CORY PUBLISHING /SAME

AMANDA is reading over another paper, while Chris sits, looking bored.

AMANDA
Chris! Chris, look!

CHRIS
What?

AMANDA
(showing him paper)
Look at this.

CHRIS
What, it's artwork, I don't get it.

AMANDA
New Orleans artwork. Come on it says "New Orleans...artwork...The Thayer Gallery...R.L."

CHRIS
Yeah, so?

AMANDA
So, obviously, Cameron's investigation was leading him to Lousiana, which means there's probably something there.

CHRIS
You're grasping. He just mentions some art gallery, big deal.

AMANDA
Who's RL?

CHRIS
Maybe the artist's name, I don't know.

AMANDA
Chris, this is it, I know it.

CHRIS
You're getting carried away. You want to believe it, so you are.

AMANDA
So you're saying this means nothing?

CHRIS
I'm saying I don't know what it means! But I do know that we have to take this slowly.

AMANDA
I can't do that. I'm going to New Orleans. Are you coming?

FADE OUT




CORY MANSION/SAME DAY

RACHEL is reading in the Cory living room, as both MATT and CARL walk back in from different doors. She looks up as they approach.

MATT
I tried calling Amanda, Mom, but the switchboard is holding all of her calls. They said it's at her request.

CARL
I hope she's not setting herself up for a disappointment.

MATT
How the HELL can she be disappointed any more than she already has been, Carl? For heaven's sake, her HUSBAND was killed! And this family seems quite content to give Amanda a few days of pats on the back, then tell her to get over it.

RACHEL
That's hardly what we're doing, Matthew--

MATT
Mom. You know as well as anyone how hard it is to lose a husband. Don't you think Amanda deserves a little more compassion that she's been given?

RACHEL
She's pushing us all away, Matt---

MATT
---Then push back! Don't let her push you away. If there's one thing I know about her, Mom, it's that she needs you right now, more than ever. And she may say a few things that you don't agree with, or that you don't like, but they're things she needs to get out. She's grieving.

CARL
We're all trying to help her, Matthew. She hasn't wanted our help.

MATT
She's angry and she's hurt, Carl. She's in pain. Why can't you see that?

RACHEL
We DO see that, Matthew. And I think it's time to drop the subject. All right? I will deal with your sister.

MATT
All right. I just want to know that you're aware.

RACHEL
Very aware. Are you off to Lorna's?

MATT
In a few minutes. I'm going to pick her up from Felicia's. Jasmine is asleep upstairs. Do you mind keeping an eye on her while I'm gone?

RACHEL
(smiling)
Of course not. I love spending time with my granddaughter.

MATT
Thanks. I'm going to go make a few phone calls before I leave.

Matt walks out of the room and Rachel looks at Carl.

RACHEL
He's worried about her.

CARL
We're all worried about her. But he's got to understand that there's only so much we can do for her.

RACHEL
I know. You're right. I just wish that my daughter didn't have to go through this.

Carl walks over to hold her as we:

FADE OUT

CASS AND LILA'S APARTMENT/SAME DAY

MORGAN is sitting with CHARLIE, who is showing him pictures in an album.

CHARLIE
This is the day I was in the school play. I got to be Emily in Our Town.

MORGAN
I'll bet you made the best Emily that Bay City Junior High has ever seen.

CHARLIE
(blushing)
I was okay. My teacher said I can audition for the high school play next year, though. She said sometimes they let the junior high kids take the smaller parts.

MORGAN
(glancing over at Cass)
You've got an actress on your hands, Cass.

CASS
(standing by the staircase)
Don't I know it. As long as she promises to dedicate her first Oscar to me, I'll be happy to watch her become a brilliant actress.

CHARLIE
You got it, Dad. Hey, are we going to take Uncle Morgan out for a welcome-home dinner?

CASS
Well, I guess so. How about it, kid, are you up for dinner tonight?

MORGAN
Sure, why not? I do want to go see Lorna before anything, though. I haven't seen my goddaughter in a few months.

CASS
I think you ought to stop by John and Sharlene's while you're at it. It can't hurt to let your once and future boss know that you're back in town early in the game.

MORGAN
Where are they living now?

CASS
At Michael's farm. Nick decided to sell it to them, since he didn't think he'd be using it for awhile.

MORGAN
John and Sharlene are back in the farmhouse...Lorna's back...I'm back...history repeats itself?

CASS
Not quite. You'd be surprised at how much has changed around here, Morgan.

MORGAN
Change isn't a bad thing.

CASS
(smiling at Lila)
No, it certainly isn't.

Morgan stands up and walks to the door.

MORGAN
Okay, I'm off to see Lorna. Be back in a few hours!

He leaves the apartment and we see the outside of the apartment, as Morgan closes the door behind him. He pauses, leaning his head against the wall and reaching into his pocket. He pulls a wallet out, and opens it to reveal a picture of himself and a smiling blond woman. Staring at the picture for a minute, he slams the wallet shut.

MORGAN
(to himself)
You've got to forget her, Morgan. That's why you're coming back here. To forget.

Shaking his head, he leaves the hallway and we:

FADE OUT