From VKOROSEI@midas.sinclair.edu Tue Sep 27 12:49:31 PDT 1994
Article: 214556 of rec.arts.tv.soaps
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From: VKOROSEI@midas.sinclair.edu
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Subject: AW: Update for Friday, September 23, 1994
Date: 27 Sep 94 13:39:18 EDT
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Here is the Another World Update for Friday, September 23,
1994:


Rachel/Amanda/Maggie/Matt/Donna/Paulina/Jake

Rachel has gathered the extended family at the mansion,
except Carl who's at work, and Grant who's in N.Y.  "And
Iris is making license plates," Maggie blurts out, as
everyone glares at her.  They talk about the upcoming
weddings: first, Jake & Paulina; soon Matt & Donna (Matt:
"270 days."  Donna: "You're counting?"  Matt: "You're
not?").  Paulina starts to bring up Amanda & Grant, but she
stops dead when Grant enters looking dazed.  Amanda rushes
to his side, and he announces that he's lost Vicky for good,
his son is gone.  He describes how he almost caught up with
her at the N.Y. hotel, but she ducked out one step ahead of
Ryan and two steps ahead of Grant.  Donna rails at him for
driving Vicky into hiding - she'd be home now if he'd
publicly agree to share custody.  Amanda sticks up for
Grant, and Donna predicts she'll find out how possessive
Grant really is.  Then Spence (who must have come in with
Grant) blames Vicky for causing both his sons so much
misery.  Just now, he adds, Ryan was at my club getting
sloshed, and Lorna had to take him home.  Donna makes her
excuses and dashes out to get to Ryan before it's too late.

Maggie decides to change the mood by teasing about the
package Paulina just received.  Paulina tries to shush her,
and it finally comes out that it was her wedding dress, but
she sent it back because she can't afford it anymore - she
gave away all her money in trust for the Community Center
and won't get her principle back for 5 years, Cass drew up
the documents.  Now no one can say Jake just wants my money,
she says.  Everyone shouts at once, then Jake demands
silence and announces he refuses to accept any money from
this family, no loans to tide them over, nothing; he lost
Paulina once over money, he won't let it happen again.
That's great, says Matt, but you still have to eat.  Gee,
says Jake, I guess I'll have to get a job - now excuse me, I
need some air.  He escapes to the terrace.  Outside, he
takes a deep breath, looks up at the night sky, and screams,
"What have I done?!"  As he stands there, lost in thought,
Paulina joins him.  Hope we didn't blow it, says Jake.
Conflict is the gas in our engines, jokes Paulina.  They
embrace and kiss in celebration of their togetherness, then
Paulina asks Jake what he's thinking about.  Diapers, he
answers, I want a baby.  But we can't afford it, says
Paulina.  Jake reasons that, if there were no Cory fortune,
they'd be together anyway - probably raising a family in the
'burbs.  I'm older and wiser now, he says, and that doesn't
sound so bad.  They kiss again.

Inside, Grant and Amanda sit talking on the sofa.  Amanda is
sure Vicky will return sooner or later, and starts to
suggest he could speed it up by taking Donna's suggestion
and making a public pledge not to prosecute.  Grant cuts her
off cold - no way, he says, Vicky's going to pay big-time,
she'll never see her child again.  Amanda looks disturbed.


Ryan/Lorna/Donna

Lorna has dropped off Ryan and is about to leave, when he
tells her there's one more thing she can do for him.  Then
he pulls her into a heavy kiss, and she responds.  Then she
asks what now.  I want you to spend the night, he answers.
Thanks, but no thanks, she answers; first, you're drunk; and
second, you don't really want me, you want the blonde chick
with the speedy legs.  No, that's over, he insists; she
notes the irony that he's the second "wrong guy" she's
almost slept with lately, Ryan's probably more "wrong" than
the other guy, but probably the better catch.  Ryan laughs
at that idea; he stumbles to the couch, and Lorna makes some
coffee.  He apologizes for getting drunk and coming on to
her - it was nice, but he admits he's still not over Vicky.
He clumsily peels off his shirt, as Lorna reminds him how
powerful a bond he and Vicky used to have.  Ryan starts to
zone out; Lorna gives him a little push, and he tips over
onto the couch and stretches out.  She picks up the phone to
try calling Felicia, gets her machine again, and leaves a
message: "Guess your crazed fans are holding you hostage,
call me when they release you."  Then she kisses Ryan
lightly, turns out the lights and starts to leave, but runs
into Donna in the doorway.  Donna is appalled at the sight,
and Lorna lets her think the worst - she turns the lights
back on and leaves.

At the noise, Ryan calls out Vicky's name.  Donna wakes him
up.  Where's Lorna, he asks.  You called out for Vicky,
Donna tells him, how could you betray her like that?  I
think it was the other way around, he answers, groggy but
bitter.  Donna reports Grant's description of Vicky's
disappearing act in New York, and adds that Ryan can't give
up.  Watch me, he says; better yet, don't - just go home.
She'll kill me for saying this, answers Donna, but Vicky's
coming home.  Too late, says Ryan, even she does come back,
she made her feelings clear when she ran out of her hotel at
the sound of my voice; I've had enough and I'm moving on.
He stumbles out to the balcony to get some air, with Donna
close behind.  She berates him for jumping into bed with
Lorna so quickly; Ryan shushes her, sets her straight, and
applauds Lorna for letting Donna stew for a while - and says
he intends to get another chance with Lorna when he's in
better shape.  Then he staggers back inside and passes out
on the couch again.  Donna starts to leave when the phone
rings - it's Vicky.  Donna tells her Ryan is passed out on
the couch, sloshed over her; yes, she says, that was Lorna
who answered when you called here earlier, nothing happened
but it's only a matter of time.  She implores Vicky to get
back home now - after your disappearing act in N.Y., you may
already have lost him.


Cass/Frankie/Marshall/Lorna

Frankie gets a vibe about Felicia.  Cass explains to a
confused Marshall that Frankie's a psychic, her vibes are
usually very reliable.  Frankie gets that Felicia's in
danger - then suddenly says that she isn't hungry (see
below).  She can't explain it, but that's what she's getting
- also, she's sure Felicia isn't drinking.  Then she loses
the connection.  Cass doesn't remember having any impression
that Felicia was on the edge; Frankie suggests there could
have been foul play.  Marshall mocks her "Felicia's not
hungry" as not much of a clue, then he apologizes.  Frankie
lets it pass, acknowledges that Felicia had been afraid of
letting her fans down, but asking Marshall if Felicia was
having any other upsetting feelings that she might have
confided in him.  The doorbell rings; as Frankie goes to
answer, Marshall flashes back to the kiss at the hotel.
Lorna enters, looking for word on Felicia, and she hits the
roof when she finds out how long Felicia's been missing and
no one saw fit to tell her.  Cass fills her in about the
empty vodka bottle they found in Felicia's room, but Frankie
says she's sure Felicia isn't drinking.  Even if she were,
says Cass, we'd have heard something by now.  The phone
rings, and Cass goes to answer it, just as Charlie cries and
Frankie goes to check on her.  Left alone, Marshall confides
to Lorna that he and Felicia shared an intimate moment that
night before she went missing.  Lorna says she isn't
surprised, everyone saw it coming.  But Marshall is afraid
Felicia couldn't handle it, and that's why she ran away.
Lorna assures him, even if Felicia felt uncomfortable at the
intimacy, she wouldn't respond by taking a powder.  Cass
gets off the phone as Frankie returns, and reports that they
have to go to Chicago - Frankie's inquiries have turned up
the night watchman from the hotel, who remembered seeing
Felicia stagger out after midnight that night, with a man.
Marshall's jaw clenches.


Walter/Felicia

As a subdued Felicia sits in a chair, Walter the Wacko
enters triumphantly with dinner for two.  He's disappointed
when she doesn't recognize it as "the meal Armand served
Rosamond in 'The Pauper's Ransom'" - I made it myself!  As
he lights the candles, he recites the entire scene from
memory.  He catches her heading for the door, and beats her
to it.  She tries to get him to understand they aren't
Rosamond and Armand, this isn't the 19th century, please let
me go home.  Never, he vows - not really, he corrects
himself, I'm just trying to create the perfect environment
for you to find your real voice and create your next
masterpiece.  Felicia becomes uncomfortable as he describes
how he idolizes her - I'm a real "Gallant-ian," he
proclaims, delighting himself with the wonderful word he's
coined.  You're incredibly talented, he continues, you gave
me a reason to live.  "I can't shoulder that kind of
responsibility," she says, almost pleading.  This disturbs
him deeply; he tells her to eat her dinner before it gets
cold.  I'm not hungry, she answers icily (see above).  He
tries to feed her, like Armand fed Rosamond.  We're not
Armand and Rosamond, she snaps.  O.K., he answers - but
"Felicia" has to eat.  She takes a bite.  He tells her he
wants her to write a sequel to the Armand and Rosamond book.
She reveals that she tried to write another romance novel,
but it was garbage, and would have been an embarrassment if
published.  He refuses to believe it, and asks what happened
to it.  It's confetti, she admits.  He's appalled, and rails
against Marshall for undermining her confidence and
destroying her creativity.  No, she says, he told me to
write what was on my mind, which was my life - and he was
right.  Walter calls Marshall the "editor from Hell" and
vows to make him pay.  It wasn't his fault, Felicia says,
and asks if they can change the subject.  He repeats his
idea about the sequel.  She tries to explain that she's
burnt out on romance, and describes the recent traumas in
her life - I can't write romance and fantasy after all that,
could you? - let me rephrase that...  He protests that her
wonderful characters are lost without her, they're drowning,
you have to rescue them.  I can't swim, she replies.  He
laughs uproariously - see how funny you are, and
compassionate; you gave those traits to your characters, to
me - I could never have dared to rescue you from your
detractors like this if your books hadn't inspired me.  He
reads her a passage from the book, about the power of love,
and courage, and determination.  Become the characters you
wrote about, he urges her, and they'll lead you back to the
romances you should be writing.  He leaves, locking the door
behind him.  She listens for him to go downstairs.  I'll
show you determination, she says, eyeing the skylight.  She
picks up the book and throws it upward at the window,
breaking a pane.  The noise brings Walter scurrying back up.
He spots the window:  I hope for your sake it doesn't rain
tonight, he chides her.  And, incidentally, even if you do
get up there, no one will hear you scream, we're 6 miles
>from  the road, and the road is 10 miles from the nearest
town.  He locks her in again, and she collapses wearily on
the divan.  FREEZE FRAME.


Vicky (vkorosei@midas.sinclair.edu)




