Welcome Home: SCENE ONE

INTERIOR EMILY’S HOUSE — DAWN
EMILY IS IN HER KITCHEN WITH HER IRISH WOLFHOUND O’HOWLORAN. SHE IS DRESSED FOR WORK. HE IS FOLLOWING HER AROUND.

EMILY
You’re a good boy to eat all your breakfast. Still hungry? (SHE GETS A LARGE DOG BONE OUT OF A CANISTER) Oh, come on. You know the drill. (BEAT) Sit, O’Howloran. (HE SITS. SHE GIVES HIM THE DOG BONE.) Good boy.

EMILY SITS AT THE KITCHEN TABLE AND WATCHES O’HOWLORAN AS HE EATS THE BONE.

EMILY
So, what are your plans for the morning? Chasing squirrels? Guarding hearth and home? Taking a nap? (BEAT) Me? Hmm…. I never know, do I, old fellow?

EMILY GETS UP FROM THE TABLE, TAKES A BACKPACK OFF A HOOK BY THE DOOR. SHE UNLATCHES A JANGLE OF KEYS FROM A LOOP ON THE BACKPACK.

EMILY
See you at lunch, kiddo. Keep the squirrels guessing.


CUT TO:
INTERIOR A. MICHAEL’S APARTMENT — DAWN
A. MICHAEL IS STANDING AT THE COUNTER EATING YOGURT OUT OF THE CARTON. A PRAIRIE DOG SITS ON THE COUNTER WATCHING HIM.

A. MICHAEL
The world famous veterinarian, A. Michael Kendrick, bestows a treat upon the beautiful Sarah Bernhart.

HE PLUCKS A STRAWBERRY OUT OF THE CARTON, PUTS IT IN HIS MOUTH, WORKS IT AROUND HIS MOUTH, TAKES IT OUT OF HIS MOUTH AND PLACES IT ON THE COUNTERTOP.)

A. MICHAEL
Thrilled at his generosity, Sarah Bernhart scurries to the treasure and picks it up with a dainty paw.

THE PRAIRIE DOG SCURRIES TO THE STRAWBERRY AND PICKS IT UP, BRINGS IT TO HER MOUTH AND BEGINS TO EAT IT.

A. MICHAEL
Ah, my beauty, it is time for you to go back to your palace. Do not fret. You will be surrounded by your lackeys, and I, your hero, will return anon.

A. MICHAEL PICKS UP THE PRAIRIE DOG AND HOLDS HER TO HIS CHEST AS HE WALKS TO A BAY WINDOW WHICH IS FILLED WITH LARGE, COMPLEX PRAIRIE DOG HABITATS.

A. MICHAEL
(OPENING THE DOOR TO THE LARGEST HABITAT) Sweet dreams, Sarah. See you tonight.


CUT TO:
INTERIOR ESTRELLA’S HOUSE — DAWN
ESTRELLA IS SITTING ON HER COUCH IN THE LIVING ROOM, SURROUNDED BY CATS.

ESTRELLA
Can you stay out of my magazines today? (TO THE BLACK CAT) Be nice to Paulie. (TO THE CALICO) No tearing up the toilet paper. (TO THE ONE WITHOUT A TAIL) You can sleep on the bed but not under the covers.

ESTRELLA SITS BACK AND RELAXES WITH HER CATS, MANAGING TO PET EACH ONE OF THEM.

ESTRELLA
Keep the mice at bay. I’ll be back by dinnertime.

SHE RISES, GIVES EACH CAT A PARTING PET AND WALKS TO THE FRONT DOOR. SHE PICKS HER PURSE OFF A TABLE, FISHES HER KEYS OUT OF THE PURSE, AND PICKS UP A TRAVELING MUG OF COFFEE. SHE BLOWS A KISS TO THE CATS AND CLOSES THE DOOR BEHIND HER.


CUT TO:
INTERIOR MAYFIELD CLINIC KENNEL AREA — DAY
ROBBIE IS STANDING BESIDE THE KENNELS HOLDING MR. BUN.

ROBBIE
So, Mr. Bun, do you have a big day planned? I brought you fresh celery, with lots of leafy top stuff. How does that sound?

SOUNDS OFF: DOG BARKING

ROBBIE
Sorry, Mr. Bun. I have to take a walk with Leroy or he’s just gonna pop.

ROBBIE GIVES MR. BUN ONE LAST PET AND CUDDLE AND THEN PLACES THE RABBIT IN HIS KENNEL.


(CONTINUED)

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

Beginnings: SCENE SEVEN

INTERIOR RECEPTION AREA — DAY
CYNTHIA IS AT RECEPTION DESK.
ROBBIE AND ESTRELLA ENTER.
ESTRELLA PUTS HER PURSE IN A CABINET BESIDE THE DESK.

ESTRELLA
We’re back. Thanks for handling the desk. Anything critical?

EMILY ENTERS CARRYING A CHART.

CYNTHIA
No. Actually, it’s been pretty calm. Just the scheduled clients. I even got a little filing done.

ROBBIE
(HANDING HIS BASKET TO EMILY) Dr. Em, does Mr. Bun look tired to you?

EMILY
(TAKES THE BASKET AND CHECKS THE RABBIT) How are you, Mr. Bun? He doesn’t seem stressed. How was the talk?

ROBBIE
(EXCITED) The kids really listened, and some asked questions, and we knew all the answers, and they were even gentle with Peter Bunny. (TO RABBIT) Weren’t they, Mr. Bun?

ESTRELLA
It was great. Linda asked if we could come again next year. Robbie’s a natural with the kids once he forgets he’s in school.

CYNTHIA
Kids and animals recognize a good heart.


INTERIOR TREATMENT ARENA – DAY
ROBBIE IS RETURNING MR. BUN TO HIS CRATE: AN OVERSIZED METAL CAGE LINED WITH A BABY BLANKET. WHEN THE RABBIT IS IN THE CAGE, ROBBIE HOLDS OUT HIS HAND TO HIM.

ROBBIE
Here’s a bit of banana for you, Mr. Bun. (WATCHES AS MR. BUN TAKES THE TIDBIT.) The kids really loved you, Mr. Bun.

GORDON TUDOR PATRICK ENTERS, CARRYING MOXIE.

GORDON
Hi, Robbie. Is Mr. Bun okay? Little guy’s not sick, is he?

ROBBIE
Oh, no. We went to Linda’s school and talked to the kids.

GORDON
You and Mr. Bun went to school?

ROBBIE
And Estrella. And Captain Ahab.

GORDON
A parrot and a rabbit, huh? That must have been some talk.

ROBBIE
Oh, Gordon, Mr. Bun doesn’t talk.

GORDON
Captain Ahab didn’t use any of his bad words, did he?

ROBBIE
Nooo. He only whistled for the kids. (TO THE DOG)
Hi, Moxie. Boy, you sure look pretty.

GORDON
Yes, even in this humidity.

A. MICHAEL ENTERS


ROBBIE
(TO MOXIE) Do you need to go potty, little man?

A. MICHAEL
(TO HIMSELF) What kind of fool can’t even tell the difference between a male and a pregnant female?

GORDON
(TO A. MICHAEL) Really? Here in Florida?

A. MICHAEL
(TO GORDON) Apparently there are all kinds of fools in Florida.

GORDON
(TO A. MICHAEL) Like my daddy says, a dog smells his own tracks first.

A. MICHAEL
(TO GORDON) Is that what passes for southern wisdom?

ROBBIE
(TAKES MOXIE FROM GORDON) Boy, Moxie, I’m sure it’s time for you and me to go outside.

ROBBIE AND MOXIE EXIT

GORDON
(TO A. MICHAEL) You can always tell when a man’s a southern gentleman, because he knows when it’s time to leave. (BEAT) I, for example, must now talk with Estrella about an invoice.

GORDON EXITS

A. MICHAEL
(TO GORDON’S BACK) Coward.



CUT TO:
INTERIOR RECEPTION AREA — DAY
ESTRELLA IS AT THE DESK
GORDON ENTERS


GORDON
You know, that Kendrick fellow is such a twit.

ESTRELLA
Tell me something I don’t know.

GORDON
No, darling you tell me, please, that he is not going to be in our lives forever.

ESTRELLA
Define forever.

GORDON
A week? (BEAT) A month? (BEAT) Oh, please.

ESTRELLA
Or until he bites a dog.

GORDON
Oh, you sweetheart. (HE HANDS HER A PIECE OF PAPER) And speaking of sweethearts, how about saving Mr. Dexter a trip next door, and put this with the clinic invoice?

CUT TO:
EXTERIOR EXERCISE YARD — DAY
ROBBIE AND MOXIE ARE WALKING AROUND AND KEEPING EACH OTHER COMPANY WHILE MOXIE DECIDES WHETHER OR NOT HE IS GOING TO POO.

CUT TO:
INTERIOR RECEPTION AREA — DAY
ESTRELLA IS AT THE DESK, TALKING ON THE PHONE

ESTRELLA
(DIALS A NUMBER ON THE PHONE. LISTENS FOR A MOMENT. HANGS UP.
REDIALS, PHONE BEEPS NUMBERS AS IT REDIALS.
LISTENS A MOMENT. HANGS UP.
REDIALS, PHONE BEEPS NUMBERS AS IT REDIALS.
LISTENS A MOMENT. HANGS UP.
REDIALS, PHONE BEEPS NUMBERS AS IT REDIALS.

ESTRELLA
(TALKING ON THE PHONE) You want a message? I’ll leave you a message. This is Mayfield Veterinary Clinic. Animal Control Services has brought us your beautiful greyhound. He is a very sick boy. You must call us back. Our number is 555-881-9765. (HANGS UP)


(CONTINUED)

Beginnings: SCENE SIX

INTERIOR RECEPTION AREA — DAY
ESTRELLA IS AT HER DESK, TAKING NOTES AS SHE TALKS ON THE PHONE.
CYNTHIA IS AT THE FACING DESK, WORKING ON THE COMPUTER.

ESTRELLA
… My understanding is that this greyhound was adopted from your rescue group … Yes, I have his tattoo numbers right here …

CYNTHIA
Robbie, have you got a minute?

ESTRELLA
No, hon, I have his numbers because he’s right here in our clinic … Brought in this morning by Animal Services … hit by a car … Touch and go, right now … Could you give me the owner listing? Oh, and what is the dog’s name?

ROBBIE ENTERS

CYNTHIA
(TO ROBBIE) How’s our greyhound doing?

ROBBIE
Gosh, I don’t know, Cyn. I can’t see him.

CYNTHIA
He’s just in crate five, Robbie. Haven’t you looked?

ROBBIE
Dr. Kendrick’s got hold of him and I can’t see.

CYNTHIA
What do you mean, “got hold of him?” What’s going on back there?

ROBBIE
Well, the crate door is open and Dr. Kendrick is sitting in there holding the greyhound in his arms.

CYNTHIA
Really?

ESTRELLA
And that phone number? … Thanks, hon. (HANGS UP THE PHONE.)

ROBBIE
Yeah, really. I can’t even see around him.

ESTRELLA
(TO CYNTHIA AND ROBBIE) Well, we have the name of the owner.

CYNTHIA
Have you talked to them?

ESTRELLA
(TO CYNTHIA) Not yet. And right now Robbie and I have to get ready to go. I’ll call ‘em when I get back. (TO ROBBIE) Ready, Querido?

ROBBIE
I’m ready, Estrella, and I started the car and turned on the air conditioning like you told me.

ESTRELLA
Good man. I’ll get Mr. Bun and you get Captain Ahab.

ESTRELLA EXITS
ROBBIE MOVES ACROSS LOBBY TOWARD THE PARROT CAGE.


CUT TO:
INTERIOR EXAM ROOM #1 – DAY
EMILY IS EXAMINING A LONG-HAIRED GREY CAT. CAT’S OWNER IS TALKING, EMILY IS LISTENING. NO AUDIO.


CUT TO:
A. MICHAEL IS IN THE CRATE AREA, HOLDING THE GREYHOUND.

A. MICHAEL
(TO THE GREYHOUND) So the sheriff comes up to the desperado and says, “Reach for the sky, partner. You’re under arrest for desertion. Whaddya mean, who? This boy right here. He hasn’t had enough groceries in a long time, and besides that, his teeth are stinky.” (A. MICHAEL GLANCES OVER HIS SHOULDER TO BE SURE NO ONE IS LISTENING.) “Oh, no you don’t. You keep your hands raised. Don’t you go reaching for your gun. I’m taking care of this boy now. You lost your chance, Mister.”


CUT TO:
INTERIOR EXAM ROOM #1 – DAY
EMILY CONTINUES EXAMINATION OF THE LONG-HAIRED GREY CAT. CAT’S OWNER IS STILL TALKING, EMILY IS STILL LISTENING. NO AUDIO.


CUT TO:
INTERIOR RECEPTION AREA — DAY
CYNTHIA IS WORKING ON THE COMPUTER AT THE MAIN DESK.
CLIENT ENTERS CARRYING A PET CRATE.

CYNTHIA
Well, who’s this?

CLIENT
Herman the Gerbil.

CYNTHIA
(TO THE CRATE) Hi, Herman. (LOOKS HARDER) Where are you, Herm?

CLIENT
It’s Herman, and he’s under the towel.

CYNTHIA
Right. Herman. Has Herman been here before?

CLIENT
Yeah.

CYNTHIA
And he’s here again.

CLIENT
Yeah.

CYNTHIA
And what is your name?

CLIENT
Harvey Johnson.

CYNTHIA
(READING THE COMPUTER SCREEN) Yes, sir, Mr. Johnson. Here you are, and here’s Herman. (TO MR. JOHNSON) So why have you brought Herman to see the doctor today?

CLIENT
My wife says Herman’s too fat.

CYNTHIA
Uh-huh. (BEAT) Well, I’ll tell you what. If you’ll sign in on that sheet, I’ll take you and Herman right around to room two.

CYNTHIA AND CLIENT EXIT

CYNTHIA
(VOICE OFFSTAGE, CALLING SWEETLY) Dr. Kendrick?


CUT TO:
INTERIOR EXAM ROOM #2 — DAY
CLIENT IS WAITING WITH PET CRATE ON TOP OF THE EXAM TABLE
A. MICHAEL ENTERS

A. MICHAEL
Mr. Johnson and (CHECKS CHART) Herman. I’m Dr. Kendrick. Why are you here?

CLIENT
I’m here because my wife says he’s too fat to be healthy.

A. MICHAEL
Well, let’s take a look. (REACHES INTO THE CARRIER.) Aha! There you are. (REMOVES THE GERBIL FROM THE CARRIER AND HOLDS IT IN HIS HAND.) You’re looking pretty bright-eyed.

CLIENT
Not his eyesight my wife’s worried about. Look at that gut, Doc.

A. MICHAEL
Dr. Kendrick.

CLIENT
Whatever.

A. MICHAEL
(EXAMINING THE GERBIL: LIFTS TAIL, PALPATES TUMMY, DOES VISUAL CHECK OF EYES AND TEETH.) (TO CLIENT) Why did you name her Herman?

CLIENT
My daughter named him.

A. MICHAEL
Her.

CLIENT
What?

A. MICHAEL
Your daughter named her. This gerbil is a her. And she’s not fat. She’s pregnant.


(CONTINUED)

Beginnings: SCENE FIVE

INTERIOR EMILY’S OFFICE — DAY
EMILY SITS AT HER DESK, TALKING ON THE PHONE.

EMILY
No, I’m in Clearwater…(WRITES ON A PIECE OF PAPER)Clearwater, Florida… I have a dog with tattoos that identify you as the breeder. Can you give me information about the dog?


CUT TO:
INTERIOR RECEPTION AREA — DAY
ESTRELLA IS AT THE DESK, TALKING ON THE PHONE

ESTRELLA
Well, yes, Moxie’s ready. Teeth are clean and his coat’s ready for his weekly grooming … Just promise you won’t put pink bows on him this time … Can’t, Gordon. Everyone’s tied up … Sure, come on over and get him. It’s been two whole days since we’ve seen you.
(CALLS OUT TO CYNTHIA) Cyn, will you get Moxie ready for Gordon? He’s on his way over.


CUT TO:
INTERIOR EMILY’S OFFICE — DAY
EMILY SITS AT HER DESK, TALKING ON THE PHONE.

EMILY
My understanding is that this dog was handled by your kennel … That’s what the breeder said … Yes, those are the tattoo numbers … Yes, I’ll hold.


CUT TO:
INTERIOR RECEPTION AREA — DAY
ESTRELLA SITS AT THE DESK.
CYNTHIA ENTERS CARRYING MOXIE, A SHELTY

CYNTHIA
We’ve had our little walk and Mr. Moxie is ready to go.

ESTRELLA
(TO MOXIE) Ay, Perrito, can you smile for Estrella? Let me see those pearly whites.

CYNTHIA
He’ll do anything for a treat.

ESTRELLA
Won’t we all?

GORDON TUDOR PATRICK ENTERS

GORDON
Darlings!

CYNTHIA
(LAUGHING AT MOXIE, WHO IS WRIGGLING MADLY IN HER ARMS) Okay, okay! I know you’re excited to see Uncle Gordon.

GORDON
(REACHING TO TAKE MOXIE FROM CYNTHIA) What have you gotten into, Moxie? Just look at that hair!
(TO ESTRELLA AND CYNTHIA) Ladies, you look wonderful.

ESTRELLA
(TO GORDON) New shirt?

GORDON
You wouldn’t believe the sale that White’s is having.

ESTRELLA
Sheets, too?

CYNTHIA
(TO ESTRELLA) Don’t start with me.

GORDON
Obviously I’m missing something delicious.

CYNTHIA
No, you’re not.

ESTRELLA
(TO CYNTHIA) Surely you’re not going to deprive our Gordon of a reason to celebrate.

GORDON
Champagne celebrating?

CYNTHIA
(TO GORDON) Armando is going to show in New York.

GORDON
THE New York? New York City? That New York?

CYNTHIA
One and the same.

GORDON
Darling! When do you leave and what are you wearing to his show?

CYNTHIA
He leaves in three days.


CUT TO:
INTERIOR EMILY’S OFFICE — DAY
EMILY SITS AT HER DESK, TALKING ON THE PHONE.

EMILY
Yes, Clearwater … Florida … Would you give me that number, please?
(SLAMS PHONE DOWN)


CUT TO:
INTERIOR RECEPTION AREA — DAY
ESTRELLA SITS AT THE DESK.
CYNTHIA STANDS AT THE COUNTER. GORDON IS HOLDING MOXIE

EMILY ENTERS, FURIOUS

EMILY
That’s it! I’ve had all the evasion I’m going to stand for. Doesn’t anyone take responsibility any more?

GORDON
You do.

EMILY
(TO GORDON) We have a lost greyhound who’s fighting for his life back there, and not one soul willing to speak up for him.
(BEAT)
Is this Moxie’s grooming day?

GORDON
This is his lucky day.
(BEAT)
(TO EMILY) Is your greyhound going to make it, Doc?

ESTRELLA
(TO EMILY) What’s with the phone calls?

EMILY
I’ve got five numbers and been put on hold seven times.

ESTRELLA
Give me the list.

CUT TO:
INTERIOR CRATE AREA — DAY
A.MICHAEL SITS ON THE FLOOR IN FRONT OF A LARGE STAINLESS STEEL CRATE. HE HOLDS THE GREYHOUND IN HIS ARMS, CAREFUL TO HOLD THE IV LINE OUT OF THE WAY AS HE CRADLES THE DOG.


(CONTINUED)

Beginnings: SCENE FOUR

INT RECEPTION AREA – DAY
ESTRELLA IS SITTING AT THE DESK. EMILY IS STANDING AT THE COUNTER. CYNTHIA IS RETRIEVING FILES.

EMILY
I’m concerned about Mr. Dexter. I don’t think his Moxie is going to be with us much longer, and you know what Moxie means to him, especially since Mrs. Dexter died.

ESTRELLA
Maybe Moxie should get a little brother.

EMILY
Did you see the way Moxie looked at little Abigail? Whatever it is Moxie wants isn’t going to be fulfilled by a little brother.

ESTRELLA
I think Moxie’s memories outshine his abilities.

EMILY
Don’t they all?

EMILY EXITS
PHONE RINGS

ESTRELLA
(ANSWERING PHONE) Mayfield Veterinary Clinic … Ay, muchacho! I hear congratulations are in order! Will you still be speaking to us when you’re rich and famous? … A gallery in New York is no small potatoes, Armando. Your sweetie’s been bragging on you …

(MOTIONS TO CYNTHIA TO PICKUP THE PHONE. HANGS UP WHEN CYNTHIA PICKS UP.)

CYNTHIA
(ON THE PHONE) Hi, baby. What’s happening? … Which paintings do you have to send? … Is that one finished? … (LAUGHS) You can do it, Mando … Anything, baby, what do you want me to do for you? … Mando, don’t ask me that. You know I can’t …

EMILY AND A. MICHAEL ENTER

ESTRELLA
(TO EMILY) If this was any of my business, I would remind her to be gentle.

CYNTHIA
(TO ESTRELLA) Do you mind?

ESTRELLA
(TO EMILY) In my vast experiences I have repeatedly learned that a man with the soul of an artist has the tender heart of a child.

CYNTHIA
(TO PHONE) Mando, I already told you … Why are we talking about this over the phone? This is something we celebrate with wine and talk about in the
moonlight … No, no, you stay home and paint. I’ll bring the wine … (SOFTLY) Me, too, baby. (HANGS UP)

ESTRELLA
Wine and moonlight are good.

EMILY
Wine and moonlight are always good.

ESTRELLA
And crisp, clean sheets.

EMILY
What sheets? An old quilt thrown on the ground under the stars.

A. MICHAEL
That’s disgusting. Women your age should know better.

ESTRELLA
Women our age do know better.

EMILY
(TO A. MICHAEL) Didn’t you ever wonder about the phrase, “Mother knows best”?

ESTRELLA
If mama ain’t happy, ain’t nobody happy.

A. MICHAEL
That isn’t what it means!

ESTRELLA
(TO EMILY) Did this little boy grow up in a Petri dish?

EMILY
What makes you think he’s grown up?

(CONTINUED)

Beginnings: SCENE THREE

EMILY’S OFFICE INTERIOR — DAY
EMILY SITS AT HER DESK. A. MICHAEL SITS IN THE CHAIR OPPOSITE HER.

A. MICHAEL
So, I guess the only question is how much you’re going to pay me.

EMILY
Oh, no. There are lots of questions before we get anywhere near that one.

A. MICHAEL
Such as? You know I graduated at the top of my class.

EMILY
Such as, what can you bring to this clinic? What have you got that will make this a better place for our clients?

A. MICHAEL
I do know the most current technology.

EMILY
Oh, even oldsters like me find time to read the journals. I manage to keep up.

A. MICHAEL
Oh, really? And what about that receptionist? You have a woman out there who doesn’t give you the respect you’re due and treats the other help like children. You shouldn’t let her get away with that.

EMILY
Who do you think you are to … no, let me rephrase that. What can you add to the clinic?

A. MICHAEL
I could bring some order. That woman acts as though she runs this place.

EMILY
Oh, she does. That’s her job. My job is to heal. What do you think yours would be? What could you add to our family?

A. MICHAEL
Family? Why would I care about family?

EMILY
Family is the only reason you’re here. You wouldn’t be sitting in this office right now if it weren’t for your Uncle Stuart.


CUT TO:
INTERIOR TREATMENT ARENA – DAY
ROBBIE IS HOLDING HIS RABBIT.


ROBBIE

(TO PETER BUNNY) There’s going to be a room full of kids, Mr. Bun. And there’ll be a teacher, but the teacher is Linda, Mr. Bun, so you don’t have to be afraid. What if I say something wrong? I’ll be letting Dr. Em down. Estrella will be disappointed in me. I just can’t remember all the words. Estrella says it’ll be easy, but she doesn’t forget words. Do you want to do the talking?

CYNTHIA AND A. MICHAEL ENTER.
A. MICHAEL
It’s Dr. Dolittle talking to the animals.

CYNTHIA
It’s Robbie talking to his rabbit. And I don’t want to hear anything from you about Robbie. He may not have your education and your skills, doctor, but, Robbie has a magical touch with the animals. You will not put him down.


CUT TO:
CLINIC RECEPTION AREA INTERIOR— DAY
EMILY AND ESTRELLA ARE AT RECEPTION AREA LOOKING AT SCHEDULING BOOK. ROBBIE IS CLEANING THE CAGE OF THE PARROT CAPTAIN AHAB.

EMILY
Who’s on for surgery today?

ESTRELLA
Zeke’s neuter, Malfeasance’s cherry eye, Jackson’s neuter, Abigail spay.

EMILY
Teeth?

ESTRELLA
Three cats, four dogs. Oh, and A. Michael.

EMILY
A.Michael?

ESTRELLA
You’ve got the anesthesia, a break between 1:30 and 1:45. It’s as good a time as any for a neuter.

EMILY
Who’s bringing him in?

EMILY EXITS.

ROBBIE
There you go, Captain, nice and clean and tidy and ready for you to make your mess. Now be nice, Captain, and don’t say anything ugly to the children.

ESTRELLA
What are we going to say to the children, Robbie?

ROBBIE
I don’t know.

ESTRELLA
Well then, who’s going to talk first?

ROBBIE
You start.

ESTRELLA
Okay, I’ll start it off. I’ll introduce us, then what do you want to say?

ROBBIE
I don’t want to say anything. I’ll just go with you and carry stuff.

ESTRELLA
You go with me, you talk.

ROBBIE
Okay, I won’t go.

ESTRELLA
I need you to carry stuff.

ROBBIE
How about Cynthia going? She’s strong.

ESTRELLA
Cynthia isn’t as strong as you.

ROBBIE

But she likes to talk.

ESTRELLA
I’ll make you a deal. You come over to my house tonight. I’ll fix some barbecue.

ROBBIE
I don’t know, Estrella.

ESTRELLA
With ice cream for dessert.

ROBBIE
What time?


(CONTINUED)