BAY CITY TOWERS-PENTHOUSE B/SAME NIGHT

VICKY still watches Reginald expectantly. He stands up from his chair, leaning on his cane heavily. He notices Vicky's sympathetic reaction.

REGINALD
Just a bit of a carry-over from the accident. Not so much a hindrance as an annoyance.

VICKY
So that's why you have Parker?

REGINALD
Parker began as my nurse, yes, but now he's more of an...assistant to me. He's become the son I never had.

VICKY
You had Peter.

REGINALD
Exactly. So, Victoria, do I have your silence that I'm in town?

VICKY
(with a sly grin)
What's in it for me?

REGINALD
You already have my estate.

VICKY
That's right. I guess so, then.

REGINALD
I've come back to reclaim a lost child.

Vicky stares at him for a minute, then bursts out into laughter.

VICKY
What lost child, Grandpa? Is this child in Bay City?

REGINALD
Actually, she is, Victoria.

VICKY
She?

REGINALD
And she's someone that you know quite well.

VICKY
Oh, come on, Grandpa. You expect me to believe that you've got a long-lost daughter in Bay City?

REGINALD
I expect you to help me welcome her into our family.

VICKY
Grandpa...we all thought you were dead. I hardly think Mom's going to welcome you with open arms, not after everything you did, and she's certainly not going to welcome a long-lost half-sister. So who is she?

Reginald hesitates.

CUT TO:

BCUH waiting room/SAME night

Matt is no longer in the waiting room, neither is Felicia. Sergei is reading a magazine, while Josie is on her cellphone, Gary next to her.

JOSIE
(into phone)
No, Mama, we haven't even seen him yet. We're waiting for information about Hayley. No, don't come to the hospital. We'll call you when we know anything. I know. We love you, too.

Josie hangs up the phone and turns to Gary.

JOSIE (cont'd)
You should hear the excitement in her voice. I think she's almost as excited as we are.

GARY
I hate to feel so happy when Lorna is going through so much with Hayley, but all I can think of is how wonderful it's going to be to take that baby boy home with us.

JOSIE
He's going to need a name. I already know the name I'm thinking of for him.

GARY
Cameron?

JOSIE
For the uncle he'll never get to know. I think Cameron is perfect. And I'd kind of like to name him for John, too. He's done so much for me.

GARY
Cameron John Sinclair.

He and Josie smile at each other.

JOSIE
C.J. Sinclair.

GARY
C.J. I like that. Now all that's left is to take our son home.

JOSIE
(softly)
Our son. C.J.

CUT TO:

HAYLEY'S HOSPITAL ROOM/SAME NIGHT

TITO has sneaked into HAYLEY'S room. She is unconscious and hooked up to a lot of machines. Tito glances around the room and approaches Hayley cautiously. When he realizes that she's not going to die in front of his eyes, he pulls a chair next to her bed and begins speaking in a whisper.

TITO
I don't know if they told you…but we've got a son. I haven't seen him yet, but I will as soon as they let me. You have to wake up so he can see you, Hayley. You can't let him go to the Sinclairs without seeing you. Did you hear me, Hayley? I want the Sinclairs to take him. I want him to have everything you and I never had growing up. Baseball games, and birthday parties, and summer camp. A mom who'll make him brownies to take to class parties. A dad who'll teach him when to fight back against a bully and when to walk away. Family Christmases with grandparents to spoil him and cousins to play with. Parents who raise him together. I want him to have everything we can't give him. You were right, Hayley. We created him, but he'll be the Sinclair's son.

As Tito sits quietly, Hayley stirs, slightly, and opens her eyes. Tito leans forward, relief crossing his face.

TITO
I knew you'd wake up.

A tube in her throat still prevents Hayley from talking, but she gives Tito a terrified and confused glance.

TITO
(sensing what she wants to say)
The baby's great, Hayley. It's a boy and he's perfect. We have a son. You have to get better though, so that you can tell him that you love him…

He stops talking as he realizes that Hayley's eyes have closed and she's asleep. He stands quietly and leaves the room.

CUT TO:

CORY MANSION/SAME NIGHT

AMANDA walks into the living room, which is empty. As she enters the room, the phone rings. She grabs for it.

AMANDA
Hello?

ANTOINETTE THAYER is on the other end of the line.

ANTOINETTE
May I speak with Amanda Cory?

AMANDA
This is Amanda. Who's calling?

ANTOINETTE
Ms. Cory, this is Antoinette Thayer. We met in New Orleans when you and your friend visited my grandmother's gallery?

AMANDA
Yes! How are you? And please, call me Amanda.

ANTOINETTE
I'm fine, Amanda. Have you had any new developments on your husband's murder?

AMANDA
(vaguely)
I've had a few. Nothing concrete, I'm afraid.

ANTOINETTE
I'm sorry to hear that, Amanda. I'm calling with some news that you might find interesting, however.

AMANDA
About the murders?

ANTOINETTE
No, I wish I had something that would help you in that respect. Actually, I'm calling about the painting that you saw in the gallery?

AMANDA
Oh! Yes....I remember. Have you found out the subject?

ANTOINETTE
Yes, I have. I spoke with my grandmother and she discovered the paperwork from when we first received the painting.

Amanda waits patiently for Antoinette to continue.

FADE OUT