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#213 : Lacune

Titre VO: “Lacuna” Titre VF: “”

USA : Diffusé le 15 mai 2005 - France :

Scénario : Ilene Chaiken - Réalisation: Ilene Chaiken

Guests: Michael Tomlinson (Franklin), Lauren Lee Smith (Lara Perkins), Victoria Billingsley (Young Jenny), Eileen Bui (Jun Ying), Judith Maxie (Dr. Wilson), Preston Cook (James) , Gloria Steinem (Herself), Melissa Leo (Winnie Mann), Holland Taylor (Peggy Peabody), Lucia Rijker (Herself (Dana's Trainer)), Georgia Craig (Resident), Kris Pope (Emile), Klodyne Rodney (Klodyne), Jeremy Kulyk (Boy #2), Warren Christie (Leo Herrera), Judith Maxie (Dr. Wilson), Colin Lawrence (David), Tyler Johnston (Boy #1)


Résumé :

Toute la bande est réunie pour soutenir Bette et Kit après le décès de leur père. Tina commence le travail et souffre énormément.
Jenny met finalement fin aux démons de son enfance qui la hantent.
Alice lutte contre sa jalousie par rapport à Dana et Lara qui semblent se rapprocher.

Popularité


5 - 2 votes

Titre VO
Lacuna

Titre VF
Lacune

Vidéos

le bassin d'accouchement

le bassin d'accouchement

  

Shane et Carmen

Shane et Carmen

  

Plus de détails

Résumé long

 

 

Retour sur le strip tease de Jenny. Il est ponctué par des flash-back du viol qu'elle a subi enfant.

Générique

Jenny sort de la boîte de strip tease. Dehors, Shane l'attend en fumant une cigarette. Jenny prend la cigarette de Shane et elles commencent à marcher en parlant de la prestation de Jenny. Finalement, Shane lui demande pourquoi elle a fait ça. Jenny lui répond que c'est parce que dans tout le numéro, chaque acte qu'elle faisait était son choix, que c'est elle qui commandait et que ça l'aidait à se rappeler ce qu'elle a vécu dans son enfance. Elle dit à Shane qu'elle a de la chance de se rappeler ce qu'elle a vécu de mauvais dans son enfance et comme Shane ne comprend pas bien où elle veut en venir, Jenny lui explique qu'elle a de la chance de s'en rappeler parce qu'elle peut être en harmonie avec sa vie. Shane demande à Jenny si finalement elle se rappelle de certaines choses et Jenny lui répond qu'elle ne sait pas, que plus le temps passe et plus tout devient flou et elle se demande si elle n'a pas fantasmé tout cela. Shane comprend mais lui rappelle qu'elle n'est pas obligée de faire ça, qu'elle a des amis. Jenny insiste, elle veut le faire. Shane lui demande juste de faire attention et finalement, elles rentrent séparément à la maison.

Dans un parking, Bette aide Tina à descendre de la voiture. Elles parlent de l'accouchement, plus précisément de la piscine dans laquelle Tina devrait mettre au monde leur enfant. La conversation s'arrête car Helena est là et veut parler à Tina. Elle a besoin d'elle pour un déjeuner avec sa mère. Bette et Tina sont curieuses de savoir comment Helena les a trouvées et cette dernière répond à Bette que c'est James qui lui a donné son emploi du temps. Bette n'arrive pas à y croire mais c'est la vérité. Helena revient à la charge concernant le déjeuner mais Tina la remballe et lui suggère de demander à une de ses autres petites amies d'y aller avec elle. Helena continue d'insister mais Bette met fin à la conversation. Finalement, Helena leur dit qu'elle fera en sorte que Tina soit bien traitée à l'hôpital et on voit la plaque d'entrée ornée du nom Peabody. Tina regarde Helena et entre avec Bette dans l'hôpital.

Dana est en train de s'entraîner au milieu de la rue quand Alice arrive en voiture. Elle est venue apporter les gants de boxe que Dana avait oublié à la maison. Alice reproche à Dana de ne pas lui avoir dit au revoir en partant le matin. Dana s'excuse et lui dit qu'elle doit retourner à l'entraînement si elle ne veut pas se faire battre par Mauresmo. Alice s'en va et lui dit qu'elle l'attend au Planet. Dana repart et Alice lui demande un bisou, au moins pour les gants. Dana revient embrasser Alice et retourne courir. Alice monte dans sa voiture et s'en va. Dana dit à son entraîneur, Lucia, qu'Alice l'aime vraiment et Lucia sous entend que c'est pour cela que Dana se traîne. Elle l'encourage donc à courir plus vite.

Bette et Tina ouvrent un carton. Après quelques instants de réflexion, Bette déclare qu'à cet instant, elle déteste être lesbienne. Tina lui répond qu'elle connaît des lesbiennes douées pour monter des choses, Bette lui demande si elle parle de mesuisières et Tina s'excuse de cette allusion. Finalement, pour une question d'honneur, Bette décide de s'atteler à la tâche. Tina lui demande alors si Kit a des nouvelles de David. Bette lui répond qu'il arrive le soir même pour l'enterrement et que d'autres membres de la famille viendront aussi. Tina demande si Benjamin sera présent et Bette dit que Kit ne veut pas qu'il soit là. Bette regarde alors la piscine et Tina lui dit qu'elle accouchera à la maison. Bette lui répond qu'elle sait et que le Dr Wilson pense que c'est sans danger. Tina insiste et dit qu'elle accouchera dans sa maison. Bette pense qu'elle parle de son appartement et demande à Tina si elle est sûre de vouloir le faire là-bas, si elle a tout organisé chez elle. Tina lui dit alors qu'elle veut revenir dans LEUR maison et y accoucher. Bette la regarde en souriant mais comme si elle n'y croyait pas.

Helena arrive dans un restaurant où l'attendent sa mère, ses enfants et.... Winnie. Quand Helena voit Winnie, elle décide de partir mais Peggy la retient de manière autoritaire, sous le regard amusé de Winnie. Helena demande à sa mère pourquoi ils sont tous là et Winnie lui répond que Peggy l'a invité pour déjeuner. Peggy explique alors à sa fille qu'elle avait envie de voir ses petits enfants et comme elle avait appris que les choses s'envenimaient entre elle et Winnie, elle avait décidé d'intervenir. Helena lui répond que ça ne la concerne pas, mais Peggy rappelle à Helena que tout ce qu'elle fait à une incidence sur elle. Winnie s'en mêle et conseille à Helena d'essayer de voir sa mère comme le reste du monde la voit, comme quelqu'un de très généreux. Helena lui répond qu'elle devrait essayer de la voir comme ses enfants peuvent la voir c'est-à-dire pas souvent. Le serveur arrive pour prendre la commande d'Helena mais Peggy répond avant elle. Finalement, Helena va à l'encontre du choix de sa mère. La conversation se centre sur les enfants. Peggy dit à Helena qu'elle ne veut pas les perdre et que par conséquent elle a fait une proposition à Winnie: elle laisse à elle et aux enfants un des appartements de sorte qu'ils puissent voir leur grand-mère quand ils voudront. Helena montre bien qu'elle n'apprécie pas mais ne dit rien.

Bette est dans sa chambre et regarde des photos de son père. Tina arrive et s'assoit près d'elle. Elles regardent une photo ensemble et Bette fond en larmes. Tina passe sa main dans ses cheveux et dans son dos pour lui faire sentir qu'elle est là.
Avec en fond une chanson gospel, des vieilles photos de Melvin Porter (ou Ossie Davis?) défilent. A l'enterrement, tout le monde est là, la famille, les amis, Mark qui filme la cérémonie...
Alice, Dana, Jenny, Shane, tout le monde vient souhaiter ses condoléances à Bette. Tina a dû rentrer à la maison et Jenny demande à Shane pourquoi Gloria Steinem est là. Gloria discutait avec Kit avant de s'approcher de Bette et de se présenter comme une amie de Melvin (une photo apparaît de tous les deux ensemble).
Dana va voir Lara qui est au service. Elle lui fait des compliments et dit que Kit est chanceuse de l'avoir. Alice les regarde de loin un verre à la main et feint l'indifférence quand Dana regarde vers elle. Finalement, Dana quitte Lara pour aller rejoindre Alice, qui lui propose d'emménager chez elle. Dana est surprise et répond qu'elle ne sait pas. Alice ne comprend pas cette réaction et demande à Dana si elle a des doutes sur leur couple, si elle veut voir quelqu'un d'autre... Dana ne comprend pas pourquoi Alice réagit comme ça et cette dernière lui dit de laisser tomber.
Bette discute avec Franklin et Leo et les remercie d'être venus. Bette demande à Franklin si elle peut prendre le reste de la semaine pour mettre en ordre les affaires de son père mais qu'elle sera au travail lundi. Leo et Franklin ont l'air très gênés et Franklin demande à Bette d'aller le voir dans son bureau lundi. Bette les arrête et leur dit que s'ils ont quelque chose à dire, qu'il le fasse maintenant. Franklin lui explique qu'en son absence Leo a fait du très bon travail et que le comité directeur a décider de le garder et de mettre un terme au contrat de Bette. Bette prend très mal les choses et parle même de tuer Franklin et... Helena. Elle souligne le fait que Franklin lui fait ça alors qu'elle vient de perdre son père et qu'elle va avoir un enfant. Elle le félicite pour sa "classe" et s'en va.
Alyson Palmer et Mark discutent. Elle lui parle d'une soirée qui aura lieu le soir même, le « Projet Gloria » et elle lui demande s'il accepterait de filmer. Mark accepte en échange d'une invitation. Le marché est conclu et Mark s'en va.
Les filles sont assises autour d'une table avec le groupe Betty Rules et Gloria. On apprend que ça fait 15 ans qu'EZgirl court après Gloria sans succès. La conversation dévie alors sur le fait d'être lesbienne et féministe, ainsi que sur les lesbiennes, les bi, les hétéros, et le choix d'être l'un ou l'autre. Finalement, elles trinquent toutes aux Choix et à Melvin.

Jenny de son côté, Shane et Carmen de l'autre arrivent à la soirée animée par Gloria au bénéfice d'une fondation pour le droit des femmes. Shane descend en premier de sa voiture et se précipite pour aller ouvrir la portière à Carmen. Carmen est surprise et Shane est contente de son petit effet et elles se dirigent vers le bâtiment.
Helena et Leigh s'embrassent en haut de l'escalier. Helena demande à Leigh si elle a déjà fait l'amour avec une femme enceinte, elle lui répond que non. Helena lui dit qu'elle serait magnifique enceinte et elle lui propose de faire un bébé. Bette arrive et les interrompt. Elle traite Helena de fléau et salue Leigh. Bette parle alors de Tina et se dispute avec Helena à son propos. Leigh ne comprend pas ce qu'il se passe et Peggy arrive, surprise de voir Bette. Elle lui demande si elle est seule et Bette lui répond qu'elle est avec sa partenaire, Tina. Peggy demande à Helena si elle n'est pas sortie avec une Tina, et Helena lui explique que c'est la même femme. Peggy parle alors d'un show ou tout le monde couchait avec tout le monde, ce qui les avait poussé à écrire des poèmes torturés. Elle dit alors aux filles qu'elle espère qu'elles écriront de bons poèmes torturés; Bette lui répond qu'elle y travaille. Carmen interrompt la conversation. Elle prend Bette à part et lui explique que Tina est dans les toilettes depuis un moment et qu'elle a besoin de Bette. Bette s'excuse auprès de Peggy et va rejoindre Tina dans les toilettes. Tina est en train de perdre les eaux et Bette appelle la sage-femme pour la prévenir.
Carmen de son côté va voir Kit et David pour les prévenir que Tina va accoucher. Kit veut se précipiter auprès de Bette et Tina mais David la retient parce que ça va prendre des heures et Carmen précise à Kit que Bette voulait qu'elle reste profiter du concert et qu'elle l'appellera. Carmen félicite "tata Kit" et la soirée commence.
La soirée est animée par Gloria qui tient un discours féministe et révolutionnaire qui veut défendre le droit des femmes en Amérique et partout dans le monde. Le public l'ovationne. Elle laisse ensuite sa place à Kinnie Starr qui ouvre le show.
Pendant la chanson, Shane s'approche de Carmen pour lui proposer d'aller boire un verre après la soirée. Carmen accepte.
En écoutant Kinnie Starr, Jenny se remémore des scènes de fictions qu'elle a écrites.
Kinnie Starr laisse sa place au groupe Betty qui met le feu à la salle.
Alice revient sur le refus de Dana d'emménager ensemble. Elle ne comprend pas parce qu'avec Tonya, elles avaient emménagé ensemble au bout de 2 jours. Dana explique que c'était peut-être ça le problème. Elle dit à Alice qu'elle l'aime beaucoup mais que l'autre jour, elle lui a fait peur. Alice retient que Dana a dit qu'elle "l'aimait beaucoup" et elle lui demande à quel moment elle lui a fait peur. Dana lui répond que c'est le soir où elle a dîné avec Lara, qu'on aurait dit que ça avait rendu Alice dingue.
Betty laisse la scène à Heart. Jenny se lache sur la chanson avant de repartir dans ses pensées, Alice et Dana continuent de discuter, Shane et Carmen profitent du spectacle...

Tina est à la maison avec Bette. Elle souffre le martyr et Bette l'aide à entrer dans la piscine et la déshabille pour qu'elle soit plus à l'aise.

Le concert est fini et Alice et Dana s'arrêtent dans les escaliers pour discuter. Alice reproche à Dana de se sentir mal à cause d'elle, qu'elle est en train de devenir quelqu'un qu'elle ne supporte pas: étouffante, en demande et dépendante. Finalement, Alice est contente que Dana lui ait dit ce qu'elle ressentait et pense que c'est devenu trop intense trop rapidement entre elles, qu'elle n'a jamais ressenti cela auparavant et qu'elle a peur de devenir Lenny (cf. « Des Souris et Des Hommes ») c'est-à-dire de tout casser à force de trop s'attacher. Ce que vit mal Alice, c'est qu'elle ne peut pas appeler sa meilleure amie pour lui raconter ce qu'elle a sur le coeur... car sa meilleure amie, c'est Dana.

Tina est dans la baignoire. La sage-femme demande à Bette de vérifier si elle sent quelque chose au niveau du vagin de Tina. Bette répond qu'elle sent quelque chose et après vérification, la sage-femme dit que c'est la tête du bébé.

Shane et Carmen sont chez Shane. A peine Shane a servi à boire que Carmen lui dit de manière assez expéditive qu'elle s'en va. Shane la retient et lui dit qu'elle ne veut pas qu'elle parte. Elle prend Carmen dans ses bras, qui suit le mouvement. Shane dit à Carmen que son odeur lui a manqué et elle l'embrasse sur la joue et dans le cou. Elles se regardent et Shane embrasse Carmen. Elles s'embrassent de manière plus passionnée et commencent à se diriger vers la chambre. Elles sourient toutes les deux. Une fois dans la chambre, Shane allonge Carmen sur le dos et elles n'arrêtent pas de s'embrasser.

Tina n'est plus dans la piscine mais allongée sur le dos. La sage-femme lui demande de se retourner et elle constate des pertes bizarres (le méconium, premières selles du bébé) ce qui signifie que le bébé a un problème et que Tina doit aller à l'hôpital.

Shane fait l'amour à Carmen et lui dit... « Je t'aime »!

Jenny est assise à un arrêt de bus. Le bus arrive rapidement et elle monte. Dedans, une petite fille est assise, seule. Jenny la salue, revoit son viol et prend la petite fille dans ses bras pour pleurer. Elle caresse les cheveux de la petite et on revoit Jenny, enfant, seule, les vêtements sales et déchirés. Le bus s'en va et on reconnaît la roulotte qu'avait imaginé Jenny dans une de ses fictions, "Luminous".

Une ambulance roule à toute vitesse dans la ville. Bette et Tina sont à l'intérieur. Tina a de la fièvre et Bette est très inquiète. Les soignants essaient de la rassurer et Bette leur demande d'aller plus vite. L'ambulance croise le bus de Jenny et continue sa route vers l'hôpital.
Tina est sur la table d'accouchement, Bette est à ses côtés. Tina pleure car elle pense avoir abandonné leur couple, que cela ne se passe pas comme prévu. Bette essaie de la rassurer. C'est là que le médecin sort le bébé du ventre de Tina et Bette demande à couper le cordon. Une infirmière lui dit que ce n'est pas possible mais Bette insiste et le Dr Wilson la laisse faire. Bette coupe le cordon et regarde sa fille. Tina lui dit alors qu'elle veut l'appeler Angelica. Là dessus, Tina s'évanouit, sa fièvre est à 40°C et le Dr Wilson ordonne de faire des examens à Angelica car elle a un risque d'infection, et de recoudre Tina le plus vite possible.

Le lendemain matin, Jenny est dans la salle de bain. Elle remplit un verre d'eau qu'elle se verse sur la tête. Elle ouvre ensuite la pharmacie et elle y prend une lame de rasoir.
Shane est au téléphone dans le couloir et apprend que Tina est aux soins intensifs. Carmen sort de la chambre et Shane dit au téléphone qu'elles y seront dans 20 minutes. Shane entend des pleurs venant de la salle de bain et elle entre. Elle découvre Jenny en train de se tailler les cuisses avec sa lame de rasoir. Elle lui prend le rasoir des mains et pose une serviette sur les plaies. Jenny fond en larmes et Shane la prend dans ses bras en cherchant à la rassurer. Jenny lui dit qu'elle a besoin d'aide et Shane lui répond qu'elle va l'aider. Elle apprend alors à Jenny une bonne nouvelle: Tina a accouché. Jenny a du mal a y croire et est entre la joie et les larmes.

Bette est dans une fauteuil avec Angelica dans les bras. Kit arrive suivie de tout le groupe. Bette les rassure, Tina va bien et elle se lève pour présenter Angelica. Kit est la première à prendre la petite, puis Dana, puis Alice, puis Carmen, puis Jenny, qui pleure, puis Shane, qui souligne la taille des pieds du bébé, puis à nouveau Kit et enfin Bette. Bette explique à sa fille qu'elle vient de voir sa famille. Toutes les filles ont le sourire aux lèvres et sont émues.

 

[bibi78]

EXT. - STRIP CLUB - NIGHT

[Titlecard - Sunset Strip - present day]

[We're outside the strip club from last episode. Neon-lit profiles of naked women adorn the walls.]

INT. - STRIP CLUB - NIGHT

[An ultra-bright light beats down on Jenny as she's on stage, half-naked. Mobs of men surround the stage. They shout, cheer, and beat the stage like animals. She takes off her bra and whips it at the crowd and they shout for more.]

[Interspersed with shots of the crowd are instantaneous clips of other things, like tiny flashbacks: the drawings of shouting men; a boy in a clown t-shirt, angry at a little girl; many-armed Carmen and a fire juggler from the big top reverie; children running; young Jenny looking around; Jenny at the carnival, sitting in the duck shoot booth.]

[Jenny pulls down her pants. The men in the crowd go wild, shouting maniacally and beating the stage with their fists. Jenny throws her pants into the audience.]

[Clips: wet running feet on rain-soaked pavement; young Jenny and companion shooting at older Jenny at the duck shoot booth; older Jenny bleeding at the duck shoot booth.]

[Jenny pulls down her stockings.]

[Clips: drawing of the little girl, naked, looking sad; Jenny in the big top wearing clown makeup.]

[Jenny touches herself in front of the mob, then pulls her underwear down. The men shout, cheer, and go wild.]

[Clips: older Jenny running away from the duck shoot booth; older Jenny looking at the blood stain on her sweater.]

[Jenny stands on the stage with her arms out to her sides. She puts her head back, closes her eyes, and rests her hands on top.]

[Opening credits]

EXT. - STRIP CLUB - NIGHT

[Muffled music is heard from inside. A car alarm goes off somewhere nearby. Traffic passes. Shane sits on the stoop outside the club, smoking a cigarette. Jenny comes out of the club.]

Jenny: (smiling) Hey.

Shane: Hey lady.

Jenny: What are you doing here, lady?

Shane: Came to see you.

[Shane gets up and hands her cigarette to Jenny. They walk down the sidewalk.]

Jenny: What did you think?

Shane: You were good.

Jenny: No I wasn't, I sucked.

[Jenny takes a drag and hands the cigarette back to Shane.]

Jenny: Here. It doesn't matter if I'm good.

[They stop at a bus stop sign. The sign above reads "NUDE Girls Girls". A homeless man sleeps on the street, next to a trashcan and a newspaper box.]

Shane: Wh - why are you - why are you doing this?

Jenny: Because, when I'm in there, it's my fucking choice when I take off my top and I wanna show my breasts. And it's my fucking choice when I take off my pants and I show my pussy, and then I stop when I wanna stop and it makes me feel good because I'm in charge, and it helps me remember all this childhood shit that happens to me. You know, like, I have to. It's important. Do you remember what happened to you as a child that makes you not wanna -

Shane: Jenny, what - what - what do you mean -

Jenny: No, seriously, no, no, no, just hear me out. Do you remember the shit that happened to you as a child that makes you not wanna trust people as an adult?

Shane: Yeah, I probably do.

Jenny: Well, then, you're fucking lucky.

Shane: I don't know how that makes me so lucky.

Jenny: Because you're lucky, because you're... you can get on with your fucking life and you're not dogged down by these horrible, oppressive childhood memories, and you know, you stand a chance of being a normal, productive person.

Shane: Well, do you know what happened to you?

[Jenny stares down the street, then shakes her head a little, and looks around.]

Jenny: I don't know. You know, like, I remember things, and then, like, I think... "Is this true? Did this stuff really happen, or am I making it up?" Because, you know, the older I get, things - the memory sort of becomes a little blurry, and then, it's like, I can't (shakes head)... I don't know, but... you just don't know the truth anymore.

Shane: Right. I get that. But you don't have to do it with that.

Jenny: I know -

Shane: What is this?

Jenny: - I know I don't.

Shane: Just know that - I'm just saying that you don't have to - you know, you have me, you have other people, you don't have to do this alone.

Jenny: I know. No, I know, I know. I'm not alone, but I want to.

Shane: Just... just be careful.

[A moment of silence. They stare at each other.]

Shane: Alright.

[Jenny smooths a hand down Shane's shoulder.]

Shane: Let's go home.

Jenny: No, I'm gonna... (smiling, points at bus stop sign) take the bus.

[Shane starts to walk off.]

Shane: Promise you're gonna be safe? I'm gonna see you at home.

[Jenny stands and waits on the bus.]

INTERSTITIAL -

[The glittering lights of L.A. at night. A police siren wails in the distance.]

[Dawn shining over the L.A. skyline.]

INT. - NATAL CARE UNIT PARKING GARAGE - DAY

[Bette is helping Tina out of the car.]

Bette: I got the birthing tank, but it's the one you have to put together. I know they have some that...

Tina: Yeah?

[Bette closes the door and they start to walk.]

Bette: ... where you just - all you have to do is pump it up? You just roll -

[Bette stops when she sees Helena's car parked between them and the exit to the grounds of the natal care unit. Helena is in it with a smug smile on her face.]

Helena: Hello, girls.

Tina: What are you doing here?

Helena: Tina, I need to talk to you for a minute. (to Bette) Do you mind?

Bette: Yes. I do, actually.

[They start to walk. Helena gets out of the car.]

Helena: Tina, I need you to have lunch with me today. My mother's in town.

Tina: How did you know we were here?

Bette: (smiling) What, are you stalking us?

Helena: For your information, James told me where you would be. He said you had a doctor's appointment followed by a tour of the maternity unit. Tina, I thought you were having the baby at home.

Tina: I'm having a final checkup, and if everything looks good, I'm having the baby at home.

Bette: I don't believe James told you that. James knows not to give out my schedule.

Helena: What James knows is that he wants to keep his job.

[Bette looks sick.]

Helena: He seemed to have relatively few qualms about it.

[Helena steps close to Tina.]

Helena: So, I'm having lunch at La Terraza. She's really looking forward to meeting you. What time does this tour finish?

Tina: (coolly) I'm not having lunch with you. And I don't like this.

Bette: We have a doctor's appointment right now, so excuse us.

[Bette takes Tina's hand and leads her away.]

Helena: Tina...

[Helena follows.]

Helena: It's important and I'd really appreciate it!

Tina: (turns around) Why don't you ask one of your other girlfriends.

[They walk hand-in-hand away. Helena keeps pursuit.]

Helena: That was uncalled for.

Tina: (turns around) I'm sorry.

[Bette and Tina continue walking. Helena follows.]

Helena: Mother's heard a lot about you, she's looking forward to meeting you!

[Bette and Tina turn around, frustrated.]

Helena: You're one of the few people who hold your own with her. (looks at Bette) Everyone else just fawns all over her, it's tedious.

Bette: Not as tedious as this is becoming. We're going inside now.

[Bette and Tina head for the door a few feet away. Helena stands still and folds her arms.]

Helena: Fine. I'll make sure they take good care of you in there.

[Bette and Tina look confused.]

Tina: What?

[Helena nods at the hospital sign on the lawn. It reads, "The Rupert & Doris Peabody Natal Care Unit". Bette and Tina look at the sign, and then back at Helena, who stands with her arms crossed, defiant. Tina turns, giving Helena a scornful look. Bette guides her through the door and into the building, tossing back a quick, cautionary glance to Helena.]

EXT. - RESIDENTIAL STREET - DAY

[Dana and her female trainer, Lucia, are sparring as they jog up the street.]

Lucia: Come on, I'm kicking your ass!

Dana: I'm not sure I want it this bad!

[Lucia stops Dana.]

Lucia: Yes, you do. You want to win this tournament. You wanna go out a winner!

Dana: Why can't I just be a second-rate tennis player who's famous for being a lesbian? That's okay with me, really, it's fine.

Lucia: Bullshit.

Dana: I know.

[Alice drives up the street and pulls up next to them. She honks.]

Lucia: Hi.

Dana: Hey! What's up?

Alice: Hey!

[Alice sticks her hands outside the car, offering Dana a pair of boxing gloves.]

Lucia: Al...

Dana: Yes!

[Alice climbs out of the car.]

Alice: I found 'em in the hallway, thought maybe you'd forgot 'em.

Lucia: (to Dana) Go ahead, put them on.

[Lucia helps Dana on with the gloves. Alice stands and looks at Dana a little awkwardly.]

Alice: Um, you didn't say goodbye this morning. I woke up, I didn't know where you were.

Dana: (smiling) You knew I was training.

Alice: I know, but you could've woken me up, or said - left me a note, or... I dunno.

[Dana smiles.]

Alice: I mean, not like I'm needy, I - I - I don't need you to write me a note, I just, uh...

[Dana chuckles. Alice looks suspiciously at Lucia.]

Alice: Yeah, I was just mentioning it. Anyway, so...

Dana: I'm sorry I didn't leave you a note.

Alice: 'Kay.

[They smile at each other.]

Dana: Alright, well, Lucia and I need to...

Lucia: Get her in shape. Don't want Mauresmo making her look like a pussy.

[Alice starts to get back in her car.]

Alice: (chuckling) I think after you, Lucia, Mauresmo's gonna look like a pussy. Alright, um... see you at The Planet.

Dana: Huh?

Alice: I could get you a smoothie or something.

Dana: You know it's gonna be, like, at least an hour.

Alice: I'll - I'll be waiting.

Dana: Okay!

[Dana and Lucia start to jog off.]

Alice: Don't I get a kiss for bringing your gloves? I mean, c'mon.

Dana: Yeah.

[Lucia folds her arms. Dana jogs over to Alice and gives her a kiss.]

Dana: (kissing) Thank you.

Alice: Watch yourself!

[Dana chuckles as she jogs back. Alice drives off.]

Dana: Okay.

LATER -

[Dana and Lucia are now jogging though a park, still sparring.]

Dana: She really loves me, you know.

Lucia: Oh. Is that what it is. C'mon, get your ass. C'mon, go, go, go!

[Lucia smacks Dana's butt. Dana takes off running.]

Lucia: Go, go, go, go, go, go, go!

INT. - BETTE'S HOUSE - LIVING ROOM - DAY

[Bette is opening a large box. Tina looks inside with her. Tina smiles happily. Bette looks worried. Bette sighs and shakes her head.]

Bette: Right this minute, I am hating being a lesbian.

[Tina sits on the couch a couple of feet away. Bette sighs again. We see the contents of the box - a few rolled pieces of rubber, about as wide as a car's tire, sit inside the box.]

Tina: (smiling) Well, I know some lesbians who are really good at putting things together.

Bette: (smiling, chastised) Like carpenters?

Tina: (smiling) Sorry. That was a throwback.

[Bette looks at the birthing tank.]

Tina: Well, maybe Davina can do it. She says that she makes a home visit about two days before the baby's born.

Bette: No, I'm just gonna do it as a matter of pride.

[Bette unpacks the box, starting with little boxes of parts, and instruction manuals, working up to the two or three main rolls of plastic that make up the tank.]

Tina: So has Kit heard from her son?

Bette: Mm. David's flying in tonight. Uncle Leroy is too weak to travel, but Aunt Becca's going to come with all my cousins to the memorial, and Mrs. Stout, and daddy's nurse, Fiona.

Tina: What about Benjamin?

Bette: Kit doesn't want him to. She's afraid if she sees him, she'll lose her resolve.

Tina: Poor Kit.

Bette: She's completely thrown herself into this memorial.

[Bette stops and looks at the various tools and parts she's unpacked from the box. She chuckles and tosses up her hands.]

Bette: So, that's a birthing tank.

Tina: Bette, I'm having a home birth.

[Bette smiles and continues unpacking.]

Bette: I think it's great that Dr. Wilson thinks it's safe. I mean, the baby's healthy, and you're in great shape...

Tina: What I meant is that I'm having a home birth.

[Bette stops and looks at her.]

Tina: And I wanna have it in my home.

Bette: (a beat, confused) You mean you wanna give... birth in your apartment?

Tina: No...

Bette: Are you sure, because I - I've got everything so well organized, and I just think that -

[Tina looks down. Bette isn't getting it.]

Tina: No. (shaking head) I want... (voice wavering) to move back into our house... and I wanna have a our baby in our home. I want all of us to have a home together.

[They smile at each other. Bette looks quietly in awe at Tina. She sits down next to her on the couch.]

INT. - LA TERRAZA - DAY

[A fancy restaurant. Helena enters and sees her mom sitting at a table with Wilson and Jun Ying. Another woman sits at the table, with her back facing Helena. The kids see Helena.]

Peggy: Helena, come. Join us, dear.

Children: Mommy! Mommy!

[The children run to Helena's outstretched arms.]

Helena: (laughing) Hey! How are you?

[The woman at the table turns around. It's Winnie.]

Winnie: Hello, Helena.

[Helena's smile fades. She kisses the kids.]

Helena: See you later.

[Helena starts to walk off.]

Peggy: Helena. Stop.

[Helena stops. Winnie smiles at Peggy.]

Peggy: Come back.

[Helena turns around to look at her mother. She looks at her mother like a punished child. Winnie smiles victoriously at Peggy.]

Peggy: Sit down.

[Helena walks back to the kids, smiling at them.]

Helena: Come and sit down.

Peggy: Don't be a petulant child.

[Helena sits down next to Winnie. The children sit down next to their grandmother again, on the opposite side of the table.]

Winnie: (to children) There we go.

Helena: What are they doing here?

Wilson: Aren't you happy to see us, mummy?

Helena: Of course I am, sweetheart.

Winnie: Peggy called me and invited me to lunch, and I was thrilled to hear from her.

Peggy: I wanted to see my grandchildren, and I, apparently, have missed a birthday.

[Peggy hands a birthday present to a smiling Jun Ying.]

Helena: You could have called me.

Peggy: I wanted to see Winnie, too. I hear things are getting ugly between the two of you. I won't have that, Helena.

[Mother and daughter stare daggers at each other.]

Helena: You won't have it?

Peggy: Everything you do reflects on me. Please try to remember that.

Helena: After Vladimir, mummy, I really don't think the standard was all that high.

Peggy: His name was Dragomir, darling, and he was never meant to be a standard bearer.

[Helena raises her brows.]

Winnie: Your mother is actually incredibly generous, Helena. You should try seeing her the way the rest of the world sees her.

Helena: And you should try seeing her the way her children saw her - (to Peggy, smiling) or rather, never saw her.

[A waiter approaches Helena.]

Waiter: Can I get you something?

[Helena opens her mouth to speak.]

Peggy: Have a Bellini, darling, we all are. Do please leave the "poor damaged child" nonsense for your psychiatrist. Not the one who's suing you, the one who's still taking your phone calls.

[Winnie covers her mouth as she snickers. Helena looks incensed at the humiliation.]

Helena: (to waiter, angry) I'll have a Bloody Mary, thank you, with an extra shot!

[The waiter walks off. Peggy hugs Jun Ying.]

Peggy: Oh, I love these little lamby things. (kisses Jun Ying) Don't you?

Winnie: They love you too, Peggy.

Helena: Oh, Christ.

Winnie: They were so excited when I told them we were having lunch with Dama Teh Teh.

Peggy: I'm not about to lose them, Helena, so I've made a proposition to Winnie.

Helena: You've propositioned everyone else. You may as well proposition my ex.

Peggy: Winnie is going to have the co-op on Gramercy Park. My precious little squirrelykins are going to live in the manner to which they've become accustomed, and they're going to be able to see their Dama Teh Teh anytime they want.

[Winnie looks on happily as Peggy hugs her grandkids. Helena looks quietly defeated.]

INT. - BETTE AND TINA'S HOUSE - BEDROOM - NIGHT

[Bette is sitting in the floor by her bed, going through a box of old photos of her father. She holds each one up and stares closely at it. Tina walks into the bedroom and goes to sit on a stool next to her. Bette shows her a picture. Tina pets Bette's hair. Bette stares at the picture, and begins to cry.]

Bette: Daddy.

[Music begins - Tracy Chapman's "Say Hallelujah"]

INTERSTITIAL -

[Old, black and white photos of Melvin Porter. Some of the photos show him with Bette's mom, and one shows him and Bette's mom posing with a wide-eyed baby Bette. The next photo shows Melvin's other family - Kit's family. We see a photo of Melvin holding a baby Kit.]

INT. - CHURCH - DAY

[As the music continues, we see scenes from Melvin Porter's funeral. A choir sings as the congregation watches. Kit sits in the audience, crying quietly. Her son, David, sits by her side with an arm tightly around her shoulder. Bette and Tina sit in another pew; Bette wipes tears from her eye. Jenny, Shane, Carmen, Dana, and Alice sit near the back, quietly watching. Mark stands in the aisle, filming the service.]

[Kit touches David's face. They touch foreheads in a loving mother and son nuzzle. Kit smiles.]

[David speaks at the microphone to everyone gathered. Bette takes Kit's hand in hers. Franklin and Leo sit in the back with a myriad of other funeral attendees.]

[David, Tina, Bette, and Kit gather together and embrace in a circle. Jenny looks down, seeming sad.]

[Gloria Steinem sits in the congregation, watching.]

[A woman holds a man's hand.]

[Kit looks sad.]

[Kit and Bette embrace.]

[Alice and Bette embrace. Dana, Jenny, and Shane look on.]

Alice: I'm sorry.

Bette: Thank you.

Alice: Where's Tina?

Bette: Oh, I had her go home. Dr. Wilson said she shouldn't be on her feet for too long.

Alice: Yeah. Okay.

[Dana hugs Bette.]

Bette: Thank you for coming.

Jenny: (to Shane) What's Gloria Steinem doing here?

[Shane squints, then looks over. Gloria Steinem is talking to Kit.]

Gloria: Your father was a great man.

Kit: Thanks.

[Gloria walks over to Bette.]

Gloria: I'm Gloria. I was a friend of your father's.

Bette: My father talked about you a lot.

[We see more black and white photos of Melvin Porter. In one, he's arm in arm with a young Gloria Steinem. In another, he's an old man, shaking hands with President Bill Clinton.]

INT. - THE PLANET - DAY

[Melvin's wake. Lara hands a tray of hors d'oeuvres to a waiter just as Dana walks up to the counter.]

Dana: Hi.

Lara: (smiling) Hey.

Dana: Everything looks beautiful. You've done such a wonderful job. Kit's so lucky to have you.

[In the background, Alice takes a glass of wine from a waitress and watches Dana.]

Lara: Well, I'm lucky. I - I love my job.

Dana: And you're good at it! And you look good doin' it!

[Dana chuckles. Lara looks over at Alice. Alice looks away.]

Lara: (laughing) We're not gonna go there.

Dana: No. (looking at Alice) No. (looking back at Lara) No, we're definitely not gonna go there.

Lara: But you're very cute.

Dana: (giggling) Ah, shut up!

[Alice watches. Lara and Dana are giggling and talking to each other. Dana glances over to Alice. Alice looks away.]

Dana: I - I gotta go.

Lara: Okay.

Dana: Bye.

Lara: Bye.

[Dana turns around and nearly runs into a couple of guests.]

Dana: Oh - sorry. Excuse me.

[Dana walks over to Alice.]

Dana: Hi!

Alice: Hey! What's up?

Dana: Oh, nothing, you know, just talking to Lara.

Alice: Yeah.

Dana: About what a nice job she's doing.

Alice: Uh-huh.

Dana: So...

Alice: This is kind of out of the blue, um...

[Alice sets down her drink and takes Dana's hand just in time for Dana to take a drink from the passing waiter.]

Dana: (to waiter) Oh, cool. Thank you very much.

[Dana takes a drink of her wine while Alice asks:]

Alice: What do you think about moving in with me?

Dana: Mm-hmm.

Alice: Really?

Dana: (just realizing) What?

Alice: Because I kind of feel like maybe we're -

Dana: Wait. Are you serious?

Alice: Yeah.

Dana: Al, I don't know - I don't know.

Alice: You don't know?

Dana: Well...

Alice: You're having doubts about us?

Dana: (overdramatic) No! Oh, my G - no! If anything, it's the opposite. I'm just - I'm - things are going so good right now.

Alice: Do you want to see other people? 'Cause -

Dana: What? Alice, where did you get that from what I just said?

[Dana rubs Alice's arm.]

Alice: (shaking head) I ca - no - okay.

[Alice looks nervous.]

ELSEWHERE -

[Bette stands with Franklin and Leo.]

Bette: Thank you so much for coming. It was really kind of you.

Franklin: It was a beautiful memorial. He certainly was well-loved.

Leo: You really honored him, Bette.

Bette: Thank you.

[They hug, then Bette hugs Franklin.]

Bette: (to Franklin) I'd like to take the rest of the week off to sort through his affairs, but I'll be in the office on Monday. I'm completely up to speed.

Franklin: Mm-hmm.

[Franklin looks anxious. He and Leo glance at each other.]

Bette: Is there something... wrong?

[As the seconds pass, Franklin looks more twitchy and nervous.]

Franklin: Ah, um... uh, now is not the time, Bette. Come and see me on Monday.

[Franklin and Leo start to leave.]

Bette: If you have something to tell me, I would rather you told me now. Is it the Allyn Barnes exhibit?

[Franklin sighs and looks down.]

Franklin: Uh, uh, Bette, um... (looks up) w - uh - in your absence, uh... Leo has been doing a - a - a... a very, very good job of filling your shoes, uh, uh...

[Bette smiles just a little at Leo. Franklin looks back and forth between them.]

Franklin: So good, in fact, that we've decided to keep him on.

[Bette smiles a little, but her expression is foreboding.]

Bette: As my co-equal?

Franklin: Uh...

[Franklin looks at Leo. Leo leaves. Franklin looks at Bette. Bette narrows her brows at him.]

Franklin: Um... uh... Bette... the Board has decided to buy out your contract.

Bette: (a beat, thinking) Are you firing me, Franklin?

[Franklin stares at her.]

Bette: Because I have a baby on the way.

Franklin: The settlement is going to give you a nice little cushion, and, uh, time for you to... figure out what you - might want to do next -

Bette: I'll tell you what I'd like to do next, I'd like to fucking murder somebody. You, maybe. Or your friend Helena Peabody. That's nice. That's a really... nice thing to do to someone while their father's dying. You're a class act, Franklin.

[Bette pats Franklin on the arm and walks off. Franklin looks defeated and finally leaves.]

ELSEWHERE -

Betty bandmember #1: Well, we call it "The Gloria Project," and we're collecting and taping all of her words and works. It would be great if you could videotape tonight.

Mark: Oh, yeah, well, I mean, for a free ticket, I'd be totally into it.

Betty bandmember #1: Well, there you go, then. 8:00 at the Wiltern. We're playing, Kinnie Starr, and Heart is headlining.

[She hands him a ticket.]

Mark: Awesome. Cool. See you tonight.

ELSEWHERE -

[Gloria, Dana, Alice, Shane, Jenny, and Carmen sit around a table with other members of Betty.]

Betty bandmember #2: Look, Gloria, I've been begging you for 15 years to sleep with me, and it's because I care about you and I love you. I don't want you to miss out, and I know, I know - not every feminist is a lesbian.

Kit: Yeah, you're right, 'cause I haven't slept with a woman and I am definitely a feminist.

Betty bandmember #1: Ditto for me.

Gloria: But, you know, we're in a country where all feminists are lesbians, right?

Dana: And they think that all feminists are man-haters, so, naturally, they're lesbians, right?

Gloria: It's really bananas, because, in my experience, it's the women who live with men who hate men.

[Everyone laughs.]

Gloria: The lesbians can kind of take it or leave it alone. They're friends with men, right?

Jenny: Another big misconception is that if you're a lesbian, you're automatically a feminist, whereas a lot of gay women that I know are absolutely not feminists, right?

[Jenny motions to Shane.]

Alice: Yeah.

Carmen: That's for sure.

[Jenny smiles at Carmen as Carmen stares at Shane as Shane looks between Jenny and Carmen.]

Shane: (shrugging) Wha - I like women!

[Everyone laughs.]

Gloria: Okay, but you have to admit that that's what guys say. "I love women."

Shane: Well, yeah.

Alice: Alright, can I just say, speaking as someone who sometimes likes the you-know-what -

Gloria: "You-know-what" means... sex with men, right?

Alice: Yeah, I didn't want to offend you, but... I like the penis.

[Everybody laughs. Jenny doesn't.]

Gloria: No, no, no. You don't offend me. I like sex with men too. Let's just say that I'm predisposed. I bet a lot of you are predisposed, right?

[Gloria looks around the table. Carmen throws both hands in the air.]

Carmen: (laughing) Predisposed! Right here!

[Dana grins. Alice doesn't.]

Shane: (nodding) A hundred percent.

Dana: As far back as I can remember, yeah, me too.

Alice: Not me. I follow the heart, not the anatomy. (shrugs)

[Dana rubs Alice's shoulder.]

Jenny: It's always so complicated, isn't it? Some people have a choice, and some people don't about this thing, right?

[Shane nods.]

Shane: Mm.

Gloria: Right.

Carmen: You know what? To choice.

[Carmen raises her glass.]

Gloria: Right. To choice.

Carmen: Yes.

[Everybody clinks glasses.]

Shane: Cheers.

Others: Cheers.

Jenny: And to Melvin.

Gloria: Yes. To Melvin.

Others: To Melvin.

[They all clink glasses and drink.]

EXT. - THE WILTERN - NIGHT

[The marquee reads "Heart / Betty / Kinnie Starr / Special Guest / Gloria Steinem". Several people stand outside under the marquee. Jenny walks in alone.]

EXT. - PARKING DECK - NIGHT

[Shane parks her Jeep.]

Shane: Yeah. This should be cool. It's a benefit for the Ms. Foundation. Gloria Steinem is hosting it.

Carmen: Awesome. Thanks for inviting me.

[Shane gets out.]

Shane: Alright. Hold on.

[Shane goes around to Carmen's door and opens it. Carmen smiles.]

Carmen: What's this? (chuckles)

[Shane smiles and shrugs. She looks excited and nervous.]

Carmen: Okay. Thank you.

Shane: Is it okay?

[Carmen is about to close the door, herself.]

Shane: No, no. I've got it.

Carmen: Oh. Wow.

[Shane closes the door for her. Carmen seems giddy.]

Carmen: Sure. I - I don't know. I'm just not used to being treated like such a girl, I guess, so...

Shane: Oh, what are you talking about, "treated like a girl?"

Carmen: Oh, okay.

Shane: No, I thought I'd treat you.

Carmen: (nodding, smiling) Oh. Okay. Right. I get the difference.

[They smile at each other.]

Shane: Are we ready?

Carmen: Yeah!

[Shane holds out her hand, but then decides instead to offer her elbow. Carmen isn't sure what to do, so she just pushes Shane in the shoulder. They walk off together, smiling and playing.]

INT. - THE WILTERN - NIGHT

[Several people stand around chatting and having drinks, waiting for the show to begin. Helena and Leigh and standing against a wall. Helena presses her body against Leigh and speaks seductively to her. Leigh looks almost hypnotized as Helena speaks.]

Helena: You ever get a girl pregnant?

Leigh: No. Have you?

[Helena pulls back a little and looks at Leigh's belly.]

Helena: I think you'd look amazing pregnant. (leaning in) Maybe we should have a baby together.

[They're about to share a steamy kiss, when Bette saunters up and parks herself.]

Bette: You really are the fucking scourge of the universe, aren't you? (to Leigh) Hello, Leigh. It's nice to see you.

Leigh: Hi.

Helena: I'm sorry. Are you talking to me?

Bette: I don't know. Did you ever even care about Tina? Because if you did, you wouldn't have done what you did to me, because it affects her too. Did you even stop to think about that?

Helena: You're under a misapprehension if you think I had anything to do with that.

Bette: That's bullshit.

Leigh: What are you two talking about?

[Peggy walks up and stands between Helena and Leigh.]

Peggy: Hello. Why, Bette Porter!

Bette: (smiling) Peggy Peabody.

Peggy: Are you here by yourself tonight? Because I'm sort of feeling a bit of a gooseberry between these two horny lovebirds.

Bette: Actually, I'm here with my partner, Tina.

[Bette glances at Helena. Helena looks quietly upset.]

Peggy: (smiling) Ah, Tina. Tina... (to Helena) Didn't you just have a Tina? Or is that the new popular name for lesbians?

Helena: Actually, mummy, it's, um... (smiling) it's the same Tina.

[Peggy stares at her daughter for a moment, then looks at Bette.]

Peggy: Oh, dear.

[Bette smiles and lifts her brows.]

Peggy: Did anyone happen to see the surrealist show at The Met a few years ago?

Leigh: "Desire Unbound." It was brilliant. Brilliantly curated. The man rays were completely brilliant.

Peggy: Fuck brilliant. I'm talking about how those people fucked.

Bette: (chuckling) Those surrealists certainly fucked a lot, and it's very well documented.

[Helena folds her arms, looking miffed.]

Peggy: Eluard the poet was with the beauteous Gala, and then Gala slipped off and seduced Max Ernst, who thought he was very much in love with Louise at the time.

[Bette smiles Peggy as she speaks, seemingly enjoying the segue.]

Peggy: Then Gala ended up with Dali, and that left Eluard and Louise to share another woman, the very strange Denise Levy, who was being courted, and boinked, I believe, at the time by -

Bette: Breton.

Peggy: Breton, yes, and boinked by Peret, and blabbity-blabbity-blah.

[Bette chuckles, enjoying Peggy's presence.]

Peggy: Well, at least they wrote fabulous, tortured, sick love poems to one another.

Helena: Yes, mummy, 'cause that - that absolutely redeemed them.

[Mother and daughter once again stare daggers at each other.]

Peggy: Well, you know, all that fucking, with no art, is really rather dreary.

[Peggy looks around the group. Helena clenches her jaw and looks away]

Peggy: I hope you girls write fabulous, sick, neurotic, tortured love poems to one another.

Bette: (smiling) I'm actually working on several right now.

Peggy: Send me one, would you, Bette?

[Carmen approaches.]

Carmen: Hey, Bette? Hello. I'm so sorry to interrupt. Um.

[Carmen leans close to Bette and speaks quietly.]

Carmen: Tina's still in the bathroom, and, um, I think she needs your help.

Bette: Excuse me, Peggy.

Peggy: Yes.

[Bette heads off toward the bathroom.]

INT. - THE WILTERN - BATHROOM - NIGHT

[A trail of clear liquid is on the bathroom floor. At the end of the trail stands Tina, staring at the floor.]

[Bette rushes in.]

Bette: Baby, are you okay?

[Tina looks up at her, full of nervous awe.]

Tina: I think my water just broke.

[They both look down at the floor.]

Tina: Oh, my God.

[Bette pulls her cell phone from her back pocket. She dials. She exhales nervously as the phone begins to ring on the other end. The answering machine on the other end beeps.]

Bette: (phone) Hi, Davina. It's Bette Porter. I am in the bathroom of the Wiltern Theater with Tina and a huge puddle of water.

[Tina groans and looks at Bette. Her labor pains have started.]

INT. - THE WILTERN - AUDITORIUM - NIGHT

[Carmen jogs down the aisle, to where Kit and David are sitting.]

Carmen: Kit, Kit, Kit. Hi.

Kit: Hey.

Carmen: How are you?

Kit: Good, girl.

Carmen: Good. Okay, um, Bette wanted me to tell you that she and Tina had to leave, and that everything is going to be okay.

Kit: (confused) Well, what happened?

Carmen: Tina's water broke!

Kit: Oh, my -

[They laugh. David smiles. Kit looks like she's ready to jump out of her seat and get to the hospital.]

Kit: Oh, my God! Oh, my God. Come on, we've got to go.

David: Whoa, whoa, whoa. Mom, mom, mom, sit down. They've probably got hours to go.

Carmen: Yeah, yeah, yeah! Plus she said that she wants you to stay, and she wants you to enjoy the concert, and - and that she's going to call you as soon as she can. Okay?

[Kit looks happy.]

Kit: Okay.

Carmen: Oh, congratulations!

[Carmen hugs Kit and gives her a kiss on the head. Kit laughs excitedly. The M.C. takes the stage.]

M.C.: (mic) Ladies and gentlemen, welcome to a special evening of music and performance to benefit the Ms. Foundation for Women. Please welcome this evening's host, Gloria Steinem.

[The crowd stands and cheers. Gloria stands at a podium on the stage. As Gloria gives her speech, people continue to shout out and cheer.]

Gloria: (mic) Remember when Emma Goldman said, "if there's no dancing at the revolution, I'm not coming?"

[The audience chuckles.]

Gloria: Well, tonight we have both. Thanks to Betty, thanks to Heart, we have the music, and thanks to all of you, we have the revolution.

[Cheering.]

Gloria: And we are going to need it, because there is a guy in the White House -

[Booing.]

Gloria: - who represents all those religious extremists that people came to this country to escape.

Audience member: Whoo!

Gloria: But that's because there's a backlash against all the great social justice movements, and if we hadn't had a frontlash, we wouldn't now be having a backlash.

[Cheering.]

Gloria: So we're just going to keep going and do it more and better. We're going to not only vote, but reform the way we vote.

[Cheering.]

Gloria: We're going to contribute not only when we're asked, but every time we pay our bills.

[Cheering.]

Gloria: We're not only going to change women to fit the world, but change the world to fit women.

[Cheering.]

Gloria: And we are going to become the change we want to see in the world.

[Cheering.]

Gloria: So, first tonight, then the world.

[The crowd cheers. Gloria applauds to the audience as she leaves the stage. Kinnie Starr takes the stage and performs the poem "Buttons".]

Kinnie Starr: (mic) "She's got a mother, a daughter, and a lover. You tell me why she should now save cover. Yeah, she's got a mother, a daughter, and a lover. Boy on the street's got his eyes pinned onto me."

[Shane and Carmen sit together, watching. Shane leans over and whispers quietly into Carmen's ear.]

Shane: Do you think you might want to come over after this? For a little while?

[Carmen doesn't answer. She seems to move away just slightly. Shane seems confused and after a moment pulls back.]

Kinnie Starr: (mic) "Shape, sizes, handprints, shoe fits the shapes, sizes, handprints, shoe fits and off with the underwear."

[Carmen leans over.]

Carmen: (quickly) For a little bit.

[Up front, Jenny watches Kinnie Starr.]

Kinnie Starr: (mic) "He penetrates me with his stare. This is not fair 'cause he penetrates me with his stare."

[Jenny watches. We suddenly flashback to her big top nightmare, where she stands in clown makeup at the top of the high wire, then falls.]

[The crowd applauds.]

Kinnie Starr: (mic) Thank you.

[Kinnie walks off stage and Betty begins to perform "Kissing You".]

[Alice and Dana watch from the audience. Alice turns to Dana.]

Alice: Can I ask you something? Um, when you said "too fast," what'd you mean, like? 'Cause you and Tonya moved in together after, like, two days.

Dana: Yeah, I know, that was part of the problem. I - I like this. I like you, I like us, I like the way that we -

Alice: You like me?

Dana: I'm crazy about you, you know that! I'm just, you know, the other day, you freaked me out.

Alice: I can't believe you just said you like me.

[The song is over. The crowd applauds. Alice turns to Dana.]

Alice: Freaked you out how?

Dana: What?

Alice: You said I freaked you out the other night. Where? When?

Dana: No, it was when - when I - when I had dinner with Lara that night -

Alice: Yeah...

Dana: - it just seemed like it, you know...

Alice: What?

Dana: It seemed like it made you a little crazy, that's all.

Alice: Crazy?

[The lights dim.]

M.C.: (mic) Ladies and gentlemen, please welcome Heart!

[Heart takes the stage and performs "Crazy On You". The crowd cheers loudly. Jenny is down front, dancing and cheering with several others.]

[Halfway through the song, Jenny stops and seems to really start to watch Ann Wilson sing, and listen to the lyrics.]

[Near the end of the song, Jenny rubs her forehead, looking thoughtful.]

[As the song ends, the crowd stands and cheers loudly. Shane and Carmen cheer. Carmen grabs Shane and hugs her.]

[The crowd cheers a jubilant Heart. Jenny looks sad.]

INT. - BETTE AND TINA'S HOUSE - LIVING ROOM - NIGHT

[The birthing tank is set up in the living room floor, and half-filled with water. A little yellow duck thermometer floats on the surface. The mid-wife, Davina, stands near the tank. On the opposite side, Tina is in her dressing gown, clutching part of the wall, groaning in pain. Bette stands behind her, gently rubbing her back and shoulder.]

Tina: (whimpering) Ow, I don't think I can take any more of this.

Bette: Yes, you can. It's going to be fine. I'm right here, and Davina's here now too, okay?

Davina: You might want to think about getting in the tub, Tina.

[Tina moans and starts to turn around. Bette holds her up and they take small steps over to the tank.]

Bette: (whispering) Come on. I've got you.

[Tina holds on to Bette as they walk.]

Bette: I've got you.

[They get to the edge of the tank and stop.]

Bette: Can you get in?

[Tina carefully lifts a leg and steps into the tank.]

Bette: Okay. I've got you.

[Tina groans in pain as she steps the other foot in the tank.]

Bette: There you go. Let me get this.

[Tina stands in the tank as Bette lifts her dressing gown up and over her head.]

INT. - THE WILTERN - LOBBY - NIGHT

[The crowd is leaving.]

Alice: I just have to say you made me feel terrible.

Dana: I'm sorry.

Alice: You made me feel so bad.

Dana: Well, I've said I'm sorry. I - I was just telling you how I feel.

Alice: It's not like it's your fault. It's just - (sighs) I mean, maybe I'm making myself feel bad, but I'm turning into someone I can't stand.

Dana: Who? Your mother?

Alice: Fuck you.

[Alice starts to walk off. Dana grabs Alice's arm.]

Dana: I'm sorry. Al, al -

Alice: I can't fucking talk to you.

Dana: Alice, come here. Look, I'm sorry, okay? That was... not even close to funny. I'm sorry.

Alice: Look, I didn't even... I didn't know I was turning into someone who was all smothery and needy and codependent. I mean, gross. I can't think of anything worse.

Dana: Maybe I shouldn't have said anything.

Alice: No, I'm glad you said something. Look, I mean, things have gotten super intense between us super fast, and I... I've never felt this way. I don't know. I - it's making me act weird.

[Dana smiles at Alice.]

Dana: I think it's good.

Alice: It's not if I get too attached to it.

Dana: What? Why?

Alice: Well, I feel like... I feel like that guy with the mouse, and he... you know, he loves the mouse, and he holds - you know...

Dana: What are you talking about?

Alice: It was like, see, 'cause he loves the mouse so much...

[Alice makes a repetitive mouse-petting motion in the palm of her hand.]

Dana: Oh, the - yeah.

Alice: Yeah.

Dana: Right.

Alice: I don't want to be like that.

Dana: Well, then don't. Don't. Don't be... Lenny. Don't smother the mouse. Just let it breathe, Alice.

Alice: And the worst thing is, I can't even call my best friend and talk to her about it.

Dana: (shrugs) I know.

[Dana sighs. Alice looks away.]

INT. - BETTE AND TINA'S HOUSE - LIVING ROOM - NIGHT

[Davina is putting on gloves. Tina is in the tank, leaning over the edge in exhaustion. She is sweating and panting, eyes closed. Bette sits directly behind her in the water in a t-shirt and shorts, rubbing her shoulders.]

Davina: Bette?

[Bette looks back at Davina.]

Davina: You can put your fingers there to see if you can feel anything.

[Bette puts her hand in the water and leans close to Tina, feeling for the baby's head. After a second, she looks up at Davina.]

Bette: Oh, my God. I feel something.

Davina: Let's take a look.

Bette: (to Tina) So here, you lean back on me.

[Tina seems barely aware through the haze of pain as Davina kneels down next to the tank. Bette helps Tina to lean back.]

Davina: Easy. Come on.

Tina: (breathless) Okay.

[Tina pants heavily as she leans back onto Bette's chest.]

Davina: Just ease right out.

[Tina leans her weight against Bette. Davina reaches a gloved hand into the water, between Tina's legs.]

Davina: The baby's head is right there.

[Bette and Tina smile.]

Davina: She's getting ready to join us.

[Tina pants heavily, managing another little smile.]

INT. - JENNY AND SHANE'S HOUSE - BACK PORCH - NIGHT

[Shane is pouring a glass of red wine for Carmen.]

Shane: This should probably breathe.

[Shane sets the wine bottle down. She looks nervously at Carmen.]

Carmen: I'm gonna go. Okay, bye.

[Carmen abruptly turns and walks off. Shane gently grabs her arm.]

Shane: No.

[A few tense seconds pass. Shane turns Carmen to her.]

Shane: I don't want you to go.

[Shane and Carmen near. Shane seems like she wants to kiss Carmen, but hugs her instead. Carmen melts into the embrace.]

Shane: I miss the way you smell.

[Carmen exhales happily, a smile and a tear on her face. Shane pulls back, seeming to want to kiss her again, but instead hugs her once more. Carmen starts to cry. Shane pulls away and kisses her on the cheek, then the neck. Carmen gasps.]

[They stare at each other for a moment. Shane wipes Carmen's tear away and draws near for a kiss. Carmen draws back a little. Shane finally kisses her. The kiss is at first tentative, but then turns warm and fluid.]

[The kiss becomes wildly passionate. They walk through the house, barely breaking for air, running up against tables and walls until they finally get to Shane's bedroom.]

INT. - JENNY AND SHANE'S HOUSE - SHANE'S ROOM - NIGHT

[Without missing a beat, they collapse onto Shane's bed, kissing hungrily.]

INT. - BETTE AND TINA'S HOUSE - LIVING ROOM - NIGHT

[Tina is panting miserably. She is out of the tank, lying on a sheet and several pillows on the floor. Bette sits at her side, holding her hand and talking to her. Davina sits at Tina's feet.]

Davina: Let's roll her onto her side -

Bette: Roll towards me.

Davina: - to take some pressure off the neck. Come on, roll over.

Bette: Roll towards me.

Davina: Come on.

Bette: Yeah, there you go.

[Tina struggles to roll onto her side, into Bette's lap. She cries out in pain.]

Davina: Oh...

Bette: What is that?

[The sheet is stained black where Tina was lying.]

Davina: That's meconium. It means that the baby is in some distress. I'm going to have to recommend we move this to the hospital.

Tina: (crying, weakly) Oh, no...

Davina: Tina, I know this is not what you want, but for the baby's safety, we're going to have to go.

INT. - JENNY AND SHANE'S HOUSE - SHANE'S ROOM - NIGHT

[Shane and Carmen are having sex.]

[Carmen comes. For a few moments, Carmen sighs and moans quietly while Shane kisses her face.]

Shane: I love you.

Carmen: Mm...

EXT. - L.A. STREET - NIGHT

[Jenny walks up to the bus stop. Somewhere in the distance, we hear a car alarm and cats fighting. Finally the bus pulls up. Jenny gets on. She walks down the aisle, and stops when she sees a little girl sitting alone - it's her younger self. She smiles down at her.]

Jenny: Hi.

[We see short, confusing flashbacks of Jenny's rape. A young girl is thrown to the ground; a hand covers a mouth. We hear muffled screaming.]

[Jenny sits down next to her younger self.]

[Flashbacks of teenaged boys standing in a forest. One of them wears a t-shirt with a bizarre face of a laughing clown on it.]

[Jenny holds her younger self, crying.]

[Flashbacks. Three teenaged boys hold the girl down in the dirt.]

[Jenny kisses her younger self on the head, and pets her hair.]

[Flashbacks. We see wet feet running on wet pavement.]

[Jenny holds her younger self, petting her hair.]

[Flashback to young Jenny, standing alone in the woods, her clothes dirty and torn. Muffled screams and whooping are heard as one of the teenaged boys runs off in the background.]

[As the bus pulls away, we see Venus de Mylar's battered trailer sitting next to a building, surrounded by trash.]

EXT. - L.A. STREET - NIGHT

[An ambulance races down a boulevard, lights and sirens going.]

INT. - AMBULANCE - NIGHT

[Tina is lying on her side on the gurney. Bette sits next to her, stroking her hair. The paramedic stands over Tina, working quickly on an IV. Tina groans, panting and gasping.]

Bette: Her fever is rising. Can you give her something to bring her fever down?

Paramedic: We've got everything under control, okay? Don't worry.

[Bette looks frustrated. She gently strokes Tina's hair.]

Tina: (crying, weakly) Don't let her die. Please, don't let her die.

Bette: Baby, I'm right here. It's going to be okay.

Tina: (crying) ... baby, don't let her die...

Bette: I promise. I promise. I swear to God.

Tina: (crying) Don't die...

Bette: It's going to be okay. (to driver) Can you hurry up?!

EXT. - L.A. STREET - NIGHT

[The ambulance passes the bus, at another stop. We see Jenny sitting on the bus, staring out the window into the night. The bus pulls away.]

EXT. - HOSPITAL - DAWN

[The ambulance drives into the emergency bay. We see the sun rising over the L.A. skyline.]

Dr. Wilson: (off screen) Cutting at zero-six-hundred, lower end retractor.

INT. - HOSPITAL - OPERATING ROOM

[Tina lies on the operating table, sobbing. Bette sits by her side, dressed in a surgical gown and cap. Dr. Wilson is performing a C-section with a small team of nurses and assistants.]

Tina: (crying) It wasn't supposed to be this way. I failed you both. I'm sorry.

Bette: You didn't fail anybody. You didn't fail anybody. You're amazing. You're amazing.

Tina: (crying) I'm sorry...

[Bette strokes Tina's forehead.]

Bette: She's almost here. It's okay.

Tina: (crying) I'm sorry.

Bette: She's almost here. She's almost here.

[Tina nods and smiles through the tears.]

[Dr. Wilson pulls the baby out. She holds the baby up where Tina can see it. Bette beams. Tina weeps.]

Dr. Wilson: And there she is.

Bette: (qu

Kikavu ?

Au total, 22 membres ont visionné cet épisode ! Ci-dessous les derniers à l'avoir vu...

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