ER Motherhood

7/27/2019 ER Motherhood

1/80

Rev. 04/06/95 (Yellow)Rev. 04/07/95 (Green)Rev. 04/08/95 (Buff)Rev. 04/10/95 (Salmon)Rev. 04/11/95 (Cherry)Rev. 04/19/95 (Tan)Rev. 04/21/95 (White)Rev. 05/05/95 (Blue)

ER

"Motherhood"

Written byLydia Woodward

Directed byQuentin Tarantino

ProducerPaul Manning

Produced byChristopher Chulack

Co-Executive ProducersMimi Leder

Robert NathanLydia Woodward

Executive Producers

Michael CrichtonJohn Wells

SHOOTING DRAFTA CONSTANT c/AMBLIN PRODUCTIONIn Association With May 5, 1995WARNER BROS. TELEVISION 19954000 Warner Boulevard WARNER BROS.Burbank, California 91522 All Rights Reserved


2/80

Rev. 4/21/95

ER

"Motherhood"

CAST

GREENE PALMER

ROSS JEFFREY

LEWIS JOANIE LAFFERTY

BENTON MRS. LAFFERTY

CARTER COOKIE LEWIS

HATHAWAY KAITLIN

MRS. SANDBURG

HALEH LINDA FARRELL

GOLDMAN EMT JOE SACHS

WRIGHT ETHYL

OLIGARIO EVERETT

MALIK NINA

JERRY PICKMAN

JENNIFER GUITTEREZ

JEANIE BOULET RAMOS

DIANE LEEDS STEVEN

CHLOE JOANIE

MARQUEZ JESSE

CHOPPER EMT DR. SALLY LI

MICHELLE JACKIE

HICKS DR. R. NETZLEY

MRS. SCHAEFFER DUNLOP

DOLORES MINKY MAE

ROLANDO


3/80

Rev. 4/7/95

ER

"Motherhood"

SETS

INTERIORS: EXTERIORS:

HOSPITAL HOSPITALAmbulance Bay RoofAdmissions Desk Basketball CourtMain HallwayLobby/Elevators ROSS'S APARTMENTOB HallwayOB Delivery RoomBaby NurseryTrauma OneTrauma TwoTrauma HallwayCurtain Area ThreeORCurtain Area TwoSurgery Waiting RoomExam Room #2Drug Lock UpExam Room #4Chloe's RoomLoungeSuture Room

LEWIS' HOMEBedroom

Living Room

NURSING HOMEHallwayMae's RoomLibrary


4/80

Rev. 4/10/95

ER

"Motherhood"

TEASER

OVER DARKNESS, a whisper...

CHLOE (O.S.)Susie... Susie...

FADE IN:

1 LEWIS' BEDROOM - 4:00 AM (NIGHT) 1

A light switches on and a very pregnant CHLOE leans overher sister's bed. She's freshly showered, hair neatlycombed, fully dressed.

LEWIS is sound asleep. Chloe gently shakes her shoulderand she lets out a slight groan.

CHLOESusie...

LEWISAh, Chloe. I worked 'til one inthe morning.

CHLOEI think it's time... for thebaby.

Lewis doesn't lift her head, doesn't open her eyes.

LEWISYou sure?

CHLOEUnh-huh.

LEWISYou're having contractions?

CHLOEUnh-huh... every couple minutes.

And now, as Lewis's head darts up, eyes bursting open...

LEWISWhat?!

SMASH CUT TO:


5/80

ER - "Motherhood" - Rev. 4/7/95 2.

2 LEWIS' LIVING ROOM 2

Lewis is frantic, running back and forth, climbing overfurniture, grabbing things, pulling on a pair of jeans,crawling into her sneakers.

LEWISWhy did you wait so long?

CHLOEI had stuff to do. Take a shower.

(holds up grocerybag)

Pack the baby clothes.

LEWISYour contractions are two minutesapart, Chloe. We should be at thehospital.

CHLOEI thought you needed the sleep.

Chloe stands patiently by the front door, ready to go,grocery bag in hand. Lewis tucks her cartoon T-shirtinto her jeans as she indelicately grabs her cat by theback of the neck, runs into her bedroom.

LEWISYou picked a hell of a time tostart being considerate.

She emerges without the cat, throwing on a coat, as

Chloe's hit with a contraction, lets out a brutal scream.Lewis comes up close, takes her by the shoulders.

LEWISBreathe, Chloe, breathe.

CHLOE(through scream)

I forgot my music. Can you getthe tape player?

LEWISLug that thing?

CHLOESusie-cakes, please.

Lewis bolts over the sofa, grabs a boom box. There are25 homemade tapes resting on the tabletop -- some marked,some unmarked, some boxed in plastic, some not.

LEWISWhich tape?

(CONTINUED)


6/80

ER - "Motherhood" - Rev. 4/7/95 2A.

2 CONTINUED: (A1) 2

CHLOEThe "White Album."

Lewis looks, then sweeps them all into her purse, startslooking for something else.

(CONTINUED)


7/80

3.

2 CONTINUED: 2

LEWISDammit, where are my keys?

Lewis claps her hands together twice. Chloe's screamingin pain.

LEWISChloe, stop a second, I've got toclap for my keys.

Chloe holds her breath a beat as Lewis claps twice again.A BEEPER GOES OFF. She runs toward the sound, findingher keys on the kitchen counter, then heads for the door.

LEWISOkay, let's go.

CHLOEWow, this is scary.

And they're out the door.

CUT TO:

3 ER - AMBULANCE BAY 3

CARTER stands at the Admissions Desk drinking a cup ofcoffee as the Ambulance Bay doors swing open and Lewisand Chloe pile in, both taking short breaths, panting.Like dogs.

LEWIS/CHLOEHee, hee, hee, hee... Hee, hee,hee, hee.

LEWISWe're almost there; keep panting.

CHLOEI want drugs! Now!

The ER's quiet, nearly empty, just some guy waxingthe floors.

LEWISCarter, get over here. I needyour help.

Carter joins them as they move down the...


8/80

4.

4 MAIN HALLWAY 4

Lewis looks at his cup.

LEWISIs that coffee?... Thanks.

She grabs the cup from his hand as he grabs a wheelchair,

helps Chloe into it.

LEWISContractions are ninetyseconds apart.

CARTERWhy did you wait so long?

A look from Lewis.

LEWISGet her up to OB. I'm going tocall Coburn.

Lewis, boom box in hand, heads back to the AdmissionsDesk. Carter rushes a screaming Chloe down the hall.

CARTERYou're going to be okay, justbreathe.

CHLOE(wincing)

What is with you people and this

breathing thing?

She reaches back, grabs Carter by the necktie, yanks himdown. He's choking, his neck crammed into her shoulder.

CHLOEHave you ever had a baby? Do youthink that really helps? Justgive me some drugs!!

CUT TO:

4A ADMISSIONS DESK 4A

Lewis slams up, unloads the boom box on top of the desk,spilling coffee on her coat, then pulls a personnel listfrom a drawer, thumbs through looking for Coburn's number.

LEWISCoburn, Coburn, Coburn...

She finds it, dials. Then, into the phone...

(CONTINUED)


9/80

ER - "Days Like This" - Rev. 4/6/95 5.

4A CONTINUED: 4A

LEWISJanet, Susan Lewis...

She looks at her watch, spilling her coffee again.

LEWIS

4:30, my sister's here, membrane'sruptured, contractions everyninety seconds... get her up toOB, right, I have... okay, see youin twenty.

Lewis hangs up, starts off, pivots back, grabs theboom box.

CUT TO:

5 OMITTED 5& &6 6

7 OB DELIVERY ROOM 7

Chloe's out of her clothes, in a gown. Carter and OBnurse MARQUEZ help her onto the delivery bed as Lewisruns in.

LEWISDr. Coburn's on her way.

(to Marquez)Susan Lewis. I'm her sister.

MARQUEZMarquez.

CHLOEOh, my God. Shoot me, please.Somebody shoot me.

Marquez shifts down to Chloe's legs, drapes them, checksbetween them. Chloe's wincing in pain.

LEWISHang on, Chloe, won't be muchlonger.

MARQUEZNo kidding. This baby'scrowning.

Lewis checks. Marquez is right.

(CONTINUED)


10/80


7 CONTINUED: 7

LEWISOh, God. Coburn will never makeit. Who else is on?

MARQUEZO'Melveny. But she's doing a

crash C-section in Four.

Chloe's breathing hard, yelling, wincing in pain.

LEWISOkay, let's shift her up.

CHLOESusie, Susie, I can't do this,okay? I can't do this.

CARTERCome on, Chloe, blow. Rightthrough the pain.

CHLOENo, no, I can't, really. It's abad idea.

Marquez helps Lewis into a gown and gloves as Chloegets another major contraction, screams.

LEWISYou're going to push on thenext one, okay, Chloe? You hear

me?

CHLOEMy music, Susie, I need my music.

LEWISCarter, grab that cassette player;tape's in my bag.

Carter fumbles with the bag, pulls a tape out.

MARQUEZYou're doing great, just hang on.

LEWISOkay, Chloe, let's push now. One... two... three... four. That'sright, a big push... good... good.

Carter pops one in, pushes the start button and RAP MUSICBLASTS OUT. In French. MC SOLAAR'S "Armand Est Mort."

(CONTINUED)


11/80


7 CONTINUED: (2) 7

CHLOENot that one.

CARTERIs that French?

LEWISSeven... eight... nine... ten.Come on, Chloe.

CHLOEThat's the wrong tape. Where's'Blackbird'?

LEWISIt's the 'White Album,' Carter.

Carter turns OFF the TAPE, looks through the bag.Empties the bag, tapes and junk spilling everywhere.

CARTERThe 'White Album'?

He gives up, resumes helping with Chloe, holds her hand.

LEWISChloe, you're doing great. Justa little bit more. Anothercontraction. Okay, push. One...two... three... four.

Marquez helps lift her head up and forward with eachpush. Chloe starts singing as best she can -- throughthe breathing, the pushing, the pain.

CHLOE'Blackbird singing in the dead ofnight... Take these broken wingsand learn to fly... All yourlife...'

LEWISSeven... eight... nine... ten.

CHLOECome on, Susie, sing with me.Please.

Lewis concentrates on the delivery, but starts singingalong with her sister. Broken, half-sung phrases betweenpushes and panting.

(CONTINUED)


12/80


7 CONTINUED: (3) 7

LEWIS/CHLOE'Blackbird singing in the dead ofnight... Take these broken wingsand learn to fly... All your life... You were only waiting for this

moment to arise...'

LEWISOkay, Chloe, the head's coming.Don't push.

Chloe keeps singing. Carter sees the stand-up mirror;rolls it over to the end of the bed.

CARTERHere, Chloe, you want to see?

Chloe takes one look, lets out a horrendous scream.

CHLOEOh, my God. No!

LEWISAlmost there.

Carter gets the mirror out of there. The baby's head isout. Lewis turns to Marquez.

LEWISSuction.

Marquez suctions the baby's mouth, nose. Chloe stopssinging as Lewis pulls the baby all the way out and upand we hear the sound of an INFANT CRYING.

LEWISOkay, Chloe, okay. We've got it.It's a girl.

Chloe's all sweat and heavy breathing and now tears anda huge smile. Carter's beaming. He looks over at Lewis

who's crying every bit as much as Chloe.

LEWIS

She's beautiful, Chloe. Abeautiful baby girl.

Lewis holds the baby while Marquez clamps the umbilicalcord. They wipe the baby off, wrap a blanket aroundher and Lewis gently hands the baby down to Chloe.

CHLOEOh, my God, Susie.

(CONTINUED)


13/80

9.

7 CONTINUED: (4) 7

LEWISYou did it, Chloe. You reallydid it.

CHLOEWe did it, Susie. We did it.

ON the two of them. Smiling, crying. Overwhelmed bythis brand new crinkly little life.

FADE OUT.

END OF TEASER


14/80


ACT ONE

FADE IN:

8 BABY NURSERY - 8:30 AM (DAY) 8

Lewis holds the baby, completely entranced by her.HATHAWAY looks on.

LEWISChloe says she looks like me.What do you think?

Hathaway looks closely. She's a wrinkly little thing;looks like an old man sucking a lemon.

HATHAWAYUh, well, I suppose... maybe.

LEWIS(emotional)

Never thought I'd deliver my ownniece.

HATHAWAYOn Mother's Day no less.

(then)Can I hold her?

LEWISSure.

(hands her baby)Are you and Tag going to try for

kids soon?

HATHAWAYIf we're still speaking after the

wedding. Fifteen of his relativesarrived yesterday; thought they'dcome a week early, help us do afew things around the house.

LEWISSounds scary.

HATHAWAY

When I left this morning theywere planning on painting abathroom.

Hathaway hands the baby back to Lewis who sets her downin her basinette.

LEWISGoodbye, little one. Have toget back to work.

(CONTINUED)


15/80


8 CONTINUED: 8

As they head out the door...

LEWISTell them to come paint mybathroom.

CUT TO:

9 EXT. ROOF - DAY 9

GREENE, Carter and a couple of orderlies hurry acrossas a Medivac chopper moves in for a landing. They screamover the ROTOR wash.

GREENECongratulations, Carter. You gotthe ER Sub-I.

Carter's shocked.

CARTERReally?

GREENESwift and I agree you're the guy.

CARTERUh, thank you. I didn't thinkyou'd decide this soon. I don'tknow what to say.

GREENESay yes. You want it, don't you?

CARTERI haven't heard about the SurgicalSub-I yet.

GREENEWell, here comes Benton. Ask him.

Carter turns, sees BENTON hurrying towards them. Thechopper's touched down. They begin to move in.

CARTERMaybe later.

GREENENeed your answer by the end ofthe day.

(CONTINUED)


16/80


9 CONTINUED: 9

BENTONCarter, move in there. Get thebullet.

The CHOPPER EMT hops out as they transfer a teenage boyonto a gurney. He's intubated with two large bore IV's,

oxygen, c-collar and a fragment of rebar sticking upthrough his side.

CHOPPER EMTJames Schaeffer, fifteen yearsold. Horsing around aconstruction site, fell from thesecond floor, got impaled on astrip of rebar. We cut it at thesite. He's in shock, pulse 140and thready, BP 50/30.

BENTONOkay, let's go, let's go.

As they rush the gurney back across...

CUT TO:

10 ADMISSIONS DESK 10

ROLANDO's there as ROSS comes in for work.

ROSS

Rolando, there's a horse in myparking space.

ROLANDOWhy are you riding a horse?

ROSSIt's not mine, Rolando.

ROLANDOOh.

(after a beat)Would I call Security about that?

ROSSI wouldn't know. That's why theypay you the big bucks.

Ross starts off. Rolando picks up a stack of charts.

ROLANDOWait, Dr. Ross. Eight Little RangerScouts. Diarrhea. Mucho.

(CONTINUED)


17/80


10 CONTINUED: 10

Ross grimaces as Rolando hands him the charts.

ROLANDOWhich is why they pay you the bigbucks.

CUT TO:

11 MAIN HALLWAY 11

Lewis and Hathaway move with a gurney carrying an uncon-scious twenty-three-year-old man, (Josh), on oxygen.

Accompanied by an EMT and the man's girlfriend, MICHELLE.

MICHELLEJosh got up early, let me sleep in.Our mothers are coming for brunch.He was going to clean the kitchen,bathrooms.

LEWISWas he unconscious when you foundhim?

They pass the bathroom in the hallway -- six small LittleRanger Scouts outside, clamoring to get in.

MICHELLEYeah. He mixed ammonia with bleach.I thought he'd know not to do that.

12 TRAUMA ONE 12

Hathaway keeps Michelle at the door as MALIK now movesin, helps shift Josh onto the table.

HATHAWAYStay here, please, uh...

MICHELLEMichelle.

HATHAWAYWe're going to help him, okay?

She just nods as Hathaway goes on in.

In the b.g., through the doors, we see Greene, Benton,Carter, WRIGHT and HALEH in Trauma Two working onfifteen-year-old James with the rebar in his stomach.Haleh wears a corsage.

(CONTINUED)


18/80


12 CONTINUED: (A1) 12

In Trauma One, Lewis listens to Josh's chest with herstethoscope as Malik and Hathaway hook up oxygen, IVs.

LEWISHe's wheezing.

MALIK0-2, ten liters.

HATHAWAYAlbuterol nebulizer?

LEWISYeah, and give him 125 milligramssolumedrol, IV push.

(and)Malik, call Radiology. Let's geta portable chest film.

MALIKYou got it.

CUT TO:

13 TRAUMA TWO 13

James is on the table. They're hooking him up. Carter'sright in there, sticking close to Benton.

WRIGHT

BP's going nowhere, still 50over 30.

HALEHPulse ox 90.

CARTERCBC, type and cross eight units?

BENTON(re: rebar)

Should we yank it?

CARTERNot here! Never.

BENTONRight.

WRIGHTGoing to need a foley.

(CONTINUED)


19/80


13 CONTINUED: 13

HALEHHow much O-neg you want?

GREENEFour units.

HALEHAnd a cross tablec-spine.

CARTERShouldn't he go straight up tothe OR, exploratory laparotomy?

BENTONRight again, Mr. Carter.

CUT TO:

14 TRAUMA HALLWAY/OUTSIDE TRAUMA TWO 14

DR. HICKS hurries down, is stopped outside Trauma Two bya forty-year-old woman, MRS. SCHAEFFER.

MRS. SCHAEFFERI'm Mrs. Schaeffer. That's myson, James. Is he going to beokay?

HICKSI'm Dr. Hicks, Mrs. Schaeffer. I

don't know yet, but we're goingto do everything we can. Please,stay out here.

15 TRAUMA TWO 15

Hicks moves on in.

WRIGHTO-neg's up.

HICKS

What've we got, Peter?

BENTONFifteen years old, impaled on arebar. Need to get him up tothe OR for anex lap.

HICKSThen go. Netzley's on; he'lltake him.

(CONTINUED)


20/80


15 CONTINUED: 15

BENTONGet that side, Carter; you'recoming with me.

CARTEROkay.

GREENEAnesthesia's on the way.

Carter's thrilled, a chance to go to the OR. They pushthe gurney out into the hall. Mrs. Schaeffer followsalong with them. Greene and Haleh stay behind.

GREENENice corsage.

HALEHMy kids... Mother's Day.

Greene smiles, starts to move into...

16 TRAUMA ONE 16

... but waits a beat as an X-ray is shot.

HATHAWAYShooting.

An X-ray tech clicks the X-ray, then Hathaway, Lewis and

Malik continue working on Josh. Greene enters.

HATHAWAYRespiratory rate's coming down.

GREENENeed any help?

LEWISNo, under control. Chlorine gaspoisoning. He's on humidifiedoxygen, fifteen liters per minute.Gave him solumedrol, 125

milligrams IV.

GREENEGive a yell if you need anything.

MALIKI'll draw a blood gas.

Greene moves out, passing Michelle, and on into the...


21/80


17 MAIN HALLWAY 17

GOLDMAN assists Ross in corralling the eight LittleRanger Scouts, in uniform, running around the hall.They're with their chaperone, DOLORES MINKY (35), also inuniform. She's all business; make a good Nazi. In the

middle of this chaos, Ross tries to get information.

DOLORESThey've had diarrhea all morningin addition to abdominal crampsand excessive flatus.

Little PALMER chimes in.

(CONTINUED)


22/80



PALMERWe farted the whole way over here.

DOLORESPipe down, Palmer.

ROSSAnd you are...?

DOLORESDolores Minky, Little Ranger ScoutMother.

Ross spots Greene, calls to him.

(CONTINUED)


23/80


17 CONTINUED: 17

ROSSMark... Mark. I've got a seven-year-old, curtain two. Hightemperature and vomiting. Couldyou take her?

Greene sniffs the air.

GREENEHappy to.

Greene moves on as Dolores butts back in.

DOLORESI suspect it's giardia; campingtrip three weeks ago. Contaminatedstream water. Beaver feces, thatsort of thing.

PALMEROh, gross. Jeffrey just cut abig one. I'm going to puke.

JEFFREYI didn't do it. It was Andrew.

Palmer, Jeffrey and a third boy start shoving each otheraround. Dolores and Ross jump in.

DOLORESThat's enough, stop it.

Dolores blows hard on the whistle hanging around her neck.

ROSSHey, hey, come on, boys.

Ross grabs Palmer who immediately pukes all over Ross'coat, shirt, necktie. After a beat...

PALMERTold ya.

CUT TO:

17A CURTAIN AREA TWO 17A

Greene examines a lethargic seven-year-old JOANIE. Heranxious mother, MRS. LAFFERTY, is nearby. Haleh assists,taking the girl's temperature, then her vitals.

HALEHTemperature's 102.

(CONTINUED)


24/80


17A CONTINUED: 17A

Greene flexes her neck.

GREENEDoes this hurt?

JOANIE

Yeah.

GREENEAnyone else in the family beensick recently?

MRS. LAFFERTYNo, we've all been fine.

GREENE(listens to chest)

Your daughter has a very faintheart murmur, is that right?

MRS. LAFFERTYYes, since birth. But they callit an innocent murmur. Notsupposed to be dangerous.

GREENENo, it's fine, Mrs. Lafferty.Joanie's probably got the flu,but I think she's dehydrated soI'd like to start her on somefluids. And I think it's best

if we do a spinal tap to ruleout meningitis.

MRS. LAFFERTYSpinal tap? That's very serious,isn't it?

GREENEWe hope it will rule out anythingserious.

JOANIEWhat are they going to do, Mom?

GREENEWe're going to help you getbetter, that's what.

(to Mrs. Lafferty)Be back in a few minutes.

Greene and Haleh move off.

(CONTINUED)


25/80


17A CONTINUED: (2) 17A

GREENEStart an IV, saline, 100 ccs perhour. Get a CBC, chem seven andprep for an LP.

HALEH

You got it.

CUT TO:

18 OR 18

Benton, DR. NETZLEY and Carter are scrubbed and gowned.James has been intubated and anesthetized. Several ORnurses assist and Netzley supervises as Benton works.Carter stands several feet back, observing.

BENTONRetract the liver. Suction.

An OR nurse reaches in, suctions.

NETZLEYHad a case like this a couple of

weeks ago.

BENTONRebar's straight through theinferior vena cava.

NETZLEYExtend the incision up through thechest and divide the sternum.

BENTONBone saw.

Benton makes the incision; a nurse hands him the saw.Benton saws through the sternum.

NETZLEYGuy putting a TV antenna on hisroof. It fell. Then he fell.

Right on it.

BENTONOuch.

(then)Carter, can you see anything fromback there?

CARTERNot really.

(CONTINUED)


26/80


18 CONTINUED: 18

BENTONThen step up. Hold this retractor.

(to anesthesiologist)Lungs down.

Carter moves in, takes the retractor.

NETZLEYAluminum spike right through hisgallbladder.

(to nurse)Sternal retractor.

A nurse hands it over and Netzley inserts it.

BENTONWhat happened?

NETZLEYRuined his reception for onething. I'm a cable man myself.

(then)Okay, open the pericardium andput a 2-Oproline purse stringaround the auricle of the rightatrium.

(then)IVC's dissected free. Umbilicaltape.

BENTON

I'm ready.

NETZLEYNow, clip the auricle and insertthe venous return catheter downinto the IVC.

Benton concentrates, moves carefully.

NETZLEYLet me know when you hit rebar.Carter, get ready to pull.

Carter puts his hand around the rebar.

BENTONWe're close, we're close... now.

NETZLEY(to Carter)

Ease it out.(to Benton)

Get ready to advance the cath.

(CONTINUED)


27/80


18 CONTINUED: (1A) 18

BENTONSay when.

Carter pulls the rebar straight up and out of James'stomach, hands it to a nurse as another nurse immediatelyre-gloves him.

NETZLEY(to Benton)

Now. Okay, tighten the pursestring around it.

Netzley deals with the umbilical tape.

BENTONPretty cool, huh, Carter?

CARTERVery cool.

BENTONOkay, let's do some repair work.

The EKG machine starts BLASTING. Thomas has coded.

BENTONV-Fib.

NETZLEYInternal paddles.

(CONTINUED)


28/80


18 CONTINUED: (2) 18

BENTONCarter, stick your hands in there,

massage his heart.

NETZLEYCharge to ten.

As Carter plunges his hands down into James' chest --

CUT TO:

18A MAIN HALLWAY 18A

Outside Curtain Area Three, Ross, now in green scrubshirt, sees DIANE LEEDS approaching. Inside Curtain AreaThree, Dolores tries to maintain order amongst the scouts.Ross kisses Diane hello.

DIANENice shirt.

ROSSOccupational hazard.

DIANEAny chance you can get off early?Jake and I are going househunting.

Inside, Goldman whips back a curtain. She's been behind

it with several scouts.

GOLDMANDr. Ross!

She moves to the door.

(CONTINUED)


29/80

ER - "Days Like This" - Rev. 4/6/95 21A.

18A CONTINUED: (A1) 18A

GOLDMANYou are coming back in, aren'tyou?

ROSSYes, Wendy, I'll be right there.

Goldman sucks in a huge breath, moves back in. Rossturns back to Diane.

ROSSSo what's this about?

(CONTINUED)


30/80

22.

18A CONTINUED: 18A

DIANELandlord gave us two months'notice; wants his daughter to

move in.

ROSS

What a drag.

DIANEIt's okay. I'd like a biggerplace, Jake needs a backyard...and, depending on how we feel,there could be room for you.

ROSSYou mean, move in together?

DIANEMaybe. At some point.

Ross stalls for a beat, trying to cover his surprise.

ROSSUh, well, uh...

DIANEYou can stop stuttering, Doug,it's just an idea.

ROSSAre we ready for that?

DIANEI'm probably more ready than youare. But, I'm not in any hurry.

ROSSRight... well, let me know if youfind anything today and I can gotake a look.

Diane leans up, kisses him.

DIANE

Call me later?

ROSSSure.

She moves off. ON Ross, his uncertainty showing.

CUT TO:

19 OMITTED 19


31/80


20 OR HALLWAY 20

Benton and Carter, still in OR scrubs, move down.

BENTONI've got an appendectomy latethis afternoon. Make sure thecharts and labs are done first.

CARTERAre you saying I can scrub in?

BENTONAfter the charts and labs.

CARTEROf course, right.

Carter's about to thank him, but he moves on into the...

21 SURGERY WAITING ROOM 21

Carter follows. Mrs. Schaeffer sits alone across theroom, slowly stands as they approach.

BENTONMrs. Schaeffer, I'm Dr. Benton.

As you know James was brought inwith severe head trauma andinternal bleeding.

Carter watches Benton as much as Mrs. Schaeffer who

remains motionless, staring, beginning to tremble.

BENTONHis heart stopped during emergencysurgery. We tried for thirty-three

minutes to resuscitate him. Weused all our capabilities, buthis injuries were too severe, andhe died.

As Mrs. Schaeffer continues staring...

CUT TO:

22 LOUNGE 22

Greene and Lewis make coffee, overhearing Hathaway'sphone conversation.

(CONTINUED)


32/80


22 CONTINUED: 22

HATHAWAYTag, Tag, please, I do like your

mother, I just don't want to havedinner with her three nights ina row. Tag... Tag?

He's hung up so she does, looks over at Lewis and Greeneas she backs her way to the door.

HATHAWAYDon't say a word. It's only a

wedding. So what if the catererjust cancelled, the bridesmaid'sdresses are late, the relativesare early?

(and)I'm sure this will make me abetter person.

Lewis and Greene laugh as Hathaway's out the door.

LEWISYou going back up to Milwaukee forMother's Day?

GREENERachel has a sleepover, so Jen'scoming into town for dinner.

LEWISSounds like a date.

GREENEThat's the idea.

Through the window, Greene spots Carter, still in ORscrubs. He raps on the glass to get his attention.

GREENEHey, Carter.

Greene motions for him to come in.

GREENE

How's Chloe?

LEWISShe's fine, baby's great.They'll stay overnight, then hometo Mom and Pop Lewis.

Carter moves in, sits on the sofa.

(CONTINUED)


33/80


22 CONTINUED: (1A) 22

GREENEYour folks finally gave in, didthey?

LEWISGuilt is a wonderful thing... see

you later.

Lewis moves out. Greene joins Carter on the sofa.

GREENEDid you make a decision?

(CONTINUED)


34/80



CARTERUh, well, I'm very grateful aboutthe ER Sub-I, but I guess I have todecline.

Greene's a little miffed, covers.

GREENEBenton came through with theSurgical?

CARTERNo, not exactly. Not yet. But Ithink surgery is what I want.

GREENEMore like being a real doctor?

CARTERNo, of course not.

GREENEBut surgeons get all the glory.We're just the middlemen.

Carter just sits there, doesn't know what to say.

GREENEDon't worry, Carter. You'll dogreat at whatever you choose.

Greene gets up, moves out. ON Carter, hoping he made theright decision.

FADE OUT.

END OF ACT ONE


35/80


ACT TWO

FADE IN:

23 OMITTED 23

24 OB HALLWAY - 1:00 PM 24

COOKIE LEWIS (early 50s) wanders down carrying too muchof everything: balloons, flowers, a deli platter covered

with Saran Wrap. She stops Nurse Marquez in the hall.

COOKIEExcuse me, I'm looking for ChloeLewis.

MARQUEZAre you family?

(CONTINUED)


36/80

27.

24 CONTINUED: 24

COOKIEYes, I'm her mother, Cookie.

MARQUEZRoom 304, down on the right.

LEWIS (O.S.)Mom... Mom...

Cookie turns, sees Lewis, still in jeans and cartoonT-shirt.

COOKIESusie-cakes, what is that sillyshirt? They let you wear that to

work?

LEWISGood too see you, too, Mom.Chloe's right in here.

Cookie hands the deli platter to Lewis as they enter...

25 CHLOE'S ROOM 25

Chloe's trying to breast feed.

CHLOEHey, Cookie, get in here.

(re: the baby)

Ouch...

Cookie now dumps the balloons and flowers on Lewis, movesin to hug Chloe, kiss the baby.

COOKIELook at this little thing.

CHLOEPretty neat, huh?

COOKIEOh, my, yes. Almost makes me glad

you got yourself knocked up.

LEWISMom...

COOKIEOh, Susie-cakes, am I embarrassingyou?

(CONTINUED)


37/80

28.

25 CONTINUED: 25

Cookie begins placing the flowers and balloons around theroom, straightening things as she goes.

CHLOEOuch... God, she's got a mouthlike a staple gun.

COOKIESo did you. Both of you.

CHLOE(to Lewis)

Here, you take her.

Lewis puts the deli platter on the bed, takes the baby.Chloe rolls two pieces of sliced cheese inside two piecesof baloney.

LEWISThey do feed people here, Mom.

COOKIEA little extra won't hurt. She'sgoing to be here a week.

Chloe holds the rolled food up to her eyes likebinoculars, follows Lewis and the baby around the room.

LEWISNo, she's not. I already told youshe'll be out tomorrow.

CHLOEYou-hoo, I see you...

Cookie takes the baby from Lewis. Doesn't ask, just takes.

COOKIELet me take her.

CHLOEYou-hoo, over here.

Cookie waves the baby's hand at Chloe. Chloe waves back.

COOKIEI told your father it would be a

week.

LEWISHe's got the crib up, doesn't he?

(CONTINUED)


38/80

29.


COOKIEHe's not very good with thatkind of thing, you know.

LEWISMom, please...

Cookie hands the baby back to Chloe, then rolls a pieceof cheese inside a piece of baloney, starts eating.

COOKIEI was always the one puttingthings together on Christmas Eve.

CHLOEOh, yeah, right. Like what?

LEWISCome on, Chloe, don't start.

CHLOEDon't start what, Susie? How

many little red wagons did yousee around the house?

Cookie ignores Chloe, futzes with the baby's hair.

COOKIEShe's going to have your father'scurly hair.

CHLOERonnie has curly hair, too, Mom.

COOKIEOh, and how would I know that?Did I ever meet him?

CHLOENo, but you will. Next week.

This stops the room cold. Lewis and Cookie look at her.

CHLOE

Well, I had to call him, didn'tI? Tell him he's a father. He'scoming up to visit... Don't worry,he's not going to stay.

COOKIEWell, of course not, he's only gota brand new baby to support; why

would he stay?

(CONTINUED)


39/80



LEWISI've got to get back to work. And,Mom, please get Dad working on thecrib. We'll be there tomorrowafternoon.

COOKIERemember to call before you come.

LEWISWhat?

COOKIEMake sure we're home.

CHLOEJeez, Cookie, get real. Henryhasn't left his Barca lounger infifteen years.

COOKIEDon't talk that way about yourfather.

26 OB HALLWAY 26

They keep bickering as Lewis slips out, shuts the doorbehind her, leans back against it, closes her eyes.

CUT TO:

27 CURTAIN AREA TWO 27

Ross uses a magnifying glass to examine a red spot on thenose of twelve-year-old KAITLIN. Her hyper mother, MRS.SANDBURG, has her face right in there. Mother and daughterare dressed in identical baseball uniforms.

At the next bed, Carter stitches a scalp lac on a fifty-year-old woman who's passed out, snoring.

MRS. SANDBURG

If you'd played catcher thiswouldn't have happened.

KAITLINMom...

MRS. SANDBURGWe play in a Mother-Daughtertournament every year; this

morning, bees everywhere. Bees.

(CONTINUED)


40/80

31.

27 CONTINUED: 27

ROSSI don't think there's a problem,Mrs. Sandburg.

MRS. SANDBURGThink again, Doctor. Kaitlin's

allergic to bees.

Kaitlin's dying of embarrassment.

ROSSThere's no sign of a reaction.

MRS. SANDBURGThere will be. I know becauseI'm allergic to bees.

ROSSIt's not necessarily genetic.

MRS. SANDBURGOh, right, like you know that, huh?

Ross takes a breath.

ROSSI'm going to get a forceps. Beright back.

Mrs. Sandburg takes the magnifying glass, starts lookingat her daughter's nose as Ross moves up next to Carter.

ROSSTrade ya.

Ross moves off as Benton approaches, glances around: theplace is jammed with patients, families.

BENTONWhat happened out here?

CARTERMother's Day. Never realized itcould be so dangerous.

BENTONWhy is she sleeping?

CARTERPassed out. Brunch at the PumpRoom. Drank too many mimosas,stumbled in the parking lot. Herkids brought her in.

(CONTINUED)


41/80

32.


BENTONYeah, well, I've got another

mother for you. Little old ladyin Exam Four. Arm laceration.Check her out when you're done.

CUT TO:

28 OMITTED 28& &29 29

30 EXAM ROOM #2 30

Haleh's with Mrs. Lafferty and Joanie (now with IV)who've been moved into Exam Two. Greene listens withhis stethoscope.

GREENEThe results of the spinal tap werenegative, Mrs. Lafferty. Which

means we can rule out meningitis.(beat)

Murmur's a little louder, threeover six.

HALEHBP's 80/50. But her pulse is 120,resps 36.

GREENECan I see your hands?.

Greene looks at Joanie's palms. Then turns her handsover, looks at the nails. She's wearing pink polish.

GREENEThat's very pretty. I have adaughter about your age and pink'sher favorite color. Unfortunately,

we have to take it off so I canlook at your nails, okay?

JOANIEOkay.

GREENEHaleh, could you find some acetone,take off the nail polish. Mrs.Lafferty, can I talk to you a

moment?

(CONTINUED)


42/80


30 CONTINUED: 30

Haleh moves out as Greene steps to the door with Mrs.Lafferty.

MRS. LAFFERTYIs it her heart? They said the

murmur wasn't dangerous.

GREENEWe need to do more blood work anda chest X-ray. It could bepneumonia or possibly early heartfailure.

MRS. LAFFERTYOh, my God.

GREENEHas she had any other injuriesrecently; any other medical ordental work?

MRS. LAFFERTYShe went to the dentist two weeksago, had her teeth cleaned.

GREENEShe might have what's calledendocarditis. Bacteria spreadsinto the bloodstream, causes aninfection around the heart valves... which we can treat with

antibiotics.

JOANIEMom, can you come here?

A beat and Mrs. Lafferty goes over to Joanie. Halehre-enters.

GREENELet's put her on oxygen. Get acardiac echo, draw blood culturestimes three, then start her onIV oxacillin and gentamycin.

Haleh moves in. Greene stares back a beat at Joanie andMrs. Lafferty, then moves out.

CUT TO:

31 DRUG LOCK UP 31

Ross looks through the supplies. LINDA FARRELL comes up.

(CONTINUED)


43/80


31 CONTINUED: 31

LINDAExcuse me, I ordered a burger,fries and a vanilla shake, very,very thick.

ROSS

You're working on a Sunday?

LINDANo rest for the ambitious. Do youhave Mother's Day plans?

ROSSNo, thankfully, I do not.

LINDAYou're welcome to join me and mine.We're drinking Manhattans at Shaw's.

ROSSAnd boyfriend Brian?

LINDACouldn't keep up; had to cut himloose.

ROSSWell, thank you, but I can't makeit.

LINDA

How about afterwards?

ROSS(he's torn)

Can't do that, either.

LINDAGod, you're being good.

She leans over, kisses him on the cheek.

LINDAGlad I knew you when you were

bad... see ya.

ON Ross watching as Linda moves away.

CUT TO:

32 OMITTED 32


44/80


33 AMBULANCE BAY/MAIN HALLWAY 33

Benton, Lewis, OLIGARIO and Malik hurry down with EMTJOE SACHS, pushing a gurney carrying an elderly man.

EMT JOEHe was eating the Sunday Specialat Chulack's on 23rd, turned blue

and collapsed. Tried the Heimlich,got nothing.

BENTONHeart attack?

LEWISSounds like it.

EMT JOEHe's cyanotic, pulse 58, BP's 50palp. Stopped breathing at yourback door.

34 TRAUMA ONE 34

They push in, prepare to transfer.

BENTONOkay, let's do it on a count.One, two, three...

OLIGARIOGrab the IV.

They transfer the patient and EMT Joe leaves. Benton andLewis examine. Oligario and Malik hook up IVs.

LEWISGive him a mig of atropine andstart a dopamine drip.

MALIKCap refill's N.G.

OLIGARIOPulse is still 58, BP's 40 palp.

Carter moves in to help.

BENTONMr. Carter, this gentleman is notbreathing and he would appreciatebeing able to do so. If you wouldplease intubate.

(CONTINUED)


45/80


34 CONTINUED: 34

CARTERSure, of course.

OLIGARIOLaryngoscope.

Oligario hands him the intubation tray.

OLIGARIO7.5.

Carter struggles with the laryngoscope.

LEWISCarter, hurry up.

CARTERI can't. I think there's anobstruction.

LEWISJoe said he was eating, right?

Benton crawls up on the table, straddles the man, thrustshis fist in his solar plexus. Three quick bursts. Lewispushes Carter to the side, checks the airway.

LEWISAgain.

MALIK

Prep for a crike.

Benton presses down again.

LEWISThere is an obstruction, get theMagill forceps.

Malik hands them over. Lewis gives them to Carter.

LEWISHere, you need to learn this.

OLIGARIOPulse ox is falling.

Benton climbs down as Carter inserts the forceps in theman's mouth, slipping them down further, further.

Lewis supervises every move.

COOKIE (O.S.)Susie-cakes, can I talk to you?

(CONTINUED)


46/80



Lewis is mortified to see Cookie standing in the door.

LEWISMom, not in here, okay? I'll beout in a minute.

Another couple of digs and Carter latches onto something.

CARTERI've got something.

OLIGARIOSuction.

He pulls the forceps back out -- and attached is apartial plate of dentures.

BENTONOh, man. Okay, let's hyperventilatehim and get a blood gas.

LEWISYou got this, Peter?

BENTONYeah.

MALIKOrder a twelve-lead and a chest.

Lewis takes off her gown, starts out.

BENTONCarter, did you sew up that armlac in Four?

CARTER(he forgot)

Oh, damn... I'll do it now.

CUT TO:

35 OMITTED 35

& &36 36

37 TRAUMA HALLWAY/MAIN HALLWAY 37

Cookie's way down the hall as Lewis comes out.

LEWISMom... Mom...

(CONTINUED)


47/80


37 CONTINUED: 37

Lewis starts down as Carter comes out, moves across thehallway to Exam Four.

37A EXAM ROOM #4 37A

Carter sees 75-year-old ETHYL sitting up on the bed.

CARTERHi, I'm John Carter. Dr. Bentonsaid you cut your arm.

(CONTINUED)


48/80


37A CONTINUED: 37A

ETHYLOh, no, not me, I'm Ethyl. It's

my mother, Ada.

She points behind and Carter turns, sees 95-year-old Adaasleep in a wheelchair.

CARTERHello, Ada, can I look at your arm?

ETHYLWe slipped getting her out of thecar for church.

CARTERAda?

Carter touches her shoulder and Ada slumps over. Oh, God.

CARTERAda?

Carter checks for a pulse, listens for a heartbeat, liftsopen an eyelid. Ada is one dead puppy. Carter tries notto panic.

CARTERExcuse me just a moment.

He runs to the door, calls out.

CARTERSomebody help. Code blue!

CUT TO:

37B MAIN HALLWAY 37B

Lewis catches up to her mother.

LEWISI'm sorry, Mom. It's just that

we don't want people coming in the

trauma rooms when --

Cookie interrupts; and she's wound up like a spring.

COOKIEI can't do it, Susie.I can'ttake Chloe and I can't take thebaby.

(CONTINUED)


49/80


37B CONTINUED: 37B

LEWISWhat?

COOKIEI know I said I would, but I can't.

LEWISMom...

COOKIEAnd, quite honestly, you shouldn'thave asked me to. It's not fairand you should've known better.

LEWISMom...

Lewis can't get a word in edgewise. In the b.g. Bentonpushes a crash cart across the hall.

COOKIEWe can't get that crib up in timeand the wallpaper's all wrong inthat room and besides, your fatherand I still might take that cruiseto Alaska this summer so I thinkyou just have to make otherarrangements and --

LEWISMom!

(then)What happened? Did Chloe saysomething, do something?

COOKIENo.

LEWISSo after agreeing to do this youjust change your mind, is that it?

Cookie doesn't answer, looks away.

LEWISWhat the hell am I supposed to do

with her? She doesn't have anymoney, she doesn't have a place tolive... this is your granddaughter

we're talking about.

(CONTINUED)


50/80

40.

37B CONTINUED: (2) 37B

COOKIE(her anger)

Don't shove that in my face,Susan. Don't you think I knowthat?

(the truth, simply)

I tried my best with the two ofyou. But I can't do it again. Idon't want to do it again. I'vehad my kids, Susie. I'm done.

Lewis says nothing. Cookie's uncomfortable, awkward,doesn't know how to break away. After a beat...

COOKIEI have to stop by the market onthe way home; we're out of beer.You know how your father hates tobe out of beer.

Lewis just nods and, after another beat, Cookie movesoff. ON Lewis, left standing there.

FADE OUT.

END OF ACT TWO


51/80


ACT THREE

FADE IN:

38 EXT. ROOF - DAY (4:00 PM) 38

A couple of white chicks wearing shades. Hathaway andLewis sit in beach chairs, completely immobilized, faces

up to the sun, never turning left, never turning right.

LEWISWhere're you going on yourhoneymoon?

HATHAWAYTag's going to Paris. I'm goingto Hawaii.

LEWISCan I go with you?

HATHAWAYSure. You can leave Chloe andthe baby with his fifteen cousins.

LEWISGood. Thanks.

HATHAWAYI might stay.

LEWISIn Hawaii?

HATHAWAYYeah.

LEWISOkay. I can do that.

(then)You don't think Tag will mind?

HATHAWAYHe'll get over it. You don'tthink Chloe will mind?

LEWISI don't think Chloe will notice.

HATHAWAYYou think anyone's noticed we'regone?

LEWISProbably... You think we shouldhead back?

(CONTINUED)


52/80

42.

38 CONTINUED: 38

HATHAWAYProbably.

The two of them, not budging, faces high to the sky.Then a BEEPER goes off. As they look at each other --

CUT TO:

39 ELEVATORS/LOBBY 39

The doors open. A mass of people step out followed byChloe, in slippers and a robe, giving her baby a tour.

CHLOEThat was an elevator ride.

She moves toward the Main Hallway.

CHLOEThis is a window. This is apiece of gum stuck to the window.

And now she has to jump out of the way as a gurneysuddenly flies through and on into the elevator, carryinga sixteen-year-old boy. Ross gives last minute instruc-tions to the orderlies and a surgical resident.

ROSSGet him to OR #3, Metcalf's on his

way. I'll send his parents up when

they get here.

The elevator doors close and Ross finds Chloe in the...

40 MAIN HALLWAY 40

They walk towards the Admissions Desk.

ROSSHey, the new little Lewis. Let

me see her.

CHLOEShe's perfect, isn't she?

ROSSLooks that way to me. What's hername?

(CONTINUED)


53/80

43.

40 CONTINUED: 40

CHLOESusan... Susie... or maybe'Little Susie.' We're lookingfor 'Big Susie.'

ROSS

Big Susie? Haven't seen her, butChloe, you really shouldn't havethe baby out this soon.

CHLOEOh, no, it's okay. She likes it.

ROSSI'm sure she does, but you might

want to wait a month or so.

41 AMBULANCE BAY 41

Suddenly, the doors slam open and EVERETT (25, greasyhair, way too skinny) nearly falls to the floor tryingto hold up Nina (25, straggly hair, also way too skinny).She's unconscious, foaming at the mouth, blood and mucusspewing down all over her leather jacket.

EVERETTPlease, help me, somebody help

me. Nina's in trouble here.

Ross calls through the window to the desk.

ROSSLydia, need some help. Jerry, geta gurney and clear Trauma One.

Everett staggers again, drops Nina to the floor, goingdown on his knees beside her. Wright hurries around asJerry goes for a gurney. Ross gets down on the otherside of Nina, listens for breathing.

Chloe's forced against the wall, trying to stand clearof these falling bodies, holding her baby close, safe;staring at this horrific scene unfolding before her.

ROSSNina, can you hear me?

(no response)What did she take?

EVERETTI don't know for sure. She did aspeed ball, and maybe some downs.

(CONTINUED)


54/80


41 CONTINUED: 41

ROSSWhat kind of downs?

EVERETTI don't remember. Help her, please.

ROSS(to Wright)

Mouth shield?

WRIGHTYeah.

Wright grabs one from a supply tray, hands it to Ross whorips it open, sticks it in Nina's mouth. He blows inseveral breaths, listens again, then feels her carotidartery.

ROSSShe's in arrest. Let's get her up.

JERRYGot it here.

Jerry pulls the gurney in. They haul her body up ontoit and Ross starts CPR as they rush towards trauma.Everett follows.

ROSSWhat's your name?

EVERETTEverett.

ROSSTry and remember what kind ofdowns, Everett. Were they blue?Were they red?

EVERETTWe had everything; I don't know.

WRIGHTCall respiratory STAT to Trauma One.

They move fast, on down the hall. Chloe watches, thenslowly, almost without realizing, follows; watching asthey disappear around a corner.

42 TRAUMA HALLWAY/OUTSIDE TRAUMA ONE 42

Chloe rounds the corner and stops. Just ahead of her isa very sweaty, very nervous Everett. He glances back ather, then looks in through the doors.

(CONTINUED)


55/80


42 CONTINUED: 42

Ross and Wright, now joined by Malik, have startedworking on Nina. The door swings back open as Jerrymoves the gurney out.

Chloe's, watching, holding her baby close, as Oligariocomes up.

OLIGARIOLook at this little baby. What adoll.

Chloe now turns, hands the baby to Oligario.

CHLOECan you please take her?

OLIGARIOWhat?

CHLOEBack to the nursery. She shouldn'tbe down here.

Oligario doesn't get it, but doesn't ask.

OLIGARIOSure, I'll take her up.

Oligario moves off with the baby. ON Chloe, turningback to watch the trauma.

CUT TO:

43 EXAM ROOM #2 43

Greene is again with Mrs. Lafferty and Joanie. Hercondition has worsened slightly; she's now in mild res-piratory distress.

Greene listens with his stethoscope, then presses on herliver, checks her neck veins. Haleh enters, brings aglass of water to Mrs. Lafferty.

HALEHHere you go.

MRS. LAFFERTYThank you.

HALEHProbably not how you planned onspending Mother's Day.

(CONTINUED)


56/80


43 CONTINUED: 43

MRS. LAFFERTYNo.

(to Greene)You said the pediatric surgeon

would be coming in?

Greene motions her away from the bed.

GREENEYes. Dr. Netzley. We'll schedulethe surgery as soon as he getshere.

MRS. LAFFERTYAnd he's done this before?

GREENEMitral valve replacement? Yes,

many times. I know it's a lot totake in, Mrs. Lafferty, but it'sa routine procedure.

(and)Is your husband able to come?

MRS. LAFFERTYWe're divorced. He lives inTucson.

A beat, then she moves back to her daughter. ON Greene.

CUT TO:

44 MAIN HALLWAY/LOBBY 44

Lewis and Hathaway are coming back in, shades still on,beach chairs in hand.

Lewis sees Chloe sitting on the stairs. She hands herchair to Hathaway, moves over to her. Hathaway moves on.

LEWISChloe, what are you doing here?

Chloe looks up at her; she's been crying.

LEWISWhat happened? What's wrong?

CHLOEThe baby's so little, Susie. AndI just started thinking about allthe bad stuff that can happen andhow do I keep it from happening?

(CONTINUED)


57/80



LEWISWhat're you talking about?

CHLOEMom and Dad couldn't keep itfrom happening.

LEWISNothing's going to happen, Chloe.The baby's fine.

CHLOEI know she is now, but... I justgot scared.

(then)I guess I'll feel better when Iget home, right? Even if it is

with Cookie and Henry.

(CONTINUED)


58/80

ER - "Motherhood" - Rev. 4/10/95 47-49.

44 CONTINUED: 44

Lewis is about to tell her about her fight with Cookie,decides against it. She stands, takes Chloe's hand,pulls her up and over to the elevator, pushes the button.

LEWISYou'll feel better when you get

some sleep. Get back up to yourroom, okay? I'll come see youlater.

CHLOEThanks, Susie.

She steps in and the elevator doors close. ON Lewis abeat before she turns and walks into the...

45 OMITTED 45

46 MAIN HALLWAY 46

She walks past an arguing Benton and Hicks.

HICKSThe decision's been made, Peter.That's all there is to it.

BENTONBut I've been training this guyall year.

Greene calls from down the hall.

GREENEPeter, Susan, we need you.

Greene, Ross, Carter and Hathaway move down with EMTPICKMAN and several orderlies, two gurneys in tow.

Lewis, Benton and Hicks join them halfway down.

PICKMANDueling gang chicks. This one's

Rosario Guitterez, also known asLa Puppet. Stab wounds to thechest. Pulse is 140 and thready,BP 60/30. Decreased breath soundson the left.

(pointing back)That's La Blue Eyes, AngelinaFigueroa. GSW to the head.Pulse 60, BP 90/60. GCS 5.

(CONTINUED)


59/80


46 CONTINUED: 46

Pickman, Benton, Ross, Carter, Hicks and Hathaway, joinedby Wright and Oligario, move the stab wound, GUITTEREZ(20) into Trauma One.

Greene and Lewis, joined by Haleh and Malik, move anunconscious Figueroa, the GSW, into Trauma Two.

47 TRAUMA ONE 47

BENTONOn a count, one, two and three.

They transfer Guitterez and Pickman moves back out.

PICKMANHave a nice day.

Hathaway, Wright and Haleh hook up IV's, monitor.

BENTONTracheal shift and hyperresonanton the left.

HATHAWAY0-2, fifteen liters.

CARTERShe's really cyanotic.

BENTONTension pneumo.

WRIGHTCapillary blanch is positive.

HICKSDr. Ross, sixteen gauge needle.

Hicks blows on into...

48 TRAUMA TWO 48

Figueroa's been transferred. Haleh and Malik hook her

up. Greene examines; Lewis goes to intubate.

HALEHNo respiratory effort.

LEWISGive me a 6.5 tube.

Haleh hands it over. Lewis intubates.

(CONTINUED)


60/80


48 CONTINUED: 48

HICKSWhat've we got?

GREENEGrey matter. All over her hair.

HICKSMannitol, 75 grams and a gram of

Ancef, IV.

MALIKSinus brady 52.

LEWISLet's hyperventilate her.

49 TRAUMA ONE 49

Benton supervises Carter putting in the needle onGuitterez.

BENTONThat's right, the secondintercostal space, the mid-clavicular line.

HATHAWAYPulse ox is down... 75.

Carter presses the needle in further.

WRIGHTO-neg's here, six units.

ROSSGet a pleurovac.

OLIGARIOYou doing a chest tube?

ROSSYeah, let's get it prepped.

Carter pulls the needle out. The pressure's relievedand Guitterez starts to come to, look around.

HATHAWAYLa Puppet's breathing easier.

ROSSRosario, can you hear me? Canyou hear me?

(CONTINUED)


61/80


49 CONTINUED: 49

Yes, and now she flails out with both hands.

ROSSWhoa, baby, I guess you can.

GUITTEREZ

Get off of me. Let me out ofhere, you bastards. I'm okay, I

want outta here.

OLIGARIOWatch the IV.

WRIGHTHold her down.

She looks over, sees Figueroa in the other room.

GUITTEREZLet her die, that stupid bitch.Stabs me with my own knife.Nothing but a damn whore. I shother good; I hope she dies. Ellaes nada mas que una perra. Yo te

mato tu familia entiende.

HATHAWAYWhat about a tox screen?

ROSSYeah.

BENTONConnie, get some restraints and2.5 of droperidol IV.

50 TRAUMA TWO 50

Figueroa's still unconscious. Guitterez is looking overfrom next door, pointing, screaming her head off.

GREENEGuess that one woke up.

HALEHBP's down, 80/40.

LEWISLet's get a CBC, chem seven, typeand cross two units.

(CONTINUED)


62/80


50 CONTINUED: 50

HICKSOrder a chest film and do a CT onthe way to ICU.

GREENEPupils are blown.

LEWISNo reflexes, flaccid paralysis.

HICKSLet's get a gas.

MALIKYou want me to track down herfamily?

GREENEYeah. And Haleh, check her wallet.Maybe there's a donor card on herdriver's license.

LEWISYeah, that's likely.

51 TRAUMA ONE 51

GUITTEREZLet her rot. She tries to steal

my boyfriend, steals my knife.

This is what she gets. She shouldpay and she should die. Deja lapudrir. Esto es lo que ella

merecer.

BENTONLydia, call the OR, let them know

we'll be up in a few minutes.

Wright just gets out the door when it flies back open.Another gang babe, RAMOS (20), blasts in. Blood all overher hands, face. She holds a rag up to one ear. Andimmediately dives for Guitterez.

RAMOSLook what you did to me, you damnbitch. You cut off my ear. Whydid you do this to me, you whore?

OLIGARIOWhere the hell is security?

(CONTINUED)


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51 CONTINUED: 51

The others are in shock as she pulls the rag off -- andshe is missing an ear. She starts punching on Guitterez,both of them screaming at each other in English and Spanish.

GUITTEREZQuitate de me. Yo te mato tu

familia. Tu eves nada. To voya corta lo restode tu cara fea.

RAMOSMira lo que me esiste. Tu es nada

mas que unaperra. Tu eres ya!Cubre tu es palda. Tu vas allorar mucho.

Malik bolts in, dives for Ramos. He wraps his armsaround her, locks his hands, drags her back out and downthe hall.

ROSS(to Carter)

Carter, focus, do the chest tube.

HATHAWAYIV's blown.

They barely catch their breath when Jerry rushes in.

JERRYDr. Benton, your mother's nursinghome is on the phone.

BENTONHave to call them back.

JERRYThey said it's urgent.

Benton looks up, glances at Ross.

ROSSGo.

BENTON

Get her up to ICU.

Benton runs out, heads off for the Admissions Desk.Hicks moves in from Trauma Two.

HICKSEverything okay in here?

ROSSHunky-dorry.

(CONTINUED)


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ER - "Motherhood" - Rev. 5/5/95 AB54A.


Wright re-enters.

WRIGHTTrauma team's on its way down.

HATHAWAY

Clamp the suction tube.

Carter looks down to the Admissions Desk, sees Benton onthe phone -- the conversation seems angry, then he slamsthe phone down, says something to Jerry, bolts out.

OLIGARIOGrab the monitor.

HICKSOkay, let's move her. Carter.

Carter's snaps back to attention, starts to move thegurney out with Hicks, Wright and Oligario.

52 LOBBY/ELEVATORS 52

Jerry passes through as they hand the gurney off to acouple of surgical residents.

HICKSWhere's Dr. Benton?

JERRY

Had to go.

Wright and Oligario move off. Carter starts off whenHicks stops him.

(CONTINUED)


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ER - "Motherhood" - Rev. 4/11/95 A54A.

52 CONTINUED: 52

HICKSMr. Carter... I know Dr. Benton

wanted to talk to you about this,but I need to notify people...

(then)We had a number of excellent

candidates this year for theSurgical Sub-Internship. Theselection process was verydifficult. And while you've donesome excellent work, anotherapplicant was more qualified.

(and)I'm sure you'll do well in

whatever else you choose.

She moves off. Leaving Carter completely dazed.

CUT TO:

53 TRAUMA TWO 53

Halah and a couple of orderlies are moving Figueroa outon the gurney. Greene and Lewis are still there; Rossand Hathaway have wandered in from Trauma One.

(CONTINUED)


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ROSSHaving fun in here, Big Susie?

LEWISWhat did you call me?

GREENEBig Susie... yeah, I like that.

A slightly flustered Malik comes in.

ROSSStarting nose tackle for theChicago Bears, Malik Williams,ladies and gentlemen.

(CONTINUED)


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53 CONTINUED: 53

They all applaud, Malik laughs.

MALIKSecurity's got her restrained inthe Suture Room if anyone wantsto check out that ear.

HATHAWAYShe brought the ear?

Ross throws a wadded-up paper towel at Hathaway.

ROSSCarol...

GREENEThanks, Malik. I'll be there ina minute.

Malik leaves and Greene now sees a still-dazed Carterstanding at the door.

GREENEHey, Carter, where'd Benton go?

Carter doesn't even seem to hear him.

GREENECarter? You all right?

CARTER

What? Oh, yeah, fine.

CUT TO:

54 NURSING HOME - HALLWAY - NIGHT (6:30 PM) 54

Benton hurries down, then slows as he looks ahead, seesJackie's kids, JESSIE, JOANIE and STEVEN, sitting on abench. They're talking to DR. SANDRA LI. Li noticesBenton, walks down to meet him.

BENTON

What is it? What happened?

LIDr. Benton, I'm sorry I couldn'tget to you sooner...

BENTONWhat's going on? They wouldn'ttell me anything over the phone.

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54 CONTINUED: 54

LIDr. Benton, your mother arrestedat 5:15 this afternoon, while I

was in attendance...

Benton just stares at her, hardly able to take it in.

LIWe tried to resuscitate her fortwenty-five minutes. We used allour capabilities, but herheart was too weak... and shedied. I'm sorry.

And now it's Benton who's dazed, numbed. Listening tothe very words he's said himself so many times before.He moves past Li, slowly walking on down the hall.Staring at the faces of Jackie's kids. All three faces,

wet with tears, staring back as he moves towards them.

He pulls them close, hugs them.

BENTONAre you guys okay?

STEVENYeah, Uncle Peter. We're okay.Mama's still in with her.

He pulls away, moves towards his mother's room.

55 NURSING HOME - MAE'S ROOM 55

There's a mother's day bouquet and several mother's daycards on the bedside table. MAE's body lies still in thebed. JACKIE sits beside her. She looks around whenBenton enters, moves to him and they embrace. Afterseveral beats...

JACKIEI'm going to check on the kids.

Benton says nothing, just nods, and Jackie leaves.

He walks over to his mother, pulls the chair up close toher side, sits next to her. Just watching that beautifulface. Wishing he could watch it forever. Now he takesher hand in his, leans down to kiss it.

Gently begins to weep.

FADE OUT.

END OF ACT THREE


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ACT FOURFADE IN:

56 EXT. BASKETBALL COURT - NIGHT (8:15 PM) 56

Ross shoots baskets as Greene approaches.

GREENE

Thought you were off at eight.

ROSSOn my way home. Thought you werehaving dinner with Jen.

GREENEShe's running late.

Greene grabs the ball away, starts shooting.

ROSSSo, are you in the mood to give alittle personal advice?

GREENENot really.

ROSSDiane's starting to think aboutour moving in together.

GREENESorry, Doug, I'm not touchingthat one.

ROSSDid you and Jen live togetherbefore you got married?

GREENEShe says we barely live togethernow... but the answer's no; herfather would've killed us.

ROSSSo you bowed to the Reverend's

wishes?

Ross takes another shot, then lets Greene take the ball,leans back against the wall.

GREENEI don't like to think of it that

way exactly... what're you goingto do?

The ball bounces near Ross and he hangs onto it. Greenesees that he's serious.

(CONTINUED)


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56 CONTINUED: 56

ROSSDid you know when you were ready?

GREENEYes.

ROSSSo if I don't know does that meanI'm not ready?

Greene just looks at him, then looks away.

ROSSYeah, that's what I figured.

Greene takes the ball, starts shooting again.

GREENEDoes your lack of readiness haveanything to do with Carol getting

married next week?

ROSSWhat's that supposed to mean?

GREENEMaybe it'll be liberating.

Greene looks over at Ross who shrugs, says nothing.

GREENE

Does your lack of readiness haveanything to do with my making thenext shot?

ROSS(now laughing)

Yes. Completely.

GREENEOkay, if I make it you're ready;if I don't, you're not.

Greene aims, throws, and as the ball sails through the

air, we...

CUT TO:

57 BABY NURSERY - NIGHT 57

The room's dimly lit. Lewis stands by the window withthe baby. Light filters in through the blinds.

(CONTINUED)


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57 CONTINUED: 57

LEWISThat's the Little Dipper, andover there's the Big Dipper, andI don't know any of the othernames, but we'll find out, okay?

CARTER (O.S.)Dr. Lewis?

She turns as Carter enters, now out of scrubs.

LEWISHey, Carter, can you name any ofthe constellations?

He joins her by the window, starts pointing.

CARTERWell... there's Larry and overthere is Moe and that, of course,

would be Curly Joe...

LEWISYou're worse than I am.

CARTERBoy, she's adorable.

LEWISI've delivered a lot of babies,but I don't think I ever realized

just how little they are. Lookat these fingers.(then)

I'm sorry you're not going to dothe ER Sub-I.Mark told me.

CARTERActually, I wanted to ask youabout that. Maybe I made the

wrong decision.

LEWISNot if surgery's what you want.

CARTERYeah, I'm just thinking maybe theER's what I really want. What doyou think Dr. Greene would say ifI told him I'd changed my mind?

LEWISI think he'd say it's too late.He offered it to Garreau.

(CONTINUED)


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CARTERAnd I suppose she said yes?

LEWISI think so.

(as the BABY

SQUEAKS)Oooh, what was that, a baby burp?

And you're looking kind of sleepy,little one. Maybe we'd better putyou down...

Lewis wanders off towards the baby's basinette. OnCarter, left alone at the window.

CUT TO:

58 EXAM TWO/ADMISSIONS AREA 58

Greene hurries out as Haleh and an orderly push Joanie ona gurney. Mrs. Lafferty follows. They move on down thetrauma hallway as Greene calls to Hathaway at the desk.

GREENECarol, page Netzley to Trauma Two,now!

He starts off, turns back.

GREENE

And when Jen gets here, tell herI'll be out as soon as I can.

58A TRAUMA HALLWAY 58A

Greene rushes down, grabs Wright on the way.

GREENELydia, we've got a pulmonary edemain Two. Draw up five of morphine,start a nitroglycerine drip andget a blood gas.

Wright heads off to the drug lock-up. As Greene turnsthe corner for Trauma Two...

JENNIFER (O.S.)Mark?

He turns back, sees JENNIFER coming down the side hall,on her way in. She's dressed up for their dinner date.

(CONTINUED)


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58A CONTINUED: 58A

GREENEJen, I'm sorry. I've got a seven-year-old crashing. Please wait,okay?

She's too stunned to say anything. Greene turns, heads

into Trauma Two. Mrs. Lafferty's just inside the door.

GREENEMrs. Lafferty, we need you to stayout here. We're going to doeverything we can.

Mrs. Lafferty steps out as Greene moves in, now followedby Wright bringing the morphine. The trauma doors shutas Greene, Haleh and Wright start to work on Joanie.

Jennifer remains in the hallway. Mrs. Lafferty keepslooking through the window.

ON Jennifer, watching.

CUT TO:

58B SUTURE ROOM 58B

Carter stitches a lac on the forehead of DUNLOP (35), aSecret Service Agent. Grey suit, American Flag pin onone lapel, Secret Service pin on the other, small ear-phone in his ear, the cord running down into his jacket.

DUNLOPLittle warm in here, don't youthink?

CARTERYou can take your jacket off.

Dunlop looks at Carter with disdain.

DUNLOPIf I can wear it on the golfcourse, I can certainly wear it

here.

Dunlop sits up tall, straightens his tie.

DUNLOPIt was a real bitch out theretoday. Knocked some woman rightout of her cart on the ninth hole,and then this.

(CONTINUED)


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58B CONTINUED: 58B

He points to his forehead.

DUNLOPYou don't want to stand to theleft and behind Bush; he's got apretty mean slice. Never had that

problem with Carter.

CARTERThat would be President...?

Dunlop holds his hand up, cuts Carter off. He's listen-ing to something through his earphone; holds his wristup, speaks into his cuff microphone.

DUNLOPThis is Dunlop. What do you want?

He listens a beat, then into the mic again.

DUNLOPWhere's the Woofer now? Well,stay with him, you idiot.

(back to Carter)People think our job's dangerous;they don't know the half of it.This career's a lot tougher thanit looks.

CARTERActually, I've been having some

career problems of my own today.

Dunlop glances up at him, unimpressed. As he againstraightens his tie and Carter resumes stitching...

CUT TO:

59 OMITTED 59

60 EXT. ROSS'S APARTMENT - NIGHT 60

Diane Leeds pulls her car up to the curb about fifty feetfrom Ross's steps. She gets out, moves down the side-

walk, then stops, looking ahead.

Ross comes out his front door. He's dressed casually,laughing, joking with someone. A beat and Linda Farrellfollows him through the door. She's dressed casuallynow, too, in jeans. They start down the steps when Rossspots Diane.

(CONTINUED)


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60 CONTINUED: 60

She's just staring at him, then turns, hurrying backtowards her car. Ross runs after her.

ROSSDiane... Diane, wait.

He catches up, moves alongside her.

ROSSDiane, please, it's not what youthink.

(no response)Please, just listen to me.

DIANEI've already done that, Doug.

She reaches her car, can't get the key in the lock.

ROSSDiane, stop a minute, please.Don't do this.

She gets the key in, unlocks the door, opens it.

DIANENo, don't you do this. Don'tstand there and tell me it's not

what I think it is when we bothknow you're lying.

(and)

Because you are lying, aren'tyou, Doug?

Ross freezes a beat, not knowing what to say. Thenfinally comes clean with her.

ROSSYes, all right, I am lying. Theidea of our moving in together; Idon't know, maybe I'm not ready.

DIANE(honesty more

than anger)You could've just said that.

ROSSI was scared. And I was stupid.I'm sorry. Please, can't we takeanother chance here?

(CONTINUED)


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DIANENo.

ROSSPlease, come on... It won't happenagain...

She has to laugh at that one.

DIANEYes, it will.

She glances back at Linda, still standing on Ross's frontsteps, then gets in her car, pulls away.

ROSSDiane, wait, please...

She drives on down the street. Ross takes a few stepsafter her, calling.

ROSSDiane... Diane...

On Ross as he stops, out of breath, left behind.

CUT TO:

61 TRAUMA HALLWAY/OUTSIDE TRAUMA TWO 61

Haleh and Wright stay behind as Greene moves out withMrs. Lafferty, Joanie on a gurney, and pediatric surgeonDr. Netzley. They move calmly towards the elevators.Joanie has an oxygen mask and multiple IVs.

MRS. LAFFERTYHow long will the surgery take?

NETZLEYLittle over three hours.

MRS. LAFFERTYAnd you're sure it's all right to

do it now? Even after all this?

NETZLEYYes. She's quite stable now,Mrs. Lafferty, and the procedurereally is routine. Joanie'sgoing to be fine.


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65.

62 LOBBY/ELEVATORS 62

GREENEThere's a waiting room just downthe hall from Surgery.

MRS. LAFFERTYAll right. Thank you.

NETZLEYThanks, Mark.

They move in and Greene gives a wave as the doors close.

CUT TO:

62A ADMISSIONS DESK 62A

Jennifer sits behind the desk with Hathaway, the two ofthem eating pizza, laughing, talking weddings.

HATHAWAYIt's such a myth that it's thebride who wants the splashy

wedding.

JENNIFERHow big's the church?

HATHAWAYToo small for the 3,000 people onthe groom's side; too big for thetwelve people on mine.

(and)He invited everybody he's evermet.

JENNIFERSo did Mark. It was a nightmare.His relatives had every motel room

within twenty miles.

HATHAWAYHow did you get through it?

JENNIFER

(straight-faced)Drugs.

Hathaway laughs, so does Jennifer, as Greene approaches,moves to Jennifer, gives her a kiss.

GREENEHi...

(then, suspicious)What's going on here?

(CONTINUED)


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62A CONTINUED: 62A

HATHAWAYPre-marital advice.

GREENEDid she tell you how I wanted toelope, but she insisted on Notre

Dame?

Hathaway laughs as Jennifer shoves Greene away. ThePHONE RINGS. Hathaway moves down to answer it, leavingGreene and Jennifer alone.

GREENEI'm sorry about dinner, Jen.

There's a stillness now, an awkwardness between them.

JENNIFERYou had a patient, Mark.

GREENEShe should've gone up hours ago,but there were complications and,uh, the usual...

Jennifer's not angry, not hostile, but something worse...matter-of-fact, resigned.

JENNIFERYeah, well, that happens. What'reyou going to do?

He looks at her, doesn't have an answer. Another beat,and Jennifer gets up.

JENNIFERIt's a long drive. We shouldprobably go.

ON Greene as Jennifer moves off.

CUT TO:

63 OMITTED 63

64 INT.NURSING HOME LIBRARY - NIGHT 64

Benton stands alone by the window. He's stopped cryingnow; simply stares out, desolate, lost. JEANIE BOULETenters. He doesn't turn, doesn't see her. She watcheshim, then...

(CONTINUED)


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64 CONTINUED: 64

JEANIEPeter...

He still doesn't turn, still at sea. But he smiles. Asmall, slight half-smile, only to himself.

BENTON(soft, reflective)

All our capabilities.(then)

Said those words how many times?Never actually heard them untiltoday.

Jeanie moves closer.

JEANIEI'm sorry, Peter.

He turns now, looks at her. His emotions right up to thesurface. He reins them in, struggling to keep control.

BENTONJackie took the kids home. Waypast their dinner. I told her I'dfinish up here.

He can feel himself slipping, tries to dodge it.

BENTONThought I'd be more prepared for

this.

JEANIENo one's prepared.

BENTONThey said we can come backtomorrow, get the rest of herthings and...

He breaks off, his emotions welling up.

BENTON

I sat beside her. Held her hand.Touched her face. Her skin was sosoft... And for just one moment Ithought maybe I could stay thereforever.

He looks at Jeanie now, helpless, asking with completeinnocence...

(CONTINUED)


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ER - "Motherhood" - Rev. 5/5/95 67A/68.


BENTONBut I can't do that, can I? Ican't hold onto her. I can'ttouch her.

(then)I can't do anything to keep her.

And he can no longer keep back the tears. Raw, vulner-able, eviscerated. Finally giving in to his grief.

Jeanie takes his hand in hers. Then slowly reaches up,touches his face, turning it toward her.

He looks at her now and they slowly move closer to eachother. Into a kiss. Gentle at first, then more.

Finally, they break apart and Benton pulls Jeanie's headclose to his chest, holds onto her.

And she holds onto him.CUT TO:

65 OB HALLWAY - NIGHT 65

It's late and mercifully quiet. Lewis walks down.

66 CHLOE'S ROOM - NIGHT 66

She moves in. The lights are off. Moonlight streams inthrough the blinds.Chloe's sound asleep, the babytucked securely at her side.

Lewis moves up to the bed, reaches down, pushes Chloe'shair back from her eyes. Then she picks up the baby,crosses, sits in a chair by the window.

The shadows shift gently across her face as she rocksthis new little life. And quietly begins to sing.

LEWIS'Blackbird singing in the dead of

night...Take these broken wings and learn

t fl

ER Motherhood

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Transcript of ER Motherhood