Episode Fifty-four:
Is Jack Having a
Change of Heart? Jack Helps Jennifer
Improve her Article and Publishes it;
He Also Wants to Get a Better Place for Jo.


SCENE ONE: IN FLORIDA, JENNIFER AND EMILIO DECIDE TO GO TO THE BEACH. THEY STAY AFTER DARK AND BUILD A FIRE AND ARE KISSING WHEN THE POLICE COME ALONG. THE POLICE ARREST EMILIO BECAUSE HE FITS THE DESCRIPTION OF A GUY WHO BEAT UP AN OLD MAN ON THE BEACH. HE IS TAKEN TO THE STATION

SCENE TWO: AT THE STATION HE CANNOT FIND HIS WALLET AND THEY HOLD HIM UNTIL JENNIFER ARRIVES TO CLEAR HIM.

SCENE THREE: LATER JACK GOES TO THE EMERGENCY CENTER.
JACK: I'm here.

KAYLA: How can I help you Jack?

JACK: Well, .... you said to come in on Friday for a check up and I'm here to be checked up.

KAYLA: Right. Alright, why don't you come in the examining room and I'll have a look.

JACK: Right. Your wish is my command.

KAYLA: Take your coat off and pull your shirt up.

JACK: Okay. It feels good.

KAYLA RIPS OFF THE TAPE COVERING HIS WOUND.

Jack returns to the Clinic, he vows to change;
2 Min; 4.5 Meg
JACK: Ouch.... So what's the bad word? Am I going to live?

KAYLA: Yeah, I'm afraid so.

JACK: Well.... don't sound so excited.

KAYLA: You know, Jack, I don't understand you.

JACK: Yes you do.

KAYLA: No.... I don't. You come to my mother's hospital room carrying flowers and for a second there it reminded me of the Jack I met in Hawai'i. The one who cared about people.

JACK: Optical illusion really. No.... no big deal.

KAYLA: Well, it was to my mother. And I think there are some other people around who would like to see the old Jack again.

JACK: Kayla, look, let's not go spreading any nasty rumors about me. I really wasn't myself the other day, you know. Let's just chalk it up to a loss of blood. You know it's really incredible what a little street surgery can make a man say and do. Finished?

KAYLA: Yes. I am.

JACK: Good. Well, I'll.... I'll just be on my way. There are widows to fleece and mortgages to foreclose on and heroines to tie to the tracks. Busy, busy, busy. You know me.

KAYLA: Yes. Maybe I do.

JACK: Anyway.... thank you.

KAYLA: No problem. (Beat) Jack! Think about what I said, would you?

JACK: Think about what? (Grin)
JACK WALKS OUTSIDE AND STOPS.
JACK: The old Jack, eh?

HE REMOVES THE PICTURE OF HIM AND JO FROM HIS POCKET, AND SMILES AT IT.

JACK: Hmmm.

HE HURRIES AWAY.

SCENE FOUR: STEVE IS WORKING AT THE FISH MARKET WHEN JACK WALKS IN.
STEVE: Be right with you.

JACK: Oh, take your time.

CUSTOMER: Listen, if I'm going to stand here all day I'm going to miss Jeopardy. Let's go.
JACK IS SMILING.
STEVE: Okay. I don't want you to miss Jeopardy. Why don't you take this little baby right here? (He hands him a crab.) I'll put it on your account.

CUSTOMER: I don't have an account.

STEVE: Well, this is your lucky day. You've got an account now. Here we go.

JACK: You know Steve. You have really got a knack with people.

STEVE: Listen, Jackson. You can't do a thing to make me lose this job. I'm in tight with the owner. Besides I'm not gettin' paid.

JACK: I'm not here to make trouble.

STEVE: What is it, a holiday?

JACK: I'm not here to argue with you either.

STEVE: So you want some fish. The moment you walked in the door I put eel on special.

JACK: I want to talk to you about Jo.

STEVE: What about Jo?

JACK: Well, I've been to her apartment. I've seen it and it's pretty small.

STEVE: So?

JACK: So, I thought I might help her out. I mean I've got the money and I don't really need it and she is.... my mother.

STEVE: What are you talking about?

JACK: I'm talking about getting her a better place to live.

STEVE: What do you want, Jack?

JACK: From you, nothing. From Jo, or anybody else, nothing.

STEVE: I don't believe it.

JACK: You don't have to believe it Steve. I'm doing it for her.

STEVE: So then what are you doing here bugging me about it?

JACK: Well, I think we both know that Jo is not going to accept anything unless she gets it checked by you first. Hmm? You don't trust me and I don't blame you. But the offer is legit. So, please.... please think about it. (Walks toward the door, then stops) You know where I live.
JACK LEAVES.
STEVE: What the hell, was that?
SCENE FIVE: A SHORT TIME LATER KAYLA ARRIVES AT THE FISH MARKET AND STEVE TELLS HER WHAT JACK WANTED. KAYLA THINKS THAT STEVE WANTS JACK TO CHANGE TOO BUT HE IS TOO AFRAID TO ACCEPT IT. SHE TELLS STEVE THAT HE MUST LEAVE HER OUT OF IT WHEN HE DEALS WITH JACK.

SCENE ONE: ANOTER DAY JACK RETURNS TO THE BRADY FISH MARKET. STEVE IS SURPISED TO SEE HIM AGAIN, BUT STILL DOES NOT TRUST HIM.
STEVE:  What do you want, Jack?!

JACK: My, my, my we're not very civil this morning, are we?

STEVE: (Goes back to sweeping) Well, this morning I don't have time to play. You see, I have a job, I'm working--

JACK: (Puts out his arm) Whoa, whoa, wait a minute, Steve, I don't want to hassle you. I just want to ask you a question, I just want to see if you talked.... talked to Jo about that apartment I was going to get her, the new apartment.
STEVE STOPS SWEEPING FOR A MOMENT, AS IF HE IS ABOUT TO ANSWER HIM, BUT SAYS NOTHING AND THEN GOES BACK TO SWEEPING.
JACK: (Cont.) Well, did you?

STEVE: (Walks over to another part of the shop) No, I didn't.

JACK: Why not?
JACK GRABS  HIS ARM TO STOP HIM AND GET HIS ATTENTION. STEVE GLARES AT HIM.
JACK: (Cont.) I asked you, why not?
SCENE TWO: THE SCENE CONTINUES.
JACK:  Why didn't you talk to her?

STEVE: (Throwing down the broom) There's things I don't like in this world! (Snatches Jack's arm from his shoulder and grabs his wrist) One is being handled! And the other is being made to look like a fool!

JACK: All right, you answer my question and I'll turn you onto a really good therapist. Fair enough?

STEVE: I didn't tell because I didn't want to (makes a face)! Fair enough?

JACK: Look, you know, thi.... this could make a really big difference in  her life. Are we going to let our differences cheat her out of something she really deserves?!

STEVE: (Walking around) Ah, what do you think I am, some kind of idiot. You think you can just come in here and tell me anything, and I'm going to believe it?

JACK: Wait, wha.... what are you talking about?

STEVE: (Cleaning up) If you want to put my mother in a nicer place to live (points at  him) why don't you ask her yourself!

JACK: You know why, I cann...., she's not going to accept anything from me unless she thinks it's okay by you, first.

STEVE: WELL, IT'S NOT OKAY BY ME! Why don't you wake up! Why don't you try playing it straight for a change! Why don't you tell me what  you're getting out of this, huh! And then maybe we'll have something to talk about.

JACK: (Jack appears to be sincere and Steve's belief he is not seems to hurt Jack) You think I want to help Jo out.... for some.... some reason of my own, is that right?

STEVE: Well, I don't think you're doing it out of the kindness of your heart.

JACK: Look, you cou.... you cou.... you could call it whatever you want, Steve--

STEVE: Just shut up! Shut up! You listen to me, now Jo means  alot to me. It took me a long time to see that, but now that I do I'm not about to do something that might hurt her.

JACK: Oh, really, why, you tell me why would I want to hurt her, hmm?

STEVE: I don't know, man, I don't know why you do half the crap you do.
JUST THEN JO ENTERS THE FISH MARKET, AND WALKS OVER TOWARDS THEM.
JO: Steve! Steve! Jack!

STEVE: (Still going at Jack) But if you can't be up front (pointing at him) with me then we've got nothing to talk about!

JO: Hey! HEY!

STEVE: "HEY" YOURSELF!

JO: What's going on here?!

JACK: (Looks at Steve who does not answer, then turns to her) Nothing, nothing's going on here, I'm just.... I'm just wasting my time, that's all.

STEVE: (Making a face) Aaaahhhh!
JACK, FRUSTRATED, WALKS TOWARDS THE DOOR.
JO: Wait a minute, y.... you said you wanted to talk to me, what about.

JACK: (Stops and turns towards them) What is that about?

STEVE LOOKS EMBARRASSED, JACK WALKS BACK OVER TO THEM.
JACK: (Cont.) You were going to tell (walking around him) her all along, weren't you? Weren't you? Why couldn't you tell me that, huh?

STEVE: (Gestures) Because, you know, every time I see you I get the feeling you've got something up your sleeve.

JACK: No! No, because every time you see me you want to put me through the wringer.

STEVE: Well, you get what you deserve, man--

JACK: (They shout over each other) I'M SO SICK OF THIS!

STEVE: (Cont.) ....you get what you put up with this world.

JACK: (Cont.) ....I'M SO SICK OF THIS!

STEVE: IF YOUR SO SICK, WHY DON'T YOU TELL THE TRUTH! IF YOU REMEMBER WHAT THAT IS!--

JO: (Getting in Steve's face) STOP IT, THE TWO OF YOU STOP IT!

STEVE GLARES AT JACK. JO TURNS TO JACK, WHO IS LOOKING DOWN, AWAY FROM HER.

JO: (To Jack) What is this all about?
THEY CONTINUE TO GLARE AT EACH OTHER, STEVE KNOWS JACK IS NOT GOING TO ADMIT THE TRUTH, AND SCOFFS.

SCENE THREE: THE SCENE CONTINUES. STEVE WALKS OVER TO JACK.
STEVE: (Sarcastically) Come on, Billy! Why don't you tell our mama (patting his shoulder) why you're here. This is your big chance.
JO LOOKS AT BOTH OF HER SONS. JACK PACES AROUND.
JO: Jack! (Looks at Steve then walks to Jack) Jack, is something wrong?

JACK: No, no, no, no, no, nothing's wrong.

JO: Well then what is it?

JACK: Aaahhh, (looking down, thinking if he should tell her, he turns) I was just thinking about your apartment. That's all.

JO: (Confused) Waaa, why?

JACK: Well, you've got to admit it, it's.... it's pretty small, right. And, uh,  I think what a shame that you have to live in some place that is so uncomfortable when you have somebody who could help you out.
STEVE LISTENS IN, NOT TRUSTING HIM, FIDDLING WITH A TOWEL. AS JACK TALKS HE MAKES FACES.
JO: I don't understand.

JACK: I'm talking about getting  you a better place to live. You see, I got a friend whose got an apartment complex in a really nice part of the city, see. But he.... he's having a little trouble renting out one of his apartments. So, I thought, you could move in there, I help you pay the rent, and the same time I'm helping out my friend.

JO: (Not please by his reasons) I see.

JACK: (Slight laugh) So, ah, so what do  you think?

JO: (Jo acts hurt and insulted) I'm shocked. Please don't think I'm ungrateful, but I.... I don't understand why you're suddenly being--
STEVE LOOKS PLEASED THAT JO IS REFUSING JACK.
JACK: (Seemingly a little hurt and trying to make the offer not important for him) Well, no, i.... it.... it's really.... it's.... it's nothing really. I mean wan.... (shrugs) if you don't want it, I'm sure he'll find somebody else to rent. Tha.... that's quite all right (starts to walk off).

JO: Ja.... Jack, wait, wait a minute, now. Waaiit just a minute! Why are you doing this?

JACK: Ha.... tha.... that's very simple,  see, you don.... you don't have any money and I've got plenty of money. And, uh, well, you helped me out when I was in the hospital all laid up and you were working for us and we....
JO IS DISAPPOINTED AND HURT.
JACK: (Cont.) ....we.... like I said (Jack's voice cracks a little) it's no big deal.... you were working for us and we.... like I said....
FURIOUS STEVE SLAMS DOWN A GLASS HE WAS CLEANING.

JACK: (Cont., smiles, but he obviously is hurt by her refusal) ....look, it's no big deal, so if you  want to take it, fine. If you don't want to take it fine.

JO:  Nooo, I don't. No thank you.

JACK LOOKS HURT BY HER REJECTION.


SCENE FOUR: JO HAS JUST REFUSED JACK HIS OFFER. SHE IS HURT FOR THE REASONS HE IS OFFERING, SHE DOES NOT WANT HIS MONEY BUT HIS ACCEPTANCE AND LOVE. JACK IS ACTING AS IF IT IS NO BIG DEAL, BUT IT IS OBVIOUSLY MEANS A GREAT DEAL TO HIM, AND HE IS ONLY PRETENDING HE IS DOING IT FOR HIS FRIEND. STEVE IS PLEASED THAT JACK WAS REJECTED. HE GOES TO JO AND PUTS HIS ARM AROUND HER SHOULDER.
STEVE: Good, for you, Mama! You didn't fall for Happy Jack's little act.

JACK: IT'S NOT AN ACT! A.... Look, I'm just trying to help Jo out here. That's all.

STEVE: Oh, come on! How do you expect us believe that al.... after all the stuff you've done.
JO LOOKS AT JACK AND SHE SEEMS TO SEE THAT HE IS HURT BY THE REJECTION AND THAT IT IS NOT AN ACT, THAT UNDERNEATH IT ALL HE DOES CARE.
JACK: You know something, you're right. (Pacing around) There's no reason you should. 

JO: Jack--

JACK: No, really why.... why am I even bothering to do anything.... I mean every time I try to do something everybody questions my motives.

JO: Ooohhh, Jack that's no--

STEVE: Have you ever hear of the little boy who cried wolf?

JO: Would you just STOP IT!

STEVE: No I don't want to stop it--

JO: STOP IT!

STEVE:  I don't want to stop it--

Jack/Jo/Steve;
1.3 Min; 2 Meg

JACK: NOW LOOK.... (gestures) look, th.... this.... just leave things the way they are. If you don't want the apartment, fine! Let's just leave it the way it is. (Walking off) Okay.

JO: (Stopping him) Ja.... Jack..... Jack, wait a minute. I don't want you to think that  I'm.... I'm not taking you up on your offer because I do not trust you. I.... I've always known that you've had good in you.

STEVE: (Scoff's) Huh! (Flares his eye at Jack).

JACK: (Turning to Jo) Yeah. Why don't you let me help.

JO: Because it's not your money that I want! It's your love that I want! I.... I.... don't know wha.... what you're trying to.... to prove here. Wha.... you're (throws down her fists) trying to prove something to yourself, but, you see, the only way you're going to be happy is.... (gestures) is to accept us as your family. (Stuttering) So.... ah.... d.... do.... eh.... Please accept me as your mother!

JACK LOOKS AT HER.

JO: (Cont.) I wish (beat) this never would have happened. I wish we could start over. I wish that you could for once just call me "Mama."

STEVE LOOKS DISGUSTED, BELIEVING JACK WOULD NEVER DO THAT. JACK HAS NO EXPRESSION, THOUGHT IT IS OBVIOUS THAT THAT IS THE ONE THING WHICH IS TOO HARD FOR HIM TO DO AFTER EVERYTHING.

JO: (Cont.) Can't you just do that, Jack?


SCENE FIVE: JO HAS JUST ASKED JACK TO CALL HER "MAMA." JACK HAS NOT SAID ANYTHING. STEVE WATCHES ON, KNOWING JACK WOULD NOT.
JO: Will you do it, Son?.... Will you finally accept me as your mother?.... Please!?

JACK LOOKS LIKE HE WANTS TO BUT CANNOT.

JO: (Hurt, looks down) Well, it's all right. You can't. (Half-smile) I at least think you're trying.

JACK LOOKS LIKE HE REALIZES THAT THAT IS NOT ENOUGH.

JO: (Cont.) But I'm not going to give up on you, Billy. But I'll never give-up-on-you!

JACK: Look. Look. (Chuckles) You could believe anything you w.... want to believe. Say anything you want to say. Or do whatever you want to do. Do.... (shakes his head) doesn't matter to me. You just, uh.... I'm just sorry th.... that you don't want to take a brand new apartment, you want to stay living in your crummy old room, that's all.  Mmm.... and, uh.... I don't know, maybe (smiling) some day you'll change your mind, huh.
JACK WALKS OUT THE DOOR. JO GOES TO THE DOOR AND CALLS HIM, BUT HE WALKS OFF, NOT STOPPING. STEVE STANDS BY HER.
JO: Maybe some day you'll change yours.

SCENE SIX: LATER STEVE IS HUGGING JO. THEY HAVE BEEN TALKING ABOUT JACK. IT IS OBVIOUS HE DOES NOT HAVE FAITH IN JACK. THOUGH HE TELLS HER THAT FOR HER SAKE HE HOPES JACK WILL CHANGE. SHE PATS HIS BACK. THEY DO NOT NOTICE THAT JACK IS WATCHING THEM, SADLY, FROM OUTSIDE THROUGH THE WINDOW.


SCENE ONE: KAYLA ARRIVES AT THE EMERGENCY CENTER AND FINDS A THIEF INSIDE. HE BEGINS TO ROUGH UP KAYLA BUT JACK ARRIVES.

JACK: Kayla, Kayla, get out of the way. Alright.
JACK PUNCHES THE GUY AND GETS IN A FIGHT WITH HIM.

KAYLA: Jack.

JACK: Kayla. Stay back, Kayla. Stay back.

THEY GUY PUNCHES JACK ON THE JAW AND THEN ON HIS INJURED SIDE THEN HE RUNS OUT.

KAYLA: Jack are you alright?

JACK: Oh god!.... I'm okay, I'm okay. How about you? Are you alright?

KAYLA: I'm fine. He didn't get a chance to do very much, thanks.... to you.

JACK: Always glad to be of service.... Kayla.

KAYLA: Why don't I have a look at this?

JACK: I have a feeling..... oh yah.... oh well,  like they say, no pain, no gain.

KAYLA: Right.
SCENE TWO: JACK HAS HIS COAT OFF AND HIS SHIRT UNDONE. KAYLA IS ON THE PHONE.
KAYLA: Thanks, officer. I'll be here all morning.

JACK: Well, I guess the police are going to get here when they get here.

KAYLA: Well, it's not exactly urgent.

JACK: Oh, oooh, oooh. Speak for yourself Kayla.

KAYLA: I'll really think that you're going to be alright Jack.

JACK: I tell, you one thing, if this thing busts open one more time I'm going to have to ask for my money back.

KAYLA: Free clinic.

JACK: Oh!.... I knew that. I was just joking or at least.... trying to.

KAYLA: He, he.... well, you can put your shirt back on.

JACK: Here's your hat, what's your hurry. (Beat) You can't get rid of me fast enough, can you?

KAYLA: I told you how grateful I was Jack.

JACK: But?

KAYLA: But I have work to do.

JACK: Yeah....
MIKE RUSHES IN AND JACK WITHDRAWS INTO HIMSELF AND WATCHES MIKE AND KAYLA.
MIKE: Kayla, did you stop by the hospital this morning?

KAYLA: No, Roman, said he'd call me if there was any change with Mom.

MIKE: Well, it looks like your mom is doing really good. The bypass went okay.

KAYLA: Great.
MIKE NOTICES THAT JACK IS STARING AT KAYLA.

MIKE: Hey.

JACK: Oh.... Mike, really. I'll just get out of your way. Pretend I'm not here.

MIKE: Is everything okay?

KAYLA: Yes, everything's fine. Listen I'm glad you stopped by.

MIKE: Well, as a matter of fact I came by here because I haven't been by much lately and I want to volunteer my services unto you.

KAYLA: Really?

MIKE: Yes. As a matter of fact I will be by here most mornings until I go back on OR rotation.

KAYLA: No, kidding.

MIKE: Shall I repeat that for you? I will be here most mornings until I got back on OR rotation.

KAYLA: Oh, your hand is healing.

MIKE: Hmmm. Well, it's not 100% but it is getting better.

KAYLA: Oh, well, that is great news. I am very very happy.
KAYLA GIVES MIKE A BIG HUG WHICH JACK OBSERVES.
MIKE: If I'm going to get hugs like this I'm going to go door to door. This is great.

KAYLA: You know you have not changed since high school.

MIKE: What, you don't think I've scored a little?

KAYLA: A little yes.

MIKE: So that's what broke us up?

KAYLA: Well, maybe and maybe the fact that we both left town.

MIKE: You know that morning when you rode off into the sunset on that bus, you just broke my heart. It was devastating.

KAYLA: It was a plane and you weren't even there.

MIKE: Okay, okay, okay. I overslept. It was still no reason to dump you.

KAYLA: I did not dump you.

MIKE: You mean there is hope for you and me?

KAYLA: If you do the summaries on all of these, I'll think about it.
JACK OBSERVES THE BANTER BETWEEN MIKE AND KAYLA AND THEN LEAVES QUIETLY.

SCENE THREE: JACK GOES TO THE THE FISH MARKET TO SEE STEVE.
JACK: Hi, Steve, what's happening?

STEVE: Nothin'.

JACK: Oh really, the sign outside says shrimp seven bucks a pound.

STEVE: Oh, really. Well, we got a sign right here that says we reserve the right to refuse service to anyone.

JACK: Well.... what about the golden rule of business. The customer is always right.

STEVE: Never heard of that.

JACK: Oh, I see. Well, Caroline Brady must rest easy know you're in charge.

STEVE: What do you want Jack? You want fish.

JACK: Oh, well,   if you have a couple of minutes....

STEVE: No I'm busy.

JACK: I want to talk about Jo.

STEVE: I don't want to talk about Jo.
JACK RINGS THE BELL, IN THE SHOP.
JACK: Excuse me. Good morning. I'd like to take a look at your shrimp.

STEVE: You want shrimp?

JACK: Or maybe some tuna, if it's fresh.

STEVE: You are my brother alright. Never quit do you?

JACK: I came here to talk. You want to play games, we'll play games.

STEVE: No, I don't want to play games. Let's talk. What, something about Jo, go ahead, what?

JACK: I still think she should have a better place to live.

STEVE: Well, she turned down your offer, don't you remember that? She's not interested.

JACK: I'm sorry she feels that way.

STEVE: Oh yeah I'm sure you're real sorry about how she feels.

JACK: Alright, okay, okay. Let's stop right here folks. Time out for our favorite sport, Jack Bashing in America. Now refresh my memory, tell, me what a loss I am, tell, me about all the times that I broke my poor mother's heart and when you're through.... if you're ever through.... save a little time for me because I've got something to say to you.

STEVE: By all means, go ahead. Say it.

JACK: I know what she wants. I know exactly what she wants. I'm not stupid. She wants me to come up, wrap my arms around her, hug her and say, Hi, Mom.

STEVE: So why don't you do it?

JACK: And be just like you, right? Just like you. (Beat) I know you. It took you a long time to give her her first Mother's Day card.

STEVE: Yeah, well, I never said I was perfect. I'm the first one to admit that it took me a long time to get around to accepting her. But the difference between you and me is that I did. When are you going to do it, eh?

JACK: Well, maybe it's a little bit easier for you to get your feelings out, you know.

STEVE: Oh, it's easier for me, eh?

JACK: People are different, Steve. Everybody expresses their feelings in a different way. So maybe it's a little.... it's a little har.... Look, I'm not going to make any excuses to you but kindness, love and warmth weren't exactly the lessons I was reared with at Harper Deveraux' knee.

STEVE: Sounds like making excuses to me.

JACK: (Cynical laugh) Of course. Of course. I should have expected the love and compassion from my big brother.

STEVE: Don't give me that feel sorry for me crap. I'm not going to take that guilt trip you're trying to lay on me. Now I know all about how you like to show your feelings. I've got the scars to prove it.

JACK: You're right, you're right you do. And you know something else? All that lousy crappy low down stuff, all that stuff that you keep saying that I do. You're right, I've done it. I've done all of that. I admit it. (Long beat) So where do we go from here?

STEVE: What is your trip?

JACK: No trip. No angle. (Beat) I want to start over Steve. I want to bury the hatchet like they say. Starting with taking you out to dinner tonight.

STEVE: What?

JACK: You know nothing big, you know like a little....
STEVE LAUGHS.
JACK: What? Just a little dinner, small, informal, friendly.... I want to take you.... bring Kayla too. We'll sit down, we'll talk. We'll talk about a whole new career for you, a new job. What do you think?

STEVE: I think you're out of your mind.

JACK: Oh look I'm sorry. If it's the bill, if it's trouble paying the money, if it's the money....

STEVE: Don't you talk to me about money. Shut up! I got something to say to you and you're going to stand here and you're going to listen to me. (Beat) Jack, you are a liar, plain and simple. I don't know what you've got up your sleeve but I don't want any of it.

JACK: There's nothing up my sleeve Steve. I don't wan.....

STEVE: I don't want to sit across from you. I don't want to eat dinner with you. I don't care if you pay the bill and give me $100 on top. You want to get close to our mother, you do it without me. You leave me the hell out of it.

JACK: Steve, I can't leave you out of it. You're her son, you're part of....

STEVE: You were responsible for me losing my job. Now how do you expect me to believe that you want to take me out to dinner and talk careers? Huh?

JACK: Well, I can't blame you for being skeptical about that but.... this is on the level. There is no ulterior motive.

STEVE: The answer's no.

JACK: No.... as simple as that. Just no.

STEVE: NO! No. You want me to say it again.

JACK: No, no. You just save it for this afternoon. You can bellow at somebody else if you like.

STEVE: There you go. There's my baby brother again. You're back aren't you? I knew you couldn't keep that act up for long.

JACK: It's not an act, Steve. Now you can believe whatever you want to believe. You can go out and believe it is an act if that's going to make you feel better. But ultimately you are going to have to remember that this time you're the guy that turned his back.

KAYLA WALKS IN.

STEVE: Yeah, you're right and let me tell you why. (Beat) Remember her, my wife. Remember what you did to her? I'm not going to forget that and I'm not going to forgive it. Now do you understand?

JACK: Yeah, yeah, I understand. Look I'll just.... I'll just get out of your way, eh? (Beat) Goodbye Kayla.... Goodbye to you too. Have a good life.
JACK LEAVES QUIETLY.
STEVE: Damn him! Why doesn't he stay out of our lives?

KAYLA: Are you sure that's what you want?

STEVE: I don't know baby. I don't know what to believe. I can only believe you.

JACK WATCHES THROUGH THE WINDOW AS STEVE AND KAYLA KISS. HIS EYES FILL WITH TEARS AND REMORSE.


SCENE ONE: KAYLA AND STEVE ARE HAVING A MEAL AT SHENANIGAN'S WHEN JACK WALKS IN. HE WALKS OVER TO THE BAR AND WATCHES THEM DAYDREAMING ABOUT WHAT IT WOULD BE LIKE TO BE WITH KAYLA.

JACK AND KAYLA ARE SITTING IN SHENANIGAN'S. HE IS KISSING HER HAND.
JACK: I love you Kayla. I always have.

KAYLA: I know. And I love you too.

JACK: You know I'd do anything for you.

KAYLA: Anything?

JACK: Hmmm. You name it.

KAYLA: Kiss me.... now.

JACK LEANS OVER AND KISSES KAYLA TENDERLY.

THE SCENE FADES TO JACK WATCHING STEVE AND KAYLA. JACK WALKS AWAY.


SCENE ONE: JACK IS SITTING AT SHENANIGAN'S WHEN JENNIFER WALKS IN.

Jack helps Jennifer improve her article;
40 sec; 1.5 Meg

JENNIFER: Well, thanks for letting me interrupt your lunch.

JACK: It's okay.

JENNIFER: You see this is really important to me and I was hoping if you liked it, maybe you could put it in tonight's addition.

JACK: It's good.

JENNIFER: Really?

JACK: Really. It's good. But I am going to make it . Watch my hand. This paragraph here. This is your lead. You put this up here so I can see what the story's about and I'll keep reading. Then you move this here and the part in the back here you put here. Alright? It's very simple. But now the article moves.

JENNIFER: You're right. It does. Thank you very much. It's great.

JACK: I didn't do anything. Now if you'll excuse me I have to get to the office. I've got an article to put into tonight's edition. There you go.

JACK HANDS JENNIFER AN ENVELOPE AND LEAVES. SHE LOOKS AT IT AND SMILES WITH EXCITEMENT.


SCENE TWO: LATER THAT EVENING JENNIFER WALKS INTO SHENANIGAN'S.

JENNIFER: (To Joey the Shenanigan's barman) Look do you know what time the evening edition of The Spectator comes out?

Jack shows Jennifer her article in the paper;
1 Min; 2.1 Meg

JOEY: Yeah it usually hits the newsstand out front in about....

JACK: Don't bother. I've got what she wants.

JACK HANDS JENNIFER A PAPER.

JENNIFER: Thanks.

JACK: Hot off the presses. Page five.

JENNIFER: "A Man, A Horse and A Dream," by Jennifer Horton. Jack I got a byline!

JACK: (Jack sounds and looks proud of Jennifer) That's right. You wrote it. It's good so you got it. The men in the newsroom liked it too and that's saying a lot because they only read the sports section.

JENNIFER: Really? You're kidding me.

JACK: No. If you keep writing articles like that and you might have a future.

JENNIFER: Oh, you really think I can make it as a journalist?

JACK: No. I didn't say that. One article does not make a journalist. But if you continue to write articles like this one, you might have a career.

JENNIFER: Oh, Jack you don't know how good this makes me feel. Oh, I really hope Emilio likes it.

JACK: Emilio?.... Is Emilio your literary critic? I think that Emilio would have a little bit of trouble getting through a comic book.

JENNIFER: Look, the article is about him. I mean I want him to like it.

JACK: Jennifer, listen to your pal here. Running with street punks to get a story is one thing but caring about what about they think, well that's another thing altogether.

JENNIFER: Look, Emilio is not like that. You just don't know him, okay.

JACK: Well, maybe you're right. (Beat) You know something just hit me. I heard the funniest story about your brother Mike and Kayla. I heard that they were at item at one time or something like that.

JENNIFER: Oh yeah, yeah, they were inseparable. I thought they were going to get married and everything. But.... you know how that goes.

JACK: Yeah.

JENNIFER: But this is great. Thank you so much. Excuse me.
JENNIFER LEAVES.
JACK: I certainly do know how that goes.
SCENE THREE: JENNIFER SHOWS EMILIO THE ARTICLE AND HE SAYS THAT IT IS NOTHING. SHE CALLS HIM A JERK AND STORMS OFF.


[Transcribed by Carol Vaughan; additional material and HTML Scripts by Sally A. Wilson]