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doc_0 | [PREVIOUSLY_ON]
You make jumps you can't explain, Will. The evidence explains. Then help me find some evidence. I wouldn't put him out there! Should he get too close, I need you to make sure he's not out there alone. I don't think the Shrike killed that girl in the field. This girl's killer thought that she was a pig. You think this was a copycat? I think I can help good Will, see his face. Hello? They know.
(gunshots)
You said he wouldn't get too close. See?
(gunshots)
(knocking)
Jack: We're here!
(police radio chatter)
Will: Could be a permanent installation in your Evil Minds Museum.
Jack: Well, what we learn about Garrett Jacob Hobbs will help us catch the next one like him. There's still seven bodies unaccounted for.
Will: Yeah, well, he was eating them.
Jack: Had to be some parts he wasn't eating.
Will: Not necessarily.
Jack: All right, what if Hobbs wasn't eating alone? It's a lot of work. Disappearing these girls, butchering them, and then not leaving a shred of anything other than what's in this room.
Will: Someone he hunted with.
Jack: Someone who is in a coma, who also happened to be someone he hunted with.
Will: Abigail Hobbs is a suspect?
Jack: We've been conducting house-to-house interviews at the Hobbs residence, and, uh, at this property also. Hobbs spent a lot of time here. Spent a lot of time with his daughter here. She would make the ideal bait, wouldn't she?
Will: Hobbs killed alone. Ah... someone else was here.
[SCENE_BREAK]
(Applause)
Will: Thank you. Please stop that. This is how I caught Garrett Jacob Hobbs. It's his resignation letter. Does anybody see the clue? There isn't one. He wrote a letter, he left a phone number, no address. That's it. Bad bookkeeping and dumb luck. (gasping) Garrett Jacob Hobbs is dead. The question now is how to stop those his story is going to inspire. (projector click) He's already got one admirer. A copycat.
[SCENE_BREAK]
Will: Hi.
Alana: How are you, Will?
Will: Uh, I have no idea.
Alana: Um, I didn't want you to be ambushed.
Will: This is an ambush?
Alana: Ambush is later. Immediately later soon to now. When Jack arrives, consider yourself ambushed.
Will: Here's Jack.
Jack: How was class?
Will: Um, they applauded. It was inappropriate.
Jack: Well, the review board would beg to differ. You're up for a commendation. And they've, uh, okayed active return to the field.
Alana: The question is, do you want to go back to the field?
Jack: I want him back in the field. And I've told the board I'm recommending a psych eval.
Will: Are we starting now?
Alana: Oh, the session wouldn't be with me.
Jack: Hannibal Lecter's a better fit. Your relationship's not personal. But if you are more comfortable with Dr. Bloom-
Will: No, I'm not going to be comfortable with anybody inside my head.
Alana: You've never killed anyone before, Will. It's a deadly force encounter. It's a lot to digest.
Will: I used to work Homicide.
Jack: The reason you currently used to work Homicide is because you didn't have the stomach for pulling the trigger. You just pulled the trigger ten times!
Will: Wait, so a psych eval isn't a formality?
Jack: No, it's so I can get some sleep at night. I asked you to get close to the Hobbs thing. I need to know you didn't get too close. How many nights did you spend in Abigail Hobbs' hospital room, Will?
Will: Therapy doesn't work on me.
Jack: Therapy doesn't work on you because you won't let it.
Will: And because I know all the tricks.
Jack: Well, perhaps you need to un-learn some tricks.
Alana: Why not have a conversation with Hannibal? He was there. He knows what you went through.
Jack: Come on, Will. I need my beauty sleep!
[SCENE_BREAK]
Will: What's that?
Hannibal: Your psychological evaluation. You are totally functional and more or less sane. Well done.
Will: Did you just rubber stamp me?
Hannibal: Yes. Jack Crawford may lay his weary head to rest knowing he didn't break you and our conversation can proceed unobstructed by paperwork.
Will: Jack thinks that I need therapy.
Hannibal: What you need is a way out of dark places when Jack sends you there.
Will: Last time he sent me into a dark place, I brought something back.
Hannibal: A surrogate daughter? You saved Abigail Hobbs' life. You also orphaned her. That comes with certain emotional obligations, regardless of empathy disorders.
Will: You were there. You saved her life too. Do you feel obligated?
Hannibal: Yes. I feel a staggering amount of obligation. I feel responsibility. I've fantasized about scenarios where my actions may have allowed a different fate for Abigail Hobbs.
Will: Jack thinks Abigail Hobbs helped her dad kill those girls.
Hannibal: How does that make you feel?
Will: How does it make you feel?
Hannibal: I find it vulgar.
Will: Me too.
Hannibal: And entirely possible.
Will: It's not what happened.
Hannibal: Jack will ask her when she wakes up, or he'll have one of us ask her.
Will: Is this therapy, or a support group?
Hannibal: It's whatever you need it to be. And, Will, the mirrors in your mind can reflect the best of yourself, not the worst of someone else.
[SCENE_BREAK]
Boy1: What is that?
Boy2: I bet it's marijuana.
Boy3: Mushrooms. Look, they got tubes to water 'em or something.
Boy2: No, it's a marijuana plant.
Boy1: That's not marijuana.
[SCENE_BREAK]
Beverly: I'm pretty sure firearm accuracy isn't a prerequisite for teaching.
Will: Well, I've been in the field before.
Beverly: Now you're back in the saddle. Ish.
Will: Ish indeed. Took me 10 shots to drop Hobbs.
Beverly: Zeller wanted to give you the bullets he pulled out of Hobbs in an acrylic case, but I told him you wouldn't think it was funny.
Will: Probably not.
Beverly: I suggested one of those clackin' swingin' ball things.
Will: That would've been funny.
Beverly: You're a Weaver. I took you for an isosceles guy.
Will: I have a rotator cuff issue so I have to use the Weaver stance.
Beverly: You are tight.
Will: I got stabbed when I was a cop.
Beverly: Yeah, I got stabbed in the third grade with a number two pencil. Thought I was gonna get lead poisoning.
Will: Uh, no lead in pencils; It's graphite.
Beverly: See if that helps with the recoil.
Will: That was better. You come all the way down here to teach me how to shoot?
Beverly: No. Jack sent me down here to find out what you know about gardening.
(crow cawing)
Jack: So, Lecter gave you the all-clear. Therapy might work on you after all.
Will: Therapy is an acquired taste which I have yet to acquire. But, uh, it served your purpose. I'm back in the field.
Jack: Local police found tire tracks on a hidden service road and some small animal traps in the surrounding area.
Will: He wanted to keep his crop undisturbed.
Jack: The only thing missing is the scarecrow.
[SCENE_BREAK]
Jimmy: OK, we've got nine bodies, various stages of decay, and as you can see, all very well fertilized.
Beverly: He buried them in a high-nutrient compost. He was enthusiastically encouraging decomposition.
Brian: They were buried alive with the intention of keeping them that way. I mean, for a little while.
Jimmy: : Long enough for the fungus to eat away any distinguishing characteristics.
Brian: Line and rebar were used to administer intravenous fluids after they were buried. He was feeding them something.
Will: No restraints?
Jimmy: Just dirt.
Beverly: The other end of the air-supply system comes up over there.
It isn't a very considerate clean air solution, which clearly wasn't a priority, 'cause he isn't lazy.
Will: No, he's not.
Beverly: You find any shitakes?
Brian: : No.
Jack: Welcome back.
[SCENE_BREAK]
Detective: Tell Sam to give me a call, will you? Thank you. Excuse me.
Freddie: I'm one of the parents of the explorers who found the bodies. I wanted to thank you for being so good with all the boys.
Detective: Those boys were very brave.
Freddie: They are good boys.
Detective: Yeah.
Freddie: You're a local police detective?
Detective: Yes ma'am.
Freddie: Would it be an imposition to ask a few things? The boys are gonna have questions and I just want to be as honest with them as-
Detective: Of course.
Freddie: Can you, uh, tell me what that man is doing over there by himself?
Detective: He's some kind of special consultant. Works for the FBI.
Freddie: Huh.
(sound muted)
(soft ambient pulse)
(Sound returns.)
Will: I do not bind his arms or legs as I bury him in a shallow grave. (ventilator pumping) He's alive. But he will never be conscious again. He won't know that he's dying. I don't need him to. This is my design.
[SCENE_BREAK]
Detective: I think your family's leaving.
Freddie: We drove separately.
[SCENE_BREAK]
(muffled gasp) (Will gasping)
Will: I need an EMT!
(person gasping)
Katz: EMT! We need an EMT!
Officer Zeller: Don't touch him!
[SCENE_BREAK]
Will: This may have been premature.
Hannibal: What did you see? Out in the field.
Will: Hobbs.
Hannibal: An association?
Will: A hallucination. I saw him lying there in someone else's grave.
Hannibal: Did you tell Jack what you saw?
Will: No!
Hannibal: It's stress. Not worth reporting. You displaced the victim of another killer's crime with what could arguably be considered your victim.
Will: I don't consider Hobbs my victim.
Hannibal: What do you consider him?
Will: Dead?
Hannibal: Is it harder imagining the thrill somebody else feels killing, now that you've done it yourself? The arms.
Why did he leave them exposed? To hold their hands? To feel the life leaving their bodies?
Will: No, that's too esoteric for someone who took the time to bury his victims in a straight line. He's more practical.
Hannibal: He was cultivating them.
Will: He was keeping them alive. He was feeding them intravenously.
Hannibal: But your farmer let his crops die. Save for the one that didn't.
Will: Well, and the one that didn't died on the way to the hospital, though they weren't crops; They were the fertilizer. The bodies were covered in fungus.
Hannibal: The structure of a fungus mirrors that of the human brain an intricate web of connections.
Will: So maybe he admires their ability to connect the way human minds can't.
Hannibal: Yours can.
Will: (laughs) Yep. Um yeah, not physically.
Hannibal: Is that what your farmer is looking for? Some sort of connection?
[SCENE_BREAK]
Hannibal: Have a good evening, Will.
[SCENE_BREAK]
Hannibal: Miss Kimball?
Freddie: Yes.
Hannibal: Good evening. Please come in.
[SCENE_BREAK]
Freddie: I've, uh, never seen a psychiatrist before. And I am unfortunately thorough, so you're one of three doctors I'm interviewing. It's more or less a bake-off.
Hannibal: I'm very supportive of bake-offs. It's important you find someone you're comfortable with.
Freddie: I can imagine you as my therapist, which is good. If I can't visualize opening up emotionally, I know it would be a problem.
Hannibal: May I ask why now?
Freddie: Do you mind if I ask you a few questions first?
Hannibal: Of course not.
Freddie: I love that you've written so much on social exclusion. Since that's why I'm here, I was wondering-
Hannibal: Are you Freddie Lounds?
Freddie: Ah...
Hannibal: This is unethical, even for a tabloid journalist.
Freddie: I am, uh, I am so embarrassed.
Hannibal: I'm afraid I must ask for your bag.
Freddie: What?
Hannibal: Your bag. Please hand it over. I'd rather not take it from you. Thank you.
Freddie: I was recording our conversation.
Hannibal: Our conversation? Yours and mine?
Freddie: Yes.
Hannibal: No other conversation?
Freddie: No.
Hannibal: You were very persistent about your appointment time. How did you know when Will Graham would be here?
Freddie: I may have also recorded your session with Will Graham.
Hannibal: You didn't answer the question. How did you know?
Freddie: I can't answer that question.
Hannibal: Come. Sit by me. Delete the conversations you recorded. Doctor-patient confidentiality works both ways. Delete it, please. You've been terribly rude, Miss Lounds. What's to be done about that?
[SCENE_BREAK]
[ ♪ J.S. Bach: Cello Suite No.4: Prelude ]
Hannibal: Loin, served with a Cumberland sauce of red fruits.
Jack: Um, loin. What kind?
Hannibal: Pork.
Jack: Wonderful. I don't get many opportunities to, uh, eat home-cooked meals. My wife and I both work, and, uh, as hard as I tried not to, I did wind up marrying my mother.
Hannibal: Your mother didn't cook?
Jack: She did, she did. I only wish she didn't. There was this meal she used to prepare. She liked to call it "oriental noodles". Spaghetti, soy sauce, bouillon cubes, and spam. I was raised thin as a youngster.
Hannibal: Well, next time, bring your wife. I'd love to have you both for dinner.
Jack: Thank you. Mmm. Lovely. So, why do you think Will Graham... came back to see you?
Hannibal: I'm sure he recognizes the necessity of his own support structure if he is to go on supporting you in the field.
Jack: Well, I believe that a guy like Will Graham knows exactly what's going on inside of his head, which is why he doesn't want anyone else up there.
Hannibal: Are you not accustomed to broken ponies in your stable?
Jack: You think Will Graham's a broken pony?
Hannibal: I think you think Will is a broken pony. Have you ever lost a pony, Jack?
Jack: If you're asking me whether or not I've ever lost someone in the field, the answer is yes. Why?
Hannibal: I want to understand why you're so delicate with Will. Because you don't trust him, or because you're afraid of losing another pony?
Jack: I've already had my psych eval.
Hannibal: Not by me. You've already told me about your mother. Why stop there?
Jack: (laughing) Oh, great. All right. Mmm...
[SCENE_BREAK]
Will: What were they soaked in?
Jimmy: A highly concentrated mixture of hardwoods, shredded newspaper, and pig poop perfect for growing mushrooms and other fungi.
Brian: It was not the mushrooms, though. They all died of kidney failure.
Beverly: Dextrose in all the catheters. He probably used some kind of dialysis or peristaltic to pump fluids after their circulatory systems broke down.
Will: Force-feeding them sugar water?
Jimmy: You know who loves sugar water? Mushrooms.
They crave it.
Brain: Recovering alcoholics. They crave sugar. Uh, don't take that personally, buddy.
Jimmy: Oh, I'm not recovering.
Brain: Feed sugar to the fungus in your body, the fungus creates alcohol, so it's like friends helping friends, really.
Will: It's not just alcoholics who have compromised endocrine systems. They all died of kidney failure? Death by diabetic ketoacidosis.
Beverly: Did you know they were diabetics?
Brain: We don't know they were diabetics.
Will: No, they're all diabetics. He induces a coma and puts them in the ground.
Beverly: How is he inducing diabetic comas?
Will: Changes their medication. So he's a doctor or a pharmacist or he works somewhere in medical services.
Beverly: He buries them, feeds them sugar to keep them alive long enough for the circulatory systems to soak it up.
Jimmy: So he can feed the mushrooms!
Brian: We dug up his mushroom garden.
Will: Yeah, he's gonna want to grow a new one.
[SCENE_BREAK]
Ms. Speck: I'm picking up a prescription for Gretchen Speck.
Eldon: Gretchen Speck (typing) - Horowitz.
Ms. Speck: Oh, it's just Speck. We're divorced. I lost the hyphen, kept the ring.
Eldon: Insulin.
Ms. Speck: Yes.
Eldon: Oh. Oh, it's the wrong one. Just-
Ms Speck: Uh-oh.
Eldon: No, no, it's OK. Just gonna be one second. There. There you go. Oh, could you sign here please? And that's your correct address?
Ms Speck: Yeah. Thank you.
Eldon: Thank you.
[SCENE_BREAK]
Eldon: Mrs. James. If you could sign here, please? Thank you.
[SCENE_BREAK]
Jack: She's the chain's 10th diabetic customer to disappear after filling a prescription for insulin, second to disappear from this exact location.
Will: And the other eight?
Jack: All over the county. One pharmacist all over the county as well.
Will: Floater, huh?
Jack: Floater's floating right here. Still logged in at his work station. Everyone please stop what you are doing. Put your hands in the air! Special Agent Jack Crawford. Which one of you is Eldon Stammets?
[SCENE_BREAK]
: Eldon was just here. Just now.
Will: Is his car still in the parking lot?
Jack: His car!
[SCENE_BREAK]
Will: Give me your baton. Ugh! (ventilator pumping) She's alive!
Jack: EMTs! Now! All right. We know his name, we have his address, we have his car.
Jimmy: Jack. We just checked the browser history at Stammets' work station.
Jack: Am I gonna wanna hear this?
Jimmy: No. And yes, but mostly no.
[SCENE_BREAK]
Brian: Freddie Lounds. TattleCrime.com.
Beverly: "The FBI isn't just hunting psychopaths, they're headhunting them "too, offering competitive pay and benefits in the hopes of using one demented mind-"
Jack: Keep going.
Beverly: It's about Will.
Jack: Go on.
Beverly: "One demented mind to catch" She goes into a lot of detail.
Jack: Son of a bitch.
[SCENE_BREAK]
Hannibal: You are naughty, Miss Lounds.
[SCENE_BREAK]
(knocking on door)
Freddie: Who is it?
(knocking on door)
Who is it? Ah!
Brian: : All clear.
Freddie: I appreciate the pageantry, Agent Crawford, but you can't arrest me for writing an article.
Jack: You entered a federal crime scene without permission.
Freddie: Escorted by a detective.
Jack: Under false pretence!
Freddie: It is as good as permission.
Jack: You lied to a police officer.
Freddie: You can't arrest me for lying.
Jack: You got all that information from a local detective?
Friddie: Lots of talk about your man Graham. Not to mention the rivalry of who gets the collar. A local police detective looking for a pissing contest with the FBI might have some insight.
Jack: And evidently did.
Friddie: Sure did.
Jack: You know, the unfortunate timing of your article allowed a murderer to escape. You were in Minnesota. You were in the Shrike's nest. You know how I know? 'Cause you left one of these hairs behind. You contaminated the crime scene. Just like everywhere you go, you contaminate crime scenes. That's obstructing justice. I can indict you for obstructing justice.
Friddie: I'd appreciate it if you didn't.
Jack: You don't write another word about Will Graham and I won't have to.
Brian: You used me.
(monitor beeping)
(ventilator pumping)
(footsteps)
Alana: "He and the Grandmother discussed better times.", The old lady said that "in her opinion, Europe was entirely to blame for the way things were now. She said"
Will: What are you reading?
Alana: Flannery O'Connor. When I was Abigail's age, I was obsessed. I even tried to raise peacocks because she raised peacocks. But they were really stupid birds.
Will: You could be reading to a killer.
Alana: Innocent until guilty and all that. I'm about to broach the subject of that "Takes One to Know One" article.
Will: Oh, that. Did Jack send you?
Alana: No, I sent me.
Will: I don't think we've ever been alone in a room together, have we?
Alana: I haven't noticed. Have we? Not that we're necessarily alone now.
Will: Yeah, right. Back to "Jack Crawford's crime gimp".
Alana: It certainly creates an image. I don't need to talk about it if you don't.
Will: No, no, we can talk about or not talk about whatever you want. Actually, I was I was just enjoying listening to you read.
Alana: Abigail Hobbs is a success for you.
Will: She doesn't look like a success.
Alana: Don't feel sorry for yourself because you saved this girl's life.
Will: I don't. I don't feel sorry for myself at all. I feel, um I-I I feel, um good.
[SCENE_BREAK]
Detective: Don't know where you got half that information. It wasn't from me.
Freddie: I may have made some inferences.
Detective: They think I told you all of it.
Freddie: They saw you talking to me.
Detective: They think it's my fault Stammets escaped.
Freddie: I'm sorry I got you fired.
Detective: I wasn't fired. I was suspended.
Freddie: They're gonna fire you. Jack Crawford will make sure of that.
Detective: You- You stir the hornet's nest, and I'm the one who gets stung?
Freddie: I can help you get work outside the force, if you want me to. I know people in private security.
Detective: Not the first cop you got fired.
Freddie: Guarantee you it pays better. Right now, future you is thanking me-
Eldon: I read your article. Tell me about Will Graham.
[SCENE_BREAK]
Freddie: Hey, Jack.
Jack: Miss Lounds? Go ahead and stand down, officer. Miss Lounds, are you all right?
Freddie: Where's Will Graham?
Jack: We have an eyewitness to the murder. We don't need Will Graham.
Freddie: No, that's not why I'm asking.
Jack: Someone find me Will Graham! This is about Will? Freddie: He was talking about people having the same properties of a fungus.
Jack: Stammets?
Freddie: Thoughts leaping from brain to brain. They mutate, they evolve.
Jack: Well, what does he want with Will Graham?
Freddie: Someone who understands him. Graham was right. Stammets is looking for connections.
Jack: What did you tell him? I need to know what you told Eldon Stammets about Will Graham.
Freddie: I told him about the Hobbs girl.
Jack: What did you tell him?
Freddie: Everything. He wants to help Will Graham connect with Abigail Hobbs. He's gonna bury her.
[SCENE_BREAK]
(ding!)
Will: Sorry.
(ding!)
(phone ringing)
Hello? - [lt's Jack.] [Are you at the hospital?] Yes, I am. [Stammets knows about Abigail Hobbs.] Where is she? Abigail Hobbs, the girl in 408. Where is she?
Nurse: They took her for tests.
Will: Who took her? Who took her?!
Nurse: I don't know!
Will: Hey! (grunting in pain) What were you gonna do to her?
Eldon: We all evolved from mycelium. I'm simply reintroducing her to the concept.
Will: By burying her alive?
Eldon: The journalist said you understood me!
Will: I don't.
Eldon: Well, you would have. You would have. If you walk through a field of mycelium, they know you are there. They know you are there. The spores reach for you as you walk by. I know who you're reaching for. I know. Abigail Hobbs. And you should have let me plant her. You would have found her in a field, where she was finally able to reach back!
[SCENE_BREAK]
Hannibal: When you shot Eldon Stammets, who was it that you saw?
Will: I didn't see Hobbs.
Hannibal: Then it's not Hobbs' ghost that's haunting you, is it? It's the inevitability of there being a man so bad that killing him felt good.
Will: Killing Hobbs felt just.
Hannibal: Which is why you're here to prove that sprig of zest you feel is from saving Abigail, not from killing her dad.
Will: I didn't feel a sprig of zest when I shot Eldon Stammets.
Hannibal: You didn't kill Eldon Stammets.
Will: I thought about it. I'm still not entirely sure that wasn't my intention pulling the trigger.
Hannibal: If your intention was to kill him, it's because you understand why he did the things he did. It's beautiful in its own way giving voice to the unmentionable.
Will: I should've stuck to fixing boat motors in Louisiana.
Hannibal: A boat engine is a machine, a predictable problem, easy to solve. You fail, there's a paddle. Where was your paddle with Hobbs?
Will: You're supposed to be my paddle.
Hannibal: I am. It wasn't the act of killing Hobbs that got you down, was it? Did you really feel so bad because killing him felt so good?
Will: I liked killing Hobbs.
Hannibal: Killing must feel good to God too. He does it all the time. And are we not created in his image?
Will: That depends who you ask.
Hannibal: God's terrific. He dropped a church roof on 34 of his worshippers last Wednesday night in Texas, while they sang a hymn.
Will: And did God feel good about that?
Hannibal: He felt powerful. | |
doc_1 | [EXT. LAS VEGAS CITY (STOCK) - NIGHT]
[EXT. ABERNATHY RESIDENCE - DRIVEWAY -- NIGHT]
(The lamp post light over the driveway flickers out then goes back on again.)
[INT. ABERNATHY RESIDENCE - MASTER BEDROOM -- NIGHT]
(Open on a framed photo on the bedside table of a man and a woman smiling. Camera moves over and across the bed to the closed bedroom door. Under the door through the crack we see swirling smoke seeping into the bedroom.)
[MARTHA JAMES' BEDROOM]
(MARTHA JAMES sleeps quietly in her bed.)
[SAM ABERNATHY'S BEDROOM]
(Camera sweeps low across the floor - along the thrown puzzle pieces littering the carpet and over to the bunk bed ladder. It rises up and finds SAM ABERNATHY sleeping in bed.)
[SCENE_BREAK]
[SABRINA'S BEDROOM]
(The focus is on the neatly made bed and the stuffed animal on it. Smoke rises up from the floor to cover the bed like a cloud completely obscuring it from our vision.)
[SCENE_BREAK]
[EXT. ABERNATHY RESIDENCE - FRONT YARD - NIGHT - LATER]
(The bedroom windows explode and a stream of fire bursts out of the house. A fireman walking across the lawn ducks instinctively.)
Fireman: Go pull a line towards the garage.
(The house is on fire and fire fighters are attempting to put it out.)
(Two firemen assist MARTHA JAMES and JESSICA ABERNATHY out of the house.
Jessica Abernathy: Sam?
Fireman: (o.s.) Knock it down.
Jessica Abernathy: (hysterical) Sam? Where is Sam?
Fireman: You're going to be all right.
(The firemen lead MARTHA JAMES and JESSICA ABERNATHY across the lawn and away from the house fire.)
Jessica Abernathy: What about Sam?! Sam!
Fireman: I'm going to need you to stay right here, ma'am.
Jessica Abernathy: Sam. Where is he? Where is...?
(A FIREMAN pushes the door open and exits the house. He's carrying SAM ABERNATHY in his arms.)
Fireman: Hey, I got one more!
(The FIREMAN carries SAM over to his mom and the medic.)
Fireman: Here you go, pal. You stay right here with your mom.
(The MEDIC takes SAM'S hand.)
Fireman: Ma'am, is there anybody else in there?
Jessica Abernathy: No.
(The FIREMEN open another hose and aim it at the house. The house is on fire.)
[SCENE_BREAK]
(CATHERINE and NICK carry their kits and walk toward WARRICK who is standing on the side on the driveway next to the Arson Investigator, JACK. They're both watching the fire.)
Catherine: Hey.
(WARRICK and JACK turn around.)
Nick: What's with the 911 page? Fire's not even out yet.
Warrick: Jack's an arson investigator. We were here on this same street ten days ago.
Jack: Garage fire a few houses down. Deemed intentional.
Catherine: So you think it's a serial?
Warrick: I don't know, but I'm keeping my eyes peeled. Maybe they came back to take a look.
Fireman: (o.s.) We got another one.
(A FIREMAN comes out of the burning house carrying a body.)
Fireman: Got another one.
(He makes his way toward the medics. JESSICA ABERNATHY is completely confused, but she recognizes her own daughter.)
Jessica Abernathy: Sabrina?
Fireman: We need a paramedic right now. She's not breathing.
(JESSICA kneels down next to her daughter.)
Jessica Abernathy: Sabrina, what are you doing here? You weren't supposed to be here. Sabrina?
(The MEDICS work on SABRINA, but she's already gone.)
Jessica Abernathy: (sobbing) Please help me. Please.
Catherine: I think our arsonist just turned into a murderer.
(Camera rises up above the scene of the PARAMEDIC working on SABRINA as sounds of her mother sobbing are heard.)
FADE TO END OF TEASER ROLL TITLE CREDITS
[SCENE_BREAK]
FADE IN
[EXT. ABERNATHY RESIDENCE -- NIGHT]
(The CORONERS zip up the body bag with SABRINA ABERNATHY inside and put the gurney in the back of the CORONERS' van. CATHERINE and JESSICA ABERNATHY stand off to the side watching.)
Jessica Abernathy: She wasn't even burned.
Catherine: Smoke inhalation happens really fast. I'm so sorry. I heard you say she wasn't supposed to be home tonight. Was she with her dad?
Jessica Abernathy: My husband died five years ago in a car accident. She ... was at her friend Molly's house for a sleep-over. At least she was when I went to bed.
Catherine: What time was that?
Jessica Abernathy: I don't know, 11:00, 11:30.
Catherine: Mrs. Abernathy, do you have any idea what may have caused the fire?
Jessica Abernathy: I go to bed, I make sure the lights are off, lock the doors.
Catherine: Do you know anyone who might want to set fire to your home?
Jessica Abernathy: I go to work. I take care of my kids and my mother, and that's my life.
[SCENE_BREAK]
[FRONT YARD - NIGHT - CONTINUOUS]
(NICK faces the crowd and takes photos of the curious onlookers.)
Nick: Thanks a lot.
(He snaps more photos, then puts the camera down.)
Nick: Okay, folks, any information you feel like you may have...
(MARTHA JAMES taps NICK on his shoulder.)
Martha James: How am I going to get my fosamax?
Nick: Oh, well, I'll make sure you have your medications by breakfast, okay? You're going to be all right. Everything's okay.
(A FIREMAN appears and pulls MARTHA JAMES off to the side.)
Nick: This man will take care of you, okay?
[FIRETRUCK (PARKED) - FRONT SEAT - NIGHT -- CONTINUOUS]
(SAM ABERNATHY points to something up above expecting the FIREMAN sitting next to him to explain it to him. WARRICK stands just outside the open passenger seat door and listens.)
Sam Abernathy: What does that one do?
Fireman: That one? That turns on the siren, so we can get to places really fast.
Sam Abernathy: To help people burning inside?
Fireman: That's right.
Sam Abernathy: But not my sister.
Fireman: Yeah. (He puts a hand on the little boy's shoulder.) I'm sorry, buddy.
Sam Abernathy: It's okay.
(SAM looks at the FIREMAN who looks past SAM at WARRICK.)
[SCENE_BREAK]
[EXT. LAS VEGAS CITY (STOCK) - NIGHT]
[INT. CASINO - BATHROOM -- NIGHT]
(In the middle of the bathroom floor is a very large dead man wearing a red shirt with "735" in white on the front.)
Brass: So the morning cleaning crew found him. No ID, but this was in his pocket.
(BRASS explains what he knows to SARA and GRISSOM. He shows the paper to SARA.)
Sara: Looks like some kind of code.
(She looks at the wordlist.)
Grissom: "735"?
Brass: His goal weight? (BRASS shrugs. He gives up while he's ahead.) I'm going to talk to housekeeping.
(He turns and leaves the rest room. SARA and GRISSOM step forward to get to work. GRISSOM puts his kit down on the floor next to the body.)
(He opens his kit and removes a camera. He takes a photo of the head wound.)
Grissom: That's a nasty head wound.
Sara: It's always reassuring to see an empty soap dispenser in a public bathroom.
(SARA hands the bagged note to GRISSOM. She leans in close over the bathroom counter and looks at the cracked mirror with blood running down the front.)
Sara: So I'm thinking this is how the vic got his head smashed in.
(Through the reflection in the mirror, we see GRISSOM stand up behind SARA to look at the mirror.)
(Quick flashback to: [BATHROOM - EARLIER] ADAM BRENNER hits his forehead against the mirror. The mirror cracks and ADAM falls back to the floor. Someone standing behind him steps aside.)
(End of flashback. Resume to present.)
(GRISSOM holds out a swab. SARA takes it from him.)
Sara: Thank you.
(She takes a sample of the blood on the mirror.)
(GRISSOM puts on his latex gloves while staring at the blood stain on the floor. He sees something on the blood.)
Grissom: It's common to find something in blood. Uncommon to find something on blood.
(SARA watches him as he picks up the black thing. He looks down at the body and checks the eyes.)
Grissom: Petechial hemorrhaging. Asphyxia.
Sara: Head bashed in and asphyxiated. No soap was the least of his problems.
(GRISSOM glances up at SARA.)
[SCENE_BREAK]
[EXT. LAS VEGAS COMMUNITY (STOCK) - DAY]
Jack (arson Investigator): (V.O.) The smoke detectors' batteries are all dead.
[INT. ABERNATHY RESIDENCE - SABRINA'S BEDROOM -- DAY]
(JACK, the arson investigator, shows CATHERINE, WARRICK and NICK through the house.)
Jack (arson Investigator): Sabrina's was the only bedroom that sustained any fire damage at all.
Catherine: Her mother thought that she wasn't home.
(WARRICK takes a photo.)
Catherine: But she wasn't asleep.
Jack (arson Investigator): Not in her bed.
(CATHERINE walks over to the small space and finds SABRINA'S hide-away - books and other junk - evidence that a teenager had been there.)
(Quick flashback to: SABRINA sits in the small space reading the book while music blares in the background.)
(End of flashback. Resume to present.)
Warrick: That would explain why the firemen didn't find her right away.
(WARRICK takes a photo.)
Jack (arson Investigator): But it doesn't explain what she was doing down there.
Catherine: If you can explain the behavior of teenagers, more power to you.
[KITCHEN]
(JACK kicks at the burned linoleum on the floor.)
Jack (arson Investigator): Adhesive they use to put this stuff down is highly flammable. Crack in the linoleum, the fire will just seek it out and go for it.
(CATHERINE looks up at the fluorescent lights on the ceiling. WARRICK takes a photo of the things on the floor.)
(CATHERINE looks at the burned stove. WARRICK tries the back door. He opens it and closes it.)
Warrick: (to JACK) This door's unlocked.
Jack (arson Investigator): The firemen said they only used one point of entry and exit: The front door.
Catherine: Mrs. Abernathy said that she locked all the doors before bed.
Warrick: Well, this could be how Sabrina got in. Comes home late, forgets to lock the door behind her. It's an opportunity waiting to happen.
Jack (arson Investigator): Let's check out the living room.
(He turns and leads them into the next room.)
[LIVING ROOM]
Jack (arson Investigator): A few cheap, wood panel walls. Polyester curtains, couple of fake plants. All highly flammable.
(CATHERINE picks up an unburned bottle of alcohol.)
Catherine: Plus ... a bar full of liquid fire with a low flash point.
(She throws the bottle aside. JACK sees the broken table on the floor.)
Jack (arson Investigator): Coffee table.
(They both approach the remains of the sofa.)
Catherine: Couch?
Jack (arson Investigator): At some point, I think this was a couch.
Catherine: This looks like a liquid pour pattern. High-intensity burn. You think this could be the point of origin?
(Quick CGI flash to: The couch is on fire and burning. End of flash. Resume to present.)
Jack (arson Investigator): I think this is the area of heaviest damage. The fire spread up and out towards the kitchen.
(JACK takes out a tape measure. His voice fades into the background.)
[DOOR]
(WARRICK kneels in front of the back door and fingerprints the door knob.)
[DRIVEWAY]
(Meanwhile out in the car port, NICK looks around and finds a stack of newspapers only slightly burned. He moves the papers and looks at the concrete burns under it.)
[LIVING ROOM]
(CATHERINE works on the sofa when WARRICK approaches her. He puts his kit down.)
Catherine: How'd you do?
(NICK walks into the room carrying the stack of newspapers.)
Warrick: Uh, couple of weak partials. What you got, partner?
Nick: Newspapers. I found them in the carport.
Catherine: That's on the other side of the house.
Nick: Yeah, it's kind of weird. Completely out of the path of the fire and the firemen said they didn't put them there.
Warrick: You know the fire down the street was in the garage.
Nick: Well, maybe he started in the carport, Sabrina came home, provided access to the inside of the house.
Catherine: Did they find an accelerant at the first scene?
Warrick: Lighter fluid from the garage.
Catherine: So maybe part of the M.O. is that he uses accelerants that are present.
Nick: Let's hope he stuck around long enough to witness the damage.
[SCENE_BREAK]
[INT. CSI - A/V LAB -- DAY]
(NICK and WARRICK go through the video of the observers in the crowd.)
Warrick: This is home video from the first fire.
Nick: It looks like everybody's neighbor.
Warrick: Well, they say arsonists often commit crimes where they feel most familiar. The last fire was set during the day in the garage when the family was out of town.
Nick: A neighbor would know when people were out of town.
Warrick: Or when the door was left unlocked.
Nick: If this is a serial situation, to go from an empty garage to a whole house full of people, we're talking about a major escalation here.
Warrick: Well, a match was found at the first fire. If we could find a match in the debris of the second fire, then we may know for sure.
(On the monitor, a woman stands near the fire truck.)
Nick: Oh, she looks familiar. Hang on. I may have something.
(He goes to the next video.)
Nick: She was at both fires. I got her name off the canvas.
Warrick: Let's run her.
Nick: Yeah.
(NICK does a name check and finds something. She is:
Name: VIVA CHARLES
Address: 22 SUTTER STREET
LAS VEGAS, NV
s*x: FEMALE
Criminal Records: ATTEMPTED ARSON
MARCH 03, 2000
Nick: She has a record.
[SCENE_BREAK]
[INT. CSI - INTERVIEW ROOM -- DAY]
(NICK interviews VIVA CHARLES.)
Nick: You were arrested for attempted arson?
Viva Charles: I was exonerated.
Nick: I have you on film at both fires on cell crook road.
Viva Charles: I am not an arsonist.
Nick: That's not what your file says.
Viva Charles: The law doesn't make much of a distinction between arsonists and pyromaniacs.
Nick: What is the distinction?
Viva Charles: I don't set fires for money or with the intent to cause damage.
Nick: But you do set fires?
Viva Charles: Mmm. You go home at night, and you feel a little lonely, you put in a racy video.
Nick: No, no, no. We're not talking about me.
Viva Charles: I go home, I rip open my junk mail, and I put it in the fireplace. It's an impulse control disorder ... but it's private. I don't burn down houses and kill children.
Nick: Maybe not on purpose, but accidents do happen.
[SCENE_BREAK]
[EXT. LAS VEGAS CITY (STOCK) -- MORNING]
[INT. CSI - LAB - MORNING]
(GREG walks into the lab. NICK is already there with a pack on the table in front of him.)
Greg: You rang?
Nick: Yeah. Greg, how'd you like to be listed as an assist on an arson case?
Greg: Is that a rhetorical question?
Nick: Cool. I collected these matchbooks from the pyromaniac's house, who was ... kind of hot, actually.
Greg: Really? You dig chicks who dig fire?
(NICK smiles and doesn't answer the comment.)
Nick: Yeah. This, uh ... this match was used to start a garage fire a couple of weeks ago. See if you can find a match to ... (NICK empties the pack onto the table. Dozens of matchbooks spill out.) ... one of those. Thanks, pal.
(He pats GREG on the shoulder and leaves the lab.)
[SCENE_BREAK]
[INT. CSI - FORENSIC AUTOPSY -- DAY]
(The two CORONERS work on ADAM BRENNER.)
Robbins: All right, David. The three most common ways to asphyxiate: Strangulation, suffocation and...
David Phillips: Choking.
Robbins: Good.
David Phillips: With this guy, my money's on choking.
(ROBBINS and DAVID PHILLIPS work on the body.)
Robbins: Scissors.
(DAVID PHILLIPS hands ROBBINS the scissors. He removes a portion of the body's trachea to check for blockage.)
Robbins: Hold this please. Thank you, David.
(He cuts the trachea open and finds a LOGOS piece: "S". ROBBINS looks at DAVID PHILLIPS.)
Robbins: Hmm.
[SCENE_BREAK]
[INT. CSI - GRISSOM'S OFFICE -- DAY]
(ROBBINS reports his findings to GRISSOM. GRISSOM holds up the LOGOS piece.)
Grissom: An "S"?
Robbins: Cause of death.
(Quick flashback to: [BATHROOM] ADAM BRENNER chokes on the piece.)
Robbins: (V.O.) I found it in the trachea.
(End of flashback. Resume to present.)
Grissom: So, he swallows a tile and tries to give himself a Heimlich?
(Quick flashback to: [BATHROOM] ADAM BRENNER is choking on the puzzle piece. He looks around for something to help jar it out of him. He slams himself against the counter. He tries again and hits his forehead against the mirror, cracking it. He falls to the floor.)
(End of flashback. Resume to present.)
Robbins: Or not. I found these in his stomach.
(ROBBINS shows the other letters to GRISSOM.)
Robbins: You don't swallow six of them by accident.
[SCENE_BREAK]
[INT. CSI - LAB -- DAY]
(GREG works on the assignment NICK gave him. He goes through each matchbook one by one, comparing the match found at the first arson scene with every matchbook.)
[SCENE_BREAK]
[INT. CSI - GARAGE -- DAY
(NICK and WARRICK go through the things brought into the lab from the crime scene. GREG walks into the room.)
Greg: Your hottie's matchbook collection came up dead.
Nick: Hmm. Doesn't mean she didn't do it.
Greg: True.
Nick: You know, arson's usually a property crime. Did you ever find out the Abernathys' financial situation, Warrick?
Warrick: According to Catherine, Jessica Abernathy had major credit card debt but minimal insurance-not even enough to cover what she had. Besides, people tend to remove mementos when they know what's coming.
(WARRICK picks up the burned photo of JESSICA and her husband. The same photo that used to be on the bedside table.)
Greg: So, if the pyro didn't do it for love, and Mrs. A didn't do it for money, who's left?
(NICK looks at the headline from the stack of newspapers found in the car port.)
Nick: Maybe the high school baseball team.
(He reads the headline out loud.)
Nick: McKinley High School Gazette.
Nick: This is tomorrow's edition with the lead story by editor-in-chief Sabrina Abernathy, entitled "Varsity Hazing Ritual." Now listen to this ... "The question is not whether the so-called student athletes should be expelled, but whether or not they should be arrested."
(The article continues: "This latest case of Varsity hazing is having serious repercussions not only with the school, but across the entire state. The students concerned may face serious charges including involvement with prostitution. "Every four years we get a new set of students that ready to 'one-up' the previous groups ... ")
(The two paragraphs repeat.)
Warrick: Why, what'd they do?
Nick: Apparently, something with several hookers and a lot of testosterone.
Greg: Whatever happened to toilet paper and trees?
[SCENE_BREAK]
[INT. CSI -- LAB]
(GRISSOM places two of the six tiles collected from the body on the table in front of him. An X and a V.)
(SARA walks into the lab.)
Sara: Hey. DNA came back. Blood from the bathroom floor's a match to the vic. Blood from the bathroom mirror is not.
Grissom: That's interesting.
Sara: Hmm. (She looks over at the pen, paper and tiles in front of him.) What are you doing?
Grissom: Anagrams.
Sara: You think the letters might be a message from the killer?
(GRISSOM continues to write down possibles on his list:
VEXINS
VENIXS
VEXISN
NEIS ... )
Sara: (thinking out loud) Six letters. What is that? That's 720 possible combinations, not all of them words, of course.
(She moves the tiles.)
Sara: Hmm. You, uh, missed one.
(V-I-X-E-N)
(GRISSOM glances at SARA who smiles back at him. BRASS walks into the room.)
Brass: Hey. We got an ID. Off your DB's prints. His name is Adam Brenner.
Sara: That guy has a record?
Brass: Well, sort of. He's a civil servant. He's a postal worker from Orlando.
Grissom: Do we know why he came to Vegas?
Brass: (smiles) Oh, you're going to love this.
[SCENE_BREAK]
[INT. HOTEL - MAIN COMPETITION ROOM -- DAY]
(Rows of tables are set up where dozens of pairs play LOGOS at the 2004 WESTERN REGIONAL LOGOS TOURNAMENT.)
(BRASS, GRISSOM and SARA interview one of the TOURNAMENT ORGANIZERS.)
Organizer: Adam Brenner was one of our top division one players. Ranked in the high 1,800s.
Grissom: Is that like the elo system in chess?
Organizer: Logos has all the skill of chess combined with the cruel whimsy of fate. Adam once set a tournament record by scoring 735 points in a single game.
Sara: It was on his t-shirt.
Organizer: Justifiably. It's an incredible achievement.
Brass: So, how did the other players feel about that kind of smack-down?
Organizer: You actually suggesting that somebody here killed Adam?
(GRISSOM looks at the tournament in play in the room behind them.)
Brass: Cruel whimsy of fate. Guy's from out of town, takes a cab from ..., checks into the hotel. The only thing on his hotel bill is four meals a day. No phone calls. So everybody he talked to is in this room. We're going to need a list of his opponents.
[SCENE_BREAK]
[EXT. MCKINLEY HIGH SCHOOL BASEBALL FIELD -- DAY]
(NICK interviews the Baseball team coach, RICK CHILSON, while his son, CODY CHILSON, is out on the field practicing his hitting. An OFFICER stands behind the two men.)
Rick Chilson: What's with the cop?
Nick: We're just talking.
Rick Chilson: Ah, about what?
Nick: (loudly) Sabrina Abernathy died in her home in a fire on Saturday night.
(CODY CHILSON hears the comment and misses the ball.)
Rick Chilson: Hey! What'd I tell you -- you don't waste a good pitch!
Nick: Cody, where were you around 1:00 A.M. on Saturday?
Cody Chilson: In bed.
Rick Chilson: Cody's in bed every night at 10:00. He gets up at 5:00 to go running.
Nick: Except for the nights he's with the team pulling a train on a hooker.
(CODY lets another ball pass by as he stares at NICK.)
Rick Chilson: Cody, keep hitting.
(RICK CHILSON turns back to NICK.)
Rick Chilson: This is Vegas. Who hasn't been with a hooker?
Nick: Well, most high school seniors who are being scouted by division one schools. I don't think an expulsion and an arrest would look too good on a scholarship application.
Rick Chilson: It's a tradition. Happens every year with every team, and why that little bitch had to scapegoat Cody, I'll never know.
Nick: How 'bout you, Cody? Do you know?
(CODY misses the hit and shakes his head at NICK.)
Rick Chilson: Look, I'm sorry the girl's dead.
Nick: Yeah, but you're not real sorry the whole mess died with her, are you?
Rick Chilson: Yeah, but burning the kid's house down? Come on. Give my son a little credit.
Nick: Thanks for your help.
[SCENE_BREAK]
[INT. HOTEL - TOURNAMENT ROOM-- DAY]
(GRISSOM walks around the room.)
Wilson Janek: (o.s.) Hey, hey, hey, no flash drawing.
(At one of the gaming tables, WILSON JANEK calls for a word check.)
Wilson Janek: Challenge. Challenge over here.
(The WOMAN walks over to the table and checks the word, "GABBONS".)
Woman: Illegal word-- that's a minute penalty.
Wilson Janek: Time's up. Game over, baby. (scoffing) Gabbons?
Challenger: Whatever.
(He stands up and leaves.)
Wilson Janek: Like I'm really not going to challenge that.
(GRISSOM walks over to the man at the table.)
Grissom: Wilson Janek?
Wilson Janek: Yeah. Want to try your luck? Step up, baby.
(GRISSOM sits down.)
Wilson Janek: And you are?
Grissom: Gil Grissom. Nice to meet you.
Wilson Janek: Nice to meet you, Gil Grissom.
Grissom: So ...
(GRISSOM places his word on the table: ABULIA.)
Grissom: What do you hear about Adam Brenner?
(He stops his clock.)
Wilson Janek: Mr. 735? Heard he's dead.
Grissom: Well, he was alive last night when he beat you.
Wilson Janek: (laughs) Gil ... you think that trash talk's going to break my focus?
(He puts his word down, BAHT, and stops his clock.)
Wilson Janek: You must be new.
Grissom: Actually ... I'm from the Las Vegas crime lab. I'm just here to collect your DNA.
(Using the H in BAHT, GRISSOM builds HADRON. He stops his clock.)
Wilson Janek: You're a quick study. But if you think I killed Adam, why don't you go ask Uncle Sam for my DNA? I served my country. Gulf war senior. Memorized word lists for a sanity check. Some guys did ping pong; I did this. I saw enough killing over there. I'm a "make words, not war" kind of guy now.
[ANOTHER PART OF THE TOURNAMENT]
(SARA takes a swab from CRAIG who is wearing a t-shirt with black lettering: ECSTACY IS A SEVEN LETTER WORD.)
Sara: Word on the floor is Adam Brenner really had your number, Craig.
Craig: The universe ebbs and flows.
Sara: More ebb than flow in your case. I guess you lost to Adam your last three tournaments in a row?
Craig's Challenger: 14 points ... times two is 28 plus 10 bonus points for full logos. 38 points.
(CRAIG smiles.)
Sara: At least you're a good sport.
Craig: (smiles) Loss for one is a win for another.
[YET ANOTHER PART OF THE TOURNAMENT]
(BRASS interviews another LOGOS PLAYER.)
Logos Player: So what if I was the last person to play Adam?
Brass: You were the last player who saw him alive.
Logos Player: What are you thinking, that with Adam out of the tournament, I could abscond with the big cash prize?
(BRASS chuckles.)
Brass: You tell me.
Logos Player: Oh, first prize here is $2,000.
(BRASS notices that the LOGOS PLAYER has his right hand tucked into his pant's pocket.)
Logos Player: Even if I win, the remuneration barely covers my airfare, accommodation and food. No, no, I don't play for the money.
Brass: You play for the glory.
Logos Player: You ever attempt a New York Times crossword, Captain? Nah, you probably wouldn't make it past Tuesday. I do Sunday ... in pen.
(BRASS puts several pieces on the holder.)
Brass: I can still spell this.
(He turns it around to show the LOGOS PLAYER the letters: DNA.)
[SCENE_BREAK]
[INT. CSI - TRACE LAB -- DAY]
(DAVID HODGES fills CATHERINE in on the results of his analysis.)
David Hodges: GC/mass spec found no trace of accelerant on the couch residue.
Catherine: Well, how can that be? It was an obvious liquid pour pattern.
David Hodges: Well, my dear, this is why you should never pick up the couch left for curbside pickup.
(He shows CATHERINE the test results.)
David Hodges: Polyurethane foam. Outlawed in 1988 due to its highly incendiary nature. You light that crap on fire, it heats up, creates a burning pool of liquid, and acts as its own accelerant.
(Quick flash to: The Couch is on fire. Inside the couch, the foam melts and fuels the fire. End of flash. Resume to present.)
David Hodges: Disaster waiting to happen.
Catherine: All it needed was a spark.
(HODGES nods.)
[SCENE_BREAK]
[INT. CSI - GARAGE -- DAY]
(CATHERINE, NICK and WARRICK go through buckets of the things removed from the house.)
Catherine: We've got no accelerant. We've got no match. We have no idea what started this fire.
(NICK finds a cigarette butt embedded in the mess. He picks it up and smells it.)
Nick: Maybe this will help. It kind of smells like a menthol.
(He hands it to WARRICK. CATHERINE picks it up.)
Catherine: Hmm, looks like a one hundred. Longer the cigarette, longer the filter.
Nick: Cigarettes are a terrible way to commit arson. Unreliable. They take too long. Possible DNA trace, but ... it just doesn't make any sense.
Warrick: It makes sense if the fire was unintentional.
[SCENE_BREAK]
[INT. POLICE DEPARTMENT - WAITING ROOM -- DAY]
(Outside in the hallway, an OFFICER offers SAM ABERNATHY a canned drink. SAM shakes his head, no.)
(Inside the waiting room, JESSICA and her mother are interviewed by CATHERINE and WARRICK. JESSICA motions to SAM out in the hallway.)
Jessica Abernathy: I'm sorry about this. Typically, I leave with Sab ... with Sabrina, but ...
Catherine: It's fine.
Martha James: Well, why are we here, exactly?
Warrick: Well, we think we might have figured out what caused the fire. Ms. Abernathy, does anyone in your house smoke?
Jessica Abernathy: I don't.
Martha James: Well, don't look at me. I quit twenty years ago.
Warrick: Sabrina maybe?
Jessica Abernathy: I don't think so.
Catherine: Well, we found a cigarette filter in the remains of your couch. And we need a urine sample from each of you so that we can rule you out for nicotine.
Jessica Abernathy: My house burned down, and my daughter is dead. And you're asking me to pee into a cup?
(CATHERINE looks away uncomfortable.)
Jessica Abernathy: Sure. Why not?
[SCENE_BREAK]
[INT. CSI - DNA LAB -- DAY]
(GREG tests the urine samples. Apparently four samples in four containers. The first sample is from ABERNATHY, then from JESSICA, SAM and MARTHA JAMES. He finishes filling the tubes with the sample and takes all four and shakes them before putting them into the centrifuge.)
(He continues to process the samples.)
[SCENE_BREAK]
[INT. CSI - HALLWAY - DAY]
(GREG hands CATHERINE the test results as they walk down the hallway.)
Greg: Everyone except for the little guy was getting high and getting by. The girl's on uppers, mom's on downers, and grandma sucks on the cancer stick.
Catherine: Ritalin, valium, and grandma's a liar.
Greg: Pants on fire.
(GREG leaves.)
[SCENE_BREAK]
[INT. CSI - TRACE LAB -- DAY]
(SCOPE VIEW of the black substance GRISSOM lifted from the blood on the bathroom floor.)
(DAVID HODGES fills GRISSOM in on the test analysis.)
David Hodges: That's the black trace you found in the blood pool. It's a mix of PVC resin and liquid plasticizer. When heated together, they form a solid elastomer film called plastisol.
Grissom: What's it used for?
David Hodges: Mostly Greg Sanders wear. Uh, names, hair band logos, inane sayings, anything that can be put on a t-shirt.
Grissom: Well, that narrows it down to just about everybody in the tournament.
(SARA appears in the doorway carrying slip of paper.)
Sara: Hey, we got a match on the blood from the bathroom mirror.
[SCENE_BREAK]
[INT. POLICE DEPARTMENT - INTERVIEW ROOM -- DAY]
(SARA and BRASS interview the LOGOS PLAYER.)
Logos Player: Look, just 'cause I was there doesn't mean I killed Adam Brenner.
Brass: Put your hands on the table.
(The LOGOS PLAYER puts his hands on the table to show the bruises on his knuckles.)
Sara: You know, that's seven years bad luck.
Brass: More like seven to ten.
Logos Player: Yeah, I'm not very proud of that.
Brass: Of what?
Logos Player: I'm ebullient, you know. I-I feel the wins and the losses. The other night, I lost to a division two blue-hair. But it's not my fault. She was... she was coffee-housing the whole time.
Sara: I'm sorry? Coffee-housing?
Logos Player: You know, yap, yap, p-p-yapping.
(Quick flashback to: [TOURNAMENT] The WOMAN playing against the LOGOS PLAYER is constantly talking.)
Blue-hair Woman: So when I was at the Southern Regionals in Dallas last year, I went to the book depository. Have you ever been there?
Logos Player: Zip it, lady. I'm trying to make a play here.
(End of flashback. Resume to present.)
Logos Player: I never should have lost that one.
(Quick flashback to: [BATHROOM] The LOGOS PLAYER talks to himself in the mirror.)
Logos Player: What, are you an idiot? What, are you stupid? You're so stupid!
(He throws a punch at the mirror, smashing it.)
(End of flashback. Resume to present.)
Brass: What about Adam Brenner?
Logos Player: No, he wasn't there.
Sara: But you lost to him, too.
Brass: Maybe you took that loss even harder.
Logos Player: Adam? No way. He's ranked, what, 1,890? It's like getting art lessons from Picasso. I was honored to even be sitting at the same table with him.
(Surprised by this remark, SARA and BRASS look at each other.)
[SCENE_BREAK]
[INT. CSI - A/V LAB -- DAY]
(NICK works on putting a composite of the living room together, rebuilding the set-up from the photos of the burned room.)
(He puts the couch down into the room. He sets the Ignition Point and Starts the Simulation by putting the couch on fire. He monitors the room temperature.)
(He shakes his head. The heat in the kitchen is at 650+ degrees while the Living Room is at 841+ degrees.)
[SCENE_BREAK]
[INT. POLICE DEPARTMENT - INTERVIEW ROOM #605 -- DAY]
(WARRICK interviews MARTHA JAMES.)
Warrick: Ma'am, earlier you provided us with a urine sample. We found traces of nicotine in yours.
Martha James: That's odd because I don't smoke.
Warrick: Really? Would you mind opening your purse for me?
(She opens her purse and finds the open pack of cigarettes inside. She looks at WARRICK.)
Martha James: You know what? I do too smoke cigarettes.
[INT. POLICE DEPARTMENT - INTERVIEW ROOM -- DAY]
(CATHERINE interviews JESSICA ABERNATHY.)
Catherine: Mrs. Abernathy, did your daughter have attention deficit disorder?
Jessica Abernathy: Sabrina? No. That girl had the focus like you can't believe.
Catherine: Well, we found Ritalin in her system, and as I'm sure you're aware, ritalin is used to treat kids with ADD, but acts as a stimulant in older kids and adults. Teens use it as an upper.
Jessica Abernathy: So, Sabrina was taking drugs?
Catherine: As were you. Valium.
Jessica Abernathy: Fair enough. You know, Sabrina used to scream at me, "I can't wait till I'm old enough to move out of here." And I would scream back, "yeah, me either." What kind of mother says that to her kid?
Catherine: One with a teenage daughter.
Jessica Abernathy: You know what I pictured for this part of my life? S ... Saturday night, leave the kids with grandma, date night with my husband. Instead, I'm stuck home alone with two kids and a 70-year-old infant.
Catherine: Mrs. Abernathy ... are you covering for your mother?
Jessica Abernathy: Part of me wants to say yes, please just take her away. Let her be the state's problem. You know, she leaves the stove on, and she leaves the water running. I come home, and I find little burn marks in things. But I was with her the whole night. I never saw her smoke.
Catherine: Maybe after you went to bed, she came out into the living room.
(Quick flash to: MARTHA JAMES sleeping on the couch with a lit cigarette in her fingers. The cigarette burns down to the filter, she drops the cigarette into the couch and forgets about it. She gets up.)
(End of flash. Resume to present.)
Jessica Abernathy: I doubt it.
Catherine: But it's a possibility?
Jessica Abernathy: No. It isn't. Miss Willows, you can go ahead and judge me, but after my mother falls asleep at night, I lock her in her room.
[SCENE_BREAK]
[INT. CSI - LAB -- DAY]
(NICK is in the lab opening an evidence bag. CATHERINE walks into the room.)
Catherine: Any luck?
Nick: Yeah, the bad kind. My burn scenarios don't match up with your data.
Catherine: Did you try different variables?
Nick: Ahah. Open windows, uh, drafts from vents, all of it. Here's the problem.
(NICK holds out the melted refrigerator magnet. He puts it on a metal sheet along with other melted magnets. He puts a heavy magnet on the sheet and tilts it. The melted magnets fall off onto the counter.)
Nick: Demagnetized.
Catherine: I'm not following.
Nick: Okay, the Curie point is the temperature at which all materials lose their magnetic properties, yeah?
Catherine: Mm-hmm.
Nick: Okay. For the iron in these, the temperature would had to have been 932 degrees in that kitchen.
(Quick flash to: [KITCHEN] The kitchen is on fire and the refrigerator magnets fall off the door. End of flash. Resume to present.)
Nick: With the fire starting in the living room, no matter how hard I tried, I couldn't get it that hot in there. It just doesn't make sense.
Catherine: Unless the fire didn't start on the living room couch.
[SCENE_BREAK]
[EXT. LAS VEGAS COMMUNITY (STOCK) - DAY]
[INT. ABERNATHY RESIDENCE -- DAY]
(NICK removes the ceiling light cover to show the single light melted light bulb inside.)
Catherine: An incandescent light bulb will soften at around 900 degrees, and distend in the direction of the original heat source.
(They turn and look back at the kitchen. They look back at the light bulb.)
Catherine: How did we miss that?
Nick: (shrugs) Living room was crammed with combustible materials. It received the most damage. It seems like the point of origin.
Catherine: Let's dig in.
(CATHERINE puts the flashlight down and hands NICK a shovel.)
Nick: Yeah.
(She takes her own shovel and they both get to work on digging through the rubble on the floor.)
(As they clear through the dirt, ash, soot and broken glass, they find a word burned into the kitchen floor: BITCH.)
(NICK and CATHERINE look at each other.)
[SCENE_BREAK]
[INT. CSI - TRACE LAB]
(The entire portion of the linoleum kitchen floor with the word, BITCH, on it is in the trace lab. DAVID HODGES removes a black burned substance from the word and tests it.)
[SCENE_BREAK]
[INT. CSI - BREAK ROOM]
(WARRICK and NICK are in the break room working on paperwork.)
Catherine: (o.s.) Do you fondue?
(CATHERINE hands the trace test results test to WARRICK.)
Catherine: The accelerant was ethanol, methanol and petroleum jelly. Chafing dish fuel, like sterno.
(Quick flash to: [KITCHEN] Someone paints the letters on the floor. The word is on fire. The entire kitchen burns. End of flash. Resume to present.)
(CATHERINE opens the fridge and looks inside.)
Catherine: So it has gone from intentional to accidental to personal. Who have we got?
(She takes out a water and heads back to take a seat at the table.)
(WARRICK whips out the photo of VIVA CHARLES.)
Warrick: Nick's girlfriend.
(NICK laughs.)
Catherine: She's got no personal connection to the family.
Nick: Well, Rick Chilson did call Sabrina a bitch when we were talking.
Catherine: Charming.
Nick: Yeah, he's an ass, but his alibi checks out. Surveillance at the Mirage has him playing poker the night of the fire.
Catherine: What about Cody?
Nick: He was right there with him. But I don't think that kid takes a breath without daddy's nod of approval.
Catherine: What about suspects within the house?
Warrick: Well, who's there? Grandma? I mean aside from being on lockdown, she's arthritic. I don't see her writing on the floor. What about Jessica?
Catherine: She seems more frustrated than desperate. Frustration shows you still care.
Nick: And the son, Sam?
Catherine: I don't think so. "Bitch." It's such a teenage girl word.
Warrick: That brings us back to Sabrina.
Nick: Well, she did think the baseball team had it in for her. Her family life was no picnic.
Warrick: What are you saying, she's on a kamikaze mission? Trying to take the whole family down with her?
Catherine: I might be willing to buy that, but how do we prove it?
[SCENE_BREAK]
[INT. CSI -- LAB]
(SARA has a box of the LOGOS game out on the table. She uses ADAM BRENNER'S notes to reconstruct the game. On the table next to her is a list of the 2004
PLAYER MATCHING.)
14-APR-04
ALAN DERSHON VS. RAY ADAMS
REGGIE LENSEN VS. LOUIE RAYCOMB
GEORGE HANSEN VS. RICK WESTEL
ROBERT TRIGGS VS. PAUL BYERS
HENRY CROSSER VS. BOB GOOD
KURT HESTEGARD VS. LANCE BOTHEL
LESTER RINEHART VS. RON HENRY
VAN HOSKINS VS. BILL JONES
PETER HINES VS. JOSEPH HICKS
DOUG HESTE VS. BURT KLEIN
ADAM BURROWS VS. WILSON JANEK
WILLIAM LEWIS VS. ADAM WESTEL
TOM CESTER VS. DANNY RIGGS
DARREL WALTERS VS. PACO WESCOTT
LES MOONVES VS. CHRIS CARDAMO-
SCOTT WENDOVER VS. PETER BOSCO
AVERY PIERCE VS. JOE DICAPRIO
TED BUNDY VS. FRANK LEWIS
DAN O'MALLY VS. LOUIS - etc.
(SARA reconstructs the game. She studies ADAM BRENNER'S word list notes.)
[SCENE_BREAK]
[INT. CSI - A/V LAB]
(SARA shares her findings with GRISSOM. On the overhead projector, she has ADAM BRENNER'S word list up on the wall.)
Sara: Adam Brenner was a meticulous note-taker. He documented every turn of every game he ever played.
Grissom: How many words used the letters we found in Adam's body?
Sara: None, actually, at least none with that exact combination. But here's the weird part. One the games didn't add up.
(SARA puts the word list and a photo of CRAIG up on the overhead.)
Sara: When Adam played Craig, he had 60 points written down that I couldn't account for. And on that same page of his notebook, I noticed that something had been erased.
(She points to the word: RESIFT (3).)
Sara: So I ran it through ESDA. Adam played "exvin." Everything but the "S," 60 points.
Grissom: What's an "exvin"?
Sara: You know, I was kind of hoping you'd know. It's not in the OED.
Grissom: Well, according to the rules, if you play a bluff and your opponent challenges, you have to take the tiles back, you lose a turn and a minute off your game clock. No points.
Sara: Right, and later in that same game, Craig played an "X." Loxodrome. Now there's only one "X" per game. How did he get it?
[SCENE_BREAK]
[INT. CRAIG'S HOTEL ROOM]
(SARA goes through CRAIG'S LOGOS set.)
Craig: What are you looking for?
Sara: A six-letter word.
(GRISSOM goes through CRAIG'S things and finds a gun. He picks it up and holds it up.)
Grissom: P-I-S-T-O-L? It's not the word we were looking for, but it's interesting.
(Near the tip of the gun, GRISSOM sees some dried blood.)
Grissom: It's got blood on it.
Craig: It's a replica. I belong to a communist club. We collect replicas from the fall of the soviet union. And I found that tokarev downtown at a pawn shop.
Grissom: Hmm. A fake gun for a fake word?
(Quick flashback to: [TOURNAMENT] ADAM BRENNER plays a word: EXVIN. He stops the clock.)
Craig: Exvin?
Adam Brenner: A wine afficionado who no longer drinks. Exvin.
(CRAIG adds an S to the word. He smiles.)
Craig: Exvin-S.
(ADAM BRENNER immediately raises his hand.)
Adam Brenner: Challenge!
(Realizing that he's been set-up, CRAIG glares at ADAM.)
(End of flashback. Resume to present.)
Sara: There are six letters missing from your game box. E-X-V I-N-S. You made Adam eat his word.
(Quick flashback to: [BATHROOM] ADAM flushes the toilet and turns around. CRAIG walks up to him and hits him in the mouth.)
Craig: Yeah, huh? You think you're so clever? I'll let you have some Exvins for dinner.
(He shoves the gun into his stomach and forces the letter pieces down his throat.)
Craig: Here. Huh!
(He continues to shove the letters down his throat. Then ADAM chokes.)
(End of flashback. Resume to present.)
Craig: I just wanted to make it as hard for him to swallow as it was for me. Karmic retribution.
Sara: Did you do anything to help him after he started choking?
Craig: No. I thought it was another fake-out.
Grissom: How about after he fell down on the floor and stopped breathing? (CRAIG says nothing.) Out of words?
[SCENE_BREAK]
[INT. ABERNATHY RESIDENCE - KITCHEN -- DAY]
(CATHERINE and WARRICK are back at the house. They each have an ALS and are looking through the house.)
Catherine: This is old school hydrocarbon detection.
Warrick: Oh, yeah.
Catherine: Chafing dish fuel is alcohol-based, but water would have washed away any trace.
Warrick: Let's just hope that whomever wrote it touched something else.
Catherine: Well, it's the only shot we've got, I guess.
(They find something on the bedroom door knob.)
Catherine: Hmm. Take a look at this.
Warrick: Well, that's good shooting.
(CATHERINE opens the bedroom door and walks into SAM'S room.)
(They use the ALS inside the bedroom and find something in the trash.)
Catherine: Oh. (She looks at WARRICK.) Hit the jackpot.
Warrick: I've got some smudges over here, too.
(He shines the light on the bed. Hidden under the mattress, they find dozens of matchbooks and a plastic lizard.)
Catherine: Mom was locking the wrong door.
[SCENE_BREAK]
[INT. POLICE DEPARTMENT - INTERVIEW ROOM -- DAY]
(JESSICA talks with her son.)
Jessica Abernathy: They're going to ask you some questions about the fire at our house. And you'd better start talking, mister.
(CATHERINE opens the door and calls JESSICA out of the room.)
Catherine: Mrs. Abernathy, would you come with me, please?
(JESSICA ABERNATHY stands up and leaves SAM. The door closes behind her.)
(The door opens and WARRICK enters the room carrying a file folder and a mug. He sits at the table opposite SAM.)
Warrick: Hey, Sam.
(WARRICK puts the mug down on the table in front of SAM. He opens the file folder.)
Warrick: You okay?
(SAM stares at WARRICK.)
(WARRICK reaches into his jacket pocket and takes out a box of matches.)
Warrick: So tell me, what kind of things you like to do on the weekends?
(WARRICK empties the box of matches onto the table in front of SAM.)
Sam Abernathy: Watch tv, hang out, play.
(WARRICK lights a match and holds it up in front of SAM.)
Warrick: Like to play with matches?
Sam Abernathy: Sometimes.
Warrick: Why is that?
Sam Abernathy: Fire is cool.
Warrick: Yeah.
(WARRICK throws the match into the mug of water, extinguishing it.)
(SAM looks expectantly at WARRICK. WARRICK nods. SAM picks up the box of matches. He picks up a match and lights it. He puts it out in the mug of water.)
Warrick: You ever have trouble sleeping at night?
Sam Abernathy: Only when I got woken up.
(SAM picks up and lights another match.)
Warrick: Is that what happened Saturday?
(SAM nods.)
(Quick flashback to: [BEDROOM] SABRINA knocks on the back door. SAM looks outside.)
Sabrina Abernathy: I lost my key. Let me in.
(SAM opens the back door for SABRINA.)
Sabrina Abernathy: Thanks, dude.
(She walks into the room. SAM shuts the door behind her.)
(End of flashback. Resume to present.)
(SAM strikes another match and puts it out in the mug.)
Warrick: Couldn't go back to bed?
Sam Abernathy: I got a little bit hungry.
(Quick flashback: [KITCHEN] SAM looks through the cupboards and takes out a box of something. In the back of the same shelf is the CHAFING DISH FUEL in a small container.)
(End of flashback. Resume to present.)
Warrick: What'd you find?
Sam Abernathy: Purple jelly.
Warrick: Purple jelly?
(SAM strikes another match and puts it out in the mug.)
Warrick: Did you eat it?
Sam Abernathy: No. Mom uses it for the chocolate pot on our birthdays.
Warrick: That sounds like fun.
Sam Abernathy: Yeah ... except stupid grandma isn't allowed to have chocolate, so we couldn't do it this year.
Warrick: Oh ... that must've made you mad.
Sam Abernathy: Ever since grandma moved in, we can't do anything fun.
Warrick: So, what happened next?
Sam Abernathy: I played for a while.
(Quick flashback to: [KITCHEN] SAM takes a handful of the fuel and writes on the kitchen floor: BITCH.)
(He lights a match and sets the word on fire. SAM gets up and leaves.)
(End of flashback. Resume to present.)
Warrick: Then what?
Sam Abernathy: I went to bed ... (SAM perks up) ... and then the firemen came and rescued us.
Warrick: You like when the firemen come?
Sam Abernathy: (excited) Yeah. They're so nice. They talked to me and showed me all their cool stuff. This one named George -- he said maybe someday I can meet his dog.
Warrick: You know, Sam ... that word that you wrote on the floor ...
[OBSERVATION ROOM]
(JESSICA listens and cries.)
Warrick: you know, that's a really bad word.
Sam Abernathy: I hear it all the time. My grandma says it.
(In the interview room, SAM strikes a match and puts it out in the mug.)
Sam Abernathy: My mom says it.
(SAM strikes another match and puts it out in the mug.)
Sam Abernathy: And my sister says it.
(He strikes another match.)
Sam Abernathy: Well... she used to say it.
(He blows the match out and watches the smoke rise up from the burned match. He drops it into the mug.) | |
doc_2 | ARC OF INFINITY
BY: JOHNNY BYRNE
Part Two
First Air Date: 5 January 1983
Running time: 24:42
[SCENE_BREAK]
MAXIL: Take them away.
[SCENE_BREAK]
ZORAC: Each and every time the Doctor returns to Gallifrey there's violence.
HEDIN: Perhaps it is we who should modify our approach.
ZORAC: He resisted the guard!
HEDIN: We send armed guards when a friendly face and a welcoming hand would have sufficed. Are you surprised that he resisted?
[SCENE_BREAK]
NYSSA: He's hurt. He must have proper medical attention.
MAXIL: He'll recover.
MAXIL: The compound is guarded. If you try to leave again, my men will shoot to kill. See that the Doctor knows.
[SCENE_BREAK]
THALIA: Well, where is he?
CASTELLAN: The Doctor tried to evade security. Some force had to be used. He'll be brought here as soon as he's recovered.
THALIA: The situation is critical, Castellan.
CASTELLAN: Of that fact I am more than aware. If I may pass? I must give my report to the Lord President.
[SCENE_BREAK]
DOCTOR: Not the most welcoming return.
NYSSA: They've taken the main space-time element.
DOCTOR: That's the only way to keep me and the TARDIS here.
NYSSA: What do we do now?
DOCTOR: We need a link. Something to prove the connection between this creature and Gallifrey.
NYSSA: And how are we going to find that?
[SCENE_BREAK]
CASTELLAN: Maxil. The Doctor is secure?
MAXIL: Yes.
CASTELLAN: The High Council wish to see him the moment he's recovered. And Maxil? See that he's there, or you answer to me.
[SCENE_BREAK]
TANNOY: KLM announces the arrival of the delayed flight from London.
STUART: Excuse me. Tegan Jovanka?
TEGAN: Yes.
STUART: Robin Stuart.
TEGAN: Oh.
STUART: I'm a friend of Colin's.
TEGAN: Hello. Colin told me you were travelling round together. Is he here?
STUART: I'm afraid not.
TEGAN: Oh. He is all right?
STUART: Look, let's go into town and I'll tell you all about it, okay?
[SCENE_BREAK]
MAXIL: You're to come with us, Doctor.
DOCTOR: There's no need for all the fire power.
MAXIL: They have orders to kill at the slightest sign of resistance.
DOCTOR: The Council Chamber, I suppose.
MAXIL: Yes.
DOCTOR: My companion is not involved in this.
MAXIL: Move. My orders are to take you both.
[SCENE_BREAK]
TEGAN: Two coffees, please.
TEGAN: When did you last see Colin?
STUART: Well, it's difficult.
TEGAN: What do you mean, difficult?
STUART: It's hard to explain. He's disappeared.
TEGAN: Disappeared? Couldn't he have just wandered off?
STUART: You're not going to believe this.
[SCENE_BREAK]
DOCTOR: Councillors.
HEDIN: Doctor. A pleasure to see you again.
DOCTOR: And you, Hedin. Nyssa, my old friend, Councillor Hedin. Councillors, my companion, Nyssa of Traken.
THALIA: You are welcome to Gallifrey, Nyssa.
NYSSA: Thank you.
ZORAC: Well, Doctor, an unpleasant business, this. I'm sure you understand why the Lord President was forced to recall you.
DOCTOR: Given the chance, I would have returned willingly.
CASTELLAN: You've never proved as cooperative in the past.
THALIA: If you remember, you were asked to return Romana, and you failed to do so.
DOCTOR: Romana chose to stay in E-space.
HEDIN: That's all past history.
DOCTOR: Yes. Well, now that I'm here, Thalia, have you given any thought to what's happened?
THALIA: There hasn't been much time, Doctor.
DOCTOR: Has anyone checked to see if my biodata extracts have been removed from the Matrix, Castellan?
CASTELLAN: What are you suggesting, Doctor?
DOCTOR: I would have thought that was obvious. None of this could have happened unless the creature had that information.
CASTELLAN: I should have thought the most important
ZORAC: Councillors. The Lord President.
BORUSA: You too have regenerated.
DOCTOR: Indeed, President Borusa.
BORUSA: And Nyssa of Traken, isn't it? Sorry to have kept you waiting. Please be seated, Councillors.
BORUSA: This session of the High Council of Time Lords is now in progress.
[SCENE_BREAK]
TEGAN: It's the sort of thing the Doctor gets up to.
STUART: Doctor?
TEGAN: A friend of mine. Have you reported this to the police?
STUART: Of course, but do you think I could tell them the same story?
TEGAN: Colin has disappeared.
STUART: He's a foreign national, a hitchhiker. Unless there's proof of violence, they're not interested. It's the same in any country.
TEGAN: We'll see about that.
STUART: I can't get involved. What I've said is the truth, but I've lost my passport. I can't risk making a fuss.
TEGAN: Marvellous, isn't it. First I lose my job. Not to worry, I think. I'll go and see my favourite cousin, cheer myself up. Now this.
STUART: I'm sorry. What do you want to do?
TEGAN: Tell me your story again, every detail. Then we'll go to the police. It's all right. I'll handle it alone.
[SCENE_BREAK]
BORUSA: The space-time parameters of the Matrix have been invaded by a creature from the anti-matter world. We know its composition and how unstable is the magnetism that shields it. The creature must be expelled immediately if we are to avert disaster.
DOCTOR: Without knowing its purpose here.
BORUSA: Its presence here must be our first concern. Anti-matter cannot co-exist in harmony in our universe.
DOCTOR: Lord President, this creature is here now because it bonded with me. To do so it needed something very special, full and precise details of my biological makeup. Now, I didn't pass this information on. Somebody did. The question is who.
CASTELLAN: We considered this, Doctor, but the implications are quite preposterous.
DOCTOR: Chancellor, can bonding occur without the full imprint of a so-called bioscan?
THALIA: Not to my knowledge. But the power of this creature is outside the limits of what we know, Doctor.
DOCTOR: Lord President, I ask for time to have this fully investigated.
BORUSA: I'm sorry, Doctor, but we must deal with the situation as it exists now. The time factor involved leaves only one course of action open to us. Commander!
BORUSA: You know that capital punishment has long been abolished here in Gallifrey, but there is a precedent for a situation like this. Have you nothing further to say, Doctor?
DOCTOR: I have a great deal to say.
NYSSA: You can't do this! You must destroy the creature.
BORUSA: Child, do you think we have not considered this? The creature is shielded. We have no way of tracing it.
NYSSA: So you're prepared to kill the Doctor?
BORUSA: Commander! Remove the Doctor to the security compound. As soon as the warrant is issued, you will convey him to a place of termination. I'm sorry, Doctor.
NYSSA: No! You can't!
DOCTOR: Executing me will not alter the fact there's a traitor at work on Gallifrey!
[SCENE_BREAK]
STUART: What did they say?
TEGAN: Foreigners get themselves lost all the time. They'll make routine enquiries. Which means, as you said, they'll do nothing.
STUART: Did you tell them about the crypt?
TEGAN: Only that Colin was last seen there.
STUART: So what now? We can't just abandon Colin.
TEGAN: You are telling me the truth?
STUART: Yes, I am.
TEGAN: Let's see if we can find Colin ourselves.
[SCENE_BREAK]
NYSSA: Time Lords, I beg of you, think what you're doing. The creature knew the TARDIS' location, time zone coordinates, bioscan. That information could only have come from here, from Gallifrey.
CASTELLAN: Only the High Council of Time Lords can extract such data from the Matrix. You too accuse us of treason.
NYSSA: Can you deny the possibility? At least give the Doctor time.
BORUSA: There is no time, nor can proof of what you say change things. We must prevent the full bonding.
NYSSA: But the Doctor is innocent.
THALIA: What would you have us do? Spare the Doctor and condemn untold billions to destruction? That is the choice we face here.
[SCENE_BREAK]
DAMON: Doctor.
DOCTOR: Damon!
MAXIL: I must speak to the Doctor.
DOCTOR: He is a friend of mine.
MAXIL: I have my orders.
DOCTOR: You don't have to relish them so much.
[SCENE_BREAK]
BORUSA: We have listened to what you say, but the decision must stand.
HEDIN: Lord President, in view of what she says, couldn't we at least delay carrying out the judgement?
THALIA: We can't risk it, Hedin.
ZORAC: We're sorry, child, but truly there's no other choice.
NYSSA: So much for your justice.
CASTELLAN: All that remains is the warrant of termination. The precise wording should be in the Matrix.
HEDIN: What would we do without your diligence.
BORUSA: This session of the High Council is now adjourned.
[SCENE_BREAK]
DAMON: Nyssa of Traken, I am Damon, a friend of the Doctor's. We must talk, but not here.
[SCENE_BREAK]
HEDIN: Castellan.
HEDIN: I'm worried by what both the Doctor and his companion have said.
CASTELLAN: The possible connection between this creature and Gallifrey?
HEDIN: Yes. And the fact that a Time Lord could be a traitor. You do intend to pursue it?
CASTELLAN: They were both overwrought.
HEDIN: But if it were true
CASTELLAN: I'm sure I'd know if such a serious breach of security had occurred.
[SCENE_BREAK]
NYSSA: You're sure it was the Doctor's biodata extract?
DAMON: Yes, I managed to pass it to him on his way to the compound.
NYSSA: We must tell the High Council immediately.
DAMON: But who to trust? Only members of the High Council have access to biodata information.
NYSSA: We must find a way to speak to the Doctor.
DAMON: That could be difficult. He's closely confined.
[SCENE_BREAK]
TIME LORD: The Doctor is to be terminated.
OMEGA: Good. You are prepared?
TIME LORD: Yes. The Matrix is already programmed.
[SCENE_BREAK]
MAXIL: You wanted to see me?
DOCTOR: Your guards will not allow me to leave the console room.
MAXIL: They have their orders.
DOCTOR: If I'm to die, I want to prepare myself mentally. For that I need to be alone.
MAXIL: Which is the nearest room?
DOCTOR: My companion's. It has already been searched.
MAXIL: Then you may withdraw. But be sensible, Doctor. If you try to lose yourself in the corridors of the TARDIS, my men will hunt you down, and your death will be far from dignified and painless.
[SCENE_BREAK]
HEDIN: Nyssa, Damon.
NYSSA: We had to see you, Councillor.
HEDIN: I'm deeply sorry for what has happened.
NYSSA: Councillor Hedin, we need your help.
HEDIN: Anything I can do.
NYSSA: We must see the Doctor. Can you arrange it?
HEDIN: Difficult. The Castellan is very possessive about his charges.
DAMON: The Doctor isn't a criminal.
HEDIN: True, but what has happened makes him very dangerous.
NYSSA: Please, try.
HEDIN: I said difficult, Nyssa, but not impossible. Especially with one so sensitive to public opinion as the Castellan is.
[SCENE_BREAK]
DOCTOR: My bioscan.
[SCENE_BREAK]
STUART: I just don't think it's wise, that's all.
TEGAN: I'm not scared to go into that crypt, if that's what you mean.
STUART: Look, I feel bad enough about Colin. What if something happens to you?
TEGAN: Don't worry on my account. How much further is it?
STUART: Just over the next bridge.
[SCENE_BREAK]
MAXIL: Wait here.
DAMON: I feel there is something wrong.
NYSSA: What?
DAMON: The Castellan agreed too quickly to our visiting the Doctor. Even if he knows he can't refuse, he always attempts to make it appear he's granting you permission. I mean, that's the Castellan's way.
[SCENE_BREAK]
DOCTOR: So soon? What about my appeal?
[SCENE_BREAK]
MAXIL: You have visitors, Doctor.
NYSSA: Doctor.
DOCTOR: How did you get in here?
NYSSA: Councillor Hedin arranged it with the Castellan.
DOCTOR: Well, that's very generous of the Castellan. Come, we'll walk while we speak.
MAXIL: You're to talk here, where I can see you.
DAMON: Castellan said we might be alone.
DOCTOR: Excellent. Well, Damon, what news of my old companion Leela?
[SCENE_BREAK]
DAMON (OOV.): Er, she's, she's well, and very happy.
DOCTOR (OOV.): I was so sorry to miss her wedding. Still, perhaps I'll get to see her before I (out of range)
CASTELLAN: You're a fool, Maxil.
[SCENE_BREAK]
DOCTOR: In here. Maxil has just planted a listening device in the console room. Well now, we have proof my biodata extract was removed from the Matrix.
NYSSA: So there is a traitor.
DOCTOR: Indeed. And a disaster in the making. Unless I'm mistaken, Gallifrey could lose control of the space-time Matrix.
DAMON: But that's impossible.
DOCTOR: That's exactly what the High Council think. So, we must see what we can do to stop it happening. Look, Damon, I know you've already risked a great deal for me, but could I impose on you a little further?
DAMON: Anything.
DOCTOR: I need another space-time element for the TARDIS. Preferably without a recall circuit.
DAMON: I'll see what I can do. Anything else?
DOCTOR: Yes. You could check to see if the Matrix is aware of any details concerning power equipment, movement, transportation.
DAMON: Right.
DOCTOR: Well, Commander, our time is up so soon. Well, Nyssa, that's my final word. No appeals. We must accept the decision of the High Council. Understood?
[SCENE_BREAK]
TEGAN: This is it?
STUART: Yes. The entrance to the crypt is over there, behind the fountain, but I found a back way in behind the house.
[SCENE_BREAK]
NYSSA: It's impressive.
DAMON: We must hurry. I must first check the coding for a Type Forty time rotor.
[SCENE_BREAK]
CASTELLAN: Well?
MAXIL: All is in order, Castellan.
CASTELLAN: No appeals? No last minute requests?
MAXIL: Nothing. The Doctor seems to be taking it quite well, in fact.
CASTELLAN: You are extremely privileged, Maxil. It's given to very few to supervise the destruction of a Time Lord. It has in fact only happened once before.
MAXIL: The warrant is issued?
CASTELLAN: Yes. Summon the Doctor.
[SCENE_BREAK]
TIME LORD: It is time, my friend. The Council have been summoned to the place of termination. You have little time. Can you do it?
OMEGA: All will be ready here.
[SCENE_BREAK]
OMEGA: Do precisely as you have been instructed. To the controls.
[SCENE_BREAK]
NYSSA: What is it?
DAMON: The alert. The Doctor is being taken to the place of termination. We're too late.
NYSSA: They'll execute him now, this instant?
DAMON: Yes.
DAMON: No, Nyssa. Look, you can't stop them now.
NYSSA: Help me!
DAMON: Please, Nyssa, please. You'll die too.
NYSSA: We can't fail him, Damon. You finish assembling the time element. Now please, I want this thing open.
DAMON: It's madness.
NYSSA: You must get to the TARDIS and fit the element into place. If all goes well, we'll need to leave in a hurry.
DAMON: Be careful and, and good luck.
[SCENE_BREAK]
DOCTOR: I trust you know what you are doing?
BORUSA: You know the choice we have to face, Doctor. Our duty, if not our conscience, is clear.
DOCTOR: And the decision was unanimous?
BORUSA: There was one dissenter, your good friend Councillor Hedin.
DOCTOR: Thank you, Hedin. I much appreciate all you've done.
BORUSA: By the authority vested in me as laid down by Rassilon, I, Lord President Borusa, and in harmony with the majority of the Time Lords here present, we are resolved
[SCENE_BREAK]
GUARD: Halt!
[SCENE_BREAK]
BORUSA: By reason of cruel but unavoidable necessity, we have no recourse but to exercise the final sanction of termination. Commander Maxil, this warrant empowers you to carry out judgement.
MAXIL: Guards, bring the Doctor forward.
[SCENE_BREAK]
OMEGA: Align scan coordinates.
[SCENE_BREAK]
NYSSA: Over here, Doctor.
DOCTOR: No! Nyssa, I will not have blood spilt to save my life.
BORUSA: Nyssa of Traken, I command you to lay aside that weapon.
NYSSA: Doctor, quickly!
THALIA: Obey the Lord President, or you too will die.
CASTELLAN: You cannot escape, girl.
NYSSA: Don't you understand? The Doctor was betrayed. His bioscan was extracted from the Matrix. Doctor, tell them.
DOCTOR: They're right, Nyssa. We cannot escape.
NYSSA: But we're ready to leave.
DOCTOR: Please. You must obey the Lord President. I know what I'm doing. The weapon, please?
DOCTOR: Lord President, my companion acted from misguided loyalty. She will cause no further trouble. In return, I ask that she is allowed to go free.
BORUSA: Thank you, Doctor. For your sake, we will overlook it.
[SCENE_BREAK]
OMEGA: Activate booster terminal, now!
[SCENE_BREAK]
MAXIL: Judgement has been carried out, Lord President. | |
doc_3 | OPEN IN LORELAI'S FRONT YARD
[An airport shuttle van drops Lorelai and Rory off in front of their house, then pulls away]
LORELAI: Agh!
RORY: And we're home.
LORELAI: How long does a freakin' van ride take?
RORY: Not that long!
LORELAI: Everybody in the world's life flashed before my eyes. That's how much time I had. I thought we were gonna die on that van.
RORY: It seemed a good possibility.
LORELAI: Ugh, that van ride felt longer than our train ride from Paris to Prague, and we had that group of French boys singing Sk8er Boi and smelling like a soccer field sitting all around us.
[Babette comes out of her house and rushes over to them]
BABETTE: Oh my God, you're back! Morey, they're back! Are you hurt? Are you bleeding?
LORELAI: Oh, we're fine.
BABETTE: You're fine? They're fine! Morey!
MOREY: [opens his front door] Yeah?
BABETTE: They're fine!
MOREY: Okay. [goes back inside]
BABETTE: What the hell happened to you two? According to the itinerary that Rory gave me, you were supposed to be home on Saturday.
LORELAI: The itinerary that Rory gave you?
BABETTE: So when you girls didn't show up, we panicked! Morey?
MOREY: [opens front door] Yeah?
BABETTE: Didn't we panic?
MOREY: Yeah. [goes inside]
LORELAI: Hey, Morey, you ever thought about just staying out here at times like these?
BABETTE: By Sunday night, I was a complete basketcase. I thought you'd been kidnapped by some crazy Sandinistas or something.
LORELAI: 'Cause the Sandinista movement is so popular in France.
BABETTE: So, finally, I just started calling consulates.
RORY: Consulates?
LORELAI: How many consulates?
BABETTE: Ah, jeez, all of 'em. Anyhow, you're here. Let's go inside, I wanna hear all about Europe. Morey, I'm going in!
MOREY: [calls from his house] Okay.
[Babette goes into Lorelai's house]
LORELAI: You gave her an itinerary?
RORY: I thought it would be good for someone to know where we were.
LORELAI: Oh, you gave her an itinerary and she called every consulate in the world.
RORY: If we were caught smuggling hash over the border and we were thrown in some Turkish prison, wouldn't you want someone to know that we were in Turkey?
LORELAI: Where'd we get this hash we were smuggling?
RORY: You were at a café, you met a guy, he was sweet-talking you, he put the stuff in your purse when you weren't looking.
LORELAI: At least tell me he was cute.
RORY: He was not bad for a hash dealer.
LORELAI: Hm.
[they walk into the house]
BABETTE: [calls from the kitchen] I'm making cocoa!
LORELAI: She's making cocoa 'cause you gave her an itinerary.
RORY: I may have given her the itinerary, but you're the one who got us busted for drug smuggling.
LORELAI: Reality has absolutely no place in our world.
[they walk to the kitchen]
BABETTE: Okay, I wanna hear all about Europe. Come on, tell me, what'd you see?
LORELAI: Well, everything. Uh, Notre Dame, the Roman Baths, St. Peter's Basilica.
RORY: Mom touched the Pope.
BABETTE: You're kidding!
LORELAI: Actually, I just touched his car. Then one of the Swiss guards in the fruity cool clothing busted me.
RORY: Luckily, Mom's fluent in flirting.
LORELAI: And flirting with a guy in a pompom hat and a skirt is quite an accomplishment.
BABETTE: Well, it sounds like you had a terrific trip.
RORY: It was. [Lorelai signals for her to fake a yawn, and Rory does]
LORELAI: Aw, are you okay, hon?
RORY: Yeah, I'm just a little sleepy.
BABETTE: Aw, of course, you girls must be wiped. I'll, uh, get out of here.
LORELAI: Oh, but thanks, Babette.
BABETTE: Well, goodnight, sleep tight. I'll talk to you tomorrow. Morey, I'm coming home! [leaves]
RORY: I'm gonna go unpack.
LORELAI: Oh, unpack tomorrow.
RORY: No, if I leave stuff packed overnight, everything's gonna get gross.
LORELAI: Everything's already gross.
[they walk into Rory's bedroom]
RORY: Ahhh.
[Rory walks to the closet as Lorelai gets on the bed]
LORELAI: Oh my God, your bed feels good.
RORY: Do not get comfortable. I will sleep on top of you if I have to.
LORELAI: Oh man, smell this. [holds up a pillow]
RORY: What?
LORELAI: I forgot that pillows don't have to smell like feet. You know, I have to say, I think it's good I did this hostel thing in my thirties, and I'll tell you why.
RORY: [hugging the clothes in her closet] I missed you, I missed you all!
LORELAI: If I had done it in my twenties or teens, I would've been naïve enough to think that hostels were exotic and romantic. But once you're in your thirties, you've lived enough to know they're gross and should be avoided at all costs.
RORY: [to her clothes] I had a dream about you in Copenhagen. You were there, and you, and you, and you.
LORELAI: Listen, since we slept on the plane, we should go to sleep now, but get up really early tomorrow. We don't wanna blow this whole week being jet-lagged. We need to establish normal sleeping patterns.
RORY: Fine.
LORELAI: Okay. I'm gonna go take a shower and leave you alone to make out with your sock drawer.
RORY: Close the door.
[Lorelai leaves. Rory pulls open her sock drawer]
RORY: Hello, boys.
[opening credits]
CUT TO LORELAI'S HOUSE
[Rory is organizing the souvenirs in the living room. Lorelai walks down the steps talking on the phone]
LORELAI: [on phone] Gilmore, Lorelai, yes. My daughter's name is Lorelai also. Well, very confusing or, in your case, extremely convenient. Uh, no, see, we were never missing, it was a big mistake.
RORY: Who are you talking to?
LORELAI: Belgium.
RORY: Ah.
LORELAI: [on phone] Yes, uh huh, Babette Dell. She got our arrival dates mixed up and she was just worried, but we're fine, we're here. We just loved your fries. Okay, sure, bye bye. [hangs up] Okay, Belgium's done, Lisbon's calling me back, Berlin had no idea what I was talking about, and Paris is pissed.
RORY: At who?
LORELAI: Ugh, who knows? Okay, I'm taking a break and then I'm taking on the Netherlands. I still cannot believe Babette did this.
RORY: She just loves us.
LORELAI: Well, be a little less lovable, would you, 'cause it's costing me a fortune. Try being one of those kids where people are like, "Oh really, she was kidnapped? Hey, well, thin the herd."
RORY: Very nice. Hey, who are the rosary beads for?
LORELAI: They're mine.
RORY: What do you need rosary beads for?
LORELAI: They're cute.
RORY: They're for prayer.
LORELAI: Well, pray they match my blue suit?
RORY: They have just upgraded you to a queen-size bed, Jacuzzi tub, junior suite in hell.
LORELAI: Hm. Oh, Pieta placemat?
RORY: Oh, Gypsy.
LORELAI: How are you feeling?
RORY: You know, not bad. Just a little spacy.
LORELAI: Like a cold medicine buzz?
RORY: Maybe we got lucky and missed the jet lag.
LORELAI: I hope so because we have a very big week ahead of us.
RORY: Oh yeah?
LORELAI: Yes. In fact, I have here in my hand a schedule of all the activities we are going to partake in over this week, the final week of Rory Gilmore's life before she enters the ivy-covered hallowed halls of Yale University.
RORY: Schedule, please.
LORELAI: Okay. Today we get these presents out to our friends and then we hit the mall.
RORY: Got it.
LORELAI: Tomorrow we get an early start and we hit three of the crappier movies that are out.
RORY: And then we have dinner at Grandma's.
LORELAI: Which I will conveniently not put down on my list in the hopes that that magically goes away. Uh, okay, the next day we hit New York, see your fancy art galleries, hit the Strand.
RORY: Yes!
LORELAI: Pizza at John's. Um, Sunday, pick up all the stuff you need for school, and then there's a barbecue at Sookie's. Monday is mani/pedi, facial, haircut, go to the psychic, and stock up for Tuesday, the day of all days - Godfather I, II, and III, with extra showings of the Sofia death scene over and over as long as the Mallomars hold out.
RORY: The perfect day!
LORELAI: I agree.
RORY: And I think we have just enough of the biscotti that we brought back from Milan to last us the rest of the week.
LORELAI: Oh, good. Well, everything's in order, so, uh, let's get going and get this stuff out of here.
RORY: Okay.
LORELAI: Wow, we sure have a lot of gifts. Do we like this many people?
RORY: I didn't think so. Maybe we're getting soft in our old age.
LORELAI: Okay, well, I guess we should get some tote bags.
RORY: What tote bags?
LORELAI: We must have tote bags.
RORY: Where would we get tote bags?
LORELAI: Excuse me, every woman who's ever purchased seventy-five dollars worth of Clinique products has some tote bags.
RORY: We don't have tote bags.
LORELAI: Well, how are we supposed to get this stuff out of here?
CUT TO SIDEWALK
[Lorelai and Rory walk down the street wearing their backpacks]
LORELAI: Now we're the quirky backpack ladies.
RORY: One of the kinder nicknames that have been attributed to us.
LORELAI: Let's just be very efficient about this. Okay, we'll start with Patty, work our way clockwise around the town, end with Andrew. And let's stick with the 'my mom touched the Pope' anecdote. It's quick, it's peppy, and everybody likes a nice Pope story.
RORY: Do we have time to stop at Luke's? I'm starving.
LORELAI: Absolutely. This is our week, this week we do anything we want.
RORY: I like this week.
LORELAI: Hey, I wonder if Luke and Nicole actually went on that cruise.
RORY: I thought he was going.
LORELAI: Yeah, I know, but I wonder if he actually went.
RORY: Why wouldn't he?
LORELAI: Well, I don't know. Because he'd have to pack and leave, plus he'd have to buy a bathing suit.
RORY: Well, I hope he went. He could use a good vacation. Plus, he really seems to like Nicole.
LORELAI: Mmhmm. Yeah, he does. Oh, hey, looks like the soda shop is open.
RORY: Oh, cool.
[They stop outside the soda shop and see Luke and Taylor arguing inside]
LUKE: I am gonna kill you.
TAYLOR: Oh, please, you are not.
LUKE: I am, too. I'm gonna kill you. I should've killed you before. I should've killed you the minute you put up those unicorn topiaries in the park, but, hey, hindsight, right?
RORY: Aw, I've missed that.
LORELAI: What do you think, biscotti moment?
RORY: Absolutely.
[Lorelai and Rory eat biscotti while they watch Luke and Taylor argue]
TAYLOR: You don't have to yell, Luke.
LUKE: You put a giant window in my wall.
TAYLOR: So what?
LUKE: A giant window! Right here! You can see my entire diner. And when I'm in my diner, I can see your whole stupid store.
TAYLOR: I don't understand why yours is a diner and mine is a stupid store.
LUKE: Look at this place! Look at you. All you need is six dancing penguins and Mary Poppins floating in the corner to bring back two of the worst hours of my childhood.
TAYLOR: I don't think you had a childhood. I think you came out a bitter surly killjoy.
LUKE: You can't change the basic structure of this place without my okay! What?
TAYLOR: Your hand is near the wax lips.
LUKE: So?
TAYLOR: If you could just move it so you don't accidentally touch the candy. Lucas. [Luke rummages through the different boxes of candy] What are you doing? You stop that right now!
LUKE: [throws candy in the air] Look at all the pretty candy!
TAYLOR: Agh, stop it right now!
LORELAI: [gasps] Oh my God!
RORY: Hm, what? What's the matter?
LORELAI: Luke.
RORY: Yeah, he's finally lost it.
LORELAI: No, we forgot Luke.
RORY: We forgot Luke what? Oh, we forgot to bring him back a gift. Oh no!
LORELAI: We kept putting it off and putting it off.
RORY: We couldn't find anything good enough.
LORELAI: We should've gotten him that bullfighter's uniform.
RORY: Well, so what do we do?
LORELAI: Well, we have to just pick up something here and we'll tell him that we got it in Denmark.
RORY: Pick up what?
LORELAI: Something.
RORY: What? This is Stars Hollow. Everything you buy here has a Hello, Kitty stamped on the bottom.
LORELAI: Well, we have to get him something. We cannot go into Luke's empty handed.
RORY: Great.
LORELAI: Come on.
RORY: I'm hungry.
CUT TO SOOKIE AND JACKSON'S HOUSE
[Lorelai and Rory walk up to the house]
LORELAI: Hey, Sookie!
[Sookie rushes off the porch to greet them]
SOOKIE: [squeals] You're back!
LORELAI: We're back!
[they all hug; Jackson comes out of the house]
JACKSON: Hey, don't squish baby!
SOOKIE: I missed you so much!
LORELAI: We missed you so much.
SOOKIE: Ah, look at you! You look older.
RORY: Oh, thanks, Sookie.
SOOKIE: So how was it, was it wonderful?
LORELAI: Oh -
SOOKIE: I wanna hear everything you did and everything you ate. Oh, was it warm? I read it was warm. How was Barcelona? Did you see the gaudy apartments? Ooh, did you see a bullfight? Did you see Anne Frank's house? Did you cry? Was Steven Speilberg there, huh? Oh, hey, I hear you touched the Pope! Are you hungry? Do you want anything to eat? I've got quiche.
[they walk into the house]
LORELAI: Hold on one sec here, missy. I need to look at you. Sideways, please.
SOOKIE: Okay.
LORELAI: Hello, hi, nice to see you. I'm your Auntie Lorelai, and this is your Auntie Rory. Say hi, Rory.
RORY: Hey.
LORELAI: Come over here.
RORY: Oh, no, I'm good.
SOOKIE: Come on, Rory, rub my stomach.
RORY: I'd rather not.
LORELAI: Rory's a chicken.
SOOKIE: So is Jackson.
JACKSON: Hey, I'm gonna like it when it comes out.
LORELAI: So what did the ultrasound say, boy or girl?
SOOKIE: It's a -
JACKSON: Buh-buh-buh-buh-buh-buh-buh.
LORELAI: It's a buh? What's a buh?
JACKSON: [reveals a button pinned to his shirt] Read.
LORELAI: [reads button] "I do not want to know the s*x of my baby."
JACKSON: That's right. I'm going old school on this.
SOOKIE: And he's being completely stubborn.
RORY: But you know?
SOOKIE: Of course I know. I had little clothes to buy -
JACKSON: Buh-buh-buh-buh-buh-buh!
SOOKIE: What? I said nothing about the s*x.
JACKSON: You said little, and now I know it's going to be little.
LORELAI: Jackson, seriously, you don't wanna know?
JACKSON: Hey, in the old days, the guys would pace back and forth in the waiting room until a pretty nurse in a nice white outfit would come out and say, "Congratulations - it's a 'insert your chosen s*x here'." Ricky Ricardo didn't know, Dick van Dyke didn't know, and by gum, if it was good enough for Rick and Dick, it's good enough for me.
LORELAI: Well, I wanna know.
JACKSON: Rory, what do you say? Be on my side.
SOOKIE: Jackson, there are no sides.
JACKSON: We can be in that waiting room together, pacing, waiting, we'll get you a nice suit. What do you say?
RORY: Okay, sure. I'm on Jackson's side.
JACKSON: Great. Welcome to 1954. [gives her a button]
RORY: Happy to be here.
LORELAI: Well, I wanna know.
SOOKIE: Come on, I'll tell you outside.
LORELAI: Sure you don't wanna go?
RORY: Read the button, missy.
LORELAI: Okay.
[Lorelai and Sookie leave]
RORY: So, you hear about that whole Sputnik thing?
JACKSON: Oh, Eisenhower's on top of it.
RORY: Hm.
CUT TO OUTSIDE
[Lorelai and Sookie walk out back to the shed]
LORELAI: So Jackson's really not gonna be in the delivery room with you?
SOOKIE: Nope.
LORELAI: Does that bug you?
SOOKIE: Hey, I don't like Jackson to see me shave my legs, so. . .I'm opening the shed! Okay, are you ready?
LORELAI: For what?
[Sookie opens the shed; it's filled with blue baby products]
LORELAI: [gasps] It's a boy!
SOOKIE: It's a boy!
LORELAI: Oh, Sookie, you're having a boy!
SOOKIE: I know! Jackson will finally have that son to prune the trees with.
LORELAI: My God, it's so exciting. A boy! Oh, a little boy. I know nothing about little boys.
SOOKIE: Me neither.
LORELAI: Man, you're prepared, aren't you?
SOOKIE: Yes, I am.
[They sit down in chairs in the shed]
LORELAI: It's so nice to be home.
SOOKIE: It's nice to have you home.
LORELAI: Hey, have you seen Luke lately?
SOOKIE: Briefly.
LORELAI: I guess he went on that cruise, huh?
SOOKIE: Yup.
LORELAI: That's good. That's good he went. He needed a vacation. He works hard, that one. Always cooking, making the coffee, taking the orders.
SOOKIE: You know, I think something happened on that trip of his.
LORELAI: What do you mean?
SOOKIE: Well, the day he got back, Jackson and I went into the diner and I asked him how his trip went. He couldn't get away from me fast enough.
LORELAI: Really? Was Jackson wearing that creepy button?
SOOKIE: Nope. Luke just seemed kind of freaked out about something.
LORELAI: What?
SOOKIE: I don't know.
LORELAI: You think he and Nicole had a fight or something?
SOOKIE: I don't know.
LORELAI: He didn't say anything?
SOOKIE: Nope. He just walked around acting weirder than normal.
LORELAI: Huh. Wonder what that's all about. So. . . are you gonna name him Lorelai?
SOOKIE: Absolutely. That wouldn't be confusing at all.
LORELAI: Great.
CUT TO SIDEWALK
[Lorelai and Rory walk down the street. Lorelai is carrying a jar of jam.]
RORY: I cannot believe you.
LORELAI: What? It's the perfect gift for Luke. Fine fancy jam from France.
RORY: Fine fancy jam from Jackson's pantry.
LORELAI: I don't know what you're talking about. I am looking right here at this beautiful hand-crafted label and it says "Fruits de la Terre."
RORY: You didn't even spellcheck to make sure you got the French right.
LORELAI: Yes, well, I think it adds an authentic touch. See, in my world, the person who made this jam was an illiterate orphan. . .Sochelle.
RORY: As in Sochelle Crab.
LORELAI: Yes, exactly. Sochelle was born by the sea, or so said the note left in the bassinet when the nuns found her on the steps of Notre Dame.
RORY: Oh, good, there are nuns.
LORELAI: Every sad story needs nuns. Anyhow, Sochelle had nothing - no father, no mother, no friends, no education. All she had was a burning desire to make great jam, and now she's the most successful jamstress in Paris.
RORY: Luke's gonna know.
LORELAI: No, he is not.
RORY: Well, as much as I would like to be there when you give Luke your heartfelt gift, I'm gonna go give Lane her gift.
LORELAI: All right, but if you're not there, I'm gonna get all the credit for this.
RORY: Exactly as it should be.
LORELAI: Give Lane a hug for me.
RORY: I will. Don't give him the jam.
LORELAI: I can't hear you, I'm too far away.
CUT TO LUKE'S DINER
[Lorelai walks in]
LORELAI: Bonjour, Luke. Pouvez-vous attacher vos chausseurs?
LUKE: What?
LORELAI: Uh, hi, Luke. Do you know how to tie your shoes?
LUKE: Very good.
LORELAI: Yup. It came in handy, let me tell you. Not one shoelace fatality on my watch. [he sets a mug in front of her] You remembered.
LUKE: Yup. A couple things about you stick. You have a good time?
LORELAI: Vos odeurs de chat.
LUKE: What's that?
LORELAI: Your cat smells.
LUKE: You must've been a big hit with the salon set.
LORELAI: The trip was incredible, we had the best time. We were supposed to come back on Saturday.
LUKE: I know.
LORELAI: Keeping tabs on me?
LUKE: Always safer to know which direction the tornado's coming from.
LORELAI: Anyhow, we were in London and we ran into this group of girls who were heading to Ireland to stake out the Clarence Hotel.
LUKE: Why?
LORELAI: Because U2 owns it and Bono hangs out there.
LUKE: Ah. Him again.
LORELAI: So then we jumped on a train and we headed to Ireland - incredibly beautiful, by the way - and we sat in a bar for two days and did nothing but eat soda crackers and funky cheese and he never showed.
LUKE: Que sera.
LORELAI: Hm. [sips her coffee] Mm, still good. I told 'em about you over there, Señor Swanky-pants.
LUKE: Can't tell you how grateful I am to have you as my press agent.
LORELAI: And we got you something.
LUKE: You did?
LORELAI: Yes, we did.
LUKE: You didn't have to do that.
LORELAI: What are you talking about? We do not go to Europe and come back without bringing something for Luke. Here. [hands Luke the jar of jam]
LUKE: Jam.
LORELAI: Yes, fancy French jam.
LUKE: Fruits de la Terre. Very impressive.
LORELAI: It's handmade by this woman in Paris who has the most amazing story.
LUKE: Really?
LORELAI: Yeah. Orphaned.
LUKE: Uh huh.
LORELAI: And illiterate.
LUKE: Okay.
LORELAI: Just had nothing in her life, you know, except this burning desire to be the world's greatest jamstress. And she's famous now and, uh, you know, she only makes three bottles of that stuff a year and that's one of 'em, and I brought it all the way across the, uh. . .I got it from Sookie's house.
LUKE: No.
LORELAI: How did you know?
LUKE: Just a wild guess.
LORELAI: I swear, we tried to get you something, but nothing was good enough.
LUKE: No, forget it. I didn't get you anything on my trip either. We're even.
LORELAI: Oh, yeah, how was the cruise?
LUKE: Oh, it was. . .you know.
LORELAI: Not really, I've never been on a cruise. So. . .
LUKE: It was fine.
LORELAI: Okay. So, you and Nicole had fun then?
LUKE: Yeah, yeah, yeah, yeah. You want more coffee?
LORELAI: Uh, eh, oh. So what did you?
LUKE: Where?
LORELAI: On the boat? What did you and Nicole do on the boat?
LUKE: Oh, uh, you know, we fluttered around and ate, and there was a magic show and a singer and pillow mints, and you know, that's it.
LORELAI: But you and Nicole had a good time, you got along, and. . .
LUKE: Yeah. Uh, I'm gonna go check on your food.
LORELAI: Okay. [Luke walks away] I didn't order anything yet.
CUT TO SIDEWALK
[Kirk is hanging up a poster in front of the market as Rory walks by]
RORY: Hi, Kirk.
KIRK: Bienvenido, señora Gilmore.
[Rory sees that her picture is on the poster, promoting her as the Ice Cream Queen. She tears it down and walks away]
KIRK: What are you doing? I just put that there.
CUT TO TAYLOR'S SODA SHOP
[Taylor is instructing the employees on how to serve the ice cream]
TAYLOR: Scoop toward you, rolling smoothly. Very good, Ginger. Nice symmetrical balls there, Joshua. Easy on the nuts, easy on the nuts. One cherry, and then present your sundae with a Taylor Tip.
[Rory walks in carrying the poster]
RORY: Uh, excuse me, Taylor.
TAYLOR: Ah, there you are. Hello, your majesty. Come to check on your little kingdom? Uh, Ginger, hand me a spoon.
RORY: I was just walking by when I -
TAYLOR: Here you are, on the house. [hands her a dish of ice cream]
RORY: Thank you.
TAYLOR: Would you like an extra cherry?
RORY: No.
TAYLOR: Because if the Stars Hollow Ice Cream Queen wants two cherries, then she will get two cherries, and to hell with the extra twenty-five cent charge.
RORY: Taylor, you didn't ask me if I wanted to be the Ice Cream Queen.
TAYLOR: So?
RORY: So, you didn't ask me. You just put my picture on a flier and stuck it up all over town.
TAYLOR: Well, I couldn't very well ask you when you were traipsing all over Europe, now could I?
RORY: But -
TAYLOR: And don't worry about getting anything. I have already rented a cape and a crown. Just wear a nice simple sage-colored floor-length dress and you'll be fine.
RORY: I can't do it.
TAYLOR: What do you mean, you can't do it?
RORY: I mean, I'm busy right now. I only have a couple days left before I go off to school, and my mom and I have every moment planned, so I'm just going to have to pass on this one.
TAYLOR: Oh, I see. You're going to pass. You're passing on this. Fine. Just consider yourself passed.
RORY: Look, I can still come by.
TAYLOR: Oh, can you, really? You can find time in your busy day to come by and eat my free ice cream and take my free balloon and get yourself a free glitter hand stamp? You can swing that? You don't have to pass on that, huh?
RORY: Look, Taylor, don't take it like this.
TAYLOR: In my own defense, I assumed you would be thrilled based on your, uh, past participation record.
RORY: But this has nothing to do with -
TAYLOR: You've always been the head pilgrim girl at the food drive table.
RORY: Yes, well, that's for charity.
TAYLOR: The third leprechaun at the St. Patty's Day festival.
RORY: Yes, okay, but again, for charity.
TAYLOR: You man the ticket booth on Groundhog Day. You help organize the manger procession at Christmas, you play Esther every year at the Purim carnival. I just assumed you liked taking part in town events.
RORY: I do like it, but I just can't this time. I'm sorry.
TAYLOR: Oh, don't be. It's my own fault. I should have figured that once you got into Yale everything would be different.
RORY: That's not fair.
TAYLOR: No, I understand. You're no longer our little Stars Hollow Rory Gilmore. You belong to the Ivy Leagues right now. It's time to cut those small town ties and go off and do something important like go to drama school or have one of those high-class naked parties with that Bush girl.
RORY: Taylor -
TAYLOR: Okay. See you around the quad. [walks away]
[SCENE_BREAK]
CUT TO LORELAI'S HOUSE
[Lorelai and Rory walk through the front door]
LORELAI: Okay, that took way longer than it was supposed to. From now on, when we go out of town, no presents for anyone.
RORY: Oh, right. So we'll just buy everyone a big crate of Fruits de la Terre.
LORELAI: That horse is dead, put the stick down. Now we're way behind in our schedule, so I propose a change. Let's hold off on the frivolous shopping until tomorrow. What's up?
RORY: That Taylor thing is still bugging me.
LORELAI: Me, too. I can't believe you didn't call me in to see the fight.
RORY: Maybe I am different. Maybe I do have an attitude.
LORELAI: I think you do.
RORY: I mean, I've always had time for the town in the past, and now suddenly I don't? Am I changing? I don't wanna change. I don't wanna be the anti-town girl. I'm not Daria.
LORELAI: Taylor is just messing with your mind, which is one of his specialties. Ignore him.
RORY: I guess. [she picks up a pile of mail from the coffee table.]
LORELAI: Hey, hey, no mail yet. We agreed, we're still on vacation.
RORY: Well, I'll just look through my mail. Yours can sit there as long as you like.
LORELAI: Yeah, but then you're back in the real world again and I'm out here in vacation-land alone. That's not fun.
RORY: [reading a letter] Oh no.
LORELAI: What?
RORY: Oh no.
LORELAI: What oh no?
[Rory heads to her bedroom, Lorelai follows]
RORY: Oh no. Oh no. No no no no no no no no no. Oh no.
LORELAI: Uh, hey, kid, you're kind of freaking me out here.
[Rory flips through her date book]
RORY: I wrote the date down wrong.
LORELAI: What date?
RORY: This is from Yale. My orientation is Saturday.
LORELAI: Right, next Saturday.
RORY: No, this Saturday.
LORELAI: No, next Saturday.
RORY: No, this Saturday.
LORELAI: But today's Thursday. That means we have no -
RORY: I have to be at school the day after tomorrow.
LORELAI: But. . .no! We had a free week. I had it all scheduled out.
RORY: Well, I wrote the date down wrong.
LORELAI: Why would you do that?
RORY: I don't know.
LORELAI: You never write the date down wrong.
RORY: Well, I wrote it down before we left and I wrote it down wrong.
LORELAI: We were supposed to have a week.
RORY: Well, we don't.
LORELAI: I can't believe you wrote the date down wrong.
RORY: I can't believe you weren't gonna let me open the mail.
LORELAI: I can't believe you wrote the date down wrong.
RORY: I can't believe you made us go to Ireland to stalk Bono.
LORELAI: This isn't fair. You have more I-can't-believe's than I do.
RORY: This sucks.
LORELAI: This totally sucks.
RORY: Well, I'm not ready. I haven't packed. I have things I need to get. We were supposed to watch the three Godfather's and Sofia dying over and over and eat our biscotti and -
LORELAI: Okay, listen, calm down. We just need to revise our plan.
RORY: We were supposed to have a week.
LORELAI: Okay, tonight we stay home and pack. Tomorrow we get up early. We'll get all the stuff you need, and that will give us time to watch at least two Godfather's and a Sofia dying. We'll still have a partial day and a great biscotti night.
RORY: Chinese.
LORELAI: What?
RORY: Food. Order it. Go.
LORELAI: No, no time for full sentences!
RORY: Right.
LORELAI: Ordering!
CUT TO SIDEWALK
[Lorelai and Rory, each carrying several shopping bags, walk through the town square]
LORELAI: I'm so wiped. I shouldn't have taken that third Excedrin PM last night.
RORY: Third? Why'd you take three?
LORELAI: Oh, well, uh, originally I took two, then somewhere around four in the morning, I woke up and had a major Marilyn moment.
RORY: Oh, no.
LORELAI: Yeah. I forgot that I'd taken something and so I popped a third one and now I'm about ready to sleep with a Kennedy.
RORY: Well, I hear Kerry's available.
LORELAI: Okay, let's sit. God, Mr. Jet Lag wants to be my best friend.
RORY: Well, do you wanna go home and rest?
LORELAI: No. We have a Godfather night to salvage. Check the list.
RORY: Okay, we got the sheets, towels, bathroom shower caddy, and the basic first aid accoutrement. We still need to hit the beauty supply, the hardware store, stationery store.
LORELAI: The mattress store.
RORY: You do know that they supply you with a mattress at the dorm.
LORELAI: Yeah. A mattress that decades of students in various states of cleanliness have slept on. Some without pajamas.
RORY: Gross.
LORELAI: Exactly.
RORY: We've been running around for hours and this list isn't getting any shorter. We're never gonna finish.
LORELAI: Stop. Yes, we are. We just need to split up. We'll get all this done quicker. I'll take the, uh, beauty supply and you take the stationery store, and we'll meet back here in twenty minutes.
RORY: Okay. Oh, boy.
LORELAI: What?
RORY: Well, I'm gonna walk right past that stupid grand opening.
LORELAI: Well, I would take the stationery store, but you're so weird about what kind of pens you like.
RORY: No, no. I'll just. . .I'll walk really fast. Maybe Taylor won't notice me.
LORELAI: Yeah. You better walk really fast, like warp speed Mr. Sulu kind of fast.
RORY: Let's go.
LORELAI: Twenty minutes!
[They go off in separate directions. Rory stops to listen to Taylor speaking to a crowd in front of the soda shop]
TAYLOR: ...since these and many other flavors await your tongues at Taylor's Old Fashioned Soda Shoppe and Candy Store. I wanna thank you all for coming here today to help us celebrate our grand opening. Now, originally we were supposed to have our Ice Cream Queen here, but unfortunately, kids, she was just too busy. She just couldn't find time in her busy queen schedule to come play with all of you here today.
[a young girl in the crowd starts crying]
TAYLOR: I know, Christy, but take heart, we still have balloons and music, and as a special treat a little later, a skydiver is going to drop from the sky and land right here in front of Taylor's Old Fashioned Soda Shoppe and Candy Store. Isn't that great, kids? A skydiver who isn't too busy to come play with you will be here soon.
CUT TO THE BEAUTY SUPPLY STORE
[Lorelai walks in]
LORELAI: Hey, Kirk.
KIRK: Hello.
LORELAI: Hey, I'm looking for a good daytime cream and a good nighttime cream.
KIRK: For you?
LORELAI: No, for Rory.
KIRK: Is she sensitive, prone to breakouts if the cream is too heavy?
LORELAI: Yeah.
KIRK: I thought so. Okay, first of all, I would stay far away from that one.
LORELAI: Oh.
KIRK: Much too rich for her. This one is light with a fresh citrus scent and it is completely natural.
LORELAI: We like that.
KIRK: Now, for day, I would recommend something with a sunscreen. Rory has a classic peaches and cream complexion, and it would be a crime if, when she got older, her face started to look like a cowboy.
LORELAI: I couldn't agree more.
KIRK: All right. This should work.
LORELAI: Thank you.
KIRK: You know, I heard you got back from your trip.
LORELAI: Yup, I'm living proof.
KIRK: Miss Patty showed me the castanets you brought her.
LORELAI: Oh yeah?
KIRK: Yeah. And Andrew showed me the T-shirt from the Picasso museum. I must admit, I was a little jealous. I mean, I hate Picasso, but I love T-shirts.
LORELAI: Oh.
KIRK: And Pete seemed to really enjoy the Tower of London nutcracker you brought him.
LORELAI: Kirk.
KIRK: A nutcracker's a very useful thing to have around. I can't tell you how many times I've been sitting in my living room with a nut thinking, "if only I had a way to crack this."
LORELAI: Okay, Kirk, I'm really sorry, we got a little messed up on the presents. It just got so crazy over there. I mean, we forgot to bring something back for Luke.
KIRK: I heard he got jam.
LORELAI: Fake jam.
KIRK: I love fake jam.
LORELAI: You know what, I'm gonna make this up to you, okay?
KIRK: Really?
LORELAI: I promise. We never meant to forget you.
KIRK: Oh. Okay, well, sure. You can make it up to me.
LORELAI: Okay. Now how much do I owe you?
KIRK: 45.50. You're, uh, you're lucky you came in when you did. I'm closing a little early today.
LORELAI: Ooh, well, lucky me.
KIRK: Yup. [he puts on a skydiver's backpack]
LORELAI: Kirk, no.
KIRK: Taylor paid me twenty dollars to jump out of a plane for the grand opening.
LORELAI: No.
KIRK: But I took a lesson. The guy said I was a natural at falling.
LORELAI: Kirk, listen to me, this is the best gift I could possibly give you - don't do that, okay?
KIRK: Do I still get the jam?
CUT TO OUTSIDE
[Rory is walking down the street. Two young kids walk by.]
KID 1: Thanks a lot.
KID 2: Yale can have you.
[Lorelai walks up to Rory]
LORELAI: Honey. Hey, did you get your silly pens?
RORY: Yes.
LORELAI: Okay, good. Now I can mark these two things off, and we only have about ten thousand other things to do.
RORY: Great.
LORELAI: You know, I think the only way we're gonna get this all done is if we prioritize.
RORY: Meaning?
LORELAI: Something has to go.
RORY: Biscotti night.
LORELAI: No, not biscotti night. I think we should bail on Friday night dinner.
RORY: Cancel on Grandma?
LORELAI: Yes, cancel on Grandma.
RORY: I can't do that.
LORELAI: Rory, we need to get this stuff before tomorrow. There's no way we can do that if we have to drive all the way to Hartford and back. She'll understand. Well, the first part was true.
RORY: I can't skip dinner.
LORELAI: Come on, we're gonna go to dinner next week and every week after that for the rest of our lives. And I do mean the rest of our lives because my parents will outlive us. The damned can do that.
RORY: Mom, I made a deal. This is why I get to go to Yale. I can't back out.
LORELAI: It's our last night.
RORY: I have to go. You don't have to, but I do.
LORELAI: What do you mean I don't have to go?
RORY: I was very clear when I made this deal that it was only for me.
LORELAI: You're right, I don't have to go. Boy, that's an oddly liberating feeling. I don't have to go. I don't have to go. I do not have to go to dinner.
RORY: Mom.
LORELAI: Hang on, I'm not done. I do not have to go ever if I'm not in the mood.
RORY: Mom.
LORELAI: I'm not going. I'll finish up all the errands.
RORY: Really?
LORELAI: Yes. You go and you eat really fast and then get out of there. Meet me back here 9:30, 10 at the latest, and we'll do Godfather I through "Monday, Tuesday, Thursday," and a quick Sofia dying.
RORY: Deal.
LORELAI: Remember, eat fast.
RORY: Okay.
LORELAI: Okay.
RORY: Bye.
[They go off in separate directions. Taylor is still speaking to the crowd in front of the soda shop]
TAYLOR: Now just picture her sitting here just like this, smiling and waving. 'Hello kids, I'm the Ice Cream Queen.'
[Rory walks up to the microphone to speak to the crowd]
RORY: Okay, that's it. I humiliate myself at least six times a year for this town, and just because I'm going to Yale, that's not going to stop. Now the reason I am not the Ice Cream Queen is because Taylor never asked me. I didn't know about it, and that's why I was busy. Now I love this town, I will be back in that ridiculous pilgrim outfit at Thanksgiving, so everybody just get off my back.
[She walks away as some people applaud]
CUT TO ELDER GILMORE RESIDENCE
[The doorbell rings. Emily walks toward the door]
EMILY: Richard, they're here! Put those papers away and fix your tie.
[Emily opens the door]
RORY: Hey, Grandma.
EMILY: Hello, Rory.
RORY: Nice to see you.
EMILY: It's nice to see you, too. Come on in.
RORY: I'm sorry I'm a little late.
EMILY: Well, you're here now and that's all that matters. Shall we go into the living room?
RORY: Yes. Then I can give you your present.
EMILY: My present? Well, that sounds very interesting.
RORY: We bought it for you in Paris because Mom said you loved Paris the most.
EMILY: I wonder what it could be.
[They sit down in the living room. Rory hands her a gift]
RORY: For you.
[Emily opens the gift, an Eiffel Tower figurine]
EMILY: Oh my, it's lovely, Rory, really. Just beautiful.
RORY: It was between this and the Arc de Triumphe, but Mom said that the Eiffel Tower was fancier.
EMILY: I agree, and I love it. Thank you.
RORY: You're welcome.
EMILY: So, where is your mother tonight? Not sick, I hope.
RORY: Oh, no, she's fine. She just had some things to do.
EMILY: Ah, things.
RORY: Errands, actually.
EMILY: Errands, of course.
RORY: But she'll be here next week, and she says she's looking forward to it.
[Richard walks into the room]
RICHARD: Emily, I'm expecting a call and there's nothing I can do about it, so please don't be upset when I leave the table. Rory, how lovely to see you. Well, how was the first European excursion?
RORY: It was perfect.
EMILY: Lorelai had chores to do tonight.
RICHARD: Chores?
EMILY: Errands, you know.
RICHARD: Errands?
EMILY: Yes, that's why she didn't come, she had to run errands. But she'll be here next week, and she's looking forward to it. Isn't that nice?
RICHARD: I suppose.
EMILY: I think so, too. Would you like to see my present?
RICHARD: Well, that's very nice. That'll fit right in with your collection, Emily.
EMILY: Yes, it will.
RORY: We got something for you, too, Grandpa. [hands him a gift]
RICHARD: Well, I guess you're not the only one who gets a treat tonight.
EMILY: Oh, and just when I thought I was special.
[Richard opens the gift, a pipe]
RICHARD: Look at that. That's beautiful.
RORY: We found this amazing pipe store in Copenhagen and the man there can carve anything you want. His family's been doing it for over a hundred and fifty years. And they had a whole set of Alice in Wonderland pipes that Mom wanted to get, but they were way too expensive so we just got the Queen of Hearts.
RICHARD: Well, I love it.
EMILY: Yes, and you're gonna love it outside on the patio.
RICHARD: As you wish, my dear. [the phone rings] That's my call, that's my call.
EMILY: Hurry back, or we'll start without you.
RICHARD: Five minutes. Ten, tops. [leaves room]
EMILY: He'll be an hour.
RORY: Is his new business going well?
EMILY: Oh, who knows? He's not in the room long enough to find out.
MAID: Dinner is served, Mrs. Gilmore.
EMILY: All right, Gerta. Well, I guess we should go in and eat.
RORY: What about Grandpa?
EMILY: Oh, we'll save him something.
RORY: Okay.
CUT TO THE DINING ROOM
[Emily, Richard, and Rory are eating dinner]
RICHARD: So, Rory, tell me, how were the Gundersons?
RORY: The who?
RICHARD: The Gundersons. Our friends in Zurich. The ones we told you two to look up when you got there.
RORY: Oh, the Gundersons, right.
RICHARD: I tell ya, they better have given you a first class welcome. Especially after that son of theirs squatted here for over a month last year.
EMILY: And ruined the rug in the guest room.
RICHARD: That's right. Hope you ruined one of their rugs as well.
RORY: Actually, we, um, we didn't get a chance to see the Gundersons.
RICHARD: Hm?
EMILY: Why not? Were they out of town?
RORY: Well, I -
RICHARD: You did go to Zurich, didn't you?
RORY: Yes, but, you know, Zurich was so crazy for us that we just figured, 'Ah, we'll just catch 'em next time.'
RICHARD: You didn't call them?
RORY: You know, there really wasn't time.
RICHARD: Well, what about the Egerholms in Denmark? Is their new house a monstrosity?
RORY: Well, if you think Zurich was hectic, then Denmark was just. . .whoo!
RICHARD: You didn't call them?
RORY: Um, no.
RICHARD: The Rezoscos in Florence?
RORY: No.
RICHARD: The Talbots in London?
RORY: We were only in London for two days.
RICHARD: Well, who did you look up when you went to Europe?
RORY: Jim Morrison says hello.
RICHARD: You didn't look up one of our friends? We must've given you fifteen names.
RORY: I know, but we got so caught up in the backpacking aspect of it that it just kind of slipped our minds.
RICHARD: You know what that means, Emily. We're going to have to stay with the Gundersons when we go to Zurich in the fall.
EMILY: Rory, would you like another piece of chicken?
RICHARD: Tiresome people.
RORY: I've already had two, Grandma.
RICHARD: I'm sorry, why are we friends with them again?
EMILY: Well, just take it and nibble at it if you want to. Gerta, you can put the soufflé in now.
RORY: Soufflé?
EMILY: Yes, we're going to have a special dessert, something to celebrate your homecoming.
RICHARD: Well, why didn't she put it in the oven when we sat down to dinner? Those things take forever to cook.
EMILY: You know, every time we go to Paris, I marvel at their ability to turn a simple meal into a three or four hour event. Makes every day seem like a party. So tonight, I thought we'd be European. I thought maybe we'd have a cheese plate before dessert and coffee. How does that sound? Bon?
RORY: Oh, yes. Very. . .bon.
EMILY: It's nice to mix it up once in awhile. Oh, I have a wonderful idea. Rory, have you ever seen a ballroom dancing competition?
RORY: Uh, no.
EMILY: You would love it. It is so exciting, and the costumes are beautiful. I've been taping them since 1978. Can you imagine?
RORY: No.
EMILY: All right, then. After dessert, you and I are going to hunker down in that den that we never use and I am pulling out those tapes. We'll just start at the beginning and see how far we get. Perfect, here's the cheese. I'll take that, Gerta. Richard, do you want to start?
CUT TO LORELAI'S FRONT YARD
[Lorelai and Luke are loading Rory's things for Yale into the back of Luke's truck]
LUKE: Jeez, you think you go to a fancy school like Yale there'd be a mattress in the room.
LORELAI: Yeah. Go figure, huh?
LUKE: You packed her stuff in Hefty bags?
LORELAI: Hey, she's lucky I even had these in the house.
LUKE: If you needed luggage, you should've asked me.
LORELAI: You have luggage?
LUKE: Yes, I have luggage. Why wouldn't I have luggage?
LORELAI: You never go anywhere.
LUKE: I just went on a seven-country cruise.
LORELAI: That's right, the mystery cruise that you don't wanna talk about.
LUKE: I told you I brought luggage. What more info do you need?
LORELAI: Why won't you tell me what happened?
LUKE: Because.
LORELAI: Why? Luke, I swear, I'm dying to know, but every time I bring it up, you spaz out. Why won't you tell me? I would tell you.
LUKE: Yes, but I wouldn't wanna know.
LORELAI: Did something happen with you and Nicole?
LUKE: Yes.
LORELAI: What? Did you propose?
LUKE: Yes.
LORELAI: Oh my God, you proposed?
LUKE: Yes, I proposed.
LORELAI: This is big. This is huge.
LUKE: There's more.
LORELAI: There's more? Okay, well, what? Did she say yes?
LUKE: Yes.
LORELAI: She said yes. You proposed and she said yes. Wow, I -
LUKE: There's more.
LORELAI: And there's more after you proposed and she said yes? What, you -
LUKE: We got married.
LORELAI: You got married? How could you get married?
LUKE: We asked the captain and he married us.
LORELAI: And that's legal?
LUKE: Apparently.
LORELAI: So you're married? You're legally married? This is just -
LUKE: Actually, there's a little more.
LORELAI: And she's pregnant. Oh my God, you finally reproduced.
LUKE: We're getting divorced.
LORELAI: I'm gonna sit down now.
LUKE: It just all happened so fast.
LORELAI: Well, yeah.
[they sit down on the front porch steps]
LUKE: I mean, you're on this boat in the middle of nowhere and everything's moving and you feel weird all the time. There's this endless supply of food and drink. Uh, midnight buffets, by the way, are the reason the rest of the world hates us. And everyone around us was either in love, engaged, or celebrating their hundredth wedding anniversary, and we were having a good time. . . and there you go.
LORELAI: There you go.
LUKE: Of course, the next morning we both woke up and realized we'd lost our minds. We tried to ignore it for awhile, you know, went snorkeling, but by the time we hit land, we were separated, and now we're getting divorced.
LORELAI: Okay, well, my jet lag and your love life is making me dizzy. Is there more?
LUKE: Nope, that's it.
LORELAI: I'm sorry.
LUKE: Ah, it's okay.
LORELAI: Well, look on the bright side. I mean, now that you've been married, it'll silence all those questions.
LUKE: What questions?
LORELAI: You know, a single man of a certain age who lives alone.
LUKE: You're kidding.
LORELAI: Hey, I always defended you. I always said, "Hey, so what if he is?"
LUKE: Thank you for your support.
[Lorelai's cell phone rings]
LORELAI: [answers] Hello?
RORY: She's taken me hostage.
LORELAI: What?
RORY: She's not letting me leave. Dinner lasted an hour. She didn't even put the soufflé in the oven until we'd already finished, and now we're watching taped ballroom dancing competitions that date back to the 1800's.
LORELAI: You haven't left yet?
RORY: Are you listening to me? I can't leave. She won't let me leave ever. This is Iran in '79 and you are Jimmy Carter. What do we do?
LORELAI: Well, first we have to lose the Jimmy Carter comparison, and second, I have to come get you. This is about me and me not showing up, so maybe if I put in an appearance, she'll let you go.
RORY: Okay, but come quickly because she's got a lot of tapes and they rewind really slow.
LORELAI: I'm on my way. [hangs up] Um, hey, so, uh, I have to go get Rory.
LUKE: Everything okay?
LORELAI: Uh, yeah. You know, my mother's a psycho, so. . .business as usual.
LUKE: Yeah.
LORELAI: Thanks for the help.
LUKE: Sure.
LORELAI: And I am sorry.
LUKE: I'll be fine.
[Kirk walks by in a skydiver's outfit, trailing a parachute behind him]
KIRK: Strong wind.
CUT TO ELDER GILMORE RESIDENCE
[In the den, Emily puts a ballroom dancing tape into the VCR, then sits next to Rory on the couch]
EMILY: Now I think you're really going to see quite a difference from the early eighties. They really start to mix it up in '88.
RORY: Mmhmm.
EMILY: Oh, see right there, see that move? Five years ago it was not allowed. Could've gotten you kicked right out.
RORY: That's harsh.
EMILY: Oh, yes. Ballroom dancing can be very harsh. Oh, look. The couple in the purple feathers - that's Corky and Shirley Ballas. I love them, they are so talented. Corky's actually writing a musical based on their life as ballroom champions, and their son, Corky Jr., is going to play him as a young man.
RORY: Wow. Two Corky's in one show. Don't see that everyday.
[Lorelai walks in]
LORELAI: Hey.
RORY: Mom, hi!
LORELAI: There you guys are.
EMILY: What are you doing here?
LORELAI: Well, you know, it's funny, I just happen to be in the neighborhood and I thought to myself, I wonder what's doing at the Gilmore house.
RORY: We're watching National Ballroom Dancing competitions.
LORELAI: You are? Well, that sounds fun. Mind if I watch with you?
EMILY: I don't think you'd enjoy it.
LORELAI: Oh, no, I'm sure I would.
EMILY: Well, you've already missed the beginning.
LORELAI: I'm betting you could catch me up.
EMILY: Rory, would you go ask Gerta if she would make me some tea?
RORY: Uh, sure, Grandma. [leaves]
LORELAI: No, nothing for me, Mom. Thanks. Um, so what's new?
EMILY: Well, you obviously weren't just in the neighborhood, so why don't you tell me what you're doing here?
LORELAI: Uh, you know, I came to see you.
EMILY: You came to get Rory.
LORELAI: Mom, she's been here for hours. Patty Hearst had a shorter incarceration.
EMILY: She's not being held hostage, Lorelai. I resent that. She's spending time with me, something you obviously don't want to do.
LORELAI: Mom, I'm sorry I missed dinner tonight.
EMILY: Come to dinner, don't come to dinner, it makes no difference to me. You are under no obligation to us any longer.
LORELAI: I know, but -
EMILY: You're very busy, I understand. I wouldn't wanna keep you any longer.
LORELAI: Mom, please, let me take Rory with me.
EMILY: No. Tonight is my night with Rory.
LORELAI: You're keeping her from me on purpose.
EMILY: If Rory wants to leave, she can ask to leave. She's not a four-year old.
LORELAI: Well, she's not gonna hurt your feelings by asking to leave.
EMILY: Why should she? She knows you'll be along any second to do it for her.
LORELAI: Mom, why do you always make everything so hard? Don't you understand, this is my last night with my daughter! She goes off to college tomorrow!
EMILY: I know, which is why I was so surprised you didn't want to spend the evening with her.
LORELAI: I do!
EMILY: Then you should've come!
LORELAI: I couldn't!
EMILY: You wouldn't!
LORELAI: Ugh, I swear to God! Where's Dad?
EMILY: Oh, he went to bed hours ago.
LORELAI: He went to bed?
EMILY: Well, it was getting late.
[Lorelai laughs a little]
EMILY: Why are you laughing?
LORELAI: Um, you know, you've got Rory locked in here with the Mambo Kings, and, um, and Dad went to bed.
EMILY: So what? Why is that funny?
LORELAI: Because. . .you know, she's here and he's there and. . .God, I'm so tired.
[Lorelai keeps laughing. Rory walks in]
RORY: What's so funny?
EMILY: Oh, she's having a fit.
RORY: Mom?
LORELAI: Oh my God. [laughs harder]
RORY: What?
LORELAI: I just got the Jimmy Carter reference.
[Lorelai and Rory laugh]
EMILY: As soon as you're both done. . .
CUT TO ELDER GILMORE RESIDENCE
[Later that night, Lorelai and Rory are watching ballroom dancing in the den]
RORY: Oh, watch this. This part's really good.
LORELAI: Ouch, that has got to hurt.
RORY: Cool, huh?
LORELAI: Extremely. Plus, the whole matching haircut thing adds a level of commitment to their act that the other acts just lack. Oh, hey, careful where you put the hand there, mister.
RORY: You know they rehearse every night, plus they have classes, plus they go to the gym four times a week?
LORELAI: Hm. Oh my God, she's balancing on his hand. He is like Superman. Or Wonder Woman. Either way, he's very strong.
RORY: So, tomorrow. . .
LORELAI: Yeah, tomorrow.
RORY: It's a big day.
LORELAI: It's a really big day.
RORY: I just hope it's everything I've been imagining it to be.
LORELAI: Yeah. I just hope you actually get there.
[they glance at Emily sleeping on the other couch, then continue watching the television]
LORELAI: You know, if Sofia could just die during a fox trot, that would be perfect.
RORY: Biscotti?
LORELAI: Yes, please.
[Rory hands her one from the bag]
LORELAI: They're all broken.
RORY: I know. I like 'em that way. | |
doc_4 | [Scene: Paige's car. Paige is driving along the road, talking on her phone to Phoebe.]
Paige: Okay, so I've stopped at five herb shops but I finally found some eye of newt. So if it's good enough for Shakespeare's witches, I figured it'd help us put a serious dent in Cole.
Phoebe: Look, we've tried everything to vanquish him but nothing works, okay. So I just say we watch our backs and get on with our lives. Speaking of which, do you think eye of newt would work on the woman that's trying to sue me?
Paige: Is she demonic?
Phoebe: Well, she's demonically stupid. Paige, I am seriously worried that I'm going to lose my job over this.
Paige: For giving bad advice in your column?
Phoebe: No, the advice wasn't bad, I never told her she should leave the guy at the altar.
Paige: Either way, what happened to freedom of the press?
Phoebe: Well, apparently some dirt bag lawyer is finding a way around it. (Paige passes a demon wearing a suit, standing on the side of the road. He waves his hand and something blows on her car. Her car spins out of control and Paige screams.) Paige? (Paige's car crashes into another car and she is knocked unconscious.) Paige, are you okay? Paige, do you hear me? Are you okay? Paige.
[Scene: A demonic strip bar. Women in bikinis are dancing on the stage, while demonic men watch them close by. Cole is amongst the demons, watching a dancer straight in front of him. The demon from the street shimmers into the middle of the room, who a waitress bumps into. He looks around and approaches Cole.]
Demon: Cole.
Cole: How'd it go?
Demon: It was beautiful.
Cole: Was the other driver hurt?
Demon: Oh, yeah.
Cole: Good.
Demon: Now all you gotta do is a little mind control on the witnesses and maybe a cop, and we're golden.
Cole: Let's get outta here.
(Cole starts to get up but a dancer walks over and pushes him back down.)
Dancer: No time for one little dance?
Cole: Kaia, I was waiting for you earlier.
Kaia: I'll make it up to you.
Demon: Boss.
(Cole gives him a look and he walks away.)
Cole: You know what I want.
(Kaia shapeshifts into Phoebe and gives him a lap dance.)
Opening Credits
[Scene: Hospital. Room. Piper, Phoebe and Paige are there. Paige is in the hospital bed, Phoebe sits on the end of the bed, and Piper sits beside in a chair.]
Piper: Are you sure you don't want to call Leo?
Paige: No, no, it's just a mild concussion and besides, I don't deserve to be healed. I know better than to talk on the phone and drive, I don't know what I was thinking.
Piper: Do you remember what happened?
Paige: I was speaking to Phoebe and then the next thing I know the car just started spinning out of control.
Phoebe: Hm, it's kinda like my career.
Paige: Oh, honey, it's not that bad is it?
Phoebe: I think it is. The newspaper's lawyers wanna meet with me and I don't think it's because they're huge Phoebe fans.
Piper: Well, I'll see you your career and raise you my club. The health inspector's coming back today and the plumbing just exploded, again.
Paige: What is going on with us? Is Mercury in retrograde?
Phoebe: Have you thought about using a magical band-aid?
Piper: I'd do it in a heartbeat if I wasn't afraid of the personal gain consequences.
Phoebe: See, this is why demons always have the upper hand, you know. They can use their magic whenever they want to.
Paige: Yeah, well, you know, that's what separates good from evil.
Phoebe: Yeah, I know that but it's still very tempting. I mean, you could fix your plumbing, I could turn some lawyers into toads.
Piper: Aunt Phoebe, little wiccans have very big ears that can hear you.
Phoebe: Oh, I'm sorry, baby, I was only kidding! Mostly. (to Paige) Are you going to be okay because I have to go get fired now.
Paige: You are not getting fired and I'm fine.
Phoebe: From your mouth and god's ears. (She kisses Paige on the head and turns to Piper's stomach.) Okay, bye, my little niece.
(She kisses Piper's stomach.)
Piper: You're smashing me.
Phoebe: I love you.
Piper: Get off me!
(Phoebe leaves.)
Paige: This is no segue but you and I need to talk about vanquishing Cole.
Piper: 'Cause we don't have enough problems at the moment?
Paige: No, because he's actually our biggest problem at the moment. Okay, look at Phoebe, it's totally beaten her down.
Piper: I don't know, she seemed kind of cheerful considering the state of her career.
Paige: That's this wonderful thing called denial. Okay, the Phoebe I know would never roll over for lawyers like that. This morning when I was talking to her about vanquishing Cole, she told me I was wasting my time. I'm telling you she is off.
Piper: Alright, okay, already. Well, we'll spend the afternoon with our noses in potions. But can I go save the soul source of our income first?
Paige: Yeah, go, I'll see you later.
Piper: Are you okay to orb?
Paige: I'm perfectly fine to orb. Go.
Piper: Alright.
(Piper leaves the room. Paige gets up to get dressed and two police officers knock at the door.)
Cop #1: Paige Matthews?
Paige: Yeah?
Cop #1: You're under arrest.
[Scene: Cole's office. Cole's there. The demon stands at the doorway.]
Demon: Felony hit and run. She's going down.
(He walks over to Cole.)
Cole: And P3?
Demon: Health inspector's there, our guys are in place. I've gotta say, using the law to bring down the Charmed Ones was genius, sir. They'll never figure it out.
Cole: Oh, they will figure it out, it'll just be too late. (He shows him some blueprints of the manor.) The Halliwell manor. The doorway to the spiritual nexus. All the power that we need.
Demon: Oh, man. Right under the witches' house. Who knew?
Cole: I did.
Demon: Is that why they're so damn strong?
Cole: Ah, partly. The Nexus packs a punch. The power can go either way, in good hands, good gets a power boost. But when we tap into it, evil spreads.
Demon: How far?
Cole: Far enough. The police, the politicians, and Phoebe. She will be consumed by evil and she will finally give into our love and then I will torture and kill her sisters and we'll live happily ever after.
Demon: Sir, I thought the point of all this was to give you the power to reorganise the Underworld above ground.
Cole: Yes, it is, it is. But to be united, evil must have a happy leader and for me to be happy, I need... (Phoebe walks in carrying a picnic basket.) Phoebe, what are you doing here?
Phoebe: I came to see you, baby. I thought we could have a little picnic.
(She walks over to him and gives him a big kiss on the lips.)
Cole: Kaia, what the hell do you think you're doing?
(Phoebe shapeshifts into Kaia.)
Kaia: Damn, how'd you know it was me?
(She curls her hair around her finger.)
Cole: Well, for starters Phoebe hates me and she doesn't drink and she uses a little less tongue.
Demon: Since when does a stripper follow a guy back from work?
Cole: Hey, hey, hey, Dex, go easy, she's got a little crush.
Dex: With all do respect, sir, Kieran demons are manipulative vixens and this one has an agenda that goes way beyond a little crush.
Cole: Sure, she can smell power, can't you Kaia? Maybe she wants to be my new queen.
Kaia: Just send this one away and I'll prove my worth.
(She strokes his chest.)
Cole: I'm afraid I can't, I'm in love with someone else.
Kaia: But I can give her to you, I can be her.
Cole: No. You're good for the occasional dance but beyond that I need the real thing.
Dex: Alright, you heard him, get out and stay gone. Otherwise, I'll make sure you do.
(Kaia storms towards the door.)
Cole: Not like that. Go out the way you came in. In this office we keep up appearances.
(Kaia shapeshifts into Phoebe.)
Phoebe: You want me, I can feel it.
(She leaves.)
Dex: Insolent.
Cole: Hot though.
[SCENE_BREAK]
[Scene: P3. Piper, Leo and the Health Inspector are there. The Inspector has stamped a file saying 'condemned'.]
Piper: Oh, no, no, no, don't do that. Come on, you've gotta give me another chance.
Health Inspector: And why is that?
Piper: Because, because, because...
Leo: Because we've been in business nearly four years and we haven't failed an inspection yet.
Health Inspector: Well, I'd have to disagree with that, Mr. Wyatt. You've failed two this week.
Piper: Yeah, but this week has been bad, like strangely bad and we'll have the plumbing fixed tomorrow so can't you just come back then?
Health Inspector: Well, your record has been impeccable until now. (A rat squeaks and crawls past his feet.) Whoa, hello. (Piper gasps.) Rats too.
Piper: No! No, we don't have rats. They don't live here. They're just, they're just trying to ruin my life.
Health Inspection: Rodent infestation takes longer than a day to clear up. Close down, address the problem, and we'll schedule another inspection in a few weeks.
Piper: I won't need another inspection in a few weeks because if I stay closed that long, I'll be out of business.
Health Inspector: Sorry, there's nothing I can do.
Leo: Alright, well, I'll show you out.
(Leo and the Inspector head for the door. Piper grabs a broom.)
Piper: Where are you? (She chases the rats with the broom.) I hate you, I hate you. Go home! Get out of here you plague spreading, club ruining rodent. I will get you!
(She tries to blow up the rat but misses and gets a chair. Leo walks back in.)
Leo: Piper, what are you doing?
Piper: Diminishing the rodent population obviously.
Leo: Come on, honey, we're gonna get through this.
(Piper goes over and sits on the stairs.)
Piper: Yeah, we will but the club won't. How can this be happening? I mean, I know I've neglected the club since I've been pregnant but not this much.
Leo: These things happen, it's just bad luck.
Piper: No, it is more than bad luck, it is sabotage, it is... it's demonic.
Leo: What?
Piper: Well, yeah. Phoebe's lawsuit, Paige's accident... Well, that's it, it's all part of it, it has to be.
Leo: Why?
Piper: Because I said so and if not, we're losing the club which is just not an option.
(Piper and Leo leave the club. The rats turn into two demons.)
Rat Demon #1: Damn. She missed me by this much.
(They blink out.)
[Scene: Police Station. Paige, Darryl and a cop are there.]
Cop: This way, Ms. Matthews. (The cop stands Paige next to a wall with the lines to measure her height. He walks over to the camera.) No film.
Darryl: Try the filing cabinet. She's not going anywhere.
(He walks away.)
Paige: Why, why am I not going anywhere? You've always helped us before.
Darryl: With your other problems. This is not others.
Paige: I am not so sure.
Darryl: Paige.
Paige: I didn't do what they're saying I did. And if anybody is trying to set me up it would be a de... others.
Darryl: Officer Garcia is not others, nor is he in league with any others, he's a good cop and he saved my ass on many occasions.
Paige: Oh my god, I think I see what is going on here. Phoebe's lawsuit, Piper's club... You have to get me out of here otherwise it's just going to get worse.
Darryl: Listen, I am a Lieutenant now, I can't just bend the rules like I used to. (The cop comes back with film. Darryl hands Paige a board with her name on it.) Even if I could, this is legal problems. I-I can't just make those go away.
(Paige holds up the board and the cop takes the photo.)
[Scene: The Bay Mirror. Elise's office. Phoebe and Elise are there.]
Elise: We can't just make it go away. She have a strong case for malice.
Phoebe: I don't understand. How does she have a strong case?
Elise: She is claiming that a result of your own bitter divorce, you've made it your mission to destroy other marriages.
Phoebe: That is ridiculous.
Elise: (reading from newspaper) "If you have any doubts, any doubts at all, I suggest you flee at the speed of a baby cheetah at suppertime."
Phoebe: I was using hyperbole.
Elise: I know that. But she's collected dozens of similar clips and she's threatening to go to the press with her story. And as a newswoman I can tell you, it's a good story.
Phoebe: Okay, well, isn't controversy good for sales?
Elise: It may be good for the enquirer but I've worked very hard to build this paper into a respectable news source.
Phoebe: Can't we just pay her off? We have to have insurance for this type of thing, right?
Elise: She doesn't want money. She wants you fired. It's like she's on some kind of vendetta. I'm sorry, Phoebe, I have to suspend you without pay while our lawyers try to work this out.
(Phoebe gets up.)
Phoebe: Cole.
Elise: Excuse me?
(Phoebe leaves.)
[Scene: Manor. Foyer. Piper opens the front door to let Darryl in.]
Piper: Darryl, have you heard from Paige? Because she was supposed to come straight home from the hospital but...
Darryl: Paige is in jail. We tried to call you but...
Piper: What? For, what for?
Darryl: Reckless endangerment and felony hit and run.
Piper: What?
(Suddenly, Paige orbs in.)
Paige: Oops.
Darryl: You have got to be kidding me.
Piper: Paige, Darryl said you were in jail.
Paige: Oh, I am. I mean, I was, I will be. Just as soon as I figure out what demon is doing this to me.
Darryl: You just disappeared from jail?
Paige: No! I put pillows in the bed first. It always worked at my parents house.
Darryl: Paige!
Paige: What? You weren't gonna help me so I had to help myself. Whether you believe it or not, there is a demon behind this.
Darryl: At two o'clock, they're gonna come get you for your bail hearing. If you're not there, that's my ass. Everybody knows we're friends. They're gonna just think I let you go.
Paige: I will be there at two o'clock.
(Darryl leaves.)
Piper: See ya.
Paige: Okay, he hates me.
Piper: Yeah, he does. But for what it's worth I'm with you. Leo's doing the Elder thing.
Paige: Oh, let me guess, you didn't pass the inspection?
Piper: Nope.
Paige: Let's just cut to the chase, shall we? Our problems are legal, right? Who's the only demonic lawyer we know?
Piper: Cole. And he has gone off the deep end lately. But how is ruining our lives gonna help him get Phoebe back?
Paige: I don't know. But until we figure it out we should keep her out of it.
[Scene: Cole's office. Cole is there sitting at his desk. Phoebe barges in, angrily.]
Phoebe: You slimy son of a bitch.
Cole: Phoebe, is that you?
Phoebe: What are you? Evil and blind? Yeah, it's me. (Cole slowly covers over the manor's blueprints with some files.) Look, why don't you just admit that you're behind this. Admit it so I can use magic to fight you.
Cole: I don't know, uh, I don't know what you're talking about.
(She slams the door shut and walks over to his desk.)
Phoebe: Look, Cole, my career is the most important thing to me. Okay, so is that your plan to take it away from me so that I come running to you for comfort?
Cole: Phoebe, I love you and I don't know what's going on but maybe I can help. Would you like me to kill someone for you? Or-or your boss, perhaps? (Phoebe gets so mad she throws all his files on his desk up in the air.) Hey, hey, hey, hey!
Phoebe: I might not be able to use magic but...
Cole: You're sexy when you're mad, you know. I can't wait until I get to kiss you again.
Phoebe: Cole, I will never be with you again. I hate you, I hate you. Do you get that?
Cole: Hate is good. It's passionate, intense, it's-it's-it's a breath away from love. (Phoebe laughs and throws a few more papers in the air before she spins around and leaves.) Ah, she's great.
[Cut to the hallway. Phoebe storms passed Kaia, who's sitting in a chair, covering her face with a magazine.]
[Cut to Cole's office. Kaia walks in.]
Cole: What do you want?
Kaia: Just to give you want you want.
(Kaia morphs into Phoebe.)
[Cut to the elevator. Phoebe is impatiently waiting for the doors to open. She gives up and uses the stairs. The elevator doors open and Piper and Paige walk out. They head for Cole's office.]
Piper: So what are we gonna do?
Paige: We're gonna tell him we're on to him and it's not gonna work.
(They walk into Cole's office and see Cole and Phoebe making out on his desk. They watch in shock.)
[SCENE_BREAK]
[Scene: Outside Cole's office. Hallway. Piper and Paige are there, looking grossed out.]
Paige: I can't believe I saw what I just saw.
Piper: Well, believe it 'cause I saw it too.
Paige: How, why is she kissing him?
Piper: I don't know but I say we go back in there and we pull her out by her hair.
Paige: No, no, we can't make a scene. Okay, we need a plan.
Piper: Okay, here it is. We go home, we vomit...
Paige: And?
Piper: That's all I got so far.
Paige: Okay.
[Cut to inside Cole's office. Cole and Kaia/Phoebe stop kissing.]
Kaia/Phoebe: Oh, come on, baby, it was just getting good.
Cole: Not good enough. You'll never be as good as the real Phoebe and you should stop trying.
Kaia/Phoebe: You're right. I'll never be as good, I'll be better. I know tricks the real Phoebe's never even heard of before.
Cole: I've been patient with you up until now. This is the last time I'm gonna say this. Leave and don't come back.
(Phoebe morphs into Kaia.)
Kaia: You don't know what you're missing.
(She leaves.)
[Cut to the lobby. Dex is waiting by the elevators. Phoebe walks past him and he grabs her.]
Dex: Hey! What did I tell you? Cole has some serious work to do and I will not have you distracting him.
Phoebe: Cole... What the hell? Who are you?
Dex: Get it through your thick head. The leader of the Underworld will never have a whore as his queen.
Phoebe: Did you just call me a whore?
(Kaia walks out of the elevators.)
Dex: Kaia?
(Dex shimmers out with Phoebe.)
[Scene: Manor. Foyer. Piper, Paige and Leo are there.]
Leo: There's not, there's no... Are you sure?
Paige: Leo, we saw Phoebe and Cole tongues locked, hands groping all over each other.
(She shivers.)
Leo: Okay, didn't need the visual.
Piper: Well, maybe he has her under some kind of mind control. I mean, he can do that, that's possible, right?
Leo: Right. I think right now he could do pretty much anything he wanted.
Piper: Why? What do you mean?
Leo: Well, the Elders have sensed a major surge in demonic activity. They think that evil is organising under a new leader.
Paige: Oh, that's just great because the last time Cole was the leader of the Underworld, he took Phoebe as his queen and we were completely blindsided by it that time too. Oh my god, that's why she didn't want me to try to vanquish him.
Piper: She was talking this morning about being tempted.
Paige: She was trying to warn us and we didn't even see it.
Piper: Okay, this just can not be happening, people. I mean, Phoebe would not do this to us. I mean, it can not, can not, can not be happening!
Leo: Okay, let's just calm down, okay. The last time Phoebe was evil she was under the influence of her demonic pregnancy.
Piper: So what, you're saying you think she's pregnant again?
Leo: No! I just think that maybe we're underestimating her. Maybe there's something that we're missing.
Piper: Ugh.
Paige: We saw what we saw.
Leo: Okay, well, maybe she's under a spell. Or-or maybe there was some information that she wanted and she was using s*x as a tool.
Piper: Okay, I like the sound of that. Slutty and manipulative, that's better than evil any day.
Leo: So let's not panic. Let's talk to Phoebe and give her the chance to explain what's going on. (The clock chimes two o'clock.) By the way, Darryl called.
Paige: Oh.
[Cut to the police station. Jail cell. Paige orbs in bed. Darryl and a guard approach the cell.]
Darryl: She's not ready.
Guard: The judge won't wait.
Darryl: Paige?
(The guard unlocks the gate. Paige gets out of bed.)
Paige: Oh, hey, guys, what took you so long? (She walks out of the cell.) Coming, Darryl?
[Scene: Cole's apartment. Phoebe and Dex are there. Dex has a hold of Phoebe.]
Phoebe: Ow! Hey!
Dex: I wouldn't have to hurt you if you stopped trying to get away.
(Cole appears in the room.)
Cole: What happened?
Dex: I mistook her for the other one and I said too much. I thought I'd bring her here until the end of the operation.
Cole: Good thinking.
(He throws an energy ball at Dex and vanquishes him.)
Phoebe: Well, as much fun as this has been...
(She heads for the door.)
Cole: I'm sorry, Phoebe, but Dex is right, I can't let you leave.
Phoebe: Leo!
Cole: Save your voice. This place is magically protected. I can't have you people sensing what I'm doing in here. (He waves his arms and the windows and doors glow.) Now all the windows and doors are blocked. Please, sweetie, just trust me on this one, I don't want you getting hurt trying to escape.
Phoebe: Alright, don't call me sweetie. You can't hold a person prisoner and then call them sweetie.
Cole: You know, I didn't intend this. I just can't have you running off to your sisters and protecting the Nexus, okay? It is way too important for us.
Phoebe: Wait, the Nexus?
Cole: Dex didn't tell you about that?
Phoebe: No, no he didn't. He just told me you were trying to reorganise the Underworld.
Cole: Oops. Don't be mad. I only want the Nexus so that you can come back to evil and we can be together.
Phoebe: Uh, Cole...
Cole: I'm so sorry, I had to involve your work. I just needed you distracted while I ruined Piper's club and put Paige in jail.
Phoebe: Paige is in jail?
Cole: Listen, I'd love to stay and chat but all this considered I need to speed up my plan.
Phoebe: Well, Cole, my sisters are gonna realise that I'm missing and Leo is gonna try to sense me and when he can't they're gonna come straight to you.
(Cole laughs.)
Cole: Um, thanks for the concern, but I think I've got my bases covered.
(Cole waves his hand and Kaia (morphed into Phoebe) appears beside him.)
Kaia/Phoebe: I knew you'd want me again.
Cole: Ignore her.
Phoebe: Oh my god.
Kaia/Phoebe: Oh, no, not god, Kaia!
Cole: Just listen to her voice.
Phoebe: You're sick, you know that? You need help. Are-are you sleeping with me? I mean, her.
Kaia/Phoebe: You're sick, you know that? You need help.
Cole: Good.
Phoebe: Oh my god.
Kaia/Phoebe: Oh my god.
Cole: Excellent. Come on, Kaia. (They head for the elevator. Cole picks up Phoebe's purse on the way.) Ooh, I'm gonna need this. (to Phoebe) There's some left over Chinese food in the fridge.
(They walk into the elevator.)
Kaia/Phoebe: So if you don't want me, then what do you want?
Cole: I want you to go to Phoebe's house and pretend to be her for a while. Do your job well and you'll be amply rewarded.
Kaia/Phoebe: For a while. (She curls her hair around her finger.) Why not just get rid of her and I could take her place forever.
Cole: Beside from the fact that I love her, Phoebe is a Charmed One. She's protected by her powers, you can't just kill her, so don't get any silly ideas. And stop playing with your hair. Phoebe's more sophisticated than that. Now, go to the house and lay low for a while. I just need a little time to speed things up.
(Cole disappears.)
[Cut to the hospital. A room. The driver from the other car in Paige's accident is lying in a bed. Cole appears and walks over to her.]
Cole: Did you sustain your injuries in an accident with Paige Matthews?
Driver: Um, yeah, I guess that was her name. What are you, a lawyer?
Cole: Yeah, that and other things.
Driver: What?
(Cole touches her forehead and she gasps for breath. She dies.)
Cole: Sorry. Nothing personal.
[Scene: Manor. Foyer. Kaia/Phoebe walks in through the front door. Piper and Leo walk in.]
Kaia/Phoebe: Oh, uh, hi, Piper.
Piper: Don't you hi Piper me. I saw you.
Leo: I thought you said you were gonna be calm.
Piper: I am calm.
Phoebe: You saw me what?
Piper: Don't act like you don't know what I'm talking about.
Kaia/Phoebe: Trust me, it's not an act.
Piper: We saw you making out with Cole.
Kaia/Phoebe: Okay, well, that's just not possible, you see, because I'm pretty sure that I hate Cole, right?
Piper: Phoebe, I am pregnant, I am emotional and I am freaking out. And if you are back together with Cole then that is just fine but do not deny what I just saw.
Kaia/Phoebe: Okay, alright, then, uh, I'm back together with Cole.
Leo: What?
Piper: What? How can you say that?
Kaia/Phoebe: Wh- I thought you said it was fine?
Piper: Well, I didn't mean it and for god's sakes the man mummified you.
Kaia/Phoebe: Whoa, seriously?
Leo: (whispers in Piper's ear) Something's not right, her memory seems gone.
Piper: Okay, that's a good sign. Now Phoebe, try and focus. Does Cole have you under some kind of spell?
Kaia/Phoebe: Maybe.
Piper: Maybe, maybe is good. Because magic we can fight, lust, desperation, insanity we can not fight, but magic we can fight.
Leo: Unless you've used your powers for evil.
Piper: Which you haven't, have you?
Kaia/Phoebe: No, no, I don't think so and that would be the worst thing ever, right?
Leo: Oh, yeah, we couldn't bring you back from that.
Kaia/Phoebe: Okay, so this is what we have to do. You have to take away my powers so I don't misuse them.
Piper: Yes. She's not evil, you're not evil.
Leo: So you think Cole has you under his control?
Kaia/Phoebe: Well, yeah, why else would I have kissed Cole? Oh my god, what has he done to me?
Piper: Oh, no, honey, it's gonna be okay.
Kaia/Phoebe: Yes, it is going to be okay, it's going to be okay once you take away my powers, you know, just to be safe.
Leo: Piper, if you take away her powers she's going to be really vulnerable.
Phoebe: But you guys can protect me, right?
Leo: Well, I don't know. If Cole is reorganising the Underworld, you're gonna need the Power Of Three.
Piper: No, as long as we're the ones to take it away we can bring it back but if Cole's got Phoebe under his control...
Kaia/Phoebe: Yes, she's right. I am my own worst enemy. The sooner we weaken me the better.
[Cut to Cole's apartment. Phoebe throws a candlestick at the window and it rebounds off the force field.]
Phoebe: Leo!
(She looks up and notices an air vent in the roof. She levitates up and grabs onto it, trying to pull it open.]
[Cut to the manor. Parlor.]
Piper: "This witch's power can not fight, the lure of evil's magic might, before misuse lands her in hell, remove the powers of Phoebe Halliwell."
[Cut to Cole's apartment. A light floats out of Phoebe and she falls to the floor, hard, knocking her out.]
[SCENE_BREAK]
[Scene: Manor. Parlor. Piper, Kaia/Phoebe and Leo are there.]
Piper: Well, it wasn't my best work but it should've done the trick. Are you okay?
Leo: How do you feel?
Kaia/Phoebe: Um, fine.
Piper: So the spell worked?
Phoebe: Why wouldn't it?
Leo: You know, maybe you should try it out. Try levitating.
(Phoebe puts her arms in the air.)
Piper: What are you doing?
Kaia/Phoebe: Well, I just thought I'd try everything.
Leo: So you can't levitate?
Phoebe: No, apparently not. That means the spell worked, right?
Piper: I don't know, you're still kind of weird. Maybe the spell had a side effect?
Kaia/Phoebe: Or maybe I just feel sick because I had to kiss Cole.
Piper: Ah, that's my girl.
Kaia/Phoebe: Yeah, maybe I need to go and rest for a little while, you know.
Leo: That's a good idea.
[Time lapse. Phoebe's bedroom. Piper and Kaia/Phoebe walk in.]
Piper: Okay, honey, why don't you just lay down for a little while. Do you want some tea or something?
Kaia/Phoebe: Tea sounds great.
Piper: Tea, yes.
(Piper leaves the room and closes the door behind her.)
Kaia/Phoebe: Tea. Who drinks tea? (She locks the door and walks over to the dresser. She opens and drawer and pulls out a knife.) Knife in the panty drawer. My kinda girl.
[Cut to Cole's apartment. Phoebe is still on the floor, unconscious. Kaia/Phoebe appears.]
Kaia/Phoebe: Poor little witchy lost her powers. I should just put you out of your misery.
(Cole appears. Kaia/Phoebe quickly tucks the knife in her pants.)
Cole: What are you doing here?
Kaia/Phoebe: I thought I should tell you that they know you're trying to reorganise the Underworld.
Cole: I didn't ask you to report to me. What were you doing to Phoebe?
Kaia/Phoebe: Well, she's lying in the middle of the room, I was making sure she's okay.
Cole: Since when have you been worried about her well being?
Kaia/Phoebe: Since she means so much to you. What, do you actually think I'd be stupid enough to hurt her? That wouldn't make you happy, baby, and you know all I wanna do is make you happy.
Cole: If you want to make me happy go do the job I asked you to do.
Kaia/Phoebe: Fine, bossy boots. Whatever gets you off.
Cole: And when the time comes, make sure Piper goes to the bail bondsman. She'll refuse at first but you can convince her.
Kaia/Phoebe: The bail bondsman?
Cole: You'll figure it out. Now go.
(Kaia/Phoebe disappears. Cole walks over to Phoebe and picks her up. He carries her into his room and lays her on the bed. He kisses her and disappears. Phoebe wakes up.)
[Cut to the manor. Hallway. Piper is there knocking on the door to Phoebe's room.]
Piper: Are you okay? Phoebe? (Phoebe opens the door, wearing headphones. She takes them off.) Didn't you hear me knocking?
Kaia/Phoebe: No, I was listening to music to help me relax.
Piper: Why was the door locked?
(Leo walks up behind them.)
Leo: That was Paige on the phone, things just got a whole lot worse.
[Scene: Police station. Jail cell. Paige is sitting on the bed with a blanket wrapped around her. Piper, Kaia/Phoebe, Leo and Darryl are standing outside of the jail cell.]
Piper: How did she die? I thought it was just a concussion.
Darryl: The doctors think there was a blood clot in her brain.
Paige: It's all my fault.
Piper: No, it isn't.
Paige: Yeah, it is, I killed her.
Piper: No, you didn't, Cole did.
Darryl: What?
Piper: Look, I can't prove it but we found out that he has Phoebe under some kind of mind control, which means he's probably behind all of this.
Kaia/Phoebe: That evil b*st*rd.
Paige: He's killing innocent people.
Piper: Alright, let's get you outta here. Come on, open this thing up.
Paige: It's not gonna be so easy.
Piper: Why?
Darryl: When the other driver died, the judge charged Paige with vehicular homicide. He set the bail at fifty thousand dollars.
Piper: Oh my god, where are we gonna get that kind of money.
Leo: It's after six, the banks aren't even open.
Kaia/Phoebe: Bail bondsman. We'll just go to a bail bondsman.
Darryl: Just go. Do that light thing that you do. I will try to cover for you.
Paige: What about your job?
Darryl: It doesn't matter. You know, I should've believed you in the first place. I will cover for you.
Phoebe: No, because if they figure out that Paige is gone, she will be in even more trouble. We'll go to a bail bondsman, that's what they're there for.
Piper: Okay, maybe you're right but you don't have to be so cheerful about it.
Phoebe: I'm just saying we can't leave Paige in jail overnight. You know, that's exactly what Cole wants, I'm sure.
Darryl: For that kind of bail you're gonna need some heavy duty collateral.
Leo: We can't use the club, 'cause it's, you know.
Piper: Then we'll have to use the house.
[Time lapse. Bail bondsman Office. Piper and Kaia/Phoebe are there. Cecil, the Bail Bondsman is sitting at his desk.]
Cecil: This will cover the fifty thousand bail. Sign here and here. And, uh, I'm gonna hold on to the grant deed to your house. You'll get it back when the jail bird shows up for court.
Kaia/Phoebe: Oh, it'll be fine. Paige won't skip bail.
Cecil: Alright, just, uh, sign there.
(Piper signs the paper.)
Piper: This doesn't feel right.
Cecil: It never does, lady, it never does. There's the receipt. Hold onto it. That's it. Your sister shows up for court you pay me back, plus ten percent.
Piper: Let's go make this worth our while.
(Piper and Phoebe leave the office. Cecil morphs into Cole. Cole looks at the deed, smiles and puts it in his pocket.)
[Cut to the manor. Foyer. Piper, Kaia/Phoebe, Paige and Leo orb in.]
Piper: Okay, people, let's move. The sooner we destroy Cole's headquarters, the sooner I feel better about this whole damn day.
(They notice three demons lounging around in their living room.)
Paige: Piper, we've got a bit of a situation in here.
(Cole stands on the stairs.)
Cole: Oops, I knew I forgot something. My mother always warned me about protecting my house from orbing.
Piper: Your house?
Cole: Yes, (he pulls the deed out of his pocket) you signed it, I have it. You could take me to court, try to evict me but by then it will be too late.
Paige: Too late for what?
Piper: Cole, I don't know what you think you're doing, but we have the paperwork that says the house is ours unless Paige forfeits bail.
(Kaia/Phoebe holds up the receipt.)
Kaia/Phoebe: Correction. (She walks over to Cole.) I have the paperwork.
Paige: Phoebe, what's going on?
(Phoebe shapeshifts into Kaia.)
Piper: Oh, dear.
(Cole waves his hand and pushes Piper, Paige and Leo outside. He wiggles his fingers and the front door slams shut, activating a force field.)
[SCENE_BREAK]
[Scene: Manor. Kitchen. Cole and Kaia walk in.]
Kaia: I don't even get one little thank you kiss?
Cole: You did well and you'll be paid for your efforts later.
(Kaia shapeshifts into Phoebe.)
Kaia/Phoebe: Is this what a girl has to do to get a little attention around here? She hates you. You said it yourself. So why fight for her when I'm here for the taking.
Cole: You know, Kaia, I haven't killed you yet because I find you mildly entertaining, but soon the real Phoebe will be by my side and I'm not too sure that she'll feel the same way. So in interest of survival, I suggest you make yourself scarce.
(Cole walks into the basement.)
Kaia/Phoebe: Or maybe I'll just make her scarce.
(She disappears.)
[Cut to outside. The sidewalk. Piper, Paige and Leo are there. Leo is trying to sense Phoebe.]
Piper: Okay, I said something about hell and I rhymed it with Halliwell.
Paige: How can you not keep a copy of the spell you used to take away our sisters powers?
Piper: It was a crappy spell, okay? So I left it in the house, alright? Forgive me for not anticipating the demonic foreclosure.
Piper: What does he want in the house anyway? Is he after the Book of Shadows?
Leo: I still can't sense Phoebe.
Paige: Oh, god, do you think she's even still alive?
Piper: Cole wouldn't kill her. I don't think.
Paige: What about floozy Phoebe? Maybe she's got something up her sleeve?
Piper: Are you trying to help or are you just gonna ramble?
Paige: I'm just gonna ramble.
Leo: Alright, Paige, that's enough. Piper, you need to work on the spell. If Phoebe is still alive, she's gonna need her powers.
[Cut to Cole's apartment. Phoebe and Kaia/Phoebe are there. Phoebe is thrown against the wall.]
Kaia/Phoebe: You don't deserve him.
Phoebe: How many times do I have to tell you I don't want him.
(Phoebe attacks Kaia/Phoebe and she blocks Phoebe's kicks and punches.)
Kaia/Phoebe: (mocking Cole) I want the real Phoebe, I love the real Phoebe. You'll never be as good as the real Phoebe. (The continue to fight and Kaia/Phoebe throws Phoebe against a mirror. Phoebe falls to the floor.) What do you think, witch? Am I as good as you? (She pulls out the knife.) Or better?
(Phoebe gets up.)
Phoebe: Okay, alright, look, I'm sure we can talk about this.
Kaia/Phoebe: I don't think so. See, (she morphs into Kaia) I'm more of a looker than a talker.
Phoebe: Oh, you're blonde, I should've known.
Kaia: This is gonna be fun. (A light hits Phoebe and her powers return. Kaia throws the knife at Phoebe and she levitates in the air.) Your powers!
(Kaia attacks Phoebe and Phoebe kicks her in the stomach, sending Kaia across the room. Phoebe grabs the knife and Kaia runs towards Phoebe. Phoebe stabs Kaia in the stomach.)
Phoebe: You were right, that was fun. (Kaia is vanquished. Phoebe levitates up into the vent.) Leo!
[Cut to outside the manor. Piper and Paige are there. Leo orbs in with Phoebe.]
Piper: Hi!
Paige: We're really sorry.
Piper: Yeah, we're sorry.
Paige: Sorry.
Piper: Are you okay?
Phoebe: It's okay, it's okay, I'm okay, I'm not mad. Well, maybe I'm a little bit mad. I mean, what took you guys so long and what happened to my powers?
Leo: Uh, well, she looked like you.
Paige: At the hospital you said you were tempted and that you didn't want us to vanquish him.
Piper: Then we saw you making out with Cole and we all got a little panicky.
Phoebe: Excuse me, did you really think I was making out with Cole?
Paige: We mentioned we were sorry?
Phoebe: You guys! Okay, well, I'm assuming since you're standing out on the street, that means Cole's in the house?
Piper: Yeah, but we don't know why.
Phoebe: He wants the Nexus.
Piper: Oh, no, he does not.
Paige: Wait, didn't I read about that in the Book of Shadows? Isn't that what made you evil before?
Piper: How does he know about that?
Phoebe: He knows everything about us. Okay, look, if he wants its power, he's gonna have to open the earth under the basement and take the shadow into him.
Leo: Okay, so how do we stop him?
Phoebe: Well, we can't, but once he has the shadow, there is a spell that can send it back into the earth and hopefully take Cole with him.
Piper: Yeah, but it has to be said over the Nexus in the basement.
Paige: Great, there's only a whole load of demons in the house and a force field keeping us out.
Phoebe: But the one good thing about Cole's little girlfriend, who is dead by the way, she looks just like me.
Paige: Wait a second, so you're gonna pretend to be her, pretending to be you?
Piper: If you go in there, you'll be vulnerable.
Phoebe: To turning evil? Yeah, I'm pretty sure that's his plan. Look, you guys underestimated me once already today, please don't do it again.
Piper: She twirled her hair.
Paige: A lot.
Phoebe: She twirled her hair. Like this? (Phoebe twirls a piece of hair around her finger. Piper and Paige nod.) Okay, I'm going in.
[Cut to the porch. A demon guard is there. He rings the doorbell. Phoebe approaches him and takes his arm.]
Phoebe: Hey, baby, wanna escort a girl inside?
Demon Guard: Kaia, are you still playing good witch?
Phoebe: It's the way the big man likes it.
Demon Guard: Sick.
(The door opens and Phoebe and the guard walk in. The hallway is full of demons.)
Demon #1: Hey, look who it is.
Phoebe: Hi, boys, did you miss me?
Demon #1: Alright, the entertainment's here.
(A demon touches her butt and she jumps.)
Phoebe: Hey! Sorry. I'm just, you know, saving the goods for Cole. Take my jacket.
[Cut to the kitchen. A demon guard stands at the basement door. Phoebe walks in.]
Phoebe: Step aside and let a lady by?
Demon Guard #2: You're no lady, Kaia. And the boss sent you away.
Phoebe: Yeah, but he didn't mean it. Come on, let me past.
Demon Guard #2: I'll let you past if you can drop that witch act right now.
(Phoebe kicks him and he falls down the basement stairs.)
[Cut to the basement. Cole is there, chanting. The guard rolls down the stairs. Phoebe races down the stairs. The floor opens up and the shadow enters Cole. He gasps and his eyes turn black then return to normal.]
Cole: I'm so happy you came.
Phoebe: "I am light, I am one too strong to fight."
Cole: Oh, don't fight it, Phoebe. Let evil take you.
Phoebe: "Return to dark where shadows dwell, you can't have this Halliwell."
Cole: It's no use, Phoebe.
Phoebe: "So go away and leave my sight, and take with you this endless night."
(A tunnel of wind rises out of the hole in the floor and sucks Cole and the Demon Guard into the hole. It swirls upstairs and sucks every demon into the hole. The hole closes up.)
[SCENE_BREAK]
[Scene: Manor. Basement. Phoebe is there. Cole appears.]
Cole: My sweet Phoebe. I don't know how you did it. How you got past the force field, past the guards, but I love that you did. It's that fight that made me fall in love with you in the first place.
Phoebe: I thought you were dead.
Cole: So did I for a minute there but now that I know the earth can't even hold me, I guess I'll just call the shadow and try again.
Phoebe: You could do that. Hell, you could even turn me evil again. But you will never win because I'll never come back to you.
Cole: Phoebe.
Phoebe: You just don't get it, Cole, do you? I thought you were dead and I felt nothing. No pain, no love, nothing. I'm free. And when we do vanquish you, and we will, I'll never look back.
(Cole disappears.)
[Cut to the foyer. Piper, Paige and Leo walk in.]
Paige: Okay, where are they? Where are the demons?
(Phoebe walks in.)
Phoebe: Sorry, my sweeties, but they're all dead.
Piper: You didn't even leave us one?
Phoebe: Well, there's one left. Believe me, there is one left. But I was able to get back the house and keep Cole from getting the Nexus.
Piper: Phew. What about your job? And my club?
Leo: I think you can use your magic to reverse Cole's consequence free.
Piper: Well, thank the lord for that.
Paige: It won't reverse everything though. What about the woman he killed?
Phoebe: I promise you he won't get away with that.
[Scene: Demonic Strip Bar. Cole is there sitting on a chair. A dancer walks up to him.]
Dancer: You asked for me?
Cole: Kaia's friend?
Dancer: Used to be.
Cole: She tell you want I want?
Dancer: You mean this?
(She shapeshifts into Phoebe.)
Cole: Yeah, that's it.
(She moves closer and sits on his lap. She whispers in his ear.)
Dancer/Phoebe: You just tell me what you want, baby.
(Cole stabs her in the stomach.)
Cole: That's what I want, baby.
(The Dancer/Phoebe is vanquished. He looks at the knife and smiles.) | |
doc_5 | New York is dangerous littered with thieves we've no morals here we just do as we please but I don't wanna go home where they all stare at me 'cause I'm tattooed and fired up and drunk and obscene. You wear your religion like a war sweater, you ask for the truth but you know you could do so much better and you sat on your fences and you screamed, "no retreat" so what will your legacy be?
AT CLOTHES OVER BROS
Julian : I love your daughter. I'm in love with her. Would you ask her to call me, please?
I look closely to which speaks from pride. I love you I swear it I would never lie but I fear for our lives and I fear your closed eyes. 'cause you wear your religion like a war sweater
AT CLOTHES OVER BROS
Brooke : Well, you're here late.
Victoria : Yeah. The competition never sleeps.
Brooke : Any messages?
Victoria : Uh, no. Nothing that matters.
And you screamed, "no retreat" so what will your legacy be? And what will your legacy be?
AT LUCAS'S HOUSE
Sawyer: Ouain !
Lucas : Shh, shh. It's okay. Daddy's here.
AT THE HOSPITAL
Lucas : You know. If you keep letting these root-beer floats go to waste, I'm gonna have to start drinking them. I'm kidding. They'll be here when you wake up. You know who else will be here when you wake up is, uh... god, our beautiful daughter. She's, uh... You should see her. She's amazing, Peyton. But she needs you. And so do I. Come on. You promised. You promised.
OUTSIDE THE HOSPITAL
Julian : You need to go home, Brooke. You've been awake for the better part of the last four days, and it's not healthy.
Brooke : I need to be here when she wakes up. What is that?
Julian : Every fashion magazine I could find.
Brooke : But you just said
Julian : Yeah, but I knew when I said you needed to go home that you'd say you needed to be here when Peyton woke up, because you're stubborn, Brooke Davis.
Brooke : You don't know me.
Julian : I think I do.
Brooke : She needs to wake up.
AT RED BEDROOM RECORDS
Mia : Yeah, I know. Everything's fine. Just, you know, call if you hear anything, okay? Thanks, Haley.
Chase : No word?
Mia : No ... word. Lucas must be so freaked out.
Chase : Peyton's a badass. She'll be okay. What you got there?
Mia : My new record.
Chase : Let me see that. My girl's such a rock star. You did good, Mia Catalano.
Mia : We did good ... me and Haley and Peyton. Peyton really should be here for this ... Red bedroom records. Can I help you? Um, Peyton's not here right now, but ... she'll be back soon.
AT THE HOSPITAL
Lucas : You know, I, uh ... I'm in a little... I'm in a little over my head here. I took her home, and, uh ... I'm doing what I can, but... but she needs her mom. I need her mom. She doesn't even have a name. We were supposed to do that together. I can't do this without you. And I'm just ... afraid ... that we're gonna lose you, and it's just gonna be the two of us. And she doesn't even have a name.
Peyton : Sawyer. Her name's Sawyer, okay?
Lucas : Okay. Sawyer Scott. God, you scared me. Oh, my god.
Brooke : Peyton.
Peyton : You said you would disown me if I left without permission.
Brooke : Yeah. I'm about to be your second-best girl when you meet your new one.
Peyton : Is she okay?
Lucas : She's beautiful.
Peyton : Can I see her?
Brooke : She's right outside. Hang on.
Lucas : I should get the doctor.
Peyton : No. I just want it to be you and me and our daughter for a minute.
Lucas : Okay.
Karen : Well,well.
Lucas : Mom.
Karen : My baby's had a baby. And she's beautiful.
Peyton : Hi, Sawyer. Do you remember me? I missed you. I'm gonna love you forever. She's perfect.
AT SCOTT'S HOUSE
Jamie : Hey, dad, when you get back to Charleston, tell Nino he needs to stop shooting so much, okay?
Nathan : Nino's not there, buddy.
Jamie : How come? Did they fire him?
Nathan : He's playing for the clippers now. They called him up.
Jamie : When are they gonna call you up, dad?
Nathan : I don't know, Jamie. Maybe never.
Jamie : It's okay. At least you're still a chief.
Nathan : Yeah. All right. All set.
Jamie : I'll take it.
Nathan : Thanks, buddy
AT BROOKE'S HOUSE
Julian : What's that?
Brooke : Sam's new home.
Julian : I miss that girl.
Brooke : Yeah. So I guess you have to be getting back to L.A.
Julian : Yeah. I mean ... I mean, we're prepping the new movie.
Brooke : Yeah, I haven't even asked what it's about.
Julian : You know, boy meets girl, boy loses girl. Anyway, it was great getting to spend time with you, Brooke, even considering the circumstances.
Brooke : Yeah, you too. Thank you ... for staying with me.
Julian : Yeah, well, I wanted to make sure Peyton was gonna be okay.
Brooke : Of course. Well ...
Lay your ray down you're the one. I could run, I could run for the life of me but where would that get me? Where would that lead? I'm a fool for waiting so long 'cause you come around, come around come around, come around to me there's something in between you and I
Julian : I love you, Brooke Davis. I love you so much.
Brooke : Don't say it. Just kiss me. You feel like breathing come around, come around, come around, come around to me. Can't you see you're my life?
AT LUCAS'S HOUSE
Karen : Do you want me to take her so you can get some rest?
Peyton : Mm, no. I want to hold her forever. Hey, Karen, thank you... for the way you raised Lucas and the man that you taught him how to be.
Karen : You're welcome. But I was just being a mom. You'll see.
Come around, come around, come around, come around to me come around to me
AT MOUTH'S OFFICE
Mouth : Hey, what are you doing down here?
Millicent : I don't want to go back to New York.
Mouth : And I don't want you to go back to New York.
Millicent : But I have to.
Mouth : I know.
Millicent : I'm just gonna have to talk to Brooke.
Mouth : And say what?
Millicent : "I don't want to go back to New York. "
Mouth : Straight and to the point. I like it. Come on.
OUTSIDE LUCAS'S HOUSE
Karen : I remember sitting on these steps, talking to you about joining the ravens.
Lucas : That seems so long ago.
Karen : It feels like yesterday, actually. Lily wrote you a letter.
Lucas : She's writing already? What, was she born, like, four days ago?
Karen : No, that was your daughter, dad.
Lucas : Yeah, whatever, grandma Karen.
Karen : Look, I know you can't stay, but before you go, I just really ... I really wanted to say thank you.
Karen : Lucas...
Lucas : No, no, no, no, no, no. You helped me through all of it. And you were selfless and strong. And ... if I'm half the parent that you were, then Sawyer is gonna be just fine.
Karen : She's gonna be more than fine.
Lucas : Remember how you always told me to see the magic in the world? I still do.
AT THE GYMNASIUM
Man : Nate? Bobby wants to see you.
Nathan : What happened to all my stuff?
Man : Bobby wants to see you.
AT SCOTT'S HOUSE
Haley : What are you doing home?
Nathan : Do you remember that green dress you wore to the Maths-ketball school for Jamie?
Haley : The Oppenheimer school. Yeah.
Nathan : You look amazing in that dress. I was thinking we could take a trip to charlotte. You could wear that dress. We could take Jamie.
Haley : Nathan, what happened?
Nathan : I'm not on the Chiefs anymore.
Haley : I'm sorry, baby.
Nathan : It's okay. What do you say, Haley James? Want to take the boy to Charlotte? Maybe we could see a basketball game? I mean, I kind of have to be there anyway, considering ... I'm the Bobcats' new point guard.
Haley : What?
Nathan : I'm the point guard for the Charlotte Bobcats. I got called up.
Haley : You're in the NBA?
Nathan : I'm in the NBA. Thank you. Thank you for believing in me, Haley.
Haley : Thank you for being worth it!
AT WITHEY'S HOUSE
Dan : Please. I assume that's loaded.
Withey : I bought this gun hoping to see your face again. I'll just say you broke in, came at me.
Dan : You'd be doing me a favor.
Withey : You look like a haunted man. I heard you have a heart problem. It's not surprising. You've always had a heart problem.
Dan : I wish I'd gone back in that game ... the state championship. When I look back at my life and see where it all went wrong, that's where I always end up ... fourth quarter, time running down, sitting on the bench at the state championship, and refusing to play. At night, in my dreams, I do go back in. And in my dreams, I take it back. All of it. And then I wake up. I'm sorry. I'm sorry for that day and every day since. I'm sorry for what I did to Keith ... and to the people who love him.
Withey : Did you ever love him?
Dan : Not enough.
AT BROOKE'S HOUSE
Brooke : Hi, Sam. It's me. No, everything's fine. I was just thinking about you, and ... and I was wondering ... How's your life? Are you happy?
AT MOUTH OFFICE / SCOTT'S HOUSE
Jerry : New lead coming out of commercial.
Mouth : Is this for real?
Jerry : Yeah.
Mouth : Woooo : Sorry.
Nathan : Jamie, sports is up next.
Jamie : What's the big deal? I got wifi on my phone.
Haley : Get over here and watch with us.
Mouth : Last night in the NBA, the Charlotte Bobcats quietly made a move that most sports fans wouldn't have noticed, adding a point guard to their roster for the rest of the season. But we're leading with that story because this point guard is a local legend who overcame adversity and difficult circumstances in pursuit of a dream. Last night, the Charlotte Bobcats called up a former Tree Hill Raven, a great guy, and a good friend, Nathan Scott. Jamie Scott, hug your dad for all of us because he just made it to the NBA, and we couldn't be more proud. In other news around the league, the Los Angeles clippers are ...
Haley : Jamie.
Jamie : I knew you could do it!
Nathan : You're gonna kill me before I even play in a game, buddy!
AT WITHEY'S HOUSE
Dan : I was supposed to be dead months ago. I used to wonder why I was still alive. And then I realized ... I'm not. I'm dead. And this is my hell. Lucas got married and had a baby girl. And Nathan ... he's got Jamie. And I get to see the happiest moments of their lives, but ... I don't get to feel those moments. I don't get to be a part of their lives.
Withey : You created that, Danny.
Dan : Pull the trigger. Take the pain away! Please. Please.
Withey : Maybe you're still here for redemption.
OUTSIDE WITHEY'S HOUSE
Withey : There's still time, son.
Nathan : I just came to tell my coach I made it to the NBA. How you doing, coach?
Withey : Good to see you. It's a great surprise. I see you're keeping in shape.
AT BEDROOM RECORDS
Chase : This track is awesome!
Mia : Thanks.
Chase : And the record officially drops tomorrow?
Mia : Tomorrow night. Sinning in New York City.
Chase : And then ... you tour.
Mia : For a couple months, yeah.
Chase : Listen, I ... I know you're gonna go on tour and this record's gonna blow up, and just know that art of me wants to be really selfish with you. But I'm not gonna be that way because ... well ... because the rest of the world deserves to see your greatness, too.
Mia : My heart's ... not going anywhere.
Chase : Promise?
Mia : Promise.
AT CLOTHES OVER BROS
Millicent : Mia's new record?
Brooke : Yeah. It's really good. She's actually doing a signing in New York tomorrow night. Maybe you could go ...
Millicent : Yeah!
Brooke : About that ... if you weren't gonna be here in tree hill instead.
Millicent : Wait. What?
Brooke : The store's gonna be back up and running soon, and I need you here to run it.
Millicent : But what about New York? Don't you need someone there?
Brooke : I do, but your boy is here.
OUTSIDE LUCAS'S HOUSE
Dan : Hi, Peyton.
Peyton : What do you want?
Dan : I just wanted ... could I hold her?
Peyton : No. Why?
Dan : Because she's the only one in my world who doesn't know what I've done.
Peyton : Just for a second.
Take your last step.
Dan : I'd forgotten what it was like. She's so beautiful. What's her name?
Peyton : Sawyer.
Dan : Sawyer Scott. And now, said max, let the wild rumpus start.
Peyton : Where the wild things are.
Dan : I used to read it to Nathan. It seems like another life ago.
Peyton : It was.
Dan : I know you're gonna have to tell her about me someday. I'm sorry for that. Hallelujah for these eyes she your painted life. Hallelujah for the touch of skin to skin with mine. Hallelujah for this mind that keeps our souls combined. Hallelujah for this life that let me be your child have your mind, have your strength to stay alive keep your eyes open with mine now oh, no. You followed the road
AT MOUTH'S OFFICE
Millicent : How would you like your old roommate back?
A face without words can last a lifetime it's never the same so don't say goodbyes that last forever now hold on just for a while but I'll be by to see you someday soon now please hold on tonight oh, 'cause I'm old and I don't know why. Hallelujah for these eyes
AT CLOTHES OVER BROS
Victoria : Tell me about ... Julian. Brooke. What kind of man is he?
Brooke : The kind who's gone.
Hallelujah for this mind that keeps our souls combined now. Hallelujah for this life that let me be your child.
AT THE CIMETERY
Nathan : I finally made it, Q. Something tells me you already know that. I miss you, buddy. Oh, and, Q, you're right ... It's a comeback. Thank you.
You're a traffic light of fire you're a man who I believe will never die
AT LUCAS'S HOUSE
Brooke : Hi.
Peyton : Hi
Brooke : Luke around?
Peyton : No. He had to take Karen to the airport. She had to get back.
Brooke : She's so beautiful.
Peyton : Yeah, I kind of like her.
Brooke : So how does it feel, P. Sawyer? You have a family now. You ... you have this whole other life to look after.
Peyton : It feels just like I dreamed it would.
Brooke : Can I hold her?
Peyton : Yeah! Got her?
Brooke : Oh, yeah. Hi, Sawyer. I'm your aunt Brooke, and I am gonna spoil you. Yes, I am, Sawyer Scott.
Peyton : Sawyer Brooke Scott.
Brooke : Really?
Peyton : Yeah.
Brooke : See, I always knew you were a Brooke. And it is a really good name, baby Brooke.
Peyton : Just like I dreamed. And what about your dreams, Brooke Davis?
AT CLOTHES OVER BROS
Brooke : Are you going somewhere?
Victoria : Back to New York. The designs are excellent. The new line should stabilize the company. There's nothing left for me to do here. There are a few things that I need to leave you with. We need to call our publicist and arrange a series of interviews announcing your return to the company. You need to speak with the people at red and organize some sort of charitable contribution.
And you need to fly to Los Angeles and tell that boy that you love him.
Brooke : What?
Victoria : When I was young, there was a boy who loved me, and I loved him back. But he wasn't from my circle of friends, and he was different than what my parents expected ... so I let him go. And not a day has gone by that I don't regret it.
Brooke : Why haven't you ever told me this?
Victoria : Because I've been a terrible mother. I have a daughter who is ... strong and bright, kindhearted, so beautiful ... and I've nearly broken her with my inability to open my heart. But I haven't broken her. She's just as strong and beautiful and kindhearted as ever. She simply misnamed her company. Because if this boy Julian loves you ... and you love him ... That's all that matters. That is the most important thing. And the clothes can wait.
Victoria : This is for you.
Brooke : What is it?
Victoria : It's the company. It's all yours ... 100%.
Brooke : But why?
Victoria : I'd rather have my daughter than a company.
Brooke : But you loved this company.
Victoria : Yeah. I did. And I was wrong. I should have loved you more ... and the company less. I just didn't know how.
Brooke : Mom? I want you to stay on ... and run things from New York.
Victoria : You're keeping me?
Brooke : You're good at what you do. And besides ... you're my mother.
Victoria : My daughter. My daughter. I love you so much. And I'm so proud of you.
AT MOUTH'S OFFICE
Jerry : 60 seconds, Mouth.
Mouth : Thanks, Jerry. Thanks. I thought you took off.
Millicent : I just wanted to watch my boy work.
Mouth : I like that ... being your boy.
Millicent : I like it, too. Skills called. They're gonna watch the game with us.
Mouth : Great. Sounds perfect.
Millicent : It does, doesn't it?
Jerry : We're back in 10!
Mouth : God, I love my life. A full slate in the NBA kicks off tonight with the Charlotte Bobcats, who recently called up Nathan Scott. The team says that Scott will take his physical ...
Mouth : Take a look at yourself in a mirror. Who do you see looking back?
Haley : Is it the person you want to be?
AT SCOTT'S HOUSE
Jamie : You made it.
Nathan : We made it.
Dan : Or is there someone else you were meant to be ... the person you should have been, but fell short of?
Mia : Is someone telling you, you can't or you won't? Because you can.
AT NEW YORK
Chase : Could you write, "Thanks for the 45 seconds of heaven"?
Mia : 30. Wait for me?
Chase : Hell, yeah.
Chase : Believe that love is out there.
AT THE GYMNASIUM
Man : From the university of maryland, 6'2" point guard, wearing number 12, Nathan Scott!
Nathan : Believe that dreams come true every day. Because they do.
Peyton : Sometimes happiness doesn't come from money or fame or power. Sometimes happiness comes from good friends and family and from the quiet nobility of leading a good life.
AT LOS ANGELES
Man : We're gonna try the lights now, okay, Julian?
Julian : Okay.
Brooke : You told me that someday I'd be ready to let someone in. I think today mean to be "someday".
Julian : Believe that dreams come true every day. Because they do.
Julian : If this was a movie, you'd kiss me right now.
Brooke : No. I'd say, "I love you," and then I'd kiss you. I love you.
Brooke : Believe that dreams come true every day. Because they do.
ON THE ROAD IN THE COMET
Lucas : Take a ride with me, Peyton Sawyer?
Peyton : Don't you mean Peyton Scott?
Peyton : So take a look in that mirror and remind yourself to be happy, because you deserve to be. Believe that.
Lucas : And believe that dreams come true every day. Because they do. | |
doc_6 | "Glenn: Lola, we have some good news and some bad news. The good news is, you don't have cancer.\nLo(...TRUNCATED) | |
doc_7 | "Gabe: Ugh, man. My delts are blasted. I wish they had a chart for how much protein powder to scoop (...TRUNCATED) | |
doc_8 | "[In a shop in New York City]\nJenny: So you, you deliver the dresses and I take the accessories.\nS(...TRUNCATED) | |
doc_9 | "Originally written by Adam Chase\n[Scene: Monica and Rachel's, Phoebe, Chandler, and Ross are there(...TRUNCATED) |
End of preview. Expand
in Data Studio
summ_screen_fd subset of dwzhu/LongEmbed dataset.
Task category | t2t |
Domains | Spoken, Written |
Reference | https://huggingface.co/datasets/dwzhu/LongEmbed |
How to evaluate on this task
You can evaluate an embedding model on this dataset using the following code:
import mteb
task = mteb.get_tasks(["LEMBSummScreenFDRetrieval"])
evaluator = mteb.MTEB(task)
model = mteb.get_model(YOUR_MODEL)
evaluator.run(model)
To learn more about how to run models on mteb
task check out the GitHub repitory.
Citation
If you use this dataset, please cite the dataset as well as mteb, as this dataset likely includes additional processing as a part of the MMTEB Contribution.
@inproceedings{chen-etal-2022-summscreen,
abstract = {},
address = {Dublin, Ireland},
author = {Chen, Mingda and
Chu, Zewei and
Wiseman, Sam and
Gimpel, Kevin},
booktitle = {Proceedings of the 60th Annual Meeting of the Association for Computational Linguistics (Volume 1: Long Papers)},
doi = {10.18653/v1/2022.acl-long.589},
editor = {Muresan, Smaranda and
Nakov, Preslav and
Villavicencio, Aline},
month = may,
pages = {8602--8615},
publisher = {Association for Computational Linguistics},
title = {{S}umm{S}creen: A Dataset for Abstractive Screenplay Summarization},
url = {https://aclanthology.org/2022.acl-long.589},
year = {2022},
}
@article{enevoldsen2025mmtebmassivemultilingualtext,
title={MMTEB: Massive Multilingual Text Embedding Benchmark},
author={Kenneth Enevoldsen and Isaac Chung and Imene Kerboua and Márton Kardos and Ashwin Mathur and David Stap and Jay Gala and Wissam Siblini and Dominik Krzemiński and Genta Indra Winata and Saba Sturua and Saiteja Utpala and Mathieu Ciancone and Marion Schaeffer and Gabriel Sequeira and Diganta Misra and Shreeya Dhakal and Jonathan Rystrøm and Roman Solomatin and Ömer Çağatan and Akash Kundu and Martin Bernstorff and Shitao Xiao and Akshita Sukhlecha and Bhavish Pahwa and Rafał Poświata and Kranthi Kiran GV and Shawon Ashraf and Daniel Auras and Björn Plüster and Jan Philipp Harries and Loïc Magne and Isabelle Mohr and Mariya Hendriksen and Dawei Zhu and Hippolyte Gisserot-Boukhlef and Tom Aarsen and Jan Kostkan and Konrad Wojtasik and Taemin Lee and Marek Šuppa and Crystina Zhang and Roberta Rocca and Mohammed Hamdy and Andrianos Michail and John Yang and Manuel Faysse and Aleksei Vatolin and Nandan Thakur and Manan Dey and Dipam Vasani and Pranjal Chitale and Simone Tedeschi and Nguyen Tai and Artem Snegirev and Michael Günther and Mengzhou Xia and Weijia Shi and Xing Han Lù and Jordan Clive and Gayatri Krishnakumar and Anna Maksimova and Silvan Wehrli and Maria Tikhonova and Henil Panchal and Aleksandr Abramov and Malte Ostendorff and Zheng Liu and Simon Clematide and Lester James Miranda and Alena Fenogenova and Guangyu Song and Ruqiya Bin Safi and Wen-Ding Li and Alessia Borghini and Federico Cassano and Hongjin Su and Jimmy Lin and Howard Yen and Lasse Hansen and Sara Hooker and Chenghao Xiao and Vaibhav Adlakha and Orion Weller and Siva Reddy and Niklas Muennighoff},
publisher = {arXiv},
journal={arXiv preprint arXiv:2502.13595},
year={2025},
url={https://arxiv.org/abs/2502.13595},
doi = {10.48550/arXiv.2502.13595},
}
@article{muennighoff2022mteb,
author = {Muennighoff, Niklas and Tazi, Nouamane and Magne, Lo{\"\i}c and Reimers, Nils},
title = {MTEB: Massive Text Embedding Benchmark},
publisher = {arXiv},
journal={arXiv preprint arXiv:2210.07316},
year = {2022}
url = {https://arxiv.org/abs/2210.07316},
doi = {10.48550/ARXIV.2210.07316},
}
Dataset Statistics
Dataset Statistics
The following code contains the descriptive statistics from the task. These can also be obtained using:
import mteb
task = mteb.get_task("LEMBSummScreenFDRetrieval")
desc_stats = task.metadata.descriptive_stats
{
"validation": {
"num_samples": 672,
"number_of_characters": 10565795,
"num_documents": 336,
"min_document_length": 8768,
"average_document_length": 30854.32738095238,
"max_document_length": 91515,
"unique_documents": 336,
"num_queries": 336,
"min_query_length": 151,
"average_query_length": 591.4910714285714,
"max_query_length": 2495,
"unique_queries": 336,
"none_queries": 0,
"num_relevant_docs": 336,
"min_relevant_docs_per_query": 1,
"average_relevant_docs_per_query": 1.0,
"max_relevant_docs_per_query": 1,
"unique_relevant_docs": 336,
"num_instructions": null,
"min_instruction_length": null,
"average_instruction_length": null,
"max_instruction_length": null,
"unique_instructions": null,
"num_top_ranked": null,
"min_top_ranked_per_query": null,
"average_top_ranked_per_query": null,
"max_top_ranked_per_query": null
}
}
This dataset card was automatically generated using MTEB
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