Victims for Victims: The Theresa Saldana Story (1984) - full transcript
Before stalking was a well-known crime in North America, there was Theresa Saldana's story. A drifter from the U.K., Arthur Jackson, flies to the U.S. to seek Saldana out. His twisted mission: Jackson planned to murder Saldana, then request the death sentence for himself so he "could join her in paradise". The psychopathic Jackson confronts Saldana on the street in front of her home, and stabs her violently several times. No one comes to Theresa's aid except water deliveryman Jeff Fenn, who overpowers Jackson and gets the knife away from him. Jackson is arrested & charged with attempted murder...and Theresa Saldana tells her story of terror and survival as herself in this TV movie.
[lion roars]
[mystical music]
Here you go.
Love you.
[soft music]
See you later.
[SINGING] Take me back, back
home to the land of music.
Take me home.
I'm a prodigal child.
Take me back by the hand
to the land of music.
WOMAN: Go and go and go
and go and go and go.
Go and go and go.
Go.
Go.
Go.
Go.
[guitar music]
I'm home, Fred.
FRED: Oh, good.
I need the car.
Got to get to the
counseling center, OK?
Leftovers?
Couldn't you wait?
I have an early class.
Oh, god.
I'm sorry.
Want me to make you something?
[phone rings]
I'll get it.
Hello?
MRS. SALDANA [OVER
PHONE]: Hello.
Oh.
Hi, Mom.
How are you doing?
I'm fine.
And your father, he's fine.
Listen, I've been
trying to get you all day.
THERESA [OVER PHONE]: Oh,
I just walked in the door.
Well, where have you been?
Oh, shopping.
I had another audition.
MRS. SALDANA [OVER
PHONE]: A movie?
No.
TV.
MRS. SALDANA [OVER
PHONE]: A good part?
Eh.
It's OK.
Listen.
Mr. Uh-- Scorcissi--
what is his name?
I-- I think he's got
something good for you.
Scorsese, Mommy.
With a C. How do you know?
MRS. SALDANA [OVER
PHONE]: His assistant.
He's been trying to
get in touch with you.
He said that Mr.
Scorsese's got a part
for you in his new picture.
He wanted your phone
number and your address
so he could talk
to you about it.
Did he call Selma?
MRS. SALDANA [OVER
PHONE]: I don't know.
I think he tried.
He said something about
the phones being down.
I don't know, I
couldn't understand him.
I think he tried to reach her.
Anyway, I knew you've
given Mr. Scorsese
your number before,
so I thought it
would be all right to tell him.
Listen.
Theresa, I-- I--
I think I gave him
your old phone number.
I can't remember.
But I gave him
your right address.
Oh.
That's OK, Ma.
Look, he can always
write me or call Selma.
Listen.
I mean, I'll die if I didn't
give him the right number
and you lose a job.
THERESA [OVER PHONE]: Mom,
you don't worry about it.
Oh, I'm so upset.
Look.
I'll tell Selma about it.
She can handle it.
That's what a manager's for.
MRS. SALDANA [OVER PHONE]: OK.
I'll call her first
thing in the morning.
MRS. SALDANA [OVER
PHONE]: All right.
Look.
Don't be upset, Mommy.
Anybody can make a mistake.
MRS. SALDANA [OVER
PHONE]: All right.
OK.
Say hi to Daddy and Maria.
OK.
I love you.
OK, bye.
OK.
Give.
Looks like Scorsese
has another part for me.
Ah.
That's great.
What's the matter?
You worried?
Will success spoil
Theresa Saldana?
[sigh] Yeah.
So what does this mean?
You're gonna go on
location or what?
I don't know.
You know, you've been away
from here a lot, lately.
[scoffs] What do you
want me to do, Fred?
Tell them I'll only work in LA?
Every time I get a job,
we have the same problem.
Let's just forget
about it, OK?
I don't like being left alone.
Nothing's set yet.
Let's forget it.
Freddy.
What time are you coming home?
Late.
Great.
Give me a kiss.
[WHISPERS] All right.
Come on, girl.
Don't gab all night.
Teresa?
Selma.
I've been trying to
reach you all night.
Is Fred there?
When's he going to be home?
Around midnight, why?
What do you mean, a crazy guy?
What did he say?
Well, the first
time he phoned,
he said his name was Jackson.
Arthur Jackson.
Uh, he said he was from
the William Morris Agency,
but he sounded really
weird and he was giggling.
Did you check with the agency?
As soon as he hung up.
They said they
never heard of him.
Then he called again
a few minutes later.
I recognized his voice.
He's got this Scottish accent.
This time, he said he
was Scorsese's assistant.
He needed your address, because
Scorsese had a part for you.
I told him I couldn't
give it to him.
God.
He called my mother, too.
She gave him my address.
Is there a neighbor
that you can stay
with until Fred comes home?
Yeah.
I-- I could stay with Mrs. Hahn.
SELMA [OVER PHONE]:
For the next few days,
make sure you're not alone.
Now, never.
You take care of yourself.
I want you to call me
first thing in the morning
and tell me you're all right.
OK.
I'll talk to you in the morning.
Bye.
[funky music]
Sorry, Bill.
[doorbell chimes]
Mrs. Hahn, could I stay with
you till my husband gets back?
Please, I'm scared.
Sure, honey.
Come in.
What I don't understand
is why did he fix on you?
I don't know.
Maybe I met him somewhere.
Maybe he saw one of the movies.
Movies.
You had to be an actress.
It's not because
I'm an actress, Fred.
There are thousands
of actresses.
This guy has to be crazy.
Feels so scary.
[sighs] Look.
If he knows where you live,
then we have to get out.
Stay with Joe and Hillary until
we can find another place.
I don't want to leave.
I love it here.
Don't want some nut
pushing me around.
I like it here, too.
All right.
We'll stay, but you
don't go anywhere alone.
When you go for
school, I'll walk
you to the car in the morning.
If I'm not here
when you get back,
and then you call Mrs.
Hahn and you stay with her.
When you're driving,
you look around
and you see if
anybody's following you.
And you make sure you don't
go anywhere alone, OK?
Let's go to sleep.
Fred.
I'm scared.
Hi, how are you?
You be careful.
Dolly!
Oh.
Theresa!
[piano music]
Ow!
Are you OK?
[cries in pain]
WOMAN: Are you are right, honey?
Not concentrating.
I'd just like to say something.
I think somebody is after me.
I'm not paranoid or
anything like that.
My manager called and warned me.
He's probably just a nut.
I'm probably nuts for
even worrying about it.
But if you see me
running down the hall
or trying to get away
from someone, [TEARING UP]
If you could you just help
me or call the police?
I guess that's all.
Thanks.
Are you kidding?
I wish I was.
Thanks for the script.
I'll tell Selma.
Break a leg.
That audition went really well.
The producer gave me a script,
and he said he'd call Selma.
I know I'm going
to get that job.
That's great.
And this is the one where you
don't go on location, right?
No.
It's eight weeks in LA.
Great.
I hope you get it.
I feel so dumb
for being scared.
I mean, nothing's happened.
Nobody's called us.
Mrs. Hahn hasn't seen anybody.
I'm not giving it
another thought.
Yeah.
Well, I still want
you to be careful, OK?
I feel really good.
[chuckles] You do feel good.
[shower running]
Freddie?
FRED: Yeah?
Freddy, your lunch
is on the table.
I have to run.
- Well, I will be a minute.
- Mwah.
I'm late, baby.
Mwah.
Theresa, wait.
No, everything's fine.
See you later.
FRED: Th--
Are you Theresa Saldana?
[screams]
PASSERBY 1: He's got a knife!
PASSERBY 2: Oh my god!
He's stabbing her.
Oh my god, help!
PASSERBY 2: Let's
get out of here!
PASSERBY 1: What do we do?
PASSERBY 2: Call the police!
Drop the knife.
Drop it.
PASSERBY 3: [inaudible]
Drop it.
Drop the knife, or
I'll break your neck.
Drop it.
Drop the knife.
PASSERBY 2: Lady,
move those kids.
Get them out of here!
[suspenseful music]
THERESA: [whimpers in pain]
Oh god.
THERESA: Oh, god.
[inaudible]
Oh my god.
No.
[coughs and sputters]
I'm dying.
No.
No.
I can't breathe!
Operator.
I need-- it's an emergency.
I need the paramedics, please!
[WEAKLY] I can't breathe.
Uh, my wife's been stabbed.
Please, she doesn't need that!
3711 North Hayworth, Hollywood.
Please, hurry!
Oh my god.
What happened?
[overlapping radio chatter]
MAN 1: Sir, you're going
to have to back up.
Move.
Move.
MAN 2: Let's keep this clear.
MAN 1: Bobby.
Straight through the courtyard,
in the back on your right.
MAN 2: Don't touch that.
MAN 1: This way, this way.
WOMAN: Over there.
MAN 1: Standby, helicopter.
WOMAN: There, yeah.
- Up here.
Hurry.
Up here, up here.
Come on.
[inaudible] Wait a minute.
Hurry up!
They're here, they're here.
It's going to be OK.
PARAMEDIC: OK, move
out of the way.
Right here, the chest.
She's bleeding--
PARAMEDIC: OK, folks.
Move--
--from the chest.
PARAMEDIC: --out.
Clear out.
Come on.
THERESA: [whimpers]
FRED: It's going to be OK.
You're going to be all right.
It's going to be OK.
I love you, Theresa.
I love you.
No, you're not.
You're not dying.
BARRY: Approximately
25 years of age.
Weight is approximately--
- It's going to be all right.
BARRY: --105 pounds with
multiple stab wounds.
Barry, she got hit a
couple of times here.
FRED: Come on, Theresa.
Come on.
- Give me a blood pressure--
- OK, hold on.
We're going--
FRED: You're going to--
--over details
FRED: --be OK.
MAN [OVER PHONE]: How
deep are the wounds?
We have no idea how
long that knife was.
PARAMEDIC 2: She's got 1,
2, 3 in the chest, there.
Looks like one right
over the right side.
Three in the chest.
Looks like he might
have got a lung.
She's got one in the leg.
Might have got a
lung on the right side.
- One in the leg.
- [inaudible] up to 12 liters.
Just make sure-- looks like
she's having a little trouble
breathing with that.
[sirens]
Yeah.
No, but that's when
I screamed for him.
Because he has-- my
truck started to--
WOMAN: It's going to the dogs.
JEFF: He grabbed his hand, and
then I grabbed him and forced
the knife out of his hand.
He wanted to know
if he killed her.
I told him no, and he was
real upset that he didn't.
WOMAN: She looks so bad.
Just take me home.
Please?
PARAMEDIC 1: Yeah.
PARAMEDIC 2: Watch your head!
[interposing voices]
FRED: Wait for me.
I want to go with her!
We need the space.
Look, why don't
you just go around
front and sit up there, OK?
PASSERBY: He just--
PASSERBY: Looks like he--
[interposing voices]
PASSERBY: Who's that?
Who's that guy--
COP: Get away from there.
Let me at him!
What do you think
you're doing here?
- He tried to kill her!
- Hey, you the husband?
What are you
protecting him for?
Hey, man.
He can't do anything now.
Just take it easy, all right?
Just calm down.
Just take it easy.
All right?
Hey, don't you worry.
If it was my wife, I'd
try and do the same thing,
Let's just follow her
to the hospital, huh?
Hey, Freddy.
Fred.
I'll drive you there, OK.
Take it easy.
Take it easy.
- All right, let's go.
We'll go in my car, OK?
[interposing voices]
What you got here?
We got a BP of 50, pulse
120, respiration labored,
and a lot of stab wounds.
NURSE: We've been waiting--
DOCTOR 1: OK.
I need the trauma
team right away.
Take those to the blood bank.
Two units of O neg, stat.
NURSE: Shall we get respiratory?
DOCTOR 1: Respiratory, too.
[interposing voices]
NURSE: Can we get
to respiratory?
Respiratory.
Careful.
Careful.
All right.
OK.
That side.
We'll sheet her over.
Let's get some hands on here.
I need another hand--
I need another hand on the back.
OK, are we ready?
--the sheet.
Ready?
1, 2, 3.
OK.
OK I need another IV
on this arm right away.
Draw some more blood
for an H&H as well.
I'm going to open your
bra here for a second.
No, leave the
trousers inflated.
THERESA: [crying]
DOCTOR 1: OK, we got
multiple stab wounds--
Theresa, you're
being taken care of.
Your family's here.
[interposing voices]
DOCTOR 1: --her chest
tube right away.
DOCTOR 2: [inaudible]
number 36 tube,
a chest tray, and suction.
--your chest.
It's going to hurt, but it's
going to help you breathe.
Anterior axillary line.
Anterior axillary line.
Good.
You-- almost ready for me?
OK.
OK, give me two seconds here.
OK, I got that tube.
That's the spot.
Right there.
NURSE: OK, I'm
getting it wide open.
- I'm opening up.
- Good.
That looks good.
All right.
Open that up there.
OK.
I'm going to put
the tube right in.
OK, you're going to feel some
pressure now, right on that.
OK, and here--
[cries out]
WOMAN [OVER INTERCOM]: Dr.
Allen, stat to common room two.
Dr. Allen stat to
common room two.
Respiratory therapy
stat, in common room 2--
NURSE 1: I'm sorry--
NURSE 2: No, sir, please!
Please, I'm the husband!
We got--
NURSE 3: I'm sorry, mister.
You have to stay out of the way.
Are they ready up
in the operating room?
- Yes, they're ready.
- OK.
Who we got?
Doctor, pressure's 40 over 0.
We're losing her.
We're losing her.
Get up.
Come on Unlock the
table, let's go.
DOCTOR: Let's go.
Get up through that
door, right to the OR.
They're ready for her up there.
Let's move!
Take her upstairs.
Theresa.
It's Fred.
I'm here.
NURSE: Heart rate's increasing!
I love you.
It's going to be OK.
Move in surgery.
Dr. Stein's just finishing--
Where's Dr. Allen?
He's on the--
but we can't seem to find him.
- What do you--
You can't?
You find him, fast.
We've been doing
our best, doctor.
We're going to lose her.
Why-- why did we stop?
We can't locate
the surgeon on call.
Isn't there anybody else?
We are trying, mister!
Trying?
[inaudible] I
want my [inaudible]..
I'll call her.
I'll call her.
NURSE: We're losing her.
FRED: Get somebody to
take care of her now!
WOMAN [OVER INTERCOM]:
Dr. Allen stat to--
Why are you waiting?
NURSE: We can't
locate Dr. Allen.
We've got multiple
stab wounds, doctor.
We've given her
four units of blood.
What's her pressure?
FRED: Please.
DOCTOR 3: Wheel her in.
I'll do it.
You scrub.
THERESA: [whimpers weakly]
WOMAN [OVER INTERCOM]:
Code blue, ICU.
Code blue, ICU.
Any surgeon in the hospital
stat to the operating room.
Any surgeon in the hospital,
stat to the operating room.
[suspenseful music]
They're in the
operating room right now.
They're trying to save her.
All right.
She asked for your
mother and father.
Tell them to get on the
next plane out here, OK?
Somebody will be
there to pick them up.
Bye.
[sighs]
WOMAN: All right, all right.
- I don't know.
She had no BP going--
Oh, my god.
It happened 15 minutes ago.
All right.
Trauma three.
I'll get Dr. Stein.
DOCTOR: Two IDs, sterile sheets.
Set up with incubating.
Excuse me.
It's going to take a long time.
Why don't you go
home and get changed?
Well, you don't want her to
see you looking like that.
We'll call you as soon as
she gets out, I promise.
WOMAN [OVER INTERCOM]:
Emergency admitting,
Please report to emergency.
[somber music]
[calm music]
MRS. SALDANA: What
are you looking for?
Forgot the address
of the hospital.
I wrote it down in here.
Beverly Boulevard.
Well, how can I forget that?
Well, whoever's
going to pick us up
is going to take us right there.
I know, but I need
to know it anyway.
Just-- it makes me
feel closer to her.
WOMAN [OVER INTERCOM]:
Mr. and Mrs. Saldana,
please report to the
information panel.
So where is this guy?
Where's-- Where's
the guy who's--
[inaudible] if he doesn't
come, we'll take a taxi.
WOMAN [OVER INTERCOM]:
Mr. And Mrs. Saldana,
please report to the
information desk.
They want us.
Why?
It's Theresa.
- Where?
- The information desk.
Where?
Excuse me.
Excuse me, miss?
Miss?
Miss?
You were paging us,
for the Saldanas?
Mr. Saldana.
I'm David Johns.
Is it about Theresa?
Is she gone?
Gone?
Oh, I'm sorry.
I had you paged
because I was afraid I
wouldn't recognize you.
Is she gone?
No.
She's out of surgery.
That's all I know.
I'm just a neighbor.
My car's outside, and
I'll get your bags, OK?
MAN [OVER INTERCOM]:
Final boarding call.
Flight 115 for Seattle.
Come on.
MAN [OVER INTERCOM]:
Now boarding, gate 70.
Have your portal passes ready.
Final boarding call
for Flight 115--
WOMAN [OVER
INTERCOM]: Dr. Dolan,
report to the emergency room.
- [inaudible]
WOMAN [OVER
INTERCOM]: Dr. Dolan,
report to the emergency room.
Dr. Winkler, report
to the operating room.
Dr. Winkler, report
to the operating room.
Freddy.
How is she?
They saved her.
Oh my god.
Oh thank god.
She was sleeping a minute ago.
I-- Is it all
right to go into--
Yeah, go on.
I'll wait out here.
[TEARFULLY] My baby.
My baby.
THERESA: [WEAKLY] Mom?
Don't worry.
I look a lot worse than I feel.
Oh.
What did he do to you?
THERESA: Don't cry, Mom.
Please don't cry.
I'm sorry.
I'm so sorry.
Not your fault.
Oh, my Theresa.
My pretty Theresa.
All right, all right.
- I can't cry.
It hurts.
- OK.
OK.
See?
THERESA: [cries]
OK.
OK?
OK.
Better.
I see Daddy's not crying.
MRS. SALDANA: Daddy cried.
He cried.
He was listening on
the phone downstairs
when Fred called your sister.
She came downstairs.
He was crying and saying
my daughter's dead.
She's alive.
MRS. SALDANA: Yeah.
Thank you.
It's better.
You're here.
[sighs]
Why would anyone
do such a thing?
[sighs] He was crazy.
He saw her in a movie.
He said the angels
told him to kill her.
Came all the way from
Scotland and hunted
for her until he found her.
They found his diary on him.
That's how they got all this.
Every day, I'd walk her to
her car, make sure she was OK
and make sure that
nobody was around.
And this one time, I didn't.
This one time I didn't.
Now, you listen to me.
You are not guilty.
Just like [inaudible], she--
[stammers] If I hadn't given
him her address to him,
he would have found
it another way.
I want to see her again.
[screams] He's killing me!
He's killing me!
NURSE: All right.
[inaudible] All right.
It's all right.
Lie still, Theresa.
Lie still, now.
Relax.
It's all right.
He's killing me!
Ah!
It's all right.
No one's here.
No one's hurting you.
You were dreaming.
You had a nightmare.
Oh, god.
Nobody can--
He was just here!
No-- Ah!
Ah!
He has a knife.
He's got-- stabbing me!
No one's--
He's stabbing me.
Ah!
Ah!
No one helped me.
My [inaudible] hurts!
Nobody could stand
to listen to this.
I want you to talk about it.
It helps.
You need to talk.
Come on, talk to me.
I don't-- I don't even
want to think about it.
Just makes me too scared.
You think I'll keep on
having nightmares like this?
They'll probably stop in time.
You don't know for sure.
I don't know
anything for sure,
but people tend, for
a time, to relive
traumas that they experience.
I just want to know what
to expect so I can handle it.
How long is the pain
gonna stay like this?
It feels like it's
going to drive me crazy.
What about-- what
about all the scars?
Dr. Stein can answer
the physical questions.
Do you think I'll be
able to act again?
Sure you will be.
What else do you
want me to say?
[chuckles] I've never
talked to a shrink before.
Whatever you want to say.
Tell me whatever's
going through your mind.
You know, you've come
a long way already.
You fought back.
You're here.
And it's perfectly
normal for you
to feel frightened and helpless.
Fred.
I told him to go back to work.
He's a counselor for alcoholics.
He seems so confused.
[inaudible] need my mother.
I feel like a little girl again.
I'm just so scared.
How are you doing?
You know how it is.
I've been reading about you.
Is she going to come
out of it all right?
We hope so.
How do you feel?
The paper said you were
expecting something
and you'd walk her
to the car every day.
Why did you stop?
I-- I don't know.
We're here to talk about
your problem, not mine.
How was your week?
You must feel awful.
I do!
I do, and I don't need
to be reminded of it.
So please, let's skip it.
Tell me about you.
I was just asking.
I-- I know.
I'm sorry.
Were the kids here on Sunday?
Yes, they were.
Friday morning,
there's a triple bypass,
which may be very interesting
for you guys to take look at.
So call my secretary and
make an appointment, OK?
Oh.
Good morning, Mr. Saldana.
Nice to see you
again, Mrs. Saldana.
Oh, you're looking very
pretty this morning.
It's just makeup.
[chuckles] Well, I've
got some good news for you.
You'll be moving
to your own room
soon, with visiting privileges.
I hope it's a prettier
room than this one.
Of course.
Could you, um-- could you
folks give us a moment?
I brought you a gadget.
Looks cute.
What does it do?
You put this part in your
mouth, and your mother will hold
it out straight, like this.
And you breathe out and
you breathe in deeply.
You try to get this
little ball to move.
This is adjustable, and we'll
start you right about there.
What's the catch?
No catch.
It's a breathing exercise to
help you strengthen your lungs.
We don't want you
to get pneumonia.
How could I get pneumonia
with all this junk all over me.
It happens.
Now, let's see
you move the ball.
Put this in your mouth.
Now, breathe out.
Breathe in deeply.
[inhales, then exhales]
Oh, come on, Theresa.
You can do better than that.
Hurts.
I know it does,
but you're a toughie.
You can take it.
Now give it everything you got.
Breathe out.
Breathe in deeply.
Breathe in, breathe in.
Breathe in deeply.
Come on.
- [inhales]
- Great.
Come on.
Come on.
Breathe in.
- [inhales]
That's right.
One more time.
- I can't.
I'm sorry, Teresa.
You have to.
Four times an hour,
until I order it stopped.
Theresa, this is important.
WOMAN [OVER INTERCOM]: Nursing
supervisor, call two north.
Nursing supervisor,
call two north--
Well, that must have seemed
like I was killing her, right?
[sighs] What were
you doing to her?
She has to exercise her
lungs to prevent infection.
It's painful, but it's
useful in healing her.
I'm going to need your help.
Can't you give her
something to ease the pain?
No.
That would defeat our purpose.
Your daughter is a
very strong girl,
but she's going to have
to go through a lot.
For how long?
I don't know how much
more she can take.
It's not just the pain, it's
what it's doing to her inside.
Divina.
I'm sorry.
It's OK.
Now, let me show
you how this works.
You're going to feel
ever so much better
when you're in your own room.
It's really bright and cheery.
Wait till you see all the
flowers you've been getting.
Take it easy.
OK.
There.
Wait, wait.
NURSE: OK.
OK.
Could you keep it under 55?
NURSE: [chuckles] Gotcha.
WOMAN [OVER INTERCOM]: Security,
please call extension 55-55.
[suspenseful music]
Theresa, what's the matter?
Who's there?
The hospital people.
Momma's here.
Nothing's gonna happen to you.
Look, we're going to
go to the new room.
It's very pretty.
There's-- It's full of flowers.
I fixed it up so nice.
And Theresa, if
you don't like it,
I'll fix it any way you want.
NURSE: Morning, doctor.
[screams]
NURSE: Oh, Theresa.
He's just one of our doctors.
We're not going to let every
new face scare us, are we?
NURSE: There.
What'd I tell you?
You got flowers and gifts
from famous movie stars
and directors from
all over the world.
NURSE: So many
friends, Theresa, and
they're all praying for you.
Tell them I said thank you.
[water running]
Ma?
Ma?
Ma, where are you?
Ma?
I was in the bathroom.
Honey.
What?
Sorry.
For what?
I hate being so
scared, so helpless.
Oh, it's all right.
I love you.
I'm here.
Now, go to sleep, huh?
My baby.
Who are they?
I don't know.
The patients.
Visitors.
He's in jail, Theresa.
I know.
I'm still scared.
I can't help it.
I know.
I can't stop thinking about
it myself, so I keep busy.
Thank god you have your job.
Yeah.
Fred?
Yeah.
Are you having
trouble at work?
I don't want to talk about it.
Helps to talk.
Dr. Joseph thinks we
need to talk about it.
Fine, but I don't like
telling him my problems.
Why don't you tell me?
[sighs] What can
you do about them?
Besides, you're always
with your family.
They're not here now.
I feel like you're
becoming a stranger.
I can't relate to you, Fred,
if you don't talk to me.
What's the point?
[sighs] There's nothing
either of us can do about it.
You're here, I'm out there,
and things keep happening
and we can't stop them.
It's just getting me down.
So I go a week--
you know, maybe even two--
and I don't touch this stuff.
I mean, I don't even want it.
Then, for no reason at all, I--
I-- I-- I say to
myself, OK, tonight--
tonight you could
have a glass of wine.
You know, with-- with dinner.
And-- and I'll suggest
it to my wife so that
she won't think that,
you know, I'm doing
it behind her back or--
you know what I'm saying?
Yeah.
OK.
So I have the drink.
Just one.
And then after dinner, I
think, why not another?
I mean, I'm in the kitchen.
I'm doing the dishes.
My wife, she's in the next room,
and the bottle is right there.
Only, instead of
wine, I take vodka.
Are you listening to me?
Of course I am.
OK.
OK.
So what did I just say?
What did I just say?
You said you were
still drinking.
- Yeah, but how did I say that?
- What difference does it make?
You told me you
were still drinking.
Behind my wife's back.
I'm cheating on her.
See, I promised her that
I would never touch it
unless I told her first,
so that she wouldn't
have to worry about it.
And I'm cheating!
I mean, didn't you get
that in your notes?
Wait a minute.
What kind of notes are those?
I-- I don't need notes.
I know what you told me.
Yeah, like hell you do!
I'm sitting up here,
talking about how
my-- my marriage is busting up
and how I'm messing up my job,
how-- how I--
I'm messing up my life because
I can't leave the booze alone.
And you're not even
listening to me!
You know what?
You're off on cloud
nine somewhere.
I'm sorry!
I was thinking about
my own problems.
Look, why don't we
start all over, OK?
Tell me.
Sit down.
No.
No, I think I just
better tell your boss.
DR. STEIN: It's OK.
It's all over now, Theresa.
The bandages are off.
I'm not going to
hurt you anymore.
I'm going to leave
the scars uncovered.
They need to breathe.
I want to see
what I look like.
Why don't you wait till later?
Until you feel better?
I want to see them now.
Could you give me
a mirror, please?
God.
I wish I could
get my hands on him.
Is that all you can say?
Oh, no.
I'm sorry, baby.
I-- I wasn't thinking
about how you'd feel.
I'm sorry.
I'm so sorry.
What's all this going
to do to us, Fred?
WOMAN [OVER INTERCOM]:
Attention all
respiratory therapy students.
Post-conference will be
held in the conference room
on the second floor at 2:00 PM.
Do you like the color?
But you, you're all over the
news, you and Jeff have been!
What a press agent
you must have.
Yeah.
I'm a celebrity.
In a very bizarre way.
Hey, Dolly.
How you doing?
Fine.
You?
We were just talking
about Theresa's press.
I've never seen so many stories.
Mm.
But I'm not staying.
I just wanted to stop
in and say hello.
You don't have to go.
Fred's used to my friends.
Right, Fred?
Sure.
No.
I-- I got to run.
I'll come back later.
Looks like a
roadmap, doesn't it?
This one's the
San Diego freeway.
I had to psych
myself up to come here.
I didn't know what to
say or how to act, I--
I kept trying to think of
something funny to tell you.
I didn't expect this.
I-- I don't know how to act.
Nobody knows how to act.
Not even me.
So I just make jokes about it.
It seems like I'm
the most famous
victim in the whole world.
I just didn't
expect it to be so--
so--
Ugly?
Now, don't listen to me.
I don't know what I'm saying.
I-- I'm going to start really
bawling if I don't go out.
I'll come back later.
I'll see you later.
So I can joke about it.
But who are you fooling?
Where's your parents?
They went to the cafeteria
while Dolly was here.
What's the matter?
Um, I just got the bills.
It's nice, huh?
My SAG insurance
should cover it.
No, not everything.
I checked.
And this is just the beginning.
Uh, does Stein say how long
are you going to be here?
Or what happens afterwards?
You're-- you're going to
need a place to recuperate.
Insurance does not cover that.
Oh, this is going
to wipe us out.
I don't think it's
going to wipe us out.
Dr. Joseph told
me about a program
through the DA's office.
It's supposed to help
victims of crime.
This is all we needed.
On top of everything
else, go broke.
I can't believe
you're blaming me, Fred.
I'm not blaming you.
I'm not.
Theresa.
I'm sorry.
WOMAN [OVER INTERCOM]:
Radiology technician--
OK.
These are the application forms
for violent crime reimbursement
as provided by the program.
If you require help in filling
them out, we provide that also.
Most important thing is money.
I keep getting these bills.
There's a limit to
what insurance covers.
WOMAN [OVER INTERCOM]:
--now receiving blood donors
between 10:00 and 12:00--
I hate asking for money.
Fred and I can't afford
this kind of expense.
My family can't afford it.
I know not too many
people who could.
Do you have any idea how soon
it'll be before I can collect?
Well, unfortunately,
there are delays.
It might be a year.
WOMAN [OVER INTERCOM]:
Housekeeping,
please call extension--
A year.
And the limit is $10,000
for medical expenses.
What kind of assistance
program is that?
That won't even make
a dent in these bills.
My expenses are
already over $10,000.
I'm sorry, Teresa.
That's all the law provides.
The man who tried to
kill me is taken care of.
He gets free room and
board, free medical care,
all his expenses
are taken care of.
Everybody makes
sure he's protected
and nothing happens
to him, but I'm supp--
I'm supposed to pay--
I'm supposed to pay,
because I got stabbed.
That doesn't make any sense.
Does that make sense to you?
I am sorry, Theresa.
WOMAN [OVER
INTERCOM]: Attention,
all nurses, registration--
I didn't mean to yell at you.
WOMAN [OVER INTERCOM]:
--CPR recertification
will be held in the cafeteria.
Attention all nurses.
Registration for CPR
recertification--
I just don't know
what I'm going to do.
Hi.
How are we doing today?
Fine.
I'm Dr. Stein,
Theresa's doctor.
Hi.
This is my sister, Maria.
She just came in from
New York to cheer me up.
How are you?
How's the arm coming along?
Oh.
Let me see you
move those fingers.
Uh-huh.
We'll have to work on that.
I talked to a couple of doctors
about microsurgery for you
sometime next week.
I'll let you know, OK?
Great.
How's the rest of you feel?
OK.
I think I'm getting
a little cold.
OK.
We'll watch that.
Other than that,
I feel really great.
I love being here.
I like everything
that's happening to me.
I love these disgusting scars.
Theresa.
You'll be amazed at what plastic
surgery can do these days.
WOMAN [OVER INTERCOM]:
Pharmacy technician,
report to room 2 stat.
I've already talked to
a lot of plastic surgeons.
They all say the same thing.
I have to wait nine months.
In the meanwhile, I
have to stay like this.
Well, at least it
won't be forever.
WOMAN [OVER INTERCOM]:
Neurology residents,
report to the operating room.
Thank God.
Boy.
We sure are in a
good mood these days.
It might interest
you to know that I
took a poll of the
residents, and we
all agree that scars are sexy.
She's doing just fine.
Don't listen to
what she tells you.
She doesn't have
to tell me anything.
I can see she's depressed.
Now, what are we going
to do about that?
We're working on it.
Oh, by the way, I've-- um--
I've got a favor to ask you.
I've got another patient
who wants to meet you.
Let me finish.
She was shot in the neck.
I told her how well you were
doing to make her feel better.
WOMAN [OVER
INTERCOM]: Volunteer,
please report to the--
She want to meet me?
WOMAN [OVER INTERCOM]:
Volunteer, please report--
She-- She admires you.
She thinks you're a
very brave person.
She wants to know
how you managed.
You kidding?
No.
Her name is Cheryl
Fields, and you can
reach her at this extension.
And, uh-- and
visiting is permitted.
Nice to meet you.
Talk.
Are you going to call her?
Will you dial her for me?
Hello?
No, this is her mother.
Who is this?
Oh.
Just a minute, please.
It's Theresa Saldana.
Theresa?
THERESA [OVER PHONE]:
Hello, Cheryl?
I-- I just called to find
out how you're feeling.
Not much from the neck
down, but I'm hoping.
How are you?
I'm fine.
When did you get here?
About two weeks ago.
Dr. Stein told
me you were shot.
CHERYL [OVER PHONE]:
And you were stabbed.
[sighs] Yeah.
Shooting, stabbing.
What's the difference?
They're all disgusting.
Right.
I'm bored, being
scared to death.
You too?
[sighs] Same with me.
Can you come over?
How about tomorrow?
I'll be here.
OK.
I'll see you then.
CHERYL [OVER PHONE]:
Thank you for calling.
Bye.
Bye.
Well?
What's she like?
Someone I could talk to.
WOMAN [OVER INTERCOM]:
Ambulance driver,
please call the operator.
Ambulance driver, please
call the operator.
Sergeant Bradfield, return
to the emergency room.
Sergeant Bradfield, return
to the emergency room.
So glad you could come.
How's Cheryl?
Just say hello to her.
She's taken a bad turn.
Pneumonia.
It's OK.
[phone rings]
Hello?
Hi, Mrs. Fields.
How is she?
[sniffling]
I'm sorry.
I'm sorry!
[crying]
Oh, Cheryl Fields died!
The only person who
understood was Cheryl Fields,
and she's dead.
I know everybody's
trying to help,
but you just can't
know what it's
like unless you've been there.
Doctor, I don't
know what to do.
I want to do what's right.
Parents are here, day and night.
It's taking a toll me.
- What?
Wait a minute.
Wait-- Wait.
THERESA: It's just--
- Wait a minute--
THERESA: -- not fair.
-- Theresa.
Let's don't get
mixed up in this.
Look, Theresa, I-- I want you
to listen to me with this.
You don't worry about us.
[sighs]
Don't worry.
My hair will turn
gray in two weeks,
and you're telling
me not to worry.
MRS. SALDANA: But we're
not complaining, Theresa.
We're your family, baby.
We want to be here for you.
MR. SALDANA: Theresa.
Get better.
That's all.
I'll be fine.
Just get better.
And the thing
between you and Fred?
Look, you love each other.
You'll work things out.
WOMAN [OVER INTERCOM]:
Dr. Bradfield, OR, please.
Dr. Bradfield, OR, please.
Oh.
Stay here.
Will you stay?
- No.
No, no.
FRED: Hi.
Hi.
I, uh, brought you a present.
Shall I unwrap it, or-- or you?
Whatever.
Oh God!
Oh god, it's adorable.
Do you like him?
Oh, he's a doll.
[laughs]
I had to sneak him in so
not to let the nurses see him.
Is it a boy?
I think he's a-- a boy.
Yeah.
Right.
[chuckles] You really like him?
Oh god, I love him.
I'm glad.
I-- I didn't know what to do.
I wanted to do something.
I figured, you like
your stuffed animals,
so maybe a real one
would be even better.
It's a great morale
booster, I asked him.
Go on, ask him.
- Oh.
I needed one.
I had another morale
booster today.
Yeah?
What?
Jeff Fenn is
coming on Saturday.
That's great.
[dog whines, theresa laughs]
Maria's going and buying him
a present, like a thank you.
Press wanted to make a big
deal out of it, you know.
I said no.
Good.
How do you thank
somebody like that?
Whenever I think of it,
how much we owe him.
He did what I
should have done.
Don't be silly, Fred.
He did it.
That's all we
should think about.
[dog whines]
[interposing voices]
MAN: Close the door.
Close the door!
Please, [inaudible] Please,
[inaudible] the camera--
- They're here!
- Thank you.
Oh my god.
Theresa--
- All right.
- Honey--
All right.
Beautiful.
You are beautiful.
You look wonderful.
You're the most beautiful girl
in the world and I love you.
Daddy, your jacket.
- Don't know what to say.
- Whatever comes into your--
- Jacket, jacket.
- --heart, honey.
OK.
- [sighs]
[inaudible]
It's pretty tight.
[inaudible]
[inaudible] Thank you so much.
Thank you.
Thank you.
Thank you.
I have something for you.
[clears throat]
To my hero, Jeff Fenn.
Thank you.
Thank you.
Thank you.
With much love and gratitude
forever, Theresa Saldana.
I didn't know
what to put on it.
I'll keep it for
the rest of my life.
I wouldn't be here
if it weren't for you.
I could say thank you, but that
doesn't tell you how I feel.
[sighs]
I guess we'll
always be different
because of what happened.
[sniffles]
WOMAN [OVER
INTERCOM]: Attention,
all surgical residents.
Grand rounds will
begin at 12:00 noon,
in the first floor conference--
There's nothing
to be afraid of.
[sighs]
Your hand?
Microsurgery was a killer.
Hurts so much.
I'll get you some painkillers.
Find a place yet?
They were all too expensive.
It has to be someplace
where I can be safe, where
I can keep up with my therapy.
Oh, what do you think
I've been looking for?
I haven't found
any organizations
that help victims, either.
Sound tired.
I'm all right.
I keep telling you, you
don't have to come every day.
Between my parents and my
friends, I could manage.
There's no need for you
to wear yourself out.
I come because I want to.
You-- You're doing
too much, Fred.
Let's just forget
about it, OK?
What's the matter?
[sighs] You can't feel
what's bothering me any
more than I can feel your pain.
But it's there, and it's taking
something away from both of us.
You said it to Jeff.
We'll never be the
same as we were.
Right now, I'm no
good at the center,
and I'm beginning to wonder
if I'm not good with you.
Your family does more
for you than I can.
I need you.
Do you?
You're going to be there
tomorrow, aren't you?
Yeah.
Of course I am.
There's going to be a
lot of strangers there.
Real strangers.
They'll be at the
pre-trial hearing.
The press is going to be there.
Everybody.
I know.
They're going to protect you,
but they'll still be there.
Jackson, too.
I know.
REPORTER: There she is, fellas!
[interposing voices]
Back off, back off!
[interposing voices]
-- and I heard a voice behind
me ask are you Theresa Saldana?
And I turned.
I tried to run, but he grabbed
my arm and I saw the knife.
And he brought it down, and he
stabbed me, and he stabbed me.
And he kept on stabbing me.
And I tried to fight him off.
LAWYER: Can you
identify this man?
Is he in this room?
Would you point him out, please?
It's the man in
the beige shirt.
LAWYER: Point him out, please.
Thank you.
Your Honor, the state requests
photographs of the injuries
for use as evidence.
Does the court so order?
PHOTOGRAPHER 1: Get a close
one of each chest wound.
PHOTOGRAPHER 2: Please.
PHOTOGRAPHER 1: Get
the one on her arm now.
And the other one.
Now, a full shot of all of them.
I've had enough.
Don't you want to even
try a little, honey?
I'm not hungry.
I know.
I know.
[knocking on door]
You should eat.
Hiya, Freddy.
Hi.
[dog whimpering]
Hi, [inaudible] baby.
They almost
caught me with him.
It's a good thing you're
going to be out of here soon.
[gasps] Found a place?
Yeah.
Motion Picture Hospital
said they'd bend the rules,
make an exception here.
In the business,
they can qualify you,
so we don't have to worry
about expenses for a while.
Yay.
That's great.
Yeah.
Did you tell them I don't
want to go as Theresa Saldana?
Yeah.
Yeah.
They said they'd
work something out.
Nobody will know you're
there, except your friends.
So, how are we doing?
All right.
She is a rotten liar, Fred.
I'll be back.
What's wrong?
Photographers
just got me down.
They were doing their jobs,
and it was hard to take.
[dog whines]
How about you?
Same.
So when are they going
to discharge you?
Week or so.
Maybe less.
Good.
How far out is Motion Picture?
Um.
About an hour or so.
Something like that.
It's two hours
every time you visit.
Yeah.
It really cuts into
my social life.
Freddy, I keep
telling you, you
don't have to come every day.
And I keep telling
you that I want to.
Don't you understand that?
Theresa, I hate being
alone in that apartment.
I'm beginning to wonder if
you're ever coming back.
Not to that apartment, no.
I meant to me.
I'm wondering, too.
I was hoping you would.
It's not your fault. I just
think something like this
would rip anybody apart.
We don't even talk to
each other anymore.
Well, what are we doing now?
You tell me.
You tell me how you
really feel about me
and how you feel about all this.
I don't know how I feel.
Yeah, I know you don't know!
I used to.
Whenever you walked into
a room, I knew exactly how
you felt. But I don't anymore.
I even forgot what it was like.
So what do we do?
I don't know.
WOMAN: Look at the great things.
There's all these old
movie stars on the walls.
You know, I really think
this place is pretty.
What's the matter, Theresa?
You don't like it?
Everybody's so old.
What'd you expect?
It's a retirement home.
MRS. SALDANA: Is something
bothering you, Theresa?
You didn't say a word
all the way out here.
THERESA: I'm fine, Ma.
I'm just a little worried.
MRS. SALDANA: About what?
THERESA: Well, once I
get settled in here,
you'll all be leaving soon.
Listen, I can stay
longer if you want me to.
I have to learn to
do things on my own.
JANE: Welcome to the
Motion Picture Hospital.
I'm Jane Bladow.
- Hello.
- Hi.
I brought you
copies of today's
menus and tomorrow's menus,
and a list of the regulations.
Oh my.
That little fellow is a
violation of one of them,
by the way.
You mean he can't visit me?
On the grounds outside,
but not in the rooms.
Now, we've made sure that
you're listed in the files
as Alicia Michaels.
MRS. SALDANA: Oh, good.
So as long as you're here,
you'll be known by that name.
Nobody knows who I am?
The staff people, of course.
But the others believe you're
the daughter of a director.
Thank you.
Who do I see to get
a cot from my mother?
In here?
I'm afraid that's impossible.
My mother or sister
stay with me every night.
The regulations here
don't permit that.
If you need someone, just
press the call button.
MRS. SALDANA: That's
all right, Theresa.
I'll stay here all day.
No.
Who do I see to arrange this?
I'm afraid no exception
can be made to that rule.
I can't be alone.
I need my mother.
We understand--
No, you don't understand!
Somebody tried to kill me.
Calm down.
I can't be alone.
I'll see what I can do.
You're working late.
What else is new?
What goes on in your mind
when they're talking?
Look.
Sometimes, I-- I
think about what
I'm going to have for dinner.
I keep wanting to
say you're the one
who's ruining your life!
Nobody else-- nobody else
took the knife and cut--
I think I need out.
Yeah.
Yeah, you do.
You can stay in my
room till 9:00 at night,
then you have to
come to the cottage.
Oh, it's OK.
It's OK.
I'll be all right as long
as I know you're near me.
There are plenty of
other rules here, too.
Yeah?
What are they?
I can only use the
phone at certain times.
[laughs]
Any time I want
to leave the ward,
even to go to therapy or to the
trial, I have to get a pass.
Ah.
It's like a boarding school.
Or a prison.
I'm lucky they took
me here, though.
At least I'm safe.
That's the most
important thing.
When are Daddy and
Maria going home?
Friday.
[inaudible]
What is it?
Fred?
It's not his fault.
Ever since this happened,
he's been having so much
trouble at the center.
He has to quit because of it.
Because of me.
Always so busy with
me all the time.
The therapy, the trial
coming up, the surgeries.
I can't even relate to
what he's going through,
and he can't relate
to me anymore.
We're just so far apart.
You know, Theresa, I had hoped
that you two could work it out.
It's OK.
I don't know what I'm
going to do when you go home.
What are you doing?
I'm putting them away.
Can I have them with me?
Well, you can't sleep
with your bed so crowded.
I can't sleep anyway.
They make me feel better.
Oh, now don't be
childish, Theresa.
One or two is fine, but
this many is ridiculous.
I don't care what it is.
They're mine, and I want them.
They'll be right
here, in your closet.
I want them in the bed.
I want them with me.
I want--
- Theresa.
- --them with me.
- Quiet.
Quiet!
[panting]
It's not necessary to
disturb the entire wing.
My mom get away all right?
I waited until
the plane took off.
They're all gone now.
Wanna sit?
Jeff was here yesterday.
He's going to quit Sparklets
and join the Sheriff's Academy.
It figures.
Oh, he's that kind of guy.
The Actor's Fund
is going to send
some girls over in the
evening and keep me company.
You don't have to come so often.
Theresa.
What are you going to
do when you leave here?
I was thinking, maybe I would
visit my family for a while.
But I'll write.
Sure.
I have to talk to Selma
about getting some work.
She's been calling
producers about me.
They all say the same thing.
They want to know if
I'll flip out on the set.
What about you?
Me?
Quitting the center.
After that-- [sighs]
I don't know what.
Maybe I'll visit my father.
When I come back
here, I want a p--
find a place of my own.
I expected you would.
No objections?
Oh, Theresa, what's the point?
Somewhere, we stopped
being married.
You needed your family
more than you did me,
and I don't know what I needed.
[TEARFULLY] [inaudible]
I can't give you.
Maybe it wasn't meant to last,
and Jackson just finished it.
We can still see each other.
Sure.
Sorry.
[sniffles]
Hi, Mom.
How are you doing?
Yeah, I know it's late.
Just homesick.
I didn't wake you up, did I?
You know me, I never sleep.
It's after 9:00, Ducky.
I'll be off in a minute.
So how are you?
Is Daddy taking care of himself?
What did the doctors say?
In fact, it's almost 9:30.
Hang on, Mom.
I'm talking to my mother.
Do you mind?
I certainly do.
You know the rules.
And you're disturbing
the other patients.
No, you're the one
who disturbs everybody.
You act like a drill sergeant.
- Hang up, Theresa.
There's [inaudible]
Just hang on a minute.
What did the doctor say?
[phone clicks]
You had no right doing that.
I have the right, and
I have the authority.
You are supposed
to be in your room,
and you are supposed
to be in your bed.
You and your rules.
The rules are more important
than the people around here!
I'm not finished.
- You are--
[interposing voices]
- I'm talking to my mother.
Look, my father--
hey, I'm not finished!
My father is sick!
My [inaudible]
[groans in pain] Don't
you ever do that again.
It was an accident.
Theresa--
I didn't mean to do that.
I'm sorry.
No, I asked for it.
I hurt you.
I'll get over it.
I've been through a rough
time, but that's no excuse.
I understand what
you're going through.
Believe me.
I've been through it myself.
It's just no reason
to act like a brat.
What?
I was beat up by a man I knew.
I spent five months
in the hospital.
I though you were just a
uniform and a set of rules.
Well, that's what
I want people to see.
When did it happen?
Oh, years ago.
But I haven't forgotten it.
Didn't it make you angry?
Yes.
Sometimes, I get so angry,
I just don't know what
I'm going to do with myself.
Did it make you
afraid to be alone?
I was so scared.
I was ashamed of myself.
Wasn't there anyone
you could talk to?
Someone who'd been through it?
No.
Nobody.
I toughed it out,
but it still hurts.
I still remember it, and
I'm still very careful.
I hit you.
I'm really sorry.
I wish you told me.
Well, we weren't
exactly buddies.
Sometimes, I feel
like nobody understands.
Nobody does.
Were you afraid to
leave the hospital?
Go outside?
I was scared stiff.
I'm really glad you're here.
Don't worry about a thing.
I think it's a good program.
I mean, for an honors program.
Are you enjoying it?
It's good to get out.
Yeah, I bet it is.
It's good for you to
be back in school, too.
Hey, look.
I have coffee and cookies.
Do you want some?
Sure.
Are-- Are you
are right out here?
Yeah.
OK.
I'll-- I'm gonna go get them.
I'll be right back.
WOMAN: Want a cookie?
Yes, please.
WOMAN: There you go.
Thank you.
Here you go.
You're Theresa
Saldana, aren't you?
I'm Miriam Schneider.
I thought I recognized you.
I've seen your movies.
[chuckles] I'm glad to
see you're recovering.
Thank you.
Meet a fellow victim.
Yeah.
Sure, I went through it, too.
I'm a teacher.
One of the boys caught me
in my classroom after school
and tried to rape me.
When I fought him
off, he shot me.
You don't look as if--
[laughter]
I mean, you look
like anybody else.
Yeah, on the outside.
I got the scars to prove it.
Did you go back to teaching?
It took me a while
to work up my nerve,
but it's what I do best.
You're going to go back
to acting, aren't you?
I want to.
I haven't tried yet.
You try.
Don't you let them stop you.
How did you do it?
Did anybody tell
you what to expect?
Did you talk to somebody
who'd been through it?
No, I did it on my own.
You know, trial and error.
It was rough.
[soft music]
I think-- I think
I'll go back inside.
Oh.
I'd like to talk
to you some more.
Maybe you could visit me at
the Motion Picture Hospital?
You know where it is?
Yeah.
There's somebody there
I'd like you to meet.
See you.
[chuckles]
A lot of people think
victims ask for it.
It could happen to anybody.
Nobody's immune, Ducky.
This has been
like group therapy.
It sure has.
You know what?
It-- It just helps so
much to talk to people
who've been through it.
It so hard for
others to understand.
It is so horrible to be
attacked by another human being.
JANE: Nobody can.
Wouldn't it have been
better for us if we'd
known each other before this?
We've really been lucky.
Mm.
Why don't we try and get
that across to other people?
Other victims?
Yeah.
There have to be thousands
who feel just the way we do,
who will be helped if they
talk to another victim.
But how would you
get in touch with them?
Through the papers?
They'll probably put
it on the back pages.
MIRIAM: Mm.
TV?
You could call a
press conference.
You could.
Yeah, but I need a hook.
The trial.
When's the trial supposed to be?
I keep getting subpoenas
and then his lawyer
gets another postponement.
It's a great idea, though.
JANE: It is.
Press conference
after the trial.
We should talk to
the DA about it.
He's really a nice guy.
What kind of help
are you thinking of?
THERESA: Your office
has files on all
the victims in Los Angeles.
They can't be made public.
Well, we wouldn't
make them public.
We just want people to
know what we're doing.
Well, the information in
those files is confidential.
The law doesn't
permit any such use.
Can you cooperate with us?
Maybe give us an
endorsement or assign
somebody to work with us?
Well, I'm going to--
I'm going to have
to explore that.
You know Sally Vincent, right?
From the DA's office?
Maybe-- maybe she
can help you on this.
Good.
We've been thinking
about the trial, too.
What we'd like to do is make
some kind of announcement
so people know about us.
We thought we could
do a press conference
right after the trial,
in the same courtroom.
You know, This is a
decision that-- that the judge
is going to have to make.
Could you explore that?
Yeah.
I could explore that.
Thank you.
Something hit me
in there, though.
Just because we think this is
a good way to help ourselves,
that doesn't mean
everybody else does.
And what if we get
the DA's support
and the press conference
and everything,
nobody wants that kind of help?
The thing is, I think this is
the real reason why I survived.
[sighs]
[interposing voices]
WOMAN: Hurry up, Harry!
Move it.
JUDGE: Ladies and
gentlemen, have you
reached a verdict in the case?
JURY: Yes, Your Honor.
JUDGE: Will the
foreman please hand
the verdicts to the bailiff?
Would you please
read the verdict?
We the jury, in the
above entitled action,
find the defendant,
Arthur Richard Jackson,
guilty of attempted murder
in violation of Section
644 187 of the Penal Code.
We further find that the
defendant, in the commission
of the above offense, did
personally use a deadly weapon
within the meaning
and intent of using
said deadly weapon as a bludgeon
and a penetrating blade.
THERESA: I'd like to thank all
of you for coming here today.
We plan to work hand in hand
with the DA Victim Witness
Assistance program to
provide support, advice,
companionship, and help.
We'd like anyone who's
interested to contact
us through the DA's office and
join us at our first meeting.
Thank you.
WOMAN: It's so good you're here.
Well, she means a lot to me.
Look at all these people.
Phone call paid off.
You must be real
proud of yourself.
- [laughs]
- No, No.
Really, you did well.
You did real well.
Do you think we
should get started?
[clears throat] Excuse me.
Thank you for coming.
You know, it's way
past 8:00, and I--
that's your husband.
Thanks for coming.
Why not?
I'm a victim, too.
Good luck.
We should get started.
Yeah.
[taps over microphone]
Hi.
I'm Theresa Saldana, and I
can't tell you how much it means
to me to see you here tonight.
I had a speech prepared, but I
don't think I need to read it.
Everyone in this room tonight
is here for the same reason.
Because it's so hard to get
through something like this
and because, for so
long, nobody, not even
our families or our
closest friends,
could understand how
horrible we felt.
At times, we were
afraid of people--
we even hated people--
and we felt like the
worst thing in the world
had happened to us.
And I think everyone
in this room
will agree that
it was completely
natural to feel that way.
So we're together now.
We understand each other, we
can really talk to each other,
and we can help each other.
And we can help not
just those of us
who are in this room tonight,
but everybody out there
who is or may become a victim.
We are Victims for Victims.
[applause]
[music playing]
[jingle plays]
[lion roars]