date mid-May 1989]
SCENE ONE: JENNIFER IS AT SHENANIGAN'S
WITH HANNAH. SHE HAS CALLED ALICE TO BABYSIT BUT SHE'S BUSY. JACK
STRUTS IN SMUGLY, JUST AS SHE'S TRYING TO GIVE HANNAH BOTTLE THAT
SHE HAD JOEY THE BARTENDER WARM UP. THE MILK WON'T COME OUT.
JENNIFER: What is wrong? Stupid thing.
JACK: Having a little trouble here?
JENNIFER: Yes. This bottle doesn't work.
JACK: Just a moment. Let me see.
JACK: (With a self-satisfied glint.) Voilà. You see
Jennifer, you have to know what to do with the nipple.
JACK TAKES THE BOTTLE AND UNSCREWS THE CAP AND REMOVES THE SEAL
UNDER THE NIPPLE.
JENNIFER: (Unimpressed by his bragging. Yawning) Give me
that. Joey must have put it on wrong.
JACK: A little tired are we?
JACK: Must be kind of hard doing all those feedings four
or five times a night?
JENNIFER: No she was really good last night. She only woke
JACK: (Sarcastically) Only twice, really? Only twice.
When do you find time to do your work? Between the 2 am and the
4 am feedings?
JENNIFER: I find it Jack.
JACK: Hmmm. I was hoping to find it on my desk this morning.
You remember, the assignment on the housing.
JENNIFER: Yes, like you'll get it.
JACK: Soon. Soon. Now that really narrows things down doesn't
it? I hope you remember that we are still trying to run a newspaper
here and we kind of like to run it on a schedule.
JENNIFER: Jack, Hannah's on a schedule too and her's can't
JACK: Whoa. Look if you can't work things out between being
a single mother and a working gal maybe you better examine other
JENNIFER: Look Jack, I'm doing this whole series on the
single parent thing and then you throw the whole housing project
at me. How many arms do you think that I have?
JACK: You're not the first working mother you know?
JENNIFER: You know sometimes I think you do this on purpose.
You're trying to make this harder for me.
JACK: Look, like I said before. If you can't handle it I'm
JENNIFER: I can handle it.
JENNIFER: Look Jack, you know what? She likes you. Why don't
you just hold her for one minute?
JACK: Ah.... wait a minute. Jennifer.
JENNIFER: Here you go. I'll be back when I'm done with my
JACK: Je.... Jen....
JENNIFER WALKS OFF LEAVING HANNAH IN JACK'S ARMS.
JACK: (To Hannah) What are you looking at? Hey it's you
and me kid. Okay. No, don't cry. That's my job.
SCENE TWO: JACK HAS HANNAH BACK
IN HIS OFFICE AND HE IS TRYING TO FASTEN A DIAPER USING SCOTCH
TAPE. SHE IS ON TOP OF HIS DESK WHICH IS LITTERED WITH PAPERS
AND BABY SUPPLIES, AND PIECES OF CRUMPLED SCOTCH TAPE. DESPITE
IT ALL HE SEEMS TO BE ENJOYING HIMSELF.
JACK: I've never seen such a cute little baby make such a big
mess. Now just hold still and Uncle Jack's going to fix you right
up with this special.... just.... Jennifer, (Making a fist and raising
it upward, imitating Jacky Gleason in the Honeymooners.) one
of these days, one of these days, pow, right in the kisser! Okay now.
I'm just going to hold you. I promise you. Let me just pick you up
and don't cry, please don't cry, please don't cry, please don't cry.
Oh, it worked. Still on? Yeah. See, this worked just like before cause
you know that I'm not such a bad guy after all. Is that right? Yeah.
JENNIFER HAS ENTERED THE ROOM UNBEKNOWNST TO JACK AND HAS HEARD
HIM SAY "...I'M NOT SUCH A BAD GUY...." SHE SMILES,
AS IF IN AGREEMENT. SHE CLEARS HER THROAT TO ATTRACT HIS ATTENTION.
JACK: (Flustered, and slightly embarrassed.) Jennifer, why
don't you tell me? What are you doing sticking me with this kid? I've
got.... look I run a newspaper here not a day care center. So....
JENNIFER: Jack maybe you should open one up here.
JACK: Why do you say that?
JENNIFER: Like you said, I'm not the only working mother.
It would help a lot of the other parents too.
JACK: Look I don't have time to think about that alright.
I want to see that assignment.
JENNIFER: It's right here Jack.
JACK: It better be good after everything you've put me through.
JENNIFER: Don't worry, it's all there.
JACK: Ah, here.
JACK HAS BEEN HOLDING THE BABY TIGHTLY NEXT TO HIS
JENNIFER: Let me have her.
JACK: (Gently handing her Hannah.) Watch the tape.
JENNIFER: Thanks. Now if that's all Jack, I gotta go. I've
got a lot of babysitters to interview tonight.
JACK: (Concerned) Babysitters? For Hannah?
JENNIFER: Of course for Hannah. How else do you think I'm
going to get all this work done unless you want me to leave her
with you every time I go on assignment.
JACK: Er.... you're going to check the references? I mean
you're going to find out everything you can about these people?
JENNIFER: Of course I am. What difference does it make to
JACK: Well.... er.... ah.... you're.... you're writing a
story on single parents and I.... well, I don't want to see us get
egg all over our face.
JENNIFER: Don't worry Jack we won't. The article will be
fine and so will Hannah. '
JACK: (Helping Jennifer with the bags of baby stuff.) Here.
I know how it is, you know, being a single mother with your hands
full and stuff....
JENNIFER: Thanks Jack.
JACK: Keep an eye on her. She's got a.... .watch that diaper.
JACK LOOKS DOWN AT HIS JACKET WHICH HAS SCOTCH TAPE ALL OVER
IT. HE PULLS IT OFF IN FAKE DISGUST.
SCENE ONE: THE NEXT DAY JACK IS ON THE PHONE IN HIS
JACK: (Agitated, it sees as if that things are not looking
good for Jennifer keeping the baby. Jack is frantically talking with
the person on the other end to convince him to help Jennifer.) Look,
somebody down there at Social Services has got to be able to give
me a straight answer. Now if this young lady Jennifer is really attached
to this little baby, there's got to be a way to get around this trial
period. (Beat) Well, look she didn't know about the trial period when
she decided to fall in love with the baby.
JENNIFER COMES IN THE OFFICE AND JACK HANGS UP IMMEDIATELY.
JENNIFER: Jack. Hi!
(Trying to hide his concern and not let Jennifer know that things
are not running smoothly.) Jennifer. You're late.
JENNIFER: I know I'm late. My sitter canceled on me at the
last minute and I had to call my granma and....
JACK: Please don't.... don't give me any excuses, alright?
JENNIFER: Jack I couldn't leave Hannah all alone. Jack you
should've seen what she did this morning. It was the cutest thing
you've ever seen.
JACK: What I'm saying is don't use the baby as an excuse
JENNIFER: I know right now that it's hard to be a parent
and work at the same time but I can do it. I know I can. I'm really
getting it together. I really am.
JACK: Don't get too good at it.
JENNIFER: What do you mean?
JACK: Have some coffee?
JACK: (Avoiding looking at her) What I'm saying is.... er....
you might not have Hannah all that long.
JENNIFER: Three years Jack. That's a long time.
JACK: (Trying be realistic so if the inevitable happens
she is prepared. But he does not seem to know how to do so without
hurting her; he comes off cynical and uncaring.) You see, that's....
that's exactly what I'm saying. You're getting too attached to her.
JENNIFER: (Determined.) Don't start that again Jack. I don't
want to talk about that.
JACK: You're setting yourself up for a trap. You see one
of these days, Sally's going to get out of prison on parole or the
Social Services people are going to come around and give the baby
to a real family and you're going to left just holding the bag of
JENNIFER: Why did you want to see me Jack?
JACK: You're changing the subject on me.
JENNIFER: If you have something you want to say, say it to
me if not I want to start working on series for my single parent article.
JACK: That's it. The series on the single parents is on hold.
JACK IS THINKING OF SOMETHING TO GET HER MIND OFF HANNAH.
SOMETHING COMES TO HIM.
JENNIFER: HOLD? Jack I've worked on this for days.
(Gently grabbing her arm, pulling her around.) Temporarily.... on
hold. Because I have.... I have a big story for you. I want you
to picture this, okay. "Would-be Cop Killer Tells All."
Cal Winter's story. What do you think?
JENNIFER: You're doing an interview with Cal Winters?
JACK: An exclusive interview and I'm taking you with me
(pointing to her).
JENNIFER: Well, Jack that's really nice of you but I think
I'll pass. Thanks.
JACK: You are kidding aren't you?
JENNIFER: Jack, the Brady's are friends of mine.
JENNIFER: So I wouldn't feel comfortable talking to the
man who shot Roman.
JACK: Well, aren't we the delicate little flower?
JENNIFER: It's not that okay? It's just that I never really
met a killer before.
JACK: Hmm, uh. Well, I wish we were that lucky.
JACK: Cal Winters is not a killer. Killer's make good copy.
But don't worry about it. I'll handle the whole thing myself. I
won't force you. You stay right here where it's nice and safe.
JENNIFER: Wait.... Jack.
JACK: Oh. Do we have a change of heart?
JENNIFER: No, I still don't want to go but I won't stay here.
JACK PUTS HIS ARM OUT AND STOPS HER FROM LEAVING THE
OFFICE. HE SEEMS TO ENJOY PUSHING HER BUTTONS. HE LIKES IT THAT
SHE DOES NOT SHRINK FROM HIM BUT FIGHTS BACK. IT IS ALMOST AS IF
HE IS PURPOSEFULLY TESTING HER, AND HE SEEMS TO ENJOY HER REACTIONS,
AND HER SPUNK: HER.
JACK: Mind if I ask you why?
JENNIFER: Because you'd enjoy it too much.
JACK STAYS BEHIND FOR A MOMENT, AND LOOKS AT JENNIFER. HE
REALLY SEEMS TO ENJOY HOW SHE GIVES IT BACK TO HIM.
SCENE TWO: JACK AND JENNIFER
ARE AT THE PRISON TO INTERVIEW CAL WINTERS. JENNIFER IS SITTING
NEXT TO HIM. LISTENING INTENTLY.
JACK: (To the Warden) Thank you very much. (To Jennifer) Alright,
Jennifer you just watch and listen.
JENNIFER: You brought me here to watch?
JACK: I know the guy and you don't and I know that he's
not a real killer.
JENNIFER: What other kind is there Jack?
JACK: You just listen and you'll find out, okay. Here he
comes. Hello Cal, how're you doing?
CAL: I'm alright.
JACK: Good. I'd like to introduce Jennifer Horton. She's
one of my reporters.
CAL: Hi. Let's get one thing straight before we start. I'm
not talking about the shooting. I've already done that.
JACK: You mean the plea of guilty. You can turn that over
CAL: I won't.
JACK: Okay. So what you're saying is, you're never going
to really try and defend yourself.
CAL: I did what I did and I'm going to take what's coming
JACK: Okay. Let me ask a question that everybody wants to
know. Are you really sorry about shooting Roman Brady?
CAL: I'm sorry for a lot of things.
JACK: Well, I'm sorry. I don't follow you.
CAL: Roman wasn't the only one that was hurt. Diana was
too and that's all because of me.
JACK: Because you came back into her life.
CAL: And I wouldn't have done that if I'd known. Six years
ago I walked into a kind of hell. When
I walked out I thought that I could get back to the life I had before.
JACK: To Diana.
JACK CONTINUES TO LISTEN. HE SEEMS TO UNDERSTAND AND SYMPATHIZE
CAL: Thinking about her kept me alive. When I got back here,
this may be difficult for you to understand, but when I got back
here I walked into another kind of hell that was even worse and
six years of my life was nothing but cages, torture and beatings
but I would take that back. I would gladly take that back if I could
just change that one night.
JACK: The night of the shooting.
CAL: And everything that's happened since then to Roman,
to Diana, to everyone whose life is messed up because of me.
JACK: Okay, I want to know one thing. If you're so sorry,
why did you put a bullet into Roman?
CAL: The shooting was accidental. It shouldn't have ever
JACK: I didn't ask you how. I asked you why. (Beat) I know
why. I know why you pulled that trigger. I know that you're not the
only one at fault.
SCENE THREE: MEANWHILE BACK
AT THE OFFICE, DIANA IS LOOKING FOR JACK.
DIANA: "Satanic Cult in Salem?" Where is he? I'll
VERN: He's down at the police station.
DIANA: Oh, please tell me that he's been arrested for crimes
against good taste.
VERN LAUGHS QUIETLY.
DIANA: Vern, what's the matter?
VERN: He's interviewing Cal Winters.
VERN: I tried to talk him out of hit but it's the kind of
sensationalist stuff he loves. Diana, you're not going to scream
and yell. You should be mad as hell about all this but you're not.
How come? Are you okay?
DIANA: Fix this layout. Tone it down as much as you can.
VERN: You're leaving?
DIANA: Yes, there's something I have to take care of.
SCENE FOUR: MEANWHILE BACK AT THE PRISON.
THROUGHOUT THE INTERVIEW JACK BECOMES MORE FRANTIC, ALMOST OBSESSIVE.
CAL: What do you mean, I'm not the only one at fault?
JACK: I think you were driven to pull that trigger.
CAL: I'm not looking to blame what happened to Roman on
JACK: Cal, I'm saying that nobody acts alone. Everybody
plays a part in this.
CAL: If you're talking about Diana, you're wrong.
JACK: Of course I'm talking about Diana. I know you're trying
to protect her but that's impossible.
CAL: It's not impossible. She had nothing to do with it.
JACK: She had everything to do with it. You loved her. She's
the reason that you bought the gun in the first place.
CAL: Of course I love her but that doesn't mean I....
JACK IS OBVIOUSLY TALKING ABOUT HIS OWN SITUATION.
JENNIFER LOOKS OVER AT JACK, COMPREHENDING THIS. HER FACIAL EXPRESSION
REVEALS THAT SHE UNDERSTANDS JACK; AND SHE IS AFFECTED BY HIS PAIN.
JACK: You loved her for six years in those tiger cages. You
come back to Salem and she's engaged to another man and you still
love her. You love her now.
JACK IS NOW DEFINITELY TALKING ABOUT HIS SITUATION, NOT CAL'S.
HE IS TALKING ABOUT HIS LOVE FOR KAYLA, AND WHAT HIS LOVE IN THE
END CAUSED HIM TO DO, TO HURT HER, HIS HURT.
I'm not denying that.
JACK: I'm saying that you shot Roman not because you hated
him but because you loved Diana. You did it out of love.... you
did it out of love.
CAL: (Beat) Alright, you're right. Everything that happened
was because I love Diana. That's why I was at Brady's house. That's
why he got shot. I love Diana, I love her more than anything else
in the world.
JACK: As crazy as it sounds, Diana is as much to blame for
shooting Roman as you are.
CAL: No! No, that is not right. No one is to blame but me.
No one is to blame.
JACK: Look Cal, this is....
DIANA WALKS IN.
DIANA: Stop it. Stop it right now Jack.
JACK TURNS AROUND. CAL LOOKS WORRIED SEEING HER.
(Calmly, but with seething anger.) What do you think you're doing
SCENE FIVE: JACK GETS UP FROM HIS CHAIR. ANGRILY HE GRABS
HER BY THE ARM.
JACK: I am conducting an interview and if you don't mind
I'd like to get back to it.
DIANA: I do mind.
JACK: Don't make a fool out of yourself.
DIANA: Do you have any idea at all what it's going to look
like if The Spectator does an article on Roman's shooting?
JACK: It's going to look like we're doing our job, reporting
on the news, which is our business.
DIANA: Alright, Jack. I'm not going to argue with you. You
can write any article you please but you'll print this one over
my dead body.
JACK: Don't tempt me. Okay.
FLUSTERED. JACK BEGINS TO PACK UP HIS PAPERS.
JENNIFER: Jack, what are you doing?
JACK: I'm leaving.
JACK STORMS OUT.
JENNIFER: Diana, I'm sorry.
DIANA: It's not your fault.
JENNIFER: I better go too.
JENNIFER LEAVES, SHE SEEMS WORRIED ABOUT JACK.
AFTER SHE LEAVES DIANA SEEMS TO BE CONFUSED ABOUT WHAT REALLY HAPPENED,
AND SEEMS TO BE GETTING HER MEMORY BACK. CAL IS FRANTIC AND TRIES
TO STOP HER FROM DOING THIS.
SCENE SIX: JACK STORMS BACK INTO HIS OFFICE
FOLLOWED BY JENNIFER. JACK ALMOST SLAMS THE DOOR ON JENNIFER.
JACK: What do you want?
JENNIFER: I just thought that you might need to talk.
JACK: The only thing that I want to talk about is getting
Diana off this newspaper.
JENNIFER: Jack you don't mean that. She's a terrific reporter,
she's a great editor....
JACK: She's lost her objectivity. That interview would have
sold like hotcakes. We would have had people lined up at the newsstands....
wait a minute.
JACK: (Thinking) You just wait a minute.
JACK GOES THROUGH HIS NOTES.
JENNIFER: Jack what are you doing?
JACK: I'm checking out the material.
JENNIFER: For what?
JACK: Well, I didn't get as much from Cal Winters as I'd
hoped to but I'll still be able to write an article. I'll title
it "Crimes of Passion Motivated by Love."
JENNIFER: Jack you can't do that. You'd be breaking your
JACK: What are you talking about?
JENNIFER: You always tell me not to get personally involved
and that's exactly what you are doing here. You didn't have to ask
Cal what his motive was. You already knew. (With understanding)
And I know it's because of what happened to you with Kayla.
JACK'S EXPRESSION INDICATES THAT JENNIFER IS CORRECT.
JACK: (He tries to brush it off). Oh, no. You don't know
what you're talking about.
JENNIFER: Look, Jack, I don't want to question the right
or wrong about what happened, but the why. Maybe you did it because
you never knew what real love was. You've never had it.
JACK: Oh, no, now wait a minute. Wait a minute. I had parents.
I had.... I had An.... Look I don't even know why I'm answering
these stupid questions. You don't even know me.
(Trying to comfort Jack.) I heard the pain in your voice when you
talked to Cal, when you talked about love. That's everything I need
JACK: Look I talked to that guy.... that way.... so I could
get a quote out of him, that's all.
JENNIFER: I don't believe you.
JACK: Well, I don't give a damn if you believe me or not.
Now get out of here and go work on that piece!
JENNIFER: You just told me that my story was on hold, Jack.
JACK: It's back! It's off hold. Now get back and get to
JENNIFER: I'm sorry.
JACK: Look I don't.... I don't want you to be sorry. I don't
want your pity.
JENNIFER: That's not what I'm offering you. Look I just
want you to know that I understand.
JACK: That's great, that's great, that's great. Thank you
very much. Now please.... leave me alone.
JENNIFER: If that's what you want. (Beat) To be alone, that's
SEEING THAT JACK WILL NOT LET HER HELP, JENNIFER JUST LEAVES.
[AN INSTRUMENTAL BEGINS TO PLAY, IT IS RATHER ROMANTIC AND SENTIMENTAL,
AND IT WILL BE PLAYED REPEATED IN THE FUTURE FOR JACK AND JENNIFER,
DURING THEIR FUN, SENTIMENTAL, AND ROMANTIC TIMES TOGETHER.]
JACK STOPS TO THINK AS SHE WALKS OUT THE DOOR. JACK IS IN
PAIN. JENNIFER IS IN PAIN FOR JACK. THERE IS A SHOT OF JACK STANDING
IN HIS OFFICE IN PAIN. JENNIFER STOPS BY THE DOOR, LEANING AGAINST
IT, THINKING ABOUT JACK, OBVIOUSLY FEELING JACK'S PAIN. CUT BACK
TO JACK THINKING ABOUT WHAT JENNIFER SAID.