From: Vicky Korosei <vkorosei@sinclair.edu>

Here is the update for Another World for Friday, May 16, 1997:

* Amanda resents Carl's role in Cory Publishing
* Alexander continues pursuit of Felicia
* Grant and Cindy - Is there sex in hell?
* Shane saves Jake, as Morris closes in


CORY CONTROL

     Cory Mansion - Carl and Rachel return home.  While Carl stashes some
legal documents in the safe, Rachel suggests they go out to lunch to
celebrate.  Amanda enters and wants to know what they're celebrating.  A
new era, announces Rachel, we've just been to a Cory board meeting, I've
transferred all my shares to Carl, the company is in good hands again. 
Amanda is dismayed that Cory is no longer under the control of a Cory
family member.  You left, Carl reminds her.  What if I wanted to come
back, she demands.  Carl's the CEO, says Rachel, talk to him.  She excuses
herself to let Carl and Amanda hash out their differences.  Amanda
reiterates her distrust of Carl, about which he couldn't care less.  She
wants to know what new piece of treachery he just put in the safe; it's a
trust agreement for the baby, he tells her.  She again accuses him of
pushing Rachel into her life-threatening decision, which he denies.  She
vows, if Rachel dies, no way will she and Matthew let him just take over
their family business without a huge fight.  My only concern is Rachel,
Carl insists.  Rachel returns, and they assure her they've each clarified
their position.  Amanda invites herself to lunch with them, since it
concerns Cory business.  Rachel welcomes her, but Carl quietly advises her
to behave herself. 
     Harbor Club - As they lunch, Amanda looks miffed at Carl and Rachel's
obvious intimacy.  Dash approaches and greets Rachel, who introduces him
to Carl as a new Cory employee.  They mention Dash's father, the Earl; 
then Amanda excuses herself to get some air.  Dash wonders whether they've
ever met, so Rachel performs a belated introduction, and Amanda seems
pleased when Dash gallantly kisses her hand. 


GREEK BEARING GIFTS

     Felicia, wrapped in her best feather boa with her fluffy new dog
tucked under her arm, is busy at her writing when John returns
unexpectedly. Every time he tries to kiss her, the dog growls at him. He's
surprised she's still working on the screenplay; she informs him that
Alexander Nikos just bought the studio and, to throw his weight around,
suggested a bunch of revisions - some bad, but some pretty good.  John
chuckles that, with all the gifts and now buying the studio, Nikos is
obviously making a play for Felicia - I just have to make sure he doesn't
get what he wants, he adds smugly.  Then John gets a phone call.  Felicia
is disappointed when he tells her he's being whisked away to Washington by
private jet [NOTE: THIS IS A CLUE] to perform a bypass on a 3-star general
he knew in Vietnam.  He quickly packs an overnight bag and rushes out. 
Seconds later there's a knock at the door.  You want me to come with you? 
cries Felicia happily. She opens the door - only to find (surprise
surprise) Alexander.  He presents her with the Greek mineral water for
Rachel - it's said to work miracles, but in any event it will taste
wonderful, he says.  She invites him in to wait while she goes to call
Rachel.  While she's out he swoops up Paris the Puppy and murmurs what a
"lucky dog" she is, to be wrapped in Felicia's arms "day - and night!"  He
spots the photo of Felicia and Lucas - slight resemblance, he sniffs.
Felicia returns, saying Rachel wasn't home.  He's pleased to note that
she's reworking her screenplay, incorporating some of his suggestions.
She's slightly flustered when, unable to keep his eyes off her, he remarks
on her beauty yet again.  She admits he leaves her speechless, except to
thank him for the spring water, but he probably has to be going?  He notes
that her fiance' is again absent; she quickly realizes he probably
engineered it, but doesn't seem too upset, and they both laugh at his
obvious manipulation. 



PG-47 - PARENTAL GUIDANCE *STRONGLY* SUGGESTED...

     Precinct House - Joe and Josie sit around his office, bemoaning their
unsuccessful attempt to prevent Grant's wedding to Cindy; the trial starts
in 2 hours, the taped confession was a phony, Hal the Hitman (and Jake
Impersonator) has mysteriously disappeared, and Cindy was their last best
hope to convict Grant - now what??  Joe gets a phone call, then reports to
Josie that Grant and Cindy haven't shown up in court yet.  They wonder
whether Grant is having trouble getting Cindy to cooperate.  Joe feels
sorry for her;  she's unbalanced but not stupid, they agree, how could she
let Grant trick her into marriage, after all the evil things he's done?

     Grant's Suite - Grant swoops in, cackling over how he'd thwarted
Joe's stall tactics and completed his wedding to Cindy.  She stands in the
doorway glaring at him until he takes the hint and carries her across the
threshhold.  This satisfies her for now - but Grant has other ideas: he
wants to start the "honeymoon" immediately!  Cindy tries to stall, she
wants to wait until their wedding NIGHT and make their first time truly
special - but Grant claims making mad, passionate love with her will help
him get through the trial. AHA! she sneers, you just want the marriage
consummated so I can't have it annulled and testify against you - you just
spoiled the mood!  He reminds her, she stands to gain a fortune.  She
relents, but has a gift for him first - a gift-wrapped box containing his
favorite expensive cognac.  In exchange, she asks for another peek at his
will, and he obliges.  As he nibbles her neck and kisses her shoulder, she
excuses herself to slip into something more appropriate.  She snags the
bottle, 2 snifters, and the will, and retires to the bedroom, propping a
chair against the door.  Then she retrieves a vial of home-made poison
from on top of the armoire and pours a generous amount into the cognac
bottle.  She slips into her nightgown - "Dressed to kill," she murmurs
ironically - then stows the drug, pours 2 glasses of the spiked cognac,
presses the will to her lips for luck, and removes the chair to admit the
impatient Grant.  She models her slinky gown, and Grant moves in and
begins to kiss and embrace her.  [Well, I did warn you this was disturbing
material...] She seems to respond, then pulls away, suggests a toast, and
produces the drinks.  Grant, gazing at her in obvious lust, sets the
snifters aside and pulls her onto the bed in an ardent embrace.  After the
commercial, during which they've apparently done the unthinkable, they lie
in each other's arms, panting in implied afterglow.  They both seem
surprised at what just happened, agreeing they're both passionate people
who'll do whatever it takes to get what they want.  Cindy's face seems to
imply second thoughts about the drugged drinks still sitting on the
bedside table.  Grant spots the clock and tries to bolt, afraid they're
late for court - but Cindy pulls him back for an "encore."  [No comment.]
Once again, their unexpected passion leaves them gasping for breath after
the commercial.  This time it's Cindy who tries to leave to dress for
court, and Grant who pulls her back.  He insists they finish what they
started - meaning, their toast.  He retrieves the cognac from the table; 
as they lie propped up by the pillows, Cindy keeps quiet but looks
distressed, as Grant raises the snifter to his lips.



STATION HOUSE DIVERSION

     Officer Toni is slogging through paperwork when Chris interrupts and
presents her with a bowling trophy in honor of their last encounter.  He
also has one for himself, since they were tied at the end, and challenges
her to a rematch.  They're both competitive people, but she's not eager
for another date that turns into a contest.  Chris secretly refers to his
notebook and then suggests cycling - turns out she's a competitive biker
and predicts she'll kick his butt, so they decide to scrap that idea. When
he suggests old movies on video, she catches him looking at his list, and
objects to his using crib notes to plan their date.  She exits to do some
filing; great, I can help, he announces, following her to the file room. 
When she returns, Chris is still tagging after, and he suggests that they
find an activity they're both bad at - maybe video games?  Toni turns up
her nose; Chris decides they're trying too hard, maybe it wasn't meant to
be, and he starts to exit.  She urges him not to give up - That's
something we have in common, neither of us is the type to give up, he
notes.  No plans are made, but they're both smiling as he exits. 


BAYOU BLOODHOUND

     Vicky scrambles through her house searching, but Bobby has
disappeared. She dashes out to look for him - and runs into Detective
Morris on her front porch.  He points to all the blood stains around her
front lawn, guessing that it's Bobby's, and accuses her of lying about his
whereabouts.  She continues to insist Bobby left the country.  Morris
collects a blood sample on a handkerchief to have it matched with Bobby's
blood type.  Vicky says fine, then tries to leave, but Morris insists she
accompany him to the police station for questioning - unless she has
something to hide?  He threatens to have her arrested for aiding and
abetting, so she smiles and agrees to go with him to headquarters.
     While Joe and Josie remain clueless in the captain's office, Morris
arrives with Vicky and takes over the squad room, proceeding to grill her
about Shane's whereabouts.  She clams up, but he reminds her about all the
blood outside her house - if it's Shane's, he could be in bad shape, he
says, tell me where he is and I'll see he gets the care he needs, don't
let your friend die!  He continues to pressure her, but she sticks to her
story.  Wonder if Shane will be this loyal to you when he's caught, Morris
goads.  He tells Toni to keep her from leaving while he runs over to the
hospital to have the sample tested.  Vicky assures Toni she knows neither
whose blood it is, nor where Bobby is.  Toni says she'll find out; Vicky
murmurs, you don't realize that I want answers as much as you do.  Toni
feels responsible for her mess, since her computer check on Bobby/Shane
was so sketchy.  Vicky talks her into calling the hospital to see if any
recent admissions fit Bobby's description.  She seems to get an
affirmative response from the hospital using Bobby's description (which,
of course, could also describe Jake), but when she turns back - Vicky has
disappeared.



WHO *WAS* THAT MASKED MAN?

     BCGH (er, I mean, BCUH...) - Bobby drags the inured Jake into the
emergency room, but can't get anyone's attention.  He stashes Jake on a
gurney in a cubicle and frantically looks for help.  He spots and
"borrows" a Dr. Vaughn's lab coat, puts on a surgical mask, and snags a
passing nurse.  He describes Jake's injuries and orders medical supplies
and a chest x-ray.  He takes a quick medical history from the surly Jake,
and the nurse returns with the supplies.  You're not Dr. Vaughn, she
cries, who are you??  She further protests, there's no admission form on
this patient, no chart, and I don't even know you.  Let's save his life
first, then we can do the paperwork, argues Bobby - and if you don't know
me, perhaps you know the patient, the publisher of the newspaper, who just
might sue you and the hospital if he doesn't get immediate care.  She
shoves the supplies at Bobby and runs out.  Jake calls Bobby a natural
liar - go ahead and save my life, he adds, but I'm still turning you in as
soon as I can.  Bobby proceeds to treat him for cracked ribs, sucking
chest wound, collapsed lung...  Eventually he announces Jake is stable
enough to last until a specialist can treat him.  Jake gasps, we've hated
each other from the word "go," if you were hanging on the edge of a cliff,
I'd step on your fingers - why did you save my life?  You were right, I
lied about everything, Bobby responds - but I'm a doctor, this is who I
am, it's what I do.  Let's hope you're a better doctor than carpenter,
quips Jake.  It's the same thing, drawls Bobby, just fixin' what's broke. 
He wheels Jake's gurney out to the corridor, hands the nurse his chart so
Jake can be admitted, and heads for the nurse's station to order his
treatment.  Just then, Morris enters, flashes his New Orleans badge, and
shows the nurse Shane's photo (w/o mask, of course) - she doesn't
recognize him.  Then he notices the patient is Jake - What happened,
Morris demands, did Shane Roberts do this to you?  For some reason, Jake
claims he hurt himself working on Vicky's house.  Morris scoffs, you're no
handyman.  Hence the injury, Jake points out.  Then the clueless nurse
remarks, she'd never seen the doctor who treated him before.  Morris gets
suspicious and looks around, just as Bobby finishes at the desk and looks
up.  Their eyes lock.  Then Bobby turns to flee, and patients and staff
shriek and dive for cover as Morris pulls a gun.  Freeze, or you're a dead
man! he orders, predictably.  FREEZE FRAME. 



Later,

Vicky (vkorosei@sinclair.edu)
mff1

(Anybody seen Charlie Winthrop lately?  (Military School, maybe?))


