Chicago Hope
Life
ACT ONE
FADE IN:
EXT. SPORTS ARENA - DAY
From way up high, we hover over this athletic compound, its parking lot a sea of cars, eager sports fans huddled outside the flood gates hoping and some even praying they’ll get the rare opportunity to witness their hockey team, the Chicago Blackhawks, pull off the biggest upset in the history of this windy city. Down below, within the steel walls of this arena, we HEAR a ROAR, a CHANT that fills the heavens. It’s a harmonious sound, similar to a gothic incantation to the Messiah.
Our interest peaks and we start to ZOOM IN on the source. Like a hawk zeroing in on its prey we fast approach this oval structure, past the crowds and into
INT. SPORTS ARENA - DAY
where we are confronted by an onslaught of die hard wall to wall Blackhawk fans. This place is alive - high octane energy - it’s a surprise the ice isn’t melted. Everyone is on their feet, the inner structure vibrates from the frenzy. As we listen carefully and take a closer look around, we understand why this place is a volcanic eruption - the CHANT “Tony! Tony!” is heard over and over again -
ON THE SCOREBOARD - the Blackhawks are tied and down below on the ice
CLOSE ON a red jersey draped over a towering frame - the number 23 screams out in big black letters. This is superstar ANTHONY BRIGHTON, who gracefully glides and darts past his opponents with complete control of the puck which eludes the oncoming defense. Anthony plays as if today could be his last day on Earth - not just for him and his team - but because this is the Stanley Cup.
The ROAR of “Tony! Tony!” fuels Anthony’s drive toward the GOALIE. We hold our breath as Anthony sets his position and with lightning speed, a quick flick of the stick, the puck explodes off the ice and sails like a hovercraft toward
THE GOALIE who somehow manages to prevent this black projectile from entering his atmosphere.
We HEAR acollective sigh from the crowd but if we fine tune it to another frequency, we also pick up a more explicit gesture from
MCNEIL (OC)
Damn!
whose blood pressure rises and drops whenever the puck comes close to a net.
REVEAL
Dr. JACK MCNEIL who has plexi seats with physical therapist KAREN WILDER. Wilder notices McNeil’s biting reaction and by the look she gives him we suspect she knows why McNeil is so uptight about this game when everyone else enjoys it.
MCNEIL
(shouts)
C’mon Tony. You could’ve made that blindfolded.
McNeil turns toward Wilder.
MCNEIL (CONT)
He should’ve made that one.
Wilder’s suspicions are clarified by the dollar signs in McNeil’s eyes - he’s gambling on the game. She can only support her friend and pray the Blackhawks score another goal. She doesn’t have to wait long before
The ROAR of the crowd signifies a sudden turn of events -
ON ANTHONY BRIGHTON who has regained control of the puck and brings it down the ice. This time Anthony will not miss because his sights are set on the opposing team’s net and not the puck which zig zags between an onslaught of defenders.
ANGLE ON
McNeil whose eyes bulge out of his sockets. He mentally calculates the perfect time when Anthony should
MCNEIL
Now!
ON ANTHONY who takes the shot. The puck seems to fly through the air in slow motion. The goalie anticipates its arrival but there is a window open, it’s a crack and it’s open - The crowd explodes.Anthony has put his team up by one. His teammates congratulate him. Anthony raises his arm in the air with his finger pointed to the sky - signifies his team is number one. “Tony! Tony!” vibrates throughout. Anthony waves to his fans in appreciation of their support.
Anthony skates over to McNeil and through the plexi glass
ANTHONY
That was for you, my man.
And off he goes... McNeil beams from the recognition.
WILDER
That was nice.
MCNEIL
(proud)
I rebuilt both of his knees. He’s never been quicker.
McNeil is an arrogant fellow - as Anthony’s personal orthopaedist - he has every right to be. Wilder is not impressed - she’s used to it.
WILDER
Oh.
MCNEIL
(shouts)
Okay guys, let’s stay on top of this game.
BACK TO THE GAME where the Chicago Blackhawks are on the defense. Their opponent quickly brings the puck down the ice - threatens to score to tie the game. The puck is released but its transport is intercepted by the Blackhawks GOALIE. The crowd cheers.
The Blackhawks take control of the puck. Anthony skates down the ice ready to receive a pass from one of his teammates. The puck finds Anthony’s stick but Anthony is quickly checked from behind and SLAMMED into the boards. Anthony’s helmet flies off his head but it doesn’t deter him from controlling the puck. He manages to successfully pass it to a teammate. His team gets close to the net but the opposing defense intercepts and makes their move toward Blackhawks turf.
Anthony has already anticipated this aggressive defensive move and has strategically placed himself in a position to prevent his opponent from scoring.
What wasn’t anticipatedwas the the amateurish half court shot from Anthony’s opponent. Maybe the intention was a pass to a fellow player but how can that be when no one has skated past the invincible Anthony Brighton. The puck travels at mach speed across the ice and
SMACK into the forehead of Anthony Brighton. The puck falls to the ice. Anthony is out cold and is immediately checked again, launched into the boards head first. This is the final blow as Anthony crumples to the ground. He doesn’t move. Lights out. The white ice streaked with the color red.
ANGLE ON
McNeil who realizes what has just happened to his friend and the most likely outcome of this game.
OFF McNeil’s concern we:
SMASH CUT TO:
MAIN TITLES
INT. E.R. - DAY
The doors burst open and we see a lifeless Anthony Brighton who lies supine on a gurney which moves at a harried pace. Anthony is hooked up to the essentials. McNeil and Wilder race alongside the gurney with Paramedics. A distressed McNeil barks commands all the while to the joining Tech, Nurse and intern Dr. UNDERHILL.
MCNEIL
(emotional)
His BP is one hundred sixty over one hundred. I need to start a nitro drip stat. Let’s get a Chem-7, a CT and a Cross-Table C-Spine. Let’s go people. (then) Where’s Dr. Shutt?! I need Dr. Shutt! Someone page him immediately!
It’s such a rapid fire approach the team hesitates for a split second to decipher McNeil’s orders. McNeil looks impatiently to Underhill.
MCNEIL (CONT)
(derogatory tone)
What are you waiting for?
UNDERHILL
I was on my way doctor.
MCNEIL
Well let’s go before the man dies.
Dr. KEITH WILKES approaches. McNeil intercepts.
MCNEIL (CONT)
(to Wilkes)
I know this kid. I’ll handle it.
WILKES
Jack. I’m taking over. This isn’t your specialty.
MCNEIL
(resolute)
He’s mine, Keith.
Wilkes backs off as…
Wilder reaches for and grabs McNeil’s forearm.
WILDER
Jack, you’re going to do him more harm than good unless you tone it down immediately or remove yourself from his care.
McNeil strikes backwithout hesitation.
MCNEIL
The next time I need an opinion from a physical therapist, I’ll let you know.
This was a stinging comment. Wilder handles it in a professional manner.
WILDER
You’re a sonofabitch, Jack.
And off she goes. McNeil is unphased and continues to drive this train.
MCNEIL
Where the hell is Dr. Shutt?
ON ANTHONY BRIGHTON who suddenly awakes from his slumber state and screams out in terror. It’s a violent reaction as he reaches out and grabs one of the Medics. His brute strength holds down the Medic - pummels the medic’s head at a feverish pace.
McNeil attempts to release Anthony’s hold as the team dives in to restrain him.
MCNEIL
Anthony, it’s me. It’s Jack. You have to stop or you’re going to hurt yourself. You need to calm down. I’m here to help you.
Anthony continues to fight against his perceived attackers.
ANTHONY
(ballistic)
Stop hurting me. You’re killing me. Get this stuff off of me. I hate you, Jack. I hate you. You’re killing me.
ANGLE ON Underhill bewildered by this act of exorcism
UNDERHILL
Oh my god. What’s happening?
ON TWO MONSTROUS ORDERLIES who approach and successfully restrain Anthony Brighton. Anthony slips back into unconsciousness.
ON MCNEIL who addresses Underhill.
MCNEIL
You should know that a patient with a massive head injury may exhibit violent, irrational behavior. (then) Now I need your focus, Dr. Underhill.
Underhill has no choice but to adhere to McNeil’s request even though he is still disturbed by the current event.
Wilkes intercedes.
WILKES
Jack, I’m taking over. If you don’t leave, I’m going to have you removed.
McNeil’s hesitant, then relinquishes.
MCNEIL
I wouldn’t expect you to understand.
McNeil storms off as we:
CUT TO:
INT. DOCTOR LOUNGE - DAY
Dr. AARON SHUTT gazes upward at a television monitor where we see a TICKER TAPE scroll across the bottom of the screen. Shutt shakes his head in disgust. We realize his stocks are not performing well.
Dr. DIANE GRAD approaches and follows his gaze upward at the monitor. Seconds pass when she bursts out in cheer.
GRAD
Yes!
SHUTT
(beat)
You play the market?
GRAD
What do you think got me through med school?
Shutt has a newfound respect for Grad.
SHUTT
I’m impressed.
GRAD
It’s my aggressive side.
SHUTT
Oh really?
GRAD
You have to take the risk to reap the rewards. How about you?
SHUTT
I like to play it safe. Maybe that’s not such a good thing.
GRAD
Well, they say if you invested $20,000 in Microsoft back in 1982 and with it splitting seven times, your money would be worth about sixteen million today. Not bad in fourteen years.
SHUTT
I’d say so. You own Microsoft?
GRAD
No, it’s too conservative for me. I like to gamble on the upstart companies.
ON SHUTT who doesn’t know what to think. He would like to impress Grad with his holdings.
SHUTT
(proud)
My broker has me in steel.
GRAD
(the truth hurts)
That’s boring. No wonder you’re losing.
So much for an impression. BEEPER SOUNDS. Grad and Shutt fumble for their respective pagers.
SHUTT
It’s me... I gotta go. (then) Maybe we can pick up this conversation later. It sounds like you know a hell of a lot more than my broker.
GRAD
I wouldn’t say that, but I’m sure I’d be a lot cheaper.
Shutt hurriedly exits. Grad takes another look at the ticker tape.
INT. CORRIDOR - DAY
Shutt launches out of the lounge and almost collides into a wheel chair bound HANK MCGRAW.
SHUTT
Pardon me.
And Shutt is gone.
HANK
(shouts)
Where the hell is a TV in a joint like this? Half the state of Florida is in a deep freeze and I’m losing my ass on orange juice contracts! (to his orderly) Get me back to the exchange!
Hank is livid.
A cell phone RINGS. Hank quickly retrieves his phone.
HANK (CONT)
(into phone)
McGraw here. What? Those damn rookie traders - get rid of them before they screw it all up. I told them to unload those bellies an hour ago. (then) How am I supposed to know? I was blacked out for an hour and there’s not a monitor in sight. (hangs up)
The same moment, Grad walks right into Hank’s chair and somehow manages to keep her balance.
HANK (CONT)
What is it with you people?
Grad regains her composure.
GRAD
I’m sorry. Are you alright?
HANK
No, I’m not alright. I’ve been wheeling myself around this hospital for the last hour and no one’s even tried to help me.
GRAD
What’s the problem? How can I help?
HANK
I need to get to a tv.
GRAD
(points to lounge)
There’s one in there.
HANK
(to orderly)
Get me in there quick. (to Grad) You’re a life saver. (extends his hand) Hank McGraw. My friends call me ‘Options.’
GRAD
Dr. Diane Grad. Options?
HANK
I’m a trader on the exchange.
And with that Hank almost barrels over Grad. Grad’s interest peaks. She follows his lead.
CUT TO:
INT. MELISSA LANGLEY’S ROOM - DAY
With her back to us, MARYBETH LANGLEY comforts her eight year old daughter MELISSA who sits upright in bed. Melissa wears a hospital gown and as we take a closer look we are drawn to the bruises on Melissa’s face and body. We take notice of Melissa’s arm whichis supported by a collar and cuff sling. Marybeth caresses Melissa’s face which has a lifeless expression.
MARYBETH
Mommy’s here baby. Mommy loves you princess.
As we swing around to share in this intimate moment, it becomes clear to us the victim in this room is not only Melissa but Marybeth as well. If you think Melissa’s bruises were bad, Marybeth’s are worse.
CUT TO:
INT. CORRIDOR OUTSIDE GARY LANGLEY’S ROOM - DAY
Dr. KATHRYN AUSTIN looks in on Marybeth’s unconscious husband. Gary’s head is wrapped and taped.
AUSTIN
(sotto)
You got off easy, you bastard.
OFF Austin’s disdained look we:
CUT TO:
EXT. MCNEIL’S OFFICE - DAY
A frenzied McNeil grabs an envelope from the mail slot on his door and enters
INT. MCNEIL’S OFFICE - DAY
where he rips open the package and retrieves the enclosed radiographs. He slaps them on his light box and studies the skeletal images. After close examination, McNeil shakes his head in disgust.
MCNEIL
Sonofabitch tore her arm off.
McNeil turns off the lamps and we:
CUT TO:
INT. MELISSA LANGLEY’S ROOM - DAY
Melissa looks upwardat Austin with red, teary eyes. Marybeth holds her daughter’s hand.
AUSTIN
I know it hurts, Melissa. We’re here to take care of you. You’re a very brave girl. (then) You know, I have a little girl too. She’s your age and she’s strong just like you. (to Marybeth) May I speak with you in private.
MARYBETH
Sure. (then) We’ll be right back, princess.
(kisses Melissa on forehead) Mommy loves
you. I’ll be right outside your door.
Austin and Marybeth exit.
INT. CORRIDOR OUTSIDE MELISSA LANGLEY’S ROOM - DAY
Austin addresses a concerned Marybeth Langley.
AUSTIN
Mrs. Langley, I’ve been a physician for many years. I’ve seen many cases of domestic abuse. You should know that you can count on me and this hospital to protect you in any way that we can in keeping your husband from harming you and your daughter again.
Marybeth lets this sink in before
MARYBETH
Dr. Austin, I appreciate your concern and your offer, but you have nothing to worry about nor does Melissa - I’m taking care of everything.
Austin admires her strength but
AUSTIN
Mrs. Langley, with all due respect, this is often the response of an abused spouse and inevitably what happens is a return visit to the hospital or worse - somebody dies. (she doesn’t get through) Are you going to wait for something like this to happen to you again?
MARYBETH
Dr. Austin, again I appreciate your concern, but right now my daughter needs me. If you’ll excuse me.
Marybeth returns to Melissa’s room. Austin stands defeated. McNeil approaches.
MCNEIL
Kate, how is she?
AUSTIN
She’s scared.
Austin follows McNeil into
INT. MELISSA LANGLEY’S ROOM - DAY
Austin and McNeil approach Melissa. Marybeth shoots a look toward Austin as if to convey an invasion of their privacy.
AUSTIN
Melissa, this is Dr. McNeil. He’s going to help your arm get better.
MCNEIL
How are you feeling, Melissa?
MELISSA
It hurts.
MCNEIL
Can I take a look?
Melissa looks to Marybeth for approval.
MARYBETH
It’s okay, princess.
McNeil examines Melissa’s arm. We can see the area of swelling. His gentle touch is too unbearable for Melissa.
MELISSA
(screams;cries)
It hurts!
MCNEIL
I’ll stop. (then;to Marybeth) Melissa has a fractured upper hemural epiphysis with extensive tissue, muscle and nerve damage. Because her epiphysis is displaced by more than 50%, I’m going to have to recommend surgery.
MARYBETH
(alarmed)
Surgery! Why does she need surgery!? I didn’t even understand what you said! A fractured what? What was that again?
Melissa becomes frightened by her mother’s tone.
MCNEIL
Mrs. Langley, the break in your daughter’s arm is in the area where the bone meets the socket. I have to insert a pin where the break is so that Melissa can have the chance to regain full motion of her arm. Right now the damage is so severe that without surgery there’s a good chance your daughter could lose feeling, have a limited amount of motion and possible deformity as she grows.
The news hits Marybeth like a shock wave. She’s stunned.
AUSTIN
Mrs. Langley, Melissa is in the best hands possible with Dr. McNeil. (then;to Melissa) When my daughter Sara broke her arm in gymnastics, Dr. McNeil fixed her up. (to Marybeth) He wouldn’t recommend surgery unless he felt it was absolutely necessary.
MARYBETH
I know. I know. I’m just so worried. (then;to McNeil) Are there any other options?
MCNEIL
(biting)
No.
MARYBETH
Are you sure?
MCNEIL
(loses patience;biting)
Mrs. Langley, the sooner we get this done, the better. Now if you’ll excuse me, I have another patient to attend to.
McNeil abruptly walks out of the room. Austin follows his lead.
OFF Marybeth’s troubled look we:
CUT TO:
INT. CORRIDOR OUTSIDE MELISSA LANGLEY’S ROOM - DAY
Austin confronts McNeil.
AUSTIN
Jack!
McNeil turns around - seems bothered by the sudden intrusion.
MCNEIL
What Kate!
AUSTIN
You have a petrified mother and daughter in that room. Don’t you think you could have showed a little more compassion?
MCNEIL
What did you have in mind? The girl needs surgery. If Mrs. Langley kept her little girl away from her husband, she wouldn’t be here in the first place.
AUSTIN
You’re right but she had no control of that. You’re Melissa’s doctor and you suggested a very delicate procedure. When you suggest surgery, you need to offer reassurance. You didn’t. In their time of need you just walked away.
MCNEIL
Kate, if you’re finished, I have a close friend who at this moment is fighting for his life.
McNeil walks away - too quickly for him to hear
AUSTIN
(sotto)
I’m sorry.
OFF her concerned look, we:
CUT TO:
EXT. WATTERS’ OFFICE - DAY
A group of Nurses gather outside Watters’ door. They listen intently to the SOUNDS of a classical guitar from within. They are hypnotized by the performance.
Dr. PHILLIP WATTERS approaches from behind - interrupts their private recital. The Nurses are surprised. They thought Watters was the guitarist.
As he makes his way through
WATTERS
Ladies.
Watters opens his door. The Nurses swarm toward the opening - hoping to get a glimpse of the person inside. Watters douses their chance - closes the door behind him.
INT. WATTERS’ OFFICE - DAY
Watters stands and listens to the beautiful melody that flows from his guitar. The admiration Watters feels for his dear friend Dr. GREGORY RIDGEWAY emanates from the content look on his face.
Greg plays his last chord. He looks up to Watters. This is one handsome doctor whose bronze complexion tells you he spends his winters in the Cayman Islands.
WATTERS
I didn’t expect you until Thursday.
GREGORY
(cheerful)
That’s right - but now we have two extra days to hit the town. (then;re guitar) You don’t play this much do you.
WATTERS
Never have the time. I’m trying to save a hospital.
GREGORY
That’s you, Phillip. Always on the side of the underdog. You never take the time to enjoy the good life. Now that I’m here, that’s all going to change. (rises) Get your coat. We have reservations at the Palm.
This is all too fast for Watters.
WATTERS
Hold on, Greg. I can’t just leave. I still have another few hours.
GREGORY
Phillip, it’s eight o’clock. You’ve probably been here since five. Now get your coat and let’s get out of here.
WATTERS
How many days did you say you were going to be in town?
GREGORY
Let’s go Phillip.
Greg rushes Watters out of the office. Watters has no choice but to adhere to Greg’s request.
CUT TO:
INT. E.R. CORRIDOR - DAY
Grad and Dr. BILLY KRONK motor in mid conversation through the emergency room lobby.
GRAD
Billy, it’s a barbaric sport. I just can’t understand what you see in it -
KRONK
Diane, we’re talking about ice hockey here not cock fighting - now that’s barbaric.
GRAD
Let’s just forget it.
KRONK
No, no, no, no - you’re not getting off that easy.
Underhill approaches - interrupts our couple.
UNDERHILL
I’m sorry but I was wondering if I can run something by you.
KRONK
Sure. What’s up?
UNDERHILL
Well, it seems like Dr. McNeil and I bump heads everytime we’re around each other. I don’t know if it’s me - I don’t know if I’m doing something wrong - I don’t know but it makes me feel really uncomfortable.
KRONK
You have to understand that McNeil is a perfectionist. He expects nothing less than perfection from you. It’s a tough spot to be in, but all you can do is your best.
Underhill soaks in this information but from the look on his face, he’s still dazed and confused. Grad picks up on his look -
GRAD
Just be patient with him and you’ll be fine.
And with thisfinal piece of advice we HEAR a blood curdling SCREAM.
WOMAN (OC)
Help! My baby isn’t breathing! Somebody help me!
Kronk, Grad and Underhill rush to
INT. E.R. - DAY
where a crying, hysterical WOMAN tightly clenches her fourteen month old BABY DAUGHTER. We CLOSE IN on the infant whose skin tone is blue.
WOMAN
My god! Help me! Please! She’s not breathing!
Kronk quickly takes control. He reaches for the baby but the mother pulls back - she’s defiant.
KRONK
Ma’m, I’m a doctor. I’m here to help you. Now I need to see your daughter to find out what’s wrong.
The woman doesn’t comprehend.
WOMAN
She’s not breathing! Please somebody help!
KRONK
That’s what I’m trying to do, but I need to see her. Now please let go of her.
The woman gently hands her over to Kronk.
WOMAN
Please take care of my baby.
GRAD
We promise we will.
Kronk urgently barks out commands.
KRONK
Somebody page respiratory therapy and let’s get an ambu bag stat.
OFF Kronk and Grad as they rush the infant down the hall.
FADE OUT:
END OF ACT ONE
ACT TWO
FADE IN:
EXT. CAR - MOVING - NIGHT
A bright red Ferrari - top down - travels at mach speed through a busy city street.
DRIVER’S POV
A canvas of brake lights in front - immediately swerves to the far right lane to maintain this Grand Prix pace.
INT. CAR - MOVING - NIGHT
We focus in on Greg Ridgeway who is behind the wheel - ecstatic - one who breathes the air of a Formula One driver in total control. He is quite impressed with himself. Next to him sits a frigid Watters who checks the tension on his seatbelt. Greg turns to Watters - his eyes off the road.
GREG
This is what it’s all about.
Watters is not in the celebrative mood. Greg keeps his eyes trained on Watters.
GREG (CONT)
Nothing like a cool breeze hitting you at a hundred miles an hour.
Watters’ eyes go wide at
WATTERS
(shouts)
Watch out!
the back end of a fast approaching car. Greg cooly flicks the steering wheel and avoids a near catastrophe. Watters almost goes into respiratory arrest.
GREG
(calmly)
That was close.
OFF our boys as they speed down a street and out of sight we:
CUT TO:
INT. PRE-OP - NIGHT
An unconscious Anthony Brighton is oblivious to a Nurse who lathers his head with shaving cream - about to apply the finishing touch to a once full head of hair. Brain surgery is eminent.
CUT TO:
INT. RADIOLOGY ROOM - NIGHT
Shutt takes one last look at Anthony Brighton’s radiograph before he reaches to switch off the lamp. A frazzled McNeil enters.
MCNEIL
Aaron, what do we have?
SHUTT
Well, Anthony has an extradural haematoma with a clot located in the frontal lobe. I have to drill a burrhole to relieve the pressure and get to the clot.
MCNEIL
Post op prognosis?
SHUTT
In my experience with a clot of this size recovery could range anywhere from three to ten days. The first twenty four hours are crucial. My first objective is to get him out of his coma. (off McNeil’s look) In most cases, Jack, the quicker a patient regains consciousness, the more likelihood there will be limited brain damage or maybe even full recovery.
MCNEIL
What if he doesn’t pull out of the coma?
SHUTT
I’m optimistic that he will.
MCNEIL
Why?
SHUTT
For one thing he’s a healthy sonofabitch and I get the feeling he’s also one hell of a fighter.
McNeil appreciates the compliment paid to his close friend.
SHUTT (CONT)
I’ll take care of him.
MCNEIL
Thanks.
OFF this, we:
CUT TO:
INT. ANNA WHITE’S ROOM - NIGHT
The infant we saw rushed into the ER sleeps peacefully - hooked up to an IV - her skin restored to normal color. Kronk looks over baby ANNA before we
CUT TO:
INT. CORRIDOR OUTSIDEANNA WHITE’S ROOM - NIGHT
Where an anxious PAMELA WHITE waits to hear news on her daughter, Anna. Kronk takes a moment before he
KRONK
Mrs. White -
Pamela doesn’t let him finish
PAMELA
How is she? How is my Anna?
KRONK
Mrs. White, I want you to know your daughter is doing fine. She’s breathing on her own without the aid of a respirator. We’re going to keep her overnight for observation and try to determine what caused her to stop breathing.
PAMELA
Thank you, doctor. Thank you. I don’t know what I would’ve done without my baby.
KRONK
Mrs. White, is Anna’s father aware she’s in the hospital?
PAMELA
We’re divorced. I’m her sole guardian.
(then) Why? What’s the matter?
KRONK
Well, I’m curious about the red marks on Anna’s neck.
Kronk waits for an explanation and it’s delivered without a beat.
PAMELA
Oh that - poor Anna was so cold I wrapped a scarf around her neck to keep her warm. It was wool so she probably had an allergic reaction. It’s probably just a rash.
Seems logical, butKronk is disbelieving -
KRONK
I was just a little concerned.
PAMELA
I would like to spend the night if it’s alright with you.
KRONK
I don’t see a problem with it.
PAMELA
Thank you, doctor. Thank you again for saving my little girl.
Pamela enters Anna’s room. Kronk stands - still not sure of the ‘rash’ on Anna’s neck. Nurse MARISELA approaches.
MARISELA
How’s the baby doing?
KRONK
She’s doing fine.
MARISELA
I’ve been talking to her mother for the longest time and the only thing we talked about was her daughter, Anna. She absolutely adores that baby. She’s really a great mother.
KRONK
That’s nice.
Marisela exits. OFF Kronk who is not impressed, we:
CUT TO:
INT. HANK MCGRAW’S ROOM - NIGHT
Hank sits upright in bed. He checks his stock quotes on a hand-held, high-tech pager. Overhead, the television monitor plays a muted CNN.
Grad enters -holds a chart. Hank is oblivious to her presence.
GRAD
Mr. McGraw.
Hank is too engrossed in the market.
HANK
Not right now, doctor. Now’s not a good time.
GRAD
Mr. McGraw, your tests came back and we need to talk.
HANK
Just gimme a second. I need to figure out how much money I lost today.
Grad waits a moment before
GRAD
Well, now I see where your health problems stem from.
HANK
(looks up)
Health problems? All I did was choke on a piece of pork.
Grad reads from the chart.
GRAD
Oh really? Your cholesterol level is over four hundred. Your blood pressure is off the charts and your triglycerides are through the roof. (looks at Hank) I’d say you’re a ticking time bomb Mr. McGraw.
HANK
I don’t believe it. I thought I was in pretty good shape. When you’re on the floor all day you always move around. Who has time to eat? (then) Haven’t taken a vacation in ten years. Ten years.
GRAD
When’s the last time you had a physical?
HANK
It’s gotta be about the same time.
GRAD
Mr. McGraw I’m only going to say this once - if you don’t dramatically alter your lifestyle in the way you eat and in the way you work I can guarantee you a fatty piece of pork will not be the reason the next time you’re admitted into a hospital.
This is an eye opener and it gets Hank’s full attention.
HANK
What am I supposed to do? I can’t take time off from work. The second you look away is all it takes for you to lose a lot of money - your clients money.
GRAD
Mr. McGraw, it’s your choice.
Hank digests this ultimatum.
HANK
I have to think about it.
GRAD
You do that, Mr. McGraw.
HANK
Do me a favor and call me Hank.
GRAD
Okay, Hank.
Grad exits.
OFF Hank’s distressed look, we:
CUT TO:
INT. O.R. - NIGHT
Shutt and his team hover over Anthony Brighton, they work vigorously to remove a life threatening clot. Shutt is in the process of drilling a hole in Anthony’s head.
SHUTT
(to his team)
Almost there... just a little more... and we’re in.
Shutt hands off the drill - takes a moment - then looks up to
ON MCNEIL who stands in the Observatory - watches the surgery below on his close friend.
OFF McNeil’s intense look, we:
CUT TO:
INT. RESTARAUNT - NIGHT
This is an upscale eatery in a fancy part of town. Dr. Gregory Ridgeway and Watters are seated at a booth. Both men smoke fat cigars. Gregory lifts a martini glass to his parched lips.
WATTERS
Tell me your secret, Greg. How do you do it?
GREGORY
I don’t know what you’re talking about Phillip.
WATTERS
Renowned plastic surgeon and captain of an international rugby team.
GREGORY
Oh that. (then) Well, it’s quite simple really. Not even a secret. I’ll spell it out for you. It’s a three letter word. Ready? (off Phillip’s nod) F-U-N. Fun. It’s what you’re lacking. You need to start enjoying yourself. You’re not getting younger.
Gregory fishes forany remaining liquid in his empty glass. He sees a passing WAITER.
GREGORY (CONT)
I need a drink. (calls out) Waiter.
The waiter approaches.
GREGORY (CONT)
My dear friend and I need a refill.
WATTERS
Not for me. I have to get up early.
GREGORY
You see Phillip?! That’s what I’m talking about. (to waiter) Please bring him another martini. (to Phillip) Trust me on this one.
The waiter exits. Gregory slips further into the booth.
WATTERS
Are you alright?
GREGORY
I’m fine.
Gregory starts to laugh to himself.
WATTERS
What’s so funny?
GREGORY
Do you remember our third year in med school - the winter ball dance? Remember Bobby Johnson? Bobby spiked the punch with a hundred proof and he slipped a human liver at the bottom of the bowl. And here comes pristine Nancy Williams all thirsty from dancing up a storm. The look on her face when that liver plopped right into her drink. (laughs) I laughed so hard I thought I was having a heart attack.
WATTERS
Those were the days. (then) I don’t know if you know this or not but Bobby and Nancy married, had three children and currently run a successful practice in Hollywood. Psychiatrists to the stars.
GREGORY
You gotta be kidding me. (then) Maybe I should’ve pulled a stunt like that. I wouldn’t be the carefree wealthy bachelor I am today. Instead, I’d be a responsible - married man.
(then) That’s a scary thought.
WATTERS
Yeah and the word ‘fun’ would have a whole new meaning.
The waiter approaches with their drinks.
GREGORY
Finally. (takes his drink) I’d like to make a toast.
Both men raise their glasses.
GREGORY (CONT)
To us, Phillip. To our success - to all of the long hours that got us here - to all of the women who are missing out on the chance in having incredible men like us in their lives - and most important to the new Phillip Watters who’s going to walk out of here tonight with a whole new perspective on life.
WATTERS
I guess I’ll drink to that.
Watters takes a sip from his glass. Gregory swallows his like a shot.
GREGORY
Now I have to use the boy’s room. I’ll be back in a sec.
Gregory slowly gets out of the booth. He struggles to maintain his balance. Watters is concerned.
WATTERS
You need help?
GREGORY
Phillip, I can handle it. I’m a big boy.
He is but when he takes his first step, Gregory crashes to the floor head first. Watters jumps from the booth and quickly comes to his friend’s aid. Luckily for Greg the alcohol numbs the pain.
WATTERS
Greg, are you okay? Talk to me.
GREGORY
I’m okay. Just a little dizzy.
WATTERS
Are you sure?
GREGORY
Yes, I’ll be fine. Just lost my balance.
OFF Watters’ concerned look, we:
CUT TO:
INT. I.C.U. - NIGHT
Anthony Brighton lies unconscious with his head fully wrapped in bandages. Shutt and McNeil enter. Shutt checks Anthony’s charts as McNeil stands to his side.
MCNEIL
(sotto;to Anthony)
You’ve made it through the hard part.
Shutt chimes in.
SHUTT
Wait until he gets to rehab. That’s where the real battle begins.
MCNEIL
He’s been there before.
Shutt notices McNeil’s concern. He walks over to McNeil.
SHUTT
He’s going to be fine, Jack.
McNeil appreciates the gesture.
Kronk enters - walks over to Anthony. As a fellow hockey player, he admires the great Tony Brighton.
KRONK
I’ve been following this guy since I was a kid. He’s the reason I started to play. Tony’s a legend. (to McNeil) I can’t believe how long you’ve kept him on the ice.
MCNEIL
Aaron’s the one who deserves the credit. He just saved his life.
KRONK
I know, but as his orthopaedist you patched him up.
MCNEIL
Yeah. A lot of good it did.
McNeil exits. Kronk has obviously touched a soft spot.
KRONK
(to Shutt)
What did I say?
SHUTT
Nothing. Jack just needs some time to himself.
OFF Shutt and Kronk as they watch over Anthony Brighton.
FADE OUT:
END OF ACT TWO
ACT THREE
FADE IN:
INT. MELISSA LANGLEY’S ROOM - DAY
Marybeth cuddles her daughter Melissa in bed - a few hours before surgery. Melissa holds a teddy bear with her good arm. We catch them in mid conversation.
MARYBETH
... you won’t feel a thing, princess. You’ll be asleep and dreaming of all of the fun things you like to do.
MELISSA
Am I going to see daddy before they operate?
Marybeth cringes at the mention of her husband.
MARYBETH
I don’t know, Melissa.
Beat.
MELISSA
I hope not.
Marybeth doesn’t respond - a dead silence in the room.
Austin enters.
AUSTIN
How are you feeling today, Melissa?
MELISSA
I’m bored.
It’s not the response Austin expects, but it does make her smile.
AUSTIN
That’s something my daughter would say if she was cooped up in a place like this.
MARYBETH
Thank you for the teddy bear. That was really nice of you.
AUSTIN
I thought Melissa would enjoy the company.
MELISSA
Thank you, doctor Kate.
AUSTIN
You’re welcome. (then) I just spoke to Dr. McNeil. He doesn’t see any chance of complications. The operation shouldn’t take more than an hour. After you wake up, you’ll be here a few more days, to rest and to get better.
MELISSA
Can I have ice cream?
AUSTIN
Melissa, you can have all of the ice cream you want.
Two Orderlies enter with a gurney - ready to transport Melissa to the O.R.
ORDERLY#1
Is she ready, Dr. Austin?
AUSTIN
(to Melissa)
Are you ready?
Melissa looks to her mother then
MELISSA
I’m scared.
Austin holds Melissa’s hand.
AUSTIN
I know, Melissa, but you know what I think? I think you’re a very brave girl, and I know you’re going to do just fine.
MARYBETH
You’ll be fine, princess.
The two Orderliescarefully lift Melissa onto a gurney and roll her out of the room. Austin and Marybeth follow close behind.
INT. CORRIDOR OUTSIDE MELISSA LANGLEY’S ROOM - DAY
Let’s move with Austin and Marybeth as they follow Melissa down the hall. Austin takes a moment before
AUSTIN
(to Marybeth)
Your husband came out of his coma this morning. He asked for Melissa.
Marybeth doesn’t respond, but her expression tells us she is terrified for her daughter.
OFF Austin’s concerned look, we:
CUT TO:
INT. ANNA WHITE’S ROOM - DAY
Kronk places a stethoscope on baby Anna’s chest. He listens patiently for any irregular activity. He then moves downward where he gently kneads her abdominal region. He appears to be satisfied with his examination. Kronk crosses to the foot of the bed where he grabs Anna’s chart.
Pamela White enters. The look on her face tells us she is disturbed by Kronk’s presence. As Kronk makes notes on the chart
PAMELA
What are you doing?
KRONK
(without looking up)
Just making sure your daughter is well enough to go home today.
PAMELA
(disappointed)
So soon? She doesn’t need surgery?
KRONK
Surgery. Why wouldyou think she needs surgery? My only concern is that she’s underweight. (then) Is she eating normally?
PAMELA
To be honest she has trouble keeping her food down - like last night she vomited during her feeding.
KRONK
(alarmed)
Did you inform the nurse?
PAMELA
No. I didn’t think it was important.
KRONK
Why?
PAMELA
I don’t know - because it’s happened before.
KRONK
How long has this been going on?
PAMELA
I guess since she was born.
KRONK
(alarmed)
Mrs. White, you guess? (off her blank look) Haven’t you consulted with your pediatrician?
PAMELA
Yes and she said it’s because Anna was born prematurely and as a result, her development has been a little slow.
KRONK
Is she on any special diet?
PAMELA
No. Just regular baby food.
KRONK
Well starting today she’s going to be on a high protein diet. I’m also going to give her a prescription for some strong vitamins. Just make sure you don’t exceed the recommended dosage because it will make her very sick.
PAMELA
I can’t tell you how much I appreciate your keeping such a close eye on her.
KRONK
If there’s any change in her condition, call me immediately.
PAMELA
I will.
Kronk looks over at Anna before he exits - the look on his face tells us he is disturbed by Pamela’s carefree demeanor. As soon as he leaves, Pamela studies Anna as if Kronk has done something wrong to her. Pamela fixes her blanket and strokes her hair neatly back into place.
CUT TO:
INT. CORRIDOR - DAY
Gregory Ridgeway wears a rugby sweatshirt, jeans and cowboy boots. An unlit cigar protrudes from his mouth. Gregory walks proud and tall and he looks damn good for having such a rough night. He acknowledges the SMILING Nurses as he approaches
INT. WATTERS’ OFFICE - DAY
where he immediately goes to the liquor cabinet and pours himself a drink. He finds a lighter on Watters’ desk and lights up. He sits in Watters’ chair, props his feet on his desk and skillfully blows smoke rings. Let’s hold on this shot before
Watters enters. He takes in the sight and isn’t pleased with Greg’s antics.
WATTERS
Don’t you ever give it a rest?
GREGORY
Never. This morning I cracked some heads at practice and now I’m ready to take it to the next level.
WATTERS
Are you insane? Have you gone completely nuts?
GREGORY
Philip, relax. (hands to Phillip) Here’s two tickets for tomorrow’s game. I want you to witness the destruction of the British team.
WATTERS
I can’t wait. (then) Can you please get your feet off of my desk?
Gregory complies.
GREGORY
Wait until you see the shape we’re in. We’re going to annihilate those damn Brits.
WATTERS
Your cigar is stinking up my office.
Gregory gets the message. He crosses to the balcony.
GREGORY
Care to join me?
WATTERS
Do I have a choice?
Watters follows his lead but not before he checks his desk for ashes. He brushes away at a clean desk.
EXT. WATTERS’ BALCONY - DAY
Gregory enjoys the view. Watters shows concern for his friend.
WATTERS
Don’t you think it’s a little early to be hitting the hard stuff?
GREGORY
I like to reward myself after a good practice.
WATTERS
You’re not going to be able to keep this pace forever.
GREGORY
I know - but right now it’s worth every second.
Gregory takes a sip of his drink. It goes down the wrong pipe - causes Gregory to cough. The cough persists - enough where Gregory can’t catch his breath. The glass shatters on the ground as he grabs his chest.
WATTERS
Are you alright?
Gregory motions he’s okay. Gregory pulls out a handkerchief and finally hacks up the remaining fluid. Gregory is flustered from this attack. He checks his hanky and discovers BLOOD. Gregory tries to conceal it, but Watters already noticed.
WATTERS (CONT)
I need to check that out.
GREGORY
It’s nothing. Just took a bad hit today.
OFF Watters whose concern has heightened, we:
CUT TO:
INT. I.C.U. - DAY
A conscious Anthony Brighton gazes at the ceiling - absorbs his surroundings like an infant at first sight. He opens his mouth and finds he is severely parched. He does manage to
ANTHONY
(barely audible)
Jack.
He closes his eyes and just when we think he’s slipping back into a coma
MCNEIL (OC)
How’s my boy doing today?
Anthony opens hiseyes and welcomes the reassuring sound of McNeil’s voice.
ANTHONY’S POV - MCNEIL who stands directly above him. Anthony breaks a smile.
ANTHONY
I have to get back on the ice.
MCNEIL
Not so fast, Tony. You just woke up.
ANTHONY
What happened?
MCNEIL
The puck hit you in the head. You’ve been in a coma.
ANTHONY
I don’t remember anything.
MCNEIL
It was serious, Tony. You had surgery. They had to remove a clot from your brain.
Anthony takes a moment to absorb this news.
ANTHONY
Will I play again?
MCNEIL
It’s too early to tell. You need time.
ANTHONY
How much time?
MCNEIL
You need time.
The conversation takes its toll on Anthony both physically and mentally - the latter the direct result of the possibility he might never play hockey again. His eyes become watery.
ANTHONY
All of my life I dreamed of playing for the Stanley Cup. When I close my eyes I see myself holding it. Tell me Jack, is it going to happen?
MCNEIL
Close your eyes and it will.
Anthony closes his eyes and we:
CUT TO:
INT. CORRIDOR - DAY
McNeil crosses toward the Nurse’s station where he
MCNEIL
(to nurse)
Who’s assisting me on the Langley girl?
The Nurse reaches for the schedule.
NURSE#1
(reads)
Dr. Underhill.
McNeil smirks.
Underhill approaches. His awkwardness is a clear sign how nervous he is around McNeil. McNeil stands at the counter - reads a chart. Underhill is not sure whether to interrupt him but he
UNDERHILL
Dr. McNeil. I wanted to let you know I made sure the OR is prepped and ready to go. Everything is in order. Is there anything else I should do?
Without turning his back
MCNEIL
No. Just be focused.
Underhill expected more, but he has learned to take whatever he gets when it comes to McNeil.
UNDERHILL
Okay. I’ll see you up there.
MCNEIL
Yeah.
As soon as Underhill walks away, Austin approaches.
AUSTIN
Melissa’s in good spirits.
MCNEIL
Considering what she’s been through. (then) How’s the mother holding up?
AUSTIN
She’s scared, Jack. I’m worried about her.
MCNEIL
I feel the same way, but what can you do?
AUSTIN
I can report it - have Melissa placed with the proper authorities.
MCNEIL
Yeah - and those same authorities will have the parents attend a few counseling sessions and when mommy and daddy seem fit, they’ll go home and Melissa will be subject to the same abuse. Is that what you want, Kate?
AUSTIN
(firm)
I’m not letting this go, Jack.
MCNEIL
I know, but the reality is the system is not going to save her,Kate.
McNeil exits. Austin is determined to follow through with her convictions. She looks off - lost in thought.
KRONK (OC)
Kate, do you have a minute?
Kronk snaps her out of it.
AUSTIN
Sure, Billy. What’s up?
KRONK
When Sara was a baby, how conscientious were you as a mother? I’m assuming you never left her side.
AUSTIN
Not for a second. Why?
KRONK
Okay. If Sara had a high fever or let’s say she had a hard time keeping her food down, you would remember something like that right?
AUSTIN
I remember like it was yesterday.
KRONK
That’s what I thought. Thanks.
Kronk exits. Austin isn’t sure of Kronk’s intentions.
CUT TO:
INT. CORRIDOR OUTSIDE GARY LANGLEY’S ROOM - DAY
Marybeth Langley stands - gazes upon her comatose husband. As we draw nearer to Marybeth, we see the look of a woman who is not only fearful but burns with anger.
MARYBETH POV - GARY lies still - his eyelids flutter.
OFF Marybeth’s daggered look, we:
CUT TO:
INT. E.R. CORRIDOR - DAY
We track with Marisela as she moves at a brisk pace. She spots Kronk who walks in the opposite direction. Marisela rushes toward him.
MARISELA
(shouts)
Billy! Billy!
ON KRONK whoturns and one look from Marisela registers the urgency in her voice. Marisela closes the gap.
MARISELA (CONT)
It’s Anna! It’s Anna!
KRONK
What happened?
MARISELA
She’s in seizure.
OFF Kronk’s alarmed and somewhat guilty look, we:
SMASH CUT TO:
INT. TRAUMA ROOM - DAY
A trauma team led by Austin huddles over the frail tiny body of Anna White. A panic stricken Pamela White stands in b.g with Marisela. As we move closer into the huddle, we see a Nurse cut away clothing and another attach electrodes to her bare chest. An IV is about to be set up. Austin barks orders.
AUSTIN
I want the airway secured. I want to see that ambu bag now. I want an IV push with 1mg of epi, 1mg of lidocaine, and she may need an ET. How’s her BP?
NURSE#1
Two hundred over one hundred ten and getting faster by the second.
AUSTIN
(sotto)
Hold on, Anna. I know you can do it.
KRONK (OC)
How’s she doing?
AUSTIN
She’s hypoxic.
Kronk is stunned. He takes a quick glance at Pamela - their eyes meet for a split second.
KRONK
(to Kate)
I just released her this morning. She was fine. (beat;to himself) Did I miss something?
AUSTIN
Let’s wait until the tests come back.
NURSE#1
(shouts)
BP’s coming down.
One of the Nurses releases the ambu bag.
NURSE#2
Looks like she’s starting to breathe on her own.
A sigh of relief from the team. Anna starts to recover.
AUSTIN
Let’s get her up to ICU.
Kronk looks defeated. Austin is encouraging.
AUSTIN (CONT)
She’ll be fine, Billy.
It’s not good enough for Kronk as he crosses toward Pamela and Marisela.
KRONK
Mrs. White you want to tell me what happened when you left this morning?
PAMELA
(upset)
I don’t know. We were driving home and she started to seizure. I don’t think she was getting enough air. I stopped the car and performed CPR. I did my best to clear her airway. Once I felt she was breathing on her own, I drove back as fast as I could.
KRONK
Has she ever seizured before?
PAMELA
She has stopped breathing, if that’s what you mean.
KRONK
(incredulous)
No, that’s not what I asked. Has she seizured before?
PAMELA
I wouldn’t call it a seizure.
Kronk is confused. Marisela intercedes - feels Pamela is under enough pressure.
MARISELA
Billy!
KRONK
Marisela, I’m the doctor. I’m trying to find out what happened to her baby. (firm) Stay out of it.
Marisela storms off. Kronk cools down.
KRONK (CONT)
Mrs. White, Anna will be moved upstairs to intensive care. We’ll find out what’s wrong with her. I guarantee you.
The trauma team transports Anna in the b.g. Pamela looks on with grave concern.
CUT TO:
INT. MEN’S ROOM - DAY
Gregory Ridgeway hovers over a running faucet - looks at himself in the mirror. He doesn’t look well - his tannish color has faded to a ghostly white. Greg bends down and splashes a handful of water onto his sweaty face. Another splash of water. He loosens his collar then suddenly grabs the left side of his arm. The pain increases and spreads. Greg grabs his chest and crashes to the floor. The impact cracks his nose which causes him to bleed.
As we pull back we hold on this shot of Greg flipping like a dead fish in a pool of blood.
We slowly dissolveto black.
FADE OUT:
END OF ACT THREE
ACT FOUR
FADE IN:
INT. CORRIDOR - DAY
Few patients and staff linger in this otherwise barren hallway. Our attention is
ON AN ORDERLY who walks toward camera. We track with this Orderly until he reaches a door marked “MEN” - men’s bathroom. As he pushes inward ORDERLY POV -GREGORY RIDGEWAY who lies motionless on the floor - his body soaked with his own blood.
ORDERLY
(shouts)
Oh my god! Somebody help! I need a doctor in here right away!
As we pull back we HEAR further cries for help as we:
SMASH CUT TO:
INT. CORRIDOR - DAY
The tension mounts and the atmosphere has come to life as a trauma team races Gregory Ridgeway on a gurney. A Nurse performs CPR in transit while another
NURSE#1
(shouts)
We’re losing him!
And still another
NURSE#2
He’s arrested! He’s in V-fib!
The pace quickens when the team suddenly stops and crashes
INT. O.R. - DAY
where the team converges upon a lifeless Gregory Ridgeway. This is a CODE 3 - highest priority. CPR resumes as the clean up process begins. Clothes are ripped away - the nose is packed with gauze and the blood is wiped with a cloth.
ON AUSTIN who has entered ready to take charge. The Nurse who performs CPR looks up at Austin.
NURSE#1
He’s not responding.
Austin immediately advances toward the patient and without hesitation WHACKS Gregory on the chest with her fist - a precordial thump to jumpstart the heart. She looks upward
AUSTIN POV - CARDIAC MONITOR where the unmistakeable random activity of the EKG is consistent with V-fib.
Austin WHACKS himagain but to no avail. Austin is frustrated.
AUSTIN
Damn! (then) Okay! Let’s defib him! Charge the paddles!
One of the Nurses emerges with a defiberallator and hands the paddles to Austin. Austin rubs the paddles together.
AUSTIN (CONT)
Give me two hundred joules!
NURSE#2
Charged!
AUSTIN
Clear!
Austin shocks Gregory - his body THUMPS. Austin looks to the monitor - still no change.
AUSTIN (CONT)
Okay! Give me three hundred!
NURSE#2
Charged!
AUSTIN
Clear!
Another shock. Again, nothing. Austin is determined.
AUSTIN (CONT)
Give me three hundred and sixty!
NURSE#2
Charged!
AUSTIN
Clear!
All eyes are on the monitor. The rhythm remains V-fib.
ON WATTERS who bursts into the room and crosses to Austin’s side. He gazes at his vulnerable friend.
WATTERS
Where are we, Kate?
AUSTIN
He’s in V-fib. No reaction to three hundred and sixty. I’m going to tube’m.
Watters takes it all in.
WATTERS
(to Austin)
You have to save him, Kate.
Austin looks to Watters.
AUSTIN
I’m doing everything I can, Phillip.
OFF Watters who casts a reassuring look to Gregory and the staff as well - they know how close he is to this patient.
CUT TO:
INT. MELISSA LANGLEY’S ROOM - DAY
Melissa is asleep - post surgery. Her arm rests on a large orthopaedic pillow which is wrapped around her upper torso.
ON MARYBETH who gazes at her helpless child.
MCNEIL (OC)
She still sleeping?
MARYBETH
Yes.
McNeil checks the apparatus - studies Melissa for a moment.
MCNEIL
She’s doing fine. The surgery went well.
MARYBETH
Thank you, Dr. McNeil.
MCNEIL
You’re welcome.
Marybeth fights to hold back tears. There is an understanding between McNeil and Marybeth - the reason why Melissa is here in the first place.
MCNEIL (CONT)
Mrs. Langley - you can’t let this continue.
MARYBETH
... I know.
OFF Marybeth as the tears begin to flow.
CUT TO:
INT. NURSE’S STATION - DAY
Pamela White stands at the counter. She’s in mid conversation with a Nurse.
PAMELA
... he seems kind of young to be a doctor.
NURSE#1
Dr. Kronk’s been practicing for years.
PAMELA
Really? I’m surprised. He has such poor bedside manner.
NURSE#1
(surprised)
What do you mean?
PAMELA
Well, I feel like he rushed us - like we were in and out of here before we even knew what happened. He was insensitive to me as a mother and now my baby’s fighting for her life.
The Nurse takes a moment before
NURSE#1
Dr. Kronk is a fine doctor and from what I understand, your daughter’s condition has stabilized.
PAMELA
(sardonic)
Well, it didn’t have to be like this.
Good point. The Nurse doesn’t want a confrontation.
MARISELA (OC)
Is everything alright?
Marisela enters frame. Her concern stems from the look on Pamela’s face.
PAMELA
No.
MARISELA
What’s wrong?
PAMELA
Dr. Kronk’s incompetent.
MARISELA
Pam, I know he’s doing everything he can. Anna’s health is his main concern.
Pamela is not convinced.
PAMELA
I don’t trust him.
Marisela studies her. Pamela avoids her gaze. She then looks over Marisela’s shoulder. Marisela turns around to
KRONK
(firm)
Mrs. White, I need to speak with you in private.
Pamela looks to Marisela and the Nurse as if to convey her suspicions that Dr. Billy Kronk is the true culprit in this hospital. Pamela eyes the women - looks for their approval before she joins Kronk. Marisela and the Nurse keep their eyes trained on Pamela.
INT. CORRIDOR OUTSIDEI.C.U. - DAY
Kronk and Pamela face the obvious.
KRONK
Why didn’t you tell me Anna was admitted into County two months ago?
Pamela is speechless.
KRONK (CONT)
Mrs. White, it’s very hard for me to do my job when I don’t have all of the facts. (off her blank look) Now is there anything else I should know?
PAMELA
I love my baby. I would never do anything to jeopardize her. I told you everything.
Kronk is baffled but his suspicions run deep. He stares at Pamela.
PAMELA (CONT)
I don’t know what you want from me, doctor.
KRONK
The truth.
One last look before Kronk heads into I.C.U. Off Pamela’s dubious look.
INT. ANTHONY BRIGHTON’S ROOM - DAY
Anthony lies supine as a Nurse gently wraps a blood pressure monitor on his arm. The Nurse pumps - takes his blood pressure. She looks at her watch - looks at the gauge - back to the watch - then the gauge. Her look is disbelieving because at this moment the numbers tell all and what they reveal is
the STEADY HUMMING SOUND of FLATLINE. As we WHIP to the screaming cardiac monitor, the Nurse rushes out of the room and
INT. CORRIDOR OUTSIDE ANTHONY BRIGHTON’S ROOM - DAY
where she
NURSE#1
(shouts)
I have a Code 3! I need some help!
OFF her urgent look, we:
SMASH CUT TO:
INT. O.R. - DAY
The overhead lights cast its blinding rays onto Anthony Brighton, Shutt and members of the trauma team. This is a life or death crisis, and Shutt tries everything he can to keep this kid alive.
ON SHUTT who rubs the paddles together and SHOCKS Anthony. He looks to the monitor - FLATLINE. Shutt is frustrated - this is not his first attempt with the joules.
NURSE#2
No response.
SHUTT
(sotto)
Anthony, you have to help me out here. I need you to fight.
C.U. ANTHONY who’s begun to bleed from the ears and mouth.
SHUTT (OC)
He’s hemorrhaging!
This is a hopeless situation and Shutt knows it - but he’s not about to give up. Shutt barks an order and a menacing looking needle is handed to him from a Nurse. As Shutt sinks this needle into Anthony’s head we
SMASH CUT TO:
INT. O.R. - DAY
We’re close on a monitor - FLATLINE - but this one’s for Gregory Ridgeway whose condition is as grave as Anthony’s.
Watters looks on as Austin finishes an incision to Gregory’s chest.
AUSTIN
Spreaders.
A Nurse handsher the tools to spread the ribs. Austin breaks the ribs wide open. We HEAR CRACKING SOUNDS from within.
Watters doesn’t waste time as he reaches into Gregory’s cavity and physically massages his heart. All eyes are on the monitor.
WATTERS
C’mon, Greg. Hold on.
Watters massages more aggressively. The end result is the same - FLATLINE. Watters has code and Austin wants him to call it.
AUSTIN
Phillip.
Watters is determined even though his efforts are futile. Exhaustion starts to set in. The pace slows.
AUSTIN (CONT)
(pleads)
Phillip.
Watters stops. His scrubs are soaked with his best friend’s blood and all he can do is stare at his own hands - unable to save Gregory’s life.
SMASH CUT TO:
INT. CORRIDOR OUTSIDE O.R. - DAY
An emotionally strained Shutt emerges. He rips off his mask - leans against a wall - fatigued from his efforts. McNeil enters frame - crosses toward him.
McNeil already has his answer by the look on Shutt’s face.
SHUTT
I did everthing I could. The haematoma reoccurred, and I couldn’t relieve the pressure in time. (beat) I’m sorry, Jack.
McNeil is at a loss for words - devastated by the news.
CUT TO:
INT. NURSE’S STATION - DAY
Grad flips through a chart when Kronk intercepts.
KRONK
Do you have a second? This is important.
GRAD
What’s wrong.
KRONK
You remember Anna. The baby admitted for apnia? (off her look) Well she appears to be perfectly healthy even though the mother claims she’s sick. I put her through all of the tests and nothing.
GRAD
Have you checked her history?
KRONK
Oh yeah. She has a track record across town. Admitted for the same symptoms seven times in the last year. And every time she was discharged without incident.
GRAD
How old is she again?
KRONK
Fourteen months.
Grad is clued in.
GRAD
Tell me a little about the mother.
KRONK
She seems to be very concerned about her child’s health but every time she’s around Anna, something goes wrong.
Grad absorbs what she hears - formulates her own opinion.
GRAD
Blood in diaper. Seizures. Apnia. Rashes. Fevers. Abnormal urine.
Kronk is impressed.
KRONK
How’d you know?
GRAD
Have you thought of Munchausen By Proxy Syndrome?
KRONK
No but (then;realizing) I think you’re onto something.
Kronk kisses her then exits.
CUT TO:
INT. MELISSA LANGLEY’S ROOM - DAY
Marybeth watches as Melissa awakes from her slumber state. Melissa is out of it and even though she is pumped with drugs, the pain starts to take effect. The tears begin to flow. It’s too unbearable to watch. Marybeth comforts and reassures her daughter before she slowly stands and
INT. CORRIDOR OUTSIDE MELISSA LANGLEY’S ROOM - DAY
where Marybeth walks down the hall with her arms crossed in front of her chest. She’s on a mission.
CUT TO:
INT. CORRIDOR - DAY
We move with Kronk as he makes his way toward Anna’s room. Marisela intercepts.
MARISELA
Hey, Billy.
Kronk ignores her - fixed on his destination.
CUT TO:
INT. CORRIDOR - DAY
Another part of the hospital. Marybeth Langley is rigid - continues with her methodical pace - in a world of her own - oblivious to the Nurses, Patients and Orderlies who almost collide with her.
CUT TO:
INT. CORRIDOR OUTSIDE I.C.U. - DAY
Kronk opens the door and enters
INT. I.C.U. - DAY
where Pamela White stands in front of the IV with a syringe in her hand. She swiftly closes off the IV valve - about to inject RUBBING ALCOHOL from the syringe when
KRONK (OC)
What the hell...
Pamela turns - the syringe faces outward - a possible weapon. Kronk coaxes her to
KRONK (CONT)
Please drop it, Mrs. White. I’m not going to hurt you.
Pamela starts to shake. The room becomes a whirlwind. She doesn’t seem to hear Kronk’s request.
KRONK (CONT)
You need help, Mrs. White. We’re going to get you help.
The shaking becomes uncontrollable, and she suddenly drops to her knees. The syringe hits the floor.
PAMELA
I never meant to hurt my Anna.
As Kronk approaches
KRONK
I know, Mrs. White. I know.
Kronk quickly inspects the IV and baby Anna. He glances downward at a fragile Pamela White.
SMASH CUT TO:
INT. CORRIDOR OUTSIDE GARY LANGLEY’S ROOM - DAY
Marybeth peers through the glass. Her husband Gary is awake. Marybeth enters
INT. GARY LANGLEY’SROOM - DAY
where she slowly approaches the foot of the bed.
ANGLE ON Gary Langley who is pleased to see his wife. He cracks an apologetic smile - his eyes plead for forgiveness. Suddenly his expression changes - he’s terror stricken. We
WHIP back to Marybeth Langley who points a gun at her husband. Marybeth seeks vengeance and without hesitation pulls the trigger.
SMASH CUT TO:
INT. CORRIDOR - DAY
Somewhere in the hospital another GUNSHOT SOUND is heard from Marybeth’s second bullet. It echoes loudly throughout. Staff and visitors are startled by the apparent noise. Some fear the worst.
DISSOLVE TO:
EXT. CHICAGE HOPE - NIGHT
Kronk and Grad look on as Pamela White is assisted by an officer into the back seat of a squad car. Pamela White turns and shoots a look toward Kronk through the car window. The car lurches forward, and she disappears.
KRONK
Munchausen By Proxy Syndrome. Just the sound of it gives me the chills.
GRAD
I know what you mean. Munchausen is one of those rare medical mysteries we still don’t have all of the answers to.
KRONK
How could a mother inflict pain onto her own child just to create a bond with doctors and nurses so that she can satisfy her own sick need for affection and understanding?
GRAD
I don’t know but let’s be thankful Anna’s one of the lucky ones who survived.
Kronk couldn’t agreemore.
SMASH CUT TO:
INT. CORRIDOR OUTISE E.R. - NIGHT
Two police officers escort a handcuffed Marybeth Langley toward the exit doors. Marybeth shows no remorse as we
CUT TO:
EXT. WATTERS’ BALCONY- NIGHT
Watters looks out at the skyline. It’s been a hellish day. Austin approaches from behind. She takes a moment before
AUSTIN
I am so sorry, Phillip.
WATTERS
(beat;sotto)
He had a ten year old son. I’m the godfather.
Austin stands next to him.
Another beat.
WATTERS (CONT)
Life. Such a simple word but yet... it encompasses so much.
Austin listens intently.
WATTERS (CONT)
We’re doctors. We save lives. Sometimes we do everything we can and when we face death, we’re forced to accept and understand that death is a part of life. (beat;faces her) That is sometimes hard to do, Kate.
OFF Austin’s understanding look, we:
FADE OUT:
THE END