JOE AND PAULINA'S NEW HOUSE/DAY

JOE walks through the front door, a large box in his arms, to where PAULINA is standing in the foyer.

JOE
Two more boxes left inside the truck.

PAULINA
Ok, I'll get them. That one goes up to Dante's room.

Joe heads upstairs. REMY comes in carrying two boxes.

REMY
This is the last of it.

PAULINA
Oh, I was just about to come out and get one. (She takes a box out of Remy's hand). Thanks, sweetie.

REMY
You're welcome.

PAULINA
So, what do you think of the new house? Really?

REMY
I love it!

PAULINA
Good. Have you had a chance to look around your room yet?

REMY
Yeah, it's great. I keep thinking of all the decorating I'll get to do up there.

PAULINA
Honey, I want everything to be perfect. If there's anything else you think you'll need or just want --

REMY
Paulina, it's fine, really. It's perfect.

PAULINA
I just want you to be happy.

REMY
I am. I have a wonderful mother, a great family. What else could I possibly want?

Paulina hugs Remy.

REMY
Actually, Paulina, can I talk to you about something?

PAULINA
Sure, sweetie, anything.

REMY
It's Tito.

PAULINA
Remy, we've talked and talked about Tito.

REMY
Paulina, you don't understand. Tito needs me right now.

PAULINA
He ALWAYS needs you, Remy.

REMY
No, this time it's different. Look, I just don't want to have to sneak around. I want to be upfront with you. I'm renewing my friendship with him and I hope you can understand that.

Paulina sighs and waits for Remy to continue.

CUT TO:

PARK/DAY

ALLI and SEAN sit on a park bench. ALLI stares at SEAN's profile, and he appears to be bored. ALLI starts to become annoyed by SEAN's lack of enthusiasm.

ALLI
You know, sitting here all day watching the grass grow isn't exactly what I had in mind.

Sean turns to Alli and shrugs.

SEAN
Have any better ideas? You're the one who kept bugging me to cut today, so I cut. Now here we are.

Alli crosses her arms over her chest. She gives a sigh, leaning her head back and closes her eyes, letting the sun beat down. Her eyes are still closed as she speaks.

ALLI
Well, the park beats school. And it *definitely* beats being at home. Not like anyone would really notice if I'm there or not, anyway. I might as well be nobody.

SEAN
Yeah, tell me about it. So, your mom's still losing it, then?

ALLI
Yeah.

Alli opens her eyes and looks at Sean. She talks, almost to herself as Sean watches the shadow creep across Alli's face.

ALLI
It's almost like she's forgotten that she has a daughter. I am sorry about Cam, but Mom has completely forgotten she has a kid. (Bitterly) Maybe if I were his kid instead of her ex-husband's...

Alli breaks off, then calmly continues, devoid of emotion. Or attempts it.

ALLI
But do you know how it feels to be abandoned by your own...



Realizing what she is saying, Alli stops short. Sean has a pensive look on his face, no doubt thinking about his own sense of abandonment by his father...and his isolation from Jake and Vicky.


ALLI
Hey, sor...

SEAN
Forget it. It's cool. Let's drop it, okay? We're not here to moan about our sorry lives.

Sean puts on a carefree front and stands.

SEAN
Come on.

ALLI
Where are we going?

SEAN
Anywhere. Away from here.

Alli stares at Sean and bites her lip. For a moment, it appears that she has second thoughts about skipping class. Sean looks at her, expectantly.

SEAN
Are you coming? Or not? Your call.

ALLI
Coming. I'm coming.

Alli stands and grabs Sean's arm. They walk away from the bench.

CUT TO:

BCUH--JOHN'S OFFICE/DAY

JOHN is working at his desk, surrounded by paperwork. There is a knock on the door and he stands, crossing over to the door to open it. MORGAN is in front of him.

JOHN
Morgan! I'm glad you're here! I was really surprised when I got your call!

They hug one another.

MORGAN
No more surprised than I was to hear myself saying I was coming back to BCUH.

JOHN
What made you give up your position at Cedars-Sinai?

MORGAN
LA isn't home. It never has been. And since Lorna moved back here, I figure I might as well trail behind her. The area doesn't hold any more appeal for me. I miss this place. I miss my family.

JOHN
Nice to see that you finally came to your senses and got back where you belong.

MORGAN
Does that mean I belong here at the hospital with you?

JOHN
Of course it does. We'd be thrilled to have you back here with us. Come in and sit down so we can discuss it.

He leads Morgan in, Morgan sitting in a chair across from him. As John takes his own chair, he picks up a thick report.

JOHN
(motioning to report)
The budget. You're in luck. I've got the authority to bring on two new doctors right now, and I'd love it if you'd be one of them.

MORGAN
I need to make sure I won't get stuck as Chief of Podiatry or something like that.

JOHN
You've decided to specialize in surgery, right?

Morgan nods.

JOHN (cont'd)
How does a position as head of surgery sound to you? With your experience at Cedars, I'd say you're more than qualified.

MORGAN
Head of Surgery? I like that. And it's exactly what I was working up to in LA.

JOHN
Great. Then you're the new Head of Surgery. (He grins) When can you start?

MORGAN
You don't waste any time, do you? I just have to find a place to live, although I'm staying with Cass and Lila at the moment. I can call a friend in LA and have him ship all of my things out here.

JOHN
You can sever ties that easily?

MORGAN
(nodding)
There really aren't any to sever. There are a line of people who would love to have my position at Cedars, call them and they'll be in tomorrow.

JOHN
No girlfriends to say goodbye to?

MORGAN
(hesitating)
Let's just say that even if I'd stayed, that would have been over.

John sits back in his chair, waiting for Morgan to explain further.

CUT TO:

BCUH MATERNITY WARD/DAY

HAYLEY is standing at the window of the nursery, staring at the newborns in their bassinets. As she watches them, she places a hand on her own stomach, leaning her head against the glass. LORNA walks up behind her and lays an arm around her shoulder.

LORNA
They're amazing, aren't they?

HAYLEY
(nodding)
Was Gabrielle ever this small?

LORNA
(laughing)
At one point. I have a hard time remembering my rambunctious, talkative little girl as a tiny baby like that. But I remember what a miracle she was.

HAYLEY
(turning around to look at Lorna)
You never talk about that part of your life. You've told me so much else, but nothing about then.

LORNA
It's still hard, kiddo. I remember feeling so alone when Gabrielle was born, even though I had Jenna, and I had my friend, Morgan. I didn't have Gabe.

HAYLEY
He sounds like he was a really great guy.

LORNA
He was. He would have loved being a father.

They fall silent for a few moments, watching the babies in the window.

HAYLEY
Lorna?

LORNA
Hmm?

HAYLEY
The baby's father is back.

Lorna takes a step back and stares at Hayley.

HAYLEY(cont'd)
I've known for a few weeks that he was in town, but I couldn't say anything, I was too afraid. He's threatening to stop the adoption.

LORNA
(with a sigh)
Oh, Hay...you should have told me. Cass can start some sort of motion on this adoption for you so that he won't be able to stop it.

HAYLEY
I figured he could, but I also figure there's no way that he can stop it. He's just starting college, he doesn't have a good job, he's....there's no way he can be a good father.

LORNA
Can you tell me who he is, Hayley?

Hayley shakes her head.

HAYLEY
I don't know. I don't know if I can tell you. I don't want you to think less of me because of who he is.

LORNA
I promise you that will NEVER happen. Okay?

HAYLEY
Okay. You know how that Grant Harrison guy was murdered?

LORNA
(growing unsure)
Yes....

HAYLEY
It's him. The guy who killed him. Tito Banacek.

LORNA
Oh, no...

She turns away from HAYLEY.

CUT TO:

DAUPHINE ORLEANS HOTEL, 415 DAUPHINE STREET, NEW ORLEANS/DAY

AMANDA is sitting on a bed in the hotel room, Carl's notes in her hands. She thumbs through them, then looks up as she hears a knock on the adjoining door to the suite. She gets up to open it, and CHRIS walks in.

AMANDA
All settled?

CHRIS
Yeah...this is a nice place you picked, Amanda. Right in the middle of French Quarter?

AMANDA
I figured with all of the wild-goose chasing we're going to be doing down here, we may as well have a nice place to come back to at night.

CHRIS
So have you gotten any idea of this Thayer Gallery place?

AMANDA
I found it.

Chris stares at her in amazement.

CHRIS
You found it?

AMANDA
(nodding)
Right here. (She points to the phone book that she's been looking at.) It's on Chartres Street. I'm not sure if I should call first or if we should just go over there.

CHRIS
Amanda...it's been thirty-some odd years since the notes say that Carl was involved down here. That gallery could have changed owners five or six times in the last thirty years.

AMANDA
Look, Chris, I'm sick of your pessimism! We're here to find out who killed Toni and Cameron and you don't seem too interested in that! Either you're with me, or you're not! Which is it, Chris?

As she glares at him, he seems surprised by her outburst.

CUT TO:

OPENING CREDITS