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 truth.

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.

JENNIFER TRIES TO PUSH CAL AWAY.

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 here. Cal?

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.

SCENE TWO: DIANA PLEADS NOT GUILTY AND IS RELEASED ON BAIL.

Jennifer and Jack at Diana's arraignment; 1:20 Min; 2.8 Meg

JENNIFER: Yeah. I do. Do you want to make a phone call or what?

JENNIFER IS CONCERNED THAT JACK MAY BE UP TO NO GOOD.

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 HIM.

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.

JENNIFER: Mmmm....

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 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.

JENNIFER: I was wrong. You have changed.

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.

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.

JENNIFER: Sure.

JACK: Vern.

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.

VERN LEAVES AND JACK SEES THE NOTE VERN LEFT ON JENNIFER'S DESK.

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.

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. Yeah.

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.

JENNIFER: Me?

JACK: (Making it up as he goes along.) Yes, about you.... about your work actually.

JENNIFER: You've been thinking about my work, my career?

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 Services.

JACK: Exactly.

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?

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 much Jack.

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.

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 GUY.

SPARKIE:

HE TAKES JACK'S HAND AND DANCES WITH HIM.

SPARKIE: One, two, one, two, one....

JACK: Sparkie, wait a minute. Have you seen anybody around here?

SPARKIE: Huh?

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.

SPARKIE: Who?

JACK: That's what I want to find out.

SPARKIE: Well, if you don't know, how am I supposed to know?

SPARKIE LEAVES AND JACK SEES THE NOTE ON JENNIFER'S DESK.

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.

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.

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 WITH MATTHEW.].

JACK: I.... I just wanted to let you know that I'm happy that things turned out the way they did.

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 ROMAN.

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 now?

JACK: Am I really?

DIANA: What do you want me to say to you?

JACK: Truce?

DIANA GOES TO PUT HER HAND IN HIS AND HE PULLS IT AWAY.

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.

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 Colville hearing.

JACK: Thanks.

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 scrapbook.

JACK: Scrapbook? Oh, really. How many of my articles have you been collecting?

JO: All of them.

JACK: Why?

JO: 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.

JACK: Yeah.

JO LEAVES. JACK IS STILL THINKING ABOUT JENNIFER AND EMILIO'S NOTE.

HE RIPS THE NOTE INTO SMALL PIECES AND THROWS IT IN THE RIVER.

JACK WALKS AWAY WHISTLING PETER AND THE WOLF.

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.

ABE: Oh.

JENNIFER APPEARS AT JACK'S DOOR.

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.

ABE LEAVES.

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....

JENNIFER: Jack.

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?

JACK: 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?

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 it.

JACK: That's right, Wings. Big opening tonight. I'm going to cover it for The Society page and I want you to come with me.

JENNIFER: I know. I was planning on going to it Jack.

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 break.

JENNIFER: You're right.

JENNIFER: Oh, yeah. There they are.

JACK: Shall we go in?

EMILIO SEES THEM WALK IN.

JENNIFER: Granma, Grandpa, hi.

JACK: Doctor, Mrs. Horton.

TOM: (Not happy with the situation, either.) Oh, Jack.

ALICE: Jack.

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: What's that supposed to mean Emilio?

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 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.

JACK TRIES TO TALK WITH HER, BUT IS RELUCTANT. AND DOES NOT KNOW WHAT TO SAY OR REACT. HE THEN JUST SPEAKS ALMOST IMPERSONALLY, PROFESSIONALLY.

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 doubles.

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.

EMILIO IS HIDING UNDER THE PIER.

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.

JACK LEAVES AND JENNIFER THROWS THE CHESTNUTS IN THE TRASH, FRUSTRATED.

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.

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 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.

EMILIO: I should have known.The scum rat.

JACK JUST WHISTLES HIS FAVORITE TUNE FROM PETER AND THE WOLF.

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.

JACK: Oh.

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.

JENNIFER: Jack, wait!

EMILIO: Kicking me in the face when I'm down. I'm going to remember that, punk.

JENNIFER HITS JACK.

JACK: What?

JENNIFER: Jack sometimes you do things and I think that you've changed and then you go and pull something like this.

JACK: What are you talking about? I didn't pull anything.

JENNIFER: Get off it. You turned in Emilio for one reason and one reason only.

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?

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 wrong.

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 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 LEAVES. EMILIO COMES BACK TO THANK JENNIFER. SHE SAYS THAT DOES NOT MEAN THEY ARE FRIENDS AGAIN BUT SHE DID IT TO GIVE HIM A BREAK.

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, okay.

JACK: DIANA!

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 Deveraux?

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 STARTS TO SIT ON THE COUCH BUT ROMAN DRAGS HIM BACK UP.

JACK: I just want to talk to Diana, that's all.

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.