SCENE ONE: MEANWHILE STEVE IS WORKING AT THE FISH MARKET AND THE HOMELESS PREGNANT GIRL THAT KAYLA SAW COMES IN AND TRIES TO HOLD HIM UP WITH A GUN. JENNIFER AND KIMBERLY'S ASSISTANT ADAM WALK IN WHILE IT IS GOING ON AND SALLY ENDS UP BEING ARRESTED.

SCENE TWO: JACK RETURNS TO THE OFFICE AT THE SPECTATOR AND DECIDES TO SNOOP AGAIN ON JENNIFER'S COMPUTER. HE IS FIDDLING WITH THE KEYBOARD WHEN VERN WALKS UP.

VERN: Jack.

VERN: That follow up article on Corelli's done. It's on the current directory under "C."

VERN: Well, you're the boss. You can call it up on any open console.

VERN: It's Jennifer Horton's. She's not due in for a couple of hours.

VERN: Yeah right.

JACK: Thanks Vern. (Beat)

VERN LEAVES.

JACK WATCHES JENNIFER'S MONITOR AS WORDS SCROLL UP THE SCREEN.

JACK: Bingo! (Reading) "I have to move on. Forget.... Frankie....  Emilio.... But I feel.... alone. I need.... work. The future." (Beat) There we have it. Jennifer Horton's Lonely Hearts Club Band.

SCENE THREE: MEANWHILE JENNIFER HAS RECOGNIZED THE PREGNANT WOMAN IN THE HOLD UP AND REALIZES THAT THIS SAME WOMAN HELPED HER AGES AGO WHEN SHE WAS ON THE RUN HERSELF. THE WOMAN'S NAME IS SALLY WALES AND SHE TELLS JENNIFER THAT SHE DELIBERATELY BUNGLED THE ROBBERY SO THAT SHE WOULD BE ARRESTED AND BE SENT TO JAIL AND SHE WOULD HAVE SOMEWHERE TO HAVE HER BABY. SHE HAD HEARD THAT THEY LET WOMEN KEEP THEIR NEWBORN BABIES WITH THEM. JENNIFER SAYS THAT THERE MUST BE ANOTHER WAY AND SHE VOWS TO HELP SALLY BY WRITING AN ARTICLE FOR THE SPECTATOR.

SCENE FOUR: JACK IS STILL SITTING AT JENNIFER'S DESK WHEN SHE RETURNS.

JENNIFER: Jack, what are you doing at my desk?

JACK: Oh.... ah.... working.... working. Which is more than I can say for a lot of people around here. Actually, my computer console's down and I had to work here.

JACK: I know that. I was looking for the Kimberly Donavon radio show. Where is it?

JACK: Better? What are you talking about?

JENNIFER: (Excited) I got a story. A big one.

JACK FROWNS, NOT KNOWING WHAT SHE HAS ON HER MIND.

SCENE FOUR: THE SPECTATOR JENNIFER IS IN PROGRESS TELLING JACK ABOUT SALLY.

JACK: I believe it. So, what's the point?

JENNIFER: Well, the point is that she's not the only one. There are people all over the streets just like her and not in big cities. But I mean right here. Good people who are being forced to commit robbery.

JACK: .... a....a.... and?

JENNIFER: Well, we have to do something. I mean if people find out about this they will help but we have to start here. We have to make a difference.

JACK:

JENNIFER: Jack you didn't hear a word I just said, did you?

JACK: I heard you perfectly.

JENNIFER: Then you obviously don't understand what I'm talking about.

JACK: I understand you perfectly. (Beat) Sometime remind me to show you my Phi Beta Kappa key. Sometime when we're not already late wrapping an edition.

JACK: You know the last time I checked the directory downstairs, I was still the owner of this newspaper, not you. So I want you to forget about Cindy or Susie or whatever her name....

JACK: I want you to forget about Sally and get the radio piece on my desk in a half an hour or you're not going to be working here anymore. Do I make myself perfectly clear?

JENNIFER: Jack, this is important to me and it's important to a lot of other people too. I mean if you just saw her. This is an important story.

JACK: I'm not arguing with you.

JENNIFER: Huh?

JACK: It is an important story. I never said it wasn't.

JENNIFER: So you're going to let me do this?

JACK: No. You already have an assignment.

JENNIFER: I know I do but Jack, this piece is so....

JACK:

JENNIFER: Crystal clear.

JENNIFER MAKES AN IRRATED NOISE AND WALKS OFF. JACK WALKS BACK TOWARDS HIS OFFICE THEN TURNS BACK.

JACK: (Referring back to her remarks in her personal files) Jennifer, think about what's coming, not what's going. Okay.

JENNIFER: Alright, Jack. You'll see.

SCENE ONE: THE NEXT DAY DIANA GOES INTO HER OFFICE TO FIND JACK SITTING IN HER CHAIR WEARING CAL'S MILITARY HAT.

JACK: Do what Diana?

DIANA: Get out of my chair.

JACK: Well, Diana who did you think I was? I mean what am I not supposed to do?

DIANA: Where did you get that?

JACK: This hat? Oh, it was sitting on the desk. I guess somebody left it....for you.

DIANA: Oh, I think I know what you're trying to do. You're trying to get under my skin and annoy me so much that I will tell you things that are really none of your business. And it's not going to work.

JACK: You wound me Diana, you know that? Here I am, caring about my partner, concerned about my partner. And all you think I'm trying to do is hurt you.

DIANA: Oh, you think I'm going to fall for that?

JACK: Diana you're going through a tough time. I think it's affecting your work.

DIANA: That is not true.

JACK: Alright, if I'm wrong, I'm wrong. Do you have the copy that we need this morning?

DIANA: Yes, I do. As a matter of fact I worked on it last night. It's right here.

JACK: Alright, let me see it. Thank you. Huh, uh. It's good, very good. (Beat) Diana I still think you....

JENNIFER BURSTS IN THE OFFICE.

JACK: That depends, what's up?

JENNIFER: I want to talk to you and I want to talk to you too, Diana. I'm glad your here.

DIANA: It sounds important.

JENNIFER: It is. It's about a story that I want to do. But it's more than a story, it's about what kind of people we are. Do we care about the homeless, do we care about justice? I think the press has a responsibility to educate the people. To make them see things that they don't see.

JACK: Is this about that Sally girl?

JACK: Huh uh.

JENNIFER: I know that you don't want me to do this story but it has to be done and I am the one to do it because I was there when it happened.

JACK: Diana, I am about to assign this to an experienced staff reporter.

DIANA: She has the inside edge and you won't give her the story?

JENNIFER: That's right. I was in the fish market when it happened. She didn't commit a crime. She's not a criminal. She wants to go to jail on purpose so that she has a place to give birth to her baby. Her court case is today and I need an assignment to cover it.

DIANA: And she should get it.

JACK: Alright, Diana, if you think she's up to it, who am I to argue?

JENNIFER: So that's it. You're going to give me the assignment?

JENNIFER: Yes.

JACK: It's on my desk?

JENNIFER: Yes.

JACK: Sure?

JENNIFER: Yes.

JACK: Okay. Go. See what you can do.

JENNIFER: Great. Don't worry. I will not disappoint you.

DIANA: Somebody told me this morning that Sally entered a guilty plea.

JENNIFER: What? She can't do that. She's not guilty. She's innocent. She's a victim. I have to go talk to her. Goodbye.

JACK: (Laughing) Oh, youth!

DIANA: Youth? That's not youth. That's called having a heart. I'm sure that term is unfamiliar to you.

JACK: What do you mean? I gave her the story.

DIANA: And I think you intended to give her that story all along didn't you? You just wanted to make her beg a little.

JACK: Moi?

DIANA: Oh, Jack! Jack one of these days all of this is going to catch up with you. I promise you that.

JACK OPENS THE DOOR TO LEAVE AND CAL COMES IN.

JACK: Oh, look who's here. Lieutenant Cal. How are you doing?

DIANA: Jack? I thought you said you had some work to do didn't you?

JACK LEAVES.

SCENE TWO: LATER JENNIFER IS DOWN AT THE COURT HOUSE WAITING FOR SALLY'S HEARING. SHE SEES SALLY GOING INTO COURT AND BEGS HER NOT TO PLEAD GUILTY. JENNIFER THEN ASKS HER UNCLE MICKEY, WHO IS THE DA, NOT TO SEND SALLY TO JAIL. HE SAYS THAT SALLY WILL GET A FAIR TRIAL.

SCENE THREE: JENNIFER IS STILL WAITING FOR THE HEARING TO BEGIN WHEN JACK TURNS UP.

JACK: Well, you seem real happy to see me.

JENNIFER: What are you doing here? You here to check up on me?

JACK: No. I'm here as a citizen just like them. But since I'm here, it would be nice to get a little inside scoop from the reporter covering the case. How is poor Sally who won't have her baby in the alley?

JACK: It's a damn shame.

JENNIFER: Sally is not a criminal. What I feel for her is compassion and anyone that is human would feel the same way.

JACK: Let me give you a piece of advice. If you're still interested in being a journalist and I think you are, keep the hearts and flowers out of your writing. Stick with the facts.

SCENE FOUR: THE HEARING BEGINS AND JACK ATTENDS AS WELL AS JENNIFER. MICKEY QUESTIONS SALLY AND SHE SAYS THAT SHE WANTED TO COMMIT A CRIME SO THAT SHE WOULD BE PUT IN JAIL. THE JUDGE CALLS A RECESS TO CONSIDER HER DECISION. JACK RETURNS TO THE OFFICE.

SCENE ONE: BACK AT THE OFFICE, JACK WALKS INTO DIANA'S OFFICE.

JACK: Well, I was worried about you. I mean the air seemed a little thick with tension when I came in before when your friend was here. I thought you might want to talk about it.

DIANA: No, I don't want to talk about it.

JACK: Well, you seem to be having a problem.

DIANA: Well, there's where you're wrong Jack. As a matter of fact after tonight all of my problems are going to be over. Forever.

DIANA HANDS CAL'S HAT TO JACK AND LEAVES. HE PUTS THE HAT ON HIS HEAD.

SCENE TWO: BACK AT THE COURT, THE JUDGE SENTENCES SALLY TO THREE YEARS IN PRISON. JENNIFER IS HORRIFIED AND IS DETERMINED TO HELP SALLY OUT SOMEHOW. SALLY TELLS HER SHE WANTS TO GO TO JAIL SO THAT SHE CAN BE WITH HER BABY.

SCENE THREE: THAT NIGHT, DIANA AGREES TO MEET CAL FOR THE LAST TIME BEFORE HE LEAVES TOWN. HE PICKS HER UP IN A CHAUFFEUR DRIVEN LIMO.

SCENE FOUR: JACK MEANWHILE MEETS DR. BURKE FROM THE VA HOSPITAL IN JACK'S CAR.

JACK HANDS BURKE A FOLDER.

JACK: Right here. I think I'm going to call it: "Frank Burke, Salem's Unsung Hero."

BURKE: When is this going to be in the paper?

JACK: Well, let's put it this way, I think tomorrow would be a very good day to ask for a raise.

BURKE: You don't know what this means to me.

JACK: Before you start turning cartwheels. How about my end of the deal?

BURKE HANDS JACK AN ENVELOPE.

BURKE: That's all the information I could find. Classified, unclassified. I hope it's what you need.

SCENE FIVE: DIANA SPENDS SOME TIME WITH CAL AND THEN LEAVES. SHE GETS BACK IN THE LIMO.

DIANA TURNS TO LOOK AT THE DRIVER. IT IS JACK.

JACK: You've got to be grateful Diana. It's very hard to get a cab in all this rain.

DIANA: You're following me.

JACK: Well, you told me to get a life so I went shopping and your life is about as interesting as they get. (Beat) You know he really seems like a very nice guy to me. I can't understand why keep trying to hide him.

DIANA: Stop this car.

JACK: You really have a thing for men in uniforms, don't you? First policemen and Air Force pilots.

DIANA: What are you talking about?

JACK: I'm talking about your husbands.

DIANA: He's not my husband.

JACK: Hmmm, huh.

DIANA: Get one thing through your head Jack. Cal Winters is not my husband.

JACK: Oh, come on Diana. Tell me....I know all about your hubby fly boy. All the soaring details.

DIANA: Jack I'm going to tell you this one more time.

JACK: Please, tell me everything, everything.

JACK: Uh, uh, uh! That's military talk, remember.

DIANA: Cal and I met a couple of years ago....

JACK: In Hawaii. Six years ago, in June. Perfect month to get married. You know I always knew you had a traditional streak in there somewhere.

DIANA: Okay, well, if you don't want to hear what I've got to say, why don't you just pull the car over and let me out.

JACK: In the middle of a driving rainstorm? In the middle of nowhere? No way Diana. I don't want your husband and fiancé both coming after me.

DIANA: Damn it, Jack.

JACK: Besides I'm your partner. I could never do something like that to you. Isn't that big of me? And speaking of bigamy....

DIANA: Alright. Let's hear it. What is it that you think that you know about me?

JACK: There's a briefcase in the back. Feel free to take a look. Inside you'll find a Pentagon dossier on Lieutenant Cal Winters, a psychiatric profile, school records, dental records, his favorite records. It's fabulous bedtime reading.

JACK STOPS THE CAR.

DIANA: So far it has nothing to do with me.

JACK: Fine, fine. Years past and to Diana Colville, strangely disturbed by a rather ordinary report of an MIA returning to the United States after....well, let's say....six years. Out of coincidence sake. Maybe your journalistic heart goes out to the poor guy.

DIANA: Gee thanks.

JACK: What is it? What happens? No sooner does our mysterious man return to civilization, he suddenly starts asking for a particular blonde haired party. Meanwhile our fearless editor hops on a quick flight to Washington DC obsessed with this enigmatic hero.

DIANA: I didn't go to Washington.

JACK: I'm sorry. I followed you. But hey it wasn't you, right? (Beat) All of a sudden, who should come back to Salem, only a matter of days later, and who should show up in our own office but our very same unknown soldier. And who does he ask for and who does he find and whose existence did you go to such tremendous pains to hide from everybody in Salem including your fiancé? The answer to these and other spine shattering questions....

DIANA: Bravo! Bravo! Now is there a point to all of this?

DIANA: You wouldn't dare.

JACK: Oh, come on Diana. How could I keep this all to myself? I'm a journalist too.

DIANA: Okay.... what do you want from me?

JACK: Well, I knew you'd ask this question sooner or later.

DIANA: Blackmail.

JACK: (Flashing a wicked grin) Hmmm.... I prefer to call it.... a proposition!

SCENE SIX: JACK HAS INTERCEPTED DIANA'S LIMO, AND IS BEING SMARMY. HE HAS JUST TOLD HER THAT HE HAS "A PROPOSITION" FOR HER.

DIANA: Who are you kidding? If you've done all of this checking then you know that there is no marriage license on record because the marriage never took place.

JACK: Oh, because some petty bureaucrat filed it away under XYZ.

DIANA: Wrong.

JACK: Look Diana, for a guy who's not married to you, Lieutenant Cal Winters is incredibly driven, don't you think?

DIANA: He is sick.

JACK: Maybe he's love sick or maybe he knows what he's talking about. And if he isn't and he wasn't and you're not then why are you so intense about it? Not to mention nervous and secretive?

DIANA: I hate to disappoint you but I am neither of those things.

JACK: Then why have you been keeping all this from Roman? You haven't told him the first thing about this, have you?

DIANA: I'm not here to answer your questions, Jack.

JACK: Hmmm. I wonder what his reaction would be? The dress is bought, the wedding date is set, the dress has been fitted.

DIANA: Okay, you have had your fun.

JACK: I'm still having fun Diana.

DIANA: What are you looking for?

JACK: Hmmm, let's think about that for a minute. What do you have that I could possibly want?

DIANA: Your money? No. Your parking space? No.

DIANA: My paper?

JACK: Bingo!

JACK: (Cont.) See.... I.... I always said you were smart. For being such a good sport I'll give you a very good price for your 49% of The Spectator. And who knows? We could work things out. Maybe you could even work for me. What do you think about that? Deal?

DIANA GETS OUT OF THE CAR.

JACK: (With a self-satisfied smirk) Don't forget to use your thumb. (Beat) That's not your thumb. And I don't plan on dropping dead anytime soon.

SCENE ONE: AFTER JACK'S DISCUSSION WITH DIANA SHE DECIDES TO TAKE A BREAK AND LEAVES TOWN FOR A SHORT WHILE. A FEW DAYS LATER, JACK IS AT THE OFFICE WHERE HE FINDS CAL.

CAL: I was looking for Diana. Have you any idea where I might find her?

JACK: Diana left town. (Beat) You didn't know, did you?

CAL: No I didn't. I can't believe that she just walked out like that. We have a lot we have to work through. Do you have any idea where she might have gone?

JACK: No. No I don't. It's a total mystery to me. She didn't leave me a phone number or an emergency number. Which by the way is no way to run a newspaper. But I guess she was a little too upset to think about that little detail.

CAL: Oh, pretty upset was she?

JACK: Distraught is probably a better word or falling apart at the seams is the best word of all. Oh, Lieutenant I'm glad we ran into each other. We need to talk. I think maybe we can find her together.

CAL: Why do you care?

JACK: There's work to be done.

CAL: I see. So your interest in this is purely professional.

JACK: Purely professional and I figure there must be some mutual friends here in town that I could call.

CAL: I don't know anyone here in town.

JACK: Lieutenant Lee.

CAL: How do you know.... how do you know Harold.

CAL: Yeah well, I got through it.

JACK: Did you get through the homecoming? (Beat) I'd like to help you.

CAL: Well, that's nice but I really don't see how you can.

JACK: Wait a minute. Hear me out. I think I can.

CAL: Why do you think you can help me?

JACK: Well, I know a little bit about you and Diana.

CAL: How much is a little?

JACK: She confided in my about your relationship. Your past relationship.

CAL: What exactly did she tell you?

JACK: Well, there seems to be some kind of disagreement. She says that the two of you were not married.

CAL: Well, believe me, we are married.

JACK: Wait a minute. I'm on your side. You come back from Cambodia after six years and your wife refuses to acknowledge you? And now she's getting married to another man?

CAL: Well, I think I've taken care of that problem. At least for the moment.

JACK: Wa....wait a minute, you already....met Roman Brady?

CAL: Yeah, yeah, I met him.

JACK: Ah.... well, I guess there were some fireworks at the Brady household?

CAL: Look I'm not interested in hurting Diana. I don't want to upset her. All I want is the chance to work things out with her that's all.

JACK: I believe you, I believe you. Let me tell you something, when Diana gets back I'm going to make her listen to you.

CAL: You have that kind of influence with her, eh?

JACK: Well, she respects my opinion and I'll tell you something, if you were married then you were obviously an important part of her life and I'm going to do everything I can to make sure the two of you back together.

CAL: What's going on? What's going on here? Why are you....

JACK: We're partners. Look, when my partner's happy, she's productive. I've told her many times that Roman is not the man for her.

CAL: Well, obviously she doesn't agree with you, does she?

JACK: Well, she's stubborn, isn't she?

CAL: Yes she is.

JACK: I'll tell you something my friend. Your coming back into Diana's life is the best thing that's happened to her in a long time.

CAL: Well, I just wish she felt the same way. Well, I guess you got to look for help anywhere you can find it. Look Mr. Deveraux, if there is anything you can do to help....

JACK: Don't mention it. Don't mention it at all. Really.

CAL: Listen if you hear from her, you get in touch with me right away.

CAL LEAVES.

SCENE ONE: JENNIFER GOES TO HER UNCLE MICKEY AND HE AGREES TO GET PERMISSION FOR HER TO VISIT SALLY WALES IN JAIL.

SCENE TWO: JENNIFER TRIES TO TELL SALLY THAT THERE ARE OTHER OPTIONS THAT HAVING HER BABY IN JAIL BUT SALLY SAYS THERE ARE WORSE THINGS. AS JENNIFER IS LEAVING SALLY GETS HER FIRST LABOR PAIN. JENNIFER GOES WITH SALLY AS SHE IS TAKEN TO HOSPITAL.

SCENE THREE: JACK DECIDES TO WRITE AN ARTICLE ON CAL.

JACK TURNS AROUND AND PICKS UP THE PHONE.

JACK GETS UP LAUGHING AND HUMMING DING, DONG THE WICKED WITCH IS DEAD. HE RIPS THE COPY OUT OF THE PRINTER.

HE KISSES THE SHEET AND SKIPS OUT OF THE OFFICE STILL HUMMING.

SCENE ONE JENNIFER IS WAITING AT THE HOSPITAL WHILE SALLY IS IN LABOR. NEIL COMES OUT AND SAYS SALLY HAS HAD A GIRL AND AND MOTHER AND BABY ARE WELL.

SCENE TWO: MEANWHILE EDDIE HAS ASKED TO MEET JACK ON THE PIER.

JACK: Don't you ever call me at work again, Eddie.

EDDIE: You call what you do work?

JACK: No joke. You got five minutes. What do you want?

EDDIE: Okay listen to me man. I've been following around that one-eyed guy and that blonde for the last couple of days and I know where that money is.

JACK: Do tell.

EDDIE: They just took it out of the bank.

JACK: Well, I guess you better kiss the two million dollars goodbye Eddie.

EDDIE: Are you kidding me man? It would be simple for you to get in there and take it from them.

JACK: Moi? Do I look like Clyde Barrow?

EDDIE: No. You look like Billy Jack Johnson. Yeah, yeah, Steve's brother. I've been reading up on you Deveraux.

JACK: Look I'm impressed Eddie, that you can read at all. Tell me have you ever read this? You can't always get what you want.

EDDIE: What's that supposed to mean?

JACK: It means that I don't like you anymore Eddie. I don't like your face or your voice or your little hair cut or your nasty little moustache. So goodbye.

EDDIE: As soon as I get that money man, I am gone.

EDDIE DRAWS A GUN ON JACK.

JACK: What the hell are you doing Eddie?

A POLICEMAN COMES WALKING DOWN THE PIER.

JACK SMILES AND EDDIE HIDES THE GUN.

POLICEMAN: Well, the you two better take care of yourself. We get all kinds in this neighborhood.

THE POLICEMAN LEAVES AND EDDIE TRIES TO GRAB JACK BUT JACK GETS THE GUN.

JACK: Careful Eddie, careful. You don't want to shoot yourself.

EDDIE: Don't do it man, the cop'll hear.

JACK: I'll tell I didn't fire it. I'm sure he'll understand.

EDDIE: Give me a break.

JACK: Convince me.

EDDIE: Please.

JACK: Oh, come on Eddie. Don't worry. I'm not going to shoot you. I wouldn't waste the bullet. But I never want to see you or hear from you again. Ever. Get it. Get out of here.

EDDIE: You'll get paid for this Jackie.

EDDIE RUNS AWAY.  JACK LAUGHS, HAVING FOOLED HIM, AND HAVING FINALLY GOTTEN HIM OUT OF HIS LIFE.

JACK: Five.