FADE IN:
INT. HOSPITAL EMERGENCY ROOM – NIGHT
ALICE and KIT enter the waiting room joining JENNY and MAX.
KIT
What happened? How's Shane?
JENNY
We don't know anything yet.
KIT
Fuck
Doctor SYDNEY Livingston enters the waiting room. Sydney is an attractive woman—a mixture of exotic and athletic—of Indian descent in her late forties/early fifties. She exudes professionalism, confidence, calmness and control.
SYDNEY
Anyone here with Shane McCutcheon?
EVERYONE
Yes.
ALICE
We all are.
SYDNEY
Time is the enemy, so I'll be brief. Shane is suffering from an apparent overdose. I need to know what she was taking—prescription and recreational drugs.
MAX
No prescription drugs…
JENNY
(interrupting, defiantly)
No recreational drugs either… that would be illegal, right?
SYDNEY
(impatiently)
I'm dealing with practicalities, not legalities.
Jenny, Max, Alice and Kit exchange looks but are silent.
SYDNEY (CONT'D)
(impatient and disgusted)
You can tell me now when I can help her—or toxicology will tell me in the postmortem.
Sydney notices Max looking at Jenny pleadingly—but Jenny does not respond.
SYDNEY (CONT'D)
Call me if you remember anything.
Sydney leaves the room.
MAX
Jenny we have to tell her.
JENNY
Shane already has a record—they'll prosecute her.
ALICE
Better Shane be in trouble than dead. I'm going to talk to the Doctor.
Alice leaves to catch the Doctor.
JENNY (O.S.)
Alice, don't.
KIT (O.S)
Let her go…She's right. I've been there.
Kit, Jenny and Max watch Alice speaking to the doctor through the waiting room window.
INT. HOSPTIAL CORRIDOR
Alice speaks with Sydney briefly, Sidney touches Alice's arm reassuringly, nods in appreciation and heads quickly toward the exam curtain.
INT. HOSPITAL WAITING ROOM – AN HOUR LATER
TINA rushes into the waiting room.
TINA
I'm sorry, I came as fast I I could
KIT
Where's Bette?
TINA
She took Angelica to the movies. Her cell is off but I've left messages.
Sydney enters and looks pointedly at Alice.
SYDNEY
Shane's vitals are stable. She should be fine.
KIT
Thank God.
Nurse KAREN Garcia enters the room.
KAREN
(to Sydney)
Doctor, car accident involving three teens, one adult and one child. Three are arriving here—one by helicopter two by ambulance. Two are critical.
SYDNEY
E.T.A.?
KAREN
Chopper in 4—ambulance in 9.
SYDNEY
You and I will take the chopper—alert Mann, Anderko and Lewis about the others.
Karen leaves as a second NURSE enters the room. Sydney turns to leave.
NURSE
McCutcheon family?
Tine, Alice, Jenny, Max and Kit all move toward her.
NURSE
All of you?
TINA
Yes.
NURSE
I'm sorry, but Ms. McCutcheon is in intensive care. Only immediate family.
JENNY
We are her family.
NURSE
Biological relatives?
The women look at each other without response.
NURSE
Do any of you have power of attorney or health proxy?
SYDNEY
(turning back before exiting the room)
I'll approve their visitation.
NURSE
(to Sydney)
You're saying they're family?
SYDNEY
(smiling wryly)
Let's just say they have different fathers.
NURSE
(with resignation)
Ah-huh. But no more than five minutes every hour—no exceptions.
Karen pokes her head back into the waiting room.
KAREN
Car victim helicopter in one, Doctor.
SYDNEY
(to group)
Excuse me.
Sydney exists with Karen.
INT. HOSPITAL ROOM – MINUTES LATER
SHANE is lying in a hospital bed, groggy but awake. Tina, Kit, Max and Jenny surround her. TASHA enters, dressed in LAPD uniform.
ALICE
Tasha?
TASHA
I'm here on official business, Dr. Livingston called me.
ALICE
You know her?
TASHA
Her clinic is on my beat.
TASHA
(continues to Shane)
How are you?
SHANE
OK
TASHA
(speaking professionally to Shane)
The Doctor explained to me that—based on Jenny's and Max's accounts—you went to a party, then came back to the house and collapsed. Livingston believes that you probably didn't know what you took, and most likely will have no memory of the evening.
TASHA
(to the group)
Is that right?
Pleasantly surprised by Tasha's synopsis, Max and Jenny nod in agreement.
MAX
Yeah, that sounds about right.
TASHA
Unfortunately this situation is not uncommon. Used to be party punch was spiked with grain alcohol—now-a-days it's more dangerous. (sarcastically) Right, Shane?
SHANE
Yeah..OK..deal. Thanks Tash.
TASHA
(firmly)
Don't thank me, thank the Doctor. And there's no deal here. All you have is a small amount of good will, good faith and good fortune—don't waste it.
The Nurse returns
NURSE
Time's up ladies.
Alice, Tina, Kit, Max, Tasha and Jenny say their goodbyes to Shane and leave the room.
INT. HOSPITAL HALLWAY - CONTINUOUS
Jenny, Max, Alice, Tasha and Kit exit Shane's room and are heading toward the waiting room. Alice sees Sidney down the hall and turns to break away from the group.
ALICE
I have to pee.
Alice leaves the group and heads toward Sydney
INT. HOSPITAL CORIDOR - CONTINUOUS
Alice walks through the hectic hallway, focused on Sydney, who is close to an exit door surrounded by two interns and two nurses, one of the nurses is KAREN Garcia. The front of Sydney's white coat is smeared with blood. Sydney is calm but the others are visibly shaken and sad. One of the interns, Doctor LEWIS, is biting her lip to hold back tears. Nurse Garcia is holding several charts.
SYDNEY
(taking one of the charts from Karen)
Whose patient was she?
DR. LEWIS
(struggling to keep her composure)
Mine.
Sydney starts to hand the chart to Lewis but thinks better of it. Sydney opens the chart and glances at her watch before signing the chart.
SYDNEY
Time of death, 9:14. Has her family been notified?
KAREN
Parents are on their way.
SYDNEY
Notify Dr. Lewis when they arrive.
LEWIS
(struggling to hold back tears)
I…I don't know if I can.
SYDNEY
She's your patient, Doctor—finish her care.
LEWIS
But she was only 16…
Sydney grabs the rest of the charts from the nurse.
SYDNEY
(calmly and professionally)
There's nothing more we can do for her. Clear the board—there are other patients we can help.
Sydney begins handing out charts to the interns.
SYDNEY (CONT'D)
Lewis and Garcia, you take sutures in two; Williams and Connors, bowel obstruction in five.
A MALE NURSE calls from the hallway to Sydney.
MALE NURSE
Sydney, car accident arriving in one.
SYDNEY
(to the male nurse)
OK.
SYDNEY
(to the group)
Let's go, people.
The interns and nurses depart for their assignments. Sydney reaches out to stop Nurse Garcia.
SYDNEY (CONT'D)
(to Garcia)
Let me know when the deceased girl's parents arrive. I don't want Lewis talking to them alone.
Karen Garcia nods in agreement and leaves.
Alice overhears DOCTOR WILLIAMS speaking to Lewis as they pass her in the corridor.
DOCTOR WILLIAMS
(to Lewis)
How can Livingston be so damn cold?
Alice sees Sydney walking quickly toward the emergency door and moves down the hallway to catch Sydney.
ALICE
(calling after Sydney)
Doctor?
Sydney does not hear Alice. Sydney pulls off her blood-smeared lab coat and discards it in the trash as she walks. Sydney ducks quickly out the exit—the door closing behind her. Alice reaches the door, but stops, and looks at Sydney through the emergency door window
EXT. HOSPITAL ROOF - CONTINUOUS
Alone on the rooftop, Sydney moves quickly to the railing. A jet passes overhead. Grasping the rail, Sydney leans back and releases a primal scream toward the sky—the shriek of agony muffled by the jet noise.
INT. SHANE'S HOSPITAL ROOM
Shane is lying in bed, alone in the room. Shane is looking out the window, her view is of the rooftop where Shane sees Sydney's emotional release as the plane passes overhead.
INT. HOSPITAL CORRIDOR - CONTINUOUS
Alice watches Sydney through the small emergency door window. Alice backs out of sight as Sydney re-enters the corridor. Sydney—once again completely composed—is immediately confronted by the male nurse handing her a clean white coat.
MALE NURSE
Auto accident —ambulance with adult and child arriving now.
Alice watches Sydney move quickly out of sight.
INT. HOSPITAL EMERGENCY ROOM WAITING AREA –CONTINUOUS
Alice joins Tina, Max, Jenny and Kit. Tina is calling Bette on her cell phone. She hangs up.
TINA
(waving her cell phone)
I still can't get them. It's ringing now, but Bette still isn't picking up.
There is commotion in the hallway as the car accident victims arrive. The child victim is heard crying for her mother. Tina recognizes the voice as that of Angelica and rushes out of the waiting area toward the screaming child. Tasha is in the hallway.
TINA
Angelica!
INT. HOSPITAL EMERGENCY ROOM WAITING AREA CORRIDOR–CONTINUOUS
Tina is stopped by a struggle with security guards, who do not believe that Angelica is Tina's child. Sydney is attending to Angelica. Tasha and Sydney intervene on the part of a panicked Tina.
TASHA
(to the security guards)
Stop, I know her—this is her kid.
SYDNEY
(to guards)
Let her go.
Sydney turns to administer care to the adult victim. The profile reveals BETTE is the victim. Kit moves towards Bette.
KIT
(gasping as she sees Bette)
Oh my God!
The side of Bette's face is totally distorted and paralyzed. Lewis takes Tina and Angelica to an exam room and Sydney accompanies Bette's gurney behind the exam curtains.
INT. HOSPITAL EMERGENCY ROOM WAITING AREA –SEVERAL MINUTES LATER
A panicked HELENA enters the waiting area to join Kit, Tasha, Alice, Max and Jenny.
HELENA
I came as fast as I could.
Alice calms Helena.
ALICE
Shane is stable, they're just keeping her overnight for observation. Angelica is fine. Tina is with her now. We haven't heard anything regarding Bette, yet.
Sydney enters the waiting room. She observes the familiar faces.
SYDNEY
Family of Bette Porter?
Kit steps forward. Tina enters the room.
TINA
Is there any word about Bette?
SYDNEY
(to Kit and Tina)
What is your relationship to Bette?
KIT
I'm her sister, Kit Porter.
TINA
I'm her partner.
SYDNEY
Who has the health proxy?
Tina and Kit both shrug.
SYDNEY
Bette has suffered a stroke. She's stable but she has lost facial movement and her ability to speak. She also has no mobility on her right side.
KIT
A stroke? She's too young!
SYDNEY
Age has little to do with it. It could have been stress induced by the accident—or
the accident could have been a product of the stroke. Whatever the case, we need to move forward from here.
TINA
Will she live?
SYDNEY
Probably, but with brain damage.
Sydney guides Kit to a row of chairs. They both sit down. Tina follows and stands to the side of Kit.
SYDNEY
Kit, in this situation, timing is critical. We have a brief window—less than 3 hours from the onset of your sister's symptoms—where we can work to potentially reverse the damage. I'd like to administer the drug tPA and, if we act immediately, we have a chance to dissolve the blood clot and offer Bette a chance for a full recovery.
TINA
What are the risks?
SYDNEY
I'm sorry—but without paperwork only Kit—as a blood relative—can make decisions
on Bette's behalf.
TINA
I'm Bette's partner. We separated for awhile so the paperwork may not be up-to-date, but we've been together for years and Bette has expressed her wishes to me.
SYDNEY
But do you have the paperwork? A living will?
Kit stands and positions herself between Sydney and Tina.
KIT
No—she has no legal authority. I'm Bette's sister.
Tina turns away
KIT
(to Sydney)
What are the risks?
SYDNEY
It could cause brain hemorrhaging, resulting in death.
KIT
The drug could kill her?
SYDNEY
Yes. But if successful, Bette could experience a full recovery.
Tina steps forward.
TINA
Kit, Bette's quality of life is so important to her….you know what she would want.
KIT
(ignoring Tina and repeating to Sydney)
But it could kill her?
TINA
(inserting herself, trying to get Kit's attention)
Living as a vegetable is no life.
KIT
(to Tina)
It's my decision.
TINA
Kit, please! I know Bette would take the risk—she has never been one to play it
safe, you know that.
KIT
(places her head in her hands, distraught)
I need to think.
SYDNEY
(to Kit)
Every moment is precious. The longer we delay, the greater the
chance the stroke damage will be permanent.
MAX
What are the odds?
SYDNEY
It's up to the gods as much as odds. Percentages are just anxieties
expressed mathematically. I can give you statistics on survival—but I
can't place a numeric value on quality of life.
JENNY
(to Sydney, defiantly)
If it were your sister what would you do?
SYDNEY
If it were someone I loved, I'd take the risk.
KIT
(nodding slowly)
Go ahead—do everything you can to give my little sister her life back.
Sydney touches Kits arm with assurance and approval.
SYDNEY
(to Kit)
You'll need to sign some papers.
INT. HOSPITAL WAITING ROOM – ONE HOUR LATER
Sydney enters the waiting room where Kit, Tina, Max, Jenny, Helena and Alice are waiting. Kit rises to greet Sydney
SYDNEY
(smiling wearily)
Everything went very well. She's not out of the woods yet, but her response to the
tPA is very promising.
KIT
Thank God. When can I see her?
SYDNEY
Shortly—but only for a few minutes. Then you should all go home and get some rest.
You can visit longer tomorrow.
Sydney leaves.
INT. HOSPITAL CORRIDOE – CONTINUOUS
Alice calls after Sydney.
ALICE
Doctor?
SYDNEY
(stopping)
Yes?
Alice catches up to Sydney.
ALICE
I wanted to thank you for helping with Shane….Bette too.
Alice shuffles self-consciously.
ALICE (CONT'D)
Ya' know, this isn't the first time we meet.
SYDNEY
(kindly)
I remember, I was on duty the night Dana Fairbanks died. You were in such
grief—such emotional pain. Perhaps you still are.
Sydney touches Alice's arm kindly.
ALICE
I don't want to talk about that.
SYDNEY
Why? Speaking of the dead is a way to keep them alive.
ALICE
(reluctantly and hesitating)
But I'm so….angry at her.
SYDNEY
For leaving you?
Alice shrugs
SYDNEY (CONT'D)
Don't feel guilty about your anger—it's normal. But you have a responsibility to live for both you and Dana—once her memory is gone she dies forever. Don't let that happen.
ALICE
But I'll never get over her.
SYDNEY
Nor should you. But you need to find a way to carry her memory with you and move on.
ALICE
I think you're delusional, Doc.
SYDNEY
Sometimes it's healthy to hold onto our delusions.
ALICE
You really think so?
SYDNEY
I know so. Learn from your life, Alice, and move on. Enjoy the journey.
Live every day as if it were your last but learn from each day as if you
were going to live forever.
ALICE
(smiling)
Thanks, Doc…for everything.
A nurse approaches and speaks to Sydney.
NURSE
Dr. Livingston, we have an attempted suicide arriving by ambulance in 3 minutes.
SYDNEY
Excuse me, Alice. We'll continue this another time.
INT. HOSPITAL WAITING ROOM - MINUTES LATER
Doctor Harold Reese enters the room and joins Kit, Tina, Max, Helena and Jenny.
HAROLD
Which one of you is Kit Porter?
KIT
I am.
HAROLD
Ms. Porter, I'm Dr. Harold Reese, the hospital's Chief of Staff. I have been advised that Dr. Livingston approached you regarding administering tPA to your sister, Bette.
KIT
(worried)
Yes….is…is..Bette OK?
HAROLD
As far as I know she's stable and her condition is unchanged. I just want to advise you that the procedure recommended by Dr. Livingston cannot be performed by the hospital at this time.
TINA
I don't understand. Dr. Livingston said the procedure was a success?
HAROLD
Was a success?
KIT
She said my sister is in recovery now.
HAROLD
(angrily)
Excuse me.
Harold leaves the room.
MAX
What's up with that?
A NURSE enters the room and speaks to Kit.
NURSE
Ms. Porter, you can see your sister now.
Kit moves towards the door to follow the nurse. Tina follows but is stopped by the nurse.
NURSE
(to Tina)
I'm sorry, immediate family only.
TINA
I'm her partner.
NURSE
Do you have paperwork?
TINA
No, but…
NURSE
(interrupting)
Then there's nothing I can do.
TINA
(pleading to Kit)
Kit, please?
Kit looks away from Tina and leaves the room
MAX
(to Tina)
Dr. Livingston will take care of this.
The nurse overhears Max's comment.
NURSE
(calling over her shoulder)
Dr. Livingston is in enough trouble right now. Don't go getting her into more.
Nurse exists.
ALICE
(to Tina)
What bullshit. If you were married there'd be no question.
TINA
But we're not—at least not legally.
JENNY
Kit should know better.
MAX
She's upset. She'll come around. Let's go.
INT. HOSPITAL STAFF LOUNGE – MINUTES LATER
Sydney takes a water bottle from the refrigerator and holds it to her forehead. Harold enters the room, visibly angry.
HAROLD
Sydney, this time you've gone too far.
SYDNEY
What?
HAROLD
You don't have enough experience with stroke diagnosis and treatment to administer tPA.
SYDNEY
I'm experienced now.
HAROLD
While you might enjoy practicing on patients, the rest of the industry requires certification and licenses—in return they give us a little thing called insurance. Only Dr. Hernandez is authorized to administer tPA in this hospital.
SYDNEY
He's on vacation and there was no time to transfer her or get anyone else—and her sister signed the waiver.
HAROLD
Signed it under emotional duress and your recommendation. What if the stoke had been hemorrhagic not ischemic?
SYDNEY
80 percent of all strokes are caused by blood clots…you know that.
HAROLD
Do you realize the lawsuit this hospital would be entangled in if you failed?
Not to mention the media!
SYDNEY
But the procedure was a success—saving lives means more than just not killing people. We're healers, Harold, not just doctors. Bette Porter can expect a full recovery.
HAROLD
This time. But the consequences could have been disastrous. Sydney, I simply cannot afford the risk of having you work here anymore—I am suspending you from hospital duty.
SYDNEY
Suspending?
HAROLD
Devote full attention to your clinic. I need more disciplined staff here.
SYDNEY
You can't be serious?
HAROLD
(firmly)
Oh, I'm very serious.
SYDNEY
(indignant)
Since when did we become more worried about patients' lawsuits than patients' lives? When did the fear of being sued become more paralyzing than the fear of patient death? Why are we more concerned with media than medicine?
HAROLD
I don't want to hear any more of your rhetoric. I've made my decision.
Harold starts toward the door
SYDNEY
(calling after him)
Harold!
Harold pauses at the door and turns to look at Sydney
SYDNEY (CONT'D)
What happened to you, Harold? When did you start confusing the Hippocratic Oath with a hypocritical oath?
Harold does not respond and leaves.
INT. HOSPITAL ROOM – EARLY EVENING THE NEXT DAY
Bette is laying the hospital bed sipping water from a straw. Kit is at her side, holding the water cup.
BETTE
(weak and hoarse)
Thank you.
KIT
How're you feeling?
BETTE
Like I was hit by a truck…but at least I can feel. How is Angelica?
KIT
She's fine. Tina is with her now.
Shane, Jenny, Max, Helena, and Alice enter the room carrying flowers and gifts.
SHANE
Hello—how's the patient?
BETTE
(smiling)
A little worse for wear. But I could ask you the same thing?
A male DOCTOR and Nurse Karen Garcia enter the room.
DOCTOR
Ms. Porter, I'm Doctor Hughes. I've been assigned to your case.
BETTE
Where's Dr. Livingston?
DOCTOR
I'll be taking care of you now.
BETTE
I don't understand, why can't Dr. Livingston continue with my care?
DOCTOR
(ignoring the question as he reads the chart)
We'll discuss that another time. Aside from some physical therapy and some follow-up tests you should be fine, You're a very lucky girl.
The Doctor begins his departure.
DOCTOR
(to the group as he leaves the room)
Ladies, I'm afraid visiting hours are over. You can come back tomorrow.
ALICE
It's been awhile since I've closed a joint.
BETTE
Thanks for coming.
They bid goodnight and Shane, Jenny, Kit, Helena, Max, Alice, and the nurse turn to leave.
INT. HOSPITAL CORRIDOR OUTSIDE OF BETTE'S ROOM - CONTINUOUS
Shane and Alice leave. Shane steps aside to speak to Nurse Karen Garcia.
SHANE
What happened to Dr. Livingston?
KAREN
The Chief of Staff dismissed her from hospital duty because she wasn't authorized to administer tPA to Ms. Porter.
SHANE
But Livingston saved her life.
KAREN
You don't have to tell me. Livingston operates a community clinic down on Gracita Place
and the Chief decided it's best for Sydney to devote her full attention
there—which translates into not here.
SHANE
I know the clinic…I spent time in that neighborhood as a kid.
KAREN
Livingston fills in here at the hospital only occasionally.
Some call her revolutionary; the Chief calls her reckless.
SHANE
What's your take on her?
KAREN
There's not a staff member at this hospital who doesn't pray that Livingston
is on duty if they're ever a patient.
INT. THE PLANET - DAY
Bette, Tina, Jenny, Helena and Kit are sitting around a table having coffee. Tasha, Shane and Alice enter through the front door and join them. All three are dressed in business clothes
KIT
Hey, how was the court appearance?
SHANE
They tarred, but did not feather, me.
TASHA
You got off easy, girl.
SHANE
Yeah, I know.
KIT
What happened?
TASHA
Turns out the judge is an old friend of Dr. Livingston.
BETTE
So?
SHANE
Tasha and Livingston convinced the judge to sentence me to a 12-step program and a year of community service at Livingston's clinic. They say I'm more a threat to myself than society.
JENNY
(sarcastically)
The amazing Sydney Livingston to the rescue again!
SHANE
Jenny, what's your problem with Livingston? You've been on her case from the start.
JENNY
I don't know—she just bugs me—one of those people who walks around
trying to fix everything--everybody.
KIT
I think she's kind'a nice to have around.
JENNY
(shrugs nonchalantly )
Yeah—well some things cannot or should not be fixed.
HELENA
I think she's very attractive—don't you?
JENNY
Please don't tell me you're hitting on the Doctor? She's practically old
enough to be our mother.
HELENA
(smiling seductively and shrewdly)
I think she's exotic—has a refined maturity. Besides, my mother
always said I should marry a Doctor!
INT. MEDICAL CLINIC – EARLY EVENING MONDAY
Shane is working at the reception desk. Nurse Maria enters the reception area followed by a very frazzled woman holding a young crying child. Two other young children run around them, screaming loudly. The mother yells at the children in Spanish as they leave the reception area.
MARIA
(calling after the mother)
And remember, Doctor Livingston wants you to add yogurt to
your diet to prevent those yeast infections.
The harried mother and children leave.
MARIA (CONT'D)
(relieved)
OK—well, we took good care of that little mother.
SHANE
(sarcastically)
Little Mother is an appropriate term for her.
MARIA
(smiling but reprimanding)
Shane!
SHANE
Sorry, people in a 12-step program are barbarically honest.
Tasha enters from the street door dressed in a police uniform, greeting woman and children as she makes her way to the desk. Tasha is popular with the group and the children are very pleased with the attention.
TASHA
(to Maria and Shane)
Good evening, ladies.
MARIA
Hey, Tasha. How's it going?
TASHA
Just grand.
MARIA
(calling the next patient)
Mrs. Gonzalas?
The woman and children from the waiting room respond by following Maria into the examination room area.
TASHA
Is that the last patient?
SHANE
Yeah—but we thought the last was over an hour ago and they just keep coming.
TASHA
Typical.
SHANE
What does Livingston have against office hours?
TASHA
(smiling)
Nothing, she loves them. That's why the office barely closes.
Shane looks at her watch.
SHANE
Look at that. 9:00 and my shift is over.
Shane gets up to leave. Marie returns to the desk area and over-hears Shane's remark.
MARIA
You mean almost over. We saw the last patient—now it's time for paperwork.
Shane sit back down, reluctantly but acceptingly.
TASHA
I have to finish my rounds. See you later.
INT. CLINIC – DR. LIVINGSTON'S PRIVATE OFFICE – SEVERAL MINUTES LATER
Shane is placing files on Dr. Livingston's desk. Her eye is caught by a photo of a much younger Sydney smiling with her arm wrapped around the shoulders of another woman. They both look very happy. Maria enters the room
MARIA
Knock, knock?
Shane, still staring at the photo, is startled as she turns towards MARIA.
SHANE
Hey.
MARIA
Hey. Did you talk with Sydney?
SHANE
No—I'm still waiting for her.
MARIA
Then you'll be waiting a long time—she just left.
SHANE
Ah, fuck.
Maria steps closer to Shane.
MARIA
Shane, I remember you when we were both teenagers
SHANE
My foster home was just a few blocks away.
MARIA
Look at you now, all grown up. How are you?
SHANE
I'm good.
MARIA
Well, it's good to have you back in the neighborhood.
SHANE
Ya' know, it actually feels good to be back.
Maria steps forward, pinning Shane against the file cabinet.
MARIA
I'm particularly glad to see you.
Shane and Maria embrace and kiss, first slowly then hungrily. While they have sex, Shane's eye continues to be drawn to the photo of Sydney on the file cabinet.
INT. THE PLANET – DAY
Bette, Shane, Alice, Shane, Helena and Jenny are sitting at a table discussing an article from the newspaper that Tina is reading. Tasha and Sydney enter the Planet. Shane waves them over to the table.
SHANE
(to Sydney and Tasha)
You made it.
TASHA
Had to drag her away from the clinic.
JENNY
(snidely)
Even God rested on Sunday.
Shane looks at Jenny with disapproval.
SHANE
(to Sydney and Tasha)
Please, sit down.
TINA
We were discussing the article in today's paper on crying.
SYDNEY
Maybe one of the few behaviors humans' can really call their own.
JENNY
What?
SYDNEY
Can you name any other creature that laughs, smiles or cries?
And you can't laugh and cry simultaneously.
SHANE
Animals cry.
SYDNEY
Not the way we do. People are very vulnerable when they cry—blurred vision, difficulty breathing—no other creature could ever afford to have its defenses so completely disabled as ours are when we cry.
TASHA
That's why crying is such a social stigma.
SYDNEY
Crying is a natural instinct, but we learn to repress it and pick our times and places carefully—when we know we are safe and secure.
Bette's cell phone rings. She answers it.
BETTE
(into the phone)
Hello? What? You're fucking kidding me? There's no fucking way I can let that
happen. I'll be right there.
Bette hangs up the phone.
SHANE
What's wrong?
BETTE
That bastard is just insisting on fucking up this project
TINA
You're the dean—can't you mandate it?
BETTE
I wish it were that fucking easy.
Bette gets up to leave.
BETTE
Sorry everyone, I've got to go.
Bette leaves.
JENNY
(to Sydney)
Did you get the copy of my book I sent over yesterday?
SYDNEY
Yes. I read it this morning.
JENNY
All of it?
TASHA
Sydney reads like a mega words a minute.
JENNY
(biting)
Does she have super powers and x-ray vision also?
SYDNEY
X-ray enough to see through your veiled attempts at fictitious character development, Jesse.
JENNY
To write it, you must live it.
SYDNEY
Is that what they taught you in journalism class?
Kit walks over to the table to take Sydney and Tasha's order.
KIT
(to Sydney and Tasha)
Hey. Welcome to The Planet. What can I get you?
SYDNEY
Just a Diet Pepsi for me.
TASHA
Black coffee for me.
Kit walks away toward the kitchen.
JENNY
(to Shane)
So, Shane, tell us about that girl you were all over last night. Did you fuck her?
SHANE
Comm'on Jenny.
TINA
And this is coming from a woman whose conquests dominate the chart?
JENNY
(to Tasha and Sydney)
And how about you two? Are you recording your fucks on the chart?
TASHA
Not my style.
SYDNEY
(agitated)
Actually, Jenny, I'm not sure I've ever fucked anyone—at least I hope not.
JENNY
(sarcastically)
Still a virgin?
SHANE
(reprimanding)
Jenny!
SHANE
(to Sydney)
Ignore Jenny's warped sense of humor.
SYDNEY
(to Jenny snidely but calmly)
Sarcasm's a poor substitute for wit.
JENNY
(challenging Sydney)
My wit—or lack thereof—aside, when was the last time you had a good fuck?
SYDNEY
There's a big difference between fucking someone and making love.
JENNY
(very sarcastic)
Please, enlighten me.
SYDNEY
(to Jenny)
You're the writer, how many words are there in the English language? Yet you default to "fuck" for just about everything.
JENNY
(uncomfortable)
Your point?
SYDNEY
"He's a little fuck," "I'm so fucked-up," "fuck off," "go fuck yourself," "don't fuck with me," "what the fuck do you want from me?"
JENNY
So?
SYDNEY
So, you use the same word to describe the most intimate of human behaviors.
JENNY
Give me a break. So what…you're uptight because you haven't been
fucked…excuse me, do you prefer laid?
SYDNEY
Oh I've been fucked in my life—but it's not something I'd like to memorialize on a chart.
Kit delivers the beverages.
SHANE
What're you saying, Doc?
TINA
(smiling)
Other than expanding Jenny's vocabulary.
SYDNEY
It's more than just the vernacular. Making love is the physical expression of intellectual and emotional intimacy. Why on earth would I ever call that "fucking"?
JENNY
So you think because people like me and Shane like to fuck we don't care about relationships?
HELENA
(trying to break the mounting tension)
Relationships are hard—that's why I'm glad mine are over.
Helena titters at her own joke but no one else does.
SYDNEY
I'm saying sex and intimacy is difficult without emotion. I've never been a
fan of the "friends with benefits" approach.
JENNY
I've been in long-term relationships.
ALICE
You really mean that you had sex regularly for several months with the same partner.
JENNY
Same difference. I just always thought monogamy was over-rated.
SYDNEY
(pointedly)
Is it, Jenny? Sex always has consequences. Someone gets pregnant, someone gets hurt…
Sydney's voice trails off. There is an awkward silence as the conversation ends. Sydney finishes her soda, places money on the table, and prepares to leave.
SYDNEY
Then again……….
Sydney smiles coyly.
SYDNEY (CONT'D)
What the fuck do I know?
The group laughs nervously. Sydney leaves.
JENNY
What the fuck was that about?
TASHA
Doc is a bit old fashioned.
JENNY
Nostalgia personified. Or maybe sex is Super Doc's kryptonite?
SHANE
(hesitating)
Sydney has a point.
JENNY
More like a bug up her ass.
HELENA
I think it's sentimental.
JENNY
Or just mental.
HELENA
But you've got to admit she's attractive?
JENNY
Maybe—in a Führer meets Florence Nightingale sort of way.
TINA
"Fucking" … "making love" …. Isn't it just semantics?
HELENA
(wistfully)
I think it is romantic.
INT. FUNDRAISING PARTY AT PHYLISS'S HOUSE
Sydney is scooping a drink from a punch bowl. She is stunningly dressed. CHARLES Worthington joins her. Sydney and Charles notice two very attractive women pass. The women are snuggling and flirting.
CHARLES
(to Sydney as he watches the lesbian couple pass)
Wow!
Sydney nods in acknowledgement, but continues to pour her punch.
SYNDEY
(to Charles)
Can I offer you a drink?
CHARLES
(tipping his wine glass)
I'm fine, thank you.
Charles notices that Sydney is alone and begins to flirt. He nods at another lesbian couple.
CHARLES
(to Sydney)
I'm sorry, I am just not used to being around so many gay women.
SYDNEY
That makes two of us.
CHARLES
Don't tell me I've found one of the few straight women here?
SYDNEY
I wouldn't tell you that—there are far more straight women than gay women here.
CHARLES
What do you think it's like to be gay?
SYDNEY
(thoughtfully)
Lonely.
CHARLES
What?
SYDNEY
I think it's lonely. Imagine, gay couples can have a 20 year relationships yet
cannot walk down the street holding hands.
Sydney nods to a straight couple against the wall flirting furiously. Charles follows her nod.
SYDNEY (CONT'D)
A long-term gay couple is not afforded the same rights as a straight couple
that has been together for 10 minutes.
Charles gestures to a young lesbian couple that is also flirting.
CHARLES
It doesn't seem to bother them
SYDNEY
A new generation. Refreshing, isn't it?
CHARLES
And a bit uncomfortable….at least for me.
Sydney raises her glass to toast with Charles.
SYDNEY
The mind is like a parachute—it tends to work better when it opens.
Sydney and Chares clink glasses. Phyllis joins them.
PHYLLIS
(to Charles)
Well, you found your target?
CHARLES
Actually I have failed miserably.
PHYLLIS
(confused)
Oh?
CHARLES
I've introduced myself to everyman in the room but the distinguished Dr. Livingston
manages to elude me.
Phyllis smiles coyly and gestures to Sydney
PHYLLIS
Then please allow me to assist in your quest and introduce you to Sydney Livingston.
CHARLES
(embarrassed)
Sydney? Doctor Livingston, I presume?
He laughs at his own joke.
SYDNEY
(polite but not amused)
Guilty as charged.
CHARLES
(not deterred)
I'm sorry, I just could not resist.
SYDNEY
I can assure you it's not the first time I've heard that.
CHARLES
I apologize for me and my gender. I'm afraid I was looking for someone…
SYDNEY
(interrupting to alleviate the embarrassment)
A little taller perhaps?
CHARLES
Yes—and with a good deal more testosterone I'm afraid. It is a stereotype of my generation.
SYDNEY
Please don't be embarrassed. The name Sydney doesn't help and, regrettably, the stereotype doesn't end with your gender or your generation.
PHYLLIS
Charles's company has been very generous to the University.
CHARLES
Phyllis tells me great things about you—Cornell undergrad, Harvard Medical School, and now you are dedicating your talents to helping people of color in Los Angeles.
SYDNEY
Thanks for your kind words, although I find it's more a class than color issue. Just people struggling for a better life for themselves and their children.
Phyllis sees Alice, Bette, Tina, Helena, Jenny and Shane grouped together in conversation. Phyllis catches Bette's eye and motions for Bette and the group to join her. Bette, Alice, Shane Jenny and Tina join Phyllis, Charles and Sydney. Charles and Sydney are engaged in an intense conversation.
PHYLLIS
(off to the side to Alice, and Bette)
Doctor Livingston needs a wingman—take care of her.
Phyllis looks at Jenny.
PHYLLIS (CONT'D)
(to Jenny)
And Jenny, please step out of character and try to be charming, will you?
PHYLLIS
(interrupting Sydney and Charles)
Well I'm glad you two met. Charles, you know Alice, and Bette….
Charles barely acknowledges the introductions as he continues his conversation with Sydney. Shane and Helena notice how striking Sydney looks. Phyllis rolls her eyes and leaves to greet other guests.
CHARLES
(in heated conversation with Sydney)
A pharmaceutical man myself, I find your promotion of natural healing especially interesting—although not exactly good for my business.
SYDNEY
Prescription drugs are a luxury of the insured. I simply introduce my patients to natural, affordable methods that are equally effective.
CHARLES
Non-traditional medicines.
SYDNEY
Actually, most of these natural cures are quite traditional.
Some have been around for centuries.
CHARLES
Most major pharmaceutical companies and the FDA would side with me regarding what is or is not the current standard of drug treatment.
SYDNEY
I suspect they would, Mr. ahhh….
CHARLES
Worthington, Charles Worthington.
HELENA
Charles Worthington? Of Worthington Pharmaceuticals?
CHARLES
Yes, President.
BETTE
(to Alice)
Please don't tell me he just tossed a title at us.
SYDNEY
(pointedly to Charles)
Ahh, yes, I'm familiar with your company.
CHARLES
(smug)
Continue Doctor, you were enlightening me on the values of your natural cures.
SYDNEY
(calm but irritated)
I was simply pointing out that pharmaceutical companies, such as yours, are publicly traded companies with a fiduciary responsibly to their shareholders and investors—not the public.
CHARLES
Isn't that why we have the FDA? To stop the big bad drug companies
from exploiting the public?
SYDNEY
The FDA exists because of the drug companies as natural cures cannot be patented. One could speculate that the FDA's survival depends on the agency protecting the drug companies—not the physicians and patients.
CHARLES
(somewhat threatening)
You have some interesting theories, Doctor, although I tend to think your non-traditional approach hurts you in the area of fund-raising. You're too high a risk for private sector funding and—with more and more government money being devoted to the war-effort—there are precious few public dollars for experimental methods.
SYDNEY
In the end, Mr. Worthington, the issue of health care really boils down our willingness to assert the public interest over the special interests—doesn't it?
ALICE
And I think we'd all prefer to see American dollars spent on education, hospitals and health care than bombs and military machines.
CHARLES
In an ideal world yes—but America is in danger, surely efforts to keep us strong from foreign enemies is not an unwise investment of American resources?
BETTE
America is indeed in danger. The question is whether or not that danger is from foreign enemies or our own miss-guided policies.
SYDNEY
"Never think that war, no matter how justified, is not a crime."
CHARLES
(dismissively)
Nice use of Hemmingway, Doctor. But back to my point, while your rhetoric, girls, makes for amusing cocktail discussion, the reality is that the only thing more powerful in this country than American's faith in God is their faith in the pharmaceutical companies. Why? Because we advertise a better quality of life and an escape—or at least a reprieve—from death.
SYDNEY
So what about the quality of death?
CHARLES
(flabbergasted)
Are your saying that if pharmaceutical companies advertised
a death drug it would be accepted? (shaking his head)
As a doctor how can you even suggest such a thing!
SYDNEY
Doctors should be devoted to preserving life, not just delaying death.
CHARLES
Pharmaceutical companies are dedicated to drugs that
keep people alive…surely you are not promoting a culture of death?
SYDNEY
(composed but annoyed)
I'm suggesting that we bring death with dignity out of the closet
and value a better death equally with a better life.
Phyllis has observed that Bette, Shane, Tina, and Alice have engaged in Sydney's and Charles's escalating conversation. Phyllis steps forward to join the group.
PHYLLIS
(off the side to Bette and Alice)
I told you Syd needed a wingman
ALICE
(to Phyllis)
A referee is more like it
Phyllis inserts herself to terminate the conversation by slipping her arm through Charles's arm.
PHYLLIS
I'm afraid I must steal this handsome gentleman away to meet some other guests.
CHARLES
(to the group)
It was nice meeting you, ladies.
CHARLES (CONT'D)
(to Sydney, demeaning)
It was nice meeting you, Doctor. Perhaps if you are ever in New York I can treat you to lunch at the Harvard Club and we can continue this amusing dialogue.
SYDNEY
(pointedly)
I usually stay there when I'm in the city.
Charles recognizes he's losing face and leaves the group. Phyllis leads Charles away.
SYDNEY
Excuse me.
Sydney leaves the group.
ALICE
What the fuck was that all about?
Jenny, Shane, Bette, Tina and Helena shrug.
SHANE
Fuck if I know.
INT .BREAST CANCER RALLY FOR THE CURE TENNIS BENEFIT - TENT
Alice, Helena, Shane and Max approach Sydney who is being congratulated by some of the other guests. Sydney acknowledges the guests then turns her attention to Max and the others.
MAX
That was a well deserved honor.
HELENA
(flirting)
Congratulations ,Doc.
ALICE
It's nice to see the clinic receive such recognition.
The group is approached by one of the servers, a middle aged Hispanic woman circulating punch.
SERVER
(speaking to Sydney)
Excuse me senorita, did they say you work at the clinic on Gracita Place?
HELENA
(boasting)
Yes, she was just honored for her work there.
SERVER
(becoming hostile)
But they kill babies at that clinic.
SYDNEY
The clinic provides much needed health care to the community.
SERVER
(interrupting)
Including abortions?
SHANE
We service all family needs with a focus on women's care…
SERVER
(interrupting again)
You call abortions family care?
SYDNEY
Pregnancy options are among the clinic's many services.
SERVER
You call killing a baby an option?
ALICE
(trying the reduce the tension)
It's not a baby, more like a ball of plasma doing the breast stroke in a woman's uterus.
SERVER
It's a child!
SYDNEY
No more than a seed is a flower.
SERVER
My Bible says it has a soul!
SYDNEY
Luckily the Constitution saves me from your Bible.
ALICE
You can't force your beliefs on others and take away a woman's basic right.
SERVER
(angry)
What kind of a Doctor kills rather than saves lives?
MAX
She provides a great service to the community.
SERVER
Service to sinners and those she makes sinners. She administers to HIV infected addicts and queers while killing innocent babies!
Max is dejected by the Server's remark and moves away. The server walks toward Sydney placing herself nose to nose. The Server is extremely angry.
SERVER
(to Sydney)
How dare you call yourself a Doctor! You bring sin to this community and death to its children. You are the handmaiden of the devil, and I curse you and all who love you!
The Server spits into Sydney's drink before handing it to her, and then leaves.
SHANE
(to Sydney)
You OK?
Sydney nods affirmatively—she is collected but shaken. Helena swaps drinks with Sydney.
HELENA
Here, take mine.
ALICE
(speaking for the benefit of the other guests who have gathered around)
Decisions regarding a woman's body are between the patient, her Doctor, and her
God—no one else.
SHANE
(to the guests who have gathered around)
The show's over everyone.
The crowd disbands leaving. Shane, Helena and Alice are embarrassed for Sydney. Syd notices Max has wandered outside of the tent and is standing alone by a tree. Max looks pensive and far away.
SYDNEY
(motioning toward Max)
What's up with Max?
ALICE
I think the HIV comment hit him hard.
HELENA
Especially this week.
SYDNEY
What's so special about this week?
SHANE
Max's former boyfriend just tested positive for HIV.
SYDNEY
(confused)
Max's boyfriend? How recent?
ALICE
It's complicated. Max was a lesbian as a woman, and is a gay man now.
SYDNEY
Has Max been tested?
SHANE
No. Says he wouldn't see a Doctor.
SYDNEY
That's not surprising. Gays and Lesbians do not receive the same health care standard as straight Americans. Many are afraid of the stigmas and will not confide in physicians. The transgender factor only compounds the issue.
SHANE
Do you think you can talk with Max? Convince him to come to the clinic?
SYDNEY
I can try.
EXT. OUTSIDE THE TENT – MINUTES LATER
Sydney joins Max.
SYDNEY
You OK?
MAX
Yeah.
SYDNEY
Thanks for sticking up for me back there.
MAX
(shaking his head sadly in disbelief)
That woman was so angry and hateful.
SYDNEY
Hate is a powerful emotion, and abortion is an emotional issue.
MAX
Why do they hate us so much?
SYDNEY
(hesitating for a moment before speaking)
Max, the girls told me about your friend's HIV test. I'm sorry.
MAX
(nods appreciatively)
Thanks.
SYDNEY
Have you been tested?
MAX
No. I don't want to know.
Sydney strokes Max's arm to reassure and comfort him.
SYDNEY
Trust me Max, knowing is better than speculating.
MAX
I know all about HIV.
SYDNEY
But knowledge isn't wisdom, Max. A wise person acts.
Max looks away.
SYDNEY (CONT'D)
I can't pretend to know what you are going through and what you have gone through your entire life. You have made brave and courageous decisions. You can't hide from the truth now. We can't control or predict the future—but we can't live in fear of what it might be.
Sydney moves in front of Max to make direct eye contact.
SYDNEY
Max, come to the clinic tomorrow at 7:00 a.m. We'll do the test before the clinic opens. No embarrassing paperwork or probing questions from strangers. Just me and you.
MAX
I'm not sick.
SYDNEY
Good. Let's keep it that way.
Max hesitates for a moment then nods in agreement.
MAX
I'll be there. Thanks.
INT. SYDNEY'S CLINIC, EXAMINATION ROOM – DAY
Helena is sitting on the exam table wearing a dressing gown. Sydney enters the room and is surprised to see Helena.
SYDNEY
Helena?
HELENA
Dr. Livingston.
SYDNEY
What're you doing here?
HELENA
Well, you keep spouting about the importance of regular health care.
SYDNEY
Most of my patients are from the local neighborhood.
HELENA
Don't worry, I'll pay the full rate.
SYDNEY
That's not what I meant. (concerned). Helena, is there a problem?
HELENA
No, I just need my yearly pap test and breast exam.
SYDNEY
OK. Please lie back; put your feet in the stirrups.
Helena reclines and Sydney begins giving Helena a breast exam.
SYDNEY
Right arm up.
Helena, lying on her back on the examine table, raises her right arm above her head.
SYDNEY (CONT'D)
Do you examine yourself regularly?
HELENA
(joking)
Yes—although I prefer to have someone else do it for me…if you know what I mean.
Sydney is not amused.
HELENA (CONT'D)
Seriously, I had a good friend die of breast cancer. I'm diligent about checking.
SYDNEY
Yes, I know about Dana.
SYDNEY
(identifying a spot on Helena's breast)
You have some unusual sun damage. We should do a biopsy.
HELENA
Yes, a souvenir of "unprotected sun" in the Riviera.
SYDNEY
(smiling)
Please don't tell me I need to lecture you on the need to practice "safe sun?"
HELENA
No, I've seen the errors of my youthful ways.
SYDNEY
(continuing the exam)
Left arm up.
Helena lowers her right arm and raises her left. She releases a low, sensual moan as Sydney examines her breasts.
SYDNEY
Are you all right?
HELENA
(coyly)
Just fine.
SYDNEY
(suspiciously)
Would you be more comfortable if a nurse were present?
HELENA
(seductively)
No. Would you?
Sydney performs the vaginal exam remaining detached and professional. Helena appears to find the procedure sensual and enjoyable.
SYDNEY
You can get dressed now. The results will be available in a few days.
HELENA
(rejected)
That's all?
SYDNEY
Yes. It was nice seeing you again, Helena.
INT. SYDNEY'S OFFICE AT THE CLINIC MOMENTS LATER
Sydney is standing by her desk reading a file. There is a knock at the door.
SYDNEY
Come in.
Helena enters the room, fully clothed. She closes the door behind her.
SYDNEY
Yes, Helena, is there something else?
Helena walks toward Sydney, only stopping when they are inches apart. Helena reaches for Sydney's head and kisses her passionately. Sydney pulls away.
SYDNEY
Helena, no! I'm sorry if I've misled you in any way. I just can't do this.
Sydney steps away.
HELENA
That's not something I normally hear after a woman has been inside of me.
SYDNEY
(annoyed)
That was a medical procedure.
HELENA
(rejected, but smiling seductively)
Please God, don't tell me you're straight? My gay-dar can't be that off!
SYDNEY
(softens slightly)
It isn't you, Helena. You're an attractive woman. I'm just not in the market for romance.
HELENA
I understand…and of course just fucking isn't in your vocabulary.
Helena reaches into her purse and pulls out a business card. She steps toward Sydney; their faces again just inches apart. Helena seductively slips the business card into the breast pocket of Sydney's white coat, brushing Sydney's breast slightly with her hand.
HELENA (CONT'D)
But the fact that you just blushed when I brushed your breast
gives me hope that you will change your mind.
Helena backs away.
SYDNEY
You'll be disappointed.
HELENA
(smiling)
Hope springs eternal.
Helena leaves the room.
INT. SYDNEY'S CLINIC RECEPTION AREA - CONTINUOUS
Shane is at the desk laughing and joking with a young ten year old girl named Lynette and Maria, the nurse at the clinic. Helena enters from the examination room and hurriedly makes her way to the exit door.
MARIA
(to Helena's back)
Do you need a follow-up appointment?
HELENA
(calling over her shoulder)
I'm late—I'll call.
LYNETTE
(entertaining her audience of Maria and Shane)
OK—time for one more joke before I go home. Why did the cookie go to the Doctor?
SHANE
I give up.
LYNETTE
Because it was feeling crummy!
Shane and Maria laugh, to Lynette's delight. Lynette jumps off the chair, grabs her sweater, and heads to the door.
LYNETTE
Will I see you tomorrow, Shane?
SHANE
Not tomorrow. I'll be back Monday.
LYNETTE
(smiling)
OK—I'll see you then.
LYNETTE
(to nurse)
Good night Maria.
MARIA
'Nite Lynnie.
Lynette leaves the room.
SHANE
God, I'm just crazy about that kid.
MARIA
She is special.
SHANE
I just can't believe she's so sick.
MARIA
I know. I just love kids. My fiancé and I want at least 3 or 4 kids—maybe more.
SHANE
Ah yes, your fiancé...eight days and counting before the wedding…congratulations.
Maria steps close to Shane.
MARIA
(seductively)
Of course there's still time for some extracurricular activity…
Sydney enters the room. Maria steps away from Shane.
MARIA
(to Sydney)
That's all, Doc. A little paperwork and we can call it a week.
SHANE
Hey, the greatest pizza place in L.A. is just a few blocks from here. How 'bout I pick up a pie and wine. We can lock the doors and toast the weekend. What'd 'ya say?
MARIA
Sounds good to me.
Sydney hesitates briefly.
SYDNEY
(pleased)
What the heck. Sounds great. My treat.
SHANE
We'll argue about that later. I'll be back in 30.
As Shane is walking out the door a large man wearing a trench coat bumps roughly into her shoulder.
SHANE
(to herself and glancing quickly over her shoulder at the rude man)
Excuse me.
EXT . SIDEWALK OUTSIDE THE CLINIC - CONTINUOUS
Tasha is walking her beat as Shane walks toward her car.
TASHA
Hey, Shane.
SHANE
Hey.
TASHA
Still working?
SHANE
The Doc and Maria are wrapping up inside. I'm doing a pizza run.
Wan'na join us in about 30 minutes?
TASHA
Sounds great.
Shane gets into her car. Tasha steps out into the street to stop traffic for Shane to make a U-turn. As Shane's car makes the U-turn out of the parking space, a bomb explodes. The flames and debris from the clinic reflect in Shane's car window
Shane stops her car in the street, gets out and begins running toward the clinic.
Tasha is already on her handheld radio calling for assistance.
TASHA
(into the radio)
Bomb explosion at the women's clinic on Gracita. Need ambulance, fire and police back-up.
Tasha is scrambling after Shane.
TASHA
Shane, stop!
Shane continues running until Tasha tackles her.
TASHA
You can't go in there.
SHANE
(winded and panicked)
Syd is in there…and Maria.
TASHA
How many others?
SHANE
That's all, I think…except for the guy walking in when I left.
Shane struggles to release Tasha's grasp.
SHANE
They could be hurt.
TASHA
I can't let you go in there.
SHANE
(struggling for release)
Tash, please.
Tasha struggles but manages to get a handcuff around Shane's wrist. She clasps the other end to a bicycle rack.
SHANE
(screaming)
Tasha!
Medical, fire and police arrive. Orders are being yelled.
FIREFIGHTER
(to Tasha and Shane)
How many people are in there?
TASHA
(pointing to Shane)
She was the last one out. Said the Doctor and nurse were still there,
plus a man—possibly the suspect.
The firefighter rushes off toward the damaged building. A crowd gathers in the street. Sirens blare. Paramedics emerge from the building carrying a stretcher. Tasha runs forward to see the stretcher and speak to the paramedics, then returns to Shane.
Tasha unlocks the handcuffs.
TASHA
Its Doc, she's injured but alive. They're taking her to the hospital now.
SHANE
Maria?
Tasha shakes her head no.
TASHA
Maria's body was found next to the bomber's.
Shane runs toward the ambulance where the stretcher bearing Sydney is being loaded. She is stopped by a paramedic.
PARAMEDIC
Family only, sorry.
Shane turns toward Tasha, seeking support.
TASHA
He's right, Shane.
The ambulance speeds off, sirens blaring. Tasha watches a frustrated Shane bang fists on her car that is trapped by emergency vehicles. Frustrated and defiant, Shane runs toward the bus stop.
Another police car pulls in front of Tasha.
OFFICER
Do you need help, Officer Williams?
TASHA
No. It's secure.
OFFICER
OK—good luck.
The officer starts to pull away but Tasha calls after him.
TASHA
Wait! Do me a favor. See that woman at the bus stop?
Tasha points toward Shane.
OFFICER
Yeah.
TASHA
Can you drop her off at the hospital on your way to the station?
OFFICER
No problem.
Tasha watches as the patrol car picks up Shane. Shane glances gratefully toward Tasha as she gets into the car.
INT: HOSPITAL ENERGENCY ROOM – SEVERAL MINUTES LATER
Shane races toward the reception desk.
SHANE
Sydney Livingston—she was brought here from the clinic that was bombed.
Nurse Karen Garcia overhears Shane speaking to the receptionist and recognizes Shane.
KAREN
(to receptionist)
It's OK—Shane, follow me.
Shane follows the nurse to a private reception area.
KAREN
Shane, I'm Karen. We've met before.
SHANE
Yeah, I remember.
KAREN
Sydney was brought in but we don't know anything yet.
Upset and shaken, Shane sits down.
SHANE
I just left them….it was minutes.
KAREN
You can wait here. I'll notify you if I hear anything.
Karen leaves the room.
INT. EMERGENCY ROOM WAITING ROOM – MINUTES LATER
Helena enters the waiting room, joining Shane. They are surprised to see each other.
SHANE
Helena?
HELENA
Shane?
SHANE
What're you doing here?
HELENA
The hospital called me about Sydney.
SHANE
They called you?
HELENA
(haughtily)
Yes.
SHANE
About Sydney?
HELENA
Yes. Do you find that so hard to believe?
SHANE
(somewhat hurt)
I didn't realize you two were close.
Helena steps closer to Shane.
HELENA
Jealous, Shane? Don't tell me you're attracted to Sydney?
SHANE
(defensively)
Aren't you?
HELENA
(smirking)
Aren't we all?
Karen enters the room.
KAREN
Helena?
HELENA
Yes.
KAREN
Please follow me. Doctor Reiwald wishes to speak with you.
Shane watches Karen and Helena leave the room. Helena is smug that she was selected to speak to the Doctor.
INT HOSPITAL
ENERGENCY ROOM – MINUTES LATER
Karen returns to join Shane in the waiting room.
SHANE
Any news?
KAREN
They've taken Sydney into surgery. We'll know more in a few hours.
SHANE
What's with Helena?
KAREN
Apparently Sydney was carrying Helena's personal card in her breast pocket. It was the closest contact we had. Sydney is a very private person.
SHANE
But they barely know each other.
Karen shrugs.
INT. EMERGENCY ROOM – LATER
Alice and Shane have joined Helena and Shane.
SHANE
(jealously glaring at Helena)
I need to go for a walk.
Shane gets up and walks out. She walks toward the reception desk and meets Karen.
SHANE
Any news?
KAREN
Sydney pulled through surgery. She's stable. You and your friends should go home. There's nothing you can do here. It'll be hours before she's ready for visitors.
SHANE
I understand.
KAREN
(shaking her head)
It's just so hard to believe. Two years ago a gunman walks into the clinic and
fatally wounds Dr. Weaver, now this.
SHANE
Dr. Weaver?
KAREN
Yes. Sydney's partner in the clinic—and in life, I suspect.
SHANE
I didn't know.
KAREN
Just tragic. I was surprised she went back to work there after the shooting.
Now I'm sorry she did.
INT. HOSPITAL ROOM THE NEXT AFTERNOON
Sydney is lying in the bed. Helena is at her bedside. Shane, Max, and Alice enter the room.
SHANE
Hey, how's the patient?
SYDNEY
(weakly)
I'm better playing Doctor.
ALICE
Not surprising.
HELENA
I was just leaving. Don't stay too late, ladies, Sydney needs her rest.
HELENA
(to Sydney, smiling coyly)
I'm planning the perfect get well gift for you.
SYDNEY
Good night Helena. And thanks.
Shane meets Helena's eyes. There is tension between them.
SHANE
(to Sydney)
So how are you really?
SYDNEY
Lousy. And I also have this craving for pizza.
Sydney forces a weak smile.
ALICE
So basically, Doc, your just all fucked up.
They all laugh.
SYDNEY
Don't make me laugh.
MAX
It's the best medicine.
Karen enters the room with a medical tray.
KAREN
OK—everyone out. Visiting hours are over.
SYDNEY
Nurse Kratchet lives.
KAREN
It's only because I love you, Doc. Besides, how many times does a nurse get a Doctor as a patient? Revenge is sweet.
Shane, Max, and Alice move toward the door.
SYDNEY
(jokingly pleading with the group)
You're leaving me with her?
SHANE
You're on you own—later.
Shane, Alice, and Max are shooed out of the room by Karen. Karen returns to Sydney's bedside and retrieves a needle from the tray.
KAREN
Now for true revenge. Roll over and let me see those buns.
Sydney rolls over and grimaces as Karen inserts a needle into her buttocks.
SYDNEY
Be gentle with my derriere.
Shane re-enters the room and is embarrassed seeing Sydney's naked butt.
KAREN
(to Shane)
A little privacy please.
Sydney catches Shane's refection in the mirror and rolls over, smiling at Shane.
SYDNEY
It's OK. Although I hope the sight of my (doing her best Forest Gump imitation) But-tocks does not leave psychological scars on Shane's tender psychic.
KAREN
(to Sydney)
I have to go.
KAREN (CONT'D)
(to Shane)
And so do you.
SYDNEY
(to Karen)
Can you give us a minute?
KAREN
(to Sydney)
Just one.
KAREN (CONT'D)
(looking at Shane)
And the clock is on.
Karen leaves Shane alone with Sydney. Shane moves to Sydney's bedside.
SYDNEY
Thanks for coming back.
Shane nods affirmatively.
SYDNEY (CONT'D)
Tasha told me what happened.
SHANE
I could've stopped him—he bumped right into me.
SYDNEY
There was nothing anyone could've done.
SHANE
I'm sorry about Maria.
SYDNEY
Killing in the name of pro-life—what hypocrisy.
SHANE
We were talking about her wedding, her family plans—then in less than five minutes she's dead.
SYDNEY
It should've been me—I'm the one he wanted.
Sydney's and Shane's eyes swell with tears, but they do not cry. Sydney reaches for Shane's hand for comfort.
EXT. HOSPITAL– DAYS LATER
Shane is waiting beside her jeep talking with Nurse Karen.
KAREN
Thanks for taking Syd home. It'll be more of a surprise this way.
SHANE
No problem.
KAREN
After you stop at the clinic, you might ask Syd if she wants to stop at
Greenbrier—if you have the time.
SHANE
Greenbrier?
KAREN
To see Sue.
SHANE
Sue?
KAREN
Yeah, Dr. Susan Weaver—Sydney's partner?
SHANE
Oh—sure. Where's Greenbrier Cemetery?
KAREN
It's not a cemetery; it's a convalescing home.
SHANE
But I thought Dr. Weaver was dead?
KAREN
It's complicated. Her wounds were fatal but she isn't
dead—or at least her body's still breathing.
SHANE
I don't understand
KAREN
The gunman shot Sue five times—two bullets to the brain, three to the chest. There was no hope. But Sue was placed on life support—against Sydney's wishes.
SHANE
Syd didn't have power of attorney or a health proxy?
KAREN
Oh, she had her paperwork all in order—Syd is very particular about that kind of thing. But Sue's family intervened, challenging the living will.
SHANE
So Sue's alive?
TASHA
Yes, but a total vegetable. The case has been in the courts for almost two years. The final appeal comes up next month.
SHANE
And Syd's position?
KAREN
Sydney loves Sue very much—they were partners in all senses of the word. But she wants to end Sue's suffering and fulfill her wishes with dignity.
SHANE
Sydney wants Sue dead?
KAREN
Syd wants her at peace—Susan's already dead.
Karen turns and walks toward the hospital door. A nurse is coming through the door pushing Syd's wheelchair. Karen greets Syd at the door and takes over pushing her wheelchair.
Sydney's left arm is in a sling and a cane rests on her lap.
SHANE
Hi.
SYDNEY
Hi.
Shane opens the jeep door and gestures dramatically.
SHANE
Your chariot awaits you.
Sydney smiles and rises gingerly from the wheelchair, grimacing slightly.
KAREN
Good-bye Sydney—be good, and if you can't be good,
SYDNEY and KAREN
(in unison)
Be careful!
They both laugh.
SYDNEY
Thanks, Karen, for everything.
Sydney and Karen embrace and then Karen assists Sydney into the passenger seat. Shane enters the jeep on the other side and they drive away.
INT. CLINIC SYDNEY'S FORMER OFFICE – MINUTES LATER
The room is devastated from the bomb blast and Sydney uses a cane to walk carefully through the rubble and debris. Her eye is caught by a picture frame partially buried in the ash. Sydney bends, grimacing, to pick up the picture. The glass is cracked but beneath the ash is the smiling photo of a much younger Sydney and Sue. Shane enters.
SHANE
I had to park a block away.
Shane sees Sydney sadly looking at the photo.
SHANE (CONT'D)
You OK?
Sydney nods her head yes.
SYDNEY
(looking around at the rubble)
What a mess.
SHANE
Anything I can do?
SYDNEY
(sadly shaking her head)
No. Nothing left here but memories.
Sydney slips the photo into her arm sling and turns towards Shane. They leave.
EXT. STREET IN FRONT OF THE CLINIC - CONTINUOUS
Shane and Sydney are walking slowly down the street. Sydney is limping and using a cane. Several people on the street greet the Doctor.
SHANE
They sure are happy to see you.
Sydney doesn't respond. Shane hesitates at store front. The glass is blocked with large sheets of brown paper. Shane points to the new business.
SHANE
This is new.
SYDNEY
Yeah, that space has been vacant for years.
SHANE
Let's check it out.
SYDNEY
No, I'm not up for it—another time
Shane takes Sydney's arm insistently.
SHANE
Com'on…just a peek.
Shane and Sydney enter the building.
INT. INSIDE THE STORE FRONT - CONTINUOUS
The room is being renovated. Ladders, lumber and paint cans everywhere. Alice, Max, Jenny, Kit, Tina, and Bette are among the many workers.
ALL
(shouting in unison as they see Sydney)
Surprise!
Sydney is stunned. Helena emerges from a back room.
HELENA
(to Sydney)
Welcome to your new clinic.
Alice jumps up on a newly constructed counter.
ALICE
Attention, everyone!
The group gathers around Alice.
ALICE
It's my pleasure to officially welcome Dr. Sydney Livingston to her new clinic.
Applause.
ALICE (CONT'D)
The new Susan Weaver, Dana Fairbanks Clinic for Women's and Family Health.
More applause. Sydney is overwhelmed and visibly touched.
ALICE (CONT'D)
OK everyone, now back to work if we are going to open in three days!
SYDNEY
(to Helena and Shane)
How?
HELENA
(beaming)
This is what the Peabody Foundation is all about. You can say "thank you" to your uptight hospital Chief of Staff. Now that we're no longer funding his initiatives—this is the perfect project for the Peabody Foundation to support.
SHANE
That and a lot of support from the community. The clinic means a lot to this neighborhood.
ALICE
(to Helena and Shane)
Now go ahead, give her the tour.
Helena usurps Shane to lead Sydney through the waiting room.
HELENA (V.O.)
(pointing as she walks)
This is the reception area. There will be three exam rooms.
Helena turns right.
HELENA (CONT'D)
And this is your office.
INT. CLINIC OFFICE – CONTINUOUS
Helena and Sydney enter a modest office.
HELENA
So what do you think?
SYDNEY
(collected, but her voice slightly emotional)
I think it's terrific.
Sydney walks over to the desk and slowly rubs her hand against the desktop. Shane enters the room.
SHANE
No work today—there'll be plenty of time for that later. I need to get you home.
Sydney walks toward the file cabinet.
SHANE
Com'on Doc.
Sydney retrieves the photo from her arm sling, wipes the cracked glass with her sleeve revealing the smiling faces of a much younger Sydney and Susan Weaver. Sydney places the photo on top of the file cabinet.
SYDNEY
(to the photo)
It was all so much simpler then.
Sydney turns and walks toward Shane. Shane speaks softly to Syd, ignoring Helena.
SHANE
One more stop before home, (hesitating) Greenbrier?
SYDNEY
(smiling sadly)
That'd be nice—thanks.
INT. CLINIC - DAYS LATER - LATE AFTERNOON
The clinic is in full operation. Shane sits behind the reception desk. Tasha enters the waiting room from the street and exchanges warm greetings with the patients. Tasha walks to stand at the reception desk in front of Shane. The young girl Lynette is sitting next to Shane—obviously enamored. Lynette holds up a cherished stuffed butterfly.
LYNETTE
Why is Mr. Bingo never hungry?
SHANE
I don't know, why?
LYNETTE
(laughing)
Because he's always stuffed!
They all laugh.
SHANE
(to Lynette)
OK, enough. Time for you to go home.
Lynette stands and gives Shane a hug before leaving. Lynette holds Mr. Bingo (the stuffed animal shaped like a butterfly) so Shane can give it a goodnight butterfly kiss. Lynette walks away holding the stuffed butterfly in the air pretending it is flying. As she leaves, Lynette pauses at the door, turns toward Shane, beats her fist softly against her chest twice, then presses her pointer and index fingers to her lips, then points the two fingers toward the sky. Shane returns the gesture and a smiling Lynette leaves.
TASHA
What's that all about?
SHANE
Our secret signal—you know, kids.
TASHA
You two have gotten close.
SHANE
Yeah—I'm the budding comedienne's biggest fan.
TASHA
Seems mutual.
Tasha leans on the top of the reception desk.
TASHA
Has anyone seen or heard from Syd?
SHANE
Not since I took her home from the hospital.
TASHA
Odd that she hasn't checked on the clinic.
SHANE
Maybe she's just following Doctor's orders to rest. Besides, she knows we're in good hands with Marion and Nellie.
TASHA
You don't believe that for a second and neither do I.
SHANE
Should we check on her?
TASHA
It'll be too obvious if I drop in.
SHANE
How about me? I owe her a pizza.
TASHA
You gonna deliver?
SHANE
Sure.
TASHA
Sounds like a plan. Lemme know how it goes.
INT. SYDNEY'S HOUSE – THE NEXT EVENING
The home is warmly furnished. There is a fire in the fireplace. Classical music plays softly in the background. An open bottle of red wine sits on the coffee table. Sydney is behind the breakfast bar that separates the kitchen from the family room. She is dressed in jeans and an over blouse. Her left arm is free from the sling that hangs limply around her neck. Sydney's half glass of wine sits on the counter.
The door bell rings. A surprised Sydney answers the door to find Shane standing on the porch holding a pizza box. It is pouring rain and Shane is completely drenched.
SYDNEY
Shane?
SHANE
Bet you thought I'd forgotten about that pizza?
SYDNEY
You're soaked, come in.
Shane enters.
SHANE
I couldn't get the top up on my jeep. Thought it wasn't supposed to rain in California?
SYDNEY
(singing the 1973 Albert Hammond song)
"Man it pours!"
Shane doesn't understand the reference.
SYDNEY (CONT'D)
(rolling her eyes)
A song from before you were born,
Sydney takes the pizza box. And points to the door immediately behind Shane.
SYDNEY
The guest bath is there.
Sydney opens the door and retrieves a small hand towel. She looks at it skeptically and hands it to Shane.
SYDNEY (CONT'D)
I'll get you some real towels and dry clothes.
INT. SYDNEY'S SMALL GUEST BATHROOM - CONTINUOUS
Shaine undresses and uses the hand towel to dry off.
Sydney knocks on the powder room door.
Sydney opens the door to find Shane, naked except for her underpants. The small hand towel is draped around Shane's neck, just barely covering her breasts. Shane's wet hair sticks to her head, neck and shoulders. She is shivering.
SYDNEY
You're freezing.
Sydney places the clothes on the vanity.
SYDNEY (CONT'D)
You can wear these until we get your clothes dry.
Sydney unfolds and wraps a large towel around Shane, encircling Shane with her arms and rubbing Shane's back and shoulders to warm her.
SYDNEY (CONT'D)
God, your chilled to the bone.
SHANE
I'll be OK in a minute.
Sydney tips her head slightly back. Sydney and Shane face each other—their faces very close.
SYDNEY
The pizza could've waited for better weather.
SHANE
Maybe, but tips are better on rainy nights.
Shane and Sydney kiss softly, then more passionately. The towel drops from Shane's shoulders. Shane pushes Sydney against the wall and begins unbuttoning her blouse and jeans. Sydney suddenly pulls back, resisting.
SYDNEY
No, Shane, stop!
Shane stops to look at Sydney. Their breasts still touching through Sydney's blouse.
SYDNEY (CONT'D)
I'm sorry, I just can't do this.
SHANE
(softly but insistent)
Yes you can…..let it go Syd…let me in…if just for tonight.
SYDNEY
I can't.
SHANE
Syd ,you keep yourself in some sort of chastity prison. Living your life doesn't betray Susan…it honors her. How many times have I heard you say that to Alice about Dana? Denying yourself won't bring her back.
SYDNEY
I know that.
SHANE
Then give yourself to me—if just for this one night. I don't know how much longer I can be around you without physically expressing what I feel for you.
Shane slips her hand into Sydney's unbuttoned jeans.
SHANE (CONT'D)
Let me in, Syd, if just for tonight. Let me in.
Sydney's head snaps back in ecstasy as Shane slips inside of her. They make love passionately.
INT. SYDNEY'S FAMILY ROOM – JUST BEFORE DAWN
Shane and Sydney are lying on the family room floor. The fire has died. An empty pizza box and wine bottle litter the coffee table. A blanket covers their naked bodies. Shane is leaning up on one arm, looking down on Sydney's sleeping face. Her forefinger softly traces one of Sydney's bomb wounds. Syd awakes.
SHANE
(smiling)
Hey.
SYDNEY
(smiling and stretching)
Morning. Is it light out?
SHANE
Not yet.
Shane points to the fresh wound.
SHANE
Does it hurt?
SYDNEY
A little. The physical wounds are healing nicely.
SHANE
(softly touching Sydney's head then heart)
What about the emotional scars?
SYDNEY
They'll also heal, in time.
SHANE
You were wonderful last night.
SYDNEY
(embarrassed)
Thanks—you were pretty terrific yourself. But you know that already, don't you?
Shane shrugs immodestly.
SHANE
You're a very considerate lover.
SYDNEY
(baffled and slightly offended)
Considerate?
SHANE
I mean that as a compliment. Most people just care about their own pleasure.
You give and take. It's nice.
SYDNEY
(smiling)
I'd rather be described as hot.
SHANE
It was great—not just a fuck.
SYDNEY
Good sex?
SHANE
I don't know, maybe making love?
Sydney is pleased and Shane kisses her softly.
SHANE
I have to go. I'm not into sleep-overs.
SYDNEY
You're not one of those vampire lesbians are you? Afraid of dawn?
SHANE
No—just my style. I'd like to see you again.
SYDNEY
I'd like that too, but, Shane (hesitating)…..it may seem silly to you, but I'm not keen on my name being splashed all over the Internet on some sort of chart.
SHANE
Your secret is safe with me.
Shane runs her finger around Sydney's breast.
SHANE (CONT'D)
Discretion is the greatest form of valor, right?
SYDNEY
And at the clinic?
SHANE
Just a Doctor and staff relationship.
SYDNEY
Thanks.
INT. SYDNEY'S CLINIC WAITING ROOM – LATE EVENING
Alice is working as a volunteer at the reception desk. Sydney walks out of the exam room with a patient.
SYDNEY
(to patient)
I want to see you again in two weeks. Remember the vinegar baths—it worked for Cleopatra and it'll work for you.
PATIENT
Gracias.
The patient leaves
ALICE
It's good to have you back.
SYDNEY
Good to be back. Thanks for helping out. Is that it for tonight?
ALICE
Yep, 8:15 and we are finished for the day—early dismissal.
SYDNEY
Bueno. You get out of here—I'm going to wrap up some paperwork and
then be right behind you.
ALICE
Syd, there is a great band playing at The Planet tomorrow night.
A bunch of us are going—why don't you join us?
SYDNEY
(shyly)
I'm not sure that's my scene.
ALICE
Com'on—you're always saying broaden your horizons. You can trade Rachmaninoff for rock for just a couple hours?
SYDNEY
Maybe.
INT. CLINIC EXAM ROOM – SEVERAL MINUTES LATER
Sydney is straightening some items on the counter. Shane enters, startling Sydney.
SYDNEY
Shane?
SHANE
Sorry, I didn't mean to startle you.
Sydney smiles.
SYDNEY
I was hoping I'd see you later.
SHANE
(smiling playfully)
It is later.
Shane walks seductively toward Sydney, pinning her against the counter. She nods playfully toward the exam table.
SHANE
Ever try those stirrups for recreational use?
Sydney and Shane kiss and embrace passionately. They make love on the exam table.
INT. THE PLANET – THE NEXT NIGHT
The room is crowded. Loud music is playing. Alice pushes her way through the crowded dance floor followed by Sydney, making their way to a table where Max, Jenny, and Helena are sitting.
ALICE
(to Sydney)
Com'on over to our table—we're toasting Jenny's latest publishing accomplishment.
SYDNEY
(to Alice)
Toasting Jenny? Wouldn't an exorcism be more appropriate?
ALICE
Wow! Doctor Syd made a joke!
SYDNEY
Did I?
Sydney and Alice join Jenny and Max's table. Max rises.
MAX
(to Syd)
Sit down here until Helena comes back. I'll get another chair.
Max goes off to retrieve a chair.
ALICE
(to Syd)
White wine?
SYDNEY
That'd be great. Thanks.
Alice heads to the bar, leaving Sydney alone with Jenny.
SYDNEY
Congratulations Jenny.
JENNY
Listen Sydney, didn't confuse your being invited to sit here with being welcome.
SYDNEY
No, it's perfectly clear.
JENNY
(boasting)
When I was growing up I thought I was just a mixed up Mid-Western kid. Who would have thought I'd be a successful Hollywood artist?
Max returns with a chair, Alice places a glass of wine in front of Sydney. Helena joins the table.
SYDNEY
(just to Jenny)
With an artist, sometimes the only difference between genius and psychosis is success.
JENNY
(haughtily)
You flatter me with genius.
SYDNEY
(to Jenny)
How clumsy of me, I meant to insult you.
Sydney quickly picks up her glass in a salute.
SYDNEY
(to all)
To Jenny's continued success.
They all toast.
ALL
Here, here.
Jenny eyes Sydney and smiles awkwardly. Sydney's eye is drawn to the side of the room where Shane is flirting and fondling a young woman. Helena sees Sydney notice Shane.
HELENA
(to Sydney)
Shane's always busy on a Saturday. Does she know you're here?
SYDNEY
No.
MAX
(shouting over the music to Sydney)
So how are preparations for tomorrow?
SYDNEY
The rally looks great. Over 100,000 are expected.
MAX
A good turn out.
HELENA
I wish people were more proactive when it comes to the
Human Rights Campaign initiatives.
SYDNEY
It really doesn't take that much effort—all you have to do is press a computer button to register opinions with your legislators.
ALICE
And we know the extreme right is doing it.
MAX
Like a well oiled machine.
SYDNEY
And hate crime legislation is just too important.
MAX
How can anyone be against non-violence and discrimination?
ALICE
Apparently many who preach peace.
HELENA
Like the people who bombed the clinic.
MAX
Well, at least some are taking action.
SYDNEY
To some extent, but never confuse motion with action.
Activity without accomplishment is just a reason to be busy.
An attractive young man flirts with Max as he passes the table.
ALICE
(to Max)
He's cute.
Max makes eye contact with Sydney.
MAX
Yeah, but I'm off the promiscuous sex market.
Restless and uncomfortable, Sydney's eye continues to be drawn toward Shane and the young woman. Sydney reaches for her pager.
SYDNEY
(looking at her pager)
I have to go.
HELENA
So early?
SYDNEY
Hazard of the job.
Sydney leaves. Shane and her date join the table—Shane's arm is still around the YOUNG FLIRTATIOUS WOMAN.
SHANE
What's up?
ALICE
You just missed Sydney.
SHANE
(surprised)
Syd was here?
ALICE
Just left. You could probably still catch her.
SHANE
Excuse me.
Shane pushes quickly through the crowd toward the exit.
YOUNG FLIRTATIOUS WOMAN
(to Shane's back)
Hurry back!
EXT. OUTSIDE THE PLANT - CONTINUOUS
Shane sees Sydney crossing the street.
SHANE
Syd, wait!
Sydney stops. Shane crosses the street to join her. They meet next to Shane's jeep.
SHANE
Why didn't you say hello?
SYDNEY
You were busy.
SHANE
Why are you leaving so early?
SYDNEY
I've got to go—I've been paged.
SHANE
(skeptical)
Is that true?
SYDNEY
I've gotta go.
Shane steps between Sydney and the jeep to stop her from leaving.
SHANE
You know you're special to me—but you also know who I am.
SYDNEY
Of course—the famous lesbian lover. It's OK, I get it.
SHANE
I think you're lying. I think it bothers you to see me with someone else.
SYDNEY
It was a mistake to come here.
SHANE
Answer me—please!
SYDNEY
Maybe you're right. Maybe it does bother me to see you with someone else.
Sydney closes the narrow distance between her and Shane, pinning Shane to the jeep. They are face to face.
SYDNEY (CONT'D)
Maybe knowing my lover is the hottest property in L.A. is too much for me to handle. Maybe it makes me so hot that it is all I can do not to take you in the back seat right now.
Sydney steps back.
SYDNEY (CONT'D)
And that's really why I'm leaving.
Shane opens the jeep door with one hand and pulls Sydney inside with the other. They tumble into the backseat—the door closing behind them.
INT. SHANE'S JEEP BACK SEAT - CONTINUOUS
Sydney and Shane make passionate love. Shane arches in ecstasy leaving her hand print on the steamed jeep window.
EXT. OUTSIDE THE PLANET – CONTINUOUS
The young woman Shane was flirting with crosses the street, looking for Shane. She stops at the jeep and sees Shane's face through the handprint as she climaxes while making love with Sydney. The young woman turns abruptly and returns to The Planet.
INT. PLANET - CONTINUOUS
The young flirtatious woman storms toward the table where Alice, Jenny, and Max are sitting.
YOUNG FLIRTATIOUS WOMAN
You can tell your friend Shane to go to hell.
ALICE
What?
YOUNG FLIRTATIOUS WOMAN
I'm in here waiting for her, and Shane's outside fucking someone else.
ALICE
What?
Shane joins the table. The young flirtatious woman tosses Shane's drink into Shane's face.
YOUNG FLIRTATIOUS WOMAN
Maybe that'll cool you off!
Flirtatious woman storms off. Alice hands a couple napkins to Shane.
ALICE
How the hell did you pick someone up from here to the door?
JENNY
Weren't you just going to say "hi" to Syd?
Alice's face lights up in revelation.
ALICE
Oh my GOD!
JENNY
What?
ALICE
That's it!
ALICE (CONT'D)
(to Shane)
You're fucking the Doctor!
Helena re- joins the table in time to overhear Alice's remark.
HELENA
Who's Shane fucking this time?
JENNY
Syd.
HELENA
(jealous)
A little out of your league isn't she, Shane?
SHANE
(indigent)
I'm not fucking Syd—OK? Back off.
Shane storms off angrily.
ALICE
Oh, she is so fucking Syd.
JENNY
But why would she lie about it?
Helena watches Shane leave.
HELENA
(contemplative and concerned)
I think she's being completely honest.