date late September 1989]
SCENE ONE: SHANE HAS HOOKED UP WITH A WOMAN NAMED REBECCA.
SOMEHOW SHE HAS DISCOVERED WHO HE IS, BUT TELLS HERSELF SHE NEEDS
HIS HELP SO SHE WILL NOT TELL HIM WHO HE IS, JUST YET.
SCENE TWO: JACK IS BACK FROM ITALY. HE IS TRYING
TO OPEN THE LOFT DOOR WHILE HOLDING HIS BAG AND A LARGE BUNCH
OF FLOWERS FOR JENNIFER.
JACK: (Singing to the tune of "Largo al factotum"
from Rossini's Barber of Seville) Can't wait till morning.
Jennifer, Jennifer, Jennifer.
EMILIO: She ain't here man.
EMILIO: What, are you deaf? She ain't here.
JACK: Gone? What do you mean gone?
EMILIO: She's splitzed.
JACK: She's spli.... splitzed? When?
EMILIO: Yeah man, last week.
JACK: Wh...where did she go?
EMILIO: Who knows.
JACK: Oh, I can't believe this. She's so irresponsible to
leave town and not tell somebody where she went. She told somebody.
EMILIO: (Mumbling) I.... I guess she told the neighbors,
I don't know.
JACK: Speak English, Emilio.
EMILIO: NEIGHBORS, alright!
JACK: She.... she told the neighbors and she didn't tell
EMILIO: No, Jennifer and I, we haven't been getting along
so well lately, you know.
JACK: Oh, after all our work, I'm sorry to hear that. I
thought things were going so well.
EMILIO: Yeah, well don't worry because it's nothing that
can't be straightened out.
JACK: Oh good, good. Just a little fight, right?
EMILIO: Hey look man, that's none of your business.
JACK: Well, I guess it's your fault that I'm coming home
to an empty nest, huh?
EMILIO: Yeah, well I kind of figured it was your fault.
JACK: Well, figure away, I need to go inside.
EMILIO DELIBERATELY STEPS ON JACK'S LUGGAGE AND THE FLOWERS
EMILIO: You know, I've been doing some thinkin' myself.
Now that you've got your bags packed, it's good time to move on
EMILIO: Meaning, if you're well enough to go on vacation,
you're well enough to move out.
JACK: Well, since when did you join the medical profession?
EMILIO: Look, I just know that the 'Rays are after you okay?
And that just spells one thing, danger for Jennifer and that's it.
JACK: Oh Emilio, don't worry about the Stingrays. I'm a
newspaper man. I look for danger.
JACK PICKS UP HIS CRUSHED LUGGAGE AND FLOWERS.
EMILIO: You're asking for trouble man.
JACK: I'd be asking you to help me get in here but I don't
have change for a tip. Oh, here's your tip.
JACK HANDS EMILIO THE FLOWERS AND QUICKLY SHUTS THE DOOR.
EMILIO LOOKS AT THE FLOWERS AND THEN THROWS THEM AGAINST THE DOOR.
EMILIO: Tip this man!
SCENE TWO: MEANWHILE STEVE AND KAYLA HAVE BEEN FIGHTING OVER
MARINA AND THE FACT THAT STEVE HAS HAD A PAST RELATIONSHIP WITH
HER. KAYLA IS UPSET THAT STEVE CANNOT SEEM TO IGNORE MARINA SO
SHE LEAVES HIM AND HAS COME TO THE LOFT.
SCENE THREE: A SHORT TIME AFTER JACK ARRIVES BACK, HE GOES
UP ON THE ROOF AND FINDS KAYLA THERE.
JACK: Kayla? What are you doing here? Kayla? I heard some
noise downstairs so I came on up. Are you alright?
KAYLA: I really don't want to talk right now Jack. I just
want to be alone.
JACK: Well, I was just leaving.
KAYLA: No, I'll go.
JACK: No, no, I'll go. You got here first. You look kinda
lost. Are you?
KAYLA: Jack, I just don't want to talk about it.
JACK: Look, if you want to stay here, that's no problem. Jennifer
won't mind and I am moving out.
KAYLA TURNS AROUND TO FACE HIM, LOOKING LIKE SHE WAS NOT AWARE
HE WAS LIVING THERE. JACK IS NERVOUS.
JACK: I'm already packed.
KAYLA: Thanks for going.
JACK: Does that mean yes.
JACK: I'll just get my things.
JACK STARTS TO HEAD DOWNSTAIRS BUT STOPS FIRST AND LOOKS BACK.
HE IS VERY CONCERNED ABOUT KAYLA.
SCENE FOUR: MEANWHILE EMILIO HAS DECIDED TO WORK UNDERCOVER
FOR ROMAN. HE JOINS THE STINGRAYS AND REPORTS BACK TO ROMAN ON
WHAT THEY ARE DOING.
SCENE FIVE: STEVE IS FRANTIC WITH WORRY, NOT KNOWING WHERE
KAYLA IS. HE TRIES TO FIND HER BUT IS UNSUCCESSFUL. HE TALKS TO
CAROLINE BUT DOES NOT TELL HER ANYTHING IS WRONG NOR THAT HE DOES
NOT KNOW WHERE KAYLA IS.
SCENE SIX: JACK COMES BACK UP TO SAY GOODBYE TO KAYLA.
JACK: Well, I'm all packed up and ready to go. There's food
in the fridge and.... er.... it'll be good to get back to my own
JACK IS NERVOUS TALKING TO KAYLA.
KAYLA: Yeah, home sweet home.
JACK: Kayla, does this have anything to do with that woman
in the car accident?
KAYLA DOES NOT ANSWER AND LOOKS UNCOMFORTABLE.
JACK: Look, you can stay here as long as you want. Jennifer's
not going to mind. She's going to be out of town till.... er....
and you know about the neighbors. Um.... um.... here's the key.
JACK REACHES OUT TO HAND IT TO HER TRYING NOT TO TOUCH HER.
HE IS WORRIED AND SAD FOR HER.
KAYLA: Thank you.
THE SHOW ENDS WITH A MUSICAL MONTAGE, JULIA FORDHAM'S "INVISIBLE
WAR" BEGINS TO PLAY: AT THE SANDDOLLAR, FAITH IS OUT WITH
SCOTTY AND MARCUS IS WITH ANOTHER DOCTOR WHO IS AN ISA AGENT,
THEY LOOK AT EACH OTHER SADLY; SHANE IS EXAMINING A SHIRT TRYING
TO REMEMBER; MARINA HAS HER BAGS PACKED, AND IS LEAVING STEVE
AND KAYLA'S, AND LOOKS LONGINGLY AT A PHOTO OF STEVE; JACK GOES
DOWNSTAIRS AND PICKS UP HIS BAG, AS HE WALKS OUT OF THE LOFT AND
AWAY FROM KAYLA;
STEVE IS ON THE PIER, WORRYING ABOUT KAYLA.
Talk about a fine line between love and hate
We've lost more than the direction we take
Talk about a fine line between lovers and friends
We've never been lovers, now we're not even friends.
In this invisible war.
Seems we're waging an invisible war.
Every day I seem to lose you more
In this invisible war.
You're wounded deeply and the scar is here to stay
Opening up with the little things I do or say
You always want things to be as before
So I make you angry and you bleed a little more.
In this invisible war.
Seems we're waging an invisible war.
Every day I seem to lose you more
In this invisible war.
late September 1989]
SCENE ONE: JACK IS SITTING AT A TABLE AT WINGS. THERE IS A
SMALL CANDLE BURNING WHICH HE BLOWS OUT. HE SEES MARINA WALK IN.
SHE IS STILL POSING AS DONNA D'ANGELO.
JACK: Miss d'Angelo, Miss d'Angelo, over here.
MARINA: I was a little surprised at your invitation.
JACK: Well, we really didn't have time to get to know each
other and I thought this would be a better chance to get acquainted.
MARINA: As I recall, you said you already knew so much about
me. Why don't you fill me in so I don't bore you with old news.
JACK: Oh, I don't know. I don't think I could ever be bored
by your old news. Hahahaha.
MARINA: Have you ordered anything yet?
JACK: No. As a matter of fact I was....I was waiting for
JACK MAKES A SHOW OF TAKING OUT A MATCHBOOK AND LIGHTING THE
CANDLE THAT HE HAD BLOWN OUT.
MARINA: What are the specials? Did they tell you?
MARINA: (Noticing the candle) I like to dine by candlelight.
JACK: Oh really! So do I. As a matter of fact I did a little
traveling recently. Went on vacation. Got a chance to dine by myself
quite a bit.
MARINA: Really? Where did you go?
MARINA JUST CONTINUES TO STARE AT HIM.
JACK: Naples, Italy. That's your home town isn't it?
MARINA: You did your homework.
JACK: I had to. It pays to study when you're abroad. Especially
the places to eat.
MARINA: Well if I had known you were going I could have
recommended a few places for you.
JACK: Oh don't worry, I did fine on my own. As a matter
of fact I found this really great little hole in the wall restaurant.
What was the name? It was call....maybe you know the name of it.
(He picks up the matchbook) The Astrella.... strella taver....
JACK: Taverna. (Beat) Now, maybe we can order our
dinner and you can tell me about your connection with my brother
SCENE TWO: MEANWHILE JENNIFER HAS ARRIVED HOME FROM HER WEEK'S
VACATION. SHE SHUTS THE DOOR OF THE LOFT, DROPS HER BAGS AND THEN
NOTICES A WOMAN'S BLOUSE AND DRESS LYING ON THE SOFA. SHE WALKS
OVER AND PICKS IT UP AND THEN HEARS A SOUND FROM THE BEDROOM.
SHE SEEMS UPSET, OVBVIOUSLY THINKING THAT JACK HAD A WOMAN WITH
HIM WHILE SHE WAS GONE.
JENNIFER: (Sounding upset but trying to hide it.) Jack will
you come down here for a minute, please?
KALYA WALKS DOWNSTAIRS.
KAYLA: Jennifer, hi.
JENNIFER: (Still upset and staring at the blouse.) Kayla,
hi. Where's Jack?
KAYLA: Ah, he moved out. I've been staying here for a few
days. I hope you don't mind. I just needed a place to stay.
JENNIFER: Oh, where's Steve? (Beat) Ah, Kayla, I didn't
mean it like that.
KAYLA: It's alright.
JENNIFER ASKS KAYLA IF SHE WANTS TO TALK ABOUT IT BUT KAYLA
SAYS THERE IS REALLY NOTHING TO TALK ABOUT. SHE AND STEVE NEED
A BREAK AND SO SHE MOVED OUT. HE DOES NOT KNOW WHERE SHE IS AND
SHE WOULD PREFER IT THAT WAY FOR NOW. JENNIFER ASKS IF JACK GAVE
UP HIS ROOM SO SHE COULD STAY HERE. KAYLA SAID HE DID, AND THAT
IT IS AMAZING. JENNIFER IMMEDIATELY GETS SUSPICIOUS AND WONDERS
WHAT JACK DOING.
SCENE THREE: MEANWHILE BACK AT WINGS.
MARINA: So what are you going to have?
JACK: I think I'll start with a little filet of truth.
MARINA: Mr. Deveraux....
JACK: Jack, Jack. What do you go by these days? Miss (purposely
mispronouncing her name) Toss-kah-no?
JACK: Marie, no Marina, Marina.
MARINA: I don't know what little game you're playing here
but I don't want any part of it.
JACK: No, no, no. It isn't my game. I'm just a referee.
MARINA: Well, you obviously are wasting your time.
JACK: I don't think so. You see I got these really nifty
little article. Right here. Does that ring any bells?
JACK HANDS HER A CUT OUT FROM THE NEWSPAPER ABOUT A WINE BARON'S
DAUGHTER BEING MISSING.
What about it?
JACK: Oh, come on, don't be naive. (Smirking) It says
wine baron's daughter's missing mysteriously and there's this American
merchant marine involved.
MARINA: If you already know so much then we don't need to
be wasting our time now, do we?
JACK: No, no. We're not wasting our time. We're just filling
in the blanks. See, face it, I've heard all about this. I've heard
all about the bad blood between the family and this girl after this
little drowning incident. Now don't you think that was a little
MARINA: You know how volatile Italian families can be.
JACK: Oh, come on. But to disinherit this poor girl from
millions of dollars. That's not bad blood, that's cold blood.
MARINA: Yes, it is horrible when family members are pitted
against each other. It's very painful. I don't suppose you'd know
about that though would you?
MARINA: I guess you and your brother Steve have a different
type of relationship.
JACK: No, Steve has nothing to do... .um, I mean, Steven....
Steve and I have nothing to do with this.
MARINA: Hmmm. I didn't mean to offend you. I thought we
were talking about families in general.
JACK: No, no. Actually we were talking about families in
specific. Your family and you and my brother Steve.
MARINA: Well, that's odd because I can't imagine you being
interested in anything but yourself!
JACK: Hahahaha. You know, I don't know the kind of people
you're used to dealing with but when it comes to me, I'm really
used to getting what I want. I really am.
STEVE COMES INTO WINGS JUST AS MARINA IS TRYING TO LEAVE.
MARINA: Now if this little game of yours is over, you'll
have to excuse me Mr. Deveraux.
JACK: No, no, no. It's not over. Maybe you just need to
powder (pointing to his nose) your nose and we'll just call it a
draw for now, okay?
MARINA: You certainly have a strange way about you. And
we'll finish the game but there is really no need for me to go to
the powder room.
SHE TAKES OUT A MIRROR TO POWDER HER NOSE AND SEES STEVE IN
MARINA: Honesty is so much more efficient. Frankly I don't
want to see your brother either.
SHE GETS UP AND GOES TO THE POWDER ROOM. WHILE SHE IS GONE
JACK OVERHEARS STEVE ASK DAVE IF HE HAS SEEN KAYLA.
STEVE: What the hell do you want?
Ah, Kayla is at the loft.
STEVE: What? She's staying with you?
JACK: No, no, don't worry. I'm not there. I moved out.
STEVE: What do you mean you moved out? What did you do that
JACK: Well I don't know. I was just trying to help any way
that I could.
JACK: Look, you didn't know where she was. I told you where
she was. In my book that's helping out.
STEVE: Look I don't need your help. Your help and fifty
cents can buy me a cup of coffee. I don't want it. I want you to
stay the hell out of our lives. I'm not going to tell you again.
STEVE LEAVES AND JACK FEELS HURT. MARINA HAS BEEN LISTENING
IN THE BACKGROUND, AND AFTER STEVE LEAVES SHE CONTINUES TO WATCH
SCENE FOUR: JENNIFER IS WALKING ON THE PIER WHEN SHE SEES
EMILIO PUT ON THE RED BANDANA THAT SIGNIFIES HE IS A MEMBER OF
THE STINGRAYS AGAIN. SHE TELLS EMILIO THAT HIS ACTIONS HURT HER
BECAUSE SHE THOUGHT HE'D CHANGED. HE TELLS HER TO MIND HER OWN
BUSINESS AND LEAVE HIM ALONE. SHE RUNS AWAY.
SCENE FIVE: MEANWHILE JACK COMES OVER TO THE LOFT.
KAYLA: Who is it?
JACK: Kayla, it's me. It's Jack.
KAYLA OPENS THE DOOR.
JACK: I was looking for Jennifer. Actually, I thought you'd
be gone by now.
JACK: Yeah, I thought Steve would have.... ah.... forget
KAYLA: Steve what?
KAYLA: What do you mean nothing? Steve was here and you
told him I was here, didn't you?
JACK: I thought the two of you nee....
KAYLA: You thought. Jack you know you had no right to tell
him I was here.
JACK: You're right. I don't know what's going on between
the two of you.
KAYLA: That's right, you don't know.
JACK: Well things have obviously fallen apart and I know
that you need to talk to him.
KAYLA: Jack you don't know anything about me.
AS THEY ARE TALKING JENNIFER COMES HOME AND LISTENS AT THE
JACK: I was just trying to help you that's all.
KAYLA: You don't even know the meaning of the word help.
Unless it has something to do with.... what have you got in this?
KAYLA: You know I must have been crazy to think that you
had changed. You haven't and I want you to stay the hell out of
JACK: Kayla, look I'm just trying to....
KAYLA: Jack don't touch me.
JACK: Where are you going?
KAYLA: I'm going out.
JACK: You can't just go out. Listen I'm telling you....I
was just try....Kayla!
SHE HURRIES OUT THE DOOR AND JACK STOPS. AS HE IS STANDING
THERE JENNIFER WALKS UP TO HIM.
JENNIFER: I'm home.
JACK SIGHS AS HE REALIZES THAT JENNIFER HAS HEARD THE WHOLE
CONVERSATION WITH KAYLA AND WILL GET THE WRONG IDEA. SHE WALKS
INSIDE AND HE FOLLOWS.
SCENE SIX: JENNIFER HAS JUST RETURNED AND CAUGHT THE END OF
JACK AND KAYLA'S CONVERSATION.
JENNIFER: I didn't mean to interrupt since you and Kayla
were so engrossed in your conversation.
JACK: (Making a joke out of it to not reveal how he really
feels) It's kinda like conversing with Attila the Hun.
JENNIFER: Was she right Jack? Are you involved in this whole
thing for your own reasons?
JACK: Well, what do you think?
JENNIFER: I would like to believe that you
care. That underneath that slick exterior of yours, there's a pretty
good guy with a pretty good heart. And that up until now you were
just afraid to show that side of yourself.
JACK: I don't know. I think that's kind of a long shot.
JENNIFER: I really need to know that Jack, because I may
have already lost one friend because he couldn't stand up to his
convictions. I really don't want to lose you too.
JACK LOOKS AT HER WARILY NOT SURE WHETHER HE WANTS HER TO
KNOW JUST HOW MUCH HE REALLY DOES CARE. SHE GOES UP TO HER ROOM,
LEAVING JACK TO THINK THINGS OVER.