SCENE ONE: DIANA IS AT THE VA HOSPITAL IN WASHINGTON TRYING TO SEE THE MIA. JACK IS SPYING ON HER FROM AROUND THE CORNER. SHE TRIES TO GET IN TO SEE HIM BUT THE NURSE REFUSES.

SCENE TWO: JACK DECIDES TO CALL IN A FAVOR, SO HE PHONES AN OLD BUDDY OF HARPER'S TO GET SOME INFO.

 

JACK: Hello Sam, hi this is Jack Deveraux. Fine, fine, how about yourself? Good, good. Look I'd like for you to do a little favor for me. You're still in on the Senate Committee for Armed Forces, right? Right, right. Then you know all about this MIA that was in the paper that I've been reading about. You know, the guy that was in the tiger cage for six years? Right, right. Well I want to do something to help him but I need a little information about him. (Beat) Oh I was sure you'd feel that way.

 

JACK WAITS BY THE PHONE FOR SAM TO CALL BACK.

 

JACK: Hello? Sam? What have you got for me? (Beat) You're kidding? They transferred him to Salem? My Salem? Well that's certainly going to make things interesting down on the farm, isn't it? No, no. What I meant by that was having him nearby will make it a lot easier for me to help our hero out. Yeah.

SCENE ONE: THE NEXT DAY BACK AT THE SPECTATOR.

 

JACK: Good morning.

DIANA: Goodbye.

JACK: Oh Diana, what's wrong? You look awful this morning.

DIANA: I bet you've come to cheer me up haven't you?

JACK: Well I didn't know that you needed cheering up but I'll give it my best shot. I mean they don't call me Mr. Warm and Wonderful for nothing. Oh come on, tell me, where does it hurt?

 

JACK SITS ON HER DESK.

 

DIANA: I have a terrible pain on my desk.

JACK: I can take a hint you know.

DIANA: I'm looking forward to seeing that.

JACK: Actually I came here to make your day. I was just on the phone with a close personal friend of mine from DC, Washington DC that is, who happens to be on the Senate Armed Forces Committee.

DIANA: Oh Jack, I'm so impressed. You just have friends everywhere. Except where you live.

JACK: He told me some fascinating information about that MIA story. You know the one that you said our reporter was shut out on a couple of days ago. Of course we dropped that story, didn't we, so we're not interested anymore. Oh I'll be on my way.

DIANA: No wait a minute. What information did you get?

JACK: About who?

DIANA: Come on Jack.

JACK: I thought we dropped this interesting little story about the MIA, didn't we?

DIANA: Well that was only because we couldn't find enough information about him to fill a quarter column but if you have something new about him, that's worth printing, I'm more than happy to reconsider.

JACK: How broad-minded of you.

DIANA: Well look, all I could find out about the guy was that he was held prisoner for six years. I don't even know his name. Were you able to find out who he is?

JACK: I haven't the faintest idea who he is either but I do know where he is.

DIANA: What do you mean?

JACK: Well, it seems our MIA friend had himself transferred from the VA hospital in DC to someplace....quieter. Someplace....cozier.

DIANA: Where is he?

JACK: Here!

DIANA: In Salem!

JACK: Isn't that convenient? I mean it's not everyday that a story puts itself on a plane and comes straight to us. But don't you think it's a little interesting and curious? I mean why would this guy who's been locked up in tiger cages for six years suddenly and abruptly decide to come to Salem?

DIANA: I have no idea.

JACK: Oh come on Diana. I wanted to see those legendary Colville instincts in action.

DIANA: Look Jack, I don't have time for this alright? Now if all you know about this guy is that he had himself transferred to the Salem VA hospital then that's still not enough to go on and it's not worth the space.

JACK: Well it would be if you wanted to follow up on it.

DIANA: I'm sure the people at the Salem VA hospital won't be giving us anymore information than we got in Washington so that's it isn't it? There's just no story, I guess.

JACK: Ah....well I guess you are the boss. I just thought I'd run it by you.

DIANA: Consider it ran....and feel free to drop it anytime.

JACK: Dropped it is.....Good coffee....good coffee.

 

JACK LEAVES DIANA'S OFFICE.

SCENE TWO: LATER THAT NIGHT JACK GOES BACK TO DIANA'S OFFICE AND BREAKS INTO HER DRAWER USING A FILE IN HIS MOUTH AND ONE IN EACH HAND.

 

JACK: Oh Diana....oh dear we're going to have to get you a new lock. Oh what have we here? This looks very important.....a little exclamation point. Okay, never let a good number go to waste, I always say.

 

HE DIALS IN THE NUMBER WRITTEN ON DIANA'S WRITING PAD.

 

JACK: Er....oh hello. Excuse me, is....Salem VA hospital, of course. Hi, I'm calling from Diana Colville's office at The Spectator. I wanted to ask you some more questions about that MIA tra....Oh Miss Colville already called. Oh I'm sorry. (Beat) Oh no, no, I understand completely. You never give out that kind of information on your transfers. I understand completely. I'm sorry to have called....again. Yes, thank you, thank you.

 

JACK PUTS DOWN THE PHONE AND REPLACES EVERYTHING AS HE FOUND IT. HE SCREWS THE LOCK BACK INTO PLACE.

 

JACK: Alright Diana. There we go. It seems this little story is a lot more important than I let on.

SCENE ONE: THE NEXT DAY AND IT IS ALEXANDER'S CHRISTENING.

 

JACK: People are arriving. That's right Neil. How are you doing? Anjelica.

ANJELICA: Oh good morning darling.

JACK: I hope you don't mind me letting myself in.

ANJELICA: Not at all.

JACK: So, where's my little brother today? Does he know he's getting christened?

ANJELICA: He's upstairs and you are early.

JACK: I know I'm early. I came early on purpose. I have a present for you.

ANJELICA: Good. You didn't have to do that.

JACK: Well, actually it's for Alexander.

ANJELICA: Oh. I had a feeling.

JACK: So, ah, do you think he'd be up to opening it now?

ANJELICA: Well let's go find out.

JACK: Okay. Don't worry. It's not a ball glove.

ANJELICA: No.

JACK: No. I couldn't find the right one.

SCENE TWO: JACK AND ANJELICA GO UPSTAIRS TO SEE ALEXANDER.

 

JACK: He's got your eyes. Look at 'em. It's your eyes.

ANJELICA: Have I told you lately how sweet you are?

JACK: Please, don't. I don't want to have any nasty rumors spread about me.

ANJELICA: It wouldn't hurt your political career you know. But if that's what you want, my lips are sealed.

JACK: Thank you.

ANJELICA: So, where is this alleged gift, eh?

JACK: Oh it's right here.

ANJELICA: Should I open it now or wait until after the christening.

JACK: Open it now.

ANJELICA: Okay, okay, here goes. (Beat) Oh Jack, where did you get this?

JACK: Um well actually I was packing up some of Harper's things back at the house and....that's mine. That's my christening gown. And I didn't think that Alexander had one

ANJELICA: Oh he doesn't. Do you realize that you are the only one that thought about this? With all the trouble we've had finding a nanny, it completely slipped my mind.

JACK: I wanted to do something special for him on his big day.

ANJELICA: You did. This is so special.

JACK: Good. I'm glad you liked it.

ANJELICA: You're going to look so beautiful in your christening gown, thanks to your big brother. Jack, I thought a lot about the talk we had the other day when you said things would never be the same.

JACK: Forget about that. Really forget about it.

ANJELICA: I just wanted to let you know, it's true. I do love Alexander in a way that I've never loved anyone else before.

JACK: That's to be expected isn't it?

ANJELICA: But I love you too.

JACK: Look don't worry about me. I'm a big boy Anjelica. Really I am.

ANJELICA: I'm not worried. I just want you to know that you are as important to me as you ever were. What I feel for you is different to what I feel for Alexander but it's not any less.

JACK: Thank you.

ANJELICA: You're a part of my family sweetheart and you always will be. (Hug)

SCENE THREE: A BIT LATER.

 

ANJELICA: I can't believe no one has arrived yet.

JACK: Relax, it's going to be fine.

ANJELICA: But where could Justin and the minister be? Don't they know what time it is? And Denise. Her plane was due in from Washington over an hour ago. If this keeps up my baby won't have a godmother or a godfather at the christening.

NEIL: Jack, you got a call. It's The Spectator.

JACK: I'll take it in this room.

SCENE FOUR: THE GUESTS BEGIN TO ARRIVE. JACK IS HOLDING ALEXANDER WHEN THE MINISTER ASKS FOR THE GODPARENTS TO COME FORWARD. ADRIENNE STEPS IN AS GODMOTHER BECAUSE DENISE COULD NOT MAKE IT FROM WASHINGTON. JACK STANDS BACK FEELING THE PAIN OF BEING LEFT OUT.

SCENE FIVE: AFTER THE CEREMONY JACK IS LOOKING OUT THE WINDOW AT THE RAIN WHEN JO AND ANJELICA COME INTO THE ROOM.

 

ANJELICA: Jack, thank you for coming and sharing the day with us. And thank you even more for giving Alexander your christening gown.

JACK: Well I'm glad it fit.

ANJELICA: It certainly did.

 

ANJELICA LEADS JACK AWAY WITHOUT HIM SAYING A WORD TO JO.

SCENE ONE: THE NEXT DAY JACK VISITS THE UNIVERSITY HOSPITAL TRYING TO FIND KIMBERLY ABOUT AN INTERVIEW.

 

JACK: (To nurse) You know you really do remind me of Fawn Hall.

NURSE: Get out of here.

JACK: I know her from my DC days. You're just like her. Only better.

NURSE: Well thanks.

JACK: I only call 'em as I see 'em. You see the thing about Fawn is that she's got brains as well as beauty. I bet you're just like that. I bet you know everything that goes on around here.

NURSE: Well I do try to keep up on things.

JACK: I bet you could even tell me for instance where....Kimberly Donovan is at this moment.

NURSE: Is that what this is about?

JACK: Oh no, no. I really do want to get together with you sometime....

NURSE: Get together with Fawn Hall.

 

THE NURSE WALKS OUT ON HIM JUST AS KIMBERLY GETS OUT OF THE ELEVATOR. JACK DELIBERATELY BUMPS INTO HER.

 

JACK: Oh Kimberly, excuse me.

KIM: Jack, really!

JACK: I'm sorry. How's your mother?

KIM: My mother?....My mother's fine, thank you. I have a meeting to go to. You'll have to excuse me.

JACK: Oh I'm sorry because I wanted to tell you about this very interesting topic that would be very good for your radio show.

KIM: No, no, no. We have enough subjects lined up already. Thoughtful but no thanks. Jim I wanted to....

JACK: Well that is too bad because it's probably one of the most interesting subjects to come down the pyke in a long time. And I didn't think you'd want to miss out on it.

KIM: Okay Jack, I'll bite. What's it all about?

JACK: And there has been a lot of interest in MIAs lately....

KIM: Okay, okay. I read something recently about this guy who's been missing and suddenly they found him.

JACK: I read about him too. You know I've been doing a little research on him and I found out that they transferred him to the Salem VA hospital.

KIM: You're kidding. Wow. Think about how interesting it would be to talk to that guy.

JACK: Yeah. I bet I could arrange for you to talk to him.

KIM: You could?

JACK: Oh yes. I know the administrator over there. I'm sure he'd be most co-operative.

KIM: Now wait a minute, why would you want to help me out Jack?

JACK: Well this is an issue that needs to be discussed.

KIM: Oh my, my, my. That almost sounded noble. (Beat) Almost! There are a lot of people who think I'm your competition you know.

JACK: Are you saying....you think that I wouldn't do this small favor for you out of the goodness of my heart?

KIM: (Surpressing a laugh.) Yes, that's what I'm saying.

JACK: Okay, okay. Kimberly you're right, you're right. You know me too well.

KIM: You bet I do. What's the catch Jack?

JACK: The truth of the matter is that my paper is going to do a major spread on this whole thing and I know that your radio show's getting very high numbers. You can generate a lot of public interest in this story so I can make a lot of money by selling a lot of stories when it comes time to do our spread.

KIM: Oh I get it, I get it. We help each other out a little here. Is that it?

JACK: Well why else would want to share it with you?

KIM: I don't know but I'm going to have to think about this one, a long time to think about this one.

 

KIMBERLY IS INTERRUPTED BY HER ASSISTANT, ADAM, WHO SAYS THAT HER CURRENT INTERVIEW HAS CANCELED AND SHE HAS NO ONE TO FILL THE SPOT. JACK GRINS AND COUGHS LOUDLY TO ATTRACT HER ATTENTION.

 

KIM: You got a fever with that? Okay, okay, another subject has been brought to my attention.

ADAM: Is it better than dead air?

KIM: Anything's better than dead air. Mr. Deveraux here has done a little research on the MIA issue.

ADAM: I don't think we've met. The name's Adam Scott. I'm Kimberley's assistant.

JACK: So I gathered. It's a pleasure to meet you Adam.

KIM: Jack has suggested that we do a show in conjunction with an article he's planning to run on the subject.

ADAM: Well can we get it together in time for the show?

JACK: Oh definitely. I've already laid all the ground work. I'd be more than happy to share it with you.

KIM: Adam do we have anything else in the works?

ADAM: Not that we can get together this fast. I really think we should go for it.

KIM: Then let's go for it.

JACK: Good, good. I'll get all together all the material and I'll share it with you. And I can even arrange that interview with that MIA at the VA hospital.

KIM: Great.

JACK: We'll do it, I'm sure. Well I've got to get to the hospital.

KIM: Alright Jack.

 

DIANA HAS WALKED UP BEHIND THEM AND HEARD IT ALL.

SCENE TWO: A SHORT TIME LATER JACK IS TALKING TO KIMBERLY IN THE DOCTOR'S LOUNGE.

 

JACK: When you find out with the interview of the MIA who's been transferred to the Salem VA hospital, you'll have yourself one hell of an story.

KIM: Wait a minute Jack. What if this guy doesn't want to be interviewed?

JACK: Oh don't worry about that. I talked to Dr. Burke and he said no problem.

KIM: No I hope not but let's face it Jack, this guy's been through a terrible ordeal. I'm not going to press him into something he's not ready for.

JACK: Look if he doesn't want to talk, do a basic profile on him. You know the anatomy of an MIA, that sort of thing. The people who were around him before he was recaptured. What is the reaction to his return? Was there someone he was personally involved with?

ADAM: Hey, hey, there's an angle.

JACK: Exactly. Exactly Adam. Now people want to know. I mean what if there was somebody you were in love who's been gone for years. Dead and gone. And suddenly they come back. And what if you're married? What if you're married or have a lover? Are you going to drop that lover just like a potato and take up with a person that you thought was dead?

ADAM: I think I should go and see what I can dig up on this.

JACK: I think you should. Go for it! Come back with something. Yeah.

SCENE THREE: DIANA DECIDES SHE HAS TO STOP THIS INTERVIEW AND SHE GOES TO SEE DR. BURKE AND TELLS HIM THAT SHE WANTS AN EXCLUSIVE ON THE STORY AND THAT SHE WILL CONCENTRATE ON THE DOCTORS IN THE HOSPITAL. BURKE DECIDES TO GO WITH DIANA'S DEAL AND NOT KIMBERLEY'S.

 

BURKE: I'm sorry Mrs. Donavon but I don't think it will be possible to do your show after all.

KIM: Won't be possible? Wait a minute, I thought everything was arranged.

JACK: What?

BURKE: I've changed my mind. Perhaps another time.

KIM: Yes. Perhaps another time. Thanks. Goodbye.

JACK: What happened?

KIM: That's what I'd like to know.

 

SCENE FOUR: LATER THAT DAY JACK GOES BACK TO SEE DIANA AT THE SPECTATOR. HE WALKS IN HER OFFICE AND SLAMS THE DOOR.

 

JACK: Alright! What the hell do you think you're doing?

DIANA: I'm trying to get a newspaper out. That's what we do here in case you've forgotten.

JACK: That's not what I'm talking about and you know it.

DIANA: Jack, I don't have time for one of your little tirades, alright. Now I have to be going so make yourself at home. You can snoop through my desk. I left it open for you this time so it would be....

JACK: You're not going anywhere until you explain yourself to me.

DIANA: I don't owe you any explanations.

JACK: You do when it comes to sabotaging this paper. Oh I know all about your little trip to the Salem VA. How you convinced Dr. Burke to have a change of heart over giving the radio talk show to Kimberly about the MIA.

DIANA: I convinced him to give us an exclusive. I hardly call that sabotage. Now why are you so interested in helping Kimberly all of a sudden?

JACK: Why are you so interested in this story all of a sudden? I thought you said the MIA thing was dead. It wasn't going anywhere.

DIANA: Well I did but you've obviously convinced Kimberly that it is and if it's a hot story then I think we should be covering it. You haven't answered my question. Why did you bring it to Kimberly?

JACK: Well I brought it to Kimberly because her show is a top rated show and it can bring in a lot of readership for our paper if we do the story. And I think it's good to have a little exchange of goodwill, don't you? I mean I think you'd be very happy if I helped out your future sister in law.

DIANA: Don't do me or my future family any favors. We don't need them especially from you.

JACK: When are they going to become your family anyway? I haven't heard any talk of a wedding lately.

DIANA: That is my business Jack, not yours.

JACK: My, kinda touchy about this aren't we?

DIANA: No I'm not. I'd just like you to stay out of my personal life!

JACK: I was just talking about the MIA. I didn't know that was personal life.

DIANA: It isn't!

JACK: Then why is it such a big deal?

DIANA: Will you get out here? Get out of here.

JACK: Well it seems like you can't say anything to anybody around here anymore.

DIANA: Get out. Now.

JACK: Gone, going, going, gone.

 

JACK IS VERY PLEASED WITH HIMSELF.

SCENE FIVE: MEANWHILE EMILIO GETS FIRED BY NEIL BECAUSE HE IS NOT A PROFESSIONAL TRAINER AND NEIL NEEDS SOMEONE BETTER TO TRAIN HIS HORSE. EMILIO TELLS ADRIENNE THAT HE IS SURE THAT JUSTIN GOT HIM FIRED BECAUSE HE KNOWS THAT EMILIO AND ADRIENNE HAD AN AFFAIR.

SCENE SIX: JENNIFER DROPS BY TO SEE ALEXANDER JUST AS HE IS FIRED. SHE FEELS SORRY FOR EMILIO BUT TELLS HIM HE WILL GET A BETTER JOB. JENNIFER GOES INTO THE HOUSE AND EMILIO DECIDES TO GET HIS REVENGE ON JUSTIN. HE CUTS THE BRAKE CABLE ON JUSTIN'S SPORTS CAR.

SCENE SEVEN: AS JUSTIN IS LEAVING, JENNIFER ASKS FOR A LIFT IN HIS CAR. EMILIO IS WATCHING FROM THE BUSHES AND SEES HER GET IN THE CAR. AS JUSTIN TAKES OFF, EMILIO THROWS HIMSELF IN FRONT OF THE CAR AND IS BADLY HURT. EMILIO IS TAKEN TO UNIVERSITY HOSPITAL AND NEEDS SURGERY.

SCENE ONE: A COUPLE OF DAYS LATER, JACK WALKS INTO DIANA'S OFFICE AND SHE IS TALKING TO A SERVICEMAN.

 

JACK: Diana, where are your manners? Jack Deveraux.

CAL: Cal Winters. An old friend of Diana's.

JACK: Oh. Pleased to meet you Lieutenant.

CAL: Thanks.

JACK: When did you two meet?

CAL: We met in Hawaii.

JACK: Oh Hawaii. When did you sneak off to Hawaii, Diana?

DIANA: I didn't.

CAL: Diana and I are old friends.

JACK: Really?

CAL: As a matter of fact I just arrived in Salem.

JACK: And you just looked her up. I can't blame you. If I had an old friend as beautiful as Diana, I'd do the same thing.

DIANA: Jack, did you see the copy of the Sunday Magazine layout that I left in your office?

JACK: Oh forget about that. This is exciting. Two friends getting back together. Of course I'm....I'm sure you were sorry to hear the news.

CAL: What news?

JACK: Well nobody likes to hear about the one that got away and here's Diana getting married to Roman Brady. (Beat) That is true, isn't it, Diana? (Beat) I'm sorry. You act as if you didn't know.

CAL: No I didn't.

JACK: I'm sorry. Me and my big mouth. Well you know what they say? Life goes on right.

CAL: Right.

JACK: Diana, I've got work to do. I'll check out that layout. I'll get back to you.

SCENE TWO: A SHORT TIME LATER CAL LEAVES DIANA'S OFFICE AND JACK STOPS HIM TO TALK.

 

JACK: Lieutenant, Cal. Look I'm sorry to be the one to drop a bomb on you like that. I'm thinking that maybe if you stick around in Salem for a couple of days we could get together, have a couple of drinks or something.

CAL: Maybe.

JACK: Good, good. I'll look forward to that.

SCENE THREE: LATER JACK WALKS INTO DIANA'S OFFICE WHERE ROMAN AND DIANA ARE KISSING.

 

JACK: Are you guys coming up for air anytime soon?

ROMAN: Taking notes Jack?

JACK: Maybe.

DIANA: What can I do for you Jack?

JACK: Well I just finished for the day and I thought I'd say goodnight.

DIANA: Goodnight.

JACK: I saw the layout. It's good. Have a good evening.

DIANA: Thanks, you too.

JACK: Roman?

ROMAN: Yeah, see ya Jack.

JACK: You know I just wanted to let you know that I really enjoyed meeting your friend earlier. I bet you guys had a lot to talk about.

ROMAN: What's he talking about Diana?

JACK: Diana, it was good meeting your friend earlier.

ROMAN: I thought you said that nothing in particular happened Diana? Did you forget this old friend dropped by?

DIANA: Yes, I guess I did.

ROMAN: So who is it anyway?

DIANA: Jack weren't you on your way out?

JACK: Diana, did I say something I shouldn't have said? (Beat) Diana, I'm sorry if I spoke out of turn.

DIANA: Please just go Jack.

JACK: Of course.

 

ROMAN ASKS DIANA WHAT IS GOING ON AND AS SHE STARTS TO EXPLAIN SHE NOTICES THAT JACK IS STILL LEANING ON THE DOOR.

 

DIANA: Please feel free to shut the door as you leave Jack. (Slam) He drives me crazy.

 

ROMAN CONTINUES TO ASK QUESTIONS BUT DIANA STILL AVOIDS ANSWERING HIM DIRECTLY.

SCENE FOUR: JACK DECIDES TO FIND OUT MORE ABOUT CAL AT THE VA HOSPITAL.

 

BURKE: Mr. Deveraux.

JACK: Dr. Burke, just the man I'm looking for.

BURKE: Oh.

JACK: I need to talk to you about something.

BURKE: I have plenty of time if you need to help in researching the series of articles that your paper is doing on me. I mean on the hospital.

JACK: Actually it's about one of your patients but I do need your help on something.

BURKE: What's that?

JACK: I need the dossier on Lieutenant Cal Winters.

BURKE: Hops start Mr. Deveraux. I'm afraid I can't do that. It's illegal.

JACK: Details my man, details. (Beat) You know I bet you're well past due for a promotion, aren't you?

BURKE: I've been in my present position for some time now.

JACK: Hmmm. A favorable word in the right ear at the right time from the right person could help your career a lot. I'd be more than happy to return the favor if there was a favor to return?

BURKE: Why don't you come up to my office with me and I'll see what I can do.

JACK: Huh, uh.

SCENE FIVE: A SHORT TIME LATER.

 

JACK: Looks complete. Is this all you've got on Cal Winters?

BURKE: Would you mind keeping your voice down? I'm really not supposed to be doing this.

JACK: Don't worry doc. I'm going to make sure that people know what you're doing. The right people.

BURKE: Yeah. I have to get to my meeting.

JACK: Good. I don't want to keep you. Thank you very much. Thank you very much.

SCENE ONE: EMILIO IS IN HOSPITAL AND APRIL WANTS TO CALL THE POLICE TO INVESTIGATE HIS ACCIDENT. SHE THINKS THAT JUSTIN DELIBERATELY RAN EMILIO OVER. EMILIO TELLS HER TO KEEP THE POLICE OUT OF IT ENTIRELY. ABE COMES TO QUESTION EMILIO ANYWAY AND HE ASKS HIM HOW MUCH HE KNOWS ABOUT MECHANICS BECAUSE THE BRAKES HAD BEEN TAMPERED WITH. EMILIO PLAYS DUMB ABOUT THE WHOLE THING.

SCENE TWO: ABE ASKS JENNIFER IF THERE WAS ANYTHING BETWEEN JUSTIN AND EMILIO. JENNIFER GETS UPSET ABOUT HIS IMPLICATIONS.

SCENE THREE: JENNIFER TELLS ADRIENNE ABOUT THE BRAKES AND ADRIENNE CONFRONTS EMILIO. JENNIFER OVERHEARS THE CONVERSATION AND REALIZES THAT EMILIO IS AT FAULT.

SCENE ONE: JENNIFER GOES IN TO SEE EMILIO AND CONFRONTS HIM WITH THE TRUTH. HE TELLS HER THAT SHE WAS ALWAYS TRYING TO CHANGE HIM AND NOW SHE KNOWS THE TRUTH, THAT HE FOLLOWS ONE RULE. AN EYE FOR AN EYE.

SCENE TWO: MEANWHILE EVE HAS AT LAST FOUND THE BADLY INJURED NICK AND VOWS TO TAKE CARE OF HIM. SHE CALLS AS AMBULANCE AND HAS HIM TAKEN TO UNIVERSITY HOSPITAL FOR TREATMENT.

SCENE THREE: JACK IS IN THE SHOWER AT HIS HOME WHEN A MAN BREAKS IN THE BEDROOM WINDOW. JACK COMES OUT OF THE SHOWER AND WRAPS A TOWEL AROUND HIS WAIST. AS HE IS WALKING TOWARDS THE DRESSER HE SEES A REFLECTION OF THE GUY HOLDING A GUN ON HIM. JACK GETS HIS OWN GUN OUT OF THE DRAWER AND TURNS AROUND TO FACE THE GUY.

 

JACK: Well it seems we have check and checkmate. Or maybe I should say it differently since you don't seem like the chess playing type.

GUY: Listen buddy....

JACK: Oh no. Hold it right there. Don't make the mistake of thinking I don't know how to use this. Now I'm sure that we can work something out without spilling any blood. Especially mine. Now why don't you be civilized and put the gun down? (Beat) Come now, what have you got to lose?

GUY: You first.

JACK: Alright. I tell you what. We'll put our guns down at the same time. See I'm putting my gun down, putting my gun down, going down. There it is.

 

THE GUY PUTS HIS GUN ON THE FLOOR.

 

JACK: Here it is again.

 

JACK PICKS HIS GUN BACK UP AND POINTS IT AT THE GUY.

 

GUY: Come on....

JACK: Stay right there. This gun is pointed right at your heart. I'd go for your head but in your case it wouldn't be much of a loss would it? Now back off! Alright start talking. Who are you and what the hell are you doing here? (Beat) Sit.

GUY: Why?

JACK: Got a death wish? I said sit down. (Beat) Now tell me a story. I can see that you are a robber and a thief but I don't think you went to all this trouble just to steal my stereo.

GUY: No. I'm on the run from the cops and I came here because I thought you could help me.

JACK: Please be serious.

GUY: Look I know who you are Deveraux. Your old man, he might have been a Senator but too bad he loved money more than any street punk I've met. Figure you'd be just the same.

JACK: I don't appreciate the relation there but you're right. My father did like money.

GUY: That's why I'm here but I wouldn't have come if I knew it was going to turn out like this.

JACK: The weak son of the powerful man right? You probably thought I'd be cringing in my bed, hiding behind my teddy bear for protection. Close?

GUY: Close enough.

JACK: So much for clichés. Go on.

GUY: No way. Why should I tell you? You're not going to help me.

JACK: I think I'll be the one to decide that seeing as how I'm the one holding the gun. What's your name?

 

THE GUY REMOVES HIS FAKE MOUSTACHE.

 

GUY: Eddie Reed.

JACK: Well, a name as familiar as this morning's headlines.

EDDIE: That's right. The guy who escaped from jail, that's me.

JACK: Compliments to your hairdresser but I'm not getting involved in any mess with Eve Donavon. Sorry.

EDDIE: No, no wait. Forget about her. The only reason I grabbed her is because I thought she could help me get the money. We're talking two million bucks. Two millions untraceable tax free dollars.

JACK: Go on.

EDDIE: A few years back I needed some cash and I needed it real quick. So I scoped out this security company. You know the kind. They have the armored cars, they go to stores, they pick up the cash....

JACK: Don't tell me. The company was called Salem Secure Transport.

EDDIE: Yes, you figured it out.

JACK: That's my father's company. You know your little operation cost us dearly.

EDDIE: Yep but maybe if you get some of that money back your old man won't be so upset.

JACK: Maybe not. Where is this money?

EDDIE: An old friend of mine has it. You help me get it back and I'll give you half. You interested? So what's it going to be? Are you going to help me out or not?

JACK: Well, it seems by helping you I'll be helping myself. But I hope for your sake my friend that you're not lying about this money.

EDDIE: I'm not lyin'.

JACK: Okay, where is it?

EDDIE: Like I told you there's an old friend of mine has it and I need for you to find out where it's hid.

JACK: Who's your old friend?

EDDIE: Nick Corelli.

JACK: (Laughing) Nick Corelli's dead.

EDDIE: Uh uh! No, check the hospital.

JACK: I will.

EDDIE: Good. In the meantime I need a place to hide out.

JACK: Oh I could do whatever I can.

EDDIE: No it's fine.

JACK: Well where do I find you?

EDDIE: You don't. I'll find you.

JACK: Alright.

EDDIE: Wait a minute, aren't you forgetting something?

JACK: Oh yes I am. Of course.

 

JACK POINTS THE GUN AT EDDIE.

 

EDDIE: Oh come on man, wait. I thought we had a deal.

JACK: Sorry, just kidding. Nice gun. You play with big toys. Just remember one thing. Next time you come in here you don't come through the window, you come through the door. Or better yet, we'll meet someplace else.

EDDIE: Look, do me a favor, relax. I'm not going to bring the cops down on you. You play this right you come out of this with a million bucks and nobody's going to know. I think we make a good team.

JACK: Yes Eddie. I believe we will.

 

EDDIE LEAVES AND JACK LOOKS AT THE BULLETS HE TOOK FROM EDDIE'S GUN.

 

JACK: It doesn't get much better than this, does it?

SCENE ONE: JENNIFER GOES DOWN TO THE PIER TO THINK ABOUT EMILIO AND ADRIENNE COMES DOWN TO TALK TO HER. SHE TELLS JENNIFER THAT EMILIO NEEDS SUPPORT BUT JENNIFER TELLS ADRIENNE WHAT EMILIO DID AND THAT SHE CANNOT EXCUSE HIM. ADRIENNE BEGS HER TO FORGIVE HIM BUT SHE SAYS THAT EMILIO TRIED TO COMMIT MURDER AND SHE CANNOT FORGIVE HIM FOR THAT.

SCENE TWO: ABE COMES TO QUESTION EMILIO AGAIN AND WHEN ABE LEAVES HE GETS SCARED. HE GRABS HIS CLOTHES AND LEAVES TOWN WITHOUT TELLING ANYONE.

SCENE ONE: THE NEXT DAY ROMAN AND DIANA ARE IN HER OFFICE DISCUSSING WHERE TO GO FOR THEIR HONEYMOON. JACK ARRIVES.

 

JACK: Diana I....

ROMAN: Jack, come right on in pal.

JACK: End of the quarter financial statements. Rough draft. Have a look. (Beat) Oh look at this. Somebody's planning a honeymoon. Aspen? Ah, boring, nothing but snow. Paris? Boring too. Hawaii....I like that. You know, if you ever wanted to got someplace that's romantic, someplace that you'll never forget, Hawaii is the perfect place.

ROMAN: Well unfortunately I'm marrying Diana and not you, big guy. So she's going to decide on the honeymoon.

JACK: That's good. You ever been to Hawaii, Diana?

DIANA: I'm sure you have far more pressing problems to deal with than where Roman and I go on our honeymoon.

JACK: I get the hint but think about what I said. Hawaii is great. Nice seeing you Roman. I'll see you later and I'll check in with you later the financial statements. "Aloha oiy, aloha oiy, aloha!"