[Air early date September 1989]
SCENE ONE: JACK IS STILL STAYING AT THE LOFT. THE
PHONE IS RINGING AND JACK IS LIMPING DOWN TO ANSWER IT.
JACK: I'm coming. Yes, I guess the invalid will get
the phone. Hello.
EMILIO: This is Emilio. I'm runnin' late, alright.
JACK: Well, I'm running on time. I guess we're going to
have to cut the body guard routine for today, uh?
EMILIO: Chill out. I'll be there in fifteen minutes.
JACK: I'm leaving in ten. If you want to pick me up and
bring me to school, you've got to be on time.
EMILIO: Well, if I didn't have to pick up my tux from the
dry cleaners because it had grass stains on it, and you know what
I mean, I would've been there.
JACK: Fifteen minutes and I'm gone.
JACK HANGS UP. JENNIFER IS POURING HERSELF A CUP OF
JACK: Tarzan said he had a few errands to run so it'll be a
few minutes. Oh, why don't you save some of that coffee for me. You....
er.... probably cold anyway.
HE HOLDS OUT HIS CUP BUT SHE DRAINS THE POT INTO HERS.
JACK: Like everything else around here.
JACK: So.... how about those Cubs?
JENNIFER GLARES AT HIM THEN WALKS STRAIGHT PAST AND SITS ON
THE SOFA READING THE PAPER. JACK SITS DOWN NEXT TO HER.
JENNIFER GLANCES AT HIM FROM BEHIND THE PAPER THEN
GOES BACK TO READING. JACK GETS UP AND PUTS HIS CUP BACK ON THE
KITCHEN BENCH THEN PICKS UP HIS COAT. HE STARTS TO PUT IT ON AND
THEN DECIDES TO ENLIST HER HELP. HE PUTS IT BACK ON THE BENCH.
JACK: Ah Jennifer, I hate to interrupt anything important over
there but I could use your help. I mean it still hurts here.
JENNIFER LOOKS UP AT HIM WITH AN EVIL LOOK IN HER
JENNIFER: Sure Jack.
JACK: Oh, the monument speaks.
JENNIFER: Let me put on your coat.
JACK: Yeah, sure. I'm glad you're not still mad about what
happened the other night. I mean I really think that your far, far
too intelligent to let something like that get in the way of how you
feel and.... ah....
JACK: Still a little angry are we?
JENNIFER HAS HELPED HIM ON WITH HIS COAT AND IS NOW PULLING
IT VERY TIGHT TO DO IT UP, JACK GRIMACES.
JENNIFER PULLS IT EVEN TIGHTER.
SCENE TWO: JACK HAS JUST OPENED THE DOOR TO THE
LOFT AND EMILIO WALKS IN.
JACK: I said fifteen minutes.
EMILIO: Well, something came up, alright.
JENNIFER: Emilio, are you okay?
EMILIO: Yeah, yeah. Are you ready?
JACK: We've been ready for an hour. Let's go.
JENNIFER: Wait a minute.
JACK: Wait a minute. What are you doing? Where are you going?
JENNIFER: I have to change my purse.
JACK: What are you talking about?
JENNIFER: Jack, it doesn't even match what I'm wearing.
JACK: Oh, by all means. We don't want a fashion fatality
here. Get going.
JENNIFER: I will be one minute, Jack.
JACK: Hey, Emilio, I hope there's no hard feelings.
EMILIO: About what?
JACK: About the other night. I keep thinking about you looking
like a penguin at the picnic, you know.
EMILIO: Yeah well, it wasn't so bad alright.
JACK: Oh, really. Great, great.
EMILIO: Except that three guys in the parking lot asked
me if I wanted to park the car.
JACK: Only three!
EMILIO: And another guy asked me where I left my orchestra.
JACK: Oh really.
EMILIO: You know Deveraux, I don't think you realize that
I could break you in half at any given second. Do you know that?
JACK: Me, an unarmed man?
JACK: Me an injured unarmed man. It wasn't my fault.
EMILIO GRABS JACK BY THE COLLAR.
EMILIO: Who's fault was it?
JACK: Look, I admit I gave you some bad advice but I was
trying to help you.
EMILIO: Oh, come on. Who were you trying to help, me?
JACK: Look, you didn't tell me it was going to be in the
park. You said fancy music. I thought fancy clothes. I didn't know
the concert would be al fresco.
EMILIO: Al, who?
JACK: Look, I heard you had a great time. Do you really care
that you looked like an idiot?
EMILIO GRABS JACK AGAIN.
EMILIO: Don't call me an idiot.
JACK: You looked out of place, you looked out of place.
That's all. Out of place.
JENNIFER: Emilio, don't bother. It's not worth the effort.
EMILIO: Yeah. It's worth the effort. Maybe not the time.
Ya ready Jen?
JENNIFER: Yeah. You?
EMILIO: Yeah, I'm ready too.
JACK: (Half strangled by Emilio) Yeah, me too.
JENNIFER AND EMILIO BOTH WALK OUT IGNORING JACK. THEY
GET IN THE ELEVATOR AND GO DOWN WITHOUT HIM.
JACK: Well, I'm right behind you. Wait a minute. Hey! (Beat)
Yeah. I guess I wanted to take the stairs, anyway.
JACK: Hey, what are you doing at my desk?
SCENE THREE: JACK ARRIVES AND WORK AND MAX IS SITTING AT HIS
JACK: Look I'm sorry. I apologize, I'm late, I'm sorry. Is
MAX SHAKES HIS HEAD.
JACK: Okay, look. I'm going to give you back your baseball
card. Does that square us?
MAX: Okay. But next time it will cost you the Cosmic Swirl er.
JACK: The Cosmic Swirler! You drive a hard bargain kid.
Alright let's get down to business. Show me what you got.
MAX: Right here.
JACK: Index cards. That's very professional.
SCENE FOUR: MEANWHILE JENNIFER SEES TOM OUTSIDE JACK'S
OFFICE. HE TELLS HER THAT HE IS APPLYING FOR THE AD, AND HE IS NOT
SURE HE WILL GET THE JOB BECAUSE OF THE COMPETITION. JACK CALLS
THE FIRST APPLICANT.
JACK: Mr. Avery. My client's ready to see you.
TOM SAYS THAT AVERY PLAYED FOR THE CUBS AND EMILIO
IS EXCITED. TOM IS SURE HE HAS NO CHANCE.
SCENE FIVE: A SHORT TIME LATER TOM IS BEING INTERVIEWED
BY MAX WITH JACK LOOKING ON.
Okay, what's your favorite flavor of ice cream?
TOM: Oh no, no. Chocolate, I mean. Chocolate is my real
MAX: Chocolate. This is hard.
JACK: (Whispering) Hey! Ask him why he wants the job.
MAX: (Whispering) Good idea.
MAX: How come you want this job?
TOM: Well Max, it's like this. All my grandsons are gone
now and they don't need me anymore. I miss having somebody to go
fishing with, somebody to go to the ball game with me. I miss having
MAX: Do you like fishing?
TOM: You bet I do.
JENNIFER COMES INTO THE OFFICE.
JENNIFER: Excuse me. Um, can I interrupt?
JACK: Ah, look Jennifer we're in the middle of something
if you.... er.
JENNIFER: I'm here to deliver a character reference. May
JACK: Okay, sure.
JENNIFER: "To whom it may concern. That's you Max. I would
like to recommend Dr Tom Horton for the position of granpa. After
years of association with Dr Horton I have found him to be kind, generous
and highly responsible. He performs grandfather duties with utmost
professionalism." (To Max) "He lets you win at checkers
and stay up as late as you want. Dr Horton stands head and shoulders
above the opposition in the area of caring. No matter how many times
you find yourself in trouble, he is always understanding and full
of love. He's not too bad in the hug department either Max. I can
think of no other person more qualified for the position of granpa,
so I hope you will act quickly on this recommendation."
JACK IS LISTENING AND WISHING THAT HE HAD THE KIND OF LOVING
FAMILY THAT JENNIFER HAS.
JENNIFER: I love you granpa.
TOM: I love you.
MAX: Wow! You're hired. Can you start tomorrow?
TOM: You bet.
SCENE SIX: MEANWHILE EMILIO IS WAITING OUTSIDE FOR
JENNIFER WHEN HER PHONE RINGS. HE ANSWERS IT AND IT'S THE STINGRAYS
WHO TELL EMILIO THEY KNOW WHERE TO FIND HER.
JACK: Ha, those two kids were made for each other.
SCENE SEVEN: TOM AND MAX LEAVE TO BUY SOME FISHING GEAR AND
JACK AND JENNIFER STAND AND WATCH THEM LEAVE.
JENNIFER: You bet. Thank you Jack.
JACK: Me? I didn't do anything. Well I helped with a couple
of questions and answers but.... well now that you mention it, I
did put some of myself into it. I probably helped him get the job.
JENNIFER: Oh excuse me, but are you saying that you think
that my granpa and you are alike?
JACK: Well, actually, yes. I mean we come from the same
kind of background. You too.
JENNIFER: Oh okay Jack.
JACK: We grew up with money, education, culture. The kind
of thing that separates us from the rest of society.
JENNIFER: Oh society meaning Emilio?
JACK: Well, now that you mention it, yes.
JENNIFER: Oh no, no, Jack. Just save it, alright. Both of
our families may have money but that's where the similarity ends.
You see because my family taught me something that you can't buy
with money. The value of honesty and respect. Emilio understands
that. And as far as I'm concerned he and I have a lot more in common
than you and I ever will Jack.
JACK: Jennifer, ah....
SHE WALKS OUT AND SLAMS THE DOOR AND JACK SITS BACK
ON HIS DESK AND SIGHS. EMILIO COMES IN LOOKING FOR JENNIFER.
EMILIO: Jennifer around?
JACK: No. She's.... (He has an idea.) Emilio, ah, wait
a minute. Do you have a minute? I mean can we talk?
JACK: Grab a seat, please.
EMILIO: Okay, what is it Deveraux?
JACK: Well I just wanted to apologize for the stunt I pulled
the other night.
EMILIO: What's the gag here?
JACK: Oh there's no gag. Look I finally just realized what
am I trying to do, trying to keep you kids apart? What I'm saying
is, she's all yours.
JACK PUTS OUT HIS HAND TO SHAKE EMILIO'S BUT FIRST
EMILIO NEEDS SOME ANSWERS.
EMILIO: Ah wait a minute, wait a minute. Let me get this
straight. You're not interested in Jennifer anymore, is that what
JACK: No, no, no. I'll always be interested in her welfare
but if she wants to be on welfare with you, I'm not going to stand
in the way.
EMILIO: Yeah, well I'm glad we got one thing straight.
THEY SHAKE HANDS AND EMILIO ALMOST CRUSHES JACK HAND.
JACK: I just hope you can hang on to her.
EMILIO: What's that supposed to mean?
JACK: Oh nothing, nothing at all.
EMILIO: Come on motor mouth, spit it out.
JACK: Well it's just that Jennifer, she's a special case,
you know. She's kind of a.... she's cultured and sensitive and classical
and you're just too er.... too.... er
EMILIO: Too what, too what?
JACK: Too honest. You can't be too honest about your feelings
with her. I mean you're going to scare her off.
So what are you saying, I should lie to her? Is that what you're
JACK: No, no, don't lie. I don't want you to lie to her
. I want you to er, to er, well just learn how to behave around
the type of girl that she is. Maybe you could just.... (gestures)
nah, nah forget it.
EMILIO: No, no, go ahead. Come on.
JACK: No it would never work.
EMILIO: Deveraux, tell me what you're thinkin.
JACK: I'm.... well maybe I could help you learn to behave
with her. You know, be her dream man. Well, it would be like putting
William F. Buckley's head on Rambo's shoulders.
EMILIO: F. who?
JACK: No, no, no. Forget about that. Think about this. Maybe
I can help you win her heart and keep it. Maybe I can help you do
EMILIO BEGINS TO BE CONVINCED BY JACK'S MANIPULATIONS.
SCENE EIGHT: MEANWHILE JENNIFER GETS A CALL FROM A FRIEND
OF SANTOS WHO TELLS HER THAT IF SHE DOES NOT KEEP EMILIO AWAY
FROM JACK THEN SHE WILL BE ATTENDING EMILIO'S FUNERAL. JENNIFER
HANGS UP, FOR FACIAL EXPRESSION REVEALING HER FEAR. JACK
AND EMILIO COME OUT OF JACK'S OFFICE LOOKING LIKE BUDDIES. JACK
LOOKING OVER TOWARDS JENNIFER, STOPS, NOTICING JENNIFER'S EXPRESSION.
HE HAS A LOOK OF CONCERN ON HIS FACE. EMILIO IS OBVILIOUS
TO WHAT IS HAPPENING.
SCENE ONE: STEVE GOES TO THE SPECTATOR
AND ASKS VERN FOR SOME OLD NEWS REPORTS ON MICROFILM. VERN SETS
HIM UP. BUT HE TELLS HIM THAT TEN YEARS AGO IS A LONG TIME, COULD
HE BE MORE SPECIFIC. VERN LEAVES AND STEVE COMES ACROSS WHAT HE
IS LOOKING FOR. HE READS OUT LOUD AN OLD NEWS REPORT: IT IS ABOUT
A WINE HEIRESS, THE DAUGHTER OF ERNESTO TOSCANO, WHO IS REPORTED
MISSING; AN AMERICAN MERCHANT MARINE IS BEING SOUGHT FOR QUESTIONING
IN HER DISAPPEARANCE.
JACK: You look like you can use that (handing him a drink)....
SCENE TWO: STEVE HAS A FLASHBACK. THERE IS A MYSTERIOUS
FIGURE, A WOMAN, TO WHOM A MUCH YOUNGER STEVE WALKS UP TO. IT
IS A WOMAN WEARING A SCARF OVER HER HEAD. STEVE TELLS HER THAT
SHE USED HIM, HE LOVED HER, AND SHE USED HIM.
HE IS SNAPPED OUT OF HIS FLASHBACK BY JACK.
A FLUSTERED STEVE LOOKS UP.
SCENE THREE: IT IS STEVE AND KAYLA'S HOUSE. A MYSERIOUS
WOMAN, WHO LOOKS VERY MUCH LIKE THE WOMAN IN STEVE'S FLASHBACK,
IS WALKING AROUND THEIR LIVINGROOM. WHAT IS SHE UP TO?
SCENE FOUR: JACK AND STEVE CONTINUED.
JACK: (Concerned) I said what's wrong.
STEVE: (Jack is obviously the last person who he wanted
to see.) Nothing.
JACK: People don't get this upset for nothing.
STEVE: (Upset, and getting angry, he stands up and looks threateningly
at Jack.) I want you to stay out of my business. I MEAN IT!
HE GETS UP TO LEAVE AND HE HANDS VERN THE FILM. JACK
IS THINKING. ONCE STEVE IS GONE HE SNAPS HIS FINGERS, MOTIONING
TO VERN TO SEE WHAT STEVE WAS LOOKING AT, AND WHAT MADE HIM SO UPSET.
Vern (Vern reluctantly gives Jack the film and Jack looks at it.)
"1522." This should prove interesting.
VERN: Ah, Steve was through with that thing.
JACK: I know that, I'm not. I want you to make a
copy of this, right now, on the double.
VERN: (Still reluctant, trying to change Jack's mind.) Why
what's so damned important about it?
JACK: (Not sure himself, but determined to find out.) Don't
ask my any questions, Vern.
VERN: Oh, really I thought I was working for a newspaper.
JACK: Wrong! You work for me!
VERN GIVES IN AND GOES OFF. JACK IS PREPLEXED. BUT
IS HE TRYING TO USE THE INFORMATION TO *HURT* OR TO *HELP* STEVE?
SCENE FIVE: JACK IS INSIDE HIS OFFICE, PACING AROUND,
HE IS STILL SLIGHTLY LIMPING, AND HIS HAND IS PLACED OVER HIS BROKEN
RIBS, HE IS READING A NEWSPAPER, AND IS PREOCCUPIED BY WHAT HE IS
READING. JO PEEKS IN THROUGH THE OPENED DOOR, UNDETECTED BY JACK.
JO: (Cheerfully) Hello! I hope I didn't come at a bad time.
JACK: (Snapping out of what was preoccupying him. His somewhat aloof
self.) Hello, Mrs. Johnson, what can I do for you?
JO: (Knowing Jack and his feelings towards her.) Well, I
was in the neighborhood, and wanted to come by and see how you are
feeling these days.
JACK: Well, apart from barely being able to feed or dress
myself, I say I'm doing alright.
JO: (Chuckling, somewhat nervously) It doesn't seem to keep
you from working?
JACK: Well, the news must go on.
JO: (Thinking it better to leave) Well, you go on with what
you're doing, I just want you to know that I am glad you're feeling
better. (She is about to leave.)
JACK: (Getting an idea) Oh, Mrs. Johnson, (Jo stops) I just
wanted to ask you something. (Jo is excited that Jack is seeking
out her help.) Was Steve ever stationed in Italy during his time
with the Merchant Marines?
JO: (Confused) I don't know, why?
JACK: (Trying to pretend that it is nothing.) I was just
JO: (Becoming concerned that Jack is up to something.) Jack,
you just don't wonder about anything unless you have a motive.
JACK: How can you that about me?
JO: Well, it's true. What are you up to?
JACK: (Trying to be nonchalant about it) Oh, just reading this
article and I was curious.
JO: Well, there must be tens of thousands of marines
all.... all over the world. I mean this could be written about anyone.
JACK HANDS HER THE PAPER WITH THE ARTICLE THAT HE WAS PREOCCUPIED
WITH EARLIER. SHE READS IT.
JACK: Then why was Steve here reading this article?
JO: (Though she seems not to be convinced herself, and she
seems to be becoming concerned too.) Maybe it's about a friend of
JACK: Maybe (Not convinced). Then again maybe not.
JO: (Worried that Jack is trying to hurt Steve.)
Jack, are you trying to pin something on your brother?
JACK: (Hurt by her suspicions of him) You know, contrary
to popular opinion, I am not Salem's version of Freddie Krueger;
maybe I want to help the guy out!
JO: (Embarrassed that she thought badly of Jack, her expression
then changes to joy that Jack is trying to help.) You just.... you
don't know how long I waited to hear you say that.
JACK: (Embarrassed, he does not know how to handle her reaction,
so he pretends that his motives are in fact not the best.)
Ahem, then don't hold your breath, there may be a story in this.
(Jack walks to his desk and sits down) Besides, I'm not going to
waste my time on something as simple as brotherly love.
JACK SAYS THIS, BUT IT IS OBVIOUS THAT DEEP DOWN THAT
IS *EXACTLY* WHAT HIS MOTIVE IS. HE IS EMBARRASSED THAT HE LET SLIP
WHAT IS IN HIS HEART, THE GOOD THAT IS IN HIM.
SCENE SIX: IT SEEMS AS IF THE MYSTERY WOMAN, WHO IS
IN FACT MARINA TOSCANA, SOMEONE FROM STEVE'S PAST, IS FOLLOWING
KAYLA AROUND. SHE SETS UP AN ACCIDENT BETWEEN KAYLA AND HERSELF.
KAYLA IS SLIGHTLY INJURED AND GOES TO THE HOSPITAL. MARINA IS USING
AN ASSUMED NAME, SHE IS GOING BY THE NAME DONNA D'ANGELO.