Rooms Of Experience - Act 2

Summary

Table Read – Rooms Of Experience: Act 2

Podcast: Table Read (iHeartPodcasts)
Date: July 21, 2026
Episode Theme:
An immersive audio drama that brings a complex, emotionally charged legal case to life: 89-year-old Ada Wells is on trial for the intentional, loving euthanasia of her adult, nonverbal autistic son. The performance explores themes of caregiving, dignity, justice, and societal perceptions, featuring layered perspectives from family, prosecutors, and those within the disability and legal communities.

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Main Theme & Purpose

This episode is a cinematic, multi-actor recreation of a pivotal act in a dramatic legal case. Rooms Of Experience: Act 2 probes difficult moral and ethical questions surrounding mercy killing, systemic failures in care for the disabled, and what justice truly means. Through meticulous character portrayals, courtroom scenes, and nuanced domestic moments, the production invites listeners to inhabit each character’s perspective as the case unfolds.

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Key Discussion Points & Scenes

1. Ada’s Backstory and the Case’s Emotional Core

• [02:13] The case centers on Ada’s confession to “mercy killing” her son Teddy, introducing moral ambiguity from the outset—was it desperation, love, or crime?
• Key Insight: The emotional reality of life with Teddy—deep devotion, isolation, and hostile societal attitudes—is foregrounded as Ada insists on trial to have her story understood, not to evade judgment.

“I want to have a trial. Not to escape punishment, but to explain why.”
— Ada Wells, [03:08]

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2. Sociopolitical Implications and Pressures

• [03:23] Prosecutor Dana Jeffries is tasked as the "public face" for a high-profile, politically sensitive trial—her boss bluntly states it’s about “optics, not justice.”
• [34:00+] Media coverage, protests, and advocacy groups create a volatile backdrop, reflecting on right-to-die and disability rights movements.

“Condoning a crime of this nature is a lethal danger to the disabled population.”
— Dana Jeffries, [35:29]

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3. Domestic and Interpersonal Realism

• [04:40–06:30] Dana and Ethan’s home life is portrayed with banter, board games, and intimacy, highlighting normalcy amidst crisis.
• [07:32–08:30] Ethan’s insecurity within Dana’s social circle, and the strain that the trial puts on their relationship, begins to surface.

“Your friends don’t really like me. They just tolerate me because of you.”
— Ethan, [07:38]

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4. The System on Trial: Realities of Institutional Care

• [18:30–21:00] Dana interviews Mrs. Macario, a regulator, who details the scope of abuse in the care system. A debate emerges over risk percentages versus personal stakes.
• [25:05–27:24] A conversation with a group home veteran (Unger) exposes a cycle of mistreatment and the lifelong burden on siblings and caregivers.

“Did you know that less than 1% of our nation’s military was killed in the Iraq war? ... Unless, of course, that number included your child. Then that’s still too many.”
— Mrs. Macario, [20:49]

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5. The Courtroom: Arguments & Testimonies

• Prosecution’s Opening ([37:03]):

  • Frames the act as homicide, not mercy; emphasizes available resources for autism families and the value of disabled lives.
  • Quote: “Does that sound like a situation so bleak that you would murder your own child?” — Dana Jeffries

• Defense’s Opening ([38:41]):

  • Centers on Ada’s lifelong sacrifice, isolation, and protective love—contrasting institutionalization with familial care.
  • Quote: “Ada lived confined within the walls of her home, giving up everything she wanted for herself. 65 years of complete selflessness to protect her child.” — Alexis Martinez

• Ada’s Testimony ([48:31–54:19]):

  • Haunting family flashbacks (domestic violence, abandonment, and ostracism).
  • A rare depiction of the joys of caring for Teddy, alongside trauma and loss.

“For every time he was unreachable, he was also a joy. ... He had a real sense of the earth. Loved tending the garden. Sometimes he would lie down on the ground and rub the dirt all over him. ... He taught himself to play the piano.”
— Ada Wells, [53:41–54:19]

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6. Personal and Societal Reflection

• [30:49–31:47] After the day’s trial, Dana reflects on the prevalence of disability, forced to confront her own assumptions.
• [44:41–47:34] Intimate late-night conversations with Ethan about the boundary between suffering and meaningful life, and how “trying” and “giving up” are impossible to judge from a distance.

"Lots of people live with disabilities and have very productive, meaningful lives... but you might think you know what you’d do, you can’t really say until you’ve been there.”
— Dana Jeffries, [46:15–46:41]

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7. Parallel Family Stories: Parties and Subtext

• [56:52–59:13] At a child’s birthday party, Dana comes face-to-face with a family raising a child with Down’s syndrome—ill at ease, contemplating alternate realities of motherhood and care.

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8. Cracks in Dana & Ethan’s Relationship

• [61:24–64:42] The emotional toll erupts: a painful conversation reveals Ethan had lost a child with a disability, which he feels unable to discuss or process, echoing Ada’s lifelong burdens. Their vulnerability and pain mirror the case—and challenge each other’s capacity for empathy and understanding.

“I had a baby. And she wasn’t perfect. ... I tried and I couldn’t do it. Like I couldn’t be perfect."
— Ethan, [63:49–63:56]

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9. Act Two Ends: Grief, Bitterness, and Unspoken Pain

• [64:14–64:42] The episode closes as Dana isolates herself, unable to process the emotional parallels between her own life and Ada’s. Ethan pleads for communication, but Dana refuses, underscoring the loneliness that haunts caregivers and prosecutors alike.

“That’s why this case has been so tough for you, isn’t it? Why you don’t ever talk about your family. Why you moved thousands of miles away. Why you keep all your feelings bottled inside.”
— Ethan, [64:29]

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Notable Quotes & Memorable Moments

• “We were more alone when he was here than after he was gone.” — Ada Wells, [10:45]
• “I guess we're lucky, then.” — Carter on not having disability touch his life, met with Dana’s silent disapproval, [31:35–31:53]
• “The abuse cases are the hardest part of the job ... the defendant’s fears of her son being abused in an institutional setting were not unfounded or unreasonable.” — Mrs. Macario, [19:10–19:45]
• “That lady, the one you’re trying to convict. That’ll be me in a few years, facing the same decision she did. Because I’m the only one left to care about what happens to my brother.” — Mr. Unger, [27:12–27:24]
• “Euthanasia. Mercy killing. Assisted suicide. ... The victim’s life wasn’t worth any less because he had autism. And his mother had no justifiable reason for killing him. Murder is murder, no matter what.” — Dana Jeffries, [37:03–38:35]
• “Ada lived confined within the walls of her home, giving up everything she wanted for herself. 65 years of complete selflessness to protect her child.” — Alexis Martinez, [39:36]
• “If anything ever happened to you... how would you feel? Would you still want to live?” — Ethan, [45:14]

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Timestamps for Important Segments

• Ada's Confession & Setup: [02:13–03:23]
• Home Scenes — Dana & Ethan: [04:40–08:30]
• Ada’s Garden & Backstory with Gina: [08:56–12:47]
• Conversation with Mrs. Macario: [18:30–21:00]
• Discussion with Group Home Brother (Unger): [25:05–27:24]
• Media, Protests, and Opening Arguments: [33:44–38:35]
• Ada’s Testimony: [48:07–54:19]
• Ethan’s Emotional Reveal: [61:24–64:14]
• Final Confrontation: [64:14–64:42]

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Episode’s Tone, Style & Takeaway

The production is layered, emotive, and unflinching—delivering its story through the lens of both legal and personal struggle, with immersive sound and cinematic dialogue. The tone vacillates between tense courtroom exchanges and deeply vulnerable domestic moments. The writing refuses easy answers, instead laying bare the burdens—and often invisible chains—of those who love, judge, or survive amid disability, institutional neglect, and the failures of both systems and empathy.

For listeners: This episode is a bracing yet compassionate portrait of life at the intersection of law, love, and legacy—an unmissable half-movie, half-courtroom novel you listen to.

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For Further Listening

For full cast, behind-the-scenes info, and more cinematic audio, visit: TableReadPodcast.com

Transcript

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[Dana Jeffries]

I'm Glen Washington, host of Snap Judgment from kqed.

[Narrator]

Every week, Snap drops you inside someone's biggest decision. The kind of decision you can only make once.

[Narrator/Scene Description]

With everything on the line, what do you believe? What do you want? And what would you risk to get it?

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Find out.

[Dana Jeffries]

Snap Judgment New episodes every Thursday.

[Narrator/Scene Description]

Wherever you get your podcasts. After the death of Teddy Wells is initially treated as a possible suicide, police discover clues that suggest something more deliberate. Ada, his 89 year old mother, makes a quiet but startling confession. She took the life of her adult nonverbal autistic son not In a moment of panic, but with intention, care and love, Detective Curtis brings her in for questioning. Despite her age and fragile appearance, ADA doesn't waver. She admits what she did and insists she was fully aware. Alexis Martinez, a sharp and compassionate attorney and former ada, is brought in by Ada's friend and neighbor, Gina to defend her and quickly moves to suppress the confession. But Ada, dignified and unwavering, stuns everyone when she calmly insists, I want to have a trial. Not to escape punishment, but to explain why. At the DA's office, Dana Jeffries is handling the case. She's ambitious, polished and eager to prove herself. Harvey, her boss, makes it clear this is a political hot button and she's been chosen as the public face because she looks good and plays by the rules. It's not about justice, it's about optics. Still, Dana accepts the challenge, supported behind the scenes by her longtime loving boyfriend, Ethan. As Dana steps into Ada's reality, her black and white worldview begins to blur. The haunting truth of what life was like for Ada, alone for decades with a nonverbal child who is completely dependent on her, throws Dana off balance. The burden of judgment is now hers to carry, and it's heavier than she imagined. It's not just about law now. It's about meaning, legacy, and the right to define your own story. What looked like a straightforward mercy killing becomes something deeper and messier. A public courtroom battle over the meaning of caregiving, autonomy and dignity. Interior, Dana's house foyer. Night. Dana closes the front door behind her, sets down her briefcase. The sound of laughter floats in from the living room. Interior, Dana's living room continuous. Dana enters to find Ethan with two other couples. Izzy and Marshall and Corey and James, all in their 30s. They stand and chat, drinks in hand. Appetizers and plates adorn the coffee table. Everyone lets out a cheer at the sight of Dana.

[Dana Jeffries]

Yay. Hold on one second. There's only five of you in the room.

[Narrator/Scene Description]

11 of you that cheered.

[Harvey]

That might have been too many.

[Narrator/Scene Description]

Everyone lets out a cheer at the sight of Dana. Ethan walks over to give Dana a kiss.

[Dana Jeffries]

There you are.

[Ethan]

I totally forgot. I'm so sorry. I'm so sorry I'm late. I'm sorry I'm late.

[Narrator/Scene Description]

They move into the group. Martin hands Dana a glass of wine.

[Carter]

Not to worry, darling. We all know how hard you work. The least this slacker can do is keep us entertained in your absence.

[Narrator/Scene Description]

Interior, Dana's living room. Later, the three couples sprawl on the sofas. Board games on the coffee table, along with dirty Plates and half empty glasses. They finish a game of cards against humanity.

[Rebecca]

Okay, final round. What gets better with age?

[Narrator]

Oh, you mean beside you, huh?

[Carter]

Ooh, nicely played.

[Narrator/Scene Description]

No, I just don't age, period.

[Carter]

It's true.

[Narrator]

I mean, she's been 29 for what, six years now?

[Narrator/Scene Description]

Izzy gives Marshall a playful backhand. Everyone looks through their cards, reads their answers.

[Carter]

An ice pick. Lobotomy.

[Narrator/Scene Description]

Ooh, preteens.

[Narrator]

Jennifer Lawrence.

[Narrator/Scene Description]

Izzy gives Marshall a look. What he shru.

[Rebecca]

Okay, Ethan, what gets better with age?

[Dana Jeffries]

Full frontal nudity.

[Rebecca]

Oh, ew.

[Dana Jeffries]

I was saving that one. Dana, finish this off.

[Ethan]

Not funny. It's the only card I have left.

[Rebecca]

Yeast.

[Narrator/Scene Description]

Dana and Izzy groan. The men laugh. The laughter dies off.

[Ethan]

I know.

[Dana Jeffries]

Not funny, but kind of true, actually.

[Carter]

Who won? Izzy.

[Rebecca]

Who always wins? Ethan, of course.

[Narrator/Scene Description]

Corey raises his glass to Ethan. Everyone else claps.

[Carter]

Always the nice ones you have to look out for.

[Narrator/Scene Description]

Ethan feigns being hurt.

[Bethenny Frankel]

Who?

[Dana Jeffries]

Me?

[Narrator/Scene Description]

Dana gathers up the cards. The guests finish their drinks, stack plates and glasses, retrieve their belongings. Dana stands with Ethan to see their guests out. Marshall pats Ethan on the back.

[Narrator]

Another fantastic evening, my brother.

[Narrator/Scene Description]

Izzy gives Ethan a kiss on the cheek.

[Rebecca]

Ethan, you are the best host. You too, Dana.

[Harvey]

Ethan, thanks again for the auction items. That training camp experience is going to fetch a pretty penny.

[Dana Jeffries]

Oh, I'm happy to do it. All I did was make a call.

[Harvey]

Well, I appreciate it. We'll see you both there.

[Ethan]

Where was that?

[Dana Jeffries]

Oh, remember Hunt? The. The gala for Alzheimer's in honor of Corey's dad? It's next weekend.

[Ethan]

That's right. Yeah, of course.

[Bethenny Frankel]

Sorry.

[Ethan]

It depends on where the trial's at, but I hope so.

[Harvey]

Me too.

[Narrator/Scene Description]

Hugs and goodbyes all around. Ethan waves as he closes the door after all the guests make their way out. Interior, Dana's bedroom. Night. Dana and Ethan sit up in bed. Dana rubs lotion on her legs.

[Dana Jeffries]

That was a fun evening.

[Ethan]

Yeah.

[Dana Jeffries]

What?

[Ethan]

Your friends don't really like me. They just tolerate me because of you.

[Dana Jeffries]

What? Babe, why would you say that? Besides, they're your friends, too.

[Ethan]

No, not really. I gained them by default. And you knew them before you met me. I mean, if you and I weren't together, they wouldn't still be my friends. Like, nobody likes lawyers.

[Narrator/Scene Description]

He grabs her, pulls her onto the bed.

[Dana Jeffries]

Well, I do.

[Narrator/Scene Description]

He kisses her neck, tries to get her in a good mood.

[Dana Jeffries]

In fact, let me show you how much I like love Eris. This one in particular.

[Narrator/Scene Description]

They kiss more intently. He moves his hand up her thigh. She rolls over to get up.

[Ethan]

Just hold on.

[Narrator/Scene Description]

He tries to Keep her in bed. She squirms out of his embrace.

[Dana Jeffries]

Come on, it'll be okay. Just this once. Just leave it.

[Ethan]

No, I'll be right back.

[Narrator/Scene Description]

She heads to the bathroom.

[Dana Jeffries]

You know it wouldn't be the end of the world.

[Narrator/Scene Description]

He flops back on the bed, groans. EXTERIOR ada's BACKYARD DAY Ada sits at the patio table, a thick plastic covered book open in front of her. She gazes out at the garden where adult Teddy, a figment of her imagination, expertly tends to the plants. He is tall and broad, with an innocent open face. Soft brown curls dance in a light breeze. Teddy turns to her, holds up a perfect red ripe tomato.

[Ada Wells]

I don't know how you do it, Teddy. Every year they're better than the last.

[Narrator/Scene Description]

He beams at her.

[Ada Wells]

ADA I'm outside, dear.

[Narrator/Scene Description]

Gina emerges through the sliding door.

[Gina]

There you are. Is someone here? I thought I heard you talking.

[Narrator/Scene Description]

Ada looks at the garden again, then back at Gina, shakes her head.

[Ada Wells]

Just getting some fresh air. Thinking about Teddy.

[Narrator/Scene Description]

Gina gives her a squeeze, sees the book on the table.

[Gina]

Is this his baby book?

[Ada Wells]

Yes. May I? Of course.

[Narrator/Scene Description]

Gina sits next to her, flips through the book.

[Gina]

Such a handsome boy.

[Ada Wells]

Do you think about having children?

[Gina]

I used to. But I have endometriosis and couldn't get pregnant. I think that's why I became a teacher. I get 30 new children every year.

[Ada Wells]

Well, I'm sorry. So many expectations around being a woman, being a mother.

[Gina]

Yes, there are. That's why my husband left after only a year. He knew I couldn't ever give him the son he wanted so badly.

[Ada Wells]

That wasn't your fault.

[Gina]

He didn't see it that way.

[Narrator/Scene Description]

Ada puts her hand on Gina's. They look through the book together.

[Ada Wells]

That's the only photo Teddy's father ever took with him. He tried to distance himself as much as possible. I couldn't give him the son he wanted either.

[Narrator/Scene Description]

Close ON A photo of young Ada seated with baby Teddy. An unsmiling man stands behind them.

[Ada Wells]

We were more alone when he was here than after he was gone.

[Gina]

What happened? Unless it's too painful to talk about,

[Ada Wells]

there's nothing that can hurt me anymore. Jack. My husband blamed me just like the doctors did. He said I babied Teddy too much and that he needed to start acting like a normal kid or else. I was afraid Jack might hurt him. Especially after he'd been drinking. One day Teddy woke from a nap screaming. He screamed for hours. Nothing I tried would make him stop. Jack flew into a rage, yelling he couldn't take it anymore and. And that it was Teddy or him. I guess he could tell by the look in my eyes what my choice was. So he left. Never came back. I hated him for a long time until I realized I didn't have the energy for it anymore. Sometimes I even felt sorry for him. I can only imagine what he experienced in the war. Just to come home to another.

[Gina]

Are you sure you wouldn't rather stay with me?

[Narrator/Scene Description]

Teddy sits beside Ada, puts his head close to hers. She smiles.

[Ada Wells]

No, thank you, dear. I'm all right here.

[Gina]

Okay. I'll check in on you a little later. I've got lasagna in the oven for dinner. I'll bring some over.

[Ada Wells]

Mmm, that sounds wonderful. Thank you.

[Narrator/Scene Description]

Takes Gina's hand.

[Ada Wells]

You do such a beautiful job taking care of others. There's more than one way of being a mother.

[Narrator/Scene Description]

Gina gives her a hug. Interior Office of the District Attorney DAY Dana enters from the street. Walks towards her office with a paper takeout bag. Her assistant runs up.

[Rebecca]

Dana the Emmy called while you were out. Says he's got 15 minutes for you if you can get there before one.

[Narrator/Scene Description]

Dana checks her watch.

[Ethan]

Here. Enjoy.

[Narrator/Scene Description]

Hands the bag to her assistant. Heads back the way she just came. INTERIOR MEDICAL examiner's OFFICE Day Dana sits across from the medical examiner. Flips through the report.

[Ethan]

What exactly is asphyxiation by helium?

[Dana Jeffries]

Breathing in pure helium deprives the body of oxygen. If the body is unable to take in oxygen, it starts to die within minutes. Helium speeds up this process. When the gas fills the lungs, it creates a diffusion gradient that washes out the oxygen. In other words, each time the body breathes in helium, more oxygen is sucked out of the system. The body's oxygen level can plummet to a hazardous level in a matter of seconds.

[Ethan]

Could Teddy Wells have killed himself this way without any assistance?

[Dana Jeffries]

It is possible for someone to perform death by asphyxiation unassisted, but given Mr. Wells substantial development disabilities, it's highly improbable he would have been able to do this by himself or even agree to it.

[Ethan]

So definitely homicide.

[Dana Jeffries]

Yes. The curious thing is, though helium is near nearly undetectable in toxicology probes. Meaning, one more time, toxological, toxicological, toxicological, toxicological.

[Ethan]

So definitely homicide?

[Dana Jeffries]

Yes. The curious thing is, though helium is nearly undetectable in toxicological probes.

[Ada Wells]

Meaning?

[Dana Jeffries]

Meaning if the defendant hadn't left the hood and the tubing out, I wouldn't have checked specifically for helium. With no signs of visible trauma on the body and no determinable cause of death, I wouldn't have ruled It a homicide. She could have walked. So why did she confess?

[Narrator/Scene Description]

Dana breaks the examiner's gaze to look back at the report. Interior Police Station Front desk Day. Dana approaches the desk sergeant, flashes her credentials.

[Ethan]

I'm looking for Detective Raymond Curtis. Is he available?

[Narrator/Scene Description]

Interior, Robbery Homicide office Day. Detective Curtis greets Dana.

[Narrator]

Ms. Jeffries, how can I help you?

[Ethan]

Hello, Detective. I'd like to see the interrogation tapes for ADA Wells, please.

[Narrator]

Of course. This way.

[Narrator/Scene Description]

Motions for her to follow. Interior Detective Curtis cubicle Day. Dana and Detective Curtis sit at his desk, a laptop open in front of them.

[Narrator]

You looking for anything in particular?

[Ethan]

Honestly, I don't know what I'm looking for.

[Narrator/Scene Description]

She watches the screen.

[Ada Wells]

I didn't want him to suffer.

[Narrator]

Were you trying to make it look like a suicide?

[Narrator/Scene Description]

She presses pause, faces the detective.

[Ethan]

The M.E. told me he wouldn't have checked for helium if she hadn't left the equipment out. So it wouldn't have been ruled a homicide she could have gotten away with.

[Narrator]

Didn't appear she was trying to get away with anything, though. She didn't try to hide it at all. She gave us permission to enter and search the home, the hood, the tubing. Everything was in plain view. Her fingerprints were clean. No attempt to wipe anything off.

[Ethan]

Would you find her guilty if you were on the jury?

[Narrator]

I'm a police officer.

[Ethan]

Well, that isn't an answer.

[Narrator]

I've known Alexis Ms. Martinez a long time. I was close with her brother growing up. Played ball in school. I worked with her when she was in your position.

[Ethan]

Which means what exactly?

[Narrator]

She's good people. She only takes cases she believes in. And that's why she didn't last at the DA's office. In all my years assessing murder suspects, Mrs. Wells actions indicate she didn't believe she had done anything that needed to be covered up. So I'm guessing the defense is arguing capacity.

[Ethan]

There.

[Narrator/Scene Description]

He shrugs as if to indicate he agrees.

[Ethan]

I think I just struck you from my witness list.

[Narrator/Scene Description]

Gives her a sympathetic look. Interior, Dana's office. Day. Dana takes a bite from a sandwich, studies a brief. Harvey breezes in with Alexis. Dana swallows quickly, wipes her mouth, stands up.

[Harvey]

Look who I found wandering the halls. Twice in one week. If I didn't know better, I'd say you were trying to get your old job back.

[Alexis Martinez]

You'll be the first to know, Harvey.

[Harvey]

Well, I'd love to stay in chat, but I've got a meeting. Go easy on this one. I don't want to lose another pretty face.

[Narrator/Scene Description]

He nods his head at Dana, leaves.

[Alexis Martinez]

He's a Peach, that one.

[Narrator/Scene Description]

Dana does not respond, tries to wait her out. Then

[Ethan]

was there something I could do for you?

[Alexis Martinez]

No. I was in the neighborhood and thought I'd drop off our witness list in person.

[Narrator/Scene Description]

Pulls a folder from her briefcase, hands it to Dana.

[Ethan]

Thank you. I plan on reaching out to them.

[Alexis Martinez]

I'm counting on it. They're all more than happy to speak with you. I think you'll find what they have to say very enlightening.

[Narrator/Scene Description]

She makes no move to leave.

[Ethan]

Well, if that's all.

[Alexis Martinez]

That's all. Have a nice afternoon, Dana.

[Narrator/Scene Description]

She leaves. Dana peruses the list, reaches for the phone. INTERIOR STATE DEPARTMENT OF PUBLIC HEALTH BUILDING DAY A staff member leads Dana down a hallway to an office, shows her inside. Mrs. Macario, 60s, wears an American flag pin on her lapel, stands and greets Dana, offers her a seat.

[Ethan]

Thank you for seeing me. I know it can be awkward talking to the other side.

[Mrs. Macario]

Not at all. I've testified on both sides. Facts are facts. What questions can I answer for you?

[Ethan]

You've been Deputy Director for the center for Health Care Quality for how long?

[Mrs. Macario]

38 years. This year will be my last.

[Ethan]

Congratulations on your retirement.

[Mrs. Macario]

Thank you.

[Ethan]

What exactly is the role of the center?

[Mrs. Macario]

We play a critical role in the protection of patient safety by evaluating health facilities agencies and professionals for compliance with state laws and regulations in order to license, certify, or register them.

[Narrator/Scene Description]

Dana smiles at her, tries to win her over.

[Ethan]

You've said that a few times, I guess.

[Mrs. Macario]

Indeed. We also investigate complaints compliance with federal laws and regulations. Oversee the education, training and criminal clearance of nursing home administrators, assistants, and home health aides. The abuse cases are the hardest part of the job.

[Ethan]

Yeah, I would imagine. How many complaints do you receive? On average?

[Mrs. Macario]

Around 6,000 a year. Physical and sexual abuse, sometimes patient to patient. Inappropriate use of restraints, medical or basic needs neglect, patients going without food or lying in their own waste for days.

[Ethan]

Well, that's concerning.

[Mrs. Macario]

It's criminal. Most of the victims are not physically or mentally capable of speaking up or defending themselves. So if there aren't any living relatives to monitor their care, the abuse can go unchecked for years. With budget cuts year after year, it's just not possible for us to reach every facility on a regular basis. It's sad to say, but the defendant's fears of her son being abused in an institutional setting were not unfounded or unreasonable.

[Ethan]

In total, how many patients are there in the state?

[Mrs. Macario]

Approximately a little over 300,000.

[Ethan]

So 6,000 out of over 300,000. That's less than 2%.

[Mrs. Macario]

Spoken like a true lawyer.

[Ethan]

I mean, still less than 2%. That makes for a pretty small chance of being a victim of abuse, wouldn't you say?

[Mrs. Macario]

Did you know that less than 1% of our nation's military was killed in the Iraq war?

[Ethan]

No, I didn't.

[Narrator/Scene Description]

Mrs. Macario turns a framed photo on her desk towards Dana. It is a young man in military dress.

[Mrs. Macario]

Less than 1%. That's a pretty small number, wouldn't you say? Unless, of course, that number included your child. Then that's still too many.

[Narrator/Scene Description]

I'm sorry for your loss.

[Ethan]

Thank you for your time.

[Narrator/Scene Description]

She gathers her belongings, stands to leave.

[Becca]

This is Becca and Tanya from Scrubbing in with Becca Tilly and Tanya Rad.

[Tanya]

Becca, can I ask you a question? How do I convince myself I need something before I buy it?

[Becca]

Oh, so we're doing that today?

[Tanya]

Well, I'll be shopping online and suddenly I'm like, well technically this counts as self care.

[Becca]

You're definitely not alone there.

[Tanya]

That's why Klarna stands out. It's about smarter tools that help you feel more confident with your money.

[Becca]

Klarna brings payments, cash back, and money management together in one place with flexible ways to pay. It helps you make smarter money moves without the stress.

[Tanya]

That's the goal, right? Having tools that make your money work with you.

[Becca]

Download the Klarna app today or visit klarna.com to learn more. California Resident Loans made or arranged pursuant to a California Finance Law License NMLS Number 1353190 Klarna Balance Account required to be eligible for cashback Points, Limitations, terms and conditions apply.

[Ross Store Announcer]

At Ross, you'll find everything your kids need to be the best version of themselves when they go back to school this fall. It isn't just the first day of school for them. It's their debut of who they've become since last school year. When they walk back through those school doors, they're a different kid than the one who walked out months ago. Some are sun, some are freedom. Some are ups and downs. Shape them. From fashion to school supplies to dorm room decor, Ross has it all in their new style and bigger size. Find your nearest [e-mail] Summer is here,

[Orderly Meds Advertiser]

which means we all want to look and feel our best. A GLP1 may be right for you. Visit orderlymeds.com to learn more about which GLP1 you could be eligible for. Getting started is fast, easy, and happens virtually through telemedicine from licensed professionals. Check it out for yourself. Go to orderlymeds.com podcast that's orderlymeds.com podcast taking care of yourself feels great. Compounded medications are not FDA approved, eligibility required and determined by a licensed provider. Individual results may vary. See website for details.

[Bethenny Frankel]

This is Bethany Frankel from Just Be with Bethenny Frankel. Let me be blunt. Most dog food is junk. It just is. And I'm not feeding junk to Biggie and Smalls. That is why they eat just food for dogs. It's real, 100% human grade food with ingredients I actually recognize, not mystery pellets pretending to be healthy. And once I switched, the difference was obviously better digestion, better skin, more energy. Dogs who actually feel good instead of just surviving dinner. Here's the thing. You care about quality. You make an intentional choice to be healthy. So why are you gambling with your dog's health? So let's think about our furry babies. Go to justfoodfordogs.com right now and get 50% off your first box. No code. Just try it. Because once you see the difference, you're not going back.

[Narrator/Scene Description]

EXTERIOR Office of the District Attorney Day Dana exits out onto the street, dressed in running clothes, takes off towards the surrounding park at a fast pace. INTERIOR Dana's office DAY Dana enters, flushed from her run, dabs at herself with a towel. Harvey sits at her desk. She startles at the sight of him.

[Harvey]

Sir, apologies. Didn't mean to surprise you. Just stopped by to see how the case was developing. Things must be going well. You have time to spare?

[Ethan]

Just running it clears my head, helps me think.

[Harvey]

Well, don't let me impede progress then.

[Narrator/Scene Description]

He rises, moves towards the door.

[Ethan]

Thank you, sir.

[Narrator/Scene Description]

She slinks down on the vacated chair, goes through her messages, stops, grabs the phone, punches in numbers.

[Ethan]

Mr. Unger, this is Dana Jeffries from the District's Attorney's office. Thank you so much for returning my call. Today would work. 4 o'?

[Tanya]

Clock?

[Ethan]

Yes, the address is in the file.

[Rebecca]

Thank you.

[Ethan]

I'll see you then.

[Narrator/Scene Description]

Dana grabs her gym bag to change clothes and freshen up. INTERIOR Dennis Unger's office. Day Mr. Unger, early 60s, with a kind but tired face, rises to greet Dana. They shake hands. He indicates for her to sit.

[Ethan]

Mr. Unger, I appreciate you agreeing to meet with me. I won't take too much of your time. I see in the notes you have a brother with autism who lives in a group home.

[Narrator]

Yes, my twin, Leo.

[Ethan]

And how long has he been in the group home?

[Narrator]

This one. Four years.

[Ethan]

There have been other placements?

[Narrator]

Oh yes, well over a dozen. Probably closer to 20 now.

[Ethan]

I'm sorry, did you say 20?

[Narrator]

Yes. Over the past 40 years. My father passed away when my brother and I were only 22. Heart attack. My mother, if she could, couldn't handle Leo on her own. He was too big and too aggressive. She felt incredibly guilty about not keeping him at home. But her health was also failing. The stress was just too much.

[Ethan]

I'm so sorry. Why was your brother moved so often?

[Narrator]

Well, every time we'd visit, there would be a new bruise. A missing tooth, sometimes even a cast. The staff would always dismiss the injuries as self inflicted and tell us they needed to add another medication to the mile long list. He was already taken. Their way of controlling him was. Was by keeping him incapacitated.

[Ethan]

That's very unfortunate. I would have thought that that kind of mistreatment is isolated or rare.

[Narrator]

Well, not from what I've seen. Leo has limited functioning and is completely non verbal. And to be honest, caring for him is exhausting. Many of the staff, they work long, hard hours and are grossly underpaid. It's a recipe for disaster. It's easy to take out your frustrations on someone who doesn't have a voice.

[Ethan]

Yeah, but surely now. I mean, with all the safeguards and regulations. Abuse can't just go unchecked.

[Narrator]

It's always a concern for vulnerable populations. I know it's hard to believe it if it doesn't directly affect you. But you don't think systems fail? Just read the news. On any given day, it happens all the time. That lady, the one you're trying to convict. That'll be me in a few years, facing the same decision she did. Because I'm the only one left to care about what happens to my brother.

[Narrator/Scene Description]

He gives her a pointed look. Interior, Dana's car. Night. Dana parks outside her house. Punches a button on her cell. Close on phone in her hand. Reads mom cell. Puts the phone to her ear. Sounds of a voicemail greeting come through. Then a beep. She hesitates. Ends the call without saying anything. Interior, Dana's living room. Night. Ethan sits on the couch, watches tv. The front door unlocks. A few seconds later, Dana comes in, still in her coat. She drops her briefcase on the floor, crawls into Ethan's lap, curls into a ball. He turns off the sound on the tv.

[Dana Jeffries]

Tough day?

[Narrator/Scene Description]

She nods.

[Ada Wells]

Mm.

[Dana Jeffries]

Do you want to talk about it?

[Narrator/Scene Description]

She shakes her head, curls up even tighter. He nods to himself. Loosens her bun, strokes her hair.

[Dana Jeffries]

I'm here.

[Narrator/Scene Description]

She closes her eyes. Interior, Ada's kitchen. Night. Ada and Alexis sit at the table, folders stacked on one end, Gina clears plates. Ada's looks like it has been barely touched.

[Gina]

Are you all done, Ada?

[Ada Wells]

Oh yes, dear. It was wonderful. I just can't eat much.

[Narrator/Scene Description]

Alexis reaches over, grabs one of the folders. Ada coughs, takes a sip of water, smiles at Alexis.

[Ada Wells]

Down to business then. What happens next?

[Alexis Martinez]

Once jury selection is complete, we'll likely start trial the day or two after. We can go over some of your testimony now if you're up to it, of course.

[Narrator/Scene Description]

She continues to calm. Jayna shakes her head at Alexis, out of Ada's sight line. Alexis looks at her watch.

[Alexis Martinez]

Oh, I am so sorry, Ada. I forgot I have another appointment. We can talk tomorrow.

[Narrator/Scene Description]

She stands, gathers the folders.

[Ada Wells]

That would be.

[Narrator/Scene Description]

Ada doesn't finish her sentence. Instead she cocks her head and smiles.

[Ada Wells]

Hmm. Oh, that's a new piece.

[Alexis Martinez]

What do you mean, Ada?

[Narrator/Scene Description]

Ada stands, moves to the living room. Alexis and Gina exchange looks, follow her. Interior ADA's living room continuous. Teddy plays the piano, a virtuoso. Ada takes a seat on the bench next to him, closes her eyes to listen. Alexis and Gina enter. Watch her, Ada. Ada continues to listen. Teddy finishes. Ada applauds. She turns toward the women, brightly.

[Ada Wells]

Such a talent. I often think he could have played at Carnegie hall. If only.

[Narrator/Scene Description]

She looks up, sees their concerned faces. Her animation drains away.

[Ada Wells]

Well, anyway, thank you for dinner and for the company.

[Narrator/Scene Description]

Gina moves to her, puts a hand on her arm.

[Gina]

Why don't you relax in your chair? I'll make you some tea. It'll help you sleep.

[Ada Wells]

Ah, yes. That sounds nice. Thank you.

[Alexis Martinez]

I'll let you rest then. Good night, Ada. Sleep well.

[Narrator/Scene Description]

Ada gives a small tired wave as Gina helps her to the chair. INTERIOR dana's OFFICE NIGHT. Dana sits on the edge of her desk in the near dark, watches the news on a screen on the wall. She looks tired.

[Narrator]

Jury selection concluded today in the case of the South Pasadena woman who allegedly suffocated her adult son because he had autism. Autism is a neurological condition.

[Narrator/Scene Description]

She lowers the volume as Carter, late 20s, highly efficient but perpetually anxious, enters with a stack of thick files.

[Carter]

Here are the briefs you wanted.

[Ross Store Announcer]

Thanks.

[Narrator/Scene Description]

She stays focused on the screen. He glances at it.

[Carter]

Looks like we made the news.

[Narrator/Scene Description]

Mm.

[Carter]

Are you happy with the jury?

[Ethan]

We'll see.

[Carter]

It was surprising how many people in the jury pool know someone with a disability. Probably close to 50%, wouldn't you say?

[Ethan]

Yeah, something like that.

[Carter]

There are a lot more disabled people out there than I thought. I guess it's the kind of thing you don't really pay attention to. Unless it happens to you.

[Narrator/Scene Description]

She finally looks at him.

[Ethan]

I suppose you're right.

[Carter]

I guess we're lucky then.

[Ethan]

Lucky? How so?

[Carter]

I just mean it's. It's good that we don't. Yeah. I mean. Well, you know what I mean.

[Narrator/Scene Description]

She remains silent. Okay.

[Carter]

Well, if there's nothing else, I'll see you in the morning.

[Narrator/Scene Description]

He makes a hasty retreat. INTERIOR dana's BEDROOM NIGHT Dana lies in bed in the dark room. Stares up at the ceiling. Ethan is sound asleep beside her. She looks over at him, eases out of bed. INTERIOR dana's home OFFICE NIGHT Dana sits down at her desk, turns on her laptop. Her fingers hesitate over the keyboard. Then she types CLOSE on COMPUTER screen as Dana types in Christopher Moreland and hits enter, multiple listings and images pop up. Dana scans the results for a moment, then slams the laptop shut. INTERIOR dana's HOUSE FOYER DAY Dana stares absently at herself in the mirror. Choose a nail. Ethan enters with a travel mug of coffee.

[Dana Jeffries]

You look great. You got this.

[Narrator/Scene Description]

She takes her hand away from her face, turns to Ethan with a wan Wan Wan. Wah wan. What is that vowel? Wan.

[Becca]

Wan. Wan.

[Narrator/Scene Description]

She takes her hand away from her face, turns to Ethan with a wan smile.

[Ethan]

Thanks.

[Narrator/Scene Description]

He sets the mug down on the hall table, rubs her shoulders.

[Dana Jeffries]

Hey, you're not nervous, are you? You never get nervous? Not my gal.

[Ethan]

Do you think I did the right thing?

[Dana Jeffries]

What do you mean?

[Ethan]

Nothing. Never mind. I'm. I'm gonna be late. Thanks for the coffee.

[Narrator/Scene Description]

Gives him a quick kiss on the cheek. Picks up the mug and her briefcase. EXTERIOR COURTHOUSE DAY Several dozen people, many in wheelchairs, picket by the front steps. The protesters check, chant and carry signs that read Remember Terri Schiavo, Compassion and Choices, Voice for the voiceless, etc. Interior Television News STUDIO DAY A newscaster is on air.

[Narrator]

Opening arguments are underway today in the trial of ada Wells, an 89 year old woman who took the life of her adult son with autism. Disability rights organizations clashed with pro euthanasia groups as they picketed outside the courthouse and emotions were running high. Some protesters were very strong in their views.

[Narrator/Scene Description]

INTERCUT COURTHOUSE TELEVISION NEWS STUDIO I'm the

[Harvey]

father of a very severely autistic child. We have always gladly taken care of him and we always will. There is absolutely no excuse for killing an autistic person, whatever the circumstances. There is no excuse, period.

[Narrator]

While others were more undecided.

[Gina]

I think the whole story is heartbreaking. Just so sad for everyone involved. Caring for someone day in and day out for that many years. I just hope something good can come out of it.

[Narrator]

Jennifer Carr, an advocate for the right to die nonprofit, Choices in Dying, spoke to our reporter outside the courthouse.

[Jennifer Carr]

We continue to fight for a time when every citizen of this nation is free to live and die as they choose, according to their own values. This case does not exemplify the usual end of life decision for a terminally ill person, so we cannot condone the actions of the defendant. However, we do recognize that suffering is not limited merely to the physical body and can affect one's quality of life as a whole. Now more than ever, we need support systems for our aging population and for people with disabilities to avoid repeats of such tragic events as this.

[Narrator]

And prosecutor Dana Jeffries from the District Attorney's office had this to say.

[Narrator/Scene Description]

Dana strides up the courthouse steps. A reporter follows, thrusts a microphone at her.

[Ethan]

Condoning a crime of this nature is a lethal danger to the disabled population.

[Narrator/Scene Description]

Interior COURTHOUSE SECURITY CHECKPOINT Day. Ada and Gina pass through the metal detectors, head towards the courtroom. Alexis puts her briefcase on the conveyor belt. Dana pushes through the front door, walks up behind Alexis, places her personal items in a bin. Alexis glances over her shoulder as she removes her jacket.

[Alexis Martinez]

We could have avoided all this.

[Ethan]

The crowd outside seems to indicate otherwise.

[Alexis Martinez]

Is that what you're concerned about?

[Protester]

No.

[Carter]

No.

[Ethan]

What I'm concerned about is what kind of message it sends if we allow people to murder other people with impunity.

[Alexis Martinez]

You know full well it wasn't murder.

[Ethan]

Call it whatever you want, but either way, he's. And if she really wanted what was best for him, she would have given him up. That was the right thing to do.

[Alexis Martinez]

I'm sure that will sound wonderful on the five o' clock news.

[Narrator/Scene Description]

She steps through the detector. Interior COURTROOM Day. Ada sits at the defense table with Alexis, coughs quietly into a handkerchief. Gina sits in the gallery behind them. Dana and Carter occupy the prosecutor's table. The judge enters from her chambers.

[Harvey]

All rise.

[Narrator/Scene Description]

Everyone rises. The judge sits, raises her hand.

[Mrs. Macario]

Be seated. In the matter of the People v. Adelaide Wells, is the State ready to proceed?

[Ethan]

Yes, you, Honor.

[Mrs. Macario]

Defense?

[Alexis Martinez]

Yes, you, Honor.

[Mrs. Macario]

We will now hear opening statements, beginning with the prosecution.

[Narrator/Scene Description]

Dana rises from her chair, smooths her skirt, addresses the jury.

[Ethan]

Euthanasia. Mercy killing. Assisted suicide. These phrases bring to mind terminally ill patients begging for someone to end their suffering. Despite what you may have heard or seen in the media, this case is not about that victim. Theodore Wells was not terminally ill, clinically depressed, or tired of living. Yes, he had autism, but that's not a rare disorder without treatment options. By some estimates, one out of every 54 people in this country have it. Look up autism on the Internet and you'll find hundreds, if not thousands of resources, support groups, therapies, all available to help people and their families who live with this common disorder. All the defendant had to do was simply pick up the phone and call one of them. Help was just a phone call away. Does that sound like a hopeless situation to you? Does that sound like a situation so bleak that you would murder your own child no matter how well meaning they try to tell you that the defendant's intentions were. The fact is, she planned and carried out the murder of her son. The victim's life wasn't worth any less because he had autism and his mother had no justifiable reason for killing him. Murder is murder, no matter what. And that is what the state will prove. Thank you.

[Narrator/Scene Description]

She takes her seat. Alexis stands, walks to the jury box, leans in.

[Alexis Martinez]

65 years ago, autism was a completely misunderstood disorder. So much so that it took ada Wells nearly 40 years to get a diagnosis for her son. For almost four decades, doctors told Ada that Teddy's condition was her fault. That she had done this to him because she was cold and unfeeling. A refrigerator. Mother, they called her. Nothing could have been further from the truth. Those doctors, even her own family and friends, told Ada to put her only child in an institution and walk away. Forget he'd ever been born. Can you imagine? But Ada would have none of it. Instead, she dedicated her entire life to making sure Teddy knew he was loved and cherished. And she did this with almost no support. She lost her husband, her friends, her entire life as she knew it.

[Narrator/Scene Description]

Turns to give Ada an empathetic look.

[Alexis Martinez]

Ada lived confined within the walls of her home, giving up everything she wanted for herself. 65 years of complete selflessness to protect her child. 65 years.

[Narrator/Scene Description]

She lets that number hang in the air. Then returns to the defense table, squeezes Ada's hand.

[Mrs. Macario]

Will the state call its first witness?

[Ethan]

The state calls Dr. Martin Cressler.

[Narrator/Scene Description]

Dr. Cressler steps into the courtroom, takes the witness box. Dana straightens her notes, approaches the doctor. She glances out into the gallery, sees Ethan, who gives her a nod. Interior, Dana's dining room. Night. The table is set with flowers and candles. The lights are dimmed. Soft music plays. The front door unlocks. Footsteps as Dana enters. Ethan pops out from the kitchen to greet her surprise.

[Ethan]

What is all of this?

[Dana Jeffries]

Oh, I just thought I'd give the warrior returning from a battle a much deserved welcome home.

[Narrator/Scene Description]

He takes her briefcase, sets it down gives her a kiss.

[Ethan]

I didn't know you were going to be there today.

[Dana Jeffries]

Yeah, you seemed like you maybe needed some support.

[Ethan]

No, I'm fine. I was fine. But thank you.

[Dana Jeffries]

Sit down, relax. Dinner is almost ready. Here, give me your jacket.

[Narrator/Scene Description]

He removes her jacket, steers her towards the table. She sits, spots the glass of wine in front of her, takes a long drink.

[Becca]

This is Becca and Tanya from scrubbing in with Becca. Tilly and Tanya. Rad.

[Tanya]

Becca, can I ask you a question? How do I convince myself I need something before I buy it?

[Becca]

Oh, so we're doing that today.

[Tanya]

Well, I'll be shopping online and suddenly I'm like, well technically this counts as self care.

[Becca]

You're definitely not alone there.

[Tanya]

That's why Klarna stands out. It's about smart, smarter tools that help you feel more confident with your money.

[Becca]

Klarna brings payments, cash back and money management together in one place with flexible ways to pay. It helps you make smarter money moves without the stress.

[Tanya]

That's the goal, right? Having tools that make your money work with you.

[Becca]

Download the Klarna app today or visit klarna.com to learn more. California Resident Loans made or arranged pursuant to a California Finance Law License NMLS Number 1353190 Klarna Balance Account required to be eligible for cashback points Limitations, terms and conditions apply.

[Ross Store Announcer]

At Ross, you'll find everything your kids need to be the best version of themselves when they go back to school this fall, it isn't just the first day of school for them. It's their debut of who they've become since last school year. When they walk back through those school doors, they're a different kid than the one who walked out months ago. Summer sun. Summer Freedom. Summer Ups and downs shape them. From fashion to school supplies to dorm room decorations, Ross has it all in their new style and bigger size. Find your nearest [e-mail] Summer is here at Orderly Meds.

[Orderly Meds Advertiser]

We know this time is a reminder that life is full of new beginnings. Whether you're celebrating the nice weather, starting a new chapter, planning a vacation, or simply looking ahead to what's next, this season can be the perfect time to invest in yourself and your health. If you've seen struggled with weight loss and are curious about GLP1 medications, orderly meds can help you learn about your options. Through a simple virtual process, you can connect with licensed medical professionals who can determine whether treatment may be appropriate for you. Getting started is fast, convenient and happens online from the comfort of home. This summer, consider a new approach to feeling your best. Visit orderlymeds.com podcast to learn more. That's orderlymeds.com podcast orderlymeds.com podcast because every new season is an opportunity to take the next step forward. Compounded medications are not FDA approved. Eligibility required and determined by a licensed provider. Individual results may vary. See website for details.

[Bethenny Frankel]

This is Bethany Frankel from Just Be with Bethany Frankel. Let me be blunt. Most dog food is junk. It just is. And I'm not feeding junk to Biggie and Smalls. That is why they eat just food for dogs. It's real, 100% human grade food with ingredients I actually recognize. Not mystery pellets pretending to be healthy. And once I switched, the difference was obvious. Better digestion, better skin, more energy. Dogs who actually feel good instead of just surviving dinner. Here's the thing. You care about quality. You make an intentional choice to be healthy. So why are you gambling with your dog's health? So let's think about our furry babies. Go to justfood for dogs.com right now and get 50% off your first box. No code. You just try it because once you see the difference, you're not going back.

[Narrator/Scene Description]

Interior, Dana's dining room. Later, Dana and Ethan are at the table, plates pushed aside. Her shirt is still buttoned up, her hair still pulled back. One wine bottle on the table is empty. Ethan reaches for a second bottle, moves to top off Dana's glass. She puts her hand out to cover it.

[Ethan]

Oh no, not for me. I have to be in court early tomorrow.

[Narrator/Scene Description]

He gets up, clears the dirty dishes.

[Dana Jeffries]

Speaking of, you feel good about today?

[Ethan]

You know I don't like talking about trial while I'm in the middle of it.

[Dana Jeffries]

I know, I know. But you're usually so fired up after a day in court. Like there's an electricity running through your veins. I know. I kind of like it, truth be told.

[Narrator/Scene Description]

He comes up behind her, kisses her neck, unbuttons the top button of her blouse.

[Dana Jeffries]

I'm not used to seeing you so low key. Is everything okay?

[Ethan]

It's just a different kind of case, that's. That's all.

[Narrator/Scene Description]

He rubs her shoulders.

[Ethan]

If anything ever happened to you, if you couldn't take care of yourself, how would you feel?

[Dana Jeffries]

What do you mean? Like, would I be upset?

[Ethan]

Yeah. Yes, I guess that's what I'm asking. Depressed? Hopeless? Like not wanting to live.

[Dana Jeffries]

Would I still be able to make love to you?

[Narrator/Scene Description]

He leans down to nibble on her ear. She shrugs him off, turns to face him.

[Ethan]

I'm serious.

[Narrator/Scene Description]

He searches her face.

[Dana Jeffries]

You are serious.

[Narrator/Scene Description]

Pulls up a chair next to hers.

[Dana Jeffries]

Okay. Seriously. Life is great. I wouldn't want to die even if things got tough. I think I could live with most things if I was paralyzed or something like that.

[Ethan]

You wouldn't be depressed?

[Dana Jeffries]

Well, I'm sure I would have low points, but who doesn't? Lots of people live with disabilities and have very productive, meaningful lives. Remember that piece I did last year on the Paralympics? Now those athletes could do more than most able bodied people.

[Ethan]

What would? What if you were mentally disabled?

[Dana Jeffries]

I don't know. I never thought about that before. What level are we talking about here? I wouldn't want to lie around in a vegetative state for years and years, if that's what you mean. That's why I have a DNR order. What is this about anyway?

[Ethan]

But at what point do you make that decision to walk away? Like how long do you try before you just. You give up?

[Dana Jeffries]

I'm not sure I. I don't think you can put an absolute on something like that. Everyone's situation is different. You might think you know what you do, but you can't really say until you've been there. I think you're right. One bottle of wine is enough. Come on, let's go to bed.

[Narrator/Scene Description]

He stands, takes her hand. She gently pulls it away.

[Ethan]

I'll be there in a bit. I have some work to finish up.

[Dana Jeffries]

Always work. All right. Don't be too long. I might pass out before you have a chance to take advantage of me.

[Narrator/Scene Description]

Bends down to kiss her. She looks up at him, grabs his hand.

[Ethan]

Thank you.

[Dana Jeffries]

For what?

[Ethan]

For putting up with me. I know it's not always easy.

[Dana Jeffries]

Well, it's not. But it's worth it. You're worth it.

[Narrator/Scene Description]

He kisses her. Your hands trail as he exits towards the bedroom. She finishes the wine in her glass, contemplates a second bottle, lets out a sigh and grabs it. Interior Courtroom Day. The judge enters from her chambers.

[Harvey]

All rise.

[Narrator/Scene Description]

The room comes to its feet. Waits while the judge settles herself. There's a sense of expectation in the courtroom. Be seated.

[Mrs. Macario]

In the matter of the People of the State of California vs Adelaide Wells, court is now in session. Counselor, please proceed.

[Alexis Martinez]

The defense calls ADA Wells, shuffling and

[Narrator/Scene Description]

whispering from the gallery as Gina helps Ada make her way into the witness box.

[Narrator]

Please raise your right hand. Do you swear or affirm to tell the truth, the whole truth, and nothing but the truth?

[Ada Wells]

I do.

[Narrator/Scene Description]

She sits, settles herself. Alexis approaches the witness box.

[Alexis Martinez]

Good morning. Would you please state your full name for the record?

[Ada Wells]

ADelaide Marie Wells.

[Alexis Martinez]

Ms. Wells.

[Ada Wells]

Please call me Ada.

[Protester]

Of course.

[Alexis Martinez]

Ada, can you tell us about your son? Teddy?

[Ada Wells]

Yes. Teddy was my first and only child. He was born four weeks early. I always said it was because he knew I couldn't wait for him to get here. My husband Jack was stationed in Vietnam at the time, so I drove myself to the hospital.

[Alexis Martinez]

That would be scary, having your first baby all alone. Besides being born premature, were there any other delivery complications?

[Harvey]

Yes.

[Ada Wells]

I was in labor 32 hours. Teddy was a breech birth and it was very difficult. I always wondered if that might have affected him.

[Alexis Martinez]

How did Teddy's development progress after that?

[Ada Wells]

He was meeting some of his milestones at first, sitting up and crawling. But he never babbled, never cooed. He rarely smiled. He never seemed to look at you. It was more like through you. And he was so quiet in the beginning. He would get this faraway look on his face, like he was locked away somewhere no one else could get to.

[Narrator/Scene Description]

Insert EXTERIOR Ada's HOUSE FLASHBACK young Ada holds 1 year old Teddy in the front yard, points up at the sky. Jack, Ada's husband, sits on the porch, beer bottles around his feet.

[Rebecca]

Look, Teddy.

[Narrator/Scene Description]

Look at the pretty bird. Teddy does not look, makes no sound.

[Rebecca]

Don't you see it? It's there, Teddy. It's right there.

[Ada Wells]

Look.

[Narrator/Scene Description]

Jack throws a bottle to the ground, gets up in disgust and goes inside. Slams the screen door behind him.

[Rebecca]

Just look, Teddy. Please, just look at the pretty bird.

[Alexis Martinez]

BACK TO SCENE did anyone else notice or comment on Teddy's behavior?

[Ada Wells]

At first my family and friends told me how lucky I was to have such a calm baby. Until they tried to hold him. Teddy would scream and twist away so violently I thought he would hurt himself if anyone touched him besides me.

[Alexis Martinez]

How was he with his father?

[Ada Wells]

Jack was overseas the first year of Teddy's life. But then he was injured in a training accident, so he was discharged from the service and came home. The pain from the accident, he would drink to make it go away. Things were difficult.

[Alexis Martinez]

Difficult how?

[Narrator/Scene Description]

Insert INTERIOR Ada's LIVING ROOM FLASHBACK Jack stumbles in the front door, clearly drunk. Little Teddy sits on the floor, small toys lined in a row in front of him. Jack approaches Teddy, pats him on the head, then picks up one of the toys.

[Harvey]

Hey buddy, what are you playing, huh?

[Narrator/Scene Description]

Teddy screams repeatedly, bangs his ear to the fists. Jack gets in Teddy's face, yells what

[Harvey]

the hell's wrong with you? Stop that.

[Narrator/Scene Description]

He kicks all of Teddy's toys. Teddy screams louder. Young Ada rushes in, scoops up Teddy, attempts to console him.

[Harvey]

He's not my kid. He's freak. You made him a freak.

[Narrator/Scene Description]

He takes a swing at Ada, who ducks. He stumbles and falls. Ada runs out with Teddy. BACK TO SCENE Ada coughs, pours herself a glass of water, takes a sip. Her hand trembles slightly.

[Ada Wells]

Finally, Jack left for good. Our friends eventually stopped coming to visit. Family died or moved away. And then Teddy started refusing to leave home. When I tried to take him anywhere, he would bite himself or pull his hair out. So we just stayed in after that.

[Alexis Martinez]

You were so alone, so isolated. How did you survive? What did you live on?

[Ada Wells]

A few months after Jack left, the police came to tell me he'd. He'd drank himself to death. I started receiving his benefits along with my father's estate. It was enough to get by.

[Alexis Martinez]

What about human contact? Someone to talk to?

[Narrator/Scene Description]

Ada finds Gina in the gallery, smiles at her.

[Ada Wells]

I was blessed to have a neighbor, Ruth, and her daughter Gina, who looked in on us regularly, brought us groceries. We had a doctor who made house calls. And our pastor, Father Weida, also came by until he got sick and had passed away.

[Alexis Martinez]

So in 65 years you had contact with just four people.

[Ada Wells]

But I had Teddy. For every time he was unreachable, he was also a joy. He had a real sense of the earth. Loved tending the garden. Sometimes he would lie down on the ground and rub the dirt all over him. I think it made him feel connected to something. He taught himself to play the piano. He could listen to a song on the radio once, then play it back note for note. It was truly a gift. The briefest glimpse of what his life might have been like. If only he could.

[Narrator/Scene Description]

She coughs again, quite uncontrollably. Alexis steps closer to her.

[Alexis Martinez]

Ada, Are you all right?

[Narrator/Scene Description]

Ada nods, still coughing. Several jury members cast sympathetic glances at her. Dana notices the judge looks at Ada with some concern.

[Mrs. Macario]

I think that's enough for today. Court is adjourned until 9am Monday morning.

[Narrator/Scene Description]

People rise, make their way out. Interior Dana's home office night Dana, still in court clothes, writes on a legal pad at her desk, scribbles furiously, drops her head in her hands. Ethan comes in, steps behind her, puts his hands on her shoulders. She startles.

[Ethan]

I didn't hear you come in.

[Dana Jeffries]

Still working. It's almost midnight.

[Gina]

It is.

[Narrator/Scene Description]

He pulls up a chair across from her, sits down, lifts her legs onto his lap.

[Dana Jeffries]

You haven't even taken your shoes off yet.

[Narrator/Scene Description]

He slides off her shoes, massages her feet.

[Dana Jeffries]

Hey, hey, hey.

[Narrator/Scene Description]

She tenses, Relax. She leans back in the chair. They are silent For a moment.

[Dana Jeffries]

Are you all right, Dana?

[Narrator/Scene Description]

She sits up, pulls her feet away.

[Ethan]

I'm fine. Wait.

[Dana Jeffries]

Oh, you've been on edge lately.

[Rebecca]

It's just the case.

[Ethan]

Do you want to talk about it with a journalist? No.

[Dana Jeffries]

It's me, remember? Your boyfriend. And I'm a sports writer. That's not quite the same. You're not sleeping with the enemy.

[Ethan]

You're right. Sorry.

[Dana Jeffries]

Okay, I have an idea. Why don't we take a break and do something fun this weekend?

[Ethan]

I don't know. I have a lot of work to do, Ethan.

[Dana Jeffries]

Oh, come on.

[Rebecca]

Just. Just.

[Dana Jeffries]

Just for a few hours. It's my niece's first birthday tomorrow. My sister is having a barbecue. It'll be fun. And it would do you some good to get out for a bit. Just clear your head. Besides, she's my only niece and we've barely even seen her.

[Narrator/Scene Description]

She hesitates. He nuzzles up to her.

[Dana Jeffries]

Oh, come on. Come on, Come on, Ma.

[Alexis Martinez]

Just, just.

[Dana Jeffries]

Just for a little while. We'll have some cold beer, gnawing some ribs.

[Narrator/Scene Description]

He leans in, bites her side in a playful manner. She laughs. He takes her face in his hands, looks at her with intent.

[Dana Jeffries]

You know, it's good to hear you laugh.

[Rebecca]

Okay.

[Dana Jeffries]

Okay.

[Ethan]

You talked me into it for a little while.

[Dana Jeffries]

I know I'm hard to resist. I know.

[Narrator/Scene Description]

He pretends to chew on her again. She shrieks in protest.

[Ethan]

Stop. Stop.

[Narrator/Scene Description]

Exterior, Rebecca's backyard. Day Tables and chairs are set up under canopies. Balloons and first birthday party decorations everywhere. One table is piled high with brightly wrapped presents. Rebecca, 30s, Ethan's sister, holds a baby girl. Sydney, dressed in a tiara and a frothy pink dress, talks with an older couple. Smoke rises from a corner of the yard. Rebecca's husband, Kevin, 30s, wears a party hat, flips burgers on a large barbecue grill. People mill about, chat, drinks in hand. Kids run in and around the adults with shrieks of joy. Ethan and Dana enter through the back gate. He carries a huge present.

[Dana Jeffries]

Where's my little rock star?

[Narrator/Scene Description]

Rebecca turns around Ethan. Ethan sets the present on the table. Rebecca walks over to greet them. Ethan kisses her on the cheek, takes Sydney from her, kisses the baby all over as she squeals in delight.

[Dana Jeffries]

There she is now. Now, what on earth has your mother dressed you in, huh? You look like a birthday cake, not a birthday girl.

[Narrator/Scene Description]

He pretends to nibble on Sydney. Ha ha.

[Rebecca]

She looks adorable.

[Narrator/Scene Description]

She gives Dana a hug.

[Rebecca]

Dana, I am so happy you could make it. We haven't seen you in ages. I know how Busy you are, though. We saw you on television. Such a sad case.

[Narrator/Scene Description]

Ethan shoots Rebecca a look. Clears his throat.

[Dana Jeffries]

Ah, Rebecca.

[Rebecca]

Oops. Not supposed to mention work. You're here to have fun. Let me get you two a drink. I will be right back.

[Narrator/Scene Description]

Ethan continues to play with Sydney. Catches Dana's eye. Grins widely. Dana looks around at the partygoers. Her gaze lands on a family of three. Mother, father and a little girl. Molly, just beginning to walk. It is apparent that Molly has Down syndrome. She takes a few faltering steps. Lands on her bottom.

[Rebecca]

Laughs.

[Narrator/Scene Description]

Molly's parents cheer her on. Rebecca returns with drinks. Follows Dana's gaze.

[Rebecca]

Those are our new neighbors. I'll introduce you. Isn't Molly just the cutest?

[Narrator/Scene Description]

Hands them their drinks.

[Rebecca]

Here you go. My secret Hawaiian punch. Definitely not the kitty version. Cheers. Now, if Kevin hasn't burned everything, I think we might be ready to eat.

[Narrator/Scene Description]

Exterior, Rebecca's backyard. Later, guests eat, talk. Dana and Ethan share a table with Rebecca, Kevin and Sydney, Molly and her family at the table across from them. Dana glances over repeatedly.

[Dana Jeffries]

Kevin. That wasn't half bad. I think I might need another plate.

[Narrator/Scene Description]

You know, I feel like he's rubbing and stuff.

[Dana Jeffries]

You know, I think people are kind of exhaling as you're talking.

[Carter]

Who's reading?

[Ada Wells]

Kevin.

[Becca]

Nick.

[Ethan]

You want to throw it at Nick?

[Carter]

I'll do it.

[Orderly Meds Advertiser]

Go for it.

[Carter]

He's a party guy, huh?

[Alexis Martinez]

Party hat.

[Dana Jeffries]

All right. So from Ethan's line.

[Carter]

Yes.

[Dana Jeffries]

Ah, Kevin. Man, that wasn't half bad. I think I might need another plate.

[Carter]

I think I might have to join you.

[Narrator/Scene Description]

They head for the food table.

[Rebecca]

Time to get the cake. Dana, can you hold her for a second?

[Narrator/Scene Description]

Without waiting for a response, she hands Sydney to Dana. She's visibly uncomfortable. Unsure of what to do. She awkwardly bounces the baby on one knee. Sidney babbles and claps her hands, which catches the attention of Molly, who stumbles her way over to them. Molly reaches Dana and Sydney stretches out her arms for Dana to pick her up. Dana looks around, ill at ease. Molly's mother comes over.

[Alexis Martinez]

Did you come to make friends, Molly?

[Narrator/Scene Description]

She picks Molly up, sets her on Dana's other knee. Dana stiffens. The two children interact with each other. Adorable.

[Alexis Martinez]

I have to get a picture.

[Narrator/Scene Description]

She steps away. Molly turns her attention to Dana. Touches her face and hair. Dana's eyes are frozen on hers. Molly's mother returns, snaps a picture with her phone.

[Alexis Martinez]

Say Happy Birthday.

[Narrator/Scene Description]

Ethan approaches, smiles at the sight. Rebecca returns, scoops up Sydney.

[Rebecca]

Dana. Who knew you had such a way with kids?

[Narrator/Scene Description]

Dana gives her a Faint smile hands Molly back to her mother.

[Ethan]

Excuse me, I need to use the restroom.

[Narrator/Scene Description]

She hurries to towards the house. INTERIOR rebecca's house BATHROOM DAY Dana sits on the side of the bathtub bent over, her head in her hands. The doorknob rattles. She looks up, calls out just a moment. She stands, moves to the sink, finds mouthwash in a paper cup in the medicine cabinet. Rinses out her mouth, catches her reflection in the mirror. Her face is ashen. EXTERIOR Rebecca's house DRIVEWAY Night Dana gets into the passenger seat of their car as Ethan hugs his sister and niece goodbye. Rebecca makes Sydney blow kisses as the car drives away. INTERIOR Ethan's car moving. Night. Ethan drives as Dana looks out the side window.

[Dana Jeffries]

You've been quiet. You okay?

[Narrator/Scene Description]

She does not look at him.

[Ethan]

Just a little too much. Secret punch?

[Dana Jeffries]

Yeah, it packed the wall up. It was great to see you loosen up for a bit though. You are so cute with the babies. I think they fell in love with you.

[Narrator/Scene Description]

She stays silent. He glances at her.

[Dana Jeffries]

I've never really seen you around kids before. What do you think?

[Ethan]

About what?

[Dana Jeffries]

About having kids. We've never talked about it.

[Narrator/Scene Description]

She sits upright. Yes.

[Ethan]

Yes. Yes, we did. When we first got together, it was one of the reasons we were attracted to each other. We were both happy with our lives and our careers and we didn't want to change that.

[Dana Jeffries]

Sure, but that was what we wanted then. But that's. That was a few years ago. People can change their minds.

[Ethan]

I haven't changed my mind. I'm happy with things just the way they are.

[Dana Jeffries]

So you don't ever want to have

[Ethan]

kids and now all of a sudden you do?

[Dana Jeffries]

I don't know, Dana. We're just talking. But maybe there's more to life than working 16 hour days.

[Ethan]

I like my job. I like to work.

[Dana Jeffries]

Yeah, I know.

[Ethan]

What does that mean?

[Narrator/Scene Description]

He pulls into their driveway, shuts off the car. Interior ethan's car continuous. Ethan turns to look at Dana.

[Dana Jeffries]

Nothing. It's just. You're so driven by work and only work. Maybe you should take some time to discover other interests. Do other things.

[Ethan]

Like have a baby?

[Dana Jeffries]

Well, it'd be fun trying.

[Ethan]

Is that what you want? To have a baby?

[Dana Jeffries]

You're so smart and strong and beautiful. Can't you just imagine what a perfect little baby would make?

[Gina]

No.

[Ethan]

No, I don't want to imagine it. I don't. I don't want to imagine it at all. Like I can't have a baby.

[Dana Jeffries]

What you mean. You mean you can't get pregnant? We use birth control. So I just thought. I am so sorry. I didn't know that. Dana.

[Narrator/Scene Description]

He moves to comfort her. She pulls away.

[Ethan]

I just. I can't have a baby.

[Becca]

I can't.

[Ethan]

And why are you bringing this up now?

[Dana Jeffries]

I don't know. I'm sorry. I'm sorry. I didn't mean to upset you. You just look so beautiful holding those little girls today. It seems so perfect.

[Ethan]

Just stop saying that.

[Gina]

Stop it.

[Ethan]

Stop it. I had. I had a baby.

[Bethenny Frankel]

Do you understand?

[Ethan]

I had a baby and she wasn't perfect.

[Rebecca]

She was perfect.

[Ethan]

And I tried and I couldn't do it. Like I couldn't be perfect.

[Narrator/Scene Description]

She pushes open the car door, runs inside the house. Interior Dana's house HALLWAY DAY Ethan stops outside the closed door to Dana's office. He knocks gently, then opens the door. Interior Dana's home Office Continuous Dana stands at the window with her back to the door. Ethan looks in.

[Dana Jeffries]

Dana Can I come in?

[Narrator/Scene Description]

She doesn't answer or turn around. He takes one step in.

[Dana Jeffries]

You've been in here since last night. There's a pretty big elephant in the room. Can we talk about it?

[Narrator/Scene Description]

She shakes her head. Mm.

[Gina]

Mm.

[Dana Jeffries]

That's why this case has been so tough for you, isn't it? Why you don't ever talk about your family. Why you move thousands of miles away. Why you keep all your feelings bottled inside your baby.

[Narrator/Scene Description]

She shakes her head again, slower this time. End of Act 2.

[Carter]

Very nice.

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