Episode #15
The Day After #14

TEASER
INT.		CLAIRE’S APARTMENT		LATE MORNING
CLAIRE sits on the couch, reading a magazine.
On a table in back of the couch is a FRAMED WEDDING PHOTO of Claire and TIM.
There comes a knock at the door. Claire rises and answers the door. On the other side is a MAN, in his late fifties and dressed for business.
				MAN
				Good morning. You must be Mrs.
				Fisher.
				CLAIRE
				Yes – yes, I am. What can I do
				for you?
				MAN
				Your father sent me.
The man reaches into his jacket and begins to pull something out.
Hold on Claire’s confusion.
INT.		FISHER HOUSE, KITCHEN	SAME
Sitting at the table over breakfast are PAULA and SARAH.
				PAULA
				Anyway, I’m just really concerned
				about Claire. The baby’s due any
				day now, and she’s still trying
				to get Tim to remember who she
				is.
				SARAH
				This whole thing is such a mess.
				Who is this Diane person?
				PAULA
	 		Tim’s boss. She’s been helping
			Claire an awful lot, from what
			I understand. But Tim seems to
			be convinced she’s his wife.
			SARAH
			Sooner or later he’ll have to
			come around.
			PAULA
			Just keep praying.
Paula rises and goes over to the stove. She pours coffee into her cup and sits back down.
				PAULA
				(cont’d)
				But I’m even more worried about
				Molly. Her life could be in
				danger.
Sarah develops a disturbed look on her face.
										FADE TO:
FLASHBACK
INT.		BRENT’S APARTMENT		NIGHT
MOLLY and BRENT are sitting on the couch. Through the window, they can be seen kissing. The kiss builds up slowly but then breaks apart.
Molly’s mouth moves, and then Brent responds to her. The voices cannot be heard from this point of view.
Fade into background, where SARAH is looking in the window.
INT.		FISHER HOUSE, KITCHEN	MID-MORNING
PAULA and SARAH are sitting at the table over breakfast.
				PAULA
				Sarah … Sarah!
				SARAH
				Sorry, Mom, I just kinda spaced
				SARAH
				(cont’d)
out. What were you saying?
PAULA
				I was just saying how worried
				about Molly I am. Is Brent doing
				anything to help her out?
				SARAH
				Actually, at this very moment
				they’re at the airport boarding
				a plane to Denver.
										CUT TO:
INT.		AIRPORT TERMINAL		SAME
BRENT, MOLLY, and CRAIG sit in chairs by the gate.
				CRAIG
				I just hope we can get some
				kind of lead down there.
				BRENT
				There has to be something we
				can latch onto; once we have
				a lead, we’ll be able to find
				this guy. I just wish he wasn’t
				using an alias.
				ANNOUNCER (OS)
				Flight 232 to Denver, Colorado:
				now boarding.
				BRENT
				That’s us.
The three rise and walk into the gate.
				MOLLY
				(thinking)
				This is it …
ACT I
INT.		CLAIRE’S APARTMENT		LATE MORNING
Before CLAIRE stands a MAN, dressed for business and in his late fifties.
The man takes an ENVELOPE out of his jacket. He hands it to Claire.
CLAIRE
				What’s this?
				MAN
				It’s a court order allowing you
				to bring your husband home, even
				though he does not believe that
				you are his wife.
				CLAIRE
				I thought the hospital said—
				MAN
				You are his legal wife, aren’t
				you?
				CLAIRE
				Of course.
				MAN
				Then this ruling allows you to
				bring your husband home at any
				time you see fit.
				CLAIRE
				Thank you! Thank you so much!
She opens the envelope and briefly scans its contents.
				CLAIRE
				(cont’d)
				I’m sorry, who did you say you
				were again?
				MAN
				Jack Murdoch, attorney at law.
				Your father put me up to this.
				CLAIRE
				Claire Fisher. Nice to meet you.
They shake hands.
				CLAIRE
				(cont’d)
				Thank you so much for this. I
				CLAIRE
				(cont’d)
don’t even know what to say!
JACK
Why don’t you give your dad a
call to thank him? And then go
see your husband!
CLAIRE
You’re right. Thanks again!
JACK makes his way to the door and lets himself out.
Claire sits back on the couch and picks up the phone.
In the background is a FRAMED WEDDING PHOTO of her and TIM. The focus shifts to the photo.
INT.		AIRPLANE		SAME
In the window seat is CRAIG. MOLLY is in the center, and BRENT sits in the aisle seat.
				MOLLY
				How much longer ‘till we’re
				there, do you think?
				CRAIG
				Just a few minutes ‘till we
				start to descend, I think.
				MOLLY
				What are we gonna do once we
				get there, Brent? Where do we
				start looking for this "John
				Smith"?
				BRENT
				I’m thinking we should check
				the phone book first, just to
				see if there are any John Smiths
				in Denver.
				MOLLY
				But I thought you said it was
				an alias—
				BRENT
				That’s very likely, but I just
				want to be sure.
				CRAIG
				I’m willing to bet that name is
				an alias. It’s one step up from
				"John Doe."
				BRENT
				I agree completely.
				MOLLY
				But then what?
				BRENT
				To tell you the truth, I have
				no idea. I’ve gotta think about
				this.
				PILOT (OS)
				Ladies and gentlemen, we will
				be beginning our descent into
				Denver in just a few moments.
				Please return to your seats
				and fasten your seatbelts.
Brent takes a sip of his drink as Molly and Craig cuddle.
Out on Brent’s confused look.
ACT II
INT.		HOSPITAL ROOM		EARLY AFTERNOON
TIM lays in the bed, awake. Enter CLAIRE, with the ENVELOPE and the WEDDING PHOTO behind her back.
				TIM
				What are you doing here? I told
you to never come back! Get out
of my room!
				CLAIRE
				Wait—
				TIM
				Save your breath, lady. Get the
				hell out of my room!
Claire does not move.
				CLAIRE
				No!
				TIM
				Do I n—
				CLAIRE
				Listen to me, Tim. I am your
				wife.
				TIM
				Look, I’m not that stupid. I
				may have amnesia, but I know
				who my wife is!
				CLAIRE
				Oh yeah?
Claire thrusts the wedding photo at him.
Out on Tim’s shock.
INT.		DENVER AIRPORT		LATE AFTERNOON
Focus is on the gate. Several people filter out before MOLLY, CRAIG, and BRENT step off the plane and out of the gate.
				CRAIG
				Here we are.
				MOLLY
				It’s not a vacation, Craig.
				CRAIG
				Oh, for me it is. I love to
				hunt stalkers in my free time.
Molly lovingly punches him in the shoulder. They both laugh.
As Brent looks at them, he appears to be thinking deeply.
										FADE TO:
INT.		BRENT’S APARTMENT		EVENING
MOLLY and BRENT are sitting on the couch. Through the window, they can be seen kissing. The kiss builds up slowly but then breaks apart.
										FADE TO:
INT.		DENVER AIRPORT		LATE AFTERNOON
MOLLY, BRENT, and CRAIG stand near Gate #121.
Craig and Molly share a laugh as Brent looks on.
				BRENT
				Yeah, so, uh … why don’t we
				get checked into a hotel first?
				MOLLY
				Excellent plan.
				CRAIG
				You know what? I’m gonna go
				try to find some kind of dir-
				ectory and look up all the
				John Smiths here. You two go
				ahead.
				MOLLY
				Yeah … okay.
				CRAIG
				Love you, Molly.
				MOLLY
				I love you too!
Brent’s discomfort with being present for their exchange of affection is obvious.
The three walk out of the scene, Craig in one direction and Brent and Molly in the other.
INT.		FISHER HOME, ENTRY HALL	 	EARLY AFTERNOON
SARAH stands by the door, ready to leave. Enter PAULA.
				PAULA
				Honey, honey, hold on. Look, I
				may be getting up there in years,
				but I’m not stupid. I can tell
				something is bothering you.
				SARAH
				You’re right, Mom. I’m just
				worried about Brent … and Molly.
				I hope everything goes well in
				Denver.
				PAULA
				I do too, dear. Are you sure
				that’s all?
				SARAH
				Positive, Mom. Now, look – I
				have to get home, but I’ll see
				you guys later.
				PAULA
				Alright. Good-bye, honey! Drive
				safely!
				SARAH
				I will, Mom. Bye!
Sarah steps outside and closes the door behind her before Paula can say anything else.
EXT.		FISHER HOME, FRONT PORCH		SAME
SARAH steps outside and closes the door behind her. She stands still on the porch and speaks.
				SARAH
				(sotto voce)
				Yeah, Mom, I am worried about
				Molly. I hope she doesn’t try
				to steal my husband while they’re
				in Denver! Luckily he’s devoted
				to me now … he’s probably for-
				gotten all about their little
				kiss. But I can never let them
				know that I saw them – because
				then Brent might figure out
				that was why I wanted to marry
				him that night. I can never let
				them find out … it would be like
				SARAH
				(cont’d)
throwing them together …
ACT III
INT.		HOSPITAL ROOM		EARLY AFTERNOON
TIM stares at the wedding photo in shock as CLAIRE looks on.
				TIM
				But – if … If you’re my wife,
				then who is that other woman?
				CLAIRE
				That was your boss, Diane.
				TIM
				Why would she trick me into
				thinking she was my wife?
				CLAIRE
				That’s the thing. She didn’t.
				TIM
				But she told me—
				CLAIRE
				No, she didn’t.
				TIM
				Well, then, what happened?
				CLAIRE
				The doctors and I think that
				your memory has been coming
				back, but very slowly and
				subconsciously.
				TIM
				But if that was the case,
				wouldn’t I realize you were
				my wife and not her?
				CLAIRE
				Another little twist in this
				crazy little story: you’ve been
				on so many different medications
				that the doctors think you had
				CLAIRE
				(cont’d)
a slight hallucination when she
				came in, and combined with the
				fact that your memory was on its
				way back, you thought Diane was
				your wife, not me.
				TIM
				Oh my God … I’ve been making a
				complete fool of myself this
				entire time.
				CLAIRE
				No, you haven’t – everyone
				understands what happened to
				you.
				TIM
				So, what now?
				CLAIRE
				Now that we have that whole
				mess cleared up, would you like
				to come home with me? We have
				a whole lotta decorating to do
				for Christmas, you know.
				TIM
				Sounds great. But I have one
				more question.
				CLAIRE
				What’s that?
				TIM
				Uh … well, I – You’re pregnant,
				right?
				CLAIRE
				Yeah …
				TIM
				Which means I’m going to be a
				father?
				CLAIRE
				It sure does.
				TIM
				Whoa … talk about revelations.
				What a Christmas this is gonna
				be.
Claire smiles at him and they hug.
INT.		HOTEL ROOM		EARLY EVENING
BRENT sits on the couch. Enter MOLLY with a bag of potato chips.
				MOLLY
				It’s snack time!
				BRENT
				Oh, good – I’m starving.
They both eat some chips.
				MOLLY
				I think we should be very
				pleased with ourselves. A great
				find with these hotel rooms, if
				I say so myself.
				BRENT
				An excellent find.
Brent yawns.
				BRENT
				I am so tired.
				MOLLY
				Go back to your room. It’s fine.
				BRENT
				I am not going to leave you
				alone, Molly. It’s not safe.
				MOLLY
				Do you seriously think this guy
				knows we’re here?
				BRENT
				I don’t want to take any chances.
				Now let’s change the subject, if
				you don’t mind.
				MOLLY
				Not at all.
A few moments of awkward silence ensue.
				MOLLY
				How’s everything going with
				Sarah? What’s it like to be
				married?
				BRENT
				I have absolutely no idea.
				We’re both down at the station
nonstop. But everything with
the two of us is going really
well.
Molly develops a disturbed look as Brent talks.
FADE TO:
INT.		BRENT’S APARTMENT		EVENING
MOLLY and BRENT are sitting on the couch. Through the window, they can be seen kissing. The kiss builds up slowly but then breaks apart.
										FADE TO:
INT.		HOTEL ROOM		EARLY EVENING
BRENT and MOLLY are sitting on the couch. Molly is clutching a bag of potato chips and looks distant.
				BRENT
				Molly? Molly!
				MOLLY
				What? What?
She realizes where she is.
				MOLLY
				(cont’d)
				Oh! Oh … I just got a little
				caught up in a daydream there.
				BRENT
				I could tell. What about?
Molly develops a nervous look on her face.
ACT IV
INT.		HOTEL ROOM		EARLY EVENING
BRENT and MOLLY sit on the couch. Conversation in progress.
				BRENT
				So, what were you daydreaming
				about?
				MOLLY
				Uh … you know. Just when Sarah
				and I were little, the things
				we used to do.
				BRENT
				Oh, I see. I understand. I’m
				really close with my little
				brother.
				MOLLY
				You have a brother?
				BRENT
				And an older sister.
				MOLLY
				I had no idea. I guess I never
				really thought about it.
				BRENT
				We’re all really close. We had
				to be, to pull through all the
				things that we came up against.
				MOLLY
				Like what?
				BRENT
				My mom died when my brother was
				two. My dad was left all alone
				with us, and sometimes we had
				to take on more adult roles than
				a kid should have to.
				MOLLY
				Yeah, I guess as much as I
				complain about my sister and
				brothers at times, we all had
				it really lucky. My mom was
				able to be at home for us, and
				our dad ran the restaurant. But
				I should be thankful for all of
                    them, and for all the things
                    they’ve done.
				BRENT
				I’ll never stop appreciating
				all the time my dad put into
				us kids.
Molly and Brent stare at each other, with small smiles on their faces and their eyes strangely connected as though a strong bond has been formed between them.
INT.		SARAH’S CAR		MID-AFTERNOON
SARAH is driving alone.
				SARAH
				(sotto voce)
				I don’t know why I’m so jittery
				about Molly and Brent being on
				this trip together. After all,
				it’s serious business; they’re
				in Denver to catch the stalker,
				not to bond. Why am I worrying?
				I’m sure that Brent has forgotten
				all about their kiss … I’m sure
				of it.
INT.		HOSPITAL ROOM		SAME
TIM is laying in the bed. Enter CLAIRE.
				CLAIRE
				Okay, I took care of all your
				release forms and stuff.
				TIM
				I can come home?
CLAIRE
				Yeah, we can get ready to go.
				TIM
				This is so weird … I know I’m
				going home, but I have no idea
				what’s there, what’s waiting
				for me.
				CLAIRE
				A lot of R&R. It’s the only
				way you’ll get your memory back.
				TIM
				I guess being in the apartment
				will help, won’t it?
				CLAIRE
				Yeah, it should—
Claire interrupts herself as a thought seems to strike her.
				CLAIRE
				Hang on – you knew we lived in
				an apartment. How? Is it just
				a coincidence, or— or is your
				memory starting to really come
				back?
Hold on her hope.
ACT V
INT.		HOSPITAL ROOM		MID-AFTERNOON
TIM is sitting up in the bed. CLAIRE is sitting at the foot of it.
				CLAIRE
				(thinking)
				Could it be true? Is Tim’s memory
				coming back already? This might
				be the luckiest day I’ve ever
				had …
Focus shifts to Tim’s face. He seems perplexed.
										FADE TO:
FLASHBACK
INT.		HOSPITAL ROOM		EVENING
DIANE
				How are you feeling, honey?
				TIM
				Pretty good. A little bored,
				but pretty good. As I was say-
				ing—
				DIANE
				Hush, hush. I’ve got something
				that should take your mind off
				the boredom.
				TIM
				What’s that?
				DIANE
				I want you to make love to me.
										FADE TO:
INT.		HOSPITAL ROOM		MID-AFTERNOON
TIM is sitting up in the bed. CLAIRE is sitting at the foot of it.
				TIM
				(thinking)
				I remember sleeping with Diane,
				when I thought she was Claire.
				But how …
				CLAIRE
				(thinking)
				… I just hope that his memory
				does come back – and before I
				have this baby.
				TIM
				(thinking)
				I must have imagined that, too.
				There’s no way Diane would have
				done that – is there? No, no –
				it was just a figment of my
				imagination, just like thinking
				TIM
				(cont’d)
				she was my wife was.
				CLAIRE
				There’s one part of this whole
				mess that I’d still like to get
				cleared up …
				TIM
				What would that be?
				CLAIRE
				Who shot you in the first place?
				And why? Who was out to get you?
INT.		HOTEL ROOM		EARLY EVENING
BRENT and MOLLY sit on the couch, continuing to stare into each other’s eyes. The sparks between them are nearly visible.
They lean in towards each other. The camera pans away before it can be seen whether any contact was made.
Focus slides over to Brent’s open suitcase, which contains, lying on top of the clothes, a photo of him and SARAH.
END OF EPISODE #15

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