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Verdict, The (1982)

by David Mamet.
Based on novel by Barry Reed.

More info about this movie on imdb.com
INT.  FIRST FUNERAL PARLOR - DAY

A working-class funeral in progress. THIRTY PEOPLE and an 
inexpensive bier SEEN from the back of the hall.

ANGLE

A MAN's back FILLS the SCREEN.  He is dressed in a black suit; 
his hands are clasped behind him.  ANOTHER MAN stands next to 
him.  The Second Man reaches behind the First Man's back and 
puts a discreetly folded ten-dollar bill into his hands.

ANGLE

These Two Men from the front.  Both somber, in their early 
fifties.  They begin to walk down the aisle of the funeral 
parlor.

ANGLE

The WIDOW.  A woman in her late fifties sitting by the bier 
receiving condolences.  The Two Men approach her.  The First 
Man (the recipient of the money) speaks:

                         FUNERAL DIRECTOR
             Mrs. Dee, this is Frank Galvin --a 
             very good friend of ours, and a 
             very fine attorney.

                         GALVIN
             It's a shame about your husband, 
             Mrs. Dee.

The Widow nods.

                         GALVIN
             I knew him vaguely through the 
             Lodge.  He was a wonderful man.     
             (shakes head in sympathy)  It was 
             a crime what happened to him.  A 
             crime.  If there's anything that I 
             could do to help ...

GALVIN removes a business card from his jacket pocket and hands 
it to her as if he were giving her money.  (i.e., "Take it.  
Really.  I want you to have it ..."  She takes the card.  Beat.

                         GALVIN
                    (thoughtfully 
                    realizes he is 
                    usurping her time)
             Well ...

He shakes her hand and moves on.

INT.  COFFEE SHOP - DAY

Galvin sitting in the deserted coffee shop in his raincoat.  
Reading a section of the paper.  He picks up his teacup, drinks.  
Lowers it to the table.

ANGLE - INSERT

Galvin twists tea bag around a spoon to extract last drops of 
tea.  His hand moves to his felt pen lying on the table.  He 
moves his hand to the paper, open at the obituary section.  We 
SEE several names crossed out.  He circles one funeral listing.

ANGLE

Galvin sitting, raises cup of tea to his lips.  Looks around 
deserted coffee shop.  Sighs.

INT.  SECOND FUNERAL HOME AND STREET - AFTERNOON

Galvin outside a second funeral home.  WORKING-CLASS PEOPLE 
entering, Galvin enters the home.

ANGLE

Galvin, coming down the aisle toward the front, shrugging 
himself out of his overcoat, he approaches the BEREAVED WIDOW 
sitting by the front of the home, he extracts his card from 
his pocket, starts to speak.  He is stopped by the WIDOW'S 
SON, a hefty man in his mid-forties, who interjects himself 
between Galvin and the widow.

                         SON
                    (of the card)
             What is that ...?

                         GALVIN
             I ...

                         SON
             What the hell is that ...

                         GALVIN
             ... I was a friend of your fa...

                         SON
             You never knew my father.
                    (hits card out of 
                    Galvin's hand)
             You get out of here, who the hell 
             do you think you are ...

The FUNERAL MANAGER hurries down the aisle, and starts 
extricating Galvin from the commotion.

                         GALVIN
                    (to Funeral Manager)
             I'm talking to this man ...

                         FUNERAL MANAGER
             Excuse me, Mrs. Cleary...

He is manhandling Galvin toward the back of the funeral parlor.  
The Son calls after him:

                         SON
             Who the hell do you think you are?

EXT.  SECOND FUNERAL PARLOR - AFTERNOON

The Funeral Manager and Galvin standing in the cold.

                         FUNERAL MANAGER
             I don't want you coming back here.  
             Ever.  Do you understand?

                         GALVIN
             I was just talking to...

                         FUNERAL MANAGER
             Those are bereaved people in there.

The Funeral Manager gives Galvin a small shove, and goes back 
to his post at the door, greeting the entering mourners.  "Good 
evening..."

ANGLE

Galvin, the ground cut out from under him.  Standing watching 
the mourners enter.

EXT.  SECOND FUNERAL STREET - DUSK

Galvin walking down a residential street.  He has been walking 
a while in the cold, snowy night.  He stops for a stoplight at 
a corner, waits for the light although there is no traffic.  
Lights a cigarette.  The light changes.  He looks both ways 
and irresolutely starts across the street.  He stops.  He checks 
his watch.  He sighs, and starts back in the opposite direction.

INT.  O'ROURKE'S BAR - NIGHT

Galvin holding forth at the bar of a seedy drinking-man's 
establishment, THREE DRINKERS, acquaintances, standing around 
him, appreciative.

                         GALVIN
             Pat says, 'Mike ... there's a new 
             bar, you go in, for a half a buck 
             you get a beer, a free lunch, and 
             then take you in the back room and 
             they get you laid.'

The bartender, JIMMY, comes up to Galvin.

                         JIMMY
             Another, Frank . . . ?

                         GALVIN
                    (gestures to include 
                    group)
             ...everybody.  Mike says, `Pat, 
             you mean to tell me for a buck you 
             get a free lunch and a beer, and 
             then you go in the back and get 
             laid?'  `That's correct.'  Mike 
             says, `Pat.  Have you been in this 
             bar ?'  Pat says, `No, but my sister 
             has ...'  (gestures to Jimmy)  
             Everyone.  Buy yourself one too.

INT.  GALVIN'S OFFICE - NIGHT

The seedy, disorganized small office, Galvin in shirt-sleeves 
opening a file cabinet.  He takes out an armload of files, 
carries them to a wastebasket and throws them in.  He sits on 
his desk, as if exhausted by his effort, pours from a whiskey 
bottle into a large water glass, downs the glass.  He has been 
drinking for some time.  He starts -- stumbling back to the 
file cabinet.  On the way his eye is caught by his degrees 
hanging on the wall.  He stumbles to them, picks them up and 
walks over to the wastebasket and throws them in.  He goes 
back to the file cabinet, the phone starts ringing.  Galvin 
lets it ring, continues emptying the files into the wastebasket, 
tearing some of them up as he does so.  He repeats softly to 
himself, as a litany, "It doesn't make a bit of difference, it 
doesn't make a bit of difference ..."  He starts back to the 
desk for the bottle, knocks the still-ringing phone off the 
desk.  He pours himself a drink.  As he downs it we hear -- 
softly -- from the phone on the floor:  a MAN'S VOICE.  "Frank.  
Frank.  Frank.  Goddamnit.  Are you there ...?  Frank ..."  
Galvin pays no attention.  Drinks his drink and gazes at the 
wall -- now empty of degrees.

ANGLE - P.O.V.

The empty wall.  Galvin's P.O.V.  The telephone heard Voice 
Over insisting, "Frank ..."

INT.  GALVIN'S OFFICE ANTEROOM - NIGHT

MICKEY MORRISSEY, a man in his late sixties, dressed in suit 
and overcoat, looking worried, unlocks the door to the dark 
anteroom.  Looks around.  Sees something in the next room.

ANGLE - P.O.V.

Galvin asleep on his couch, clothed as before.  Covered in his 
overcoat, the bottle and glass next to the couch on the floor, 
the sound of the phone off the hook.

ANGLE

Mickey walks into the office.  Stands looking at Galvin.

                         MICKEY
                    (harshly)
             Get up.
                    (beat, more harshly)
             Get up.

Galvin wakes up.  Looks around.  Swings his legs over the couch.  
Drinks from the glass.  Vacantly:

                         GALVIN
             Hi, Mickey ...

                         MICKEY
             What the hell do you think you're 
             doing ...? (surveys the wrecked 
             office) What's going on here ...?

                         GALVIN
             Uh ...

                         MICKEY
             Fuck you.  I got a call today from 
             Sally Doneghy ...

                         GALVIN
             ... now who is that ...?

                         MICKEY
             ... You're 'sposed to be in court 
             in ten days and she's telling me 
             you haven't even met with them ...

                         GALVIN
             Sally Doneghy, now who is that?

                         MICKEY
             One lousy letter eighteen months 
             ago. . . .I try to throw a fuckin' 
             case your way ...

                         GALVIN
             ... hey, I don't need your charity 
             ...

                         MICKEY
             ... I get these people to trust 
             you --they're coming here tomorrow 
             by the way --I get this expert 
             doctor to talk to you.  I'm doing 
             all your fuckin' legwork -- and 
             it's eighteen months.  You're 
             'sposed to be in court.  I bet you 
             haven't even seen the file.

Galvin pours himself a drink.

                         GALVIN
             Hey, what are you, my nanny?

Mickey walks to him, knocks the drink out of his hand and slaps 
him several times in the face.

                         MICKEY
             Listen to me.  Listen to me 
             ...listen to me, Frank, 'cause I'm 
             done fuckin' with you.  I can't do 
             it any more.  Look around you:  
             You think that you're going to 
             change?  What's going to change 
             it?  You think it's going to be 
             different next month?  It's going 
             to be the same.  And I have to 
             stop.  This is it.  I got you a 
             good case, it's a moneymaker.  You 
             do it right and it will take care 
             of you.  But I'm through.  I'm 
             sorry, Frank, this is the end.  
             (beat) Life is too short, and I'm 
             too old. (Beat)

Mickey walks out of the office.  Slams the door.  Beat.  Galvin 
looks around the office.  Goes to his sofa.  Sits, reaches to 
side table.

ANGLE - INSERT

The side table, a pack of Luckies.  Galvin taking one, his 
hand shaking a little.  Also on side table a pile of change 
containing a small rosary and a wedding ring.

INT.  GALVIN'S OFFICE ANTEROOM - INSERT - DAY

The carriage of a typewriter.  A sheet of paper.  Its letterhead 
reads "Frank P. Galvin.  Attorney at Law, 124 State Street, 
Boston, Mass.  02981.  Cable FRAGAL."  Someone is typing, "Sorry 
I had to go out.  Back at 10.  Judge Geary called.  Are you 
available for lunch Wednesday University Club?"  A hand takes 
a paper from carriage and puts it on desk.  Takes a pen and 
signs, "Claire."

ANGLE

Galvin in the anteroom, dressed in his suit, unshaved, having 
just signed the paper.  He takes a piece of Scotch tape from 
the dispenser on the desk, picks up a file folder from the 
coffee table.  It is torn in several places and rudely Scotch-
taped.

ANGLE - P.O.V. - INSERT

The file headed Deborah Ann Kaye v. St. Catherine Laboure 
Hospital et. al.

ANGLE

Galvin surveys the anteroom, opens door to corridor, Scotch 
tapes the note he has just typewritten to the outside of the 
door.

INT.  O'ROURKE'S BAR - DAY

Dark paneling, clean, simple.  A drinkers' bar.  OLD BARTENDER 
and THREE CUSTOMERS spaced widely, Galvin in his overcoat 
downing a shot, the file open before him.  He is reading.  He 
checks his watch, scoops the file together under his arm, throws 
a dollar on the bar, and heads for the door.

INT.  NORTHERN NURSING HOME CORRIDOR - DAY

Galvin walking tentatively down the corridor of a very run-
down nursing home.  He receives suspicious looks from the 
Attendants.  He is checking numbers on the doors against a 
notation in the file.  He finds the correct door and enters.

INT.  NURSING HOME WARD - DAY

The door to the ward from the inside.  Galvin opening the door 
to the dark ward, backlit, tentative, a little unsteadied from 
his drinking.  He puts his back against the door, puts down 
file and briefcase, extracts a small cheap Polaroid camera 
from the briefcase, readies it to shoot, picks up his 
paraphernalia, and starts off down the ward.  As he walks down 
the ward he checks the file hung at the foot of each bed.  
Galvin stops at the foot of one bed and reads the chart.

ANGLE - P.O.V.

The chart held by Galvin.  DEBORAH ANN KAYE, various medical 
notations.  He lowers the chart and we SEE in the bed beyond 
it a shrivelled, tiny form stuck with needles and tubes.  

ANGLE 

Galvin replaces the chart, puts his file, briefcase, etc. on 
the foot of the bed, takes a flash photo of the figure in the 
bed.  Takes another one.  Puts down camera, sits on the end of 
the bed gazing at the unseen form.  He lights a cigarette, and 
sits looking at her.

INT.  CORRIDOR - GALVIN'S OFFICE BUILDING - DAY

SALLY DONEGHY.  A mousy woman in her forties is standing by a 
door on which is written, "Frank P. Galvin.  Attorney at Law."

                         GALVIN
             I'm ... Mrs. Doneghy?  I'm Frank 
             Galvin ... why didn't you go in?

                         SALLY
             It's locked.

                         GALVIN (ASTONISHED)
             It's locked?

Sally Doneghy points to the note on the door.  Galvin takes it 
from the door.  Reads.  "Back at 10, Judge Geary.  Lunch ..."

                         GALVIN
             I'm terribly sorry ... I hope we 
             didn't put you out.  Won't you 
             come in ...?  (motions Sally into 
             inner office, gestures with note) 
             I'd offer you some coffee, but it 
             looks like my girl just went out.

INT.  OFFICE ANTEROOM - DAY

Galvin is perched at his secretary's desk.  Sally Doneghy across 
from him by the coffee table listening intently.

                         GALVIN
             It's not a good case.  It's a very 
             good case.  A healthy young woman 
             goes into the hospital to deliver 
             her third child, she's given the 
             wrong anaesthetic ...

                         SALLY
             ... we, we love her, Dick and me 
             ...

                         GALVIN
             ... I'm sure you do ...

                         SALLY
             But what can we do?  She don't 
             know who's visiting her ...

                         GALVIN
             ... I know.  I went ...

                         SALLY
             ... You saw her?

                         GALVIN
             Yes.  Yes, I have.

                         SALLY
             You know how beautiful she was? 
             (beat)  Her husband left her, and 
             he took her kids .... They, they, 
             they'd let you die in there.  They 
             don't care.  Nobody cares.  The 
             Patriot Home, the Chronic Care ... 
             in Arlington ...?  They'd take her 
             in.  Perpetual care.  They'd take 
             her.  Fifty thousand dollars they 
             want.  An endowment.

                         GALVIN
             ... fifty thousand dollars?

                         SALLY
             I don't want to leave her.  Dick 
             ...the, the ... and Father Laughlin, 
             he said that it was God's will ...

                         GALVIN
             ... I understand ...

                         SALLY
             My doctor told me that I got to 
             move out West ... that's when we 
             filed in court.  We didn't want to 
             sue ...

                         GALVIN
             ... I understand ...

                         SALLY
             ... But Dick, he's looking for two 
             years in Tucson ... and they called 
             him  up and said to come out.  
             He's a good man.  He's only trying 
             to do what's right.

The door to the corridor opens and DICK DONEGHY, a workingman 
in his forties, comes into the room.  Sally and Galvin stand.

                         SALLY
             This is my husband.

Donegy and Galvin shake hands uncomfor-tably.  He motions the 
two to sit.

                         GALVIN
             Please sit down.  I told your wife.  
             I'm sorry that we have to meet out 
             here.  I've got a case coming in 
             two days in the  Superior Court 
             and my office is a mess of papers.

                         DONEGHY
             ... that's all right.

                         GALVIN
             I was telling your wife, we have a 
             very good case here.

                         SALLY
             He saw her at the Northern Care...

                         GALVIN
             ... and I have inquiries out to 
             doctors, experts in the field ... 
             there is, of course, a problem 
             getting a doctor to testify that 
             another doctor's negligent ...

                         DONEGHY
             ...the Archdiocese called up, they 
             said who was our attorney, 'cause 
             the case is coming to trial...

                         GALVIN
             I doubt we'll have to go to trial 
             ...

                         DONEGHY
             ... we told them we didn't want it 
             to come out this way.

                         GALVIN
             I completely understand ...

                         DONEGHY
             We just ...

                         SALLY
             We just can't do it anymore.  (beat)  
             This is our chance to get away.

                         GALVIN
             I'm going to see you get that 
             chance.

                         DONEGHY
             What is this going to cost?

                         GALVIN
             It's completely done on a 
             contingency basis.  That means 
             whatever the settlement is I retain 
             one-third ...that is, of course, 
             the usual arrangement ...

INT. BISHOP BROPHY'S SUITE--INSERT DAY 15

Yellowed newspaper clipping, a very lovely, patrician woman in 
her twenties smiling at a well-turned-out Galvin around thirty.  
Headline:  "Patricia Harrington to Wed."

                         ALITO (VOICE OVER)
             `His name is Frank Galvin.  B.U. 
             Law, class of 'fifty-two.  Second 
             in his class.  Editor of the Law 
             Review.  Worked with Mickey 
             Morrissey twelve years.  Criminal 
             Law and Personal Injury ...'

A hand turns a page and reveals a second clipping:  "Boston 
Lawyer Held in Jury Tampering Case," with a picture of a very 
confused Galvin at around forty-five being led to jail.

                         ALITO
             'Married Patricia Harrington, 
             nineteen sixty ...'

ANGLE

The small, sumptuously appointed Italianate office.  French 
windows, a fire in the grate, a view of Boston Common, JOSEPH 
ALITO, a slender, elegant man in his forties dressed in a very 
expensive suit, reading from his notes, news clippings, etc., 
which are held in a leather folder.

                         ALITO
             `Joined Stearns, Harrington, Pierce 
             nineteen sixty as a full partner.  
             Resigned the firm nineteen sixty-
             nine over the Lillibridge case 
             ...'  Do you ...?

Alito, strolling as he reads, moves toward the windows with 
his file TO REVEAL BISHOP BROPHY, a self-contained man in his 
early sixties, sitting on a leather couch, listening.

                         BISHOP
             He was accused of jury tampering.

                         ALITO
             Accused.  Not indicted.  He resigned 
             the firm.  Divorced nineteen 
             seventy.  Galvin worked with Michael 
             Morrissey until Morrissey retired 
             in 'seventy-eight.  Since then 
             he's been on his own.  Four cases 
             before the Circuit Court.  He lost 
             them all.  He drinks.

                         BISHOP
             Four cases in three years ...

                         ALITO
             The man's an ambulance chaser ...

                         BISHOP
             ... tell me about this case.

                         ALITO
             This is a nuisance suit.  He's 
             looking for small change.  He's 
             asking for six hundred thousand 
             and betting we don't want to go to 
             court.

                         BISHOP
             No -- we don't want this case in 
             court.

                         ALITO
             Neither does he.  That's where he 
             loses.  This man's scared to death 
             to go to court.  We only have to 
             call his bluff.

                         BISHOP
             I want to settle this thing and be 
             done with it.  I don't want the 
             Archdiocese exposed.

                         ALITO
             No.  Absolutely, and we're going 
             to see that it is not.

                         BISHOP
             So what I want to do is stop it 
             here.  I'm going to make him an 
             offer.  I want to do it myself.  I 
             want it to come from me.

                         ALITO
             All right.  But let's keep the 
             price down.  I've called Ed 
             Concannon.  He recommends that we 
             continue to respond as if we're 
             going to trial.

The Bishop nods, meaning, "You are dismissed."  As an 
afterthought:

                         BISHOP
             If we were to go to trial, would 
             we win the case?

                         ALITO
             Well, of course, it's always 
             dangerous ...

                         BISHOP
             I know that answer.  If we went to 
             trial would we win?

                         ALITO
                    (in an "of course" 
                    tone)
             Yes.

Alito, preparing to leave, reaches to the Bishop's desk, where 
he has laid his leather folder.

ANGLE

The clipping in the folder, confused Galvin being led into 
jail, "Boston Lawyer Held in Jury Tampering Case."  Alito's 
hand snaps the folder shut.

INT.  GALVIN'S OFFICE BUILDING CORRIDOR - DAY

A man's arms full of textbooks.  Prominently displayed:  
"Methodology and Practice in Anesthesiology."  The man stops, 
fumbles for a key in his pocket.

ANGLE

Galvin, in his overcoat, arms full of books, reading from a 
textbook and trying to unlock his office door.

INT.  OFFICE

Galvin entering.  CLAIRE PAVONE, a woman in her fifties, at 
the secretary's desk, hanging up the phone.

                         CLAIRE
                    (to phone)
             Thank you very much.

Galvin looks up at her in surprise.

                         GALVIN
             What are you doing here?

                         CLAIRE
             Mickey told me to come back to 
             work.

Galvin nods, proceeds into his office, reading from the 
textbook.  Claire follows him into the office.

                         CLAIRE
             ... here's your mail, call Mrs. 
             Doneghy ...

                         GALVIN
             ... yes.  Get her on the phone ...

                         CLAIRE
             ... that was a Dr. David Gruber's 
             office ...

                         GALVIN
                    (putting down books)
             Gruber...

                         CLAIRE
             Mickey told him to call. (reading 
             from notes) 'He's some very hotshot 
             surgeon at Mass. Commonwealth.  He 
             wants to meet with you at seven 
             tonight re testimony in the case 
             of Deborah Ann Kaye.  You meet him 
             at the hospital.'

She hands him typed memo slip.

                         GALVIN
                    (surprised)
             ... he wants to testify ...?

                         CLAIRE
             It looks that way.

                         GALVIN
             You know what that would mean?  To 
             get somebody from a Boston hospital 
             to say he'll testify?

                         CLAIRE
             ... a Mrs. Doneghy called ... I 
             told you that.

Phone rings.  Claire moves to it.

                         GALVIN (DELIGHTED)
             This is going to drive the ante 
             up.

                         CLAIRE (INTO PHONE)
             Frank Galvin's ... who's calling 
             please?  Bishop Brophy's office 
             ...

She gestures to Galvin, "Do you want to talk to them?"  Galvin 
gestures back, "No.  I'm not in ..."

                         CLAIRE
             I'm sorry, he's not in ... may I 
             take a mess ... tomorrow when, two 
             o'clock ...I'll check my book ...

She looks to Galvin, who nods, "yes."

                         CLAIRE
             Yes.  Mr. Galvin's clear at that 
             time ....the Bishop's office, 
             tomorrow, the fifth at two p.m.  
             Thank you ...

She hangs up.

                         GALVIN
             That's the call that I'm waiting 
             for.

                         CLAIRE
             What does it mean?

                         GALVIN
             They want to settle.  (beat)  It 
             means a lot of money.

                         CLAIRE
             Does that mean I'm back for awhile?

INT.  GRUBER'S HOSPITAL CORRIDOR - INSERT - NIGHT

Man's wrist.  WWII GI watch reads:  6:56.

ANGLE

Galvin in overcoat standing outside door marked "Doctors Only" 
in bustling hospital corridor.  He glances at memo slip in his 
hand.  He opens door.  CAMERA FOLLOWS him onto:

INT.  GRUBER'S DOCTORS LOCKER ROOM - NIGHT

Carpeted, small, comfortable, lined in lockers.  A DOCTOR, on 
the phone in greens, smoking a cigarette, talking on the phone 
softly, a couple of DOCTORS sitting, drinking coffee, chatting.  
Galvin, a trifle nervous, to Doctor ON PHONE:

                         GALVIN
             Dr. Gruber ...?

The Doctor on the phone gestures behind him to a thirty-ish 
MAN in blue jeans smoking a cigar, changing at his locker.  
Galvin walks over to him.

                         GALVIN
             Dr. Gruber ...

                         GRUBER (TURNING)
             Yes?  Galvin, right?

He checks his watch, continues changing into suede jacket, 
checks next appointment on a leather appointment book, locks 
the locker, pockets key.

                         GALVIN
             I appreciate--a man as busy as--

                         GRUBER
             That's perfectly all right.  I'm 
             kind of rushed.  Do you mind if we 
             walk while we talk?

Gruber, Galvin following, talk while exiting locker room.

INT.  GRUBER'S HOSPITAL CORRIDOR - NIGHT

                         GRUBER
             I read the hospital report on your 
             client.

                         GALVIN
             ... Deborah Ann Kaye ...

                         GRUBER
             ... Deborah Ann Kaye ...

They walk hurriedly through a hospital corridor, to an EXIT 
door and down concrete stairs.

INT.  GRUBER'S HOSPITAL STAIRS - NIGHT

                         GALVIN
             They called, they're going to 
             settle, what I want to do is build 
             up as much ...

                         GRUBER
             Right.  Who called?

                         GALVIN
             The Archdiocese called, they want 
             to settle ... her estate ...

                         GRUBER
             ... and you're going to do that?

                         GALVIN
                    (surprised, of course)
             Yes.

                         GRUBER
             You're going to settle out of court?

Gruber stops at the bottom of the stairs, beside an exit to 
the outside.

                         GALVIN
             Yes.

                         GRUBER
             Why?

A beat.

                         GALVIN
                    (it's a meaningless 
                    question to him, 
                    as if to a child)
             Uh ... in the, well, in the 
             interests of her family ... you, 
             Dr. Gruber, you know, you can never 
             tell what a jury is going to do.  
             St. Catherine's a very well thought 
             of institution.  Her doctors ...

                         GRUBER
                    (glances at watch, 
                    impatient)
             Her doctors killed her. 

                         GALVIN
                    (A BEAT))
             I'm sorry ...?

                         GRUBER
             Her doctors murdered her.  They 
             gave her the wrong anaesthetic and 
             they put her in the hospital for 
             life.  (a beat)  Her doctors 
             murdered her.

                         GALVIN
             Do you know who her doctors were?

                         GRUBER
             I read the file.  Yeah.  Marx and 
             Towler.  I know who they were.

                         GALVIN
             The most respected ...

                         GRUBER  (SMILING)
             Whose side are you arguing ...?  I 
             thought that you wanted to do 
             something.  I don't have any 
             interest in the woman's 'estate' -- 
             No offense, but we all know where 
             the money's going  to ... I have 
             an interest in the Hospital;  and 
             I don't want those bozos working 
             in the same shop as me.  They gave 
             her the wrong anesthetic.  They 
             turned the girl into a vegetable.  
             They killed her and they killed 
             her kid.  You caught 'em.  Now: 
             how many others did they kill?

A beat.  Gruber discards end of a cigar.  Takes a leather case 
from his suede jacket, extracts a new cigar.  Offers one to 
Galvin.

                         GRUBER
             You want a cigar?

Galvin takes one absently.

                         GALVIN
             The hospital is owned by the 
             Archdioceses of ...

                         GRUBER
             What are they going to do?  Not 
             invite me to their Birthday party 
             ...?  (checks watch) Look, I gotta 
             go.  I have to be in Cambridge ...

Galvin, excited, is trying to light the cigar.  His hand shakes 
badly.  He has forgotten to bite off the end.  He bites it, 
lights the cigar.

                         GALVIN
             Well, well, when can we meet again.  
             I'd like to get a deposition..

                         GRUBER
             Okay.  I'll meet you here.  Tuesday 
             night ... I gotta go.  You going 
             my way?

Galvin shakes his head.

EXT.  GRUBER'S HOSPITAL PARKING AREA - NIGHT

Gruber opens door and walks out into the cold, into the parking 
lot, followed by Galvin, who is lighting his cigar.

                         GALVIN
             We have to ... we ... we have to 
             keep you under wraps.  Please don't, 
             don't discuss ...

                         GRUBER
             I understand.

                         GALVIN
             ... the case with anyone.  And 
             I'll meet you Tuesday, and we'll 
             go over your testimony ...

They stop before a 1950s very beautiful small Mercedes Sedan.  
Gruber opens the door, gets into the plush red leather interior, 
starts car, leaves door open, still talking to Galvin.

                         GRUBER
             Right.  Seven o'clock.  Here.

Galvin scribbles information in his appointment book.

                         GALVIN
             Thank you ...

                         GRUBER
             ... that's perfectly all right.

                         GALVIN
                    (beat)
             Uh, why, why are you doing this?

                         GRUBER
                    (thinks a second)
             To do right.  Isn't that why you're 
             doing it?

INT.  O'ROURKE'S TAVERN - NIGHT

Galvin is at the bar, smiling to himself.  His drink is being 
refilled.  To BARTENDER:

                         GALVIN
             I want to buy you a drink.

                         JIMMY (THE BARTENDER)
             Thanks, Franky.

Galvin looks around.  A very attractive self-possessed YOUNG 
WOMAN is sitting in the crook of the bar across from him; she 
is intently perusing the newspaper and circling items with a 
felt pen.  Galvin speaks to her:

                         GALVIN
             Would you like a drink?

She looks up.  Smiles.

                         WOMAN
             I'd like an apartment.

                         GALVIN
             Settle for a drink?

She gestures at her own full glass in front of her.

                         WOMAN
             No.  Thank you.

Galvin shrugs.

                         GALVIN
             I had a very good day today.

                         WOMAN
                    (beat, smiles, downs 
                    drink, gets up off 
                    the stool, sincerely)
             I'm glad you did.  Thank you.  
             Good night.

                         GALVIN
             You're very welcome.

He watches her as she leaves the bar.  He turns back to his 
drink.

                         GALVIN
             Well, well, well.  Huh?

                         JIMMY
             Yeah.

                         GALVIN
                    (sighs)
             It's a long road that has no 
             turning.

                         JIMMY
             That's for sure, Frank.

INT.  GALVIN'S APARTMENT - NIGHT

A shoddy one-and-a-half room bachelor apartment.  Galvin, beer 
and cigarettes on the table beside him.  He is sitting on an 
armchair in the bedroom.  A yellow legal pad in his lap.

He is talking on the phone softly, soothingly.

                         GALVIN
             I'm going to the Archdiocese 
             tomorrow at two.  I know you don't.  
             I know you don't...no, you're just 
             following your life.  You have a 
             life too...you have to move out 
             West.  It doesn't help you to stay 
             here.  Well...I'm sure she knows 
             you care for her.

His attention wanders to the legal pad in his lap.

ANGLE - P.O.V.

The legal pad.  Spread on it a couple of Polaroids of Deborah 
Ann in the nursing home.  Below them, written on the pad, large, 
"Dr. David Gruber.  Ass't. Chief Anesthesiology, Mass.  
Commonwealth.  'They killed her.  And they killed her kid -- 
Her doctors murdered her.'"

The following figures are written on the pad: $150,000.00 
written very large, circled, crossed out.  $250,000.00 similarly 
circled and crossed out.  $225,000.00 circled many times.

                         GALVIN
                    (voice over; on 
                    phone)
             Well.  Well.  Well.  Finally we're 
             none of us protected...we...we 
             just have to go on.  To seek help 
             where we can...and go on...I know 
             that you love her...I know you're 
             acting out of love.

ANGLE - GALVIN ON THE PHONE

                         GALVIN
                    (into phone)
             As soon as I know...you give him 
             my respects too.  Not at all.  Not 
             at all...Good night. (beat) Well, 
             bless you, too.  Good night.

He hangs up phone, sighs.  Lights a cigarette.  Rotates his 
neck to loosen it up.  Reaches to the table next to his bed 
for the bottle to pour a drink.

ANGLE - INSERT

His hand reaching for the bottle.  On the table the photo of a 
very beautiful blonde woman in a silver frame.  She is the 
same woman we saw earlier in the news clip.  She is on the 
deck of a sailboat, laughing.  A pile of change on the table, 
a money clip, a rosary, and the wedding ring in the pile of 
change.

ANGLE

Galvin looking at the photo in the silver frame next to his 
bed.  He sighs deeply.  Beat.  Reaches up to the lamp above 
his head and turns it off.  He sits stiffly in the dark a 
moment, then lets his head fall back to the chair.

INT.  NORTHERN NURSING HOME WARD - DAY

Galvin, spruced up a bit, sitting on a bed, his briefcase on 
his lap.  Gazing at the unseen Deborah Ann Kaye in the dark 
ward.  Silent.  Beat.  He looks in his briefcase, takes out a 
file.

ANGLE - P.O.V. - INSERT

The file, labeled Deborah Ann Kaye.  Galvin extracting the 
photo of the young mother romping with her two children; he 
takes the yellow legal pad from his briefcase and puts it on 
top of the picture (the figures crossed out; "Her doctors 
murdered her," etc.).

We hear the door to the ward open and TWO IRISH WOMEN gossiping.

                         IRISH NURSE #1
                    (voice over)
             Jimmy, I said, don't you go in 
             your pocket if there's nothing 
             there...

                         IRISH NURSE #2
                    (voice over)
             ...and what did he say...?

                         IRISH NURSE #1
                    (voice over; spies 
                    Galvin, her tone 
                    changes)
             ...Sir, you aren't allowed to be 
             in here...

ANGLE 

Galvin sitting on the bed looking at Deborah Ann.  He looks up 
to the speaker.  A slovenly Irish Nurse, who has come into the 
room and is standing by him.  The other Nurse is framed in the 
doorway.  Galvin is lost in thought.

                         NURSE
             You can't be in here.

                         GALVIN
                    (as if remembering 
                    something, simply)
             I'm her attorney.

INT.  BISHOP BROPHY'S OFFICE - DAY

The Bishop from the waist up, sitting behind his beautiful 
desk.  Compassionately:

                         BISHOP
             It's a question of continuing 
             values.  St. Catherine's -- to do 
             the good that she must do in the 
             community has to maintain the 
             position that she holds in the 
             community.  So we have a question 
             of balance.  On the one hand, the 
             reputation, and, so, the 
             effectiveness of our hospital, and 
             two of her important doctors -- 
             and, on the other hand, the rights 
             of your client.

ANGLE

Galvin seated across from the Bishop.  A YOUNG PRIEST seated, 
discreetly, attentively, across the room.  Sherry glasses in 
front of Galvin and the Bishop.  Galvin drinking from his.

                         BISHOP
             A young woman.  In her 
             prime...deprived of...(searches 
             for a word) ...life...sight...her 
             family...It's tragic.  It's a tragic 
             accident.

Galvin has been dreaming.

                         BISHOP
             ...nothing, of course, can begin 
             to make it right.  But we must do 
             what we can.  We must do all that 
             we can.

He gestures to the Young Priest, who crosses the room, extracts 
a sheet from a file folder, and places it before Galvin, who 
is sitting as if in a dream.  The Bishop waits a beat, not 
wanting to interrupt Galvin's reverie, then catches his eye 
and gestures down at the paper.  Galvin glances down.

INSERT

The sheet:  "I, Frank P. Galvin, duly appointed conservator 
for Deborah Ann Kaye, in consideration of Two Hundred Ten 
Thousand Dollars ($210,000.00) paid in hand to me this day by 
St. Catherine Laboure Hospital do hereby release from any and 
all claims..."

ANGLE

Galvin and the Bishop as before.  Galvin finishes reading, 
looks up.

                         BISHOP
             Yes.  We must try to make it right.

Beat.  Galvin nods.  Beat.  Bishop nods discreetly to the Young 
Priest who extracts Mount Blanc fountain pen from his pocket, 
holds it out to Galvin.

                         BISHOP
             It's a generous offer, Mr. 
             Galvin...(beat) ...nothing can 
             make the woman well...but we try 
             to compensate...to make a gesture...

                         GALVIN
             How did you settle on the amount?

                         BISHOP
             We thought it was just.

                         GALVIN
             You thought it was just.

                         BISHOP
             Yes.

                         GALVIN
             Because it struck me how neatly 
             'three' went into the amount.  Two 
             Hundred Ten Thousand.  That would 
             mean I keep seventy.

                         BISHOP
             That was our insurance company's 
             recommendation.

                         GALVIN
             Yes.  It would be.

A beat.

                         BISHOP
             Nothing that we can do can make 
             that woman well.

                         GALVIN
             And no one will know the truth.

                         BISHOP
             What is the truth?

                         GALVIN
             That that poor girl put her trust 
             in the hands of two men who took 
             her life, she's in a coma, her 
             life is gone.  She has no family, 
             she has no home, she's tied to a 
             machine, she has no friends --and 
             the people who should care for 
             her:  her Doctors, and you, and 
             me, have been bought off to look 
             the other way.  We have been paid 
             to look the other way.  I came in 
             here to take your money.  (beat)  
             I brought snapshots to show you.  
             So I could get your money.  (to 
             Young Priest, waving away document)  
             I can't take it.  If I take it.  
             If I take that money I'm lost.  
             I'm just going to be a rich 
             ambulance chaser.  (beat; pleading 
             for understanding)  I can't do it.  
             I can't take it.

                         YOUNG PRIEST
             If we may discuss money, Mr. Galvin.  
             How is your law practice?

                         GALVIN
             It's not too good.  I've only got 
             one client.

HOLD.

INT.  LAWYERS ROOM AND CORRIDOR - DAY

Galvin, determined, coming down a corridor in the Courthouse, 
opens a door.  CAMERA FOLLOWS him IN.  The Lawyers Room.  Then 
or twelve AMBULANCE CHASERS waiting for clients.  They all 
look up as he enters, then return to their reading, phones, 
card games.  CAMERA FOLLOWS him TO the corner of the room where 
MICKEY MORRISSEY is playing Gin with a CRONY.

                         GALVIN
             I have to talk to you.

                         MICKEY
             What do you want?

                         GALVIN
                    (dragging him up)
             Come on.  Let's get a drink.

                         MICKEY
                    (sighs, to partner)
             Don't touch anything.

Galvin leads Mickey out of the room.

INT.  FIRST CORRIDOR COURTHOUSE - DAY

Mickey and Galvin silhouetted against a window at the end of 
the dark corridor, arguing.

                         MICKEY (ENRAGED)
             Are you out of your mind...?

                         GALVIN
             ...I'm going to need your help...

                         MICKEY
             You need my help...?  You need a 
             goddamn keeper...are you telling 
             me that you turned down two-hundred-
             ten grand?  (beat)  Huh...?  Are 
             you nuts?  Eh?  Are you nuts.  
             What are you going to do, bring 
             her back to life?

                         GALVIN
             I'm going to help her.

                         MICKEY
             To do what...?  To do what, for 
             chrissake...?   To help her to do 
             what?  She's dead...

                         GALVIN
             They killed her.  And they're trying 
             to buy it...

                         MICKEY
             That's the point, you stupid fuck.  
             Let them buy it.  We let them buy 
             the case.  That's what I took it 
             for.  You let this drop -- we'll 
             go up to New Hampshire, kill some 
             fuckin' deer...

He turns away.

                         GALVIN
             Mick.  Mick.  Mick...

                         MICKEY
             What?

                         GALVIN
             You -- Listen:  you said to me, 
             `if not now, when...'

                         MICKEY
             I know what I said but not now.  
             You won it.  Franky.  You won it.  
             When they give you the money, that 
             means that you won.  We don't want 
             to go to court -- is this getting 
             to you...?  You know who the 
             attorney is for the Archdiocese, 
             Eddie Concannon.

                         GALVIN
             ...he's a good man...

                         MICKEY
             ...he's a good man...?  He's the 
             Prince of Fuckin' Darkness...he'll 
             have people in there testifying 
             that the broad is well -- they saw 
             her Tuesday on a surfboard at 
             Hyannis...don't fuck with this 
             case.

                         GALVIN
             ...I have to stand up for her...

                         MICKEY
             Frank, but not now.  Frank.  You're 
             trying to wipe out some old 
             business.  But not now.  I 
             understand.  But you go call 'em 
             back.  You call the Bishop back.

                         GALVIN
             I have to try this case.  I have 
             to do it, Mick.  I've got to stand 
             up for that girl.  I need your 
             help.  (beat)  Mick, will you help 
             me...?  (beat)  Will you help me...?

INT. CONCANNON OFFICES CORRIDOR --DAY

A young ATTORNEY in shirt-sleeves and vest racing through a 
huge, ultra-modern, ultra-successful legal office.  The office 
is near empty.  A couple of secretaries are at their desks, a 
couple of lawyers in their cubicles.  The CAMERA FOLLOWS the 
Attorney tearing through the corridors of the office, up a 
spiral staircase, through yet more office space, into:

INT.  CONCANNON CONFERENCE ROOM - DAY

...a conference room.  Mahogany, tinted glass, a panoramic 
view of Boston.  Twenty-five attorneys, male and female, mostly 
young, gaze at the young Attorney as he enters the room.  He 
stops running.  He approaches the front of the room tentatively.  
Standing at the blackboard in front of the conference room is 
EDWARD CONCANNON.  Senior partner of the firm, late fifties, 
imposing, he radiates success.  As the young Attorney approaches 
Concannon he is stopped with a gesture.  Concannon addresses 
the room.

                         CONCANNON(SMILING)
             Anybody ever hear, 'For want of a 
             shoe a horse was lost?'  Who's 
             going on vacation tomorrow?

A young MAN raises his hand.

                         CONCANNON
             Friedman.  St. Barts.  is that 
             right?

                         FRIEDMAN
             Yessir.

                         CONCANNON
                    (to secretary taking 
                    notes at the side 
                    of the room)
             Send Mrs. Friedman a dozen roses 
             tomorrow morning please, Sal.  I 
             tell you what, send her a sunlamp.  
             (smiles, there is laughter from 
             the room; to Friedman, sympathetic) 
             I'm sorry, but you'll have to stay.  
             No vacations till this thing is 
             cleared.

Concannon motions to the young Attorney who has run in.  The 
young Attorney goes to Concannon and hands him a box of chalk.  
Concannon takes a piece and writes on the blackboard "Jan. 
12th."  He underlines it heavily.

                         CONCANNON
             Our court date is January twelfth.  
             You're all acquainted with this 
             case.  It's been scheduled for 
             eighteen months.  We have the 
             attorney for the Plaintiff, Frank 
             Galvin -- and I trust you are all 
             familiar with his record -- and we 
             have been expecting him to call us 
             to negotiate. As he did not, and 
             five days before we're supposed to 
             go to court we made him a rather 
             generous offer, which he refused.  
             Five days before the trial.  What 
             does this mean?  I want to find 
             out.  (writes on the blackboard, 
             "1)  Research") (writes "2) 
             Homework") Acquaint yourselves 
             again with the depositions.  Don't 
             rely on the fact that we did it 
             last year.  Do it again.  We're 
             going to review them here, and you 
             do it at home.  You each have a 
             full file.  Know the deps, and I 
             want you all to be here when we 
             work with the defendants... when 
             is that, Billy...?

The young Attorney responds.

                         YOUNG LAWYER (BILLY)
             Tuesday evening, Sir.

Concannon writes on blackboard "3)  Public Awareness."

                         CONCANNON
             I want an article in the Globe As 
             Soon As Possible, 'St. 
             Cat's...Neighborhood Giant serving 
             the community' etc.  We've got it 
             in the files.  I want something in 
             Monday's Herald:  'Our Gallant 
             Doctors,' something...Be inventive, 
             I want television...(nods toward 
             one of the young lawyers) ...talk 
             to our man at GBH.  And to belabor 
             the obvious for a moment...(beat)  
             Our clients are:  the Archdiocese 
             of Boston; St. Catherine Laboure 
             Hospital, and Drs. Marx and Towler, 
             two of the most respected men in 
             their profession.  The thrust of 
             this defense will be to answer in 
             court, in the press and in the 
             public mind -- to answer the 
             accusation of negligence this 
             completely:  not only that we win 
             the case, but that we win the case 
             so that it's seen that the attack 
             on these men and this institution 
             was a rank obscenity. (beat) All 
             right.  Let's get the cobwebs off.  
             Billy...?

The young Lawyer stands as Concannon sits, listening.

                         YOUNG LAWYER
             Please turn to your Page Four.

All the lawyers in the office turn in their files to that page.

                         YOUNG LAWYER
             We're going to start with a review 
             of the depositions of the Operating 
             Room Team:  the nurse-anesthetist, 
             the scrub-nurse, the...

INT.  LAW LIBRARY - NIGHT

Galvin and Mickey at a library table piled with books.  A dingy, 
dusty law library.  They are smoking, speak in undertones, 
referring to the yellow legal pads in front of them.  Rehashing 
material.  MICKEY Who have we got?

                         GALVIN
             We've got her sister.  Testifies 
             she had a meal one hour before she 
             was admitted to the hospital.  
             This is the point.

                         MICKEY
             You got the admittance form says 
             patient ate nine hours prior to 
             admittance.

                         GALVIN
             Admittance form is wrong.

                         MICKEY
             Forget it.  You can't prove it.  
             Sister's testimony is no good.  
             Jury knows we win she gets the 
             cash.

                         GALVIN
             I've got my Dr. Gruber, says her 
             heart condition means they gave 
             her the wrong anaesthetic anyway, 
             plus she came in complaining of 
             stomach pains...

                         MICKEY
                    (conceding)
             ...Gruber's not bad.GALVIN Not 
             bad...?  This guy's Dr. Kildare, 
             the jury's going to love him, 
             Mick...  And you calm down, all 
             right?  Their guy, Towler's, the 
             author of the book, (hunts for 
             book on desk, holds it up; reads) 
             'Methodology and Practice, 
             Anesthesiology.' (rummages through 
             a pile of papers on the desk) ...and 
             they got depositions from the 
             nurses, everybody in the operating 
             room, the scrub-nurse...'All these 
             guys are God.  I saw them walk on 
             water...'

                         GALVIN
                    (checking a list)
             They had an obstetrical nurse in 
             there.  We got a deposition from 
             the obstetrical nurse?

                         MICKEY
                    (checking list)
             No.

                         GALVIN
                    (reading from pad)
             'Mary Rooney, forty-nine.  Lives 
             in Arlington, still working at the 
             hospital.'  Can you get out 
             tomorrow?  How come she isn't 
             speaking up.

                         MICKEY
             Right.

                         GALVIN
             Okay now.  Cases:  Smith versus 
             State of Michigan.

                         MICKEY
             Right.

                         GALVIN
             Brindisi versus Electric Boat.

                         MICKEY
             You got a good memory, Franky.

                         GALVIN
             I had a good teacher.  McLean versus 
             Urban Transport...

INT.  O'ROURKE'S PUB - NIGHT

Galvin and Mickey entering the bar, walk over to the bar.  
Galvin sees something O.S..  Call to the bartender.

                         GALVIN
             Jimmy?  Bushmills.  (turns to 
             Mickey, whispers) Lookit, do me a 
             favor.  I'll buy you a drink 
             tomorrow.

                         MICKEY
             Yeah?  And what are you going to 
             do tonight?

                         GALVIN
             I'm going to get laid.

Galvin motions with his head down at the end of the bar.

ANGLE - P.O.V.

The Woman from last night, sitting in her same place at the 
end of the bar.  Mickey looks at her.  Shrugs.  Gets up off 
stool.

                         MICKEY
             Don't leave your best work in the 
             sheets.

He salutes, walks off.

Galvin takes his drink and moves down to her.  

                         GALVIN
             D'you find an apartment?

                         LAURA
             Still looking.

                         GALVIN
             I changed my life today.  What did 
             you do?

                         LAURA
             I changed my room at the Hotel.

                         GALVIN
             Why?

                         LAURA
             The TV didn't work.

                         GALVIN
             What Hotel are you staying at?

                         LAURA
             And what are you?  A cop?

                         GALVIN
             I'm a lawyer.

                         LAURA
             My ex-husband was a lawyer.

                         GALVIN
             Really.  How wonderful for you.

                         LAURA
             Yes.  It was, actually.

                         GALVIN
             Oh, actually it was.  Then why'd 
             you call it off?

                         LAURA
             Who says I'm the one that called 
             it off?

                         GALVIN
             A brick house says you divorced 
             him.  I'll put you on your honor.  
             Bet you a hundred dollars against 
             you join me for dinner.  And I'll 
             take your word for it.  Now you 
             tell me the truth.  Because you 
             cannot lie to me.  What's your 
             name?

                         LAURA
             Laura.

                         GALVIN
             My name's Frank.  And furthermore, 
             you came back to see me tonight.

                         LAURA
             What if it wasn't you that I came 
             back to see?

                         GALVIN
             You just got lucky.  (gets up off 
             stool) D'you eat yet?  Come on.

She gets up from the stool and starts following him in spite 
of herself.

                         GALVIN
             Jesus, you are one beautiful woman.

INT. O'ROURKE'S - NIGHT (LATER)

Galvin and Laura are in a booth.  The remains of a dinner and 
drinks around them.  They are both smoking cigarettes, intent 
on each other.  Both a little drunk.

                         GALVIN
             The weak, the weak have got to 
             have somebody to fight for them.  
             Isn't that the truth?  You want 
             another drink?

                         LAURA
             I think I will.

Galvin motions "another round" to the bartender.

                         GALVIN
             Jimmy!
                    (beat)
             That's why the court exists.  The 
             court doesn't exist to give them 
             justice, eh?  But to give them a 
             chance at justice.

                         LAURA
             And are they going to get it?

                         GALVIN
             They might.  Yes.  That's the point 
             ...is that they might...you see, 
             the jury wants to believe.  They're 
             all cynics, sure, because they 
             want to believe.  I have to go in 
             there tomorrow to find twelve people 
             to hear this case.   I'm going to 
             see a hundred people and pick 
             twelve.  And every one of them 
             it's written on their face, `This 
             is a sham.  There is no justice...' 
             but in their heart they're saying, 
             'Maybe...maybe...'

                         LAURA
             Maybe what?

                         GALVIN
                    (beat)
             Maybe I can do something right.

                         LAURA
             And is that what you're going to 
             do?  (a beat)  Is that what you're 
             going to do...?

                         GALVIN
             That's what I'm going to try to 
             do.

INT.  GALVIN'S APARTMENT - NIGHT

The bedroom, dark, sound of people moving, the bedside light 
is flicked on.  We SEE Galvin in shirt-sleeves, holding a 
whiskey glass a little unsettled, turning on the light, Laura, 
with a glass, also a bit unsteady, standing beside him.  Both 
awkward.  He looks at her, turns back to the bed, turns down 
the bed, sees the silver-framed picture of his wife, he looks 
back at Laura, starts to take the picture to turn it down.

                         LAURA
             That's all right.

She starts taking off her blouse.

INT. COURTHOUSE BAR-INSERT - DAY

A half-full old-fashioned glass.

ANGLE

Galvin sitting at the fairly well-equipped bar, still.  He 
looks out of the window at a building across the street.

EXT.  COURTHOUSE - P.O.V. SHOT - DAY

The courthouse across the street.

INT.  COURTHOUSE BAR - DAY

Galvin glances at bar clock.

ANGLE - P.O.V.

The clock reads 10:12.

ANGLE

Galvin downs his drink, picks his briefcase off of the bar and 
starts for the door.

INT. JUDGE SWEENEY'S CHAMBERS-DAY

JUDGE SWEENEY, a florid man in his sixties, sitting in shirt-
sleeves eating bacon and eggs off of a hotel service on a tray, 
talking conspiratorially with Ed Concannon, who is drinking 
coffee, seated across the desk.  They are obviously old friends.  
The sound of a door opening.  They turn their heads to the 
door.

ANGLE - P.O.V.

Galvin standing in the door.

                         JUDGE (VOICE OVER)
             You're late, Mr. Galvin.

He enters the room.  CAMERA FOLLOWS him as he sits next to 
Concannon.

                         GALVIN
             Yessir.  I'm sorry.

                         JUDGE
             Why is that?

                         GALVIN
             I was held up.

Concannon smiles and extends his hand.

                         CONCANNON
             Ed Concannon.

                         GALVIN
                    (shaking his head)
             Frank Galvin.  We've met before.

As the Judge starts to speak Galvin cannot help looking at 
Concannon out of the corner of his eye.

                         JUDGE
             Let's do some business.

ANGLE - P.O.V. GALVIN

Concannon, brisk, expensive-looking, tanned, huge gold watch, 
custom-made suit.

                         JUDGE  (VOICE OVER)
             They tell me that no bargain ever 
             was completed other than quickly 
             when both parties really cared to 
             make a deal.

Concannon feels Galvin's eye on him, half-turns, smiles.

ANGLE - THE JUDGE, CONCANNON, GALVIN

                         JUDGE
             Now, have you boys tried to resolve 
             your little difficulty because 
             that certainly would save the 
             Commonwealth a lot of time and 
             bother.

                         GALVIN
             This is a complicated case, your 
             Honor...

                         JUDGE
             I'm sure it is, Frank:  and let me 
             tell you something.  If we find it 
             so complex, how in the hell you 
             think you're going to make a jury 
             understand it?  (smiles at Galvin) 
             See my point?  Let's talk a minute.  
             Frank: what will you and your client 
             take right now this very minute to 
             walk out of here and let this damn 
             thing drop?

                         GALVIN
             My client can't walk, your Honor.

                         JUDGE
             I know full well she can't, Frank.  
             You see the Padre on your way out 
             and he'll punch your ticket.  You 
             follow me?  I'm trying to help 
             you.

                         CONCANNON
             Your Honor, Bishop Brophy and the 
             Archdiocese have offered plaintiff 
             two hundred and ten thousand 
             dollars.

                         JUDGE
             Huh!

                         CONCANNON
             My doctors didn't want a settlement 
             at any price.  They wanted this 
             cleared up in court.  They want 
             their vindication.  I agree with 
             them.  But for today the offer 
             stands.  Before we begin the 
             publicity of a trial.  For today 
             only.  (beat)  When I  walk out 
             that door the offer is withdrawn.
                    (turns to Galvin)
             As long as you understand that.
                    (beat)
             It's got to be that way.

                         GALVIN
             We are going to try the case.

A beat.  Galvin fumbles for a cigarette.  The three sit in 
silence.

                         JUDGE (INCREDULOUS)
             That's it...?  (beat)  Come on, 
             guys...life is too short... (beat)  
             You tell me if you're playing 
             'chicken,' or you mean it.  (beat; 
             turns to Galvin)  Frank:  I don't 
             think I'm talking out of school, 
             but I just heard someone offer you 
             two hundred grand...and that's a 
             lot of money...and if I may say, 
             you haven't got the best of records.

                         GALVIN
             ...things change.

                         JUDGE
             ...that's true.  Sometimes they 
             change, sometimes they don't.  
             Now, I remember back to when you 
             were disbarred...

                         GALVIN
             I wasn't disbarred, they dropped 
             the pro...

                         JUDGE
             And it seems to me, a fella's trying 
             to come back, he'd take this 
             settlement, and get a record for 
             himself.  (beat)  I myself would 
             take it and run like a thief.

                         GALVIN
             I'm sure you would.

The Judge turns, unbelieving that Galvin has patronized and 
insulted him.  He controls himself.

                         JUDGE
             Hm.  (beat; checking book)  We 
             have the date set?  Next Thursday.  
             Good.  (smiles)  See you boys in 
             court.

INT.  COURTROOM - INSERT - DAY

A legal document.  LIST OF PROSPECTIVE JURORS.  DEBORAH ANN 
KAYE versus ST. CATHERINE LABOURE HOSPITAL, Et. Al.:  Mr. Arthur 
Abrams, Machinist, 58; Mrs. Joann Chepek, Housewife, 42; Mr. 
Roger Crawford, Chemist, 59, etc.

ANGLE

Galvin, seated at the conference table intent on the form in 
front of him.  He crosses out something with a pen.  Galvin 
takes the form, rises, walks across the room, walks by the 
defense table with Concannon and an Aide at it.  Approaches 
the Jury Box, which has several prospective JURORS in it.  He 
is very nervous.  He addresses a man.

                         GALVIN
             Mr. Abraham...

                         ABRAMS
             Abrams...

                         GALVIN
             Abrams.  Yes.  How are you today?

                         ABRAMS
             I'm fine.

                         GALVIN
             Good.  (beat)  You ever been inside 
             a hospital?

                         ABRAMS
             Yes.

                         GALVIN
             Ah.  How did they treat you?

Galvin has flop sweat, Abrams is becoming intractable.

                         ABRAMS
             I don't know what you mean.

INT.  CIGAR - COURTHOUSE CORRIDOR - DAY

Mickey standing by the door to the courtroom, looking through 
the glass panel, a newspaper under his arm, smoking.  Galvin 
comes out.

                         MICKEY
             Been a long time, huh...?

                         GALVIN
             I'm getting it back.  Don't worry 
             about me, Mick.  I'm fine.  D'you 
             find the obstetric nurse?

                         MICKEY
             Mary Rooney.  She won't talk to 
             me.  I tried her at the hospital.  
             I'm going to try her back at home.  
             Read this.

He hands Galvin the newspaper.  Galvin takes it, reads.

ANGLE - P.O.V.

The newspaper, folded to Page Two.  A full-page photo of smiling 
doctors clustered around an operating table.  Huge caption:  
"International Honors to St. Catherine Laboure Hospital.  The 
faculte Internationale de la Chirurgerie today announced St. 
Catherine's as this year's recipient of the coveted Medaillon 
de la Sante..." etc.

ANGLE

Galvin reading.  Looks up.

                         GALVIN
             So what?

                         MICKEY
             So what...?  The best is yet to 
             come.  Check the TV Guide.  They 
             got our Dr. Towler on a panel on 
             GBH on Friday: 'The Healing Hand.  
             The Experts Speak.'

                         GALVIN
             They still have to take it to a 
             jury.

Looks back at his form.

                         MICKEY
             What I'm saying, they're getting 
             some help.

                         GALVIN (LOOKS ANNOYED)
             So what do you want me to do?  
             Concannon's going to try the case 
             his way, I'm going to try it mine.  
             You want me to go wee wee wee all 
             the time because he's got some 
             flack, got stories in the newspaper.  
             I'm going to win this case.

They start walking across the Courthouse corridor.  Mickey 
veers off and stops at a Cigar Stand.  To the STAND OPERATOR:

                         MICKEY
             John:  gimme a cuesta-ray.

                         GALVIN
             Oh shit, what's today?

                         MICKEY
             Today is Tuesday.  What?

                         GALVIN
             I've got to go see Gruber.  (to 
             Cigar Stand Operator)  What's the 
             best cigars you have?

                         MICKEY
             Give 'em a box of Macanudos.

                         GALVIN
             Mickey:  I'm supposed to meet 
             somebody at O'Rourke's, I can't 
             make it.

                         JOHN
             Here you are, Franky.

                         GALVIN (TAKES BOX)
             Thanks.  Can you go over and meet 
             her...?  Tell her I'll stop by 
             when I'm through...Laura Fischer...

                         MICKEY
             Sure.  Who is she?

                         JOHN
             That's thirty-three bucks.  Can 
             you believe that...?

                         MICKEY
             Oh, yeah.  Your broad from last 
             night.

Galvin pays the Cigar Stand Operator.

                         JOHN
             Thanks, Franky.

                         GALVIN
             Tell her that I'll meet her there, 
             okay?  See you tomorrow in the 
             office.

Mickey shrugs.

                         GALVIN
             We're doing fine.

ANGLE

The two of them crossing the lobby.

Dick Doneghy, looking around the lobby, spies them, starts 
across, and accosts Galvin.

                         DONEGHY
             You said you're gonna call me up.  
             You didn't call me up.  Who do you 
             think you are?  (pushes Galvin 
             into a wall;  advances; pushes him 
             again)  Who do you think you are...?

                         GALVIN
             Hold on a second.

                         DONEGHY
             I'm going to have you disbarred.  
             I'm going to have your ticket.  
             You know what you did?  Do you 
             know what you did?

He pushes Galvin again.  Galvin waves Mickey off.

                         GALVIN
             It's all right, Mickey.

                         DONEGHY
             You ruined my life, Mister...Me 
             and my wife...and I am going to 
             ruin yours... (pushes Galvin again) 
             You don't have to go out there to 
             see that girl.  We been going four 
             years.  (beat)  Four years...my 
             wife's been crying herself to sleep 
             what they, what, what they did to 
             her sister.

                         GALVIN
             I swear to you I wouldn't have 
             turned the offer down unless I 
             thought that I could win the case...

                         DONEGHY
             What you thought!?  What you 
             thought...I'm a workingman, I'm 
             trying to get my wife out of town, 
             we hired you, we're paying you, I 
             got to find out from the other 
             side they offered two hundred...

                         GALVIN
             I'm going to win this 
             case...Mist...Mr. Doneghy...I'm 
             going to the Jury with a solid 
             case, a famous doctor as an expert 
             witness, and I'm going to win eight 
             hundred thousand dollars.

                         DONEGHY
             You guys, you guys, you're all the 
             same.  The Doctors at the hospital, 
             you...it's 'What I'm going to do 
             for you'; but you screw up it's 
             `We did the best that we could.  
             I'm dreadfully sorry...'  And people 
             like me live with your mistakes 
             the rest of our lives.

He nods sadly to himself.  Beat.

                         GALVIN
             If I could accept the offer right 
             now, I would. (beat) They took it 
             back.

                         DONEGHY
             I understand.  (starts to walk 
             away from Galvin; stops)  I went 
             to the Bar Association.  They tell 
             me you're going to be disbarred.

INT.  O'ROURKE'S PUB - NIGHT

Laura is sitting in the same place at the bar.  Mickey comes 
up to her.

                         MICKEY
             Franky can't make it.  He had an 
             appointment he forgot, he's going 
             to see you later.  I'm Mickey 
             Morrissey, we're supposed to get 
             to know each other.

                         LAURA
             How'm I doing so far?

                         MICKEY
             So far you're great.  You got a 
             cigarette?

Laura opens her purse, starts hunting for a cigarette.

                         LAURA
             What are you drinking?
                    (hands him 
                    cigarettes, smiles, 
                    calls the Bartender)
             Jimmy...?

INT.  GRUBER'S HOSPITAL CORRIDOR - NIGHT

Galvin walks up to a door marked Doctors Only.  He opens his 
briefcase, takes out the box of Macanudo Cigars, smiles to 
himself, walks inside.

INT.  DOCTORS' LOCKER ROOM - GRUBER'S LOCKER

Galvin enters, looks around, it is empty.  He looks at the 
clock, takes out his appointment book, turns to appropriate 
page.

ANGLE - P.O.V.

The book, written very large:  "Dr. Gruber.  7:00 P.M.  
Hospital."

ANGLE

Galvin standing, he waits a beat.  Starts out of locker room.

INT.  GRUBER'S HOSPITAL CORRIDOR - NURSES' STATION - NIGHT

CAMERA FOLLOWS him TO Nurses' Station.  He speaks to the NURSE 
behind the desk.

                         GALVIN
             Dr. Gruber.

                         NURSE
             Dr. Gruber's not here today, Sir.

                         GALVIN
             No...No...

She glances down, checks a sheet.

                         NURSE
             Yes, Sir.  He hasn't been in all 
             day...He's not on the chart...

EXT.  GRUBER'S OFFICE BUILDING AND STREET - NIGHT

Galvin walking in the snow.  Stops outside of a very lovely 
brownstone with a small brass plaque.  The plaque:  Dr. David 
C. Gruber.  M.D.  P.C.

ANGLE

Galvin looking in through the window of the dark, deserted 
ground-floor office.  He knocks on the door.  Nothing.  He 
knocks again.  Nothing.  He stands unbelieving.

EXT. GRUBER'S HOUSE & STREET - NIGHT

Galvin getting out of a taxi, rushing up the steps of a 
brownstone.  Peeps through the window on the side of the house.  
Dark.  He grabs the brass knocker.  Pounds.  Nothing, he pounds 
again.  Nothing.  He is beaten.  He is without resource.  He 
starts vacantly down the stairs.  The door behind him is opened.  
He turns.

ANGLE - P.O.V.

A middle-aged black WOMAN in livery.

                         MAID
             What is it?

Galvin in the steps speaking with her.

                         GALVIN
             Dr. Gruber.

                         MAID
             Dr. Gruber's not in.

                         GALVIN
             I had an appointment at his office, 
             I think I must have got it wrong.  
             We had a meeting...

                         MAID
             He's not in, Sir.

                         GALVIN
             Where is he?

She hesitates.  She has been instructed not to say.  Galvin 
starts up the steps.

                         GALVIN
             I...please.  My wife...my wife's 
             prescription has run out.  If I 
             can call him...

                         MAID
             Dr. Halpern's taking all his...

                         GALVIN
             No, no, no.  I have to talk to 
             him.  If I can only call him..

                         MAID  (BEAT)
             He's...you can't reach him, Sir.  
             He's in the, on some island in the 
             Caribbean, they don't have a phone.   
             (beat)  He'll be back in a 
             week...(beat)  If you'd like Dr. 
             Halpern's number...

Galvin turns away from the door.  He is still clutching the 
box of cigars unconsciously.

INT.  O'ROURKE'S - NIGHT

Mickey and Laura.  Positions unchanged, at the bar.  Somewhat 
progressed toward a convivial drunkenness

                         MICKEY
             Stearns, Harrington, you know who 
             that is?

                         LAURA
             Should I?

                         MICKEY
             A huge law firm.  Okay?  They put 
             him in the firm, he's married, 
             everything's superb.  Franky, he's 
             starting to talk like he comes 
             from Dorsetshire, some fuckin' 
             place, 'You must drop by with Pat 
             and me...'  Okay...?

                         LAURA
             Yes.

                         MICKEY
             ...and he's making a billion dollars 
             every minute working for Stearns, 
             Harrington, and he bought a dog, 
             and everything is rosy.  (beat)  
             Then Mr. Stearns, he tried to fix 
             a case.

                         LAURA
             The Big Boy did...?

                         MICKEY
             That Frank was working on.  Yeah.  
             He thought Franky needed some help, 
             so they bribed a juror.  So Franky 
             finds out.  He comes to me in tears.  
             He thinks that anybody who knows 
             what a 'spinnaker' is got to be a 
             saint.  I told him ' Franky, wake 
             up.  These people are sharks.  
             What do you think they got so rich 
             from?  Doing good?'  He can't be 
             comforted.  He tells the boys at 
             Stearns and Harrington they've 
             disappointed him, he's going to 
             the Judge to rat them out.

                         LAURA
             Huh.

                         MICKEY
             Before he can get there here comes 
             this Federal Marshal, and Franky's 
             indicted for Jury tampering, they 
             throw him in jail, he's gonna be 
             disbarred, his life is over.  (beat) 
             Jimmy, gimme another drink.  (to 
             Laura)  How are you?

                         LAURA
                    (to Jimmy)
             Me, too.

                         MICKEY
             Okay.  Now, so he's in jail.  He, 
             finally, he gets to see the light, 
             he calls up Harrington, he says he 
             thinks he made a mistake.  As if 
             by magic, charges against him are 
             dropped, he's released from jail.  
             (beat)  P.S.  He's fired from the 
             firm, his wife divorces him, he 
             turns to drink  and mopes around 
             three and a half years.  (beat)  
             You like that story?

She looks at him.  HOLD.

EXT. JUDGE SWEENEY'S HOUSE-NIGHT

Snow falling.  Galvin standing outside, having just rung the 
bell.  The door is opened by a gangly teen-age boy.  CAMERA 
FOLLOWS Galvin into...

INT. JUDGE SWEENEY'S HOUSE - NIGHT

...the hall of the house.  The boy motions toward a closed 
sliding door and then goes into the living room opposite.  
Galvin hangs up his coat on the hall coat rack, we hear the 
boy resume the practice of a passage of Chopin on the piano.  
Galvin knocks on the sliding door.

                         JUDGE (O.S..)
             Yes?

Galvin opens the door and goes into the Judge's darkened study.  
The Judge is watching a basketball game on TV, drinking a beer.  
CAMERA FOLLOWS Galvin into the room.

                         JUDGE
             What is it?

                         GALVIN
             Thank you for seeing me.

                         JUDGE
             That's perfectly all right.

Judge turns down the volume of the game, but keeps watching 
it.

                         GALVIN
             I need an extension for my case.

                         JUDGE
             You should have taken their offer.  
             Especially if you were unprepared.

                         GALVIN
             I had a witness disappear on me.

                         JUDGE
             That happens.

                         GALVIN
             I could subpoena him if I had a 
             week.

                         JUDGE
             I don't have a week.  This case 
             never should have come to trial.  
             You know better.  You're Mr.  
             Independent.  You want to be 
             independent?  Be independent now.  
             I've got no sympathy for you.

Judge leans forward, turns up the volume on the game.

EXT.  STREET - GALVIN - PHONE - NIGHT

LONG SHOT of cars whooshing in the snow past a lonely street 
corner.  A MAN at an open telephone stand.  The sound of the 
telephone on the far end ringing.

ANGLE

Galvin at the stand, shivering in the cold, talking on the 
phone.  An open note pad in his bare hand.

                         VOICE (VOICE OVER)
             Continental Casualty...

                         GALVIN
             Mr. Alito, please.

                         VOICE
             Business hours are over, Sir.  
             This is the switch...

                         GALVIN
             I have to reach him.  This is an 
             emergency.  Could you give me his 
             home number?

                         VOICE
             I'm sorry, Sir, we're not allowed...

                         GALVIN
             ...Would you, would you call him 
             up.  I'll give you my number, and 
             ask him...

                         VOICE
             I can't guarantee that...

                         GALVIN
             I understand.  Thank you, my name 
             is Galvin.  I'll be at the following 
             number in a half an hour.  It's 
             urgent.

INT.  GALVIN'S OFFICE - NIGHT

Galvin is sitting at his desk, a stack of files piled on his 
desk, he is sorting through them looking for something.  The 
phone rings, he snatches it up.

                         GALVIN (INTO PHONE)
             Hello.  Yes.  Thank you for calling.  
             Frank Galvin...I'm representing 
             Deborah Ann Kaye...?  I'd like to 
             discuss your firm's offer of the 
             two hundred th... In the sense 
             that I feel that we'd like  to 
             accept it.  (beat)  Well, it's 
             rather a shock to me, too; but 
             it's my client's wishes...She's 
             changed her mind as of this 
             evening... I must say that I tried 
             to dissuade her...

He wipes his sweating forehead, he hears the sound of his office 
door opening, he looks up.

ANGLE - P.O.V.

Mickey opening the front door to the office, carrying an armful 
of lawbooks, and a couple of files, he turns on the lights in 
the anteroom, and we SEE that he is surprised to see Galvin in 
the office.

ANGLE - GALVIN 

On the phone.

                         GALVIN
             ...Well, she, on the eve of the 
             case...You understand...I think 
             quite frankly she's come down with 
             nerves and she'd like...

A beat.  Mickey comes tentatively into the room and sits at 
the desk across from Galvin.

                         GALVIN
             When was that arrived at...? (beat)  
             I, I know what Mr. Concannon said, 
             but...I.  Well, I think you're 
             making a mistake...I think that 
             you should reconsider; why don't 
             you check with your principals, 
             and I'll call you in the...(beat)  
             No?...you...uh.  All right.  No.  
             That's fine.  I under-stand.  Sorry 
             to bother you at home.

He hangs up the phone.  Sits rock still.  Beat.

                         MICKEY
             What happened...?

Galvin starts searching through his files again.

                         MICKEY
             What happened, Joey...?

                         GALVIN
             I can't talk now.

                         MICKEY
             D'you meet with Dr. Gruber...?

Galvin has found the sheet he is looking for, he extracts it 
from the file.

ANGLE - P.O.V.

The sheet of yellowing paper.  Headed "DEBORAH ANN KAYE Poss. 
Drs. to testify:  Contact:  Dr. Lucien Thompson, Mineola Long 
Island; Dr. Duane Litchey..."  He turns to second sheet.  It 
is a letter-headed sheet, "Lucien Thompson, M.D."  "Dear Dr. 
Galvin, after studying the case material on Deborah Ann Kaye, 
I would be glad..."  Galvin turns back to first sheet, 
underlines THOMPSON in red.

ANGLE

Galvin dialing phone.

                         GALVIN
             Concannon got to my witness. (beat; 
             to himself)I can't breathe in 
             here...(into phone) Hello Doctor...?  
             (checks sheet)  Dr. Thompson.  
             This is Joseph Galvin, attorney 
             for a Deborah Ann Kaye, we had 
             some correspondence some time 
             ago...?  That's right.  I'm sorry 
             that we never got back, the case 
             was postponed, and I've had a 
             changeover in staff...I'm sorry to 
             call you so late...

ANGLE

Mickey, looking pityingly at Galvin.  Mickey sees the box of 
Macanudo Cigars on the desk, picks them up, starts to open 
them -- throws them across the room in disgust.

                         GALVIN (VOICE OVER)
             ...but we have had a change of 
             strategy, and we were wondering, I 
             know this is short notice, but...

INT.  GALVIN'S APARTMENT - NIGHT

Galvin in pants and shirt carrying a drink, distraught, 
frightened.  Standing in the doorway of his sitting room.

ANGLE

Laura in slacks and sweater coming out of the kitchen with her 
drink.  She sits at worktable on which are Galvin's briefcase, 
files, etc.  Galvin and Laura.  He is biting his nails.

                         LAURA
             Would you like me to leave...?  
             (beat)  Is this a bad time --?

                         GALVIN
                    (distracted)
             What...?

                         LAURA
             Is this a bad time.

                         GALVIN
             We, we...No...we just had a small 
             reversal in the case...(beat) I 
             have some, uh...I have some work 
             to do...

                         LAURA
             What happened...?

                         GALVIN
             They, uh, they got to my witness.

                         LAURA
             ...and is that serious?

Galvin, suddenly focuses, starts for worktable.

                         GALVIN
             I've got to work...

                         LAURA
             Do you want me to go...?

                         GALVIN
             No, no, I'm just...

He stops, rubs his face...

                         LAURA
             Why don't you get some rest?

                         GALVIN
             I've got to work.

                         LAURA
             You can't work if you can't think.  
             You get in bed.  It's all right.  
             I'll stay here with you.  It's all 
             right.  Come on...

                         GALVIN
             You're going to stay here...?

                         LAURA
             Yes.

A beat.

                         GALVIN
             I'm only going to rest a little 
             while.

She leads him into the bedroom.

ANGLE - LATER

Same room, Laura, dressed in Galvin's bathrobe, sitting in the 
easy chair next to his worktable, smoking a cigarette, reading 
an old hard-cover novel.  She looks up across the room.

ANGLE - P.O.V.

The door to the bedroom, closed.

ANGLE

Laura sighs, takes a drag.  Puts the book down on her lap.  
Sits, thinking.

INT.  CONCANNON'S CONFERENCE ROOM - DAY

Witness stand.  DR. TOWLER, a distinguished man in his fifties, 
sitting on the stand.  Concannon o.s.  The doctor is ill-at-
ease; smiles nervously.

                         CONCANNON  (VOICE OVER)
             What is your name, please?

                         TOWLER
             Dr. Robert Towler.

                         CONCANNON (VOICE OVER)
             You were Deborah Ann Kaye's 
             doctor...?

                         DR. TOWLER
             No, actually, she was referred to 
             me.  She was Dr. Hagman's patient...

                         CONCANNON
             Don't equivocate.  Be positive.  
             Just tell the truth.

ANGLE

The conference room.  WIDE.  Concannon's young lawyers taking 
notes as Concannon rehearses Dr. Towler, a Sony VTR being 
operated by one of them.

                         CONCANNON
             Whatever the `truth' is, let's 
             hear that.  You were her doctor.

                         DR. TOWLER
             Yes.

                         CONCANNON
             Say it.

                         DR. TOWLER
             I was her doctor.

                         CONCANNON
             You were the anesthesiologist at 
             her delivery May twelfth, nineteen 
             seventy...

                         DR. TOWLER
             ...I was one of a group of...

                         CONCANNON
             Answer affirmatively.  Simply.  
             Keep those answers to three words.  
             You weren't `part of a group,' you 
             were her anesthesiologist.  Isn't 
             that right?

                         DR. TOWLER
             Yes.

                         CONCANNON
             You were there to help Dr. Marx 
             deliver her baby.  Were you not?

                         DR. TOWLER
             Yes.

ANGLE

Concannon starts to stroll a bit around the conference room, 
in back of the assembled assistants, by the large windows, 
which offer a panoramic view of Boston.

                         CONCANNON
             Anything special about the case?

                         DR. TOWLER
             When she...

The young lawyer (BILLY), Concannon's right-hand assistant, 
raises his hand to get Concannon's attention.

                         CONCANNON
                    (to Dr. Towler, 
                    correcting him)
             When `Debby'...
                    (to Young Lawyer)
             Thank you.

Young Lawyer nods, makes a notation in his pad.

                         DR. TOWLER
             Thank you.  When Debby...

                         CONCANNON
                    (switching his tack)
             Dr. Towler, who was in the operating 
             room with you?

                         DR. TOWLER
             Ms. Nevins, nurse-anesthetist; 
             Dr.Marx, of course...

He nods toward Dr. Marx who is in the audience, who nods back.

                         DR. TOWLER
             Mary Rooney, the obstetrical 
             nurse...

                         CONCANNON
             What did these people do when her 
             heart stopped?

                         DR. TOWLER
             We went to Code Blue...

                         CONCANNON
             `Code Blue,' what does that mean...?

                         DR. TOWLER
             It's a common medical expression, 
             it's a crash program to restore 
             the heartbeat.  Dr. Marx cut an 
             airway in her trachea, to get her 
             oxygen, her and the 
             baby...Ms.Nevins...

                         CONCANNON
             Why wasn't she getting oxygen...?

                         DR. TOWLER
             Well, many reasons, actually...

                         CONCANNON
             Tell me one?

                         DR. TOWLER
             She'd aspirated vomitus into her 
             mask...

                         CONCANNON
             She THREW UP IN HER MASK.  Let's 
             cut the bullshit.  Say it:  She 
             THREW UP IN HER MASK.

A beat.

                         DR. TOWLER
             She threw up in her mask.

Concannon nods to the Young Lawyer, who is conscientiously 
taking notes.

                         CONCANNON
             ...and her heart stopped and she 
             wasn't getting oxygen.

                         DR. TOWLER
             That's right.

                         CONCANNON
             And what did your team do...

                         DR. TOWLER
             Well, we...

                         CONCANNON
             ...You brought thirty years of 
             medical experience to bear.  Isn't 
             that what you did?

                         DR. TOWLER
             Yes.

                         CONCANNON
             ...A patient riddled with 
             complications, questionable 
             information on her, on her admitting 
             form...

                         DR. TOWLER
             ...We did everything we could...

                         CONCANNON
             ...to save her and to save the 
             baby.  Is that...

                         DR. TOWLER
             Yes!

                         CONCANNON
             You reached down into death.  Now, 
             isn't that right?

                         DR. TOWLER
                    (getting overcome)
             My God, we tried to save her...You 
             can't know...You can't know...

                         CONCANNON
                    (changing tactics; 
                    soothing)
             Tell us.

Beat.  Dr. Towler sighs.  He begins to speak.

EXT.  SOUTH STREET STATION - BOSTON - DAY

People coming out of a just-arrived train.

ANGLE

Galvin watching them, he has a large boutonniere on his lapel.  
The departing PASSENGERS stream past him.  An elderly BLACK 
MAN passes him by, turns and comes back to him.

ANGLE - THE BLACK MAN AND GALVIN

                         DR. THOMPSON
             Mr. Galvin?

Galvin turns.  He is taken aback.  He registers who it must 
be.

                         GALVIN
             Dr. Thompson...?

                         DR. THOMPSON
             It was good of you to meet...

Galvin cuts him off, takes his bag.

                         GALVIN
             Thank you for coming.

They shake hands.  They start...

INT. SOUTH STREET STATION - DAY

into the station.  The CAMERA TRACKING BEFORE them.  As Galvin 
passes a wastebasket, he deposits his boutonniere.

                         GALVIN
             I have some errands to run, and 
             then I thought we'd spend the 
             evening...

                         DR. THOMPSON  (NODDING)
             That's what I'd planned to...

                         GALVIN
             I'm going to take you to the home 
             to see the girl...

                         DR. THOMPSON
                    (tapping his 
                    briefcase, referring 
                    to his files)
             From what I've seen, Mr. Galvin, 
             you have a very good case...

                         GALVIN
                    (distracted; thinking 
                    ahead)
             Yes.  Yes.  I think so.  I hope 
             you'll be comfortable.  I'm putting 
             you up at my...

                         DR. THOMPSON
             ...I made a reservation at...

                         GALVIN
             ...apartment.  (stops) No, no.  
             Please.  You don't know who we're 
             dealing with, I, please believe 
             me, they...

                         DR. THOMPSON
             ...What difference would...

                         GALVIN
             These people play very rough.  
             They don't want to lose this case.  
             There's a lot of pressure they can 
             bring to bear, I...

                         DR. THOMPSON
                    (smiles)
             There's nothing they can do to me.

EXT.  SOUTH STREET STATION AND STREET - DAY

Galvin starts them walking again.

                         GALVIN
             Please, Sir.  Please.  Humor me.

They have arrived outside at a bank of cabs.

                         GALVIN
             We'll spend the evening together, 
             I'll put you up, you'll be very 
             comfortable.  Please.  (hands Dr. 
             Thompson an envelope)  That's my 
             address.  The key is in it.  (leans 
             forward to  cabbie )  1225 
             Commonwealth.  (to Dr. Thompson)  
             Treat the place as your own.  Please 
             don't tell anyone you're here, 
             I'll see you this evening.  Thank 
             you,and thank you for coming.

He puts Dr. Thompson's bag into the cab.  Dr. Thompson 
hesitates, gets into the cab.

As the cab pulls out, CAMERA FOLLOWS Galvin TO a bank of phones 
outside the station.

ANGLE

Galvin at the phone.

                         VOICE
                    (Claire, on phone)
             Mr. Galvin's...

                         GALVIN
             Let me talk to Mickey.

                         MICKEY
                    (on phone)
             Yeah?  How's our new witness?

                         GALVIN
             D'you find the obstetric nurse?

                         MICKEY
             She's workin' the late shift at 
             the Hospital.  She's at home now, 
             I'm going over there to talk to...

                         GALVIN
             Gimme the address.  I'm gonna go.  
             We're going to need her.

EXT.  MARY ROONEY'S HOUSE - DAY

Names on bells.  One of them is ROONEY, M.  2D.

ANGLE

Galvin standing by the bell.  Rings it.  Beat.  The door is 
buzzed, he walks into the vestibule, past mailboxes, up the 
stairs.

INT.  MARY ROONEY'S HOUSE - DAY

Door opens, MARY ROONEY, a tough-looking woman in nurse whites 
opens the door.

ANGLE

Galvin in hall, CAMERA FOLLOWS him TO the door.

                         GALVIN
             I'm Joe Galvin, I'm representing 
             Deborah Ann Kaye, case against St. 
             Catherine Laboure.

                         MARY ROONEY
             I told the guy I didn't want to 
             talk to...

                         GALVIN
             I'll just take a minute.  Deborah 
             Ann Kaye.  You know what I'm talking 
             about.  The case is going to trial.  
             Our chief witness is a Dr. David 
             Gruber, you know who he is?

                         MARY ROONEY
             No.

                         GALVIN
             He's the Assistant Chief of 
             Anesthesiology, Massachusetts 
             Commonwealth.  He says your doctors, 
             Towler and Marx, put my girl in 
             the hospital for life.  And we can 
             prove that.  What we don't know is 
             why.  What went on in there?  In 
             the O.R.  That's what we'd like to 
             know.  Something went wrong.  And 
             you know what it was.  They gave 
             her the wrong anesthetic.  What 
             happened?  The phone rang...someone 
             got distracted...what?

                         MARY ROONEY
             ...you got your doctor's testimony.  
             Why do you need me?

                         GALVIN
             I want someone who was in the O.R.  
             We're going to win the case, there's 
             no  question of that.  It's just a 
             matter of how big...

                         MARY ROONEY
             I've got nothing to say to you.

                         GALVIN
             You know what happened.

                         MARY ROONEY
             Nothing happened.

                         GALVIN
             Then why aren't you testifying for 
             their side?

She starts to close the door.  He stops her.

                         GALVIN
             I can subpoena you, you know.  I 
             can get you up there on the stand.

                         MARY ROONEY
             And ask me what?

                         GALVIN
             Who put my client in the hospital 
             for life.

                         MARY ROONEY
             I didn't do it, Mister.

                         GALVIN
             Who are you protecting, then?

                         MARY ROONEY
             Who says that I'm protecting anyone?

                         GALVIN
             I do.  Who is it?  The Doctors.  
             What do you owe them?

                         MARY ROONEY
             I don't owe them a goddamn thing.

                         GALVIN
             Then why don't you testify?

                         MARY ROONEY
                    (beat)
             You know, you're pushy, fella...

                         GALVIN
             You think I'm pushy now, wait 'til 
             I get you on the stand...

                         MARY ROONEY
             Well, maybe you better do that, 
             then.  (starts to close door; stops)  
             You know you guys are all the same.  
             You don't care who gets hurt.  
             You're a bunch of whores.  You'd 
             do anything for a dollar.  You got 
             no loyalty...no nothing...you're a 
             bunch of whores.

She closes the door on him.

INT.  CONCANNON'S OFFICE - NIGHT

A young LAWYER on the phone, silent, nodding, taking notes.  
He holds up his hand to someone indicating "Almost done.  I'll 
be right with you."

ANGLE

Concannon, in overcoat, about to go out, surrounded by an 
entourage of secretaries and ASSISTANTS in overcoats, waiting 
on him.

ANGLE

Concannon and the Young Attorney.  The Young Attorney into 
phone, "Thank you."  He hangs up, starts reading from his notes 
to Concannon:

                         YOUNG ATTORNEY
             His name is Dr. Lionel Thompson.  
             City College of New York, Class of 
             twenty-six.  Bachelor of Science; 
             New York College of Medicine; 
             sixteenth in a class of twenty-
             two.  Nineteen seventy-six got a 
             courtesy appointment, staff of 
             anesthesiology, Easthampton Hospital 
             for Women.  Never married.  Has no 
             honors or degrees of any weight.  
             Since nineteen seventy-five he's 
             testified in twenty-eight court 
             cases, twelve malpractice.  (smiles, 
             saving his best 'til last)  And 
             he's black.

                         CONCANNON
                    (beat; stern)
             I'm going to tell you how you handle 
             the fact that he's black.  You 
             don't touch it.  You don't mention 
             it.  You treat him like anybody 
             else.  Neither better or worse.  
             (smiles)  And you get a black lawyer 
             to sit at our table.  Okay...?

                         YOUNG ATTORNEY
             Yessir.

                         CONCANNON
             Good.  What else do you do?

                         YOUNG ATTORNEY
             ...get the records of his testimony 
             in the twelve malpractice cases.

Concannon nods, meaning "that is correct."  He turns, exiting 
with his ENTOURAGE.  Over his shoulder:

                         CONCANNON
             Do it.  We'll be at Locke-Obers.

INT.  GALVIN'S APARTMENT SITTING ROOM - NIGHT

Dr. Thompson in shirt sleeves, attentive, stands against a 
sideboard.  Mickey Morrissey, seated, in an armchair.  Grilling 
him.

                         DR. THOMPSON
             They gave her the wrong anesthetic.

                         MICKEY
             Why is that?

                         DR. THOMPSON
                    (starting on reciting 
                    a list)
             Her sister said she ate one hour 
             prior to admittance...she...

                         MICKEY
             ...that's what the sister said.  
             The chart said she ate nine hours 
             prior to...

                         DR. THOMPSON
             ...she went in complaining of 
             stomach cramps.  Good doctor would 
             have doubted the information on 
             the chart.

                         MICKEY
             Is that what a good doctor would 
             do?  How old are you, please?

                         DR. THOMPSON
             I am seventy-four years old.

                         MICKEY
             What qualifies you as an expert in 
             anesthetics?

                         DR. THOMPSON
             I am on the staff of...

                         MICKEY
             Easthampton Hospital for Women.   
             Excuse me, what is that, a joke?  
             Let me tell you something, Doctor, 
             those men at Catherine Laboure.  
             Men who are known not only in this 
             city, but the world, were trying 
             to save a woman's life.  They were 
             there, and here you are, four years 
             later, read some hospital report, 
             and say...

                         DR. THOMPSON
             ...I made a detailed physical 
             examination of the patient, Sir, 
             yesterday evening, I...

Mickey drops his belligerent attitude.  Turns to someone behind 
him.

ANGLE

The two men, Galvin standing behind Mickey, smoking.  He nods.

                         MICKEY
                    (to Dr. Thompson, 
                    casually)
             She getting good care over there?

                         DR. THOMPSON
             Actually, yes.  It's by no means 
             bad, I...

                         MICKEY
                    (grilling him again)
             Then what good would it do to ruin 
             the reputation of two men, to help 
             a girl whose life's not going to 
             be changed in the least?   You 
             know what CODE BLUE means?

                         DR. THOMPSON
             'Code Blue'...

                         MICKEY
             It's a common medical term.

Mickey half-turns to Galvin, shrugs minutely, meaning, "We're 
in trouble."

INT.  LAURA'S HOTEL ROOM - NIGHT

Hotel room door SEEN from the inside.

The handle starts to turn.

ANGLE

Galvin coming through the door.  He looks at Laura, tiredly 
closes the door behind him, hangs up his coat in the closet, 
moves into the room.  As Galvin walks into the room, the CAMERA 
PRECEDES him and TURNS so that WE NOW SEE them BOTH.

                         GALVIN
             We're going to lose.

A beat.  Galvin looks out the window and then looks back to 
Laura.

                         GALVIN
             Do you think it's my fault?

                         LAURA
             Isn't there something you...

                         GALVIN
             That's not the question.  It's 
             over. (beat) Do you think that 
             it's my fault?  If I'd...if I'd...I 
             never should have taken it.  There 
             was no way that I was going to 
             win.

                         LAURA
             You're talking like a drunk.

                         GALVIN
             That's what I am.

Beat.

                         LAURA
             And it's over...?

                         GALVIN
             Yes.

                         LAURA
             Well, then what are you doing here?

                         GALVIN
             I...do you want me to leave?

                         LAURA
             You do what you want.  You want to 
             leave...You want to go kill 
             yourself?

                         GALVIN
             I...

                         LAURA
             You want me to tell you it's your 
             fault?  It probably is.  What are 
             you going to do about it?  (beat) 
             I thought it's not over till the 
             jury comes in.

                         GALVIN
             Who told you that?

                         LAURA
             You told me so.  Maybe you'd get 
             some sympathy.  You came to the 
             wrong place.

                         GALVIN
             And what makes you so tough?

                         LAURA
             Maybe I'll tell you later.

                         GALVIN
             Is there going to be a later...?

                         LAURA
             Not if you don't grow up...

                         GALVIN
             If I don't 'grow up...'

                         LAURA
             You're like a kid, you're coming 
             in here like it's Saturday night, 
             you want me to say that you've got 
             a fever -- you don't have to go to 
             school...

                         GALVIN
                    (shakes head sadly)
             You, you don't under...

                         LAURA
             Oh, yes, I do, Joe.  Believe me.  
             You say you're going to lose.  Is 
             it my fault?  Listen!  The damned 
             case doesn't start until tomorrow 
             and already it's over for you!

                         GALVIN
             It's over!

                         LAURA
             What is your wife's picture doing 
             by the side of your...

                         GALVIN
             What is that to you...?

                         LAURA
             What would you like it to be to 
             me...?  I, I, I can't invest in 
             failure.

Galvin gets up hurriedly.

                         GALVIN
             Excuse me, I've...

He hurries out of the room.  CAMERA FOLLOWS him into the 
bathroom, he shuts the door, his chest heaves convulsively.  
He can't catch his breath...Beat.  We hear a knock on the door.

                         LAURA (VOICE OVER)
             Joe... (beat) Joe...

                         GALVIN  (SCREAMING)
             Stop pressuring me...

The door opens, Galvin is still trying to catch his breath.  
Laura enters.

                         LAURA
             You're pressuring yourself...

                         GALVIN
                    (shaking head, 
                    utterly denying 
                    her)
             No...no...

                         LAURA
             Yes.  (beat) We've all got to let 
             go.

INT.  "D. KAYE" SIGN - COURTROOM CORRIDOR - DAY

Galvin coming down the corridor with Sally Doneghy.  They stop 
by a door on which the card reads:  "PART III.  DEBORAH ANN 
KAYE V. ST. CATHERINE LABOURE HOSPITAL ET AL."

INT.  COURTROOM - DAY

They enter the courtroom.  CAMERA FOLLOWS them in.  The room 
one-quarter filled.  Concannon at the defense table with the 
Defendants, a Black Lawyer, entourage.  Galvin stops.

                         GALVIN (TO SALLY)
             I'm going to do the best I can for 
             you and your sister.  I know what 
             it means to you.  Believe 
             me...(beat)  It means that much to 
             me.

He turns away, walks toward the front of the courtroom, glances 
toward the jury box.

ANGLE - P.O.V.

The Jury, somber, controlled, dignified.

ANGLE

Galvin continuing to the defense table, Mickey Morrissey already 
seated, studying notes on a yellow legal pad.  Galvin sits.  
Mickey looks up.

                         MICKEY
             How are you holding up?

                         GALVIN
             I'm swell.

                         MICKEY
             And all we've got is a witch doctor!

                         GALVIN
             Yeah.

The BAILIFF enters, some SPECTATORS, knowing the routine, start 
getting to their feet.

                         MICKEY
             Look at it this way:  it's 
             refreshing every time a Doctor 
             takes the stand he's not a Jew.

We hear the Bailiff's "All rise."

ANGLE

The COURTROOM getting to its feet as JUDGE WILLIAM B. HOYLE 
enters.

The Bailiff, as the Judge sits:

                         BAILIFF
             Hear ye, hear ye, hear ye, all 
             persons having anything to do before 
             the Honorable, the Justices of the 
             Superior Court now sitting at Boston 
             within and for the County of 
             Suffolk, draw near, give your 
             attendance and you shall be heard.  
             God save the Commonwealth of 
             Massachusetts.

The Courtroom is seated.  JUDGE motions to the CLERK, who stands 
and reads:

                         CLERK
             Deborah Ann Kaye versus St. 
             Catherine Laboure, Robert S. Towler, 
             M.D. and Sheldon F. Marx, M.D.

ANGLE - CLOSEUP

GALVIN at Plaintiff's table, looking down at notes.

                         JUDGE
             Is the Plaintiff ready?

                         GALVIN (LOOKING UP)
             Ready, your Honor.

                         JUDGE
             Defense...?

                         CONCANNON
             Ready for the Defense, your Honor.

ANGLE

The Courtroom.  P.O.V. JUDGE.

                         JUDGE
             Let's begin.

Galvin gets to his feet.  Walks over to the JURY.  Looks at 
them, appraising.  He pauses as before a great effort.  Takes 
a breath.  Exhales.

                         GALVIN
             It's a terrible thing to sit in 
             judgment.  So much rides on it.  I 
             know that you've thought,  'How 
             can I be pure.  How can I be 
             impartial without being cold.  How 
             can I be merciful and still be 
             just?'  And I know that most of 
             you have said some sort of prayer 
             this morning to be helped.  To 
             judge correctly. We have the 
             reputation of two men.  Two well-
             respected doctors and a renowned 
             hospital before us.  And with those 
             two respected men we have my client, 
             Deborah Ann Kaye...(beat) ...who 
             was deprived of sight, of 
             locomotion, hearing, speech, of 
             everything, in  short, which 
             constitutes her life. (beat) We 
             are going to prove she was deprived 
             through negligence. (beat) Through 
             the negligence of those respected 
             men.  We will show:  One...

INT. ARCHBISHOP'S HOUSE - CORRIDOR-DAY

A lavishly appointed corridor.  Alito and BILLY, the YOUNG 
LAWYER from Concannon's office, walking slowly down the 
corridor.

                         ALITO
             Why did he go to see Mary Rooney?

                         YOUNG LAWYER
             She's the only nurse who isn't 
             testifying for the Doctors.

                         ALITO
             What did he find?

                         YOUNG LAWYER
             Nothing.

                         ALITO
             How good's your intelligence?

                         YOUNG LAWYER
             Very good.

                         ALITO
             And so what is the rest of his 
             case aside from Dr. Thompson?

                         YOUNG LAWYER
             As far as we know, nothing.

Alito nods, they stop outside a large double door.

                         ALITO
             Thank Mr. Concannon for me.  Please 
             tell him I'll see him at his office.

Alito knocks on the door.  The door is opened by a YOUNG PRIEST.  
Alito nods to the Young Lawyer, enters the Bishop's study.  
The door is closed behind him.

INT.  COURTROOM - DAY

The jury box.  One JUROR leans over and makes a whispered 
comment to another.  The SECOND JUROR nods, inclines his head 
toward the witness box.

ANGLE

DR. Thompson on the stand.  Composed, waiting.  Concannon 
consulting his notes.

                         CONCANNON
             Dr. Thompson, just so the Jury 
             knows, you never treated Deborah 
             Ann Kaye.  Is that correct?

                         DR. THOMPSON
             That is correct.  I was engaged to 
             render an opinion.

                         CONCANNON
             Engaged to render an opinion.  For 
             a price.  Is that correct?  You're 
             being paid to be here today?

                         DR. THOMPSON
             Just as you are, Sir...

                         CONCANNON
             Are you board-certified in 
             anesthesiology, Doctor?

                         DR. THOMPSON
             No, I am not.  It's quite common 
             in New York State...

                         CONCANNON
             ...I'm sure it is, but this is 
             Massachusetts, Doctor.  Certified 
             in Internal Medicine?

                         DR. THOMPSON
             No.

                         CONCANNON
             Neurology?

                         DR. THOMPSON
             No.

                         CONCANNON
             Orthopedics?

                         DR. THOMPSON
             I'm just an M.D.

                         CONCANNON
             Do you know Dr. Robert Towler...?

                         DR. THOMPSON
             I know of him.

                         CONCANNON
             How is that?

                         DR. THOMPSON
             Through, through his book.

                         CONCANNON
             What book is that?

                         DR. THOMPSON
             Meth...Methodology and Technique...

                         CONCANNON
             ...of Anesthesiology?

                         DR. THOMPSON
             `Methodology and Techniques of 
             Anesthesiology.'  Yes.

                         CONCANNON
             How old are you?

                         DR. THOMPSON
             I am seventy-four years old.

                         CONCANNON
             Uh-huh.  Still practice a lot of 
             medicine?

                         DR. THOMPSON
             I'm on the staff of...

                         CONCANNON
             Yes, we've heard that.  Doctor: 
             you testify quite a bit against 
             other physicians?  Isn't that right?  
             You, you're available for that?  
             When you're paid to be there?

                         DR. THOMPSON
             Sir.  Yes.  When a thing is 
             wrong...as in this case, I am 
             available.  I am seventy-four years 
             old, I am not board-certified.  I 
             have been practicing medicine for 
             forty-six years and I know when an 
             injustice has been done.

                         CONCANNON
             Do you, indeed.  I'll bet you do.  
             Fine.  Fine.  We'll save the court 
             the time.  We will admit the Doctor 
             as an `expert witness,' fine.

Concannon sits.

                         JUDGE
                    (in undertone, to 
                    Bailiff)
             Do we have time this morning 
             to...(glances at watch, Bailiff 
             nods to him) All right.  Mr. Galvin, 
             you want to continue now, or we 
             can resume with Dr. Thompson this 
             afternoon.

                         GALVIN (RISING)
             Thank you, your Honor, I'll 
             continue.  Dr. Thompson.  Did you 
             examine Deborah Ann Kaye last night 
             at The Northern Chronic Care 
             Facility?

                         DR. THOMPSON
             I did.

                         CONCANNON
             Objection.

                         JUDGE
             Sustained.  Yes.  The witness will 
             confine his testimony to review of 
             the hospital records.

                         GALVIN
             What?

                         JUDGE
                    (patronizing)
             I believe that's the law...is it 
             not, Mr. Galvin...?

A beat.

                         GALVIN
             Dr. Thompson.  From your review of 
             the hospital records of May twelfth 
             nineteen seventy-six.  In your 
             opinion, what happened to Deborah 
             Ann Kaye?

                         DR. THOMPSON
             Cardiac arrest.  During delivery 
             her heart stopped.  When the heart 
             stops the brain's deprived of 
             oxygen.  You get brain damage.  
             That is why she's in the state 
             she's in today.

                         GALVIN
             Now, Dr. Towler's testified that 
             they restored the heartbeat within 
             three or four minutes.  In your 
             opinion is his estimate correct?

                         DR. THOMPSON
             It's my opinion it took him much 
             longer.  Nine...ten minutes.  
             There's too much brain damage.

The Judge leans over.

                         JUDGE
                    (to Dr. Thompson)
             Are you saying that a failure to 
             restore the heartbeat within nine 
             minutes in itself constitutes bad 
             medical practice?

                         DR. THOMPSON
             Well...

                         GALVIN
             Your Honor!

He has shouted unconsciously; the whole Courtroom turns to 
look at him.

                         JUDGE
             Yes, Mr. Galvin?

                         GALVIN
             If I may be permitted to question 
             my own witness in my own way...

                         JUDGE
             I'd just like to get to the point, 
             Mr. Galvin.  Let's not waste these 
             people's time.  Answer the question, 
             Mr. Witness.  Please.  Would a  
             nine-minute lapse in restoring the 
             heartbeat in and of itself be 
             negligence?

                         DR. THOMPSON
             I...in that small context I would 
             have...I would have to say 'no.'

                         JUDGE
             Then you're saying there's no 
             negligence, based on my question?

                         DR. THOMPSON
             I...given the limits of your 
             question, that's correct.

                         JUDGE
             The Doctors were not negligent.

                         DR. THOMPSON  (BEAT)
             I...um...

The Judge shrugs, meaning, "Well then what in the hell are we 
doing here?"

ANGLE

Galvin, furious.

ANGLE

The Judge and Witness.

                         JUDGE
             Thank you.

The Witness starts to step down.  Galvin strides over to him 
and speaks to the Judge.

                         GALVIN
             I'm not through with the witness, 
             your Honor.  With all due respect 
             if you are going to try my case 
             for me I would appreciate it if 
             you wouldn't lose it.

The Judge stands, furious.

                         JUDGE
             Thank you.  I think that's enough 
             for this morning.  I'll see the 
             Plaintiff's Counsel in my chambers.  
             Now, please.

The Courtroom rises.  The Bailiff is heard, "All rise, court 
is adjourned until one o'clock."

INT.  JUDGE SWEENEY'S CHAMBERS - DAY

Galvin, furious, standing against the wall.  The Judge comes 
in from his own entrance, shucking his robe.  Equally angry.

                         JUDGE
             I got a letter from the Judge 
             Advocate's office on you today, 
             fella, you're on your way out...They 
             should have kicked you out on that 
             Lillibridge case.  Now this is it 
             today.

                         GALVIN
             I'm an attorney on trial before 
             the bar.  Representing my client.  
             My client, do you understand?  You 
             open your mouth and you're losing 
             my case for me.

                         JUDGE
             Listen to me, fella...

                         GALVIN
             No, no, you listen to me.  All I 
             wanted in this case is an even 
             shake.  You rushed me into court 
             in five days...my star witness 
             disappears, I can't get a 
             continuance, and I don't give a 
             damn.  I'm going up there and I'm 
             going to try it.  Let the Jury 
             decide.  They told me Sweeney he's 
             a hard-ass, he's a defendant's 
             judge.  I don't care.  I said, the 
             hell with it.  The hell with it.  
             I'll take my chances he'll be fair.

Galvin is pacing.  Beat.

                         JUDGE (CONCILIATORY)
             Galvin, look, many years ago...

                         GALVIN
             And don't give me this shit, 'I 
             was a lawyer, too.'  'Cause I know 
             who you were.  You couldn't hack 
             it as a lawyer. You were Bag Man 
             for the Boys and you still are.  I 
             know who you are.

                         JUDGE
                    (beat; barely 
                    controlling anger)
             Are you done?

                         GALVIN
             Damn right I'm done.  I'm going to 
             ask for a mistrial and I'm going 
             to request that you disqualify 
             yourself from sitting on this case.  
             I'm going to take a transcript to 
             the State and ask that they impeach 
             your ass.

                         JUDGE
             You aren't going to get a mistrial, 
             boy.  We're going back this 
             afternoon, we're going to try this 
             case to an end.  Now you get out 
             of here before I call the Bailiff 
             and have you thrown in jail.

INT. JUDGE'S CHAMBERS CORRIDOR-DAY

Galvin walking down the corridor, hav-ing just come from the 
Judge's Cham-bers.  Sally Doneghy comes up to him.

                         SALLY
             What does it mean?  (beat)  I...I 
             mean we, you have other tactics...

                         GALVIN
             We, yes.  Yes.  They, they present 
             their side, and I get the same 
             chance.  To cross-examine... to... 
             to...

                         SALLY
             Are we going to win?  (beat, 
             desperately needing to trust)  We 
             have, you know, other tactics, 
             though...

                         GALVIN
             Yes.

She nods.  Beat.  Walks off.  Galvin turns to the open door to 
the Courtroom, through which the SPECTATORS are reentering for 
the afternoon session.  Mickey is standing by the door, he 
catches Galvin's eye.  They look at each other a moment.

INT.  COURTROOM - DAY

Dr. Towler on the witness stand.  Concannon walking away from 
him.

                         CONCANNON
             No further questions.

ANGLE

Galvin at the Plaintiff's table, hastily scribbling notes, he 
looks up.  Gets to his feet, walks over to Dr. Towler in the 
witness box, the CAMERA MOVES WITH him.

                         GALVIN
             Dr. Towler...

                         TOWLER
             Yes.

                         GALVIN
             You have a record of what happened 
             in the operating room...

                         TOWLER
             Yes, that's correct.

                         GALVIN
             ...there are notations every thirty 
             seconds...

                         TOWLER
             Yes.

                         GALVIN
             ...of the procedures...

                         TOWLER
             Yes, the roving nurse...

                         GALVIN
             But those notations stop...(consults 
             notes)  ...four-and-one-half minutes 
             after Deborah Ann Kaye's...

                         TOWLER
             We, we were rather busy...

                         GALVIN
             Four-and-one-half minutes after 
             her heart stopped.  (beat)  And 
             they resume seven minutes...

                         TOWLER
             As I've said we had some more...

                         GALVIN
             ...they start again three minutes 
             earlier...

                         TOWLER
             We had rather more important things 
             on our mind than taking notes.  
             (beat)  We were trying to restore 
             her...

                         GALVIN
             What happened in those three...

                         TOWLER
             ...we were trying to restore her 
             heartbeat.

                         GALVIN
             What happened in those three 
             minutes...?

                         TOWLER
                    (beat; controls 
                    himself)
             We'd gone to 'Code Blue,' we were 
             administering electro...

                         GALVIN
             Why did it take that long to get 
             her heartbeat...

                         CONCANNON
                    (voice over)
             Objection, we've...

                         GALVIN
             ...to get her heartbeat back...?

                         CONCANNON  (VOICE OVER)
             We've touched on this, his own 
             witness has said...

                         GALVIN (OVERRIDING HIM)
             ...almost nine minutes...  causing 
             brain damage.

                         CONCANNON
             Your Honor...!  Your Honor...

                         TOWLER
             Brain damage could have been...it 
             didn't necessarily take nine 
             minutes, it could have been caused 
             in two...

                         GALVIN
             Wait, wait, wait, you're saying 
             that her brain damage could have 
             been caused by her being deprived 
             of oxygen for two minutes...?

                         TOWLER
             Yes.

                         GALVIN (CONTEMPTUOUS)
             Huh.  And why is that?

                         TOWLER
             Because she was anemic. (beat) 
             It's right there on her chart.  
             Her brain was getting less oxygen 
             anyway...

Galvin is struck dumb.  He has just made a terrible error.  He 
looks at Mickey.

ANGLE - P.O.V.   Mickey looks at Galvin.  He shakes his head 
sadly.

INT.  COURTHOUSE CORRIDOR - DR. THOMPSON - DUSK

The last of the spectators coming out of the court.  Galvin 
and Dr. Thompson are standing there.

                         DR. THOMPSON
             I didn't do too well for you.

                         GALVIN
             No, you did fine.

                         DR. THOMPSON
             I'm afraid that's not true.  (beat)  
             Will you want me to stay on till 
             Monday?

                         GALVIN
             No.  No thank you, Doctor.  You go 
             home.

                         DR. THOMPSON
             You know...sometimes people can 
             surprise you.  Sometimes they have 
             a great capacity to hear the truth.

                         GALVIN
             Yes...I...yes.

They shake hands.  Dr. Thompson walks off.  Stops.

                         DR. THOMPSON
             You sure you don't want me to stay 
             on.

                         GALVIN
             No.  No.  Thank you. You go home.

Mickey walks out of the courtroom arranging papers in his 
briefcase.

                         MICKEY
             I'm going back to the office.

He walks off leaving Galvin standing there alone.  Laura comes 
out of the courtroom.  Tentatively, she looks around.  Comes 
up to him.

EXT.  COURTHOUSE - STREET - DUSK

Laura and Galvin walking.

                         LAURA
             Is it over?

                         GALVIN
             No.

                         LAURA
             What are you going to do?

                         GALVIN
             I don't have a goddamned idea.

INT. GALVIN'S OFFICE - NIGHT

Galvin pacing.  Mickey seated.  Morose.

                         GALVIN
             Okay.  What do you do when you 
             don't have a witness?

                         MICKEY
                    (reciting a 
                    catechism; 
                    dispiritedly)
             You use their witness.

                         GALVIN
             That's right.

                         MICKEY
             I think we tried that.  The case 
             is over.

Galvin continues pacing.  He will not hear what was just said.

                         MICKEY
             And how the fuck...You broke the 
             first law that they taught you in 
             law school.  You never ask a 
             question you don't know the answer 
             to. (beat) Frankie, wake up.  You 
             got your own expert witness says 
             there was no negligence.  It's 
             over.  Period.  There'll be no 
             other cases...

Galvin turns on him, animal-like.

                         GALVIN
             There are no other cases.  This is 
             the case.  (beat)  Now you decide... 
             (beat) Are you in or out...?

INT.  CONCANNON'S OFFICE - NIGHT

Soft, dim lights.  Concannon sitting on a couch.  He holds a 
red-backed file document.  His listener is unseen.

                         CONCANNON
             I know how you feel.  I know you 
             don't believe me, but I do.  I'm 
             going to tell you something I 
             learned when I was your age.  I 
             had prepared a case.  Mr. White 
             asked me, 'How did you do.' (beat) 
             I said, 'I've done my best.'  He 
             said, 'They don't pay you to do 
             your best.  They pay you to win.'  
             (beat)  That's what pays for this 
             office.  (beat)  And that's what 
             pays for the pro bono work that we 
             do for the poor.  And for the kind 
             of law that you want to practice.  
             And that's what pays for your 
             clothes and my whiskey, and the 
             leisure that we have to sit back 
             and discuss philosophy.  (beat)  
             As we're doing tonight.  (beat)  
             We're paid to win the case.

ANGLE - CONCANNON AND LAURA

Laura sitting across from him, impassive.

                         CONCANNON
             You finished your marriage.  You 
             wanted to come back and practice 
             law.  You wanted to come back to 
             the world.

A beat.  He hands the red-backed document to her.

ANGLE - THE DOCUMENT

stamped CONCANNON, BARKER, WHITE.  Confidential.  Eyes only.

                         CONCANNON  (VOICE OVER)
             Welcome back.

INT.  LAURA'S HOTEL ROOM/CORRIDOR - NIGHT

A lonely middle-class hotel corridor.  HOLD.  HOLD.  Laura, 
tired, enters the corridor from the side and proceeds away 
from the CAMERA.  The CAMERA FOLLOWS her to her door.  She 
stops, takes out her key, tiredly opens the door.

INT. LAURA'S HOTEL ROOM - NIGHT

Laura opening the door, looks down, sees something, bends down 
to pick it up.  Straightens up.

ANGLE - INSERT

A hotel envelope, The Hotel Lincoln - Boston, Mass. on the 
letterhead.  Laura's hands open the message, take out a sheet 
of yellow legal paper.

ANGLE

Laura closes the door behind her, she does not turn on the 
light, walks over to a couch by the window, sits down, all the 
while reading the paper by the outside light.  She lowers the 
paper to her lap.

ANGLE - INSERT

The legal sheet.  It reads, handwritten:

Laura.  I'm going to try.  When this is over can we go away?  
Joe.

INT.  GALVIN'S OFFICE - NIGHT

Mickey on his feet, pacing.  Galvin at a blackboard on which 
is written, "Dr. Towler.  Dr. Marx.  Admitting Form.  
Anaesthesia."  Etc.

                         GALVIN
             Why doesn't Mary Rooney testify?

Mickey shakes his head.

                         GALVIN
             Are you with me...are you awake...?

                         MICKEY
             Yeah.  I'm awake.

                         GALVIN
             Rooney's protecting someone.  Who 
             is she protecting?

                         MICKEY
             The Doctors.

                         GALVIN
             She's protecting the Doctors she'd 
             be up there on the stand...

                         MICKEY
                    (listlessly)
             Read me what she said.

Galvin flips through his notes.  Reads.

                         GALVIN
             `You guys are a bunch of 
             whores...uh...loyalty...you don't 
             care who gets hurt...you don't 
             have any loyalty...'

                         MICKEY
             ...one of the other nurses?

                         GALVIN
             Who?  They're all testifying.  
             Everybody who was in the O.R.'s 
             going to take the stand.

                         MICKEY
             All right.  Who wasn't in the O.R.?

                         GALVIN
             What difference can that make...?  
             All right...

He starts checking the charts.  Sighs.  "This is useless..."

                         GALVIN
             Uh...the admitting nurse...

                         MICKEY
             What did she do?

                         GALVIN
             She didn't do anything.  She took 
             the patient's history and signed 
             the charts.  'K.C.' (looks in the 
             notes for what the initials signify) 
             'Kathy Costello...'

                         MICKEY
             The 'History'...?

                         GALVIN  (EXPLAINING)
             How old are you, how many children 
             ... when did you last eat ...

INT.  ST. CATHERINE LABOURE HOSPITAL CORRIDOR - NIGHT

Mary Rooney and another Nurse walking down the corridor carrying 
foil-covered dishes of food, chatting.

ANGLE

Galvin watching them from behind a corner.

ANGLE

The Nurses come to the corner, Galvin walks past.  "Notices" 
Rooney.  Stops.

                         GALVIN
             Miss Rooney.  Oh.  Listen.  (beat)  
             I understand what you are doing.  
             And I want you to know it's all 
             right.

He nods, starts off in the direction he was going in.

                         ROONEY
             What are you talking about?

Galvin turns, confused.  Goes back to her.  Warmly, 
conciliatory.

                         GALVIN
             About Kathy Costello.  (beat)  I 
             understand, and I don't blame you 
             for shielding her.

A beat.

Mary Rooney motions the other Nurse to go away.  She steps 
closer to Galvin.

                         GALVIN
             I spoke to her, and everything is 
             all right.

                         ROONEY
             I, what are you talking about?  I 
             talked to her this morning, and 
             she said...

                         GALVIN (NODS)
             She told me.

                         ROONEY (CREDULOUS)
             She did?

                         GALVIN
             I just saw her.

                         ROONEY
             In New York?

                         GALVIN
             What?

                         ROONEY
             You saw Kat in New York...
             (beat)  ...or is she in town?
             Is she in town...?

Beat.  It occurs to her that she's been duped, as Galvin starts 
off hurriedly down the hall.

INT.  GALVIN'S OFFICE BUILDING CORRIDOR - NIGHT

Laura.  SEEN from the back, walking down the corridor.  CAMERA 
FOLLOWS her.  She stops outside Galvin's door.  She turns.  We 
SEE she is carrying a tray of coffee containers.  She opens 
door.  CAMERA FOLLOWS her INTO the office.  Mickey is on the 
phone in the vestibule, Galvin is on the phone in his office.  
He is just hanging up.

                         GALVIN
             Thank you.  I'm sorry.

Laura starts distributing coffee.  Galvin shouts to Mickey in 
the far room.

                         GALVIN
             We don't have anything from the 
             Nurse Association?

                         MICKEY
             The broad has disappeared...

                         GALVIN
             The Hospital...?

Laura goes into Galvin's office with coffee.  CAMERA FOLLOWS 
her.

                         MICKEY
             No records since she quit in '76.  
             She quit two weeks after the 
             incident.

Laura hands coffee to Galvin.

                         GALVIN
             Thank you.

                         LAURA
             I have to talk to you.

                         GALVIN  (TO MICKEY)
             Call the A.M.A.  to Laura)
             ...I can't talk now.
                    (to Mickey)
             ...tell them you're Dr. 
             Somebody...you have to find this 
             nurse...

                         MICKEY
             ...yeah...good...

                         GALVIN
             ...you need some old forms that 
             she had...somebody's dying...

Galvin picks up the telephone.  Looks down to telephone book 
in front of him, open on desk.

ANGLE - P.O.V.

New York City telephone directory.  Two columns of COSTELLO's.  
Thirty of them crossed off.  Galvin on the phone.

                         GALVIN  (VOICE OVER)
             Hello, Mrs. Costello...

ANGLE - GALVIN ON THE PHONE

                         GALVIN
             Sorry to bother you so late.

Laura goes over to the couch, sits.  Lights a cigarette.

                         GALVIN
             This is Mr. Goldberg in Accounting.  
             We have some money here for 
             you...This is the Mrs. Costello 
             that used to be a nurse?  (beat)  
             I'm sorry.  I think we have our 
             records mixed up.

ANGLE

Laura sitting on the couch.  Tense.  Smoking.

                         GALVIN
             Are you related to Kathy Costello, 
             the R.N.?...I'm sorry...

We hear Mickey on his phone.

                         MICKEY (VOICE OVER)
             Hello, this is Dr. Dorchester in 
             Boston.  This is an emergency.  A 
             nurse left my employ...

ANGLE

Laura on the couch.  Galvin dialing the phone.  Mickey HALF-
SEEN in the next room.

                         MICKEY
             ...four years ago...

                         GALVIN
             Hello.  This is Mr. Dorchester in 
             Records.  We're looking for Kathy 
             Costello...

                         MICKEY
                    (voice over; in the 
                    other room, shouting)
             I need a cigarette! (resumes on-
             the-phone tone) She left my office 
             four years ago, we're looking for 
             a chart... (covers phone; again 
             shouts) I need a cigarette...

Laura looks around the desk, picks up one then another pack, 
crushes them, empty.  She nods to herself, picks up her coat 
off the couch in the anteroom, and starts down the hall.  Going 
through the door, she turns, looks back.

ANGLE - P.O.V.

Galvin in the inner office, on the phone.

                         GALVIN
             Thank you.  I'll hold.

He looks up.  Sees Laura, gives her a half-smile.

INT.  GREASY SPOON - NIGHT

Near the cash register of an all-night diner in the business 
district, the deserted streets outside.  Laura -- standing 
next to a wall phone, exhausted.  She is handed a cardboard 
tray with three coffees on it and two packs of Pall Malls and 
some change by the Proprietor.  She takes the change and turns 
her head to look at the telephone.

INT.  GALVIN'S OFFICE - NIGHT

Mickey asleep on the couch, coffee containers around him, an 
ashtray full of butts.  Beat.  We hear a telephone being dialed.

ANGLE

Galvin, exhausted, smoking, on the telephone.

                         GALVIN
             Hello.  This is Ross Williams.  
             I'm calling from California.  I'm 
             sorry.  I know it's late in the 
             East, but this is an emergency.  
             May I please speak to Kathy 
             Costello?  (beat)  I'm sorry.  My 
             records must be confused.  This is 
             the family of Kathy Costello...?  
             Please excuse it.

He hangs up.  Reaches for a bottle of whiskey on his desk.  
Pours a shot into a glass.  Downs it.  His attention is caught 
by something across the room.

ANGLE - P.O.V.

Laura asleep on the couch, covered in Galvin's overcoat.

ANGLE

Galvin looks gratefully at her.  He begins dialing the phone.

INT.  GALVIN'S OFFICE - VESTIBULE - DAY

A small bundle of mail is pushed through the vertical slot and 
falls to the floor.

ANGLE

Interior office.  Early morning.  Galvin asleep with his head 
on his desk.  Mickey asleep in a chair.  Laura asleep on the 
couch, covered with Galvin's overcoat.  Galvin wakes up, 
startled by the sound of the mail dropping.  He picks up the 
phone mechanically.  He realizes it is morning and he has been 
asleep.  He replaces phone.  He surveys the office.  Dead, 
resigned.  He closes the phone book.  He reaches in a pack of 
cigarettes on the desk.  It is empty.  He roots in the ashtray 
for a long butt.  This disgusts him.  He rejects it.  Rubs his 
eyes.  Gets up.  Goes to the window, stares out.  Looks back 
at the scene in his office.  It is over.  He stands by Laura 
and looks down at her, he looks at Mickey.  He has let them 
down.  He goes to a cabinet under the lawbooks and takes out a 
bottle of whiskey and a water glass.  He walks into the 
anteroom.  Sighs, sits on the couch near the door.  Glances at 
the several letters that have just fallen through the slot.  
He pours a half-tumbler full of whiskey, and drains it.  He 
refills the tumbler.  He absently picks up the mail and starts 
mechanically sorting through it.  He stops at an official-
looking piece.

ANGLE - P.O.V.

The letter, return address MASSACHUSETTS BAR ASSOCIATION.  
URGENT.

He lethargically opens the letter.  On Bar Association 
letterhead, it reads:  "You are directed to appear on January 
15th to show cause why you should not be disbarred.  You are 
permitted to be represented by counsel of your choice, and..." 

ANGLE 

Galvin reading the letter.  He crumbles it and throws it into 
the wastebasket.  He looks at the next letter and skims it 
into the wastebasket.  He looks at the next letter and stops.

ANGLE - P.O.V.

It is a phone bill.

EXT.  MARY ROONEY'S TENEMENT - DAY

Galvin hurrying up the steps of the tenement.  CAMERA FOLLOWS 
him into the vestibule.  It is Mary Rooney's tenement.

INT.  MARY ROONEY'S TENEMENT VESTIBULE - DAY

He stops by the mailboxes, bends over to read the names.

ANGLE - P.O.V.  

The mailboxes:  Swoboda; Murch; M. Rooney.

ANGLE

Galvin straightens, looks around the vestibule, takes heavy 
letter opener from his jacket pocket and pries open the Rooney 
mailbox.  He extracts letters and rifles through them.

ANGLE - P.O.V.

Mary Rooney's phone bill.

INT.  DRUGSTORE - DAY

Galvin in an old-fashioned sit-down phonebooth in a drugstore.  
He is dialing the phone, holding the phone bill.  The operator 
answers, he starts dropping change into the slot.

ANGLE

The phone bill opened.  It reads, "Rooney, Mary A.  263 Church 
Street, Arlington, Mass."  Various local charges.  One call to 
Chicago.  One call to Fort Lauderdale.  Eight calls to New 
York.  The calls to New York are circled in pen.

                         FEMALE
                    (voice over; on 
                    phone)
             Hello.

ANGLE    

Galvin on the phone.

                         GALVIN
             Hello, I'm calling from...

                         VOICE
                    (voice over)
             If you're selling something, I'm 
             late for work...

                         GALVIN
             I'm calling from Professional Nurse 
             Quarterly...

                         VOICE
             From the magazine?

                         GALVIN
             This is Mr. Wallace in 
             Subscriptions?

                         VOICE
             How come you're calling me from...?

                         GALVIN
             This is Miss Costello...?

                         VOICE  (VOICE OVER)
             Yes.  Price...

                         GALVIN
             Pardon?

                         VOICE
             Kathy Price.

                         GALVIN
             We find that your subscription 
             lapsed...

                         VOICE
                    (voice over; laughs)
             My subscription lapsed three years 
             ago...

                         GALVIN
             That's why I'm calling, Miss 
             Price...

                         VOICE
             Missus...

                         GALVIN
             We have a renew-your-subscription 
             offer...

                         VOICE
             We get it at work.  We get the 
             magazine at work.

                         GALVIN
             Yes, we know that you do.  I have 
             it in my files.  That's at the 
             Manhattan Health Center...

                         VOICE
             No.  At Chelsea Childcare.  Okay.  
             Look, call me Monday, hey?  I'm 
             late for work.

ANGLE

Galvin scribbles on pad as we hear Kathy hanging up.  "Kathy 
Price.  Chelsea Childcare."

INT.  EASTERN AIRLINES TERMINAL - BOSTON - DAY

Galvin hurrying across the lobby.  Stops by DO IT YOURSELF 
SHUTTLE TICKET COUNTER.  Takes form, starts to write on it.

ANGLE - P.O.V.

The form "BOSTON - NEW YORK SHUTTLE.  SELF SERVICE TICKET."

Galvin filling in his name and address in pencil.

INT.  GALVIN'S OFFICE - DAY

Laura asleep on the couch.  Mickey asleep on the other couch.  
The phone is ringing.  She wakes up.  Looks around.  Goes 
groggily to phone, answers.

                         LAURA (ON PHONE)
             Hello?  Mr. Gal...where are you...?

Mickey wakes up, looks around.

                         LAURA
             You're going to New York?  
             I...you're kidding...Because I'm 
             going to New York.  (beat)  I just 
             got a call.  I have to go sign  
             papers.  About my divorce.  
             I...good.  Frank.  We'll meet there.  
             All right?

Mickey has woken up.  Swings his feet to the floor.  Picks up 
a pack of cigarettes.  Crushes it.  It is empty.

                         LAURA
             Can we meet there, Joe?

Mickey gets to his feet.

                         MICKEY (TO LAURA)
             You got a cigarette...?

She shrugs, "I don't know..."

                         LAURA
             At the Beacon.   On Fifty-third 
             Street...we can spend the night.

Mickey has gone over to Laura's purse.  Opens it, rummaging.  
Comes up with a pack of cigarettes.  He sees something in the 
purse.  Stops.

ANGLE - P.O.V.

The open purse.  The red-backed legal form.  The letterhead 
reads, "CON-CANNON, BARKER, WHITE," stamped huge across it in 
black:  "CONFIDENTIAL.  EYES ONLY!!!"  Mickey takes out the 
form, turns page.  It reads, "Report on Joseph Galvin," lists 
haunts, habits, and is heavily notated in various types of pen 
and pencil.

                         LAURA
                    (voice over; on 
                    phone)
             At around four...?

ANGLE

Mickey replacing the form and the cigarettes.  He recloses the 
purse.  He turns to her.  She has seen nothing.

                         LAURA
             I feel the same way, Joe...I'll 
             see you this afternoon?

She hangs up.

                         MICKEY
             You got any cigarettes?

EXT.  CHELSEA CHILDCARE - DAY

Two very young children walk across a play area.  The door to 
the play area opens and Joe Galvin, in overcoat, comes in.  He 
looks around the room, starts to walk across it.  CAMERA PANS 
WITH him to REVEAL a woman, KATHY, who is comforting a crying 
child.  Galvin walks over to her.  Stands a respectful distance 
away.  She sees him watching her, looks up.

                         KATHY
             Hi.

                         GALVIN
             Hi.  How are you doing?

She nods, happy to be working with the child.

                         GALVIN
             I've been meaning to come in a 
             long time.

                         KATHY
             You live in the neighborhood?

                         GALVIN
             Uh-huh.  My nephew's going to be 
             staying with us in a few months, 
             so I stopped by.

                         KATHY
             How old is he?

                         GALVIN
             Four.  You're great with these 
             kids.

She beams, caught unprepared in something that is a great point 
of pride with her.

                         KATHY
             Thank you.

                         GALVIN
             You're really...(stops, remembering 
             something)  You, are you the one 
             they told me was the nurse?

                         KATHY
             Who told you that?

                         GALVIN
                    (gestures back at 
                    the office, vaguely)
             Mrs...

                         KATHY
             Mrs. Simmonds.

                         GALVIN
             Yes.

                         KATHY
                    (very serious, 
                    correct)
             I used to be a nurse.

                         GALVIN
             That's a wonderful profession.  My 
             daughter-in-law's a nurse.  What 
             did you do, stop?

Kathy is lost in thought.  This is obviously a very painful 
subject for her.  Beat.

                         KATHY
             Yes.

Galvin, getting involved in a serious conversation, takes off 
his overcoat, he is going to stay awhile.

                         GALVIN
             How come you stopped?

She is traumatized by the question.  The casual conversation 
has become immediate and painful.  She opens her mouth to speak, 
then stops, staring at Galvin.  He doesn't know what she is 
staring at...something on his jacket.  He looks down.

ANGLE - KATHY'S P.O.V.

The shuttle ticket, BOSTON - NEW YORK, stuck in the lapel pocket 
of Galvin's suitcoat.

ANGLE

Kathy and Galvin.  She realizes why he is there.  She starts 
to cry quietly.

                         GALVIN
                    (beat; gently 
                    dropping his 
                    pretense)
             Will you help me?

INT. NEW YORK HOTEL RESTAURANT -DAY

The restaurant fairly deserted after the lunch crowd.  Empty 
tables -- crisp linen, Laura alone at a table, watching the 
door, an untouched cup of coffee in front of her.

EXT.  NEW YORK HOTEL - DAY

The doorman opens the door of a cab.

ANGLE

Mickey Morrissey standing in an alcove under the marquee, 
looking out at the street.

ANGLE - P.O.V.

The street.  Pedestrians.  Joe Galvin comes walking hurriedly, 
smiling, down the street.

ANGLE

Mickey starting down the steps, intercepts Galvin.  Galvin 
looks up, surprised.

                         GALVIN
             What the hell are you doing here?

                         MICKEY
             We got to talk.

He is moving Galvin off down the sidewalk, away from the Hotel.  
CAMERA STAYS STILL, and their voices get fainter as they move 
away.

                         GALVIN
             What are you doing in New York...?

                         MICKEY
             Come on, we'll get a cup of 
             coffee...

They continue walking.  We cannot hear them.  Galvin is becoming 
agitated.  He stops Mickey, stands there, Mickey very sad, 
Galvin incredulous, talking to him.  Mickey nods.  Galvin starts 
hurriedly back down the street toward the Hotel.

INT. NEW YORK HOTEL RESTAURANT - DAY

LONG SHOT of Laura seated at a table alone.

ANGLE

Galvin at the entrance to the restaurant looking at her.  He 
walks over to her slowly.

ANGLE - CLOSEUP

Laura, looks up, sees him, smiles.  Her smile fades, she sees 
that he knows.

ANGLE

Laura getting up from the table.  We SEE her back, and Galvin 
approaching.  We SEE her shoulders

ANGLE

droop, beaten.  He draws closer.  Galvin comes up to her, his 
face a mask of pain and confusion.  She sighs, starts to speak.  
Stops.  Beat.  They look at each other -- he starts to speak, 
cannot.  He knocks her to the floor, she upsets the table.  A 
large man at the next table starts to restrain Galvin.

                         LAURA
                    (as if in shock)
             It's all right...it's all 
             right...it's all right...it's all 
             right...

INT.  EASTERN SHUTTLE PLANE - NIGHT

Galvin and Mickey seated next to him, flying home in silence.  
Mickey smoking a cigarette.  Galvin stone-faced, beat.

                         MICKEY
             I talked to Johnnie White at the 
             Bar Association.  (beat) The broad 
             used to work for one of Concannon's 
             partners in New York awhile ago.  
             (beat; lamely)  She wanted to move 
             to Boston.  (beat)  How badly did 
             she hurt us, Joe?

                         GALVIN
             I don't know.

A beat.

                         MICKEY
             We got a mistrial, you know.  Joe -- 
             did you hear what I said...?

                         GALVIN
             I don't want a mistrial.

INT.  MICKEY MORRISSEY'S HOUSE - DAY

The doorway to his study.  A basketball game dimly SEEN in the 
half-light.  Mickey, o.s.:

                         MICKEY
             He's not here.  (pause)  Yeah.  I 
             don't know when.  (pause)  All 
             right.

Sound of him hanging up a telephone.  He enters the frame 
carrying a bottle of booze, goes through door into study.

CAMERA FOLLOWS 

him INTO the room.  The TV:

                         ANNOUNCER (VOICE OVER)
             The Knicks are pressing 
             hard...(etc.)

He sits on a sofa opposite the television.  Watches the game a 
beat.  Opens the fresh bottle of whiskey and pours a large 
shot into the almost-empty glass in front of him.  Looks to 
his left.  Reaches behind him to some glasses on a shelf, takes 
one down, pours drink into the new glass, leans to his left, 
CAMERA MOVES WITH him, and we SEE Galvin sitting in a deep 
leather armchair, staring.  Mickey offers him the drink.  Galvin 
becomes aware of him, shakes his head "no."  Beat.  Mickey 
moves back into his seat, they both stare at the television.

INT.  COURTROOM -- JUDGE'S P.O.V. - DAY

Half full of spectators.

ANGLE

Galvin gets up from Plaintiff's table, takes up a large book 
as Dr. Towler takes the stands.  He reads:

                         GALVIN
             Dr. Towler; page 406, 
             'Contraindications to general 
             anaesthetic.  Ideally a  patient 
             should refrain from taking 
             nourishment up to nine hours prior 
             to induction of general 
             anaesthetic.'  Does that sound 
             familiar?

                         DR. TOWLER
             Yes.  I wrote it.

Galvin shows the book.

                         GALVIN
             'Practice and Methodology in 
             Anaesthesia.'  General textbook on 
             the subject.  Is  that correct?

                         DR. TOWLER
             I.  Yes.  It is.

                         GALVIN
             And you wrote that...

                         DR. TOWLER
             Yes.

                         GALVIN (READING)
             ...Page 414, 'If a patient has 
             taken nourishment within one hour 
             prior to inducement, general 
             anaesthetic should be avoided at 
             all costs because of the grave 
             risk the patient will aspirate 
             food particles into his mask.'  Is 
             that what happened to Deborah  Ann 
             Kaye?  She aspirated into her mask?

                         DR. TOWLER
             She threw up in her mask, yes.  
             But she hadn't eaten one hour prior 
             to admission.

                         GALVIN
             If she had eaten, say one hour 
             prior to admission, the inducement 
             of a general anaesthetic...the 
             type you gave her... would have 
             been negligent...?

                         DR. TOWLER
             Negligent.  Yes...it would have 
             been criminal.  But that was not 
             the case.

                         GALVIN
             Thank you.

Galvin signals he is done.  The Judge signals Dr. Towler to 
leave the stand, which he does.

                         JUDGE
             Mr. Concannon...?

                         CONCANNON
             Nothing further, your Honor.

                         JUDGE
             Mr. Galvin, rebuttal?

                         GALVIN
                    (to Bailiff)
             Katherine Price.

The Bailiff calls out her name.

                         BAILIFF
             Katherine Price...

ANGLE

Kathy at the back of the court, coming down the aisle.  As she 
passes the Defendant's table, Towler grabs Marx and starts 
whispering frantically.  Concannon looks on, ignorant of what 
is happening.  We hear Dr. Towler's "Oh, my God..."

ANGLE

Galvin surveys the courtroom, Kathy crosses in front of him, 
takes the stand, we hear the Bailiff administering the formula 
as we WATCH Galvin turn and look at the Jurors.

                         BAILIFF (VOICE OVER)
             State your name please.

                         KATHY (VOICE OVER)
             Katherine Lynn Price.

                         BAILIFF
             D'you swear that the evidence you 
             are about to give will be the truth, 
             the...

ANGLE

The Bailiff swearing in Kathy.

                         BAILIFF
             ...whole truth and nothing but the 
             truth, so help you God?

                         KATHY
             I do.

                         BAILIFF
             Be seated.

Kathy sits, the Bailiff retires, Galvin walks over to her.

                         GALVIN
             Kathy Price...

                         KATHY
             Yes...

                         GALVIN
             You were the Admitting Nurse at 
             St. Catherine Laboure Hospital on 
             May twelfth, nineteen seventy-six, 
             the night Deborah Ann Kaye was 
             admitted...

                         KATHY
             Yes.

Galvin holds up a form.

                         GALVIN
             You signed this form?

She looks closely at it.  Is satisfied.

                         KATHY
             Yes.

                         GALVIN
             These are your initials, 'K.C.'?

                         KATHY
             Kathy Costello.  That's my maiden 
             name.

A beat.

                         GALVIN
             D'you ask the patient when did she 
             last eat?

                         KATHY
             Yes.

                         GALVIN
             What did she say?

                         KATHY
             She said she had a full meal one 
             hour before coming to the hospital.

                         GALVIN
             One hour.

                         KATHY
             Yes.

                         GALVIN
             And did you write the numeral `one' 
             down on the record, standing for 
             one hour?

                         KATHY
             I did.

                         GALVIN
             A single hour.

                         KATHY
             Yes.

Galvin walks away from the witness box.  He looks at the jury.  
He turns to look at the spectators.  His thoughts are a million 
miles away.  Unconsciously he straightens his tie.

ANGLE

Galvin in front of the dead-still courtroom.  He breaks his 
reverie.

                         GALVIN (TO CONCANNON)
             Your witness.

Concannon is on his feet as Galvin walks back to his table.  
Concannon walks over to Kathy and begins forcefully:

                         CONCANNON
             You are aware of the penalties for 
             perjury...?

                         KATHY
             It's a crime.

                         CONCANNON
             Yes.  (beat)  It is a crime.  A 
             serious crime.

                         KATHY
             I wouldn't do it.

                         CONCANNON
             You would not...?

                         KATHY
             No.

                         CONCANNON
             In fact, you've just taken an oath 
             that you would not commit perjury.  
             You've just sworn to that.  Isn't 
             that right?

                         KATHY
             Yes.

                         CONCANNON
             Just now...

                         KATHY
             Yes.

                         CONCANNON
             ...sworn before God you would tell 
             the truth?

                         KATHY (BEAT)
             Yes.

                         CONCANNON
             Now.  I'd like to ask you something: 
             four years ago, when you were 
             working as a nurse, are you aware 
             that Drs. Towler and Marx based 
             their treatment of Deborah Ann 
             Kaye on this chart that you signed 
             . . . ?

                         KATHY
             I . . ..

                         CONCANNON
             And wasn't that an oath...?  These 
             are your initials here:  K.C.  
             When you signed this chart you 
             took an oath.  No less important 
             than that which you took today.  
             (beat)  Isn't that right?  (beat)  
             Isn't that right...?

                         KATHY
             I...yes.

                         CONCANNON
             Then, please, which is correct?  
             You've sworn today the patient ate 
             one hour ago.  Four years ago you 
             swore she ate nine hours ago?  
             Which is the lie.  When were you 
             lying?

                         KATHY
             I...

                         CONCANNON
             You know these doctors could have 
             settled out of court.  They wanted 
             a trial.  They wanted to clear 
             their names.

                         GALVIN
             Objection!

                         CONCANNON
             And you would come here, and on a 
             slip of memory four years ago, 
             you'd ruin their lives.

                         KATHY
             They lied.

                         CONCANNON
             `They lied.'  Indeed!  When did 
             they lie?  And do you know what a 
             lie is?

                         KATHY
             I do.  Yes.

                         CONCANNON
                    (holding chart)
             You swore on this form that the 
             patient ate nine hours ago.

                         KATHY
             That's not my handwriting.

                         CONCANNON
             You've just said you signed it.

                         KATHY
             Yes, I, yes, I signed it, yes.  
             But I, I didn't write that figure.

                         CONCANNON
             You didn't write that figure.  And 
             how is it that you remember that 
             so clearly after four years?

                         KATHY
                    (taking a paper out 
                    of her purse)
             Because I kept a copy.  I have it 
             right here.

She looks toward Galvin.

ANGLE   

Galvin nods, meaning, "You did it perfectly."

ANGLE   

Concannon, the Judge, Kathy.

                         CONCANNON
             Objection!  This is ri...expect us 
             to accept a photocopy, we have the 
             original right...

                         JUDGE
             I'll rule on that presently.  (beat)  
             Proceed.

Concannon is taken up short.  Amazed at the Judge's reaction, 
he pauses an instant.

                         JUDGE
             Please proceed.

Concannon motions to Billy, the young lawyer, who nods in 
response and starts whispering instructions to his colleagues 
at the Defense table, who start leafing through their lawbooks.  
Concannon takes up the fight again.

                         CONCANNON
             ...what in the world would induce 
             you to make a photocopy of some 
             obscure record and hold it 
             fouryears?  This is a...why?  Why 
             would you do that?

                         KATHY
             I thought I would need it.

                         CONCANNON
             And why, please tell us, would you 
             think that?

                         KATHY
             After, after the operation, when 
             that poor girl, she went in a coma.  
             Dr. Towler called me in.  He told 
             me he had five difficult deliveries 
             in a row and he was tired, and he 
             never looked at the admittance 
             form.  (beat)  And he told me to 
             change the form.  He told me to 
             change the one to a nine.  (beat)  
             Or else, or else, he said...(beat; 
             starts to cry)  He said he'd fire 
             me.  He said I'd never work 
             again....Who were these men...?  
             Who were these men...?  I wanted 
             to be  a nurse...

She is weeping copiously.  A beat.  She starts to get herself 
under control.

                         CONCANNON
             No further questions.

                         JUDGE
             You may step down.

Beat.  Kathy starts to get down.  She looks to Galvin for 
assurance.    Galvin nods at her.

                         JUDGE
             Mr. Galvin...?

ANGLE   

Kathy getting down from the stand.  The Judge addressing Galvin.

                         GALVIN
             Nothing further, your Honor...

                         JUDGE
             Mr. Concannon...?

Concannon is signalled by Billy, the young lawyer at the Defense 
table, who is gathering notes from his colleagues, who have 
been researching during Kathy's speech.  Concannon walks over 
to the table and is quickly "talked through" the notes by Billy.

                         JUDGE
             Mr. Concannon.

Concannon cuts Billy short, meaning, "Yes, I understand, I'm 
far ahead of you," he takes the notes and returns to the bench.

                         CONCANNON
             Thank you, your Honor.  We object 
             to the copy of the admissions form 
             as incompetemt and essentially 
             hearsay evidence and cite McGee 
             versus State of Indiana, U.S. 131 
             point 2 and 216 through 25 of the 
             Uniform Code:  'The admission of a 
             duplicate document in preference 
             to an existing original must 
             presuppose the possibility of 
             alteration and so must be 
             disallowed.'  And, your Honor, 
             having given the Plaintiff the 
             leeway we would like your ruling 
             on this issue now:  we object to 
             the admission of the Xerox form.

                         JUDGE
             ...one moment, Mr. Concannon...

The Judge nods, meaning, "I am considering..."

ANGLE

The Judge.  He is making some notations on a page in front of 
him.  He nods to himself, he has reached a decision.  He looks 
up.

                         JUDGE
             The document is disallowed, the 
             jury will be advised not to consider 
             the testimony of Kathy Costello 
             regarding the Xerox form.  (explains 
             to them)  It's unsubstantiated and 
             we  can't accept a copy in 
             preference to the original...

                         CONCANNON
             Thank you, your Honor.  Further:  
             Ms. Costello is a rebuttal witness.  
             As a `Surprise Witness' she may 
             only serve to rebut direct 
             testimony.  As her only evidentiary 
             rebuttal was the admitting form, 
             which has been disallowed I request 
             that her entire testimony be 
             disallowed and the jury advised 
             that they must totally disregard 
             her appearance here.

                         JUDGE
             I'm going to uphold that.

ANGLE   

Galvin getting to his feet.

                         GALVIN
             I object, your Honor...

                         JUDGE
             Overruled...

                         GALVIN
             Exception!

                         JUDGE
             Noted.  Thank you.  (to Jury)  
             Miss Costello was a rebuttal 
             witness.  Her sole rebuttal was 
             the document,  which has been 
             disallowed...

ANGLE   

Galvin, silent, fuming, sitting at the table.

                         JUDGE  (VOICE OVER)
             Her entire testimony must be 
             stricken from the record.  You 
             shouldn't have heard it, but you 
             did.  Now, that was my mistake...and 
             you must strike it from your minds, 
             give it no weight.

Galvin takes a sheet of legal paper and starts writing on it.

INT. BISHOP BROPHY'S SUITE - DAY

                         ALITO
             Legally it's over.  Concannon was 
             brilliant.

                         BROPHY
             Tell me about Kaitlin Costello.

                         ALITO
             There's nothing to tell.  It's 
             been stricken from the record.

                         BROPHY
             I know.  Did you believe her?

INT.  COURTROOM - JUDGE HOYLE'S P.O.V. - FULL COURTROOM - DAY

All looking slightly to their right.  

ANGLE

                         JUDGE SWEENEY
             Mr. Galvin...?

ANGLE - GALVIN    

In front of the full jury box.  Beat.

                         GALVIN
             You know, so much of the time we're 
             lost.  We say, 'Please, God, tell 
             us what is right.  Tell us what's 
             true.  There is no justice.  The 
             rich win, the poor are powerless...'  
             We become tired of hearing people 
             lie.  After a time we become dead.  
             A little dead.  We start thinking 
             of ourselves as victims.  (pause)  
             And we become victims.  (pause)  
             And we become weak...and doubt 
             ourselves, and doubt our 
             institutions...and doubt our 
             beliefs...we say for example, `The 
             law is a sham...there is no law...I 
             was a fool for having believed 
             there was.'  (beat)  But today you 
             are the law.  You are the law...And 
             not some book and not the lawyers, 
             or the marble statues and the 
             trappings of the court...all that 
             they are is symbols.  (beat)  Of 
             our desire to be just... (beat) 
             All that they are, in effect, is a 
             prayer...(beat) ... a fervent, and 
             a frightened prayer.  In my religion 
             we say, `Act as if you had faith, 
             and faith will be given to you.'  
             (beat)  If.  If we would have faith 
             in justice,  we must only believe 
             in ourselves.  (beat)  And act 
             with justice.  (beat)  And I believe 
             that there is justice in our  
             hearts.  (beat)  Thank you.

He stands still a moment, then surveys the still courtroom.

INT.  COURTHOUSE CORRIDOR - DAY

Laura in the corridor, watching him.

INT.  COURTROOM - DAY

The Jurors filing in from the Jury Room.

ANGLE   

Concannon, Young Lawyer, Dr. Towler, Dr. Marx at Defense table.

Young Lawyer scribbles a note, passes it to Concannon, who 
ignores it.

ANGLE   

Plaintiff's table.  Galvin looking at the Jury, Mickey at the 
other end of the table.

                         JUDGE
             Have you reached a verdict?

                         FOREMAN (VOICE OVER)
             We have, your Honor.

ANGLE   

The Jury Box.  The Jurors seated, the FOREMAN standing.

                         FOREMAN
             Your Honor, we have agreed to hold 
             for the Plaintiff...but on the 
             size of the award, are we bound...

                         JUDGE
             You are not bound by anything, 
             other than your good judgment, 
             based on the evidence.

ANGLE   

Galvin, totally defeated.  Nods his head sadly, as if 
commiserating philosophically, with himself.  Mickey looks at 
him in grief, with sympathy.

                         FOREMAN(VOICE OVER)
             Are we permitted to award an amount 
             greater than the amount the 
             Plaintiff asked for?

Galvin slowly raises his head, turns and looks at the Jury, 
Mickey begins to smile.

                         JUDGE
             Yes.  You are.

ANGLE - MICKEY'S P.O.V.   

The courtroom, commotion.

                         JUDGE
             Please retire and...

INT.  FINAL COURTHOUSE BACK CORRIDOR - DAY

Galvin and Mickey standing near a back staircase, cleaning 
equipment is lying all around.  A large, battered garbage can.  
Mickey is lighting Galvin's cigarette.  Galvin's hand shakes 
badly.  Something draws his attention at the end of the 
corridor.  He turns his head.

ANGLE - P.O.V.   

Laura, standing at the end of the corridor.  Tentative, lost, 
pleading silently, she holds a sheet of yellow legal paper in 
her hand.

ANGLE - INSERT - LAURA'S P.O.V.

The paper reads:

'Laura.  I'm going to try.

When this is over can we go away?'

'Joe'

'Thank you'

ANGLE - GALVIN'S P.O.V.  

Laura holding the paper.

ANGLE   

Galvin and Mickey looking at her.  Galvin's face impassive.  
Beat.  He turns his back on her.  Mickey does likewise.  Beat.

                         MICKEY  (TO GALVIN)
             The jury might be out for awhile.  
             (beat; tentatively)  You want to 
             run across the street and get a 
             drink?

Beat.  Galvin puts his arm around Mickey's shoulder.  They 
push through the Exit Door, turning up their collars to the 
cold.  Galvin hesitates a moment as Mickey goes through the 
door.  Beat.  He looks back longingly.

ANGLE - GALVIN'S P.O.V.

The deserted corridor.

ANGLE

Galvin standing framed in the doorway.  He turns toward the 
door, his back to the CAMERA, his shoulders slumped.  He stands 
for a moment, sighs, straightens up, and walks through the 
door.

                                              FADE OUT          

                          THE END
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