SCENE ONE: 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.

JACK WALKS IN AND SEES HER THERE.

JENNIFER: Jack.

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 assault.

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.

JENNIFER TAKES THE PAPER AND BEGINS TO READ IT.

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 Roman Brady."

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.

JACK: Don't you think that maybe your feelings are clouding your perceptions a bit?

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 down.

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 it.

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.

SHE STORMS OUT OF HIS OFFICE AND THROWS THE PAPER ON HER DESK ALL THE TIME YELLING AT HIM.

JENNIFER: ....and don't think that this fancy dinner will calm me down....

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 is.

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.

Jack and Jennifer do lunch, "Paper Moon"; 2 Min; 4.4 Meg

WAITRESS: Yes sir.

THE WAITRESS PULLS A FACE AND TAKES THE MENU FROM HIM.

JENNIFER: Emilio.

JACK: Have you tried these bread sticks? There's ten different kinds.

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.

JACK: I'm being intensely intense.

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 made here?

JACK: Well, not all the changes, no.

JENNIFER: Then why aren't you arguing with me?

JACK: You don't see the difference?

JENNIFER:

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?

JENNIFER: Then you're going to rewrite this the way that I'm suggesting?

JACK OFFERS HER A BREADSTICK.

SHE TAKES THE BREADSTICK AND SNAPS IT IN HALF.

JENNIFER: You know Jack, I think there might be an almost human being inside there.

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.

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 yourself.

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 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.

JENNIFER: Emilio.

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.

JENNIFER: Jack.

EMILIO: And nobody writes lies about my family just to sell some newspapers.

JENNIFER: We're going to redo it. He's rethinking it and.....

JACK LOOKS AT JENNIFER WAITING FOR HER ANSWER.

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 it.

EMILIO: (To Jennifer) You heard him. (To Jack) You dirty little rat.

JENNIFER: Stop it alright. Just leave. Don't try to make more trouble.

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.

JACK: Promise?

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.

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 it....

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 rap sheet?

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.

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 THE ARTICLE.

JACK: Jennifer, I think that.... er.... Jennifer?

HE LOOKS AROUND AND SEES THAT SHE HAS LEFT. HE SHRUGS HIS SHOULDERS.

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 ADRIENNE.

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.

JO: Jack.

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 as possible.

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 worried about.

JACK: Adrienne.

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.... everything.

JO: Well, when you see her, you tell her that Adrienne is doing just fine.

JACK: Sure. Sure. I understand.

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 THE FOOTSTEPS.

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.

JACK IS VERY HURT BY THAT COMMENT AND HIS VOICE BEGINS TO BREAK.

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.

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.

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!"

SHE READING INTENTLY WHEN JACK WALKS IN.

JACK: Jennifer.

JACK THINKS SHE IS SEEN THE HEADLINE.

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.

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 work, yes.

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.

JACK LOOKS DOWN AT THE FOLDED NEWSPAPER IN HIS HAND.

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.

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.

JACK: Yeah.

EMILIO BURSTS IN.

JACK: Ah, Emilio. I don't think that would look good on your rap sheet. I really don't.

EMILIO LUNGES AT JACK BUT HE DUCKS AROUND THE DESK.

EMILIO CATCHES JACK AND HOLDS HIM BY HIS LAPELS.

JENNIFER:

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?

JACK JUST STANDS THERE ALMOST LOOKING LIKE A NAUGHTY LITTLE BOY. JENNIFER SEES THE HEADLINE AND LOOKS IN HORROR AT JACK.

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 good.

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 man.

JACK: What do mean? That punk kid, your brother.

EMILIO GRABS JACK AND LOOKS HIM IN THE FACE WITH DISGUST.

EMILIO WALKS OUT AND JACK SITS BACK ON THE DESK.

JENNIFER LOOKS AT JACK WITH DISGUST AND ANGER. THOUGH IS SHE MORE UPSET ABOUT THE ARTICLE OR THAT SHE HOPED MORE FROM 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.

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 to you.

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.

JACK: Cheap?

JENNIFER: And everyone keeps telling me that and I don't want to believe them. (Beat) But I guess I was wrong.

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.

THEY CONTINUE TO LOOK IN EACH OTHER'S EYES, BOTH VERY AWARE OF THE CHEMISTRY BETWEEN THEMSELVES.

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.

SHE ATTEMPTS TO LEAVE BUT HE HOLDS HER ARM.

JENNIFER: No.

JACK: Good.

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 Chronicle.

JENNIFER: Don't you care about who you hurt?

HE BEGINS TO WALK DOWN THE PIER.

JENNIFER:

HE STOPS.

JENNIFER: Oh. I just thought you were a much better person than that.

JACK: (Unable to look her in the eye.) Well, fooled you again huh?

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.

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.

JACK:

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.

JENNIFER: Why?

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 for once.

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....

SHE BEGINS TO SEARCH FOR HER PURSE.

JACK: Jennifer, Jennifer.

SHE FINDS IT AND LOOKS HIM STRAIGHT IN THE EYE, AND SHOUTING AT HIM, WHICH STOPS HIM DEAD IN HIS TRACKS.

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.