INT. SYDNEY'S KITCHEN - LATE AFTERNOON
Sydney is preparing dinner in the kitchen. The telephone rings.
SYDNEY
(into
the phone)
Hello? Oh, hi, Tom.
Sydney stirs a pot on the stovetop as she listens on the phone.
SYDNEY
Sure. Bring her with you, a fourth will be fine, no problem at all. I look forward to meeting her. See you soon. Bye.
Sydney hangs up the phone.
INT. SYDNEY'S HOUSE – EVENING OF THE SAME DAY
The doorbell rings and Sydney answers the door. Tom and his wife Courtney enter the house accompanied by Helena. Tom and Courtney exchange hugs and kisses with Sydney.
SYDNEY
(surprised to see Helena)
Helena? What a special surprise.
HELENA
Hello, Syd.
TOM
You two know each other?
HELENA
Yes, Sydney saved my dear friend's life—two friends in fact!
SYDNEY
And Helena's family and friends showed their gratitude by funding the new clinic.
TOM
When I asked to bring Helena I'd no idea you two had met.
Sydney points to the sliding glass doors.
SYDNEY
Tom, why don't you pour everyone a drink. Appetizers are on the deck.
EXT. OUTSIDE SYDNEY'S HOUSE - LATER THAT EVENING
Shane pulls in front of Sydney's house in her jeep. She gets out and walks toward the house. Through the front window she can see Sydney entertaining at the dining room table. She sees Sydney, Helena, Tom and Courtney laughing and enjoying each other's company. Helena is holding court and punctuates her story by placing her hand on Sydney's arm. Shane stops and returns to her jeep where she sits and watches the party from a distance.
INT. SYDNEY'S HOUSE – CONTINUOUS
Sydney, Tom, Courtney and Helena are laughing.
HELENA
So, philosophically speaking: how old would you be if you didn't know how old you were?
COURTNEY
Oh, Helena, I can't remember when I laughed so hard.
Sydney gets up and collects Tom's and Courtney's plates.
SYDNEY
I'll get dessert.
HELENA
Let me help you.
Helena takes her plate and Sydney's, and follows Sydney into the kitchen.
COURTNEY
(to Tom)
Well, you were right.
TOM
They seem to hit it off perfectly.
COURTNEY
It'd be so nice to see Syd happy again.
Courtney and Tom clink their wine glasses.
TOM
To match-making.
INT. SYDNEY'S KITCHEN - CONTINUOUS
Helena and Sydney are preparing dessert.
HELENA
Sydney, while we have a minute, I just wanted to be certain we were cool with what happened when I visited your office—the day of the bombing.
SYDNEY
We're fine, Helena.
HELENA
I know you and Shane have a little thing going on and—while I don't understand it—I just want you to know I respect it….I'm not looking for anything from you—just flirting in good faith.
SYDNEY
Honor among lesbians—a rare trait.
HELENA
Perhaps—but don't misunderstand, I'll be waiting when your infatuation with Shane blows over. I don't mean to be presumptuous, I just don't get the attraction, other then the sex, of course, which Shane is famous for.
SYDNEY
Your point?
HELENA
I just want you to know I'm here when you're ready.
Helena leans forward and kisses Sydney softly on the cheek.
EXT. SYDNEY'S HOUSE - CONTINUOUS
Shane is sitting in her jeep watching Sydney and Helena through the kitchen window. She sees Helena kiss Sydney on the cheek.
EXT. OUTSIDE SYDNEY'S HOUSE - LATER THAT EVENING
Helena, Courtney, Tom and Sydney are saying their good-nights. They get into their car as Sydney waves goodbye from the front porch. As the car drives away Sydney notices Shane's jeep parked across the road. Perplexed, she crosses over to see an upset Shane in the driver's seat.
SYDNEY
Shane? What's wrong? Why are you sitting here?
Shane doesn't respond.
SYDNEY
Please, come inside.
Shane starts the jeep engine and speeds off, leaving Sydney standing in the roadway.
INT. SYDNEY'S HOUSE - EARLY THE NEXT MORNING
The doorbell rings. Sydney, barely awake and dressed in briefs and an oversized men's button down-shirt that serves as nightshirt, opens the door to greet Shane. Shane pushes her way inside.
SYDNEY
(sarcastically to herself)
Come in.
Sydney leads Shane into the kitchen and sits at the table in front of a glass of cola. Shane remains standing, her back leaning up against the counter.
SYDNEY (CONT'D)
Can I get you anything? Coffee? Pepsi?
Shane shakes her head no.
SYDNEY (CONT'D)
Do you want to tell me what last night was all about?
SHANE
Do you want to tell me?
SYDNEY
I had dinner guests, that's all.
SHANE
Helena?
SYDNEY
I didn't know she was coming. Tom called and asked if he could bring another friend and I agreed. I'd no idea it was Helena. (hesitates) But does it matter that is was Helena?
Shane looks down and shuffles her feet. She is irritated.
SYDNEY (CONT'D)
Does that bother you?
SHANE
So what's this all about?
SYDNEY
For Christ's sake Shane it was a dinner!
SHANE
I don't mean dinner—I mean us?
SYDNEY
I'm not following.
SHANE
I'm just wondering what we have going on here?
SYDNEY
I don't get it, aren't you the classic commitment-phobe? Enjoying each day, one at a time?
SHANE
But we're from different worlds. You're educated, accomplished, sophisticated.
Hell—you hang out with straight people all the time.
SYDNEY
They don't bite you know—and they do make up over 80 of the population.
SHANE
How many gay friends do you really have?
SYDNEY
I have always lived in a traditional world, more conservative...
SHANE
You mean closeted!
SYDNEY
(angry)
Don't pretend you know anything about me.
SHANE
That's just it—I don't. You're so god-damn guardedno one does.
SYDNEY
(calming herself)
Shane, I'm not disillusioned or confused by who I am or what I've done—and I won't let differences define me.
SHANE
Don't pull that arrogant bullshit on me.
SYDNEY
What?
SHANE
I'm tired of your fucking digs.
Shane is agitated and anxiously pacing the kitchen.
SHANE (CONT'D)
Always putting me down by pointing out how much I use the word "fuck," commenting on the T-shirts I wear, that sort of shit.
SYDNEY
Just because I suggest you expand your vocabulary and wardrobe….
SHANE
(interrupting)
And why don't we ever make love in your bed?
SYDNEY
Probably because we don't make it that far. Come on, Shane, I adore you and can't keep my mind—or hands—off of you. But your dress, your bravado, your vocabulary—you're just using it all to hide your feelings—possibly yourself. You're so accustomed to disguising yourself to others that I fear you've ended up disguising yourself from you.
SHANE
The all-knowing Doctor Livingston. Tell me, Syd, why is it that you have to intervene and fix everything—people, situations. Why is it you feel you always have to help improve everyone?
SYDNEY
Because I can.
SHANE
That doesn't make you responsible.
SYDNEY
To me, it does.
SHANE
I just don't think this is a good idea.
SYDNEY
What isn't a good idea?
SHANE
Us—we'll never work.
SYDNEY
What if we're already working?
SHANE
I'll believe it when I see it.
SYDNEY
Maybe you have to believe before you can see it?
SHANE
You're so damn responsible all the time—always doing what is right and what is expected.
SYDNEY
The expected is what keeps us grounded.
SHANE
Well, maybe I don't want to be grounded. We need to discuss our relationship.
SYDNEY
Or not.
Sydney pauses and takes a deep breath as she moves to stand with Shane. Sydney extends her arms to touch Shane, but Shane moves away.
SYDNEY (CONT'D)
Shane, we could stop seeing each other for a wealth of reasons. You were still in grade school when I finished medical school. You pride yourself on sleeping with hundreds of women—hell you need a score card or chart to keep up! I've been in a long-term relationship with one. Yes, we're different—and who knows where this is going. Let's just see…..
Shane quickly crosses the kitchen, shaking her head decisively.
SHANE
(interrupting)
This is a mistake.
SYDNEY
(calling after Shane)
Better to make new mistakes than repeat old ones.
SHANE
I just can't—not this time.
Shane storms out of the kitchen. Sydney tries to compose herself, then tosses her cola glass, smashing it against the wall.
INT. THE CLINIC – SEVERAL DAYS LATER
Max and Alice are volunteering at the clinic. Alice is working at the reception desk along with a nurse.
NURSE
Thanks for volunteering you guys—especially since Shane has gone AWOL.
MAX
Yeah, what's her problem?
ALICE
Don't know. She said she was taking a break, whatever that means.
NURSE
Might be just as well.
ALICE
What do you mean?
NURSE
It's just that some of the patients were a little uncomfortable with Shane—
you know—the way she is.
MAX
No, maybe I don't know.
NURSE
Look, I'm just telling you what I heard. Lynette's father, in particular. Said Shane wasn't a positive role model for his daughter and he didn't want her around Lynnie anymore.
Sydney rushes toward the reception desk from the exam room.
SYDNEY
Alice, you need to get Nellie to cover for me. I'm going to the hospital.
ALICE
Yeah, sure—everything ok?
SYDNEY
It's Lynette.
INT. THE PLANET – NIGHT – SEVERAL HOURS LATER
Shane is fondling a young woman, Abby, who is sitting on her lap. Kit greets Sydney at the door.
KIT
Hey, Syd.
SYDNEY
Hi, Kit.
KIT
What brings you here?
SYDNEY
I'm looking for Shane.
Kit points to where Shane and Abby are cuddling. Sydney walks over to Shane.
SHANE
(to Sydney)
Look who's here.
SYDNEY
(to Abby)
Can you excuse us please?
SHANE
(to Abby)
No, no, baby—you don't have to leave.
SYDNEY
(to Shane)
You haven't returned my phone calls.
SHANE
I've been busy.
SYDNEY
(smirking)
I can see.
SHANE
What's so important?
SYDNEY
(very serious)
It's Lynette.
Shane sits up quickly—pushing Abby off her lap.
SHANE
(to Abby)
Why don't you go wait for me in the car? I'll be right there.
Abby leaves.
SHANE
What's up with Lynnie?
SYDNEY
She's in the hospital.
SHANE
She OK?
SYDNEY
They found a donor. An organ is being flown in tonight from Montreal. Her transplant is scheduled for tomorrow and she's been asking for you.
SHANE
OK—thanks.
Shane shuffles nervously. Her eyes meet Sydney's only briefly.
SHANE (CONT'D)
I gotta go. Abby is waiting.
Shane leaves.
INT. SYDNEY'S LIVING ROOM LATER THAT EVENING
Sydney is sitting on the couch sipping a glass of wine. Instrumental music plays in the background. Sydney is talking on her cell phone to Tasha.
SYDNEY
(into
the phone)
Lynnie's surgery is scheduled for tomorrow morning.
Sydney gets a beep on her phone from an outside caller.
SYDNEY (CONT'D)
(into the phone)
Tasha, hold on a minute.
Sydney glances at the phone to see Shane's name on the LCD and answers the phone.
SYDNEY (CONT'D)
(into the phone
Shane?
Sydney gets up off the couch and grabs her car keys of the counter.
SYDNEY (CONT'D)
(into the phone)
OK. Calm down and meet me at the back door of the clinic.
Sydney switches the phone back to Tasha as she races toward the door..
SYDNEY
Tash, can you meet me at the clinic in 10 minutes? A friend of Shane's has been raped.
INT. CLINIC EXAM ROOM – SEVERAL MINUTES LATER
Shane and Tasha are helping Abby onto the examination table. Sydney is getting her instruments.
ABBY
(screaming at Shane)
I don't want you here.
SHANE
(pleading)
Let me help.
ABBY
(screaming)
No! Don't touch me!
Abby is hysterical and recoils from Shane's touch.
SYDNEY
(calmly to Shane and Tasha)
I think it's best if you both wait outside.
INT. CLINIC WAITING ROOM – A FEW MINUTES LATER
Shane and Tasha are alone.
SHANE
She refused to go to the hospital—it was all I could do to get her to come here.
TASHA
You did the right thing.
SHANE
But why won't she see me?
TASHA
You're her lover, Shane—she doesn't want you to see her this way.
Sydney enters the waiting room, joining Shane and Tasha.
SHANE
Is she OK?
SYDNEY
Physically her injuries are minor. I'm more worried about the physiological damage.
TASHA
It was clearly a hate crime—according to Shane, they stalked her outside of The Planet.
SYDNEY
Her attackers said they wanted to "convert a dyke."
TASHA
Will she press charges?
SYDNEY
No. She doesn't want her parents and friends to find out she was at a gay bar.
SHANE
So they'll just get away with it?
TASHA
Unfortunately about 80 percent of all rapes go unreported. And with a gay victim….
SHANE
(interrupting)
So they win and she loses.
SYDNEY
She's still here—that's not an insignificant victory.
SHANE
(frustrated)
This is madness!
INT. HOSPITAL ROOM – LATE THAT NIGHT
Lynette is alone, lying in bed asleep. Shane quietly enters the room, walks to Lynette's bedside, and places her hand on Lynette's shoulder to wake her.
SHANE
Lynnie?
Lynette wakes.
LYNETTE
(smiling)
Shane! I knew you'd come.
SHANE
(Placing her finger to her lips)
Shush...be quiet, it's very late.
SHANE (CONT'D)
(smiling)
And we don't want to get Karen in trouble for letting me in here.
LYNETTE
Bingo and I've been waiting for you.
Lynette retrieves the stuffed butterfly from under the bed covers. Shane takes the animal and gives it a butterfly kiss on the nose.
SHANE
Hello, Mr. Bingo.
LYNETTE
Shane, I need you to take Mr. Bingo with you tonight.
SHANE
But he should stay here with you.
LYNETTE
No, he can't go into surgery with me and he'll be afraid alone. Please, just 'til tomorrow.
SHANE
(talking to the stuffed animal)
You OK with that Bingo?
Shane holds the stuffed bear to her ear, pretending to listen.
SHANE (CONT'D)
(to Lynette)
He says OK—but only for a day. Then he'll want to come home.
LYNETTE
Mr. Bingo is a Monarch Butterfly—he'll always find his way home.
SHANE
You better get back to sleep. I'll see you after surgery, OK?
LYNETTE
OK. Thanks Shane.
Holding the stuffed butterfly to her chest, Shane walks toward the door.
LYNETTE
Shane?
Shane stops and turns.
SHANE
Yeah?
Lynette softly beats her fist against her chest twice, presses her pointer and index fingers to her lips, then points the two fingers towards the sky while she mouths the words "I love you."
Shane smiles softly and returns the gesture.
SHANE
I love you, too.
INT. HOSPITAL ROOM – NEXT DAY
Lynette is lying in bed. Sydney is standing at her bedside, dialing a cell phone.
SYDNEY
(to Lynette)
You know I'm not supposed to use this in here.
SYDNEY
(into the phone)
Shane? I have someone here who wants to speak with you.
SPLIT SCREEN - SHANE AND LYNETTE ON THE TELEPHONE
SHANE
Hey,kiddo, how 'ya doing?
LYNETTE
(weakly)
OK. How's Mr. Bingo?
SHANE
Missing you.
LYNETTE
Will you be here later?
SHANE
You can count on it.
SHANE (CONT'D))
(as she beats her hand twice against her chest)
I love you.
LYNETTE
(smiling but too weak to gesture)
I love you, too.
Sydney takes the cell phone from Lynette.
SYDNEY
(into the phone)
Shane?
SHANE
You've got to love her and all her Mr. Bingo stuff.
SYDNEY
A child's imagination is the last bit of magic in this world.
SHANE
How's she, really?
SYDNEY
The operation was a success.
SHANE
Syd?
SYDNEY
Yes?
SHANE
Thanks for calling.
INT HOSPITAL CORRIDOR – EARLY EVENING OF THE SAME DAY
Shane walks down the corridor, carrying the stuffed butterfly Mr. Bingo. She recognizes Karen and stops at the desk.
SHANE
Hey, Karen.
KAREN
Shane, what are you doing here?
SHANE
I stopped by to see Lynette Martinez.
Karen becomes very somber and walks around the desk—leading Shane off to the side.
KAREN
(gently)
I'm so sorry. Lynette Martinez died this afternoon.
INT. SYDNEY'S FAMILY ROOM - LATER THAT EVENING
An open champagne bottle is on the coffee table. Sydney sits on the couch, her feet on the table, sipping a glass champagne. The doorbell rings. Sydney walks to answer it—a slight tipsy swagger in her step. Sydney opens the door and a very angry, upset Shane pushes her way inside.
SHANE
(screaming)
You should've called me!
SYDNEY
I just learned myself a little while ago. There was a message on my answering machine
Shane notices Sydney is slightly buzzed.
SHANE
You've been drinking.
SYDNEY
Yes…I'm a little inebriated. Tonight I'd rather drink than think—wan'na catch up?
Sydney retrieves a glass for Shane, places it on the coffee table and flops down on the
couch.
SHANE
I thought you were one of those recovering or reformed alcoholics or something?
SYDNEY
I'm not an alcoholic—I just have a propensity to drink too much on occasion
—and this is one of those occasions.
SHANE
Champagne?
SYDNEY
A toast to a finished life.
SHANE
(upset and angry)
Finished? She was ten fucking years old!
SYDNEY
Death doesn't discriminate by age—and neither do blood clots.
Shane paces in front of the fireplace.
SHANE
(accusingly)
You fixed Bette's blood clot. You told me Lynnie was OK.
SYDNEY
I said the operation was a success.
SHANE
But the patient died?
SYDNEY
Happens all the time. We're mere medical mortals—not god-damn gods.
Shane drops into a sitting position on the couch, holding her head and rocking slightly.
SHANE
I can't accept that she's gone.
SYDNEY
She'll never be gone—she left a part of herself with all of us.
SHANE
Nothing makes sense. And Abby? How will that beautiful woman ever make love again?
SYDNEY
Eventually we just find a way to tuck the pain into a little pocket and carry it with us without it weighing us down all the time.
SHANE
That's your fuck'in answer for everything—stuff it away and move on.
SYDNEY
(slurring slightly)
We are a compilation of our memories and experiences. Our lives are like a game of battleship. The secret is to compartmentalize so if we take a direct hit in one area it doesn't compromise the entire ship. It's the way we protect ourselves.
SHANE
What the fuck does that mean? Why Lynette? Why Abby? Why….Susan?
SYDNEY
You can ask yourself "why" all night—but in the end the answer doesn't really matter.
Shane wipes tears from her check.
SHANE
(accusingly)
Can't you even shed a tear for Lynnie? How can you be so god-damn cold?
SYDNEY
(slurring slightly)
I'm not genetically wired to cry—overly proud tear ducks, I suspect. My defensive skills are mostly verbal—or in this case, liquid.
Shane is rocking back and forth, her head in her hands.
SHANE
I don't know why I came here.
SYDNEY
You came here to cry. Because you needed a safe place to cry.
Shane turns her shoulders away form Sydney. Sydney's demeanor softens and shifts forward on the couch to wrap her arms around Shane's shoulders. Shane collapses into Sydney's arms and weeps bitterly.
INT. SYDNEY'S LIVING ROOM – SOMETIME LATER
Shane lies sleeping in Sydney's arms on the couch.
SYDNEY
Shane?
Shane stirs a little.
SYDNEY
Shane, wake up.
Shane sleepily raises her head.
SYDNEY
My arm is asleep. I need you to shift.
Shane shifts, and raises her head to look at Sydney. Their faces are very close.
SHANE
I lied when I said I didn't know why I came here.
SYDNEY
I know.
Shane rolls on top of Sydney and they kiss passionately. Sydney begins to push her away.
SYDNEY
Shane, stop.
SHANE
No, please. I need this, I need you.
SYDNEY
Stop!
A rejected Shane releases Sydney. Sydney gets up from the couch and reaches her hand down for Shane. Shane takes Sydney's hand and rises from the couch.
SYDNEY
(smiling)
If it's OK with you, I'd like to continue this in the bedroom.
Shane smiles, and follows Sydney into the bedroom.
INT. SYDNEY'S BEDROOM – CONTINUOUS
Sydney and Shane undress each other sensuously and collapse on the bed. Sydney reaches into the nightstand and retrieves a double dildo. She and Shane make love slowly and passionately.
INT. SYDNEY'S BEDROOM – DAWN
Sydney awakes to sunlight on her face. Shane's side of the bed is empty except for a trio of wildflowers that lay on the pillow. Sydney smiles at the flowers as her eyes slowly open. She does not notice Shane sitting in the chair by the window. Shane has prepared a simple breakfast tray of toast and mimosas. Shane rises, picks up the tray and sets it on Sydney's bedside. Shane sits on the edge of the bed.
SHANE
Don't you just love that you can always smell flowers before you see them?
Shane feeds Sydney a bite of toast.
SYDNEY
Hmmm…you look like Shane
Sydney leans forward and kisses Shane.
SYDNEY (CONT'D)
You even taste like Shane. But it's dawn—you can't be Shane.
SHANE
Thought I'd try to form a new habit—get out of my rut.
SYDNEY
Only difference between a rut and a grave is depth.
They both laugh.
SHANE
I was thinking that if I was going hang here a bit more it might be a good idea to bring over a few of my things—you know, just the basics. Maybe even an expanded wardrobe—leave some of the T-shirts at home?
SYDNEY
(smiling and nuzzling Shane)
I think we can find room for that.
EXT. A CEMETARY - DAYS LATER
Shane and Sydney stand beside a newly dug grave adorned with flowers. Helena, Max and Alice stand behind them. All are dressed in funeral attire.
SHANE
She was a great little kid.
ALICE
I think there's a piece of all of us buried with her.
SYDNEY
No, there's a piece of her alive with all of us—buried in our hearts—and
we'll carry it with us, forever.
MAX
I'll think of her every time I hear one of those silly kid's joke.
Alice sadly releases a Monarch Butterfly from a box.
ALICE
Fly home, little one.
They all turn to walk away. Sydney loops her arm though the arm of a solemn Shane.
SYDNEY
(joking)
What did the Doctor say to the toilet?
ALICE
(smiling)
You look a little flushed!
Sydney nuzzles Shane, earning a slight smile.
SYDNEY
Why did the woman wear a helmet at the dinner table?
SHANE
(smiling, reluctantly)
She was on a crash diet!
They all laugh aloud.
SHANE
Why don't the animals in Africa play card games?
MAX, SYDNEY, HELENA AND ALICE
(laughing and responding in unison)
'cuzz there are too many Cheet-ahs!
A cameraman hiding in the distance snaps a picture of Sydney and Shane walking through the cemetery arm in arm, laughing.
INT. CLINIC RECEPTION AREA – AFTERNOON (Several days later)
Alice and Shane are talking at the reception desk.
ALICE
This just sucks.
TASHA
It's not your fault.
Sydney enters from the exam room, overhearing the end of the conversation.
SYDNEY
What sucks?
ALICE
A friend offered her beach house for next week but something
has come up and it's no longer available.
SYDNEY
Listen, we have—I have—a lake house up in the mountains. It's not palatial, and it's dusty and probably musty from neglect, but you're welcome to it if you'd like.
ALICE
Really?
SYDNEY
Sure—you can even use the sailboat.
TASHA
But it's the whole group.
SYDNEY
It'll be cozy, but you'll all fit.
ALICE
Even Jenny?
SYDNEY
Sure, why not?
ALICE
I don't know why you're so nice to her, Syd. She sure doesn't reciprocate.
SYDNEY
Jenny can't help herself—she's damaged goods. That's what makes her so sad—yet dangerous. You can't be mad at a bird that craps on your car
—they're just doing what comes naturally.
ALICE
But she doesn't have to crap on you all the time.
SYDNEY
I can't ostracize her from you—you're the only stability she has. You're her family—her tribe. If I place a wedge in between she's left with nothing.
TASHA
Jenny doesn't get much support from her biological family.
SYDNEY
It's funny how our definition of family often switches from the people we grow up with to the people who help us grow. Some family members are friends—some friends become family. Blood really has little to do with it after awhile.
TASHA
And Jenny?
SYDNEY
The hardest people to love are often the ones who need it the most. Besides, sometimes you have to welcome the in-laws….even if it was someone you love who selected them, not you.
Alice and Tasha laugh.
ALICE
Well, since you love us so much, you will join us of course?
SYDNEY
No—I wouldn't want to impose.
TASHA
No imposition, Doc. We'd love to have you. You're part of the family—the tribe—now, too.
ALICE
It would make Shane very happy.
SYDNEY
(smiling)
Then, why not. Thanks!
INT. SYDNEY'S CLINIC OFFICE – NIGHT (a couple days later)
Tasha is alone sitting in a guest chair opposite Sydney's desk reading a magazine. There is an item wrapped in cloth on the desk in front of Tasha. Sydney enters from another room and is surprised to see Tasha.
SYDNEY
Tasha? What are you doing here?
TASHA
Just finished my shift and thought I'd stop by so you don't walk out alone.
SYDNEY
You don't have to baby-sit me.
TASHA
I know I don't—but I feel better knowing you're not alone here at night.
Besides, I thought maybe we could talk for a few minutes,
SYDNEY
If you can help me unpack some boxes I'll reward us with a couple beers
I have in the refrigerator.
TASHA
Deal.
Sydney retrieves two beer bottles from the refrigerator and she and Tasha begin unpacking various supply boxes. Sydney notices the magazine Tasha was reading.
SYDNEY
What were you reading?
TASHA
The official progress report on the war in Iraq.
SYDNEY
Ah yes—the vulgar fictions of the Bush administration.
Sydney hands Tasha a beer. Tasha mockingly raises her bottle in a toast.
TASHA
Hail to the imperial presidency.
SYDNEY
You mean "heil" don't you?
TASHA
It's such a mess. I worry about so many of the soldiers I served with.
SYDNEY
It's a tough assignment. Everyone talks about supporting the troops—let's support them by bringing them home.
TASHA
Ya' know it isn't that simple.
SYDNEY
Yeah, I know. But we can't win a civil war in someone else's country. As victor the U.S.
will try to impose its will so we can call it "peace."
In the meantime, we seem to be on the verge of our own civil war.
TASHA
You mean the political division and polarization here in the U.S.?
SYDNEY
In part. But even closer to home; Tasha, this clinic has treated nine victims of gun shot wounds in the last six months—two of them fatal and three of them kids under the age of seven. Family health care has become patching kids up sending them back out on the streets as targets for the next drive-by. Violence breeds violence—it's an epidemic.
TASHA
And all but one of the shooters were under 25.
SYDNEY
Kids are packing pistols to walk to school, and our gun control laws are obsolete
Finished with the boxes, Tasha sits in the guest chair across from Sydney's desk and Sydney sits in the adjacent guest chair—propping her feet on the desk.
TASHA
I've walked this beat for months now—but I've known the neighborhood for years. It has changed. There always was the depression and poverty—but now the despair—the lack of respect for common humanity.
SYDNEY
And I worry about you, too. The job of policing isn't what it used to be.
TASHA
I always imagined that when I retired from the military I'd shift my focus away from punishment and policing and toward education—giving communities a sense of pride and hope.
SYDNEY
"Hope" is a powerful aphrodisiac.
Tasha nods in agreement. They sip their beers. Tasha reaches forward to unwrap the clothed item that has been sitting on Syd's desk, revealing a small pistol.
TASHA
I'd like you to take this.
SYDNEY
After what we just talked about?
TASHA
Listen to me, if an intruder….
SYDNEY
(interrupting)
That gun is 22 times more likely to kill a family member or friend than an intruder.
TASHA
I live those stats every day, and I also know that criminals are
less likely to attack an armed victim.
SYDNEY
So I should wear a sign, "armed and dangerous?"
TASHA
And "prepared to shoot."
SYDNEY
I was kidding.
TASHA
I'm not. Seriously, we are not talking about accidental shootings or random acts of violence. This clinic was specifically targeted—twice—and with a decision on Susan's case pending, you—my friend—have a bloody bulls-eye on your back.
SYDNEY
I won't live in fear. Besides, only the good die young.
Syd leans forward and smiles to break the seriousness of the mood.
SYDNEY (CONT'D)
(teasing)
And we both know I'm too old to die young.
They both laugh. Sydney picks the gun up and examines it.
TASHA
Take it—if just to pacify a concerned friend. I'll take you to the range to practice when you get back from the lake house.
Sydney, slips the gun into her pocket.
TASHA
I'm glad you are coming to the lake house with us. It's brave of you to host
the "tribe." Sort of a commitment to the group.
SYDNEY
"Move in" or "move on"—isn't that the lesbian way?
TASHA
No U-haul jokes—OK?
SYDNEY
Don't know any anyway!
TASHA
Speaking of moving in—how about you and Shane?
SYDNEY
Shane has two drawers at my place and a little closet space.
TASHA
That's an unusual step for Shane…(pauses reflectively)…what is it about fresh love?
SYDNEY
I don't know…somehow it's like seeing yourself through someone else's
eyes—someone who thinks you're wonderful.
TASHA
At least for a short while.
SYDNEY
Maybe—but at my age it's nice to have a second opinion.
TASHA
I think it's just pure sexual magnetism. Love versus lust. A rebirth of the libido and the ego.
Sydney laughs softly.
SYDNEY
Could be. I read once where all love songs are written within the first four
months of a relationship.
TASHA
I don't doubt it. Why doesn't that euphoria last?
SYDNEY
I like to think it just morphs into something else—something more permanent.
TASHA
You'll never loose faith in happy endings, will you Syd? I never cared for Fairytales
—too many dragons and evil shit to lay on kids.
SYDNEY
Fairytales don't tell children dragons and evil exist—children already know that.
Fairytales tell children that dragons can be slain and evil can be overcome.
Tasha picks at the label on her beer bottle.
TASHA
But this isn't a matter of good versus evil…and we're both too old for Fairytales.
SYDNEY
I'm not following.
TASHA
Syd, I've known dozens of people like Shane. She is a good person, sensitive,
and has a big heart—despite all the bravado.
SYDNEY
(skeptically)
And I am hearing a but…
TASHA
I know this thing with Shane is great—you can see it all over your face. And I'm really glad you're happy—you just need to understand and accept what Shane is.
SYDNEY
You mean who she is, right?
TASHA
Who and what. Shane's a player.
SYDNEY
There's a person behind the persona.
TASHA
I don't doubt that. But a person who takes great pride in her sexual prowess—relishes
it and revels in it. Her sexuality is very much a part of her identity.
SYDNEY
Don't you think I know that?.
TASHA
But that's just it, Syd, do you really understand it?
SYDNEY
So as my self-appointed guardian angel you need to explain this to me, why?
TASHA
Because I've grown to care about you—you know that. Relationships are
not Shane's thing—she's had a lot of women—she's a very sexual being.
I just want to be certain you take care of yourself.
SYDNEY
I've been taking care of myself for a long time—generally at the expense of those around me.
TASHA
A relationship will not change Shane. Is that what the type of happiness you want?
SYDNEY
Happiness isn't having what you want, its wanting what you have. Besides, relationships change everyone to some extent—sometimes for good, sometimes for bad.
TASHA
But Shane is a different kind of person—she's unique. And she has a will of iron…
SYDNEY
(interrupting)
"To bend but not to break; to yield but not capitulate." That's what Susan always said.
Tasha smiles and nods in agreement.
SYDNEY (CONT'D)
A line from an old Roslyn Russell movie—but I'll be damned if I can remember which one.
TASHA
Susan could tell you. Which brings me to my point. I remember looking up to you and Susan when I was a kid struggling with my own identity —you two were very traditional—from your favorite movies to your socialite friends. You were a classic couple. A regular Ozzie and Harriet—less the penis, of course.
SYDNEY
And the marital benefits….
Tasha stands and walks over to the photo of Sydney and Susan and studies it sadly.
TASHA
You and Susan had something very special, a dynamic due.
SYDNEY
Dangerous duo to some.
TASHA
I prefer to say formidable.
SYDNEY
Touché
TASHA
But Shane—well, Shane just isn't Susan, and never will be.
SYDNEY
I'd never expect her to be.
TASHA
Shane thrives in West L.A.—like I used to
SYDNEY
Until you grew up?
TASHA
Sort of—at least maybe I'm "in progress." But West L.A. was never your scene.
SYDNEY
And back to your point?
TASHA
I don't mean to be cruel—but I don't see a future for the two of you.
SYDNEY
I have a lot of regrets where Susan is concerned—and I've struggled to
come to terms with them.
TASHA
Especially when there's not a damn thing you can do about them.
SYDNEY
But there is something I can do about them—I can learn from them. Susan and I spent so much time planning and thinking about tomorrow we missed too many todays. And since Susan's shooting, my todays are overshadowed by yesterdays.
Sydney leans forward thoughtfully.
SYDNEY (CONT'D)
I'm ready to look at "love" as an action verb again—not just a noun. If I were to die tomorrow, I want to die while I was still living
Sydney stands and leans against the desk, facing Tasha.
SYDNEY (CONT'D)
Maybe Shane and I have a zillion tomorrows—maybe all we have is today. I don't want to analyze it…just enjoy it. Do you understand that?
Tasha smiles and nods, yes.
SYDNEY (CONT'D)
(smiling)
Look at me. A mature pre-menopausal woman struggling with chin hair…Some days I think I could grow a god-damn goatee! But I'm euphoric with love. Who'd have thought?
TASHA
I just don't want you to get hurt.
SYDNEY
And if I do—I'll heal. I used to live a life of action—not reaction. I want that back.
Tasha smiles again and lifts her bottle to Sydney to toast.
TASHA
I wish you well, my friend—and I trust you know what you're doing. But I'd be remise if I didn't tell you I had my doubts.
SYDNEY
(smiling and taunting)
Did you ever doubt your doubts?
Tasha laughs and they clink beer bottles.
TASHA
Carpi diem!
SYDNEY
To the promise of tomorrow!
TASHA
And the wonders of today!
INT. SYDNEY'S LAKE HOUSE – KITCHEN
Sydney, Bette, Tina, Alice, Helena, Shane, Max and Tasha are mulling around the kitchen cleaning up after dinner. Jenny enters the kitchen. There is a noticeable change in Shane's attire. Gone are the traditional T-shirts and jeans that were once her uniform—replaced with more conservative attire.
JENNY
Hey, what's up with the funky light bulbs in the bathroom?
SHANE
Energy saving bulbs.
JENNY
(to Sydney)
An environmentalist?
SYDNEY
More a realist.
ALICE
If every home in America replaced the five light fixtures they use most with energy saving light bulbs, we'd collectively prevent greenhouse gases equivalent to the emissions of more than eight million cars.
BETTE
(Sing-song but serious)
And, "if every household in the country replaced four 75-watt incandescent bulbs that burn four or more hours a day with four 23-watt fluorescent bulbs, we would save as much energy as is consumed by approximately 38 million cars in one year."
Alice and Bette laugh and exchange high-fives.
JENNY
You two really are out to save the world.
BETTE
Just our corner of the planet.
Tina leaves the kitchen and walks back into the dining room.
TINA (O.S.)
Sydney, the message light is blinking on your answering machine.
SYDNEY
Would you clear it for me? Probably just telemarketers.
JENNY
You need to update your Do-Not-Call listing.
Shane pulls Jenny aside.
SHANE
(whispering to Jenny)
Com'on Jen, at least try to play nice, OK?
INT. SYDNEY'S DINING ROOM - CONTINOUS
Tina presses the play button and turns to pick up more dishes off the table while the messages play.
MECHANICAL ANSWERING MACHINE
You have two new messages. Message one.
Bette joins Tina to help clear the table and overhears the messages.
TOM'S VOICE
Sydney, it's Tom. I'll try you on your cell phone.
MECHANICAL ANSWERING MACHINE
Next message.
Tina and Bette stop clearing the table as they listen to a voice that starts softly—almost whispering—then becomes increasingly threatening and shrill.
VOICE
Do you sleep well at night, Doctor Livingston? It wouldn't be long now until you
sleep forever. The day is coming soon when you will rot in hell for all damnation
with the other sinners you murdering dyke….
Tina presses the delete button to stop the message.
MECHANICAL ANSWERING MACHINE
Message deleted.
Tina and Bette make eye-contact. Bette shakes her head "no." Sydney calls from the kitchen
SYDNEY (O.S.)
Who was it?
INT. LAKEHOUSE KITCHEN – CONTINOUS
Tina and Bette bring dishes and glasses in from the dining room.
TINA
You had a message from Tom. He'll try you again.
HELENA
(to Sydney)
Please tell him I said "hello."
Sydney takes a forkful of dessert and spoon feeds it to Shane.
SYDNEY
Well?
SHANE
Delicious!
Pleased, Sydney immediately begins organizing the group.
SYDNEY
Bette and Tina, you take the cobbler and the ice cream to the deck.
Sydney tosses matches to Tasha.
SYDNEY (CONT'D)
Alice and Tasha, you light the fire pit. Jenny, you're in charge of music. Helena,
dessert plates are the cabinet. Shane, dessert forks on in the second drawer.
Max, you're in charge of beverages.
Shane stares at the well stocked silverware drawer Sydney pointed to. Shane is confused as to the difference between the numerous forks. Jenny and Helena notice Shane's dilemma and exchange glances.
HELENA
I can handle plates and dessert forks—Shane, you give Max a hand with the drinks.
A relieved Shane leaves to assist Max while Helena confidently retrieves the proper dessert forks.
EXT. SYDNEY'S LAKE HOUSE – SAME EVENING
Bette, Tina, Max, Helena, Alice, Bette, and Tasha are sitting on the deck circling the fire pit. They are laughing and sharing stories.
INT. SYDNEY'S LAKE HOUSE KITCHEN
Sydney places the last plate in the dish rack and looks out the window at a beautiful sunset over the lake. Shane walks up behind her, but Sydney continues to watch the sunset.
SHANE
Dinner was great.
SYDNEY
Thanks.
Shane follows Sydney's gaze to the sunset.
SHANE
It's beautiful.
SYDNEY
The time of day I enjoy here the most.
SHANE
Wanna join the gang on the deck and watch it from there?
SYDNEY
In a minute. I'd like to just enjoy the moment and not have to talk through it.
Shane nods in agreement, circles her arms around Sydney's waist and stands behind her watching the sunset. Sydney leans back on Shane and smiles. Sydney and Shane are silently lost in the sunset do not notice that Jenny has walked up behind them, carrying empty beer bottles. Jenny clears her throat to get their attention.
JENNY
Ah-hmmm!
Shane and Sydney separate.
JENNY
(holding up the empty beer bottles)
I came for another round.
SHANE
Let me help.
Shane takes several bottles from the refrigerator and places them on the counter.
SHANE
I'll take this load.
Shane leaves the room with several bottles.
JENNY
(to Sydney)
It's a beautiful sight.
SYDNEY
(still preoccupied by the sunset)
It is beautiful, isn't it?
JENNY
I was referring to you and Shane. You look good together. She seems happy.
SYDNEY
I hope so.
JENNY
Shane is my best friend, but I have never seen her like this.
Relationships are not Shane's style and I'm concerned that someone's going to get hurt.
SYDNEY
I appreciate the concern, but can assure you I'm a big girl.
JENNY
I'm more worried about Shane.
SYDNEY
(surprised but adamant)
I would never intentionally hurt Shane.
Jenny takes three bottles of beer in each hand and turns to leave, stopping to make eye contact with Sydney.
JENNY
Well, be sure not to un-intentionally hurt her either.
Jenny holds Sydney's gaze hostilely for a few seconds then returns to the deck
EXT. SYDNEY'S LAKEHOUSE DECK – CONTINUOUS
Jenny joins Helena at the railing to view the sunset.
JENNY
That was nice, what you did with the forks. Especially knowing how you feel about Sydney.
HELENA
Sydney's and Shane's little fling will fizzle on its own. When it does, I fully intend on being there to help Sydney pick up the pieces. In the meantime, it's not in my best interest to play the villain by trying to hasten the demise of the happy couple.
Bette is walking behind them and overhears Helena's remark.
BETTE
My—chivalry is not dead. I only wish you were so noble when you were hastening the demise of my relationship with Tina.
HELENA
You two were separated then.
BETTE
So you just widened the gap a bit.
ALICE
(intervening)
Com'on, that was a long time ago.
Helena and Bette exchanges firm glances.
EXT. SYDNEY'S LAKEHOUSE DECK – SEVERAL MINUTES LATER
Shane and Sydney are holding hands as they join Alice, Max, Bette, Tina, Jenny, Helena, and Tasha on the deck. The group is still laughing hard at Helena who is concluding a story.
HELENA
It's like something they write songs about to sing on the street corners of San Francisco!
ALICE
Unbelievable…
JENNY
(to Sydney)
How about you Doc, do you believe in the devil?
SYDNEY
Logic would dictate that if we believe in God we must believe in an opposite.
JENY
And the Bible?
SYDNEY
Let's just say I always thought the Ten Commandments were easier to
follow when life expectancy was 25.
Everyone laughs.
BETTE
(to Sydney)
Dinner was delicious and this (she motions to the twilight view and fire) is just fantastic.
HELENA
And sailing was a blast—I haven't done that since summer camp.
SHANE
It was my first time.
SYDNEY
(playfully)
They say you always remember your first time.
TINA
Seriously, thanks so much for having us.
SYDNEY
I'm glad you're enjoying it.
ALICE
We're playing Truth or Dare—or kinda our own version of 20 questions.
JENNY
(with an edge)
How about you, Doc? I think it's your turn.
SYDNEY
Thanks, but I think I'll pass and just spectate.
ALICE
No hard questions, I promise. You're always listening to us go on and on.
TINA
We just want to know you better.
JENNY
Yeah, like who you are, where you're from, where you've been and what
your baggage and damage is—no hard questions.
SHANE
Stop it, Jenny.
HELENA
(to Sydney coaxing)
'Come on Sydney—we'll even give you unlimited free passes.
SYDNEY
(reluctantly)
I don't know….
JENNY
All we ask for is truth and honesty.
SYDNEY
Truth and honesty are not synonymous terms.
JENNY
(pointedly)
I'll start….. Tell us about Susan.
SYDNEY
Susan? I thought you wanted to learn about me?
ALICE
But she was such a big part of your life yet you never talk about her. You always tell me how I should talk about Dana to keep her alive.
SHANE
You don't even talk to me about her.
Sydney smiles slightly and reaches over to squeeze Shane's hand.
SYDNEY
Sometimes discretion is called for in even the most intimate relationships.
JENNY
I dare you.
SYDNEY
(thoughtfully but sternly)
OK. Where do I start?
HELENA
How did you meet her?
SYDNEY
Medical School—although actually I think she met me.
BETTE
What was she like?
SYDNEY
Life was never boring with Susan. She was energy personified. Incredibly bright and articulate. A brilliant conversationalist—you'd never want to get in a game of verbal volleyball with her.
SYDNEY (CONT'D)
(looking at Bette with a slight smile)
Although it might have been fun to have watched the two of you go a few rounds.
SYDNEY (CONT'D)
People found Susan magnetic. An extraordinary person who stood out in an all too
ordinary world. She dreamed and dared with equal conviction.
You all would have liked her—except for Jenny, of course.
JENNY
Why wouldn't I like her?
SYDNEY
Because she was a lot like me—only a much better version. Smarter, funnier,
a better Doctor, better tennis player….a better person.
HELENA
What was it like being with her?
SHANE
Helena!
HELENA
(clarifying)
I didn't mean it in the sack…
ALICE
(playfully interrupting)
Unless you want to tell us about the sex….. I'm kidding, just kidding.
There's nothing wrong with sexual modesty.
Sydney stares into the fire for a moment.
SYDNEY
Being involved with Susan was like being in a relationship with a volcano. She had a fire that burned in her belly—a passion. And people were—I was—mesmerized by that fire (gesturing to the fire pit) like we are to this—drawn by the magic in the way the flames dance, the sparks fly off to the stars, the warmth……and drawn to the danger, too, I suspect.
FLASHBACK
EXT. SAILBOAT YEARS EARLEIR – AFTERNOON
Sydney and Susan are sailing, Sydney is at the helm. Susan is young and beautiful and the wind blows her hair as she nuzzles Sydney.
SYDNEY (V.O.)
Because, like a volcano, you always knew that the same fire was capable of erupting
at any time….and when it did it spilled vial and hurtfulness—a temper
that flamed as hot as molten lava.
FLASHBACK ENDS
EXT. SYDNEY'S LAKEHOUSE DECK – CONTINUOUS
HELENA
How long were you together?
SYDNEY
Almost 20 years—splitting time between the main house in L.A.
and here—which I considered our real home.
TINA
Two decades—that isn't easy. What's the secret?
SYDNEY
We laughed a lot, forgave a lot, and vowed never to go to bed
angry—especially at your best friend.
BETTE
True love.
Bette squeezes Tina's hand.
SYDNEY
True love is when you have years of experience with someone and you
can look back and say "we did that together, we survived that as one, because we are us."
SHANE
(looking around the deck/house)
What happened to all her things?
SYDNEY
Some are still here, but Susan has been gone a long time and I had to
deal with that like anyone deals with death.
MAX
Is she in pain now?
SYDNEY
The pain doctors are managing now is our pain, not hers.
JENNY
But she's not really dead.
SYDNEY
Susan was killed over two years ago. What you have now is an anomaly of human life--a breathing corpse. Not a miracle of modern medicine—but a mockery. Don't believe the religious right who say Susan's survival is God's will. Susan was—and is—being kept alive because she can be—not because she should be. It's man defying deity—forcing human will over natural order, simply to show he can.
BETTE
When did you know that—that she was really gone?
SYDNEY
I think I really knew it the first time I examined Susan after the shooting.
But of course I denied it for months. I consulted research and medical professionals
across the world trying to uncover some ray of hope.
ALICE
When did you stop hoping?
SYDNEY
There is a moment in time for any doctor when you realize that you
cannot help someone—and your heart breaks.
Sydney stares sadly into the fire.
FLASHBACK
INT. CONVALESENT HOME – WITHIN THE LAST TWO YEARS
Sydney is visiting Susan. Susan is propped-up lifelessly in the bed. Her eyes stare blankly into space. There is no interaction with Sydney. No hint of the vibrant woman on the sailboat.
SYDNEY (V.O.)
When I finally realized that when I closed my eyes I could no longer remember how she smelled or what her face looked like. When over 20 years of memories were lost in the smell of convalescing home antiseptics and the vision of her face—so full of passion and life—was replaced with the hollow, lifeless human mask…the shell that Susan is now.
FLASHBACK ENDS
EXT. SYDNEY'S LAKEHOUSE DECK – CONTINUOUS
TASHA
So what did you do?
SYDNEY
I came up here to sail—one of the few things I was better at than Susan—although she matched me in her passion for it (smiling sadly), God how a good wind made her smile.
Sydney leans forward towards the fire.
SYDNEY (CONT'D)
I memorialized Susan that day—my own private funeral service. I screamed, even cried, laughed with the wind at the good memories—cursed her for the bad. Then, I came to terms with the fact that I couldn't fix Susan
Sydney and Jenny exchange eye contact.
SYDNEY (CONT'D)
But I was obligated to fix the situation. I filed the paperwork the next morning….to which, of course, her family counter-filed the next day.
TASHA
Was she close to her family?
SYDNEY
She described them as, "Genetic acquaintances that she spent Thanksgiving with."
I think it's more about ownership and control than connection.
ALICE
Yet they want to make life and death decisions on her behalf?
SYDNEY
I don't believe they want to make any decisions on Susan's behalf—
they just don't want me to either.
BETTE
They're difficult choices to make.
SYDNEY
Do you really think there are any choices here? Actual options? I only wish there were.
TINA
Still, it must be difficult.
SYDNEY
We put dogs and cats to sleep and call it human. But we can't show the same mercy to the people we love the most. Susan entrusted me with the responsibility of ending her suffering. It is the only merciful and human thing I can do.
HELENA
What were the last things you talked about when she was , ah, coherent?
SYDNEY
(shifting self consciously)
I think I'll take a pass on that one.
JENNY
It's a standard question: if you knew you had five-minutes to live,
who would you call and what would you say?
TASHA
The bigger question is why are you waiting?
JENNY
(to Sydney)
Change can happen so quickly Dana knew she was dying so had
a chance to say her good-byes. But you and Susan had no warning.
SYDNEY
(interrupting)
Change is never optional—it is one of life's only constants and death is life's only guarantee. We're all dying Jenny—it is just a matter of playing the odds as to when. Life is terrible thing to happen to anyone—yet it is an amazing adventure…and none of us make it out alive.
JENNY
(persistently)
Did you talk about dinner? Work? Sex?
SHANE
(mildly reprimanding)
Jenny!
SHANE
(turning to Sydney)
You don't have to answer that.
SYDNEY
(sternly)
No—that's OK. I think Jenny should hear this.
Sydney stares firmly at Jenny.
SYDNEY (CONT'D)
The night Susan was shot the volcano erupted. We exchanged words
that never should have been spoken.
JENNY
(defensively)
They're only words.
SYDNEY
(interrupts, irritated)
Once spoken—or written—words forge their own reality—we all have to take responsibility for that. Some words are best taken to graves unspoken.
SHANE
So you never had a chance to apologize?
FLASHBACK
INT. CLINIC OFFICE– MORE THAN TWO YEARS EARLIER
Sydney and Susan are arguing. Their motions are exaggerated and angry.
SYDNEY (V.O.)
At the time an apology was not even on the radar screen. Susan was in rare form and we went at it like two boxers in a verbal prize fight. She scored with one verbal blow, I jabbed back with another…she was blind with rage…and the funniest thing is I really can't clearly remember why. Then—as usual—I gave up, limped away with a battered ego. It seemed anything I said just poured gasoline on the fire—so I left…
Sydney hurriedly leaves the clinic through the back door.
SYDNEY (V.O.)
Left the office, left Susan to finish her paperwork, and in my emotional state and haste,
I left the back door unlocked.
FLASHBACK ENDS
EXT. SYDNEY'S LAKEHOUSE DECK – CONTINUOUS
HELENA
(gasps softly)
Oh, God.
FLASHBACK
INT. CLINIC OFFICE – CONTINUOUS
Susan is sitting at a desk reviewing paperwork. An intruder enters through the door left unlocked by Sydney. He sees Susan and begins shooting.
SYDNEY (V.O.)
The shooter accessed the clinic through the unlocked door. He gunned Susan down at her desk. I'm not really sure she even saw him.
FLASHBACK ENDS
EXT. SYDNEY'S LAKEHOUSE DECK – CONTINUOUS
SYDNEY (CONT'D)
The neighbors heard the gunfire and I received the call less than 30 minutes after I left her.
TINA
Death is so sad.
SYDNEY
Death is not the sad thing. The sad thing is that some people fail to live.
Sue packed a lot into her short life. She made a difference.
TASHA
Did they catch the murderer?
SYDNEY
He was arrested a couple blocks from the clinic. But he was never charged
with murder as, in the legal sense, Susan didn't die. He was convicted of
assault and will be eligible for parole in a few years.
BETTE
Archaic laws out of step with today's reality.
SHANE
Saint Augustine once said, "an unjust law is no law at all."
The group looks quizzically at Shane re: the uncharacteristically intellectual remark. Sydney smiles at Shane.
SYDNEY
Ironically, the shooter's attorney joined with Susan's family to block any intervention for fear Susan's death would change his client's sentence.
ALICE
Why did he do it?
SYDNEY
His wife had an abortion at the clinic earlier in the week. He claimed temporary insanity—the blind rage of a grieving father whose innocent child was murdered.
TASHA
You must feel tremendous anger toward him.
SYDNEY
I was angry a very long time—it was exhausting. Then I realized that the more I hated him the more connected I stayed to him—an unwitting and unhealthy, relationship.
SHANE
It wasn't your fault, you know. It wouldn't have mattered if you locked the door.
SYDNEY
Can we be guilty and innocent in the same world? I replay that scene in my mind over and over again—and, just once, I'd like to see an ending where I did bolt the door.
SHANE
He would've killed her in the parking lot or somewhere else. Maybe you, too.
SYDNEY
Do you believe in fate, Shane?
SHANE
Yeah, I guess I do.
SYDNEY
(smiling playfully)
You're so fucking Irish Shane McCutcheon!
The group laughs softly as the comment breaks the serious mood.
SYDNEY
(rising from her chair)
Well, it seems I sure put a damper on your little game.
TINA
No, no, not at all.
BETTE
(sadly)
I'm sorry about Susan.
SYDNEY
Never apologize for things that are beyond your control.
HELENA
She means we're sorry you have to go through all this.
SYDNEY
I'm sorry too. Now, Helena, take my guests back to your amusing
stories. I'll see you all in the morning.
They all bid good night and Sydney leaves.
TINA
Oh, my God, how sad.
BETTE
I can't imagine.
Shane is silently staring at the fire, completely self-absorbed.
HELENA
(to Shane--nodding her head sideways to signal Shane should follow Sydney)
Shane?
Shane does not respond.
ALICE
(leaning over to nudge Shane's shoulder)
Shane!
Shane comes out of her trance and looks at Alice.
ALICE
(motioning for Shane to follow Sydney)
Make sure she's OK.
Shane nods and follows Sydney.
INT. SYDNEY'S BEDROOM AT THE LAKE HOUSE - CONTINUOUS
Shane enters the room to find Sydney lying naked in bed. The room is dark except for the moonlight drifting through the window.
SYDNEY
I was hoping you'd join me.
Shane removes her shirt and joins Sydney in bed, slowly kissing her neck, chest, breasts, stomach, then moves lower. Sydney's face responds with pleasure as a single tear silently rolls down her cheek.
INT. SYDNEY'S BEDROOM AT THE LAKE HOUSE – DAWN
Sydney and Shane are lying naked in each other's arms. Shane's head is lying on Sydney's chest.
SHANE
I'm not extraordinary, you know.
SYDNEY
Well you're certainly are not ordinary, Shane—that's why I chose you.
SHANE
I don't have ideas of grandeur or big aspirations. I'm not too ambitious,
Sydney—I'm satisfied with my life and my friends.
Sydney strokes Shane's hair soothingly.
SYDNEY
That's part of what I love about you—the uniqueness that's you.
SHANE
But is it enough?
SYDNEY
Enough for me? Or you?
Shane shrugs.
SHANE
I seem to be a one chart-wonder, not much else.
Sydney shifts so she and Shane are lying face to face. Sydney places her hand on Shane's cheek.
SYDNEY
What would you try if you absolutely knew you'd never fail?
SHANE
I think I've always been afraid to think about things like that. Irrational, I know.
SYDNEY
It doesn't really matter if what scares us is real or not. Eleanor Roosevelt said
that we grow in confidence by facing fear.
Sydney's thumb caresses Shane's cheek.
SYDNEY (CONT'D)
You're a natural leader, Shane. Be courageous enough to lead—yourself and others.
SHANE
Thanks—but I'm not sure I agree with you.
SYDNEY
(smiling)
I'm right Shane—and you can agree with me or you can be wrong.
Shane smiles.
SHANE
(serious again)
Things come easily to you
SYDNEY
I was never the best. I just worked harder and outperformed my more talented colleagues.
SHANE
You loved Susan very much
SYDNEY
Yes—probably a little more than she loved me.
SHANE
I don't understand?
SYDNEY
My grandmother always said that relationships that last the longest are those where one person loves the other just al little bit more. I used to try to make myself better so Susan would love me as much in return as I loved her….and I used to think that it would equalize over time.
SHANE
But Susan loved you?
SYDNEY
I believe she did…although I never had the guts to test it.
SHANE
You were happy—weren't you?
SYDNEY
I was happy…but…I'm not certain Susan was. Don't get me wrong, I don't think she was unhappy, just never satisfied. Some people just wake up in the morning determined to be happy. That just wasn't Susan's mindset. Her intensity prevented it.
SHANE
A power couple.
SYDNEY
Some said so. Sometimes I think we got so wrapped up in careers and causes we lost the couple part—we became a clinic, a corporation. . But we did have moments—and in the end that's really what life is—a series of special moments….like this one.
SHANE
This moment is ordinary.
SYDNEY
There are no ordinary moments.
Sydney kisses Shane's forehead tenderly.
SHANE
Do you miss her?
SYDNEY
(smiling sadly)
Only when the wind blows.
EXT. SYDNEY'S LAKE HOUSE – LATE AFTERNOON: THE NEXT DAY
Jenny, Shane, Bette, Tina, Tasha and Helena are in a mini-van packed and ready to leave. Sydney and Shane are bidding them farewell.
BETTE
(to Sydney)
Thanks again for a great weekend. Are you sure we can't help you
with anything before we leave?
SYDNEY
No, thanks. I just need to lock up and we're right behind you.
ALICA
OK—ready about everyone?
The van pulls away. Shane circles her arms around Sydney's waist.
SHANE
Alone at last.
SYDNEY
(smiling)
Yeah, like that really stopped you last night.
SHANE
I was thinking more about that sailboat of yours.
SYDNEY
What about it?
SHANE
Well, during the game last night Bette asked "when was the last time we
did something for the first time?"
SYDNEY
And?
SHANE
And, I was thinking that I never made love by sea.
SYDNEY
(playfully)
A matinee?
SHANE
Ready about?
INT. SYDNEY'S SAILBOAT CABIN – LATER THAT AFTERNOON
Sydney and Shane have just finished making love and are lying side by side.
SYDNEY
So? How was your first off-shore experience?
SHANE
I like the motion…in fact I like it so much I think we should do an encore.
Sydney rolls on top of Shane.
SYDNEY
One if by land, two if by sea…..
SHANE
Si, senorita.
Sydney slips her hand between Shane's legs.
SYDNEY
Permission to come aboard, Captain?
Shane's pleasure is interrupted by the ringing of Sydney's cell phone.
SHANE
Please, don't answer that.
SYDNEY
But what if it's Alice or Bette—what if they're lost? I'll just be a second—hold that thought.
Sydney kisses Shane's forehead as she reaches for the cell pone
SYDNEY
(into the phone)
Hello?
Shane is teasing Sydney's breast with her tongue. Sydney sits up abruptly, suddenly very serious.
SYDNEY
(into the phone)
Thanks, I'll call you first thing in the morning.
Sydney terminates the call and stares blankly ahead.
SHANE
Everything OK?
SYDNEY
That was my attorney, Tom. He said the Supreme Court
plans to rule on Susan's case this week.
INT. PLANET - LUNCHTIME
Shane, Alice, and Jenny are having lunch.
SHANE
I thought I try a couple correspondence courses to start.
ALICE
Shane, I think that's great that you're thinking of college.
Kit walks over angrily waving a newspaper.
KIT
Did you see this?
SHANE
No, what is it?
KIT
The front page article on Sydney's appeal to have Susan removed from artificial support.
ALICE
The Court is expected to rule this week.
KIT
How's Sydney?
SHANE
She being stoic, but deep down she's a mess. The media has created a
circus out of all of this. The clinic has become a Mecca for protesters.
KIT
Jodi told Bette it's all over the national news as well.
Shane reads the paper Kit handed her. Alice looks over Shane's shoulder.
SHANE
Unbelievable! They are calling Sydney the "Lesbian Doctor Death" for her work at the clinic and her appeal on Susan's behalf.
KIT
(pointing to the newspaper)
Check out the photo and caption.
ALICE
It's of Shane and Sydney the day we all visited Lynnie's grave.
KIT
They're accusing Sydney of laughing at the graveside of a dead child patient. They say the photo depicts "a vicious, heartless killer."
SHANE
(reading on)
They say Sydney wants to hasten Susan's death of because she has found new lesbian lover.
ALICE
That's such bullshit!
INT. THE PLANET – EVENING - THE NEXT DAY
Bette, Tina, Alice and Helena are having dinner. Shane joins them.
TINA
(to Shane)
Any word?
SHANE
Yeah. The Court ruled in Syd's favor this afternoon.
ALICE
That's good isn't it? Sydney won?
BETTE
Not exactly the type of victory you celebrate.
ALICE
Will Susan's family appeal further?
SHANE
No, they're satisfied with the damage they've done.
BETTE
How's Syd?
SHANE
Drained. She's with Susan now. They anticipate Susan has about 48 hours.
ALICE
Poor Susan.
TINA
Poor Syd.
EXT. VISTA OVERLOOKING L.A. – NIGHTIME
Shane's jeep is parked at the deserted overlook. Sydney gets out and walks to the railing. Shane joins Sydney.
SHANE
She's at peace now.
Sydney doesn't respond.
SYDNEY
(referring to the city lights)
It's beautiful at night.
SHANE
Yeah.
Shane turns to look at Sydney.
SHANE (CONT'D)
You OK?
Sydney nods her head, first "yes," then "no," and begins to tremble. Sydney screams at the sky as a jet passes overhead—the plane noise drowning out her cry—then collapses in tears at the railing. Shane holds Sydney and rocks her gently as she sobs above the lights of L.A.
INT. THE PLANET - EVENING
Bette, Tina, Kit, Shane, Jenny, Max and Alice are celebrating Helena's birthday. Sydney walks towards them. Kits sees Sydney and pulls over another chair so she can join them.
KIT
Hey, come join the party.
Sydney walks over to Helena and kisses her on the cheek,
SYDNEY
Happy birthday, Helena.
Syd sits in the chair Kit pulled around for her.
SYDNEY (CONT'D)
I just stopped by for a minute.
BETTE
(to Sydney)
I'm sorry about Susan.
TINA
You doing OK?
SYDNEY
I'm struggling with conflicting feelings of remorse versus relief that it's over.
BETTE
Every ending is a new beginning.
SHANE
How did it go at the lake?
SYDNEY
Fine. I took the ashes out on the sailboat and scattered them on the lake.
Susan loved the water and wind.
HELENA
We're planning to attend next week's community memorial.
SYDNEY
That's nice—thanks. I won't be there.
HELENA
Why?
SYDNEY
The community needs to have closure with Susan—I already have. My presence will just incite the protestors. Besides, I really stopped by to say goodbye.
HELENA
Goodbye?
SYDNEY
I'm leaving tomorrow.
BETTE
Where're you going?
SYDNEY
I've sign on to do work with Doctor's Without Borders in India.
ALICE
What about the clinic?
SYDNEY
The recent press has really hurt—I 'm more a liability than an asset.
Trust is at the core of a doctor-patient relationship….patients will not go to a clinic
where their doctor is portrayed as a murderer.
JENNY
(with the usual edge)
Can't fix it, Doc?
SYDNEY
(uncharacteristically rattled)
'Ya know Jenny, if you insist on sitting back and trying to intimidate, withhold approval and punish—do us all a favor and just go buy another god-damn dog. I find your attempts to solidify your maturity with thoughtless and insensitive acts simply pathetic.
Jenny shifts uncomfortably. Helena attempts to break the awkwardness of the moment.
HELENA
(to Sydney)
You still have a lot of support in this community.
SYDNEY
Sure, nothing says "I love you" like bags of hate mail and a few dozen death threats.
HELENA
How long will you be gone?
SYDNEY
I'm not sure. L.A. was Susan's dream—unfortunately she left me to live it.
BETTE
More like a nightmare.
SYDNEY
I've always been more of a Northeasterner at heart—and
I miss the change of seasons, the fall color…..
HELENA
(interrupting)
But after fall comes winter, and you know how brutal that can be.
SYDNEY
But that's what makes a fall day so special—you have to appreciate and savor them because you never know which one will be your last—there're lessons to be learned in that.
JENNY
What about Shane?
SYDNEY
We talked last night. She has a class tonight.
MAX
Your patients?
SYDNEY
A doctor needs solid footing to take on patient issues. I've lost my
footing and my mind has never been more clouded.
ALICE
I hate to see you go. You've become part of our family—our tribe—and our strength has always been in our numbers. We'll miss you.
SYDNEY
(sadly)
I'll miss you all too. I'm never sure I've ever really known how to ask for help—but I needed your help and friendship more than you will ever know.
Sydney rises and prepares to leave.
SYDNEY
Now, get on with your party. I'd didn't mean to interrupt.
HELENA
How're you getting to the airport?
SYDNEY
(shrugging)
Cab, I guess.
ALICE
(nudging Helena)
We'll take you. What time?
SYDNEY
Thanks, but that isn't necessary.
ALICE
I insist.
SYDNEY
I always have to get there really early because of security.
JENNY
Why?
SYDNEY
Complexion mostly.
BETTE
Profiling at its worst.
JENNY
So you're Indian, that doesn't make you a Muslim or a terrorist.
SYDNEY
Actually, Jenny, I am a Muslim—although we definitely are not all terrorists.
BETTE
Really? I mean about the Muslim part.
ALICE
How can you justify their traditional roles for women?
SYDNEY
Let's just say I practice selectively and seasonally.
HELENA
You are a woman of surprises Doc.
SYDNEY
Can you pick me up at noon?
HELENA
We'll be there.
Sydney leaves The Planet.
BETTE
Sounds like she's getting out more than going anywhere.
HELENA
Can you blame her? The media painted her as a murdering monster.
TINA
Not to mention the right-wing extremists killed her partner, tried to
blow her to pieces, and now are making more threats.
BETTE
She's searching.
JENNY
Searching for a reason to stay or a reason to go?
ALICE
Can't blame her for wanting to get out of Dodge.
JENNY
(angrily)
I can.
Jenny leaves the table to follow Sydney.
EXT. THE SIDEWALK OUTSIDE OF THE PLANET – CONTINUOUS
Sydney exits the planet and turns to walk down the sidewalk. Jenny comes out of the planet, sees Sydney and calls after her.
JENNY
Sydney!
Sydney stops and waits for Jenny to catch up with her.
JENNY
I want to know about Shane.
SYDNEY
Shane and I talked—shouted—it out last night.
JENNY
So you're telling me it's all good?
SYDNEY
I'm telling you it will be.
The two women stubbornly hold eye contact for a few seconds in silence.
SYDNEY
We're just taking a break Jenny. I invited her to visit.
JENNY
Is that what Shane wants? A break?
SYDNEY
I don't think Shane knows what she wants.
JENNY
(angrily)
Then, lemme tell you. She wants you, Sydney, not some fucking summer vacation visit.
SYDNEY
We always want what we can't have. The fact that we can't have it is what makes the unreachable so damn desirable. It's part of human tragedy.
JENNY
No, Sydney, it's the ones who truly don't know what they want that I pity—or worse yet those who have it but don't realize or appreciate it—that is the real tragedy.
Jenny continues to holds Sydney's gaze. Sydney softens.
SYDNEY
I can't explain Shane and me. All I know for certain is that I'd be riddled with guilt
if I couldn't make her happy the way she deserves. I'd rather she end up
forgetting me than having to forgive me.
JENNY
You'd rather? Why the fuck is everything always about you!
Jenny holds Sydney's gaze for few more seconds before dismissing Sydney with a shoulder shrug.
JENNY
(sarcastically)
But go ahead, Doctor Livingston. Continue your global crusade to save the world. It seems the ones closest to you are the only ones you can't—or won't—help.
Jenny breaks eye contact and turns to go back into the Planet.
JENNY
(over her shoulder and disgusted)
Good luck, Doc.
EXT. SYDNEY'S PORCH - LATER THAT NIGHT
Sydney steps up on the porch and reaches for the doorknob. The door is ajar. Suspicious and frightened, Sydney reaches into her purse and retrieves a pistol before entering the house.
INT. SYDNEY'S FAMILY ROOM - CONTINUOUS
The room is dark with only the light from the ajar bathroom door illuminating a sliver of the carpet. Flower petals litter a pathway to the door. Sydney cautiously walks toward the cracked door, pistol drawn.
INT. SYDNEY'S BATHROOM - CONTINUOUS
The bathroom is lit by candlelight. With pistol still drawn, a frightened Sydney slowly nudges the door open. Sydney is startled by a quick movement. The sound of a gunshot, shattering glass and a screaming Shane breaks the silence.
SYDNEY'S BATHROOM – MOMENTS LATER
Sydney is on the floor cradling an upset and naked Shane
SYDNEY
God, I'm so sorry.
SHANE
Jesus, what were you thinking?
SYDNEY
I thought one of those weirdoes broke in, my imagination was running wild.
SHANE
I just wanted a little romantic surprise before you left.
SYDNEY
I knew this gun was a mistake—it could have been lethal.
SHANE
Thank God you shot my reflection, not me.
Shane looks at the shattered debris then shuffles to look directly as Sydney
SHANE
(smiling coyly)
Wasn't exactly what I had in mind—it never happens this way in the movies!
SYDNEY
Just be careful, there's glass everywhere.
Shane pulls Sydney to her feet seductively removes Sydney's blouse and begins unbuttoning her slacks.
SHANE
Did I ever tell you that nothing turns me on like a near-death experience?
Shane leads Sydney into the tub and they make love in the bubble bath.
INT. SYDNEY'S BEDROOM LATER THAT NIGHT
The room is dimly lit by candlelight, and Shane and Sydney are sensually and slowly making love.
INT SYDNEY'S BEDROOM – HOURS LATER
Shane lying awake with her head on Sydney's chest. Sydney is awake staring at the ceiling and absentmindedly stroking Shane's hair.
SYDNEY
(whispers)
I love you, Shane. I should have told you earlier, but was afraid it would scare you away. We could be extraordinary together, Shane—or we can be ordinary alone.
Shane doesn't respond and simply closes her eyes and pretends to be asleep.
INT. SYDNEY'S BEDROOM – PRE-DAWN
Sydney is sleeping alone in the bed. Shane is standing beside the bed, fully dressed. Shane bends down to softly kiss Sydney's lips. Sydney awakes.
SHANE
It's almost dawn. I can't say goodbye in the daylight.
Sydney reaches up to take Shane's hand
SYDNEY
I understand.
Shane kisses Sydney's hand and turns to leave.
SYDNEY
Shane?
Shane stops, but does not turn around.
SYDNEY
(hesitating)
Be good to yourself.
Shane continues toward the door, stops again, but does not turn around.
SHANE
(her back to Sydney)
Thanks, Sydney
SYDNEY
For what?
SHANE
For loving me—for choosing me out of the ordinary.
SYDNEY
Don't thank me, Shane—I fibbed the morning I said I choose you. I had no choice but to love you…it was beyond my control. Meeting you marked the end of life as I knew it.
Shane reaches for the doorknob, but suddenly turns and runs back to embrace Sydney.
SHANE
I love you too, Sydney.
SYDNEY
I know.
Shane quickly breaks the embrace and walks out the door, wiping tears from her cheeks as she exists.
EXT. A SMALL COMMUTER AIRPORT – EARLY AFTERNOON
Alice, Max, Tasha and Helena are waiting to say goodbye while Sydney checks her bags. Suddenly Jenny pulls up to the curb in her car. Jenny gets out and walks directly to Sydney.
JENNY
(to Tasha, Max, Alice and Helena)
Excuse us for a moment.
Tasha, Max, Alice, and Helena exchange confused looks.
TASHA
Sure.
Jenny pulls Sydney away from the group.
JENNY
I misjudged and mistreated you—and I'm sorry.
SYDNEY
You drove all the way out here to say that?
JENNY
Yes (hesitates before continuing). It's not that I don't like you.
It's just that I envy you too much to enjoy you.
Sydney reaches for Jenny's arms and holds both hands.
SYDNEY
Poor Jenny. You wear your battle scars like some warped badge of courage.
JENNY
They're just an excuse to make everyone else as miserable as I am. I just want to be happy.
SYDNEY
But will you recognize when you are? Someday you'll have to accept that only you can determine your own happiness. It's a state of mind—not a damn thing more. No one ever said life would be easy, Jenny, but I promise you it will be worthwhile.
JENNY
I'm just not as lucky as you are.
SYDNEY
Luck comes from the energy we create—we make our own.
An airport traffic cop approaches Jenny
AIRPORT COP
Lady, you got'ta move this car.
SYDNEY
Jenny, it's the journey that brings us happiness, not the destination.
Stop waiting for your life to start—it just did.
A confused Tasha, Max, Helena, and Alice watch as Jenny softly kisses Sydney on both cheeks, then quickly gets in her car and drives away. An equally surprised Sydney walks back to join them.
ALICE
What was that about?
SYDNEY
I don't know.
They all shuffle nervously.
TASHA
Well, I guess this is it.
Helena begins to cry.
HELENA
Don't mind me. I'm always a walking waterworks when it comes to good-byes.
They all laugh. Sydney hugs Helena.
HELENA
Please consider joining me, mummy and the children in New York for the holidays.
Tasha and Alice roll their eyes.
SYDNEY
(pulling away from Helena)
It'll be nice to have something to look forward to. We'll be in touch.
ALICE
A winter visit in New York might bring you scurrying back to L.A.
They all laugh. Sydney hugs Alice and whispers in her ear.
SYDNEY
(embracing Alice)
Take care of your family…you're the tribe's heart and soul, you know.
Sydney releases Alice and turns to Max and Tasha.
SYDNEY
Come on you two, group hug!
Syd, Tasha and Max jointly embrace.
SYDNEY
(embracing Tasha and Max)
Call me if you need anything…
Sydney pulls away from Tasha and Max just enough so they are face to face.
SYDNEY (CONT'D)
(teasing)
But don't make a habit of it!
Tasha and Max cross their hearts and raise their right hands in scout salutes.
TASHA
(smiling)
We promise to be good.
SYDNEY
And if you can't be good..,
ALICE, TASHA, MAX & HELENA
(playfully in unison)
Be careful!
Sydney smiles and turns to walk into the terminal.
EXT. AIRPORT PARKING LOT – CONTINOUS
Alice, Tasha, Max and Helena are walking in the parking lot.
HELENA
(dramatically)
I just still cannot believe Shane didn't come to say goodbye.
TASHA
(chastising)
Helena get off it, already. Everyone deals with grief and goodbyes differently.
HELENA
But really…
MAX
(interrupting)
Enough!
Alice is walking behind Helena, Tasha and Max when her eye catches sight of Shane's jeep in the parking lot. Alice glances backwards and sends a broad smile toward the terminal.
EXT. AIRFIELD - CONTINUOUS
Sydney is following other passengers on the tarmac toward a small prop plane. The wind blows in her hair and she smiles softly when her eye is caught by a flying Monarch Butterfly. Sydney slows her gait, and follows the butterfly's flight toward the terminal until her gaze rests on the American flag dancing in the breeze. She stops as she notices a person standing on the outdoor observation platform below the flag. Sydney squints to make out the figure,and smiles as she recognizes Shane.
EXT. TERMINAL OUTDOOR OBSERVATION DECK - CONTINUOUS
Shane is alone on the observation deck. She is standing at the railing looking down at Sydney on the tarmac. Shane softly beats her fist against her chest twice, presses her pointer and index fingers to her lip, then points the two fingers toward the sky.
EXT. AIRFIELD TARMACK – CONTINUOUS
Sydney smiles slowly and responds by repeating Shane's gesture. Sydney turns and boards the plane.
EXT. TERMINAL OUTDOOR OBSERVATION DECK – MOMENTS LATER
Shane clutches the railing with both hands. She leans back, her primal scream is drowned out by the noise of Sydney's jet as it passes above.
FADE TO BLACK