Beginnings: SCENE EIGHT

INTERIOR EMILY’S OFFICE — DAY
EMILY IS TYPING ON THE COMPUTER WHILE SHE TALKS WITH STUART, ON THE SPEAKERPHONE. ALL OF STUART’S DIALOGUE IS HEARD VIA SPEAKERPHONE.

EMILY
Do we have our same seats?

STUART
Of course we do. (BEAT) Do you honestly think I’d risk losing OUR SEATS?

EMILY
Just checking.

STUART
Dinner before?

EMILY
Huh? Oh, yeah. Don’t we always?

STUART
Meet you there?

EMILY
Sure.

STUART
Where?

EMILY
Where what?

STUART
Are you on the computer?

(BEAT)

STUART
Emily, are you on the computer while you’re pretending to talk with me?

EMILY
Uh….

STUART
Emily, take your hands off the keyboard

EMILY
It’s not a problem.

STUART
Dr. Mayfield, Stuart here. Take your hands off the keyboard, and turn your chair around.

EMILY
(TAKES HER HANDS OFF THE KEYBOARD) Hi, Stuart.

STUART
Are you still looking at the monitor?

EMILY
(SLOWLY TURNS HER CHAIR AROUND) Nope. (TURNS HER CHAIR BACK TO FACE THE MONITOR)

STUART
So, I’ll meet you there, and you have to tell me where that might be.

EMILY
That new place on Buena Vista.

STUART
Italian? Chinese? Thai?

EMILY
Uh-huh.

STUART
Uh-huh. (BBEAT) How’s the new junior doc working out?

EMILY
Oh, fine.

STUART
Uh-huh. (BRISKLY) Well, I’m glad it worked out. Sure looking forward to “La Boheme” this Saturday after we have Italian or Chinese or Thai.

EMILY
(LOOKS AT THE PHONE) It has NOT ‘worked out’, Stuart McGregor!

STUART
Nice to have you with us, Dr. Em.

EMILY
I can’t say it has worked out. It’s too early to tell. At best it’s just the beginning of a work in progress.

STUART
(BEAT) Is there progress?

EMILY
I think so. Maybe. Come on, Stuart, it’s the beginning of a probationary period.

STUART
Gotcha. You know, I’d be willing to bet that my nephew hasn’t said it, so I’ll say it for both of us. Thank you.

EMILY
Yeah. So. Opera on you, dinner on me?

STUART
Same as always.


CUT TO:
INTERIOR TREATMENT ARENA — DAY
CYNTHIA AND A. MICHAEL ARE STANDING FACE TO FACE.

CYNTHIA
(PLEASED) He is. It’s not a one-man show. He’ll be showing with two other artists.

A. MICHAEL
Are the others Southern folk artists, too?

CYNTHIA
Armando doesn’t DO folk art.

A. MICHAEL
What does he call it?

CYNTHIA
His AGENT calls it post-modern impressionism.

A. MICHAEL
Ri-i-ight. Does he have family in New York?

CYNTHIA
Listen, you pompous son-of-


CUT TO:
INTERIOR RECEPTION AREA — DAY
ESTRELLA IS GETTING HER PURSE OUT OF THE CABINET BESIDE HER DESK.
EMILY AND ROBBIE ARE IN THE CUTOUT TO THE HALLWAY.
AN UNKNOWN MAN RUSHES IN THE DOOR AND PRESENTS HIMSELF AT THE RECEPTION COUNTER.

MAN
(TO ESTRELLA) Are you the one that keeps calling?

ESTRELLA
Give me a clue. You are …??


MAN
Millard Whitehall.

ESTRELLA
I’ve been trying to speak with a Phillip Whitehall.

MAN
Well, Phillip Whitehall is dead.

CYNTHIA AND A. MICHAEL ENTER, LOOKING AROUND THE CORNER AND LISTENING TO THIS CONVERSATION.

ESTRELLA
I’m so sorry for your loss.

MAN
What’s all this about his greyhound?

EMILY
Mr. Whitehall’s greyhound has had a serious injury and requires extensive care.

MAN
Swell. That’s just swell. Like I need one more decision.(BEAT) Listen, why don’t you just put the dog down?

A. MICHAEL
Look, mister —

EMILY
That dog has a chance of full recovery.

MAN
I don’t want him. Just put him down. You can do that, right?

A. MICHAEL
What are you, god?

CYNTHIA
Come with me, doctor.

CYNTHIA PUSHES A. MICHAEL OUT OF THE HALL AND INTO THE TREATMENT ARENA.

ROBBIE
(TO A. MICHAEL AS HE IS REMOVED BY CYNTHIA) God wouldn’t want to hurt that dog.

EMILY
(TO THE MAN) Are you the owner of this dog?

MAN
I wouldn’t have a dog. It was my father’s.

EMILY
Is there anyone in your family who will take responsibility for your father’s dog?

MAN
Lady, nobody’s going to be paying for that dog.

EMILY
I see. In that case, would you be willing to sign the greyhound over to me?

MAN
If I do that, can I just wash my hands of this whole thing?

EMILY
Absolutely.

MAN
Where do I sign?

ESTRELLA
(SLAMS HER PURSE DOWN ON THE DESK, OPENS A DESK DRAWER AND REMOVES A FORM) Right here. Or do you want me to fill it out first?

MAN
(GRABS THE FORM AWAY FROM ESTRELLA, SIGNS HIS NAME, AND STOMPS OUT THE DOOR)

ROBBIE
What’s his name?

ESTRELLA
Not worth mentioning.

ROBBIE
I mean the dog.

EMILY
Well, it looks like that sweet boy’s care is coming out of my paycheck.

ROBBIE
Paycheck, huh?

ESTRELLA
Junior Doctor!

A. MICHAEL ENTERS

ESTRELLA
(TO A MICHAEL) We need a night shift to look after our new puppy.


CUT TO:
INTERIOR HALLWAY — DAY
EMILY AND A. MICHAEL ARE STANDING IN THE HALL AFTER EVERYONE ELSE HAS LEFT THE BUILDING.

EMILY
There’s a cot in the storeroom. Pillow’s on the top shelf, a couple of blankets with it. (BEAT) I appreciate your taking the first shift with our new boy.

A. MICHAEL
He’s a sweet dog.

EMILY
I realize you need a space of your own here. (LOOKS AROUND) I’ve arranged a desk for you. (BEAT) See you in the morning.

CUT TO:
INTERIOR HALLWAY — NIGHT
A. MICHAEL IS SEATED AT A CARDTABLE, WITH HIS LAPTOP ON TOP OF IT. HOBBS THE CAT IS SLEEPING ON TOP OF THE COMPUTER. A. MICHAEL PICKS UP THE CAT AND HOLDS HIM.

END EPISODE TWO: Beginnings

Stay tuned for EPISODE THREE: Welcome Home