SHANE'S FRIEND COL. JERICHO TURNED OUT TO BE A DRUG LORD, AND ALSO
PART OF REV. TAYLOR'S WHITE SUPREMICIST GROUP. HE KIDNAPPED SHANE,
AND HELD HIM HOSTAGE.
SCENE TWO: STEVE AND KAYLA GO WITH MARCUS TO
SOUTH CAROLINA TO INVESTIGATE HIS PAST. BUT SOMEONE WANTS HIM NOT
TO DISCOVER THE TRUTH. WHILE THERE THEY SEE A CHURCH WHICH HAS A
PLAQUE ON THE WALL IN MEMORY OF SOME LITTLE GIRLS AND THE CHURCH'S
MINISTER WHO WERE MURDERED WHEN SOMEONE BLEW UP THE CHURCH.
SCENE THREE: BACK IN SALEM, STEVE HAD AGREED
TO GO UNDERCOVER FOR THE ISA TO INFILTRATE REV. TAYLOR'S ORGANIZATION.
TO DO SO HE HAD PLASTIC SURGERY TO FIX HIS EYE SOCKET AND HAD A
PROSETIC EYE PUT IN, HE ALSO DIED HIS HAIR. REV. TAYLOR'S GROUP
GO ON RETREAT, AND STEVE GOES WITH THEM.
SCENE FOUR: SHANE ESCAPES
AND STEVE FINDS AND HELPS HIM. SOMETIME DURING THIS TIME KAYLA ARRIVED
AT THE MINISTERY WORRIED ABOUT STEVE, AND IS CAPTURED BY JERICHO.
SCENE FIVE: SOMEHOW AND SOMETIME DURING THESE
EVENTS, MARCUS IS INJURED AND AFTER THE INJURY HIS LONG AND DEEPLY
SUBMERGED MEMORIES RESURFACE. HE REMEMBERS BACK TO WHEN HE WAS A
CHILD AND SEEING JERICHO AND SAUL TAYLOR SETTING UP EXPLOSIVES,
AND THEN HIS FATHER'S CHURCH EXPLODING, AND HIS FATHER AND THE LITTLE
GIRLS DYING. THE TWO WERE RACISTS WHO WANTED TO SILENCE MARCUS'
FATHER BECAUSE HE WAS AN ACTIVIST MINISTER, LIKE DR. MARTIN LUTHER
KING, TRYING TO FIGHT FOR RIGHTS FOR BLACK PEOPLE.
SCENE SIX: AS GANG FROM SALEM TRY TO GET TAYLOR
AND JERICHO, ONE OF THEM SETS OFF EXPLOSIVES, AND SHANE IS BELIEVED
TO HAVE BEEN KILLED.
SCENE SEVEN: DURING THIS TIME KIMBERLY'S ASSISTANT ADAM BECAME
OBSESSED WITH HER. SHE ALSO STARTED A FRIENDSHIP WITH CAL WINTERS,
AND IT WAS HE WHO SAVED HER. CAL IN TURN DEVELOPS FEELINGS FOR
KIMBERLY. WHEN THE STEVE AND KAYLA RETURN TO SALEM, KAYLA HAS
TO TELL HER SISTER THAT SHANE IS BELIEVED DEAD.
SCENE ONE: JENNIFER ENTERS JACK'S OFFICE TO SPEAK
TO HIM. HE IS NOT THERE BUT SHE GOES IN ANYWAY AND FINDS AN ARTICLE
ON HIS DESK.
JENNIFER: Jack.... what?
JACK WALKS IN AND SEES HER THERE.
JACK: What are you doing in here? You know that nobody's
supposed to be in here except....
JENNIFER: (Aggressive) Jack what is this all about?
JACK: Oh, that little thing. Oh, that's nothing. That's
a rough copy. You shouldn't have seen that.
JENNIFER: Too late. How could you write something like that?
JACK: (Angry) Easy. You just put it in the typewriter and
start tapping away.
JENNIFER: It's not even an article. It's an out and our
JACK: Aren't we being a little melodramatic?
JENNIFER: Jack, it's everything that I was taught never
to write in an article and you're the one who taught me.
JACK: So, I must know what I'm doing?
JENNIFER TAKES THE PAPER AND BEGINS TO READ IT.
JENNIFER: "Membership in the Stingrays is virtually a
tradition for many young men on the waterfront. The Ramirez family
being a prime example...."
JACK: That's a lovely recitation.
JENNIFER: "....Despite the violent death of eldest
son Raoul and the poor example set by middle brother Emilio whose
record of illegal offenses committed over the past year alone is
exceptional even by Stingray's standards, the youngest Ramirez boy
Julio has been caught up in the violent world of the gangs as well.
The Salem police are still searching for young Ramirez who disappeared
last week along with the underage daughter of police commissioner
JACK: Right. It's an accurate account of the destructive
influences of gangs on poor families and....
JENNIFER: First of all, Emilio is not a member of
the Stingrays any more and Juilo never was. You wrote this
whole article without any concern for the facts.
Don't you think that maybe your feelings are clouding your perceptions
JENNIFER: What about your perceptions Jack? I've defended
you. There are a lot of people in this town who would like to believe
the worst about you but I keep trying to set them straight. But
it looks like I was wrong. I can't believe you would use The
Spectator to kick around a poor family especially when it's
JACK: (He has an idea to distract her.) Alright, alright.
You may have made a very small point there and I'm willing to discuss
JENNIFER: Do you mean that?
JACK: Sure, but I don't have any time right now. I need
to review a new restaurant down on the beach. I tell you what, we'll
eat dinner and you'll talk. How about that?
JENNIFER: (Unable to resist him.) Okay.
JACK: Okay, so we can leave this right here.
JENNIFER: No! We will leave it on my desk....
SHE STORMS OUT OF HIS OFFICE AND THROWS THE PAPER
ON HER DESK ALL THE TIME YELLING AT HIM.
JACK: (Ignoring her ranting.) Plenty of copies where that came
JENNIFER: ....and don't think that this fancy dinner will
calm me down....
JACK: (Beat) I'm sure it won't. I'm sure.
JACK IS ENJOYING EVERYTHING ABOUT HER INCLUDING HER
RANTING AT HIM.
JENNIFER: ....and we're going to sit in this restaurant
until it's all figured out and it will not be published until it
JACK: I don't know about that.
JACK: So we'll have the wild rice and the truffles and the
chateau-whatever the chef thinks is best.
SCENE TWO: JACK AND JENNIFER ARE
SEATED AT A TABLE AT A NEW RESTAURANT IN TOWN, THE SANDOLLAR.
JACK HAS A MENU IN HIS HAND WHILE JENNIFER IS HOLDING A COPY OF
HIS ARTICLE ABOUT EMILIO AND GANGS. JACK IS GIVING THEIR ORDER
TO THE WAITRESS. ELLA FITZGERALD SINGING PAPER MOON IS
PLAYING IN THE BACKGROUND THROUGHOUT THE SCENE [DESPITE THEIR
ARUGING, THE MUSIC SEEMS TO GET TO THE HEART OF THEIR FEELINGS
ABOUT EACH OTHER.].
Say, it's only a paper moon
sailing over a cardboard sea,
but it wouldn't be make believe if you believe in me.
Yes, it's only a canvas sky
hanging over a muslin tree,
but it wouldn't be make believe if you believe in me.
Without your love,
it's a honkey-tonk parade.
Without your love,
it's a melody played in a penny arcade.
It's a Barnum and Bailey world,
just as phony as it can be,
but it wouldn't be make believe if you believe in me.
Yes, it's only a paper moon
sailing over a cardboard sea,
but it wouldn't be make believe if you believe in me.
WAITRESS: Yes sir.
JACK: And I am Jack Deveraux from The Spectator
reviewing this place so this dinner will be on the house.
THE WAITRESS PULLS A FACE AND TAKES THE MENU FROM
JACK: Now, where were we?
JACK: Have you tried these bread sticks? There's ten different
JENNIFER: Jack if you not going to take me seriously, then
I don't want to stay here.
JACK: (Leaning over and looking at her intently.) I'm taking
you very seriously.... very seriously.
JENNIFER: What does that mean? Why are you looking at me like
JACK: I'm being intensely intense.
JENNIFER: Alright, good, because in paragraph four you wrote
that Emilio is a member of the Stingrays. That is inaccurate so you
need to get quotes from him stating why he joined the gang, why he
JACK FACE HAS TURNED TO A HALF GRIN.
JACK: Present, present.
JENNIFER: Am I getting through to you at all?
JACK: Getting through loud and clear.
JENNIFER: Alright, so you agree with all these changes I've
JACK: Well, not all the changes, no.
JENNIFER: Then why aren't you arguing with me?
JACK: You don't see the difference?
JACK: The last time we went nose to nose on any kind of
issue all you could do was whine at me.
JENNIFER: (Pulling a whiney face.) I did not. I don't whine.
JACK: Oh, come on now. Sally Wales and her baby. It was
(Whiney voice) please Jack have a bleeding heart, pleeeese.
JENNIFER: I never said that. I never said anything about
bleeding heart Jack.
JACK: (Waggling a bread stick at her.) You're becoming a
reporter. You're dealing with facts, not with emotions. Well you
still have a few emotions but that's alright. I like it.
JENNIFER: You're serious.
JACK: I'm very serious. Why do you think I'm listening to
you in this restaurant in the first place?
Then you're going to rewrite this the way that I'm suggesting?
JACK: I will think about it. If.... if we make a deal and we
don't talk about the whole thing until after the dessert. I mean I
am reviewing this restaurant. Deal?
JACK OFFERS HER A BREADSTICK.
JENNIFER: Until dessert. Deal.
SHE TAKES THE BREADSTICK AND SNAPS IT IN HALF.
JENNIFER: You know Jack, I think there might be an almost
human being inside there.
JACK: (Looking around the restaurant.) Where? Oh,
oh, who knows? Stranger things have been known to happen in the world.
HE HALF SMILES AT HER.
SCENE THREE: MEANWHILE EMILIO
HAS COME TO THE SPECTATOR LOOKING FOR JENNIFER. SCOTT IS
THERE ALSO AND THEY ARGUE AND SCOTT TELLS EMILIO THAT JENNIFER WILL
SOON REALIZE THAT EMILIO IS NOT GOOD ENOUGH FOR HER. SCOTT LEAVES
AND EMILIO PICKS UP THE COPY OF JACK'S ARTICLE THAT JENNIFER LEFT
ON HER DESK. EMILIO IS FURIOUS WITH JACK.
SCENE FOUR: JACK AND JENNIFER
RETURN FROM THE SANDOLLAR.
JACK: Oh, shrimp with kiwi and prune sauce. It's enough to
make you want raw liver.
JENNIFER: You're still not listening to me Jack.
JACK: I'm sorry. I can't get the taste out of my mouth.
JENNIFER: So do I. I keep reading this.
JACK: (Snatching the paper from her hand.) Well, don't torture
JENNIFER: Look Jack, I had to sit through that dinner too
alright. I think they gave us the reviewer's special. But you can
always take revenge in print. What about me?
JACK: Alright, what should I do to make it up to you, as
if I didn't know.
JENNIFER: Paragraph twelve Jack. It has to be changed.
JACK: (Throwing his arms in the air in frustration.) What
do I have to do to make you forget about this article?
JENNIFER: Nothing. There's nothing you can do to....
JENNIFER FOLLOWS JACK INTO HIS OFFICE WHERE THEY BOTH
STOP DEAD WHEN THEY SEE EMILIO SITTING IN JACK'S CHAIR WITH HIS
FEET ON THE DESK.
EMILIO: There isn't going to be an article.
JACK: Emilio, what are you doing in here?
EMILIO: I got a meeting here and it starts now.
JENNIFER: Emilio, don't please.
EMILIO: Listen Deveraux, if you do print that article, I'm
telling you I'm going....
JACK: What? Nobody's going to tell me what to print, what
not to print.
EMILIO: And nobody writes lies about my family just to sell
JENNIFER: We're going to redo it. He's rethinking it and.....
EMILIO: Just save it okay. Save it. Why are you always defending
JACK LOOKS AT JENNIFER WAITING FOR HER ANSWER.
JACK: You do?
JENNIFER: You know I do Jack, you know I do.
JACK: You do.
EMILIO: Every time he pulls one of his numbers you defend
him and when it's all cleared up everybody still knows he's a slimy
limey little lizard.
JACK: That's funny, we called upon the saint scenario to
you earlier this evening.
JENNIFER: Will you two please stop it. Both of you, stop.
JACK: The people of Salem.... the citizens of Salem that
pay their taxes deserve to know what's going on in their own backyard.
EMILIO: And what's that supposed to mean?
JACK: It means that this story is going in tomorrow's
edition, as is.
JENNIFER: Jack, no. You can't do this.
JACK: Emilio, here's 50 cents, two quarters, so that you
can buy yourself a copy of tomorrow morning's paper. Please read
EMILIO: (To Jennifer) You heard him. (To Jack) You dirty
JENNIFER: Stop it alright. Just leave. Don't try to make
EMILIO: I know a lot okay. I'm not starting trouble. You
know I ain't got time for this. I pass this Deveraux.
JACK: That's right. It's Friday night. Subways to spray
and hubcaps to hock.
EMILIO: You know, if you do print that article I can promise
you trouble my man.
EMILIO: Believe me.
EMILIO BEGINS TO WALK OUT.
JACK: Well, thank you for dropping by Emilio. We always
appreciate anything, anytime. Any kind of criticism from our (Smirking
at Jennifer) remedial reading public.
SCENE FIVE: JENNIFER WALKS
BACK INTO JACK'S OFFICE AND CONFRONTS HIM.
JENNIFER: You are not going to publish this story.
JACK: Watch me.
JENNIFER: Jack you said that that we were going to rethink,
that we were going to rewrite it, we were going to go right over
JACK: I'm not going to let Emilio Ramirez dictate the editorial
policy of this newspaper.
JENNIFER: You don't understand him like I do.
JACK: That's fortunate for me that my head is not turned
by a pile of muscles and a pony tail. (Beat) You want to read his
JENNIFER: No, Jack. Look I know all about Emilio's past
but that's exactly what it is. It's his past.
JACK: Oh, no.
JENNIFER: The same way you want your past left behind.
JACK: Look, my past has nothing to do with it.
JENNIFER: Look, at least I can depend on Emilio. At least
he's consistent from day to day and he doesn't pass instant judgment
on anybody either.
JACK: As opposed to whom?
JENNIFER: Oh, take a guess Jack. Don't strain yourself.
SHE MARCHES OUT HIS DOOR.
JACK: I'm not finished with you.
JENNIFER: Well, I'm finished with you Jack.
SCENE SIX: SHE SLAMS HIS DOOR AND GOES BACK TO HER DESK. SCOTT
COMES IN AND TELLS HER THAT HE HEARD HER YELLING IN THERE. SHE
SAYS SHE IS NOT IN THE MOOD BUT HE INSISTS THAT SHE GOES OUT WITH
HIM. AS SHE WALKS OUT WITH HIM, JACK COMES OUT OF HIS OFFICE HOLDING
JACK: Jennifer, I think that.... er.... Jennifer?
HE LOOKS AROUND AND SEES THAT SHE HAS LEFT. HE SHRUGS
JACK: Well, Jack. Still batting a thousand.
SCENE ONE: ANJELICA HAS STEPPED UP HER PLANS TO SNARE JUSTIN.
SHE USES BABY ALEXANDER FOR THIS END. THIS CAUSES PROBLEMS FOR
JACK: Ah, Mrs. Johnson.
SCENE TWO: A COUPLE OF DAYS LATER, JACK IS WALKING THROUGH
THE PARK READING THE PAPER WHEN HE SEES JO COMING TOWARDS HIM.
HE TURNS AROUND TO AVOID MEETING HER THEN CHANGES HIS MIND AND
TURNS BACK BUT SHE HURRIES PAST LOOKING VERY WORRIED AND DISTRACTED.
JACK: (Trying to make an excuse to talk with her) I was....
I was wondering.... I was.... I was wondering how you were.
JO: Well, as good as I can be I suppose. Jack I really have
to be going.
JACK: Are you sure you're okay?
JO: Yes. I'm running so late and I've got so many things
I've got to do then I've got to get back to Dr. Curtis's as soon
JACK: Is he okay?
JO: Are you okay? Since when have you asked me so many questions?
JACK: Well, I just wanted to see if you were.... okay.
JO: Thank you, I'm fine. Actually, it's Adrienne that I'm
JO: Oh well, don't tell me that Mrs. Curtis hasn't filled
you in her side of the story huh, uh?
JACK: Well, actually Anjelica and I don't talk about....
JO: Well, when you see her, you tell her that Adrienne is
doing just fine.
JACK: Sure. Sure. I understand.
JO: Thank you. (Reluctant to leave.) Oh I have to be going.
SHE HURRIES AWAY.
JACK: Goodbye.... Mrs. Johnson.
JACK HAS A CONCERNED LOOK, IS IT THAT HE IS CONCERNED FOR
HIS SISTER ADRIENNE.
SCENE THREE: ADRIENNE IS
IN NEIL'S GARDEN REPOTTING SOME PLANTS. SHE HAS MOVED THERE BECAUSE
ANJELICA NOW LIVES AT THE PENTHOUSE WITH ALEXANDER AND ADRIENNE
FEELS PUSHED OUT. THE GARDNER COMES ALONG AND TELLS HER THAT A GUY
WHO SAYS HE IS HER BROTHER IS LOOKING FOR HER IN THE FRONT YARD
BUT HE TOLD HIM TO COME BACK. SHE ASSUMES IT IS STEVE WHEN SHE HEARS
ADRIENNE: Steve? I'm so glad you're here.
JACK: (Half smiling) Not quite, but one outta two ain't bad.
JACK TURNS THE CORNER.
ADRIENNE: If you came to ruin my day Jack, you're too late.
JACK: So, I guess I heard right.
ADRIENNE: You heard? I suppose you came
over here to see if Anjelica's really run me into the ground, huh?
Well Jack, she almost has and I'm sure she'll be glad to hear that.
JACK: You say I'm going to tell her?
ADRIENNE: Are you saying you wouldn't?
JACK: (Hurt) Are you saying that I don't have a heart?
ADRIENNE: Look Jack, I wish I could believe that you did.
At least for my mother's sake.
JACK: Adrienne, you wear your heart on your sleeve, you
get hurt. I learnt that the hard way.
ADRIENNE: From who, Anjelica? That sounds like her brand of
JACK IS VERY HURT BY THAT COMMENT AND HIS VOICE BEGINS
JACK: Look, I don't know what she did but I just want to say
ADRIENNE: Jack, sorry's real nice but getting her away from
my husband would be very nice too.
JACK: Alright, I didn't know the details but I'm sure that....
er.... I'm sure that she had her reasons.
ADRIENNE: Don't.... don't you defend her. Not to me.
JACK: (Getting angry) Don't expect me to attack her because
she did raise me.
ADRIENNE: That should be enough of a lesson for Justin.
JACK: (Hurt and turning cynical) Oh! Ouch!
ADRIENNE: Jack, I'm sorry. But we both know that you won't
be petitioned for sainthood, right?
JACK: Look, I came by here because I heard you were hurting
and I thought maybe I could do something to help.
ADRIENNE: Jack, you can't because you are so blinded with
devotion to your stepmother that you can't see how she's destroying
me and my life.
JACK: What do you mean? You're so blinded by hate that you
can only see black and white.
ADRIENNE: What is that supposed to mean?
JACK: It means you can't look around you. Maybe I can't
help you but I'm sure there's somebody somewhere who can. Just keep
your options open.
ADRIENNE: Thanks, a bunch.
JACK: I'm saying that you cannot compete with Anjelica.
You cannot play her games. Find somebody who does.
ADRIENNE: What, what do you mean, use them? Jack, I've never
been a politician. I don't know how to use people the way you do.
JACK: Or forgive them.
SHE FEELS A BIT ASHAMED.
JACK: Look Adrienne, I just hope that you get what you want.
I think you deserve it.
JACK WALKS OFF. ADRIENNE SEEMS TO BE THINKING THAT
JACK WAS SINCERE.
SCENE ONE: THE NEXT DAY JENNIFER
COMES INTO JACK'S OFFICE. HE IS NOT THERE BUT SHE GOES IN ANYWAY.
JENNIFER: Jack, my story's finished! (Beat) Beat you to the
SHE PUTS HER ARTICLE ON HIS DESK AND SEES A PIECE
HE IS BEEN WRITING ON TOP OF THE LATEST EDITION OF THE SPECTATOR.
SHE PICKS IT UP AND STARTS READING THE ARTICLE BUT ON THE BACK WE
SEE THE HEADLINE OF THE PAPER WHICH READS "ONE FAMILY'S NIGHTMARE!"
JENNIFER: What is this? (Beat) Jack. (She loves the article
but hasn't seen the front page headline.)
SHE READING INTENTLY WHEN JACK WALKS IN.
JENNIFER: Jack, when did you write this?
JACK THINKS SHE IS SEEN THE HEADLINE.
JACK: Ah.... I can explain.
JENNIFER: What's to explain? Jack, this is wonderful.
JACK: It is?
JENNIFER: Yeah, it's terrible what Marcus Hunter went through.
It takes a lot of guts to stand up and say something about bigotry.
JACK: (Very relieved) Oh. That.
JENNIFER: Yes, that. What did you think I was talking about?
JACK: Oh that. I.... er.... thought you were talking about....
JACK GRABS THE PAPER FROM HER.
JENNIFER: Jack this is so great. It's great. It makes me
so proud (Hand on heart) to know that I work for The Spectator.
JACK: Proud. It's good to be proud. I mean proud of your
JENNIFER: I'm so proud of you Jack.
JACK: (Reluctant to take the praise, but unable to resist.)
Ah me? I mean.... I really didn't do anything. I just, you know,
write up some article.... I just write articles every day.
JENNIFER: No, no. But not like this Jack.
JACK: Ah.... look it's easy to write an article about prejudice.
I mean everybody knows it's wrong so you just say no.
JENNIFER: Well, then they'll see this in this editorial.
I can't even understand that you even thought about doing that article
on Emilio. I mean it's the same thing.
JACK: (Getting uncomfortable) Ah, no it's not.
JENNIFER: Yes it is. I mean prejudice is prejudice.
JACK LOOKS DOWN AT THE FOLDED NEWSPAPER IN HIS HAND.
JENNIFER: Anyway I am so glad that you changed your mind about
doing that other article.
JACK GIVES HER A HALF GRIN.
SCENE TWO: MEANWHILE EMILIO
HAS JUST PICKED UP THE MORNING PAPER. HE SITS DOWN WITH JULIO WHO
IS FILLING IN HIS ENTRANCE FORMS FOR JUILLIARD, THE MUSIC SCHOOL
IN NEYORK CITY. JULIO NEEDS THREE CHARACTER REFERENCES: THEY COME
UP WITH FATHER HERNANDEZ, THE PARISH PRIEST, JULIO'S MUSIC TEACHER
AND THEN EMILIO SUGGESTS JENNIFER. JULIO THEN SEES THE ARTICLE IN
THE PAPER AND THINKS THAT THE SCHOOL WILL NOT LET HIM IN BECAUSE
THE ARTICLE MAKES HIM LOOK LIKE A GANG MEMBER. EMILIO IS FURIOUS
AND SETS OFF TO FIND JACK.
SCENE THREE: MEANWHILE BACK
AT JACK'S OFFICE.
JENNIFER: Jack, you really understand what Marcus went through.
SHE TAKES THE PAPER FROM JACK AND STARTS TO READ.
JACK WORRIES THAT SHE WILL READ THE OTHER ARTICLE, THE ONE ABOUT
THE RAMIREZ FAMILY.
JENNIFER: I mean what it feels like to be discriminated against.
JENNIFER: And for people to hurt you and hate you for no other
reason than prejudice....
EMILIO BURSTS IN.
EMILIO: I oughta kill you!
JACK: Ah, Emilio. I don't think that would look good on
your rap sheet. I really don't.
JENNIFER: Emilio. Emilio what are you doing?
EMILIO LUNGES AT JACK BUT HE DUCKS AROUND THE DESK.
JACK: Ah.... I think....
EMILIO CATCHES JACK AND HOLDS HIM BY HIS LAPELS.
EMILIO: You're going to get it Deveraux.
JENNIFER: Emilio, what's the matter with you?
EMILIO: You mean you have to ask.
JENNIFER: I don't know what talking about?
EMILIO: I don't believe this. (He pulls jack towards Jennifer.)
You two are meant for each other.
JENNIFER: What's going on?
EMILIO: Didn't you see this morning's paper. Can't you read?
JACK JUST STANDS THERE ALMOST LOOKING LIKE A NAUGHTY
LITTLE BOY. JENNIFER SEES THE HEADLINE AND LOOKS IN HORROR AT JACK.
JENNIFER: How could you?
EMILIO: Oh yeah, you didn't know nothin' about it!
JENNIFER: No I did not. Not until now. After I asked you
not to go ahead with this, you went and did it anyway.
JACK: What....you think I take orders from you? You work
for me, remember?
JENNIFER: Yeah, well I'm not so sure I want to work for
you anymore Jack.
JACK: Well that's your prerogative. But that story is very
JENNIFER: No, it is not good. You used this paper to make
a personal attack against Emilio and his family.
JACK: I'm writing an article about violence and gang corruption.
It's a fact of life in this city.
EMILIO: The fact is that there is a kid at home who thinks
he's nobody and he's not going anywhere and it's because of you
JACK: What do mean? That punk kid, your brother.
EMILIO: Don't call my brother a punk, man.
EMILIO GRABS JACK AND LOOKS HIM IN THE FACE WITH DISGUST.
EMILIO: Ah, get out of here.
EMILIO WALKS OUT AND JACK SITS BACK ON THE DESK.
JACK: I rest my case.
JENNIFER LOOKS AT JACK WITH DISGUST AND ANGER. THOUGH
IS SHE MORE UPSET ABOUT THE ARTICLE OR THAT SHE HOPED MORE FROM
JENNIFER: This doesn't mean anything except that Emilio is
right. You are slime Jack.
SHE SHOVES THE PAPER AT HIM AND WALKS OUT. HE LOOKS
TOWARDS THE DOOR, THEN HE LOOKS DOWN AT THE PAPER, AND THEN BACK
TOWARDS THE DOOR. IT IS ALSO APPARENT THAT HE FEELS BAD AND IS
UPSET THAT JENNIFER IS ANGRY WITH HIM.
SCENE FOUR: A SHORT TIME
LATER JACK IS IN HIS OFFICE WITH HIS FINGER STUCK ON THE INTERCOM
BUTTON. JENNIFER WALKS IN.
JENNIFER: You wanted to see me Jack.
JACK: Find yourself a seat.
JENNIFER: What is this all about?
JACK: I'd like to talk to you.
JENNIFER: I don't even want to look at you let alone talk
JACK: Look Jennifer, I don't need to justify myself to you.
JENNIFER: You don't even know what you did, do you Jack?
JACK: I didn't do anything.
JENNIFER: You know that's the worst part because you can
be so mean and spiteful and not even realize it.
JACK: I was just printing the truth. It's not my fault if
the truth hurts.
JENNIFER: No. It is your fault. Why can't you think of anyone
else but yourself for a change?
JACK: I was. I was thinking about our readership, about
those men and women who....
JENNIFER: Oh, stop it. Will you stop hiding behind this
paper? You wrote this to get back at Emilio and for no other reason.
JACK: (Slightly amused) Oh, I did, did I? Is that so?
JENNIFER: Yes, you did. It is. It is so.
JACK: Well, if that's the case....if this wasn't about Emilio,
would you be in here at this moment biting my head off, hmmm?
JENNIFER: Of course I would.
JACK: Come on now, you know you wouldn't, come on.
JENNIFER: Oh yeah, yeah, well would you have even written
this article if it wasn't about Emilio?
JACK: Well I.... well I....
JENNIFER: (Screaming) Okay, I'll admit it. Alright. I would
not be this upset if it weren't about Emilio.
JACK: You see. You see what I mean.
JENNIFER: No, but it doesn't matter. It doesn't matter and
you know why? Because you're a jerk and you're a self centered and
you're manipulative and everyone can try to tell me that and I don't
believe it. And you're a jerk and you're cheap and you have no backbone.
JENNIFER: And everyone keeps telling me that and I don't
want to believe them. (Beat) But I guess I was wrong.
JACK: (Trying to hide how much her criticism affects him) Yeah,
I guess you were.
SHE RUNS OUT AND SCREAMS AS SHE SLAMS THE DOOR. JACK LOOKS
DOWN, EMBARRASSED AT WHAT HE DID.
SCENE FIVE: A SHORT TIME
LATER JENNIFER IS RUNNING DOWN THE STEPS AT THE PIER WHEN JACK STOPS
HER. THEY STARE AT EACH OTHER FOR A FEW SECONDS.
JACK: We still need to talk.
THEY CONTINUE TO LOOK IN EACH OTHER'S EYES, BOTH VERY
AWARE OF THE CHEMISTRY BETWEEN THEMSELVES.
JENNIFER: Get out of my way.
JACK: Now, is that anyway to talk to your boss?
JENNIFER: Excuse me, I have a story to get in, Mr. Boss.
JACK: Well, perhaps I should look at it, Miss Employee.
JENNIFER: Take it. It's all yours. You're just going to do
what you want with it anyway, Jack, you know that.
SHE ATTEMPTS TO LEAVE BUT HE HOLDS HER ARM.
JACK: Jennifer wait a minute. Whoa, whoa, whoa. Wait a minute
Now about this.... little tiff we had this morning. You're not really....
you're not really mad about it are you?
JENNIFER: No, Jack. I am beyond anger. If I wasn't getting
course credit for this job, I'd quit.
JACK: Well, I could always arrange to transfer you to The
JENNIFER: Don't you care about who you hurt?
JACK: Well, if you're referring to Emilio, obviously I don't.
HE BEGINS TO WALK DOWN THE PIER.
What about April, what about Julio? What about me, Jack?
JACK: You? (Defensively) Ah, why this has nothing to
do with you. This article here has nothing to do with you.
JENNIFER: Oh. I just thought you were a much better person
JACK: (Unable to look her in the eye.) Well, fooled you
JENNIFER: Oh, come on Jack. Deep down inside don't you feel
bad for what you did?
HIS FACE SHOWS THAT HE FEELS BAD BUT IN AN EFFORT
TO PUSH HER AWAY HE DISAGREES.
JACK: Nope, I don't.
JENNIFER: You are a jerk Jack Deveraux and I'm going to kill
HE TURNS BACK TO LOOK AT HER. HIDING HIS EXPRESSION. SHE THROWS
DOWN HER PURSE AND BEGINS TO ATTACK HIM IN FRUSTRATION.
SHE MANHANDLES HIM TO THE STEPS.
Jennifer, don't I.... don't I get my day in court?
JENNIFER: No, you just blew it.
JACK: (Jack is still pinned down by Jennifer) Look, I made
my decision and it's final.
JENNIFER: No matter what.
JACK: There's nothing we can do. It's printed.
JENNIFER: You can print a retraction.
JACK: Forget it.
JACK: Because we can't go round apologizing Every time some
story hurts somebody's feelings.
JENNIFER: Why can't you just admit that you made a mistake
JACK: I would if I thought I did.
JENNIFER: Obviously you care more about your pride than
other people's feelings.
JACK: Look, I'm trying to make a point here....
JENNIFER: No, no, I get your point. But I don't understand
it. I don't understand you and I am tired of wasting my time trying
SHE BEGINS TO SEARCH FOR HER PURSE.
JACK: Jennifer, Jennifer.
JENNIFER: Where is my purse?
SHE FINDS IT AND LOOKS HIM STRAIGHT IN THE EYE, AND
SHOUTING AT HIM, WHICH STOPS HIM DEAD IN HIS TRACKS.
JENNIFER: THERE IS NOTHING MORE TO SAY TO YOU.
SHE RUNS OFF. JACK WATCHES HER LEAVE.
HE TRIES TO SAY SOMETHING, BUT REALIZES IT IS FUTILE. HE THEN
WALKS OFF TRYING TO FIND HER.
SCENE SIX: SANTOS, THE HEAD OF THE STINGRAYS,
AND EMILIO HAVING BEEN WATCHING THEM. EMILIO LAUGHS AT THEIR FIGHT.
SANTOS ASKS HIM IF HE IS IN OR OUT. EMILIO TELLS HIM IS THINKING
ABOUT IT. HE SAYS THEY CANNOT WAIT FOR HIM.