SCENE
ONE: JENNIFER GOES IN TO SEE EMILIO AND CONFRONTS HIM WITH THE TRUTH.
HE TELLS HER THAT SHE WAS ALWAYS TRYING TO CHANGE HIM AND NOW SHE
KNOWS THE TRUTH, THAT HE FOLLOWS ONE RULE. AN EYE FOR AN EYE.
SCENE TWO: MEANWHILE EVE
HAS AT LAST FOUND THE BADLY INJURED NICK AND VOWS TO TAKE CARE OF
HIM. SHE CALLS AS AMBULANCE AND HAS HIM TAKEN TO UNIVERSITY HOSPITAL
FOR TREATMENT.
SCENE THREE: JACK IS IN THE SHOWER AT HIS
HOME WHEN A MAN BREAKS IN THE BEDROOM WINDOW. JACK COMES OUT OF
THE SHOWER AND WRAPS A TOWEL AROUND HIS WAIST. AS HE IS WALKING
TOWARDS THE DRESSER HE SEES A REFLECTION OF THE GUY HOLDING A
GUN ON HIM. JACK GETS HIS OWN GUN OUT OF THE DRAWER AND TURNS
AROUND TO FACE THE GUY, EDDIE REED, THE MAN WHO KIDNAPPED EVE
IN HOPES OF FINDING OUT WHERE NICK HID THE MONEY THEY STOLE.
 JACK:
Well, it seems we have check and checkmate. Or maybe I should say
it differently since you don't seem like the chess playing type.
EDDIE: Listen buddy....
JACK: Oh no. Hold it right there. Don't make the mistake
of thinking I don't know how to use this. Now I'm sure that we can
work something out without spilling any blood. Especially mine.
Now why don't you be civilized and put the gun down? (Beat) Come
now, what have you got to lose?
EDDIE: You first.
JACK: Alright. I tell you what. We'll put our guns down at
the same time. See I'm putting my gun down, putting my gun down, going
down. There it is.
THE GUY PUTS HIS GUN ON THE FLOOR. JACK WATCHES HIM
IN THE MIRROR, AND STARTS TO PUT THE GUN DOWN.
JACK: Here it is again.
JACK PICKS HIS GUN BACK UP AND POINTS IT AT THE GUY.
EDDIE: Come on....
JACK: Stay right there. This gun is pointed right at your heart.
I'd go for your head but in your case it wouldn't be much of a loss
would it? Now back off! Alright start talking. Who are you and what
the hell are you doing here? (Beat) Sit.
EDDIE: Why?
JACK: Got a death wish? I said sit down. (Beat) Now tell
me a story. I can see that you are a robber and a thief but I don't
think you went to all this trouble just to steal my stereo.
EDDIE: No. I'm on the run from the cops and I came here
because I thought you could help me.
JACK: Please be serious.
EDDIE: Look I know who you are Deveraux. Your old man, he
might have been a Senator but too bad he loved money more than any
street punk I've met. Figure you'd be just the same.
JACK: I don't appreciate the relation there but you're right.
My father did like money.
EDDIE: That's why I'm here but I wouldn't have come if I
knew it was going to turn out like this.
JACK: The weak son of the powerful man right? You probably
thought I'd be cringing in my bed, hiding behind my teddy bear for
protection. Close?
EDDIE: Close enough.
JACK: So much for clichés. Go on.
EDDIE: No way. Why should I tell you? You're not going to
help me.
JACK: I think I'll be the one to decide that seeing as how
I'm the one holding the gun. What's your name?
THE GUY REMOVES HIS FAKE MOUSTACHE.
EDDIE: Eddie Reed.
JACK: Well, a name as familiar as this morning's headlines.
EDDIE: That's right. The guy who escaped from jail, that's
me.
JACK: Compliments to your hairdresser but I'm not getting
involved in any mess with Eve Donovan. Sorry.
EDDIE: No, no wait. Forget about her. The only reason I
grabbed her is because I thought she could help me get the money.
We're talking two million bucks. Two millions untraceable tax free
dollars.
JACK: Go on.
EDDIE: A few years back I needed some cash and I needed it
real quick. So I scoped out this security company. You know the kind.
They have the armored cars, they go to stores, they pick up the cash....
JACK: Don't tell me. The company was called Salem Secure
Transport.
EDDIE: Yes, you figured it out.
JACK: That's my father's company. You know your little operation
cost us dearly.
EDDIE: Yep but maybe if you get some of that money back
your old man won't be so upset.
JACK: Maybe not. Where is this money?
 EDDIE:
An old friend of mine has it. You help me get it back and I'll give
you half. You interested? So what's it going to be? Are you going
to help me out or not?
JACK: (Jack sits on the bed) Well, it seems by helping you
I'll be helping myself. But I hope for your sake my friend that
you're not lying about this money.
EDDIE: I'm not lyin'.
JACK: Okay, where is it?
EDDIE: Like I told you there's an old friend of mine has
it and I need for you to find out where it's hid.
JACK: Who's your old friend?
EDDIE: Nick Corelli.
JACK: (Laughing) Nick Corelli's dead.
EDDIE: Uh uh! No, check the hospital.
JACK: I will.
EDDIE: Good. In the meantime I need a place to hide out.
JACK: Oh I could do whatever I can.
EDDIE: No it's fine.
JACK: Well, where do I find you?
EDDIE: You don't. I'll find you.
JACK: Alright.
EDDIE: Wait a minute, aren't you forgetting something?
JACK: Oh yes I am. Of course.
JACK POINTS THE GUN AT EDDIE.
EDDIE: Oh come on man, wait. I thought we had a deal.
JACK: Sorry, just kidding. Nice gun. You play with big toys.
Just remember one thing. Next time you come in here you don't come
through the window, you come through the door. Or better yet, we'll
meet someplace else.
EDDIE: Look, do me a favor, relax. I'm not going to bring
the cops down on you. You play this right you come out of this with
a million bucks and nobody's going to know. I think we make a good
team.
JACK: Yes Eddie. I believe we will.
EDDIE LEAVES AND JACK LOOKS AT THE BULLETS HE TOOK
FROM EDDIE'S GUN.
JACK: It doesn't get much better than this, does it?
SCENE ONE: JENNIFER GOES
DOWN TO THE PIER TO THINK ABOUT EMILIO AND ADRIENNE COMES DOWN TO
TALK TO HER. SHE TELLS JENNIFER THAT EMILIO NEEDS SUPPORT BUT JENNIFER
TELLS ADRIENNE WHAT EMILIO DID AND THAT SHE CANNOT EXCUSE HIM. ADRIENNE
BEGS HER TO FORGIVE HIM BUT SHE SAYS THAT EMILIO TRIED TO COMMIT
MURDER AND SHE CANNOT FORGIVE HIM FOR THAT.
SCENE TWO: ABE COMES TO QUESTION
EMILIO AGAIN AND WHEN ABE LEAVES HE GETS SCARED. HE GRABS HIS CLOTHES
AND LEAVES TOWN WITHOUT TELLING ANYONE.
SCENE ONE: THE NEXT DAY ROMAN
AND DIANA ARE IN HER OFFICE DISCUSSING WHERE TO GO FOR THEIR HONEYMOON.
JACK ARRIVES.
JACK: Diana I....
ROMAN: Jack, come right on in pal.
JACK: End of the quarter financial statements. Rough draft.
Have a look. (Beat, takes the brouchers) Oh look at this. Somebody's
planning a honeymoon. Aspen? Ah, boring, nothing but snow. Paris?
Boring too. (Smugly shows her the one for Hawaii) Hawaii.... I like
that. You know, if you ever wanted to got someplace that's romantic,
someplace that you'll never forget, Hawaii is the perfect place.
DIANA FLASHES HIM A LOOK. ROMAN DOES NOT NOTICE.
 ROMAN:
(Putting his hand on Jack's shoulder) Well, unfortunately I'm marrying
Diana and not you, big guy. So she's going to decide on the honeymoon.
JACK: That's good. You ever been to Hawaii, Diana?
DIANA: I'm sure you have far more pressing
problems to deal with than where Roman and I go on our honeymoon.
JACK: I get the hint but think about what
I said. Hawaii is great. Nice seeing you Roman. I'll see you later
and I'll check in with you later the financial statements. "Aloha
oiy, aloha oiy, aloha!"
SCENE ONE: JACK DECIDES TO
LOOK UP COMPUTER RECORDS ON CAL WINTERS.
JACK: Okay, Department of Defense, show me what you got. Give
me Lieutenant Cal Winters. Huh, uh, "returned to Vietnam War.
Later flew reconnaissance, MIA. Alright". Where was he before
MIA? (Beat) Aloha...." stationed in Hawaii." Alright, tell
me who can we track down who can tell us a little more about Lieutenant
Cal Winters? "Lieutenant Harold Lee. Stationed with Lieutenant
Harold Lee in Hawai'i." Now Major Lee. Still on active duty.
Good. What's his phone number? Current phone number. Thank you very
much.
JACK CALLS THE NUMBER.
JACK: Major Harold Lee. (Beat)
LEE: Major Lee.
JACK: (Southern accent) Howdy Major Lee. Jack Deverocks
here. The Salem Spectator.
LEE: What can I do for you?
JACK: Oh, actually, I wanted to talk to you about that MIA
that just returned stateside.... Lieutenant Cal Winters.... yeah Lieutenant
Cal Winters.
LEE: Yeah, I heard about that. As a matter of
fact I knew him. We were billeted together before he got shot down.
I was thinking about giving him a call but I thought I'd let the
dust settle a little.
JACK: Oh, heck of a story. Heck of a story. The man is thought
dead and he returns out of nowhere. I tell you what, I'd like to flesh
out his story a little more if I could. Maybe find out what he was
like, who'd he pal around with....
LEE: I think it would be better if you talked
to Lieutenant Winters directly. How about that?
JACK: Oh.... I did talk to him.... I did talk to him directly.
Heck of a guy. Brave as all get out. And a ladies man to boot. Wooh,
I mean is he as much of a ladies man as he lets on?
LEE: Oh, that's something that I wouldn't care
to comment on.
JACK: I know what you mean Major, I know what you mean.
Real shame though, him being locked up in them tiger cages for six
years. I mean what a shame. And the man was an ace too. I mean a
heck of a flyer.
LEE: That's true, there's nobody better.
JACK: I know exactly what you mean. Right stuff and all that
sort of thing. Yeah.... and risky. Boy, he loved taking risks.The
riskier the better.
LEE: Well, that was Cal alright. No fear, no fear
at all. Well it looks like you got a handle on the guy.
JACK: You know Cal was telling me about a lady.... a special
lady that he was seeing in Hawaii before he got shot down and....
er.... let me see, he name was De.... Debbie, Deedee, Deedee, Delia,
Di.... Diana. Diana, that's it, Diana.
LEE: You know Cal did have a lady, a real knock
out. But I don't remember her name.
JACK: Yeah, blonde, I think.
LEE: Yeah, that's right. Real good lookin' blonde.
JACK: And a reporter.
LEE: That's it! You know I remember. You know she
looked like a cover girl but she was a real smart investigative journalist.
Yeah, that was the gal that Cal was with in Hawai'i. What a knockout.
JACK: Yeah well thank you Major. You've been a heck of a
big help.
LEE: Yeah. Nice talking to you. Bye.
JACK: Bye. (Beat) It's been very nice talking to you.
SCENE TWO: THE NEXT DAY ROMAN
AND ABE VISIT NICK IN THE HOSPITAL. IT APPEARS THAT STEVE AND KAYLA
KNEW THAT NICK WAS ALIVE ALL ALONG AND HAD BEEN HIDING HIM. EDDIE
REED FOUND OUT WHERE NICK WAS AND KIDNAPPED EVE AS A WAY OF GETTING
NICK TO GIVE HIM THE TWO MILLION DOLLARS. NICK DENIES ANY KNOWLEDGE
OF THE MONEY TO ROMAN AND ABE.
SCENE THREE: JACK IS WAITING
AT THE HOSPITAL TO SEE NICK AND AS HE IS WAITING HE HEARS ROMAN
AND ABE DISCUSSING THE FACT THAT IF SOMEONE WAS MISSING TWO MILLION
BUCKS YOU WOULD THINK THEY WOULD REPORT IT TO THE POLICE. JACK THEN
TELLS THE GUARD OUTSIDE NICK'S DOOR THAT HE IS A REPORTER JUST WANTING
AN INTERVIEW WITH NICK.
GUARD: Reporter, eh?
JACK: Huh, uh! I don't need a weapon. Remember the pen is
mightier than the sword.
GUARD: Yeah, right!
JACK: It's a joke, a little joke.
THE GUARD LETS JACK IN THE ROOM.
JACK: Hello, Nick.
NICK: What do you want?
JACK: Jack Deveraux, The Spectator.
NICK: Yeah well I'm not interested in talking to reporters.
JACK: Oh, I'm not here as a reporter Nick.
NICK: What are you here as?
JACK: I think you know. I have two millions reasons for
being here. Two million green reasons with George Washington on
them.
NICK: I don't know what you're talking about.
JACK: Oh, come on Nick, don't try to deny it. I know all about
it. I know all about you and Eddie Reed and your little operation
where you.... liberated two millions dollars from my father, Harper
Deveraux.
NICK: I'm not admittin' nothin'.
JACK: Oh, don't worry I don't want the money. It doesn't
mean anything to me. In fact you can keep it. It's yours.
NICK: What do you up to.
JACK: I'm here to make you a deal. A bargain. You see a
million dollars, two million dollars to me, it's nothing. Pocket
change. I don't need it. But there is something that I do need.
NICK: Like what?
JACK: Like your services in the future.
NICK: I kind of find that hard to believe. A good lookin'
guy like you with all that money. Can't you find a girl on your
own without my services?
JACK: Don't get cute with me, Pizza Face. I'm not the cops.
I can get cute too..... if I want.
NICK: What do you want?
JACK: Let's call that two million, payment rendered on account.
You owe me my friend. I'll let you know when, where and how.
EVE WALKS IN THE ROOM.
EVE: Nick? What's going on?
NICK: Evie.
JACK: Well, Nick, it looks like we have company.
EVE: (Taking his hand) Are you okay?
NICK: Yeah, I'm fine.
EVE: Good, because I wouldn't want anyone to upset you.
JACK: I hate to intrude, but do we have a deal?
NICK: I'm not sure I want to do business with you Deveraux.
 JACK:
Oh, there's a lot at stake here. You might want to think about it.
EVE: What's going on here?
JACK: Ah, Nick, if your teen angel will excuse us, I think
it's time to do business.
EVE: Mr. Corelli is in no condition to do business especially
with you. Nick, what's this all about?
JACK: Look my business is with Nick. What are you, his agent?
I mean why are you asking all these questions?
EVE: If I'm looking after Nick I have the right to question
anyone who's pressuring him.
NICK: Easy baby. Leave him alone will you?
EVE: Why are getting involved with a sleaze ball like Jack
Deveraux?
NICK: Who said I'm getting involved? Mr. Deveraux like I
said before. I don't want to be interviewed by your newspaper okay
or any newspaper for that matter. Capice?
JACK: Whatever you say.
NICK: You see there. I'm just getting rid of the guy. So
you want to hit the road Jack?
JACK: I'm on my way. Oh Miss Donovan, have you anything
you'd like to say to the press?
EVE: Yeah.... Get lost!
JACK: Careful Nick, this one's still got teeth. I'll see
you around.
EVE: Heh, heh!
SCENE FOUR: JENNIFER IS FED
UP WITH HER LIFE AND RIPS UP HER PICTURE OF EMILIO. SHE DECIDES
TO CONCENTRATE ON HER CAREER. SHE TELLS ALICE THAT IT IS TIME FOR
"OUT WITH OLD AND IN WITH THE NEW."
SCENE FIVE: LATER THAT DAY,
JACK IS ON THE PIER WHEN A WOMAN NAMED SLYVIE COMES UP TO SPEAK
TO HIM.
JACK: Thanks for coming Slyvie.
SLYVIE : Hi, it's been a while. Where have you been?
JACK: Just living.
SLYVIE : Well, do you think you can live without a little
relaxation? You never used to be.
JACK: Well, you know me. I've got responsibilities now.
The Spectator.
SLYVIE : Yeah, I heard about that. You know you were my
first celebrity client. So what can I do for you sweetie?
JACK: Do you know Nick Corelli?
SLYVIE : Yeah, I used to be one of his girls.
JACK: Oh, really. Can you tell me about him?
SLYVIE : Well, yeah, he was kind of strange. He didn't hassle
us much as long as we did good business.
JACK: Did he have any young girls in his employ?
SLYVIE : Oh, so that's your bag now. You like em young.
JACK: Just answer the question, Sylvie.
SLYVIE : Young girls. Yeah he had a few. There was this
one chick....
JACK: Evie.
SLYVIE : Evie, yeah little Evie. He was real stuck on her.
JACK: How could you tell that?
SLYVIE : He didn't keep it much of a secret. He was always
buying her things, taking her places and then almost right away
he made her stop tricking.
JACK: Oh, do tell.
 SLYVIE
: Oh, we were all real surprised when he packed her up and sent
her home. That wasn't like Nick.
JACK: How did he treat the others?
SLYVIE : Oh, he used to chew 'em up and spit 'em out. He
was fair but tough. Nobody got to him like Evie.
JACK: Well, thank you very much for all your help. Here
you go.
SLYVIE : Thanks. Is there anything else I can do for you?
JACK: No, not today. But I tell you what, you owe me.
JACK LEAVES AND GOES BACK TO SEE NICK.
SCENE SIX: NICK'S HOSPITAL
ROOM.
JACK: Busy, Nick?
NICK: What the hell do you want?
JACK: Seems I caught you at a bad time. Emotionally speaking.
NICK: What the hell is that supposed to mean?
JACK: Eve. Eve Don avon. You care about her don't you?
NICK: She's a cute kid. I like her. So what?
JACK: Oh, come on now. I think you're hung up on her.
NICK: Oh, it's a free country you know. You can think anything
you want.
JACK: Alright. I think it's time we finalized our deal.
Now, I know how you feel. How lucky can I get and here am I ready
to throw another little perk your way.
NICK: What might that be?
JACK: Well, obviously you know that I have controlling interest
in The Salem Spectator.
NICK: So?
JACK: So, I have control of the paper. What goes in, what
stories go in and not only that, I can slant the stories anyway
I choose.
NICK: Would you mind getting to the point Deveraux?
JACK: I can use my power and the power of the press to protect
Eve.
NICK: To protect Eve from what?
JACK: Bad publicity babe.
NICK: She's had all the bad publicity she can handle, babe.
I think you're a little bit late.
JACK: Think about it. Now that you've come back from the
dead, Eve's past has become very hot copy, once again. Yes soon
they'll be dredging up those lurid stories about her and plastering
them all across the front pages. Do you think she'll like that?
NICK: No, I don't.
JACK: (Self-satisfied smile) I can keep it from happening.
Interested? (Jack extends his hand to make a deal.)
NICK: Look, what do you get out of this Deveraux. I mean
what kind of favor am I going to have to owe you for all this?
JACK: Nothing for now. I'll call in my marker when the time's
right. Well, deal?
NICK: Deal.
THEY SHAKE HANDS AND JACK HAS A BIG GRIN AND LEAVES
FOR WORK AT THE SPECTATOR.
SCENE SEVEN: JENNIFER HAS
A TALK TO MIKE ABOUT EMILIO AND HOW MAYBE SHE GAVE UP ON HIM TOO
SOON. SHE THEN LEAVES FOR WORK AT THE SPECTATOR.
SHE IS SITTING AT HER DESK.
JENNIFER: I'm not going to let this get to me. Not April and
not Emilio. I'm going to bury myself in my work and I'm going to push
him out of my mind. I'm going to start with my spring story and I'm
going to be okay. I'm going to be fine.
SHE BEGINS TYPING AND ON HER SCREEN APPEAR THE WORDS:
"JENNIFER ROSE HORTON. WHAT'S WRONG WITH YOU? FRANKIE GONE.
EMILIO GONE. LOVE STINKS!"
VERN: Jennifer, I'm glad you're here.
JENNIFER: What? Do you have as assignment for me?
VERN: No I just need clarification on the one you submitted
yesterday. Come on, copy's in my office.
JENNIFER: Can you just wait one minute I was just about
to start something and....
VERN: Jenny-Girl we got a tight deadline on this. Come on
let's get it before it gets us.
JENNIFER: Alright. Okay.
THEY LEAVE.
JACK COMES OUT OF HIS OFFICE.
JACK: You can never find a blue pencil when you need one. Then
again, Vern probably hides them from me.
HE WALKS AROUND TO JENNIFER'S DESK.
JACK: Wait a minute. What have we here? (Beat, Jack is obviously
intrigued by his cub reporter) This is interesting. "Frankie
gone, Emilio gone, love stinks." 
AS HE IS READING JENNIFER RETURNS, SURPRISING HIM.
JENNIFER: Jack what are you doing?
JACK: Oh ah.... just looking for a blue pencil.... somewhere.
JENNIFER: There's a blue pencil here.
JACK: Oh, thank you.
JENNIFER DELETES THE WORDS FROM HER SCREEN.
JENNIFER: Is there anything else that you wanted?
JACK: Yes. What do you want?
JENNIFER: (Jennifer seems to enjoy bantering with Jack,
and looks like she rather likes her boss) What do I want?
JACK: Out of life. The big "L." What do you want
to be when you grow up?
JENNIFER: And what do you want to be when you grow up?
JACK: (Jack is impressed that she can give it back) Touché.
I always knew you had it. The barbed wit and the poisoned pen of
a budding journalist. Now all you need is something to do with it.
That's where I come in. Have I got an assignment for you.
JENNIFER: Great. Great. Tell me what it is Jack.
JACK: Go and see Abe Carver down at the police station.
He can tell you everything.
 JENNIFER:
Alright. Well tell me what the case is. At least I have to know
that.
JACK: Emilio Ramirez. He's a fugitive from the law. I want
you to do an exposé and show him for the punk that he is.
JENNIFER: No, Jack. I'm sorry, I can't do that.
JACK: You don't want the assignment. I thought you wanted
to be a reporter.
JENNIFER: I do. But I want to be a good one and that's why
I can't handle this story right now.
JACK: Why not?
JENNIFER: Because I couldn't be objective. Emilio and I
got somewhat close when I was doing the racing piece.
JACK: Well, it's the perfect way to test your metal as a
budding young journalist. You have to learn, if you're going to
be successful, to be objective about your subjects.
JENNIFER: I understand that. I really do. But I have a story.
I have to do the spring break story. If I did the Ramirez article
I wouldn't get it in in time and it would be old news already.
JACK: Kill the Spring Break story.
JENNIFER: No, I don't wa....
JACK: I'm the boss. I can do anything I want. Look, we need
your perspective here. You were involved in this so called incident.
You were practically Ramirez' victim.
JENNIFER: Exactly. So I would be biased.
JACK: Biased, schmiased! It's a great angle. I'm telling
you nobody could write the story the way that you can. You'd be
perfect.
JENNIFER: I'm sorry Jack, I'm not going to do it.
JACK: No! (Beat, grabbing her arm) Be professional. You
write the story, you write it well. Or you don't get anymore assignments
here. What do you want?
JENNIFER: Alright Jack. Fine! I'll do it.
SCENE ONE: CAL WINTERS IS
IN THE SALEM VA HOSPITAL LOOKING AT WHAT APPEARS TO BE A WEDDING
PICTURE OF HIM AND DIANA. JACK POPS IN FOR A VISIT.
JACK: Hi.... er.... we met before. The Spectator. Jack....
CAL: Deveraux. Yeah I remember.
JACK: Good.
CAL: What do you want Jack?
JACK: Ah, well, I.... I thought we could talk about our mutual
friend.... Diana.... Colville. We could start there and see where
it takes us.
CAL: What are you after?
JACK: I just thought you'd like to visit and talk.
CAL: Look, Mr. Deveraux, I've been quizzed by experts every
which way from Sunday okay. Good cop, bad cop. Everything in between.
I know when someone is trying to get information out of me. That's
what I'm an expert at. Now what exactly is it that you want?
JACK: Well, I.... I think that you have a fascinating story
and I think that my readers would be very interested in hearing it.
CAL: Well, my story's not for sale. (Beat) Look I am trying
to piece a life back together here. I want to put my past behind
me.
JACK: Do you really think you can do that?
CAL: You know it probably looks like I got all the time
in the world here for you but I have an appointment and I gotta
get ready. So if you'll excuse me.
JACK: Ah.... sure, sure. Nice visiting with you. Bye.
CAL: No problem
JACK: Maybe a drink sometime.
CAL LEAVES THE ROOM WITH JACK HOWEVER AS SOON AS CAL
IS OUT OF SIGHT JACK RE-ENTERS THE ROOM AND FINDS THE PICTURE CAL
HAD BEEN HOLDING. HE LOOKS AT IT AND THEN PUTS IT BACK IN THE DRAWER.
SCENE TWO: LATER THAT EVENING
JACK IS WALKING ON THE PIER WHEN DIANA CHASES AFTER HIM.
DIANA: Jack? Dammit Jack.
JACK: Diana is that you?
DIANA: Oh, what you couldn't hear me?
JACK: Oh, lofty thoughts. You know me.
DIANA: Save it please.
JACK: Well, seeing as you're being so gracious, what can
I do for you?
DIANA: Well, for one thing you can shut up until I am through
with you.
JACK: Ooooh welllll!
DIANA: Oh, please don't get cute with me. I'm not in the
mood for it.
JACK: Hey, if you're not in the mood that's Roman's problem,
not mine.
DIANA: You just keep your slimy nose out of my private affairs
from now on. Do you hear me?
JACK: Sure. I hear you. I mean everybody in the whole riverfront
hears you.
DIANA: Shut up! It's bad enough that I have to put up with
you everyday at the office but after five all bets are off! You
understand?
JACK: Fair enough.
DIANA: I don't know what you think you're trying to pull
Jack but it is not going to work. Not this time.
JACK: I don't have the slightest clue as to what you're
talking about.
DIANA: I talked to my friend today. And Cal Winters has
nothing to do with you or our newspaper or any else here in Salem.
So you butt out.
JACK: You know maybe I'm fooling myself but I think I've
hit a main nerve here. I mean how could this be? I mean what could
be so important about this guy that it could send the unflappable
Diana Colville into squarking snit fits. I think that is what's
investigative.
DIANA: Get yourself a life would you please? Would you put
something together for yourself so you could take it apart for yourself
and you could make yourself miserable. Because the rest of us are
getting a little tired of watching you shed your skin on alternate
Wednesdays.
JACK: Diana, thanks for chatting with me.
DIANA LEAVES.
SCENE ONE: JENNIFER ATTENDS ONE OF STEVE'S BLUES CONCERTS
AT THE FISH MARKET. DURING THE CONCERT KAYLA SEES A HOMELESS PREGNANT
GIRL OUTSIDE AND OFFERS HER SOME CLAM CHOWDER -- WE LATER DISCOVER
SHE IS SALLY WALES. KAYLA GOES INSIDE TO GET IT BUT WHEN SHE RETURNS
THE GIRL HAS DISAPPEARED.
SCENE ONE: JACK WALKS DOWN
THE STEPS AT THE PIER AND CHECKS THE PAY PHONE FOR RETURNED COINS.
EDDIE REED WALKS UP BEHIND HIM WITH A GUN DRAWN.
EDDIE: Don't move or you're dead meat, punk.
JACK: You know you really ought bag it with this cops and
robber stuff. I mean you've been watching too much late night television.
EDDIE: Hey, look man I want to know if you're going to take
me up on my offer or not.
JACK: Of course I am. It just takes a little bit of time
to work all of this out.
EDDIE: Okay. So you think you know where Nicky might have
that two mill stashed?
JACK: I'm working on it.
EDDIE: Okay. Do me a favor man. Don't take all year. I mean
cops are after me. I don't know how much longer I can stick around
here.
JACK: Is that what this is all about? Look you just lay
low and be cool and be glad that nobody saw us here.
EDDIE: Okay.... Somebody's coming. Somebody's coming.
JACK: Go, go. Get out of here. Go.
SCENE TWO: EDDIE HIDES UNDER
THE PIER AS JENNIFER COMES DOWN THE STEPS. JACK SEEMS A LITTLE WORRIED
FOR HER AND TRIES TO GET RID OF HER.
JENNIFER: Jack, I've been looking all over for you.
JACK: Well, hello Jennifer.
 JENNIFER:
Jack, I was just visiting with Terri Howard and her new baby.
JACK: Oh, Terri Howard, Terri Howard, yes.
JENNIFER: Terri Howard in circulation.
JACK: Oh circulation. How is Terri and her bouncing baby
boy?
JENNIFER: Well, her bouncing baby boy is a girl and they're
just fine.
JACK: Ah.... well, I've got to send her some flowers sometime
soon. That's what's this is all about isn't it?
JENNIFER: No, no. See actually Jack I was thinking about
a great story. You see she's planning on coming on back to work
but she's finding a really hard time finding good day care. I mean
a lot of women are so I want to do a story on career women and what
they do when they're planning on having children.
JACK: It's great. Why don't you get right to it?
JENNIFER: Great. Alright, alright. Okay, now what I wanted
to ask you is, as an employer, I mean what do you plan on doing
to provide services for these people?
JACK: You want to interview me?
JENNIFER: Yes, of course. I think you could give me a great
angle.
JACK: Well, I'm sure that I could. But don't you think it
would be wiser to interview some career women who've been dealing
with babies and children?
JENNIFER: Well I don't know that many. I could ask Anjelica....or
Kimberly?
JACK: Kimberly. Kimberly would be perfect. I want you to
go talk to Kimberly right now. As a matter of fact I am setting
up a story that I want to do on her radio program. I want you to
cover it. How about that, huh?
JENNIFER: Oh yeah, yeah. That would be great.
JACK: Okay. Please do. Get right on it and go right on over
there....
THEY BOTH HERE A NOISE FROM UNDER THE PIER.
JENNIFER: Jack? Jack what was that noise?
JACK: Ah.... what noise?
JENNIFER: The noise that came from over there. You must
have heard that.
JACK: I didn't hear anything.
JENNIFER: What? I heard it. I'm going to see what it is....
JACK: No, no. Don't go. Ah.... stay right here. I mean you
never know what could be....you know.... under the pier.
HE PICKS UP A STICK AND STARTS HITTING AN OLD 44 GALLON
DRUM.
JACK: It could be some kind of dogs or rats or something.
JENNIFER: Jack.
JACK: Go on, get out of there. Go on. Yeah. Yeah. Phew. Well
whatever it is it's gone. Dog or rat or something. Um.... look why
don't you run along and go see Kimberly? I want that story in by the
end of the week for the Entertainment Section.
JENNIFER: Alright. Great. You'll have it.
JACK: Great. Okay. I'll see you later.
JENNIFER: Okay.
SCENE THREE: JENNIFER LEAVES
AND JACK PICKS UP THE STICK AGAIN AND BANGS THE DRUM.
JACK: I've got a rat for you right here. Eddie? You almost
blew the whole thing.
EDDIE: I'm not the one that has blonde bimbos following
him around.
JACK: Look, that young lady is no bimbo.
EDDIE: Whatever she is, you could have gotten rid of her
a little bit sooner.
JACK: I don't have time to waste arguing with you. You just
lay low and be cool and I'll get in touch with you.
EDDIE: I'm going but you listen to me Jackie. When this
is all over, half of that two million is mine.
JACK: Of course it's yours. Didn't I tell you that? Now
I'm the one out here busting my hump while you're lying on your
back in some hotel somewhere. I'm trying to figure out who else
knows about this two million bucks other than Nick Corelli.
EDDIE: Take it easy, take it easy. If anybody would know,
it would be his good buddy Steve Johnson.
JACK: Steve Johnson?
EDDIE: Yeah, you know him?
JACK: Well.... er.... you could say that. Yes.
JACK FLASHES A LOOK, HE HAS A PLAN.
SCENE FOUR: JACK DECIDES
TO INTERVIEW STEVE ABOUT NICK'S STORY AND VISITS HIM AT THE FISH
MARKET.
JACK: What's this I hear about you givin' out free clam chowder?
STEVE: You want some chowder Jackson? Did you really come
all the way down here for chowder?
JACK: Look, actually I do need your help.
STEVE: Well, don't count on gettin' it.
JACK: It's not what you think. I need some background for
a story that we're doing at The Spectator.
STEVE: Oh. I don't give interviews.
JACK: Not even if it's going to help you? (Beat) Look the
DA is going to throw the book at you and Kayla for covering this
whole thing up with Nick. I just want to show your side of it. You
know, give you the fair shake.
STEVE: Well, don't do me any favors alright? What Kayla
and I did was not wrong. We were helping a friend who did have anybody
else to help him, that's all? You understand that, helping a friend?
You understand that?
JACK: I'd like to. I'd.... er.... I'd like to maybe pay the
legal expenses.
STEVE: Are you kiddin' me?
JACK: You're not taking this seriously are you? You can
go to jail. And what about Kayla? Do you want Kayla to go to jail
too?
 STEVE:
Come on. They wouldn't send Kayla to jail for this.
JACK HANDS STEVE A BUSINESS CARD.
JACK: No, no, they wouldn't send her to jail. Not if she had
good legal counsel. (Beat) Look I want you just to call this guy and
see what he has to say.
STEVE: Thanks.... but no thanks.
JACK: Alright, I'm just going to leave this here, okay? I want
you to think about it. (Jack walks to the door.) Oh and I'll take
a rain check on that chowder.
JACK AND STEVE SMILE AT EACH OTHER AS JACK LEAVES.
SCENE FIVE: JACK THEN GOES
BACK TO SEE NICK IN HOSPITAL.
NURSE: (To Jack) Don't get too close and watch your fingers.
JACK: Welllll! A little testy this morning aren't we Nick?
NICK: What the hell are you doing here?
JACK: I come bearing gifts. Gift, actually. I have something
that's going to make you feel a whole lot better.
NICK: The only thing that's going to make me feel any better
Deveraux is if you get the hell out of here.
JACK: Oh yeah. TA DA! What do you think of that?
JACK SHOWS NICK THE SPECTATOR BEARING THE HEADLINE:
"LOCAL MAN THOUGHT DEAD DISCOVERED ALIVE!"
NICK: I can think of better news topics
 JACK:
(Leaning over Nick's bed) Come on Nick. Read it and then talk to
me. You'll notice that the name of a very involved party has been
left completely out of that article.
NICK: How long can you keep that up?
JACK: For you? As a favor for you Nick there may never have
to be an unfavorable word about Eve in my newspaper.
NICK: What's it going to cost me?
JACK: Nothing you wouldn't be willing to pay! And as I said
before, money's.... money's not the kind of reimbursement that I had
in mind.
NICK: What is?
JACK: For now, nothing. For now, let's just say that I'm
doing this out of the goodness of my heart.
NICK: The goodness of your what?
JACK: (Laughing) Tricky. I'll let you know.
NICK: Oh, I'm sure you will.
JACK: Huh, uh. So tell me Nick. This girl's really important
to you isn't she?
NICK: She's a good kid Deveraux. You just keep her out of
this and you'll score points where it counts.
JACK: Hmmm, uh. If you're talking about heavenly rewards
that's not the kind of reimbursement that I had in mind.
NICK: I'm talking about points with me. You keep her name and
my name separated in the paper and I'll see what I can do about keeping
us separated period. I gotta keep that girl out of my life. |
