[Air date April 1989]
SCENE ONE: LATER THAT DAY, JENNIFER IS ON THE PHONE
AT SHENANIGAN'S. JACK IS LISTENING.
JENNIFER: Yes, I'm still here. My name is
Jennifer Horton and I'm a journalism student at Salem University and
I was wondering if The Chronicle was looking for any reporters.
JENNIFER: What do you think you're doing?
JACK DISCONNECTS THE CALL.
JACK: I need to talk to you.
JENNIFER: You have no right.... Jack, in case you've forgotten
I quit your paper. We have nothing to say to each another.
JACK: That's fine, that's fine. Don't say a word. Why don't
you listen for a change?
JENNIFER: Look Jack, I am tired of you pushing me around, alright.
And I'm tired of working for you and I was going to give you two weeks
notice but as of now I quit.
JACK: Jennifer, wait a minute, you can't quit.
AND HURT JENNIFER RUNS AWAY, JACK LOOKS SHOCKED.
AFTER A MOMENT JACK CHASES HER.
JENNIFER: I already have, Jack. You can't stop me.
JACK: I already have. Now why don't you listen to me for
JENNIFER: Look, Jack you think you can play god with everyone
else's life. You think you can push them around and tell them what
to do and even try to take their babies away from them. But you
cannot get to me.
You know something. You know why you can't quit? Because you were
never really hired in the first place. Not full time, so I hope
you don't expect any severance pay.
JENNIFER: I don't. Here.
JACK: What is this?
JENNIFER: My press badge. I don't think I'm going to be
needing it anymore.
JACK: Well, neither am I!
JACK THROWS A COPY OF THE SPECTATOR ON THE BAR AND
STORMS OFF. JENNIFER TURNS AROUND AND PICKS UP THE PAPER.
JENNIFER: (Reading) "Sally Wales was sent to prison today
but does the punishment fit the crime? Did Sally Wales robbery attempt
justify that she should be robbed of her child?...." (Beat) Jack.
SHE SEES THE EDITORIAL TITLED: "CRIME AND PUNISHMENT."
SHE BEGINS TO READ IT AND JACK IS WATCHING FROM A SHORT DISTANCE
AWAY, WITH A LOOK OF CONCERN, IT IS OBVIOUS JENNIFER LIKING THE
ARTICLES MEANS A GREAT DEAL TO HIM.
SCENE TWO: JO ALSO HAS A
COPY OF THE PAPER AND IS READING THE ARTICLE JACK WROTE.
JO: (Reading) ".... Sally Wales has been sentenced to
three years in prison for her robbery attempt. It will be a life sentence
as far as she and her baby are concerned because Sally will be robbed
of the most important part of her baby's life: The baby's first smile,
her first words, her first steps is all being stolen from her and
it will affect her baby for the rest of her life...." (Beat)
Maybe somehow I did get through to you Billy.
ANJELICA: Reading Jack's editorial?
JO: Mrs. Curtis, what can I do for you?
ANJELICA: He did a beautiful job.
JO: Yes, he did. I had no idea that he was so fond of Sally
and her baby.
ANJELICA: Oh, I don't think he was writing about Sally.
Mind if I sit down?
JO: I suppose not.
ANJELICA: I think that you had a great deal to do with that
JO: I'd like to think so. I don't know.
ANJELICA: You know I've been Jack's step-mother for a long
time now and I've never seen this side of him. It makes me think
that there is something to all this bonding that he's writing about.
JO: I wish that were true but when those bonds have been
broken, it's hard for a child to forget.
ANJELICA: Well, if they can't forget, do you think they
can ever forgive?
JO: When you've really hurt a child, it seems impossible
to ever go back.
ANJELICA: Even if what you did is for the best?
JO: What's for the best is not to lie to that child. Not to
keep secrets from that child. I know. I learned the hard way. I must
MRS. SIMMS: Well, did you have any questions about the rest
of our facility?
SCENE THREE: JACK DECIDES TO VISIT THE
PLACE WHERE SALLY'S BABY IS BEING KEPT.
Ah.... you could tell me.... what happens to all the babies here?
MRS. SIMMS: Well, they remain with Social Services until
we place them in either foster care or with an adoptive family.
JACK: Hmmm.... I take it the families have been properly
MRS. SIMMS: We do the best we can with the limited resources
JACK: (Cynical chuckle) Limited resources!.... Which one
is Sally Wales' baby?
MRS. SIMMS POINTS OUT THE BABY LYING IN A NURSERY
WITH A FEW OTHERS. SHE IS PAGED AND LEAVES JACK ALONE WATCHING THE
BABY THROUGH THE GLASS. JO WALKS UP BEHIND HIM.
JACK: Hannah. We have a lot in common, you
and I.... I know what it's like to have your mother give you up.
JO IS HURT BY WHAT JACK HAS JUST SAID.
SCENE FOUR: JO AND JACK BOTH THINK BACK
ON THE DAY SHE GAVE HIM UP. HE IS CRYING AND SHE IS ASKING THEM
TO MAKE SURE HE GOES TO A GOOD HOME. BILLY IS DISTRESSED AND SCREAMS
AS HE IS TAKEN AWAY FROM JO.
JACK: (Annoyed) What are you doing here?
JO: Looking for you. I called your office and they said
you'd be here.
JACK: Huh, uh. What do you want?
JO: I read your article in the paper. It was wonderful!
JACK: I'm just doing what I'm paid for.
JO: No, it was much more than that. You wrote from the heart.
JACK: Well, I'm a natural born writer. I should have written
my own campaign speeches. Well, look really, that's all it is. Really,
don't read anymore into it than that.
JO: (To nurse) Oh, is that Sally Wales' baby?
JO: May I?
NURSE: Okay, sure
JO: Oh, you pretty thing. You know you're pretty don't you?
It must have been so hard for Sally to give up this baby. You understood
JACK: She didn't give it up. They took it away from her.
She had no choice.
JO: Look I know you don't believe me but I loved you with all
of my heart. I had no choice back then either. You were my son and
you have no idea how much it hurt me when they took you out of my
JACK: Wait a minute, wait a minute.
PUTS THE BABY IN JACK'S ARMS, HE IS UNCOMFORTABLE.
JO: This is what life is about Jack. This is what it's
all about and someday I hope that you can understand how hard it
was for me to give you up for what I did.
JACK: I've kissed a lot of babies in my time but I don't think
I'm very good at holding them.
HE HANDS THE BABY BACK TO JO WHO GIVES IT TO THE NURSE.
JO: It doesn't matter. You will be one day when you become
JACK: (Sadly) I don't think that's ever going to happen.
JO: Well, of course it going to happen. You're going to
find the right girl and you're going to be happy just like I always
knew you would be.
JACK: Look, thank you for coming. I mean thank you for telling
me how you felt about the article.
JO:Oh, I hope you write more just like that. (Beat)
JO SPEAKS WITH GREAT PRIDE, WHICH BY THE LOOK
ON JACK'S FACE MEANS A GREAT DEAL TO HIM.
JO: (Not really wanting to leave) Well, I better get back
and check in on little Alexander or Mrs. Curtis is going to have
THIS TALK SEEMS TO HAVE AFFECTED JACK, AND HE IS NOT
AS BITTER TOWARDS JO AS HE HAD BEEN. THIS SEEMS TO BE A FIRST STEP
IN ACCEPTING HER AS HIS MOTHER.
JACK: (Laughing) On a silver platter.
JACK: Er.... look I don't want to keep you.
JO: Well.... goodbye son.
JACK: Goodbye Ma (It is still difficult for Jack, he turns
away from her, he still is having trouble calling her "Mama")
.... Mrs. Johnson.
SCENE FIVE: JACK WALKS INTO
SHENANIGAN'S TO TALK TO JENNIFER.
JACK: Alright, this is getting comical. You say you want to
talk to me now.
JENNIFER: I read your editorial about Sally and Hannah.
JENNIFER: You did a great job. Much better than I would
JACK: You know what I think. I think your trying to get
a recommendation for The Chronicle. You can save your breathe.
JENNIFER: Jack that's not why I'm saying this.
JACK: No, it's not?
JENNIFER: Oh forget it. Jack just forget it.
SHE GETS UP TO LEAVE BUT HE CHASES HER.
JACK: Wait a minute, wait a minute. Let's start again, let's
start again. (Beat) Hi Jennifer. Hi. Thank you for the compliment.
So tell me, how's the job hunting going?
JENNIFER: It's fine. I made a few calls you know. It's not
going to be anything like working at The Spectator.
JACK: That could be good or bad.
ANJELICA: Well, if it isn't the future Pulitzer Prize winning
writer. Hello, Jack, hello, Jennifer.
JENNIFER: Hi. I better get going. I have a few more calls
I have to make. Goodbye Mrs. Deveraux--
ANJELICA: (Correcting her) Curtis.
JACK: Good luck.
JENNIFER: Thanks (She leaves).
ANJELICA: Well, the whole town is buzzing about the editorial
in the paper today.
JACK: Anjelica, as usual you are blowing my accomplishments
way out of proportion.
ANJELICA: I am doing no such thing. I can't help it if I
have the perfect stepson.
JACK: I think there's a lot of people who would not agree
ANJELICA: I think your mommie dearest might.
JACK: Don't call her that.
ANJELICA: Oh, my Jack, are we getting a little touchy?
JACK: No. No. I just.... I don't know. I think maybe she
might have thought she was doing the right thing when she gave me
away. And maybe she thought she was helping me.
ANJELICA: Jack are you telling me that you have forgiven
JACK: No. And I don't know but I think Steve has but I don't
know if I ever could.
ANJELICA: Let me ask you something. Would it have made any
difference if Harper had told you that you were adopted?
JACK: Wait a minute. Why are you bringing this up?
ANJELICA: Because I'm worried about Alexander and I wonder
sometimes if I should tell.... if I should tell his father about
him. What do you think?
JACK: I think you should. I think every parent has a right
to know their child, if they want. Alexander is going to want to know
SCENE ONE: JACK IS WORKING IN HIS OFFICE.
JACK: "Recycling Makes a Comeback." (Beat) Not on
my front page it doesn't. Nor on anybody else's.
CAL WALKS IN. JACK IS OBVIOUSLY GLAD TO SEE HIM. HE
PUTS ON THE CHARM TO WORM INFORMATION OUT OF CAL. HE WANTS TO FIND
OUT WHAT DIANA IS HIDING FOR HE WANTS TO USE IT AGAINST HER TO GAIN
GET FULL CONTROL OF THE PAPER.
CAL: Deveraux. I'm looking for Diana.
JACK: Oh, I think she's out collecting returning soda bottles.
Ah, private joke. Actually I have no idea where Miss Colville is.
CAL: Any idea when she might be getting back?
JACK: Well, I really couldn't tell you but you are free
CAL: Well, thank you but I've got some things I've got to
take care of.
JACK: Oh really? Anything I can help you with.
CAL: Well, actually there might be. I'm going to be looking
for a place to live and I'm not sure where to start.
JACK: Wait a minute. You're planning on living here in town?
CAL: Yes, I'll be released from the VA hospital soon and I
plan on staying in Salem.
DIANA WALKS IN.
DIANA: What? Why are you planning to stay here in Salem?
CAL: I think you know.
DIANA: Ah, Jack?
DIANA: Would you leave us alone please?
JACK: Oh, yes. Of course, I'm very sorry. Just let me get
my things that are right here.
DIANA: There you go.
JACK: Oh than you. Lieutenant, we'll get together. We'll have
that drink. Diana, are you alright? You seem a little tense.
SHE SLAMS THE DOOR.
JACK: I'm just trying to help. I really am.
SCENE TWO: DIANA TALKS TO ONE OF CAL'S DOCTOR IN HER OFFICE
AT THE SPECTATOR AND JACK SPIES ON THE MEETING.
SCENE THREE: A SHORT TIME
LATER JACK MEETS WITH DR. BURKE IN DIANA'S OFFICE AT THE SPECTATOR.
JACK: Frank, come on in. The water's fine.
BURKE: Why aren't we meeting in your office?
JACK: Oh, I'm having the walls redone.
BURKE: Can't stand the smell of paint, eh?
JACK: Who's talking about paint? Mirrors, floor to ceiling.
JACK: No, not really Frank. Sit down. Where's your sense
of humor today?
BURKE: Oh, I'm just wondering what you want with me here.
JACK: I suppose you thought this would be another meeting
leading up to another glowing article on Frank Burke savior of the
BURKE: You implied that on the phone.
JACK: Did I? Well, I might be in another wish granting frame
of mind today.
BURKE: What do you want, Jack?
JACK: Well, I heard somewhere that Cal Winters was asking
to be released.
BURKE: Yes, that's true but both Dr. Shaffer and I feel
it's much too soon.
JACK: Hmmm. Two against one. I'm sure there's something
we can do about that.
BURKE: What are you saying Jack?
JACK: Well, I want you to release him.
BURKE: That's impossible.
BURKE: In the first place it wouldn't be ethical for me
to release a patient before he's ready. In the second pla--
JACK: I'd make it worth your while.
BURKE: There's nothing you can do to change my mind about
JACK: Oh, Frank, don't try to look determined. You don't
have the chin for it. Now, I'll give you one more chance. One more.
BURKE: I'm sorry.
JACK: Going.... going.... gone.
BURKE: I'm sorry Jack.
(Jack is at his smarmy best) So am I. I don't want to do this but
you forced my hand.
JACK PICKS UP THE PHONE.
BURKE: What are you doing?
JACK: I'm calling your boss and I'm going to tell him that
you leaked some very confidential information about Cal Winters
to me. Now that.... that.... was a bad move. Hello, I'd like to
speak to Mr. Joe Crenna, please.
BURKE: Hang up the phone! Please!
JACK: (Beat) I can call again!
BURKE: No there's no need. I'll.... I'll see that Winters
JACK: Make it fast Frank. I want Cal Winters out, walking
the streets, a free man. The sooner the better.
JACK: Alright the last apprentice has left this job suddenly
so you'll have to start right away. Give me you recommendations.
SCENE ONE: JACK IS PACING IN HIS OFFICE
WITH HIS BACK TO THE DOOR.
JENNIFER ENTERS, BUT JACK DOES NOT SEE HER.
JENNIFER: I believe you already have them, Mr. Deveraux.
JACK: I think you just walked by the cashier's office. It's
down the other way. You are looking for your last pay check aren't
JENNIFER: No, I'm not Jack.
JACK: Well, I'm busy interviewing people. NEXT! So please,
get to the point.
JENNIFER: The point is. I want my job back.
IT IS OBVIOUS THAT JACK IS THRILLED TO HAVE HER BACK.
JACK: (Shouting to his secretary or prospective employee)
HOLD IT! I thought you were by-line bound for The Chronicle.
I changed my mind. You've changed my mind Jack.
JACK: Me? "Cold, heartless, cruel" me?
JENNIFER: Look, you know how I feel about the editorial
you wrote about Sally. It moved me and that's the kind of article
this newspaper should be printing. It made me want to work here
JACK: Well, maybe I don't want you working here anymore.
I mean, I have a lot of very impressive résumés here.
(Shouting to Jack's secretary or prospective employee) NEXT!
JENNIFER: Do I sense a bit of male pride stuck in
your throat Jack?
JACK: (Shouting to his secretary or prospective employee)
HOLD IT! No, you hear amazement at what you must have eaten for
breakfast this morning. It was crow wasn't it?
JENNIFER: Alright, Jack. What do you want from me?
JACK: I want you to take one assignment, one, without
JENNIFER: Alright, that's fine. That's fine. Under one condition.
JACK: Oh, here we go. Working together five seconds and
you're already arguing with me. (Shouting to his secretary or prospective
JENNIFER: I want to do my own story.
JACK: Fine, on your own time.
JENNIFER: On my own time. (Shouting to Jack's secretary
or prospective employee) HOLD IT!
JACK: Well, I didn't really have time to look to all these
JENNIFER: Great. So what's my first assignment?
JACK: Oh, aren't we the eager little beaver. I've got an
assignment for you, a nice one. (Obviously given her the worst article
possible and loving the idea of her suffering through it)
The housing situation is Salem. You know density studies and that
sort of thing.
JENNIFER: (Beat) That's fine, I'll get to work on it right
JACK: Good, good. I want you to.... (The phone rings and
he picks it up.).... I want you to stick to the facts and stay away
from any bleeding heart exposés, alright?
JENNIFER: You got it Jack.
JACK: Jennifer. (Beat) It's for you.
JENNIFER: Thank you. (Beat) Hello.
SALLY: Jennifer, this is Sally. Can I see you
right away. It's very important.
JENNIFER: (Not wanting Jack to know who it is) Ah, I'm not
really sure if I can get away.
SALLY: It's about Hannah.
JENNIFER: Okay yeah, I'll see what I can do.
SHE HANGS UP THE PHONE.
JENNIFER: Those Avon ladies are real persistent, don't you
JENNIFER: Well, I'm going to get started on my story right
JENNIFER LEAVES THE OFFICE AND JACK THROWS
A STACK OF PAPERS IN THE AIR.
JACK: (Relieved) WEEEEEE!
SCENE TWO: JACK IS STILL IN HIS OFFICE SINGING.
JACK: Frére Jacques, Frére Jacques.... Entire,
s'il vous plait.
ANJELICA: Merci beaucoup. I'm so glad that we didn't waste
money sending you to prep school.
JACK: Anjelica. Hello. Oh I've got a present for you. Actually
for little Alexander. What do you think? Think he'll be ready for
ANJELICA: Well, I think maybe next week. Now what about
you? Are you ready for lunch?
JACK: Well, actually I.... er... I thought you were going
to be late. You're usually reliably late.
ANJELICA: Alright, Well, Jack if this is a problem I can
come back another time because I really don't feel like sitting
around and watching you work.
JACK: Just let me get this. I just have to get these here.
ANJELICA: Alright, well hurry up please.
JACK: It's a little late for post partum depression
ANJELICA: Jack relax. I said I'd wait so just finish your
Did you have a fight with Neil or something?
ANJELICA: Or something.... yes.
JACK: A little over spending on the credit cards maybe?
ANJELICA: Oh, please, can you be serious for one minute.
JACK: Okay. I'll be serious. Look. (Jack passes his hand
down his face changing it from a smile to serious.)
ANJELICA: Thank you, but I still can't discuss it with anybody.
JACK: Well, I'm not anybody. We've been through everything
together Anjelica. I mean if you could share it with anybody you
could share it with me.
ANJELICA: Alright Jack. I'm afraid.
JACK: You? Afr--
ANJELICA: Listen, I know what the man is capable of and
I thought everything was going to be fine if I just had a little
more time because now he doesn't have Justin so I know he's going
to come after the baby.
JACK: Whoa, wait a minute, wait a minute. Back up. Go back
to the beginning. Who is going after the baby?
JACK: Victor Kiriakis. Why would he want your son?
ANJELICA: Because Justin Kiriakis is Alexander's father.
JACK: (Stunned) Justin is Alexander's father?
ANJELICA: It's not like we planned it or anything Jack.
JACK: Well, how did it happen? I mean.... I.... I know how
it happened but why.... what happened?
ANJELICA: Adrienne had left Justin. Justin was alone and
we got drunk. And I was in love with him.
JACK: And nine months later you're bouncing his baby on
ANJELICA: That's how it happened.
JACK: And what does Justin think about all this?
ANJELICA: Justin doesn't know.
Wai.... wait a minute. You never told him you were pregnant with
ANJELICA: Jack I never quite found the time or the right
JACK: So you made him a godfather instead.
ANJELICA: I'm sorry about that but it seemed the least I
JACK: Well, I think maybe you could do more. Like tell him
ANJELICA: It's not that simple Jack.
JACK: No. No, it's not. You have gone through a lot I'm
sure. Carrying this around by yourself.
ANJELICA: I have felt.... alone.
JACK: Well, you're not alone anymore. (Hug) You have me.
ANJELICA: Thank you.
JACK: Okay, go ahead and tell me about Victor.
ANJELICA: Victor found out that Justin is his father and
now he's trying to get the child away from me.
JACK: The plot thickens, eh?
ANJELICA: It does. And I married Neil so Alexander could
have a father.
JACK: So far not so good.
ANJELICA: But I had the trump card because as long as Victor
had Justin he wouldn't make a big deal out of Alexander being a
Kiriakis but now he doesn't have Justin anymore....
JACK: Wait a minute, what hap--
ANJELICA: I don't know what happened but Justin and Victor
had a huge fight and Justin doesn't want anything to do with his
JACK: Well, then that's easy. You just tell Justin and since
as he hates Victor anyway let him fight for him.
ANJELICA: Justin.... Jack I don't know what I'm going to
do but he is not going to get my baby.
JACK: Well, you still have me. And I think Neil is your
ANJELICA: Neil! I think you have something Jack. Darling
if you'll excuse me I'm going to take a rain check on lunch because
I'm going to have to move very fast before Victor does.
JACK: Sure, sure.
ANJELICA: I will see you later Jack.
JACK: Anjelica, good luck.
SCENE THREE: MEANWHILE JENNIFER GOES TO SEE SALLY IN JAIL.
SALLY TELLS HER THAT HANNAH HAS BEEN PUT INTO A PROFESSIONAL FOSTER
HOME. SALLY ASKS JENNIFER WHAT THAT MEANS; SHE GETS UPSET WHEN
JENNIFER TELLS HER THEY GET MONEY FOR KEEPING THE CHILDREN. SHE
BEGS JENNIFER TO HELP HANNAH.
SCENE FOUR: JENNIFER RETURNS TO THE OFFICE TO MEET MRS SIMMS
FROM SOCIAL SERVICES.
JENNIFER: Thank you very much for coming.
MRS. SIMMS: I hope this won't talk long dear because I really
have to get back.
JENNIFER: Ah.... I just have a few things I have to clarify.
MRS. SIMMS: Is this article about the Social Services Department?
JACK WALKS OUT OF HIS OFFICE AND LISTENS, AND IS OBVIOUSLY
AFFECTED BY WHAT HE HEARS.
JENNIFER: Kind of. It's about how your department works
in relation to a particular case.
MRS. SIMMS: What case is that?
JENNIFER: Sally Wales. I was the one who wrote the article
on Sally and her baby and this is sort of a follow up and I was
wondering what exactly is going on with Hannah?
MRS. SIMMS: Well, she's been placed in a foster home.
JENNIFER: Great. Well, let's start there. What are her new
foster parents like?
MRS. SIMMS: They are nice enough people. They have five
other foster children....
MRS. SIMMS: .... as well as four of their own.
JENNIFER: How is Hannah supposed to get the attention that
MRS. SIMMS: Oh, I'm sure she's going to be just fine. She's
only going to be there six months and then she's going to be placed
with another family.
Why don't they keep her in one place until Sally gets out? I mean
that would give her some kind of stability don't you think?
MRS. SIMMS: Yes, but wouldn't that make the people awfully
attached to her after several years?
JENNIFER: Maybe Mrs. Simms but don't you think that Hannah
needs love too.
MRS. SIMMS: You seem to be taking a very personal interest
in this case. I know I must appear very indifferent but it's only
because of all the children we have to contend with. It's just the
best we can do. I'm sorry.
JENNIFER: I understand.
MRS. SIMMS: I've got to go now Miss Horton. I'm very sorry.
JENNIFER: Thank you.
AS SHE LEAVES JACK COMES OUT OF HIS OFFICE AND NOTICES MRS
JACK: That didn't look like Mr. Parsons from the Housing
Committee to me.
JACK: Remember, the housing story in Salem? Remember that?
JENNIFER: Right, right. I'm researching it Jack.
JACK: Hmmm. I heard your research from my office.
JENNIFER: Well, if you were listening you would see that
this is a much better story.
JACK: Story? I didn't hear a story.
JENNIFER: It's about Sally's baby, Jack.
JACK: I assigned you to another assignment and I expect
you to be working on it.
I know but this is important. I thought after that editorial you
wrote you'd understand.
JACK: Jennifer, this is a newspaper. We report news not
the daily trials and tribulations of one little infant who's not
even news anymore.
JENNIFER: I understand that Jack but if you just give me
JACK: You have been assigned to one story without argument.
The housing story. Now you stick with that story or I'm going to
put you on the Obituary page. You get the message?
JENNIFER: Yes. Loud and clear!
JACK WALKS BACK TOWARDS HIS OFFICE WHILE JENNIFER GLARES
AT HIM. HE STOPS AND GLARES BACK THEN GOES IN HIS OFFICE AND SHUTS
HE THEN PEEPS THROUGH THE BLINDS AT HER.