Original subtitles

PREVIOUSLY, ONCEDAR COVE--

HE'S THE FATHER OF MY CHILDREN.

THAT'S NOTTHE QUESTION I'M ASKING,

AND YOU KNOW IT.

WE'RE BUYINGTHE RESTAURANT TOGETHER.

IN GOOD FAITH,I'M GONNA GIVE YOU THE KEYS...

NOW.

BOUGHT A HAT.

I'M GONNASIGN UP FOR RIDING LESSONS.

STAY OUT OF IT! [GROANS]

[CHUCKLING] CHEERS.

[CLINK]

[MARYELLEN]:YOU CAN'T KEEP RUNNING AWAY.

[JOHN]:I CAREABOUT YOU SO MUCH

THAT I WANT TO KEEP YOU SAFE.

THE ONLY WAY I CAN DO THATIS IF I KEEP YOU OUT OF MY LIFE.

DON'T YOU HAVE ANYONE TO HELPYOU OUT WHEN THE BABY'S BORN?

I'M GIVING IT UPFOR ADOPTION.

[OLIVIA]:ERIC'S GONNA HAVE A BABY.

HE'S PROBABLY REALLY SCARED.

[CHUCKLES]

-I REALLY MISSED YOU.-I MISSED YOU, TOO.

YOU STARTEDTHAT FIRE.

GUYS, WHAT FIRE?

YOU BURNED DOWNOUR RESTAURANT!

-[GASPING INTENSELY]-SHELLY!

I LOVE YOU, OLIVIA LOCKHART.

I LOVE YOU, JACK GRIFFITH.

[♪]

[P.A. ANNOUNCEMENT]:NURSE FLANAGAN TO PEDIATRICS.

NURSE FLANAGAN TO PEDIATRICS.

[♪]

HOW IS SHE?HOW'S SHELLY?

HOW'S THE BABY?

WHAT'S GOING ON?

ERIC, JUST GIVE HERA CHANCE TO TELL US.

SHE HAD A MILD SEIZURE,

BUT SHE AND THE BABYARE BOTH DOING FINE.

WHAT CAUSED THE SEIZURE?

SHE HAS A CONDITIONCALLED PRE-ECLAMPSIA.

IT CAUSES SPIKESIN THE BLOOD PRESSURE,

AND IT CAN CAUSE SEIZURES,

BUT SHE HAS RESPONDED FAVORABLY

TO THE MEDICATIONWE'VE GIVEN HER.

WE'RE GOING TO CONTINUETO MONITOR HER VITALS,

AND, HOPEFULLY, SHE'LL GOINTO LABOR ALL ON HER OWN.

BUT IF SHE DOESN'T?

SHE'S HEALTHY,

AND THE BABY IS NOTIN ANY DISTRESS.

BUT IF THEREARE ANY COMPLICATIONS,

FOR HER SAFETYAND FOR THE SAFETY OF THE BABY,

I MAY NEEDTO PERFORM A CAESAREAN.

THE IMPORTANT THINGIS SHELLY IS IN THE RIGHT PLACE

TO GET THE CARETHAT BOTH SHE AND HER BABY NEED.

OKAY. UM, WHEN--WHEN CAN I SEE HER?

PLEASE, DOCTOR.

I HAVE TO SEE HER.

SOMEONE WILL TAKE YOU BACKSHORTLY.

THANK YOU, DOCTOR.

THANK YOU.

UH, ERIC. ERIC.

HE WON'T LET ME IN.

NO MATTER WHAT I DO.

IT'S LIKE WE TAKETWO STEPS FORWARD

AND THEN IT'STHREE STEPS BACK.

WELL, HE'S UPSETAND HE'S SCARED.

WELL, NOW, YOU SEE,

THAT'S WHENYOU WOULD THINK

YOU WOULD GOTO YOUR FATHER, RIGHT?

WELL, GIVE HIMSOME TIME AND SPACE.

OH...

[SIGHING]

I AM SO GLADYOU'RE HERE.

AND I'M NOT GOING ANYWHERE.

I PUSHED MY WHOLE DOCKETBACK TO TOMORROW.

I'M ALL YOURS.

THANK YOU.

GOD, I HATEHOSPITALS.

THEY'RE NOTMY FAVORITE PLACE EITHER.

I HAVEN'T BEEN HEREIN A LONG TIME.

YEAH.

A REALLY LONG TIME.

[♪]

[HIGH-PITCHCONTINUOUS BEEP BLARING]

[♪]

[FAINT]:OLIVIA?

OLIVIA?

OLIVIA.

OH, SORRY.

WHERE'D YOU GO?

NOWHERE.I'M RIGHT HERE.

-YOU OKAY?-YEAH.

GREAT. I'M FINE.

OKAY.

[♪]

[MARYELLEN]:YEAH. WOULD YOU BE ABLE

TO BRING THE PRINTS BYSOMETIME NEXT WEEK?

OKAY. GREAT. YEAH.

YEAH, TUESDAY WORKS.TUESDAY WORKS PERFECTLY.

FANTASTIC. YEAH.

THEY JUST DO SO WELLIN THE GALLERY,

SO IF WE COULD GET MORE OF THEM,THAT WOULD BE GREAT.

I'LL BE RIGHT WITH YOU.

FANTASTIC. ALRIGHT.WELL, WE'LL SEE YOU THEN.

OKAY. HAVE A GOOD ONE.BYE.

[PHONE BEEPS]

-[PIECE THUDS]-HELLO.

WE'RE, UH, WE'RE LOOKINGFOR A FRIEND OF OURS.

I'M THE ONLY ONE HERE.

[OTHER GUY]:OUR FRIEND'S AN ARTIST.

OH?

JOHN BOWMAN.

SO YOU--YOU KNOW HIM?

HE'S ONE OFOUR BEST-SELLING ARTISTS.

NICE.

HE LEFT CEDAR COVE.

ANY IDEA WHEREHE ENDED UP?

UM, NO, I'M...I'M NOT SURE.

I WOULDN'T HAVE LEFT YOU.

NOT WITHOUTA PRETTY GOOD REASON.

[DEEP BREATH]

JOHN IS ONE OFMANY LOCAL ARTISTS.

IF YOU'RE LOOKING--

-...FOR PHOTOGRAPHS, I HAVE---WE NEED JOHN.

UH, JOHN'S WORK.

HOW DID YOU SAYYOU KNOW JOHN?

I DIDN'T SAY.

I'M SORRYI CAN'T HELP YOU.

GOOD LUCK, THOUGH.

YEAH.

YOU KNOW, MAYBE WE'LL...

MAYBE WE'LL JUSTSTICK AROUND,

YOU KNOW, IN CASE--IN CASE JOHN COMES BACK.

BUT YOU HAVE YOURSELFA GOOD DAY...

MARYELLEN.

HOW DO YOU KNOW MY NAME?

WELL, YOU TOLD US.

NO, I DIDN'T.

[DOOR SHUTS]

[♪]

AM I READING THIS RIGHT?

YES.

ALL CHARGES?

YES, YOUR HONOR.

PERHAPSTHE PROSECUTION

WOULD LIKE TO TAKESOME MORE TIME

TO CONSIDERTHEIR OPTIONS.

YOUR HONOR,WE'VE MADE OUR DECISION.

WE HAVE NO CHOICE

BUT TO WITHDRAW OUR COMPLAINTAGAINST MR. SAGET.

[JUDGE]: WELL, THEN, MR. SAGET,

I SUGGEST YOU GOBUY YOURSELF A LOTTERY TICKET,

BECAUSE TODAY'S YOUR LUCKY DAY.

DON'T SMILE.

MR. SAGET IS HEREBY RELEASEDFROM CUSTODY

AND HIS BOND VACATED.

YOU ARE FREE TO GO.

[POUNDS GAVEL]

[♪]

IT WAS SWEETOF YOU TO COME BY.

IT'S THE LEAST I COULD DO.

I DROPPED GRANDMA OFFAT THE AIRPORT.

THANK YOUFOR DOING THAT.

NO PROBLEM.

TOLD HER THAT YOU WEREAT THE HOSPITAL WITH SHELLY.

SHE'S SORRYTHAT SHE HAD TO GO.

WELL, SHE PLANNEDTHIS CRUISE

THREE MONTHS AGO.

SHE COULDN'T LETBARBARA DOWN.

I STILL CAN'T BELIEVE

THAT MOM'S GOING ONA SINGLES CRUISE.

GRANDMA?

INDEED.

SO YOU DON'TNEED ANYTHING?

I'M ALL SET.

AS SOON AS SHELLY'SOUT OF THE WOODS,

I'M HEADED HOME.

MOM, ARE YOU SURE YOU'RE OKAY?

I MEAN, I KNOWWHEN THE LAST TIME

YOU WERE INTHIS HOSPITAL WAS.

I'M A LITTLE FREAKED OUTAND I WAS 13 WHEN JORDAN DIED.

OH...

ARE YOU ALRIGHT?

MOM, I'M ASKING ABOUT YOU.

YOU'RE ALWAYS TAKING CARE OFEVERYONE ELSE, INCLUDING ME,

SO I JUST THOUGHTTHAT MAYBE, I DON'T KNOW,

YOU NEED SOMEONE TO TALK TO,SO, I'M HERE.

I'M FINE.

[JUSTINE]: OKAY.WELL, I WOULD KEEP YOU COMPANY,

BUT SETH AND I HAVE GOT TO MEETA CONTRACTOR AT THE RESTAURANT.

CAN YOU AND SETH AFFORD THAT?

THE TOWN WAS GREATTO HELP US OUT,

BUT WE'VE GOTSOME SERIOUS DAMAGE.

IF WE WANT TO GET IN THEREAS SOON AS POSSIBLE,

THEN WE'VE GOT TO BRING INA PROFESSIONAL.

BUT THE SALEHASN'T CLOSED, RIGHT?

WE NEVERGOT THAT FAR.

WE DIDN'T EVEN HAVEAN OFFICIAL DEAL.

I COULD KICK MYSELFFOR TAKING THOSE KEYS

AND GOING IN THERE TO FIX THINGSBEFORE IT WAS ACTUALLY OURS.

GIVE YOURSELF A BREAK.

YOU WERE EXCITED.

WARREN SHOULDN'T HAVE LET YOU.

WARREN WAS LOOKING OUTFOR WARREN,

WHICH IS ALWAYSWHAT HE'S DONE BEST.

OKAY. BYE.

YOU ARE SO LUCKY.

I AM?

MM-HMM.

YOU WITH JUSTINE.

IT'S JUST SO...NICE AND EASY.

YES, IT ISBUT WE'VE HAD OUR PROBLEMS.

[LAUGHS] NO.

NO, ME AND ERIC,WE HAVE PROBLEMS.

YOU AND JUSTINE, YOU TWO,YOU HAVE A REAL RELATIONSHIP.

BE PATIENT.YOU'LL GET THERE.

BUT FIRST,YOU HAVE GOT TO LET GO

OF ALL THIS GUILTTHAT YOU'RE HOLDING ON TO

AND ACCEPTTHAT ALL PARENTS MAKE MISTAKES.

YOU'RE HUMAN.

GIVE YOURSELF SOME CREDIT.

WELL, NO PROMISES.

-JACK.-[GROWLS PLAYFULLY]

HEY, HEY!

BREAK IT UP, GUYS.

THIS IS A HOSPITAL.

OKAY, SO I HAVE HALFOF MOON'S BAKERY CASE,

I HAVE SOME MAGAZINES,

AND I HAVE A VERYLARGE BALL OF YARN.

THE YARN IS FOR ME.

IN OTHER WORDS,I CAME PREPARED

TO STAY FOR AS LONGAS YOU NEED ME.

GRACE SHERMAN,REPORT FOR DUTY.

THANK YOU, GRACE.

COME HERE, YOU.

YOU GUYS. AW.

SO, CAN IGIVE YOU A LIFT?

YEAH, SURE.

TO THE FERRYWOULD BE NICE.

CEDAR COVE?

YEAH.

YOU WATCH YOURSELF.

JUST DO ME A FAVORAND DO YOUR JOB,

MAKE SURE THE FEDS HOLD UPTHEIR END OF THE DEAL.

YEAH, THEY WILL.THEY REALLY WANT

TO NAIL YOUR BUSINESSASSOCIATES BACK EAST.

AND WHAT ABOUT ME?

CONTINUE TO COOPERATEAND YOU'LL BE FINE.

GOOD.

[♪]

HERE YOU GO.

ARE YOU KIDDING?

YEAH, I THINK YOU HAVEA FEW TOO MANY ZEROS THERE.

WELL, I HATE TO BETHE BEARER OF BAD NEWS,

BUT THAT'S JUST AN ESTIMATE.

TOTAL COST IS LIKELYTO BE MUCH MORE.

THESE OLD BUILDINGS,

ONCE WE GET IN THERE,START PULLING BACK THE WALLS,

EXPOSING THE PLUMBINGAND THE WIRING,

IT CAN GET UGLY.

WE DON'T WANT TO CHANGETHE PLUMBING AND THE WIRING.

WELL, THAT'S NOT YOUR CHOICE.

SEE, A JOB THIS BIG'SGONNA REQUIRE PERMITS.

PERMITS MEANTHAT, ONCE I START,

SOME INSPECTOR'S GONNA HAVE TOCOME IN AND SIGN OFF

ON THE WHOLE BUILDING.

AND THE ROOF.

NOW, LOOK, YOUR INSURANCEWILL COVER THE BULK OF THE BILL.

IT'LL BE FINE. YOU'LL SEE.

EXCUSE ME.

CAN I SEE SHELLY NOW?

ACTUALLY...

WHAT?

SHE'S ASKING TO SPEAKTO JUDGE LOCKHART.

SHE KNOWS I'M DOWN HERE?

SHE DOES, BUT SHE JUST WANTSJUDGE LOCKHART.

I'LL SEEWHAT SHE WANTS

AND THEN WE'LL GETYOU UP THERE.

[♪]

SHELLY?

OLIVIA.

I SPOKE TO THE DOCTOR

AND SHE SAIDEVERYTHING LOOKS GOOD

FOR BOTH YOUAND THE BABY.

I KNOW.

REALLY, SHELLY,EVERYTHING'S GONNA BE OKAY.

NO. IT'S NOT.

ERIC WANTS TO SEE YOU.

I CAN'T SEE HIM.

WHAT'S WRONG, HONEY?

I THOUGHT YOU TWOWERE BACK TOGETHER.

[HUFFS TENSELY]

WE WERE, BUT...

I THINK I'VECHANGED MY MIND.

WE SHOULD PUT UP THE BABYFOR ADOPTION.

WHAT DO YOU MEAN?

I DON'T THINKWE SHOULD KEEP OUR BABY.

WHEN THINGS GET TOUGH,ERIC TAKES OFF, AND...

[SHAKY SIGH]

THERE ARE GOING TO BE A LOTOF TOUGH DAYS AND TOUGH YEARS

IN RAISING THIS BABY,

AND I KNOW THAT I AM NOT CAPABLEOF DOING THIS ALONE.

TRUE, BUT, SOMETIMES,

YOU HAVE TOGIVE PEOPLE A SECOND CHANCE.

ERIC'S HERE NOW--

AND HE SEEMS SINCERE.

OH, THE WAY HE LOOKS AT YOU.

YES, I LOVE HIM,

AND YES,I WANT TO KEEP OUR BABY.

AND I WANT TO BELIEVETHAT HE WON'T LET ME DOWN AGAIN,

BUT I JUST DON'T KNOW.

I REMEMBERBEING IN THIS SAME HOSPITAL,

ABOUT TO GIVE BIRTH,

AND, SUDDENLY, THE "WHAT IFS"OF BEING PREGNANT

ARE REPLACED BYTHE "WHAT IS" OF HAVING A BABY.

IT'S REALAND IT'S HAPPENING,

AND IT'S OKAY TO BE SCARED.

BUT THIS DECISION

IS NOT ONE YOU WANT TO MAKEUNDER THIS KIND OF STRESS.

I'M GONNA GIVE YOUSOME TIME TO REST,

AND THEN I'LL COME BACKAND CHECK ON YOU.

[SNIFFS]

WHAT IF I DECIDE THATI WANT TO GIVE THE BABY UP?

AS I TOLD YOU,AND I AM GOOD TO MY WORD,

I WILL HELP YOU,NO MATTER WHAT YOUR DECISION IS.

BUT ERIC DOES HAVE RIGHTS,

AND YOU'RE GONNA HAVE TO GET HIMTO GIVE UP THOSE RIGHTS

IF YOU DECIDETO GIVE AWAY THE BABY.

I WILL TALK TO HIM.

I CAN'T RIGHT NOW.

I KNOW I SHOULD,

BUT I-- I CAN'T.

CAN YOU STAY FOR A WHILE?

I DON'T WANT TO BE ALONE.

OF COURSE.

[♪]

ERIC.

DAD, I GOT TO SEE HER.

NO, I DON'T THINKTHAT THAT'S--

THERE MIGHT BESOMETHING WRONG WITH HER

THEY'RE NOT TELLING US.

IF THAT WERE THE CASE,

THEN WHY WOULD SHE ASKTO SEE OLIVIA? HMM?

COME ON. WHY DON'T YOU AND I, WEGO GET SOME AIR?

I-I CAN'T LEAVE SHELLY.

OLIVIA IS WITH HER.

LET THEM TALK.ALRIGHT? COME ON.

LET'S GO FOR A WALK.

AND I'LL LET YOU KNOWIF ANYTHING CHANGES, OKAY?

OKAY.THANK YOU.

[♪]

-DAD.-YEAH?

I THINK SHELLY WANTS TOGIVE UP THE BABY AGAIN.

WHAT?

WELL, SHE KNOWSI'M OUT HERE,

AND SHE WANTSTO TALK TO OLIVIA.

OH, ERIC.

WELL, SHE SAID THATOLIVIA WAS HELPING HER

WITH THE ADOPTION

BEFORE I CAME BACKTO CEDAR COVE.

I'M THE IDIOT THAT PUTTHAT IDEA IN HER HEAD

IN THE FIRST PLACE.

THIS IS ALL MY FAULT.

I GOTTA TALK TO HER.

I GOTTASTRAIGHTEN THIS OUT.

NO, LISTEN.

ERIC, SHELLY HASBEEN THROUGH A LOT.

OKAY? YOU DON'T KNOW

WHY SHE DOESN'TWANT TO SEE YOU,

AND IT DOESN'T HELPYOU TO BE OUT HERE

JUST IMAGININGTHE WORST-CASE SCENARIO.

THE THING IS,RIGHT NOW,

ALL I CAN THINK ABOUTIS WORST-CASE SCENARIOS.

SO JACK JUSTTOOK ERIC OUTSIDE.

WELL, THAT'S GOOD,

BECAUSE SHELLY IS NOTREADY TO TALK TO HIM.

YEAH, WELL, I SAW HIM,AND I'M TELLING YOU,

THERE'S NO WAYYOU'RE GONNA BE ABLE

TO STOP HIM FROM GOING IN THERE.

I'M NOT TRYING TO STOP HIM.I'M JUST TRYING TO DELAY HIM.

BOTH YOU AND I KNOW WHATIT'S LIKE TO BE IN A HOSPITAL,

ABOUT TO GIVE BIRTH.

IT IS NOT THE BEST TIMETO BE MAKING BIG LIFE DECISIONS.

NOPE.

CAN I ASK YOUA FAVOR?

SURE.

MY BOYFRIEND'SOUT THERE--

HE REALLY WANTSTO TALK TO YOU.

I'M NOT READYTO SEE HIM.

GOT IT.

THANK YOU.

I'LL TELL HIM"DOCTOR'S ORDERS."

[FOOTSTEPS RECEDING]

[DOOR OPENS]

MISS SHERMAN?

OH, HI.YOU CALLED EARLIER.

YEAH. I HAVE SEVERALPIECES BY JOHN BOWMAN,

BUT HE'S ONLYEVER DONE TWO--

TWO PORTRAITS.

YEAH.

HEY.

YOU'RE THE OTHER PORTRAIT.

YEAH.

[♪]

HELLO?

YEAH--YES. SORRY.

I'LL HAVE IT READYFOR YOU THIS AFTERNOON.

PERFECT.THANK YOU.

[♪]

OLIVIA.

OLIVIA!WHAT'S GOING ON?

SHELLY'S RESTING.

WELL, I DON'T CARE.I HAVE TO SEE HER.

NO, ERIC,SHE JUST NEEDS HER REST.

WHY WON'T SHE SEE ME?

IT'S NOT THAT SHE--

WHAT DID SHE SAY TO YOU?

DOES SHE WANT TOGIVE UP OUR BABY?

SHE'S SCARED AND UPSET.

JUST GIVE HER SOME SPACE.

SO SHE DOES WANTTO GIVE OUR BABY UP

FOR ADOPTION.

ERIC, LISTENTO OLIVIA.

NO. NO. I AM DONELISTENING AND WAITING.

HEY, ERIC. ERIC!

SORRY, YOU CAN'TGO IN THERE.

YES, I CAN.

SHELLY'S DOCTOR LEFT ORDERS THATSHE NOT BE DISTURBED.

I THINK IT'S BESTYOU LET SHELLY REST.

DAD?

WELL, OLIVIA MAKESA GOOD POINT, OKAY?

AND IF IT'SDOCTOR'S ORDERS...

THANKS, DAD.

-THANKS FOR NOTHING.-ERIC.

HEY! ERIC!

[♪]

WE GOTTA DO IT.WE GOT TO HIRE HIM.

IT'S THE ONLY WAY

WE'RE GONNA BE ABLETO GET EVERYTHING DONE.

WE HAVE NO MORE MONEY.

WE'LL FIGURESOMETHING OUT.

THAT ESTIMATE IS MORETHAN MY FIRST CAR,

AND IT'S JUSTAN ESTIMATE.

WE CAN DO THIS.

ONCE WE GET THE RESTAURANTUP AND RUNNING,

WE'LL BE ABLE TOPAY IT ALL BACK.

HOW? BY PRINTINGOUR OWN MONEY

IN THE BASEMENT?

THAT'SA BRILLIANT IDEA.

SO YOU'RE SAYINGYOU WANT

TO HIRE THE CONTRACTORAND FINISH THE SALE?

DON'T YOU?

I JUST THINK THATWE HAVE AN OUT.

I MEAN,IF WE WANT IT.

WHAT?

LOOK, I TALKED TO MY MOM,AND IN THE EYES OF THE LAW,

THE RESTAURANTISN'T OURS YET,

BUT IF WE GOTHROUGH ESCROW,

THEN WE OWN IT,

AND ALL OF THE PROBLEMSTHAT GO WITH IT.

WE PUT EVERYTHING WE OWNINTO THE RENOVATION.

I MEAN, THE ONLY WAYI SEE OUT OF IT

IS THROUGH IT.

DON'T FORGETWHY WE DID THIS,

IT WAS SO WE COULD FINALLYBE TOGETHER, YOU AND ME.

I KNOW.

IT'S GONNA BE ALRIGHT.YOU'LL SEE.

[CHUCKLES] OH, HO.

WOW!

HELLO!

JUSTINE.

SETH.

OH, HO, HO.

FANCY MEETINGYOU GUYS HERE, HUH?

AREN'T YOU SUPPOSEDTO BE IN JAIL?

HUH. WELL, IT'S NICETO SEE YOU, TOO, JUSTINE.

HOW DID YOU GET OUT?

WELL, INNOCENT MENDON'T BELONG IN JAIL...

SETH.

YOU'RE HARDLYINNOCENT.

-HOW'S YOUR WIFE?-SHE'S NOT MY WIFE, ACTUALLY.

SHE'S MY GIRLFRIEND.

OR WAS.

ANYWAY, LOOK, I THINKMY PERSONAL LIFE

STOPPED BEINGANY OF YOUR CONCERN

THE MOMENT YOU GAVE METHAT RING BACK, RIGHT?

ALRIGHT, LOOK.

I WAS JUST GONNA SWING BY

AND CHECK OUT THE DAMAGEIN THE RESTAURANT MYSELF.

YOU TWO ARE OKAY,THOUGH, RIGHT?

I MEAN, YOU HAD INSURANCE?

YOU KNOW THATWE WEREN'T INSURED.

RIGHT.

I'M SORRY.I TOTALLY FORGOT.

I GUESS IT MEANS, LEGALLY,I STILL OWN BUILDING.

WHICH ALSO MEANSI'M GONNA GET A HUGE PAYCHECK

FROM MY INSURANCE COMPANY.

SETH, DON'T.

YES, SETH.

DON'T.

WOULDN'T WANT ME TO CALLTHE POLICE NOW, WOULD YOU?

SO I ASSUMEYOU STILL WANT TO CONTINUE?

BUYINGTHE RESTAURANT?

NO ONE'S GONNA STOP USFROM OPENING THAT PLACE.

NO ONE.

SETH.

I GUESS THAT MEANS YOU STILLWANT TO GO THROUGH WITH IT?

ABSOLUTELY.

SETH.

WELL, THAT'S GREAT NEWS.

SETH, IT'S FANTASTIC.

WHY DON'T YOU DO ME A FAVORAND GET YOUR FINANCIALS ALL SET,

SWING BY MY OFFICE,AND WE'LL CLOSE THE DEAL. OKAY?

JUSTINE.

[FOOTSTEPS RECEDING]

WE'LL BE OKAY.

HEY.

THERE YOU ARE.I WAS LOOKING FOR YOU.

IS SHELLY OKAY?

SHE'S FINE.NO SIGNS OF LABOR.

I SENT ERIC TO THE CAFETERIA

TO GET SOMETHING TO EAT.

GRACE IS THERE,

IN CASESOMETHING HAPPENS.

I'M WORRIED ABOUT YOU.

YEAH, I'M KIND OFWORRIED ABOUT MYSELF.

ERIC?

YEAH.

YOU KNOW, EVERY TIME I THINKI'M MAKING PROGRESS WITH HIM,

IT'S JUST...RIGHT BACK WHERE I STARTED,

AND YOU KNOW?I DESERVE IT.

I WAS SUCH A HORRIBLE FATHER.

MAYBE YOU WEREN'T ALWAYSTHE FATHER YOU ARE TODAY,

BUT YOU HAVE WORKED HARDTO OVERCOME YOUR PAST

AND START FRESH.

ERIC DOESN'T KNOWWHAT HE'S DOING

OR SAYING.

HE'S TAKING IT OUT ON YOU.

YOU HAVE TO STOP THIS.

YOU HAVE TO BE STRONG.

HE NEEDS YOU.

THAT MAY BE.

BUT HE DOESN'T WANT ME.

[♪]

SO YOU FOUNDTHE PLACE OKAY?

OH, YEAH.

THANKS FOR MEETING MEON SUCH SHORT NOTICE.

HOW'S YOUR MOM?

SHE'S GREAT, ROY.THANKS FOR ASKING.

SHE SAID

YOU USED TO WORK WITHTHE SEATTLE POLICE DEPARTMENT?

NOW I AMA PRIVATE INVESTIGATOR.

I THINK MY, UH...

FRIEND JOHN BOWMANIS IN TROUBLE.

THE PHOTOGRAPHER?

-MM-HMM.-I SAW HIS WORK...

...AT LAST YEAR'S ARTWALK.TALENTED GUY.

HE IS.

SO WHAT KIND OF TROUBLEHAS HE GOTTEN HIMSELF INTO?

THAT'S WHAT I'M HOPINGYOU CAN TELL ME.

TWO MEN CAMEINTO THE GALLERY TODAY,

LOOKING FOR JOHN.

THEY SAIDTHEY WERE FRIENDS OF HIS,

BUT I DON'T BUY IT.

BEFORE THEY DROVE AWAY,

I WROTE DOWNTHEIR LICENSE PLATE NUMBER.

THOSE MEN SCARED ME,

AND NOWI'M SCARED FOR JOHN.

I'LL LOOK INTO IT.

THANKS.

AND, UM, ROY?

MM-HMM?

PLEASE...

NO POLICE. OKAY?

OKAY.

[DOOR OPENS, THEN SHUTS]

[♪]

IS THAT YOUR SON?

HANDSOME.

AND SMART.

WHAT'S HIS NAME?

JORDAN.

HE LOOKS SO HAPPY.

HE DOES, DOESN'T HE?

FRESH FROM THE CAFETERIA!

I THINK THE GREEN STUFFIS LETTUCE.

I'M NOT HUNGRY.

TOO BAD.YOU NEED TO EAT.

GRACE.

OLIVIA.

THANK YOU.

SO... HOW ARE YOU?

WELL...

JACK KEEPSBLAMING HIMSELF

FOR HIS AND ERIC'SRELATIONSHIP PROBLEMS,

AND I'M WORRIEDABOUT SHELLY--

I DIDN'TASK YOU THAT.

HOW ARE YOU?

I'M FINE.

OH, YOU LIAR, LIAR,PANTS ON FIRE.

GRACE? REALLY?

"LIAR, LIAR?"

WELL, QUIT DODGINGTHE QUESTION.

AND THE QUESTION IS?

I FIND IT

IMPOSSIBLETO BE INSIDE THIS HOSPITAL

AND NOT THINK ABOUT JORDAN.

I DON'T WANT TO TALKABOUT THE DAY JORDAN DIED.

I AM HERE TO HELP SHELLY.

GOT IT.

THANK YOU SO MUCHFOR BEING HERE FOR ME.

I DON'T KNOW WHATI WOULD DO WITHOUT YOU.

NOW...

GO HOME.

WHAT?

GO HOME.GO HOME. GO HOME.

FINE. I'LL GO.

BUT I'LL BE BACK.

WELL, YOU DON'THAVE TO.

JUST TRY AND STOP ME.

LET ME WALK YOUTO YOUR CAR.

[♪]

I SAY SKIP LUNCHAND GO STRAIGHT TO DESSERT.

BOB.

MM! IT WOULD BE CRUEL

FOR ME TO HAVE TO SHARE THISWITH THE GUESTS.

THE GUESTS ARE GONNAHAVE CHOCOLATE CAKE.

WELL, I DON'T LIKE CAKE.

WHICH IS WHY I MADE YOU THIS.

[SIGHS]

YOU GOING TO TELL MEWHAT'S GOING ON,

OR DO WE HAVE TO KEEPTALKING ABOUT THIS PIE?

I'M SORRY.

I'M JUST WORRIED.

SHELLY?

I JUST CALLED HERAT THE HOSPITAL.

SHE SOUNDS SO FRIGHTENED.

LOOK, I'VE GOTAN IDEA.

WHY DON'T WE JUST

LET THIS PIE COOL,

AND YOU AND I TAKEA NICE, RELAXING DRIVE

TO THE HOSPITAL?

YOU THINK?

MM.

I DON'TWANT TO INTRUDE, THOUGH.

SHELLY'S PRACTICALLY FAMILY.

NO.

SHE IS FAMILY.

[PHONE RINGS]

WHICH IS WHYWE'RE GONNA GO SEE HER.

THYME AND TIDE.

HELLO?

OKAY, HAVE A NICE DAY.

UH, BOB?

JACK?

[♪]

JACK, WHAT'S GOING ON?

ARE YOU OKAY?

[JACK SIGHS]

♪ THE GREATEST HEARTSARE ALWAYS BROKEN ♪

♪ BEFORE THEY GET THE CHANCE

♪ TO LOVE THE ONE

♪ WHO WILL LOVE THEM RIGHT

♪ THE TRUEST LOVECOMES WITH PATIENCE ♪

♪ AND WAITING ON

♪ THE ONE TO HOLD THEM CLOSE

HI.

WHAT AREYOU DOING HERE?

WE NEED TO TALK.

[♪]

HEY. HEY.

HEY.

I'M GONNA GO CHECKON SHELLY AND OLIVIA,

SO I'M GONNA LEAVE YOU GUYSTO TALK, HUH?

I SHOULDN'T HAVE CALLED.I, UH...

I'M YOUR SPONSOR.

YOU MOST DEFINITELYSHOULD HAVE CALLED.

THAT'S MY COMMITMENTTO YOU AND YOUR SOBRIETY.

WAS IT THIS HARDYOUR FIRST YEAR?

IT WAS HARD MY FIRST YEAR,

MY SECOND YEAR.

IT'S HARD TODAY.

ONE DAY AT A TIME, RIGHT?

YOU WANT TO TALK ABOUT IT?

NO.

BUT YOU WANT A DRINK?

YES.

I'M BETTER NOW.I, UH...

I'M NOT GOING TO DRINK.

I'M NOT.

OKAY.

[SIGHS]

YOU'RE JUST GOING TOSIT HERE WITH ME?

YUP.

NO TALKING?

NOPE.

PLEASE DON'T DO THIS.

MY MIND IS MADE UP.

-THEN I'LL RAISE HER ALONE.-NO.

YOU WOULD RATHER HAVESTRANGERS RAISE OUR DAUGHTER?

YES.

COME ON, SHELLY.

ERIC, YOU'RE HERE NOW,

AND YOU'RE COMMITTED,

JUST LIKE WHEN I FOUND OUTI WAS PREGNANT,

BUT THEN YOU GOT SCAREDAND YOU FELT PRESSURED,

AND YOU BOLTED.

WHY CAN'T YOU SEETHAT I'VE CHANGED?

WELL, WHAT HAPPENSIF YOU HAVEN'T CHANGED?

WHAT'S YOUR BACK-UP PLAN?

YOU JUST GONNA LEAVE THE BABYWITH YOUR FATHER?

I WOULD NEVER DO THAT.

YOU KNOW WHATMY CHILDHOOD WAS LIKE.

MY MOM BARELY THERE,MY DAD TOOK OFF.

IF I WASN'T GOINGINTO A FOSTER HOME,

WE WERE MOVING.

THERE WAS BARELY ENOUGH MONEYTO PAY FOR THE BASICS.

REMEMBER, YOU WERETHE ONE WHO WANTED

TO GIVE UP THE BABYIN THE FIRST PLACE.

I DIDN'T KNOWWHAT I WAS SAYING.

NO, I THINKIT'S WHAT YOU WANTED,

BUT THEN YOU CAMEBACK TO CEDAR COVE,

AND YOU SAW MEAND YOU SAW THE SONOGRAM,

AND YOU LET YOUR EMOTIONSRUN AWAY WITH YOU.

I DID, TOO.

PLEASE BE REASONABLE.

I AM GOING TO DOWHAT'S BEST FOR OUR BABY,

AND I HOPEYOU'LL GO ALONG WITH IT.

PLEASE, ERIC,DON'T FIGHT ME ON THIS.

[♪]

CLIFF?

IN THE KITCHEN.

OOH. LOOK AT YOU.

HOW'S EVERYTHING GOINGAT THE HOSPITAL?

UGH. COMPLICATED.

I COOKED.

I CAN SEE THAT.

IT'S NICE TO SMELL SOMETHINGOTHER THAN HOSPITAL FOOD.

BEEF STEW.

FAMILY RECIPE.

MM!

ONLY MADE FOR THOSEWHO ARE VERY SPECIAL.

THAT'S REALLY GOOD.

I CAN'T BELIEVEYOU CAN COOK.

WELL, YOU'RE A COWBOYAND YOU DON'T,

YOU STARVE.

NOT A LOT OF TAKEOUTON THE OPEN RANGE.

[CHUCKLES]

-YOU HUNGRY?-MM.

[DOOR OPENS]

HEY. CLIFF MADE STEW.

HONEY, WHAT'S THE MATTER?

IT'S JOHN.

I THINK HE'S IN TROUBLE.

I'M SORRY.

YOU KNOW WHAT?

I THINK I'M GONNA HEAD ONBACK TO THE RANCH.

I AM SO SORRY.

NO, NO. SOMEBODY NEEDS YOUMORE THAN I DO.

YOU ARE SO...

I AM, AREN'T I?

YEAH. MM.

I'M A LUCKY LADY.

I'M THE LUCKY ONE.

[♪]

[VEHICLE DOORS SHUT,ENGINE TURNS OVER]

[♪]

MOM.

I'M IN HERE.

IS SHELLY ALRIGHT?

I DON'T KNOW.THAT'S NOT WHY I'M HERE.

WHAT ARE YOU DOING HERE?

OH, MY DOCKET'S DOUBLEDFOR TOMORROW.

I HAD TO PICK UPTHESE FILES TO PREP.

WARREN'S BACK IN TOWN.

IMPOSSIBLE.

I JUST SAW HIM.

HE'S HERE,WALKING AROUND FREE.

HOW DID WARREN SAGET

GET OUT OFFEDERAL CUSTODY?

I HAVE NO IDEA.

ARE YOU ALRIGHT?

[DRYLY]: GREAT.

[HUFFS]

IT LOOKS LIKE

SETH AND I ARE GOING THROUGHWITH BUYING THE RESTAURANT,

ALTHOUGH I HAVENO IDEA HOW.

REALLY? I THOUGHT THATWAS STILL UP IN THE AIR.

WARREN STARTED POKING US

ABOUT FINISHINGTHE SALE OF THE RESTAURANT--

IS THAT WHAT YOU WANT?

MOM, SETH GAVE UP WHAT HE LOVESTO BE HERE,

SO THAT WE COULD HAVEA REAL RELATIONSHIP.

THAT IS NOTWHAT I ASKED YOU.

STOP CROSS-EXAMINING ME.

THEN ANSWER THE QUESTION.

OKAY.

TAKE THE MONEY OUT OF IT.

HOW?

I'M HAPPY TO GIVEYOU AND SETH THE MONEY.

YOU CAN PAY ME BACK.

YOU DON'T NEED A LOAN.

BUT SETH WANTS US TO--

I KNOWWHAT SETH WANTS.

HE WANTS YOU, AT ANY COST,

AND HE'S WILLING TO SACRIFICEANYTHING AND EVERYTHING

TO HAVE YOU,

BUT IT'S YOUR LIFE, TOO.

WHAT ARE YOU WILLINGTO SACRIFICE FOR?

TO GIVE ANYTHING FOR?

IS IT THE RESTAURANT?

IS IT SETH?

I THINK THAT'S THE QUESTIONYOU NEED TO ANSWER.

[SETH AND DEREK LAUGHING]

[DEREK]: COME ON.YOU CAN'T BE SERIOUS.

[SETH]: I'M NOT INTERESTED.

-BULL.-TRUTH.

I KNOW YOU!

WELL, MAYBE YOU DON'T KNOW ME ASWELL AS YOU THINK.

WHAT ARE YOU DOING HERE?

A RESTAURANT?

REALLY? COME ON!

I'M NOT LEAVING CEDAR COVE.

DON'T PASS THIS UP.

I GOT FINANCED FOR TWO BOATS.

I CAN ONLY CAPTAIN ONE.

THE OTHER ONEIS YOURS FOR THE TAKING.

-NO.-YOU COULD MAKE ENOUGH MONEY--

...TO BUY ANOTHER BOAT,YOUR OWN BOAT.

I STILL CAN'T BELIEVEYOU SOLD THE FIRST ONE.

FOR WHAT?

TO RUN A RESTAURANT?

HEY, THE LIGHTHOUSERESTAURANT

IS GOING TO BE FANTASTICWHEN I'M DONE WITH IT,

AND I WILL GLADLY BUYANY FISH YOU CAN SUPPLY.

WHAT IF I MAKE YOUA FULL PARTNER?

I DON'T HAVE ANY MONEY.

YEAH, BUTYOU HAVE SKILL,

AND I NEED THAT SKILLTO DOUBLE MY PROFITS.

WHAT ARE YOU SAYING?

SALARYWITH A PERCENT OF PROFITS,

AND A CONTRACT

THAT WILL ALLOW YOU TO BUYTHE SECOND BOAT FROM ME,

AS LONG ASWE STAY PARTNERS.

[SETH CHUCKLES]

THANKS, BUT...

NO THANKS.

[DEREK SIGHS]

I JUST HOPESHE'S WORTH IT.

JUSTINE IS.

AND THE ONLY WAY TO KEEP HER

IS TO GET THIS RESTAURANTUP AND RUNNING.

[DEREK SIGHS]

LOVE.

[LAUGHS]

YEAH.

MAN, I'M GONNA MISS YOUIN ALASKA.

HEY, CAN YOU DO ME A FAVOR?

SURE.

DON'T TELL JUSTINEABOUT THE JOB.

OH... WELL,IT'S YOUR FUNERAL.

NO.

IT'S MY LIFE,WITH THE WOMAN I LOVE.

CHEERS TO THAT.

[CLINK]

THERE SHE IS.

SORRY I'M LATE.

THAT'S OKAY.

-HI, JUSTINE.-HEY, DEREK.

YOU GONNA JOIN US?

HE WAS JUST LEAVING.

I WAS?

YOU WERE.

WHAT ABOUT MY BEER?

TAKE IT TO GO.

[SIGHS] IT'S GOOD TO SEE YA.

SEE YOU.

YOU HUNGRY?

I'M STARVING.

SO WHAT DID HE WANT?

HE'S HEADING UP TO ALASKA.HE'S GOT A COUPLE OF BOATS.

JEALOUS?

NO.

I GOT EVERYTHING I WANTRIGHT HERE.

[CELL PHONE RINGS]

HELLO?

JOHNNY-BOY.

SAM?

LOOK. LOOK, SAM, STOP CALLING.

I APPRECIATE EVERYTHINGTHAT YOU'VE DONE FOR ME--

YOU KNOW,I SHOULD BE IN SEATTLE,

GETTING READYTO DELIVER A TRUNKLOAD

OF FAKE I.D.s, GREENCARDS,PASSPORTS, CREDIT CARDS,

TO MY GUY DOWN IN L.A.,

BUT HERE I AM,STANDING ON SOME PIER,

BECAUSE THIS IS THE ONLY PLACEYOU CAN GET CELL SERVICE

IN THIS STUPID LITTLE TOWN.

YOU'RE IN CEDAR COVE?

I AM.

[BEEP]

[♪]

HONEY?

THOUGHT YOU MIGHT BE HUNGRY.

OH, THAT'S SWEET, MOM,

BUT I DON'THAVE AN APPETITE.

OKAY.

YOU SHOULDGET BACK TO CLIFF.

HE LEFT.

OH, I'M SORRY.

-WHY?-WELL, I RUINED YOUR DATE.

NO! YOU DID NOT.

NOW, YOU NEED TOTELL ME WHAT IS GOING ON

INSIDE THAT HEADOF YOURS.

[♪]

COME HERE.

OH, SORRY!

[MONITOR BEEPING]

[♪]

ARE YOUGONNA BE OKAY?

OH, HEY, I AM... BETTER.MOVING TOWARDS "OKAY."

YEAH.

-OH, HEY.-HEY.

HEY, GUYS.

HOW ARE THINGS UPSTAIRS?

SHELLY'S BETTER.

YEAH?IS OLIVIA WITH HER?

JUST STEPPED OUTTO GET SOME AIR.

OKAY.

LISTEN,THANK YOU FOR COMING.

OH, JACK, COME ON.

YOU AND OLIVIA,

AND NOWSHELLY AND ERIC,

YOU GUYS ARE FAMILY,YOU KNOW THAT.

-MM.-ANYTHING CHANGES...

I WILL CALL.

YEAH.

SO HOW IS JACK?

REALLY?

SHAKY.

SHELLY?

SHE'S JUSTSO SCARED, BOB.

YEAH?

SCARED OFHAVING THE BABY,

AND THEN SCAREDOF RAISING THE BABY,

WITH OR WITHOUT ERIC.

WHAT DO YOU THINKSHE'S GOING TO DO?

I HONESTLYDON'T KNOW.

WHAT DO YOU HOPESHE'S GONNA DO?

THE RIGHT THING.

YEAH, THAT'S ALWAYSTHE HARDEST, ISN'T IT?

YES, IT IS.

HEY, DO YOU NEEDTO STAY HERE WITH JACK?

NO.

HE PROMISED HE'D CALL.

LOOK, WE CAN EITHER STAY HEREAND WORRY,

OR WE GO HOMEAND WORRY.

I GOT PIE AT HOME.

HOME IT IS.

HEY.

HELLO?

-HI.-YOU OKAY?

YEAH, I'M GREAT.LET'S GO CHECK ON THE KIDS.

OKAY. GOOD IDEA.

[♪]

HI THERE.

[KNOCKING]

EVENING, GRACE.

HEY, GUYS. WHAT'S UP?

WE NEED TO SPEAKTO MARYELLEN.

IT'S JOHN, ISN'T IT?

I'M AFRAID IT IS.

I TOLD YOU I DIDN'TWANT TO CALL THE POLICE.

I DIDN'THAVE ANY CHOICE.

OKAY, SOMEBODY HADBETTER START TELLING ME

WHAT IS GOING ONRIGHT NOW.

WE GOT SOME INFORMATIONON JOHN BOWMAN

AND THE TWO MEN

MARYELLEN METIN THE GALLERY.

IT'S NOT GOOD.

[SIGHS]COME ON IN. PLEASE.

[♪]

IS SHELLY ALRIGHT?

I WAITED FOR YOU TO GET BACK

SO I COULDTO TELL YOU TO YOUR FACE.

TELL US WHAT?

I'M GONNA STOP YOU.

NOBODY'S GIVING MY BABY AWAY.NOT WITHOUT MY PERMISSION.

NOT YOU, OR YOU,

OR SHELLY.

HEY, ERIC, YOUNEED TO CALM DOWN.

SHE ISN'T THE ONLY ONEWHO HAS RIGHTS.

I'M GOING TO HIRE A LAWYER.

YOU AREN'T GIVING MY BABY AWAY.

[QUIET GROAN] OH.

[♪]