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Summary for "Chicago Hope," the Premiere 3 pageIn Short: Dr. Geiger prepares to transplant a baboon heart into a dying patient, but runs into opposition from the executive committee again, and Dr. Thurmond, who wants the baboon's bone marrow for an AIDS patient. Angela finds herself in a compromising position with the hospital's chief of staff. Guest Starring: Earl Billings (as Mr. Leniere), Elaine Kagan (as Vickie Hackett), Arthur Taxier (as Dr. Austin Hackett), and Melinda Culea (as Dina Russell) Story: David E. Kelley TOP Summary: Phillip and Aaron get word that Chief of Staff Austin Hackett is dead--he got caught doing it with Angela in a MRI machine. Phillip informs Jeffrey he's been appointed interim chief of staff. Geiger has to tell his patient, Mr. Leniere his donor heart has been given to another patient. But a baboon heart could last him at least a week. Danny hesitates when he has to treat a hooker with AIDS. Angela apologizes to Phillip who is put out that the MRI machine now does not work but she senses he's really upset about a friend's death. Arthur challenges Danny regarding his treatment of the woman with AIDS. Arthur connects with the woman. Jeffrey takes Mr. Leniere to meet the baboon. He warns him about tabloids and dignity, buy Leniere agrees to the procedure. Danny tries to apologize to the woman but she yells at him--why should he be so upset when he has a perfec life. Angela thinks about resigning--Aaron tries to convince her it's OK, bot then she meets Mrs. Hackett. She tells her it wasn't a long term thing. Reporters and animal rights activists start hounding Geiger. Arthur tells Danny he's ging to recommend his termination. Then he says if Danny can come up with a better reason than he just froze he might reconsider. Camille walks in on Alan crying for Hackett. She came to cry about the baboon. Then Angela comes in crying hysterically. The executive committee has problems with Jeffrey's procedure because it's too experimental. Aaron wonders if he just wants to do it for his own gains. Arthur comes in saying he wants the babook to use its bone marrow on the AIDS patient. Jeffrey asks Leniere to appear before the committee to convince them he really wants it while Arthur explains his procedure to the AIDS patient. Alan finds out the baboon is missing--Camille took her to ceer up some sick children. Leniere tells them he wants it but one of the board members tells him they can't risk the reputation of the hospital for one patient. Alan and Angela say goodbye to Hackett. Alan was grateful because he stood by him when no one else respected him. Angela is upset because she killed him. Winn informs Phillip that if he wants to be permanent chief of staff he shouldn't consent to the two baboon procedures. Then he'll make a lousy chief of staff, Phillip tells him. Danny visits the woman again and tells her he always assumes trauma patients have AIDS, its just that she was also a prostitute and maybe a junkie, why save that? He apologizes to her. Angela tells Aaron Hackett wasn't making love to her but to the hospital. And she did it because being with the COS would put her higher up on the food chain. Danny tells Thurmond he doesn't have a satisfactory answer--that explanation was owed to her. Arthur asks him to assist on the surgery. Thurmond goes ahead with the bone marrow transplant and then the heart is handed over to Geiger. TOP Facts: Star Trek fans may remember Melinda Culea - she played the androgyne Com. William T. Riker fell in love with in the episode The Outcast (TNG) TOP Quotes: ANGELA: If it means anything, I don't think he suffered. He just let out this kind of...yelp. I had thought he arrived, but instead he went. REPORTER: How large is a baboon's heart? LENIERE (a patient, to Phillip): Could you try to speak in shorter sentences? I could be dead before you get through the next one. ALAN: Everybody here always calls me "The Eel" -- no respect. ANGELA: I killed him. ARTHUR: Scrub, you can assist on the marrow.
4. Summary for "With The Greatest Of Ease" CHICAGO HOPE, EPISODE 1.4"With the Greatest of Ease"Air date: 10/6/94Written by David E. KelleyDirected by Jim Frawley Camille and Aaron Shutt amicably pack some of the decorativeobjects in their living room for her to take to her new place. Camilleremarks that it's strange that they're getting along. "It's so civil," she says, "Almost like . . . " "Denial?" Shutt finishes for her. Asking for alimony would make things "more exciting," heencourages, but she tells him everything she wants -- the car, thevacation house -- he's already given her. When he persists that sheshould still ask for alimony, she says, "You're just determined tobludgeon me with passive-aggressiveness, aren't you?" They reminisce about the first time they kissed, then Shutt says,"I miss you already." Standing close, they end up holding each other. Their kissesbecome more passionate, then Camille pulls away. Both a little shaken, they resume packing her things. * * * Shutt walks through the halls of Chicago Hope with Dr. NadineWinslow, who asks him, "So tell me, am I walking a plank here or not?" "With Jeffrey Geiger? There's no plank, Nadine, it's just astraight drop," Shutt says. At her disbelieving look, he adds, "There's nobody finer. He'lltell you." As they reach the bottom of the stairs, a man in a wheelchairexclaims, "Dr. Shutt! I'm back! I got yellow stool and I can't burp!" Shutt draws a blank. The man reintroduces himself as JosephColitto, from whom Shutt had removed a large brain tumor only twoweeks previously. He's back in for upper GI tests. To cover his lapse, Shutt tells the nurse pushing the chair tomake sure they do an ultrasound, but Colitto says sarcastically, ashe's wheeled away, "I think he missed me!" His wife, at his side, saysShutt was probably just surprised to see him. "Yeah, maybe he figured I was dead . . . ." Shutt is chagrined, but barely has time to think about it. Over the PA system, he, Geiger and Dr. Phillip Watters are statpaged to the Emergency Room. They arrive simultaneously to find the ERa flurry of controlled chaos and pink Lycra. Dr. Danny Nyland is doing hasty triage, ordering X-rays andC-spine tests, routing leotard-clad injured people in variousdirections. These are the Flying Travellis, whose trapeze act had justgone very wrong. Watters, Shutt and Geiger begin scanning the X-rays on thelightboard. So far there's a C-2 injury, two head injuries, and ahemothorax. Each doctor picks his first patient. Geiger's is the patriarch of the Travellis, a robust60-something with a punctured lung. Geiger reassures Mr. Travelli ashe orders blood and has him brought to an OR. One of the younger Travellis, Sean, goes into arrest and Wattersadministers paddles. The heart restarts, but it's too late, his pupilsare blown. * * * Winslow enters Mr. Colitto's room and introduces herself. Heimmediately asks for Shutt, and when she explains that there was anemergency, Colitto grouses that *he's* never the emergency. His wifechides, "He saved your life, Joe." "Who says? Ever since then I got yellow stool and I can't burp!" Winslow points out that those symptoms are due to a largegallstone and tells him his gall bladder has to come out. Colitto eyesthe young black doctor and after a long pause, he asks, "Are you areal doctor?" * * * Surgery proceeds on the various Travellis. As Camille preps a40-ish woman for Shutt, Nyland brings him Sean's CAT scan and asks ifhe can do anything. Shutt says he *might* be able to help him, but he*knows* he can help the woman so she comes first. He fires up his bonesaw. Meanwhile, Geiger opens Travelli. "Guy's got muscle on muscle,"he remarks. He goes to work and extracts a large sliver of rib fromthe lung. * * * After the surgeries, while winding down at an upscale wateringhole, Shutt recounts to Geiger his awkward reunion with Colitto asjustification for his feeling that "people are just passing through"his life. Geiger succinctly pinpoints the *real* problem: "Camille's gone,ya got voids to fill" -- and the solution: "Mitigate." "Sorry??" "Mitigate. Emotional healing takes time, but physically that gapcan be filled. I've seen a few worth filling in this very room. Watchthis." Accosting a curvy young woman in a minidress, he leads her to achair at their table. " 'Scuse me, miss? Will you join us one second?I won't keep you a minute. You're lovely, by the way. Aaron Shutt,Jeffrey Geiger. I'm sure we'll get your name. It's not important.Here's what is: We're both busy professionals, particularly me. I'dlove to take the time to get to know you. I'm a firm believer inextended courtships. Whatever happened to bundling, for example?" As he pauses for breath, the woman turns to Shutt. "Is he awacko?" "Very much so," Shutt says solemnly. Geiger resumes: "Look, the point is this. I could take you todinner, a show, a quiet nightcap, learn about your youth, fawn at yourintellectual acuity, all these things I'm sure would happen." Pullinghis gaze from her breasts, to which the previous remarks wereapparently addressed, he continues, "*Why?* My interest isprocreational and my time is short. Why indulge the charade of apreamble, why not just physically commune, after which I could offerto pay your tuition to the Barbizon School?" "Wait a minute," she says. "You mean like we have sex, and thenyou give me a tip?" "Well, if you want to put it that way, I could even charge it onmy Visa and rack up some frequent flyer miles." The young woman seems intrigued, and asks Geiger to put hishands on the table, stand up and then to spread his legs. "Right here? Yes, Ma'am," Geiger says, amused. "Gotta bepolite," he remarks to Shutt. Briskly handcuffing him, the woman says, "You're under arrestfor solicitation." "WHAT?!" As the woman begins Mirandizing Geiger, Shutt's chuckle becomes agrin which becomes a laugh. "What are you laughing at??" Geiger says peevishly as the womanleads him away. "This is a big mistake. Call the Eel, will ya? Stoplaughing. Call the Eel. You coming? You're a witness here. You saw foryourself I . . . I gotta be in surgery tomorrow, lady, you're risking*life* here. Call the Eel." "I will," Shutt promises. "You will,'' Geiger grouses him, "you're laughing, you will . . .I'm very upset!" Grinning broadly, Shutt follows Geiger and the vice cop out ofthe club. * * * Hospital counsel Alan Birch rushes headlong into the precincthouse. "Has he been booked yet?" Birch asks and is relieved to findout he hasn't. He briskly herds the desk sergeant, Geiger, Shutt andthe arresting officer, Detective Stacey Hallmora into an interrogationroom. As Geiger and Hallmora trade snipes, Birch tells Geiger, "Yourbig mouth is the reason you're here, so why don't you keep it closed?Think you can do that?" "I dunno, lemme try." He pauses for a microsecond. "Oops, seemsI can't." Birch tells the police that even though Hallmora wasinvestigating a prostitution ring out of the nightclub, and eventhough Geiger appeared to solicit her, his approach does not fit theprofile of the operation she's investigating. Hallmora protests, "It may not fit the pattern, but the guyoffered me money for sex!" "As an icebreaker," Geiger interjects. "I'm shy." Birch rushes on: "Officer, we know this bar. Male and femalepatrons go there to mix, some seeking lifelong commitments, others . .. more finite physical encounters. People meet, people mix, peopleoffer things. Did Dr. Geiger go too far? I'm sure he did. Did hethink you were a prostitute? Certainly not. He will testify to that.Dr. Shutt here, an enormously credible neurosurgeon, will corroborate.And you yourself will confirm that the suspect's approach fell outsidethe solicitation pattern you were investigating. My question: Whybother? The prosecution will be costly and he's not your target. *Whybother?*" * * * "So he wasn't arrested?" Watters inquires of Shutt as the twoexamine Sean Travelli. "He was," Shutt says wryly, "but the Eel sprung him with thefamous 'Why Bother?' Defense." Watters is grave. "What's going on with Jeffrey?" "He's having his period," Shutt says. He notes that there'spressure and swelling inside Sean's skull. He and Watters explain tothe elder Travelli that Sean will be kept in a coma so as not tostress his system while the injuries try to heal. Watters asks Travelli about Sean's parents. Travelli answers that Jeannette, the woman Shutt had operated on,is Sean's mother. He asks for help in obtaining a wig for her so thefamily can perform the next evening. Over the protests of bothdoctors, Travelli insists the troupe will perform. Watters asks about Sean's father, and Travelli explains that he'sdead: "That was our *last* fall." * * * As Colitto returns to his room from having tests done, Winslowreiterates to him that he needs the gall bladder operation. Colittosays he wants a second opinion. Shutt walks in and concurs with Winslow. Colitto says he wantsShutt to do the operation, and remains adamant despite Shutt'sprotests that Winslow, as a general surgeon, is better qualified thanhe to perform the surgery. Colitto claims he just feels more comfortable being cut open bysomeone familiar, but he's obviously uneasy at the prospect of beingtreated by Winslow. * * * Geiger advises Winslow not to take Colitto's rejectionpersonally as the two drive to a restaurant. Patients formattachments, he tells her. They pull into the restaurant's parking garage, but as Geigerprepares to back into a spot, a motorist zooms past and slips into thespot, shouting triumphantly, "Rack and pinion! Sorry!" Geiger gets out of the car, protesting that it's *his* spot, butthe guy yells that he's not giving way just because of Geiger's MDplates. "Hey, big doctor, I'm probably keeping you from a golf game!" "I'll show you my golf game," Geiger says, marching to thetrunk of his car. He pulls out a golf club. The man's taunts continue. "Here's my chip shot!" Geiger announces as he smashes one of theguy's headlights. "Ya got two of 'em, looka this!" he exclaims in mocksurprise, and lines up his second shot. The now frightened motorist pulls out of the spot and racesaway with a squeal of tires. "Your car looks like a par four!" Geiger yells after him. Winslow stares at him, appalled. "You're not a well man," she says. She orders him to take herback to the hospital. Between last night's arrest and now this, shesays she's not sure about him. And she's not in the mood for lunch. "Well, I act out a little sometimes. And he did take my spot." Winslow looks at him stonily. "I got some stuff going on," he says. "What kind of stuff?" she demands. Geiger promises he'll tell her tomorrow. "Today," he pleads,"let's just have lunch." Warily, she agrees. * * * From his bed Travelli watches and analyzes a videotape of theafternoon's disastrous performance. Watters is concerned that this isbad for him, but Travelli replies it's the only way to learn. Then his face contorts in anguish. "It *was* me. I lost thebalance. It was me." * * * In the women's locker room, Camille soaks her feet and sharesgirl talk with Angela Giandamenicio, assistant to Drs. Jeffrey Geigerand Shutt. Camille is terrified and excited all at once about being singleagain, and looking forward to having her own place and to strugglingfinancially after years of affluence. "Being so safe, it was making me dead. It's gonna be a greatyear for me, I can feel it. My own apartment -- it's gonna be great,"she enthuses. But Angela expresses some doubt as to the joys of beingalone out there. After Angela leaves, Camille repeats to herself, "It's gonna bea *great* year." Then she puts her head in her hands. * * * Later, Watters finds the Travellis gathered around Sean's bed,singing in Italian, and orders them back to their beds. Jeannette asks to stay with him, "A mother should be with herson." "Yes, she should," Watters relents. He then takes on Travelli, who truculently insists that theTravellis will be performing the next evening, using other, uninjuredfamily members. "You have *backup* Flying Travellis?" Watters says incredulously. Travelli doesn't expect him to understand, but "what we do. Itdoes have meaning." "You're a circus act," Watters reminds him. Travelli rejectsthis, saying it's maybe a little like what Watters does, defying deathon a daily basis. Watters doesn't really buy this, and asks Travelli to reconsiderperforming again. "You lose people you love, your family," he insists. Travelli replies, "We also love each other every day, as if theremight not be a tomorrow. That's a joyous reality. I would recommend itto everyone." But he's sobered by Watters' reminder that his nephew could stilldie. * * * Birch, giving Hallmora the grand tour of the hospital, brings herto the observation room above the OR. Looking down, he points outvarious high-tech devices. She seems impressed. "I can actually do many of the procedures myself," Birchembroiders. "Of course I'm not licensed." Hallmora says he should stick to law, he's good at it. A phantom cough distracts them. It's Geiger, sitting on thefloor in a darkened corner. Birch, looking a little trapped, asksHallmora to wait outside a moment. When she leaves, Birch, chagrined, says, "I was kidding. Aboutuh, me doing procedures." "Uh-huh." As he starts to retreat, Geiger stops him. "Hey, Alan? Something you should know: Thank you. For the othernight. And like she said, stick to the law, you're good at it." Looking flustered and pleased, Birch leaves. * * * In Winslow's absence Shutt tries to reason with Colitto. But hestands his ground; he wants Shutt -- or at least somebody Jewish -- todo his gall bladder. He thinks Winslow is too young, by which, Shuttobserves, he means black. Colitto reasons that professional shortcomings might have beenoverlooked in Winslow's case for the sake of affirmative action; onthe other hand Jews are plentiful in hospitals without specialtreatment, so they must have to be really good. Besides, Winslow isbeautiful, and may have gotten on staff other ways than being a gooddoctor. Shutt is outraged but helpless in the face of this logic. * * * "It was adult-onset schizophrenia," Geiger explains to Winslow. "She drowned your son? Your wife drowned your child??" "What can I say? She's institutionalized, she probably will befor life." "My God," Winslow whispers. "Yeah. So see, I *am* married, Nadine. 'Least technically." "How do you stay sane?" "Did I look sane to you with that golf club?," Geiger asksruefully. "Another thing you should know about me. I don't really wantto be with anybody. I mean I do, but . . . I don't." At Winslow'sconfusion, he says, "I'm probably afraid of real intimacy. I, uh, Ikinda shoot for places I can get to and I stay away from ones that Ican't." "Why are you telling me this?," Winslow asks, "Push me away?" "No," Geiger says. "Yeah." He takes another direction. "This could lead to us sleepingtogether. I happen to be very good. I'm *amazing*, and you're tooyoung to peak so soon. That'd be wrong of me." Winslow tells him he says things like that to keep people offbalance, but "you don't scare me, Dr. Geiger. I'm not running." She kisses his cheek and walks out of the room. * * * Sean's condition suddenly worsens. Shutt, suspectingintracranial bleeding, prepares to do emergency surgery and, since theboy had a cardiac bruise and could be tamponading, sends for Geiger. Geiger has time only to put on gloves as he and Shutt workfeverishly on the failing boy. Suddenly everything goes wrong. Lookingat the monitors, Geiger pauses. "He's herniating, Aaron. He's herniating, he's not gonna makeit." Shutt continues to work obsessively. Geiger, gamely massagingSean's heart with his hands, asks one of the technicians, "What's hisbrain doin'?" Not much -- "We just lost Levels 3, 4 and 5." The machines flatline. Geiger stops working and says quietly,"Okay, he's gone. C'mon, Aaron -- he's gone." Despairing, Shutt yanks his gloves off and pushes out of the OR. Geiger calls it: "T.O.D. 4:18." * * * Travelli feelingly addresses the other mourning family members:"Okay. Okay, we move on. We have a show tomorrow, we must concentrate.We made a mistake. This caused us great pain. It was *my* mistake; letme bear the weight. We will make no mistakes tomorrow. The Travelliswill fly tomorrow. We only get better. We only get *stronger*." Watters looks on uncomprehending. * * * Shutt stalks down the hallway minutes after losing SeanTravelli, when Colitto calls out, "Dr. Shutt, you find me a surgeon?" "No, I didn't." Shutt snaps. Colitto grouses, "I'm not a priority -- big surprise." Shutt rounds on him, growing increasingly agitated. "Hey. We gota lot of sick people in this hospital. Now, if you're so stupid andbigoted as to risk your own health, then no, you are *not* a priority,and you're *certainly* not one of MINE!" He starts to walk away, then turns back to apologize. Colitto ishimself agitated, near tears. "You think I'm *happy* to learn I'm a bigot? You think I'm aproud man? I'm scared. You wheel me in and out of rooms, you cut meopen, I'm scared . . . . You can go to hell, that's what you can do!" The nurse pushes Colitto's chair away. Shutt walks on, then sagsagainst the wall. Camille comes up behind him and tells him she'staking him home. "You don't live at *home*, Camille," he says bleakly. "But you do, and I'm taking you there," she informs him. Sheleads him away. * * * The next day Watters calls Shutt and Camille to his office. He'slearned about the Colitto incident, and tells them to their mutualshock that should their marital tension become an obstacle to thehospital or its patients he'll "move one or both of you out." Shutt protests that marital tension had nothing to do with theColitto encounter. Watters brusquely points out that when Shutt has lost patients inthe past he's always kept it together, and tells him he should try toaccommodate Colitto. Turning to Camille, he says her that even though she's donenothing wrong, Shutt is the more important of the two of them, and ifone has to go, she's it, unfair or not. Watters hurries out, leaving them stunned into silence. Shuttapologizes for getting her in trouble and thanks her for being therefor him. But Camille is clearly angry. "I'm always there for you, Aaron, I hope you know that," Camillesays tightly as she leaves. * * * "What do you mean, we're off?" Winslow demands, sitting acrossfrom Geiger in his office. "I've lost interest," he replies too glibly, "short attentionspan, what can I say? I still think you're a nice lady. Could youplease leave?" Winslow refuses to leave without an explanation. Geiger says he just misjudged her -- he'd thought, erroneously,he could just go out and have fun with her with no complications. Ather continued prodding, he levels with her. "You're quite a woman, Nadine. You got more truth out of me intwo minutes than . . . It's gonna sound crazy, but the girl of mydreams has always been white and Jewish. You being black, that was mysafety net. I'm ashamed to admit it." Winslow's steady, silent stare unnerves him. "I . . . neverthought I'd really fall into, uh . . . I can't lie, I, um, I neverthought I'd really fall into love with a black woman, I'd be able touse all the pragmatic obstacles as a shield." "Suddenly with you," he admits, "I don't feel so safe anymore." Winslow just stares at him. "So you're telling me that you don'twant to see me because you're afraid of falling in love?" "No," he replies. "Yes." "You're derailing a train that hasn't even left the gate!" "I do that," he says. "I'm married. I can't be in love withsomebody else." "Could you please leave?" he whispers. "Wow," she says, "it's tough to both admire and pity a person atthe same time, but I see now it can be done." "I'm sorry." "Me too." She opens the door to leave. * * * "Security to the waiting room!" squawks the PA system. Watters rushes to the scene. It's the Travellis. Jeannette hasturned on the elder Travelli and accused him of killing her son.Watters calmly orders her taken to the ER and sedated. Travelli, obviously shaken, tells him, "My brother, Sean's father. . . when he fell I was the first to get to him. In his eyes I couldsee 'Go on -- go on.' And now Sean." Then why, Watters asks, do they keep going on? Travelli counters, "In here you face death every day. How do*you* go on?" By hurrying on to the next patient, Watters replies. Travelli thinks their situations are similar. He says on thewire, fear keeps the Travellis alive, but "On the ground we cry. Wecry forever." * * * As Colitto is wheeled into surgery the next day, Shuttsheepishly approaches him. "I been to hell. They sent me back." He introduces Dr. Rosenzweig, whom he's enlisted to do theoperation, with himself assisting. Shutt explains he was upset the previous day because he lost apatient, and assures Colitto "I never lose two in a row." He grasps Colitto's hand. The older man returns the pressure. * * * Standing outside the hospital, watching Sean's casket beingloaded into the hold of the Travellis' bus, Watters asks Mr. Travelli,"How many more must fall?" Sean is the last, Travelli says. Watters adds, "Just one last thing, man to man . . . use a net!" Travelli smiles. "I do like you." As they shake hands, Watters says, "Fly high, Mr. Travelli." Travelli replies, "To hope." He climbs aboard and the bus pullsaway. * * * That evening, at Shutt's house, freely flowing liquor has put thetwo doctors in a philosophical mood as they watch the Travellivideotape. "We're no different, Aaron," Geiger says. "We stare down deathevery day and what do we do? We keep climbing back up on the highwire." "'Cept we don't go splat," Shutt observes. "Not much," Geiger says, turning off the tape and looking througha pile of Shutt's CDs. "Oh, Otis Redding. We're saved." Shutt begs him not to put Otis on, but Geiger ignores him andOtis begins crooning "Try a Little Tenderness". Shutt beseeches him:this was Camille's favorite album, her favorite *song*. Geiger justsits back down. "Ya know how happy songs can make you sad?" he asks. "Sad songsdo the opposite. That's a fact. It's like the countereffect." "Why are you doing this?" Shutt protests. "We used to listen tothis song together all the time." "It doesn't matter." Geiger closes his eyes and wails along withOtis. "'Try . . . a little tenderness'. It's beautiful. We sing,surrender to the misery, suddenly we feel better. It's a science." Shutt just says, "Please." But Geiger is lost in the moment. "'. . . Anticipatin''. . .that's right on point, Aaron . . . 'things she'll never, never, neverpossess' . . . ." * * * The music continues in Camille's new apartment. There are boxeseverywhere, no curtains on the windows, but Camille takes a glass ofwine and sits in the single small easy chair. She looks a bitapprehensively around the room, then offers herself a small, silenttoast and, smiling a bit sadly, sips the wine. * * * Geiger says, "We go on because we have to. We save life, Aaron.Have a bad day -- know what? -- it's just a day. There's another oneafter that. And another, and then another, and then another -- more of'em good than bad. More good than bad." "Mm-hm," Shutt concedes, misty-eyed. "Heroes, Aaron. We save lives. More good days than bad, rememberthat." He too offers a small toast: "Heroes." **********************************************************DIANE'S RANDOM NOTES AND OBSERVATIONS: In this episode, cutting-edge medicine takes a back seat torelationships both personal and social. I especially like the Shuttbreakup storyline in counterpoint with the Geiger/Winslow scenes. Theway the two men approach the termination of their relationships istotally opposite. Aaron agonizes, Jeffrey mitigates. How totally likeGeiger to willfully short-circuit his own happiness by pushing awaythe one woman in the whole first season, as it turns out, who couldhave been his equal in a relationship. Wonderful acting by Patinkinand Dillard in the final breakup scene. And what vintage Geiger thenightclub scene is -- "I'm sure we'll get your name. It's notimportant" -- and his unabashed attention to her boobs -- what asmoothie. Great comic timing in this scene -- every time Geigerrepeats his "Call the Eel" mantra it gets funnier, and Arkin'smostly-reactive work is priceless."With the Greatest of Ease" Date: 2015-12-11; view: 699
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