SCENE ONE: EMILIO HAS BEEN SECRETLY TRAINING A HORSE BELONGING TO NEIL CURTIS. EMILIO WANTS TO TAKE THE HORSE TO FLORIDA AND SAYS THAT NEIL WILL NOT LET HIM.
JENNIFER MAKES A BET WITH EMILIO THAT NEIL WILL LET HIM TAKE THE HORSE IF HE TELLS THE TRUTH. THEY MAKE THE BET AND HE GOES TO ASK NEIL AND SHE GOES
TO THE SPECTATOR TO ASK PERMISSION TO GO TO FLORIDA AND WRITE AN ARTICLE ABOUT THE WHOLE THING.
SCENE TWO: JENNIFER ARRIVES AT THE SPECTATOR AND GOES INTO DIANA'S OFFICE.JENNIFER: Diana?
THE CHAIR SPINS AROUND AND JACK IS SITTING THERE.
JACK: Come in.JENNIFER: Er....hi.
JACK: What can I do for you?
JENNIFER: Nothing. There's nothing that you can do for me. I must have made some sort of mistake.
JACK: Oh no, no, no. No mistake made. There's standing orders to send anything blonde and under thirty into me. (Beat) That is a joke....Miss Horton. You can laugh or maybe even attempt to smile.
JENNIFER: I'm sorry. I didn't mean to interrupt anything. I was looking for Diana.JACK: Well she's not here today. She's at the hospital. Of course you've heard about Caroline Brady?
JENNIFER: Oh, yes, yes. You know what, I'll come back at another time.
JACK: No, no, no, no. Don't go. I'm sure you wanted to talk to Diana about something. Maybe about the paper?
JENNIFER: Um, sort of, yeah. I just wanted to talk to her about an article that I was thinking about writing.
JACK: Well tell me all about your article.
JENNIFER: Um....
JACK: Cup of coffee?
JENNIFER: No thanks. I just really wanted to talk to Diana about it.
JACK: Diana's not in charge here. I am.
JENNIFER: Well she's still the editor of the paper.
JACK: She owns 49 percent of the paper. I own 51. I don't know, you tell me. Who's got the upper hand?
JENNIFER: I don't really know. I'd just rather wait and talk to Diana, that's all.
JACK: The idea must be pretty weak.
JENNIFER: What makes you say that?JACK: Well, you obviously don't have enough faith in it to tell somebody who's not going to give you Brownie points just because they're....your friend.
JENNIFER: Well you're wrong because I happen to think that my idea would be a fantastic story.JACK: Good. That's a good start. Now, if you want to see your article in print, convince me.
SCENE THREE: THE SPECTATOR.
JACK : So, you want to write a story about a horse?
JENNIFER: Well not just one. You see I'd like to do a whole series. I would like to take this one horse's career and just follow it from the day she started training all the way up to her first win.
JACK: It doesn't sound like news to me.
JENNIFER: Well I know that it's not page one material but it's the kind of feature that people get caught up in, you know. And with the race at the end, the drama is built right in. And anyone who's ever taken Journalism 101 knows that the only thing that sells more papers than pictures of babies, is pictures of animals.
JACK: I'm not wild about either. But you've made your point. Go on.
JENNIFER: Um, well I don't know what else to tell you. I mean, it's a good story.
JACK: It's not a story. There's no angle. You've got this little....little horse who at some point or other is going to run a race.
JENNIFER: Um, what if I told you that this horse already ran and won?
JACK: What are you saying? They put him out to pasture and now he's going to make a comeback?
JENNIFER: You see, in a way. They kind of wrote her off the books when she hurt her leg but then someone came along who had enough faith to put her back in shape. Now he's ready to put that all on the line again. What do you think about that?
JACK: I think it's about the sappiest, most sentimental story I've ever heard. (Beat) It'll work.
JENNIFER: Really. You're going to okay this.
JACK: No, no, no. Not so fast. You've got to think about something that 101 didn't prepare you for. The money.
JENNIFER: Yeah, er, I need some money for my trip.
JACK: Trip?
JENNIFER: Well the race tracks in Florida.
JACK: (Laughing) Oh well you better be prepared to stay in some of the cheapest fleabag no-tell motels on the Eastern Seaboard.
JENNIFER: I don't care. I don't care. As long as we have a deal.
JACK: Okay. I'll put it in writing if you will. Cash on delivery of course. (Beat)
JACK (CONT.): Now tell me, why are you so interested in horses?
JENNIFER: Ah....because it's very interesting.
JACK: Hmmm. To bookies and greasy old men maybe but most women aren't interested in sports unless there's a man involved. Of course I know you're an exception to the rule.
JENNIFER: Ah, thanks for everything.
JACK: No, no. One more thing. What's the horse's name?
JENNIFER: (Beat) Ah....Jennifer's Beauty.
JENNIFER RUSHES OUT OF THE OFFICE.
JACK: (Intrigued) She certainly is.
SCENE FOUR: JENNIFER MEETS EMILIO BACK AT SHENANIGAN'S AND SHE TELLS HIM SHE WANTS TO WRITE AN ARTICLE ABOUT THE TRAINING AND ABOUT HIM. HE AGREES TO LET HER COME.
SCENE ONE: DIANA IS WITH RUSTY AT THE SPECTATOR.
DIANA: Thanks for everything Rusty.
RUSTY: No problem Miss Colville. I'm glad to be able to help.
JACK COMES IN THE OFFICE.
JACK: Diana, I think that we ought to.....well what have we here?
RUSTY: I'm just leaving.
JACK: Alright Diana, what do you think you're up to?
DIANA: I don't have time to exchange clever little barbs with you today, Jack. I have to get to the hospital.
JACK: What was Rusty doing here?
DIANA: I don't owe you an explanation.
JACK: You do if it was about me and that is what it was about, wasn't it?
DIANA: You're starting to get paranoid Jack.
JACK: Paranoid. Well paranoia can be a very healthy thing when they're are known people walking around spreading lies about you.
DIANA: Lies. Well if they're lies then why are you so worried?
JACK: Worried? No I'm not worried. In fact you should be worried because you know what a bad idea it is to sneak around behind my back. Diana, I am checking every single word that's goes in and out of this place. You're not going to get away with a thing.
DIANA: We'll see. Now if you'll excuse me, I have more important items to attend to.
JACK: Diana?
DIANA: Goodbye Jack.
JACK: Diana.
DIANA LEAVES AND JACK FRANTICALLY STARTS SEARCHING HER DESK THEN HE STOPS.
JACK: Well it would help to know what I was looking for wouldn't it? (Beat) Yeah.
HE HURRIES OUT OF THE OFFICE.
SCENE TWO: A SHORT TIME LATER JACK MEETS RUSTY ON THE PIER.
JACK: You're a smart man Rusty. You remember to jump when I call.
RUSTY: What to you want now Jack?
JACK: Tell me. What did you talk to Diana about?
RUSTY: None of your business.
JACK: You damn well better believe it's my business when you sneak around behind my back talking about me.
RUSTY: Yeah? Well maybe if you kept your nose clean there wouldn't be so much to tell.
JACK: Well I guess you were talking about me weren't you?
RUSTY: I didn't say that.
JACK: You didn't have to. I can tell. You and Diana have been going behind my back trying to bring me down.
RUSTY: Oh yeah? You know you're beginning to sound like you got a screw loose or something.
JACK: Rusty, you got this idea that you're going to walk away from this thing, scott free. I warned you. I guess you didn't hear the message.
RUSTY: What are you talking about?
JACK REMOVES AN ENVELOPE FROM HIS POCKET.
JACK: This.
RUSTY: What is this?
JACK: (Laughing, he removes some photographs.) You know what these are. Apparently, that hallowed number on the campaign trail wasn't the only woman that you were sleeping around with. You know Rusty, you're quite the ladies' man.
RUSTY: Give me those.
JACK: Go ahead Rusty. Tear them up. I've got negatives. I can flood the whole town with pictures if I want. I wonder what your wife and friends are going to think of you now?
RUSTY: What do you want from me?
JACK: Nothing. You had your chance and you blew it. There is nothing you can do now.
RUSTY: Jack, Jack, Jack. I'll do anything but you can't tell my wife.
JACK: Rusty, I'm sorry, I got no other choice.
RUSTY: Jack you don't understand, she'll not only leave me. She'll take me for every last red cent.
JACK: Maybe I should get out my little violin?
RUSTY: Jack, I'm serious. This'll ruin me.
JACK: Rusty, you should have thought of that before you went to Diana.
RUSTY: Jack, you can't do this.
JACK: Rusty, I can do it. And I'm going to do it and there's nothing you can do to stop me.
RUSTY WALKS A LITTLE WAY FROM JACK AND PULLS OUT A POCKET KNIFE. JACK IS STANDING LAUGHING TO HIMSELF.
RUSTY: I wouldn't be so sure of that.
RUSTY TURNS AROUND AND STABS JACK IN HIS LEFT SIDE. JACK FALLS TO THE GROUND.
SCENE THREE: JACK HOLDS A HANDKERCHIEF ON HIS WOUND AND STAGGERS TO THE DOOR OF THE EMERGENCY CENTER. THE DOOR IS LOCKED BUT KAYLA WALKS UP.
KAYLA: Jack, what are you doing here?
JACK: Kayla, I need your help.
KAYLA: I'm sorry but whatever you're mixed up in I don't want to be a part of it, right.
JACK: Kayla, please. I'm hurt. Kayla...
JACK BEGINS TO FALL AS HE WALKS IN THE DOOR. KAYLA GRABS HIM AND HELPS HIM INSIDE.
KAYLA: What did you do? Here put your hand over my shoulder.
JACK: Oooh.
KAYLA: Here, take your coat off.
JACK: Kayla, am I going to be alright?
KAYLA: I'm sure you will be Jack.
JACK: Kayla can you help me?
KAYLA: I'm....I'm going to get another nurse.
JACK: No, no, Kayla, I need you. I need your help. Please. (Beat) Kayla please, I want you to help me. I need your help.
KAYLA: Alright Jack. I'll help. Take your shirt off and I'll see what I can do.
JACK: I won't....I won't forget this Kayla.
KAYLA: Look your a patient. I'm a nurse. That's all there is too it, alright? Nothing more.
JACK: Fine. Whatever your reasons are, I appreciate them.
KAYLA: So, what happened?
JACK: I....er....I was on the waterfront and some people stabbed me. I guess they were trying to rob me.
KAYLA: Ah, well as soon as we're done here we can call the police.
JACK: No! Don't. Er....that won't be necessary.
KAYLA: Why? Don't you want whoever did this to be caught?
JACK: I er....I er....I er....don't want the publicity.
KAYLA: Since when didn't Jack Deveraux want publicity? What's going on here Jack?
JACK: I told you Kayla. I was....I was on the waterfront and somebody stabbed me....
KAYLA: But it wasn't a stranger was it? That's why you didn't want to call the police because you knew who it was. And knowing you, you probably deserved it.
KAYLA PROCEEDS TO DRESS HIS WOUND IN A NOT SUCH A SOFT MANNER.KAYLA: There, that ought to do it.
JACK: Are you sure?
KAYLA: Well you can have a doctor check it if you like.
JACK: No. No, no, no, no. I believe you. Kayla I really appreciate all your help.
KAYLA: Just doing my job.
JACK: Can't you accept a simple thank you. I was just trying to be nice.
KAYLA: And if you think that your being nice is going to make me forget everything that you did, you're wrong.
JACK: I didn't say anything about forget. (Beat) I'm so sick of this.
KAYLA: You're so sick of it? Jack you tried to ruin my life and you act as if nothing ever really happened. I don't understand you.
JACK: Kayla, you don't even try.
THE PHONE RINGS AND KAYLA ANSWERS IT. IT IS ROMAN TELLING HER THAT HER MOTHER IS GOING TO BE OKAY. MEANWHILE JACK PUTS HIS COAT BACK ON.
JACK: So is your mom going to be okay?
KAYLA: Yeah, she regained consciousness and....
JACK: Kayla, it's okay, you can tell me about it.
KAYLA: Why would you care Jack?
JACK: I care a lot. Your mother treated me like a son when we were married. Like part of the family. And that's not something I forget easily.
KAYLA: What about your own family Jack? You don't even admit that they exist.
JACK: We weren't talking about the Johnsons.
KAYLA: Well I'm talking about the Johnsons. They are your family Jack whether you want to admit it or now. Whenever they reach out to you, you turn your back on them. You act like you're just too good for them. Well I've got news for you. It's the other way round. You don't deserve them.
KAYLA GOES TO WALK AWAY AND JACK GRABS HER.
JACK: I've had all that I can take from you.
KAYLA: Let go of me Jack.JACK: No, not until you hear me out. You act like I set out to destroy your whole life. Like I plotted this whole thing and you know...we both know that is not true. When I came to Salem, I had a plan, yes. A plan to find you and marry you. Because I loved you.
KAYLA: Jack I don't want to hear this.
JACK: Kayla I want you to hear this. You've got to hear this. You talk about me ruining your life, what about what you did to mine. Before all this happened I was a pretty good guy, remember that? I was the kind of guy that everybody looked up to, that....everybody loved. Everybody but you. But you couldn't love me. If you could it would have been a whole lot better for both of us.
KAYLA: Not for me.
JACK: I know you didn't know what you were doing to me. You didn't know how much it would hurt.
KAYLA: Jack, people get rejected every day but they don't do what you did. Not to somebody that they....
JACK: Kayla don't....don't bring up the past.
KAYLA: I didn't bring this up. Look I don't want to have this conversation with you.
JACK: Kayla, I never set out to do the things that I did. I was losing you....(Crying) I was losing you to....to my worst enemy....my brother. Then all this just came down on top of me. It dropped.
KAYLA: It's no excuse.
JACK: I know. I know that now. But it's not going to change what happened. Maybe I can change. See another side. I want to Kayla. I just don't know.... I don't know how.KAYLA: Well if you really want to, you'll find a way. You always do.
JACK: I don't know if I can.
KAYLA: It's your problem Jack.
JACK: Well thank you for your....thank you for taking care of me....thank you.
JACK WALKS OUTSIDE HOLDING HIS SIDE.JACK: I want to make a difference Kayla. I do.
SCENE FOUR: AS JACK IS STANDING THERE HE HEARS STEVE'S HARMONICA SO HE HIDES AS STEVE GOES IN TO SEE KAYLA. SHE TELLS STEVE THAT JACK WAS STABBED AND STEVE IS IMMEDIATELY CONCERNED.
SCENE ONE: JENNIFER AND EMILIO ARRIVE IN FLORIDA. THE MOTEL IS VERY DOWN GRADE AND SHE GETS SCARED OF A COCKROACH WHICH EMILIO SQUASHES.
SCENE TWO: MEANWHILE CAROLINE BRADY IS RECOVERING IN HOSPITAL AND STEVE AND KAYLA HAVE COME TO VISIT HER. WHILE THEY ARE THERE JACK TURNS UP WITH A BUNCH OF FLOWERS.
JACK: Good morning.
KAYLA: Jack.
JACK: Mrs. Brady. Hello.
STEVE: What do you want?
JACK LOOKS AROUND AT ALL THE OTHER FLOWERS.
JACK: I guess I should have brought a vase, huh? Well it's the thought that counts anyway.
CAROLINE: How are you Jack? How are you feeling? We heard about what happened.
JACK: You mean about....Actually I'm fine, I'm fine, thanks to Kayla.
CAROLINE: I'm glad to hear that.
JACK: I know I should have come sooner. Actually it was hard to come at all. I'm sure....I'm sure that you understand that.
STEVE CLEARS HIS THROAT LOUDLY AND STARES AT JACK INTENTLY. JACK TRIES TO CARRY ON A NORMAL CONVERSATION BUT STEVE CONTINUES TO STARE AT HIM.
JACK: I wanted you to know that I was thinking about you.
CAROLINE: I appreciate that Jack.
JACK: You're welcome. (Beat) Anyway I guess I'll be going.
STEVE: I'll walk you out.
JACK: That's alright, you don't need to do that.
STEVE: Yes I do.
JACK: Mrs. Brady, you keep getting better and better and if there's anything that I can do, anything at all.....
STEVE PUSHES JACK OUTSIDE.
STEVE: Now what the hell was that all about?
JACK: Believe it or not I care about that lady in there.
STEVE: You can't even put two nice words together for your own mother. Now how is anybody going to believe that you care about Caroline Brady?
JACK: Can't I do something nice for somebody without having an ulterior motive?
STEVE: No, no. I don't think you can. I don't think you know how to.
JACK: Well maybe I'm learning how to. Maybe you'll give me the benefit of the doubt for a change.
STEVE: I've been down that road before. Before I make that mistake again, I'm going to have to see some proof out of you.
JACK: Well I don't have to show you any proof, but for your information, when I was married to Kayla, Mrs. Brady was very kind to me. She took me in as a member of the family and out of appreciation I'm here today. So you see you're wrong about my motivation Big Brother. It is sincere. Not that I give a damn what you think.
JACK LEAVES AND KAYLA COMES OUT.
KAYLA: What was that all about?
STEVE: Great performances by Jack Deveraux.
KAYLA: You don't think he was sincere?
STEVE: No, no. Same old Jack.
KAYLA: What if you're wrong? What if Jack really is making an effort to change? Could you forgive him?
STEVE SAYS THAT THERE IS NO WAY HE COULD EVER FORGIVE JACK BUT KAYLA THINKS HE IS BEING TOO HARD.
AFTER STEVE LEAVES KAYLA TELLS ROMAN THAT SHE THINKS STEVE REJECTS JACK BECAUSE HE THINKS TO ACCEPT HIM WOULD BE TO BETRAY HER.
SCENE THREE: A BIT LATER DIANA IS AT THE FISH MARKET READING THE PAPER.
DIANA: Where did this come from?
JACK: Excuse me.
DIANA: Jack.
JACK: Why do people say my name and stop dead in their tracks when I walk into the room?
DIANA: What do you want?
JACK: A hundred pounds of smoked salmon. (Beat) It's a joke! You know, HA HA!
DIANA: Ha, ha, ha.
JACK: Okay. You haven't seen Kayla around here have you?
DIANA: (She looks around the shop.) Do you see her?
JACK: Alright, Diana. Is this jousting really necessary? I mean I left my lance outside. Checked it at the door. See, notice, no weapons. Even had my nails trimmed this morning.
DIANA: Okay. She might be by with Steve a little later if you'd like to wait.
JACK: Nah, nah. I think I'll just wander the streets friendless if it's just the same to you?
DIANA: Jack, wait a minute. What do you know about this?
JACK: About what?
DIANA: About this unauthorized article about the poor riverfront family barely getting by. Everybody pulling together to get the eldest to college?
JACK: Hmmm. Doesn't sound like my work, does it?
DIANA: Uh, uh.
JACK: Who could that be? (Beat) I know it must be the newsprint fairy! Well Diana, don't you worry, I'm going to get Vern out with some flypaper and we'll just get that little buggar.
DIANA: Who wrote this?
JACK: Well....a writer that I owed a favor to. He brought it in and I printed it. But don't worry, I paid him out of my own pocket so your budget is safe. (Beat) Well you know newsprint. Human interest. It sells. It's good. It sells papers. You know. Plain and simple. Simple. (He backs out the door.)
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