這場QA請到了兩位導演（Emma和Tia），一位Jane成員（Diane），和兩位現在活躍在醫療和教學一線的嘉賓，問答都非常精彩。我根據自己在現場的筆記，後續整理成文：
The production of this documentary is a race against the time, just as the movement was a race against the court. A simple voting shows that over 95% of the audience at USC Ray Stark Family Theatre has not heard about the Jane before, making the objectives of this documentary more crucial – to tell the story of women’s just, brave, illegal activist story that hasn’t been told. One of the audience asks the director how she got into contact with so many relevant parties, not only the Janes, but their husband, the “villain” detective, and Mike, one of the first male physicians who help the Jane but has a rather complex personality. The female attorney who helped the women change the law and release the Jane members, died before the directors started this project.
We were fortunate enough to meet Diane, one of the Janes, for the Q&A. Diane didn’t go public after the victory against anti-abortionist laws; she, like many others who fought together, returned to and continued with their own lives. It was a moving moment when she said “So long, Jane” in front of the audience. Diane also wanted this film to pass on their spirits to the younger generation (who comes to the screening and shares enthusiasm in women’s rights). She said that they were just ordinary women, who rose to the occasion and worked together and made big changes eventually. “We didn’t turn any woman away because we couldn't; we were them and they were us.” Many members of the Jane had legal or illegal abortions themselves, before they realized how crucial it was to have free, accessible, and safe abortion services available. Diane herself had to be testified as psychiatrically uncapable of having children before she gets an abortion from a hospital. When she first came to the Jane, she just wanted to help out before she realized the illegality of what they were doing. The Jane was a cohesive, women-help-women group. Thanks to the orientation process and spontaneous mentorships, Diane learned from Martha how to do counseling, how to assure the desperate women. She also shared us an anecdote: she had a job outside the Jane, but because she had to use her office phone to answer calls from women with abortion needs, she got fired; later, the woman who fired Diane had to seek help from the Jane as well. It wasn’t Diane who answered the phone, but still, no one ever gets rejected by the Jane except from dire medical reasons.
Diane’s response to professionalism differs from the current medical practice. The panel reminds us to be differential with history and be open to validating different systems of care. The women’s takeover of the operations was a bold move, but it was informed by the fact that they found that Mike was not a professional doctor. “If Mike could do it, we can do it as well,” the Janes believed. Jody was the most charismatic character, as many of her peers would say, and she was the first person to do abortion operations under Mike’s instruction. Unfortunately, she died about 15 years before, but thankfully her footages were shot by another filmmaker and were reused by Tia and Emma. No matter how the medical procedures were, there was a need for a system of coworkers to perform the abortion. Apart from the legal and medical considerations, the more serious problem is the lack of a culture of permission of abortion, the alienation between the women seeking abortion and their family. Nowadays, you put yourself at more risk writing about abortion than having an actual abortion, but recently in many states other than California women are losing their rights, and the states with most healthcare needs often have the least healthcare resources. With these in mind, the film wants to reflect in history, to resist repression and the internalization of stigma and pain, to practice micro activism, to stop the judging against women who needs abortion, and to challenge the gender norms.
