking...
BO: Well, sort of... Kind of... No, not really. It's hard to move on.
JOHN: I know.
BO: I think it's even harder now than it was after Hope. With Hope, everything was right. We loved each other, trusted each other completely. What we had was taken from us by someone else. It wasn't her fault, it wasn't mine.
JOHN: That's a fact. It's damn unfair that it was taken away from you like that...
BO: Yeah, it was. But the time we did have, I carry that with me, always. It helps me believe in myself. Hey, I know I had to have done something right to have a love like that.
JOHN SMILES.
BO: (CONT'D) But now, after Carly... Things are different.
JOHN: (HIS SMILE FADING) You think so?
BO: I know so. She lied to me. I thought she really loved me, but she was just using me.
JOHN: (NODDING) I know exactly how you feel.
BO: Then you know what that does to your self-confidence, your trust in your own judgement.
JOHN: Falling for Katerina seems to have that effect on you, doesn't it?
BO: Uh-huh.
JOHN: I try not to dwell on it too much. It's not much consolation, but I remind myself that there aren't too many women out there who are as twisted and manipulative as she was. The chances of meeting one have gotta be pretty slim.
BO: I hope you're right. One Carly in my life was one too many.
JOHN: Amen to that. Kind of ironic, isn't it? We both have a past with her, and now, here we are, alone. Coincidence?
BO: I'd rather not speculate too much about that. Here's an idea: Maybe all these similarities between our love lives mean that if one of us finds somebody new, then there's a chance for the other one, too.
JOHN: Sounds good to me, bro. Sounds good to me.
HOLD ON JOHN.
CUT TO: JACK & JENNIFER'S LIVING ROOM. JACK IS PACING.
JACK: Where to begin? Would it be a good thing if Steve were alive? If that is him in the photo, that would mean he's spent nearly five years in some hell hole...
JACK FLOPS DOWN ON THE SOFA.
JACK: (CONT'D) I'd rather he be dead than to suffer like that. And the family... Jo... Corelli's reincarnation was one thing, but Steve... She could end up back in Bayview. And Adrienne... Could Justin get her through another Johnson trauma?
JACK STANDS, MOVES OVER TO THE FIREPLACE, THEN RESUMES PACING.
JACK (CONT'D) And Stephanie... she probably doesn't even remember Steve. Marcus is the only father she's ever had...
JACK WALKS BACK OVER TO THE COUCH, AND SLUMPS DOWN ON IT.
JACK: (CONT'D) Marcus... Kayla... They're happy now...
JACK LOOKS OVER AT THE PHOTOS ON THE MANTEL.
JACK: (CONT'D) Okay big brother... what do you want me to do? I miss you every day... Can I let my own selfish wish that you're alive jeopardize the happiness of everyone else I care about?
JENNIFER COMES BACK DOWN THE STAIRS.
JENNIFER: I brought your tie...
JACK TURNS TOWARD HER.
JACK: Hmmm?
JENNIFER HOLDS UP THE TIE FOR JACK TO SEE.
JACK: (CONT'D) Oh...
JACK STANDS, AND JENNIFER PUTS THE TIE AROUND HIS NECK. JACK TIES IT.
JENNIFER: Ready?
JACK GOES TO THE CLOSET AND GETS THEIR COATS. AS HE HELPS JENNIFER INTO HERS, HE TAKES ANOTHER LOOK AT THE PHOTOS ON THE MANTEL. JACK PUTS ON HIS OWN COAT. JENNIFER SHUTS OFF THE LIGHTS AS THEY EXIT THE FRONT DOOR. HOLD ON THE CLOSED DOOR.
CUT TO: RICHARD'S OFFICE. RICHARD AND JULIE ARE REVIEWING MIDSUMMER'S SALES FIGURES.
JULIE: I've got to hand it to you, Richard. Not only did you keep things running while I was gone, but circulation actually increased!
RICHARD: Well, I can't take too much of the credit. You've put together such a great staff, all I had to do was tell them to keep doing what they were already doing.
JULIE: You're too modest, darling. I know how stressful it is around here when both of us are on the job.
THERE IS A KNOCK AT THE DOOR.
RICHARD: Come in!
ASHLEY ENTERS.
RICHARD: (CONT'D) Hi, Ashley.
ASHLEY: Hi. (SEEING JULIE) Oh, hi, Julie! (BEAT) Am I interrupting?
JULIE: No, not really. I was just in the middle of praising Richard for the wonderful work he's done.
ASHLEY: Well, I guess I got here just in time.
JULIE: Oh?
ASHLEY: Whenever people start telling him how great he is, I have to make sure and give him a reality check. I wouldn't want him to get a swelled head.
RICHARD: (TEASING) Of course not. Then, there wouldn't be room for yours.
ASHLEY: (POINTING AT RICHARD) Watch it, bub. I know where you live.
RICHARD: (IGNORING ASHLEY'S THREAT) So, to what do I owe the... ahem... pleasure of this visit?
ASHLEY: I was in the neighborhood, so I thought I'd stop by to remind you about the opening at Nick's Cafe.
RICHARD: I didn't forget.
JULIE: So, you two are going? I guess Doug and I will see you there, then.
ASHLEY: Great! (TO RICHARD) Remember... you're picking me up at 7:00 sharp. I've heard a lot about this new club, and I don't want you making me late for the party.
RICHARD: Yeah, yeah, sure... As if you've ever been ready on time before.
ASHLEY: (MOCK THREATENING) I'll be ready. You just be there on time, or you'll be sorry.
RICHARD: I think I already am. Heaven knows what kind of trouble you're going to get me into tonight...
ASHLEY: Hmph. Like you need me to get you into trouble. You do that well enough on your own.
JULIE: (MISCHIEVOUSLY) That sounds like the lead-in to a story.
ASHLEY: A story? I've got tons of 'em.
JULIE: Did you have a particular one in mind?
RICHARD: Sadly, we really don't have the time right now...
ASHLEY: (INTERRUPTING, TO JULIE) I don't suppose Richard told you about the time he met the French consul's niece, and they...
RICHARD CLEARS HIS THROAT LOUDLY, CAUSING ASHLEY TO STOP.
RICHARD: (SMILING) Thank you. As I was saying... If you want me to pick you up at 7:00 sharp tonight, then I'll have to get out of the office at a decent hour. In order to do that, I need to get my work done.
ASHLEY: And your point is...?
RICHARD: My point is, I can't very well get my work done with you here, telling Julie all your wild stories. So, if you'll excuse us...
ASHLEY: You're kicking me out?
RICHARD: That I am.
ASHLEY: Of all the nerve...
JULIE SMILES WITH AMUSEMENT.
RICHARD: Strictly in the interest of getting you to the ball on time tonight, my dear.
ASHLEY: Yeah, right. (TO JULIE) I guess we'll have to continue this when Mr. Party Pooper, here, isn't around to spoil the fun.
JULIE: You're right, we certainly will. The next few days will be rather hectic, but let's try for lunch after that, all right?
ASHLEY: Definitely. Richard knows where to reach me. Just let me know when you're free.
JULIE: I'll do that. I'll see you tonight at Nick's.
ASHLEY: (HEADING FOR THE DOOR) See you tonight.
ASHLEY REACHES THE DOOR AND OPENS IT.
ASHLEY: 7:00 sharp, Hunt!
RICHARD: Goodbye, Ashley.
ASHLEY: (EXITING) Don't be late!
RICHARD: Goodbye, Ashley!
THE DOOR CLOSES. RICHARD SHAKES HIS HEAD IN EXASPERATION, MUCH TO JULIE'S AMUSEMENT. OUT ON RICHARD.
EUTERPE. EVE AND IAN. IN PROGRESS.
IAN: Nick sleeping with Lynn? That's ridiculous!
EVE: Is it?
IAN: Absolutely. (BEAT) I know you have quite an imagination, Eve, but this time...
EVE: (CROSSING HER ARMS) What?
IAN: You're way off base. Way off.
EVE: I'm off base? You don't even know what's going on!
IAN: Why don't you tell me?
EVE: Why should I?
IAN: Because I'll keep asking until you do?
EVE: Oh, all right, if it'll get you off my back. (BEAT) I went by Nick's club a few days ago, to take a look and see what it was like.
IAN: And to see Nick?
EVE: (IGNORING THE QUESTION) I walked in and found Nick and that... woman in each other's arms, about to kiss each other.
IAN: You're kidding.
EVE: No, I'm not.
IAN: What happened then?
EVE: I don't know. I left.
IAN: You left? Without giving Nick a chance to explain?
EVE: Explain what? It was pretty clear to me what was going on. I wasn't about to hang around and watch.
IAN: It sounds to me like you walked into the middle of something and drew your own conclusions instead of trying to find out the truth.
EVE: I found out enough. It's not rocket science, you know.
IAN: No, but I'm sure it's not what you think.
EVE: How would you know?
IAN: Because I know how Nick feels about you. (BEAT) He loves you.
EVE: Oh, yeah, he loves me so much that he's running into the arms of another woman!
IAN: Considering how you've been treating him, could you blame him?
EVE: I don't blame him. I don't care. It's his life, he can do whatever he wants with it. It makes no difference to me.
IAN: Then why are you so upset about it?
EVE: Dammit, Ian, will you stop trying to play Cupid? Valentine's Day is done and gone. And so is my relationship with Nick.
IAN: If that's the case, then it shouldn't be a problem for you to come to the opening with me.
EVE: Give it a rest. If you want to go, fine. Go. I'm going to stay here and take care of business.
IAN: Fine. (BEAT) If you change your mind...
EVE: (INTERRUPTING) I won't.
IAN: (IGNORING EVE'S INTERRUPTION) ... I'm not going with anyone else. You're welcome to meet me there, later.
EVE: I guess you'd better be going. You wouldn't want to be late.
IAN: No, I guess not. (BEAT) I'll see you later.
IAN EXITS. EVE GOES TO THE PODIUM AT THE ENTRANCE AND LOOKS OVER THE RESERVATION BOOK. SHE PAUSES, HEARING IAN'S VOICE IN HER MIND.
IAN: (V.O.) He loves you...
EVE: (LOOKING AT THE EVENING'S RESERVATIONS) Well, it is going to be a slow night. (BEAT) I suppose it wouldn't hurt if I stopped by for a little while. (BEAT) Dad will be there... with his (WINCES) cop girlfriend. But Richard will be there... although probably with that wench from the newspaper.
SHE LEANS AGAINST THE PODIUM AND SIGHS.
EVE: (CONT'D) Maybe I will go and check out Nick's club. And give him a chance to explain himself. Then I'll never speak to him again.
HOLD ON EVE.
CUT TO: PIER NEAR BRADY PUB. BO TOYS WITH THE FISHING LURES IN HIS TACKLE BOX. JOHN STARES INTO THE WATER.
BO: I wonder...
JOHN: What?
BO: If I'll ever find another love like Hope.
JOHN PUTS HIS ARM AROUND BO'S SHOULDERS.
JOHN: Not a chance, bro. Hope was one of a kind. (BEAT) But that doesn't mean you couldn't find something different, something just as special with someone else.
BO: The same thing could happen for you, too. Do you really think it will happen someday?
JOHN: That's a fact. And I'll tell you what I also think...
BO: That it's time for us to can this philosophical discussion and head to the Pub for a beer?
JOHN JUMPS UP AND EXTENDS A HAND TO BO, PULLING HIM UP.
JOHN: Spoken like a true brother. Let's go.
BO: We'd better hurry, though. Ma and Pop have a hot date and the Pub's closing early.
JOHN: Oh yeah, tonight is Nick's opening, isn't it. You're not going?
BO: Nah. I couldn't find a sitter. You going?
JOHN: Nope, tonight belongs to Brady. I missed the Slugger.
HOLD ON JOHN AND BO CLIMBING THE STEPS TO THE PUB.
CUT TO: JANET'S OFFICE. JANET IS TALKING ON THE PHONE, WHILE SHANE SITS IN A CHAIR AND WAITS PATIENTLY. JANET HANGS UP THE PHONE AND SIGHS.
SHANE: No problems, I hope.
JANET: Not anything that can't be easily ironed out.
SHANE: Unlike the situation between you and Abe?
JANET: I'm not sure that can be ironed out. I doubt we'll ever be able to agree on anything.
SHANE: Remember that you yourself said from the beginning that it would be a difficult but, ultimately, a good relationship.
JANET: You've got a prodigious memory there, Donovan.
SHANE: Funny, my ex-wives used to complain about that very aspect of mine.
JANET: At least you never forgot an anniversary or birthday.
SHANE: Correct, but I also remembered things that I was supposed to forget.
JANET: I can see how that would get you into trouble. (BEAT) Getting back to me and Abe... I never expected to butt heads over every little decision.
SHANE: Give it some time. It's going to take more than a few days to hammer out a working relationship.
JANET: I suppose so. (SIGHS) Don't get me wrong; I do like and respect Abe. I just wish he didn't question every decision I make.
SHANE: I can't help you with that. But, who knows? Maybe the two of you will eventually bring out the best in each other because you'll both be forced to do your best and stay on your toes.
JANET: It's too early to tell. But, I think you're right about one thing. It's going to be a long road ahead.
SHANE: Instead of worrying about it all night, what do you say about heading over to Nick's opening?
JANET: I like the way you think. I could use a little food and music to get my mind off work.
SHANE STANDS AND EXTENDS HIS ARM.
SHANE: Allow me to lead the way.
JANET TAKES SHANE'S ARM AND SMILES. OUT ON THE TWO, WALKING OUT OF THE OFFICE.
NICK'S CAFE AMERICAIN. THE CLUB IS PACKED WITH PEOPLE. EVERYONE WHO IS ANYONE IN SALEM IS AT NICK'S. NICK WORKS HIS WAY THROUGH THE CROWD TO GET TO THE TABLE WHERE KAYLA, MARCUS, SHAWN, AND CAROLINE ARE SEATED. WE HEAR "BEGIN THE BEGUINE " PLAYING IN THE BACKGROUND.
SHAWN: Congratulations, Nick. It looks like your place is a huge success.
NICK: Thank you, Mr. Brady. Mrs. Brady, you look beautiful.
CAROLINE: Thank you for the compliment and for the invitation. It's exciting to be a part of such a grand opening night.
TURNING TO KAYLA.
NICK: You're more than welcome. But no opening night could be as exciting as this beautiful creature. (KISSING KAYLA'S HAND)
KAYLA: My, my, Nick, a club opening surely brings out the flatterer in you, Mr. Corelli.
MARCUS TAKES KAYLA'S HAND.
MARCUS: Take it easy on that flattery, bud. I won't have you movin' in on my territory.
NICK: I'd say you hadn't a worry. I've seen the rock on her finger.
MARCUS: Good...
SHAWN DECIDES A CHANGE OF SUBJECT, AWAY FROM HIS DAUGHTER, IS IN ORDER.
SHAWN: Art Deco was a smart choice, Nick. It's always been one of my favorites.
CAROLINE: Art Deco is one of your favorite styles? Shawn Brady, I didn't know you knew what Art Deco was?
SHAWN: (WINKING) Caroline, me angel. It's always smart to keep a surprise or two in your marriage.
EVERYONE LAUGHS.
MARCUS: (WHISPERS TO KAYLA) I'll remember that.
KAYLA: Just make them nice surprises, OK?
MARCUS: Promise.
JANET AND SHANE PASS BY AS THEY ARE BEING ESCORTED TO THEIR TABLE.
SHANE: Good evening, all.
EVERYONE EXCHANGES HELLOS.
SHANE: (CONT'D) The Bradys look smashing tonight. (TO NICK) Nick, this place is wonderful. I half expect to see Bonnie and Clyde here.
JANET: Any club that plays Cole Porter gets my approval.
GO TO: THE HORTON TABLE. ALICE AND BILL ARE WAITING FOR JACK, JENNIFER, DOUG, JULIE, CJ, AND ROBERT.
ALICE: This place takes me back.
BILL: How so?
ALICE: The decorations. It reminds me of a place your father took me on one of our first dates.
BILL: Dad had good taste.
ALICE: I always thought so... And speaking of dates. This is the last date you're going on with your mother, Bill Horton.
BILL: You're dumping me?
ALICE: You need to be with a woman your own age. I want you to promise me that your next date will be with a woman who's single and not related to the Hortons.
BILL: I'll think about it, Mom, but, I won't enjoy anyone's company as much as I do yours.
JACK AND JENNIFER ARRIVE. JENNIFER SITS DOWN. JACK STANDS BEHIND HER.
JENNIFER: Hello, Grandma. Hi, Dad.
ALICE: Hello, Jennifer, Jack...
BILL: Hello, sweetheart. Jack, why don't you sit down?
JACK: I'm going to get drinks. Can I get you something?
BILL: No thanks, not now.
ALICE: A mineral water for me.
JACK: Coming right up.
JACK WALKS TO THE BAR.
JENNIFER: Where are Maggie and Uncle Mickey?
BILL: They stopped by to say hello to some friends. Which sounds like a good idea. Will you excuse me? I see some people from the hospital...
JENNIFER: Absolutely. But, be sure to save a dance for me.
BILL: Consider me on your dance card.
BILL STANDS AND WALKS OVER TO ANOTHER TABLE.
JENNIFER: (CONT'D) Grandma, I'm glad we have a minute alone. I need to talk to you.
ALICE: What is it, dear?
JENNIFER: It's Jack. The last couple of days, he's been so preoccupied...
ALICE: About what?
JENNIFER: That's the problem. I don't know. I would guess that it was something to do with the Spectator or Deveraux Publishing.
ALICE: Isn't it pretty common for Jack to be preoccupied with work. He has a lot of responsibilities.
JENNIFER: Yes, he does. And I understand that... but something about this is different.
HOLD ON JENNIFER'S CONCERN.
GO TO: MICKEY AND MAGGIE, WHO ARE DANCING.
MICKEY: We don't do this enough. I miss holding you close and dancing.
MAGGIE: Didn't we promise that when the girls were grown we'd go dancing all the time?
MICKEY: I have a hard time believing you've got grown daughters, Maggie-mae. You are too young and beautiful.
MAGGIE: You're the one who keeps me young, Mickey. I have to keep up for fear a younger woman would steal away my devilishly good-looking husband.
MICKEY: No one could steal me away. I would be a fool to leave a gentle, kind, and loving woman like you.
MAGGIE: And, you put life in my existence, Mickey. I love you.
MICKEY: I love you, my beautiful Maggie.
OUT ON MICKEY AND MAGGIE, DANCING.
NICK'S CAFE AMERICAIN. THE CLUB IS PACKED AND EVERYONE IS HAVING A GOOD TIME. SHAWN WEAVES HIS WAY THROUGH THE CROWD, HIS HANDS FULL OF DRINKS. MARCUS STANDS UP AND LEANS OVER THE TABLE TO HELP SHAWN.
SHAWN: Thanks, lad. They're packed in like sardines at the bar. Nick won't be going home with empty pockets tonight.
THE MUSIC STARTS AND KAYLA TUGS AT MARCUS' JACKET.
KAYLA: I love this song, c'mon, let's dance.
MARCUS: You're the boss. (TO CAROLINE AND SHAWN) If you'll excuse us?
KAYLA AND MARCUS HEAD OFF FOR THE DANCE FLOOR. SHAWN PULLS OUT HIS CHAIR AND SIGHS.
CAROLINE: You're not still thinking about Max, are you Shawn?
SHAWN: That I am. I can't believe that boy. How can you lose a $95 pair of sneakers? Never mind why he needs a $95 pair of sneakers in the first place.
CAROLINE: Shawn...
SHAWN: When is that boy going to learn some responsibility, Caroline? I've tried talkin' to him, I've tried shoutin' at him. What's left?
CAROLINE: (SMILING) I seem to remember you saying that about Roman. And Bo. (BEAT, LAUGHING) And Kimmie. And Kayla.
SHAWN GRINS WRYLY. CAROLINE SMOOTHS THE LAPELS OF SHAWN'S TUXEDO.
CAROLINE: (CONT'D) This is not the night to be worrying about Max. (BEAT) You look very distinguished in this tuxedo, you know. Maybe we Bradys should dress up more often.
SHAWN: Ah, Caroline, you look beautiful no matter what you've got on. I look at you and it's like seeing you for the first time all over again.
CAROLINE: That's because I love you so much.
SHAWN: Even after all these years of marriage? With all my bad habits and nasty temper? You still love me, eh?
CAROLINE: Of course I still love you. What did you think?
SHAWN: To tell you the God's honest truth, I thought you were sticking around out of habit.
CAROLINE: Hmmm. Maybe that's why you've stayed with me.
SHAWN: Nonsense, woman! There is not another woman on the face of the earth as good as you. And it's blessed I am to call myself your husband.
CAROLINE: Oh, Shawn...
HOLD ON SHAWN AND CAROLINE SHARING A TENDER KISS.
GO TO: NICK, WHO IS STANDING BY THE BAR, WATCHING THE CROWD WITH SATISFACTION. DOUG AND JULIE ARRIVE AND NICK GOES TO GREET THEM.
NICK: Doug! (BOWING) And Julie, lovely as ever, I see.
DOUG: From the looks of the parking lot, I'd say you've got a sellout on your hands.
NICK: That's right, not an empty seat in the house. (GESTURING) So what do you think of the old place?
JULIE: (GAZING AROUND) It's breathtaking, Nick. Absolutely perfect.
DOUG: (TEASING) Hey! I thought my place was perfect!
JULIE WINKS AT NICK.
JULIE: Oh, of course, darling. I meant "absolutely perfect if it weren't for Euterpe."
NICK: (CHUCKLING) C'mon, I'll show you to your table. I saved the best seats in the house for the Horton Clan.
NICK LEADS THE WAY AS DOUG AND JULIE WAVE AND NOD TO VARIOUS PEOPLE IN THE CROWD. HE STOPS AT THE HORTON TABLE, WHERE CJ AND ROBERT HAVE JOINED ALICE, BILL, JACK & JENNIFER. MICKEY AND MAGGIE ARE STILL ON THE DANCE FLOOR. NICK PULLS OUT A CHAIR FOR JULIE WITH A FLOURISH.
NICK: (CONT'D) Hello again, everyone. Robert, CJ, you must have snuck in without my seeing you. Welcome to Nick's.
CJ: Julie, you outshine even the stars tonight.
JULIE: CJ, you charmer. Thank you.
ROBERT: (ELBOWING DOUG) A chip off the old block, eh?
DOUG: You should know, old man. You should know.
NICK: Can I get anyone anything?
ALICE: Yes, Nick. I need to know what's in this dip, it's marvelous!
NICK: Sorry, Mrs. Horton. The chef's got the recipe under lock and key. I guess you'll just have to keep coming back! (BEAT) Excuse me, will you? I see Louis waving at me.
NICK WALKS AWAY. RICHARD AND ASHLEY WALK BY ON THE WAY TO THEIR TABLE.
RICHARD: Hello, various and sundry Hortons!
ALICE: Richard, how lovely to see you again. And who is your charming companion?
RICHARD: May I introduce Miss Ashley Bellafiore, originally from New York, lately of Europe. Ashley, this is Alice Horton, the matriarch of Salem society and the finest donut maker in all the western world.
ALICE REACHES ACROSS AND SWATS RICHARD ON THE ARM. HE GRINS IMPUDENTLY.
RICHARD: (CONT'D) And Dr. Bill Horton, University Hospital's Chief of Staff. You've already met Jack, Jennifer and Julie. This is Doug Williams, Julie's husband and the owner of Euterpe. And Robert LeClere and his son, CJ.
ASHLEY: Hello everyone. I must say I'm a bit overwhelmed.
RICHARD: You? Overwhelmed?
ASHLEY ELBOWS RICHARD IN THE RIBS.
ALICE: Not by us, I hope! Don't listen to Richard, we're just regular folks.
CJ: (FLIRTING SHAMELESSLY) Surely a bella fiore, "beautiful flower," such as yourself wouldn't wilt...
ASHLEY: Oh, my name... Do you speak Italian?
DOUG, JULIE AND ROBERT SNORT.
CJ: Quando vedo una bella donna, parlo io, l'Italiano, come un cittadino, perche...
ASHLEY: Perche sei un Casanova.
CJ: No, perche è la lingua d'amore... E tu...
JULIE PULLS RICHARD'S HEAD DOWN NEAR HERS.
JULIE: Richard, do you know what they're talking about... Or should I translate?
RICHARD: (CASTING A BALEFUL GLANCE AT ASHLEY AND CJ AND SIGHING) Alas, no, even if I didn't understand a word of Italian, I'd know exactly what those two were talking about.
WE HEAR SAM VAMP A CUE AND SEE NICK WALK ON STAGE.
NICK: Ladies and Gentlemen... I want to thank you all again for coming out to the opening of Nick's Cafe Americain.
THE AUDIENCE APPLAUDS.
NICK: (CONT'D) I especially want to thank the man who made this all possible. Most people wouldn't help a business get off the ground if it's in direct competition with their own, but this man did, and none of this would have happened without him. Ladies and Gentlemen, Mr. Doug Williams.
DOUG STANDS UP AND ACKNOWLEDGES THE APPLAUSE.
NICK: (CONT'D) And since I know you all didn't come here to listen to me babble, let's bring out the main attraction. Nick's Cafe Americain is proud to present to you... Miss Lynn Hampton.
A SECOND SPOTLIGHT FOLLOWS LYNN AS SHE WALKS TO CENTER STAGE. HER SEQUINED EMERALD GREEN EVENING DRESS CAUSES QUITE A STIR WITH THE AUDIENCE. NICK KISSES HER ON THE CHEEK, THEN LEAVES THE STAGE.
LYNN: Good evening!
LYNN TURNS TO SAM, AND SIGNALS. THE MUSIC BEGINS; "THAT OLD BLACK MAGIC". THE CROWD IS TRULY ENJOYING THE JAZZY BEAT. NICK CATCHES DOUG'S EYE, AND SEES DOUG'S NOD OF APPROVAL. LYNN TAKES THE MICROPHONE OUT OF THE STAND, AND DESCENDS INTO THE AUDIENCE, WITH THE SPOTLIGHT TRAILING HER. SHE STROLLS THROUGH THE AUDIENCE AS SHE CONTINUES TO SING. AT THE BRADY TABLE, SHE HOLDS SHAWN'S HAND AS SHE WALKS BY. AT THE HORTON TABLE, SHE STOPS IN FRONT OF JACK; WHEN LYNN PLAYFULLY TUGS AT HIS TIE, JACK'S CHEEKS GO CRIMSON, AND JENNIFER GIGGLES UNCONTROLLABLY. LYNN SHIFTS HER ATTENTION TO CJ, WHO IS MORE THAN HAPPY TO FLIRT BACK. ASHLEY ROLLS HER EYES AT HIS ACTIONS; HER REACTION MAKES RICHARD LAUGH. AS THE SONG WINDS DOWN, LYNN GOES TO WHERE NICK IS STANDING; AS THE SONG ENDS, SHE PLAYFULLY DIPS NICK, AND THEY SHARE A BRIEF KISS. JUST AS THIS HAPPENS, EVE AND IAN ENTER THE ROOM. EVE IMMEDIATELY TURNS AND WALKS OUT.
IAN: Eve, wait!
IAN WATCHES EVE RUN DOWN THE HALLWAY, THEN TURNS BACK TO NICK AND LYNN, STANDING IN THE SPOTLIGHT. HOLD ON LYNN AND NICK'S EMBRACE. AND OUT. FADE TO BLACK.