Episode Seventy-three:
Jack Writes a Story on Gangs,
but What Are his Real Motives.

SCENE ONE: JENNIFER ENTERS JACK'S OFFICE TO SPEAK TO HIM. HE IS NOT THERE BUT SHE GOES IN ANYWAY AND FINDS AN ARTICLE ON HIS DESK.

 

JENNIFER: Jack....what?

 

JACK WALKS IN AND SEES HER THERE.

 

JACK: Jennifer.

JENNIFER: Jack.

JACK: What are you doing in here? You know that nobody's supposed to be in here except....

JENNIFER: (Aggressive) Jack what is this all about?

JACK: Oh that little thing. Oh that's nothing. That's a rough copy. You shouldn't have seen that.

JENNIFER: Too late. How could you write something like that?

JACK: (Angry) Easy. You just put it in the typewriter and start tapping away.

JENNIFER: It's not even an article. It's an out and our assault.

JACK: Aren't we being a little melodramatic?

JENNIFER: Jack, it's everything that I was taught never to write in an article and you're the one who taught me.

JACK: So I must know what I'm doing?

 

JENNIFER TAKES THE PAPER AND BEGINS TO READ IT.

 

JENNIFER: "Membership in the Stingrays is virtually a tradition for many young men on the waterfront. The Ramirez family being a prime example...."

JACK: That's a lovely recitation.

JENNIFER: "....Despite the violent death of eldest son Raoul and the poor example set by middle brother Emilio whose record of illegal offenses committed over the past year alone is exceptional even by Stingray's standards, the youngest Ramirez boy Julio has been caught up in the violent world of the gangs as well. The Salem police are still searching for young Ramirez who disappeared last week along with the underage daughter of police commissioner Roman Brady."

JACK: Right. It's an accurate account of the destructive influences of gangs on poor families and....

JENNIFER: First of all, Emilio is not a member of the Stingrays any more and Juilo never was. You wrote this whole article without any concern for the facts.

JACK: Don't you think that maybe your feelings are clouding your perceptions a bit?

JENNIFER: What about your perceptions Jack? I've defended you. There are a lot of people in this town who would like to believe the worst about you but I keep trying to set them straight. But it looks like I was wrong. I can't believe you would use The Spectator to kick around a poor family especially when it's down.

JACK: (He has an idea to distract her.) Alright, alright. You may have made a very small point there and I'm willing to discuss it.

JENNIFER: Do you mean that?

JACK: Sure but I don't have any time right now. I need to review a new restaurant down on the beach. I tell you what, we'll eat dinner and you'll talk. How about that?

JENNIFER: (Unable to resist him.) Okay.

JACK: Okay, so we can leave this right here.

JENNIFER: No! We will leave it on my desk....

 

SHE STORMS OUT OF HIS OFFICE AND THROWS THE PAPER ON HER DESK ALL THE TIME YELLING AT HIM.

 

JACK: (Ignoring her ranting.) Plenty of copies where that came from.

JENNIFER: ....and don't think that this fancy dinner will calm me down....

JACK: (Beat) I'm sure it won't. I'm sure.

 

JACK IS ENJOYING EVERYTHING ABOUT HER INCLUDING HER RANTING AT HIM.

 

JENNIFER: ....and we're going to sit in this restaurant until it's all figured out and it will not be published until it is.

JACK: I don't know about that.

SCENE TWO: JACK AND JENNIFER ARE SEATED AT A TABLE AT THE SANDOLLAR. JACK HAS A MENU IN HIS HAND WHILE JENNIFER IS HOLDING A COPY OF HIS ARTICLE ABOUT EMILIO AND GANGS. JACK IS GIVING THEIR ORDER TO THE WAITRESS. THE SONG PAPER MOON IS PLAYING IN THE BACKGROUND THROUGHOUT THE SCENE [DESPITE THEIR ARUGING, THE MUSIC SEEMS TO GET TO THE HEART OF THEIR FEELINGS ABOUT EACH OTHER.].

Yes, it's only a paper moon
sailing over a cardboard sea,
but it wouldn't be make believe if you believe in me.

Yes, it's only a canvas sky
hanging over a [???],
but it wouldn't be make believe if you believe in me.

Without your love,
it's a honkey-tonk parade.
Without your love,
it's a melody played in a penny arcade.

It's a Barnum and Bailey world,
just as phoney as it can be,
but it wouldn't be make believe if you believe in me.

Yes, it's only a paper moon
sailing over a cardboard sea,
but it wouldn't be make believe if you believe in me.

 

JACK: So we'll have the wild rice and the truffles and the chateau-whatever the chef thinks is best.

WAITRESS: Yes sir.

JACK: And I am Jack Deveraux from The Spectator reviewing this place so this dinner will be on the house.

 

THE WAITRESS PULLS A FACE AND TAKES THE MENU FROM HIM.

JACK: Now where were we?

JENNIFER: Emilio.

JACK: Have you tried these bread sticks? There's ten different kinds.

JENNIFER: Jack if you not going to take me seriously, then I don't want to stay here.

JACK: (Leaning over and looking at her intently.) I'm taking you very seriously....very seriously.

JENNIFER: What does that mean? Why are you looking at me like that?

JACK: I'm being intensely intense.

JENNIFER: Alright, good, because in paragraph four you wrote that Emilio is a member of the Stingrays. That is inaccurate so you need to get quotes from him stating why he joined the gang, why he left....Jack?

 

JACK FACE HAS TURNED TO A HALF GRIN.

 

JENNIFER: Jack?

JACK: Present, present.

JENNIFER: Am I getting through to you at all?

JACK: Getting through loud and clear.

JENNIFER: Alright, so you agree with all these changes I've made here?

JACK: Well not all the changes, no.

JENNIFER: Then why aren't you arguing with me?

JACK: You don't see the difference?

JENNIFER: What difference?

JACK: The last time we went nose to nose on any kind of issue all you could do was whine at me.

JENNIFER: (Pulling a whiney face.) I did not. I don't whine.

JACK: Oh come on now. Sally Wales and her baby. It was (Whiney voice) please Jack have a bleeding heart, pleeeese.

JENNIFER: I never said that. I never said anything about bleeding heart Jack.

JACK: (Waggling a breadstick at her.) You're becoming a reporter. You're dealing with facts, not with emotions. Well you still have a few emotions but that's alright. I like it.

 

JENNIFER: You're serious.

JACK: I'm very serious. Why do you think I'm listening to you in this restaurant in the first place?

JENNIFER: Then you're going to rewrite this the way that I'm suggesting?

JACK: I will think about it. If....if we make a deal and we don't talk about the whole thing until after the dessert. I mean I am reviewing this restaurant. Deal?

 

JACK OFFERS HER A BREADSTICK.

 

JENNIFER: Until dessert. Deal.

 

SHE TAKES THE BREADSTICK AND SNAPS IT IN HALF.

 

JENNIFER: You know Jack, I think there might be an almost human being inside there.

 

JACK: (Looking around the restaurant.) Where? Oh, oh, who knows? Stranger things have been known to happen in the world.

 

HE HALF SMILES AT HER.

SCENE THREE: MEANWHILE EMILIO HAS COME TO THE SPECTATOR LOOKING FOR JENNIFER. SCOTT IS THERE ALSO AND THEY ARGUE AND SCOTT TELLS EMILIO THAT JENNIFER WILL SOON REALIZE THAT EMILIO IS NOT GOOD ENOUGH FOR HER. SCOTT LEAVES AND EMILIO PICKS UP THE COPY OF JACK'S ARTICLE THAT JENNIFER LEFT ON HER DESK. EMILIO IS FURIOUS WITH JACK.

SCENE FOUR: JACK AND JENNIFER RETURN FROM THE SANDOLLAR.

 

JACK: Oh, shrimp with kiwi and prune sauce. It's enough to make you want raw liver.

JENNIFER: You're still not listening to me Jack.

JACK: I'm sorry. I can't get the taste out of my mouth.

JENNIFER: So do I. I keep reading this.

JACK: (Snatching the paper from her hand.) Well don't torture yourself.

JENNIFER: Look Jack I had to sit through that dinner too alright. I think they gave us the reviewer's special. But you can always take revenge in print. What about me?

JACK: Alright, what should I do to make it up to you, as if I didn't know.

JENNIFER: Paragraph twelve Jack. It has to be changed.

JACK: (Throwing his arms in the air in frustration.) What do I have to do to make you forget about this article?

JENNIFER: Nothing. There's nothing you can do to....

 

JENNIFER FOLLOWS JACK INTO HIS OFFICE WHERE THEY BOTH STOP DEAD WHEN THEY SEE EMILIO SITTING IN JACK'S CHAIR WITH HIS FEET ON THE DESK.

 

JACK: Emilio.

EMILIO: There isn't going to be an article.

JENNIFER: Emilio.

JACK: Emilio what are you doing in here?

EMILIO: I got a meeting here and it starts now.

JENNIFER: Emilio, don't please.

EMILIO: Listen Deveraux if you do print that article, I'm telling you I'm going....

JACK: What? Nobody's going to tell me what to print, what not to print.

JENNIFER: Jack.

EMILIO: And nobody writes lies about my family just to sell some newspapers.

JENNIFER: We're going to redo it. He's rethinking it and.....

EMILIO: Just save it okay. Save it. Why are you always defending him?

 

JACK LOOKS AT JENNIFER WAITING FOR HER ANSWER.

 

JACK: You do?

JENNIFER: You know I do Jack, you know I do.

JACK: You do.

EMILIO: Everytime he pulls one of his numbers you defend him and when it's all cleared up everybody still knows he's a slimey limey little lizard.

JACK: That's funny, we called upon the saint scenario to you earlier this evening.

JENNIFER: Will you two please stop it. Both of you, stop.

JACK: The people of Salem....the citizens of Salem that pay their taxes deserve to know what's going on in their own backyard.

EMILIO: And what's that supposed to mean?

JACK: It means that this story is going in tomorrow's edition, as is.

JENNIFER: Jack, no. You can't do this.

JACK: Emilio, here's 50 cents, two quarters, so that you can buy yourself a copy of tomorrow morning's paper. Please read it.

EMILIO: (To Jennifer) You heard him. (To Jack) You dirty little rat.

JENNIFER: Stop it alright. Just leave. Don't try to make more trouble.

EMILIO: I know a lot okay. I'm not starting trouble. You know I ain't got time for this. I pass this Deveraux.

JACK: That's right. It's Friday night. Subways to spray and hubcaps to hock.

EMILIO: You know, if you do print that article I can promise you trouble my man.

JACK: Promise?

EMILIO: Believe me.

 

EMILIO BEGINS TO WALK OUT.

 

JACK: Well thank you for dropping by Emilio. We always appreciate anything, anytime. Any kind of criticism from our (Smirking at Jennifer) remedial reading public.

SCENE FIVE: JENNIFER WALKS BACK INTO JACK'S OFFICE AND CONFRONTS HIM.

 

JENNIFER: You are not going to publish this story.

JACK: Watch me.

JENNIFER: Jack you said that that we were going to rethink, that we were going to rewrite it, we were going to go right over it....

JACK: I'm not going to let Emilio Ramirez dictate the editorial policy of this newspaper.

JENNIFER: You don't understand him like I do.

JACK: That's fortunate for me that my head is not turned by a pile of muscles and a pony tail. (Beat) You want to read his rap sheet?

JENNIFER: No Jack. Look I know all about Emilio's past but that's exactly what it is. It's his past.

JACK: Oh no.

JENNIFER: The same way you want your past left behind.

JACK: Look, my past has nothing to do with it.

JENNIFER: Look at least I can depend on Emilio. At least he's consistent from day to day and he doesn't pass instant judgment on anybody either.

JACK: As opposed to whom?

JENNIFER: Oh, take a guess Jack. Don't strain yourself.

JACK: Ah....

 

SHE MARCHES OUT HIS DOOR.

 

JACK: I'm not finished with you.

JENNIFER: Well I'm finished with you Jack.

SCENE SIX: SHE SLAMS HIS DOOR AND GOES BACK TO HER DESK. SCOTT COMES IN AND TELLS HER THAT HE HEARD HER YELLING IN THERE. SHE SAYS SHE IS NOT IN THE MOOD BUT HE INSISTS THAT SHE GOES OUT WITH HIM. AS SHE WALKS OUT WITH HIM, JACK COMES OUT OF HIS OFFICE HOLDING THE ARTICLE.

 

JACK: Jennifer I think that....er....Jennifer?

 

HE LOOKS AROUND AND SEES THAT SHE HAS LEFT. HE SHRUGS HIS SHOULDERS.

 

JACK: Well Jack. Still batting a thousand.

SCENE ONE: A COUPLE OF DAYS LATER, JACK IS WALKING THROUGH THE PARK READING THE PAPER WHEN HE SEES JO COMING TOWARDS HIM. HE TURNS AROUND TO AVOID MEETING HER THEN CHANGES HIS MIND AND TURNS BACK BUT SHE HURRIES PAST LOOKING VERY WORRIED AND DISTRACTED.

 

JACK: Ah Mrs. Johnson.

JO: Jack.

JACK: I was....I was wondering....I was....I was wondering how you were.

JO: Well as good as I can be I suppose. Jack I really have to be going.

JACK: Are you sure you're okay?

JO: Yes. I'm running so late and I've got so many things I've got to do then I've got to get back to Dr. Curtis's as soon as possible.

JACK: Is he okay?

JO: Are you okay? Since when have you asked me so many questions?

JACK: Well I just wanted to see if you were....okay.

JO: Thank you, I'm fine. Actually it's Adrienne that I'm worried about.

JACK: Adrienne.

JO: Oh well don't tell me that Mrs. Curtis hasn't filled you in her side of the story huh, uh?

JACK: Well actually Anjelica and I don't talk about....everything.

JO: Well when you see her, you tell her that Adrienne is doing just fine.

JACK: Sure. Sure. I understand.

JO: Thank you. (Reluctant to leave.) Oh I have to be going. Goodbye son.

 

SHE HURRIES AWAY.

 

JACK: Goodbye.... Mrs. Johnson.

SCENE TWO: ADRIENNE IS IN NEIL'S GARDEN REPOTTING SOME PLANTS. SHE HAS MOVED THERE BECAUSE ANJELICA NOW LIVES AT THE PENTHOUSE WITH ALEXANDER AND ADRIENNE FEELS PUSHED OUT. THE GARDNER COMES ALONG AND TELLS HER THAT A GUY WHO SAYS HE IS HER BROTHER IS LOOKING FOR HER IN THE FRONT YARD BUT HE TOLD HIM TO COME BACK. SHE ASSUMES IT IS STEVE WHEN SHE HEARS THE FOOTSTEPS.

 

ADRIENNE: Steve? I'm so glad you're here.

 

JACK TURNS THE CORNER.

 

JACK: (Half smiling) Not quite, but one outta two ain't bad.

ADRIENNE: If you came to ruin my day Jack, you're too late.

JACK: So I guess I heard right.

ADRIENNE: You heard? I suppose you came over here to see if Anjelica's really run me into the ground, huh? Well Jack she almost has and I'm sure she'll be glad to hear that.

JACK: You say I'm going to tell her?

ADRIENNE: Are you saying you wouldn't?

JACK: (Hurt) Are you saying that I don't have a heart?

ADRIENNE: Look Jack I wish I could believe that you did. At least for my mother's sake.

JACK: Adrienne, you wear your heart on your sleeve, you get hurt. I learnt that the hard way.

ADRIENNE: From who, Anjelica? That sounds like her brand of mothering.

 

JACK IS VERY HURT BY THAT COMMENT AND HIS VOICE BEGINS TO BREAK.

 

JACK: Look I don't know what she did but I just want to say I'm sorry.

ADRIENNE: Jack sorry's real nice but getting her away from my husband would be very nice too.

JACK: Alright, I didn't know the details but I'm sure that....er....I'm sure that she had her reasons.

ADRIENNE: Don't....don't you defend her. Not to me.

JACK: (Getting angry) Don't expect me to attack her because she did raise me.

ADRIENNE: That should be enough of a lesson for Justin.

JACK: (Hurt and turning cynical) Oh! Ouch!

ADRIENNE: Jack, I'm sorry. But we both know that you won't be petitioned for sainthood, right?

JACK: Look, I came by here because I heard you were hurting and I thought maybe I could do something to help.

ADRIENNE: Jack you can't because you are so blinded with devotion to your stepmother that you can't see how she's destroying me and my life.

JACK: What do you mean? You're so blinded by hate that you can only see black and white.

ADRIENNE: What is that supposed to mean?

JACK: It means you can't look around you. Maybe I can't help you but I'm sure there's somebody somewhere who can. Just keep your options open.

ADRIENNE: Thanks, a bunch.

JACK: I'm saying that you cannot compete with Anjelica. You cannot play her games. Find somebody who does.

ADRIENNE: What, what do you mean, use them? Jack, I've never been a politician. I don't know how to use people the way you do.

JACK: Or forgive them.

 

SHE FEELS A BIT ASHAMED.

 

JACK: Look Adrienne, I just hope that you get what you want. I think you deserve it.

SCENE ONE: THE NEXT DAY JENNIFER COMES INTO JACK'S OFFICE. HE IS NOT THERE BUT SHE GOES IN ANYWAY.

 

JENNIFER: Jack my story's finished! (Beat) Beat you to the deadline.

 

SHE PUTS HER ARTICLE ON HIS DESK AND SEES A PIECE HE IS BEEN WRITING ON TOP OF THE LATEST EDITION OF THE SPECTATOR. SHE PICKS IT UP AND STARTS READING THE ARTICLE BUT ON THE BACK WE SEE THE HEADLINE OF THE PAPER WHICH READS "ONE FAMILY'S NIGHTMARE!"

 

JENNIFER: What is this? (Beat) Jack. (She loves the article but hasn't seen the front page headline.)

 

SHE READING INTENTLY WHEN JACK WALKS IN.

 

JACK: Jennifer.

JENNIFER: Jack, when did you write this?

 

JACK THINKS SHE IS SEEN THE HEADLINE.

 

JACK: Ah....I can explain.

JENNIFER: What's to explain? Jack, this is wonderful.

JACK: It is?

JENNIFER: Yeah, it's terrible what Marcus Hunter went through. It takes a lot of guts to stand up and say something about bigotry.

JACK: (Very releaved) Oh. That.

JENNIFER: Yes, that. What did you think I was talking about?

 

JACK GRABS THE PAPER FROM HER.

 

JACK: Oh that. I....er....thought you were talking about....that.

JENNIFER: Jack this is so great. It's great. It makes me so proud (Hand on heart) to know that I work for The Spectator.

JACK: Proud. It's good to be proud. I mean proud of your work, yes.

JENNIFER: I'm so proud of you Jack.

JACK: (Reluctant to take the praise, but unable to resist.) Ah me? I mean....I really didn't do anything. I just, you know, write up some article....I just write articles every day.

JENNIFER: No, no. But not like this Jack.

JACK: Ah....look it's easy to write an article about prejudice. I mean everybody knows it's wrong so you just say no.

JENNIFER: Well then they'll see this in this editorial. I can't even understand that you even thought about doing that article on Emilio. I mean it's the same thing.

JACK: (Getting uncomfortable) Ah, no it's not.

JENNIFER: Yes it is. I mean prejudice is prejudice.

 

JACK LOOKS DOWN AT THE FOLDED NEWSPAPER IN HIS HAND.

 

JENNIFER: Anyway I am so glad that you changed your mind about doing that other article.

 

JACK GIVES HER A HALF GRIN.

SCENE TWO: MEANWHILE EMILIO HAS JUST PICKED UP THE MORNING PAPER. HE SITS DOWN WITH JULIO WHO IS FILLING IN HIS ENTRANCE FORMS FOR JUILLIARD, THE MUSIC SCHOOL IN NEYORK CITY. JULIO NEEDS THREE CHARACTER REFERENCES: THEY COME UP WITH FATHER HERNANDEZ, THE PARISH PRIEST, THE MUSIC TEACHER AND THEN EMILIO SUGGESTS JENNIFER. JULIO THEN SEES THE ARTICLE IN THE PAPER AND THINKS THAT THE SCHOOL WILL NOT LET HIM IN BECAUSE THE ARTICLE MAKES HIM LOOK LIKE A GANG MEMBER. EMILIO IS FURIOUS AND SETS OFF TO FIND JACK.

SCENE THREE: MEANWHILE BACK AT JACK'S OFFICE.

 

JENNIFER: Jack you really understand what Marcus went through.

 

SHE TAKES THE PAPER FROM JACK AND STARTS TO READ.

 

JENNIFER: I mean what it feels like to be discriminated against.

JACK: Yeah.

JENNIFER: And for people to hurt you and hate you for no other reason than prejudice....

 

EMILIO BURSTS IN.

 

EMILIO: I oughta kill you!

 

JACK: Ah, Emilio. I don't think that would look good on your rap sheet. I really don't.

JENNIFER: Emilio. Emilio what are you doing?

 

EMILIO LUNGES AT JACK BUT HE DUCKS AROUND THE DESK.

 

JACK: Ah....I think....

 

EMILIO CATCHES JACK AND HOLDS HIM BY HIS LAPELS.

 

JENNIFER: Emilio!

EMILIO: You're going to get it Deveraux.

JENNIFER: Emilio, what's the matter with you?

EMILIO: You mean you have to ask.

JENNIFER: I don't know what talking about?

EMILIO: I don't believe this. (He pulls jack towards Jennifer.) You two are meant for each other.

JENNIFER: What's going on?

EMILIO: Didn't you see this morning's paper. Can't you read? Huh?

 

JACK JUST STANDS THERE ALMOST LOOKING LIKE A NAUGHTY LITTLE BOY. JENNIFER SEES THE HEADLINE AND LOOKS IN HORROR AT JACK.

 

JENNIFER: How could you?

EMILIO: Oh yeah, you didn't know nothin about it!

JENNIFER: No I did not. Not until now. After I asked you not to go ahead with this, you went and did it anyway.

JACK: What....you think I take orders from you? You work for me, remember?

JENNIFER: Yeah, well I'm not so sure I want to work for you anymore Jack.

JACK: Well that's your prerogative. But that story is very good.

JENNIFER: No it is not good. You used this paper to make a personal attack against Emilio and his family.

JACK: I'm writing an article about violence and gang corruption. It's a fact of life in this city.

EMILIO: The fact is that there is a kid at home who thinks he's nobody and he's not going anywhere and it's because of you man.

JACK: What do mean? That punk kid, your brother.

EMILIO: Don't call my brother a punk, man.

 

EMILIO GRABS JACK AND LOOKS HIM IN THE FACE WITH DISGUST.

 

EMILIO: Ah, get out of here.

 

EMILIO WALKS OUT AND JACK SITS BACK ON THE DESK.

 

JACK: I rest my case.

 

JENNIFER LOOKS AT JACK WITH DISGUST AND ANGER.

 

JENNIFER: This doesn't mean anything except that Emilio is right. You are slime Jack.

 

SHE SHOVES THE PAPER AT HIM AND WALKS OUT.

SCENE FOUR: A SHORT TIME LATER JACK IS IN HIS OFFICE WITH HIS FINGER STUCK ON THE INTERCOM BUTTON. JENNIFER WALKS IN.

 

JENNIFER: You wanted to see me Jack.

JACK: Find yourself a seat.

JENNIFER: What is this all about?

JACK: I'd like to talk to you.

JENNIFER: I don't even want to look at you let alone talk to you.

JACK: Look Jennifer, I don't need to justify myself to you.

JENNIFER: You don't even know what you did, do you Jack?

JACK: I didn't do anything.

JENNIFER: You know that's the worst part because you can be so mean and spiteful and not even realize it.

JACK: I was just printing the truth. It's not my fault if the truth hurts.

JENNIFER: No. It is your fault. Why can't you think of anyone else but yourself for a change?

JACK: I was. I was thinking about our readership, about those men and women who....

JENNIFER: Oh stop it. Will you stop hiding behind this paper? You wrote this to get back at Emilio and for no other reason.

JACK: (Slightly amused) Oh I did, did I? Is that so?

JENNIFER: Yes, you did. It is. It is so.

JACK: Well, if that's the case....if this wasn't about Emilio, would you be in here at this moment biting my head off, hmmm?

JENNIFER: Of course I would.

JACK: Come on now, you know you wouldn't, come on.

JENNIFER: Oh yeah, yeah, well would you have even written this article if it wasn't about Emilio?

JACK: Well I....well I....

JENNIFER: (Screaming) Okay, I'll admit it. Alright. I would not be this upset if it weren't about Emilio.

JACK: You see. You see what I mean.

JENNIFER: No, but it doesn't matter. It doesn't matter and you know why? Because you're a jerk and you're a self centered and you're manipulative and everyone can try to tell me that and I don't believe it. And you're a jerk and you're cheap and you have no backbone.

JACK: Cheap?

JENNIFER: And everyone keeps telling me that and I don't want to believe them. (Beat) But I guess I was wrong.

JACK: Yeah, I guess you were.

 

SHE RUNS OUT AND SCREAMS AS SHE SLAMS THE DOOR.

SCENE FIVE: A SHORT TIME LATER JENNIFER IS RUNNING DOWN THE STEPS AT THE PIER WHEN JACK STOPS HER. THEY STARE AT EACH OTHER FOR A FEW SECONDS.

 

JACK: We still need to talk.

 

THEY CONTINUE TO LOOK IN EACH OTHER'S EYES, BOTH VERY AWARE OF THE CHEMISTRY BETWEEN THEMSELVES.

 

JENNIFER: Get out of my way.

JACK: Now is that anyway to talk to your boss?

JENNIFER: Excuse me, I have a story to get in, Mr. Boss.

JACK: Well perhaps I should look at it, Miss Employee.

JENNIFER: Take it. It's all yours. You're just going to do what you want with it anyway, Jack, you know that.

 

SHE ATTEMPTS TO LEAVE BUT HE HOLDS HER ARM.

 

JACK: Jennifer wait a minute. Whoa, whoa, whoa. Wait a minute Now about this....little tiff we had this morning. You're not really....you're not really mad about it are you?

JENNIFER: No.

JACK: Good.

JENNIFER: No Jack. I am beyond anger. If I wasn't getting course credit for this job, I'd quit.

JACK: Well, I could always arrange to transfer you to The Chronicle.

JENNIFER: Don't you care about who you hurt?

JACK: Well, if you're referring to Emilio, obviously I don't.

 

HE BEGINS TO WALK DOWN THE PIER.

 

JENNIFER: What about April, what about Julio? What about me, Jack?

 

HE STOPS.

 

JACK: You? (Defensively) Ah, why this has nothing to do with you. This article here has nothing to do with you.

JENNIFER: Oh. I just thought you were a much better person than that.

JACK: (Unable to look her in the eye.) Well, fooled you again huh?

JENNIFER: Oh come on Jack. Deep down inside don't you feel bad for what you did?

 

HIS FACE SHOWS THAT HE FEELS BAD BUT IN AN EFFORT TO PUSH HER AWAY HE DISAGREES.

 

JACK: Nope, I don't.

 

HE TURNS BACK TO LOOK AT HER. SHE THROWS DOWN HER PURSE AND BEGINS TO ATTACK HIM IN FRUSTRATION.

 

JENNIFER: You are a jerk Jack Deveraux and I'm going to kill you.

 

SHE MANHANDLES HIM TO THE STEPS.

 

JACK: Jennifer, don't I....don't I get my day in court?

JENNIFER: No, you just blew it.

JACK: Look I made my decision and it's final.

JENNIFER: No matter what.

JACK: There's nothing we can do. It's printed.

JENNIFER: You can print a retraction.

JACK: Forget it.

JENNIFER: Why?

JACK: Because we can't go round apologizing everytime some story hurts somebody's feelings.

JENNIFER: Why can't you just admit that you made a mistake for once.

JACK: I would if I thought I did.

JENNIFER: Obviously you care more about your pride than other people's feelings.

JACK: Look, I'm trying to make a point here....

JENNIFER: No, no, I get your point. But I don't understand it. I don't understand you and I am tired of wasting my time trying to Jack.

 

SHE BEGINS TO SEARCH FOR HER PURSE.

 

JACK: Jennifer, Jennifer.

JENNIFER: Where is my purse?

 

SHE FINDS IT AND LOOKS HIM STRAIGHT IN THE EYE.

 

JENNIFER: I have nothing more to say to you.

 

SHE RUNS OFF. JACK WATCHES HER LEAVE.

SCENE SIX: SANTOS, THE HEAD OF THE STINGRAYS, AND EMILIO HAVING BEEN WATCHING THEM. EMILIO LAUGHS AT THEIR FIGHT. SANTOS ASKS HIM IF HE IS IN OR OUT. EMILIO TELLS HIM IS THINKING ABOUT IT. HE SAYS THEY CANNOT WAIT FOR HIM.