What Bullets Do to Bodies. April 2. 6, 2. 01. The gun debate would change in an instant if Americans witnessed the horrors that trauma surgeons confront every day. Photographs by Finlay Mackay. The first thing Dr. Amy Goldberg told me is that this article would be pointless.

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She said this on a phone call last summer, well before the election, before a tangible sensation that facts were futile became a broader American phenomenon. I was interested in Goldberg because she has spent 3.

Temple University Hospital in North Philadelphia, which treats more gunshot victims than any other in the state and is located in what was, according to one analysis, the deadliest of the 1. Over my years of reporting here, I had heard stories about Temple’s trauma team. A city prosecutor who handled shooting investigations once told me that the surgeons were able to piece people back together after the most horrific acts of violence. People went into the hospital damaged beyond belief and came walking out. That stuck with me. I wondered what surgeons know about gun violence that the rest of us don’t. We are inundated with news about shootings.

Fourteen dead in San Bernardino, six in Michigan, 1. Chicago. We get names, places, anguished Facebook posts, wonky articles full of statistics on crime rates and risk, Twitter arguments about the Second Amendment—everything except the blood, the pictures of bodies torn by bullets. That part is concealed, sanitized. More than 3. 0,0. America, around 7. Goldberg does. Even though Amy Goldberg has been treating gun patients for 3.

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On the cover: A bullet she keeps in her office. She pulled it out of a patient's heart during her residency. She is the chair of Temple’s Department of Surgery, one of only 1. America to hold that position at a hospital. In my initial conversation with her, which took place shortly after the mass shooting in Orlando, where 4. Glock handgun, she was joined by Scott Charles, the hospital’s trauma outreach coordinator and Goldberg’s longtime friend. Goldberg has a southeastern Pennsylvania accent that at low volume makes her sound like a sweet South Philly grandmother and at higher volume becomes a razor.

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I asked her what changes in gun violence she had seen in her 3. She said not many. When she first arrived at Temple in 1. It was so obvious to me then that there was something so wrong.” Since then, the types of firearms have evolved.

The surgeons used to see . Saturday night specials, whereas now they see . Charles said they get the occasional victim of a long gun, such as an AR- 1.

AK- 4. 7, “but what’s remarkable is how common handguns are.”Goldberg jumped in. As a country,” Goldberg said, “we lost our teachable moment.” She started talking about the 2.

Sandy Hook Elementary School. Goldberg said that if people had been shown the autopsy photos of the kids, the gun debate would have been transformed. The fact that not a single one of those kids was able to be transported to a hospital, tells me that they were not just dead, but really really really really dead. Ten- year- old kids, riddled with bullets, dead as doornails.” Her voice rose. She said people have to confront the physical reality of gun violence without the polite filters. The country won’t be ready for it, but that’s what needs to happen.

That’s the only chance at all for this to ever be reversed.”She dropped back into a softer register. Nobody gives two shits about the black people in North Philadelphia if nobody gives two craps about the white kids in Sandy Hook. I thought white little kids getting shot would make people care. Nope. They didn’t care. Anderson Cooper was up there.

They set up shop. And then the public outrage fades.”Goldberg apologized and said she wasn’t trying to stop me from writing a story. She just didn’t expect it to change anything.

The hospital’s main building is a nine- story tower on North Broad, the street that traces a north- south line through Philadelphia. If you think of Broad as the city’s spinal column, the hospital is about level with the heart.

Stand on the sidewalk outside the hospital and look south on a clear day and you can see the pale marble and granite of City Hall, about 4 miles away, near Philly’s pelvis. You can go to Temple for high- end elective surgery, like getting a knee replacement or a heart transplant, same as at any other major teaching hospital in the country. As Jeremy Walter, Temple Hospital’s amiable director of media relations, reminded me more than once, “Temple isn’t just a hospital that treats drug addicts and gun victims.” Still, it was founded 1. Samaritan to provide free care, and that public- service mission persists.

Some of the most violent blocks in the city are within a 4- mile radius of the hospital, and crime victims funnel in. I first met Goldberg one weekday last summer, in the hospital lobby. I had arranged to stay and observe for 2. Walter, who carried a trauma pager and a yellow folder of consent forms. The rule was that I could observe a surgery if the patient or a family member consented, and if I wanted to do an interview, the patient had to sign a form. Goldberg is 5 feet 2 inches tall, with a runner’s build.

She wore a gray mock- turtleneck sweater with no sleeves. Her hair is short and there was a little gel in it that made it spiky. She explained that there are two main categories of trauma: blunt and penetrating. Blunt trauma is like a beating, a fall. Penetrating is a gun or stab wound. Unfortunately we get a lot of penetrating traumas,” she said.

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Temple sees 2,5. 00 to 3,0. The trauma pager buzzed shortly after noon. LEVEL 1 PED, it said—a pedestrian struck by a car. I followed Goldberg to the ER, and she disappeared behind a windowless set of double doors, into the trauma resuscitation area. A few moments later she emerged and waved me inside.

The trauma unit at Temple University Hospital, in a rare moment of calm. The trauma area is a rectangular room with three bays, each of which can accommodate two patients side by side when it’s busy. It’s an organized place—there are small trays on wheels for different surgical procedures, each tray holding a particular complement of instruments—but the tubes and cables snaking from poles and machines make it feel a bit chaotic to the untrained eye.

The goal of a trauma surgeon is to limit the amount of time that a patient spends in a trauma bay, to stabilize the patient until he can be transferred for a CT scan or to the OR for surgery. The temperature in the room feels about five degrees hotter than in the rest of the hospital. The air doesn’t seem to move. The pedestrian was awake but silent. This concerned Goldberg because by all rights he should have been screaming in pain. He looked to be in his late 2.

He had black hair and his shirt had been removed. He spoke Spanish.

There was a laceration above his right eye and a small amount of blood on the sheets near his head. Goldberg and about 2. Goldberg wore purple latex gloves.

She tapped lightly on the patient’s left forearm with one hand. The arm was broken.“No dolor?” she asked in Spanish. No pain? He shook his head. Really?” she said.

No?”Goldberg walked over to another doctor and said, “So are you troubled by the fact that he’s not screaming? He has an arm that’s so freaking broken and he’s not screaming.” She frowned.

I’m troubled by that.”The patient’s vital signs appeared stable but Goldberg was worried about internal bleeding. A lack of pain could indicate a hidden injury. He needed a CT scan.

Little Shop of Horrors (film)Little Shop of Horrors is a 1. American rock musicalhorror comedy film directed by Frank Oz. It is a film adaptation of the off- Broadwaymusical comedyof the same name by composer Alan Menken and writer Howard Ashman about a geeky florist shop worker who finds out his venus fly trap can speak.

Menken and Ashman's Off- Broadway musical was based on the low- budget 1. The Little Shop of Horrors, directed by Roger Corman.

The 1. 98. 6 film stars Rick Moranis, Ellen Greene, Vincent Gardenia, Steve Martin, and Levi Stubbs as the voice of Audrey II. The film also featured special appearances by James Belushi, John Candy, Christopher Guest, and Bill Murray. It was produced by David Geffen through The Geffen Company and released by Warner Bros. December 1. 9, 1. Little Shop of Horrors was filmed on the Albert R.

Broccoli 0. 07 Stage at the Pinewood Studios in England, where a "downtown" set, complete with overhead train track, was constructed. The film was produced on a budget of $2. Corman, only cost $3. The film's original 2. For years only available as black- and- white workprint footage, the original ending was fully restored in 2.

Warner Home Video. A three- girl "Greek chorus"—Crystal, Ronnette, and Chiffon—introduce the movie, warning the audience that some horror is coming their way ("Prologue: Little Shop of Horrors"). Seymour Krelborn (Rick Moranis) and his colleague, Audrey (Ellen Greene), work at Mushnik's Flower Shop in a run- down, rough neighborhood referred to as "Skid Row" in the slums of New York City. They lament that they cannot escape the neighborhood ("Skid Row" (Downtown)"). Struggling from a lack of customers, Mr. Mushnik (Vincent Gardenia) decides to close the store, but Audrey suggests he may have more success by displaying an unusual plant that Seymour owns. Immediately attracting a customer, Seymour explains he bought the plant, which he dubbed "Audrey II", from a Chinese flower shop during a solar eclipse ("Da- Doo").

Attracting business to Mushnik's shop, the plant soon starts dying, worrying Seymour. Accidentally pricking his finger, he then discovers Audrey II needs human blood to thrive ("Grow for Me").

Seymour takes Audrey II and is interviewed on the radio, and Audrey misses the broadcast due to being "hand- cuffed a little" by her sadistic, mean- spirited boyfriend Orin Scrivello (Steve Martin). The three girls suggest Audrey dump Orin and get another man to protect her, like Seymour, but Audrey states she doesn't deserve a nice guy. Despite this, Audrey has feelings for Seymour and secretly dreams of running off with him to the suburbs ("Somewhere That's Green").

Audrey II continues to grow rapidly and Seymour becomes a local celebrity ("Some Fun Now"). Seymour soon attempts to ask Audrey out, but she turns him down because she has a date with her boyfriend, revealed to be a dentist ("Dentist!"). After Seymour closes up shop, Audrey II begins to talk to Seymour, demanding more blood than Seymour can give. The plant proposes that Seymour murder someone in exchange for fame and fortune: Seymour initially refuses, but agrees after witnessing Orin beating Audrey ("Feed Me (Get It)").

After Orin finishes with his masochistic patient, Arthur Denton (Bill Murray), who requested "a long, slow, root canal", Seymour books an appointment with Orin and arms himself with a revolver; however, he cannot bring himself to use it. Orin, who abuses nitrous oxide, puts on a type of venturi mask to receive a constant flow of the gas. Accidentally breaking an intake valve and unable to remove the mask, Orin begs Seymour for help removing it, but Seymour does nothing. When Orin asks Seymour what he ever did to him, Seymour coldly replies, "Nothing, it's what you did to her." Orin dies from asphyxiation and Seymour drags his body back to Audrey II. While dismembering the body to feed to the plant, Seymour is unknowingly witnessed by Mushnik, who flees in fear. After feeding Orin's parts to Audrey II, which has grown to enormous size, Seymour discovers the police investigating Orin's disappearance.

Audrey, feeling guilty about wishing Orin would disappear, is comforted by Seymour and the two admit their feelings for each other ("Suddenly, Seymour"). That night, Mushnik confronts Seymour about what he saw and holds Seymour at gunpoint, threatening to report him to the police.

Mushnik then changes his mind, saying that since Seymour was "like a son" to him, he'll allow Seymour to leave town, leaving the plant to Mushnik. With no choice, Seymour steadily backs him towards the plant, which swallows Mushnik whole ("Suppertime").

Despite widespread success, Seymour worries about Audrey II's growth and unbridled appetite ("The Meek Shall Inherit"). Offered money and a contract for a botany TV show, Seymour plans to escape Skid Row with Audrey using the money, leaving the plant to starve. After Audrey accepts Seymour's marriage proposal, Audrey II catches Seymour leaving and demands another meal: Seymour agrees, but insists on meat from a butcher.

While Seymour is gone, the plant telephones Audrey, coaxes her into the shop, and then tries to eat her. Watch Cat Run 2 Streaming more. Seymour, returning in time to save Audrey, escapes the store with her. Explaining that he fed the plant to become successful and win Audrey's heart, Seymour discovers she has always loved him.

Approached by an executive from a botanical company named Patrick Martin (James Belushi), Seymour is offered a contract to breed Audrey II and sell the saplings worldwide. Horrified by the idea, Seymour drives Martin away, and realizes he must destroy Audrey II for the sake of humanity. Returning to the shop, Seymour learns that Audrey II is actually an alien from outer space ("Mean Green Mother from Outer Space"). Audrey II traps Seymour and destroys the shop, but Seymour grabs an exposed electrical cable and electrocutes Audrey II. Leaving the destroyed shop, Seymour safely reunites with Audrey. The two wed and move to the suburbs: arriving at their new home, which is the one seen in Audrey's daydreams, a smiling Audrey II bud can be seen among the flowers in their front yard. Original ending[edit]During production, director Oz shot a 2.

Broadway musical's ending. However, after audiences at the preview screenings did not react positively to it, the ending had to be rewritten and re- shot for the theatrical release with a "happier ending."[3] The changes also comprised re- edits to many scenes, amounting to a lighter tonal shift throughout the whole movie in order to appease test audiences and accommodate the new ending.

These were either moments foreshadowing the original ending or establishing the tragic karma of the characters; most notably in the darker editing of the scenes in which Seymour feeds Orin and Mushnik to the plant and the alternative dialogue between Seymour and Audrey before a cut "Suddenly Seymour" reprise.[4][5]In the original ending, when Audrey is attacked by the plant, Seymour pulls her from its jaws but is too late to save her, as she is mortally wounded. As she is dying she tells him what the plant said about Orin and Mushnik, and then Seymour confesses that he fed them to the plant. Audrey requests that Seymour feed her to the plant too so that it will live and Seymour can earn the success he deserves ("Somewhere That's Green (Reprise)"). After fulfilling her dying wish, he attempts suicide by jumping off the roof of a building, only to be stopped by Patrick Martin.