SCENE ONE: IT IS THE NEXT DAY. JENNIFER ARRIVES AT THE SAND DOLLAR FOR BREAKFAST.
JENNIFER: Hi, I'm Jennifer Horton from WATB News. I got a message to meet somebody here.
WAITER: Yes Miss Horton, I've been expecting you.
JENNIFER: Great then in that case maybe you can tell me why I'm here.
WAITER: Oh I think I'll leave that to the gentleman.
SOMEONE IS SITTING AT THE TABLE READING THE MENU, WHICH IS COVERING HIS FACE. JENNIFER SITS DOWN OPPOSITE.
JENNIFER: Oh, thank you. Excuse me.
IT IS JACK. HE DOES NOT SEE IT IS JENNIFER AND THINKS THE WAITRESS HAS ARRIVED.
JACK: I'll have Eggs Florentine and a....
THEY BEGIN TO SPEAK IN UNISON.
JACK AND JENNIFER: What are you doing here? (Beat) What am I doing here? What are you doing here?
JENNIFER: What a stupid trick this is Jack.
JACK: You're telling me since you obviously engineered this little tête-à-tête.
JENNIFER: No I didn't. I got a note telling me to meet somebody here for breakfast.
JACK: Well so did I.
JENNIFER: I thought it had something to do with the story I'm working on.
JACK: That's funny . I thought the same thing myself.
JENNIFER: So you didn't write the note?
THEY BOTH THINK (AND MAYBE HOPE) THAT THE OTHER SENT THE NOTE.
JACK: I just sat here and denied the whole thing to you.
JENNIFER: Well I thought you were lying.
JACK: Well thank you for the flattery.
JENNIFER: Don't sound so offended. It's not like you never tried to put something over on me before.
JACK: Well you're no slouch in that department yourself. And I still think you set me up.
JENNIFER: Okay, Jack, what possible reason could I have for wanting to see you?
JACK LOOKS UP AT HER WITH A WRY SMILE.
JACK: Well, you can't think of one?
JENNIFER: No I can't. Can't you?
JACK: No I guess I can't either.
JENNIFER: Well then that's that. I didn't set you up, you didn't set me up. But somebody set us up and I'd really like to know who it was.
JO HAS ARRIVED, UNBEKNOWNST TO THEM.
JO: Try turning around.
JACK: You sent me the note?
JO: Yes I did. And you too.
JENNIFER: Why Mrs. Johnson?
JACK: Yes I'd like to know the answer to that myself.
JO: Now before you get angry, please let me explain.
JACK AND JENNIFER LOOK AT EACH OTHER FOR A FEW SECONDS AND MENTALLY AGREE TO LET HER EXPLAIN. THEY NOD AT EACH OTHER AND SIT DOWN AT THE TABLE WITH HER.
JO: Thank you. Now I know that you two have been fighting. And I also know that you're both too stubborn to try to work things out on your own. Kids, you belong together. Okay maybe I was wrong to trick you into coming here but I didn't know what else to do. I know that if you just sit and talk things out everything will be just fine between you two.
JACK IS TRYING TO PRETEND THAT JENNIFER DOES NOT EXIST. SHE IS JUST STARING AT HIM.
JENNIFER: Look Mrs. Johnson, we seem to have a difference of opinion here, okay. As far as I'm concerned Jack and I don't have anything to discuss.
JO: Jennifer please don't leave already.
JENNIFER: I have an appointment.
JACK: So do I.
JENNIFER: Oh that's specific.
JACK: I don't see you telling us where your alleged appointment is.
JENNIFER: That's none of your business.
JO: Jennifer please don't leave until you've had a chance to talk to each other.
JENNIFER: Look I realize that you're trying to help okay.
JENNIFER: But Jack's knows how I feel. I could have made him happy but he's too dumb to know when he's well off.
JACK: I'm not going to stop being realistic just because you refuse to be realistic.
JENNIFER: Look we've had this conversation before, alright. We don't need to have it again, okay. (To Jo) I'm sorry that you went to so much trouble but now you know better.
JACK: Just a minute, wait a minute, whoa, whoa, whoa, whoa. This appointment, does it have anything to do with Warner Bayer.
JENNIFER: That's none of your business either.
JACK: Tell me anyway.
JENNIFER: Have a nice breakfast. Enjoy the sweet rolls, they're really very good.
JENNIFER WALKS OUT.
JO: Jennifer please....
JACK: She's involved with Warner Bayer and she's going to end up in big trouble.JO: Then why did you let her go?JACK DOES NOT ANSWER.
SCENE TWO: IT IS A WHILE LATER, JACK IS SILENT AND THINKING.
JO: Jack, Jack.
JACK: Yes, what, yes?
JO: You have been thinking about her ever since she left here. We both know it. I wish you'd share your feelings with me because I know you're upset.
JACK: No, I'm alright.
JO: You miss her terribly.
JACK: That doesn't alter the fact that we are at our best when we're not together.
JO: That is so wrong son.
JACK: That's your opinion. I have to do what I think is right.
JO: Do you think it's right to hurt somebody that you love?
JACK: Heheheh, it's better to hurt a little now than a lot later.
JO: You didn't feel that way when you came back from the island. As a matter of fact, I think this whole thing started with Harper's death.
JACK: The man is dead. Please drop it.
JO: I can't help it. I can't help but believe that he is behind this. Tell me, do you feel guilty because you were his son? Is that it?
JACK: Please, please, just drop it, please.
JO: Alright, alright, but if you can't talk to me, you've got to talk to somebody because you're tearing yourself up inside. Jack, you're a good person, you deserve to be happy.
JACK: I bet Al Capone's mother thought very highly of him as well.
JO: Oh well, there's someone else who thinks you deserve some love and that's Jennifer. Well anyway.... I'll pick up the tab, my treat.
JO GETS UP FROM THE TABLE AND JACK CALLS THE WAITER.
JACK: Oh waiter, a bottle of your best champagne.
JO TURNS BACK IN SURPRISE AND THEN REALIZES THAT JACK IS KIDDING.
JACK: It was a joke, just a joke.
JO LAUGHS AND LEAVES JACK ALONE.
SCENE THREE: MEANWHILE JENNIFER GOES TO SEE WARNER BAYER. SHE TELLS HIM THAT ONCE SHE IMPERSONATED KATERINA YEARS AGO AND IS WILLING TO DO THE SAME THING AGAIN IN RETURN FOR THE EXCLUSIVE ON THE STORY. WARNER IS SKEPTICAL ABOUT THE PLAN BUT JENNIFER SAYS THAT WARNER CAN JUST ARRANGE FOR THE MEETING AND TELL LAWRENCE THAT KATERINA (JENNIFER) CANNOT HAVE CHILDREN THEN THE MARRIAGE WOULD BE OFF. JENNIFER NEVER TELLS WARNER THAT SHE KNOWS WHERE THE REAL KATERINA IS. WARNER SAYS HE WILL THINK ABOUT HER PLAN.
SCENE FOUR: JACK IN THE MEANTIME HAS GONE TO SEE STEVE.
STEVE: You going to stand out there all day?
JACK: Well no, I just didn't want to knock on your door and I know that the doorbell doesn't work so....
STEVE: Don't give me that about the doorbell.
JACK: Well how long have you been looking at me through the window?
STEVE: About the last ten minutes. Come in, come on, what are you doing? What's on your mind?
JACK: I just wanted to say hello.
STEVE: Hello. Now what's on your mind?
JACK: Ah, well now that you mention it, I need your help with something. I need your help with.... this.
JACK TAKES A PLASTIC BAG OUT OF HIS SHIRT.
STEVE: What's this, a doggy bag? You been to your latest favorite chi chi restaurant, you bring a little linguini with Pesto sauce?
JACK: No, just look at. Just watch it, mind the bread crumbs.
STEVE: Oh the bread crumbs.
STEVE UNWRAPS THE WINE GLASS THAT JACK STOLE FROM WARNER'S DINNER WITH JENNIFER.
STEVE: Well my guess is that it's a glass.JACK: Yeah, well be careful. I made sure I didn't wipe off or smudge any of the prints.
JACK: Yes, Warner Bayer's prints.
JACK: Look, you can now.... you can take this and take it down to your headquarters and run it through the files or whatever it is you do.
JACK: Look I got a hunch this guy is a big time criminal.
STEVE: Oooh, you mean like the Joker or Penguin?
JACK: I'm serious. I mean it. No this guy is bad news. He is really.
STEVE: Okay, okay. I'll check it out Jack. But why are you still mixed up with these von Leuschners or whatever their name is?
JACK: Well I mean this is a big story. Every reporter in town is trying to scoop this thing. Jennifer's even trying to....
STEVE: What's that? "Jennifer".... did I hear Jennifer?
JACK: Yes, that's how I got hold of this thing. I found out that she was having a meeting with Warner Bayer and I.... followed her.
STEVE: Oh, so you're looking out for her now?
JACK: No, no, no, I'm just competing with the competition.
STEVE: (Mimicking Jack, knowing there is more to it than that.) "Just competing with the competition." You come here babbling all the time about Jennifer, how you don't care about her. You admitted to me you care about her.
JACK: Well things are different now.
STEVE: Different, huh.
JACK: Yes, she's.... she's back here but she's working at WATB. Same town, separate lives. It's the best thing for her.
STEVE: Best thing for her? Don't you think that's her call?
JACK: Oh she made her call. So just to keep the record straight, we are not an item anymore.
STEVE: You made sure of that, right?
JACK: I just did what I had to do.
STEVE: You know what, I tried to break up with Kayla at least a hundred times. I thought I was doing her a favor. But you know some of these women they don't give up that easy.
JACK: Well I don't have to worry about that. I think I pushed Jennifer way too far.
STEVE: Maybe you didn't. Things aren't always so cut and dried Jack.
JACK: They're not, huh.
STEVE: No. You think you screwed your whole life up, you can put it back together. Look at me man, I'm doing okay. Now I've got a job and everything. You got to hang in there. You got to have a little faith.
JACK: You know this is.... this is strange. I'm beginning to notice that everytime I need to talk to somebody who understands how my mind work, I find myself talking to you.
STEVE: That's a scary thought.
JACK: Yeah it is, isn't it?
STEVE: Well anytime man.
JACK: Well I appreciate.... that. I mean I appreciate you being here. I just want you to know that's.... that's become pretty important to me.
STEVE IS UNCOMFORTABLE.
STEVE: Well I gotta get down to the precinct. Look I'll have these prints checked out.
JACK: And I'll call you.
STEVE: Okay, you do that.
JACK: And thank you again. Thanks for.... your help.
STEVE: Alright, I gotta go. Come on with me, I've got to lock up.JACK: Yeah.
SCENE FIVE: AFTER JENNIFER LEAVES WARNER, SHE GOES TO SEE CARLY AND FINDS A PHOTO ALBUM THERE. SHE STARTS TO LOOK THROUGH IT AND CARLY GETS UPSET. THE ALBUM CONTAINS PICTURES OF CARLY'S BROTHER AND FOR SOME REASON SHE DOES NOT WANT JENNIFER TO SEE IT. SHE ASKS CARLY TO LEAVE TOWN BUT ONCE AGAIN CARLY REFUSES. JENNIFER LEAVES AND IS DETERMINED TO PROTECT CARLY ANY WAY SHE CAN.
SCENE SIX: LATER THAT DAY, STEVE IS HOME AND JACK CALLS.
JACK: Hello, it's me.
JACK: Yes, well did you get anything?
STEVE: Ah yeah, I had the lab boys check it out.
STEVE: (Slightly amused) Well.... those prints, I got a positive ID on them. They're Jennifer Horton's.
STEVE: Yeah, well it seems that she took some kind civil service exam for a typing test or something. That's why her prints were in the computer.
JACK: I picked up the wrong glass.
STEVE: Well these things happen.
JACK: Yeah, to me and Inspector Clousseau
STEVE: Well you let me know when you have another hot lead.
JACK: Heheheh, yes, funny.
STEVE: Yeah, I'll see you later Bro, bye, bye.
AFTER THE CALL, JACK TAKES A WALK DOWN ALONG THE PIER AND JO SEES HIM THERE.
JO: Jack, I'm so glad I found you. Listen I want to apologize about this morning. I had no right to try and push you and Jennifer together like that.
JACK: Well that's alright.
JO: No, no, it isn't. You should be able to work things out for yourself. Now I'm going to accept that and I promise from now on I'm going to mind my own business.
JACK NODS AND IS ABOUT TO LEAVE. JO IS OBVIOUSLY DETERMINED TO GIVE HER OPINION.
JO: I mean after all you are a grown man and you're certainly an intelligent person. And you have the right to make your own decisions about your life.
JACK NODS IN AGREEMENT AND TRIES TO LEAVE AGAIN.
JO: I just hope.... you'll make the right decisions.
THIS TIME JO LEAVES. JACK STAYS TO THINK OVER WHAT SHE SAID.
SCENE ONE: IT IS A COUPLE OF DAYS LATER AND ALICE IS WORKING AT THE HOSPITAL. JENNIFER DROPS BY TO SEE HER.
ALICE: Oh Jennifer.
JENNIFER: Hi grandma. Look I have something to tell you okay and it's very important.
ALICE: Darling slow down, you're making me breathless.
JENNIFER: I am on the most important news assignment of my life alright. Actually it's more than a news story, but if everything goes the way I hope, it means I'm going to have to leave Salem, for a long time.
AS SHE IS TALKING, JACK WALKS UP BEHIND HER AND HERE IS THE END OF THE CONVERSATION. JACK DECIDES TO HIDE SO HE CAN HEAR THE REST.
ALICE: You're going to leave Salem?
JENNIFER: Well I might have to Grandma.
ALICE: For a long time.
JENNIFER: Well I'll be back.
ALICE: Well darling why are you going to leave?
JENNIFER: I told you it has something to do with my work.
JACK IS PUZZLED OVER THIS BIT, AND TOO HAPPY AT THE PROSPECT OF JENNIFER LEAVING.ALICE: Well, that's not telling me much.
JENNIFER: Alright, look, I'm going to let you in on alright, but it's got to be our secret.
ALICE: You can count on me.
JENNIFER: I know. I just have to warn you about Jack.
ALICE: What about him?
JENNIFER: Grandma he will do anything he can to find out what I'm up to, alright. So that's why you have to be really careful around him.
ALICE: Oh, wait a minute. It sounds as if he's concerned about what you're doing. I.... Jennifer, this story, I mean you won't be in any danger will you?
JENNIFER: Not if we keep it to ourselves. If it gets out I won't be the only one in trouble.
ALICE: Darling now you have me worried.
JENNIFER: Don't be worried because I'm going to tell you everything alright.
ALICE: Please, I want to hear about it but some other time.
JENNIFER: Yeah but....
ALICE: Now wait a minute. I am at work in a hospital. I cannot diddle daddle around.
JENNIFER IS A BIT HURT THAT ALICE WILL NOT LISTEN TO HER.
JENNIFER: Okay, well I'm late for an appointment too so I guess I'll just see you later.
ALICE: Jack you can come out now.
JACK SLOWLY SHOWS HIS FACE AROUND THE CORNER. HE FEELS AWKWARD BECAUSE ALICE KNEW HE WAS THERE ALL ALONG. SHE DRAGS HIM INTO THE LOUNGE.
JACK: Listen I don't.... do I look like a lurker to you? Don't answer that, don't....
ALICE: Jack, you were trying to find out what Jennifer is up to.
JACK: Moi, moi?
ALICE: Yes, vous, vous. And that's why I stopped her talking. I didn't want you listening to something she didn't want you to hear.
JACK: Wait.... wait a minute. Mrs. Horton, I think you do not understand the breadth and the width of this situation. Jennifer's about to get herself into something that has the potential of becoming very dangerous.
ALICE: Oh, well knowing Jennifer I shouldn't be surprised.
JACK:Exactly, exactly. I mean I've tried so hard to get her out of this thing but you know how stubborn she is.
ALICE: Just like someone else I know. Jack why couldn't you face my granddaughter honestly instead of lurking?
JACK: No, no, I wasn't lurking, I was....
ALICE: Why couldn't you just tell her that you're worried about her? And then maybe you could get her out of danger. Please.... well it's worth thinking about isn't it?
JACK: Thank you for the advice Mrs. Horton.
ALICE: Do you think you might take it?
JACK: I would like to, I really would but at the moment you'll have to excuse me because I.... I have to stop Jennifer from doing something. I have to save her from herself.
JACK: RUNS OUT TOWARDS THE ELEVATOR. HE HOPS INSIDE AND IS ABOUT TO PRESS THE BUTTON WHEN HE SEES WHITNEY BAKER, HIS PSYCHIATRIST ALREADY IN THERE.
SCENE TWO: JACK IS IN THE ELEVATOR WITH DR. BAKER, AND IS NERVOUS.
JACK: Ah Dr.... Dr. Baker.
WHITNEY: Hello Jack. Did I just see you punch the lobby button?
JACK: No, ah.... ah.... yes.
WHITNEY: Didn't we have an appointment?
JACK: Yes, about that appointment. No hard feelings but.... ah.... I have something much more important than a visit with my shrink. Not that you're not a wonderful shrink but I have.... I have.... I have to keep a very close colleague of mine out of big trouble.
SUDDENLY THE ELEVATOR STOPS BETWEEN FLOORS.
JACK: Ah why did we just stop?
WHITNEY: I don't know.
JACK: Ah.... we're not moving. Are you aware of that fact?
WHITNEY: No. But don't worry about it, it's okay.
JACK IS STARTING TO FEEL CLAUSTROPHOBIC.
JACK: Is there, heheheh, is there a window in the house?
HE IS STARTING TO SWEAT. IN TYPICAL JACK FASHION THE MORE ANXIOUS HE BECAUSE, THE MORE HE STARTS TO BABBLE AND MAKE JOKES.
JACK: Or maybe a buzz saw in the purse or maybe a circular saw or a cellular phone maybe. DOCTOR, DOCTOR, not you doctor, but DOCTOR, MAYBE A NURSE, NURSE, ANYBODY, SOMEBODY, HELLO.
WHITNEY: Jack, I think we're stuck.
JACK: No, we can't be stuck. I gotta get Jennifer (Realizing he gave away his real reasons).... I mean my, my colleague.
JACK: Because she's in big trouble and I'm the only one who seems to be able to ride to the rescue. So where's my horse, my horse, my kingdom for a horse. Brrrr, Wilber, Wilber, Wilber.
WHITNEY: Listen, Jack, if this is too confining for you, it's alright. Breathe.
JACK: Breathe, breathe, yes.
JACK: It's okay. We got a phone.
JACK: We got a phone.
JACK OPENS THE DOOR TO THE EMERGENCY PHONE AND PULLS IT OUT. THE CORD IS CUT AND THE PHONE IS NOT CONNECTED.
JACK: Oh, I need.... I hate modern technology. I should have taken the stairs.
WHITNEY: I know you're in a rush to see Jennifer. Panicking won't help.
JACK: No, but maybe a nail file in your purse will. I know you've got one in there. I know you do.
HE REACHES FOR WHITNEY'S BACK AND FINDS AN EMERY BOARD.
JACK: Wait, ah ha, ah.
HE PUSHES IT INTO THE CRACK IN THE DOOR AND IT BENDS.
WHITNEY: Jack. Thanks. Listen, as long as we're here, let's make good use of your time.
JACK: Yeah, yeah. The ceiling will move. I know we can do something there. Here you give me a lift up. No I'll give you a lift up. You can climb out and go through the shaft.WHITNEY: We'll have our session in here.JACK: Wait.... here?
WHITNEY: In the elevator.
JACK: Are you nuts? Oh I didn't mean that, didn't mean it, didn't mean it, didn't mean it.
WHITNEY: Jack didn't you tell me that you'd gotten Jennifer out of your system?
JACK: Ah, yeah, yeah.... out of the system. She's out of the system.
WHITNEY: Well if that's true, why are you in such a frantic rush to go and help her?
JACK HAS HIS BACK TO HER AND KEEPS PRESSING THE FLOOR BUTTONS. HE KICKS THE DOOR AND HURTS HIS FOOT AND BEGINS TO DANCE AROUND THE ELEVATOR.
JACK: Oh, oh, oh, oh, oh, oh, oh, oh.
WHITNEY: Feel better now?
JACK: Okay, alright, I didn't get Jennifer out of my system. Are you happy now, is that what you wanted to hear?
WHITNEY: What I wanted to hear isn't important Jack? What's important is how you feel.
JACK: I feel like this is all Jennifer's fault.
JACK: Because I gave her a chance to go to New York, I sent her to New York and she blew it!
WHITNEY: How does that make you feel?
JACK: STUCK! Stuck, like I'm stuck in the elevator.
JACK: Because.... because.... no matter how hard I try I can't.... I can't get out of here. I'm stuck.
WHITNEY: Why do you try so hard?
JACK: I told you before, because.... because I don't want to hurt her, that's why.
JACK: Hmmm? I pay you all this money and all you can say is hmmm.
JACK KICKS THE DOOR AGAIN AND THIS TIME HURTS HIS FOOT EVEN MORE IT IS OBVIOUS HIS DISCOMFORT ARISES MORE FROM WHITNEY GETTING AT THE TRUTH OF HIS FEELING THAN THE CONFIDED SPACE OF THE ELEVATOR.
JACK: HMMM, HMMM, HMMM!
WHITNEY: Listen, a man pushes a woman away so he won't hurt her....
JACK: Ouch, ouch, ouch.
JACK IS HOPPING AROUND IN PAIN AND FRUSTRATION.
WHITNEY: ....then he practically tears apart an elevator so he can protect her. What would you say about him?
JACK: Hmmm. Hmmm. I would say he's a highly complex individual, a walking paradox, a plethora of.... of contradictions.
JACK PUTS HIS CHIN IN THE AIR AND RUBS IT WITH ONE FINGER.
WHITNEY: Jack, you're using your humor to hide again.
JACK: And my tail's showing, yes. I tell you, that's how you'd act too if you were stuck in an elevator with a shrink.
JACK: Heh, if I wasn't laughing so much I'd be screaming.
WHITNEY: That's an excellent idea.
JACK: Heheheh, that's good. A laugh.
WHITNEY: I meant screaming.
JACK: Now, now you're joking.
JACK: You mean screaming isn't.... primal?
WHITNEY: Let it out.
JACK: You mean here?
WHITNEY: And now. Come on Jack, you've got a lot of stuff locked up inside.
JACK: And that's exactly where I want to keep it.
WHITNEY: Are you sure?
JACK: Sure I'm.... aah....
JACK SLOWLY OPENS HIS MOUTH AND GIVE A LOUD, LONG SCREAM.JACK (CONT.): AAAAAAAAAAARRRRRRRRRRGGGGGGGGGGHHHHHHHHHH!
SCENE THREE: MEANWHILE JENNIFER GOES TO SEE WARNER AGAIN. HE AGREES TO THE IMPERSONATION. HE BEGINS TO TRAIN HER TO BEHAVE AS A WEALTHY EUROPEAN HEIRESS. HE TEACHES HER HOW TO ADDRESS DIGNITARIES AND OTHER IMPORTANT PEOPLE. WARNER THINKS IT WILL TAKE A LONG TIME TO GET RID OF "HER AMERICAN WAYS."
SCENE FOUR: BACK IN THE ELEVATOR, JACK IS EXHAUSTED.
WHITNEY: Bravo Jack, that's the first time you've shown an honest emotion. How do you feel?
JACK: Aaah, I need a cigarette. No I still feel I'm trapped in this elevator with my psychiatrist.
WHITNEY: Is that really such a terrifying idea?
JACK: Who was it, who was it that said, hell is being trapped in a room with a psychiatrist for eternity. I think it was either Bertram Russell or Soupy Sales.
WHITNEY: Are you that scared?
JACK: Ah.... I don't know. Petrified, horrified, mollified, a lot of "fied" words come to mind. YES I'M SCARED. I'M SCARED ALRIGHT. THAT'S WHAT YOU WANTED TO HEAR ISN'T IT?
WHITNEY: Yes if that's what you wanted to say.
JACK: I wanted.... YES I'M SCA.... YES, THAT'S HOW I FEEL. BECAUSE I HATE THIS. I HATE IT, I hate it because.... because I'm really scared.
SUDDENLY THE ELEVATOR STARTS TO MOVE.
JACK: And we're finally moving.
WHITNEY: Looks like.
JACK: Funny. Funny nothing like a little elevator ride to make you really get scared.
WHITNEY: Jack I think this was our best session yet.
JACK: Oh wait a minute, come on, you mean you bought that. I was trapped.
WHITNEY: You expressed fear for the first time. I think you're ready to move on to the next step.
JACK: I tell you, I'm ready to get the hell out of this elevator.
WHITNEY: Jack you told me that you were worried about hurting Jennifer. Is it possible that what you're really worried about is getting hurt yourself.
THE ELEVATOR DOOR OPENS AND WHITNEY WALKS OUT. JACK IS STILL THINKING ABOUT WHAT SHE SAID WHEN THE DOOR SHUTS AGAIN. HE TURNS BACK INTO THE ELEVATOR AND SCREAMS AGAIN.
SCENE FIVE: JACK RETURNS TO THE SPECTATOR.
JACK: Any word Vern?
JACK: Well we've got to find her. She could be in big trouble.
VERN: I've got this note, you....
JACK SITS ON HIS DESK AND PICKS UP THE PHONE.
JACK: Ah.... where am I going?
JACK: I was just.... I was dialing something.... oh Wings, Wings.
VERN: Jack, Jack, Jack.
JACK: Vern, what.... stop waving that thing in my face. We've got a missing Jennifer to find.
VERN: Warner Bayer.
JACK: Warner.... what, what?
VERN: Left you a message.
JACK: Why didn't you tell me before?
VERN: What, I tried. Everytime you think of Jennifer I can't get through to you.
JACK: He better still be there or it's your....
JACK CALLS WARNER BAYER.
JACK: Ah Warner Bayer?
JACK: Hi this is Jack Deveraux, Spectator.
WARNER: Oh you got my message.
JACK: Yes what did you want to see me about?
WARNER: Well it's important that you meet me tomorrow in my hotel.
JACK: Oh really. What am I going to see when I get there?
WARNER: I prove to you without any shadow of a doubt that you were completely wrong about the heiress being missing.
JACK: Are you saying that the heiress is not missing or is that too direct a question?
WARNER: Tomorrow I will introduce you personally to Katerina von Leuschner.JACK: That sounds great Mr. Bayer. I can hardly wait for the introduction.
SCENE SIX: JENNIFER GOES BACK TO SEE ALICE. ALICE TELLS HER THAT JACK WAS HIDING WHEN SHE WAS TRYING TO TALK TO HER. ALICE SAYS SHE IS WORRIED FOR JENNIFER. JENNIFER SAYS IT WILL BE REALLY GREAT.