| Cut/Changed Scenes |
Exodus
Changed Scene:
EXAM THREE - NIGHT
Carter shows Dr. George his new eye drops and fills out aftercare papers.
CARTER
Use these twice a day.
Dr. George sniffs at the air.
DR. GEORGE
Benzene.
CARTER
What?
DR. GEORGE
The smell.
CARTER
They're probably stripping the floors.
DR. GEORGE
Not with benzene. Extremely toxic.
CARTER
(focusing on papers)
Uh huh.
DR. GEORGE
Amazing story. 1858. German scientist Kekule is asleep. He dreams of strings of atoms, twisting and turning like snakes.
As Carter moves him towards the door.
DR. GEORGE
Now one of the snakes bites its tail and whirls before his eyes. He awakes having discovered the molecular structure of benzene.
They reach the -
SIDE HALL - NIGHT
CARTER
(amused)
Wow.
DR. GEORGE
A vision that changed his life.
(as he leaves, casually)
I'd find out where that smell is coming from if I were you.
---------------------------------------------------------------
Cut Scene:
CHAIRS
Del Amico has thrown out half of the patients. As Carter directs traffic in the b.g., she moves to a middle aged WOMAN in a full cervical halo.
DEL AMICO
What about you?
WOMAN
I need a refill for Flexeril, I'm down to my last pill.
Del Amico scribbles on her prescription pad.
DEL AMICO
Who's your doctor?
WOMAN
I go to the neurosurgery clinic.
Del Amico tears off the prescription.
DEL AMICO
Make an appointment.
The Woman exits. Del Amico moves down the line to a smallish MAN, holding his hat in his hand.
DEL AMICO
And you?
MAN
I was in a car accident last week and my lawyer told me to come here for x-rays.
DEL AMICO
Get outta here.
---------------------------------------------------------------
Last Rites
Cut Scene (after Mark is told about Amy's DNR/before everyone congratulates Jeanie on her engagement):
ADMIT/MAIN HALLWAY
Hathaway checks the board against a chart, calls out to Cleo, freshly showered. Randi works Admit. Malik and Marquez are there.
HATHAWAY
Hey, Cleo, do you have the sore throat/fever in two?
CLEO
Nope.
MALIK
Val took it.
HATHAWAY
Who?
MALIK
Val -- the Impaler.
(off Hathaway's look)
You know ... Dracula.
CLEO
Isn't that Vlad?
MALIK
Whatever.
HATHAWAY
What are you talking about?
MARQUEZ
Doctor Kovac. You haven't heard his accent?
HATHAWAY
You're one to talk.
CLEO
I've hardly heard him speak. He doesn't share a lot.
MARQUEZ
Like where he's from.
HATHAWAY
Maybe he's private.
MALIK
Transylvania. That's where he's from.
RANDI
He uses a P.O. box for his mailing address.
MAILK
I would too if I lived in a cemetery.
HATHAWAY
Malik.
---------------------------------------------------------------
Great Expectations
Cut Scene (after Carol leaves the hospital in the morning/before her water breaks):
EL STATION
Hathaway steps up to the turnstiles, stares at them. There is no way she's fitting through.
A TRANSIT WORKER opens a gate for her. Hathaway walks through, offering her subway card.
HATHAWAY
Thanks.
TRANSIT WORKER
(re: token)
Forget about it. Happy Thanksgiving.
HATHAWAY
You too.
---------------------------------------------------------------
Cut Scene (right before Mrs. Olsen dies):
CURTAIN THREE/MAIN HALLWAY/ADMIT
Cleo steps up to Malucci as he assesses Ager, still displaying severe chest pain.
CLEO
Is this the guy who hit the paramedics?
AGER
They ran a red.
CLEO
They're an ambulance.
AGER
I was having a heart attack.
CLEO
Really.
MALUCCI
Textbook complaints. Crushing substernal chest pain radiating to the left arm and jaw. Nausea, short of breath. History of high blood pressure…
CLEO
Classic.
MALUCCI
You just bought yourself an angioplasty, my friend.
AGER
What's that?
MALUCCI
They stick a catheter up your groin into your heart and rotor rooter out your arteries.
AGER
Is it totally necessary?
MALUCCI
From what you're telling me, yeah.
AGER
Can I get a second opinion?
MALUCCI
Sure. What do you think, Doctor Finch?
Cleo plays along.
CLEO
Coronary artery disease for sure. Better start thinning his blood with heparin.
MALUCCI
You're not worried about brain hemorrhage?
CLEO
Have to accept the risk with an acute myocardial infarction.
AGER
You know, I'm feeling a little better. Can we just wait awhile, see if it goes away?
MALUCCI
Time is heart muscle, Mr. Ager.
Malucci walks away from Ager.
MALUCCI
Malik, let's get him up to the cath lab, pronto. I'll meet you up there.
AGER
Uh…can I call my doctor?
MALIK
After we get there.
Cleo follows him away.
CLEO
You sure he's full of it?
MALUCCI
EKG's completely normal. He'll change his story.
CLEO
You should have cardiology see him just in case.
MALUCCI
After I break him. Nice teamwork. You're quick on you feet. I like that.
(off Cleo's grunt)
So, what are you doing for Thanksgiving?
CLEO
Working.
MALUCCI
After work. If you have no plans and I have no plans, maybe…
CLEO
Forget it.
A young candy striper, LINDA, storms up to Malucci.
MALUCCI
Oh, come on.
LINDA
You bastard.
MALUCCI
Linda.
Whack! She slaps him across the face and storms away. It stings. Malucci looks back to Cleo, decides not to try to explain. Marquez rushes over from trauma.
MARQUEZ
Doctor Finch, we need you in Trauma Two. She's about to deliver.
CLEO
Who?
MARQUEZ
Carol.
MALUCCI
Where have you been?
Cleo follows Marquez. Randi points out a DELIVERY GUY carrying a basket of tropical fruit: a pineapple, bananas, mangos…
RANDI
Doctor Malucci, you go by 'Jungle Dave?'
MALUCCI
What?
DELIVERY GUY
I've got a delivery for 'Jungle Dave' from a 'Mister M. Katz.'
MALUCCI
M. Katz. Very funny.
RANDI
Some guy's sending you fruits?
---------------------------------------------------------------
Changed Scene (slight dialogue change):
GREENE:
You want me to call anyone else?
Like the daddy. Hathaway thinks about it for a moment
HATHAWAY:
No . Not yet.
GREENE:
You sure?
HATHAWAY:
I just want to get through this.
GREENE:
Okay.
As Greene fishes around Hathaway's bag for her organizer...
HATHAWAY:
You know, this is really unfair.
(off Greene's look)
No one should have to do this alone.
Greene simply nods, then a wry smile.
---------------------------------------------------------------
Abby Road
Cut Scene:
As Luka and Carol finish examining Connor Brant:
LUKA
Three-way abdominal series.
CAROL
Yeah.
Corday enters.
CORDAY
What have you got?
LUKA
Ileus vs. obstruction.
Corday palpates his belly.
CORDAY
Does he have a fever?
MRS. BRANT
He felt hot this morning.
LUKA
Can you let me finish my assessment first?
CORDAY
You called for a consult, didn't you?
LUKA
Not yet.
Malucci calls out from Trauma One, now pushing around his IV pole.
MALUCCI
Yo, Dr. Corday. Over here. Surgical belly.
CORDAY
Sorry.
She exits.
---------------------------------------------------------------
All in the Family
Cut Scene (before Amira is being questioned about the knife):
MAIN HALLWAY
The commotion continues as Officer Darcy interviews Greene and Deraad.
GREENE
I don't know. He was in a gown. No clothes, no shoes.
OFFICER DARCY
Would that stop him from leaving the building?
DERAAD
Not if he's acutely psychotic.
OFFICER DARCY
Nurse said he was freakin' out before.
GREENE
I saw him arguing with a friend, but it wasn't violent.
OFFICER DARCY
Will he calm down on his own?
DERAAD
Not with out medication.
Officer Darcy interrupts, calls to Bernini.
OFFICER BERNINI
Jim, homicide's here.
OFFICER DARCY
Alright.
GREENE
Homicide?
OFFICER DARCY
Detectives. They just need to get a jump on things. Just in case. Can you get me his belongings bag?
GREENE
Sure.
Darcy moves off. Deraad follows Greene down the hall.
DERAAD
This shouldn't have happened.
GREENE
I know.
DERAAD
I'm going to wait upstairs. Call me if they find him, okay.
GREENE
Yeah.
---------------------------------------------------------------
Cut Scene:
LOUNGE
Chen enters to find Malucci, sitting at the table, idly flicking latex gloves into the waste basket.
CHEN
Hey.
MALUCCI
Hey.
Chen pops down in the sofa.
CHEN
Any news?
MALUCCI
I heard Lucy came out okay. They had to take her spleen.
CHEN
Good. I mean that she came through.
MALUCCI
That's one.
CHEN
Yeah. The police talk to you yet?
MALUCCI
Twice. You gonna stick around? … Wait?
CHEN
I think so. I wouldn't be able to sleep.
MALUCCI
Yeah, me too.
Greene enters, looking for his father.
GREENE
You guys see an old couple waiting around?
MALUCCI
Your dad?
GREENE
Yeah.
MALUCCI
I heard him tell Randi he was taking a cab home.
---------------------------------------------------------------
Changed Scene:
INT. SPARE BEDROOM - NIGHT
An alarm clock reads 5:37 AM over the sound of a DOOR BEING UNLOCKED. REVEAL Isabelle. She wakes, hears the FRONT DOOR OPEN and SHUT. Isabelle sits up, throws on her robe and shuffles into - -
INT. CORDAY'S CONDO - CONTINUOUS ACTION
Isabelle finds Corday sitting at a dining room chair, coat still on, purse in hand.
ISABELLE
You're home.
Corday looks up at her, drained, shaken.
ISABELLE
Is everything alright?
CORDAY
No
ISABELLE
Do you want to tell me about it?
CORDAY
Not particularly.
Isabelle nods, moves to the kitchen.
ISABELLE
How about some tea?
But Corday doesn't answer.
ISABELLE
Elizabeth.
Corday looks up.
ISABELLE
How about some tea?
CORDAY
No. Thank you.
ISABELLE
I always made tea for your father when he came home looking like that.
CORDAY
Tea's not going to fix it, Mother.
ISABELLE
It's not meant to fix it
(then)
Are you going to bed?
Corday doesn't look like she'll move for hours.
CORDAY
No.
Isabelle gives her a brief, albeit awkward hug. Corday accepts it.
ISABELLE
Then I'll make breakfast.
Corday doesn't fight it. She'll let her mother take care of her. Isabelle breaks out eggs and milk as Corday sits there. OFF Corday - such a waste.
CUT TO --
---------------------------------------------------------------
Cut Scene:
HOSPITAL ROOF - DAWN
Greene and Weaver stand on the rooftop, as if they've come up for air, as the morning greets the cityscape. Having talked through what happened and how, they are left with the simple, irreversible fact that Lucy is gone.
WEAVER
Someone has to call her mother.
GREENE
You want me to do it?
WEAVER
No, I should. I called her the first time.
GREENE
What did you tell her?
WEAVER
That she came out of surgery. It was very serious, but it looked good.
GREENE
Oh boy
(then)
Does she live in town?
WEAVER
No.
GREENE
Where is she from?
WEAVER
I didn't recognize the area code.
GREENE
Huh. You'd think I'd know that.
How much more was there to her that they didn't know?
WEAVER
She was considering Emergency Medecine.
GREENE
Really.
WEAVER
It was between us and psych. I only know because she asked my advice last week.
GREENE
What did you tell her?
WEAVER
To go with her gut. It had to feel right; she had to enjoy it because she'd be doing
it the rest of her life.
Oh, man. Greene can't say anything to that. Everyone worries about their future because they assume they have one. After a beat...
WEAVER
I better go do it.
GREENE
Yeah. I've got to get down there.
WEAVER
Are you coming on shift?
GREENE
At seven.
But they don't move. They just stand there, not quite ready to brave the rest of the day.
GREENE
She wasn't the best student I've ever had, but she sure tried the hardest. Never gave up.
WEAVER
No. She never gave up.
---------------------------------------------------------------
The Fastest Year
Cut Scene (before the LP on Edgar):
Luka talks to Edgar's mother who heads back to ICU, then greets Kerry as he comes to the admit desk, Carter comes up too.
LUKA
Kerry, good to have you back.
KERRY
Good to be back, except for the paperwork. Did no one order any supplies while I was gone?
Randi shrugs.
LUKA
I guess not. Carter, can you help me for a minute?
CARTER
Sure.
---------------------------------------------------------------
Such Sweet Sorrow
Changed Scene:
HATHAWAY
Did you have a bad dream?
TESS quiets a bit in her mother's arms. Hathaway takes her back out into --
THE LIVING ROOM
Closes the bedroom door behind her quietly as the microwave BEEPS its completion. She heads for it, takes out the bottle, stirs it, tests it on her wrist. Heads into the living room.
HATHAWAY
I thought we had a deal? You and me. Didn't we have a deal? Last night, in the bathtub? I said why don't we all sleep until six? And you said yes Mommy, I'd love to sleep until six...
She works her way to the rocking chair in the corner of the darkened living room, sets down her cup, turns on the corner light, it's shade canted away from the chair. Sits, pulls up the waiting blanket, and gives the anxious Tess the bottle. Leans back, putting her feet up on the tiny stool and begins to rock, Tess now quiet in her arms, feeding.
HATHAWAY
There we go. Oh boy...yum....yum...
The baby settled in, she leans her head back in the chair, exhales. Exhausted, closes her eyes.
HATHAWAY
Oh man, Tess...you're killing me.
---------------------------------------------------------------
Cut Scene (before Carol arrives at work):
ON A MOVING EL - MORNING 7:00am
Hathaway stands in her civvies, Tess strapped to her chest, Kate in the stroller. A woman, DARLENE, watches. Makes faces at Kate, looks up to Hathaway expectantly, but Hathaway doesn't want to engage, smiles noncommittally, looks off.
DARLENE
How old?
Okay, well. Guess she's going to have engage.
HATHAWAY
Six months.
DARLENE
I've got a three year old son at home. They sleeping through the night yet?
HATHAWAY
Yes and...no.
DARLENE
You still breast feeding?
HATHAWAY
They're on bottles, but I'm still pumping when I can.
DARLENE
Keep it up, breast milk is the best thing for babies. I'm still nursing.
Her three year old? God, won't this woman ever shut up?
DARENE
I don't know how you do it with twins. I barely survived my daughter. I wasn't sure who I was going to kill first, the baby or myself.
(the train slows)
I finally worked out a deal with my husband, one night on, one night off; saved my life.
The train finally stops. Hathaway smiles wanly as the doors open. Pushes the stroller out as we -- CUT TO:
---------------------------------------------------------------
Changed Scene:
HATHAWAY
Pride. I asked him to stay for me. I thought I should be at least that important to him. It never occurred to me that he would go anyway. If he'd said he would stay, then I would have gone.
(a beat)
It was complicated.
Kovac nods, it always is. Takes a moment.
KOVAC
I still love my wife.
(takes a beat)
But it's time to get on with my life. Have someone to share things with again. I'm not sure we can be like that for each other, but I'd like to find out.
---------------------------------------------------------------
Cut Scene (right before Kerry starts yelling for Amira):
THE ELEVATORS
DING! The elevator doors SLIDE open revealing KERRY WEAVER. She's tired, cranky, and looking for trouble. Carries a huge insulated CG coffee mug, CLANKS her way down the hall toward chairs. PICKMAN and a gurney fast approaching.
PICKMAN
LOL with LOC in the stairwell of her nursing home. Eighty-two, history of dementia, dehydrated. They weren't sure how long she was down there, could have been all night.
TAKATA
Remind me to get the name of that nursing home so my relatives never end up there.
---------------------------------------------------------------
Changed Scene:
FRANK
She uses a whistle?
WRIGHT
They took away her whip.
---------------------------------------------------------------
Cut Scene (after Kerry yelled at Chen and Carter/before she began handing out patients):
A MORTUARY OFFICE
Greene sits in a brocade chair in a tasteful waiting room. The coffee table covered with a fanned array of Architectural Digests and understated Mortuary brochures, a floral arrangement. A receptionist's desk.
CHAPIN
Dr. Greene?
Youngish man, nice suit. Greene stands, offers his hand.
CHAPIN
David Chapin. We spoke on the phone.
GREENE
Yes, of course.
Chapin ushers Greene back into -
HIS OFFICE
Offers Greene a chair in front of a very neat desk. Chapin takes his seat behind the desk.
CHAPIN
I have a few papers I need you to sign.
Chapin opens a folder, points to Greene where to sign.
CHAPIN
This first one is the hard copy of the Disposition of your father's remains, you sent us a signed fax a few days ago, the state requires an original signature for our files.
(Greene signs)
And this one is your Acceptance of his remains. Is that still your wish?
GREENE
Yes, it is.
CHAPIN
We're available to help you with any of the arrangements for your father.
GREENE
He was a career Naval officer. I'm going to get in touch with the VA.
CHAPIN
We work with the VA all the time, so if you change your mind, please call.
On the desk beside Chapin, a small white paper bag. The kind with little rope handles. Greene points.
GREENE
Is that it?
CHAPIN
Yes.
Chapin sets the bag down on the desk in front of Greene. He stares at it for a moment.
GREENE
Thanks.
CHAPIN
Of course.
(a last piece of paper)
Here's your final invoice. You send that to the VA for reimbursement. We take Visa, Mastercard or a personal check.
CUT TO:
OUT SIDE THE MORTUARY
A warm spring day. Greene walks down the sidewalk from the entrance, carries the little white bag. Unlocks the driver's side door. Climbs in, sets the bag on the passenger seat. Puts the key in the ignition. TURNS it over.
Powers down the windows, the seatbelt warning CHIMING. Sits there for a long beat. Exhales. Looks over at the bag sitting on the seat beside him. Isn't sure what comes next. Leans his head back, closes his eyes.
---------------------------------------------------------------
Changed Scene:
HATHAWAY
Tess still isn't sleeping.
GREENE
Teething probably.
HATHAWAY
That's what Luka said.
GREENE
He's sees them enough to know.
He's smiling, she looks at him mildly irritated.
HATHAWAY
Don't give me a hard time, I'm struggling with it enough as it is.
GREENE
No, I think its great. I want you to be happy. You deserve it.
HATHAWAY
But I'm not happy.
GREENE
That's because you like being tortured.
HATHAWAY
Everytime I'm around him I feel like I'm being unfaithful.
GREENE
To who, Doug?
HATHAWAY
You make it sound ridiculous
GREENE
It is ridiculous.
Now she's getting mad, not at him, at herself.
HATHAWAY
You're right, I've been living like some kind of nun. Luka's a great guy. (then)
So, why do I still feel so unsure?
GREENE
Maybe you're afraid of making yourself vulnerable again.
---------------------------------------------------------------
Cut Scene:
THE AMBULANCE BAY - AFTERNOON
Abby comes out of the ER doors, sees Malucci, sitting on the back of an ambulance, staring off. She approaches him.
ABBY
You okay?
MALUCCI
Yeah. Fine.
ABBY
I'm sorry.
MALUCCI
It's not your fault, Corday was right.
ABBY
What'd she say?
MALUCCI
I'd rather not repeat it if that's okay.
ABBY
Thanks for trying to take a bullet for me.
MALUCCI
Didn't work.
ABBY
I appreciated it anyway.
They stand there for a moment, watching the traffic out on the street, a Chicago Tribune truck passing by.
MALUCCI
What's with the eleventh? Earlier. You said you thought today was going to be a terrible day.
ABBY
I wasn't so wrong about that.
MALUCCI
You trying not to answer the question?
She smiles. Yes actually, she was.
ABBY
My divorce became final today.
MALUCCI
Sorry.
ABBY
No, that's okay. He was a real bastard.
MALUCCI
Want to talk about it?
ABBY
Not particularly.