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An ALT.DAYS Production,
A Division of Peel Productions, Inc.
Air Date: May 5, 1995
Time: Several Days After #96,
Late Afternoon to Evening
Copyright 1995
BO'S BOAT. BO IS STANDING IN FRONT OF THE MIRROR, ADJUSTING HIS BOLO TIE, WHEN SHAWN-DOUGLAS COMES IN AND SITS ON THE BED.
BO: You almost ready, Sailor? I told Grandma I'd drop you off in time for dinner. I think she's making your favorite, spaghetti and meatballs.
SHAWN-D: Where are you going?
BO: I have to go out to dinner, remember? I told you about it the other morning.
SHAWN-D: Oh yeah, I forgot. (BEAT) You look cool, Papa.
BO: (SMILING) Thanks, Sailor.
SHAWN-D: Papa, can I ask you something?
BO: (LOOKING AT HIS WATCH) Sure, as long as you put on your shoes while you're doing it. We're running a little late.
SHAWN-D: Are you going on a date?
HOLD ON BO'S SURPRISE.
CUT TO: JACK'S OFFICE. JACK AND JENNIFER ARE BUSY AT WORK. JENNIFER IS MAKING NOTES ON A PRINT-OUT OF HER ARTICLE AND JACK IS GOING OVER SOME PAPERS. JACK STOPS READING THE PAPERS, SIGHS, AND STARES OFF INTO SPACE FOR A MOMENT.
JENNIFER: Did you find it?
JACK: (STARTLED) Ah... no. Much as I'd like to, I can't find anything else to connect Reilly to John Doe Number Two. You'll have to make it work with what you've got.
JACK RATTLES SOME PAPERS AND SIGHS AGAIN. JENNIFER LOOKS UP, CONCERNED, AND WATCHES JACK AS HE STARES OFF INTO SPACE AGAIN.
JENNIFER: Jack?
JACK: No, Jennifer, I didn't find any more connections...
JENNIFER: I know. You just told me.
JACK: Oh. Sorry.
JENNIFER: That's okay. Did I mention that I told Rosie we'd be in late tonight?
JACK: Why? I don't think this story needs that much more work.
JENNIFER: No, it doesn't. In fact, I'm almost done. The reason we'll be late is that I'm taking you out to dinner.
JACK: Did I miss an occasion?
JENNIFER: No, nothing like that.
JACK: Then why?
HOLD ON JACK'S QUESTION.
CUT TO: KAYLA'S OFFICE. KAYLA IS DOING PAPERWORK. THE PHONE RINGS ONCE. KAYLA IGNORES IT. IT RINGS A SECOND TIME. SHE SIGHS AS SHE PICKS UP THE PHONE. TWO-WAY.
KAYLA: Kayla Brady.
MARCUS: Is this the beautiful blond nurse I saw at the fourth floor nurses' station?
KAYLA: Hello, Dr. Love. How're you?
MARCUS: Much better, now. (BEAT) Dr. Love has a prescription he needs filled.
KAYLA: I'm not a pharmacist, but let's see what I can do.
MARCUS: You mean beyond what you've already done? Let's see. You've already made me the happiest man on the face of the Earth. What else is there?
KAYLA: I'm sure you'll think of something.
MARCUS: What say we two happy people get together for a romantic dinner tonight?
KAYLA: Why didn't you just come to my office to ask?
MARCUS: I thought this would be more romantic. (BEAT) So, what is it? Yes or no?
KAYLA: Well, let's see. Jo asked if she could have Stephanie tonight. (BEAT) So, I guess I don't have anything else to do.
MARCUS: Timing is everything. And mine seems to be right on target.
KAYLA: This sounds intriguing. What did you have in mind?
MARCUS: Dinner with the woman of my dreams in a dark, romantic setting.
OUT ON KAYLA'S SMILE.
JACK'S OFFICE. JACK AND JENNIFER. IN PROGRESS.
JENNIFER: Do I have to have a reason for wanting to treat my adoring husband to dinner?
JACK: Well, no... I guess not. (BEAT) But do you have one?
JENNIFER: I just wanted to help you relax a little, take your mind off of... (BEAT) Well, it's just that you've been under a lot of stress lately, with all that's going on here at the paper, and then... (BEAT) You know.
JACK: Yes, I know. (BEAT) And I appreciate the thought.
THEY EXCHANGE A KNOWING LOOK. THERE IS A KNOCK AT THE DOOR.
JACK: Come!
VERN ENTERS.
JENNIFER: Hi, Vern.
VERN: Hi, Jack! Hi, Jenny-girl! How goes the story? Is it almost ready?
JENNIFER: (QUICKLY LOOKING OVER THE PAPERS IN HER HAND) Um... yeah. Yeah, I think it's ready. (HANDING THE PAPERS TO VERN) Here you go.
VERN: (TAKING THE PAPERS) This is it? On hard copy?
JACK: Something wrong, Vern?
VERN: (LOOKING OVER THE PAPERS) No, it's just that... Well, you usually send me your articles on e-mail, Jennifer.
JENNFIER: Oh, I'm sorry. I can pull it up on my computer and...
JACK: (INTERRUPTING) Can't you work with the hard copy, Vern? They did it that way for many years, you know...
VERN: I know that, Jack. I just thought something might be wrong.
JENNIFER: Why do you say that?
VERN: Well, I'm just not used to seeing typos in your articles. They're usually letter-perfect.
JACK: Come on, Vern. We're only human, you know.
JENNIFER: I'm sorry, Vern, I don't want to make more work for you. I'll go back to my desk and e-mail you a copy.
VERN: Thanks, Jenny-girl. And the typos?
JACK: (CURTLY) You're the editor, Vern. Why don't you edit them?
VERN AND JENNIFER, BOTH STARTLED, LOOK AT JACK.
JACK: (CONT'D) Please.
VERN: (EXASPERATED) Whatever you say, Jack.
JENNIFER: (TO JACK) I'll be right back. Then we can go, okay?
JACK: Fine.
JENNIFER EXITS.
JACK: (CONT'D, TO VERN) Is that all, Vern?
VERN: No, that's not all, Jack... (BEAT) But I don't have the time right now.
VERN TURNS AND EXITS, SHAKING HIS HEAD. JACK RAISES AN EYEBROW AS HE WATCHES VERN EXIT. HOLD ON JACK.
CUT TO: BO'S BOAT. BO AND SHAWN-DOUGLAS. IN PROGRESS.
SHAWN-D: So, Papa, is it a date?
BO: Well, not exactly.
SHAWN-D: Then what is it?
BO: I'm going to dinner with Leigh, the lady who works with your Uncle John.
SHAWN-D: The lady you saved? (BEAT) Grandma showed me the article in the newspaper. And all the kids at school were talking about it. They kept saying that you're a hero.
BO: Well, now, Sailor, it took the whole police force to save Leigh. I didn't do it alone. Everyone on the force is a hero.
SHAWN-D: Then why isn't she taking the whole department to dinner?
BO: That would be too expensive. So she asked me.
SHAWN-D: Do you like her, Papa?
BO: Yeah, I guess so. She seems nice.
SHAWN-D: No. I mean do you like her?
BO: Oh. Well, I don't really know her.
SHAWN-D: She's pretty, isn't she?
BO: She's beautiful.
SHAWN-D: Then you like her.
BO: There's more to it than that.
SHAWN-D: What else is there?
BO: Ya gotta like what's inside a person, too.
SHAWN-D: Like guts and lungs and stuff?
BO: No. Not guts and stuff. Like her mind and what she thinks and how she feels about things. I mean, what if she doesn't like children? I wouldn't want to go out with a woman who doesn't like children.
SHAWN-D: Yeah. That'd be pretty bad.
BO: And, there are other things, too. Lots of 'em. (BEAT) It doesn't matter, anyway. Leigh is just being nice by taking me to dinner. It isn't really a date.
SHAWN-D: Hey, Papa.
BO: Yeah, Sailor?
SHAWN-D: Will you find out if she likes kids?
BO: (HUGGING SHAWN-DOUGLAS) You bet, Sailor. And if she doesn't, she doesn't stand a chance.
HOLD ON SHAWN-DOUGLAS' INTEREST.
CUT TO: VERN'S DESK. VERN IS JUST HANGING UP THE PHONE WHEN JO ARRIVES.
VERN: Jo! I didn't expect to see you until tonight.
JO: That's why I came by. I wanted to see if you were still planning to join Stephanie and I for dinner and Black Beauty.
VERN: Sure thing.
JO: Vern, you seem a little distracted. If you're really busy, I'll just see you tonight.
VERN: No, no, it's not that. I'm just a little worried about Jack and Jennifer.
JO: What's wrong?
VERN: Well, first Jack was surly and even shorter-tempered than usual. Now, today, Jennifer is acting very distracted. She's not her usual peppy self.
JO: I noticed that, too. But they don't seem to be arguing with each other and Abby seems perfectly fine and happy... It's probably just work stress.
VERN: I guess, though I don't think it's any crazier around here than usual. I hope that's all it is.
OUT ON VERN'S CONCERN.
NICK'S CAFE AMERICAIN. BO AND LEIGH ENTER AND PAUSE, WAITING FOR LOUIS TO SEAT THEM. BO LOOKS AROUND.
LEIGH: I hope you like this place...
BO: Well, I've only been here once or twice, but yeah, I do like it.
LEIGH: The singer Nick has hired is quite wonderful.
BO: Haven't heard her yet, but I've been told she's good. I do know the food is great.
LEIGH: Definitely four-star. And the ambience...
BO: Ambience. Yeah... that, too.
LOUIS WALKS UP TO BO AND LEIGH.
LOUIS: And how are you two this evening?
LEIGH: Fine, Louis, and you?
LOUIS: Never better. I have your table ready, Ms. McCloud, if you'll follow me? The best in the house, as you requested.
LEIGH: Thank you.
LEIGH AND BO FOLLOW LOUIS. AS THEY PASS A TABLE, A GROUP OF PATRONS NOTICE BO. ONE OF THEM POINTS TO HIM.
PATRON 1: Hey, wasn't he in the paper?
PATRON 2: Yeah, he's the cop that saved that hostage.
PATRON 3: A real hero!
AS THEY PASS OTHER TABLES, BO IS NOTICED BY MORE DINERS AND OVERHEARS A COUPLE MORE "HERO" COMMENTS. HOLD ON BO'S GROWING DISCOMFORT.
CUT TO: EUTERPE. JACK AND JENNIFER ARE SEATED AND ARE WAITING FOR DINNER TO BE SERVED. JACK STARES SILENTLY INTO THE DISTANCE. JENNIFER GRABS A BREAD STICK AND WAVES IT IN FRONT OF JACK'S FACE, CAUSING HIM TO SNAP OUT OF HIS "TRANCE."
JENNIFER: You're a million miles away, Jack. Are you okay?
JACK: (QUIETLY) I don't know.
JENNIFER TAKES JACK'S HAND.
JENNIFER: When you told me that you think Steve might be alive and in the P.O.W. camp, I couldn't believe it... It completely bowled me over. I've done little but think about it for the past few days, and I'm sure you're doing the same. (BEAT) But you've said so little about it.
JACK: That's because there's really nothing to say. I mean, it's so hard to conceive. It doesn't seem possible.
JENNIFER: Do you think that Steve could be alive?
JACK: I don't know. My rational mind tells me that Steve is dead. How could there be a picture of a dead man? He died in the hospital... Kayla saw him... We buried him...
JENNIFER: But...?
JACK: But, when I saw the picture, my emotions completely consumed any rational thoughts I might've had. (SIGHS) It was probably just wishful thinking.
HOLD ON JACK.
CUT TO: NICK'S CAFE AMERICAIN. LOUIS IS SEATING BO AND LEIGH. HE HANDS A MENU TO EACH OF THEM.
LOUIS: Your waiter will be here shortly. Enjoy.
LEIGH: Thank you, Louis.
BO: Thanks.
BO LOOKS AROUND UNCOMFORTABLY.
LEIGH: Is this table okay?
BO: Yeah, sure. It's fine. (BEAT) I was just noticing... Well...
LEIGH TURNS, FOLLOWING BO'S GAZE, AND LOOKS BEHIND HER. SEVERAL PEOPLE ARE LOOKING OVER AT THEM, POINTING, AND TALKING. LEIGH TURNS BACK TO BO.
LEIGH: Yes, I know... They must have read about you in the paper, or seen the news. (BEAT) You're quite prominent in the media these days.
BO: Please, don't remind me.
LEIGH: Oh, come on. You deserve it!
BO: I don't think so. Everyone's going just a bit overboard...
LEIGH: Nonsense. They know a bona fide hero when they see one.
BO: I'm no hero.
LEIGH: Deny it all you want, Bo. A lot of people say otherwise.
BO: Yeah, well, that doesn't make it right.
LEIGH: Why are you so against being treated like a hero?
BO: Because I didn't... (BEAT) I don't like the concept. Or the way people treat you.
LEIGH: You don't like being admired and respected?
BO: I just don't think that a man's death is something to be celebrated. (BEAT) And putting me in the spotlight just makes it worse.
LEIGH: Listen here, Bo Brady. Out in that street, it was either him or me. I'm not happy that he's dead, but I'm certainly grateful that I'm alive. (BEAT) That's what I'm celebrating.
BO: I know. (BEAT) I'm sorry, I didn't mean to trivialize your side of it. I just wish there had been another way.
LEIGH: Well, there wasn't. He didn't give you any choice. You did the only thing you could. And I'll always be grateful to you.
BO: I appreciate that. (BEAT) Look, I don't want to seem insensitive, but...
LEIGH: But what?
BO: I was just hoping... Could we talk about something else?
LEIGH: Um... sure. Of course we can. What would you like to talk about?
BO: Anything you want, as long as it doesn't have to do with the shooting. (BEAT) I've seen enough death and killing to last me a lifetime.
BO TAKES A DRINK FROM HIS GLASS OF ICE WATER AS LEIGH CONTINUES TO LOOK AT HIM. OUT ON LEIGH'S INTRIGUE.
NICK'S CAFE AMERICAIN. SHANE AND JANET ENTER AND ARE GREETED BY LOUIS.
LOUIS: Good evening, Commander Yamada. Captain Donovan.
SHANE: Good evening, Louis. I believe we have a reservation.
LOUIS: Yes, your table is ready. Please, follow me.
LOUIS LEADS SHANE AND JANET TO THEIR TABLE. THEY SIT DOWN AND LOUIS HANDS THEM MENUS.
JANET: Thank you, Louis.
LOUIS: Enjoy.
LOUIS EXITS.
JANET: This place has great service.
SHANE: I'll bet it's advantageous to be in good with the local authorities.
JANET: And the resident superspies, I'm sure...
SHANE: I'm sure...
JANET: I'm so glad you suggested that we finish our interrupted date. (BEAT) Now I won't feel so bad about running out on you the other night.
SHANE: Well, actually, I'm not entirely innocent in this matter.
JANET: What do you mean?
SHANE: You see, this way, I get a date and a half for the price of one.
JANET: (SMILING) Ah... very cagey.
SHANE: I thought so.
JANET: But rather unnecessary, I think.
SHANE: Oh?
JANET: Yes. You needn't be so... economical with your invitations.
SHANE: And why is that?
JANET: Well... let's just say that I'm not putting any limits on how many I'll accept.
SHANE: (SMILING) I see... That's very encouraging.
JANET: Encouraging... Encouraging you to what?
SHANE: What I mean is... I'm just glad that you're not averse to keeping company with me. (BEAT) I'm certainly enjoying keeping company with you.
JANET: Why, thank you, Shane.
SHANE: And I know how limited your spare time is, so I feel quite privileged to share some of it.
JANET: Please... You make it sound like I live in my office...
SHANE: If the office fits...
JANET: Well, I have been busy lately.
SHANE: To put it lightly. (BEAT) Now that you're a high and mighty department bigwig.
JANET: Hardly. I'm just a cog in the wheel...
SHANE: Oh, right... If you say so, Commander.
JANET SMILES. HOLD ON JANET.
CUT TO: EUTERPE. JACK AND JENNIFER ARE DINING. IN PROGRESS.
JENNIFER: ...So apparently, Abby has been doing some serious wheeling and dealing at the daycare center... Jack?
JACK: Hmmm?
JENNIFER: You've got that look again.
JACK: What look?
JENNIFER: The "I'm thinking of the Steve thing" look.
JACK: I'm sorry. I'll try not to...
JENNIFER: Oh, Jack, honey, I don't blame you. It's hard enough for me not to think about it...
JACK: I'm probably just imagining that the man in the picture looks like Steve. I guess because there was so much for Steve to do...
JENNIFER: Yes, like be a daddy to Stephanie, an uncle to Abby...
JACK: Husband to Kayla...
AS IF ON CUE, MARCUS AND KAYLA STOP BY JACK AND JENNIFER'S TABLE.
KAYLA: Did I hear you take my name in vain?
JACK: Ahh... I...
MARCUS: Oh, he was probably talking about the wedding... That's all I've been thinking about, and since we're all here tonight, it just proves what they say about great minds...
KAYLA: Or nervous grooms and best men...
MARCUS: Yeah, that too...
JACK: Nervous? Perish the thought!
MARCUS: Oh, come on, Jack, not even a little?
JACK: Not at all... Remember, I've been this route before... Not to mention the nervous groom part. Several times, even once with...
JACK SUDDENLY STOPS, NOTING THAT HE IS RAMBLING INTO UNCOMFORTABLE TERRITORY.
JENNIFER: So, are you all ready for the big day?
KAYLA: For the most part. There are a few things I still need to get...
MARCUS: That goes for me, too. But I decided we need tonight to relax and catch our breath.
JENNIFER: Sounds like an excellent idea...
JACK: (SUBDUED) Indeed.
MARCUS: Oh, I see Dave gesturing at our table... we'd better grab it before another hungry patron beats us to it.
KAYLA: You two... take care.
JENNIFER: You, too.
MARCUS AND KAYLA LEAVE FOR THEIR TABLE AS JENNIFER WORRIEDLY STUDIES JACK'S PENSIVE EXPRESSION. HOLD ON THE TWO.
CUT TO: NICK'S CAFE AMERICAIN. SHANE AND JANET. IN PROGRESS.
SHANE: I've been talking to several of my department contacts.
JANET: Anything interesting?
SHANE: Indeed. They passed on a particularly juicy rumor about you.
JANET: (SHOCKED) About me?! What was it? (COVERING HER EARS) On second thought, I don't know if I want to hear it.
SHANE: You're sure?
JANET: Oh, okay. Curiosity's got the best of me. Whatcha got?
SHANE LEANS IN CLOSE TO JANET.
SHANE: Rumor has it... (WHISPERING) ...that you're doing one splendid job as commander.
SHANE SITS BACK IN HIS CHAIR AND SMILES. JANET LOOKS CONFUSED AT FIRST, THEN SMILES, TOO.
JANET: At least it's good news. I could use it, too. This job hasn't been the easiest, so far... especially since the shooting.
SHANE: Speaking of, how is everything going with the investigation?
JANET: (APPREHENSIVE) Well...
SHANE HOLDS UP A HAND.
SHANE: Don't worry. I know you can't comment, now that things are underway.
JANET: I'm sorry, but you're right. I can't talk about it. But I can say that I hope everything turns out all right.
SHANE: Very well. Then in lieu of a comment, how about a dance?
JANET: A dance sounds great. I'd love one.
AS SHANE AND JANET STAND, NICK WALKS UP TO THE MICROPHONE.
NICK: Ladies and gentlemen, without further ado, I'd like to introduce the lovely and talented Lynn Hampton.
THE AUDIENCE BEGINS TO APPLAUD AS LYNN STEPS ONTO THE STAGE. SHE SIGNALS TO SAM, WHO BEGINS THE MUSIC. OUT ON LYNN, ABOUT TO SING.
EUTERPE. KAYLA AND MARCUS ARE AT THEIR TABLE. THEY HAVE ORDERED DINNER AND MARCUS IS ORDERING THE WINE.
MARCUS: The Merlot would be perfect. Thank you.
THE WAITER EXITS.
KAYLA: Where did you learn so much about wine?
MARCUS: I took a class right after my residency and learned the basics. Beyond that, it's been recommendations and trial 'n' error.
KAYLA: The stories you and Steve used to tell, it sounded like you did a lot of trial and error before you left for college.
MARCUS: Homey and I weren't exactly connoisseurs of fine wines in those days.
KAYLA: I wish I'd known you then.
MARCUS: No, you don't. I wasn't the refined, sophisticated man I am today.
KAYLA: Not all of us had the blessing of growing up with the advantages of a Jack Devereaux. (BEAT) Speaking of Jack, did he seem... I don't know... on edge, or nervous?
MARCUS: Jack was just being Jack.
KAYLA: No, it was more than that.
MARCUS: You're looking for trouble.
KAYLA: Really, Marcus. Something is wrong with Jack.
MARCUS: Nothing that a lifetime of therapy wouldn't solve.
KAYLA: (GIGGLING) He's going to be your best man. You shouldn't talk about him like that.
MARCUS: Oh, it was just a joke. Jack's turned into a different person since he married Jennifer. He's really become a new man.
KAYLA: A new man, perhaps, but still a troubled one.
HOLD ON KAYLA'S WORRY.
CUT TO: NICK'S CAFE AMERICAIN. LYNN IS SINGING "ONE REASON." SEVERAL COUPLES ARE DANCING, INCLUDING SHANE AND JANET, WHO ARE DANCING VERY CLOSE.
SHANE: I hope we're not going to be hearing from your beeper tonight...
JANET: So do I, Shane. So do I...
GO TO: NICK, STANDING NEXT TO THE BAR, ADMIRING LYNN. HE TURNS AND LOOKS AT SHANE AND JANET. LOUIS WALKS UP TO SEE NICK SMILING WRYLY.
LOUIS: You certainly look happy about something.
NICK: I dunno if "happy" is quite it...
LOUIS: Amused?
NICK: Maybe. (BEAT) I was just thinking how funny life can be sometimes.
LOUIS: How so?
NICK: (NODDING TOWARD SHANE AND JANET) See Captain Donovan over there?
LOUIS: Yes...
NICK: I never thought I'd see the day when Eve's father would be dancing in a club that I owned. (BEAT) And with a police commander, no less.
LOUIS: And what part of it do you find strange... The dancing, the location, the partner... or the fact that it's Eve's father?
NICK: I... I dunno. There's a lot of history there. Let's just say that things were very different, once.
LOUIS: It almost sounds as if you wish things could be the same as they were.
NICK: Some things, maybe. (BEAT) Ah... hell. It's far too late to go back and change things, so why bother wishing?
LOUIS: It's true, you cannot change the past. But the future is still under your control...
NICK: It doesn't matter anymore.
LOUIS: Are you sure about that?
NICK: (LOOKING BACK AT LYNN ON THE STAGE) Yeah... I'm sure.
HOLD ON NICK.
CUT TO: EUTERPE, BACKSTAGE. EVE IS WRINGING HER HANDS NERVOUSLY. HER EYES ARE CLOSED AND SHE IS NODDING HER HEAD SLOWLY. IAN ENTERS.
IAN: Eve?
EVE: (NOT OPENING HER EYES) What?
IAN: Are you all right?
EVE: Don't ask. (BEAT) What do you want?
IAN: I just came back to check the wiring on the mike. (BEAT) Are you ready to do your song?
EVE: I don't know...
IAN: (NOTICING HER WRINGING HANDS) Careful, you're going to break both your hands, there.
EVE: (FINALLY OPENING HER EYES) I'm trying to de-stress.
IAN: Doesn't sound like it's going so well.
EVE: No, it's not.
IAN: What's wrong?
EVE: Oh, God, where do I start? (BEAT) Jasmin's outfit is loud enough to wake the dead. The busboys are even slower than usual, which I didn't think was possible. If they go any slower, people will start hanging coats on them! And we're getting dangerously low on Merlot. I don't know if we'll get through the rest of the evening without running out completely!
IAN: Is that all?
EVE: Is that all?! Isn't that enough?!
IAN: I'm sure we'll survive.
EVE: Ha! That's easy for you to say!
IAN: Is there something else?
EVE: Oh, yes, how could I forget? On top of everything, I have to go to the... God, I hate even saying it... The D.M.V.
IAN: (IN MOCK HORROR) No! Not the... the D.M.V.!
EVE: Shut up. You're not funny.
IAN: What's up, did you get a ticket?
EVE: No, I did not get a ticket.
IAN: Then why do you have to go?
EVE: I have to renew my driver's license.
IAN: Wait a minute... I know I had to renew in person, since I came from another state. But you should be able to renew by mail, right?
EVE: Wrong.
IAN: But I was sure that you could...
EVE: I can't.
IAN: Why not? Because you're special?
EVE: Ha, ha. (BEAT) No, I can't because I...
IAN: Because you what?
EVE: (SOFTLY) I forgot.
IAN: What was that?
EVE: I forgot, okay? I waited too long, I missed the deadline, and now I have to go down to that awful place and stand in a line a mile long and waste most of my day! Okay?!
IAN: Sorry. (BEAT) Well, look on the bright side.
EVE: There is no bright side to this. (BEAT) But, I'm sure you can make one up, can't you, Mr. Sunshine?
IAN: Come on, it might be fun.
EVE: Fun? Fun?! Your definition of fun needs a major adjustment.
IAN: I'm serious. You might enjoy it. I'm sure there will be some interesting people to watch.
EVE: Like I'd give a rat's butt about any of the losers down there...
IAN: Hey, you never know who you'll meet there.
EVE: I don't plan on meeting anyone. I'll be in and out of there as fast as humanly possible.
IAN: (RAISING AN EYEBROW) Fast? At the D.M.V.?
EVE: Ian, shut up!
IAN: Look, things move so slowly because there are always a lot of people...
EVE: You're not helping.
IAN: With so many people around, shouldn't there be at least one person there who you could talk to without suffering severe psychological damage? (BEAT) The odds are in your favor.
EVE: I seriously doubt it. The odds always favor the house. (BEAT) And it's going to be a house of horrors, I just know it.
OUT ON EVE'S MISERY.
NICK'S CAFE AMERICAIN. BO AND LEIGH ARE FINISHING UP THEIR DINNER. IN PROGRESS.
BO: ...And there she was, the love of my life since we were children. She was suspended over a vat of boiling acid, held captive by a sick, deranged man. The worst part is that there wasn't a damned thing I could do to save her.
BO LOOKS DOWN AND SHAKES HIS HEAD. CLEARLY SHAKEN BY BO'S STORY, LEIGH SITS SPEECHLESS FOR A MOMENT.
LEIGH: I have no idea what to say, Bo. I mean, I've heard about Carly and the shooting, but this... this must have been awful. I'm so sorry.
BO: Hey, that's okay. I didn't mean to make you feel bad about this. I don't want any sympathy.
LEIGH: You've gone through so much.
BO: Yes, I have. But I've got a good life now. I've got a son that I adore. I know that Hope would be proud of our sailor.
LEIGH: Shawn-Douglas sounds like a great boy.
BO: He is. We've both been very lucky. We're surrounded by a great family, lots of good friends...
BO LOOKS AT LEIGH AND LOOKS SLIGHTLY EMBARRASSED.
BO: (CONT'D) I'm sorry. I didn't mean to go on like that. Not quite what you expected for dinner conversation, was it?
LEIGH: The conversation is fine, as far as I'm concerned. I really don't mind.
LEIGH SMILES AT BO. BO RETURNS THE SMILE. HOLD ON THE TWO.
CUT TO: JO'S APARTMENT. JO AND VERN ARE CLEARING THE DINNER TABLE. FROM THE BATHROOM, WE HEAR THE SPLASHING SOUNDS OF STEPHANIE TAKING A BATH.
VERN: Someone's having a good time.
JO: Yeah. Was there ever a time when something as simple as a bath could make us that happy?
VERN: I don't know, Jo. I guess we need to try taking a bath together to find out.
JO: (BLUSHING) Vern Scofield, shame on you.
VERN: My shame is for not suggesting it sooner.
JO: What's gotten into you?
VERN: (PULLING JO CLOSE) You have.
STEPHANIE: (V.O.) Graaaaa-mmaaa! I'm done with my baaaa-aaath!
JO: (CALLING) All right, Sweetheart, I'm coming! (TO VERN) We have to work on that girl's timing.
VERN LETS GO OF JO, WHO LEAVES THE ROOM. VERN FINISHES CLEARING THE TABLE. JO RE-ENTERS.
JO: Steph wants to dress herself.
VERN: She sure is independent.
JO: Like her father.
VERN: I love seeing you with her.
JO: I love spending time with her. Especially tonight. I think Marcus and Kayla deserve a chance for a romantic, relaxing evening.
VERN: Once we get Stephanie tucked in, maybe we can pick up on our romance that got interrupted?
JO: (KISSING VERN'S CHEEK) I think we can work out a deal.
STEPHANIE: (V.O.) Graaaa-maa! Will you tuck me iiiii-in?
VERN: While you tuck Stephanie in, I'll light a couple candles. Let's meet on the couch in fifteen minutes.
JO: Great! See you then. (BEAT) Then, we can talk about that bath you mentioned...
HOLD ON VERN'S SURPRISE.
CUT TO: EUTERPE. JACK AND JENNIFER. IN PROGRESS. JACK IS LOOKING AT KAYLA AND MARCUS. JENNIFER TRIES TO GET HIS ATTENTION.
JENNIFER: Jack, if you keep staring at them, they'll know something is up with you.
JACK STOPS LOOKING AT KAYLA AND MARCUS AND TURNS TO JENNIFER.
JACK: I just can't help wondering...
JENNIFER: Wondering what?
JACK: Wondering if it actually is Steve in that picture. Could I do that to Kayla and Marcus? Look at them.
JACK GESTURES TO KAYLA AND MARCUS, WHO ARE SMILING AND LAUGHING TOGETHER.
JACK: (CONT'D) They're so happy. (BEAT) They've both gotten over the past and the grief of losing Steve.
JENNIFER: They have their own life now.
JACK: Exactly. Could Kayla choose between Steve and Marcus? Should she have to choose?
JENNIFER: You know, Jack, as important as that is, it's not really the issue. The issue is whether or not there are any American P.O.W.s alive in the prison camp. And, if so, whether or not one of them is Steve.
JACK GLANCES AGAIN AT KAYLA AND MARCUS.
JACK: You're right. As a journalist, I should realize that it is my obligation to find the truth.
JENNIFER: Not only that, but once we find out the truth, we can help whoever needs help over there, whether it's Steve or not.
JACK: Then, once we know the truth, we'll deal with everything else.
JENNIFER: Do you have any idea where to start?
JACK: Not quite, but I think I know exactly who to ask for help.
OUT ON JACK.
EUTERPE. MARCUS AND KAYLA ARE JUST FINISHING DINNER.
MARCUS: And then, pow! The whole thing exploded!
KAYLA LAUGHS AND MARCUS JOINS IN.
KAYLA: That is a great story. I don't know why you never told it to me before.
MARCUS: I have lots of stories saved up for the future, don't worry.
KAYLA: (PUSHING HER PLATE ASIDE) Do you want dessert?
MARCUS: Being the resourceful devil that I am, I planned ahead. There's a very sweet surprise waiting for you back at my place.
KAYLA: Mmmm. And would this surprise involve chocolate?
MARCUS: It could.
MARCUS TAKES KAYLA'S HAND AND KISSES IT.
MARCUS: And there might be other surprises in store, as well.
KAYLA: Oh goodie, I do love surprises.
MARCUS TURNS AWAY FROM KAYLA TO GESTURE FOR THE CHECK. HOLD ON KAYLA'S HAPPY SMILE.
CUT TO: NICK'S CAFE AMERICAIN. LEIGH AND BO ARE FINISHING DESSERT. BO PUTS DOWN HIS FORK AND REACHES FOR HIS COFFEE CUP.
BO: I apologize again for going on and on, Leigh. I hogged the conversation so much that I don't even know anything at all about you.
LEIGH: Maybe some other time. (BEAT) I never thought I would end up having dinner with Victor's son, of all people.
BO: That's right, you've worked for Vic on and off for quite a while, haven't you?
LEIGH: Yes. I remember when he told me all about his new-found son. He was very proud.
LEIGH LOOKS INTO HER COFFEE CUP.
LEIGH: (CONT'D) But later... he didn't talk about you as much. I got the impression that things didn't go like he'd planned.
BO: Our relationship was strained, to put it mildly. (BEAT) But it's coming around now. We're staring to understand each other better.
LEIGH: Victor's been a very good friend to me all these years, and I'm glad that I had a chance to meet and get to know you better.
BO: Thank you.
LEIGH: Oh, not just because you're Victor's son. I've really enjoyed this evening together.
BO PAUSES, THEN SMILES SLOWLY, SLIGHTLY SURPRISED.
BO: I have, too.
HOLD ON BO AND LEIGH CHATTING.
CUT TO: EUTERPE. THE SPOTLIGHT IS ON THE CURTAINS AS THEY PULL SLOWLY BACK TO REVEAL EVE AT THE MICROPHONE AND MARTY AT THE PIANO. MARTY PLAYS THE INTRODUCTION AND EVE BEGINS TO SING "THE LONG AND WINDING ROAD."
GO TO: JACK AND JENNIFER.
JACK: Mrs. Devereaux, will you do me the honor of this dance?
JENNIFER: It would be a thrill, Mr. Devereaux.
JACK AND JENNIFER HEAD TO THE DANCE FLOOR.
GO TO: EVE, AS SHE SINGS WITH SINCERE LONGING.
GO TO: MARCUS AND KAYLA.
MARCUS: This song only reminds me how lucky I am to have you in my life.
KAYLA: As lucky as I am to have you...
GO TO: EVE, WITH A SINGLE TEAR RUNNING DOWN HER CHEEK.GO TO: MARCUS AND KAYLA LEAVING. OUT ON MARCUS AND KAYLA.
NICK'S CAFE AMERICAIN. SHANE AND JANET ARE LINGERING OVER AFTER-DINNER DRINKS.
JANET: I haven't danced this much...
SHANE: Since the last time we went out?
JANET: Before that, actually, since our last date was interrupted.
SHANE: Ah, yes. Well, to counter... that last song we danced to has always been a favorite. But I haven't heard it since...
JANET: (SMILING) Our last date?
SHANE: No... actually, since my ex-wife's and my last anniversary. The anniversary anniversary, if you will, was just a few days ago.
JANET: Oh, Shane... I'm sorry.
SHANE: No, it's all right. I'm well past that, now. We had a really intense, amazing romance, but...
JANET: You just weren't meant to "go the distance"?
SHANE: You sound as if you've been there, as well.
JANET: (SADLY) Yes, I have.
SHANE: Well, now it's my turn to apologize. I didn't mean to bring up bad memories.
JANET: I know. And I'm over them. Mostly.
SHANE: Well, than let's drink... to the past. May it stay there!
JANET: Here, here!
HOLD ON SHANE AND JANET'S TOAST.
CUT TO: MARCUS' APARTMENT. MARCUS IS STANDING IN THE KITCHEN, CLAD ONLY IN SILK BOXERS, ARRANGING A TRAY OF CHOCOLATE TRUFFLES AND CHAMPAGNE. KAYLA APPEARS IN THE DOORWAY BEHIND HIM, DRESSED IN A ROYAL BLUE TEDDY. SHE CLEARS HER THROAT LOUDLY.
MARCUS: (TURNING) Well! I am impressed!
KAYLA STRIKES A POSE AND THEN GIGGLES. SHE LOOKS MARCUS UP AND DOWN, THEN DARTS AROUND HIM AND STEALS A TRUFFLE.
KAYLA: I am, too... with the dessert!
MARCUS GRABS KAYLA PLAYFULLY AND SPINS HER AROUND.
MARCUS: That's nice for my ego.
KAYLA LAUGHS AND HOLDS HER FACE UP SO MARCUS CAN HAVE THE REST OF THE TRUFFLE WHILE KISSING HER. THEIR EMBRACE BECOMES MORE HEATED. KAYLA BREAKS AWAY AND LAUGHS HAPPILY.
MARCUS: (GRINNING) What's so funny, now!? I'm going to get a complex pretty soon.
KAYLA: I am just so happy! I love you, we're getting married, everything is wonderful!
MARCUS: I am really looking forward to the wedding. It will be so fantastic to finally, formally, publically, profess our love and commitment.
KAYLA: I can't wait, either. I love you so much. (BEAT) It's almost too good to be true, isn't it?
MARCUS: (PULLING HER CLOSER) Nope, it is true. We love each other and life is perfect. Absolutely nothing could go wrong.
HOLD ON THEIR EMBRACE.
CUT TO: EUTERPE. EVE STANDS IN A SINGLE SPOTLIGHT AND BEGINS TO SING "I ONLY HAVE EYES FOR YOU."
GO TO: NICK'S CAFE AMERICAIN, WHERE LYNN BEGINS SINGING THE SAME SONG.
GO TO: SHANE AND JANET'S TABLE, WHERE SHANE HOLDS OUT HIS HAND. SMILING AND NODDING, JANET TAKES IT AND THEY GO TO THE DANCE FLOOR. THE TWO DANCE AS WE PAN BACK TO LYNN, WHO SINGS A BIT OF THE SONG WHILE HOLDING NICK'S GAZE.
GO TO: ABIGAIL'S BEDROOM. JENNIFER IS LOOKING IN ON ABIGAIL, WHO IS FAST ASLEEP IN HER CRIB. JACK COMES IN AND PUTS HIS ARMS AROUND JENNIFER AS THEY WATCH THE SLEEPING CHILD. JACK'S GAZE WANDERS FROM ABIGAIL TO THE PICTURE OF STEVE ON HER DRESSER. JENNIFER FOLLOWS HIS GAZE AND TURNS TO HOLD HIM.
GO TO: JO'S APARTMENT. JO AND VERN ARE SITTING ON THE COUCH, IN THE CANDLELIGHT, HOLDING HANDS. WE HEAR EVE SINGING AGAIN, AS VERN STANDS AND OFFERS HIS HAND TO JO. SHE TAKES IT AND THE TWO DANCE IN THE LIVING ROOM, VERN BENDING DOWN TO GENTLY KISS JO.
GO TO: BO'S BOAT. BO SITS ON DECK, LOOKING OUT AT THE STARS. HE RECALLS LEIGH'S FACE, LAUGHING AT SOMETHING HE SAID EARLY ON IN THE EVENING. BO SMILES, BUT THEN HIS SMILE FADES AS HIS GAZE TRAVELS OUT TO WHERE HE AND CARLY WERE SHOT.
GO TO: LEIGH'S BALCONY. IN A SILK ROBE, LEIGH LOOKS OUT AT THE STARS, AS THE VOICE SINGING CHANGES TO LYNN'S. LEIGH SMILES, APPEARING RELAXED FOR THE FIRST TIME SINCE THE SHOOTING.
GO TO: MARCUS' BEDROOM. MARCUS AND KAYLA ARE IN BED. MARCUS TAKES A TRUFFLE AND TEASES KAYLA WITH IT, HOLDING IT NEAR HER MOUTH AND THEN PULLING IT AWAY WHEN SHE TRIES TO TAKE A BITE. FINALLY, HE PUTS IT IN HIS MOUTH SO THAT HALF IS STILL VISIBLE. HE LEANS DOWN AND ALLOWS KAYLA TO TAKE "HER HALF" IN A LONG, DEEP KISS. AFTER SEVERAL MOMENTS, HE REACHES OVER AND TAKES A GLASS OF CHAMPAGNE. HE SIPS A SMALL AMOUNT, THEN GIVES SOME TO KAYLA. A LITTLE BIT SPILLS FROM HER LIPS, RUNNING DOWN HER CHIN AND NECK. MARCUS PUTS THE GLASS ASIDE AND BEGINS KISSING THE CHAMPAGNE OFF OF KAYLA'S NECK. HE WORKS HIS WAY UP TO HER LIPS, AND THEY KISS PASSIONATELY. HOLD ON THEIR KISS. AND OUT. FADE TO BLACK.