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 7



This episode takes place eight days after the previous episode. It is now February, 2003

SCENE ONE
(The scene is Cass Winthrop's law office. Cass and Felicia are talking.)
FELICIA: Where is that du Lac woman?

CASS: She must have been delayed.

FELICIA: Well, you'd think she'd at least have the courtesy to call.

CASS: Have her letters to you been courteous?

FELICIA: No; they've been downright insulting. (The door opens, and a woman with copper-colored, obviously dyed hair walks in.)
CASS: Adele du Lac, I presume?

WOMAN: Hardly. I am Elaine Bachman, Ms.du Lac's agent.

CASS: My client and I were expecting Ms.du Lac.

FELICIA: Why isn't she here?

ELAINE: (condescendingly) Well, really, my dear, you must understand that Adele du Lac happens to be a very busy woman.

CASS: And I happen to be a very busy attorney, so you can just tell Ms. du Lac that my client and I expect her to come in person, or we will consider the entire matter closed.

ELAINE: I'm afraid that's not possible.

FELICIA: Oh, really? And why not?

ELAINE: Because Adele du Lac is the nom-de-plume of somebody rather well known who prefers to keep her real identity a secret.

CASS: Well, we'd prefer a face-to-face meeting.

FELICIA: Or is she afraid to face me?

ELAINE: Now, why would you think that Ms. du Lac could ever possibly be afraid of (insulting emphasis) you?

FELICIA: Because she has made some totally unfounded accusations.

CASS: My client is absolutely right. We've both spent hours researching online writing journals, which, by the way, are dated, and we've found nothing even remotely resembling COUNT ON LOVE. Now, I insist on meeting Ms. du Lac in person. I am upholding my client's right to confront her accuser.
FADE OUT


SCENE TWO

(The scene shifts to the library. Sofia is seated at a table, reading a magazine. We do not see the title. Tito walks up to her.)
TITO: (whispers) Excuse me, is anybody sitting here?

SOFIA: (whispers) No. (looks up) Wait a minute. I know who you are. You're Tito Banecek.

TITO: You must have me mixed up with someone else.

SOFIA: No, I don't. Now, please sit someplace else. I have nothing to say to you.

TITO: There's no need to be hostile.

SOFIA: Hostile? After what you did to my family?

TITO: Look, I don't know what you're talking about. I don't even know who you are.

SOFIA: Oh, don't you?

TITO: Honestly, I have no idea.

SOFIA: I'm Sofia Carlino.

TITO: And is that supposed to mean something to me?

SOFIA: Does the name Paulina Carlino mean anything to you? You remember. You pretended to be her long-lost son.

TITO: I don't know what you are talking about.

SOFIA: (getting up) I don't even want to be in the same room with you.
(Sofia walks away.)
FADE OUT


SCENE THREE
(The scene shifts to Java Underground in Oakdale. Carl is seated at a table. It is obvious that he is waiting for someone. A woman with black, shoulder-length hair walks in, looks around, approaches.)
WOMAN: Hello, Carl.

CARL: Hello, Lydia. I suppose it would be polite to say "It's good to see you," but, (spreads his hands and shrugs his shoulders as if to say, "Well, you understand.")

LYDIA: (sitting across from Carl) Now, I had my attorney double-check his findings.

CARL: And?

LYDIA: There's no doubt about it. The divorce wasn't legal.

CARL: Well, that can be taken care of quite easily.

LYDIA: You never told your (coughs) what, exactly should I call her?

CARL: My wife.

LYDIA: I am your legal wife.
CARL: That means nothing to me.
LYDIA: I take it you never told her about us.
CARL: I considered our relationship a part of the past that was best left in the past.

LYDIA: Well, I'm in your future now.

CARL: No. You are in my past. We are going to get another divorce, and this time I'll make damned sure it's legal.

LYDIA: And then what? You and Rachel still won't be legally married.

CARL: I'll worry about that after you and I are legally divorced.
(Isaac approaches the table.)
ISAAC: Are you ready to order?

LYDIA: Yes. I think I'll have
FADE OUT


SCENE FOUR

(The scene shifts to Cass Winthrop's law office. Cass and Felicia are talking. Elaine is no longer there)
FELICIA: Can you believe the nerve of some people?

CASS: Do you mean Adele du Lac, or her agent?

FELICIA: Both. I mean, she accuses me of stealing my plot from an online journal which probably does not even exist, and then she sends her agent instead of having the common decency to face me personally.

CASS: And that Elaine person was so condescending, as if we were hardly worth Ms. du Lac's time.

FELICIA: I wonder what's the real reason is that Adele du Lac doesn't want to meet with me face-to-face.

CASS: Well, I made it crystal clear that she has no other choice.
FADE OUT


SCENE FIVE: CLOSING SCENE

(The scene shifts to an undisclosed location. Grant and Tito are talking.)
GRANT: So you're telling me that she recognized you?

TITO: I told her she had the wrong guy, but I don't think she bought it.

GRANT: Well, that means we'll have to change our strategy.

TITO: In what way?

GRANT: You will meet Sofia again, and you will admit that she was right.

TITO: And then what?

GRANT: You will convince her that you regret everything you did to her family, and you want her to help you to make amends.

TITO: How do I do that?

GRANT: You figure it out. I got you out of prison while I myself was behind bars. So you owe me. Never forget, you owe me.

TITO: All right. So I pretend I've reformed.

GRANT: And you make Sofia fall in love with you.

TITO: And then what?

GRANT: And then, when the time is right, I'll drop the bombshell. The good citizens of Bay City are going to learn that Captain Joseph Carlino never was the saint he pretends to be.

FREEZE FRAME

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