"Days of Our Lives"

Episode # 4051
Tape Date: Monday, October 12, 1981
Air Date: Thursday, October 29, 1981

Written by:
Pat Falken Smith
Margaret De Priest
&
Sheri Anderson

Directors:
Joe Behar
Kenn Herman
Susan Orlikoff Simon

Cast:
Stephen Brooks (Joshua)
Macdonald Carey (Tom)
John Clarke (Mickey)
Jack Coleman (Jake)
Joseph Gallison (Neil)
Bill Hayes (Doug)
Susan Seaforth Hayes (Julie)
Cynthia Leake (Lori)
Quinn Redeker (Alex)
Frances Reid (Alice)
James Reynolds (Abe)
Lanna Saunders (Marie)
Jean Bruce Scott (Jessica/Angel)
Diane Sommerfield (Valerie)
Tammy Taylor (Hope)
UNKNOWN (Nurse # 1, U/5)
UNKNOWN (Nurse # 2, U/5)
UNKNOWN (Nurse # 3, U/5)
UNKNOWN (Desk Nurse, U/5)
UNKNOWN (Print Man, U/5)

Sets:
Body Connection Exercise Area
Jessica's Room at Horton House
Horton Living Room
Homicide Bureau
Nurses' Station
Medicine Room at Medical Center
Alex's Hospital Room

TEASER: FADE IN: BODY CONNECTION: NEW DAY- EARLY MORNING.
(IN CLOSE ON A HAND MADE SIGN BEING THUMBTACKED ON THE BULLETIN BOARD. IT READS "LADIES, LEARN THE ART OF SELF DEFENSE. PULL BACK TO SHOW JAKE PUTTING UP THE SIGN. HE ADMIRES HIS HANDIWORK, MOVES TO JOSHUA AT THE DESK).
JAKE: Well, what do you think?
JOSHUA: About what?
JAKE: The sign. I put them all around.
JOSHUA (glancing): Looks pretty good. Do you think the response is going to be big?
JAKE: The women around here are pretty shook up with that nutcase still on the loose. I think we'd better be ready for a lot of interest in self defense.
JOSHUA: Too bad Renee didn't come up with this idea a few months ago. We might have saved two lives.
JAKE: It's kind of spooky to think that both of the strangler victims were members here.
(A PRETTY YOUNG GIRL WALKS BY)
JOSHUA: Sometimes I'd rather not think about that.
JAKE: Well, there's no time like the present to start the class.
JOSHUA: Do you think you're ready to teach?
JAKE: I'm going to take a refresher course at the police station. Although I know I'm ready now.
JOSHUA: Are you?
JAKE: A guy doesn't need a tour in Nam to be street ready.
JOSHUA: Maybe. (THEIR EYES LOCK). Maybe not.
(IT IS A DEFINITE CHALLENGE. JAKE REACTS, TAKES A QUICK STEP AT JOSHUA AND JOSHUA CATCHES HIM IN AN ARM LOCK. THERE IS A FLASH OF ANIMOSITY BETWEEN THE TWO, AND ALTHOUGH JOSHUA HAS THE UPPER HAND, IT IS A PRETTY EVEN MATCH. JOSHUA RELEASES JAKE).
JOSHUA: It should be a pretty fair class- once you finish that training.
JAKE: I think so.
(JOSHUA GOES BACK TO WORK)
JAKE: Listen, I know that Renee's not coming in until this afternoon.
JOSHUA: But you'd like some time off?
JAKE: A couple of hours if possible.
JOSHUA (evening): How is Jessica? Or should I say Angel?
JAKE: She's having kind of a rough go. But her grandparents are being pretty terrific. To both of us.
JOSHUA: They're good people.
JAKE: So, do I have the time off?
JOSHUA: Sure, take all the time you need.
(JOSHUA PICKS UP A CLIPBOARD, STARTS TO WALK OFF. JAKE CATCHES HIM OFF-GUARD, FORCING JOSHUA TO HIS KNEES)
JAKE: I haven't forgetten it all!
JOSHUA: I'll remember not to let my guard down.
(SHAKEN BY HIS OWN REACTION, JAKE SUDDENLY RELEASES JOSHUA)
JAKE: I'm sorry about that.
JOSHUA: It's okay.
JAKE: No, it's not. But you were in love with my lady once. That's still hard for me to take.
CUT TO: HORTON LIVING ROOM.
(JESSICA, AS ANGEL, COMES DOWN THE STAIRS TO ANSWER THE RINGING DOORBELL)
ANGEL (calling out): I've got it.
(SHE OPENS THE DOOR TO A SUBDUED DOUG AND JULIE)
ANGEL: Well, good morning!
JULIE: Good morning...Angel.
DOUG: May we come in?
ANGEL: Oh, yeah. Sure, sure. Come right in, dear Julie and Doug.
(AS JULIE REACTS)
ANGEL: See, I haven't forgotten dear, dear grandma's little lecture the other day about acting oh, so proper.
DOUG: Are she and Tom in?
ANGEL: Right in their cozy little kitchen. Living here is a real barrel of laughs. Sort of like stepping into the twilight zone and being transported back two hundred years.
JULIE: We'd like to see them, Angel.
ANGEL: I can see you're really going to liven things up.
(ANGEL CALLS OUT)
ANGEL: Grandma, you've got company. Would you two like some music?
DOUG: I don't think so, Angel. But, thanks.
JULIE (trying): How are you feeling?
ANGEL: I'd feel better if they'd let me go out and dance with Jake. But they lock me up at night and throw away the key.
(TOM AND ALICE ENTER)
ALICE: Julie, good morning.
JULIE: Grandma.
DOUG: I'm glad we caught you both in.
TOM: I was just about to leave for the hospital.
(TOM AND ALICE IMMEDIATELY SENSE SOMETHING IS WRONG)
ANGEL (chiming in): I've been entertaining them royally. A little booze might have helped, but...
ALICE (cutting in): Angel, your breakfast is ready in the kitchen.
ANGEL: I guess that's my cue.
(SHE STARTS OUT, THEN STOPS)
ANGEL: Delightful seeing you both again. Really.
(JESSICA EXITS. ALICE MOVES TO JULIE WHO IS NEAR TEARS)
ALICE: Darling, what's wrong?
JULIE (going into her arms): Oh, grandma...it's David.
TOM: Have they found him?
DOUG: No. But something's happened, and we wanted to tell you before you heard it on the news...
TOM: What is it?
DOUG: We believe David's been shot.
CUT TO: HOMICIDE BUREAU.
(ABE CARVER, AN ASSISTANT HOMICIDE DETECTIVE, SITS WITH HIS FEET UP ON THE DESK, HIS FACE BURIED IN THE MORNING PAPER. ESTABLISH, THEN THE DOOR OPENS AND MICKEY ENTERS)
MICKEY: All right, Carver...I want some answers.
(ABE SLOWLY LOWERS THE PAPER, GIVES MICKEY A COOL STARE)
ABE: Something I can help you with, Counselor?
MICKEY: You can get me the damn fool who's in charge of the David Banning case!
ABE: You're looking at him.
FADE TO: BLACK
FOR: HOUR GLASS INSERT (32 seconds)
AND: COMMERCIALS # 1 AND # 2 (2 minutes, 3 seconds)

ACT ONE
FADE IN: HOMICIDE BUREAU
(ABE AND MICKEY, CONTINUED. MICKEY NOT BACKING DOWN)
MICKEY: I know Roman Brady's in charge of my nephew's case, Carver.
(**PERHAPS THE FIRST-EVER MENTION OF THE CHARACTER OF ROMAN BRADY. WAYNE NORTHROP WOULD NOT DEBUT IN THE ROLE FOR MORE THAN FIVE WEEKS LATER, ON DECEMBER 7, 1981).
ABE: He wouldn't like being called a damn fool. Neither do I.
MICKEY: Then maybe you should both do your jobs.
ABE: Would you like to go out and come in again, before I knock your head against the wall?
MICKEY: Where's Brady?
ABE: Out.
MICKEY: When will he be back?
ABE: I haven't the foggiest.
MICKEY: No wonder this department is such a mess.
ABE: Hold on, pal...
MICKEY: You haven't found David Banning, have you?
ABE: We have cops out scouring the riverfront looking for him. The police report says you were at the scene of the shooting with your...son, wasn't it?
MICKEY: That's right. David couldn't have gotten far. Not from the amount of blood we found...
ABE: We're doing our best, Mr. Horton.
MICKEY: Your best isn't good enough. And I'm not going to let Roman Brady off the hook.
ABE: He's not even aware of the new wrinkle in the Banning case.
MICKEY: He's supposed to be in charge.
ABE: It's been tough for homicide to care much about that spoiled Banning kid, when we've got young girls dead from silk scarves cutting into the flesh of their necks. Or hadn't our esteemed counselor been reading the papers lately?
MICKEY: Brady's on the strangler case?
ABE: Up to his eyeballs. So, if you'd like to start all over again and cool it, maybe we can both help each other here. Roman's out on the street today, which makes me, Abraham Carver, in charge, got it?
(MICKEY COOLS DOWN, HOLDS OUT HIS HAND)
MICKEY: I apologize.
ABE: Accepted.
MICKEY: It's just that my niece, Julie Williams, is out of her mind with worry about her son. He's got to be found soon, Carver. I pray to God we find him alive.
CUT TO: HORTON LIVING ROOM  
(DOUG AND JULIE WITH TOM AND ALICE)
DOUG: By the time Mike and Mickey got to David's room, it was too late. They heard two shots, and when they got inside, David had disappeared out a window.
TOM: Are they sure it was David who was shot?
JULIE: Who else? It was David's room.
ALICE: How did they know where David was?
DOUG: Mike knew about the place.
ALICE: For how long?!
JULIE: From what we can figure, a week or two.
TOM: Why didn't Mike come to us?
DOUG: He claims he couldn't. He promised David that no one would find out where he was.
TOM: David must have convinced him that his life was in danger.
DOUG: Mike apparently felt it had gone too far. He wanted Mickey as David's lawyer, to try and talk him into giving himself up. That's when they went to David's room and heard the shots.
ALICE: Dear Lord...
DOUG: There was blood on the window sill.
JULIE: David could be dead somewhere...
(SHE STARTS TO BREAK, DOUG PUTTING HIS ARM AROUND HER)
DOUG: He could also still be alive.
JULIE: Hurt...in terrible pain...
ALICE: We can't give up, darling. We don't even know if it was David who was shot.
JULIE: I'm his mother. I know.
TOM: Have you spoken with the police?
DOUG: We're on our way down to see them now. We're hoping someone can give us some information.
TOM: Where would David hide out?
ALICE: If he's in need of help, he'd probably go to a friend.
TOM: Renee Dumonde?
JULIE: No, that would be too obvious.
DOUG: I don't know who'd take him in with his record. Being on the run...with those dope charges and Alex's shooting still hanging over his head.
ALICE: It would have to be a very good friend.
JULIE: Someone he could trust completely.
TOM: Maybe a girl from the past.
(ALICE AND JULIE LOCK GLANCES)
ALICE: You know who returned to Salem a few months ago...
JULIE: Valerie Grant.
CUT TO: NURSES' STATION
(AS THE ELEVATOR DOORS OPEN AND VALERIE GRANT, A BEAUTIFUL YOUNG M.D. IN HER MID-TWENTIES, EXITS. SHE MOVES TO NEIL, WHO IS LOOKING OVER A CHART AT THE DESK. HE IS SOLEMN)
VALERIE: Doctor Curtis...
NEIL (turning): Valerie. You still have trouble calling me Neil, don't you?
VALERIE: Years ago when I worked as your receptionist, it was out of respect. Now, I'd rather not know you on too personal a basis. But if you don't like Doctor Curtis, there are plenty of other names I can come up with.
NEIL: What can I say to you?
VALERIE: I'm not the one who needs explanations.
NEIL: I know that "sorry" doesn't do it.
VALERIE: A patient died, Doctor. A patient I referred to the medical center. To you.
NEIL: It should have been a routine surgery.
VALERIE: But it wasn't.
NEIL: The longer you're a doctor, the more you'll realize complications happen.
VALERIE: I'm sure that will be extremely comforting to the family.
(AT THIS MOMENT, BRING MARIE OFF THE ELEVATOR, WHEELING ALEX IN HIS WHEELCHAIR. NEIL SEIZES THE OPPORTUNITY, GIVES MARIE A COMFORTING SMILE)
NEIL: Well, I can see you're right on time.
ALEX: I just want to get this whole mess over with. So I can get the hell out of this chair!
MARIE: You'll have to forgive him, Valerie. This man of mine does not like confinement.
VALERIE: I've never met a man who does.
MARIE: Do you know Alex?
VALERIE: I've seen you around the hospital, but I haven't had the pleasure.
MARIE: Alex Marshall...Valerie Grant. Doctor Grant.
ALEX: Doctor?
VALERIE: That's right.
ALEX (impressed): How'd I get stuck with someone who looks like Neil, when they've got doctors like you here?
NEIL: Just unlucky, I guess.
MARIE: Actually, we feel very fortunate to have Neil and Evan Whyland performing Alex's surgery.
VALERIE: You have the best. When is your surgery scheduled?
ALEX: Hopefully, very soon.
NEIL: Mr. Marshall is checking in for tests today.
VALERIE: Well, good luck Mr. Marshall.
ALEX: Alex...
VALERIE: Alex. If you'll excuse me, I have to check on a patient.
MARIE: See you later.
(VALERIE EXITS)
MARIE: She's a lovely young woman.
NEIL: Yes, she is. You both seem ready for what's ahead.
ALEX: We're as ready as we'll ever be. I can't stay in this wheelchair one day longer.
FADE TO: BLACK
FOR: COMMERCIALS # 3 AND # 4 (2 minutes, 3 seconds)

ACT TWO
FADE IN: NURSES' STATION
(ALEX, NEIL AND MARIE CONTINUED)
MARIE: All the paper work has been taken care of, Neil.
ALEX: It helps having the chief of nursing on your side.
NEIL: I can imagine it does.
ALEX: I've got to get this surgery over with as much for her as for me. Marie's spent too many valuable hours playing nursemaid to me.
MARIE: Alex...
ALEX: I want to marry this woman, Neil. But I won't until we see if I come through this surgery.
MARIE: Don't talk that way.
ALEX: If there's one thing I am, it's a realist.
NEIL: Well, the reality we're facing today is that if we don't get you to your room, the lab is going to be off schedule. And they can be pretty ornery.
ALEX: All right, doc. There's just one thing I want you to promise me, though.
NEIL: Name it.
ALEX: I want a visit from Jessica before I'm prepped for surgery.
NEIL: You've got a few days to think about that. We're putting you on a special diet, and making sure you're in tip-top shape before it's a go.
ALEX: Jessica...needs me, Neil.
NEIL: You'll see her in time. Right now, she's with Tom and Alice, where she can be well taken care of.
ALEX: Where she can be watched, you mean.
MARIE: Let's not get into that today, Alex.
ALEX: I can't stop thinking about it. Our daughter's being watched over like she's in some prison. We both know she doesn't like it.
NEIL: Let's get you to your room...
(AS MARIE WHEELS ALEX TOWARDS HIS ROOM)
CUT TO: JESSICA'S ROOM IN HORTON HOUSE
(JESSICA STARES OUT THE WINDOW, HER MIND FAR AWAY. ESTABLISH, THEN THERE IS A SOUND EFFECT: KNOCK AT THE DOOR)
JESSICA: Come in.
(THE DOOR OPENS, AND IT'S HOPE, READY FOR SCHOOL. JESSICA KEEPS STARING OUT THE WINDOW)
HOPE: I thought I'd say goodbye. I'm on my way to school.
JESSICA: It looks cold out.
HOPE: Grandma insists I take my heavy coat. I told her that's crazy, but she's the final word.
JESSICA: I know.
(AN AWKWARD SILENCE)
HOPE: Well, I just wondered how you were feeling.
JESSICA: I'm feeling...
(JESSICA TURNS, SEES HOPE AND SNAPS INTO HER ANGEL PERSONALITY)
ANGEL: Just the way you'd expect someone locked up like some criminal to feel. Lousy!
HOPE (thrown): You aren't locked up.
ANGEL: Oh, no? If I headed for the front door, the sirens would blast and the warden would come running!
HOPE: The warden?
ANGEL: Grandma.
HOPE: Grandpa and grandma only want to help you.
ANGEL: The only help I need is in getting out of here.
HOPE: You wouldn't want to leave.
ANGEL: Oh, no? Then why do I spend so much time thinking about running away?
HOPE: Where would you go?
ANGEL: That, my dear, is the sixty-four thousand dollar question. I'm not about to be stopped at the alter again...everyone dragging me away from Jake! That was a real joke.
HOPE: At least Jake wanted to elope with you.
ANGEL: I doubt he'd risk it again.
HOPE: He wouldn't elope now because he loves you. But I know he still wants to marry you someday.
ANGEL: You think so?
HOPE (hurting): He's that kind of a guy. Once he's hooked on a girl, he's the faithful type.
(HOPE IS NEAR TEARS)
HOPE: I gotta go, or I'll miss the bus...
ANGEL: Don't do anything I wouldn't do.
(HOPE BOLTS OUT OF THE DOOR. IN A MOMENT, ALICE ENTERS, LOOKING AFTER HOPE, BEWILDERED)
ALICE: Was something wrong with Hope?
ANGEL: She seemed fine to me. What's up?
ALICE: You have a visitor downstairs. It's Jake.
CUT TO: HORTON LIVING ROOM
(HOPE BOUNDING DOWN THE STAIRS AND STOPPING DEAD IN HER TRACKS WHEN SHE SEES JAKE TALKING WITH DOUG, JULIE AND TOM)
JAKE: Do the police have any clues?
DOUG: We haven't heard anything yet.
JAKE: I know it must be awful for all of you.
TOM: We appreciate your concern, Jake.
DOUG: Tom and Alice have been telling us how great you've been with Jessica. We want you to know that Julie and I appreciate that, too. Even though we had a few problems with you in the beginning because of...
(HE STOPS SHORT AT THE SIGHT OF HOPE)
DOUG: Hello, Princes...
HOPE: Hi, Dad...
(THEY ALL TURN)
JULIE: Good morning, darling.
(AN  AWKWARD MOMENT AS HOPE AND JAKE FACE ONE ANOTHER)
JAKE: How are you, Hope?
HOPE (trying): I'm...late, that's how I am. If I don't get going I'll miss my bus...
JAKE: It's nice seeing you...
HOPE: Yeah. Same here. Oh, Angel's awake. I'm sure she's waiting to see you.
JAKE: Thanks.
(AD LIB GOODBYES AS HE EXITS UP THE STAIRS. WHEN HE IS GONE, HOPE'S SHOULDERS SAG AND DOUG TAKES HER IN HIS ARMS FOR A QUIET HUG)
DOUG: I'm very proud of you, sweetheart.
HOPE: I acted like a baby about it all at first...
DOUG: Now you're handling it beautifully.
HOPE: Do you think so?
DOUG: Definitely.
(HE GIVES HER A LIGHT KISS)
JULIE: It's never easy seeing someone you're crazy about with another girl.
HOPE: My problems seem pretty small right now compared with everything else that's going on with this family. Is there any word on David?
JULIE: We hope to hear something soon.
(TAKE HOPE'S PUZZLED LOOK AS TOM MOVES TO ANSWER THE PHONE)
HOPE: What's going on?
TOM (into phone): Hello?
(INTERCUT: TWO-WAY PHONE CALL WITH MICKEY AT HOMICIDE BUREAU)
MICKEY: Dad, it's Mickey.
TOM: We've been waiting to hear from you.
MICKEY: Are Doug and Julie still there?
TOM: Right here.
(HE HANDS THE PHONE TO JULIE)
TOM: It's Mickey.
JULIE (taking the phone): Uncle Mickey, is there any news?
MICKEY: None so far. But I tried to lay some groundwork down here for you at police headquarters. Abe Carver's a good man. He'll do whatever he can to help.
JULIE: Tell him we'll be there soon.
MICKEY: Will do.
JULIE: Thanks.
(STAY WITH JULIE AS SHE HANGS UP)
DOUG: Did they find David?
JULIE: No. He's still out there somewhere with a bullet in him...
HOPE (stunned): What are you talking about?! Dad?? Grandpa??
TOM: It happened last night in a place by the river called the Twilight Bar.
HOPE: I know where that is.
DOUG: Apparently, David had a room upstairs there.
HOPE: Are you serious?
JULIE: Completely.
TOM: Someone found out where David was hiding, and tried to kill him.
HOPE: Oh, no...
DOUG: David did get away...
TOM: But we're pretty sure he was hit. He may have lost a lot of blood by now...
HOPE: I can't believe any of this!
JULIE: It's all true.
HOPE: Has he been in Salem all along? Ever since he escaped from prison?
JULIE: It looks that way.
HOPE: May I stay home from school today? In case we hear anything?
DOUG: It'll be better if you keep your mind occupied. We'll call you if there's any news.
HOPE: Promise?
DOUG: Promise.
(HOPE GOES INTO JULIE'S ARMS FOR A WARM EMBRACE. THEN SHE HEADS FOR THE DOOR, TOM WALKING HER OUT. JULIE IS NEAR TEARS, AND DOUG PUTS HIS ARMS AROUND HER)
JULIE: Maybe it's time we talked to Valerie.
DOUG: You may be right.
FADE TO: BLACK
FOR: COMMERCIALS # 5 AND # 6 (2 minutes, 3 seconds)

ACT THREE
FADE IN: BODY CONNECTION
(JOSHUA GIVING ONE OF THE MEMBERS INSTRUCTIONS ON ONE OF THE MACHINES IN THE BACKGROUND AS FOUR YOUNG NURSES FROM THE MEDICAL CENTER, INCLUDING LORI MASTERS, ENTER IN THEIR UNIFORMS, CHATTERING. ALL APPEAR TIRED BUT LORI)
LORI: I'm glad I ran into you guys. How was the night shift last night?
NURSE # 1: I'm just glad we're not stuck with them every night.
NURSE # 2: Amen to that. Tonight was tough. No cute interns on duty.
NURSE # 3: I don't know about the rest of you, but I need to go sit in the hot tub and soak!
LORI: What do we have here?
(THEY ARE DRAWN TO THE BULLETIN BOARD, WHERE SEVERAL GIRLS HAVE GATHERED)
NURSE # 1: Only one way to find out.
(THEY HEAD OVER TO THE BULLETIN BOARD AS THE OTHER GIRLS WALK AWAY)
LORI: Hmmm. Self-defense classes.
NURSE # 2: I've been hearing a lot about them lately.
NURSE # 3: You have?
NURSE # 2: Sure. They're getting national publicity.
LORI: You're right. Every time I turn on the tube, there's some women's group talking about it.
NURSE # 1: I've noticed it too.
LORI: Talk shows, newspaper articles, magazine features...
NURSE # 3: It's been on my mind lately, that's for sure.
LORI: Yeah. Especially with what's been happening around Salem the last few months.
NURSE # 2: I've tried to get it out of my mind.
LORI: How can you? Especially when one of the girls who was murdered worked in the hospital...and both girls were members of this club.
NURSE # 1: It gives me the creeps.
LORI: Me, too. I wake up nights with the most horrible dreams about the strangler/
(AT THIS MOMENT, BRING JOSHUA UP TO THE GIRLS)
JOSHUA: How's it going, ladies?
LORI (dryly): Terrific.
JOSHUA: Are any of you interested in the class?
LORI: I know I am.
NURSE # 3: I have the feeling we all are.
JOSHUA: Great.
(HE GETS THE CLIPBOARD)
JOSHUA: All you have to do is sign your names right here.
(THEY TAKE THE CLIPBOARD, PASS IT AROUND)
LORI: How many girls have signed up so far?
JOSHUA: The notice only went up this morning, and we've had a big response already.
LORI: Who's going to be teaching the art of self-defense, Joshua?
JOSHUA: I'll be one of the instructors, along with Jake Kositchek.
LORI: Jake's going to be teaching?
JOSHUA: That's right.
LORI: Now I'm sure I want to take the class.
(TO THE OTHERS)
LORI: Jake's definitely a hunk. In case you haven't already seen him around the gym. And don't you tell him I said so.
JOSHUA: I wouldn't think of it.
LORI: C'mon. Let's go.
(AS THE GIRLS HEAD OFF FOR THE HOT TUB)
CUT TO: JESSICA'S BEDROOM
(AS JAKE HOLDS JESSICA GENTLY IN HIS ARMS. NEITHER SAYING ANYTHING FOR A LONG MOMENT. SHE IS IN THE ANGEL PERSONALITY, BUT IS STRANGELY SUBDUED)
ANGEL: Are we ever really going to be free together, Jake?
JAKE: I'm couting on it, babe.
ANGEL (moving out of his arms): Sometimes I don't think it's ever going to happen.
JAKE: What if I give you my word?
ANGEL: Nice try. But promises like that are made to be broken.
JAKE: Not by me.
ANGEL: The only promises anyone can keep, are the ones they make to themselves.
JAKE: Well, I've promised myself that I'd have you as my wife some day.
ANGEL: That's not what I meant.
JAKE: I was hoping it would make you smile. You have a beautiful smile.
ANGEL: You haven't seen much of it lately, have you?
JAKE: Can we change that?
ANGEL: Not today.
JAKE: Want to talk about it?
ANGEL: Are you trying to take Dr. Evans' job?
JAKE: Whatever will help you get well, is what I'm willing to do.
ANGEL: You really love me, don't you?
JAKE: Are you just figuring that out?
ANGEL: It amazes me sometimes.
JAKE: You're a terrific woman.
ANGEL: But Jessica is dull, dull, dull.
JAKE: I love you Angel, or Jessica, no matter who you are.
ANGEL: You don't mean that.
JAKE: I do. Jessica may not have your fire, but she's a pretty terrific person, too.
ANGEL: But what if I'm neither one?
JAKE: What are you talking about?
ANGEL: Nothing.
JAKE: Angel...
ANGEL: I don't want to think about it...
JAKE: You have to let me know what's going on in your head.
ANGEL: Please, Jake.
JAKE (firm): What did you mean, what if you're neither Jessica or Angel?
ANGEL (shaken): I've been having these terrible nightmares, Jake! I don't know what I'll do if they come true!
JAKE: Hey, now...they are only nightmares.
ANGEL: I'm frightened.
JAKE: Tell me about them.
ANGEL: I dream that I wake up one morning, and I'm neither Angel or Jessica. I'm caught between two worlds, and I don't know who I am. It scares me to death!
JAKE: That isn't going to happen.
ANGEL: It could!
JAKE: But it won't. You can't think that way!
ANGEL: I don't know what I'd do without you, Jake!
JAKE: Maybe that's one reason we clicked right from the start. In so many ways, we're alike. So very much alike.
ANGEL: I need you.
JAKE: We need each other.
(HE GIVES HER A KISS. SHE RESPONDS, THEN PULLS AWAY. WIPING THE TEARS FROM HER EYES, GIVING HIM A SMILE)
JAKE: It's about time I saw that smile, lady...
(AT THIS MOMENT THERE IS, SOUND EFFECT: A LIGHT KNOCK ON THE DOOR)
ANGEL: Come in.
(THE DOOR OPENS, AND TOM ENTERS)
TOM: I'm on my way to work. But I wanted to say goodbye to you both.
JAKE: I'll see you soon, Dr. Horton.
ANGEL: Have a good day.
TOM: It looks as though yours is starting pretty well...I like that smile.
JAKE: What did I tell you?
ANGEL: I do feel like smiling.
TOM (a twinkle in his eye): So, I see. And one thing's perfectly clear. The best medicine you can have is standing right in this room. A visit from a very special friend.
CUT TO: MEDICINE ROOM AT HOSPITAL
(IT IS DARK IN THE ROOM AS VALERIE ENTERS, SNAPPING ON THE LIGHT. SHE REACHES INTO HER POCKET FOR A KEY TO THE MEDICINE CABINET. SHE TURNS TO OPEN IT AND STARES AT A BRIGHT RED, BLOODY HANDPRINT ON THE GLASS CASE)
VALERIE: Dear God!
(IN SHOCK, VALERIE'S GAZE SLOWLY FOLLOWS THE TRAIL OF BLOOD DOWN TO THE FLOOR. THE FRESH BLOOD LEAVING A BRIGHT STAIN ON THE WHITE LINOLEUM)
FADE TO: BLACK
FOR: BUMPER- HOUR GLASS INSERT (12 seconds)
AND: STATION BREAK (1 minute, 35 seconds)

ACT FOUR
FADE IN: HOMICIDE BUREAU
(AS DOUG AND JULIE ENTER THE OFFICE OF ABE CARVER)
ABE: Come in, come in.
DOUG: Mr. Carver, we're Doug and Julie Williams.
ABE: Of course, Mr. Williams. I remember you both from the Banning case. Please, have a seat.
JULIE: Thank you.
(JULIE TAKES A SEAT)
JULIE: We understand you met with my uncle this morning.
ABE: Met with him is a mild way to put it. We drew a few sparks from each other.
DOUG: Only a few?
ABE: You know him very well.
DOUG: When he's dedicated to getting at the truth, you bet.
ABE: I realize that you want answers about what happened to your son last night, Mrs. Williams.
JULIE: But you don't have any.
ABE: Once he disappeared out that window, he was gone.
DOUG: He couldn't have vanished into thin air.
JULIE: From the amount of blood Uncle Mickey saw in David's room, he has to be seriously injured.
ABE: I know that from the report...
JULIE: He couldn't have gotten far.
ABE: Unless a car got him out of there.
JULIE: Someone would have noticed that.
ABE: The Twilight Bar is a busy place. Has a lot going on. And people in that neighborhood don't pay too much attention to some kid on the run. They see it all the time.
DOUG: Well, someone had to see something! Did you question everyone down there?
ABE: As many as we could find.
DOUG: And?
ABE: We drew a blank. A big fat zero. I'm sorry.
DOUG: What happens now?
ABE: We've got men out on the street. And there's been an APB out on him since he broke out of jail.
JULIE: A place he never should have been in the first place.
ABE: You still think he's innocent.
JULIE: Not just because I'm his mother. David's not capable of pulling that trigger, no matter what his past has been. That's why we've spent all this time trying to find out something that would prove he's innocent.
ABE: Hold it a minute. Back up here. What was that about his past?
JULIE: His past isn't the point here. What really matters now, today, is that someone's trying to kill him.
ABE: Which brings me right back to the past.
DOUG: Are you saying there might be a clue we don't know about?
ABE: Don't be surprised. It happens all the time.
DOUG: So we found out when we tried to play Nick and Nora Charles.
ABE: Meaning?
JULIE: We discovered some facts about the night of Alex Marshall's shooting, that didn't come out in the investigation.
ABE: This I want to hear. But first, let's get back to who might have tried to wipe out your son last night. David did make these delivies out in Los Angeles.
JULIE: Not knowing that it was dope.
ABE: A mule who didn't know it. Still isn't a very likely story.
JULIE: But I believe it's true. I believe in my son.
CUT TO: NURSES' STATION
(TOM GETS OFF THE ELEVATOR TO CHECK IN AT THE DESK, NEIL COMES FROM ALEX'S ROOM)
TOM: Good morning, Neil.
NEIL: Tom. If you don't mind my saying so, you look a little bushed.
TOM: We had some bad news about David this morning.
NEIL: Have you heard from him again?
TOM (not wanting to get into it): It's a long story, and not a very pleasant one. Apparently he was injured last night, now he's on the run again. It'll all be in the news, I'm sure.
NEIL: I am sorry to hear that. Does Marie know? I just left her with Alex.
TOM: I'll have to go in and tell her. Are they in Alex's room?
NEIL: Yeah. He's all checked in.
TOM: I think I'd better speak to her privately. I don't want to bring up David's name in front of Alex.
(BRING VALERIE INTO THE AREA, DEEPLY SHAKEN BY HER EXPERIENCE IN THE MEDICINE ROOM)
NEIL: That's probably a wise idea. We want him calm for these pre-op tests.
VALERIE (quietly): Excuse me, doctors. Could we go to the lounge to talk?
NEIL: Now?
VALERIE: It's extremely important.
TOM: Of course...
(TOM AND NEIL FOLLOW VALERIE INTO THE LOUNGE)
TOM: What's going on, Val?
NEIL: This may have to do with a difference of opinion Val and I are...
VALERIE (overriding): No, it isn't, Dr. Curtis.
NEIL: Oh?
VALERIE: We may have an emergency in the medical center.
TOM (seeing how shaken she is): What happened?
VALERIE: I went into the medical room to get some antibiotic samples, and there were handprints on the cabinet. Bloody handprints.
TOM: Bloody?
VALERIE: Also, a river of blood running down to the floor.
(TOM AND NEIL ARE VERY SMOOTH, PROFESSIONAL)
NEIL: Did you touch anything?
VALERIE: No. I came straight to you.
TOM: Thank you, Valerie. We'll take care of it.
(GO WITH NEIL AND TOM TO THE NURSE AT THE DESK)
TOM: Get me security. It's an emergency.
DESK NURSE: Yes, Dr. Horton.
(THE NURSE GOES TO THE PHONE)
NEIL (quietly): Then start a search of the hospital. Someone's in big trouble.
(AS VALERIE MOVES TO JOIN THEM)
FADE TO: BLACK
FOR: COMMERCIALS # 7 AND # 8 (2 minutes, 3 seconds)

ACT FIVE

FADE IN: HOMICIDE BUREAU
(DOUG, JULIE AND ABE, AS ABE POURS HIMSELF A CUP OF COFFEE)
ABE: I've got to tell you, your son's sure got a colorful past.
JULIE: David has a talent for always being in the wrong place at the wrong time.
ABE: With drug drops in L.A. and being found in Alex Marshall's room a few minutes after the shooting...I'm not going to disagree with you. If David Banning is innocent. Would you like coffee?
DOUG: No! Forget it.
JULIE (startled): Doug!
DOUG: I'm sorry, Julie...but no one's going to sit here and toss out casual lines like "if" he's innocent. David's not a killer.
ABE: You sound as though you know the type who is.
DOUG: I did in another life. And I already know what you're going to say. The boy-next-door type, the one you least expect, is usually the deadliest.
ABE: You just have to read the headlines to know that's true.
DOUG: Maybe that's why the Average Joe doesn't have a chance anymore. It used to be that you saw some sleazy character near the scene of a crime and you nailed him. Now, some clean-cut, baby-face-type happens to be on a crime, picks up a gun out of shock, and he's guilty of pulling the trigger!
ABE: There was a lot more evidence than that.
DOUG: But not all the facts were uncovered in the investigation.
ABE: So you said earlier.
JULIE: It's true.
ABE: Our investigators are very thorough.
JULIE: It's the kind of information that no one would even think to ask. And Mr. Purcell didn't volunteer it because he didn't think it was important.
ABE: Purcell?
DOUG: The night of the shooting, according to your records, he was in the room under Alex Marshall's. He told he was next to the one under Marshall's.
ABE: Sure. I remember him now. He said he saw nothing...and heard nothing.
DOUG: Why he didn't hear anything is the question.
JULIE: And, the answer.
ABE: Okay, you've got my attention.
JULIE: Mr. Purcell told us that the reason he didn't hear anything was because the couple in the room next door was...uh...
DOUG: Getting it on.
ABE (amused): I see. He was attentive enough to pick up on that.
DOUG: He said it sounded like a real party. He didn't sleep much that night because they were so loud. But he didn't report it to the management because he was young once himself. Didn't want to spoil anyone's fun.
ABE: What's this got to do with the shooting?
JULIE: Whoever was in that room could have seen who shot Alex.
ABE: We questioned everyone registered at the Salem Inn.
JULIE: No one was registered in the room next to Purcell's.
DOUG: Yet somebody made all that racket.
ABE: That is interesting. We'll definitely check it out. But you know it's a real longshot. Even if we do find the couple, they might not know anything about the shooting. Especially if they were as busy that night as it sounds.
JULIE: We know that, Detective Carver. We're just determined to get evidence to clear my son.
ABE: You're not pros. Let us take it from here.
DOUG (lying): You're right of course.
(HE SHOOTS A LOOK AT JULIE)
DOUG: We'll leave it all up to you now. Won't we, sweetheart?
JULIE (pasting on sincerity): We'd never get in your way.
ABE: I wish I could believe that.
JULIE: Please do.
ABE: Right. Anyway, there is one thing I'll have to admit. Things seem to be adding up differently now. What with last night's shooting and that attempted kidnap of Banning's ex-wife and kid a while ago.
DOUG: What are you saying?
ABE: Whoever's after your son doesn't seem to have anything to do with Alex Marshall's shooting. It looks like mob action to me.
JULIE: Could that be?
ABE: That's what we've got to figure out. So we're going to have to back way up. Take another look at David's rather colorful, short life. And see where that might fit in.
(AT THIS MOMENT, SOUND EFFECT: THE PHONE RINGS. ABE ANSWERS AS JULIE GIVES DOUG A STUNNED LOOK)
ABE: Detective Carver...
(INTERCUT: TWO-WAY CALL WITH TOM AT NURSES' STATION)
TOM: This is Tom Horton. Dr. Tom Horton at University Medical Center.
ABE: What can I do for you, sir?
TOM: We may have an emergency on our hands. Someone broke into our medicine room and left a trail of blood. We've already begun a quiet security check of the hospital.
ABE: I'll be right over.
CUT TO: HORTON LIVING ROOM
(ALICE SETTING A TRAY OF COFFEE AND CORN MUFFINS ON THE COFFEE TABLE, AS JAKE COMES DOWNSTAIRS FROM SEEING JESSICA)
ALICE: Is Jessica coming down?
JAKE: She wanted to lie down for awhile.
ALICE: She doesn't like to admit it, but I think having visitors does tire her out.
JAKE: She wants everyone to think she's so strong. Especially when she's Angel.
ALICE: She seems to be Angel most of the time these days.
JAKE: I noticed that, too. Does it frighten you?
ALICE: She's a little fiestier than we're used to. But we love her, no matter who she is, Jake.
JAKE: So do I.
ALICE: She's very lucky to have you.
JAKE: Your approval means a lot to me.
ALICE: Well, you've got it. I don't make corn muffins for people I don't care for.
JAKE: Is that what smells so good?
ALICE: It most certainly is.
(SHE OPENS THE BASKET OF MUFFINS)
ALICE: I hope you like them.
JAKE: I sure do.
ALICE: Help yourself.
JAKE: Thanks.
ALICE: Coffee?
JAKE: Yes. Black, please.
ALICE (pouring): That's easy enough.
JAKE: You know, these muffins remind me of when I was a kid.
ALICE: Did your mother or grandmother bake them for you?
JAKE: Not exactly. But they used to have big racks of them in a hime I stayed in for awhile.
ALICE: A home?
JAKE: My folks and I didn't always see eye-to-eye. Anyway, at this one home, I'll bet they baked enough muffins for eighty or ninety kids a day. I think I ate half of them. Of course, we didn't have butter.
(ALICE IS CONCERNED, TRIES NOT TO REACT)
ALICE: Well, corn muffins without butter is a sin.
JAKE: You better believe it. When I was a kid, I knew all there was to know about sin. The people who ran that one home were heavy into it.
ALICE: Everything I cook here is made with butter...and love.
JAKE: I knew that the minute I set foot in this house. I want to thank you for being who you are, Mrs. Horton. And for taking such good care of Jessica.
ALICE: She's family.
JAKE: You can't imagine how much it means to someone like me to see a family this close. People who really care what happens to each other.
ALICE: You have that kind of family now, Jake. You have us.
FADE TO: BLACK
FOR: COMMERCIALS # 9 AND # 10 (2 minutes, 3 seconds)

ACT SIX
FADE IN: JESSICA'S ROOM
(AS ALICE ENTERS WITH CORN MUFFINS AND COFFEE. JESSICA LIES ON HER BED)
ALICE: Can I interest you in a little snack?
JESSICA: It smells good. What is it?
ALICE: Corn muffins.
JESSICA: Thanks, grandma. How did you know they're my favorite?
ALICE: Because they're everyone's. Even Jake's.
JESSICA (reserved): Really.
ALICE: He likes them with lots of butter, of course. Dripping with it.
JESSICA: Grandma, do we have to talk about Jake?
ALICE (startled): We don't have to. But I though you liked talking about him. He's a very special young man.
JESSICA: Oh, Grandma, he is not! I know Hope was crazy about him...and Angel says she was. But he's no one special at all. He's just a guy.
ALICE: You almost became his wife.
JESSICA: Angel almost married him. But not because she loves him! She's never loved anyone in her life!
ALICE: I thought you cared for him.
JESSICA: Well, I don't.
(TORN BETWEEN HER TWO PERSONALITIES)
JESSICA: And I never would have married him. I only went with him because he had a car and I wanted to escape.
ALICE (thinking she's slipped into Angel): We don't have to talk about it, Angel.
JESSICA: I'm not Angel, Grandma. I'm...I'm...I don't know who I am any more. But I don't love Jake. I never did love him.
ALICE: Please calm down, darling.
JESSICA: I only wish Angel had married him, Grandma. At least he was an escape from the person I hate more than anyone else in the world. My lousy, stinking mother.
(SHE RUNS FROM THE ROOM, LEAVING ALICE IN SHOCK)
CUT TO: ALEX'S ROOM AT THE MEDICAL CENTER
(AS MARIE HELPS ALEX INTO BED. HE IS WEARING ONE OF THE WHITE HOSPITAL GOWNS)
ALEX: I hate it when you see me like this.
MARIE: You look very good in white.
ALEX: I look like a damn fool.
MARIE: We make you wear those gowns to humble you.
ALEX: Well, a man as tall as I am is humbled quick. Have you ever noticed where these shirts hit a man my size?
(QUICKLY)
ALEX: On second thought, don't answer that.
MARIE: You'll feel pleased to know they're equally inconvenient on women.
ALEX: I'd think with you the head of nursing around here, I'd get some special consideration.
MARIE: Having me in the room is the special consideration.
ALEX: You are too good to me.
MARIE: Only because you've been an invalid. Once you're up and walking, watch out!
ALEX: I'll remember the warning.
(THEY SHARE A WARM SMILE)
ALEX: How do you feel about this surgery?
MARIE: I wish you'd let me marry you before you had it.
ALEX: We already discussed that.
MARIE: You never knew my ulterior motive. Once you're up and walking, I'll have to tie
you down to keep you from chasing other women.
ALEX: A wedding ring wouldn't make me any more faithful than I plan to be. I love you, you know.
MARIE: After all these years?
ALEX: Because of all these years.
(HE LEANS OVER TO KISS HER, AS LORI MASTERS ENTERS TO TAKE BLOOD)
LORI: Ooops! Sorry about that!
MARIE: It's all right.
ALEX: Speak for yourself, Marie. What are you here for anyway?
LORI: To get a blood sample.
ALEX: I hope your timing with that needle is better than your timing on entrances.
LORI: I guess we'll see, won't we?
(MARIE MOVES TO THE FOOT OF THE BED AS LORI TAKES THE SAMPLE EFFICIENTLY, OFF-CAMERA)
ALEX (off-camera): Ouch. I think nurses delight in using patients for pincushions, Marie.
MARIE: Stop complaining and cooperate if you ever expect to have surgery and get out of this place.
LORI: There. All done. That wasn't so bad, was it?
ALEX: Don't ask.
LORI (to Marie as she exits): I don't know how you stand it.
(MARIE IS AMUSED, ALEX IS NOT)
ALEX: What are you smiling at?
MARIE: One of the worst patients I've seen in a long time.
ALEX: Did you see how much blood she took out of me?
MARIE: Didn't look too disastrous to me.
ALEX: I don't know why they always take your blood the minute you check into a hospital anyway. What do they do with it all? Use it to paint the place?
MARIE (joking): That's right. They paint the ceilings and walls with it. Haven't you noticed the blood red decor around the place?
CUT TO: MEDICINE ROOM
(ON THE BLOOD STAINED CABINET. THERE IS THE SOUND OF  AKEY IN THE LOCK AND THE DOOR OPENS. ABE CARVER ENTERS FOLLOWED BY TOM AND NEIL. ABE SURVEYS THE ROOM)
ABE: Make sure you don't touch anything.
(HE LEANS DOWN TO THE BLOOD SPOTS ON THE FLOOR)
ABE: Has anyone else been in this room?
TOM: Only Valerie Grant. And me.
FADE TO: BLACK
FOR: COMMERCIALS # 11 AND # 12 (2 minutes, 3 seconds)

ACT SEVEN

FADE IN: MEDICINE ROOM
(CONTINUED)
ABE: The print man should be here soon to dust the place for prints.
NEIL: Whoever was in here couldn't have gotten far.
ABE: I wouldn't think so. Kind of a weird feeling, knowing someone in this bad shape is hiding out in the hospital. Could be some nut from the docks who's on a high and been in a knife fight. Did you check the drug supply?
TOM: Nothing's missing. The cabinet was locked.
ABE: And there was no forced entry.
TOM: I keep wondering how someone got in here.
NEIL: Valerie said the door was unlocked when she came in. One of the nurses must have been careless. Forgot to lock the door. It happens.
TOM: Not around here, it shouldn't. I'm going to start asking a few questions...and I'd better get some answers. Do you need me any more, Detective Carver?
ABE: I'll catch up with you.
TOM: You can have me paged.
ABE: I'll do that.
(TOM EXITS AS THE PRINT MAN ENTERS TO DUST THE PLACE)
ABE: Dr. Curtis, this is Ray Colley. Our print man.
NEIL: Mr. Colley.
PRINT MAN: What have we got?
ABE: You can forget the door. But take a look over here.
(HE LEADS THE PRINT MAN TO THE MEDICINE CABINET. THE PRINT MAN STUDIES IT)
PRINT MAN: We'll get a good set of prints off the glass. You can count on it.
(HE TAKES OUT HIS TOOLS, STARTS TO WORK. ABE TURNS TO NEIL)
ABE: If the prints off the cabinet are on record, we'll have a quick make on your intruder.
NEIL: How long should it take?
ABE: A matter of hours.
FADE TO: BLACK
CLOSING: UP ON HOUR GLASS
THEME
MATTE: CRAWL