date mid-June 1989]
CAL: What are you doing here?
SCENE ONE: JACK AND JENNIFER ARE AT DIANA'S ARRAIGNMENT.
JACK: Me? I'm an observer.
CAL: What are you going to do? Write another
sleazy article Jack?
JACK: Maybe I will, with your help. I mean
you've worked for the newspaper Cal. You know we only print the
CAL: Yeah, I know that you deserve to rot.
JACK: Now wait a minute. There's no place for
aggression here. I don't think you want to complicate things with
an assault charge. There's plenty of policeman around.
CAL: No, no, no, no, you don't understand Deveraux. I would
gladly risk an assault charge to give you what you deserve.
JENNIFER TRIES TO PUSH CAL AWAY.
JENNIFER: Please stop it. Please.
JACK: Oh, really!
POLICEMAN: Have we got a problem here? If so
I am asking you both to leave.
JACK: No, I don't think there's any problem
CAL: No. No, problem.
JACK: Diana! She never looked like this.
DIANA COMES IN THE COURTROOM LOOKING DAZED. JACK
SEEMS SHOCKED BY HOW BAD DIANA LOOKS. HE SEEMS TO FINALLY REALIZES
WHAT HIS ACTIONS HAVE DONE, AND THAT HE HAS HURT YET *ANOTHER*
PERSON. HE IS ASHAMED AND GUILTY.
JENNIFER: You could do something about it Jack.
In the press.
JACK: I think we should both sit down.
JACK: Jennifer, do you have a dime?
SCENE TWO: DIANA PLEADS NOT GUILTY AND IS
RELEASED ON BAIL.
JENNIFER: Yeah. I do. Do you want to make a
phone call or what?
JACK: I gotta call Vern and tell him to hold the presses. I
got a hot story coming on.
JENNIFER IS CONCERNED THAT JACK MAY BE UP TO NO GOOD.
JENNIFER: What, about Diana?
JACK: (Snarkily) No, about Prince Charles!
Do you have.... no, forget it. I'll get it myself.
JENNIFER: No, Jack. You forget it. You are
not doing this story! You know Jack I was really beginning to think
that you were a different person from the Jack Deveraux that I knew.
JACK IS TRYING TO EXPLAIN BUT JENNIFER KEEPS INTERRUPTING
JENNIFER: (Angry and feisty) NO! You listen to me. But
I was wrong You are the same mean spirited person you've always been.
JACK: (Rather enjoying himself.) Jennifer....
JENNIFER: Look, Diana's probably at the lowest
point in her life right now....
JACK: Jennifer I....
JENNIFER: .... but what to you want to do.
You want to rub salt in her wounds....
JACK: I don't want to....
JENNIFER: .... by writing an article that's
vindictive and self serving. All you care about is selling papers....
JACK: There are people aro....
JENNIFER: That's all you're interested in. Turning a profit.
That's all you care about.
JACK PUTS HIS HAND OVER HER MOUTH.
JACK: All I care about is shutting you up,
alright. Until I explain myself. I am going to write an editorial
on Diana's point of view. So maybe....
JACK: .... so maybe she will get a little bit
of sympathy from her own readers. Maybe even a little support. May
I do that? (Beat) Huh?
JENNIFER: I'm sorry.
JENNIFER IS RELIEVED THAT JACK IS NOT TRYING TO CAUSE
MORE PROBLEMS FOR DIANA. THOUGH IT SEEMS TO BE MORE THAT, SHE IS
HAPPY NOT SO MUCH BECAUSE OF CONCERN FOR DIANA, BUT BECAUSE OF THE
IDEA THAT JACK IS DOING GOOD, AND THEREFORE IS CHANGING.
JACK: Forget it.
JACK WALKS TO THE PHONE BUT JENNIFER FOLLOWS
HIM AND PUTS HER HAND ON HIS SHOULDER.
JENNIFER: I was wrong. You have changed.
JACK: Oh, come on Jennifer. Face it. I am also doing this for
the good of the paper. I mean believe me this is going to hurt a little
bit of our credibility at The Spectator if both of our
publishers are convicted felons.
JACK AS PER JACK GETS EMBARRASSED. HE PRETENDS THAT IT IS
NOTHING, AND RESORTS TO A JOKE TO HIDE HIS TRUE FEELINGS.
JENNIFER: I don't care what you say Jack. I
know why you did it. You care.
JACK: Look, I have to get this in so I can make the deadline.
May I? Excuse me!
JENNIFER HAS JACK'S NUMBER. SHE KNOWS THAT HE IS TRYING
TO DO GOOD, BUT BECAUSE OF HIS PAST IS RELUCTANT TO SHOW HIS GOOD
SIDE TO PEOPLE. SO, SHE DOES NOT PRESS THE POINT. BUT IS JUST HAPPY
FOR HIM, AND PROUD OF HIM.
JACK: (Smiling) Thank you.
SCENE THREE: A SHORT TIME LATER CAL GIVES A PRESS
CONFERENCE AT THE COURT HOUSE AND TAKES RESPONSIBILITY FOR PUTTING
DIANA UNDER SUCH STRESS THAT SHE WOULD SHOOT ROMAN. JACK IS PUZZLED
BY CAL'S STATEMENT.
JENNIFER: Jack let's go.
VERN: No, Jennifer's not here right now. (Beat) Yeah, I got
SCENE FOUR: BACK AT THE SPECTATOR, VERN HAS
ANSWERED JENNIFER'S PHONE.
VERN: Oh, Jack, how did it go? How's Diana?
JACK: The best that could be expected. She
pled not guilty. Look, I want to get right on this thing. Do you
think we can make tomorrow's edition?
VERN: Oh, barely.
JACK: Good. Get down to Pete and tell him to
hold the presses.
JACK: What's this? (Reading) "Jennifer, Emilio called.
He's looking for you."
VERN LEAVES AND JACK SEES THE NOTE VERN LEFT ON JENNIFER'S
JENNIFER COMES UP, UNBEKNOWNST
TO JACK. SHE STARTLES HIM.
JACK CRUMPLES THE NOTE IN HIS HAND. JACK SEEMS UPSET.
IT IS OBVIOUS THAT HE IS CONCERNED THAT WITH THE RETURN OF EMILIO
HE MAY LOSE JENNIFER.
JENNIFER: Augh, what's the matter. You look like you've just
seen a ghost.
JACK: (Not knowing what to do.) Wha.... this?
Oh, this is nothing. Just a note from the garage telling me about
my cooling system on my car. Enough to make a guy blow a gasket.
JENNIFER: Yeah, I can see that. Sure that's all?
JACK TRIES TO FIGURE OUT A PLAN TO PREVENT HER FROM
FINDING OUT ABOUT EMILIO. YOU COULD ALMOST SEE THE GEARS TURNING
IN HIS HEAD. FINALLY HE COMES UP WITH AN IDEA.
JACK: Ah.... no. Actually I've been doing a lot of thinking
JACK: (Making it up as he goes along.) Yes,
about you.... about your work actually.
JENNIFER: You've been thinking about my work,
JACK: Yes. I think you've been showing a lot
of promise lately as a reporter.
JENNIFER: Thank you.
JACK: Ah.... particularly with the Sally Wales
story. I mean, with whatever you were able to do on it and I just
think that it's the best thing you've done.
JENNIFER: Jack what is this all about?
JACK: Er.... well.... how would you like to
expand on that story? Next week in Washington DC there's going to
be some Congressional Hearings on.... er.... single families and....
er.... low income housing and.... er.... I wondered if you'd like
to cover the hearing?
JENNIFER: You're kidding me.
JACK: No, no. I thought that maybe I could
fix up a couple of interviews with some Senators and maybe an aid
to the Secretary....
JENNIFER: To the Secretary of Housing and Human
JENNIFER: Jack, this is like my first real
big assignment. I mean I've had other assignments but this is big
time. What changed your mind about me?
JACK: Well, you've grown a lot in the last
couple of weeks. I mean as a writer of course and I just thought
that maybe it's time that you.... that you got a stretch.So what
do you think? Are you up to it?
JENNIFER: Up to it Jack? Are you kidding me? I've been waiting
for something like this to happen.
SHE LEAPS INTO HIS ARMS. JACK SEEMS BOTH UNCOMFORTABLE
WITH THE PHYSICAL SHOW OF AFFECTION, AS WELL AS ENJOYING IT.
JENNIFER: Oh, thank you. Jack. Thank you so
SCENE ONE: THE SPECTATOR AT NIGHT. EMILIO COMES
IN AND LEAVES A NOTE IN AN ENVELOPE ON JENNIFER'S DESK. AS HE'S
LOOKING AT A PICTURE OF HER, HE HEARS JACK WHISTLING. EMILIO HIDES
IN JACK'S OFFICE. JACK GETS AN EERIE FEELING THAT SOMEONE IS IN
THE OFFICE. HE HEARS THE CLEANER.
JACK: Sparkie? Sparkie.
IT IS HARD TO SEE WHAT SPARKIE LOOKS LIKE. HE SEEMS
TO BE RELATIVELY YOUNG. HAS LONGISH, CURLYISH HAIR, AND IS WEARING
A WALKMAN, LISTENING TO ROCK MUSIC. HE IS VERY LAID BACK TYPE OF
Hey Mr. D. What's happening dude?
HE TAKES JACK'S HAND AND DANCES WITH HIM.
JACK: Sparkie, I got to talk to you. Wait a minute.
SPARKIE: One, two, one, two, one....
JACK: Sparkie, wait a minute. Have you seen
anybody around here?
JACK: Have you seen anybody around here?
SPARKIE: You mean like you.
JACK: No, no. Not me. I know I'm here. I'm
talking about somebody else.
JACK: That's what I want to find out.
SPARKIE: Well, if you don't know, how am I
supposed to know?
JACK: Okay, forget it. Go back to Twisting Your Sister (A reference
to the group, Twisted Sister.) or whatever it is you do. Blow
your brains out. Get out of here. Earn some money.
SPARKIE LEAVES AND JACK SEES THE NOTE ON JENNIFER'S
JACK: Wait a minute. This wasn't here before.
JACK OPENS THE ENVELOPE AND READS THE NOTE
THEN SLOWLY TURNS TOWARDS HIS OFFICE AND SEES THE SILHOUETTE OF
EMILIO AGAINST THE GLASS. JACK PUTS THE NOTE IN HIS POCKET AND
RESEALS THE ENVELOPE AND PUTS IT BACK WHERE EMILIO LEFT IT AND
WALKS OFF WHISTLING PROKOFIEV'S PETER AND THE WOLF. EMILIO
COMES OUT AND CHECKS THAT THE ENVELOPE IS IN PLACE AND LEAVES.
SCENE TWO: DIANA'S HEARING IS
OVER AND SHE IS CLEARED. THE BRADYS ARE CELEBRATING HER RELEASE.
JACK IS AT THE DOOR, AND RINGS THE BELL.
DIANA: Jack. What are you doing here?
JACK: Well, I thought they'd be some celebrating
going on and I guess I'm right.
DIANA: Yes, and you're not invited.
JACK: Wait a minute. I'm not here to give you
a hard time.
DIANA: Really. And what makes now different from all the other
THEY BANTER BACK AND FORTH AND ACTUALLY SEEM TO ENJOY IT [IT
SEEMS AS IF GENIE FRANCIS REALLY ENJOYED THIS ANTAGONISM
BETWEEN HER CHARACTER AND MATTHEW'S JACK, AND ESPECIALLY WORKING
JACK: I.... I just wanted to let you know that
I'm happy that things turned out the way they did.
DIANA: You really expect me to believe that?
JACK IS SINCERE. BUT CONTINUES TO THE ATTITUDE TO HIDE HIS TRUE
FEELINGS. HE SEEMS TO REALLY FEEL GUILTY ABOUT HIS PART IN HER TROUBLES;
AND IS GLAD THAT SHE HAS BE EXONERATED ON THE CHARGES OF SHOOTING
JACK: No. Actually the truth is, at first I
was thinking about using this situation to get the other half of
the paper from you.
DIANA: Look, I don't have time for this alright.
If you want to make a confession, go find a priest.
JACK: Okay, let me just make this short and
simple. I am sorry that things went as far as they did and I'm sorry
that I caused you so much trouble.
DIANA: Okay. You're absolved. Are you happy
JACK: Am I really?
DIANA: What do you want me to say to you?
DIANA: Cease fire, maybe.
DIANA GOES TO PUT HER HAND IN HIS AND HE PULLS IT
JACK: Gotcha! Okay, look, I'll see you at work. You have a
great party. Take care.
JACK LEAVES. DIANA SEEMS AMUSED BY THE WHOLE
THING, YET NOT COMPLETELY SURE *WHAT* IS GOING. ROMAN COMES UP
AND ASKS ABOUT "DEVERAUX." AND SHE SHAKES HER HEAD AND
TELLS HIM SHE DOES NOT KNOW *WHAT* IS GOING ON.
JACK: Mrs. Johnson.
SCENE THREE: A SHORT TIME LATER, JACK IS ON THE
PIER READING EMILIO'S NOTE TO JENNIFER WHEN JO COMES ALONG. HE
IS STILL DISTURBED BY THE POSSIBLE CONSEQUENCES OF THE LETTER:
WHAT THAT WILL MEAN TO HIS AND JENNIFER'S RELATIONSHIP, ALTHOUGH
HE HAS YET TO ADMIT TO HIMSELF WHY HE CARES SO MUCH, AND HOW MUCH
SHE *REALLY* MEANS TO HIM.
JO: Hi, Jack. I'm glad I ran into you. I've
been meaning to call you.
JACK: What for?
JO: Well, I didn't get a chance to thank you
for the beautiful earrings you gave me for my birthday.
JACK: Oh, it's nothing, really.
JO: Oh, and I wanted to tell you that I have
really really enjoyed reading some of your articles about the Diana
JO: You know, it.... you.... it made me feel
so sad for everyone involved.
JACK: (Surprised that Jo is so proud of him.)
You cut out my articles and you keep them in a purse?
JO: I haven't had a chance to put them in my
JACK: Scrapbook? Oh, really. How many of my
articles have you been collecting?
JO: All of them.
Because you wrote them Jack. Son, I'm very proud of you.
JACK: I don't know why.
JO: Well, I'll tell you why. (She reads one
of his articles.) "If Diana Colville was guilty of anything,
she was guilty of loving one man over another. And the man she loved
was the man she hurt. But should she be punished for this? Hasn't
she been punished enough? Because when you hurt someone you love....
JACK AND JO: (Together) .... you pay
the price for the rest of your life.
JO: That's why I'm proud.
JO LEAVES. JACK IS STILL THINKING ABOUT JENNIFER AND
JACK: I'm sorry Jennifer but we've come too far. I can't
let this get anywhere near you.
HE RIPS THE NOTE INTO SMALL PIECES AND THROWS IT IN
JACK: Sorry Emilio.
JACK WALKS AWAY WHISTLING PETER AND THE WOLF.
JACK: Lieutenant.... Captain Carver. Come on in.
SCENE ONE: THE NEXT DAY, JACK CALLS ABE TO HIS OFFICE
TO TELL HIM ABOUT EMILIO.
ABE: Three minutes Jack.
JACK: Right to the point. You know I like that
in a public servant. Right to the point. Okay. I understand that
you're still looking for that dastardly desperado Emilio Ramirez?
ABE: What about him?
JACK: Well.... I wouldn't go looking too far
for him if I were you.
JACK: That's right. From the sources I have, I'd say Emilio
was right here in town.
JENNIFER APPEARS AT JACK'S DOOR.
JENNIFER: What? (Beat) Jack what do you mean that Emilio's
back in town?
ABE: How do you know this Jack?
JACK: (Not knowing what to do or say. What
he feared most has occurred: Jennifer has found out about Emilio's
return.) Ah.... I heard it. I heard it around.
ABE: Alright. I'll put his on the wire. Thanks
a lot for your information.
JACK: Well, certainly.... .Captain. Thank you.
Thank you for coming by.
JENNIFER: Jack where did you hear this?
JACK: Oh, does it matter?
JENNIFER: Yes, it matters a lot. Now tell me.
JACK: I can't. You see I have to protect my
sources. My sources, yes. And in case you haven't heard, Emilio
has a pretty bad reputation around here and I don't....
JENNIFER: So do you.
JACK: Look, before you jumping all over me,
let me tell you I had to go to the police. I mean it's my duty as
a re.... as a citizen. My responsibility....
JENNIFER: Jack are you going to tell me how
you found out about this or not?
JACK: Alright, alright. I tell you I don't
see what the big deal it is. I mean this thug comes back into to....
JACK: (Deciding that he might as well be truthful.)
Okay. I found a letter on your desk while you were away.
JENNIFER: And you read it?
Well, I thought it was business. I mean it could have been urgent.
Of course I would have called you if it was urgent.
JENNIFER: What do you mean if it was urgent
JACK: Look, I'm not trying to keep anything
from you. I mean you just got back.
JENNIFER: So you're telling me that you didn't
know that Emilio was here before you sent me to Washington,
JACK: I didn't know a thing. (Lying) I told
you I got the letter while you were away. (Beat) Okay, now I have
a question for you. Are you going to go after him?
JENNIFER: I don't know.
JACK: Okay. You've got an assignment. Are you
going to go to the opening tonight?
JENNIFER: What the.... Wings. I forgot about
JACK: That's right, Wings. Big opening tonight.
I'm going to cover it for The Society page and I want you to come
JENNIFER: I know. I was planning on going to
JACK: Good, good. We'll go together. We'll
just ride in the same car. (Beat) What's the matter? Look, I know
you've traveled a lot but this is good experience for you. A good
JENNIFER: You're right.
JACK: Good. We'll.... we'll go.
JACK LEAVES. JENNIFER
JACK: Well, there's your grandparents.
SCENE TWO: LATER THAT NIGHT JACK AND JENNIFER ARRIVE AT
WINGS. BOTH ARE DRESSED UP AND LOOK VERY HANDSOME TOGETHER.
JENNIFER: Oh, yeah. There they are.
JACK: Shall we go in?
JENNIFER: Yes, come on.
EMILIO SEES THEM WALK IN.
ALICE: (Confused and not too pleased with seeing Jennifer with
Jack.) Oh, hello dear.
JENNIFER: Granma, Grandpa, hi.
JACK: Doctor, Mrs. Horton.
TOM: (Not happy with the situation, either.)
JENNIFER: I'm back, from my trip.
ALICE: (Trying to be polite and hide her disapproval.)
Oh, yes. How was your assignment?
JENNIFER: It was great, thank you, really great.
TOM: Glad to hear it.
DAVE: Excuse, me Jennifer. There's a phone
call for you.
JENNIFER: Oh, thanks. I'll be right back.
EMILIO: What in the hell's going on here. I though we got rid
of that attitude between you and I before I left but I can see somebody's
putting it back in, huh.
SCENE THREE: ALICE GLARES AT JACK AS JENNIFER WALKS TO THE
PAY PHONES. SHE PICKS UP ONE AND ASKS WHO IS THERE. EMILIO IS
ON THE NEXT PHONE AND TAPS HER ON THE SHOULDER. JENNIFER IS
ANNOYED TO SEE EMILIO BECAUSE HE TRIED TO KILL JUSTIN. SHE SAYS
SHE WILL NOT TALK TO HIM UNTIL THE CHARGES ARE SETTLED.
JENNIFER: What's that supposed to mean Emilio?
EMILIO: I saw you walk in with Deveraux. So like what's the
story? Just because he's got a fancy suit, he's got to step on the
JACK IS WATCHING. HE SEEMS UPSET.
JENNIFER: My relationship with Jack is none
of your business. Do you understand me?
EMILIO: Yeah, I understand.
JENNIFER: Look, if you want help squaring away things with
the police I will help you. Otherwise don't bother calling me.
JENNIFER WALKS BACK TO JACK'S TABLE.
SCENE ONE: DIANA HAS BECOME SO STRESSED ABOUT
HER SITUATION WITH CAL AND ROMAN THAT SHE DRESSED IN DISGUISE
AND LEAVES TOWN.
JENNIFER: Thanks for the chestnuts Jack.JACK: That's
for a job well done.
SCENE TWO: JACK AND JENNIFER ARE WALKING ON THE
JENNIFER: Oh, I couldn't have done it without your help.
JACK TRIES TO TALK WITH HER, BUT IS RELUCTANT.
AND DOES NOT KNOW WHAT TO SAY OR REACT. HE THEN JUST SPEAKS ALMOST
JACK: What do you mean? This is team work.
We make a good team. A good reporting team.
JENNIFER: Well, I didn't think you meant mixed
JACK: Oh, you play?
JENNIFER: Tennis? No, not very well.
JACK: Well, maybe I could teach you a thing
or two. I used to play in college. But then this isn't going to
further your career so you don't have to if you don't want to.
JENNIFER: No, no. It might be fun. I really
haven't had a chance to play.
I mean Frankie was never really into tennis and Em.... and I really
don't know that many people who play.
JACK: Like Emilio?
JENNIFER: I don't want to talk about Emilio.
JACK: Neither do I. It's probably best not
to mention a dead beat like him.
JENNIFER: Emilio's not a dead beat, alright Jack. Maybe he's
been in trouble a few times but it's not his fault. He's had a hard
life, something you don't know anything about.
EMILIO IS HIDING UNDER THE PIER.
JACK: I thought you said you didn't want to talk about him.
JENNIFER: I don't. Not with you.
JACK: Fine by me. I've got better things to
do with my time. Look, I've got to get back to the office. Can I
give you a lift?
JENNIFER: No. I'll be there later.
JACK: Alright. Don't make it too much later.
There are headlines to make and deadlines to meet.
JENNIFER: Yeah, okay.
JACK LEAVES AND JENNIFER THROWS THE CHESTNUTS IN THE
JENNIFER: Chestnuts Jack.
JUST THEN EMILIO SURPRISES HER.
EMILIO: Hey Horton, what's up?
JENNIFER: Emilio, how long have you been here?
EMILIO: Long enough to hear what you just said.
I just happened to be hanging out and I heard what you said and
I'm not sorry either.
JENNIFER: Yeah, well, don't get the wrong idea.
EMILIO: Well, what kind of idea do you want
me to get. You stood up for me.
JENNIFER: I would stick up for anyone against
Jack. Even you.
EMILIO: So you're not going to help me?
JENNIFER TELLS EMILIO THAT SHE WILL NOT PROTECT HIM. HE TELLS
HER THAT HE HAS NO CHANCE BECAUSE PEOPLE TREAT GUYS LIKE HIM AS
CRIMINALS. JENNIFER SUGGESTS SHE TALKS TO JUSTIN TO SEE IF THIS
WHOLE THING CAN BE DROPPED.
MEANWHILE JACK HAS BEEN HIDING UNDER THE OTHER SIDE OF THE PIER
AND HAS HEARD THE WHOLE CONVERSATION.
SCENE THREE: MEANWHILE, ADRIENNE TRIES TO CONVINCE JUSTIN
TO HELP EMILIO. HE FINALLY AGREES.
SCENE FOUR: JACK HAS GONE TO THE COP SHOP, HE IS KNOCKING
ON ABE'S DOOR, JUST AS A POLICEMAN IS BRINGING IN A PROSTITUTE.
JACK CONTINUES TO KNOCK AS HE STARES AT THE PROSTITUTE, AND
CONTINUES TO STARE AS SHE WALKS OUT OF SIGHT. JUST THEN
ABE OPENS THE DOOR AND JACK KNOCKS ON HIS FACE. REALIZING IT
IS NOT THE DOOR, STILL NOT LOOKING, JACK FEELS AROUND ABE'S
FACE. HE TURNS TO SEE ABE AND REMOVES HIS HAND QUICKLY.
ABE IS NOT A MUSED.
What the hell do you want?
JACK SAYS NOTHING, BUT WALKS IN, WITH A PLEASED LOOK ON HIS
FACE, AND WHISTLING HIS FAVORITE TUNE, PETER AND THE WOLF.
JACK: Well, what have we here?
SCENE FIVE: JENNIFER, JUSTIN AND ADRIENNE ARRIVE AT THE
PIER, EMILIO IS HIDING UNDER THE STAIRS. JENNIFER CALLS TO HIM
TELLING HIM IT IS SAFE AND THAT SHE BROUGH JUSTIN AND ADRIENNE
WITH HER. HE COMES OUT. JUSTINE TELLS EMILIO THAT ADRIENNE CONVINCED
HIM TO CALL AN END TO HIS AND EMILIO'S FIGHTING. JUSTIN SAYS
THEY NEED TO GO TO THE POLICE STATION TO MAKE THEIR STATEMENTS
TO CLEAR EVERYTHING UP. JUST THEN, ABE ARRIVES AND BEGINS TO
ARREST EMILIO. EMILIO THINKS HE WAS SET UP, JENNIFER AND ADRIENNE
SWEAR THEY DID NOT. EMILIO WONDERS WHO CALLED THE POLICE. JUST
THEN, JACK WALKS UP.
EMILIO: I should have known.The scum rat.
JENNIFER: Jack how could you?
JACK JUST WHISTLES HIS FAVORITE TUNE FROM PETER AND THE
JACK: (Laughing from the disbelief) Why would you want to do
SCENE SIX: AS ABE IS TAKING EMILIO AWAY, JUSTIN WONDERS
IF ABE HAS ENOUGH EVIDENCE AGAINST HIM. ABE TELLS JUSTIN THAT
HIS CAR WAS TAMPERED WITH AND THAT EMILIO HAD MOTIVE. JUSTIN TELLS
ABE THAT HE WILL GET HIS MECHANIC TO TESTIFY THAT HIS BRAKES FAILED
ON THEIR OWN.
JUSTIN: What would happen Abe?
ABE: Well, there wouldn't be much of a case.
I don't even think it would come to trial.
JUSTIN: So you'd let him go?
JACK: Oh, I don't believe this.
ABE: Are you sure about this?
JUSTIN: Yeah, well, that's the thing. I'm not
sure about anything. I mean I don't know for a fact whether Emilio
tampered with my brakes. I mean it could have been an accident and
that's what I'm going to say in court.
ABE: Well, we can't hold him with that. Well,
you lucked out again Ramirez.
JACK: Well, so much for playing the good citizen.
SCENE FOUR: ABE TAKES JUSTIN BACK TO THE POLICE
STATION TO SIGN A STATEMENT.
JENNIFER: Jack, wait!
EMILIO: Kicking me in the face when I'm down.
I'm going to remember that, punk.
JACK: Better keep an eye on my hub caps.
JENNIFER HITS JACK.
JENNIFER: Jack sometimes you do things and
I think that you've changed and then you go and pull something like
JACK: What are you talking about? I didn't
JENNIFER: Get off it. You turned in Emilio
for one reason and one reason only.
JACK: And what was that?
JENNIFER: I know exactly why you want to put
Emilio in jail.
JACK: (Worried that she might know the real
reason.) What do you mean? Of course you know why I wanted Emilio
behind bars. (Making it up.) I wanted the dead beat off the streets.
JENNIFER: No, Jack, it's more than that.
JACK: What other reason could I possibly have?
JENNIFER: A very selfish one because you only care about yourself
and that's all. You don't care who you hurt.
JACK: Wait a minute. I didn't do this for me.
I did this for you.
JENNIFER: You're crazy. You did it for The
Spectator, for the good of the paper. "The public has
a right to know," as you say. Well, it was really cheap for
you to set up Emilio just for a scoop.
JACK: (Amused at here explanation; however,
relieved that she did not figure the real reason: that he
has fallen for her.) Is that why I did it?
JENNIFER: (Possibly knowing the real reason,
and hoping that he would admit it; maybe she too feels the same
way about him.) Isn't it?
JACK: (Beat) You're right. You're right. I
wanted that exclusive and what can I say. It's my job.
JENNIFER: Yeah, you're right. I just thought
you had a little bit more integrity than that Jack but I was obviously
JACK: If you're going to be a nice person,
you've got no business being in journalism.
JENNIFER: No, not all reporters are like that.
Our job is to report the news. Not create it.
JACK: I didn't create anything. Emilio tried to kill Justin.
You can't try to deny that are you?
JACK AND JENNIFER BICKER. THEY SEEM TO GET PLEAUSRE
OUT OF BICKERING WITH ONE ANOTHER.
JENNIFER: Fine it's part of your job so if
you're a good journalist that's what you'll write.
JACK: Fine. Fine. If you want to stick up for Emilio, go ahead.
I can't stop you. Of course I can't stop you from trying to jump off
a bridge too but I would hope that you'd think about. And I would
hope that you'd think about what you're getting yourself into because
you just might find that you are getting in over your head.
JACK LEAVES. EMILIO COMES BACK TO THANK JENNIFER. SHE SAYS THAT
DOES NOT MEAN THEY ARE FRIENDS AGAIN BUT SHE DID IT TO GIVE HIM
[Air date late June 1989]
SCENE ONE: JENNIFER'S AD FOR A ROOMMATE IS IN THE
PAPER. SCOTT, JULIE'S GRANDSON, IS BACK IN TOWN AND SEES THE AD.
HE CALLS THE NUMBER AND MAKES AN APPOINTMENT TO SEE THE LOFT, NOT
KNOWING HE IS TALKING TO JENNIFER.
SCENE TWO: JACK ARRIVES AT
ROMAN'S HOUSE TO SEE DIANA. ROMAN HAS JUST GOT BACK FROM A LONG
TWO DAY SHIFT AND HAS NO IDEA THAT DIANA HAS LEFT TOWN.
JACK: (Furious) Alright, where is she? DIANA!
ROMAN: Oh no. I'm not in the mood for twenty questions,
ROMAN: I just got off a two day stake out.
JACK: I didn't ask where you were. DIANA!
ROMAN: I said I just got off a two day stake out man.
JACK: Look, if she thinks she can get away with this, she
can guess again.
ROMAN: What in the hell are you whining about this time
JACK: I'm whining about this.
ROMAN: And what is this?
JACK: Power of Attorney.
ROMAN: Power of Attorney?
JACK: That's right. She just gave Vern Scofield entire control
over her half of the paper.
ROMAN: What? Let me see this thing.
JACK: It's right there in black and white. Little Miss I-Want-to-Run-the-Paper-My-Way
finally gave good old Vern control over her half of the paper. Must
be her idea of a joke, right?
ROMAN: I don't know. I don't know what the hell it is.
JACK: There's only one way to find out. Diana get down here!
ROMAN: I told you she's not here. I don't know where she
is. Last time I talked to her was when I went on stake out.
JACK: Well let's just make ourselves comfortable until she
STARTS TO SIT ON THE COUCH BUT ROMAN DRAGS HIM BACK UP.
ROMAN: Wrong. Look pal, I'm tired, I've had a bad day and I
don't need you hanging around here giving me more of a headache than
I've already got. You understand?
JACK: I just want to talk to Diana, that's all.
ROMAN: I told you she's not here.
JACK: She's not....
ROMAN SLAMS THE DOOR IN JACK'S FACE. HE CONTINUES
TO CALL FOR DIANA AND CARRIE WALKS IN. SHE TELLS HIM THAT DIANA
LEFT THE DAY HE WENT ON STAKE OUT AND NEVER RETURNED, NOR SAID WHERE
SHE WAS GOING.