BAY CITY FOREVER

This is a work of fan fiction, written by Rochelle Theresa Brown for entertainment purposes only, and not for profit. Characters not invented by me are the sole property of Procter and Gamble Productions.

This work is under copyright.

BAY CITY FOREVER is rated TV-14 for an occasional mild expletive.



EPISODE 15


This episode begins where the previous episode ended.

SCENE ONE
(The scene is Foster Park. Tito is standing with hand over his mouth. Sofia, who is walking away, turns around.)

SOFIA: What did you say?

TITO: Nothing.

SOFIA: It wasn't nothing. You called me "Aunt Sofia," and I want to know why.

TITO: It just slipped out.

SOFIA: Something like that doesn't just slip out.

TITO: This is why I wanted you to get to know me first.

SOFIA: So you could pretend I'm your aunt? I know you're not Paulina's son, remember?

TITO: This has nothing to do with your sister-in-law. By all rights, my last name should be Carlino!




SCENE TWO
(The scene shifts to Rachel's studio. Rachel is working on a sculpture of a mother lion protecting her cubs. Carl walks in)
CARL: That's coming along nicely.

RACHEL: I don't know about that. I've been working on this sculpture for weeks, and it still doesn't seem quite right to me.

CARL: Might I make a suggestion, love?

RACHEL: Of course.

CARL: This is a mother lion protecting her young. Now, imagine that someone is threatening your children.

RACHEL: (fiercely) If I had to, I would kill to protect them.

CARL: Did you hear yourself just now? You became absolutely fierce at the mere thought of anyone threatening your children.

RACHEL: You're right, I did.

CARL: So what you want to do is give that same fiercely protective maternal instinct to your mother lion.

RACHEL: And in order to do that, I just have to become that mother lion.

CARL: Precisely. Put yourself into it. Isn't that the way you do your best work?

RACHEL: Now that I think of it, it is.
FADE OUT



SCENE THREE
(The scene shifts to Josie and Gary's house. Josie is on the phone.)
JOSIE: If you really want to turn yourself in, then why do you care if I have backup?

MAN'S VOICE: Because I want to turn myself in to you, and nobody else. In fact, I'll make sure that you catch me in the act.

JOSIE: And how would I be sure to catch you?

MAN: Easy. You'll come at exactly the time I tell you, when you get there, you'll start whistling.

JOSIE: So I'm supposed to let you know I'm there, so you can commit the crime?

MAN: And then you arrest me. It's as simple as that.

JOSIE: Just what sort of game are you playing?

MAN: You could call it "Cops and Robbers," except there's only one cop, and I'm not a robber.

JOSIE: All right. Tell me where and when you want me to come, but I'm not promising to show up. I'll have to think about it.

MAN: The docks, at two-thirty this afternoon.

JOSIE: How will I recognize you?

MAN: I'll be wearing a brown jacket and a brown Stetson hat, and I'll be talking into a cell phone. Don't forget: the docks at two thirty. (hangs up)

JOSIE: (thinking) Great. Just great. If I want to bring this guy in, I have to do it on my own, and if I act on my own, I don't want to think about what Joe will say. Then again, how can I just let this creep walk when I have the chance to stop him?
FADE OUT



SCENE FOUR
(The scene shifts to Foster Park. Sofia and Tito are having a heated discussion.)
SOFIA: Your name should be Carlino? No way.

TITO: I have proof.

SOFIA: Like what? Fake DNA reports, like you used last time?

TITO: No. Someone found my mother's old diary.

SOFIA: Who found it?

TITO: That doesn't matter. She was involved with your brother.

SOFIA: Involved? You mean...

TITO: They were lovers.

SOFIA: I don't believe you.

TITO: I've seen the diary.

SOFIA: Well, I won't believe it until I see that diary for myself.

TITO: Fine. Tell me where I should bring it, and when.

SOFIA: Java Underground in Oakdale, in three days. I need time to prepare for this, just on the off chance that you're telling the truth this time. But in the meantime, you stay away from my family.
FADE OUT



SCENE FIVE
(The scene shifts to reveal a split screen. Carl and Lydia are talking on the phone.)
CARL: Now you listen to me, Lydia. I gave you what you wanted, and I hate myself for doing so. Now, the least you can do is to keep your part of our agreement.

LYDIA: No, I've changed my mind. There will be no divorce. We are married till death us do part.

CARL: At this moment, the thought of your death is rather pleasant.

LYDIA:I'll ignore that. Now, does the woman who thinks she is your legal wife know anything about me?

CARL: You know she doesn't. If she did, she would fight you tooth and nail. Think of a lioness protecting her family. Rachel would make that lioness seem like a kitten.
FADE OUT<



SCENE SIX
(The scene shifts to the kitchen at CARLINO'S, several hours later. Paulina is inside. Joe walks in, looking worried.)
PAULINA: Is something wrong?

JOE: I hope not. Look, was Josie in here today, Blue Eyes?

PAULINA: No. Why?

JOE: She never came back from her lunch break.

PAULINA: That's not like her. Maybe she ate something that disagreed with her, and she went home to bed.

JOE: Without letting me know?

PAULINA: She might have felt too sick to call.

JOE: No, I think something has happened. (Takes out police radio transmitter.) This is Captain Carlino. All units be on the lookout for Detective Josie Sinclair. She may be in danger. She never came back from her lunch break. Over. (Puts away transmitter)

PAULINA: Don't worry. They'll find her.

JOE: Or Adams, Johnson, and I will. (Clock on wall reads 2:29)



SCENE SEVEN: CLOSING SCENE
(The scene shifts to the docks. Man in brown jacket and brown Stetson hat is talking in a low voice on a cell phone. We cannot hear what he is saying. Josie approaches very quietly. She looks around, sees man, comes up behind him, and starts whistling.)
MAN: (into phone) You don't know where, and you don't know when.

JOSIE: FREEZE!
(Man turns around. We now see that he is Chip Rayburn.)

FREEZE FRAME

next episode