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An ALT.DAYS Production,
A Division of Peel Productions, Inc.
Air Date: March 31, 1995
Time: Several Days After #92,
Morning to Evening
Copyright 1995
DONOVAN LIVING ROOM. SHANE COMES DOWNSTAIRS, WHISTLING QUIETLY, AND STARTS TO PASS THE LIVING ROOM ON THE WAY TO THE KITCHEN WHEN HE SPIES EVE SITTING ON THE COUCH. SHE'S HOLDING ONE OF THE THROW PILLOWS AND TOYING ABSENTLY WITH THE FRINGE AS HE ENTERS.
SHANE: Eve, love, good morning! And may I wish my beautiful daughter a Happy Birthday?
EVE: Sure, Dad. Whatever.
SHANE: I'm surprised you're up... you're not much of an early riser, usually. In fact, I was on my way to make you breakfast in bed to celebrate your natal day.
EVE: Hmmm... that's nice, but I'm not hungry.
SHANE: Well, since you're awake so early, you must have big plans for the day. Want to clue your old Dad in?
EVE: No, nothing planned. It's just a day, Dad.
HOLD ON EVE'S BLASÉ ATTITUDE.
CUT TO: NICK'S CAFE AMERICAIN. NICK IS AT A TABLE CHECKING THE WEEKLY RECEIPTS. SAM IS AT THE PIANO WORKING ON THE SONG ARRANGEMENTS FOR THE EVENING.
SAM: How's business lookin', boss?
NICK: (DISTRACTED) Great. I think we've got a winner on our hands.
SAM: Good. Then, I've got a steady gig, huh?
NICK: As steady as you want.
NICK GOES BACK TO STARING AT THE RECEIPTS. SAM PLAYS A COUPLE MORE CHORDS, THEN STOPS.
SAM: Hey, boss. Something eatin' you? You keep starin' at those receipts.
HOLD ON NICK'S DISTRACTION.
CUT TO: DOUG & JULIE'S KITCHEN. ROBERT HAS JUST PLACED A GLASS ON THE DRAINBOARD. HE EYES THE COOKIE JAR.
ROBERT: I shouldn't. (BEAT) But I have been good. Too good. One little cookie couldn't hurt...
ROBERT GOES TO THE DOOR AND PEEKS AROUND IT.
ROBERT: (CONT'D) Good! There's no one in sight!
HE QUICKLY TIPTOES BACK TO THE COOKIE JAR AND LIFTS THE LID OFF. JUST AS HE GETS HIS HAND IN, CJ COMES INTO THE ROOM.
CJ: Papa! Can't I leave you alone for a moment?
ROBERT: I don't need a watchdog, mon fils.
CJ: Papa, the doctor has you on a strict diet for a reason. You have to stay well. (TEASING) C'mon, empty your pockets.
ROBERT: (REPLACING THE LID) Ehhhh, you! How's a man to have any fun with you around? (BEAT) Really, CJ, this hovering doesn't become you. You're too young to be cooped up in the house with me. You are bored to tears, no?
OUT ON ROBERT'S HOPEFULNESS.
DOUG AND JULIE'S KITCHEN. CJ AND ROBERT, IN PROGRESS.
CJ: Papa, watching over you is a full-time job. Just trying to keep you out of the cookie jar keeps me busy.
ROBERT: But, what about your artwork? Don't you miss painting and sculpting?
CJ: I haven't had time to miss them. Besides, I like taking care of you. We haven't had much time together the last few years. And I've missed your company.
ROBERT: I treasure this time together, too. But, CJ, you're a healthy, active young man. You need to get out and be around other people.
CJ: I like being around Julie and Doug.
ROBERT: I mean people your own age. You need other things to do besides follow me around like a cackling hen.
CJ: It sounds to me like you're getting tired of me.
ROBERT: We both need some room to breathe. I don't want to be the cause of you neglecting your artwork.
CJ: I'm not neglecting my artwork.
ROBERT: I haven't seen you working on anything since you got here.
CJ: I'm not inspired.
ROBERT: Inspiration, huh? (SMILES) And, you haven't met anyone here who inspires you?
CJ: Well, there's that singer at Nick's. She could be quite inspiring.
ROBERT: You certainly have good taste.
CJ: I inherited it from my father.
ROBERT: We certainly have that in common, n'est-ce pas?
CJ: You think she's inspiring, too?
ROBERT: If I wasn't recuperating from this heart attack, you would have real competition on your hands for... What's her name, again?
CJ: Lynn. (BEAT) And that sounds like a challenge.
ROBERT: Maybe it is.
CJ: Say, Papa, how would you like to join me for dinner at Nick's Cafe Americain? I'm up for a change of scenery.
HOLD ON ROBERT'S SMILE.
CUT TO: NICK'S CAFE. NICK AND SAM. IN PROGRESS.
SAM: Boss? Is something wrong?
NICK: Nah... it's just someone's birthday.
SAM: Really? Whose? Is it Lynn's birthday?
NICK: No. Someone from my past.
NICK TURNS TO LOOK AT THE STAGE. SAM RESUMES PRACTICING THE PIANO. HE BEGINS TO PLAY. AS NICK LOOKS AT THE STAGE, HE SEES EVE'S FIGURE SLOWLY FADE IN, ONTO THE STAGE. SHE IS SINGING, AND SMILING AT NICK. NICK SMILES, ENJOYING HIS DAYDREAM. EVE WALKS OFF THE STAGE, AND APPROACHES NICK. SHE GENTLY BRUSHES HER HAND AGAINST NICK'S CHEEK AND BENDS DOWN TO KISS HIM. SUDDENLY, SAM STOPS PLAYING, AND EVE'S IMAGE SLOWLY FADES AWAY. NICK SHAKES HIS HEAD AND STARTS TO LIGHT ANOTHER CIGARETTE. HOLD ON NICK.
CUT TO: DONOVAN LIVING ROOM. EVE AND SHANE. IN PROGRESS.
SHANE: What's wrong, Eve?
EVE: Nothing, Dad.
SHANE: But it's your birthday, darling. Don't you want to do something to celebrate?
EVE: Not really. Besides, I have to work.
SHANE: Well, given that you'll be out late, and that I want to celebrate, even if you don't, I'm going to fix us breakfast. If you're not hungry, I'll eat it.
EVE: Whatever.
SHANE: And further, young lady, I just happen to have a birthday gift for you.
SHANE GOES TO HIS DESK AND OPENS A DRAWER, PULLING OUT A SMALL, BEAUTIFULLY WRAPPED BOX WHICH HE HANDS TO EVE. SHE OPENS THE BOX, WITHOUT MUCH ENTHUSIASM, TO DISCOVER A JEWELER'S BOX. OPENING THAT, SHE FINDS A PAIR OF BEAUTIFUL, OBVIOUSLY ANTIQUE AND COSTLY PEARL AND DIAMOND EARRINGS.
SHANE: They belonged to my mother, your Grandmother Donovan. She wore them often. I think my father bought them for her on their first anniversary.
EVE: They're beautiful, Dad, really.
EVE PUTS THE EARRINGS ON, BUT WITHOUT A GREAT DEAL OF ENTHUSIASM. SHANE WATCHES HER WITH SOME CONCERN. THE PHONE RINGS.
SHANE: I'll get that...
SHANE PICKS UP THE PHONE. TWO WAY.
SHANE: (CONT'D) Hello?
CAROLINE: Hello, Shane.
SHANE: Caroline, how nice to hear from you. How are you doing this lovely morning?
CAROLINE: Very well, thanks. I just called to talk to the birthday girl, is she up?
SHANE: Indeed she is, let me put her on. (TO EVE) Phone for you, Eve.
EVE RISES SLOWLY AND GOES TO THE PHONE.
EVE: Hello.
CAROLINE: Eve, dear, I just wanted to call and wish you a Happy Birthday, from Shawn and Max and I.
EVE: Thanks.
CAROLINE: Do you have any special plans? We'd love to see you at the Pub, if you have time.
EVE: No, thanks, but I have to work. I appreciate the call and good wishes...
CAROLINE: Of course we'd think of you on your birthday!
EVE: I should go now. Thanks again... 'bye.
CAROLINE: Well, goodbye, Eve.
EVE HANGS UP THE PHONE AND RETURNS TO SIT ON THE COUCH. SHANE IS REGARDING HER WITH EVEN MORE CONCERN. THE PHONE RINGS AGAIN. SHANE ANSWERS IT.
SHANE: Hello?
KIMBERLY: (TWO WAY) Hello, Shane!
SHANE: Kimberly! How lovely of you to call. How are you, and Andrew and Jeannie? And Philip?
KIMBERLY: All fine, and all here standing by to wish Eve a happy birthday. Is she around?
SHANE: She's right here (TO EVE) It's Kim, for you.
OUT ON EVE'S GROWING ANNOYANCE.
DONOVAN LIVING ROOM. SHANE HOLDS OUT THE PHONE TO EVE.
SHANE: Eve, it's Kim for you. She wants to wish you happy birthday.
EVE: Why? It's not like we get along or anything.
SHANE RAISES AN EYEBROW AT EVE AND WAGGLES THE PHONE RECEIVER.
EVE: (CONT'D) Oh, all right.
EVE GETS UP FROM THE COUCH AND TAKES THE PHONE FROM SHANE.
EVE: (FALSE CHEERFULNESS) Hello, Kimberly! How are you?
KIMBERLY: Eve, I just wanted to wish you the best, most wonderful birthday ever!
EVE: Gee, thanks. How sweet.
KIMBERLY: Hold on a moment, there are a few other people who want to talk to you...
ANDREW: Hi Eve! Happy birthday!
EVE: (BRIGHTENING) Andrew, hi! Thanks. How are you?
ANDREW: Great! We mailed your gift a few days ago, it should be there today. It's something we made, but that's all I'm going to say. (BEAT) Hold on, Jeannie wants to talk.
JEANNIE: Happy birthday, Eve. I love you! I hope you like our surprise.
EVE: (SINCERE) Thanks Jeannie, I'm sure I will.
EVE LISTENS FOR A MOMENT, SMILING. THEN SHE HANDS THE PHONE TO SHANE WHO SAYS A FEW WORDS TO THE KIDS. BY THE TIME EVE HAS RETURNED TO THE COUCH, HOWEVER, HER SMILE HAS FADED AND SHE'S SCOWLING AGAIN. SHANE HANGS UP THE PHONE. A LOOK OF CONCERN CROSSES HIS FACE. HE JOINS EVE ON THE COUCH AND TAKES HER HANDS.
SHANE: Eve, darling, what happened? You seemed happy just a minute ago.
EVE WITHDRAWS HER HANDS FROM SHANE'S AND TURNS AWAY SLIGHTLY.
EVE: I guess I'm just not in a birthday mood.
SHANE: Isn't there anything I can do to put you in one?
EVE: I don't think so, Dad. (BEAT) I have to go and get ready for work now.
EVE LEAVES THE ROOM AND TRUDGES UP THE STAIRS AS SHANE WATCHES. HOLD ON SHANE'S CONCERN.
CUT TO: JACK'S OFFICE. JACK IS ONCE AGAIN STARING AT THE PHOTO OF THE BLURRED FIGURE.
JACK: How long is this Jordan Scott character going to take? I need to know...
THE TELEPHONE RINGS, STARTLING JACK. HE PUTS THE PHOTO DOWN, THEN ANSWERS. TWO-WAY.
JACK: (CONT'D) Deveraux.
JORDAN: Hey there, Mr. Deveraux, it's Jordan Scott. (BEAT) I want to give you an update, and I'd rather do it in person.
JACK: I appreciate that... when can you be here?
JORDAN: About an hour, okay?
JACK: Fine. I'll be in my office, waiting.
JORDAN: Cool. See you then.
JORDAN HANGS UP THE PHONE. JACK LOOKS AT THE RECEIVER INTENTLY.
JACK: Cool?
JACK HANGS UP THE PHONE AND PICKS UP THE PHOTO.
JACK: (CONT'D) But maybe this mystery is going to start clearing up...
HOLD ON JACK'S HOPE.
CUT TO: SALEM PLACE, THE PATIO AT JOHNNY ANGELS. BO AND BOB ARE EATING LUNCH.
BOB: Have you been up to see Morgan lately?
BO: I stopped by the other day. He was asleep. Candis was there. We talked for a bit. How 'bout you?
BOB: Yeah. I try to stop by every coupla days. He's recuperating pretty well. (BEAT) That plastic surgeon did an ace job.
BO: Marcus? He's pretty talented.
BOB: You know him?
BO: He's going to be my brother-in-law.
BOB: Really? Is he marrying Kayla, or Kim?
BO: Kayla. Pretty soon, too. But, I haven't heard them mention a date.
BOB: Wow! Your parents must be thrilled, her marrying a doctor and all.
BO: Pop had his reservations, but he's coming 'round. Ma couldn't be happier.
BOB: Doesn't Kayla have a little girl?
BO: Yeah, Stephanie... and she adores Marcus.
BOB: Hey, how's your kid doing?
BO: He's doing great. As a matter of fact, Dr. Ector says that we may be able to stop the sessions soon. Or at least cut them back to once a month.
BOB: That is good news.
BOB NOTICES BO LOOKING OFF IN THE DISTANCE.
BOB: (CONT'D) Isn't it? Or is there something else bothering you?
BO: No. It's good news for Shawn-D. (BEAT) I was just wondering when my nightmares will be over.
OUT ON BO'S QUESTION.
SALEM PLACE. BOB IS SURPRISED. HE PUSHES ASIDE HIS BURGER AND LEANS ACROSS THE TABLE TOWARDS BO.
BOB: You never told me you were having nightmares, too. (BEAT) Have you told Dr. Ector? Or the department shrink?
BO: Dr. Collins? Yeah, I talked to both of them. They keep telling me the only cure is good old-fashioned time.
BOB: They're professionals, you should probably just go with what they're telling you.
BO: That's easy enough to say, but they're not the ones reliving that night over and over every time they shut their eyes...
BOB: Is it as bad as that?
BO RUNS HIS FINGERS THROUGH HIS HAIR. HIS UPPER LIP BEGINS TO SWEAT A LITTLE. HE LOOKS OFF INTO THE DISTANCE, NOT QUITE IN THE PRESENT.
BO: Worse. (BEAT) I'm on the dock with Carly... I hear the sound of the gunshot... feel the bullet tear through my flesh... the breath gets knocked out of me as we hit the ground...
BOB: Bo. Bo! Man, you all right?
BO'S EYES CLEAR AND HE LOOKS AT BOB.
BO: Oh boy. Sorry about that. I should try harder not to think about it.
BOB: I'm worried about you. Sounding that... scared... isn't healthy. For anyone, but especially not a cop. (BEAT) And not my partner.
BO: Look, it's because we're partners that I even brought it up. (BEAT) I trust you. I know you can handle it.
BOB: (SERIOUS) Thanks, but I don't know if I can.
HOLD ON BOB'S CONCERN.
CUT TO: RICHARD'S OFFICE. RICHARD IS ON THE PHONE. ONE-WAY.
RICHARD: No, no, you've gotta run the photo. (BEAT) Have him cut a paragraph, then. Or shrink the photo. The focus of the article is a painting. It'd be nice if the readers could see it. (BEAT) All right.
RICHARD HANGS UP THE PHONE AND TURNS TO HIS COMPUTER.
RICHARD: (CONT'D) Now, where was I?
HE REACHES DOWN TO BEGIN TYPING WHEN THE PHONE RINGS. HE SIGHS AND PICKS UP THE RECEIVER. ONE-WAY.
RICHARD: (CONT'D) Yeah, Hunt... No, there isn't time... Listen, just put what you've got on the page, and we'll work with it... Yes, you can... Yes, you can. Trust me.
RICHARD HANGS UP THE PHONE AND TURNS TO HIS COMPUTER ONCE MORE. BEFORE HE CAN BEGIN TYPING, THERE IS A KNOCK AT THE DOOR.
RICHARD: (CONT'D) Why do I...
ASHLEY ENTERS WITH A FLOURISH.
RICHARD: (CONT'D) ...bother?
ASHLEY: Hey there, Hunt!
RICHARD: Ashley...
ASHLEY: I just wanted to make sure we're still on for dinner tonight.
RICHARD: Yes, we are. (BEAT) That is, if the world will let me get around to finishing my article...
ASHLEY: (TEASING) Awww... Is Wichard getting fwustwated?
RICHARD: It's just been one of those days... But don't worry. I've got a 5:00 deadline, so I will be done in time for dinner. We have reservations at Nick's Cafe.
ASHLEY: Nick's, huh? Cool.
RICHARD: I was quite impressed with the place when we attended the opening.
ASHLEY: Yeah, like you even took the time to look around...
RICHARD: What, pray tell, is that supposed to mean?
ASHLEY: You were impressed with that singer.
RICHARD: Oh, come on...
ASHLEY: (INTERRUPTING) Don't even try to deny it. You couldn't take your eyes off of her.
RICHARD: (SMILING) She was quite entrancing...
ASHLEY: Yeah, I thought so. (BEAT) You know, if you're going to spend the whole time mooning over the entertainment, maybe I should bring along another companion so I have someone to talk to.
RICHARD: Awww... afwaid of being negwected?
ASHLEY: Hmph, you wish. (BEAT) That guy, CJ, seemed awfully... intriguing.
RICHARD: Yes, I'm sure he did.
ASHLEY: But...?
RICHARD: Just watch yourself. From what Julie's told me, CJ has quite a reputation as a ladies' man.
ASHLEY: Takes one to know one, Hunt.
RICHARD: You give me far too much credit. (BEAT) Anyway, just be careful.
ASHLEY: I can handle myself just fine, thank you very much. Don't go getting all worried... Mom.
RICHARD SMIRKS. ASHLEY GRINS. HOLD ON ASHLEY.
CUT TO: EUTERPE. EVE ARRIVES AT THE RESTAURANT STILL IN A BAD MOOD. IAN WALKS OVER TO GREET HER CARRYING A SMALL PACKAGE BEHIND HIS BACK.
IAN: Good morning, Eve. How ya doin' today?
EVE: Fine.
IAN: It sure is a beautiful day, isn't it?
EVE: Oh, I guess. I didn't really notice.
IAN: I've got an idea. Why don't you tell me what your favorite song is, and we can rehearse it for tonight? Whaddya say?
EVE: (SIGHS) I'll have to think about it. I can't think of anything off the top of my head.
IAN: Since that didn't cheer you up, I thought this might.
IAN HANDS EVE THE PACKAGE. IT IS A BRIGHTLY WRAPPED PRESENT.
EVE: This is... for me?
IAN: Well it's your birthday, isn't it?
EVE: Yeah, but how did you know?
IAN: It's one of those things I remember without trying. When someone tells me her birthday, I can always remember it.
EVE UNWRAPS THE GIFT AND SMILES. SHE TAKES OUT A SILK SCARF.
EVE: Ian, it's beautiful.
EVE TAKES A FEW DEFT FOLDS WITH THE SCARF AND LAYS IT ON HER SHOULDERS. SHE TIES IT LOOSELY IN FRONT. SHE THEN LEANS CLOSE TO IAN AND KISSES HIS CHEEK.
EVE: (CONT'D) I can't tell you what you've done to start turning this day around.
IAN: It's not much.
EVE: It's beautiful. I just have one question.
IAN: The birthday girl gets to ask all the questions she wants.
EVE: Why are you being such a good friend to me?
OUT ON IAN'S SURPRISE.
SALEM PLACE. BO AND BOB, IN PROGRESS. BO TOYS WITH THE STRAW IN HIS CUP.
BO: Can I ask you something?
BOB: Shoot.
BO CRINGES. BOB CRINGES BACK.
BOB: (CONT'D) Sorry. Lousy attempt at cop humor. Ask away.
BO: (DEEP BREATH) Have you ever been shot?
BOB: (ATTEMPTING NONCHALANCE) Came close once. But the bullet-proof vest did its job.
BO: Have you ever shot anyone?
BOB: Once. Admittedly not an experience I'd care to repeat, if at all possible. The perp wasn't hurt all that bad, it was too damn dark to see clearly. He was just grazed, but it scared him a helluva lot.
BO: What happened?
BOB: Ah, the usual rigmarole. IA did their song and dance, I made my statements, the perp's in jail. (BEAT) So. Where ya going with this?
BO: I don't know exactly. It's just that... before that night, with Carly... I would have had no problem drawing my weapon and using it. (BEAT) But now...
BOB: What's different about now?
BO: Now that I know what it feels like to get shot in such a random manner, I... I'm not sure I could do it.
HOLD ON BO'S FEAR.
CUT TO: EUTERPE. EVE AND IAN. IN PROGRESS.
EVE: I don't get it.
IAN: You don't get what?
EVE: You.
IAN: Me... Can you be a little more specific? Maybe I can explain...
EVE: You're being so nice to me.
IAN: And...?
EVE: That's it. You're nice to me, and I can't figure out why.
IAN: Is it that difficult?
EVE: It's just that... men are never nice to me. (BEAT) Not unless they want something from me.
IAN: Surely, not all the men you know are like that.
EVE: There are a few exceptions, I guess. My dad, for one. (BEAT) And you.
IAN: Well, I thank you for putting me in such esteemed company.
EVE: (SHRUGGING) You're welcome. (BEAT) But why? Why do you treat me like that, and expect so little in return?
IAN: Ah, but I do expect something. I expect you to trust me, and be honest with me.
EVE: (SIGHS) You know how hard that is for me. Why do you bother?
IAN: Because I know you have it in you. It just needs a little... persuasion to come out.
EVE: Sometimes I think you believe in me more than I do.
IAN: I probably do. (BEAT) I can see you for who you really are. I don't have to get through all those insecurities that seem to cloud the image you have of yourself.
EVE SIGHS AND LOOKS AWAY.
IAN: (CONT'D) Eve, look... I'm your friend, and I really care about you. When you're in pain, it affects me, too.
EVE: (LOOKING BACK AT IAN) Then we should both be feeling fine, now.
IAN: You don't have to hide it from me. I don't know about you, but when I have a birthday, I tend to look back over the past year and take stock of what I've done and how my life has changed. Don't you?
EVE: I try not to do too much looking back. It's not a pretty picture.
IAN: I know that the last year has been especially tough for you. I know you're still hurting because of all that's happened with Nick...
EVE: Ian, please. All that stuff with Nick... it's just another part of my past that I'm trying to forget. I'm putting all of that behind me and moving on.
IAN: Maybe someday you will. (BEAT) But right now, I can see how much it still hurts you.
IAN PUTS HIS ARMS OUT.
IAN: (CONT'D) Won't you let me help?
EVE LOOKS AT IAN, HER EYES BEGINNING TO TEAR. AFTER A LONG PAUSE, SHE RESIGNEDLY MOVES CLOSE TO HIM, ALLOWING HIM TO EMBRACE HER. HOLD ON THE TWO OF THEM.
CUT TO: NICK'S CAFE. LYNN COMES IN, DRESSED IN CASUAL CLOTHES AND CARRYING A LARGE SHOULDER BAG. SHE BREEZES PAST NICK AND CLIMBS ONSTAGE, DEPOSITING HER BAG ON TOP OF THE PIANO.
LYNN: Hi Nick! Hiya Sam!
NICK SLOWLY COMES OUT OF HIS TRANCE.
NICK: Hello. (BEAT) I mean hello! Lynn!
LYNN: (GRINNING) Nick!
NICK: Before I forget, I want to tell you what a great job you're doing. The patrons are raving and Doug Williams keeps calling me trying to steal you away.
LYNN: (PLEASED) I'm glad. (LOOKING AROUND) I'm starting to really love this place and the situation. (BEAT) But... if you don't mind my asking... you seemed kind of out of it just now. Anything wrong?
SAM PLAYS THE THEME FROM "DARK SHADOWS."
SAM: Ghosts from the past. He says they're haunting him.
NICK: (CURTLY) Cool it, Sam.
SAM: (CHEERFULLY) Just trying to help, boss.
LYNN JUMPS OFF THE STAGE AND SITS AT THE TABLE NEXT TO NICK.
LYNN: (CONCERNED) Do you want to talk about it? I know we don't know each other that well yet... but I'm a good listener.
NICK: Thanks, but I think I'll pass. There is something you could do for me.
LYNN: What?
NICK: Sing me a song. That will go a long way towards helping me feel better.
OUT ON NICK'S MELANCHOLY.
JACK'S OFFICE. JACK IS TRYING TO READ THROUGH SOME PAPERS, BUT HE CANNOT CONCENTRATE. HE GLANCES AT HIS WATCH. THE INTERCOM BUZZES. HE HITS THE BUTTON.
JACK: Yes, Lisa?
LISA: (V.O.) Jordan Scott is here, Mr. Deveraux.
JACK: Send him in.
THE DOOR OPENS AND JORDAN ENTERS.
JACK: (CONT'D) Mr. Scott, come in...
JORDAN LOOKS OVER ONE SHOULDER, THEN THE OTHER. HE THEN LOOKS BACK AT JACK.
JORDAN: Oh... sorry. Whenever I hear "Mr. Scott," I start looking around for my father. Please, it's Jordan.
JACK: All right, Jordan. What do you have for me?
JACK MOTIONS TOWARD AN EMPTY CHAIR. JORDAN SITS DOWN IN IT.
JORDAN: Well, Mr. Deveraux... or can I call you Jack?
JACK: I don't know... Let's hear your news, then I'll decide.
JORDAN: All right... As I'm sure you're aware, I'm somewhat limited by the photograph itself. The photographer did an excellent job under the circumstances, but the lighting and angles were not exactly the best.
JACK: Yes, well, I think stealth was a major issue at the time.
JORDAN: I'm sure.
JACK: Does this mean there's nothing you can do?
JORDAN: No, not at all. I just want to set your expectations appropriately. I won't be producing a Michelangelo, here.
JACK: More like a Picasso, perhaps?
JORDAN: I dunno... did Picasso have a "Digital Period?"
JACK RAISES AN EYEBROW.
JORDAN: (CONT'D) Sorry... computer humor. Anyway, I am making progress on this. It's just going a little slow.
JACK: Can something be done to speed up the process? As I mentioned before, money is no object.
JORDAN: Well, there are some things that could be done. Unfortunately, any enhancements to the equipment at this point would basically ruin the research they're conducting at Salem U.
JACK: Perhaps we should find other facilities...
JORDAN: No, I don't think that's necessary. This is the best setup in town. Looking for other resources may attract too much attention.
JACK: Good point.
JORDAN: It might help if I could have access to the negative...
JACK: I don't know if that would be possible.
JORDAN: Don't worry, I'd take good care of it.
JACK: Oh, I'm sure you would. It's just that the photographer is very... protective.
JORDAN: I see. (BEAT) I could talk to him, if you think it would help.
JACK: Her, actually.
JORDAN RAISES AN EYEBROW.
JACK: (CONT'D) I'll see what I can do. In the meantime, you keep working on the photo itself.
JORDAN: I guess this mean we have a contract?
JACK: Yes, we do.
JACK REACHES INTO HIS DESK DRAWER AND PULLS OUT A CONTRACT.
JACK: (CONT'D) Go ahead and look it over. It's pretty standard.
JORDAN SCANS THE DOCUMENT.
JORDAN: This is a very generous rate.
JACK: The extra is for your utmost care and discretion. This is an extremely sensitive matter.
JORDAN: I understand. (BEAT) If you don't mind, I'd like to take this with me and read the fine print.
JACK: But you'll continue working on the project, right?
JORDAN: Absolutely. The higher the resolution gets, the longer it takes to redraw the image on the screen. I'll have plenty of time to read this in detail while I work.
JACK: All right, then. Happy reading.
THEY STAND UP.
JORDAN: Thank you.
THEY SHAKE HANDS.
JACK: Thank you. (BEAT) One thing to note in there: All billing and other paperwork is to go directly to me, personally, not to the Spectator or Deveraux Publishing.
JORDAN: Whatever you say, Mr. Deveraux.
JACK: Jack.
JORDAN: Whatever you say, Jack. (BEAT) I'll keep you updated on my progress.
JACK: Excellent.
JORDAN: See you later.
JACK: Goodbye.
JORDAN TURNS AND EXITS. JACK SITS BACK DOWN.
JACK: (CONT'D) What the hell am I going to do if it is Steve in that photo? (LONG BEAT) But it can't be him.
JACK RETRIEVES THE PHOTOGRAPH FROM HIS DESK DRAWER AND STARES AT IT.
JACK: (CONT'D) Or can it?
HOLD ON JACK'S INDECISION.
CUT TO: JANET'S OFFICE. JANET AND ABE ARE LISTENING TO BO AND BOB BRIEF THEM ON THE CARJACKING STATUS.
BO: So, unfortunately, these guys are pretty good at what they do.
BOB: No witnesses at any of the carjackings, no prints on the one car we recovered, no nothing.
ABE: Damn.
JANET: Seconded. We are getting positively nowhere on this investigation, and I am not pleased. I had hoped to have at least a suspect or two by this point.
BOB: We've canvassed the various crime scenes three times, put up any number of requests for witnesses, stepped up our patrols...
ABE: I know. You and Bo and the rest of the officers have done a helluva job on this case. There're just no leads.
JANET: Yes, please don't think my comments were in any way directed at you or the other officers. I just can't believe we have so little to go on.
BO: Me either, but there it is.
JANET: And of course, the fun is compounded by the fact that I have Blake and the rest of the council breathing down my neck on this case.
BO: I was thinking, though, what about this new camera system I've heard about, the one that catches traffic violators in the act?
ABE: That's a good idea...
JANET: That I'm unfortunately going to have to shoot down. No budget for it.
BOB: But they have 'em on the state highways.
JANET: Came out of the Governor's budget a few years ago.
ABE: But given the usefulness of that kind of system in this case...
JANET: I agree, it would be useful. But given the bottom line that I have to stick to, it's out of the question.
HOLD ON ABE'S FRUSTRATION.
CUT TO: JACK'S OFFICE. JENNIFER ENTERS THE OFFICE, AND FINDS JACK STARING AT HIS COMPUTER SCREEN.
JENNIFER: Jack?
JACK: (DISTRACTED) Hmmm?
JENNIFER: Have you seen the clippings file on the Baldwin case? (BEAT) The librarian says you checked it out a couple of days ago.
JACK TURNS TO FACE JENNIFER, AND STARTS RUMMAGING THROUGH THE PILES ON HIS DESK, WHICH IS CONSIDERABLY MESSIER THAN NORMAL.
JACK: You did say Baldwin, right?
JENNIFER: Yes Jack, Baldwin.
JACK PULLS A FOLDER OUT OF ONE OF THE PILES AND HANDS IT TO JENNIFER.
JACK: Baldwin, Morris. A real fat cat of industry...
JENNIFER: Thank you. (LOOKING AT THE DESK) This is really bad, Jack... you're never this disorganized.
JACK: Yes.... I probably ought to spend a day and just sort through all of this. (BEAT) I just haven't felt like doing it lately.
JENNIFER: Well, you've been putting in a lot of hours the past few weeks... what say we get out of here early and go have a nice, quiet dinner at the Penthouse Grill?
JACK LOOKS UP AT JENNIFER.
JACK: Not Euterpe or Nick's?
JENNIFER: No... too much of a chance that we'll run into someone we know at either of those. (BEAT) I want you to myself.
JACK: I am a little hungry...
JENNIFER PUTS THE FOLDER DOWN AND WALKS BEHIND JACK. SHE STARTS TO RUB HIS SHOULDERS.
JENNIFER: Maybe it would be better if we just went home and relaxed, though. (BEAT) I'm sure that Grandma would love to have Rosie and Abby spend the night.
JACK: But what about din...
JENNIFER KISSES JACK ON THE NECK.
JACK: (CONT'D) Oh, that kind of relaxation...
JENNIFER: Interested?
JACK: Very.
JENNIFER WALKS BACK AROUND THE DESK, AND PICKS UP THE FILE FOLDER.
JENNIFER: Let me just get what I need out of here to finish my story. I'll be back for you in a few minutes.
JACK: Can't wait...
JENNIFER WAVES, THEN EXITS THE OFFICE. JACK WATCHES HER WALK AWAY.
JACK: (CONT'D) (SOTTO VOCE) Maybe I just need a good... distraction to get focused again.
OUT ON JACK'S SMILE.
ECOSYSTEMS, OUTSIDE LEIGH'S NEW OFFICE (JOHN'S OLD OFFICE). JOHN APPROACHES PATRICIA'S DESK.
JOHN: Hi, Patricia.
PATRICIA: (CHEERFULLY) Oh, hello, Mr. Black. How are you?
JOHN: Good, thanks. And you?
PATRICIA: Very well.
JOHN: (NODDING TOWARD THE OFFICE) Is the boss in?
PATRICIA: Yes, she is. (GLANCING AT HER PHONE) She's not on the phone, so go ahead.
JOHN: Thanks.
GO TO: LEIGH'S OFFICE. LEIGH IS PACKING HER BRIEFCASE.
LEIGH: Files, notepads, microcassette recorder... I think I've got everything.
THERE IS A KNOCK AT THE DOOR.
LEIGH: (CONT'D) Come in!
JOHN ENTERS.
JOHN: Good afternoon, Madame CEO.
LEIGH: John!
JOHN: How are things going?
LEIGH: Very well, thanks. (BEAT) I didn't expect to see you back here so soon.
JOHN: (SHRUGGING) I dunno... I just stopped by to see how you're settling in.
LEIGH: Would you like a report on what I've been doing?
JOHN: No, that won't be necessary. I'm sure you have things running smoothly, as you always have. Heck, even Patricia was happy. I guess you're easier for her to work for.
LEIGH: (SMILING) I'll take the fifth on that one. (BEAT) Well, if you don't need a full report, then I'll just say that I've settled in nicely.
JOHN: (LOOKING AROUND) I see you have... Say, Leigh, are you free for dinner tonight?
LEIGH: Dinner?
JOHN: Yeah. Call it a congratulatory dinner, a celebration of your promotion. Penthouse Grill? My treat?
LEIGH: It's a tempting offer, but I'll have to take a raincheck. Perhaps another night?
JOHN: (DISAPPOINTED) Sure, another night...
LEIGH: I'm sorry. I'm attending a seminar this afternoon at Salem University.
JOHN: (PUTTING HIS HAND TO HIS CHEST) Ouch. Turned down in favor of listening to a lecture.
LEIGH: Try not to take it personally. I'm not sure how long it'll run, and I wouldn't want to say yes to dinner and then stand you up.
JOHN: Good point. You can have a raincheck.
LEIGH: (CLOSING HER BRIEFCASE) Thank you.
JOHN: Are you leaving now?
LEIGH: Yes, the seminar starts in... (LOOKING AT HER WATCH) a little over half an hour.
JOHN: Well, can I at least walk you to your car?
LEIGH: Certainly. (BEAT) You can even carry my briefcase, if you're so inclined.
JOHN: (PICKING UP THE BRIEFCASE) I'd be honored.
LEIGH: Great. Let's go.
THEY GO TO THE DOOR, WHICH JOHN OPENS FOR LEIGH WITH A FLOURISH. SHE SMILES AND EXITS. JOHN FOLLOWS, CLOSING THE DOOR BEHIND HIM. HOLD ON THE CLOSED DOOR.
CUT TO: JANET'S OFFICE. JANET, ABE, BO AND BOB ARE STILL DISCUSSING THE CARJACKINGS.
BOB: What about using undercover officers as decoys?
JANET: Good idea, but...
ABE: (INTERRUPTING) We can't spare the manpower it would take.
BO: (RUNNING HIS HAND THROUGH HIS HAIR) Couldn't the mayor cut loose some of the uniforms assigned to him for this? (BEAT) Surely that would help him come election time.
BOB: And lose his entourage?
BO CHUCKLES, BUT QUIETS WHEN JANET GIVES HIM A STERN LOOK.
ABE: I don't think we're going to come up with anything else today.
ABE STANDS UP.
ABE: (CONT'D) I'm going to go back and see if I can't find some way to shift a few more dollars to this. (BEAT) Permission to take Councilman Blake's name in vain, Commander?
JANET: Granted.
ABE OPENS THE OFFICE DOOR, AND EXITS. BO AND BOB STAND AND HEAD TO THE DOOR.
JANET: I want you two to take another look at the previous carjackings. See if there's any sort of pattern as to time of day, where they happened, etc... Maybe we've missed something along the way.
BOB: Will do, Commander.
AS BOB AND BO WALK OUT THE DOOR, SHANE ARRIVES.
SHANE: Hello, Janet.
JANET: Shane! (BEAT) What a pleasant surprise.
SHANE: I passed Abe in hall; he didn't seem to be in a very good mood. Your doing?
JANET: Probably. With rank comes the responsibility of saying "no", and that's not a popular word around here. (BEAT) So what brings you by this evening?
SHANE: I was hoping to find a dinner companion. Care for the job?
JANET SURVEYS THE PAPERWORK ON HER DESK.
JANET: Sounds like just the break I need.
OUT ON JANET'S SMILE.
JACK'S OFFICE. JACK HAS SOME OF ASHLEY'S PHOTOS SPREAD OUT ON THE DESK AGAIN.
JACK: Maybe if i put this one here...
HE SWITCHES THE ORDER OF TWO OF THE PHOTOS.
JACK: (CONT'D) (SIGHING) A million different ways to look at these pictures, and all I ever see is Steve.
THE DOOR OPENS, AND JENNIFER ENTERS. JACK GATHERS UP THE PHOTOS INTO A STACK.
JENNIFER: My story's done, and Vern assured me that it'll make it into the morning edition. I called Grandma and Rosie, and they're all set for a big night with Abby. So... we'll have the house all to ourselves, as soon as you're ready to go.
JACK: Just let me take care of one thing...
JACK PUTS THE STACK OF PHOTOS INTO ONE OF THE DESK DRAWERS, THEN LOCKS THE DESK. HE GETS UP AND WALKS TOWARD THE DOOR.
JACK: (CONT'D) After you, Mrs. D.
JENNIFER SMILES, AND EXITS. JACK REACHES FOR THE LIGHT SWITCH.
JACK: (CONT'D) (SOTTO VOCE) Good night, Steve.
HOLD ON JACK AS THE LIGHTS GO OUT.
CUT TO: SALEM STREETS. LEIGH, IN HER TEAL '63 CORVETTE, IS HEADING TOWARDS SALEM UNIVERSITY. SHE IS SPEAKING INTO HER CAR PHONE.
LEIGH: Yes, see if he's available tomorrow for a lunch meeting, please. It's quite important that we go over those manufacturing contracts as soon as possible... Yes, I can hold...
AS LEIGH IS ON HOLD, THE LIGHT CHANGES FROM YELLOW TO RED. SHE SLOWS TO A STOP. THERE ARE NO OTHER CARS AT THE LIGHT.
LEIGH: (CONT'D) As if I wasn't already running late...
SUDDENLY, SHE IS JERKED FORWARD AS THE CAR IS REAR-ENDED. SHE TURNS TO LOOK OVER HER INSIDE SHOULDER BEHIND HER AND SEES A DARK SEDAN. MUTTERING UNDER HER BREATH, SHE REACHES TO OPEN THE DRIVER-SIDE DOOR AND TURNS TO GET OUT, WHEN SHE SEES A GUN POINTED AT HER FROM THROUGH THE DOOR'S WINDOW. A MASKED MAN IS HOLDING THE GUN. HOLD ON LEIGH'S SURPRISE. AND OUT. FADE TO BLACK.