DOOL: ALT.DAYS EPISODE #149
Erik Scheele
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ALT.DAYS
EPISODE 149
AN ALT.DAYS PRODUCTION
A DIVISION OF PEEL PRODUCTIONS, INC.
AIR DATE: AUGUST 2, 1996
SEVERAL DAYS AFTER #148
AFTERNOON TO EVENING
TEASER
JACK AND JENNIFER'S LIVING ROOM. JENNIFER AND ABIGAIL COME
DOWN THE STAIRS TO FIND JACK SITTING ON THE COUCH WITH
BOOKS, CASSETTE TAPES, AND VIDEOS SPREAD OUT ACROSS THE
COFFEE TABLE. JACK LOOKS UP AT THE TWO OF THEM AND THEN
RETURNS TO READING "HOUSE BUYING FOR IDIOTS." HE PAUSES AND
SLOWLY LOOKS UP AT JENNIFER AND ABIGAIL ONCE AGAIN.
JACK: And what formal gala are the two of you planning to attend?
JENNIFER: We aren't *that* dressed up, Jack.
ABIGAIL: Don't you like my dress, Daddy?
JACK: Of course I like your dress.
JACK REACHES OUT, PICKS UP ABIGAIL, AND SETTLES HER ON HIS
LAP.
JACK: (CONT'D) (TO JENNIFER) I paid for it.
JENNIFER: And if you're not careful, I'll send you to the mall to buy
three more just as punishment for a bad attitude.
JACK: Abigail, your mother is a hard woman.
ABIGAIL KISSES JACK'S CHEEK.
ABIGAIL: Daddy's gonna buy me three dresses!
JACK: Now wait a minute. I never said...
JENNIFER: (INTERRUPTING) Jaaaack...
JACK: Okay. (BEAT) So what *is* the reason that my two favorite
ladies are so nicely attired?
JENNIFER: We're going house-hunting.
JACK: Excellent idea. Now, Jennifer, I've been researching this
and I want you to keep an open mind. I've been looking into
Geodesic Dome Homes. They are energy-efficient and there is
this company in California that will ship them to you in a
kit...
JENNIFER; I am *not* living in a home that resembles an oversized
mushroom and that I have to build out of a kit.
JACK: Well, they say it's easy to construct...
JENNIFER: Jack, you couldn't even put Abby's doll house together!
JACK: We could always hire a subcontractor.
JENNIFER: What we can hire is a real estate agent and look at *pre*-
assembled homes.
JACK: A real estate agent! Do you know how much money is wasted
on a real estate agent's commission? We could just find a
house on our own.
JENNIFER: There is nothing wrong in paying someone to do their job.
THE DOORBELL RINGS. JENNIFER CROSSES THE ROOM TO ANSWER.
JENNIFER: (CONT'D) Now, Jack, I expect you to be nice and to
*behave*.
JACK LOOKS SUSPICIOUSLY AT JENNIFER. SHE OPENS THE DOOR TO
CALLIOPE.
CALLIOPE: Heidi-ho, family Deveraux!
CALLIOPE STEPS INSIDE, WEARING A HUGE SMILE AND A GOLD LAME
JACKET OVER A WHITE BLOUSE AND A BLACK LEATHER MICRO-MINI
SKIRT WITH LITTLE RED AND WHITE "FOR SALE" SIGNS EMBROIDERED
AROUND THE HEM. HOLD ON CALLIOPE.
CUT TO: EUTERPE. JOHN IS SITTING AT THE END OF THE BAR. IAN IS
BARTENDING AND CLEARLY PERTURBED AT SOMETHING OR SOMEONE,
BECAUSE HE KEEPS LOOKING AT HIS WATCH AND THEN OVER AT THE
DOOR. IAN SERVES JOHN A SODA. JOHN DOES NOT LOOK UP. WE
SEE THAT HE IS TURNING A GOLD RING OVER AND OVER IN HIS
FINGERS. ZOOM IN TO SEE THAT IT IS THE FLATTENED WOLF'S-
HEAD RING HE WORE AS JOHN STEVENS. SHANE COMES IN AND
SLIDES ONTO THE STOOL NEXT TO JOHN.
SHANE: (POINTING TO JOHN'S DRINK) I'll have one of those as well,
Ian.
IAN: Sure thing, Captain Donovan.
IAN LOOKS LIKE HE MIGHT SAY SOMETHING ELSE TO SHANE, BUT
CHANGES HIS MIND. SHANE PUTS AN ARM AROUND JOHN'S
SHOULDERS.
SHANE: What's up with you, old man? You look like you've just lost
your best friend.
JOHN, STARTLED, LOOKS UP BRIEFLY. THEN HE TURNS BACK TO
STARE AT THE RING. HOLD ON JOHN'S MELANCHOLY.
CUT TO: PRIVATE HOSPITAL/HALLWAY OUTSIDE STEVE'S ROOM. LOOKING
TROUBLED, KAYLA SLOWLY WALKS DOWN THE HALL TO THE DOOR TO
STEVE'S ROOM. THE GUARD IS READING A MAGAZINE. HE LOOKS UP
AND SMILES.
GUARD: Hello, Mrs. Hunter. I guess I don't need to check your
I.D.
KAYLA: (VISIBLY DISTRACTED) No, I suppose not.
GUARD: Uh... Mrs. Hunter, will you be here for a while?
KAYLA: Yes.
GUARD: Look, I know it's not "by the book," but things are pretty
quiet around here and I've been here since real early this
morning. Would you mind if I slipped down the hall to the
breakroom to get a cup of coffee?
KAYLA: Considering the kind of security checks I have to go through
just to be admitted into the building, I think we're fairly
safe. (SMILING) Go ahead and get your caffeine fix.
THE GUARD WALKS DOWN THE HALL AS KAYLA'S SMILE DISAPPEARS.
SHE TURNS AND SIMPLY STARES AT THE DOOR. SHE RAISES HER
HAND AND PLACES IT AGAINST THE DOOR.
KAYLA: (CONT'T) (SOTTO VOCE) Steve... (SIGHS AND BOWS HER HEAD)
When did just seeing you become this difficult...?
KAYLA DOES NOT MOVE FOR A LONG MOMENT, THEN TAKES A DEEP
BREATH BEFORE RAISING HER HEAD AND STRAIGHTENING HER
SHOULDERS. SHE STARTS TO OPEN THE DOOR. A NURSE, MARIA,
RUSHES TOWARD KAYLA.
MARIA: Wait! Mrs. Hunter, there's something you should know
before you go in there.
OUT ON KAYLA'S ANXIOUS EXPRESSION.
ACT I
PRIVATE HOSPITAL/HALLWAY OUTSIDE STEVE'S ROOM. KAYLA TURNS
AND LOOKS AT MARIA.
KAYLA: Is something wrong?
MARIA: It's nothing unexpected.
KAYLA: What do you mean?
MARIA: Mr. Johnson had a rough night. He's suffering from the
symptoms of post traumatic stress disorder. Do you know
what that is?
KAYLA: Yes. I'm a nurse.
MARIA: Have you ever worked with patients suffering from this
disorder?
KAYLA: No, but I've been reading about it a lot lately. How severe
are his symptoms?
MARIA: So far they've been ranging from mild to moderate. Last
night was particularly bad.
KAYLA: How bad?
MARIA: He was delusional for long periods of time.
KAYLA: Hasn't he been delusional before?
MARIA: Yes, but he's never been dangerous.
KAYLA: Dangerous?
MARIA: The doctors think it has to do with the severity of his
imprisonment. It was necessary to sedate him in order to
protect himself and others. I wanted to warn you about that
before you saw him.
KAYLA: I see. (BEAT) Thank you for warning me.
MARIA: You're welcome. Buzz me if there's anything you need.
MARIA TURNS AND WALKS BACK TO THE NURSES' STATION. KAYLA
STEPS UP TO STEVE'S DOOR. SHE PAUSES AS SHE REACHES FOR THE
DOOR HANDLE. KAYLA CLOSES HER EYES AND TAKES IN A DEEP
BREATH. SHE OPENS HER EYES AND SLOWLY OPENS THE DOOR.
GO TO: PRIVATE HOSPITAL/STEVE'S ROOM. KAYLA WALKS INSIDE AND
CLOSES THE DOOR BEHIND HER. AS SHE TURNS TO STEVE, SHE SEES
HIM LYING IN BED, IN RESTRAINTS. OUT ON KAYLA.
CUT TO: EUTERPE. SHANE AND JOHN. IN PROGRESS.
SHANE: So what's going on, John?
JOHN CONTINUES TO STARE AT THE WOLF'S-HEAD RING. HE
RESPONDS WITHOUT LOOKING UP.
JOHN: I dunno. Thinking about the past, I guess...
IAN PLACES SHANE'S DRINK IN FRONT OF HIM. SHANE TURNS AND
NOTICES IAN LOOKING AT HIS WATCH. SHANE SMILES.
SHANE: Hot date tonight, Ian?
IAN: Um... no. Why do you ask?
SHANE: In the few minutes I've been sitting here, I've seen you
look at your watch at least five times. I thought perhaps
you were anxious to leave.
IAN: (FROWNING) No, that's not it at all. I wish it were.
SHANE: Is something wrong?
IAN: Well, Captain Donovan, let me put it this way... It's ten
o'clock. Do you know where your daughter is?
SHANE: (LOOKS AT HIS WATCH) Ian, I think there's something wrong
with your watch. It's only about ten of three... Oh.
Sorry to be so literal. I take it Eve is late for work?
IAN: You could say that. Do you know where she might be?
SHANE: No, I don't. I'm sorry.
IAN: That's all right. It's not your job to make sure she gets
here on time.
IAN LOOKS AT HIS WATCH AND SCOWLS. DOUG APPROACHES.
DOUG: Hello, Shane.
SHANE: Doug...
DOUG: Ian, have you seen Eve?
IAN: Um... I think I saw her earlier.
DOUG: I can't find her anywhere.
IAN: She mentioned something about stepping out to run a quick
errand.
DOUG: It'd *better* be quick...
DOUG WALKS AWAY. SHANE LOOKS AT IAN.
IAN: Your daughter can be a lovely person when she wants to be.
She can also drive me completely insane.
SHANE SMILES HELPLESSLY.
IAN: (CONT'D) Excuse me...
IAN WALKS TOWARD THE OTHER END OF THE BAR.
SHANE: (SOTTO VOCE) You're not the only one, Ian. You're not the
only one.
SHANE TURNS BACK TO JOHN, WHO IS STILL GAZING AT HIS RING.
SHANE: (CONT'D) (SMILING) If you keep staring at that ring, it's
going to melt again.
JOHN: (TURNING TO SHANE) What...?
SHANE: Welcome back from wherever you were.
JOHN: Sorry, Shane. I've had a lot on my mind lately.
SHANE: I can see that. (BEAT) You still haven't answered my
question, by the way.
JOHN: What was that?
SHANE: I was wondering what has you in such a... thoughtful mood.
If you don't mind my asking...
JOHN: No, I don't mind. (SIGHS) I've been thinking about making
some changes in my life.
SHANE: Oh? Like what?
JOHN: Well, that's the part where I get stumped. I can't figure
out where to start.
SHANE: When I find myself in that position, I usually go with
whatever comes to mind first. (BEAT) If I can help in any
way...
JOHN: Actually, you can.
SHANE: How?
JOHN: The first thing that comes to mind is that I want to try to
find Danielle.
SHANE: I see.
JOHN: Do you think you could pull a few strings at the I.S.A. and
find out if they have any information?
SHANE: I could try. I must warn you, though, that I had to cash in
a lion's share of favors when I helped bring Steve Johnson
back.
JOHN: Sure... How's he doing?
SHANE: I guess he's steadily recovering. You haven't been to see
him?
JOHN: No, not yet. Roman called me up and we're planning to go
see him together once he's stronger. The whole identity
crisis thing is a lot to digest.
SHANE: That's the truth.
JOHN: Back to Dani... I'd appreciate any clues you can find.
SHANE: I'll do my best.
JOHN: Thanks, Guv'nor.
HOLD ON JOHN.
CUT TO: CJ'S LOFT. JULIE IS SITTING ON THE COUCH, POSING FOR CJ,
WHO IS FROWNING BEHIND THE CANVAS.
JULIE: You look perturbed, darling.
CJ: Just.... (DAUBS A BIT OF PAINT, FROWNS MORE DEEPLY, THEN
APPLIES A CLOTH TO REMOVE THE PAINT) just having a hard
time getting your eyes just right.
JULIE: Well, I look at them all the time in the mirror. Maybe I
could help...
CJ: (PUTS DOWN THE BRUSH) Very clever, Julie... but I'm one
step ahead of you.
JULIE: (SMILING INNOCENTLY) Whatever do you mean?
CJ: To "help" me, you'd have to look at the painting, right?
JULIE: Well... I *suppose* that would make the most sense.
CJ: You *are* good... but not quite good enough.
JULIE: I'm sure it's *gorgeous*, CJ. Are you sure I can't take
just a peek?
CJ: Flattery will get you everywhere... except on this side of
the canvas, until I'm good and done.
JULIE: I suppose that's your final word? No amount of flattery,
cajoling or batting eyelashes will convince you to let me
take just one quick look?
CJ: Nope.
JULIE: Beast!
CJ: Ooooh! (BEAT) Oh, wait! Hold that look for a moment!
CJ PICKS UP A BRUSH AND PAINTS FEVERISHLY FOR A FEW
MOMENTS, THEN STOPS.
CJ: (CONT'D) That's good for now. You can relax.
JULIE: Actually, I should be going.
CJ: So soon? I was hoping we could have a glass of wine and
talk.
JULIE: Another time, darling. I have *piles* of work to do since
Richard defected. See you later?
JULIE GRABS HER PURSE, BRUSHES A QUICK KISS ON CJ'S CHEEK,
AND HEADS FOR THE DOOR.
CJ: (BEMUSEDLY WATCHING HER LEAVE) Definitely... later.
AS JULIE OPENS THE DOOR, SHE NEARLY RUNS HEADLONG INTO
ASHLEY, WHO IS JUST POISED TO KNOCK.
JULIE: Ashley! Good! I'm afraid I've disappointed our dear boy,
so perhaps you can cheer him up again... 'Bye!
ASHLEY: (WATCHING JULIE LEAVE WITH CURIOSITY) 'Bye. (TO CJ)
Should I ask what that was about?
CJ: (BRUSHES HIS CHEEK ABSENTLY WHERE JULIE KISSED IT) Just the
life of an artist. (BEAT) What brings you by?
ASHLEY: I'm on a quest.
CJ: Well, I've checked all the cabinets, and I'm fresh out of
Grails.
ASHLEY: Very funny... but don't toss all your paints to become a
stand-up comedian. I'm on a quest... for *fun*!
CJ LOOKS AT ASHLEY WITH INTEREST. OUT ON CJ.
ACT II
JACK AND JENNIFER'S LIVING ROOM. CALLIOPE, ABIGAIL, JACK,
AND JENNIFER. IN PROGRESS
CALLIOPE: Are you ready to go house hunting, Deverauxs? We are going
to have so much fun! I have a good feeling about this, I
really do. You're going to find the house of your dreams
today, or my names isn't Calliope Jones Bradford.
ABIGAIL: Your earrings are houses!
CALLIOPE KNEELS DOWN IN FRONT OF ABIGAIL.
CALLIOPE: Do you like them? I'll get you your very own pair when
you're bigger.
ABIGAIL: They look just like my doll house. Wanna see it?
AS ABIGAIL LEADS CALLIOPE OVER TO THE DOLL HOUSE, JACK PULLS
JENNIFER ASIDE.
JACK: Are you sure this is wise?
JENNIFER: We're not going to go through this again. I thought we
agreed that moving into a bigger house is the best option
for everyone concerned.
JACK: I'm not talking about that. I'm talking about the
questionable reasoning behind hiring a woman with "For Sale"
embroidered all over her skirt.
JENNIFER: Jack! For heaven's sake, it's Calliope!
JACK: I know. That's why I think we should worry.
CALLIOPE AND ABIGAIL COME BACK TO JOIN JACK AND JENNIFER.
CALLIOPE: Abby was just showing me her dollhouse. She's quite the
little decorator already. If I were you, Jennifer, I'd put
this kid to work.
JENNIFER SMILES DOWN AT ABIGAIL.
JENNIFER: (TO CALLIOPE) I suppose you'll need to know what we're
looking for. Something bigger than this place, obviously.
But nothing pretentious or stuffy.
JACK: But with lots of curb appeal.
JENNIFER: Something warm and homey.
JACK: Elegantly understated and refined.
CALLIOPE GRINS AND HOLDS OUT HER HAND TO ABIGAIL.
CALLIOPE: I know *exactly* what you're looking for. What are we
standing around here for? Let's get started!
HOLD ON THE GROUP.
CUT TO: EUTERPE. NICK ENTERS AND BEGINS LOOKING AROUND THE ROOM.
MOMENTS LATER, EVE RUSHES IN LIKE A WHIRLWIND. NOT LOOKING
WHERE SHE IS GOING, SHE RUNS HEADLONG INTO NICK. THERE IS
NOTHING HE CAN DO BUT CATCH HER. HE HOLDS HER FOR A MOMENT,
STEADYING HER ON HER HEELS.
NICK: Never did know how you managed to walk on those things...
but you still wear 'em well, Evie.
EVE LOOKS AT NICK WITH A MIXTURE OF UNCERTAINTY AND WARMTH.
THEN SHE COLLECTS HERSELF, SQUARES HER SHOULDERS, AND PULLS
AWAY FROM HIM.
EVE: Thanks for the hand... I'm fine on my own, now.
NICK: Fine.
NICK TURNS AWAY AS EVE WALKS AROUND TO GO BEHIND THE BAR.
SHE STOPS FOR A MOMENT AND LOOKS BACK AT NICK. SHE SIGHS
DEEPLY, THEN TURNS AROUND TO JOIN IAN BEHIND THE BAR. AS
HE WALKS OVER TO MEET HER, HER PENSIVENESS FADES AND HER
SMILE RETURNS. IAN MEETS HER AT THE END OF THE BAR.
IAN: Where the hell have you been?
EVE: Where I prefer to be these days... with Jordan. We had the
*best* time.
IAN: I'm *so* glad to hear it. It makes it *so* much easier for
me to know that you were having fun while I was doing *your*
job and covering for you.
EVE: Oh, there's no need to be such a grouch...
IAN: Tell you what... how about *I* show up for work an hour late
sometime and *you* have to cover for me? We'll see how full
of sweetness and light you are then!
IAN ANGRILY STOMPS OFF TOWARD THE SOUND BOOTH AS EVE
STARES AFTER HIM, SLIGHTLY SHOCKED. HOLD ON EVE.
CUT TO: CJ'S LOFT. CJ AND ASHLEY. IN PROGRESS.
CJ: A quest for fun, eh? What kind of fun?
ASHLEY: I dunno. I'm bored and Richard's busy working...
CJ: (GRINNING) Working? On a weekday? The nerve of him!
ASHLEY: Oh, shut up! I'm looking for fun, not for someone to take
over Richard's role of Mr. Smart-ass.
CJ: I'm *so* sorry.
ASHLEY: Yeah, I'll bet. Anyway... I don't know too many people in
Salem yet, at least not socially. I was hoping you could
show me around town.
CJ: I could try. I've only been here a few months longer than
you.
ASHLEY: But you lived here when you were little, didn't you?
CJ: Who...? You've been talking to Julie, haven't you?
ASHLEY: She's told me a few things.
CJ: I'm sure.
ASHLEY: So, are you going to show me around?
CJ: All right. I just need a few minutes to clean up.
ASHLEY: Sure. No problem...
ASHLEY WALKS OVER TO THE EASEL. BEFORE SHE CAN LOOK AT THE
PAINTING, CJ PULLS A SHEET OVER IT.
CJ: Uh-uh. No peeking.
ASHLEY: Oh, come on...
CJ: No. Absolutely not. Until it's finished, no one sees this
painting but me.
ASHLEY: Insecure, are we?
CJ: Not at all.
ASHLEY ROLLS HER EYES.
ASHLEY: Of course not.
CJ: It's just the way I work.
ASHLEY: Fine.
CJ PICKS UP HIS BRUSHES AND TAKES THEM OVER TO THE SINK.
WHEN HE TURNS TO LOOK BACK AT ASHLEY, SHE IS REACHING FOR
THE SHEET. CJ DROPS THE BRUSHES IN THE SINK AND RUSHES
OVER.
CJ: What do you think you're doing?
ASHLEY: (SHRUGGING) I can't help it. I'm a journalist. It's part
of my nature.
CJ: Well, you're going to have to resist your nature.
ASHLEY: Oh, yeah?
CJ: Yeah.
ASHLEY: What if I don't?
CJ: Then I'll just have to take you into the shower with me so I
can keep an eye on you.
ASHLEY: Oooh, I'm scared.
CJ: (SMIRKING) You should be.
ASHLEY: Just try it. Then you can paint *and* sing soprano.
CJ: I'm serious. Don't look at the painting. (BEAT) Please.
ASHLEY: Oh, all right. You win.
CJ: Thank you.
ASHLEY: Just hurry up with that shower, will you? There's a limit
to how long I can resist my curiosity.
CJ: I won't be long.
CJ GOES INTO THE BEDROOM AND CLOSES THE DOOR. ASHLEY LOOKS
AT THE BEDROOM DOOR AND THEN LOOKS AT THE COVERED PAINTING.
SHE LOOKS AT THE DOOR ONE MORE TIME. SHE REACHES FOR THE
SHEET BUT THEN STOPS HERSELF.
ASHLEY: Dammit...
ASHLEY HUFFS AND PLOPS DOWN IN A CHAIR. SHE LOOKS BACK AT
THE DOOR.
ASHLEY: (CONT'D) I guess it's true, what they say about artists
being temperamental.
SHE FOLDS HER ARMS IN FRUSTRATION. OUT ON ASHLEY.
ACT III
PRIVATE HOSPITAL/STEVE'S ROOM. KAYLA STARES AT STEVE.
KAYLA: (WHISPERS) Steve...
SHE WALKS OVER TO STEVE'S BED AND HITS THE BUTTON TO CALL
THE NURSE. SHE BEGINS UNTYING THE RESTRAINTS HOLDING
STEVE'S WRISTS. HE WAKES UP AND SMILES AT HER.
STEVE: Hey, Sweetness...
KAYLA: Don't worry, Steve, I'll have you out of these in a second.
STEVE: Take your time, baby. I ain't goin' nowhere.
NURSE MARIA ENTERS. SHE WALKS OVER TO THE BED.
MARIA: What is going on here?
KAYLA: That's what I'd like to know. How *dare* you tie him up and
then leave him alone. Don't you know he was held prisoner?
Do you want him to relive that?
STEVE: Sweetness...
KAYLA: (TO MARIA) I don't *ever* want to walk in here and find him
in restraints. If you think it's necessary, then you call
me or my... Dr. Hunter, first. Is that clear?
STEVE: Kayla, calm down. It's okay.
KAYLA: No, it's not.
MARIA: If I could interject here, I'd like to remind you that Mr.
Johnson was put in restraints for his own good. We didn't
want him to injure himself during one of his... episodes.
And as for reliving his time in captivity, he's been doing
that all on his own.
STEVE: (SOFTLY) Sweetness...
STEVE PUTS HIS HAND ON KAYLA'S. SHE EXHALES AND SEEMS TO
CALM DOWN.
KAYLA: (TO MARIA) I'm sorry. I know you're just doing your job.
MARIA: We're on the same side. We all want Mr. Johnson to get
better.
KAYLA: I realize that. I just have a problem with some of the
methods being used.
MARIA: If that's the case, you should probably talk to Dr. Skinner.
KAYLA: You bet I will.
STEVE: Ladies, ladies... please. I'm fine. Let's drop it, okay?
MARIA: All right, Mr. Johnson. Buzz me if you need anything.
STEVE: Thanks.
MARIA EXITS. KAYLA GLARES AT THE DOOR AS IT CLOSES. WHEN
SHE TURNS BACK TO STEVE, HE IS SMILING AT HER.
KAYLA: What? What are you smiling at?
STEVE: You. It's nice to see you acting like a lioness, protecting
your man.
KAYLA: I... I couldn't let them treat you like that.
STEVE: It's been a long time since you stood up for me like that.
Remember when it was you and me against the world?
KAYLA: (QUIETLY) I remember.
STEVE: There's something else I remember... something special.
KAYLA: What's that?
STEVE: Happy anniversary, Sweetness.
KAYLA'S EYES BRIM WITH TEARS. TO COVER, SHE TURNS AWAY TO
POUR HERSELF A GLASS OF WATER.
STEVE: (CONT'D) I would have gotten you something, but this place
doesn't have a gift shop and they won't let me drive yet.
STEVE SMILES. KAYLA, STILL FACING AWAY FROM HIM, WIPES A
TEAR FROM HER FACE.
STEVE: (CONT'D) Kayla? Are you okay?
KAYLA INHALES SHARPLY AS ANOTHER TEAR FALLS DOWN HER FACE.
HOLD ON KAYLA'S ANGUISH.
CUT TO: EUTERPE. SHANE AND JOHN. IN PROGRESS.
SHANE: So, what prompted this desire to find Danielle? Did
something happen?
JOHN: No, not really. Why?
SHANE: Just looking for clues, old man. I thought maybe you had
heard something, some news...
JOHN: Nope, not a word. That's why I asked you.
SHANE: Good point. I wonder, though... Should I be looking for
Danielle Stevens or for Romulus? Do you think she's going
to go back to her "work"?
JOHN: I can't say for sure. I'd like to think not. Before, she
was stealing to pay for her mother's care. She doesn't have
to do that anymore.
SHANE: Thanks to you.
JOHN: Well, she *is* my mother-in-law... sort of.
SHANE: What if Danielle has pulled another vanishing act? What if
she simply doesn't want to be found?
JOHN: I thought that was one of the things the I.S.A. does best...
finding people who don't want to be found.
SHANE: Like I said, I'll do my best. (BEAT) Suppose we *do* find
her. What then?
JOHN: I dunno. I haven't thought that far ahead yet.
SHANE: Making up the plan as you go along, eh?
JOHN: Basically. I'm not even sure what I'm hoping will happen.
I just know that I'm looking for *something*. (SIGHS) Ever
since IzzyB died, I've felt like I don't really have an
anchor in my life. I don't have a clear purpose, a reason
for being... except for taking care of Brady, of course.
SHANE: Of course. (BEAT) Let me get this straight... You think
Danielle might be an *anchor* for you?
JOHN: Maybe not. But I can't rule it out. Deep down, I know that
Danielle's looking for something, something in life to hang
on to. Just like me. Maybe, between the two of us, we can
figure out exactly what it is we're looking for. Maybe we
can even help each other find it.
SHANE: Sounds a little like the blind leading the blind.
JOHN: (SMILING) Yeah... it does, doesn't it? (BEAT) Still, it
feels like the right thing to do. And you were the one who
said to go with my first instinct.
SHANE: I was, wasn't I?
JOHN NODS.
SHANE: (CONT'D) All right, John. I'll see what I can find out.
JOHN SMILES AND RAISES HIS GLASS. SHANE TAPS HIS GLASS TO
JOHN'S. JOHN TAKES A DRINK AS SHANE WATCHES HIM WITH SLIGHT
CONCERN. HOLD ON SHANE.
CUT TO: CALLIOPE'S CAR. CLIPBOARD IN HAND, CALLIOPE TURNS TO JACK,
JENNIFER, AND ABIGAIL.
CALLIOPE: Are you guys ready to find the house of your dreams?
JENNIFER: Absolutely!
CALLIOPE, JENNIFER, AND ABIGAIL STEP OUT OF THE CAR. JACK
REMAINS IN THE CAR, SITTING WITH HIS ARMS CROSSED. THE CAR
DOOR OPENS AND JENNIFER REACHES IN AND PULLS JACK OUT OF THE
CAR. THE SONG "OUR HOUSE," BY MADNESS, BEGINS TO PLAY IN
THE BACKGROUND.
GO TO: INTERIOR OF A DARK GOTHIC MANSION. JENNIFER AND ABIGAIL
STAND SHIVERING ON THE COLD MARBLE FLOOR. JACK WALKS DOWN
THE IMMENSE STAIRCASE, EACH STEP ECHOING AFTER THE OTHER.
CALLIOPE RESTS AGAINST A STATUE NEAR THE ENTRANCE. SHE
TURNS TO LOOK AT THE STATUE AND SCREAMS WHEN SHE SEES THE
UGLY AND FEROCIOUS GARGOYLE STARING BACK AT HER. THEY
QUICKLY EXIT THE HOUSE.
GO TO: EXTERIOR OF A LOVELY SPANISH STYLE VILLA. JENNIFER SMILES
AS SHE ADMIRES THE LARGE OAK TREE IN FRONT OF THE HOUSE.
CALLIOPE: I think you're going to like this one. You won't believe
how low it's listed.
JACK LOOKS AT THE LISTING SHEET.
JACK: I wonder why the price is so low? It looks like a good
structure in a decent neighborhood...
A LOW RUMBLING IS HEARD IN THE DISTANCE.
JENNIFER: What's that sound?
CALLIOPE: What sound?
THE RUMBLING INCREASES.
JENNIFER: That sound. It's like thunder.
JACK: (LOOKING UP THE STREET) I don't see anything.
SUDDENLY, A 747 APPEARS IN THE SKY DIRECTLY ABOVE THEM AND
THE HOUSE. IT IS FLYING FAIRLY LOW WITH ITS LANDING GEAR
EXTENDED. ABIGAIL BEGINS TO CRY. JENNIFER PICKS UP ABIGAIL
AND TAKES HER BACK TO THE CAR. JACK AND CALLIOPE COVER
THEIR EARS. ONCE THE AIRPLANE PASSES, JACK WALKS UP TO
CALLIOPE AND CRUMPLES UP THE LISTING SHEET.
JACK: Now we know why it's priced so low. This house is directly
underneath the landing path of Salem International.
CALLIOPE: Oops. On to the next house...
GO TO: INTERIOR OF A TASTELESSLY DECORATED HOUSE. THE WALLS ARE
LINED WITH RED VELVET WALLPAPER AND THE CARPETS ARE A DEEP
SHAG GREEN. THE MOLDING ALONG THE WALLS ARE LINED WITH GOLD
ACCENTS. SEVERAL PAINTINGS LINE THE WALLS.
CALLIOPE: I hope these paintings don't come with the house.
JACK: I wouldn't be surprised to find a painting of dogs playing
poker...
JENNIFER WALKS OUT OF THE KITCHEN, HOLDING ABIGAIL BY THE
HAND.
JENNIFER: Jack, each room just gets uglier and uglier.
JACK: Just like these paintings.
ABIGAIL STOPS IN FRONT OF ONE OF THE PAINTINGS.
ABIGAIL: Look, Daddy, this person isn't wearing any clothes.
JACK QUICKLY COVERS ABIGAIL'S EYES AND LEADS HER OUTSIDE.
JENNIFER AND CALLIOPE FOLLOW.
GO TO: UGLY TASTELESS HOUSE/EXT.
CALLIOPE: Okay, I admit that so far we've had a less than successful
day.
JACK: I'd say it's been a downright disaster.
JENNIFER: I'm starting to wonder if our dream house is even out there.
CALLIOPE: Never fear! I saved the best for last.
JACK: There's more?
CALLIOPE: Yes. I guarantee that you'll love this one.
JACK: (SOTTO VOCE) Oh, joy.
JENNIFER ELBOWS JACK IN THE RIBS.
JENNIFER: Tell us about it.
CALLIOPE: This house just got listed on the market today. I know it's
going to be perfect for you.
CALLIOPE PULLS THREE SCARVES OUT OF HER PURSE AND HANDS ONE
TO JACK, JENNIFER, AND ABIGAIL.
CALLIOPE: (CONT'D) Put these on. I want this one to be a surprise.
JACK: I will *not* wear a blindfold.
JENNIFER: Oh, come on, Jack. This should be good.
JACK: Oh, it better be.
OUT ON JACK'S SKEPTICISM.
ACT IV
EUTERPE. NICK SPIES DOUG AT A TABLE AND WALKS OVER. DOUG
STANDS AND GREETS NICK WITH A HANDSHAKE. THEY BOTH SIT.
DOUG: Thanks for coming, Nick.
NICK: No problem. You said on the phone this was about the
Officers' Ball?
DOUG: Yes. Abe and Janet reminded me that the two of us promised
to help with the food and the entertainment.
NICK: Lynn and Sam are willing to help out in the entertainment
department. I assume you'll be singing, too?
DOUG: Maybe. I've got Aki and Lorenzo coming up with some sample
menus, but I really think that whiskey-soaked steak that
your chef does would be a fabulous entree.
NICK: I'll see if Billy can be talked into it. I've gotta warn
you, though. After a night of cooking that, he's in no
shape to drive himself home!
JULIE BREEZES UP TO THE TABLE. BOTH DOUG AND NICK STAND TO
GREET HER. DOUG PULLS OUT A CHAIR FOR HER.
JULIE: Hello, darling. Hello, Nick. It's lovely to see you again.
DOUG: Nick and I are just going over the plans for the Officers'
Ball. I'm sure you could help us think of something really
smashing.
JULIE: You don't need my help. I'm sure that two *interesting* and
colorful men like yourselves can come up with all kinds of
original ideas.
DOUG KISSES JULIE'S HAND.
DOUG: The most interesting thing that's ever happened in my book
was when this ex-con man met his Fair Lady.
NICK'S EYES DART OVER TO EVE. JUST AS QUICKLY, THEY DART
BACK TO DOUG AND JULIE. HE FINDS JULIE LOOKING AT HIM
KNOWINGLY. SHE ARCHES HER BROW.
JULIE: And what about you, Nick? What was the most interesting
thing that's ever happened to you?
NICK: Don't even go there, Julie. I'm certainly not going to.
JULIE: I don't have any idea what you mean, darling.
NICK: Yeah, you do. And you know as well as I do that she's in
the past and that's where she's going to stay.
DOUG LOOKS CONFUSED UNTIL HE SPIES EVE AT THE BAR. HOLD
ON DOUG'S DAWNING COMPREHENSION.
CUT TO: PRIVATE HOSPITAL/STEVE'S ROOM. STEVE AND KAYLA. IN
PROGRESS.
STEVE: I was just thinkin' of you, Sweetness. Thinkin' back...
eight years ago... You remember?
KAYLA: Of course I do... how could I forget?
FADE TO: THE DECK OF A BEAUTIFULLY DECORATED SHIP. STEVE AND KAYLA
STAND, LOOKING AT EACH OTHER WITH UTTER ADORATION. STEVE
SPEAKS HIS VOWS.
STEVE: I'm standing here and I still can't believe that I deserve
you. I wouldn't be the man I am right now if it wasn't for
you. I thought I was brave, but I found out that it takes
more courage to open up to another person. I thought I was
strong, but you showed me that it takes more strength to let
people see your feelings. And I thought I knew how to love,
but now I know that it's much harder to let someone love me.
That someone is you. You saw into my heart when no one else
could and you believed in me. So I'm gonna spend the rest
of my life livin' up to the faith you have in me. I don't
have much, baby, but what I have is yours. I'm yours. I
love you, Sweetness.
KAYLA WIPES TEARS FROM HER EYES AND BEGINS TO SPEAK.
KAYLA: When I was a little girl, I dreamed of loving a man who was
brave and strong and true, a romantic wedding on the water
surrounded by the people I love the most. I never told that
secret dream to anyone, but somehow you found out. You gave
me the dream. You made it come true. There's just one
thing that's different. It's far more wonderful than I ever
imagined. I dreamed of being in love, I never dreamed of
sharing my soul. I dreamed of sharing my thoughts, but I
never dreamed that someone could hear me without words. In
my darkest trouble, in my coldest silence, I looked for you
and you were there. I am yours forever. I love you.
FADE TO: PRIVATE HOSPITAL/STEVE'S ROOM. STEVE SMILES.
STEVE: It seems like just yesterday...
KAYLA: And a lifetime ago. We'd gone through so much to get to
that day. So much came between us before we got our "happy
ending."
STEVE: I was the guy who didn't even believe in happy endings. I'd
grown up to expect the worst every time. But you made me a
believer.
KAYLA: But there were so many times *I* had a hard time believing
we'd ever be together. There was so much pain for everyone
involved.
STEVE: A lotta pain and bad decisions, that's for sure. But we
made it through.
KAYLA: And ended up together.
STEVE: The way it was supposed to be. That's how I made it through
everything that happened to me, knowing that once before, we
made it through hell to be together, so it could happen
again.
KAYLA: And you made it home...
STEVE: (SOFTLY) And soon, I'll be *really* home, with you and
Little Sweetness, and we can start making those dreams we
dreamed together back then come true.
STEVE SQUEEZES KAYLA'S HAND TIGHTLY AND DRIFTS OFF TO SLEEP.
KAYLA GENTLY DISENTANGLES HER HAND AND SLIPS FROM THE ROOM.
JUST BEFORE SHE WALKS OUT THE DOOR, SHE LOOKS BACK WISTFULLY
AT STEVE.
KAYLA: (WHISPERING) I love you....
KAYLA LEAVES THE ROOM. HOLD ON STEVE, SMILING IN HIS SLEEP.
CUT TO: SALEM PLACE. CJ AND ASHLEY ARE WALKING ALONG THE STORE
FRONTS. ASHLEY STOPS IN FRONT OF BALLISTIX AND LOOKS INSIDE
THE WINDOW. CJ STOPS, BUT LOOKS AROUND AT THE OTHER STORES.
ASHLEY: Oooh, check out that outfit. Is that hot or what?
CJ: (DISTRACTED) What?
ASHLEY: Yeah, you're right. That's not really my color.
ASHLEY TURNS AROUND AND SEES CJ LOOKING IN THE OPPOSITE
DIRECTION.
ASHLEY: (CONT'D) Hey, you weren't even looking!
CJ: Sorry. (POINTING) Let's go into that store.
CJ STARTS TO WALK AND ASHLEY QUICKLY CATCHES UP TO HIM.
ASHLEY: What store is this?
CJ: We've *got* to go in here.
ASHLEY LOOKS AT THE STORE SIGN BEFORE ENTERING.
ASHLEY: The Wizard's Zone? What kind of store is this?
GO TO: THE WIZARD'S ZONE/INT. ASHLEY AND CJ WALK INTO THE STORE.
CJ IMMEDIATELY HEADS TO A SECTION FILLED WITH COMIC BOOKS.
ASHLEY LOOKS AROUND THE STORE. IT IS FILLED WITH HIGH-TECH
TOYS AND COSTUMES. ASHLEY PICKS UP A TOY RAY GUN AND WALKS
OVER TO CJ. SHE "SHOOTS" THE RAY GUN AT CJ. CJ DOES NOT
REACT.
ASHLEY: (CONT'D) Hey! I shot you. Shouldn't you be dead?
CJ STANDS TALL WITH BOTH HANDS ON HIS HIPS.
CJ: I'm invincible.
IN THE BACKGROUND, THE SONG "SUPERMAN," BY R.E.M., BEGINS TO
PLAY. ASHLEY PLAYS WITH A FEW MORE TOYS BEFORE TURNING BACK
TO CJ. SHE IS WEARING A CATWOMAN MASK.
ASHLEY: So, are you really into comic books?
CJ: Yeah. I always have been. I even dabbled in a graphic arts
degree at one point.
ASHLEY: I'm sure you'd be great. (BEAT) What's your favorite
comic?
CJ PICKS ONE OUT OF THE STACK AND HANDS IT TO ASHLEY.
ASHLEY TAKES OFF THE MASK TO LOOK AT THE COMIC BOOK.
CJ: This one. I've collected nearly all of the series.
ASHLEY: He's a definite hunk. If you want my opinion, Lois is a
wimp.
CJ TAKES THE COMIC BOOK FROM ASHLEY AND PLAYFULLY SLAPS HER
WITH IT. SHE LAUGHS AND SWATS HIM WITH A MAGIC WAND. OUT
ON THEIR PLAYFULNESS.
ACT V
CALLIOPE'S CAR. CALLIOPE SMILES AND TURNS TO A BLINDFOLDED
JACK IN THE FRONT SEAT. JENNIFER AND ABIGAIL SIT IN THE
BACK SEAT, BLINDFOLDED AS WELL.
CALLIOPE: This time I *know* I've found the right house. It's just
perfect for you.
JACK LIFTS A CORNER OF HIS BLINDFOLD, LOOKS OUT AT THE
HOUSE, AND SIGHS. HE PULLS OFF THE BLINDFOLD.
JACK: Calliope, this *is* our house.
CALLIOPE: I know. Can't you just picture yourselves living here?
JENNIFER PULLS OFF HER AND ABIGAIL'S BLINDFOLD. ABIGAIL IS
SLEEPING AND DOES NOT NOTICE HER BLINDFOLD BEING REMOVED.
JACK: Of course I can, because we already live here.
CALLIOPE LOOKS AT THE HOUSE, SQUINTING.
CALLIOPE: Now that I look at it again, it *does* look familiar. No
wonder it just came on the market today. I'm sorry.
JENNIFER REACHES OVER AND SYMPATHETICALLY PATS CALLIOPE ON
THE SHOULDER. JACK WEARILY EXITS THE CAR. HE OPENS THE
BACK DOOR AND PICKS UP THE SLEEPING ABIGAIL BEFORE GOING
INTO THE HOUSE. JENNIFER AND CALLIOPE BOTH EXIT THE CAR.
GO TO: JACK AND JENNIFER'S HOUSE/EXT. JENNIFER AND CALLIOPE
PAUSE ON THE DOORSTEP.
JENNIFER: Don't worry about Jack. He's just tired and frustrated.
CALLIOPE: Should I keep looking?
JENNIFER: Of course. We're still very anxious to move.
CALLIOPE: I'll let you know if I see anything. I promise to read the
addresses more carefully next time.
JENNIFER: Thanks for taking us around today. I'm confident that
you'll find something that will knock our socks off.
HOLD ON JENNIFER'S WEARY SMILE.
CUT TO: EUTERPE. EVE ENTERS THE SOUND BOOTH. IAN GLARES AT HER AND
THEN TURNS AWAY.
EVE: Oh... nice look! Are you trying to kill me with that stare
of yours?
IAN: Not right away. That would be too merciful.
EVE: What is your problem?
IAN: (WHIRLING AROUND) *You're* my problem! When are you going
to grow up?
EVE: What are you talking about?
IAN: I'm sorry... which word didn't you understand?
EVE: You know what I mean... I *am* grown up.
IAN: You could've fooled me.
EVE: You're just jealous.
IAN: Jealous? Of what?
EVE: Of me. I'm in a relationship with a wonderful person, and
you're jealous because I'm so happy.
IAN: (ROLLING HIS EYES) Oh, please... Spare me another
testimonial about the wonders and virtues of Saint Jordan,
will you? You sound like a giddy teenager.
EVE: You are *such* a two-faced jerk.
IAN: *I'm* the jerk? I'm the one that covered for you while you
were out with Mr. Wonderful...
EVE: You always talk about being my friend and wanting to see me
happy. Well, in case you hadn't noticed, I *am* happy! I
haven't been this completely happy in a really long time.
IAN: So you say...
EVE: There you go again! Why can't you just be happy for me?
Why do you always try to tear Jordan down?
IAN: I just don't trust the guy.
EVE: Well, I do. This is the first time I've had a relationship
that's all about being happy and having fun. For once, I
don't have to deal with a bunch of baggage.
IAN: Everyone has baggage.
EVE: A while ago, I would have believed you. My past
relationships have had more than their fair share. Frankie
was always obsessed with Jennifer. He tried to turn me into
a Jennifer clone, Ms. All-American Barbie Doll.
IAN: What about Nick?
EVE: Nick? Nick Corelli has so much baggage, he needs a separate
plane to carry it all. He pulled me close and pushed me
away so many times, I had a non-stop case of emotional
whiplash. And then he disappeared and let me think he was
dead. I was even arrested for his murder!
IAN: All right. That's a lot to swallow, but...
EVE: (INTERRUPTING) But nothing. I had just about given up on
relationships when Jordan came along. He doesn't know about
all the mistakes I've made in the past, and he doesn't care.
He accepts me for who I am now and doesn't judge me. With
Jordan, I can start with a clean slate. I didn't think I'd
ever be able do that with anyone in this town again. But I
can, and I'm going to enjoy it.
IAN: And you should. I really do want you to be happy, Eve...
EVE: (INTERRUPTING) Then what's the problem?
IAN: It's great that you're happy. But you can't just divorce
yourself from your past and forget about it. Your past is
part of you whether you like it or not.
EVE: I know that.
IAN: And you can't just ignore the parts of your past that you
don't like. If you can't bring your whole self into a
relationship, then it's not much of a relationship.
EVE: Right. Like you're such an expert on relationships.
IAN: Tell me, Eve... what do you really know about Jordan?
Anything?
EVE: I know him.
IAN: And how much have you told him about yourself?
EVE: I've told him enough.
IAN: Sure you have.
EVE: Why can't you just let us be happy?
IAN: Will you be?
EVE: Yes.
IAN: I'm sorry, but I'm not so sure. How can you build a real
future if you leave out pieces of your past?
EVE: Forget it. I don't have to listen to this...
EVE TURNS AND EXITS IN A HUFF. IAN WATCHES THE DOOR CLOSE.
HE RUBS HIS CHIN THOUGHTFULLY.
GO TO: THE BAR. EVE WALKS OVER, SITS DOWN ON A STOOL, AND LOOKS
BACK TOWARD THE SOUND BOOTH. SHE SIGHS AND RESTS HER CHIN
ON HER HAND. SHE STARES INTO SPACE, LOST IN THOUGHT. HOLD
ON EVE'S CONTEMPLATION.
CUT TO: JANET'S OFFICE. THERE IS A KNOCK AT THE DOOR. SECONDS
LATER, SHANE OPENS THE DOOR AND STICKS HIS HEAD INTO THE
ROOM.
SHANE: Janet, I was wondering...
SHANE STOPS WHEN HE SEES JANET AND ABE TALKING.
JANET: (TO ABE) It's depressing, any way you look at it. (TO
SHANE) Did I miss the part where I said that you could come
in? You're ruining your image as the perfect British gent.
SHANE: (GRINNING SHEEPISHLY) I must have lost my manners somewhere
between Picadilly Circus and Leicester Square. (BEAT) May
I come in?
JANET: (SMILING) Of course.
ABE: But I wouldn't advise it. You might want to run for your
life.
SHANE: That bad?
ABE: Worse.
JANET: He doesn't even know what we were talking about, Abe.
SHANE: But I can make a guess. I have a 50/50 chance of getting it
right. After all, there are only two topics of conversation
around this place... the Officers' Ball or Lawrence Alamain.
Which particular menace to society has you two longing for
anti-depressants?
JANET: The Ball is *not* a menace to society.
ABE LOOKS RATHER SKEPTICAL.
SHANE: I take it that the problem is with the Ball.
JANET: No, the problem is with the *menu*.
ABE ROLLS HIS EYES.
ABE: Here we go again...
THE OFFICE DOOR BURSTS OPEN AND SPENCER WALKS IN.
SPENCER: It's a good thing that D.A.s don't carry guns, because if we
did, I would be going postal by now.
JANET OPENS HER DESK DRAWER REMOVES A LEGAL PAD AND STARTS
WRITING SOMETHING.
SHANE: What are you doing, Janet?
JANET: I'm making a note to remind myself to buy copies of Miss
Manners and Emily Post as Christmas gifts for both you and
our esteemed D.A.
SPENCER: Is anyone listening to me?
ABE: If what you have to say is going to make me go through the
last of my roll of Tums, the answer is no.
SPENCER: Then I guess you don't want to know that Lawrence Alamain is
being released from prison.
ABE/
SHANE/
JANET: What?!
SPENCER: I thought that would get your attention.
JANET: Well, now you *have* our attention. What's this about
Lawrence being released from prison?
SPENCER: He hasn't been released yet, and he won't be if I have
anything to say about it.
JANET: Then why this sudden urge for firearms?
SPENCER: Because Marchand's vocal temper tantrums have finally gotten
him what he wanted. A hearing is already scheduled on the
court calendar.
SHANE: What exactly does this mean?
SPENCER: It could mean just about anything. The judge could throw
Marchand out, saying he is wasting the court's time... Or
he could throw out *our* case, saying that without a murder
victim, we didn't have enough evidence to make a prima
fascia case and Lawrence should never have been brought to
trial. In short, Alamain's conviction could be overturned.
JANET: That can't happen!
SPENCER: There's a sizeable gap between what *shouldn't* happen and
what *can't* happen.
SHANE: I thought the case against Lawrence was based on the
conspiracy to commit murder, not an actual murder.
SPENCER: That's right. And that's solid. That's our case and it is
just as valid today as the day the jury pronounced Alamain
guilty.
SHANE: Then what's the problem?
SPENCER: The problem is that sometimes judges are laws unto
themselves... or they can become so focused on the technical
aspects of the law that they lose sight of the *intent* of
the law. A stickler for rules of evidence might see some
problems with our case. I hate to say it, but Johnson's
return from the dead wasn't exactly the best thing that
could have happened for us.
SHANE: You should hate yourself for saying that.
SPENCER: What I hate is the idea that Alamain could get off after
doing less time in prison than his victim did.
OUT ON SPENCER'S FROWN.
ACT VI
PRIVATE HOSPITAL/STEVE'S ROOM. THE ROOM IS DARK. SOME
CLOUDS CLEAR OUTSIDE AND, BY THE LIGHT OF THE MOON, STEVE
CAN BE SEEN ROAMING AROUND THE ROOM. HE IS AGITATED. HE
TRIES TO OPEN THE WINDOW.
STEVE: (MUTTERING) Gotta get out of here. Gotta get *out*.
STEVE RUNS TO THE DOOR AND TRIES TO OPEN IT, BUT IT MUST BE
LOCKED. HE STARTS BEATING ON IT WITH HIS HANDS.
STEVE: (CONT'D) (SHOUTING) Let me out of here! You have no right
to keep me here, dammit! I'm an American citizen! You
can't keep me hear against my will! Let me go!
THE SOUND OF A KEY IN THE LOCK IS HEARD. STEVE STANDS BACK
AS MARIA AND A LARGE ORDERLY COME INTO THE ROOM. MARIA IS
HOLDING A SYRINGE. SEEING IT, STEVE BACKS AWAY, ENDING UP
IN THE CORNER. HE SLIDES DOWN TO THE FLOOR AND STARTS
ROCKING BACK AND FORTH.
STEVE: No, no, no. Not again. I'll be good. I promise.
MARIA WARILY SITS DOWN NEXT TO STEVE.
MARIA: Mr. Johnson? Do you remember me? Do you know where you
are? You're in a hospital. This is medicine to help you
get well.
STEVE CONTINUES TO SHAKE AND ROCK. MARIA MANAGES TO INJECT
HIM WITH THE SEDATIVE. TOGETHER, SHE AND THE ORDERLY
MANAGE TO COAX STEVE OFF THE FLOOR AND OVER TO THE BED.
THEY GET HIM SETTLED UNDER THE SHEETS.
MARIA: You've been through a lot, Mr. Johnson. You just go to
sleep now. In the morning, things will look better.
SHE TURNS TO GO, BUT STEVE GRABS HER ARM. SHE LOOKS
MOMENTARILY FRIGHTENED, BUT MASKS IT. STEVE IS CRYING NOW.
STEVE: Sweetness? Baby, don't go. Don't leave me, Kayla. I need
you.
MARIA CATCHES THE ORDERLY'S EYE. HE NODS AND LEAVES THE
ROOM. SHE SITS ON THE EDGE OF THE BED AND HOLDS STEVE'S
HAND.
MARIA: I'm right here.
STEVE: Don't leave me. Promise you won't leave. I need you. I
can't live without you...
TEARS STREAM DOWN STEVE'S FACE AS HIS EYE CLOSES AND HE
BEGINS TO DRIFT OFF TO SLEEP. HOLD ON STEVE'S TEARS.
CUT TO: MARCUS AND KAYLA'S LIVING ROOM. KAYLA IS SITTING ON THE
SOFA, SIFTING THROUGH THE DAY'S MAIL. MARCUS WALKS INTO THE
ROOM.
MARCUS: Hi. I didn't hear you come home.
KAYLA: I saw the light on in the den and didn't want to disturb
you.
MARCUS SITS DOWN ON A CHAIR NEXT TO THE SOFA.
MARCUS: So, how was your visit?
KAYLA LOOKS AT MARCUS AND SEES THE CONCERN ON HIS FACE.
KAYLA: It was... a good visit.
MARCUS: How is he?
KAYLA: He's about as good as we can expect.
KAYLA CONTINUES TO SIFT THROUGH THE MAIL. MARCUS STARTS TO
STAND UP, BUT SITS BACK DOWN AGAIN.
MARCUS: I remember what today is.
KAYLA LOOKS UP AT MARCUS, BUT REMAINS SILENT.
MARCUS: (CONT'D) It's your and Steve's wedding anniversary.
KAYLA SMILES SADLY AND NODS HER HEAD.
MARCUS: (CONT'D) I remember Steve telling me how it was the
happiest day of his life. You looked so beautiful that day.
I really envied...
MARCUS ABRUPTLY CUTS HIMSELF OFF.
MARCUS: (CONT'D) I'm sorry, Kay. I didn't mean to say that.
KAYLA REACHES OVER AND TAKES MARCUS' HANDS.
KAYLA: It's okay. I understand.
MARCUS MOVES TO SIT NEXT TO KAYLA ON THE SOFA.
MARCUS: How was it today? Really.
KAYLA: Really?
MARCUS NODS.
KAYLA: (CONT'D) When I got there, it was horrible. They had him
in restraints! I can't believe they'd do that.
MARCUS: Steve has good doctors. I've talked to them and read his
charts. If his doctors put him in restraints, I'm sure it
was in Steve's best interest.
KAYLA: I don't know... I've had to use them before, but... not
on Steve, not after what he's been through. That borders on
cruelty.
MARCUS: I don't think they meant it to be like that.
KAYLA: He's been through so much. He was imprisoned for five
years. It's just not right that he has to come home only to
be locked up again.
MARCUS: He's not being held against his will. He understands that
the hospital is helping him.
KAYLA: Does he? Each time I visit him, he talks about wanting to
come home. His doors and windows are locked and there's
even a guard at his door.
MARCUS: It's for his own protection.
KAYLA: I don't know. He needs to get out of that hospital, and
soon.
THE TELEPHONE RINGS. MARCUS GETS UP TO ANSWER IT. ONE-WAY.
MARCUS: Hello? (BEAT) Yes, just a moment...
HE HANDS THE CORDLESS RECEIVER TO KAYLA.
MARCUS: It's the nurse from Steve's hospital.
KAYLA TAKES THE RECEIVER. TWO-WAY.
KAYLA: Hello?
MARIA: Hello, Mrs. Hunter. This is Nurse Francisco from the
hospital.
KAYLA: Is there a problem?
MARIA: As you requested, I'm calling to let you know that it was
necessary to restrain Mr. Johnson again. I'm sorry. It was
our last resort.
KAYLA: I'll be right there.
KAYLA HANGS UP THE TELEPHONE AND TURNS TO MARCUS.
KAYLA: (CONT'D) They're having more problems with Steve. I'm
going back. Do you want to come?
MARCUS: Yes, I do.
KAYLA: I'll call Jo to come over and stay with Stephanie.
MARCUS: I'll start locking up.
MARCUS WALKS TOWARD THE KITCHEN. KAYLA BEGINS DIALING THE
PHONE, THEN TURNS TO LOOK BACK AT MARCUS. HOLD ON KAYLA'S
WORRY.
CUT TO: PRISON/CONFERENCE ROOM. LAWRENCE AND MARCHAND ARE SITTING
DOWN AT A TABLE. A GUARD IS STEPPING OUTSIDE AND CLOSING
THE DOOR.
LAWRENCE: I trust this little visit means you have some progress to
report?
MARCHAND: Yes.
LAWRENCE: Good. Let's hear it.
MARCHAND: I've gotten us a spot on the court calendar for a hearing.
This is where I'll be able to dissect the case against you
and, with any luck, get the conviction overturned.
LAWRENCE: I don't depend on luck. Who will be presiding at the
hearing?
MARCHAND: I don't know who the judge will be.
LAWRENCE: Find out.
MARCHAND: Why? What do you plan to do?
LAWRENCE: Let me worry about that. You just work on your arguments.
MARCHAND: I guess I don't really want to know, anyway.
LAWRENCE: Probably not.
LAWRENCE LEANS BACK IN HIS CHAIR AND SIGHS.
LAWRENCE: (CONT'D) Is there anything else?
MARCHAND: That's really the only solid development.
LAWRENCE: Well, that's something. (GRINNING) The game has to begin
somewhere, doesn't it?
MARCHAND: Whatever you say...
LAWRENCE: (STILL GRINNING) Everything is progressing nicely. Not
quite as rapidly as I'd like, but rather nicely, just the
same.
MARCHAND: Careful, Lawrence. Don't count your chickens too soon. You
might end up with an omelette.
LAWRENCE: I know what I'm doing. Everything is going according to
plan. All you have to do is do your job.
MARCHAND: I will do my job, but I can't guarantee how the judge will
rule. He or she may throw out our request to overturn. We
might not even be able to get a retrial.
LAWRENCE: (FROWNING) And how could that happen?
MARCHAND: If the judge decides that Johnson's being alive doesn't
significantly damage the prima fascia case for conspiracy,
then the game is over before it even begins.
LAWRENCE: But it's your job to convince the judge otherwise, isn't it?
Therefore, I say again, you just do your job, and everything
will be fine.
MARCHAND: Even after I do my job, it's up to the judge.
LAWRENCE: (MAKING A FIST) Perhaps I'm not making myself clear. The
appeal *will* be successful. Any other outcome will make me
terribly unhappy. (BEAT) Believe me, you don't want me to
be unhappy.
MARCHAND: No, I don't. But all I can do is present a strong argument,
cross my fingers, and hope we get a sympathetic judge who's
a stickler about rules of evidence.
LAWRENCE: Yes, a sympathetic judge is important. (RUBBING HIS CHIN)
Of course, insuring that might require more than simply
crossing one's fingers...
OUT ON LAWRENCE'S CONTEMPLATION.
ACT VII
JACK AND JENNIFER'S LIVING ROOM. JENNIFER ENTERS THE FRONT
DOOR TO FIND JACK SITTING ON THE COUCH, RHYTHMICALLY
STROKING THE SLEEPING ABIGAIL'S HAIR. JENNIFER FORCES A
BRIGHT SMILE.
JENNIFER: Well, this was a productive day.
JACK: Productive? In what way? In producing blisters as we
walked through houses that I can't imagine anyone wanting to
build, much less buy?
JENNIFER: Think of it as a process of elimination. Now we know the
houses we *don't* want.
JACK ARCHES A BROW. JENNIFER WALKS OVER, LIFTS ABIGAIL'S
LEGS, AND SITS NEXT TO JACK BEFORE PLACING ABIGAIL'S FEET IN
HER LAP.
JENNIFER: (CONT'D) We *will* find a house, Jack. And it will be
perfect for us. Abby will have a room fit for a princess
with ribbons and bows and lace...
JACK: (INTERRUPTING) And books. Lots of books.
JENNIFER: And lots of books. And I'll have a garden full of Peace
roses. I love Peace roses, all that delicate pink in those
big white blooms...
JACK: I've always preferred the J.F.K. rose.
JENNIFER LOOKS AT JACK CURIOUSLY.
JACK: (CONT'D) Angelica was part of the Horticultural Society
when I was growing up. It was all but compulsory for
Senator's wives. I guess I picked up a few things through
osmosis. (BEAT) Of course, Mrs. D, while describing the
Deveraux dream home, you're forgetting the most important
room.
JENNIFER: The family room?
JACK: No.
JENNIFER: The master bedroom?
JACK: (STARTING TO SMILE) No.
JENNIFER: Surely not the *kitchen*!
JACK: My office. A great big one overlooking that garden you're
so fond of.
JENNIFER: And my office?
JACK: (GRINNING) By the laundry room.
JENNIFER GRABS A PILLOW AND PREPARES TO THROW IT AT JACK.
JACK POINTS TO THE SLEEPING ABIGAIL.
JENNIFER: Just you wait, Jack. Just you wait. (SETTLES BACK AGAINST
THE COUCH) And what about the Lares?
JACK: Lares? Where did you hear about Lares?
JENNIFER: From you. Don't you remember? It was just before we were
married. To get my mind off Lawrence, you thought up some
lame excuse to drag me to the mountains. We started talking
about the home we would have, and I think we argued over
the size of your office even then.
JACK: You're clearly suffering from office envy, Mrs. D.
JENNIFER: (IGNORING JACK) You also mentioned the ancient Greek myth
about Lares.
JACK: Ah yes, the traditional household gods. I remember. They
move in with you, like your in-laws. (BEAT) Jennifer, one
of your in-laws *is* going to move in with you.
JENNIFER: I don't mind, Jack. I honestly don't. I love Steve. More
importantly, I love *you* and Steve is part of you.
JACK TAKES JENNIFER'S HAND.
JACK: You know, I guess Lares are rather appropriate. It's not
really a story about statues with togas. Lares represent
your past. Steve...
JENNIFER: Is no longer just in your past. He's in your present and in
your future.
JACK: But *he's* still in the past. Steve still thinks that
everything is pretty much the way it was when he was taken
from us. Finding out that nothing is the way that he thinks
it is... that's a tough one. I worry about that.
JENNIFER: Because of your past.
JACK: I was thinking about Steve, not me.
JENNIFER: But you once found out that nothing was the way that you
thought it was and you didn't handle it very well.
JACK: You don't have to be so kind, Jennifer. I went off like a
thermonuclear bomb.
JENNIFER: So who better than you to help Steve? We'll find a house,
pack up Abby, Steve, and *all* of our Lares and build a
better future than any of us ever dreamed.
JACK: (SMILING LOVINGLY) You never take off those rose-colored
glasses, do you?
JENNIFER: I've never seen the need to.
HOLD ON JENNIFER'S GENTLE SMILE.
CUT TO: PRIVATE HOSPITAL/HALLWAY OUTSIDE STEVE'S ROOM. MARCUS AND
KAYLA. IN PROGRESS.
MARCUS: I think you should go in to see Steve alone.
KAYLA: What? Why?
MARCUS: Because Steve may be confused right now, but he's still a
pretty smart guy. Sooner or later he's going to question
why I'm with you almost every time you're here.
KAYLA: I don't think so. Steve always wanted you and I to be
close.
MARCUS: Not this close.
KAYLA: You're his best friend!
MARCUS: And that's supposed to make me feel better?
KAYLA: Marcus, it's not like we're having an affair behind Steve's
back. We aren't hiding anything.
MARCUS: Aren't we?
KAYLA LOOKS WOUNDED. MARCUS REACHES OUT TO TOUCH HER CHEEK.
MARCUS: (CONT'D) Kayla, we're not in the wrong here. We aren't
hiding in the shadows and we're not out to deceive anyone.
But we aren't exactly telling Steve the whole truth, either.
When we're both in the same room with Steve, I feel like
he'll see right through me and see that my friendly
detachment toward you *is* a lie. I can deal with Steve one
on one because that's just about Steve and me, but the three
of us in a room together...
KAYLA: (NODDING) Okay, I'll go in by myself.
SHE TURNS TO PUSH OPEN THE DOOR.
MARCUS: Kayla, your wedding rings.
KAYLA STOPS AND STARES AT HER HAND. SHE TUGS AT THE RINGS
AND THEY DO NOT COME OFF EASILY. SHE HANDS THE RINGS TO
MARCUS AND GENTLY CLOSES HIS HAND AROUND THEM. THEIR GAZES
LOCK FOR A LONG MOMENT THEN KAYLA TURNS TO GO INTO STEVE'S
ROOM.
GO TO: PRIVATE HOSPITAL/STEVE'S ROOM. KAYLA ENTERS. STEVE LOOKS
UP.
STEVE: Sweetness, is that you?
KAYLA: Yes, I'm here.
STEVE: Aw, hell, I hate for you to see me like this twice in one
day. I guess I'm not exactly the guy you married.
KAYLA: Steve!
STEVE: It's true, baby. I've been a lot of things before, but
never weak.
KAYLA: You're not weak! You're the strongest person I've ever
known. Look at all you've been through and still you
survived. You came back. You're a hero.
STEVE: Don't call me a hero. You and Adrienne and Jackson call me
that, but it ain't true. Look at me, Kay. Could I get more
pathetic than I am right now?
KAYLA: Steven Earl Johnson, don't you dare think like that! What
you are is a man who walked through fire and was strong
enough to come out on the other side. That makes you a hero
in my book.
STEVE: But not the same guy you married. I'm screwed up,
Sweetness. I try to tell myself that I'm not, that
everything will be fine when I get home, but I know I'm a
head case... and it scares me.
KAYLA: You're not crazy, Steve.
STEVE: Are you sure? Then why are they keeping me locked up?
KAYLA: You've been through a traumatic experience. Of course it's
affected you, but you're *not* crazy.
STEVE: And I'll be coming home?
KAYLA: You'll be free, Steve. I promise.
STEVE: Good. That's what I want. I'm tired of feelin' weak and
letting you and Marcus and Jackson take care of everything.
I want to get back on my feet again, to be myself again, for
you to know that I'm more than this wreck you see right now.
KAYLA: I know what you are, Steve. You're the man who gave me
yellow roses and danced with me on a rooftop. You're the
man who held his family together with nothing but the
strength of his own will and protected our baby and gave me
his love. I know you're the person who taught me the
meaning of courage.
STEVE: Oh, baby, I wish I was still that man.
EDDI READER'S "NOBODY LIVES WITHOUT LOVE" BEGINS PLAYING IN
THE BACKGROUND.
STEVE: (CONT'D) I want to be that man again... for you and for
our little Sweetness.
A TEAR FALLS DOWN KAYLA'S CHEEK.
GO TO: HALLWAY OUTSIDE STEVE'S ROOM. MARCUS STARES THROUGH THE
WINDOW IN THE DOOR. HE SIGHS AND TURNS TO LEAN AGAINST THE
WALL. HE OPENS HIS HAND AND STARES AT KAYLA'S WEDDING
RINGS.
MARCUS: For better or for worse.
FADE TO: ABIGAIL'S BEDROOM. "NOBODY LIVES WITHOUT LOVE" CONTINUES TO
PLAY IN THE BACKGROUND. JACK IS TUCKING ABIGAIL IN.
JENNIFER STANDS IN THE DOORWAY. AS SHE AND JACK EXIT THE
BEDROOM, JENNIFER BEGINS TO GRIN. SHE RAISES A SMALL PINK
WATER PISTOL, SQUIRTS JACK, AND THEN RACES DOWN THE HALL.
GO TO: JACK AND JENNIFER'S BEDROOM. JENNIFER RUNS THROUGH THE
DOOR. JACK FOLLOWS. HE CATCHES HER UP IN HIS ARMS AND THEY
BOTH COLLAPSE ONTO THE BED.
JENNIFER: (GIGGLING) I said that I would get you.
JACK: Oh, you've got me.
THEY KISS.
FADE TO: PIER. SHANE AND JANET ARE WALKING. SHANE PAUSES AND PICKS
A DAISY FROM ONE OF THE PLANTERS.
JANET: I should arrest you for defacing public property.
SHANE PRESENTS THE DAISY TO JANET.
SHANE: But I intended the flower for a public servant.
JANET: Well, I suppose I can look the other way... *this* time.
AT THE TOP OF THE STAIRS LEADING DOWN TO THE PIER, JOHN
WATCHES AS SHANE AND JANET SMILE AT EACH OTHER AND PROCEED
DOWN THE PIER. JOHN REACHES INTO HIS POCKET AND PULLS OUT
THE WOLF'S-HEAD RING.
JOHN: Dani... it's at least worth a shot.
JOHN WRAPS HIS HAND AROUND THE RING.
FADE TO: EUTERPE. DOUG OFFERS JULIE HIS HAND AND PULLS HER ONTO THE
DANCE FLOOR. THEY DANCE AND THEN THEY KISS. CJ AND ASHLEY
ENTER EUTERPE LAUGHING. THEY STOP IN THE DOORWAY AND WATCH
DOUG AND JULIE. ASHLEY SMILES.
ASHLEY: Now *that's* true love.
ASHLEY LAUGHS AND PULLS CJ ONTO THE DANCE FLOOR.
ASHLEY: (CONT'D) I had fun today.
CJ: I'm glad.
GO TO: THE BAR, WHERE NICK ACCEPTS A DRINK FROM IAN AS HIS EYES
SLOWLY DRIFT TOWARD EVE. IAN CATCHES THE DIRECTION OF
NICK'S GLANCE AND ARCHES A BROW. NICK FROWNS AND IAN
LEAVES. NICK SIPS HIS DRINK AND CONTINUES TO WATCH EVE WITH
AN UNREADABLE EXPRESSION.
GO TO: EVE, STARING AT A SET OF PHOTO BOOTH PICTURES OF JORDAN AND
HERSELF MUGGING FOR THE CAMERA.
EVE: Ian can stick it in his ear. I know everything I need to.
I'm happy. Jordan's happy. End of story. What else is
there?
SHE LAYS DOWN THE STRIP OF PHOTOS AND FINDS HERSELF LOOKING
DIRECTLY AT NICK. HE LIFTS HIS GLASS TO TOAST HER, DRAINS
HIS DRINK, THEN RISES AND EXITS. EVE STARES AFTER NICK FOR
A LONG MOMENT AND THEN LOOKS DOWN AT THE PHOTOS AGAIN.
EVE: (CONT'D) What else is there...?
HOLD ON EVE'S UNCERTAINTY. AND OUT. FADE TO BLACK.
****************************************************
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--
**********************************************************************
E. Christian Scheele "Start out depressed, and everything's
jor...@teleport.com sort of a pleasant surprise."
-- Lloyd Dobler, "Say Anything"