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fd_FRIENDS_07x04	fd_FRIENDS_07x04_0	You are given a script of a TV episode. Summarize the episode in a paragraph. Episode Script: [Scene: Monica, Chandler, and Phoebe's, everyone is there and they are finishing watching the first episode of Mac and C.H.E.E.S.E. Joey is of course Mac.] Mac: (on TV) Well, if we learned one thing today C.H.E.E.S.E. is that cheerleaders and high explosives don't mix. (Cut to Joey laughing while Rachel, Chandler, and Monica aren't amused.) C.H.E.E.S.E: You can say that again Mac. Mac: Well, I couldn't have done it without you buddy. You're a genius. C.H.E.E.S.E: Oh yeah? Well then how come I can't get my VCR to stop blinking 12:00? (They both break into a huge laugh and do that stop-motion thing they had at the end of ChiPs.) Joey: (laughing and turning off the TV) So, what did you guys think? (They all make happy faces as they are unable to express their feelings verbally. Finally, the phone rings and the race to answer it is won by Monica.) Monica: (on phone) Hello? (Listens) Hold on please. Joey, it's your mom. (Hands him the phone.) Chandler: It's your mommy. It's your mommy. Ross: Ohhhh... Rachel: That's nice. Joey: (on phone) Mom, so what did you think? (He walks away allowing the gang a chance to figure out what they're gonna say.) Rachel: Well that was umm...Okay. Ross: It wasn't the best. Chandler: That was one of the worse things ever. And not just on TV. Monica: Wh-what are we gonna tell him? Ross: Well, the lighting was okay. Rachel: Ohh no you don't! You got lighting last time, lighting is mine! Monica: And I have costumes. Ross: Oh great! That means I'm stuck with, "So, we were watching you in there (Points to the TV) and you were sittin' right here! Whoa!" (Phoebe gets up.) Rachel: What are you gonna do Pheebs? Phoebe: I don't know. I don't know. I can't lie to him again. Oh no I-no! I'm just gonna press my breasts up against him. Chandler: And say nothing? Phoebe: Uh-huh, yeah that's right. Joey: (hangs up the phone) Wow! Well, my folks really liked it! So what-what did you guys think? (Phoebe smiles, walks up to him, and presses her breasts against him.) It wasn't that good. Opening Credits [Scene: Central Perk, Phoebe and Monica are reading on the couch.] Monica: Phoebe, do you think that your favorite animal says much about you? Phoebe: What? You mean behind my back? Rachel: (entering, excitedly) Oh! Hi you guys, oh my God! You'll never gonna believe what happened to me today! I am sitting in my office and... Joey: (entering from bathrooms excitedly) You guys! You guys! You're not gonna believe what my agent just told me! Rachel: Joey! Kinda in the middle of a story here! Joey: Ooh, sorry. Sorry. You finish, go. Rachel: Okay, so anyway I'm sittin' in my office and guess who walks in. Joey: I'm gonna be on two TV shows! Monica and Phoebe: Oh, that's great!! Rachel: Joey! Joey: Oh, you weren't finished? Rachel: Yeah! Guess who walks into my office is the end of my story. (To Monica and Phoebe) It was Ralph Lauren! (Monica and Phoebe gasp) Ralph Lauren walked into my office! Joey: Uh Rach, if you're gonna start another story, at least let me finish mine. Rachel: It's the same story. Joey: (groans in disgust) Wow, it's really long. Rachel: (ignoring him) Anyway, Ralph just came in to tell me that he's so happy with my work that he wants me to be the new merchandising manager for polo retail. Monica: Still get a discount on wedding dresses? Rachel: Yeah! Monica: I'm so happy for you! Joey: Well, these really are the days of our lives. Monica: What?! Joey: Well, since you ask. They want me back on Days of Our Lives! Phoebe: (gasps) Oh God! Rachel: I got-I get a big pay raise! Phoebe: Oh hey! Joey: I'll be playing Drake Ramoray's twin brother, Stryker! Monica: Oooh! Rachel: I get to hire my own assistant! Monica and Phoebe: Ahhh!! Joey: (jumps up) Well-I got a head rush from standing up too fast right there. [Scene: Rachel's New Office, she's interviewing a potential new assistant, Hilda.] Rachel: (reading the resume) And you were at this job for four years? Hilda: That's right. Rachel: Okay, well this is all very impressive Hilda, um I just have one last question for you. Uh, how did I do? Was this okay? Hilda: What? Rachel: I've never interviewed anyone before. I've actually never had anyone work for me before. Although when I was a kid, we did have a maid, but this is-this isn't the same thing. Hilda: No dear. It's not. Rachel: No. Yeah, and I know that. All right, well thank you so much for coming in, it was nice to meet you. Hilda: Thank you! Good meeting you. Rachel: All right. (Hilda exits) I'm a total pro! (There's a knock on the door and a handsome man enters.) Man: Hello? Rachel: (seeing him) Wow! H-umm! Hi! Yes, uh I'm sorry the models are actually down the hall. Man: Actually, I'm here about the assistant job. Rachel: Really?! (Taking his resume) Okay well then, all right, well just have a seat there. Umm, so what's-what is-what's your name? Man: Tag Jones. Rachel: Uh-huh, go on. Tag: That's it. That's my whole name. Rachel: That's your whole name, okay of course it is! Okay, well let's-let's just have a look-see here. (Looking at his resume) Tag: I know I haven't worked in an office before, and I really don't have a lot of experience, but uh... Rachel: Oh come on, what are you talking about? You've got three years painting houses. Two whole summers at T.G.I. Friday's, come on! Tag: It's lame, I know. But I'm a goal-oriented person, very eager to learn... Rachel: Okay, hold on just a second. (She grabs a camera out of the desk and takes his picture.) I'm sorry, it's for human resources, everybody has to do it. Could you just stand up please? [Scene: Central Perk, Chandler is sitting on the couch when some unknown guy comes in and sits in their easy chair.] Chandler: No-no-no-no. (Waves him away as Monica and Phoebe enter whispering to each other.) Hey! (Monica shushes him.) Phoebe: (To Monica) Anyway, I should go. Okay, bye. Monica: (To Chandler) Hey sweetie. Chandler: Hi sweetie. So, what was with all the whispering? Monica: I can't tell you. It's a secret. Chandler: Secret? Married people aren't supposed to have secrets between one another. We have too much love and respect for one another. Monica: Awww. (Kisses him.) But still no. Chandler: No I'm serious, we should tell each other everything. I do not have any secrets from you. Monica: Really? Okay, so why don't you tell me what happened to Ross Junior year at Disneyland? Chandler: Oh no-no, I can't do that. Monica: If you tell me, I'll tell you what Phoebe said. Chandler: Okay. Monica: Okay. Chandler: So, Ross and I are going to Disneyland and we stop at this restaurant for tacos. And when I say restaurant, I mean a guy, a hibachi, and the trunk of his car. So Ross has about 10 tacos. And anyway, we're on Space Mountain and Ross starts to feel a little iffy. Monica: Oh my God. He threw up? Chandler: No, he visited a little town south of throw up. (Monica laughs hysterically.) So what was Phoebe's secret? Monica: Oh, Nancy Thompson from Phoebe's old massage place is getting fired. Chandler: That's it?! I gave up my Disneyland story for that? Monica: That's right! You lose sucker!! (Pause) Please still marry me. [Scene: Monica, Chandler, and Phoebe's, Chandler, Rachel, and Phoebe are there.] Rachel: Chandler, you have an assistant right? Chandler: (angrily) Did she call? You-you told her I was sick right? Always tell her I am sick! Rachel: No, I-I just don't know how you decide who to hire. I mean I've got it narrowed down to two people. One of them has great references and a lot of experience and then there's this guy... Chandler: What about him? Rachel: I love him. He's so pretty I wanna cry! I don't know what to do. Tell me what to do. Phoebe: Come on you know what to do! You hire the first one! You don't hire an assistant because they're cute, you hire them because they're qualified. Rachel: Uh-huh. No, I hear what you're saying and-and-and that makes a lot of sense but can I just say one more thing? (Takes out his picture.) Look how pretty! Phoebe: Let's see. (Looking at the picture) Oh my God! Oh... But no! No! You can't-you can't hire him, because that-it's not professional. Umm, this is for me (The picture) yes? Thanks. (Puts it in her pocket.) Rachel: Okay you're right. I'll hire Hilda tomorrow. Dumb old perfect for the job Hilda! Chandler: Let me see this guy. (Phoebe hands him the picture.) W-H-Wow! Don't show this to Monica! And don't tell her about the W-H-Wow! [Scene: The Days of Our Lives producer's office, Joey is entering to find Terry there.] Terry: Hey-hey-hey Joey! Joey: Hey Terry! Terry: Good to see you again! Joey: It's been a while, huh? Wow, it's funny these halls look smaller than they used to. Terry: It's a different building. Joey: So! Stryker Ramoray huh? When do you want me to start? Terry: Why don't we start right now! Joey: Okay. Terry: Here are the audition scenes. (Holds out the script.) Joey: (looking between the pages and him) Audition? I thought you were gonna offer me the part. Terry: Why would you think that? Joey: Well, I was Dr. Drake Ramoray, Stryker's twin brother. I mean, who looks more me than me right? Terry: Everybody has to audition. Joey: Y'know Terry, I-I don't really need to do this. I got my own cable TV series, (Pause) with a robot. Terry: I'm sorry Joey that's...that's the way it is. Joey: Well. I guess you think you're pretty special huh? Sittin' up here in your fancy small hall building. Makin' stars jump through hoops for ya, huh? Well y'know what? (Throws the script away) This is one star who's hoop... This is a star that the hoop-this hoop-I was Dr. Drake Ramoray! [Scene: Rachel's office, she's there as Tag knocks on the door and enters carrying a plant.] Rachel: Hi! Tag. What are you doing here? Tag: I just wanted to come by and thank you for not laughing in my face yesterday. And I noticed there aren't any plants in your office so I wanted to bring you your first... (Notices her plant) There is a plant in your office. Rachel: Kinda. Tag: Right. So I guess I shouldn't put "good at noticing stuff" on my resume. (Sets the plant down on her desk.) Rachel: Oh-ohh, thank you. Tag: Anyway, I'm guessing you hired somebody. Rachel: Well... Tag: Gotcha. Thanks again for meeting with me. (Starts to leave.) Rachel: But I hired you! Tag: What? Rachel: Yeah! You-you got the job! You're my new assistant! Tag: I am?! Rachel: Yeah! Tag: I can't believe it! Rachel: Me either. Umm, all right, first thing I need you to do is go downstairs and find a women named Hilda and tell her to go home. [Scene: Monica, Chandler, and Phoebe's, Monica is setting the table for dinner as Chandler enters.] Chandler: Hey. Monica: Hey! Good, you're home! Chandler: Oh it's always nicer to hear than, "Aw crap! You again!" Monica: Hey baby. (Kisses him.) Chandler: Hey. Monica: I made you a surprise. Chandler: Oh yeah? Monica: Yeah, tacos! Ever since you told me that story I've had such a craving for them. Chandler: Did you not understand the story? Ross: (entering) Hey! Chandler: Hey! What's up? Monica: Ross! Ross: Oh, nothin' much. Just trying to figure out what I'm gonna do for dinner. Chandler: Huh. Ross: (notices the table) Hey-Ooh! What's-what's that, dinner stuff? You making dinner? Chandler: No! (The oven dings.) Shhh! Ross: What you got over there? Tacos? Monica: No! No. They're umm... They're just uh...ground beef smileys. (Holding up one of the shells.) Ross: Uhh, those are tacos. Monica: Excuse me Mr. Mexico. Ross: Eh, either way I'll pass. (Quietly to Chandler) I still can't eat those. (Monica is getting something out of the fridge and starts laughing.) What's so funny?! Monica: (trying not to laugh) I'm not laughing. (Ross and Chandler move closer to her and she starts laughing again.) Ross: (To Chandler) You told her! Chandler: Nancy Thompson's getting fired! (Monica slaps him on the shoulder.) Ross: (To Monica) Look, okay-okay I had food poisoning! It's not like I chose to do it! It's not like-It's not like I said, "Umm, what would make this ride more fun?!" Monica: You're right. I mean I'm sorry. Yeah, I shouldn't be laughing. I should be laying down papers for you! (Runs off laughing which gets Chandler laughing.) Ross: (To Chandler) How could you tell her?! Chandler: I had to okay?! We're getting married! Married couples can't keep secrets from one another! Ross: Oh really? Well I-I guess Monica should know about Atlantic City. Chandler: Du-ude! Monica: (running up to Ross) What happened in Atlantic City?! Ross: Well, Chandler and I are in a bar... Chandler: Did you not hear me say, "Du-ude?!" Ross: And this girl is making eyes at Chandler, okay? So after awhile he-he goes over to her and uh, after a minute or two, I see them kissing. Now, I know what you're thinking, Chandler's not the type of guy who just goes to bars and makes out with girls, and you're right, Chandler's not the type of guy who just goes to bars and makes out with...girls. Monica: (To Chandler) You kissed a guy?!! Oh my God. Chandler: In my defense, it was dark and he was a very pretty guy. Ross: Oh Mon, I laughed so hard... Chandler: Ho-ho, so hard we had to throw out your underwear again? Ross: Whatever dude, you kissed a guy. [SCENE_BREAK] [Scene: Joey and Rachel's, Phoebe is giving Joey a massage as Rachel enters.] Rachel: Hi! Joey: Hey. Phoebe: Hey-Ooh, how's Hilda? Is she working out? Rachel: Ohh, my new assistant is working out, yes. Joey: Was she happy you gave her the job? Rachel: Oh, my-my new assistant was very happy that I hired my new assistant. (The phone rings and Joey answers it.) Joey: (on phone) Hello? (Listens) Oh hey! Can you, can you hang on a second? (To Phoebe and Rachel) It's the producers over at Mac and C.H.E.E.S.E. can you excuse me for a minute? (On phone) Hey, funny you should call. I was just looking over next week's script. (Listens) Canceled?! (Listens) Like they're taking it off the air? (Listens) Ohh. (Listens) All right, see you Monday. (Listens) We're not even shootin' them anymore?!! (Listens) All right, bye! (Hangs up) They canceled Mac and C.H.E.E.S.E! Phoebe: Sorry. Rachel: I'm sorry Joey. Joey: Why would they do that?! It was a good show right?! (Phoebe and Rachel both pause, look at each other, and go press their breasts against him. Which Joey doesn't mind, of course.) [SCENE_BREAK] [Scene: Monica, Chandler, and Phoebe's, Chandler, Monica, and Ross are still giving away all of their secrets.] Chandler: You wanna tell secrets?! Okay! Okay! In college, Ross used to wear leg warmers! Ross: All right! All right! Chandler entered a Vanilla Ice look-a-like contest and won! Chandler: Ross came in fourth and cried! Monica: Oh my God! (Laughing) Ross: Oh, is that funny?! Oh, you-you find that funny?! Well maybe Chandler should know some of your secrets too! Monica: I-I already told him everything! (Threateningly) You shush!! Ross: Once Monica was sent to her room without dinner, so she ate the macaroni off a jewelry box she'd made. Monica: Ross used to stay up every Saturday night to watch Golden Girls! Ross: Monica couldn't tell time 'til she was 13! Monica: It's hard for some people! Chandler: (To Monica) Of course it is. (Mouths to Ross) Wow-whoa! Monica: Chandler one time wore my underwear to work! Chandler: Hey!!! Monica: Ohh, I'm sorry I couldn't think of any more for Ross! Ross: Ohh! Ohh! In college, Chandler got drunk and slept with the lady who cleaned our dorm! Chandler: That was you! Ross: Whatever dude, you kissed a guy. [Scene: Joey and Rachel's, Joey is still bumming about cancellation of Mac and C.H.E.E.S.E.] Joey: How could this happen to me?! Yesterday I had two TV shows! Today, I got nothin'! Rachel: Well wait a minute, what happened to Days of Our Lives? Joey: Uh, well they might be a little mad at me over there. Phoebe: What happened? Joey: Well maybe I got a little upset and maybe I told them where they could go. Rachel: Joey, why would you do that? Joey: Because they wanted me to audition! Phoebe: You! An actor?! That's madness! [Scene: Rachel's Outer Office, Tag is sitting at his desk as Rachel walks up. She stops and watches him pick up the phone.] Tag: Rachel Green's office. (Hangs up.) Rachel: Tag? (He turns and looks at her.) Hi, who was that? Tag: (shyly) Nobody. I was just practicing. Rachel: Really? (Giggles.) (Phoebe rounds the corner.) Phoebe: Hi! Tag: Hi! Rachel Green's office. Phoebe: You must be Hilda. Rachel: Yeah, this is Tag. Tag, this is Phoebe. Phoebe, can I see you for a second? (Goes into office.) Tag: Phoebe! That's a great name. Phoebe: Oh, you like that? You should hear my phone number. Rachel: (grabbing Phoebe) Okay. We'll be right back. (They go into her office and she closes the door.) Phoebe: So you hired yourself a little treat did ya? Rachel: All right I know, I know how it looks Pheebs, but I'm telling you... Phoebe: But-but you know you cannot get involved with your assistant. Rachel: Yes, I know that. I know that. And I know that hiring him was probably not the smartest thing that I've ever done. But I'm telling you, from this moment on I swear this is strictly professional. (There's a knock on the door.) Yes? (Kathy enters (Because she's listed in the credits).) Kathy: Hey Rachel! Rachel: Hi! Kathy: Cute assistant! What's his story? Is he... Rachel: Gay? Yeah. (Kathy leaves dejectedly.) [Scene: Terry's office, Joey has come to beg for a second chance.] Joey: Hey! Terry. Terry: Joey Tribbiani! I'm surprised your big head could fit through our small halls! (Gets up) I gotta go Joey. Joey: Wait! Terry! Wait-Look-Wait I-I... Look, I'm really sorry about before. I was an idiot thinking I'm too big to audition for you. You gotta give me another chance. Terry: I can't help you Joey. Joey: Wait! Terry! Please! Look, I just lost my other job. Okay? You have no idea how much I need this. Please, help me out, for old times sake. [Cut to a hospital room set on the Days of Our Lives stage. Two nurses are standing next to a bed with a man whose face is completely covered in bandages and reading his chart.] Nurse #1: This poor guy's been in a coma for five years. It's hopeless. Nurse #2: It's not hopeless! Dr. Stryker Ramoray's a miracle worker. Look, here he comes. (Stryker enters, only it's not Joey playing him.) Dr. Stryker Ramoray: Good morning. (He walks over to the bed, leans down, and whispers to him.) Drake, it's your brother Stryker. Can you hear me? The Director: And cut! Joey: (jumping up and removing the bandages) I'm back baby! Ha-ha-ha! [Scene: Central Perk, Chandler, Monica, and Ross are sitting there and not talking to each other.] Monica: Y'know, in my defense, umm there was no glitter on the macaroni and very little glue. Ross: And in my defense, the cleaning lady came on to me! Chandler: (To Monica) You have no trouble telling time now right? Monica: No! Chandler: Quick! What time is it?! (Holds his watch in front of her face.) Monica: I don't know! Time to kiss a guy maybe?! (Ross laughs.) What are you laughing at Pampers? (He stops laughing and glares at her.) Chandler: Y'know when I said that because we're getting married that we should share everything and not have any secrets? Monica: Yeah? Chandler: Yeah that was stupid. Let's not do that. Monica: Ohh, absolutely. Ross: And! We should keep all the stuff uh, we told each other secret from everybody else. Monica: Yeah, definitely! Ross: Okay, (gets up) if you'll excuse me, I-I'm gonna go hang out with some people who don't know the Space Mountain story. Monica: Then, I'd steer clear of Phoebe. Ross: Man! (Monica mouths, "I'm sorry.") Chandler: Yeah, and not that you would, but I wouldn't hang out with...all the guys in my office. (Ross storms out.) Ending Credits [Scene: Rachel's office, she's looking at a picture of Tag when he knocks and enters.] Rachel: (noticing him) Hi! (Puts the pictures away.) Tag: Do you have a minute? Rachel: Well yeah, sure, what's up? Tag: I got asked out twice today when I was at lunch...by guys. Rachel: Oh really?! Tag: Yeah. Did you tell someone that I was gay? Rachel: Oh, did you not want people to know that? Tag: But I'm not gay. And I especially wouldn't want you to think I was gay. Rachel: Why's that? Tag: I don't think I should say. Rachel: Ohh, you can say. Come on, I don't want you to feel like you can't tell me things. (Motions for him to sit down.) Tag: Okay. Rachel: 'Kay. Tag: Well... Rachel: Yeah. Tag: I'd love to ask out your friend Phoebe. Rachel: (Pause) Yeah, she's gay. Summary:	Rachel must choose between a hunky young guy, Tag, or an experienced and well-qualified woman, to hire as her executive assistant. Joey is offered the part of Dr. Stryker Ramoray, the twin of his old character Dr. Drake Ramoray, on Days of Our Lives but is offended when he is asked to audition. However, when Mac and C.H.E.E.S.E. is cancelled, Joey finds himself crawling back to the producers. Monica, Chandler, and Ross (who wore leg warmers) all reveal secrets about each other. Monica tells Phoebe's secret of an employee getting fired. Chandler reveals about his trip to Disneyland where Ross ended up ill on a ride after eating road-side tacos. Ross tells Monica about an Atlantic City trip where Chandler accidentally kissed a guy. Fat Monica ate her macaroni diorama. Ross kissed a cleaning lady.	95	20,533	20,535	20,535	... [The rest of the episode script is omitted]
fd_Buffy_the_Vampire_Slayer_04x14	fd_Buffy_the_Vampire_Slayer_04x14_0	You are given a script of a TV episode. Summarize the episode in a paragraph. Episode Script: An Initiative briefing. Maggie: This is your objective. Narrator: Previously on Buffy the vampire slayer. Walsh: .. demon classed as the Polgara species Engelman: ...bone skewers jut from the creature's forearms during battle. It's imperative not to damage its arms. Buffy: Why exactly can't we damage this polka thing's arms? Cut to Engelman and Walsh in a lab. Engelman: She's an unnecessary risk. Cut to Walsh speaking to Buffy. Walsh: Two of our hostiles broke free Cut to Buffy faces the two demons Walsh: and escaped into the tunnels Cut to Walsh and Riley in the Initiative. Walsh: She's dead Riley. Riley: I don't understand. On the monitors behind them. Buffy: Professor Walsh if you think that's enough to kill me. you really don't know what a slayer is. Cut to Walsh musing in lab. Walsh: She wants a fight we'll give her one. Cut to Buffy talking. Buffy: It's not safe for any of us. Cut to Walsh musing in lab. Walsh: And then when she least expects it, ahhh. She is impaled by a skewer. Walsh: Adam. Adam: Mommy. cut to Giles apt. This scene is a direct continuation of the previous episode with a time gap of perhaps one to five minutes. Buffy is talking to Giles, Willow, Xander, Anya and Spike. Buffy: So Maggie sends me down into the sewers with one of those blasto guns and the next thing I know it's raining monsters. Xander: Hallelujah. Buffy: And then this gate slams down behind me and I-I try to use the gun but it goes pfft. Giles: You're saying that Maggie Walsh set you up? Buffy: That's exactly what I'm saying. She sent me on a one way recon. Spike: Got to hand it to you goldilocks - you do have bleeding tragic taste in men. I've got a cousin married to a regurgitating {{frovilops}} demon {that's} got better instincts than you. Buffy: What does my taste in men have to do with this? Spike: You think Riley was out knitting booties for your future offspring while Maggie stringing you up? Anya, Xander and Giles are silent. Buffy: You guys think Riley had something to do with this. Giles: Um, probably not but we, uh, be remiss if we didn't think all the possibilities {through}. Buffy: {Great./Right.} Remiss. No! No, Maggie made sure that he was nowhere around when she sent me on this very special make Buffy dead assignment. Willow: Plus Riley he seems like he wouldn't tell a little white lie let alone a whole bunch of big dirty ones. Xander: That's why they call it the secret forces Will, cause they kinda keep the whole lying thing to themselves. Buffy: All I know is that Maggie has it in for me which means the Initiative has it in for me. Xander: I'm guessing the mad scientist isn't too keen on the fact that the entire scooby gang knows that the Initiative is up to no good. Buffy: Which brings us back to the not safe for any of us concept. Giles: What could have happened to make Professor Walsh want to kill you? Buffy: I don't know, uh. She wasn't keen on the fact that I was asking a lot of questions that's for sure. Anya: So you were getting too close to something. Giles: Clearly. Although one can only imagine what she'd be so desperate to hide. cut to An Initiative exit. A being exits. Adam is sewn together from parts of different demons. He has a metal brace on his left leg, there are metal parts on the left side of his face and the back of his head, his right breast, his right shoulder and forearm of his right arm. The only recognizably human portion is the right upper side of his face and his hair. His left eye is red. He had green and grey-pink demon parts sewn together and there is a huge scar or seam with what could be links of a large chain reinforcing it running down the middle of his chest. He is a mix of demon, Frankenstein monster and Terminator/Borg. It smiles. roll credits Buffy: Everybody grab a weapon. We've gotta move. Buffy hands Xander an ax and Anya a grappling hook (like a fisherman might use.) Xander: Storm the Initiative. Yeah let's take on those suckers. Buffy: I was thinking more that we'd hide. Xander: Oh thank God. Giles: I think perhaps we should talk about this. Buffy: We need to relocate someplace we're less likely to be found. We need to come up with a plan. Willow: We could go to my place. Buffy: The Initiative guys know how close we are. They'll automatically check the places that you hang out. Xander, what about your basement? The guys haven't seen us together that much and there's enough room. Willow: Ooh Plus mirrored ball. Xander: Cool! Come on down and boogie at Xander's hideaway. Anya (less happy): Yes, come boogie. Giles: Absolutely not! I will not squat in that dank hole. Spike: What, it was good enough for me, but you're above it all? Giles: Precisely. Besides I-I don't see why we can't stay right where we are. Pfft. It's very unlikely that those Initiative boys are going to come round here to look for uh_ Door bangs open. Riley enters. Riley: Buffy! God Buffy are you ok? What happened? Buffy: You know? Riley: I know something went down. umph. Tell me. Buffy: Maggie tried to kill me. Anya: It didn't work, but they're all upset anyway. Riley: Ok listen I need you to go over everything step by step. There has to be..has to be some kind of mistake Xander: There was no mistake. And how do you know something happened? Riley: I was on a mission but I came back and... I'm not sure.. Look let's just keep her heads and not jump to any _ Riley stops and is staring. Buffy: What? Riley: That's hostile 17. Spike: No, I'm just a friend of Xaannderr's. Pfftt. Spike drops his drawl. Spike: Bugger it. I'm your guy. Buffy: This is Spike. He's um.. It's a really long story b-but he's not bad anymore. Spike jumps up. Spike: Hey! What am I, a bleeding broken record? I'm bad it's just I can't bite anymore. Thanks to you wnkrs. Spike indicates Riley with a head movement. Riley: We've been looking all over the place for him - but you've known where's he's been all along. Buffy: It's not like that. Riley: Then what is it like?.. What's he doing here? Spike: Leaving you swabs to your dramatics, thanks. I've got my stories on the telly for that. Spike puts on his black leather coat Spike: By the by. If you're trying to kill her. Spike leans back with a big grin and two thumbs up. (His Fonzie imitation?) Buffy and Willow roll their eyes. Spike runs out the door into the sunlight covering his head and arms with his coat. Riley: Buffy, what is this? You're hiding an H.S.T.? Xander: Why don't you just back off and let her ask the questions, Jack? Your boss just tried to make monster food out of her. Riley looks around. Giles crosses his arms. Riley: I-I didn't see much, I wasn't there unnhhh. All I know is that Professor Walsh told me you were dead but then I saw you on the monitors. Ummph. {look} This isn't Professor Walsh. Ummph. There must be something making her act this way. Something ummph I don't know, controlling her. Giles (softly): We think Buffy may have been becoming too inquisitive. That she was getting close to something that Professor Walsh was trying to hide. Do you have any idea what that might be? Buffy: What about 314? Maybe that's it. Riley: Maybe she was trying to test you. What if it was only a drill? Buffy: Then why did she tell you I was dead? Riley it wasn't a test. Giles (softly): See I've heard rumors that the Initiative isn't all that we've been told. That, um, secretly they're working toward some darker purpose, something that might harm us all. Riley: No! That's - that's not what happens there. Buffy: Riley! Riley: I would know! Buffy: No one is sure of anything, ok? We're were just trying to sort it out. Riley: I can't be here. I'll sort it out on my own. Buffy: Riley. Riley: No. Just, umph, I'm sorry. Riley leaves. Cut to A forested area. A small boy, perhaps 7 to 9, is squatting and playing with a silver armored doll. His bike is beside him. Adam sees the boy and approaches. Adam: What am I? The boy stands. Boy: You're a monster. Adam (resigned?): I thought so. Adam (curious?): What are you? Boy: Me? I'm a boy. Adam: A boy. How do you work? Boy: I don' know. I just do. Boy points to bone skewer/spur coming of Adam's wrist. Boy: What's that for? Adam raises his wrist to look at the skewer, then looks at the boy. Adam smiles. Cut to Riley wandering the campus at night. He passes a couple on a bench. A solitary student passes him. Cut to Engelman entering darkened lab. He flicks the light switch several times but nothing happens. Engelman: Dr Walsh? Engelman closes the door slowly. Engelman: Adam? Engelman slips and falls. He sees red on his hands and realizes it is blood. He looks to see the puddle leads to a body. He trembles and scrambles back. Cut to Mirrored ball in Xander's basement. Zooming and engine sounds are heard. Reflected light from the ball strikes Giles in the eye waking him. He is sleeping in plastic furniture. Pan past a makeshift curtain to Willow, Anya and Buffy in bed watching television. Wiley Coyote drops a wrecking ball on a chain. The ball misses the Roadrunner and instead of stopping halfway up, continues in a full circle, taking out Wiley Coyote. Buffy: That would never happen. Willow: Well, no Buff, that's why they call them cartoons, not documentaries. Giles: Must we have the noise. My head is splitting. Giles is standing and turns off the tv. Willow: Well, look who's cranky bear in the morning. Giles: Yes I can't imagine why I didn't sleep well in my beach ball. Anya: Every time you moved it made squeaky noises. It was irritating. Giles: Really. I'm surprised you could hear it over your Wagnerian snoring. Buffy: Ok you guys, could we not please? Everything's screwed up enough without you two doing scenes from my parent's marriage. Anya (to Giles): Sorry. Giles (to Anya): {Sorry/Sallright.} Buffy: Thank you. Willow: It'll be ok Buffy, Riley's just confused, that's all. Buffy: I don't know. It just seems like things could get heavier. His whole world's falling apart. Anya: And after everything you've been through with Angel. You really should get yourself a boring boyfriend. Like Xander. You can't have Xander! Buffy: That was the idea. Riley was supposed to be Mr. {{Joe Guy.}} We were going to do dumb things like hold hands through the daises going tra-la-la. Willow: Poor Buffy. Your life resists all things average. Anya: So dump him. But you can't have Xander! Buffy: I'll try and remember that. It's too late anyway - I'm already at the I hurt when he hurts, I smile when he smiles stage. Anya: I hate that part. Buffy: I'll just have to make it work. Xander comes down the stairs carrying a breakfast tray with orange juice and some food. Xander: Turn on the tv. Now! Willow does so and lays down again. TV Announcer: Sunnydale is still reeling from news of the crime. A source in the coroner's office tells us that the boy was stabbed with what looks like some kind of large skewer and his body was then mutilated. Police have not named a suspect and the killer is still at large. Buffy: The Polgara demon had a skewer in its arm. That's the one that Maggie insisted we bring back alive. Giles: She must have sent it after you. Buffy: And it got distracted... God. Willow: Buffy, its not your fault. Anya shakes head. Willow: How could you know? Giles: She's right. You mustn't blame yourself. Xander shakes head. Buffy: I'm not going to. I'm going to the crime scene to see what I can find out. Buffy stands. Buffy: You guys research the Polgara demon. I want to know where it is. When I find it I'm going to make him pay for taking that kid's life, I'll make him die in ways he can't even imagine. Anya's eyes lower. Buffy: That probably would have sounded more commanding if I wasn't wearing my yummy sushi pajamas. Cut to Frat house. Riley starts walking up the stairs. Forest sees him and catches up. Forrest: Hey. Where've you been all night? Well, congratulations. I see you and Buffy have finally gotten past the shy phase. Riley: I wasn't with Buffy. I had to be alone, think some things through. Forrest: What things? Riley enters his room and closes the door behind Forest. Forrest: This is mighty ominous. Forrest: What's up man? Riley: Professor Walsh tried to have Buffy killed. Forrest: What? Did Buffy tell you that, I mean do you have any proof? Riley: I saw enough to know it's true. Forrest: I don't get it. Why? Riley: I dunno. Buffy thinks that she's getting too close to something - that Professor Walsh has some secret. Forrest: I wouldn't put it past Buffy to get on Professor Walsh's bad side. She tends to put her nose where it doesn't belong. Riley: What? Forrest: She's a pain. Always wanting to know why this and why that? Riley: And you're saying she should die because of that? Forrest: I don't know. Maybe Professor Walsh found out that Buffy was up to something bad. That ever cross your mind? Riley: Why does it bug you so much that I'm hanging with her? Is it because she's a better soldier than you? Forrest: It bugs me that she's using you to infiltrate our operation. Riley: So you saying that she's a spy? Hmpph You're crazy. Forrest: Riley think about it. The professor's not stupid, she tried to kill Buffy, maybe Buffy needed killing. Graham enters. Graham: Guys. Riley: Not now {Brian/Graham/Brad}. Graham doesn't leave. Forrest: What is it? Graham: Professor Walsh is dead. Cut to Initiative lab. Riley goes to see Walsh's body. Two scientists kneel over it. Military garbed types are standing guard. Forrest arrives moments later. Forrest: Look at that wound. She's been staked, wouldn't you say brother? Riley: What? Forrest: Only one person I can think of that who could do something like that. Riley: You better not be saying what I think you're saying. When we don't know a person did this - the Polgara demon has skewers. Riley walks off. Forrest walks after him. Forrest: {No way } man that's your girlfriend's m.o. Riley grabs Forest's shirt. Riley: That's a serious accusation. You better be ready to deal with the consequences. Forrest shoves Riley back. Forrest: Bring em on. That supernatural freak has blinded you and I'm sick of it. Riley: That's enough. Engelman: Stand back {man/Finn}. Show some respect. Listen, everybody's upset but arguing isn't going to help anything and it's certainly not what Professor Walsh would want. Riley: No sir. Engelman: Alright, good. Now Washington is sending in a team to do an internal investigation. I've been told we have to wait for their word. Riley: What do you mean wait? This has to be the work of the Polgara demon we captured last week. Engelman: Probably. It looks like last night the Polgara escaped through tunnel 72. Riley: It's out loose somewhere? Engelman: I'm afraid so. Riley: Then we have to go after it. Engelman: My orders from Washington are for a total lock down until they arrive. I'm sorry. Now, return to your quarters. There's nothing you can do here. cut to Riley and some commandos alone. Riley: Listen. Engelman can talk all he wants, but I'm still in charge 'til the brass gets here and tells me otherwise and I say we've got a demon to hunt. Now suit up for armed patrol And by that I mean loaded guns, men. Target practice is over. We're {going} for blood. Cut to daylight. The Initiative is entering mausoleums or burial crypts. various voices: Move. Let's go inside. Establish a perimeter. {unintelligible} back. Forrest and Graham enter a crypt. Forrest: Somebody's been staying here. Graham: What do you think, a homeless guy? Forrest: Could be - or a squatter of the demon variety. Graham: Not the Polgara. Forrest: Who cares? I see a demon - it dies. Graham puts his hand on the tv. Graham: It's warm. Both remove cover of a fixed stone coffin only to find bones and a black shroud/dress. Forrest: Damn. Forrest smashes the tv with the butt of his gun as he leaves. Forrest: Animals! Spike peeks out from beneath the bones and the black dress or shroud. He exhales. cut to The crime scene. Buffy looks from a distance. Yellow tape surround a policeman, someone in plain clothes and two ambulance personnel. Behind Buffy Riley approaches past a policeman dressed in commando garb. Riley: Buffy. Hey. Buffy: Hey. Buffy: Look I'm sorry about earlier. I know that {{au burn?}} came on pretty strong. And the Spike thing isn't as tweaked as it looks. Ok maybe it is but there's an explanation that almost makes sense. Hello. I'm apologizing here. And I-I think that's pretty big of me considering I'm the one who was almost made a demon sandwich. This is the part where you throw me a bone. Riley: Maggie's dead. silence Riley: Happy now? Buffy: How can you ask me that? Of course I'm not happy. What happened? Riley: That's classified. Buffy: Classifie_ The Polgara. It got her and escaped. Didn't it? Buffy: I'm gonna find it. I'm gonna find it and destroy it. And then you can stop asking me how happy all this death makes me. She walks away Cut to knocks Tara opens her door. Willow: Howdy. Tara: I just got your message a minute ago. I was in class. But I was about to call you. Willow: I had so much fun the other night, those spells. Tara: Yeah, that was nice. Willow: I hope you don't think that I just come over for the spells and everything. I mean ,I really like just talking and hanging out with you and stuff. Tara: I know that. But you wanna do a spell. Willow: Yeah. Tara giggles. Willow: But only because it's really important. There's this.. Tara: No you don't have to explain I don't mind really. I've been uh thinking about that last spell we did... all day. Willow: You have? Tara: Mmmhmmm. Willow: Well this one should be really fun too. We conjure the goddess Thespia to help us locate demonic energy in the area. Tara: The goddess Thespia. Are you sure we're ready for that? Willow: You and me! This is beneath us. Tara: Ok. exhales Tara: If you say so. cut to bar Buffy enters. Willy cringes and moves down to the end of the bar after tilting his head to tell Buffy to move down there. Demons are drinking, hanging out. Willy: You're killing me here. Buffy: Oh missed you too. Joint's jumping. Willy: Yeah ya know. I'm making some changes with my life. Getting away from my old image. Buffy: You mean as a double dealing snitch. Willy: Uh Hunh. I know you're going think I'm blowing smoke, but after those Apocalypse demons nearly did me in I had an experience of the spiritual variety. Buffy: That's swell really. But I need to know if you've heard anything about a Polgara demon doing some killings in the last few days. Willy: You see that's the thing. I don't talk behind people's backs no more. And I'm bringing some class to the joint, ya know. It's Willy's Place now, see. Brings in a better clientele. I got one of those deep fryers. These demons just go crazy for chicken fingers. Look - if they see me dealing with you then I'm just the same old Willy working both sides of the street. Buffy: I'm going to have to punch you aren't I? Willow: Just once and it don't have to hurt, just make it look good. Buffy cocks her arm. Willy: Ohhh. Oww. Buffy: Not yet. I haven't touched you Willy: Sorry right, right, g-go ahead. Wait. Willy (loudly): No! I can't talk to you! Buffy punches him. She doesn't seem to have held back. Willy grabs his nose. Willy: Ohhh! Owwww! Buffy: What have you heard about the Polgara? Willy: Heard there was one around a week or two back. Word was you got him. You and those army guys. Buffy: And that was the last you heard? Willy: Yeah as far as I know he's off the streets. Buffy: What about those army guys? What do you know? You heard anything about 314? Beads rattle as Riley enters. Buffy: What are you doing here? Following me? Riley: You told me you were tracking the Polgara demon, I thought I'd help. But now I see you're not hunting demons you're socializing with them. Again! I thought you were supposed to be killing these things not buying them drinks. Buffy: Oh that's smooth, officer Riley. They teach you those undercover moves in special forces? Riley: No I'm serious Buffy. What are you doing here? Willy: Just cooling her dogs like the rest of us. Why don't you sit down, relax? Riley: I want you to tell me. Who are you? Willy: No kidding. How about I get you some chicken fingers on the house? Riley: Hey think you could shut up! Willy: Look I'm just saying. Riley: I said shut up! Or maybe you'd like to go back to the lab with me. I'm sure the coats would love to classify a - whatever you are. Buffy: Leave him alone Riley, he's human. Riley: So he's human. Riley is trembling. Buffy: You're shaking. Riley: He just harbors demons. Which makes him a good guy like you? Riley grabs Buffy's arms. Riley: The truth, Buffy, now! Buffy: You have the truth. You are just screwed up because of what happened to Professor Walsh to see it. Now let go of me. Buffy breaks his grip. An old woman starts to leave. Riley: Hold it you! Riley turns with drawn pistol pointed at the woman. Riley: No leaving til I say so! His hand is trembling. Willy: Hey! We got new rules here, no killing. Riley: Right. Except rules don't seem to apply much these days do they? Like if I shot you right now I don't know if I'd have a corpse on my hands or one pissed off vampire. Buffy: Riley. Riley: I mean who do you believe? First it sounds like lies, then it sounds like truth. Buffy (softly): Riley. Silence. The old woman starts crying. Perhaps she says please in between sobs. Riley's hand continues to shake. Riley puts gun down on bar, smashing glasses. Riley trembles and Buffy steps closer. Riley: Oh what's happening to me? =3D=3D=3D cut to Xander's basement Riley sits on a bed holding his head in his hands. The makeshift curtain is closed to allow some privacy. Buffy sits next to him and puts a shawl on his back. He sets it down. Buffy: Riley why don't you lie down? You'll be more comfortable. Riley is shaking. And he is scratching his hand bloody. Buffy: Stop it. Buffy grabs his hand. Riley: I can't. It's like something's growing inside of me. Buffy: No. You're hurting yourself. Ok shhh. Buffy takes off her bandana and wraps it around his hand. Riley: I thought I knew, but I don't. I don't know anything. Buffy (softly): Sshhh. You're sick. Once you get some rest... Riley trembles and shakes during this. Riley: No. Buffy. I don't know... anything. I don't know what's going on. Who the bad guys are. Maybe I'm the bad guy. Maybe I'm the thing you should kill. Buffy: No! Don't you even think that. Buffy strokes Riley's cheek. Buffy (softly): Ok listen to me. You're sick. You just need to get some sleep. Please. Lie down for me. Come on. Riley curls up in a fetal position. Shaking. Buffy strokes his forehead. Buffy: {It'll} be ok. Riley seems to calm and shake less. His breathing calms. Perhaps he is asleep. Buffy exits through the makeshift curtains. [SCENE_BREAK] On the other side. Giles: How is he? Buffy: It isn't just grief making him act this way. Something's affecting him physically and its getting worse. Anya: {Do} you think Professor Walsh did something to him? Buffy: I don't know, but I'm ready to find out. Xander: That's gonna be tough, what with Maggie's deadness and all. Buffy: She must have kept records somewhere. A-about Riley, about 314, about all of it. And I'm sure she wasn't the only person that knew what she was up to. Xander: So what's the plan? Buffy: Giles, Anya keep researching. Xander, you and I are going undercover. Anya: Hey! Remember before. No Xander! Not in a boyfriend way or a lead him to a certain death way. Buffy: He's the only one with military experience. Anya: It's not like he was in the 'Nam. He was GI Joe for one night. Xander: It's ok Anya. I've backed up Buffy before. Anya: Can't you do something else to help them? Like... Xerox handouts or something? Xander holds Anya's arms. Xander: I'll be careful. Promise. Xander goes off. Giles: It's a minor point but how do you plan to get in to the Initiative? I sure their, uh, security system's almost impenetrable. Buffy: I have my clearance. I'm hoping she didn't have time to revoke it. Giles: {Ok}. As to the whereabouts of this Polgara demon... I'm afraid we've-we've not turned up much. There's been no reports since its original capture. Buffy: Then we'll just have to keep looking. cut to A square of twine with the points held down by four different colored crystals. Pull back to reveal Willow and Tara sitting. Tara: So the square is Sunnydale. Willow: Right it's like a map. We both take different parts of the potion and when we do the incantation we both blow it onto the square at the exact same time. Tara: But hown does it work? Willow: Well that's the cool part. When the potion mixes and Thespia is called it creates this mist over the parts where the demons are. I-It even makes different colors for different breeds. Tara: Wow. Tara nodds. Willow: You ready? Tara nodds. Willow pours some green powder into Tara's hand from a grey stone bowl or mortar, then some white powder into her own hand from a green mortar. Willow: Let's do it. Willow closes her eyes. Tara closes her eyes. Tara: Thespia, we walk in shadow, walk in blindness. You are the protector of the night. Willow: Thespia, goddess, ruler of all darkness, we implore you, open a window to the world of the underbeing. Both blow but Tara surreptitiously lowers her hand and dumps her powder under the bed/table cloth? while Willow is actually blowing her powder. Willow: With your knowledge may we go in safety. With your grace may we speak of your benevolence. Willow opens her eyes to see no effect. Willow: Or not. Willow looks confused. Tara looks down and looks back a Willow. Cut to Frat house. Buffy is wearing glasses with her hair up in a bun and carrying a white cloth bag. Xander is dressed in green military style gear. But he has a white t-shirt showing. Xander: Seems pretty quite. Buffy: It usually is this time of _ A man goes past them. They continue on. Buffy touches a panel and then stands in front of the full length mirror. Xander: Buff, maybe You should check the look later. Buffy: Shhh. Buffy pushes Xander so he is not in front of the mirror. Xander: Oww! What'd you do that for? Buffy: Sorry, I'm the only one that can pass the retinal scan. Xander: The. Ewww. I don't wanna see that. Buffy: Retinal. Scan. Xander. Buffy: Well we'll know in a few seconds if my clearance is still good. Xander: Or if we're about to die at the hands of fifty grief filled military goons. Voice: Retinal scan recorded. Summers, Buffy. Elevator opens and Buffy steps in. Xander: Why am I not entirely comforted by the arrival of the man-sized microwave? Xander steps in. The doors close behind them. View of the elevator from below as it descends. They exit as the doors open. Cut to The Iniative. Xander: Holy moley. Buffy: I know. Speaker voice: {____} Xander: I totally get it now. Can I have sx with Riley too? Buffy looks at Xander. Speaker voice: Dr Forman {to the examining area} Xander: Quick pretend to make out with me. Buffy: Wait, what are you talking about? Xander: Well I uh, you know. In the movies the guy and the girl have to hide. Speaker voice: {Doctor _} Buffy: Please, could you possibly draw more attention to us. The two guys Xander saw coming up the stairs pass them as Buffy looks at her clipboard. Speaker voice: Agent Owens to interrogation. Buffy: This is the Initiative Xander. Military guys and scientists do not make out with each other. Xander: Well maybe that's wrong with the world. Ever think about that? Cut to Xander's basement. Willow: It totally failed. It wasn't even like the spell went wrong. It just wouldn't. Giles: If it's any consolation, we haven't fared much better here. Willow: Really. Is Riley ok? Giles: Well he's asleep finally. {But} he doesn't look good. And the, uh, research is troubling as well. I mean, this-this demon we're after seems highly atypical for a Polgara. This child that it killed is mutilated. There's no recorded cases of a Polgara ever having done such a thing. Anya: Also the Polgara have to eat every two hours. Factor in the low I.Q. and you have a demon who's not exactly low profile. Willow: So how had he been hiding in Sunnydale for the last two days without anyone seeing him? Giles: Exactly. Willow pulls back the curtain surrounding the bed. Riley is standing there, no longer lying down. Willow: Riley! Riley: Where's Buffy? Willow: She went out. Can-can I get you something? Riley: Just tell me where she is. Giles: You're not well Riley you need to rest. Riley puts on his boots. Riley: Did she find the Polgara? Hunh? Is that it? Giles: Well, no, we're still looking. Riley: Well what? Willow: She went to find out what's making you sick. Riley: I'm not sick. Are you're telling me she went to the Initiative. Riley goes to grab his stuff. Willow: Riley she's just trying to help you. Willow moves between Riley and the stairs. Riley: She doesn't belong there. Willow: Riley listen/ Riley: Stand away from the stairs. Willow: No, you're gonna get Buffy killed. Riley tosses Willow behind him and she falls. Giles: Hey. Riley goes up the stairs. Giles and Anya go to a fallen Willow. They help her up. Giles: You alright? cut to Initiative. Buffy eavedrops on a conversation while Xander stands by her. Engelman: how many of the men are still out the longer they go without their meds Scientist: Everyone's off their schedules because of the professors' death. Engleman: It's dangerous I don't want to think about the damage out guys could do under the stress of withdrawal especially since they won't understand what's happening to them. These guys don't know they've been getting meds in their food so we better get them in here stat Scientist: we've located all but a few. the last ones were in pretty bad shape but we stabilized them Engleman: but Finn wasn't one of them, right. Scientist: no Engleman: Find him. He's the one I care about. He's too important to our work to lose now. Scientist: indeed. cut to bar music: I had said it time and time again spike: double shot of {{verneg}}, keep. Make it the good stuff don't want no freaking orangutan willy: got ya Spike: been a real pisser of a day isn't it? Those army blokes are on a tear. They ran me out of my place. And all over town. A demon places a hand on his shoulder Spike: Yeah what's that. Spike gets punched in the face Engleman: Keep me posted. I'll be in records Engleman enters a room with his card and Buffy manages to follow him before the door shuts. Buffy grabs Engelman's shirt. Buffy: Now I don't generally like to kill humans. But I've learned that it pays to be flexible in life. Engleman: I was wondering when you'd turn up. Buffy: Oh darn! She takes off the glasses. Buffy: So this isn't a surprise. She sets the glasses down. Buffy: Now you can tell me what you did to Riley and after that we can take a tour of room 314. Engleman: Somebody's coming, you know. I'm sure they've already seen you on the security monitors. Riley enters. Riley: Monitors are non-functional at this time, sir. Went down about ten minutes ago. Buffy: What! I didn't do that. Xander: Thank god for small favors and we'll worry about the details later, hunh, Buff? Engleman: Finn take this girl to the stockade immediately. Buffy: Riley, he can tell us what we need to know. Maggie wanted me dead, didn't she? Engleman: She did. He looks at Riley Engleman: But understand the Initiative has no interest in eliminating the slayer. He looks back at Buffy. Engleman: It was her own vendetta. Buffy: Why? Spell it out for me! I feel an attack of dumb blonde coming on. Engleman: I don't know. {Buffy grabs a little tighter.} Buffy: Well think harder! Engleman: It was the project. Buffy: Project? 314. Engleman: It... He looks at Riley and back. Engleman: It escaped. Riley steps closer. Riley: That's enough! You're making her sound like some psychopath. She wasn't like that! she was a brillant woman! Engleman is looking at Riley. Engleman moves his hand downward in a take it easy gesture. Engleman: She was. It's not.. Riley: All she was doing was trying to help people and this is the way you want them to remember her! Buffy: Engleman said Walsh was feeding you drugs. Riley moves within arm's reach. Buffy lets Engelman go. Riley (pointing to Buffy): You're doing this to me, aren't you? Engleman slips back. Riley: This all started because of you. Buffy: If you will just listen to me, I am trying to help you get to the truth. Riley: You want truth then tell me, what did you do to her Buffy? Riley grabs Buffy and she breaks the grip. Buffy: Stop it! I didn't do anything. Again Riley grabs Buffy and she breaks the grip. Buffy: Riley stop! This isn't about us, everything that we need to know is here, we just need to find out what was in 314. An commando's body drops from a raised platform. On the platform is Adam. Adam: Me. =3D=3D=3D=3D Adam paces on the platform. Adam: I've been thinking about the world. I wanted to see it, learn it. Adam: I saw the inside of that boy... and it was beautiful, but it didn't tell me about the world. It just made me feel. So now I want to learn about me. Why I feel? What I am? Adam simply steps off the platform and drops about 3 yards/meters. Adam: So I came home. Adam inserts a thick disk from a pouch on his right waist into his chest. The letters Ad__ were on it. Adam: I'm a kinematically redundant, biomechanical demonoid designed by Maggie Walsh. She called me Adam and I called her mother. Engleman: Adam. Maggie would want you to stand down. Adam: Yes. But I seem to have a design flaw. Engleman pales. Adam: In addition to organic material I'm equipped with GP-2, D-11 Infrared Detectors, A Harmonic Decelerator, plus D.C. Servo. Buffy: She pieced you together from parts of other demons. Adam: And man. And machine. Which tells me what I am, but not who I am. Mother wrote things down. Hard data, but also her feelings. That's how I learned that I have a job here. And that she loved me. Riley: She wasn't your mother and she didn't love you! Xander: Is that really the issue? Riley: She made you because she was a scientist! Xander: Riley! Adam pulls another disk from a pouch on his waist and inserts it in his chest. It has the letters FI__ on it. Adam: Riley Finn. Riley: Stop! Those files... Adam: Oh! Mother created you too. Riley: Maggie's not my mother! I have a mother! A real _ Adam: A birth mother. Yes. But after you met Maggie, she was the one who shaped your basic operating system. She taught you how to think, how to feel. She fed you chemicals to make you stronger - your mind and body. She said that you and I were her favorite children. Her art. That makes us brothers. Family. Riley steps forward. Riley: No! I'm not like you. Adam: That's pain isn't it? Why? Because your feeding schedule - the chemicals have been interupted? Or do you miss her? Tell me. Riley: I'll kill you! Adam: You won't. You haven't been programmed to. Riley: I cannot be programmed! I'm a man! Adam: It's here. {He holds a diskette up.} Adam: The plan she had for us. What happens. How it ends. Riley: No. Adam Do you want to hear? Riley: No! Riley pulls his pistol and Adam disarms Riley. Buffy steps in and a punch downs her. Riley punches Adam's face and Adam responds with an uppercut sending Riley flying up in the air over a table. Xander runs in to push Adam and is pushed and thrown back into a wall. Buffy throws a kick to Adam's chest. Adam punches Buffy's face. Buffy punches Adam's stomach and Adam chops at her shoulder and she falls. Engelman starts to run. Adam's skewer comes out. Engelman passes Adam. Adam: Doctor. Adam skewers Engelman in the middle of his chest and Engelman falls, dead. Riley grabs Adam around the throat from behind. Adam breaks the hold, turns and stabs Riley with his skewer on his left side, and Riley falls clutching his wound. Buffy kicks Adam in the back. Adam spins and Buffy dodges the skewer. Adam knock Buffy to the floor. Adam picks up Buffy who is holding the skewer and throws her about 3 yards or meters into a steel door. She doesn't rise. The commandos are pounding on the door. Adam looks around. Adam: Thank you. This has been... very interesting. Adam walks up some stairs towards the platform he started from. Unseen military guy: Back away from the door Adam reaches up towards a vent. Shots pierce the door. Buffy moves to Riley's side. The commandos break open the door. Buffy: Riley. Are you ok? Unseen military guy: Secure the {room.} Xander: {We} got a demon in here. It escaped through that vent. Buffy: It's not the Polgara - it looks sort of half man. Forrest: Right and you just happened to be in the neighborhood. Riley: She's telling the truth. I saw it. It killed Engelman. Go.. now. Buffy: He needs to go to a hospital. Forrest: We'll take it from here. Buffy: I'm going with him. Forrest: It's a military hospital. Buffy: No. Forrest {growls}: Back off. Forrest: We take care of our own around here, understand! Two commandos lower rifle weapons and aim them at Buffy. Two more are beside them. Xander: Buffy. They stop aiming their weapons. Forest and Graham each take one of Riley's arms and help him up. Forrest: "Escort them out." Riley turns his head slightly to look back. Riley (weakly): Buffy. Cut to alley. Smacking sounds. Spike rolls and falls on his back, his face is bloody, but not from feeding. A demon walks and looks down at a prone Spike. Demon: What did you expect spike - a welcome party? Two other demons look on from the door. Demon: Word's out - you've been making war on the demon world. Spike: War? Demon: With the slayer. You kill other demons and the rest of us don't hold with that. The two demons in a doorway who were watching turn around to go back inside. Demon: Still, if I see you around again, I'll be inclined break that code. Do you understand? The demon leaves. Spike has still not moved since falling. Cut to Campus, daylight. Buffy and Willow are walking. Willow: No word from Riley? Buffy: Nothing. The Initiative probably has him locked in some medical ward. {There's} no way I can get near him until I come up with a better plan than just storming in and getting us all shot. Willow: Yeah, you might want to work the kinks out of that one. Buffy: What am I going to do? He needs me and I can't get near him. Willow: You'll find a way. Buffy: It's not like I can spend all of my energy going after the Initiative. Not while Adam's out there. Willow: He's really that big of a threat? They sit on a bench. Buffy: I could barely fight him. It's like Maggie designed him to be the ultimate warrior. He's smart and fast. He gave the commando guys the slip with no problem. Willow: There's gotta be a flaw. Buffy: I think the part where he's pure evil and kills randomly was an oversight Buffy: I never should have let them take Riley. I need to be with him. Willow: I'm sure he's ok. Buffy: There's no way he can be. Everything's he's ever believed in has been taken away. He's alone. He has nothing to hold on to. Cut to Initiative hallway with three scientist and military types. Cut to Room and a bed with Riley on it. He has bandages wrapped around his midsection. Riley raises his hand, which was in shadow and looks at Buffy's bandanna which he has wrapped around it and is clasping. [SCENE_BREAK] BTVS for whatever reason, to enjoy, as well as those who think transcripts are just cool, and as reference material for fanfic writers. Buffy and all copyrighted characters are the product of Joss Whedon and I have nothing but respect for him and those whose hard work is put into bringing us a great show. I did this of my own free time and will never make a dime from it. Now let me add. If you are looking at this transcript, save it, copy it, send it to your friends. Unlike other transcribers, who I have nothing but respect for, if you see any mistakes that might be in this transcript, feel free to correct them, or if you just want to personalize it to suit yourself, by all means. Hell I do it. ~~~~~~~~~~ Prologue ~~~~~~~~~~~ Fade-in. Giles' apartment. Just the way we left things from "The `I' in Team." Buffy is pacing, Giles is standing close by, Willow is sitting at his desk, Spike is sitting on the bottom steps of the stairs, and Anya and Xander are sitting on Giles' weapons trunk against the wall. Buffy is in the middle of telling them what just happened. Buffy: So Maggie sends me down into the sewers with one of those Blasto-guns. And the next thing I know, it's raining monsters. Xander: (without humor) Hallelujah. Buffy: And then this gate slams down behind me and I try to use the gun but it goes "phitt!" Giles: You're saying that Maggie Walsh set you up? Buffy: That's exactly what I'm saying. She sent me on a way-one recon. Spike: Gotta hand it to you, Goldilocks. You do have bleeding, tragic taste in men. I got a cousin married to a regurgitating Frovalox demon that's got better instincts than you. Buffy: (glaring at him) What does my taste in men have to do with this? Spike: Do you think Riley was out knitting booties for your future off-spring while Maggie was stringing you up? Buffy looks at everyone else's expressions. They don't say anything, but she can see from their faces . . . Buffy: You guys think Riley had something to do with this? Giles: Probably not. But, uh . . . we'd be remiss if we didn't think of all the possibilities. Buffy: (softly) Right. "Remiss." She's turning away, then suddenly faces him again. Buffy: No. No. Maggie made sure he was no where around when she sent me on this very special "make Buffy dead" assignment. Willow: And plus, Riley? He seems like he wouldn't tell a little white lie, let alone a whole bunch of big, dirty ones. Xander: That's why they call it the "secret forces," Will. 'Cause they kinda keep the whole lying thing to themselves. Buffy: All I know is that Maggie has it in for me. Which means the Initiative has it in for me. Xander: I'm guessing the mad scientist isn't too keen on the fact that the entire Scooby Gang knows that the Initiative is up to no good. Buffy: Which brings us back to the "not safe for any of us" concept. Giles: What could have happened to make Professor Walsh want to kill you? Buffy: (at a loss) I don't know. Uh . . . She wasn't keen on the fact that I was asking a lot of questions, that's for sure. Anya: So you were getting too close to something? Giles: Clearly. Although, one can only imagine what she'd be so desperate to hide. Cut to deep in the woods. All is quiet with the peaceful sounds of birds and other forest noises. Pan to a concrete access tunnel just visible from the side of the hill. It doesn't look as if it's been used for sometime as the metal doors screech as they are opened from the inside. Close up on a pair of army boots walking down the steps from the entrance. As the shot pans up we see legs clad in camouflage commando pants and the left leg is in a metal brace (jointed at the knee) from ankle to mid-thigh. He's not wearing a shirt, and his flesh is a jigsaw of different skin types and there is an electronic metal plate over the left side of his chest. His face is mostly green except for the patch of pale human flesh around his right blue eye and ear. His left eye is a demonic red color. His short hair is a normal brown, but there is a metal plating that frames the left green side of his face and wraps around to the back of his head. Outside for the first time, Adam looks at his surroundings. Wolf's wolf. Buffy theme and credits roll. ~~~~~~~~~~ Part One ~~~~~~~~~~ Fade in to Giles' apartment. Buffy has Giles' trunk opened and is taking out weapons. Buffy: Okay, everybody grab a weapon. We gotta move. She hands Xander a battle ax and gives Anya a bat with a fisherman's hook attached to the head. Xander: And storm the Initiative? (bravado) Yeah, let's take on those suckers! Buffy: I was thinking more that we'd hide. Xander: (relieved) Oh, thank God. Giles: Buffy, I think perhaps we should talk about this. Buffy: We need to relocate some place where we're less likely to be found. We need to come up with a plan. Willow: We could go to my place. (she is holding a wicked looking flail = think spiked mace on a chain) Buffy: The Initiative guys know how close we are. They'll automatically check the places you hang out. Xander, what about your basement. The guys haven't seen us together that much and there's enough room. Willow: (smiles) Oh, plus: mirror ball. Xander: Cool! Come on down and boogie at Xander's hideaway. Anya: (not happy) Yes. Come boogie. Giles: Absolutely not. I will not squat in that dank whole. Spike: What? It was good enough for me but you're above it all? Giles: Precisely. (sits down at his desk) Besides, I don't see why we can't stay right where we are. (chuckles) Because it's very unlikely those Initiative boys are gonna come around here looking for-- The front door opens and Riley steps inside. Riley: Buffy! Everybody looks at him in surprise. Riley closes the door and rushes over to Buffy. Riley: God, Buffy. Are you okay? What happened? Buffy: (a beat) You know? Riley: I know something went down. (pause) Tell me. Buffy: Maggie tried to kill me. No one says anything for a moment. Anya: (helpfully) It didn't work, but they're all upset anyway. Riley: Okay, listen. I need you to go over everything. Step by step. There has-- has to be some kind of mistake. Xander: There was no mistake! And how do you know something happened? Riley: I was on a mission. But I came back and . . . I'm not sure. Look, let's just keep our heads and not jump to any-- He looks over his shoulder and sees Spike sitting on the stairs. Spike looks away. Riley takes a step back in surprise as he faces the vampire. Buffy: What? Riley: That's Hostile 17. Spike: Uh, no! I'm (bad American accent) just a friend of Xanderrr's-- (sighs) Bugger it. I'm your guy. Buffy: This is Spike. He's, uh . . . It's a really long story. But he's not bad anymore. Spike: Hey! (stands) What I am, a bleeding broken record? I'm bad! It's just . . . I can't bite anymore. Thanks to you wnkrs. Riley: (exasperated) We've been looking all over the place for him but you've known where he's been all along? Buffy: It's not like that. Riley: Then what is it like? What's he doing here? Spike: Leaving you swabs to your dramatics. Thanks. He walks over to the door and grabs his leather duster. Spike: (putting it on) I've got my stories on the telly for that. By the by, if you're trying to kill her . . . Spike gives Riley two very enthusiastic thumbs up. Buffy rolls her eyes. He turns and pulls his coat over his head. He opens the door and runs outside. Riley: Buffy . . . what is this? You're hiding an HST? Xander: Why don't you just back off and let her ask the questions, Jack? Your boss just tried to make monster food out of her. Riley sees everyone looking at him and calms down. Riley: I-I didn't see much. I wasn't there. I . . . All I know is Professor Walsh told me you were dead. But then I saw you on the monitors . . . Look this isn't Professor Walsh-- There must be something making her act this way. Something I-- I don't know. Controlling her. Giles: We think Buffy may have been becoming too in inquisitive. That she was getting close to something that Professor Walsh was trying to hide. Any idea what that might be? Buffy: What about 314? Maybe that's it? Riley: Maybe she was trying to test you. What if it was only a drill? Buffy: Then why did she tell you I was dead? Riley, it wasn't a test. Giles: See, I've heard rumors that the Initiative wasn't all that we've been told. That, uh, secretly they're working towards some darker purpose. Something that might harm us all-- Riley: No! That's . . . that's not what happens there. Buffy: Riley. Riley: I would know! Buffy: Look, no one is sure of anything. Okay? We're just trying to sort it out. Riley: I can't be here. I'll sort it out on my own. (heads for the door) Buffy: (going after him) Riley. Riley: No! Just-- I'm sorry. He opens the door and is gone. Cut to the woods again. Close up of a small boy sitting next to his bike. He is playing with a cyborg, soldier action figure. On the rise behind him, the back of a house can be seen not far away but it appears as if he's the only one outside right now. Until Adam sees the him. Despite his size, the boy doesn't notice Adam until he is standing just a few feet away. The boy looks up and smiles with a "cool!" expression on his face. ADAM: What am I? Boy: (standing) You're a monster. ADAM: (nodding) I thought so. What are you? Boy: Me? I'm a boy. ADAM: (curious) A boy. How do you work? Boy: I don't know, I just do. The boy sees something and points. Boy: What's that for? Adam looks down and raises his Polgara left arm where just the sharp tip of the bone skewer (sheathed inside the forearm) is visible under his wrist. Adam looks at the boy and a "let me show you" smile slowly spreads across his grotesque face. Cut to UC Sunnydale at night. Riley is walking across campus without a clear destination. Probably the first real brooding he's done in his entire life. On that depressing note we-- Cut to the Initiative. Lab 314. Dr. Angleman opens the door to the dark lab and flips the light switch. The lights stay off and he flips it on and off a couple times, but they remain off. Angleman: Dr. Walsh? (worried whisper) Adam? Slowly, he starts walking across the lab but his feet slip out from under him and he falls to the floor. He's pushing himself up when he notices something wet on his hands. He sees they're covered with blood, then notices the trail of blood leading to the body of Professor Walsh lying face down on the floor. Angleman freaks, scrambles to his feet, and runs out of the lab. We go to Xander's basement. It is morning. Close up of the disco mirror ball hanging from the ceiling. Cut to Giles lying on an inflated beach chair. He's waking up and squints his eyes against the dots of light the mirror ball is shining in his face. He rubs a hand on his forehead. Obviously a good night's sleep he didn't get. Sounds of the Road Runner can be heard as the camera pans the basement. There is an empty sleeping bag on the floor next to Giles. Two blankets hanging from the clothesline divides the basement in half. On the other half we see Willow, Anya, and Buffy (in that order) still under the covers in the fold-out bed watching TV, where the self-proclaimed "super genius" (AKA Wile E. Coyote) is killing himself again with another one of his shoddy Acme traps that backfires on him. Willow finds this funny. Buffy: (unmoved) That would never happen. Willow: Well, no, Buff. That's why they call them cartoons not documentaries. Giles steps through the draped blankets and shuts off the TV. Giles: Must we have the noise? My head is splitting. He's returning to the other side of the basement. Willow: (smiling) Well, look who's cranky bear in the morning. Giles: Yes. I can't imagine why I didn't sleep well in my beach ball. Anya: Every time you moved it made squeaky noises. It was irritating. Giles: Really? I'm surprised you could hear it over your Wagnerian snoring. Buffy: Okay, you guys, could we not, please. Everything's screwed up enough without you two doing scenes from my parents' marriage. Anya: (a beat) Sorry. Giles: Sorry. Buffy: Thank you. Giles disappears through the blankets. Willow: It'll be okay, Buffy. Riley's just confused, that's all. Buffy: I don't know. It just seems like things can get heavier. His whole world's falling apart. Anya: And after everything you've been through with Angel. You know, you really should get yourself a boring boyfriend. (smiles) Like Xander. (then) You can't have Xander. Buffy: That was the idea. Riley was supposed to be Mr. Joe Guy. We were gonna do dumb things like hold hands through the daisies going "tra la la." Willow: Poor Buffy. Your life resists all things average. Anya: So dump him! (sternly) But you can't have Xander. Buffy: I'll try and remember that. (pause) It's too late, anyway. I'm already at the "I hurt when he hurts. I smile when he smiles" stage. Anya: (whispers) I hate that part. Buffy: I'll just have to make it work. Xander hurries down the stairs into the basement, carrying a breakfast tray. Xander: Turn on the TV. Now! Willow gets up to switch the TV back on. The news is on. Newswoman: Sunnydale is still reeling from news of the crime. (Giles peeks out from the blankets brushing his teeth) A source in the coroner's office tells us that the boy was stabbed with what looks like some kind of large skewer. And his body was then mutilated. Police have not named a suspect and the killer is still at large. Realization fills Buffy's expression as she listens. Buffy: The Polgara demon had a skewer in its arm. That's the one Maggie insisted we bring back alive. Giles: (mouthful of toothpaste) She must have sent it after you. Buffy: And it got distracted. (looks away) God. Willow: Buffy, it's not your fault. How could you know? Giles: She's right. You mustn't blame yourself. Buffy: (a beat) I'm not going to. As she gets out of bed, cue "bad-ass" Chris Beck score. She faces them with a determined expression. Buffy: I'm going to the crime scene to see what I can find out. You guys research the Polgara demon. I want to know where it is. When I find it, I am going to make him pay for taking that kid's life. I'll make him die in ways he can't even imagine. Bad-ass score dies and everyone just looks at her, seemingly, unmoved by her passionate speech. Buffy notices their looks and glances down at the weird pattern on her pajamas. Buffy: That probably would have sounded more commanding if I wasn't wearing my yummy sushi pajamas. Cut to Lowell House. Riley has just walked in and is heading for his room. Forrest Gates spots him and catches up with him on the stairs. Forrest: Hey! Where you been all night? Riley doesn't answer. Forrest: (smiles) Well. Congratulations. I see you and Buffy have finally gotten past the shy phase. Forrest raises a fist for Riley to knuckle but Riley leaves him hanging. He's still in brooding mode. Riley: I wasn't with Buffy. I needed to be alone. Think some things through. Forrest: What things? In the hall now, Riley turns to face him. Then reconsiders and motions him to follow him into his room. Forrest: (stepping inside) This is mighty ominous. What's up, man? Riley: Professor Walsh tried to have Buffy killed. Forrest: What? Did Buffy tell you that? I mean, do you have any proof? Riley: I saw enough to know it's true. Forrest: I don't get it. Why? Riley: I don't know. (paces across the room) Buffy thinks that she's getting too close to something. That Professor Walsh has some secret. Forrest: I wouldn't put it past Buffy to get on Professor Walsh's bad side. She tends to put her nose where it doesn't belong. Riley: What? Forrest: (angry) She's a pain. Always wanting to know "why this?" and "why that?" Riley: (exasperated) And you're saying she should die because of that? Forrest: I don't know. Maybe Professor Walsh found out that Buffy was up to something bad. That ever cross your mind? Riley: Why does it bug you so much that I'm hanging with her? Is it because she's a better soldier than you? Forrest: It bugs me that she's using you to infiltrate our operations. Riley: (raising voice) So you're saying she's a spy? You're crazy! (turns away) Forrest: Riley, think about it. The professor is not stupid. If she tried to kill Buffy, maybe Buffy needed killing. Behind Forrest, the door opens and Graham Miller steps inside. Graham: Guys. Riley: Not now, Graham. Graham's usually calm, stoic face seems a bit forced. Forrest: What is it? Graham: (deep breath) Professor Walsh is dead. Forrest takes this news and looks at Riley. Off Riley's shocked expression, we fade to commercial. [SCENE_BREAK] ~~~~~~~~~~ Part Two ~~~~~~~~~~ Fade in on the Initiative. Riley rounds a corner quickly and pushes his way to the open door of lab 314. He sees Professor Walsh lying on the floor while two other scientists are looking over her body. Forrest steps up besides him and sees this and has to look away for a moment. Forrest: (steely) Look at that wound. She's been staked, wouldn't you say, brother? Riley: What? Forrest: Only one person I can think of who could do something like that. Riley: (warning tone) You better not be saying what I think you're saying. Riley steps out into the corridor. Forrest follows him and Riley faces him. Riley: We-we don't know that a person did this. The Polgara demon has a skewer that comes right out of-- Forrest: (angrily) No way! That's your girlfriend's MO! Riley: (grabs a fistful of Forrest's shirt) Hey, that's a serious accusation! You better be ready to deal with the consequences. Forrest: (shoves Riley back) Then bring `em on! That supernatural freak has blinded you and I'm sick of it! Riley: (advancing) That's enough! Angleman steps in between them. Angleman: Stand back! Show some respect! Listen, everybody's upset. But arguing isn't going to help anything. And it's certainly not what Professor Walsh would want. Riley and Forrest keep "I'm gonna kick your ass" eye contact for a few more seconds then break off. Riley: No, sir. (takes a couple of steps back) Angleman: All right. Good. Now Washington is sending in a team to do an internal investigation. I've been told we have to wait for their word. Riley: What do you mean "wait?" This has to be the work of the Polgara demon we captured last week! Angleman: Probably. Looks like, last night, the Polgara escaped through tunnel seventy-two. Riley: It's out loose somewhere?! Angleman: I'm afraid so. Riley: Then we have to go after it. Riley starts to walk off but Angleman stops him. Angleman: My orders from Washington are for a total lock-down until they arrive. I'm sorry. Now, return to your quarters. There's nothing you can do here. Riley is silent then nods. Satisfied, Angleman walks off. When he disappears around the corner Riley turns to Graham and a few other commandos standing nearby. Riley: Listen. Angleman can talk all he wants, but I'm still in charge until the brass gets here and tells me otherwise. I say we got a demon to hunt. (absently scratches the back of his right hand) Now suit up for armed patrol. And by that I mean loaded guns, man. Target practice is over. We're going for blood. They head off to follow their orders. Forrest looks at Riley but doesn't say anything as he walks past him to follow the others. Riley glances once more into the lab before following as well. Cut to cemetery. Daylight. Two humvees pull up and commandos, fully armed, start storming the mausoleums. We see Forrest and Graham head toward a mausoleum. Cut to interior of Spike's place. We don't see him inside and Forrest and Graham enter, rifles ready. Forrest: Somebody's been staying here. Graham: What do think, a homeless guy? Forrest: (moving deeper into the chamber) Could be. Or a squatter of the demon variety. Graham: But not the Polgara. Forrest: (faces him) Who cares!? I see a demon, it dies. There is a TV set up on a stone bench. Graham puts a palm on top of it. Graham: It's warm. Forrest glances at the sarcophagus and he and Graham move to either end, slinging their rifles. Together they raise the stone lid and lean it against the side. Inside they see an old decayed skeleton with its arms folded over its chest, covered in an old blanket. Unslinging there rifles they head for the door again. Forrest: Damn. Forrest is passing the TV and he shatters the screen with the stock of his rifle. Forrest: Animals. We hear them leave and we cut to a close up of inside the sarcophagus. The blanket is folded up and we see Spike's head poke out from between the skeleton's feet. He sits up, the skeleton's knees draping over his shoulders, and sighs in relief. Cut to the dry hills on the outskirts of Sunnydale. Buffy is walking down a dirt road. Behind her, up the road, a police car is parked. Below and ahead of her, she sees the crime scene. Another police car is parked and a detective is talking with a uniformed cop as two coroner's people carry a gurney with a small zipped bodybag on it under the crime scene tape. Riley: Buffy. She turns and sees Riley walking down the road towards her. He's in full commando attire. He's scratching the back of his right hand again. Riley: Hey. Buffy: Hey. Look, I'm sorry about earlier. I know everyone came on pretty strong. And the Spike thing isn't as tweaked as it looked. Okay, maybe it is. But there's an explanation that almost makes sense. (sees that he's looking off to the hills) Hello? I'm apologizing here. And I think that's pretty big of me, considering I'm the one who was almost made a demon sandwich. He doesn't say anything. Buffy: This is the part where you throw me a bone. Riley: Maggie's dead. Buffy absorbs this news. But before she can say anything-- Riley: Happy now? Buffy: (eyes narrowing) How can you ask me that? Of course I'm not happy. What happened? Riley: (coldly) That's classified. Buffy: Classifi-- (realizes) The Polgara. It got her and escaped. Didn't it? Riley just nods. Buffy: I'm gonna find it. I'm gonna find it and destroy it. (angry) And then you can stop asking me how happy all this death makes me! She steps around him and marches quickly back up the road. Riley turns as if to say something, but doesn't. Sighing, he faces the crime scene again. Cut to someone knocking on a door. Tara walks up and opens it to see Willow in the hall. Willow: (smiling) Howdy. Tara: (smiles) I just got your message a minute ago. I was in class. But I was about to call you. She steps back to let Willow inside. Willow: I had so much fun the other night. The spells. Tara: Yeah, that was nice. Willow: I hope you don't think that I just come over for the spells and everything. I mean, I really like just talking and hanging out with you and stuff. Tara: I know that. (knowingly) But you want to do a spell. Willow: Yeah. But only because it's really important. There's this-- Tara: No. You don't have to explain. I don't mind. Really. (smiles) I've been, um, thinking about that last spell we did all day. Willow: (excited) You have? Well this one should be fun, too. We conjure the goddess Thespia to help us locate demonic energy in the area. It shouldn't be too tricky. Tara: The goddess Thespia? Are you sure we're ready for that? Willow: You and me? (gamely) This is beneath us. Tara: (considers) . . . Okay. If you say so. Cut to Willy's bar. Buffy makes her entrance by pushing aside the beaded string curtains and quickly spots Willy behind the bar. Willy sees her and doesn't bother to hide a "God must hate me" sigh. He motions her to the other end of the bar. Buffy follows and leans on the bar. Willy: You're killing me here. Buffy: Oh, I missed you, too. The joint's jumping. Willy: Yeah. You know. (the vampire sitting nearby sees Buffy looking at him and takes his leave, forgetting his beer) Making some changes with my life. I'm getting away from my old image. Buffy: You mean as a double-dealing snitch? Willy: Uh-huh. I know you gonna think I'm blowing smoke, but after those apocalypse demons nearly did me in, I had an experience of the spiritual variety. Buffy: (not caring) That's swell, really. But I need to know if you've heard anything about a Polgara demon doing some killings in the last few of days. Willy: See, uh, that's the think. I don't talk behind people's backs no more. And I'm bringing some class to the joint. You know? It's "Willy's Place" now. See? (indicates neon sign on the wall) Brings in a better clientele. I got one of those deep friers. These demons just go crazy for chicken fingers. (off Buffy's expression) Look, if they see me dealing with you, then I'm just the same old Willy working both sides of the street. Buffy: I'm gonna have to punch you, aren't I? Willy: (not missing a beat) Just once and it don't have to hurt. Just make it look good. Buffy straightens and raises her fist. Willy instantly clutches his nose. Willy: Oww! Oh! Buffy: (whispering) Not yet, I haven't touched you! Willy: Oh, sorry. Right. Right. G-go ahead. Wait. (louder voice) No. I can't talk to you--oww! Buffy straight-jabs him in the nose and now he's really hurting. Willy: Ohhhh! Buffy: What have you heard about the Polgara? Willy: (still in pain) Heard there was one about a week or two back. Word was you got him. You and those army guys. Buffy: And that was the last you heard? Willy: Yeah. As far as I know, he's off the streets. Buffy: What about those army guys? What do you know? You heard anything about 314? Riley walks through the stringed curtains. Looking the place over he realizes it's filled with demons. As he approaches Buffy we notice there is a thin sheen of sweat on his face. He doesn't look happy at what he's seeing. Buffy: (faces him) What are you doing here? Following me? Riley: (a tad pissed) You told me you were tracking the Polgara demon. I thought I'd help. But now I see you're not hunting demons, you're socializing with them. Again.* I thought you were supposed to be killing these things not buying them drinks? By this point he's become the center of attention. Buffy: (sarcastic) Oh, that's smooth, officer Riley. They teach you those undercover moves in special forces? Riley: I'm serious, Buffy. What are you doing here? Willy: Just cooling her dogs, like the rest of us. Why don't you sit down. Relax. Riley: (ignores him) I want you to tell me. Who are you? (seething) Really? Buffy glares at him, becoming a little pissed herself. Willy: No kidding. Why don't I get you some chicken fingers, on the house. Riley: (to Willy) Hey, you think you can shut up? Willy: Look, I'm just saying-- Riley: I said shut up! Or maybe you would like to go back to the lab with me. I'm sure the coats would love to classify a . . . whatever you are. Buffy: Leave him alone, Riley. He's human. Riley: So he's human. She looks at his arms. Buffy: You're shaking. Riley: (looking at Buffy) He just harbors demons. Which makes him a good guy like you? (grabs her roughly by the shoulders) The truth, Buffy. Now! Buffy: You have the truth. You are just too screwed up because of what happened to Professor Walsh to see it. (raises voice) Now let go of me! (knocks his hands off her shoulders) A middle-age looking woman gets up from the bar and walks quickly towards the door. Riley spots her over his shoulder. Riley: Hold it! You! She stops in her tracks as he draws his Barretta and aims it at her. The gun is trembling in his hand. Riley: No leaving until I say so. Got it? Willy: Hey. We got new rules here. No killing. Riley: (looking over his shoulder) Right! Except the rules don't seem to apply much these days. Do they? The woman is now facing Riley and looks terrified. Riley's breathing is becoming heavier and his shaking is getting worse. Riley: (to the woman) Like if I shot you right now, I don't know if I'd have a corpse on my hands or one pissed off vampire. Buffy: Riley-- Riley: (to Buffy) I mean, who do you believe? First it sounds like lies. Then it sounds like truth. Looks at the woman. She's starting to whimper. Buffy: Riley. . . He glances at Buffy and seems to realize what he's doing. He suddenly turns to the bar, sweeping his gun across the surface smashing several glasses. The woman flees. Buffy slowly approaches him. Concerned. He has his hands pressed to the bar as he leans against it, shaking uncontrollably. Riley: What's happening to me? ~~~~~~~~~~ Part Three ~~~~~~~~~~ Fade in. Xander's basement. It seems to be night. Riley is sitting on the bed with his head in his hands. He's no longer wearing his commando vest, gunbelt, nor his boots. Buffy brings him a blanket and drapes it around his shoulders as she sits down next to him. He looks up and pushes the blanket off. He's still sweating and shaking. Buffy rubs a soothing hand on his back. Buffy: (soft voice) Riley, why don't you lie down? You'll be more comfortable. She sees him furiously scratching the back of his right hand. He's broken the surface and there's a patch of red on his skin. She grabs his hands. Buffy: Stop it. Riley: (shaky voice) I can't. It's like . . . something's growing inside. He starts scratching and she takes his hand again. Buffy: No. You're hurting yourself. C'mere. (she reaches up and pulls off the red scarf she had wrapped around her hair) Okay, shh. (gently wraps it around his hand) Riley: I thought I knew . . . but I don't. I don't know anything. Buffy: (soothingly) Shh. You're sick. Once you get some rest-- Riley: No. Buffy. I don't know . . . anything. I don't know which team I'm on. Who the bad guys are. (looks into her eyes) Maybe I'm the bad guy. Maybe I'm the thing you should kill. Buffy: No. Don't you even think that. (puts a hand on his cheek) Okay, listen to me. You're sick. You just need to get some sleep. Please. Lie down for me. Come on. He pushes himself onto the bed and lays his head on the pillow. He curls his arms and legs in close as if cold and continues to shiver. Buffy walks around to the side and leans down to caress his cheek. Buffy: (quietly) You're gonna be okay. His eyes are closed and he seems to calm down a little. Buffy turns and steps through the draped blankets to the other side of the basement. Giles, Xander, and Anya are there researching. Giles is bringing a box of old books they haven't looked through to the others. Giles: How is he? Buffy: This isn't just grief making him act this way. Something's effecting him physically and it's getting worse. Anya: You think Professor Walsh did something to him? Buffy: I don't know, but I'm ready to find out. Xander: That's gonna be tough, what with Maggie's deadness and all. Buffy: She must have kept records somewhere. A-about Riley, about 314, about all of it. And I'm sure she wasn't the only person that knew what she was up to. Xander: So what's the plan? Buffy: Giles, Anya, keep researching. Xander, you and I are going undercover. Anya: Hey! (steps closer to Xander) Remember before? No Xander! Not in a "boyfriend" way or a "lead him to a certain death" way. Buffy: He's the only one with military experience. Anya: It's not like he was in the 'Nam. He was GI Joe for one night. Xander: It's okay, Anya. I've backed up Buffy before. Anya: (concerned) Can't you do something else to help them? Like Xerox handouts or something? Xander: I'll be careful. (puts his hands on her shoulders) Promise. She concedes but is not happy about it and Xander goes to get ready. Giles stands up from the box of books he was going through and faces Buffy. Giles: It's a minor point but how do you plan to get in to the Initiative? I'm sure their security system's almost impenetrable. Buffy: I have my clearance. I'm hoping she didn't have time to revoke it. Giles: Okay. Well as for the whereabouts of this Polgara demon, I'm afraid we've . . we've not turned up much. There've been no reports since its original capture. Buffy: Then we'll just have to keep looking. Cut to Tara's room. There is a bundle of string shaped into a square on the floor with four different color crystals weighing down each corner. Willow and Tara are sitting on either side of the square. Willow is grounding something in a small bowl. Tara: So . . the square is Sunnydale? Willow: Right. It's like a map. We both take different parts of the potion and when we do the incantation we both blow it onto the square at the exact same time. Tara: But how does it work? Willow: Well that's the cool part. When the potion mixes and Thespia's called it creates this mist over the parts where the demons are. I-It even makes different colors for different breeds. Tara: Wow. Willow: You ready? Tara nods. Willow pours some of the powdered contents of the bowl into Tara's palm, then pours some into her own hand from a second bowl. Willow: Let's do it. She closes her eyes and Tara does the same. Tara: Thespia, we walk in shadow. Walk in blindness. You are the protector of the night. Willow: Thespia, goddess, ruler of all darkness, we implore you . . . open a window to the world of the underbeing. Willow blows the powder out of her hand over the square. Tara blows over her hand, not disturbing her powder, and leans toward her bed to dump the potion underneath it. Willow still has her eyes closed and did not see this. Willow: With your knowledge may we go in safety. With your grace may we speak of your benevolence. Willow opens her eyes and looks down at the square, where nothing is happening. She frowns. Willow: Or not. She looks at Tara. Tara gives her a disappointed look. Cut to Lowell House. Buffy and Xander are quietly walking through the deserted lobby. Xander is wearing military garb similar to that of the Initiative commandos. He even has a gun belt with a sidearm in the holster (don't know if it's a real gun). Buffy is wearing a turtle-neck sweater, wire-rimmed glasses (got them from Giles?), and has her hair pulled back in a small bun. She is carrying a white lab coat wrapped around a clipboard. Xander: Seems pretty quite. Buffy: It usually is this time of-- A young man suddenly brushes past her but doesn't even act as if he notices them and continues on. Buffy and Xander continue into the central hallway of the building and Buffy pushes the hidden switch in the wall next to the floor to ceiling mirror and stands in front of it. Xander: (stepping up next to her) Buff, maybe you should check the look later. Buffy: Shh! (she shoves him away none too gently) Xander: Oww! (surprised and a little hurt) What'd you do that for? Buffy: Sorry. I'm the only one that can pass the retinal scan. Xander: The re-- eww! I don't wanna see that. Buffy: (glares) Retinal scan, Xander. (looks into the mirror again) Well, we'll know in a few seconds if my clearance is still good. A horizontal green light emits from the mirror and slides down over her body. Xander: Or if we're about to die at the hands of fifty grief-filled military goons. Female computer voice: Retinal scan recorded. Summers. Buffy. The mirror slides to the side and Buffy steps into the very white elevator. Xander follows her. Xander: Why am I not entirely comforted by the arrival of the man-sized microwave? Cut to Initiative. The elevator door slides open and Buffy is now wearing the lab coat and she and Xander step out onto the catwalk overlooking the huge hangar of the Initiative complex. His eyes widen as he gapes. Xander: (awed) Holy moly! Buffy: I know. Xander: I totally get it now. Can I have sx with Riley, too? Buffy glares at him but he's still staring and doesn't see it. She takes his arm and leads him towards the stairs. When they descend to the first landing they see a couple of commandos climbing the stairs towards them. Xander turns to Buffy and pulls her close to him. Xander: (whispers) Quick pretend to make out with me! Buffy: (whispers) What!? What are you talking about? (pushes away) Xander: (whispers) Well, I, uh, you know, in the movies, the guy and the girl have to hide. They pretend to be looking at her clipboard as the commandos pass them and continue up the stairs. Buffy: (whispers) Please! Could you possibly draw more attention to us? When the commandos are gone, they continue down to stairs. Buffy: (whispers) This is the Initiative, Xander. Military guys and scientists do not make out with each other. Xander: (whispers) Well maybe that's what's wrong with the world. Ever think about that? Back at Xander's basement. Riley is still in bed and is sleeping. Cut to the other side of the basement. Willow is pacing. Anya is sitting in a large beanbag, looking through a book, and Giles is fixing tea on the washing machine. Willow: It totally failed. It wasn't even like the spell went wrong. It just . . . wouldn't. Giles: If it's any consolation, we haven't fared much better here. Willow: Really. Is Riley okay? Giles: Well, h-he's asleep. Finally. But he doesn't look good. (hands Anya a cup) And the, uh, research is troubling as well. I mean, this-this demon we're after seems highly atypical for a Polgara. This child that it killed . . was mutilated. There's no recorded cases of a Polgara ever having done such a thing. Anya: (fidgeting with the string of her tea bag) Also the Polgara have to eat every two hours. Factor in the low IQ and you have a demon who's not exactly low profile. Willow: So how has he been hiding out in Sunnydale for the last two days without anyone seeing him? Giles: Exactly. Willow pushes aside the blanket to check on Riley. She finds him standing just a foot in front of her. His eyes look a little sunken. Willow: (surprised) Riley. Riley: (agitated) Where's Buffy? Willow: She went out. Can-can I get you something? He sits on the bed to pull on his boots. Riley: Just tell me where she is. Giles: You're not well, Riley. Y-you need to rest. Riley: Did she find the Polgara? (stands, rubbing his arm as if cold) Huh? Is that it? Giles: Well, no, we're still looking. But-- Riley: But what? Willow: She went to find out what's making you sick. Riley: (sharply) I'm not sick! (more agitated) You're telling me she went to the Initiative?! Willow: Riley, she's just trying to help you. Riley: (crosses the basement to grab his gear) She doesn't belong there. Willow hurries to stand in front of the stairs to block his way. Willow: Riley, listen-- Riley: Stand away from the stairs. Willow: No! You're gonna get Buffy killed-- He shoves her hard to the ground. Giles: Hey! He and Anya rush to Willow as Riley dashes up the stairs. Giles: You all right? Willow is shakened but doesn't seemed to be hurt. As they help her we-- Cut to Initiative. Buffy and Xander are rounding a corner when they hear someone coming from down the corridor. Angleman: How many of the men are still out? They return to the corner and try to look inconspicuous as Dr. Angleman enters the corridor with another scientist. They eavesdrop. Angleman: The longer they go without their meds . . . Scientist #1: Everyone's off their schedules because of the professor's death. Angleman: It's dangerous. I don't want to think about the damage our guys could do under the stress of withdrawal. Especially since they won't understand what's happening to them. These guys don't know they've been getting meds in their food, so we better get them in here STAT. Scientist #1: We've located all but a few. The last ones were in pretty bad shape but we stabilized them. Angleman: But Finn wasn't one of them, right? Scientist #1: No. Angleman: Find him. He's the one I care about. He's too important to the work to lose now. Scientist #1: Indeed. Cut to Willy's Place. Spike walks in through the beaded curtains and heads to the bar. Spike: Double-shot of O-neg, 'keep. And make it the good stuff. I don't want no freaking orangutan. (puts a few dollars on the bar) Willy: Got ya. Willy grabs a shot glass and a bottle of thick, red liquid. Spike: (as drink is being poured) Been a pisser of a day, isn't it? Those army blokes are on a tear. They ran me outta my place. And all over town. Willy moves on and before Spike can take a drink, a large demon hand falls on his shoulder. Spike: Yeah, what's that? Spike turns his head to look at the demon. Spike's POV: the demon raises his other clawed hand in a closed fist and punches the camera out. (fade out) Back to the Initiative. Buffy and Xander are still eavesdropping on Angleman. Angleman: Keep me posted. I'll be in records He walks away and the other scientist heads in the other direction. Buffy keeps her back turned as Angleman passes behind her to a door at the end of the hall. He slips a keycard through an electronic lock and steps through the door. It's swinging close behind him but Buffy shoves the clipboard inside before it can and walks in. She hands the clipboard to Xander and marches up behind Angleman who is unaware until she spins him around to face her and shoves him against a counter, getting a fistful of his shirt. Buffy: (pissed) Now I don't generally like to kill humans, but I've learned that it pays to be flexible in life. Angleman: I was wondering when you'd turn up. Buffy: (mock disappointment) Oh darn! (takes off her glasses) So this isn't a surprise? Now you can tell me what you did to Riley and after that we can take a tour of room 314. Angleman: Somebody's coming, you know? I'm sure they've already seen you on the security monitors. Riley: (stepping from around a the corner) Monitors are non-functional at this time, sir. Went down about ten minutes ago. Buffy: (looks to Xander) What? I didn't do that. Xander: Thank god for small favors and we'll worry about details later, huh, Buff? Angleman: Finn take this girl to the stockade immediately. Buffy: Riley, he can tell us what we need to know. (to Angleman) Maggie wanted me dead, didn't she? Angleman: (a beat) She did. (to Riley) But understand the Initiative has no interest in eliminating the Slayer. It was her own vendetta. Buffy: Why? Spell it out for me. I feel an attack of "dumb blonde" coming on. Angleman: I don't know. Buffy: (jerks him closer) Well. Think. Harder. Angleman: It was . . . the project. Buffy: Project? 314. Angleman: It . . . Glances at Riley who is paying close attention. Angleman: (to Buffy) It escaped. Riley: (stepping closer) That's enough! You're making her sound like some psychopath. She wasn't like that! She was a brilliant woman! Angleman: She was. I--it's not-- Riley: (angry) All she was doing was trying to help people . . . and this is the way you want them to remember her?! Buffy: (to Riley) Angleman said Walsh was feeding you drugs. Riley: You're doing this to me, aren't you? He advances on her and Buffy lets go of Angleman to face him. Angleman starts slinking away towards a nearby door. Riley: (glaring) This all started because of you! Buffy: Look, if you will just listen to me, okay? I am trying to help you get to the truth. Riley: You want truth? Then tell me . . . (grabs her arm) what did you do to her, Buffy? Buffy: (breaks the hold) Stop it! I didn't do anything! Riley tries to grab her again and she has to push him back. Buffy: Riley, stop! This isn't about us! Everything that we need to know is here. We just need to find out what was in 314. A commando's body suddenly drops to the floor behind them. They all turn and look up. On a catwalk Adam is looking down at them. ADAM: Me. ~~~~~~~~~~ Part Four ~~~~~~~~~~~ Fade in. Exactly how we left everything. Adam starts to pace across the catwalk. ADAM: I've been thinking about the world. I wanted to see it. Learn it. I saw the inside of that boy and it was beautiful. But it didn't tell me about the world. It just made me feel. So now . . . I want to learn about me. Why I feel? What I am? He stops pacing and turns to face them. He takes a step forward and drops to the floor, landing on his feet. He's looking at Riley. ADAM: So I came home. He pulls out a computer disk from the cargo pocket of his camouflage pants. Its labeled "ADAM" and he slides it into the drive slot of the metal plate on his chest. The disk loads itself with a soft whirring. ADAM: (pacing again) I'm a kinematically redundant, biomechanical demonoid. Designed by Maggie Walsh. She called me Adam and I called her mother. Angleman: Adam. Maggie would want you to stand down. ADAM: (looks at him) Yes. But I seem to have a design flaw. Angleman looks as if he's ready to bolt. Buffy has a "Oh, sh1t" look on her face. ADAM: (pacing) In addition to organic material, I'm equipped with GP-2/D-11 Infrared Detectors. A Harmonic Decelerator, plus DC Servo. Buffy: She pieced you together from parts of other demons. Adam looks down at his green Polgara arm, and his dark tan demon right arm, which is plated with metal on the forearm and shoulder. ADAM: And man. And machine. Which tells me what I am . . but not who I am. Mother wrote things down. Hard data, but also her feelings. That's how I learned that I have a job here. And that she loved me. Riley: She wasn't your mother! And she didn't love you! Xander: (not taking eyes off Adam) Is that really the issue? Riley: She made you because she was a scientist! Xander: (warningly) Rileeey. ADAM: Riley Finn. He pulls out another disk, this one labeled "FINN," and loads it into his chest. Riley: Stop! Those files-- ADAM: Oh! Mother created you, too. Riley: Maggie is not my mother! (to Buffy) I have a mother! A real-- ADAM: A birth mother. Yes. But after you met Maggie, she was the one who shaped your basic operating system. She taught you how to think. How to feel. She fed you chemicals to make you stronger. Your mind and body. She said that you and I were her favorite children. Her art. That makes us brothers. Family. Riley: No! (taking a step forward) I'm not like you! ADAM: That's pain, isn't it? Why? Because your feeding schedule --the chemicals-- have been interrupted? Or do you miss her? Tell me. Riley: I'll kill you! ADAM: (calmly) You won't. You haven't been programmed to. Riley: I cannot be programmed! I'm a man! ADAM: It's here. He's pulled out another disk and his holding it up for Riley to see. ADAM: The plan she had for us. What happens. How it ends. Riley: (quietly) No. ADAM: Do you want to hear? Riley: No! Riley draws his Barretta and aims it at Adam. Before he can pull the trigger, Adam grabs his arm and forces him to drop it. Buffy rushes forward and Adam backhands her in the face, sending her to the floor. Riley frees himself and punches Adam across the metal side of his face. Adam, unfazed, hits him with an uppercut that sends him flying high across the room over a middle work table. He hits the floor in a tumble, stunned. Xander rushes forward but Adam just shoves him back against the wall and he goes down. Buffy is on her feet and sends a powerful roundkick to Adam's chest. Adam just looks at her and smashes a fist across her face. She retaliates with a punch to his midsection. Adam responds by slamming the same fist down on her shoulder this time driving her to the floor. Angleman decides it's time to get the hell out of there and runs past Adam, heading for the door. Adam sees him and his Polgara skewer juts out of his arm. ADAM: Doctor. Adam steps forward and plunges the skewer into Angleman's back. He gasps and shudders in pain for a few seconds then falls to the floor, sliding off the spear. Riley runs up behind Adam and jumps on his back, wrapping an arm around his neck. Adam just turns on him and stabs him in the left side of his abdomen. Riley falls back, hitting the metal railing of the stairs, and drops to the floor clutching his side. Buffy gets to her feet and slams a side kick into Adam's back, this time making him stumble. He quickly turns and she ducks a slash aimed at her head. He grabs her around the neck with his other hand and shoves her to the floor. Cut to the door. Graham and Forrest can be seen through the small wired-glass window. They are pounding on the door, trying to get in. Adam grabs Buffy again, lifting her off the floor, and throws her against the wall. She hits hard and falls, unmoving. Adam just stands and looks down at his fallen opponents. There are now more commandos outside the door, trying to break through. ADAM: Thank you. This has been . . . very interesting. He walks to the stairs and heads back up to the catwalk. Riley is lying against the wall, in pain and Buffy, nearby, is starting to move again. Commando: (OS) Back away from the door! Finally, one of the commandos figured out that one of the very big guns their holding would be very helpful right now, and sends a circle of shots through the metal door around the handle. Adam walks under an airvent and reaches for the grated cover. Buffy moves to Riley's side. Buffy: Riley. Are you okay? The door gives way and two commandos rush in, guns ready. Forrest and Graham are right behind them and another half dozen commandos follow. They see Angleman's body as they walk inside. Commando: (OS) Secure the room! Go! Go! Xander: (still on the floor) We got a demon in here. It escaped through that vent. Buffy: It's not the Polgara. It looks sort of half man. Forrest: Right! And you just happened to be in the neighborhood. Riley: (painfilled) She's telling the truth. I saw it. It killed Angleman. Go. Now! Commando: Yes, sir. Several commandos rush up the stairs to the vent. Forrest steps closer to Riley. Buffy: He needs to go to a hospital. Forrest: We'll take it from here. Buffy: I'm going with him. Forrest: It's a military hospital. Buffy: No. Forrest kneels beside Riley. Forrest: Back off! We take care of our own around here, understand? Two of the commandos standing next to Graham aim their rifles at Buffy. Xander, not liking where this is going, moves closer to her and reaches a hand down to her. Xander: (concerned) Buffy. Forrest motions Graham forward and Buffy has to move as he and Forrest lift Riley to his feet. Forrest: (to commandos) Escort them out. Riley looks back at Buffy. Riley: (weakly) Buffy Buffy can only stand and watch them take him away and tears start to fill her eyes. And we cut to-- The door of Willy's Place swings open and Spike is ejected, tumbling into the alley in a broken, bloody mess. As he lies on his back, a large bad-ass demon walks out and stands over him. Bad-ass Demon: What did you expect, Spike? A welcome party? Quick shot of two more mean looking demons standing in the doorway. Bad-ass Demon: Word's out: you've been making war on the demon world. Spike: (dazed) War? Bad-ass Demon: With the Slayer! You kill other demons and the rest of us don't hold with that. The other two demons, growling, duck back inside where the jukebox can be heard playing loudly. Bad-ass Demon: Still . . . if I see you around here again, I'll* be inclined to break that code. Do you understand? Spike doesn't, or can't, say anything and the demon turns and walks back inside. Leaving Spike alone. Cut to UC Sunnydale. Next day. Willow and Buffy are outside, walking across campus. Willow: No word from Riley? Buffy: Nothing. The Initiative probably has him locked in some medical ward. There's no way I can get near him until I come up with a better plan than just storming in and getting us all shot. Willow: Yeah, you might want to work the kinks out of that one. Buffy: What am I going to do? He needs me and I can't get near him. Willow: You'll find a way. Buffy: It's not like I can spend all of my energy going after the Initiative. Not while Adam's out there. Willow: He's really that big of a threat? They move to the side of the walkway and sit down on a wooden bench. Buffy: (sighs) I could barely fight him. I-it was like Maggie designed him to be the ultimate warrior. He's smart and fast. He gave the commando guys the slip with no problem. Willow: There's gotta be a flaw. Buffy: I think the part where he's pure evil and kills randomly was an oversight. She lets herself sit back as her thoughts return to Riley. Buffy: I never should have let them take Riley. I need to be with him. Willow: I'm sure he's okay. Buffy: There's no way he can be. Everything he's ever believed in has been taken away or . . . He's alone. He has nothing to hold on to. Dissolve to the corridors of the Initiative. Commandos and Scientists are going about business as usual. One commando is standing guard at a closed door. Dissolve to interior and the camera pans across the medical room where we see Riley lying on a bed. his abdomen is wrapped heavily in bandages, a small red stain over his wound. He's still sweating a little but no longer seems agitated. He's staring at the wall. He lifts his right hand and looks at Buffy's scarf still wrapped around his hand. Summary:	Buffy discovers The Initiative's secret weapon; Riley becomes unstable due to the death of Professor Walsh and drug withdrawal; Adam ( George Hertzberg ) reveals some information about himself, while trying to learn about people by investigating their insides.	95	91,610	91,612	91,612	... [The rest of the episode script is omitted]
fd_The_Office_05x24	fd_The_Office_05x24_0	You are given a script of a TV episode. Summarize the episode in a paragraph. Episode Script: Michael: Hup! [throws cheese puff to Ryan who catches it in his mouth] [SCENE_BREAK] Pam: Things are a little slow here. And there's only so much cold-calling you can do in a day. Turns out there's no limit to the number of cheese puffs you can throw at someone's face. Michael: Hup! [throws cheese puff to Pam who catches it in her mouth] Pam: We're getting pretty good at it. [SCENE_BREAK] [Pam and Ryan throw cheese puffs to Michael, Ryan and Michael throw cheese puffs at each other, Michael throws a cheese puff over his shoulder to Ryan, all three throw cheese puffs to one another, give high-fives] [SCENE_BREAK] [Pam yawns, two cheese puffs thrown at her, one sticks in her hair] [SCENE_BREAK] Jim: Andy put down a bunch of deposits on stuff for his wedding with Angela, but then she was sleeping with Dwight for... several years. Wait, no, that can't be right. Pam: The timeline's messy. Jim: Anyway, now we are going bargain hunting in the haunted graveyard of their love. [SCENE_BREAK] Andy: This is my solo. [stereo plays Andy imitating bass guitar, a cappella starts singing 'You Can Call Me Al'] Pam: I'm confused. Am I walking down the aisle to 'You Can Call Me Al?' Andy: Trust me. You will not be walking. You will be boogie-ing. Jim: I am extremely interested. So, how much will all of this cost? Andy: Well, 12 guys, airfare, three nights in a hotel, food per diem, table up front for merch... $9,000. Pam: I don't know. It seems like a lot for an a cappella group from a college we never went to. Andy: Did you even hear the music I just played for you? Pam: Mm-hmm. [SCENE_BREAK] Phyllis: What's wrong with you? Dwight: These sleeves are cutting off my circulation. Not enough blood getting to my hands. Phyllis: I think you look nice. Dwight: Doesn't Charles know he's compromising my attack readiness? It's not a dress code. It's a death sentence. Charles: Looking good. Dwight: 'Kay, thank you. It's a straight jacket! [knocks things off shelf with arms] Okay. [SCENE_BREAK] Dwight: When Michael was in charge, this place was like the Roman Empire. And the Wild West. And war-torn Poland. And Poland. There was just a lot going on, so what you wore to work was the least of anybody's worries. And in that chaos, I soared. [SCENE_BREAK] Michael: Hey. Dwight: Hey. Ed's Tires is thinking of making a change. Michael: [gestures to 'Bed & Breakfast' magazine] Is this good? Dwight: They have some great kitchen ideas. Michael: Oh. Okay. Ed's Tires, huh? Dwight: It's small, I know. Michael: I really appreciate it. Dwight: Thanks, Michael. [Michael palms Dwight cash in their handshake] Wait, what is this? Michael: It's for your trouble. Dwight: Wh- I don't need $6 to help a friend. Michael: No, no, listen, as a friend, I want you to have this. Dwight: Michael, you know I can't take this. Michael: Yes, I do. Dwight: But don't forget you owe me $10. Michael: That was four years ago. Why don't you let it go? Dwight: Michael. [SCENE_BREAK] Andy: What was up with Pam being all pushy and negative in there? Jim: I think she just didn't want a crucifix cake. Andy: It scares me to see you going down a road that I went down. Jim: Am I going down a road? Andy: When I see her bossing you around like that, it just makes me wonder if this thing really has the legs to go the distance. Jim: It's so scary how right the things you're saying are. And you're coming at it with almost no knowledge, so of course I trust your opinion on this. [SCENE_BREAK] Andy: I know a few things about love. Horrible, terrible, awful, awful things. [SCENE_BREAK] Jim: I was going to use today to purge my inbox, but now something much more pressing has come up. [SCENE_BREAK] Michael: Ed's Tires. Why don't you tell them that we have fewer clients, so we can spend more time with each of them. Also, try to discuss it over Indian food, and try to mention how you distrust women. Pam: I'm not gonna do that. Michael: That is smart. That would not seem genuine. Ryan? Ryan: I can get there. Michael: Good, you take the lead on this one. Also, do not forget that he has just gone through a messy divorce. Ryan: Oh, awesome. Michael: Bring it in. Morning cheer. [clears throat] Michael, Pam & Ryan: U-G-L-Y, you ain't got no alibi! You ugly, huh huh, you ugly! You mama says you ugly! Hey! Go Michael Scott Paper Company! [SCENE_BREAK] Pam: I'm here. I'm a part of this now. [SCENE_BREAK] Dwight: You needed to speak to me? Charles: Dwight, take a seat. Dwight: I prefer to stand. Less blood clots. Charles: Nah, that's weird. You're gonna sit. [Dwight sits] Great. You know, Dwight, it has been quite a transition for all of us. Are you happy with the way things have been runnin' lately? Dwight: Do you mean compared to the ways things ran with other bosses? Comparisons are hard. Charles: I've just been impressed with your performance and I wanted to make sure good work doesn't go unnoticed. Dwight: Your concern is noted. Charles: Yeah, I like your work ethic. You're so... focused. Dwight: Like a wolf. Thank you. Charles: And I wanna start givin' you more responsibility. What do you say you and I go out for a drink this week? Dwight: Really? Charles: Definitely. Dwight: [sighs] It's firm. [SCENE_BREAK] Michael: [on phone] I need you to get me the prices that you're charging Ed's tires so I can undercut Dunder Mifflin. Dwight: I don't know that I can do that now. You know, uh, something's come up. Michael: Oh n- Is it Mose? Did you put the cover on that well? Dwight: No, Mose is fine. I roped it off. It's not about Mose. Listen, things are changing here, Michael, they're changing fast. Michael: I'm not following you. Dwight: Imagine... Someone has a personal hero they really wanna help. But then there's this new guy. Very cool, very Will Smith-esque, who would not like it if he helped his hero. Michael: Personal hero, cool new guy. Okay, I think I'm getting your drift. Dwight: Good, do you see what I'm saying? Michael: Crystal clear. So is this for a movie that you're writing? Dwight: No. Michael: Can I use it? [Pam holds up note saying "He's talking about you!"] Dwight: No. Michael: [Michael dismisses note, Ryan and Pam point to notepad] Dwight, are you talking about us? Dwight: It is possible that I could be talking about us. Michael: Someone could say that it is like the situation that we are in now? Dwight: It is the situation that we are in now. Michael: So I would say that the old boss has always been good to Dwight, and he was there first, so he has dibs. You respect dibs, don't you? Dwight: I'm not a barbarian. Michael: Good. Will you meet me in 20 minutes at the spot? Dwight: I will. Michael: Dwight? Dwight: Yes? Michael: Is the cool new guy Charles? Dwight: I've said too much. Michael: Is it Stanley? [SCENE_BREAK] Jim: Hey, Andy. You know I've been thinkin about what you said- Andy: 'Noishe.' Jim: -I just don't know if I can do it. Andy: That's interesting, because I hear what you're saying is that you want to do it, which means you can do it. Believe me, I broke up with Angela, and I'm like, the happiest guy ever. I mean, I'm so happy. I'm so happy. Like, total freedom, you know? Jim: It's just that Pam gets me through the day, you know? I really rely on her. I'm pretty emotionally needy. Andy: And you know what? I am here for you. Let me be your traveling pants. [imitates punching on Jim's fist] Ah, what'd you do that for? Jim: [both laugh] You know that I was doin' this. Andy: [fist pound each other] Totally. Jim: Okay. [SCENE_BREAK] Michael: Hello, Dwight. What's with the shirt? Are you alright? Dwight: I'm sorry, Michael Charles: [Charles comes from around corner] Hi, Michael. Michael: Oh my God! Run! Run! It's a setup. Setup! Charles: No, Mich-Michael. Michael: Dwight, run! Charles: Michael, no, let's be cool, ok? Michael: You be cool. Charles: Yes. Michael: Just-what's going on? Charles: We need to talk about our two companies, and how we should behave. Dwight tells me you've been pestering him for company info. Michael: Mm-do... Dwight would not- Charles: He did. Dwight: I did, Michael. I was upset about the shirt sleeves at first, but now I'm okay with it. Charles: Michael, I want you to stop pestering my salesmen, and I want you to leave Dunder Mifflin alone. Do you understand? Michael: I. Understand. Nothing. [SCENE_BREAK] Michael: [Michael storms into office] Wow. Pam: Michael, are you alright? Michael: It was a setup. Dwight told Charles. He told him. Pam: Tell us what you're talking about. Ryan: Yeah. Michael: It's like, a girl says she'll make out with you, but then her boyfriend is waiting around the corner with a pee-filled balloon. Pam: We can't help you if you don't just tell us what happened. Michael: I got hit in the face with a pee-filled water balloon, Pam, ok? I don't know how they did it. They filled the balloon with pee. A funnel? I don't know. Is that clear enough for you? [SCENE_BREAK] Andy: Hey, Jim. Jim: [Jim slams lunchbag on table] I just totally blew a sales call. Andy: Bro, I do that all the time. Jim: Yeah, well, with you it's different, okay? Cause I just- I just suck. I just- I suck! Andy: Tuna, be nice to my friend Jim, ok? Jim: Why? When I look in the mirror, I don't like the face that looks back. Andy: Well, so what? Your body's a ten. Jim: Forget it. Andy: Jim. Jim: I said forget it. [drop kicks lunch across room, stomps on it] [SCENE_BREAK] Dwight: [on phone] Dwight Schrute. Michael: Hello, traitor. Dwight: I think you have the wrong number, Michael. Michael: I want you to listen to me, friend, and I want you to listen to me good. I am going to come at you, and I am going to come at you hard. I am going to steal all of your clients, and then I am going to kill them in front of you. Pam: Michael! Michael: I'm just getting hardcore with him. Ryan: Finally. Michael: Yes, and hear me, Dwight, when I say I brought you into this world, and I can take you out. [hangs up] Bill Cosby. [SCENE_BREAK] Dwight: [on phone] Mr. Schofield, please? Secretary: He's in a meeting. Dwight: Dammit! [hangs up] [SCENE_BREAK] Michael: [on phone] Is Mr. Schofield there? Automated phone voice: If you'd like to reach an outside line, please dial nine first. [Michael sighs, hangs up phone] [SCENE_BREAK] Stanley: So, you think Michael's going after the whale, huh? Dwight: I have a long term relationship with Harper Collins publishers and Mr. Schofield. I'm not worried. Phyllis: You sound worried. Dwight: And you have bad skin. Oh, look everyone, we're all making observations! [gibberish sounds] [SCENE_BREAK] Michael: [on phone] Well, if you could do me a big favor and tell Mr. Schofield that Michael Scott has tickets to the Wilkes-Barre Penguins game this weekend, and if he would like to join me... Hello, Daniel. How are you? Uh-huh. I sure do. Yes. [referencing rolodex card] Wanted to ask, did Kathy ever make JV? Ryan: Look at that old dude and his rolodex go. Pam: I spent a month putting that rolodex on his Blackberry, which he now uses as a nightlight. Michael: Wow. High score? [SCENE_BREAK] Dwight: And no, I cannot lower my current prices. [phone rings] Hold on. Hello? Mr. Schofield, thank you so much for taking the time to talk. I wanted to discuss your contract with us- oh, you're considering him. I thought Michael Scott left the paper business after his nervous breakdown. [SCENE_BREAK] Dwight: Michael has been talking to my biggest client. Master and apprentice pitted against one another for the fate of the greater Scranton area paper market. So it's not exactly like 'Highlander,' but still... [SCENE_BREAK] Michael: Hello, Dwight, I've been expecting your call. What do you want? Dwight: I would like to arrange a truce. Michael: So you heard Schofield is considering a switch, and you want mercy? Dwight: Meet me in our spot in four minutes. Michael: No. No. You think I am going to fall for that? There's no- Dwight: Michael. Michael: Meet- Ok, go to the spot and then walk 100 feet. Dwight: In which direction? Michael: Toward the sun. Dwight: At what time? Michael: Noon. Dwight: That- Michael: You have two seconds. [Dwight starts running] [SCENE_BREAK] Dwight: [looking at his watch] Michael. [Madge walks by] Sorry. Michael: Dwight. Dwight: Michael. Michael: I hope you're not recording this conversation. [Dwight drops his pants and lifts up his shirt] Good. I cannot believe that you sided with Charles. Dwight: You were making me do things that were not all right. Michael: So you just rat me out? You could have said no. Dwight: And not come through for you? Michael: If you want a truce, I will give you a truce. Dwight: I want a truce. Michael: I do too. Dwight: Let me take you and your whole company out for lunch at Alfredo's. Michael: Cooper's. Dwight: I had fish yesterday. Michael: Damn it. [SCENE_BREAK] Michael: [Michael, Ryan and Pam sitting at restaurant, phone rings] Oh. Dwight-elicious. Where you at? Dwight: Oh, hi, Michael. I'm so sorry I'm late. I got stuck in traffic. Michael: Really? That's weird. We didn't see any. Dwight: I hit a bear. Michael: What? Dwight: He's technically fine. I imagine the true horror will be when he wakes up in a zoo. [throws a fish into the vent at Michael's office] Hey, listen, will you do me a favor and order the meatball parm for me, with extra cheese? Michael: Yeah, sure. Dwight: Ok, I will see you very soon, alright? [takes all the items off Michael's desk and puts them into briefcase, including rolodex] Michael: Okay, see you in a bit. Dwight hit a bear. He'll be here in a sec. [SCENE_BREAK] Pam: [Pam, Ryan and Michael enter office] Sounds neat. Ryan: We can spend a couple days there. Pam: Oh my God, I think we've been robbed! Michael: [Michael answers phone] Yeah. Dwight: Did you enjoy your lunch? Michael: Dwight, not now, we've been robbed. Dwight: No, Michael, you were sabotaged. Michael: No, Dwight, we were robbed. How would you even know? You're still stuck in traffic. [Pam holds up sign saying "Dwight did it!!"] You? Dwight: Me. Michael: What about our truce? Dwight: I broke it. Michael: On purpose? Dwight: Yes. Michael: Why? Dwight: You think this is some kind of game? No, this is a war, and I will not stop, I will not rest. You have no idea what kind of enemy you've created. You have unleashed the wolf! Michael: Be that as it may, I have your meatball parm sandwich here, and I am going to eat it. Dwight: And I knew that you would do that. The meatball parm is their worst sandwich! Michael: Oh. [bites into sandwich, looks disgusted] bstrd! [SCENE_BREAK] Dwight: Hi there. Dwight Schrute here. I was just calling to see if Michael Scott Paper was meeting all of your paper needs, and how is [reading off rolodex card] Brenda, age four, ponytail, and Simon, age 7? Oh, you don't say. [SCENE_BREAK] Dwight: [holding up rolodex card] Schrute comma Dwight. And on the back he wrote, "great salesman, better friend." [turns card over] "Tall" and "beets." [SCENE_BREAK] Dwight: And say hello to Cheri, who is your black wife. [hangs up and answers cell phone] I see you're begging for mercy, huh? Well, you will find none here. Michael: Dwight, do you mind if we talk? Dwight: Sure. That'd be fine. Michael: If you keep coming after us, the Michael Scott Paper Company cannot succeed. Dwight: This is war and that is what happens. Michael: Oh, one more thing. I'm going to have you listen while I steal your biggest client. Dwight: Oh, no. No. No. No. No. Michael: Oh, uh oh, I'm turning you down right now. Dwight: Michael! Michael! Michael: You can hear me, but I can't hear you. Secretary: Mr. Schofield's ready to see you now, Mr. Scott. Michael: Oh, great. Mr. Schofield's ready to see me. Thank you so much. Dwight: Don't let him in! He's a traitor! Michael! Michael: Walking in the door... Mr. Schofield: Michael, good to see you. Michael: Mr. Schofield, good to see you. And I'm closing the door. [Dwight runs out of the office] [SCENE_BREAK] Michael: [on speakerphone in Dwight's car] Now, when Dwight tells you that he will keep prices steady for a year, I think he is speaking out of turn. Mr. Schofield: Really? Michael: Yes. He does not have the authority to say that. I, on the other hand, am the president, the owner, and the founder. It is like you are buying software from Bill Gates. Dwight: Are you saying you invented paper? [SCENE_BREAK] Andy: [hugging a crying Jim] Okay, okay. Jim: Oh, God. Andy: Okay, Tuna. Kelly: Hey, guys. Jim: Hey. Andy: Hello. [SCENE_BREAK] Andy: Excuse me, can I have your attention, everyone? Here's the deal, everybody, Jim Halpert is very upset and disturbed. I don't know if it was something you did, something you said, a look you gave him, maybe it was nothing at all, but here's the deal, ok? It stops now. Kevin: I guess I could be nicer. Phyllis: Andy, I think Jim is messing with you. Andy: Oh, really? Phyllis: Mm-hmm. [looks over to Jim smiling through windows to the kitchen] [SCENE_BREAK] Jim: Okay. Andy: Yeah, okay, what the heck is happennin' here? Jim: Two things I need you to understand. One, Pam and I are very happy together. Andy: Uh, that's not what was- Jim: And two, that stuff that happened with you and Angela is a bummer, and I know you don't think you're ever gonna find someone else, but you will. I promise you, you will. [SCENE_BREAK] Andy: Oh man, he got me so good. I learned something about myself today. Yeah. I wish this was a sofa, cause I feel like I could sit here and talk for hours. [SCENE_BREAK] Michael: What is that thing that Dwight always says? Paper is the soil in which the seeds of business grow? Dwight: It's not the soil! It's the manure! Paper is the manure! On-time delivery is the soil! Aah! [runs into office] Secretary: Uh, hello, Dwight. Dwight: Spin move. Secretary: Oh- Dwight: Ha ha! April 13th, 2002. Mr. Schofield: Dwight, I'm in a meeting. Michael: That's very rude. Dwight: I barge because I care. April 13th, 2002, that is the date when you tried to switch paper providers for an obscure sociology textbook, but were hung out to dry when the price of glossy stock increased. Mr. Schofield: Maybe we should schedule a meeting on our- Dwight: La la la! Continuing. Notice my persistence and recall. Continuing! You called Dunder Mifflin, and your order was filled within an hour! Michael: I'm going to pull a date out of the air right now. April 13th, 2002. That is the last day that you evaluated your paper needs. Is it not? We all know that the economy is bad, and bloated companies like Dunder Mifflin... Dwight: Come on. Michael: Are going to fall by the wayside. Two of their branches have closed within the last year. The Michael Scott Paper Company, however, has opened a new branch this very month. Dwight: What he's not telling you is that he will abandon you. Mr. Schofield: Why don't you guys just e-mail me your best offers and we can finish it up that way? Michael: That sounds like a fantastic idea. I will see you this weekend for the Penguins. Box seats as usual. Mr. Schofield: Uh, ok, sure. Michael: Good, good, good. I will see you. Dwight: Thank you, Mr. Schofield, for your time. Much appreciated. Oh, and tell me, um, how's your gay son? Mr. Schofield: Excuse me? [SCENE_BREAK] Michael: I color code all my info. I wrote "gay son" in green. Green means go, so I know to go ahead and shut up about it. Orange means "Orange you glad you didn't bring it up?" Most colors mean "Don't say it." [SCENE_BREAK] Dwight: How is Tom, the homosexual sophomore? [SCENE_BREAK] Michael: I wanted to start a company, not a war. Because in a war, you always fight those you are closest to. And the great tragedy of the civil war is that brother fought against brother. For what? What purpose did that serve? Apart from abolishing slavery? In that case, war was the right choice. This doesn't feel as important though. That's just how the world works, I guess. [SCENE_BREAK] [muffled speech, Ryan, Michael, and Pam all have mouths stuffed with cheese puffs, Michael answers the phone and talks with mouth full] Summary:	Dwight, finding a new hero in Charles, clashes with Michael as each tries to steal the other's clients. After trying to sell Jim and Pam on his failed wedding plans, Andy tries to provide for all of Jim's emotional needs. Jim takes the opportunity to prank Andy, but also reassures him he will find love again. Michael ends up stealing Dwight's biggest client.	95	20,077	20,079	20,079	... [The rest of the episode script is omitted]
fd_Angel_03x07	fd_Angel_03x07_0	You are given a script of a TV episode. Summarize the episode in a paragraph. Episode Script: [PREVIOUSLY_ON] Wes: "The host reads their souls, senses their futures." Cordy: "Yes, but he can only do it when they sing Karaoke." Cordy: "Imagine what could have happened if you'd gone nuts and slept with Darla!" Angel throws Darla through the glass doors. Angel and Darla on the bed kissing and ripping each others clothes off Angel: "You know I would never do that." Angel wakes beside Darla and jerks upright in bed. Angel: "Get dressed and get out, because the next time I see you I will have to kill you." Shaman: "I can not help you. No one can. This is not meant to be known." Darla rubbing her pregnant belly: "Well, I guess there's only one thing left to do. Time to go visit daddy." Rome 1771 Some rats scurry along an underground sewer tunnel. Angelus runs by. He looks behind him and sees a group of monks carrying torches coming his way. Turns a corner, only to see other torch carrying groups of monks down a couple other branches. Angelus comes up on a sewer grate. He pulls the center grating loose, steps through, then wedges it back in place behind him. As he turns, he stumbles, tumbles down the slanting tunnel, crashes through another grate and lands on the floor of some underground chamber lit by torches. He is surrounded by monks with crossbows aimed at him. A pair of double doors swing open behind him, letting in bright sunlight. Angelus throws himself to the ground out of the direct light surrounded by a thin cloud of smoke. A rider brings his horse to a stop just inside the doors and dismounts. One of the monks leads the horse away as the rider makes his way over to a red robbed priest, while Angelus is picks himself up from the floor. Holtz: "Mille grazie, Monsignore. Sono nel vostro debito." Subtitles: "Thank you, Monsignor. I am in your debt." Monsignor (st): "No, this animal murdered your family. (Points at Angelus) Hold the beast!" Chains wrap around Angelus upper arms and chest. Holtz steps closer to Angelus: "Monsignor Rivalli, performed the ceremony when Caroline and I were wed. You remember Caroline?" Angelus: "Pretty lass. Hearty screamer." Holtz: "The good monsignor has since then been excommunicated. The order he founded, Inquisitore, adheres to the old beliefs. They're traditionalists and quite good at their work. Let's get started, shall we?" Holtz takes a sharp hook and some knives from one of the monks. We see the hook digging into the side of Angelus' neck, hear some cloth ripping. Angelus: "Ah. Aah!" We see the sun rise and set while hearing Angelus' screams in the background. The monsignor is walking cross the room, reading a book. Holtz is sitting on a bench, drinking from a cup. We hear some monks recite in the background and Angelus gasping in pain. Holtz: "You lost me in North Africa. I knew you'd come back to Europe, but Rome Angelus? (Gets up and walks around Angelus, suspended from the ceiling by chains around his wrists) Why in Gods name would you come to the seat of all that's holy?" Angelus: "Darla - she loves the Sistine chapel." Holtz: "Michelangelo?" Angelus: "Not him. She's mad about Botticelli's frescos. (Groans) The Temptation of Christ is her favorite - probably because of the leper. (Sighs) What do you want, Holtz?" Holtz picks up a three-pronged claw and looks at it. Holtz: "I don't want anything. My family is gone. I don't trust you to give me Darla, although I will find her, you know that. My only desire here - is to discover if a thing such as yourself can be made to pay for its sins. (Holtz digs the claw-thingy in somewhere below Angelus waist (off screen) and Angelus groans in pain) You're a demon. It is your nature to maim and kill. But you were also once a man. If we beat and burn the demon out of your living flesh, will there be anything left? (Holtz digs the claw in again and Angelus groans in pain) Anything at all? I doubt it. But I'm willing to spend the next fortnight of my life finding out. - In either event - you have no soul, you can not be saved." A flaming arrow streaks across the room and buries itself in one of the monks. Darla: "Sorry it took me so long darling." Darla is standing in a tunnel opening, holding a crossbow loaded with another flaming arrow. There are other vampires with her. Darla: "Kill them." Darla fires her flaming bolt, hitting Holtz in the shoulder. The vampires streak past her and attack the monks. Several vampires get staked by the monks during the fight, but that doesn't slow the rest of them down. Monsignor confronts Darla with a cross held in front of him. Monsignor: "Vai' all inferno, demonio lordo! (caption) Go to hell foul demon!" Darla pushes the cross aside, then sends the Monsignor flying into a wall. Darla: "No, grazie, padre." The double doors that Holtz rode in through is pulled down and a horse and carriage driven by a blanket shrouded vampire trot in. Darla unclips Angelus chains. Two other vampires catch him under the arms and drop him onto the back of the cart. Holtz tries to get up. Darla knocks him across the chin, then joins a groaning Angelus on the cart. Angelus: "Darlin'?" Darla: "What?" Angelus: "Shouldn't we be killing Holtz?" Darla: "I know, but it's just so much fun ruining his life. He's like family now." Angelus pulls Darla into a kiss as a vampire covers them with a tarp. The wagon heads out into the sunlight, with the blanket shrouded vamp at the reins. A public bus (Downtown LA - Hollywood) pulls over to the side of a dark and deserted street in LA. Darla: "Right here is fine. (To bus driver) Thanks for the lift. That didn't take long at all. (Gets off the bus) And they say there is no public transportation in LA." The bus driver turns slowly and looks towards the back of the bus. Three passengers are slumped in their seats with twin puncture wounds visible on their necks. Four other people are huddled down in the back of the bus. Bus driver fumbles out his radio: "Help! We got a code twelve on the 5-8 line! We need help here now, for god's sake. Now!" Darla walks away across the street. Intro Cordy is arranging some flowers in a vase down in the basement of the Hyperion. Angel walks into the training area and sees that there are several vases of them scattered around the room. Angel: "What's this?" Cordy: "Oh, it's just so dark and lifeless down here, I thought I'd brighten it up a little for you. (Angel picks up one of the vases) You can't exactly go out and enjoy the sunny fields of nature, but that doesn't mean we can't bring a little bloom into your darkness." Angel: "They're fake." Cordy: "Yeah. You put something real in this hellhole and it die (snaps her fingers) like that." Angel puts the flowers down, looking at Cordy. Cordy: "Thank you, Cordelia?" Angel: "You know, I've been around a long time..." Cordy: "Which reminds me. Next birthday, you think we could skip the two-hundred and fifty odd candles on the cake and the inevitable fire marshal and just go and just go with a little song?" Angel: "And I've never known anyone like you." Cordy: "Well, duh! Times a wasting, big guy. Can we do it? (Takes on a stance) Hi-yeah!" Angel chuckling: "Okay. Last time we were working on not pulling your punches and your kicks. Right? Don't worry about me. (Cordy hits him and he deflects the punch with his arm) That's good. (Cordy swipes at him again) Good! Where is your weight? (Angel looks down) Balls of your feet?" Cordy swings and hits him across the face full force. Cordy: "Oops! Oh god, you said that... (Angel straightens back up, smiling) Are you okay?" Angel: "I'm a vampire. You can't hurt me. Good." Angel turns away from her and makes a face, gingerly feeling his nose. Cordy: "You're off your game. It's because of the prophecy Wes and Gunn are trying to get their hands on. You think the end is coming." Angel turns back to face her: "The end is not coming. Someone is always uncovering some ancient scroll, and they're always saying the same thing: that something terrible is coming. Do you know how many of these things I've seen in my very long life?" Cordy: "Four?" Angel: "Three. But there's nothing to worry about." Cordy: "Then way are Gunn and Wesley breaking and entering right now?" Angel: "Breaking and entering is such a negative term. They are simply retrieving some missing pieces from the Nyazian Scroll. Just to make sure..." Cordy: "That the end is coming. - Well, all we can do is live each moment to the fullest and be grateful that we didn't throw too much money at the NASDAQ." Angel blinking his eyes and lifting a hand towards his face: "Am I swelling?" Camera sweeps over some big houses, surrounded by big gardens on a sunny plateau with some mountains in the background. Pans past some old oil paintings and statuary to show Wes, dressed in black, sneaking up on the window and look into the window from outside. Wes motions and Gunn walks up beside him. Wes: "Step one: Dobermans are happily gnawing on the steak. Alarm and vid lines are disabled (pulls out a scanner and looks at its display) no infrared. Caught a break there. Step two: we cut a hole in the glass, snake in the mini-cam and scan the interior." Gunn walks over to look in the glass door while Wes pulls glasscutter with a suction cup out of his duffel bag and attaches it to the window. Wes: "If it's all clear, we disable the locks and bolts on the side door thus completing... (Gunn tries the door and it swings open) ...step three." Wes closes up his duffel and moves over to follow Gunn inside, then hurries back to detach the suction cup from the window and stow it in his bag while Gunn waits for him inside. Wes hurries in and motions for Gunn to close the patio door. They open the doors into an adjacent room, in which all sorts of things are on display. Gunn looks around and whistles. Wes: "Can you believe this?" Gunn looking around: "Some guys collect old cars, some guys collect..." Gunn flinches back as he spots a misshapen, one-eyed demon head in a glass case. Then he and Wes lean in for a closer look. Gunn: "It's like - the eye follows you wherever you go." Wes walks over to a bottle sitting on a pedestal, pulls out the stopper and takes a sniff before closing it again. Wes: "Alright. If you were the priceless remnants of the lost Nyazian Scroll, where would you be?" Gunn: "If I was priceless - I'd be in the vault." Wes: "The vault? Your snitch never said anything about a vault!" Gunn: "I got a bad feeling about this." Wes: "We figure something out. It's just a - vault." Gunn: "Actually my bad feeling is more about the man standing behind you with the large revolver." Wes turns to see a guy standing in the door aiming a gun at them. Man: "Move and I'll kill you. The man edges into the room and reaches for the telephone with one hand while still aiming the gun at them with the other. Wes: "I hope you're calling the police." Man: "You bet I am." Wes: "Good. You can explain to them why you keep so much GHB on hand. (Wes walks over to the bottle on the pedestal) You know, Rohypnol, the date rape drug." Man: "What?" Wes indicates the bottle: "Muslok Trancing Amalgam. Under the microscope it's virtually indistinguishable from GHB." The man slowly puts the receiver back down. Man: "Alright. I won't call the police." Wes: "I'm glad we understand each other." Man: "Until after I kill you." Wes: "Oh." Gunn picks up four red glass balls out of a bowl on another stand. Gunn: "Hey, these worth a lot?" Man: "Yes. They're Cyopian conjuring spheres." Gunn: "How much? Four figures each? Five? (Starts to juggle two of the balls with one hand) More?" Man: "Stop that!" Gunn: "Put the weapon down." When the man hesitates, Gunn lets one of the balls drop and it shatters with a liquid splash as it hits the floor. Gunn: "Kind of delicate. (Juggles the remaining three with both hands) Look, we're not thieves, we're investigators. Now, we need to look at your Nyazian Scrolls. Put the weapon down, because - I'm getting kind of tired here." Man: "Alright!" Man puts the revolver down on a glass case and Wes retrieves it. Gunn drops another ball (the owner lets out a fearful gasp) only to bounce it off his foot and catch it again. Gunn: "I always wanna give them a big finish. Fred comes down the basement stairs of the Hyperion. Cordy: "Ow. That doesn't feel right." Angel: "Just relax. You have to bend." Cordy: "I don't bend there. - Okay. Now that's downright unnatural." Angel: "I know it feels strange, but if an attacker comes at you from behind, you wanna be able to shift all your weight immediately to your other foot so you can spin and kick. Here, you try it." Cordy spins and kicks up against Angel's chest. Angel catches her, one arm around her leg another around her waist to keep her from falling. Angel: "Whoa! Easy. Alright. That's alright. (Lowers her leg and lets go of her) That's better. We'll keep - working on it. Okay. That's probably enough for today." Cordy: "Yeah, well, we could do more of it, but then I'd have to ice every bone in my body. See you." Cordy walks towards the stairs, one hand pressed against the small of her back. Cordy: "Hey, Fred." Fred: "Hey! - Kye-rumption." Cordy walking up the stairs: "Well - back at you." Angel: "What did you say?" Fred: "Kye-rumption. It's the one nice word I remember from the Pylean hell dimension." Angel: "What's it mean?" Fred: "It's when two great heroes meet on the field of battle and recognize their mutual fate. It's also a kind of grog made out of the ox dung but that's archaic." Angel: "Oh, ah, that's interesting." Fred: "When I see you and Cordelia sparring Kye-rumption always comes to mind." Angel after a beat: "Me and Cordelia." Fred: "I know. She's such a hero, with the visions and the courage. It's only natural that you and she would be drawn to one another. - Oh! Plastic flowers! (Hurries over to one of the vases) My favorite! They never fade, you know." Angel: "Oh, whoa, wait a minute. There's nothing going on between me and Cordelia." Fred: "Nothing but Moira." Angel: "Who's Moira?" Fred: "Moira is the gut physical attraction between two larger than life souls." Angel: "Ha. No, there is no attraction. Cordelia is a friend. Someone I work with. That's all." Fred grinning: "See? You're being chivalrous. Because you 're a hero, just like her. You got Kye-rumption!" Angel: "Stop using that word!" Wes: "What's going on down here?" Angel: "Nothing." Wes: "I believe Fred's been through enough recently without people shouting at her." Fred: "He didn't mean anything by it." Wes just stands there, looking at the floor. Angel: "Is there something you wanted?" Wes: "Yes. (Looks at Fred) Gunn and I were hoping you could give us a hand with the Nyazian Prohecies. We need someone who can do the math." Fred: "Sure!" Fred starts up the stairs. Wes looks around: "Who gave you all the flowers?" Angel: "Nobody." Gunn is throwing darts at a board in the office at the Hyperion. Wes is sitting at the desk, writing. Fred is sitting beside him, working on the laptop. Cordy is at her own desk. Gunn: "So, how are you doing there, Fred?" Fred: "Oh, it's a simple equation, really. The ancient Roman calendar has fourteen hundred and sixty-four days in a four-year cycle. The Etruscan, Sumerian, and Druidian each have their own cycles. You work forward from the presumed day of the prophecy under each calendar, factoring in our own three hundred and sixty-five day calendar and accounting for a three day discrepancy for every four years and..." Angel walks into the lobby, he sees Cordy sitting at her desk and stops before anyone notices he's there. Fred: "Oh. - That can't be right. - Unless the world ended last March." Gunn: "So, are we talking Armageddon - or bad house number? (Sits down in the chair in front of Wes desk) Is it a bad event - or a bad guy?" Wes: "It's not clear on that. It predicts the arrival or arising of the Tro-clan, the person or being that brings about the ruination of mankind." Gunn: "So it's a two for one. Isn't that nice." Wes: "And I'm not sure on the translation. Ruination may in fact mean purification." Gunn: "Purification? So this Tro-clan is a good thing?" Wes: "I doubt that. But it's purification in Aramaic, ruination in ancient Greek and in the lost Ga-shundi language it means both." Cordy: "And you don't want to make the same mistake twice." Cordy looks up from her desk at Wes, who looks down at his papers. Wes: "No." Fred: "What mistake?" Wes: "There was another prophecy a while back. It seemed to be about Angel and contained the word 'Shanshu' which I thought meant to die and I - sort of told Angel..." Cordy: "...that we was going to die." Fred: "Oh, no." Wes: "Then I found out it also meant to live. It meant to die and to live." Fred: "So - which is it?" Wes: "Both. In his case it meant that some day the vampire in him might die, but the human in him might live." Angel is standing at a corner in the lobby, listening. Fred: "That he would be like a normal man?" Angel slowly lifts his head and looks at Cordy working at her desk. Wes: "Yes." Fred: "Wow. What would we do if that happened?" Cordy: "I'd buy him some plaid shirts and take him to the beach. The boy needs some color." Fred goes back to typing on the laptop. Fred: "There. That came out better. - Oh. No it didn't. It's still very preliminary, but - if these calculations are correct, this bad thing should already be here. (Looks around) Well, I-I guess not right here, but - here in LA." Angel walks into the reception area and sits down. Fred: "Let me run these numbers again." Cordy: "Hey." Angel: "Hey." Cordy after a while: "Why are you looking at me like that?" Angel: "Ah, no reason." After a moment Cordy gets up and walks past Angel to pour a cup of coffee. Cordy: "Okay. It's getting creepy now." Angel: "I was just thinking about things. - People. You know. How they relate. Take you and me for instance. We're very different. Very different. Obviously (points at Cordy) human (points at himself) vampire. (points a Cordy) Woman (points at himself) man...pire." Cordy: "Has someone been putting vodka in your blood?" Angel laughs: "See? You're funny! And I, well I get off a good one every once in a while, but you..." Cordy, sipping her coffee: "Angel, are you trying to say you love me?" Angel: "What?" Cordy: "I love you too." Angel: "You do? When did this..." Cordy yells towards Wes open office door: "Angel loves me. I love him." Angel: "Oh, my god!" Cordy: "You guys love us and we love you." Fred, Wes and Gunn chorus: "We love you Angel." Cordy: "They were all saying it earlier. Just in case this prophecy comes true and we all die. - You're not gonna wanna hug, are you?" Angel clears his throat and sits back shaking his head: "No." Cordy goes back to her desk: "God knows we've been through a lot together." Angel: "That's really all I was trying to say, that we've been through so much together, you and me, as friends. You've seen the - good, - and the not so good." Cordy: "Just like you have in me. And for the record: the good I've seen far outweighs the bad." Angel after a beat: "Thanks. You, too." Cordy: "Hey, what are friends for?" Darla: "If you ask me, they're for knocking you up and leaving you high and dry." Angel spins around to see a very pregnant Darla standing on the top landing leading down into the lobby from outside. Darla: "Hello, lover. Long time no see." Break Angel: "Darla." Cordy: "Darla?" Wes: "Darla!" Fred: "Who's Darla?" Gunn: "Angel's old flame from way back." Fred: "Not the one that died?" Gunn: "Yeah. No, not that one. The other one that died and came back to life. She's a vampire." Fred: "Y'all have a chart or something?" Gunn: "In the files. I'll get it for you later." Angel: "Well, when did this happen?" Darla comes down the steps: "You know exactly when it happened." Cordy: "Angel - did - you and Darla...?" Angel: "Uh..." Cordy turns to look at him. Angel: "This is impossible." Darla: "Tell me about it - daddy!" Cordy: "You slept with her?" Angel: "Vampires can't have children. Wesley?" Wes: "Ah, no, he's right. It's not possible." Cordy: "That's not what I asked." Darla: "You know we can't. I know we can't. But - we did." Fred: "I wonder if this might not be that bad thing we were expecting." Darla: "What did you do to me?" She hits Angel across the face and he stumbles back against the weapons cabinet behind him. Cordy steps between Angel and Darla: "Stop that!" Angel: "It's okay. It's alright. I'm okay." Cordy: "You'll hurt her! Haven't you done enough? (Turns to Darla) Here, sit down. You should get off your feet." Cordy leads Darla over to the round settee, then looks back at the others. Cordy: "Can we get her some water?" Fred turns to go get it. Angel: "Cordy that's Darla. Maybe you don't want to..." Cordy: "Did you or did you not look me in the eye and say that you would never do a thing like this with her?" Darla: "Oh, he lied? What a surprise." Fred carrying a glass of water: "Hi. I'm Fred. Is water okay, or did you want some blood?" Darla takes the water as Wes gently pulls Fred back away from Darla. Angel: "Cordy. I'm sorry - I lied. It was just - it was a very dark time." Cordy: "Oh! You used her to make you feel better during your dark time. Well, that makes it all heroic." Angel: "It wasn't like that. It just - happened. It wasn't like I went evil or anything, I just..." Cordy: "You just went male. (brushes the hair out of Darla's face) Have you been to a doctor." Darla gives her a look: "No. But I have been to every shaman and seer in the Western Hemisphere." Wes: "And what did they say?" Darla: "They don't know what it is. They don't know what it means. Nothing like this has ever happened." Angel: "Maybe it's an hysterical pregnancy." Darla: "You wanna feel it kick?" Cordy: "Does it kick a lot?" Darla: "Like crazy." Angel: "well, now wouldn't that be the first sign of... (Cordy gives him a look) ...hysteria?" Cordy: "What can we do for you?" Darla: "Well, you can get you little gang of supernatural detectives to find out what the hell is happening to me and how to stop it." Cordy looking at Darla: "Are you gonna take some responsibility here? (Looks up at Angel) Angel?" Angel: "Oh, me? - Of course I am. - Wes, lets get on this right now." Wes: "What do you suggest?" Angel: "I suggest you use your books and find out what's going on. What, do I have to think of everything?" Wes picks up a book from the counter and opens it. Wes: "Oh, here it is." Darla straightens up in her seat and Angel walks over to Wes. Wes: "It says 'I have absolutely no idea what's going on.' (Closes the book) We should talk to the host." Lorne: "Oh, this is all wrong." The camera pulls back and we see that he is looking at two people holding up a modern painting. Lorne: "Try it on the back wall. Far away from where folks might be eating." Muses: "Violence abounds, violence restrain, this space a sanctuary was and shall be again." Lorne: "That's great girls. - Hey, Arnie, why 're you charging me twelve hundred over the estimate here?" Arnie: "Had to run a separate two twelve to the security box. Double insulation everywhere in the building. Plus, we had a run on Kek bile and Bin-der glands. And you know what you said: 'This club's my baby. I want top drawer through out." Angel: "Lorne! You here? - You got to help me. We got (looks back at the others filing in behind him) kind of a situation on our hands." Muses: "Mmm, Angel." Cordy: "And here we have three more of Angel's chippies. You girls are on the pill I hope." Muses: "Mmm." Angel smiles and waves at them then walks over to lean in close to Lorne. Angel: "What are they doing here?" Lorne: "They're here to help recast the sanctuary spell to prevent violence in the club. And this time I'm covering demons and humans. I'm opening the club again. I know I was blue for a pretty long time. If it'd gone on much longer I would have turned aquamarine. (Lorne is the only one laughing) And now that the ice is broken (turns to Darla) what happened here?" Darla: "What's it look like?" Cordy: "Angel boned her." Angel: "Just once. Just the one night. Ah, just the two or three one times that one night..." Fred: "Is Angel gonna sing?" Gunn: "Oh!" Wes: "I suppose he has to." Cordy: "She's carrying the baby!" Darla grabs Lorne by the lapels, pulls herself in close and starts to sing: "Oh, Danny boy... What the hell's inside me?" Lorne: "Oh, no, no, no. We're way past singing, mes enfants. This is a brand new day here. (To the club at large) Alright every body, that's a wrap! (People and demons start filing out) We'll finish the spell tomorrow. We got a little crisis brewing. Thanks for coming! Check's in the mail! Get the hell out." Muses, speaking in turn: "Bye Angel, come see us soon. Mmm..." Cordy: "Men!" Lorne: "This is way beyond my ken - and my Barbie and all my action figures. If it's alive..." Darla: "Oh, it's alive! And kicking!" Lorne: "It could be anything. A child born to two vampires..." Gunn: "Maybe it's some kind of 'ueber'- vamp." Wes: "The Nyazian prophecies mention a Tro-clan." Fred: "That's supposed to be here about now." Lorne: "Born out of darkness to bring darkness." Angel: "Great. So, we're saying that my child is - the scourge of mankind?" Darla moans. Cordy: "You guys are upsetting her! (To Lorne) I think she needs to lie down." Lorne: "Yeah, of course. She can have my bedroom." Lorne and Cordy help Darla up and start to lead her towards the back of the club. When Angel starts to follow Cordy stops him. Cordy: "We can handle it." Cordy and Lorne lead Darla into Lorne's bedroom. Cordy: "I think we should call a doctor." Darla: "It'll pass. I just have to - let it." Darla lets herself drop onto the bed and Cordy sits down on the edge of it beside her. Cordy: "I'll stay with her." Lorne: "If you need anything, just holler." Cordy: "Okay." Lorne leaves the room. Angel: "I don't accept this. These stupid prophecies, you can always interpret them a hundred ways from Sunday. How do we even know your calculations are correct?" Fred: "I don't. I'm still working on them." Gunn: "Well, we do know that Darla is pregnant with something!" Angel: "That's biologically impossible." Lorne: "And mystically unfair. You've fought long and hard for good. If your destiny is to spawn something evil..." Angel: "I don't see how anything spawned by Darla and me could be good." Wes: "You know the first prophecy that said that the vampire with a soul would be pivotal in the battle between good and evil?" Gunn: "That Shanshu one?" Wes: "Maybe it's not you. Maybe your child is a pivotal figure. Maybe your destiny is simply to help bring to the world." Angel after a beat: "Or to stop it." Fred: "Can I say something about destiny?- Screw destiny! If this evil thing comes we'll fight it, and we'll keep fighting it until we whoop it. 'cause destiny is just another word for inevitable and nothing's inevitable as long as you stand up, look it in the eye, and say 'your evitable!' - Well, you- you catch my drift." Lorne: "Wow. I like her so much!" Angel: "I wanna see these prophecies myself, and your calculations, Fred, and anything else we got on this." Fred: "Why don't I go back to the hotel and get everything?" Wes: "Good idea. We put our heads together and figure out a way to fight this thing." Fred leaves and Angel turns to Lorne. Angel: "How's she doing?" Lorne: "Well, she's weary. The poor thing looks like she's about eighteen months pregnant. Hope they're not twins." Angel: "Not her. Cordelia." Lorne: "Oh, ah, I sense that she's - hurt and pissed what with the lying and deception and ecetera. You should probably stay out of her way for a while, huh?" Cordy: "How're you feeling?" Darla: "Just crazy." Cordy: "What?" Darla: "Why would anyone bring something into this world?" Cordy: "I was pregnant once. (Laughs and holds out a hand) I was out to here - overnight! Mystical thing. I didn't go to term, but while it lasted, hooh! Talk about uncomfortable! Your back and legs hurt all the time and first you're sick to your stomach and you can't eat anything and then your ravenous! Are you able to eat or do you just..." Darla levers herself up: "What? Drink?" Cordy: "Well, it's - really none of my business, is it? - You should rest (Cordy gets up) and I should (starts to walk towards the door) I'll just be real close by. If there is anything that you need... (Darla morphs into vampface) Anything at all..." Cordy is about to open the door, but Darla is suddenly there, holding the door shut. Darla: "I'm hungry all the time. It's weird." Cordy: "Sure. You're eating for two now. It's only natural." Darla: "No, what's weird is - no matter how much I feed - I can't seem to get full." Cordy punches Darla hard across the face. Follows it up with a second punch, then pulls out a cross to ward Darla off. Cordy: "Pregnant or not, you're going to keep your distance." Darla bats the cross aside, grabs Cordy and throws her across the room against a table. Then she clamps a hand over Cordy's mouth to prevent her from screaming and sinks her teeth into the side of Cordy's neck. Break [SCENE_BREAK] As Darla bites her, Cordy gets hit by a vision. Darla backs away from her for a moment while we see flashes of some arcade, then lunges back in - only to get pulled back away by Angel. Angel: "Get away from her!" Angel picks Cordy up and carries over to the bed. Angel: "You're gonna be alright. You're gonna be alright." Cordy holding the side of her neck: "Ouch!" Angel presses a cloth over the neck wound. Angel: "Cordy, you're gonna be all right. I'll kill her for this." Cordy panting: "You're gonna have to find her first." Angel looks around. Darla is gone. Out in the club the others are just picking themselves back up, when Angel comes out, carrying Cordy in his arms. Angel: "She bit Cordy." Lorne: "Oh, sweetie, are you alright?" Angel: "No. Where is she?" Wes: "She got away." Gunn: "We tried to stop her by hitting her fists and feet with our faces, but..." Angel: "We'll take Cordy to a safe place and we'll take care of Darla." Hyperion, night, Cordy is lying on a bed with Angel sitting beside her. Angel: "Are you feeling any better?" Cordy: "Yeah. You don't have to stay with me." Angel: "Gunn's gonna be right here." Cordy lifts her head to look at Gunn: "Thanks." Angel: "I'm not gonna keep telling you how sorry I am. I'm gonna tell you - that she'll never do it again." Cordy: "It was my fault, Angel. I felt sorry for her. She looked so helpless - like a mother. - I forgot what she really was. - I'm starting to feel the pills." Angel gets up and backs away from the bed as Cordy's eyes drift closed. Angel quietly to Gunn: "You see Darla anywhere in range..." Gunn: "I'll take care of it." Angel turns to go. Cordy sits up: "Wait! - When she bit me I had a vision. I almost forgot." Angel comes back and sits back down on the edge of the bed. Angel: "What did you see?" Cordy: "It was like no vision I ever had before. - She's so hungry. - She doesn't know how to make the hunger stop. - I think I know where she's headed." Angel is arming himself from the weapons cabinet. Wes: "I'm not speaking to you as the boss, because I know you wouldn't listen, but you shouldn't do this alone." Angel: "I have to do this alone." Wes: "Angel, a normal vampire is strong, and Darla wasn't normal before this. She took down the host, Gunn, and me without even breaking stride. She's stronger than all of us right now, including you, because of what's in her." Angel: "I know. I put it there." Angel turns away and hurries out. Wes: "Why does he think he has to do everything alone?" Fred: "I think he just can't bear to have us see him do it." Wes: "Kill Darla? She did try to kill Cordy - and she's a vampire." Fred: "Who is carrying his child. The one thing he can never have, even if he lives forever." A busy arcade, there are kids and noise everywhere. A little blond boy stands in the middle of the confusion, looking around. Boy: "Mommy? - Mommy? - Mommy?" Darla: "What's wrong, honey? Lost your mommy? (Boy nods) Let's go find her together, hm?" The boy nods and takes her hand. Darla turns to lead him away. Woman: "You're a brave woman! (Darla stops and looks over her shoulder) About to have one, taking another one out to play." Darla: "Oh. I love children. I could just - eat them up." Darla and the woman smile at each other and go their separate ways. Break Cordy is sleeping on the bed, dreaming of Darla biting her and getting the vision. She jerks awake with a gasp. Gunn comes over and sits down on the edge of the bed. Gunn: "Hey, hey! It's alright. It's just a dream, okay? I'm right here. She can't hurt you." Cordy: "I have to talk to Wes." Cordy is pacing in Wes' office. Cordy: "It was a dream, but - it was more like a vision." Wes: "About what?" Cordy: "About what's inside Darla. (Sits down) This Tro-clan thing - the prophecies say that it will be born - or it will arise?" Wes: "It says both. The middle English eyrizan and the Gothic urreisan, both mean to appear, to spring up." Fred: "Angel's not answering his phone. Should I leave a message on his voice mail?" Cordy: "He doesn't know how to use his voice mail. Just try his pager." Wes: "There is also a reference to the Tro-clan being boren, which is pretty plain middle English for being born, to bear." We hear a pager go off. Gunn checks his belt, then gets up and walks over and pulls Angel's pager out of the pocket of the coat hanging in the corner of Wes' office. Gunn: "Well, we found Angel's beeper." Wes: "What is it, Cordy? What is the vision trying to tell you?" Cordy: "I think they're trying to tell me why Darla is craving younger victims." Darla is crouched in front of the little boy in a deserted corner of the arcade. Boy: "Ma'am, I don't think my mom is back here." Darla: "Are you sure? Did you look?" The boy looks around. Boy: "I don't see anybody." He turns back to see that Darla has morphed and lets out a scream. Angel runs across some of the arcade games and tackles Darla against the wall and slams the stake in his hand towards her heart. Darla puts up a hand to ward it off the stake pierces her hand until it comes out on the other side. The boy runs away screaming, straight into his mother's arms out in the crowd. Mother: "There you are! (Catches him up in her arms and hugs him close) Where have you been? How many times have I told you not to wander off!" Darla tosses Angel out from the deserted section. The mother's eyes widen as Angel lands on top of some tables, over turning them. People in the crowd see Darla follow him out, still wearing her vampface and turn to run away, screaming. Darla pulls the stake out of her right palm and lets it drop as she walks towards Angel. Darla: "You so want to play the good guy, don't you? Yeah. You're the good guy who did this to me." Hauls back and knocks Angel across the face, slamming him against one of the games. Darla: "You may have the face, but you don't know the hunger! It pounds! You can't make it go away! You can't stop it!" Angel: "I'll stop it!" He hauls back and hits Darla. The two of them fight. In the end Angel manages to grab Darla by the throat and push her up against the wall. Darla: "How could you put this in me? I hate you!" Darla hits him again, but Angel refuses to let go of her throat. Darla: "They breathe. They breathe and pound. I don't breathe, you idiot! You can't strangle me!" Darla laughs. Angel: "I'm not gonna strangle you." Angel pulls her away and slams her back up against the wall, pulling out another stake. Darla: "Come on! Do it! (Angel hesitates) Do it!" Angel slowly lowers the stake and looks down at Darla's belly. We hear a heartbeat. Angel slowly steps back from Darla. Darla lunges, grabs a hold of Angel's jacket and shakes him. Darla: "Do it! Do it! Make it stop!" Angel gently restrains her, wrapping her tightly in his arms and pulling her up against his chest. Angel: "No it won't, Darla. Darla, listen to me." Darla: "Make it stop! Make it stop." Angel: "The child. The child has a heartbeat. It has a soul." Darla flailing wildly: "No! Not my child! No!" Angel: "Our child. Ourchild. Our child. That's why you've been craving purer and purer blood. That's why it's been driving you out of your mind. It has a soul." Darla collapses against Angel's chest, sobbing: "No, it doesn't." Angel holding her: "It does." Darla: "It can't." Angel quietly: "Yes, it does. It does." Angel helps Darla to lay back down on a bed in the Hyperion and hands her a mug. Angel: "Here, drink this." Darla takes a gulp then makes face. Darla: "Pig's blood?" Angel: "You need to keep yourself nourished. You'll get used..." Darla throws the pug against the wall, shattering it and splashing the wall with blood. Angel: "You're not alone in this anymore. We'll deal with this together." Darla: "Gosh. I'm the luckiest vampire girl in the whole world. - Get away from me." Angel gets up: "Try and get some sleep." Darla: "How's Cordy? She wanna come up and visit?" Laughs. Angel walks up to Gunn, standing in the door holding a loaded crossbow. Angel: "She goes near Cordy, or Fred..." Gunn lifting the bow: "I know." Angel: "Don't underestimate her. The woman is stronger than all of us right now." Angel walks down into the lobby and sees Cordy and Wes leaning over an open book on the reception counter together. Angel: "You're not to go near Darla for any reason without me, Gunn, and a lot of crossbows standing between you. You understand?" Cordy: "Oh, yeah. And if I forget (indicates the bandage on the side of her neck) I have a nice little reminder." Angel: "That goes for you, too, Fred." Fred looks up from the laptop: "Gotcha." Angel goes to sit down on the settee in the middle of the lobby and Cordy walks over to him. Cordy: "So, I guess you're gonna be a father." Angel after a beat: "Guess I am." Cordy: "I felt it in my dream. The same thing you did - when you found her. (Sits down beside him) It has a soul." Wes: "Well, Angel has a soul. It makes sense. As much as any of this does." Angel looks down at his folded hands. Wes: "Angel, even with a soul, she could give birth to what's spoken of in the prophecies." Angel looks at Wes: "The thing that's coming to kill and burn us all? - I know that. - I also know the child is mine." Wes: "Right." Cordy: "Well! Another big fun day at Angel Investigations. (Gets up) What do you say we pour ourselves a good stiff..." Fred: "Uh-oh." Cordy: "A good, stiff uh-oh?" Fred: "Remember before when I said I thought that maybe, possibly, perhaps I might have been off in my earlier calculations? And you asked Wes if he thought if the Tro-clan was prophesied to arise or be born and he said it could be both? And we all know that the Latin for arrive is arripare, to come to land or possibly in this instance simply to come to, as from a deep sleep?" Angel, Wes: "Fred!" Fred: "Right. I believe that whatever this thing is, it's arriving right about (looks down at a watch) three, two, now." A busy section of LA, night, people are walking past, talking. The camera sinks through the ground down into a round chamber, lit by fires in the alcoves along the wall. The ceiling is supported by a circle of pillars. A stone statue and two bowls holding more flames are set up, forming an equal triangle inside the circle of pillars. A demon walks in and stops in front of the statue. Sahjhan: "The weight of time is heavy on the world. And all men born must die. But there are worlds unknown, where dreamers dream and sleepers sleep, and patiently await. As pledged in Caladan by Cod-she, (Sahjhan steps back and throws some powder at the statue) One shall awaken in the first year of the final century. That one, who lived before and joined Cod-she in the great sleep. Arise, as was promised and foretold. Arise. - Arise!" Nothing happens. The demon turns away and walks over to one of the fires and lights himself a cigarette. Turns back to watch the statue, puffing. Checks his watch. Takes another drag. Suddenly the room begins to shake and blue lighting flashes. The eyes of the statue suddenly turn into two open, human looking eyes. The statue cracks then crumbles to the ground in a cloud of dust. The demon puts out his cigarette and walks over to the figure huddled in the middle of what's left of the statue. Sahjhan: "Welcome to the twenty first century. (Crouches down and puts a hand on the back of the figure) Angelus is here. You'll see him soon. - You haven't used your muscles in a very long time. It will be a while before you're strong enough to..." The figure suddenly straightens up. It's Holtz. Holtz: "Just tell me where he is." Summary:	Darla comes back to LA, bringing Angel news of their baby. As Team Angel tries to find out how a vampire pregnancy is even possible, Angel must deal with his growing feelings for Cordy and his new fears about what sort of "child" Darla might be carrying. Meanwhile, one of Angel's old enemies arrives in LA looking for vengeance.	95	40,738	40,740	40,740	... [The rest of the episode script is omitted]
fd_The_Office_03x20	fd_The_Office_03x20_0	You are given a script of a TV episode. Summarize the episode in a paragraph. Episode Script: Andy: Good morning, Pam. Pam: Oh, welcome back, Andy. Andy: Drew. I'm Drew now. Pam: Oh. Drew. Sorry. Andy: Apology not... accepted. Because it wasn't even necessary in the first place. [laughs] [SCENE_BREAK] Andy: Several weeks ago, Andy Bernard had an incident. [cut to shot of Andy punching a hole in the wall] But after five weeks in Anger Management, I'm back. And I've got a new attitude. And a new name. And... a bunch of new techniques for dealing with the grumpies. [SCENE_BREAK] Andy: Mornin' Jim. Jim: Hey, Andy. How are you, man? Andy: Good. Drew. Jim: What's that? Andy: Dr--- You can call me Drew. Jim: No, I'm not gonna call you that. Andy: Cool. I can't control what you do. I can only control what I do. Jim: Andy. Andy: Drew. [walks to Dwight] Dwight. How's it goin' man? [SCENE_BREAK] Dwight: Yes, I have decided to shun Andy Bernard for the next three years. Which I'm looking forward to. It's an Amish technique. It's like slapping someone with silence. I was shunned from the age of four until my sixth birthday... for not saving the excess oil from a can of tuna. [SCENE_BREAK] Dwight: Jim, could you please inform Andy Bernard that he is being shunned. Jim: Andy, Dwight says welcome back, and he could use a hug. Dwight: Ok, tell him that's not true. Jim: Dwight says that he actually doesn't know one single fact about bear attacks. Andy: You guys... Dwight: Ok, no. Jim, tell him that bears can climb faster than they can run. Jim! Tell him! Jim: [half-heartedly] Andy! Nah, that's too far. Dwight: Damn you. [SCENE_BREAK] Michael: Today is Safety Training Day. Toby is leading ours upstairs. Yeauck. But, I am giving everyone a little bit of a treat. We are going to listen in on Darryl's presentation to the warehouse. And if I know Darryl, it gonna be zoppity. [SCENE_BREAK] Darryl: Now, this is the forklift. You need--- [Michael rattles it] You need a license to operate this machine. That means the upstairs office workers can't drive it. ... Quiz! Mike. Michael: Hmm. Darryl: Should you drive the forklift? Michael: I can, and I have. Darryl: No! No no no no no! I said should you. You should not drive it. You should not drive the forklift, you understand? Lonny: You're not allowed to drive the forklift. Darryl: It's not safe, you don't have a license. Michael: Guys, I'm not the only one who's driven the forklift. [points] Pudge has driven the forklift. Madge: Madge. Michael: I thought your name was Pudge? Madge: No, it's always been Madge. Michael: Okay. Um, her. Darryl: Her. Yes, "her" is qualified to work a dangerous machine. You are not. Okay? Michael: Ah, fine. Darryl: Do you understand that? Michael: Yeeesh. [SCENE_BREAK] Darryl: We do safety training every year, or after an accident. ... We've never made it a full year. This particular time, I was reaching for a supply box on the top shelf, when one office worker, who shall remain nameless, kicked the ladder out from under me and yelled... [SCENE_BREAK] Michael: [barely keeping his composure] "Hey Darryl, how's it hangin'?!" [laughs] [SCENE_BREAK] Darryl: And I fell and busted my ankle. I'm legitimately scared for my workers. [SCENE_BREAK] Darryl: The baler can flatten a car engine. It can cut off your arm and crush your entire body without skipping a beat. Dwight: Yeah! Andy: It's on! Darryl: How many people a year do you think get their arms cut off in a baler? Michael: Bail'er? I hardly know her. Lonny: Dammit, Michael. Pay attention, man. Darryl: Anybody wanna take a guess? Anybody? Kevin: Five bucks says it's over 50. Jim: You really wanna bet? Darryl: Anybody? Kevin: Ever since March Madness ended, I am so bored. Guy: How many? Jim: Ok, you're on. Darryl: Ten people, Michael. Ten people. Would you like to be one of them? Kevin: [mouths] Damn... Darryl: [in background] You have to be alert, and calm. And always careful... Jim: No, don't worry about it. We'll just got double or nothin'. Kevin: On what? Jim: I don't know, we'll figure somethin' out. Kevin: Nice. Oscar: What are you guys talkin' about? Darryl: These are very dangerous machines down here, and the upstairs workers, Michael, should not go anywhere near them. Michael: Yes, yes. But it wouldn't be the worst thing in the world... if somebody... Darry: It would be the worst thing in the world! It would! Very much so. Lonny: What the hell is wrong with this man? Michael: It's a big red trash compactor! Lonny: What are you--- Darryl: It's not a trash compactor! It's a baler! Lonny: Don't disrespect the baler! Michael: Okay, okay! I got it. I got it. ... Only on the rarest of occasions... Darryl: No do not touch it! Michael: ...would I go near--- Darryl: There is no occasion for you to go near this stuff, okay? [SCENE_BREAK] Michael: Toby now has the floor... and he is going to try not to screw this up, like everything else in his life. Let me rephrase that. I believe that you can do safety training and make it sound just as good as Darryl. Here we go! Toby: Ok, um, one thing that you're gonna want to look out for is carpal tunnel syndrome. It's recommended that you take a ten minute break from typing every hour. For your circulation, you're gonna want to get up out of your chairs and uh, and move around about ten minutes every hour. Michael: Yes, good. Fine. Like stretching and... Toby: Um, yeah. You're computer screen can be a big strain on your eyes, so uh, it's also recommended that you step away for about... about ten minutes every hour. Michael: Wow, that is... that time really adds up. That's like... a half an hour, every hour? Darryl: Take them at the same time. Michael: Ok, you know what? You're making it sound kind of lame. So, skip ahead to the really dangerous stuff. Like sometimes computers can explode, can they not? Toby: No, no. Um, you always want to keep a sweater or cardigan of some sort, in case it gets drafty. Ryan: What about a long sleeve T? Toby: Well, that'll work. Kevin: Long johns? A shaw? Toby: You know, anything that warms you. Michael: Ok, you know what? I think that everybody is going to vomit due to boredom. [to warehouse guys] Sorry, he is very lame. [takes book from Toby] Um, let's see. "Seasonal affective disorder! A depression that includes weight gain, fatigue, irritability, brought on by the low light of winter." Darryl: Thank God we only had a baler to deal with. Lonny: Yeah, that dim light is a bitch, ain't it? Michael: Ok guys, you know what? I didn't--- I didn't interrupt when you were having your presentation. Darryl: Actually, you did. Michael: Yes. Okay, let's do another one. This is a good one. "A particular concern for office workers is a sedimentary life style, which can contribute---" Toby: Sedentary. Michael: Yes. "Which can contribute to heart disease." Heart disease kills more people that balers. Lonny: That's called having a fat butt, Michael. Michael: Mmmm, no, no, it's... sedentary... Lonny: Yeah, yeah. That's, that's fat butt disease. That's what you suffer from? Michael: No. Lonny: Fat butt disease, Michael? Kelly: Excuse me, sea monster, you weigh like a thousand pounds. Lonny: Yeah? I bet you'd like to swim with this sea monster, wouldn't you? Kelly: Ryan? Lonny: Dude, tell your girl to shut up. Kelly: What?! Ryan: Kelly, you insulted the gentleman. Please apologize. Kelly: Are you kidding me? Darryl: Alright, we outta here. Michael: Darryl, I did not walk out in the middle of yours. So, I--- Lonny: Yeah, but ours was real, Michael. Darryl: That's what I've been trying to tell you, Mike. It's serious down there. We do dangerous stuff, man. This is shenanigans, foolishness, Nerf-ball. You live a sweet, little, Nerf-y life. Sittin' on your biscuit. Never havin' to risk it. Michael: Okay. ... What, Nerf isn't cool anymore? [SCENE_BREAK] Michael: Darryl thinks he is such a man because he works in a warehouse. I worked in a warehouse. Men's Warehouse. I was a greeter. I'd like to see Darryl greet people. Probably make 'em feel like wimps. Not me, I... "Hello, I'm Michael. Welcome to Men's Warehouse. We have a special on khaki pants today." ... This is one example. [SCENE_BREAK] Kevin: [Pam is holding a jar of jellybeans] Ten. Oscar: Really, ten? That's your guess? You're a professional accountant. Jim: There's like ten green ones. Oscar: Forty-two. Jim: I'm gonna say fifty. Karen: Fifty-one. Jim: Oh, don't be that person. Kevin: That is lame. Karen: It's a strategy! Pam: It's called being smart. Karen: Thank you. Kevin: Oh, geeze. [SCENE_BREAK] Pam: I don't know how the whole betting thing started, but it's fun. [SCENE_BREAK] Pam: Ten... Jim: Kev's out. Kevin: Damn it. Pam: 47, 48, 49! Jim wins! Everyone: Oooh! [Jim claps] Kevin: That is not fair. He has spent hours up here at reception with you. Hours and hours. Jim: Okay, okay. Kevin: No, constantly. Like, for years. Jim: Okay. [SCENE_BREAK] Michael: Pam, depression is as scary as a baler, right? Pam: I don't understand the question. Michael: Working in an office can lead to depression. Which can lead to suicide. I mean this is really serious stuff. Pam: Yeah... Michael: I--- I--- Nobody commits suicide because they work with a baler, and yet those guys are makin' fun of me, calling me a Nerf, that... Pam: It's really hard to demonstrate depression. Their safety training had visuals. Michael: Yeah... you are... ah, so right. They had visual aids. And all we had were the facts. You don't go to the science museum and get handed a pamphlet on electricity. You go to the science museum and you put your hand on a metal ball, your hair sticks up straight... and you know science. Pam: So, you're okay? Michael: Indubitably. [SCENE_BREAK] Michael: They use props. They use visual aids, and they just made us look like dopes. Dwight: Idiots! God, what are we gonna do!? Michael: I don't know, I don't know. Because you know what our killer is? Depression--- Dwight: Wolves. Michael: Nn--- Depression. [SCENE_BREAK] Dwight: Visual aids. Michael: Yes. Dwight: A quilt. Depression quilt? Micheal: No time to sew a quilt. ... I got it. Give me the number for the Giant Big Box Toy Store. [SCENE_BREAK] Michael: You may be asking yourself, "What am I doing on a trampoline?" Well, I thought I'd bounce here for a while, relieve some stress, and then move on with my day. Not! Here's the plan. Dwight, is going to gather all of the office workers and all of the warehouse guys, we're going to have another safety seminar. Only this time, where's Michael? Oh my God! He is on the roof! Now I have got their attention. I... tell them, about the cold hard facts of depression. And then I say, "Hey! You ever seen a suicide?" And I jump. And they freak out. And they get to see... the dangers of depression with their own eyes. Nice side note[/b]: They might think "Hey, I should have been nicer to Michael." But that's... not why I'm doing this... Then, I land on the trampoline, take a couple extra bounces for fun. I climb off, walk around the corner... Ta-freakin'-da! [Dwight nods] [SCENE_BREAK] Kelly: So then the next movie moves to the top of the queue. So number five becomes number four, number six becomes number five, [Ryan checks his watch]number three becomes number two, etc, etc. And let's just say that I just sent back Love Actually, which was awesome. [Karen lays money down on the desk next to Ryan] And they sent me Uptown Girls, which is also awesome. But guess what, now I want to see love actually again, [Phyllis throws her money down] but it's at the bottom of the que! Oh no, what do I do!? [Creed throws his money down] What I do, is this. I go online, I go click, click, click. And I change the order of the que, so that I can see Love Actually [Pam throws her money down] as soon as I want to. It's so easy, Ryan. Do you really not know how Netflix works? [Jim throws his money down] Ryan: I guess I forgot. [kisses Kelly, gathers up all the money] Kelly: You're such a ditz. Kevin: Ryan, well done. Two minutes, forty-two seconds. Additionally, Pam, you win ten because she said "awesome" 12 times, and Jim, you win five because she mentioned six romantic comedies. [SCENE_BREAK] Dwight: [on the roof] Okay, let's do this thing! I'll go summon the troops! Michael: Maybe we should test it first. Letterman-style. Throw a TV over, or... Dwight: We measured it once... Michael: Go buy some watermelons. Dwight: Seedless? Michael: Just... [SCENE_BREAK] Toby: [Creed takes a bite of an apple] Creed is eating an apple. I found a potato. Pam: Hey Creed. Creed: Hey! Pam: Hey. Creed: Hello. [Jim replaces Creed's apple with a potato][Creed takes a bite of the potato] Pam: Yes! Kevin: Here you go. [hands money] Toby: Nice. [SCENE_BREAK] Karen: I don't know this place as well as I thought I did. I'm getting cleaned out. [SCENE_BREAK] Dwight: Ready? Michael: Let's do it! Drop that sucker. Dwight: [drops watermelon, watermelon bounces off trampoline, onto a car, bursts, car alarm sounds] Michael: BINGO! WHOA WHOA WHOA! Oh... crap. Deactivate the car alarm. Clean up the mess. Dwight: Okay. Michael: Find out whose car that is. If it's Stanley's, call the offices of James P. Albini, see if he handles hate crimes. Dwight: Got it. Michael: Also, take apart the trampoline, stick it in the baler. Dwight: We're not allowed to use the baler. Michael: Have Pa--adge do it, or... the sea monster. Dwight: I'm on it! [SCENE_BREAK] Dwight: I'm temporarily lifting the shun. Andy: Thank you. Dwight: It means nothing. I need you to do something for me. Andy: Anything. Dwight: Okay, calm down. I need you to acquire an inflatable house, and/or castle. Andy: You mean a moon bounce. Dwight: What do you think? You've got an hour. Andy: I'm gonna need... I'm gonna need petty cash. Dwight: Shunning resumed. Andy: Do you, do you want a drawbridge? Dwight: Un-shun. Yeah that sounds good. Re-shun. [SCENE_BREAK] Dwight: Oh yeah, this is much better. Safer. Excellent decision. Michael: Yes, thank you for seeing that. Dwight: When you land, try and land like an eight year-old. These bouncy castles are not designed for adults. Michael: I don't know if I wanna do this. Dwight: Do you wanna do another test? I got plenty of watermelons in my trunk! Michael: No. No more. The tests are going terrible. If we keep doing it, we're not gonna want to jump. This is about doing, not thinking. Dwight: That's right! Doing! Totally doing! It's rock n' roll! Michael: Rock n' roll! Dwight: Yeah! Michael: That's right! I am not thinking. Dwight: [imitating the sound and playing an air guitar] Near near near near near! Michael: Yes! Yeah! Dwight: [singing] Michael is awesome! Jumpin' off the roof! Michael: Woo! Dwight: [singing] Bouncin' on the bouncy bounce! Show 'em who's boss! Michael: Woo! Dwight: [singing] Rip a hole in the suuuuuuun! Michael: I am ready to do this! I am ready to make a point! [Dwight continues air guitar] [SCENE_BREAK] Dwight: [out of breath] Guys! Listen up! Michael is up on the roof, and acting strange! Andy: Whoa! What's the situation? Dwight: [hesitates] Un-shun. I think he's suffering from depression. Re-shun. Andy: Ok, when's the shunning thing gonna end? Dwight: Un-shun. Never. Re-shun. I think he wants you all to come out to the parking lot and watch him die! Stanley: Is it nice outside? Dwight: It's gorgeous. Let's go! Stanley: Do I need my jacket? Dwight: No really, it's, it's very nice. Come on! Ryan: Will I be too warm in a long sleeve T? Dwight: Everybody's gonna be fine in exactly what they're wearing, let's go! Let's go! [SCENE_BREAK] Dwight: [outside] Come on, hurry up you guys! Michael: [on the roof] My life! Oh, my life... Dwight: [on megaphone] Michael, what's wrong?! Michael: Everything's wrong. The stress of my modern office, has caused me to go into a depression. Dwight: Depression? Isn't that just a fancy word for feeling bummed out? Michael: Dwight, you ignorant slut. Depression is a very serious illness. Over 32 thousand people commit suicide every year! According to a 2004 study! Dwight: Is that the last year the data was available? Michael: Yes! My head is in such pain! And turmoil! Dwight: Don't do anything rash! Michael: Wait, where are the warehouse guys? Dwight: I didn't... [Dwight runs up to the side of the building] I didn't think you needed them for this part. Michael: Okay... that's... Dwight: you said to just... Michael: That's the whole point, dummy. Dwight: Okay, I'm on it! Michael: Okay. [SCENE_BREAK] Dwight: Attention blue collar workers! [SCENE_BREAK] Pam: What are the odds that this is in any way real? Jim: I'd say like... 10,000 to 1? Kevin: Okay, I'd like ten bucks on those odds. [SCENE_BREAK] Kevin: If someone gives you 10,000 to 1 on anything, you take it. If John Mellencamp ever wins an Oscar, I am going to be a very rich dude. [SCENE_BREAK] Dwight: Michael's up on the roof and he's acting strange! Michael: Oooooh, my life! Dwight: Michael! What's wrong? Michael: Everything is wrong, Dwight. The stress of my modern office, has made me depressed. Dwight: Depressed? Isn't that just a fancy word for feeling bummed out? Michael: Dwight, you ignorant slut. [SCENE_BREAK] Jim: Well, you know, the first performance was a little off. But I really think they hit their stride, in the second show. Um, might even bring my parents tomorrow, to the matinee. Michael: And that is why, I am going to jump off this roof! Jim: Oh, excuse me. It's my... favorite part. [SCENE_BREAK] Angela: This is just offensive. Ryan: At least we're outside. [SCENE_BREAK] Creed: [zipping up his pants] Hey, check it out, there's a... there's a castle over there. Jim: Oh my God, there is a castle. Dwight: No, there's nothing to see over there, people! There's nothing to see. ...They found the castle, Michael. Michael: Damn it. [SCENE_BREAK] Pam: Oh... God. Oh my God, he's gonna jump. Jim: Oh. He's going to kill himself, pretending to kill himself. Pam: Yeah... [SCENE_BREAK] Jim: Hey uh, Michael. Don't jump on the bouncy castle. You can't do that, because you're going to get horribly, horribly injured. Pam: Hey Michael! I have a present for you, but you have to come down and get it. Michael: What is it? Pam: Come down and... open it and you'll see. Michael: Dwight, find out what the present is. Dwight: Okay, uh... I don't see anything. She might be bluffing. Jim: Dwight... Pam: Dwight, what are you--- Dwight: Oh... It's uh, a Repliee Q1 Expo female robot, they're only available in Japan. Michael: Dwight, you are such a liar. Pam, really, what is it? Darryl: Mike, this is the opposite of safety. You jump, you're gonna serious hurt yourself. Michael: You told me, that I lead a... cushy, wimpy, Nerf life. Darryl: Yeah, but I never said you had nothing to live for. Michael: What do I have to live for? Darryl: A lot... of things. Uh, you, uh... What about Jan? Lovely, lovely, lovely Jan, man. It's goin' good, right? Michael: It's complicated with Jan. And I don't know where I stand, or what I want. The s*x isn't nearly as good as it used to be. Darryl: Mike, you're a very brave man. I mean, it takes courage just to be you. To get out of bed every single day, knowing full well, you gotta be you. Michael: Do you really mean that? Darryl: I couldn't do it. I--- I ain't that strong. And I ain't that brave. Michael: I'm braver than you? Darryl: Way braver! You Braveheart, man. Michael: I Braveheart. I am. Darryl: Come down, okay? Michael: Okay. Pam, I'm coming down to get my present. [SCENE_BREAK] Michael: An office... is as safe as the people in it. And sometimes those people can drive you to do crazy things to show the dangers of the office. That's the danger I found myself in today. I saved a life. My own. Am I a hero? I really can't say. But, yes. Summary:	Michael feels ashamed when, during a safety training course, the warehouse employees make fun of him for having a safer work environment. Determined to show that office life can be dangerous, he decides to demonstrate depression effects by faking a suicide attempt. His plan to jump off of the roof and onto a bouncy castle go awry when the employees discover what he is doing and are forced to talk him down. Meanwhile, Andy attempts to endear himself to Dwight after returning from anger management.	95	19,755	19,757	19,757	... [The rest of the episode script is omitted]
fd_Doctor_Who_1963_14x21	fd_Doctor_Who_1963_14x21_0	You are given a script of a TV episode. Summarize the episode in a paragraph. Episode Script: THE TALONS OF WENG-CHIANG BY: ROBERT HOLMES Part One Running time: 24:44 [SCENE_BREAK] JAGO: Mister Chang. Wonderful, wonderful. Words fail me, sir. Words quite fail me. CHANG: You are most generous. JAGO: Have I ever, in my thirty years in the halls, seen such a dazzling display of lustrous legerdemain? So many feats of superlative, supernatural skill? The answer must be never, sir. Never. SIN: Honourable master is kind to bestow praise on humble Chang's miserable, unworthy head. JAGO: Dashed clever, the way you work the little fellow. Wires in the sleeves, I dare say. But I'll not pry, Mister Chang. The secrets of the artistes are sacrosanct. BULLER (OOV.): Hey, you! JAGO: What the deuce? BULLER: Where's my Emma? What have you done with her? JAGO: You've got no right to burst in here. BULLER: Out of my way! It's him I want. CHANG: Your Emma? BULLER: She come in here last night and nobody ain't seen her since. JAGO: I'll have the fellow ejected. BULLER: Now I'm asking you, mister, what's happened to her? JAGO: Call the stage hands, Freddy. CHANG: It's all right, Mister Jago. Please, come with me. JAGO: Courteous coves, these Chinese. I'd have propelled him onto the pavement with a punt up the posterior. [SCENE_BREAK] CHANG: Your wife? BULLER: Emma Buller. And don't deny she was here, cos I saw her with my own eyes. CHANG: Many ladies come to theatre. Why should you think BULLER: Not round the side door, they don't. Now, look. I was passing in my cab and I saw her plain, and I know it was you she was calling on. She's been acting queer ever since you put the 'fluence on her last week, so don't try coming the innocent, Mister. I want to know where she is or I'm calling the law. Clear? CHANG: Your wife came on stage? BULLER: Last week. Levitated her, you did. She's not been the same since. It's done something to her reason, I shouldn't wonder. And she was here last night. CHANG: Not to see me. BULLER: Don't come the cod. She's disappeared. Nobody's seen her, not since she come here last night, so what about it, eh? CHANG: In my country we have saying. Man who goes too quickly may step in bear trap. BULLER: Right, I'm getting the Peelers. [SCENE_BREAK] LEELA: These clothes are ridiculous. Why must I wear them? DOCTOR (OOV.): Because you can't go walking around Victorian London in skins. You'll frighten the horses. DOCTOR: Anyway, we don't want to be conspicuous, do we? LEELA: A swamp creature. That was it's attack cry. DOCTOR: Oh no, it was a ship on the river. Excellent. It means we can't be far away. LEELA: From where? DOCTOR: From where we're going. LEELA: Doctor, you make me wear strange clothes, you tell me nothing. You are trying to annoy me. DOCTOR: I'm trying to teach you, Leela. Surely you'd like to see how your ancestors enjoyed themselves? Splendid. That's why I'm taking you to the theatre. Li H'sen Chang. Hmm, pity. I'd rather hoped we'd catch Little Tich. Never mind. If we hurry we'll just catch the second house. [SCENE_BREAK] JAGO: You'd better get your tail pinned on. Linens up in five minutes. Casey, have you got the oopizootics coming on? CASEY: Mister Jago, I've seen it. I've seen it again! JAGO: Be quiet. I told you before. CASEY: Horrible, horrible it was, Mister Jago. A great skull coming at me out of the dark. JAGO: Damme, you don't want to bankrupt me, Casey. Keep your voice down. Threadbare in Carey Street I'll be if people get the notion there's anything wrong with this theatre. CASEY: Chains clanking, nine foot tall. JAGO: You've been drinking. CASEY: Not a drop, sir. JAGO: Well, it's time you started. JAGO: Now pull yourself together, man. CASEY: I ain't never going down that cellar again. There I was, fixing the trap, when this apparition rose out of the ground in front of me. Hideous, it was. Hideous. JAGO: That's enough. JAGO: It's your imagination. CASEY: Never. JAGO: A cat or something must be trapped down there making noises. Tell you what I'll do, Casey. I'll come down with you this evening, as soon as the house is clear, and we'll have a good look round. Now how's that? CASEY: It was no cat, Mister Jago. I seen it! JAGO: Please, Casey, remember, mum's the word. [SCENE_BREAK] LEELA: This is a big village. DOCTOR: Yes. LEELA: What's the name of the tribe here? DOCTOR: Cockneys. LEELA: The sound of death! DOCTOR: You stay here. DOCTOR: Excuse me, can I help you? QUICK (OOV.): Hold you there. QUICK: Now then, what's all this? LEELA: Touch me and I'll break your arm. QUICK: Now don't be foolish, miss. DOCTOR: Good evening. LEELA: Keep back, Doctor. Blue guards! DOCTOR: Good evening, Constable. QUICK: Good evening, sir. You know this young female, sir? DOCTOR: Oh yes, yes. We were attacked by this little man and four other little men. QUICK: When I got here, sir, he was being strangled with his own pigtail, sir. DOCTOR: Really? Girlish enthusiasm, officer? QUICK: You might call it that, sir. I call it making an affray. I must ask you to come down the station with me. [SCENE_BREAK] CHANG: Please to see, ladies and gentlemen, subject now in state of deep hypnosis. AUDIENCE: Oh! SIN: She asleep. CHANG: She not asleep, Mister Sin. SIN: She been slugging type of toddy. CHANG: I will prove young lady not asleep. SIN: She's lying on metal bar. CHANG: Not lying on metal bar. SIN: I've seen it done before. CHANG: I will prove young lady not lying on metal bar. SIN: She's held up by wires. CHANG: Enough. SIN: You can't fool me. CHANG: Silence! SIN: Don't touch me! Help! Police! Murder! CHANG: You see? No wires, Mister Sin. I will now demonstrate art of levitation raising most beautiful lady high above own topknot. [SCENE_BREAK] KYLE: Name, sir? DOCTOR: Doctor. Leela. KYLE: Place of residence, sir? LEELA: We've only just arrived here. DOCTOR: We're on our way to the theatre, do you see. KYLE: Your home address will do for the moment, sir. You do have a permanent address, sir? DOCTOR: No, Sergeant. We're travellers. KYLE: I see. Persons of no fixed abode. DOCTOR: No, no, no, no. We do have an abode. It's called a TARDIS. KYLE: A TARDIS. DOCTOR: But it's not fixed. KYLE: I can give you and the young lady a fixed abode, sir. Quite easily. DOCTOR: Flat footed imbecile. KYLE: What was that, sir? DOCTOR: It was nothing complementary. Get on with it, Sergeant. KYLE: Now look, sir. We've got our hands full here, all these girls going missing in the manor, so if you'd just oblige us by answering any questions we'll get on a lot better. And a lot quicker. DOCTOR: Sergeant, all this is irrelevant. I've come here to lay evidence. KYLE: We'll come to that in good time. DOCTOR: We'll come to that now, Sergeant. We've just prevented a kidnapping, a robbery or even a murder. My friend here caught one of the attackers. Let's come to it now, shall we? KYLE: We've only your word as to what he did, Doctor. DOCTOR: Tell him. Tell him. LEELA: The man they were carrying was dead. He had been stabbed through the heart! KYLE: Really, Miss. And how can you be sure of that? LEELA: I am a warrior of the Sevateem. I know the different sounds of death. Now put our prisoner to the torture! KYLE: Well, if that don't take the biscuit. Torture, eh? This isn't the Dark Ages, you know. LEELA: Make him talk. KYLE: He's a Chinese, if you hadn't noticed. We get a lot of those in here, Limehouse being so close. Him jaw-jaw plenty by and by, eh, Johnny? I've sent for an interpreter. DOCTOR: That won't be necessary. I speak Mandarin, Cantonese, all the dialects. KYLE: Oh yes? DOCTOR: Yes. Ne how ma? Ni chi mao cora (and so on) KYLE: Yeah, very remarkable, I'm sure, Doctor, but since you're a party to the case, it isn't proper. KYLE: Now what? That come from the river. [SCENE_BREAK] WOMAN: Look, there it is, guv. See? Look. QUICK: Hurry with that boat hook. WOMAN: It's a floater, all right. You've got it, guv. WOMAN: On my oath, you wouldn't want that served with onions. Never seen anything like it in all my puff. Oh, make an 'orse sick, that would. [SCENE_BREAK] KYLE: Good of you to come so prompt, sir. CHANG: Not at all, Sergeant. I'm always happy to be of service to the police. What can I do for you this time? KYLE: A complaint against this man, sir. The lady and gentleman here swear they saw him, in concert with others not in custody, carrying what appeared to be a body, sir. CHANG: Indeed. KYLE: A European body as I understand them, sir. CHANG: What happened to the others? LEELA: They got away. I caught this one. CHANG: You caught him? Remarkable. DOCTOR: Don't I know you? CHANG: I think not. DOCTOR: Yes, I've seen you somewhere before. CHANG: I understand we all look the same. DOCTOR: Are you Chinese? Yes, that's it. We must have. No, I haven't been in China for four hundred years. CHANG: Are you taking this matter seriously, Sergeant? KYLE: We are, sir. Will you question the man, sir? CHANG: Very well. CHANG: Can I have paper and pencil, please, Sergeant? KYLE: Certainly, sir. DOCTOR: Got it! Li H'sen Chang. CHANG: What? DOCTOR: The Master of Magic and Mesmerism. Show us a trick. DOCTOR: Very good. Very good. KYLE: I think he's dead, sir. DOCTOR: How did you do it? CHANG: I did nothing. What are you suggesting. DOCTOR: Scorpion venom. KYLE: Scorpion venom? DOCTOR: Highly concentrated scorpion venom. It killed him almost instantly. DOCTOR: The Tong of the Black Scorpion. KYLE: Don't know that one, sir. DOCTOR: One of the most dangerous politico-criminal organisations in the world. Wouldn't you agree, Li H'sen Chang? CHANG: You seem remarkably well-informed, Doctor. Alas, I know nothing of these matters. Most regrettable incident. Goodnight, Sergeant. KYLE: Thank you, sir. CHANG: I'm sure we shall meet again. LEELA: Yes. CHANG: Perhaps under more pleasant circumstances. KYLE: Well, I don't know what to do about this lot. DOCTOR: Then I'll tell you what to do, Sergeant. Organise a post-mortem. I want an analysis of the organs. KYLE: You want what, sir? DOCTOR: Well naturally I'm going to help. If the Tong of the Black Scorpion's here in London, you're going to need all the help you can get. Now cut along and do as I say. Now! KYLE: Yes, sir. [SCENE_BREAK] CHANG: Faster, man, faster. [SCENE_BREAK] JAGO: Twinkle, twinkle, out in front. CASEY: Eh? JAGO: Gallery lights still burning. CASEY: I'll just go and see to them now, Mister Jago. JAGO: Everyone gone? CASEY: Aye, just locked up, sir. JAGO: I hope those girls go straight home to their digs. CASEY: Oh, that they will, sir, with all this in the papers. Nine are missing now, you know. JAGO: Nine. There was some fellow in here earlier blaming Chang of all people for some girl's disappearance. CASEY: Just vanished off the streets, they have. Mostly in this area, too. What do you think's happened to them, Mister Jago? JAGO: Nothing good, Casey, nothing good. That's a stone certainty. CASEY: Oh, it says in the paper how it could be jolly Jack at work again. JAGO: Jolly Jack? CASEY: The Ripper, Mister Jago. JAGO: The horrendous hyperbole of Grub Street, Casey. CASEY: Eh? JAGO: Newspaper gossip. They're probably just stony and scarpered. Cut along now. I'll wait for you here. [SCENE_BREAK] JAGO: I was right. It was blood. Blood all over the hand and wrist. How did that get there? CASEY: Ready, Mister Jago. JAGO: Oh, Casey. Don't ever do that to me again. If the celestial Chang caught me trying to pinch his tricks. I had an idea that his dummy was a midget dressed up, but it's just an ordinary vent's doll. CASEY: Are we going to look down the cellar, Mister Jago? JAGO: Of course, Casey. Of course. When I promise to do something. Determination, character. After you. [SCENE_BREAK] DOCTOR: They're what's known as a very dangerous bunch. Fanatical followers of an ancient Chinese god called Weng-Chiang. LEELA: The Tong of the Black Scorpion? DOCTOR: Yes. His followers believe that one day he'll come back and rule the world. LEELA: So what's he like, this Weng-Chiang? DOCTOR: Oh, very pleasant company. They say he blew poisonous fumes from his mouth and that he killed men with a white light that shone from his eyes. LEELA: Magic! DOCTOR: Superstitious rubbish. Here we are. QUICK (OOV.): They're in there now, sir. [SCENE_BREAK] QUICK: Taken from the river not half an hour ago. Professor Litefoot's conducting his examination now, sir. DOCTOR: Yes, well, our case is much more urgent. QUICK: I wouldn't go in there if I was you, sir. DOCTOR: Don't you worry about it. Don't you worry. [SCENE_BREAK] LITEFOOT: Thank you. LITEFOOT: Who the devil are you, sir. DOCTOR: I'm the Doctor, come to help you. LITEFOOT: When I need anyone's help in pathology, I'll ask for it. DOCTOR: The constable suggested a drowning case. LITEFOOT: Fished from the river, but he wasn't drowned. DOCTOR: By the look of those marks, an animal. LITEFOOT: Exactly what I think, but what kind of animal leaves mutilations like those? DOCTOR: Chisel-like incisors. A rodent? LITEFOOT: Yes, but that's impossible. Look at the size of them. DOCTOR: Hmm. Have you established the cause of death? LITEFOOT: Yes, that's another curious thing. All this happened after death. DOCTOR: Really? LITEFOOT: He was killed by a knife blow to the heart. DOCTOR: Are those his clothes? QUICK: Yes, sir. I'm just taking them for examination. DOCTOR: Hold that. LITEFOOT: He was carrying no personal documents, but this indicates he was a licensed cab driver.) LITEFOOT: Easy enough to identify the poor chap by his number. LEELA: Doctor, those are the clothes the man we saw was wearing. DOCTOR: What I'd like to know is, what do you think of these? LITEFOOT: Some sort of hair. DOCTOR: Yes. I think they're rat hairs. LITEFOOT: Rat hairs? Do you know what you're saying, man? DOCTOR: Yes, of course I know what I'm saying. LITEFOOT: But they're nearly three inches long. Hairs on a rat can't be more than what, quarter of an inch? DOCTOR: Interesting, isn't it, because I've just remembered something else about Weng-Chiang. LEELA: What? DOCTOR: He was the god of abundance. Yes, he made things grow. Can I borrow that? DOCTOR: Thank you. LEELA: Where are we going? DOCTOR: Stay there, Leela. [SCENE_BREAK] DOCTOR: Were you trying to attract my attention? DOCTOR: What's this? LEELA: A Janis thorn. DOCTOR: Yes. I thought I told you not to carry LEELA: He was trying to kill you. DOCTOR: Oh. Oh, well, in that case you'd better come along. LEELA: What is it? DOCTOR: The entrance to the sewers. LEELA: Blood. Is this where they took the body? DOCTOR: Yes. LEELA: Where's it go? DOCTOR: Into the Thames eventually. All the sewers are connected. [SCENE_BREAK] LEELA: What are those creatures? DOCTOR: Rats. LEELA: They don't look very dangerous. DOCTOR: No, they're not. They're very cunning though. They're probably more afraid of us. Summary:	The Doctor and Leela land in Victorian London, and find themselves in the middle of missing girls, mutilated bodies, and vicious Chinese gangs. The Palace theater, presenting hypnotist Li H'sen Chang seems to be at the center of it all.	95	14,828	14,830	14,830	... [The rest of the episode script is omitted]
fd_Frasier_07x04	fd_Frasier_07x04_0	You are given a script of a TV episode. Summarize the episode in a paragraph. Episode Script: Act One. Scene One - Radio Station. Frasier is signing off for the show. Roz is in her booth. Frasier: Till tomorrow then, this is Dr. Frasier Crane wishing you... Roz knocks on the booth. Frasier looks around a sees a grumpy old man looking in through the screen. Frasier: Oh, yes. Be sure to tune in later for the final broadcast of KACL's loveable curmudgeon, Chester Ludgate. You know, most of us here at the station were surprised to hear that he was retiring. I for one thought he'd never leave. [presses button] Roz: [enters] So, should we order a pizza? Frasier: Sorry? Roz: Those PSA's you promised you'd help me with are due tomorrow. Frasier: Oh gosh, Roz, I really am sorry. You know, it seems Mrs. Delafield's daughter is coming here to join us as an intern. I promised Kenny I'd show her around and take her to dinner. Roz: So, while I'm working late, eating my vending-machine dinner, you'll be out having a gourmet meal with some cute rich girl. Frasier: Oh, you can make anything sound unfair. Roz exits to her booth as Kenny and the cute rich girl, Poppy, enter the booth. Poppy is like a character out of "Clueless": Long blond hair, dressed totally in a red "girly" outfit with red high heels and red hand bag. She speaks with an annoying, ditzy accent. Kenny: Hey, Doc. Frasier: Kenny, and who have we here? Kenny: Dr. Frasier Crane, I'd like you to meet Miss Poppy Delafield. Well, gotta run. [swiftly exits] Frasier: Poppy, what a pleasure to meet the daughter of our beloved station owner. So, what brings you to KACL? Frasier cannot get a word in throughout the following. Poppy: Well, I was in Paris last month - or was it Madrid? - No, Paris, and I said to myself, "that's enough gallivanting for you, young lady, it's time to get a job." So I flew home and asked my mother, Minnie, if I could nose around and see if some job, you know, spoke to me at one of her radio stations, or TV stations or newspapers. But not her brewery, thank you very much! So, here I am. Sleeves rolled up, ready to learn. Is this where you do your show? Of course it is, there's your mike right in front of me. Earth to Poppy! She laughs; Gil walks past the booth in the corridor. Poppy: There's Gil, I met him earlier. Hi, Gil! She waves, Gil runs away. Frasier also waves and then wonders what he is doing and looks back at Poppy, who carries on. Poppy: Nice man. I think it's marvelous what you do. To really help people. Unlike the psychiatrists I've been to, both of whom had some sort of, I don't know, narcolepsy. I sympathize, but if you can't stay awake, don't be a psychiatrist! Behind her back, Frasier removes his cell phone, dials a number, and then hides it in his pocket. Poppy: To do what you do, to face that microphone day after day and know that for the next three hours you're going to have to talk and talk and talk? I could not do it! I would freeze! Literally freeze! She laughs giddily. Then the phone on the console rings, stopping her. Frasier: Excuse me. [grabs the phone] Hello? Yes, Dad. All right, calm down, calm down. Was there much blood? Poppy: Oh my gosh! Frasier: All right, Dad, I'll be there as soon as I can, hang on a second. [puts phone to chest, to Poppy] I'm terrible sorry, there's been a small emergency at home. I'm gonna have to pass on today, may I take a rain check? Poppy: Oh, and we were having such a nice chat. Roz enters. Frasier: This is Roz, my producer. You know Roz, I'll gladly do those promos if you would be so kind as to take Poppy to dinner and answer her questions. Roz: Sure, if you don't get bored listening to me drone on about radio. Frasier: Oh, I don't think there's much chance of that! Poppy whizzes Roz out of the booth, chatting to her on the way. [SCENE_BREAK] Scene Two - Frasier's Apartment. Frasier and Daphne are sitting at the dining table. Martin enters and hurries Eddie into the apartment, checking the hallway for people. Frasier: What the hell is happening? Martin: Well, remember last week when Eddie killed his first rat? And how proud I was? I told you that story, right? Frasier: Yes, Dad, you told us. If you had a guitar you would have written a ballad. Martin: Well, we were just down in the basement and I saw another rat. I said, "go get him, boy!" So just as he picked him up, had him in his teeth, shaking the life out of him, and I hear this little bell, ting-a-ling. And I thought, "that's funny - rats don't wear bells!" Daphne: Oh, little Robbie Greenberg's missing hamster! Frasier: Yes, I read that flyer. He was offering a ten dollar reward. Martin: Well, the most we can claim at this point is about six-fifty. Frasier: You know Dad, this is actually your fault. You know if you hadn't encouraged him after he killed his first rat he wouldn't have moved on to murdering hamsters! Martin: Well, what are you talking about? We don't know it was Eddie who killed him. He might have had a heart attack, or some kind of seizure when he bounced off the boiler! The doorbell sounds. Frasier crosses the room and opens the door to Niles. He is carrying a magazine and two tickets. A smile is beaming across his face. Frasier: Niles! Niles: Prepare to whoop like a sweepstakes winner. Cancel our dinner! I've scored us two seats, front row for the event of the season. Frasier: You mean...? Niles: Yes. Frasier: But...? Niles: I know! [proudly holds up the tickets] Frasier: Niles! Martin: [aside to Daphne] I love it when they do it this way, I can pretend it's a Seahawks game. He sits in his chair as Frasier eagerly takes the tickets and scans them. Frasier: My God, it's for the Cecilia Bartoli concert! My God, they've been sold out for months. How on earth did you score these tickets? Niles: I simply phoned the box office and said this is Niles Crane, the new arts critic for "The Monocle." Frasier takes in a gasp of half delight for his brother and half jealousy as Niles slaps the magazine on the table. Daphne: "The Monocle." Isn't that that magazine they hand out to rich people in all the snootiest apartment buildings? Niles: And the snootiest hotels. Frasier: How could this happen, Niles? Niles: I was at a party thrown by the publisher, Olga Suerbread. The pretentious fop who had the job before me was there too, spouting sheer drivel about Leonard Bernstein. Being polite I kept my tongue sheathed. Until he referred to Bernstein's conducting as "overrated." Frasier: [indignant] I assume you pounced? Niles: [dignified] Like a ninja! By the time I had finished with him, Olga could see I was a far better critic than that arrogant poseur. Daphne: She fired him right there? Niles: Well, he was leaving anyway for his junior year abroad. Frasier: Well, it's a post. Congratulations are in order. You know, who would have thought my little brother a professional music critic? Niles: Oh, oh, and not just music. I can review anything I want. Theater, dance, art exhibits. Frasier: You don't say? Niles: Yes, from now on, wherever we go, I'll be armed with my trusty pad and penlight. Frasier: Wherever we go? What fun. Niles: [takes some opera glasses from his pocket] I'll have to take a damp cloth to these opera glasses, although I don't know what will we use them for, sitting in the front row? Unless it's to scan the faces of the jealous people behind us. Niles exits to the powder room. Martin: So, are you sure you're okay with Niles getting this critic job? Frasier: Why wouldn't I be, Dad? Martin: Oh, come on, I know what it's like with you two when one of you gets something the other one doesn't have. It's like when you were kids. Niles got a telescope, so you had to have a telescope. You got that funny little guitar, Niles... Frasier: Dad, it was called a lute! Martin: Oh yeah, whatever. Frasier: Dad, believe me, I do not envy Niles his critic's job. As kids we would aggravate the situation by flaunting our toys in each other's faces. We're much more mature than that now, all right? Niles enters from the powder room. Frasier: Niles, you know, it's about time we got going. We don't want to be late for the curtain. Niles: [flaunting] Don't be silly, I'm press now. They'll hold it. Niles walks out with great esteem, his chin pointed up. Frasier grovels behind him, ignoring Martin's smug look. [SCENE_BREAK] HOW A POPPY BECOMES HEROIN Scene Three - Café Nervosa. Front stage, Frasier and Roz are having a coffee and a chat together. Meanwhile upstage, Poppy is telling a weary crowd around her (including Gil and Kenny) about her life. Poppy: So, that's how it ends: B minus average, ten extra pounds and still no boyfriend. Front stage, Frasier and Roz watch on. Roz: I see Poppy's having a little party. Frasier: That's not a party, that's a hostage situation. Roz: Thank God today is her last day. You know, this morning she cornered me by the coffee machine and told me her whole life story. I just wanted to grab her by the throat and say, "What am I, your biographer? Shut up!" Frasier laughs. Gil finally gets out of the "party" and arrives at Frasier's table. Gil: Dear God! I thought I'd never break free. I feel like a mongoose at the mercy of a chatty cobra. Gil exits as Niles enters with a newspaper. Niles: Hello, all. I see you all ready have the "Times." I'm quoted there today. Frasier: In the "Times?" Niles: Yes, here, [shows Roz the bit] it's in an ad for "St. Joan": "'Incandescent,' Niles Crane, 'The Monocle.'" Roz: [stands] Wow! Excuse me while I go and tell all my friends I know you! Roz goes off to the counter as Niles takes her seat. Niles: [yawns] Forgive me. Olga and I were up till all hours at a party for the "Royal Shakespeare Company." I'm rubbing pretty impressive shoulders these days. And to think it's all because I have a small column. Frasier: [keeping his eyes on his newspaper] That would certainly be the Freudian interpretation! Niles: If I were to review that attitude I would say it was a chilling portrait of malice and envy. Frasier: Oh Niles, I'm not the least bit envious that you get to spout off in that glorified cat-box liner. Niles: You just can't stand it that my opinion means more than yours. That the arts community looks to me for my insight, my approval, my thumbs-up. Frasier: I think we both know what your thumb's up these days! Niles's temper flares, and he gets up. Niles: That's a good one, Frasier. Perhaps you should use it in your column. Oh, that's right - you don't HAVE one! He exits and Roz joins Frasier with their coffees. Frasier: That smug jackass! Roz: Frasier, you have a radio show. If you wanted to say what you thought of a play, what's stopping you? Frasier: It's not the same thing as being a real critic, Roz. You don't get free tickets... you don't get quoted... forget hobnobbing. Roz: My God, this competition between you and your brother is sick. Your obsessive one-upmanship. You're both going to end up bitter old cranks like Chester Ludgate. Frasier: You know, you do raise a good point, Roz. Roz: Thank you. Frasier: Chester's time slot is free, I could do my own arts show. Kenny passes, trying to hide from Poppy. Frasier: Kenny? Listen, Roz just had a wonderful idea. Kenny: Yeah, doc? Frasier: What do you say about yours truly hosting a bouncy little show about the arts in Seattle? Kenny: Culture? Wow! That's a great idea, let me chew on that and I'll get back to you. Kenny exits. Frasier: Great! You see, Roz, he loved your idea Roz: That was not my idea. Frasier: It was too your idea. Roz: It was not... Kenny enters again. Kenny: Look, Doc, honestly, I feel kinda bad about what I just did. I let you think there was a chance that I might you let you do this culture show and... there's not. Frasier: No chance at all? Kenny: No. I mean, come on Doc. You, culture, opera. Who's listening? Not me! [laughs] Kenny exits. Frasier: Damn! I think my show's a good idea. Roz: Well, Kenny's the station manager and he doesn't. Frasier: You know what, frankly, I don't like his attitude. He acts as if he owns the station but he doesn't. Someone else does. Roz: Poppy! Frasier: The next best thing, her mother! Roz: No, Poppy. Roz points to Poppy who is coming over. Roz quickly picks up her bag and exits. Poppy: Hi, Frasier. Frasier: Hello, Poppy. Gosh, would you care to join? Poppy: I can't. Mummy's taking me shopping. She spoils me something horrible, I guess it's an "only child" thing. Anything I want, I just have to ask. Frasier: [getting an idea] Anything you want? Well, that's interesting. You know, Poppy, we could join each other for lunch after your shopping spree. Poppy: Oh, I'd love it. Frasier: Would you really? You know, it just seems a shame you leaving the station and us never really getting to know one another. Poppy: Oh, it hasn't been easy. I mean, with you having those dental appointments everyday. Frasier: [guilty] Yes. Let me walk you out. [stands up] Poppy: You know, I should get the name of your dentist. I can't find one I like. They're always giving me Novocaine when I don't need it and then it's hours before I can talk again. Frasier: Oh yes, well, I can give you his number, although I'm not sure he'd be any different. Frasier and Poppy exit. End of Act One. Act Two. Scene One - Frasier's Apartment. Daphne is sat, irritated, on Martin's chair. Frasier and Poppy are sat on the sofa with wine and paté on the table. The last chords of a Beethoven piece is being played on the stero. Frasier is air- conducting as Poppy is laid back listening. Frasier: Divine Beethoven. Extraordinary, isn't it? Poppy: Oh, yeah. And do you know what makes it more amazing? Frasier: What? Poppy: [declares] He was deaf! Frasier reacts to this. Daphne just stares at her as if she's mad. Frasier: Daphne, more paté please. Daphne picks up the paté dish still staring at Poppy before she exits to the kitchen. Frasier: Poppy, I can't tell you how wonderful it is to meet someone who shares my passion for the arts. It's a rare thing to find in Seattle, believe me. Poppy: Is it? Frasier: Oh yes, sadly. If only more people were better informed about our city's rich cultural treasures. [hinting] But what can we as mere radio folk do? Poppy: Well... [delayed reaction] What about a radio show all about the arts in Seattle? Frasier: Oh my God, Poppy, that's a wonderful idea. How do you do it, you just pull these things out of the air! Good Heavens, of course we'll have to find ourselves a proper host, but who? Poppy: Well someone very smart. Frasier: Oh, indeed. Poppy: And cultured. Frasier: [French] Bien Sur! Poppy: And with a lovely speaking voice. Frasier: [articulated] Oh, I don't think we need to look too far. Daphne enters with the paté. Daphne: Here you go. It's very rich, so don't spread it on too thick! Poppy: Frasier, I'm so glad you're on board with this. Frasier: You know, my only concern is will Kenny go for it? You see, he's a bit of a Philistine. It might be better if the suggestion came not actually from us but from... [no response] someone else. Poppy: Who? Frasier: Well, someone with more authority, power, influence... [no response] Someone older... [no response] A woman perhaps... [no response] Daphne: [fed up] Your mother! He means your mother! Poppy: Oh, what a great idea. I'll call her. [stands] Frasier: Here, use mine. Poppy: Thank you. Frasier hands Poppy his mobile, she sits and dials. Poppy: Hello, mummy. I'm with Frasier Crane and we think there should be an arts show on KACL. But I really like this idea! So, you'll call Kenny and tell him you want this, okay? Love you too, okay, bye. [hangs up] Frasier smiles at Daphne, Daphne gives a sarcastic smile back. Poppy: And the first show should be? Frasier: Why don't we start tomorrow? But we'll need something to review. Poppy: That revival of "A Streetcar Names Desire" opens tonight. Frasier: Brilliant, let's go together. I'll see you at the theater. Poppy gets up to the door and is greeted by Martin who enters with Eddie. Martin: Oh, Poppy. Poppy: [to Eddie, loudly as if he is a baby] Hewwo, wittle Eddie, did you have a good walk? [Eddie runs off] Martin: Actually, we've just been to the vets. Poppy: [standing in door way] I had the cutest little dog when I was young, named Mr. Poops, every time we took him to the vets he... Martin slams the door on her, drowning out her ramblings. Daphne: You took Eddie to the vet, is he sick? Martin: No, it turns out the building security camera caught Eddie taking out Robbie Greenberg's hamster. So this Greenberg kid's trying to make Eddie out to be some kind of pit bull, he's organizing some petition to get him banned from the building. Frasier: [repressing glee] Oh Dad, that's terrible. Martin: Yeah, it is. I don't know, I just wanted everyone to see what a nice, calm, friendly dog Eddie was. Frasier: Why did you take him to the vet? Martin: Tranquilizers. They don't even work anyway. I gave Eddie one of those pills on the ride home, they didn't do a thing to him. I don't know, I think maybe he needs something else. Daphne: Uh, Mr. Crane? Daphne points to Eddie laid, seemingly unconscious, on the upstage floor. Martin looks. Frasier: Looks like all he needs is a lava lamp and some sitar music. The doorbell sounds. Frasier crosses to the door and opens it to Niles. Frasier: Niles! Niles: Well, I'm glad to see you're in a better mood. I was hoping you'd lend me your Tennessee Williams biography. I have to review that revival of "Streetcar" tonight and I wanted to throw in some background stuff. Frasier: Well, I'm sorry Niles, you know, normally I would have lent it, but I'll be needing it myself for my own review. Niles: Oh. Well, in that case I'll... [realizes] What? Frasier: Oh, that's right, you wouldn't have heard. You see, starting tomorrow I'll be doing my own little arts show on KACL, twice weekly. Niles: You envious reptile! Frasier: [picks up plate] Paté? Niles: I achieve one thing, one tiny distinction you don't have, and what do you do? You run whining to Kenny for extra airtime. Frasier: I did no such thing! Daphne: No, he went to that Poppy woman instead. Niles: Poppy?! Frasier: [to Daphne] Is this a panel discussion? Niles: You loathe Poppy! Frasier: I do not, I think she's delightful, [to Daphne] isn't she? Daphne: She's an idiot! Niles: You conniving copy-cat! You have to have whatever I have. Frasier: I don't have what you have. My audience is twice as large as yours is! Niles: Well, at least my audience can read! Frasier: How dare you review my audience! Niles: I'll review anything I want to! Niles and Frasier, bickering, exit to the kitchen. Martin is laid back in his chair listening to them as Daphne watches Eddie. Daphne: [referring to Eddie] I've never seen him like this. Eyes bulging, tongue lolling out... Martin: Oh, he always gets that way when he fights with Niles! [SCENE_BREAK] Scene Two - Radio Station. Roz is in her booth getting ready for the show as Frasier enters. Frasier: Good morning, Roz. Roz: Hi. Frasier: Are you ready for our debut? I'm thinking of calling the show, "Frasier Crane's 'I'll Say'." But with the "I'll" spelt like a theatre aisle. Roz: [sarcastic] That should work real well on radio! You better watch out for Kenny, I heard he's pretty mad at you for going over his head. Frasier: He can't be mad at me, the whole thing was Poppy's idea. [Poppy runs by outside] Oh, here she is now, come to wish me luck. Frasier and Roz enter the main booth where Poppy also enters. Poppy: I was afraid I wouldn't get here in time. Frasier: Oh, here, here. [sits her down in his chair] We've got a few minutes to go before the show starts. Take a seat, catch your breath. Oh gosh, I'm really glad you made it. You know, it wouldn't be a proper debut without you. Poppy: Wow! All these buttons, how do you do it? Frasier: Oh, it's not that complicated, really. You know, I turn on the mike here, these are my call buttons. Oh, and I push this button here if I want to cough. [shows her] Poppy: How does it make you cough? Roz and Frasier share a glance. Frasier: You know, Poppy, I hate to rush you, but we've just a couple of minutes before the show so... Poppy: [screams and stands up, only to sit back down again taking a script out of her handbag] I better get a move on. [reads her script] Frasier: Poppy, what are you doing? Poppy: Getting ready for my show. Roz: [confused] One minute! Frasier: Your show? Poppy: Well, okay, our show. After all, it was your idea for me to do it. [shouts] Everybody, everybody come in here, please. Everybody from the corridors comes to the doorway to listen to her. Even Kenny and Gil stand by. Poppy: Before I begin my new show I just want to say a few words. Yesterday, I was ready to leave KACL. To run away like I have from so many other challenges. It was the support of one man, Frasier Crane, [Frasier looks horrified at what he's done] that helped me overcome this shyness many people may have observed in me, and to follow my dreams. [crying] Oh my God, I want to cry. Gil: We all do. Roz: [angry] Ten seconds! Poppy gives a little shriek of excitement. Everyone exits apart from Poppy, who puts on the headphones. Roz to her booth. Kenny, Gil and Frasier to the corridor. Gil: How could you do this to us? Frasier: I had no idea she intended to stay. Kenny: That's not what her mother told me! Gil: And I thought I'd seen some cruel pranks in the army. Frasier: I assure you, she is way out of her depth here. Any moment she'll realize she's in over her head, she'll be begging me to go in there and take over for her. Meanwhile, Poppy's show begins. Poppy: [slow, excruciating voice obviously reading from a script] "A Streetcar Named Desire" is a very powerful Broadway play. It was made into a movie starring Marlon Brando. This gave the play a very personal relevance to me, as I once sat next to Mr. Brando on the Concord and we had a very lovely chat until a sudden cramp forced him to change seats." As Poppy's show continues, Frasier slowly collapses into a heap against the booth door in the corridor, almost crying at what he has done. Poppy: "Streetcar" tells the tragic tale of [Southern accent] Blanche DuBois, who's a very gentile, very proper Southern lady. [as if it is a horror movie] Or is she?! [SCENE_BREAK] Scene Three - Café Nervosa. Frasier enters the café to find Kenny, Gil and Roz chatting at a table. They all turn away from him and stop talking. Roz puts her purse on the free seat, forcing Frasier to sit with his brother. Rather than looking smug, however, Niles looks strangely sympathetic. Frasier: Go ahead, Niles, I know you were listening. Niles: Well, I wish you'd lent her your Tennessee Williams's biography. She wouldn't have kept forgetting his name and calling him "Indiana Jones." Frasier nods painfully. Niles: If it's any consolation, I got fired from "The Monocle." Frasier: [stops the smile creeping to his face] Niles, I'm sorry. Niles: I panned a wretched musical, not realizing the lead was the person who does Olga's hair. Frasier: She fired you just to placate her hairdresser? Niles: Electrolysist. And if you'd ever seen her in a sundress, you'd forgive her as I have. Frasier: Oh, I am sorry, Niles. Gosh, it's a shame, really. You know, I know how much you loved that job, and to lose it in such an unceremonious fashion. Niles: Well, you know... I was thinking of quitting that job anyway. Frasier: Oh? Niles: I thought I was spreading myself too thin. Getting distracted from my real work. Frasier: I had the exact same thought. Even as I was preparing my show, I thought, "Am I being fair to my regular listeners?" Niles: They do depend on you. Frasier: As do your patients. Niles: Thank you. Frasier: God, is it any wonder we find ourselves ex-critics? Niles: We were meant to lose those jobs. Frasier: It's as if the Gods of psychiatry, jealous of our dallyings, have quietly stepped in and put things right. Niles: Well put! Frasier: Thank you. You know, Niles, if you're feeling a bit hungry, we could catch an early dinner and then... Niles: Oh, oh, and then catch the new Stoppard play. Frasier: You know, it's just a shame my listeners never got to hear my review of "Streetcar." Niles: Insightful? Frasier: Groundbreaking! Niles: As was mine. Frasier: Yes well, it takes a psychiatrist to interpret that play. Niles: Indeed. Frasier: All right, you go first. Niles: All right. Frasier: Go. Frasier and Niles cross to the door as Niles recites. Niles: "A descent into madness, and it was well worth the trip in this incandescent revival of 'A Streetcar Named Desire'...." Frasier: Just a moment Niles, "incandescent," isn't that the word they quoted you on in "The Times?" Niles: Well, yes. Frasier: You use that all the time. Frasier and Niles continue bickering as they exit. End of Act Two. [SCENE_BREAK] Radio Station - Poppy exits the studio after her first show and eagerly looks around for someone to share the moment, but the hallways are empty. Puzzled, she leaves, and the station staff emerge from doorways and stairwells all over the station. Summary:	The owner of KACL has sent her daughter, Poppy Delafield , to start an internship at the station. Everyone finds her unbearable because she can never stop talking, though they are all too polite to say so. Meanwhile, Niles has been appointed art critic of a posh magazine, The Monocle , and is now attending performances for free and socializing with the elite of Seattle. Jealous of Niles's position, Frasier approaches Poppy to propose that he host a new arts show on KACL, but she misunderstands and becomes the host of the new show herself.	95	25,073	25,075	25,075	... [The rest of the episode script is omitted]
fd_Frasier_10x16	fd_Frasier_10x16_0	You are given a script of a TV episode. Summarize the episode in a paragraph. Episode Script: Act 1 Scene 1 - KACL [Fade in. Frasier is on the air.] Frasier: Gosh, it's been such fun talking about psycho-pharmacological solutions to maladaptive personality traits that I can't believe the three hours is almost gone. Up next is the news followed by... [Roz raps on the window and holds up a note that reads 'BIKE-A-THON".] Frasier: Oh, but Roz is reminding me that next Saturday is the first annual KACL AIDS Bike-A-Thon. It's bound to be an afternoon of family, fun, and lots of surprises, so dust off your velocipedes and I'll see you there. [He disconnects and stands up as Kenny comes in.] Kenny: Great pitch, Doc. So, uh, what are the surprises? Frasier: Well, first and foremost: I am not going. Roz: But you just told them you'd see them there. Frasier: Yes, Roz, I'm merely getting the rubes into the tent. I will gladly give my money, but spending the afternoon riding bicycles with a bunch of hooligans is not my idea of fun. Kenny: It's just kids and families. Frasier: Yes, well so was the KACL family picnic at the zoo, until those urchins jostled me into the orangutan grove. Let me tell you: orangutans are not the playful gentlemen of the trees the nature shows claim. [Julia walks in.] Julia: Hello. Kenny: Hey, Julia. Frasier: Julia. Kenny: You're goin' to the Bike-A-Thon, right? Roz: Oh, don't embarrass her, Kenny. I mean, it's gotta be tough, finding a comfortable bike seat when you're such a tight-ass. Julia: This from a woman who "peddles" her ass all over town. [Roz starts for her.] Roz: Okay, lady... [Frasier grabs Roz and pulls her back.] Frasier: All right, stalemate. Well done, well done. Keep moving, come on. [He ushers her back to her booth.] Kenny: So, Bike-A-Thon, you're in, right? Julia: Nah, I can't be bothered, I'll just send a check. Kenny: Oh, cheese and rice, what's wrong with you people? Julia: Relax, Kenny, I'm just pulling your leg. How can I not go? This is funding AIDS research, for God's sake. I know you think I'm heartless and self centered, but at least give me credit for being human. Kenny: Well, Frasier's not goin'. [Frasier lets out a forced, fake laugh.] Frasier: What? Kenny, come on! I was pulling your leg too! I tell you what, we should have a fund raiser for your sense of humor. All right, I'll see you there. [He claps Kenny on the back, then crosses through Roz's side of the booth.] Roz: You're pathetic. Frasier: I know. [He exits. Fade out.] Scene 2 - Frasier's Apartment Building [Fade in. Martin is hurrying to catch the elevator.] Martin: Hold it! [He hurries and presses the button so the doors open again. He steps inside, then notices the other person. It is Cora Winston, the mother of Frasier's upstairs neighbor, last seen in [9.24] "The Love You Fake." Martin: Cora. Hi. Cora: Marty. [The doors close and the elevator starts up. Martin looks nervous, Cora looks firmly ahead.] Martin: Visiting your son? Cora: Yes. Martin: Cora, I'm sorry, but I gotta ask you. What happened? I thought we had a pretty nice thing, but then you stopped returning my calls. Cora: Why don't you ask your other girlfriend? Martin: What other girlfriend? Cora: That bizarre English lady who told me to leave you alone. Because she was in the British Secret Service and had a license to kill. [The doors open.] Cora: Here's your stop. Martin: Oh, geez, that was Daphne's mother. She had a thing for me, but it was never mutual. [The doors close and the elevator continues.] Martin: Did she show you a badge? Always ask to see a badge. Cora: I knew she wasn't a secret agent. But she was pretty convincing about the two of you. Martin: Oh, Cora, I'm so sorry. It's not true. [The doors open again and they step out into the foyer on Cam's floor.] Cora: I'm sorry too. I should have asked about her. Martin: Well, hey, it's cleared up now. Maybe we could pick up where we left off. Or skip ahead, your choice. Cora: That would've been nice, but I've been seeing someone lately. Martin: Oh, sure, of course you have. Stupid of me. Cora: But I'm very glad to see you again. Please give Eddie my love. Martin: Oh, yeah. He'll be sorry he missed you. He liked your ankles. [She goes into Cam's apartment. When the door closes, Martin smacks his cane against the floor in frustration, then turns and mashes the button for the elevator, furious. Fade out.] Scene 3 - Frasier's Apartment [Fade in. Gertrude and Daphne are on the couch. Niles is leaning against the table behind it. Frasier hurries in.] Frasier: Oh, sorry for the hold up, guys. Ah, listen, I think it's best if we take separate cars to the flower show. See, later I have to go buy a bicycle. [Daphne gets up and heads to the kitchen.] Niles: For whom? Frasier: Well, for me. I've been dragooned into riding for the KACL AIDS Bike-A-Thon. Niles: Poor devil, spending the day on a bike. I don't envy you. [He starts seriously, but a malicious grin breaks through. Daphne sticks her head out of the kitchen.] Daphne: Niles, why don't we enter the Bike-A-Thon? [She ducks back into the kitchen, leaving Niles stunned and nervous. He looks to Frasier, who is grinning.] Frasier: You had to see that coming. [Daphne comes out of the kitchen.] Daphne: We can all go to the shop together, after the flower show. Niles: Sure, why not. Gertrude: Oh, you two would look so cute on matching bicycles. Niles: I guess it would be a kick, eh Frasier? Gertrude: Not you two, ya nit! You and Daphne. [Martin comes in, slams the door and points at Gertrude.] Martin: You! Gertrude: Hello. Martin: I just had a very interesting discussion with Cora Winston. Seems someone claiming to be my girlfriend scared her off. Gertrude: Oh dear. Is she the woman from the bookstore? Martin: No. The bookstore?! Daphne: Mum, is this true? Gertrude: Well, I'm sure I don't know what Marty's talking about, but it was probably back when we were an item. Martin: We were NEVER an item! Now I would like for you to leave. Frasier: Now Dad, calm down. I'm sure you can talk this over with Cora and have a good laugh afterwards. Martin: Ha ha! Very funny. Now that she's practically married to this guy. Gertrude: [rising] Oh, Martin, I'm sorry. I guess didn't realize... Martin: Apology not accepted. You went too far, we are no longer speaking. Gertrude: Marty... Niles: No, no, Mrs. Moon. Mrs. Moon...shut up. [He ushers her out the door.] Frasier: Uh, Dad, we're leaving now. We're going over to the flower show and after that we're going to a sporting goods store to buy a couple of bikes. Martin: Nice try, Fras, but I'm too mad to laugh. [Frasier, nonplussed, just closes the door behind him. Fade out.] Scene 4 - The Sporting Goods Store [Fade in. Frasier and Niles are with a salesman, looking over a selection of bikes.] Niles: This one has good lines. You have any without this bar here? Salesman: You mean girl's bikes. Sure. Niles: Good. 'Cause my wife's a girl and she'll need one of those. Salesman: Nice. Maybe I'll go see how she's doing. [He walks off. Niles covers his face.] Frasier: Niles, we can't stall much longer. I mean, one seems as good as the next, is there anything else we need? Niles: Hmm, let me see. Oh, yes, I know. We need to know HOW TO RIDE THEM! Frasier: Shh! We will learn. Niles: Oh, as easy as that? Look at these machines, Frasier. These are BICYCLES! There is nothing between you and the ground but the ground itself. Frasier: Yes! And if a child of FOUR can ride one, then so can we. Niles: That's what we said when we were six! If Daphne finds out, she'll probably... [He breaks off as a man in biking gear comes over to look at the bikes they're standing at.] Frasier: Metal spokes. I like that. Niles: I should buy the horn separately. Frasier: Uh-huh. [The man walks away.] Niles: That was close. Frasier: Niles, I am not going to look like an idiot at that Bike-A-Thon. Tonight, I am going to a parking lot and come hell or high water, I am going to master cycling. You're welcome to join me. Niles: I guess I could sneak out. Perhaps it's time to slay the dragon. Frasier: That's the stuff, brother. [The customer comes over by them again.] Niles: Call me crazy, but I like a bouncy tire. Frasier: Two bouncy tires and a...taut chain. That's good ridin'. [They smile bravely until the customer heads off again.] Niles: Where did you learn all that? That was really good. Frasier: Just a matter of confidence, Niles. [SMASH CUT TO - Frasier's apartment, later that night. Frasier comes in the front, struggling with his new bike and muttering. Niles is behind him.] Niles: All a matter of confidence, he says. [Frasier turns the lights on to reveal that they are covered with scratches and bruises.] Frasier: Yes, well perhaps two people who don't know how to ride bikes shouldn't try to teach each other. Niles: A good teacher doesn't yell at his student. Frasier: Nor does a good teacher throw a stick at his student! [Niles clutches his knee.] Niles: I thought it would make you try harder. Frasier: Oh, you're going to make a hell of a dad! Niles: Oh, what are we going to do? Frasier: Let's not panic. We still have two days before the Bike-A-Thon. Surely the library has shelves devoted to this topic. Niles: I don't have time for that! Daphne wants to go biking tomorrow afternoon. Frasier: Well, then you're just going to have to tell her that you don't know how to ride. Niles: I can't! It's too late! If I was going to do that, I should have done it at the bike store. But NOOO! You, YOU said we could teach ourselves! You said no one would be the wiser! [As he continues to shout, Frasier makes calming gestures.] Frasier: Niles... Niles: "Two bouncy tires and a taut chain" you said! Frasier: Niles... Niles: And now look! My spokes are bent, my pants are stuck, and there's blood on the headlight, and blood everywhere... [He breaks down as Frasier tries to comfort him.] Frasier: Niles, that wasn't your fault. That jogger should have been wearing a reflective vest. Come on. Come and sit down. I'm going to get you a nice sherry. [He heads for the sherry. Niles tries to move, but his pants are still stuck in the chain so he carries the bike with him. Fade out.] Act 2 Scene 1 - Cafe Nervosa [Fade in. Niles is sitting at a table, Frasier is getting coffee at the counter. Roz comes up behind him.] Roz: Hi, Frasier. Frasier: Oh, hi Roz. You're welcome to join me and Niles. Roz: Oh, I can't. I'm on my way to meet Alice and her sitter. Alice wants to practice riding her bicycle for Saturday. Frasier: Really? Roz: Mm-hm, she loves it. I mean, she had that bike one day before she made me take her training wheels off. Frasier: Tell me, does she ever find that she feels as though her feet are frozen to the pedals? Stuck in a confused, arrhythmic battle between forward and reverse, until finally, with no locomotive momentum whatsoever, she keels over like a felled tree? Roz: I don't think so. Frasier: Well good, good. Because... that's a real thing that happens to some kids. [He sits down with Niles as Roz steps to the counter. Daphne and Gertrude come in.] Daphne: Hey, Frasier. Frasier: Oh, hello Daphne, Mrs. Moon. [They all say hello to each other as the ladies sit.] Daphne: I'm afraid I have some bad news. Niles: What is it? Daphne: Someone stole our new bikes. Niles: My God, are you sure? [to waiter] Can I get a refill? That's terrible. Frasier: You know, that's curious. Niles, didn't that salesman say nothing could break those titanium locks? Niles: You're right. I must not have locked them properly. Foolish Niles. Gertrude: You know, I spotted a couple of bikes in the storage room, behind the furnace. Perhaps you could borrow those. Niles: No, I don't think so. The theft has soured me on the whole bike experience and what were you doing behind the furnace anyway? Gertrude: Drinking. [Martin walks up to the table.] Martin: Hello Daphne, Niles, Frasier. Gertrude: Hello, Martin. Martin: How are the three of you doin'? Mind if I join you? Niles: Sure. [Martin pulls another chair up to the table.] Gertrude: Oh, you're not still angry at me, are you? Martin: Coffee please. [Roz stops on her way out.] Roz: Hi. Niles: Hey, Roz. Roz: Wow, everybody's here today. Martin: Yeah, grab a seat, I'd love to have a lady sit next to me. [Gertrude looks very put out.] Roz: Thanks, I can't. I'm on my way to the park. I just got a call from the babysitter. Alice did a wheelie! [The others all sound happy at this.] Roz: Well, I'll see you guys later. Frasier: That's great, Roz. Bye-bye. [She leaves.] Frasier: Well, someone's raising a real little showoff. Martin: Now, now, not everyone was meant to ride a bike. Daphne: What does that mean? Martin: Well, I'm just saying my boys are good at other things. Indoor things. [Daphne casts a suspicious look at Frasier.] Daphne: Oh, no. You don't mean... Niles: Yes, Daphne. Frasier doesn't know how to ride a bike. Frasier: Well, neither do you! Niles: Frasier! Frasier: Well, she was bound to find out! [to Daphne] We never learned. Martin: I tried teachin' 'em, but I had to take them to the hospital so many times, social services started sniffin' around. Niles: All these years, it's been our secret shame. Frasier: Yes, and it hasn't been easy concealing it, either. People are always saying in conversation "It's just like riding a bike." I can smile, and nod. But I only understand it in theory. Niles: We tried to teach ourselves last night. Frasier: Oh, can you imagine a sadder tableaux: two grown men trying to gain mastery over a child's toy and failing miserably. Niles: Even more pathetic: a grown man faking the theft of his and his wife's bicycles. I disgust myself. I'm so sorry, Daphne. Daphne: Niles, you've no need to apologize. Lots of people don't know how to ride. Niles: Really? Gertrude: No. Daphne: It doesn't matter. I can take you to the park and teach you. I'll teach you both. Frasier: Really, Daphne? Daphne: Yes. Niles: Daphne, I adore you. [He kisses her.] Gertrude: No, seriously. Who? Frasier: Thank you, Daphne. Niles: You know, I'm afraid my bike may be too damaged to ride. Daphne: So we'll borrow one from someone in the building. I promise you, you two are going to learn how to ride bikes. Martin: You're a good wife, Daphne. And I'll bet you were a good daughter when your mother was alive. [Gertrude crosses her arms and glares at him while everyone else tries to not be involved. Fade out.] Scene 2 - The Park [SCENE_BREAK] CYCOLOGY [Fade in. Frasier is there with his bike, Niles is on a grade-school bike with high handlebars and a banana seat. Daphne is standing just off the path.] Frasier: Helmet. Niles: Check. Frasier: Pads. Niles: Check. Frasier: Cup. [Frasier adjusts his athletic supporter, but Niles touches the sport bottle on the handlebars.] Niles: Check. Daphne: All right. Now remember: keep your eyes open and pedal quickly. I just want to get an idea of your individual skill levels. All right, everyone ready? And...go! [The boys lift their feet up to the pedals, but don't push off or pedal. They twitch for an instant, then fall against each other, propped up. Being on the shorter bike, Niles is about elbow high with Frasier.] Daphne: Okay, good start. Now, let's try again, but this time further apart. [Frasier pulls his bike away from Niles'.] Frasier: Okay. I think this is going to be all right. Niles: Yes, this isn't so bad. Daphne: All right. And...go! [The boys bring their feet up, then put them right back down for balance. After a couple of false starts, they start moving forward, terrified looks on their faces. Daphne watches them, smiling.] Daphne: Yes, very good. [Her expression quickly becomes worried as there are sounds of crashing and pain. She starts forward, darting from side to side, unsure which of them needs help more. Music from "The Barber of Seville" begins playing as we see a montage of Niles and Frasier trying desperately.] [N.B. This theme was also used in the 1979 Oscar-winning film "Breaking Away" about an American small-town teenager who becomes so obsessed with a team of Italian bike race champions that he creates an Italian persona for himself, including listening to Rossini's operas.] [Frasier seems to be getting along, until he sees a tree. Focusing on it with a horrified look, he crashes into it and falls down. Daphne is running alongside Niles on his small bike. They pass behind a hedge and only Daphne and the bike emerge. Daphne stops and looks around for her husband. Frasier again crashes into the tree and falls over. Niles is exhausted and reaches for the sports bottle. However, he is unable to get it loose. Later, he unwraps a power bar to eat. But he pulls the wrapper all the way down and his snack falls to the ground while Frasier watches. He opens the spout on the sports bottle and picks the bike upright so he can drink from it. Niles and Daphne are at the "killer tree", urging Frasier to the side. He makes the turn and avoids the tree, looking happy. Niles and Daphne cheer him on, then watch him circle around until they have to quickly move aside before Frasier once more strikes the tree head on and ends up on the ground. Daphne again runs alongside Niles. They disappear behind the hedge, the music reaches its finale... and this time Niles emerges alone on the bike, smiling triumphantly. Daphne jumps up and down and claps her hands, proud and happy. The music ends. Now that Niles has learned, they focus on Frasier.] Frasier: It's that damned sycamore! It's got a magnetic hold on me. Daphne: That's because you keep focusing on it. Whatever you do, put it out of your mind. The more you think about it, the worse it gets. Niles: You're a cloud, scudding across a clear blue sky. Frasier: I'm a cloud. [He takes off again.] Niles: You're a cloud. A cloud... [Frasier looks worried for a moment, but manages to swerve away from the tree.] Frasier: I AM a cloud! I'm flying! Look, I'm riding a bike. [He's ecstatic, but is soon passed by a young girl on a bike with training wheels, then a pregnant woman jogging, then a gray-haired man on a razor scooter. Nonetheless, he seems happy at his accomplishment. The finale of the music repeats. Fade out.] Scene 3 - Frasier's Apartment [Fade in. The doorbell rings and Martin hurries to answer as it rings again.] Martin: I heard ya. I'm comin'. [He opens the door to reveal Gertrude, holding some flowers and a sandwich.] Gertrude: Hello. [Martin slams the door in her face and starts walking away. She pounds on the door and he goes back again.] Martin: Oh, geez! [He opens the door and speaks before she can.] Martin: Look. I'm sorry. I'm still ticked. I'm not proud of it, but I have to do the right thing and that means hold this grudge. Gertrude: Ah! You're talking to me. I knew you would. [He slams the door in her face again. Cut to - the entryway as she turns around. Cora is just coming off the elevator.] Gertrude: Oh, you're here to see Marty? Cora: Actually, I think not. [She turns away.] Gertrude: Look, no. This isn't what it looks like. I'm here to apologize. But since he's not talking to me, I guess I can say me piece to you. Now, first of all, don't be scared. I'm not a secret agent and I don't have a license to kill. Back when I said all that to you, I wasn't really in me right mind, anyway. I mean, I'd just separated from me husband and...well, maybe I hoped Marty would be some kind of...knight in shining armor. But we were never a couple, though. Cora: It was a pretty rotten thing you did. Gertrude: Yes, I know, dear, just awful. In me defense, I've done much worse. And besides, between you and the girl at the bookstore, I liked you better. [Cora looks a little confused at this. Cut to - inside the apartment. Martin is relaxing in his chair when the doorbell rings. Rolling his eyes, he gets up.] Martin: Sonovabitch! [He goes to the door and opens it to reveal Cora holding the flowers and sandwich, a big smile on her face.] Martin: Cora! Hi, come on in. [She enters and hands him the things and he sets them on the table behind the couch.] Cora: Hi. I ran into a friend of yours. Martin: Oh, she's no friend of mine. Cora: Well, she had some nice things to say about you. Maybe we could talk about it at dinner tomorrow. Martin: I thought you were seeing someone. Cora: I don't see him here. Martin: I guess not. Pick you up at seven? Cora: Seven it is. So...who's this girl from the bookstore? Martin: See you tomorrow. [He ushers her out the door and shakes his fist in a victory gesture. Fade out.] Scene 4 - The Bike-A-Thon [Fade in. Lots of people are lined up under a banner marked Start and Finish. Frasier and Niles are at the front, Niles still with his borrowed bicycle.] Martin: Never thought I'd see the day. This is really somethin'. Frasier: Thanks Dad. Daphne: That's right. You faced your fears and you bested them. Niles: Yeah, thanks to you. [He gives her a kiss.] Niles: And who knows? Maybe this is just be the beginning. There are still mountains to conquer. The diving board, for instance. Frasier: Or cartwheels. Martin: Be careful out there, Son. Frasier: I will, Dad. Thanks. I guess I better go take my place, huh? Martin: Okay. [Frasier wheels his bike over to where Kenny and Julia are waiting.] Frasier: Kenny, Julia. Kenny: Hey, Doc. Julia: Hi. Frasier: So, have a good ride. Kenny: Not gonna happen. These shorts are already bunchin' me somethin' fierce. Excuse me. [He gets off his bike to get more comfortable.] Frasier: Pretty exciting. Julia: Thrilling. You don't mind if we don't ride together, do you? I like to go at my own pace. Frasier: No, not at all. You don't have to feel like you have to keep up. [She laughs at this.] Julia: Right. Well, what do you say we make it interesting? Frasier: What did you have in mind? Julia: Last one across the finish line doubles the other's pledges. Frasier: You're on. And I look forward to watching you write that big fat check. Niles: Frasier! Remember: keep your eye on the road and don't fixate on anything you can crash into. Frasier: Right! Niles: Good luck! [Frasier gives Niles a thumbs up as the starter pistol goes off. The crowd cheers as the cyclists start off.] Julia: Boy, I hope I can steer around that big mailbox right there. Ciao! [She speeds off. Frasier starts out, but, cursed by her suggestion, focuses on the mailbox and rides straight into it. As he falls to the sidewalk, Roz and Alice come riding up.] Roz: Frasier? Alice: Are you okay? Frasier: I'll be all right. Why don't you guys go ahead. I'll catch up to you. Roz: Okay. [She and Alice ride off. Frasier gets back on his bike and gets going.] Frasier: Oh, lord. Pardon me. Beep beep! Oh, gosh, no. Oh, dear God! [Frasier doesn't get very far, circling back and crashing into the mailbox once more. This time he manages to keep to his feet as the bike falls to the ground. Fade out.] [SCENE_BREAK] It is late and dark. An exhausted Frasier comes around the last corner and manages, finally, to finish the course. He throws up his hands in victory. He wheels the bike over to a trash barrel, picks it up and throws it on top, only to scurry back as it falls towards him. He finally just flees from the whole scene. Summary:	When a bike-a-thon for charity is organized by KACL, Frasier and Niles must come to terms with the fact that neither can ride a bicycle . So the job falls on Daphne to teach them. Meanwhile, Martin runs into Cora Winston again and learns that Daphne's mother is responsible for the demise of their brief relationship.	95	23,227	23,229	23,229	... [The rest of the episode script is omitted]
fd_Justified_06x12	fd_Justified_06x12_0	You are given a script of a TV episode. Summarize the episode in a paragraph. Episode Script: [PREVIOUSLY_ON] Mike: [grunting] Wynn: Aah! [gunshot] Mike: Aah! Wynn: Mikey! [crack] Katherine: [gasps] Raylan: Your ladyfriend is dead. Went pretty badly, as I understand it, in the confines of a motor coach belonging to Wynn Duffy. Boyd: Baby? [grunts] What disappoints you, Raylan Givens? The fact that you weren't the one who got to shoot me? Where is she goin'? Boyd: Well, you wheel me outta here, I'll take you straight to her. [chuckles] That's funny. Boyd: Sooner or later, one way or the other, I'm gonna get out of here, and when I do, I'm gonna go get that money. Zachariah: Now, this Grubes guy we're going to see ... you sure he knows his way around? Ava: He knows the trails blindfolded. Boyd knows Grubes. Zachariah: Ah. Ava: If he's alive ... Zachariah: If he's alive, the marshals got him, and if he ain't, the more, the better. Grubes? [yelling] Ava: Nooo! Carl: How we gonna get you out past the nurses' stand without anybody noticing? Boyd: [sighs] It shouldn't be too hard with all the chaos. Carl: What chaos? [gunshot] Art: You got 48 hours, Raylan. Raylan: 48 hours, bullshit. Who you got coming after me? Everybody? Art: Everybody's out looking for Boyd. I'll be the one coming after you. [car door chiming] [chiming stops] Boyd: Evening, sir. Where you headed tonight? Hagan: Headed home. Boyd: You got any kin waiting on you? Hagan: No, sir, I don't. Boyd: That won't be necessary. Hagan: Well... What can I do for you, officer? [gun cocks] Boyd: You can give me a ride. [music] [chiming] [chiming stops] Art: This the shitbag? Tim: It is. Art: Hello, shitbag. Tim: Him there's the good news. Art: I don't want to hear the bad news. Tim: No, sir, you do not. Art: Jesus Christ, Raylan. Raylan: [sighs] Cope: Don't suppose you remember my name. Raylan: I remember you had aim to throw me down a mine shaft. You're a long way from home, are you not? Cope: I am. Slurry pond fouled the spring. No water on the other side of the mountain. No water ... nothing to hunt. Well, I reckon it was hard to move on. Cope: Was. They'll take the mountaintop year's end, I heard. I'd have had to move on regardless. Wouldn't mind if you sat a spell. Raylan: I got urgent matters. My advice ... keep moving on. There's a fugitive at large hereabouts. Give my best to Cousin Mary if you see her. Cope: Unh-unh. She passed. Raylan: Condolences. Stand up. Tell 'em to come out, guns pointed at the ground. Cope: [whistles] Raylan: [sighs] If that ain't all of 'em, you're the first one who gets shot. Cope: That's all of 'em. Raylan: Lay your guns down. Every second I spend on your bullshit, the man I'm hunting gets further away. Now, tell 'em to do it before I lose my temper. Now, walk down that hill, and keep walking ... about an hour. He'll catch up with you soon if he don't do something stupid. Ava: No sign. [panting] [clinking] I bet they ran off after Grubes died. And I bet they starved to death. Zachariah: We got no guide, and you're worried about the horses? Ava: That's one bad omen on top of another. Zachariah: I ain't superstitious. Ava: Well, it doesn't take a damn ouija board to see that our plan is as dead as the man that used to live in that house. You'd notice if you weren't playing in the dirt! Zachariah: I'm digging a grave. Ava: For us? Huh? Uncle Zachariah, we gotta get out of here. Oh, is that the way it is? Leave the dead to bury their own? That's something you learned from Boyd, huh? Ava: You don't know me. You ... You want to be all high and mighty? Let's see how that saves your ass. Zachariah: I know you don't want to hear me preach, but I'm gonna tell you right now, there's six months' worth of food in that cabin, plenty of water, and a lot of firewood for the cold. Wait a minute. If that's your idea of a plan... Oh no, little girl. I like your idea... we just roam around these goddamn mountains not knowing what the hell we're doing, lost, hauling 300, 400, 500 pounds of money? Oh, you're real smart, girl. Ava: I can't keep this up. Zachariah: Yes, you can, and you will. 'Cause that's who we are, born in these godforsaken hollers in this goddamn broken-down world. We're survivors. Ava: Okay, you want to stay? We can stay. But we're gonna fight. Zachariah: Won't have to fight. After two weeks, they'll think we're somewhere over in Virginia. They'll just move that search on over there. Ava: I'm talking about Boyd. He knows this place. He will come. Zachariah: Boyd is dead. And if he ain't dead, he's in jail. We'll be safe here for a while. Grab that shovel and help me get this man in the ground. Cope: I don't see any badge. Are you still a federal? This guy you're chasing... he personal business? Raylan: You met him. You put me in a box with him. He's now a federal fugitive. Cope: So you should've let me kill him at the time, then, huh? Raylan: Thought has crossed my mind. Cope: So I'm right. Gotta be you, the one that does him. Had a coyote like that. Ate near 10 of my chickens... one every night. Dogs couldn't catch her, avoided the traps like she'd set 'em herself. You know, what I decided to do was ... Raylan: I don't care what you did. I need you to shut your mouth and get up that hill. Cope: You know, after we tangled, Cousin Mary told us all about you. Turns out, I remember your daddy. He's a son of a bitch. Raylan: You'll get no argument there. Cope: You know what he did? Raylan: Historically or on a specific day? Cope: He used us. Used our blood ties to your Mama to have us move his drugs up and down our mountain ... the way you're moving me right now. The way I see it, that makes you a son of a bitch, too. Raylan: Guilty as char... Cope: [grunts] Raylan: I let you go, you gonna get your people, come back after me? Cope: Got any good reason why I shouldn't? Raylan: With what purpose in mind? Cope: You saw 'em. They got nothing. They'll kill you for your boots. Raylan: Give me that. In a couple days, you're gonna come to Arlo Givens' place, he's in the book. I'm signing it over to you. Cope: Y-You're giving me your house? Raylan: He did you people dirt. This is payback. Been using that place as a bullshit excuse. I don't need the money from selling it. I need to find Boyd and get to Florida. Cope: [grunts] What's this? Raylan: A note... bequeathing the property to you... ...case I don't make it down. [music] [title music] ♪ On this lonely road, trying to make it home ♪ ♪ doing it by my lonesome, pissed off, who wants some? ♪ ♪ I'm fighting for my soul, god, get at your boy ♪ ♪ you try to bogard, fall back, I go hard ♪ ♪ on this lonely road, trying to make it home ♪ ♪ doing it by my lonesome, pissed off, who wants some? ♪ ♪ I see them long, hard times to come ♪ Markham: I always scoffed at people talking to... loved ones who'd moved on. Seemed impractical to me. Can't hear you. They're gone. And I'm a practical man. Except when it comes to you, it seems. Revenge, Katherine. What did you in? Damn it, I told you I would get Duffy! Why didn't you trust me? For once, why couldn't you just do what you were told to do? I'll always love you, Katherine, but you need to know. I may be talking to a ghost, but I am still a practical man. I'd love to gut Wynn Duffy from nose to tail, but I have got to go and get my goddamn money. Wynn Duffy. Hey, you've got a damn good lawyer, Wynn, And I ought to know, because I'm a damn good lawyer. Wynn: I'll pass along the adulation. Are these the personal items from my motor coach? Vasquez: Yeah, I had to call in a lot of favors to get you transferred to federal custody. And now ... well, it seems now I got to let you go. Billie Jean King. Wynn: A pioneer. Vasquez: We took the liberty to freeze your bank accounts... Wynn: It's prescription. I have... sensitive gums. Vasquez: ...pending the results of the investigation. You're fully cleared, [i]should be able to get most of your assets off ice. Oh, look at this. You are an eagle scout. Wynn: It belonged to a dear friend. Vasquez: Mm. 'Course, KSP's gonna want to keep your winnebago a bit longer, but if you want that, you can stick around for another week or two. Wynn: That they can have. Vasquez: Bad memories? Wynn: Raylan Givens, Boyd Crowder, and Avery Markham are soon to converge, Mr. Vasquez. Like the aligning of the planets if those planets carried guns and hated my guts. I don't ever plan on returning to Kentucky. May I? Vasquez: I just have one last question. You know, for me. Off the record. Wynn: Sounds sexy. Vasquez: You know, I have a-a stack of files this tall. Sits on my desk. It's got all kinds of witness interrogation and, um, surveillance records and info from snitches about who killed Simon Poole 14 years ago. And it all adds up to... jack sh1t. So I just want to know, between you and me, who really did it? Who killed my boss? Wynn: Between you and me, Mr. Vasquez, I really and truly don't know. Woman: Air unit East to Evarts. Possible fugitive sighting. Please confirm. Over. Man: Copy. Which fugitive? Over. Woman: Uh, Boyd Crowder ... possibly in police uniform. Considered armed. Stolen police vehicle recovered. Possible hostage situation. Zachariah: God damn. [Ava chuckles nervously] Oh, god... Of course. Of course! [laughing] Zachariah: What the hell you laughing about? Ava: It's a joke. Don't you get it? We're dead! Zachariah: No, we got to do something. Ava: We're gonna run. Hell yeah! Let's run! You know your way around this goddamn mountain, little girl? 'Cause I sure as hell don't. Ava: Forget about the mountain. We got to go back down! We got to ... we got to ... I don't know ... find one of them abandoned houses and ... and hide out. Zachariah: Federals kicking in every goddamn door, dogs running around, sniffing around, they'd find us in no time. Ava: You got a better idea? Else we're dead. Zachariah: Yeah, I got an idea. We're gonna sit right here, we're gonna wait. And when he shows up, we're gonna kill him. The end. Ava: That's not gonna be our end. 'Cause staying here is suicide. Boyd: I'm gonna need you for a little while longer. I'd rather take your time than take your truck. Hagan: You can have her. Boyd: Yeah, well, I don't want her. I'm just looking to get from point "A" to point "B." Look, Mr. Crowder, I done helped you out. I gave you my son's clothes. Boyd: You know my name. You know what I done. God damn right I know your name. And which time you talking about? Well, I do have a rather long résumé. Hagan: Yes, sir. They put out your greatest hits, it'd be a double album. Boyd: sh1t. Double live, man, from Japan. Hagan: Hell yeah. All killer, no filler. Boyd: [laughs] Hagan: Konnichiwa, bitches. sh1t. You nearest thing we got to Billy the Kid around here. Boyd: Well, I don't know about all that. Hagan: sh1t, son, you're smart. Articulate, strong. The way you look, the way you talk, ain't nobody expect nothing from you. Then you unleash, and they cannot deny. [clicks tongue] It ain't too much to call you a hero. Well, if you insist. Hagan: Go on. Be proud to give the outlaw Boyd Crowder my truck. [keys jingle] Boyd: Thing is, they're looking for me. They ain't looking for you. So I'm gonna need you to drive. Derrick: Man, this sucks. Loretta: I ain't paying you to whine. Derrick: Yeah? And I didn't come for the money. Well [chuckles]... not just the money. Loretta: Look, I got people maybe out to kill me, Derrick. You came just to get back together, you're a damn fool. Derrick: Loretta... [clank] ...why you got to be talking ... [man groans] Got him. Loretta: Hold up. I can't see. Derrick: Here, let me look. [door opens] Boon: Hey, Loretta. I been looking everywhere for you. You know, one way in and out of this place ... I snap one of your traps, and you both take your eyes off the door? You're a smart girl, but I got a thing or two to teach you yet. I reckon I could see you both better if you stepped out this way. Yes, you, son. Come on, now. Giddyup. [clicks tongue] Now, how about you put down them toys? I'm not here to start a ruckus. Who the hell are you? Derrick: Just her boyfriend. Boon: Oh, yeah? You want to save your girlfriend? Loretta: He ain't my boyfriend. Boon: Loretta, girl, a boy doesn't become a man until he can make his own decisions. You want to raise up that gun, try and shoot me? Or you afraid I'm too fast? [gun cocks] I am, by the way. [gun clicks] Good news ... Jenny here, you got to leave her firing chamber empty, avoid an accidental discharge. Bad news ... her chamber's full of promise now. How about we try that again, huh? You not having to clear that holster, boy, that fast approaches a fair... [gunshot] [thud] Derrick: [groaning and panting] Boon: Aw, sh1t. He's still kicking. Derrick: [coughs] Boon: That's the risk you run going for a head shot, Loretta. Derrick: [crying] Boon: Well, I figure... you never know when one of these pussies are wearing kevlar, right? Always go for the brain. Best bet. Derrick: [panting] [coughing] [groaning] Boon: Don't worry. I'll forgive you. Vasquez: Where is she? Where's Art? Who's running this sh1t show? Where is everybody? Nelson: Gee, I don't know. The manhunts? Plural? Vasquez: And they left you to what? Do your nails? Nelson: Well, if it's any of your business, Vasquez, I'm coordinating. Vasquez: Oh, well, that's fantastic. Maybe you can coordinate an explanation for this bullshit bulletin. Nelson: Chief called it in. Looks pretty serious. Vasquez: You were saying? Nelson: Having a bad day, David? Vasquez: Yeah. Nelson: Hey, Tim, maybe you can help out ... Tim: Dude, I just came in. Nelson: He's asking about the bulletin. Tim: [sighs] Well... when a marshal's life is in danger, we put out a bulletin saying so. Hoping a fellow L.E.O. will bring him into protective custody. Vasquez: You think I don't know that Givens has gone rogue and that you're closing ranks to avoid a P.R. nightmare? You and everybody in this office is gonna be writing thank-you notes to Art Mullen from the federal penitentiary. Tim: Your attitude is not helpful. Vasquez: Open your ears! Tim: So negative. We're not talking about a write-up. Everybody in here is an accessory to ... to a $10 million heist! Aiding and abetting a fugitive! Vasquez: Never mind. There's no point. [dialing] Vasquez: Get me S.A.C., uh, Les Levay at the FBI. Art: Mullen. Tim: Oh, hey, Art. What's up? Art: Hold on. You're breaking up. See if I can get a signal. Uh, say that again. Tim: Oh, hey, Art. What's up? Art: Oh, you know, scouring the countryside for a dumbass. You? Tim: Well, I just had Vasquez pissing in my ear about the bulletin. So, it looks like we can't keep the whole "Raylan Givens gone rogue" thing in-house. Art: Well, he sniffed that out sooner than I'd thought. I think he just trashed Nelson's desk, too. Art: Well, how'd you leave it? Tim: Well, he's on the phone now. Vasquez: Yeah, I'm gonna need a bolo issued for Raylan Givens. Tim: Fact, I just heard him tell the FBI ballsack to issue a bolo. Art: Well, sh1t! Tim: Wait one. Vasquez: The plan is as soon as I get him, I'm gonna indict him. Tim: I just heard him say he wants Raylan indicted. Art: Double sh1t. Bob: Raylan, if you get this, just letting you know I heard the FBI bolo for you on the scanner. I know you're in trouble, and I'm ... I'm on my way. [SCENE_BREAK] [garage door squeaking] [gasps] Raylan, d-d-did you steal my Crown Vic? D... sh1t! [sighs] [music] [grunts] All right, where are you? Aw, there you are. I'm coming for you, Raylan. [music] Raylan: You ain't Boyd. Zachariah: Neither are you. Appreciate you not shooting me. Raylan: Likewise. Zachariah: Seen the crown of your hat through the window. Boyd don't wear no hat. Raylan: Where's Ava? Ava: [panting] If you get this, call this number. [panting] You better make it fast, though. I'm running out of time. [panting] Wynn: I need a vehicle, a gun, and two passports. I want the vehicle to have a compartment, well-hidden, and I mean top-shelf hidden, not some 20-year-old Astro with a false bottom. Lorna: How much space you need? Wynn: Enough room for two or three very large duffel bags. Lorna: Your guy coming, too? Wynn: No, Mikey's not gonna make it. You know what'd be great? One of those dog-grooming vans. Mobile dog groomers use them. Lorna: We can paint one up like that, sure. Wynn: No. A used one. Lorna: It's not easy. [sighs] Wynn: By tomorrow. Triple what you paid last time. Wynn: Fine. Lorna: Up front. Wynn: [sighs] Keep the change. Lorna: Anything else? Wynn: Yeah, actually... a topographical map of Harlan County would be great. Raylan: Do you not see how we want the same thing? Zachariah: That may be true. But if Boyd ain't been here yet, why you going off looking for Ava? Why don't you just stay here, and we'll take that son of a bitch together? Raylan: We don't know for sure if he's coming. He's only coming if he thinks she's here! Zachariah: And he does think she's here! Raylan: But if he don't, if he somehow gets wind of her... before I get to him. I hear what you're saying, but I'm sticking here for the fight. Raylan: Well, I'm taking the fight to him. Now, where is she? Zachariah: I don't know. Maybe she slipped through cranks gap by now. She might be halfway to Jonesville ... maybe Ewing. I don't know. Who she knows in Virginia? Did you set her up? I don't know nobody in Virginia. I don't know where she is, and she didn't tell me. So I can't spill my guts in case you plan on roughing me up again. Raylan: You're a waste of space. You're of no help. Zachariah: Let me tell you something, you son of a bitch! You ain't no better than Boyd! God damn you! The way the two you just scrambled that poor girl's brains! Pull her this way and that way. You used her, god damn you! Ain't no wonder why she burnt the two of you and lit out on her own. Raylan: I'm trying to protect her. Zachariah: Yeah, that may be part of the story, but I bet that ain't the whole goddamn story. Raylan: Yeah, you're goddamn right. Where's the money? Zachariah: [scoffs] Raylan: Where is it? It ain't here. It had to weigh a ton. No way she drug it up and over. She went down. Zachariah: She's gone. Raylan: Not as long as I'm looking. Ava: [panting] [grunts] Oh, god. Bob: Ava Crowder... Ava: Aah! Bob: Step away from the car. Ava: [panting] Bob: Step away from my Crown Vic. Take that backpack off. Slow. Ava: [breathing heavily] Bob: And, hey, don't reach in. No, put it on the ground! On the ground! Ava, don't test me. All right, now get down on your knees. On your knees. [sighs] Sorry if that ... that sounds untoward. Holy sh1t! Holy sh1t. Where ... Where's Raylan? Ava: I don't know. Bob: Did you kill him? Ava: What? No! Bob: Ava, you're a fugitive from the law. I know you shot your fiancé and I know that Raylan took my Crown Vic. And I tracked it up here. Now, for the last time ... Ava: The answer to the question is "no!" I ain't even seen him. Bob: I hope for your sake, and for the sake of the Commonwealth of Kentucky that you are telling the truth. Now... lace your fingers behind your head. Behind your head! Okay. Let's get up slowly. Come on. There you go. Walk this way with me. And I'm quick with this gun, case you're getting squirrely. You got that? Ava: Bob, you know there's a lot more money where that came from, don't you? I mean ... Bob: I'm gonna take mercy on you. I'm not gonna "attempting to bribe an officer of the law" to your long list of offenses. And before you try to seduce me, just know it's been tried before. All right, now, get yourself in the Gremlin there. Open the door. Open the door. All right. Sit yourself down. And when Raylan comes back with my keys, we're gonna make the change, and it's nice in there. I got an air freshener smells like a mocha latte. [engine shuts off] Ava: You hear that? Bob: Uh, no, I di... Yes, I did. Ava: It's Boyd. Bob: Ava, that could be anybody, okay? I want you to calm down, all right? Just calm down. Just sit down for a sec. Ava: Listen to me. Please. He's gonna kill us! Hagan: Cold out here. Can feel it. Boyd: Yeah, I was just thinking the same thing. [exhales slowly] Hagan: I appreciate the lie, Mr. Crowder. But we both know what you was thinking. Loose end and all. Boyd: You know my mind? Now, maybe I was gonna take your keys, let you walk. Hagan: [scoffs] So you could shoot me in the back? You're gonna have to look me in the eye, you pull that trigger. Nah, I knew the minute you stepped in my cab I was gonna be staring down the black hole of your gun ... cut me down like the plague you are. Boyd: Well, I got to say, you did do a pretty good job ... all that smoke you were blowing up my ass. Hagan: Ain't no smoke. But I will say this. Stories of outlaw legends, they ain't passed down by the families of the murdered. Well, I don't give a sh1t about "the Ballad of Boyd Crowder." I'll be dead and gone when that song gets sung. [exhales slowly] Hagan: Old boy by the name of Hut McKean mean anything to you? Boyd: Let me guess ... I killed him, my men killed him, my dope killed him, or my daddy killed him? Next thing that comes out of your mouth is, "how do you sleep at night, Boyd Crowder?" Well, do you know how? 'Cause I know who I am. Do you? You're a slave, disenfranchised ... don't even know it. You drive your shitty truck to your shitty house, live out your shitty life. You think you're better than me 'cause you play by the rules? Whose rules? My life is my own. Hagan: You ain't even heard a word I said. Boyd: I don't give a sh1t about what you said. I'm an outlaw. [gunshots] Bob: Stay here. Don't make any noise. Ava: No! No, no! Bob! Bob! You can't leave me here like this! [sighs] [gunshots] [gasps] [grunting] [grunts] [breathing heavily] [music] Raylan: [panting] [gunshot] Boyd: Ah. Aah. God damn, Raylan! How you know I wasn't some boy scout looking for his tent?! Raylan: Your teeth glow in the dark. Boyd: You shot unprovoked. How am I supposed to take that? Raylan: As me aiming to kill you. Boyd: [breathing heavily] Well, it's only getting colder. So what say the next time the moon peeks out from behind those clouds, we show it down? Raylan: Now you're talking. Boyd: Only problem is, Raylan, I don't know where you are. Raylan: I don't know where I'm either. Boyd: Why you want to kill me so bad, Raylan? You don't even know why. "Boyd Crowder must die!" That's just the lie you tell yourself, wanting to win. Raylan: You are the world-conquering emperor of lies, the biggest reserved for yourself. Boyd: Just say it, Raylan. "I want to win!" Raylan: [chuckles] How about, "I want the money"? sh1t. You want to kill her, Boyd. You want to kill the woman who stole your money, shot you, and left you for dead. Boyd: You don't know what's in my heart. Raylan: What heart? Boyd: You don't know what's in your own heart. You've given up everything you are so that you could murder me. Raylan: I cross the line with my eyes wide open. Boyd: [grunts] Well, whose eyes you gonna see when you kill me, Raylan? Your daddy's? Raylan: Not anymore. Boyd: Your baby girl's? Imagine the look on her face the day she realizes, "my daddy spent his whole life trying to walk the line and failed." Raylan: She'll live her life the way everybody does ... on her own. Boyd: Are you sure you don't want me to kill you, Raylan, keep you a hero? That makes for a hell of a bedtime story. [grunts] Raylan: This is the only story here tonight. [shout in distance] Help! Boyd: You don't think that's Bob, do you? Raylan: Why would that be Bob? Boyd: Well, I shot him a couple times down at the trail head. I think he might still be alive. You ought to go run down there and see if you can't help him. Raylan: Bob can take care of himself. Boyd: Well, hell, Raylan. Then I have already won. [siren wailing] [tires screech] Crosley: Stop! [gunshot] Ava: Aah! [breathing shakily] Crosley: Get down on the ground. Ava: All right, all right, all right! Crosley: Get on the ground! Birch: Holy sh1t! There's a shitload of money in here. Ava: You take me in, you're gonna have to hand that over. You let me go, you can have it. Crosley: [chuckles] I do not know what Mr. Markham has got planned for you... Ava: Wait. ...but I don't want him to do it to me. Ava: Markham? You're taking me to see Markham? Crosley: Get up. [grunts] Get up, you pussy. [car door closes] [car alarm chirps] Markham: What the hell is this? Boon: Yeah, he tried to pull on me. Markham: You just gonna let him lay there and bleed? Boon: Was I supposed to take him to the hospital? Markham: Hope he wasn't someone dear to you. Loretta: Just someone I paid to watch my back. Markham: Money not well spent, I'd say. Loretta: Well, slim pickings, way you're running roughshod over this county. Markham: Trying to flatter me, girl? Loretta: Just wondering what you want from me is all. Reason I had Boon come looking for you is Ava Crowder stole my money. Stole it from the man who stole it from me. That man being your new business partner Boyd. Loretta: This is the first I'm hearing of it. Markham: I was thinking the two of you being so close, you might have some idea where Ava ran off to. Even entered my mind that maybe you two ladies conspired together. Loretta: Like I said, first I'm hearing about it. Markham: I believe you. Couple of deputies I became friends with called me on the way over. They picked up Ava Crowder. Bringing her to me directly. Loretta: Suppose you won't be needing me anymore, then. Markham: If that's the case, I'll just kill you right now. But I'm gonna give you 30 seconds to change my mind. Tell me why I shouldn't kill you, Loretta McCready. Loretta: You can kill me. Go right ahead. Buy all this land I've acquired at auction like you have with others. But bear in mind the time that may take and the unexpected costs it may incur. What I can offer you at this juncture is a partnership. Immediate access not only to my land, but also my growing expertise. Sure, you've got boys like Boon over here know plenty about watching over land, but none of them were raised around these buds like I was. Add to that my ties to Harlan County. Say weed don't get legalized like we think. Well... I can tell you who among those criminal elements you can trust. A partnership with me will tell those same folks that they can trust you. Markham: First time I saw you, I liked you. Didn't much care for what you did at the Pizza Portal, but I saw something in you reminded me of Katherine little bit. More than that, reminded me of Mags Bennett. I could use a Harlan girl in my fold. Besides, I think old Boon here is sweet on you. Raylan: Bob? Oh, jeez... Bob: Raylan. Raylan. [muttering] [grunts] Raylan: Jesus Christ, Bob. [grunts] Bob: Just keep applying pressure, Raylan. Keep ... Raylan: I know, Bob. ... to the point of impact to stanch the flow of blood. Raylan: Hey, just keep that pad pressed up against your gut, Bob. Bob: I am, okay? I just... [stammers] Just ask me anything ... trivia. "W-What ... What was Indiana Jones' archenemy?" Just ask me. Ask me. Raylan: Bob, just breathe, buddy. Just breathe. Bob. Bob! Raylan: sh1t. [cellphone beeps, ringing] I got an officer shot. At least two in him... gut and shoulder. Bob: The monkey's dead. Don't eat the ... Raylan: Hang in there, Bob. Bob: They call him Belosh. Raylan: A-A-And link up to U.S. Marshals' task force. Tell 'em I know where Boyd Crowder is. [insects chirping] [leaves rustle] [footsteps approaching] [gunshot] Zachariah: [grunts] Son of a bitch! You goddamn ... Boyd: Where is she? Zachariah: She ain't here! Boyd: Ava? [laughs] Ava?! Zachariah: Boyd Crowder.[/i] Bo Crowder. Bowman Crowder. Y'all part of the same big, old pile of sh1t! Like to beat on the weak ones, don't you, you son of a bitch? [grunts] Boyd: I know you think you're protecting her, but you ain't. Now, you want to protect her? You need to get me to that money before I get to her. Zachariah: I'd sooner die than give you anything you want. But I do got something for you you don't want. Go to hell, Crowder. Boyd: [grunts] [grunts] [panting] [tires screech] [engine shuts off] [music] [police radio chatter] Raylan: Come on. Let's go. Bob: [grunts] Raylan: [grunts] Okay. Lappicola: Raylan Givens? Raylan: I don't suppose you'd believe me if I said "no." Summary:	Raylan leaves his badge behind as he heads up into the hills, happening upon a camp of hill folk forced off their land by mining pollution. Learning that there's bad blood over Arlo using them to move drugs up and down the mountain, Raylan signs over the deed to Arlo's place to them as restitution and to be rid of his last tie to Harlan, and continues on his way to Grubes' cabin. Zachariah digs a grave for Grubes, thinking the wisest thing is to lay low with six months' of supplies in the cabin. When they hear on a police scanner that Boyd has escaped custody, Zachariah wants to ambush him but Ava is terrified and runs with $1M, placing a call for help when she gets a signal. Wynn Duffy, released from custody, arranges for purchase of two passports, a gun, and a dog-grooming van with a large well-hidden compartment, suggesting that he's preparing to leave with Ava and the money; he pays with Katherine's shoplifted diamond tennis bracelet and large engagement ring. Vasquez becomes irate with the Marshals who have merely issued a bulletin saying Raylan's life has been threatened, and puts in a call to the FBI. Constable Bob Sweeney hears the FBI BOLO for Raylan and calls offering his help but discovers he has already given it as Raylan borrowed his Crown Vic. Bob uses a tracker to find the car and catches Ava trying to get into it with a backpack of money. He zip-cuffs her in his Gremlin when they hear a gunshot nearby, and Bob investigates. It was Boyd, killing the local he'd used to drive him around the backroads, and soon additional shots are heard. Ava desperately breaks free and is once again on the run. Coming down the hill, Raylan encounters Boyd on his way up. They exchange gunfire and words in the dark, but Boyd slips away and Raylan continues down to aid a gunshot Bob Sweeney, rushing him to hospital where Raylan is taken into custody by state troopers. Ava is captured on the road by cops on Avery's payroll. And Boyd survives Zachariah's ambush at the cabin but nearly buys it when gunshot Zachariah blows himself up with dynamite. Boon has found Loretta hiding in the old Bennett weed-drying barn and shoots her ex-boyfriend Derrek who tries to defend her, Avery finishing the job when he arrives. Avery is concerned that Loretta might be conspiring with Ava, but believes her when she denies it. Threatened with death, Loretta offers to partner with Avery, avoiding him costly delays and providing know-how and local ties; he seems inclined to accept.	95	28,275	28,277	28,277	... [The rest of the episode script is omitted]
fd_Charmed_06x13	fd_Charmed_06x13_0	You are given a script of a TV episode. Summarize the episode in a paragraph. Episode Script: [Scene: Manor. Dining room. Phoebe, Paige, Jason and Richard are there. They have just finished dinner.] Paige: Okay, this has been really fun, guys, but Phoebe actually brought us here tonight to say something, didn't you, Pheebs? Phoebe: No, no, I-I-I just think that we don't get to see enough of each other, that's all. (She laughs nervously.) Jason: Might be a little longer too, seeing as we're off to Paris in the morning. Paige: Yeah, about that French merger... Phoebe: Oh, Hong Kong, Rome, gay Pa-Ree, it's enough to send a girl's head spinning, you know. Paige: But wasn't there something you really wanted to say about... Richard: Ah, you must have great business karma. Jason: Oh, karma? I don't believe in that stuff. Richard: Not at all? Jason: Well, I mean, you know, if somebody cuts me off on the road, I'd like to think that they're gonna get what's coming to them, if that's what you mean. Richard: That's karma, the great cosmic justice system. You reap what you sow. Paige: Great, fabulous, anyway, Phoebe. (Paige kicks Phoebe under the table.) Phoebe: Ah! Uh, okay, alright. Uh, Jason, there is something that I want to share with you right now, and, uh, that would be... a toast. A toast to your new merger. Paige: Pheebs, could you help me with the cobbler. (Phoebe and Paige leave the room.) Jason: Am I missing something? [Cut to the kitchen. Phoebe and Paige walk in.] Paige: Okay, that was a three course meal, not including the fruit and cheese plate, I gave you a million openings. What do you want? A drum roll? Phoebe: Actually, that's not a bad idea. Paige: You are going with him to France tomorrow. You've been putting this off for too long, you have to tell him you're a witch. Phoebe: I'm just thinking maybe we should wait until we get there to tell him, you know. And then if there's an emergency you can orb us back, okay? Paige: You've probably been caught almost like a million times. You can't keep taking that risk. Phoebe: I know. You know, maybe I should wait until tomorrow until after the big banquet so I don't upset his big day. Paige: I think that you have a big problem with avoiding conflict and one day, missy, it is gonna come back and bite you in the ass. (Richard walks in.) Richard: Hey, he's getting a little antsy in there. Paige: And you, what is it with this whole karma thing? You're supposed to be making it easier for her. (Leo orbs in.) Leo: Piper's under attack, she needs your help fast. Phoebe: Saved by the orb. Great. Keep Jason occupied. (Phoebe and Paige orb out.) [Cut to dining room. Leo walks in holding a pot of coffee and a dish of dessert. Richard walks in behind him.] Jason: Leo? What are you doing here? Leo: Uh, just bringing dessert. You want some? Richard: The girls are just tidying up. [Cut to a tunnel. Piper is there. She blows up a demon and another one appears.] Piper: Crap. (The demon throws a fireball at Piper and she dives out of the way. Phoebe and Paige orb in.) Phoebe: Piper. Piper: About time. (They help her up and Piper blows up the demon.) Phoebe: It wasn't easy to find you in these catacombs. Paige: You were supposed to wait until after dinner so I could help. Piper: Well, I thought I could handle it. Except I must have missed something in the book. Phoebe: I guess so. Piper: Look, every time I hit one, two more show up. (Piper looks around the corner and sees two more demons. She tries to blow them up but they duck and she misses. They throw two fireballs.) Phoebe: Okay, back up. (Phoebe walks around the corner.) Hey, boys! (They throw a fireball each at Phoebe and she channels them straight back at them, vanquishing them. Four more shimmer in. Piper and Paige pull Phoebe back behind the wall.) Piper: Okay, new plan. Blast and then bail. Phoebe: Okay. [Cut to the manor. Kitchen. Jason walks in with Leo and Richard following.] Jason: Hey, Phoebe, what's taking you so long? Wh-Where'd they go? Richard: Uh, must be an emergency or something. Jason: It's always some emergency or some phone call or some marathon pee-break. What's going on? (Piper, Phoebe and Paige orb in, in front of Jason. He faints.) Piper: Oh. Opening Credits [Scene: Manor. Foyer. Phoebe watches Jason drive away in his car. She closes the door and walks into the living room where Leo is healing Piper's wound on her forehead.] Leo: I'd better go check on Wyatt. (Leo leaves the room.) Phoebe: I've never seen him like that. He looked at me like he had no idea who I was. Paige: He doesn't know you. Not the witch you, anyway. Piper: He's just gonna need some time. Phoebe: Why didn't I just tell him? And no I told you so's. Paige: We all make little mistakes, honey. Phoebe: This was a very big mistake. I can't imagine how he's feeling right now, what he's going through. Paige: The good news is it's out in the open now and, uh, you know, you guys have no more secrets. (Richard walks in.) Richard: Food's away, table's cleared, anything else I can do? Paige: No, thank you. Richard: Hey, I feel awful. I'm sorry about what happened. Phoebe: It's not your fault. Richard: Well, actually, it is. Piper: Why? Did you shove Jason into the kitchen? Richard: No, but my karma did. I'm serious, I'm convinced I'm carrying around the burden of my family's karma. We did so much bad with magic, now magic's doing bad to me, and those I care about. Paige: Now that is completely ridiculous. Richard: The feud has lasted for decades in my family, and so many people were hurt in the crossfire. Somebody's gotta inherit that bad karma, right? Piper: Not really how karma works. Phoebe: You live a double life with your boyfriend, and you pay the price. If anyone's karma made this happen it's mine. Paige: That's true. You had the chance to clean this up tonight and you didn't. Phoebe: See, there's that 'I told you so', huh? Paige: Only to make a point. Phoebe: No, you're right. I've been avoiding conflict my whole life. Richard: And it just happened the night I was here? It's all I'm saying. Piper: Hey, you guys, this mea culpa game is real fun and all but we're not gonna solve anything. Um, there's multiplying swarm demons on the other hand. Paige: That's right, we riled them up, didn't we? Piper: Yeah, and if they attack right now we won't know how to deal with them. So why don't you two hit the book and I'll catch up after I check on Wyatt. Phoebe: Uh, would you guys mind if I sat this one out? I kind of feel like I need to go see Jason. Piper: Well, maybe after we... Paige: No, we can handle it. [Cut to Wyatt's room. Leo lays Wyatt down in his crib. He covers him with a red blanket. Piper walks in.] Piper: Leo, no, no, no. Leo: What? What? What? What is it? (Piper pulls off the red blanket.) Piper: This, this. Leo: What, my grandmother's quilt. Piper: Her red quilt. The colour of anger and violence and all things bad. Leo: Bad? I used that quilt. Piper: Well, you can have it back. Wyatt is now using the powder blue baby blanket. Did you turn off the serenity Mozart CD? Look, we need to bathe Wyatt in goodness and nurture peace and serenity. Happy things. (She plays the Mozart CD on the CD player.) Leo: Piper, don't you think you're overreacting a little bit? Piper: Leo, there's no such thing as overreacting when it comes to the future of our child. Leo: Okay, but aren't the swarm demons the last on the list of threats? Piper: Yes, but... Leo: Okay, and when they're gone, are you gonna stop worrying a little bit, right? Piper: No, because I've sent Chris to suss out if there's any new threats. Leo: Okay, not to press a point but didn't you just have an epiphany about not focusing all your energy on Wyatt? Piper: Yes, well, that was before Chris informed us that our child is going to grow up to be the future of all evil. Besides, it's not all I do. I have the club, I have friends. Leo: Wow. Piper: Look, it's just that Wyatt still comes first. Which is why you're going to take him up the Elders so he's safe while we figure out how to deal with the swarm demons. And while you're there, can you ask them if there's anything they can do to ensure goodness in Wyatt, you know, pull a few strings. Leo: Piper, we don't need any strings pulled. We can protect our son ourselves. Piper: Well, in the future apparently we don't. Okay, so look, there are blue booties in the bag in case it gets cold, so don't be afraid to use them, okay? (Piper leaves the room. Leo picks up Wyatt.) Leo: Don't ask me, she's your mother. [SCENE_BREAK] [Scene: Manor. Attic. Paige and Richard are there.] Richard: Look, you and I both know in order to make this work you can't repress yourself. Paige: I'm not. Look, practising magic. Richard: Yeah, but you don't want me to. Paige: Every relationship is gonna have its challenges, right? Look at Phoebe and Jason. Richard: I'm telling you, that was me. Paige: No, that was them not being truthful with each other, and as long as we are, we're gonna be fine. Richard: Fine would be if I could start over with a clean slate. Paige: You just be the wonderful person that you are and it's gonna make up for all the bad things your family ever did. Richard: Not in this life time. I wanna start over. Paige: It's not possible. If it were, everybody would do it. Richard: Okay, everybody's not a powerful witch. Paige: Look, karma is the DNA of the universe. It's what balances everything out. You start screwing with that, you could mess up the entire cosmic order of things. Richard: Maybe you can help me cast a spell. Paige: What part of no shortcuts are you not you getting? There's an aura cleanse, a chakra cleanse, but no karma cleanse. If it were possible to be cleansed, it would be in there. But there's no spell, it can't be done. (Piper walks in.) Piper: Got anything? Paige: Yeah, let's see. (Piper and Paige look at the open book.) They are distant relatives of kazis and vampires, which means they come from a hive. Did you even read this? Piper: I skimmed it. So they were drones that we were killing. Well, no wonder they just kept coming back. It says you have to kill the king to kill the hive which requires a power of three spell. I'll call Phoebe. (She heads for the door.) Paige: Hey, just slow down there, okay? Take it easy. Piper: Okay, you orb out and get Phoebe and I'll start on the potion. Paige: Why don't we just track the leader down. You and I. That way Phoebe and Jason can have a little bit of time alone, yeah? Piper: Well, what if the swarm attacks before... (Paige gives her a look.) Okay, fine. We'll locate the ruler first. Paige: Brilliant idea. (to Richard) Hey, can I orb you anywhere? Richard: No, it's okay. I drove my car here. Paige: Okay. I'll see you soon. (Piper and Paige orb out. Richard walks over to the Book of Shadows and starts flipping through it.) [Scene: The Bay Mirror. Jason's office. Jason is there. Phoebe walks in.] Jason: You stay away. Phoebe: We need to talk. Jason: No, no, I don't wanna talk. You're, this is your... this-this is-is-is so beyond, this is so far beyond my reality, you know. I-I-I I'm just still trying to figure out how-how you could... fifteen months I didn't know. Phoebe: I wanted to tell you. I really did, but I couldn't. And you know now, so can we talk about this please? Jason: Oh, okay, fine, let's talk. Alright, what was this, huh? The Godiva girls. Was that magic? Phoebe: Yeah. Jason: Okay, what about that-that funny looking little cousin of yours, cousin Shamus. What the hell was he? One of the seven dwarves? Phoebe: Uh, no actually, he was a leprechaun. And not really my cousin. Look, Jason, I know how you feel. Jason: How do I feel, Phoebe? Huh? Tell me because I don't know. But you, you always seem to know. So tell me, how's it gonna feel when I crash? 'Cause I-I-I see one coming. Is it gonna feel like when you said 'I love you too'? Because that, that was magic, wasn't it? Phoebe: But I do love you. Jason: I-I-I don't have time for this. Phoebe: I didn't want you to find out like this, believe me. Jason: I, uh, I have to concentrate. I'm speaking in front of a hundred share holders celebrating the, uh, second biggest French media merger of the decade, okay? So, I need to, I need to focus. [Scene: Tunnel. Piper and Phoebe are walking around.] Piper: Hey, you're the one that wanted to look for the swarm king in the first place, remember? Paige: Yeah, that's when I thought it was a hive, not so much a maze. Oh, no. (She spots some footprints.) Is this starting to look familiar? Are we...? Piper: Going around in circles? Paige: Let's just orb home. Piper: Why are you in such a rush to go home all of a sudden? Paige: It's Richard. Anytime he's alone for too long bad things start to happen. (They hear footsteps. Piper gets ready to blow up whoever's about to walk around the corner.) No. (Paige takes her around the corner out of sight.) It only attracts them more, remember? (A dozen swarm demons walk past.) Should we follow them? Piper: Good idea. (They start to follow the swarm demons but more appear behind them.) Now? Paige: Yeah. (Piper blows them up.) [Cut to the manor. Attic. Richard has the Aura Cleanse spell open in the Book of Shadows. He is writing down a spell on a piece of paper. He picks up the paper and grabs a pinch of sand and walks over to some lit candles. He sprinkles the sand on the floor.] Richard: "I call to thee, pure witch's fire, through vortex flow the heavenly mire, cleanse brackish karma of debris, from dark to light sweep history." (A bright light circles Richard.) [Cut to downstairs. Phoebe walks in through the front door.] Phoebe: Hello? Anybody home? (She hangs up her coat. The light disappears from Richard and reappears downstairs, hitting Phoebe. She gets a vision of French soldiers firing at a target. Phoebe is thrown backwards.) Qu'est-ce que c'est? [SCENE_BREAK] [Scene: Manor. Foyer. Piper and Paige orb in. They look tired and sore.] Piper: How many did we get? Fifteen or sixteen? (Paige yawns.) Paige: I don't know. I stopped counting at dawn. I'm gonna go crash. Actually, I'm gonna go check on Richard and then go crash. Piper: But wait, we know where the king is now. So we gotta get Phoebe so we can go back and get him. Paige: No. I am taking a hot bath and curling into a nice warm bed. Piper: You know, living at Richard's mansion has made you soft. Paige: Oh, shush. Piper: I'm serious. What if this is the demon that gets to Wyatt? Paige: Well, then it's all the more reason for us to be well-rested, right? (Piper sees a broken vase on the floor.) Piper: What happened here? (Phoebe comes down the stairs wearing very little.) Phoebe: Bonjour! Bonjour! Paige: Bonjour? Piper: What the heck are you wearing? Phoebe: Oh, just a little something to help me win my boyfriend back. Showing a little skin never hurt. Paige: Oh, I'll file that away. Piper: I guess it didn't go so good with Jason last night? Phoebe: No, unfortunately. Je ne sais pas pourquoi. Paige: Since when do you speak freedom fry? Phoebe: I don't know actually, it's kind of weird considering I hate the French. Piper: No you don't. You love everything about France. Phoebe: I do? Oh, then maybe I just hate being dumped. All the more reason to go get him. Piper: Uh, just there's one thing. See, we kind of need the power of three for a vanquish, you know, to save your nephews future and all. Phoebe: Yeah, sorry, I can't. (She heads for the door.) Au revoir. (She leaves.) Piper: Please tell me she didn't... Paige: Cast a spell on herself? I think she did. [Scene: Tunnels. The swarm king and dozens of swarm demons are there.] Swarm King: I can feel their pain. This is where they fought and died. Correct me if I'm wrong but this was your division. Swarm Demon #1: I'm afraid it was. Swarm King: Remember, this is going to hurt me much more than it hurts you. (He vanquishes Swarm Demon #1.) It is time to bring the fight to them! Let the Charmed Ones feel our pain! [Scene: Manor. Attic. Piper and Paige are there looking at the page the Book of Shadows is open to.] Piper: I'm confused. How does cleansing her aura get Jason back? Paige: No, Phoebe didn't cast the spell, Richard did. Piper: Richard wants Jason back? Paige: No, Richard wants to cleanse his karma. Oh my god, that's what he used the book for. Damn it, I shouldn't have left him alone. Piper: Wait a second, what does this have to do with Phoebe? Paige: Karma is not something you mess with. Especially not magically. Whatever Richard did could have gone wonky and affected her somehow. I mean, there's all this unfinished karma just floating around out there waiting to complete its cycle. Piper: What the hell are you talking about? Paige: I'm talking about Richard screwing with the karma wheel and Phoebe getting smacked down by it. She said it herself, she's been lying to Jason, living a double life, if that doesn't attract bad karma, I don't know what does. Piper: Someone's unfinished bad karma? Paige: Exactly. Except who's? Piper: Well, I'd guess a French hooker by the way she's been acting. Paige: Or worse. Okay, you go get Phoebe, I'll go get Richard. Piper: But what if he's infected too? Paige:Well, I'll save him and then I'll kill him. (Paige leaves the room.) [Scene: Richard's house. Study. Richard is there. Paige storms in.] Paige: Cast any spells lately? Richard: No. Alright, yeah, one. It didn't work though. Paige: How do you know? Richard: Because... Alright, I was cleansing my soul... Paige: Yeah, yeah, skip down to the bottom. What happened when you said the spell, exactly. Richard: Energy and light came down from the ceiling, it surrounded me... Paige: And hit Phoebe. Richard: No, I was there alone. Paige: Oh, yeah, you were alone. Okay, then how do you explain my sister suddenly walking around like she's in the nudie version of La Miz. Richard: I don't know. I don't know why it affected her and not me. Paige: Maybe because your family is surrounded by so much bad karma that there's no room for anybody else's. What were you thinking? Richard: I was thinking about us. Paige: Us? Richard: Yeah. I don't want my past to hurt you. Paige: Richard, I know that you mean well, I really do. And I get that it must be so hard to not practise magic when you can, but you can't... Richard: How can you be with a guy that's got a problem with the very thing you're all about? I have an idea. I have a potion that'll help Phoebe. (He heads for the door.) Paige: Richard. Richard: What? Paige: Stop. Richard: I can't. I did this. I need to fix it. Paige: No, hey. Please. Just no more magic. [Scene: Office. Steve's there. Richard walks in.] Richard: Hey, bro. Steve: Richard. Man, how the hell have you been? (They hug.) Richard: Good, good, you know. Wow, you look good, and you got your hair cut. Steve: Yeah, for court. I'm doing pro bono now. Richard: A do-gooder. Wow, you. Steve: Yeah, I needed a change in my life. So, mum's been worried. No one's heard from you. Staying out of trouble I hope. Richard: Yeah, more or less. Steve: So, uh, you still seeing Paige? Richard: Absolutely. I can't imagine life without her. Steve: It sounds serious. Richard: I hope so. Steve: Well, here, man, take a seat. Richard: Actually, I can't, I gotta go. Listen, I've been going through some of the old potion books just for the hell of it, and I can't find that one dad used to use to banish spirits. Do you know where it is? Steve: I thought be both agreed not to mess with that stuff anymore. Richard: I'm not. Not really. It's hard to explain. Do you know where it is? Steve: Richard. Richard: Look, save the speech. Can you help me or not? Steve: Why? What'd you do? Richard: Nothing. Steve: Are people hurt? Do you need... Richard: Damn it, Steve! Can you help me or not? Please. [Scene: Outside a building. Phoebe is waiting on the sidewalk. Jason pulls up in a limo. He gets out.] Jason: What are you doing here? And what are you wearing? Phoebe: I'm looking for you. (She pulls him closer.) Mon petit choux. Jason: Look, I don't have time for this. (He pulls away.) This is crazy. (She grabs him.) Phoebe: You have every right to be very upset with me, I know I've been a very, very bad girl. Please let me make it up to you. Jason: I don't think so. Phoebe: What do you mean you don't think so? Jason: Hey, take it easy, Phoebe, we'll talk about it later, okay? Right now I'm running late. Phoebe: There's always time for l'amour. (She tries to kiss him.) Jason: Whoa. Uh, listen, this is, I, this merger is very important to me, okay? I need to keep a clear head if that's at all possible. Phoebe: Are you saying you don't want me? Jason: Not right now. Phoebe: Cochon. You pig. Quel est ton probleme? Fils de pute!. Jason: You're crazy. (He walks towards the building.) Phoebe: You think you can just walk away from me? You think I'm crazy? You think this is crazy? Just wait. [Cut to inside. Jason is standing up on a stage talking to a room full of people in suits. There is a table full of food in the centre of the room.] Jason: In the climate of this world economy, diversity is essential. And that is why this merger is essential if we want to grow as a company. Combing resources will allow us to tap into markets that would have otherwise remained beyond our reach. (They applause.) And so today we celebrate a new Franco-American business community, in which bilateral trade is not only encouraged... (The microphone makes a high-pitched noise. The people split in two groups to make a clear path down to the stage. Phoebe is standing near the back and walks down the clearing the people have made. She walks up onto the stage.) What the hell are you doing? Phoebe: You turned on me, you rejected me, and I'd say you'll live to regret it but you won't. Jason: This isn't a game. Phoebe: Viola! Jason: Phoebe, you can't do this. (He takes off his coat and wraps it around Phoebe.) Phoebe: Oh, no? Pourquoi pas?. Watch me. (She pulls away from him and his coat.) Curses on this merger. (The champagne bottles pop and squirt champagne everywhere. The food turns into snails and toads and pigeons. The people scream and run around the room.) Jason: Phoebe, stop this. (He grabs her.) Phoebe: You let go of me! (She pushes him onto the floor.) Jason: Are you trying to ruin me? Phoebe: Oh, that's just the hors d'oeuvre. Wait until you see the entree. It's to die for. (Suddenly everything freezes including Phoebe. Piper walks through the people.) Piper: Leo! (She walks onto the stage.) Leo! Leo! (Leo orbs in.) Leo: Whoa. Piper: Yeah. Leo: Wh-Why is Phoebe frozen? Piper: That's not Phoebe. Leo: What do you mean? Piper: Long story. Let's get out of here. Leo: What about all this? Piper: Later, later. (Leo orbs out with Piper and Phoebe. The room unfreezes.) Jason: Phoebe? [SCENE_BREAK] [Scene: Manor. Conservatory. Piper, Phoebe, Paige and Leo are there. Paige is reading a book. Phoebe sits on a chair.] Piper: Sit down and put this on. (She throws her a blanket.) Phoebe: I'm not finished with my revenge. Piper: Sit or I will freeze. We need to figure out who's karma you got. Phoebe: I'll never tell. Je ne fait pas ca. Paige: Okay, she's French. Bad karma... Napoleon? Piper: Probably not. Leo: Phoebe's not our only problem, that entire auditorium saw her use magic. Piper: Well, we fix Phoebe first and then we take care of the swarm king and if we're still alive after that, we'll worry about it then. (Phoebe sighs.) Maybe you should go check on Wyatt and make sure he's okay. Leo: He's fine. Okay, I'll go check. (Leo orbs out. Piper walks over to the Book of Shadows.) Piper: See if I can piece together a spell to de-karma Phoebe. Paige: Okay, what about, uh, Marie Antoinette, Queen Isabella, the she-wolf of France? Phoebe: Oh, now you insult me. I can't stand France. Piper: Vital clue there? Paige: Okay, let's see. Speaks French, hates the country, more than willing to strip in public... Oh my god, I saw something in here. Famous female spies... Mata Hari. Piper: Wasn't she one of the Bond girls? Paige: No. Look, an exotic stripper in Paris, Dutch born, double agent for Germany during World War I. Says here Mata Hari was convicted by French officials and executed by a firing squad. Piper: Well, no wonder she hates the French. Phoebe: Not half as much as I hate you for keeping me here. I need my freedom, I need my revenge. Piper: What does her karma have to do with Phoebe? Paige: Well, duplicitous, living a double life... Ring any bells? Phoebe: Enough! (Phoebe gets up.) Piper: Where are you going? Phoebe: Au revoir. (She goes in the other room. Piper freezes her. Piper and Paige walk over to Phoebe and unfreeze her.) Piper: Hi. Look, it's two against one and you are not going anywhere. (Two swarm demons appear and throw fireballs at them. Phoebe and Paige dive behind the couch. One of the fireballs hits Piper on her arm. She blows them up.) Why am I always the one getting hit? (Three more swarm demons shimmer in but are facing the wrong way.) Phoebe: Behind you! (The swarm demons turn around and Piper blows up one. Another one shimmers in and throws a fireball, hitting Paige on the arm.) Swarm Demon: Take her! (He points to Phoebe. One of them grabs Phoebe and shimmers out with her. The other two shimmer out.) Paige: Am I crazy or was she trying to save them from us? [Scene: Swarm Demon hive. Two Swarm Demons are holding onto Phoebe.] Swarm King: I didn't tell you to bring her here, I ordered you to kill them. Swarm Demon: The Charmed Ones were all together. We were lucky to grab one and get away. Phoebe: Oh, luck had nothing to do with it, I saved your butts back there. Excuse me, are you in charge here? Swarm King: I am. (Phoebe pulls away from the two Swarm Demons.) Phoebe: Good, because I'd like to get in bed with you. Not literally. Although, there may be time for that later. What I'm saying is, if you'll help me, I'll help you. Swarm King: You think I'm a fool? Saving my drones to gain my favour? I'm not one to fall for tricks. Phoebe: This isn't a trick. Hands off me. The witches have double crossed me. They wanna keep me against my will. Swarm King: So do I. Phoebe: Yeah, let me guess. To lure them here so you can kill all of us? Yeah, see you're not the first demon to try that and fail. They've got good karma. Centuries of it. It's what protects them, us. Swarm King: And what is it that you suggest? Phoebe: Well, I was hoping that you would help me create some bad karma for them by, oh, I don't know, maybe killing an innocent. Swarm King: Who did you have in mind? [Scene: The Bay Mirror. Jason's office. Jason is there. Richard walks in.] Richard: Jason. Jason: What are you doing here? Richard: I'm looking for Phoebe. Have you seen her? Jason: Not since she destroyed my career, no. Listen, uh, I've gotta give a press conference, try to salvage what's left of my reputation. Richard: Don't go, alright? I know how you feel. Jason: Oh, you know how I feel? You know how it feels to have the woman you love lie to you? To turn your one shining moment into chaos, and to strip in front of a packed auditorium. Richard: No. Look, it's not her fault. If you want to blame somebody, blame me. I cast a spell that... Jason: Hold on, you too? Richard: Yeah. Look, there's no time to explain. (He pulls out a potion.) Just, just take this, please. The moment you see Phoebe, throw this at her, she'll be back to normal, I promise. Jason: Wait a second, what is that? Richard: It's a potion. Jason: Get out of here. Richard: Look, I screwed up big time, alright? The only way to fix this is to use this on Phoebe. (He puts the potion in Jason's shirt pocket.) If you love her you'll do it. [Scene: Manor. Conservatory. Piper and Paige are there dabbing each other's wounds.] Paige: Ow! Piper: Well, if you would just hold still. Paige: Fine. There. Done. Piper: Ow. Paige: You know, we wouldn't even be in this mess if it weren't for Phoebe not being able to deal with conflict. Piper: Actually, we wouldn't be in this mess if your boyfriend could handle his magic. (Piper pushes on a band-aid on Paige's wound.) Paige: Ow! You did that on purpose. Piper: Yes, I did. Paige: Maybe we should just focus on how to save Phoebe. Piper: Well, we could storm the hive but then again, she'd probably just help them stop us. Paige: Well, that's just Mata Hari coming through, using whoever she can to exact her revenge. Piper: But against who? The men who put her to death are long gone. And besides, doesn't her real karma eventually lead to her own self destruction anyway? Paige: Well, I think that's why we need to figure out why she's using Phoebe before it's too late, right? Piper: Which brings us back to Mata Hari's revenge. Paige: Okay, she's spent her life pleasing men, only to be betrayed by them at the end... Piper: Oh, no. Paige: What? Piper: What if she wants to return the favour? [Cut to outside The Bay Mirror. Piper and Paige orb in behind a truck. Jason goes over to the limo with reporters chasing him.] Jason: Listen up, folks. I'll answer everything at the press conference. Please, do me a favour and hold your questions until then. (Jason gets in the limo and Phoebe's waiting there.) Phoebe: Hello, Jason. Jason: Phoebe, I've had enough. Phoebe: Shh. (Two swarm demons shimmer in beside him.) I always get my man. Jason: Wait. Hang on a second. (They shimmer out with Jason. Piper and Paige walk over to the limo and look inside.) [SCENE_BREAK] [Scene: Swarm Demon tunnels. Piper and Paige are there.] Paige: I swear this is where we found the king last time. Piper: Well, maybe your orbing was off. Paige: My orbing was not off. They've just moved. Piper: Well, we should be hearing the swarms, so why don't we? Paige: I don't know, 'cause there's like a jillion miles in this stupid maze. They could be anywhere. Piper: We don't even know if Phoebe is here. Paige: Well, it's our best bet. I swear, if she is hurt, I am never going to forgive Richard. Piper: I think Jason's the one we need to worry about right now. [Cut to a cave. Phoebe, Jason and the swarm demons are there.] Phoebe: Such a sweet man, such a horrible way to die. I almost want to cry. Almost. Jason: What are you doing? Please stop this game. Phoebe: Life is a game. The last one standing wins. And that would be me. Jason: I get it, you're trying to teach me a lesson, I get it. Phoebe: No lesson, I just don't like being betrayed. Jason: Well, what about him? Won't he betray you? Phoebe: Goodbye, mon amour. Jason: Phoebe, please, I'm begging you. Phoebe: Oh, don't beg. I stared at my killer right in the eye. So much more dignified way to die. Jason: Richard was right. Phoebe: Who? Swarm King: Enough! Can we please get on with this? Phoebe: Ready? (The swarm demons create fireballs.) Aim. (Jason reaches in his pocket and pulls out a potion. He throws it at Phoebe. Mata Hari leaves her body.) No! (Piper and Paige walk around the corner.) Swarm King: Fire! (Phoebe faces the swarm demons and they throw the fireballs. She channels the fireballs back to them and vanquishes some. The rest dive behind rocks and throws more fireballs. Phoebe and Jason run around the corner.) Phoebe: Oh, thank god, I'm so happy to see you guys. Paige: You're you. Phoebe: Yeah. Piper: Reunion later, slay now. Swarm King: Fire at her! Piper, Phoebe, Paige: "Demon swarm that serves as one, vanquish him from which they come." (The Swarm King is vanquished along with the rest of the swarm demons.) Phoebe: Jason. I'm so sorry. I'm so, so sorry. Jason: Me too. Piper: I hate to break this up, I really do, but we've gotta go. Paige: How did you get rid of Mata Hari's karma? Jason: Who? Piper: Don't ask. Phoebe: Where'd you get the potion from? Jason: I got it from Richard. He said it would be the only thing that might save you. Paige: Richard. [Scene: Richard's house. Richard opens a door to a room full of potions and ingredients. He walks in and closes the door.] [Scene: Manor. Wyatt's room. Piper, Leo and Wyatt are there. Piper puts Wyatt in his playpen.] Leo: Are you okay? Piper: Oh, yeah, you know, considering I'm the mother of the future leader of all evil. Leo: No you're not. Okay, maybe he won't be now that you took care of the last threat on him. Piper: You know as well as I do that was not the last threat. There'll be others. Leo: And you'll take care of them too. Especially now that we know what can happen. After all, well aware is half there. Piper: Did Phoebe give you that psycho babble? I just don't understand how someone so sweet could possibly turn so bad. Leo: I don't believe he will, despite what Chris says. Or maybe because of it we won't let it. You know, Piper, all parents worry about their kids, it's part of their job description. We just have to have faith. Piper: Yeah, but Wyatt isn't just any kid. Leo: And we're not just any parents either. Piper: Well, at least we know he'll inherit all of our family's good karma, and that should help. Leo: I hope it helps Phoebe too. She still has what happened to Jason's banquet to worry about. [SCENE_BREAK] [Scene: Outside a Hotel. It's raining. Jason gets out of a limo and the doorman holds an umbrella above him. They walk to the door, under cover. Phoebe runs across the road.] Phoebe: Jason! Jason! Jason: Phoebe? Phoebe: I wanna talk to the press. I wanna tell them everything. Jason: Right. What are you gonna do? Tell them you're a witch? That'll make the headlines. Phoebe: Uh, actually, I didn't think about what I was gonna say them. I just know that I can't let you take the fall for this. I am so sorry about everything. The lies and... Jason: Hey, don't. Remember you saved me. Phoebe: Yeah, but that was after I tried to kill you. Jason: Well, there was that. Phoebe: If I could do it all again, I would tell you the truth. Jason: Give me a break, Phoebe, what are you gonna do? What are you gonna tell me? And besides, I was so wrapped up in my career and dragging you around the world, I never gave you a chance. Phoebe: So, um, what do we do now? Jason: I don't know. Maybe we should just both take some time. They're waiting for me. Phoebe: I wish you'd let me talk to them. Jason: No, no, what you and your sisters do, what I saw you do, it, uh, put some perspective on my work. I wanna protect that. Phoebe: You might lose the merger. Jason: I've lost worst. (They kiss and Phoebe walks away.) Summary:	Piper, Phoebe, and Paige inadvertently expose themselves as witches in front of Jason, causing him to leave Phoebe. Richard casts a spell to free himself of his family's negative karma , but accidentally channels the spirit of Mata Hari , a double agent against Germany for France during WWI , into Phoebe. Phoebe decides to get revenge on Jason by arranging for a demonic firing squad to kill him. Meanwhile, Piper and Paige try to vanquish a group of Swarm Demons, the last on Chris' list of the most significant threats to Wyatt.	95	34,393	34,395	34,395	... [The rest of the episode script is omitted]
fd_Pretty_Little_Liars_01x03	fd_Pretty_Little_Liars_01x03_0	You are given a script of a TV episode. Summarize the episode in a paragraph. Episode Script: [What happened in the previous episode.] [PREVIOUSLY_ON] Aria: It's too hard to sit in this room every day and call you Mr. Fitz. Okay, I can't pretend like I don't know you. Hanna: I'm really sorry, mom. Ashley: For what? Hanna: The cop. Spencer: We're meeting Melissa's fiancé. Wren: Does she have to know everything? Spencer: Stop, stop. We can't. Wilden: This is no longer a missing person's investigation. It's a murder. Hanna: Is this waiting thing something you really want, or is it because of your dad? Sean: No, it's me. It's... It's my choice. Maya: So, I'm corrupting you. Ben: What are you so weirded out about? Emily: I think there's something wrong with me. Pam: You lost a dear friend. You need to find a way to say good-bye. [In the woods] Hanna: Whose idea was this, again? Spencer: Emily's mom. Emily: The shed was me. My mom just said we should do something for us. Hanna: Well, couldn't we do something without mosquitoes? Aria: They're not mosquitoes, they're gnats. Hanna: Whatever! They're small and annoying, and they're flying up my nose. Spencer: Well, they're attracted to your perfume. And your hair product. And your lip gloss. Hanna: So, what are you saying, I attract flies? Aria: Gnats. Emily: Why do I feel like this is the wrong way? Spencer: No, this is it. I remember that tree. It's the halfway point. There's 136 steps left to the shed. Emily: Have you been out here since... Alison? Spencer: Me? No. No way. Aria: But you remember that tree. Hanna: You guys, it's not that weird. I mean, we came out here in eighth grade like, every day... even after. Spencer: I think this is totally the wrong place to do this. Whatever you call it.. shrine. Emily: It's not a shrine. It's just a place to remember Alison. What's wrong with that? Spencer: Doing it way out here makes it look like we have something to hide. Emily: You're worried what other people think? Spencer: Well, aren't you? Do you really want to give that creepy Detective more reasons to question us? Emily: Hanna, why are you so quiet? Hanna: I'm trying to keep the bugs in my nose and out of my mouth. Emily: You're allowed to have an opinion on this. Hanna: You want my opinion? I say we hold off and not remember her 'til we know for sure she's not still here. Everybody: What? Aria: What are you talking about? Emily: You think she's still alive? Spencer: Hanna, they found her body. Aria: Stop. I'm officially scared. Can we just not... Hanna: You know, you asked for my opinion. I don't believe she's really gone. Spencer: We went to her funeral! Ashley: Yeah, and when we left we all got a text from her. Emily: It wasn't her. Someone is messing with us. Hanna: How do you know? And what about all those nasty messages? I mean, how does this "A"person know stuff only Ali knew? Aria: Okay, this conversation is giving me a hive. Hanna: That's a bite. Mosquito. Emily: Spencer, have you gotten any more messages? Spencer: Haven't you? Branches rustling Emily: What was that? Did you hear that? Aria: Yes, I heard that. I'm standing right next to you. Hanna: Hello? Is anybody out there? Spencer: It's probably a rabbit. Hanna: Hello? Spencer: It's a rabbit, Hanna. It's not gonna answer you. Emily: Can we just get to the shed? More branches rustling Hanna: Okay, that is definitely not a rabbit. Someone's out there. Emily: Let's turn around. The girls' cellphones ring [Opening credits] [In Hanna's kitchen] Wilden: Morning. Hanna: Where's my mother? Wilden: I guess she ran upstairs for somethin'. I'm trying to figure out what makes this stuff spreadable. You want a waffle or somethin'? Hanna: No. Thanks. Wilden: There she is. It's canola oil! Ashley: Darren, why don't you get dressed? I'll take care of breakfast. Wilden: Yeah. Hanna: So what, he lives here now? Ashley: Take out the milk. Hanna: Is this a permanent thing? Ashley: Would you keep your voice down, please? Hanna: God, it was one pair of sunglasses, and they were last season's. Ashley: Hand me the waffles. Hanna: Mom, you don't have to do this. Ashley: Do what? Hanna: Squeeze his grapefruit. Ashley: We will talk after breakfast. Hanna: I don't eat breakfast, and neither do you. Ashley: Look. Until he gets the store to drop the charges for your shopping spree, we're not kicking anyone to the curb. The last thing we want is an enemy on the police force. Hanna: I get it, okay? But I didn't count on having to buy him a father's day card, either. Ashley: Hanna! The situation is delicate. By the way, if you're buying anyone a card, it should be me. [At a restaurant] Byron: Well, you're pretty far into it. Aria: Yeah, I've got, like, 60-some pages left, and I don't want it to end. Byron: You should read her biography next. Ella: The father-worship thing becomes a lot clearer. Aria: Well, I would worship both of you a lot more... if you got me another one of these. Ella: Uh, the poppy seed? We'll split it. Make sure your father doesn't drink all my coffee, please. Byron: Do you like your teacher? Aria: What? Byron: Your English teacher. Do you like him? Aria: Oh! Yeah. Uh, he's okay. Byron: What's his name again? Aria: Mr. Fitz. Hey, maybe I'll... I'll check out that biography at school. What's it called? Byron: I've got a copy of it in my office. I'll bring it home. It might inspire you. Aria: To what, write a novel? Byron: You've got it in you. Meredith: Byron? Byron: Hey! Hi. How you doing? Meredith: Sorry. I didn't mean to interrupt. Byron: No, no, no, that's okay. [Flashback in the street where Aria sees his father kissing Meredith] [Back at the table] Byron: Uh... Um, Aria this is, uh, Meredith Sorenson. She also teaches in the department, uh, my department, and this is Aria, my daughter. Meredith: Oh, Aria! Hi. Of course you are. Did you get my message? Byron: Yes I did, and I'm sorry I haven't had a chance to call you back. Meredith: That's okay, they just need he referral by Monday, and... Byron: I'll get to it as soon as I get back to campus. Is there an e-mail, or... Meredith: Here. So, how does it feel to be home? This town must seem a little dull after spending a whole year overseas. Aria: Not really. Byron: Okay, well, I'll, uh... I'll send that before lunch. Meredith: Thanks. I'm so glad I ran into you. Nice to meet you. Welcome home. Meredith leaves Aria: Why can't she graduate? Byron: She has. I told you. She's now a teaching assistant. Not mine, but her office is across the hall. I can't pretend like she doesn't exist, Aria. It's a small college. Aria: Mm, not small enough. [In the Hastings' kitchen] Veronica: You can't avoid seeing people, sweetie. It is what it is. Melissa: And what's that... Sad? Humiliating? Pathetic? All of the above? Just... take someone else. I don't want to have to explain a wedding that's never gonna happen to every last club member. Spencer: Morning. Veronica: Hey. Melissa: Excuse me. Melissa throws wedding magazines in the trash Spencer: Where's Dad? Veronica: He left for the office. Spencer: Already? So he ran without me? Why didn't he just knock on my door? Veronica: He was busy. He was helping Melissa dispose of some things that... Wren left behind. Melisssa: Unfortunately, you weren't one of them. Spencer: How many times am I going to have to say it? Veronica: Oh, girls, please! I can't arbitrate on one cup of coffee. Melissa: Who's calling the paper to pull the announcement? It was hard enough changing my status on Facebook! Veronica: I'll take care of the newspaper. Melissa: What about the engagement dinner? Do I have to make that call? Veronica: No, honey, of course not. Just look up the number and I'll leave a message. To Spencer Where are you going? Spencer: I'll eat in my bedroom. Veronica: Oh, no, you won't. I just dry-cleaned your bedspread. Sit at the table. Spencer: I don't think I'm welcome. Melissa: That's never stopped you before. Spencer: I did not invite your fiancé to kiss me Melissa. For the last time, he made the move on me! Veronica: Spencer, please. Melissa: Right, you just sat there like a throw pillow with your tongue down his throat! Spencer: Look, I get it! You're upset and I feel for you, but don't dump it all on me. Maybe you should be asking yourself why Wren felt the need to... I'm sorry. Okay? I'm not perfect, but I don't want to be accused of something that I didn't do! Veronica: Oh, stop please. Both of you! Go get dressed for school. You can take your muffin to go. [In the street] Mona: Ah! Totally love this color. We should've stocked up on a few more tubes. Hanna: Well, I only have two hands. Keep it. Mona: Why, is your mom asking to see receipts? Sean: It's hilarious. Hanna: Sean! What's so funny? Sean: Nothin'. Noel's just out of control. Mm, you smell good. Noel: Save something for tomorrow night. Mona: What's tomorrow night? Sean: Noel's parents are leaving town. Noel: It means the party of the year is officially on. Think big, think wild, think parental units in a different time zone. Sean: I gotta get to practice. Save that smell. Noel and Sean leave Mona: So, the pressure's on. Hanna: What do you mean? Mona: Not all of us have a Sean to wear to that party, and I'm not gonna spend the night guarding the bushes so you can jump each other's bones. Hanna: Okay, we're not gonna be doing it in the bushes. Mona: Whatever. Have you guys even done it yet? Hanna: It's not a race, Mona. Mona: Okay mom, seriously. No one's pushing you to be natty ho, but you guys have been going out for months. If you're not together in that way, how do you know you're together-together? How long can you wait before you lose him? [Near Hanna and Mona were] Maya: I was going to offer you a ride, but your bike's faster than my car. Emily: I passed you? I didn't even see you. Maya: I saw you. You took that corner on one wheel. Ben: Got ya! Emily: Ben, stop. Ben: Fine. I can wait one more day. Well, you guys heard, right? Noel's doing his cabin party tomorrow night. Maya: Is this one of Rosewood's pagan rituals? Ben: Kinda. There was definitely some howling last year. Emily: Why don't you come with us? Please, come. It'll be fun. [In the corridors of the high school] Ezra: Good morning. Aria: Hi. Ezra enters his classroom Aria: Russian history? Spencer: Yeah. Aria: How many AP classes does it take until your brain explodes? Spencer: I'm already drowning in there. Aria: Why, what's drowning for you, B+? Spencer: First paper's due Monday, and I've written two words. My name. Aria: Well, what's going on? Hey, you're not still freaked out about what happened in the woods yesterday, are you? Look, we do not have to do this thing for Ali until we figure... Spencer: No, it's not just that. It's... It's everything. Is there any chance your family wants to adopt me? Toby & Jenna walk in front of them Emily has a flashback - Toby's carrying Jenna. Maya: Who is that? Emily: Toby Cavanaugh. Maya: Who's he? Emily: He's, uh, an older kid who used to go here and got sent away to a reform school or something. Maya: Why? Emily: He had a... He set fire to a garage, and his stepsister... she was in it. Maya: Should I be scared? Emily: What? No. Maya: See you later. Emily: Bye. Aria: He's back, too? When did that happen? Hanna: Maybe she needs help sending radioactive e-mails. Spencer: Yeah, or he may be sending a few of his own. Wilden: Hanna. Aria: Cops on campus too. Wilden: I just spoke with your principal, asked him if we could have a chat. Hanna: No, I have to get to class. Wilden: Don't worry. You've been excused. Let's go. Hanna & Wilden leave Aria: What is going on? Why just her? Emily: Probably thinks she's the easiest to crack. Spencer: She is. Jenna: Whisper, whisper, whisper. Almost feels like Alison's still here. Flashback in which we see the barn burning and the girls running [In Wilden's office] Wilden: I keep coming back to this ninth grade shaft, of you and Alison on the steps. Hanna: What about it? Wilden: Well, you made a lot of changes between ninth and tenth grade. Lost some weight, started styling your hair like Alison's. Hanna: Is that a crime? Wilden: No, just an observation. Hanna: No, she helped me make those changes. Wilden: Did she, really? Did she ever regret it? Start seeing you as her competition? Hanna: Nobody competed with Alison. You'd be stupid to even try. Wilden: Why? [Flashback at the restaurant of the high school probably] Ali: Ask him. You'll never know unless you ask. Now. Hanna: Um, Sean? Did you hear about the party at Noel kahn's? Sean: I heard. Hanna: I don't know. I was thinking about going, so I'm just wondering if you want to go too, with me. Ali: Everybody's going. She's going, I'm going. Why aren't you? Sean: Oh, yeah, no, I guess I am. [Back in the office] Wilden: What about this guy ? Did she ever talk about him? Hanna: What? Wilden: Stay with me, Hanna. It's important. Hanna: Why? What's the point? Wilden: The point is I'm trying to flesh out the details of that summer. Hanna: So you can ask me how much weight I lost? By making it look like hefty Hanna wanted Alison dead so I could replace her? Wilden: I'm not questioning you as a suspect, Hanna. We're just having a chat. Besides, one can't underestimate how much the past informs the present. Hanna: Really. So, you're still that same party boy you were in the class of '96? Did you call me down here to do keg stands? Wilden: Wow, looks like somebody's been doing their own homework. Hanna: I like to know who's joining us for breakfast. And, by the way, my tenth-grade picture isn't even in that yearbook. I had mono and missed the deadline. Now, my makeup picture is in my living room, which you must've seen while you were wearing a towel. Is that how the police build their cases these days? [SCENE_BREAK] [In the corridors of the high school] Spencer: What are you doing? Is that a new phone? Aria: Yeah, I'm checking my Kin. I'll just write on Hanna's wall from here. Emily: If she's not answering texts, what makes you think she's checking Facebook? Aria: It's worth a try. Hanna: What's going on? Aria: We've been trying to get ahold of you. What happened in there? Hanna: Nothing, just the same old stupid questions. Spencer: You were in there for an hour, Hanna. What else did he ask? Hanna: Nothing. He just took a couple calls, and I just sat there, waiting for him to shut up. Aria: Well, is he gonna question all of us alone now? Hanna: Who knows? Look, let's do this at lunch, okay? I have to hit the ladies' before my next class. Spencer: Is she being weird? Emily: She's being weird. I'll see you guys at lunch. Spencer: Bye. [In Ezra's classroom] Aria: Hey. Ezra: Hey. Are you here to ask about the homework assignment? Aria: Do you have plans this weekend? Ezra: I'm thinking we should talk about the homework assignment. Aria: So you do have plans. Ezra: I don't. Aria: Okay, well, there's... This opening at the gallery where my mom works, and I promised I'd help out, so if you're free... Ezra: Do you think that's wise, hanging with you and your folks, a parent-teacher conference over free wine? Aria: Okay, fine. It's a bad idea. What... if we met up afterwards? I could tell them I'm going to Noel kahn's party. Ezra: Maybe you should. Go to the party. Aria: Why... would I want to do that? Ezra: So your classmates don't suspect you've lost interest in your peers. Aria: Too late. Ezra, I want... Oh. A woman enters Mrs Welch: Ezra.. Oh, Sorry. Excuse me. Ezra: No, it's fine. Come in, Mrs. Welch. Um. So, are we clear about the homework assignment? Aria: Yes, totally. If I have any questions, I'll reach out to you. Ezra: Great. Aria: Thank you, Mr. Fitz. [In front of Wren's "squat"] Wren: Did your sister send you here? Spencer: God, no. She has no idea I even called you. Things were never great between us, but... now it's like the hurt locker. It just gets worse every day. Wren: I'm sorry to hear that. Spencer: So, you're living here now? Wren: Squatting. It's not exactly the Hastings manor, but I have a whole sofa to myself. Spencer: Wren, I need your help. Wren: We only have the one sofa. Can you sleep on a ping-pong table? Spencer: Look, I need you to tell them what really happened. Wren: I tried. They won't return my phone calls. Spencer: I know I'm not completely innocent in all of this. I've done a lot of stuff that I'm not proud of, but... not that night. I never wanted you guys to break up. Wren: I don't think it would matter what I said. Once your parents decide how they're gonna think of someone, it's royal decree. You're brilliant, you're rubbish. There's very little in between. Spencer: Could you at least try my dad again? Wren: Spencer, put your efforts elsewhere. My guess is that your jail sentence will be commuted the moment you score a winning point or ace a test. Spencer: This might not be that simple. Wren: Give it time. Look, I know I made a bloody mess of it, and I'm sorry for putting you in the middle of it. But perhaps my real mistake was falling for the wrong sister. Spencer: Um, I should go. It's just the 4:00 train, and I have this huge paper to write that's due Monday. Wren: You gotta get back to that wretched place called home, right. [In the girls' locker room of the high school] Emily: Hello? Hello? Anybody here? Hello? Ben appears Oh, God! Ben: Damn! You're jumpy. Emily: How did you get in here? Ben: Walked. Emily: Yeah, well, if somebody catches you... Ben: I'll take my chances. Besides, we need some alone time. Emily: I... need to get dressed. Ben: Don't bother. Emily: I can't do this now. My mom's expecting me. Ben: What's up, Em? Last week you were all over me in my car. This week I'm some marching band geek with funyun breath. What's going on? Emily: Nothing. I've just... got a lot on my mind, okay? Ben: All right. Maybe you need to relax. Emily: Ben, I can't do this right now. Ben: What? Emily: Seriously, stop it. Hey, you're acting strange. Ben, get off me! Get off! Stop it! Toby comes in, and fights with Ben That's enough! Okay? Stop. Ben: Is this creep a friend of yours? Is he the reason you're acting like this? Emily: Ben, get over yourself, okay? Ben: Get over myself? Emily: It's done. We're over. [Ella's office] Ella: The owner refuses to use a computer, which is only mildly irritating, because half of these contacts died during the Reagan administration. That was fast. This is my daughter, Aria. Also known as my savior, because when I got here, there were about three cups. Thank you, my dear. Uh, this is Meredith. She works with your dad. Meredith: We've met, actually. Nice to see you. Ella: Meredith just wandered in. She's looking for somebody who shows alternative art. Meredith: And your mother's been very helpful. Thank you so much, Ella. Ella: Oh, you're welcome. So, we'll see you tonight? Meredith: Mm-hmm. Ella: Okay. Aria: Tonight? Ella: Yeah, I invited her to the opening, which may be a success now that we don't have to eat Cobb salad with our fingers. Thank you. I'll see you later. Meredith: For Sure. Bye-bye. Aria: You can't come tonight. Meredith: Why not? Aria: You know why not, and so do I... But my mom doesn't. Meredith: I don't know what you're talking about. Aria: Look, I saw the way you were looking at my dad yesterday. I have eyes, so just find someone who's available. My dad isn't. [The Marins' kitchen] Ashley: How are you getting home? If there's any drinking, I will pick you up. Wilden: Or I could take you, if you don't mind riding in the squad car. I wouldn't use the cuffs. Hanna: I'll be fine, thanks. Hanna leaves Wilden: What? It was a joke. Ashley: So, have you heard from the store? Are they prosecuting or... or not? Wilden: No, I haven't heard, but I have a call into them, so... Wilden takes a bracelet in Hanna's bag Ashley: What are you doing? Wilden: Where have I seen this before? It's nice. Is that from you? Ashley: Alison gave it to her. Wilden: That's right. She mentioned that at school today. Ashley: Why were you at her school? Wilden: I was interviewing Hanna again. That's my day job. Ashley: Why was my kid being questioned a second time? Wilden: Because she's close to the victim, and because kids keep secrets. Ashley: Not mine. And if you're thinking she knows more than she's letting on, you're out of line. Sticky fingers is a long way off from what you're talking about. Wilden: Okay, easy mama bear. It's just a routine investigation. Ashley: Well, then you're gonna need a search warrant to go through her purse. Wilden: So, can I help with dinner? Ashley: Yeah. She gives him the pizza Have it someplace else. Breakfast, too. [At Noel's] Maya: Come on, lighten up. Emily: I should've stayed home. Maya: Why, 'cause you broke up with somebody? What are you supposed to do, spend the rest of the school year hiding under your bed? Emily: There he is. Maya: Did you do that to his face? Damn. It's a good color on him. Hanna: Hey, Em. Sean: Yo, what just happened? Ben: So, you decided to come after all. Emily: Yeah, I did. Just not with you. [In the Hastings' kitchen] Spencer transfers Melissa's homework on her laptop and puts her name where Melissa's one was written. Veronica enters, Melissa follows Spencer: Hey. Hi, how was the club? Veronica: Chilly. Nobody who works there can figure out a thermostat. Did you eat? Spencer: Yeah, I made some pasta if you're hungry. Melissa: I'm not eating pasta. I don't need to be depressed and fat. Veronica: Good point. I'll make a salad. Let me get out of these clothes. She leaves Melissa: Wren called. He told me you went into the city yesterday to meet him. It was strange. At first I wasn't sure why he was telling me this, but then I realized he's still trying to cover his tracks and yours. Like I'm supposed to believe you took a train down there just to clear your name? You two deserve each other. I thought I was pathetic. [Noel's party] Sean: Ooh! Damn. Did you see that? Hanna: Awesome. Look, can this be your last game? Mona: Whatever. Have you guys...? Seriously. Hanna: I'll be right back. [Outside] Aria: He tackled Ben? What was Toby even doing in the girls' locker room? Spencer: Why are you shocked? Toby's a perv. We caught him peeping through the windows, watching us undress. Emily: Alison's the one who saw him do that. We never did. Hanna: What's up? Aria: Toby Cavanaugh got into a fight with Ben over Emily. Emily: It wasn't over me. God. Look, he just... saved me. Spencer: For what, himself? Hanna: Ew. Aria: If we hadn't asked you about Ben, would you have told us about this? Spencer: Toby is not a good guy, Emily. He could be seriously dangerous. Emily: If he's such a bad guy, why'd he take the fall for us? Aria: Is this another secret? Do you know something that we don't? Hanna: Guys, why don't we just, like chill, and talk about this somewhere else? When we're alone. Aria: I... don't even know what "just us" means anymore. Hanna: Yeah, uh... Let's talk about it tomorrow, okay? Are we still meeting up at the shed? She leaves Aria: Yeah. Yeah, sure. Why not? Emily: Where are you going? Aria: The gallery. I promised my mom. She leaves and Maya comes to Emily & Spencer Maya: Have you checked out the photobooth they've got in there? Emily: No. Show me the booth. [Flashback, in front of Toby's -probably-] Ali (to Toby): I'll make sure everybody knows! (To Spencer) Didn't I tell you to stay over there, and let me take care of this? What did you hear? Spencer: Nothing. Nothing. Emily: What's going on? What happened to Jenna? Ali: It's done. We were never here. Let's go. Hanna: But... Ali: But what? Hanna: What if we said it was an accident? Ali: No, we're not telling anybody anything. Damn it, Hanna. Don't make me sorry I ever included you in the first place. I have gone out of my way to bring your big, wannabe butt into this group. You better keep your mouth shut, unless you want to go back to spending your weekends alone, dance dance revolution and a jumbo bag of chips. Aria: Ali, stop it! Just leave her alone. Ali: I'm sorry, Hanna. I didn't mean that. I'm just freaked out, guys. This is bad. Really bad. I never would've done it if I thought someone was in there. I just... I don't know what's gonna happen... to us. Can we just go? Come on. [Back at the party] Sean: What made you come up here? Hanna: I had some time to kill while you were foosballing. Sean: Hey, I was on a roll! Hanna: I thought you liked contact sports. [In the photobooth] Emily: Ready? Maya: Wait. I gotta prepare. If this comes out decent, I'm gonna cut mine out and replace the one on my driver's license. Emily: Yeah, they're always scary. Maya: No, I skipped scary. I went straight to snooki. Emily: Can I see it? Come on, I'll show you mine. It's probably worse. Maya: No way. What could be wrong with yours? You're crazy beautiful. Emily: Uh, which button is it again? Um, this one. She presses the button Okay. Photos are taken, they kiss, another photo is taken, they leave the photobooth Maya: Think there's any pizza left? Emily: Where are the pictures? Maya: Damn, I told you I break cameras. Emily: No, seriously, where are they? Maya: Probably just ran out of paper. Come on. Let's eat something. [Somewhere near Noel's house] Sean: What are you looking for? Hanna: What do you think? Sean: Hanna, please stop. Hanna: You're kidding, right? I mean, you said you wanted it to be special. This is pretty special, if you're not afraid of spiders. Sean: Oh, it's... I don't wanna do this right now. Hanna: Well, then, where do you want to go? We can't exactly afford a weekend at a five-star hotel. Sean: It's not about where. Hanna: Then what is it about? Is this about me? Tell me. Tell me why this is not happening, and don't start quoting scripture. Sean: Why are you acting like this? Hanna: Like what? Sean: Like you've got something to prove. Hanna: Because maybe I do! Maybe you still think of me as that dumpy junior high girl who laughed at all your jokes and gave you cuts in line and followed you around like some groupie. Sean: No, I... I liked that girl. But... but this one seems... desperate. Hanna: Any guy at this party would be happy to be with me. Why aren't you? Sean: We already talked about this, okay? Take this. It's cold up here. Hanna: Leave me alone. I don't want your stupid jacket. [At the gallery] Byron: Well, you are. Ella: He's just saying this because he has to. Byron: No, I.. Meredith comes in Aria: What are you doing here? Did you forget what we talked about? Meredith: You talked. I listened. Aria: What didn't you understand? You need to leave now. Meredith: Listen, sweetie, I'm not in high school. You don't have any say in this. [Outside Noel's] Mona: Hanna! Hanna, what's up? Hanna! Wait, why are you taking Sean's car? Hanna! [Ezra's apartment] Ezra: Hey. I thought you were helping out at the gallery. Aria: I was. Can I come in? Ezra: I'm not sure if that's a good idea. Aria: I'm s... I'm sorry. This was... a mistake. I shouldn't have come here. I just didn't know where else to go. I'll see you on Monday. Ezra: No, wait. Are you... are you okay? Do you need me to drive you home? Aria: That's the last place I want to be. Ezra: Why? What happened? Aria: Can... can we just... be here for a minute? [In front of Emily's] Emily: Good night Maya. Maya: Godd night Emily. See you. Emily walks to Toby's Emily: Hi. I... I never got a chance to... I just wanted to thank you. I mean... I'm not sure why you... Well, it doesn't matter. Again, thanks. She leaves Jenna: Why is she thanking you? Why is she thanking you? Toby: It's not what you think. [In the woods] Spencer: Alison wanted us across the streetso she could have it out with Toby. Ali had something on him. Hanna: Besides being a total perv who peeped in our windows? Spencer: Yeah, something way bigger, and she was threatening to tell everybody. That's why he took the fall for us. Aria: Why are you waiting until now to tell us? Spencer: I don't know. Ali made me promise, and... I guess I was scared. I thought if we never talked about that night again, it would just go away. Hanna: Well, it's not going away. Not unless we toss our phones and join the Navy. Emily: Look, there's four of usand one freak sending messages. If we just talk to each other like this, I feel like it makes it easier to deal with everything. Aria: I think Emily's right. There's way too many secrets. We shouldn't do this in the middle of nowhere. We should do it where we can see it every day. Hanna: You mean, like, somewhere in school? Aria: No. In town. We should ask if we can put a bench somewhere. Wait, and you know what? Whoever did this to her, if they're still in rosewood, we should make them look at it every day, too. Spencer: What, you hate the idea? Hanna: No. No, I just... I had a rough night. Branches rustle, the girls run Hanna: Look. Spencer: Is that yours? Aria: Alison's. Summary:	The girls try to pay tribute to Alison's memory, but they are still faced with unresolved issues. Toby, Jenna's stepbrother, has come back to school. Aria has an unpleasant encounter with her father's former mistress. Spencer faces a vengeful Melissa after her kiss with Wren. Hanna tries to get Sean to forget the 'old Hanna'. Toby and Ben (Emily's boyfriend) have a fight and Emily breaks up with him. Emily and Maya get closer, since Ben is no longer in the picture and Spencer copies her sister's essay and claims it as her own. The girls realize that leaving the past behind is much harder than they first thought. ' A' ending: 'A' listens to jazz music as they print copies of the pictures of Emily and Maya in the Photo Booth.	95	28,862	28,864	28,864	... [The rest of the episode script is omitted]
fd_Buffy_the_Vampire_Slayer_06x14	fd_Buffy_the_Vampire_Slayer_06x14_0	You are given a script of a TV episode. Summarize the episode in a paragraph. Episode Script: •I do not own the characters or situations of BTVS, and I claim no credit for the content of this episode. I have merely transcribed what appeared on my screen, with help from the closed captions. •I prefer that you link to this transcript on the Psyche site rather than post it on your site, but you can post it on your site if you want, as long as you keep my name and email address on it. Please also keep my disclaimers intact. •You can use my transcripts in your fanfiction stories; you don't have to ask my permission. (However, if you use large portions of episode dialogue in your fanfic, I recommend you give credit to the person who wrote the episode.) •I apologize in advance for my lame transcription of the fight scenes. I don't know the names of different punches and kicks. Use your imagination. [SCENE_BREAK] GILES VOICEOVER: Previously on Buffy the Vampire Slayer... Dawn stealing a coin from the magic shop. Buffy and Dawn in Dawn's bedroom. DAWN: You're never here. You can't even stand to be around me. BUFFY: That is not true. DAWN: You didn't want to come back. I know that. You want to go away again. The demon poker game. SPIKE: I'm in. LOOSE-SKINNED DEMON: Ante up. Kittens mewing. BUFFY: You're gonna play cards?! Halfrek appearing in the living room. HALFREK: I have been called, and vengeance shall I wreak. Anya gasping. HALFREK: Hello. ANYA: Halfrek! HALFREK: Anyanka? Anya and Halfrek squealing and hugging. ANYA: How are you? XANDER: You two, you know each other? ANYA: Funny, Halfrek, I didn't summon you to kill Xander, I called to invite you to our wedding. Willow and Tara outside the magic shop. WILLOW: Tara. What are you doing here? Uh, it's okay for you to be here if you have things that ... you have to be here for. I'm doing better. No spells for 32 days. Tara and Buffy in the living room. TARA: Buffy, I promise, there's nothing wrong with you. BUFFY: There has to be. Why do I feel like this? Why do I let Spike do those things to me? Buffy and Spike kissing. TARA: Oh! BUFFY: Don't tell anyone, please. TARA: I won't. [SCENE_BREAK] Teaser [SCENE_BREAK] Open on a small table with several stakes and daggers on it. Reveal Buffy who begins putting the weapons into a bag. We're in the Summers living room. Dawn stands behind Buffy. BUFFY: (sighs) I'm sorry. DAWN: It's okay. BUFFY: No, we're gonna sit down and have a real dinner. Someday. I hate having to run out in the middle, it's just, you know, there's this thing out there. Definitely non-vampire. DAWN: (smiling) I understand. Buffy picks up the bag, goes toward the door. DAWN: Well, maybe when you get back we can set up for your party tomorrow. BUFFY: Yeah. Uh, this could take a while though, I-I wouldn't wait up. (putting on her coat) Besides, Willow promised to be on birthday patrol, so there's nothing left for us to do. (smiling) DAWN: Right. BUFFY: Okay, so, finish dinner, homework, and don't stay up too late, all right? DAWN: Okay. BUFFY: Okay. Buffy turns to go. Dawn watches with a smile. As soon as the door closes behind Buffy, Dawn stops smiling. Stands there, alone, looking unhappy. Cut to graveyard, night. Buffy walks along holding a large axe with a metal handle. Suddenly a large demon with red skin and a spiny crest on its head leaps out behind her. Buffy whirls around. The demon swings a large sword at her. She ducks, then blocks with her axe. The demon's sword bends the axe handle, then pulls it out of Buffy's hand. It flies off and lands in the ground. The demon swings at Buffy again and she gets hold of his sword arm, twists it around behind his back. Suddenly the demon shimmers and disappears. Buffy looks around in confusion. The demon reappears behind her. She kicks him in the face, punches him, kicks again. He falls back. His sword goes flying up into the air. Buffy catches the sword on its way down. The demon charges her. She stabs him right in the stomach. Blue light flashes out in a circle from the wound. The demon roars and grabs his stomach. Buffy pulls the sword out and falls back onto the ground. The sword lands point-down in the ground. The demon falls to his knees, still roaring. He shimmers and turns into a bolt of silver light that shoots over to the sword and into it. We can see his face reflected in the sword's blade. Buffy is still on the ground, facing the other way. BUFFY: Run off, huh? Afraid to face a true warrior? She gets up and sees the sword. BUFFY: Ooh, shiny. She smiles, pulls the sword out of the ground and twirls it around. Walks off, holding it. Wolf howl, opening credits. Guest starring Kali Rocha, Ryan Browning, and Amber Benson as Tara. Written by Drew Z. Greenberg, directed by Michael Gershman. [SCENE_BREAK] Act I [SCENE_BREAK] Open in the magic shop. Anya stands by the shelves dusting statues. ANYA: Do you think we should set up lots of candles for Buffy's party tomorrow? Pan over to reveal Xander and Willow sitting at a small round table doing paperwork. XANDER: Not if they're that horrible slug kind you keep trying to unload. ANYA: (walking past) I don't know why people get so turned off by slug. XANDER: Honey, slugs get turned off by slug. (to Willow) Oh, actually, I wanted to talk to you about that. WILLOW: Slugs? XANDER: No, the party. Or, Tara ... at the party. WILLOW: Oh. XANDER: It's just ... Buffy really wants her there. It seems important to her, so I told her I'd ask you. WILLOW: (smiling) Oh ... yeah, of course, she should totally be there. It'll be great. Dawn enters. She wears a red t-shirt with a beige sweater over it, and has a red coat over her arm. DAWN: (smiling) Hey! WILLOW: Hey, Dawnie. Buffy, uh, out patrolling already? (Dawn nods) XANDER: So, uh, anything new about Warren and the Nerd Herd? DAWN: No, just a big monster hunt. XANDER: Man, a nerd goes into hiding, he really goes into hiding. DAWN: Does anybody want to come to the mall with me for birthday presents? WILLOW: Oh, I would, honey, but ... I've got my group. You know, the whole Spellcasters Anonymous thing? We're still looking for a better name. DAWN: Oh. Well, yeah, uh, no, that-that's good. You should ... do that. (beat) So what about you guys? ANYA: Stuck in doing-the-books-ville. XANDER: Aw, I'd love to go with you, but I gotta finish this new shift schedule for the crew by tomorrow morning. Dawn looks disappointed. WILLOW: Sorry, it just looks like one of those nights. You know? DAWN: Yeah. WILLOW: You okay going on your own? DAWN: Yeah. Somehow I'll, uh, manage to pull it off. Willow gives her a little smile. Dawn grimaces, turns to leave. Cut to: overhead shot of Sunnydale, night. Cut to: exterior shot of the Summers house. Cut to inside. Dawn enters the front door, cautiously, looking around. She is wearing the red coat. Pan across the foyer into the empty dining room. DAWN: Buffy? Dawn starts up the stairs. Cut to Dawn's bedroom. Overhead shot of Dawn as she enters, closes the door behind her, turns on the light. She puts her purse on the bed and reaches into her coat pockets. Cut to a closer shot as she pulls a handful of jewelry from the pockets, still with the price tags attached. She looks at the handful for a moment, puts it on the bed, takes out another handful of jewelry and puts that on the bed too. She takes off her red coat, revealing a tight shiny leather jacket that she wears over the red t-shirt. She goes over to the closet, opens the door revealing a full-length mirror. She checks out the jacket in the mirror. We can see the price tag still hanging from the sleeve. She pulls the jacket tightly around her. Cut to: high school classroom, next day. Pan across bored students. TEACHER: ...if we can come up with things Jim lost during his years in Shanghai, and things he gained. (Shot of Dawn doodling) STUDENT: Excuse me. TEACHER: Who wants to- A student comes in and gives the teacher a piece of paper. TEACHER: Dawn. Dawn looks up, alarmed. TEACHER: They need you in the guidance office. Dawn continues looking alarmed as she gathers up her stuff. Cut to: long shot of Dawn walking down an empty hall lined with lockers. GUIDANCE COUNSELOR VOICEOVER: I'm sorry, I didn't mean to scare you. Cut to the outside of the office. Through opened venetian blinds we can see Dawn sitting across the desk from the guidance counselor woman. GUIDANCE COUNSELOR: Just a follow-up after your ... your loss. And since I'm new here, I thought it would give us a chance to know each other. Cut to inside the office. The guidance counselor is a fairly young woman wearing a small blue pendant around her neck. DAWN: Great. GUIDANCE COUNSELOR: So, I've been looking through your file (shuffling papers on her desk) and, um ... your grades have slipped a little. DAWN: I have really hard classes this quarter. GUIDANCE COUNSELOR: Yeah, still. Teachers say that you seem a little distracted lately. DAWN: I'm not. I-I'm fine. GUIDANCE COUNSELOR: Okay. It's just, you know, I know it must seem weird, (small laugh) talking to a stranger about stuff, but, um ... I want you to know that if something's going on, something's up, my job ... the most important part of my job ... is looking out for you. She smiles. Dawn looks surprised, returns a very small smile of her own. DAWN: I'm really okay. The counselor nods slowly, sits back. GUIDANCE COUNSELOR: I know there's been ... a lot of loss. Dawn looks down. DAWN: (quietly) Yeah. Kinda. (looks up) I-I mean, yes. People keep ... people have a tendency to go away ... and, I miss them. And sometimes ... I wish I could just make them stop. Going away. The counselor smiles. Dawn pauses, waves her hands dismissively. DAWN: But seriously, it's, it's no big deal. I'm fine. Cut to: close shot on a table laden with several trays of hors d'oeuvres. XANDER: (OS) We're feeding an army! BUFFY: (OS) No, they couldn't make it. Pan out to reveal that it's the island in Buffy's kitchen. Anya is preparing the food while Buffy sits opposite. Xander stands beside Anya. XANDER: So, who's coming, you invite anyone else? BUFFY: Just you guys. Willow, Tara. The gang. Oh, and Sophie from work. Xander and Anya look at her, exchange a look. BUFFY: What? Like I'm one of those losers who can't make friends outside her tight little circle? No. I'm friendly. We bonded instantly. Peas in a pod. Bonded peas. ANYA: Really? Um, what's Sophie's last name? Buffy thinks for a moment, frowns. BUFFY: (pouting) Okay, shut up. XANDER: Don't worry about it, we're all over the new friend thing. (Anya smiling) BUFFY: What ... new friend thing? ANYA: (smiling) Well, well ... we invited someone for you. Buffy looks horrified. ANYA: (whispers) A guy. DAWN: (entering) For Buffy? Really? (smiling) XANDER: Ahh, don't worry, it's not a setup. ANYA: (grinning) Right. No. Just an attractive single man, with whom we hope you find much in common. (Buffy looking annoyed) And if you happen to form- XANDER: Ahn- ANYA: -a romantic relationship leading to babies- XANDER: Ahn- ANYA: -and many double dates with us so we have someone else to talk to, yay! Xander looks uncomfortable. BUFFY: I assume this was an act of kindness? (Xander looking embarrassed) That'll help with the not throttling. Buffy gives Xander a meaningful look. He gives a fake laugh. XANDER: Hey, I'm just gonna get this stuff out there, people should be here soon. He picks up some of the food. Cut to the foyer, later. Buffy opens the door to reveal Tara, holding a small gift box. BUFFY: Hey! You made it! They smile and hug. TARA: Of course, sweetie. (pulls back) So, how're you doing? BUFFY: Oh, you know. Better. Mostly. (Tara looking sympathetic) Sometimes. TARA: So, is, um... (looks around) Spike coming? BUFFY: No. He may be a chip-head, but ... he still doesn't play too well with others. Tara smiles, turns to put down the gift and hang up her coat. BUFFY: Besides, I'm definitely not ready to, to... TARA: (turns back) Come out. BUFFY: (smiles) Yeah. I'm all ... stay-inny. Tara smiles and nods. Cut to upstairs. Willow is standing in front of a mirror, very nervously adjusting her clothing. Cut back to downstairs. BUFFY: How are you doing? TARA: (anxious) The word "gulp" comes to mind. BUFFY: (sympathetic) Just remember, we're all here...to... Willow appears at the top of the stairs, coming down. Tara looks nervous. BUFFY: ...I have to, with the thing that I, uh... Coming! Buffy exits ungracefully. Tara and Willow face each other nervously. WILLOW: Hey. TARA: Hey. WILLOW: Hey. (pause) How are you? TARA: Fine, thanks, I'm ... I'm fine. I, how are you? WILLOW: (smiling) Great! I mean... (stops smiling) Fine. I'm, I'm ... finey McFine. Fine. TARA: Y-you look... WILLOW: (smiles) Thanks. (stops smiling, looks embarrassed) TARA: I mean ... great. WILLOW: (embarrassed) Thanks. You do too. Is that a new- TARA: Oh, yeah. (glancing nervously at her dress) WILLOW: It's nice. TARA: Thanks. Very awkward silence. TARA: I-I'm gonna get something to drink. WILLOW: Oh, yeah, great. You should. Tara exits toward the kitchen. WILLOW: (muttering to herself) You don't wanna get thirsty. Cut to the kitchen. Buffy is filling paper cups from a large pitcher. Tara enters. BUFFY: Hey, how did it- TARA: Yes please. Tara takes a cup from Buffy's hand and drinks. Buffy looks surprised. Knocking at the back door. Buffy stands up. Spike enters, holding a 6-pack of beer under one arm. Someone else enters behind him but we can't see who it is. BUFFY: (surprised) Spike. SPIKE: Yeah. Willow mentioned the shindig ... figured we're all part of the team. We see that Spike still has a large bruise over one eye from being beaten by Buffy in "Dead Things." Buffy gives Tara a nervous look. SPIKE: Thought I'd, uh, swing by. Reveal the other person behind Spike. It's the loose-skinned demon from the poker game in "Life Serial." Buffy frowns. BUFFY: Wait, what kind of team is this? DEMON: Hi. We met once before. BUFFY: Yes, yes we did. SPIKE: You know, more, merrier, that whole thing. DEMON: (to Tara) Hi, I'm Clement. Clem. TARA: Tara. Xander enters with a young hunky blond man wearing a red shirt (Star Trek fans, take note). XANDER: Buffy, Richard. BUFFY: (smiling) Hey. XANDER: He was wondering where the best place was to park his car. BUFFY: Oh, that's easy, just-(pointing) XANDER: Buffy will show ya. Xander shoves Richard toward Buffy. They look at each other nervously. BUFFY: Okay, uh... (to Tara) I'll be right back. Over Richard's shoulder, Buffy looks at Spike. He raises one eyebrow. Buffy takes Richard's arm and leads him toward the front. Richard pauses in the doorway. RICHARD: (whispers) Uh ... the guy with the... BUFFY: Skin condition. He doesn't like to talk about it. Buffy leads Richard away. SPIKE: Stupid git! (closing the back door) TARA: I don't know. He seemed ... cute. W-was he cute? I mean, I'm not a very good judge, but... Spike scowls. TARA: (grinning) I think he seemed cute. CLEM: (agreeably) I think he seemed cute, yeah. Spike gives them both a look of outrage. Cut to the living room. Xander sits on the sofa; Dawn and Anya stand nearby. DAWN: If we get Buffy, can, can she start on opening the presents? It's been enough time, hasn't it? ANYA: Not yet, sweetie. XANDER: I think Buffy's busy right now. ANYA: (as if talking to a small child) Buffy's making a new friend. A grown-up friend. DAWN: What, you mean the guy you invited to set her up with? ANYA: Nothing. DAWN: It's not like I don't understand why you invited him. I was there, remember? I can hear you when I'm in the room, you know? (Anya just nodding) I do understand these things. ANYA: (patronizing) Yes you do! (patting Dawn on the head) DAWN: You know I'm in high school, right? ANYA: Yes you are! Dawn stares at Anya in disbelief. Cut to Buffy coming down from upstairs. Spike intercepts her in the foyer and backs her into a corner. SPIKE: You wanna slip away for a minute, luv? BUFFY: What? SPIKE: I'll let you blow out my candles. BUFFY: Here. Now? I don't think so. SPIKE: Oh, what, you worried about Richard? You don't wanna make your new boyfriend jealous, huh? BUFFY: (grinning) Shut up. He's ... sweet. SPIKE: (teasing) "Oh, shut up, he's sweet." BUFFY: Maybe he's not the jealous one. Spike looks surprised. Buffy moves past him and away. SPIKE: You think he'll take you out on his ten-speed, pet? (to himself) Maybe he'll let you ride in that little basket in the front. (scoffs) Jealous my ass. He sighs, looks around in frustration. Cut to later. Buffy sits on the sofa, looking skeptically at a device with a large head with two round knobs on it. BUFFY: Uh... We see Willow sitting on Buffy's right. Dawn sits on Buffy's left, fidgeting very obviously. WILLOW: See? i-it's a battery-operated back massager. And it's portable so you can take it with you on patrol. BUFFY: (dubious) Wow. WILLOW: (smiling) It's like, instant gratification for all your little acheys. Buffy looks over at Spike leaning in the doorway. Spike raises his eyebrow and gives his best suggestive smirk. BUFFY: (quickly) Great! Thanks! (puts the massager aside) Uh, what's next? DAWN: (excited) Here, do mine. Dawn turns to pick up a large flat box behind her, gives it to Buffy. Buffy begins unwrapping it. Shot of Spike watching, glancing over at Clem. Shot of Clem and Tara watching. Buffy removes the paper to reveal a plain white box. She opens it and looks inside. BUFFY: (surprised) Dawn. Close shot on the box, containing the black leather jacket that Dawn was wearing earlier. DAWN: (smiling) Do you like it? BUFFY: (lifting it out of the box) It's ... gorgeous. DAWN: I was so nervous. I was afraid you wouldn't like it. Buffy looks at the jacket, frowns. Close shot on the sleeve which has the security tag attached. BUFFY: I-it still has the security tag on it. Dawn looks alarmed, covers quickly. DAWN: Huh. That's so weird. I can't believe they didn't take that off. Buffy stares at her. XANDER: (OS) Happy birthday, Buffy! Everyone turns to see Xander and Anya wheeling in a large wooden chest. BUFFY: Oh my god! Xander and Anya place the chest in the middle of the room and gesture proudly. BUFFY: Did you guys make that? Buffy gets up, thrusting the box with the jacket into Dawn's lap. Dawn looks dismayed. ANYA: Uh, well, uh, Xander did the building. (Dawn still looking upset) I offered helpful suggestions while observing from a safe distance. Buffy kneels down to open the chest. Xander holds the lid open and leans over to speak softly so Richard won't hear. XANDER: Holds basic weapons, (Buffy smiling) plus a few non-basic ones too. (loudly) Plus, there's a handsome CD holder. Shot of Dawn looking disgusted, folding the jacket back into the box. ANYA: (OS) We wanted you to have something no one else would have. BUFFY: (OS) A Xander Harris original. Sound of the doorbell ringing. BUFFY: I love it. Thanks, you guys! Buffy leans across the chest to kiss Xander on the cheek. In background we see Tara opening the front door. TARA: Buffy? Buffy hugs Anya, turns around. BUFFY: Oh! Sophie! We see a nervous-looking young woman standing in the doorway. BUFFY: Welcome! (Sophie exchanging smiles with Tara) Uh, we're somewhere between, uh, presents and cake. (to Anya) There is gonna be cake eventually, right? (Anya nodding) SOPHIE: (walking into the living room) Hey. Uh, my mom told me to say thank you right away, 'cause, otherwise I usually forget. So, thank you. Buffy and Anya listen to this politely. We see Spike in the background watching. SOPHIE: And, also, um, I can't have any, any chocolate, or, or peanuts or egg yolks. ANYA: (whispers to Buffy) Is this the friend you brought from work? BUFFY: Yes. SOPHIE: A-and sometimes dairy. BUFFY: No problem. Sophie looks around at the others. Clem gives her a friendly smile and wave. Tara smiles too. ANYA: (whispers to Buffy) Our friend is better. Dawn gets up and moves toward the foyer as Sophie moves farther inside. Spike remains leaning against the door frame. BUFFY: (OS) Uh, we can do official introductions now that everyone's officially here. Dawnie, you mind getting the door? Dawn goes past Spike and Tara to the open door. BUFFY: (OS) Sophie, this is Anya ... and Willow... Shot from on the porch looking in. Dawn stands in the doorway, looks unhappily back at the party, then outside. Slowly, she closes the door. Pan across the outside of the door to the porch. Dawn's guidance counselor walks out of the shadows, on the porch. She walks over to the front door, smiling slightly. She stops walking and her face morphs into demon-face -- she is Halfrek. She speaks in her deep resonant demon voice (see episode "Doublemeat Palace"). HALFREK: Wish granted. Blackout. [SCENE_BREAK] Act II [SCENE_BREAK] Open on the party. Loud rock music is playing. Pan across Sophie and Clem dancing together. Pan across Willow sitting in a chair with Xander sitting on its arm, both talking and moving to the beat. Pan to the sofa where Anya sits waving her hand to the beat. Dawn sits beside her, looking bored. Zoom in on Dawn. She looks like she's trying to pretend she's enjoying herself. She experiments with a couple of different smiles. Cut to the foyer. Buffy comes out of the dining room and encounters Richard in the hall. RICHARD: Hey. BUFFY: Hi. RICHARD: Great party. Everyone's havin' fun. BUFFY: (smiling) I hope so. RICHARD: I mean, look what time it is and no one's even thinking about leaving. I, uh ... can't tear myself away. BUFFY: (smiling uncertainly) Yeah? RICHARD: Yeah. Can I get you a drink? Behind Richard we see Spike appear in the living-room doorway, observing. BUFFY: Uh ... I'm good, thank you. RICARD: Okay. BUFFY: (awkward) I think I'll just ... head back in. RICHARD: Well ... I'll look for you. BUFFY: (smiling) Okay. Richard smiles, goes past her and into the dining room. SPIKE: Ooh, Buffy. (Buffy rolling her eyes) Can I get you a soda pop? I think I'm in looove. Spike walks up to her, smirking. He tries to take her hands but she pulls them away. But she is smiling too. BUFFY: Stop it. Someone's gonna see. She walks toward the kitchen. Spike follows, stops her at the doorway, putting one hand on the wall beside her head to block her way. SPIKE: Mm-hmm. He puts his other hand on her shoulder, runs it down her arm, takes her hand and pulls it onto his thigh. Someone appears at the other end of the hall. Buffy quickly pulls her hand back as both she and Spike look over. It's Tara, looking a bit taken aback. Buffy glances at Spike, pushes past him and exits toward the kitchen. Spike looks at Tara with a slightly nervous smile. Tara looks innocent. SPIKE: I had ... a ... muscle cramp. Buffy was, uh, helping. TARA: (small grin) A muscle cramp? In your ... (looks down at him, then away) pants? SPIKE: What, it's a thing. TARA: (grinning) Right. She walks off. Spike looks disgruntled. ANYA VOICEOVER: No, you go. Cut to the dining room. Xander sits in a chair with Anya on his lap, both nuzzling each other in disgusting coupley fashion. Sophie and Willow sit opposite. XANDER: (teasing, nuzzling) No, you go. ANYA: (teasing, nuzzling) No, you go. WILLOW: Okay! Xander and Anya stop, look over at Willow. WILLOW: It's just a beer run, I'll go. SOPHIE: Oh, well, I can't really drink beer, 'cause you know, barley. But I'll go with you to get some. WILLOW: Perfect. Here we go. The beer-gettin'. They all continue to sit there, not moving. After a moment Willow leans over and puts her head on the table. Xander and Anya resume nuzzling. Cut to the living room. Dawn, Buffy, Richard, and Anya are playing Monopoly on the coffee-table. BUFFY: This sucks. I'm out. (giving money to Anya) RICHARD: No way. I think you're doing fine. Pan over to the other table where Clem, Xander, Spike, and Tara are playing cards. XANDER: (to Buffy) You wanna try poker? CLEM: Still say it's weird without the kittens. BUFFY: No kittens. (Richard giving her a funny look) He's quirky. RICHARD: Look, we've already been playing for like three hours, it's, you know, it's like two-something in the morning. You can't bail now. ANYA: Yeah, come on, Buffy, stay. I wanna bankrupt somebody. (Buffy giving her a sour look) DAWN: Oh! We should totally have a slumber party. BUFFY: (uncertain) Oh, I don't know... (looking around) I guess, as long as everyone's staying up anyway. SPIKE: Must be some late-night activities to keep us busy till morning. (giving Buffy a suggestive look) (Buffy glaring at him) TARA: How's that cramp, Spike? Still bothering you? SPIKE: What? Oh. Yeah. TARA: Maybe you, uh, wanna put some ice on it. Tara gives an innocent little smile. Spike looks confused, frowns, looks at his cards. Shot of the foursome playing Monopoly. Close shot of Dawn looking around and smiling hugely. Cut to later. Sunlight coming in the windows. Willow and Sophie are asleep on the sofa. Xander, Dawn, and Clem sit on the floor watching cartoons on TV. The Monopoly game, food, beverages, presents, etc. are scattered everywhere. Pan across the room to Buffy and Spike sitting on the floor beside the new weapons chest. Buffy is shuffling the deck of cards. Richard enters from the kitchen. RICHARD: Hey Xander, we gotta be at work in a few minutes. Close shot of the three watching TV. XANDER: (staring at TV) Okay. Shot of the cartoons playing on the TV. RICHARD: I can't be late today. SPIKE: You should definitely go. Let's find your coat and get you on your merry way. BUFFY: Spike. RICHARD: (confused) I don't know why I'm not leaving. SPIKE: Me either. Besides, Richie, you can't skip breakfast. Growing boy like you. (Buffy glaring at him) Me, I used to love breakfast. In the old days, I probably would have eaten by now. (looks menacingly at Richard) BUFFY: Of course, with that new diet of yours, you wanna be careful what you try puttin' in your mouth now, Spikey. (giving him a meaningful look) SPIKE: Yeah? I don't know. Tummy's making all kinds of gurglies. Maybe I oughta just feed on whatever's around... (Buffy looking at Richard. Richard looking bemused) even if it doesn't go down well. (to Richard) You, uh, work out? BUFFY: Okey-dokey. Buffy quickly gets up, grabs Spike by his sleeve, hauls him to his feet and toward the door. BUFFY: (to Richard) 'Scuse us. Buffy hauls Spike into the foyer. BUFFY: Hey, Mister Passive-Aggressive Guy. Seriously, you wanna take it down a notch or two in there? SPIKE: What, poor dainty Richard can't take a joke? BUFFY: (firmly) We do not joke about eating people in this house! SPIKE: (angrily) What are you gonna do, beat me up again? BUFFY: I should have thrown you out the second you got here. (Spike rolling his eyes) I was insane to ever think you could just hang out with my friends. SPIKE: And I was insane to think... (pauses) No, wait. You were right. You're insane. Cut to the kitchen. Tara is pouring milk into a bowl of cereal. WILLOW: (OS) Oh, hi. TARA: (looks up) Hey. Willow walks over, stands by the island across from Tara. TARA: Breakfast. Didn't really plan for a sleep-over. WILLOW: I know, me either. It's weird, I ... I have class, and I know I should go, but...(sits) TARA: I know, i-it's like, I wanna leave, but I don't want to. WILLOW: (smiles) Exactly. Tara smiles back. Cut back to the foyer. Buffy and Spike continue arguing. BUFFY: (angrily) I think it's time for you to go. SPIKE: Yeah, well, can't. (gesturing) Daylight. BUFFY: Okay. I'll go. SPIKE: I'll get the door. BUFFY: Fine! SPIKE: Fine! BUFFY: I'm actually trying to move right now. SPIKE: (quieter) Me too. They both stand there, not moving. Buffy sighs, frowns. BUFFY: Well ... this can't be good. Spike shakes his head, agreeing. Cut to the living room. The entire party is gathered. They all sit or stand around, staring at each other. BUFFY: There's something keeping us in this house. XANDER: Or someone. TARA: Has everyone tried to get out? WILLOW: What if we just, like, as a group, got up and, and threw ourselves at the door? XANDER: All right. Count of three. (everyone preparing) One ... two ... three! No one moves. XANDER: Here we go! Still nothing. Buffy looks around. Shot of Dawn sitting off to the side, looking sullen. BUFFY: Hence the problem. RICHARD: I really need to go. I mean, I have a job to get to. ANYA: I have to open the Magic Box. SOPHIE: I have a shift at the DoubleMeat. (thinks) Actually, I'm okay here. CLEM: Yeah, I'm, I'm fine. XANDER: Willow and Tara have class, I gotta be at the site. BUFFY: I know, I know, we all have places that we'd rather be. Shot of Dawn looking up at that, looking upset. SPIKE: (softly) Things we'd rather be doing. BUFFY: I think the first priority has to be to find a way out. DAWN: Sure. Of course you all wanna leave. (Buffy looking at her) 'Cause being stuck in here with me, that would really suck, right? Buffy frowns slightly. WILLOW: No, Dawnie! It's just, we have more important things to do. DAWN: (disgusted) Yeah, I know. Important. (gets up) Whatever that means, right? Dawn storms past them and up the stairs. They all watch her go. Everyone looks at Buffy. Cut to Dawn's bedroom. Dawn runs in, flops down on her stomach on the bed. Buffy enters, followed by Tara, Willow, Xander, and Spike. BUFFY: Dawn? DAWN: What? BUFFY: Did you do something? DAWN: (exasperated) Me? TARA: Do you know something? 'Cause we want you to feel like you can tell us. Dawn sits up, turns to face them. DAWN: (angrily) What would I know? WILLOW: Look, we're not accusing you of anything, it's just ... you were kind of taking it personal down there. DAWN: Oh. Okay. So you've all just decided that somehow I'm responsible. (sourly) Great. Here's me baskin' in the love. XANDER: No, it's just, you know, you're upset 'cause we all wanna leave. And now we can't leave. Only thing missing is a cornfield. There ... there isn't a cornfield, is there? BUFFY: Dawnie, it's okay. You know, we're not gonna be mad. DAWN: Yeah, only I didn't do anything! WILLOW: You sure? DAWN: You want me to ask my other self? BUFFY: Dawn, we're just trying to figure out what's going on. DAWN: (angrily) Figure it out yourself. I'm done being talked to like a kid. XANDER: Well, 'cause you know, sometimes we do something that seems like a good idea at the time, like, say, invoke the power of a musical amulet? And it turns out, you know, not so much. DAWN: God! I didn't do anything! I wish I had. (Buffy frowning) I'm glad you're trapped. (very angrily) How else can I get anybody to spend any time with me? BUFFY: Dawn. If you want us to spend time with you- DAWN: I don't. Get out. Buffy stares at her. DAWN: (shrieking) Get out, get out, get out! The others exit, leaving only Buffy and Dawn. Dawn turns away angrily, lies down on her stomach on the bed again. Buffy stares at her for a moment, then leaves. ANYA VOICEOVER: I think she's possessed. Cut to downstairs. Anya and Xander sit side-by-side on the sofa. XANDER: She's a teenager. We see Buffy, Willow, and Spike sitting around too. Tara comes in from the dining room. TARA: Phones are all out, we're totally cut off. They all sigh and groan. BUFFY: (quietly) She's just so angry. TARA: It happens. We all went through it. BUFFY: I know. I just can't figure out why she didn't come to me. XANDER: Well, you have been a little busy lately. Xander and Anya look at Buffy. She looks grim. SPIKE: Hey, I don't wanna keep you all from the touchy-feelies, but maybe the encounter group can meet later. Say, when we're not trapped in a house. TARA: Even if Dawn does know something, she's obviously not gonna help us right now. We need another way. BUFFY: I think magic's gonna be our best bet. (Willow looking alarmed) Something general, you know? Cast a wide net. (Tara nodding) XANDER: But ... Willow. (gesturing toward Willow with his head) TARA: No, I'll do it. (Willow fidgeting nervously) It's just, o-obviously I didn't bring any supplies. Willow looks guilty. BUFFY: (OS) Well, we don't have any in the house. We got rid of everything. WILLOW: Actually ... not everything. (guilty) I, uh... might have ... kept one or, or two things. Sort of. Tara and Buffy look shocked. WILLOW: ...just in case. XANDER: That's great! Beat. Anya, Tara, and Buffy look somber. XANDER: ...in a very bad way. (shaking finger at Willow) Tara sighs, stands up. TARA: (to Willow) Just ... bring me what you have. (firmly) But I'm doing this alone. You need to stay away from it. Tara exits, leaving the others to sit around looking grim. Cut to: exterior shot of the house, day. Cut to the kitchen. Buffy and Xander watch as Tara mixes ingredients, using kitchen implements and bowls. She scoops a damp mixture of herbs from one bowl into another and mashes it down. Cut to the foyer. Willow, Spike, and Anya stand in a row in front of the front door. ANYA: So we're supposed to just wait? WILLOW: It won't take long. Sophie, Richard, and Clem appear in the dining-room doorway. RICHARD: All right, somebody wanna tell me what's, what's going on here? We're trapped in a house by ... by what, some unseen force or something. (gesturing at the door) Who knows what she's doing in there. (pointing to the kitchen) And I have to tell you... (looks back at Clem scratching his head with clawed fingers) I don't think that's a skin condition. Cut back to the kitchen. Tara uses a match to set her mixture on fire, then blows out the match. Red smoke billows up out of the bowl. Shot of the smoke curling in a wavy line through the door toward the living room. TARA: Release. The smoke curls over to where the demon sword is sitting, leaning against a china cabinet. The smoke swirls around the sword. TARA: (calls) Try the door! Spike steels himself. Close shot of his hand curling into a fist. Close shot of his feet trying to move. Shot of the sword as the last of the magic swirls into it and a silvery puddle begins to swirl out of it onto the floor. Close shot on Spike's face as he grits his teeth and concentrates on the door. Close shot on the closed door. Willow and Anya both look at Spike. Close shot on Spike's fist uncurling. SPIKE: (annoyed) No. Can't. They all look disappointed. Richard, Sophie, and Clem walk out into the foyer to join the other three. They all stare at the door. Spike rubs his forehead. Close shot on the still-closed door. Cut back to the living room. The fully re-formed demon picks up his sword. He growls. Sunlight glints off the sword blade. Blackout. [SCENE_BREAK] Act III [SCENE_BREAK] Open on the foyer. Clem, Sophie, Willow, Spike, Anya, and Richard stand staring at the closed door. The demon attacks them from the living room, growling. Everyone scatters, some of them screaming. The demon enters the foyer and swings his sword, slashing Richard across the stomach. On the back-swing, his sword arm hits Spike, who grabs the arm and struggles with the demon. Buffy, Xander, and Tara enter from the kitchen. Buffy tackles the demon, both landing on the living-room floor. Spike follows them in. The demon melts into the floor and disappears. Buffy sits up, frowning, then stands up. She and Spike exchange a confused look. Xander, Tara, and Anya bend over the injured Richard. The demon reappears behind Buffy, lifting his sword in both hands. Buffy grabs his hands. He shoves her back. She flies into Spike, and both of them go down. The demon disappears again. Buffy gets to her feet again. SPIKE: What the bloody hell was that? BUFFY: That's the demon I killed two nights ago. SPIKE: The demon you thought you killed. XANDER: It looks pretty bad. Buffy looks over in horror at Richard. ANYA: Oh god. Oh, god. They roll Richard over onto his back, revealing a bloody gash that goes all the way across his stomach. TARA: Let's get him upstairs. (to Buffy) We need to get him to a doctor soon. BUFFY: (addressing everyone) Hey, i-it's gonna be okay. Spike looks annoyed, gets up off the floor. BUFFY: Just trust me, I promise we'll be out of here soon. Cut to: exterior shot of the house, night. Cut to inside. Sophie stands holding a curtain aside, looking out at the darkness. SOPHIE: Oh god. Oh god. Pull back to reveal the living room. Spike stands a little ways behind Sophie, arms folded. Buffy walks into the shot between them. BUFFY: Okay, so maybe 'soon' was a bit of an overstatement. SPIKE: So, you ever think about not celebrating a birthday? Just to try it, I mean. BUFFY: I'm gonna go check upstairs. Keep an eye on things down here? Spike nods. Buffy turns to go. BUFFY: You stay here, okay? We see that Buffy was addressing Dawn, who sits on the sofa looking sullen. Close shot on Dawn as Buffy exits. Weird creaking noises. Dawn looks around in alarm. Spike looks around too. DAWN: What's that noise? It's in the walls, isn't it? Spike leans close to the wall, listening. Creaking noises continue. Spike moves slowly along the wall, listening. Cut to Willow's bedroom. Richard lies on the bed trembling and breathing shallowly. Tara sits beside him, tending to his wound. Willow stands nearby. Creaking noises continue. Willow and Tara look around nervously. Tara resumes cleaning Richard's wound with a piece of gauze and a bottle of antiseptic. Richard looks around nervously. The noises continue. Cut to the hallway. Buffy walks along slowly, holding a dagger, looking around. Looking the other way, she comes upon Clem and they both gasp in alarm. CLEM: (nervously) Sorry. Buffy sighs. Cut to another part of the house. Anya and Xander sit on the floor. Anya is panting and fiddling with the lapels of her white blouse, which is partly unbuttoned. She wears a black tank-top underneath it. ANYA: Why is it so hot in here? XANDER: You're just a little freaked out, that's all. It'll pass. ANYA: He's gonna die. He's gonna die, and we're gonna watch. XANDER: Ahn... ANYA: And we're just sitting here. Why are we just sitting here? Why aren't we doing something? XANDER: We are. We will. We've been through worse. ANYA: (panting, rubbing her chest) Not like this. Not trapped like animals. Seriously, did someone turn on the heat? (unbuttoning her blouse) I can't breathe, I just ... oh, I just can't breathe ... I can't breathe... XANDER: (grabbing her hands) Ahn, stop. Stop, Ahn, stop! He manages to stop her, and she turns to look at him. XANDER: Listen to me. You're just freaking out, okay? It's normal. You're just ... you're just scared. We all are. We'll come up with a plan ... and we'll get through it, all right? (Anya nodding, creaking noises continue) We'll do something. ANYA: What? XANDER: I don't know. (brushing hair out of her face) Lemme get you some water, okay? (Anya nodding) It'll cool you down. I'll be back in a second, okay? Stay here, don't move. He gets up and leaves. Anya sits there panting. Cut to the foyer. Xander comes down the stairs. Creaking noises continue. He looks around nervously. He reaches the bottom, turns toward the kitchen. Suddenly the demon emerges from the wall behind Xander and grabs him from behind. Shot of Anya sitting in the dark by herself as we hear Xander scream. Shot of Xander being held around the middle, arms pinned to his sides, with the sword at his throat. Shot of Spike hearing, running toward the noise. ANYA: Xander? Xander struggles with the demon. Spike rushes in, grabs the demon's sword arm and tries to pull it away. But he can't, so instead he knuckle-punches the demon in the ribs. The demon growls and hits Spike with his elbow. Spike goes down. The demon throws Xander aside. He hits the wall and crouches there. Buffy rushes in, still holding the dagger. The demon turns to attack her. She ducks a sword-thrust. The demon kicks her dagger hand, and the dagger goes flying. The demon whirls around with the sword, slicing Xander's arm. Then turns back to Buffy. BUFFY: Grab the sword! She kicks the demon and ducks another swing as Spike gets up and grabs the demon's sleeve, punches it in the face. The demon flings Spike back and he goes down yet again. Buffy grabs the demon's arms and kicks him in the stomach. He reels back and melts into the wall again. Spike gets up on his elbows and both he and Buffy watch the demon disappear. BUFFY: Are you hurt? Shot of Xander on the floor, groaning in pain. BUFFY: Here, let me see. Buffy takes a step forward but doesn't actually go to either of the men. ANYA: (OS) Xander. Xander looks up. Anya stands at the foot of the stairs staring at him. Xander gets painfully to his feet and goes to Anya. XANDER: It's okay. I'm okay, see? Shh. He strokes her face gently and leans his forehead against hers. XANDER: (whispers) It's all right. I'm okay. Shot of Buffy watching this wistfully. Fade to later. Buffy comes around a corner from the dining room to the foyer, and finds Dawn standing against a wall. Creaking noises continue. BUFFY: It's getting kinda scary. You okay? DAWN: (sullen, not looking at Buffy) Do you care? BUFFY: (exasperated) Fine. Stay with Spike. Buffy walks off. Cut to upstairs. Buffy walks into her bedroom. Dawn comes in behind her. DAWN: It's not like I meant for this to happen. BUFFY: I never said that you did. DAWN: I didn't want this. Buffy turns to face her. BUFFY: What did you want? DAWN: (softly) Nothing. BUFFY: Dawn, come on. DAWN: No. You don't know! You have this thing you do. You have all these friends. (softly) You have no idea what it's like. BUFFY: What are you talking about? I don't know what, what- DAWN: Being alone! BUFFY: You're not alone! DAWN: Then why do I feel like this? Cut to the dining room. Tara and Spike standing next to each other. TARA: I just think we haven't thought of the right way out yet, that's all. Reveal Xander and Willow standing nearby, and Anya sitting at the dining-room table. SPIKE: Well, we can't just stay put like cattle, waiting for that thing to pop out every time it gets peckish. TARA: I'd say we do another spell, but I, I think we've tried everything. ANYA: Well ... that's not completely true, is it? (Tara frowning) I mean, not everything. (looks at Willow) Not exactly. (Willow looking nervous) We're sitting here with an incredibly powerful witch ... much more powerful than you, Tara, I'm sorry ... only no one seems willing to say it. WILLOW: I can't. ANYA: No, see, that's not exactly true either. (angrily) Not can't, won't. WILLOW: You don't know how much I hate this. I don't know if there's even ... anything I could do. ANYA: Yes ... and a good way to find out is to sit around and try nothing. That was sarcasm, by the way. SPIKE: Look- WILLOW: It's dangerous. ANYA: And so is all of us dying! XANDER: Will ... look, I don't wanna gang up on you ... but Anya kinda has a point. (Willow looking anxious) We brought you back from it once. We're all here, it's just one little spell, (Spike shaking his head) whatever happens, we can bring you back again. WILLOW: (firmly) No. I can't. (to Anya) If I start, I ... I might not be able to stop. ANYA: And whose fault is that? (stands up, walks toward Willow) You know, if you hadn't gotten so much of this in your system in the first place- TARA: Hey! You're gonna back off! Tara gets in between Willow and Anya, faces Anya down. TARA: She said no, and that's it. You're not gonna make her do something that she doesn't want to. And if you try... (folds arms across her chest) You're gonna have to go through me first. Understood? Anya glares at her. ANYA: Fine. If you all aren't willing to get us out of this, then I will do it myself. Anya walks past the witches and goes up the stairs. Shot of Sophie and Clem sitting on the sofa, watching Anya. Then exchanging a look. Cut to Buffy's bedroom. Buffy and Dawn sit on the bed side-by-side. BUFFY: I wish you would have told me. DAWN: You haven't really been... BUFFY: What? I haven't been what? DAWN: Around. BUFFY: Dawn ... the most important job that I have ... is looking out for you. DAWN: (small smile) You sound like my guidance counselor. She give you a handbook or something? 'Talkin' to the Troubled Teen'? BUFFY: (frowning) Counselor? DAWN: It wasn't my idea. I didn't even know we had guidance counselors. She called me out of class like I was a total J.D. BUFFY: And you'd ... never met her before? DAWN: No, not until yesterday. BUFFY: And ... she got you to start talking about things that bothered you at home? DAWN: (uncertain) Uh ... yeah? BUFFY: You didn't, by any chance, happen to ... express like a, a wish, or-or something, to her? DAWN: (nervous) Um ... maybe just a little. Sound of thumping and crashing. Dawn and Buffy look up, both jump up. Cut to Dawn's room. Anya is pulling books and stuff off the shelves. XANDER: Honey, come on, this isn't the way, calm down. ANYA: (still searching) She knows something. She knows something, we have to find out what it is. Anya begins looking through the drawers of Dawn's desk. Dawn and Buffy enter. DAWN: Hey! XANDER: Ahn, just stop for a second. ANYA: There's gotta be a clue in here somewhere. DAWN: Stop it! Dawn starts forward, but Buffy stops her. BUFFY: Anya, it wasn't her fault. Anya picks up a small red box from the desk. DAWN: No! Anya opens the box and Dawn's stash of stolen jewelry falls out onto the floor. Anya stares in shock, bends down to look. Xander, Buffy, and Dawn stare in varying degrees of surprise and dismay. ANYA: Half this stuff is from the Magic Box. Anya picks up a few things, then picks up the entire handful, straightens up and glares at Dawn. ANYA: How could you do this? Buffy looks at Dawn, who looks upset and goes running out of the room. Anya follows, then Buffy and Xander. Cut to downstairs. Dawn comes running down the stairs with the others in pursuit. ANYA: I work hard at that store, and I helped you! (grabs Dawn's arm, turns her around) I took care of you. This is how you say 'thank you'? Buffy comes up beside Anya. BUFFY: Anya, hold on, okay? (to Dawn) Tell her you didn't do this. Tell her it's a mistake. Suddenly Buffy spots something over by the sofa. She looks shocked, walks that way. DAWN: (anguished) No! Buffy walks over, stares down at the box holding the black leather jacket that Dawn gave her. BUFFY: Oh. (looking at Dawn) DAWN: (upset) Buffy... ANYA: How are we supposed to trust you, Dawn? I mean, you ... you say you didn't put us here, but look at this stuff! How are we supposed to believe you? Shot of all the others gathering around. BUFFY: Look, I-I don't think she- I don't think it's all her fault, okay? She ... there was a guidance counselor, or someone pretending to be a guidance counselor, she, she made Dawn make a wish. ANYA: Guidance counselor? You made a wish to someone you've never seen before? DAWN: (nervous) Yeah? ANYA: Did she wear a pendant with a, with a dark blue stone? DAWN: And little red flecks? ANYA: Uhh, for crying out loud. (yells) Halfrek! (to Dawn) It's Halfrek, a vengeance demon. You made a wish to a vengeance demon. DAWN: I didn't know. ANYA: Only a vengeance demon can break her own vengeance spell. Nothing else will work. She's the only one who can get us out of here. (yells) Hallie, get your ass down here! Halfrek materializes just behind Anya, in a puff of smoke. HALFREK: (deep resonant voice) You rang? Anya turns toward her. Suddenly Halfrek gasps and looks down. Close shot of Halfrek's stomach with the end of a sword protruding out of it. Close on Halfrek's face as she collapses to the floor, revealing the demon standing behind her. Close on Buffy staring in horror. Blackout. [SCENE_BREAK] Act IV [SCENE_BREAK] Open on the same scene. The demon attacks Buffy who grabs his hands and then punches him. Anya punches him from behind as well, distracting him. ANYA: (punching) I hope you die, you stupid jerkface! The last punch sends him reeling back. He swings his sword and Anya leaps on him from behind, struggling with his sword arm while Buffy kicks him in the stomach. Spike leaps into the fray too, grabbing the demon from behind. The demon flings Anya off, she lands on the sofa. He flings Spike off too and swings the sword around randomly. Buffy ducks, watching for an opening. XANDER: Anya! Xander ducks under the sword swings and runs over to the sofa. The demon hits Buffy in the face and she reels back. Spike attacks again, distracting the demon so Buffy can kick him. The demon falls to the floor and melts into it, disappearing. The demon immediately reappears behind Spike, who grabs his sword arm. The demon drops the sword. Spike continues holding his arm and kicking him. SPIKE: The sword! Buffy picks the sword up off the floor as Spike continues struggling with the demon. Spike gives him a kick in the stomach and he reels backward as Buffy attacks with the sword. The demon turns and runs into the wall, disappearing into it. Buffy thrusts the sword into the wall where he went. The same blue light appears, suffusing everything as the others watch. The demon roars angrily. Close on the sword as the blue light fades and the hole in the wall closes up, the demon once again trapped in the sword. Buffy pulls the sword out of the wall and breaks it in two over her knee, causing one last flare of blue light. She throws the two halves down. Buffy looks over at Halfrek, who lies on the floor not moving. ANYA: Her pendant! Get her pendant! Anya and Buffy rush toward Halfrek. But before they reach her she sits up and puts out her hand toward Anya, who goes flying backward onto the sofa again. Buffy stares. HALFREK: (normal voice) There will be no touching of the pendant. Halfrek gets to her feet and brushes herself off, as everyone stares at her in surprise. HALFREK: What? (laughs) Did you think I'd be stopped by a sword in the chest? She looks down at her chest, pulls at her blouse so we can see the rip in it. HALFREK: Flesh wound. (Anya getting up) Honestly, Anyanka, you used to know better. ANYA: (coming closer) How could you? Why would you do this? HALFREK: I told you I was going to take care of some business while I was here in town. ANYA: Yeah, but cursing us? Some of them are in the wedding party. HALFREK: I just go where I'm- Halfrek pauses, looking to her right as Spike walks up. HALFREK: (shocked whisper) William? SPIKE: (frowning) Hey, wait a minute. BUFFY: You guys know each other? Shot of Willow, Clem, Sophie, and Tara getting up and approaching slowly. Halfrek still staring at Spike, but now she snaps out of it. HALFREK: (quickly) Uh, no. (laughs) No. She fiddles with her hair nervously. SPIKE: (still frowning) Not really. Shot of Buffy looking confused. TARA: I thought vengeance demons only punished men who wronged women. HALFREK: Oh, that was Anya's little raison d'être. Most of us try to be a little more well-rounded. And actually, we prefer 'justice demon.' Okay? FYI. ANYA: Well-rounded, huh? Is that how you explain your thing for bad parents? HALFREK: Oh, it's not a thing. The children need me. ANYA: Hmm! (coughing)Daddy issues(coughing) HALFREK: Sling all the little barbs at me that you want, Anyanka, it doesn't change the fact that this girl was in pain, (pointing at Dawn) and none of you could hear it. (Dawn looks down) I could hear her crying out everywhere I went in this town. (Anya looking guilty) It was unbearable. And none of you knew. Halfrek looks at Buffy, shaking her head. Buffy looks upset. HALFREK: You people deserve to be cursed. (shot of the others listening) Enjoy your time together. From now on ... all you have is time. (to Anya) Time ... and each other. Good luck! Shot of Spike frowning. Shot of Buffy looking upset. Shot of the others watching. Dramatic music swells. Halfrek makes a dramatic motion with both arms, but does not disappear. She looks surprised. HALFREK: Wait ... (nervous laugh) Wait. Shot of Buffy looking surprised. Shot of Spike raising his eyebrows. HALFREK: (muttering to herself) Time, and each other. Dramatic music. Dramatic arm gesture. Halfrek again fails to disappear. She looks annoyed. ANYA: (rolling her eyes) It's the curse, Hallie. HALFREK: Oh, for crying out loud. Fine, the curse is lifted! We can all leave now! ... Damn it. She snaps her fingers and disappears. Everyone else looks relieved and excited. Spike looks over at Buffy, who just looks pensive. Cut to the kitchen. Tara is packing remnants of herbs into plastic baggies while Willow watches. WILLOW: Thanks ... for before. And, and for taking this stuff with you. TARA: (nodding) No problem. WILLOW: Just so you know, I-I was never ... gonna use it. I mean, not really, I ... I just kept it like a safety net. 'Cause ... there was always this ... thing in the back of my head. This, you know, voice, saying, like, 'what if things get bad, I mean really bad? And what if you can't handle it?' A-and it made me panic, so ... that's why I kept a couple of things. I ... kept them so I-I didn't have to think about it, so I could focus on ... on getting better. TARA: I get it. I-I really do. But it's time to work without the net, Will. (Willow looking anxious) You know, I don't know if you noticed, but it actually did get bad in there. Really bad, and ... and you still said no. Tara smiles, goes back to her task. Willow slowly begins to smile too. Cut to the foyer. Anya and Xander come down the stairs, supporting Richard between them. Richard grimaces in pain. The others all gather around. RICHARD: You have some weird friends. XANDER: News from the file marked 'duh.' (to Buffy) We're gonna get him to the E.R. (Buffy nodding) ANYA: And then we're gonna talk about payment. And Dawnie, there are two words I want you to get used to... Shot of Dawn looking nervous. ANYA: (OS) Punitive damages. BUFFY: (to Spike) Think it's worn off? SPIKE: Just one thing to do. Spike walks toward the door. Everyone watches him anxiously. He takes hold of the doorknob, looks around at the others, opens the door with a flourish. Xander smiles happily. He and Anya begin carrying/helping Richard out. Willow, Tara, Sophie, and Clem follow excitedly. Cut to outside. Xander and Anya, with Richard supported between them, emerge onto the porch. The others are close behind. ANYA: Okay, who's pushing? They all start down the stairs. TARA: Wow, look at the stars! CLEM: (turning back to give Buffy a thumbs-up) Good party! Buffy remains in the foyer, giving a wry smile at Clem's remark. XANDER: (OS) I just wanna run barefoot on the grass so I can feel the dew-drops between my... God, look at the stars! Spike gives Buffy a similar wry smile, then turns and walks out as well. Shot from inside, pointing out the front door at the group as they walk down the path to the street. Shot from outside, pointing in the front door as only Dawn and Buffy are left. Buffy walks forward, goes over to the doorway. Dawn turns and follows, stands a little ways behind Buffy, watching her sadly. Buffy looks at Dawn. Shot from outside. Buffy takes hold of the door and closes it. Dawn's face slowly breaks into a smile as the closing door hides them from our view. Blackout. Summary:	Dawn, feeling that nobody wants to spend time with her, makes a wish in front of a vengeance demon that everyone would stay with her. Fulfilling her wish, the demon causes everyone at Buffy's birthday party to be unable to leave.	95	54,803	54,805	54,805	... [The rest of the episode script is omitted]
fd_Justified_04x01	fd_Justified_04x01_0	You are given a script of a TV episode. Summarize the episode in a paragraph. Episode Script: Кога? After breakfast. The lights down so much you can do it yourself. I put `em up there. You have got to learn to mutter quieter, 'cause I heard that. That was the point! What the heck? Dear lord. Sherman? Call the police! What is that? Well, sure as sh1t it ain't Santa Claus. Phone's ringin´ Raylan. Thank you, Donny. Donny? It's from Lebowski Netflix it, you can be one of the cool kids. Givens. Deputy Givens, this is Sharon Evans. I do bail bonds in Knoxville. Okay. We met at a law enforcement expo in Miami a few years ago. Want another one? Not of that. Oh, I'm sorry, I remember you. We, uh, had a drink. Several. From my mini-bar. I believe I also remember you polishing off a $20 tin of macadamia nuts. Yes, the most overrated of the nuts. Is that why you're calling? You want me to pay my fair share? No, I like it better you owing me. But this isn't a personal call, Raylan. I saw you're with the eastern district of Kentucky now. I need a hand up there. You interested? Raylan: I haven't hung up. Jody Adair, 41, charged with double homicide, out on a quarter-million bail, skipped town two days ago. He's got an ex-wife in Lexington. You put eyes on him, I get Lexington P.D. To haul him in, and I'll make it worth your while. Raylan: Chuckles. Meaning? How about three grand? Raylan: Send me the address and a photograph. All right. [ Cellphones beep ] Raylan: You think you can manage the phones? I'm gonna go out for a bit. Rachel: Where you going? Raylan: Oh, I got a thing. Rachel: Don't get caught, dude. Anything I should know? Raylan: No. No. Just a major prison break, the countryside's been overrun with fugitives. I got it. [ Knock at the door ] You show up before dawn with a bag of hamburgers? They get the toys that way. Come on * let me in. Heck no. Why not, you've let me in every other time I've come by. No. Raylan: Hey, Sharon. It's Raylan. Yeah, he's here. Listen... Hold up. You dropped something. Pick it up if you want. Asshole. Raylan: Huh? No, not you. Won't let me in? Oh yeah I think you gonna let me in. Raylan: [ Taps window ] You can have the burgers if you want. sh1t! Let's go, out. Mine's bigger than yours. Big enough to throw a bullet through this door, and you as well. Before I put one through your ear? You think this is the first time I've had a gun pointed at me? No. Could be your last though. I'm guessin' you know who I am. I can guess who you are, at least which team you play for. All this indicates you're not gonna shoot me. No. * There you go. Sharon. How much I just bring him in? ♪ On this lonely road ♪ ♪ trying to make it home ♪ ♪ doing it by my lonesome ♪ ♪ pissed off, who wants some? ♪ ♪ I'm fighting for my soul ♪ ♪ God get at your boy ♪ ♪ you try to bogart ♪ ♪ fall back, I go hard ♪ ♪ on this lonely road ♪ ♪ trying to make it home ♪ ♪ doing it by my lonesome ♪ ♪ pissed off, who wants some? ♪ ♪ I see them long, hard times to come ♪ Boyd: So, you really have been saved. By the Lord Almighty and the word of his forgiveness. Boyd: So, what happened? You sit down and start reading the good book? Or was there a human component involved in this soul saving? I got to be honest now, Boyd. A lot of times, the way you say things, I can't make hide nor hair. Boyd: Well, were you saved on your own or in a church, hiram? Church. Last Chance Holiness. Boyd: Well, that's new to me. I don't believe I've ever heard of that collection plate. It's new to Harlan. Well, right now it's just a tent in the woods. But preacher Billy... he's the real deal, Boyd... old-school. Been healing lots of the afflicted... Addicts. That's why your Oxy sales have dropped off a cliff, 'cause people getting off drugs, getting hooked on Jesus. Boyd: Well, Hiram, receiving the Lord into your heart is a wonderful thing. But I do have to ask... when did your salvation occur? Last week. Boyd: Well, then, there you go. What we have is a problem of arithmetics, 'cause you received a shipment of Oxy from us three weeks ago. Now, that gives you two solid weeks of selling before you saw the light. Now, by my count, Hiram, you got at least $10,000 of my money. I don't. I stopped selling before then. Boyd: Well, then give me my Oxy back. Can't. I flushed that poison down the shitter. Boyd: Poison? Why, you don't know your scripture. "He makes wine that gladdens the" "hearts of man"... psalms 104. And what are our goods but modern-day wine, albeit in a pill form? That's just you twisting the word of God for your own dark purposes. Where you going? Boyd: I'm getting away from the window. [ Screams ] Boyd: Now, hiram, saved or not, you don't have my money by the time tomorrow night rolls around, the next firecracker's gonna go off in here. [ Crickets chirping ] Hey! Shut that off before anyone sees the light. What are you doing? Might as well pull some wire while we're at it. Got to love these old places. $20 copper right here. What is that? Well, let's pull and find out. [ Siren wailing ] sh1t! What do we do? We run, you dumb sh1t. Hey! I got dogs here! They're gonna rip your face off! Trained them to do it! God damn it! [ Sighs ] [ Floorboards creaking ] Can't be local, or you'd have identified yourself as such. [SCENE_BREAK] Maybe you're federal. No bounty hunters allowed in the state of Kentucky. Raylan: If you're gonna keep talking, I'm gonna put you in the trunk. Can I ask you something? Raylan: What's that? It mean anything to you that I ain't never had no priors? Raylan: Nope. That ain't none of my business. I just came to see my kids. She wouldn't let me see them. Can you fathom that? Raylan: You got kids? Yeah. Raylan: Do you get visitation? Huh? Raylan: Visitation. Sure, just Sundays, and supervised, on account of I ain't have a place suitable for children. One of the reasons I moved on down to Knoxville. I ain't gonna see them. Why stick around? [ Cellphone rings ] Raylan: Hold on. Only reason I'm in this jackpot was trying to get money for my kids. Raylan: Okay, I need you to be quiet now. [ Cellphone beeps ] Hello? Hey, uh, Raylan. Yeah, look, it's Bob. Constable Bob sweeney down in Harlan, yeah. Look, uh, I'm at your daddy's house. Raylan: Well, is it on fire? Only reason I can imagine you calling before dawn. Oh, sh1t. I think my arm's falling asleep. Raylan: Stop talking. Uh, I'm headed up that way. Come on, I'm not gonna stop talking. Raylan: I can stop by there. Hey, look, you gonna have to turn me in unharmed, or you gonna catch some sh1t. Raylan: You don't need to do that. Okay, then. [ Tires screech ] Ow! sh1t! Ow! Raylan: See you there. You know what your problem is? You got no self-awareness. You think trying to do right by your children excuses everything, even killing men. They were heroin dealers. If they'd just give up their money, none of this would have happened. Raylan: Any problem, that's someone else's fault. You ever hear of the saying, "you run into an asshole in the" morning, you ran into an asshole. You run into assholes all day, you're the asshole"? [ Car beeps ] What? Raylan: This could be a little uncomfortable. Just be cool and go with it. I get out of these, I'll tear you to pieces small enough to flush. [ Rooster crows ] [ Knock on door ] Morning, sunshine. Look what I got for my girl. What is it? Well, open it and find out. You do that? With the paper? Watched a video on YouTube. Here. Wait, is it Oxy? No. Better. Not meth. I can't do any more of that. It's not meth. It's mellow. Oh, my God. Is this real? What? No, honey, there ain't no such thing as a million dollar bill. Are you sure? It's from a church. Got some religious screed on the other side. Some kids were handing them out by the stop 'n go. I thought it was funny, using it as I did. [ Laughs ] Now, I got another surprise for you, but you're gonna have to keep your eyes shut for that one. I can't wait. [ Both laugh ] [ Snorts ] Keep them closed. They're closed. All right, now... open! [ Growls ] [ Screaming ] [ Groans ] Look at that... they busted the hinges. Still broke the lock. Would have been cheaper to break a window. You should put a sign up... "You thinking of breaking in," please break a window. "Thank you. The management." Raylan: You just happened to be driving by, huh? No, I put a motion detector in. Sends me a text every time it goes off. Raylan: How much is that costing me? It's in your bill. I'm not hiding it. Raylan: Well, I ain't gonna cover that up with the smell of baking cookies. [ Chuckles ] I'll tell you what, though... Those wire-strippers are lucky. If I'd caught them, would have opened a Costco-sized can of whup-ass on them. Raylan: Mm-hmm. I guess I can fix the door. Can you hire someone to handle this? I can. You know, Raylan... Raylan: Hmm? I've been thinking. I'm gonna tell you something I haven't told a whole lot of people. Raylan: About that time you were in high school, living in Florida? How... how'd you know that? Raylan: Kid on the football team came at you at shop class. You took him out with a hammer. Ollie kemp. I tell you this before? Raylan: Once during senior year when we were down at the lake. Was I drunk? Raylan: I think we all were. Then again two months ago when I hired to watch this house. [ Clears throat ] What's that? Raylan: I have not a clue. Ollie kemp... that was the guy. Size of a portable toilet. He come at me, and I just went berserker red on him. Put him in a coma. He's still in it, as far as I know. Raylan: That's why your family moved to Evarts, if I'm not mistaken. Oh, what is that? Raylan: It's a driver's license. Waldo truth. Yeah, I know it's a joke. Raylan: What's that? Being a constable. You got to run for it. You only get $2,400 a year if you win, so nobody runs for it. Got to have your own car. Got to have your own everything. [ Scoffs ] I had to pay for these lights myself. Raylan: $2,400 enough to live on? Well, I get $50 apiece for serving papers. State police got to charge $80, so everyone comes to me. You know, let them keep thinking I'm a joke. That's what I say. [ Chuckles ] They underestimate me at their peril. Raylan: Just ask Ollie kemp. [ Scoffs ] If he could respond. Raylan: Hmm. Let me tell you something, Raylan. If sh1t gets serious, you give me a call, and I'll grab my go bag and be ready to jump. Raylan: Will do, Bob. You stay frosty. [ Car alarm chirps ] Raylan: All right. Here's the deal. I got to do one more thing. Stay quiet, I'll let you back up front. Ava: It was a costume. I know that now. See, Arnold's a furry. Usually he dresses up in, like, a bunny suit? But this one scared me. Plus I was on drugs, and it was a good costume. He gonna press charges? Ava: He's the judge/executive. What's he gonna do? Tell everyone he was shot in a whorehouse wearing a bear costume? [ Laughs ] Ava: What the hell were you you doing with a gun? Everybody's got a gun. Ava: Why do you have a gun at work? I been hit. Ava: One of these men beats you, you come to me, and I'll take care of it, you hear me? It's not just clients who hit. Ava: Oh, you still griping about that? Case you forget, I also saved your life. Yeah, I killed a man for you. I punched you once. You think that's something, you ain't never been beaten. Look, I know that, Ava. I ain't... I-I ain't forget. It's just sometimes I get real scared... Jittery and... When I'm low, I just... [ Sighs ] I just feel so low, Ava. Ava: That's why I told you to get off the meth. Yeah. Ava: No coke, either. You can't do the jittery stuff, Ellen may. The comedown off that's worse than anything. Yeah. Ava: What was it Arnold gave you? He wouldn't say. Just that it wasn't... It wasn't Oxy. Ava: [ Sighs ] Well, you know there's gonna be consequences. What kind? Ava: I don't know. I'll talk to Boyd, and we'll figure it out. What is this? It's what Arnold had his drugs in. It's not real. Ava: "Last chance holiness" "church." [ Sighs ] Whatever me and Boyd decide, you can't have a gun at work. I know that, Ava. I'm sorry. How's Arlo getting along? If you don't mind my asking. Raylan: He's in prison. I know. I was wondering about his mental state. Raylan: Well, like I said, Mike, he's in prison. Raylan, the last time he came in here, he stood over there by the paints for five minutes. Did not move, just staring. Unnerved the hell out of me. Raylan: Hmm. You know, you see your old man, you say, uh... oh, hell. I have absolutely no idea what you should say to him. Raylan: Well, that's okay, Mike. I don't plan on seeing him. That's a good plan. [ Screws clatter ] You know, I've been told I got a screw loose, but this is just crazy. [SCENE_BREAK] You want one? Raylan: Want one what? A screw. [ Chuckles ] Raylan: How old are you? Old enough. Raylan: I think I got everything I came for. Thank you. Mike, you need a cleanup on aisle whatever. Hey, hold up a sec. I need your opinion. How are these? See, I'm a late bloomer. I didn't get them till just last year. Raylan: Patience is a virtue. Miss, you can't go out this way. Well... [ laughs ] Raylan: Mike, where'd that little girl go? She just flashed me her titties then scooted out the back. Why? Raylan: My car's gone. Oh. Johnny: Well, maybe what hiram told you is true. Ava: Our drug business is being squeezed by some backwoods preacher? [ Chuckles ] I don't buy it. Johnny: Maybe it's because the fda, they went and changed the formula for Oxy... makes it harder to get high. Boyd: Our supply's from before the change. Johnny: And they went down and changed the laws in Florida. That hasn't helped much. Ava: You been watching CNN. Johnny: I tell you what I haven't been doing, and that's allowing one of my whores to shoot a customer. Boyd: I'll discuss Ava's failings when it's her turn in the barrel. Right now it's cousin Johnny's time. Now, all your talk of the fda and Florida laws didn't explain why my Oxy sales have dropped off in my voting district. And frankly, I'm nonplussed by your lack of motivation, Johnny, 'cause it ain't just my bottom line being affected. Johnny: All right. I'll check it out. [SCENE_BREAK] Ava: I got failings? Boyd: Well, clearly outweighed by your attributes. Ava: Mm. Boyd: How'd you handle Ellen may? Ava: As much as told her wait till daddy got home. Boyd: All right, well, we'll figure something out. Ava: Mm. Boyd: Confined to quarters, bread and water. [ Both laugh ] Who was the John? Ava: Arnold. Boyd: Well, he ain't gonna say nothing to nobody. Ava: Mnh-mnh. Boyd: [ Groans ] No one ever said running a criminal enterprise was gonna be this hard, huh? Ava: They left that part out on career day. Boyd: [ Sighs ] Ava: You want a dr pepper? Boyd: Well, is it 10:00, 2:00, or 4:00? Ava: It is 9:21. Boyd: Never too early for a dr pepper. Ava: All right. One dr pepper. [SCENE_BREAK] Thank y. Mm-hmm. Is Boyd in? Who? Boyd crowder. He in? Don't know anybody by that name. [ Pool balls clacking ] Johnny: Where you from, friend? Little town in Maryland. Bel air. It's the birthplace of John wilkes booth. Johnny: Well, what brings you to Harlan county? Boyd crowder. Johnny: Never heard of him. I knew this guy. He used to work with the military police, and he swore, if you ever ask someone a question like, "where are you" "hiding those drugs?" You just watch the eyes. More often than not, they'll point to the right direction. Yours, they stayed on the beam. But scooter over here... he just couldn't help himself. Johnny: I, uh... I think your time in this establishment has come to an end. [ Chuckles ] I hear you. [SCENE_BREAK] Johnny: Hey! Hey! Hey! Hey! Ava: You need to leave now! Aah! Christ in heaven, you're a beautiful woman. Ava: Jimmy! Boyd! Boyd! Boyd: No! No! [ Laughs ] Ava, Johnny, Jim, let me introduce to you, all the way from desert storm, by way of the Iraq and Afghan wars, first sergeant... no. Got knocked down. Boyd: Sergeant Colton rhodes, military police. Now, how many times did you jail my ass in Kuwait? I say five. Am I low? Boyd, honestly, I lost count. [ Siren wails ] You call the police? Raylan: I called you. Wait, wait, you... you said "they" took your car? Raylan: Girl flashed me her titties. I assume it's not a coincidence. I know that scam. The female acts as a distraction. Her colleague steals the vehicle. It's happening a lot these days. Raylan: [ Sighs ] Pull on me. Raylan: Pull on you? Yeah, make like you're going for your gun. Pull on me. Raylan: Bob, I really do need to... Raylan, just pull on me, man. Raylan: [ Sighs ] [ Exhaling sharply ] Beef stew. Raylan: Wow. Yeah. And I can do it with both hands, too... Still deadly. I apply to the state police next year, they gonna take me. That bag back there? Raylan: That's your...? My go bag. Got everything in there in case I need to go. Raylan: Like toilet paper? God damn it, Raylan, not like toilet paper! I got a ak-47 with a folding stock, I got body armor I bought off a police auction, I got MREs, I got bottled water. If this sh1t goes road warrior, man, I'm ready. You're gonna come to me. Raylan: [ Chuckles ] All right, let's check out the scrapyard first. Raylan: Scrapyard? Why? These metal thieves these days, man, they sell the cars for scrap... crush them, send them off... Raylan: They crush them? Yeah, it's 500 bucks a car. Raylan: Let's go, Bob, right now. All right. [ Engine turns over ] You know, it wouldn't... Raylan: I got sh1t in the car I don't want to be crushed. All right, well, you know, I can use my lights. I mean, legally, they don't have any... Raylan: Use them. Lights going on! [ Tires squeal ] [ Siren wailing ] Hey! Crusher man! Crusher man! Stop that! Stop the thing! Crusher man! Can I help you? That better not be a late-model Lincoln town car you're crushing. Raylan: It's not. It's not? Raylan: That's mine right there. [ Car alarm chirps ] Can I help you? Oh. Where are they? Who? The punks who brought this in. I was running the crusher. I didn't see anyone. The car belong to you, you can take it. I don't mind. Raylan: It's not the car so much as what was inside the trunk I'm concerned about. I don't know anything about that. Are you really gonna play it that way? We all know you scrap stolen cars. What? Don't stonewall me, asshole. Everyone in the county knows. I know you? No, and it's not me you got to worry about, you sorry sack. That right over there is a genuine U.S. marshal. Raylan: Bob. You're a marshal? Raylan: Look, I ain't here on marshals' business. I just want to know about the man in the trunk. Or he can make it federal if you want to. Hell, he'll have a helicopter come down here and hover for an hour, freak your sh1t out, son. There ain't nothing federal about scrapping cars. If you are crushing stolen cars, you are destroying vin numbers, and that makes it federal. You had a guy in your trunk? I'm not required to ascer... Ohh! [ Chuckling ] That looks federal. Raylan: Where are they? Don't let him see you. You think you're up to killing him if it comes to it? You are? Yeah. You killed a man before? I killed two men. How's that? Oh, yeah? We killed 12 men just yesterday. [ Chuckles ] Week before last I killed two heroin dealers in Knoxville, Tennessee. Now, you get that angle grinder over there, cut my chain, I'll handle this. Why'd you kill them? Because I had to. We are running out of time here, children. What, are you a junkie? No. I spot junkies, follow them to their dealers, and rob them. Now, either aim that peashooter at that door and pull the trigger on whoever comes through, or cut my chain. What'll it be? How you spot junkies? I spot bicycle thieves, most bicycle thieves being heroin addicts. It's a fact. Try to avoid flesh. How you spot bicycle thieves? [ Tool grinding ] One day, me and my friend Kenneth, we saw a skinny guy go up to an expensive bike... Specialized, giant... got a bag across his chest like he's a messenger, no one giving him a second look. He pulls out a Makita angle grinder, just like the one in your boyfriend's hands there. 20 seconds later, he's through that lock and on his way. Now we just watch the good bikes. Wherever there are rich kids, there are good bikes, junkies looking to grab them, and we follow them. sh1t! That really heats up the steel. Now give me that gun. [ Door opens ] Raylan: Am I interrupting something? I was wondering when you'd walk in. Raylan: Well, you can stop wondering. I'm here now. Shoot him. Raylan: Jesus, girl, you just showed me your tits 45 minutes ago. Oh, he thinks he's funny. Don't listen to him. Shoot him. Raylan: Miss, I am a deputy U.S. marshal with a one-time offer... do as I say, you and your friend get a free pass for stealing my car. He's lying. Raylan: He's just saying that 'cause he's the one I'm after. I want you, son, up here, on your belly, hands in front. Miss, you're gonna hand me that gun, pistol grip first, right now. Let's go. I'm sorry, Raylan. You should see the sh1t in this bag. Raylan: God damn it, Bob. I asked you to do one thing... Watch him. What the hell happened? He asked me to pull on him. I punched him in the nose. He did it wrong! Raylan: Unh-unh-unh! Okay. I'm gonna make you a similar offer I made these two... Do as I say, and I'll let you skate on the vin numbers. Ain't as good as his offer. Raylan: What'd he offer? [SCENE_BREAK] Raylan: Jody, you got $10,000 stuck up your ass? Hey, we ain't stupid. It's hidden up in Lexington. Raylan: He's just... you know... All right. Doesn't matter. I'm gonna sweeten the deal. The three of you go free, plus I'll give you whatever I got in my wallet. There's got to be at least $500 in there. Henry, check his wallet. He could be lying about that $500. Give me your wallet. 12 bucks, piggly wiggly card. Ohh! Give me that gun, girl! [ Groans ] Unh-unh-unh-unh-unh! Careful, careful. You might hit her. Raylan: I suppose I should care, her age and all, but she did steal my car. Go ahead and shoot, then. Now, thank you for the ride. I appreciate your company. But I think I need some alone time. Goodbye, marshal. Aah! [ Groaning ] Raylan: Look out. Move away from that gun. Get up. Put your hands on the table, nice and slow... slow. You okay, Bob? [ Grunting ] All right, God damn it. Any chance we can take you up on that offer? Yeah, that's funny. Raylan: Yeah, tell me the truth. You weren't at Arlo's for the copper wire and you didn't want my car. It was just that bag. How come? Raylan: You sure you don't mind holding on to this stuff for me till we can really fix that door? It's just a bunch of photographs. I don't know why anyone would want to steal it, but you never know. Yeah, sure thing, Mr. Givens. [ Chuckles ] What are you, his personal assistant? I'm not the one handcuffed in the back of a car, asshole. Raylan: [ Sighs ] So, uh, listen, Bob. If it's cool with you, I'd just, uh... Let's just keep this between us, huh? Yeah, you think? Look, Raylan, I know why you called me. You couldn't call the cops, 'cause if they found the stolen car with a Tennessee bail jumper in the back, what are you gonna say? You're out of the marshals service, right? So you called up constable Bob. Raylan: Listen, Bob, I'm sorry. I just... I got a kid on the way. I was trying to make a little extra bank on the side, all right? You got a kid on the way? Raylan: Yeah. But, hey, you stepped up. I stepped up. Stepped up. I stabbed a teenage girl in the foot. Raylan: And because of that, I'm alive, and you're alive, and we live to see another day. [ Sighs ] [ Engine turns over ] Not a word. Not a problem. Raylan. [SCENE_BREAK] Boyd: So, how did you lose your rank? That was at Bagram, about six months ago. I got into a thing with an XO. From another company at a baseball game. He slides in high into second base during a charity game. Boyd: Ohh! Showing restraint, I kneed him in the nuts. I didn't think twice about it. It's a game. Things happen. And then I heard the asshole reported it. Boyd: Mm! That cost me the rank. But what got me my discharge was me walking into his billet and shooting him in the bicep. [ Both laugh ] I could have got leavenworth. But everyone knew what a prick he was, so they suggested my service was complete. The guy used to curl 80 pounds. Now I heard he can hardly lift a phone, so... [ Clicks tongue ] What can I do for you, Boyd? Boyd: I'm a criminal. I know that. Boyd: I got a problem. I need a little outside help, someone I can trust. I wanted to see how you might feel about crossing the line. That depends where the line is. Do you kill people? Boyd: People have been killed. I-I don't have a pen or a piece of paper, but what would you say are your greatest strengths and weaknesses, Colton rhodes? This is a job interview now? Boyd: It's a job. Tell you what, I got to go see a fella... Owes me some money. Why don't you come along? Dry run. Let's just see how it goes. [ Buzzer ] Arlo: You sell my home? Raylan: Not yet. Arlo: You set the asking price too high. Raylan: I lowered it to $170,000. Arlo: It hasn't sold. It's too high. Raylan: You want me to just give it away? Arlo: You want to get half of nothing? Raylan: Maybe I'm listing it wrong. "Two-story, three-bedroom" country fixer-upper. Holes in the wall. "Missing a door." Arlo: Mm-hmm. You're funny. Raylan: Don't give me any sh1t, Arlo. I brought you what you wanted. Arlo: What's that? Raylan: You don't know? Seems to me like you went to a lot of trouble to get it out of your house... hiring two wire-stripping teenagers to get it for you. Arlo: I did what now? Raylan: You honestly don't know what this is? Arlo: On your mother's grave. Raylan: It had something in the bag. Arlo: Can't read without my glasses. Raylan: Kentucky driver's license. Issued September 7, 1979. First name... Waldo. Last name... truth. Arlo: That's a strange last name. Raylan: Doesn't ring a bell? Arlo: No. I'd think, a boy on the way, you'd have more pressing concerns. Raylan: Don't know if it's a boy. Kind of hoping it was a girl, end the family line right here. Arlo: You think that'll do it? You think you get all your turmoil from me? Your mother was frances, not Saint frances. My advice? Just put that bag back in the wall and forget about it. Raylan: I didn't say it was in the wall. Arlo: Guard! Boyd: Where's my money, hiram? There's your money right there. Boyd: That's very funny. You wouldn't think a man with a stick of dynamite in his lap would go for funny. "Last chance holiness church." That's the place, huh? The place of my salvation. Boyd: Well, you tell me where my money is, hiram, and you can go on repenting all you want. I don't have it! I told you! Boyd: I don't believe you. Truth always sounds like lies to a sinner. Boyd: Huh. Let's go, colt. Where are you going? Boyd: Outside. I don't want to die. And I'd say you got about eight seconds left, so I'd make sure your conversion was in earnest. It's under the lawnmower! Oh, I'm ready, God! I'm ready! [ Whimpering ] Boyd: Open your eyes, hiram, for you have been saved twice. "I expect death to be" "nothingness." That ain't in the Bible. Boyd: No, it is not. It's a science-fiction writer... Isaac Asimov, God rest his soul, except he did not believe in God. Why'd you hold out so long? I wanted to give it to the church, make up for all the evil I'd done. Boyd: You really think this church is behind my falloff in Oxy? Oh, I know it is. Preacher Billy's saving 'em one sinner at a time. You should try it, Boyd. Boyd: I've already tried it. Well, then, long run, you'll be finished. Boyd: "Well, in the long run", "we'll all be dead." You know who said that? John maynard keynes. Now, for the record, this money doesn't exist. Ava asks, anyone does, it wasn't here. Are we clear? Yeah. Boyd: Take care of him. [ Gunshot ] Aah! Boyd: What in the hell did you do that for?! You said to take care of him. Boyd: I-I-I meant cut him loose! Oh. sh1t. Boyd: Well, I guess I'll have to be more careful with my words. [SCENE_BREAK] Raylan: [ Sighs ] Lindsey? Hey, hey, hey. Hey. Sorry, I... had barbecue for dinner, and I did not want to use that downstairs bathroom to floss. Raylan: Eh, it's okay. How'd it go? Raylan: Wasn't without its difficulty, but I got him there. To this super-hot bail bondswoman you were talking about? Raylan: I don't recall saying "super." I was just trying to be accurate. How much you get? Raylan: 10. Good for you. Raylan: [ Sighs ] I better get back downstairs. Raylan: Why? Well, if I don't get down there soon Ken'll get pissy. Saw how busy it is? I did. It's come and get f'ed up Friday. How do you define soon? Loosely. [ Rhythmic clapping ] Whoo! [ Cheering ] Praise the lord! Yeah! Glory to God! Praise Jesus! [SCENE_BREAK] Praise God! Praise be the lord! Oh, God almighty! Salamatha morolakamata! Save me, lord! Hallelujah! Hallelujah! Hallelujah! [ Speaking gibberish ] Aah! Aah! Aah! [ Cries ] You will be saved by our lord! Hallelujah! We will all be saved by our lord! Praise the lord! Amen! Praise the lord! Now, I see a lot of new faces here today. To you newcomers, we here are signs followers. Now, that comes from the gospel of mark. "And these signs shall follow" "them that believe." Oh, hallelujah! But what you want to know... Is do I get bit? Well, am I right? Right. Yes, I do. Now, only twice so far... Hallelujah. By this one right here I call Mabel. Now, once, I took her out of her crate too rough... I deserved it. The other time, well, the lord only knows. Both times I survived the venom. It was the lord who saw fit to have me continue my ministry. Now, of course, not all survive. Our daddy and his before died from the serpent's bite, their place in heaven guaranteed, there being no greater sign of obedience to the lord than to be taken home in such a manner. So, that's why we're here. Why are you here, newcomers? You all come to watch the hillbilly with the snakes? Or did you come to be saved?! Savior! Hallelujah! Now, what about it? How about you? Yes, you. [ Cell door opens ] Arlo: I didn't ask for a book. That your son the marshal came to see you? Arlo: Why? Saw him bring in some bag. Arlo: You got your nose in everyone's business, don't you, trustee? [ Chuckles ] Where'd he find that bag? Arlo: I don't know, and I didn't ask. And why do you want to know? Because I heard about a bag like that once before. It could be worth some money, old man, we play our cards right. Arlo: These are our cards now? He showed you something else, looked like an identification. Arlo: You got an eagle eye. What was it? Arlo: Somebody's driver's license. Name? Arlo: Marlon Brando. I don't know. You tell anybody about this? Arlo: Why would I tell anyone? Well, don't. Like I said, it's worth some money. I'll make a call and find out how much. Arlo: Hold on. Give me a book while you're here. You don't read. Arlo: I can. Just don't choose to usually. What do you want? Arlo: Anything. I don't care. I forgot how slow the clock moves inside. You like spy stories? I been hearing a lot of good things about this Alan Furst fellow. Arlo: Fine. Aah! Aah! Why?! Why?! [ Thud ] [ Alarm buzzing ] Looks like a trustee down. Trustee down, open that door. Arlo: [ Sighs ] Summary:	The season opens on January 21, 1983, when a man wearing a defective parachute slams into a residential street. His body is surrounded by bags full of cocaine and an ID for a "Drew Thompson". Shifting to the present, Raylan Givens receives a phone call from a former acquaintance/romantic partner, Sharon Edmonds, who is now a bail bondswoman in Knoxville, TN. She enlists Raylan's help in finding a fugitive named Jody Adair, who is hiding out in Lexington and wanted by the Knoxville PD. Raylan finds Jody, and takes him into custody after a standoff in which Raylan subdues Jody by shooting the airbag in his Jeep, making it blow up in Jody's face. In Harlan, two teenage burglars invade Arlo Givens' old house and start breaking into a wall. They see the bag with an ID for a "Waldo Truth" in the wall, and are about to take it when they see a car with police lights approaching. They run out of the house without the bag. In the car is Constable Bob Sweeney, a local lawman who is tasked with keeping an eye on the old Givens house. Bob alerts Raylan, who shows up at the house with Jody in the trunk of his car. He and Bob find the bag, and Raylan stashes it in his trunk along with Jody. Raylan goes to a hardware store to inquire about Arlo's work on the house, and while there his car is stolen by the teenagers. Raylan, with Bob's help, tracks them to a scrapyard, where they were headed to dispose of the car. Bob provokes a scrapyard worker who gets the upper hand on him while Raylan is gone to check on the whereabouts of Jody and the teens. When both situations come to a head, and Jody puts a gun to one of the teens' head, Bob stabs the hostage in the foot and Raylan is able to get his gun and the bag back. After delivering Jody, Raylan visits his father Arlo in prison to ask Arlo about the bag in the wall. Raylan realizes the bag is a big deal after Arlo kills an inmate who saw the bag and heard Raylan asking about it.	95	31,100	31,102	31,102	... [The rest of the episode script is omitted]
fd_Doctor_Who_01x02	fd_Doctor_Who_01x02_0	You are given a script of a TV episode. Summarize the episode in a paragraph. Episode Script: INT. TARDIS Picking up where the last episode left off - Rose runs into the TARDIS and joins the Doctor. THE DOCTOR: Right then, Rose Tyler, you tell me, where do you want to go? Backwards or forwards in time. What's it going to be? ROSE: Forwards. The Doctor presses a few buttons. THE DOCTOR: How far? ROSE (picking random number): One hundred years. He pulls a lever and turns a knob. The engines lurch and then stop after a few seconds. THE DOCTOR: There you go, step outside those doors, it's the twenty-second century. ROSE: You're kidding. THE DOCTOR: That's a bit boring though, do you want to go further? ROSE: Fine by me! The Doctor starts up the engines again. When they stop, he looks at her. THE DOCTOR: Ten thousand years in the future. Step outside, it's the year 12005, the New Roman Empire. ROSE (teasingly): You think you're so impressive. THE DOCTOR: I AM so impressive! ROSE: You wish! THE DOCTOR: Right then, you asked for it. I know exactly where to go. (Revs up the engine, pumps a lever furiously). Hold on! The TARDIS hurtles through the time vortex. With a pinging noise, the TARDIS stops. ROSE: Where are we? The Doctor gestures towards the doors. Rose smiles excitedly. ROSE (CONT'D): What's out there? The Doctor gestures again. Rose steps outside the doors. INT. VIEWING GALLERY Rose finds herself in some kind of wooden room. The Doctor follows her and with his sonic screwdriver, opens the shutters of an enormous window. They go down the stairs and find themselves looking down on the planet Earth. THE DOCTOR: You lot. You spend all your time thinking about dying. Like you're going to get killed by eggs or beef or global warming or asteroids. But you never take time to imagine the impossible. Maybe you survive. This is the year 5.5/apple/26. Five billion years in your future. This is the day... hold on... (Looks at his watch). This is the day the sun expands. Welcome to the end of the world. OPENING CREDITS EXT. PLATFORM ONE Two space shuttles zoom towards Platform One, essentially a huge space station. COMPUTER VOICE: Shuttles 5 and 6 now docking. Guests are reminded that platform 1 forbids the use of weapons, teleportation and religion. Earth Death is scheduled for 15:39, followed by drinks in the Manchester Suite. INT. PLATFORM ONE, CORRIDOR Rose and the Doctor are walking down a corridor. ROSE: So, when it says 'guests' does that mean people? THE DOCTOR: Depends what you mean by people. ROSE: I mean people. What do you mean? THE DOCTOR: Aliens. ROSE: What are they doing on board this spaceship? What's it all for? The Doctor starts to open a door with his sonic screwdriver. THE DOCTOR: It's not really a spaceship. More like an observation deck. The great and the good are gathering to watch the planet burn. ROSE: What for? THE DOCTOR: Fun. INT. THE MANCHESTER SUITE They enter a large observation gallery. THE DOCTOR: Mind you, when I said the great and the good, what I mean is, the rich. ROSE: But, hold on, they did this once on "Newsround Extra", the sun expanding, that takes hundreds of years. THE DOCTOR: Millions. But the planet's now property of the National Trust. They've been keeping it preserved. See down there? (Points out of the window at tiny glints of light orbiting the Earth). Gravity satellite. That's holding back the sun. ROSE (peering out of the window at Earth). The planet looks the same as ever. I thought the continents shifted and things. THE DOCTOR: They did. And the trust shifted them back. That's a classic Earth. But now the money's run out, nature takes over! ROSE: How long has it got? The Doctor looks at his watch. THE DOCTOR: About half an hour. And the planet gets roasted. ROSE: Is that why we're here? I mean, is that what you do? Jump in at the last minute and save the Earth? THE DOCTOR: I'm not saving it. Time's up. ROSE: But what about the people? THE DOCTOR: It's empty! They're all gone. All left. Rose looks back to the window, realization spreading across her face. ROSE: Just me then. The Steward hurries towards them. STEWARD: Who the hell are you? THE DOCTOR: Oh! That's nice, thanks. STEWARD: But how did you get in? This is a maximum hospitality zone. The guests have disembarked! They're on their way any second now! THE DOCTOR: That's me, I'm a guest, look! I've got an invitation! (Flashes a small leather wallet at the Steward). Look, there you see? It's fine, see? The Doctor plus one. I'm the Doctor, this is Rose Tyler. She's my plus one. That all right? STEWARD: Well... obviously. (Doctor grins). Apologies, et cetera. If you're on-board, we'd better start. Enjoy. The Doctor nods at him. After the steward walks off, the Doctor shows Rose the card he had flashed at the steward. It is completely blank. THE DOCTOR: The paper's slightly psychic. Shows them whatever I want them to see. Saves a lot of time. ROSE: He's blue. THE DOCTOR: Yeah. ROSE: Okay... The steward is now speaking through a microphone at the other end of the suite. STEWARD: We have in attendance, the Doctor and Rose Tyler. Thank you! All staff to their positions. He claps his hands and a lot of little blue people (the staff) start scurrying around. STEWARD (CONT'D): Hurry now! Thank you, as quick as we can! Come along, come along! And now, might I introduce the next honoured guest, representing the forest of Cheem, we have Trees. Namely, Jabe, Lute and Coffa. Jabe, Lute and Coffa walk through the doors. STEWARD (CONT'D): There will be an exchange of gifts representing peace. If you can keep the room circulating, thank you. Next, from the solicitors Jolco and Jolco, the Moxx of Balhoon. The Doctor smiles cheerily, as Rose looks on bewildered. STEWARD (CONT'D): And next, from Financial Family Seven, we have the Adherents of the Repeated Meme. The Doctor chuckles at the look on Rose's face. STEWARD (CONT'D): The inventors of hyposlip travel systems, the brothers Hop Pyleen. Thank you! Enter new aliens. STEWARD (CONT'D): Cal 'Spark Plug'. Enter new aliens. STEWARD (CONT'D): Mr. and Mrs. Pakoo. Enter new aliens. STEWARD (CONT'D): The Ambassadors from the City State of Binding Light. Jabe approaches the Doctor. Either side of her, her companions are holding plant trays with little shoots in them. JABE: The Gift of Peace. (Takes a cutting, hands it to the Doctor). I bring you a cutting of my Grandfather. THE DOCTOR: Thank you! (Gives it to Rose). Yes, gifts... erm... He clears his throat and starts feeling his jacket for something, finding nothing, he says : THE DOCTOR (CONT'D): I give you in return, air from my lungs. He blows gently onto Jabe's face, who closes her eyes briefly. JABE: How... intimate. THE DOCTOR (flirtatiously): There's more where that came from. JABE: I bet there is... Rose has the sort of look on her face that is to be expected of someone who has just witnessed their companion flirting with a tree. STEWARD: Sponsor of the main event, please welcome the Face of Boe. A huge head in an equally huge jar is wheeled through the doors. The Moxx of Balhoon approaches the Doctor and Rose. THE DOCTOR: The Moxx of Balhoon. MOXX OF BALHOON: My felicitations on this historical happenstance. I give you the gift of bodily saliva. He spits accurately into Rose's left eye. THE DOCTOR (laughs): Thank you very much. Rose rubs the spit out of her eye. Next, the Adherents of the Repeated Meme approach them. THE DOCTOR (CONT'D): Ah! The Adherents of the Repeated Meme. I bring you air from my lungs. He breathes heavily over them all. ADHERENT: A gift of peace in all good faith. He holds out a large silver egg, which the Doctor takes, throws up into the air, catches, and hands to Rose. STEWARD: And last but not least, our very special guest. Ladies and Gentlemen, and Trees and Multiforms. Consider the Earth below. In memory of this dying world, we call forth The Last Human. The Doctor looks at Rose to see her reaction. The sliding doors open and what looks like a vertical trampoline made of human skin is wheeled through. It has eyes and a mouth, and wears lipstick. STEWARD: The Lady Cassandra O'Brien Dot Delta Seventeen. CASSANDRA: Oh, now, don't stare. I know, I know it's shocking, isn't it? I've had my chin completely taken away and look at the difference! Look how thin I am. The Doctor laughs silently but heartily and looks at Rose, who looks shocked. CASSANDRA (CONT'D): Thin and dainty! I don't look a day over two thousand. Moisturize me, moisturize me. One of the two men in white body suits who wheeled her in is holding a canister, which he sprays onto Cassandra. CASSANDRA (CONT'D): Truly, I am The Last Human. Rose creeps closer for a better look. CASSANDRA: My father was a Texan. My mother was from the Arctic Desert. They were born on the Earth and were the last to be buried in the soil. Rose has been walking around to the other side of Cassandra, to get a good view of her from all angels. She is completely flat. CASSANDRA: I have come to honour them and... (Sniffs)...say goodbye. Oh, no tears. (Bodyguard wipes her eyes). No tears. I'm sorry. But behold! I bring gifts. From Earth itself, the last remaining ostrich egg. One of the staff comes in and displays the egg to the room. CASSANDRA (CONT'D): Legend says it had a wingspan of 50 feet and blew fire from its nostrils. Rose looks mildly confused. CASSANDRA (CONT'D): Or was that my third husband? Rose rolls her eyes but the Doctor laughs. CASSANDRA: Who knows! Oh don't laugh. I'll get laughter lines! She laughs and mumbles to herself for a few seconds. Behind her, a large jukebox is wheeled into the room. CASSANDRA (CONT'D): And here, another rarity. According to the archives, this was called an iPod. It stores classical music from humanity's greatest composers. Rose looks amazed. CASSANDRA (CONT'D): Play on! One of the staff presses a button and a record falls into place. The 'iPod' starts playing Tainted Love by Soft Cell. The Doctor bops around appreciatively. STEWARD: Refreshments will now be served. Earth Death in 30 minutes. Rose has a lost, overwhelmed expression on her face. Everywhere she looks there are aliens, but no other humans. She rushes from the gallery. Concerned, the Doctor starts to follow her, but is stopped by Jabe. JABE: Doctor? (She snaps a photo of him when he pauses). Thank you. The Doctor proceeds on. Jabe walks in the opposite direction. The Adherents of the Repeated Meme are offering the Steward a silver egg. ADHERENT: A gift of peace in all good faith. STEWARD: No, you're very kind, but I'm just the Steward. The Adherents of the Repeated Meme holds the egg out more persistently. ADHERENT: A gift of peace in all good faith. STEWARD: Oh, yes. Thank you. Of course. He takes the egg. Meanwhile, Jabe is trying to get her computer to identify the Doctor's species. JABE: Identify species. Please identify species. The computer makes a small whistling noise. JABE (CONT'D): Now, stop it. Identify his race. Where's he from? (After a moment, stares at the computer in disbelief, hushed). It's impossible. In a nearby glass cabinet, a metal robotic spider climbs out of one of the metal eggs that the Adherents of the Repeated Meme had been handing out. INT. PLATFORM ONE ROOM, SHAFT Rose, in another part of the ship, looks out of a window at the raging sun. She jumps when another one of the staff comes into the room, this one female. Her name is Raffalo. ROSE: Sorry, am I allowed to be in here? The employee looks around uneasily. RAFFALO: You have to give us permission to talk. She looks at Rose expectantly. Rose looks unsure. ROSE: Uh... you... have permission...? RAFFALO: Thank you! And, no. You're not in the way. Guests are allowed anywhere. ROSE: 'Kay. Raffalo goes to a panel in the wall and enters a code. Rose watches her. ROSE: What's your name? RAFFALO: Raffalo. ROSE: Raffalo? RAFFALO: Yes, Miss. I won't be long, I've just got to carry out some maintenance. She kneels before an air vent. RAFFALO (CONT'D): There's a tiny little glitch in the Face of Boe suite. There must be something blocking the system - he's not getting any hot water. ROSE: So, you're a plumber? RAFFALO: That's right, Miss. ROSE: They still have plumbers? RAFFALO: I hope so! Else I'm out of a job! Rose laughs. ROSE: Where are you from? RAFFALO: Crespallion. ROSE: That's a planet, is it? RAFFALO: No, Crespallion's part of the Jaggit Brocade, affiliated to the Scarlet Junction, Convex 56. And where are you from, Miss? (Seems to remember herself). If you don't mind me asking. ROSE: No! Not at all. Erm... I dunno, a long way away... I just sort of, hitched a lift with this man. (Only just realising the risk she's taken herself). I didn't even think about it... I don't even know who he is... he's a complete stranger... Raffalo looks slightly worried. Rose snaps herself out of it. ROSE (CONT'D): Anyway, don't let me keep you. Good luck with it! She begins to walk away. RAFFALO: Thank you, Miss. And... (Rose turns). Thank you for the permission. Not many people are that considerate. ROSE (smiles): 'Kay. See you later. Roffalo nods and smiles. When Rose has gone, she takes the cover off the air vent. RAFFALO: Now then. She peers into the vent and then speaks into a small microphone attached to her collar.. RAFFALO (CONT'D): Control, I'm at Junction 19 and I think the problem's coming from in here. I'll go inside and have a look. (Hears small tapping). What's that? Is there something in there? The metal spider we saw breaking out of the egg earlier appears at the end of the shaft. RAFFALO (CONT'D): Oh! Who are you, then? The spider scurries away as if frightened. RAFFALO (CONT'D): Hold on! I... if you're an upgrade I just need to register you, that's all. Oh, come back! A red beam of light falling on Raffalo's face tells us the spider has come back. RAFFALO (CONT'D): Ah, there you are. Now, I just need to register your ident. Another spider joins the first. RAFFALO (CONT'D): Oh, there's two of you! Got yourself a little mate! (Giggles). I think I'd better report this to control. How many of you are there? (A third spider appears, and then a fourth). What are you? Oh, no. No. Nooooo! She is dragged head first into the air vent. INT. STEWARD'S OFFICE The steward enters and puts his egg on a nearby table and sits down. He listens to Control speaking. STEWARD: What's that? Well, how should I know? (Activates loudspeaker).Would the owner of the blue box in private gallery 15 please report to the steward's office immediately. Guests are reminded that use of all teleportation devices is strictly forbidden under Peace Treaty 5.4/cup/16. Thank you. While he is talking, a spider has broken out of his egg and run up the opposite wall. EXT. PLATFORM ONE We are shown another shot of the burning sun and the satellite over the Earth. COMPUTER VOICE: Earth Death in 25 minutes. Earth Death in 25 minutes. INT. VIEWING GALLERY Rose sits on the steps, throwing the egg up in the air and catching it again when she hears this announcement. ROSE: Oh, thanks. She puts the egg down and turns her attention to the cutting of Jabe's grandfather. She picks it up. ROSE (CONT'D): Hello! My name's Rose. That's a sort of plant. We might be related... She suddenly realizes what she is doing and hurriedly puts the plant down. ROSE (CONT'D): I'm talking to a twig. Behind her, the spider breaks out of the egg. INT. PLATFORM ONE, CORRIDOR The TARDIS is being dragged away by some of the staff. THE DOCTOR: Oi, now, careful with that. Park it properly. No scratches. One of them walks up to the Doctor, squeaks at him, hands him a card and walks away again. The Doctor reads it - it says 'Have a nice day'. The Doctor looks at the retreating staff's back as if he or she is completely off his or her rocker, and walks off. A few of the metal spiders scurry up the wall behind him. A few more are running along the air vent. INT. VIEWING GALLERY The spider that came out of Rose's egg appears to be scanning her hand, but Rose is completely oblivious. It jumps and runs to the air vent when the Doctor's voice floats through the door. THE DOCTOR: Rose? Are you in there? The spider scrambles through the vent just in time, before the Doctor comes through the door. THE DOCTOR (CONT'D): Aye aye! (Sits on other side of stairs). What do you think, then? ROSE: Great! Yeah... fine. Once you get past the slightly psychic paper... The Doctor laughs. There is a short pause. ROSE (CONT'D): They're just, so alien. (Doctor looks at her questioningly). The aliens. Are so alien. You look at 'em... and they're alien. THE DOCTOR: Good thing I didn't take you to the Deep South. ROSE (as if looking at him properly for the first time): Where are you from? THE DOCTOR: All over the place. ROSE: They all speak English. THE DOCTOR: No, you just hear English. It's a gift of the TARDIS. Telepathic field, gets inside your brain, translates. ROSE: It's inside my brain? THE DOCTOR: Well, in a good way. ROSE (colder, starting to sound angry): Your machine gets inside my head. It gets inside and it changes my mind, and you didn't even ask? THE DOCTOR (thrown): I didn't think about it like that. ROSE (angrily): No! You were too busy thinking up cheap shots about the Deep South! Who are you then, Doctor? What are you called? What sort of alien are you? The Doctor sits up and looks away from her. THE DOCTOR: I'm just The Doctor. ROSE: From what planet? THE DOCTOR: Well, it's not as if you'll know where it is! ROSE: Where are you from?! THE DOCTOR: What does it matter? ROSE: Tell me who you are! THE DOCTOR (suddenly angry): This is who I am, right here, right now, alright? All that counts is here and now, and this is me! ROSE: Yeah, and I'm here too because you brought me here, so just tell me! The Doctor gets up and walks down the steps away from her. COMPUTER VOICE: Earth Death in 20 minutes. Earth Death in 20 minutes. After a few moments, Rose gets up and follows the Doctor down the steps. ROSE: Alright... as my mate Shareen says... don't argue with the designated driver... The Doctor, with his back turned to her, smiles at that. Rose gets her mobile out of her pocket. ROSE (CONT'D): Can't exactly call for a taxi... there's no signal. We're out of range. Just a bit! THE DOCTOR: Tell you what... He takes the phone from her. THE DOCTOR: With a little bit of jiggery pokery... He takes the back off the phone. ROSE: Is that a technical term, "jiggery pokery"? THE DOCTOR: Yeah, I came first in jiggery pokery, what about you? ROSE: Nah, failed hullabaloo. THE DOCTOR: Oooh. (Fits in a new battery, hands phone back to Rose). There you go. Rose takes it and looks at him uncertainly. He nods. Rose gets her mum's number onto the screen and puts the phone to her ear. It rings. INT. TYLER'S KITCHEN We find ourselves in the Jackie's kitchen, 2005. JACKIE: Hello? ROSE: Mum? Jackie, at home, is putting some washing into the machine. JACKIE: Oh, what is it? What's wrong? What have I done now? Oh, this red top's falling to bits! You should get your money back. Go on! There must be something, you never phone in the middle of the day! INT. VIEWING GALLERY Rose laughs. INT. TYLER'S KITCHEN JACKIE: What's so funny? INT. VIEWING GALLERY ROSE: Nothing! You all right, though? INT. TYLER'S KITCHEN JACKIE: Yeah! Why wouldn't I be? INT. VIEWING GALLERY ROSE: What day is it? INT. TYLER'S KITCHEN JACKIE: Wednesday. All day. You got a hangover? Oh, I tell you what, put a quid in that lottery syndicate, I'll pay you back later. INT. VIEWING GALLERY ROSE: Yeah, um, I was just calling 'cause I might be late home. INT. TYLER'S KITCHEN JACKIE: Is there something wrong? INT. VIEWING GALLERY ROSE: No! I'm fine! Top of the world! The Doctor laughs. INT. TYLER'S KITCHEN Jackie puts the phone down. INT. VIEWING GALLERY Rose lowers the mobile, stunned. THE DOCTOR: Think that's amazing, you want to see the bill. ROSE: That was 5 billion years ago. So... she's dead now. Five billion years later, my mum's dead. THE DOCTOR: Bundle of laughs, you are. The ship shudders. THE DOCTOR (CONT'D) (rather pleased and curious): That's not supposed to happen... INT. STEWARD'S OFFICE STEWARD (to control): Well, what was it? I'm just getting green lights at this end. (Activates loudspeaker). Honoured guests may be reassured that gravity pockets may cause slight turbulence, thanking you. As soon as it is switched off again, he speaks angrily to control again. STEWARD (CONT'D): The whole place shook! I felt it! I've hosted all sorts of events on platforms 1, 3, 6 and 15 and I've never felt the slightest tremor. I warn you, if this lot decide to sue... I'm going to scan the infrastructure. (Presses a few buttons). What's that? A spider scurries down the wall behind him. STEWARD (CONT'D): Control, I don't want to worry you, but I'm picking up readings... (Computer beeps). I have no idea! Well, they're small, and the scan says they're metal... (Computer beeps, frustrated). I don't know what they look like! Suddenly, he spots the spider, which is now pottering around on his desk next to his mug. STEWARD (CONT'D): Although, I imagine they might look rather like that... you're not on the guest list... how did you get on board...? The spider looks at him almost mockingly and presses a yellow button on the control panel. The computerized woman's voice booms out again. COMPUTER VOICE: Sunfilter deactivated. STEWARD: No. No! COMPUTER VOICE: Sunfilter descending. The sunfilter does indeed, descend. STEWARD (frantic): No! Sunfilter, up! No, no, no! He fumbles frantically with the buttons on the control panels, but too late. STEWARD (CONT'D): Sunfilter up! Sunfilter up! Blinding light engulfs the steward. COMPUTER VOICE: Sunfilter descending. The Steward screams. Outside the room, the spider escapes through an air vent. INT. THE MANCHESTER SUITE The guests are completely oblivious to the commotion, chatting to each other. The Moxx of Balhoon is talking to the Face of Boe. MOXX OF BALHOON: ...this is the Bad Wolf scenario... The Doctor and Rose enter. THE DOCTOR: That wasn't a gravity pocket. I know gravity pockets and they don't feel like that. He is fiddling with a control panel next to the door. Jabe approaches them. THE DOCTOR (CONT'D): What do you think, Jabe? Listened to the engines, they pitched up about 30 hertz, is that dodgy or what? JABE: It's the sound of metal, it doesn't make any sense to me. THE DOCTOR: Where's the engine room? JABE: I don't know... but the maintenance duct is just behind our guest's suite, I could show you. And... (Gestures Rose) ...your wife. THE DOCTOR: She's not my wife. JABE: Partner? THE DOCTOR: No. JABE: Concubine? THE DOCTOR: Nope. Jabe looks at Rose. JABE: Prostitute... ROSE (insulted): Whatever I am, it must be invisible, do you mind? Tell you what, you two go and pollinate, I'm going to catch up with family. Quick word with Michael Jackson. She makes her way over to Cassandra. THE DOCTOR: Don't start a fight. (Proffers arm to Jabe). I'm all yours. ROSE (watching them leave): And I want you home by midnight! The Doctor grins back at her. COMPUTER VOICE: Earth Death in 15 minutes. Earth Death in 15 minutes. [SCENE_BREAK] INT. MAINTENANCE CORRIDOR Before the Doctor and Jabe enter, several spiders scurry out of view. THE DOCTOR: Who's in charge of Platform One? Is there a captain or what? JABE: There's just the steward and the staff. All the rest is controlled by the metal man. THE DOCTOR: You mean the computer? But who controls that? JABE: The Corporation. They move Platform One from one artistic event to another. The Doctor is silent for a moment. THE DOCTOR: But there's no one from the corporation on board. JABE: They're not needed. This facility is purely automatic. It's the height of the alpha class. Nothing can go wrong. THE DOCTOR: Unsinkable? JABE: If you like. The nautical metaphor is appropriate. THE DOCTOR: You're telling me. I was on board another ship once. They said that was unsinkable... I ended up clinging to an iceberg, it wasn't half cold. (Stops a moment). So, what you're saying is, if we get in trouble there's no one to help us out? JABE: I'm afraid not. THE DOCTOR (grinning): Fantastic. He starts walking again. JABE: I don't understand. In what way is THAT fantastic? Behind them, a spider creeps out of its hiding place. INT. THE MANCHESTER SUITE Rose is talking to Cassandra. They are looking out of a window at the sun and down at the Earth. CASSANDRA: Soon, the sun will blossom into a red giant, and my home will die. That's where I used to live, when I was a little boy. Down there. Mummy and Daddy had a little house built into the side of the Los Angeles Crevice. (Sighs). I had such fun. ROSE: What happened to everyone else? The Human Race, where did it go? CASSANDRA: They say Mankind has touched every star in the sky. ROSE: So, you're NOT the last human. CASSANDRA: I am the last PURE human. The others... mingled. (Disgusted). Oh, they call themselves "New Humans" and "Proto-humans" and "Digi-humans" even "Human-ish" but you know what I call them? (Lowers her voice to a whisper). Mongrels. ROSE: Right. And you stayed behind. CASSANDRA: I kept myself pure. ROSE: How many operations have you had? CASSANDRA: 708. Next week, it's 709, I'm having my blood bleached. Is that why you wanted a word? You could be flatter, Rose. You've got a little bit of a chin poking out. ROSE: I'd rather die. CASSANDRA: Honestly, it doesn't hurt... ROSE: No, I mean it. I'd rather die. It's better to die than live like you, a bitchy trampoline. CASSANDRA: Oh well. What do you know. ROSE: I was born on that planet. And so was my mum, and so was my dad and that makes me officially the last human being in this room, 'cause you're not human. You've had it all nipped and tucked and flattened till there's nothing left. Anything human got chucked in the bin. You're just skin, Cassandra. Lipstick and skin. Nice talking. She walks off. The Adherents of the Repeated Meme watch her leave through the sliding doors. INT. MAINTENANCE CORRIDOR The Doctor and Jabe are still making their way down the corridor, the low ceiling forcing them to stoop slightly. THE DOCTOR: So, tell me, Jabe. What's a tree like you doing in a place like this? JABE: Respect for the Earth. THE DOCTOR: Oh, come on. Everyone on this platform's worth zillions. JABE: Well... perhaps it's a case of having to be seen at the right occasions. THE DOCTOR: In case your share prices drop? I know you lot. You've got massive forests everywhere, roots everywhere, and there's always money in land. JABE: All the same. You respect the Earth as family. So many species evolved from that planet. Mankind is only one. I'm another. My ancestors were transplanted from the planet down below. And I'm a direct descendant of the tropical rainforest. The Doctor looks impressed. He then points to a control panel. THE DOCTOR: Excuse me. He gets out his sonic screwdriver and starts poking the screen with it. JABE: And what about your ancestry, Doctor? Perhaps you could tell a story or two... perhaps a man only enjoys trouble when there's nothing else left... (No answer). I scanned you earlier. The metal machine had trouble identifying your species, refused to admit your existence. The Doctor pretends to be concentrating on the scan, but a flicker of emotion passes across his face. JABE (CONT'D): And even when it named you, I wouldn't believe it. But it was right. The Doctor stops scanning. Deep sadness is reflected in his eyes. Jabe's tone is hushed, awed. JABE (CONT'D): I know where you're from. Forgive me for intruding, but it's remarkable that you even exist. I just want to say... how sorry I am. Jabe puts a comforting hand on his arm. The Doctor's eyes are filled with tears. He places his hand over hers, and a tear falls down his cheek. He quickly finishes the scan and he and Jabe go through a door. INT. VENTILATION CHAMBER The Doctor and Jabe find themselves in the ventillation chamber. There are huge fans circulating in there. The Doctor looks down at Jabe. THE DOCTOR: Is it me, or is it a bit nippy? INT. PLATFORM ONE, CORRIDOR Rose walks alone down a corridor. The Adherents of the Repeated Meme are coming from the other end. She smiles at them, but the front one strikes her to the ground where she lies unconscious as they drag her from view. INT. VENTILATION CHAMBER THE DOCTOR: Fair do's, though, that's a great bit of air conditioning. Sort of, nice and old fashioned. Bet they call it "retro". (Scans another control panel with his sonic screwdriver). Gotcha. The panel falls off and a spider scuttles out and scurries across the floor and up the wall. The Doctor and Jabe watch it. THE DOCTOR: What the hell's that? JABE: Is it part of the "retro"? THE DOCTOR: I don't think so. Hold on. He points the screwdriver at the spider. However, Jabe fires something up at the spider, disabling it. It comes falling into the Doctor's hand. THE DOCTOR: Hey! Nice liana! JABE: Thank you! We're not supposed to show them in public. THE DOCTOR: Don't worry, I won't tell anybody. (Turns his attention to the spider). Now then. Who's been bringing the pets on board? JABE: What does it do? THE DOCTOR: Sabotage. COMPUTER VOICE: Earth Death in 10 minutes. THE DOCTOR: And the temperature's about to rocket. Come on. They hurry from the chamber. INT. THE MANCHESTER SUITE The aliens mill about. CASSANDRA: The planet's end. Come gather! Come gather! Bid farewell to the cradle of civilization. Let us mourn her with a traditional ballad. Britney Spears' Toxic suddenly blasts out of the enormous iPod. INT. CORRIDOR OUTSIDE STEWARD'S OFFICE The Doctor and Jabe hurry along, the corridor is filled with smoke and the staff are coughing squeaky little coughs. THE DOCTOR: Come on! Get back! He moves his sonic screwdriver over another control panel. COMPUTER VOICE: Sunfilter rising. Sunfilter rising. JABE (concerned): Was the Steward in there?! THE DOCTOR: You can smell him. Hold on, there's another sun filter program to descend. INT. VIEWING GALLERY 'Toxic' plays loudly as Rose wakes up, rubbing her head. COMPUTER VOICE: Sunfilter descending. Sunfilter descending. Rose sits up in alarm as the Sunfilter descends. She runs to the door and knocks on it frantically. ROSE: Let me out! COMPUTER VOICE: Sunfilter descending. INT. CORRIDOR OUTSIDE VIEWING GALLERY The Doctor runs along the corridor. ROSE: Let me out! Let me out! The Doctor arrives outside the door to attempt to make the Sunfilter rise again. THE DOCTOR: Anyone in there? ROSE (frantically): Let me out! THE DOCTOR: Oh, well, it would be you. INT. VIEWING GALLERY ROSE: Open the door! INT. CORRIDOR OUTSIDE VIEWING GALLERY THE DOCTOR: Hold on! Give us two ticks! INT. VIEWING GALLERY The whole room is smoking. COMPUTER VOICE: Sunfilter descending. Sunfilter descending. INT. CORRIDOR OUTSIDE VIEWING GALLERY The display on the control panel says 'Sunfilter Rising'. The Doctor looks up expectantly. COMPUTER VOICE: Sunfilter rising. Sunfilter rising. The Doctor looks pleased with himself. INT. VIEWING GALLERY Rose sighs with relief. COMPUTER VOICE: Sunfilter rising... Sunfilter descending. INT. CORRIDOR OUTSIDE VIEWING GALLERY THE DOCTOR: This is just what we need. The computer's getting clever. INT. VIEWING GALLERY ROSE: Will you stop mucking about! INT. CORRIDOR OUTSIDE VIEWING GALLERY THE DOCTOR: I'm not mucking about, it's fighting back! INT. VIEWING GALLERY ROSE: Open the door! INT. CORRIDOR OUTSIDE VIEWING GALLERY THE DOCTOR: Hang on! INT. VIEWING GALLERY Rose runs down the stairs and flattens herself to the floor. ROSE: The locks melted! COMPUTER VOICE: Sunfilter descending. Sunfilter descending. INT. CORRIDOR OUTSIDE VIEWING GALLERY The Doctor jabs his sonic screwdriver right inside the wires. COMPUTER VOICE: Sunfilter rising. Sunfilter rising. INT. VIEWING GALLERY Panting, Rose runs back to the door. The Doctor cannot open it. THE DOCTOR: The whole thing's jammed. I can't open the doors. Stay there! Don't move! ROSE (terrified sort of sarcasm): Where're am I gonna go?! Ipswich?! COMPUTER VOICE: Earth Death in 5 minutes. INT. THE MANCHESTER SUITE JABE (looking at her computer): The metal machine confirms. The spider devices have infiltrated the whole of platform one. CASSANDRA: How's that possible? Our private rooms are protected by a code wall. Moisturize me, moisturize me. The Doctor takes the destabilized spider out of Jabe's hand. MOXX OF BALHOON: Summon the Steward! JABE: I'm afraid the Steward is dead. There is a general gasp of shock. MOXX OF BALHOON: Who killed him? CASSANDRA: This whole event was sponsored by the Face of Boe! He invited us! (Face of Boe shakes his head). Talk to the face! Talk to the face! THE DOCTOR: Easy way of finding out. Someone bought a little pet on board. (Shows them the spider). Let's send him back to Master. He places the spider down on the floor. The spider scuttles along to Cassandra and looks up at her. Cassandra looks shifty for a moment, but the spider moves on to the feet of the Adherents of the Repeated Meme. CASSANDRA: The Adherents of the Repeated Meme. J'accuse! THE DOCTOR: That's all very well, and really kind of obvious, but if you stop and think about it... The Adherents of the Repeated Meme tries to strike him, but he catches its arm and rips it off. THE DOCTOR (CONT'D): A Repeated Meme is just an idea. And that's all they are. An idea. He rips a wire out of the arm and all of the Adherents of the Repeated Meme crumple into a bundle of black cloaks. Everyone gasps. Cassandra rolls her eyes. THE DOCTOR (CONT'D): Remote controlled Droids. Nice little cover for the real troublemaker. Go on, Jimbo! (Nudges spider with his foot). Go home! The spider ambles back over to Cassandra. CASSANDRA: I bet you were the school swot and never got kissed. The Doctor raises his eyebrows. CASSANDRA (CONT'D): At arms! The two bodyguards with canisters on either side of her raise their canisters. THE DOCTOR (mockingly): What are you going to do, moisturize me? CASSANDRA: With acid. Oh, too late anyway. My spiders have control of the mainframe. Oh, you all carried them as gifts, tax free, past every code wall. I'm not just as pretty face. THE DOCTOR: Sabotaging a ship while you're still inside it? How stupid's that? CASSANDRA: I'd hoped to manufacture a hostage situation with myself as one of the victims. The compensation would have been enormous. THE DOCTOR: Five billion years and it still comes down to money. CASSANDRA: Do you think it's cheap, looking like this? Flatness costs a fortune. I am The Last Human, Doctor. Me. Not that freaky little kid of yours. MOXX OF BALHOON: Arrest her! CASSANDRA: Oh, shut it, pixie. I've still got my final option. COMPUTER VOICE: Earth Death in 3 minutes. CASSANDRA: And here it comes. You're just as useful dead, all of you. I have shares in your rival companies and they'll triple in price as soon as you're dead. My spiders are primed and ready to destroy the safety systems. How did that old Earth song go? "Burn, baby, burn." JABE: Then you'll burn with us. CASSANDRA: Oh, I'm so sorry. I know the use of teleportation is strictly forbidden, but... I'm such a naughty thing. Spiders, activate. There are a series of explosions around the ship. CASSANDRA: Force fields gone with the planet about to explode. At least it'll be quick. Just like my fifth husband. (Giggles). Oh, shame on me. Buh-bye, darlings! Buh-bye, my darlings... She and her bodyguards teleport out. COMPUTER VOICE: Heat levels rising. MOXX OF BALHOON: Reset the computer! JABE: Only the Steward would know how. THE DOCTOR: No. We can do it by hand. There must be a system restore switch. Jabe, come on. They leave the room. He calls back the crowd over his shoulder. THE DOCTOR (CONT'D): You lot - just chill! EXT. PLATFORM ONE COMPUTER VOICE: Earth Death in 2 minutes. Earth Death in 2 minutes. INT. MAINTENANCE CORRIDOR Jabe and the Doctor are running back through the maintenance corridor. COMPUTER VOICE: Heat levels, critical. Heat levels, critical. INT. VENTILATION CHAMBER. The Doctor and Jabe reach the ventilation chamber. THE DOCTOR: Oh. And guess where the switch is. The switch is located at the other side of the enormous fans. COMPUTER VOICE: Heat levels - rising. Heat levels, rising. The Doctor pulls a lever down and the fans slow down. COMPUTER VOICE (CONT'D): External temperature, 5 thousand degrees. As soon as the Doctor lets go of the lever, the fans start to speed up again. As the Doctor looks hopelessly at the fans, Jabe pulls the lever down again and holds it there. THE DOCTOR: You can't. The heat's going to vent through this place. JABE: I know. THE DOCTOR: Jabe, you're made of wood. JABE: Then stop wasting time. Time Lord. He grins at her and runs back to the fans. COMPUTER VOICE: Heat levels, rising. Heat levels, rising. INT. THE MANCHESTER SUITE The glass begins to crack. COMPUTER VOICE: Heat levels, hazardous. MOXX OF BALHOON: We're going to die! INT. VENTILATION CHAMBER COMPUTER VOICE: Heat levels, hazardous. The Doctor dodges the first fan and runs underneath it. He looks anxiously up at the next one. INT. VIEWING GALLERY The glass begins to crack. Rose cowers against the wall. COMPUTER VOICE: Shields malfunctioning. Shields malfunctioning. Rays of sun blast in through the cracks, burning holes in the parts of the metal wall they hit. Rose screams. INT. VENTILATION CHAMBER The Doctor is still standing before the second fan. He looks back at Jabe who is sweating and breathing heavily. COMPUTER VOICE: Heat levels, critical. Heat levels, critical. The Doctor dodges under the second fan. INT. THE MANCHESTER SUITE The glass cracks further, engulfing the Moxx of Balhoon in light. He cries out. INT. VIEWING GALLERY The sunrays hit the wall either side of Rose. COMPUTER VOICE: Heat levels, rising. Heat levels, rising. INT. VENTILATION CHAMBER As the Doctor stands before the third fan. Jabe starts shaking violently. Suddenly, she gasps as one of her hands catches fire. She screams. The Doctor looks back, shocked. Now there is no one to hold the lever down, the fans circulate so fast that they can hardly be seen, in order to cool the ship down. It is impossible for the Doctor to get through. INT. VIEWING GALLERY The walls around Rose are rapidly burning. INT. VENTILATION CHAMBER COMPUTER VOICE: Planet explodes in 10... 9... The Doctor closes his eyes. All grows quiet. COMPUTER VOICE (CONT'D): 8... 7... 6... 5... 4... The Doctor, still with his eyes closed, steps calmly though the fan. When at the other side, he opens his eyes and dashes to the switch, pulling it down. THE DOCTOR: Raise shields! INT. VIEWING GALLERY Rose has her eyes closed and is shaking. COMPUTER VOICE: ...1 EXT. PLATFORM ONE The force fields around the ships are reset just as the planet is engulfed in fire. It explodes, leaving the ship completely unharmed. INT. VIEWING GALLERY COMPUTER VOICE: Exoglass repair. Exoglass repair. The glass is automatically repaired. Rose opens her eyes, panting heavily. INT. VENTILATION CHAMBER The Doctor walks back through the fans. He pauses for a moment to look sadly at the charred and smoking remains of Jabe. INT. THE MANCHESTER SUITE Rose walks back into the observation gallery, where all the aliens are sitting around, wounded or dead. The Doctor walks briskly in a few moments later. He glances at Rose but does not pause to talk to her. Instead he goes straight to Jabe's companions, mutters a few words to them and then places his hands on their shoulders, leaving them to grieve. He then walks back near Rose. ROSE: You all right? THE DOCTOR: Yeah, I'm fine. I'm full of ideas, I'm bristling with them. Idea number one, teleportation through five thousand degrees needs some kind of feed. Idea number two, this feed must be hidden nearby. He strides over to the ostrich egg, breaks it open and the teleportation feed falls out. He picks it up. THE DOCTOR (CONT'D): Idea number three, if you're as clever as me, then a teleportation feed can be reversed. He twists the feed. Cassandra appears before them, apparently in the middle of gloating. CASSANDRA: Ah, you should have seen their little alien faces. (Notices her new surroundings). Oh. THE DOCTOR: The Last Human. CASSANDRA (flustered): So. You passed my little test. Bravo. This makes you eligible to join the er... the human club. THE DOCTOR: People have died, Cassandra. You murdered them. CASSANDRA: That depends on your definition of 'people'. And that's enough of a technicality to keep your lawyers dizzy for centuries. Take me to court then, Doctor! And watch me smile, and cry, and flutter... THE DOCTOR: And creak? CASSANDRA: And what? THE DOCTOR: Creak! You're creaking. Cassandra's skin is tightening. Her eyes are becoming bloodshot and she is getting whiter and whiter. CASSANDRA (panicking): What? Ah! Ah! I'm drying out! Oh, sweet heavens! Moisturize me! Moisturize me! Where are my surgeons? My lovely boys! It's too hot! She's covered in red blotches. THE DOCTOR: You raised the temperature. CASSANDRA (terrified, pathetic): Have pity! Moisturize me! Oh, Doctor! ROSE (shaken): Help her. THE DOCTOR: Everything has its time and everything dies. CASSANDRA (shrivelling up): I'm... too... young! She explodes. The Doctor looks completely cold and not remotely fazed. He leaves the room. EXT. PLATFORM ONE COMPUTER VOICE: Shuttles 4 and 6 departing. This unit now closing down for maintenance. INT. MANCHESTER SUITE The Manchester Sute is now completely empty apart from Rose, who is standing at the window watching the Earth burn with a very vulnerable and sad look on her face, oblivious to the Doctor watching her from the doorway. Rocks fly past the window. She turns around when she hears the Doctor's footsteps as he comes to stand beside her. ROSE (teafully): The end of the Earth. It's gone. And we were too busy saving ourselves, no one saw it go. (The Doctor looks down at her). All those years... all that history and no one was even looking. It's just... THE DOCTOR (holds his hand out to her). Come with me. Rose takes his hand and they walk away together. EXT. PICCADILLY CIRCUS Back in 2005, Rose steps out of the TARDIS. She looks around at the crowds, seeing them in a new light. The Doctor stands beside her. BIG ISSUE SELLER: Big issue! THE DOCTOR: You think it'll last forever. People, and cars and concrete. But it won't. One day, it's all gone. Even the sky. (They both look at the sky. After a moment). My planet's gone. Rose turns to look at him. This is the first time he's mentioned his home. THE DOCTOR (CONT'D): It's dead. It burned like the Earth. It's just rocks and dust. Before it's time. ROSE: What happened? THE DOCTOR: There was a war. And we lost. ROSE: A war with who? He doesn't answer, seemingly lost in thought. ROSE (CONT'D): What about your people? THE DOCTOR: I'm a Time Lord. I'm the last of the Time Lords. They're all gone. I'm the only survivor. I'm left travelling on my own because there's no one else. ROSE: There's me... She smiles at him. THE DOCTOR: You've seen how dangerous it is. Do you want to go home? Rose looks at him for a few seconds. ROSE: I don't know. I want... (Sniffs the air). Oh! Can you smell chips? THE DOCTOR (laughs): Yeah. Yeah! ROSE: I want chips. THE DOCTOR (smiling): Me too. ROSE: Right then, before you get me back in that box, chips it is, and you can pay. THE DOCTOR: No money. ROSE: What sort of date are you? Come on then, tightwad, chips are on me. He smiles at her, delighted. ROSE (CONT'D): We've only got five billion years before the shops close... They walk down the street together laughing, Rose nuzzling her head against his shoulder. Summary:	The Doctor takes Rose to the year five billion, where they land on a space station orbiting the Earth named Platform One. Among the elite alien guests assembled to watch the Earth be destroyed by the expanding Sun is Lady Cassandra , who takes pride in being the last pure human, though she has received many operations that have altered her image. It is discovered that Cassandra, to receive money for her many operations, plans to let the guests die and then profit from the stock increases of their competitors. She releases discreet robotic spiders all over Platform One, and they start interfering with the systems. She departs via teleportation and the spiders bring down the shields, causing harmful direct solar radiation to penetrate the station. The Doctor manages to reactivate the system and save Rose, after which he brings Cassandra back and she ruptures from the intense solar heat.	95	43,636	43,638	43,638	... [The rest of the episode script is omitted]
fd_The_Office_08x23	fd_The_Office_08x23_0	You are given a script of a TV episode. Summarize the episode in a paragraph. Episode Script: Gabe: Ugh, man. My delts are blasted. I wish they had a chart for how much protein powder to scoop for a 180 pound man with no fat. Dwight: Protein powder, huh? You cut it with water? Why don't you just take estrogen? [swallows powder] [coughs] There you go boys. See how papa takes care of you? [kisses bicep] Mwah. [SCENE_BREAK] Gabe: I remember when people thought biceps were all that. They'd flex them all night at the discotheque. Dwight: Oh, I bet you think it's all about core, huh? Gabe: Yeah. Dwight: Oh, please. Gabe: Core's critical. There are four tenets of pilates that I live my life by. One - lengthen. Two - elongate. Jim: Listen, guys, I think we all want to know the same thing, right? Who's the strongest? Well, there's only one way to solve that - flat curl contest. [SCENE_BREAK] Jim: All right, here we go everybody. May the manliest man win. Go. Dwight: Feast on this, Lewis. Gabe: I love the burn. The burn is where I live. Jim: Come on, Gabe, you can't handle his hamstrings. You're getting hypno-thigh-zed. Gabe: Speed set. One. Two. Jim: Here, this is for your elbows, for your elbows. Dwight: Oh, thank you. Jim: You're welcome. Gabe: Five. Six. Jim: Quick phone call from you guys, keep going, All: Eight, nine, ten. Gabe: We got it? [SCENE_BREAK] Dwight: Very funny Jim. Gabe: Yeah, Jim. Way to mock us for perfecting our bodies. Robert: Everyone, conference room, now. [Dwight and Gabe stand up, falling over] Jim: All right, easy there, grandpa. Dwight: I don't need your help. Jim: Okay. You don't need my help? Dwight: Here, here... Just... [SCENE_BREAK] Andy: Morning. Erin: Hey. Andy: Somebody left in such a hurry this morning that she forgot... these. Erin: Oh. Andy: You know the only thing more delicious than your feet is the feast that I am going to prepare for everyone. Erin: Andy, if you're gonna hang out for a while, uh... Andy: What's this? Erin: This dumb rule Robert made, he just wants visitors to sign in. Andy: Is this Robert's attempt to embarrass me? Erin: No, of course not. It's just - I think it's like if we make an exception for you, then we have to make an exception for the water guy, and then, it's like, where does it end? So just... [puts visitors tag on Andy] [SCENE_BREAK] Andy: Why is it when other people spend all their time at the office, they're rewarded for it, and when I do it, I am told it's a little much? ...Is it because I am not an employee anymore, because that's what it feels like. [SCENE_BREAK] Jim: All right, well, enjoy the alumni game. Dwight: Good, we have a deal? Jim: Thanks Janet. Dwight: Thanks so much Earl. Jim: Wow, simultaneous sale. Dwight: And they said it couldn't be done. Boom! Jim: Screw 'em. Andy: Lot going on guys. What's happening? Jim: Binghamton branch closed last night and their clients are up for grabs. Andy: That was a fine branch. Things are really bad under Robert California, I guess. It's like a festival of poo. Jim: Hey, hey, come on, language. Dwight: Yeah, and we're not interested in your sour grapes, okay? Jim, tell him where he can stick his grapes. Jim: In the fridge. Dwight: No, Jim, the butt, in his butt. Jim: Sorry, man, I can't focus on zingers. There's too many potential clients. Stanley: You two better watch yourselves. Phyllis: Yeah, the Syracuse branch can't be happy you're taking New York clients. Robert: Shh... shh... [vomits in trash can] Jim: Robert? Oscar: Why did Binghamton close? Robert: Can everyone just, please... I had a one-man saturnalia last night, in celebration of the finalization of my divorce. I got into a case of Australian reds, and - how should I say this - Columbian whites. What - what is this about, uh, Binghamton? Kevin: The branch closed. Forever. [SCENE_BREAK] Robert: Closing the Binghamton branch never occurred to me before today. Or, I guess, last night. But, in vino veritas as they say, I'm not gonna start doubting my drunken self now. [SCENE_BREAK] Nellie: I got your voicemail. From - from last night. Robert: Wonderful. Nellie: And the answer... is yes, yes, yes, yes, and never. [leaves] Robert: Pam, when's the last time you lived so intensely that your brain literally couldn't hold the memories in? Pam: Oh, it was this summer - Robert: Apparently, I left a phone message for Nellie last night, and I need you to find out what I said. Pam: Um, I am a little busy. Robert: Yes, 'course. Why don't you list the things that would keep you from helping me. Pam: Yeah, I can make you a list. Robert: Let's do it now. What's number one? Pam: Why don't I help you now? Robert: There we go. Pam: Okay. [SCENE_BREAK] [Andy cooking food by reception, Harry walks in] Harry: Who the hell are Jim Halpert and Dwight Schrute? Erin: Jim, Dwight, what are your last names? Dwight: And you are... Harry: Harry Jannerone, Dunder Mifflin Syracuse. [shocked look from Jim] Harry: What the hell's all this? Andy: Uh, cherries jubilee over homemade gelato. Harry: You live well down here in P.A. I want to talk to you guys right now. Oh, and Lloyd Gross too. Which one's that guy? [SCENE_BREAK] Jim: The salesmen have a commission cap, but we figured out a way around it. Dwight: Lloyd Gross is a fictional salesman we invented to - how do I put this - steal from the company. Embezzle. To commit fraud. Jim: Okay, it sounds sketchy, but it helps us get more money. Dwight: Yes. Jim: Pam made a drawing of Lloyd. He is a blend of all the salesman. [shows sketch] [SCENE_BREAK] Dwight: [pointing at Toby] There he is. That's Lloyd. Toby: Me? Creed: Yeah, you. [SCENE_BREAK] Harry: Where do you get off crossing state lines? Toby: Now, we're actually a lot closer to Binghamton than you are. Kimosabe. [SCENE_BREAK] Toby: I like to think Lloyd Gross is a no-nonsense guy who doesn't back down from anybody. And he calls people "Kimosabe". [SCENE_BREAK] Harry: They're New York. We're New York. Sate line is the dividing line. That's the way it's always been. Jim: There's actually not a rule that says that. Dwight: That's true. Toby: That's true. There's no rule. You can check the employee handbook. Oh, can I check the employee handbook Lloyd? Well, does it say anything about me choking a man with my bare hands? Toby: No. Dwight: Wait, no? Are you kidding me? You told me there was a rule. I could've choked so many people by now. Harry: Stay out of my state. It's in your best interest to stay out of my state. Toby: I've seen guys like you. Big guys who like to push the little guys around. Lloyd Gross eats bullies like you for breakfast. Harry: Just stay out of New York, Lloyd. Toby: Hey, text from the old wife. Gonna take that. [runs outside] Jim: How about this? How about we just ask Robert? Can we all agree that maybe the C.E.O should decide this? Harry: Robert's here. Look at us. Bickering like schoolgirls, looking around the room for things to hit each other with. I don't think we were doing that. Dwight: Chair, lamp, plant, table leg, Jim's leg. [SCENE_BREAK] Robert: Where's the Advil, Jim? I think I've hit my limit on the Tylenol - Oh. Andy: [Doing dishes] Sorry, not Jim. Robert: Andrew, what do we have to do to get rid of you? Hire you back and send Erin back to Florida? Andy: Message received loud and clear. Just have to get the caramelized sugar off the pan before it dries. Robert: Oh, for god - Harry: Robert California. What a surprise you're here in Scranton. Robert: Harry... Harry: So why would you close Binghamton down without a transition plan in place? Robert: How do you mean? Andy: I forgot, a... a pan, uh - Harry: No, no, no, no, no, kid, stay there, do your dishes, go ahead. Robert: Harry there is a time for every decision, predetermined many years ago. There's no benefit in questioning why this particular decision seems... so poorly timed. Dwight: Okay, what are you deciding? We get a say. Harry: Listen, Robert, I don't have time. There's a big client in play. Prestige direct mail solutions - Dwight: Don't listen to him. Harry: Used to be Binghamton's - Dwight: Nope. Harry: I want it, it's mine. Dwight: Prestige is ours. Okay, they're responsible for half of the junk mail on the eastern seaboard. We get them. We already put a call into them, Robert. Harry: We need you to make a decision. Dwight: Make a decision. Robert: I have decided. Neither of you are to have any contact with either Prestige or any other Binghamton client until I have figured out how to divide things up. As Solomon once said... [Andy walks out] [SCENE_BREAK] Andy: Some bizarre energy in this place today. Robert is going off the rails, making some funky decisions. Like why is nobody gonna call on Prestige? That is a huge client. [walking to car] I mean, they could give their business to the first person to walk in the door. Could be any idiot. Any idiot at all. [SCENE_BREAK] Robert: Shaping a company is, in a sense, similar to training a geisha. You have to mold not merely the physical form, but also the character. The two must harmonize. Are they still there? [camera pans to right, Harry, Dwight, and Jim watching Robert in conference room] They want a decision who gets the big client. Well, they can wait. I'll still be talking about geishas long past their bedtime. You know, I trained as one. [SCENE_BREAK] Harry: Is it just me or is our boss a freakin' weirdo? [stands up, walks outside] I'm gonna get some air. Dwight: Jim, you know what would be really dastardly? If we snuck out of here and got to the client first. Jim: [Gets up and looks out Nellie's office window] He's running! Dwight: Damn it! Jim: Damn it. [SCENE_BREAK] Dwight: Wha - what is this supposed to be? Jim: It's a monkey. Dwight: Jim, great real. This is not a monkey. It's got a hula skirt and a blue nose. Jim: Hold on, hold on. Is this him? Dwight: What? Jim: Is that him? Dwight: It's him! Do something! Get out! Jim: What? What am I gonna do? I don't - Dwight: Go slash his tires! Go dent his hood. [Jim opens passenger door] That's it? Oh, that's great. That's like a five second delay. Jim: Dwight! Dwight: Come on, let's go! Does this thing have turbo? Nitrous? Hit the nos. Jim: Nos? You mean like in fast and furious? Dwight: Yeah. Jim: Oh, yeah, definitely have nos. Dwight: Hit the nos. Jim: Are you sure? Dwight: Yes. Jim: Brace yourself. 3... 2... Dwight: Got it. Go. Jim: 1. Here we go! [turns on wipers] [SCENE_BREAK] Andy: Hello. Andy Bernard to see the C.E.O. Receptionist: Oh, do you have an appointment? Andy: No, I do not. Receptionist: Okay, I think I can squeeze you in. Andy: Seriously? 'Cause I could just be anyone. I mean, I thought I was gonna have to convince you. Receptionist: He's really not that busy. Mr. Ramish: Is there someone here to see me? Receptionist: Yes, this man. Mr. Ramish: Come on in. [Andy walks in] [SCENE_BREAK] Pam: So...what do you make of this Robert California guy? I mean, what does a guy like that do on an average weeknight? Nellie: Oh. Oh, I'll tell you what he does. Angela:: [walks in] Hello! Hello, my clucking hens. Got room for another in the roost? Huh? Don't worry, I won't lay an egg. [SCENE_BREAK] Angela:: Robert sent me to take over if Pam fails. If? [laughs] [SCENE_BREAK] Angela:: I have been crunching numbers all day. Math is for boys. I need girl talk. Gabe: Did someone say girl talk? [SCENE_BREAK] Gabe: Sometimes I wonder if I have ovaries in my scrotum, because I am great at girl talk. [SCENE_BREAK] Gabe: Have you guys been watching any good Korean soap operas? I'm pretty deep into Hee-Jungcinderella girl. Although, I definitely fast-forward through the young-Tae storylines. Nellie: Do you think I'd like that, or is it important to have an Asian fetish? Gabe: Uh, I think you're gonna need to have an Asian fetish. Yeah. [chuckles] It'll be upsetting if you don't. [SCENE_BREAK] Andy: I'm a former paper executive. I know the product. I know the margins. I can save you 25% on your costs. Mr. Ramish: Why haven't I heard of you? You got any references? Andy: No. I'm a rogue. Mr. Ramish: Uh-huh. Andy: Which is the best part. That means you will be my first customer and your business will get 100% of my attention. Now... [pulls out business card] I have written down my personal phone number. You call this anytime. Mr. Ramish: Every salesman I've ever met has given me his personal phone number. Andy: Of course they have. Which is why I'm giving you a key to my house. [gives key to C.E.O] Whatever you need - anytime, night or day - you just stop on by. Mr. Ramish: You want me to drive to your house if I need paper. Andy: Maybe you just want someone to talk to. Maybe... you need a place to crash for a couple of days. My wireless password is eat pray love. Easy to remember. [SCENE_BREAK] Dwight: Ready? Go! Go, go, go, go, go, go, go, go, go, go, go. [takes off belt, ties doors together] Dwight: [Running] Ahhh! [Slides into elevator] Jim: You all right? Dwight: Yeah. [Doors about to close, hand stops them] Oh. Jim: Ah! [Harry walks in] Jim: [Dwight pushes button for floor two] Dwight, what are you doing? Dwight: Go, go! Take the stairs! Now! Jim: What are you talking about? Dwight: Just run! Take the stairs! Jim: I don't even know where the stairs are! Dwight: I'll stall him. Go! Jim: God! Harry: [Dwight jumping] What are you doing? Dwight: I'm gonna activate the seismic failsafe. We'll be stuck between floors for hours. [pants fall down] Oh. [Jim runs in] My pants fell down. Jim: What? Dwight: My pants fell down! I don't have a belt! [SCENE_BREAK] Dwight: [walks into lobby] Hello, sir. Good day. Dwight K. Schrute. Dunder Mifflin, Scranton. Forgive my pants, they fell down. An appointment with Mr. Ramish, please. Right now is fine. No, no, no, I was here first. Dwight K. Schrute. Dunder Mifflin, Scranton. Mr. Ramish: What's going on? Dwight: Well - Harry: Mr. Ramish, Harry Jannerone. Dunder Mifflin, Syracuse - Dwight: I was here first. Mr. Ramish: Oh, oh, oh, oh, oh, okay. Dwight: I already made an appointment... with your secretary. Mr. Ramish: Let me stop you all right here. I've already picked a new paper supplier. Dwight: Wait, it's not D.M Utica, is it? Mr. Ramish: No, no, it's not Dunder Mifflin at all actually. It's... Big Red Paper Company. Jim: Big Red Paper Company? Mr. Ramish: Mm-hmm. [SCENE_BREAK] Andy: Yes, yes, yes! [SCENE_BREAK] Harry: Give me a cup of coffee. Dwight: Me too. Or do you also have a monopoly on thirst? Jim: All right, guys. It didn't work out for any of us, so... we're still on the same team. Let me get these. Dwight: No. Let him get his own. It's Syracuse money. Harry: You know, your partner's got a lotta attitude. But I like that. How long you guys been dating? Dwight: Jim couldn't land me in a thousand years. Jim: But you're saying there's a chance. Dwight: Shut up. [SCENE_BREAK] Pam: [Walks into conference room] Hey. Robert: Hmm. Pam: I stole Nellie's phone. Robert: Excellent. Excellent. Though troubling that your first instinct is thievery. Pam: What do you want from me? Robert: Now we get to the bottom of Nellie's "yes, yes, yes, yes, never." Phone: Hi, Nell, it's mom. Do keep your chin up. It can't be as bad as you described. Robert: Oh yes it can. Phone: This is MasterCard. You are over the limit. Send the minimum payment of $448 by Monday, or we will be forced to send it to collections. Robert: Shopaholic. Pam: Sounds like it. Robert: Yeah. Phone: Hi, sis. Is your boss still hitting on you? Robert: Ah. Phone: This is Annie from second nests. I'm sorry, but the Romanian orphanage felt more comfortable with a two-person nuclear family than a single mother, so, we're gonna hold out for that. Pam: Okay, that's enough. [grabs phone] Robert: Pam, we need to get to the bottom of this. Pam: No, no, no! Robert: No, come on. Pam: Robert! Okay, oops! I deleted them all. They're all deleted. Robert: Pam, Pam, you've completely bungled this! Pam: Ah. Ahh. [walks out] [SCENE_BREAK] Pam: Hey. Nellie: Can I do it, Pam? Can I put off a gold Arabian sandal? Pam: Um... yes. Definitely. With your hair - Nellie: Oh! Pam: Certainly. Um... you dropped your cell phone. Nellie: Oh, gosh. Pam: Yep. Nellie: Thank you. I'm... so stupid. Pam: No. My goodness. You have a lot going on. With Robert and everything. Nellie: Oh, god, Pam. Don't get me started. Pam: No, I will not. Nellie: You've just got me started. Robert... is... a filthy beast. I mean, don't you get the feeling, he's just thinking of fifteen different ways to do you? Pam: Well - Nellie: I mean, the man talks of nothing but sx. Pam: But sometimes he talks about flesh... and bacchanals. Nellie: I cannot even tell you what he left on my phone last night. Pam: No... don't. Just put it out of your mind. Nellie: Pam, what is your address? I'm gonna send you a pair of these gold harem shoes. Oh, no. You don't - Nellie: Oh yes. Come on, a little gold Arabian slipper. [SCENE_BREAK] Nellie: Things are looking up. I might be a mother soon. I have MasterCard right where I want them. And... I have a new friend. A friend. At work. [SCENE_BREAK] Robert: [Erin opens door] Erin. Erin: There's a call for you on line one. Robert: Who is it? Erin: He says salvation. No last name. Robert: Yeah, hello? Andy: [in car] You once put me on a list of the losers in the office. Well, this loser just got your biggest client to give him all their business. So hire me back, that business is yours. Don't, and I will find another buyer. Robert: You're blackmailing me. Andy: It's just business. Robert: Ah, well, I will not be blackmailed by some ineffectual, privileged, effete, soft-penised debutante. You wanna start a street fight with me, bring it on. You're gonna be surprised by how ugly it gets. You don't even know my real name. I'm the bleep* lizard king. [disconnects] Andy: Whoa. Well I gave him a chance. [gets out of car, walks to house] David: [opens door] Andy Bernard. Andy: You got a minute? David: Um... I'm in the middle of a piano lesson. Andy: I wanted to see if I could interest you in an investment. Dunder Mifflin. David: Dunder Mifflin. [closes door] Now... why would I want that? It's worth half of what it was three years ago. Andy: Exactly. And you know better than anyone that with the right management it could be worth twice what you would pay for it today. David: Why don't you come in? [Andy walks in, closes door] [SCENE_BREAK] Harry: So what would you do if you weren't selling paper? Jim: Oh, man, I'd have to sell beets. Probably submit them for competitions. Dwight: What? Jim: Yeah! I know it sounds stupid, but nationals has always kinda been a dream of mine. Dwight: How have we never talked about this before? Wait. You don't even care about nationals. Harry: Nothing? Jim: I don't know. I've always wanted to own a bike shop, but what about you? Harry: I'd like to sell one big thing, you know? Like... a plane. One sale, I'm out. Jim: That sounds lovely. Harry: Anyway, Robert's gonna run this company into the ground, so... We won't be doing this in six months. Summary:	While drunk, Robert shuts down Dunder Mifflin's Binghamton branch. Andy prepares to make his comeback by temporarily forming his own rival paper company. Jim and Dwight work together to defeat a rival Dunder Mifflin salesman ( Chris Bauer ) who wants the Binghamton branch's clients.	95	19,016	19,018	19,018	... [The rest of the episode script is omitted]
fd_Justified_06x11	fd_Justified_06x11_0	You are given a script of a TV episode. Summarize the episode in a paragraph. Episode Script: [PREVIOUSLY_ON] Zachariah: What about Boyd? Boyd ain't nothing like Bowman. Zachariah: Yeah, he's a Crowder. That's awful strange talk seeing as you're here working for him. Ava: My uncle ... you sure he couldn't have made it out of that mine? Carl: Even if he survived the blast, the rockfall cut him off from the entrance. Probably got turned around in the dark. Ava: Zachariah got turned around? Art: You want some advice? Bring Raylan in. See if you can confirm what your gut is telling you. Rachel: Is that what you'd do? You'd let it go. Wouldn't risk the case just to save your own ass. Mike: When I asked you how long you'd been snitching to the marshals, you said, "this time." The other time was about Grady Hale, right? Duffy: You just figured that out all by yourself, Mikey? [laughs] Duffy: Aah! [handcuffs click] Mike: Ms. Hale, please call me as soon as you get this. Boyd: Ripping you off ... that was her idea of payback for you murdering her husband. I just thought you'd wanna know. Baby? [gunshot] [grunts] Raylan: What did you do? Ava: I gave you what you always wanted, Raylan ... Boyd Crowder bleeding at your feet. I'm gonna come after you. Ava: I know. Rachel: I know your deputies just got back to Atlanta, but we need as many as you can spare. We've got a new number one. Ava Crowder. Jerry, I'm gonna have to call you back. Art: [exhales sharply] [indistinct conversations] Rachel: How bad is it? Art: Well... I shaved. The director called. Tried to tell her that I was the shot caller on this from my sickbed, that I just couldn't let it go, but apparently you'd already talked to her. Rachel: I'm the one who approved Ava as a C.I. and Raylan as her handler. It's only right I take the hit. Art: I wish you'd called me first. Rachel: Am I suspended? Art: Hell, no. Not gonna sideline one of my best manhunters in the middle of a manhunt. What the hell's the status with Crowder? Rachel: Nelson's sitting on him at Harlan regional medical until they get the bullet out and we can move him. Art: Well, you do realize you accomplished something that I was never able to do all these years. Rachel: Let an untrustworthy C.I. get away with $10 million? Art: You got Boyd Crowder. Boyd: Aah! Aah, aah, aah. Doctor: Irrespective of you being shot, you are what doctors call one lucky son of a bitch. Yeah, well, I don't feel so lucky at the moment. [groans] Doctor: Slug splintered on your collarbone. Hair South, your lungs'd be torn to shreds. We got in there, tied things up. It could be worse. Raylan: You give us a minute, doc? Doctor: You're not the one shot him, are you? Raylan: No, I'm the one who got him here. Boyd: [exhaling deeply] Ain't exactly true, is it? What you told him about bringing me here. Well, I called it in, made sure they knew you were emergent. Boyd: You handcuffed me to a bumper, you left me there without so much as a fare-thee-well. Raylan: You could hear the sirens on their way. Must have given you some solace. Boyd: I don't suppose you've come to tell me you've found her. Raylan: I found her truck some down the road, abandoned. No sign beyond. Gotta suck, be that close to the prize, have it shot out of your hand. I kinda know how you feel. Boyd: No, you don't. I don't believe in a world where you know how I feel. Raylan: I didn't realize disappointment was a domain exclusive unto Boyd Crowder. Well, Raylan, if we're gonna play it that simple, then let's talk about your disappointments. What disappoints you, Raylan Givens? The fact that you weren't the one who got to shoot me? Where is she goin'? Boyd: Well, you wheel me outta here, I'll take you straight to her. [chuckles] That's funny. Boyd: Oh, well, it doesn't have to be funny. Come on, Raylan. Me and you, one more ride together. See if we can't find a reasonable solution to our problem. But which is our problem, exactly? The money or Ava? Boyd: Well, ain't they the same problem, Raylan? Raylan: Are they to you? Boyd: I'm gonna get outta here, Raylan. Raylan: Mm-hmm. Boyd: Sooner or later, one way or another, I'm gonna get outta here, and when I do, I'm gonna go get that money. Raylan: Which sets me to thinking, How long you think she's got? Long enough for you to execute your great escape? Get to her before Markham and his boys do? Then I got to wonderin' further what they're gonna do to her if they get there first. Boyd: Well, maybe she has whatever that is coming. Raylan: Oh. I see. And you're cool with that? Them dishing out retribution however they see fit? Boyd: Are you? Raylan: My, my. Boyd: You know, Raylan... Zachariah Randolph. Raylan: Come again? Boyd: It's her uncle. I think that's the man you're looking for. [monitor beeping steadily] You think he's helping her? Boyd: Well, if he ain't died down one of those shafts, Raylan, then... I don't believe he has. That'd be my first stop. Raylan: See you at the arraignment. Tim: You get anything? Raylan: Maybe a place to start. Nelson: Heard she pulled Boyd's gun on you. Raylan: She did. Nelson: Man, I did not see that coming. Raylan: Anything changes here, drop me a line. You ever been down in a mine? Tim: I've been to Mordor, but not through the mines. Raylan: Is that a yes or a no? Tim: No. [music] [birds calling] Zachariah: [grunts] Ava: Is that it? Way up there? Zachariah: Yeah! Ava: I thought you said it was close. Zachariah: [grunts] [birds crying and chirping] Ava: How long's this place been closed? Zachariah: Oh, eight, nine years. They used it a... a supply station. Rescue would get the supplies in, trap miners as fast as possible. Regulations being so damn lax, they didn't build this thing till after the '83 collapse. [both sigh] You think having closer supplies would have saved my daddy? Zachariah: God himself couldn't save your daddy on that day. That's why I stopped praying. Zachariah: [grunting] Yeah, yeah. [scraping and thudding] Ava: [coughs] Zachariah: Get some heat in here. And I got... this here radio for backup. We'll know they're coming before they do. Give us some time to hightail it outta here, which is exactly what we should be doing, so I'm gonna go over, see if I can get one of those old A.T.V.s running. Pack up these bags, and we be outta here by sundown! Now you do know those old moonshine trails up there, they just roll through those mountains like a... Ava: Maze? Zachariah: Yeah, maze. Now this Grubes guy we're going to see ... you sure he knows his way around? Ava: He knows the trails blindfolded. But I was thinkin'... Boyd knows Grubes. Zachariah: Ah. Ava: If he's alive ... Zachariah: If he's alive, the marshals got him, and if he ain't... [claps hands] the more, the better. [title music] ♪ On this lonely road, trying to make it home ♪ ♪ doing it by my lonesome, pissed off, who wants some? ♪ ♪ I'm fighting for my soul, god, get at your boy ♪ ♪ you try to bogard, fall back, I go hard ♪ ♪ on this lonely road, trying to make it home ♪ ♪ doing it by my lonesome, pissed off, who wants some? ♪ ♪ I see them long, hard times to come ♪ Katherine: Where are you? Damn, I can't hear you. Mike: I'm in Richmond, close to E.K.U. Duffy: Give me the phone, Mikey. Let me talk to her. Katherine: I'll call when I get close. Keep Duffy there. I just need to get my purse. [cell phone beeps] Markham: You know, I can usually smell a rotten bud before it blooms. But your scent, my dear, has always been presidential kush. ... your questions. And all that on my. [sighs] Markham: Got yourself a new purse. Katherine: Yeah, before we go down a whole road, I think you might be interested in the phone call I just had, wherein I learned that Wynn Duffy killed Grady. Markham: I didn't know that little cockroach was still alive. Katherine: Yeah. Well, I'm just going to change, then. Markham: How do you know this? Katherine: His bodyguard called me. Wynn Duffy was a rat 14 years ago, and he's a rat today. Markham: You know, I knew you'd never leave your home state. That's why I came back. Nothing else mattered. You were the prize. But now I wonder if I wasn't just a mark, someone for you to screw. Katherine: At first, yes, but... seeing you... being with you, - everything came flying back. Markham: Oh, don't tell me. Love? Katherine: Well, was it not the same for you? Markham: Well, I've always loved you, Katherine. I just don't trust you. Katherine: Well, I accepted your proposal, Avery. Would it be so bad for the two of us to... live together, not trusting each other, just like everybody else in the whole wide world? Markham: You know, I understand your drive to avenge Grady's death, even when you thought it was me. And I hope when I'm your husband... you'd do the same for me. Katherine: [sighs] I'm gonna go shower. You wanna join me? Markham: Nothing I'd love more. But there's work to be done. Katherine: Goin' after your 10 million? Markham: Our 10 million. You know, I'm gonna make sure Boyd Crowder doesn't see another day. Katherine: Well, I'm gonna do the same to Wynn Duffy. Markham: Let me handle Duffy. I'll bring you his head for a wedding present. Katherine: Goddamn, Avery Markham. I love you. Markham: Love you, too. [classical music playing on radio] Duffy: I never knew you liked classical, Mikey. Mike: You'd know if you let me pick the music every once in a while. Duffy: That can change. A lot can change. You want me to drive sometimes? You wanna be in charge of the TV? Mikey? What do you want, Mikey? Okay, point taken. You got a code. You're billy jack. I get it, okay? Can we end this? Mikey? I'll forget what happened and we'll go back to the way things were. [radio volume increases] [loudly] Okay, Mikey?! Hey! Take these goddamn cuffs off, or I'm gonna take that code, and I will shove it up your ass! [whack] Uhh! Mike: This isn't just about some code. You were as close to family as I ever had. I believed in you, Wynn. End of the day, you're a rat. And rats get exterminated, period. And I hate being called "Mikey." [door squeaks] [bag thuds] Loretta: [sighs] Boon: Seat buckle. I'm just looking to keep my girl safe. [squeaks] Boon: Are you looking for this? [chuckles] Come on. When I was a kid... can't tell you how many falls your daddy and I had, angry pricks, one and all. Lay three hots and a cot with a side of ass whupping. I come to rely solely on my own wherewithal at a tender age, not unlike yourself. I'm hearing tales about all this money you supposedly got, no doubt giving you a sense of confidence. But I can tell you what. Markham's got a lot more. Loretta: What's your point? Boon: Do you ever watch the History Channel? Days of yore, marriages weren't about love... or romance. Those sentiments didn't even factor in. They were about alliances to end wars, making each side stronger against enemies they had in common. You understand? Loretta: Man, I got no idea what in the hell you're talking about. Boon: I'm saying, if I'd had a Mr. Markham by my side back then, I'd have jumped on it as fast as a bullet. I wanna offer you an opportunity, tuck in with us. You say yes, we'll always be watching your back. Loretta: I don't need anybody watching my back ... least of all, you. Boon: Got fire in your belly. What I adore most, girl. Be careful... lest it burn your brain, so you can't hear good reason. [music] [indistinct conversations] Raylan: You got an escort down the mine shaft? Willits: He's on the way out now. Had to roust the owner out of the bed. He ... he was grumpy about it. Raylan: Well, you can tell him he can give me the what-for as soon as he gets us on a coal cart. Willits: You think she could have got down that mine shaft on her own? Tim: We think Ms. Crowder has an accomplice worked his mine most of his life. Raylan: What's that up there? So I've got the claim more said, Earl's on A.K. we got that armored truck dead on our side. Earl: Next thing we know, cherries, man, everywhere. Carl: I'm telling it, Earl. All right? Sorry. Man: How'd the cops know? Carl: Figure we got set up. Earl: By who? Carl: That Katherine chick and Duffy ... one or both of 'em. It's like that old saying, you know? Earl: "Crime doesn't pay"? Carl: God damn it, Earl. No. "Ain't no honor among thieves." Crime does pay. As long as the criminals you're working for don't screw you over all the time. Birch: Let's go, girls! You're moving to a new cell! Come on off your fannies! [cell door clanks] Not you two. You got a visitor. Carl: Who? Birch: [whistles] Earl: Oh, no. Oh, hey! Hey, we can't be in here with them! Come on now! This sh1t ain't legal! Markham: Those cops aren't gonna help you, son. They're new friends of mine. Carl: I'm gonna tell y'all upfront right now, we ain't going down without a fight. Boon: Jenny here says you would. [bars rattle] And she's had the last word in many such a disagreement. Markham: Boon. I know Boyd is the brain behind your attempt to rob me. You and your brother were just pawns. Carl: We were soldiers. Markham: No, you were pawns. He sent you out to attack that armored car while he executed his real plan ... kidnap my fiancée, extort the $10 million that way. He screwed you both. Earl: You're lying. Boyd wouldn't do that to us. Would he, Carl? Markham: Ever hear of Judge Zeke Baron? Earl: I know of Baron's pawn shop. That's Judge Zeke. He owns it. He got an office out back. Buy enough of his junk for double what it cost, he's amenable to signing a release, get you R.O.R.'d. Earl: What does that have to do with us? It means we're gettin' out of here. Means you're gettin' out of here. What about Earl? Earl: Yeah. Drop our ... is one man affort, Carl. Carl: Well, why me? Why not the hat kid? Boyd knows you. Ask him where my money is. If he knows, put a bullet between his eyes. If he doesn't know... put a bullet between his eyes anyway. Carl: What if I tell you Boyd's been good to me, huh? And I don't want your damn job. Markham: If you refuse, if you fail... or if you run off when you get into the outside world, then... Jenny will blow Earl a kiss. [taps] Carl: [sighs] [music] [animal chitters in distance] [birds crying and cawing] [door creaks] Tim: Clear. Willits: Clear. Tim: Somebody's been here. Willits: I imagine this place has been put to all sorts of use. Kids stealing, coming in here to hook up. Raylan: It's warm in here. You notice that? Like someone had a space heater. Tim: Drag marks right here by the doorway. $10 million is a lot of weight. Willits: Maybe spied us, left in a hurry. If so, they ain't far, and they're not moving fast. We need to shift choppers and dogs to this ridge, set the perimenter around this point as ground zero. You got any guys you can spare? Willits: I can ask. Uh, if so, you wanna ride on one of the helicopters? One of them's got F.L.I.R. Maybe get you a seat if you want. Raylan: Definitely. Vasquez: It's beyond bad, chief. It's career-ending ... mine... and yours. You were the one that told me to put Raylan in the lead. Rachel: Why did you call us in here, Vasquez? Vasquez: Where is he? Rachel: Where's who? Art: He's working the fugitive. As the closest deputy to the case, he is the most likely to find her. Vasquez: Oh, Jesus, Art. Seriously? I mean, really, seriously? God damn it, what ... what did he, promise you a cut?! Art: I'm gonna do you the goddamn common courtesy of pretending I didn't hear that sh1t come out of your mouth. He was banging her in the past. He's almost certainly banging her now! His banging her in the past wrecked the criminal case back then! And then here we are again now! History repeating itself. Then he lets her shoot his, uh, whatever-the-hell-you-want- to-call-Boyd. That's convenient. And this marshal, whom we've defended on countless questionable shootings, well, he decides this time, he's gonna holster his piece, and he's just gonna wave goodbye as she drives away. Art: [sighs] Vasquez: You take umbrage with me all you want, Chief Deputy Mullen. You give me that look like you wanna choke me right now. But eventually, the both of you are gonna have to come to grips with the reality. Rachel: And in your version of reality? Vasquez: Your marshal and his girlfriend have stolen $10 million right out from under our noses. [sighs] [telephone ringing in distance] [helicopter approches] [cellphone buzzing] Raylan: [loudly] Givens. I'm about to get on a helicopter. Art: [sighs] I need you back in Lexington now. Raylan: What? What? Hey, I ain't kidding about the helicopter. It's hovering above my head. Why I'm talking so loud. Art: Let the helicopter go. Let somebody else take a ride. I need you in the office. Raylan: What'd I do? Art: That's a long list. Raylan: I know that tone, Art. I know it too well, as a matter of fact. Just tell me. Art: Vasquez has voiced a concern. Raylan: Raised a concern or leveled an accusation? Art: Look, you know where this is going. You tell me. Raylan: He thinks I conspired with Ava. Oh, tell me you ain't entertaining the notion that that is anything other than utter horseshit. [sighs] All I'm saying is you're not giving me a leg to stand on here. I'm having trouble enough defending your actions even absent your and Ava's history. Raylan: Just let me get on the helicopter, take one pass, see if I can spot 'em. They're close, Art. I'm telling you, I can feel it. They're close. [helicopter whirring] Art: All right. You know me so well. I'm sure you can understand my tone when I say to you let the goddamn helicopter go and get your ass back to Lexington right now. [whirring continues] [cell phone beeps] [starts engine] [under breath] God damn it. [music] [whirring] Ava: Okay... [panting] [SCENE_BREAK] Stiles: Are you Deputy Dunlop? Nelson: That's me. Stiles: They say they got a deputy who wants to meet you outside. Givens, I think? Nelson: I could use a coffee anyway. Keep an eye on him for me for a minute? Stiles: Oh, yeah, you bet. Nelson: Thanks. [telephone rings] Stiles: [whispers] Let's go. Stiles: All right, now you're gonna have to make this look good, all right? [door closes] Stiles: How about you hit me? Boyd: Carl? [whack] Carl. Carl? Carl: [grunting] [panting] That look good enough to you, you son of a bitch? Boyd: Wha... Carl: Where's the money, Boyd? Boyd: Why are you pointing a gun at me? I'm infirm. Carl: I trusted you. You sold Earl and I out. You set the cops on us. Boyd: Who sold you that wooden nickel? Son, I had every intention of meeting you ... Carl: Don't... lie to me, Boyd! Now where's the goddamn money? Boyd: Carl, I'm sorry. I-I made a bad decision. Trust me, son. And if I had to do it all over again, I'd do it different. [click] Carl: Last chance. Boyd: Hey, hey. Carl: Where is the money? Boyd: God damn it, I saved your life down in that mine. Carl: [breathing heavily] He's got my brother, Boyd. I ain't got no choice in this. Boyd: Who's got your brother? Markham? Carl: [breathes heavily] Boyd: Well, damn, son, get me outta here. Let's go get that money. We'll get your brother. We'll kill that son of a bitch. I'll give you half of everything that I put my hands on. Carl... Carl, I know that we have had a bad run of luck lately, but we can change it right now, god damn it. Contrary to everything that's happened, I care deeply about you and your brother. $5 million? [exhales deeply] Now go get that key, son. Come on. [exhales deeply] Carl: Yeah. [siren whoops] [reverse alert beeping] [brakes squeal] [radio chatter] [clatter] Give me that jacket. Boyd: Where's he now? Carl: Earl is in the jail under guard. Markam bought a couple dirty cops. Do anything for him. Boyd: Let's go kill that skinny son of a bitch. Carl: Question is now, how we gonna get you out past the nurses' stand without anybody noticing? Boyd: [sighs] It shouldn't be too hard with all the chaos. Carl: What chaos? [gunshot] [alarm sounding] Boyd: We got a shooter on the floor! Everybody clear out! Woman: Get outta here! Man: He said shooter! Come on! [alarm continues sounding, people shouting indistinctly] [police radio chatter] Raylan: Where's Nelson? Tim: Somewhere wishing he wasn't Nelson. Why didn't he get any backup? Tim: Everyone's out looking for Ava. Raylan: Oh, my god. Tim: The word I got is you're supposed to be headed back to Lexington, face this Vasquez reckoning. Raylan: Yeah, I was headed back to Lexington. Then I got word Crowder escaped marshals' custody and reframed my priorities somewhat. Tim: And creepy how excited you seem right now, not that I am questioning your priorities. Raylan: My priorities are straight. Tim: Uh-huh. So you're gonna keep cool when I tell you you need to follow Art's orders and head back to Lexington. Raylan: Give me something here. Point me in the direction, couple hours. Tim: Oh, so the joke here is that I give you directions back to Lexington, but since you know where that is ... Raylan: Who is this peckerwood here? Is this Carl? Jesus Christ, man. Carl. Tim: I know. It's weird, isn't it? Maybe you should ask him about that when you get back to the office. Raylan; Tim, can we stop pretending there's any version of this conversation that ends with me going to the office? Tim: If I help you out, you gonna cut me in on that $10 million? Raylan: [sighs] [telephone ringing in distance] Man: # I wanna go back, # ♪ I wanna go up and down ♪ ♪ over all the little trees and passes ♪ ♪ that make up our hometown ♪ Boon: Got word from the hospital. Markham: What? ♪ it all came crashing down ♪ Boon: Carl's dead. And ... Markham: And Boyd escaped. Markham: I told Carl what would happen if he failed in his job. A deal's a deal. Call our friends at the jail. Get little brother out. ♪ we held each other close so tight ♪ ♪ I wanna go back ♪ [footsteps approach] Man: Help ya? Raylan: Deputy U.S. Marshal Raylan Givens. Looking for Earl Lennon. May have him back there awaiting marshal's transfer back to Lexington. Man: Oh, yeah, sure. Raylan: Great. Whatever paperwork you, uh... Man: Just need to, uh... Raylan: Sure. [door opens] Crosley: Can I help you? Raylan: Hey. Look at that. Got him all ready for me. Nah, this prisoner's been entrusted to my offices' charge. I mean, what might you think, you can just walk on out of here with him? Raylan: Uh, this. Not to get all federal on you, but... kinda is what it is. Crosley: Yeah, well, I'm gonna have to make a call. Raylan: See? There it is. Crosley: There what is? Raylan: You know, it don't bother me much running into a cop from this town that's bent to sh1t. I grew up around here. Kinda expect it now and then. What irritates me is when you call 'em on it, and they give you this look like, "how dare you insinuate I'm a piece of sh1t tarnishing my badge?" I see you doing the math, whether you're gonna tolerate the insult. But you should know, one of your co-workers is in the hospital with brain bleed, and this boy's brother's dead, so you might wanna factor them items into the equation before you decide what you're gonna do next. Crosley: Number one ... I don't like your tone. Number two ... that badge don't mean sh1t. And number three ... this boy's been bonded out fair and square. Matter of fact, I was just about to call the judge. Raylan: The marshal service have spent a lot of time and effort apprehending a fugitive that's now out on the run, and lives are in danger because of it, so every time you open your mealy mouth to lie, I think of that, and I start picturing how you'd look without any of your goddamn teeth. Earl: Wait. Did you say my brother's dead? Raylan: Earl... step away from the dirty cop and come with me, nice and slow. Thank you. [Pachelbel's "Canon in D" playing] Katherine: Hello, Michael. Mike: Hello, Ms. Hale. Katherine: Michael, would you mind giving me a gun until this unfortunate mess is over? You can retreave it later. How does that sound? [whispers] Thank you. [handcuffs clanking] [sighs] Wynn... Avery wanted to give me your murderous rat head as a wedding present, but I thought, no, I should do something nice for him, get our marriage started out on the right foot. The things we do for love. [chuckles] Duffy: You gonna put it in a big, blue Tiffany box like that ring on your finger? Katherine: You're being awfully flip for someone who's about to die. Duffy: What do you want me to say, Katherine? Yes, I ratted out Grady to Simon Poole and, yes, I killed Simon Poole because Simon Poole was gonna rat me out to Grady. The life we chose, huh? Katherine: Why kill Grady? Duffy: What do you care? You were schtupping Markham. You think about it, I did you a favor. Katherine: Yeah. Yeah, maybe you did. But, Wynn... Grady was my husband. He was my partner. And here's how it works. You protect your partner, and you avenge them against people who do them wrong. That is something I strongly believe. [sighs] [sniffles] Front of the head? [click] Or back? Suit yourself. Mike: Wait, wait, wait, wait. We don't have to kill him. Katherine: Michael. Mike: Just put the word out he's a rat. Let him fend for himself out there. Katherine: Move aside. Mike: Look, I don't like what Duffy did, but he's my boss, and I'd have to avenge him, anybody did him wrong. That's what you just said, right? Katherine: Oh, for god's sake. Mike: I mean, I think he's ... [gunshot] Aah! [grunting] Wynn: Michael! [gunshot] Jesus Christ! [gunshot] Jesus! [grunting] Duffy: Aah! Mike: [grunting] Katherine: [grunting] [gunshot] Mike: Aah! Duffy: Mikey! Mike: [grunting] Ohh! Duffy: Mikey! [crack] Katherine: [gasps] Mike: [panting] Katherine: [gasps] Mike: [grunting] [thud] Mike: [exhales deeply] Duffy: [panting] Mike: [grunting and gasping] [handcuffs rattle] Mike: [continues grunting] Duffy: [gasps] Mike: [groaning] Duffy: Mikey. Mikey. Mike: Will you hold me? Duffy: Yeah. [crying] Duffy: [grunting] [continues grunting] It's okay. Shh. Shh! [groaning] Duffy: Shh! Mike: [gurgling] Duffy: [exhales deeply] Duffy: [grunting] [gasping] [cell phone beeps] [dialing cell phone, beep] [gasps] [exhales deeply] [line rings] [breathing heavily] [line connects] Woman: 9-1-1. What is your emergency? Duffy: [breathing heavily] I'm not sure where to start. [exhales deeply] [door creaks] [music] Raylan: [clicks tongue] Nice hat. You take that off that dude at the diner? Boon: That one didn't appeal to me. Smelled like patchouli and scared hipster. No. I had this one made custom. And it cost me a pretty penny. Say you like it, though? Raylan: I do. It may be the only thing I like about you right about now. Now, get out of my way. I didn't come here to talk about hats. Boon: [inhales sharply] This is my favorite part. Don't you just love this part? Can hear a goddamn pin drop. Markham: Boon, let him back. Boon: Check my balls right now. Be purple, they're so blue. Raylan: You stay where I can see you. Markham: [laughs] Raylan: I'll be brief. I got a kid in my car who's nervous being this close to the Portal. Markham: I got no idea what you're talking about. Raylan: It's all right. Time comes, you and Earl both can tell it to the judge. The song he's singing about how his brother got dead ... enough to put you away for a good stretch. So, to that end, you are gonna leave off chasing after that money ... you, your shit-heel cop army, anybody else you got involved, and you are definitely gonna abandon any thoughts you got of causing harm to the lady stole it. Markham: You misread my intentions, deputy. I got no cause to engage in that kind of behavior, poison my own well when I'm just starting to feel like I'm... home at last, setting down roots with my lady friend. Raylan: Your lady friend? She and I have long ... for this county, son. County we grew up in. Screwed your only back then. Raylan: You don't know. Markham: Don't know what? Raylan: Mr. Markham, your lady friend is dead as of a half-hour ago. Went pretty badly, as I understand it, in the confines of a motor coach belonging to Wynn Duffy. All this... is on you. As you undertake your grieving, may that guide you, as you contemplate your next move. Gentlemen. [door opens, closes] Raylan: Hey, what you doing back there? You fall asleep? You trying to get me shot? Raylan: You think they're gonna shoot you? sh1t, maybe I should stand away. Earl: [huffs] I-I ... Do we have to do this right here? Raylan: I could haul him in for his threat to you. You know that, right? Earl: Well, then I got to testify against him? Raylan: That is how the justice system works, yes. Earl: Well, the hell with that. That old prick killed my brother. I ain't about to be snitchin' from no witness stand when I could just as easily put a goddamn gun in his mouth later. Raylan: Hey, dumb-ass. Earl: What? Raylan: Talking that way, now I can take you in for the same sh1t. Earl: Well, so do it then. You're just about a stiff-neck little son of a bitch, ain't you? Earl: [sniffs] Yeah, I guess so. Raylan: Yeah. Yeah. [breathes sharply] Earl: So what now? What now? I drop you someplace, call you in as a pick-up for the locals, hope you don't end up in the same jail cell as you were before. Earl: No, no, wait, wait, now, sh1t. Or I could drop you off similarly, only call in the marshal service, put you in P.C., make sure he don't get anywhere near you. How's testifying sound to you now? Hmm? [sighs] He was my brother. He was my only brother. Raylan: I understand. Take your time. [inhales] [sighs] Earl: You know, you asked me earlier if I ever heard anything about what the plan was? Raylan: Mm-hmm. Earl: You know, after, with Boyd and Ava and the money. Raylan: And? Earl: Well, I never heard anything about that, but when they were trying to smuggle that Walker dude out, they ... they mentioned two things ... pig sh1t trucks, and Grubes. Somebody named Grubes. [knock on door] [music] Ava: [softly] Come on. [knock on door] [sighs, chuckles] Guess we wait till he comes back. Zachariah: In this cold? [chuckles] Come on in! Ava: [sighs] [door closes] Zachariah: Damn, what's that stink? Ava: Oh... [coughs, sighs] Zachariah: Grubes? Ava: Oh, no, no, no. No... [yelling] Nooo! [music] [cell phone vibrates, beeps] Raylan: Givens. Art: Tell me you're on your way in. Raylan: Yeah. You got a locator on the car. You'll find a kid in it I picked up. Used to work for Boyd. Just put him in P.C. and give him some good charges on Markham, we pull his head out of the dead long enough to do it. Art: Or you could honor the responsibility that comes with wearing that badge and bring him when you come back here right now like you were ordered. Raylan: No, I'm coming back when I get Boyd or Ava and the money, or all three. Art: [sighs] Are you sure you want to do this? Raylan: [sighs] I don't see as I got a choice. Do you? Art, you see where I got a choice? Art: You got 48 hours, Raylan. That's all I can give you. Raylan: 48 hours, bullshit. Who you got coming after me? Everybody? Art: You got too high an opinion of yourself. Of course, you always have. Everybody's out looking for Boyd. I'll be the one coming after you. [cell phone beeps] Summary:	Art comes back from leave to take over Marshal operations in Kentucky. Vasquez questions Raylan and his relationship with Ava, whom he allowed to escape with the money, suggesting they are in cahoots. Later, after Raylan fails to heed instructions to return to Lexington, Art says he'll be coming to bring Raylan in himself. Boyd has been patched up and Raylan offers him opportunity to give up Ava before Avery and Katherine find her, but Boyd is intent on finding her himself. Boyd does suggest that Ava may be getting help from Zachariah, who helps Ava drag the money up to an abandoned mining rescue supply station in the hills. They've already left when the Marshals arrive, hiking to meet Grubes who can lead them across the mountains. However, they arrive to find the hermit long dead. Katherine responds to Mikey's call, but as she talks to Wynn about protecting and avenging ones partner, Mikey realizes there are other codes to follow and has a change of heart. Mikey takes five bullets but still manages to kill Katherine with his bare hands, passing Wynn the handcuff keys and asking Wynn to hold him as he collapses and dies. Avery pays-off the jail guards to visit Carl and Earl, arranging Carl's release on a mission to kill Boyd under threat of Earl's life. One of Avery's crooked cops gets Carl into Boyd's hospital room where Carl interrogates Boyd with a gun to his head, but becomes convinced Boyd is his best chance of saving his brother and getting out clear. After getting uncuffed from his hospital bed and into the lawman's uniform, Boyd shoots Carl dead to cause a diversion and escape. Learning that Carl failed, Avery gets Earl released as well but Raylan arrives in time to thwart the crooked cops. Raylan drives Earl to the Pizza Portal and threatens Avery's testimony in Carl's death for Avery to abandon any further efforts to reclaim the money or harm Ava, while also encouraging Earl to agree to testify that he might benefit from protective custody. Earl tells Raylan about Grubes, and Raylan heads into the hills leaving the Marshals to pick up Earl. Boon continues to threaten and intimidate Loretta.	95	30,968	30,970	30,970	... [The rest of the episode script is omitted]
fd_CSI__Crime_Scene_Investigation_06x02	fd_CSI__Crime_Scene_Investigation_06x02_0	You are given a script of a TV episode. Summarize the episode in a paragraph. Episode Script: FLASH IN. [VARIOUS EXT. LAST VEGAS CITY LIGHTS (STOCK) - NIGHT] CUE SONG: "Mad World", Gary Jules [SCENE_BREAK] [INT. CLUB -- NIGHT] (Men and women drink. One man smiles as he's flanked by two women - one woman busy kissing his neck.) (Across the room, a blonde-haired woman stares worriedly at her cell phone.) [EXT. STRIP - NIGHT] (Outside, a limo passes by. In the back seat of a car, a young Vietnamese man sits and watches the limo pass by. His face is bruised and there are tears staining his cheeks.) (The cab he's sitting in drives away.) [INT. TAXI POV] (The young man looks out the windows as the taxicab drives around the strip. The bright lights from passing motels and other establishments reflect back through the rolled-up window.) (The taxi driver's sweating.) (The young man in the back seat glances over at the taxi driver.) [START: SPLIT SCREEN] (Top half: [INT. CASINO] The man from the bar leaves with two women.) (Bottom half: [TAXI CAB] The taxi stops and parks. The driver engages the brakes and sees the young man leave.) Taxi Driver: Hey! Where's my money? (The young man turns around and yells back to the taxi driver.) Young Man: You wait here! (Top half: Cameras flash as photographers snap photos of the man walking through the casino; several women follow him.) (A young woman in red snaps a picture of the man walking by. He notices her and turns back to look at her as he passes.) Man: You want to come with us? (A man standing in the back glares at the man walking by.) (Bottom half: The taxi driver waits. The fare changes from 7.20 to 7.40. The taxi driver continues to wait.) (Top half: The blonde-girl in red turns to her friend standing next to her.) Tally Jordan (woman in red): Oh, my God. Come on. (The two head out, following the man.) (Bottom half: The taxi driver takes out his log and writes in it: 270 7888 OAKEY ST.) (Top half: The party has moved outside to the pool.) (Bottom half: The taxi driver continues to wait. The fare changes from 8.00 to (Top half: The blonde-haired woman in red and her friend are now sitting on either side of the famous dark-haired man. He pays her special attention. (Bottom half: The taxi driver continues to wait. The fare changes form 8.20 to FLASH CUT TO WHITE: END OF SPLIT SCREEN Cue Sound: GUNSHOT FADE IN FROM WHITE [EXT. 7888 OAKEY STREET - NIGHT] (Police cars with their flashing lights are at the site. Officers mill about the area.) (Camera moves into the car and we notice the fare is now at 24.00. The taxi driver is slumped forward against the driver's wheel, his eyes closed. We note the blood coating the shirt covering his right shoulder.) (Sara turns on her flashlight and looks at the driver's wound.) Sara: Gunshot wound to the neck. No visible GSR. (She looks up and notices the visor. She flips it down and sees the money.) Sara: Money on the visor. It wasn't a robbery. (Grissom is looking in the back of the cab.) Grissom: Dirt clods on the floor mat look undisturbed. Could be from the last fare. I don't see any shell casings, though. Sara: Partition's closed. Bullet-proof glass. He was not shot from inside. (Grissom walks around the cab as Sara snaps photos of the dead body.) (He sees the bullet holes in the passenger door.) Grissom: Well, I got two bullet holes in the passenger door. Sara: That's a weird side of the car for a drive-by. Grissom: Maybe he wasn't shot here. Maybe he just ended up here. (Grissom looks around the area. He sees the detective talking with someone in uniform. Grissom calls out to him.) Grissom: Excuse me? (The man from the Transit Board looks up.) Grissom: Are you with the Transit Board? MTB Rep: Yeah. Grissom: Do you have the dispatch log? (He hands the log to Grissom. From what we can see, the log shows: 270 2549 LAS VEGAS --- 270 465 LEXINGTON 10:01 270 3900 LAS VEGAS 10:45 1040 270 2112 WESTERN BL. 11:01 420 270 4500 W. TROPICANA 11:30 780 270 20 FREMONT 12:10 980 270 7888 OAKEY ST. 12:55. {BLANK} ) (Grissom hands the log back.) Grissom: Thanks. (Grissom turns and leaves.) MTB Rep: Why's he leaving? (Sara takes a photo, then puts her camera down to answer the man's question.) Sara: Well, that's kind of what he does. (Sara leans forward into the cab and notices the camera.) Sara: Is this camera always on? MTB Rep: Only on HBO. It takes stills for ten seconds when the door opens, and then for the first ten seconds of the fare. Sara: We're gonna need the pictures. (Grissom is walking away from the site and dialing his cell phone.) Catherine: (from phone) This is Catherine. Grissom: (to phone) It's Gil. How you doing? Catherine: (from phone) I'm busy. Checking up on me? Grissom: (to phone) Why would I need to do that? Catherine: (from phone) You tell me. Grissom: (to phone) Look, I know you tend to get a little territorial about your crime scenes, and I don't want there to be any tension between us, so I'm giving you fair warning. (Grissom stops when he sees the tire treadmarks on the asphalt.) Catherine: (from phone) Fair warning for what? (cc) You're at 7888 Oakey Street. Am I right? [SCENE_BREAK] [EXT. PARKING LOT - NIGHT] (Catherine is kneeling down next to a dead body in the parking lot.) Grissom: (from phone) Hi. (She looks up and sees Grissom. He smiles and waves his cell phone at her.) (Jaw dropped open, Catherine closes her cell phone.) [SCENE_BREAK] [INT. -- NIGHT] (Julian Harper's dead body rests against the cushions as Robbins takes his liver temperature. Warrick snaps photos of the body.) Robbins: Julian Harper. If it weren't for the cyanosis, I'd say he was doing a photo shoot for GQ. Warrick: Yeah, I'm sure he wasn't ready for this photo shoot. Robbins: Body temp's 95. (Warrick snaps more photos. Robbins glances at his watch.) Robbins: That would make TOD approximately 3:00 A.M. (Warrick snaps photos of the bedside table with a couple of champagne bottles, a hotel room VIP card key, a rolled-up bill and some white powder on the black tabletop.) Warrick: Well, there's plenty of drugs around here. You think he OD'd? (Robbins checks the victim's mouth and eyes.) Robbins: Yeah, no edema. Some petechia. Could be suffocation or strangulation. But no ligature marks or bruising. However ... (Camera zooms in for an extreme close-up of black fibers on the victim's neck.) Robbins: ... some fibers under the chin. (Robbins puts the sample in a bindle. Warrick continues snapping photos.) (Robbins takes a digital camera out.) Warrick: What are you doing? Robbins: It's for my scrapbook. I've got a perfect spot for him -- a place of honor between Tupac and Entwhistle. [SCENE_BREAK] [EXT. MOTEL PARKING LOT -- NIGHT] (Close-up of the victim, his head in a pool of blood. Grissom and Catherine kneel down next to the body. Catherine snaps photos of the victim.) Grissom: The taxi's last drop-off was this address. This guy's got dirt on his shoes and pants. There was dirt in the cab. He's got to be the last fare. Catherine: So, somebody killed them both. And if it's about money, doesn't look like this guy has much. Grissom: Well, I guess it's relative. START: SPLIT SCREEN (Top screen: Robbins raises the digital camera to snap a photo of Julian Harper.) (Bottom screen: Catherine raises her camera to snap a photo of the victim.) Grissom: It depends on who you are. WHITE CAMERA FLASH TO: END OF TEASER ROLL TITLE CREDITS [SCENE_BREAK] [EXT. MOTEL PARKING LOT -- NIGHT] (Catherine checks out the victim's identification.) Willows: Samay ... Samay Thao. 15527 East Charleston Road. That's a long way from here. (Grissom notes the wounds on the victim's chest.) Grissom: I count six shots in his chest. There were two in the cab, one in the cabbie. If the math is correct, that's nine. Catherine: Suggests semi-automatic, but I don't see any shell casings here. Grissom: Yeah, there were none in the taxi, either. Catherine: Killer could have picked them up. Grissom: To shoot a guy six times in the torso, you either have to be very close, or a hell of a shot. David Phillips: It's okay if I roll him? Grissom: Yeah. (David rolls the body onto its side and pushes up the shirt as Catherine snaps more photos of the victim's wounds.) David Phillips: Well, no through-and-throughs. We should be able to recover some bullets from the body. Grissom: Hang on. (points) What do you make of that? (He points to the markings on the victim's bloodstained shirt.) David Phillips: Looks like he rubbed up against something. (Catherine looks around.) Catherine: Could be transfer from that railing. There's some paint flaked off of that railing. (Grissom turns and looks at the railing on the second floor.) (Quick flash of: Samay Thao is on the second floor. Someone uses a semi-automatic weapon and shoots Samay Thao. The impact form the bullets pushes him up and over the railing.) (End of flash. Resume to present.) (Grissom and Catherine make their way down the second floor hallway. Grissom checks the concrete floor along the way and finds a lot of blood spatter.) Grissom: We got blood drops. (Catherine looks over at the metal gate. Grissom looks down over the railing at the body below.) (Catherine sees metal cut.) Catherine: Gil. This looks fresh. Grissom: Hey, Brass? SHORT CUT TO: (An officer kicks the door in and rushes into the apartment. A second officer and Brass follow. A man sitting on the floor starts shouting in Laotian.) Brass: Las Vegas Police! Put the gun down! Keo Vipraxay: (shouting in Laotian) Brass: (firmly) Put the gun down! (softer) Put it down. (The man puts the gun down. Immediately, officers push him to the floor and handcuff his hands behind his back.) Keo Vipraxay: (shouting in Laotian) (then, in English) I shoot ... burglar! [SCENE_BREAK] [EXT. LAS VEGAS CITY (STOCK) - NIGHT] [INT. PALMS HOTEL - HOTEL ROOM - NIGHT] (Nick and Warrick stand at the base of the bed looking down at the body as they both put on a pair of gloves.) Nick: Julian Harper. (Warrick nods.) Nick: Wasn't he supposed to be like, uh ... (very quietly) the next Brad Pitt or something? Warrick: Yeah. Now he's the next River Phoenix. (Warrick turns as he looks around and walks into the next room where Sofia Curtis is interviewing Gerald, also known as "Blinky". He stops and stands next to her.) Sofia Curtis: All right, Gerald. Blinky (Gerald Allison): Uh, they call me Blinky. Sofia Curtis: And what was your relation to Julian Harper? Blinky (Gerald Allison): Best friends since kindergarten. Now I work for him. Sofia Curtis: What did you do for him? Blinky (Gerald Allison): Pretty much everything. You know, bought his stuff, hooked him up. Drove him to meetings. Warrick: Did you find the body? Blinky (Gerald Allison): I ordered room service. I wanted to see if he was hungry. Boom, there he was. Warrick: Did you touch or move the body in any way? Blinky (Gerald Allison): Uh, no way. No. I watch those murder shows, you know? I know to just keep my hands to myself, and, uh, call the cops. Sofia Curtis: What is with the robe? (Warrick looks at the officer standing nearby.) Warrick: Did you pat him down? Officer: He's packing a small, friendly weapon. Warrick: Would you mind standing up for us, sir? Blinky (Gerald Allison): Nah, bro, I-I-I ... kind of got the angle of the dangle going. The boing, boing, boing. Sofia Curtis: Stand up. (Uncomfortable and awkward, Blinky stands up.) Blinky (Gerald Allison): I, uh, took a Prevalis on the plane over. I been pitching a tent for, like, eight hours. Yeah, I-I think I need to consult a physician. Sofia Curtis: It's called a priapism. Just in case you were wondering. Warrick: What else are you on, man? Blinky (Gerald Allison): Oh, uh, nothing. I mean, uh, I smoked a little herb at the club, but that's it. Warrick: What about Julian? Blinky (Gerald Allison): Oh, Jules? Oh, no, he, uh ... he won't even take aspirin. You know, he's organic. You know, treats his body like a temple. Sofia Curtis: Well, we're gonna need a list of everyone who was here worshipping the temple. (She hands him her notebook and pen.) Blinky (Gerald Allison): Can I sit down? Sofia Curtis: Yeah. (In the background, we hear the shower water running.) Warrick: Did someone turn a shower on or something? Sofia Curtis: You cleared that room, right? (The officer takes out his gun and heads for the bathroom.) (Warrick and Sofia both follow. They both draw their weapons as they head into the bathroom.) (In the shower, a young woman in her underwear is on the floor in a fetal position.) Warrick: Hey! Are you okay? (Warrick tries to help her sit up. She immediately throws up.) Sofia Curtis: (calls out) Hey! We need a medic! (The young woman continues throwing up.) Warrick: And a bag for stomach contents. [SCENE_BREAK] [EXT. MOTEL - HALLWAY OUTSIDE APARTMENT -- NIGHT] (The officer escorts Keo Vipraxay out of the room. They head downstairs past Catherine and Grissom. Brass steps out of the room.) Brass: His name is Keo Vipraxay. He barely speaks English. He's south Asian, I think. Anyway, it's all clear. Catherine: Thanks, Jim. (Grissom and Catherine enter the room.) SHORT TIME CUT TO: [EXT. MOTEL - APARTMENT -- NIGHT] (Catherine looks at the end of the shot.) Catherine: Double *** buck. Standard shot is nine pellets. Grissom: That would account for all the hits. Catherine: So you're saying that a single shotgun blast, through a security door, took out two separate victims in two separate locations? Grissom: Weird, huh? (Quick flash of: [NIGHT] The cab pulls up.) Grissom: (V.O.) The cab drops Samay Thao in front of this building. (Cut to: The cab door slams shut and Samay Thao heads toward the building.) (End of flash. Resume to present.) (Grissom stands in front of the door as Catherine turns the laser on through the small hole cut in the wire door. A red dot appears on Grissom's chest.) Grissom: And the position of the blood drops gives us a pretty good idea of where Samay was standing when he was shot. He was a little shorter than me. (Catherine adjusts the laser light.) Catherine: Shots were centered on his chest, about there. (Quick CGI visual image: A blue light visualization of Samay Thao stands outside the door near the railing. He's shot and the image vanishes, leaving just the red laser pointing in the direction of the shot.) Grissom: My guess is, the cab was parked down there. (Grissom points behind him.) (Quick CGI visual image: A blue light visualization of the taxicab down on the parking lot. A gunshot fires and the taxi takes off.) Grissom: The driver peeled out when he got shot. (End of CGI visual image. Resume to present.) (Catherine takes out a measuring device and places it on the laser.) Catherine: Vertical deflection down to the cab is roughly 60 degrees. Standard shot won't spread that far. Grissom: The pellets must have come through the screen. (Quick flash of: Keo Vipraxay raises the gun and fires. The pellets go through the screen, then hit Samay Thao in the chest. Some of the pellets miss him and go on to hit the taxi driver.) (End of flash. Resume to present.) Grissom: The old billiard ball effect. Catherine: The cab driver was collateral damage. Catherine: Okay, but the man with the shotgun said he shot a burglar. What's here to steal? [START: SPLIT SCREEN] (Bottom half: Grissom looks around the room and notes the various items in the sparsely furnished room.) (Top half) [INT. PALMS HOTEL - HOTEL ROOM - DAY] (Nick puts on his protective eye gear and turns on the ALS.) Nick: Semen on the bed sheets, as well as every other flat surface in here. Warrick: (chuckles) Yeah. I've got vodka, champagne, cocaine ... Nick: Hey, hey. Pantyhose. [END: SPLIT SCREEN] (Nick picks up the pantyhose. Warrick pushes the curtains aside and lets the light into the room.) (He looks at the glass windows.) Warrick: I've got some smudges over here. (Nick steps up to the window and looks at it. Warrick kneels down to look at the floor.) Warrick: I've got some footprints. (Warrick looks at the footprints and visualizes a body standing in front of the window. End visualization.) Warrick: I think someone was standing right there. Nick: Was this guy just doing it all over the hotel room? (Quick flash of: Julian Harper presses a woman flush up against the window glass as he kisses her neck. They're both laughing. End of flash.) Warrick: If those are his footprints ... where are hers? Nick: Or her feet were up ... in the air. You tell me -- you just had your honeymoon. Warrick: You want to swab this? (Warrick hands Nick a swab.) [SCENE_BREAK] [INT. BAR -- DAY] (Sofia Curtis interviews Eva, Julian's ex-wife, as she nurses her drink at the bar.) Eva: I just don't understand. I mean, who would want to kill Julian? I mean, he'd had some weird fan mail, but I don't think any of those kinds of people would be able to get in his suite. Sofia Curtis: Were you in his suite? Eva: The ex-wife isn't exactly the best person to have around when you're looking to get laid. Sofia Curtis: Was that your choice or his? Eva: It was mutual. I'm strictly his manager now. Sofia Curtis: So if you weren't in his suite, where did you go? Eva: I was taking care of business. Checked the boys in, made sure the suite was copasetic, had a drink at Skin, and played Pai Gow until hotel security came to get me. Sofia Curtis: So how did you get to be his manager? Eva: When I was with him, he was broke. Then after the divorce, I still ... did his laundry, paid his bills, read his scripts. After a while, I wanted to get paid. Now I get ten percent of everything. Look ... I need to make some calls. Julian's parents, the studio ... can we talk about this later? Sofia Curtis: Sure. But I need your prints and your DNA now. [SCENE_BREAK] [INT. CSI - FORENSIC AUTOPSY -- DAY] (Robbins reports his findings to Warrick.) Robbins: Tox shows low levels of cocaine, alcohol and Prevalis. Rules out overdose. Warrick: Really? I guess he was just acting about the clean-living part. COD? Robbins: Asphyxia. Warrick: Asphyxiated how? Robbins: I don't know. No broken hyoid. That and the absence of ligature marks or bruises makes strangulation unlikely. Warrick: Did you find any fibers in his nose or mouth? Robbins: Nope. Warrick: That doesn't rule out suffocation. Killer could have used something that didn't shed fibers. Robbins: Or maybe they came from whoever he was rolling around with in bed. Found, uh, lubricant on his genitals, probably from a condom, and minor abrasions on his pen1s, indicative of vigorous, prolonged activity. Warrick: sx, drugs and movies: the American Dream. Robbins: Mm-hmm. [SCENE_BREAK] (COMMERICAL SET) [SCENE_BREAK] [CGI EFFECTS: STOMACH CONTENTS DRAINED] [INT. HOSPITAL ROOM -- DAY] (Warrick and Sofia Curtis interview Kate, the young woman found in Julian Harper's bathroom shower.) Warrick: Your stomach contents contain alcohol and traces of Triazolam. Katie: Try-as-a-what? Warrick: It's a sleeping pill, has you reading the inside of your eyelids for a week. Katie: I didn't take any pills. Warrick: We also found cocaine in your bloodstream. I guess you didn't take that, either? (She shrugs and rolls her eyes.) Katie: So I did a couple of lines, but I didn't take any pills. If I was gonna take a pill, I would've popped e or a perc. Sofia Curtis: Miss Villa, we found you in Julian Harper's suite. Were you ever in his bedroom? Katie: (shrugs) Who knows? I don't even know how I ended up in Blinky's room. (groans) Oh, my ... I swear, if that guy slipped me something ... Sofia Curtis: Tell us what you do remember. Katie: Um ... me and my girls were at Skin, and, uh ... Blinky came over and said he was partying with Julian Harper. (Quick flash of: Julian Harper and the woman in red are in the pimpy booth kissing.) Katie: (V.O.) And he said they had this pimpy booth, so we went over. It didn't turn out the way I hoped. (Kate turns around and sees them. Blinky is sitting next to her and offers her a drink. She reaches for the drink.) (End of flash.) Katie: And the next thing I know, Blinky's on top of me. Sofia Curtis: We could assist you in reporting a date rape. (She shakes her head.) Katie: Thanks, but no. Warrick: It's not an offer, it's our job. Katie: There's this Stuff Magazine party at Ghost Bar tonight. I'm not gonna make it harder for me to get in because I tattled on Julian Harper's best friend. I mean, if I run into them tonight ... Warrick: Julian Harper will not be there. Katie: Trust me, he will. Warrick: The coroner finished the autopsy early this morning. Katie: He's dead? Sofia Curtis: Yeah. Katie: I was in Julian Harper's suite when he died? You're kidding me, right? Sofia Curtis: And being in his suite makes you a suspect. Katie: I am? Warrick: Yes. So we're going to need to take a sample of your DNA. Katie: Oh, man. (She thinks about it and starts to smile.) Katie: I am so getting into that party tonight for sure. [SCENE_BREAK] [EXT. LAS VEGAS CITY (STOCK) - DAY] [INT. - DAY] (Sara interviews a convenience store owner.) Store Owner: Yeah, I remember that guy. He's, like, Chinese or something, real spun out. Sara: He was on meth? Store Owner: Well, he was on something. He was acting all shady. Downed a bottle of soda before he even paid for it. Sara: And that's how you knew he was on something? Store Owner: There ain't nothin' out here. People here act messed up because they are messed up. Sara: The Metro Transit Board said that he caught a Sunstar taxi from this address. Store Owner: I called it for him. Anything to get that tweaker out of here. Sara: Any idea how he got here in the first place? Store Owner: All I saw him do was walk through the door. [SCENE_BREAK] [INT. CSI - FORENSIC AUTOPSY - DAY] (Robbins shares his findings with Catherine.) Robbins: Samay Thao. I don't even need to open him up to guess COD. (Robbins checks the victim's eyes.) Robbins: Ocular inflammation. Laceration of the sclera. Hurts like hell when you get a grain of sand in your eye. Imagine this. (He takes a piece of glass out from the victim's eye.) Robbins: Bad night for Laotians. Catherine: What other Laotians are having a bad night? (Cut to: Robbins pulls out one of the tables from the morgue.) Robbins: Solo traffic collision on Mount Charleston. Came in early this morning. Noy Vipraxay. Catherine: Vipraxay? Well, that's a hell of a coincidence. Robbins: Does it mean something to you? Catherine: Yeah, he's got the same last name as the guy who shot him. In fact, Grissom said that our vic over there caught a cab at a gas station near Mount Charleston. I'll have Auto Detail bring in his car. Robbins: Sounds like your double's becoming a triple. Catherine: Unless you got any more in your drawers? [SCENE_BREAK] [INT. CSI - A/V LAB - DAY] (Nick walks into the lab; Archie is standing in front of the computer.) Nick: Hey, Archie. See if you can help me out. There was a smear on the window at the hotel. It came back saliva. So I ran it through CODIS, got a hit--felony battery on this guy, Willie Angel. (Nick hands Archie a photo of Willie Angel.) Nick: Now, he's a Las Vegas resident, but he wasn't a registered guest at the hotel. He has no affiliation with Julian's little entourage whatsoever. Archie: I think I scoped this guy earlier. Nick: Really? Archie: Yeah. Nick: Do it up. (On the monitor in front of Archie, we see that he has the security video from the hotel elevator cued up. He goes through the video and finds Willie Angel.) Archie: Yeah, there he is. Nick: Mm-hmm. Archie: (chuckles) Looking dapper. All right. (He runs the tape and notes the time when Willie Angel steps off the elevator.) Archie: 12:31 A.M. Gets off on the high-roller floor. (He runs the tape and notes the time on ELEVATOR 3 CAM when Willie Angel steps back into the elevator - this time carrying a shopping bag with him.) Archie: Hey, 2:45 A.M. Nick: Shopping bags? There's no mall on that floor. He was shopping at Julian Harper's. Archie: Enough time to shop and kill. Nick: (sighs) The Palms issued two card keys -- one to Julian, and one to his boy Blinky. But the database shows ... one, two ... three keys were used to access the suite? Archie: Well, assuming the third card was Willie's. You can't just walk up to the front desk and pull the "I lost my key" scam on a VIP suite. Nick: So ... how'd Willie get it? [SCENE_BREAK] [INT. CSI - DNA LAB - DAY] (Catherine walks into the lab and finds Hodges yawning.) Catherine: Hi. Hodges: (yawning) Sorry. I just started seeing someone. Had a bit of a late night. Let me ask you something. How do you know when it's gone from just friends to more than? Catherine: Well, if you have to ask, it's just friends. Hodges: She is making dinner for me this weekend. Catherine: Are you the only guest? Hodges: Do her roommates count? (Catherine doesn't say anything, but he catches her look. He turns reports.) Hodges: The splinter from your vic's eye has four distinct layers: polycarbonate plastic, aluminum, acrylic and dye. Being an audiophile, I prefer the sound of vinyl. Catherine: It's from a compact disc? Well, how did it end up in Samay Thao's eye? [SCENE_BREAK] [INT. CSI - GARAGE] (Catherine walks into the garage. Grissom is already there with a smashed-up car.) Catherine: Noy Vipraxay's car. Grissom: Easy for you to say. (Catherine reaches for a coat and puts it on.) Catherine: Find anything? Grissom: Take a look at this. Gravitational pooling directly under the steering wheel. (Inside the car, there's a large amount of blood on the steering wheel and a big pool of blood on the floor.) (Quick flash to: The car is at the bottom of the hill.) Catherine: (V.O.) The car was found at the bottom of a steep incline. (End of flash. Resume to present.) Catherine: So he was leaning over it when he bled out. Grissom: Except he wasn't. Take a look. See this? (He shines the flashlight on the crime scene photo he has out on the roof of the car. It shows Samay leaning against the driver's window.) Grissom: (cc) These were taken at the crash site. (audio) If he'd have bled out in the position he was found, there'd be blood on the door, not under the steering wheel. (He points to the door in the photo. Catherine turns and looks at the bloodless car door behind her.) Catherine: So someone moved the body? Grissom: There was plenty of mud at the scene, and Samay had mud on his pants. Now, maybe we can match soil samples. (Catherine looks at the CD player in the car.) Catherine: Hang on. (In the CD player is a broken CD. Catherine reaches in and removes the disk.) Catherine: Trace came back on the splinter that was in Samay's eye. It was a CD fragment. Samay was in this car. Sara: (o.s.) Hey, guys. (Sara walks into the garage. She's reading an open file folder.) Sara: I got work card hits off prints from the two dead Laotians and the shooter. Grissom: We already know their IDs. Sara: Well, did you already know that they all worked together? [SCENE_BREAK] [VARIOUS CUTS OF WORKERS AT A LAUNDRY BUSINESS] [INT. LAUNDRY BUSINESS -- DAY] (Brass interviews Joe Cavanaugh, the owner of the laundry business.) Brass: So Samay Thao worked for you? Joe Cavanaugh: Yeah, runs the dryers. Brass: When was the last time you saw him? Joe Cavanaugh: He's been off a couple days now. Brass: Did you know, uh, Noy or Keo Vipraxay? Joe Cavanaugh: Sure. They work here, too. Brass: They brothers or cousins, or what? Joe Cavanaugh: Brothers. Keo's older. I hear they got six more back in Laos. They work swing -- they're on at 4:00. Brass: Were they friends of Samay's? Joe Cavanaugh: No! No way. Keo and Noy are Lao Loum. They're lowlanders. Samay's Hmong; he's in the hills. They're born to hate each other. Some tribal crap. What kind of trouble are they in? Brass: The kind where you stop breathing. Noy's dead -- car accident. Samay's dead, too -- Keo shot him. (Joe Cavanaugh turns and sees one of the workers lighting a cigarette. He starts shouting to him in Lao.) Joe Cavanaugh: (shouts) (untranslated Lao) (The worker turns and quickly puts the cigarette out.) Joe Cavanaugh: (shouts) (untranslated Lao) (The worker goes back to work.) Brass: You speak Lao? Joe Cavanaugh: And Thai, Vietnamese, Tagalog. I pulled a stint straight out of high school. I got southeast Asia; lucky me. Brass: Yeah, I know how you feel. Joe Cavanaugh: Did Keo tell you what happened? I mean, his English isn't very good. (Brass looks at his watch.) Brass: No, we're, uh, we're still waiting on an interpreter. Joe Cavanaugh: If you need any help, you let me know. Brass: Yeah, maybe ... maybe I'll take you up on that. (The owner turns and walks away.) Joe Cavanaugh: (shouts) (untranslated Lao) [SCENE_BREAK] [INT. HOTEL - KITCHENS / CASINO] (On one floor, the kitchen workers are busy cleaning the dishes. Camera continues upward. On the next floor, the chefs are busy preparing meals. Camera continues upward. On the floor above that is the casino main floor.) (Sofia Curtis walks up to Willie Angel, who is playing a slot machine. Nick and a couple of officers follow her.) Sofia Curtis: Willie Angel? (He doesn't answer her.) Sofia Curtis: You can't fool the eye in the sky, Willie. There's a lot of people looking for you. Willie Angel: Okay, you got me. What do you want? (She motions to the officer and they step closer to Willie, who stands up.) Willie Angel: Hey, what are you doing? (They start to search his pockets.) Willie Angel: Hey, you can't do that. (She holds out the warrant.) Sofia Curtis: Oh, this here says we can. (The officer finds in one pocket that Willie has a card reader. He hands it to Nick.) Nick: Ho-ho-ho! Slick Willie. Look out now. (Sofia reaches into Willie's other pocket and takes out a handful of cards.) Sofia Curtis: You collect card keys, Willie? Willie Angel: I won at those places. Sofia Curtis: Really? Willie Angel: I hang on to them for good luck. Nick: Well, I bet you're real lucky with this cheap magnetic stripe reader and palm top, huh? (to Sofia) You know you can get into most hotel rooms in the city with this thing? (Quick flash to: Willie stands in the casino behind one of the large machines and punches the information into the stripe reader. He swipes the card.) Nick: (V.O.) You take the old card key, you input the room number, a little magnetic encoding ... (Quick CGI POV: The machine puts the information on the new card.) (End of flash. Resume to present.) Nick: ... and Bob's your uncle. [SCENE_BREAK] [FLASHBACK] (Willie swipes the card into the security lock. He opens the room door.) Nick: (V.O.) You used the card to open the door. You get into his suite and hide. (Willie hides behind the curtain, against the window.) Nick: (V.O.) Julian comes back - (cc) drops his wallet and takes off his watch - (audio) he falls asleep. (Willie steps out from his hiding place and starts picking up the things off the bedside table.) Nick: (V.O.) You rob him blind. (Julian Harper stirs.) Nick: (V.O.) But he wakes up. So it's kill him or go back to jail. (Julian Harper sits up in bed and sees Willie Angel.) Julian Harper: What the ... ? Who the hell are you? (End of flashback. Resume to present.) [INT. POLICE DEPARTMENT - INTERVIEW ROOM -- DAY] (With a hand to his forehead, Willie's eyes are closed.) Willie Angel: Stop, okay? Just stop. (He looks at Nick and Sofia sitting across the table from him.) Willie Angel: I was in his suite. And, yeah, I'm a thief. But I didn't kill anybody. Nick: You were in his suite for over two hours, man. That's more than enough time to snag a couple shopping bags. Willie Angel: 'Cause that sick, rich freak wasn't going to sleep. He was banging some blonde for, like, two hours. (Quick flash of: Willie is stuck in his hiding place while Julian and the blonde-haired woman are on the bed. He shakes his head. End of flash.) Willie Angel: Talk to her. Sofia Curtis: We're talking to you. Willie Angel: (sighs) I don't know what the hell they were doing, but when she left, he wasn't moving. I thought he was asleep. Then I saw the news this morning. If it's a killer you're looking for, talk to the girl in the red dress. [SCENE_BREAK] [EXT. LAS VEGAS CITY (STOCK) - DAY] [INT. POLICE DEPARTMENT - INTERVIEW ROOM -- DAY] (Brass interviews Keo Vipraxay.) Brass: We believe that Samay Thao killed your brother and tried to make it look like an accident. (He looks across the table at Joe Cavanaugh and nods. He starts translating.) Joe Cavanaugh: (in Lao) (untranslated) (When he's finished, he turns and looks at Brass.) Brass: Did you know about it? Joe Cavanaugh: (in Lao) (untranslated) Keo Vipraxay: (in Lao) (untranslated) (Brass watches Joe Cavanaugh translate.) Joe Cavanaugh: (in Lao) (untranslated) Keo Vipraxay: (in Lao) (untranslated) (He looks at Brass.) Keo Vipraxay: (in Lao) (untranslated) Joe Cavanaugh: He says he thought Samay was there to rob him. That's why he shot him. [SCENE_BREAK] [ELEVATOR 3 CAM] (At 12:56, Julian Harper is holding the woman in the red dress. Also in the elevator is Blinky with two other women. The elevator stops and everyone gets off the elevator) [INT. CSI - A/V LAB] (Camera pans out and we find Archie, Nick and Warrick going over the security camera footage.) Archie Johnson: The girl in the red dress gets off with Julian's entourage at (He shows footage of the girl in the red dress entering the elevator.) Archie Johnson: Then gets back on at 2:33. Nick: Certainly looks like she's been through something rough. (Archie sees something and smiles.) Archie Johnson: She forgot her pantyhose. (He enhances the focus on the girl's legs.) Nick: Good eyes. Archie Johnson: Great legs. Warrick: Been a while, Arch? Nick: Can you follow her out? Archie Johnson: Yeah. I just got this footage ... (Archie goes to work as Greg walks into the lab.) Greg: Hey, I heard you guys are having trouble with the Julian Harper case. Warrick: Who'd you hear that from? Greg: Ecklie. He's putting me on it. Nick: Man, you gotta quit kissing his ass. (Warrick chuckles.) Archie Johnson: All right, fellas, check this out. (Archie finds the footage of the casino floor and they watch as the girl in the red dress steps out of the elevator.) (Eva runs out of the elevator and catches up with the girl in the red dress.) Warrick: Okay, that's Julian's manager. (They watch as Eva puts some money in the girl's hand. Eva leaves.) Archie Johnson: Whoa, whoa, whoa. Hang on. (Archie rewinds the footage. They watch as Eva takes some money out of her back pocket and gives it to the girl in the red dress.) (Archie enhances their hands.) Nick: That's got to be at least a few G's. Greg: She a hooker? Warrick: I don't know. I think she could be the killer. Nick: Solicitation murder? Manager pays to have her client whacked. (Archie follows the cameras and they watch as the girl in the red dress goes to the bag shop.) Archie Johnson: She went shopping. Warrick: Wait a minute. What kind of hired killer takes their payoff and goes to the mall? Archie Johnson: I don't know. (Archie fast-forwards, freezes and enhances the girl in the red dress as she fills out the form.) Archie Johnson: This one put herself on a mailing list. (reads) Tally Jordan. There's the phone number. [SCENE_BREAK] [INT. CSI - INTERVIEW ROOM 1] (Warrick interviews Tally Jordan.) Tally Jordan: You call my cell, I answer, and we talk. And then you guys show up and arrest me at the pool, in front of my friends. Is that fair? Warrick: You left Julian Harper's room at 2:33. A couple of minutes later, you're taking money from his manager. Tally Jordan: I'm not a prostitute. Warrick: Couple hours later, Julian's dead. Tally Jordan: Okay, this is crazy. I would never even think of killing Julian Harper. I've been a fan of his since he was doing cereal commercials. Warrick: Oh, so you stalked him? Is that it? And then you killed him? Tally Jordan: I'm in Vegas for a speech tournament - (off their skeptical look) -- Okay, a school-supervised trip. Does that mean that my school is stalking him, too? Warrick: Is the club Skin on your school schedule? Tally Jordan: When I found out that Julian was going to be in Vegas at the same time I was, I freaked. Okay, I wanted a look, an autograph, or a picture at most. And what I got was incredible. (Quick flash of: Tally turns and looks at the blonde-haired woman next to her.) Blonde Woman: Go for it. You're the one he wants. (Tally turns and kisses Julian Harper.) (End of flash. Resume to present.) Tally Jordan: It was like I was in one of his movies. Until he kicked me out of bed and ... and then I get off the elevator, and there's his manager handing me a wad of money. (Camera swings over to the next interview room.) [INT. CSI - INTERVIEW ROOM 2] (Sofia interviews Eva.) Eva: I tip all the girls Julian's with. Sofia Curtis: So you're his pimp? Eva: It keeps them from running their mouths. It protects Julian's image. It's just a part of managing his career. [INT. CSI - INTERVIEW ROOM 1] Tally Jordan: I had sx with Julian because I wanted to. Warrick: But you took the money, and you bought a purse with it. (Warrick indicates the purse on the table in front of her.) [INT. CSI - INTERVIEW ROOM 2] Sofia Curtis: I had a conversation with Julian's lawyer. And he said you weren't only his ex-wife, you were about to be his ex-manager. That piss you off? Eva: His lawyers and his agents don't like me. They pressured him to drop me. But Julian and I are family. That wasn't going to happen. [INT. CSI - INTERVIEW ROOM 1] Tally Jordan: Eva said if anyone asked, Julian was a gentleman. Later he took me out and got me a Katherine Baumann purse. It's a much better story to tell my friends. [SCENE_BREAK] [CRIME SCENE PHOTOS] (Various photos of the two crime scenes.) Grissom: (o.s.) Samay and Noy go for a drive after work. (Quick flash to: [NIGHT] The car is parked.) Grissom: (V.O.) They stop at Mount Charleston. (The two men are talking in the car when Samay grabs Noy and smashes his head hard against the steering wheel several times.) Grissom: (V.O.) Samay kills Noy ... (Noy struggles and smashes the CD; a piece of it gets into Samay's eye. He groans with pain.) (He turns, grabs Noy and continues to smash his head against the steering wheel.) Grissom: (V.O.) ... and makes it look like an accident. (Cut to: [NIGHT] The car is off the steep hill.) (End of flash. Resume to present.) [INT. CSI - LAB] (Grissom, Catherine and Sara are looking at the photos from the various crime scenes.) Grissom: And then he goes to Keo's apartment and Keo shoots him, claiming self-defense. Catherine: I don't buy it. Keo shot him from the other side of a locked door. He was waiting to blow the guy away. Grissom: Which indicates that Keo knew Samay was coming. Sara: Maybe he hired Samay to kill his brother, and then he decided to cut him out of the deal. Noy had a life insurance policy issued through his union, worth ten grand. Catherine: Life's getting cheaper. Who's the beneficiary? Sara: Keo was the primary, but check this out. Half the payout goes to Joe Cavanaugh. [SCENE_BREAK] [INT. POLICE DEPARTMENT - BRASS' OFFICE] (Brass, Grissom and the interpreter review the tape of Joe Cavanaugh "interpreting" for Keo.) Joe Cavanaugh: (in Lao) (untranslated) Brass: He's not a court-approved translator. That's why I taped it. I just didn't tell him. Interpeter: So far, he's saying what you asked him. (The time/date stamp on the recording is: 5:33 PM (The interpreter translates.) Interpeter: "You must help me. That's why I'm here. Just tell them what they want to know." This is the part that's different. Keo Vipraxay: (in Lao) (untranslated) Interpeter: "There are many things I can tell him about you, so you tell him this: "Samay came to my home. I was afraid. I thought he was there to rob me or kill me. So I shot him." Brass: So our interpreter is hiding something. Grissom: Well, that's not lost in translation. [SCENE_BREAK] [INT. LAUNDRY BUSINESS] (The workers are busy. Brass walks through with a couple of officers. He heads for Joe Cavanaugh's office.) Brass: Mr. Cavanaugh, can you come out here, please? (Joe Cavanaugh stands up and steps out of the office.) Brass: We're going to have a private chat. Let's go. (One of the officers takes Cavanaugh by his arm and leads him back out the way they came.) (As he walks by, one of the workers takes out a cigarette and lights it.) [SCENE_BREAK] [INT. LAUNDRY BUSINESS - BASEMENT] (Brass talks with Joe Cavanaugh.) Brass: In the interview, remember Keo said, "There are many things I can tell them about you"? You didn't tell me that. You left that part out. Why? Joe Cavanaugh: I told you what he said. You're not arresting me because I screwed up my translation? Brass: You're a co-beneficiary of Noy Vipraxay's life insurance, right? Joe Cavanaugh: So what? I help my guys try to get a little security for their families. I help them in a lot of ways. Driver's licenses, green cards ... Brass: Oh, what, what? Out of the goodness of your heart? Come on, they have to come to you. Joe Cavanaugh: Without me, they're back in a rice paddy making three cents a day. Look, some of these guys put me on their policy. It's their way of saying "thank you." Brass: So when one of your guys kills another one of your guys, you make money out of it? We both know that insurance companies don't even investigate claims under ten grand. So you get a free pass. Joe Cavanaugh: You don't really think I'd have somebody killed for five grand? Brass: I've seen it done for a lot less. Joe Cavanaugh: That don't mean I did it. There's new casinos that open all the time. They all got laundries. I bring home 15 G's a month on the side. So I am not going to bend over a dollar to pick up a dime. [SCENE_BREAK] [INT. CSI -- DNA LAB] (Warrick and Nick walk into the DNA lab and up to Hodges who is looking through a scope.) Warrick: Hodges, do you have the results on the fibers that we dropped off to ... ? (Warrick stops as he gets a good look at Hodges, who is sleeping.) Warrick: Hodges? (Hodges doesn't move. Warrick looks at Nick.) Warrick: Dude. He's asleep. (Warrick and Nick both laugh.) Nick: (loudly) Let me guess! ... (Hodges is startled awake and sits up abruptly.) Nick: (normal voice) ... the fibers are wool. Are you bagging Z's right now, man? Hodges: I was just having the greatest dream. Warrick: You were out. Hodges: It was the '80s and I had this Don Johnson beard, you know, the Miami Vice stubble. It just gave me this air of danger. My lady loved it. (Warrick nods.) Um, I found two types of fibers on your guy's chin: cotton and a polyester-Lycra blend. Both dyed black. (He gets up and lets Nick have a seat at the scope for a look.) Warrick: Dyed black? The bedding might have been cotton, but it wasn't black. (Nick looks through the scope.) [SCOPE VIEW: BLACK FIBERS] (Warrick continues.) Warrick: The comforter and draperies may have been poly, but they weren't black, either. Nick: I bagged some black socks and some black pantyhose. [SCENE_BREAK] [INT. CSI -- LAB] (Warrick is looking at the socks under a lit magnifying lamp.) Warrick: This could be the source of the fibers. He wasn't suffocated with his crew sock. (He drops the sock and picks up the pantyhose.) Warrick: (to Nick) Did you notice the burn mark on the knot in these pantyhose at the crime scene? Nick: No. No, they were all balled up. I just bagged them and tagged them. (Nick looks at the burned pantyhose under the magnifying lamp.) Nick: Oh, yeah. Yeah, we've got to get this to DNA. [SCENE_BREAK] [EXT. LAS VEGAS CITY (STOCK) - NIGHT] [INT. CSI - DNA LAB -- NIGHT] (Greg is back in the lab. Warrick and Nick are walking up to him from behind, both talking loud enough for him to hear.) Nick: I thought Greg was in the field. Is he back in the lab? Warrick: I don't know. Nick: We've got to clear this up. It's like he's confused. Lab, field, field, lab. We have a lab on wheels. Greg: How about you guys just shut up, all right? I'm doing this as a favor for Ecklie. It's a one-time thing. He's still interviewing lab techs. Warrick: You making overtime? Greg: I'm taking one for the team. Warrick: Mm-hmm. NICK: Mm-hmm. Warrick: Tell me about these pantyhose. Greg: Well, I found Tally's epithelials on the inside, which is no surprise, since she was wearing them. (Warrick looks through the scope.) [SCOPE VIEW] (Warrick sees skin cells on the pantyhose fibers.) (Greg continues.) Greg: I also found black cotton fibers on the outside -- highest concentration near the crotch. Insert joke here. Nick: The vic had a pair of black cotton socks. Warrick: Well, I did find black cotton fibers under his chin. Nick: Okay, transfer from the sock to the pantyhose, to the neck. So the sock was in between the pantyhose and the neck? Greg: Padding. BCP, breath control play. (Warrick nods.) Greg: Couples increase their partner's pleasure through strangulation. And if you're not careful, it leaves marks. Warrick: Yeah, this guy Julian Harper's an actor, so I'm sure he didn't want bruises on his neck to be showing on camera. Nick: There were only two girls in the suite. Which one of them killed him? [SCENE_BREAK] [INT. PALMS HOTEL -- BEDROOM] (Warrick and Nick are standing in the bedroom looking around.) Nick: Burnt pantyhose. Okay, evidence of sx games gone wrong. Warrick: I don't see how we could have missed anything. There's no fireplace here. I haven't seen any lighters. Nick: Well, something singed the hose. (Warrick looks around as Nick puts his kit down. Warrick finds something black on one of the wall lamps.) (Zoom in for camera close-up of the burnt black substance.) Warrick: Hey. Nick: Hmm? Warrick: There's some burnt residue on this lamp. (Warrick puts the residue in a bindle.) Warrick: You know what I think? I think someone tied him up, and they couldn't get the knot undone, because it melted. So they panicked. And they pulled the hose down. (Nick nods.) Warrick: I'll print the light. [SCENE_BREAK] [INT. POLICE DEPARTMENT - INTERVIEW ROOM] (Sofia Curtis and Warrick interview Blinky.) Warrick: I guess even having an unlimited supply of hot women is not enough, huh? Bondage sx with your best friend? Sofia Curtis: It's cool, you guys were on the down low. Blinky (Gerald Allison): I don't understand. Warrick: Well, we found both your prints and Julian's prints on a light fixture above the bed. (He tosses the LAS VEGAS POLICE DEPARTMENT AFIS REPORT toward Blinky. It has a single print on the center with his name on the bottom: ALLISON, GERALD ALIASES: BLINKY Blinky (Gerald Allison): Whoa, whoa, whoa, whoa. We were not down like that. (Quick flashback to: The bedroom door opens and Blinky walks in, calling out to Julian Harper.) Blinky (Gerald Allison): Rise and shine, buddy! Room service. (His eyes widen with horror as he sees his friend on the bed, the black hose still around his beck and tied to the lamp.) Blinky (Gerald Allison): Dude, Julian? (He goes over to his friend and removes the hose from around his neck. Julian falls face down on the bed.) Blinky (Gerald Allison): (V.O.) He did it to himself. He did it to himself. So, I took the pantyhose, and I took them off the light. (The hose starts to melt on the hot lamp.) (End of flash. Resume to present.) Blinky (Gerald Allison): And then I put his boxers back on. I wasn't going to let his mom open up US magazine and see her boy like that. Jules, he always did me right. Now I just wanted to do him the same. [SCENE_BREAK] [INT. CSI - HALLWAY] (Catherine and Grissom walk through the hallway.) Catherine: I got the serial number rundown from Keo's shotgun. He bought it last week, two days before he shot Samay. Grissom: The guy's barely scraping by, and he spends $250 on a brand-new Mossberg? Catherine: There's a word for that. "Premeditation." [SCENE_BREAK] [INT. POLICE DEPARTMENT - INTERVIEW ROOM] (Brass interviews Keo Vipraxay with his lawyer and an interpreter sitting next to him.) Brass: Your brother gets killed. You killed the guy who did it with a shotgun you just bought. And end up $5,000 ahead. (Keo turns and looks at the interpreter.) Interpeter: (in Lao) (untranslated) Brass: In Nevada, that's murder one. Twenty years to life. Unless you get the death sentence. Interpeter: (in Lao) (untranslated) Lawyer: What are my client's options? Brass: A full confession. We make a recommendation to the DA; maybe he gets murder two. Interpeter: (in Lao) (untranslated) (He shakes his head. The interpreter stops. Keo turns and looks at Brass.) Keo Vipraxay: (in English) I brought Noy here to help me. Brass: What? Keo Vipraxay: To work hard and save. To bring our family here. Our parent. Our sister. My wife. Instead he waste the money--on the DVD, gambling, clothes. Keo Vipraxay: Noy's life was worthless. His death is not. [SCENE_BREAK] [EXT. LAS VEGAS CITY (STOCK) - NIGHT] [INT. CSI - GRISSOM'S OFFICE -- NIGHT] (Grissom is in his office. Warrick knocks on the door. He looks up.) Warrick: Griss, we closed that actor case. Grissom: And? Warrick: Accidental death as a result of auto-erotic asphyxiation. Grissom: Strangled himself to death to enhance his own pleasure. (Warrick nods.) Grissom: It was in the days of public hangings that people first noticed that men would get erections and sometimes even ejaculate. They called it "The Killer Orgasm." Warrick: It's a waste. Guy had everything -- money, fame ... Grissom: Yeah, look where he ended up. CUE SONG: "Mad World", Gary Jules [SCENE_BREAK] [INT. MORGUE] Lyric: All around me are familiar faces, worn-out places, worn-out faces (The gurney carrying a body is wheeled down the hall. The identification tag around the body's big toe reads: N. VIPRAXAY A. ROBBINS C. WILLOWS (The gurney table stops next to a second body with the tag that reads: HARPER, JULIAN DR. ROBBINS W. BROWN Lyric: Bright and early for the daily races going nowhere, going nowhere (TOP VIEW DOWN: The two dead bodies are side-by-side.) (Someone pulls a sheet over the first body over his face.) Lyric: ... Mad World ... (Camera rises to show the face of the second body. Someone pulls the sheet over the second body to cover his face.) Lyric: ... Mad World ... Summary:	Nick and Warrick investigate the suspicious murder of a young movie star who is found dead after a night of partying in his hotel suite. Meanwhile, Grissom, Catherine, and Sara uncover two murders among the immigrant laundry workers from the same hotel.	95	50,069	50,071	50,071	... [The rest of the episode script is omitted]
fd_Alias_01x04	fd_Alias_01x04_0	You are given a script of a TV episode. Summarize the episode in a paragraph. Episode Script: (Continuing from last week. Sydney and Ana kneel in front of the case, staring at its contents. It starts to beep. Acid starts bubbling up through two tubes at either side of a piece of paper which is centered inside. It has binary digits written on it -- 0s and 1s. Ana and Sydney start memorizing it, saying out loud. The acid starts covering the piece of paper. The sheet disintegrates. They stand.) SYDNEY: Did you get it? ANA: Did you? (They take off, running in opposite directions.) SYDNEY: Dixon, I'm ending transmission! (Inside the SD-6 van, an agent sits with Dixon.) AGENT: She turned off her mic, I've lost her signal. (Sydney runs through the alley of the field.) SYDNEY: 0-0-1-0. Did you get that? (Vaughn is still in L.A.) VAUGHN: Got it. SYDNEY: I'm giving SD-6 the wrong number! VAUGHN: What? No, no, no, no, you give them exactly what-- SYDNEY: I'm not giving them the right sequence! There is no way, forget it! VAUGHN: Sydney, listen to me! This is critical! Sydney, you give them the number. That's an order. SYDNEY: An order? VAUGHN: Yes. SYDNEY: We have to have a long talk when I get back to Los Angeles! (Sydney runs up to the SD-6 van and crawls in.) SYDNEY: Dixon, I've got the code! 0-1-0-0-0-1-1-0-0-- (In the K-Directorate van, Ana tells the code to her agents.) ANA: Null, adin, null, adin-- (Sydney and the agents in the van, Dixon takes it down.) SYDNEY: 1-0-0-0-1-1-0-0-1-1-1. Just two ones. Then-- (In the K-Directorate van.) ANA: Null, adin, null, adin, null, null, adin, null-- (SD-6 van.) SYDNEY: 1-1-0-1. That's it. 1-1-0-1. DIXON: You did good. (In Los Angeles, inside a yellow parked van. Sydney, Vaughn and Weiss.) SYDNEY: You do NOT give me orders! VAUGHN: Maybe I do-- SYDNEY: I could have easily misled SD-6-- VAUGHN: You're not thinking this through! SYDNEY: ...That's what I'm here for! VAUGHN: Just stop talking for a second! If you'd given SD-6 a bogus code, what would have happened when Ana gave K-Directorate the correct sequence? SYDNEY: Who cares? They would have thought I made a mistake! VAUGHN: Oh, and what, that Ana didn't? She would've given them the correct code, they would have seen the code indicate at Athens, K-Directorate would head there, SD-6 would have nothing. They would suspect you. Sydney, we have to be very careful here. We have to be wildly, crazy careful. If SD-6 suspects you in the least, it's over. SYDNEY: Ana's been the enemy for three years. In Berlin I realized she wants SD-6 to burn almost as much as I do. VAUGHN: As far as the C.I.A.'s concerned, the only thing worse than SD-6 getting its hands on critical information is if K-Directorate gets it first. Ana is still your enemy. (Credit Dauphine. Sloane and Russett walk together.) SLOANE: You're not into mysticism, are you? RUSSETT: Mysticism. SLOANE: Neither am I. But keep an open mind, it'll help. The code was written in 1489. The guy who wrote it was some sort of Nostradamus. His name was Milo Rambaldi. RUSSETT: This binary was witten by a fifteenth century fortuneteller. How come I've never heard of him? SLOANE: His designs were so advanced, they just assumed he was insane. On some of his drawings, he made lists of part numbers. I.D. numbers of actual technology not manufactured until now. This year. It's real, it's a hunt. This man spent the last ten years of his life working on one project. We don't know whether it's a weapon, a fuel source, a transportation system. Based on the little we do know, its technology is beyond anything we have ever seen. How's your wife? I forgot to ask. RUSSETT: Uh, good. Yours? SLOANE: Actually, Emily's a bit under the weather. Thanks for asking. Come on. (They enter the board room where Marshall and Sydney sit.) SLOANE: Did you read the report? SYDNEY: They found nothing. SLOANE: This is Anthony Russett, he's transferring here from Jennings. He's working on the UCO file. You've already met Marshall. This is Sydney Bristow. RUSSETT: I know your father. SLOANE: We read the code you recovered. Accordingly, we sent a team to Athens. So, I just got a phone call from SD-3, he said there was no evidence to anything pertaining to Rambaldi. And we were there first. Turns out, we made a giant mistake. But so did K-Directorate. MARSHALL: In our rush to decipher the Rambaldi enigma, we misinterpreted the code. It left us with two series of digits. We assumed longitude and latitude. But he was using a compression scheme. I should have seen that. Instead of sending a team to Athens, we should have been headed to Malaga, Spain. SLOANE: Which is where you're going. There's a five-hundred-year-old church sitting on the exact site of Rambaldi's coordinates. SYDNEY: What am I looking for? SLOANE: We don't know. The only clue we have, if it is indeed a clue, are two words that were part of a code: Sol d'oro. RUSSETT: Golden sun. (Malaga, Spain. Sydney shines a flashlight in the church, she looks over the pews for the clue. She looks around, turns to see the painted glass window at the back of the church. In the center is a golden sun. Sydney takes a desk and stands on top if it. She touches the golden sun and unscrews its center. The golden circle is the clue. She looks at it in her hands, and jumps down. Ana, from behind her, takes her by the throat and snatches the golden sun away from her.) ANA: I was hoping you'd come. (Sydney kicks Ana and Ana's gun goes sliding down the floor. Sydney punches her, roundhouse kicks. Ana drops the sun. Sydney flips Ana and dives behind a pew while Ana fires her gun at the pews, destroying many of them. Sydney flinches while on the floor, covering her head. She sees the sun lying nearby. Ana slinks closer with her gun in hand. She sees the sun, bends down and gets it. Sydney comes up from behind and hits her on the head with a wooden post with religious markings on it. The gun flies. Ana grabs a long candle stick holder and slaps Sydney in the head with it. Sydney lands on her back on a table. Sydney grabs Ana's hand and holds it above all the candles that are lit. Ana snatches her hand away, yelping in pain. Sydney quickly moves and handcuffs Ana's hand to the table post. She struggles like a caged animal. Sydney takes the sun, and walks out.) (In Sydney's house, Sydney and Francie sit on the sofa eating Chinese food. Sydney holds the matchbook, looking at it.) SYDNEY: You haven't said anything to Charlie? FRANCIE: I needed to talk to you first. SYDNEY: It's just a matchbook with someone's number. FRANCIE: Yeah, someone named Rachel who "truly loved tonight." SYDNEY: You have to ask Charlie about it. FRANCIE: Yeah. SYDNEY: I mean, what else are you going to do? FRANCIE: Have you ever spied on anyone? Okay, I know it's totally beneath me, but Charlie has been so distant lately, and every time I ask him what's wrong, he's like, "Nothing, baby. Everything's cool. It's all fine." SYDNEY: You don't believe him. FRANCIE: He has law review in an hour. SYDNEY: You want to follow hm. FRANCIE: So much, I cannot even tell you. SYDNEY: I think spying on your boyfriend generally sets a bad relationship precedent. FRANCIE: What if he's cheating on me? (Across the street from Francie and Charlie's house, Sydney and Francie sit in Sydney's vehicle. Francie eats some candy.) FRANCIE: You're a really good friend, you know that? SYDNEY: Yes, I do. (smiles) So, this thing happened with Will the other night. FRANCIE: What, did he come on to you? SYDNEY: No, no. I kissed him. FRANCIE: What? You kissed Will Tippin? Are you kidding me? SYDNEY: I know. Stop it. We were in the apartment by ourselves after you and Charlie left and we had all those drinks... FRANCIE: I don't believe it. You must have been really drunk. Hey, there he is. Start the car, start the car. SYDNEY: No, you wait 'til he's a block away. FRANCIE: Look at you getting all into it. SYDNEY: Everyone knows you wait. FRANCIE: I don't know you wait. SYDNEY: You wait. FRANCIE: What's he doing? (A car pulls up beside Charlie, its horn honking. Charlie walks over to the driver's side. A blonde woman gets out, and hugs him. They kiss briefly. Sydney looks at Francie. Charlie puts his duffel bag in the girl's trunk. Francie looks devastated.) FRANCIE: Okay. I guess he's not going to law review. (Will's office. He's on the phone, sitting at his desk. Jenny stands nearby.) WILL: H-E-C-H-T. You're certain? Okay. Thank you. I promise, I won't call again. (hangs up) Danny was supposed to be registered at a medical conference in Singapore. JENNY: You already told me. Litvack wants the baptist church copy. WILL: But I checked all the conferences twice. He's not registered at any of them. JENNY: I know... (His phone rings.) WILL: Will Tippin. (Sydney's at her house, watering plants.) SYDNEY: Hey, it's me. WILL: Hey. Hi. Uh, how'd your trip go? SYDNEY: Okay. How are you? WILL: Good. Uh, uh, busy. Listen, you don't feel weird about what happened, right? SYDNEY: A little. WILL: Me too. What is that? SYDNEY: We'll talk about that later. Listen, Francie and I saw Charlie last night with another woman. WILL: What? You're kidding. SYDNEY: Yeah. She spent the night at my place. She's here now, she's sort of a mess. WILL: Oh, God... SYDNEY: And the bank called. Uh, I might have another trip. WILL: You take an insane amount of trips. SYDNEY: Would you mind dropping by later? Just check on her and make sure she's okay. WILL: No, yeah, yeah, yeah, of course. SYDNEY: Thank you. I should go. WILL: Okay. Go. I'll talk to you later. Bye. (He hangs up. Jenny stands there, watching.) JENNY: That was Sydney. You're different when you talk to Sydney. WILL: Don't analyze me. Go. Can you get me the number of, uh, the guy who works for the airport? What's his name? Luis Scourza? What? JENNY: If you want me to do something for you, you say please. WILL: Please. Scourza, okay? You know, "please" is implicit, Jenny! (Credit Dauphine. Sydney is at her desk, filing something. She sees her dad walking through. She gets up.) SYDNEY: Dad. You have a meeting with Sloane? MR. BRISTOW: McCullough. SYDNEY: Psych evaluation? MR. BRISTOW: Routine. It's nothing I'm not used to, nothing I look forward to, but, uh, such is the nature of the job. SYDNEY: So, Berlin. It worked out. My meeting with K-Directorate. We got the code. That was smart. MR. BRISTOW: Well, I should go. I'll see you later. SYDNEY: Dad... could we have dinner? How about Thursday, do you have plans? MR. BRISTOW: No. Thursday. Dinner. That'll be fine. (Board meeting. Sloane, Russett, Dixon, Sydney, Marshall.) SLOANE: Analysis is working full-time on the piece you brought back from Spain. This is not glass. They know that. It's a synthetic polymer. They believe it was made at least five hundred years ago. DIXON: Before there were synthetic polymers. SLOANE: And so the mystery continues. Meanwhile, we have another situation. This is last year's United Commerce Organization. Administerial conference. A number of groups led planned attacks against the proceedings. Zero defense among them. Word is they're planning to attend the conference this year in Sao Paulo. RUSSETT: Luc Jacqnoud should be landing in Morocco within the next forty-eight hours. SYDNEY: I thought he was in Le Sante for stabbing a police officer. RUSSETT: Released twenty-six months early. He's obviously got ties to French justice. Intel reports he'll be in Morocco to meet a client. DIXON: I.D. on the client? SLOANE: None. That's your job. You're Kate Jones, and Justin Bernell. You're traveling with Mindspring Learning Tours. You arrive on Wednesday. Your objective is to monitor the meeting, I.D. the client, and make sure whatever Jacqnoud is up to, doesn't happen. SYDNEY: Is Mochtar the contact? SLOANE: He's meeting you at the airport. (to Russett) This is an Egyptian commando. We recruited him two years ago. Marshall. MARSHALL: (standing) Okay. Ahem. How is, uh, everyone? Hi, or -- right. Okay. You're going in with the usual tech -- camera, comm gear, and sat relay, but this-this is new. (holds up a purse) Now, this looks just like a normal purse that you would wear out with going out with your lady friends. Put your feminine things in there, but, a parabolic microphone. (points to center of the design) Has a laser transmitter that works in a three hundred yard radius, and oh, and I also added a low frequency tantalum wind filter that will eliminate any unwanted sounds below a hundred and fifty hertz. Not that you're going to be in any wind. I mean, you're probably not going to be in any wind, but let's say that you were in some wind, you know, like a light breeze, like a (whistles). Or even a strong wind, like, a gust, like a (blowing air). This? Nothing. Silent. Wind filter. (sits) (Inside psych evaluation room. Mr. Bristow has pads over his face for monitoring purposes. Machines beep around him. McCullough sits nearby.) MCCULLOUGH: You feel light, thin air, and as you continue moving downward, you feel more and more relaxed. The escalator continues down and the closer you get to the light, the more relaxed you feel. (We see inside Jack's mind. An escalator.) MCCULLOUGH: (voice over) The escalator seems to continue forever, and you feel safe and relaxed. (White light. In Jack's mind, we're transported to a baby's room. A crib sits in the corner with a stuffed teddy bear.) MCCULLOUGH: (V.O.) Still listening to my voice, you keep going and the farther you go, the more comfortable you feel. (A woman is holding a baby gently in her arms. We're assuming it's Jack's wife, Sydney's mom. Suddenly, the woman turns and it's... Sydney. Holding the baby.) SYDNEY: It's only a matter of time before I find out the truth. (In the evaluation room, Mr. Bristow snaps to attention, looking terrified.) MCCULLOUGH: Jack? MR. BRISTOW: Just give me a minute, will you? (He pulls the pads off his face and exits. Outside the room, he desperately tries to control himself. He calmly buttons his jacket.) (Car wash. Sydney is inside the waiting area while her car gets a washing. Vaughn approaches, looking disheveled. Well, more than usual.) VAUGHN: Sorry I'm late. SYDNEY: That's all right. You okay? VAUGHN: Yeah. Turns out we knew Jacqnoud was traveling, but we thought he was going to Bahrain. But what we don't know is why SD-6 is so interested in the U.C.O. SYDNEY: You sure you're okay? VAUGHN: Yeah. I just, uh-- SYDNEY: Did you have a fight with your wife? VAUGHN: My what? SYDNEY: Your wife. VAUGHN: What wife? I have no wife. SYDNEY: No, there was a picture in your office. You and that woman. I thought you were married. VAUGHN: No. She and I are not remotely m-- You thought I was married this whole time? SYDNEY: I guess so. What's the big deal? VAUGHN: Nothing. So when you get an idea on who he's meeting and/or details of that meeting, just call the usual number. Hit the eight key. We'll dead-drop in the trash can. Why did you ask me if I had a fight with my girlfriend? SYDNEY: I don't know. Did you? VAUGHN: Huge. Good luck in Morocco. SYDNEY: Thanks. (He leaves, looking more stressed than before.) (Morocco. At the airport, Sydney and Dixon walk to the curb. They see a man, Mochtar, who waves to them. They approach.) MOCHTAR: Look at you! SYDNEY: It's been a while! (She kisses him on both cheeks.) MOCHTAR: Ah, hello! DIXON: How have you been? MOCHTAR: Lately, too busy. Too many people with dangerous toys. SYDNEY: Any news on Jacqnoud? M0CHTAR: Yes. A friend tells me he's meeting a client today in the local marketplace. I've got a good spot for us. DIXON: Any word on the client? MOCHTAR: Big mystery. We still don't know. Come, I'm parked right over there. (Sydney's house. Francie talks on the phone to Sydney.) FRANCIE: Charlie has called my cell phone six times. SYDNEY: You still haven't seen him? FRANCIE: No. I want him to suffer. I'm not even going to tell him where I am. How is Chicago, did you get there okay? (Cut to Sydney, in Morocco, putting on her disguise.) SYDNEY: Yeah. Chicago's fine. Look, let me just sy one thing, just so someone's saying it. There might be an explanation. FRANCIE: He got into a car with a woman I have never met. SYDNEY: Just talk to him. Tell Charlie what you saw. You owe him that. FRANCIE: Maybe after he calls me a few more times. SYDNEY: Call me if you need me, okay? Love you. FRANCIE: Love you. [SCENE_BREAK] (Sydney, complete in her disguise, goes out to the balcony to see Mochtar and Dixon setting up video cameras and cameras for the op.) SYDNEY: How's the view? (takes purse) You want to give this a test run? Can you hear me? DIXON: Loud and clear. MOCHTAR: Jacqnoud just walked in. DIXON: Who's he with? M0CHTAR: Uh, looks like he's solo. DIXON: (to Sydney) You're ready. SYDNEY: I'm going shoppin'! DIXON: Bring us back something, would you? SYDNEY: That's the plan! (She leaves and walks down to the market, looking around. She gets closer. Jacqnoud sits alone.) SYDNEY: Are you picking this up? DIXON: Yeah. The mic's hot. SYDNEY: He's still alone. (A man tries to sell her something.) SYDNEY: No, no, no, I don't understand. Don't understand. Sorry. (Jacqnoud greets a man at his table.) SYDNEY: The meet just got here. (In the balcony, Mochtar and Dixon looks. Dixon takes pictures.) DIXON: Got him! Mochtar, you know this guy? MOCHTAR: No, but I'm going to try and get an I.D. right now. (Mochtar runs to another set up around the hallway. The laptop connects, scanning the picture for identification of the man meeting with Jacqnoud.) (Downstairs, the men meet.) SUARI: Nice to finally meet you in person. Everything worked getting here? JACQNOUD: Yes, thank you. Merci beaucoup. SUARI: So, how are we doing? JACQNOUD: You mean phase three? SUARI: What were the results? JACQNOUD: You will be very happy. If Patel's going to be our delivery man, I'll need the piece by tomorrow. SUARI: As long as the financial arrangements can be made, that shouldn't be a problem. JACQNOUD: Bon. Salut. (The bodyguard stares at Sydney. She looks away.) SYDNEY: Dammit! The litle guy's bodyguard. I know him. DIXON: What? SYDNEY: From Corisca, two years ago. The son of a bitch broke my arm. (She starts walking away. The bodyguard looks up, and sees the camera lens in the balcony.) DIXON: Mochtar, pack up! We've got to get out of here! (The bodyguard sees shadows scurrying along up on the balcony.) SYDNEY: (walking) We have somebody. (Sydney tries to leave.) DIXON: Syd, get out of there! (The bodyguard stops her.) BODYGUARD: You. I know you. SYDNEY: I'm sorry. You're talking to me? BODYGUARD: I think you remember me, too. (He throws her in a small part of the market, she falls to the ground behind the curtain. He advances.) SYDNEY: I'm sorry. I don't know who you are. BODYGUARD: Tell me why you're here, or this time I do more than just break you arm. (Sydney kicks a table in the air, catches it, throws it at him, smashes his head in twice. He pushes her up against the wall, she flips off of it. Kicks him in the back. Hits him with an empty pot three times. He falls. The curtain opens, and an elderly couple -- tourists -- walk in, shocked.) SYDNEY: He wanted to charge me fifty dollars. That's too much. (Upstairs, Dixon frantically packs up. Gunshots are heard. Dixon freezes. Sydney runs up the stairs.) SYDNEY: Dixon! Dixon! Dixon, do you copy! (Sydney stops running when she sees Mochtar's lifeless body. She takes off her glasses. Down the hall, punches are being thrown as more bodyguards try beating up Dixon and Sydney. She fights one of the men. Another guy manages to pin Dixon down on a table, but he jumps up, kicking the man.) DIXON: Are you okay? SYDNEY: I'm fine! (Helicopter whirring overhead. Sydney gets some of the gear and stops at Mochtar. Touches his head. When she takes her hand away, she sees his blood on her palm. Dixon stops behind her.) DIXON: We have to go. (Sydney stares at Mochtar, and leaves.) (At Sydney's house, she arrives home from her trip. She puts her bag down.) FRANCIE: Hey. SYDNEY: Hi. FRANCIE: How was your trip? SYDNEY: It was awful. FRANCIE: Syd, I'm sorry. SYDNEY: What's going on with Charlie? FRANCIE: I'm meeting him for coffee. He knows something's up. If he doesn't have an explanation, if he can't exactly explain why he was kissing some whore instead of going to law review, I'm going to kill him. SYDNEY: Don't say that. (Will appears behind them.) WILL: She's on a rampage. She wasn't even going to go out with him, I had to force her to go out with him. (smiles sweetly at Sydney) Hi. SYDNEY: Hi. FRANCIE: Let me ask you something. You think it's going to go all right? SYDNEY: I do. (The girls hug. Only this time, Sydney hugs a little longer, needing that comfort after the day she's had.) FRANCIE: Love you. SYDNEY: Love you. FRANCIE: See you, Will! WILL: Good luck. Let me get that for you. (He gestures to Sydney's luggage. Francie leaves.) SYDNEY: Thanks. WILL: You look exhausted. SYDNEY: Pretty good assessment. (Inside Sydney's bedroom, Will sits down on her bed with the luggage at his feet.) WILL: So, hey, I was thinking about what happened. You know, that, uh, you know, that kiss. Yeah. And, uh, I think I've figured out why it was so weird. SYDNEY: Why? WILL: Well, because, how often do you, you know, do you kiss someone that you're that close to? I mean, never. (He flips the luggage tag that reads "Kate Jones" in his hand as a nervous habit, not realizing the name that's written there.) WILL: Anyway, I, uh, I know that it's awkward between us now, but... (Sydney sits beside him, seeing what he's doing, and takes the luggage from him.) WILL: I think that I've figured out a way for it to not be so awkward anymore. SYDNEY: What? (Will kisses her, holding her face gently. Their eyes slowly open. It's awkward. He pulls away.) WILL: Okay. That didn't work, did it? SYDNEY: I have to go have dinner with my father. WILL: Ooooh, now I feel like an idiot. SYDNEY: No, don't, don't. WILL: (embarrassed) Oh, my God. I have that feeling. Oh, my God. (Restaurant. Sydney sits alone.) WAITER: Would you like to order, ma'am? SYDNEY: I'll wait, thanks. I'm meeting someone. (Sydney looks at her watch.) (Different restaurant. Francie and Charlie.) CHARLIE: (to waiter) Thank you. (sighs) So, you gonna tell me what's up? Do I have to start guessing? FRANCIE: I saw you. CHARLIE: Saw me what? FRANCIE: I saw you outside our house with a woman. CHARLIE: What are you doing watching me? FRANCIE: I don't have to answer that question, you do! What were you doing? CHARLIE: She's a friend. FRANCIE: A friend you went out with instead of going to a law review. Her name's Rachel, right? CHARLIE: (to waiter) No, thanks. (to Francie) You know I trust you. FRANCIE: I give you reason to! I am not going to let you lie to me, Charlie! Now, explain yourself. CHARLIE: Francie, I love you, and I'm not playing around. We're just hanging out, that's all. FRANCIE: All right. Hang out. Hang out with Rachel. (She leaves.) (Sydney waits at the restaurant. Looks around. Looks at the menu, puts it down. Still waiting. She's getting more worried. She looks at her watch. Her cell phone rings.) SYDNEY: Hello? MR. BRISTOW: Sydney. Sorry to call so late. SYDNEY: No, it's all right. MR. BRISTOW: Uh, look, uh, I won't be able to make dinner. Work is, uh, just, um, I can't get away. You understand. SYDNEY: Of course. Don't worry about it. (We see that Mr. Bristow is actually in his car, at the restaurant, watching Sydney.) SYDNEY: I'll just see you at... I'll just see you. MR. BRISTOW: Okay. Bye. (hangs up) (Sydney hangs up, choking down tears. She covers her mouth. She then picks up her phone, and dials.) (Pier, night. Sydney and Vaughn.) SYDNEY: (sobbing) I'm sorry to call you, I just didn't know who else to call. My father and I were supposed to have dinner tonight. The first time since I was a kid. I can't even remember the last time. (sobs) He just didn't show. He said he had work. He didn't have work. This isn't just about my dad. When I was in Morocco, the man who died... he was a friend of mine. He was a good man, who thought he was fighting for the right side, that he was working for the C.I.A.! He was lied to, and now he's dead. I had his blood on my hands! VAUGHN: Sydney... SYDNEY: I feel like I'm losing my mind! Like I don't even know who I am anymore, or what I'm doing, or why I'm doing it! (Her pager suddenly beeps. Sydney grabs it, and throws it in the water below them. It splashes.) VAUGHN: You just threw your beeper in the Pacific. SYDNEY: (laughs through tears) I know... VAUGHN: Okay, listen to me. There's something you need to know. When you first walked into my office with that stupid Bozo hair, I thought you were crazy. I thought you might actually be a crazy person. But I watched you, and I read your statement, and I've seen... I've seen how you think, I've seen how you work, I've seen how you are in this job. In this job, you see darkness. You see the worst in people and though the jobs are different and the missions change, and the enemies have a thousand names, the one crucial thing, the one real responsibility you have is to not let your rage, and your resentment, and your disgust, darken you. When you're at your absolute lowest, at your most depressed, just remember that you can always... you know. You got my number. (A few seconds pass. Sydney grabs Vaughn's hand, and holds on tight.) (Credit Dauphine, the next day.) SLOANE: I put the recording you made through voice print. The man that Jacqnoud is meeting with is Malik Suari. He specializes in industrial demolition. This is his latest innovation. It's called the Blu-250. Commissioned by a Swiss corporation to blow out mountain ranges for the production of high speed trains. There's a third piece. You will be very happy. (They play the recording Sydney took.) SLOANE: Now, of course, the man they're referring to is Dhiren Patel. DIXON: You think the winner of the Edgar Peace Prize is working with Luc Jacqnoud? SLOANE: Dhiren Patel is India's delegate to the U.N., he's a former president of the southern hemisphere. Human rights commission. There's no way in the world he's working with Jacqnoud. SYDNEY: So, then, what's the connection? SLOANE: Irony. Jacqnoud is using Mr. Patel without his knowledge to send a message to the U.C.O. DIXON: Which is what? SLOANE: To abolish the organization. We've traced at least a half a dozen threats to Jacqnoud. This has it that this last act will be his most violent. SYDNEY: You think Jacqnoud is going to plant an explosive on Patel? SLOANE: Yes, I do. And I want you two to stop it. That's why you're leaving for Sao Paulo tonight. The job is to find Patel, recover the weapon, and safeguard the U.C.O. Any questions? (Sao Paulo. At a party, Dixon looks around, wearing a tux.) DIXON: Any luck? (Pan over to Sydney, dressed in disguise.) SYDNEY: I don't see Patel anywhere. (At Will's office, he's on the phone. Jenny stands nearby.) WILL: Oh, and that's unusual, buying an international flight with cash. Uh-huh. But he was traveling alone, right? Excuse me? Daniel Hecht was not traveling alone? (Sydney mingles, looks around. Patel enters.) SYDNEY: I have a twenty on Patel. DIXON: Let's get him out of here. (Patel wipes sweat from his head, motions to his bodyguards that he's suddenly ill.) SYDNEY: Wait. Something's wrong. He looks sick. DIXON: Sick? (Patel collapses.) SYDNEY: He just went down. DIXON: Does he have a drink? SYDNEY: Yes. DIXON: Get the glass. (Sydney walks over to where Patel has collapsed. Some people surround him, checking if he's okay. She crouches down near Patel's fallen hand, where he's holding his drink.) SYDNEY: Is he okay? Did somebody call a doctor? (She takes the glass, stands, and drops it into Dixon's hand, who walks by.) MAN: Excuse me, I'm a doctor. Can I help? (The man kneels down. Suari stands in the background, takes a drink, watching with interest.) SYDNEY: Guess who's here? (Dixon exits the party, and goes into the stairwell, still holding Patel's drink.) DIXON: Suari. (He puts something in the drink, shakes the glass a little.) DIXON: I'm telling you, if they're bombing this place, it's going to be tomorrow. Opening ceremonies. (Dixon holds the glass up to the light. Patel's drink turns blue.) DIXON: They fed Patel some kind of powdered sedative compound. Looks like a designer drug. (Out at the party near the curb, people stand around, watching Patel enter an ambulance.) DIXON: Keep an eye on Suari. (The ambulance drives away. Sydney sees a brand new motorcycle parked.) SYDNEY: I'm following Patel. (Will's office, continuing.) WILL: Just confirm something for me. The person traveling with Daniel Hecht, the name was Sydney Bristow, right? No? Are you sure? Okay, man, you gotta tell me who it was. Just give me the name. Oh, come on, what about you owe me one? All right. Hey, you remember my assistant Jenny? No, no, no, no, the other one. JENNY: What are you doing? What are you doing? WILL: Yes, yes, yes. You give me the name, and she'll go out with you. JENNY: No, she won't! WILL: Yeah, she's psyched to go out with you, man. (Will presses a button on the phone and gives the receiver to Jenny.) JENNY: I'm not going to talk to him! WILL: (whispering) You don't ahve to go out with him, just say that you are. Please? JENNY: Fine! (picks it up) Hi. Yeah. Okay. I'd love to go out with you. Uh-huh. (She gives Will a dirty look and hangs up. He takes over on his headset.) WILL: Okay, so, give me the name of the person who was traveling with Daniel Hecht. Yeah, I know. (Will types "Kate Jones" on his computer, frowning.) WILL: Kate Jones. Kate Jones. (He types "Kate Jones?".) (In Sao Paulo, the ambulance races down the street. Sydney rides behind it with the motorcycle she eyed. The ambulance pulls up to a building, enters a gate. She comes up behind. The ambulance enters the building. She stops and takes off her helmet, wtaching. She spots a way to get into the building. Inside, the ambulance driver takes off his tuxedo coat. Talks to Suari. They're getting Patel out of the ambulance. To the side, is a marked off area with hospital gear set out.) AMBULANCE DRIVER: There was any problems? SUARI: No problem. He's ready to go. (Sydney runs and climbs up a stairwell outside. Inside, a few doctors gather around Patel.) DOCTOR: Scalpel. (Patel lays, unconscious. Sydney breaks a cage outside and climbs inside. At the operation, a doctor makes an incision on Patel's chest. Someone else wipes the blood away. Sydney, climbing above where the operation is taking place, moves through an entryway and gasps as her legs dangle below through a giant hole in the walkway. She pulls herself up, grunting. On her hands and knees, she looks down. Coming up to another hole in the ceiling above where the doctors are currently cutting Patel open, she gets a better look with a small telescope that is about the size of a pencil. She seees Suari below, observing the operation. And Jacqnoud. She gets a better look. She sees Patel's face. They're making the incision deeper. One of the doctors holdds a small metal casing that is formed into a half moon.) SUARI: Uh, careful with that. That's the equivalent to three hundred pounds of TNT. JACQNOUD: Yes. Don't kill him. (Sydney watches in horror as the doctors put the bomb inside Patel's chest.) Summary:	Sydney and Dixon go on a dangerous case in Morocco involving the safety of the United Commerce Organization and an agent friend of Sydney's dies of a gunshot. In the meantime, Francie (a close friend of Sydney's who shares her apartment) confronts Charlie, her boyfriend, about a secret date with another woman. The circle of Sydney's friends, consisting of Francie, Charlie and Will, begins to suffer from her little white lies about her job in a bank and the many sudden trips she has to make. Will continues his investigation to find the truth about the murder of Daniel Hecht and unravels more of the mystery. Coming back from Morocco, Sydney tries to get to know her father better by inviting him to dinner. However, he doesn't dare turn up, which makes her miserable.	95	31,345	31,347	31,347	... [The rest of the episode script is omitted]
fd_The_Vampire_Diaries_01x11	fd_The_Vampire_Diaries_01x11_0	You are given a script of a TV episode. Summarize the episode in a paragraph. Episode Script: [Elena's car.] STEFAN (PHONE): Elena. It's Stefan. I know that picture must have confused you. But I can explain. I need to explain. Please, when you get this, call me. Elena has an accident. She collided a man. Her car is back to front but Elena has nothing. She sees the man getting up. ELENA: Aah! Aah! Aah! The man disappears. DAMON: How ya doing in there? ELENA: Damon? DAMON: You look stuck. ELENA: My seat lt. DAMON: Let me get you out of there. I want you to put your hands on the roof. Just like that. You ready? ...2, 3. I got you. Are you ok? Can you stand? Anything broken? ELENA: Uh-uh. DAMON: Whoa, you're fading fast, Elena. Elena, look at me. Focus. Look at me. Ok. ELENA: I look like her. DAMON: What? Upsy-daisy. Damon leaves with Elena in his arms. [Alaric's House.] ALARIC: I found one. After years of reseah and study, there it was right in front of me. I was terrified. As I stared it in the eyes, I drove a stake through its heart. I was right about Mystic Falls. There is evil here. I can sense it. Feel it. It's everywhere. He is watching a photography of a youg woman, probably his girlfirend. [Flashback.] ALARIC'S GIRLFRIEND: Mmm. It's not even 7:00 yet. ALARIC: Which means you shouldn't be awake for at least 6 hours. ALARIC'S GIRLFRIEND: I hate morning people. ALARIC: I'm going to be home te tonight. ALARIC'S GIRLFRIEND: Mm love you. ALARIC: And I love you too. [Damon's car. Elena wakes up] DAMON: Morning. ELENA: Where are we? DAMON: Georgia. ELENA: Georgia? No, no. No, we're not. Seriously, Damon. Where are we? DAMON: Seriously, we're-- we're in Georgia. How ya feeling? ELENA: I--I-- DAMON: There's broken bones. I checked. ELENA: But my car. There was a man. I hit a man. But then he got up and--who was that? DAMON: That's what I would like to know. ELENA: Where is my phone? Ok. We really need to go back. Nobody knows where I am. Pull over. I mean it, damon. Pull over! Stop the car! DAMON: Oh you were so much more fun when you were asleep. He stops the car. DAMON: Hey. ELENA: I'm fine. We have to go back. DAMON: Oh come on. Look. We've already come this far. ELENA: Why are you doing this? I can't be in Georgia. I wrecked my car. I have to go home. This is kidnapping. DAMON: That's a little melodramatic, don'you think? ELENA: You're not funny. You can't do this. I'm not going to Georgia. DAMON: You're in georgia. Without your magical necklace I might add. I can very easily make you...Agreeable. ELENA: What are you trying to prove? [Elena's cell phone rings.] ELENA: That's my phone. DAMON: Mmm. It's your boyfriend. I'll take it. Elena's phone. STEFAN: Where is she? Why do you have her phone? Is she ok? DAMON: Elena? She's right here. And, yes, she's fine. STEFAN: Where are you? Let me speak to her. DAMON: He wants to talk to you. ELENA: Uh-uh. DAMON: Yeah. I don't-- I don't think she wants to talk to you right now. STEFAN: Damon, I swear to god, if you touch her-- DAMON: You have a good day. Mm-hmm. Bye-now. STEFAN: Argh! ELENA: Look. No one knows where I am. Can we please just go back? DAMON: We're almost there. ELENA: Where is there?! DAMON: A little place right outside of Atlanta. Oh, come on, Elena. You don't wanna go back right now. Do you? What's the rush? Time-out. Trust me. Your problems are still going to be there when you get home. Look. Step away from your life for 5 minutes. ELENA: 5 minutes. Am I going to be safe with you? DAMON: Yes. ELENA: Will you promise not to do that mind control thing with me? DAMON: Yes. ELENA: Can I trust you? DAMON: Get in the car. Come on. [Jeremy and Alaric.] JEREMY: Hey, Mr. Saltzman. ALARIC: Hey, Jeremy. I, uh--can't find my ring. I took it off for the gym and thought I put it-- there it is. JEREMY: Losing family heirlooms-- bad. ALARIC: How's your extra credit coming? You pick a topic yet? JEREMY: Mystic Falls, the cil war era. ALARIC: What's the angle? JEREMY: My family-- I found a journal of an anstor who lived in the 1800s. And the Gilberts were one of the original founding families of Mystic Falls. So... ALARIC: That sounds good. [Stefan and Bonnie.] STEFAN: Bonnie. BONNIE: Stefan STEFAN: Hey. BONNIE: Hi. STEFAN: I haven't seen you lately. How are you doing with everything? BONNIE: I'm fine. It's all fine. STEFAN: Good. Yeah BONNIE: Are you back in school? STEFAN: No. Actually I came here to find you. I s hoping you could help me with something. A spell. BONNIE: Stefan, look, I know Elena's ok with all of this, and I appreciate what you did to help me. But I'm not really ready to dive into it with you just yet. STEFAN: I understand. But I need your help. It's Elena. She's with Damon. I have Elena's necklace. I was just hoping you could use this to make some sort of a connection. I just need to know that she's ok. BONNIE: How do you know I can do this? STEFAN: Because I've known a few witches over the years. I've seen what they can do. BONNIE: I'm still new at it. STEFAN: It's ok. Give it a shot. BONNIE: Ok. All right. She tries to feel something with the necklace. BONNIE: There's nothing. Nothing's happening. Usually there's an image or... Tell me if anyone's looking. STEFAN: Ok. BONNIE: All right. She takes a leaf and tries to fly it. STEFAN: What is it? BONNIE: Something's wrong. STEFAN: With Elena? BONNIE: With me. There's something wrong with me. I have to go. I'm sorry, Stefan. I can't help you. [Damon's car.] ELENA: So, where's my car? DAMON: I pulled it off on the side of the road. I don't think anyone will bother it. ELENA: At about that man in the road? Was he a...? DAMON: From what I could tell. Yeah. ELENA: You don't know him? DAMON: If I've never met him, I wouldn't know him. I mean, it's not like we all hang out together at the vamp bar and grill. He stops the car in front of a bar. ELENA: You brought me to a bar? Damon, I'm not old enough. They're not going to let me in. DAMON: Sure they will. WOMAN: No. No, it can't be. Damon. My honey pie. She kisses Damon. WOMAN: Listen up everybody! Here's to the man that broke my heart, crushed my soul, destroyed my life, and ruined any and all chances of happiness! Drink up! Ahh. Whoo! WOMAN: So, how'd he rope you in? ELENA: I'm not roped in. Actually, I'm dating his-- WOMAN: Honey, if you're not roped, you're whipped. Either way, just enjoy the ride. ELENA: Ok. So, how did you two meet? WOMAN: College. ELENA: You went to college? DAMON: I've been on a college campus, yes. WOMAN: About 20 years ago, when I was just a sweet, young freshman I met this butiful man, and fell in love. And then he told me about his littleecret, made me love him more. Because, you see, I had a little secret of my own that I was dying to share with somebody. DAMON: She's a witch. WOMAN: Changed my world. DAMON: I rocked your world. WOMAN: He is good in the sack, isn't he? But mostly he's just a walkawayoe. So, what is it that you want? [Jeremy in a library.] He looks at books when some books fall him above. A girl arrives. GIRL: Oh my god. I am so sorry. There was this one book wedged between the other. And I pulled and then kaplunk, kaboom. Are you ok? JEREMY: Yeah, I'm fine. GIRL: Ohh! I'm Anna. JEREMY: I'm Jeremy. [Grams' house.] BONNIE: Thank god you're back. GRAMS: And hello to you, too. What's the matter? BONNIE: Powers are gone, Grams. I can't do anything, even when I concentrate. And there's nothing in in any of these books that can tell me how to get them back. GRAMS: Hang on, now. Just calm down. Tell me what happened. BONNIE: I can't. GRAMS: We keeping secrets now? BONNIE: I have to. I'm sorry. I promised. Please help me. GRAMS: Well, first of all, there's nothing in any of these that's gonna help you. If you're blocked, it's in here. You gotta clear it out, then you're back in business. BONNIE: Clear what out? GRAMS: Whatever's got you so scared. [Elena phones.] ELENA: Hi, Jenna. I'm so sorry. JENNA: Where are you? Why didn't you call? ELENA: I was so tired last night. I fell asleep at Bonnie's. And then this morning, I just wanted to get to school. JENNA: Are you ok? ELENA: You know, Stefan and stuff. DAMON: Come on, there's gotta be another way. WOMAN: After all these years, it's still only Katherine. How do you even know she's still alive? DAMON: Well, you help me get into that tomb and we'll find out. WOMAN: I already did. 20 years ago. Remember? 3 easy steps-- Comet. Crystal. Spell. DAMON: There's a little problem with number 2. I don't have the crystal. WOMAN: That's it, damon. There is no other way. It's Emily's spell. DAMON: What about a new spell with a new crystal that overrides Emily's spell? WOMAN: It doesn't work that way, baby. Emily's spell is absolute. You can't get into that tomb. [Bonnie in the wood.] BONNIE: Hello? Anybody here?! Aah! Bonnie falls. [Front of the bar. Elena's cellphone ringing.] STEFAN: Elena, is th you? ELENA: I'm here. STEFAN: Where are you? ELENA: You lied. STEFAN: Not until I explain, please. ELENA: So, you didn't lie? STEFAN: Just tell me where you are. So that I can comeet you. ELENA: How am I connected to Katherine, stefan? STEFAN: I honestly don't know. ELENA: And I'm supposed to believe that? STEFAN: It's the truth. I-- Listen-- She hangs up. Damon is behind her. DAMON: You ok? ELENA: Don't pretend to care. I know you're gloating inside. Damon's friend phones. WOMAN: Hey, it's Bree. You'll never gonna guess who walked into my bar. [Bonnie, in the tomb.] BONNIE: Oww. Hello?! Anybody?! Ahh! [Grams' house. Stefan is knocking.] STEFAN: Hi. GRAMS: Can I help you? STEFAN: I'm Stefan. I'm a friend of Bonnie's. Her dad told me that she might be here. GRAMS: She was. Not anymore. STEFAN: Do you know where she went? GRAMS: No. But you do. STEFAN: I'm sorry? GRAMS: I told her to face down her fear. And I'm sensing now that you know exactly why she was scared. You know what I am. And yet you offered me your hand, which means you wanted me to see that I can trust you. STEFAN: Can you? GRAMS: I just you'll keep her safe. You'd better be on your way, then. I'm not going to invite you in. I'm sure you understand why. [SCENE_BREAK] [At the library.] ANNA: This aisle is local and state history. And civil war is one over. What do you need? JEREMY: Local. 1860s. Do you work here? ANNA: Nope. You want reference. This way. Uh, home-schooled. I study here for a moc school environment. Ah, here we go. Original settlers, town archives, founders stuff. It's all here. So, what's your topic ? JEREMY: The town's fear and hysteria surrounding the war and how it influenced certain writers of the time. ANNA: You might want to focus that. JEREMY: The origin of local folklore and myths. ANNA: You mean the vampires? [At the bar.] ELENA: Let's just say that I'm descended from Katherine-- Does that make me part vampire? DAMON: Vampires can't procreate. But we love to try. No. If you are related, it would mean Katherine had a child before she was turned. ELENA: Did Stefan think that he could use me to replace her? DAMON: Kinda creepy if you ask me. Come on, what? You don't like pickl? What's wrong with you? ELENA: How can you even eat? If technically you're supposed to be... DAMON: Dead. It's not such a bad word. As long as I keep a healthy diet of blood in my system, our body functions pretty normally. ELENA: This nice act. Is any of it real? BREE: Here you go, honey. DAMON: Thank you. ELENA: I'll have one too. DAMON: Hmm? ELENA: Time out, remember? For 5 minutes? Yeah, well that 5 minutes is going to need a beer. BREE: There you go. [In the library.] JEREMY: You're kidding me, right? There's no such thing as vampires. ANNA: Well, there's not a lot of documentation but the stories have been told since the civil war. My granddad used to tell me all these creepy stories when I was little. And he said that his granddad told them to him. JEREMY: Yeah. That would be folklore. Vampires are a metaphor for the demons of the day. ANNA: Which are? JEREMY: The union soldiers. I've read the stories myself. They talk about the enemy, the demons that attack night. ANNA: That sounds like vampires to me. JEREMY: Allegorical vampires. Which is what it is. Creative expression during a very volatile time. I mean, a couny at war doesn't want realism. They want fantasy. Thus, vampire fiction. ANNA: Man, you're smart. I gotta give it to you. When I first saw you, I missed it. JEREMY: Yeah. I've had a rough go of it lately. But I'm just now getting back to my old self. ANNA: Well, good luck on the paper. I gotta get home. You know, my great grandfather actually showed me a journal once of an ancestor and he had written all of this creepy stuff about vampires. It was actually really believable. JEREMY: Wait. A journal? ANNA: Yeah? Why? JEREMY: Are you sure you have to go? [In the Tomb.] Bonnie tries to phone. BONNIE: Come on, phone! Great! Great. Someone arrives behind her. STEFAN: Bonnie! BONNIE: Get away from me! STEFAN: It's me. It's stefan. BONNIE: Stefan. The ground gave way and I fell. STEFAN: It's ok. It's ok. Calm down. Come on, let's get you out of here. BONNIE: How? STEFAN: Just close your eyes. Trust . He jumps. STEFAN: You can open your eyes now. BONNIE: Whoa. STEFAN: I didn't want to scare you. BONNIE: How did you know where I was? STEFAN: Well, your grandmother told me what you were doing. I guessed the where. BONNIE: I heard them. Down there. Behind the door. Are they in pain? STEFAN: In the beginning--yes. But not anymore. They've been starved to the point of dessication. BONNIE: But if they have blood-- STEFAN: That's not going to happen, Bonnie. They can't get out. Emily saw to that when she had you destroy the crystal. You're safe. [In the bar.] DAMON: Ready... BREE: Go! They drink. ELENA: That's 3. Do you need a bib? DAMON: Sorry I can't unhinge my jaw like a snake to consume alcohol. ELENA: Whatever. All right. Who's next? Another round, Bree. GIRL: Honey, you should be on the floor. ELENA: I am not even drunk. My tolerance is, like, way up here. BREE: All right. Here you go. [At Mystic Grill.] JEREMY: So, you have no idea where the journal is? ANNA: Nope. Gramps died. And all the kids split his stuff. I can ask. JEREMY: I just find it weird that our ancestors kept the same kind of journal. It's crazy. ANNA: Maybe it's based in some partial reality. JEREMY: No. It's gotta be a metaphorical. My ancestor wrote short stories. ANNA: So, that's why you're hung up on the fiction of it all. JEREMY: No, I'm hung up on fiction of it all because I've seen "the lost boys" and "near dark," like, 50 times. ANNA: Are those movies? Hey. I've never seen them. Maybe we can have a fright night and rent a whole bunch of vampire movies. JEREMY: Uh, yeah, sure. ANNA: Why does that sound like a no way in hell? Sorry, I'm blunt. JEREMY: No, it's--I don't want you to get the wrong idea. I just recently got out of something. It's a little too soon, you know? ANNA: Oh please, sure. No worries. I meant as friends. Yeah. Look, I really gotta go. Nice meeting you, Jeremy. [In the bar.] [Elena's cell phone ringing] ELENA: Hello? JENNA: Elena ? ELENA: Jenna? Hold on, it's loud in here. JENNA: Elena, where are you ? Are you ok ? ELENA: Huh? Yeah. No, I'm good. Eveything's fine. Hold on. I can't hear you. Elena falls. ELENA: Hello ? Someone arrives behind her and kidnaps her. BREE: Hey, where's your girl? DAMON: Hmm. BREE: She was right back there. Damon goes out of the bar. He finds Elena's cellphone on the ground. He goes behind sheds. ELENA: Damon, no. A man attack him. DAMON: What the hell?! ELENA: No! He beats Damon. DAMON: Who are you? MAN: That's perfect. You have no idea. ELENA: What are you talking about? What did he do? MAN: He killed my girlfriend. What did she do to you, huh? What did she do to you?! Nothing. ELENA: I don't understand. MAN: My girlfriend went to visit Stefan, and Damon killed her. Got it? He beats Damon. DAMON: Ugh! ELENA: Lexi? Lexi was your girlfriend? She told me about you. She said you were human. MAN: I was. ELENA: Lexi turned you? MAN: If you want to be with someone forever, you have to live forever. ELENA: She loved you. She said, "when it's real, you can't walk away." MAN: Well, that's a choice you're not going to have to make. ELENA: Don't. Don't, please, don't hurt him-- MAN: I'm doing you a favor. ELENA: Lexi loved you. And she was good. That means you're good too. Be better than him. Don't do this. I'm begging you! Please. Lexi's boyfriend stop to beat Damon. ELENA: Thank you. MAN: It wasn't for you. [Gram's house.] GRAMS: Well, now, look who's returned from battle. Can I talk to your friend for minute? BONNIE: Thank you. GRAMS: I appreciate your help, Stefan. STEFAN: You're welcome, Sheila. GRAMS: I wasn't sure you remembered. STEFAN: October 1969. GRAMS: I was barely a teenager. STEFAN: And you were leading what was probably the only anti-war sit-in within miles of Mystic Falls. GRAMS: Hmm. STEFAN: You know when you spoke, people were mesmerized. I know I was. GRAMS: Until the cops showed up. You took a big risk coming to see me earlier. Letting me read you, realize who you were. It could have gone a completely different way. STEFAN: Your family has a very long history of keeping my secret. I knew that I could trust you if you believed I waworthy of your trust. GRAMS: Bonnie knows, doesn't she? STEFAN: Yes. GRAMS: Please understand, our loyalty can only extend so far. This town won't be easy on any of us if they figure it out. And I'll protect my own before anybody else. STEFAN: I know that. GRAMS: As long as we're clear, goodnight, then. STEFAN: Goodnight, Sheila. [In the bar.] DAMON: We were just leaving, and I wanted to sagood bye. BREE: Good to see you again, Damon. DAMON: No kiss? BREE: I'm full of vervain. I put it in everything I drink. DAMON: And you're telling me this why? BREE: Lexi was my friend. How could you? The tomb can be opened. DAMON: You're lying! BREE: Emily's grimoire, her spellbook. If you know how she closed the tomb the reversal process will be in her book. You can open that tomb. DAMON: Where is this book? BREE: I--I-- DAMON: You have no idea. BREE: No. I'm telling you the truth. DAMON: And I believe you. My dear, sweet Bree. That's why I'm almost sorry. BREE: Ugh! He kills her. [In Damon's car.] ELENA: So, why did you bring me with you? DAMON: Well you're not the worst company in the world, Elena. You could give yourself more credit. ELENA: Seriously? DAMON: You were there in the road. All damsel in distress-like. And I knew it would piss off Stefan. And... U're not the worst company in the world, Elena. ELENA: I used to be more fun. DAMON: You did ok. ELENA: I saved your life. DAMON: I know. ELENA: And don't you forget it. [Salvatore's House.] ELENA: Hi. STEFAN: Hi. ELENA: You could have told me. STEFAN: I wanted to tell you. ELENA: You said no more lies. Only the truth. I can handle the truth, Stefan. As crazy as it is, I can handle the fact that you are a vampire. And you have a vampire brother. And that my best friend is a witch. I can accept the fact that the world is much more mysterious place than I ever thought possible. But this--this lie, I can't take. What am I to you? Who am I to you? STEFAN: You are not Katherine. You are the opposite everything that she was. ELENA: And when did you figure that out? Before you kissed me? Before we slept together? STEFAN: Before I met you. ELENA: What? STEFAN: The first day of school. We when met. It wasn't for the first time, Elena. ELENA: Then when was it? STEFAN: May 23, 2009. ELENA: But that was-- STEFAN: That was the day your parents' car went off the bridge. ELENA: You were the? STEFAN: Every couple of years that I come back here to see Zach and see my home. Last spring, I was out in the woods, by old wickery bridge. And I heard the accident. All of it. I was fast getting there, but not fast enough. The car was already submerged. Your dad was still- he was still conscious. I was able to get to him, but he wouldn't let me help him, until I helped you. ELENA: Oh my god. When I woke up in the hospital, nobody could figure out how I got out of the car. They said it was a miracle. STEFAN: I went back for them. But it was too late. I couldn't-- I couldn't save them. When I pulled you out, I looked at your face. You looked like Katherine. I couldn't believe the resemblance. After that, I spent months making sure th you weren't her. I watched you. I learned everythi that I could about you. And I saw that you were nothing like Katherine. And I wanted to leave town, but, Elena, I couldn't. I couldn't leave without knowing you. I'm so sorry that I didn't tell you. I wanted to. But you were so sad. ELENA: Why do I look like her? STEFAN: Elena, you've been through so much. ELENA: Why do I look like her, Stefan? What are you not telling me? STEFAN: It didn't make any sense to me. You were a Gilbert. She was a Pierce. But the resemblance was too similar. And then I learned the truth. You were adopted, Elena. [In the library.] ANNA: There you are. JEREMY: Hey. ANNA: Hi. Ok, look. I know I don't know you, so don't ask me why I did this. I just, sometimes-- mostly all the time- I have this need to be right. So I googled and... JEREMY: What is it? ANNA: Proof. Sort of. JEREMY: What does this mean? ANNA: Well, I only went as far back as 1942, and found that there's been a string of animal attacks periodically in and around this town for the past 75 years. It's consistent. In '62, 5 boes found. In '53, 4 people killed. In '74, 3 people dead. And there's been 5 this year. All attacked. All suffered major blood loss, as in drained of blood. [Stefan's bedroom.] ELENA: How do you know that? STEFAN: Your birth certificate from the city records. It says Elena Gilbert. Mystic falls general. But there's no record of your mother ever being admitted.There's no record of her ever being pregnant. ELENA: What else do you know? STEFAN: For me to go any further, I would've had to look into the Pierce family, and I couldn't do that. It's too much of a risk. If someone found out I was asking about Katherine-- Listen to me, it doesn't matter. You are the woman that I love. I love you. Elena kiss him. [Elena's house.] JENNA: I don't set a lot of rules, Elena. Not with you. I trust you to tell me the truth. Where were you? Why would you lie to me about it? I thought that we were closer than that. ELENA: Now is not the time you want to talk to me about lies. JENNA: Don't do that. Don't turn this back on me. I didn't do anything. ELENA: Ok, question-- am I adopted? I trust you to tell me the truth too, Jenna. How could you not tell me? I thought we were closer than that. JENNA: Elena, didn't-- they asked me not to. ELENA: I don't want to hear it! [At Mystic Grill. Alaric sees Damon.] [Flashback.] ALARIC'S GIRLFRIEND: I love you. ALARIC: I'm going to be late tonight. Later. Alaric returns at home. He sees Damon drink the blood of his girlfriend. [Reality.] Alaric understands Damon is the vampire which killed her girlfriend. Summary:	Damon's arrival causes the mysterious stranger to flee, and Damon frees Elena from her overturned car. Damon brings Elena with him to Georgia to see Bree, a witch and an old flame of Damon's, hoping she can help open the tomb to free Katherine. Bree calls Lee, Lexi's boyfriend (as Lexi was her friend), who wants revenge on Damon for killing Lexi. Elena saves Damon, and he kills Bree after she tells him to find Emily's spellbook. Back in Mystic Falls, Stefan opens up to Bonnie's grandmother in an attempt to help Bonnie come to terms with her new powers and make her aware that she has the power to become a Bennet witch. Meanwhile, Jeremy meets Anna, a young woman who knows the true past of Mystic Falls. When Elena and Damon return, Stefan reveals that he saved Elena from the crash that killed her parents. Stefan also tells Elena that her parents adopted her, but knows nothing more about her parentage. He claims his love to Elena and she forgives him. Also, Alaric sits at the Mystic Grill bar and recognizes Damon as the vampire who killed his wife.	95	23,007	23,009	23,009	... [The rest of the episode script is omitted]
fd_The_O.C._03x01	fd_The_O.C._03x01_0	You are given a script of a TV episode. Summarize the episode in a paragraph. Episode Script: Opening scene - Hospital - the first thing we see is a black screen with the sound of a siren, and what sounds like a dispatch message. I cannot make out the actual words sorry. we see the hospital doors open and paramedics rushing a stretcher inside, there is a bright light so its difficult to see everything - all the talking in this scene is very echoey, and distant. it's very reflective of the situation. there are also a few voiceovers from 224, which I think were done great!) Paramedic: I got a gun shot wound exited the right clavicle, punctured an artery (we see a close up of Trey, and the other paramedic is holding a breathing thing over his mouth. a doctor comes down the corridor, putting a gown on) Dr: he still alive Paramedic: not for long V.O Ryan: how could you man...I would'a done anything for you (we see Trey kind of moving his head a little, then we see the ceiling of the hospital as if we are seeing what Trey is seeing. we then see Ryan & Marissa coming in through the hospital doors, they both look worried and scared) V.O Trey: look man, it was messed up, I was stoned (an officer comes into the shot and walks over to Ryan and Marissa as they are coming in) Officer: we've still got some more questions for you (Ryan walks passed the officer and over towards Trey) Ryan: I've jus gotta see if he's gonna be ok (we see Trey, still with the breathing thing over his mouth, being pushed away. there is another voice over here but its at the same time as the next line so I cant tell what it is, its possibly a scream/cry from Marissa) Marissa: (worried, to a nurse) he's not gonna die, right (behind Marissa we see Seth and Summer enter, they both look worried as well, and they are looking in the direction of Marissa/Ryan/Trey. behind them we can see the ambulance Trey came out of) V.O Ryan: it wasn't my idea Trey, I didn't wanna steal that car (we see another shot of Trey, which is a close up of his bloody face, and a little of his chest. here we see a bit of the hospital roof and light, but also blended into it is the scene where Trey pulled the gun on Ryan at his apartment in 224. its been done similar to how we saw the Ryan/Marissa 'who are you' scene during the Ryan/Lindsay car conversation of 208 . its a blink and you'll miss it deal :)) V.O Trey: hey man I went away for it an uh you got the good life V.O Ryan: so you had to destroy it, you had to hurt her, huh (the last thing we see is Trey pointing the gun at Ryan, then we see the hospital light again and Trey being rushed down the corridor. Ryan comes around the corner, behind Trey, the doctor and the paramedics) Ryan: hey, he's my brother, is he gonna be ok Dr: he'd be better if someone hadn't shot him (the Dr and paramedics move the stretcher closer to the bed, nurses are also there) Dr: he's lost alot of blood so (turns around and sees Ryan) Jesus what the hell happened'a you Ryan: (looks at Dr) nothing I'm fine Dr: (yells) could someone look at this kid (Ryan turns away from the Dr and everything goes blurry) Officer: just as soon as we're done talking to him (we see a close up of Ryan, and he has a noticeable bruise, and bloody nose, he also looks out of it. he looks away from the officer and back at Trey. we see Trey being moved over to the bed, then someone squeezing the breathing thing over his mouth. we then see Marissa and Summer standing together near the hospital doors, an officer is with them) Marissa: (yells) Ryan (Ryan turns to face Marissa, she puts her hand out to Ryan helplessly) Officer: (holding the gun) did you discharge this weapon man Marissa: (looks at officer, frustrated) yes I already t- Ryan: (yells urgently) don't answer him, don't say anything (the officer near Ryan looks over towards Marissa, shocked. Marissa looks at Ryan and shrugs. the background goes out of focus, Seth comes into the shot clearly on the right hand side) Seth: you ok (Ryan looks at him) Dr: we're losing him (Ryan turns towards where they are working on Trey. we see a very quick flashback of Trey and Ryan, then we see them still working on Trey, squeezing the breathing thing. Ryan looks away from Trey and back towards Seth, dazed. we see how Ryan is seeing, which is Seth as wavy, then squashed/ stretched) Seth: you alright (Ryan looks at Seth, blinking and breathing heavily. his vision is now bordering on blurry. we can see Marissa out of focus in the background still. Sandy comes through the hospital doors) Sandy: Ryan (Ryan looks at him, still blinking and dazed) Seth...you ok (Ryan is now seeing Sandy as short/fat, and wavy. we see Ryan looking at Sandy & Seth, growing more and more disoriented till he falls and passes out on the floor. we see what he is seeing as he falls, then we hear the thud and see Ryan on his stomach next to Treys bed. - we then abruptly cut to the pool house where Ryan has jolted himself awake. he blinks and slightly lifts his head, we can see a bit of sun on his cheek. he looks freaked out. he then lifts his head more and opens his eyes wider. he rubs his hand down his face, and sniffs. we then see Ryan sitting up on his elbow in bed, we can also see a silhouette at his door, and then we hear a knock. Seth opens the door and walks in, in true Seth style, lol) Seth: hey man, I jus wanted you ta know that uh (stops and looks at Ryan worried) you ok Ryan: (looks at Seth, then looks away and sighs) I just had the worst nightmare (raises eyebrows) Seth: yeah, I got some...bad news Ryan: it wasn't a dream (closes eyes) yeah, yeah I know (opens eyes) Seth: well that lawyer guys on his way over so... Ryan: (softly) thankyou (Seth turns and leaves. we see a close up of Ryan who looks worried) Cooper-Nichol veranda - we see an aerial shot of the pool, and Marissa and Summer sun-baking beside it. think 201. it then changes to a front on shot of them, but it's as if it's on top of the pool water, half way through Summers line it changes to a close up of them. Marissa has her head back, with sunglasses on Summer: you know Coop, if you had of asked what we'd be doing the weekend before senior year (thinks) I probably would've said a road trip to Rosarito or rush week at SU with college boys Marissa: an waiting to get charged with manslaughter Summer: (shakes head) wouldnt'a made the list (looks at Marissa) mm-mm...(reassuringly) your gonna get through this Coop (looks at Marissa with one eye open, one closed from the sun) your innocent you were saving Ryan's life Marissa: (lifts head) try explaining that to Ryan Summer: he understands why you did it he's not mad (shakes head) Marissa: its jus like this... weird horrible thing (lays head back) hanging over us...like the elephant in the room...or an intensive care unit Summer: (frowns) before Trey I never actually knew anyone in a coma (shakes head) well I mean on the valley there's someone in a coma (Marissa frowns) like every week but I think they only do that so that when the person wakes up another actor can play the part (nods, confidently) Marissa: (raises eyebrows) unfortunately if Trey wakes up he's still gonna be Trey...if he wakes up (looks down) Summer: you've got'to admit Coop (Marissa looks at her) whatever happens, Ryan facing off with Trey to avenge your honour, god that is SO-FREAKING-HOT (Marissa doesn't say anything) ...in a mythic, biblical, Samurai Western kind of way Marissa: I really wish that helped me sleep at night Summer (puts head back) Summer: (frowns, concerned) you're still not sleeping Marissa: I shot someone Sum (Summer looks at her, then away) an even if he lives, which...is a big if, I'm still gonna have'to live with that for the rest of my life Summer: (nods) oh (puts head back & closes eyes) senior year Marissa: (scoffs) should be all time (half smiles) (we see the backs of the pool chairs and a shot of the house) CUT TO: Cohen kitchen - Sandy pours a whole pot of coffee into a tall mug DDA: thaaanks a bunch, Sandy Sandy: if a pot'n a half isn't enough to get you through the morning (holds out mug) I can make some more DDA: that'd be great (drinks) (Sandy looks at the DA and then picks up the pot to refill it) Sandy: sorry for the mess, its ben a little hectic (looks over) Seth'll be right down DDA: (frowns) and Mr. Atwood Sandy: he's gettin' dressed, well the kids've ben through alot this summer with all this hangin over them, and now school is starting DDA: which is why the DA wants to get moving, we waited as long as we could for the other Mr. Atwood to wake up but I'm getting alotta calls from parents...DA's under alotta pressure ta prosecute (drinks) Sandy: except there's nothin ta prosecute, Marissa's protected under the defense of others (looks at DDA) of course your boss may not find that very sexy DDA: quite true...(looks at Sandy) DA's not lookin to go after Marissa Sandy: (looks at DDA, annoyed) Ryan's innocent...you got his statement at the scene an hers DDA: look at the record Ryan's got, his history of violence...an Caleb Nichols daughters the one blowin away ex cons with a forty five Sandy: (looks at DDA) she saved Ryan's life DDA: what was he doin over at Treys in the first place, his brother tried to rape his girlfriend (Sandy pours more coffee) we've got cause Sandy: yeah, an ya got witnesses DDA: well the only people who saw the gun go off were Mr. Atwood Miss Cooper an the other Mr. Atwood, who (raises eyebrows) may or may not wake up Sandy: (turns to face DDA) if you go after Ryan even if he's brought in on charges...social services could take him away from us DDA: which explains Miss Coopers motivation to cover for him (nods confidently) Mr. Atwood's got alot more to lose (Sandy glares at the DDA then turns back to the coffee) DDA: where is your wife anyway Sandy: (sighs) she's outta town CUT TO: Suriak Treatment Centre garden - we see a close up of Kirsten, as the scene goes on we see that she is in a group therapy session and Dr Woodruff is there leading it Kirsten: my name is Kirsten an I'm an alcoholic Group: hi Kirsten (we can now see they are all seated on chairs around the fountain) Dr W: Kirsten your progress here at Suriak has ben...truly wonderful to watch (nods) your a model patient for...everyone here (everyone looks towards Kirsten, however one patient near Kirsten looks more interested than the rest. a woman who is one person away from Kirsten, we find out later her name is Charlotte) Kirsten: (shy) well I don't know about that...I mean Shelley is definitely better at poker (Shelley looks worried) she's cleaned me out (everyone laughs) Kirsten: (smiles, looks down) but...being here has given me the clarity to understand...why I turned to alcohol in the first place Dr W: an...do you feel comfortable sharing with the group uh why that was Kirsten: uh sure...I mean we're all in this together...I uh (thinks) I guess it begins and ends with my dad (nods, frowns) he was (shakes head, closes eyes) an amazing man (shrugs) but controlling...and...I realised that I was living his life not mine (Dr W listens) after my mother died I did everything (Charlotte is listening intently) I could to please him (sighs) but I realised that no matter how hard I worked or how hard I tried- Charlotte: it was never enough (Kirsten looks at her) ...I'm sorry Kirsten: (suprised) uh, no (looks at Charlotte) no its true it was never enough, became my mantra (smiles) ...I was never a good enough wife or a mom (raises eyebrows) because I wasn't a good enough daughter Dr W: (points at Kirsten) the power that comes with that kind of difficult realisation, will be invaluable after you leave us Kirsten: are you trying'to get rid'a me (smiles) (everyone laughs) Dr W: well, it sounds to me like uh Suriak's work is done (Kirsten smiles, then looks unsure) you'll need ta get a sponsor...an attend meetings...but there's no reason you can't do that from your home (Charlotte looks at Kirsten, as if she knows Kirsten isn't ready yet) Kirsten: great (forces a smile) CUT TO: Cohen dining room - Ryan is sitting on one side of the table with his hands clasped together in front of him, and the DDA is sitting opposite him. Sandy is standing at the end of the table, close by. this scene changes between Ryan and Seth, kind of a blend of their 2 depositions so you'll know who's it was depending on who is talking, Ryan or Seth DDA: Mr. Atwood (Ryan looks away) do you swear to tell the truth an nothing but the truth so help you god- Ryan: (fed up) I do (sighs) DDA: well then you won't mind if I record this deposition (slides recorder across the table) Seth: sure, record it, release it on ITunes, I hope it's a really big hit Sandy: (not amused) just answer the questions Ryan: (looks at Sandy) I've already answered all of these questions (looks at DDA) I have nothing new'to say (looks down) DDA: well your previous statement came at the hospital...it was traumatic its ben a couple'a months maybe you remember things differently now Seth: I remember everything exactly as I told you DDA: well then you can tell me again Ryan: ...I (leans forward) confronted Trey about what had happened and that's when he pulled the gun on me Seth: then we called Marissa to see if maybe she could stop Ryan Ryan: an that's when Marissa saved my life DDA: you mean, that's when Marissa shot Trey (Seth nods) an you witnessed the shooting Seth: well it was clear w- when we got there what had happened DDA: just answer the question Ryan: (yells, fed up) no I did not (calmer) I didn't- (raises eyebrows) an-an an I didn't shoot him (Sandy looks at DDA) DDA: young fingerprints are on the gun Ryan: yeah because I put the safety back on to make sure it didn't go off again (we see a close up of the recorder) Ryan: we-we (agitated, sighs) ...we weren't exactly thinking at the time DDA: so one final question, what were you afraid (frowns) was going to happen between Ryan an his brother...why were you trying to stop him (Seth doesn't say anything, Sandy looks down) DDA: you went to Treys that night to kill your brother (Ryan looks at him) didn't you Mr. Atwood (Ryan swallows and doesn't say anything. we see a close up of the recorder just as it stops recording) CUT TO: Cooper-Nichol veranda - Jimmy is setting the table and Julie is in front of him looking at herself in the reflection of a window Jimmy: (puts plate down) so what kind'a food d'you think prosecutors like Julie: (fixes hair) cause that's what's important here Jimmy (sighs, turns around) ok so (holds out hands) does this look like the outfit the mother of an innocent girl would wear Jimmy: yeah well at least somebody has their priorities in order... Julie: (sighs) I just hope Marissa listens to me, and our attorney, the last thing we need is her admitting ta the DA that she shot someone Jimmy: Jules (looks at Julie, confused) she already admitted it Julie: she wasn't in a right frame of mind when she spoke to the police...its not like she's a trained assassin Jimmy: uh-huh so-so (frowns) what's our story, Trey shot himself...in the back Julie: no, Jimmy, be reasonable Jimmy: she's not gonna lie an say Ryan did it, they already have her statement Julie: nobody believes her, they all think she's protecting him Jimmy: (looks at Julie) so you want Ryan to go away for this Julie: ...all I know is that before he moved to Newport our lives were alot more normal, stable Jimmy: (nods) uh-huh so it's his fault that I went bankrupt an nearly went to jail, an you married Caleb Nichol (raises eyebrows) only to watch him drown in a pool annnn Trey got shot (moves closer to Julie) Julie: (not amused) Jimmy, not everything I say is meant literally, I'm venting (faces Jimmy) look I wish none'a this ever happened but it did, an we have a chance to be a family again...I don't wanna lose that (Jimmy puts his hand on her shoulder) l w- put out some crudités' an the guda ill go see if Marissa's out of the shower (Julie goes inside and Jimmy turns around, looking worried) CUT TO: Pool House - Ryan comes out of the bathroom with a towel over his shoulder and Seth comes to the open doors from outside Seth: (calls out) hey, you decent (Ryan shuts the bathroom door) thought maybe you could...use a post-depo-dip Ryan: (holds up the towel) I just showered Seth: mmm a fair point, then we'll stay away from aquatic activity something land locked maybe Ryan: (thinks) I'm gonna visit Trey Seth: I was gonna go with a movie, this bein the time when Hollywood dumps their crappy would be blockbusters which we could mock (touches his chest) an thus feel better about ourselves Ryan: (ignoring Seth, stands) you got the keys (raises eyebrows) Seth: but (puts up finger) visiting your comatose brother in the I.C.U that's...also an excellent way ta relax an blow off steam so ill drive Ryan: awesome (Seth turns around and goes out the doors. Ryan is behind him) CUT TO: Cooper-Nichol veranda - Jimmy, Julie, the DDA from earlier and Mr. Esbenshade are standing together near the table Julie: (holding jug) Mr. Caldwell, would you like some more lemonade (smiles) Mr. Esbenshade (Mr. Esbenshade shakes his head and mouths 'no thanks' at Julie) Julie: oh come on its ok for a prosecutor an defense attorney to have a glass of lemonade together (Mr. Esbenshade smiles) we're all human beings here Jimmy: (frowns) I'm not so sure about these guys (Julie turns around and looks at Jimmy. Marissa and Summer come out the door) DDA: Miss Cooper (Marissa and Summer reluctantly walk over, they both look unsure) DDA: I'm Deputy District Attorney Chris Caldwell ill be conducting this deposition Marissa: hi (looks down) uh where do you want us ta sit DDA: actually (looks at Summer) Miss Roberts cant be present (Marissa frowns) we wouldn't want you influencing her testimony Marissa: (confused) she (points) knows what you know which is the truth, which is what I already told you people DDA: Miss Roberts (raises eyebrows) if you could please wait inside (Summer doesn't know what to do. Marissa and Summer look at each other) Julie: Summer, we have HBO on demand, every season of s*x and The City, knock yourself out (Summer looks at Julie. Marissa looks down, sadly. the mean DDA guy from earlier takes out the recorder and puts it on the table) Summer: Mariss you'll be ok, I'm jus gonna wait inside Marissa: (to Julie & Jimmy) look I already told everybody everything, I don't wanna have'to go through this again (Jimmy looks down) talk about all of it in front of these strangers (points) Esbenshade: Marissa I need to remind you this deposition is binding, your testimony in court can't waver from what is said here Marissa: (frustrated) I already told the truth so what's the problem DDA: the problem, Miss Cooper, is that your testimony lacks credibility (Summer Marissa and Esbenshade look at him, Marissa looks down. Julie looks at Jimmy) DDA: Miss Roberts please wait inside (DDA, Marissa & Mr. Esbenshade go to sit at the table) Jimmy: come on Summer (Jimmy puts his hand on Summers back and leads her inside) DDA: now Miss Cooper, I'm going to have'to swear you in (Marissa turns to look at Summer, we see a close up of her face and she looks vulnerable. Summer looks at Marissa helplessly before going inside - i just have to say that you can really see how much Marissa/Summer need each other in this scene) Julie: it'll be ok Marissa (Marissa glances at Julie before looking down, upset) CUT TO: The I.C.U - as the camera pans across we see through the blinds that Ryan is sitting next to Treys bed, we can also hear some hospital announcements faintly. the shot changes and we can now see that Seth is also in the room, leaning against the door frame. Trey is still in a coma and Ryan is leaning forward staring at him Seth: I kinda like him this way he's a better listener (Ryan blinks and looks down) ...sorry, I get talkative around coma patients it's a (frowns) compensation thing, ill give you guys a minute Ryan: wait just uh (Ryan turns to Seth then back to Trey, he stands and leaves the room. the camera zooms in on Treys hand and after a few seconds his pinky finger very noticeably moves - out in the corridor Ryan and Seth are walking together) Ryan: sorry man (raises eyebrows) I don't even know why I came here (Seth listens) that night I wanted to kill him now id do anything to take it back Seth: well you can't blame yourself an you can't change what happened Ryan: yeah but I mean Trey could'a tried to make it work, living in town I mean I had my brother here (Ryan and Seth are now outside near the ambulance bay) Ryan: now everything's screwed up an he's the only family I got left Seth: (looks at Ryan) well that's not exactly true (Ryan realises and half smiles then looks down. back in Treys room we see the monitor that he's hooked up to, that goes out of focus and Treys head comes into focus, his eyes suddenly open and look around) CUT TO: Cohen living room - on the TV we see a video game of baseball being played. half way through Seth's lines we see that Ryan and Seth are sitting on the couch together Seth: ok I jus have'to say that I still support the recent decision (Ryan looks at him) (swallows) in the wake of all the violence we've experienced to ban any games with ninjas or guns (frowns) Ryan: yeah, but? Seth: weeell it's just I don't understand any of the rules to this..."baseball" they call it Ryan: (looks at Seth) you mean America's pastime Seth: (looks at Ryan, unsure) eah, feels like more of a fad to me buddy I don't really see it catchin on Ryan: (nods) sure (frowns) hey you called Marissa an Summer right (phone rings. Seth gets up to answer it) Seth: they're with the dark lords son or whatever the DA's name is, did that guy blink once during your deposition...he didn't even have eyelids (answers phone) hello...oh I'm sorry he's not in right now can I take a message...ok thankyou (hangs up) (Seth looks over at Ryan, Ryan looks at Seth) Seth: that was the hospital Trey woke up (Ryan looks at Seth, stunned) CUT TO: Suriak T.C - Kirsten is sitting out the front by herself. Charlotte goes over to her Charlotte: Kirsten, right (holds hand out) hi I'm Charlotte Morgan, I'm so sorry about interrupting you in group Kirsten: (shakes hand) oooh no no that's ok (smiles) Charlotte: (sits next to Kirsten) when I heard you talking it was like you were describing my life...the rich dominating father the high pressure...nothing was (raises eyebrows) ever good enough Kirsten: eah I'm jus glad I didn't bore you (laughs) Charlotte: no it was amazing, I mean to hear someone on the same journey as me...well, obviously your a little further along (smiles) I couldnt've ever admitted all that (Kirsten raises her eyebrows then looks down) your so brave an honest Kirsten: I don't know about that but thankyou (smiles, nods) Charlotte: d'you wanna maybe get coffee sometime, we can...talk trash about our dads Kirsten: (suprised) sure id love to (smiles) (we hear the sound of a car horn) Charlotte: ok (smiles) (we see Sandy pull up in a gorgeous black Lexus) Kirsten: ahh, that's my husband (Sandy has a huge smile on his face, Kirsten looks just as excited as he does! aww) Charlotte: oh well, I don't wanna take up anymore of your time (smiles) goodbye Kirsten: bye (Charlotte walks off as Sandy gets out of the car. Kirsten goes over to him. Sandy has a HUGE smile on his face, and giggles) Kirsten: (touches Sandy shoulders) look at you (Sandy puts his hands on Kirsten's back, gently holding her. they look at each other then kiss! we see Charlotte watching them with a weird look on her face. we then see Kirsten and Sandy again, they are now in an adorable hug. Sandy has his head buried in Kirsten's neck then they pull apart. Charlotte is still watching, after a few seconds she leaves. the next thing we see is Sandy and Kirsten walking together near the fountain. Sandy is holding Kirsten's hand in his, and has his other hand on top. Kirsten puts her head on his shoulder. awww) Kirsten: (trying not to laugh) so it exploded all over the kitchen Sandy: ahh the microwave mostly Kirsten: an entire jar of peanut butter Sandy: oh we were tryin'a make peanut butter cookies as a suprise for you (Kirsten smiles) (frowns) it seemed like such a good idea at the time Kirsten: well it's a well known science factoid that metal plus heat equals... Sandy: peanut butter everywhere (Kirsten smiles) these are just a few'a the lessons we three struggling handsome bachelors are learnin every week (laughs) Kirsten: oh, sounds like you have a reality series here (smiles adoringly) Sandy: no, I hope it's not a reality for too long (looks at Kirsten adoringly) (Kirsten doesn't say anything) Sandy: (looks down) so...you should be comin home any day now right (Kirsten looks at Sandy) just give me a heads up so I can make sure the house is liveable (nods) Kirsten: (thrown) yeah I-I just have'to sit down with (shrugs) Dr Woodruff soon an-an see what's going on (nods) see if I'm eligible (raises eyebrows) (Sandy looks at Kirsten. his cell phone rings) Sandy: (looks at phone) oh (answers) hey Seth, I'm here with mom (Kirsten smiles) huh...well thanks for calling...ill see you when I get back at the house (hangs up) Kirsten: is everything ok Sandy: yeah, he says hi, that he misses you Kirsten: mm-hmm Sandy: I better get going (Kirsten nods) get back ta work (Sandy kisses Kirsten hard on the mouth, and holds her face in his hands. aww. they smile at each other) Sandy: jus let me know what the doctor says Kirsten: (nods, softly) ok Sandy: alright (Sandy takes Kirsten's hands in his and then let's go as he starts to leave. Kirsten watches him go. she sighs heavily and looks worried) CUT TO: The Beach - we see Marissa sitting by herself staring out towards the water. we then see a car pull up. Marissa looks over and we see Ryan get out. Marissa stands, and Ryan walks over to her Marissa: hey, so what's going on Ryan: ...Treys awake Marissa: oh my god (Ryan moves closer and looks down) when did he... Ryan: couldnt've ben to long I just saw him Marissa: (suprised, raises eyebrows) you saw him Ryan: yeah I...ben up there a couple times, y'know Marissa: (shrugs) I didn't know, hey I would've gone with you Ryan: no, no you shouldn't have'to see him ever again, I don't have the same choice Marissa: (slightly nods) ...well I mean I guess now that he's awake he can tell the lawyers what really happened (frowns) I mean Trey got us inta this mess hopefully he can get us out Ryan: yeah, our futures in Treys hands (Marissa doesn't say anything) come on (motions) Seth an Summer are at the diner (Ryan walks back over to the car and Marissa follows him. they both get in) CUT TO: Newport Group - Julie, Jimmy, and alot of other people sorting through things are in there, including Jeff Frankel Julie: (impatient) what'do you mean it's gonna take two months, Caleb wrote a will just read it already Jeff: (puts hand up) it's much more difficult than that Mrs. Cooper-Nichol a-as you can see (Jimmy looks around) there's uh alotta paperwork uh a number of different offshore accounts we haven't yet found Julie: ok, well you just take your sweet time Mr. Frankel but understand this, we are paying a very high price defense attorney to protect our daughter an right now the metres running Jeff: I wish I could help Julie: (sits next to Jeff) I'm a grieving widow (Jeff looks at Jimmy, unconvinced, lol) Jeff: clearly Julie: you've seen the will haven't you Jeff (sexy smile) why don't you just...tell us what's in it annn it'll be our little secret Jeff: I can't do that Jimmy: (to Julie) it's our attorney Julie (answers phone) Julie: lets play hot/cold (raises eyebrows) hm (Jeff looks at her) two million...seven million...I have at least three million coming from my pre-nup (Jeff blinks) you blinked! does one blink mean yes (points) Jimmy: (to Julie) Julie, the hospital called Julie: (looks at Jimmy) what, what'did they say CUT TO: The Diner - we see a plate of food being set down in front of someone. the camera pans and we see that Summer, Seth, Marissa and Ryan are near by in a booth. Ryan looks at Marissa, Marissa looks at him and then at Seth and Summer, almost sadly. Summer and Seth are watching both of them across the table Summer: ok (claps hands) I have an idea Seth: (looks at Summer) are you gonna save Chrismukkah again cause I really enjoyed that last time (Summer glares at Seth, not amused. Seth closes his mouth tightly) Summer: we need to have some fun (raises eyebrows) Marissa: (looks at Summer unenthusiastically) fun (raises eyebrows) (Ryan looks at Summer) Summer: yeah, look we cant control the future right so how do we deal (Seth frowns) I mean we could do what my step-mother does an take lots of pain killers to numb ourselves from the reality that life is (frowns) well random, unfair an ultimately meaningless Seth: (looks at Summer) there's another option right Summer: or we can accept the fact that we cant worry about what we cant control an just enjoy the time that we have, Treys awake an...school is starting soon (Marissa looks at Ryan) who knows what's ta come, right...so this might be our last chance to have fun Seth: I like...plan B (Marissa smiles) Ryan: so what'do we do Marissa: ...well I have an idea (raises eyebrows) but id have'to ask my dad first (Summer and Seth look at Marissa, curious) CUT TO: The Ocean - we see a beautiful shot of the water and in the distance is a sail boat, as the camera zooms in closer and changes angles we can see Marissa and Ryan are sitting near the front talking/laughing. the shot goes across the front of Ryan and Marissa and then we can see that Seth and Summer are sitting together near the steering wheel. the shot changes again and we see the boat from above. then we see Ryan and Marissa again, still sitting together laughing/talking. they look so cute! we see Seth and Summer again, and we can also see a row boat sitting on the back. we can now see that its Jimmy's sail boat 'Slow Dance' [SCENE_BREAK] CUT TO: A Secluded Beach - we see the sail boat in the distance out in the water. the row boat is sitting on the sand and further off to the left is Seth and Summer Summer: Mr. Coopers got a nice boat huh Seth: yeah (picks up sticks) its amazing what laundered money can buy Summer: you know Cohen, with your two hands on the wheel an the wind blowing through your hair (looks at Seth, nods) you actually looked kinda hot Seth: let me guess Summer you have a (shrugs, amused) weakness for seamen (smiles) Summer: (screws up her face) ewww Cohen, an then there's that (walks away) Seth: nah, aww (follows Summer) (Marissa is sitting on some rocks by herself, looking out towards the ocean. Ryan goes over to her) Ryan: hey Marissa: (looks) hey (Ryan sits down next to Marissa) Ryan: ah...how ya doin, you ok Marissa: (looks at Ryan) yeah I guess...I mean I-I don't know to be honest (unsure) are we ok Ryan: yeah sure (shrugs) why wouldn't we be Marissa: cause since that night we haven't really talked about it (Ryan doesn't say anything. Seth and Summer walk over to them) Seth: hey, knock it off, listen, we gotta get our mind off everything...who wants to go fishing Summer: (laughs) yeah you guys do the hunting, we'll do the gathering Ryan: (stands) I like that idea but weeee-dont-have-any-bait Seth: ooh...hey wait no we have Summer (touches Summers arm) this little sardine Summer: nooo, you guys that's- (Marissa smiles, Ryan points at Summer mischieviously) Seth: I'm gonna throw a sardine, who wants to go fishing, come on (Summer squeals and runs down the beach. Seth goes after her, Ryan runs after them) Summer: no guys (the next bit is a montage with laughing & screaming. we see Ryan with Summer in his arms, and Seth and Marissa are either side of Ryan. then we see Summer kicking her legs, Seth holding onto them and Marissa touching Ryan's back, and they are near the water. the next thing we see is Marissa over Ryan's shoulder, and they are in the water ankle deep. Summer and Seth are standing near them. then we see them moving away from the tide. Seth has Summer over his shoulder and Ryan goes to pick Marissa up. then we see Ryan holding Marissa in his arms, Seth holding Summer over his shoulder and they are at the edge of the water. SO CUTE! next we see Ryan holding Seth long ways. he has one hand over both his legs and the other under his waist. Summer claps and they are laughing and having a good time! the next thing we see is a lifeguard tower. Marissa is leaning up against it and Ryan is standing in front of her, smiling. he slowly leans toward her and they kiss! awww Marissa has her hands on Ryan's shoulders. the shot changes and we see them still kissing, and the back of Ryan. we then see them all playing near the water again, it looks as though the sun is starting to go down. Ryan has both hands in the air like a monster and he goes after the girls. they both squeal and run away. the next thing we see is Seth holding a football, he throws it and Ryan goes to catch it but drops it in the water. then we see Summer and Seth sitting together by a fire in the sand. the sun is almost gone. they look so cute! we then see that they are roasting marshmallows on sticks together! Seth kisses Summer on the cheek and Summer smiles all cutesy. we then see Ryan and Marissa close up, kissing at the lifeguard tower like before. their heads slowly disappear out the bottom of the shot and all we see is the water. the next thing we see is the sun setting, with the lifeguard tower in the background. then we see the two couples sitting together near the fire. Marissa and Summer both have blankets over their shoulders) Marissa: well, if this is as good as it gets for a while Ryan: (smiles) eah, feels pretty good Summer: yeah (sarcastic) thanks for almost getting my bathing suit wet Cohen Seth: my pleasure Ryan: (mocking Summer, very nasally tone) Cohen, I can't believe that you did that Cohen (smirks) (Marissa and Summer laugh. we see a shot of the backs of them. Ryan puts his arm around Marissa and their heads are touching. Summer rests her head on Seth's shoulder. awww, could they get more adorable!) CUT TO: The I.C.U - through the blinds we can see Trey in bed. the camera moves across to show a nurse in the nursing station. the nurse hears a noise and looks up. all we see is a dark corridor. the nurse looks down. we then see bright pink high heels walking towards the camera. we then see the shadow of a head in the bottom right hand corner, and the nurse still with her head down Julie: I'm looking for Trey Atwood Nurse: (stands) I'm sorry, visiting hours ended a while ago Julie: oh did I forget to introduce myself, I'm Julie Cooper-Nichol as in the Nichol wing of this hospital which we're both standing in Nurse: ...oh hello Mrs. Cooper-Nichol Julie: (smiles) my husband was very philanthropic, hospitals were his favourite charity, especially making sure nurses an orderlies were compensated for their hard work (looks at Nurse) I would hate ta see his passion fall by the wayside (the Nurse looks at Julie, Julie looks at the nurse. the next thing we see is Treys room. Trey opens his eyes and reels back, we then see what he is reacting to. Julie is standing beside his bed) Julie: hello Trey (smiles) I've ben wanting to talk to you (Trey looks at her) oh no no, no pleasantries...look at you...lying there all helpless (closes the blinds) unable to stop me from (picks up a pillow) doing whatever I wanted to (Trey looks at her) kind of like the night you tried to rape my daughter Trey: ...I'm sorry Julie: (clenches teeth) oh you should be you son of a bitch...which is why your gonna help me (Trey looks at her) in exchange I'm prepared to compensate you, how does twenty thousand dollars sound Trey: (laughs) what d- what...do you want Julie: three simple words, repeat after me Trey...Ryan-shot-me (Trey looks at her, reluctant) Trey (raises the pillow) Trey: (swallows) ...Ryan...shot... CUT TO: Cohen living room - the first thing we see is the TV, on the screen is the movie Teen Wolf. Seth is sitting on the couch in his PJ's with his feet on the coffee table. Ryan sits down next to him with a breakfast bowl Seth: ok so, I know Teen Wolf is not a realistic movie (puts hand on his mouth, thinking) Ryan: really goin out on a limb there but yeah (puts feet on the coffee table) Seth: well (frowns) I mean how does bein a werewolf make you a better basketball player Ryan: can't argue with that one (Sandy comes in) Sandy: hey fellas (Ryan & Seth look at him) you mind shuttin off the TV (points) (Seth turns the TV off and Ryan puts his bowl down) Sandy: Trey talked to the police this morning...an he confirmed their suspicion that it was you who shot him (Ryan looks at him, stunned) Seth: well that's a total lie (Ryan looks away) Sandy: now the DA's office gave me a heads up...there gonna be issuing a warrant for your arrest in a few hours, now we're gonna figure this thing out (Ryan looks down) but I need to know that you are telling me everything that happened (Ryan looks up at Sandy, Sandy looks at him) Ryan: (stands, tied of it all) what difference does it make (Ryan leaves the room upset. Sandy watches him) Seth: your gonna fix this right (looks at Sandy, hopeful) (Sandy watches Ryan go into the pool house and slam the door behind him) CUT TO: Cooper-Nichol veranda - Julie is carrying a bucket with champagne in it, Jimmy is with her Jimmy: a little early for champagne don't you think Julie: I'm making mimosa's, there breakfast appropriate besides we should celebrate Jimmy: (frowns) celebrate the fact that Marissa's boyfriend is...getting arrested Julie: no the fact that Marissa isn't (smiles & pours) Jimmy: you know Julie its just a little too convenient, Trey wakes up an immediately points the finger at Ryan Julie: well, sometimes, Jimmy, and I know you don't have that much experience with this but...things work out Jimmy: you know...even if Marissa was accused sh-she wouldn't go to jail Julie: she also wouldn't be going to college, forget what the law says about just cause an defense of others, how's it gonna look on her college application under extra curriculars, shoots blue collar thugs Jimmy: look I don't want Marissa to suffer either but Ryan- Julie: Ryan's (puts finger up) dye was cast long before he moved inta the Cohen pool house look (closes eyes) Jimmy lets just puts this to bed (Marissa comes out) we'll collect on Caleb's will an we'll go back to being a normal, happy, family! Marissa: hey what's for breakfast (sleepy) Jimmy: hey kiddo what're you doin up Marissa: I can't sleep Julie: oh, well, I have news (smiles) (Marissa looks at her) it's very good for us Jimmy: ...but just...not so good forrr Ryan (Marissa looks worried) CUT TO: Cohen house - we see a shot of the pool house. all the blinds are shut and you can't see in. we then see that Seth and Summer are standing inside at the glass doors looking out Seth: well we know he wants to be left alone Summer: we have'to do something, should we bring him a snack (looks at Seth) what'does Ryan eat Seth: dry cereal from the box an black coffee Summer: (nods) huh, well maybe we could like get him something like a gift Seth: sure moneys no object Summer: ok (nods) what'does Ryan like Seth: (frowns) hmm Summer: (looks at Seth) any favourite movies (Seth is thinking) hobbies...Cohen he's your best friend Seth: heeeey you've known him as long as me I don't hear you throwin out any gems (looks at Summer) (we see the pool house again) Summer: well we can't just leave him alone out there this is terrible Seth: I know...but nobody even knows what to say to him he's never ben arrested before (Summer looks at him) for attempted murder (sound of the door bell. Summer and Seth both look in the direction of the door. the next thing we see is Seth walking towards the door, Summer is following behind him, with her hands holding onto the waist of his jeans, aww. Seth opens the door and Marissa is standing there) Marissa: where is he (anxious) Seth: ahh he's not really seeing visitors right now (shuts the door) Summer: we're kinda giving him space (Marissa sighs and looks at them both like 'please' then heads out to the pool house) Seth: this should go well Summer: right behind you Coop CUT TO: The Pool House - the first thing we see is a green knapsack, and Ryan's hands putting stuff inside it. then we see Marissa, Seth and Summer in the doorway Marissa: hey (Ryan continues packing the knapsack which is sitting on his bed) Ryan: hey Seth: hoodie, wife-beater, leather jacket...that's the Ryan Atwood escapist ensemble Ryan: that's right, doesn't matter what I say no ones gonna believe me not anymore Seth: dude your not running away Ryan: yeah (looks at Seth, raises eyebrows) yeah I am Marissa: no (moves closer to Ryan) no your not (Ryan looks at her) your sailing (shrugs, matter of factly) an we're coming with you Seth: yes since apparently there's boats involved (Ryan frowns) which is my forte' (touches his chest) Summer: totally, we all go down together (Ryan looks at Marissa, Marissa looks at him and shrugs) Ryan: (raises eyebrows) thanks (zips up his knapsack) CUT TO: Suriak T.C garden - Kirsten and Charlotte are standing together making coffees Charlotte: oh so how was your visit with your husband (Kirsten looks at her, suprised) he excited your coming home Kirsten: yes he is Charlotte: didn't tell him your not ready yet huh (Kirsten looks at her) (raises eyebrows) ben there Kirsten: well...Dr Woodruff says I'm ready I must be ready (smiles) Charlotte: (scoffs) yeah except Dr Woodruff aint gonna be in your kitchen at three am when your rootin around the spice rack for anything with alcohol an start pounding vanilla extract (Kirsten looks stunned) Charlotte: (notices) oh god I'm-I'm (closes her eyes) I'm sorry Kirsten: is that what happened to you Charlotte: ...it was cough syrup (raises eyebrows) Kirsten: that's my biggest fear...that I'm not ready, an I'm not going back to my husband an my boys until I know...that ill never let them down again Charlotte: look can I give you some advice...it's not a race...take all the time you need (Kirsten walks away and Charlotte watches her) CUT TO: The Pool House - Sandy knocks on the door, when there's no answer he opens the door and goes in Sandy: hello...I'm back (Sandy stares at the empty pool house then turns around and faces the door, he looks around worried. we hear the sound of the door bell. we then see the front door, through the glass we can see a man. Sandy opens the door and we see that it is an officer with the warrant for Ryan's arrest in his hand. another office is behind him talking on a walkie talkie, and we can see their police car) Officer: we're lookin for Ryan Atwood (holds out the warrant) Sandy: your a little late I'm afraid CUT TO: Marissa's bedroom - Julie walks in and looks around, she then puts the phone up to her ear Julie: nope, she's not here either an she left for your house hours ago Sandy, you don't think they'd try anything do you (worried) (Jimmy comes to the doorway) Jimmy: what's goin on Julie: (hangs up) the cops are at Sandy's house the kids are gone we don't know where they went (Julie leaves the room and Jimmy looks as though he's thinking) CUT TO: The docks - it's dark but we can see Jimmy's boat and Ryan, Marissa, Seth & Summer climb on board Summer: you don't think your dad'll miss the boat Marissa: well he of all people'll understand...but we gotta hurry Seth: let's go Ryan: hey man how long is it to Catalina Seth: about four hours then from there we can go wherever you want, Mexico, Hawaii Ryan: hey look guys I gotta say, you can get in alotta trouble for this so you know if you wanna back out (Marissa turns on a light) Seth: are you kidding, this is a great excuse to skip school Marissa: uh its not forever it's just until we can get Trey to change his story (we hear the sound of sirens, and see about a half dozen police cars pull up and surround them. one of the cars shines a light on the boat and we see them looking at all the police cars. Marissa and Summer are both shielding their eyes from the bright light. we see a close up of Ryan's face, just staring into the light) CUT TO: The Police Station - we see Ryan being led by an officer. he is wearing that familiar blue jumpsuit :(. Sandy is waiting for him in a room, and the officer leads him in. Ryan looks at Sandy. Sandy stands up Sandy: glad to see the jumpsuit still fits (Sandy motions for Ryan to sit down) Sandy: well kid, for someone who's innocent you done a hell of a job to look guilty Ryan: glad to see you're here to make me feel better (smiles sarcastically, then looks down) Sandy: no I'm here to tell you the truth...as your lawyer an your guardian (Ryan looks at him) the only person who runs is somebody whose got somethin'a hide Ryan: or who has no choice (raises eyebrows) I see how these cops an lawyers look at me...my record, my family (Sandy looks at him) an you know I'm right Sandy: this isn't over...the arraignments set for tomorrow, we're gonna fight this (Ryan half laughs then looks down) Trey could still change his mind Ryan: yeah...how's that gonna happen (Ryan looks at Sandy vulnerably, he almost looks like he's going to cry! :( ) CUT TO: The Hospital - the camera pans up to show Marissa and Summer in the good old candy striper outfits. Seth is in between them pushing a cart down the corridor Marissa: I haven't worn this candy stripers outfit since, like the tenth grade (folds her arms) Summer: well maybe we should start volunteering again, it's good for charity Seth: not that I'm against you guys wearing these uniforms, cause I'm not but...doesn't this plan seem a little light hearted given the...nature of the predicament Summer: Cohen, your not even part of the plan, we're jus letting you push a cart Marissa: ok Sum you're on (Marissa, Summer and Seth walk around the corner to a nurse's station) Summer: (smiles) hey Denise, how are you Denise: Summer Roberts, I haven't seen you in years, where you ben Summer: oh I love helping sick people its just they kept making me sick (screws up face) so I've ben reassigned to gun shot victims because you cant catch one'a those (shakes her head) (Marissa and Seth smile, impressed) Denise: (laughs) well glad to have you back, who do you wanna see (the next thing we see is Trey in bed. staring ahead. there's a knock on the door) Trey: I don't wanna speak to anyone else (Marissa opens the door and goes in) Trey: hey, did you hear what I- (realises its Marissa) (Marissa looks at Trey and closes the door behind her. she seems cautious, almost scared. Trey scoffs. Marissa is still just standing there) Trey: did you uh (raises eyebrows) come'to finish the job Marissa: so you do remember it was me who shot you Trey: (looks away, swallows) I... I'm trying to protect you Marissa: protect me (moves closer) by blaming Ryan Trey: (looks at Marissa) I'm sorry Marissa...for...for everything...I (swallows) I jus didn't know how ta make it right (Marissa looks at him, sadly) an she offered me a way out Marissa: (confused) w- who did Trey: (looks at Marissa, frowns) ...your mom (Marissa looks stunned and rubs her head) Marissa: look...Trey (moves closer) ...if you wanna make it right (raises eyebrows) then there's only one thing for you to do (Trey and Marissa look at each other. Trey looks away) CUT TO: Newport Bay Yacht Club - Sandy's Lexus pulls up out the front. then we see him open the door and go inside. he stops and looks over to the bar. Jimmy is sitting at the bar by himself. Sandy walks over Sandy: hey Jimmy Jimmy: hey Sandy: thanks for meetin me (sits down) Jimmy: sure, sorry to hear about Ryan (Sandy sighs) just when you thought things couldn't get any worse Sandy: well that's what I wanted to talk to you about...I've ben tryin'a figure out why Trey would try to frame Ryan (looks at Jimmy) y'know I know the kids not gonna be sainted any time soon but (laughs) still...the only thing I can figure (looks at Jimmy) somebody paid him (Jimmy looks away) ...but who would sink that low (Jimmy sighs) ...only one name came to mind (Jimmy looks at him) ...an you didn't try to stop her Jimmy: look I f-I found out about it too late there's nothin-there's nothin I could do Sandy: c'mon Jimmy at some point you gotta do the right thing Jimmy: well you gotta understand what I'm dealing with, put yourself in my shoes Sandy: (looks at Jimmy) in your shoes (angry) I got a wife in rehab who doesn't wanna come home an a kid who's ben locked up for somethin he didn't do, I think your shoes are lookin pretty good right now Jimmy: look I- I get it I get it...I'm tryin'a protect my family too (raises eyebrows) Sandy: (nods) right, because family means so much to ya Jimmy: (frowns) what's that supposed'to mean Sandy: that means what're you doin back at Newport...Caleb dies boom suddenly you show up (Jimmy looks at Sandy, Sandy's cell phone rings and he takes it out and looks at it) Sandy: (answers) grand central station, hello...oookkkk (nods) thankyou (hangs up) wait'till Julie hears this (smiles) CUT TO: Marissa's bedroom - there is a basket of washing and Julie pulls out a piece of clothing from it that resembles Marissa's attempt at doing her and Alex's washing, lol Marissa walks in, she doesn't look happy Julie: hi sweetie...uh I'm still learning how to do the wash so whatever no longer fits we'll just send it to your sister (smiles) Marissa: I know what you did Julie: (looks at Marissa, clueless) what'do you mean (Marissa scoffs and takes an envelope out of her bag, she holds it out to Julie) Julie: (takes the piece of paper) what's this Marissa: a copy of Treys confession (Julie looks at her, stunned) saying that if I didn't shoot him he would've killed his brother...police have one too (Julie reads the confession) Julie: d'you know what you've done Marissa: (reassuringly) ...I'm not going to jail Julie: but where are you gonna go Marissa huh (Marissa looks at her) you know how small this town is, this will get out Marissa: what (shrugs) that I saved my boyfriends life Julie: (pointed) that you shot someone (Marissa looks at her) when there's a scandal no one cares about the details Marissa: all you care about is what people in Newport think of us (Julie looks at her) of you (moves closer) you know I don't need you to protect me (means it) I need you to stay outta my life (Marissa leaves the room. Julie just stands there) CUT TO: The police station - a man hands a clipboard thingo to Ryan to sign. he's back in his own clothes and his knapsack is sitting on the table next to the clipboard. he signs the piece of paper then walks over to the door, a man opens it for him. Sand Summary:	The Cohen, Atwood and Cooper family deal with Trey's shooting. Julie is determined to protect Marissa's future, even if it means destroying Ryan's. Kirsten meets another recovering alcoholic, while Sandy, Seth and Ryan deal with her absence at home.	95	50,767	50,769	50,769	... [The rest of the episode script is omitted]

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