The One With the Gazebo" 7

8A. BOARDINGHOUSE KITCHEN -- 2 HOURS LATER

(QUINTON, NOLA AND TONY SIT AT THE TABLE, WHICH IS COVERED WITH LEFTOVER PIZZA AND BEER BOTTLES. THEY'RE PLAYING POKER, BUT THE GAME IS NOT AS LIVELY AS THE REARDON POKER BASHES USUALLY ARE.)

TONY: I'll see your five and raise you ten.

NOLA:: I'll see your ten and raise you another ten.

TONY: Ooh, brave move, little sister. You sure you want to do that?

NOLA:: I'm sure.

TONY: I think you're bluffing.

NOLA: Then raise me.

TONY: Quint, you want in on this?

(A DISTRACTED QUINT DOESN'T ANSWER.)

TONY: Quint?

QUINT: Oh, sorry, I guess I must have drifted off.

NOLA: Maybe we should call it a night.

QUINT: No, no, let's keep playing. Where are we?

TONY: I raised five, and Nola raised ten. I think she's bluffing. Are you in?

QUINT: No, I know better than to bet against Nola.

TONY: Okay, I call.

(A.J. ENTERS WITH PETER.)

A.J.: Surprise.

NOLA: Hi, honey, what are you doing home?

A.J.: I guess they're letting Bill's dad stay out until tomorrow, so Bill's going to stay the night with him at his Uncle Josh's. Bridget asked if we could keep an eye on Peter for awhile. She seemed pretty overwhelmed, so I said yes. I hope that's okay.

NOLA: Of course it is.

TONY: Come here, Peter, let Uncle Tony teach you a game.

(HE REACHES OUT TO PETER, BUT PETER CLIMBS UP ONTO QUINT'S LAP INSTEAD.)

NOLA: Tony!

TONY: What? A.J. wasn't much older when he played his first poker game.

A.J.: Did I beat you back then, too?

TONY: You couldn't beat me then, and you can't beat me now.

A.J.: Bet?

TONY: Sit down and grab some cards.

NOLA: Can I finish you off before you start a new game?

TONY: Oh, yeah. What ya got, a pair or two?

NOLA: Full house, kings over tens.

TONY: Damn!

NOLA: Hey!

TONY: Sorry. Don't talk like your Uncle Tony, Peter.

NOLA: I'm going to take him up for a bath before you totally corrupt him.

A.J: I'll take over kicking Uncle Tony's butt for you, Mom.

NOLA: Thank you, sweetheart. Come on, Peter.

QUINT: I'll carry him up for you.

NOLA: Oh, okay. Thanks.

(QUINTON, NOLA AND PETER DISAPPEAR UP THE STAIRS.)

A.J.: What's up with them?

TONY: What do you mean?

A.J.: Mom doesn't seem as mad at him.

TONY: I don't think she is.

A.J.: You think it's because she feels sorry for him because of Aunt Vanessa?

TONY: No, I think your mom and dad are finally starting to get back on track. 8B. BOARDINGHOUSE BATHROOM

(NOLA IS CHECKING THE TEMPERATURE OF THE WATER AS QUINTON TRIES TO UNDRESS A SQUIRMING PETER.)

QUINT: I thought they liked taking off their clothes at this age.

NOLA: Only when you don't want them to. Let me help.

(SHE TAKES PETER BY THE SHOULDERS.)

NOLA: Peter, don't you want to play in the water?

PETER: No.

NOLA: Uncle Quint will go get your boat for you.

PETER: I want bubbles.

NOLA: Okay, you can have bubbles, too.

(PETER STANDS STILL WHILE NOLA: STARTS TO UNDRESS HIM.)

QUINT: Where's your boat, Petey?

NOLA: There's a bag of bath toys hanging on the closet door in his room. Can you get his pajamas, too?

QUINT: Sure.

(HE CROSSES THE HALL TO PETER'S ROOM. THE SIGHT OF ALL THE TOYS AND CHILDREN'S THINGS SEEMS TO THROW HIM FOR A MOMENT. HE STOPS IN THE DOORWAY AND TAKES A DEEP BREATH.)

QUINT: So, this is what could have been.

(HE GETS THE BOAT OUT OF THE BAG, THEN GOES TO THE DRESSER FOR THE PAJAMAS. HE STOP SHORTS WHEN HE SEES A PICTURE OF VANESSA AND PETER THERE AND PICKS UP THE PHOTO.)

QUINT: I hope you made the most of every minute you had with him, Vanessa.

(HE PULLS PETER'S THINGS OUT OF THE DRESSER THEN RETURNS TO THE BATHROOM. HE WATCHES WITH A WISTFUL SMILE AS NOLA SPLASHES PLAYFULLY WITH PETER. IT TAKES HER A MINUTE TO REALIZES HE'S BACK.)

NOLA: Did you find everything okay?

(QUINTON NODS AND PUTS THE BOAT IN THE TUB. NOLA NOTICES THE WAY HE LOOKS AT PETER.)

NOLA: If it bothers you being around Peter, you can wait for us downstairs.

QUINT: Bothers me?

NOLA: When I first came here I could barely stand to look at him. He was a constant reminder of everything I wanted to forget.

QUINT: And now?

NOLA: Now it doesn't hurt quite so much. Maybe it even helped. He made me realize that I couldn't just cut people out of my life because they reminded me of something painful.

QUINT: Does that include me?

NOLA: It does now.

QUINT: I hope someday I'll remind you of something besides the pain.

NOLA: You already do. Have you decided where you're going to stay tonight?

QUINT: Is that an invitation?

NOLA: I doubt Bridget will be home, so you can stay in there.

QUINT: And if she does come back here?

NOLA: I'll make up the sofa for you.

QUINT: The sofa?

NOLA: It's better than driving all the way back to the dig site to sleep in a tent.

QUINT: You don't like my tent?

NOLA: It's a beautiful tent, Quinton, but it is September, and we are in the Midwest, so I don't think it will be a very practical place to stay for much longer.

QUINT: Practical never was much our style. Remember that place we had in Reykjavik?

NOLA: The igloo?

QUINT: It was not an igloo. The walls were made of wood.

NOLA: Not very thick wood. I've never been so cold in my life.

QUINT: But we had fun coming up with interesting ways to keep warm. Maybe you could help me come up with a few this...

(SHE SHOOTS HIM A LOOK.)

QUINT: Okay, I won't press my luck. Actually I was thinking of moving into Father's, at least for the winter. I can work out of the lab there once I update it a little, and there's plenty of room for all...for the kids, if they want to come stay.

NOLA: I'd rather A.J. stay here where I can keep an eye on him. Why didn't you move back into Henry's when you first got back?

QUINT: Too many ghosts.

NOLA: So what makes now different?

QUINT: Of course I'll be reminded of Father and Vanessa, but I can handle that. It was the constant memories of you that made the place unbearable. But now that I know you're not gone from my life entirely, I think I can go back there.

NOLA: Did you ever think when we left Henry's that you would be moving back in there all these years later?

QUINT: Not alone.

NOLA: I never thought we'd settle down anywhere, especially back here.

QUINT: Are you sorry we never did?

NOLA: No. I dreamed my whole life of getting out of here and seeing the world. And you showed me every corner of it. I wouldn't trade the life we had for anything.

QUINT: Most of it anyway.

NOLA: I'd like to trade in the bad parts, but life wouldn't be life without them. (SHE GRABS A TOWEL.) Come on, Peter, time to get out.

PETER: No out.

QUINT: If you get out and put on your pajamas like a good boy, Uncle Quint will read you a story.

NOLA: Are you sure about that, Uncle Quint?

QUINT: I'm sure, Aunt Nola.

(HE TAKES PETER AND WALKS OUT AS NOLA LOOKS AFTER HIM.) 9A. BOARDINGHOUSE KITCHEN -- LATE THAT NIGHT

(QUINT, NOW DRESSED FOR BED IN SWEATS AND A TEE SHIRT, SITS AT THE TABLE WITH TONY DRINKING COFFEE.)

QUINT: Go ahead, ask.

TONY: Ask what?

QUINT: What you've been wanting to ask me for the past year.

TONY: It's none of my business.

QUINT: But you still want to know.

TONY: I know she shut you out after the accident and that you were really hurt by that. But was that enough reason to throw away so many great years together?

QUINT: No.

TONY: So why did you?

QUINT: I know you're not going to believe this, but nothing happened until after Nola left. I did spend a lot more time than I should have with...I spent a lot of time where I shouldn't have, but nothing was going on. I just needed someone to talk to, and Nola kept stonewalling me whenever I tried to get her to open up about everything.

TONY: So you talked to this girl.

QUINT: She didn't ask anything of me, she just offered to listen. Of course I know now that was all just part of her plan to get to me. But back then she was just what I needed, someone to talk to.

TONY: If you were just talking, why did Nola move out?

QUINT: She didn't believe we were just talking.

TONY: You must have given her some reason to think that. Because I've seen Nola give you the benefit of the doubt in situations where anyone else would have booted you out so fast.

QUINT: I know, but I swear, Tony, there was nothing going on. Why the hell would I want to risk losing Nola by cheating? She was my whole life.

TONY: Well, you guys had a lot of things going on, neither one of you was thinking very clearly. Maybe it all started getting to you and you made a slip, without meaning to.

QUINT: I didn't think you'd believe me.

TONY: It's not an easy story to swallow. Nola wouldn't leave behind her children and the life the two of you had built together for no reason.

QUINT: Okay, maybe I gave her reason to be suspicious. After awhile I couldn't stand the wall between Nola and I, so I started staying away from the house, finding excuses to work late.

TONY: Where did the grad student fit into this picture?

QUINT: She was my teaching assistant, so she knew something was going on. You know the condition I was in, I couldn't exactly hide how miserable I was. She pushed me to talk about it, and we started talking after class. Then we went for coffee, a few dinners. I could always justify it -- you know, we needed to talk about work, so why not get a bite to eat while we're talking.

TONY: But Nola didn't buy any of that.

QUINT: Maybe I'm just trying to make excuses, but I think she wanted to think the worst of me. She was so angry after she got home from the hospital. I thought it was because she blamed me for everything that had happened. But eventually I realizes that was just an excuse she was using, and that she really didn't know why she was angry.

TONY: So you think she used you having an affair as an excuse to justify her anger?

QUINT: I can't speak for Nola, but that was the only thing that made sense to me.

TONY: It fits with some of the things she's told me, too.

QUINT: I tried everything to get through to Nola, to convince her that she was the only woman I wanted. But I couldn't stop her from going.

TONY: So what happened after she left?

QUINT: She couldn't even speak to me. Every time we tried to talk, we only ended up fighting.

TONY: So when the little assistant offered to fill the void, you took her up on it.

QUINT: I thought I'd lost Nola for good. And A.J. hated me because he thought I'd betrayed his mother, Stacy had run back to Oxford to get away from the whole mess. I'm not defending what I did, but I really wasn't myself at that point. And I regretted it right away.

TONY: So why didn't you dump her?

QUINT: You know that's never been my forte.

(TONY NODS.)

QUINT: I did try, and that's when I finally saw her true colors. She threatened to kill herself if I ended it, and when I called her bluff on that one, she said she was going to file charges against me with the school board for sexual harassment. She had all kinds of tricks up her sleeve. It was really a mess.

TONY: You know, I could almost buy this whole story except for one thing.

QUINT: What's that?

TONY: You bringing the bimbo here to Springfield.

QUINT: I didn't bring her. As horrible as it sounds, when my father died I couldn't help but be glad for the excuse to come to Springfield. I thought if I could just talk to Nola face to face I would be able to get through to her.

TONY: And this girl figured out what you were planning to do and followed you?

(QUINT NODS.)

QUINT: She surprised me on the plane. I tried to keep her in the hotel; I even bribed her to stay away from my family. But she was determined to hurt me, and she knew the best way to do that was through Nola.

TONY: Why didn't you tell Nola what was going on?

QUINT: Do you really think she would have believed me?

TONY: Probably not.

QUINT: Do you?

TONY: I never pegged you as the type to get into a Fatal Attraction thing, but for some reason I do believe you. So how did you finally get rid of this witch?

QUINT: I told her I would do whatever it took to get her out of my life. I didn't care how much it cost or what kind of trouble it caused, I just wanted her gone. Of course it wasn't that easy; she kept insisting that she was in love with me. But she got over that amazingly quick when I wrote a proposal that got her a very prestigious grant and a check that gave her a small fortune.

TONY: How do you know she'll stay away?

QUINT: If she doesn't I'll say she stole my proposal and bring her up on fraud charges.

TONY: Sounds like you've got this whole thing figured out.

QUINT: Not quite. I still don't know how I'm going to get Nola to forgive me and trust me again.

TONY: She seems to be coming around.

QUINT: I hope so. But even if she does, there's still another thing we have to get past.

TONY: Sean and Stephanie?

(QUINT NODS.)

QUINT: I have to find some way to get her to talk to me about them.

The One With the Gazebo" 8

9B. NOLA'S ROOM

(NOLA, NOW DRESSED IN A COMFORTABLE PAIR OF FLANNEL PAJAMAS, SITS ON THE FLOOR GOING THROUGH THE BATTERED TRUNK AT THE FOOT OF HER BED. SHE PULLS A PINK BOX OUT FROM UNDERNEATH A WELL-WORN COPY OF WUTHERING HEIGHTS AND HER WEDDING ALBUM. INSIDE ARE TWO TEDDY BEARS LINKED ARM IN ARM. NOLA LIFTS THEM OUT AND HUGS THEM CLOSE. AS SHE LISTENS TO THE RAIN FALLING OUTSIDE, SHE BEGINS TO REMEMBER ANOTHER RAINY NIGHT.

DISSOLVE TO:

9C: INT. CAR...NIGHT

(QUINTON AND NOLA RIDE QUIETLY ON A RAINY NIGHT.)

QUINT: You're quiet tonight. Didn't you enjoy the party?

NOLA: It was nice. They really seem excited to have you here.

QUINT: So what's wrong?

NOLA: Nothing. I'm just tired.

QUINT: You're not getting nervous, are you?

NOLA: It's a little early for that. And I have done this twice before.

QUINT: But it's been awhile.

NOLA: Are you saying I'm old?

QUINTON (smiling): Ancient.

NOLA: Good thing you like ancient artifacts.

(HE HUGS HER.)

QUINT: I love them.

NOLA: You're not having second thoughts, are you?

(HE PUTS HIS HAND ON HER OBVIOUSLY PREGNANT STOMACH.)

QUINT: It's a little late for that.

NOLA: I'm serious, Quinton.

(THE CAR SUDDENLY SWERVES. QUINT GRABS THE WHEEL TIGHTLY WITH BOTH HANDS UNTIL HE REGAINS CONTROL OF THE CAR.)

QUINT: It's worse out here than I thought.

NOLA: Maybe we should have taken the dean up on his offer to stay at the University.

QUINT: It'll be okay, we're almost home.

NOLA: That sounds kind of funny, us calling someplace home.

QUINT: It has been awhile.

NOLA: You don't mind that we're settling down, do you?

QUINT: It was my choice to take the job at the University.

NOLA: But you did it so I wouldn't have to traipse around the world with twins in diapers.

QUINT: That wasn't the only reason. This is a good opportunity, it gives us the chance to be near Stacy, and I think it will do A.J. some good to settle down someplace for awhile.

NOLA: He's not looking forward to it.

QUINT: He'll like it better when he has his new brother and sister to keep him distracted.

(HE PUTS HIS HAND LOVINGLY ON HER STOMACH.)

NOLA: I hope so.

(THE CAR SWERVES AGAIN. QUINT TRIES TO REGAIN CONTROL, BUT THE CAR STARTS TO SPIN AND SKIDS OFF ROAD INTO A TREE.)

DISSOLVE BACK TO:

9D. NOLA'S BEDROOM

(A TEARFUL NOLA SHUDDERS, THE SOUND OF THE CRASH RINGING IN HER EARS. THE BEARS FALL TO THE FLOOR. NOLA WIPES THE TEARS FROM HER EYES AND GETS UP QUICKLY.)

9E. BOARDINGHOUSE KITCHEN AND TV ROOM

(QUINTON PUTS THE COFFEE CUPS IN THE SINK AND TURNS OFF THE LIGHTS IN THE KITCHEN BEFORE GOING INTO THE TV ROOM. HE TURNS ON THE TELEVISION SET AND FALLS ONTO THE SOFA WITH A SIGH.)

ANNOUNCER: We'll be back in a moment with Shipmates Forever, starring Ruby Keeler and Dick Powell.

(QUINTON SMILES, COVERS HIMSELF WITH THE AFGHAN FROM THE SOFA AND SETTLES IN TO WATCH. HE'S STARTLED WHEN NOLA SUDDENLY ENTERS.)

QUINT: Nola, what are you doing awake?

NOLA: I couldn't sleep.

QUINT: Were you having a nightmare?

NOLA: No, thinking about one. Where's Tony?

QUINT: He just left. Said he'll be back for breakfast, though.

NOLA: I figured he would. What are you still doing up?

QUINT: Tony and I were talking, and I wasn't really tired after he left, so I thought I'd come in here and see what was on.

NOLA: Anything good?

QUINT: Shipmates.

NOLA (affected by this): The first movie we ever watched together.

QUINT: When I saw you crying that day I was ready to kill Nelson. It took everything in me not to run after him and wring his neck.

NOLA: Really?

QUINT: Really. I couldn't believe how angry I was. It was then that I finally had to admit to myself that I was falling in love with you.

NOLA: So why didn't you admit it to me?

QUINT: Because you were still hung up on Nelson. You know, you drove me crazy that night, the way you kept referring to him when you were recounting the plot of the film.

NOLA: I came to my senses soon enough. But then you drove me crazy by not admitting your feelings.

QUINT: I was terrified of hurting you. That's always been my worst fear.

(THE SOUND OF THE TV INTERRUPTS BEFORE NOLA CAN RESPOND.)

ANNOUNCER: And now back to Shipmates Forever.

NOLA: Mind if I watch with you?

QUINT: Not at all.

(HE LIFTS UP THE AFGHAN AND NOLA JOINS HIM UNDERNEATH IT.)

The One With the Gazebo" 9

10A. BOARDINGHOUSE TV ROOM

(NOLA IS ASLEEP, HER HEAD ON QUINTON'S SHOULDER, BUT HE IS STILL AWAKE. THE SOUND OF A CAR SCREECHING OUTSIDE JOLTS QUINTON'S MEMORY OF THE ACCIDENT.)

10B. INT. QUINTON'S CAR -- TWO YEARS EARLIER

(A PARAMEDIC LEANS INTO THE MANGLED CAR EXAMINING QUINTON, WHO IS BEGINNING TO REGAIN CONSCIOUSNESS.)

MEDIC: Sir, can you hear me?

QUINTON: Nola?

(HE TRIES TO TURN HIS HEAD TO SEE HER BUT IS UNABLE TO BECAUSE OF THE BRACE ON HIS NECK.)

MEDIC 1: Sir, please don't move until we find out where you're hurt.

(HE IGNORES THE PARAMEDIC AND WINCES IN PAIN AS HE TURNS HIMSELF TO FACE NOLA, WHO IS PINNED UNDER THE COLLAPSED DASHBOARD. ANOTHER PARAMEDIC IS LEANING IN HER WINDOW WORKING ON HER. QUINT STROKES NOLA'S HAIR.)

QUINTON: Nola, can you hear me?

(NOLA STIRS A LITTLE.)

QUINTON: Come on, honey, please wake up.

NOLA: Quinton?

(SHE MOANS IN PAIN AS SHE TRIES TO MOVE.)

MEDIC 2: Please don't move, ma'am. We're going to get you out of here as soon as we can. What's her name, sir?

QUINTON: Nola, Nola Chamberlain.

MEDIC 2: Can you tell me where you're hurting, Mrs. Chamberlain?

NOLA: Babies...

MEDIC 2: Baby? You're pregnant?

QUINTON: We're having twins.

MEDIC 2: Are you having contractions, Mrs. Chamberlain?

(NOLA NODS.)

NOLA: Please save my babies.

MEDIC 2: We're going to do everything we can, ma'am. How far along is she, Mr. Chamberlain?

QUINTON: Six months.

NOLA: It's too early...

(QUINTON TAKES HER HAND IN ONE HAND AND STROKES HER HAIR REASSURINGLY WITH THE OTHER.)

QUINTON: Shh, it's okay, honey. We're going to get you out of here and get to the hospital, and everything's going to be fine.

NOLA: Promise you won't let them take the babies.

QUINTON: Shh, Nola, you have to stay calm.

NOLA: Promise!

(QUINTON DOESN'T ANSWER.)

NOLA: Promise!

QUINTON: I promise. Now relax. You're going to be okay, just relax.

DISSOLVE BACK TO:

10C. BOARDINGHOUSE TV ROOM

QUINTON (sighing): I never should have made a promise I knew I couldn't keep.

DISSOLVE TO:

10D. HOSPITAL EMERGENCY ROOM -- 2 HOURS AFTER 10B

(QUINTON PACES OUSIDE A TRAUMA ROOM, OCCASIONALLY STOPPING AT THE WINDOW TO TRY TO SEE WHAT'S GOING ON INSIDE. HIS ARM IS IN A SLING, HIS HEAD BANDAGED, BUT HE DOESN'T SEEM TO NOTICE HIS INJURIES. HE ALMOST POUNCES ON A NURSE WHO EXITS FROM THE ROOM.)

QUINTON: What's happening with my wife?

NURSE: The doctor will be out in just a minute to talk to you, sir.

QUINTON: I can't wait a minute -- tell me what the hell is going on with Nola!

(A DOCTOR EXITS.)

DOCTOR: Mr Chamberlain? Hi, I'm Dr. Corrigan, the chief resident here.

QUINTON: How's my wife?

DOCTOR: Why don't you come with me to my office and I'll try to answer all your questions.

QUINTON: Your office? Why? Oh God, she's not...

DOCTOR: No, Mr. Chamberlain, your wife is still alive. And we've managed to stabilize her, at least for the time being. But there are a few things I need to discuss with you before we proceed any further with her treatment.

QUINTON: What about our babies?

DOCTOR: Right now she's still sustaining the pregnancy.

QUINTON: Right now?

DOCTOR: That's one of the things I need to talk to you about. But the hallway isn't the place to do it. Please, come with me.

(QUINT FOLLOWS THE DOCTOR TO A SMALL OFFICE WITH ONLY A DESK AND A FEW CHAIRS.)

DOCTOR: Have a seat.

QUINTON: No thank you.

DOCTOR: You look like you could use one.

QUINTON: I'm fine.

DOCTOR: I saw your chart, so I know better.

QUINTON: Please tell me what's going on with my wife and children.

DOCTOR: Your wife is in very critical condition, Mr. Chamberlain. Our main concerns are her internal injuries, which are extensive, and, of course, her pregnancy and whether it's still viable.

QUINTON: You mean the twins might not be alive?

DOCTOR: We're still detecting two heartbeats. But like I said, Mrs. Chamberlain is seriously injured, and the strain her pregnancy is putting on her is only complicating her condition. If she was near term we would have already delivered, but since she isn't quite into her third trimester we're trying to sustain her pregnancy.

QUINTON: Isn't that dangerous?

DOCTOR: Yes, but it's what your wife wanted.

QUINTON: What?

DOCTOR: Mrs. Chamberlain was conscious for awhile, and she asked us to stop her labor. I gave her the medication, not really expecting her contractions to stop, but your wife is tougher than I gave her credit for -- I think she willed her labor into stopping.

QUINTON: That sounds like Nola.

DOCTOR: The problem is, we need to operate on your wife -- quickly -- or she's going to bleed to death. But the surgery seriously jeopardizes her pregnancy.

QUINTON: So you're asking me to choose between my wife and my children?

DOCTOR: There's a chance the babies could survive. We have an excellent neonatal intensive care unit here, and I've seen them perform miracles more than once. I can't make you any guarentees, but I can tell you they have a chance, which is something your wife won't have if we wait much longer.

QUINTON: Can I have some time to think about this?

DOCTOR: I'm afraid time is the one thing we can't spare in this situation, Mr. Chamberlain.

(QUINTON SITS SILENTLY FOR A MINUTE, HIS HEAD IN HIS GOOD HAND. FINALLY HE LOOKS UP AT THE DOCTOR WITH TEARS IN HIS EYES.) QUINTON: Please save my wife.

DISSOLVE TO:

10E. BOARDINGHOUSE TV ROOM

(NOLA STILL SLEEPS SOUNDLY AS QUINTON CARESSES HER FACE.)

QUINTON: All I wanted was not to lose you. I never knew it would cost us so much.

DISSOLVE TO:

10F. INT. HOSPITAL WAITING ROOM -- THREE HOURS AFTER 10D

(QUINT PACES AROUND AS STACY ENTERS.)

STACY: Dad, will you please sit down before you fall down.

QUINTON: I can't.

STACY: That doctor says you should be in the hospital, too.

QUINTON: I am in the hospital.

STACY: I think he meant as a patient.

QUINTON: I'll be fine as soon as I know your mom's okay.

STACY: Mom's tough, I'm sure she'll be fine. And Stephanie and Sean are going

to be okay, too.

QUINTON: I wish I could be so sure.

STACY: Hey, I came a little early, too, and I turned out okay.

QUINTON: Better than okay. (HE KISSES HER HEAD.) Did you get in contact with everyone?

STACY: I called Uncle Tony, and he went and told Grandmom. He didn't think she should hear about this over the phone. They're going to get the next flight out here.

QUINTON: They don't have to do that.

STACY: You know I wouldn't have gotten anywhere trying to talk them out of it.

QUINTON: True. Where's A.J.?

STACY: Cafeteria.

QUINTON: Is he okay?

STACY: He says he is, but I think he's really scared about Mom.

QUINTON: I better find him.

STACY: I don't know if it will help. He told me to leave him alone when I tried to talk to him, so I just left him in the cafeteria while I went to the chapel.

QUINTON: The chapel?

STACY: I know we've experienced every religion in the world during all our years traveling, but when something goes wrong I always seem to go back to the Hail Mary.

QUINTON: Your mother, too. That's why I had the hospital chaplain go see her before she went into surgery.

STACY: You had a priest give her Last Rites?

QUINTON: I told him to do whatever was appropriate.

STACY: It's really that bad?

(A DOCTOR ENTERS BEFORE QUINT CAN ANSWER.)

DOCTOR: Mr. Chamberlain?

QUINTON: Yes.

DOCTOR: I'm Dr. Oliver, from the infant CCU. I wanted to let you know your son and daughter are upstairs.

STACY: Are my brother and sister okay?

DOCTOR: We're doing everything we can for them.

QUINTON: What about my wife?

DOCTOR: She was still in surgery when we got the babies. Would you like to come see your children?

QUINTON: Now?

STACY: Go, Dad. I'll come get you as soon as we hear anything about Mom.

QUINTON: Check on your brother, too, please.

STACY: I will. Kiss Stephanie and Sean for me.

(QUINT FOLLOWS THE DOCTOR OUT WITHOUT ANSWERING.) ========================================================== 10G. HOSPITAL CORRIDOR AND INFANT CCU -- 5 MINUTES LATER

(QUINT AND DR. OLIVER APPROACH THE CRITICAL CARE UNIT. THE DOCTOR STOPS JUST OUTSIDE THE DOOR.)

DOCTOR: Mr. Chamberlain, before we go in, I should warn you about a few things.

QUINTON: Like how tiny they're going to be?

(THE DOCTOR NODS.)

DOCTOR: People expect that, but they're still surprised when they see how small they actually are.

QUINTON: Stacy -- my daughter -- she was premature, too. I remember the first time I saw her, I couldn't believe she was real, she was so tiny.

DOCTOR: You'll also see a lot of tubes and wires. Those are for the machines that are helping the twins breathe and helping us to monitor their condition, and for us to use to feed the babies, because they aren't able to take any milk or formula just yet.

(QUINTON NODS IN UNDERSTANDING.)

DOCTOR: The children also suffered some trauma in the accident.

QUINTON: They're hurt?

DOCTOR: Your son has internal injuries that are going to require surgery.

QUINTON: Can you operate on a child that small?

DOCTOR: We have a surgeon here who specializes in in-utero surgery, so he's very experienced in working with fetuses that size.

QUINTON: But Sean's not a fetus, he's a baby.

DOCTOR: Even so, we feel that Dr. Killian is the best surgeon to perform the procedure. But I wanted you to see the baby before we took him into the OR.

QUINTON: In case he doesn't make it.

DOCTOR: I have to be honest with you, Mr. Chamberlain. If your children had just been premature they would have had, at best, a 50% chance of survival. Factoring in the injuries your son has suffered, I'd say his chances are now about 20%.

QUINTON: What if he doesn't have the surgery?

DOCTOR: He won't make it through the night.

QUINTON: What about Stephanie...my daughter?

DOCTOR: Her injuries from the accident aren't as serious, but she's still fighting an uphill battle.

(QUINTON LEANS AGAINST THE WALL, TRYING TO ABSORB ALL THIS NEWS.)

DOCTOR: Are you okay, Mr. Chamberlain? Maybe you should go sit down.

QUINTON: No, I want to see my children.

(HE FOLLOWS THE DOCTOR INTO THE INFANT CCU. THEY BOTH PUT ON STERILE GOWNS AND WASH THEIR HANDS BEFORE SHE LEADS HIM INTO THE NEXT ROOM, WHERE THE BABIES ARE. A NURSE LOOKS UP FROM ONE OF THE INCUBATORS AS THEY ENTER.)

DOCTOR: How's everything in here?

PAM: Quiet. I was just trying to talk Bradley into drinking a little more milk for me. He's up to 60 cc's.

DOCTOR: That's encouraging. This is Mr. Chamberlain, the father of our newest editions.

PAM: Hi, I'm Pam. I'm one of the nighttime nurses here. Your son and daughter are right over here. We put them next to each other so you would be able to visit both of them at the same time.

(SHE LEADS QUINTON TO SEAN AND STEPHANIE'S INCUBATORS AS SHE TALKS. DR. OLIVER LEAVES.)

PAM: Do you have names for them yet? If so, I can put it on their charts and their beds. The babies seem to respond better when we call them by name, so we like to get them as soon as possible. But if you haven't come up with any yet, don't...[worry]

QUINTON (over): Sean and Stephanie.

PAM: Sean and Stephanie?

(QUINT NODS.)

PAM: Okay, great, I'll write that down. (THEY STOP AT TWO INCUBATORS. ONE HAS A BLUE CARD THAT SAYS "BABY BOY CHAMBERLAIN", THE OTHER A PINK CARD THAT SAYS "BABY GIRL CHAMBERLAIN". QUINT TRIES TO HIDE HIS HEARTBREAK AT THE SIGHT OF THE TWO TINY CHILDREN.)

PAM: I'm sorry I can't let you hold Sean and Stephanie, they're too tiny right now. But you can touch them if you put your arms through the side of their beds, like this.

(SHE PUTS HER HANDS THROUGH TWO PLASTIC HOLES ON THE SIDE OF SEAN'S INCUBATOR AND BEGINS TO STROKE THE BABY SOFTLY.)

QUINTON: It won't hurt them?

PAM: No, it's good for them. Just use a soft stroke, and be careful of the tubes and wires.

QUINTON: There's so many of them.

PAM: I know it looks kind of scary, but all of this stuff is helping the babies in some way.

(SHE PULLS A CHAIR OVER.) Why don't you visit with Stephanie first, while I get Sean ready to go upstairs.

(QUINTON SITS DOWN IN THE CHAIR AND TENTATIVELY REACHES INTO THE INCUBATOR. HE BLINKS BACK HIS TEARS AS HE CAREFULLY TOUCHES THE BABY.)

QUINTON: Hi, Stephanie, it's Daddy....You're being so brave, you know that? I know it's probably kind of scary out here. But it will get better I promise. You've got a mommy and daddy who love you very much, and a big brother and a big sister and lots of other people who love you, too. And Mommy has a special room all ready for you and your brother, with Pooh bear on the walls and nice comfy cribs...Wait until your mommy sees you. That's where you get your good looks, you know, from her...

PAM: Mr. Chamberlain? Sean's ready to go upstairs now.

QUINTON: Thanks. Steffie, I'm going to go talk to your brother for a minute, but I'll be right back, okay.

(HE TURNS TOWARD SEAN'S INCUBATOR, BUT FINDS PAM HOLDING HIM IN HER ARMS, WRAPPED IN A BLANKET.)

PAM: I don't think it'll hurt for you to hold him, but I can only let you have him for a minute.

(SHE SETS SEAN CAREFULLY INTO QUINT'S ARMS. QUINT HOLDS THE BABY AKWARDLY.)

QUINTON: Be strong, Sean, and come back to us.

(HE CAREFULLY KISSES THE BABY'S HEAD.)

QUINTON: I love you.

DISSOLVE TO:

10H. BOARDINGHOUSE TV ROOM

(QUINTON'S THOUGHTS RETURN TO THE PRESENT DAY FOR A MOMENT. HE WIPES THE TEARS FROM HIS EYES AS HE LOOKS DOWN AT NOLA.)

QUINTON: I wish you had seen them just once, seen how beautiful they were.

DISSOLVE TO:

10I. NOLA'S HOSPITAL ROOM -- FIVE DAYS AFTER 10G

(QUINTON DOZES FITFULLY IN A CHAIR NEXT TO NOLA'S BED. THE TRAGEDIES OF THE LAST WEEK HAVE TAKEN AN OBVIOUS TOLL ON HIM. HE AWAKENS WITH A START WHEN NOLA STARTS CALLING SOFTLY FOR HIM.)

NOLA: Quinton, Quinton.

(HE PULLS HIS CHAIR OVER TO HER BED AND STARTS STROKING HER HAIR.)

QUINTON: I'm right here, honey. Don't be scared. You were in an accident and you've been asleep for a long time, but you're going to be fine, just fine.

NOLA: Sean and Stephanie?

QUINTON: Shh, sweetheart, you need your rest. We can talk about everything later.

NOLA: Are they okay?

QUINTON: Nola...

NOLA: Quinton, where are my babies?!

QUINTON: Nola, please calm down. You're going to hurt yourself more, getting upset like this.

NOLA: Answer me.

(QUINTON CAN'T ANSWER.)

NOLA: No. Quinton, no.

(SHE STARTS TO SOB. QUINTON TAKES HER INTO HIS ARMS AS BOTH OF THEM CRY.)

DISSOLVE TO:

10J. BOARDINGHOUSE TV ROOM

(NOLA DOESN'T EVEN STIR AS QUINTON LIFTS HER ONTO HIS LAP AND BURIES HIS FACE IN HER HAIR.)

QUINTON: I'm going to find a way to earn your forgiveness, Nola, if it's the last thing I do.

(HE RESTS HIS HEAD ON TOP OF HERS AND CLOSES HIS EYES WEARILY.)

FADE OUT

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