From: Lisa Klobucar <lisa@ah5.cal.msu.edu>


Happy Bastille Day!  Here is the Update for Another World
for Friday, July 14, 1995:


* Lorna refuses treatment; Felicia finds moral support
* Rachel starts putting the pieces together
* Justine picks up a new hobby on her way back to Bay
City
* Tom'as leaves Maggie frustrated
* Michael shares a moment with Nick - but keeps one
secret


CRISIS AT BAY CITY GENERAL
Felicia/Lorna/John/Morgan/Grant/Gary

     At Lorna's hospital bedside, Felicia is terrified
when John and Morgan say they want Lorna to stay in the
hospital for more tests - she's deteriorating and they
don't know why.  Weak as she is, Lorna wails in protest
that she wants to go home, she doesn't want to die in the
hospital like her father Luke did.  Grant watches in
alarm, then intercedes on Lorna's behalf and promises to
take her home and care for her.  [Yeah, Grant - while
you're at her place, why not try some of her miracle
health drink with the poison in it!]  Morgan accuses
Grant of not wanting her to get well.  Grant lunges at
him and pops him in the mouth.  Their fight spills out
into the corridor, where Morgan slugs Grant in the gut.
As Felicia watches in disbelief, Gary happens by and
steps in between them to break up the fight.  John grabs
Morgan and gets him to go clean up while John works on
convincing Lorna to stay.  Grant glares at Morgan,
threatens legal action [surprise], then slams back into
Lorna's room right behind John.
     Gary tells Felicia he's there visiting a fellow cop
who was just shot; Felicia realizes it probably brought
back disturbing memories for him, and insists he stick
around to talk after she finishes with Lorna.
     She goes back in, frantically begging Lorna to let
the doctors care for her.  Grant insists he can bring her
back in five minutes if the test results warrant it, but
in the meantime she can wait at home; he intends to honor
her wishes.  Felicia rails against his disregard for
Lorna's well-being, but Lorna blasts her for trying to
run her life and orders her to get out.  John says he
can't make Lorna stay if she refuses, and he practically
pushes Felicia out the door so Lorna will calm down.
     Felicia stands sobbing outside the window of Lorna's
room, and Gary tries to comfort her.  He gets her to sit
down and talk out her anger and frustration.  She says
she's beginning to think Lorna doesn't want to get
better, and nothing she says seems to matter.  Gary urges
her to keep trying, he knows how persuasive she can be;
if she needs him afterwards, he'll be there for her.
     She goes back in as Lorna is refusing to stay for
the toxicology screen, John can't guarantee she won't die
here.  Felicia pleads with Lorna to see reason, as Grant
snipes at each argument she makes.  I don't want to lose
you, sobs Felicia, you're all I have.  John exits to "go
kick ass in the lab" [Whoa, John!], and Felicia accuses
Grant of first taking over Lorna's professional life,
then driving away all her friends, and finally crushing
her one true love.  Grant sneers, and starts to help
Lorna out of bed to take her home, saying I'll take care
of you.  Morgan has re-entered in time to here that last
remark; "He never has before," Morgan says to Lorna, "do
you really think he'll start now?"
     John returns, reporting that nothing abnormal showed
up in her blood gases.  Felicia asks to talk with Lorna
alone, and John gets Grant and Morgan to leave
reluctantly.  Felicia says she doesn't mind making a fool
of herself to save her daughter - I need you, you're my
link to Luke, my past and my future; you may give up on
yourself, but I never will.  She tenderly strokes Lorna's
hair - and is appalled when a hank of hair comes out in
her hand. Terrified, she shrieks to John and Morgan, who
come rushing back in with Grant.  She shows them the
hair, which John holds up to Lorna's face, see how
serious this is?  Everyone is shouting at once, and Lorna
still struggles to rise, as Grant watches with concern.
If she leaves, it's suicide, Morgan shouts at him.
     Trembling and dazed, Felicia stumbles out into the
corridor and into Gary's arms.  Soon after, Grant helps a
shaky Lorna out the door and toward the elevator, as
John, Felicia and Morgan plead with her to stay.  Grant
pauses a moment to ask her if she's sure; when she says
yes, he pushes Felicia aside and leads Lorna away.
Felicia begs to know why she's doing this, she has other
options besides Grant - but it's too late, they're gone.
Morgan tells John he's off to the lab to rule out a
dangerous virus, hope we don't find anything.  They exit.
Gary sympathizes with Felicia, but she says it's o.k.,
Lorna's been self-destructive for a long time.  This must
be how my children felt when I was drinking, she says.
They both agree they're dying for a drink.  I'm glad
you're here, she says, and I don't think it was a
coincidence.


AND IN ANOTHER HOSPITAL THOUSANDS OF MILES AWAY...
Rachel/Greta/Nurse (Eva?) Braun

     Rachel, fully conscious but confused, tries to
convince the young nurse she's not the Comtesse; but the
nurse (who says her name is Greta) has her orders from
Dr. Dansonville and Nurse Braun to keep the patient
restrained and safe.  Greta is skeptical of Rachel's
story, and calls for Nurse Braun.  Rachel convinces them
she's calm now, and Braun removes her wrist restraints.
Rachel asks where she is ("I assume from your accents
that I'm not in Kansas anymore?") and how she got there,
but Braun just says she signed herself in, don't you
remember?  Rachel denies it, trying to remember what
happened - she starts to say it must have been Justine
who drugged and kidnapped her - but that can't be, I
thought I'd dreamed it up; Carl's look-alike ex-lover
died years ago, didn't she?  Braun pretends to think
Rachel is delusional.  Rachel asks to call her family, or
they can call themselves to verify her claims.  Braun
says the doctor has to authorize any calls, he's not here
right now.  Rachel says she'll wait, and asks what the
date is, but the nurses won't tell her.  She gets
agitated, and Braun orders another sedative.  Rachel
protests violently, no drugs, every time I start to clear
my head someone drugs me again.  Braun accuses her of
being paranoid and hysterical.  Rachel glares at her -
you're in on this charade, she accuses grimly.  What does
she mean? asks Greta, is she really Rachel Hutchins?
Braun looks oddly flustered.
     Later, sedated but untied, Rachel drags herself out
of bed and stumbles to the phone.  She pulls the receiver
off the hook as she collapses on the floor.  Braun re-
enters, scolds her for making trouble, and calls to Greta
to help get the groggy patient back into bed.
     After a while, Greta meets Braun in the hallway and
tells her she's set up the I-V sedative, the Comtesse is
resting now.  Braun warns her not to be fooled by the
patient's seeming rational behavior, she has a history of
being violent.  Braun goes in to check on Rachel, and
whispers to her: as soon as I get my last payment, your
troubles will all be over - and so will everything else.


RETURN TO THE SCENE OF THE CRIMES
Justine

     Justine is on the plane back to Chicago.  On the
way, she makes a "TO DO" list on a tablet, which she
cheerfully illustrates with little sketches: "*COMFORT
GRANT*", under a sketch of a grave with Lorna's name on
the tombstone; "NURSE BRAUN, INSTALLMENT #2" under a
sketch of a dripping syringe with a picture of a skull on
it; from the needle hangs a noose with Rachel's name
written in the loop.  You're right, Rachel, she smirks, a
creative outlet is such a joy!  As the plane approaches
Chicago, she puts away the tablet with a sly smile [see
below].


NO JOY IN CORYVILLE
Carl/Maggie/Tom'as/Justine

     Carl has just smashed through the terrace doors with
the big living room globe, and stares out at the night.
He starts to clear up the mess when Maggie comes down,
alarmed by the noise, and won't let him brush her off
without an explanation.  Maggie wonders if Carl's lost
it; just temporarily, he assures her, I miss Rachel.
Bull, says Maggie, you've been preoccupied and testy
lately, are you and Rachel splitting up?  Never, says
Carl.  The doorbell rings; as Carl ruminates over the
broken glass in the terrace doors, Maggie answers the
door to Tom'as, who brings her a flower and asks to talk.
Carl, who's cut himself, joins them and tells Tom'as it's
really too late, but you can stay, I think Maggie needs
you tonight - just behave yourselves.  He exits, and
Maggie and Tom'as head for the couch.
     Tom'as apologizes for their fight before, he's just
trying to do the right thing in protecting Luisa, he
wants to protect Maggie, too, but always ends up hurting
her.  I'm not your daughter, says Maggie, and I'm also
not Angela.  Tom'as is afraid he has too many strings,
maybe she'd be happier with a guy without all the
baggage.  I want to "be with you" and show you that
you're the only guy for me, she says, kissing him.  They
go at it for a while on the couch, but Maggie pulls back,
thinking she hears a noise.  I wish we didn't have to
worry about someone walking in on us all the time, she
says.  When the time is right, he tells her, we'll have a
place of our own.  But I can't wait that long, she says.
They go at it again, but Maggie keeps seeing Nick's face
while she's kissing Tom'as.  Alarmed, she pulls away and
says she feels like there's a wild side of her that wants
Tom'as, regardless of the consequences.  I won't let you
lose control, he promises.  She worries that, if they're
not together soon, she'll do something reckless to ruin
everything they have.  Tom'as looks concerned, but Maggie
says forget what I just said, we'll be fine.  As long as
we're honest with each other, he agrees.  She invites him
for a romantic midnight swim, but he says he has to work
early - but he's also getting off early tomorrow, does
she want to go to the carnival with him?  Maggie is
excited, she hopes there's a Tunnel of Love.  Tom'as
smiles - Luisa will love it, she misses you, he says
obtusely.  Maggie hides her disappointment that they
won't be alone, and kisses him goodnight.
     After he exits, she picks up a sofa pillow and
throws it in frustration.  Carl sees this as he re-
enters, and expresses regret at being a bad example for
her.  They commiserate about their woes and promise to
try harder to keep their spirits up.  Carl gives her a
hug and sends her back upstairs ("...to sleep, perchance
to dream...").  He turns off the lights and crashes on
the sofa, uneasily trying to rest as a storm brews
outside.
     As he sleeps fitfully, he is suddenly awakened by
the front door.  He eagerly calls out to Rachel - but
realizes immediately the woman who just entered is
Justine.  She greets and embraces him, then takes his
hand to lead him up to bed; he goes along in silence.


FATHER-SON BONDING (INTERRUPTED)
Nick/Michael

     Hot summer night; Nick, unable to sleep, comes out
to the front porch to find Michael trying to fix an old
fan.  Nick sits in a nearby chair and they start talking.
Michael gives up with frustration on the pesky fan.  He's
delighted when Nick offers to work on it.  He recalls
using that very fan to try to beat the heat when he was a
kid; but for some reason, his little brother John never
broke a sweat.  Nick wonders how he and John got to be so
close as adults, when they were always fighting as kids
(according to Clara).  We're older now, have our own
lives, he answers.  Michael talks about how he always had
to show his superiority over his little brother, making
his life miserable - until John found basketball and
became a big success.  About that time they both fell for
Donna, and they were so competitive they put Donna in an
impossible situation.  But eventually "things worked out
the way they were supposed to - this'll make me sound
old, but I believe everything in life happens for a
reason."  "Boy, you are old," ribs Nick.  Then he asks
Mike's advice, what do you do when you get hung up on the
wrong girl?  Mike probes for details, but Nick is evasive
- the fan is fixed, he says.  He plugs it in, and they
sit in the breeze.  Nick won't reveal the girl's name,
but admits she might be interested even though she has a
serious boyfriend.  Mike asks if he's asked her out yet;
but as Nick says he's working up the nerve, Mike winces
in pain.  Nick can't believe Mike would walk out on their
first real conversation ever, but Mike brushes him off
and just says he has to turn in.  He goes inside and
starts up to his room.  "Typical," Nick snorts, throwing
down the screwdriver he was holding.
     Meanwhile, we see Mike reel into his room holding
his gut.  His face twisted with pain, he pulls out a
hidden briefcase, opens it, and fills a syringe with the
contents of a bottle of medicine.  FREEZE FRAME.



Thanks for reading,
Vicky (vkorosei@midas.sinclair.edu)



