Actor Point >> Movie Scripts >> The Verdict Film Script

The Verdict Movie Script

Writer(s) : Barry Reed, David Mamet

Genres : Drama

Search IMDb : The Verdict


                                      "THE VERDICT"

                                      Screenplay by

                                       David Mamet

                                      Shooting Draft

                

               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 rundown 
               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 shriveled, 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.

                                     GALVIN
                         A healthy young woman goes into the 
                         hospital to deliver her third child, 
                         she's given the wrong anesthetic...

                                     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 uncomfortably. 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

               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 (V.O.)
                         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 sixt-ynine 
                         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?

                                     GALVIN
                         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 anesthetic 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 (V.O.)
                         Jimmy, I said, don't you go in your 
                         pocket if there's nothing there...

                                     IRISH NURSE #2 (V.O.)
                         ...and what did he say...?

                                     IRISH NURSE #1 (V.O.)
                              (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.

               Ten 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 anesthetic 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...'
                              (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 
               shirtsleeves 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 (V.O.)
                         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 (V.O.)
                         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
                         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 understand. 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 
               Mr. 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 (V.O.)
                         ...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 (V.O.)
                         What is your name, please?

                                     TOWLER
                         Dr. Robert Towler.

                                     CONCANNON (V.O.)
                         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 (V.O.)
                         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.

                                     DR. THOMPSON
                         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.

                                     GALVIN
                         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, having just come from the 
               Judge's Chambers. 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 (V.O.)
                         Objection, we've...

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

                                     CONCANNON (V.O.)
                         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 (V.O.)
                         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 (V.O.)
                         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 (V.O.)
                         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
                         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
                         Yes. Price...

                                     GALVIN
                         Pardon?

                                     VOICE
                         Kathy Price.

                                     GALVIN
                         We find that your subscription 
                         lapsed...

                                     VOICE
                              (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, "CONCANNON, 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 (V.O.)
                              (on phone)
                         At around four...?

               ANGLE

               Mickey replacing the form and the cigarettes. He re-closes 
               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 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 (V.O.)
                         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 
                         anesthetic. Ideally a patient should 
                         refrain from taking nourishment up 
                         to nine hours prior to induction of 
                         general anesthetic.' 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 anesthetic 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 anesthetic... 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 (V.O.)
                         State your name please.

                                     KATHY (V.O.)
                         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 four years? 
                         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 
                         incompetent 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 (V.O.)
                         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.

                                     GALVIN
                         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 (V.O.)
                         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 (V.O.)
                         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