date very late December 1989]
SCENE ONE: JENNIFER ARRIVES TO MEET EMILIO. SHE IS TO RECEIVE
AN AWARD FOR HER STORY ON THE BARRIO. SHE IS WEARING THE PIN EMILIO
GAVE HER AT CHRISTMAS. EMILIO ASKS HER EXACTLY HOW SHE FEELS ABOUT
HIM. SHE SAYS SHE STILL NEEDS TO SORT OUT HER FEELINGS FOR JACK.
EMILIO SAYS HE CAN NO LONGER JUST BE HER FRIEND AND SHE MUST MAKE
UP HER MIND.
SCENE TWO: MEANWHILE, ISABELLA DECIDES SHE HAS TO LOOK FOR
THE KEY HERSELF. SHE GRABS HER COAT, SLIDES OPEN THE DOOR AND
JACK IS STANDING THERE.
JACK: Are we going somewhere? (Beat) I thought you didn't
want to be seen.
ISABELLA: I can't stand being here alone doing nothing.
JACK: Yeah! So what do you plan on doing?
ISABELLA: Going back to Steve's house to look for the key.
I was thinking about what you said and you're right. Marina probably
hid it there. It's just like her.
JACK: So, wait a minute. You're planning on going by yourself.
Strolling down there and just having a look see.
JACK: While you're at it, why don't you paint a big target
on your forehead and save Kiriakis' men the trouble of having to
ISABELLA: This is important Jack. This is about family.
I thought you understood that.
JACK: Whoa, whoa. Wait a minute. Don't tell me what's about
family. I know all about family. What did we talk about the other
day? Now don't you think I have a life out beyond all this. I made
a choice, to go look for this damn key. Because I thought just maybe,
maybe, family's worth something. That's why I'm doing this. Because
of family, because of Steve.
ISABELLA: And I'm doing this because of family. My father.
JACK: Well, it.... I'm not saying that you're not. But....
it's more than that.
JACK: (Cont.) It's about Steve trusting me and about
Kayla trusting Steve and to make all this happen you have to trust
me. You're going to get yourself killed unless you do what I say
and trust me.
ISABELLA: If you say I have to stay in this apartment one
JACK: Alright, alright. If you want to leave fine. But I'm
telling you right now, that there is one of Kiriakis's men out there.
He's waiting for you. He's watching this building right now, I'm
telling you. You want to see him? You want to go and shake his hand?
ISABELLA: Alright, alright, then why don't you come to Steve's
house with me?
JACK: (Beat) Alright, alright, I'll go with you. As long
as you do what I say.
ISABELLA: Agreed. I do trust you Jack.
JACK: Good. Take your clothes off.
SCENE THREE: A SHORT TIME LATER, ISABELLA COMES DOWNSTAIRS
DRESSED IN JENNIFER'S COAT.
ISABELLA: It's a good thing that Jennifer and I are pretty
much the same size. How do I look?
JACK: Hmmm. Like Jennifer. Good. Turn around. (Beat) Well,
not the hair. What can you do about the hair?
ISABELLA PUTS ON A WIDE BRIMMED HAT.
ISABELLA: How's that?
JACK: Good. Wait a minute. Wrap this around your face.
JACK HANDS ISABELLA A LONG BLACK SCARF WHICH SHE WRAPS AROUND
THE HAT AND OVER PART OF HER FACE.
ISABELLA: Okay. Are you sure this is going to work?
JACK: Well, it worked for the Ayatollah [An allusion to
Ayatollah Khomeini]. I mean we don't have to worry about this. (Gesturing
with his thumb) I'm going to get this guy to follow me first.
ISABELLA: Okay. So what's next?
JACK: Next you get a cab.
ISABELLA: A cab? Why?
JACK: Well, you've got to get a ride to Steve and Kayla's.
ISABELLA: Okay, so I call a cab and I wait here until it
JACK: No, no, no, no. You meet the cab five blocks from
here down at the pharmacy. It's right across from the Fire Department.
ISABELLA: Okay. Four blocks away.
JACK: No, five blocks.
ISABELLA: Five, right, five. So what do I do when I get
to the house?
JACK: You have a credit card?
ISABELLA: No, why?
JACK: Eeeer, no. It wouldn't work. I'm sure they're watching
the front door. I think that there's a couple of broken windows
around the side of the house off the living room. Think you can
ISABELLA: Okay, windows off the living room. Okay. No problem.
Windows off the living room, okay.
JACK: Are you sure you want to do this? You said you wanted
to do this.
ISABELLA: Yeah I'm sure. I'm just a little scared, that's
all. I mean what if Victor's men see me instead of you and they
JACK: Whoa, whoa, whoa, whoa, whoa. (Taking her hands in
his) Take it easy. Now just think, you want to get through this,
ISABELLA: Yes, definitely.
JACK: Okay. I want you to hold that thought. I'll be there
as soon as I can.
ISABELLA: Okay. Let's do it.
JACK: Okay. Break! As we say in American football (jogging
to the door).
JACK: (Stopping) Yeah.
ISABELLA: Good luck.
JACK: Thanks. That's another American saying.
JACK GOES OUT THE DOOR AND SHUTS IT, THEN PAUSES AND TALKS
JACK: Be careful Isabella, be careful.
SCENE FOUR: THE AWARD CEREMONY FOR JENNIFER AND EMILIO IS
ALMOST UNDERWAY. MAGGIE SEEMS TO BE ENCOURAGING EMILIO TO GO TALK
TO JENNIFER. HE IS ABOUT TO WALK OVER WHEN JACK COMES THROUGH
THE DOOR, CAUSING HIM TO STOP.
JENNIFER: (She is overjoyed) Jack, hi!
JACK: (Surprised) Hi.
JENNIFER: I didn't know you were going to come here to watch
me get my award.
JACK: Award? What award?
JENNIFER: The Citizen's Award. That's why you're
here, isn't it?
JACK: Well.... no. Actually, I was here to give Kiriakis's
men the slip. Um.... I'm trying to lead them away from Isabella.
JENNIFER: Oh, that's right. Isabella. Yeah. Is everything
JACK: Well, at the moment, yes. Yeah.
okay, you know you can stay here as long as you need to stay here.
JACK: Well, thank you. I think I'd....
JACK SEEMS TO WANT TO STAY, HE IS PROUD AND HAPPY FOR JENNIFER.
HE LOOKS OVER AND SEES EMILIO, AND CHANGES HIS MIND, BELIEVING
THAT JENNIFER AND EMILIO ARE SEEING EACH OTHER.
JACK (CONT.): ....ha ha ha. I can't.
JENNIFER: Well, I thought you said that you needed a place
JACK: Er.... Well, yeah but you know there's so many people
here. It's so crowded.
JENNIFER: But think about it Jack. If you stayed here you
could use the crowd as a cover, you know.
JENNIFER: Huh, uh.
JACK SEEMS ABOUT TO AGREE TO STAY. THEN HELOOKS OVER AND SEES
EMILIO. IT APPEARS THAT SEEING EMILIO MAKES HIM CHANGE HIS MIND,
THINKING THAT JENNIFER IS THERE WITH HIM.
JACK: No, I don't think so. I think I really need to get
back to Isabella.
JENNIFER: Of course. Isabella. Well, just let me know if
you need any help.
JACK: Sure.... Ah, I don't know what this award is about
but I'm sure that whatever it is about, you've got it coming to
you. You always do.
JENNIFER: Thanks Jack.
JACK: Take care.
JACK WALKS OUT INTO THE SNOW, LEAVING JENNIFER WITH TEARS
IN HER EYES, MISINTERPRETING JACK'S ACTIONS. EMILIO HAS OBSERVED
SCENE FIVE: ISABELLA HAS COME INTO STEVE AND KAYLA'S AND IS
WAITING FOR JACK. JACK COMES IN THROUGH THE WINDOW. HE ALMOST
FALLS, HE STOPS SEEING WHAT LOOKS LIKE SOMEONE ON THE COUCH.
SCENE SIX: JENNIFER WAITS TO TALK TO EMILIO AFTER THE AWARD
CEREMONY. THEY ARGUE ONCE MORE OVER JACK. JENNIFER LEAVES, TELLING
HERSELF, "SORRY EMILIO, BUT YOU ARE NOT THE ONE I LOVE."
SCENE SEVEN: BACK ATSTEVE AND KAYLA'S JACK THINKS STEVE IS
HOME AND JACK TRIES TO DO DAMAGE CONTROL. HE PICKS UP THE THINGS
HE KNOCKED OVER WHILE CLIMBING THROUGH THE WINDOW. AS TALKS WE
SEE THE BACK OFA HEAD, WEARING A READ SCARF AND CAPTAIN'S HAT.
JACK: Oh no. Steve. (Beat) Ah, I can explain. I wasn't breaking
in. (Nervously walking around) I was actually, er, helping. Don't
give me this silent treatment Steve, please. I was helping you find
the key and helping you find Kayla. And--
ISABELLA: Jack what are you doing?
JACK: Isa.... dora Duncan, (He puts his arm around Isabella
and then both laugh nervously) my chauffeur [Another allusion to
the famous dancer Isadora Duncan who was strangled with her patent
long scraf while driving in her roadster convertable; in the '20s].
You decided to come and visit.
ISABELLA: Jack, why are you talking to the dummy?
JACK: He didn't go to college. You don't have to insult
the guy. He's.... Steve you can't get good help these days. You
know how it is.
ISABELLA: Jack, come on.
JACK: What the....
JACK SEES THAT IT IS A DUMMY AND ATTACKS IT.
JACK: Come here you!
ISABELLA: Jack what are you doing?
JACK: Take it like a man, huh. This may be the only chance
I ever get.
JACK PUNCHES THE DUMMY A FEW TIMES.
ISABELLA: Jack, stop it!
JACK: He thinks he's being real smart just in case some
of Victor's goons come by and case the joint.
ISABELLA: He knew what he was doing to.
JACK: What do you mean?
ISABELLA: Your brother came in right after I got here. He
called Dr. Hunter. I hid in the dining room. I heard him say that
one of Victor's goons followed him here.
JACK: (Jack walks over to the window and looks out to see
if Victor's men are still around) What do you mean? Those guys might
ISABELLA: Jack. There's something else you have to know.
ISABELLA: Steve has Kayla.
ISABELLA: I heard him tell Marcus. He's going to go see
JACK: You mean that Kayla's okay? You mean that he faked
this whole kidnapping so Kiriakis wouldn't have a chance to?
ISABELLA: Pretty smart, eh?
JACK: (Looking at the dummy) I've got to give you some credit.
THEY BOTH HEAR A NOISE.
ISABELLA: What's that?
JACK: I don't know. I.... ah.... ah
ISABELLA: Front door.
JACK: Ah.... ah.... ah.... no, no. I tell you what. Here.
JACK RUNS OVER AND PUSHES ASIDE THE BOOK CASE WALL REVEALING
THE SECRET PASSAGEWAY HE FOUND WHEN HE WAS SEARCHING FOR THE SHIP'S
JACK: Alright, this way. Come on. Be quiet. It's full of
spiders. I hate spiders.
SCENE EIGHT: THEY GO ALONG THE PASSAGEWAY AND PUSH OPEN A
TRAP DOOR THAT LEADS TO THE ATTIC. IT IS CRAMMED WITH DUSTY FURNITURE
AND CLOTHING AND MASSES OF SPIDER WEBS. JACK COMES UP FIRST FOLLOWED
JACK: Come on. Can you still here them?
ISABELLA: No, not anymore.
JACK: We need a light up here. Attic, last stop.
WHILE JACK LIGHTS AN OLD LANTERN, ISABELLA LOOKS AROUND AND
KNOCKS OVER AN OLD DRESSMAKER'S MODEL.
JACK: Looks like Freddy Kruger. Not our day for dummies,
ISABELLA: Scared me to death. Sorry.
JACK: Look, I know this place is pretty creepy but Victor's
people are so close and....
ISABELLA: We have to stay here, don't we?
JACK: That's just it. (Beat) You have to stay here.
ISABELLA: You're not going to leave me here are you?
JACK: I have to. I've got to go back to my place. I mean,
Victor's got a man there and if he doesn't see me come back, he's
going to get suspicious.
ISABELLA: Right. But this place is really creepy.
JACK: I know, I know. It's done in early Norman Bates.
ISABELLA: Something like that.
JACK: Well, look you can make the most of it. I mean it's....
I mean look, you've got a nice bed, nice mattress and.... ah....
look, blankets, nice and warm. And here's something you can sleep
JACK SHAKES AN OLD NIGHTGOWN AND FILLS THE ROOM WITH DUST.
JACK: Hee, hee. I.... I mean what more could a gal want?
ISABELLA: Are you really going to go away. You can't stay?
JACK: Ah.... no I've got to go.
JACK: Well, look, I promise you, here. I'll be back. You're
going to be alright. I promise.
JACK: Okay. I'll be back. Ssssshhhhh. Watch out for spiders.
JACK GOES BACK DOWN THE TRAPDOOR LEAVING ISABELLA ALONE AND