The Verdict Page #30

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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

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