ACT FOUR
FADE IN
EXT. ST. ELSEWHERE - NIGHT
Establishing.
INT. NURSES' STATION - NIGHT
ROSENTHAL stands at counter, talking to BEALE.
ROSENTHAL
Moak's driving round and round and
round the block, full speed, siren
blasting, drunk as a skunk.
BEALE
Think the patient'll sue?
ROSENTHAL
Wouldn't you?
CRAIG walks with another DOCTOR.
CRAIG
It was almost impossible to
distinguish this slug's IHSS from
the mitral regurgitation or
valvular aortic stenosis. He was
as big as a blimp, a real sweatbag,
so I checked his carotid pulse and
I was right...
They pass MRS. ORDOVER. The CAMERA HOLDS on her as she looks
down the hall towards WESTPHALL's office. She goes down
hallway, passing a PATIENT, standing in the middle of the
hall, putting a robe on over his pajamas. MRS. ORDOVER
reaches WESTPHALL's office, knocks.
WESTPHALL (O.C.)
It's open.
INT. WESTPHALL'S OFFICE - NIGHT
WESTPHALL sits at his desk, the work piled high. MRS.
ORDOVER comes in, clears throat.
MRS. ORDOVER
Am I disturbing you?
WESTPHALL
(looking up)
Hello. No, certainly not. What a
pleasant surprise.
MRS. ORDOVER
I was in the area and thought I'd
drop this off.
(hands him envelope)
It's a contribution to Saint
Eligius.
WESTPHALL
He'll be pleased.
MRS. ORDOVER
Actually, I didn't expect to see
you. I'm surprised that you're
still working. I thought all
doctors kept bankers' hours.
WESTPHALL
(smiling)
I don't play golf, either.
MRS. ORDOVER
I didn't think so. Softball. With
your kids on Sundays.
WESTPHALL
Whenever I can.
MRS. ORDOVER
Does your wife play?
WESTPHALL
My wife is dead.
MRS. ORDOVER
Oh. I'm sorry.
WESTPHALL
It's been a long time. Ten years.
MRS. ORDOVER
You know, I had a feeling about
you. You seem married, but you
don't seem married.
WESTPHALL
(laughing)
What's that supposed to mean?
MRS. ORDOVER
Well, with some men, you can tell
if they're married, or divorced or
single. But, I didn't know, I
really couldn't get a fix on you.
WESTPHALL
Am I that oblique?
MRS. ORDOVER
Maybe I was confusing the marriage
with work.
WESTPHALL
I do work a lot of hours, yes, but
I enjoy it. I find it very
satisfying.
Beat.
MRS. ORDOVER
Would you have dinner with me this
evening?
WESTPHALL
I'd like that very much, but I
can't tonight.
MRS. ORDOVER
You promised the kids.
WESTPHALL
That's right.
MRS. ORDOVER
And there's the work...
(WESTPHALL nods)
Will you call me then when you have
an evening free?
They stand and walk to door.
WESTPHALL
(nodding)
Are you in the book?
MRS. ORDOVER
(smiling)
No. I'm relieved you're not
married. Goodnight, Dr. Westphall.
She closes door behind her. WESTPHALL picks up envelope,
opens it, takes out check. It's for a thousand dollars.
He finds another piece of paper in envelope. It reads "Sarah
Ordover phone number 555-7885". On WESTPHALL, amused,
CUT TO
EXT. WHITEHILL HOME - DAY
Establishing.
INT. DENISE AND BRIAN'S BEDROOM - DAY
The room is dimly lit. Among the shadows, DENISE lies on the
bed, propped up by pillows. BRIAN enters.
BRIAN
The kids said you were up here. A
little late for a nap, a little
early for bed, isn't it?
He takes off his suit jacket and loosens his tie.
BRIAN (CONT.)
You're letting them watch TV?
DENISE
For a little while.
BRIAN
Barry Goodwin's thinking of
switching firms, some headhunter's
been talking to him.
A beat.
DENISE
The garbage disposal's still
broken.
BRIAN
They swore they'd fix it by noon.
DENISE
Well, they didn't.
BRIAN
Let's just junk the stupid thing...
She looks up at him as if to say "That's-your-answer-for
everything."
BRIAN (CONT.)
You know I was... One of the
secretaries at work was telling me
about a couple with, a, uh, a
Down's child.
DENISE
I did it.
Beat. BRIAN looks at her.
DENISE (CONT.)
I had the abortion.
He starts to cry. She starts to cry.
DENISE (CONT.)
Tell the kids to turn off the TV.
On the two of them,
CUT TO
EXT. ST. ELIGIUS - NIGHT
Establishing.
INT. EMERGENCY ROOM/ADMITTING - NIGHT
WHITE sitting at desk, with a large yellow pad, feverishly
scribbling numbers and tabulating them. DANIELS comes in.
DANIELS
We got the lab report back on the
wino.
WHITE looks up, questioningly.
WHITE
What?
DANIELS
With the heart attack...
WHITE takes chart, looks it over, sees something that shocks
him and tries to cover his reaction.
DANIELS (CONT.)
Did you ask him how often he was
voiding before giving him
potassium?
WHITE
(looks away)
Of course I did.
(flicker of fear)
Maybe he just didn't understand the
question, but I asked it.
DANIELS
Well, it's lucky he didn't
understand what happened. You can
buy a lot of cheap booze with the
money from a malpractice suit.
DANIELS retrieves chart and goes. WHITE's expression is of
fear and relief.
CUT TO
INT. NURSES' STATION - NIGHT
MORRISON talks to an OLD WOMAN in a walker, smiles and turns.
His wife, NINA, comes towards him, smiling.
MORRISON
What're you doing here?
NINA
It's eight o'clock. You said eight
o'clock.
MORRISON
Oh right... Listen, I... I told
Chandler I'd cover for him. His
wife's sick and he --
NINA
(turns, disappointed)
Jack -- we finally both get the
same night off and you --
MORRISON
It's a joke. I'm only kidding.
She realizes he is kidding, slugs him.
NINA
Good.
MORRISON
We're going to Durgin Park for
prime rib.
NINA
Okay.
MORRISON
I say "Durgin Park" and all you say
is okay?
NINA
Well, I thought we'd go home.
MORRISON
Home? I thought you'd want to do
something special.
NINA
Jack, the two of us at home, alone,
together is special. It
practically never happens.
MORRISON
I distinctly remember one humid
night last August --
NINA
July. You spent August in the
emergency room.
MORRISON
That's right. It's air
conditioned.
(smiles)
Let's stop off and get a bottle of
champagne.
She reaches into her bag and pulls out a bottle of Dom
Perignon.
NINA
I'm way ahead of you.
As MORRISON laughs and leans in to kiss her,
CUT TO
INT. MCALLISTER'S ROOM - NIGHT
MR. MCALLISTER sits in a chair next to his WIFE's bed as she
sleeps. A small side-light is on next to the bed. The room
is completely quiet.
MRS. MCALLISTER lays in the bed, her face serenely beautiful,
her hair pulled back off her face.
His gaze lingers, then slowly moves down her face to her bare
throat across her shoulders, and down her arm to the hospital
bracelet on her wrist. His gaze holds on her hand; the
slightly curled fingers and the wedding ring.
For the briefest moment a sharp pain clouds his expression,
then passes, as he continues looking at his wife. He exhales
and stands, looking down at his wife again, walks slowly from
the room.
CUT TO
INT. HALLWAY - NIGHT
MCALLISTER enters the Hallway and turns left as people pass
in both directions. He walks a few yards down the Hallway,
stops, turns and looks back down in the other direction of
the Hallway. He sees a COP reading a newspaper outside of
REINHARDT's room. He leans against the wall, looking towards
the room. His expression is tired, passive as if he's
looking at a curiosity or a painting in a museum. MORRISON
and NINA walk past him. The CAMERA STAYS with them.
MORRISON now in his street clothes, walks with his hands in
his pockets. NINA has one hand on the strap of her purse,
the other around the inner elbow of his arm.
MORRISON
Peter and Myra White want to have
us for dinner next Wednesday
night...
NINA
(unenthused)
Sounds like fun.
MORRISON
Come on, they're nice people.
NINA
I know, I know, "They're just going
through a rough patch." Jack
Morrison, defender of the underdog.
MORRISON
He's under a lot of pressure.
NINA
So are you.
MORRISON
He's struggling to make ends meet.
NINA
So are you.
MORRISON
He has a baby.
NINA
So do you.
MORRISON
Oh yeah, where? Argentina?
She stops, takes his hand, puts it on her stomach.
MORRISON (CONT.)
You're kidding.
NINA
Why do you think I bought the
champagne?
MORRISON
Hold it. You're pregnant. You're
not allowed to drink.
She smiles. He smiles. He lets out a yell, picks her up by
her waist, twirls her around, lowers her down slowly and
kisses her. On the two of them kissing,
CUT TO
INT. ELEVATOR - NIGHT
FISCUS stands alone. The Elevator reaches a floor, the doors
open and CATHY MARTIN enters.
FISCUS
Hi.
MARTIN
Hi, Wayne.
FISCUS
(indicates he'll push
button for her)
Where're you going?
MARTIN
Down.
(beat)
To Pathology.
The doors close.
FISCUS
This elevator's going up, Cathy.
MARTIN
Tsk. I do that all the time.
Beat. FISCUS smiles at her.
FISCUS
You come here often?
MARTIN giggles.
FISCUS (CONT.)
I enjoyed the pistol range.
MARTIN
Really?
FISCUS
Oh, sure. Now, if I'm ever
attacked by a paper target, I'll be
ready. So, you on call tonight?
MARTIN
Yeah... That head-on collision has
me swamped.
FISCUS
I could come down later and give
you a hand.
MARTIN
Thanks, Wayne, but no.
Elevator bumps and stops.
MARTIN (CONT.)
What happened?
FISCUS
We appear to be stuck. It happens
on the average of twice a week.
MARTIN
No, you don't understand...
Elevators make me nervous enough
when they're moving but...
FISCUS
Don't worry. As my uncle, Morty,
the broker, used to say, "Buy
elevator stock, it's bound to go
up."
MARTIN
No, really, Wayne. I feel so
strange in elevators. I never know
where to look.
FISCUS
I know. My elevator etiquette
isn't too good either. I always
think I'm going to pass gas.
Sometimes I do.
MARTIN
(anxiety growing)
I don't know where to look. And I
always think everyone's looking at
me. Staring at me. Undressing me
with their eyes.
FISCUS
I don't think everybody does that.
MARTIN
And now we're trapped, Wayne. It
may take them hours to discover us.
Like the blackout in Manhattan
1979. I was stuck in an elevator
at the Biltmore with an Arab prince
and four labradors.
FISCUS
Take it easy, Cathy.
MARTIN
Hold me, Wayne, please hold me.
She throws her arms around him.
FISCUS
I've got you, Cathy, just relax.
MARTIN
Tighter, Wayne, hold me tight.
FISCUS
Okay. How's that?
MARTIN
Now, kiss me, please.
He kisses her.
MARTIN (CONT.)
Again.
He kisses her longer. She starts to pull him down.
MARTIN (CONT.)
Oh, Wayne.
On them sinking to the floor, embracing and kissing,
CUT TO
INT. NURSES' STATION - NIGHT
Among others, CRAIG waits by elevator impatiently, turns to
ROSENTHAL at Nurses' Station.
CRAIG
What's the matter with this
elevator?
ROSENTHAL
Must be jammed between floors
again.
CRAIG
I've been waiting five minutes.
I've had a long day in surgery.
I'd like to go home.
ROSENTHAL
Just a second. I'll get the key.
She opens a door, pulls out an elevator key, crosses to
elevator. She inserts key into slot and turns it back and
forth a few times. A beat, nothing happens. ROSENTHAL
shrugs.
ROSENTHAL (CONT.)
It's worked before.
CRAIG
What a rathole this is.
(walks toward staircase)
Get someone in here to fix that
thing.
ROSENTHAL
Yes, Doctor Craig.
He enters stairwell. Elevator starts to move.
ROSENTHAL (CONT.)
There we go.
On ROSENTHAL, smiling at others waiting,
CUT TO
INT. ELEVATOR - NIGHT
The control panel.
FISCUS (O.C.)
Oh, no.
His hand appears groping for the "stop" button. He hits the
light switch, flicks it several times. His hand gropes
around some more.
FISCUS (O.C., CONT.)
Stop. Please, stop.
MARTIN
No, don't stop.
His hand lands on "fan" switch, he flicks it several times.
INT. HALLWAY - NIGHT
ROSENTHAL leaves, satisfied the elevator is fixed. An OLDER
BUSINESSMAN waits, as the elevator doors open. CATHY MARTIN
steps off. FISCUS is not in sight. The BUSINESSMAN enters.
INT. ELEVATOR - NIGHT
FISCUS is standing, hugging the control panel, face to the
wall. His hands are in front of him. FISCUS turns his head
slightly to the new passenger.
FISCUS
What floor?
FISCUS raises one hand up to the buttons. On the
BUSINESSMAN's expression,
CUT TO
INT. AUSCHLANDER'S OFFICE - NIGHT
AUSCHLANDER leans back in his chair at his desk, listening to
the music from the opera "Tosca." WESTPHALL stands in the
doorway. AUSCHLANDER sees him and motions WESTPHALL in,
indicating a chair where WESTPHALL sits.
They sit quietly for a while listening to an aria.
AUSCHLANDER
(indicating part in music)
Listen...
WESTPHALL listens. AUSCHLANDER turns the music down.
AUSCHLANDER (CONT.)
Svani per sempre il, sogno mio
d'amore l'ora e'fuggita e muquio di
sperato! E muoio di sperato! E
non ho amato mai tanto la vita,
tanto la vita!
(translating from the
Italian)
Forever now my dream of love has
ended, and when the day breaks I
die in desperation, I die in
desperation; and never was so much
in love with living, in love with
living!
WESTPHALL
Beautiful.
AUSCHLANDER
When I was a little boy in New
York, my father used to take me to
the Metropolitan Opera House. The
old one on 39th and Broadway. Such
a beautiful building. Now it's an
office building. Glass and steel.
Shiny material. We'd go every
Saturday afternoon. We'd stand in
the standing room because we didn't
have enough money for seats. My
father and I. My father would
stand every week watching Puccini,
Verdi, Mozart, Wagner. And he
would cry. I asked him, "Why are
you crying, Pop?" He turned to me,
and said, "Be quiet. Listen"...
I'm seventy-two years old and I'm
dying of cancer. Ironic, isn't it.
A distinguished liver man like
myself betrayed by his own liver...
With radiation and chemotherapy I'd
have a slightly better chance --
but the nausea, diarrhea, stomach
cramps... I'll be septicemic from
skin infections... the slightest
cold could turn into pneumonia and
finish me off in a week...
WESTPHALL
What are you going to do?
AUSCHLANDER
(considering)
I'm not sure.
WESTPHALL
You know what I think?
AUSCHLANDER
Tell me.
WESTPHALL
You should see a doctor.
A wry smile comes to AUSCHLANDER's lips, the irony of
WESTPHALL's statement, not escaping either of them.
WESTPHALL exits. AUSCHLANDER sits. After a long beat he
gets up, heading for door.
INT. HALLWAY
Digital clock reads 1116 p.m. AUSCHLANDER comes out of his
office, makes sure it's locked, walks down hallway slowly.
He stops at the door to a patient's room. A MAINTENANCE MAN
buffs the floor. He nods to AUSCHLANDER, who nods back.
CUT TO
INT. MISS TAYLOR'S ROOM
MISS TAYLOR is lying in bed, eyes closed, hands folded across
her stomach. A small lamp on the table next to her softly
lights the room. AUSCHLANDER enters, goes to the end of her
bed. MISS TAYLOR opens her eyes. He smiles at her.
MISS TAYLOR
I was just thinking about you...
AUSCHLANDER
Are you tired?
MISS TAYLOR
Now what've I done today to be
tired?
AUSCHLANDER sits down next to her bedside.
AUSCHLANDER
Word around the hospital is you
play gin rummy.
Her eyes smile. He pulls out a deck of cards, hands them to
her. She shuffles and deals.
MISS TAYLOR
Where you from, Doctor?
AUSCHLANDER
New York.
MISS TAYLOR
Yeah, I been there once.
AUSCHLANDER
(smiling, indicating
cards)
Shall we?
FADE OUT.
THE END