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SCENE ONE: IN FLORIDA, JENNIFER AND EMILIO DECIDE
TO GO TO THE BEACH. THEY STAY AFTER DARK AND BUILD A FIRE AND ARE
KISSING WHEN THE POLICE COME ALONG. THE POLICE ARREST EMILIO BECAUSE
HE FITS THE DESCRIPTION OF A GUY WHO BEAT UP AN OLD MAN ON THE BEACH.
HE IS TAKEN TO THE STATION
SCENE TWO: AT THE STATION HE CANNOT
FIND HIS WALLET AND THEY HOLD HIM UNTIL JENNIFER ARRIVES TO CLEAR
HIM.
SCENE THREE: LATER JACK GOES
TO THE EMERGENCY CENTER.
JACK: I'm here.
KAYLA: How can I help you Jack?
JACK: Well, .... you said to come in on Friday for a check
up and I'm here to be checked up.
KAYLA: Right. Alright, why don't you come in the examining
room and I'll have a look.
JACK: Right. Your wish is my command.
KAYLA: Take your coat off and pull your shirt up.
JACK: Okay. It feels good.
KAYLA RIPS OFF THE TAPE COVERING HIS WOUND.
 JACK:
Ouch.... So what's the bad word? Am I going to live?
KAYLA: Yeah, I'm afraid so.
JACK: Well.... don't sound so excited.
KAYLA: You know, Jack, I don't understand you.
JACK: Yes you do.
KAYLA: No.... I don't. You come to my mother's hospital
room carrying flowers and for a second there it reminded me of the
Jack I met in Hawai'i. The one who cared about people.
JACK: Optical illusion really. No.... no big deal.
KAYLA: Well, it was to my mother. And I think there are
some other people around who would like to see the old Jack again.
JACK: Kayla, look, let's not go spreading any nasty rumors
about me. I really wasn't myself the other day, you know. Let's
just chalk it up to a loss of blood. You know it's really incredible
what a little street surgery can make a man say and do. Finished?
KAYLA: Yes. I am.
JACK: Good. Well, I'll.... I'll just be on my way. There
are widows to fleece and mortgages to foreclose on and heroines
to tie to the tracks. Busy, busy, busy. You know me.
KAYLA: Yes. Maybe I do.
JACK: Anyway.... thank you.
KAYLA: No problem. (Beat) Jack! Think about what I said,
would you?
JACK: Think about what? (Grin)
JACK WALKS OUTSIDE AND STOPS.
JACK: The old Jack, eh?
HE REMOVES THE PICTURE OF HIM AND JO FROM HIS POCKET, AND
SMILES AT IT.
JACK: Hmmm.
HE HURRIES AWAY.
SCENE FOUR: STEVE IS WORKING
AT THE FISH MARKET WHEN JACK WALKS IN.
STEVE: Be right with you.
JACK: Oh, take your time.
CUSTOMER: Listen, if I'm going to stand here all day I'm going
to miss Jeopardy. Let's go.
JACK IS SMILING.
STEVE: Okay. I don't want you to miss Jeopardy. Why
don't you take this little baby right here? (He hands him a crab.)
I'll put it on your account.
CUSTOMER: I don't have an account.
STEVE: Well, this is your lucky day. You've got an account
now. Here we go.
JACK: You know Steve. You have really got a knack with people.
STEVE: Listen, Jackson. You can't do a thing to make me
lose this job. I'm in tight with the owner. Besides I'm not gettin'
paid.
JACK: I'm not here to make trouble.
STEVE: What is it, a holiday?
JACK: I'm not here to argue with you either.
STEVE: So you want some fish. The moment you walked in the
door I put eel on special.
JACK: I want to talk to you about Jo.
STEVE: What about Jo?
JACK: Well, I've been to her apartment. I've seen it and
it's pretty small.
STEVE: So?
JACK: So, I thought I might help her out. I mean I've got the
money and I don't really need it and she is.... my mother.
STEVE: What are you talking about?
JACK: I'm talking about getting her a better place to live.
STEVE: What do you want, Jack?
JACK: From you, nothing. From Jo, or anybody else, nothing.
STEVE: I don't believe it.
JACK: You don't have to believe it Steve. I'm doing it for
her.
STEVE: So then what are you doing here bugging me about
it?
JACK: Well, I think we both know that Jo is not going to accept
anything unless she gets it checked by you first. Hmm? You don't trust
me and I don't blame you. But the offer is legit. So, please.... please
think about it. (Walks toward the door, then stops) You know where
I live.
JACK LEAVES.
STEVE: What the hell, was that?
SCENE FIVE: A SHORT TIME LATER KAYLA ARRIVES
AT THE FISH MARKET AND STEVE TELLS HER WHAT JACK WANTED. KAYLA
THINKS THAT STEVE WANTS JACK TO CHANGE TOO BUT HE IS TOO AFRAID
TO ACCEPT IT. SHE TELLS STEVE THAT HE MUST LEAVE HER OUT OF IT
WHEN HE DEALS WITH JACK.
SCENE ONE: ANOTER DAY JACK
RETURNS TO THE BRADY FISH MARKET. STEVE IS SURPISED TO SEE HIM AGAIN,
BUT STILL DOES NOT TRUST HIM.
STEVE: What do you want, Jack?!
JACK: My, my, my we're not very civil this morning, are
we?
STEVE: (Goes back to sweeping) Well, this morning I don't
have time to play. You see, I have a job, I'm working--
JACK: (Puts out his arm) Whoa, whoa, wait a minute, Steve,
I don't want to hassle you. I just want to ask you a question, I just
want to see if you talked.... talked to Jo about that apartment I
was going to get her, the new apartment.
STEVE STOPS SWEEPING FOR A MOMENT, AS IF HE IS ABOUT
TO ANSWER HIM, BUT SAYS NOTHING AND THEN GOES BACK TO SWEEPING.
JACK: (Cont.) Well, did you?
STEVE: (Walks over to another part of the shop) No, I didn't.
JACK: Why not?
JACK GRABS HIS ARM TO STOP HIM AND GET HIS ATTENTION.
STEVE GLARES AT HIM.
JACK: (Cont.) I asked you, why not?
SCENE TWO: THE SCENE CONTINUES.
JACK: Why didn't you talk to her?
STEVE: (Throwing down the broom) There's things I don't
like in this world! (Snatches Jack's arm from his shoulder and
grabs his wrist) One is being handled! And the other is being
made to look like a fool!
JACK: All right, you answer my question and I'll turn
you onto a really good therapist. Fair enough?
STEVE: I didn't tell because I didn't want to (makes a
face)! Fair enough?
JACK: Look, you know, thi.... this could make a really
big difference in her life. Are we going to let
our differences cheat her out of something she really deserves?!
STEVE: (Walking around) Ah, what do you think I am, some
kind of idiot. You think you can just come in here and tell me
anything, and I'm going to believe it?
JACK: Wait, wha.... what are you talking about?
STEVE: (Cleaning up) If you want to put my mother
in a nicer place to live (points at him) why don't you ask
her yourself!
JACK: You know why, I cann...., she's not going to accept
anything from me unless she thinks it's okay by you, first.
STEVE: WELL, IT'S NOT OKAY BY ME! Why don't you
wake up! Why don't you try playing it straight for a change!
Why don't you tell me what you're getting out of this, huh!
And then maybe we'll have something to talk about.
JACK: (Jack appears to be sincere and Steve's belief he is
not seems to hurt Jack) You think I want to help Jo out.... for
some.... some reason of my own, is that right?
STEVE: Well, I don't think you're doing it out of the
kindness of your heart.
JACK: Look, you cou.... you cou.... you could call it
whatever you want, Steve--
STEVE: Just shut up! Shut up! You listen to me, now Jo
means alot to me. It took me a long time to see that, but
now that I do I'm not about to do something that might hurt her.
JACK: Oh, really, why, you tell me why would I want to
hurt her, hmm?
STEVE: I don't know, man, I don't know why you do half the
crap you do.
JUST THEN JO ENTERS THE FISH MARKET, AND WALKS
OVER TOWARDS THEM.
JO: Steve! Steve! Jack!
STEVE: (Still going at Jack) But if you can't be up front
(pointing at him) with me then we've got nothing to talk about!
JO: Hey! HEY!
STEVE: "HEY" YOURSELF!
JO: What's going on here?!
JACK: (Looks at Steve who does not answer, then turns
to her) Nothing, nothing's going on here, I'm just.... I'm just
wasting my time, that's all.
STEVE: (Making a face) Aaaahhhh!
JACK, FRUSTRATED, WALKS TOWARDS THE DOOR.
JO: Wait a minute, y.... you said you wanted
to talk to me, what about.
JACK: (Stops and turns towards them) What is that about?
STEVE LOOKS EMBARRASSED, JACK WALKS BACK OVER
TO THEM.
JACK: (Cont.) You were going to tell (walking
around him) her all along, weren't you? Weren't you? Why couldn't
you tell me that, huh?
STEVE: (Gestures) Because, you know, every time I see
you I get the feeling you've got something up your sleeve.
JACK: No! No, because every time you see me you want to
put me through the wringer.
STEVE: Well, you get what you deserve, man--
JACK: (They shout over each other) I'M SO SICK OF THIS!
STEVE: (Cont.) ....you get what you put up with this world.
JACK: (Cont.) ....I'M SO SICK OF THIS!
STEVE: IF YOUR SO SICK, WHY DON'T YOU TELL THE TRUTH!
IF YOU REMEMBER WHAT THAT IS!--
JO: (Getting in Steve's face) STOP IT, THE TWO OF YOU
STOP IT!
STEVE GLARES AT JACK. JO TURNS TO JACK, WHO
IS LOOKING DOWN, AWAY FROM HER.
JO: (To Jack) What is this all about?
THEY CONTINUE TO GLARE AT EACH OTHER, STEVE
KNOWS JACK IS NOT GOING TO ADMIT THE TRUTH, AND SCOFFS.
SCENE THREE: THE SCENE CONTINUES. STEVE WALKS
OVER TO JACK.
STEVE: (Sarcastically) Come on, Billy!
Why don't you tell our mama (patting his shoulder) why you're here.
This is your big chance.
JO LOOKS AT BOTH OF HER SONS. JACK PACES AROUND.
JO: Jack! (Looks at Steve then walks to
Jack) Jack, is something wrong?
JACK: No, no, no, no, no, nothing's wrong. 
JO: Well then what is it?
JACK: Aaahhh, (looking down, thinking if he should tell
her, he turns) I was just thinking about your apartment. That's
all.
JO: (Confused) Waaa, why?
JACK: Well, you've got to admit it, it's.... it's pretty
small, right. And, uh, I think what a shame that you have
to live in some place that is so uncomfortable when you have
somebody who could help you out.
STEVE LISTENS IN, NOT TRUSTING HIM, FIDDLING
WITH A TOWEL. AS JACK TALKS HE MAKES FACES.
JO: I don't understand.
JACK: I'm talking about getting you a better place
to live. You see, I got a friend whose got an apartment complex
in a really nice part of the city, see. But he.... he's
having a little trouble renting out one of his apartments. So,
I thought, you could move in there, I help you pay the rent, and
the same time I'm helping out my friend.
JO: (Not please by his reasons) I see.
JACK: (Slight laugh) So, ah, so what do you think?
JO: (Jo acts hurt and insulted) I'm shocked. Please don't
think I'm ungrateful, but I.... I don't understand why you're suddenly
being--
STEVE LOOKS PLEASED THAT JO IS REFUSING JACK.
JACK: (Seemingly a little hurt and trying
to make the offer not important for him) Well, no, i.... it....
it's really.... it's.... it's nothing really. I mean wan.... (shrugs)
if you don't want it, I'm sure he'll find somebody else to rent.
Tha.... that's quite all right (starts to walk off).
JO: Ja.... Jack, wait, wait a minute, now. Waaiit just
a minute! Why are you doing this?
JACK: Ha.... tha.... that's very simple, see, you don....
you don't have any money and I've got plenty of money. And,
uh, well, you helped me out when I was in the hospital all laid
up and you were working for us and we....
JO IS DISAPPOINTED AND HURT.
JACK: (Cont.) ....we.... like I said (Jack's
voice cracks a little) it's no big deal.... you were working for
us and we.... like I said....
FURIOUS STEVE SLAMS DOWN A GLASS HE WAS CLEANING.
JACK: (Cont., smiles, but he obviously is hurt by her
refusal) ....look, it's no big deal, so if you want to take
it, fine. If you don't want to take it fine.
JO: Nooo, I don't. No thank you.
JACK LOOKS HURT BY HER REJECTION.
SCENE FOUR: JO HAS JUST REFUSED JACK HIS
OFFER. SHE IS HURT FOR THE REASONS HE IS OFFERING, SHE DOES
NOT WANT HIS MONEY BUT HIS ACCEPTANCE AND LOVE. JACK IS ACTING
AS IF IT IS NO BIG DEAL, BUT IT IS OBVIOUSLY MEANS A GREAT DEAL
TO HIM, AND HE IS ONLY PRETENDING HE IS DOING IT FOR HIS FRIEND.
STEVE IS PLEASED THAT JACK WAS REJECTED. HE GOES TO JO AND PUTS
HIS ARM AROUND HER SHOULDER.
STEVE: Good, for you, Mama! You didn't fall
for Happy Jack's little act.
JACK: IT'S NOT AN ACT! A.... Look, I'm just trying
to help Jo out here. That's all.
STEVE: Oh, come on! How do you expect us believe that al....
after all the stuff you've done.
JO LOOKS AT JACK AND SHE SEEMS TO SEE THAT
HE IS HURT BY THE REJECTION AND THAT IT IS NOT AN ACT, THAT UNDERNEATH
IT ALL HE DOES CARE.
JACK: You know something, you're right.
(Pacing around) There's no reason you should.
JO: Jack--
JACK: No, really why.... why am I even bothering to do
anything.... I mean every time I try to do something everybody
questions my motives.
JO: Ooohhh, Jack that's no--
STEVE: Have you ever hear of the little boy who cried
wolf?
JO: Would you just STOP IT!
STEVE: No I don't want to stop it--
JO: STOP IT!
STEVE: I don't want to stop it--
JACK: NOW LOOK.... (gestures) look, th.... this.... just
leave things the way they are. If you don't want the apartment,
fine! Let's just leave it the way it is. (Walking off)
Okay.
JO: (Stopping him) Ja.... Jack..... Jack, wait a minute.
I don't want you to think that I'm.... I'm not taking you
up on your offer because I do not trust you. I.... I've always
known that you've had good in you.
STEVE: (Scoff's) Huh! (Flares his eye at Jack).
JACK: (Turning to Jo) Yeah. Why don't you let me help.
JO: Because it's not your money that I want! It's
your love that I want! I.... I.... don't know wha.... what
you're trying to.... to prove here. Wha.... you're (throws down
her fists) trying to prove something to yourself, but,
you see, the only way you're going to be happy is....
(gestures) is to accept us as your family. (Stuttering) So....
ah.... d.... do.... eh.... Please accept me as your mother!
JACK LOOKS AT HER.
JO: (Cont.) I wish (beat) this never would have happened.
I wish we could start over. I wish that you could for once
just call me "Mama."
STEVE LOOKS DISGUSTED, BELIEVING JACK WOULD
NEVER DO THAT. JACK HAS NO EXPRESSION, THOUGHT IT IS OBVIOUS THAT
THAT IS THE ONE THING WHICH IS TOO HARD FOR HIM TO DO AFTER EVERYTHING.
JO: (Cont.) Can't you just do that, Jack?
SCENE FIVE: JO HAS JUST ASKED JACK TO CALL
HER "MAMA." JACK HAS NOT SAID ANYTHING. STEVE WATCHES
ON, KNOWING JACK WOULD NOT.
JO: Will you do it, Son?.... Will you finally
accept me as your mother?.... Please!?
JACK LOOKS LIKE HE WANTS TO BUT CANNOT.
JO: (Hurt, looks down) Well, it's all right. You can't.
(Half-smile) I at least think you're trying.
JACK LOOKS LIKE HE REALIZES THAT THAT IS NOT
ENOUGH.
JO: (Cont.) But I'm not going to give up on you, Billy.
But I'll never give-up-on-you!
JACK: Look. Look. (Chuckles) You could believe anything you
w.... want to believe. Say anything you want to say. Or do whatever
you want to do. Do.... (shakes his head) doesn't matter to me. You
just, uh.... I'm just sorry th.... that you don't want to take a
brand new apartment, you want to stay living in your crummy old
room, that's all. Mmm.... and, uh.... I don't know, maybe
(smiling) some day you'll change your mind, huh.
JACK WALKS OUT THE DOOR. JO GOES TO THE DOOR
AND CALLS HIM, BUT HE WALKS OFF, NOT STOPPING. STEVE STANDS BY
HER.
JO: Maybe some day you'll change yours.
SCENE SIX: LATER STEVE IS HUGGING JO. THEY HAVE BEEN TALKING
ABOUT JACK. IT IS OBVIOUS HE DOES NOT HAVE FAITH IN JACK.
THOUGH HE TELLS HER THAT FOR HER SAKE HE HOPES JACK WILL CHANGE.
SHE PATS HIS BACK. THEY DO NOT NOTICE THAT JACK IS WATCHING
THEM, SADLY, FROM OUTSIDE THROUGH THE WINDOW.
SCENE ONE: KAYLA ARRIVES AT THE EMERGENCY CENTER AND FINDS
A THIEF INSIDE. HE BEGINS TO ROUGH UP KAYLA BUT JACK ARRIVES.
JACK: Kayla, Kayla, get out of the way. Alright.
JACK PUNCHES THE GUY AND GETS IN A FIGHT WITH HIM.
KAYLA: Jack.
JACK: Kayla. Stay back, Kayla. Stay back.
THEY GUY PUNCHES JACK ON THE JAW AND THEN ON HIS INJURED
SIDE THEN HE RUNS OUT.
KAYLA: Jack are you alright?
JACK: Oh god!.... I'm okay, I'm okay. How about you? Are
you alright?
KAYLA: I'm fine. He didn't get a chance to do very much,
thanks.... to you.
JACK: Always glad to be of service.... Kayla.
KAYLA: Why don't I have a look at this?
JACK: I have a feeling..... oh yah.... oh well, like
they say, no pain, no gain.
KAYLA: Right.
SCENE TWO: JACK HAS HIS COAT OFF
AND HIS SHIRT UNDONE. KAYLA IS ON THE PHONE.
KAYLA: Thanks, officer. I'll be here all morning.
JACK: Well, I guess the police are going to get here when
they get here.
KAYLA: Well, it's not exactly urgent.
JACK: Oh, oooh, oooh. Speak for yourself Kayla.
KAYLA: I'll really think that you're going to be alright
Jack.
JACK: I tell, you one thing, if this thing busts open one
more time I'm going to have to ask for my money back.
KAYLA: Free clinic.
JACK: Oh!.... I knew that. I was just joking or at least....
trying to.
KAYLA: He, he.... well, you can put your shirt back on.
JACK: Here's your hat, what's your hurry. (Beat) You can't
get rid of me fast enough, can you?
KAYLA: I told you how grateful I was Jack.
JACK: But?
KAYLA: But I have work to do.
JACK: Yeah....
MIKE RUSHES IN AND JACK WITHDRAWS INTO HIMSELF AND
WATCHES MIKE AND KAYLA.
MIKE: Kayla, did you stop by the hospital this morning?
KAYLA: No, Roman, said he'd call me if there was any change
with Mom.
MIKE: Well, it looks like your mom is doing really good.
The bypass went okay.
KAYLA: Great.
MIKE NOTICES THAT JACK IS STARING AT KAYLA.
MIKE: Hey.
JACK: Oh.... Mike, really. I'll just get out of your way.
Pretend I'm not here.
MIKE: Is everything okay?
KAYLA: Yes, everything's fine. Listen I'm glad you stopped
by.
MIKE: Well, as a matter of fact I came by here because I
haven't been by much lately and I want to volunteer my services
unto you.
KAYLA: Really?
MIKE: Yes. As a matter of fact I will be by here most mornings
until I go back on OR rotation.
KAYLA: No, kidding.
MIKE: Shall I repeat that for you? I will be here most mornings
until I got back on OR rotation.
KAYLA: Oh, your hand is healing.
MIKE: Hmmm. Well, it's not 100% but it is getting better.
KAYLA: Oh, well, that is great news. I am very very happy.
KAYLA GIVES MIKE A BIG HUG WHICH JACK OBSERVES.
MIKE: If I'm going to get hugs like this I'm going to go door
to door. This is great.
KAYLA: You know you have not changed since high school.
MIKE: What, you don't think I've scored a little?
KAYLA: A little yes.
MIKE: So that's what broke us up?
KAYLA: Well, maybe and maybe the fact that we both left
town.
MIKE: You know that morning when you rode off into the sunset
on that bus, you just broke my heart. It was devastating.
KAYLA: It was a plane and you weren't even there.
MIKE: Okay, okay, okay. I overslept. It was still no reason
to dump you.
KAYLA: I did not dump you.
MIKE: You mean there is hope for you and me?
KAYLA: If you do the summaries on all of these, I'll think
about it.
JACK OBSERVES THE BANTER BETWEEN MIKE AND KAYLA AND
THEN LEAVES QUIETLY.
SCENE THREE: JACK GOES TO THE THE
FISH MARKET TO SEE STEVE.
JACK: Hi, Steve, what's happening?
STEVE: Nothin'.
JACK: Oh really, the sign outside says shrimp seven bucks
a pound.
STEVE: Oh, really. Well, we got a sign right here that says
we reserve the right to refuse service to anyone.
JACK: Well.... what about the golden rule of business. The
customer is always right.
STEVE: Never heard of that.
JACK: Oh, I see. Well, Caroline Brady must rest easy know
you're in charge.
STEVE: What do you want Jack? You want fish.
JACK: Oh, well, if you have a couple of minutes....
STEVE: No I'm busy.
JACK: I want to talk about Jo.
STEVE: I don't want to talk about Jo.
JACK RINGS THE BELL, IN THE SHOP.
JACK: Excuse me. Good morning. I'd like to take a look at your
shrimp.
STEVE: You want shrimp?
JACK: Or maybe some tuna, if it's fresh.
STEVE: You are my brother alright. Never quit do you?
JACK: I came here to talk. You want to play games, we'll
play games.
STEVE: No, I don't want to play games. Let's talk. What,
something about Jo, go ahead, what?
JACK: I still think she should have a better place to live.
STEVE: Well, she turned down your offer, don't you remember
that? She's not interested.
JACK: I'm sorry she feels that way.
STEVE: Oh yeah I'm sure you're real sorry about how she
feels.
JACK: Alright, okay, okay. Let's stop right here folks. Time
out for our favorite sport, Jack Bashing in America. Now refresh my
memory, tell, me what a loss I am, tell, me about all the times that
I broke my poor mother's heart and when you're through.... if you're
ever through.... save a little time for me because I've got something
to say to you.
STEVE: By all means, go ahead. Say it.
JACK: I know what she wants. I know exactly what she wants.
I'm not stupid. She wants me to come up, wrap my arms around her,
hug her and say, Hi, Mom.
STEVE: So why don't you do it?
JACK: And be just like you, right? Just like you. (Beat)
I know you. It took you a long time to give her her first Mother's
Day card.
STEVE: Yeah, well, I never said I was perfect. I'm the first
one to admit that it took me a long time to get around to accepting
her. But the difference between you and me is that I did. When are
you going to do it, eh?
JACK: Well, maybe it's a little bit easier for you to get
your feelings out, you know.
STEVE: Oh, it's easier for me, eh?
JACK: People are different, Steve. Everybody expresses their
feelings in a different way. So maybe it's a little.... it's a little
har.... Look, I'm not going to make any excuses to you but kindness,
love and warmth weren't exactly the lessons I was reared with at Harper
Deveraux' knee.
STEVE: Sounds like making excuses to me.
JACK: (Cynical laugh) Of course. Of course. I should have
expected the love and compassion from my big brother.
STEVE: Don't give me that feel sorry for me crap. I'm not
going to take that guilt trip you're trying to lay on me. Now I
know all about how you like to show your feelings. I've got the
scars to prove it.
JACK: You're right, you're right you do. And you know something
else? All that lousy crappy low down stuff, all that stuff that
you keep saying that I do. You're right, I've done it. I've done
all of that. I admit it. (Long beat) So where do we go from here?
STEVE: What is your trip?
JACK: No trip. No angle. (Beat) I want to start over Steve.
I want to bury the hatchet like they say. Starting with taking you
out to dinner tonight.
STEVE: What?
JACK: You know nothing big, you know like a little....
STEVE LAUGHS.
JACK: What? Just a little dinner, small, informal, friendly....
I want to take you.... bring Kayla too. We'll sit down, we'll talk.
We'll talk about a whole new career for you, a new job. What do you
think?
STEVE: I think you're out of your mind.
JACK: Oh look I'm sorry. If it's the bill, if it's trouble
paying the money, if it's the money....
STEVE: Don't you talk to me about money. Shut up! I got
something to say to you and you're going to stand here and you're
going to listen to me. (Beat) Jack, you are a liar, plain and simple.
I don't know what you've got up your sleeve but I don't want any
of it.
JACK: There's nothing up my sleeve Steve. I don't wan.....
STEVE: I don't want to sit across from you. I don't want
to eat dinner with you. I don't care if you pay the bill and give
me $100 on top. You want to get close to our mother, you do it without
me. You leave me the hell out of it.
JACK: Steve, I can't leave you out of it. You're her son,
you're part of....
STEVE: You were responsible for me losing my job. Now how
do you expect me to believe that you want to take me out to dinner
and talk careers? Huh?
JACK: Well, I can't blame you for being skeptical about that
but.... this is on the level. There is no ulterior motive.
STEVE: The answer's no.
JACK: No.... as simple as that. Just no.
STEVE: NO! No. You want me to say it again.
JACK: No, no. You just save it for this afternoon. You can
bellow at somebody else if you like.
STEVE: There you go. There's my baby brother again. You're
back aren't you? I knew you couldn't keep that act up for long.
JACK: It's not an act, Steve. Now you can believe whatever
you want  to
believe. You can go out and believe it is an act if that's going to
make you feel better. But ultimately you are going to have to remember
that this time you're the guy that turned his back.
KAYLA WALKS IN.
STEVE: Yeah, you're right and let me tell you why. (Beat)
Remember her, my wife. Remember what you did to her? I'm not going
to forget that and I'm not going to forgive it. Now do you understand?
JACK: Yeah, yeah, I understand. Look I'll just.... I'll just
get out of your way, eh? (Beat) Goodbye Kayla.... Goodbye to you too.
Have a good life.
JACK LEAVES QUIETLY.
STEVE: Damn him! Why doesn't he stay out of our lives?
KAYLA: Are you sure that's what you want?
STEVE: I don't know baby. I don't know what to believe. I can
only believe you.
JACK WATCHES THROUGH THE WINDOW AS STEVE AND KAYLA KISS.
HIS EYES FILL WITH TEARS AND REMORSE.
SCENE ONE: KAYLA AND STEVE
ARE HAVING A MEAL AT SHENANIGAN'S WHEN JACK WALKS IN. HE WALKS OVER
TO THE BAR AND WATCHES THEM DAYDREAMING ABOUT WHAT IT WOULD BE LIKE
TO BE WITH KAYLA.
JACK AND KAYLA ARE SITTING IN SHENANIGAN'S. HE IS KISSING HER
HAND.
JACK: I love you Kayla. I always have.
KAYLA: I know. And I love you too.
JACK: You know I'd do anything for you.
KAYLA: Anything?
JACK: Hmmm. You name it.
KAYLA: Kiss me.... now.
JACK LEANS OVER AND KISSES KAYLA TENDERLY.
THE SCENE FADES TO JACK WATCHING STEVE AND KAYLA. JACK
WALKS AWAY.
SCENE ONE: JACK IS SITTING AT SHENANIGAN'S
WHEN JENNIFER WALKS IN.
JENNIFER: Well, thanks for letting me interrupt your lunch.
JACK: It's okay.
JENNIFER: You see this is really important to me and I was
hoping if you liked it, maybe you could put it in tonight's addition.
 JACK:
It's good.
JENNIFER: Really?
JACK: Really. It's good. But I am going to make it . Watch
my hand. This paragraph here. This is your lead. You put this up
here so I can see what the story's about and I'll keep reading.
Then you move this here and the part in the back here you put here.
Alright? It's very simple. But now the article moves.
JENNIFER: You're right. It does. Thank you very much. It's
great.
JACK: I didn't do anything. Now if you'll excuse me I have
to get to the office. I've got an article to put into tonight's
edition. There you go.
JACK HANDS JENNIFER AN ENVELOPE AND LEAVES. SHE LOOKS AT IT
AND SMILES WITH EXCITEMENT.
SCENE TWO: LATER THAT EVENING JENNIFER
WALKS INTO SHENANIGAN'S.
JENNIFER: (To Joey the Shenanigan's barman) Look do you
know what time the evening edition of The Spectator comes
out?
JOEY: Yeah it usually hits the newsstand out front
in about.... 
JACK: Don't bother. I've got what she wants.
JACK HANDS JENNIFER A PAPER.
JENNIFER: Thanks. 
JACK: Hot off the presses. Page five.
JENNIFER: "A Man, A Horse and A Dream," by Jennifer
Horton. Jack I got a byline!
 JACK:
(Jack sounds and looks proud of Jennifer) That's right. You wrote
it. It's good so you got it. The men in the newsroom liked it too
and that's saying a lot because they only read the sports section.
JENNIFER: Really? You're kidding me.
JACK: No. If you keep writing articles like that and you
might have a future.
JENNIFER: Oh, you really think I can make it as a journalist?
JACK: No. I didn't say that. One article does not make a
journalist. But if you continue to write articles like this one,
you might have a career.
JENNIFER: Oh, Jack you don't know how good this makes me
feel. Oh, I really hope Emilio likes it.
JACK: Emilio?.... Is Emilio your literary critic? I think that
Emilio would have a little bit of trouble getting through a comic
book.
JENNIFER: Look, the article is about him. I mean I want
him to like it.
JACK: Jennifer, listen to your pal here. Running with street
punks to get a story is one thing but caring about what about they
think, well that's another thing altogether.
JENNIFER: Look, Emilio is not like that. You just don't
know him, okay.
JACK: Well, maybe you're right. (Beat) You know something
just hit me. I heard the funniest story about your brother Mike
and Kayla. I heard that they were at item at one time or something
like that.
JENNIFER: Oh yeah, yeah, they were inseparable. I thought they
were going to get married and everything. But.... you know how that
goes.
JACK: Yeah.
JENNIFER: But this is great. Thank you so much. Excuse me.
JENNIFER LEAVES.
JACK: I certainly do know how that goes.
SCENE THREE: JENNIFER SHOWS
EMILIO THE ARTICLE AND HE SAYS THAT IT IS NOTHING. SHE CALLS HIM
A JERK AND STORMS OFF. |
