FADE IN :

EXT. CEMETERY – DAY

Beautiful summer day. On a low hill, under a single oak tree, a small burial ceremony is underway.  A hearse pulls away from a parked limousine displaying the flag of the President of the United States.  Several Secret Service agents are stationed around the hill. Two women sit before a simple casket.  The President, MARY BACH 47, a strikingly beautiful woman of determination and strength. The second woman, APRIL McCOY 84, she manages to maintain an air of dignity.

April turns to the President.

APRIL
			I'll miss him so much.  

MARY
			Why didn't you tell me Sam was 
			sick?  

APRIL
			He didn't want me to bother you. 

Mary cannot believe she is hearing this. 

PRESIDENTIAL AID approaches, leans over and whispers into the President's ear, passing her a slip of paper.

AID
			I'm sorry to bother you, Madam 
			President. This was just decoded. 

Mary reads the note, emotion melting away from her face. She is stunned. Slowly, Mary looks up to the horizon.

MARY
			Have they moved? 

Mary looks at the aid who nods slightly.

Mary turns and looks back at April, ashamed. 

April, through the pain and heartbreak, a caring, tender smile appears for Mary.

APRIL
			Oh, Mary, he was always so 
			proud of you.  

MARY
			He always tried to be tough.

Aid shifts impatiently from foot to foot. 

April looks at the casket. 

APRIL 
			You old fool.  Let your heart...

April breaks into sobs as she speaks. 

APRIL
			...give out because a turtle died.  

Mary puts an arm around April.

MARY
			George was his best friend for 
			over 60 years.

Aid leans over.

AID
			Ma'am, we need to go.

MARY
			Yes, Bill, just a minute.   

Mary looks at April.

MARY 
			I'm sorry, April, I don't 
			want to--

APRIL
			--I know, honey, I know. 

April pulls a turtle broach from her purse and hands it to Mary. 

APRIL 
			I want you to have this.  

MARY
			But, Sam bought you this. 

APRIL
			They're both gone now. Sam asked if  
			I'd give you this. 

Aid grows more impatient with every passing second. He sees Presidential advisers and Military officers approaching.    
  
AID 
			Madam President. 

Mary hugs April tightly. 

MARY
			I love you. I'll call you tonight, 
			before you go to bed. 

APRIL
			Take care of yourself. Take 
			care of all of us.

Mary stands and allows herself to be led off by her advisers.

April looks to the sky, as if waiting for something.

INT. PRESIDENTIAL LIMO – DAY

Mary sits quietly, oblivious to the excited chatter and speculation around her.  She looks down at the broach and her mind drifts back to another time...

EXT. HOSPITAL – DAY

APRIL, many years younger, in the prime of her life, wears a nurse's uniform as she pushes a wheelchair across a parking lot, 7 year old MARY rides in the chair. Weak and frail, Mary enjoys the warmth of the late summer's afternoon sun. 

MARY
			April.

APRIL
			Yes.  

MARY
			Am I gonna die soon?

April shocked, is left momentarily speechless.

APRIL
			What would make you say such 
			a thing?

MARY
			I hear what the doctors say.  
			I've seen how they look at me. 
APRIL
			Doctors tend to be very 
			serious people, honey.

Mary looks up at April, her young face is wise beyond her years. April feels the pressure of the gaze.

APRIL
			You just need time to get 
			stronger. 

April realizes that Mary is a tough sell. 

APRIL
			You should be thinking of your 
			future.  A smart girl like you 
			could be anything you want.

Mary ponders this idea as a PICK UP TRUCK speeds through the parking lot and slides to a stop in a parking space. 

SAM McCOY 45, a solid, capable man, jumps out. There is an old scare along the left side of his face.  He runs to the emergency entrance.  The driver's door is left open. 

Mary looks up at  a surprised April.   

Mary turns back around to enjoy the sun. 

April keeps watching the ER entrance. 
 
INT. EMERGENCY ROOM ENTRANCE – DAY

The ER is not busy, only a few patients waiting to be seen.
Several nurses work at or around the desk. A MAN and a 	WOMAN are at the front desk. Man is angry, almost shouting. Woman is calmer but demanding information.   

Sam hurries through the doorway and to the front desk.  He cuts in front of the couple.

MAN
			Pal, you better back off, 
			and wait your turn. 

A look from Sam and the man is silenced.  Sam carefully focuses his attention on the duty nurse.

SAM
			I'm Sam McCoy.  My wife, Rebecca, 
			was brought in.
 
The DUTY NURSE looks at Sam, she hesitates for a moment then exchanges a look with the nurse next to her, and back to Sam.

DUTY NURSE
			Yes Mr McCoy, your wife is 
			being treated right now. 

The nurse gets to her feet. Sam is near panic, worried.

SAM
			How is she?  Can I see her? 

DUTY NURSE
			Just a moment, sir. I'll check 
			on her status.

SAM
			Can't I see her now?

The duty nurse exits through a doorway. 

Sam looks around. He is confused and scared. He hears nothing but the sound of his own heart beat. Sam begins to pace around the waiting area. 

INT. HOSPITAL MAIN ENTRANCE 

April and Mary enter, cross the lobby and head down a side corridor. April moves the wheel chair to the side so a hospital bed carrying a dead patient, pushed by JACK KELLOGG, a large powerfully built orderly, can get by.

April watches Jack cautiously as he passes. Before Jack is more than a few feet away Aprils speaks.

APRIL
			Jack, is that Mrs Frye? 

Jack does not slow or turn. His response is cold. 

JACK
			It's a donor, it's getting shipped 
			to the chop shop.

APRIL
			The last I heard there was no cause 
			of death.  What did they find? 

Jack is unmoved.  He only shrugs. 

JACK
			Talk to Dr Conrad. 

April and Mary watch until Jack is out of sight. 

MARY
			You don't like him? 

April shakes her head slightly and continues down the corridor with Mary.

April pushes Mary to a doorway leading to the ER, but does not enter. They can see Sam.  

INT. EMERGENCY ROOM

April watches Sam, concerned. The other patients sitting in the waiting area are calm compared to Sam, who looks at them as if something were wrong with them.

Door the duty nurse exited through opens and she returns with DOCTOR CONRAD, a tall middle aged man, who appears spent. Both look pained. 

Sam watches them approach. 

He notices Conrad's scrubs are clean, fresh. There's a spot of blood on Conrad's eyeglasses and another drop in his dyed hair. 

CONRAD
			Mr McCoy, I'm sorry your 
			wife's injuries-- 

Sam shakes his head

SAM
			No, don't say it... I want to 
          	see my wife.

Sam looks to the door Conrad came from.

CONRAD
			She was hurt badly. I did 
			everything I could. 

Mary watches, becomes concerned also. 

MARY
			That poor man.

Sam turns away from the doctor.		     

CONRAD
			This is a bad time, but 
			Mr McCoy, your wife could help...

Sam shakes his head.

SAM
			No. (beat) I'm sorry, no.

Sam's face, a mask of concrete, begins to crumble before Conrad's eyes. 

SAM
			I need to be with my wife. 
			Please.

April tries to take a step toward Sam, but stops herself. 

 DUTY NURSE
			I'm sorry Mr McCoy, we can't.

Sam trembles in anguish.

CONRAD
			Let him go.   

Sam walks slowly to the door.  His life will never be the same on the other side. He pushes the door open and steps through.  

Conrad watches the door close behind Sam, then turns and flings the clipboard across the ER. Several staff duck to avoid being hit.  No one confronts or makes a comment to Conrad. 

INT. EMERGENCY TREATMENT ROOMS 

An eerie silence surrounds Sam, spreading throughout the Emergency Room.  

Sam staggers, unguided, to a curtain draped treatment room where two blood soaked Firemen Paramedics are standing.     
One of the Firemen, who appears barely out of high school,  steps forward, places a hand on Sam's shoulder.

Sam looks the man over. HAYNES is on his name tag. 

HAYNES
			MR McCoy, Sam, I'm very sorry.  We did 
			every thing we could.  
Sam looks down, pats the hand on his shoulder, and nods. 

SAM
			I know.  I know.  Thank you.

HAYNES
			She was awake the whole way in. 
A tear runs down Haynes' cheek.
			She talked about you. She loved 
			you.  I'm so sorry.

Haynes turns and walks away. FLOHR, the older, veteran fireman, says nothing and follows Haynes. 

Sam steps up to the curtain and slowly slides it back. 

REBECCA lays dead under a blood soaked sheet on an emergency room bed. Her right forearm hangs limp and exposed.  Blood, gauze, and used medical supplies litter the floor around the wheels of the bed. 

Sam's steps are heavy and laborious as he makes his way slowly to Rebecca. 

SAM
			Oh, God. No. (beat) Please.

At the bedside Sam takes Rebecca's hand in his, kneeling next to her. He places the hand next to his face and pulls back the sheet. Rebecca's face is swollen and purple, the left side badly damaged.

Sam's tears mix with Rebecca's blood.    

 SAM
(sobbing)
			Baby, no.  

Sam lowers his head onto Rebecca.  His body convulses with sobs.

INT. EMERGENCY ROOM ENTRANCE

Sam's sobs can be heard, faintly.  The two firemen stand near a nurse's station.  

April stands perfectly still, her eyes closed. Mary looks up at her, then looks in the direction of Sam's cries. 

Haynes is having difficulty dealing with the death of Rebecca. 

FLOHR
			The first one's the hardest. 

HAYNES
			I don't know if I can deal with 
			this, Flohr.

FLOHR
			You did real good today.  Don't 
			take it bad. 

Sam's sobs continue. They echo. 

EXT. MCCOY HOUSE/DRIVEWAY – DAWN

Sam's pickup pulls slowly into the driveway and stops.

EXT. EASTERN HORIZON - DAWN

Broken clouds, over a grayish tinted horizon, are roasted golden hues, slowly giving way to a fiery solar explosion
of dawn. 

EXT. MCCOY HOUSE/DRIVEWAY/SAM'S PICKUP - DAWN

Beams of morning light flash in Sam's exhausted, bloodshot eyes. Sam fails to see the beauty in the birth of a new day.

Sam gets out of the truck and staggers to the front door. 

KEYS drop to the stoop. 

Sam's fingers fumble to pick them up. After some difficulty he manages to get the door unlocked and opened. 

INT. MCCOY HOUSE/LIVING ROOM – MORNING

The house is dark.  Sam enters slowly, unsure of what he will find. THUMP, THUMP THUMP. GEORGE, a small tortoise, is at the sliding glass door. Sam walks to the glass door and opens it. George crawls in. 

Sam kneels down, puts his hand out for George to sniff. George, satisfied, allows Sam to pick him up. 

INT. BEDROOM – MORNING

Sunlight fills the room.  Sam lays on the floor, eyes wide open.  George, his legs and neck fully extended sleeps peacefully stretched out on Sam's chest. Sam sighs heavily, a single tear rolls from his eye. 

LIVING ROOM – DAY

George makes his way, slowly, across the floor to the open sliding glass door. 

EXT. MCCOY HOUSE/TURTLE ENCLOSURE – DAY

MARTHA, George's mate, is bathing in the bright sunlight.  Her head turns to see George approaching.  

George stops next to Martha.  

INT. MCCOY HOUSE/BEDROOM – DAY

Sam, quietly, with no expression on his face, watches the turtles outside. 

EXT. DAWN SKY – DAWN

Another beautiful morning fills the sky over the McCoy home. 

INT. MCCOY HOME/BEDROOM - DAWN

Morning creeps into the bedroom. Sam sits on the floor, leaning against a wall.  He has not shaved or slept. Both Martha and George enter.  Sam does not notice them this time.

INT. MCCOY HOUSE/LIVING ROOM – DAY
Sam enters, heads towards kitchen but stops. He turns and notices the answering machine flashing. There is one message. Sam presses the play button. 

ANSWERING MACHINE
(Rebecca's voice)
			Hi, baby. You're probably not 
			home yet, but I'm on my way. I 
			thought we'd eat out tonight.  
			I'm dying for a steak. 
			Hungry! (beat)
			Oh, no! THUMP
              (indistinguishable screams)

The message ends. Sam shakes. His knees buckle and he falls to the floor. 

EXT. AUTOSHOP PARKING LOT – DAY

Rebecca's van is a pile of shredded metal. Sam, still unshaven, looks at the wreck from the street. 

INT. MICHAEL HAMILTON'S OFFICE – DAY

A décor of primarily fine wood paneling, an antique oak desk dominates the room. 

Sam looks like hell.  

A CASKET CATALOG sits open in front of Sam. Sam points to an item. HAMILTON nods and takes the book.  Hamilton appears pained, uncomfortable. It's a good act. 

Hamilton speaks. Sam nods, stares vacantly.

INT. ATTORNEY ANTHONY ROY'S OFFICE – DAY

ROY passes several documents to an even worse looking Sam. 

EXT. CEMETARY/REBECCA'S GRAVE – DAY

The day is too beautiful for a funeral.  A half dozen mourners stand beside the grave site.  Sam's suit is wrinkled, his tie poorly done, and his attempt at shaving left patches of stubble.  

The minister speaks but his words are not heard by Sam.  

The service is brief, the mourners file past Sam slowly, offering their condolences. Sam does not respond. 
Finally, he is the last remaining. 

Hamilton stands several yards away with the GROUNDS  KEEPERS. The Grounds Keepers nod as Hamilton speak. One waves to a waiting backhoe.

EXT. CEMETARY/REBECCA'S GRAVE – NIGHT.

The Grounds Keepers have finished, fresh sod covers the ground where Rebecca is buried.

Sam kneels by the grave, tears streak his face. 

Clouds form overhead. A light rain begins to fall.

Sam wipes the tears from his eyes. Sam sits. The ground is becoming wet.

EXT. HIGHWAY – NIGHT

A heavy rain falls on the empty road. In the distance headlights round a bend.

The vehicle comes closer, periodically veering in and out of its lane. It is Sam's pickup.

INT. SAM'S PICKUP

Instrument lights shine on Sam's face. He is exhausted and dozing at the wheel. His head bounces several more times before he falls completely asleep. 

EXT. HIGHWAY

The pickup drives off the road and out of sight. The sound of rain is deafening, almost drowning out the CRASH a short distance away. There is no sign of the accident from the road.

The rain continues to fall. 

INT. HOSPITAL/MARY'S ROOM – NIGHT

The room is dark. Mary lays sleeping peacefully. Like electricity hitting her, Mary sits straight up in bed.  Her  eyes wide open she breaths heavily. 

MARY
			Daddy!  

EXT. HOSPITAL RECEIVING DOCK - NIGHT

Conrad stands in the shadows waiting, his face illuminated by the glow of his cigarette. He checks his wristwatch and looks around impatiently.  

A dark figure walks toward Conrad. 

CONRAD
			You're late, Wilson.

Conrad steps into the light.  WILSON, 30's dressed in business attire, stops several feet from Conrad. His features unseen.   

WILSON
			Your whole shipment is late. 
			Where is it!

CONRAD
			Keep your voice down. You'll 
			get your parts. I run into 
			resource and supply problems 
			from time to time. 

Wilson raises a hand and points threateningly at Conrad.
WILSON
			Look, Doctor, you get my goods 
			or I'll ship your's.    

Conrad takes a step forward into the light, a menacing expression on his face. 

CONRAD
			I need two weeks. I think there 
			might be some unwanted interest.

Wilson takes a couple steps forward and gets into Conrad's face. 

WILSON
			You got one week, Conrad. 

Conrad tries to maintain his position for a moment, then backs down. 

WILSON
			You better lose the heat. Don't 
			screw this up.

Wilson leaves. Conrad watches him.  Wireless phone rings
Conrad answers it. 

CONRAD
			Yes.
			When are they operating on her?

EXT. HIGHWAY/ROADSIDE – MORNING

Sunlight shines on dry pavement and the soft shoulder. A state police cruiser rolls in and stops.  Trooper gets out and walks to the front of the car. He looks away from the road, shakes his head. 

A SIREN screams softly in the distance. The trooper turns to the direction of the sound.  

EXT. HIGHWAY – MORNING.

In the distance a fire truck comes around the bend.  Lights flash and the siren grows louder.

ROADSIDE – TROOPER

The trooper's name badge reads DAVIS.  He walks to the back of the car and opens the trunk. On the other side of Davis, near the middle of a field sits the mangled form of Sam's pick up.  
Davis pulls out a pack of road flares. He glances over at the wreck, shakes his head.

A hundred feet from the wreck is a lone oak tree. Great chunks of bark have been torn from the trunk. 

DAVIS
			Gotta' be dead.

The siren reaches ear shattering levels as the fire truck pulls up and the siren is cut. 

INT. AMBULANCE – DAY

Sam is unconscious on a gurney wearing a neck collar with I.V. hooked to him. Both of Sam's legs and one arm are splinted.  Haynes and Flohr are riding along, monitoring him.

HAYNES
			You really think he tried to kill 
			himself?

Flohr does not reply, he is holding Sam's wrist, taking a pulse.

Haynes shakes his head and just looks at Sam.

INT. HOSPITAL - DAY

April rushes to Sam as Haynes and Flohr wheel him in.

APRIL
			How is he?

Flohr detects the greater concern April has for this patient. 

FLOHR
			He was responsive until we 
			extracted him.

April leans over Sam. She checks his eyes and lips.

An intern steps up and begins an examination.

INTERN
			Treatment One, take him there.

APRIL
			Sam, it's me April. Can you 
			hear me? 
April, her face filled with pain, looks at Sam's hands, eyes, anything for a sign of recognition.

HAYNES
			You know this guy.

APRIL
			A long time ago. 

Flohr nods, looks at Haynes.

FLOHR
			Old flame. 

Intern looks at April.

INTERN
			Nurse Covell, get me some 
			history on him. What am I 
			looking at here. 

Sam's legs and feet are covered in blood.  

Intern looks at the white bone sticking out of Sam's left foot.

INTEREN
			Pedals or dashboard?
 
HAYNES
			Pedals.  He was lucky. We were 
			able to bend them out of the way. 

INT. EMERGENCY ROOM FRONT DESK  

April pulls Rebecca's file, opens it and starts to read.  

Mary pokes her head through the doorway in order to see April.  The effort of wheeling herself to the nurse's station has exhausted her. 

MARY
			April. 

April does not look up as she flips through pages.

APRIL
			What are you doing down here 
			alone?  

Mary points toward Sam. 
	
MARY
			Is that Sam from the other day?

April turns and looks at Mary.

APRIL
			Sam?

April looks sadly at the treatment room then returns to her work.

Mary glances around to see if any one else is watching. She carefully rolls herself in behind the desk.

MARY
			I had a bad dream about him 
			last night. There was a woman with 
			him.  She told me he would be okay, 
			but I didn't believe her.

April has trouble concentrating. 

APRIL
			Sorry honey, I'm busy the 
			rest of the day.

Mary is able to look around a corner.

INT. TREATMENT ROOM ONE

Doctors and nurses buzz about Sam as they work on him.

Mary watches, a sad look in her eyes. She whispers a prayer and crosses herself.

April frustrated, is unable to find something.   

Several doctors stop by to look at the treatment.  The atmosphere seems oddly casual.

Mary moves closer for a better look.  Haynes sees Mary moving in and cuts her off. He kneels down in front of her wheel chair. 

HAYNES
			You look too young for a 
			doctor.

Mary tries to look around Haynes.

MARY
			Did you bring him in?
HAYNES
			Yeah.

Haynes tries to move Mary's chair but she grabs the wheels. She will not be moved.

HAYNES
			Come on, you don't want to 
			see what's happening there.

Mary leans back in her chair and fixes Haynes with a cold glare.

Haynes looks Mary over with a sad expression, clears his throat, and nods.  

Mary stretches to look around Haynes.

HAYNES
			His wife died a few days ago. 

MARY
			Nurse April knows him. She 
			looks really worried.

Haynes shifts so he is kneeling next to the chair and he and Mary watch together.

MARY
(speaking softly)
			Sam. 

TREATMENT ROOM work continues on Sam.

EXT. McCOY HOUSE – DAY

Sam's home sits quietly. No activity at all.

INT. McCOY HOUSE 

ANSWERING MACHINE has a flashing 5 on the call display. 

INT/EXT. LIVING ROOM SLIDING GLASS DOORS 

Sunlight shines in.  Outside MARTHA digs under a bush, uncovering a juicy, fat earthworm.  Hungrily she chomps at it. 

EXT. TURTLE ENCLOSURE
Martha, something catches her attention across the yard, she stops eating and looks up. 

HOLLOWED OUT LOG is half buried in sand, covering an egg.  The egg starts to rock gently.  A small crack forms in the top.
Martha loses interest in the worm and starts heading back to the log.  Picking up speed she passes an empty water dish. She stops at a grouping of flat rocks where George is sunning himself.  He yawns and stretches his legs out. 

Martha nips at Georges rear legs to get him moving. When he does not move, she climbs up next to him and nudges him off. 

Egg cracks more, this time with an audible snap.  Martha turns to the sound and follows it. She pauses only once to look back at George reluctantly following. 
  
INT. HOSPITAL/SAM'S ROOM – NIGHT

On the door is the number 364. 

Sam lays motionless, the only patient in this two bed room. Both legs and the left arm are in casts. Several machines are hooked to him. Monitors blink and hum around him.

Mary sleeps in her wheelchair close to Sam's bed.

April enters with a blanket and covers Mary with it, then  kneels next to the wheelchair. For a moment April just stares at Sam.  She places a hand on Sam's forehead, strokes her thumb over his hair line.

April stands and pushes Mary out of the room. 

MARY'S ROOM 

April lifts the half sleeping Mary into bed.  Mary struggles slightly. 

MARY
			No, April, I want to stay. 

APRIL
			You can see him in the morning.

MARY
			But Sam needs me.

April looks at Mary with a curious manner.  She tucks the girl in and kisses her forehead. 

APRIL
			You need your sleep.
INT. CONRAD'S OFFICE - DAY

A pretentious reflection of himself, with awards, certificates, and diplomas littering the walls.  Conrad is busy at work reading documents when the phone rings. 
Conrad snatches the handset out of its cradle. 

CONRAD
			What!

Conrad's eyes narrow with concern.

CONRAD
			When did they take her in.  

Conrad shakes his head slightly.

CONRAD
			I'll be right there. 

INT. HOSPITAL CORRIDOR – DAY

Conrad steps out of his office and is greeted by MRS VELMA WILCREST, 73, powerful, forceful woman. 

MRS WILCEST
			Doctor Conrad, I was just 
			coming to see you.

Conrad looks pained to have run into Mrs Wilcrest. His reply is one of forced politeness and tact. 

CONRAD
			Mrs Wilcrest, what a pleasant 
			surprise.   
 			
MRS WILCRST
			Do you have a few moments?

Conrad's face presents a brief flash of pleasure then quickly a mask of disappointment is pulled on.

CONRAD
			I'm sorry, Mrs Wilcrest, I 
			was on my way out. It's my 
			wife. She's being rushed into 
			surgery.

Mrs Wilcrest shows concern. 

MRS WILCREST
			Oh, my. I do hope she's all right.
Conrad gives the appearance of genuine honesty and feeling.

CONRAD
			I do too.    

INT. SAM'S ROOM – DAY

JONES, an old, thin man of failing health, but a joyous good nature, now occupies the bed next to Sam, lays on his bed reading a newspaper. Sam lays unmoving, clean shaved.

Jones slaps the paper down in his lap.

JONES
			Are you kidding me!

Jones looks over at Sam, waits for an answer that does not come. Sam lays still.
 
JONES
			Did you read this?

Jones tapes the paper. Sam does not respond.

JONES
			No, I don't figure you got a 
			chance yet.

Jones looks back at the paper.

JONES
			Goddamn, sick son of a bitch. 
			And that's just the Judge.

Jones frowns and shakes his head.

JONES
			A 13 year old girl, pretty 
			little thing. They got a 
			picture.

Jones holds the paper up towards Sam.

NEWPAPER PICTURE of a 13 year old girl.

JONES
			Amelia. Her first name is 
			Amelia.

Jones' eyes mist. He wipes away a tear and sighs.

JONES
			Then some son of a bitch has 
			to go and kidnap her, rape her, 
			and strangle her. A heavy rain, 
			a hand pops up and a neighbor's 
			dog finds her.

Sam's breath is steady.

Jones looks back at the ceiling.
 
JONES
			They caught the son of a bitch.

Jones, his face contorted into a grimace, looks at Sam. 

JONES
			A man of the clothe. 

Jones sits back up, looks at the paper.
Haynes enters.

HAYNES
			Who you talking to, Jonesy.

JONES
			Been talking to Sam.  

Sam does not move.

JONES (cont)
			His brain is scrambled right now, 
			but (beat) you know, they hear.

Haynes offers a blank nod.

HAYNES
			How's he doing?

Haynes sits in a chair between Jones and Sam.

Jones shrugs.  

JONES
			What do you think of Death 
			by Gorilla for this guy?

Jones taps the newspaper. Haynes leans over and looks at the paper.

JONES
			It's also known as, Gettin' 
			Chimped.

Haynes leans on the end of the bed, getting comfortable.
HAYNES
			What's that. 

Jones looks around.

JONES
			It's when you lock a guy in 
			a cage with a gorilla.  	

Haynes grins.

JONES
			That monkey would start pounding 
			his chest and that bastard'll 
			crap himself. 

Jones leans forward.

JONES
			Then, you shoot that big chimp 
			right in the grapes with a BB gun.  

Jones makes a gun with his right hand and pretends to shoot.

JONES
			Frigging thing will go bananas. 
			It'll want to beat the hell out 
			of the closest thing to it.

Haynes smiles and stands.

HAYNES
			Death by gorilla.  Interesting.
			You don't think that's cruel 
			and unusual?

JONES
			No. No.  I bet them big monkey's got 
			some pretty tough acorns.  

HAYNES
			Why do I let you do it to me?   

Haynes heads out the door with disappointment prominent on Jones' face.

JONES
			Oh, come on, that's a good idea 
			and you know it. 

Haynes waves a hand as he leaves the room.
Jones gives a dismissive wave of his own.

JONES
			Ah.

Jones looks over at Sam, still and unmoving in his bed.

 JONES 
			Sam, I bet you're a man who'd 
			appreciate the nuanced elegance 
			of Death by Gorilla.

Jones looks back at the newspaper. 

JONES
			Yup, they need to give 'em 
			to the chimp.  

Mary pushes herself into the room. Her bubbling countenance
is fueled from a strengthened spirit if only by the near proximity to Sam. 

Jones tosses the newspaper to the opposite side of the bed. A large grin fills his face.

MARY
			 How's Sam? Is he awake yet?

JONES
			Sorry, hon, he's still 
			somewhere else.

Mary, in deep thought, looks at Jones. 

Jones shakes his head and shrugs.

JONES
			I don't know where it is, but 
			I'm sure he appreciates how 
			good you're looking after him. 

Mary moves closer to Sam, sets a children's book down next to him.

On Sam's face an eye lid twitches and his rhythm of breathing shifts.

EXT. FIELD – DUSK

On a low raise nearly hidden by tall grass, Sam lays in a bloody and torn confederate officer's uniform.

The battle is over, death and carnage lay all about.

Painfully Sam tries to push himself to his knees, weakness overcomes him and he falls back to the ground.

Rebecca, dressed as a Southern Bell, walks across the battle field, unscathed as though she and the battle occupied the same place but different times. 

Rebecca walks up the hill with an easy carefree stride. As she gets closer to Sam she sees him struggle, her eyes fill with sorrow. She hurries to him, kneeling at his side.

REBECCA
			Baby, I'm here.

A tear rolls down her cheek.

Sam tries to roll over, looks up at Rebecca.

SAM
			I thought you'd lost me again.

REBECCA
			I'm sorry. I...

Sam is able to sit up with Rebecca's help. They hold each other. Sam's eyes shut tight. The pain leaves his face.

SAM
			I was so scared this time. 
			This life, we were so happy.

REBECCA
			Hush, baby. 

SAM
			It hadn't ended as soon as all 
			the others. I new this one was 
			different.

Joy fills Sam's face.

Rebecca, her eyes are open, she hates what she has to tell him.

REBECCA
			It's so beautiful here, I don't 
			want to stay without you. 
Sam opens his eyes and looks into Rebecca's.

SAM
			What?

Confused, Sam looks around. The battlefield is gone. They are now in a place of peace and beauty. Rebecca is now in a flowing white gown. Sam is in a plain white shirt and slacks.

REBECCA
			I have always loved you. We never 
			had enough time together, in any 
			of our lives.  You were always 
			take from me too soon.

SAM
			I have always been a soldier.  
			But this time we're still together.
 
REBECCA
			I did not want to leave first. 

Confusion fills Sam's eyes as he opens them and finds his  arms are empty.  He looks around. Rebecca is no where to be found.

SAM
			No! Where are you! 

INT. SAM'S ROOM – DAY

Medical personnel work frantically over Sam. Alarms blast, a monitor shows an erratic line pattern. DOCTOR looks at the monitor, then around the room.

DOCTOR
			V-FIB? Where's that cart?

NURSE enters pushing an emergency cart carrying a defibrillator.

EXT. HILLTOP – DUSK

Sam sits under a tree, his head hangs low.

SAM
			I'm not leaving without you.

REBECCA
(O.S.)
			They won't let you. You have 
			to go back. 

Sam lays down, curling into a ball with his hands over his ears.

REBECCA
(O.S.)
			Sam, Sam, you have more to do.

Sam refuses to listen to her.  His body shutters.

INT. SAM'S ROOM

Doctor looks gravely at the monitor. The erratic line pattern still flowing across.

DOCTOR
			No good. Damn! Charge it and hit him 
			again! 

EXT. HILL TOP – DUSK

Sam's body shutters again.  

DARK SKY cracks open, a small beam of light shines down.

INT. SAM'S ROOM

Nurse looking at the monitor, a normal pattern returns.

NURSE
			He's back. 

Jones his eyes, shut tight, open and look down at Mary.

There are tears in Mary's eyes.

EXT HILL TOP – DAY

Sam rolls onto his back, still covering his ears.  He looks up at he sky.

INT. HOSPITAL – DAY

April enters the hallway unaware Sam is in trouble.
JEAN, a nurse in her late 30's sits at the nurse station, looks up. She shows her concern when she sees April.

JEAN
			It's Sam. 

April hurries to Sam's room. 
SAM'S ROOM

April goes to Sam's side, takes his hand.

APRIL 
			Sam, it's April, I'm here.

EXT. HILL TOP – DAY

Sam sits up suddenly, eyes wide open, hands away from his ears.

SAM
			April?

REBECCA
(V.O.)
			Go to her, Sam.

SAM
			No!

INT. SAM'S ROOM

Mary pulls the curtain aside, stretches to see Sam.

MARY
			April, will Sam be all right? 

April turns to Mary.

APRIL
			Yes, dear. 

Mary watches Sam breath.

SAM'S ROOM – DAY

Fewer monitors are hooked to Sam. Bandages have been removed from his face. Mary sits next to Sam's bed reading to him. 

MARY
			...and then Mr Rabbit said to Mr 
			Turtle.  You can't live here 
			this is my home...

Jones lays back, smiling as he listens to Mary. 

JONES
			Something strange about this 
			room. 
AMY, a young nursing student, enters with a food tray for Jones who smiles brightly at the sight of food.

JONES
			Good morning breakfast.  And 
			you too, Doctor.

Amy makes a friendly smile. 

AMY
			Jonesy, I keep telling you 
			I'm just a student.

JONES
			You can cure me anytime.

AMY
			Don't take too long eating. You 
			have tests today.

Jones can only wave a hand, his mouth full of food, as Amy leaves the room.

EXT. HOSPITAL PARKING LOT – DAY

BENNY PELLETIER a private investigator, 52, with graying hair and too much of a gut, sits in his car watching the back of the hospital.  

LOADING DOCK

OVERHEAD DOOR slides open and Jack hops down to the pavement. 

Benny takes pictures of everything Jack does. 

Jack backs an unmarked van up to the dock, goes back inside the hospital, and loads a body into the back.

Benny follows Jack's van as it drives away.  

SAM'S ROOM - DAY

A nurse enters with a wheel chair.

NURSE
			Time to take a little ride, 
			Jonesy.

Jones looks at the chair and frowns.

JONES
			In that?

Nurse nods.

JONES
			I did it in a hammock once.  
			Standing up. I guess I could 
			give it a shot in a chair 
			with wheels. 

The nurse does not smile.

NURSE
			Get in.

Jones obeys and the Nurse wheels him out of the room.

INT. SAM'S ROOM – DAY

Sam does not move, his breathing steady and continuous.  His wounds show signs of healing. 

Conrad steps to the doorway of the room. Pausing, Conrad looks back over his shoulder. An air of caution and secrecy about him.

No one has seen him. He enters and crosses to the foot of Sam's bed.  He takes Sam's chart, reviews it as he looks Sam over. 

Conrad examines Sam, 

pulse, 

eyes, 

respiration. 
   
He pulls a pen from his coat and makes a mark on Sam's chart.

April enters, surprised to see Conrad.

Conrad quickly puts the pen away before she can see it. 

APRIL
			Dr Conrad? I didn't know you 
		 	were back.

Conrad, aims an adversarial gaze at April, waves the chart in her face.  
CONRAD
			How come this donor hasn't 
			been screened and processed yet? 

APRIL
			Processed?  Donor?

Conrad becomes angry.

CONRAD
			Do you have difficulty hearing, 
			Nurse Covell?

APRIL
			No, Doctor. I don't. But Sam, 
			I mean this patient isn't a 
			donor.

CONRAD
			This is a donor in a coma, I'm 
			looking at his goddamn chart, 
			and I can't tell what's good 
			on him. 

Conrad throws his arms in the air, the chart swings close to April and she takes a step back.

CONRAD
			Where are you going?

APRIL
			But Doctor... 

Conrad exhales loudly. Irritation has overwhelmed him. 

CONRAD
			Are you questioning me(beat)
			Nurse?

APRIL
			No, Doctor, but I happen to 
			know-- 

CONRAD
			--More than me.  Is that what 
			you're saying? 

April takes another step back.   

APRIL
			No Doctor. When his wife died--
 
CONRAD
			--What am I, Covell, some paranoid 
			fool? 

HALLWAY outside Sam's room, Amy stands and listens.

April struggles to remain calm.

APRIL
			No.

CONRAD
			She wasn't a donor, but this... 

Conrad points to Sam with the chart.			
			
CONRAD (continues)
			...man is.  Now, I want him 
			tested and screened!

APRIL
			Yes, Doctor.

Conrad tosses the chart on the end of the bed and heads for the door.

CONRAD
			Can you handle that? 

April's jaw is clenched she stares at the doorway.

APRIL
 (emotionless)
			I was sorry to hear your wife 
			died, Doctor.

April turns and looks at Sam. 

She walks to the bed and runs her hand gently over his head.

Amy enters, concern showing on her face.

AMY
		 	Are you O.K., April?

April does not take her eyes off Sam.

AMY
			You two were close?

Amy steps closer, looks down at Sam.

APRIL
			Yes.  

A smile comes to April's lips and a spark ignites in her eyes. 

APRIL
			He was a true gentleman. 
		  
AMY
			You let him get away? 

April leans down and kisses Sam on the forehead. 

APRIL
			I'll watch out for you. I 
			owe you that. 

INT. HOSPITAL/NURSE STATION – DAY

April walks to the station, Jean is busy there. April slams a folder down on the counter.

JEAN
			You're in a great mood.  

APRIL
			I thought Conrad was taking 
			more time off.

JEAN
			He was in here for a couple minutes 
			yesterday and boom, he's back now. 

April looks over at the doorway to Sam's room.

APRIL
			He seems to be over his wife. 

JEAN
			She was on the list for a heart 
			a long time.

April looks to Jean with disbelief.	

Mary pushes herself with greater ease, than in the past, down the hallway to the Nurse's station. 

Jean looks up, slight surprise shows in her expression.

Mary grinning.

JEAN
			You handle that hot rod pretty 
			good all of a sudden.

MARY
			Dr Martinez says I might get 
			the better dialysis soon. 

JEAN
			April, our little girl's getting 
			better.

April looks at Mary, carefully. She steps around the desk,  she needs a closer look.

Jean joins them, kneels down next to Mary.

JEAN
			How long before you could go 
			back on PD?

MARY
			A week or two.

APRIL
			Visiting Sam? 

Mary's eyes light up more. 

MARY
			Yes.

APRIL
			Can I push you? 

MARY
			No, I can make it.  

Mary pushes the chair past April and Jean down the hallway. Both nurses watch her disappear into Sam's room.

APRIL
			I'll be damned.

Both return to the desk. April locates Sam's file and pulls it out.

SAM'S FILE open and APRIL'S HAND flips pages.

Page is revealed with organ donor stamped in red block letters at the top.

April shakes her head, closes the file and returns it.

COMPUTER SCREEN displaying Sam's records.  

April moves the mouse bringing up other screens and pages.
Finally the same page is brought up as before. This one was copied onto the computer before the organ donor stamp was put on it.

April shakes her head.  Jean notices. 

JEAN
			What's wrong? 

April switches the screen before Jean can see it.

APRIL
			Nothing.  

Jean shrugs and goes back to her own work.

JEAN
			I think being around Sleeping 
			Charming is helping that kid.

April looks at the monitor.

MONITOR displays Sam's current address.

April looks to Sam's doorway.  

INT. HOSPITAL/CONFERENCE ROOM – DAY

Conrad sits in the head position, several Doctors, nurses, dietitians, and counselors are seated at the table along with April.

Conrad exhales impatiently, looks over the rim of his glasses at the others.

April, annoyed at Conrad, SLIDES a sheet of paper in front of her.

APRIL
			Patient Mary Bach, 7 years old, 
			with peritonitis resulting from 
			complications in CAPA treatment.  
			Her catheter was removed 10 
			days ago.

RENAL NURSE looks down at a document. 

RENAL NURSE
			She's been under going 
			hemodialysis since that time. 

A bored Conrad looks down at the paper in front of him.

Several seconds of uncomfortable silence pass. Everyone  is looking at Conrad, waiting for him. 

Conrad looks up and meets the eyes of the others without the slightest concern. He has made the room wait for him. 

CONRAD
			Well, what's her current 
			condition? 

DOCTOR MARTINEZ a renal specialist consults his notes.

DOCTOR MARTINEZ
			She seems to be--

CONRAD
			--What?  What do you mean, 
			seems? 

RENAL NURSE
			We ran a URR and found her BUN 
			level well within normal range.

Again Silence from all.

Conrad looks up with impatience.

CONRAD
			What else?   

Martinez clears his throat.

MARTINEZ
			The patient's white blood cell 
			count has also dropped back to 
			normal. I'd like to recommend 
			a catheter be reinserted as 
			soon as possible.
 
Martinez looks to the others for support. 

Everyone nods in agreement.

MARTINEZ
			We feel she's strong enough 
			and in a week or two she 
			could go home. 

CONRAD
			What stiffened the child's 
			constitution?

April looks nervous. 

APRIL
			That's the part bothering us. 

Conrad rolls his eyes. 

APRIL
			She spends her free time with 
			Sam McCoy.  

Conrad looks straight at April.

CONRAD
			What?

MARTINEZ
			We don't understand, but it's 
			been having a therapeutic 
			affect on him also.

Conrad pulls his glasses off, tosses them on the table. 

CONRAD
			Enough. Enough.  How's the 
			insurance?

April takes a deep breath, building courage.

APRIL
			There is none.

CONRAD
			What! Jesus Christ.

Conrad swipes his papers across the room and gets to his feet.

CONRAD
			Do you know how much that 
			costs?

Everyone is knocked back.

CONRAD
			If the Goddamn kid dies the 
			press will want to know why 
			we didn't put the frigging 
			kidney on the cuff too. 
			What the hell's the matter 
			with you people?

April stands to face Conrad.

APRIL
			Calm down, Doctor.  The paper 
			work is in.

COUNSELOR
			The girl only has her mother.

Conrad retrieves his glasses, puts them on, and looks at the floor. 

PAPERS scattered around.

Conrad looks to a nurse sitting closest to him.

CONRAD
			Pick those up.

EXT. SUBURBAN STREET -DAY

April drives her car past house after house. She looks side to side. Searching for an address.

EXT. MCCOY HOME/STREET 

April, in her car, slows and turns into the driveway.

MCCOY FRONT YARD grass has grown over a foot tall.

CAR DOOR opens and April gets out. She looks around then walks to the front door.

April uses Sam's keys to unlock the door.

EXT. TURTLE ENCLOSURE 

Martha raises her head – someone has finally come back. 

George lifts his head to reveal the Hatchling resting under the hollowed out log.

The sliding glass door is closed. An overturned water dish is in front of the door.

INT. MCCOY HOME/FRONT ENTRY
Mail is piled up by the front door.

Keys jingle as the door opens, pushing the mail to one side.
Desert Moon by Dennis De Young begins as April steps cautiously inside.  Pulls the keys from the lock and slides them in her pocket.

April walks into the living room, admiring the fresco painted walls. Shyly she touches them, quickly pulling her fingers back.

WEDDING PHOTO shows a younger Sam and Rebecca.

April looks down.

PHOTO ALBUM is opened by APRIL'S HAND. Pictures of a small wedding and honeymoon at the Grand Canyon.

April smiles as she flips through the pages.

KITCHEN - DAY 

April runs her hand along the counter top. The kitchen is in perfect order.

INT/EXT. SLIDING GLASS DOOR 

Martha hurries to make her way across the enclosure.

April walks slowly past the door, not noticing Martha.

INT. SAM'S DEN 

Oak paneled walls surround a matching desk and leather covered chair. One entire wall is filled with over stuffed, ceiling to floor book shelves. 

April enters, pauses as she looks around. Amazement fills her from discovering a new side of Sam.

She walks, stunned, to the wall opposite the book shelf.

Several shelves line the wall displaying mementos of Sam's time in the Marine Corps. Framed photos of him in Dress Blues and combat gear in Beirut, Kosovo, Panama, Afghanistan, and Iraq.

April involuntarily raises her hand to her mouth.

APRIL
			How did she deal with it? 

Other shelves contain plaques, awards, and scaled models of US Navy ships and weapons; machine guns, mortars, tanks, and artillery. 

Display case contains several medals and ribbons to include the Purple Heart, Navy Cross, and Silver Star.

April's fingers press against the glass over Sam's purple heart.

A tear forms in April's eye and runs down her cheek.

APRIL
(choked up)
			I knew they'd hurt you.  

EXT. TURTLE ENCLOSURE

Martha and George approach the glass door.

Martha sniffs at the water dish, George goes straight to the door.  

HOLLOW LOG the hatchling crawls out into the open, heading across the vast tracks of the McCoy backyard.

INT. LIVING ROOM/GLASS DOOR

George scratch at the door with his front legs, his shell tapping softly.

Martha approaches the door, looks in.

EXT. SKY 

HAWK circles, spots the Hatchling.

EXT. TREE TOP 

Hawk glides in and soundlessly lands on a branch.  He looks down.

Hatchling struggles to make his way farther from safety.

Martha turns her head to look back at the hatchling.  She knows something is wrong and moves toward the Hatchling.

George his efforts to attract attention increase.

INT. LIVING ROOM

April wipes her eyes as she leaves the den. She passes the glass door without noticing George or Martha hurrying to the hatchling as the Hawk swoops down across the backyard, missing the hatchling by inches.   

EXT. TURTLE ENCLOSURE

Hatchling does not realize the danger.

Martha's pace quickens.

Hawk swoops up, rolls, and lines up on its prey.

INT. LIVING ROOM 

April stands before a wall covered in framed photos of Sam and Rebecca.

EXT. BACK YARD

Hawk buzzes the hatchling, misses.  Talons rack the top of Martha's shell, flipping her on her back. 

The hawk lands on Martha as she frantically struggles to right herself.

Hawk snaps at one of Martha's legs, drawing blood.

Martha hisses in agony. 

INT. LIVING ROOM 

April smiles, her hand touches a photo of Sam. Her eyes shift to a photo of Rebecca with George and Martha in the turtle enclosure.

April turns and walks to a window, looks out and gasps.

EXT. TURTLE ENCLOSURE

Martha's struggles are futile, favors her injured leg.

Hawk snatches the hatchling up in its mouth.

GLASS DOOR opens and April runs out.

APRIL
			Get the hell away from them.

April charges at the hawk waving her arms in the air.    
Hawk is startled and jumps into the air, drops the hatchling. 

April stops and stands over the turtles, watching the hawk fly away over the trees.

APRIL
			You son of a bitch!  

Martha continues to attempt to flip back over.

April looks down, then kneels to help Martha. She sees the wound and scoops her up, notices the hatchling and picks it up also.

April looks around the enclosure, shakes her head. 

APRIL
			How long since you've eaten?  
			Well, you guys can't stay here. 

INT. COFFEE SHOP – DAY

Conrad sits with TANYA BACH, 26, her youthful beauty has long since begun it's abrupt decline. There are coffee cups set in front of them.

TANYA
			I ain't seen Mary's father in 
			years. The son of a bitch.

Conrad is the perfect charmer. He sips from his cup.

CONRAD
			Do you know of his location now?

Tanya looks out the window, becoming almost distant from the conversation. 

TANYA
			Last I heard is he was locked 
			up.

Conrad nods. 

TANYA
			Good enough place for the son 
			of a bitch.

CONRAD
			I see.     

Tanya's head suddenly snaps to look straight at Conrad.  

TANYA
			No, you don't see.  She's all I 
			have. I don't have any family 
			and that bastard's family won't 
			lift a finger to help me! 

Conrad shows no concern. He over looks Tanya's outburst. 

CONRAD
			Let me see if I can put this as 
			simply as possible. Your daughter 
			is going to die for basically the 
			lack of money, connections, or 
			resources.

TANYA
			You God damned prick. Is that why 
			you asked me here? 

Tanya pulls out a pack of cigarettes and lights one.  

TANYA
			So, what is it, some part of you's 
			going into some part of me?

CONRAD
			No. I stopped bedding tramps 
			some years ago. 

Tanya hardly seems offended. 

CONRAD
			You're going to do something else 
			for me, you're going to follow my 						instructions to the letter or I 
			won't lift a finger to help her.   

EXT. APRIL'S HOME – DAY

SINGLE FAMILY HOUSE in a suburban area. 

April turns her car into the driveway. 

SARA and JAMES twins, age 7, run excitedly from the neighbor's yard.

ROSA, age 52 follows behind the twins. Her clothing is very loud with flashy patterns and excessive makeup, and lots of  jewelry.  

TWINS
			Mom, Mom.   
The twins pull the car door open. 

Sara pushes past her brother to get close to April.

SARA
			Mom, we're going to talk to 
			dead people.

James gives his sister a disappointed look.
 
JAMES
			A séance, Rosa said it's called 
			a séance. 

SARA
			Whatever, I want to talk to 
			daddy. Can we go mom, please?

April gets out of the car, goes to the back door and opens it as she speaks.

APRIL
			You want to do what?  

Rosa joins them at the side of the car.

April pauses with the rear door open and looks at Rosa.

APRIL
			Didn't I ask you not to encourage 
			them?  They don't even remember 
			their father.

Rosa speaks in a thick Eastern European accent. 

ROSA
			What, what is this?  Your 
			children are blessed with a 
			healthy interest in the 
			paranormal.

APRIL
			They're gonna grow up to be
			nut jobs calling late night 
			conspiracy talk shows on the 
			radio.  

Rosa plucks her lips, rolls her eyes, and waves a dismissive hand.

APRIL
			I'm... 
Rosa cuts April off with a gesture. An excited grin explodes on her face.  Rosa tries to look around April into the car.

ROSA
			You have a family.   

April takes Martha out. A dressing has been placed on her wound.

ROSA
			Oh, come here, Baby. 

Rosa takes Martha in her arms. The twins forget the séance, now excited about Martha.

April brings out George. 
 
Rosa  looks them over then looks at April.

ROSA
			You saved them from a hawk.

April reacts with surprise.

APRIL
			How...? 

ROSA
			They like you, but they want 
			to know where the male and 
			female are. They are very sad.

April is confused at first then understands. She looks carefully at George. 

APRIL
			She died. He's in a coma. 

Rosa nods sadly.

ROSA
			They are hungry, we have to 
			feed them. Then we have to 
			bring them to (beat) Sam.  

April a doubtful look on her face.

APRIL
			These in a hospital? 

INT. CONRAD'S OFFICE – DAY
Conrad is working at his desk when the door opens and Mrs Wilcrest enters.  Conrad's charm oozes out as he quickly raises to greet his uninvited guest.

MRS WILCREST
			Sit down, Dr Conrad.  I won't 
			be here very long.

Conrad sits back down. 

CONRAD
			What can I do for you, madam. 

MRS WILCREST
			To start, don't call me madam.  
			I own this hospital, I don't run 
			a whore house. 

CONRAD
			I beg you pardon.

MRS WILCREST
			You ain't getting it. Second, I've 
			been watching you.  I don't have 
			the proof yet, but you stink.

Conrad raises menacingly from his chair. 

CONRAD
			What did you say?

MRS WILCREST
			I'm going to expose Organ Quest 
			and you. 

CONRAD
			I can assure you, Mrs Wilcrest, 
			Organ Quest is a perfectly 
			reputable establishment. 

MRS WILCREST
			We'll see. 

With that Mrs Wilcrest turns and exits the office leaving Conrad to simmer.         

INT. SAM'S ROOM – DAY

Mary sits, drawing, between Sam and Jones. Sam looks better. 

MARY
			Jonesy, will Sam ever wake up?

Jones puts down the newspaper.

JONES
			Sure, kid. 

MARY
			When?

JONES
			He's had it hard, honey.  
			I guess he just needs some 
			time away from it all.  

MARY
			Where is he? 

Mary looks at Sam.

JONES
			Most people, like you and me 
			just have bodies that hurt. 
			Sam, I think his heart needs 
			healing too. 

Mary nods, trying to understand.

EXT. HILL TOP

Sam stands over Mary as she sits and draws, bathed in the sunlight of the hill top. Rebecca watches them from near the tree. 

REBECCA
			Do you recognize her, Sam?

Sam does not respond. He kneels down next to Mary to get a closer look at her drawing.  

REBECCA
			She's our daughter.

Sam looks over, briefly, at Rebecca.

REBECCA
			She's our daughter in Heaven 
			and has been many, many times 
			on earth. 
 
Sam quickly turns away
EXT. HOSPITAL/MAIN ENTRANCE – DAY

Tanya enters the hospital dressed in a light sun dress.  

INT. HOSPITAL MAIN LOBBY – DAY

Tanya crosses the lobby to the elevators.

INT. HOSPITAL HALLWAY

ELEVATOR DOORS open and Tanya steps out. She nods to the Duty nurse as she passes the station. 

INT. MARY'S ROOM

Tanya enters to find nobody there.

INT. NURSES STATION 

NURSE looks up as Tanya approaches. 

NURSE
			Can I help you, Mrs Bach? 

TANYA
			Is Mary in treatment?

NURSE
			No, I believe she's in with 
			Sam.

Tanya her eyes widen.

TANYA
			Who? What did you say? 

NURSE
			She spends her free time 
			with Mr McCoy.

Tanya reacts with belligerence and forced disbelief.

TANYA
			Who the hell is that?  

The nurse is stunned, does not reply.

TANYA
			Well, where is she? 

Nurse fumbles, stutters.
NURSE
			364, right down there. 

Tanya stomps off down the hallway. 

INT. SAM'S ROOM

Mary sits next to Sam, coloring a picture. Jones reads his newspaper. 

Tanya enters like a gust of wind. Quickly she regains control of herself. 

TANYA
			What's going on in here? 

Jones lowers the newspaper and looks at Tanya without expression. 

Mary looks up, her face fills with joy. 

MARY
			Mommy.

Mary stands and walks to Tanya.

Tanya's anger fades momentarily as she hugs Mary.  She looks from Sam to Jones.

Mary breaks away from the hug and steps back.

MARY
			Mommy, I want you to meet my 
			friends. 

Tanya gives Jones an angry look, then focuses her attention on Mary.

TANYA
			What are you doing in here, 
			baby?

Mary is confused.

MARY
			My friends are here.  Sam 
			needs me to get better.

TANYA
			Come on, where's your chair?

Tanya looks around the room.
MARY
			I don't need it anymore.
			I walked here.

Tanya pauses, her anger temporarily subsides. A spark of joy flashes in her eyes. 

TANYA
			You walked all the way to 
			this room? 

Mary nods and turns to Sam.

MARY
			This is Sam. 

Tanya's anger returns.

TANYA
			I don't care. I don't want you 
			in here anymore.

MARY
			But, mommy, I have to be here. 
			Sam--

Tanya pulls Mary to the door. Mary looks back helplessly at Sam and Jones. 

TANYA
			--Don't argue with me, I'm your 
			mother.  I know what's best 
			for you.  

Jones shakes his head slowly as they leave.

JONES
			You don't know your ass, bitch. 

INT. HALLWAY

Tanya and Mary approach the Nurse station. 

TANYA
			Where's my daughter's wheel 
			chair?  She's not suppose to 
			be walking all over hell.

NURSE
			I'll get one.  

TANYA
			What kind of place do you run 
			here? She shouldn't be walking. 

The nurse stands, squares off with Tanya.

NURSE
			Now look here-- 

Conrad arrives and interrupts the exchange.

CONRAD
			Can I help you?

Tanya turns to Conrad.

TANYA
			Dr. Conrad... 

Conrad winches.

TANYA
			... I mean... 

Conrad closes his eyes, shakes his head slightly.

April walks in, notices Conrad's reaction. 

CONRAD
(to nurse)
			Who is this woman?  

April frowns suspiciously at Conrad.

TAYNA
			I'm Tanya Bach, Mary's mother.

Conrad barely notices Mary is there. He folds his hands in a charming, courtly manner. His eyes do not match the thin smile.

CONRAD
			How is the dear?

April steps next to Mary, places an arm around her shoulder.

APRIL
			Why don't you ask her your 
			self. 

Conrad holds a hand up to silence April. He nods to Tanya.
Tanya eyes April with contempt.
TANYA
			Well, I don't know how she is. 
			Running around this place in 
			her condition.

CONRAD
			There, there, Mrs Bach, I can 
			assure you, your daughter is 
			receiving the best possible 
			care this facility has to offer. 

Tanya jerks a thumb at April. 

TANYA
			Is she an example of what 
			will be providing that care? 

April returns the icy stare.

Patients, staff, and visitors are beginning to stop and listen. 

INT. SAM'S ROOM. 

Jones tries to hear what is being said. 

EXT. HILL TOP/UNDER TREE – DUSK

Sam stands looking into a cloudy void beyond the hill top.

SAM
			Hey, kid. Where did you go? 

REBECCA
(V.O.)
			They're taking her away, Sam. 
			You have to go back. She needs 
			you.  There's more at stake here
			than you can know now. 

Sam turns away from the voice, his head lowers. 

INT. HALLWAY/HOSPITAL 

April notices Conrad's slight display of pleasure over the gathering audience. 

CONRAD
			Mrs Bach if you don't want the 
			child in other patient's rooms--   

TANYA
			--That's exactly what I want. 

April rolls her eyes. 

APRIL
			Oh, what is this?

CONRAD
			Very well.
(to April)
			Do you understand, Nurse Covell?  
			This patient is no longer 
			allowed in McCoy's room. 

Conrad looks at Tanya and smiles, well pleased.  He turns to the nurse.

CONRAD
			Would you please bring the 
			child back to her room?

The nurse nods and steps toward Mary. Mary steps back and looks at April.

APRIL
			It's okay, honey, go ahead. 

Mary nods and goes with the nurse. She stops several feet away and turns back.

MARY
			You can't make me stay away.
			He needs me.  

April watches as Conrad is already leading Tanya away, deep in conversation. 

Jean approaches April.  They both watch Conrad and Tanya. 
April's fists are clenched. 

Benny has blended in with the others who watched the confrontation.  He watches Conrad carefully before looking back at Mary.

EXT. WILCREST ESTATE – DAY

Vast and palatial, a gate house boldly marks the entrance to the landmark grounds.

EXT. WILCREST ESTATE/PATIO

Benny and Mrs Wilcrest are seated at a table. A butler has just served tea. 

Mrs Wilcrest politely dismisses him.

MRS WILCREST
			Thank you, William. 

Mrs Wilcrest sips her tea, engrossed in several photos spread before her on the table.

MRS WILCREST
			Jamie spoke highly of your 
			talents, Mr Pelletier. 

BENNY
			I did some work on the 
			Senator's home security 
			system.

Mrs Wilcrest continues to study the photos. 

MRS WILCREST
			He's been suggesting I have 
			you look over the security 
			system of this place.

Benny looks around, studying, then returns his attention to the job at hand. He notices which picture she is looking at. It is a picture of Jack Kellogg on the loading dock. 
Mrs Wilcrest displays distaste at Jack.

Benny wraps his hand around the tea cup and gulps the liquid down all at once.  Wipes his mouth with the back of his hand.

MRS WILCREST 
			Have you spoken to Conrad yet.

BENNY 
			No.   

Mrs Wilcrest pushes the photos aside and looks at Benny. 

Benny looks unsure for a moment.

BENNY
			I think Conrad's killing people.

Mrs Wilcrest considers this for a moment.   

MRS WILCREST
			I don't know if I'd believe that 
			of him.

BENNY
			Ma'am, it's a fact that over a 
			hundred thousand people die in 
			hospitals around the country 
			every year, because of the staff.

Mrs Wilcrest looks coldly at Benny.

INT. APRIL/HOME KITCHEN – NIGHT

April, Jean, and Rosa sit around the table. The TURTLES roam about the floor. Several bottles of wine are on the table. April holds a glass. She has had several glasses already.

APRIL
			That little slut, Tanya, has 
			something going on with that 
			jerk, Conrad.  

Rosa her eyebrows raise.

ROSA
				Sex? 

Jean scoffs, shakes her head. 

APRIL
			Why would they put on that 
			little one act play?

JEAN
			None of it made any sense. 

Rosa sips wine and looks down at the turtles. 

APRIL
			Mary's white blood cell count 
			is back up.

JEAN
			She took a dive the second he 
			took her away from Sam.   

Rosa lowers her hand to the floor. George hurries over to her. 

APRIL
			The catheter can't be put in 
			now.

JEAN
			She's going to need a new 
			Kidney or die. 

Rosa strokes George's shell. 

ROSA
			He has to see Sam.  

April drains her glass and Jean refills it. 

APRIL
			She's not even on a list.  

JEAN
			Conrad's an asshole.

April looks at George. The animal's eyes plead with Rosa.

ROSA 
			We need to bring him to Sam.

APRIL
			Sam was a war hero. 

JEAN
			I'll drink to him. 

Jean holds up her glass. April joins her. 

APRIL
			Here, here.

They drink together.

Rosa lifts George and slides him on the table, knocking over bottles and glasses. 

ROSA
			I said, we need to take him 
			to see Sam.  

Jean and April look from the mess on the table to Rosa.

APRIL
				Why?

ROSA
			Look, I just pick up impressions, 
			I don't understand them.  I 
			don't question them, I don't 
			often like them. I just pass 
			them on.    

Rosa drains her glass and pats George. 

JEAN
			She's got to be for real.  

Rosa nods.

JEAN
			Nobody would fake getting 
			messages from turtles.  

The three break out in laughter.

JEAN
			What was he like when you 
			knew him?  

APRIL
				Who? 

ROSA
				Sam.

April looks at Rosa with admiration. Jean is gap jawed.

Rosa looks away shaking her head. 

ROSA
			Even Sam would have known who 
			you were asking about.    

April nods, lost in thought for a moment. 

APRIL
			He was(beat). No. He's, even 
			with two broken legs, and a 
			broken arm, the kind of man 
			who'd kick Conrad's ass if he 
			knew how he treats me.  

JEAN
			How could he do that?

APRIL
			I don't know, but you didn't 
			see the passion in him the night 
			his wife died.  That was the 
			man I knew 20 years ago.

ROSA
			Will he kick this Conrad's ass 
			when he wakes up?    

JEAN
			Will he wake up?

April looks at Rosa hopefully.
 
INT. HOSPITAL – NIGHT

The corridors and waiting rooms of the hospital are quiet. Even the Emergency Room is slow tonight.

INT. PATIENTS ROOM

A patient lays sleeping in his bed. An IV hooked to his arm. 

Jack enters silently and unnoticed.  

He pauses at the IV, injecting a substance into it, then carefully he leaves.  

INT. HOSPITAL LOBBY – DAY

Rosa wearing large sun glasses and hat attempts to move covertly through the hospital while carrying a beach bag. 

INT. NURSE'S STATION 

April and Jean talk as they look over paper work. 

APRIL
			I haven't heard why he died.

JEAN
			24 is too young. That's the 
			forth one this month.

Both women look up as Jack pushes a gurney out into the corridor. They return to their work not noticing Benny walking toward Jack.

Benny pauses in Jack's way, forcing him to stop also. Benny shakes his head sadly.

BENNY
			So sad.  What happened? 

Jack replies unpleasantly.

JACK
			It died.

Benny's face becomes surprisingly hardened.

BENNY
			It?  Interesting choice for 
			the description of a human 
			being.

JACK
			Move or they'll be putting 
			interesting descriptions all 
			over your medical chart. 

Benny nods and steps out of the way. 

INT. HALLWAY HOSPITAL

Rosa steps off the elevator, walks cautiously to the nurse station where April and Jean sit. Rosa pauses here and there, checking to see if she has been made. 

April sees Rosa and rubs her forehead. Jean shakes her head. 

JEAN
Oh, my God.

Rosa sneaks up to the station.  Rosa holds up the bag and points to it.  She slides the sunglasses down and makes an exaggerated eye wink. 

April and Jean just look at each other. 

JEAN
			It's Sunday. He ain't here.  

Rosa slumps against the counter, and pulls off her hat and sunglasses. 

ROSA
			I wish you had told me.  

APRIL
			Rosa, we did.

ROSA
			Oh. Yes, yes.

JEAN
			If you could control that 
			voodoo you could rule the 
			world.

INT. SAM'S ROOM

Jones lays in bed watching television, he looks over as April, Jean, and Rosa enter. Rosa freezes just inside the door. She stares above Sam, there, visible only to Rosa is a radiant, spectacular vision of Rebecca caring for and soothing Sam. 

Rosa opens her arms, palms up and steps closer. 

ROSA
			She is here, with him.   

Jones gives Jean a questioning look, points at Rosa with his thumb. 

Jean holds a hand up shaking her head. 

April walks with Rosa. 

APRIL
			How long has she been here?  

ROSA
			How would I know?  I just 
			got here myself. 

JEAN
			I bet she saw you give him 
			that sponge bath.

Jones perks up a bit. 

April gives Jean a hard look. She notices Rosa's inquisitive stare.  April shakes her head.

APRIL
			I did... I didn't. 

ROSA
			He is mad at her. 

Rosa approaches the bed, looks down at Sam. 

ROSA
			That is why he will not wake up.

April looks at Sam then slowly faces Rosa.

JONES
			What the hell do you broads 
			want?

Rosa looks at Jones with a curious look on her face. 

JEAN
			You can tell that?  Wait, why 
			the hell would he be mad?  

Rosa looks at Jean to answer. 

ROSA
			She died and he is Irish.   

Everyone looks at Sam.

ROSA
			Even nearly brain dead an 
			Irish man can still holds 
			a grudge.

JEAN
			You got a problem with 
			Irish guys?   

Rosa throws a hip out and leans on the other leg.

ROSA
			I married one. Damn the 
			Internet. 

APRIL
			Let's just get the turtle out. 

Rosa takes George out and sets him at the foot of the bed.  Quickly George crawls onto Sam's chest. 

Rosa smiles. 

EXT. HILLTOP/UNDER TREE – DUSK

George appears a few feet from where Sam sits slouching.

REBECCA
(V.O.)
			Look, Sam, they brought George.
INT. SAM'S ROOM 

Rosa watches George, smiles, turns to April. 

ROSA
			His name is George.

A slight smile appears on April's lips as she watches George settle in on Sam's chest. 

APRIL
			I know.  I gave him to Sam 
			over twenty years ago.

April walks over and places a hand on George. 

APRIL
			He was about two inches long.  
			Sam carried him around in his 
			shirt pocket. They were 
			inseparable.
   
EXT. HILLTOP 

Sam looks up, puts his hand down for George. 

Rebecca steps from behind the tree, kneels next to Sam.  She places her hands on George as Sam picks him up. 
George looks up at Rebecca. 

REBECCA
			Oh, baby, I didn't say good bye 
			to you. Mommy misses you so much.   

INT. SAM'S ROOM 

Rosa smiles, looking above Sam. 

George lays on Sam's chest, looking up above Sam. 

ROSA
			She is saying good bye to 
			George.

April looks above Sam.  She sees nothing.

George stretches his legs out laying them flat on Sam. His neck lifts. 

Sam his right index finger moves back and forth slightly. 

NO ONE notices Sam's finger.
EXT. HILLTOP

Rebecca places an arm around Sam. She smiles at George. 
Turns to Sam. 

REBECCA
			You have to go back.    

Sam does not respond, his attention is on George.

REBECCA
			Listen to me, Sam. 

Sam looks at Rebecca.

SAM
			We worked so long for our life.    

REBECCA
			We will have more, but you have 
			to go back.

Mary appears a few feet away in her wheel chair, she looks weak again. 

Rebecca looks at her, smiles.

Sam looks at Mary, sadly. 

SAM
			She doesn't sit with me 
			anymore. 

Rebecca says nothing, she smiles gently. 

INT. SAM'S ROOM

Mary looks into the room. She looks tired, sickly. 

MARY
				April.   

EVERYONE turns to see Mary.

April walks over to Mary.

APRIL
			Mary, honey, you're not supposed 
			to be here.  

MARY
			How's Sam?
April kneels in front of Mary.

APRIL
			He's fine, but you have-- 

Rosa approaches.

ROSA
			Is this the child? 

Rosa kneels next to April, takes Mary's hands in hers.

April nods. 

APRIL
			Mary, this is Rosa. 

ROSA
			You cannot leave yet. They 
			are watching you. 

MARY
				Who?

ROSA
			Rebecca and Sam.  

Rosa turns to April. 

ROSA
			This one has a great future. 
			The world, mankind needs this 
			little child. 

EXT. HILLTOP.

Sam and Rebecca watch Mary. 

REBECCA
			You see, baby, you have to 
			go back.  She needs you.   

INT. SAM'S ROOM

EVERYONE steps aside, giving Mary a view of Rebecca holding Sam.

MARY
			She's beautiful.  

EXT. HILL TOP

Rebecca looks down at Sam, she speaks to him, but the words can not be heard.

INT. SAM'S ROOM

Mary watches the image of Rebecca.

MARY
			She's telling him to come 
			back, to stop acting this way. 

Mary looks at the others.

MARY
			She's saying she spoiled him. 

ROSA
			The Gift. 

JONES
			The Gift? 

Rosa puts her hands on Mary's face and nods knowingly. 

George sleeps on Sam's chest. 

EXT. HILLTOP

Sam holds George and looks into Rebecca's eyes.

SAM
			I love you. 

REBECCA
			I love you too. I'll see you 
			in a while.

SAM
			Good bye. 

Rebecca's image fades. 

SKY darkens and fills with stars.  Sam looks out around him. Slowly the field darkens.  Sam lays back closes his eyes and sleeps with George. 

FROM THE STARS an object moves closer. Something is coming. 

INT. SAM'S ROOM – NIGHT

Jones sleeps restlessly in the darkened room. He sits up, searches for and finds a piece of hard candy. He pops the candy into his mouth and lays back. 

SAM'S FINGERS twitch slightly. TOES move under the sheets.
Sam breathes in deeply, exhales slowly.

An eye lid quivers and snaps open, staring straight up, confused. 

SAM
			Rebecca... George... April?

Jones' HAND clenches, his face twists in pain.  He shakes violently, fighting to breath. 

The call button slips from his finger tips, falls to the floor. 

Sam opens his eyes wide.  He looks out the window.
 
EXT. HOSPITAL/EMERGENCY ENTRANCE – NIGHT

RED light flashes, a siren pops. An ambulance enters the driveway. 

INT. SAM'S ROOM.

Sam, face flashed in red light, strains to see out the window.  Throwing the covers off, thigh to ankle casts cover both legs.  Another cast encases from the bicep to wrist of left arm. 

Jones gasps.

Sam looks over at Jones. 

Jones thrashes, face turning blue. 

Sam is confused, not able to comprehend the reality of consciousness. 

Jones tries to reach for Sam.

JONES
			Please. 

Sam blinks, his face blank. 

Jones' eyes plead.

Slowly recognition comes to Sam.

All at once Sam comes out of it.  He tries to move, to sit up, anything, but nothing works. 

Kicking with his legs, Sam is able to roll over on his side, screaming out from pain. 

CALL BUTTON lays useless on the floor. 

Sam reaches for the call button, fails.

Jones' eyes bulge from his head. His hand goes to his throat. 

Sam, with great effort, throws himself from the bed, EKG pulls off. 

BLOODSPRAYS Jones' bed from where the IV needle rips out of Sam's arm.

Sam smashes onto the floor. Screams in pain while snatching up the call button.  

THUMB mashes the button. Sam passes out. CALL BUTTON still held down firmly.

INT. NURSE STATION – NIGHT

Alarms and buzzers go off at the same time, startling Jean from paper work. 

JEAN
			Crap, both.  

Jean jumps up and runs to Sam's room.

INT. SAM'S ROOM 

Jean hits the light switch as she enters. 

Sam lays unmoving in a pool of blood. Jones thrashes on his bed. 

Jean crosses to Jones, effortlessly performing the Heimlich Maneuver. Hard candy shoots from Jones' mouth, bouncing on the floor. Jones takes in great gulps of air and falls back on the bed. 

Jean attends to Sam as medical personnel file through the door.

They roll Sam over, his face is bloodied and swelling. 

JEAN
			AH, Christ, look at him.    

INTERN
			What the hell happened?

Jones sits up, breathing heavy. 

JONES
			Son of a bitch dove on his 
			head to save me.

Jones looks at Sam.

JONES
			He was hurting like hell but 
			he knew I was in trouble.  

JEAN
			We'll take care of him, 
			Jonesy.

JONES
			That's one tough son of a 
			bitch. 

April hurries into the room, stops, takes in the scene and quickly kneels down with Sam.

A collar is put around Sam's neck, his eyes open.  His first vision is of April smiling at him.

SAM
			April, I thought that was you. 

APRIL
			I'm right here, Baby.

Intern is looking Sam over, hears him respond to April. 

INTERN
			Mr McCoy, are you in pain?

Sam watches the intern work for a moment then looks at April.

SAM
			Does he know what he's doing? 

April nods. Sam offers a weak smile.

SAM
			My whole damn body hurts. Where 
			am I? 

INTERN
			Let's get some help here. I want 
			to get him off the floor.

Several staff move to help.

INT. SAM'S ROOM – LATER

April sits bedside tending Sam's face. Jones sits on the edge of his own bed. Sam winces as April dabs at the cuts.

JONES
			Easy, girl. 

APRIL
			Serves him right for landing on 
			his face.

Sam, with emotionless eyes looks briefly at April, then shifts his gaze out to the window.

APRIL
			You could have called. There's 
			a duty nurse just outside. 

JONES
			Ya, he knew that.  

Sam continues to look out the window. 

SAM
			It's been a long time, April.  
			How have you been?

April stares at Sam, emotion is rising within her.
 
INT. EXAM ROOM – DAY

Sam, propped up on a hospital bed. DR. SPIEGEL 52, graying hair, medium height and build, sits in a chair, a notepad in his hands. Conrad is positioned so Sam cannot easily see him. 

SPIEGEL
			The last thing you remember 
			was...?

Sam impatient and frustrated taps the cast on his right leg. 

SAM
			How many ways do you want to 
			ask me that question?

Conrad sighs heavily, turns a page in the magazine he is looking through.

CONRAD
			Sam, we have a report.  We need 
			to find out if it's true or not. 
			You're not helping us.

Sam painfully manages to turn and look at Conrad. He sees the magazine, shakes his head and turns back around. Sam shrugs.

SAM
			What do you want?   

Spiegel reviews his notepad. Conrad, loudly, flips over another page. 

SAM
			What was in the report?  

Spiegel does not look up, he makes a notation. 

SPIEGEL
			You had some trouble with your 
			wife's death. 

Sam starts tapping his cast again.  Spiegel watches and makes a note.

SAM
			Is that what this is about?  How 
			I dealt with some jerk cutting 
			my wife off on the freeway. 

Conrad, a smile fills his eyes as he looks up from the magazine. 

SPIEGEL
			Does it bother you that I asked?

Sam stops tapping, looks at Spiegel, his notepad, then meets his eyes. 

Spiegel looks away, unable to look directly at Sam.

Sam looks over his shoulder toward Conrad, he smiles. 

SAM
			It doesn't bother me, Conrad.  

Conrad his smile melts.

CONRAD
			Doctor. 

Sam smiling, winks at Spiegel.

INT. CONRAD'S OFFICE – DAY

Spiegel sits across the desk from a visibly upset Conrad.
Jack stands near the door, a scowl on his face. 
 
CONRAD
			Damn it. What the hell was 
			that?  You said you could 
			get him to fly off the handle. 

Spiegel squirms.

SPIEGEL
			He was too calm.  

CONRAD
			I spoke to his lawyer, the 
			funeral director, the cops, 
			firemen.  He cracked!

Spiegel looks at his notes, chews on his lip.

SPIEGEL
			I don't think that man did.

CONRAD
			All those people are wrong 
			and you're right.

Spiegel showing some back bone, nods meekly.

Conrad leans forward.

CONRAD
			I want him to loose it.

Spiegel looks up at this statement.

SPIEGEL
			Why?  Why this one?   
CONRAD
			All the money we've made and 
			you're about to start 
			questioning me now? 

SPIEGEL
			No.  We lost our chance when 
			he woke up.

CONRAD
			Medically he's an invalid. 
			What kind of resistance will 
			he give.

Conrad looks to Jack.  Jack shakes his head. 

JACK
			I could break him in half 
			if he didn't have a scratch 
			on him.   

Conrad looks to Spiegel. Spiegel shakes his head slightly.

SPIEGEL
			You should medicate him. 

Conrad nods.
			
JACK
			What about the guy that's 
			poking around?

Conrad leans back in his chair, deep in thought.
  
EXT. HOSPITAL/LOADING DOCK – NIGHT

Benny, from inside his car, watches Jack load another body into the van.  This time Jack does not drive away. He parks the van in a dark, secluded area close to the loading dock.  He does not lock the van as he leaves and goes back inside the hospital.

Benny carefully approaches the van.  He makes his way to the rear doors and opens them. 

INT. VAN 

Benny climbs in.  Jack appears from behind and hits Benny in the back of the head. Benny falls inside the van, unconscious.  

INT. SAM'S ROOM – DAY
Jones sits in his bed looking at Sam, a television remote poised in his hand. 

JONES
			You don't like sports? 

Sam shakes his head.

JONES
			How'd you get in the Marines 
			like that?  

Sam smiles slightly. 

SAM
			Marines, don't need to live their 
			lives vicariously through the 
			achievements of grown men 
			playing children's games. 

JONES
			That's cold. That was mean.

SAM
			You asked. 

Before Jones can reply Haynes enters the room.
Sam recognizes Haynes. He points to him. 

SAM
			Haynes, right? 

HAYNES
			You remember?

Sam nods, motions Haynes to sit down.

Haynes sits, looks at Jones, then looks Sam over. 

HAYNES
			I pulled you out of the 
			wreck.  It took us 3 hours. 

SAM
			Thank you.

Haynes looks down, searching for the right words. 

HAYNES
			We weren't sure you wanted 
			to be pulled out. 

Sam does not understand, he looks to Jones who only frowns. Then back to Haynes who tries to appear reassuring.

HAYNES
			Anyway, I am glad to see you're 
			awake.  I don't know if I'll 
			be seeing you again.    

SAM
			Where you going? 

Haynes has great difficulty answering. 

HAYNES
			I'm leaving the department. 

SAM 
			Why?

HAYNES
			In my head, all the time, I see 
			everything I did for your wife.  

Sam closes his eyes and lowers his head. 

HAYNES
			A few days ago. A three year 
			old, unsecured in the front 
			seat.

Haynes is close to tears.  He stares off blankly. 

Sam watches Haynes, feeling his pain. 

HAYNES
			She never had a chance.   

SAM
			That's not your fault. 

Haynes nods, not disputing the fact. 

HAYNES
			But how do you treat something 
			like that? 

JONES
			If you'd quit 2 weeks ago, would 
			the child have lived? 

HAYNES
			No. What difference would that 
			make? 

SAM
			None. But, what if two weeks 
			from now, there's a call where 
			you could make a difference?
  
JONES
			You won't be there.  

SAM
			People will die whether you're 
			on the job or not.  But some 
			surely will die if you quit.

Haynes stares hard at Sam who is uncomfortable under the gaze. 

SAM
			If you want to quit, that's 
			your call, but-- 

HAYNES
			-- Do you really think you 
			should be talking about 
			quiting? 

Sam and Jones react with surprise. 

JONES
			Hey, what's this?

SAM
			No, Jonesy. 
(to Haynes)
			Something on your mind?

HAYNES
			I am sorry, Sam, I didn't 
			mean it like that. It's like 
			I said, we weren't sure you 
			wanted out of the wreck.

Slowly, understanding reaches Sam.  He looks over at Jones, who looks away.    

SAM
			You too? 

Jones nods.

SAM
			Does everyone think this?  

Both nod.

SAM
			Even that little girl? 

JONES
			How did you know about her? 

SAM
			She would come in, read to me, 
			color, draw. 

Sam looks at Haynes.

SAM
			Listen, it's not what you 
			think.  Would you at least 
			try it again. 

Haynes gives no reply.

SAM
 			I came close to giving up. 
			Someone pushed me back.  I 
			don't know what for yet.

Haynes says nothing. 

SAM
			Please? 

Haynes nods.

HAYNES
			All right, I'll give it a 
			couple more weeks. 

JONES
			That kid got awful sick again.
			They don't think she'll 
			make it.  

SAM
			I wish there was something I 
			could do for her. 

INT. MARY'S ROOM – DAY

Tanya sits with a weak, sickly Mary. 
MARY
			Mom, why can't I see Sam?

TANYA
			Dr Conrad says this is what's 
			best for you.

MARY
			I don't like him. He wants 
			to hurt Sam. 

TANYA
			You get some rest. I've 
			taken care of everything. 

INT. CONRAD'S OFFICE – NIGHT

Conrad alone, sits at his desk, talking on the telephone. Nervously chewing on his eye glasses. 

CONRAD
			He woke up.  I have to make 
			other arrangements.  

Angry, muttered response from the telephone. 

CONRAD
			I'm just asking for a little 
			flexibility from you.  

Response is calmer from the telephone, but increases Conrad's nervousness. 

CONRAD
			Just give me two days. 

Conrad nods, hangs up.  There is a knock at the door and Jack enters.  

JACK
			Everything is all set. 

Conrad nods. He looks slightly worried.  

INT. EXAM ROOM – NIGHT

Sam and April alone, April is giving Sam some bad news. 

APRIL
			You were considered an 
			attempted suicide. 

Sam does not believe it. 

SAM
			I don't even remember the 
			accident.  

APRIL
			Well, Conrad wasn't pleased 
			you woke up.  I think he was 
			hoping to get your body parts.    

SAM
			Good luck, I'm not a donor. 

April leans forward, angry. 

APRIL
			That creepy piece of --

SAM
			--What's going on? 

APRIL
			Your record shows you as 
			a donor. 

Sam considers this. 

INT. MARY'S ROOM – DAY

Jean tends to Mary, who looks far worse than before.  Mary looks at the door hopefully. 

MARY
			Jean, what's he like?

Jean stops her work and thinks.

JEAN
			He's strong.  

Mary's eyes light up.

Sam comes through the door in a wheel chair pushed by April.

MARY
(weakly)
			Sam. 

SAM
			Hi, sweetheart.  

April pushes Sam to the bed, he takes Mary's hands in his.

MARY
			I don't feel good, Sam.  

Sam leans closer, Jean and April step back.

SAM 
			You weren't there when I woke 
			up. I wanted a closer look at 
			the picture you drew of Rebecca.

Mary her eyes widen in surprise.

MARY
			 How did you know? 

SAM
			I watched you draw it.  

MARY
			But you were --

SAM
			--I'm not sure where I was, 
			but I wasn't alone. You were 
			with me, every time you came 
			to my room.

INT. OPERATING ROOM – NIGHT

Benny is strapped, unconscious to an operating table, he can only be seen from the chest up. IV in is his arm, an epidermal tube is in his back. Conrad and Spiegel stand over him in bloody scrubs.  Spiegel is monitoring Benny.

SPIEGEL 
			He's waking up.

Benny's eyes open and he tries to look around.  He sees Conrad standing over him.  

BENNY
			Where am I? What happened?

CONRAD
			Don't worry, you haven't been 
			in an accident.

A mix of confusion and relief cover Benny's face. He looks at Spiegel but does not recognize him. 

Benny's face changes to shock and fear as Jack walks into his field of vision.  He begins to panic. 
 
BENNY 
			What the hell are you doing!

Benny sees Spiegel glance down at the far end of the  operating table.

SPIEGEL
			You should really calm down. 
		 	Getting exited like this is 
			very bad for you.

Conrad steps forward and looks down at Benny. 

CONRAD
			I had Mr Kellogg bring you here 
			so we could ask you a few 
			questions.

Conrad holds up a scalpel.

BENNY
			Hey, put that thing away.  I'll 
			answer your questions.  This 
			ain't the God damn army, it's 
			just a job.

CONRAD 
			That's very good, Benny. You're 
			a very smart man.

SPIEGEL
			What have you discovered for 
			Mrs Wilcrest?  

Conrad smiles an evil leer.

CONRAD
			Don't hold back, I want you to 
			tell me exactly how bad a 
			little boy I've been. 

Benny is sweating, his breathing is getting difficult.

BENNY
			Some mobbed up shit bag's got 
			his hooks deep into you.  He  	
			fences body part you supply 
			him with.  

Conrad offers an approving smile.

CONRAD
			Please go on. I'm sure there's 
			more.  

BENNY
			You started by diverting legit 
			donor organs.   Then you expanded 
			into stem cells and aborted fetuses. 
			You have a stable of women getting 
			knocked up just so you can increase 
			your supply.

Jack chuckles. 

BENNY
			The worst part is the people 
			you kill when they don't die 
			fast enough. (beat) For God sake 
			Conrad, they wouldn't even help 
			you when your own wife needed 
			a heart. 

The smile does not leave Conrad's lips. 

CONRAD
			You think I started doing this 
			to save my wife?  Is that where 
			I think you're going with this? 

BENNY
			Didn't you? 

Jack laughs out loud.  Spiegel smirks.

CONRAD
			I hated that gold digger. I was 
			glad she died. If she'd had the 
			strength she would have divorced 
			and cleaned me out.

SPIEGLEL
			And Mrs Wilcrest knows all of 
			this too?

Benny nods.

CONRAD
			Good.  Good.   

Conrad grabs the epidermal tube and yanks it out of Benny's back. Benny displays pain.  Conrad pulls the sheet covering Benny's legs.

CONRAD 
			What do you think?

Benny looks down at what is left of his legs and screams more in shock and fear than pain. 

Benny's Legs are amputated above the knees, his thighs are sliced open and spread out like a gutted trout.   
   
INT. SAM'S ROOM - NIGHT

Sam and Jones sleep soundly in the dark. The door opens slowly.  Jack steps in, carefully walks to Jones' bedside. 

A hypodermic is removed from a pocket. A drug is injected into Jones' I.V. Then Jack leaves the room silently.    

Sam stirs in his sleep. The DOOR closes. Sam, his eyes open, he looks around. Jones looks fine. 

Sam his eyes close and he goes back to sleep. 

INT. SAM'S ROOM – MORNING

Sunshine covers Sam's face, he wakes in pain, looks around. 
Jones does not move. 

Sam notices that Jones is not breathing.

SAM
			Jonesy. Jonesy, are you ok?

Sam presses his call button. 

SAM
			Hey, someone get in here! 

AMY hurries into the room.

AMY
			What is it? 

SAM
			Jonesy, I don't think he's 
			breathing!

Jean enters and joins Amy working on Jones. 

AMY
			No pulse.  

Nurse at doorway.

JEAN
			Get a cart in here!

Jean begins CPR. Nurse turns to hurry off and runs into Conrad, hurries past without comment.

SAM
			What is it?  Is he all right? 

Conrad holds a reassuring hand up to Sam as he pulls the curtain around Jones. 

SAM
			Hey, what the hell are 
			you doing?  

Conrad places the back of his hand on Jones. Does not like it. He places a hand on Jean to get her attention. 

CONRAD
			He's gone.

Amy, tears come to her eyes

AMY
				No! 

Sam is stunned by Conrad's words.

SAM
			Damn it, damn it.  

INT. SAM'S ROOM – LATER

Jones' bed is empty. Sam is alone, a stunned expression still on his face. Nearly slipping back into the depression of before. 

April enters, she sits down next to Sam on his bed. Sam does not acknowledge she is there.  April looks at Sam's face, studies the hard lines in it.  New wounds blend with old. She takes his good arm and holds his hand. 

Sam leans his head on April's shoulder and sighs deeply. 

SAM
			What next?  It's as if some 
			power is removing everything 
			important that get's close 
			to me. 

APRIL
			Things work out, Sam.  There's 
			a plan for all of this. 

SAM
			Maybe I should just give up.
  
April, her emotion changes to anger instantly, stands up and looks down at Sam. 

APRIL
			You weak and spoiled son of a 
			bitch! How dare you speak to 
			me like that. 

Sam tries to speak, April cuts him off with a finger in his face. 

Sam stares back blankly. 

APRIL
			You blind moron, you're probably 
			the best cared for patient in 
			this hospital. Do you have any 
			idea how much time I spent away 
			from my family to look after you? 

Sam blinks, shifts his eyes to the window.

April steps around the bed to look Sam in the eyes.  

SAM
			It's not your place to care 
			for me.

APRIL
			It was your wife's.  And you 
			had a nice quiet little life. 
			Everyday the same, everyday 
			easy. That's not living.  

Sam becomes angry now. 

SAM
			You don't know what the hell 
			you're talking about.   

APRIL
			I've been to your house. I've 
			stood in your den. That 
			frigging shrine to the Marine 
			Corps. 

SAM
			That's who I am.  That's who 
			Rebecca loved.  

Sam looks down. 

SAM
			That's not the man you wanted. 

APRIL
			We were kids and it's not 
			fair for you to bring that 
			up. 

SAM
			You sent me a Dear John 
			letter in boot camp! 

April is almost in tears.

APRIL
			My cousin was killed in Beirut 
			two weeks after you left.   

Sam softens, looks sorry.

SAM
			I never knew that. 

APRIL
			How could you, you never 
			spoke to me again.  

April looks down, exhausted.    

APRIL
			For all I knew you could 
			have been dead all these 
			years. 

Sam looks down, shakes his head.

APRIL
			I married an accountant.  
			We had a wonderful life, 
			beautiful children and never 
			once did I kiss him goodbye 
			in the morning in fear he'd 
			get shot or burned to death. 

SAM
			I don't understand.  You work 
			here. You see people die everyday. 

APRIL
			As part of life they die, but 
			I couldn't live my life as a 
			cop or fireman's wife. Let 
			alone a soldier.   

SAM
			How did your husband die?

APRIL
			Cardiac arrest. 6 years ago. 
			He had a bad heart.   

Sam takes a deep breath and sighs heavily. 

April smiles, looks off into nowhere, remembering her husband.

APRIL
			He treated me better than any 
			woman ever deserved.  He was 
			home every night and died next 
			to me in bed.

April looks back at Sam.

APRIL
			You spent your life chasing 
			after death. 

Sam shakes his head and smiles. 

SAM
			There was a few times just 
			knowing Rebecca was waiting 
			for me was all that kept me 
			alive. 

April sits back down on the bed.

APRIL
			Rebecca was a stronger woman 
			than I could have ever been 
			for you.  
SAM
			It sounds like your husband 
			was more confident than I 
			ever was. I've always had to 
			prove something to someone.

APRIL
			Like I said, things have a 
			way of working out. We both 
			got what we needed.  

SAM
			Now they're both gone. And
			here we are. 

APRIL
			Something brought us back 
			together.    

SAM
			You think we're destined to 
			change the world? 

April laughs and shrugs. 

APRIL
			We have to tell Mary about 
			Jonesy.

MARY'S ROOM – DAY

April and Sam sit with a tearful Mary.

MARY
			Jonesy must be with Rebecca 
			now.  I'm going to miss him.

SAM
(to April)
			What can be done about this 
			little one? 

MARY
			Dr Martinez said I need a new 
			kidney.  

Mary does not see April shake her head at Sam.

SAM
			Don't you worry, darling, old 
			Sam's gonna to take care of you.

Conrad enters the room.

CONRAD
			What the hell is this?

EVERYONE turns to look at Conrad. 

CONRAD
			Nurse Covell I told you 
			to keep that man away from 
			this child.

April stands and squares off with Conrad.  

APRIL
			You told me to keep Mary 
			out of Sam's room.

Conrad fumes with anger. 

CONRAD
			You're fired, get the hell 
			out of here!

APRIL
			What? Wait a minute. You can't 
			fire me!

Conrad takes a threatening step toward April.

CONRAD
			Do I have to physically throw 
			you out?  

Sam spins his chair around, cutting Conrad off. 

SAM
			I'm all broke up, but you know 
			what, son? I've been in worse 
			shape and still slapped around
			better men than you. 

Sam'S eyes lock onto Conrad's who takes a step back, and looks at April.

CONRAD
			You're still fired. Now, get 
			out of here.  

April looks at Sam.

SAM
			Why don't you go for now. 
			I'll talk to you later.  

April nods and leaves the room.

Sam turns to Mary.

SAM
			Don't you worry.   

INT. HALLWAY 

Conrad follows April, Sam in the rear. 

SAM
			Conrad.  

Conrad stops, turns and looks down at Sam.

CONRAD
			I told you before to call me 
			Doctor. 

SAM
			Do you know what they call the 
			guy who does the worst in 
			medical school?  The one with 
			the lowest grades, poorest 
			performance?

CONRAD
			No, Mr McCoy. What do they 
			call him? 

SAM
			Doctor.  They call him Doctor. 

Conrad shakes with rage. 

SAM
(grinning)
			Is that why you want me to 
			call you, doctor? Because 
			you're not quite sure you 
			made it. 

Conrad bites his tongue. 

SAM
			We're gonna talk, you and I.  

Sam pushes himself past Conrad. 

SAM
			See ya, Doctor.  

EXT. CITY STREET – NIGHT

FIRE ENGINE races through traffic, lights flashing, siren wailing. 

INT. FIRE ENGINE

Haynes and Flohr ride, stone faced.  CAPTAIN sitting in the front passenger seat looks at the driver. 

CAPTAIN
			The Wilcrest Estate.  A Dr Conrad 
			confirmed. He just got off the 
			phone with the owner, she's in 
			Florida.

Captain looks at the men behind him. 

CAPTAIN
			I want a quick sweep inside. By 
			the numbers. Nobody takes any 
			chances.  No one's supposed to 
			be there. 

The Firemen all nod.

EXT. WILCREST ESTATE – NIGHT

FLAMES flicker inside. The fire is well under way but not out of control yet.

EXT. WILCREST ESTATE FRONT GATE 

Fire engine speeds through and up the driveway. 

EXT. FRONT DOOR

Fire engine stops, men jump out and hurry to their stations. 

Haynes and Flohr don breathing apparatus. Flohr grabs Haynes by the arm. 

FLOHR
			Are you okay?  

Haynes nods.
FLOHR
			This is a freebie, pal. No 
			screw ups, no heroics.  

HAYNES
			Nobody dies tonight. 

Flohr smiles, pats Haynes on the back.

INT. WILCREST ESTATE MASTER BEDROOM

Smoke fills the room.  The closet door shakes weakly. A muffled cry comes from inside.

INT. CLOSET

Mrs Wilcrest bound and gagged frantically struggles to free herself.

EXT. CITY STREET

Conrad ducks into the shadows near a pay telephone. 

CAR pulls up shuts off its lights. DRIVER opens the passenger door. The interior light does not go on.
Conrad walks casually to the car, gets in. The car pulls away.

INT. CAR

Spiegel is driving.

SPIEGEL
			What happened?    

Conrad pops a pill into his mouth, washes it down with a flask. 

CONRAD
			She won't hire anymore private 						investigators.

SPIEGEL
			You took care of her, what now?

CONRAD
			I have something else to take 
			care of.    

INT. WILCREST ESTATE

FIREMEN make their way through the house.  Haynes and Flohr climb the main staircase. 

Haynes methodically searches room to room.

Flohr looks down the stairway, flames are getting closer. He turns and looks after Haynes.

FLOHR
			Haynes, hurry up. The fire's 
			moving faster. 

Flohr grabs his radio.

FLOHR
			Captain, how much time we got?

CAPTAIN
			You don't. The fire's on the roof
			I am pulling everyone out now.    

Haynes emerges from the smoke at the end of the hallway.

INT. CLOSET 

Mrs Wilcrest tries to shout, but the gag muffles the sound.

INT. HALLWAY 

Haynes meets Flohr at the top of the stairs. Haynes stops, looks back. 

Flohr is halfway down the steps before realizing Haynes is not with him. Flohr turns and starts back up.

FLOHR
			Haynes, let's go!

Haynes does not move, he is looking or listening for something.

Flohr grabs Haynes' arm.

FLOHR
			Hey, did you hear me?

Haynes yanks free.

HAYNES
			Something's not right.  

FLOHR
			Yes, us burning up in an empty 
			house.

Haynes takes a few steps down the hallway where thick smoke rolls in now. 

FLOHR
			Where are you going?

HAYNES
			There's one room I didn't 
			check. I'm not leaving until 
			I do.

FLOHR
			You have about sixty seconds 
			then nothing's getting out. 

EXT. WILCREST ESTATE

Captain, looking worried, watches the front door.  Flames engulf the roof. He grabs the arm of a passing fireman. 

CAPTAIN
			Did Flohr and Haynes come 
			out yet?

FIREMAN
			I haven't seen them, Cap.

Captain keys his radio.

CAPTAIN
			Flohr, where the hell are you?

FLOHR
			We're checking the last 
			room now.

Captain explodes in anger, yells into the radio.

CAPTAIN
			I told you to get the hell 
			out of there!

FLOHR
			All right, we're out of here 
			now.

Captain looks up at the estate and curses.

EXT. WILCREST ESTATE 

Flames have fully engulfed the upper section of the building. 

INT. HALLWAY 

Flohr lets go of the radio, turns and heads into the smoke.

INT. MASTER BEDROOM 

Smoke is thick, visibility is low. Haynes can find no one, he turns to leave. 

INT. HALLWAY

Flohr meets Haynes at the door as the hallway bursts into flames. 

FLOHR
			Think cool thoughts, we're 
			going through that.  

Flohr prepares himself to go.  Haynes hesitates, looks back into the room.

Flohr notices Haynes.

FLOHR
			You're not going back in there!

Flohr grabs Haynes, who pushes the hands away and runs back into the room. Flohr watches in disbelief.

INT. MASTER BEDROOM

Haynes low on the floor, feels his way around. 

INT. CLOSET 

Smoke fills the space, Mrs Wilcrest is overcome and passes out.  

INT. MASTER BEDROOM

Haynes stumbles and falls on the bed, rolls off.  Flohr is there to help.

FLOHR
			Let's go! We're gonna die.

Haynes sits up, looks around, and climbs to his feet. 

Flohr tries to lead Haynes. Haynes in a panic fights to get away from Flohr.

HAYNES
			Let go of me, damn it! There's 
			someone here. Just wait.

FLOHR
			Wait?  Wait's not in the part 
			of the training manual we're 
			dealing with right now!

Haynes turns and looks around.

FLOHR
			Just who do you think is up here?

Flames reach the doorway. Haynes gets away from Flohr, makes his way to the closet door. Flohr speaks into the radio as he makes his way to the window.

FLOHR
			Captain, we need a ladder we're 
			on the second floor window.   

Haynes yanks the door open. He stares dumbfounded at Mrs Wilcrest.

EXT. WILCREST ESTATE 

Captain looking at the fire, speaks into the radio.

CAPTAIN
			Where are you? 

Chair smashes through a second floor window.

CAPTAIN
			I see you.

INT. MASTER BEDROOM

Flohr looks around grabs his radio.

FLOHR
			Haynes, where are you?

HAYNES
			Cross the room. Guess what 
			I found? 

FLOHR
			I don't give a good goddamn,
			right now, just drag it over 
			here and throw it out the window. 

EXT. WILCREST ESTATE

CHAIR is kicked out of the way. Firemen raise a ladder to the window.

INT. MASTER BEDROOM

TOP OF LADDER hits the window frame.  Haynes carries the bound and gagged Mrs Wilcrest to Flohr.  Flohr is all business as he climbs onto the ladder.  Haynes sets Mrs Wilcrest on Flohr's shoulder.  The two firemen make their way down the ladder.

EXT. WILCREST ESTATE

Fireman takes Mrs Wilcrest from Flohr.  Other firemen deliver medical equipment as Flohr and Haynes treat Mrs Wilcrest.

Captain leans over Haynes' shoulder. He is surprised.

CAPTAIN
			Christ, Haynes, do you know 
			who that is? 

Haynes shakes his head. 

CAPTAIN
			That's Velma Wilcrest, mother 
			of the Senate majority leader. 

Haynes continues to work, unaffected.

CAPTIAN
			Hell, son, you'll make the 
			cover of Time for this. 

Mrs Wilcrest coughs as she comes around. 

FLOHR
			You still want to quit, Haynes?

EXT. WILCREST DRIVEWAY

An ambulance is parked while Mrs Wilcrest is loaded in. Flohr and Haynes accompany her.  She holds tightly to Haynes' hand.

INT. AMBULANCE 
Mrs Wilcrest eye's are wide open, she smiles up at Haynes. She touches his soot covered face. 

MRS WILCREST
			So young, so brave.  If it were 
			not for you--  

HAYNES
			--You'll have to thank someone 
			else.  I almost quit a few days 
			ago. (beat) But a friend talked 
			me out of it.  

MRS WILCREST
			I have to meet him some time. 

HAYNES
			You may, he's a patient at the 
			hospital we're taking you to.

MRS WILCREST
			What happened?

HAYNES
			Sam was in an accident.  He was 
			in a coma for a while. He's 
			awake now.

FLOHR
			His wife died in the ER a few 
			days before. 

HAYNES
			She was the first one I lost.

Mrs Wilcrest slips deep into thought and concern.
   
MRS WILCREST
			We're going to that hospital? 

FLOHR
			Yes.

MRS WILCREST
			Who treated his wife in the 
			emergency room?  

HAYNES
			Dr Conrad. 

MRS WILCREST
			I was afraid of that.  How long 
			before we get to the hospital? 

INT. SAM'S ROOM -NIGHT

April enters, crosses to Sam's bed and sits down next to him. 

APRIL
			Mary's getting worse.

Sam is visibly upset.

SAM
			She was doing so well. 

Conrad enters, looking disheveled. 

CONRAD
			What the hell are you 
			doing here? 

APRIL
			I came --

SAM
			--She's here talking to me.

Conrad relaxes, a thin smile appears on his lips.

CONRAD
			Actually, I'm glad you're here. 

Conrad steps closer to Sam.

SAM
			It's come to my attention that 
			I'm an organ donor now.  

Conrad nods, still smiling. 

SAM 
			Funny, I never signed anything 
			for that.

CONDRAD
			Yes, the night your wife died, 
			I figured you hadn't. That's why 
			I did it for you. 

SAM
			I'll tell you what. That little 
			girl lives and you get to stay 
			out of prison. 

Conrad smiles and sits down in a chair, crosses his legs and leans back confidently.

CONRAD
			We're not negotiating, McCoy.  
			You owe me some parts, I'm not 
			giving you any. 

SAM
			What the hell are you talking 
			about, Conrad? 

CONRAD
			I let your wife die, Mr McCoy, 
			so I could get the parts. 

April stands. 

APRIL 
			I don't believe you.

SAM
			You're a sick man.

April turns her back on Conrad to face Sam.

APRIL
			His wife needed a heart. She 
			died the day after Rebecca. 

Sam looks at Conrad, confused. 

SAM
			How do you know her heart 
			would have worked?  

Conrad is exasperated.

CONRAD
			Why does everyone think I was 
			trying to save my wife?  I didn't 
			care about her.  I needed to fill 
			an order with your wife's parts --

SAM 
			--Shut up. My wife wasn't 
			something dragged out of a 
			junkyard for your weekend 
			project.

Conrad, is unaffected.

CONRAD
			I have obligations, Mr McCoy. 
			Obligations you wouldn't 
			understand.

Sam rubs his temple, then his eyes. Finally he looks across at Conrad. 

SAM
			You could have saved the kid. 

CONRAD
			Yes. Yes I could have.

Sam and April exchange a look.  

Conrad uncrosses his legs and leans forward.

CONRAD
			The girl dies, I don't have time 
			to deal with her anymore.

Tanya stands silently in the doorway. The others look at her. 

Conrad sighs. 

TANYA
			How could you! We had a deal!

Sam is alerted by the statement. April looks at Sam questioningly. She then turns to Conrad. 

APRIL
			You made a deal with her to 
			save Mary! 

Sam looks from Tanya to Conrad then back to Tanya. 

SAM
			You're both sick. 

Tanya takes a step toward Conrad as Jack appears behind her.  Jack grabs Tanya by the hair and pulls her back. 

CONRAD
			Get her in here and shut the 
			door! Where's Spiegel?

JACK
			He's gonna do the kid.

April and Sam are stunned. 

Jack shoves Tanya into the room and closes the door. Tanya struggles. Jack reaches into his coat and pulls out a hypodermic needle. 

April sees the needle first.

APRIL
			 No! Don't do it.

Conrad jumps to his feet and grabs April. Jack injects Tanya in the neck. Her struggling increases before slumping into Jack's arms. No one moves as Jack drops Tanya on the floor. 

Sam calmly watches the events. He misses nothing. 

Conrad motions Jack to take April. Jack sets the needle down on a table, then takes hold of April who struggles. 

APRIL
			Get your hands off me. 

CONRAD
			That was for him.  

Conrad indicates Sam.

TABLE hypodermic needle is half empty.

JACK
			There's plenty left. 

Conrad grabs the pillow off Jones' bed and turns to Sam. He freezes as he sees Sam dangle the call button from his 
finger tips.

APRIL
			Push it! Push it!

Sam smiles like a wolf snarling, as he tosses the call button to the floor. He waves Conrad to him. 

SAM
			Come here, you little bitch. 

EXT. HOSPITAL – NIGHT

The ambulance passes and turns into the emergency entrance.

INT. AMBULANCE

Mrs Wilcrest tries to look out the window. 

MRS WILCREST
			We're here.  Get me up to 
			Sam's room.

Flohr shakes his head doubtfully.

HAYNES
			Mrs Wilcrest, I don't think 
			they're gonna let you go up 
			there. 

MRS WILCREST
			I own that hospital. They'll 
			let me go where I damn well 
			please.

INT. SAM'S ROOM

Conrad smiles back at Sam and holds the pillow up.

CONRAD
			You should have pressed the 
			button.

April struggles with Jack. 

APRIL
			Why are you doing this. Stop, 
			please!  

CONRAD
			Shut her up! 

Jack twists April's arm.

CONRAD
(calmly to Sam)
			I'm going to cut you up and 
			sell your parts.  

Conrad steps forward.

APRIL
			Oh, my God, no.  Sam!

Sam calmly smiles at April.
Conrad takes another step.

CONRAD
			This was a profitable little 
			farm, but things end.  You 
			two will cover my cost for 
			starting up somewhere else. 

APRIL
			Don't do this, Doctor Conrad!   

Conrad takes one more step. Stops and looks back at April.  

Sam's eyes harden, all expression drains from his face. 

Conrad turns and stops smiling when he sees Sam's look. 
He takes a deep breath and squeezes the pillow.

CONRAD
			Night, night time, Sammy. 

Conrad raises the pillow and steps forward, April starts to panic. 

APRIL 
			Oh, no Dr Conrad. Please 
			don't do it! Sam fight him!

Sam waits until Conrad is close enough. He swings the cast on his left arm up. The pillow is knocked out of the way. Sam grabs the bottom of Conrad's tie with his right hand. He begins pummeling Conrad's face without letting go of the tie. Conrad falls, unconscious to the floor. 

Jack looks on with disbelief, relaxing his hold on April.

April elbows Jack in the stomach, tries to get away but is stopped. Jack hits her hard. April falls to the floor unconscious.  

Sam patiently watches and waits.

Jack looks from Sam to the needle.

SAM 
			Take it, you're gonna need that 
			against me. 

Jack picks up the needle and turns to Sam.

JACK
			I still have enough to 
			kill you.   

Sam looks down at April and Tanya. He looks back at Jack. 

SAM 
			You're gonna wish you'd used 
			that on yourself.

Jack steps to the end of Sam's bed pulls back the sheets, exposing Sam's legs. 

INT. EMERGENCY ROOM

Flohr and Haynes wheel Mrs Wilcrest in on a gurney.

MRS WILCREST
			Stop. Stop.  Let me off of 
			this thing!   

HAYNES
			Ma'am, you should really let a 
			doctor look at you. 

Mrs Wilcrest becomes angry. 

FLOHR
			We should wait for the police.

MRS WILCREST
(to Haynes)
			Damn it, young man, Sam's your 
			friend. He's going to be killed 
			if you don't hurry.

Flohr and Haynes look at each other. They nod. 

INT. SAM'S ROOM

Jack, holding the needle in his left hand, throws his right arm across Sam's ankles.  

Sam's face shows pain as he sits up and swings at Jack's head with his left arm, rocking Jack's head forward. The next swing smashes the cast.  

Jack's eyes roll. 

Sam grabs Jack and pulls him close, knocking the needle to the floor.  Sam wraps his right arm around Jack's neck, squeezing tight.  

Jack chokes and gages. His arms thrash, swing wildly at Sam's head. 

SAM 
			That's it, fight.  Fight 
			harder, burn up the last 
			of that air. 

Conrad stands up behind Sam, his face a bloody mess, and  the needle in his hand.  He stabs Sam in the back with it. 

CHAIR swings in on Conrad's face knocking him back to the floor. 

April, the side of her face bruised, tosses the chair aside. She watches as Jack struggles. She grabs a bed pan and smashes Jack in the face several times. 

Door burst open, Haynes and Flohr rush in to Sam's aid. 

SAM
			No, check her, on the floor.
			Haynes, Mary's in danger. 

Haynes nods and runs from the room. 
  
Sam rolls the limp Jack from the bed.

April notices the needle in Sam.  Dropping the bed pan she removes the needle. 

Mrs Wilcrest enters the room, followed by police. Staff enter and begin treating the injured.

April hands the needle to Flohr. 

APRIL 
			She was injected in the neck 
			with this.  

FLOHR
			I'll see she's taken care of.

SAM
			April, go check on Mary.  
 
INT. SAM'S ROOM

Mrs Wilcrest approaches Sam.

MRS WILCREST
			Sam McCoy, my name is Velma 
			Wilcrest. I'm very sorry about 
			your wife. I just found out.   

A nurse tends to Sam's arm.  Sam looks sadly at Mrs Wilcrest. 

SAM
			I'm finding out sometimes life 
			has it's own reasons for what 
			happens. Maybe we'll find out 
			someday why all this happened.	
			You look like you've had a tough 
			night too. 

MRS WILCREST
			That young Fireman saved my 
			life. I understand I have you 
			to thank for that.

Sam smiles and then looks at Conrad as he is handcuffed and stood up.

SAM
			Hey, Conrad, tell ya what. Next 
			time I'm in a coma, I'll give 
			you two a rematch. We should be 
			even that way.

CONRAD 
			I could save that little girl, 
			for some consideration.

SAM 
			No deal.  Rot in hell.        

CONRAD
			That's alright, she's dead by now 
			anyway.  Even if you could get 
			a kidney.  

April in front of Conrad.

APRIL
			I'm going to make sure that 
			little girl lives to see your 
			funeral. 

MRS WILCREST
			Get him out of here. 

Conrad is led away.

MRS WILCREST
			Sam, if there's anything I can 
			do for you, I will.

Sam nods. 

SAM 
			Ya, there is something.  

INT. MARY'S ROOM

Mary is weak, she hardly realizes the danger she is in as Spiegel approaches her with a needle in his hand. 

SPIEGEL
			You're not going to feel a 
			thing, my dear.

Mary looks up, her eyes half open.  Spiegel looms over her. 
A loud SMACK sounds behind Spiegel who abruptly lurches forward to reveal Haynes has attacked from behind.  

Haynes steps forward, continuing his attack on Spiegel. He grabs hold of Spiegel, knocks the needle from his hand, and stands Spiegel up straight. 

HAYNES
			You like hurting little girls?

Haynes hoists Spiegel across his shoulders then hurls him into the wall, several feet away. Spiegel lands upside down on his head. Something inside Spiegel goes CRACK and he no longer moves.

Haynes kneels down next to Mary.

HAYNES
			Hey, you okay, baby? 

Mary sleeps peacefully. 

INT. HOSPITAL WAITING ROOM - DAY

Mrs Wilcrest sits with Tanya, holding her hand. They look worried and tired.  

Haynes and Flohr dressed in civilian clothes lean against a wall. 

April paces nervously. 

MRS WILCREST 
			She's going to be fine.

TANYA
			Thank you, Mrs Wilcrest. I'll 
			never be able to repay you.   

MRS WILCREST
			I told you not to worry, child. 
			Sam thinks a lot of that little 
			girl. We'll take care of her. 
			And you.  

Rosa and Jean enter. 

ROSA
			Is there any word yet?  

APRIL 
				No. 

INT. WAITING ROOM – NIGHT

EVERYONE is tired, sleepy. DR Martinez enters, everyone stands, becomes alert. 

APRIL
			How are they? 

MARTINEZ
			They're both fine. They're not 
			awake yet.  

TANYA 
			Can I see my baby, please? 

MARTINEZ
			They'll be out of recovery in
			about an hour or two. You can 
			see them then.

Mrs Wilcrest steps forward.

MRS WILCREST 
			We'll see them now. Thank you, 
			Doctor.

INT. RECOVERY ROOM

TWO BEDS next to one another, contain Mary and Sam, sleeping. Those who have waited enter. Tanya goes to Mary's side as April goes to Sam's. 

Mary's eyes open, she looks up and smiles at Tanya.

MARY 
(weakly)
			Hi, mommy.

TANYA
			I'm here baby. Mommy's right 
			here. 

MARY
			Do I have a new kidney?

TANYA 
			Yes, baby, you do.     

Tanya begins to cry and hugs Mary.

Mary looks over at Sam.  Tears roll down April's cheeks as she strokes Sam's sleeping face.

MARY
			Thank you, Sam.  

Mary's eyes close and she drifts back to sleep.

EXT. HILL – DAY

Mary is a healthy, strong child standing at the bottom of the hill.  She looks up. 

Sam and Rebecca stand at the top, arm in arm, waving.

Mary begins to run up the slope. As she runs she becomes older. 

EXT. PRESIDENTIAL INAUGURATION – DAY

An adult Mary, who looks exactly like Rebecca, has her hand raised as she takes the oath of office.

NEWSCASTER 
(V.O.)
			An historic day for the United 
			States of America as Mary 
			Bach is sworn in as the 
			first Woman President of America. 

EXT. HILL – DAY 

Mary continues to run, aging with every step.

INT. HOTEL BALLROOM – NIGHT 

Celebration party. Mary, smiling, steps to a podium
The crowd cheers wildly. 

MARY 
			I just received a call from 
			Governor Lockhart. He has 
			conceded. 

The crowd explodes. 

NEWSCASTER
(V.O.)
			In a landslide victory, 
			President Bach has won a 
			second term. 

EXT. HILL TOP 

Mary, now fully grown, reaches Sam and Rebecca, she throws her arms around them.

MARY
			Mom, Dad.  I've missed you 
			so much, mom.

Mary looks at Sam, surprised.  She then looks at herself.

MARY
			I thought we were in the 
			hospital.

REBECCA
			Oh, honey, that was many years 
			ago.  You're all grown up now 
			in this life.

MARY
			Can I stay here with you, mom? 

REBECCA
			I'm sorry, honey. 

SAM
			You and I both have to go back.

Mary looks scared. 

REBECCA
			You have an important job now.  
			There are guest coming.  
SAM
			Only you can greet them. 

INT. NOBEL PRIZE PRESENTATION – NIGHT. 

Mary receives the Nobel Peace Prize.

NEWSCASTER 
(V.O.)
			In just six years this President 
			has achieved a near world 
			wide peace, while...

EXT. HILL TOP 

Mary nods, finally understanding what she must do and how. 

REBECCA
			Through many, many lives, your 
			father and I have prepared you 
			for this evolutionary event 
			of mankind. 

INT. LIMOSINE – DAY

Mary looks up from her daydream, realizing some one is asking her a question.  

AID
			Madam President, how was Dr 
			Conrad's funeral?

Mary sadly shakes her head.

MARY 
			Doctor Conrad was a greedy, evil 
			man. I just wish Sam McCoy could 
			have been there with us, instead 
			of the hospital.  

SECRETARY OF STATE
			Madam President, we're almost 
			there.  The message confirms 
			they want to meet with you, 
			and only you.

AIRFORCE GENERAL
			Everything is ready Madam 
			President. They'll be 
			arriving momentarily.

EXT. WASHINGTON DC - DAY
ARIEAL VIEW of the city, vibrant, and alive.

ALIEN SPACE SHIP glides in low over the city. 

PEOPLE in the streets, stores, and office windows look to the sky. 

EXT. GRASSY BALL PARK 

Space ship pauses over the park. People run for cover, some panic. 

INT. MILITARY COMMAND CENTER – DAY

INTELLIGENCE OFFICER leans over a computer monitor and snaps his fingers then bangs his desk. 

OFFICER 
			Cracked it.  

SENOR OFFICER leans over the officer's shoulder and looks at his monitor. 

SENOR OFFICER
			What do you got? 

OFFICER 
			They want to meet with the 
			President. They're asking 
			for President Bach, by name.

SENOR OFFICER 
			Just her, alone? 

OFFICER nods. 

EXT. SPACE SHIP - AERIAL VIEW.

Helicopters circle the landing site. Staging has been erected to reach the massive entrance of the ship. 
Mary is dressed smartly, wearing April's turtle broach on her lapel.

NEWSCASTER
(V.O.)
			I, I am almost speechless. An 	
			event unlike anything in 
			history. In just a few 
			moments life as we know it 
			will be forever changed.  
			Science, anthropology, space 
			travel, sociology, and religion 
			as we have always thought 
			them to be...

EXT. SPACE SHIP ENTRANCE 

HATCHWAY cracks open slowly.

Mary stands nervously. 

EXT. AUDIENCE

Sam and April, holding hands, sit in the audience, watching proudly. 

SAM
			She looks so much like Rebecca. 
			Have I ever mentioned that?    

April shakes her head. 

APRIL
			Yes, every time we've seen her 
			for the last 40 years.  

EXT. SPACE SHIP ENTRANCE 

The hatch opens completely.  The aliens step out. Large turtle like beings. The leader steps close to Mary, looks down at her. 

April her hand goes to her mouth as she gasps. 

APRIL 
			OH, Sam, look at them.  Look 
			what they are.

Tears form in Sam's eyes.

SAM
			They're... they're beautiful.  

ALIEN LEADER looks down at the broach and pleasure appears in his eyes.  His neck extends to place his head next to Mary's.  A forward leg completes the embrace. Mary returns it.  

										  FADE OUT