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An ALT.DAYS Production,
A Division of Peel Productions, Inc.
Air Date: April 6, 1995
Time: Immediately Following #93,
Evening
Copyright 1995
SALEM STREETS. LEIGH STARES AT THE BARREL OF A GUN. THE CAMERA PANS UP THE CARJACKER'S ARM TO REVEAL HIS FACE. HE MOTIONS WITH THE GUN FOR LEIGH TO GET OUT OF THE CAR.
LEIGH: (TO HERSELF) Oh my God... Okay, don't panic... try and stay calm.
PATRICIA'S VOICE CAN BE HEARD COMING FROM THE CAR PHONE.
PATRICIA: (V.O.) Sorry to keep you waiting... Leigh?
LEIGH TURNS TO LOOK AT THE CAR PHONE LYING ON THE PASSENGER SEAT. SHE AUTOMATICALLY REACHES FOR IT. LLOYD GRABS HER ARM.
LLOYD: Don't even think about it, lady. Get out of the car... now.
LEIGH: (LOUDLY) Okay, I'm getting out. Take the car, just don't hurt me.
PATRICIA: (V.O.) Leigh? What's going on? Where are you?
HOLD ON THE CAR PHONE.
CUT TO: SALEM POLICE DEPARTMENT. THE SQUAD ROOM IS ACTIVE. TYPEWRITERS CAN BE HEARD TAPPING OUT ARREST REPORTS. COPS ARE ON THE PHONE. BO IS SITTING AT A DESK, EATING A SANDWICH, WHILE HE WAITS FOR BOB, WHO IS FINISHING UP IN THE WASHROOM. A PHONE RINGS IN THE BACKGROUND. THEN, THE PHONE NEXT TO BO RINGS. BO PUTS DOWN HIS SANDWICH AND REACHES FOR THE PHONE. TWO WAY.
BO: Brady.
MARTINDALE: Brady, this caller requested to speak to you.
BO: Put it through.
THERE ARE A COUPLE OF CLICKS.
BO: Brady.
PATRICIA: Bo Brady? This is Patricia, Leigh McCloud's assistant.
BO: Yeah, Patricia. What can I do...
PATRICIA: You've got to help me. Or, really, I mean you've got to help Leigh. I was talking to her on the phone and I heard her being carjacked. She could be in trouble. God only knows....
BO: Slow down, Patricia. Now, tell me who's in trouble.
PATRICIA: Leigh McCloud.
BO: Are you with her now?
PATRICIA: (CALMER) No. I was talking to her on the phone. She said something about being bumped from behind. Then, I could hear a man talking to her. Someone was stealing her car.
BO: Where was she?
PATRICIA: I don't know. I know she was on her way to Salem University to hear a lecture. But I don't know what route she took, or where she was when she stopped.
BO: Okay, Patricia. I'm going to put you on hold. I'm going to get Ms. McCloud's car information off the computer so I can put out a bulletin. Then, I'll confirm the information with you. Then, I'll need a number where I can call you back if we need more information.
BO PUSHES THE "HOLD" BUTTON ON THE PHONE. HOLD ON BO.
CUT TO: SALEM STREETS. LEIGH IS STILL IN THE CAR. THE TWO CARJACKERS STANDING NERVOUSLY OUTSIDE.
LLOYD: C'mon, lady, move. Outta the car.
LEIGH: Yes, I'm coming...
LEIGH MOVES TO GET OUT OF THE CAR AND PURPOSELY SPILLS THE CONTENTS OF HER PURSE AS SHE GRABS IT. ACTING FLUSTERED, SHE SCOOPS THE CONTENTS BACK INTO THE PURSE, QUICKLY SECRETING A SMALL SPRAYER IN THE PALM OF HER HAND.
LLOYD: Now! Leave your damn purse, and get out here!
LEIGH DROPS HER PURSE AND STEPS OUT OF THE CAR. LLOYD MOTIONS TO THE SIDE, BUT AS LEIGH MOVES AWAY FROM THE CAR, JESSE APPROACHES TO GET IN. AS HE PASSES HER, SHE SQUIRTS HIM FULL IN THE FACE WITH PEPPER SPRAY. SHE SPRAYS TO THE SIDE TRYING TO GET LLOYD AS SHE TRIES TO RUN OFF, BUT MISSES HIM. ENRAGED, LLOYD CATCHES LEIGH BY THE ARM AND BRANDISHES THE GUN AT HER WHILE JESSE MOANS AND CRIES FROM THE PEPPER SPRAY.
LLOYD: Jesse, man, are you okay?
JESSE: My eyes... My eyes... You bitch...
SUDDENLY A PATROL CAR PASSES THE SCENE ON THE OTHER SIDE OF THE STREET. THEY SOUND THE SIREN, FLASH THE LIGHTS AND STOP. FRED AND JOE HUNKER DOWN AND GET OUT OF THE CAR, SHIELDED BY THE CAR DOORS. WEAPONS DRAWN, THEY CROUCH, WATCHING, AS JOE RADIOS THEIR LOCATION AND SITUATION TO THE DISPATCHER.
LLOYD: Oh, man, Jesse, the cops are here! (TO LEIGH) Get down, bitch.
HE ROUGHLY JERKS HER BEHIND THE CORVETTE. OUT ON THE TENSE SITUATION.
SALEM POLICE DEPARTMENT. BOB IS REFILLING A CUP OF COFFEE AND LISTENING TO AN INCOMING CALL ON THE POLICE BAND RADIO FROM JOE.
JOE: The suspected carjacking's on a classic model Corvette, license plate number Oscar, Mary, Charlie, 7-9-4. We're at the corner of Oak and Rush...
BO SEES BOB AND HEADS OVER TO HIM.
BO: Bob, take a look at this. I just got a call from Leigh McCloud's assistant who says she was on the phone with Leigh when someone attempted a carjacking on her.
BOB LOOKS AT THE SHEET THAT BO HANDS HIM AND RECOGNIZES THE LICENSE PLATE NUMBER.
BOB: Bo, this is the license plate number that Joe just called in.
BOB CROSSES THE ROOM TO THE RADIO. HE SIGNALS THE OPERATOR TO LET HIM TALK. THE OPERATOR HANDS THE MICROPHONE OVER TO BOB.
BOB: Sanfilippo, this is Wisniewski. The owner of the car is Leigh McCloud. Brady and I are on our way to provide backup.
HOLD ON BOB.
CUT TO: SALEM STREETS. FROM THE SQUAD CAR, JOE AND FRED CAN SEE THAT JESSE IS STILL TRYING TO SHAKE OFF THE EFFECTS OF THE PEPPER SPRAY. LLOYD HAS A HOLD OF LEIGH'S ARM, AND THERE'S A GUN PRESSED AGAINST HER BACK.
LLOYD: You bitch! (BEAT) You had to make this difficult, didn't you?
LLOYD TURNS TOWARD JOE AND FRED.
LLOYD: (SHOUTING) Just stay out of my way, all right? (BEAT) And maybe the pretty lady doesn't get a hole in her head.
JOE REACHES FOR THE RADIO.
JOE: Headquarters, this is Sanfilippo... tell Captain Carver that we now have a hostage situation. Repeat, the carjackers have taken the driver hostage.
HOLD ON JOE'S TENSE LOOK.
CUT TO: SALEM POLICE DEPARTMENT. ABE COMES OUT OF HIS OFFICE AS BO AND BOB ARE GETTING UP TO LEAVE.
ABE: What's up, guys?
BOB: We've got a hostage situation.
BO: Yeah, it's Leigh McCloud.
ABE: Leigh McCloud? The woman who works for John?
BO: That's the one.
BOB: Sanfilippo and Thomas are on the scene. We're going to back them up.
ABE: All right. No heroics, here. Try to get them to talk, negotiate, whatever. Buy as much time as you can, so we can seal the area and get a SWAT team assembled.
BOB: Will do, Captain.
BO: What if they try to make a run for it?
ABE: Let's just hope they don't. Do everything you can to keep them calm and keep them stationary.
BO: Okay...
ABE: I'm going to coordinate things and get the ball rolling from here. I'll follow as soon as I can.
BOB: Yes, sir.
BO AND BOB EXIT. ABE PAUSES MOMENTARILY.
ABE: Damn...
OUT ON ABE'S GRIM EXPRESSION.
EUTERPE. JANET AND SHANE ARE STANDING IN THE ENTRANCE, WAITING TO BE SEATED.
JANET: I'm glad you stopped by. I really need a break.
SHANE: (BOWING) Glad to be of service, Commander.
A SMILING EVE WALKS UP WITH TWO MENUS.
EVE: Hi, Dad. Hi, Commander Yamada. Sorry for the short wait. Your table's all ready.
THE THREE WALK TOWARDS THE TABLE AND EVE STANDS BY WHILE SHANE AND JANET SIT.
SHANE: Eve, you seem to be in a better mood now. I'm glad.
EVE: Me, too. I'm sorry about the blue mood earlier.
JANET: That's a lovely scarf, Eve. Is it new?
EVE TOUCHES THE SCARF.
EVE: Yes, thank you. It's a gift from Ian. (TO SHANE) It goes nicely with Grandmother Donovan's earrings, don't you think, Dad?
SHANE: Positively, darling.
HOLD ON EVE'S SMILE.
CUT TO: NICK'S CAFE AMERICAIN. RICHARD AND ASHLEY ENTER. NICK SEES THEM AND WALKS OVER.
NICK: Good evening, welcome to Nick's... (POINTING AT ASHLEY) Ashley, right?
ASHLEY: (IMPRESSED) Right! How nice of you to remember...
NICK: How could I forget such a lovely name, especially when it comes attached to such a beautiful lady?
ASHLEY SMILES. RICHARD ROLLS HIS EYES.
NICK: (TURNING TO RICHARD) And you are... Hunt. Um...
RICHARD: Richard Hunt.
NICK: Richard, that's right. You work for Julie Williams.
RICHARD: Yes, I do.
NICK: You are one lucky guy.
RICHARD: Oh?
NICK: Absolutely. Working for a boss like Julie all day, then dinner with Ashley, here... I wish I could spend all my waking hours in the company of such gorgeous women.
ASHLEY: (IN HER BEST SOUTHERN ACCENT) Oh my, Mr. Corelli. You do know how to turn a girl's head.
NICK: (SMILING) I do my best.
NICK TAKES ASHLEY'S HAND AND KISSES IT.
ASHLEY: Such charm... You should take lessons, Hunt.
RICHARD: (BEMUSEDLY) I'll take it under advisement.
LOUIS APPROACHES.
NICK: Ah, here's Louis. He'll show you to your table now. Enjoy!
ASHLEY: We certainly will.
NICK GOES OVER TO THE BAR. LOUIS SHOWS ASHLEY AND RICHARD TO THEIR TABLE. THEY SIT.
LOUIS: (HANDING THEM MENUS) Your waiter will be here in just a couple of minutes to take your drink orders.
RICHARD: Great, thanks.
RICHARD STARES AT ASHLEY AS SHE PERUSES THE MENU. SHE LOOKS UP SUSPICIOUSLY.
ASHLEY: What are you staring at?
RICHARD: You.
ASHLEY: Why?
RICHARD: You're such a flirt! Absolutely shameless.
ASHLEY: Said Mr. Pot to Ms. Kettle.
RICHARD SCOFFS.
ASHLEY: (CONT'D) Look... I already have two over-protective big brothers. I do not need a third.
RICHARD: (LOOKING OVER HIS SHOULDER AT NICK) Sometimes I wonder...
ASHLEY: Oh, please. That was completely harmless.
RICHARD: Really?
ASHLEY: Yes, really. Nick and I were just having a little fun.
RICHARD: Oh... fun.
ASHLEY: Yeah, fun. You remember fun, Hunt?
RICHARD: (ABSENTLY) Vaguely...
ASHLEY: Geez, you need to relax a little. (BEAT) You used to know how to relax.
RICHARD: Did I?
ASHLEY: Sure. Remember Tokyo?
RICHARD SMILES AND LEANS BACK IN HIS CHAIR.
RICHARD: Ah, yes... Tokyo. (BEAT) How could I forget Tokyo?
HOLD ON RICHARD'S SMILE.
CUT TO: JACK AND JENNIFER'S LIVING ROOM. JACK AND JENNIFER ENTER THE HOUSE. THERE IS A NOTE PINNED TO THE STAIRCASE BANISTER. JENNIFER TAKES THE NOTE AND READS IT.
JENNIFER: It's from Rosie. She and Abby are at Grandma's, and they'll be back tomorrow. She put some dinner in the fridge.
JACK: Leave it to Rosie to think of everything.
JACK GLANCES AT THE PICTURES ON THE FIREPLACE MANTLE.
JENNIFER: I don't know what we'd do without her.
JENNIFER NOTICES JACK'S EXPRESSION, AND MISTAKES HIS SOMBERNESS FOR WEARINESS.
JENNIFER: (CONT'D) I'll go heat up the food. Why don't you try to relax?
JACK: Thanks.
JENNIFER GOES TO THE KITCHEN. JACK REMOVES HIS COAT AND TIE AND NEATLY PLACES THEM ON THE SOFA ARM. HE SITS ON THE SOFA AND PICKS UP A MAGAZINE. AFTER A MOMENT, HE TOSSES THE MAGAZINE ASIDE AND LOOKS OVER TO THE MANTLE. HE SEES THE PICTURE OF HIMSELF, STEVE, AND ADRIENNE, TAKEN AT ADRIENNE AND JUSTIN'S WEDDING. JACK RUNS HIS HANDS THROUGH HIS HAIR AND SIGHS.
JACK: (CONT'D) Maybe I need to lie down.
JACK KICKS OFF HIS SHOES AND RECLINES ON THE SOFA. HE CLOSES HIS EYES. AFTER A FEW SECONDS, HE OPENS HIS EYES AND SITS UP.
JACK: (CONT'D) How can I relax when that picture is staring at me?
JACK STANDS UP AND WALKS OVER TO THE FIREPLACE MANTLE. HE PICKS UP THE PICTURE AND LOOKS AT IT, FOCUSING ON STEVE'S IMAGE.
JACK: I wish I could be sure.
OUT ON JACK, HOLDING THE PICTURE.
SALEM STREETS. BO AND BOB HAVE ARRIVED ON THE SCENE, AND ARE BEING BRIEFED BY FRED AND JOE.
JOE: No real change since we last radioed in.
BOB: So, they've still got their hostage?
FRED: Uh-huh. But it looks like she tried to fight back. One of them is acting like he's been hit with pepper spray or mace.
BO: Let's hope they don't hurt her for that.
A POLICE CAR DRIVES UP. ABE GETS OUT OF THE CAR AND WALKS UP TO THEM.
ABE: Everything's set up.
BOB: The roadblocks are all ready?
ABE: Yeah, and the uniforms should be in place shortly.
JOE: Now what?
ABE: We'll try negotiating first.
BO: If that doesn't work?
ABE: We'll get to that when and if it happens.
ABE LOOKS IN THE DIRECTION OF THE CARJACKERS. HOLD ON ABE.
GO TO: LEIGH AND THE CARJACKERS. LLOYD IS STILL HOLDING LEIGH'S ARM, THE GUN POINTED AT HER SIDE. LEIGH IS CLEARLY FRIGHTENED, BUT MAINTAINING HER CALM.
LEIGH: You know, we could end this very easily.
LLOYD: Yeah, how? Surrounded by cops, vicious bitch for a hostage...
LEIGH: No, a rich bitch for a hostage. I don't think you two realize how lucrative... (AT LLOYD'S BLANK LOOK, SHE REPHRASES) how rich you could get from all this.
JESSE: Keep talkin'.
LEIGH: You're currently holding a gun much too close (SHE TRIES TO MOVE AWAY FROM LLOYD, WHO DOESN'T LET HER) to the CEO of one of the biggest companies in Salem. Not to mention I have a lot of money from past ventures.
LLOYD: So whassat mean?
LEIGH: It means if you just let me go, I could make it very worth your while. If I get hurt, well, all bets are off. I have some pretty powerful friends, too... I could arrange for you to leave the country...
JESSE: I dunno, Lloyd, that sounds good. This is gettin' much too hot for me.
LLOYD: Got that right. First shootin' that cop, now this...
FROM THE POLICE LINE, ABE SPEAKS ON THE BULLHORN.
ABE: We want to negotiate with you. We want to come up with a solution that will work for all of us.
LLOYD: (YELLING) Just shut up for a minute!
JESSE: Man, I wish Carl was here.
LLOYD: Yeah, Carl handled that shooting pretty good. He'd know what to do.
ABE: (OVER THE BULLHORN) If you release the hostage, we can discuss how to get out of this situation.
LLOYD: I wish he'd just shut up! Damn, what do we do now?
HOLD ON LLOYD'S CONFUSION.
CUT TO: JACK AND JENNIFER'S KITCHEN. JACK AND JENNIFER ARE FINISHING UP THEIR DINNER. JENNIFER PICKS UP THE BOTTLE OF WINE AND STARTS TO REFILL THEIR GLASSES.
JENNIFER: The silence is deafening, Jack...
JACK: Hmmm?
JENNIFER: You're doing it again. (BEAT) Why won't you tell me what's wrong?
JACK TAKES A SIP OF WINE, THEN SETS HIS GLASS DOWN.
JACK: Did you remember that Steve's birthday was last month?
JENNIFER: Yes, it was the second, right?
JACK: Right. But I guess that Steve doesn't really count birthdays anymore. (BEAT) I forget that sometimes. Like the first time our daughter called me "Dada"... I had the phone in my hand before I remembered...
JACK STARTS TO PICK UP THE GLASS AGAIN, BUT THEN STOPS.
JACK: (CONT'D) It doesn't seem like he's been gone for four and a half years, but then I remember all the things that have changed: Stephanie's smart and independent...
JENNIFER: Just like a Johnson.
JACK: Indeed. (BEAT) You and I are married. We have a child. (BEAT) "Uncle Steve" would have spoiled her more than I have. Adrienne and Justin... Steve never found out that they got Alexander back, or about my namesake... (BEAT) I don't know what he would have thought about Jo's interest in Vern, though. And Kayla...
JACK'S VOICE TRAILS OFF.
JENNIFER: Is that why you've been so out of it lately? (BEAT) Are you having second thoughts about being supportive of Kayla's relationship with Marcus?
JACK: No, no... this is just a prolonged self-examination of mortality.
OUT ON JENNIFER'S PANICKED LOOK.
JACK AND JENNIFER'S KITCHEN. JACK AND JENNIFER. IN PROGRESS.
JENNIFER: (WORRIED) Oh, no... Jack, you're not sick again, are you?
JACK: What?
JENNIFER: Your Hodgkins hasn't come back, has it?
JACK: (PUTTING HIS HAND ON HERS) No, no...
JENNIFER: (RELIEVED) Oh, good...
JENNIFER SIGHS.
JENNIFER: (CONT'D, WORRIED AGAIN) Have you been to the doctor? (BEAT) You don't think you're dying again, do you?
JACK: No...
JENNIFER: Tuberculosis?
JACK: No...
JENNIFER: Hepatitis?
JACK: No...
JENNIFER: Lead poisoning?
JACK: No...
JENNIFER: Arsenic in the Dippin' Donuts?
JACK: (RAISING AN EYEBROW, BECOMING AMUSED) Only if you've been putting it there...
JENNIFER: Flesh eating bacteria?
JACK: Ah... no.
JENNIFER: Toxic waste poisoning?
JACK: (GRINNING SLIGHTLY) Let's not be ridiculous.
JENNIFER: Then there's nothing wrong with you?
JACK: Physically, I'm perfectly fine. (BEAT) I'm just... just...
JENNIFER: You're just brooding.
JACK: I'm just brooding.
JACK GROWS QUIET AGAIN. JENNIFER SIGHS. HOLD ON JENNIFER'S FRUSTRATION.
CUT TO: EUTERPE. JANET AND SHANE ARE SITTING AT THEIR TABLE. DINNER APPEARS TO HAVE JUST BEEN SERVED.
JANET: This looks delicious. I'm famished.
JANET DIGS INTO HER DINNER WITH FLOURISH.
SHANE: (LAUGHING) I take it you don't have the easiest access to Alice's donuts in your new office.
JANET: I barely have time to get a cup of coffee.
SHANE: That's not a big loss. (CRINGING) The coffee over there needs to be drastically watered down.
JANET: I agree. But, with the mountains of paperwork on my desk, I could probably use that caffeinated sludge.
SHANE: That bad, eh?
JANET: I'm sure you ISA superspies never had this much paperwork.
SHANE: You can't be serious. The agency's famous for the number of forests we've put out of commission. In fact, this one case I worked on a few years back led to roomfulls of paperwork. And would you believe this case involved an environmental group?
JANET LAUGHS AND LEANS FORWARD TO LISTEN. HOLD ON SHANE CONTINUING WITH HIS STORY.
CUT TO: NICK'S CAFE AMERICAIN. RICHARD AND ASHLEY ARE SEATED AND PORING OVER THE MENU.
RICHARD: What looks good to you?
ASHLEY: Ummm... I don't know yet. (BEAT) You know what I could really go for, though? Reindeer sausage!
RICHARD: (LAUGHING) I don't think you'll find that on Nick's menu! And I'm not that anxious to go back to Alaska.
ASHLEY: C'mon, we could be there in just a few hours.
RICHARD: What, and not give Brownie advance notice we're coming?
ASHLEY: (LAUGHING) Brownie! I'd almost forgotten about him.
RICHARD: Ashley, how can you forget being in the middle of nowhere and coming face to face with a bear that's taller than both of us put together?
ASHLEY: Okay, so I didn't forget. I was trying to block out the memory. (LAUGHING) You were so scared! I thought you'd wet your pants.
RICHARD: (LAUGHING) Me? How about you?
RICHARD STARTS WAVING HIS ARMS ABOVE HIS HEAD, MIMICKING ASHLEY.
RICHARD: (CONT'D) Is it a brown bear or a black bear? Which is the one you play dead with? Shoo! Shoo!
ASHLEY IS LAUGHING SO HARD THAT TEARS ARE RUNNING DOWN HER FACE.
ASHLEY: Hey, at least I remembered the "don't run" part. And the two of us screamed so loud we scared Brownie off!
RICHARD HANDS ASHLEY HIS HANDKERCHIEF.
RICHARD: Those were the two longest days of my entire life. I will never let you talk me into doing a story on illegal hunting again.
ASHLEY: (WIPING HER EYES) Promises, promises. (BEAT) I could use some water.
RICHARD LOOKS AROUND FOR A WAITER. HE NOTICES CJ AND ROBERT STANDING IN THE ENTRYWAY AT THE SAME TIME ASHLEY DOES.
RICHARD: Look, there's Robert and the Big Bad Wolf.
ASHLEY: (WAVING AT ROBERT & CJ) His name is CJ. And in case you've forgotten, I'm not Little Red Riding Hood. And Salem is certainly not like any Grandma's house I know.
OUT ON ASHLEY'S MISCHIEVOUS GRIN.
NICK'S CAFE AMERICAIN. TO RICHARD'S DISMAY, CJ AND ROBERT WALK TOWARDS HIS AND ASHLEY'S TABLE.
RICHARD: (WHISPERING) Do you want to leave now?
ASHLEY: We haven't even ordered yet! (BEAT) In a hurry or something, Hunt?
BEFORE RICHARD CAN ANSWER, CJ AND ROBERT STOP IN FRONT OF THEIR TABLE.
ROBERT: Good evening Monsieur Hunt, and (TIPPING AN IMAGINARY HAT) Mademoiselle Bellafiore.
CJ: Do you two mind if my father and I join you? We didn't realize there would be such a crowd here.
RICHARD: Actually, we were just...
ASHLEY KICKS RICHARD UNDERNEATH THE TABLE, INTERRUPTING HIS PROTESTS.
ASHLEY: (SMILING DIRECTLY AT CJ) We'd love to have you join us. (ELBOWING RICHARD) Let's find some chairs for them.
RICHARD GRUDGINGLY GETS UP AND FINDS TWO MORE CHAIRS. ASHLEY MOVES HER AND RICHARD'S CHAIRS TO MAKE ROOM FOR CJ AND ROBERT. CJ TAKES A SEAT NEXT TO ASHLEY, PURPOSELY ADJUSTING HIS CHAIR SO THAT IT IS EXTREMELY CLOSE TO HERS. A FEW MOMENTS PASS, WITH EVERYBODY SMILING POLITELY AT ONE ANOTHER. FINALLY, ROBERT BREAKS THE AWKWARD SILENCE.
ROBERT: So... Julie tells me that both of you used to live in Europe at one time or another.
RICHARD AND ASHLEY BOTH NOD IN UNISON.
RICHARD: Yes, that's right.
ASHLEY IS SLIGHTLY DISTRACTED BY CJ'S CLOSENESS.
ROBERT: Tell me, what were your favorite cities?
HOLD ON ROBERT'S QUESTION.
CUT TO: EUTERPE. SHANE AND JANET ARE NOW ENJOYING AN AFTER-DINNER DRINK. "HALFWAY TO HEAVEN," BY CELINE DION, BEGINS TO PLAY. SHANE LOOKS OVER AT JANET AND SMILES. JANET SEES HIM, AND CAN'T HELP SMILING HERSELF.
JANET: What are you smiling about?
SHANE: Oh, nothing. (BEAT) Would you care to dance?
JANET: I would love to.
THEY STAND. HE TAKES HER HAND AND LEADS HER TO THE DANCE FLOOR. THEY ARE VERY CASUAL AT FIRST. GRADUALLY, THEY MOVE IN CLOSER TO ONE ANOTHER. HE SLOWLY TURNS HER ONCE, AND THEN PULLS HER EVEN CLOSER. THEY STARE INTO EACH OTHER'S EYES FOR A MOMENT. HE LEANS IN TO KISS HER, BUT HE IS INTERRUPTED BY THE SHRILL SOUND OF A BEEPER. JANET PULLS AWAY AND LOOKS OVER AT HER HANDBAG, WHICH IS HANGING ON HER CHAIR.
JANET: I think that's mine...
SHE SLOWLY MOVES AWAY FROM SHANE AND WALKS OVER TO THEIR TABLE. SHANE FOLLOWS. SHE TAKES THE BEEPER OUT OF HER HANDBAG AND LOOKS AT IT.
JANET: (CONT'D) I have to call in.
SHANE NODS. SHE TAKES HIS HAND.
JANET: (CONT'D) Shane... I'm sorry.
SHE LETS GO OF HIS HAND GOES TOWARD THE PAY PHONES. SHANE WATCHES HER.
SHANE: (SOTTO VOCE) So am I, Janet. (BEAT) So am I.
HOLD ON SHANE.
CUT TO: SALEM STREETS. HOSTAGE NEGOTIATIONS ARE IN PROGRESS.
ABE: (OVER THE BULLHORN) Can we call you on Leigh's cellular phone to negotiate?
LLOYD: (YELLING) NO! You tell us the deal, and either we take it or we kill the bitch. That's the neg... negotiation.
JESSE: (TO LLOYD, QUIETLY) Are you sure that's a good idea?
LLOYD: (AGITATED) You got a better one?
MEANWHILE, ABE IS PUTTING THE BULLHORN DOWN AND SLOWLY WALKING TOWARDS THE FRONT OF THE LINE OF PROTECTION THAT THE VARIOUS SQUAD CARS PROVIDE.
BOB: (QUIETLY TO ABE) No heroics, Captain.
ABE: (ALSO QUIETLY) None intended. I just want to see how close I can get, may be able to talk to them without the bullhorn...
AS ABE APPROACHES, LLOYD NOTICES HIM GETTING CLOSER.
LLOYD: That's enough, cop. Don't come any closer or... or I'll shoot her right here and now.
LEIGH: That would be a bad idea...
JESSE: Shut up or he will shoot you!
ABE RETREATS BACK BEHIND THE CARS AND HAS A QUICK CONSULTATION WITH BO AND BOB.
ABE: If you can, work your way behind the cars and around to the other side of the street. Maybe from there, you can get a clear shot.
BO: Sounds like a better plan than just standing here.
ABE: If you do get a shot that won't put Leigh in danger, take it!
BOB: You got it.
OUT ON BO AND BOB MAKING THEIR WAY CAREFULLY AROUND.
NICK'S CAFE AMERICAIN. RICHARD, ASHLEY, ROBERT, AND CJ. THE FOOD HAS ARRIVED AND EVERYONE IS ENJOYING DINNER. CJ AND ASHLEY ARE DISCUSSING WHERE TO BUY THE BEST CROISSANTS IN PARIS.
CJ: You're crazy. The best croissants come from a little bakery on the Rue Madeleine.
ASHLEY: You don't mean the one next to "Cafe de la Lune", do you?
CJ MAKES AND HOLDS EYE CONTACT WITH ASHLEY.
CJ: Yes, that's it. Light, flaky, buttery. It would melt in your mouth.
ASHLEY HOLDS THE EYE CONTACT.
ASHLEY: Those were good. But, the best croissants definitely came from La Patiserie Francaise, near the Sacre Coeur in Montmartre. And, if you could get them right out of the oven, while they were still warm...
CJ BREAKS THE EYE CONTACT AND EACH TAKES A BITE OF HIS DINNER. THEN, THEY TURN BACK TO EACH OTHER.
CJ: La Patiserie Francaise went out of business two years ago. But, I still can taste that warm croissant.
ASHLEY: Tender.
CJ: The way it felt in your mouth.
ASHLEY: And just a dab of fresh jam.
CJ: Washed down with a cup of thick black coffee. Not the watery American stuff. A real cup of bitter, hot coffee.
ASHLEY: With two cubes of sugar... (SMILING AT CJ) To make it sweet.
RICHARD LEANS OVER TO ROBERT AND WHISPERS IN HIS EAR.
RICHARD: Uh... They're not talking about breakfast rolls any more, are they?
ROBERT: No, mon ami. They're talking about something completely different.
RICHARD: I wish I could go back to Paris to compare those croissants for myself.
ROBERT: I would settle for just tasting one again. This stupid diet my doctor has me on makes it impossible for me to eat anything with taste.
RICHARD: Geez, that sounds horrible.
ROBERT: And my son the watchdog isn't helping. What keeps you from flying off to Paris to compare croissants?
RICHARD: The illustrious Julie Williams keeps me too busy for a vacation.
ROBERT: Now there's a boss I could get used to.
CJ TURNS HIS HEAD TO JOIN THE CONVERSATION.
CJ: Who's that, Papa?
ROBERT: Julie Williams. Working for her would be a dream.
RICHARD: She's tough, demanding, constantly scrutinizing every detail. But, she's fair and when you do something right or well, she lets you know.
NICK STOPS BY TO CHECK ON HOW THE GROUP ENJOYED THEIR DINNER.
CJ: And, that charm. That face. That grace. She would be the perfect boss. Any task that would be rewarded with her smile would be an easy job.
NICK: This sounds like someone I need to meet. Who ya talking about?
ROBERT: You already know her. Julie Williams.
NICK: That's one classy dame. This place improves whenever she walks in.
ASHLEY: How does she do it? How does one woman rate so many devoted admirers?
HOLD ON ASHLEY'S INTRIGUE.
CUT TO: EUTERPE. JANET WALKS BACK TO THE TABLE QUICKLY WITH A DETERMINED LOOK ON HER FACE.
SHANE: Uh oh, what happened?
JANET: I'm sorry to cut the evening short, Shane. Abe's got a carjacking in progress.
SHANE: You mean he's on the scene?
JANET: Yes, and I've got to be back at the cop shop to deal with any fallout from the city officials. I'm sure Councilman Blake has already been on the phone!
SHANE: (STANDING UP) Well, come on, then. I'll have you back right away.
JANET: Oh, I didn't mean for you to leave, too. I can call a black-and-white to come pick me up.
SHANE: Nonsense, you'll want to keep those free in case things get ugly. I brought you here, I insist on taking you back. (BEAT) Besides, maybe I can help out a bit?
JANET: All right, thank you.
SHANE STEERS JANET TOWARDS THE DOOR. HE STOPS EVE ON THE WAY OUT.
SHANE: Eve, I've got to get Janet back to the police station right away, emergency business. I hate to ask, but can you take care of the check? I'll settle with you later on this evening at home.
EVE: Sure, Dad. Go ahead.
SHANE: (OVER HIS SHOULDER) Thanks!
HOLD ON SHANE AND JANET RUSHING OUT THE DOOR.
CUT TO: JACK AND JENNIFER'S LIVING ROOM. DINNER IS FINISHED, AND JENNIFER ENTERS FROM THE KITCHEN CARRYING TWO SNIFTERS OF GRAND MARNIER TO THE SOFA, WHERE JACK IS SEATED.
JENNIFER: A little more relaxation, this time in a glass, Mr. D.
JACK: (DISTRACTEDLY STARING AT THE PICTURE ON THE MANTLE) Yes... lovely.
JENNIFER: I thought a little distilled horse nostrils and bat guano might go down well.
JACK: Um-hmmm... delicious.
JENNIFER DIPS HER FINGER IN THE GRAND MARINER AND FLICKS A DROP AT JACK, WHO STARTLES IN SURPRISE.
JENNIFER: Finally! Nothing like horse nostril guano surprise to get someone's attention.
JACK: Horse nostril... never mind. I'm not sure I want to know.
JENNIFER: But I do. I want to know what's wrong. But since it appears you're not ready to tell me, I'll have to resort to plan B.
JACK: Plan B?
JENNIFER: Distraction. A way to stop you from brooding.
JACK: And that would be?
JENNIFER: (SCOOTING OVER TO STRADDLE JACK'S LAP AND BEGINNING TO UNBUTTON HIS SHIRT) Come on, Jack. It hasn't been that long... has it?
JACK: We have been busy lately...
JENNIFER: But we're not busy now are we? And we have the house to ourselves. I'm sure we're industrious enough to come up with something we could do to amuse ourselves.
JACK: Why is it I get the feeling you're not suggesting a spirited game of Scrabble?
JENNIFER: Only if we use the really good words... and then act them out...
JACK: Perhaps we should start with this one... K... I... S... S...
JACK PULLS JENNIFER CLOSE AND KISSES HER PASSIONATELY.
JENNIFER: I believe that was a double word score....
OUT ON JACK KISSING JENNIFER.
JACK AND JENNIFER'S LIVING ROOM. JACK AND JENNIFER. IN PROGRESS.
JENNIFER: You know Jack, on second thought... I'd rather not play Scrabble.
JACK: Parchesi, then?
JENNIFER: (SHAKING HER HEAD) I don't think so.
JENNIFER CONTINUES TO UNDO THE BUTTONS OF JACK'S SHIRT.
JACK: Dominoes?
JENNIFER GIVES JACK A PASSIONATE KISS.
JACK: (GRINNING) Strip poker?
JENNIFER: Maybe.
THEY SHARE ANOTHER KISS.
JACK: Where did I put that Twister mat...
JENNIFER: I think it's upstairs. (BEAT) Shall we go find it?
JACK: Lead the way, Mrs. D.
JENNIFER: I must warn you Jack... I'm pretty limber.
JACK: I hope so.
JENNIFER SMILES AT HER HUSBAND. HOLD ON THE TWO AS THEY RACE UP THE STAIRS.
CUT TO: NICK'S CAFE AMERICAIN. THE LIGHTS DIM. THE SPOTLIGHT GOES ON. NICK COMES ON STAGE AND WALKS UP TO THE MICROPHONE.
NICK: Ladies and gentlemen... In a very short time, this young lady has made quite an impression on the city of Salem. I am pleased to introduce Miss Lynn Hampton.
THERE IS APPLAUSE AS LYNN TAKES THE STAGE. SAM PLAYS THE INTRODUCTION TO "FEVER." CJ AND ASHLEY RECOGNIZE THE SONG AT THE SAME TIME. THEY SNEAK SLY LOOKS AT EACH OTHER.
ROBERT: (WHISPERING IN CJ'S EAR) I'll get the thermometer for you when we get home.
RICHARD: (WHISPERING IN ASHLEY'S EAR) I've got some aspirin in the car. Maybe that'll break your fever.
HOLD ON ASHLEY AND CJ SMILING.
CUT TO: SALEM STREETS. ABE IS USING A WALKIE TALKIE, ONE-WAY.
ABE: Right.
ABE GIVES THE WALKIE TALKIE BACK TO JOE. ABE WAVES FRED OVER TO THEM. THERE ARE SEVERAL UNIFORMED OFFICERS AROUND THEM.
ABE: Everyone's in position.
WE SEE THAT THERE ARE ARMED OFFICERS ON THE ROOFS OF THE BUILDINGS SURROUNDING THE AREA, AS WELL AS BEHIND CARS AND IN DOORWAYS ALONG THE STREET.
ABE: (CONT'D) I want you two to cover me. I'm going to try to talk to them again... Maybe we can get out of this without shots being fired.
THE WALKIE TALKIE CRACKLES. ABE STOPS TO LISTEN.
JOE: Sanfilippo.
WE SEE BOB AND BO, CROUCHED BEHIND A PARKED CAR ACROSS THE STREET FROM LEIGH'S CAR. BOB IS HOLDING A WALKIE TALKIE.
BOB: Wisniewski... I think our friends are getting a little tired. (BEAT) One of them looks like he's dragging pretty bad.
GO TO: LEIGH'S CAR. JESSE IS LEANING AGAINST LEIGH'S CAR, RUBBING HIS EYES FROM THE EFFECTS OF THE PEPPER SPRAY.
LLOYD: (TO LEIGH) Why did you have to use that stuff on him? (TO JESSE) We don't have time for this, you stupid idiot!
JESSE STOPS LEANING AGAINST THE CAR. LLOYD SHOVES LEIGH TOWARDS JESSE.
LLOYD: (CONT'D) I gotta think...
AS JESSE HOLDS ONTO LEIGH, LLOYD PACES BACK AND FORTH.
ABE: (THROUGH A BULLHORN) Can we talk?
THE SUDDEN NOISE STARTLES LLOYD.
LLOYD: Don't do that, Officer. You wouldn't want me to be shocked into doing something dangerous.
LLOYD POINTS HIS GUN AT LEIGH. WE GO TO BOB AND BO'S POSITION. THEY CAN SEE, BUT NOT HEAR, WHAT'S GOING ON BETWEEN ABE AND THE CARJACKERS.
BOB: I've got a bad feeling about this...
WE GO BACK TO LEIGH'S CAR. JESSE IS AGAIN TRYING TO RUB HIS EYES. HIS GRIP ON LEIGH'S ARM LOOSENS SLIGHTLY. LLOYD STILL HAS HIS GUN POINTED AT HER, BUT HE'S TURNED SLIGHTLY TO FACE ABE, WHO HAS PUT THE BULLHORN DOWN AND APPROACHED THE CAR.
ABE: We don't want anyone to get hurt here.
LLOYD NOW POINTS HIS GUN AT ABE. JESSE DOES THE SAME.
LLOYD: Then we just do things my way, all right?
LEIGH SUDDENLY JERKS FREE OF JESSE'S HOLD AND STARTS TO RUN. SHE'S HEADED AWAY FROM ABE. LLOYD AND JESSE BOTH TURN AND AIM AT HER.
LLOYD: Bitch!
FROM BOB AND BO'S LOCATION, WE SEE JESSE FIRE A SHOT, BUT MISS. LLOYD IS NOW PREPARING TO FIRE. BO HAS A CLEAR SHOT, BUT HE HESITATES.
BOB: Bo!
BO IS STILL FROZEN. HOLD ON BOB AS HE FIRES AT LLOYD AND JESSE. AND OUT. FADE TO BLACK.