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 36



This episode takes place on the same day as the previous one.

SCENE ONE

(The scene is the exterior of The Tripodi Gallery. There are several banners with the words "RACHEL CORY, RENOWNED SCULPTOR: Old and New Works. A limosine stops in front of the gallery; the driver gets out and opens the door; Rachel steps out and speaks to the driver.
We do not hear what she is saying. While Rachel is speaking, Paulina, Amanda and Matt emerge from the limo.)

AMANDA: It's a good thing those banners don't say "Sculptress."

MATT: If they did, Mom would probably pull them down herself.

PAULINA: I wouldn't be surprised.

RACHEL: Shall we go inside? I need to make sure everything is ready before the exhibit opens.
FADE OUT



SCENE TWO

(The scene shifts to the duck pond at Foster Park. Dante and Bonnie (in her wheelchair) are tossing bread crumbs to the ducks. Remy is sitting on a bench, reading a book. Tito approaches.)
TITO: Hi, Dante. (Dante doesn't answer.) Hello, Dante.

BONNIE: Why don't you answer him?

DANTE: Because I don't know him, and you know I'm not allowed to talk to strangers.

BONNIE: Neither am I.

TITO: (sounding hurt) Don't you remember me, Dante?

DANTE: No.

TITO: I'm Tito.

DANTE: I still don't know you.

TITO: You mean nobody told you? I'm your brother.
FADE OUT



SCENE THREE

(The scene shifts to the Cory-Hutchins mansion. Carl is on the phone.)
CARL: Yes, I'm ready to do my part in our, or rather, your, little scheme. (Pause) Of course I'll wait until the strategic moment.(pause) I'm leaving as soon as we hang up.
FADE OUT



SCENE FOUR
(The scene shifts to the office of SINCLAIR AND SINCLAIR, PRIVATE INVESTIGATORS. Gary and Cameron are talking.)

CAMERON: So Joe really came down on Josie?

GARY: Yep.

CAMERON: What did he do, exactly?

GARY: He demoted her to Cadet.

CAMERON: (whistling) You're kidding, right?

GARY: It's not as bad as it sounds.

CAMERON: Meaning it's only temporary?

GARY: You got it.
FADE OUT



SCENE FIVE
(The scene shifts to the duck pond at Foster Park)
DANTE: What do you mean, you're my brother?

TITO: Well, you know how Remy is your sister because you have the same mother?

DANTE: Uh huh.

TITO: Well, I'm your brother because you and I have the same father.

DANTE: My Daddy is your Daddy?

TITO: That's right.

DANTE: If my Daddy is your Daddy, too, how come you've never been to our house?

(Remy looks up from her book)
REMY: Oh, my God! (Gets up, starts walking over to Dante, Bonnie, and Tito.)

TITO: Well, you see, Dante, I've never come to the house because Dad doesn't (sees Remy, breaks off.) Oh, hi, Remy.

REMY: Don't you "Hi, Remy" me. You leave Dante alone.

BONNIE: He says he's Dante's brother? Is he?

DANTE: I don't think so.

TITO: Listen to me, Dante. I really am your brother, just as much as Remy is your sister.

REMY: No, you're not, and you never will be.

TITO: There's a saying, Remy, "Denial ain't just a river in Egypt."

REMY: Meaning what?

TITO: Meaning Dante is just as much my flesh and blood as he is yours.

REMY: Even if Dad is your father, Dante, I am still more his sister than you are his brother.

TITO: How do you figure that?

REMY: It's simple. I love Dante.

TITO: And are you so sure I (breaks off)

REMY: (to Dante and Bonnie) We have to go now. (takes handles of Bonnie's wheelchair, pushes chair. Dante walks alongside the chair. Tito watches, and sighs. )

TITO: (to himself) Damn it! I blew it!
FADE OUT



SCENE SIX
(The scene shifts to an apartment somewhere in Bay City. There is a copy of Van Gogh's STARRY NIGHT on the wall. Edith is talking on the phone.)
EDITH: Yes, I saw it. (pause) No, I have no idea who posted it, but if you ask me, it serves her right. I mean, she had the nerve to suspend me after what she did?! (pause) No, I didn't, but now that you mention it, I think I will.
FADE OUT



SCENE SEVEN: CLOSING SCENE

SEVERAL HOURS LATER

(The scene shifts to The Tripodi Gallery. Rachel is talking with a female reporter. Amanda, Paulina, and Matt are standing nearby.)
REPORTER: I'm surprised that your husband isn't here.

RACHEL: He's feeling under the weather.

REPORTER: Oh? I heard some rumors that you were having problems.

RACHEL: Well, as a reporter, you should know that you can't believe everything you hear.

REPORTER: But where is the rest of your family?

RACHEL: They'll be here later.(Lydia approaches; Rachel is obviously annoyed.)What do you think you're doing here?

LYDIA: Why, Rachel (as she speaks, the camera angle widens, and we see Iris approaching.)I came to see your sculptures.

(Reporter listens intently)

RACHEL: I'd like you to leave.

LYDIA: Must you be so uncivil? After all, we do have a hus

(Iris, now directly behind them, coughs. Rachel and Lydia turn to face her.)

IRIS: Rachel, I need to talk to you.

RACHEL: Really? Do you think, after everything you did, that you could just come to my opening and talk to me, as though we were one big happy family?

LYDIA: Iris, what in the world

RACHEL: Don't tell me you two know each other. But then, why am I surprised?

AMANDA: (low voice, to Paulina and Matt) This is all Mom needs.

IRIS: Please, Rachel, there is something I need to tell you. It's about Carl.

LYDIA: What about Carl? Is he still trying to divorce

IRIS: No. Rachel, I went to your house today.

RACHEL: Why?

IRIS: I was hoping that we could put the past behind us, but, it's too late. At least, it's too late for Carl.

RACHEL: Of course it's too late, after what you did.

IRIS: No, Rachel, that's not what I mean. While I was there, Carl collapsed.

RACHEL: Is he all right?

IRIS: No, he isn't. I'm sorry, Rachel, but Carl is dead.
FREEZE FRAME



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