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Ghost machine Opening sh*ts and series recap. JACK : (VO) Torchwood : outside the government, beyond the police. Tracking down alien life on Earth and arming the human race against the future. The 21st century is when everything changes, and you’ve gotta be ready. EXT. AN ALLEY - DAY Gwen and Owen run out of a narrow street and into a wider road. Toshiko speaks to them through their earpieces, directing them towards an alien artifact which has been identified. TOSHIKO : (over com) Owen, Gwen. Left into the alley, right, 30 meters. GWEN : What is it ? What can you see ? INTERCUT WITH : Toshiko in the hub, a map on the computer screen in front of her showing the positions of Gwen and Owen and Jack relative to the alien object. INTERCUT WITH : Overview of the Torchwood SUV. TOSHIKO : Jack. Sharp right, 20 meters. JACK : (over com) Can you identify the target ? TOSHIKO : No, still trying to get a visual. 20 seconds contact. INTERCUT WITH : Gwen and Owen run through crowded streets in Cardiff, CCTV footage. TOSHIKO : 15 seconds. JACK : (Over com) No heroics ! We got no idea what we’re dealing with. TOSHIKO : 10 seconds. EXT. A STREET - CONCURRENT The SUV squeals to an abrupt halt and Jack exit’s the vehicle. TOSHIKO : Got it ! Got a visual; suspect’s male, wearing a hoodie. INT. A SHOPPING ARCADE - CONCURRENT The suspect runs through the shopping arcade followed by Gwen and Owen. TOSHIKO : Go Gwen ! SECURITY : Oi ! The suspect runs under a closing shutter, Gwen just manages to roll under before it shuts in front of Owen and Jack. Jack turns to the security guard operating the shutter. JACK : Come on, open it up. Open it up ! SECURITY : Alright, alright The shutter begins to open and Jack and Owen run through as soon as they are able and chase after the suspect and Gwen. INT. TRAIN STATION ENTRANCE - CONSECUTIVE The suspect jumps over a ticket barrier closely followed by Gwen. Two train station workers stand near by but take no action to stop them from jumping the barriers, but instead shout after Gwen. STAFF 1 : What’s he done ? STAFF 2 : Musta done something ! STAFF 1 : Get him ! The suspect runs down a tunnel in the train station. He pushes past people and as he does so he looses his balance slightly and slows. Gwen grabs his arms and tried to hold him. The suspect wriggles out of his jack and escapes, leaving Gwen standing at the train station exit holding only his coat. GWEN : Damn ! TOSHIKO : He’s there, you did it ! GWEN : I was that close… TOSHIKO : No. You got it. GWEN : I’ve lost him Tosh. I lost him. TOSHIKO : I swear. Whatever it is, you’re holding it. Gwen looks at the coat and goes to check the pockets. TOSHIKO : Let me check my… Gwen pulls a small alien device out of the pocket and holds it in both hands, staring at it. She pushes the central button and the scene flickers and changes. EXT. TRAIN STATION - NIGHT Gwen stands in the same place. The people have disappeared and it is dark. Gwen looks around, fearful. She hears a steam train and turns to see a young boy exit the train station to her right. He wears short trousers and a hat and holds a teddy bear and a small suitcase. He has a name tag attached to his blazer. GWEN : Hello… Who are you ? The boy looks towards her and walks closer. GWEN : Can you hear me ? TOM : (echoing voice) I want to go home. Gwen sees the name on his tag. TOM : No one knows who I am here. I’m lost. Tom backing slowly away from Gwen. GWEN : (with trepidation) Come back… come back. The boy continues to walk away, back the way he entered. He fades away. Gwen looks down at the alien device in her hand and presses the button. She re-appears at the station - modern day. Jack runs to her, closely followed by Owen. JACK : Sorry, that damn gate cut us off… Jack notices that Gwen looks upset. JACK : Gwen ? Are you alright ? GWEN : I’ve just seen a ghost. OPENING TITLES INT. THE HUB Toshiko works at her station. Jack stands behind her, watching her computer screen. The rest of the team are in the hub nearby but out of sh*t. TOSHIKO : This is the feed from the station camera. Jack steps forward and picks up the ghost machine from Toshiko’s desk, the moves away. Toshiko continues describing the CCTV footage. TOSHIKO : Gwen grabs the kid, she’s got his jacket and he just slips out. Focus on JACK who moves near to GWEN on the balcony. JACK : (to Gwen) You okay with this ? Gwen nods that she is fine and they listen to Toshiko’s commentary. TOSHIKO : and then… Toshiko shakes her head in confusion at the footage. TOSHIKO : Jack and Owen arrive. Then, nothing. Toshiko turns to look at Jack and Gwen who are standing behind her looking away. Ianto walks up the stairway and enters sh*t. He holds a tray of mugs. They take drinks and Toshiko continues. TOSHIKO : Sorry… GWEN : No, it was as real as this is… more real. I didn’t just see that little boy, I could, I could… hear what he was thinking I could feel it. Like I was lost. Show Owen who is below Gwen and Jack. OWEN : Tense emotion can be part of a neurological event. Hallucinations, dementia… GWEN : I wasn’t hallucinating, Owen and I’m not bloody senile ! Jack ignores them and continues inspecting the ghost machine, holding it in both hands. JACK : You pushed this button then that’s what caused this apparition moment ? GWEN : Yeah. Jack goes to push the button in the centre of the ghost machine. The others all call his name and tell him not to use the machine. They clearly all believe he will push the button. Jack holds his hands out in response, surprised that they believe he would use the machine. JACK : As if ! GWEN : that’s how it felt. Like an apparition. A ghost. JACK : Toshiko, where do we start ? TOSHIKO : The guy you were chasing, I’ve got loads of CCTV so tracking him down is gonna be easy. The little boy, you said there was a name on the card around his neck… GWEN : Flannigan. Tom Erasmus Flannigan. JACK : Unusual name, that’ll help. Run a full check; births, marriages, deaths… criminal record, passports. However long it takes, wherever he is, we’ll find him. OWEN : Found it ! Flannigan, Thomas Erasmus 74 Veneron Terrace, Bute. Owen closes a telephone directory and holds it up to the others. OWEN : He’s in the phone book. Jack, Gwen and Toshiko do not respond but look a little deflated. EXT. A FRONT DOOR IN THE SUBURBS - DAY sh*t shows a front door with the number ‘74’. sh*t widens to Gwen knocking on the door. The door is opened by a lady. Turn to lady’s POV to reveal Gwen standing on the doorstep beside Owen. GWEN : Hi, I’m DI Cooper this is PC Harper. Could you spare a few minutes please ? ELERI : Yeah, okay. The lady leads them into a cosy living room. An elderly, but healthy looking man sits in an arm chair at the far side of the room. ELERI : Dad visitors, from the police. TOM : Oh, caught up with me at last have ya ? He is smiling, a happy gentleman who knows he is not really in any trouble. Gwen responds in kind, keeping the tone light. GWEN : I’m Gwen, this is Owen, he’s training. It’s just routine. We’re looking for eyewitnesses to an incident at the railway station last night. ELERI : We were here, weren’t we dad ? Strictly Come Dancing finals… that newsreader. OWEN : Ohh, she’s got legs up to ‘er arm pits ain’t she ? TOM : Would you like a cup of tea ? GWEN : I’d love one thanks. The lady stands and begins to leave the room to make tea. GWEN : Owen will give you a hand. ELERI : This way. TOM : She’ll talk him to death that lad. Gwen chuckles and sits down in the armchair next to Tom, now vacated by his daughter. GWEN : He gives as good as he gets. TOM : She’s right though. We were in all last night, we wouldn’t have seen anything. Gwen searches her bag in her lap and pulls out a notebook GWEN : Just for the record, you are Tom Erasmus Flannigan ? TOM : My father was an Erasmus, his father before ‘im. GWEN : Now that’s not a Welsh accent is it ? She smiles at him and Tom laughs. TOM : No, lived ‘ere 66 years an’ still sound like a barra’ boy. I was evacuated during the w*r, 1941. The Germans b*mb the hell out of the East End. GWEN : Cardiff was being b*mb as well as London, wasn’t it ? TOM : We were taken out to the countryside from here. My mother packed me a suitcase… INTERCUT TOM’S REMINISCENCE WITH : Flashback’s of the same scene Gwen saw of the train station. During flashback sh*ts Tom in VO. TOM : Big sister wrote my name on a card an’ they put me on the train at Paddington. Kept saying I had to go, to be a good boy. Tellin’ me not to cry, and there was the pair of "em cryin" their eyes out… Tom pauses and is a little saddened, but not upset by the memory, the pain has been weakened with time. TOM : That was the last I saw of them, though I didn’t know that then of course, waving goodbye… GWEN : How old were you ? TOM : 8 GWEN : You must have been very, very frightened… TOM : I didn’t know a soul here. There was a mix up, I’d kept my head down so much, they forgot all about me, so they left me all on my own. Felt like the end of the world. I wandered down this tunnel totally lost. Forgotten. Looking for someone, anyone who’d look after me. ‘Why don’t they come for me?’ I kept thinkin’ ‘no one knows me, I’m lost‘. They worked it out in the end, they came back for me. An’ I got taken in by a lovely couple, no kids of their own. And well, end of the w*r, I’d no one left in London so I stayed ‘ere. I’m still ‘ere now… just. EXT. TOM’S HOUSE - DAY Gwen and Owen leave the house and walk towards the SUV. GWEN : Don’t get it. He was the boy at the station. OWEN : Can’t comment, I was stuck in the kitchen with motor mouth thanks to you. GWEN : So what I saw was just a bit of him from years before, sort of, hanging around ? A phone rings, Gwen picks it from her pocket and answers. Owen sighs at her annoyed and gets into the car to wait. GWEN : Hi. RHYS : (over phone) Hiya Gwen. Er, I’m just puttin’ a wash on. INTERCUT WITH : INT. GWEN’S KITCHEN - CONCURRENT Rhys stands with a pile of clothes on the floor in front of the washing machine. RHYS : Got any whites need doin’. GWEN : Er, I dunno. Just leave it, I’ll sort it out. RHYS : Oh, no. It’s no trouble, just remind me erm, which drawer do the tablets go in ? GWEN : Just leave it. RHYS : Okay, so are you in or out tonight ? GWEN : I dunno. RHYS : Again ! GWEN : I’m sorry ? RHYS : All I’m askin’, are you in or out tonight ? GWEN : I don’t know. RHYS : Gwen, I can’t live with all this secret squirrel stuff, can’t you tell me if yer comin’ home ? GWEN : Well naggin’ isn’t helping. RHYS : Right… well that’s me told. GWEN : Ah Rhys… RHYS : I’m not stayin’ in on the off chance, Dav’s havin’ mates round tonight, I’ll stay at ‘is. Owen honks the horn of the SUV a few times in frustration. Gwen looks at him and returns to her call but Rhys has hung up. GWEN : Hello ? She gets into the SUV. Owen sighs at her and starts the engine, impatient. GWEN : Alright. INT. THE HUB Jack types at a computer, he zooms in on a picture of Bernie. The others work nearby. JACK : Our friend with the alien machine in his pocket is one Sean Harris, AKA Bernie. GWEN : And what he’s doing with an alien machine is anyone’s guess. 19 years old, string of convictions, burglary, shoplifting, credit cards… IANTO : Do warn me if he’s droppin’ in. TOSHIKO : Successful conviction. He was steeling tyres off a car when the owner turns up, gives him so much grief he apologises, starts putting them back on again which is when the police show up. And here, shoplifting, conviction, bottle of vodka and 3 pot noodles. OWEN : (playing an arcade game) Criminal mastermind… Got anywhere with that, er, mystery object ? JACK : Alien of course, gorgeous nano technology, makes NASA look like Toys r’ Us. OWEN : Ah, well you’ve really narrowed things down ‘aven’t ya ? The ghost machine is being scanned by a machine similar to a CAT scanner; Gwen takes it from the machine. GWEN : At the station I was doin’ this but when I held it, it lit up and went mad. OWEN : Not doin’ it now is it ? GWEN : No. TOSHIKO : So, what next ? JACK : This kid, Bernie, where does he live ? TOSHIKO : Splott. OWEN : Splott ? IANTO : I believe estate agents pronounce it Splo. EXT. A DOOR - DAY Toshiko knocks on a door. An unkempt woman smoking a cigarette answers and looks at them unimpressed. Gwen stands behind Toshiko a little distance away. TOSHIKO : Hi. I’m looking for Bernie, he in ? BERNIE’S MUM : Friend of his are ya ? TOSHIKO : Yeah, I’m from… BERNIE’S MUM : I’m his mother, he’s a robbin’ little bastard, he ain’t settin’ foot in this house ‘til he pays me the 50 quid he owes me. Bernie’s mum slams the door. INT. A PUB sh*t of a man playing snooker. SNOOKER PLAYER : He’s bad. INT. AN ARCADE sh*t of a teenage boy. KID IN ARCADE : Said he’d give me an ipod an’ he never. And he smoked my f*g. INT. A SHOP. sh*t of a young woman. WOMAN IN SHOP : Wouldn’t piss on ‘im if he was on f*re. EXT. GRASS NEXT TO A CANAL - DAY Toshiko and Gwen lean on a tall brick structure, Owen walks towards them carrying paper wrapped food. GWEN : Bernie Harris, the Scarlet Pimpernel of Splott. TOSHIKO : Tell me about it, give me aliens any day. She turns to Owen as he leans next to them. TOSHIKO : Any luck ? OWEN : No. I got 4 pasties for a pound. Anyone ? Jack approaches them, hands thrust in his pockets. GWEN : If I wanted days like this I’da stayed in the police. TOSHIKO : We did try, Jack. Owen offers Jack a pasty. Jack looks annoyed, sighs and walks off. The others follow him alongside the canal and under a wide bridge. OWEN : What’s he gonna tell us ? Got it off an alien down the market ? GWEN : Where are we going ? Owen throws the paper bag from his pasties on the floor, lagging behind the others. JACK : Back to the railway station, perform an experiment. We replicate the original event as far as possible, observe and analyse the results. GWEN : What I have to do that again ? JACK : Someone has. Any volunteers ? Jack throws the ghost machine to Owen. OWEN : Wowh. GWEN : We don’t know what it is, what it does… JACK : No. GWEN : Jack, this could be dangerous. JACK : Yeah. Owen pauses and looks at the ghost machine. OWEN : Er, I don’t mean to be picky but I think I can spot some flaws in this plan… JACK : I’m sorry. I thought you were the guys who gave up looking for a 19 year old kid this morning. I figured maybe you were after something more exciting, bit of a challenge. OWEN : This door to door stuff never gets us anywhere. Owen looks at the ghost machine again, it is lighting up. OWEN : Guys ! Come ‘ere ! They continue walking, leaving Owen standing under the bridge. TOSHIKO : Owen… Owen. OWEN : Wait ! Owen pushes the central button on the ghost machine. The scene shimmers and changes to: EXT. THE CANAL BRIDGE - NIGHT It is a rainy night, very quiet. A girl staggers under the bridge, the opposite end to Owen. She is crying, leaning on the wall as she walks along, she keeps looking over her shoulder. She stops and leans against the wall, taking a compact from her bag. She starts talking, she faces Owen but is talking to herself, she cannot see him. LIZZIE : He’s a rotten bastard ! My mom was right, his eyes are too close together ! I said it’s just a dance, but he wants to go further with it. I shouldn’t have gone outside with him. OWEN : What’s your name ? A man enters, he has been following Lizzie. He calls out to her. Searching. ED : Lizzie ! Lizzie Lewis. Lizzie looks towards Ed, afraid but she does not move. Ed walks towards her slowly. LIZZIE : You’re a bad one Ed Morgan. The girls said not to go with you and they were right. ED : Am I bad ? Am I a bad boy ? You’re a big girl now Lizzie… Lizzie begins to back away as Ed approaches, nervous. ED : …can make your own decisions. It’s why I like you… Lizzie starts to hang on his compliments, he is winning her over and he stands close. ED : You’re not like the others, don’t follow the herd. You’re smart. Don’t you like it that someone can see how smart you are ? Huum ? I can see you Lizzie, the way you really are. Ed takes her cheeks in his palms and kisses her, she does not resist at first. Then as he becomes more forceful she tries to push him away. He slaps her across the face and she screams. Ed grabs her hair and pulls out a small pocket Kn*fe, holds it across her cheek. ED : I won’t hurt you, don’t. LIZZIE : (sobbing) I told my mum I’d be home by 9. ED : Ssshh ! Ed pushes Lizzie against the bridge wall, Lizzie sobbing and crying out. LIZZIE : Please ! Help me ! Help me ! The scene shimmers again and cuts back to : EXT. CANAL BRIDGE - DAY Owen gasps back in the present. Gwen runs towards him, Jack and Toshiko slowly following her. GWEN : Owen, are you alright ? OWEN : (gasping for breath) She was so scarred. I couldn’t, I couldn’t move… I couldn’t help, I couldn’t help. Gwen takes the ghost machine gently from Owen, Owen gasps again and starts to sob. INT. THE HUB The Torchwood team sit around discussing the situation. JACK : The first time it happens to Gwen. A boy at the railway station. GWEN : Who’s now in his 70’s alive and well and living in Bute Town. Second time happens to Owen. Like me he didn’t just see it, you felt emotions that weren’t yours. OWEN : (nodding) She was terrified. JACK : The victim’s name was Lizzie, it was maybe 40, 45 years ago. Toshiko, do we know anything about her yet ? Toshiko reads from her computer screen which shows a black and white picture of Lizzie and scrolling writing. TOSHIKO : Elizabeth Lewis, Lizzie. Only child of Mabel Ann Lewis of Haffle Street. Died March 29th 1963. r*ped and m*rder on Pembroke Street, under the bridge, 17 years old. OWEN : He k*lled ‘er. TOSHIKO : No one was brought to trial. OWEN : Told ‘er mum she’d be home by 9… so what about Ed Morgan ? That’s what she called ‘im, you’re a bad one Ed Morgan. Look it up. TOSHIKO : Kind of a common name. GWEN : What’s the connection, where did they come from ? It’s like being haunted. Jack looks at the computer screen showing the scan results of the ghost machine, excited by the results. JACK : Quantum transducer ! Look, look ! Toshiko joins him, equally excited. TOSHIKO : Wow ! I’d k*ll to get one of those ! Transducers convert energy from one form into another, they’re in headphones. They convert electrical signals into sound and they’re in this device too, converting quantum energy and amplifying it… GWEN : …into ghosts. JACK : Of course, it’s emotion. Human emotion is energy. You can’t always see it, or hear it, but you can feel it. Ever had deja vu ? Someone walk over your grave ? Ever felt someone behind you in an empty room ? Well there was, there always is. GWEN : A ghost. Jack nods and Toshiko seems spooked. Owen is ignoring them, flicking through a file, thinking only of Lizzie rather than the alien object. OWEN : What else have we got on Lizzie Lewis ? What else have we got ? TOSHIKO : Erm… She returns to her computer to check. TOSHIKO : 1963 the records aren’t always that detailed… OWEN : What about newspapers, witness statements, coroner’s reports ? JACK: Owen ! Jack becoming increasingly irritated by Owen’s tenacity with the subject. TOSHIKO : What do you want me to find exactly ? OWEN : Well there must be somethin’. JACK : For the case to be re-opened you’d need new evidence or a new witness. OWEN : I saw it happen… JACK : No you didn’t ! You weren’t there ! You saw the echo of a moment amplified by alien technology. So just tell me how that’ll play in Court. OWEN : Since when did we care about Court ? JACK : Tomorrow we go lookin’ for Bernie Harris and we find out what he knows about this ghost machine. We do our job and find where this thing came from. Now go home. Jack walks away, angrily dismissing Owen. JACK : Gwen, with me ! Gwen looks at Owen sympathetically then follows Jack. Owen gathers his files to leave. INT. THE HUB - sh**ting RANGE Jack is loading a g*n. A row of sidearms lies on the table in front of him, he checks each one. Gwen peers around the door and then enters. GWEN : Jack ? Wowh ! POV GWEN. A long tunnel extends away into darkness, an underground railway tunnel or large sewer. Targets in the form of weevil cut-outs are dotted about, the length of the tunnel. Jack turns to Gwen, she looks shocked, speechless. Jack indicates the g*n to her, patient. JACK : You need to know how to use these. Gwen looks at the g*n uncertain. JACK : Though I hope you never have to. GWEN : So do I. She giggles nervously. GWEN : I’m sorry, it’s just… I don’t even k*ll spiders in the bath. JACK : Nor do I. Not with a g*n ! Gwen laughs, relaxing a little. Jack gestures as the g*n. JACK : It’s all yours. Gwen looks at him, still uncertain, needing guidance. CUT TO : Jack and Gwen wear yellow eye guards, blue ear defenders and headsets. Jack loads a g*n for Gwen and passes it to her. She takes it and waves it, pointing it at Jack’s face. He dodges back pushing her hand down so the g*n is aimed at the floor. JACK : Target’s that way ! He points down the length of the tunnel. GWEN : Right. She takes a deep breath and holding the g*n in both hands pulling it up to aim, reaching first over her head. Jack grabs her wrist and helps her aim. JACK : Let’s keep the roof in one piece shall we ? Jack smiles and flicks one of her hands from the g*n. JACK : One hand, not two. Turn sideways to the target. Jack stands behind Gwen, brushing her hair back so he can speak in her ear, stroking her neck a little as he does so. JACK : Look along your shoulder, down your arm, straight line to the sights. Bring up your g*n. Gwen lifts her arm quickly. JACK : Woh, woh, woh, woh. Not too fast, it’s all in the breathing. Jack holds the g*n with her and raises it. JACK : Hold it firm, don’t grip it. Jack cocks the g*n and moves his hand to Gwen’s waist, pulling Gwen against him. JACK : Breathe in… Jack breathes in. JACK : Focus, breath out, squeeze gently. Gwen sh**t then gasps happily and laughs, proud. Jack hugs her. JACK : That was a joint effort. Try it again, this time on your own, and remember… MONTAGE Jack and Gwen sh**ting various g*n, Jack continually instructing Gwen as she becomes a better sh*t. Return to: The hub sh**ting range. JACK : Nice work. Like I said, hope you never have to use ‘em. GWEN : Yeah. She checks her watch. GWEN : Oh God, look at the time ! When do you get to go home ? You seem to live here ! You don’t, do you ? JACK : (Shrugs) Gotta be ready. The 21st century is when it all changes. And, I hate to commute. GWEN : (Smiling) When do you sleep ? JACK : I don’t. GWEN : Doesn’t it get lonely at night ? Jack looks blank, a little sadness carefully hidden. GWEN : I better get back, Rhys’ll be wondering where I am. JACK : Goodnight. Jack looks after Gwen as she leaves then starts to put the g*n away. INT. GWEN’S FLAT - NIGHT It is quiet and the lights are out. GWEN : Hello ! She turns on the light, the flat is empty. She goes to the answering machine and plays the message. RHYS : (On machine) Hi, it’s me. I’m at Dav’s and erm, playing poker, but I’m winning, wehey ! Just so you know, erm, I put yer whites on earlier, even though you were bloody grumpy. It’s still in the machine so you’ll have to hang ‘em up. I put the veggies out but I didn’t do the washin’ up, but there’s not much of that. So erm, we haven’t done it in weeks anyway. I’ll see ya when I see ya, ta ra. Gwen takes the ghost machine from her bag. INT. OWEN’S FLAT - NIGHT Owen sits in a chair with his eyes closed, opposite full length windows overlooking Cardiff bay. He replays the vision of Lizzie and Ed in his mind. He holds a copy of the ‘Cardiff Examiner’ from 1963 showing the incident. INT. GWEN’S FLAT Gwen looks at the ghost machine and presses the central button. CUT TO - VISION Gwen sits on the kitchen counter in her police uniform. Rhys is with her. RHYS : Hello there. Gotta stay out of trouble now then have I ? GWEN : Best behaviour, I’m a fully trained police officer, I’ll have you on the floor and handcuffed like that. She snaps her fingers. RHYS : Oh, promises, promises… They kiss. Gwen walks around within her vision, saddened by how happy she and Rhys were then. RHYS : I’m so proud of you. Gwen releases the button on the ghost machine, pauses and presses it again. The room shimmers. CUT TO - VISION A horn sounds outside the window and looks out. Gwen is dressed up to go out in the vision. GWEN : Taxi’s here, we’re gonna be late. Rhys comes into the living room half dressed in a suit. RHYS : Not worn this thing since my last interview. Gwen laughs at him. RHYS : I’ll wear jeans and a t-shirt. GWEN : It’s my mom’s 60th. She wanted us all smart, that’s the whole point. RHYS : But, I bust my zip, I’ll be flashing my family allowance if I’m not careful ! Gwen picks up a stapler and brandishes it chasing him, laughing. RHYS : What are you doin’ with that ? GWEN : I’ll staple it ! RHYS : You’re not coming near my valuables with that ! Gwen chases Rhys from the room. In the present Gwen sits on the sofa considering the ghost machine. Rhys enters, leaning in the doorway. RHYS : Hiya. Dav and Karen had a barney, she’s makin’ ‘im sleep in the spare room, I didn’t fancy the sofa. Look I don’t mind you workin’ all the hours, I really don’t, just so long as you still wanna come home at the end of it all. GWEN : I do. I’m here, and you’re gorgeous. Gwen walks to Rhys, hiding the ghost machine behind her back and kisses him. RHYS : Bet you haven’t done the washin’ up… ! Gwen smiles and kisses him again, they fall to the sofa Gwen straddling his lap. GWEN : Lets leave it ‘til tomorrow, aye ? RHYS : Aye. Gwen slips the ghost machine into her bag while she kisses Rhys. INT. OWEN’S FLAT - NIGHT Papers and files about Lizzie are scattered about the floor, Owen gathers them and flicks through a few pages. He looks down a suspect list, it shows : ‘Morgan, Edwin – released without charge. No further questioning’. He checks the telephone directory and finds a list of addresses, rips out the page. He drinks spirits from the bottle and smiles. INT. OWEN’S CAR - MORNING Owen has crossed various names through on the phone directory list – he has been searching for Eddie for a long time. He picks up a pile of fake identity cards and chooses one. He exits the car and walks to the front door of a property, knocks. There is no answer so he checks the window, a man appears briefly behind the net curtain and Owen looks through the letter box. EDDIE : Who is it ? OWEN : Mr Morgan. The door opens and Eddie looks through the gap. He is now a dishevelled old man, ravaged by time, overweight and unhealthy looking. EDDIE : What do you want ? OWEN : Well Mr Morgan, I need to come in. Owen shows his identity card and Eddie leads him through to the kitchen. EDDIE : Who said there was gas ? I can’t smell anything, there’s nothing wrong, I’d have noticed. Can you smell anything ? Was it next door ? OWEN : Can we go into the living room, Mr Morgan ? Owen follows Eddie through the flat. It has old fashioned décor throughout. EDDIE : There’s nothing in here. No gas f*re I mean, haven’t got one. There’s electric heater, I don’t hardly use it. What you lookin’ for ? OWEN : Sit down Mr Morgan. They sit opposite each other in the living room. EDDIE : Was it next door ? Tell her should mind her own business, something wrong with her, makes stuff up. Is it her ? You won’t find anything if it is, all in ‘er ‘ead, know what I mean ? What’s your name ? OWEN : (Leaning forward) How long ‘ave you lived ‘ere Mr Morgan ? EDDIE : Hum, years, this was my mam’s house. OWEN : Then you’d remember your neighbours, people that used to live in this street a while ago, people who lived… just ‘round the corner. Like in Abbot’s Street. Like Mabel Lewis. She’s only passed away a few years ago, did you know ? Course she moved away long before that. Eddie’s fingers tighten where they rest on his knee. OWEN : Couldn’t bear the memories, her daughter, her own, only child… died in ’63. Lizzie. Yeah, good old Lizzie Lewis. A flash of Lizzie under the bridge. OWEN : She loved dancing, do you remember ? You should. Pretty girl, blonde hair, blue eyes. Used to wear a little pink coat. Eddie’s hands clench into fists. OWEN : Bet she saved all her pennies to get that, all the rage. She was wearing it the last time you saw her. Last time anyone saw her… alive. Remember now ? I know what happened under the bridge that night. Just the two of you, in the dark. Water dripping from the roof to the canal, Lizzie’s hair all wet from the rain, cold and crying. I know what you did Ed Morgan. There you are just, living your life. Free as a bird. Lizzie told her mother she’d be home by 9 didn’t she ? ‘Please don’t’ she said ‘please’. ‘You’re a bad one Ed Morgan, the girls said not to go with you and they were right’. EDDIE : (Stands and shouts). Get out ! Get out ! Get out ! OWEN : (Stands to leave) You won’t get away with this. EDDIE : You’ll get nothing from me. I told you before, you’ll get nothing from me ! Eddie chases Owen out of the door. EDDIE : Ger out of my house ! Get out of my house ! The door slams behind Owen. A dog barks and a postman next door stares at him. Owen nods then looks down, trying to be inconspicuous. INT. EDDIE’S HOUSE Eddie stands behind the door. EXT. STREET OUTSIDE EDDIE’S HOUSE Owen jogs back to his car. A young lad is sitting in a nearby park smoking, his hood up. He glances up at Owen then looks away quickly. Owen looks over and spots him. OWEN : Bernie Harris ! Bernie runs across the park, Owen tries to enter but the gate is locked. He runs around the edge of the park to cut off Bernie. OWEN : Oi ! Bernie trips over an elderly lady’s bag which is on the floor and he stumbles, kicking the contents of the bag over the floor. He runs down a path where a group of lads are playing football, Owen close behind. BOY : Go on, kick ‘is ‘ead in ! Bernie runs over a graffitied bridge and through residential streets, over a fence and into a back garden where a lady sits. She nods in Bernie’s direction as Owen follows him into the garden. Bernie jumps a wall and lands in a paddling pool. A girl is playing on a trampoline. GIRL : Dad, there’s a man in the garden ! Owen follows Bernie in and out of the garden. GIRL : There’s two men in the garden ! Bernie jumps another wall and falls into a garden full of chickens. He gets up and jumps another fence into a garden with a high brick wall. Owen lands behind him and Bernie runs to the back gate - it is padlocked. OWEN : Bernie Harris. BERNIE : Who ? OWEN : That wasn’t a question. BERNIE : Please, don’t hurt me, please. I got asthma ! OWEN : I’m not gonna hurt ya… I’m gonna bloody k*ll ya ! INT. A BAR Owen and Bernie sit at a table with pints of larger. OWEN : Why’d they call you Bernie ? BERNIE : (Shrugs) Burn’d my neighbour’s shed down when I was 12. OWEN : What for ? BERNIE : I was just havin’ a f*g, got a bit carried away like. Jack enters the bar, followed by Gwen and Toshiko. JACK : Well, this is cosy. Hope he bought you flowers. BERNIE : If this is about the dodgy f*g I didn’t know what happened to them alright ? Gwen throws the ghost machine to Jack who puts it on the table in front of Bernie. JACK : Well, it’s probably worth knowing we’re probably the only people you can tell. Bernie glances around at them all then addresses Jack. BERNIE : Me and a mate was using this lock up down on Mora Street. Used to belong to this old guy, soft in the ‘ead he was. Still loads of his stuff in it, but we chucked most of it. There was this old biscuit tin full of foreign coins, weird bits of rock, and that. He nods to the ghost machine. BERNIE : Thought it might be worth somethin’, take it down the Antiques Roadshow. JACK : Ha ! BERNIE : Well you dunno do you ? Cash in the attic and all that. So, I takes the tin ‘ome with me an’ that thing starts switchin’ itself on. He speaks quietly, confiding to Jack. BERNIE : It makes you see things, real things. Real people. I was down the old wharf near the bay, I see this woman with a bundle, summat wrapped up, it was night time, and she was puttin’ it into the water all secret like. It was weird cuz, it was like, I was her somehow. She was scared, she knew what she was doin’ was wrong. I knew, without seein’, it was her baby. Wrapped up. d*ad. She hadn’t told anyone, then she just ran away, and I realised, I know ‘er. She’s old now but she lives up by the Catholic church in Splott. So I goes up to see her, told her what I’d seen. She give me money not to tell anyone else. OWEN : You blackmailed her. BERNIE : She offered. Look, I’ve seen things you wouldn’t believe. There’s the old bridge, on Pembroke Street. I saw a man, and a girl, from ages ago, he was following ‘er, back from a dance along a canal… OWEN : Yeah, I know. I saw it. He doesn’t know anything does he ? Jack, in agreement, picks up the ghost machine and stands to leave. JACK : Bernie, been fascinating meeting you. BERNIE : Ay ! That’s mine ! You can’t just walk off, I got rights ! Jack leads the others away. They continue walking as Bernie complains. When they are about to exit the pub, Bernie calls out : BERNIE : So you don’t wanna see the other ‘arf then ? They stop and look at him. INT. BERNIE’S ROOM - LATER THAT DAY Jack studies the other half of the ghost machine then hands it to Toshiko. JACK : The other half. GWEN : (Looking through biscuit tin) Weird bits of rock, foreign money. Jack goes to her and routes through the tin. JACK : Alien rock, alien money. Driftwood, washing in through the rift. OWEN : Tosh ! Owen holds up an elderly tin of baked beans to her with a smile. JACK : So, Bernie. Was this thing in two halves when you found it ? Tosh links the two pieces together and gasps happily. TOSHIKO : I got it. Like clicking Lego together. Jack takes the now complete ghost machine from her. It is now an arched, semi-circular structure. Jack looks at it briefly before Gwen grabs it, looking to Bernie. GWEN : You split this into two pieces didn’t you ? Toshiko picks up the biscuit tin and Owen starts to leave. They have what they came for and know Bernie is unlikely to be able to give them any answers. OWEN : Cummon you lot. TOSHIKO : We’ll take these too if you don’t mind. She leaves with the biscuit tin, not waiting for an answer, Jack smiles after her, agreeing. OWEN : (Shouts from outside) Come on you lot ! BERNIE : Aren’t you gonna arrest me ? JACK : No. we’re not the police. BERNIE : But I robbed that… JACK : I know. BERNIE : An’ you’re gonna rob it back off me ? JACK : So call the cops. Jack leaves the room, Gwen starts to follow. BERNIE : Don’t go ! I only used it once, that half. I, I couldn’t use it again. GWEN : Why not ? BERNIE : I’m gonna die. I seen it happen, out there on the road, and I’m just lyin’ there, bleeding, and then I die. Just like I am now, not old. GWEN : What do you mean ? JACK : (Popping his head round the door) Cummon Gwen. BERNIE : I’m gonna be 20 in July, do I die before then ? JACK : (Calls from outside) Gwen ! GWEN : Just wait there, I’m coming back. Gwen leaves the room to get Jack. INT. STAIRWELL - FLATS Gwen calls for Jack, looks down the stairwell then through a window hole in the wall – there is no glass. She sees them walking back towards the cars and calls out again. EXT. ROAD IN FRONT OF FLATS - DAY Owen bleeps his car open and goes to it, Jack and Toshiko go the SUV. Gwen runs towards them from the flats, holding the ghost machine. GWEN : Jack, I need to speak to you. Jack turns as Gwen presses a button in the second half of the machine. He runs towards her in a futile attempt to stop her. JACK : Gwen ! No ! The sh*t flickers and becomes darker. Gwen looks up and sees herself crouching down, blood covering her hands. Future Gwen stands and turns towards her, speaks quietly, shocked. FUTURE GWEN : He’s d*ad. Owen had a Kn*fe. He wanted to k*ll him. GWEN : Owen ? FUTURE GWEN : Oooh God I couldn’t stop it. Help me. Future Gwen begins crying and Gwen returns to the present as Jack takes the ghost machine from her. Owen walks towards them, concerned. JACK : Christ Gwen, what were you thinking ? Owen stares at her. INT. THE HUB - LATER Gwen and Jack sit facing each other over a desk. GWEN : I didn’t see him. I didn’t see anyone but me. Just said his name. Jack nods slightly then looks down at a piece of paper in his hand. JACK : Bernie said he saw himself d*ad in that street, you saw Owen with the Kn*fe. GWEN : But I was holding it, my hands were covered in blood. JACK : That was one future, one of many possible futures. Whatever you saw, what Bernie saw might not happen. GWEN : Might not. Can’t we find out? you’ve got all this stuff. Alien stuff. Isn’t there anything that can help ? JACK : (Shaking his head) I’m sorry. GWEN : I wish we’d never found it. Poor Bernie seeing himself d*ad. JACK : He might not be. GWEN : Hum, possible futures, he might like to know that. JACK : You’re certainly findin’ it a comfort. Gwen laughs sarcastically. GWEN : I dunno what to do. INT. EDDIE’S HOUSE Eddie holds a small piece of paper and starts to dial a number on an old fashioned circular dial phone. He stops before he puts in the whole number. OVERVIEW sh*t – See Eddie through a large mirror over the fireplace. A clock stands on the mantelpiece. Eddie sits smoking, nervously looking at the clock. INT. A BAR Toshiko and Owen sit at a small table drinking. TOSHIKO : I found your Ed Morgan earlier. Did a trace. OWEN : I found him too. Phone book, took all night but I found him. Paid ‘im a visit this morning, put the fear of God into him. What did you find ? TOSHIKO : His medical records. He’s claustrophobic, paranoid, depressive, got a couple of recorded attempts at su1c1de, he’s barely left his house in years. Owen, if Jack finds out… OWEN : Well he won’t, will he ? INT. EDDIE’S HOUSE Eddie is still nervously looking at the clock. He gathers himself and reaches for the phone, clearly not wanting to make the call he dials. INT. BERNIE’S FLAT Bernie looks out of an open window, down into the street below. Track down the corridor towards Bernie, as the sh*t closes on him a telephone rings. Bernie is nervous, paranoid. He answers the phone cautiously. BERNIE : Hello. INT. A BAR Toshiko and Owen continue talking. OWEN : I think he thought I wanted money. He kept saying ‘you’ll get nothing from me’. TOSHIKO : How annoying. OWEN : He said ‘you’ll get nothing from me, leave me alone… I told you before’. TOSHIKO : Told who ? Owen looks at Toshiko as he realises the answer – Bernie. CUT TO : A photograph of Bernie stuck to transparent board in the hub. Pan left. Jack’s reflection can be seen in the board. As the sh*t pulls round Jack is looking at the picture. He replays the conversation he had with Bernie in the pub back in his mind. Jack takes down the photograph and turns, considering. CUT TO : Gwen looks through a hole in a wooden door. sh*t taken from inside the house. GWEN : Bernie, it’s Gwen. Bernie enters sh*t and unchains the door, opens it. GWEN : Can I come in ? She enters, leaving the sh*t. GWEN : Thanks. Bernie closes the door and glances around nervously before going through to Gwen. They sit at a kitchen table. GWEN : I know this sounds mad but just because you saw yourself… BERNIE : d*ad, yeah… GWEN : … doesn’t mean that it’s gonna happen. BERNIE : But you dunno how to stop it. For you or for me. Bernie stands, rubs his head sighing. BERNIE : Got right into my head this thing. Some things just better off not known. Bernie walks to look through the window, surveying the scene of his impending death. Gwen’s mobile rings and she answers. GWEN : Jack. INTERCUT WITH : INT. THE HUB. Jack on the phone to Gwen. JACK : Ed Morgan. Owen went freelance earlier, decided to pay him a visit… Owen can be seen entering the hub looking annoyed. JACK : …wanted to frighten him. Sounds like he succeeded. I think our friend Bernie Harris got there first, tried to blackmail him. GWEN : Bernie was blackmailing him ? She turns to look at Bernie. JACK : Looks like it. Ed thought Owen was part of the same outfit. Are you home yet ? GWEN : No, I’m at Bernie’s place. JACK : We’re heading over. Stay right there. Owen, with me. Tosh, keep an eye on CCTV in case Bernie makes a run for it. INT. BERNIE’S HOUSE GWEN : So you saw Ed Morgan as*ault that girl too and you thought you’d make some money out if it. INT. THE HUB Toshiko works at her computer, the scene shows ‘clearance code, Torchwood, 45895’ then changes to Ed Morgan’s medical history. TOSHIKO : Severe depression… She mutters to herself as she reads, types then looks at the CCTV to see Ed Morgan outside. TOSHIKO : No, I don’t believe this ! EXT. SUV See Jack through the SUV windscreen, he answers his mobile. TOSHIKO : (VO) Jack, I’m on CCTV and I’m looking at Ed Morgan JACK : What ? Where is he ? INTERCUT WITH : Toshiko in the hub watching the CCTV. TOSHIKO: Coming onto Everton Street. JACK : That’s Bernie’s Street. Jack turns to Owen who is driving. JACK : He’s heading for Bernie’s flat. INT. BERNIE’S FLAT Bernie pulls back the net curtain then walks away. GWEN : What, are we expecting someone ? She stands and follows him from the house. GWEN : Where are you goin’ ? Bernie! Bernie ! Gwen’s phone rings but she has left it on the table and goes back to answer it. GWEN : Jack, yeah, what the hell is going on ? INTERCUT WITH : Jack and Owen in the SUV. JACK : We’re on our way, are you okay ? GWEN : Yeah, I would be if someone would just tell me what the… Gwen looks out of the window. Flash to Bernie saying he saw his d*ad and Jack saying Bernie saw himself die on that road. Gwen runs from the flat. JACK : Gwen ? Gwen ! Jack hangs up the phone frustrated, Owen looks at him and drives faster. EXT. ROAD OUTSIDE BERNIE’S FLAT Eddie walks towards Bernie, unsure on his feet, holding a Kn*fe. EDDIE : I knew you’d find me in the end. I knew you’d come for me. Bernie appears to be struggling for something to say. EDDIE : Been waiting for years. He sees Gwen walk towards them. EDDIE : Have you come for me to ? Eddie does not appear to be seeing Gwen, instead believing her to be Lizzie. Bernie holds out one hand, placating Eddie, but he is afraid and although he looks about to speak he cannot. EDDIE : I used to see it in people’s faces when they looked at me. They knew. I tried to hide but they knew. Eddie looks about himself. Bernie and Gwen are quite close. EDDIE : I haven’t been outside for so long. GWEN : Edwin… EDDIE : Little bitch ! You’re all the same, you blame me, make me the bad one ! GWEN : Edwin, put the Kn*fe down. EDDIE : I wasted my life for you. Jack and Owen can be seen behind Eddie, approaching slowly and cautiously. BERNIE : I won’t breathe a word, you’ll never see me again I promise. Jack and Owen now seen by Gwen and Bernie adding to their confidence. EDDIE : I know. That’s why I came. It’s what you want isn’t it ? Eddie moves slowly towards Gwen, Kn*fe outstretched. Jack and Owen grab him from behind on either side. Owen gets the Kn*fe from Eddie. Bernie is face down on the floor, Gwen Crouched protectively over him. Jack keeps hold of Bernie. JACK : Are we okay ? OWEN : I got it. GWEN : Yeah, yeah, we’re okay. Owen holds the Kn*fe ready to use it and looks at Eddie being restrained by Jack. OWEN : I’ve got the Kn*fe, Edwin… you were so close, you were goin’ for ‘er weren’t ya ? Just like with Lizzie. Owen approaches and pushes the Kn*fe lengthways along Eddie’s cheek – like he had done so many years before to Lizzie. OWEN : you were so close, as close as I am now. Gwen remembers her vision and shares a glance with Jack. JACK : Owen. OWEN : You said you were sorry, you said you didn’t want to hurt her but you didn’t stop. JACK : Owen ! OWEN : Why didn’t you stop ? Why didn’t you stop ? GWEN : Owen, no. OWEN : I don’t know. Owen pulls the Kn*fe away and holds it to his side. Gwen takes it from him. JACK : (To Owen) Go and deal with Bernie. Owen walks to Bernie as he has been told. Gwen, relieved, still holds the Kn*fe out in front of her. GWEN : It didn’t happen ! No one died, we stopped it from happening. We got here in time. Eddie pulls away from Jack, taking advantage of his momentary relaxing of his hold. He goes towards Gwen. EDDIE : I knew you’d come for me. Eddie pulls Gwen a little towards him and the Kn*fe enters his chest smoothly. He pushes her away as Jack grabs him. Owen rushes over and begins CPR, medical training overriding any other feelings towards Eddie. OWEN : He’s arresting. Owen is unable to revive Eddie. Gwen looks at her hands covered in blood and looks at Jack. GWEN : Help me. I was so close I couldn’t stop it. Oh God. I could, I could,.,. I couldn’t stop it. INT. THE HUB - JACK’S OFFICE Gwen has been crying and is wrapped in a blanket. TOSHIKO : He wanted to die. He would have found a way no matter what. OWEN : I screwed up, and I know I did. But erm, I didn’t k*ll ‘’im. I could of but I didn’t. GWEN : No, I did. JACK : Tosh is right, could have been anyone. TOSHIKO : (Indicating the ghost machine) What about that. JACK : The problem with seeing the future is you can’t just sit and look at it. Have to try an’ change things. Make it happen differently. Jack picks up the ghost machine and studies it. JACK : It’s not meant for us. All these ghosts, we’d be lost. Sun’s nearly up. Jack hands the ghost machine to Ianto, his decision made. JACK : Ianto. IANTO : Secure archives. Jack nods and Ianto moves to the large safe at the side of Jack’s office. JACK : (To Gwen) Come on. EXT. THE BAY - SUNRISE GWEN : I k*lled him, I’ve still got blood on my hands. JACK : He k*lled himself. Come on, Gwen. Look, the sun’s comin’ up. GWEN : A new day. JACK : The city’ll be awake soon, all those people all that energy. GWEN : All those ghosts. JACK : We’re surrounded by ‘em. We can’t see ‘em, we can’t touch ‘em, but they’re there alright. A million shadows of human emotion. We’ve just gotta learn to live with them. Jack hugs Gwen close to him as they overlook the bay. END CREDITS

{"type": "series", "show": "Torchwood", "episode": "1x03 - Ghost Machine"}

foreverdreaming

Opening sh*ts and series recap. JACK : (VO) Torchwood. Outside the government, beyond the police. Tracking down alien life on earth and arming the human race against the future. The 21st century is when everything changes and you gotta be ready. INT. TORCHWOOD LIFT Ianto stands in the lift, as it comes to a stop he adjusts his tie, tense – like he is about to atend a job interview. The door opens behind him into the central hub. Jack, Gwen, Owen and Tosh are playing basketball, screaming and shouting. Owen is on the balcony with the ball. OWEN : Ok, come on Gwen. Jack picks up Gwen to move her from in front of him. OWEN : Let ‘im Gwen, let ‘im Gwen. Ianto enters the hub, he stands by the entrance watching them play. OWEN : Gwen, this is for you, baby. Owen throws the ball down towards them and they all go for it. The pterodactyl flies between them but Jack manages to grab the ball; the advantage of height. OWEN : Just get it off him. Take it out his hands ! Gwen hits it out of Jack’s hands and throws it to Owen. OWEN : Oh come to daddy. Owen looks at the net below him and drops the ball through. OWEN : Yeah ! Oh, first round's on you boss. Jack shrugs. OWEN : Girls get your handbags. JACK : Of course, that was an illegal move. TOSHIKO : Totally illegal ! OWEN : Yeah. Keep telling yourself that, yeah. Owen makes an ‘L’ sign with his finger and thumb towards Jack and Tosh, walking backwards towards the lift behind Gwen. OWEN : Losers, bye. Jack makes a ‘whatever’ sign with his hands and throws the ball to Ianto as they enter the lift, leaving Ianto in the hub. Ianto watches them leave and then runs across the hub. EXT. MILLENNIUM SQUARE - DAY Jack, Owen, Gwen and Toshiko was across Millennium square past the fountain. GWEN : You've never seen a live rugby match ? JACK : I have other things to with my time. GWEN : Rhys knows a bloke whose cousin works for the millennium stadium, we should all go to the next Home international. INT. THE HUB - CENTRAL Ianto speaks into a mobile telephone near to the water tower. IANTO : (Into phone) Can you make it two pepperoni feasts tonight ? And a tub of coleslaw, my boss says I'm not getting enough vegetables. Yeah, usual time. The cog door opens and Ianto looks round and starts to move towards the entrance. IANTO : (Into phone) See you then. He jogs round the hub to meet the guest. A grey haired, smart looking Japanese man stands in the hub and looks around and the space, he has never been here before. IANTO : Good to see you again, Sir. Are they looking after you at the hotel ? Ianto bows formally. IANTO : Konnichiwa Tanizaki-san. Dr Tanizaki bows in return. DR TANIZAKI : Konnichiwa. Ianto takes Dr Tanizaki’s case from him and leads him down to the basement store rooms. Ianto stops before a sturdy pair of double doors and puts down the case. A small square window in the door glows with blue light. Ianto takes a key from the inside pocket of his jacket and unlocks the door, drawing back a heavy duty bolt. IANTO : I did all I could. I really did. The door swings open. Ianto enters followed by the man. A cyber conversion unit stands in the room, breathing equipment and medical monitors are wired to a woman lying in the machine. Ianto presses a button and a metal frame begins to rise from its horizontal position. As the frame rises the woman can be seen clearly - her body is strewn with metal sections in between the flesh; a half finished cyberman. DR TANIZAKI : My god. It's not possible ! One of them survived. Ianto kisses the cyberwoman gently on the lips. IANTO : This is Lisa. As Ianto says her name, Lisa’s eyes open. OPENING CREDITS INT. THE HUB – BASEMENT STORE ROOM DR TANIZAKI : Is she awake ? Ianto shakes his head. IANTO : It's just a reaction to the medication. DR TANIZAKI : She's the only one left. Across the whole world. Oh ! Thank you. He shakes Ianto's hand, smiling gratefully. A scientist excited by something new. He starts examining Lisa. DR TANIZAKI : Thank you so much, bringing me here. I'd never thought to get my chance to study, to work with anything like this. IANTO : Anyone. DR TANIZAKI : Tell me, what happened ? IANTO : She worked for Torchwood London. It was the end of the Canary Wharf battle. The cybermen needed soldiers fast. They started upgrading whole bodies instead of transplanting brains, using Earth technology. Lisa was halfway through the process when the machinery shut down. DR TANIZAKI : You found her ? Flashback of Ianto pulling Lisa screaming through the burning building. IANTO : I pulled her out. DR TANIZAKI : Do you know the percentage ? IANTO : The what ? DR TANIZAKI : Some elements have been augmented, some are still human. Since her re-capacity for instance, her breathing and hearing appear completely cybernetic and yet there's also bare flesh. He touches her stomach. DR TANIZAKI : Amazing! Perhaps 55% augmentation, with 45% awaiting completion, do you think ? Or perhaps, maybe 60, 40. It's fascinating. The doctor is excited, Ianto is impatient with him, not caring about the scientific challenge. Just wanting his girlfriend back, healthy. IANTO : Can you make her human again ? DR TANIZAKI : You took parts from a cyber-conversion unit and modified them into a life support for her. How did you know what to do ? LISA : I told him. IANTO : I thought you were resting. You should be resting. How's the pain, are the new doses working ? LISA : A little. Lisa looks at Dr Tanizaki, her movements stiff LISA : Is this him ? IANTO : I promised didn't I. LISA : And you always keep your promises. He nods and smiles at her. DR TANIZAKI : I would like to ask her some questions. My name is Doctor Tanizaki. I specialise in cybernetics. Your friend, Mr. Jones asked me… LISA : My boyfriend… DR TANIZAK I: Yes, he asked me to come. LISA : We agreed. Together. DR TANIZAKI : A few simple questions. What is your name ? LISA : Lisa Hallett. DR TANIZAKI : How old are you ? LISA : 26. DR TANIZAKI : What is the last thing you remember before coming here ? Flashback of Lisa at Torchwood, screaming. LISA : Pain. I remember my body burning with pain. She looks to Ianto with tears in her eyes. DR TANIZAKI : You said, there was somewhere I can work upstairs ? Ianto gives a small nod, unsure. INT. THE HUB - AUTOPSY ROOM - DAY Lisa lies on the table. DR TANIZAKI : First stage is to enable her to breathe without a respirator. Once her body functions without support, I can judge what work is needed. IANTO : What if she's not ready to breathe on her own. DR TANIZAKI : You must be readily prepared for her not to survive. Ianto looks shocked. Unprepared that she may die and unwilling to accept the possibility. DR TANIZAKI : Sometimes in order to save what we love, we have to risk losing it. Ianto paces around the autopsy room nervously while the doctor works. An alarm sounds and the doctor rushes to the end of the table to check Lisa’s pupils. IANTO : She's not strong enough ! DR TANIZAKI : Let me do my work. INT. A BAR - CONCURRENT Jack, Toshiko, Owen and Gwen. JACK : ...and she says : Do you know how difficult it is to find a man in this city ? He had a nice flat, all his own hair, so frankly a couple of deaths I can live with. They all laugh at Jack’s anecdote. OWEN : Ianto's mate. Jack laughs again. TOSHIKO (Picking up her mobile) : UFO sighting over Cardigan Bay, seven calls to emergency services. OWEN : Oh, can we at least finish our drinks please ? JACK : Sure, take ten seconds. They all down the rest of their drinks, Gwen struggling with her almost full pint. INT. THE HUB - AUTOPSY ROOM - CONCURRENT Lisa struggles to breathe, Ianto stands over her. Powerless to do anything he transposes his anger onto the doctor. IANTO : If she dies because of you. LISA : Ianto ? IANTO : Yes, I'm here. She's breathing it worked ! LISA : Why aren't I connected ? IANTO : You're alive. He hugs Lisa and kisses her, relieved, happy. IANTO : He kept you alive. LISA : Thank you. DR TANIZAKI : This is only the start. Another alarm sounds and Ianto runs to check a computer monitor. Over the CCTV Ianto sees the rest of the Torchwood team approaching. IANTO : We gotta move, quickly ! Helps Lisa to her feet. LISA : I'll walk. IANTO : You've just woken up, you can't. LISA : I want to walk. Please. Lisa stands, an arms across either man’s shoulders for support. IANTO : Help her downstairs, I'll clear up here. Ianto starts clearing up the autopsy room. Lisa, leaning on the doctor, turns before they reach the door and stops. LISA : I'm alive. She smiles in realisation. EXT. MILLENNIUM SQUARE - CONCURRENT TOSHIKO : All I'm saying is that once in a while I'd like to drive. OWEN : Yeah and all I'm saying is no. TOSHIKO : Why not ? OWEN : Look, I've put women behind the wheel before, I know what'll happen. There'll be an emergency. All raring to go, I jump in, what do I find ? Seats in the wrong position, mirrors out of line, and the steering wheel is in my crotch. So by the time I've taken the time to sort it all out, aliens will have taken over Newport. Jack laughs. CUT TO : INT. THE HUB Ianto races around the hub, hiding the evidence of his activities. INT. TORCHWOOD - RECEPTION - CONCURRENT GWEN : What about a rota, different people drive on different days. JACK : We're a secret organisation hunting alien technology from an underground base and you want a rota for who drives. Opens the hidden door leading down to the hub. GWEN : Just trying to help… She follows them into the passage as the door closes. INT. THE HUB – BASEMENT Ianto and Dr Tanizaki are supporting Lisa, her arms across their shoulders, taking her down to the store room. Ianto moves to leave Lisa with the doctor. IANTO : As soon as they're gone I'll be down. Runs back up to the main hub, leaving the man to help Lisa walk back to the store room. INT. THE HUB - CENTRAL - CONSECUTIVE JACK : Tosh, call up the radar within a 50 mile radius over the bay for the last six hours. Gwen, check with that man Neil I think his name was, voice like Sean Connery, at Jodral Bank. See if they picked up any chat around the time of the sightings. Owen, access the air space provision over Cardigan Bay, also any RAF flight plans, see if it's just a case of mistaken identity. Ianto arrives back in the main hub, adjusting his tie. CUT TO : BASEMENT Doctor Tanizaki helps Lisa walk back to the conversion unit. DR TANIZAKI : Take it slowly, you're still very weak. He helps her turn around to get into the frame. Lisa turns to face him, standing alone. Her expression dies and she puts a hand around his throat and lifts him from the floor easily. He struggles but is unable to gain leverage. INT. THE HUB - CENTRAL GWEN (On phone) : Is that Neil ? It's Gwen Cooper from Torchwood. I know we're always after something aren't we ? Ianto walks past her. JACK : Ianto. Ianto turns slowly, not answering. JACK : Would you work some coffee magic ? He puts his hands together in prayer. Ianto nods slightly and goes upstairs. INT. BASEMENT Lisa puts Doctor Tanizaki in the conversion unit. As the frame returns to its horizontal position clamps lock his wrists, ankles and temples so he cannot move his head. DR TANIZAKI : Lisa, let me go ! LISA : I can help you. The human race is weak. I can make you strong. Her voice now has a robotic edge, the cyber man half of her totally in control. She presses a button on the keypad and electricity runs through the metal frame. A set of knives and saws come down from the ceiling on metal arms preparing to convert him. The doctor screams and the door closes on the sight. INT. THE HUB - CENTRAL - CONCURRENT The lights begin to flicker. GWEN : What's happening ? TOSHIKO : Internal power drain. The computer screen shows ‘reboot’. GWEN : What's causing it ? JACK : Something big to drain that amount of power. Tosh run a system diagnostic. Ianto, nervous cuts in. Scared of what Toshiko will find. IANTO : Actually, we've been having generator problems all evening. I was down there checking earlier. A couple of bits of cabling, come loose, thought I'd fixed it. They all stare and him. IANTO : Let me have another look. Jack looks unconvinced by the story but allows him to carry on. JACK : Fine go check. GWEN : Need some help ? IANTO : Fine ! CUT TO : BASEMENT STORE ROOM Runs downstairs towards the store room. As he runs down the corridor the noise of hydraulic machinery booms around him, lights glow in the room as Ianto enters. IANTO : You've got to turn everything off ! He presses a button to stop the machine and looks at the floor, Dr Tanizaki’s body lies on the floor, his face mangled, blood coated. His eye partially upgraded into a melted metal hole. LISA : Oh god, oh my god, what happened ? LISA : His upgrade failed. IANTO : Was it an accident ? He knows it was not an accident but is still hopeful. IANTO : Tell me you didn't do this. LISA : I wanted to repay him for helping me, by removing the weaknesses of his humanity. Ianto starts shouting, panicking. Lisa remains impassive. IANTO : What've you done ? You, you've k*lled an innocent man. LISA : It's alright. IANTO : It's not alright ! They're going to come looking for me in a minute ! If they see the body, if they find out what we've been doing ! LISA : I can deal with them. IANTO : Don't you go near them ! Ianto stops shouting and tries to rationalise, to reconcile her actions, excuse her. He speaks mainly to himself. IANTO : You didn't mean to do this, something has happened to your mind… It, it was just some kind of side effect from this process. It's post traumatic. You didn't mean… Ianto grabs Lisa and shouts, pushing her. IANTO : You've ruined everything now ! Lisa walks to him, Ianto veering between desperate anger and sorrow takes Lisa’s face in his hands and they hold their foreheads together. IANTO : How hard have we had to work to keep you alive ? Now you do this. Ianto pulls away a little, almost begging Lisa to follow his instructions. IANTO : I need you to stay, in here. Rest; don't come out unless I tell you. This can't happen again Lisa, if you harm anyone else…I will… LISA : Yes ? What will you do ? Ianto looks at Lisa upset, knowing that he loves her too much to take any action. He cannot answer and changes the subject. IANTO : Ok… The body, I'm going to deal with the body. I can do this… Tries to pick the corpse up, he begins to cry. IANTO : This is my fault. I'm responsible for this ! He visibly pulls himself together and picks up the corpse; drags it. IANTO : I'll hide the body. Everything is going to be okay. Ianto drags the body out of the room and bolts the door. Lisa watches him leave and then powers up the cyber conversion unit. INT. THE HUB - TOSHIKO’S WORKSTATION - CONCURRENT A computer screen shows a fast moving light moving against darkness. GWEN : That’s a UFO. OWEN : Only just. JACK : Arkon leisure crawler, first generation, collector's item. You don't see many of those around these days. Tosh, send a polite message saying ‘great to see them but please get the hell out of atmosphere; they're spooking the locals’. TOSHIKO : Done. GWEN : Shouldn't we be apprehending it, investigating it ? JACK : Please, you interrogate an Ark and you'll be in there for a month, and that's just the first question, they are so boring. Besides they're mostly made of liquid, the cells would be a mess. Lights flicker again, computer crashes. OWEN : There it goes again. The monitor shows '23% power loss'. Jack speaks into his wrist cuff, trying to contact Ianto. JACK : Ianto we've got another dose of darkness. Find anything ? INTERCUT WITH : Ianto drags the doctor’s body down a corridor. JACK : Ianto I need to hear those beautiful welsh vowels. Ianto drags the body further. INTERCUT WITH : Lisa lies on the metal frame of the conversion unit, power flowing around her - upgrading. TOSHIKO : Powers draining to the store room at the bottom of the building. Looking for human heat signals. We’ve got... OWEN : Two signals. TOSHIKO : So, assuming one's Ianto... GWEN : Who's the other ? JACK : I'm thinking we're under att*ck, security has been breached. We assume battle protocols. Jack runs off to get w*apon, followed by the others. TOSHIKO : That's impossible. No one can get in without sounding seven separate alarms. JACK : Yeah… Jack opens up a g*n cabinet and starts handing out w*apon. JACK : Well looks like our system needs to be upgraded. OWEN : I'll head down and look for Ianto. GWEN : I'll come with you. OWEN : You alright with that ? JACK : Keep your coms on at all times. Any doubts, sh**t first. Priority is to find Ianto. Ianto puts the doctor’s body on the floor of an unused basement call, lying on it’s back. He covers him with a sheet, speaks to the doctor before coving his face. IANTO : I’m sorry. INT. THE HUB - BASEMENT CORRIDOR - CONCURRENT Gwen and Owen are searching the lower floors. The unused corridors are damp, pools of water dotted about the rough brick floor. They shine torches through the darkness. They enter the corridor that leads to the store room. Red lights flicker through the window in the door. GWEN : What's down here ? OWEN : Normally ? Nothing… JACK (Over the com) : Progress report. OWEN : Signs of activity… Owen continues talking but the signal breaks up then cuts out completely. INTERCUT WITH : Jack and Toshiko upstairs in the central hub. JACK : We're losing your com signals. GWEN : We're going in to have a look. TOSHIKO : Whatever that power source is, it's interfering with the coms. JACK : Gwen, Owen, can you hear me. Nothing but white noise. JACK : Damn. Can we get them back ? TOSHIKO : Trying other channels. There's something else you need to see. Toshiko’s computer screen shows thumbnails of film. 'Entry deleted' is shown in various places where images should be. TOSHIKO : I've gone back through our internal CCTV footage in the last couple of hours. Someone’s tried to remove images from our system. JACK : See now I'm starting to get a little peeved. These people come into my house, start using my things… TOSHIKO : I've dug into the system memory. Jack and Tosh see Ianto and Dr Tanizaki in the hub earlier in the day. JACK : What the hell’s going on here ? OWEN : Jack ? Tosh ? JACK : Gwen, Owen can you hear me ? GWEN : No coms. They realise they can't contact Jack. OWEN : We're on out own then. Looks in to the store room through the little window. OWEN : What the hell is going on ? GWEN : What's the matter ? OWEN : Can't see well enough. There's something in there. It’s like an operating table. He unbolts the door and they stand facing the door. GWEN : Ok ? OWEN : Yep... 1... 2... They kick open the door together on the count of 3, g*n leading. They scan the room, Lisa is no longer in the conversion unit. OWEN : Oh no, no, no, no ! GWEN : What the hell is it ? OWEN : It's wrong. It's beyond wrong, it shouldn't be here. Turn the thing off ! Turn it off ! Gwen rushes over to turn it off. INT. THE HUB - TOSHIKO’S WORKSTATION Toshiko’s monitor reads "Auto Power Resuming". TOSHIKO : Internal levels have been restored. JACK : Gwen, Owen ? Can you hear me ? INT. THE BASEMENT STORE ROOM OWEN : These things brought down Torchwood one. They were all destroyed. Why's there one in our bloody basement. Owen is angry, betraying bad memories. GWEN : Just tell me what it does. OWEN : It's the remnants of a conversion unit. This machinery turns humans into cybermen. INTERCUT WITH : INT. THE HUB - TOSHIKO’S WORKSTATION JACK : If I don't hear something within 30 seconds I'm coming down there. GWEN : Jack, it’s Gwen. The coms dropped out, we're back online now. JACK : Any sign of Ianto ? OWEN : No. But we have found parts of a cyber-conversion unit, fully powered up and working. JACK : This is no time to be kidding around Owen. OWEN : I'm deadly serious. I don't know why it's here or how it got here. That's what's draining our power. Jack is silent, shocked by the news. OWEN : Jack you there ? JACK : I want you two back up here immediately. OWEN : We still haven't... The cyberwoman appears. She hits Owen from behind. Gwen turns around. GWEN : Jack. Code zero incursion. Repeat code zero incursion. We're under att*ck. JACK : If you don't hear from me within fifteen minutes, activate total shut down procedures and get yourself to safety. Jack leaves Toshiko's station. TOSHIKO : But I can't just leave you all here ! JACK : If there's a cyberman in this building we need a last line in defence. Just make sure it never gets to the outside world. INT. THE HUB - BASEMENT Owen has been knocked out. Gwen is pointing a g*n at Lisa who stands near. GWEN : Whatever you are... Whoever you are, I don't mean you any harm. Don't come any closer or I'll sh**t. Lisa knocks the g*n out her hand and gets her by the neck. GWEN : Let me go ! Lisa slams her down onto the conversion unit frame. LISA : Do not struggle. You will be like me. Lisa starts the electricity flow whilst Gwen is in the machine. Jack enters the room. JACK : Put down any w*apon, put your hands up and turn and face me ! You're a woman ! Ianto appears and knocks Jack aside as he fires, causing Jack to miss his target. Ianto pins him to the wall by his wrists. GWEN : Owen ? Jack ? She screams as the machine starts to work. IANTO : You don't know what she is doing ! Pushes him back against the opposite wall. JACK : You are fighting the wrong guy ! The saws appear above the conversion unit. GWEN : Get me out of here, someone ! Please ! Ianto runs in and goes over to the keypad. GWEN : Switch it off ! IANTO : I'm trying ! She's done something to the circuits ! Shut off the power, everywhere ! JACK (On com) : Toshiko cut all power in the base ! TOSHIKO : I do that, the base will go into lockdown, we'll be trapped ! JACK : Just do it ! Toshiko pulls a manual override lever. Every door shuts and the lights go off, transferred to emergency red lighting. JACK : Gwen ? GWEN : I'm fine, I'm fine, I'm fine. Sort of. Jack please get me out of here. JACK : It's alright. GWEN : Where is she ? Where did she go ? Please tell me you got her ! Jack turns and shines his torch on Ianto. JACK : Stand guard by the door. IANTO : I'm sorry, I'm really sorry. GWEN : What for ? Jack watches Ianto move to stand by the door, angry but to busy to shout. JACK : Lets just get out of here. He presses a few buttons on his wrist cuff and the conversion unit unlocks, releasing Gwen. They move out into the corridor, Ianto leading, checking their path. JACK : Clear ? IANTO : Clear. Ianto and Gwen walk either side of Jack with flashlights whilst Jack carries Owen on his shoulder and points the g*n ahead of him. The cyberwoman steps out in front of them. GWEN : Oh there she is ! What is she? JACK : Some form of Cyberman. They're us, upgraded. Humans with emotions removed, created on a parallel world, and supposedly destroyed on this one. GWEN : What are we going to do ? JACK : I don't know. Gwen looks at Jack, shocked by the admission, scarred. The cyberwoman turns and walks away down another passage. IANTO : She's gone. Jack readies his g*n and points it at Ianto. JACK : Get us back to the hub ! Ianto starts walking forwards slowly, Jack behind with his g*n to Ianto’s head. Gwen is disturbed and confused, not knowing what Ianto has done. GWEN : Jack what're you doing ? JACK : Resisting the urge to sh**t ! INT. THE HUB - CENTRAL JACK : Tosh get everything from the w*apon room, fast as you can ! TOSHIKO : It's locked down. There's no manual override. JACK : Just open the store. Jack puts a hand on Ianto’s shoulder; he guides Ianto round to face him then pushes him down. JACK : On your knees ! Hands above your head. Ianto obeys without question and Jack points the g*n at Ianto’s forehead. TOSHIKO : Jack for god's sake, what're you doing ! JACK : Tosh ! I just gave you an order ! Gwen help her. Toshiko and Gwen leave to get w*apon and Jack ignores them, demanding answers from Ianto. JACK : Did you know that thing was down there ? IANTO : I put her there. JACK : You hid a cyberman within Torchwood. Gwen comes over to stand by Jack holding a flashlight. Jack puts the g*n against Ianto's head. JACK : And you didn't tell us, what else are you keeping from us ? IANTO : Like you care ! I clear up your shit, no questions asked and that's the way you like it. When did you last ask me anything about my life ? Jack lowers his g*n, knowing Ianto is right. IANTO : Her name's Lisa. She's my girlfriend. GWEN : Why didn't you tell us. We could've helped you. IANTO : Torchwood exists to destroy alien thr*at. Why would I tell you about her ? OWEN : A little loyalty perhaps. IANTO : My loyalty is to her. She worked for Torchwood; she was caught up in battle. I owe it to Lisa, we owe it to her. To find a cure. Jack is calmer now, understanding Ianto’s actions but still angry that Ianto has done this and frustrated with his optimism that there is any hope for Lisa. JACK : Ianto you have to believe me, there is no cure… There never will be, those who are converted stay that way. Your girlfriend will not be the exception. IANTO : You can't know that for sure. JACK : Look, you need to know what's happening here ‘cause this is where these things start. Small decisions that become mass slaughter. These creatures regain a foothold by exploiting human weakness. Then they take a base, re-build their forces and before you know it the cyber-race is spreading out across the universe erasing worlds, assimilating populations, all because of the tiny beginnings here. We need to stop her… together ! Ianto stands to face Jack. IANTO : You're not listening to me ! The conversion process was never completed. JACK : She already tried to k*ll Gwen. You think she's gonna stop there ? There is no turning back for her now. IANTO : I'm not giving up on her. I love her, can you understand that Jack ? Haven't you ever loved anyone ? JACK : You need to figure out whose side you're on here, because if you don't know, you're not going to make it out of this alive ! Jack walks away from Ianto. OWEN : There's no way this w*apon door is gonna open. TOSHIKO : It's gonna take 6 hours for the power to come back online. IANTO : Let me talk to her, I can still save her. Save all of us. She's not a monster. The cyberwoman reappears on the other side of the hub, Ianto walks to her, cautiously. Gwen follows half of the way, attempting to stop him but unwilling to go near Lisa. GWEN : Ianto ! IANTO : Lisa ! It's me… GWEN : You can't just let him go… JACK : Shh… Signals for Gwen to stop talking; to let Ianto try and talk to her. LISA : The army will be re-built from here. This building is suitable. JACK : Who are you ? LISA : Human point two. IANTO : No. Lisa… JACK : So how come you look like human point one ? LISA : I do not understand. JACK : Look at yourself, go ahead… She looks at her reflection on the metal wall. IANTO : Remember Lisa, remember who you are… LISA : The upgrade is incomplete. IANTO : You're still human. LISA : I am… disgusting. I am, I am… wrong… IANTO : We can help you. LISA : I must start again. Upgrade properly. IANTO : For gods sake have you heard yourself ? Lisa please, I brought you here to heal you… so we could be together… LISA (Turning to look at him) : Together, yes. Transplant my brain into your body. The two of us together, fused. We will be one complete person, isn't that what love is ? IANTO : No. LISA : Then we are not compatible. Lisa grabs Ianto by the neck and throws him over arm across the hub and onto the floor, knocking him out. Jack raises his g*n and points it at her. Lisa sh**t beams of electricity at Jack who drops one hand off his g*n. JACK : Code nine manoeuvres, go ! Gwen stands looking at the cyber woman while the others run. JACK : Gwen, Gwen get out of there ! The cyberwoman moves towards Gwen and Owen shouts to distract her. OWEN : Lisa, Lisa ! What're you waiting for ! JACK : Gwen ! Gwen runs over to Jack and takes his hand. He helps her over the step in the hub floor. LISA : Run. We all ran. Owen runs along the top balcony. Jack, Gwen, Owen and Toshiko are inside the board room looking down on her through the glass window. Ianto is still unconscious on the hub floor. GWEN : She's coming after us ! OWEN : Well there's a surprise. GWEN : Could you be any less helpful ? OWEN : Oi, I just helped you escape. JACK : Shut up ! Both of you ! Ok now, it's going to be a fight to the death. We do whatever is necessary to destroy her. Forget what Ianto said, that thing is not human, clear ? GWEN : Yeah, yeah. TOSHIKO : What's this ? She picks up a small object from the table. JACK : Something Suzie scavenged last year, she claimed it could open any lock in 45 seconds. I want you out the exit gates, up the emergency stairs to reception. OWEN : She'll never open that door without power, it weighs a ton. TOSHIKO : Anyway, I'm not leaving you here. JACK : Just do as I say. All of you ! Jack looks at them all, demanding they follow orders gives Toshiko her instructions. JACK : Once in reception, panel next to the desk, pull it out, take circuit 357 from the main system, patch it to these. There should be enough power in there for what we need. Once the main circuit goes live, get out; meet us by the water tower. Go ! Toshiko leaves and Jack speaks to Owen and Gwen. JACK : You two, find anything that even resembles a w*apon. OWEN : I'll go to the autopsy room there should be some leads in there… GWEN : What're you going to do ? JACK : Buy you some more time, go ! Gwen and Owen leave. Lisa comes into the room. JACK : Hey Lisa ! It is Lisa isn't it ? You've been hiding in my basement, that's ok, draining my power, I can live with that; but now you're starting to hurt my friends, this is gonna stop ! He leaves the room followed by Lisa. He runs downstairs into the main hub. Toshiko has only just made it to the exit gate. She puts the device onto the gate to try and open it. LISA : This building belongs to me now. You will all be deleted. JACK : I'm sorry for what they did to you but this ends here ! Lisa grabs the side of Jack’s neck and fills him with electricity. GWEN : Jack ! Gwen runs towards Jack, Owen stops her, holding her back as they watch from the balcony. Toshiko manages to open the gate, she goes through and as she does do Lisa walks towards her, thinking Jack is d*ad. Jack revives himself and stands up. OWEN : How could he survive that ? JACK : Is that all you got ? I'm not so easily deleted. Lisa turns back to Jack and pumps more electricity into him. Jack falls to the floor d*ad. Gwen struggles against Owen, trying to break his hold. OWEN : You can't help him. Toshiko watches the scene, forgetting about the cog door until Lisa starts to walk towards her again. She puts the alien device to the door, scarred now. TOSHIKO : Come on. She pulls the door back and squeezes through just closing it behind her in time. She rests her back against the door catching her breath. Lisa puts his arm through the porthole window and Toshiko runs for the emergency stairs. CUT TO : AUTOPSY ROOM Owen and Gwen go to the autopsy room to collect w*apon. Lisa is unable to get to Toshiko and re-enters the central hub, Gwen shines her torch at her, and Lisa starts walking towards the autopsy room. GWEN : Shit ! You got another exit ? OWEN : No ! GWEN : We're trapped ? Owen opens a cupboard door. OWEN : Get in ! GWEN : What ? No way ! OWEN : Lie on tope of me and I'll take those plugs. GWEN : I'm not lying on top of you ! OWEN : I'm not saying it's a brilliant idea, but it's the only one we've got ! He gets into the cupboard. INTERCUT WITH : INT. THE HUB - CENTRAL FLOOR Jack lies near to Ianto. He starts to come round, writing in pain as he struggles to his feet. Gwen is inside the cupboard with Owen trying to be silent as they hear Lisa enter the autopsy room and start searching for them. Jack sees Ianto still lying on the hub floor in a pool of water. He goes to him, sitting on the step he pulls Ianto into a sitting position, lying across his arm beside him. Gwen lies on top of Owen in the cupboard, listening to Lisa, terrified. Jack looks around the hub, trying to see Lisa. He slaps Ianto lightly on the cheek trying to wake him. Gwen and Owen still in the cupboard, knowing Lisa is getting closer. GWEN : What do we do ? Owen kisses her and Gwen quickly reciprocates. Jack kisses Ianto until he wakes up and takes a deep intake of breath. Jack holds up a finger, signalling for Ianto to be quiet.Gwen's mobile phone starts to ring. She struggles to pull the phone from her pocket in the enclosed space. OWEN : Turn it off ! Gwen throws the phone from the cupboard, the gets out herself. CUT TO : Rhys stands by the bay on his mobile. He leaves a message on Gwen’s answering machine. RHYS : Alright lover it's the man of your dreams, I've 'ad a couple of beers with Dav and we're off for a curry so can you video wife swap ? CUT TO : THE HUB - AUTOPSY ROOM Gwen and Owen are both out of the cupboard and Lisa goes towards Gwen. OWEN : Don't you touch her ! Owen picks up a Kn*fe and s*ab Lisa in the stomach. Ianto hears the noise and looks way from Jack. He pulls away and runs towards the autopsy room. Lisa lies on the autopsy room floor, apparently d*ad. GWEN : What the hell was that ? OWEN : What ? GWEN : Snogging me ? OWEN : Last kiss for the condemned man. Embarrassing given we haven't been k*lled. What ? It's not like I fancy you or anything ! GWEN : I was on top of you… I could feel your hard on… OWEN : Yeah… Well… You didn't exactly struggle, did ya ? Ianto comes in and goes over to Lisa. OWEN : It was k*ll or be k*lled. GWEN : Owen's right there was no choice. Lisa suddenly wakes up. And Ianto backs away quickly, afraid. GWEN : Ianto move ! Get out, Ianto ! She pushes him aside. GWEN : Get out I said ! Move ! Move ! They go up the stairs and onto the balcony, they run into the main hub. Lisa blocks the exit. Jack comes in from the centre of the hub, g*n at the ready. OWEN : You should be d*ad ! JACK : I'm the stubborn type. Get behind me. They all get behind him; they're standing on the invisible lift. Jack is holding a blowtorch and BBQ sauce. INTERCUT WITH : Toshiko lies on the floor under the desk in reception, pulling out pieces of wire, trying to reinstate the power. Jack points the blowtorch at Lisa, who stands well clear of the flames. JACK : That's right, stay back. This'll at least give you a heart burn ! LISA : The power will run out, I can wait. IANTO : Jack help her ! Give her chance to surrender ! OWEN : Have you not seen what she's done ? IANTO : It's still in the cells, we can reverse the process. JACK : I've told you we're past that. Hold him back ! GWEN : What're you going to do ? They stand near to the invisible lift, getting onto the platform. JACK : Don't ask questions, just get him on there and hold him ! He squirts Lisa with the sauce. GWEN : What is that stuff ? JACK : A kind of BBQ sauce. It helps it identify its food. GWEN : Helps what identify its food ? Jack runs to them on the lift platform. JACK : I'm sorry. Jack looks at Ianto and presses a button on his wrist cuff. The pterodactyl flies towards Lisa and starts to att*ck her viciously. IANTO : You'll k*ll her ! Let me go, let me help her ! CUT TO : THE HUB - RECEPTION. Toshiko gets the power back on. CUT TO : THE HUB - LIFT The lift starts to rise, and Ianto struggles to get free of the others desperate to help Lisa. JACK : Hold him still ! IANTO : You can help her ! Have some f*cking mercy ! The pterodactyl has Lisa on the floor attacking her. Lisa screams. IANTO : No ! EXT. MILLENNIUM FOUNTAIN They stand by the fountain. Toshiko runs towards them from the hub reception. TOSHIKO : It worked ! She smiles happily as she approaches then sees their expressions. TOSHIKO : What happened ? JACK : Oh... Jack waves away her question, not wanting to explain. Ianto moves forward and punches Jack hard in the face. Jack falls to the floor while Gwen grabs Ianto and pushes him out of the way. GWEN : Oi ! IANTO : You could've saved her ! Jack stands up facing Ianto. IANTO : You're worse than anything locked up down there ! Jack wipes blood from his mouth. IANTO : One day I'll have the chance to save you… and I'll watch you suffer and die ! JACK : It was the only thing that would stop her ! Jack starts to move towards Ianto, ready to h*t him. Owen pushes him back. TOSHIKO : Listen, when I was at reception I managed to trip the lock down timer, we can get back in any second… Ianto runs towards the reception entrance away from the others. JACK : Ianto ! They run after Ianto. INT. THE HUB – RECEPTION A girl is delivering Ianto's pizza. ANNIE : Pizza. She presses the intercom. Seen through CCTV footage on Hub monitor Annie is let into reception. ANNIE : Ianto ? The door in the wall slides open and Annie walks through and into the lift. She enters the hub cautiously. The floor is a mess. ANNIE : Bloody hell ! Annie looks around for Ianto and calls out. ANNIE : Ianto, do you want these or not ? Lisa stands behind Annie as she calls out. EXT. OUTSIDE HUB RECEPTION Jack, Toshiko, Owen and Gwen still chasing Ianto. JACK : Ianto stop ! GWEN : She can't have survived that att*ck ! TOSHIKO : I used my initiative. I'm sorry. JACK : When I want you to think for yourself I'll tell you ! TOSHIKO : Maybe if you'd told me your plan I wouldn't have done it. Ianto points a g*n at them as they enter reception. GWEN : Ianto, don't be stupid ! IANTO : I've nothing left to lose. JACK : There is always something left to lose. IANTO : I'm going back in to save her, if anybody tries to stop me, I'll sh**t them. GWEN : Ianto put the g*n… Jack knocks the g*n out of Ianto's hand and grabs his collar. Drawing his own g*n he puts it to Ianto‘s head. JACK : You make a thr*at like that you better be prepared to follow it through. See, you disobey me now, I really will sh**t you. IANTO : Get off me ! JACK : You wanna go back in there ? You go in to finish the job. If she's still alive you execute her. IANTO : No way... JACK : You brought this down on us, you hid her. You hid yourself from us ! Now it's time for you to stand as part of the team. Gwen puts her hand on his shoulder. GWEN : Jack... JACK : The girl you loved is gone. Your loyalty is to us now ! IANTO : You can't order me to do that… JACK : You execute her, or I'll execute you both ! IANTO : I won't do it… You can't make me. You like to think you're a hero, but you're the biggest monster of all. JACK : I'm giving you ten minutes then we’re comin’ in... pick it up ! Ianto picks up the g*n from the floor, looks at his team-mates and walks out. The others stare at Ianto, silent until he has left the room. TOSHIKO : How can you ask... JACK : I don't need your opinion ! INT. THE HUB – CENTRAL Ianto enters the main hub, boxes litter the floor. He looks around and sees the pizza boxes, discarded on the floor. Alarms sound. He runs down to the store room. IANTO : Lisa ! Ianto calls out then sees Lisa lying on the floor covered in blood. He cries silently, overcome with grief. Annie enters. ANNIE : Ianto. Ianto it's me. Ianto looks at her and raises the g*n. ANNIE : It's Lisa, I'm human again. Annie has a badly sewn wound circling her forehead. Lisa has transplanted her brain. ANNIE : You fought so hard for me, I had to hold on for you so… Ianto doesn't drop his g*n. ANNIE : I took this body and transplanted the brain. IANTO : You're not Lisa… He is upset but continues pointing the g*n at her. ANNIE : You always said you didn't love me for what I looked like. Last time you said that it was a Saturday, we were hung over, you made cheese toasties and moaned I hadn't de-scaled my kettle. Ianto still does not lower the g*n, Annie keeps taking, upset, trying to win Ianto over. ANNIE : That night we camped on a beach in Brittany, it got so freezing we wore our coats and shared one sleeping bag. When we woke up the next morning a dog was pissing on our tent. Hold me Ianto; I need you to hold me. Ianto lowers the g*n slightly, loosing his resolve. ANNIE : I need you to tell me it's alright. Ianto cries and hugs her then releases her and steps back raising the g*n. ANNIE : What'ya doing ? Ianto it's me. You wouldn't sh**t me. I did this for you. IANTO : I'm sorry... I'm sorry… Ianto goes to sh**t her then lowers the g*n, crying, unable to sh**t her. IANTO : Lisa… ANNIE : We can be upgraded together... Annie is sh*t and Ianto turns around to see Owen, Gwen, Jack and Toshiko standing in a line. They continue to sh**t Lisa until she collapses onto the conversion unit, ensuring she is d*ad. Ianto looks at Annie then goes over to Lisa’s body and cries over her watched by the others. INT. THE HUB - CENTRAL - NIGHT Ianto enters the hub through the cog door. Jack and Gwen watch him from the board room window. Ianto looks up at them then walks across the hub to clear up the mess. Business as usual. GWEN : You'd never have sh*t him, not really. JACK : Wouldn't I ? GWEN : Would you have sh*t me if I’d gone and stood by him ? JACK : But you didn't. GWEN : But if I had though… JACK : But you didn't. GWEN : Will he stay ? Jack shrugs. GWEN : All that deception… because he couldn't bear to live without her... So have you ever loved anyone that much ? Jack does not answer, but continues staring through the window. Gwen changes the subject, knowing Jack will not tell her. GWEN : When she got hold of you I thought just for a moment, maybe you die after all... JACK : Wanna know a secret ? GWEN : Mm... JACK : So did I... and just for a second there I felt, so alive... Close on Ianto clearing up the mess in the hub, alone. END CREDITS

{"type": "series", "show": "Torchwood", "episode": "1x04 - Cyberwoman"}

foreverdreaming

Opening sh*ts and recap. JACK : (VO) Torchwood : outside the government, beyond the police. Tracking down alien life on Earth and arming the human race against the future. The 21st century is when everything changes, and you’ve gotta be ready. EXT. A WOOD - NIGHT Camera closes on a figure moving through the woods, speaking. ESTELLE : (VO) I’m returning to the same spot. I do hope they’re here. As the figure moves closer it can be seen that the voice belongs to an elderly, though active, woman with short grey hair. She has a camera around her neck and speaks into a dictaphone, quietly, like a bird watcher. ESTELLE : I have to move carefully. Don’t want to frighten them. Now I’m there. She pauses behind the edge of a tree branch and views the scene before her. ESTELLE : They are. They’re here. sh*t moves behind Estelle. Before her is a clearing within which is a circle of stout stones. A group of small, bright white lights fly above the stones - fairies from a children’s tale. The view closes on Estelle’s face once more; she is overjoyed by the sight. ESTELLE : The darlings ! Estelle raises a professional analogue camera and takes several photographs. The fairies are unconcerned by the flashes of light and even pause briefly in flight as if posing. A whispering of half hear voices and laughter of children can be heard on the wind. As Estelle turns to leave some of the fairies fly away, others land near the stones. The fairies on the ground morph into tall, grotesque figures with elongated limbs and they give a throaty, cackling laugh. OPENING CREDITS. INT. THE HUB - NIGHT It is dark and quiet. Track through the hub to Jack’s office then down. Overview : Jack lies on a narrow bed under a stone arch. His eyes are open but as they close a steam train horn is heard and flashes of memory are seen. Jack twitches as is having a nightmare. INTERCUT views of Jack with : INT. A TRAIN Jack in army uniform looks happy. Then flashes of bodies of soldiers, collapsed with red flower petals protruding from their mouths. Jack moves around the train carriage, confused and horrified. Jack wakes suddenly. INT. THE HUB - JACK’S OFFICE - SHORT TIME LATER Jack, now casually dressed climbs up through a man hole in his office. He leans on his desk and breathes out deeply. He looks down and sees a red flower petal on top of his papers. He picks it up, then hearing a noise he turns, placing the petal in his pocket. Ianto stands just outside his office flicking through some papers, unaware of Jack. JACK : You shouldn’t be here. Ianto looks up, surprised, and closes the file. He is tense in Jack’s presence, the shadow of recent events damaging their relationship. IANTO : Neither should you. Ianto walks away quickly and begins work on a computer. Jack follows, takes a breath and places a hand on Ianto’s shoulder, trying to move on. Ianto looks round at Jack’s hand but says nothing. JACK : What ya got ? Ianto takes a deep breath, pleased at the lack of awkward questions, the tension slightly lessened. He shrugs off Jack’s hand as adjusts his jacket. IANTO : Funny sorta weather patterns. EXT. A SCHOOL - DAY Primary school age children are leaving the grounds for the day, being collected by their parents. One girl is alone. She stands by the roadside railing waiting to be picked up, unspoken to. A man sits in a car opposite, watching. EXT. A SUBURBAN HOME - DAY A middle aged man walks out of the house followed by a woman holding a coat. LYNNE : Didn’t you see what the time was ? She hands the man his coat as he walks towards his car. She follows him to the edge of the garden. ROY : I was on the phone wasn’t I ? LYNNE : Well shall I call the school ? ROY : Don’t be stupid. She’ll be alright. As he goes to the car Lynne walks back towards the house. EXT. JASMINE’S SCHOOL - CONTINUOUS Jasmine stands waiting still. Two girls walk by and one pulls Jasmine’s platted pigtails. JASMINE : Ow ! The other girls laugh and walk away - she is obviously bullied regularly by them. A teacher is near by and sees Jasmine standing alone. KATE : Who’s pickin’ you up, Jasmine ? JASMINE : Roy. Kate checks her watch. The man still sits watching Jasmine, unseen by Kate amongst all the other parents. She hears some other children causing a fuss and leaves to stop them. The man sees his opportunity and drives slowly towards Jasmine. CUT TO : Jasmine walks down a flight of stairs in a wooded area. The man is waiting on the road at the bottom of the steps. As Jasmine walks down the road he drives beside her and speaks through his open window, his intentions clear. GOODSON : Your mum asked me to fetch you. POV MARA - from above they watch Jasmine beside the car, just under a bridge. GOODSON : She’s a bit late. View beside Jasmine, alongside the car. Jasmine walks away and Goodson drives forward quickly to block her way. He stops, exits the car and stands in front of Jasmine, leaning down to speak to her. GOODSON : I promised your mum I’d fetch you. So get in the car. Jasmine moves to pass Goodson but he blocks her path then grabs her arm. GOODSON : Did you hear me ? Jasmine tries to pull away but is unable to. Brief POV MARA they approach. A wind gusts, bl*wing leaves. The area darkens. POV MARA. The Mara, unseen, jumps at Goodson who is knocked backwards against his car. MARA : Come away, oh, human child. Goodson is turned and thrown against the car by unseen assailants, injuring his nose. MARA : Come away… Come away… Goodson looks around then struggles back into his car, the wind strong enough to make his struggle with the door. He closes the window hurriedly and dabs his nose. Jasmine smiles happily and walks away. The man watches her walk down the path, now bathed in sunlight, the air calm. EXT. A STREET - DAY Gwen and Jack walk along on their way to a seminar. GWEN : What exactly are we doing here ? JACK : Had an invitation from an old friend. POV MARA - in a tree watching Jack and Gwen. JACK : Here we go. Gwen sees a poster next to the door. GWEN : Fairies, are you kiddin’ me ? Jack turns and smiles - ‘honestly’ - then backs into the building followed by Gwen. To the left of the entrance is a sketched advertisement - 'Fairies, fact or fantasy ?' INT. A SMALL MEETING HALL Estelle stands before rows of near empty plastic chairs, next to a projector which shows a picture of fairies and a child. ESTELLE : I suppose I’m one of the fortunate few who’s been allowed to see our little friends… Jack and Gwen enter quietly and sit at the rear of the room. ESTELLE : … and it’s been no easy task. One needs to have the patience of a saint and the blind faith of a prophet, but for me the long wait has been worthwhile. Jack smiling broadly next to Gwen who looks bored and sceptical. Jack looks at her and his smile lessens. ESTELLE : This is my first picture. Not that clear I know, but the ring of stones can be seen quite distinctly. Jack looks suddenly concerned. GWEN : (Mutters) I don’t believe this. JACK : Ssshh ! Estelle swaps the image on the projector and smiles warmly. ESTELLE : Well, of course I’m not the world’s best photographer… Gwen looks at Jack, serious, then fights a smile. Jack indulgently smiles at Estelle then shakes his head, his attention only for Estelle. ESTELLE : … but this little person is just about visible. I was so lucky to have seen them, so privileged to witness such a magical moment because fairies are shy you see, but I know in my heart that they are friendly, loving creatures. Gwen bites her lip, stifling a laugh again while Jack shakes his head, still concerned. Estelle turns off the projector, her talk over, and she smiles at the audience. ESTELLE : Thank you. The lights come up and Gwen claps. People from the audience move to the front to speak to Estelle. JACK : Wrong, she always gets it wrong. CUT TO : A short time later, Jack runs through the slides, Estelle at his side. Gwen sits a little distance away. JACK : Estelle, when did you take these ? ESTELLE : A couple of nights ago. JACK : Where ? ESTELLE : In Round Stone wood. GWEN : Not far from here. ESTELLE : So good to see you again, Jack. Jack returns her smile warmly. ESTELLE : Oh, look, there’s the wood. Estelle hands Jack a picture and he sighs. GWEN : What’s wrong ? ESTELLE : Oh, Jack and I have always disagreed about fairies. I only see the good ones, he only ever sees the bad. JACK : They’re all bad. ESTELLE : No, I refuse to believe that ! They are jovial and happy to be together even in disagreement. GWEN : Well I suppose one person’s good could be someone else’s evil. ESTELLE : That’s what his father used to say. Gwen’s interest is briefly piqued. Jack looks at Estelle fondly, his arms casually around her back, protective. ESTELLE : Oh, Jack. If only you’d seen them there in the wood. They were happy, they were dancing, the fairy lights were shining. JACK : Do you have any more photos ? ESTELLE : Yes, at home. JACK : Right. I need to see them all. Jack and Estelle smile together, familiar and at ease. Gwen rolls her eyes, believing this to be pointless. EXT. A CARDIFF STREET - DAY Goodson walks down the street wiping his nose, looking about in paranoia. He is nervous and twitchy. A piece of blue tarpaulin being shaken in front of him on the quiet street makes him jump. He hears voices in the trees and spins around looking for the Mara. As he does so he bumps into a man. MAN : Something wrong mate ? GOODSON : No, sorry. MAN : Well, look where you’re bloody goin’ ! Goodson looks around then runs towards Cardiff Indoor Market. He jogs through the market, bumping into people. He pauses as he hears the Mara flying about, chittering. He looks up then briefly sees a Mara above him. It plunges down on him from above. A fraction of a second later the Mara has gone and Goodson staggers away, bent over and choking. People stare at him as he stumbles through the market, no one helps him - they think he is drunk. Goodson stops and begins vomiting red flower petals, at first a few then whole mouthfuls. He continues moving, still stumbling, gabbing hold of people as they walk past, each of them throwing him off. Goodson gets outside and sees a police officer. He runs to her and grabs her collar, shaking her. GOODSON : Oh, God, help me ! Help me please ! WPO : Alright mate, just calm down. Goodson pushes her out of the way and opens the door of the police car. They struggle over the door as he tries to get inside. WPO : Hey, hold on you ! Goodson shuts the door and grabs the police woman again, begging for her help. GOODSON : You gotta help me ! He looks at the passers-by, beseeching them for help. They ignore him. The police officer annoyed by his behaviour pulls his arms behind his back and pushes him face first to the patrol car bonnet and handcuffs him. WPO : Right mate, that’s it. Goodson is crying, distraught and terrified for his life. GOODSON : They’re coming to k*ll me. INT. JASMINE’S HOUSE - DAY A neat hallway in a family home. At the end of the hall is a frosted glass doorway, the blurred figures of Roy and Jasmine can be seen outside. Roy opens the door and Jasmine enters, walks towards the kitchen. Lynne enters through a side door and addresses Roy. LYNNE : Where was she ? ROY : Walking home on her own. LYNNE : (To Jasmine) Jas, come here. ROY : Do what your mum says. JASMINE : You’re not my dad. ROY : Just bloody well do what she says. Lynne walks over and takes Jasmine’s hand, bending down to speak to her on a level. LYNNE : You must never walk home on yer own, you understand ? It’s not safe. JASMINE : It’s alright mum, no one can hurt me. Jasmine walks away and Lynne stares after her. INT. ESTELLE’S HOUSE Jack and Gwen put down some of Estelle’s things in her living room. It is a homely room, filled with collected memories. ESTELLE : Oh, thank you Jack. This is Moses. Gwen walks across the room to see a black and white cat. Estelle hands Jack a cardboard folder of pictures. ESTELLE : They’re mostly just pictures of the area. Jack starts looking through the pictures while Estelle goes to pick up Moses. ESTELLE : Come on my darling, quite time you went outside. She takes the cat from the room. Jack smiling at her as she passes. Gwen glances around the room and started looking at the framed photographs littering the mantelpiece. She notices a black and white picture of Jack in WWII RAF uniform, picks it up and carries it over to Jack. GWEN : This is you. Jack takes the picture from her, looks and denies Gwen’s thought sincerely. JACK : Sorry, no. That’s my dad. He smiles and puts the picture back. JACK : He and Estelle were quite an item once upon a time. They were inseparable. Gwen sits on the sofa and looks up at Jack as he arranges the photographs, acting like he is familiar with the house rather than being a guest. GWEN : Then why did they part ? JACK : It was wartime, he was posted abroad, she volunteered to work on the land… Jack hands Gwen another picture from the mantle then returns to looking through the folder. JACK : … It just happened that way. Gwen looks at the picture - Jack and Estelle on a pier. She then looks at Jack, a little suspicious. EXT. ESTELLE’S GARDEN - CONTINUOUS Gwen exits the house and goes into Estelle’s wild, but well tended, garden. Estelle walks over. GWEN : If you don’t mind me asking, did you know Jack’s father after the w*r ? ESTELLE : No, we lost touch. Why ? GWEN : Did all three of you ever meet ? You, Jack and his father ? ESTELLE : No. Never. Jack contacted me a few years ago, I was so surprised. He’s so like his dad, same walk, same smile. I hope he’s still alive, he’d be in his early 90’s now. GWEN : You could always ask Jack about him. ESTELLE : I have, but he doesn’t seem to want to talk about his father. Jack enters the garden with the folder. JACK : Estelle, when you next see these creatures you call us immediately, understand ? ESTELLE : Uhhum. She looks up at Jack fondly and he puts a hand on her shoulder. JACK : Night or day, doesn’t matter, just call us and be careful, it’s important to me. Gwen looks at them, then walks away. ESTELLE : Jack, I’ve nothing to worry about. JACK : Just be careful. Gwen turns to see Jack hug Estelle close to his chest, an arms draped around her shoulders. He kisses her on her hair and rests his chin on her head. They remain like that for a while, both at ease, happy and comfortable in each other’s company. EXT. FRONT OF ESTELLE’S HOUSE Jack and Gwen exit the house and walk down the path to the street. JACK : Estelle shouldn’t be living in town, she belongs in the countryside. GWEN : How often do you get to see her ? JACK : We meet up now and again. GWEN : Whenever she’s seen her fairies ? JACK : She calls ‘em fairies, I don’t. GWEN : What do you call ‘em ? JACK : Never really had a proper name. GWEN : Why not ? JACK : Something form the dawn of time, how could you possibly put a name to that ? GWEN : Are we talkin’ alien ? JACK : Worse. GWEN : How come ? JACK : Because they’re part of us. Part of our world, yet we know nothing abut them. So we pretend to know what they look like, we see them as happy, we imagine they have tiny little wings and are bathed in moonlight. GWEN : They’re not ? JACK : No. think dangerous. Think something you can only half see, like a glimpse, like something out of the corner of your eye, with a touch of myth, a touch of the spirit world, a touch of reality all jumbled together… Jack stops walking and faces Gwen, adding gravitas. JACK : …old moments and memories that are frozen in amongst it, like debris spinning around a ringed planet, tossing, turning, whirling. Backwards and forwards through time. They look back towards Estelle’s house. JACK : If that’s them we have to find them. Before all hell breaks loose. Jack strides away, Gwen looks after him. EXT. JASMINE’S GARDEN Jasmine skips and walks quickly through the sunlit garden then under the fence at the end and into a wooded area. INT. JASMINE’S KITCHEN Roy looks out of the window, watching Jasmine go. Lynne is preparing food. ROY : Why won’t she play anywhere else ? LYNNE : She likes it down there. ROY : Other kids have friends. Why doesn’t have friends ? Must be somethin’ wrong with ‘er. LYNNE : There’s nothing wrong with her. ROY : Well, when’s the last time you saw her watchin’ TV ? Or readin’ a book ? Or playin’ with a doll ? Or sittin’ down to ‘ave a chat with us ? When’s the last time you ‘eard her laugh ? Lynne stands thinking as Roy leaves the room, unable to remember Jasmine laughing for a very long time. EXT. WOODED FIELD - DAY Jasmine skips happily through the field. She holds up a stick and spins slowly, playing with unseen Mara. POV MARA - Looking down on Jasmine from the trees. They circle her, laughing happily. INT. THE HUB - BOARD ROOM Open on a picture of fairies. Turn to see Jack sitting at the far end of the table, concentrating. Ianto puts a mug down close to Jack. Turn back to screen to see Toshiko beside it giving the brief. Gwen sits at the table and Owen stands nearby. TOSHIKO : This is the youngest girl, and the girl’s cousin. IANTO : I blame it in magic mushrooms. JACK : What you do in private is none of our business. GWEN : These photographs were faked. OWEN : Conan-Doyle believed in ‘em. TOSHIKO : He was ga-ga at the time. OWEN : And Houdini. GWEN : Self publicist. JACK : (To Gwen) How do you know so much about it ? GWEN : Cos I wrote an essay on the Cottingley glass plate photographs when I was at school. Owen sniggers at her, Gwen ignores him. GWEN : And when the girls were old ladies they admitted they were fakes. Toshiko changes the picture on the screen. TOSHIKO : So where was this sighting then ? Gwen moves to have a closer look at the screen. JACK : In a place called Round Stone Wood. OWEN : Oh, I know it. Has an odd history. JACK : How d’ya mean, odd ? OWEN : It’s always stayed wild. In the ancient times it was considered bad luck to walk in there, even collect timber, even the Roams stayed clear of it. TOSHIKO : I’ve had no report of any sighting. JACK : You won’t. these things come in under the radar. But they play tricks with the weather so set up a programme for natural weather patterns. TOSHIKO : Right. GWEN : Are you saying our machines can’t pick them up ? JACK : Nothing can. INT. POLICE STATION - CUSTODY BLOCK Goodson is being pushed through the custody block by the WPC. Goodson : What is it, is it gone ? As they get to the desk Goodson speaks to the officer. GOODSON : Somewhere safe, that’s all I want. Just put me somewhere safe. WPC : Got a right one here. GOODSON : Look, they’re tryin’ a k*ll me. WPC : He said there were flowers in his mouth. CUSTODY SGT : Flowers ? GOODSON : They’re trying to choke me. WPC : We checked, there was nothin’. GOODSON : And they didn’t wanna hurt that little girl. It’s just me, they just wanna hurt me. They just wanna k*ll me. CUSTODY SGT : Who wants to hurt you ? GOODSON : They won’t leave me alone. I’ve done wrong. CUSTODY SGT : Name. GOODSON : It’s little girls. It’s their little bodies, it’s their little smiles, they’re bright as button. Look, I’ve been in trouble before, so just help me. Just lock me up ! Please. EXT. PATH THROUGH ROUND STONE WOOD Jack and Gwen walk side by side, Owen behind with a case looking up into the trees. Jack pushing buttons on his wrist cuff, scanning. GWEN : I asked Estelle about your dad. She said she’d never seen the pair of you together. She smiles, lightening the tone of her suspicions but letting Jack know that she doesn’t believe him. Jack answers seriously. JACK : Why would she ? She lost touch with him after the w*r. I just happened to catch up with her later. GWEN : Oh. She still doesn’t really believe him. POV MARA : Watching them from the trees. They walk into a clearing, seeing a ring of stones. Jack continually scanning with his wrist cuff. JACK : The stones in those photographs. OWEN : You know this whole area was forest in primeval times. Most of the development areas have been built on lay lines. GWEN : Anyone could’ve made this circle. JACK : Why do you keep doubting me ? I spell out the dangers, you keep looking for explanations. GWEN : That’s what police work’s all about. JACK : This isn’t police work. GWEN : Alright then, science. JACK : And it’s not science. GWEN : I know you told me, it’s that corner of the eye stuff. She looks round shaking her head, then hears a noise. POV MARA : Jumping through the trees. Owen looks in the same direction as Gwen, then returns to taking samples, dismissing the noise. ARIEL CARDIFF INT. POLICE STATION - CUSTODY BLOCK Goodson lies on a narrow bed in his police station cell. He lies on his side facing camera, trying to sleep. Track in on Goodson as he hears a noise, opens his eyes and looks towards the ceiling. A shadow crosses the tiles, he screams and a Mara jumps from the roof on top of him. CUT TO : Custody Sergeant and WPC are at the desk. They look towards the cells when they hear a scream. The custody sergeant sighs - nothing really unusual, just an irritant. He gets his keys and walks towards the cells. The WPC follows him as he unlocks the barred entrance door and they walk to the end of the narrow corridor. CUSTODY SGT : Alright. INT. JASMINE’S HOUSE - STAIRWELL - DAY Lynne, about to carry 2 mugs into another room for herself and Roy pauses at the foot of the stairs as she hears Jasmine talking and laughing. She looks up, puts the mugs on a step and goes up the stairs cautiously. She listens at the door for a moment before opening it. A shadow leaves through the window and Jasmine lies back in bed as if nothing was happening. LYNNE : Heard you laughing Jas. She enters the room and sits on the bed next to Jasmine. LYNNE : Seemed like you were talking to someone. Jasmine shakes her head no. LYNNE : Just talking to yourself, were you ? Jasmine does not respond and Lynne reaches forward to stoke her hair. A mother concerned for her daughter. LYNNE : Lovely to hear you laugh. Lynne looks at Jasmine concerned, uncertain what to say. Jasmine looks away. INT. POLICE STATION - CUSTODY BLOCK. The Custody Sergeant walks down the cell block to the cell talking. Jack follows behind with Gwen. CUSTODY SGT : I thought I’d seen everything in this game until now. I mean we had ‘im locked up for Christ’s sake on his own. He starts to unlock the door then stops and turns to Jack. CUSTODY SGT : He was shouting the odds when he was bought in, said things were following ‘im. JACK : What kind of things ? CUSTODY SGT : Well shadows he said, and he was goin’ on about being choked. Toshiko enters and walks up to them. TOSHIKO : There were 4 other prisoners who saw nothing. GWEN : Where are they now. TOSHIKO : Had them transferred. JACK : CCTV ? TOSHIKO : I’m dealing with that. The custody sergeant unlocks the door and they follow him down the corridor to the cell. CUSTODY SGT : At first I thought he was a drunk or a nutcase or both. JACK : Right I want this place locked off. The custody sergeant opens the cell door and holds it back for them. Jack stands leaning on the doorframe. The body lies in the middle of the cell floor. JACK : Name. TOSHIKO : Mark Goodson, worked in town, business consultant. Toshiko and Gwen pass Jack and enter the cell. Toshiko looks at the body while Gwen looks around the cell. JACK : Cause of death ? TOSHIKO : Well, going by the pinpoint haemorrhages on the eyelids and around the hairline, I’d say oxygen deficiency. But it’s odd, there’s no fingertip bruising on the face, no areas of pallor. GWEN : Nothing to suggest that pressure was applied. Gwen stoops down to look at the body. GWEN : He suffocated alone in a locked cell. TOSHIKO : Looks like it. Gwen leans forward to check inside Goodson’s mouth and throat. GWEN : Wait a minute. She reaches for some tweezers on a nearby tray and pulls a flower petal from Goodson’s throat. Toshiko gasps slightly in surprise, Jack concerned, recognises the petal. The same as the one he has. Gwen continues pulling out petals then holds one up. TOSHIKO : Never seen anything like that before. JACK : I have. INT. ESTELLE’S HOUSE - NIGHT Estelle sits before a low table in her living room. Candles and crystals / stones are arranged on the table. She selects a large, shaped opaque white stone and holds it in both hands. ESTELLE : Quartzite, a searching stone. She holds the stone up and closes her eyes. ESTELLE : Oh, let the energies flow. Help me find them again. A trail of white smoke appears briefly, just entering side of sh*t, accompanied by a noise. Estelle gasps and looks round. She hears brittle wings fly past outside. Nervous she slowly walks to her kitchen peering through the window. She hears laughter then sees a section of a Mara’s face hiding in a bush. She steps back as the Mara flies towards her, breaking the glass. INT. THE HUB - BOARD ROOM Screen shows CCTV of Goodson lying in his cell, Jack stands to one side, briefing Gwen and Toshiko. JACK : You know the d*ad man was a convicted paedophile, he used to hang around schools. GWEN : But why the petals in his mouth ? JACK : Just a bit of fun on their part. GWEN : You call that fun ? JACK : That’s the way these creatures like to do things. They play games. They torment, they k*ll. GWEN : Why ? JACK : As a punishment, or a warning to others. They protect their own. The chosen ones. Somehow children and the spirit world, they go together. TOSHIKO : So how do we stop them ? JACK : First we have to find out who they want. And we can’t track them. They have control of the elements, f*re, water, the air that we breathe. They can drag that air right out of our bodies. Sometimes I think they’re part Mara. TOSHIKO : Mara ? JACK : Kind of malignant wraiths. It’s where the word nightmare came from. They used to k*ll people in their sleep. A phone rings and Jack leans over, puts on the intercom. INTERCUT WITH : Estelle on the telephone in her house. ESTELLE: Jack, it’s me, Estelle. JACK : What is it ? ESTELLE : You were right Jack. There are bad ones, they’ve come to me. JACK : Estelle we’re on our way, stay where you are, don’t go anywhere near them, do you understand ? ESTELLE : Yes. Jack hangs up the phone and runs from the room. Estelle hangs up and then walks cautiously through her house. Afraid. She hears Moses mew and goes to find him. ESTELLE : Moses ! Silly cat ! The cat continues mewing loudly. Estelle opens the glass door to her garden and peers through the gap. ESTELLE : Come on Moses. Come on darling. Moses ! The cat does not come and Estelle opens the door wider, looks then cautiously steps through, not wanting to go outside by scared for her pet - her companion. She calls for the cat, increasingly desperate. ESTELLE : Moses, come on ! Come here darling. Come on puss. Moses ! Moses. A gust of wind slams the door, locking her outside. Estelle, terrified, shakes the door trying desperately to open it but it has locked. It begins to rain heavily and Mara can be heard, surrounding Estelle. ESTELLE : Oh no. Oh ! Estelle holds up her arms and looks around for shelter but there is none. CUT TO : SUV travelling at speed down a main road. INT. TORCHWOOD SUV. Owen and Toshiko sit in the back of the vehicle, Toshiko looking at a map of South Wales on her screen. Jack and Gwen are in the front seats. TOSHIKO : It makes no sense. She zooms in on the Cardiff area and checks the weather scan. TOSHIKO : It’s a fine night yet the weather map says there’s rain. She zooms in the map further, Plymouth Road. An area of severe rain can clearly be seen over one house. EXT. ESTELLE’S GARDEN POV MARA. Estelle stands in her garden, hands held up in a futile attempt to protect herself, the rain pummelling her she falls to the floor onto her back while the Mara laugh. She is unable to cry out loudly, slowly drowning. EXT. ESTELLE’S HOUSE. The SUV pulls up outside and Jack exits the vehicle, runs towards the house, closely followed by the others. Jack calls out as he runs to the door. JACK : Estelle ! Estelle ! He knocks on the door loudly and when there is no rapid answer he runs to the back of the house. Estelle lies on the floor, d*ad. Jack allows Owen to pass and try to help her. Owen checks for breath but it is too late. OWEN : Looks like she died from drowning. Rest of the garden’s dry as a bone. He stands and Jack passes, he crouches next to Estelle and carefully closes her eyes with the palm of his hand then gathers her body into his arms, across his lap, holding her close he begins to cry. The others move away and Gwen crouches near, speaking softly. GWEN : It wasn’t your dad that was in love with her all those years ago was it ? It was you. JACK : We once made a vow, that we’d be with each other till we died. Gwen stands, watching Jack. He allows himself a few silent tears then kisses Estelle softly on the forehead and rests her carefully on the ground. He stands next to Gwen for a moment, gathering himself. JACK : I need a drink. ARIEL CARDIFF INT. THE HUB - JACK’S OFFICE Jack and Gwen sit in Jack’s office. GWEN : Where did you and Estelle meet ? JACK : In London, at the Astoria Ballroom, a few weeks before Christmas. She was 17 years old and she was beautiful. I loved her at first sight. Nothing lasted back then. Promises were always being broken. Estelle… to have to die like that. Jack downs his glass of whiskey, upset. Gwen tries to change the subject. GWEN : Those petals in Goodson’s mouth, where had you seen that before, was that during the w*r ? JACK : No, long before then, on a troop train. FLASHBACK - LAHORE 1909. Uniformed soldiers play cards, laugh and joke crowded into an open train carriage travelling along a track. Jack sits a little way off - a commanding officer watching over them. JACK : (VO) 15 men, with me in charge. Everyone happy. Too happy. Too noisy. The train enters a tunnel, dark. JACK : Then we h*t a tunnel. In the darkness the sound of wings. JACK : (VO) We thought some birds had flown in though an open window. Then came the silence. As the train leaves the tunnel and daylight flows back through the slatted sides it can be seen that the soldiers are all slumped, d*ad. Jack looks around. JACK : (VO) Then when we came out of the tunnel, all 15 men were d*ad. The train lurches over the track and one of the soldier’s heads falls forwards, flower petals falling from his mouth. JACK : They’d been suffocated. My squad. Men I was responsible for. GWEN : But why were the men k*lled ? Jack takes another drink before continuing. JACK : About a week earlier some of them had got drunk, drove a truck through a village, ran over a child, k*lled her. That child was a chosen one. INT. JASMINE’S BEDROOM Jasmine lies in bed, she leans on her elbow as toy rocking horses on a shelf begin to move. Her window is open, a breeze coming through. Wings sound and Jasmine smiles. CUT TO : Lynne downstairs, goes to lock the front door for the night and turns out the lights. As she does so a dog barks outside and she opens the backdoor to look. She hears the sound of Jasmine laughing through her open window. POV MARA. They fly from the window down towards Lynne. She goes inside quickly and closes the door. The Mara chatter on the other side as she locks it. Lynne is nervous, wondering at the noise. INT. GWEN’S HOUSE Gwen enters the house followed by Rhys. Rhys talks to her as she walks up the stairs. RHYS : ... 3 hours, wouldn’t say a word, just sat their glowering cos she thought I’d nicked ‘er special stapler. GWEN : Don’t worry about it. RHYS : You alright ? GWEN : No, I’ve ‘ad a bit of a weird day actually. Gwen turns on the light to the living room. Furniture is strewn across the carpet, a mess like after a burglary. RHYS : Bloody hell ! What the hell’s gone on ‘ere ? Rhys walks away to look around. Gwen pauses looking down. A circle of bark and red petals encompasses a circle of 6 stones, an area of clear floor in the centre. A warning from the Mara. RHYS : How’s they get in ? they’ve smashed everythin’ in the bastards ! EXT. JASMINE’S HOUSE - MORNING Jasmine happily leaves the house and walks towards the can, past Lynne who is putting up balloons in the front garden. LYNNE : I’ll fetch you straight home from school this afternoon Jas, you don’t wanna miss our party do ya ? JASMINE : I’d rather play down the garden. Jasmine walks away to the car. LYNNE : You’re right, she’s spending too much time down there. ROY : Don’t worry. I’m gonna put a stop to things. Roy walks towards the car and Lynne goes back into the house. Jasmine waits by the front passenger door. Roy talks to her as he opens the driver’s door. ROY : So what are you gonna do when they start building at the bottom of the garden ? It’ll happen one day. Jasmine looks upset at the suggestion then smiles, looking to the side. ROY : Don’t you ever wanna have a conversation with me ? POV MARA. They look down at Jasmine and Roy from the trees across the road. Watching over her. ROY : No wonder your dad left when you were a baby. Must have seen what was coming. Roy gets in the car. Jasmine smiles and waves at the Mara in the tress then enters the car. Roy looks in the rear view mirror. ROY : Who you waving at ? JASMINE : Just friends. ROY : You don’t have friends. POV MARA. They follow the car as it drives away. EXT. SCHOOL PLAYGROUND Jasmine walks towards the school entrance, other children are present but do not speak to her. 2 girls approach Jasmine from behind, singing a cruel song, as they get close they move to either side of her, take her arms and push her to the floor. They continue walking. The teacher looks over and hurries to Jasmine. KATE : Jasmine, did someone push you Jasmine ? JASMINE : Yes miss. KATE : Who ? JASMINE : Don’t know miss. INT. GWEN’S LIVING ROOM. Jack watches Gwen clearing up the mess left by the Mara. GWEN : In the whole of my working life I have never had to bring the bad times home with me. I have never had to feel thr*at in my own home. But not anymore because this means these creatures can inv*de my life whenever they fell like it and I am scarred Jack. Jack wanders around, looking at Gwen’s things, only looking at her when she admits fear. GWEN : What chance did Estelle have ? What chance do any of us have ? Jack does not answer, only shakes his head, not knowing the answer. GWEN : You said these creatures protect their own. JACK : Yeah. GWEN : You mentioned the chosen ones. What are they ? How many are there ? Jack does not answer and Gwen shouts, frustrated and afraid. GWEN : Tell me Jack ! JACK : All these so called fairies were children once. From different moments in time, going back millennia. Part of the lost lands. GWEN : Lost lands. What ? ! JACK : The lands that belong to them. Gwen struggles to remain calm, not to shout at Jack and demand clear answers. GWEN : What exactly do they want ? Why are they here ? JACK : They want what’s there’s. The next chosen one. EXT. SCHOOL PLAYGROUND Jasmine sits alone on a wooden fence near a tree, looking up into the trees. Other children run about playing and the 2 bullies stand a little distance away talking. They keep looking in Jasmine’s directions, planning their next torment. They then walk towards Jasmine. BULLY 1 : Hey you ! Did you tell on us ? JASMINE : No. BULLY 2: Yes you did. BULLY 1: Yeah, well maybe you need a good kickin’. They pull Jasmine from the fence and start to drag her away. POV MARA. Looking down on the scene. The bullies push Jasmine to the floor and start to kick her. There is a sound of wings and a breeze starts. Jasmine looks to the trees smiling. INT. THE HUB - BOARDROOM JACK : I wanna check on all unexplained deaths in the area. Toshiko works on a computer at the table. Ianto near to her looks at the large screen which currently shows a weather map. TOSHIKO : What’s the weather forecast for today ? Ianto looks at the map then turns to Toshiko, concerned. IANTO : Long sunny spells. TOSHIKO : It’s happening again. She zooms in and shows a scan of Coed Y Garreg Primary School, the map showing a severe gale directly over the school. EXT. SCHOOL PLAYGROUND The bullies cling to each other being buffeted by the wind. The other children scream. Jasmine laughs at the bullies, the wind not touching her. The bullies are trapped by the gale next to a tree while the other children run away. INT. THE HUB - BOARD ROOM Toshiko still working at her laptop, trying to understand the weather readings. TOSHIKO : I don’t understand it, it’s going crazy. JACK : Just leave it, lets go. Jack leaves moves to leave the hub. EXT. SCHOOL PLAYGROUND The bullies are buffeted by a gale of increasing strength. Kate runs through the crowds of children fleeing the area and tries to get to the bullies struggling against the wind, dodging a tree branch as it falls. She gets to the girls and wraps her arms protectively around them KATE : Hold on to me. She looks over towards Jasmine who remains standing smiling at the revenge being taken by the Mara on her behalf. EXT. JASMINE’S GARDEN Roy nails planks into a fence at the bottom of the garden to prevent Jasmine entering the wood. POV MARA. Flying towards him. EXT. SCHOOL - FRONT GATES The Torchwood SUV pulls up in the grounds. Children are being taken home by their parents as Torchwood walk towards the entrance. Gwen lagging behind sees the debris littering the playground and 2 people with bin bags clearing up. As she jogs towards them the Mara watch her. Gwen looks up and seeing them runs back towards the school building. INT. SCHOOL - CORRIDOR Owen, Tosh and Jack walk down the corridor with Kate who is wrapped in a blanket. KATE : I’ve never seen anything like it. It was so sudden then it just, it just ended. TOSHIKO : Kate, is it ? OWEN : Was anyone hurt ? KATE : No. Two children were almost scarred to death but they’re okay. Gwen runs towards Jack who is walking behind the others. JACK : what is it ? Gwen whispers to him so Kate cannot hear. GWEN : I saw them. KATE : And there was little Jasmine in amongst it all. She hadn’t been touched. The sun was shining down on ‘er. It was like an aura. Something protecting ‘er. JACK : Who is Jasmine ? KATE : Jasmine Pearce. She’s a student of mine. JACK : Where is she now ? KATE : We’re sending all the children home. We have to. JACK : Okay, thanks. Kate walks away. GWEN : The chosen one. JACK : Yeah. EXT. JASMINE’S GARDEN. Lynne and Roy’s party is underway in the garden, Roy walks through greeting guests. INT. JASMINE’S KITCHEN Jasmine is putting food onto a plate, helping Lynne. LYNNE : Musta been scary at school today. JASMINE : It was fine. LYNNE : Roy said you seen some of your friends this mornin’. He said you waved at them. Only Roy said when he looked he couldn’t see anyone. JASMINE : That’s because they were in the trees. LYNNE : Trees ? What trees ? JASMINE : The trees along the road. LYNNE : Is this one of your games Jas ? JASMINE : No. EXT. JASMINE’S GARDEN Roy drinks beer and puts food onto a barbeque. Happy. INT. JASMINE’S KITCHEN LYNNE : So, who are they ? JASMINE : Just friends. LYNNE : You should invite them to the party. JASMINE : They don’t like parties. LYNNE : I’m not surprised if they live in trees. JASMINE : Oh, they don’t all live in trees. They can be anywhere and everywhere. They can even be in this room. LYNNE : In this room ? When ? JASMINE : Now. LYNNE : Don’t be silly Jas. Where did you meet these friends ? Musta met them somewhere. JASMINE : They said they’d always look after me, even through time. LYNNE : Why did they say that ? JASMINE : I forget. Lynne looks concerned at Jasmine but says nothing else, instead taking a bowl of salad outside. Jasmine follows her. EXT. JASMINE’S GARDEN Roy talks to one of the guests. ROY : Oh yeah, got big plans for this place. Gonna extend the patio, landscape this garden. He looks over and sees Jasmine with a plate of food, going to the table. ROY : Cummon Jas, hurry up with that food, people’re hungry. Lynne comes over and Roy puts an arm around her shoulders. GUEST : So, when you gonna name yer date Roy ? ROY : Ooh, never. Can’t afford to keep her. Jasmine walks past them, further into the garden and sees the newly erected fence at the bottom. Dismayed she runs to it, watched by Roy. She grabs at the planks trying to move the fence. JASMINE : No ! No, please no ! Roy walks around the hedge partially concealing the fence. ROY : Jas, get away. JASMINE : You can’t do this, it’s my own place. It’s mine. Roy grabs her arm to pull her from the fence. ROY : I said get away. Jasmine kicks Roy savagely in the shin and bites his arm hard. Roy slaps her round the face in response ROY : You little bitch ! Thunder rumbles loudly and the previously sunny sky begins to darken a little, but not enough for people to begin moving inside the house. Roy walks back round the hedge into the garden and stands next to Lynne. LYNNE : (Indicating the sky) That’s all we need. ROY : Just a bit of bad weather, it’ll pass. A strong breeze starts. EXT. A STREET The SUV speeds down Old Forrest Road towards Jasmine’s house. EXT. JASMINE’S GARDEN Roy is talking and laughing with guests, Lynne enters the garden from the house. LYNNE : (To Roy) Where’s Jas ? ROY : Oh I, she’s around. He leans in and kisses her, then walks a little distance away to make a speech. ROY : Now, ladies and gentlemen, ladies and gentlemen, can I have your attention please ? As you all know, today is a very special day. Lynne and me have been together now for the past 5 years and not only is she my partner, but she has also been my rock and my best friend, and now we’re looking forward to having children of our own. A sudden gust of wind starts and as Lynne and the other guest look up they see Mara perched in the trees high above them. LYNNE : Oh my God ! Lynne and the other guests start screaming. Mara jump down from the trees into the garden behind Roy. One Mara leaps towards the other guests herding them back into the house. The Mara are tall and emaciated with elongated limbs. Small wings flutter on their backs. They move like grasshoppers, bounding across the ground. The guests scramble over each other trying to escape while Jasmine looks on smiling. Jack, Gwen, Owen and Toshiko enter the garden from the side of the house and try to direct the guests out of the way. JACK : Come on move. Go, go. Get out ! A single Mara att*cks Roy, swiping at him. LYNNE : Roy ! Another Mara smashes through the fence blocking the wood from the garden and chitters. The Mara attacking Roy pushes him to his back and jumps to crouch on his chest. The Mara puts a hand over Roy’s face, positioning itself and then leaning back plunges it’s hand and arm into Roy’s mouth and down his throat, almost up to it’s shoulder. Jasmine laughs, enjoying the sight. Another Mara leaps towards Jack and Gwen. It puts a hand around Jack’s neck and clings to his side to gain leverage. GWEN : No ! She shoves Jack to the side, knocking the Mara from him. Jack grunts in pain as he hits the floor. The Mara attacking Roy withdraws it’s arm - Roy is d*ad. The Mara chitters to the other creature. They fly away together, their purpose dealt with. Jasmine takes a last look at her mother and goes through the hole in the fence, into the woods. Jack and the others look around, wondering at the sudden disappearance of the Mara. Lynne looks at Roy, d*ad on the floor and pulls away from Toshiko who has been holding her back. She kneels next to Roy crying, confused and shocked. Jack and Gwen leave quickly and follow Jasmine into the woods. Owen remains briefly next to Lynne, wanting to help but unable to. Jack and Gwen approach Jasmine and she speaks to them without turning round. Sincere. JASMINE : Do you know you’re walking in a forest ? She turns to look at them. JASMINE : Well you are. It looks like a very old forest, and it’s magical. I want to stay in it. JACK : You can see this forest ? JASMINE : Yes. JACK : But it’s not here. It’s just an illusion Jasmine. It is. Jasmine shakes her head at Jack. JACK : Your friends are just playing a game with you. Jack’s voice gets louder and he looks into the trees, addressing the Mara as much as Jasmine. JACK : The real forest can never come back. JASMINE : Oh it can, when they take me to it. Gwen leans down to speak directly to Jasmine, looking upwards as she does so. Cautious of the Mara. GWEN : They told you this ? Jasmine nods. GWEN : But what about your mother ? Don’t you want to stay with her ? Jasmine shakes her head and Gwen jumps back as the Mara move about in the trees above. Jack takes her place, speaking to the Mara. JACK : The child isn’t sure JASMINE : I am sure. Jack grabs Jasmine, an arm around her chest pulling her close. She looks up at the Mara. JACK : Leave her alone. Find another chosen one. MARA : Too late. She belongs with us. JACK : The child belongs here ! MARA : Never. She lives forever. Lynne walks to the bottom of the garden, but is quickly pulled back by Toshiko and Owen. LYNNE : Jas ! Where’s Jas ? TOSHIKO : Wait. Lynne tries to struggle away from them, suddenly afraid for her child’s wellbeing. LYNNE : No. Let go. My daughter ! JACK : Suppose we make her stay with us… JASMINE : Then lots more people will die. GWEN : they tell you that ? JASMINE : They promised. MARA : Come away, oh human child. Jasmine starts struggling against Jack’s hold, but he holds he shoulders easily. The Mara move closer to them. JASMINE : Next time I’ll k*ll everyone at my school like I k*lled Roy, and that man, and your friend. GWEN : How do you know these things ? JASMINE : If they want to they can make great storms, wild seas, turn the world to ice. k*ll every thing. Let me go. JACK : The child won’t be harmed ? GWEN : Jack you can’t ! JACK : Answer me ! She won’t be harmed. MARA : Told you, she lives forever. JASMINE : d*ad world, is that what you want ? Jack crouches down and speaks directly to Jasmine, a last attempt to stop the Mara taking Jasmine. JACK : What good is that to you ? There will be no more chosen ones. JASMINE : (With the Mara’s voice) They’ll find us, back in time. Jack strokes the child’s face, staring to cry, he knows he cannot save Jasmine. She does not want to be saved. He lets her go and Jasmine walks towards the Mara. JACK : Take her. The Mara fly down from the trees, they now appear as small glittering fairies. Gwen tries to run past Jack but he grabs her arm to stop her. GWEN : Jack, no ! JACK : You asked me what chance we have against them for the sake of the world this is our only chance. Jasmine walks away through the wood, sunlight passing through the trees. She turns and looks at Jack, smiling. JASMINE : (With Mara’s voice) Thank you. Jack watches Jasmine skip away, the fairies chasing her. Lynne runs towards them, followed by Owen and Toshiko and she sees Jasmine leaving. LYNNE : Jas ! As she watches Jasmine disappears. LYNNE : Jas ! Lynne runs a short way into the trees, calling after Jasmine, then turns and sees Jack. Blaming him she throws herself at him flailing her fists that Jack holds back, she screams at him incoherently as grief takes hold she collapses to the floor, screams becoming wails of pain as Jack holds her. JACK : I am so sorry. EXT. FRONT OF JASMINE’S HOUSE. They walk away from the house to the SUV. Jack turns to the others and they stride past, angry at his actions. JACK : What else could I do ? INT. THE HUB - BOARD ROOM Pictures of fairies litter the desk. Gwen gathers them in silence. Behind her a picture appears on the screen, she turns to look and zooms in on the face of one of the fairies. It is Jasmine. END CREDITS GUEST CAST : Estelle Cole - Eve Pearce / Jasmine Pearce (and fairy voices, uncredited) - Lara Philliart / Lynne - Adrienne O’Sullivan / Roy - William Travis / Goodson - Roger Barclay / Kate - Heledd Baskerville / WPC - Ffion Wilkins / Custody Sergeant - Nathan Sussex / Man in street - Paul Jones / Bullies - Sophie Davies and Victoria Gourlay.

{"type": "series", "show": "Torchwood", "episode": "1x05 - Small Worlds"}

foreverdreaming

Opening sh*ts and series recap. JACK : (VO) Torchwood. Outside the government, beyond the police. Tracking down alien life on earth and arming the human race against the future. The 21st century is when everything changes and you gotta be ready. EXT. A COUNTRY ROAD - NIGHT A long, narrow Country road stretches into the distance, flanked by grassy heath land. A car comes into view, approaching the camera, it’s headlights shining through the overcast darkness. A phone rings. INT. THE SAME CAR - NIGHT A young woman, Ellie Johnson, driving alone, answers her mobile phone. ELLIE : Dad ? I dunno, hour an’ a half tops. I’ll be there as soon as I can. I can’t hear you… the signal’s goin’ The signal is lost and Ellie looks at the phone before hanging up and dropping it on the passenger seat. As she looks up she slows the car. CUT TO - Ellie’s POV. A person lies in the road, lit by the car’s headlights. A man, lying on his side facing away from the car, his hood pulled up. Ellie stops the car and looks concerned. She is very aware that she is alone in the countryside at night. She exits the car slowly and picks up a baseball bat from the side of the seat. She walks towards to figure in the road, holding the baseball bat ready to swing. She knows it could be a trick. ELLIE : Hello ? Are you alright ? When she nears the figure she prods it with the bat. A shape rushes between Ellie’s turned back and the car, unnoticed. She prods the figure again and the head rolls towards her to reveal a football stuffed inside the hood. She hears a noise behind her and turns, baseball bat raised as she hurries back to the car. In shock she sees her tyre is flattening, the air seeping out as she watches. She looks about her before entering the car. She goes to start the engine but the keys are no longer in the ignition... She begins to check the passenger seat, then pausing, she locks the door and picks up her mobile phone. There is still no signal. ELLIE : Come on ! She throws down the phone, starting to cry in panic. She hears the screeching of metal on the car roof and looks around, trying to see up through the metal. The car beeps and the doors unlock, as she turns a figure opens the door beside her. She tries to scramble to the passenger seat and she is grabbed, screaming. OPENING CREDITS EXT. SAME ROAD - DAY The Torchwood SUV travels down the road. OWEN : I ‘ate the countryside. Jack is driving the car, Owen beside him looking deeply unhappy. Ianto, Gwen and Toshiko sit in the rear. OWEN : Dirty, it’s unhygienic and what is that smell ? GWEN : That would be grass. Owen turns to look at her. OWEN : It’s disgustin’. EXT. MOBILE BURGER BAR - A LITTLE LATER The SUV is parked on the grass at the side of the road. A map rests on the bonnet. JACK : 17 disappearances within the last 5 months. Police are clueless. OWEN : Now there’s a surprise. No offence PC Cooper. He laughs, holding his hands out in surrender before he wanders away, Gwen smiling at his teasing. JACK : The last known whereabouts of each one is somewhere around here. Jack points at a spot on the map. Gwen and Toshiko inspect the map with him. TOSHIKO : All within a 20 mile radius. GWEN : Anything else linking them ? JACK : None of the bodies have ever been found, these people just fell off the radar. No patterns in age, sex, race. One minute they’re here, the next pfft, gone. GWEN : The rift doesn’t spread out this far does it ? JACK : We don’t know that much about it to be certain, and it’s increasing in activity all the time. OWEN : Oh come on ! Alien’s aren’t gonna bother hangin’ round out ‘ere. Probably some sort of weird su1c1de club with people choosing the same spot to end it all. Ooh, God knows if I ‘ad to spend too long up ‘ere I’d wanna top myself. Ianto walks over to them from the van, and hands a burger to Owen. IANTO : ‘ere you go. He walks to the SUV to hand the other’s their food while Owen shakes his burnt hand from his glove. IANTO : Careful. They’re hot. Sure you don’t want anything Tosh ? TOSHIKO : Really sure. A friend of mine caught hepitius off a burger from one of these places. Gwen and Ianto stop eating after the story, Jack puts his burger on the bonnet with a sigh. JACK : We’ll start with the most recent victim, Ellie Johnson. We last have record of her making a phone call, she dropped out of signal mid call. Coverage map has her placed somewhere about here. Jack indicates a place on the map. JACK : Looks as good a place as any to set up camp. Owen stops with his burger halfway to his mouth at Jack’s words. OWEN : Sorry. Did you say camp ? Jack smiles at Owen’s hatred of the idea. EXT. COUNTRYSIDE - EVENING The SUV is parked in an area of short grass between rocky hills. Jack and Owen carry ca tent between them from the boot. OWEN : What’s the matter with a hotel ? They walk past 2 already erected tents. JACK : People are going missing around here. Do you really wanna stay in a place run by strangers ? OWEN : Oh, cos sleeping outside’s gonna be a lot safer ! JACK : No other race in the universe goes camping. Celebrate your own uniqueness ! Owen drops his side of the tent in frustration, Jack walks back to the SUV leaving Owen with the bagged up tent. OWEN : What am I supposed to do with this ? ! TOSHIKO : Need a hand getting it up, Owen ? OWEN : If I did, I wouldn’t ask you. Toshiko returns to putting up her own tent, upset by Owen’s comments. Owen ignores her feelings and kicks the tent bag. Gwen watches Toshiko walk to her tent, unsure of the situation. CUT TO : POV cannibal. Looking from one of the surrounding hills, hidden by tress, the cannibal watches Owen struggling with his tent in increasingly windy weather. OWEN : Some pieces are missing ! IANTO : No, I’ve checked. The cannibal watches Ianto go towards his tent then looks at the open SUV. CUT TO : CAMPSITE - LATER Owen is still struggling to put up his tent. Toshiko, Ianto and Gwen sort through their other equipment. GWEN : Oh come on ! It’s just a bit of fun. Who was the last person you snogged ? OWEN : You even sound like an 8 year old. Who the hell says ‘snog’ ? Jack sits in the SUV watching the hills, checking his wrist cuff and ignoring the others. GWEN : Mine was Rhys. OWEN : Yeah, well, there’s a surprise. GWEN : Tosh, your go. TOSHIKO : It’s easy for you. GWEN : Oh, come on. Spill the beans ! Ianto carries a table towards them, clearly not wishing to join in the conversation. TOSHIKO : Owen. OWEN : What ? GWEN : Really ? OWEN : Tosh, love, in yer dreams. TOSHIKO : 3 am. Christmas Eve. In front of the Millennium Centre, waiting for a cab. I had mistletoe. OWEN : Christmas. You’ve… not had a snog since ? TOSHIKO : No. They sit on crates around a table between the tents. OWEN : Well. Lucky me ‘aye ? TOSHIKO : So who was yours ? Owen grins, twirling a spoon. Gwen smiles at him then becomes sterner as she realises he will tell them about their kiss in the autopsy room. OWEN : Gwen actually. Jack looks over at them from the SUV, surprised at the revelation. Gwen is uncomfortable and Toshiko looks at Gwen then turns to Owen, pretending she doesn’t mind. TOSHIKO : When was this ? Owen just smiles at looks to Gwen, leaving her with the explanation. GWEN : It was complicated. TOSHIKO : Didn’t take you long to get your feet under the table. GWEN : What ? TOSHIKO : So, was it just a kiss or… Jack gets out of the SUV and starts to walk towards them. GWEN : Tosh. Leave it OWEN : Jack. JACK : Are we including non-human life forms ? GWEN : (Laughing) Oh, you haven’t ! OWEN : You’re a sick man, Harkness. That is disgusting. GWEN : I never know when he’s joking. Jack laughs. IANTO : It’s my turn is it ? Ianto looks at the floor as he speaks, clearly depressed but ignored by the others until he speaks. They look at him, Gwen still laughing at Jack. IANTO : It was Lisa. Gwen stops laughing and Jack glances at her. GWEN : Ianto, I’m sorry. IANTO : Sorry she’s d*ad or sorry you mentioned it ? GWEN : I just didn’t think. Ianto smiles to himself. IANTO : You forgot. Gwen looks to the others, wanting help but not receiving any. They sit silently for a moment. OWEN : We should get some firewood. Gwen stands with him, earner for the distraction. GWEN : I’ll give you a hand. Ianto watches them leave, then looks at Jack who meets his look silently, a little annoyed with him for raising the subject. Ianto looks away. EXT. WOODS - CONSECUTIVE. Gwen and Owen walks through a wooded area looking for firewood. Gwen walking ahead, Owen following her. GWEN : Couldn’t you ‘ave kept that to yerself ? OWEN : What’s the matter, you embarrassed ? GWEN : You’re such an arrogant shit sometimes Owen. OWEN : You see to my mind that was a good kiss, it was borderline great, so good in fact you’ve been avoiding me ever since. GWEN : Hah ! The country air’s making you delusional ! OWEN : How long did it last, 10 seconds ? And the things I can tell from that kiss… GWEN : Oh, like ? OWEN : Like your sex life isn’t up to much. Gwen grabs Owen by his jacket and shoves him against a tree, angry at his comment. GWEN : What ! OWEN : See although Rhys makes the earth rumble he don’t make it move does he ? GWEN : You better shut up before I lamp you one. Owen forces himself away from the tree and pushes Gwen against it I his place. He pins her tightly and speaks quietly into her mouth. OWEN : When was the last time you screwed all night ? Gwen tried to get a way but Owen hold her in place, she grabs him by the back of the head. As he talks to her she gets progressively more desperate to kiss him. OWEN : When was the last time you came so hard and so long you forgot where you are ? Doesn’t happen for you, too familiar. Whereas you and me, we’re not cosy at all. We’d be amazing. That scares the shit out of you. As they are about to kiss a figure walks through the trees a little distance behind them and Gwen hears a twig break. Gwen keeps holding the back of Owen’s head, speaking against his lips. GWEN : Some, someone’s watching us, through the trees. 50 yards north, I just saw them move. OWEN : You got your g*n ? GWEN : Yes. OWEN : You go to the left, I’ll go right. 3, 2, 1. Gwen snatches a brief touch of lips before the move to run through the trees, reaching for their g*n as they go. They search the tress but the figure has gone. Gwen is unnerved, pointing her g*n in the direction of every sound a bird makes. She spins at the sound of movement behind her and pints her g*n at Owen, who also points his g*n at her. OWEN : Bollocks ! How did we loose ‘em ? Gwen sees something in a clearing and points her g*n at it, Owen turns to do the same. They move cautiously towards a figure lying on the ground, covered in sheets. Gwen signals with her g*n for Owen to go first and he jumps around a bush to target the figure. Covered by Gwen he crouches down to move the sheeting with a stick, g*n still aimed with his left hand. He pushes back the sheet to reveal a skinned human corpse and pumps back. GWEN : Whoa ! Owen looks at the body, visibly choking back sickness as Gwen gasps in shock a little behind him. Flies are swarming the corpse. EXT. THE CLEARING - LATER Owen and Gwen have been joined by Jack and Toshiko. Gwen leans against a tree looking away while Owen inspects the body. Toshiko crouches near the body and Jack stands watching them. OWEN : Well, it’s not Ellie Johnson that’s for sure. This is a male, late 40’s 50’s… Owen points and the maggot ridden face of the corpse. Ianto wraps yellow crime scene tape around the trees to form a perimeter. OWEN : …wasn’t k*lled her. No blood splatter or signs of struggle. Must have been brought here after he died. GWEN : Why do that ? It’s not like they tried to bury him here. TOSHIKO : Maybe you distorted them and they ran away. IANTO : Maybe it’s a warning. Whoever’s responsible, marking out their territory. JACK : Cause of death ? OWEN : Impossible to say. Body’s been stripped of the flesh and body organs so all that’s left is a carcass. TOSHIKO : Could the Weevils have come out this far ? JACK : No. Weevil’s don’t finish off their victims like this. They hear a car start and they all look in the direction of the noise. GWEN : Is that ours ? JACK : Yep. They run from the clearing. Owen remains crouching near the body. EXT. THE CAMPSITE - CONSECUTIVE. The SUV is being driven over the tents. The team run towards the campsite and the thief drives away at speed. Owen, Toshiko and Ianto stop running when they reach the tents, picking up their belongings, Jack and Gwen continue running a short distance but they are unable to catch the SUV. OWEN : Alright I said I’m sorry ! While they argue Gwen gathers up some of the mess, Jack wanders around and Ianto tracks the SUV with a handheld device. TOSHIKO : Basic security protocols, Owen. OWEN : Oh get of your high horse Tosh I was carrying that stupid gear. TOSHIKO : What the whole time ? OWEN : Yeah. Then I was trying to put that bloody tent up, and then… yeah, I sort of… forgot that I’d left ‘em in there, but I’m sorry I’m human, I ballsed up. JACK : Looks like that body wasn’t a warning, more of a decoy. GWEN : That would mean we’ve been watched since we’ve arrived. JACK : Tosh, can you get a tracking signal ? IANTO : Already done. I took the liberty… it’s currently 3.4 miles west from here. OWEN : Travelling at 90 no doubt, you steel a piece of equipment like that, you drive straight on ‘til morning. IANTO : Actually no, it’s been stationary for the past 4 minutes, I’d go so far as to say it was parked. Gwen looks at a map. GWEN : There’s a small village in that area. Other than that, nothing for 30 miles. TOSHIKO : Call me suspicious, but this has all the hallmarks of a trap. JACK : Yeah. I was just thinking the same thing. Anyone fancy a walk ? Jack walks away, smiling and eager for adventure. The others look at each other before following. They walk slowly through the countryside before seeing a rundown row of 4 grey brick, two story, terraced houses in the middle of the hills. OWEN : Why would anyone want to live out ‘ere ? JACK : Has the SUV moved ? Ianto checks the tracking device and his watch. IANTO : Not for, an hour now. He starts walking towards the houses, the others following. EXT. HOUSES - LATER They walk in a line towards the houses then stop at the gravelled dirt track that runs in front of the houses. A water pump gushes water into a hole in the grass and a tractor is parked nearby. Tyres and metal barrels have been dumped carelessly around. Jack walks towards a pub - ‘The Tap House’ - in the middle of the row of buildings. INTERCUT WITH : Villager POV. Looking through the upstairs window of the two story building at the team approaching. Jack stops and turns round to face the others. JACK : Tosh, Ianto, follow the signal, find the SUV. Owen, Gwen. Lets see if there’s any room at the inn. Jack walks towards the pub followed by Owen and Gwen. Toshiko and Ianto walk away to go around the back of the houses. INT. THE PUB - CONSECUTIVE Jack opens the creaking door to the pub and enters. It is a small old fashioned pub, clearly converted from the living room of a house. There are no people in the bar. Wooden chairs and tables are placed around the dark room, the only light entering through the window at the far end of the room. Jack turns on his torch to look around, Gwen and Owen follow his lead as they close the door behind him. Jack indicates where Gwen and Owen should go with his torch then moves away silently. Gwen moves behind the bar, looking around. Owen approaches the customer’s side of the bar. OWEN : Pint of best please love, and erm… yeah get one for yerself. He grins at Gwen who looks put out by his constant joking, Jack smiles at them then returns to his searching without passing comment. Owen moves away from the bar and Gwen opens the old fashioned till which tings as the cash drawer opens. Jack turns at the noise. Gwen pulls out a handful of £10 notes then looks at the others. GWEN : Where is everybody ? Jack moves away and moves his head to indicate Gwen should follow. Jack moves cautiously through a narrow tunnel-like corridor, his g*n ready. Owen continues searching the bar. Jack finds an open door and enters, nodding that Gwen should continue moving down the corridor. Gwen enters a filthy kitchen which buzzes with flies as she searches the room she looks up to see a mosquito catching light near the ceiling. Below it lies the blood covered, partially skinned corpse of a woman. Gwen lowers her g*n then wretches over the sideboard. Jack enters quickly upon hearing the noise. JACK : You okay? Gwen doesn’t look up but waves her hand in the general direction of the body. GWEN : In there. Jack moves past her to look. As he does so Owen approaches from the corridor, not knowing what’s happening but seeing Gwen still dry heaving near the door. OWEN : Burger comin’ back to haunt ya ? He walks past Gwen to stand next to Jack. He sees the body and looks on, sickened. OWEN : Oh my God. Oh my God… A noise is heard outside the room and Jack runs towards it into the corridor, back towards the bar. JACK : Gwen… Gwen turns to follow him. Jack runs down the stairs, Gwen following. EXT. THE PUB - CONSECUTIVE Jack exits the pub, searching with his g*n. Gwen runs outside past him, heedless of any danger. They run over the narrow road and scan the frontages of the houses. CUT TO : POV VILLAGER. The villager watches Jack and Gwen from behind a tree. He is behind them facing the houses. Jack continues scanning the houses, Gwen doubles over, dry heaving again in the fresh air. She stands and lifts her g*n, futilely circling around. GWEN : Jack. Jack, please, something’s goin’ on here. Jack nods towards another house and moves towards it. JACK : Let’s take a look in here. Come on. Jack stands with his back leaning against the wall to one side of the front door of the next house. Gwen Leans against the door, one hand ready to open the door by the handle, the other holding her g*n ready. JACK : 1, 2, 3… POV house interior. Gwen opens the door and enters the living room, g*n first. She moves forward and Jack enters the house behind her. The house is like the pub – clearly lived in but dark and empty. Gwen move forwards and steps in something. She looks down to see a small pool of blood, she steps forward slightly and sees something in the room beyond. Jack moves to stand beside her. JACK : What is it ? GWEN : There’s another body in there. JACK : Same as the other. Jack keeps glancing behind him through the open front door while Gwen keeps her attention on the body in the other room. GWEN : What did this Jack ? ‘Cause whatever it is, it can’t be human, how far is this gonna spread ? JACK : Stay focused. Jack unwilling to calm Gwen’s growing fear of the situation moves to the front door to check the exterior of the house. GWEN : I should be at home having dinner with Rhys. What am I doin’ here with you ? Don’t you ever get scarred Jack ? Huh ? Gwen turns to look at Jack when he doesn’t answer her wanting him to understand her fear and needing an explanation. JACK : There’s another two houses, we better take a look. Jack moves outside. Gwen stays in the house looking at the body. INT. THE PUB - CONCURRENT Owen examines the body in the kitchen of the pub, looking sickened still. OWEN : Oh, whatever they were, I hope you put up a good fight. EXT. HOUSE - CONCURRENT Ianto and Toshiko follow the SUV tracking signal and walk up a hill towards a larger house which stands alone. It’s windows have been boarded up but a couple of the windows on the second floor have been smashed and are open to the elements. IANTO : It’s just half a mile up ‘ere. Toshiko looks at Ianto. Still in an ill mood from the previous conversation and further annoyed that Ianto is doing her job Toshiko takes the tracking device from him. TOSHIKO : At least we’ve still got this. Ianto smiles, letting her take over. TOSHIKO : The rest of my stuff was in the vehicle. CUT TO : POV VILLAGER. A villager hides behind a stone wall close by and watches them approach the house. Toshiko kicks over a metal can lying in front of the house and looks inside while Ianto pushes at the front door - locked. As he rattles the door a brief scream is heard and they both look towards the noise. TOSHIKO : What was that ? IANTO : Just a… a fox or something. Check round the back. Ianto walks around the wall outlining a front garden at the house and towards the rear of the property. Toshiko pauses for a moment before moving. TOSHIKO : Yeah. Toshiko moves cautiously around the house, walking around the opposite side to Ianto. As she moves along the side of the house, she hears the same screaming noise again behind her and turns to look. She draws her g*n and puts her back against the wall of the house. Continuing towards the rear again, checking as she reaches the corner of the back wall of the house. d*ad pheasants and rabbits have been hung along the back wall of the house and from a tree near by. Toshiko sees the back door and checks the handle. This door is also locked. She kicks it but it does not open. Ianto walks around the corner of the house towards her, his head down. Toshiko points her g*n at him, not recognising him at first. Ianto puts his hands out to show he’s unarmed and Toshiko lowers her g*n, smiling at him with nervous relief. She turns to look out at the hills behind the house. Ianto climbs over a low wall and walks a short distance up the hill, surveying the area. He points ahead and speaks to Toshiko, his back to her. IANTO : We should carry on straight up there. He receives no reply and turns to look. Toshiko is not there. IANTO : Tosh ! Ianto draws and cocks his g*n. IANTO : Tosh ! Tosh ! Okay… He whispers to himself, trying to find courage as he moves back towards the house and down the narrow passageway between the house and the outhouse. As he nears the front of the house a figure passes the path behind Ianto who turns at the noise, ready to sh**t. As he moves forward a figure runs behind Ianto and pushes him to the floor, knocking the g*n from his hands. Ianto turns to look at his attacker. EXT. THE HOUSES - CONSECUTIVE. Jack slams open the door of another house and moves outside, followed by Gwen. They move to the next door along, still checking with their g*n. Gwen still nervously aiming at every noise. As before Jack leans against the wall to the side of the door, ready while Gwen positions herself to open the door. He pulls at it but unlike the others it doesn’t open. JACK : Locked ? GWEN : Locked. Gwen pulls harder at the door and opens it a small way - it is locked only by a chain. She looks through the crack into the house. She pushes the door closes then uses the momentum to pull the door open. As she opens the door a sh*t fires and Gwen is thrown backwards. Jack looks through the door then back to Gwen lying in the floor. JACK : Gwen ! Gwen ! Gwen ! Gwen ! She does not respond but is alive. Kicks open the door of the house and aims his revolver at a young man, Kieran, standing on the stairs pointing a g*n. JACK : Put the g*n down on the floor ! Put the g*n down on the floor. Kieran looks terrified and obeys, putting the g*n down slowly. Gwen is seen rolling around, unable to stand properly, coughing before the door swings shut. KIERAN : Look. I thought you were them. I thought you’d back for me. JACK : Thought who’d come back for you ? Kieran doesn’t answer, instead sits on the stairs crying, defeated. JACK : Who ? ! CUT TO : Gwen lies on here back in front of the house, loosing consciousness. As her eyes close she hears Owen calling her. OWEN : Gwen ! Gwen ! POV. VILLAGER : Owen runs to crouch next to Gwen and Jack exits the house He holsters his g*n as he helps Owen pick Gwen up. JACK : Kid h*t her with a g*n. Get up, got you. I got ya, I got ya. Jack takes Gwen from Owen and carries her to the house, Owen running in first to hold open the door. JACK : Get in. INT. HOUSE - CONSECUTIVE Owen throws things from the kitchen table to clear space for Gwen. Gwen is conscious and moaning in pain as Jack puts her on the table and leaves the room, running past the man who stands in the living room watching the scene. JACK : Okay, I’ll check upstairs. OWEN : Okay, head. Owen lifts Gwen’s head to put a pillow underneath and Gwen tries to grab for him as he gets things from his bag, rushing to help her. GWEN : Owen. OWEN : Bet you thought you’d never be glad to see me. Gwen rolls to her side and Owen pulls her back having to fight her struggles. OWEN : Alright ! GWEN : No, please… OWEN : Alright ! Owen grabs Gwen’s wrists to stop her moving. OWEN : Listen. Listen ! I’m gonna have a look at your wound now, okay. Keep calm. Gwen grabs the wound in her side, not wanting Owen to look at it, not wanting to know how bad it is. OWEN : Hands off. Hands off. GWEN : No don’t please, don’t… OWEN : Okay… He pushes her hands away and pulls up Gwen’s top to check the wound. A mess of small holes have punctured her side - buckshot rather than a b*llet. OWEN : Right. Could’ve been much worse. Gwen struggles to look and Owen puts a large piece of gauze against the wound. OWEN : Hold this. Apply pressure. Gwen presses the gauze to the wound as instructed, crying out in pain while Owen looks at the wound. OWEN : b*ll*ts are lodged near the surface, you’ve been bloody lucky girl… Kieran looks on from the other room. Upset at his actions, unable to help. OWEN : …Another inch to the left, any one of your vital organs might ‘ave been… Gwen looks up at his terrified and Owen just waves away the rest of his sentence. OWEN : Anyway… Owen picks up a syringe and shows it to Gwen. OWEN : Want a quip about feeling a small prick ? GWEN : No but thanks for offerin’. Gwen tries to laugh against the pain. OWEN : Here we go. Owen injects the wounds to anesthetise them while Gwen holds tightly to the back of his jacket, gritting her teeth against the pain. OWEN : Okay, all done. GWEN : God ! OWEN : Okay, lets get the pellets out then. Right, there’s gonna be a certain amount of residue, so just lie back and think of Torchwood. Owen starts removing the pellets. Gwen rests her hand across the back of his neck, focussing on him to relax. GWEN : Do you miss being a doctor ? OWEN : Excuse me. I still am a doctor. I just don’t deal with patients any more, that’s all. It’s ideal. That was the bit I always hated. Owen pulls a large pellet from Gwen’s side and holding it with the tweezers holds it up to her, in a direct line with her face, he looks at the pellet and Gwen. OWEN : You beauty. Come on, I’m good. GWEN : Not bad. He gives Gwen half a smile then returns to taking out the pellets. Gwen lies back facing away. Jack runs downstairs to them carrying a g*n which he rests at the side of the stairs. JACK : What’s taking Tosh and Ianto so long ? OWEN : Jack, give ‘em a chance. The SUV might be locked up or under guard. KIERAN : Or they could be d*ad ! Well everyone else is ! JACK : Sit down. Tell us what happened here. KIERAN : It’s not human. Look my mum won’t know what’s happened… He tries to stand and Jack pushes him back down on the chair, not finished talking yet. KIERAN : They weren’t expecting me back for the weekend. JACK : Look, we’ll get you home, okay ? KIERAN : What are you gonna do ? You can’t fight them, they’re too strong ! He stands and moves towards the door, Jack dragging him back to the chair again. KIERAN : The only thing we can do is barricade the door. JACK : No ! We’ll make base at the pub. OWEN : What about Tosh and Ianto. Shouldn’t we go after ‘em. JACK : Not ‘til we know what we’re dealing with. OWEN : What if it’s too late ? JACK : They’re not children. They know what to do. Lets go. Jack moves into the kitchen towards Gwen and Owen puts out a hand to stop him. OWEN : No, it’s alright. I’ve got her. Jack spares a glance at Owen claiming his territory before running out of the house. Owen helps Gwen get off the table and moves to pick her up before Gwen stops him GWEN : Yeah, er, Owen. Owen, I can do it on my own. Gwen tries to take a step and stumbles. Owen catches her before she can fall and she turns to look at him, about to kiss him. KIERAN : Look, I’m sorry about your friends. They both stare at him, unspeaking. INT. BASEMENT CELL - CONSECUTIVE Toshiko lies on the dirty concrete floor of the makeshift cell. Light shines in through an opening in the wall. She sits up stiffly, rubbing her neck - she has just regained consciousness. Ianto sits nearby on a box holding a meat hook, watching her nervously. IANTO : You know. I’ve never liked camping. Don’t bother, they took the g*n. Toshiko finds her g*n is missing but pulls a torch from her sock and looks around the room. Boxes are scattered around the floor and broken doors and junk lies against the walls. A few chains hang down from the ceiling in the centre of the room. TOSHIKO : Charming place they’ve got. IANTO : Judging by the sound reverberations and the air quality, pretty deep underground. Chances of rescue… ? Toshiko checks the walls and door, looking for a way out as she speaks to Ianto, not sounding worried while Ianto is clearly scarred. TOSHIKO : We won’t need rescuing ! I haven’t met a cell yet I couldn’t get out of. IANTO : What were they ? TOSHIKO : Don’t know. Happened too quickly. You worried ? IANTO : Huh. A little. Toshiko looks up at the opening where the light shines in. It is at the top of a steep metal sh**t - like the entrance to a pub cellar where the barrels are rolled down. She lifts her hand and it is covered with blood. IANTO : That body we saw in the forrest… TOSHIKO : Don’t think about it. See if you can get that light to work, huh ? Ianto stands up and shines his torch on the chains hanging hear by, trying to fix the light. IANTO : You’re used to this aren’t you ? That facial expression you all share. When things get a bit out of control, like you enjoy it. Like you get a high from the danger. TOSHIKO : You want me to apologise for that ? IANTO : Don’t you ever wonder how long you can survive before you, you go mad, or, or get k*lled or lose a loved one… TOSHIKO : It’s worth the risk ! To protect people… IANTO : And who protects us ? ! Toshiko looks away, unable to answer him. TOSHIKO : Well, I’m hurry. IANTO : You should’ve ‘ad that cheeseburger. TOSHIKO : Not that hungry. What’s that... ? IANTO : You found something ? TOSHIKO : It’s just a shoe. Wait… there’s another. She shines her torch into the cubby hole and sees shoes piled carelessly. TOSHIKO : Dozens of them. IANTO : Oh my God. TOSHIKO : How many people have been down here ? IANTO : And what happened to them ? TOSHIKO : Fridge… She moves over to the large, steel refrigerator and opens the door. The light from the fridge reveals body parts inside and she shuts the door quickly, afraid. IANTO : Tosh ? What is it ? What’s in there ? She doesn’t answer and he moves towards her, to look for himself. IANTO : Tell me. Toshiko steps in front of him to stop him from looking. TOSHIKO : Ianto, don’t ! He pushes her aside and strides to the fridge. IANTO : I wanna know ! He looks inside the fridge and freezes, trying to take in the sight. TOSHIKO : That’s why there was nothing left on the body. They need to eat. We’re food. INT. THE PUB - CONSECUTIVE. Owen picks up chairs and carries them across the room. OWEN : If we barricade ourselves in, what happens to Tosh and Ianto ? JACK : Why are we still talking about this ? Tosh and Ianto can look after themselves. The kid is our first priority now they’ve already been for him once, they’re not gonna give up that easily. Kieran lies on the pub seating near the wall, holding his g*n. Gwen writes on the blackboard next to the dartboard while Owen and Jack pile furniture against the door. GWEN : So, have we ever heard of a species that strip human bodies of flesh and organs ? OWEN : What are you doing ? You need to rest. GWEN : Compiling what we’ve got. Seeing if it helps. Owen nods at her, knowing he will be unable to change her mind he returns to work. JACK : We have to assume the others who disappeared have been k*lled too. GWEN : So you think there’s been seventeen deaths. JACK : At least, these aren’t casual K*llers. OWEN : Okay, so all this means the rift is spreading and it’s dumping aliens and psychos wherever it goes. JACK : Looks like that. OWEN : Great. This conversation’s cheated me up no end. A figure moves past the window and Gwen turns to see it and gasps. GWEN : Did you see that ? Owen stands next to her, g*n aimed at the window. JACK : Somebody outside ? A glass smashes outside the other window and Owen changes his aim. OWEN : Was that the same one or different ? Gwen picks up her g*n and aims alongside Owen while Jack peers out of the windows trying to see who’s there. Gwen looks around at Kieran who lies asleep behind her. GWEN : He said they’d come back. JACK : Lets not jump to conclusions. We don’t know who they are or what their intentions are. The power is cut and they are left in darkness. OWEN : I’m thinking that’s not a good sign. Jack walks behind the bar to get the power back on. Owen and Gwen remain in the bar. There is a bang at the door and Kieran wakes up. GWEN : They’ve come back. Kieran, listen to my voice okay ? Just come back. Kieran ! Jack looks on from behind the bar. Watching the door rattle he reaches for his g*n. The rattling stops and they look around, wondering where their adversaries have gone. The handle of the padlocked cellar door next to Jack moves and he turns towards it, aiming his g*n. Gwen and Owen behind him at the end of the bar aim in the same direction. JACK : Okay, so we didn’t check the cellar. Jack holds the door shut with his shoulder. KIERAN : You can’t let them in ! GWEN : Kieran back to the door ! Kieran moves him aim back to the front door. KIERAN : Don’t let them b*at ya ! OWEN : Got this under control. KIERAN : You don’t understand. You don’t know what they’re like ! Kieran sh**t at the front door. GWEN : Kieran ! The chairs tumble from the front door as the door Jack is trying to hold closed opens. Jack steps back and sh**t into the cellar. The front door opens and sh*ts shatter the bottles at the back of the bar. Gwen, Owen and Jack crouch behind the bar. Kieran lies on the floor, only his head and torso in sight, the villager’s have his legs. Jack sh**t at them over the bar. KIERAN : No, please ! Please, no, no, not me ! GWEN : Kieran ! Kieran is dragged out of the pub. Jack crouches next to Gwen behind the bar, blocking her path. JACK : It’s pitch black you don’t have any tracking devices, do you wanna get yourself k*lled ? GWEN : Get out of my way ! JACK : Look, whatever’s in that cellar took three b*ll*ts, I heard it fall. Once we know what it is then we’ll know how to deal with it. GWEN : You do that, we’ll go after Kieran and the others. JACK : You are wounded. GWEN : Do you think that’s gonna stop me ? Jack knowing Gwen has made up her mind nods towards the door and lets her have her own way. JACK : Be careful. Owen looks questioningly at Jack as Gwen leaves the pub. JACK : Go. INT. THE CELL - CONSECUTIVE Toshiko and Ianto check the door, trying to escape. TOSHIKO : Got to be three steel bolts, top, middle and bottom. IANTO : How are you at calculating target stress points ? Find the weakest point, bit of brute force… TOSHIKO : Nice thought, but it’s reinforced. Ianto kicks at the door anyway while Toshiko looks through the debris on the floor of the cell. As Ianto kicks a light shines through the small viewing hole in the door and Ianto throws himself to the side of the door, out of sight. Toshiko crouches on the other side, holding a piece of metal as a w*apon. The door creaks open and a woman with a sh*t g*n enters. Ianto jumps behind her and tries to wrestle the g*n from her. The g*n fires and she jabs Ianto in the stomach with the butt of the g*n, making him fall to the floor. Toshiko stands in front of her, holding a piece of metal ready to strike. The woman is middle aged, plain and functionally dressed. HELEN : Look at me, you idiot, I’m not gonna hurt you. TOSHIKO : You’ve got a g*n ! HELEN : I promise. I promise. Helen backs towards the door, the g*n held in one hand towards the ceiling, the other hand held out calming to Ianto and Toshiko who stand ready to att*ck her. TOSHIKO : Okay, give us some space. HELEN : Thank you. She looks towards Ianto and starts moving slowly towards him as she speaks to him as if she is trying to calm an animal or unruly child. HELEN : Were you injured, when they took you ? Let me see, I’m a nurse. She reaches up towards his face and Ianto flinches away from her. HELEN : Okay. Okay. She moves back from Ianto and takes a step towards Toshiko who readies her metal bar. HELEN : Okay. Okay. Does anyone else know you’re here ? Have you managed to call for help ? TOSHIKO : We don’t need any help. There’s three more of us in the village. Helen looks at them, terrified and backs towards the door. HELEN : I can’t help you. I’m sorry. IANTO : What do you mean ? HELEN : I’ve been sent to collect you. I’ve got to take you to them. TOSHIKO : Tell us what’s going on. We can help. She fearfully laughs at Toshiko’s suggestion. HELEN : No one is safe. Every ten years… it takes us again. TOSHIKO : What takes you ? What is it ? HELEN : The harvest. Ianto glances at Toshiko then starts to rush at Helen but she raises her g*n and he stops. HELEN : No ! Please ! She moves her aim between Ianto and Toshiko. HELEN : You have to come with me. Toshiko looks at the g*n aimed at her face and recognising the fear in Helen knows there’s no hope. She drops the metal bar grudgingly. INT. PUB CELLAR - CONSECUTIVE Jack walks down the stairs onto the dirt floor of the cellar. He pauses, g*n ready, at an open doorway next to the stairs. He pauses for a moment to listen then turns quickly into the doorway, g*n ready he begins searching the room. Tall shelves are dotted around the room. Each shelf is full of jars containing human organs. Jack looks at the jars, then moves on around the room. He sees a g*n lying an the floor and then hears heavy breathing. He spins around to see a man lying on the floor behind him. The man is injured. He pulls down his hood and balaclava type mask to reveal a normal, human man. MARTIN : Help me, please help. JACK : Did you att*ck us ? MARTIN : I’m dying, help me. I’ll tell you everything. Jack picks up Martin and throws him onto a board leaning against a wall. He ties a tourniquet around the man’s thigh while he cries out in pain. JACK : This’ll help you for a short amount of time. Having tied the tourniquet Jack moves to grab Martin’s collar. JACK : Now start talkin’. MARTIN : You gotta get help. I know where you can get… Jack slaps him across the face making him flinch in pain. JACK : We had a deal. I help you, you tell me where they’ve taken the boy and what the hell is goin’ on around here. Martin starts laughing, in a slightly deranged way, at Jack. MARTIN : You don’t know ! Jack removes the tourniquet from his leg with one hand, his other holding the man down by his throat. MARTIN : Put it back ! Jack keeps his hand on Martin’s throat, the other grips his crew-cut hair so he cannot move while he speaks. JACK : You need to know something. A long time ago I was a pretty good torturer, you see I had quite a reputation as the go to guy, my job demanded it at the time you see. So I know where to apply the tiniest amount of pressure to a wound like yours… Jack reaches down and presses at Martin’s wounds - he screams in pain. MARTIN : Okay, you gotta stop ! You’re gonna k*ll me ! Please ! JACK : It’s in your power to make me stop. Just tell me what I need to know. ‘Cause in 10 seconds I’m gonna find a sharp object… Jack pulls out his revolver and holds it by the barrel so Martin can see it. MARTIN : I’ll tell you everything. Just stop. Please ! JACK : Now talk. EXT. DIRT ROAD - NIGHT Owen and Gwen stumble up onto a dirt lane, just wide enough for a single car, and flanked by trees. Owen has his arm around Gwen holding her up. Gwen cries out in pain as she tries to walk. OWEN : Sure you’re alright ? GWEN : Yeah I’m fine. A police 4x4 drives towards them down the lane, its sirens on. Owen and Gwen stand in the middle of the road and the car stops. OWEN : That’s all we bloody need ! GWEN : Let me do the talking and I’ll get rid of ‘im. A young, uniformed police officer - Huw - gets out of the car and approaches them. HUW : Who are you please ? GWEN : Special ops. We’re Torchwood, have you heard of Torchwood ? HUW : What’s that then ? A band is it ? Owen moves a little in front of Gwen, trying to hide the wound in her side from Huw. HUW : What’s wrong with ‘er ? OWEN : Nothin’. You wouldn’t understand. GWEN : Alright. What’s that light over there ? A light shines dimly through the trees behind Huw and he turns briefly to look before answering. HUW : The big house. An official village hall. Village meeting tonight, that’s why I’m here. Constabulary report. Gwen and Owen run past Huw towards the light. GWEN : Come on ! HUW : Where do you think you’re goin’ ? INT. SHERMAN HOUSE - CONSECUTIVE Toshiko and Ianto are backed into a kitchen, Helen pointing the g*n at them and indicating a direction. HELEN : In there please. TOSHIKO : If you help us, we can stop all this. Please ! HELEN : I’m sorry. Get back. TOSHIKO : That stench… Toshiko and Ianto turn to see plastic sheeting hanging from the ceiling. The push it aside and see a human body, wrapped in plastic, hanging from the ceiling by it’s feet. As they edge further into the room they see jars of blood and organs standing on a plastic covered table. Two more plastic wrapped bodies hang near the fall wall of the room. Helen moves quietly behind Toshiko, unnoticed as Toshiko and Ianto cannot take their eyes from the gory contents of the room. TOSHIKO : Tell us what these creatures are. Do they look like us ? A man has entered the room unnoticed and stands off to the side, watching them. His is middle aged and weathered in appearance. EVAN : How else are we gonna look ? Evan steps forward through the sheeting towards them. Helen looks at him and then laughs at Toshiko, the ruse having worked. As Ianto and Toshiko watch them Evan kisses Helen. Ianto uses the opportunity to rush at them, but Evan sees him and knocks him hard in the stomach. Evan goes over to him as he lies on the floor and Helen aims her g*n at Toshiko. Evan handcuffs Ianto’s wrists behind his back. HELEN : There are three more out there EVAN : Not a problem. How are they ? HELEN : They’re in a good state. Dropping Ianto to the floor Evan moves behind Toshiko and kicks her calves, making her fall to her knees. Helen lowers her g*n while Evan picks up some rope from a near by shelf and ties Toshiko’s hands behind her back. HELEN : I think they’re the best we’ve ever ‘ad. EVAN : Yeah. Oh, I forgot to tell you. Caught the boy… Helen goes to Ianto and pulls up his head to look at him while Evan moves across the room, behind the table. EVAN : Finally. Come on, come on ! Evan pulls up Kieran by his neck and removes the crude sack from his head. KIERAN : Look, I won’t tell anyone. Helen puts her face next Ianto’s and uses his hair to pull his head round to look at Kieran. HELEN : Aww, look. TOSHIKO : Who is he ? EVAN : He’s meat. Evan pushes Kieran back to the floor and Helen chuckles and stokes the back of Ianto’s head before backing away. Evan walks towards them and puts a hand of each of their heads as he speaks to them. EVAN : I’m afraid we’re all just meat. He follows Helen back into the kitchen. IANTO : Get ready to run. They both get to their feet and look through the plastic sheeting at Evan and Helen. Evan has picked up a baseball bat. He turns towards them and Toshiko speaks to him, defiant. TOSHIKO : What you gonna do, put us on meat hooks ? Evan glances at Helen and she laughs before walking away. Evan moves back into the room to speak to Toshiko. EVAN : No, not yet. Evan stands close to Toshiko and runs the baseball bat over her as he speaks. EVAN : You see meat has to be tenderised first. Evan grabs Toshiko close to him, licking his lips. Toshiko glances at Ianto who nods. Evan moves over to Ianto, the baseball bat held up towards Ianto’s face. Evan looks Ianto over - checking the meat and Ianto smiles at Evan. He headbuts Evan and he and Toshiko run for the door, Evan grabs Ianto. IANTO : Go, get the others ! Evan punches Ianto in the face then kicks him in the stomach as he falls to the floor. Evan picks up a machete from the side and leaves the room. Ianto looks across the floor towards Kieran, unable to help. Helen smacks Ianto in the face with the but of her g*n and he looses consciousness. EXT. WOODS - CONSECUTIVE. Evan runs through the woods, chasing Toshiko. Machete in one hand, torch in the other. Toshiko hides behind a bush. Evan pauses on the other side of the bush, looking for her - knowing she cannot have run far. EVAN : I know you’re here. Evan moves around slowly, hunting Toshiko. He calls for her like you would a cat. He looks about laughing, enjoying the game. As he moves away Toshiko crawls around the bush then stands and runs. Evan, waiting for her, catches Toshiko in his arms and pushes her onto her back. EVAN : No one’s coming for you. Toshiko kicks Evan in the balls hard and she manages to run away into the woods. She hides behind a tree and looks for Evan as she catches her breath. She sees him approaching slowly and runs. Evan sees her and chases her, not running fast enough to catch her, just to keep her running. Toshiko trips in a clearing and unable to keep her balance with her hands tied behind her back falls face down on the ground. She cries out and tries to struggle away but cannot get back up. Evan holds her down with a foot on her back. EVAN : No more games. Evan turns Toshiko over and puts a hand across her throat, choking her into unconsciousness. He mouths unheard words to her. A g*n barrel and torchlight appear at Evan’s temple. OWEN : Get off her or I’ll sh**t. Get off her or I’ll sh**t ! Owen stands over Evan, the police officer, Huw, behind him. Evan continues choking Toshiko, starting to laugh and Owen kicks him away. Gwen pulls Toshiko into a hug while Owen kicks Evan onto his back and aims his g*n at him. GWEN : We saw the torchlight. TOSHIKO : They’ve m*rder all the villagers. They’ve cannibalised the bodies. EVAN : Put the g*n down. OWEN : You’re in no position to negotiate mate. GWEN : It’s alright, it’s alright. You can arrest him now ! The Huw does not move. GWEN : I said you can arrest ‘im ! EVAN : He won’t arrest me, him. Evan lies back laughing and the Huw walks forward, also smiling. HUW : That’d be a laugh wouldn’t it ? My own uncle. Huw draws a g*n and aims it at Owen. Owen continues aiming at Evan. Gwen draws her g*n, stands and aims at the officer. GWEN : Put the g*n down don’t you hurt him. EVAN : sh**t the bastard. Split his skull. GWEN : Put the f*cking g*n down ! EVAN : sh**t ! GWEN : I will sh**t you, put it down. EVAN : Pull the trigger, Huw. Huw has the g*n barrel near to Owen’s face, he will not miss. Owen shakes his head at Gwen and she lets Huw take her g*n. Evan stands up and speaks quietly to Owen. EVAN : Why don’t you give me the g*n, mate ? Owen gives Evan the g*n and he strokes it down Owen’s face while Owen and Gwen look at each other. INT. SHERMAN HOUSE - CONSECUTIVE Gwen, Owen and Toshiko are pushes back into the Sherman’s kitchen. A group of people sit around the table. TOSHIKO : Who are these people ? HELEN : This is our village. GWEN : The villagers are d*ad ! Helen laughs and the others smile, paying the food no attention. TOSHIKO : All involved. They’ve all been doing it. EVAN : This is our harvest. OWEN : Only in the bloody countryside ! You sick f*ck. The villagers laugh at them as Evan and Huw push them through the plastic sheeting into the other room. Gwen stumbles over to Kieran when she sees him. GWEN : You okay ? You okay ? TOSHIKO : Where’s Ianto ? What have you done with him ? Evan bends down behind the table and pulls up Ianto. Evan pulls the sack from Ianto’s head. He has been badly beaten and is unconscious. Owen gasps in shock and tries to move but is held back by Huw. Evan slaps Ianto across the face. EVAN : Wake up man. Ianto’s eyes open and he shakes in fear against Evan’s grasp. EVAN : Time to be bled… Evan picks up a cleaver from the table and holds Ianto’s head up - his hand under his chin and across his mouth. EVAN : …like veal, takes a long time though, definitely makes the meat taste better. Helen watching on from the kitchen notices a bowl shaking and frowns. Evan hears the noise and moves to stand by Huw, facing the wooden barn doors that lead outside. Huw points his g*n at the doors. EVAN : What now ? What the f*ck ? A tractor smashes through the doors and Jack jumps out, sh**ting the villagers with a g*n. They all lie injured on the floor and Jack looks around. Huw reaches for a g*n and Jack sees him. JACK : Oh really ? Jack sh**t Huw in the hand then moves over to Evan. He pulls Evan up by his collar and digs his revolver under Evan’s chin. GWEN : No Jack, don’t do it ! Gwen moves to Jack, standing nearby and pleading with him JACK : These people don’t deserve warnings. GWEN : Let me question him. I have to understand, I want to know why otherwise this, this is too much. TOSHIKO : They’re injured, they need to get to the hospital. GWEN : Owen you control the bleeding then phone the police. Jack, please give me an hour with him. Don’t tell me you don’t wanna know too. Gwen puts a hand on Jack’s shoulder and he releases Evan. INT. THE PUB - MORNING Gwen sits opposite Evan at a small table in the pub. Jack sits a little way off watching them. GWEN : The whole village was involved. EVAN : Every generation, our tradition. Once a decade, target those travelling through, those most likely to disappear. GWEN : And butcher them. What sort of people are you that you wake up in the morning and think this is what I’m gonna do ? Why do you do it ? Come on, make me understand. EVAN : Why do you care ? GWEN : I have seen things you would never believe and this is the only thing I can’t understand. Evan looks at Jack and grins. Jack looks at him blankly. EVAN : So keep on wondering. GWEN : Tell me, I need to know why ! Jack stands when Gwen starts shouting. He puts a hand on Evan’s shoulder. JACK : That’s enough. Time to go. EVAN : I’ll tell you something. If you let me whisper it. Jack releases him and Gwen nods slightly. Evan leans eagerly across the table and whispers in Gwen’s ear. EVAN : It made me happy. Jack pulls Evan up by his collar away from Gwen. JACK : Come on. Out. Jack pushes Evan from the pub while Gwen sits in shock, unable to understand. EXT. ROAD OUTSIDE PUB - LATER Ambulances and police cars are parked randomly outside the houses. Ianto sits on the end of the SUV boot. Owen and Jack stand in front of the SUV watching the scene. Toshiko speaks to ambulance crew. As Gwen walks over she sees Huw being led away by police and Evan being pushed into a squad car. Gwen walks past Owen and Jack, silently. INT. GWEN’S FLAT - LATER Gwen sits on the settee watching television with Rhys. GWEN : (VO) I had a good job before this. I thought in a year or two perhaps a baby, I know Rhys would be a good dad and I’d try for desk sergeant and… CUT TO : CARDIFF STREET - EVENING. Gwen walks down a street that evening. GWEN : (VO) …well it was all sorting into place. And then I met you lot… CUT TO : INT. OWEN’S BEDROOM - NIGHT. Gwen stands looking out over Cardiff through the darkened glass walls of Owen’s bedroom wearing a man’s shirt. GWEN : (VO) …all these things, all these things they’re changing me. Changing how I see the world. And I can’t share them with anyone. Owen enters, topless and stands behind Gwen. They close their eyes. OWEN : You can now. Gwen pulls Owen’s hands around the front of her waist and rests her head on his shoulder before turning to kiss him passionately. END CREDITS Owen Teale - Evan B. Sherman / Maxine Evans - Helen Sherman / Calum Callaghan - Kieran / Rhys op Trefor - Huw / Emily Boker - Ellie / Robert Barton - Martin.

{"type": "series", "show": "Torchwood", "episode": "1x06 - Countryside"}

foreverdreaming

Opening credits and series recap. JACK : (VO) Torchwood : Outside the government, beyond the police. Tracking down alien life on earth and arming the human race against the future. The 21st century is when everthing changes, and you gotta be ready. EXT. WOODS - NIGHT -1812. The woods are dark and foggy. A pretty blonde woman enters sh*t and looks behind her towards a young soldier. MARY : Nearly there, we've been right busy since you lot were billeted here. This your first time ? The others been teasing you, that it ? My name's Mary. Mary starts to undo the man’s jacket button. Mary : Mary, like the virgin. The soldier slaps her hard across the face. MARY : Religious man are ya ? The soldier slaps her again and she smiles at him incredulously and wipes her mouth. Moving closer she puts her hand over his cheek. MARY : I'm not your bloody hound ! She scratches his face and runs into the trees. The soldier chases her. SOLDIER : Whore ! Mary carries on running deeper into the trees. A shrill sound makes her cover her ears. She sees a light among the trees. She pauses, looks behind her then runs towards the light. The soldier is still running after her and he sees the light and stops to stare for a second. The soldier slowly draws his p*stol and hears the same shrill noise - like a steam horn. The lights go out with a rush of wind. The soldier grits his teeth and walks quickly in the direction of Mary, p*stol held out in front of him. He sees Mary who stands a short distance away, she turns as he lowers the p*stol and walks towards her. SOLDIER : Do whores have prayers ? He stops, raises the g*n and sh**t her calmly. Mary smiles. EXT. A BUILDING SITE - DAY - PRESENT The Torchwood SUV travels down a dusty track then stops between police cars. Owen exits the passenger door then goes to the boot to collect equipment. Gwen exits the rear of the car and walks to the front of the SUV to wait. Jack is using his wrist cuff to scan then walks away, followed by Gwen and Toshiko. They turn off the path and walk into a red tent. sh*t continues tracking past them along the path. Mary stands on the edge of the police cordon. She wears modern clothes and has a modern haircut but is otherwise unchanged. She watches the proceedings with interest. OPENING CREDITS EXT. A BUILDING SITE - DAY - CONTINUOUS An aged skeleton lies in a shallow hole hidden by the tent. Jack crouches near while Owen is in the hole examining the skeleton. JACK : Once, just once I'd like to walk into one of these tents and find it's a party, you know with food and drink, people dancing, a girl crying in the corner. Gwen stands near to Jack who continues scanning an alien device which sits near the body. It is a metal object, like a large pair of pincers. GWEN : Is it alien ? JACK : And how ! I'm picking up traces of illmanite peroxine, even dark matter. Toshiko crouches to take a look. GWEN : Any idea what it is ? JACK : Not a clue, could be a w*apon or a really big stapler. How's our friend doing there ? Jack turns his attention to Owen who is analysing the skeleton. OWEN : She's d*ad ! JACK : Yeah, thanks Quincy. She ? OWEN : Judging by the size of her skull. JACK : How long have they been here Tosh ? TOSHIKO : From the depth they found them, a 196 years, eleven to eleven and half months. The earth's been disturbed so I'm afraid I can't be more accurate. GWEN : What k*lled her, the stapler ? OWEN : Nah, see those shattered ribs ? I reckon she was sh*t. The skeleton has a large hole in the centre of the rib cage. JACK : Well let's get her back to the hub and find out. He gets up and leaves the tent. Owen starts to climb the short ladder out of the hole and Gwen helps him up. GWEN : Need a hand ? Ooo you so ligh t! You're like a girl. OWEN : I'm not light. I'm wiry, fat girls go mad for it. But I guess I don't need to tell you that. Owen smiles at Gwen and leaves. Gwen turns smiling to Toshiko. Her smile fades as she looks at Toshiko who looks unhappy but smiles tightly then continues scanning with a tool which looks like a sonic screwdriver. INT. THE HUB - TOSHISKO’S WORK STATION - DAY Gwen and Owen are under the desk, a football lies on Toshiko’s keyboard. As Toshiko enters they stand up and move away, Owen holding the football. OWEN : Err… I'm really sorry but I think your computer might be d*ad. TOSHIKO : You're kidding ! What happened ? OWEN : Ok, so she said I was no good at sport. Owen points at Gwen, speaking obliviously to Toshiko’s panic. OWEN : Hello ! So I said, well throw something to me and I'll… Toshiko cuts him off sharply. TOSHIKO : What happened to the computer ! OWEN : Oh I, kicked out the plug. TOSHIKO : What ! It was running a translation program I'd written. Translated every scrap of alien language we've got and broken it down into binary threads to see if there was common derivation. Toshiko is upset, trying to explain her concerns to people who couldn’t careless. Owen looks at Gwen. OWEN : That's a bit of a mouthful. Gwen laughs, but her smile quickly fades when she sees Toshiko’s expression. GWEN : Sorry private joke. Stupid joke ! TOSHIKO : We're supposed to be professionals ! We've got a job to do. GWEN : She's right... You're right Tosh, I'm sorry. OWEN : Do you know what, Tosh ? Sometimes I think that even that stick up your arse has a stick up its arse ! Owen walks away, bouncing the football. Gwen, bothered by Toshiko’s lack of humour and being shouted at, begins working at her computer. INT. A BAR - EARLY EVENING Toshiko sits at the bar drinking, mulling over her bad day and wondering about the situation between Owen and Gwen. A little jealous. Mary walks over to her. MARY : So the guy over there has been staring at me all evening and I've told him he's wasting his time but he won't listen. So I come over to talk to you because I know how this ends. He gets a punch in the neck and I get barred, and I've already been barred from about 20 pubs and I don't want to get barred from this one because they do these nice olives on the tables. TOSHIKO : Oh… Right. Ok then. MARY : Cool, let me get you a drink. TOSHIKO : Really there is no need. MARY : (To bartender) JD 'n coke, and Toshiko what do you want ? TOSHIKO : I didn't tell you my name MARY : Oh yeah, that was the other thing. I kind of know who you are. TOSHIKO : I think you're mistaking… MARY : Toshiko Sato, born in London 1975, moved to Osaka when you were 2, back to the UK, 1986. Parents were in the RAF. Grandfather worked at Bletchley Park, very impressive ! University … blah blah. Snapped up to government science think t*nk when you were 20, recruited to Torchwood 3 years ago. I saw you at the building site this morning. What was that you had in the case ? TOSHIKO : How do you know about Torchwood ? Mary lights a cigarette, comfortable and chatting happily. She knows Toshiko won’t tell her to go away. MARY : Oh, there's stuff on the internet but you have to dig really deep, plus we pick up bits and pieces from police work, radio scanners… TOSHIKO : We ? MARY : Scavengers. Collectors. Just like you. Mary sits down with her drink. TOSHIKO : How many of them are you ? MARY : Mmm… Listen, don't think it's in any way organised. It's really just a disparate bunch of IT guys who live with their mothers. TOSHIKO : I shouldn't talk to you. MARY : So go… Toshiko makes no move to leave. A little later on, still in the pub with Mary. They now sit at a table in the centre of the room. Toshiko is tipsy, talking earnestly about Torwood to Mary. TOSHIKO : What's most amazing are the similarities with our own culture but that can be horrible because we find lots of w*apon and it just makes you think, my god everything wages w*r. It's not just a trait of ours but a trait of existence. It makes you feel so hopeless, but then there are times… We found this thing, it was about A4 size and had all these symbols on it, and it took me about three months to translate. It was a letter someone had written to his family, to his children, to say how much he was missing them and it just made me cry because even across these unimaginable distances there are fundamentals that stay exactly the same and there's no one to talk to about this. I mean the guys at work they're great but they don't see it the way I do. Toshiko pauses to drink her wine. TOSHIKO : I could be fired just for telling you that. Mary takes a box from her bag and places it on the table. MARY : I want to show you something. She takes a pendant from the box. TOSHIKO : It's a pendant. MARY : Put it on. Toshiko does so and suddenly she can hear peoples thoughts, words jumble at first and she has to breathe shallowly for a second because of the shock. The following are thoughts : MAN 1 : I'll just have one more and drive slow… WOMAN 1 : Does coffee count as food if it's got sugar in it… WOMAN 2 : If he touches his groin one more time I'm gonna smack him in the face… MAN 2 : I should of said I was hammered when she asked me what the time was earlier, that would have made ‘em all laugh. TOSHIKO : (To Mary) What are they ? I can hear voices. MAN 3 : Bloody sudoku, so bloody smart. MAN 4 : Did I send that email ? Did I click the reply to all ? MARY : They're people's thoughts… WOMAN 3 : He doesn’t touch me anymore. TOSHIKO : What ? MARY : They're people's thoughts Toshiko… WOMAN 3 : I wish I’d shagged that single dad I met at the parents’ evening. MAN 5 : What's that Asian girl doing ? Is she having a fit or something ? TOSHIKO : It's… They're so loud. MAN 5 : She's cute though. Is that her girlfriend, Marcus Rowe reckons he's done it with two lesbians, lucky sod. How'd it work ? TOSHIKO : That man over there, with… I can hear him… MAN 5 : I mean does one of them sit on the side or something ? MARY : Ok Toshiko I need you to focus. MAN 6 : No way, I ain’t showin’ that to me doctor. MARY : Home in on my voice, shut everything else out. Toshiko shuts her eyes in concentration. MARY : Just me, there is no one else but me. Can you hear me ? Toshiko nods, Mary stops talking aloud and uses her thoughts to talk to her. MARY : Can you hear me now ? Ok I want you to home in on just my thoughts. Ignore everything else. TOSHIKO : There's just so much… MARY : You can do it. It takes practise but this is what you have to learn, now what am I thinking ? TOSHIKO : This is so hard. MARY : Follow my voice. What am I thinking ? TOSHIKO : You're thinking that… MARY : That I want to kiss you. Toshiko opens her eyes, snatches the pendant from her neck and breathes deeply. MARY : I'm sorry, sometimes you can't control. TOSHIKO : I know. It's fine. Where did you get it ? MARY : It’s, been in the family for a long time. TOSHIKO : I've never seen anything like it. It's incredible ! MARY : It's more than incredible. With this you can read people's minds, it levels the pitch between man and God. TOSHIKO : Is it alien ? MARY : I guess. Toshiko gives it back to her, but Mary stops her. MARY : No, I want you to keep it. TOSHIKO : I can't Mary. MARY : Please. I've kept it too long. After awhile it gets… You hear too much. It changes how you see people. TOSHIKO : I'll have to show it to the others. Mary laughs very lightly. TOSHIKO : What ? MARY : Nothing. MARY : Just I bet you won't. TOSHIKO : And you know this from finding my CV on the internet ? MARY : No. Because I know the pendant. TOSHIKO : Well you're wrong, because I will… MARY : Yeah. But you won't. INT. THE HUB - NEXT DAY Toshiko enters reception. She presses the button and while the door to the hub opens she takes the pendant from her bag. Ianto walks over and Toshiko hides the pendant behind her back. IANTO : Good morning. TOSHIKO : Yeah, hi Ianto. Ianto goes into his office behind the counter and Toshiko puts the pendant on. She enters the central hub, Gwen is at her desk, Owen walks from the autopsy room. OWEN : (Thoughts) What the hell would produce such a perfect circular puncture ? Maybe some sort of wooden stake… OWEN : Hi Tosh. OWEN : (Thoughts) She better not go into one about the computer again. GWEN : Morning. GWEN : (thoughts) Sergeant giving it all, ooh, Gweny’s dined call her old mates, should put a weevil in his bathroom. TOSHIKO : I've got something to show you. OWEN : Sure. OWEN : (thoughts) please don't make us sit through another slideshow about the Incas or whatever it was. I want a biscuit. GWEN : Have I got time for a pee first ? GWEN : (thoughts) Oh sweetheart the jeans & boots thing has really kinda had its day. TOSHIKO : I err… I found this thing. OWEN : (thought) what's she talking about. She can be d*ad weird. I wonder what she'd be like in bed, Catholic, be grateful I bet. TOSHIKO : Ok I don't know whether this comes under actual technology… GWEN : (thought) That's Owen I can smell him on me after that shag in his car this morning. That's twice now, does that make this an arrangement or it has to be more than two times surely, as long as we keep it to just the two times we're fine. What's Tosh looking at ? GWEN : You okay Tosh ? OWEN : (thought) She did that thing where she ran her tongue across my teeth. I should've worn different trousers, I'm gonna have to sit down 'til this subsides a bit. TOSHIKO : Yeah, no fine. GWEN : So, what is it you want to show us ? GWEN : (thoughts) I wonder if I could get Owen to come down to the volt. No I couldn't have sex in front of a weevil. Couldn't even do it in front of Trent Kendle's cat. TOSHIKO : Forget it… It… I found this article, I'll bring it in tomorrow. Toshiko cannot tell them about the pendant. She can no longer think straight having found out for certain about Gwen and Owen. OWEN : No worries. OWEN : (thought) Well thanks for that rambling trip to nowhere Tosh. Later Toshiko sits at her desk, thinking. Ianto enters, tidying cups. IANTO : (thoughts) Can't imagine the time when this isn't everything. Pain so constant but my stomach’s full of rats. Feels like this is all I am now. There isn't an inch of me that doesn't hurt. IANTO : I'm about to brew some of Jack's industrial strength coffee, would you like a cup ? TOSHIKO : I'm, fine. Thanks Ianto… Toshiko realises how much pain Ianto is still in, how well he hides it, and she speaks quietly to him. She takes the pendant off. EXT. STREET OUTSIDE TOSHIKO’S HOUSE - EVENING Mary is sitting on the wall opposite her house, waiting for Toshiko to get home. TOSHIKO : Might've known you'd have my address as well. MARY : Did you tell them ? TOSHIKO : No. I didn't ! She walks across the road and enters her house, leaving the door open. Mary follows. INT. TOSHIKO’S KITCHEN Toshiko storms around angrily and give Mary a dirty look when she enters, shutting the door behind her. MARY : What made you change your mind ? You listened to them didn't you ? See I told you, isn't it incredible ? Some of the stuff you hear. Toshiko gets the pendant out of her bag. TOSHIKO : What is this thing ? She throws the pendant on the table. TOSHIKO : Why did you give it to me ? MARY : I told you… TOSHIKO : The things I heard. What they thought of me ! They really… Oh these are the people that are supposed to like me ! MARY : They do like you! People are complicated. They… Ok I should have warned you about this, it isn't like reading someone's diary. Toshiko goes to the fridge and as she shuts the door Mary sees photographs - Tosh and Owen, some friends. MARY : The stuff you've been hearing is so deep, so personal. Stuff they're not even aware they're thinking. TOSHIKO : You think you know someone and then suddenly you see them for real, and they're bastard little kids ! Toshiko is mainly upset about Owen rather than anything else. MARY : Not everything, not everyone. Mary takes her jacket off and picks up the pendant. She puts the pendant back on Toshiko once on she holds Toshiko’s face, standing close to her. TOSHIKO : I wouldn't say your thoughts were exactly pure. MARY : At least they're consistent. Mary takes a step back, Toshiko looks down, upset and confused. MARY : No agenda, no resentment. TOSHIKO : They pity me… You don't pity me. MARY : Why would I ? TOSHIKO : What you're thinking now… That's pretty graphic. MARY : That wasn't my thought. TOSHIKO : What ? MARY : I wasn't thinking anything. That wasn't my thought, must've been yours. TOSHIKO : That one, there, that's yours. MARY : Yeah… That was mine. TOSHIKO : I… Umm I certainly seem to be enjoying myself. MARY : You would. You will. Toshiko kisses her passionately. INT. TOSHIKO’S BEDROOM The room is modern, tidy and chic. Toshiko is in bed knees up to her chest, hugging the sheets to her, wondering why she just slept with Mary - out of character for her. Mary enters wearing a robe and leans on the doorway smoking and holding a glass and an eggcup. MARY : You have no ash trays, not in your whole house. Not one. TOSHIKO : What are you using ? MARY : I think it's an egg cup. Mary sits on the bed next to her, Toshiko sits up and turns her back to her. MARY : You ok ? Freaking out a little ? Mary, unconcerned, looks through the things on Toshiko’s bedside cabinet. Picks up a card. MARY : Your birthday is July right ? TOSHIKO : You're the expert… MARY : Isn't it a little late to have your cards up… She reads from the card in her hand. MARY : Lots of love Owen. I'm guessing that's Owen from work. Owen from the building site yesterday morning. Owen from the photo on your fridge. TOSHIKO: Put that down ! MARY : All I'm saying is that I don't want to get in the way of anything. TOSHIKO : There's nothing to get in the way of. Gets up and storms into her walk-in wardrobe. MARY : I see. You wanna talk about it ? TOSHIKO : Not really. MARY : It's ok. Wouldn't be the first time I'd been a rebound shag. Toshiko comes back into the room, fastening a robe around her. TOSHIKO : You weren't. Ok. Nothings happened. Nothing will ever happen. One of the delightful things I've found out, thanks to this bloody pendant. She throws the pendant at Mary and it lands on the floor at the far side of the room. Mary goes to pick it up and she brings it back over to Toshiko who is now lying on the bed, foetal position facing away from Mary. Mary lies down behind her speaking into her ear and dangling the pendant in front of her. MARY : It's not all bad. Some of the things it can do are extraordinary. TOSHIKO : What good could ever come of that ? MARY : You need to work that out for yourself. INTERCUT WITH : EXT. A BUSY CARDIFF STREET Toshiko stands looking around uncertain. MARY : (VO) You need to go somewhere public, somewhere crowded. TOSHIKO : What am I looking for ? MARY : It will find you… Toshiko sits up and turns to face Mary. TOSHIKO : I'm sick of these riddles. What's going on. Where did you get this ? MARY : I told you. TOSHIKO : Who are you Mary ? Is that even your real name ? MARY : Ok, here's another name. Philoctetes. I'm Philoctetes. Toshiko standing in the Cardiff street puts on the pendant slowly. She is immediately as*ault by hundreds of thoughts which slowly start to separate. WOMAN 4 : …Sasha wants a latte… WOMAN 5 : I could bandage my hand since I shut it in car door. That would explain why the signatures don't match. MAN 6 : That gives me an hour before Lisa gets back to dress up. Got to be careful she's starting to notice her tights are getting baggy round the crotch. WOMAN 7 : All big eyed and giggly and I'm sat there with my boobs like something out of the national geographic. WOMAN 8 : 6 cigarettes today and all them post coital, glorious. MAN 7 : Ahh, Mr. Bond I've been expecting you. Toshiko laughs at the man’s thought then sees another person - a woman who notices her looking. WOMAN 9 : Some people should actually be prohibited from wearing a thong. What's that girl looking at ? A thought attracts her attention from the others and she sees a man carying a long bag. NEIL : I'm gonna k*ll them. I'm gonna k*ll them. I'm gonna k*ll them. I'm gonna k*ll them. Lay their bodies out afterwards and I'll lie next to them. So I'll have to do myself lying down. Should've practised that. A woman walks into Tosh. TOSHIKO : (thought) Sorry. Toshiko loses the man for a minute then finds him again and begins to follow. NEIL : Lawrence comes in and finds this he'll know that what I've been doing is right and what he's been doing is trespassing. I won't miss anything, I won't miss this city, I won't miss this body. I won't miss anything. INT. A HOUSE - CONSECUTIVE Neil arrives at the door. A boy on his game boy opens the door and wanders off again. NEIL : Alright Danny ? CAROL : I want him back at 6 and I mean 6 this time. Kelly's given me 90 minutes after hours at the tanning salon as a wedding present. Besides, you're breaking the law bringing him home late. My dad reckons I could have you arrested, so think on. Danny enters. CAROL : Hey put your shoes on and go to the toilet. What's that face ? DANNY : I don't wanna go. CAROL : Well you have to. Lawrence’ll be here in a minute and we'll be looking at napkins. DANNY : It's borin'. CAROL: Take your space inv*de. Lawrence bought him that, haven't heard a peep out of him now. Mind that's Lawrence all over, d*ad thoughtful. Oh and no Cola, don't want him coming home all excited. Neil puts the bag down on the hallway floor. CAROL : I thought you'd stop going fishing ? Neil pulls out a g*n. CAROL : Oh my God, what do you think you're doing ? Grabs her son and hugs him to her. NEIL : I was thinking of the Isle of Wight. You remember we had that chalet around when Danny was walking and the chalet was full of spiders and you called me your hero because I wasn't scared. I'd just pick 'em up and throw them out. CAROL : Oh my god Neil. You're scaring me ! NEIL : It was this perfect little memory, we were happy together, because we were together and all this nonsense with Lawrence it's fine. I forgive you because I'm looking at the bigger picture now. Neil loads the g*n and starts to pull it up to aim. CAROL : Oh my god, oh my god. No no please don't ! NEIL : It's ok, it's just like falling asleep, really. CAROL : No don’t, don’t do this to Danny please ! NEIL : Then we will be together forever. Neil collapses on the floor. As he falls Toshiko stands behind him brandishing a golf club. TOSHIKO : It's ok. You're ok now. INT. THE HUB - AUTOPSY ROOM - DAY Owen is by the bed with the skeleton on it. Gwen and Jack are on the balcony. Owen is throwing things at Gwen because she is singing. OWEN : Stop singing ! GWEN : The leg bone’s connected to the hip bone… OWEN : Please stop singing. Anything to stop you singing. Jack laughs. OWEN : I dunno what you're laughing at ! Owen throws things at him. OWEN : Stop singing. Please don't sing, please don't sing. Not listening, lalala. Right, okay. Owen throws things at Toshiko as she enters the room. TOSHIKO : What's going on ? GWEN : You know the skeleton we found at the building site. Well, Amanda Burton here has just completed the post mortem. OWEN : Ok I can explain… GWEN : As you may remember at the building site, Owen said this was a woman k*lled by a single g*n. OWEN : Yeah ok I'd been there like a minute. GWEN : Since then he has had to tweak some of his initial conclusions. The first being that this isn’t in fact a woman but a man. OWEN : A young man. A very girly man. GWEN : But still, ultimately, a man. Then there was the cause of death, Owen said GSW, uh uh, the correct answer was… OWEN : Unidentified trauma but… TOSHIKO : Unidentified trauma ? GWEN : Umm. You see it in RTA’s when something like a steering column or a post goes into a body at great velocity. But the one thing that could be ruled out was… OWEN : g*n wound… Taps the balcony bar. GWEN : g*n wound ! Was there in fact any part of your prognosis that was right ? OWEN : I got that it was a… skeleton. GWEN : Yes you did ! Puts on finger on her nose and points the other at him Jack laughs and walks away with his mobile phone to make a call. GWEN : Yes you did ! Where did you train ? Where did you train ? Did you train… OWEN : Look… INT. JACK’S OFFICE Jack he wanders into his office Followed by Tosh. He dials a number on his mobile and wanders round while it rings. TOSHIKO : Jack… umm… So you know anything about Greek mythology ? JACK : (Into phone) Security Visa, 45895 Harkness. Jack sits behind his desk then speaks to Toshiko. JACK : A little, why ? TOSHIKO : You ever heard of Philoctetes ? It came up in a pub quiz. JACK : You went to a pub quiz ? TOSHIKO : Yeah. No I love pub quizzes, down at the Prince of … Tights. Jack looks at her, not believing her but not questioning her reasons. JACK : Philoctetes was an archer recruited to fight in the Trojan w*r, he got in an argument and was marooned on the island of Limnos for about ten years. TOSHIKO : Just left there ? Jack doesn’t answer and Toshiko begins to wander out. Jack calls after her before she reaches the door. JACK : Hey what's happening with that list for UNIT ? TOSHIKO : Hmm…Oh yeah I'm still working on it. JACK : Right well you know... when you're ready. Toshiko pauses looking at Jack, wanting to talk but then walks away. JACK : (on phone) Prime minister, is this a secure line ? Can you tell me why Torchwood operations have become part of your security briefings to the leader of the opposition ? The deal is… INT. A CAFÉ IN CARDIFF MARY : This is incredible This is the most incredible thing I ever heard! They should make an action figure of you ! TOSHIKO : You were right about the pendant. I see it now. It can be used for good. MARY : What did they say at work ? How did you explain it. TOSHIKO : I didn't tell them. MARY : I think that's wise. I'm sorry but I'm going to have to kiss you now. TOSHIKO : Mary, no… MARY : Listen. You do something unbelievably brave and sexy, I have to kiss you. I don't make the rules. Mary leans over the table and they kiss. Toshiko pulls away after a short time, self consciously. MARY : So what's happening with the thing you found on the building site ? TOSHIKO : Dunno my boss is dealing with that. MARY : I thought you did all the technological stuff. TOSHIKO : I do. But sometimes our jobs overlap a bit. I'm doing… there's an admin thing he has asked me to do. MARY : Don't you have a secretary for that ? TOSHIKO : It's actually quite complicated. MARY : So what's he found out ? TOSHIKO : I dunno. He's not said anything. MARY : Hmm… That's kind of strange. TOSHIKO : No, it isn't, it’s fine… MARY : No, sure. I mean if he's keeping stuff from you there is bound to be a reason. Toshiko drinks her coffee thoughtfully, Mary’s seeds of doubt taking hold. INT. THE HUB - AUTOPSY ROOM Owen is analysing the skeleton. Toshiko walks in carrying some coffee. TOSHIKO : Not still worrying about that are you ? OWEN : Ok so I'm thinking if it isn't a g*n sh*t or a musket sh*t or whatever they had then, maybe it was some kind of ritual. Toshiko hands him a coffee OWEN : You are gorgeous ! Toshiko smiles clinging to the comment. Owen continues talking regardless. OWEN : So I started looking into devil worship and stuff from that era to see if there is anything about plucking out hearts, and would you believe it, there's nothing. They ate eyeballs, they drank blood, they had sex with animals but they did not pluck out each others hearts ‘cause obviously that would have been a bit weird. Toshiko laughs a little at his joke. TOSHIKO : Why are you so bothered ? Whoever did this is hardly a thr*at to society anymore. OWEN : Yeah I know. It’s just that there’s something… Does that remind you of anything ? Owen indicates the hole in the skeleton’s chest. TOSHIKO : Erm, that bit in Alien when that thing bursts out of John Hurt. OWEN : I'm sorry I should've been more specific. Does that remind you of anything helpful ? TOSHIKO : No, sorry. OWEN : Right. Erm just go over there, do your computer stuff and think about shoes aye ? Thank you. TOSHIKO : (halfway up the stairs) Has Jack said anything to you about the hardware we found with the skeleton ? OWEN : No, why ? Toshiko puts the pendant on. OWEN : (Thought) Check any hospitals nearby, could've been someone dying in an operation. Owen drinks the coffee and pulls a face at the taste. OWEN : (thoughts) This has got sugar in it. TOSHIKO : No worries, just asking. Gwen enters and sits at the top of the stairs. OWEN : Hello. OWEN : (thoughts) Keep looking at the skeleton, don't look at her, no grinning. GWEN : Hey Tosh, that coffee going begging ? GWEN : (thoughts) What's the matter with him ? Why isn't he looking at me ? OWEN : There are copies of that Michael Hamilton statement on yer desk. He's still seeing cyberman outside his mother’s house. OWEN : (thought) Don't think her palm on the bottom of my spine, her hand in my hair. TOSHIKO : I think I'll just go over there. Owen and Gwen ignore her. GWEN : Ok. I'll phone social services, see if there's a history of mental illnesses. GWEN : (thoughts) No, Gwen, this good. Can't go on, this is a good thing. Why the hell isn't he looking at me ? TOSHIKO : I think my desk is on f*re. Toshiko leaves angrily, Gwen continues looking at Owen. Toshiko sees alien device found with the skeleton and starts to look at it, Jack comes down the stairs, he sees Toshiko and hangs around the door frame. JACK : So I've just come from a really interesting conversation with a detective inspector Henderson. TOSHIKO : Right. Jack enters the room and stands next to the alien device. JACK : Interesting because, firstly, the man had the biggest hands I'd ever seen and secondly because of the story he told me about you saving a woman and her kid from being m*rder by her ex-husband ? TOSHIKO: Yeah. No I was going to tell you about that. JACK : So why didn't you ? TOSHIKO : I dunno. It wasn't a work thing. Just a thing. Stuff happens all the time that's not pertinent to here. JACK : You do this all the time ? So you secretly fight crime, is that it Tosh ? TOSHIKO : I didn't want it to look like I was showing off. JACK : The guy they arrested, Henderson said you heard him muttering to himself as he was walking along and that's what tipped you off. Jack starts to examine the alien device. TOSHIKO : Humm. Couldn't really work out what he was saying at first and then I, it was like, Jesus ! Toshiko tries to laugh off the story and Jack smiles, then starts talking seriously. JACK : That's weird, cos when I'm about to m*rder someone I'm really careful not to talk to myself about it while I'm on the street. TOSHIKO : No, sure. I mean that's lesson one. JACK : Humm. TOSHIKO : I was wondering how you were getting on with this ? She nods indicating the alien device. JACK : It's ongoing. TOSHIKO : Can you dismantle it ? JACK : Like I said, it's ongoing. Toshiko turns away and touches the pendant, as she does so Jack looks up but doesn’t see her touch the pendant. Toshiko tries to read his mind but she can't. Toshiko turns to look at him, wondering why she can’t read Jack’s thoughts, unnerved by the silence. JACK : What ? Have I got something on my face ? Is it food ? TOSHIKO : No sorry, I zoned out. JACK : Well listen that was a good save Tosh. Well done. INT. TOSHIKO’S KITCHEN Mary unpacks a plastic shopping bag onto Toshiko’s kitchen table. Toshiko stands with her back to Mary holding the pendant. MARY : Ok so I've got crisps, I've got coffee, real coffee. Wine… TOSHIKO : I'm giving them the pendant. MARY : Right lets… TOSHIKO : Your right it's not like reading someone's diary, it's so much worse. Toshiko turns to face Mary. TOSHIKO : And it makes me feel dirty, and ashamed and now I'm spying on my friends. MARY : Some friends. TOSHIKO : What's that supposed to mean ? MARY : They pity you. They exclude you; they've got you doing bloody admin. TOSHIKO : So ? No I've made up my mind. MARY : Toshiko, don't do this. TOSHIKO : So they'll probably want to talk to you. Why do you care ? It's the pendant they're interested in, they don't care about you ! MARY : If I go in that place I won't come out again. TOSHIKO : What are you talking about ? They're not Nastarsi. Look I'll get my boss to come… Toshiko goes to get her mobile from her bag. MARY : Put the phone down ! Mary speaks in a voice that is not her own - a low echoing roar. Toshiko moves away from her bag nervously. Mary’s voice returns to normal when Toshiko moves. MARY : Ok, I'll show you. Mary closes her eyes and blue tinged light streams from her face and her body disappears in cracks to reveal a tall, elegant, semi-transparent creature with streaks of light floating from her back. She has long fingers and spiky tentacles sprout from her face like hair. MARY : (Thought) This is why you can't tell them ! Toshiko moves towards Mary and reaches out to touch her hand. TOSHIKO : You're cold. Who are you ? MARY : Still the person you kissed, the person you caressed. Mary changes back and Toshiko stares at her in wonder. MARY : Say something. TOSHIKO : So I'm shagging a woman in an alien. MARY : Which is worse ? TOSHIKO : Well I know which one my parents would say. I read your thoughts. I didn't see this. What else are you keeping from me ? MARY : You think there could be anything bigger than this ? The freedom that you have. When I first got here I found it almost obscene. My world was savage, enforced worship in temples the size of cities, execution squads roaming the streets. Descent of any kind meant death or transportation to what they called a feral outpost. TOSHIKO : And the pendant ? MARY : It's how my people communicate. It's how we've communicated for centuries. Speaking orally, using a prearranged and finite number of words. It's so archaic ! And kind of gross to look at ! The machine you found is a transporter. It brought me here, it can get me home again, I need it back before you dismantle it. TOSHIKO : Won't you be in danger ? MARY : 200 years have passed. There'll be a new government, there'll have been 20 new governments by now. TOSHIKO : Then why hasn't someone come back for you ? MARY : I've been forgotten. Like Philoctetes on Limnos. TOSHIKO : Let me take you to Torchwood. Maybe we can help you. Fix the transporter, get you back home. MARY : You won't ! You'll examine me. Assess whether or not I'm useful, whether I'm a danger, then lock me in a cell. They're not interested in understanding alien cultures. It's just as well you haven't got the technology to reach other planets yet ! Yours is a culture of invasion. Do you really I'm going to walk, hands raised in surrender into that ? Toshiko doesn’t answer, knowing the truth of Mary’s words. EXT. A STREET Toshiko stands alone wondering what to do, listening to people’s thoughts as she walks. MAN 8 : Silence when the door opens, can't do another night with the silence. WOMAN 10 : His hands were cold. MAN 9 : Giving it all we got, calling social services just because of a couple of bruises. MAN 10 : Worst case scenario, lives ‘til she's really old, and the whole inheritance goes on sheltered accommodation. Toshiko rubs her head, the thoughts crowding in until one thought comes through clearly and she stops. WOMAN 11 : Calling it granddads little secret. Toshiko pulls the pendant off. INT. THE HUB - AUTOPSY ROOM Owen is in the autopsy room with the skeleton on the table. He leaves the room and goes to his station and takes off his white coat. He starts putting on his coat to leave then notices something on the screen and sits down. He starts to search the Cardiff General Hospital records, a list of names appears. INTERCUT WITH : INT. TOSHIKO’S BEDROOM Toshiko is lying on the bed. Mary is on the armchair in the corner. TOSHIKO : I can't stand it anymore. The weight of it. The Depravity. The fear. It fills me up. INTERCUT WITH : Jack standing by a clock tower in the night watching over the city. TOSHIKO : It's in my mouth, my hair, my eyes. Owen sees something useful and highlights a name on the search. OWEN : Marna ? He pulls up the autopsy report. TOSHIKO : Like I'm drowning in ink ! OWEN : What am I doing, what I am doing ? Heart removed. Owen looks at a post mortem picture of a girl. OWEN : In the post mortem, past operation. Owen suddenly connects his memory. OWEN : Lowry. Owen enters a Torchwood password ‘45895’ and types Lowry into the search. TOSHIKO : And even when I don't have the pendant on, even when there is nothing… Jack stands by the tower, overlooking the road, still watching. TOSHIKO : I can't forget the things I've seen. Things I've heard. Owen continues searching. OWEN : Heart removed… He types another name. OWEN : Heart removed… He types another name, sees the pictures all with their heart removed. He keeps typing in names, the cases moving back through time. OWEN : Removed… How far back does it go ? TOSHIKO : It's like a curse. Something the Gods sent to drive someone mad. I had hope, I'd see something. Jack watches the city. TOSHIKO : A little random act of kindness, make me think we were safe. Owen at his computer. TOSHIKO : Some essential good in us. Owen’s computer screen reads: Cause of death - a hole punctured through the chest. The heart gone. Unsolved. OWEN : This is impossible. TOSHIKO : There isn't, it's like one of the weevils. Track through the hub cellblock, Janet is in one of the cells, reacting to the telepathy. TOSHIKO : (VO) Gets inside you, it's just like this great drawling scream. Janet jumps up at her cell wall, growling. OWEN : This is completely impossible ! Owen dials a number on the phone. TOSHIKO: You were right, everything you said about us. Jack’s phone rings and he answers. TOSHIKO : How we are frightened. Callus… JACK : Owen… OWEN : You need to see this. He hangs up the phone. Toshiko is increasingly upset, crying now. TOSHIKO : And I can't be a part of it any longer. I don't know what to do, tell me what to do… MARY : Get me into Torchwood ! INT. THE HUB - NIGHT Toshiko enters the hub with Mary behind her. MARY : In Xanadu did Kubla Khan / A stately pleasure-dome decree / Where Alph, the sacred river, ran Through caverns measureless to man / Down to a sunless sea. Toshiko finds the table where Jack had kept the transporter on, only to find it is missing. MARY : So where is it, lover ? TOSHIKO : Stay here. Jack, my boss, has got it. Toshiko goes to the stairs. As she passes Mary grabs her arm, pulling her to face her. MARY : Be quick. I've got a long journey ahead of me. Strokes Toshiko's face. MARY : I might need to something to eat before I go. JACK : (From the balcony.) This what you're looking for ? Holds up the transporter. TOSHIKO : Jack ! Jack starts walking around the balcony and down the stairs to them, telling a story as he moves. JACK : Friend of mine, lets call him Vincent. That was his name after all. Regular guy, girlfriend. Likes his sport, likes a beer. Starts acting a little strange, a little distracted. Suddenly he disappears for a couple of months. He comes back and we've got to start calling him Vanessa. Since then I've always been a little nervous when a friend behaves out of character. He looks at Mary who stares back impassively. JACK : I'm sorry we haven't been introduced. He leans over the stair rail. JACK : Jack Harkness ! My guess is your not from around these parts ! Now this Jack holds up the transporter standing before them, a little way up the stairs. JACK : This, huh. Is incredible. Walks around the back of the station so he comes out behind Toshiko and Mary. JACK : You know what it is ? TOSHIKO : It's a transporter. Mary was a political prisoner, she was exiled here. Look, Jack… JACK : You got half of that right. Mary, it is Mary isn't it ? You wanna tell her the really interesting bit ? Mary doesn’t answer. JACK : No ? Ooh chatty isn't she ? I don't know how you got a word in edgeways, Tosh. It's a two man transporter. But whatever you people may be, you may be squids for all I know. A two squid transporter, room for one prisoner and one guard! You wanna tell us what happened to the guard Mary ? MARY : I k*lled him ! But I was disturbed. INTERCUT WITH : Flashback to the woods in 1812. Mary approaches the alien and it takes over her body. The cog door in the hub closes and the other members of Torchwood enter slowly. Mary looks at them then dismisses them, retuning her attention to Jack. MARY : Then another came, a soldier. Gwen enters the room behind Jack, Owen behind Mary. MARY : He tried to sh**t me. Flashback to Mary being sh*t by the soldier. Mary walks towards him and punches him in the chest, withdrawing her hand holding his heart. MARY : (VO) So I plunged my new human hand into his chest and plucked out his heart ! Ianto is standing by Owen now. OWEN : And that's what you've been doing ever since. MARY : This form needs to fed. Mary walks between Jack and Owen, wandering among her audience as she talks. OWEN : All the punctures, all about the size of a fist. All those people, you k*lled all those people. MARY : I fled before any more soldiers came, I had so much to explore! And how I loved this body, so soft so wicked. Mary touches herself suggestively. MARY : Such powers body has in this world ! Within a few years the forest had gone. Transporter was safely buried under the spread of the city, I didn't care. I wasn't exactly in a hurry to get home. JACK : And you've been k*lling ever since ! MARY : I knew there might come a time when my situation here became complicated. Toshiko puts on the pendant. MARY : But I was safe as long as I knew where the transporter was. GWEN : (thought) The way she looks at you with those eyes. She's like an animal. OWEN : (thoughts) When they brought that girl into the hospital. I'd only been qualified 6 months I wanted to throw up. JACK : And then the machine was uncovered. MARY : As soon as the air touched its surface I could feel it. OWEN : (thought) She's just talking. She's not even frightened of us, she is just talking. Mary continues talking, unheard under the thought. MARY : …My beautiful Toshiko… OWEN : (thought) I'm gonna go for it… TOSHIKO : Owen, no ! Mary suddenly moves quickly, beyond human speed. She grabs Toshiko from behind and puts a Kn*fe to her throat. The others stand, arms outstretched ready for any opportunity. JACK : Let her go ! Mary ! Let her go ! MARY : Toshiko tell them to give me the transporter. TOSHIKO : I can't Mary ! Toshiko struggles against the Kn*fe. OWEN : (thought) Ridiculous, we're unarmed. We're just shouting at her ! IANTO : (Thought) Not again, please not again ! GWEN : (Thought) Kn*fe has incisors on the blade it’ll tear Tosh’s throat out. Mary looks over at Gwen. MARY : How's this ? I'll exchange Toshiko for that one. Mary looks at Gwen, so does Jack. MARY : Your choice. OWEN : (Thought) No, no, not Gwen. GWEN : Just put the Kn*fe down… MARY : Did you hear him ? He didn't want to did he ? OWEN : (thought) She read my thoughts. She actually read my thoughts. GWEN : (Thought) What happened did he not what to, what did he say ? TOSHIKO : Please don't… MARY : That's what they think of you. That's who you've been working for for all these years. OWEN : That's not true Tosh, don't listen. MARY : But not me. Whatever I've done, it doesn't change the way I feel about you ! We have a connection Toshiko, something real… JACK : (telepathy) Toshiko, don't move. Don't do anything until I say. JACK : Ok you want the transporter. We want Toshiko ! I think that's a fair swap. GWEN : (thought) I've been trained for this hostage situation. For gods sake Gwen think. JACK : Give me the Kn*fe and I'll give you the transporter myself. OWEN : (thoughts) He's just going to let her go. Jack offers the transporter to Mary who looks at Jack then pushes Toshiko away. IANTO : (Thought) It's a bluff that thing can’t stillwork. Mary walks towards Jack and takes the transporter from him. Jack still stands on the other side of it, holding it close to Mary. MARY : You smell different to them. Jack smiles at her, flirting. JACK : That's nothing, it's when you compare teeth with a British guy. That's when it's really scary. MARY : What are you ? JACK : I don't know. MARY : And you would have put me in a cage ! Mary notices that the transporter has clicked into life. MARY : What's happening ? JACK : Oh that ? Jack releases the transporter which is now locked onto Mary. He steps back out of the way. JACK : I reprogrammed it for you. It's set to enable. Mary vanishes with the transporter in a long flare of disappearing light, flying through the roof of the hub. They all look up following her trajectory. JACK : Sort of now… TOSHIKO : Where did she, has she gone home ? JACK : I reset the coordinates. TOSHIKO : Where to ? JACK : To the centre of the sun. It shouldn't be hot. I mean we sent her there at night and everything. TOSHIKO : You k*lled her ! JACK : Yes ! Jack walks away unconcerned while Toshiko cries while trying to be strong. Understanding. She looks up at the roof. INT. THE HUB - LATER Owen and Gwen are talking on the balcony. OWEN : Just ask her… GWEN : I will Owen, just give ‘er a bit of time. She looks over at Toshiko in the office speaking to Ianto. OWEN : Just say something to her. GWEN : Owen I don't know what you want me to d, she’s been through enough. OWEN : She is really creeping me out… GWEN : Owen, don’t be selfish about this alright. Toshiko leaves the office and walks up to Gwen. GWEN : When did you have this, I dunno, ability ? TOSHIKO : Just a couple of days. OWEN : What did you hear ? TOSHIKO : A lot of it was noise… emotions, references I wouldn't understand. OWEN : Yeah… and the rest ? TOSHIKO: The rest was none of my business. OWEN : No it wasn't. Owen walks away angrily. TOSHIKO : I don't know where this leaves us… GWEN : Me neither… We can't really take the moral high ground with this. This thing between me and Owen it… TOSHIKO : No Gwen, what I did was an invasion. I wasn't in control. I realise that now. Even so I, I can't… I have to live with this… not what I heard, what I did to you. GWEN : And my betrayal ? TOSHIKO : What do you mean ? Gwen looks down at Owen working on his computer. GWEN : I'm living with mine. This should be my wake up call. I should stop. But I won't! what does that say about me ? TOSHIKO : I'm not really in a position to make judgements… GWEN : This is what I'm saying Tosh… neither am I. Toshiko starts to walk away. GWEN : Don't let this, it doesn't matter… sorry, forget it. TOSHIKO : What ? GWEN : Don't let this put you off. The last couple days you've had a look about you. Love suited you ! EXT. NEAR MILLENNIUM CENTRE - NIGHT Jack and Toshiko sit on a bench, talking. Toshiko looks at the pendant in her hands. TOSHIKO : It's funny such a small thing could be the most powerful piece of technology we've ever found. It could tear down governments, wipe out armies. What do we do with it ? JACK : Your call. TOSHIKO : It's a curse. Drops the pendant and crushes it with her boot. TOSHIKO : Why couldn't I read your mind ? JACK : I dunno, ‘though I could feel you scrabbling around in there. He laughs, looking away at the passers-by. TOSHIKO: I got nothing. It's like you were… I dunno, d*ad. Jack's smile fades. JACK : I want that list for UNIT on my desk tomorrow. Or I'll… What do bosses do in situations like these ? You know, regular bosses. Do I get to b*at people ? Laughs, Toshiko laughs too. TOSHIKO : We've got rules for that. JACK : Red tape ! TOSHIKO : Jack, something Mary said… probably the only honest thing she ever did say, I asked her why she gave it to me, and she said after a while it gets to you. Changes how you see people. Jack puts his hand on Toshiko’s on her knee concerned for her. TOSHIKO : …how can I live with it ? JACK : There are some things we're not supposed to know. You got a snapshot, nothing more. TOSHIKO : I don't mean about Gwen and Ianto and Owen. I mean, the whole world. Toshiko is crying slightly, Jack stands up and puts his hand on her hair. TOSHIKO : Doesn't matter. He puts his finger under her chin and lifts her head gently, then he wipes a tear from her eye with his finger. He walks away leaving Toshiko to sit and think. He is unable to say anything to comfort her so he doesn’t bother. END CREDITS Crédits : Daniela Denby-Ashe - Mary / Tom Robertson - Soldat / Ravin J Ganatra - Neil / Eiry Thomas - Carol / Shaheen Jafargholi - Danny / Paul Kasey - Weevil.

{"type": "series", "show": "Torchwood", "episode": "1x07 - Greeks Bearing Gifts"}

foreverdreaming

Opening sh*ts and series recap JACK : (VO) Torchwood. Outside the government, beyond the police. Tracking down alien life on earth and arming the human race against the future. The 21st century is when everything changes and you gotta be ready. EXT. A SUBURBAN STREET - DAY Detective Swanson speaks to SOCO outside a house surrounded by police cars. The Torchwood SUV can be heard roaring down the road, breaks squealing. Swanson walks away from SOCO to meet them. Torchwood get out of the SUV and walk towards her, they all wear sunglasses and jackets. SWANSON : At last, you must be torchwood. My team bitch about you all the time. JACK : And you are ? SWANSON : Detective Swanson. JACK : I'm Captain Jack Harkness. They shake hands. SWANSON : So I've heard tell me something, are you always this dressy for a m*rder investigation ? Jack takes off his sunglasses to look her in the eye, trying to win her over. JACK : What you rather me naked ? SWANSON : God help me, the stories are true. He raises his eyebrows at her. GWEN : So who's the victim ? SWANSON : That's victims plural. Yesterday a man was m*rder at 96 Oakham Street, Alex Arwyn, 28, single, estate agent… Swanson hands Jack a file and he flicks through the photos inside. SWANSON : Here we go. That's from the scene of crime; today in here we get two more. Mark and Sarah Briscoe, both 33, married, he's a surveyor she works in education. JACK : What about the smears of blood ? Is that writing ? SWANSON : Work in progress… Come inside and see the finished thing. Swanson leads them inside the house into a bedroom. SOCO take photographs of the scene. GWEN : Oh my god… Two bodies lie on the bed. They are covered in blood and deep gashes mar their necks and limbs - a brutal m*rder. SWANSON : Looks like someone wants your attention. A picture of the couple leans against the wall at the head of the bed, dropped from the wall. Above it 'Torchwood' has been written in large letters with the blood of the victims. JACK : They've got it. OPENING CREDITS SWANSON : We found a few of the k*ller's hairs from the first m*rder. Lab results should be in soon… JACK : Good. We'll need that. No if you could just clear the room, some of this equipment is strictly need to know. Swanson starts to leave then hovers slightly, annoyed but unsure whether she should speak. She does then moves towards the door. SWANSON : It was only a matter of time… JACK : What was ? SWANSON : Torchwood walks all over this city like you own it now these people are paying the price, ordinary people ripped apart with your name written in their own blood. From where I'm standing, you did this Captain Jack Harkness, you did it ! She leaves the room and Owen closes the door behind her. OWEN : Still at least we got a head start. If it someone we pissed off that narrows it down to, ooh, four or five million. JACK : And that's just the humans. Talks to Tosh over the com. JACK : Tosh, how we doing ? CUT TO : Toshiko in the SUV working on the computer, comparing the victims. TOSHIKO : There's no record of Mr and Mrs Briscoe on our database, nor yesterday's victim and no link between him and the Briscoe's, no connection between any of them. Swanson takes papers from a police officer and stands next to the patrol car. The DNA results appear on Toshiko's computer. TOSHIKO : Jack I've got the result on the k*ller's hair. Jack, Gwen and Owen walk over to Swanson and Jack leans over the patrol car door next to Swanson. SWANSON : Initial findings say : Caucasian male, early 40's, smoker, drinks tequila. Doesn't match any DNA profiles. Only thing of interest is a compound we've never see before. Owen takes the file from her. SWANSON : Recognise it ? OWEN : Uh oh, we're in trouble. GWEN : What is it ? OWEN : Compound B67. JACK : You're kidding ? OWEN : Retcon, he's got retcon in his blood. INT. THE HUB - DAY POV from balcony opposite the Conference Room. Ianto walks past the water tower towards the conference room. Pan right to look through the conference room window, the other members of the team are inside. POV computer screen. Owen looks at the screen explaining Retcon. OWEN : B67, aka retcon, aka the magic ingredient of the amnesia pill. See screen with image of the molecular make-up of Retcon. Track back to see Jack, Gwen and Toshiko sitting around the conference table, Owen standing with his back to them looking at the screen GWEN : And this belongs to us. Whoever this k*ller is, it's someone we gave the amnesia pill to. Ianto enters the room quietly. OWEN : Is he remembering he was a serial k*ller, or is he becoming a serial k*ller because of the Retcon ? GWEN : Wait a minute, I've taken retcon… Jack looks at Toshiko and smiles at Gwen, amused. JACK : Better stay away from sharp objects. Ianto how many people have we given amnesia pills to ? IANTO : Two thousand and eight… OWEN : (Enthusiastically) Hey what if they've all become psychotic ! TOSHIKO : Do you have to sound so happy ? OWEN : Yeah I'm just saying, mean streets… JACK : Tosh, narrow the list down to fit Swanson's profile start checking them out fast as you can. You two there's gotta be a link between the victims, find the link, find the k*ller, get to it. They stand to leave, but Gwen remains seated. GWEN : Jack if there is a link then why don't we just ask the victims ourselves ? JACK : No the right time for a séance thank you very much. GWEN : The first time I met Torchwood you had that glove… Jack and Owen share a glance before answering. JACK : Heh heh, no way. OWEN : Not after what it did to Suzie. GWEN : It brings people back to life; just for two minutes, we could question the m*rder victims. OWEN : That's exactly what she said. She was one of us, we trusted her, and now she's d*ad because of that thing. JACK : The glove stays in the safe where it belongs. GWEN : These m*rder are happening because of Torchwood. So Torchwood has got to do something. INT. THE HUB - JACK’S OFFICE POV SAFE. Jack pulls a metal crate from the safe and puts it on his desk. The others stand watching him. Jack talks to them as he opens the box. JACK : It fell through the rift about forty years ago; lay at the bottom of the bay until we dredged it up. I always figured it wasn't just lost, whoever made it, wanted rid of it. Jack takes the glove from the case and holds it up in front of him. OWEN : You know, we never gave it a cool name. TOSHIKO : I thought we called it the resurrection glove. OWEN : Cool name… IANTO : What about… the risen mitten ? The others look at Ianto, a little under-whelmed, Owen giving a small sigh. IANTO : I think it's catchy. INT. THE HUB - AUTOPSY ROOM Jack and Gwen stand on either side of the table on which lies the body of Alex Arwyn, the first m*rder victim GWEN : Jack, are you ok ? Jack throws a stopwatch to Ianto who stands near to Owen next to the monitoring equipment. Jack puts on the Risen Mitten. JACK : Don't forget, the maximum resurrection time was two minutes, that's only because Suzie had practise, the most we're likely to get is 30 seconds, ok? Tosh you ready ? Toshiko sits at a computer on the balcony. TOSHIKO : Ready and recording. This man was victim number one, name Alex Arwyn. Jack places the glove on the corpse’s head and closes his eyes, concentrating on find Alex. JACK : Come back Alex, come back… GWEN : How does it work ? JACK : You just of feel like reaching into the dark, finding the d*ad. I can't… I don't… Arghh ! He pulls his hand away sharply and tugs off the glove, shaking his burnt hand. JACK : Damn ! Sorry never was very good with this thing, Owen… He offers Owen the glove. JACK : No, I tried last time, we all had a go, it only responded to Suzie. GWEN : Well I never had a go. Jack hands her the glove cautiously. Jack and Gwen swap positions as she puts it on. GWEN : Its cold… JACK : It warms up… the glove relies on some sort of empathy, maybe compassion and… Just be yourself. Gwen puts her hand behind Alex’s head and it begins working immediately. She breathes in deeply as Alex wakes and Ianto starts timing. ALEX : Help me, help me, help me ! JACK : Alex, I need you to listen to me… ALEX : Somebody help me… Help me ! JACK : That’s what we’re doing. Alex. You were att*cked. You know who it was ? Who att*cked you ? ALEX : Who are you ? OWEN : How long ? ALEX : Where am I ? IANTO : 15 seconds. ALEX : Who are you ? GWEN : I'm just trying to help sweetheart, I'm just trying to help… ALEX : I want my mum. Please, let me see my ma. Alex’s breath catches in his throat and he dies. OWEN : He's gone. GWEN : Let me keep trying… OWEN : Gwen he's d*ad. GWEN : But I can bring him back. JACK : The glove only works once. GWEN : But I can do it, just let me try ! JACK : Gwen, look at me. He's gone. Gwen stares at Jack, not wanting to believe him. She pulls away from Alex. IANTO : Amazing, she's a natural… 24 seconds. OWEN : Give Ianto a stopwatch and he's happy. IANTO : It's the button on the top. JACK : What do you think ? Gwen ? You wanna stop ? Gwen turns to look at him, holding the glove firmly onto her hand. TOSHIKO : Recording, victim number two, Mark Briscoe. Gwen puts her hand behind the corpse's head. GWEN : Oh my god I can feel him, it's like, it’s like a rope from my heart to the glove. Ahh it's so warm… Mark wakes, calm but confused. JACK : Hey there. Just look at me, look me in the eye. That's it… MARK : Where am I ? JACK : You've been hurt. We don' have long, we need to know who att*cked you. MARK : Is my wife alright ? JACK : We're looking after her. Now Mark, who was it ? MARK : It was that man. He belonged to pilgrim, he went to pilgrim. JACK : What's pilgrim ? MARK : Oh my god, he had a Kn*fe. JACK : No Mark he's gone. But we don't have long… quickly, what was his name ? IANTO : 35 seconds… MARK : Max, can't think of his surname. TOSHIKO : Trying pilgrim and Max. Get a description. JACK : You've got to give us something more so we can catch him. MARK : There was, there was someone who knew him better… That woman… She was always talking to him. JACK : What was her name ? MARK : Where's my wife ? JACK : Her name ? MARK : Suzie. They are silenced by his answer and Mark drops back d*ad. IANTO : One minute, five seconds… TOSHIKO : Jack, did I hear that right ? OWEN : Could be anyone. Must be lots of women called Suzie. JACK : Not connected to this case. We've been talking to the wrong corpse. INT. THE HUB. CONFERENCE ROOM - NIGHT Toshiko enters and hands the others photocopied flyers for Pilgrim. TOSHIKO : Pilgrim. A religious support group, more like a debating society. Meaning of life, does God exist ?... All that stuff. The point is it was tiny, more like a hobby, run by Mark Briscoe's wife Sarah. She had all that stashed in a wardrobe, hand written and photocopied. That's why I couldn't find any records, she wasn't even online. JACK : No mention of Suzie or Max ? TOSHIKO : Not a word. She didn't even keep a register. OWEN : Wouldn't be our Suzie though. Wouldn't go for all that support group bollocks. GWEN : How would you know ? I mean were you friends ? Any of you ? Who was her best friend in this place ? OWEN : She sort of, kept herself to herself. GWEN : Well if she needed to talk maybe that's exactly where she'd go, a group of complete strangers. JACK : Could be, you got a point Gwen. Time we got to know our deceased colleague a little better. EXT. A LOCKUP GARAGE - NIGHT The SUV pulls up outside the storage facility and Jack, Gwen, Owen and Toshiko get out into the rain. Toshiko walks over to a control panel on the wall next to the garage door and enters a code. GWEN : Have I got this right ? When I die you get to keep all of my possessions ? My whole life is gonna get stashed in a lock up. JACK : Rules and regulations. GWEN : What if I leave all my stuff to Rhys ? The door opens and they stand looking into the storage room, shining torches through the darkness. It is quite a large space, piled high with boxes - each marked with Torchwood’s logo. JACK : We'll stash him away too. Tread carefully people, with respect. This is the life of Suzie Costello. TOSHIKO : It's all we are in the end, a pile of boxes. They begin searching through the boxes. Jack hands Gwen a box and she picks up a photo of Suzie and her father. GWEN : Is her father still alive ? TOSHIKO : I don't know. GWEN : Well you must've looked him to tell him his daughter was d*ad. TOSHIKO : When Suzie left Torchwood she was on the run, she wiped all her records. I couldn't retrieve her files. She was good at computers. She's good at everything. OWEN : She's good at m*rder too. Laugh a minute, that was Suzie. Gwen points her torch at the book Jack holds. GWEN : What's that ? JACK : A book. Emily Dickinson, poet. TOSHIKO : Jack. Toshiko passes a Pilgrim flyer to Jack. TOSHIKO : Pilgrim, she's a part of it. JACK : That proves it then. No choice. It's time Suzie came back. INT. THE HUB - MORTURARY Jack enters the mortuary and walks over to the freezer that contains Suzie. He pulls it open and unzips part of the body bag, pausing before he pulls back the covering to reveal Suzie’s face. CUT TO : AUTOPSY ROOM The team stand in the autopsy room, ready to resurrect Suzie, whose body lies on the table. Gwen puts on the Risen Mitten. GWEN : Do we all get frozen, Torchwood staff, when we die ? Do we all get kept ? JACK : Rules and regulations. GWEN : How long for ? JACK : Forever. TOSHIKO : Recording… OWEN : You got your stopwatch ? IANTO : Always… TOSHIKO : I'll record from my station, I'm sorry but I don't want to look her in the eye. Sorry… Toshiko leaves quickly to work at her station. JACK : Anyone else ? Jack glances around, finally looking at Owen who cannot meet his eye. GWEN : Any advice ? Yeah I know, empathy; even though she did try and k*ll me. JACK : You and me both. Gwen looks at him remembering then Gwen places the glove behind Suzie's head. Gwen sees a flashback of what the night Suzie died. OWEN : I'm getting a reading… uh no it's gone. Jack puts her hair behind her ear and looks at her, he looks concerned. GWEN : Just memories, nothing living, she is too far gone. TOSHIKO : What do we do now ? JACK : Nothing we can do. That's it, we're out of options. OWEN : There's always the Kn*fe. When she k*lled all those people she always used the Kn*fe, it's made out of the same metal as the glove. TOSHIKO : We've seen it before, metallic resonance. Like the glove works better if the Kn*fe is part of the process, like closing a circuit. GWEN : Let's use it. JACK : Small detail, the Kn*fe was used to k*ll people. She's already d*ad. GWEN : Alright so we k*ll her again. INT. THE HUB - JACK’S OFFICE Jack gets out the Kn*fe. OWEN : Ianto… Ianto thinks for a moment, serious. IANTO : Life Kn*fe. The others acknowledge the new name in silence. INT. THE HUB - AUTOPSY ROOM Jack cuts Suzie's arm. JACK : Anything ? GWEN : No, there was just a sort of spark and then it was gone. I'm sorry Jack you're going to have to do it properly. JACK : What the hell. He s*ab her in the centre of her chest leaving the Kn*fe in. Gwen suddenly feels it working, Suzie wakes up. JACK : Suzie listen, just look, look around you, look at where you are. Think, think. Try to remember. Suzie. Suzie look at me. SUZIE : Jack. Oh my god, there's a Kn*fe in my chest. Did you k*ll me ? JACK : You k*lled yourself, remember ? SUZIE : Oh my god, I, I sh*t myself. JACK : We gotta ask you about pilgrim. SUZIE : No. Wait a minute, didn't I k*ll you ? JACK : Never mind that we need names and details. SUZIE : Who's using the glove ? GWEN : Sorry… SUZIE : Oh I might have known, Gwen bloody Cooper ! IANTO : 30 seconds. JACK : When you were in pilgrim you gave the amnesia pill to a man, Max. Do you remember ? SUZIE : What ? You brought me all the way back just for max ? JACK : We need to find him. Who is he ? What's his surname ? SUZIE : He was just some... looser. OWEN : We're losing her. GWEN : Stay here damn you ! JACK : Don't force it Gwen. GWEN : She's not getting away this time, stay here. No ! She is forced to let go from pain and she collapses to the floor. JACK : I told you to stop. OWEN : It's alright, I got her. Okay, pulse… Yeah she's alright. We need to get her out of here. Can you come and give me a hand. JACK : It's the glove. I told you they get hooked ! OWEN : Alright, don't make a fuss, it's over now. IANTO : Erm, excuse me… I'm still counting. OWEN : Well there's not much point, Suzie's d*ad. IANTO : No according to your equipment she's just unconscious. JACK : What the hell’s going on ? Owen gets up and goes over to his computer. Jack stays with Gwen. OWEN : Oh my god, he's right… she's alive. Suzie's still alive, look, and she's bloody breathing ! JACK : She can't be. Pulls the Kn*fe out of her brutally. OWEN : No still breathing. No stopping her. She won't die. IANTO : One minute thirty and counting. INT. THE HUB. INTERROGATION ROOM - DAY Suzie is in a wheelchair on one side of a desk. Jack and Gwen are coming down the stairs to talk to her. Pan around the room - a bloody g*n wound is clearly visible in the back of Suzie’s head. Jack sits down and puts the files on the desk. Toshiko and Owen are watching all this from the main hub. SUZIE : How long's it been ? JACK : Three months. SUZIE : Can't I die ? I just want to go. Suzie’s head lolls to the side and her eyes are shut, very weak. The entry wound of the b*llet is visible under her chin as she moves her head. SUZIE : Can't you leave me alone ? JACK : You seem to be stuck. Suzie opens her eyes and lifts her head. SUZIE : But, am I going to stay like this ? For how long ? GWEN : Don't know. SUZIE : Can I see my father ? JACK : No. GWEN : You wiped your records. We had no trace of him. SUZIE : So he doesn't even know that I'm d*ad ? GWEN : Well you're not any more. SUZIE : This is sick. JACK : You started it. Right now we've got an investigation underway. Pilgrim. You visited these Pilgrim meetings, gave an amnesia pill to someone called Max. How do we find him ? Jack lays out pictures of the members of pilgrim, Suzie doesn’t look. SUZIE : What for ? What did he do ? He was just an ordinary bloke. JACK : We think the retcon triggered a psychosis. He's started k*lling. SUZIE : How many victims ? GWEN : Three, same as you. OWEN : (Over com) We need to know, how much retcon did you give him ? SUZIE : Owen, hello, scared to face me ? OWEN : You frighten the shit out of me, yeah. SUZIE : (Over com) What about Toshiko, she still here ? OWEN : Yeah she's here. All the g*ng. Happy days. The amnesia pills, how many did you give him ? SUZIE : One a week, every week for two years. OWEN : Christ no wonder… JACK : What the hell did you do that for ? SUZIE : I wanted someone to talk to. About this place. It was driving me mad. He was just, he listened that's all, he just listened. Every week as soon as I'd finished talking I'd give him the pill. JACK : You overdosed him. SUZIE : I didn't know that. Keep getting it wrong don't I ? Is that why you brought me back, did you think I wasn't guilty enough ? JACK : What was his surname ? SUZIE : I dunno. All I ever did was talk about me. All my fault isn't it ? It never bloody stops being my fault. Can't you just let me die ? JACK : You don't get off that easy. SUZIE : Yeah you did warn me right at the beginning. You said this was the one job you can never quit. JACK : Then let's get to work. Come on Suzie. Just like the old days, there's gotta be something. Suzie looks at the pictures on the table, carefully. SUZIE : Now hold on, there's someone missing. This girl came every week, student, blonde; she's not in these photos. JACK : Who was she ? SUZIE : Lucy, Lucy McKenzie. Said she worked at a club… JACK : Which one… Suzie starts to fall asleep, she looks very tired. JACK : Come on Suzie, which club ? For gods sakes this Max is k*lling every single member of Pilgrim, now tell me, Lucy McKenzie, where did she work ? Which club ? SUZIE : The Wolf… The Wolf bar. Gwen leaves the room. INT. THE WOLF BAR Torchwood enter. It is a rock club and music is playing loudly crowds of people dance. JACK : Cover the exits. GWEN : Bloody 'ell. Like I didn't have a banging headache already. INTERCUT WITH : In the hub, over the com with Toshiko, they're watching footage of them in the club from camera on each of Torchwood member in the club. SUZIE : That's the glove Gwen, gets inside your mind. GWEN : Yeah alright Suzie, stop creeping me out. Just tell us, any sign of Max, or this Lucy McKenzie ? SUZIE : Nothing yet. Keep moving round. JACK : Keep alert people. To repeat : Max is described in his forties, six three, six four. Stocky, short dark hair, tattoos on his left arm. Owen looks around at the people in the club - lots of them have tattoos. OWEN : Narrows it down. SUZIE : You can't even look at me, can you ? Not like you to be so judgemental… TOSHIKO : Not like you to run a m*rder spree. Alright, so it drives us mad this job, god knows I've done some stupid stuff, but now I've got to keep on working everyday in a job that's got a bit less honour, because of you. OWEN : Right, I got a match on that guy. JACK : Where is he ? OWEN : North west bar. SUZIE : Show me. Owen turns to face the man. SUZIE : Owen get in closer, which one do you mean ? OWEN : Wait… wait, I've got a match on our girl. Lucy McKenzie the student. SUZIE : That's her, that's definitely her. OWEN : Too late he's going over… Owen jumps on the man and wrestles him to the ground. SUZIE : That isn't him ! Jack and Gwen have come over to see who Owen has found. A man suddenly comes up behind Gwen. He is holding a Kn*fe in his hand and is about to s*ab her. SUZIE : Gwen behind you ! Gwen moves, Jack rushes in and pulls him aside and onto the ground and uses a stun g*n. SUZIE : That's him ! JACK : That one’s for Ianto, Risen Mitten, Life Kn*fe and that old classic, Stun g*n. Come on, let's get him out of here. Everyone is the club is staring. GWEN : (To Suzie, over the com) You saved my life. SUZIE : Maybe I came back for a reason. INT. THE HUB CELLS - LATER Max is in a cell, Owen and Jack are talking in the corridor, watching Max. OWEN : Your name is Max Trisillian. Can you confirm that ? You live at 106 Endeavour Terrace, is that right ? Parents Sandra and Dave ? Yeah. You're inside the Torchwood facility. Max gets up and starts banging on the glass ferociously. OWEN : And five, six, keep watching, as soon as you reach ten. Just stops d*ad. If this is a drug induced psychosis, it's a very specific one. JACK : Like he reacts to the word… Torchwood. Max gets up again and bangs at the glass. OWEN : Thanks Jack. JACK : Sorry. Jack looks at Max who is still bearing at the glass. JACK : But if that is caused by retcon then we've got a million more problems on the way. Max stops again. JACK : Let me know what the scan says. OWEN : What about Suzie, what you gonna do with her ? JACK : No idea. What do you think ? OWEN : You're the boss. Jack nods and turns to leave. JACK : Torchwood ! Max bangs on the cell wall as they leave. INT. THE HUB - INTERROGATION ROOM Gwen is sitting with Suzie. SUZIE : Can't you ask Jack ? Just one favour, I want to see my father. GWEN : Tell us where he is, we could bring him in. SUZIE : I'm not letting him anywhere near Torchwood. If he's still alive. GWEN : What's wrong with him ? SUZIE : Cancer. All that waiting and then I go and die first. GWEN : I could contact him on your behalf. SUZIE : And say what ? The pause while they drink, stalling the slightly uncomfortable conversation. SUZIE : So tell me, what's it been like since I've been gone, you enjoying it ? GWEN : Yeah, well you know this place it’s, it's mad isn't it ? SUZIE : Insane ! GWEN : Bloody nuts ! SUZIE : Best job I ever had… GWEN : Me too. SUZIE : And the worst ! GWEN : Yeah, tell me about it. SUZIE : Funny thing is, you always imagine that when you're d*ad, oh they're going to miss me at work. Indispensable. And look what happened, I got replaced, by someone better. You got that glove working better than I did. GWEN : I just got lucky. SUZIE : No, it's more than that. The others they prefer you. GWEN : Don't say that. SUZIE : You got my job, almost like you planned it. GWEN : Except I didn't and I'm sorry but I've got my own function at Torchwood, and I'm a lot more than just a replacement. SUZIE : Have you slept with Owen ? Gwen pauses then nods slightly. SUZIE : There you go, replaced me completely. INT. THE HUB - JACK’S OFFICE Gwen storms into Jack’s office. Jack sits behind his desk. JACK : I had a boyfriend who used to walk into rooms like that, the grand entrance. Got kinda boring, though he was one of twins so I put it up with it. Twin acrobats. Man I gotta right that book, maybe even illustrate it. I can talk for a long time, a very long time. GWEN : Takes me a while to piece things together. JACK : Meaning ? GWEN : Suzie had the glove. You put her in charge of it. But tell me Jack did you ever ask about her father ? JACK : How do you mean ? GWEN : He's got cancer. He's been dying slowly now for years, and what do you do ? You give her the one thing that brings people back to life. Is it any wonder she got obsessed ? JACK : Oh so this is all my fault ? GWEN : Well isn't it ? Did you ever stop and think. Did you ever look at Suzie ? Did you ever think what that glove would do to her ? Did you ? JACK : Right from the start, you thought Suzie's death was because of you. Cos it happened when you arrived, then you brought her back to life… all the way, because you wanted it so much, okay ? We're both responsible ! Now what the hell are we going to do with her ? GWEN : I don't know. What if she never dies ? Have you thought of that ? Like undying forever, just you and her. JACK : No way. GWEN : Could be… JACK : I wouldn't wish that on her, I'd sooner k*ll her right now. GWEN : Could you though, k*ll her ? JACK : Yeah. GWEN : Really ? JACK : Oh yeah ! OWEN : (On com) Jack, can you come to the conference room for a sec, something I need you to see, kind of urgent. Jack leaves, Gwen remains in his office. INT. THE HUB - CONFERENCE ROOM OWEN : I was going over Suzie and Gwen's medical records I ran them through the Fillmore filter. Watch the difference. They watch Gwen bring back Mark on the screen energy flows from Gwen into Mark. OWEN : This is the moment when Gwen brought back Mark Briscoe, the husband. See ? Now look at his death. The energy flow has stopped just as he's about to die. But, have a look at Gwen with Suzie. The energy running between Gwen and Suzie is significantly greater than between Gwen and Mark, and it does not stop. TOSHIKO : Whoa, what is that ? OWEN : Energy, life. But with Suzie it's a permanent connection and she is getting stronger and it's still going right now, she is draining the life out of Gwen. JACK : There's always a price. INT. THE HUB - INTERROGATION ROOM Gwen brings Suzie some biscuits and tea on a tray. SUZIE : More coffee, is that all you do ? Just leave me alone. GWEN : Have a biscuit at least. Go on. Just for me. Gwen lifts the plate of biscuits up to reveal a note that says, Road trip ? Suzie looks up at her. INT. THE HUB - COJNFERENCE ROOM JACK : The owner of the glove can bring back someone's life but loses their own life in return. TOSHIKO : But how do we stop her ? JACK : We gotta k*ll her. Suzie's gotta die. TOSHIKO : Again ? OWEN : Who's gonna do it ? JACK : Like you said, I'm the boss. He takes out his g*n and leaves the room. INT. THE HUB - INTERROGATION ROOM Jack enters the interrogation room and sees that Suzie and Gwen have gone. JACK : (Into com) Toshiko, where the hell’s Suzie and where the hell's Gwen ? TOSHIKO : (Over com) Interrogation room. JACK : No they're not. Find them fast. EXT. CAR PARK Gwen pushes Suzie in a wheelchair through a quiet car park. INT. THE HUB Toshiko scans the hub on her computer, Jack and Owen stand near her. TOSHIKO : I can't see them, hold on. Scanning… OWEN : What's going on, where've they gone ? TOSHIKO : Nothing on internal scan. JACK : Just keep looking, bring up the SUV. Toshiko brings up CCTV covering the SUV. TOSHIKO : Still there. I'll try exteriors. What about Gwen's car ? They see her getting in the car with Suzie. OWEN : What's she doing ? JACK : Getting herself fired. OWEN : How stupid is that, thinking they could just drive off ? JACK : Come on, let's go get them. The lights go out and all the doors in the hub slam shut. JACK : What the hell ? Ianto ! Ianto ! IANTO : Captain ! Ianto walks over to jack next to the water tower carrying a torch - already prepared like a boy scout. JACK : What's happened ? IANTO : But I thought you must've done it. We've gone into lockdown. JACK : Then reverse it. IANTO : I can't. It's 100%, the doors are sealed, we're locked in. EXT. CAR PARK Gwen enters her car, Suzie is already in the passanger seat. GWEN : I'm taking you to see your dad and that's it ok. Sorry. I must be mad. Jack's not stupid, he's gonna catch us. SUZIE : You never know, we might get lucky. Gwen drives out of the car park. INT. THE HUB TOSHIKO : Everything’s gone, computers, mobile coverage, lifts… everything. We're sealed in. JACK : How long does Gwen have before she dies ? OWEN : Two hours, maybe less. TOSHIKO : Think, if Suzie set up the lock down, how did she do it ? OWEN : Entered an override ? TOSHIKO : No she's officially d*ad. The computer wouldn't give her access. JACK : Then how did she do it ? What the hell did she do ? INTERCUT WITH : Gwen’s car travelling away from Cardiff. TOSHIKO : There's got to be an answer. Suzie couldn't physically start the lockdown. Programme wouldn't have let her, but there's no one else. JACK : Wait a minute we've got a guest ! INT. THE HUB - CELLS Jack and Owen run down to the cell block, Max is reciting a poem over and over again. MAX : …and immortality / because I could not stop for death / he kindly stopped for me… OWEN : Is that a poem ? JACK : I wonder - Emily Dickinson. OWEN : Then what does it mean ? JACK : It's a verbal trigger. Say it out loud and maybe repeat it a hundred times over and the hub locks down. OWEN : If that's part of the system then Suzie must have installed a vocal command programme way back… JACK : Back when she was alive, yeah. Max is just a Trojan horse. Suzie planned this right from the start. They leave the cells, Max still reciting the poem. CUT TO : Gwen’s car still travelling. CUT TO: INT. THE HUB JACK : You see : Max, the retcon, everything… it's all been a hoax to get us to resurrect Suzie. OWEN : She gave Max a whole complex of subconscious triggers ? TOSHIKO : Like she dies, Max becomes a time b*mb. She disappears for three months and wham the orders kick in ! He follows Suzie's program and starts k*lling. JACK : And the whole chain of events forces us to bring Suzie back. TOSHIKO : Then she escapes. OWEN : You gotta admit, that is not bad, I'm picking her for my team. TOSHIKO : If she could lockdown the hub she must have installed a way of reversing it just in case. JACK : Yeah… INT. GWEN’S CAR - NIGHT Gwen and Suzie are on the road in the car. GWEN : Bit more colour in your cheeks. SUZIE : It's all thanks to you. That night, my last night on earth… so I thought, before I sh*t myself I sh*t Jack right through the head. I k*lled him. Stone d*ad, and then he just stood up and lived. Am I right ? Did that happen? Gwen ? GWEN : Yes it did. SUZIE : So he can survive a b*llet through the head ? GWEN : Yeah. SUZIE : How ? GWEN : I dunno. He wouldn't explain it properly. He said something happened to him a while back and he said… he said he can't die. Not ever. SUZIE : And he makes judgements about whether I'm allowed to live. It's all very easy for Captain Jack isn't it ? Do you ever wonder... ? GWEN : What ? SUZIE : Who is he? GWEN : All the time. INT. THE HUB - WATER TOWER Ianto standing next to the water tower holds up his phone. IANTO : I've got reception sir. JACK : How did you do that ? We're sealed off. IANTO : Just used the water tower as a relay. Jack looks up, then takes the phone from Ianto, smiling, impressed. He walks over to Toshiko's station. JACK : Nice work Ianto… but who the hell do we phone ? INT. POLICE OFFICE A phone rings in a busy, open plan police station office. PC : Detective Swanson… SWANSON : Who is it ? PC : Torchwood. Swanson takes the phone and answers it. SWANSON : Better not be wasting my time ! INTERCUT WITH : Jack on the phone in the hub. JACK : As a matter of fact I was wondering if you do us a favour. SWANSON : What the humble police helping the mighty Torchwood, why don't you help yourselves like you normally do ? JACK : Because we can't. SWANSON : Why's that ? JACK : We're sorta… busy. SWANSON : Well I'm busy too, try someone else. Swanson starts to hang up. JACK : No, no, no, no, no ! It's just because we, we can't at the moment because we're, sort of… stuck… SWANSON : In what way ? JACK : We're locked in. SWANSON : You're locked in. JACK : Just a bit… SWANSON : Locked in where ? JACK : Umm… in our own base. SWANSON : You're locked inside yer own base ? JACK : And it's not funny. Swanson gestures to a colleague to join her and laughs. SWANSON : And how am I supposed to help you exactly ? JACK : We need a book of poetry. It's not funny. INT. GWEN’S CAR GWEN : Oh god, driving at night. Gwen yawns, pale and exhausted. She turns on the radio. SUZIE : Oh my god. GWEN : I dunno this one. SUZIE : Oh it's ancient… My mum used to sing this, when I was kid… all those years ago. Before I died… Suzie appears upset and Gwen keeps driving in silence, uncomfortable. INT. POLICE OFFICE A crowd of plain clothed police workers stand around Swanson’s desk laughing. She has put the call onto speaker phone. SWANSON : Alright Captain Jack, just say that one more time. Nice and clear… INTERCUT WITH : Jack still on the phone in the hub. JACK : We're locked in our base and we can't get out. Ok you've had your fun. Now listen, Detective Swanson, one of our team is in danger. SWANSON : Alright you lot, back to work. Swanson opens a paper bag and pulls out a book : the complete poems of Emily Dickinson. SWANSON : Ok, got it, the complete poems, it only cost me twenty quid. JACK : And what does the book say ? SWANSON : I dunno what am I supposed to do ? JACK : Find ‘I Could Not Stop For Death’, read out the next verse. SWANSON : What if it doesn't work ? JACK : Read out the whole book. SWANSON : It's gonna be a long night. Swanson passes a mug over her desk to a colleague. INT. GWEN’S CAR SUZIE : Tired ? GWEN : I'm fine… SUZIE : Don't want you falling asleep at the wheel. One corpse is enough for this car thanks… GWEN : Don't say that. SUZIE : What ? GWEN : Corpse, cos your not. SUZIE : Well what am I then ? GWEN : I dunno. You're just not though. When you’re d*ad, I mean when you die… what happens ? SUZIE : What do you want me to say ? GWEN : The truth. SUZIE : Really ? GWEN : Tell me. SUZIE : You religious, or… GWEN : Just sort of, in passing you know… SUZIE : Do you believe in heaven ? GWEN : I dunno… SUZIE : Yes you do, what do you believe ? GWEN : Stupid but, I always sort of think… like you know, white light and all that and I think of my gran and she'll be there, waiting for me. The smell of carbolic… SUZIE : Your faith never left primary school. GWEN : So what's up there ? SUZIE : Nothing. Just nothing. GWEN : But… but if there's nothing what's the point of it all ? SUZIE : This is, driving through the dark, all this stupid tiny stuff. We're just animals howling in the night, ‘cause it's better than silence. I used to think about Torchwood, all those aliens coming to earth, what the hell for ? But it's just instinct. They come here ‘cause there's life, that's all. Moths around a flame creatures clinging together in the cold. GWEN : So when you die it, it's just… SUZIE : Darkness. GWEN : And you're all alone there's no one else ? SUZIE : I didn't say that. GWEN : What'd you mean ? SUZIE : Why do you think I'm so desperate to come back ? There's something out there, in the dark, and it's moving. INT. THE HUB Jack is still on the phone to the detective. They're now reading out lines from the book to see if it will reverse the lockdown. JACK : ‘Parting is all we know of heaven and all we need of hell’. No, try another… SWANSON : ‘Success is counted sweetest by those who ne'er succeed’. Christ she was a bundle of laughs ! JACK : ‘Success is counted sweetest by those who ne'er succeed’. No… TOSHIKO : Wait a minute, just had a thought, if words cause the lockdown, maybe numbers reverse it. Try the ISBN, every book's got a different number. JACK : You getting this ? SWANSON : Yeah , hang on, I’m looking. Toshiko positions her hands over the keyboard, preparing to type in the ISBN. TOSHIKO : Read it out. JACK : The keyboards aren't working. TOSHIKO : But the membrane underneath might just recognize the code. SWANSON : Okay, got it. ISBN… JACK : 019… SWANSON : 8600… JACK : 585… The lights come back on. JACK : That's it ! Everybody move, move, move ! Cathy, Thank you. SWANSON : Pleasure. Jack hangs up the phone. INT. HOSPITAL CORRIDOR Gwen is pushing Suzie along the hospital corridor towards a patients room. INT. THE HUB Back in the hub Toshiko is instructing Jack and Owen who are on the road in the SUV. TOSHIKO : Ok I've got the tracker on Gwen's car. It's a hospital, giving you the co-ordinates now. JACK : On the way. How long's she got ? OWEN : It's only a guess but I'd give Gwen about, 40 minutes. JACK : (Over com to Swanson) Cathy I need the road ahead clear, I'm going to break the speed limit big time ! SWANSON : (Over police radio) All units give Torchwood priority, repeat, give Torchwood priority. INT. HOSPITAL - PRIVATE ROOM Suzie and Gwen enter the patient's room. A man is lying on the bed, asleep. Gwen wheels Suzie's wheelchair up to the end of the bed and then goes over to close the door. GWEN : Suzie, I don't err… I don't… I'm not… ahhh my god ! This headache it's…. Gwen leans against the wall in pain. She touches the back of her head and is horrified to see that she has blood on her hands. GWEN : What's happening to me ? SUZIE : Sorry Gwen. Suzie removes her headscarf. SUZIE : You're getting sh*t in the head… slowly, and believe me it hurts. She touches the underside of her chin where she sh*t herself, there is barely a mark there now. SUZIE : Almost better. Completely gone soon… GWEN : No… No… No! Gwen sinks to the floor in pain. Suzie gets up out of the wheelchair and goes over to the bed, ignoring Gwen’s cries of pain. SUZIE : Dad… It's me dad… Wake up ! Dad, it's Suzie… Suzie’s dad opens his eyes and looks terrified when he sees Suzie. SUZIE : Hello Dad… Suzie pulls the respirator from his mouth, and he starts to splutter, unable to breath. SUZIE : Goodbye ! GWEN : What're you doing ? SUZIE : That's worth coming back for. Sending him to the dark ! Just what the bastard deserves ! You see Suzie wheeling Gwen in the wheelchair down the corridor of the hospital. Gwen reaches out for someone but Suzie puts her arm back on her leg. Gwen looks totally white and really in pain. INT. THE HUB Toshiko is in the hub directing Jack and Owen in the SUV over the com. INTERCUT WITH : Jack and Owen in the SUV. And INTERCUT WITH : Gwen and Suzie in Gwen's car, Suzie driving, Gwen sitting in the passenger seat, near death. TOSHIKO : (Over com) They're moving again. I can't predict a specific destination, not yet. JACK : Keep feeding it through, we're catching up. Jack’s phone rings, he transfers to the new call. JACK : Hello ? SUZIE : Did you like poem Jack ? JACK : Suzie don't let her die ! The glove is k*lling Gwen and keeping you alive ! SUZIE : I know. JACK : Then stop ! SUZIE : But I get to live, why would I stop ? JACK : For Gwen's sake ! SUZIE : But she replaced me, and now I'm doing the same to her. Isn't that fair ? JACK : Suzie we've got a tracker on that car. We're going to catch up. I promise. SUZIE : And what happens then ? JACK : If she's d*ad, then I'm going to k*ll you, Suzie Costello. I promise. I'm going to k*ll you for the last and final time. SUZIE : But would you ? When there's a part of her that’s now me. Could you do that, if I'm the only thing left of her ? JACK : Why are you doing this ? SUZIE : Because life is all, Jack. You should know ! I'd do anything to stay, anything. JACK : Suzie, please, just stop. SUZIE : She's a real find this one. Gwen Cooper. She's better than me, she's so much better. I was never any good ! Jack I'm sorry. She hangs up crying. JACK : Suzie ! TOSHIKO : (Over com) Jack she's heading for the coast line on the B57, a place called Hedley Point, there's some sort of ferry, goes out to the islands. Get a move on ! Morning is starting to break. JACK : Owen, how long we got ? OWEN : Minutes… EXT. HEDLEY QUAY Gwen's car pulls onto the dock. Suzie gets out. Dawn has broken and Suzie looks down the long, single lane pathway to the pier while helping Gwen from the car. SUZIE : Beautiful Gwen. Can you see ? Suzie gets Gwen out of the car. Suzie put’s Gwen’s arm over her shoulders and they walk towards the ferry landing. SUZIE : We'll take the ferry go out as far as we can, keep on running, cos he won't hurt us, we'll keep on going, you and me. The SUV pulls onto the pier. Further down towards the ferry landing Suzie is unable to hold Gwen up any longer - she is dying. She puts Gwen onto the floor and rolls her onto her back. SUZIE : I'm sorry, have you gone ? Gwen ? Gwen blinks very slightly. Jack and Owen get out of the SUV, unable to drive past Gwen’s car. SUZIE : Can you hear me ? Gwen ? Jack and Owen run towards Suzie and Gwen, g*n drawn and ready to use. SUZIE : Poor Gwen Cooper, safe journey. Suzie kisses Gwen’s forehead and then runs to the end of the pier. Owen stops when he reaches Gwen and checks her life signs. Jack continues to follow Suzie, when they reach the end of the path Jack aims at Suzie who has nowhere left to run. JACK : Let her go ! SUZIE : I can't ! JACK : Let Gwen go ! SUZIE : I can't ! JACK : Owen, how is she ? Owen ! Report ! OWEN : I think we're too late. JACK : If I k*ll you does she live ? SUZIE : But you can't Jack ‘cause, look at me, I'm the last thing left of Gwen Cooper, can't you see it ? Just the smallest bit of her ! JACK : Not one bit ! He sh**t her. Suzie falls to the ground. JACK : Owen, anything ? OWEN : Nothing. JACK : But I broke the connection ! Suzie opens her eyes and looks at Jack, smiling. JACK : I k*lled you ! SUZIE : But I can't die… Jack sh**t her twice more. SUZIE : Never gonna die… JACK : How much more of this do you want ? Blood seeps from the wounds in Suzie’s torso, Jack sh**t her again. Suzie rolls over and laughs. SUZIE : It's all your fault Jack ! You recruited me ! JACK : (Over com to Toshiko) The glove ! Tosh destroy the glove, it's keeping them connected ! INTERCUT WITH : Toshiko and Ianto in the hub. TOSHIKO : Ianto, armourments ! Code 5 ! Jack sh**t Suzie again to keep her on the ground. SUZIE : Captain, my captain. Do you want to know a secret ? Ianto opens the safe in Jack’s office and throws the Risen Mitten to Toshiko. SUZIE : Something moving in the dark, and it's coming, Jack Harkness. It's coming for you ! Toshiko sh**t the Risen Mitten, destroying it. Suzie draws a final breath and dies as the connection is broken. Gwen takes a deep breath - resurrected. OWEN : Whoa ! It's ok, it's ok… relax… The police arrive and run towards them. Owen keeps a hold of Gwen and she starts breathing normally as Owen clutches her to him. Jack holsters his g*n and stands looking down at Suzie’s body. INT. THE HUB - DAY Gwen sits with Toshiko and Owen. Jack enters the hub and Gwen smiles at him. Jack leaves the room and goes down to the mortuary. INT. THE HUB - MORTURARY Suzie’s body lies in a body bag on her freezer drawer. Ianto stands to one side of the drawer with a clipboard, completing the paperwork. Jack stands on the other side of Suzie’s body. JACK : Thanks for doing this. IANTO : Part of my job, sir. JACK : No, I should be doing it but… Jack leans back on the freezer doors, sighing - more death. JACK : One day we're gonna run out of space. Ianto keeps writing, then looks at Jack. IANTO : If you're interested I've still got that stopwatch. Jack looks at him curiously. JACK : So ? IANTO : Well think about it. Lots of things you can do with a stopwatch… Jack smiles cheekily at Ianto, catching on. JACK : Oh yeah. I can think of a few… IANTO : There's quite a list. JACK : I'll send the others home early, see you in my office in 10… Ianto starts the stopwatch as Jack speaks. IANTO : That's ten minutes and counting. Jack starts to walk back to the central hub. IANTO : Oh Jack… what do you want me to say on the death certificate ? JACK : Good question… IANTO : She had quite a few deaths in the end. JACK : I dunno… death by Torchwood. IANTO : I'll put a lock on the door, just in case she goes walking again… JACK : Nah, no chance of that. The resurrection days are over, thank God. Jack begins to walk away again. IANTO : Oh I wouldn't be too sure, that's the thing about gloves Sir. They come in pairs. Jack turns to look at him and then continues walking away. CLOSING CREDITS. Indira Varma - Suzie Costello / Yasmin Bannerman – Swanson / Daniel llewellyn-Williams - Alex Arwyn / Gary Pillai - Mark Brisco / Shend – Max / Badi Uzzaman - Suzie's father

{"type": "series", "show": "Torchwood", "episode": "1x08 - They keep k*lling Suzie"}

foreverdreaming

Opening sh*ts and series recap JACK : (VO) Torchwood. Outside the government, beyond the police. Tracking down alien life on earth and arming the human race against the future. The 21st century is when everything changes and you gotta be ready. Open on blurred lighting, a darkened background. EUGENE : (VO) The speed of light is three hundred and ninety nine million, seven hundred and ninety two thousand, four hundred and eight metres per second, pain travels through the body at three hundred and fifty feet per second. Even a sneeze can reach a hundred miles per hour. As for life, well, that just bloody whizzes by. Overview of a young man lying on his back in the middle of a road. He is average - average height, build and looks - Eugene. EUGENE : (VO) So then, this is me. Eugene Jones. Eugene looks to either side of him and sits up. Confused. He stands and looks about, walks slowly down the road, past the Torchwood SUV and the police cordon. An officer holds up the rope while he passes. He sees the Torchwood team and calls out, he knows who they are. EUGENE : Hey. Gwen ! Jack ! Tosh ! The guys at the rope just let me through so… Jack and Gwen stand with Toshiko next to a police patrol car and an ambulance. GWEN : I’d say at least 50 miles per hour. Gwen walks away from Jack to look at a body. They talk, ignoring Eugene. JACK : Travel on the bonnet, bounced, maybe rolls, smashes his face on the road. Eugene moves closer to Gwen and looks at the body lying on the verge at the side of the road. EUGENE : Aye ? Er, excuse me, that looks a lot like me… The body of Eugene lies face down on the floor, blood covering the side of his head - d*ad. TOSHIKO : Couldn’t even cross the road without messing it up. Jack crouches down next to Gwen to look at the body. GWEN : No bag, nothing. I mean what was he doing here ? Perhaps he was h*t deliberately, maybe he really did have something important. TOSHIKO : Like what ? GWEN : I dunno. He was always trying to talk to us, show us stuff. Perhaps we shouldn’t have been so… TOSHIKO : Gwen, I think it’s just an ordinary RTA. EUGENE : Guys ! JACK : It was a red car, there’s red paint under his fingernails. EUGENE : Am I d*ad ? Eugene looks at the body - himself - as understanding begins to dawn. He looks round to see that he has put his arm through Toshiko’s back, he’s a ghost. He begins to step backwards in shock. He stands in the middle of the milling police officers, ambulance crew and SOCO calling out in general. EUGENE : Am I d*ad ? Am I d*ad ? OPENING CREDITS EXT. ACCIDENT SITE - DAY A mobile phone lies in the grass near to the body of Eugene. It rings and Toshiko picks it up and answers. TOSHIKO : Yes ? BROMWEN : (Over phone) Hello love, I’ve just been to the shops, I forgot tea bags. Toshiko holds out the phone to Gwen who takes it. BROMWEN : (Over phone) ‘ello ? Eugene… GWEN : Hello, Mrs Jones, something’s happened. We need to talk to you. Eugene still stands nearby, trying to work out what is happening. EUGENE : (VO) What happened ? How did I end up here ? I mean, I’m d*ad ? But I’m not d*ad, shit ! Gwen leaves the accident scene, going under the police cordon, followed by Eugene. EUGENE : (VO) So what, am I a ghost ? Or a zombie ? Gwen walks to the SUV and opens the back door, Eugene still following her. Toshiko behind them gets into the passenger seat. EUGENE : (VO) Oh, God ! Right, car. Stick with the team. Eugene ducks under Gwen’s arm and through the open door into the back seat of the SUV. Gwen pauses to look at Jack who indicates the driver’s door. GWEN : What ? You’re driving. EUGENE : (VO) This is Torchwood. It’s gonna be okay. Eugene looks in the rear-view mirror - he is not reflected. EUGENE : (VO)What ? Course, I’m invisible. Why am I invisible ? Gwen looks at Eugene’s mobile. JACK : Anything on Eugene’s phone from today ? GWEN : Just some pictures of random shoes. There are various pictures of people’s feet. She flicks through the photos then puts the phone down. EUGENE : (VO) Mind you, feels kind of familiar. You know what, whatever’s happened, al of a sudden, I’m somewhere I always wanted to be. Eugene looks at Gwen. Overview : the SUV drives away. EUGENE : (VO) Lets back up a bit. I mean every story’s got a beginning. I think mine began here… INT. HALL - 1992 An hall is full of children in school uniform and adults (their parents) clapping. A young Eugene sits behind a desk - a team gameshow panel. EUGENE : (VO) The final of the inter-school maths competition, 1992. I used to be a mathshead - binary code, interpology, quadratics, I loved stuff like that and… I was supposed to be really good at it. Widen to see the stage, Eugene’s team of three and the host with score cards facing the audience - 34, 42. Eugene holds his d*ad in his hands, defeated. HOST : …and Rushmore a mountainous 42. Congratulate the winning team… EUGENE : (VO) Dad took the day off work to come and see me, but when the moment mattered, I blanked. Eugene’s dad sits in the audience, looking disappointed and annoyed. EUGENE : (VO) I let the side down. I made a mess of it. CUT TO : School science classroom. A few students leave the room. Eugene sits alone, dejected. The others look at him as they leave. GIRL : See ya. EUGENE : Everyone blamed me for loosing the final. But, it must have been what happened afterwards that started this whole thing off. A teacher enters the room - 50’s, balding, portly. MR GRIFFITHS : Have you ever had a proper look at the collection ? YOUNG EUGENE : No, Sir. MR GRIFFITHS : Would you like to ? YOUNG EUGENE : No, Sir. MR GRIFFITHS : I play golf. YOUNG EUGENE : Oh. Good, Sir. MR GRIFFITHS : I play golf and one day when I was playing really badly I was stuck in the first bunker whacking away at all the sand… Mr Griffiths, looking through a glass fronted cabinet, takes out an object and holds it in front of himself. MR GRIFFITHS : …And this fell out of the sky and landed, plop, beside me. YOUNG EUGENE : From the sky ? MR GRIFFITHS : Yeah. Well it looks a bit like a golf ball so I picked it up and put it in my pocket, but when I had a proper look later, here. Mr Griffiths hands the object to Eugene who takes it, his interest piqued. It is a large glass eye - too large to fit a human. MR GRIFFITHS : I realised it was an eye. I thought oh, where could that have come from ? It fell from the sky, isn’t that amazing ? Have it. As Eugene looks at the glass eye the swirled iris moves. Mr Griffiths moves back to his desk and Eugene’s father enters the room holding a video camera and looking irritated. SHAUN : Where the bloody hell have you been ? Mr GRIFFITHS : Good evening ! SHAUN : Good evening. Come on Eugene. Eugene dutifully picks up his jacket to leave with his father and walks towards the door. MR GRIFFITHS : Have you got everything ? Eugene pauses and shows Mr Griffiths the eye before leaving. YOUNG EUGENE : Yes. Thanks Sir. CUT TO : INT. YOUNG EUGENE’S HOUSE. Eugene sits at the kitchen table examining the eye while his parents argue loudly. SHAUN : I went to the school didn’t I ? BROMWEN : Oh just… The remainder of their argument is lost under Eugene’s voice over. EUGENE : (VO) Dad was mad at me for loosing the final, but now I had the eye… CUT TO : YOUNG EUGENE’S ROOM - LATER A ceiling painted dark blue with planets and stars painted on it. Eugene’s voice over continues. EUGENE : (VO) …and what I realised was, if it fell from the sky it probably, no, no, it almost certainly belonged to an alien. Young Eugene lies on his bed looking up at his stellar ceiling. His parents still arguing downstairs. BROMWEN : (From downstairs) …get out of my house. SHAUN : (From downstairs) I’m off ! The door slams and young Eugene turns his head to look. Then climbs out of his bunk bed to look out of the window at his father. He bangs on the window but his father does not hear, he gets in his car and leaves. EUGENE : (VO) That was the night Dad went away. But it was okay because I had the eye, and the possibility of an alien encounter. Young Eugene goes to his bookshelf and picks up the eye. He stands holding it under a reading lamp. EUGENE : (VO) I mean, if you leave something really important behind, you come back and get it. Don’t you ? Young Eugene returns to the window and looks through his telescope at the moon. EUGENE : (VO) God I wanted that alien to come back and claim his eye more than I wanted anything in my life. I worked out the possible provenance… CUT TO : images of various planets. EUGENE : (VO) …The life-form and galaxy. Planetary escape velocities, launch windows, necessary fuel capacities, and then I waited. CUT TO : The eye travels through the universe. CUT TO : EXT. DOCKS - NIGHT - RECENT PAST Eugene stands next to the police cordon at the scene of an incident. A few other civilians stand with him. EUGENE : (VO) My Dad never came back. As I got older I became interested in UFO’s, collected alien artefacts, watched the stars and waited alone for my alien… Torchwood SUV pulls into the site. Gwen gets out the SUV and walks towards the boot. EUGENE : (VO) And then, I found you. Gwen Cooper. Eugene goes over to speak to Gwen as she gets equipment from the car. EUGENE : I’m Eugene Jones and erm, I’ve a keen interest in your work and, err, I’ve got something, er, I just like, I’d just like, I’d just like to show. Jack stands at the incident site, surrounded by small, grounded boats. Owen walks past Gwen carrying equipment. Gwen holds 2 boxes and pauses to speak to Eugene. GWEN : Hi. EUGENE : Hi… JACK : (Off screen) Gwen, come on ! Gwen indicates her equipment, not having the time to spare to speak to Eugene. GWEN : Look, I’ve gotta go. EUGENE : Please, please ! She walks away. Eugene follows, waving papers at her which he drops and are blown away by the wind. He stops and watches her go to work. EUGENE : (VO) But I couldn’t quite make contact. CUT TO : EXT. ANOTHER INCIDENT SITE - LATER DATE. Eugene approaches Owen and Gwen as they putting equipment back into the SUV. Owen again walks past him and Eugene speaks to Gwen. OWEN : You again. EUGENE : Gwen, I’ve got this thing I, I really need to show you. Gwen gets into the SUV. GWEN : Sorry. EUGENE : (VO) I couldn’t get you interested in the eye, no matter how hard I tried. INT. EUGENE’S HOUSE. Gwen is at Eugene’s house to see his mother, Bromwen, and tell her about his death. The ghost of Eugene stands with her. BROMWEN : Are you sure it’s my Eugene ? GWEN : Yes Mrs Jones. BROMWEN : Perhaps, you couldn’t, really identify him. GWEN : We could. Bromwen starts to cry and Eugene leaves the room, not wanting to watch his mother’s grief. Bromwen looks around at the over, unable to come to terms with the sudden news. BROMWEN : That’s his tea there. CUT TO : INT. EUGENE’S ROOM Owen goes through a stack of magazines in Eugene’s room, Ianto is with him sorting through the belongings. Eugene enters. Owen throws down the magazine he was flicking through and some fall to the floor. OWEN : Shit. Owen moves to stand near Ianto. Eugene bends to pick up the magazines. Owen looks at a leaflet proclaiming ‘Black holes and the uncertainty principle’ OWEN : What are we doin’ ‘ere ? Ianto opens a cabinet nearby. IANTO : Look at this. Labelled trinkets have been placed neatly on a glass shelf. CUT TO : EUGENE’S HOUSE - LIVING ROOM - CONTINUOUS Gwen sits next to Eugene’s brother, Terry, on the settee. Terry isn’t really listening, watching television instead. GWEN : Do you understand what’s happened to your brother, Terry ? TERRY : Yep. GWEN : What. TERRY : He walked into a road and got run over. Gwen looks at the television, a programme about elephants, and changes her tactics. GWEN : Where’s yer Dad ? TERRY : Works for a big corporation in America. Owen enters and indicates she should go with him. OWEN : Gwen. Gwen puts a hand on Terry’s shoulder as she stands, he doesn’t really notice. CUT TO : EUGENE’S BEDROOM - CONTINUOUS Gwen picks up items from the cabinet. Eugene stands next to her. EUGENE : That’s pre-gorgon Pilurian currency. I had them authenticated. GWEN : Are these Roman coins ? Owen holds another item, it appears to be Rice Crispies glued to a piece of rock. OWEN : Hey look, Rice Crispies. Man there are some rogues out there. Gwen turns back to the cabinet and notices a stand without an object. GWEN : Oh, hang on, there’s something missing here. Bromwen enters and Gwen picks up the stand and turns to her. GWEN : Mrs Jones do you know what’s missing from Eugene’s collection ? BROMWEN : Why didn’t they stop ? They k*lled my boy and just… drove on. Gwen puts the stand back, knowing she can ask no more questions. CUT TO : EUGENE’S FRONT DOOR - LATER Bromwen stands holing the door open as Owen leaves, followed by Gwen, carrying a boxes of Eugene’s belongings. OWEN : Excuse me. GWEN : I am sorry Mrs Jones. Bronwen nods her understanding through her tears. Eugene follows Gwen through the door, pausing as he goes. EUGENE : Look mum, I’m sorry, but er, we got the best team ever workin’ on this, the Torchwood, me, top. We’ll get sorted mum. See I… Bromwen returns inside, unable to hear Eugene, he keeps speaking as she walks past. EUGENE : …Think there’s probably been some mistake, so er, so erm. Gotta go. Eugene walks away, realising that it’s pointless talking to his mother as a ghost. INT. THE HUB - DAY The cog door opens and Gwen enters followed by Owen, Ianto and Eugene. GWEN : I wanna know where he last ate, where he’s been… EUGENE : Oh wow, this is, this is, I’m totally, Christ almighty ! Eugene turns around to see the Doctor’s hand and it’s companion piece on the table. EUGENE : The head of Vexor 11. No way ! And, wow, a hand, in a jar. GWEN : What was he doin’ out in that road ? Gwen puts her box down on the table next to the settee. OWEN : Oh f*ck knows. Categorising chevrons. He was a geek. Eugene wanders through the hub. EUGENE : Oh, this is truly legendary. Gwen walks down into the autopsy room followed by Owen. OWEN : Gwen he had a bit of a thing about you and now you’re feeling guilty. GWEN : Sod off Owen. Owen indicates the body of Eugene lying on the table covered with a sheet. OWEN : You do it then. GWEN : I do it, the autopsy ? OWEN : Yes, I’ve got a stack of admin. GWEN : Okay, good. OWEN : Sure. GWEN : Yes. OWEN : Really ? GWEN : Yes. CUT TO : Eugene standing in the middle of the hub still looking around. EUGENE : I am in heaven. Am I ? Is that… ? Eugene walks into the autopsy room and sees Gwen unzipping the body bag to reveal the face of Eugene’s corpse. OWEN : Number three scalpel, start at the sternum, piece of piss. Gwen has put on an apron and she puts on some latex gloves, preparing to start the autopsy. Eugene stands but the stair rail, watching. EUGENE : Okay, here we go. This is also new to me but erm, in an investigation like this… Gwen places the scalpel next to Eugene’s sternum and prepares to cut. Eugene’s ghost faints. Gwen looks round, as if she heard a noise. Ianto enters. IANTO : Okay, a red Vauxhall has been stopped just outside Camargan, very drunk guy. Has admitted knocking a man over near Cardiff, fits Eugene’s description. The man says he thought he’d be okay so he drove on. OWEN : Oh, he was a sweet guy that’s very sad. Now, can we get on with some proper work please ? Gwen looks at him, unhappy, knowing there’s something going on. INT. THE HUB - AUTOPSY ROOM - NIGHT Eugene lies on the walkway at the top of the stairs looking at his corpse. He stands and walks into the central hub. He stands behind Owen who sits at his workstation eating an apple. Eugene looks lost. He has seen the autopsy hasn’t been performed and doesn’t know what to do. INT. EUGENE’S HOUSE - NIGHT Bromwen looks out of the window of her house onto a darkened road, crying. Eugene walks towards the window, unseen by his grieving mother. Eugene watches his mother then walks away, unable to console her. INT. THE HUB - CONFERENCE ROOM - NIGHT Gwen sits with Jack, Toshiko and Owen at the desk. GWEN : Do you think Eugene committed su1c1de ? TOSHIKO : It was a road accident and there was no alien involvement. GWEN : You see I’m not so sure because, something seems really odd. I mean I, I just feel that there’s something going on. OWEN : Marvelous, thank you for that Disney moment, now who’s making the tea. GWEN : Yeah well I suppose Eugene’s a bit odd and a real local and amateur for you… OWEN : Now why is it that only Gwen seems to have a heart. I don’t know if you’d noticed but the rest of us are human and amazingly we still manage to get on with our jobs. JACK : Okay you two. GWEN : Okay, fine, leave it. Forget it. I have. INT. THE HUB - DAY Open to monitors playing a movie at Owen’s station, he sits reading some papers, only half watching the film. Gwen looks over at him then walks to his station. GWEN : Is that Eugene’s DVD ? OWEN : No. Yes. It was on loan from the video store. GWEN : You were nicking his stuff ? Owen puts down the papers and removes the DVD from his computer. OWEN : I was gonna take it back. GWEN : I’ll do it. OWEN : Suits me, there’ll be a fine. Gwen walks away with the DVD and Owen turns his back on her and continues reading his papers. CUT TO : Gwen’s workstation. Gwen boxes up evidence bags of Eugene’s belongings, she sees the mobile phone and puts it in her pocket and gets her bag. GWEN : I’m gonna go for some lunch. OWEN : Alright Owen holds an arm up, not actually waving without turning to look at Gwen. INT. A CAFÉ - CONSECUTIVE An egg is dropped into a pool of fat in a frying pan in the café. Gwen enters and speaks to the owner who is collecting plates. GWEN : Hi. Do you know when the video shop round the corner opens ? CAFÉ OWNER : No, he’s a law unto himself. Eugene enters behind Gwen. EUGENE : Gwen ! Gwen what are you doin’ here ? This is my lunch café, this is where I come… GWEN : Do you know someone called Eugene Jones ? EUGENE : That’s me mate, that’s, that’s me. GWEN : Middle height, sandy hair, ordinary lookin’… The café owner shakes his head. CAFÉ OWNER : No, what can I do for you love ? EUGENE : I come in here everyday ! Two eggs ham and chips everyday ! GWEN : Two eggs ham and chips please. Gwen walks over to a table while the café owner writes down her order. Eugene looks after her, realising he might be getting through to her, he smiles and walks to her table. EUGENE : So, so er… wow, this is so weird. I used to follow you around, now you’re following me. Gwen gets Eugene’s mobile phone out and looks at it, flicking through the pictures of random shoes. Eugene looks over her shoulder. EUGENE : You see I don’t know whose those are. Can’t remember anything. Except, phone Gary, he might know something. Phone Gary, phone Gary. Gwen scrolls through the names on Eugene’s phone to Gary’s number and calls it. Eugene is a little perplexed that it worked. GARY : (On phone) Hi this is Gary please leave a message. GWEN : Hi. My name is Gwen Cooper, I have some very bad news for you Gary… The café owner puts Gwen’s plate of food on the table and leaves. Gwen looks at the plate and watches him walk away, unsure why she ordered the food. Eugene leans over to smell the food. GWEN : Erm, I’ll give you a call back later. EUGENE : That is so beautiful. INT. VIDEO SHOP - LATER Gwen enters the video shop followed by Eugene. A dinosaur programme is playing on a large television screen and the owner is not behind the counter. As Gwen waits the owner stands up behind the counter, on his mobile. GWEN : Hello. Josh snaps his phone shut and looks at Gwen. JOSH : Hey gorgeous, wanna borrow a dream ? GWEN : No thank you, I wanna return some DVD’s on behalf of someone who’s deceased. JOSH : Deceased no shit. He takes the DVD’s from Gwen JOSH : That’s pretty final. GWEN : Eugene Jones. JOSH : Ay… I think he used to come in here, with a mate, bit of a dreamer, kind of… EUGENE : Irresistible ? JOSH : …ordinary looking. GWEN : Yeah, he was k*lled in a road accident. JOSH : Oh, that’s too bad, sweet guy. Josh looks at the till, pressing a couple of buttons. JOSH : Thirty four pounds please. GWEN & EUGENE : (In unison) thirty four pounds ! JOSH : Yeah, sorry, er… he’s had ‘em out ages, I haven’t seen him in months… Eugene walks to the counter and leans over to look at the till. JOSH : I don’t think I can bend the rules just ‘cause he’s d*ad. EUGENE : …bastard. Sorry Gwen. GWEN : That’s okay. JOSH : Did he er ? Josh motions hanging himself to Gwen. JOSH : Did he ‘walk into oncoming traffic’ ? See, lot of people come in ‘ere, they don’t wanna be themselves anymore. They wanna be someone else, they want me to transport them. How ‘bout you baby ? EUGENE: Oh, leave it out. GWEN : I’m fine thank you. How ‘bout you ? JOSH : Me ? I’m outta here, goin’ to London in a couple of months, know what I’m sayin’ ? See no disrespect but Eugene had looser written through him like Brighton in a stick of rock. Maybe he just couldn’t live with his failure. Eugene looks around at Josh when he is called a failure, not believing that he was. JOSH : Wanna write a cheque ? CUT TO : ARIEL CARDIFF - DAY. EUGENE : (VO) Failure. Is that right ? Has my life just been one big failure ? CUT TO : A Lift. Gwen enters a lift followed by Eugene. EUGENE : (VO) I mean maybe I never quite lived up to my early promise as a maths genius but that’s because I was waiting, for the alien to collect his eye and change my life. The lift opens on a large office, open plan. Gwen and Eugene exit the lift, Gwen looking around. EUGENE : (VO) And while I was waiting I joined Pathmoore Telesales. Eugene walks into the office and looks around at his old workplace. EUGENE : Oh yes, this is all nauseatingly familiar. EUGENE : Selling kitchens, home insurance, barbeque sets. Selling life and, still waiting. Gwen walks behind Eugene, almost following him. She looks through the pictures on the mobile again, looking for a match. Eugene points out people he knows. EUGENE : Jason ! Kevin ! There’s the guy with the personal hygiene problem. Nothing changes really. Hi Morag. Me and Morag used to go out. Gwen sees some shoes matching those in one of the photos. EUGENE : (VO) So how come I can remember the details of my fascinating daily life but the vital couple of weeks before I died are still a complete mystery to me ? Gwen walks over to the man wearing the shoes from the photograph. He is returning from the water cooler. An ordinary looking man in a shirt and a t*nk top. GWEN : Er, are you Gary ? GARY : Yeah, yeah, yeah. How do you ere, oh are you… GWEN : Gwen ? Yes. I was just wondering if you saw Eugene the day he died. GARY : No, erm, sorry. Another employee walks over with a card. Holds it out while Gary puts down his glass of water. GARY : Just done a card you know. Gary takes the card and reads from it. GARY : Good luck in your new job. He’s d*ad ! MAN : No ! Who’s it for then ? GARY : His mum. You idiot ! MAN : Shit ! Can you rub it out ? Gary holds the card out to him, showing him the writing. GARY : It’s in biro. People just, don’t understand. Gary storms away, Eugene and Gwen follow him. EUGENE : Don’t worry mate it’s okay. A woman sees Gwen and speaks to her as she passes. LINDA : Is it true ? He got run over ? GWEN : Yeah. LINDA : God ! Sorry, I’m Linda, I’m silver seller. Linda starts crying and Gwen perches on her desk and passes her a tissue. Eugene stands near Linda’s desk, looking at her. LINDA : It’s all about belief see, if necessary I am kitchens for a life time. Eugene was only ever himself. GWEN : He wasn’t the best salesman then ? LINDA : No, I think Craig kept him on out of the goodness of his heart. Have you met Craig ? GWEN : Your boss ? You two an item ? Linda nods, coyly. EUGENE : A snog in the ladies at the Christmas party. LINDA : But I can’t really talk about it here, ‘cause of Craig’s you know, erm, position. GWEN : Do you wanna meet at lunch time for a chat ? Linda nods, a little eagerly, like she’s not asked to meet for lunch very often, wanting someone to talk to. GWEN : Okay. Er, where does Gary sit ? Linda points out the desk. LINDA : Er, number 50. GWEN : Okay, thank you, thanks. Gwen walks over to Gary’s desk with Eugene. She sits down and her phone rings. She answers it on her Bluetooth. GWEN : Owen. OWEN : (On com) Yeah, Jack wants to know where you are. GWEN: Yeah, sorry. I had a few things to sort out. Gwen picks up a leaflet from Gary’s desk - ‘Black Holes and the Uncertainty Principle’. GWEN : I’ll be back later. OWEN : (Over com) Yeah, well make it quick. Gwen hangs up and taking the leaflet leaves the office. INT. A BAR - LATER Gwen sits with Linda, two empty pint glasses on the table. Eugene standing between them, listening to the conversation. LINDA : Yeah, well one day Eugene came in very low. GWEN : Why, why was he low ? LINDA : He wouldn’t talk about it. Anyway, I was fed up too, ‘cause Craig, well anyway I said I’d love to get away from it all and go to Australia, Eugene suddenly got very excited and said ‘yes, you’ve got to go’. I said ‘well I haven’t got the money’ and he said he’s get it for me. GWEN : So he was going to pay for a ticket for you to go to Australia with him ? Was he in love with you ? LINDA : Oh no, he loved someone he said was unobtainable. Eugene, sitting down now, looks over at Gwen as Linda says this. Gwen smiles tightly, listening intently, half knowing Linda means her. LINDA : He was just, trying to look after me. He said ‘don’t stay here and waste your life waiting for something that may never happen’. GWEN : But where was he gonna get the money from ? LINDA : Exactly. EUGENE : You said, er, ‘you haven’t bought as new pair of socks in six years’. LINDA : I said ‘you haven’t even had a new pair of socks in six years’, he stood up and he said… Gwen’s phone rings. LINDA : That’s your phone. Gwen turns off the call, intent on hearing Linda’s story. GWEN : Yep, he said… LINDA : He said, ‘I’m going to sell it’ I said ‘what’ he said ‘my alien artefact’. EUGENE : So… GWEN : So… LINDA : So he brought it into work. CUT TO : EUGENE’S OFFICE - PAST Eugene puts the alien eye on his desk and shows it to his colleagues; Gary, Linda and Pete. PETE : It’s a plastic eye. EUGENE : It’s an alien body part. And I’m gonna sell it in Ebay. LINDA : Eugene, it’s very nice of you but I don’t think that’s gonna get me the bus into town let alone a flight to Sydney. Eugene looks at them then looks down at the eye, disappointed. CUT TO : BAR - PRESENT LINDA : Some people laughed, but he went ahead and of course it just sat there. EUGENE : She said maybe a photo, a bit, bit more of a description so… LINDA : Then out the blue two pound fifty came from Birmingham and then… CUT TO : EUGENE’S OFFICE - PAST Eugene works at his station, Gary, at the neighbouring station is checking the auction on Ebay and calls out to Eugene. GARY : Eugene, you’ve gotta couple more bits. Bloody hell, seventy five quid. LINDA : (VO) That was just the beginnin’. Two hundred, three hundred, one thousand. It just kept on goin’ up. While Linda speaks, see Eugene watching the auction page with increasing surprise, on the auction page the figures increase as Linda says them, up to £3000. CUT TO : BAR - PRESENT LINDA : Three thousand pounds ! For a spare body part. Pete said you can get a bathroom suite with a celebrity appearance for less than that ! And then one day it just , jumped. CUT TO : EUGENE’S OFFICE - PAST Show the auction screen, the current bit goes from £3000 to £15,000. Linda looks over Eugene’s shoulder at the auction page. LINDA : Oh my God, Eugene, you’re rich ! The bid increases again to £15,005.50. CUT TO : BAR - PRESENT LINDA : Fifteen thousand and five pounds fifty. EUGENE : So who bought it ? GWEN : Who bought it ? LINDA : I’ve no idea. Is it all my fault ? GWEN : No, of course it’s not. Gwen’s phone rings and she picks it up from the table, answers. GWEN : Hello. BROMWEN : (Over phone) Hi, it’s Eugene’s mom. GWEN : Mrs Jones BROMWEN : (Over phone) There’s something I think you should see. GWEN : Okay, I’ll come over. Gwen hangs up and stands to leave. GWEN : That was Eugene’s mum, I’m sorry Linda I’m gonna have to go. Linda gives Gwen a sad smile and drinks her wine as Gwen walks quickly from the bar. INT. EUGENE’S HOUSE - LIVING ROOM Gwen sits with Bromwen on the settee. Eugene sits at the table at the far end of the room. Bromwen blows her nose as they watch a video of Eugene at the Interschool Maths Final. Eugene’s dad’s voice can be heard on the video. SHAUN : (On video) There he is, my son at the Interschool Maths Final, big moment, youngest contestant in Wales. MR GARRETT : (On video) So, it’s down to the wire, the last question will settle the final. What curve is represented by y2 = 4ax ? Eugene doesn’t know the answer and the quizmaster repeats the question. SHAUN : (On video) Don’t let me down boy ! Eugene fails to answer the question and they loose the final. Bromwen stops the video. GWEN : I don’t understand, someone gave him the eye as a consolation prize ? BROMWEN : Yeah, it was that Mr Garrett, the science teacher. Plastic eye, huh, consolation prize, but still, Eugene treasured it. Terry enters the room. TERRY : That was the night dad walked out. BROMWEN : Went away. TERRY : You can stop now mum. BROMWEN : What’d you mean ? TERRY : He’s d*ad. Maybe able to square the root of the square friggin’ root but he couldn’t cross the friggin’ road. Eugene walks towards them and his mother starts crying at Terry’s words. BROMWEN : Terry please. GWEN : He sold the eye online, so, something musta happened. TERRY : Dad left when he found out Eugene was a failure. That’s what Eugene always said. BROMWEN : That’s not true. None of that’s true. He went ‘cause of his job. He has a very important job. GWEN : Does Mr Jones know about Eugene ? BROMWEN : Well you see, he works for a big corporation in America. TERRY : Stop giving us that shit ! He’s not superman mum, he works in a garage of Filey Road ! Eugene found out two weeks ago. Eugene crouches down next to Terry, wondering at the new information. TERRY : Found it on the internet. He’s a cashier, works nights. Bromwen starts crying again. EUGENE : (VO) Oh God, now I remember why I sold the eye. CUT TO : Gwen’s car driving through Cardiff at night. Eugene’s voiceover continues. EUGENE : (VO) Life can be such a let down can’t it ? All those years I believed my dad went to America because I was a failure and here he was all along, doin’ his important, secret work in Filey Road, Cardiff. I couldn’t even bear to say hello. Gwen stops the car opposite the garage and they look through the rain to see Eugene’s father leaving the shop. EUGENE : (VO) I spent my life believing in stupid stories, fantasies. I’ve wasted my life. Once I’d seen him there everything I’d dreamed about was utter rubbish. It was just a crock of shit, including the eye. Gwen takes off her seat belt as Shaun walks away from the garage. EUGENE : (VO) So why not sell it ? Along with the woodworm, treatment and loft insulation and all the other crap floating around in the world. Linda was welcome to the money. Gwen opens the car door to speak to Eugene’s father. EUGENE : No, no don’t, Gwen. Gwen stops, reconsiders and shuts the car door. EUGENE : I don’t want anything to do with him. Sorry. GWEN : It’s okay Gwen puts her seatbelt back on. INT. THE HUB - NIGHT Gwen takes an evidence bag of Eugene’s things from the storage box and puts it in her bag. Track back- Gwen stands with Eugene, Jack walks up behind them and startles them both. JACK : You turned your phone off. Jack leans of a pillar with his arms crossed waiting for Gwen’s explanation. GWEN : It was Eugene. Gwen and Eugene sit down and face Jack. GWEN : He didn’t understand why his father left, he just needs a bit of help. JACK : To do what ? He’s d*ad. GWEN : Yes Jack I know he’s d*ad, but… EUGENE : This is not sounding good Gwen. JACK : I’ve got work to do. Jack walks off. GWEN : Okay. EUGENE : Ay, no, you can’t just stop ! I mean what about the fifteen thousand pounds ? Gwen ? Gwen ! Gwen stands and speaks so Jack can hear her. GWEN : Okay, listen to this. Jack stops and turns to face Gwen, listening to her better explanation. GWEN : Eugene had an alien eye in his collection. He sold it online. JACK : What like a Sixth eye ? Gwen nods slightly and Jack walks back to her, interested suddenly. JACK : A Dogon Sixth eye ? GWEN : Maybe. JACK : It’s possible. There was a trade in them. Who’s got it ? GWEN : I don’t know but I’ve nearly tracked it down. What exactly is a, er, Sixth eye, I mean exactly ? JACK : It’s one in the back, lets you see behind you, where you’ve been. Kinda puts things in perspective. It’s useful, fun, slightly terrifying, that’s why they were in demand. EUGENE : See, see I told you. GWEN : I can get it for you. EUGENE : My alien, see, see ? JACK : Okay, you’ve got the weekend. But keep your phone on. Jack walks away again. Eugene looks to Gwen, ecstatic. Gwen smiles happily. EUGENE : God, you are brilliant ! And I’m brilliant to. Gwen takes out the leaflet from Gary’s desk - ‘Black Holes and the Uncertainty Principle’. EUGENE : Oh, yeah. Course. Gary and me were gonna go to that talkin Aberystwyth. EXT. ROAD - DAY Gwen’s car travels down a countryside road to Aberystwyth. EUGENE : (VO) Black holes and antimatter were pretty important to me and Gary, but if I’m gonna spend a night by the sea… Through windscreen - Gwen driving along, happy, Eugene in the passenger seat, looking at Gwen grinning. EUGENE : (VO) I know who I’d rather be with. I’d trust you with my life, if, you know, I still had one. INT. SCIENCE AND NATURAL HISTORY MUSEUM - ABERYSTWYTH - DAY Gwen enters the lobby followed by Eugene who looks up at the ceiling as he enters, pauses looking up then hurries to catch up with Gwen. Gwen walks up the stairs and enters the exhibition. She sees Gary looking at an exhibit. GWEN : Gary. Gary looks up and runs away. Gwen starts to follow then leans on the banister looking for him. Eugene stands to the side, watches Gary walk back to them. GARY : I’m not proud of what I’ve done. CUT TO : A different gallery within the museum - fossils. Gwen leans on a case as she speaks to Gary, Eugene standing behind her. GWEN : You hiked the bid ? GARY : I created three or four online aliases and used them to inflate the price. GWEN : But why ? GARY : First… Gary starts walking away, needing to move while he talks. Gwen and Eugene follow. GARY : Just to cheer him up, he was miserable, then the bidding took of and we got, I mean I, was involved at first. I was just helping Eugene make money. Then one morning… CUT TO : f*re ESCAPE - PAST Eugene runs down the metal stairs from his office to find Gary who stands under the stair case smoking. EUGENE : Gary, Gary. I think he’s here. GARY : Who ? EUGENE : The alien, my alien. I think he’s come back to claim what’s rightfully his. Gary says nothing just looks at Eugene vacantly, EUGENE : Gary I’d stopped believing in his, I mean, I thought I was a total sucker but who else would be bidding this kind of money for a prosthetic eye ? He couldn’t contact me any other way so… GARY : So he chose Ebay ? EUGENE : Well cyberspace. I mean even an online auction has a certain elegant symmetry. Think I’m finally gonna meat him. CUT TO : MUSEUM OF SCIENCE AND NATURAL HISTORY - DAY Gary, Gwen and Eugene continue walking through the museum, Gary telling them what happened. GARY : Well I was doubtful at first you know and then suddenly, out of nowhere, bang, fifteen thousand, then the bid jumped to a cool, cowing fifteen thousand. EUGENE : Yeah, yeah, yeah, I remember us talking. GWEN : I thought it was fifteen thousand and five pound fifty. Gary looks at an exhibit, not looking at Gwen, evasive. GARY : Yeah, it was yeah. I mean, I wouldn’t spend that kind of money unless it’s my own personal, private body part or something, would you ? EUGENE : No. GWEN : No. EUGENE : No wait, I remember, yes, I waited a couple of days and then I got an email telling me to er, come to er, come to, er, a restaurant. Gwen looks at Eugene’s phone, finds the right picture. GWEN : You saw Eugene the day he died, didn’t you ? GARY : Yep, I met up with him before he went to meet the alien, I had a cup of coffee, he was scared. EUGENE : Was I ? Course I was. GWEN : So he went to make the exchange, fifteen thousand five pound fifty for the eye, right ? And this was somewhere on the A48 perhaps ? GARY : Or not. GWEN : Or not ? GARY : Eugene was very secretive, could have been in Splott. GWEN : Splott. Gwen doesn’t believe him. Gary looks away, Eugene speaks to him over his shoulder. EUGENE : Doesn’t sound right mate. Gwen shows Gary the photos on the camera. GWEN : Who are these people with you, Gary ? Gary looks at the phone but doesn’t really look at the photos so Gwen pushes the phone towards him and he takes it in one hand to look property, scrolling through the pictures. GWEN : Why would Eugene take a photo of your shoes ? And whose are the other shoes ? GARY : They’re just random shoes I should think. I miss him. INT. GWEN’S FLAT - BEDROOM - NIGHT Gwen sits on the bed glancing at the photos on Eugene’s phone while Eugene paces about. EUGENE : Yes, yes I can remember. I called a taxi then I put the eye in a freezer bag… Gwen puts down the phone and looks through the evidence bag she put in her bag. EUGENE : And then there was this, I was walking up this road, going up towards, erm… Gwen takes a set of keys from the evidence bag and looks at it, she smiles at a little silver alien head attached, looks at the keys while Eugene talks. EUGENE : … er, er a shiny building, with, with a great door which said something about, er, happiness, happiness… Gwen looks at a small piece of plastic with a small red face on it. EUGENE : I don’t want you to find out what happened, I don’t want this to end. I love you. Gwen looks towards Eugene as he says he loves her. Gwen gets off the bed and stands in front of Eugene, very close, as if she would kiss him. She cannot see Eugene, she is looking out of the window towards the bay. Gwen’s reflection is seen in the darkened glass. Eugene breathes out and move’s Gwen’s hair very slightly, she brushes her hair back and closes the curtains. INT. GWEN’S FLAT - BEDROOM - NEXT MORNING Gwen lies in bed, asleep. Rhys is not there. Eugene lies beside Gwen and as she rolls over she stretches out her arm slightly, her hand rests near Eugene’s head. Eugene smiles, pretending she did it on purpose. Gwen’s phone beeps Eugene gets up, Gwen groggily finds the phone and picks it up to look. EUGENE : I thought we were on holiday. EXT. A48 - DAY Gwen drives down the A48, Eugene in the passenger seat. EUGENE : Yes, yes this is it. We came up the hill and there it was, there is was the… Gwen looks to the left and sees the restaurant sign - ‘Happy Cook’, with the same red face symbol she saw amongst Eugene’s belongings. Gwen turns off the road to the restaurant car park. EUGENE : The Happy Cook. They both exit the car and walk towards the restaurant. EUGENE : Yeah, I walked towards the door, wondering who exactly I’d be meeting. Excited, quite stressed. sh1tting myself really. Gwen goes through the door into the restaurant, followed by Eugene. EUGENE : I opened the door, I walked in and saw… Gwen looks down and sees the woman’s shoes from the photograph. GWEN : I’ve been looking for a pair of shoes like that for ages. EUGENE : And saw… POV EUGENE : sh*t follows the waitress the tracks left CUT TO : HAPPY COOK - PAST. Gary and Josh sit next to each other at a booth by the window. EUGENE : …my mates. Eugene walks into the restaurant and sees Gary and Josh. Josh smiles at him. Eugene looks around then goes towards them. EUGENE : Hi guys, good to see ya. But erm, I’ve got the rendezvous. JOSH : It’s us. EUGENE : Yeah I know but he won’t want a crowd. I’m meeting the buyer. I’m, I’m meeting the alien. JOSH : We are the alien, man. We bought it. EUGENE : What ? The waitress comes to the table and puts Gary and Josh’s food on the table. WAITRESS : Here. What are you havin’ ? EUGENE : Erm, I’ll have a milkshake, thank you, banana. The waitress walks away and Eugene sits down opposite Gary and josh. JOSH : Yeah, so, we are the official buyers, can we see the merchandise ? Eugene wipes his forehead with a tissue then digs in his pocket for the eye. He starts to show it to Josh then pulls his hand into a fist around the eye. EUGENE : I don’t quite know what you’re trying to tell me here. GARY : See we did it as a joke to cheer you up. I mean, we didn’t think we’d be the actual buyers. JOSH : Then he said, you said you thought it was the alien, and we thought well, that’s funny init ? Common Eugene, get real. But then we thought, let him dream, man, life’s short, and, really boring. So then we went on bidding and… EUGENE : You bid fifteen thousand for the eye ? JOSH : Not us, no, no way. Turns out there was real interest. GARY : Someone else bid the fifteen thou, but then, er, he got greedy. JOSH : Ketchup please. GARY : Just couldn’t resist one more measly little bid, fifteen thousand and five pound fifty, and then, well nothing, nada, endville. JOSH : Okay, shut the f*ck up Gary. Point is, we bought it, we’re the purchasers, da-dar ! EUGENE : So you’ve got the fifteen thousand five pound fifty on you, have you ? JOSH : Got thirty four pound. GARY : Thirty four pound, Eugene, that’s not a poke in the eye, so to speak. EUGENE : I’m calling a cab. Eugene takes his mobile from his pocket angry with Gary and Josh. Josh reaches over the table to take the phone from Eugene. JOSH : Settle down. The waitress walks over with Eugene’s milkshake. As she does do, Eugene take photographs of Gary, Josh and the waitress’s shoes on his mobile then looks up at the waitress. WAITRESS : Banana milkshake. EUGENE : Thank you. If it’s all such a sodding joke, why do you even want it ? JOSH : I got a friend, with a visual impairment. EUGENE : You’re gonna re-sell it online aren’t you ? You cheap little kids, you know he’s out there. JOSH : Who’s out there ? EUGENE : The alien, and he’ll pay anything, he’ll pay anything. JOSH : Eugene, man, I’m as partial as the next guy to a bit of si-fi but, what, a green geezer with six eyes ? Get real, guy ! I checked the bid history, Mr C Blackstaff is a collector of alien ephemera and n*zi memorabilia. Also, Beanie Babies. Teeny bit coo-coo but endearingly rich, and if he’s willing to pay fifteen thousand… Josh makes a grab for the eye and it falls from Eugene’s hand to the floor. They both go for it, falling to the floor. WAITRESS : Oi ! CUT TO : HAPPY COOK - PRESENT Gwen and Eugene stand near to the waitress, watching her as she clears tables and tells Gwen what happened. WAITRESS : So now they’re inconveniencing customers. GWEN : You stepped in. WAITRESS : Well, I tried. CUT TO : HAPPY COOK - PAST The waitress walks over to stop them, sees the eye then picks it up. Gary lies under the table, also after the eye and sees her pick it up. The waitress holds the eye out at arms length, disgusted by it. EUGENE : (VO) I didn’t really know what the eye was any more. Josh grabs the eye from the waitress and tries to leave the restaurant. Eugene grapples him and the eye falls from his hand. Eugene picks it up. EUGENE : (VO) But I was damned if I was gonna let it go for £34 and a banana milkshake. Determined that Josh and Gary cannot get the eye, Eugene puts it in his mouth and swallows it. Josh grabs Eugene from behind. JOSH : Heimlich, Heimlich ! GARY : What are you doin’ ? JOSH : Getting the goods idiot ! And get the milkshake. Gary picks up the milkshake and goes over. Not really a strong enough person to ever argue with Josh he tips milkshake into Eugene’s mouth while Josh ineptly tries to give him the Heimlich manoeuvre. CUT TO : HAPPY COOK - PRESENT The waitress serves people, still talking to Gwen. WAITRESS : Well that’s just not acceptable behaviour, not at a Happy Cook. They were makin’ a public spectacle of themselves. CUT TO : HAPPY COOK - PAST Gary, Josh and Eugene grapple. Josh punches Eugene in the face and Eugene manages to get out of the door. WAITRESS : And that was it. He was out the door and gone. Gary and Josh enter. WAITRESS : Oh my God that is so weird ! Gwen looks round, Eugene walks past the waitress towards Gary and Josh, angry with them now he remembers what they did. EUGENE : You bastards, you are so d*ad ! I knew Josh was a dickhead but Gary, we were, I mean, we were mates. Eugene stands in front of Gary, speaking to him. Josh faces the waitress. JOSH : Hi doll. WAITRESS : Are you talking to me ? Eugene comes to stand next to the waitress and look at Josh. The waitress looks scornfully at Josh. JOSH : Yeah, sorry, er, look. I dunno if you remember us from last week. WAITRESS : Yeah. JOSH : Yeah, now thing is there may be people coming in to ask questions. A woman specifically and I think that to would be in your best interests if… Gary has seen Gwen. GARY : Shut up, Josh. JOSH : The woman was complying man ! Josh looks round and sees Gwen who waves at him from a distance away. JOSH : Okay, cool. Josh tries to run away but Gary trips him and he falls onto his back. JOSH : What did you do that for, twat ! GARY : I miss him ! Gary sits down upset rather than leaving. Eugene stands looking out of the window at the road while Gwen talks to Gary and josh. GWEN : So, he ran out the door and you two ran after him ? GARY : Yeah, we chased him across a car park but Eugene was quite fast, Josh had new shoes, he was making a fuss. JOSH : Hey, hey, you are overweight. GARY : He hared across a road and we lost him. Honest to God. GWEN : Okay. GARY : That’s it. GWEN : Okay. Gwen stands up and walks over to stand next to Eugene looking out at the road. Gwen dials a number on her mobile and puts the phone to her ear while it rings. EUGENE : All those cars, all those lives moving through space. GWEN : (Into phone) Hello, can you give me number for Filey Garage, Filey Road, Cardiff please ? EUGENE : All that humanity whizzing by in a frenzy of… INTERCUT WITH : Eugene running across a field, looking behind him for Gary and josh. EUGENE : …burgers and chips. Bank holiday fun, burst tyres, screaming kids, sudden heart att*cks. GWEN : (Into phone) Put me through thanks. Mr Jones, you don’t know me but, I’m a friend of your son Eugene. I’ve got some bad news I’m afraid. EUGENE : (VO) Now I remember. CUT TO : Eugene running across a field. EUGENE : (VO) Apart from a buzzing in my ear where Josh whacked me I felt good. I was running across a field on a Saturday morning. The smell of exhaust and banana milkshake, a slight nausea, heart beating too fast ‘cause I wasn’t that fit. Eugene runs into a road without noticing, pauses in the middle, catching his breath. A red car approaches. EUGENE : (VO) All the stuff that tells you you’re alive. The car slams on it’s breaks but can’t stop in time. Josh looks round just before it h*t him. He is knocked onto the bonnet, over the roof of the car and over the boot onto the ride of the road where he rolls to a stop on the grass. He lies on the grass verge d*ad. The car has carried on. EUGENE : (VO) By rights I should be well pissed off. My mates had cheated on me and I didn’t get to meet any aliens. CUT TO : EUGENE’S FUNERAL EUGENE : (VO) But I realised that when I swallowed the eye at the happy cook, I was given a chance… Eugene walks between the pews at his funeral, as the few mourners sing a hymn. EUGENE : …to look back on my life and see what it really was. Eugene pauses and looks across to see Gary standing near the front singing. EUGENE : (VO) Gary, I’m gonna miss you. Not the biggest turn out you can hope for but still. I wish I could… Eugene moves around, looking at the attendees. He sees Gwen and faces her. EUGENE : God Gwen, I wish I could say thank you. And here he is, my dad. Only fourteen years late. The congregation sits and Bromwen goes to the lectern, crying, to speak, about to read from a piece of paper. EUGENE : (VO) So now I know it wasn’t my fault my dad left and of course he wasn’t superman, or even an alien, he’s just an ordinary bloke. Bromwen is unable to speak and Shaun takes the stage instead, helping her with a consoling hand on her shoulder as she leaves. SHAUN : Er, Eugene, he was a good boy, but somehow, things went wrong. I wasn’t there. I wish I could have seen him before… EUGENE : (VO) An ordinary bloke, who made a mess of things. SHAUN : (Cracked singing, getting stronger) Oh, Danny boy, the pipes, the pipes are callin’ from, glen to glen, from door to mountainside and summer’s gone and all the flowers dying ‘cause you must go and I must stay behind in, but come ye back when summer’s in the meadow, oh when the valley’s hushed and white with snow, and I’ll be there in sunshine and in shadow… The coffin starts to move and Eugene runs to it. EUGENE : No. SHAUN : …Oh Danny boy… EUGENE : Not yet. The coffin sinks as Eugene watches it, his body about to be cremated. EUGENE : (VO) Dad made a mess of things, he went away, and that’s a shame really, it’s a terrible pity, because we missed each other completely. CUT TO : Cemetery. Gwen walks slowly from the crematorium, Eugene stands looking out over the cemetery speaking to her. EUGENE : You know 28 is one of those perfect numbers, it’s equal to the sum of it’s devisors. Gwen turns, looks at Eugene. EUGENE : I’m 28. I was 28. Gwen walks to Eugene, looks sadly over the cemetery. EUGENE : I think I’m gonna have to go soon Gwen. GWEN : Oh, God. EUGENE : Yeah. Gwen starts to walk away, she stops when Eugene speaks again. EUGENE : Also, 28 centimetres per second is the top speed of a lone lobster. A door opens from the crematorium and a man comes out. Gwen turns to speak to him. GWEN : Oh, hi. The man hands Gwen a paper bag. GWEN : Thank you, I’m sorry I had to ask you to do that. MAN : Yeah, no problem. The man shuts the door and Gwen looks inside the bag, the eye lies at the bottom. EXT. EUGENE’S HOUSE - DAY People in black mill about in Eugene’s drive, people waiting for those that attended the funeral to come home for the wake. EUGENE : (VO) So, if it’s the eye that’s been keeping me here, now it’s no longer inside me, why the hell am I still hanging around ? Eugene walks down the road towards his house followed by Gwen who clutches the bag to her. GWEN : Eugene, the eye is in the bag now, rather than in you, I hope… The Torchwood SUV pulls up beside Gwen and Jack, Toshiko and Owen get out and walk to her. OWEN : Hello stranger. JACK : Did you get it ? GWEN : Yeah, I got it. Gwen holds open the bag for Jack and he takes out the eye, looks at it with a whistle. JACK : Impressive. OWEN : Well we haven’t done the tests yet so… TOSHIKO : Common, we’ve gotta go. They start to get into the car and Gwen looks over at Eugene’s house, notices something and starts to walk over. GWEN : Jack, can you give me five ? JACK : Yeah. A taxi pulls up outside Eugene’s house and Shaun gets out. He walks onto the drive to Bromwen and Terry. He holds out his hand to Terry, watched by Eugene. EUGENE : (VO) In the average lifetime the human heart will b*at 2 million times, you will produce over eight thousand gallons of saliva, and grow three hundred and fifty miles of hair. An SUV drives at speed down the road. Gwen steps into the road not paying any attention, staring in happiness at Shaun getting back with his family. EUGENE : (VO) You’ll eat the equivalent in weight of 6 elephants. Oh, isn’t life amazing. Eugene sees the SUV approaching Gwen as it passes Torchwood. He runs towards her and pushes her out of the way just before the car hits her. EUGENE : Gwen ! Gwen ! The eye rolls to a drain but does not fall in. Jack, Toshiko and Owen walk over to Gwen. Gwen lies on her back with Eugene crouches over her. She sees him, surprised. GWEN : Hi. Oh my God, Eugene ! EUGENE : Are you okay ? GWEN : It is so good to see you. Eugene you’re on my leg ! EUGENE : Oh sorry. GWEN : No, it’s fine, it’s fine. It’s fine. Jack, Toshiko and Owen stand looking at Gwen, Eugene looks up at them. EUGENE : Can they see me ? The mourners on Eugene’s drive look at Eugene. EUGENE : They can see me. Thanks. GWEN : No, thank you, thank you, you just saved my life. EUGENE : That’s okay. Gwen leans forward and kisses Eugene, he laughs. EUGENE : That’s unbelievable, that’s un-bloody-believable. Oh God, I think that’s it. Eugene picks up the eye from the drain and hands it to Gwen as he stands. EUGENE : Goodbye, Gwen POV Eugene. Gwen sits on the pavement looking up at Eugene. GWEN : Don’t go now Eugene, Eugene, please don’t go now. Eugene, please. Please ! Track upwards, pulling out to a view of Britain, the world, Earth growing smaller as Eugene speaks. EUGENE : (VO) The average human life is full of near misses and absolute hits, of great love and small disasters. It’s made up of banana milkshakes and loft insulation and random shoes, it’s d*ad ordinary and truly, truly amazing. What you’ve got to realise is it’s all here, now so breathe deep and swallow it whole because, take it from me life just whizzes by and then all of a sudden it’s… Darkness and a flash of white light. CLOSING CREDITS Paul Chequer - Eugène Jones / Luke Bromley - young Eugène / Roger Ashton-Griffiths - Mr Garrett / Steven Meo - Josh / Celyn Jones - Gary / Robyn Isaac - Linda / Gareth Potter - Shaun Jones / Joshua Hughes - Terry Jones / Amy Starling - Serveuse / Leroy Liburd - serveur du café / Ryan Chappell – Pete.

{"type": "series", "show": "Torchwood", "episode": "1x09 - Random Shoes"}

foreverdreaming

Opening sh*ts and series recap JACK : (VO) Torchwood. Outside the government, beyond the police. Tracking down alien life on earth and arming the human race against the future. The 21st century is when everything changes and you gotta be ready. EXT. SKY - DAY A small biplane flies across an overcast sky, banking to make its descent. CUT TO : EXT - AIRPORT Jack, Gwen and Owen stand beside the narrow runway awaiting the arrival of the plane, watching as it lands and taxis to a stop close to them. Jack leads the others towards the plane and the pilot leans through the small side window and waves smiling heartily. She is 40s-beautiful and wears a leather flying jacket. Confident and self possessed. DIANE : Hello there ! Diane jumps out of the plane and walks towards Jack. DIANE : Apologies for the unplanned touchdown, just h*t some rotten turbulence. JACK : Captain Jack Harkness. Jack holds out his hand and Diane shakes it confidently. DIANE : Diane Holmes, pilot. Behind Diane a middle aged man lifts a young woman from the aircraft. DIANE : This some sort of secret base ? You must show me around one day, Captain. John and Emma move to stand behind Diane. JOHN : Everything alright ? EMMA : How long before we head off again ? My uncle’s expecting me. JACK : When did you leave ? DIANE : About half an hour ago. JACK : Which date ? Diane appears a little amused by the question but answers regardless. DIANE : Today, December the eighteenth. JACK : Which year ? Diane looks round at John, wondering about Jack’s sanity. JACK : Which year ? Which year ? I need to know. DIANE : 1953. OPENING CREDITS INT. THE HUB - COG DOOR - DAY The cog door opens and Owen enters the hub followed quickly by Gwen. John walks slowly through the doorway, Emma and Diane behind him with Jack. They all carry small amounts of luggage. The hub is sparsely decorated for Christmas. JACK : There’s no need to be frightened. JOHN : Who are you exactly ? John enters the hub, Emma, following him, looks around in wonder. JACK : The least you know about us the better. Meet the team. Owen, Toshiko and Gwen stand a short distance away, Owen in the process of putting on his white lab coat. They look at the visitors who stand with Jack. TOSHIKO : Toshiko. GWEN : Gwen. OWEN : Doctor Owen Harper. JOHN : John Ellis. EMMA : Emma Louise Cohen. DIANE : Diane Holmes OWEN : Please, follow me. Owen walks away expecting them to follow as ordered. Jack lets them pass. GWEN : At least it wasn’t a spaceship full of aliens. JACK : That might’ve been easier. Jack walks past Gwen up the stairs, following the visitors. INT. THE HUB - CONFERENCE ROOM - A SHORT TIME LATER John, Emma and Diane stand in the conference room, their predicament having been explained to them. John is incredulous, Emma standing nearby is closed in, unsure, Diane leans on the glass wall behind them. JOHN : How can you travel 50 years in half an hour ? Jack leans on the far end of the table, Toshiko standing nearby and Owen half sitting on a side table each look slightly bored. Gwen reads a newspaper. JACK : Your aircraft slipped through a transcendental portal. EMMA : A what ? JACK : A door in time and space. JOHN : It’s some kind of trick. It has to be. JACK : Tosh… Jack moves to the side and Toshiko takes his place at the end of the table next to the large screen which shows a multitude of photographs. Toshiko indicates papers lying on the table in front of the visitors. TOSHIKO : Celebrations of the millennium from your respective home cities, photographs documenting the development of Cardiff bay from the 50s to the present day, blueprints of modern day airplanes. While Toshiko speaks the visitors look through the papers on the table. Astounded Emma sits down. DIANE : But if all this is true, then how do we get back ? JACK : You don’t. According to history your plane never returned. I’m sorry. DIANE : What’s going to happen to us ? JOHN : Never mind about us, what happened to everyone else ? Our families ? Emma is close to tears, looking up at Diane for support. INT. THE HUB - LATER Gwen walks with Emma through the hub, holding a large book and reading facts about Emma’s family from it. GWEN : Your father died in 1959, he was 48. EMMA : Dad said he’d die young, all the men in the munitions factory did. GWEN : Your mother lived ‘til she was 81 though. Gwen pauses and looks at Emma who clutches her bag to her chest, trying to be strong like John and Diane but barely holding back tears. Gwen rubs Emma’s back in a show of support. GWEN : I know this is hard to take in but is there anyone else ? Gwen and Emma walk out of sh*t past Toshiko, John and Jack. Toshiko types searches into her computer, John standing behind her offering names to hunt. Jack watches the proceedings. JOHN : My son, Alan Ellis, he was born on the sixth of April 1937. 14 Park Place, Grangetown, he might still be alive. Toshiko’s computer beeps, the search proving fruitless. TOSHIKO : The archives in the 50’s weren’t that well documented. JACK : We’ll try again tomorrow. Right now you need to get some sleep. Jack pats John companionably on the shoulder and walks away. As he passes out of sh*t he walks past Owen’s station where he sits with Diane making notes. Diane smokes a cigarette looking relatively calm. OWEN : Friends, erm, boyfriend ? DIANE : Not really. Never stayed in one place long enough. INT. HOSTEL ENTRANCE A drab corridor - whitewashed brick walls, a payphone and a notice board, functional front doors, net curtains covering the glass. Jack opens the door and walks inside, John takes the door and holds it open while the others enter. Gwen quickly moves to stand next to Jack against the wall. Diane and Emma enter slowly, John moves behind them and they look around, downtrodden, like refugees. INT. BEDROOM A small, functional room with elderly décor and minimalist furnishing - a single bed, a bunk bed, wardrobe and small desk. Gwen pushes open the door to let Diane and Emma in. GWEN : It’s a bit basic. DIANE : Not when you’ve slept in barracks. Diane and Emma out down their small bags and remove their coats. Diane trying to smile at Gwen, knowing she’s attempting to help, but failing to show any humour. INT. ANOTHER BEDROOM - CONCURRENT. A similar room. John stands beside one bed, his case open, Jack standing nearby watching as John removes his belongings. JOHN : I was gonna close a deal on a shop in Dublin tomorrow. Jack smiles warmly at John, interested to hear his stories. John speaks quietly, regretful. JACK : What do you trade in ? JOHN : Er, food, knickknacks, essentials. John takes a small radio from his case and fiddles with it a little. Jack leans in to help. JACK : What’re you after ? JOHN : Oh the music. Jack adjusts the dials and classical music plays. He smiles at John and steps away. John picks up a camera and shows it to Jack. JOHN : There’s photographs of my family in here. JACK : I’ll see what I can do. JOHN : Don’t worry Captain Harkness, I’ll look after the ladies. John shakes Jack’s hand. JACK : Call me Jack. INT. GIRL’S BEDROOM Gwen leans on the bunk bed watching Emma unpack. They hear girls laughing and then a slammed door. EMMA : Who else is here ? GWEN : Couple of young girls, pretty dress. Emma walks past Gwen to the wardrobe carrying a dress and puts it neatly into the wardrobe. Gwen smiles warmly at Emma, chatting, making her comfortable. EMMA : Thank you. I made it myself. GWEN : Where are you from ? EMMA : Bristol. GWEN : What were you goin’ to Dublin for ? EMMA : Oh, Auntie Nora’s ill, and Uncle Finn can’t manage the children. It’ll be good practice for when I have children of my own mum says. Gwen continues smiling as Emma walks back to her case. Once Emma’s back is turned Gwen’s smile drops, wondering at Emma’s attitude for her age and that Emma does not seem to have grasped the day’s events. Emma picks up a well worn teddy bear from her case and hugs it to her, back to Gwen. EMMA : She’s gone next door, so uncle Finn can telephone, she’ll know I’m missing by now. GWEN : Emma, she found out in 1953. Over 50 years have passed. Gwen speaks to Emma as kindly as she can, not wishing to upset her but needing to remind her of the truth. Emma turns to look at Gwen, her eyes brimming with tears. She drops down to sit on the bed, still holding the teddy bear. EMMA : What will she think happened ? Gwen sits next to Emma on the bed. EMMA : Must have been like one of those m*rder where they never find the body. GWEN : They seem to think the plane went down in the sea. Emma starts to cry and Gwen puts her arm across Emma’s shoulders, comforting her as best she can. INT. THE HUB - DAY Jack and Gwen stand in front of the guests. Gwen handing them passports. JACK : These’ll be your means of identification for the authorities, we set up bank accounts for you, but for now we’ll be giving you a daily allowance so you can practice with the currency and money management. Diane, John and Emma flick through the passports while Jack speaks. John and Diane read their new identities from the passports, unimpressed with the change of name. Emma is smiling with childish excitement at the change. JOHN : David Ward ? DIANE : Sally Anne Hope. EMMA : Debra Morrisson, and it’s spelt how Debra Carr spells it. JACK : Your background story should incorporate the stories you already have, for instance John, you could have run a corner shop. JOHN : No. Jack’s smile is lost, he doesn’t understand why John is upset at the name changes. JACK : We can fake references. JOHN : You can‘t take away our names, for God’s sake man, it’s all we’ve got left. It’s my son’s name, the name above my shop. John throws the passport down on the table staring at Jack with contempt before he walks out. Jack rolls his eyes, looks at Gwen and follows John out of the room sighing. Annoyed at John causing them difficulty, although he understands how John feels - Jack’s in the same situation. Jack walks over to John, a short distance away and puts a hand on his shoulder. JACK : You’re right. I didn’t think, you should keep your name. EXT. SUPERMARKET ENTRANCE Ianto leads John, Diane and Emma across the car park towards the supermarket. IANTO : I’d suggest you use twenty five pounds for your food and twenty pounds for your luxuries, like cigarettes, magazines. EMMA : My dad only made ten pounds a week. IANTO : Things are a lot more expensive now. Ianto walks to the a*t*matic doors, he stands a little behind the others letting them watch other people go through the doors with wonder. DIANE : How does it do that ? IANTO : It’s a*t*matic. It knows you’re there. DIANE : But how ? IANTO : There are wave bouncing detectors which emit high frequency radio waves and then look for… Diane makes the door work as Ianto talks, then spots something in the shop and walks towards it with a huge smile. DIANE : Bananas ! IANTO : Of course bananas are for more interesting. Emma follows Diane into the store, walking past Diane who is picking up bananas in wonder, not having seen one in years. John stands with Ianto at the entrance. JOHN : Look at all this, we’d just got rationing in ’53. IANTO : Yeah, sorry, we are a consumer society. JOHN : It’s bloody fantastic ! They each wander around the store, marvelling at the produce, Emma gazing at an isle of cakes, Diane looking at the shelves of televisions, trying to stroke a bird which appears on the screen, and John looking at the newspapers and magazines. EMMA : How much food money have I got left ? IANTO : Fifteen pound forty. Emma smiles and starts piling sweets into her basket, pulling them off the shelves quickly and randomly. IANTO : Twelve pounds ten, you’ll ruin your teeth. EMMA : You sound like my mum. Across the store Diane is looking at a DVD which she has pulled from its box, Emma and Ianto join her, Emma looking at the DVD curiously. DIANE : They sell films in boxes and you can watch them at home. EMMA : I love going to the pictures. Ianto walks past them towards John who is still looking at magazines. He picks up a magazine with a picture of a woman on the cover wearing only a bra. JOHN : Good God ! IANTO : Welcome to the wonderful world of scantily dressed celebrities. Emma has moved on and now stands next to the makeup section holding a package reading the cover. EMMA : Super ex waterproof luscious lashes mascara. I have got to have that ! John still holds the magazine up. JOHN : There’s children around ! IANTO : She’s a children’s TV presenter. Having made it to the check out, Ianto looks through Emma’s purchases. IANTO : So you like your musicals ? EMMA : My best friend Katie and I went to see Calamity Jane five times. I’ve got the LP. Ianto moves past her to the end of the till and helps John to pack. Diane arrives back from the cigarette counter looking concerned at the packet. IANTO : You alright ? She holds up the packet ‘Smoking kills’ emblazoned across the bottom. DIANE : What does that mean ? EXT. MILLENNIUM STADIUM - LATER THAT DAY Ianto stops the car outside the stadium, John next to Ianto and Diane and Emma in the back. John gets out of the car. JOHN : Just gonna take a look at the stadium, you girls stick together now, I’ll be back for supper. Ianto drives away leaving John standing looking at the stadium. Once he has gone, John turns and walks away from the stadium. CUT TO : John stands before a narrow, boarded up house standing alone on a street corner, appearing to be awaiting demolition. A man walks past John. JOHN : Excuse me. Do you know a man called Alan Ellis ? He used to live here. MAN : Nah, sorry mate. The man walks on, leaving John to his sorrow. INT. HOSTEL - KITCHEN - DAY Emma stands at the kitchen table cutting open tea bags and poring the contents into a teapot. Diane looks in the microwave, then leans against the sideboard at a loss. DIANE : I’m going to check on the plane this afternoon, want to come ? EMMA : I’m going to watch this. Emma picks up a DVD from beside her and shows it to Diane. EMMA : And maybe make some paper chains. DIANE : I wonder what work I can get in aviation. EMMA : I’m going to have to find a husband. Two girls enter the kitchen through the back door, laughing loudly. They quiet as they enter the kitchen, one of them walking past Diane and Emma to grab two mugs and make a drink. ALESHA : Alright. I’m Alesha, this is Jade. JADE : Alright. EMMA : Emma. DIANE : Diane. Excuse me, I have to get ready. Diane leans forward open mouthed to see Alesha dumping teabags into the mugs and then poring in the water. She turns to look at Emma before leaving the room. Emma is happy, the same ages as these girls who are vastly different to herself. ALESHA : Where do you get those shoes ? They’re lush. EMMA : Thanks INT. AIRCRAFT HANGER - LATER The biplane sits in the hanger, Diane and Owen enter through the part open doors. Diane walks up the plane smiling broadly. DIANE : Hello old girl. Did you miss me ? Diane opens the door and picks up a pole from the pilot’s seat and hands it to Owen. OWEN : I’ve er, been readin’ up on you. England to Australia, in four days 1952, that is impressive. Diane takes the pole from Owen and hands him a rag. She works as she speaks. DIANE : Yeah, terrible wind across the Bengal bay. OWEN : Something you ate ? Ah, so how did you get into this ? DIANE : Ferry planes during the w*r, of course when it was over we were supposed to revert to being dutiful wives and daughters, but I got a taste for it no pigheaded man was gonna tell me what to do. OWEN : Oh. Owen peers at the side of the plane, reading the name. OWEN : Sky Gypsy ? DIANE : After the engine. The de Havilland Gypsy six, a work of genius. Tuned with a higher compression ratio so it can squeeze far more energy from it’s air-fuel mixture. Can I take her up ? OWEN : No. you could get arrested, you haven’t got a license. DIANE : But I… bugger. It’s no longer valid. OWEN : I guess I’m just another pigheaded man telling you what to do. DIANE : Well, you better make it up to me. I want to learn all about this new world. INT. A PUB - SAME DAY Jack sits with John at small table drinking pints of water and beer respectively. JOHN : Blackpool were three one down then Stanley Matthews worked his magic, scored two goals in the last twenty minutes, Bolton lost four three. My boy was on his knees punching the air. The FA cup final live in my own living room, I charged the lads a shilling each to come and watch. JACK : Ever the businessman ay John ? They are silent for a moment, each thinking their own thoughts, John filling his pipe. JOHN : American accent isn’t it ? JACK : That’s right. JOHN : So how did you end up here ? Doing whatever it is that you do. JACK : Long story. JOHN : I’m a slow drinker. Jack looks at the table, smiling slightly, not answering. JOHN : You know everything about me. What’s the problem ? JACK : It’s kinda complicated. John looks at Jack, thinking while he smokes his pipe, knowing that Jack doesn’t belong on 21st century Cardiff any more than he does. JOHN : What, did you fall through time too ? JACK : Yeah, you could say that. Jack raises his glass, unwilling to say any more, and they clink glasses to each other, comfortable in each other’s company, linked by their experiences. A barman walks past the table as John re-lights his pipe. BARMAN : Sorry, you can’t smoke in here mate. John blows out his match and looks at Jack, reminded one more how he doesn’t belong in this changed world. INT. THE HOSTEL - COMMUNAL ROOM - SAME DAY Emma and Jade put paper chains around an archway while Alesha sits on the settee making more chains. EMMA : What are you doing Christmas Eve ? We could go carol singing. Jade looks at Emma before walking to her friend, they both laugh. Jade picks up a can of larger. JADE : Sorry love, I’ll be getting hammered. EMMA : Where are your families ? JADE : No idea. ALESHA : We grew up in care. EMMA : Like a children’s home ? Alesha and Jade nod, quietly saddened. EMMA : I haven’t got anyone else either. JADE : What happened to ya ? EMMA : My parents are d*ad, so I came down here to start afresh. JADE : Didn’t they leave you a house or anythin’ ? Emma’s eyes glitter with tears, finally accepting that she is now alone. EMMA : No, I’ve got nothing. ALESHA : Were you close with them ? EMMA : Yes. I loved them very much. Jade picks up another can of larger and walks over to Emma, holding it up to her with a smile. The only way she knows to comfort Emma and make everything better for a while. Emma smiles and takes the can, sips carefully then pulls a face at the taste. She smiles and Jade and Alesha laugh at her reaction. INT. THE PUB - SAME DAY John and Jack get up from the table and put on their jackets. JOHN : Must have been an awful Christmas for them thinking I’d drowned. I just wanna know what kind of life he had, my son. He might have kids. I could be passing my own flesh and blood in the street. Find him Jack, he’s all I’ve got left. Jack watches John leave the pub, frowning in concern. INT. CHINESE RESTAURANT - SAME DAY Owen walks to the table he is shown, followed slowly by Diane who looks around. Owen sits down and Diane stands behind her chair with her hands behind her back, waiting. Owen looks uo at her. OWEN : What ? DIANE : I’m waiting for you to pull out my chair. Owen laughs. OWEN : Let me get this straight, you expect equality and chivalry ? DIANE : I don’t see why they should be mutually exclusive. OWEN : Well, if it makes you happy. Owen gets up and walks around the table to pull out her chair. OWEN : Your chair ma’m DIANE : Thank you. Diane takes out a cigarette while Owen sits back down. Owen picks up the lighter and offers Diane the flame smiling sarcastically. DIANE : So, what further strides have women made ? OWEN : Well, under strange but true, how about this: you don’t have to have sex to have kids any more. DIANE : What ? How come ? OWEN : You get yourself inseminated with a sort of syringe, cheery little process. Seriously, men donate sperm anonymously, a little shuffle into a pot at a sperm bank, and they say romance is d*ad. DIANE : Oh come on. I wasn’t born yesterday. OWEN : No, but, for a bird who’s goin’ on ninety, you look pretty hot. INT. THE HOSTEL - COMMON ROOM - LATER Emma sits on the sofa with Alesha and Jade having watched Calamity Jane, smiling and happy. EMMA : What was your favourite song ? JADE : It’s hard to say. EMMA : You know what mine was ? Emma gets up and starts singing, dancing as if she’s in the film. Jade and Alesha laugh, entertained rather than at Emma. Alesha dancing along in her seat. EMMA : I just flew in from the windy city, the windy city is mighty pretty, but he ain’t got what we got, I’m tellin’ you boys. JOHN : What do you think you’re playing at ? I thought I could trust you to behave. John is angry at Emma, acting unseemly for a girl of her age. Emma is chastised, Jade and Alicia suppress smiles on the settee. INT. CHINESE RESTAURANT - LATER Owen helps Diane into her jacket. OWEN : Where d’you wanna go now ? DIANE : Well… I’m in your hands. OWEN : Er, well, we could go back to mine. You could read up about yourself on the ‘net. That’s sounds like a line, it’s not a line, I’m not chatting you up, not because I don’t think you’re attractive, cause you are, but because I wouldn’t want you to think that I was taking an advantage. DIANE : Got any scotch ? INT. THE HOSTEL - LATER Gwen has arrived and stands next to Emma looking at John. JOHN : I don’t see why she had to get you involved. GWEN : She called me, she was upset. JOHN : She was drinking. EMMA : I only had half a glass. John speaks as he sets the table for dinner and collects two meals from the kitchen hole. JOHN : Enough to make a show of yourself. We’ve not meant to draw attention to ourselves, we’re not the same as them. We can’t trust anyone. GWEN : Will you be okay now Emma ? JOHN : Don’t worry. I won’t let her out of my sight again. EMMA : I don’t like liver. JOHN : Sit down young lady and be grateful for what you’re given. Gwen is concerned and annoyed at the way John is speaking to Emma, Emma getting increasingly angry, and upset. EMMA : And why should I listen to you ?... GWEN : Emma. EMMA : …only my dad gets to talk to me like that. I’m never going to see him again am I ? Or my mum. Or my best friend. Or my dog. And I miss them I hate this filthy, stinking place. Emma crying storms from the room. Gwen looks to John, expecting him to do something. John picks up a napkin and prepares to eat, unconcerned at Emma’s outburst. JOHN : I never had this trouble with my son. Gwen walks out to find Emma, John looks after her then picks up his Kn*fe and fork, not knowing what to do. INT. OWEN’S APARTMENT - NIGHT Owen on his hands and knees, tries to tidy magazines and miscellaneous mess under the settee before Diane enters the room. OWEN : Women have been to space too you know. Diane leans on the doorframe watching Owen who opens a bottle of scotch. DIANE: Do you have a girlfriend ? OWEN : No. DIANE : So, who do all those beauty products belong to ? OWEN : Er, me actually. Dianne laughs at him, Owen joins her laughing at himself, bringing her a glass of scotch. DIANE : Oh. OWEN : Oi ! Real men can moisturise to you know. Diane walks across the room, looking around with her drink. DIANE : It’s not very homely here. OWEN : No, not really that much. Doesn’t seem worth the effort. Diane walks across to the far window, putting down her scotch and lighting a cigarette while Owen watches her. OWEN : You smoke too much. DIANE : So I gather. Amelia Earhart, she disappeared in 1932. Think she’s still out there somewhere ? OWEN : I doubt it. One in a zillion chance, you ending up here. DIANE : A whole new world. Owen walks over to look out of the window near to her. OWEN : Oh it’s not so bad, once you get used to it. I recon you’ll fit in just fine. Diane doesn’t look convinced that she will fit in, but knows she has to. She turns to Owen looking up at him through her eyelashes. DIANE : I’m glad you don’t have a girlfriend. OWEN : Me too. INT. GWEN’S FLAT - NIGHT Gwen turns out a floor lamp and looks over at Emma who is wrapped in a duvet sleeping on the settee. Gwen turns out the light and walks upstairs. INT. OWEN’S BEDROOM - LATER Owen and Diane finish having sex, both happy they lie next to each other. OWEN : I take it that wasn’t your first time. Owen smiles and Diane laughs before turning her head towards Owen, holding his hand. DIANE : I had a lover, he was married. OWEN : And you didn’t care ? Owen turns to lie on his side, watching Diane as she speaks. DIANE : Well, I was free to do what I liked and I didn’t have to cook and clean for him. Suited me, I’m not exactly marriage material. OWEN : Yeah. I always thought the fifties were, that time, sexually repressed, you know. Diane laughs turning to look Owen in the eye. DIANE : You didn’t invent it you know. OWEN : Can we do it again ? DIANE : Don’t see why not. OWEN : Could have an affair. We could be f*ck buddies. DIANE : What’s a f*ck buddy ? OWEN : It’s erm, it’s a friend that you have casual sex with. DIANE : There’s nothing casual about what we just did. OWEN : Oh, no, no, I didn’t mean that. DIANE : Sex shouldn’t be devalued. Both parties should give it one hundred percent concentration. Because when you take off together. It’s the next best thing to flying. INT. GWEN’S FLAT - MORNING Rhys walks naked through the living room and into the kitchen area. Emma stretches on the settee, the noise disturbing her sleep. Rhys gathers some breakfast and walks back towards the stairs, past the end of the settee. Emma sees him and screams. CUT TO : GWEN’S KITCHEN - LATER. Gwen makes cups of tea, Emma stands next to her in a robe. Rhys faces her across the table, also now wearing a robe GWEN : Emma is my auntie’s step-daughter. She was meant to spend Christmas in Cardiff with a friend but they had an awful argument last night and er, she rang me. Got my number from mam. Gwen silently preys Rhys will believe her then puts a cup of tea on the counter for him. GWEN : The thing is, she doesn’t really wanna go back home so I thought maybe she could stay with us, got a lot to catch up on. RHYS : For Christmas ? Gwen standing a little behind Emma mouths at Rhys angrily “well you throw her out then, come on!...” Emma turns to Gwen and Gwen smiles at her before looking at Rhys. RHYS : I’d better get a bigger turkey. Gwen smiles happily then moves over to kiss Rhys. GWEN : This is Rhys, my long suffering boyfriend. And, he lives here. EMMA : Don’t your parents mind ? GWEN : Emma’s parents are a bit religious. RHYS : Oh, er, better not tell them you saw my morning glory then aye ? Gwen laughs with Rhys as he leaves the room, as soon as the door closes Gwen speaks seriously to Emma. GWEN : The thing is I couldn’t tell him your parents were d*ad. He’d ask to many questions. The thing is he doesn’t know exactly what I do. Gwen gestures keeping it zipped to Emma and walks away, leaving Emma confused and questioning Gwen’s sanity in the kitchen. INT. THE HUB - LATER Gwen walks with Jack from his office through the hub. GWEN : We can’t expect John and Diane to look after her. I mean they’re complete they’re complete strangers. I had to take her in, Diane didn’t even come home last night. Owen walks in with a file of papers. OWEN : Er, I think she was in a B&B. Gwen walks away annoyed leaving Owen speaking to Jack. OWEN : I’m gonna take her job hunting later if that’s alright ? Owen sits down at his station and Jack walks over to Toshiko. TOSHIKO : Jack, John’s son, I think I’ve found him. INT. CARE HOME - MORNING A nurse leads John through into the Care Home’s day room. NURSE : Come and meet Alan, though I’m not sure how much help he’ll be to you. John pauses at the door, looking a his son. He walks forward slowly watching the frail, elderly man slumbering in a narrow high backed chair. NURSE : Alan. There’s someone here to see you. He’s a nephew on your father’s side, he’s been tracking down family history. ALAN : Is Sally coming ? NURSE: Sally’s his wife. She passed away a while back. Sorry this isn’t one of his better days. JOHN : What’s wrong with him ? NURSE : Alzheimer’s. JOHN : What’s that ? NURSE : He’s senile, he doesn’t remember who he is most of the time, couldn’t live at home any more he’d leave hobs on, forget to dress you know. He never had any children so there was no one there to look after him. The nurse walks away, leaving a devastated John with Alan. John cries as he looks at Alan who stares straight ahead, not seeing anyone. INT. CARE HOME - LATER John shows Alan old family photos, John smiling with the memories, Alan not understanding or remembering. JOHN : That’s you and your dad, playing footie out the back. That’s your dad and your mum and your new television set. ALAN : When can I go home ? NURSE : You’re not well enough love. ALAN : I don’t like it here. They took my clothes. NURSE : I’ll have a word, they’re probably in the wash. Keeps me going this one. The nurse walks away again, John speaks as she moves away. JOHN : What did he do for a living ? Was he in retail ? NURSE : I think he was a fireman. John turns to Alan with a smile and speaks quietly. JOHN : That’s what I did, in the w*r. EXT. AIR FIELD - DAY Owen and Diane walk across the airfield between small planes. DIANE : Sixty pounds for half an hour. OWEN : Ah, no worries, I’ll pay. Diane sees a type of plane she recognises and moves towards it, grinning and stroking the sides like an old friend. DIANE : Sessker. That’s my first plane. Bought one after the w*r. They’ve hardly changed. A dream to fly. OWEN : We’ll soon get you back behind the, throttle. DIANE : Thanks Owen. Dianne leans in and kisses Owen. INT. CARE HOME - LATER JOHN : Matthews did three setups in 20 minutes, and Bill Perry cracked home the winner. Alan begins to lean forward, smiling slightly, a memory returning. JOHN : You said he had wings on his feet. That’s why he was called a winger. You used to say clever things like that. ALAN : Blackpool won. JOHN : Yes ! Alan, it’s me, your dad. Alan leans back in his chair, the memory gone. John cries, begging him to recall more. JOHN : I bought you that football annual you wanted for Christmas, Alan. It was in my desk drawer. Alan please. NURSE : Everything alright ? JOHN : He remembered who won the FA cup final when he was a boy. NURSE : He sometimes remembers snippets from his childhood, it’s quite common with dementia. ALAN : When’s dad coming mum ? NURSE : I’m not your mum, love. JOHN : Alan. John takes Alan’s hand, tears in his eyes and Alan looks towards him. ALAN : Who are you ? INT. THE HUB - LATER Jack sits on the sofa in the hub reading a piece of paper with a picture of John on it. JACK : John’s witnessing the end of his world, the end of line, and we can’t help. Jack throws the picture onto the table in front of him, along side pictures of Diane and Emma. He speaks to Toshiko who stands nearby. JACK : There’s no puzzle to solve, no enemy to fight, just three lost people who’ve somehow become our responsibility. Jack shakes his head and leans back, not knowing what to do. EXT. AIRFIELD - LATER Diane and Owen stand next to a plane speaking to the flight instructor. INSTRUCTOR : The best I can do is Friday the twenty-ninth at 3 o’clock. OWEN : Can’t you take her up today ? INSTRUCTOR : Fully booked. DIANE : It’s alright, I’ve flown for years, I can go up on my own. INSTRUCTOR : Not without a license, I’m sorry. OWEN : Maybe you could cancel someone, we’ll pay extra. INSTRUCTOR : I couldn’t do that to my regulars now could I ? DIANE : Look, it’s fine, book me in for the twenty-ninth. It’s Diane Holmes. Owen and Diane walk away across the airfield, Diane upset. OWEN : Diane, I’m really sorry, I should’ve called ahead. DIANE : For goodness sake this is so silly, it’s just I was really looking forward… ignore me, lets get out of here. INT. A NIGHTCLUB - NIGHT Emma stands in the middle of the dance floor of a crowded nightclub looking lost. A man walks over to her and speaks in her ear. Gwen and Rhys sit down across the nightclub. GWEN : You think she’ll be alright though ? I don’t think she’s even had a proper boyfriend before. RHYS : Gwen stop fussing, she’ll be fine, man. Gwen kisses Rhys. Emma dances self consciously with the man. Gwen breaks off the kiss and picks up her wine. RHYS : What’s that for ? GWEN : For putting up with me. RHYS : I deserve a lot more for doing that. Gwen kisses Rhys then looks over her shoulder at Emma, they wave to each other and Gwen kisses Rhys again. Emma nods her head at the man and they walk from the dance floor. A little later Gwen walks through the nightclub searching for Emma, she sees Emma and the man sitting in an alcove alone, kissing, and walks over quickly, Followed by Rhys. Gwen grabs the back of the man’s shirt and pulls him off Emma. GWEN : Oi, hands off. Rhys moves the man out of the alcove and back into the main club. RHYS : Go back to your friends, there’s a good boy. GWEN : What are you playing at ? EMMA : I wasn’t going to let him do anything. GWEN : You might not have had much choice ! RHYS : Come on Gwen, don’t you think you’re over reacting ? EMMA : Just having a kiss and a cuddle. GWEN : He was after a bit more than that. INT. GWEN’S FLAT Gwen sits with Emma at the table, Emma looking through a magazine article about how to drive men wild in bed. EMMA : This is disgusting. GWEN : I just want you to know that people are more sexually aware these days, then maybe you’ll be more careful. EMMA : Mum says that no man wants to marry soiled goods. GWEN : Attitudes have changed. As long as it’s safe and between two consenting adults no one cares. Gwen pauses to drink her tea and Emma regards her, a little haughtily. EMMA : So, how many men have you, don’t it, with ? Gwen chokes on her tea at the question, pausing before putting down her mug. GWEN : A few. And… EMMA : Were you in love with all of them ? GWEN : No. Sex can just be about having a good time together. If you’re in the right mood, with the right guy, it’s the best. No big deal. EMMA : So if I meet a boy, and we get on, he wants sex, you think I should let him ? GWEN : No, that’s not what I said. EMMA : So, what are you saying ? GWEN : Sex is nothing to be ashamed of. And as for you, well your first time should be with someone special. EMMA : You wish you’d waited for Rhys, he’s your special someone, isn’t he ? GWEN : Yes, yes I suppose. EMMA : I bet sex with him is better than with the others. Gwen nods along happily then drops her smile at the end of the sentence. GWEN : Well… EMMA : I will wait for Mr Right I think. GWEN : Umhum. EMMA : I’m really not the kind of girl who sleeps around. Gonna brush my teeth. Thanks, for the chat. Emma gets up and leaves the room leaving Gwen sitting at the table, uncomfortable. INT. OWEN’S FLAT - DAY Owen enters the flat carrying a posh bag from a shop. Diane sits on his settee near the window overlooking the Assembly, working on Owen’s laptop. OWEN : Leave it. Owen puts down the bag and starts taking off his jacket as Diane speaks. DIANE : I can’t if I want to fly a jet plane, ‘cause that’s what flying is now, sitting on your backside pressing buttons. You used to have to know how to fix an engine, how to gauge the wind… Owen slams the laptop closed, stopping her tirade. OWEN : Leave it. Owen holds out the bag for Diane to see. OWEN : Open this. Diane smiles and gets up to look in the bag, pulling out tissue and dropping it on the floor. She takes a beautiful dress from the bag and holds it up before her to look. DIANE : That’s beautiful. She kisses Owen in gratitude. INT. GWEN’S FLAT Gwen stands in the kitchenette pouring a glass of wine. Emma enters the room wearing her jacket. GWEN : Well, how did it go ? EMMA : This coat I’m wearing is their latest fashion, 50s inspired. They offered me a job on the spot ! Gwen claps her hands smiling and hugs Emma tightly. GWEN : Oh, that’s brilliant ! Oh, now we need to find you a flat somewhere near here. EMMA : The shop’s in a new branch in London. Gwen’s smile fades at the mention of London, although Emma is excited at the prospect. EMMA : I’ve always dreamt of working in a London fashion house. They open the day after boxing day, I’ll be a shop girl and a trainee buyer. I might get a house there, they’ve given me contact numbers. GWEN : London’s a big city. EMMA : That’s what my mum used to say. GWEN : There’s no rush. EMMA : There’s nothing to keep me here. GWEN : I’m sure we can find you something in Cardiff. We’ll keep looking. They clink their glasses and Emma drinks her wine but looks unhappy. INT. THE HUB - RECEPTION John enters the reception area through the hidden door, followed by Jack. JOHN : …make a plan, get work, get my driving license. JACK : It’ll all help. John holds out his hand which Jack shakes. Jack smiles at John then walks back through the secret door, glancing back at John briefly. John stands in the reception area alone then with a sigh walks behind the desk and takes a set of keys off a hook on the wall. He walks back along the counter and Ianto enters through his beaded curtain at the side of the desk. John smiles at him. JOHN : Er, I was looking for a bus timetable, I wanna go down to the DIY store see if there’s any work going. Ianto looks briefly and hands John a timetable. IANTO : Best of luck. JOHN : Thank you. Ianto watches John leave before returning to his office. EXT. CAR PARK - NIGHT Owen drives onto a rooftop car park and stops. He and Diane exit the car, Diane wearing the new dress Owen bought her and Owen wearing a suit, his tie around his neck but not tied. They walk slowly from the car. DIANE : Where are you taking me ? OWEN : We’re here. Bear with me. Owen walks back to the car and opens the boot. INT. GWEN’S FLAT - NIGHT Rhys sits on the sofa, unhappy. Gwen speaks as she and Emma enter the house. GWEN : Oh, we have had such a girly day shopping. Gwen sits down on the sofa next to Rhys and kisses him while Emma unpacks her bags in the kitchen. Rhys doesn’t smile. GWEN : What’s up ? RHYS : Your mum rang. Funny thing, she’s no idea who Emma is. Gwen looks at Emma, then back to Rhys, feigned confusion. GWEN : No ? RHYS : And I’m thinking back to you and me on the couch. Work calls and you go out in the middle of the night, come back with a surprise relative. So let’s have it. Who exactly is Polly Anna ? Gwen chuckles, trying to deflect the situation. RHYS : Aww, is it to do with work ? GWEN : It’s so hard to explain. RHYS : Do you even know her ? Gwen shakes her head slowly. GWEN : She was lost, I’m sorry. RHYS : What worries me is how easy it seems for you to lie to me, Gwen. Rhys gets up to leave the room, Gwen open mouthed, unable to find anything to say. Emma walks over quickly from the kitchen to speak to Rhys. Gwen stands. EMMA : It’s my fault. I’ll leave by tomorrow. Gwen stands next to Emma. GWEN : You don’t have to go. She’s eighteen years old ! I couldn’t turn my back on her ! Rhys doesn’t answer but leaves the room and slams the door. CUT TO : GWEN’S FLAT – LATER Gwen and Emma sit next to each other on the floor in front of the Christmas tree. Gwen hugs her knees to her chest while Emma ties a ribbon on a small box. GWEN : It’s like two separate worlds. There’s Torchwood, then there’s real life. EMMA : That’s why you’ve got to let me go. EXT. CAR PARK - NIGHT Two glasses of champagne are being poured, pan up to see Owen but down the bottle and pick up the glasses from the boot of his car. He walks over to Diane and hands a glass to her. OWEN : I couldn’t help noticing you standing out here in that beautiful dress. DIANE : This beautiful dress is a gift from my lover. OWEN : Then he is a fool to let you go out in it alone. Owen grins at her and she laughs a little, standing close together. DIANE : What shall we drink to ? OWEN : Chance meetings. They tap glasses and drink. CUT TO : same location, later. Owen holds out his hand to Diane and they dance close, happy. Owen twirling Diane around. Diane looks up at the moon and wraps her arms around herself, Owen takes off his jacket and drapes it over Diane’s shoulders and holds her tightly, standing behind her. Diane looks over her shoulder at him, gazing into each other’s eyes. DIANE : Lets go home. CUT TO : OWEN’S FLAT - LATER Owen holds Diane close as they kiss passionately, Diane pushing him back against the floor-length window as much as Owen pulls her. They turn, Diane now against the window and Owen moves down her body, Diane smiling broadly. A phone rings. INT. THE HUB - JACK’S OFFICE The phone is ringing in Jack’s office. Jack climbs up from his room below his office, dusting his hands off before he answers the phone. JACK : Hello. CUT TO : THE HUB - RECEPTION - CONCURRENT Ianto crouches behind the desk speaking into the phone. IANTO : My car keys are missing. John was behind the counter earlier on. And I can’t get hold of him. CUT TO : THE HUB - CONSECUTIVE. Jack sits at a computer and brings up a map showing a red dot - Ianto’s tracked car. Jack frowns, Ianto stands behind him looking at the screen. JACK : He’s gone home. Jack stands up and as he does so Ianto moves to pick up Jack’s jacket, handing it over as Jack runs past, taking the jacket without really needing to look. CUT TO : TORCHWOOD SUV Jack drives the SUV to John’s old house and pulls up outside. He gets out of the car and scans the area with his wrist cuff, looking around to locate John. He jogs to the front door and bangs on the boards. JACK : John ! Jack scans the area again and runs along the side of the house and around the back to a garage. John sits in the car, his head lolling to one side. The car filling with exhaust fumes. Jack pulls open the doors and runs to the car. JACK : John ! Jack pulls open the driver’s door and pulls John from the car. John leans back against the car and Jack holds his arms, keeping him against the car so he can’t run. JACK : You can’t just throw it away, not without trying. JOHN : I’m not as strong as you, you don’t understand. JACK : I do. I was born in the future, lived in your past. My time is gone too. JOHN : Why are you doing this ? Speaking to me in bloody riddles. Keeping me here when my wife is d*ad, my son is a shell. JACK : John, you’re still young, you can get work, make friends, start a family. JOHN : I did all that Jack, years ago, when I was meant to. Jack releases John and steps back slightly. INT. OWEN’S FLAT - BEDROOM Owen and Diane in Owen’s bed having sex, clawing at each other, holding on as if they both know it’s the last time. INT. JOHN’S GARAGE JACK : I wish I could say something. JOHN : There’s nothing to say or do. JACK : I can’t leave you here. JOHN : Then we’ll wait, the sun will rise, we’ll have some breakfast, take a walk. JACK : Yes, a new day. JOHN : And I’ll suffer it all and, smile and wag my tail, and then as soon as your back is turned, I’ll make sure I do it properly. ‘Cause I want to die. JACK : You don’t get reunited John. Just goes black. JOHN : How do you know ? JACK : I died once. JOHN : Who are you ? JACK : A man, like you, out of his time. Alone, scared. JOHN : How do you cope ? JACK : It’s just bearable, it has to be. I don’t have a choice. JOHN : But I do. If you wanna help me, then let me go with some dignity, don’t condemn me to live. JACK : Are you scarred ? JOHN : Yes. INT. OWEN’S FLAT - BEDROOM Owen and Diane lie in bed. DIANE : You’re very quiet. OWEN : I don’t know if I can do this any more. This isn’t how it works for me. I’ve slept with enough women, I’ve done the f*ck buddies thing, this is not it. I can’t concentrate. All I see is you, all I can think about is what you’re wearing, what you’re thinking, what you’re… what you’re face looks like when you cum. It’s been what, a week? And er, it’s like, when I’m not with you, I’m, I’m out of focus. How have you done this to me ? I’m scarred. I’m f*cking scarred. Owen looks away repeatedly throughout his speech. Diane leans on his chest and looks at Owen. DIANE : I love you to. Owen pulls Diane up into a delicate kiss and they hold each other. INT. JOHN’S GARAGE John and Jack sit beside each other in the car. Jack holds John’s hand as the car fills with fumes, watching John breath deeply. John’s hand falls away from Jack’s as he dies. INT. OWEN’S FLAT - BEDROOM Owen sleeps and Diane leans on her elbow watching him sadly. DIANE : The thing about love, is that you’re always at it’s mercy. INT. JOHN’S GARAGE John’s head leans against the door, Jack sits next to him in the fumes, crying he takes John’s hand and rests it on his leg. EXT. BUS STATION - DAY Gwen and Emma walk towards the bus, Gwen holding the tickets. GWEN : Now then these are your tickets, okay on the back is your seat number, keep this with you at all times. I’ve also got you return just in case. Now, don’t go talking to any strangers and call me as soon as you get there okay ? INT. OWEN’S FLAT - BEDROOM - DAY Owen wakes to find he is alone in bed. He looks around the room and finds a note on Diane’s pillow. He picks it up and reads. EXT. AIRFIELD - DAY Diane stands next to her plane, watching as Owen speeds towards her. She walks around the plane, making it ready to fly, as Owen stops the car. Owen gets out of the car quickly and walks over to her. OWEN : No, I’m not letting you do this. DIANE : I’m not a possession Owen. OWEN : You can’t do this, it’s madness. DIANE : If I’d listened to everyone who’d told me that I wouldn’t have broken any records. EXT. BUS STATION Gwen and Emma watch the bus pull up as they stand in the queue. GWEN : You don’t have to go. EMMA : If I don’t then I’ll always wonder what it’s like. London, Gwen. Gwen pulls Emma into a tight hug, both of them crying but trying to fight tears as she hands over the ticket. Gwen nods towards the bus indicating that Emma should get on. Emma climbs on board as Gwen watches. EXT. AIRFIELD Diane continues making checks on the plane while Owen begs her to stay. OWEN : Diane, you’re not thinking straight, we can talk about it. DIANE : No. I’m sorry Owen. OWEN : We can make this work! You belong here now with me. DIANE : I belong in the sky. OWEN : Well, we can get you up in the sky in a couple of months you can fly whenever you want. DIANE : Look, weather conditions are the same as the day we arrived. That rift will open again, I can feel it. OWEN : Listen to me. There is no way back, you cannot get home. DIANE : Then it will take me somewhere new. Diane moves away from Owen, leaving him standing watching after her. EXT. BUS STATION Gwen watches as the bus pulls away, waving to Emma who waves back smiling. Gwen moves alongside the bus. GWEN : Merry Christmas ! Gwen watches as the bus turns the corner out of the bus station then leans against the shelter wall smiling. EXT. AIRFIELD Diane sits in the pilot seat of her plane, Owen leaning in, still pleading with Diane. OWEN : I’ll come with you. DIANE : I fly solo, Owen. I go faster and further than others. OWEN : We have no idea how this rift works, you could end up anywhere. DIANE : That’s the beauty of it. OWEN : It’s too dangerous ! DIANE : It’s what I do. Diane leans past Owen to close the door but Owen keeps the door open with his hand. OWEN : What about me ? Please, please, don’t go. Diane looks sadly at Owen and puts her scarf around his neck before kissing him. DIANE : What memories I’m taking with me. Owen looks at her, fighting back tears as he realises he cannot make her change her mind. He steps back shakily from the door and Diane pulls it shut and starts the plane. She looks at Owen and blows him a kiss before pulling down her goggles and starting to taxi away. Owen steps back from the plane to watch her. INT. JOHN’S GARAGE Jack remains sitting in the car, remembering his time with John. INTERCUT : Gwen’s memories of Emma and Owen’s memories of Diane. EXT. AIRFIELD Owen watches Diane take off and disappear into the white light of clouds. CLOSING CREDITS GUEST CAST : Diane Holmes - Louise Delamere / John Ellis - Mark Lewis / Emma Louise Cowell - Olivia Hallinan / Alan Ellis - Sam Beazley / Nurse - Marion Fenner / Alesha - Janine Carrington / Jade - Rhea Bailey / Flying Instructor - Andrew MacBean / Barman - Ciaran Dowd. Please note that this script has been re-produced as accurately as possibly for [www.torchpedia.co.uk Torchpedia] from the televised episode. It is not a transcript of the original script by Catherine Tregenna.

{"type": "series", "show": "Torchwood", "episode": "1x10 - Out of Time"}

foreverdreaming

Opening sh*ts and series recap JACK : (VO) Torchwood. Outside the government, beyond the police. Tracking down alien life on earth and arming the human race against the future. The 21st century is when everything changes and you gotta be ready. EXT. AN ALLEY - NIGHT A weevil runs down an alleyway towards camera Jack jogs behind. The weevil comes to a d*ad end and jumps up onto fork-lift truck crates leaning up against the wall. Jack stops and smiles at the Weevil, walking slowly towards the weevil who pushes at the corrugated steel walls of the warehouse ending the alley. JACK : I hate to break this to you, but you’re not my first. Anti weevil spray. Jack holds up a spray in his right hand and some handcuffs in this left, showing them to the weevil. JACK : Hand clamps. The weevil growls at Jack and jumps off the crates towards Jack, still trying to get away rather than att*ck. JACK : Come on. Make this easy for both of us. The weevil jumps at Jack who grabs its wrists, holding it at bay before kicking and punching the creature. The weevil claws Jack’s chest and he falls back against the wall, grimacing in pain. JACK : This always happens when I give ‘em the night off ! INT. A RESTAURANT - CONSECUTIVE Gwen sits at a table outside a restaurant, a half finished meal and a glass of wine before her. Rhys sitting opposite eating talks, Gwen isn’t paying any attention. RHYS : It’s not even ruddy medium, let alone well done. French places see. Hey, remember that weekend in Paris ? The little place with the wood panelling, they barely even waved the steak under the grill and you said… Why are you looking at me like that ? GWEN : Sorry, like what ? RHYS : Like you’d rather be somewhere else ! Gwen rolls her eyes towards the other diners at Rhys’ raised voice, hinting that he should be quite and not embarrass her. Rhys ignores her and continues shouting. RHYS : This is becoming the norm innit ? I’m trapsing away, I look up and you’re, you’re just absent. What’s happening to us Gwen ? GWEN : I know I’m sorry. RHYS : Is it something I’ve done ? Or not done ? Rhys looks over Gwen’s shoulder and sees a weevil running along the street past the restaurant. Jack pauses and checks his wrist strap then looks round and starts jogging again. RHYS : What the hell was that ? Gwen looking outside smiles, glad for the excuse to leave the argument behind. She gets up. Jack runs to her and stops, catching his breath. Gwen sees the gashes across his chest and touches them with concern. GWEN : Oh God ! What’s happened to you ? Jack ignores her and seeing Rhys smiles widely. JACK : Rhys is it ? Nice to meet you. Sorry, it’s kind of an emergency. I’ll have her back for dessert. Come on. Jack moves off to continue chasing the weevil, expecting Gwen to follow him without question, ignoring whatever Rhys might think. RHYS : Hey, hold on sunshine, that’s my girlfriend. Jack comes back to get Gwen who tries to explain. GWEN : Rhys, this is Jack. RHYS : Sit down, Gwen. GWEN : This is my boss. RHYS : Sit the f*ck down ! GWEN : Don’t ever speak to me like that. JACK : Come on, Gwen. Lets go. RHYS : Hey, she’s with me tonight. One night off, you promised. Gwen doesn’t answer, instead picking up her bag and shaking her head at Rhys in disgust as she starts to move away. RHYS : Don’t you dare. Gwen starts to chase after Jack. RHYS : If you go now Gwen ! Rhys watches her run away, unable to do anything at the abandonment. EXT. A BACKSTREET - CONSECUTIVE Jack and Gwen slow to a walk, Jack checking his wrist strap trying to locate the weevil. JACK : Sorry for cutting in but I’m having a little trouble with this one. GWEN : Rhys will get over it. He always does. JACK : You promised to keep hold of your life. Don’t let it drift. Gwen doesn’t answer, wondering what she was supposed to do. Jack gets a reading and runs off down the road. JACK : Three hundred meters on the right, car park. EXT. MULTI-STOREY CAR PARK - CONSECUTIVE Jack and Gwen run up the ramp to the third level of the car park. As they enter the car park proper they slow and Jack motions for Gwen to be quite, they walk slowly searching for the weevil. The weevil runs across the car park a distance in front of Gwen. JACK : Over there. They chase after the weevil. A white transit type van enters the car park. A man in a balaclava squealing to a halt a short way from the weevil. Two men dressed to rob a bank jump from the rear doors of the van and flank the weevil, sh**ting it with tazers, herding the weevil into the back of the van. MAN : Get him in, get him in. In f*cking van. JACK : Hey ! The man looks towards Jack and Gwen and nods at them before getting into the van. The engine revs and Jack and Gwen run forwards, stopping quickly as the van speeds from the car park taking the weevil with it. JACK : Who the hell were they ? OPENING CREDITS INT. THE HUB Jack walks into the hub adjusting his braces having replaced his torn shirt. He shouts out his thoughts to the others as he walks through the hub to his office. JACK : One. Since when did other people know about weevils ? Two. Have they done this before and if so how come we didn’t know about it ? Three. What do they want with them anyway ? IANTO : Might not be connected but we’ve noticed a surge of unusual injuries been reported at the A&E unit. Tosh stands near to Ianto in Jack’s office, Ianto reading from a sheaf of notes. Jack takes the notes from Ianto and reads from them. JACK : Chunks taken out of legs and arms, deep wounds to back and stomachs. Jack hands the notes back to Ianto and walks around the room. JACK : So we have a wave of weevil att*cks to add to our problems, Oh, and by the way that spray we used on them previously, looks like they’re becoming immune to it. Jack perches on his desk and picks up the phone. TOSHIKO : They’re mutating ? IANTO : Or evolving. JACK : So any sign of the one we lost earlier ? TOSHIKO : I’ve run a trace on the van’s number plate. It’s fake. Two and a half thousand van’s of that type registered in the Cardiff area. Widen that to a forty mile radius and the number doubles. JACK : So run a trace on the vehicle’s… TOSHIKO : Route via traffic cameras ? OWEN : (On phone) This is Owen’s voicemail. Leave a message if you must. TOSHIKO : …processing that now. CUT TO : BOARD ROOM - THE HUB Gwen stands looking out over the hub through the board room window, holding her mobile to her ear. A message can be heard from the other end of the line. GWEN : (on message) Leave a message for Gwen and Rhys and we’ll call you back… RHYS : (on message) …if we remember. (laughs) GWEN : (on message) Oi ! GWEN : (Into phone) Hi, it’s me. I’ve left a few messages now. Look, I’ve got dozens of excuses, erm… INTERCUT WITH : GWEN’S HOUSE - KITCHEN Rhys stands in the kitchen looking at the phone, listening to Gwen’s message. GWEN : (On answer machine) …hundreds, thousands, but none of them good enough. GWEN : (Into phone) Things have gotten away from me a bit lately. Rhys walks towards the phone, a bottle of beer in his hand. GWEN : (On answer machine) It’s this job, it never lets up. Look I’ll see you later. I’m not sure what time yet. Rhys goes to pick up the phone. GWEN : I’ve got some work to finish up first. Gwen holds her fist to her mouth, knowing that was the worst thing she could have said in the circumstances. Rhys moves his hand away from the phone. GWEN : Call me. Rhys shakes his head at the phone and deletes the message. INT. A BAR - SAME NIGHT Owen sits alone at a bar, a row of tumblers and his mobile lying in front of him on the bar, a glass in his hand. The bar is busy. Owen downs a sh*t while his phone rings. The barmaid leans over towards Owen. BARMAID : Are you gonna answer that ? She picks up Owen’s phone and looks at the screen. BARMAID : Ninth missed call, work. Do you enjoy your job then ? The barmaid’s boyfriend notices her talking to Owen across the bar. OWEN : Look, if you don’t mind I came out to be alone. BARMAID : Ah. The old Greta Garbo. OWEN : Something like that. The barmaid pours Owen another drink. BARMAID : A word of advice, next time you feel like this, maybe you should stay in. The barmaid’s boyfriend sees them still talking and approaches them. OWEN : Trust me, the bigger the crowd the alone I feel. TOMMY : I said no chatting up the punters. OWEN : For God’s sake. BARMAID : Tommy I work in a bar, it’s my job to speak to them. TOMMY : You’re never happier than when you’re flashing your tits at a passing dickhead are you ? OWEN : Don’t talk to her like that. TOMMY : You what ? OWEN : We were having a conversation. One day when you’ve grown up you’ll realise that’s what human beings do. Tommy reaches forward and pulls Owen from the bar stool by his jacket, pushing Owen away from the bar. BARMAID : Tommy stop it, you’ll get me the sack. Owen gathers himself and shoves Tommy onto the bar face first, holding a arm behind his back and his other hand on Tommy’s neck, holding him down. OWEN : You see, it’s about using your opponent’s aggression to your own ends. Now, I’d suggest you don’t pick fights with strangers. Owen looks up at the barmaid. OWEN : And you should really upgrade your boyfriend. What does a man have to do to get some peace in this city ? Owen pulls Tommy from the bar and throws him to the floor out of the way. He finishes his drink as his mobile rings again. He hangs up the phone and leaves the bar. INT. THE HUB - CENTRAL Gwen walks to Toshiko’s station where Tosh sits working. GWEN : Owen’s still not answering his phone. TOSHIKO : Well he’s been even more erratic than usual since that thing with Diane. GWEN : Since the what ? Toshiko looks at Gwen then walks away quickly to another computer having put her foot in it. TOSHIKO : It’s none of my business. GWEN : What thing ? What thing, Tosh ? TOSHIKO : Owen and Diane. Before she took the plane they had a thing. You knew that, right ? GWEN : Oh yeah, of course I knew that. I just didn’t know they had a thing, thing. INT. THE HUB - VAULT Ianto stands looking at Janet who is moaning woefully in her. Jack jumps down the last few steps of the ladder and walks towards him. IANTO : It started ten minutes ago. Jack stands next to Ianto looking at Janet who crouches on the floor calling out. IANTO : What do you think it’s doing ? JACK : I think it’s weeping. IANTO : Why ? JACK : Owen’s been studying this one, thinks they have a low level of telepathic ability, to share emotion across distance. IANTO : You mean it might be feeling the pain of another weevil ? JACK : Kinda hope we’re wrong though. IANTO : Why ? JACK : Because that would mean that somebody’s not only kidnapping weevils, they’re causing them pain. Jack steps closer to the clear cell wall and the weevil mirrors his movement, standing close to the wall. JACK : What can you feel ? Janet calls out once before turning around and crouching down again towards the back of the cell. JACK : What do you know ? INT. THE HUB - CENTRAL Toshiko sits at her workstation, Jack standing behind her looking at the map on the monitor with Gwen. TOSHIKO : I’ve tracked the van’s route. It went straight from the car park out to the docks. A grid reference pops up on the screen followed by CCTV footage of the van. TOSHIKO : This was two hours ago. They watch three men leave the van, two of them carrying a bundle between them. They walk into the warehouse and return soon after. As they get back into the van the picture goes out to be replaced by static. JACK : What happened ? TOSHIKO : The CCTV cameras went down. GWEN : Do you think it was deliberate ? TOSHIKO : I think these guys really don’t like to be watched. JACK : See, I know it’s a character flaw, but that makes me all the more determined to find out what it is they’re hiding. EXT. CARDIFF DOCKS - DAY The Torchwood SUV pulls up outside the warehouse seen on the CCTV. Toshiko and Jack are being watched through a camera as they leave the SUV and walk towards the warehouse. TOSHIKO : Looks like we missed them. JACK : Yeah, but if you leave places in a hurry, you tend to be forgetful. CUT TO : INT. WAREHOUSE Jack and Toshiko search the warehouse, shining torches into dark corners. JACK : You know what they used these warehouses for during World w*r II ? Storing the bodies of d*ad GI’s. sometimes you can know too much history. They hear a crash behind them and they reach for their g*n, Jack realising he was lost in thought and not paying attention. JACK : Come on. TOSHIKO : There’s nothing here. JACK : So what were they doing here ? Why come all this way out ? Jack notices something lying on the floor before him and looks to Toshiko. JACK : Psst. TOSHIKO : What is it ? JACK : Looks human. Male. TOSHIKO : Still alive ? JACK : Hello ! You okay there ? We’re looking for the people who were here last night. If you saw anything, now’s a good time to speak up. TOSHIKO : Jack, he’s bleeding. They run forwards to the body, g*n still ready. They stop next to the body. A young man lying face down in a pool of blood. Jack grabs the man’s arm and pulls the man onto his back to reveal a face and chest cut and covered in blood. TOSHIKO : My God. JACK : Weevil marks. TOSHIKO : You don’t think it’s still here do you ? JACK : No. We’d hear it. Help me with the body. They crouch down next to the body and ‘Crazy Frog’ starts playing on a mobile. TOSHIKO : Is that yours ? JACK : You don’t think I’d choose that ring tone ? Jack reaches into the man’s pocket and pulls out his mobile phone. TOSHIKO : Don’t answer it. Jack smiles at her before flicking open the phone defiantly. JACK : Hello. MAN : (On phone) I don’t know who you are but stay out of what doesn’t concern you. JACK : Who k*lled this man ? MAN : Did you hear what I just said ? JACK : I have this selective deafness when I’m talking to cowards and m*rder. MAN : Don’t interfere in this you don’t understand. JACK : Oh, I understand this better than you, cause I know how this is gonna end. We’re gonna hunt you down, we’re gonna ensure that you’re punished for what happened here, and we’re gonna make you surrender that creature that you kidnapped, is that clear enough ? The man hangs up the phone and Jack dials the hub. JACK : Ianto, I need you to trace all calls to and from this number in the last twenty four hours fast as you can. We’re on our way back. EXT. CANAL-SIDE - DAY Owen looks over a canal, his mobile ringing again. He answers it moodily. OWEN : This is Owen’s voicemail, don’t leave a message. JACK : (Over phone) Nice try, Owen. I want you back at the hub immediately, we’ve got a weevil m*rder so get your bony little ass over here now. Owen ends the call and walks away from the canal. INT. THE HUB - AUTOPSY ROOM Gwen sits on the autopsy room steps reading from the victim’s wallet. The body lies on the slab in the centre of the room and Owen conducts the autopsy, Jack and Toshiko looking on. GWEN : Dan Hodges, date of birth twenty first of January nineteen seventy nine. Salesman for Webb Publishing Software. Looks like he was married with a kid. Gwen holds up a photo in the wallet to them. Owen hold up the victim’s left hand showing Gwen the wedding ring gracing his finger. OWEN : Yeah, no shit, Sherlock. Right. Definitely death by weevil, but he took a right kicking before the throat was punctured. Weevils go for the k*ll, straight for the jugular. Look at his face, black eye, bruises to the cheekbones, same across the back and the ribs. TOSHIKO : Could he have been tortured ? OWEN : Maybe, but I recon these wounds were inflicted by humans. But why smack somebody about and then set the weevil on them ? Why not get the weevil to do all the work for you ? Jack shakes his head not knowing. Ianto enters the room and leans on the barrier next to Toshiko. Jack looks over. JACK : Any joy with the phone records ? IANTO : The last incoming number was blocked and the phone’s entire call history has been erased. TOSHIKO : They move fast. JACK : You ask me, these guys are using weevils to carry out the perfect m*rder. No fingerprints, no traces of recognisable DNA. A quick, guaranteed death. Nothing to connect anyone to the m*rder. OWEN : Right, should be a piece of piss to find the k*ller then. GWEN : But what about this guy ? Someone’s got to break it to his wife that he’s d*ad. The rest of the team look around before settling on Gwen who grits her jaw in response. EXT. RESIDENTIAL STREET - DAY Owen sits in the SUV in the passenger seat. Gwen walks towards the car from a house having broken the bad news and gets in the vehicle, slamming the door. GWEN : The shittiest part about being a police officer and I can’t get away from it. She looks at Owen who stares out of the windscreen. GWEN : Thanks for your kind words of support. OWEN : What do you want me to say ? She’ll be alright in the end ? GWEN : You can always count on Owen to make you feel better. Gwen starts the engine before deciding to broach the subject of Diane. GWEN : Tosh mentioned you and Diane. Did you… OWEN : I didn’t want her to go, she went. Owen is abrupt with Gwen, not wanting to talk about Diane, especially with Gwen. GWEN : Why are we still doing this, me and you ? OWEN : Fine. Let’s not. I was getting bored of your f*ck tricks anyway. Owen gets out of the SUV and slams the door. Gwen shouts after him upset. GWEN : You can be such a w*nk*r sometimes Owen do you know that ? Gwen pulls out, leaving Owen behind to shout after the car. OWEN : I do as a matter of fact ! INT. THE HUB The cog door opens and Owen strides into the hub having walked back. JACK : Where the hell have you been ? OWEN : Walking. JACK : Well, in your absence Toshiko’s had a great idea. OWEN : Well, it had to happen sooner or later. GWEN : Ignore him Tosh. OWEN : Yeah, just ignore me Tosh, I can be such a w*nk*r apparently. TOSHIKO : The van went from kidnapping the weevil straight to the warehouse, they must have known it was empty. GWEN : So either they own it or they have contacts with the estate agents. JACK : Owen Harper, you’re going into property. Toshiko’s in the middle of fixing you a cover story. OWEN : Hang on, why me ? TOSHIKO : Jack and Gwen were in the car park, I was in the warehouse, if they’ve got access to CCTV they’ll recognise us. JACK : We have to get under their guard, find out what’s going on. OWEN : Yeah, alright. I could do with being someone else right now. INT. ESTATE AGENT’S OFFICE - LATER Owen walks into a smart, modern office wearing a suit and carrying a briefcase. A smart man walks up to him and shakes his hand. MARK : Mr Harper ? OWEN : Yeah. MARK : Mark Lynch. You’re looking to relocate your business to Cardiff. Mark walks across the office followed by Owen. Mark clearly doesn’t really believe Owen to be telling him the truth but is willing to play along. OWEN : Yeah. MARK : You export jellied eels, really ? OWEN : Huge growth market, China, South America. I can hardly keep up with demand. I’ll er get you a batch if you find me the right area. MARK : I think I’ll pass on that. Any family to relocate ? OWEN : Just me, better that way. Owen stands looking out of the window while Mark moves to look at a computer monitor. MARK : And you’re looking for premises out by the docks. OWEN : Huum. Nice big warehouse, that’s what I need. MARK : Got a couple should be perfect. Hang on while I print. OWEN : Thanks. Mark glances at Owen, still uncertain of him, before walking across the office to the printer. While Mark’s back is turned Owen places a device on the back of the laptop containing the premises’ details. CUT TO : THE HUB - TOSHIKO’S STATION Toshiko is watching her computer monitor waiting for information from Owen. TOSHIKO : Oh, we’re in. Jack walks over to Toshiko when she speaks. TOSHIKO : This’ll give us everything on his hard drive including encrypted files. If I can establish a routing protocol everything he does on his computer from now on, we’ll know about it. Jack leans over Toshiko’s shoulder watching the files download. CUT TO : ESTATE AGENT’S OFFICE Owen holds the device to the back of the laptop, keeping a eye out while Mark speaks to an assistant across the office then picks up the printouts of the warehouse premises for Owen. CUT TO : THE HUB - TOSHIKO’S STATION A pop-up appears on Toshiko’s computer reading ‘Lynch-Frost’. Toshiko speaks to Owen over their com. TOSHIKO : Owen, you’re clear. CUT TO : ESTATE AGENT’S OFFICE Owen removes the device from the computer as Mark walks over and hands him the printouts. Owen flicks through them while he speaks. MARK : These have got the square footage you’re looking for, good access, competitively priced... OWEN : Except, these all look like shit holes to me. Owen throws down the pages and looks Mark in the eye, playing his part fully. Mark smiles at him. MARK : Yeah. They are a bit. OWEN : Didn’t I see your sign outside a big place in the Q section of the docks ? MARK : We’ve accepted an offer on it. Pretty much signed and sealed. TOSHIKO : (over com) He’s lying. According to their records it only went on the market last week. OWEN : Bummer. MARK : What about a unit on an industrial estate, save a ton on rent even after transport costs. OWEN : And you just happen to have a list of suitable premises ? Nah. MARK : There are other possibilities, you free at the end of the day ? OWEN : Yeah. MARK : Why don’t we go for a drink ? On your own in a strange city see, I remember that feeling. OWEN : Look at you now. A couple of gorgeous birds answering your phones for you, if that’s not success I don’t know what is. MARK : It’s all bollocks really. But if you wanted me to put in a good word… OWEN : No. Thanks. Good to meet you, Mark. MARK : Yeah, I’ll give you a bell. They shake hands and Owen leaves the office. Mark watches him leave, the smile falling from his face. A little later Mark sits working on his laptop. He runs a search of Owen Harper online, checking his story. INTERCUT WITH : THE HUB - TOSHIKO’S STATION Toshiko sits at her station, watching Mark’s work on her monitor, knowing what he will do. TOSHIKO : First he’ll go for the web link at the top of the page. Mark selects that link. A website appears ‘Harper’s Jellied Eels’. TOSHIKO : Then he’ll want to know what other people say about the business. Mark selects ‘reviews’ from the links at the top of the page. TOSHIKO : Now he’ll see what Owen has to say about himself. Mark selects the ‘about us’ link. A video plays on the screen: Owen dressed in a suit stands next to a line of workers in fishmonger whites and hats. OWEN : (In video) Welcome to the number one supplier of jellied eels to Britain and Northern Europe. With a product base of more than 150 re-sellers, we’re constantly looking to expand into new territories. If you’re interested in becoming an affiliate of the Harper’s Franchise holder, please contact our sales director on the number below. Toshiko laughs quietly throughout the video. Mark picks up his phone and dials the number on screen. Toshiko smiles and picks up the phone having been waiting for it to ring. TOSHIKO : Harper Sales. Jenny Harper speaking. MARK : I’m sorry, wrong number. Toshiko hangs up the phone and looks round to Gwen who watched her work from the sofa. TOSHIKO : Job done. Ianto walks over to Jack, who has been watching from across the hub. IANTO : I’ve tracked down another seven suspicious injuries at the hospital. They sound pretty bad. JACK : Tosh, stay here and monitor Mark Lynch’s movements, Ianto with me. Gwen stands with her bag, wanting to help. GWEN : I’ll come with ya. JACK : Go home. Gwen starts to interrupt. JACK : It’s not a request. Remember, don’t let it drift. Ianto walks past Gwen and follows Jack from the hub, leaving Gwen a little disappointed behind. INT. GWEN’S FLAT - DAY Rhys gets ready to go out in the living room. Gwen enters and leans in the doorway looking at him as he collects change from the kitchen counter. GWEN : What you doing ? RHYS : Oh, you’re here are you ? GWEN : That’s your pullin’ top. RHYS : No it’s not. GWEN : It is. That’s what you call it. Since I said you look sexy in it. Rhys doesn’t answer, doesn’t even look at her. Still upset. GWEN : You off out ? RHYS : Aye. Dav’s stag do. All day job. GWEN : Since when is Dav getting married ? RHYS : Oh he’s not, but he thinks he’s missing out on a piss up. So he’s having a staying single stag. Few beers, see what transpires. Strip club, that sort of thing. Rhys moves to the door, having commented on the strip club to upset Gwen. GWEN : What time will you be back ? RHYS : Erm, not sure. Rhys continues walking and Gwen has to chase him to the door. GWEN : But, I’m in tonight. RHYS : Well I’m not. INT. HOSPITAL CUBICLE. Ianto pulls the curtain around a hospital bed. A young black man lies in the bed, looking suspiciously at Jack who flicks through the man’s notes before sitting next to him, eating his grapes. HOSPITAL PATIENT : I already made my statement to the police. JACK : According to your chart here you nearly had your heart torn from your chest. IANTO : Ooh ! JACK : Hum. Ten hour operation to repair chest wounds. Jack looks at Ianto who looks impassively at the patient. HOSPITAL PATIENT : Why should I talk to you ? JACK : Let me tell you what did this to you. Six feet high, teeth like a shark, rippled skin, and the rage of a wild animal. Am I close ? HOSPITAL PATIENT : I was mugged. There was three of ‘em. They had knives. IANTO : So why were your wounds described by paramedics as bite marks ? HOSPITAL PATIENT : I can’t help it if they got mixed up. They’re overworked. JACK : Well, there are lots of ways I can get you to talk , but the easiest would be if you consider the consequences should you not tell me the truth, and that is, this creature will att*ck again, somebody will die, and it would be on your conscience. Now tell us the truth. HOSPITAL PATIENT : They’ll k*ll me. JACK : Who’d k*ll you ? HOSPITAL PATIENT : Everyone. INT. THE HUB - VAULT Jack walks into the vault followed by Toshiko and Ianto to visit Janet. TOSHIKO : What did he mean ‘everyone’ ? IANTO : That’s all he’d say, couldn’t get any more out of him. Jack peers through the small, square window in the door of Janet’s cell and looks at the weevil. Janet looks round at Jack. JACK : That leaves us one option. Okay Janet, time for a trip out. TOSHIKO : You call it Janet ? JACK : Barbara just never seemed right. Ianto shrugs at Tosh while Jack uses the f*re exit bar to open the cell door. EXT. A BACK STREET - NIGHT Jack drives the SUV through the streets, Toshiko and Ianto in the back. TOSHIKO : You want to release a weevil in the middle of Cardiff ? JACK : Not exactly in the middle, a little to the side. I placed a tracker in it’s clothes so when they capture it we’ll know exactly where they are. TOSHIKO : It could k*ll any number of people before then. IANTO : I’m with Tosh, there’s no telling what might happen. JACK : We set it loose in the same place where they took the other one. It’s deserted this time of night. We’ll be with it every step of the way. Jack stops the SUV in the middle of the car park and releases the back door. Janet runs from the SUV. JACK : Tracker working ? TOSHIKO : Yeah. Jack watches Janet lope down the ramp leaving the car park before following. JACK : Go Janet. They follow Janet. Toshiko watching the tracker although she still doesn’t like the plan. TOSHIKO : Second right, two hundred meters ahead. Janet runs down a narrow alley and the SUV passes the turning. TOSHIKO : Shit. Stop the car. She’s taken a left. Pedestrian access only. Jack moans in annoyance before reversing the SUV to the alley. He stops the vehicle and starts getting out. JACK : Ianto, take over. Ianto slides over to the drivers seat as Jack gets out Toshiko running after him down the alley while Ianto goes to find a vehicle route. INT. A BAR - SAME NIGHT Mark collects drinks from the bar and offers one to Owen who sits at a near by table. OWEN : Now that’s what I call service. Cheers. MARK : Yeah, cheers. The barmaid’s boyfriend enters with two friends and sees Owen. Owen glances up to see Tommy and puts down his drink as they walk over. OWEN : Shit. MARK : We got a problem here boys ? TOMMY : Not with you. OWEN : Come on then, lets get it over with. Owen stands up ready for the approaching fight and Tommy punches him in the face. Mark stands up to join in. TOMMY : No need for you to get involved, sir. Mark punches Tommy cleanly in the face and Tommy’s friends join in. Owen and Mark quickly and efficiently defeating all three of the men. Mark looks at one of the men on the floor with disgust. MARK : Get up. Owen repeatedly kicks his opponent, getting rid of unspent anger. While Mark watches. Finished, Owen looks round to Mark. OWEN : thanks. Owen puts a hand to his cut lip, breathing hard. EXT. WASTE GROUND Jack and Toshiko run through an alley to a road to see the white van pull up alongside Janet. Jack stops and leans against a fence out of sight, holding Tosh to him out of the way. They watch the men from the van subdue Janet and throw her into the van. JACK : The weevil has landed. They watch the van drive away. JACK : Got a signal ? TOSHIKO : Yeah. Just so I know where we stand, we would never deliberately put a human being through that. But weevils are fair game, is that right ? JACK : We needed to follow them. Jack runs past as the SUV pulls up and gets in the car. Toshiko, upset, doesn’t follow immediately. INT. MARK’S APARTMENT. Mark leads Owen into his modern executive chic apartment OWEN : This is your gaff ? MARK : Make yourself at home. Owen looks round the apartment, impressed with how well Mark is clearly doing. OWEN : I’m in the wrong business. Owen sees a punch bag in the corner and hits it a few times while Mark swaps his shirt. MARK : So, what’s your outlet ? OWEN : For what ? MARK : The anger. OWEN : Who said I was angry ? Mark laughs at Owen’s response. MARK : You’re not even living here yet and you’ve got people coming after ya. OWEN : Yeah well, some people need teaching a lesson. MARK : I’m not criticising. You’re not the only pissed off bloke out there, it’s what the world does to us, fancy a beer ? OWEN : Yeah, why not. MARK : You work yourself stupid, get a house, a car, plasma screen, and you end up with a workforce, people there specifically to look after your every whim, you’re officially successful, but what does it bring ? Nothing. Success is no worth other than itself. Seriously. I could live without all this, it doesn’t define me. OWEN : Yeah, nice to have it though isn’t it ? MARK : Ask yourself, what’s the point of your life ? OWEN : Mark mate, I only came here for a beer. MARK : There’s so much more, if you know where to look. OWEN : Is that right ? MARK : It’s closer than you think. Something’s coming, out there, in the darkness. Something is coming. INT. GWEN’S FLAT Gwen stands in the kitchenette pouring 2 glasses of whiskey. Rhys enters, carefully. Gwen irritated sits on the sofa. GWEN : You drunk ? RHYS : Two pints is all I could get down. They’ve gone on without me. Gwen looks at her hands as Rhys sits next to her and reaches for his drink. Gwen sips from her glass, glancing sideways at Rhys as he drinks. RHYS : Look Gwen… GWEN : I need to tell you something. RHYS : What sort of thing ? GWEN : I’ve been sleeping, I’ve been having sex with someone else, someone from work. His name’s Owen, I mean he’s a bit of a tosser actually and it’s all gonna stop but er… RHYS : Shut up ! GWEN : I’m sorry. I’m really sorry. RHYS : You wouldn’t do that. GWEN : But I have. RHYS : Then why are you telling me ? GWEN : Because I’m ashamed, and I’m angry, I want, I want, I need, I need you to forgive me. And because I’ve drugged you. RHYS : You, you’ve done what ? GWEN : Just sit down it’s nothing, it’s just an amnesia pill, dash of sedative, you’ll wake up tomorrow and you’ll forget everything. Rhys falls back onto the sofa, the drug acting quickly. GWEN : Rhys. RHYS : God, you selfish bitch ! GWEN : I know. I just thought it would give us a chance, a chance to get everything out in the open, you know, get everything out. Gwen sits next to Rhys, trying to turn him to her way of thinking, but Rhys starts to drift away, succumbing to the sedative. GWEN : Rhys, stay with me Rhys. Say you forgive me. Gwen holds Rhys’ face trying to get him to stay awake to forgive her. Needing him to tell her everything is alright and allay her guilt. GWEN : Say ‘it’s alright, Gwen, Gwen it’s alright’, say it please Rhys. Rhys, just say it once. Say it once, ‘I forgive you’. Rhys ! Please say it ! Say you forgive me ! Say you forgive me. Say it. Say it, please say it. Say it please. Gwen begs him in desperation but Rhys has fallen asleep. INT. MARK’S FLAT - LATER Owen runs up a metal spiral staircase to the first floor of Mark’s home. As he reaches the top of the stairs he glances over the rail, checking where Mark is. He checks the rooms as he walks down the hall. Mark calls up to him as he searches. MARK : You found the bathroom yet ? OWEN : Yeah. Yeah, it’s good. Owen continues down the hallway and comes to a door secured with a padlock. Owen checks over the banister to see Mark wandering around downstairs, and then takes a lock pick from his jacket pocket, opening the padlock. Owen enters the darkened room and closes the door behind him. The room is filled with w*apon. Owen hears a noise and aims his g*n, searching the room slowly. The light is turned on and a weevil growls in Owen’s face, making him jump back. The weevil is tied to the ceiling, it’s hands over it’s head. Owen backs up frowning at the creature. MARK : Told you there was more to see. OWEN : Mate, I’m really sorry, I couldn’t resist the padlock… MARK : What do you think ? OWEN : What is it ? MARK : No idea. Don’t get too close though, vicious bastard. Mark picks us a long batten and walks towards the weevil, smiling as he says it’s a ‘vicious bastard’. OWEN : Where’d you get it from ? MARK : Found one on the street. It took five of us to bring it in. Other than that I haven’t got a clue. Mark stands close the weevil staring directly into its eyes while he speaks, Owen standing behind glances between Mark and the weevil, tense. MARK : Scientific experiment gone wrong. Nuclear victim. One of the lads even recons it’s an alien. Mark laughs at the idea and turns to Owen who smiles at him before returning his stare to the weevil. MARK : You wanna know what I think ? OWEN : Yeah. Go on. MARK : I think it’s us, Owen. You and me, in a thousand years’ time. It’s what we’ve become when all we have left is our rage. OWEN : Not exactly a comforting thought. MARK : Give it a smack. OWEN : You what ? MARK : Punch it. OWEN : Why ? MARK : It’s what its there for. Or do you want me to do it for you ? OWEN : Just feels a bit weird that’s all. Mark moves forward and punches the weevil hard in the stomach, laughs towards Owen and then hits the weevil again, like a punch bag. The weevil doesn’t even move at the beating. Owen grimaces, at Mark beating up the helpless creature. OWEN : Alright, that’s enough ! It’s not exactly putting up a fight. MARK : We all need a punch bag. So who are you Owen ? OWEN : Sorry ? MARK : Be pretty stupid not to assume you’re not connected to those two in the black SUV. OWEN : I dunno what you mean. MARK : Bloke in a big coat, cute little Asian girl, I was watching, nice website by the way, kudos to whoever did that, although jellied eels ? I’m not sure that was your greatest idea. Owen smiles at Mark, knowing he can’t explain it all away. OWEN : I wasn’t that bad. MARK : Pretty much you were. Whoever you are, you’ve royally f*cked up my plans. Didn’t want all this getting out. OWEN : What about Dan Hodges ? What about his wife and kid ? MARK : I’m not responsible for people’s life choices. Now, why did you lot take the body ? Why didn’t you go to the cops ? OWEN : Because, Mark, they are peroquial pig-shits who’s minds would implode if they saw this. MARK : Who are you Owen Harper ? In answer Owen pulls back his jacket to show Mark his holstered g*n. MARK : Is that who you are ? A little kid hiding behind a g*n ? If you wanna know what happens you’re not gonna find out because of a w*apon. Owen removes his g*n and throws it away. MARK : Good boy. You’re finally getting somewhere. Now you’re just you. Stripping things back to the core Owen, now we’re just two blokes. Equal. OWEN : Why did you m*rder Dan Hodges ? MARK : I didn’t. Owen looks at the weevil. OWEN : Well, not technically. Did you do it here ? I mean you let that thing loose on him, perfect m*rder, nothing to link you back to the crime. MARK : God, you haven’t got a clue have you ? Dan wasn’t m*rder, he was one of us. OWEN : Tell me what happened. MARK : I can do better than that. Mark smiles at Owen and leaves the room. MARK : Come on. Owen stands and looks at the weevil for a moment before leaving the room. The weevil growling at Owen as he leaves. INT. THE HUB Gwen walks into the hub carrying pizza, looking around for somebody. GWEN : Hello. Anyone ? There is no answer, everyone out working without her. EXT. BACKSTREET - NIGHT The SUV pulls to a stop and Jack, Ianto and Toshiko exit the vehicle. Jack and Ianto looking around, Toshiko looking at the tracking device. JACK : So where is it, Tosh ? Toshiko changes direction and jogs down an alley, followed by the others. A piece of fabric torn from the weevil’s clothes is caught on the chain-link fence at the end of the alley. The tracker flashing forlornly. IANTO : So what have we got now ? JACK : Nothing, we have no clue where they are or what they’re doing. Jack strides off back towards the SUV angrily, Ianto and Tosh share a glance before following him. INT. A CAR - SAME NIGHT Owen and Mark sit in a car. They look through the windscreen towards a large industrial building. The white weevil catching van is parked outside. OWEN : So, what am I supposed to be looking at ? MARK : Wait and see. As they watch a man walks past the car and knocks on the door of the building. As the door is opened, two more men walk towards the door. As they watch, more and more men go to the door, in groups, some boisterous, excitable. OWEN : All this lot with you ? What’s going on ? MARK : You’ll find out. OWEN : I’ve never been that keen on surprises. Owen opens the passenger door and gets out of the car, Mark following suit, they walk together towards the building. INT. THE HUB Gwen sits on the sofa and takes out her phone. She presses a few buttons before changing her mind and picking up one of the pizza boxes instead. She fights back tears as she takes a bite from the pizza. She puts down the pizza and he hands flutter over the box and her phone before she starts crying in earnest. She makes a concerted effort to pull herself together and picks up her phone again. As she holds the phone she hears the sound of a text message arriving to the side of her. She looks over at the body of Dan Hodges and walks to the autopsy room railing. As she stands there, the phone bleeps again and she walks slowly down the stairs, tense. The phone beeps a third time and she picks up an evidence bag lying at the side of the body. She pulls out Dan’s mobile phone and checks the message. ‘CF10 6BY’. Gwen walks to a computer with renewed confidence - needed now with something to do. She moves junk and experiments out of the way and types in the post code as pictures of the location appear on screen she puts a hand to her ear. GWEN : Jack I… She stops speaking abruptly and rolls her eyes at herself as she realises she doesn’t have her earpiece in. She searches through debris looking for an earpiece. Finding one she puts it on quickly. GWEN : Yes. She heads back to the computer, happy now she can work. EXT. BACK STREET - LATER The SUV drives through the backstreets, looking for the weevil. Gwen’s voice comes through on Jack’s earpiece. GWEN : Jack, can you hear me ? JACK : What the hell are you doing there ? I told you to go home. GWEN : There’s a text message that’s just come through on Dan Hodges’ phone. Charlie Foxtrot one zero six Bravo Yankee. Toshiko puts the post code into her palm pilot. GWEN : Seems to be a post code for a building, has a Lynch Frost sign outside. TOSHIKO : Okay, I’ve got the location. JACK : Gwen, we’ll pick you up on the way. IANTO : So people get an alert by text message and they head to a property. TOSHIKO : A property Mark Lynch knows is empty. JACK : The question is, what happens when they get there ? INT. DISUSED BUILDING Mark leads Owen through the building, greeting people as he passes. Owen looks into a side room to see men fighting. OWEN : What the hell’s going on here ? MARK : Warm-up. OWEN : Warm-up ? Who are these blokes ? MARK : Same as us. Ordinary blokes trying to find meaning in a world that doesn’t have any. OWEN : You don’t really believe that do ya ? MARK : We are the dispossessed now Owen, all the certainties our fathers had are gone. Mark stops walking as he sees a man sitting on the floor, his chest covered in blood as he touches his lip. Another man comes over and offers a supportive hand. MARK : We’re a generation of no faith. In society, in religion, or in life. All we can do is reduce ourselves to the basics. Mark blinks, pulling himself from his reverie as he turns to Owen. MARK : This is only the warm-up. Come on. Mark continues down the corridor, Owen watching as he goes. MARK : You coming or staying ? Owen follows Mark down a balcony. People line the side looking over. As Mark walks they commence a countdown. CROWD: Three… Two… One…. The crowd cheers and Mark laughs happily. They reach an open section and lean on the balcony rail. A tall, hexagonal cage stands in the middle of a huge room. The cage has a double door entrance and a large digital counter ticking away the seconds. In the cage a man faces a weevil. The weevil runs at the man who dodges easily before the weevil begins stalking, slashing its claws at him. The crowd scream and shout like at any other sport. Gladiators for generation x. The weevil starts attacking in earnest and the man bangs on the door. MAN : Let me out. He is let out of the cage and he waves his fists at the cheering crowd while support staff us stun g*n on the weevil trying to get at its opponent. MARK : Nice one mate ! It costs a grand to enter the cage, whoever stays in there the longest across the night takes home all the money. You’re next. He points at a man downstairs. OWEN : Hang on, so these guys are paying to put their lives at risk ? MARK : The ultimate extreme sport. Too much disposable income, not enough meaning, that’s us. OWEN : So what about Dan Hodges, Mark ? MARK : He wouldn’t come out. Just stood in the middle of the cage and let it maul him. I think he got in there and he realised, he didn’t wanna live enough. Surrendered. None of us could get to him in time. OWEN : Still you all come back. Owen walks away and Mark shouts after him. MARK : Well what else is there ? OWEN : It has to stop. More people are gonna die. Mark chases Owen to an empty room, away from the crowds. MARK : How long are we gonna keep playing this game, Owen ? You lie, you bullshit, you sweet-talk, but you are hiding, Owen. Owen looks round to see Mark pointing a g*n in his face. MARK : Get in the cage. OWEN : Not is you’re the one pointing the g*n at me. MARK : Do you want me to sh**t you ? OWEN : Lower the g*n, and then I will get into the cage. Mark cocks the g*n, not lowering it. Owen moves forward slowly, stopping inches from the barrel, unafraid of death. Mark lowers the g*n. OWEN : Good boy. Owen strides into the room, taking off his jacket as he approaches the cage, followed by Mark. OWEN : What’s the longest anyone’s been in there ? MARK : That’d be Dan Hodges. When you get in there, when you’re up close with it, look into its eyes. OWEN : Open the door ! Mark grabs Owen’s arm before he can get into the cage, making him look round. MARK : It’s like looking into the darkest recesses of your own soul. OWEN : Open the door. Mark pushes open the door, holding it wide for Owen to enter. Owen goes into the cage, staring at the weevil. The cage door is bolted and Mark walks around the side to watch. Owen and the weevil circle each other. Owen glances at Mark who nods and Owen smiles at the weevil and closes his eyes, wanting the destruction. OWEN : Come on then. The weevil growls at Owen. Jack runs into the room followed by the others and fires his g*n in the air. Mark looks round irritated. The weevil throws Owen against the side of the cage. Gwen runs round, afraid for him. GWEN : Owen ! Gwen runs to the cage door while Jack aims his g*n at the weevil. GWEN : Open the door ! The weevil bits Owen’s throat and Jack does nothing. GWEN : Jack ! Jack sh**t the weevil in the shoulder while Owen screams on the floor. GWEN : Open it. The door opens and Gwen runs into the cage to Owen, trusting Jack to keep the weevil at bay. OWEN : Get off me ! One of Mark’s guards tazers the weevil, subduing it. JACK : That’s enough ! Gwen, kneeling next to Owen points her g*n for protection. GWEN : Help me, Jack. Help me get him out of. Jack grabs Owen’s arms and pulls him from the floor. JACK : Owen ? Come on. MARK : Get a stretcher ! Toshiko and Ianto have their g*n ready, in amongst the crowds. Jack lays Owen on the floor outside the cage and Mark crouches next to him. JACK : You did this to him. MARK : He did it to himself. He had no fear. Jack looks up at the crowds on the balcony and addresses them. JACK : It’s over now. These creatures are to be left alone. Go back to your lives. TOSHIKO : Jack. Jack looks round and runs to the cage aiming his g*n at Mark who stands in the cage facing the weevil. JACK : What are you doing ? MARK : It’s over. Jack lowers his g*n and the weevil att*cks, ripping Mark apart as he watches. Jack walks back to Gwen and Owen, uncaring. INT. HOSPITAL ROOM - DAY Owen lies in a hospital bed bruised and bandaged. A bag of grapes is thrown onto the table at the end of the bed. Jack crosses his arms at looks at Owen. OWEN : You shouldn’t have. Jack glances at the grapes. OWEN : No, really, you shouldn’t, I hate grapes. JACK : Doctors recon you can go home. OWEN : Doctors. What do they know aye ? I didn’t want saving. JACK : You want us to apologise ? OWEN : For a few seconds in that cage, I felt totally at peace, and then you blunder in. Do you always know best, Jack ? Is that what you believe ? JACK : I want you back in work tomorrow. INT. THE HUB - VAULT Owen enters the vault followed by Ianto. IANTO : You sure you’ll be alright ? OWEN : Yeah, just a moment alone, yeah ? Ianto closes the door behind him without speaking. Owen looks in at the weevil who growls and hisses at him through the glass. Owen hisses at the weevil, his teeth bared. The weevil moans and backs into the corner of its cell, curling in on itself. Owen smiles at the weevil, his dominance noted. CLOSING CREDITS GUEST CAST : Mark Lynch - Alex Hassell / Janet-Weevil - Paul Kasey / Barmaid - Alexandra Dunn / Tommy (boyfriend) - Matthew Raymond / Hospital Patient - David Gyasi. Please note that this script has been re-produced as accurately as possibly for [www.torchpedia.co.uk Torchpedia] from the televised episode. It is not a transcript of the original script by Noel Clarke.

{"type": "series", "show": "Torchwood", "episode": "1x11 - Combat"}

foreverdreaming

NB : Throughout this script the ‘original’ Captain Jack is referred to as ‘The Captain’ and ‘Torchwood’ Captain Jack is referred to as Jack. Opening sh*ts and series recap JACK : (VO) Torchwood. Outside the government, beyond the police. Tracking down alien life on earth and arming the human race against the future. The 21st century is when everything changes and you gotta be ready. EXT. DANCE HALL - PRESENT - DAY The Torchwood SUV comes down the road towards the dance hall, horn honking as it crosses an intersecting road without stopping. The SUV stops outside the dance hall and Jack and Toshiko exit the vehicle. Toshiko is dressed up to go out and taking on her mobile phone in Japanese. Jack approaches the entrance of the dance hall. Toshiko explains her conversation as she walks towards him. TOSHIKO : My grandfather’s eighty-eight birthday today. JACK : Oh, I thought you’d gone to all this trouble for me. TOSHIKO : Huh. Eighty-eight is a joyous year for the Japanese. I’m off to London to watch grown men throw rice. JACK : You can get that in the balti after stop-tap. Okay, down to business, what have we got ? They enter the dance hall. Fly posters litter the front door – ‘Vote Saxon’ among others. Inside the furniture is covered in sheets, empty for years. They look around the lobby and up the stairwell. TOSHIKO : The Ritz Dance Hall, it’s been derelict since 1989, but someone’s complained about hearing music drifting out. Jack jogs up the main stairs - a wide staircase with a landing halfway up. TOSHIKO : Music from the 1940s. Jack pauses on the stairs and looks upwards. JACK : Sshh. Music can be heard drifting down the stairs. JACK : Listen. Coming up ? Jack jogs the rest of the way up the staircase smiling to himself, Toshiko following a little more reluctantly. The open a tall door and enter a large open hall. The décor hasn’t been changed but the furniture has been covered with dust sheets. JACK : Wow, look at the chandelier. No neon lights back then. Just dashing young soldiers… Jack happily offers his hand to Toshiko spins her around to his chest, dancing. JACK : …and pretty young ladies. And as they danced the girls would look into their partner’s eyes, smile softly and say… Jack spins Toshiko who looses her balance slightly. TOSHIKO : Jack, mind my laptop. They continue through the dance hall and walk down a back staircase at the opposite side of the room. A large piece of graffiti art has been painted on the landing wall - Bad Wolf. They pause on the stairs, Jack putting a hand to Toshiko’s elbow as she uses a piece of equipment. JACK : Come on. There’s nothing here but memories and dust. Jack takes two steps and the sound of music and people enjoying themselves drifts down from above. Jack and Toshiko look at each other and return upstairs. INT. DANCE HALL - 1941 They re-enter the dance hall to find it full of people. WWII uniformed military men and young women dance to a band playing on the stage. TOSHIKO : They look so real. Jack checks his wrist cuff while Toshiko looks about. JACK : They’re not ghosts, it’s a simple temporal shift, and it’s beautiful ! TOSHIKO : We should get out. Jack nods and they head outside via the front stairs past a small bar. Bilis holds the door open for them as they leave. BILIS : Do call again. JACK : I would love to. Bilis looses his congenial expression as Jack leaves the premises closing the door behind them. EXT. DANCE HALL - 1941 - NIGHT The exterior of the dance hall is now fly-poster free as they leave the building. TOSHIKO : It’s night. Jack leads the way down the few steps. A train steam horn sounds in the distance and union flags and bunting decorate the building. The street outside is now empty of cars. TOSHIKO : Where’s the SUV ? Has it been stolen ? Toshiko looks around panicking while Jack checks his wrist cuff and looks up to see a poster advertising : ‘1941 Kiss The Boys Goodbye Dance. Saturday 20th January 1941 7.30 pm at the Ritz’. JACK : No. We have. OPENING CREDITS Owen lies asleep on the Hub sofa. The sound of an alarm drags him from his slumber. He looks round to see Ianto standing before Toshiko’s computer looking at the rift monitor which is emitting the alarm. OWEN : What the hell is that ? IANTO : Tosh’s rift monitor programme, she set it to alert me if there were any further movements. Owen sits up groggily IANTO : The rift’s been opening more and more recently. Owen breathes on his hand and pulls a face before answering. OWEN : Yeah well, anyone can notice that, doesn’t take a genius. Owen gets up and moves to stand by Ianto, looking at the monitor. IANTO : Tosh recons the equations are forming some sort of pattern, I should call her. Ianto puts a hand to his ear to call her over the com. IANTO : She may have readings her end and this is a bit over my head. OWEN : Erm, why wasn’t I told about this ? IANTO : Well, you’ve been, off, haven’t you ? Line’s d*ad. EXT. DANCE HALL - 1941 Toshiko tries to use her phone to connect but it does not work. TOSHIKO : It’s no use, it’s d*ad. Can’t get through to the hub. Jack puts a guiding arm around Toshiko’s shoulders. JACK : Let’s get back inside, that’s where we were when we crossed. Jack guides Toshiko back into the dance hall. INT. GWEN’S CAR - DAY Ianto speaks to Gwen, who sits in her car, over the com. IANTO : (Over com) Gwen, could you get down to Stage Street ? GWEN : Yeah, what’s up ? IANTO : (Over com) We need to get hold of Tosh… CUT TO : THE HUB - TOSHIKO’S STATION Owen works on Toshiko’s computer while Ianto speaks to Gwen. IANTO : …The rift monitor sounded off. She’s with Jack but both the phones are d*ad and we can’t access her files. GWEN : (Over com) Okay, I’ll get down there now. INT. DANCE HALL - 1941 TOSHIKO : We really are in 1941. What if we can’t get back ? JACK : Flotsam and jetsam, slips through all the time, we’ll get back. Look on the bright side, gives you one hell of an excuse not to go to your party ! TOSHIKO : I have a life there ! And they can’t help us back in the hub because I have the latest readings in here ! (indicating her laptop). The people standing at the bar nearby look round at Toshiko’s raised voice. TOSHIKO : People are staring at us. Jack removes his earpiece and takes Tosh’s laptop bag and coat. JACK : We need to try to blend in. TOSHIKO : Easy for you to say, I’m the only Asian here. JACK : Don’t worry, you’re with the Captain. Jack puts a comforting arm back round Tosh’s shoulders, fitting in perfectly, and guides her to the bar. INT. THE HUB - TOSHIKO’S STATION Owen looks through the rift monitor history, scrolling through complex equations on the screen. As he opens a list of equations he call’s Ianto over. OWEN : Hey. I’ve got into Tosh’s files. All her reports. December 24th, that’s when Diane flew through the rift. I had to let her go. IANTO : You were in love with her weren’t you ? Owen ignores Ianto’s attempt at understanding and friendship, not wanting to talk about it even though he brought the subject up. OWEN : If Tosh knows a way of opening the rift maybe we can get Diane back. IANTO : Jack would never allow it, opening the rift could devastate the city. Owen glances at Ianto, ignoring his advice, and walks off. Ianto rolls his eyes, used to Owen’s tantrums and follows. INT. DANCE HALL - 1941 A female singer sings a love song on the stage and Jack and Toshiko go to the bar. A young soldier walks over as Jack orders, looking at Toshiko. JACK : Water please, and a brandy. GEORGE : I haven’t seen you in here before. BARMAN : Three and six please, sir. Jack checks his pockets and realises that he doesn’t have any of the correct currency - he doesn’t actually belong here at the moment. George notices. GEORGE : I’ll er, get ‘em. George hands a note to the barman, looking at Toshiko as he does so. JACK : Thank you. GEORGE : On one condition. JACK : What ? George grabs Toshiko and drags her off to dance. Jack, laughing, leans on a nearby pillar to watch. A woman moves in front of him next to another soldier and voices her disgust. AUDREY : Why is George doing dancing with a Jap ? Jack’s smile fades as he hears her. Toshiko dancing very poorly with George. EXT. DANCE HALL - PRESENT Gwen pulls up outside the dancehall behind the SUV and calls into the hub. GWEN : The SUV’s here. They must be here somewhere. Gwen enters the dancehall and goes upstairs, shining a torch through the dark shadows of the room. GWEN : Jack ? Tosh ? As Gwen reaches the centre of the room she hears music behind her. GWEN : Jack ? INT. DANCE HALL - 1941 Jack hears his name and looks behind him to where Gwen stands in the present. Toshiko catches his eye, begging for help and Jack dutifully goes to assist, tapping George on the shoulder. JACK : Do you mind ? GEORGE : I’m only borrowin’ her mate. JACK : Maybe she doesn’t wanna be borrowed. GEORGE : You wanna make something of it ? JACK : You can always dance with me if you’d like. George pushes Jack away from him forcefully, resenting the implication. JACK : Okay, I’ll lead, you follow. Jack shoves George back, and turns to leave. JACK : Come on, Tosh. George grabs Jack’s jacket and punches him hard in the face. As he staggers back slightly Toshiko tries to stop him. The band have stopped playing and the other dancers have turned to watch the disturbance. TOSHIKO : Jack. Jack ignores her and, annoyed now, shoves George to the floor. Toshiko clutches at him again. TOSHIKO : Jack, we’re meant to be blending in ! Before Jack can continue the fight another soldier steps in between them facing George. THE CAPTAIN : Cut it out kiddo. George doesn’t answer but glares at Jack. The Captain turns to apologise to him. THE CAPTAIN : Sorry about that, men are a bit lively tonight. Last day of out tomorrow. Apologise to the gentleman, George. GEORGE : I was only dancing… THE CAPTAIN : I think it was your fist in his face he didn’t like, not your foxtrot. Jack smiles and George apologises like a school child. GEORGE : I’m sorry. JACK : It’s okay, you barely got me. The Captain smiles while George laughs. THE CAPTAIN : I think the lady also deserves an apology. GEORGE : Sorry. TOSHIKO : Apology accepted. Jack turns to leave. SMILER : Let’s get a drink, George. The Captain catches up with Jack to make introductions. THE CAPTAIN : Hey ! Are you a volunteer too ? JACK : Yeah. THE CAPTAIN & JACK : (In unison) I’m Captain Ja… They each laugh, still shaking hands. JACK : You go first. THE CAPTAIN : Captain Jack Harkness, 133rd squadron. Jack’s face falls as realisation dawns, in that instant a thin, elderly dapper looking gentleman points a camera at them - Bilis. BILIS : Look this way please. The Captain smiles politely for the photograph, Jack, still holding The Captain’s hand looks dumbfounded at the Captain. INT. THE HUB - BOARD ROOM Owen looks at bits of paper strew across the table. OWEN : Right, The Ritz Dance Hall, opened in 1932, shut down in 1989, due to be demolished… in one week. Yeah, the report of music is from the 1940s Ianto looks at newspaper articles and information scrolling onto the wall monitor. A photograph of a group of young, smiling soldiers appears on screen. IANTO : All those young soldiers. Owen, look. A further picture appears on screen - the photograph just taken by Bilis of Jack and the Captain, Toshiko looking at them at the side of the sh*t. Owen joins Ianto to look. IANTO : There. INT. DANCE HALL - 1941 Bilis removes the photograph from the camera and hands the camera to someone else. He walks over to Jack and the Captain and stands between them. BILIS : One more for the record, Sir. I insist. They all look towards the camera. BILIS : Thank you, gentlemen. As Bilis moves away, Jack seizes the opportunity to leave with Toshiko but The Captain stops him. JACK : I should be heading… THE CAPTAIN : I didn’t catch your names. TOSHIKO : Toshiko Sato. JACK : I’m Captain James Harper, seventy first. His response is seamless, either used previously or quickly thought of while the photographs were taken. THE CAPTAIN : Seventy first ? That’s where I’m hoping to be posted next. What’s your poison ? JACK : Maybe later, my friend and I were in the middle of something. THE CAPTAIN : Sure. The Captain looks a little disappointed but smiles and leaves. Jack walks away followed by Toshiko into a quieter corridor. TOSHIKO : Why does that man have your name ? Jack doesn’t answer but Toshiko demands, refusing to accept his usual reticence. TOSHIKO : I’m lost enough here without you holding back on me ! Jack stops walking and turns towards her, knowing he will have to tell her something. JACK : It’s not my name, it’s his. I took his, I didn’t realise he was, so hot. TOSHIKO : Jack ! Jack stops smiling at Toshiko’s frustration. JACK : I know too much. TOSHIKO : Then, share. JACK : You wouldn’t want that, trust me. We have to get back. What’s in here ? He indicates her laptop. Getting back is now in Jack’s interests and he knows the subject will avert Toshiko’s attention. TOSHIKO : I’ve got half the equation in here, the other half’s back at the hub. If I can find some way of getting these figures back to base then they can combine them and open the rift and bring us back through. Jack smiles and takes Toshiko’s hand. JACK : Come on. INT. DANCE HALL - PRESENT Gwen walks through the dance hall, speaking to Owen and Ianto at the hub. She checks doors as she moves through the building, all of them are locked. GWEN : I heard music earlier. If I can hear them, maybe they can hear me. They’ve gotta come back. Jack ! Tosh ! INT. DANCE HALL - 1941 Toshiko looks round at the sound of her name and Jack comes back to see why she has stopped walking. JACK : What ? TOSHIKO : I thought I heard my name. Jack shrugs and continues walking. INT. THE HUB - TOSHIKO’S STATION Ianto works on the computer. Owen walks up to join him. OWEN : Okay, so we use Tosh’s information to open the rift and bring them back. IANTO : We can’t. Half the equation’s missing. OWEN : Can’t be, must be somewhere else. Owen pushes Ianto out of the way and moves to use the computer. IANTO : It’s not there. It might be in her laptop… Owen starts to look for the laptop. IANTO : …Which she never goes anywhere without. OWEN : Shit. Shit ! INT. DANCE HALL - BILIS’S OFFICE Jack opens the door to Bilis’ office and quickly checks it’s empty. JACK : No one here, come on, quick. Toshiko moves to the desk and opens her laptop. TOSHIKO : It works. The laptop notifies Tosh that her battery is low and she starts copying down the rift equation from her laptop with a cartrage pen, working quickly. JACK : Just take down everything you’ve got in case it dies. TOSHIKO : I’m not used to writing with these things JACK : Don’t press so hard. A warning sign appears on the laptop, obscuring the equation. TOSHIKO : Can you read that ? JACK : Plus one over five a… sign two a x. The laptop dies just as Toshiko writes the last of the equation. JACK : You got everything you need ? TOSHIKO : I just want to get the exact co-ordinates for the Dance Hall so I can integrate them into the wave form equation. Then we need to get the information back to the hub… BILIS : What are you doing here ? Bilis stands in the doorway looking at them. Toshiko quickly closes the laptop. BILIS : Who are you ? JACK : Captain Ja… James Harper. This is Toshiko Sato, friend and mathematician. BILIS : I’m Bilis, the manager. You’re not in full uniform, Captain. JACK : On leave, forty eight hours. Toshiko looks at the camera on Bilis’s desk. TOSHIKO : That’s an interesting camera. BILIS : It takes photographs instantly. TOSHIKO : I didn’t know they could do that, yet. BILIS : And I didn’t know they’d made an attaché case out of metal. Toshiko glances at the laptop she clutches to her chest. A bell chimes and Bilis looks away from them. The clock behind him reads 10.30. BILIS : Where did you get it ? TOSHIKO : London, I’m from there. Jack looks around the room as the clock chimes, knowing something isn’t right. BILIS : I should go back, dear. They’re coming for us now. Jack smiles at Bilis as they leave the room, pulling Toshiko with him before she can ask any more questions. As soon as they are out of the door Bilis opens a desk drawer and takes out a file. ‘Torchwood’ is written in large, neat letters on the cover. EXT. DANCE HALL - PRESENT Gwen stands outside the dance hall speaking to the hub again. GWEN : I’ve had a good look around but most of the doors are locked. Bilis stands behind her, unnoticed. BILIS : Can I help you ? I’m the caretaker. Gwen puts a hand to her chest, smiling in nervousness - she hadn’t seen him before he spoke. BILIS : Bilis Manger at your service. GWEN : Hello. Could you open it all up for me ? I think some of my friends got locked in. BILIS : Follow me. Bilis walks back into the building. GWEN : Thank you. INT. DANCE HALL - 1941 Jack and Toshiko return downstairs, The Captain a little in front of them. Toshiko is still worrying, but Jack’s attention is elsewhere, only half listening. TOSHIKO : Pearl Harbour, Jack. JACK : Doesn’t happen until the end of the year. Jack pauses at the corner of the stairs, watching The Captain while Toshiko continues talking. TOSHIKO : Granddad stayed in London, but he was persecuted. If I stay stuck here, what will happen to me ? JACK : I’ll take care of you. TOSHIKO : This period, you look like you fit in. Have you been here before ? JACK : Yeah. I can’t explain, but I served in the w*r in 1941. I was undercover, I needed a false identity so I took his name. Toshiko follows Jack’s glance and sees the Captain standing below them. TOSHIKO : Who were you before you took his name ? Jack doesn’t answer, his discomfort at the question clear. TOSHIKO : Why him ? JACK : Was convenient. TOSHIKO : But if you chose his identity to steal… JACK : Dies, in battle. TOSHIKO : When ? JACK : Tomorrow. They look over the banister before moving down the stairs to The Captain who stands with George and Tim at the base of the staircase, George telling a story. GEORGE : …and I say ‘look, love, it’s raining b*mb and f*re so get down that celler’ and she says ‘I can’t, there’s rats down there !’ Toshiko interrupts them. TOSHIKO : So, who’s the best navigator here ? GEORGE : Er, Tim. He, er, can’t fly for toffee, but at least when he goes down he’ll know exactly where he is. TOSHIKO : Why don’t we chat over here ? George laughs as Tim leaves with Toshiko, giving a wolf whistle. GEORGE : I give the public school boy a fortnight. THE CAPTAIN : That boy’s come a long way in 5 weeks. As long as you boys remember your training and you’ll be alright. He turns to clap Jack on the shoulder, looking genuinely pleased to see him. THE CAPTAIN : Glad you came. Shall we sit down ? INT. DANCE HALL - BASEMENT - PRESENT Gwen searches the basement, Bilis looking on. BILIS : Why were your friends in here anyway ? GWEN : Just a silly dare, someone said it was haunted. BILIS : You look worried, dear, I’ll make you a nice cup of tea. Gwen follows Bilis out of the basement. INT. DANCE HALL - 1941 Tim tells Toshiko sit across the room from Jack and the others, Tim flicking through a notebook to find the co-ordinates. TIM : Sun rose this morning at 0812 21 by 7 degrees. I note it down everyday, it’s a bit silly I suppose. TOSHIKO : It’s fantastic. Toshiko glances over at Jack who sits with The Captain and George. GEORGE : You, er, musta seen some action. JACK : Lets just say the enemy comes in many guises. GEORGE : Yeah, I can’t wait to get up there and give Gerry what for. How many did you k*ll in the battle of Britain, sir ? 26 wasn’t it ? The Captain looks a bit embarrassed. THE CAPTAIN : You’ve heard that story countless times, George. GEORGE : No one’s as fast as ‘im, hasn’t lost a man yet. THE CAPTAIN : Care for a drink, Captain ? JACK : I’ll just have water, thanks. The Captain raises his eyebrows at Jack’s choice of drink and goes to the bar. A Young woman walks up to him. She has just arrived - still wearing her coat. NANCY : Hello, Jack. I know you’re having a night with the men, but I thought I’d look in if that’s alright. The Captain glances over at Jack before answering. THE CAPTAIN : Yeah, yeah. INT. DANCE HALL - PRESENT Gwen follows Bilis through the litter strewn dance hall and into his office. BILIS : Is anyone expecting you ? GWEN : Yes. BILIS : Perhaps you should call them, otherwise they may think that you’ve disappeared too. I’ll put the kettle on. Bilis leaves the room to make tea. Gwen calls the Hub. GWEN : Anything your end ? CUT TO : THE HUB Ianto answers Gwen’s call. IANTO : There are no more photographs of Jack and Tosh after that night. That’s encouraging. OWEN : Yeah, unless the b*mb got ‘em. IANTO : The manager, Bilis Manger, kept them for posterity. CUT TO : DANCE HALL - BILIS’S OFFICE GWEN : Bilis Manger ? That’s the name of the caretaker. IANTO : (Over com) Can’t be the same guy can it ? GWEN : Not old enough, although he does look a bit out of his time. He wears a cravat. CUT TO : THE HUB Ianto looks at the same photograph of Bilis as Gwen without realising it. He looks at the other photographs as realisation dawns. IANTO : Gwen, he’s in the photo with Jack and Tosh. Owen hearing their conversation suddenly runs across the hub to look at the pictures. OWEN : He’s the answer. He’s come through the rift, find out what he’s doing. IANTO : No, Gwen. Get out and wait for back-up. OWEN : We can’t loose him. IANTO : We can’t loose Gwen. Maybe this is a trap. He could be sending us back through time one by one. Get out of there Gwen, that’s an order. OWEN : I’m sorry but who exactly put you in charge ! CUT TO : DANCE HALL - PRESENT Gwen turns of her com, not listening to them argue further but following Ianto’s order not Owen’s. She glances around and sneaks from Bilis’s office. INT. DANCE HALL - 1941 Jack finds Toshiko checking her co-ordinates. TOSHIKO : I’ve got what I need. Now all I have to do is find a way to leave a message for the team, something that will last across time. JACK : Okay. Jack leads the way towards the stairs. Audrey steps in front of Toshiko, blocking her exit. AUDREY : I haven’t seen you to here before. Is she with you ? GEORGE : Nah, she’s after Tim, why else would she let him bore her to death about navigation ? AUDREY : Maybe she’s a spy. SMILER : The Chinese are on our side aren’t they ? TOSHIKO : I’m Japanese. AUDREY : You’re not exactly an alli then ! GEORGE : Leave it, Audrey. AUDREY : So, who’s side are you on ? What’s in the bag ? TOSHIKO : Nothing. Audrey grabs at the bag. AUDREY : If you’ve got nothing to hide then open the bag. JACK : She can’t. Her work is top secret, she’s a decoder for the Brits. The Captain joins them, handing Jack his drink and fending off Audrey’s protests. THE CAPTAIN : And without ladies like her we’d have no way of defending the country. To Toshiko ! Toshiko, embarrassed by the toast and unnerved by Audrey’s vehemence, starts away again to get the camera, pausing to speak to Jack. TOSHIKO : I need Bilis’ camera. Photographs last don’t they ? JACK : Sure, you want me to come with you ? THE CAPTAIN : You can’t run out on me, I just got you a drink ! Jack laughs, battling with his desire to stay with the Captain and the responsibility to look after Toshiko. TOSHIKO : I’m fine. You carry on. Toshiko jogs quickly up the stairs. THE CAPTAIN : To a fellow Captain. Jack walks towards the stairs, leading The Captain to find a quiet seat. JACK : So, what brings you down here ? THE CAPTAIN : Well I had to rest up. Injured my back bailing over Kent. Nancy appears behind them. NANCY : So that’s his excuse for not dancing. Mind if I join you ? Jack motions that it’s fine, and the Captain glances at him before answering. THE CAPTAIN : Sure, why not ? Nancy moves between them and they both offer a light hand on her shoulder, guiding her to lead the way. CUT TO : BILIS’S OFFICE - 1941 Toshiko takes a photograph of the paper she has written the co-ordinates on. As she takes the picture Bilis enters the room. BILIS : Starting to be a habit. Toshiko hides the photograph behind her back as she turns to face him. TOSHIKO : I just wanted to try it out. BILIS : This little beauty is very unusual and rare, not unlike yourself. Toshiko backs away slowly. Bilis picks up the piece of paper Toshiko has left on the desk in her rush. BILIS : Er, don’t go without this. As Toshiko moves to take the paper, Bilis snatches it away. BILIS : I could think of better things to photograph than numbers, my dear. Toshiko takes the page and hurries from the room. Bilis speaks as she opens the door : BILIS : Do call again. Bilis looks at the co-ordinates again, a smile crossing his face. INT. THE HUB - RIFT MANIPULATOR Owen lifts the trapdoor floor of the rift manipulator, revealing the wires beneath. He reaches in and pulls out a thick piece of cabling and starts pulling it out of the hole. Ianto crouches down behind him. IANTO : What are you doing ? Owen ? OWEN : We haven’t got the missing numbers, going to have to improvise with the rift manipulator. IANTO : We can’t ! It’s risky enough with the equation. If we don’t do this properly anything could happen. OWEN : b*mb are falling, they’re stuck in the middle of the Cardiff Blitz. It’s out duty to get them out. INT. DANCE HALL - PRESENT Gwen walks through the central dance hall and hears Jack’s laughter. GWEN : Jack ? A couple dance by behind her and she turns her head quickly, knowing there is something there but unable to see it. She moves outside, unable to do anything more. INT. THE HUB - RIFT MANIPULATOR IANTO : Open the rift now and the whole world could suffer, we can all get sucked in, or who knows what will come out ? Ianto continues to beg Owen to see sense but is ignored. Owen continuing to gather the equipment he needs. IANTO : This is about Diane isn’t it ? When will you accept that she chose to leave you ? OWEN : Whereas your cyber girlfriend stuck around the course, not that she had much choice wired up in the cellar. IANTO : That was different. OWEN : Yeah, it was, mainly because Diane didn’t try and k*ll us all, and, oh yeah, she also happened to be a human being, not some screwed up metal monster. IANTO : I thought she was still Lisa. I loved her ! You only knew Diane for a week. OWEN : And it wasn’t enough. Maybe the manipulator can calculate the missing figures. Owen connects wires around the manipulator while Ianto paces, knowing he cannot actually take any action against Owen. OWEN : It isn’t working. IANTO : Good. Jack would never have wanted us to use it this way. OWEN : There’s a piece missing. Gotta find it. Owen runs past Ianto to look for the missing piece of the manipulator. As he passes, Ianto grabs his wrist. IANTO : Maybe you should go home. OWEN : You don’t have any power over me ! Okay Ianto, we’ll play it your way : safe and boring. INT. DANCE HALL - 1941 Jack sits at a table talking with the Captain and Nancy. The men looking happy while Nancy looks bored. THE CAPTAIN : So what’s your next mission ? JACK : Careless talk costs lives. NANCY : I should go anyway. She stands to leave, Jack stands quickly. JACK : No, no, no, no I didn’t mean that to… NANCY : It’s alright, I can get a lift if I leave now. The Captain stands up to speak to Nancy, glancing at Jack who sits down. THE CAPTAIN : I better stay here. NANCY : Aren’t you leaving tomorrow night ? The Captain nods. NANCY : Sick of us Welsh already ? THE CAPTAIN : Yeah, that’s why I’m still fighting for you. The Captain kisses Nancy lightly on the cheek. THE CAPTAIN : I’ll be in touch when I’m next on leave. Nancy nods and walks away, upset at his rejection of her. THE CAPTAIN : Nancy, It’s been a good few weeks. The Captain sits down and Jack looks at him aghast. JACK : Was that it ? THE CAPTAIN : She’s a sweet kid but I need to look after my men tonight. It’s their last day tomorrow. JACK : Go after her., kiss her goodbye. Anything can happen tomorrow. THE CAPTAIN : It’s just a routine training exercise, hardly gonna die. JACK : Yeah that’s when they catch you, when you least expect it. You don’t know what’s ahead. Kiss her goodbye. The Captain looks at Jack’s intensity of expression, downs his drink and goes after Nancy as instructed. THE CAPTAIN : Nancy. The Captain pulls Nancy to him and kisses her. Jack, across the room looks down at the table unable to watch. The Captain helps Nancy with her coat. Nancy smiles at him then goes on tiptoes to whisper in his ear. NANCY : I love you. She leaves and The Captain returns to the table. He picks up his hat. THE CAPTAIN : That just made things 20 times worse. Now she thinks she’s in love with me. The Captain leaves. Jack chases after him and catches him on the stairs. Thinking The Captain didn’t want to get close to Nancy in case something happens to him but won’t admit it. JACK : Hey, her falling for you is hardly my fault. Play it cool in front of your men but not in front of me. Look, it’s okay to be scared ! The Captain turns to Jack. THE CAPTAIN : A Captain has to keep his head. JACK : A Captain needs to explain the risks, tell his men what to expect. THE CAPTAIN : So what do I do ? Tell ‘em I saw a young boy get sh*t in the eyes mid-flight ? JACK : I understand. THE CAPTAIN : Do you ? Did you hear him in the radio yelling for his mom while the Messerschmitts pumped him full of holes and blew his plane apart ? All I could hear on the radio… JACK : Is screams. I went to w*r when I was a boy, I was with my best friend. We got caught crossing the boarder over enemy lines, they tortured him, not me, because he was weaker, they made me watch him die. And they let me go. THE CAPTAIN : Who were they ? Jack turns away and continues down the stairs as he talks. JACK : The worst possible creatures you can imagine. I persuaded him to join up, I said it would be an adventure. He hadn’t lived. THE CAPTAIN : Have any of us ? CUT TO : EXT - DANCE HALL - 1941 Toshiko exits the dance hall and crouches down at the side of the footpath. She removes her grandfather’s birthday card from it’s plastic packaging and puts it back in her bag. She peels the photograph from the negative and slides it inside the plastic wrapper, helping ensure it’s longevity. TOSHIKO : Okay team, I hope you like treasure hunts. INT. THE HUB Ianto watches the CCTV of the exterior of the Dance Hall. IANTO : No sign of Bilis leaving the area. Owen walks past him picking up his coat as the cog door slides open. IANTO : Er, where are you off to ? OWEN : Dance Hall. Bilis’s office, he must know how the rift works. Maybe we’ll find a clue there. Owen runs from the hub leaving Ianto to grit his teeth and keep checking the CCTV. EXT. DANCE HALL - PRESENT Gwen exits the dance hall, speaking into her com. GWEN : What would Jack and Tosh do ? How would they try and help us ? Out of the corner of her eye Gwen sees Bilis round the corner of the building. GWEN : Bilis ? Gwen jogs in Bilis’s direction. As she follows the corner of the building she notices a padlock lying on the floor in front of an electrics box. She picks up the padlock the looks inside the box. She finds the photograph, faded but still legible. CUT TO : THE HUB Ianto types in the figures for the equation as Gwen reads them to him. IANTO : I need more equations, Gwen. CUT TO : EXT. - DANCE HALL - PRESENT GWEN : What happened here, Tosh ? CUT TO : EXT - DANCE HALL - 1941 Toshiko looks closely at the photograph and notices that part of the equation has been cut off the photo. TOSHIKO : No. Knowing she needs to hide the photograph anyway so the rest of the team have at least part of the code, she jogs down the side of the building to the electrics box, keeping a careful eye for passers-by. As Toshiko searches for the best place to hide the photograph air raid sirens sound. She deposits the photograph quickly at the back of the box and hurries back to the dance hall. The main entrance is locked and she has to run further round the building. INT. DANCE HALL - 1941 Party goers crowd the hallway, women screaming while the Captain points the way to the basement. Jack looks round for Tosh. JACK : Toshiko ! Toshiko ! TOSHIKO : Jack. Jack looks around to see Toshiko on the stairs behind him. He signals to her. JACK : This way. TOSHIKO : I didn’t get the first part of the equation in the photo, the rest is outside. If they find it they’ll keep looking won’t they ? JACK : Yeah. EXT. DANCE HALL - PRESENT Gwen walks back to the dance hall entrance and sees Owen’s car now parked outside. IANTO : (Over com) Be careful Gwen, Bilis is still around. GWEN : Owen, where are you ? OWEN : (Over com) I’m in the building. Where’s Bilis’s office ? GWEN : It’s at the far end of the corridor. I’ll keep looking out here. INT. DANCE HALL BILIS’S OFFICE - PRESENT Owen searches the office, quickly and randomly. He spots a tablecloth covering a small safe and assumes he’s found the right thing. OWEN : Yes. INT. DANCE HALL BASEMENT - 1941 Everyone has gathered in the basement during the air raid. As b*mb drop nearby the noise is clear. Smiler and Audrey sit together to the side of the room. SMILER : Thing is, you could be the last girl I ever kiss. Audrey falls for the line and they start kissing oblivious to everyone else, living for the moment and knowing they could very easily die that night. Toshiko picks up a gas lamp from close to them and climbs up into a side room, leaving Jack to stand guard in the doorway. TOSHIKO : I’ve got to finish the message, pencil will fade, I need to find something else. Jack sees The Captain enter the room, a good officer having made sure everyone else is safe before going into the shelter himself. The Captain smiles across the room at Jack then speaks to his soldiers. Jack half smiling to himself. Meanwhile Toshiko checks through a cabinet and pulls out a coffee tin. TOSHIKO : Airtight. This’ll do. Tosh puts the canister on the side and gripping the pencil between her teeth opens the card to write her message. Unable to find anything else to write with she opens the can, shakes out the remains and cuts her hand on the sharp edge, cupping her hand to hold a small pool of blood for use as makeshift ink. She dips the pencil in the blood and writes the equation. In the main part of the basement the singer has started again, continuing to entertain. Toshiko pauses then writes a note to her family, thinking she may not get home. INT. DANCE HALL - BILIS’S OFFICE - PRESENT Owen opens up the safe and it’s empty. He feels every shelf, the sides and the top, nothing. OWEN : Shit. As he crouches down wondering where he can look now the clocks begin chiming - they are all set to different times, none of them are on the hour. OWEN : Timepieces. Owen moves to the grandfather clock and opens the front. The missing part of the rift manipulator is stuck to the pendulum - at the front, easy to find. Owen removes it easily, puts it in his bag and leaves. As he walks toward the exit he passes Gwen in the corridor, they speak frostily, uncomfortable with each other now. OWEN : I didn’t find any equations, erm, I’ll get back to the hub. GWEN : Fine, I’ll keep looking here then. OWEN : Yeah, yeah you do that. INT. DANCE HALL - BASEMENT - 1941 The Captain crosses the room and stands behind Jack. THE CAPTAIN : Yes, of course I’m scared. Jack glances round at the Captain then turns away again without saying anything, reading the meaning in the Captain’s words and knowing the futility of the situation. In the side room Toshiko places the card in the container and seals it before hiding it behind a barrel. INT. DANCE HALL - BASEMENT - PRESENT Gwen re-enters the basement, speaking to Ianto. GWEN : I’m gonna check everywhere for the other figures, I’m not gonna leave Jack now. Gwen starts searching and hears the woman singing. Gwen shines her torch around the room, seeing nothing. The singing ends as suddenly as it began. INT. DANCE HALL - BASEMENT - 1941 Jack leans against the wall silently, the Captain opposite him mirroring his movements. Across the room Smiler and Audrey continue kissing, Smiler’s hands straying under her dress. The all clear sounds and the lights return. BILIS : Let the dancing continue ! The crowd cheer and applaud, standing to return upstairs. The Captain moves away from the wall and Smiler and Audrey stop kissing, straightening themselves out. Toshiko steps out of the side room. TOSHIKO : I’ve finished. The rest of the equation is hidden in there. Tim watches Toshiko and sees the cut on her hand. TIM : What happened ? TOSHIKO : I slipped. TIM : I’ve got a first aid kit in the van. Jack raises his eyebrows at Tosh and she goes with Tim. GEORGE : Scotch, Captain ? THE CAPTAIN : Erm, I’d like some time in private with Captain Harper. George dutifully exits, leaving Jack and the Captain alone in the basement. INT. DANCE HALL - BASEMENT - PRESENT Gwen continues searching the basement. She notices the coffee canister and picks it up. She takes out the card and reads the contents to Ianto. GWEN : Ianto, yeah, it’s me I found it. It’s written in blood. INT. THE HUB - TOSHIKO’S STATION Owen enters the hub and runs over to Ianto when he sees him typing. IANTO : Gwen found the rest of Tosh’s readings. OWEN : What’s she got for us ? GWEN : Cos, sin, square a x c x equals x over two. OWEN : No, need at least three more numbers, Gwen. They must be somewhere else. GWEN : (Over com) No, they’re not. OWEN : Well how do you know ? CUT TO : DANCE HALL - BASEMENT Bilis scratches out the last three numbers from the card. GWEN : (VO) Somebody’s scraped out the final numbers. CUT TO : DANCE HALL - BASEMENT - PRESENT GWEN : Tosh has written a message at the end it says, ‘tell my family I love them’ In the hub Owen and Ianto break contact with Gwen, both knowing the message is not a good sign. INT. DANCE HALL - 1941 Jack and the Captain sit alone on a small balcony overlooking the dance floor. THE CAPTAIN : Why did you make me kiss her goodbye ? JACK : I just think you should live every night like it’s your last. Make tonight the best night of your life. You’re alive, right here, right now. You’re men are fine. THE CAPTAIN : What are you trying to say ? JACK : Go to her. Go to your woman and loose yourself in her. THE CAPTAIN : Maybe I should. JACK : Yeah. THE CAPTAIN : Is Toshiko your woman ? JACK : No. There’s no one. Go to her. The Captain gets up and leaves without further comment and without finishing his drink, leaving Jack sitting alone and upset. INT. THE HUB - RIFT MANIPUTATOR Owen works on the manipulator once more, Ianto looking on. IANTO : It still won’t work there’s a piece missing. OWEN : Bilis had it all along. Owen takes the manipulator piece from his jacket and fits it to the machine. IANTO : We still don’t have all the equation. OWEN : Well maybe the machine can work it out. Owen pulls a leaver and the manipulator starts. IANTO : Owen ! As Ianto calls out the machine powers down again, clattering and stuttering to silence. Owen removes his jacket and runs past Ianto, determined to make it work. Owen runs into Jack’s office and starts going through the desk drawers. OWEN : There must be something in the safe, the key fits we just need better instructions. IANTO : You can’t open the safe, you’ve got no right. OWEN : I am second in command; I have got every f*cking right ! IANTO : There’s stuff in there that we don’t know about, that’s the way Jack likes it ! OWEN : I’m not going to play with his toys, Ianto. Owen finds a journal and starts flicking through, looking for the safe code. Finding the appropriate line he reads it out, Ianto cringing with every section, knowing it’s the right code. OWEN : Rhea Silva the god of w*r’s Mrs, and a nine digit number. Who’s a clever Jack ? Owen moves to the safe, opens it and begins pulling out boxes, Ianto doing nothing to stop him. He finds a box with a thick folder inside and checks the contents. OWEN : Blueprints for the rift machine. Owen and Ianto stop and look at each other for a second and run for the machine. INT. DANCE HALL - BALCONY - 1941 Jack sits alone at the balcony table, the Captain enters the room, Jack doesn’t look round. JACK : I thought you’d gone. The Captain doesn’t answer but stands looking at Jack a little uncomfortable. Jack looks round at him in a final attempt to make the Captain understand that their being together is futile. JACK : This could be your last chance. THE CAPTAIN : That’s why I came back. The Captain sits down next to Jack. JACK : I might have to leave before the night is over. THE CAPTAIN : Well, then make the most of now. Jack looks down to see the Captain touching his hand and entwines their fingers together. A couple enter the room laughing and Jack and the Captain jump to their feet. AUDREY : We need lover’ corner if you don’t mind boys. THE CAPTAIN : Course. I was just discussing strategies with the Caption. JACK : We’ll go somewhere else. THE CAPTAIN : No, you’ve told me all I need to know. The Captain leaves the room quickly, unnerved by the interruption, perhaps seeing it as an omen. Jack exits the room slowly, passing the couple who kiss on the sofa oblivious. INT. THE HUB Ianto tries to take the rift blueprints from Owen who refuses to relinquish them. OWEN : There’s instructions in here, this isn’t some random act of madness. IANTO : It’s a trap ! Bilis wanted you to find it. OWEN : Why ? IANTO : To open the rift. To insight total chaos and destruction. All reports of the haunted dance hall were anonymous. What if it was him ! Please, listen to me. OWEN : I’m tired of being in awe of the rift. I’m tired of living with Jack’s secrets, we don’t even know who he is ! IANTO : He is our leader. OWEN : Not anymore. Get out my way. As Owen tries to shove Ianto from his path Ianto grabs him and holds him to the floor. OWEN : Get off ! Owen elbows Ianto viciously in the stomach giving him time to grab the blueprints. Owen kicks Ianto again as he tries to get up and heads for the rift machine. INT. DANCE HALL - 1941 Jack leans on the banister of the rear staircase. Toshiko walks up to him and stands nearby, allowing him to talk. JACK : Tomorrow is their last training exercise, just another day. They go out on a sortie and are surprised by two formations of Messerschmitts. They both look across at the Captain who stands on the edge of the dance floor with George and Tim. JACK : He destroys three of the enemy. His men listen to his whoops of joy over the radio. Then it all goes quiet. Can’t bail out because his whole plane is on f*re, but his men all make it back to safety. INT. THE HUB - RIFT MANIPULATOR Owen working from the blueprints fixes the wiring in the manipulator. Ianto stands behind him and speaks as Owen is about to place the missing piece back into the manipulator. IANTO : Put the key down. Owen looks round to see Ianto raise a g*n in his direction. IANTO : Or I’ll sh**t. INT. DANCE HALL - 1941 Toshiko and Jack sit at a table on the side of the dance floor talking, Toshiko comforting Jack and seeing an opportunity to get him to talk about himself. TOSHIKO : Who were you ? JACK : A conman. That’s why I took his name, falsified his records, so it seemed he was still alive. TOSHIKO : How did you end up in Torchwood ? JACK : Someone saved my life, brought me back from death, and ever since then it’s been like they’re keeping me for something and I don’t know what it is. I’m sorry for dragging you into this. TOSHIKO : It’s my choice. JACK : I’ll look after you. Toshiko nods in response, trusting Jack fully. Jack looks over the dance floor at the Captain and tears prick his eyes. JACK : Though there’s nothing I can do for him. Tosh takes Jack’s hand on the table, silent support while Torchwood’s rock shows some emotion. INT. THE HUB - RIFT MANIPULATOR Ianto still aims the g*n at Owen who has moved away from the machine slightly. IANTO : You have to let Diane go, like I did with Lisa. OWEN : Don’t compare yourself to me. You’re just a tea boy. IANTO : I’m much more than that. Jack needs me. OWEN : In your dreams, Ianto. In your sad wet dreams where you’re his part-time shag, maybe. Ianto cocks the g*n his anger growing at Owen’s arrogant dismissal of him. OWEN : That rift took my lover, and my Captain, so if I die trying to b*at it, then it will all be in the line of duty. Owen moves to put the key into the manipulator and Ianto sh**t him in the shoulder. Owen fits the key into the machine, screaming out in pain, before falling to the floor clutching his shoulder. The manipulator starts working and Ianto can only watch it move. IANTO : You don’t know what you’ve done. INT. DANCE HALL - 1941 SINGER : That certain night / the night we met / there was magic abroad in the air / there were angels dancing at the Ritz / and a nightingale sang in Barkley Square. The Captain walks cautiously across the dance floor towards Jack and picks his hand from the table. Jack allows himself to be lead to the dance floor, uncommonly passive. They move to the centre of the dance floor, Jack taking the lead as soon as they get there, the fear in the Captain’s eyes clear. GEORGE : What’s he doing ? As they start dancing the other people at the party turn and watch them, shocked. Noise bleeds out of the scene. Toshiko smiles fondly as they dance closely, at peace for a moment. As they are about to kiss white light bursts through the side of the hall - the rift is open. Toshiko gathers their things and runs for the light, calling for Jack. TOSHIKO : Jack, Jack, we need to get out ! Jack, you have to ! We need you. JACK : I have to go. The Captain nods in response, fighting back tears. JACK : It’s my duty Jack takes a couple of steps towards Toshiko and the rift before turning back and kissing the Captain passionately. Jack touches the Captain’s face before pulling himself away and walking to the rift. Before going through Jack turns and faces the Captain. The rest of the people fade out leaving the Captain in a lone salute before he too disappears. Jack enters the rift with Toshiko. INT. DANCE HALL - PRESENT Bilis watches on, smiling in satisfaction of a plan well realised. EXT. DANCE HALL - PRESENT The entrance to the dance hall opens and Toshiko steps outside, followed by Jack who fixes his jacket and is visibly pulling himself together. Gwen runs from her car and grabs Jack into a hug. GWEN : You made it ! Oh, you made it ! Gwen runs over to give Tosh a hug as well, not noticing Jack’s unhappiness as he gazes back at the dance hall. GWEN : Come on Tosh, come here, come here. INT. THE HUB Owen redresses the wound on his shoulder while Toshiko holds a bowl for him. Ianto works on a computer a distance away. OWEN : I knew we did the right thing, opening the rift. IANTO : Still no sign of Bilis. OWEN : World didn’t end after all did it ? Good job you’re a crap sh*t. IANTO : I was aiming for your shoulder ! Jack enters the room and Toshiko speaks to him, ignoring Owen and Ianto’s bickering. TOSHIKO : It was w*r time, I know, but it was beautiful. JACK : There were angels dancing at the Ritz. Jack keeps walking to his office. Toshiko watching him, not having realised how much the experience affected him. OWEN : Jack… TOSHIKO : Let me. Toshiko hands the bowl to Owen and follows Jack into his office. Jack pours them both a drink, handing a glass to Tosh first. TOSHIKO : He would have been so proud that you took his name, ‘cause here you are, saving the world. To Captain Jack. JACK : To Captain Jack. CLOSING CREDITS GUEST CAST : The Captain - Matt Rippy / Bilis Manger - Murray Melvin / Nancy - Elen Rhys / Audrey - Nadine Beaton / George - Gavin Brocker / Tim - Peter Sandys-Clark / Smiler - Ciaran Joyce / Singer - Melissa Moore. Please note that this script has been re-produced as accurately as possibly for [www.torchpedia.co.uk Torchpedia] from the televised episode. It is not a transcript of the original script by Catherine Tregenna.

{"type": "series", "show": "Torchwood", "episode": "1x12 - Captain Jack Harkness"}

foreverdreaming

Opening sh*ts and series recap JACK : (VO) Torchwood. Outside the government, beyond the police. Tracking down alien life on earth and arming the human race against the future. The 21st century is when everything changes and you gotta be ready. INT. GWEN’S APARTMENT - BEDROOM - MORNING Gwen leans on her elbow in bed watching Rhys sleep. RHYS : You know it’s rude to stare. Gwen laughs as he rolls over towards her. GWEN : Is it too late to get you to make me a cuppa. RHYS : What’s it worth ? GWEN : What do you want ? RHYS : I’ll draw you a diagram shall I ? They kiss and Rhys gets out of bed, naked. GWEN : Nice arse. Rhys slaps a tune on his butt as he leaves the room, Gwen laughs at him and her phone rings. RHYS : Don’t answer it ! Gwen picks up the phone, checks the screen and stops laughing when she answers. GWEN : Yep. JACK : (Over phone) You watchin’ the news ? CUT TO : GWEN’S APARTMENT - LIVING ROOM Gwen stands before the television in her dressing gown. REPORTER : (On TV) There’s speculation that the incidents over night may be linked. Initial reports suggest t*rror1st involvement, but this morning some intelligence experts have claimed the incidents may be a stunt. The first sightings were of UFOs over the Taj Mahal in India… The news station shows footage of UFOs before moving to a London location where English civil w*r soldiers f*re their muskets at armed police officers. REPORTER : (On TV) …they came in just after midnight. In London this morning there were reports of men in historic dress f*ring upon police. Some religious groups proclaiming are a vindication of their teachings. RHYS : Do you think it is t*rrorists ? GWEN : t*rrorists b*mb things, this is different. RELIGIOUS WOMAN : (On TV) …People didn’t believe us, now they should. Judgement day is finally here. This is the End of Days. OPENING CREDITS INT. THE HUB Ianto reads from the Bible. IANTO : …and I heard but did not understand, and I said ‘Master what is the end of all these things ?’ and he said ‘go Daniel, for the things are closed up and sealed until the end of time’. Daniel twelve, verse ten. GWEN : Sounds a bit close for comfort. Owen looks at the hand in it’s jar, holding his shoulder still. OWEN : This machine’s on the blink, keeps loosing power. Sorry don’t let me stop your portents of doom, or have you finished ? IANTO : No, plenty more where that came from. Jack sits in his office with Toshiko looking at a laptop thinking. As Ianto starts reading another end of the world story he gets up and walks into the main hub. IANTO : Abaddon, the Great Devourer, will lead the world into shadow. JACK : Yeah, thanks, Ianto I can do without the superstition. You people love any story that denies the randomness of existence. IANTO : Thanks, that makes me feel a lot better. JACK : Okay, I’ve been fielding calls all night, the government, UNIT, the CIA. Half the Western world and a good proportion of the Eastern are all asking the same question : is this anything to do with us ? Jack glances at Ianto who looks away, knowing it is and thinking it’s as much his fault as Owen’s because he didn’t stop him. GWEN : Is it ? TOSHIKO : I’ve run a profile on every reported temporal anomaly and tracked any physical temporal pattern. Toshiko uses her palm pilot and a global map appears on the monitor. Red lines clearly extend from Cardiff. GWEN : Shit ! JACK : The cracks in time track back here to the rift: this city, this hub, is the centre. What you’re seeing around the world are ripples and aftershocks. The rift is splintering because of you. Jack looks directly at Owen who looks up defiantly. OWEN : What ? JACK : You opened the rift without knowing what you were doing. You’ve caused the temporal cracks to widen, time is seeping through. OWEN : If it wasn’t for me you’d still be in the 1940s. so are we going to sit around crying into our lattes or are we going to do something about it ? JACK : Bring those who’ve fallen through time back here, into the vaults. OWEN : And do what with them ? JACK : We’ll deal with phase one first, then I’ll tell you about phase two. OWEN : You can’t control time, you can’t send ‘em back ! What are you gonna do ! JACK : We’ll think of something ! They all fall to silence in the face of Jack’s spilling anger and the lack of any cohesive plan. JACK : Hey, this is not the end of the world. I’m certain of that. An alarm sounds and Ianto moves to Jack’s laptop to check. IANTO : Priority one attendance requested at the hospital, mortality rate’s gone through the roof. They’re sealing off the area and designating a hot zone. OWEN : I’ll go. JACK : Tosh go with him. OWEN : Er, no thanks, I’m fine on my own. TOSHIKO : Then you’ll be even better with me alongside. Shut upo Owen. GWEN : Did you have to pick on his in public like that ? JACK : All of our actions have consequences. GWEN : And all your staff have feelings, Jack. Even Owen. JACK : Well, you would know. Jack walks away leaving Gwen stunned. GWEN : He brought you back ! Would you rather be stuck in World w*r II ? Gwen’s phone rings and she answers it angrily while Jack looks at her impassive. GWEN : Hello ? PC ANDY : (Over phone) Gwen ? This is Andy. Listen… CUT TO : POLICE STATION PC ANDY : (Into phone) I didn’t know who else to call. A Roman soldier shouts in a cell. Jack and Gwen stand at the custody desk with PC Andy watching the inmate on the CCTV camera. PC ANDY : Double m*rder, s*ab two blokes in Penarth. Brutal it was, no mercy. What are we supposed to do ? He doesn’t speak a word of English and he’s dressed as a bloody Roman soldier. JACK : He’s not dressed as a Roman soldier, he is a Roman soldier and he’s shouting in Latin. PC ANDY : The only word I could pick out was Gethly Geyer ? GWEN : Gathly Gyer. There’s a Roman fort out in Gathly Gyer, built around seventy five a d. JACK : So he was on his way there, time splintered and he ends up here. PC ANDY : ‘scuse me, hi. Any time you feel like talking sense… JACK : That soldier came through a crack in time. PC ANDY : He’s not serious is he ? They walk down the cell block to the soldier, Jack leading the way while Andy still tries to make sense of he situation. PC ANDY : This sort of thing just doesn’t happen, not in Cardiff. JACK : Just because you can’t understand it doesn’t mean it isn’t true. GWEN : I know it sounds mad Andy but… PC ANDY : Alright, Mulder and Scully, say I do believe you, which I don’t, ‘cause it’s bollocks, say I do, how exactly are we going to handle a prisoner from two thousand years ago ? I mean, has he got the same rights as anyone else ? How’s this gonna work with the CPS ? Jack opens a small tin enclosing a syringe and faces the cell door. JACK : We’ll take him off your hands. Jack opens the window in the door and the soldier runs towards him and starts shouting through the hole. SOLDIER : Ego somesempre h*m* indomitus. Varere, valva varere. (I always dream to be an untamed man... truly great and powerful.) JACK : Under any other circumstances and exuberant Roman soldier would be my idea of a perfect morning. Jack hands the tin to Gwen, keeping the syringe. GWEN : Careful Jack. Jack enters the cell and Gwen and Andy force the door closed behind him. PC ANDY : Everyone’s saying it though, word on the streets. Do you think it’s the end of the world ? GWEN : Oh, Andy, don’t be silly. Do you think the world’s gonna end on your shift ? PC ANDY : I’ve seen you use that smile on a lot of people. GWEN : What smile ? PC ANDY : The smile you use to reassure people when deep down you know everything’s going to shit. INT. HOSPITAL - ISOLATION WARD Owen walks into the ward speaking to a doctor, Toshiko behind them. All wearing bio-suits. DOCTOR : This was the first one to die, no ID on her, just appeared in the middle of A&E. nobody saw her come through the doors, she didn’t register at the desk. TOSHIKO : So what happened ? DOCTOR : She started coughing up blood, we moved her into isolation immediately. An hour or so later the staff started presenting similar symptoms. The enter a plastic lined cubicle housing the body of the first victim. TOSHIKO : Which were ? DOCTOR : Bit-like bumps on the skin, chills, fever, headaches, along with black patches on the skin. OWEN : Indicating bleeding into the skin and possibly other organs. DOCTOR : From the staff it started spreading to other patients who’d been in reception when she came in. Toshiko opens the plastic bag at the end of the bed and pulls out some of the woman’s clothes, confirming the worst. TOSHIKO : These aren’t contemporary clothes. OWEN : Her teeth aren’t exactly modern style either. Shit. DOCTOR : As soon as we realised the rate of infection we closed down the whole area. Owen leaves the cubicle, having seen all he needs. The Doctor and Tosh follow. OWEN : How many others are infected ? DOCTOR : Thirty, maybe forty. OWEN : All quarantined off ? DOCTOR : We think so. OWEN : Then have their clothes and their sheets destroyed immediately. Owen looks at Tosh, breathing shallowly as the Doctor leaves to issue instructions to burn the material. TOSHIKO : What is it ? OWEN : That woman isn’t from this century. More like the fourteenth. It’s the, it’s the f*cking black death Tosh. She’s infected Cardiff A&E with the plague. And it’s, my fault. DOCTOR : The team are instigating procedures. Owen and Toshiko start to walk away, nothing more they can do. OWEN : The infected will need thirty milligrams of Streptimisin, four grams phenecol plus two of tetricyclin. DOCTOR : That’s plague medicine ! Standard issue for Bubonic. OWEN : Well done House, that’s what you’re up against. DOCTOR : So, what are you going to do now ? OWEN : Well, you’re a hospital, you’ve got procedures haven’t you ? DOCTOR : Yes, but everybody said that Torchwood would sort it out. What if we get more carriers appearing out of the blue ? TOSHIKO : We’re working to stop that. DOCTOR : We’ve waited for you ! You’ve gotta stop this ! You’ve gotta do something ! OWEN : No, you’ve gotta do something. People are dropping through time and they are going to bring every disease in history through your doors, so you better be ready. TOSHIKO : Owen. OWEN : You scarred enough yet ? ‘Cause f*ck knows I am ! Common, Tosh. TOSHIKO : Make sure they get the medicine, call us if things get worse. DOCTOR : How much worse can they get ? Toshiko looks at the Doctor without answering and leaves the area to catch up with Owen. Toshiko removes her head cover and walks into a cross corridor. Owen nowhere in sight. TOSHIKO : Owen ? Owen ? Toshiko looks around for Owen. Toshiko’s mother stands in the corridor a distance away and speaks to Tosh in Japanese. TOSH’S MOTHER : It is coming… Out of the darkness. TOSHIKO : (In Japanese) What is coming ? TOSH’S MOTHER : If there is no other way… You’ll have to do it. TOSHIKO : (In Japanese) Do what ? Mum ! The apparition disappears and Owen walks into the corridor. OWEN : Tosh ! Come on, stop messing about. INT. POLICE STATION - CELL Jack and Gwen scan the comatose body of the soldier. GWEN : If Owen managed to open the rift to get you and Tosh back, can’t we do the same for these people ? We’ve still got the rift manipulator. JACK : Huh. There’s a world of difference. We’re talking about taking control of time not bringing two people back from the past. Besides, look at the damage Owen caused. We mess with it further, we’ll put the whole planet in danger. When have I ever let you down ? Gwen half smiles and walks down the cell block leaving Jack to continue his work. As she walks she hears a voice call her name. She turns to see Bilis sitting in the cell to her left. BILIS : (Telepathically) I’m sorry. I’m so sorry. Jack looks up to see Gwen staring into the cell. JACK : Gwen. Gwen ! Gwen ! She turns to Jack when he shouts. JACK : Come on. Hustle. When Gwen looks back into the cell Bilis has vanished. She goes in to check but there is no sign of him. She backs out concerned. INT. THE HUB - VAULT The Roman soldier lies in one of the cells unconscious. Gwen and Jack stand looking at him through the glass wall. Jack : Are you sure it was the same guy ? GWEN : It was definitely him, Bilis, the caretaker at the dance hall. Gwen walks away from the cell. JACK : That’s all he said, ‘sorry’ ? GWEN : Uh huh. JACK : Well what’s he got to be sorry for ? The door at the end of the corridor bangs open and Ianto enters pushing a weevil in front of him, holding anti-weevil spray toward the creature’s head. IANTO : Coming through. The weevil hisses at Ianto and he sprays it in the face before pushing it into a cell where the weevil stands close to the glass howling. IANTO : Thirty more reports of weevils on the loose, we’re not gonna keep up with this one. JACK : Everything’s on the increase. GWEN : Can’t we stop them from making that noise ? IANTO : If you’ve got any ideas how. JACK : Maybe they’re time sensitive, this disturbance may be too much for them. IANTO : We’re now full in all vaults across all nine levels. Do you want me to activate the vaults below ? It’s just we’ve never used them since I’ve been here. JACK : Do it. Gwen, maybe you’re right, lets run a search on your dance hall buddy, we need to find him. GWEN : Okay. Jack leads the way from the vault, Gwen following, leaving Ianto to watch the weevil as it continues crying. He notices movement to the side and turns to see Lisa standing by the wall - fully human. LISA : Hello, Ianto. Ianto is rendered speechless at the sight of Lisa, remembering their last moments together. Lisa walks towards him slowly. IANTO : What do you want ? Why are you here ? This isn’t happening. LISA : There’s only one way to stop this, before things get worse. People will die, Ianto, thousands of people, unless you open the rift. Ianto closes his eyes, when he re-opens them Lisa is gone. The weevil growls at the place where she was standing - it wasn’t just Ianto who saw Lisa. Ianto looks around, breathing hard at the vision. He glances once at the weevil who hisses at him. INT. THE HUB - CENTRAL Owen enters the hub and is spotted by Jack walking back into the central hub with Gwen. JACK : Owen, how was the hospital ? OWEN : Laugh a bloody minuet. They’ve got an outbreak of the black death. Toshiko enters behind Owen and stops at her computer staring aghast at the monitor. GWEN : What ? Oh my God ! JACK : Have they got it under control ? Does doesn’t respond. JACK : Tosh ! How are they coping ? TOSHIKO : Erm, Owen got the place quarantined and organised treatments for those who’ve been affected. OWEN : Only consolation is, it’s treatable these days, but you know, what happens when the next carrier comes through, Jack ? Someone carrying small pox or Ebola or something from the future we don’t even know about yet, what do we do then ? JACK : Yeah, well, it’s not doing us any good standing around speculating. Jack starts to walk away and Owen stands in his way before he can pass, standing face to face while Owen demands answers. OWEN : We need to be prepared. We’re helpless. All we’re doing here is putting sticking plasters on gaping wounds ! JACK : What do you suggest ? OWEN : I suggest you lead us and you tell us what the instructions are. Toshiko and Gwen both watch, Gwen taking a step forward and calling to him as he gets progressively more aggressive. GWEN : Owen. Ianto enters the central hub and stands near Toshiko, watching. OWEN : No, I can’t. You’re all thinking it to, you’re the Big Man here, you keep all the secrets, well now’s the time to tell us a few and tell us how the hell we’re gonna get out of this ! JACK : You wanna know a secret ? There is no solution. I can’t fix this, because this was never meant to happen. The first thing you learned when you joined Torchwood was don’t mess with the rift, you disobeyed those orders and now everything that’s happening is down to you. OWEN : I only disobeyed instructions to get you back ! JACK : Now people are dying. OWEN : What ? So I shouldn’t have bothered ? Who the f*ck are you anyway, Jack Harkness ? You don’t even exist, we’ve looked. So if you’re not even a real person then why the hell should I follow your orders ? JACK : Get out. OWEN : What ? JACK : Get out ! I am relieving you of your duty. TOSHIKO : No, you can’t do that. OWEN : Bollocks you are. GWEN : Jack, wait. Jack ignores the protests and leans into Owen’s face menacingly. JACK : You’re done here. OWEN : What so that’s it ? The whole world is going to shit and you’re going to f*re me ! GWEN : Stop it both of you ! We need to stick together on this. JACK : If I can’t rely on you , if I don’t have your complete trust you don’t belong here, that goes for the rest of you. Anyone who agrees with Owen, leave now. Gwen, Ianto and Tosh all look at Owen and look away, knowing they won’t leave. Owen nods to himself. OWEN : So now we know how it is, so that leaves me twenty four hours to savour the good times. GWEN : What you talking about ? OWEN : You know it Gwen. Nobody leaves this place intact. Sometime in the next twenty four hours, I get retconed, all my memories erased. I don’t know where, or when, but he’ll get me. GWEN : Jack,, this has gone far enough. Owen removes his g*n from the back of his trousers and holds it briefly, really not wanting to leave but unwilling to back down and apologise to Jack. OWEN : Well, I guess this is goodbye. He puts the g*n down and moves to leave. OWEN : Yeah, good luck with the end of the world. Owen pauses next to Gwen. OWEN : I would say thanks for the memories. Owen leaves the hub. GWEN : Jack ! For god’s sake ! CUT TO: THE HUB - COG DOOR Owen exits through the cog door and when it shuts behind him he pauses, leaning on the banister and the wall fighting back tears before the lift opens. He stands in the lift for a moment before pressing the button, still unable to take any action against his removal. INT. SHOPPING ARCADE - DAY Jack and Gwen walk through a shopping arcade, Ianto directing them over the com. IANTO : (Over com) Okay guys, Bilis’s shop is coming up twenty meters on your left. A sign outside Bilis’s shop reads ‘A Stitch In Time. Timepieces repaired and refurbished’ - it is a watch and clock shop. Jack and Gwen enter the store which is filled with antique clocks. They glance around waiting for Bilis to enter without going to find him. GWEN : Wow. Some of this stuff must go back centuries. JACK : Scavenges antique pieces from the past, brings them here, sells them for profit, not a bad business plan. GWEN : Hum. Bilis enters the shop down a spiral staircase at the back. BILIS : We all have to earn a living. JACK : You’re from 1941. BILIS : As you were. Hello again. Bilis walks between Jack and Gwen into his work area at the side of the shop. GWEN : How can you be in two time zones at once ? BILIS : I can step across eras, like you’d walk into another room. At first it was the most incredible gift, now I know the reality. It’s a curse. GWEN : Why ? BILIS : I can see the whole of history, but I don’t belong anywhere within it. So, you’re return to this time had a price, time splintering. This city exists on a rift in time, the only way to make it right is to re-open that rift and let it suck back what fell through. JACK : No way. It’s too dangerous. GWEN : Can we even do that ? BILIS : Of course you can. Isn’t that right, Captain ? GWEN : Jack ? JACK : You’ve seen what happened, we open that rift fully, millions of lives will be at risk. BILIS : And yet if you don’t, more will fall through, lives will be lost. Bilis speaks directly to the humanitarian in Gwen. Jack laughs in response and aims his g*n at Bilis, seeing the attempt. Gwen steps back out of the way and Bilis holds his hands up in surrender. JACK : You know so much you’re coming back with us. BILIS : I’m sorry. Bilis smiles and disappears. Gwen enters the room to wonder at his vanishing act and Jack holsters his g*n. JACK : Damn it. Trace the temporal activity around this location, we need to find out where he is. Come on. Jack leaves the shop, Gwen backs out slowly, the clocks becoming deafening to her. She hears Bilis’s voice say her name. As she turns to leave she nearly crashes into Bilis. Gwen goes for the door and Bilis reaches over to hold it shut. Gwen steps back to allow Bilis to talk. BILIS : I am not your enemy. GWEN : In the cells, why did you say you were sorry ? BILIS : Sometimes it’s better to live in ignorance. Unless… do you really want to know ? GWEN : Know what ? BILIS : Hold my hands, I’ll show you. GWEN : Okay. BILIS : Only if you’re sure. GWEN : I’m sure. Bilis holds out his hands and Gwen takes them. Her eyes wide, Bilis shows her a vision of the future as he would have her believe it: Rhys lies on the floor of their flat in a pool of his own blood. Gwen rips her hands away terrified. BILIS : I’m sorry. GWEN : What did you just show me ? BILIS : The future. Gwen grabs open the door and sprints from the shop past Jack who walks along casually. JACK : What took you so long ? Gwen ? Jack starts to jog after her but she turns down an alley at the side of the arcade and Jack doesn’t see where she goes. INT. GWEN’S FLAT - ENTRANCE Gwen enters the flat and runs to the living room. She looks round unable to see Rhys until he looks up from the kitchenette. RHYS : Hey you. Gwen smiles in relief at the sight of him. GWEN : Yeah. It’s me. Ah ! You’re cleaning the oven ! RHYS : Aye, somebody’s gotta love. Gwen grabs his arm. GWEN : We’ve gotta go. RHYS : Why, why ? What’s happened ? GWEN : We’ve gotta go, that’s all. RHYS : Well let me finish here first. GWEN : Rhys, we’ve gotta go, now. RHYS : Oh, here we go again, always in a hurry with you, every since you started that bloody job… Gwen takes a tranquiliser g*n from her bag and sh**t Rhys in the chest. Rhys collapses to the floor crying out quietly in painful surprise. GWEN : I’m sorry. INT. A BAR Owen leans on the bar, three empty glasses beside him as he holds his head. A voice whispers his name and he looks round. Diane stands next to him. DIANE : Owen. OWEN : Jesus, Diane. Oh, Jesus. DIANE : I’m lost, Owen. Owen reaches out to the vision. OWEN : I can touch you. I don’t understand. Where did you end up ? DIANE : Please. Bring me back, Owen. You can do that can’t you ? OWEN : Dunno. Everything’s out of sync. DIANE : Please. Please, bring me back. Open the rift. A barman leans in between them to pick up a glass, unable to see Diane. BARMAN : You want another drink there mate ? When the barman leaves Diane is gone. Owen stands open mouthed, tears running down his cheeks, looking at the place Diane stood seconds before. INT. THE HUB - VAULT Gwen looks into a cell where Rhys lies. He wakes with a start and sees Gwen. GWEN : wow, take it easy. RHYS : What’s going on ? Am I dreaming ? GWEN : This is where I work. RHYS : You work at a prison ? GWEN : These are just the cells. RHYS : You locked me in a cell ? What the hell are you playing at ? GWEN : I was just trying to keep you safe. RHYS : I was safe at home ! GWEN : No, you weren’t. You really weren’t. RHYS : Listen here, Gwen. You better tell me exactly what’s going on, ‘cause I’ve taken some shit through the last few months. I mean what’s all this ? GWEN : Rhys, listen to me. I need you to trust me. Okay, it may not seem like it at the moment but I am just trying to take care of you. I love you, sweetheart. A howling echoes through the vault from an upper level and Rhys looks around. RHYS : What the hell was that ? GWEN : Just try and relax and I’ll come back for you. RHYS : What do you mean ? You’re not gonna leave me down here ! Gwen backs away from the cell towards the door. GWEN : I’m sorry. RHYS : Gwen ! Gwen ! GWEN : I’m sorry. Gwen leaves the vault, closing the door behind her leaving Rhys alone in his cell. RHYS : Shit. INT. THE HUB- CENTRAL Gwen re-enters the main hub and goes to her station. Jack stands with Tosh and Ianto nearby. JACK : Did he wake up ? GWEN : Yeah. Yeah, he did. Tosh, can you bring up the CCTV of the vaults ? Toshiko nods and looks to her palm piolet. GWEN : Just leave it on the screen, I know it sounds crazy but… TOSHIKO : Sure, no problem. GWEN : Thank you, for helping me bring him here. TOSHIKO : I can’t understand how Bilis was able to show you that vision. Gwen looks at Rhys on the CCTV, pacing his cell before sitting on the bunk with his head in his hands before she answers. GWEN : It was so real, Tosh. I was in my flat, it smelt of my flat, it had all of the sounds of my flat… Ianto looks uncomfortable and Jack walks over to Gwen as she gets more distressed recounting the vision. GWEN : …I could touch the blood, I can still feel it on my hands. Rhys’s blood. Jack takes Gwen’s hand to comfort her. JACK : Not gonna happen. Gwen closes her eyes trying to believe him. JACK : Come on, there’s still work to be done. Jack walks back over to Toshiko and Ianto. The lights go out and an alarm sounds. JACK : What’s going on ? TOSHIKO : We’ve got a security breach. Toshiko and Ianto move to deal with the situation. JACK : Alright, nobody panic. Gwen runs past Jack back to the vault. GWEN : Rhys ! Jack chases Gwen from the room. CUT TO : VAULT The front of Rhys’s cell swings open. He walks carefully to the entrance, looking around. He tries the vault door but it is locked down. He turns to see Bilis kneeling at the other end of the corridor, facing away from him. Bilis stands quickly and turns to Rhys. RHYS : Oh, do you work here ? Bilis smiles tightly without answering and walks towards Rhys with his hands clasped behind his back. RHYS : I’m Rhys, Gwen’s boyfriend. Bilis walks quickly to Rhys without responding, when he gets close he thrusts a Kn*fe into Rhys’s stomach. Rhys steps backwards pulling free from the Kn*fe, glancing from the blood seeping from the wound to his attacker. Bilis impassively steps closer and pushes the Kn*fe into Rhys’s chest, up into his heart. Rhys falls to the floor, dying. Bilis calmly walks away wiping the Kn*fe with a hanker chief. Bilis disappears. CUT TO : THE HUB - CENTRAL Toshiko and Ianto are at their stations, the power returns unaided and they look to each other in confusion. CUT TO : VAULT. Gwen rushes into the vault, closely followed by Jack. She sees Rhys’s body on the floor. In a pool of blood the same as in her vision. GWEN : No ! Gwen grabs ar Rhys’s body, trying to pull him to her while shouting incoherently. Jack tries to pull Rhys back away from her. She turns to Jack in desperation. GWEN : We can bring him back ! Jack holds Gwen’s cheek, forcing her to look at him. His eyes are wet with tears knowing that he has failed her. JACK : There’s nothing we can do. Gwen clings to the body screaming. INT. THE HUB - AUTOPSY ROOM Rhys’s body lies on the autopsy table. Toshiko and Ianto stand on the stairs looking on. Gwen sits next to Rhys holding his forehead and gazing at his face, trying to take in his death. Jack cleans the blood from her other hand. GWEN : I’ll have to tell his family. IANTO : We’ll deal with it. GWEN : The way you dealt with that porter the first time I met you ? No, you won’t deal with him, Ianto. TOSHIKO : Gwen, I’m so sorry. Gwen laughs at Toshiko. GWEN : You never even met him. Jack stops cleaning Gwen’s hand and moves away. GWEN : This is what happens here. We all end up alone. Not me. No way. You bring him back. JACK : No. GWEN : The resurrection gauntlet… IANTO : Was destroyed. GWEN : We’ve got to have something else. JACK : I said no. GWEN : Well, there’s something wrong with time so, er, we can go back and, to the moment, to the very moment… JACK : Gwen. GWEN : Well there’s gotta be something that you can do otherwise, what’s the f*cking point of you ? Gwen lunges at Jack screaming and lashing out at him. Jack holds her gently from him while she struggles, before pulling her into a fight embrace. JACK : Sorry, I’m so sorry, I’m sorry. Tears stain Jack’s face as he holds her crying to his chest. Owen runs into the autopsy room and stops at the top of the stairs at the scene before him. OWEN : Shit. What happened ? TOSHIKO : You came back. Toshiko smiles broadly at Owen’s return but he runs down the stairs to Gwen ignoring her. He pulls Gwen away from Jack and she pushes him away brutally. GWEN : Don’t touch me ! OWEN : How many other people have gotta suffer ? Gwen returns to sit next to Rhys’s body. Jack looks at Owen unspeaking. OWEN : I’m gonna fix this. I’m opening the rift. Owen walks back up the stairs to the main hub. Ianto looks at Jack and then follows Owen. JACK : Make sure you stop him. Ianto stops and turns to Jack. IANTO : No. Jack stares after Ianto as he leaves, not believing that even Ianto would side against him. Toshiko follows. TOSHIKO : I’m gonna help him. Gwen gets up and leaves the autopsy room quickly, pausing to speak to Jack as she leaves, madness colouring her eyes. GWEN : Bilis was right, he said open the rift and everything goes back to normal. Owen’s right. I’m gonna get Rhys back. JACK : Gwen. Gwen ! CUT TO : THE HUB - CENTRAL Owen types onto a computer to Ianto’s instructions. IANTO : Enter emergency protocol one. Gwen pushes Owen from the keyboard and takes over typing. As the code is entered an alarm sounds through the hub. CUT TO : THE HUB - AUTOPSY ROOM Jack picks up his g*n and runs upstairs. CUT TO : THE HUB - CENTRAL Gwen continues typing as Jack enters. Owen stands in front of him. JACK : Get away from the computer, Gwen. This is a trap, all these cracks around the world, they’re diversions, this is what Bilis wants. OWEN : What are you afraid of, Jack ? Gwen continues typing regardless and the computer requests a password. Ianto leans over. IANTO : Rhea Silva. Gwen types in the code and Jack aims his g*n at her. Owen backs out of the way. JACK : I said move. They all look round at Jack. TOSHIKO : What the hell are you doing ? JACK : Final warning. Gwen walks towards Jack, straight towards the g*n. GWEN : Come on, Jack. JACK : You’re a united front now. Toshiko, the poor girl who’ll screw any passing alien who gives her a pendant; Owen, so strong he gets in a cage with a weevil, desperate to be mauled; Ianto, hiding a cyber girlfriend in the basement, your three comrades here pumped b*ll*ts into her, remember ? GWEN : I’ve gotta get Rhys back. Jack lowers the g*n to look at Gwen. JACK : Yeah, ‘cause you’re so in love with Rhys that you spend half your time in Owen’s bed. Gwen punches Jack hard in the face, knocking him to the floor in anger. Owen takes the g*n and aims it at Jack. GWEN : f*ck you ! OWEN : We are relieving you of your command, Captain. We’re opening that rift and getting back what we lost. Gwen returns to the computer which now reads ‘retina prints of all Torchwood personnel required for authorisation. Enter’. GWEN : Shit ! Jack starts to get to his feet, glaring at Owen. OWEN : Stay down ! JACK : You wanna be in charge, Owen ? You gotta have significantly bigger balls. Jack stands and Owen sh**t him in the forehead. Jack falls to the ground d*ad and Owen fires two further sh*ts. Toshiko puts her hands to her mouth in shock while Owen shakes holding the g*n. OWEN : I am sick of people doubting me. Gwen slowly reaches to take the g*n from Owen while Ianto moves to Jack, crouching down next to him. IANTO : What have you done ? They all stare at Owen in disbelief. They must continue what they started and all input their retina scans into the computer. GWEN : We’ve still gotta do Jack’s. Owen scans Jack’s eye. The scans are checked and the computer screen changes : ‘Authorisation complete. Institute emergency protocol one ?’ Gwen presses ok and a notice appears : ‘Warning. Protocol activation will endanger Torchwood infrastructure’. Gwen glances at the rest of the team before her eyes land on Rhys’s body, furthering her resolve. She presses return to institute the protocol. An alarm sounds immediately and the hub starts to shake as the rift starts to open. The guests in the vault start shouting as the team looks around them. Jack gasps back to life, Gwen screams as he grabs her ankle. The rest of the team stare at Jack shocked. OWEN : Oh my god ! JACK : What have you done ? Gwen looks round towards the water tower. Electricity sparks onto the tower from the surroundings and the water tower becomes a blaze of light, powering up the tower and into the sky, as the rift opens in earnest. The hub shakes more violently and the team rush to vacate the premises. The roman soldier vanishes from the cell - opening the rift did reverse the process. Gwen tries to pull up Jack, Ianto goes to help as the board room explodes in a shower of glass. GWEN : Help me move him ! Jack staggers through the hub towards Owen and Tosh, an arm slung around Ianto and Gwen’s shoulders. Unseen by Gwen Rhys’s body disappears from the autopsy room. Owen forces open the gates to the cog door. As Jack, Ianto and Gwen goes through Jack’s office Ianto picks up Jack’s coat and Jack pushes him in front as they go down the narrow stairs, gaining strength. JACK : Go. They exit the hub in a maze of falling walls. CUT TO : NARROW BACK STREET - DAY Owen jogs down the street, Toshiko next to him. Jack, Ianto and Gwen bring up the rear, Jack still leaning on them for support. GWEN : It’s alright Jack, everything is gonna go back to normal. Owen and Tosh stop and look ahead of them. Following their gaze Gwen moves away from Jack to stand between the others, leaving Jack to lean on Ianto. Bilis stands in the road looking at them, confidently. Gwen walks forward, stopping a distance away as Bilis speaks triumphantly. BILIS : From out of the darkness, He is come. GWEN : What is he talking about ? Gwen shouts in angry dismay, realising that she has been tricked by Bilis. BILIS : Son of the Great Beast. Cast out before time, chained in rock, and imprisoned beneath the rift. GWEN : What ! Bilis doesn’t answer but stares upwards. BILIS : All hail Abadon. The Great Devourer… Gwen follows Bilis’s gaze behind them, followed by the rest of the team. A huge horned beast towers above the buildings behind them striding towards them roaring, setting off car alarms as the ground trembles with each step. BILIS : …come to feast on life. The whole world shall die beneath his shadow. Abadon roars down at them and moves away, striding over the city as the terrified public run screaming from him. As his shadow falls over them they fall to the ground d*ad. BILIS : And look upon him my god and know my work is done. Gwen hears Bilis vanish and turns slowly to check. She returns to the rest of the team, Jack now firmly back in charge. GWEN : How do we stop it ? Tell me what to do, Jack. Jack looks around at his team and makes no comment - allowing them to accept his leadership once more without telling them that he told them so. He lands his gaze on Gwen, knowing how to stop this monster. JACK : Just you. Get me to an open space. Gwen willingly drapes Jack’s arm over her shoulder. EXT. HILLSIDE - OVERLOOKING CARDIFF Gwen speeds the SUV to a stop on a large piece of wasteland and Jack gets out of the vehicle. Abadon still moving over the city before them. Jack staggers away from the car and Gwen runs to him, afraid for him. GWEN : What are you gonna do ? JACK : Abadon is the bringer of death, let’s see how he does with me. If he feeds on life, then I’m an all you can eat buffet. Gwen grabs Jack trying to stop him. GWEN : No wait, wait you’re too weak. Jack forces Gwen’s hands away and pushes her back towards the SUV, his eyes only on Abadon. JACK : Get out of here. Get, go ! Drive as fast as you can. Gwen stands where she is, watching Jack walk to the top of the hill to confront Abadon. GWEN : Jack ! JACK : Bring it on ! Abadon turns to Jack, sensing his life force and coming over to tower above him. As his shadow falls over Jack he feeds, howling as he pulls the life force from him until he collapses in his gluttony and disintegrates. Jack falls to his back, d*ad. Gwen runs to Jack’s side and rocks his body in grief. INT. GWEN’S FLAT - DAY Gwen runs into her flat and sees Rhys in the living room. GWEN : Oh you’re here. RHYS : Weren’t you just here a minuet ago ? GWEN : You’re here ! Gwen goes to Rhys and pulls him down for a kiss in relief. GWEN : Go to bed, get some sleep and I’ll be back for you. Gwen kisses Rhys again before she leaves. INT. THE HUB - MORTUARY Jack lies on one of the shelves, Owen and Tosh standing to one side, Ianto on the other. Gwen walks towards them and stands next ot Ianto. She looks down on Jack, lying pale and d*ad. GWEN : You’re certain ? OWEN : He’s ice cold, no vital signs. GWEN : He survived when you sh*t him. When I first joined he said he couldn’t die. OWEN : He was wrong. GWEN : I want to sit with him. Owen nods and moves away while Gwen strokes Jack’s face lightly. Toshiko leave silently, leaving Gwen alone with Jack. Hours pass while Gwen paces the mortuary, waiting for Jack to come back and alleviate her grief and guilt. The others watch her from the central hub on a monitor. OWEN : How long is she going to do this ? Ianto glances at Owen, silencing him. Ianto tidies Jack’s desk before picking up Jack’s coat and holding to his face, a grief hidden from the others. Toshiko stands in the mortuary with Gwen. TOSHIKO : It’s been days. We have to face up to it, he’s not coming back. GWEN : I believe in him. TOSHIKO : Let him go, Gwen. Toshiko walks away. Gwen knowing Toshiko is right picks up Jack’s hand and holds it to her face before leaning over and kissing him softly. She walks away. JACK : Thank you. Gwen stops in her tracks at the Jack’s whisper and smiles. She jogs back to him and Jack grins at her. Jack holds Gwen’s hand as they walk into the main hub. Toshiko looks over and runs to hug Jack when she sees him. Ianto sees and follows Toshiko, approaching Jack more slowly he reaches out to shake Jack’s hand. Jack pulls Ianto into a hug before kissing him. Owen rounds a corner and sees Jack, half approaching. Jack walks to Owen and stands silently while Owen struggles to find words. JACK : I forgive you. Owen starts to cry and Jack pulls him into a fatherly embrace while the others watch. INT. JACK’S OFFICE - LATER Jack sits behind his desk flicking through papers. Gwen perches on the desk. GWEN : What’s happened to the rift ? JACK : Closed up when Abadon was destroyed, but it’s gonna be more volatile than ever. GWEN : The visions we had, we all saw people we loved. What did you see ? JACK : Nothing. There was nothing. GWEN : Jack ? What would have tempted you ? What visions would have convinced you to open the rift ? JACK : The right kind of doctor. Jack gets up from his desk, not wanting to share any more and leaves his office. GWEN : Jack. JACK : Where are they with those coffees ? An alarm sounds and Jack looks over at the hand in its jar. The light inside flashes slowly and Jack smiles slightly. Uncertain that it is really happening until he hears a sound in the distance - the TARDIS. A wind flows through the hub throwing papers to the floor. Gwen walks through the hub to where Jack was standing - he is no longer there. Toshiko, Ianto and Owen enter the hub through the cog door and Gwen walks down the stairs to meet them. GWEN : Did you see Jack on your way in ? TOSHIKO : No. OWEN : I thought we tided up in here. What’s the matter ? GWEN : Erm, he was just here. Something’s taken him, Jack’s gone. CLOSING CREDITS GUEST CAST : Bilis Manger - Murray Melvin / PC Andy - Tom Price / Lisa - Caroline Chikezie / Diane Holmes - Louise Delamere / Doctor - Matthew Gravelle / Toshiko’s Mother - Noriko Aida / Policeman - Russell Jones / Roman Soldier - Jamie Belton / Newsreader - Carrie Gracie / Weevil - Paul Kasey / Religious Woman - Rhian Wyn Jones. Please note that this script has been re-produced as accurately as possibly for [www.torchpedia.co.uk Torchpedia] from the televised episode. It is not a transcript of the original script by Chris Chibnall.

{"type": "series", "show": "Torchwood", "episode": "1x13 - End of Days"}

foreverdreaming

EXT. STREET - NIGHT It's night. The streets are damp, but it's not raining. It's very quiet. We hold on above intersection with a traffic light and crosswalk. There are no cars on the streets. All is peaceful and quiet. An old lady with a cane slowly walks up to the crosswalk. She presses the signal button.WAIT. The light turns red. She steps up to the curb when the sounds of a car engine approach. She looks up and sees a red convertible, with top down, speeding toward the crosswalk. With rap music blaring and tires screeching, it stops at the line. The driver turns. It' a biped with a red fish head. He looks at her. She looks at him. The light changes from red to walk. The blowfish looks at her, growls and motions her across the road. The old woman crosses the road. The blowfish waits for her. She reaches the other side and the traffic light turns green. The red convertible speeds away as the old woman watches. Its taillights disappear in the distance. All is silent again. The old woman turns as the black Torchwood SUV approaches. It stops in front of her. Gwen rolls down the window. GWEN : (politely) Excuse me, have you seen a blowfish driving a sports car ? The old woman points toward the road. GWEN : Thank you. And the Torchwood SUV takes off as the old woman watches. Its taillights disappear in the distance. All is silent again. OLD WOMAN : Bloody Torchwood. CUT TO : INT. SUV (MOVING) - NIGHT Toshiko sits in the back seat and has skeletal scans and DNA typing on the computer. Ianto sits next to her and puts b*ll*ts in his g*n magazine. TOSHIKO : Species not on record. DNA-type says some sort of land fish. Gwen is in the passenger seat as Owen drives. GWEN : All I'm saying is, you are speeding and there are children. OWEN : (dryly) Well, if kids are out at midnight, they've got it coming. TOSHIKO : Detecting high levels of algae. GWEN : (amused) Who's afraid of the big scary fish, then ? OWEN: Big fish... with a g*n ! IANTO : Special w*apon ? TOSHIKO : Not that I can see. The g*n clicks as Ianto pulls the slider back and puts a b*llet in the chamber. IANTO : Do we need special w*apon ? OWEN : What are we gonna do when we catch it ? TOSHIKO : Jack would know. OWEN : Well, Jack's not here, is he ? Jack's disappeared. Fat lot of good Jack is. Everyone is suddenly very somber. GWEN : Blowfish ! She points to the red taillights in front of them. Owen steps on the gas. OWEN : Hold on ! VARIOUS CUTS : With tires screeching, the Torchwood SUV catches up with the red convertible. Owen reaches for his seat belt with one hand while the other is on the wheel. OWEN : (to Gwen) Hold the wheel. GWEN : (warns) Don't you dare, Owen ! OWEN : (shouts) Hold the wheel ! He releases his seat belt and relinquishes the steering wheel to Gwen. GWEN : Right, got it. The SUV tires screech as she drives from the passenger seat. Owen sits up out the window. He aims and fires at the convertible. The first sh*t misses, the second sh*t ricochets off the metal. The third sh*t takes the tire out. The car exhaust flares and veers around the corner. Owen sits back down in the driver's seat. Gwen gives him a look. Owen smugly blows on the tip of his smoking g*n. EXT. STREET - NIGHT - CONTINUOUS It's raining. The Torchwood SUV turns the corner and stops at the red convertible. They get out of the SUV and approach the convertible with their g*n out only to find it empty. GWEN : Where is it ? Where's it gone ? They look around the houses. Two g*n sound from a nearby house. OWEN : Go ! Go ! Go ! They run for the house. INT. RESIDENCE - NIGHT - CONTINUOUS Owen enters first. OWEN : Gwen, go left ! Tosh, go right ! Ianto, take center ! Positions ! The blowfish stands at the back of the room holding a g*n on the daughter of the house. Gwen gets the mother aside to safety. The father is on the ground, choking, from the g*n wounds. Owen takes his jacket off to stop the bleeding. Ianto and Toshiko keep their g*n on the blowfish. Toshiko also reads her hand-held scanner. TOSHIKO : Massive levels of adrenalin mixed with approximately three grams of cocaine. This fish is wired. BLOWFISH : So this is Team Torchwood. The teacher's pets, but teacher's gone, hasn't he ? Leaving the kiddy-kids all alone. And look at you, trying so hard to be all grown up. (to Owen) The Doctor, with his hands full of blood. (to Gwen) The Carer with her oh-so-beating heart. (to Toshiko) The Technician, with her cold devices. (to Ianto) Which leaves me, with the Office Boy, promoted beyond his measure. All of you... lost without your master. All of you... pretending to be so brave. All of you, so scared. The blowfish laughs at them. He turns and kisses the teenaged girl on her cheek, breathing her in. BLOWFISH : (to Ianto) So, what about it, minion ? Can you do it ? How good are you ? How sharp is your aim ? What if you k*ll her ? (taunts) What if I k*ll her first ? Can you sh**t, before I do ? Can you ? Dare you ? Would you ? Won't you ? A b*llet fires. It hits the blowfish d*ad center of his forehead and takes out a chunk of the back of his head, splattering blood and fish brains on the curtains behind him. BLOWFISH : Aah... The blowfish falls to the floor. d*ad. The mother pushes Gwen aside to go to her daughter. Ianto looks at his g*n. He didn't f*re. He turns around... and finds himself staring down the barrel of Jack's g*n. Everyone stares. JACK : Hey kids. Did you miss me ? Jack chuckles. SMASH TO END OF TEASER ROLL TITLE CREDITS EXT. CARDIFF CITY (STOCK) - NIGHT Top view of the area. INT. HUB - WORKSTATIONS The team is back in the hub. After a few moments, it's clear that Gwen's been in charge during Jack's absence. GWEN : Are you sure no more like him came through ? She checks on Toshiko at her workstation. TOSHIKO : Cross-referencing with the rift activity monitor, doesn't look like it. Jack stands on the side and watches the interchange. Ianto reports to Gwen. Everyone pretty much ignores Jack for the moment. IANTO : The car's been impounded. I'll get it back to the owner in the morning. GWEN : (to Owen) How you doing, all right ? Owen hands her a file on his way to Toshiko. He hands her a drive. OWEN : Bio-profile's onscreen now. Nothing in his genetic make-up likely to contaminate the city. GWEN : Okay, Tosh. Can you add that to the species database ? Ianto ? IANTO : Hello. GWEN : Sorry. Um, can you deal with the body when it's cold ? IANTO : My pleasure... unless you mean making sushi. GWEN : No, the morgue'll do fine. Thank you. JACK : Got pretty organized without me. Although Gwen is working on a computer and not looking at him, she is seething. GWEN : Yeah, well we had to. JACK : (looks around) Hey, did you decorate in here ? Gwen violently pushes him backward. He hits the door frame. GWEN : (lashes out) You left us, Jack ! Everyone is quiet and watching. JACK : (sighs) I know. I'm sorry. GWEN : We knew nothing, Jack ! TOSHIKO : Where were you ? JACK : I found my doctor. OWEN : Did he fix you ? JACK : What's to fix ? You don't mess with this level of perfection. IANTO : Are you going back to him ? JACK : I came back for you. All of you. The computer beeps. Toshiko turns and recognizes it. TOSHIKO : Rift activity ! Everyone gets back to work. ZOOM IN and linger on the blowfish on the table in the autopsy area. There's something in his right pants pocket beeping with a blinking red light. It goes unnoticed. EXT. CARDIFF CITY (STOCK) - NIGHT Top view of the area. EXT. GARAGE ROOF - NIGHT All is quiet. Then a golden gaseous light appears - faint at first, then larger and larger. It opens in the middle and a man walks out. He's wearing a red military uniform jacket of sorts. It's unbuttoned and the shirt under it is so dirty it's gray. He has black pants tucked in his boots. He pauses and looks around. VICTIM (MAN) : (o.s.) Get off, I didn't do it. He hears the voices and heads over. Saunters, really. He's in no rush to get there and it's obvious he just doesn't care. He has two g*n holsters on either leg with a samurai sword on his right side. He is armed and very dangerous. VICTIM (MAN) : (o.s.) Please, leave me alone. At the end of the rooftop is a man being att*cked by Kn*fe-point by an attacker holding him bent backward on a car hood. Both attacker and victim see John Hart approach them. VICTIM (MAN) : Help me ! MUGGER : Come any closer and I'll open up his neck ! Ignoring him, John Hart walks right up to them. JOHN HART : Fine. MUGGER : What ?! JOHN HART : Which artery do you normally sever ? VICTIM (MAN) : No ! MUGGER : I'm not bluffing ! JOHN HART : Oh, well, see now, you've... uh... given yourself away. Only someone who's bluffing ever says they're not. The mugger turns to face John Hart. John grabs the mugger's Kn*fe hand while he grabs his neck with the other. He's swift and deadly. He lifts the mugger clear off the ground and carries him over to the edge of the roof. He doesn't stop there. He holds the mugger clear off the side of the roof with nothing but air beneath him. MUGGER : Oh, God ! Shit ! Please ! Please stop ! JOHN HART: Well... no. John lets him go. The mugger screams and falls. The victim watches and gasps. The victim runs to the edge of the room and looks down. The mugger is d*ad on the sidewalk below. VICTIM (MAN) : He's d*ad. John Hart looks at the man. The man looks at John Hart and realizes that he may not be safe from his rescuer. John Hart grabs him by his shirtfront. VICTIM (MAN) : Please... JOHN HART : I... was never here. The man swallows hard and nods. John rolls his eyes and shakes his head. JOHN HART : Go. He releases the man, patting him on his chest. The man runs. John Hart starts walking. JOHN HART : Thirsty now. He walks out of frame. EXT. VARIOUS CARDIFF CITY LIGHTS (STOCK) - NIGHT Speedy views of the area. INT. BAR REUNION - NIGHT Music blares at the establishment. It's comfortably filled with people casually having drinks. The double doors open. John Hart pushes them in as he enters. He smiles. Just what he's looking for. The doors close behind him. He opens his wristband and presses a button. The dance music stops immediately. The crowd groans. Some people notice him. JOHN HART : (loudly) All right ! Now... He looks around the room. He starts with the nearest people and works his way inward. JOHN HART : You, go. You... go. You, go. You ? (smiles) Stay. Go, go, go. Stay. Go, go, go, go. Go, go. Oh ! (to the blonde twins at the bar) Stay, stay, stay. Go, go, go. Go, go! (loudly) The rest of you... go ! He turns his back to the people in the room. JOHN HART : (to the barkeep) I'll take one of everything. He turns back to the people in the room. JOHN HART : Any questions ? A large bouncer steps out. He's with another bouncer. BOUNCER : All right, mate, let's take it outside. JOHN HART : Oh. (He whips out both his large g*n and holds them up.) Did I mention I'm armed ? People scream and run for the door. PAN AROUND the room. John Hart smiles with amusement. There's no faster way of clearing the bar. He laughs and turns toward the bar. EXT. SIDEWALK OUTSIDE GARAGE BUILDING - NIGHT Torchwood is at the scene with police and SOCO there also. Torchwood is with the body. Toshiko's hand-held scanner beeps as she takes a reading. TOSHIKO : Fragments of rift energy around the neck, arm and shoulders. JACK : He was grabbed... and pushed. TOSHIKO : Explains the residual energy cluster. JACK : How did you ever manage without me ? OWEN : So, there's a potential k*ller on the loose,bi-pedal, maybe humanoid. GWEN : Any other alien tech involved, Tosh ? TOSHIKO : No readings to suggest that. JACK : Okay, let's get back and see what we can piece together. GWEN : Taking charge again are you ? JACK : I was hoping for a little power struggle, resolved by some naked wrestling. Gwen heads to the crime scene tape. Andy holds it up for her. GWEN : Thank you, Andy. You can let SOCO in now, they can eliminate us from whatever they want. ANDY : This another one of your spooky-do's, is it ? GWEN : Not yet, but... uh... I'll let you know. She turns and follows the rest of the team back to the SUV. ANDY : (to her back) "Thanks, Andy. You've been very helpful." "Don't mention it, Gwen." Jack reaches for the door. His wristband beeps. Jack presses a button and turns it off. Too late ! Ianto noticed. IANTO : Whoa, that never beeps. This can't be good. JACK : That's what I was thinking. Everyone is gathered around him. Jack presses his wristband button and a nearly-life-sized 3-D light image of John Hart appears in front of him. The image looks like something out of Star Wars IV. JOHN HART : (image recording) I can't believe I got the answer machine ! What can you be doing that's more important than me ? Anyway, you've probably traced the energy shift, found the body. All me, sorry about the mess. Bill me for the clean-up. Now... (claps and rubs his hands) Drinks ! Retrolock the transmission coordinates, that's where I am. And hurry up, work to do ! (girl voice) Help me Obi-Wan Kenobi, you're my only hope ! The image turns to look on the side just like in the movie... then it vanishes. JACK : (very serious) Stay here. Don't come after me. GWEN : Who was that ? JACK : Stay here. Jack gets in the SUV. GWEN : But... Jack drives away, leaving them there. GWEN : Hey, Jack ! OWEN : Whoa ! GWEN : Wait ! Gwen, Owen and Toshiko watch as Jack and the SUV speeds away. Ianto turns and heads back toward the main road. Owen stomps his foot on the ground in frustration. OWEN : You see that ? He swans back in and then he shuts us right out. GWEN : I'm not having this. TOSHIKO : (holds up her scanner) I can track him ! Ianto whistles loudly. Everyone turns. IANTO : Taxi ! EXT. STREET - NIGHT The Torchwood SUV turns the corner and with tires screeching, stops on the side of the road. The door opens and Jack steps out. We're low and on his feet as he crosses the road toward the bar. The car alarm chirps on. Jack pauses at the Bar reunion. He takes a deep breath and prepares himself. INT. BAR REUNION - NIGHT - CONTINUOUS John Hart sits at the bar with a line of sh*t glasses in front of him as he works his way through them. He picks up the glass and downs the drink. He puts the sh*t glass back in its place, but before he actually puts the glass down on the bar, he stops and turns to look at the doors. CLOSE : JOHN HART'S EYES His eyes are sharp and knowing. He knows he's here. John goes back to his next drink. THE FRONT DOORS Jack's shadow appears in the glass. LOW ON FEET. The double doors open. Jack walks in, the hem of his long coat flapping against his legs. The doors close behind him. John steps out and away from the bar. Like two g*n in an old western bar, the two time agents face each other. Jack's face is inscrutable. We can't tell whether he's happy to see him or not. John Hart unsnaps both his holsters. That's a thr*at move. After a b*at, he starts toward Jack. Way across the other side of the room, Jack starts toward him. They move without hesitation, their ground-eating steps bring them both swiftly to the other. They stop mere inches from the other. The two men stare. We can feel it building... and building... then, they kiss. Passionately. Hands groping and grabbing at each other - heads, shoulders, backs. Their breaths in short, rasping, devastating pants. And the kiss goes on... till they push each other away. John pulls back and slugs Jack hard in the face. Jack smiles. Then, he slugs John hard in the face. John smiles. Now the games begin. John punches Jack in the gut, doubling him over. JACK : Whoa ! John pulls back and laughs. Jack kicks him in the shins, bringing John down to his knees. John looks up at Jack, who has his arms out wide, cheeky smile on his face and tongue sticking out in a dare. John rushes Jack, grabbing his waist. Jack turns and tosses John to the ground behind him. John rolls and stands up. SERIES OF QUICK CUTS : Jack turns and punches him. He punches back. They exchange a series of punches to the head and gut. John kicks Jack. Jack grabs his leg and flips him over to the ground. They grab each other around their necks. John slams Jack back against the wall. Jack grabs John's face and pushes him back against the end of the bar. Glass breaks. John rolls backward and tosses Jack clear through the thin screen partition. Jack rolls over and gets to his feet. The fight continues. John head-butts Jack. JACK : Ahhh ! He grabs Jack, slams his head down on the bar counter and slides him across the bar - through the long line of his sh*t glasses. He smashes them all and continues right off screen. CUT TO : EXT. ROAD - NIGHT The taxi with Owen, Gwen, Toshiko and Ianto inside zooms across the screen. TOSHIKO : (v.o.) Reports coming in of a bar disturbance. INT. TAXI (MOVING) - NIGHT She looks at the hand-held scanner. TOSHIKO : Same coordinates as the SUV. GWEN : Tell the police we're dealing with it. OWEN : Okay, so who the hell was the bloke in the hologram ? IANTO : Looked like Jack recognized him. TOSHIKO : Why didn't he let us go with him ? GWEN : 'Cause it's typical Jack, isn't it ? Disappears, he comes back, then he runs away again. Shuts us out. We don't even know his real name. TOSHIKO : Or which time he comes from. GWEN : Exactly. He's supposed to be our boss, we know nothing about him. It drives me crazy ! Everyone lapses into silence. IANTO : It is more fun when he's around, though. OWEN : Yeah. TOSHIKO : Oh, definitely ! GWEN : Yeah, it is. CUT TO: INT. BAR REUNION - NIGHT Jack and John both crash through a glass partition. The place is a mess. They land on the floor, roll apart, reach for their g*n and draw on each other. Their g*n are on each other: a draw. They smile and chuckle as they circle the other and wait for the next round of att*cks. The g*n don't waiver. JOHN : You're putting on weight ? JACK : You're losing your hair ? JOHN : What are you wearing ? JACK : Captain Jack Harkness, note the stripes. JOHN : Captain John Hart, note the sarcasm. JACK : Hey, I worked my way up through the ranks. JOHN : I bet the ranks were very grateful. I need a drink. JACK : I thought you'd never ask. The fight over, they lower their g*n and head for the bar. John reaches over the bar and grabs a bottle. He hands it to Jack as he grabs a bottle for himself. Jack bites the spout off and spits it aside. John turns around and leans against the bar as he guzzles over half the bottle. Jack watches him and doesn't touch his own bottle. JACK : So... how was rehab ? JOHN : Rehabs. (smiles) Plural. He wipes his mouth with the back of his hand. JACK : Drink, drugs, sex and... JOHN : m*rder. JACK : (chuckles) Ah ha ha ! You went to m*rder rehab ? JOHN : I know, ridiculous. The odd k*ll, who does it hurt ? JACK : You clean now ? JOHN : Yeah. Kicked everything. Living like a priest. Jack chuckles. He sets his bottle down on the counter. JACK : So, how's the Time Agency ? JOHN : You didn't hear ? (By the look on his face, no.) It's... shut down. JACK : You're kidding. JOHN : No. There's only seven of us left now. JACK : Wow. JOHN : It's good to see you. It was never the same without you. Jack leans forward. John leans forward as if to kiss him, but Jack stops. JACK : You need to go. I don't want you on my territory. JOHN : What ? John stands up and puts his nearly empty bottle on the counter. JOHN : Time was, you couldn't get enough of me on your "territory". John moves very, very fast. He grabs the g*n off the counter. Jack ducks to avoid whatever's coming. John sh**t out the glass in the front door. He turns and sh**t out the glass at the back. JOHN : (shouts) All right, everybody out ! The front door opens. Gwen and Ianto step inside. Gwen is facing front while Ianto covers her from the side. GWEN : Everything all right, Jack ? JACK : It's okay, okay, okay ! Owen comes out from the back with Toshiko. JOHN : (amused) You've got a team ! How sweet ! Oh, pretty little friends ! No blonde, though. You need a blonde. They continue inching forward toward them. OWEN : God ! He's worse than Jack. JOHN : Oh, do you have a team name ? I love team names, go on ! JACK : Torchwood. JOHN : Oh. Not Excalibur ? Blizzard ? Bikini Cops ? No ? Torchwood. Oh, dear. JACK : Gwen Cooper, Ianto Jones, Toshiko Sato, Owen Harper, meet... JOHN : Captain John Hart. JACK : We go back. JOHN : Excuse me. We more than go back. We were partners. IANTO : In what way ? JOHN : In every way. And then some. JACK : It was two weeks. JOHN : Except that two weeks was trapped in a time loop, so we were together for five years. It was like having a wife. JACK : You were the wife. JOHN : YOU were the wife. JACK : No, you were the wife. JOHN : Oh, but I was a good wife. TOSHIKO : I bet you were. What ? Don't pretend you haven't noticed, he's cute. JOHN : They're just shy. JACK : (to John) What are you doing here ? JOHN : I was wondering when we'd get to that. He opens his wristband and punches some buttons. TOSHIKO : That's the same as yours. JACK : A little smaller. JOHN : (rolls his eyes) But lasts much longer. Get two Time Agents in the same room together, it's always about the size of the wrist strap. OWEN : Ah, yes, sorry ? What's a Time Agent ? JOHN : What ? He's never told you about his past ? GWEN : No, he hasn't. Jack and John both look at each other. JOHN : Anyway... John presses his wristband. It beeps and a holographic image of a canister appears. JOHN : I'm working with this woman, beautiful, clever, sexy, yadda yadda yadda, and we both get sh*t. And as she's dying, she begs me. She tells me about these radiation cluster b*mb she'd been working on. OWEN : I don't like the sound of that. JOHN : Three canisters, contents beyond toxic, swallowed up in a riftstorm. TOSHIKO : And ended up here. JOHN : Bingo. That's the downside of your city being built on a rift in space and time. Now, left to their own devices, the radiation'll break down the canisters and then infect your people and planet. They need to be neutralized. He presses more buttons and the holograph disappears. JACK : What do you get out of this ? JOHN : Dying woman's wish. (Jack doesn't believe him.) Now, there's only one problem : I don't know where they are. Hoping local knowledge might help. TOSHIKO : When we get back to the Hub, I can run a citywide scan on radiation surges and cross-reference that with the rift activity during that time span. JOHN : What are you, the brains and the beauty ? You see, together it's an easy job. Jack gets in John's face. JACK : We do this, you get out of here when it's finished. Right away. JOHN : Does this mean I get to see your house ? Jack's not smiling. Hold on John Hart. EXT. PLAZA - NIGHT Jack stands at the base of the water tower. JOHN : You live in a sculpture ? Could you be any more pretentious ? Jack points to the concrete block. JACK : Get on. John looks around. JOHN : So your team not allowed in this way ? He steps on the block with Jack. JACK : This is the entrance for tourists. JOHN : I remember the last time you said that. The block starts to descend. JOHN : Where the hell are we... ? Jack smiles at him. He shakes his head. INT. THE HUB - NIGHT - CONTINUOUS Toshiko watches as the block descends into the hub. JOHN : It's roomy, I'll give you that. John looks around. Toshiko, Gwen and Ianto are waiting at the base. Toshiko hands Gwen the scanner. JOHN : Your taste in interior design hasn't got any better, though. What is this, sewer chic ? Ianto waits for them. Owen stands in the back, his g*n out. The block stops. Jack steps off and faces John. He stops him from stepping off the block. JACK : w*apon. John removes his g*n and hands them to Jack, who puts them on the silver tray Ianto is holding. John removes his samurai sword and gives it to Jack, who hands it to Ianto. John shrugs innocently. Jack holds out his hand. JACK : And the rest. JOHN : Oh, you know me. I'm a two-w*apon man. GWEN : (reading the scanner) One p*stol strapped to each leg, laser Kn*fe beneath left elbow, 17 small expl*sive charges in the lining of his coat. QUICK CUTS : As she talks, John hands over the w*apon. JOHN : Slipped my mind. Jack drops the tiny p*stol on the tray on top of the other w*apon. INT. HUB - BACK CORRIDOR Gwen and Jack walk. GWEN : He's a compulsive liar ! Why is he in the building ? JACK : There's the tiniest one percent chance he's breaking a habit of a lifetime, and telling the truth. Which means this city is in danger. GWEN : What did he mean by a Time Agent ? You've never mentioned it. JACK : That was in the past. GWEN : Oh, okay. Here we go again. You know everything about me, Jack, why d'you keep shutting me out ? JACK : Here and now, that's what's important. The work we do, the person I am now. That's what I'm proud of. GWEN : Then why did you desert us ? Jack doesn't answer her. GWEN : Where did you go ? No, no, come on, where did you go ? Tell me. Talk to me. JACK : I have died so many times. Been dragged back into life, like being hauled over broken glass. I saw the end of the world. GWEN : How ? JACK : Doesn't matter now. But after it was all over... I knew I belong here. What kept me fighting was the thought of coming home to you. He runs his hand down her arm, looks at her and smiles. He takes her hand and notices her ring. He holds her hand up. JACK : What's this ? GWEN : That's an engagement ring, that is. She looks at her ring with surprise. JACK : You're getting married ? GWEN : Yes. Rhys asked. (She puts her hand down.) When you were away. JACK : Wow ! Gwen Cooper getting married. (She nods.) Down on one knee ? GWEN : He tried to, and then he had a twinge in his back and had to lie on the settee, and that's when he popped the question. JACK : And you said yes. GWEN : Well, no-one else will have me. They look at each other. JACK : Good for you. Jack kisses her on the cheek. JACK : We should get back to work. GWEN : Mm-hm. Jack turns and heads back. Gwen nods, just standing there for a moment. INT. HUB - CONFERENCE ROOM - NIGHT Toshiko presents her findings to everyone. John Hart sits back on the conference seat, his leg up on the table. TOSHIKO : Seven hours ago we logged a minor surge in rift energy, across three locations. JOHN : Six of us, three locations. That's simple. Two people per canister. JACK : Excuse me, I give the orders. JOHN : Well, give some, big boy ! GWEN : John's right. Sorry... um... d'you prefer John, or Captain ? JOHN : With eyes like yours, call me Vera, I won't complain. Ianto rolls his eyes. GWEN : Tosh and Owen, take the north. Ianto and Jack go west. Me and Vera'll take the docks. JACK : Excuse me, not to repeat myself... GWEN : Got a problem with this, Jack ? Everyone waits. Jack smiles and backs off. JACK : Not at all. Gwen nods. JOHN : Now, given the canisters are radioactive, don't open them, eh ? GWEN : Let's go, guys. JACK : Gwen, I need a word. Everyone else leaves. JOHN : Oh, can I watch this bit ? He's gonna give you all the dos and don'ts. I love it. JACK : (points to the door) She'll be with you in a second. John gets up and leaves the room. JACK : What the hell are you doing ? GWEN : If I can get him talking, flirt a bit, he may drop his guard. I can find out what he's really up to. JACK : Okay, clever. GWEN : Thank you. JACK : But dangerous, leave it to me. GWEN : I led the team while you were way, Jack. I can handle this. He knows you too well. He'll never tell you the truth. JACK : Three rules : One, don't believe anything he says. Two, always keep him in front of you. And three, under no circumstances let him kiss you. GWEN : As if I would ! JOHN : (o.s.) Has he gone to the no-kissing rule yet ? John is leaning against the wall out in the hallway. JOHN : He only invented that because he wants me all to himself. Gwen starts out. Jack watches them go. GWEN : (to John) Keep in front. EXT. VARIOUS CARDIFF CITY LIGHTS (STOCK) - NIGHT Top view of the area. EXT. SHIPYARD - NIGHT There are stacks of shipping containers in the shipyard. John and Gwen look through them. JOHN : Nothing. He opens the next container. JOHN : Are you sure this is the right spot ? Gwen peers into the container with her flashlight, but remains behind him. GWEN : Yeah. But containers get shifted all the time. She closes the container door. JOHN : This could take days. They continue looking. GWEN : So that woman, the one with the canister, how did you get to know her again ? JOHN : We were in love. GWEN : Oh. I'm sorry. Did they catch the person who sh*t her ? JOHN : Do we have to talk about this ? GWEN : No, no, of course not. She drops the subject. John opens the nearest container. Gwen's phone rings. She ignores it. JOHN : Don't mind me. She answers the phone and turns her back to John. GWEN : (to phone) Shouldn't you be asleep ? INTERCUT WITH : INT. RHYS/GWEN'S PLACE - KITCHEN - NIGHT RHYS : (to phone) I got it ! GWEN : (filtered) Sorry ? RHYS : (excited) Manager at Harwoods ! Gwen motions to the canister next to her. RHYS : (filtered) The letter was on the mat ! I got the bloody job ! He laughs and opens the refrigerator. GWEN : (to phone) Oh, my God ! Rhys, that is fantastic ! John crowds her. JOHN : (sexy voice) Baby, you're fantastic too. Yeah, just there ! She shoves him away from her and steps away. RHYS : (to phone) Who's that ? GWEN : (to phone) It's some idiot I work with, that's all. RHYS : (filtered) I don't suppose there's any chance of me seeing you before breakfast ? Gwen steps away from him. GWEN : (to phone) It looks like it's gonna be an all-nighter. Go on, get yourself to bed. I am so proud of you. I love you. RHYS : (to phone) Yeah, well, I love you more. GWEN : Bye. She hangs up and tucks her phone back into her jacket pocket. GWEN : John ? There's no answer. She checks where she left him last... and finds him gone.) GWEN : John ? There's no sign of him. She looks around. GWEN : John ! There's no answer. She takes her g*n out. GWEN : John ! JOHN : Worried you'd lost me ? Surprised, she swings around, her g*n out and pointed at him. JOHN HAR: Whoa. Little bit jumpy there ? GWEN : Keep in front of me, okay ? JOHN : God, you're so untrusting. But with your boss, it's probably wise. GWEN : Yeah, well. I trust him just fine, thank you. JOHN : Once a con man, always a con man. GWEN : What do you mean by that ? JOHN : Look, just don't rely on him, Gwen. There's a lot about him you don't know. He goes to the container door. JOHN : Fancy a peek ? He opens the doors. Gwen steps inside and looks. They find a canister. JOHN : Aha ! GWEN : Is that it ? Gwen heads over first. John follows behind her. She picks up the canister. He walks up to her, pushes her to the side. Her back slams up against the wall. GWEN : What are you doing ?! And he kisses her hard. She pushes him away from her. GWEN : Get off me ! He laughs. JOHN : Celebrating, that's all. (Gwen gasps for breath and falls to the floor.) God, the 21st Century is so frigid ! Something is wrong with her. GWEN : What've you done ? JOHN : Don't get up. I mean, you can't anyway. Paralyzing lip gloss. I think it might have even been Jack taught me that trick. Just one problem, if you're not found in two hours, your major organs will go into shutdown. He takes her cell phone out of her jacket pocket and wiggles it in front of her. JOHN : Thanks. He pushes her down to the ground, gets up and heads out. JOHN : (o.s.) You gonna be okay in here without me ? He stops in the doorway. JOHN : He won't stay with you. He and I shared something. John closes the door behind him. Gwen is as good as d*ad in the container. Her eyes are wide and she swallows. She's helpless and she knows it. EXT. CONTAINER - NIGHT - CONTINUOUS John secures the bar across the container door. He looks at Gwen's cell phone, turns and throws it as far and as high as he can. We hear it land somewhere. He turns and leaves. EXT. SHIPYARD (STOCK) - NIGHT EXT. VARIOUS CARDIFF CITY LIGHTS (STOCK) - NIGHT INT. WAREHOUSE - NIGHT Owen and Toshiko cautiously make their way through the warehouse containers. Toshiko tries the light switch. It doesn't work. TOSHIKO : No bulbs. OWEN : No, 'cause that would only be helpful. Oh, great, how are we gonna find a canister in all this tut ? TOP VIEW DOWN of the very large and very full warehouse. OWEN : What are we doing with our lives, Tosh ? TOSHIKO : I know. We should be out having fun ! Bet you'd normally be out on the pull, this time of night. OWEN : Oh, no, bollocks to that, Tosh. Talk about diminishing returns. TOSHIKO : Not with you. OWEN : Well, you know, I've done all that, haven't I ? Where did it get me ? No, you know, I need a proper woman, you know. Someone I've got something in common with, you know. Er, got anyone on the horizon ? TOSHIKO : Like you say, difficult to meet anyone I've got anything in common with. What with the things we see. OWEN : You beauty ! She turns. Owen's found it. He drags a chair over to the shelf. OWEN : Yes ! Owen finds the canister up on the shelf. OWEN : Job done ! JOHN HART : (o.s.) Good work, team ! They turn around and John Hart walks in. TOSHIKO : Where's Gwen ? He doesn't answer her. Toshiko reaches to draw her g*n, but he reaches her first. He head-butts her in the face and pushes her down to the side. He pulls his g*n on Owen, who is just climbing down off the chair. JOHN : Ah, ah, ah ! g*n on the floor... He slowly, deliberately, dangerously turns his g*n on Toshiko, who is still on the floor and is sporting a bleeding nose. JOHN : ...or I sh**t her. Owen puts his g*n on the floor. OWEN : (to comm) Jack, where are you ? JOHN : I muted the comms system as soon as we left the palace under the pavement. (Owen looks at John. John raises his arm.) I love my little wrist strap. Now... phones. OWEN : You touch her again, and I will k*ll you. Okay ? Owen and Toshiko slide their phones toward John. John takes a couple of steps forward. He picks up a cricket bat on the shelf nearby and looks at Owen. JOHN : The efficiency of a g*n, or the brutality of wood ? OWEN : Yeah, look, stop toying with me and get on with it. John fires. CUT TO : INT. OFFICE - NIGHT The doors open. Jack and Ianto step into the office. JACK : Oh, yeah ! Loving that office-y feel ! (They look around.) I always get excited in these places. To me, they're exotic. Office romances... photocopying your butt... well, maybe not your butt, although as we're here, why don't we... IANTO : (interrupts) The rift was active at these coordinates approximately two hundred feet above ground. That means this floor or the roof. Ianto continues searching. Jack watches him. JACK : How are you, Ianto ? IANTO : All the better for having you back, sir... Ianto turns away and checks one of the desks furthest away from Jack. JACK : Can we maybe drop the sir, now ? While I was away, I was thinking... maybe we could, you know, when this is all done... dinner ? A movie ? Ianto turns and looks at Jack. IANTO : Are you asking me out on a date ? JACK : Interested ? IANTO : Well... as long as it's not in an office. Some fetishes should be kept to yourself. Ianto continues looking. JACK : Looks like we're gonna have to go through every drawer, bin and plant pot. IANTO : Right. Okay. I'll do this floor, don't want you getting overexcited, and you take the roof. You're good on roofs. Jack starts for the door. Ianto whirls around. IANTO : Jack ? Why are we helping him ? JACK : He's a reminder of my past. I want him gone. Jack starts to leave again, but turns back. JACK : By the way... was that a yes ? IANTO : Yes ! Yes. Jack smiles and leaves the office. Ianto continues looking around. EXT. ROOFTOP - NIGHT The door bursts open and Jack steps out onto the roof. He starts looking around. INT. OFFICE - NIGHT VARIOUS QUICK CUTS OF : Ianto continues to search the office. The elevator bell dings. He stands up quickly and turns around. He waits a bit, then pulls out his g*n. He pulls the slider back, putting a b*llet in the chamber, then he cautiously heads out. INT. OFFICE - HALLWAY - NIGHT - CONTINUOUS Ianto steps out of the office and starts down the hallway. He reaches the first elevator and finds the doors closed. He checks the second elevator and finds the door open and no one inside. John presses the muzzle of his g*n against the back of Ianto's head. JOHN : Into the lift, eye candy. Ianto puts his hands up. John takes his g*n from him. Ianto turns around. JOHN : Your friends are bleeding and dying. John advances on him, forcing him to step backward into the elevator. JOHN : You barely have enough time to save them. Ianto hits his earpiece. IANTO : (to comm) Owen ? Gwen ? JOHN: (scoffs) What am I, a child ? It's primitive bit of technology, easily blocked; you should be embarrassed. And when you get to the bottom, run. You look like a man who enjoys a challenge, see if you can save them. Come back up here, I'll sh**t on sight. John presses the elevator button. ELEVATOR VOICE : Going down. He backs away as the doors start to close. JOHN : Going down. Yes, please. Ianto steps forward and stops the doors. IANTO : Why are you doing this ? JOHN : We're a cosmic joke, eye candy, an accident of chemicals and evolution. The jokes, the sex, (he strokes Ianto's cheeks with the muzzle of his g*n) - just cover the fact that nothing means anything. And the only consolation is... money. (He puts the muzzle of the g*n against Ianto's forehead and pushes him back into the elevator.) So run, Ianto Jones ! ELEVATOR VOICE : Going down. John backs away and smiles. ELEVATOR VOICE : Doors closing. Ianto punches the wall in frustration and turns as the doors close on him. EXT. STREET BELOW - NIGHT Ianto runs around the SUV. He climbs inside, starts the engine and drives away. PAN UP the side of the building to... EXT. ROOFTOP - NIGHT - CONTINUOUS Jack finds the canister and bends over to pick it up. JOHN : (o.s.) Rear of the Year. Jack turns around. John joins him on the rooftop. JOHN : 5094. Still looking good. Jack's phone rings. He looks at it. JOHN : Cute boy, ringing to warn you about me. John grabs the phone from him and tosses it aside. He holds his hand out. JOHN : Canister. JACK : If you've harmed them in any way... JOHN : You know, they're pretty, but stupid. You used to have better taste. JACK : Doesn't look like that from here. JOHN : Just give it here. JACK : Radiation cluster b*mb ? Really ? JOHN : Let's not get hung up on details. JACK : Little embarrassing that you needed help to find them. JOHN : A little humiliating you fell for the scam. Your dolly birds did all my legwork. JACK : Is that what you wanted ? JOHN : What I want is for you to come to your senses. Join me, Jack. Back in the old routine, we'd be emperors. How can you stay tied to one planet when there's thousands of worlds, sparkling with wonder? We should be up there, among the stars, claiming them for our own. Just like before. JACK : I can't. JOHN : Why not ? What the hell is there to keep you here ? Come on. The glitter of the galaxy. The mischief we could make. JACK : You know, you never really mastered that temptation spiel. JOHN : It's not a spiel. It's fact. JACK : Move on. Here I am, in a new life and you're still churning out the same old tunes. And sorry, but they don't play as well, now you're looking a little older. And what are they ? Wrinkles around your eyes ? JOHN : Laugh lines. JACK : Oh, hell of a good joke. JOHN : It's you I'm laughing at. Canister. Jack holds up the canister, then tosses it over his shoulder and off the building somewhere behind him. JACK : Whoops. John seethes. Jack laughs at him. JOHN : Whoops. John pushes Jack backward off the building. JACK : Ahh ! TOP VIEW DOWN : John watches as Jack falls. Jack falls and falls and falls... and he doesn't scream. JOHN'S POV : Jack has stopped falling and appears to be d*ad. John pushes himself away from the edge of the rooftop and walks away. CARLIGHTS FLASH as the SUV turns the corner. EXT. CARDIFF CITY (STOCK) - NIGHT The Torchwood SUV zooms along the highway. Ianto dials and puts his earpiece in. INTERCUT WITH : EXT. SHIPYARD - NIGHT Gwen's phone rings. It's on the ground somewhere. Ianto drives. His hand taps the steering wheel impatiently as he listens to the linering. IANTO : (mutters) Come on. TOP VIEW OF SHIPPING CONTAINERS Gwen's phone continues to ring. Her eyes are open and she's still on the ground in the dark container. She's conscious and unable to move. Her phone continues to ring. EXT. ROAD - NIGHT The Torchwood SUV continues to zoom across the highway. INT. WAREHOUSE - NIGHT Toshiko is tending to Owen. OWEN : Agh ! TOSHIKO : I'm sorry ! I'm sorry. OWEN : Ow ! Owen puts the cloth aside. His jeans are open and there's a pair of scissors open as well. Toshiko hands him a vial as he works on himself. TOSHIKO : Why didn't he just k*ll us ? OWEN : He got what he wanted. Maybe he just underestimated us. EXT. WAREHOUSE - NIGHT The SUV stops outside. Ianto gets out and looks at the building. He uses a crowbar and hits the padlock on the door. INT. WAREHOUSE - NIGHT Owen uses his teeth and tears off a strip of tape. He continues working on his wound. IANTO : (o.s.) Tosh ! Owen ! TOSHIKO : (shouts) Ianto ! IANTO : (o.s.) Tosh ! She gets up. TOSHIKO : (shouts) We're over here. Ianto has his g*n out as he quickly and cautiously makes his way toward them. IANTO : What happened ? TOSHIKO : Where's Gwen ? Have you heard from Gwen ? IANTO : No. EXT. PLAZA OUTSIDE BUILDING - NIGHT John exits out of the building through the spinning doors. He picks up the canister, then walks over to Jack, who is sprawled over the concrete benches. John crouches next to him, setting the canister down on the ground. JOHN : Rehab... didn't really work. Jack's eyes are open and unresponsive. John removes Jack's wristband. JOHN : Front door key. Thanks. He tenderly touches Jack's lips and looks regretfully at him. He picks up the canister, gets up and leaves. TOP VIEW DOWN : John walks away from Jack's d*ad body. EXT. SHIPYARD - NIGHT Ianto, Owen and Toshiko search the containers. He walks past them. IANTO : If she's in one of these, we'll never find her, there's too many ! TOSHIKO : Just keep looking ! Owen opens a container door and groans. OWEN : Aah ! God, I need more painkillers ! Ianto takes his phone out. IANTO : I'll try her phone again. ZOOM over to Gwen in the dark container. Her eyes are open and she's still not moving. She hears her phone ring faintly. Her eyes move as she looks to the side. IANTO'S PHONE They hear the phone ringing. Ianto follows the sound and starts running toward it. IANTO : (shouts) Over here ! Toshiko and Owen head over as well. Gwen is in the dark and waits. TOP VIEW OF SHIPYARD. The phone rings. Gwen's phone is on the ground. Owen picks it up. OWEN : She must've dropped it. Ianto has his g*n out. He's being cautious. IANTO : (shouts) Gwen ! Gwen ! Toshiko digs into her bag. TOSHIKO : Unless it's another of Captain John's tricks. She takes out her hand-held scanner. IANTO : What're you doing? TOSHIKO : If Gwen used the phone here, I can use the network to triangulate the location where she answered her last call. Got it ! Toshiko turns and heads off. Ianto and Owen follow. INT. CONTAINTER - CONTINUOUS Gwen lies on the cold floor. EXT. CONTAINER - CONTINUOUS They arrive at the location. Owen and Ianto head for the last two containers. TOSHIKO : This is where she made the call. Open every container door ! They open the container doors and start checking. Toshiko opens a container door. INT. CONTAINTER - CONTINUOUS Gwen's on the floor. The container door opens and Toshiko finds her. TOSHIKO : She's here ! They run inside to check on her. TOSHIKO : Gwen, it's all right. We're here with you. Toshiko turns Gwen's head so she can see them. TOSHIKO : What happened ? What's he done to her ? Owen gets to work. They all move quickly and efficiently. OWEN : She's still breathing. No discernible injuries. Tosh, let's get this thing started. Ianto, take a swab. Owen hands Ianto a swab out of his kit. Toshiko opens her laptop. Owen checks her eyes. OWEN : Right, pupils dilating, she's still conscious. (Ianto swabs Gwen's lips.) Stay with us, darling. Ianto dabs the swab in Toshiko's scanner. Toshiko runs the analysis and gets the results. She turns the laptop toward Owen. TOSHIKO : He's poisoned her. OWEN : (to Ianto) Anti-toxin kit now ! Ianto gets up to get it. OWEN : Gwen, hold on. EXT. CARDIFF CITY - BAY (STOCK) - MORNING Establish time of day. INT. HUB - AUTOPSY AREA - MORNING John Hart is back in Torchwood. He picks up the last canister and opens it. He takes out the piece inside to match the other two pieces. He places the last piece as the third side of a triangle on the counter. He turns and walks over to the blowfish's body on the table behind him. He sighs. JOHN : Had to go and steal a car. Get yourself noticed. John checks his pockets and finds a small pyramid. It's beeping. He looks at it. JOHN : Now... He heads back to the counter and we can see that the pyramid is a fourth piece and fits perfectly in the open center of the triangle. John crouches down and starts to set the piece. CLOSE-UP ON four g*n and four hands pulling the g*n slides back to load the chamber. John turns and finds Ianto, Gwen, Owen and Toshiko standing at the top of the bay area with their g*n trained on him. JOHN : Ok. He stands up and faces them. The pyramid piece is still in his hand. The pyramid stops beeping. JOHN : Pretty and resilient. Is that even fair ? GWEN : Maybe you didn't realize. You can b*at, sh**t, thr*at, and even poison us, and we keep coming back. Stronger every time. JOHN : (casually) Well, I think you ought to know, your boss is splayed out on the... Jack steps forward into view. John is sufficiently surprised to see him. JOHN :... pavement. Now that's impressive. Seriously, you can earn a fortune in the Vegas galaxies with an act like that. Go on, how's it work ? JACK : I can't die. JOHN : No. But, really... JACK : No. But really, you can't k*ll me. No matter how many times you try. I can't die. Ever. Jack starts down the steps into the bay area. Gwen and Ianto make room for him, then train their g*n back on John. JOHN HART : But what does it cost you ? Every time you have to drag yourself back here, how does it feel ? All that pain and trauma. Plus, you're reborn into this godforsaken mess. I pity you. JACK : These people. This planet. All the beauty you could never see. That's what I come back for. JOHN HART : Well, goody on you. GWEN : What's in the canisters ? OWEN : Come-clean time, Captain. JOHN : Yeah, all right. That woman I told you about ? Had herself an Arcadian diamond, the rarest gem in the Damascene Cluster. Just when I'd got my hands on her, she only generates her own personal riftstorm. God, I hate technological geniuses. TOSHIKO : You said this was a dying woman's request. JOHN : Yeah, she was dying. I sh*t her. Thought my luck had changed when I found it had ended up here. So, I'm thinking 50/50 ? Even split, good deal. Or if anyone fancies an orgy ? INT. HUB - JACK'S OFFICE - DAY The pyramid is on Jack's desk. Jack sits and rubs his chin, thinking about it. JACK : Open it. JOHN : What, not even a please ? Don't your manners get brought back to life too ? JACK : Now ! JOHN : This should give us the location of the diamond. John puts the triangle pieces, now snapped together in one piece, over the pyramid. It fits perfectly. The pyramid projects a holographic image up on the desk. She's a beautiful woman. JOHN : There she is. GWEN : The woman you m*rder. HOLOGRAM WOMAN : You've traveled several galaxies for this. Well done. JOHN : Thank you, gorgeous. HOLOGRAM WOMAN : Except... there's no diamond. JOHN : What ? HOLOGRAM WOMAN : Only this. The metal pyramid opens to reveal a bright metal piece inside. The three-piece base spreads, separates and twists. JOHN : No, no, no. The bright metal piece inside floats out and changes into a circular disc with clamps. JOHN : No, no, no, no, no. There's got to be a diamond. It's all about the diamond ! What the hell is tha... The disc ZOOMS and attaches itself to John's chest, the metal clamps embedding a firm hold on him. A red light appears and it ticks. John staggers backward. The Holographic Woman turns and smiles in his direction. John can't remove it. It is clamped securely to his chest. HOLOGRAM WOMAN : It's an expl*sive device, which will latch on to the DNA of whoever k*lled me. It'll detonate in ten minutes. Always at the ready, Ianto takes out his stopwatch and starts the timer. HOLOGRAM WOMAN : It can't be removed without exploding, so don't bother trying. Goodbye, lover. JOHN : No, wait ! HOLOGRAM WOMAN : See you in hell. The hologram ends. GWEN : She can't be serious. Ten minutes. JOHN : (shouts) Get out off me ! IANTO : Actually, nine minutes... 50, 49, 48... always at the ready. He holds up the stopwatch. GWEN : Okay. How big is this expl*si*n likely to be, Jack ? JACK : That technology, that size,big. OWEN : So, we should really get him out of the city. IANTO : Nine minutes 37. JOHN : (turns to Jack) You've got to help me ! Please. Jack stands up and faces him. JACK : Why ? John punches Jack in the face, then grabs Gwen, twists her arms behind her back and pulls her backward out the office door. Owen pulls his g*n out. OWEN : Let her go ! JOHN : Get back ! Back, back off ! Get back ! INT. THE HUB - WORKSTATIONS - CONTINUOUS Everyone has their g*n out and follows John out of the office. GWEN : Jack, help me ! JOHN : Get back ! He lets her go as the handcuffs snap shut around her wrist. She looks at her left wrist handcuffed to his right wrist. GWEN : What've you done ?! JOHN HART : It's... uh... hypersteel, impermeable, deadlock sealed. No way to undo them. Unless you have this key. He shows them a key, then puts it in his mouth and swallows it. She grabs him by his throat. GWEN : You are unbelievable ! JOHN : And yet, you still find me strangely attractive. Now you had better find a solution pronto or she'll be blown up with me ! OWEN : Would sh**ting him stop the DNA trigger ? JACK : (puts a hand on Owen's shoulder to stay him) No. JOHN HART : So ! What are we gonna do now, team ? The orgy's still on offer, by the way. Especially now the cuffs are out. IANTO : Nine minutes, four seconds. GWEN : Tosh ? The rift predictor program, have you perfected yet ? TOSHIKO : Pretty much. JOHN : What ? GWEN : Anything in the next few minutes ? Toshiko heads for her computer to check. JACK : Gwen, no way. Jack looks at Gwen. JOHN : What's she talking about ? Jack shakes his head. GWEN : If we're in the rift when that disc explodes, the city will be safe. JOHN : How does that save us ? GWEN : It doesn't. IANTO : Eight thirty-two... thirty-one... JOHN : You're bluffing. GWEN : (d*ad serious) Try me. TOSHIKO : The car park where he arrived. The crack in the rift is still active up there. GWEN : That's where we're going. Gwen grabs John and pulls him after her as she leaves the workstation areas. JOHN : (shouts) Somebody better start doing something ! Ianto and Toshiko follow. Jack starts to follow, but Owen stops him. IANTO : (o.s.) Cut his hand off ! TOSHIKO : (o.s.) That would activate the b*mb. Owen grabs Jack's arm and motions him toward the autopsy area. OWEN : Come on, come on. GWEN : (o.s.) Don't make me pull you ! Get up the stairs! Now ! Gwen pulls John after her. Ianto and Toshiko follow them out. INT. HUB - AUTOPSY BAY - CONTINUOUS REVERSE VIEW INSIDE THE REFRIGERATOR Owen takes out a tray of vials filled with blood samples. SERIES OF CUTS : He puts the tray on the counter and starts pulling out vials of blood. He hands one to Jack, who adds it to a vial he's holding. Owen pulls out another vial, uncaps it and hands it to Jack to add it to the mixture. Owen pulls another vial out labeled "Ianto, Jones." Jack uncaps it and adds it to the mixture. CUT TO : Owen starts the machine to mix the blood. EXT. VARIOUS CARDIFF (STOCK) - DAY ZOOM out and up from the city. INT. TORCHWOOD SUV (TRAVELING) - DAY Ianto monitors the time. IANTO : Five minutes, twenty-two seconds. Gwen is driving. Toshiko is working on the computer in the back seat. TOSHIKO : I can't find the frequency the device works on. There's no chance of jamming it ! GWEN : What happened to Jack ? He should be here. JOHN : What I've been saying all along, unreliable. GWEN : Shut up ! As they drive, John sees a couple of young women walking along the sidewalk. JOHN : Think I'm starting to see what he likes about this place. (He sees a woman and a man walking.) She's beautiful, he's stunning. GWEN : Don't you ever stop ? JOHN : What five minutes to live, you want me to behave ? (He sees something off screen.) Oh, that's gorgeous. GWEN : That's a poodle. JOHN : That's nice. INT. HUB - AUTOPSY AREA - DAY Owen stops the machine and grabs the mixed canister. Jack picks up a syringe. JACK : (holds it up) This better work. OWEN : (holds it up) Trust me, I'm an improviser. They head out. EXT. GARAGE - ROOFTOP - DAY The Torchwood SUV arrives at the top of the garage rooftop where John Hart first appeared. It comes to a screeching halt. Gwen gets out of the car. She pulls John out behind her. Ianto and Toshiko get out of the SUV. GWEN : Out ! GET OUT ! JOHN : Ow, ow ! I do love a woman who's rough. IANTO : Fifty-one seconds. Gwen looks out and waits for the rift. A golden gaseous light appears - faint at first, then larger and larger. JOHN : You're not really gonna sacrifice yourself, are you ? IANTO : Forty-five seconds. GWEN : We have to go. Gwen starts toward the rift and pulls John along with her. JOHN HART : (protesting) No ! What about a last-minute rescue ? What's the point of being on a team if you don't get a last-minute rescue ! IANTO : Forty seconds ! GWEN : Tell... She turns to look at Ianto and Toshiko. GWEN : ...Tell Jack... Tell Jack, I... The screeching tires of a car approaching sounds. They turn and see the red convertible speed out of the entrance. Jack is driving. The car stops. Owen gets out of the car, holding his injured side and running toward them. Jack jumps out of the car, the syringe between his teeth. IANTO : Thirty seconds. He grabs the syringe and runs toward them. JOHN : Er, what's he doing ? Jack tackles them both and they slam backward to the concrete. Jack s*ab the syringe needle directly into his chest, injecting him with the blood mixture. JOHN : Agh ! Get off me ! John grabs his wrist and pulls him off. After the syringe is emptied into him, Jack lets go and backs away. He waits for a reaction. JACK : Owen, it's not working. IANTO : Fifteen seconds ! Gwen kneels next to John. GWEN : What are you doing ?! OWEN : Trying to confuse the disc ! JACK : Why hasn't it worked ? OWEN : I don't know ! IANTO : Twelve seconds ! TOSHIKO : Jack, do something ! Gwen grabs John by his shirt and yanks him up. She looks back at Jack. GWEN : I've gotta go, Jack. Jack reaches down and grabs John to help her when they pull John to his feet and the disc falls off. IANTO : Five... Four... Jack picks up the disc. IANTO : Three... Owen turns and grabs Toshiko, pushing her back toward the cars. IANTO : Two... Jack hurls the disc into the rift ! IANTO : One ! The disc enters the rift. IANTO : Go ! It explodes. Owen, Toshiko and Ianto take cover behind the cars. Jack turns and starts running with Gwen and John. JACK : Run ! The expl*si*n rips out of the rift - light, sound, and time and day is now night. The force of the expl*si*n lifts Jack, Gwen and John clear off the pavement. They h*t the ground. They turn around and look back at where the rift was. Jack looks at his watch. Everything is quiet. JACK : What the hell ? GWEN : Jack, what's going on ? Why's it gone dark ? JACK : The rift's reverted to the moment he came through. Everything's jumped back to the beginning of the night. GWEN : Like you were never here. Owen, Toshiko and Ianto return and join them. JACK : Now we've got to avoid ourselves, great ! JOHN : It's a temporal displacement ! Makes your tongue tingle, doesn't it ? Lovely ! GWEN : (to Owen) What was in the syringe ? OWEN : Torchwood DNA. GWEN : What ? OWEN : DNA samples from the five of us, fused and injected into his heart. Temporarily corrupted his DNA coding, confused the disc. JOHN : You mean, there's a bit of all of you inside of me ? Sweet goddesses, that's all I need. GWEN : Thank you, Owen. OWEN : You're welcome. JACK : (to John) I want you gone. GWEN : Well, we've got to work out a way to get these off first. She holds up her handcuffed wrist. JOHN : Actually... He motions her closer. With a sly look at Jack, he tilts his head back, reaches down into the back of his mouth, gags a little, and pulls out a key. JOHN : Old Artesian trick. (to Gwen) Keep it in the lining of the throat. Has a lot of uses. GWEN : You had that all along ? JOHN : You were my passport to survival. (He unlocks the handcuffs.) No hard feelings. Well, not in that sense. Gwen takes a step back and slugs him once in the face, hard. And all the guys feel it with him. OWEN : Oh ! Gwen backs away from John, who is holding the side of his mouth. Ianto looks absolutely stunned. Jack chuckles with amusement. Owen puts a hand on Gwen's shoulder. IANTO : Remind me never to get on your bad side. Jack holds out his hand to John. JACK : (clears throat) Ahem ! They look at each other. John reaches into his jacket pocket and gives Jack his wristband back. Owen has his arm around Gwen's shoulders. Jack looks at his wristband. JACK : Definitely bigger. He secures it back on his wrist. JOHN : If you need a new team member... JACK : No. JOHN : Really ? I could... JACK : No. JOHN : But... JACK : No. Go now, and you can harness the residual rift energy. JOHN : Listen... JACK : Goodbye. JOHN : Okay. John grabs Jack and kisses him. He takes a step back and pats him on his chest. He heads for the rift. He presses a button on his wrist band and the golden gaseous light appears. As the gaseous light engulfs him... JOHN : Oh ! By the way... I meant to tell you. (serious) I found Gray. ZOOM IN on Jack's stunned face. QUICK CUTS OF : A white light and a child's hand slipping out of the adult's hand. A man yelling and a child screaming in the background. ON JACK, absolutely devastated. Toshiko, Gwen, Owen and Ianto step up behind him. John watches his reaction, turns and disappears into the gold light. The rift vanishes. GWEN : Who's Gray ? Jack's back is to them. He takes a moment to answer, still processing that bit of information. He takes several breaths and shakes his head a little. JACK : It's nothing. Let's get back to work. With the team following behind him, Jack turns and heads out straight toward the camera. END

{"type": "series", "show": "Torchwood", "episode": "2x01 - Kiss kiss bang bang"}

foreverdreaming

Opening credits JACK : (v.o.) Torchwood : outside the government, beyond the police, fighting for the future on behalf of the human race. The 21st Century is when everything changes. And Torchwood is ready. INT. HALLORAN APARTMENT - BEDROOM - NIGHT Everything is quiet as Mike and Beth Halloran are in bed for the night. Beth is still awake. She hears a soft noise coming from the other room. She sits up. BETH : Mike. Mike sits up, now awake. BETH : Did you hear that ? MIKE : Someone's in the living room ! They're now both awake. Mike turns the lights on. BETH : Are you going to go in there ? MIKE : Are you ? She gives him a look. He turns and reaches for the cricket bat under his bed. He gets up and heads slowly toward the door. Beth grabs the cell phone and dials. Mike heads for the bedroom door, his bat raised. OPERATOR : (from phone) Emergency. Which service ? BETH : (to phone) Police. MIKE : Who's there ? Mike exits the bedroom. BETH : (to phone, rushed & quiet) My name's Beth Halloran, I'm at 114 Brodsky Gardens. I think there's a burglar in the flat. Come quickly. Mike is thrown back into the room and hits the wall. Beth screams. Burglar 1 grabs Mike and pushes him into the room. BURGLAR : Come on then ! Stay down ! BETH : Mike ! Mike ? Beth drops the cell phone on the floor in her haste to get to Mike. BURGLAR : Sit down there ! Beth gets up and climbs out of bed. BETH : There's two of them ! My husband's been injured ! Send an ambulance ! BURGLAR : Stay down while I get the TV stuff unhooked. The burglars approach her. BETH : Wait. Just take whatever you want ! BURGLAR : Keep her quiet. Wait, wait. Did you hear that ? They hear the operator on the phone. OPERATOR : (o.s.) Emergency. Are there any other exits ? She looks at them and takes a shuddering breath. CLOSE UP : ON CELL PHONE The cell phone connection is still open. We can't see anything except for what's on the ground, but we do hear the burglars yelling and screaming, terrified of something. BURGLAR : (o.s.) What's happening ? BURGLAR : (o.s.) Get away ! Get away from me ! A man screams painfully loud and long. BURGLAR : What is that thing ? Oh, please, don't... don't, please... stop ! The bedside lamp falls on the floor. We still can't see what's going on, only that it's not good for the burglars. BURGLAR : Stop, I'm sorry ! What's going on ?! I'm sorry ! (Screams) No-o ! Get away ! No-o ! Focus on the lamp as it gets brighter and brighter. END OF TEASER ROLL TITLE CREDITS EXT. STREET OUTSIDE HALLORAN BUILDING - NIGHT Police are at the scene out on the street in front the building. The Torchwood vehicle arrives. JACK : (v.o.) Tosh, what happened here ? TOSHIKO : (v.o.) Two IC, one males, one fatality, one seriously wounded after a fall from a fifth-floor window onto a police vehicle. The Torchwood SUV parks to a screeching halt. The doors open. Owen rushes out with his kit and heads over to check on the man. The others get out and follow. Owen looks at the burglar. OWEN : Bloody hell ! (He motions for the officer to give him the IV bag.) Here you are. Has he been s*ab ? Gwen looks up at the building above. JACK : Gwen, Owen, go with him to the hospital. See if he says anything. Interview the husband and wife while you're there. Tosh, with me. Jack turns and heads inside the building. ZOOM up the side of the building. INT. HALLORAN RESIDENCE - BEDROOM - NIGHT - CONTINUOUS Toshiko is checking the damaged bedroom window with her scanner while the officer talks with Jack. OFFICER : (o.s.) Bit weird, this one. Might be one of yours. Nobody saw anything, heard anything. Blah, blah, blah. The usual. Don't know why we bother asking. JACK : Thanks so much. We'll take it from here. Now, if you could just wait outside. The officer turns and heads for the door, and he stops. OFFICER : In my opinion, the husband did it. He was looking for trouble, expecting to be burgled. Toshiko watches them, amused. JACK : Really ? Jack tries again to get the officer to leave. OFFICER : Yeah, look. No other reason I can think of for keeping sports equipment in the bedroom. He indicates the bloodied cricket bat on the floor. JACK : Oh, you should come round to my house for a game of hockey sometime. Jack manages to get the officer out of the room. He closes the door on him. TOSHIKO : Making friends ? JACK : Not really. What have you got ? TOSHIKO : No glass inside, so it was definitely broken out. Jack kneels and examines the d*ad burglar sitting on the floor. JACK : Police say the s*ab wounds were caused by some sort of long, narrow blade. (points) Which that isn't. No other w*apon in the room could have done this. So how the hell did they manage it ? TOSHIKO : Husband was unconscious, and the wife probably weighs less than I do. I can't see either of them doing this. JACK : When you fear for your life, you'd be surprised what you can do. CUT TO : INT. HOSPITAL - BETH'S ROOM - NIGHT Mike is in bed while Beth sits next to him holding his hand. Gwen stands at the foot of the bed while Owen takes samples from Mike. BETH : I didn't see anything. We all heard this weird noise, then the next thing I know, I'm in the corner and he's just... sitting there, d*ad. The other one was just gone. GWEN : And then what ? BETH : Nothing. I just stayed there till the police arrived. Couldn't move. (Owen swabs Mike's hand.) I should've checked on Mike. MIKE : Don't be silly. You did the right thing. I'm fine. BETH : Quiet, you. The doctor said you should rest. MIKE : I don't think the doctor meant my mouth. Owen tests the swab. BETH : (deadpans) Actually, he did. He was very specific. He said no talking for a whole week. MIKE : Lies, lies. Why so many lies ? Owen shakes his head at Gwen. Whatever the test was, it was negative. GWEN : Okay, thanks for your time. We'll let you get some rest now. Owen picks up his bag and follows Gwen out. CUT TO : INT. HOSPITAL - HALLWAY - CONTINUOUS Owen and Gwen talk. OWEN : Not a trace of blood on their hands, either of them. He moves his gloves and tosses them into the bin. GWEN : Then who did it ? OWEN : She did, obviously. GWEN : Why "obviously" ? OWEN : Well, look at her. Gwen does. She turns and looks back behind the curtain and finds Beth crying and Mike comforting her. MIKE : (to Beth) It's okay. It's okay. Back on Gwen and Owen. GWEN : Yeah, I can see what you're saying. She's absolutely terrified. OWEN : It's always the one you least suspect -- they're all in the room together, hubby's out cold, and somehow, she survives while two burglars get mangled. She did it, she must have. GWEN : How ? OWEN : I haven't worked that bit out yet, Gwen. GWEN : Oh, I see, I see. She pats his shoulder and heads out. OWEN : All right then, Jessica Fletcher, whodunit ? GWEN : The husband. His wife's in danger, he keeps a cricket bat under the bed. You fill in the blanks from there. OWEN : Right, okay. So, he kills one man, wearing gloves, and then he swallows the m*rder w*apon and the gloves, and then he knocks himself out ? GWEN : Something like that, yeah. OWEN : Right. Owen's earpiece chirps. OWEN : (to Gwen) To be continued. He steps aside to answer the comm. OWEN : (to comm) Yeah ? JACK : (filtered) It's me. Anything ? OWEN : (to comm) No, nothing. They're completely clear. INTERCUT WITH : EXT. STREET OUTSIDE HALLORAN BUILDING - NIGHT Jack is on the comm with Owen. The police car lights flash. JACK : Well, one of them did it. We just need to figure out how. Stay with the burglar all night if you have to, and keep an eye on those two. OWEN : (filtered) Okay, fair enough. JACK : Tosh... Jack heads out. Owen turns back to Gwen. OWEN : Uh, that was Jack. He says that you should stay with the burglar and find out if he knows anything. All night, if you have to... I know... and keep an eye on the other two. GWEN : Brilliant. Brilliant. (Gwen turns to head back to the rooms while Owen heads off in the other direction.) Oh, will you get me a coffee before you go ? Owen turns to get the coffee. OWEN : Yeah, yeah, course. What are teammates for ? (He turns back.) Er... You haven't got a pound for the machine, have you ? The hallway light near them crackles, flickers and turns off. OWEN : Hospitals. They have to fall apart before anyone fixes them. GWEN : (hands him the money) Pound. Coffee. Thank you ! Owen heads out to get the coffee. Gwen turns and waits. INT. HOSPITAL - BURGLAR'S ROOM The burglar is in bed. The heart monitor beeps steadily. Gwen is sitting next to the bed. She nods and catches herself. She looks over at the burglar sleeping in bed. Her eyes close again. She drops her empty coffee cup and it startles her awake again. She picks up the coffee cup, then finds the burglar awake and looking at her. GWEN : Oh, shh, shh ! Oh, you're safe, all right ? You're safe, just tell me who did this to you. His heart rate increases and increases. BURGLAR : The woman... in the flat, keep her away from me ! He flatlines and passes out. The monitor alarm goes off. Nurses enter the room. NURSE : Page the doctor. Can you move, please ? NURSE : Look here, we need to get him lying him down. NURSE : Start charging that. NURSE : Get out. The nurses surround him and get to work. Gwen edges away from the room. CUT TO : CLOSE-UP : MIRROR Jack walks into the room. INT. HUB - INTERVIEW ROOM The door slams shut behind him as he grabs the hood off BETH'S head. He tosses the bag aside. JACK : Tell me everything. Beth is sitting at the interview table in the grimy interview room. Her hands are tied in front of her. Gwen is in the room with them and holding some photos close to her chest. BETH : Where am I ? Where's my husband ? JACK : He's safe. BETH : What do you mean, "safe ?" What have you done with him ? JACK : Nothing yet. Jack leans in close, his hands flat on the table. JACK : Tell me what happened in the flat, Beth. It had to be you or Mike, so how did you do it ? BETH : You can't treat people like this. I've been burgled, att*cked ! I want a lawyer, I want a phone call. If you're charging me with something... JACK : We're not charging you with anything. We don't have to. And there'll be no lawyer, no phone calls, just us, and this room for as long as it takes. Now, tell me what happened ! BETH : I told her... and the police. INTERCUT WITH : INT. HUB - OBSERVATION WINDOW - CONTINUOUS Ianto and Owen watch the interview from above through the two-way mirror. BETH : (filtered) Please, I don't know anything ! Gwen spreads the crime scene photos she's been carrying out on the table in front of Beth. Beth flinches when she realizes what she's looking at. JACK : Look at them. She looks at the photos of the injuries sustained by the burglars. JACK : The second one just died in the hospital. "Keep her away from me. The woman in the flat." Those were his dying words. Now, why would he say something like that ? BETH : I don't know, I swear. I never touched him. JACK : Is it Mike ? Are you covering for him ? BETH : No ! The light goes out. GWEN : Jack ? Jack leaves the room. GWEN : Beth, we know these men att*cked you and your husband. Now, if you fought back, people will understand. It was self-defense. BETH : I promise... I promise I have no idea what happened to them. All I know is that it wasn't me. INT. HUB - OBSERVATION WINDOW - CONTINUOUS Jack walks through the workstations and appears at the window to the interview room with Ianto. Owen steps back. IANTO : "Just us and this room for as long as it takes ?" Terrifying. JACK : Really ? IANTO : Absolutely. Shivers down my spine. JACK : You don't look scared. IANTO : Oh, it... passed. Jack growls with disappointment. He turns and addresses Toshiko, who is working at the computer. JACK : Tosh, anything on the body scan ? Jack sits at his desk. TOSHIKO : Nothing out of the ordinary. JACK : What about the light ? Power surge ? TOSHIKO : Nothing from us. There was an electromagnetic build-up around her, but I can't see how she caused it. OWEN : Same thing happened at the hospital, Jack. Can't be a coincidence. JACK : It's her, I know it is. (To Owen) Okay, let's do some tests, see who or what we're dealing with. OWEN : I'm on it. Owen heads out. Toshiko goes back to the computer. CUT TO : INT. HUB - CORRIDOR OUTSIDE INTERVIEW ROOM Gwen leads Beth out of the interview room and through the corridor. BETH : What kind of tests ? GWEN : Just little things to clear this all up. Blood samples... BETH : Blood samples ? I haven't done anything ! GWEN : Look... I believe you, but this is our job. Something really strange happened at your flat and we've got to make sure you had nothing to do with it. BETH : I didn't. GWEN : Then you've nothing to worry about. They are doing these tests whether you like it or not, Beth. Don't make this any harder on yourself. Come on. They continue through the corridor. INT. HUB - MAIN FLOOR - CONTINUOUS Gwen and Beth enter the hub through the back near the armory. Beth looks around, taking it all in. BETH : This is where you work ? GWEN : Yep. Cozy, isn't it ? BETH : Who are you people ? Don't you have any windows ? Beth's hands are still tied in front of her. She starts up the steps to the workstation area. GWEN : It wouldn't really be in keeping with the whole secrecy thing, people looking in, you know ? Beth stops and smells a piece of machinery near the steps. Ianto pops his head out from somewhere behind her. IANTO : We don't sniff the subetheric resonator. BETH : Sorry. She walks past them and takes in an eye-full. Ianto steps out past her, leaving the concrete central column open wide and showing the rift manipulator hidden inside. He's been working on it and Beth can see it all. BETH : (looking up and around) It's so big. This is crazy. GWEN : Yep. BETH : I suddenly feel very, very small. GWEN : Come on. Let's just get these tests done. Then you can get home, okay ? (loudly) Come on, Owen ! INT. HUB - AUTOPSY BAY / MEDICAL AREA Beth is strapped sitting up on the table while Owen holds up the syringe. OWEN : We'll start with a few blood tests, nothing to worry about, just a little... (He uncaps the syringe. She sees it and gasps.)... needle. Owen tries to inject her arm and the needle breaks. He looks at it. JACK : What ? OWEN : Needle snapped. BETH : Haven't you got a nurse to do this ? GWEN : He's a doctor. It's okay. Owen clears his throat. He picks up a second syringe and tries again. CLOSE-UP : BETH'S ARM The needle snaps again. Owen looks at the needle. BETH : Ah, okay. Look, I'm not going to do this if you can't even... (Owen turns around and he's holding a scalpel). What are you doing ? OWEN : Bear with me. BETH : Oi ! Hey ! Oh ! Owen tries to cut into Beth's arm and the scalpel tip snaps off with barely a scratch to her. The scalpel metal tip falls to the floor. Owen looks at the broken scalpel. OWEN : When was the last time you were in hospital, Beth ? BETH : I... I don't remember. I don't think I ever have. Why, what's wrong with me ? OWEN : Well, any operations ? Checkups ? BETH : No, nothing. OWEN : When was the last time you felt ill ? You had a cold ? Anything ? BETH : I don't think I ever have. I take a lot of vitamin C. OWEN : Mm, hell of a lot I reckon. He drops the broken scalpel back on the tray. JACK : Okay, Beth. You make light bulbs blow, we can't break your skin. What planet are you from ? BETH : Earth. JACK : (hard) Stop wasting our time ! We know you're an alien ! BETH : There's no such thing as aliens. INT. HUB - CONTAINMENT CELLS Jack pushes Beth into the containment cell area. He slams her up against the window to the weevil cell. Janet growls. JACK : Beth, Janet. Janet, Beth. INTERCUT WITH : INT. HUB - WORKSTATIONS MONITOR VIEW Gwen is watching Jack and Beth on the security monitors. BETH : (from monitor) What is it ? JACK : (from monitor) It's an alien. But you know that 'cause you are, too. BETH : No, it's not. Beth looks scared. BETH : I'm not. I work in an office... JACK : Why do you give off electro-magnetic waves ? Why ? BETH : (crying) I don't know ! Stop it ! Why are you doing this ? I want Mike. I want to go home. The weevil leans in close to the window and looks up and down at Beth. The weevil groans, lowers its head submissively and backs away. Jack notes the weevil's behavior. The weevil continues to back away. BETH : Why is it doing that ? JACK : I don't know. It's never done it before. The weevil cowers in the dark corner, its head still lowered submissively. BETH : This is real, isn't it ? JACK : Yeah. BETH : I don't know about my skin, or any of that other stuff. I just... how can I prove it to you ? How can I... prove to you... that I'm not an alien ? Jack looks at the weevil moaning and cowering in the dark corner and considers the question. EXT. VARIOUS CARDIFF BAY (STOCK) - DAY ZOOM over the bay area. INT. HUB - WORKSTATIONS Ianto rolls out a wheelchair while Jack carries a box out of his office. Ianto removes the thick wires to help set it up. Toshiko turns around and watches them. Jack puts the box down in front of Toshiko and uncovers it. He removes a metal helmet. TOSHIKO : You said we weren't allowed to use that again. JACK : It's just a mind probe. IANTO : (pipes up) Remember what happened last time you used it ? Ianto continues putting the chair together. Owen helps set it up. JACK : That was different. That species has extremely high blood pressure. IANTO : Oh, right, their heads must explode all the time. Gwen's eyes get really wide. Toshiko tilts her head to the side. GWEN : You can't do this. What if you're wrong ? If she is human, it'll k*ll her. Ianto sits in the metal chair. JACK : I'm not wrong. We have to find out what she is. Ianto grabs the metal armrests, the straps over his wrists. TOSHIKO : Take it easy, Jack. Stop at the first sign of trouble. IANTO : (deadpans) Or the first sign of exploding. JACK : Gwen... bring her up. GWEN : Ok. Ianto shudders, imitating being electrocuted - complete with sound effects. JACK : Hey ! Ianto gets up off the chair. Owen looks at him and shakes his head. CUT TO : Beth is in the chair as Toshiko adjusts the wrist straps. TOSHIKO : Not too tight, is it ? BETH : It's fine. (to Gwen) Are you sure this is safe ? Toshiko and Owen complete attaching the helmet to the wires. Gwen nods and smiles stiffly. GWEN : Yep. BETH : Just try not to, you know, k*ll me or anything, okay ? IANTO : You'll probably get dehydrated... during the probing. He offers her a sip of water. She drinks. BETH : Thank you. Owen holds the helmet over her head and looks at Jack. Jack nods. Owen sets the helmet on Beth's head. It lights up and hums. Gwen clears her throat and tries to smile. Toshiko types on the keyboard and everyone waits. She looks at Jack, and he nods. TOSHIKO : We're all set. Jack steps forward to explain the procedure and process. JACK : The probe drills down through your consciousness, so if there's anything hidden, it'll pop to the surface. BETH : Will it hurt ? JACK: Yeah. BETH : Your bedside manner's rubbish. GWEN : (rambles nervously) You should see his manners in bed, they're atrocious. Apparently. So I've heard. IANTO : Oh, they are. I remember this one... Jack clears his throat loudly. Gwen kneels in front of Beth. GWEN : All right, we all ready ? BETH : I suppose. GWEN : Okay, we'll do this slowly. Tosh will control the probe, Owen will make sure you're not in danger, Ianto will have more water when you need it, and I'll be right here, okay? She pats her hands on Beth's knees. BETH : (re: Jack) And what about him ? What does he do ? JACK : I'll be watching. GWEN : Are you ready, Beth ? Beth nods. GWEN : Okay. Gwen stands up and backs away to stand nervously next to Jack. Owen types on the keyboard. He stops. JACK : Okay, Tosh. Toshiko types on the keyboard and the probe starts. Beth gasps and cries out in pain. Owen types on the keyboard. BETH : Human. She cries out in pain again. INSERT : CGI EFFECT - Follow the probe as it fires through her nerves and synapses (in blue). Her heart flares (in red). BACK TO SCENE. Beth cries out in pain. Jack is looking at Owen. OWEN : (to Jack) Safe. Jack turns his attention to Beth to start the questioning. JACK : Who k*lled the burglars, Beth ? BETH : (grimaces) I don't know ! I... Oh, my... Ah ! Owen continues monitoring her. OWEN : (to Jack) Safe. JACK : What planet are you from ? Beth hyperventilates. INSERT : CGI EFFECTS - Her heart flares and nerves f*re. BETH : I'm human ! Oh, God, it hurts ! Please, please, st-stop ! JACK : Go deeper. TOSHIKO : (hesitates) Are you sure ? JACK : (shouts) Do it ! Beth cries out in pain. INSERT : CGI EFFECTS - ON blood cells. Beth continues to cry out as the probe continues. OWEN : Vital signs are all over the place, but still safe. Toshiko turns to another monitor and types, continuing the mind probe. TOSHIKO : Getting electromagnetic build-up again. JACK : Who k*lled those men ?! BETH : I don't know ! Make it stop ! GWEN : For God's sake ! Come on ! JACK : Go deeper ! Gwen can't take much more of it. Jack glances annoyingly at her. Owen and Toshiko continue. OWEN : Safe. JACK : Deeper ! INSERT : CGI EFFECTS - The probe starts f*ring up various cells. Even Toshiko is being affected by Beth's cries. The lights start flickering. INSERT : CGI EFFECTS - Beth's heart flares, nerves wire up and everything goes haywire. Something inside her bursts wide open. The lights continue to flicker, an alarm is going off somewhere. Everyone is noting the effects. IANTO : Something's happening to the lights ! TOSHIKO : The electro-magnetic pulse is off the scale. OWEN : I don't know how much more she can take ! GWEN : Jack, we've got to stop this ! Toshiko continues typing... then Beth exhales and passes out. She slumps forward in her seat. The lights stop flickering. No one is moving. Everyone turns and looks at Jack. Suddenly, Beth sits back in the metal chair - coldly, efficiently. Her right arm is turned palm up. The skin on her forearm CGI morphs into something horrid and dangerous-looking. It looks puckered with the inside and layer under it glowing red. This is the alien. Jack looks like he knows what it is. GWEN : Oh, my God ! Gwen starts to move forward. Jack stops her. JACK : I wouldn't get that close. Toshiko, what happened ? TOSHIKO : h*t a buried compartment. Locked away. She couldn't have been aware of it. Jack steps in front of Beth. JACK : Who are you ? BETH (ALIEN) : Kayehla janees, putaak graszh, ish nin fas du hap vac nal. JACK : Where are you from ? BETH (ALIEN) : Kayehla janees, putaak graszh, ish nin fas du hap vac nal. JACK : How do you like my boots ? She glances down at his boots, then eyes back straight and forward. BETH (ALIEN) : Kayehla janees, putaak graszh, ish nin fas du hap vac nal. Jack grabs the hand-held scanner and uses it on Beth's alien arm. GWEN : Jack, what is it, what is she saying ? JACK : Name, rank, serial number, and that's all she's gonna say. TOSHIKO : How do you know ? JACK : 'Cause I know who she is and why she's here. He tosses the scanner to Ianto. He catches it. JACK : Switch off the probe. Toshiko types. TOSHIKO : Off. Beth's arm CGI morphs back to normal. Beth breathes in deeply as her right hand opens and closes. Owen steps forward and removes the probe off Beth's head. Gwen cautiously remains apart from Beth and doesn't go to her. Beth shudders. BETH : Oh, you weren't lying, that really hurt ! (She takes a deep breath and looks at Jack.) Did you find anything ? Everyone looks at each other and no one answers her. CUT TO : INT. HUB - CONFERENCE ROOM Jack meets with the team. JACK : She's a sleeper agent. It all clicked when I saw the implant. OWEN : A sleeper agent ? Who for ? JACK : No-one knows very much. They don't leave survivors. Official designation is Cell 114. They infiltrate planets, adapting their bodies, gathering intelligence, sometimes for years, watching, until they're ready to take over. GWEN : Okay, that's... creepy. JACK : If we're lucky, she's the first. They send an advance guard to gather intel. Give them false memories so they blend in. Jack looks at the security monitor on the wall behind them showing Beth in the containment cell. JACK : She has no idea she's not human. Her real self must have taken over briefly, k*lled the burglars. Self preservation. OWEN : (to Gwen) Told you she did it. JACK : The point is, by the time they att*ck, they know every single thing about the planet. (This is very serious.) Tosh. Toshiko stands up and gives her report. TOSHIKO : The implant gathers information. Normal X-rays don't show it. She's projecting a false image. It's got all this data stored inside it. On the monitor she shows swirling red and quick flashes of multiple images. Everyone is stunned. Toshiko continues. She shows them her laptop reading. TOSHIKO : This is a force-field generator. It creates an impervious layer above the skin, just a nanometre thick. That's why you couldn't get the needle inside her. OWEN : Right, well... God, look, they even know about us. He points to the monitor showing their images and information. IANTO : They know more about this place than I do. Nobody knows more than I do. GWEN : What if there's more of them ? What are we gonna do about this ? JACK : For a start... I think we should tell her. CUT TO : INT. HUB - CONTAINMENT CELLS Beth is in the cell as she watches the monitor with the recording of her as the alien. BETH (ALIEN) : (from monitor) Kayehla janees, putaak graszh, ish nin fas du hap vac nal. JACK : (from monitor) Where are you from ? BETH (ALIEN) : (from monitor) Kayehla janees, putaak graszh... BETH : (upset) Can you turn it off, please ? Gwen stops the footage. Beth looks at her right arm. BETH : So I k*lled those men ? JACK : Yes. BETH : And I'm a mass-m*rder alien ? JACK : Yes. BETH : My whole life... all my memories, they can't be fake. I know I love Mike... and he loves me. GWEN : He does, and you do. BETH : So what's real ? GWEN : You both are, you both fell in love. That happened. (Gwen goes up to the glass.) Do you feel human ? BETH : Yes. GWEN : Yes. Well, then you are. What makes us human ? Is it our minds or our bodies ? She turns and looks at Jack. BETH : And what happens when the disguise comes off ? I want to have kids one day. Is feeling human... enough for that ? (She presses up to the glass.) Can you fix me ? Can you make me human ? JACK : No. Eventually, you'll activate. Your real memories will come back, and Beth will disappear. BETH : What do you mean, « activate » ? JACK : Once you gather enough information, you'll send it back home, and start the invasion. BETH : There must be something you can do. All this technology, everything you do here... You can't keep me locked up next to that thing ! Gwen steps forward to reach out to Beth, but puts her hand down. She remains quiet. BETH : Are you going to k*ll me ? GWEN : (quickly) No. No, of course we're not. Jack looks at Gwen, who suddenly turns and looks at him. BETH : Have you k*lled other aliens ? GWEN : Only when we've had to. When it was the last resort : k*ll or be k*lled. BETH : Oh. I wish, I wish this wasn't happening. I'd never know. I'd just live a normal life. JACK : Until the day of the att*ck. BETH : I won't do anything ! I'm not that person ! Jack steps up to the glass. JACK : I'm sorry, but you are. He turns and walks away. Beth covers her mouth and cries. Gwen rushes out after Jack. INT. HUB - MAIN FLOOR Jack addresses everyone. JACK : We can't let her go, she's too dangerous. TOSHIKO : We could freeze her. Use the alien cryogenics. Wake her up if we figure out how to stop her memories from coming back. Owen is on the opposite end of the room watering the plants. GWEN : Freeze her ? For how long ? TOSHIKO : As long as it takes. At least she'd be alive. JACK : Her implant would still gather information. GWEN : Can't we deactivate it ? TOSHIKO : I can isolate the transceiver and fry it in an EM pulse. Right now, it's not sending or receiving anything. I've checked it five times on every frequency. OWEN : Won't that let them know we're onto them ? TOSHIKO : No. If we freeze her, she'll never activate and they'll never know. OWEN : What about her husband ? JACK : She'd have to disappear completely. (To Gwen) No goodbyes. Jack turns and heads out. INT. HUB - BACK CORRIDOR Gwen and Jack lead Beth through the corridor. BETH : We had a holiday booked. Nothing special, just a weekend away. Am I ever gonna see him again ? GWEN : I don't know. Beth gasps and stops walking. BETH : Oh ! INSERT : FLASHES OF - Beth chopping up the burglars and fighting back with her alien arm. The men scream. BACK TO SCENE. BETH : Oh-h... those men... INSERT : FLASHES OF - Beth attacking the burglars with the clinical precision of a trained k*ller. BETH : Oh, my God, those poor men ! What's happening ?! INSERT : FLASHES OF - (red hue) a b*mb exploding. And another b*mb exploding. BACK TO SCENE. JACK : The real memory is coming back, destroying the fake human persona. The sooner we do this, the better for everyone. Beth nods. GWEN : Beth ? Beth, come on. They continue to lead Beth through the back corridors. INT. HUB - AUTOPSY / MEDICAL AREA Owen pulls out a cryogenics chamber and gets to work. Beth is on the table nearby. Gwen sits with her. BETH : Promise me something. If you can't figure out how to keep me human, then don't wake me up. Just turn the machine off. GWEN : That's not a promise I can keep. Beth looks behind Gwen. BETH : Okay, you then. I bet you can. Jack is standing at the top of the entryway and looking down over the railing. He watches them. BETH : Just don't let me hurt anyone. JACK : You have my word. Gwen glares at him. He cross his arms in front of him. BETH : It's funny, I've always had this nagging feeling like I didn't fit in. Just... so desperate to have a more exciting life. Toshiko walks up to Beth. She's holding a hand-held device. TOSHIKO : I'm going to h*t the transceiver with an EM pulse. GWEN : You won't feel anything. It won't harm you. TOSHIKO : It'll take out the force-field generator, too, I'm afraid. So, I'll have to fry them both. BETH : Do it. I don't want to be invincible. OWEN : After that I'm gonna sedate you, then we'll freeze you. GWEN : It'll like... just like going to sleep. OWEN : Only a bit colder. BETH : Bye, Gwen. GWEN : Bye. Toshiko starts the device and moves it slowly along Beth's right arm. The green lights on the device blink. TOSHIKO : Done. Owen injects Beth in her right leg. Hold on the monitor with an X-ray of her implant. The implant flares alive again and the lights inside pulsate. Whatever they did is not working. And they haven't noticed it. CUT TO : EXT. VARIOUS CARDIFF CITY (STOCK) - DAY ZOOM out of the plaza. Various cuts of the city. INT. RESIDENCE - KITCHEN - DAY David's wife is sitting on the couch listening to David recount his story as he steps out of the kitchen with a glass in his hand. DAVID : "If you want the whole bloody seat to yourself, be my guest." She laughs. He hands her a glass of something to drink. He gets a bottle out of the refrigerator. DAVID : "In fact," I said, "Why don't we ask the other passengers to get off, and you can have the whole carriage to yourself ? Would you like that ?". DAVID'S WIFE : You didn't ! He takes a glass out of the cupboard and fills it. DAVID : I did. I was really loud, too. I couldn't help it, I was just really annoyed. So then... So then, right, she gives me the dirtiest look, right, and she... An electronic beeping sounds. He suddenly stops and stares at his wife as she waits for the rest of the story. DAVID'S WIFE : David ? He puts his glass down on the counter and lifts up his right arm. Red lights glow under his unbuttoned long sleeved shirt. It hums and whines. DAVID'S WIFE : What is that ?! He pulls his sleeve back and looks at the red lights along his arm. DAVID'S WIFE : What's happened to your arm ? Without another word, he gets up and heads toward the front door. DAVID'S WIFE : Hey ! Where are you going ? He ignores her and is nearly at the door. DAVID'S WIFE : David, you're scaring me ! He turns around and looks at her. DAVID'S WIFE : What are you doing ? He raises his left arm and looks at his watch. He's got time. DAVID'S WIFE : What's happening ? Come back here ! He walks up to her... DAVID'S WIFE : David ! ...and twists her neck. She falls. He turns and heads toward the door. CUT TOP : EXT. STREET - DAY Two paramedics are working on a man on the ground. One leaves the other to do chest compressions on the victim on the ground. Suddenly the paramedic stops and raises his right arm. It's beeping. It CGI morphs into the alien arm. He stands up, turns and walks away. CUT TO : EXT. STREET - DAY A woman is out pushing a baby carriage on the sidewalk. Her arm beeps. She stops and pulls her jacket sleeve back. Her arm CGI morphs into an alien arm. The baby carriage rolls away from her with the baby crying inside. The woman ignores it, turns and walks away. The baby carriage heads for the street with oncoming cars. The woman walks away. Off screen, tires screech and a car crashes. CUT TO : INT. HUB - AUTOPSY BAY / MEDICAL AREA - DAY Owen is down in the autopsy area. Beth is in the cryogenics chamber. Her eyes are closed. Owen checks the readings. OWEN : It's done. I'm sending her down to the vault. Gwen is sitting on the floor above, her feet crossed at the ankles and her hands clasped around her knees. Owen slides the chamber into the cabinet and secures the outer door. Gwen gets up and rushes out. Owen turns and braces his hands on the table. He looks up. INT. HUB - VAULT - DAY Ianto slides the cryogenics chamber into the vault. Gwen is standing next to him as he shuts the door to vault #007 and locks it. He looks at her. They turn and head out. He holds his arm out and she takes it as they leave. CLOSE-UP : VAULT CABINET The vault doors rattle and shake. Off screen, a door closes. INT. VAULT CHAMBER (007) - CONTINUOUS ON : THE CHAMBER SCREEN The monitors and scanners continue as normal. The computer chirps. In the window, Beth is frozen and her eyes are closed. Suddenly, her eyes open. A red light switches on. CLOSE-UP : MONITOR Beth's scanner and readings continue normally. INT. HUB - WORKSTATIONS - DAY Gwen returns to the workstations. Toshiko is at her computers working. The lights start flickering. Alarms blare. Owen has a flashlight on in the autopsy area as he heads up. Beth's vitals are projected up on the autopsy wall. JACK : (o.s.) Can somebody tell me what the hell is going on ? Gwen works on the security monitors and checks the vault. The vault door holding Beth's chamber is wide open. GWEN : Oh, shit ! JACK : What happened ? GWEN : Beth's gone. JACK : I thought she was frozen ! OWEN : (o.s.) She was ! All her vitals were at zero. Toshiko is working on the computers. TOSHIKO : Checking systems, command history... JACK : What did she do ? Is it a virus, a lockdown ? TOSHIKO : No, she just turned off the lights. JACK : What is it with her and light bulbs ? They turn the lights back on. Toshiko checks the monitors and finds the cog door rolled open. TOSHIKO : She went through the tunnels. IANTO : Time to change the locks again. Jack is thinking. JACK : She knew everything about this place. It was all in her arm. The tunnels, layout, security codes. She could've shut us down, blown us up - anything ! GWEN : But she didn't. OWEN : Oh, I swear, she was frozen. JACK : Tosh, you switched off the transceiver ? TOSHIKO : Yes. JACK: Are you sure ? TOSHIKO : Well, I was until you asked. (She glances at her monitor.) Unless it was another false image. OWEN : Hang on, hang on, hang on. Everything about her was a lie. All of her vital signs were a false image. She can fool the equipment. She can tell it what we're expecting to see. So, you know, she gets scared and it projects an increased heart rate. We try and freeze it and it does the opposite. TOSHIKO : Simulating that much information would need a huge amount of energy. No wonder she had a big electromagnetic field. OWEN : Well, that's why the lights blew every time she got upset. TOSHIKO : So, what's she doing ? Did we activate her ? JACK : She couldn't be activated. If she was, we'd all be d*ad. We took her off the network. She has some other agenda. INT. HOSPITAL - MIKE'S ROOM Mike wakes up. Beth is sitting next to him. MIKE : Hey. BETH : Hey. How are you feeling? MIKE : What's going on ? The doctor won't tell me anything. You all right ? BETH : I'm fine. I... Listen, you know I love you, don't you ? MIKE : Course I do. I love you, too. BETH : Do you promise ? MIKE : Why ? BETH : Just... I just had to be sure. I have to go away. MIKE : What do you mean ? Where ? BETH : I can't tell you, but it's for your own good. MIKE : (sits up) Beth, what are you talking about ? BETH : No. I'm sorry. I just... I have to stay away from you. If I don't... I'm gonna end up hurting you. MIKE : Well, this is hurting me. Don't go. BETH : Whatever happens... just know that I love you... and I always will. Mike sits up and leans in close to her. MIKE : If you've... If you've done something, I don't care, just don't leave me. We'll get through this. BETH : (upset) No, not this time. I have to put things straight, and I can't do that anywhere near you. I love you too much for that. She puts her left arm around him and they hug. MIKE : Don't let the police take you! I'm not gonna let you go. I don't care what it is. (Beth's arm starts beeping.) I don't care what... Mike gasps and stops moving. His face registers surprise and we hear a squishy-fleshy sound. MIKE : What was that ? BETH : I don't know. It sounded like... Beth pulls away from him. Mike is in pain and is gasping for breath. They look down. Beth's arm has morphed into a sharp, pointy w*apon that has impaled Mike clear through his abdomen. She pulls her arm back and the w*apon out of him. She's just as surprised as he is. BETH : Ah... uh... uh... Oh, my God ! Oh, my... Mike is bleeding. BETH : (screams) He... Help ! Help ! Somebody, get a doctor ! Help ! Somebody ! MIKE : What are... you... Beth's right hand is back to normal. She presses the call button frantically. The alarms start blaring. BETH : (screams) Somebody ! Mike gasps for breath. JACK : (o.s.) Beth ! Jack and Gwen are in the room, their g*n raised. Beth stands up and backs away from him. The red lights in Beth's right arm are on. Jack moves past Beth to check on Mike. BETH : Sorry... I was just... It was an accident. I just wanted to say goodbye... Beth falls to her knees. JACK : She's got a w*apon system built into her arm. Gwen uses the hand-held device and moves it slowly down Beth's right arm. GWEN : Clear. JACK : It's getting worse. She's losing control. We need to contain her fast. GWEN : Come on, Beth. Let's get you back. Gwen puts the device back in the bag. BETH: No ! GWEN : Come on ! BETH : (crying) No...! Jack helps Beth stand up. JACK : Come on ! Get up ! GWEN : Get up ! Go ! Jack and Gwen put Beth's arms around their shoulders and they rush her out of the room as the nurses rush in to tend to Mike. NURSE : He's bleeding. CUT TO : INT. GRAINGER RESIDENCE - FOYER - DAY Patrick Grainer puts his things down on the foyer table. He looks up at his daughter. PATRICK : So, what else happened at school today ? DAUGHTER : Alex has got a girlfriend. PATRICK : Oh ? Alex is walking out and carrying a stack of dishes. ALEX : Have not ! The front doorbell rings. DAUGHTER : Have too. She's called Jessica. ALEX : I'm gonna k*ll you so much. He carries the plates over to his Mrs. Grainger, who is setting the table. INTERCUT WITH : FRONT DOOR Patrick Grainger opens the door and finds David, the alien, out on his porch. DAVID : Patrick Grainger ? Mrs. Grainger takes the plates from Alex. MRS. GRAINGER : Alex, don't k*ll your sister. David holds his alien right arm out. It morphs into the bladed w*apon as he pulls it back and s*ab Patrick Grainger in the stomach. He opens his mouth and bleeds. Mrs. Grainger puts her arms on Alex's shoulders. MRS. GRAINGER : Not before tea anyway ! David forces his way into the house and steps into the foyer. There's blood spattered on his shirt. MRS. GRAINGER : Patrick ? Oh, my God, stop it ! She pulls her children to her, covers their eyes as best she can as they back up to the dining room area. David s*ab Patrick over and over again - squishy-fleshy sounds ensue. MRS. GRAINGER : (screams) Get away from him ! He pulls the blade out of Patrick and Patrick falls to the floor. MRS. GRAINGER : Oh, no ! Please, don't hurt my children ! He s*ab one more time. Blood spatters on Mrs. Grainger's face. DAUGHTER : (o.s.) No, please ! David turns and leaves. CUT TO : EXT. ROAD - DAY A large fuel t*nk screeches to a halt on the road under the overpass. The cars following it are stuck. The driver of the car directly behind the t*nk beeps his horn. The paramedic, dressed in green, jumps out of the fuel t*nk and heads toward the back. The driver of the car opens his door, stands and yells at the paramedic. DRIVER : Oi ! f*ck ! Get back in that truck or I'll shove it up your arse ! The paramedic removes a circular disc off his arm and attaches it to the side of the fuel t*nk. It's beeping and has a light flashing. The driver looks at it and can guess what it is. He turns and runs. DRIVER : Oh, shit ! The paramedic stays where he is and watches the driver run. INT. HOSPITAL - HALLWAY - DAY The hallway doors open. Jack, Gwen and Beth hurry out. JACK : (to comm) Tosh ? We got her. It's all over. We're on our way. The blast blows out the windows and knocks them - and everyone else in the hallway - off their feet. INT. HUB The hub shakes. Toshiko is at her workstation. TOSHIKO : What's going on ? Owen is in the autopsy bay and Ianto is coming down the spiral stairs. INT. HOSPITAL Jack looks at Gwen. JACK : You okay ? GWEN : Yeah... I think so, yeah. JACK : (to comm) What the hell was that ? INTERCUT WITH : INT. HUB Toshiko is at the computer looking it up. TOSHIKO : Petrol t*nk. Looks like someone wanted to take out the M4 link road for some r... (Owen runs out to join her. Toshiko checks the map.) No ! It's not the road. There's an underground fuel pipeline. (To Owen) It's a special fuel supply for the military. They use it in emergencies. OWEN : Not anymore. Hold on. (Owen turns to his own workstation.) I've got a report coming through. Patrick Grainger's been m*rder. TOSHIKO : Who ? OWEN : Leader of the council, s*ab several times in the chest, and once in the forehead. Sound familiar ? INT. HOSPITAL - CORRIDOR - DAY Gwen and Jack continue to help Beth out through the hallway. GWEN : (to comm) Why would anyone want to k*ll him ? IANTO : He's also the city co-ordinator. Takes charge of the city in case of major emergencies. Has all the security protocols. OWEN : Well, how do you know that ? IANTO : I know everything. (Points) And it says so on the bottom of the screen. INT./EXT. HOSPITAL - LOBBY - CONTINUOUS JACK : They're putting all the pieces in place. Gwen, take her. Jack releases Beth and rushes outside toward the SUV. Beth collapses and Gwen has to help her. JACK : (to comm) Tosh, Owen, it's starting. It's happening right now ! EXT. SIDEWALK - DAY The woman alien walks along the sidewalk. Her arm is in Alien mode and she's carrying a detonator in the palm of her other hand. She turns and enters the building. The plaque on the wall reads : TELECOMMUNICATIONS SWITCHING STATION & MOBILE SWITCHING CENTRAL. The building explodes. The bystanders standing out in the sidewalk are h*t hardest. Alarms blare. People scream and run. EXT. HOSPITAL - PARKING LOT - DAY Jack is trying to listen to his comm. It's down. There's massive feedback. Gwen grimaces from the sound. JACK : (to comm) Tosh ? There's no response. He heads back to Gwen and Beth. JACK : It's not just her. She's part of a cell, and they've activated. It's happening. (Shouts to Beth) Tell me how to stop it ! BETH : (shakes her head) It can't be. JACK : Think ! GWEN : Beth, look at me. (Gwen turns her. She doesn't want to look.) Look at me ! (She looks at Gwen.) How do we stop this ? BETH : I don't know. I'm cut off from the cell. I don't know what the mission is. I'm sorry. GWEN : What about your implant ? How did you get out of Torchwood ? BETH : The technology is part of me. I can switch it on, I can use the tools. GWEN : Can you do that now ? Can you trace the other cell, Beth ? Beth shakes her head. BETH : No ! What if it goes wrong ? GWEN : If you don't, Beth, other people will die. Not just Mike. Beth takes several deep breaths. She holds her left hand over her implant. INSERT : CGI EFFECT The implant flares. The cells in her arm activate. Beth looks at Gwen. BETH : There's only one left. I can track him. JACK : Let's go. Come on. Jack and Gwen help her up and they head for the SUV. CUT TO : The Torchwood SUV drives away, tires screeching. EXT. STREET David is driving. His hands are bloodied, his implant is turned on. As he drives, he presses one of the red lights on his implant. EXT. SIDEWALK - DAY Jack parks the SUV on the sidewalk. JACK : Hang on, I've got an idea. Jack gets out of the car. INT. HUB - WORKSTATIONS Owen is dialing his cell phone while Toshiko tries to explain it to him. TOSHIKO : No, I can't just hook something up ! The entire telephone network is down ! OWEN : (points) What about mobile connection ? TOSHIKO : (slower) The entire telephone network is down ! Ianto joins them. IANTO : Mobiles, landlines, tin cans with bits of string. Everything. Absolutely everything. No phones, phones all broken. (Holds his hand up to his face as if talking with a phone.) Hello ? Anyone there ? No, 'cause the phones aren't working. EXT. STREET Jack has a large roll of tape in his mouth. He takes it out. GWEN : What's that ? JACK : CB radio. They knocked out the phones, but they can't knock out the radio waves. (Glares at Beth) Not yet, anyway. Jack rips the tape off. INTERCUT WITH : INT. HUB OWEN : What about we try... TOSHIKO : (interrupts) There is no way of getting in touch with Jack ! No way ! JACK : (from radio) Tosh, Owen, can you hear me ? They turn around and see the radio in Jack's office. Toshiko runs and answers it. TOSHIKO : Jack ! (to radio) Thank God. What happened ? JACK : There's a cell, it's active. Four including Beth - two are d*ad. We're tracking the last guy now. (Jack has the radio antennae strapped to the passenger side-view mirror.) If we can get to him before he does anything, we can stop this. TOSHIKO : What can I do ? JACK : He's heading for an abandoned farm just outside the city. I need to know what's out there. Jack is driving again. INT. DAVID'S CAR (TRAVELING) - DAY David is pressing the lights in his implant. INT. HUB Owen and Ianto are looking at the map on the monitor. OWEN : Where the hell's he going ? (He turns toward Toshiko.) There's nothing there ! TOSHIKO : Nothing on the surface. INT. TORCHWOOD SUV - DAY Jack is driving. BETH : He's nearly there, we need to hurry. JACK : Yeah. Hurrying, thank you. GWEN : What happens when it starts, Beth ? JACK : How do you get in the heavy w*apon ? BETH : I don't know. Um, I think we just have this arm stuff. GWEN : So, how do you manage to take over so quickly ? BETH : I don't know. I didn't even know how to use this thing until today. EXT. ROAD - DAY The signs read : DANGER KEEP OUT, DANGER MINEFIELD TESTING, NO TRESPASSING. David smashes through the road barriers. INT. HUB - DAY Ianto is reading a book and headed back toward the workstations. IANTO : This is as far back as they go. There used to be a coal mine in the cliff. The Army sealed it off in the '40s, doesn't say why. Owen holds the radio. TOSHIKO : Let me see if I can get into the military files. Toshiko works on the computers and breaks it rather quickly. RESTRICTED ACCESS AUTHORISATION REQUESTED. The number is: 3769416. TOSHIKO : Come on, guys, that wasn't even difficult. You disappoint me. IANTO : (mutters) It's almost obscene what you do to security systems. The contents appear on the monitor. TOSHIKO : Oh, God. JACK : (from radio) What is it ? TOSHIKO : The mineshaft. The military are using it for storage. Nuclear warheads. Ten of them. Nobody's supposed to know, not even us. INTERCUT WITH : INT. SUV (TRAVELING) - DAY GWEN : That's how it starts. JACK : No heavy w*apon. GWEN : Exactly ! They don't need any ! They use our own against us. JACK : We left the key under the doormat. All you need is to walk in and take over. TOSHIKO : Please tell me you can stop this. JACK : Going as fast as we can. If we don't, we won't feel a thing. We're at the center of the blast radius. TOSHIKO : That's comforting. JACK : Come on ! Have a little faith ! With a dashing hero like me on the case, how can we fail ? IANTO : He is dashing, you have to give him that. Owen breaks contact. OWEN : And what if they can't stop it ? TOSHIKO : They'll stop it. OWEN : Yeah, but if they can't ? IANTO : Then it's all over. OWEN : Let's all have sex. IANTO : And I thought the end of the world couldn't get any worse. EXT. FARM FIELD - DAY David's car arrives at the farm field. EXT. ROAD - DAY The Torchwood SUV is out on the road. CUT TO : The Torchwood SUV is by the grassy area. EXT. BUILDING - DAY David approaches a post. SOLDIER : Halt ! Stop the vehicle ! Get out of the vehicle now ! Lie face down on the ground ! David parks the car and opens the door. SOLDIER : On the ground or we sh**t ! He walks out and heads toward the building. SOLDIER : f*re ! The soldiers f*re on David. The b*llet h*t him in the chest. He jerks from the impact, but he doesn't fall. He again starts toward the building. A soldier comes up behind David and tries to choke him with his r*fle. David flips the soldier over and holds onto the r*fle. His arm changes into the long, pointed blade and he lifts it up high. He s*ab the soldier. He pulls out the blade, now covered with blood. A couple more soldiers step out and f*re on David. These b*ll*ts also h*t David in the chest. He continues up the road toward the building. This time, he fires the r*fle he's holding. RANDOM SOLDIER : Take cover ! The soldiers continue to f*re on him. Nothing seems to stop him. He successfully picks off the soldiers as he nears the building. RANDOM SOLDIER : Ahh ! One-by-one the soldiers fall. And still he keeps coming. EXT. ROAD - DAY The torchwood SUV passes the broken gates. Tires screech and it speeds past. INT. TORCHWOOD SUV (TRAVELING) - DAY Beth sits in the back seat. Jack is driving. EXT. BUILDING - DAY David sh**t the soldiers in the bunkers near the entryway. He walks past. One of the soldiers on the ground is playing d*ad. He gets up to sh**t David, but David whirls around and sh**t him d*ad first. Having cleared the entry of the soldiers, David tosses the r*fle aside and heads for the security post. EXT. ROAD - DAY The Torchwood SUV continues to speed through the road. They're almost there. EXT. BUILDING - DAY David reaches the security post and keypad. He holds the metal side with his right hand and uses his left hand to punch in some buttons on his arm. He then punches in the access codes. As he reaches the right code, the bar on the side rises, granting him entry to the next levels; it changes from LOCKDOWN to UNLOCKED. The list on the side includes : AREA 1 LOCKDOWN, AREA 2 LOCKDOWN, AREA 3 LOCKDOWN, AREA 4 LOCKDOWN. He continues to punch in the keycode combinations. INTERCUT WITH : INT. TORCHWOOD SUV - DAY Jack is still driving. Beth's arm beeps. She holds her arm. EXT. BUILDING - DAY David continues to punch in number combinations into the keypad. He UNLOCKS Area 3. He punches in the final number combination and UNLOCKS AREA 4. The building clangs and unlocks. The big RED LIGHT changes to GREEN. The buzzer sounds. INT. TORCHWOOD SUV - DAY Jack is still driving. GWEN : Have we thought this part of the plan through ? JACK : This isn't gonna be pretty, brace yourselves. David walks away from the security post. The Torchwood SUV is right behind him. GWEN : How are we going to stop him, Jack ? JACK : Like this. Jack turns and rams David down with the SUV. David hits the concrete. Jack stops the SUV. David's hands shake and he's still moving, trying to head toward the building. Jack, Gwen and Beth exit the SUV. Jack runs over to David. He turns him over. Gwen reaches them and takes out the scanner. JACK : This wasn't supposed to happen today. (Pulls his g*n out on David.) How do we stop it ? Gwen turns on the device. JACK : Gwen ? (David's arm CGI MORPHS into the pointed blade.) Gwen ! Argh ! David s*ab Jack. The blade pierces him clear through his chest. DAVID (ALIEN) : Ooh ! Doesn't matter. You can't stop us. We know what your weakness is. We know who you are, Jack Harkness. We know all about you, and Torchwood. We got a lot of information before you switched her off. You'll be factored into our plans. JACK : Oh. Gwen ? GWEN : Nearly there. I've got it. He's done. Gwen puts the scanner away. Jack pulls himself off the blade. JACK : Ohhh ! He stands over David with his g*n pointed at him. David looks at his blade. JACK : Don't bother, your transmitter's d*ad. And so's your force-field. DAVID (ALIEN) : You're lying. JACK : Oh, yeah ? Jack sh**t David. Beth flinches and turns her head away. David spews blood from his mouth. JACK : Factor that into your plans. (David gurgles.) Now, when are the others coming ? DAVID (ALIEN) : They're already here. ZOOM in on Jack and Gwen's reactions. David laughs. The detonator in his hand starts beeping. He opens his palm to show them. DAVID (ALIEN) : I won't let you take me. JACK : Run ! Jack, Gwen and Beth turn and run. David laughs maniacally. David is gone, but Jack, Gwen and Beth are all right. JACK : Whew ! Hold on the three. CUT TO : INT. HUB - WORKSTATIONS Owen is down in the autopsy area. He looks at Gwen and nods. OWEN : It's done. Gwen hurries back into the workstation area. She's carrying a sheet of paper. Toshiko and Jack finish their conversation and step out of his office into the workstation area. TOSHIKO : I'll do it, but I'm not happy. JACK : Just do what you have to. Jack finishes adjusting his shirt and he shakes his head at her back. She passes Ianto, who is carrying an aerial of sorts. He looks at Jack, but Jack turns and heads back into his office. Ianto follows him. Toshiko is back at her workstation. INT. HUB - LAB - CONTINUOUS Gwen exits the workstation area and enters the lab. Beth is there, quiet and sad. GWEN : We're set with the cryogenics when you're ready. BETH : Will it work this time ? GWEN : Tosh has reconfigured the casket. It'll work around the implant. No more false images. BETH : If we'd been one minute later... GWEN : We weren't. We stopped him. BETH : Then what happens when you have to stop me ? If the freezing doesn't work ? GWEN : It won't come to that. BETH : I can feel it coming. It's pushing me out. (She looks down at her alien arm.) What will you do when I lose my last bit of me ? GWEN : We will figure something out, Beth. BETH : No, we won't. I'm too dangerous for that, we both know it. Gwen is quiet. BETH : Do you... have someone... at home ? GWEN : A fiancé. BETH : Have you ever hurt them ? GWEN : More than once, yes. BETH : Remember how guilty you felt ? (Gwen nods.) Imagine that... times a billion... all the time... every second of the day. That's how I feel now. And the worst part is, when I turn back, I won't feel guilty any more. I'll want to carry out my mission. I won't even care about Mike. I'll forget all about him. I don't wanna die as one of those things, Gwen. I don't wanna forget about Mike. GWEN : Then don't. Let's do this. Who knows what we'll be able to do in a month ? A year ? BETH : Thanks for being so good to me. Remember me the way I am now. Remember... Beth. Beth's arm beeps. Suddenly, she holds it out at Gwen and the blade appears. Gwen gasps. Gwen backs away as Beth slowly advances. GWEN : Beth... Beth... Beth grabs Gwen and holds the blade up to her neck. BETH : I won't let you freeze me ! She pulls Gwen out into the hub. BETH : I'll k*ll you all ! Toshiko grabs her g*n from her bag under her workstation. Jack runs out with his g*n out. VOICE : Let her go ! Owen and Ianto run out with their g*n out. VOICE : Let her go ! GWEN : No ! No, wait, wait, wait, wait, wait, don't sh**t ! It's a trick. She won't hurt me. She won't hurt me. TOSHIKO : Move away from her now ! JACK : Everybody, calm down ! Beth... Beth... You don't want to do this. Let Gwen go. BETH : I'll k*ll her first, then all of you, then the rest of your miserable species ! GWEN : Beth, please ! They will k*ll you. You have proved to be better than that; you helped us to stop the invasion. You can be human. Please ! Beth ! Beth shakes her head. BETH : Not human enough. GWEN : Beth... BETH : Goodbye, Gwen. (whispers) Good luck. Beth pulls her arm back. Everyone fires. Gwen gasps. The b*ll*ts h*t Beth's chest and she falls backward. Gwen sits down hard. Jack and Owen run up the stairs on either side of the catwalk. They stop and wait, their g*n still on Beth. GWEN : She wanted you to sh**t her ! She used her last shred of humanity to do this. OWEN : We couldn't take that chance. She must have known that. JACK : She did. (Jack puts his g*n down.) She just wanted to make it easier for us. Everyone is quiet. TOP VIEW DOWN on Beth, d*ad on the concrete floor. Gwen is sitting next to her. She reaches out and holds Beth's hand. Jack is standing near Gwen. He holds his hand out and touches her shoulder. After a moment, he pulls away. DISSOLVE TO : EXT. CARDIFF CITY LIGHTS (STOCK) - NIGHT Establish. INT. HUB - JACK'S OFFICE - NIGHT Jack is at his desk holding and looking at the alien blade. Gwen enters. Jack sits back in his chair and puts his legs up on the edge of the desk, crossed at the ankles. GWEN : Do you think we stopped it ? JACK : Maybe. Maybe we've just put it off for a while, I don't know. We don't know anything. GWEN : We know plenty. We know about the implant. We can disable their force-field. We know how they att*ck. We know that they can be k*lled. And while they think they have the element of surprise, we know they haven't. But, until that day, we just keep doing what we do. JACK : (pirate accent) Oh, them be fightin' words, they be, Gwen. He sits up. They share a smile. And a chuckle. JACK : So, have you set a date ? GWEN : Oh, don't get me started, please. My mam's already been on the phone, saying, « What about the local church, Gwen? It's ever so lovely. » JACK : Good. Go home. Keep doing what we do. She nods to him. She nods back. GWEN : Good night, Jack. Gwen turns and leaves. Alone once more in the office, Jack picks up the alien blade and examines it. He looks up, knowing there may be more out there. END

{"type": "series", "show": "Torchwood", "episode": "2x02 - Sleeper"}

foreverdreaming

Opening sh*ts and series recap. JACK HARKNESS : (v.o.) Torchwood. Outside the Government, beyond the police. Fighting for the future on behalf of the human race. The 21st century is when everything changes... and Torchwood is ready. FADE IN : INT. ST. TEILO'S MILITARY HOSPITAL - 1918 - NIGHT Harriet hurries down the stairs. Gerald appears a level above and peers over the banister. GERALD : Nothing so far. (Harriet stops and looks at him.) You getting anything on that ? HARRIET : Well, hold on a tick. Harriet has a box hanging from a strap around her neck. She cranks the box and checks its readings. The box clicks like a Geiger counter. HARRIET : Yes, follow me, Gerald. Harriet hurries down the stairs. She stops and looks at the box readings. Gerald hurries down the stairs to catch up. He comes into view just as Harriet checks the box readings. GERALD : Well ? HARRIET : We're pretty close. (Points) This way. Harriet is on the move again, her eyes on the box readings. A door opens and closes off screen. Gerald moves quickly down the stairs to grab Harriet. GERALD : Shh ! A nurse steps out of the hallway and gasps when she sees Harriet and Gerald. She drops the linens she's carrying. She gasps. GERALD : Don't panic. NURSE : I thought you were a ghost. Scared the wits out of me ! GERALD : Sorry. (Gerald kneels to help her pick up her linens. He smiles.) Thought you'd be used to us creeping around by now. HARRIET : Have you seen any recently ? Ghosts. NURSE : I've seen three today. It's getting worse. GERALD : Well, you're a very brave girl. NURSE : Thank you, sir. Harriet clears her throat loudly. HARRIET : Where did you see them ? NURSE : In the ward. She nods pointedly behind them. Both Gerald and Harriet turn around. INT. ST. TEILO'S MILITARY HOSPITAL - 1918 - WARD - NIGHT The box around Harriet's neck clicks as she walks through the ward. Gerald is with her. The ward is filled and busy as the nurses tend to the soldiers. CAPTION : ST. TEILO'S MILITARY HOSPITAL - 1918 They stop at one of the last beds. NURSE : Mind, half of this lot see things anyway. GERALD : Nerves sh*t to pieces. Poor chaps. NURSE : Soon as they're better, they'll be sent back to the Front. The young man in the bed is sleeping. HARRIET : Field Marshal Haig's order. Every position must be held to the last man. Each one of us must fight on to the end.' Whenever that is. The lights flicker. The men in the ward groan. Harriet's reader clicks rapidly. HARRIET : Gerald. Gerald looks at the reader. GERALD : Come on. They turn and head out of the ward. Tommy, the young man in the bed, sits up just as they're leaving. The overhead lights flicker. INT. ST. TEILO'S MILITARY HOSPITAL - 1918 - EAST WING - CONTINUOUS Gerald comes down the stairs and stops in an empty room. Harriet is right behind him. The overhead lights flicker. Harriet's reader clicks wildly. HARRIET : We're right on top of it ! They look around the room. The building shakes and quivers. Gerald grabs Harriet and holds onto her. Rumbling sounds and the room brightens from an unnatural light. The rift is opening. They look and across the room, they see Toshiko with Tommy - huddled together against the far wall. Tommy is sitting on the floor while Toshiko is next to him. Gerald steps forward. GERALD : Hello ? TOSHIKO : (to Tommy) Tell them. GERALD : Tell us what ? TOSHIKO : (to Tommy) Tell them what to do. You're the only one who can stop this. If you don't, it's the end of everything ! Tommy ! Tommy stands up and walks over toward Gerald and Harriet. TOMMY : Take me ! I'm in there in the ward, in 1918. You have to take me so I can be here now. (Gerald and Harriet don't move.) (Demands) Just take me ! CUT TO : INT. ST. TEILO'S HOSPITAL - 1918 - WARD Gerald and Harriet head back to the bed near the end of the room. GERALD : Tommy, I think you'd better come with us. Tommy is sitting up in bed. Gerald moves the covers aside. TOMMY (1918) : Why ? GERALD : Don't worry. I'm Gerald and this is Harriet. We'll look after you. TOMMY (1918) : Who are you ? Gerald and Harriet look at each other. Harriet is smiling. Gerald looks at Tommy. GERALD : We're Torchwood. SMASH CUT TO : OPENING CREDITS INT. TOSHIKO'S FLAT - MORNING [Music : "One of These Mornings"] MONTAGE OF TOSHIKO GETTING READY FOR WORK. Toshiko is standing on her bed in her white robe brushing her teeth. Toshiko checks her watch, puts it down and hurries. She puts the toast in the toaster, pours herself a cup of coffee and takes a sip of it. She puts it down on the coffee table and checks her cell phone in her bag. She puts the phone down. Toshiko grabs her clothes and puts it against herself. She puts her clothes on the couch and puts her shoes on. She takes her robe off. Grabs the toast out of the toaster and eats as she heads to her bedroom. CUT TO : Toshiko is dressed and her hair is done. She checks herself in her compact mirror. Satisfied, she closes her compact and smiles. Something special is happening today. She grabs her keys and her bag and heads out of the apartment. LINGER ON : The calendar with FRI 20 circled in red. CUT TO : INT. HUB - JACK'S OFFICE - DAY Jack turns the calendar day over from 19 to 20. GWEN : Who is he ? Gwen stands in front of Jack's desk looking at an old Torchwood photo. JACK : Thomas Reginald Brockless. Ianto is in the back of the office. IANTO : Tommy. JACK : Twenty-four years-old. IANTO : Sort of. GWEN : Well, he's either 24 or he's not. IANTO : Depends how you work it out. Jack stands up just as Gwen turns to sit on the edge of the desk. GWEN : All right, when was he born ? JACK : 1894. Jack and Ianto leave. Gwen smiles, then it hits her. INT. HUB - WORKSTATIONS - CONTINUOUS Jack and Ianto leave the office. JACK : Owen, you ready ? OWEN : (o.s.) Yeah, nearly. (Toshiko arrives at the workstations. Owen hurries out, then sees her) Is that a dress, Tosh ? TOSHIKO : I do believe it is, Owen. Gwen steps out of the office. GWEN : Well, where is he ? INT. HUB - MORGUE - CONTINUOUS Jack steps up to the morgue cabinets. The others are right behind him. JACK : He's been here for ninety years, longer than any of us. Any of you. Jack opens the cabinet and pulls out the cryogenic chamber. TOSHIKO : Torchwood have used alien cryogenics since Victorian times. They froze Tommy in 1918. They gather around Tommy. JACK : So he's 24 or 114 years old. I know which one I'd choose. CUT TO : INT. HUB - AUTOPSY / COLD STORAGE Tommy is now out of the chamber and on the table. He is still unconscious. Owen is working on him while Toshiko stands next to the table. OWEN : We have to wake him up every twelve months or so. Well, defrost him. One day only, then back in the freezer. Gwen stands on the stairs, her back to the wall. GWEN : Why ? Ianto and Jack are watching from above. IANTO : Check he still works. JACK : One day, we're gonna need him. Owen sets the hypodermic against Tommy's neck. The heart monitor gives off one steady beep. OWEN : Right, everybody ready ? Everyone's ready. Owen injects Tommy, then waits for a pulse. OWEN : Come on, Tommy. The heart monitor continues to flatline. It's too long. Owen grabs the defibrilator paddles. OWEN : Charging 200, clear ! He zaps Tommy. The heart monitor continues to flatline. OWEN : Charging 360. Clear ! Owen zaps Tommy again. Tommy gasps and his eyes open suddenly. He immediately starts struggling against Owen. Ianto steps forward to help subdue Tommy. OWEN : Gwen, quick. (Gwen steps forward and takes the paddles.) It's all right ! TOMMY : Get off me, leave me alone. TOSHIKO : Tommy ! TOMMY : Leave me alone ! OWEN : Tommy ! Tommy punches Owen in the face and Owen falls backward. TOSHIKO : Tommy, listen to me ! Tommy Brockless ! (He stops struggling and stares at Toshiko.) It's me, Toshiko. TOMMY : Toshiko... TOSHIKO : Remember ? TOMMY : Gets harder every year. IANTO : Good left hook, though. TOSHIKO : Do you know where you are ? He sits up and looks around. TOMMY : Torchwood. TOSHIKO : That's right. TOMMY : Is it time again ? (She nods.) Blimey. TOSHIKO : How are you feeling ? He coughs. TOMMY : I could m*rder a cup of tea. Owen smiles and pats Tommy on the shoulders. Toshiko grins and turns to Ianto who is also smiling, until he remembers the cup of tea remark and turns to go get one.) INT. HUB - CONFERENCE ROOM Everyone is in the conference room having a cup of tea while Tommy eats a full meal. IANTO : Don't expect the best china... TOMMY : I'm starving. IANTO : ...visitors only. TOMMY : Here, tuck in. There's enough to feed an army. JACK : (b.g.) We should do this every morning. Breakfast, I mean. TOMMY : (to Toshiko) Hmm. Nice dress. TOSHIKO : Thank you. TOMMY : Got your slacks on underneath. Is it that cold outside ? IANTO : It's the fashion this year. TOMMY : (grinning) 1968, they were in miniskirts. Thought all my Christmases had come at once. Shame they haven't made a comeback. Gwen turns to Jack. GWEN : I still don't get it. Why is he here ? JACK : Like I said - one day, we're gonna need him. INT. HUB - AUTOPSY BAY / MEDICAL AREA Owen holds Tommy's wrists as he gives Tommy a basic physical. Toshiko waits with a clipboard. OWEN : And pull to me. (He releases Tommy's wrists.) Good. Seems fine. (He turns to get a vial.) I just need to, uh, take a few... blood samples. TOMMY : Blood samples. Toshiko smiles. TOSHIKO : We wake you up once a year and stick needles into you, it's not fair. TOMMY : Once a year for you, it's every day for me. TOSHIKO : So, while we wait. Owen collects blood. TOMMY : Tommy Reginald Brockless, born 1894 February the 7th in Blackley, Manchester. Private officer in 10th West Yorkshire regiment. TOSHIKO : Very good. TOMMY : Only son of Constance May Bassett, died 1900, and Thomas Campbell Brockless, died June 1931, aged 57. Heart att*ck. That's right, isn't it ? TOSHIKO : Yes. I'm sorry. TOMMY : It's all right. I just haven't had that much time to get used to it. OWEN : Right, I need to have a look at this leg. INT. HUB - JACK'S OFFICE Jack talks with Gwen. JACK : St. Teilo's Hospital, 1918. There was a time-shift. A fracture in the rift means that two slices of time were erupting into each other. GWEN : A slice of 1918, and... ? JACK : A slice of the future. But we don't know exactly what slice. It could be tomorrow, it could be in a hundred years' time. GWEN : What will happen ? JACK : Chunks of 1918 will start to appear at the hospital. A few at first, then more and more. When the time-shift is complete, it'll start a chain reaction. (Jack gets up.) Unless we stop it, time-shifts will start happening all over the country, then all over the world. Gwen looks at the profile and picture of Tommy. Jack opens one of the locked cabinets. GWEN : But how does Tommy fit in ? JACK : He helps to stop it somehow. (Jack takes out a canister.) Torchwood 1918 left us sealed orders. Gwen reads the label instructions on the sealed can. GWEN : "Eyes-only documents. FAO Torchwood, commander overseeing case 1918 TB." T... Tommy Brockless ? Jack nods. She tries to open it. GWEN : Okay. It's stuck. JACK : No, it's locked. GWEN : Okay, where's the key ? JACK : It's a temporal lock tied in with the rift frequencies at the hospital. (Gwen rolls her eyes and sits down at the desk. She switches out a slide on the old desktop light box with another slide.) When the rift nears completion, the box will open and we'll find out exactly what Tommy does. GWEN : But why would they keep us in the dark, Jack ? JACK : I guess we'll find that out, too. Tommy and Toshiko walk into the office. Tommy is wearing contemporary street clothing. TOSHIKO : Ta-dah ! TOMMY : Seriously, what do you think ? GWEN : You look like a film star. TOMMY : Who ? Charlie Chaplin ? Gwen giggles. TOSHIKO : (amused) Come on. Toshiko and Tommy leave the office. Jack and Gwen get up and quickly follow. INT. HUB - WORKSTATIONS Gwen and Jack linger at the office doorway. GWEN : Jack ? Have you got any more of those pretty boys in the freezer ? They watch as Tommy helps Toshiko put her coat on. JACK : Hands off, missy. Tosh got there first. Toshiko looks at everyone. TOSHIKO : Thanks for holding the fort while I'm out. OWEN : No worries. Have fun. Be careful. GWEN : Where are you off ? TOSHIKO : A drink, film ? Maybe a pizza. GWEN : (both) Oh, very nice. JACK : (both) Aw, very nice. TOSHIKO : I'll be on the mobile if you need me. GWEN : Have a lovely time. JACK : Bye ! Toshiko and Tommy head out. GWEN : He's a frozen soldier from 1918. JACK : Nobody's perfect. EXT. CHURCH COURTYARD - DAY Toshiko hurries to keep up with Tommy as they cross a courtyard in front of a little white church. TOSHIKO : Slow down, what's the hurry ? TOMMY : I've only got one day, I want to see everything. They stop in front of a large statue. TOSHIKO : Captain Scott... sailed from here, when he went off to the Antarctic. TOMMY : 1910. I was 16, papers were full of it. Took him two years to get there and then he snuffed it. So, what've you been up to since I last saw you ? They walk over to the railing overlooking the bay. TOSHIKO : Oh... this and that. Work, mostly. Tommy laughs. TOSHIKO : What ? TOMMY : I knew you were going to say that. It's what you always say. So how's the piano playing going ? That's what you said last year, remember ? "I'm gonna learn the piano." TOSHIKO : Never got round to it. TOMMY : I bet you never learnt Spanish, neither. TOSHIKO : I bought a book, though ! TOMMY : Oh, are you made of money ? TOSHIKO : I haven't had time. TOMMY : You talk about your life like you've got no control over it. TOSHIKO : Well, Torchwood's pretty much 24/7. Twenty-four hours a day, 7 days a week. TOMMY : But you weren't conscripted. I mean, it's your choice, right ? TOSHIKO : Yeah... I suppose it is. CUT TO : INT. HUB - JACK'S OFFICE - DAY Gwen and Ianto look at an old slide of Gerald and Harriet standing in the hub under the Torchwood sign. GWEN : He's a bit of all right. IANTO : He's the boss. GWEN : Nothing changes. They look at each other and laughs a little. IANTO : She's all right, too. Harriet Derbyshire. GWEN : I wonder what happened to her. IANTO : She died the year after that was taken. Twenty-six years old. GWEN : So young. IANTO : They all were. (He picks up another slide with five people in it.) Nothing changes. Gwen gets up and heads out of the office. IANTO : Where are you going ? GWEN : St. Teilo's Hospital. And bloody cheer up, will you ? INT. PUB - DAY Tommy takes his sh*t at the billiards table. TOSHIKO : Good sh*t ! TOMMY : You're still winning. He hands the pool stick to Toshiko. TOSHIKO : It's all just maths, really. Angles, velocity... TOMMY : Yeah. Give you women a vote, equal rights, look what happens, eh ? So, eh, you got a boyfriend yet ? She sh**t and hands the stick to Tommy. TOSHIKO : You sound like my mother. TOMMY : Ah, so you haven't, then. TOSHIKO : You had a girlfriend ? In 1918. TOMMY : Yeah. Ellie. We courted for two years. TOSHIKO : What happened ? TOMMY : I, uh, stopped seeing her... last time I was home on leave. The w*r changed me. I couldn't just carry on like before. TOSHIKO : I'm sorry. TOMMY : Right pair we make. They look at each other. Tommy goes to make his sh*t. Toshiko sips from her drink. INT. ST. TEILO'S HOSPITAL - CORRIDOR - DAY Gwen walks through the dark hallway. The place is eerily quiet. She looks through the rooms as she passes by them. She enters through the double doors into an empty ward. There's a sign over her head : ST. TEILO'S HOSPITAL. Wings flap of screen. Gwen turns to look. She continues through the large empty ward. She stops and turns to look back. Something happens and shifts a little. She doesn't notice and continues through the room. Suddenly, she stops. A man with an amputated lower right leg and crutches is in front of her. The lights on in the room flicker. GWEN : Hello. The man doesn't answer her. GWEN : I said hello. Again, there is no answer. The man on the crutches starts walking toward her. He shows no sign of stopping. Gwen backs away. The man continues toward her. She backs away GWEN : You hear me ? Look, can you hear me ? (Her back hits the wall as the man is nearly upon her.) If you just, just... She hands up. The man is gone. She looks around. There's no sign of the man. Anywhere. Gwen thinks about it, then heads out of the room. She starts running back through the corridor, checking the rooms for any sign of the man. She leaves the hallway. INT. ST. TEILO'S HOSPITAL - BACK ROOM - DAY Gwen comes upon another ward. This one appears to be under construction - with plastic sheeting up on the windows and back door with ladders and metal pieces on the floor. Gwen starts through the room. She thinks she hears something, stop and looks back behind her. She continues through the room. She hears wings flutter off screen and turns. She continues through the room toward the back door. GWEN : Hello ? There's no answer. She notices the lights in the room flickering. She reaches up and taps the lamp. She fiddles with the light switch. The lights continue to flicker. The lights go out. Gwen looks around. A door slams shut behind her, startling her already heightened senses. Three construction workers are in the room with her. FOREMAN : Are you all right, love ? You look as if you've seen a ghost. Gwen looks sheepish. LATER : INT. ST. TEILO'S HOSPITAL - WARD - DAY Gwen and Jack are in the ward. They're standing at opposite ends of the room. Jack looks around. JACK : They're knocking down the hospital. GWEN : Yeah, that's what they said. Could that have triggered the time-shift ? JACK : Could have. Maybe all the psychic trauma and rift energy charged it up like a battery. 1918, this place was full of wounded soldiers. Jack crouches low to the ground, placing his right hand flat on the floor as if feeling the essence of the room. JACK : They had four years of it. Passchendaele, the Somme... A million British soldiers k*lled during the Great w*r. It was like walking into hell. He dusts his hands off quickly and stands up. JACK : Believe me. I was there. (to comm) Owen ? You got anything ? INTERCUT WITH : INT. THE HUB - WORKSTATIONS - DAY Owen is working the computers. OWEN : All quiet here. Just that little spike from earlier. Look. This is more Tosh's thing than mine. Shall I give her a call ? JACK : Not yet. Just keep watching. Jack and Gwen head for the door. INT. PUB - DAY Tommy walks up to the counter. BARTENDER : (o.s.) Yes, mate. TOMMY : Half a bitter, and a vodka and diet tonic with a slice of lemon, please. He turns and smiles at Toshiko. She nods back. Sounds from the television set catches his attention and he watches news of the w*r. His smile fades. REPORTER : (from tv) An Iraqi soldier and at least twenty Iraqi civilians have been k*lled by a roadside b*mb in Basra Saturday night. Soldiers on routine patrol - civilians were taken to a nearby hospital. Toshiko gets up and goes over to stand next to him.) TOSHIKO : Iraq. TOMMY : Seems like there's always a w*r somewhere. TOSHIKO : It's not exactly a w*r. TOMMY : It looks like one. The first year they woke me up... 1919... they told me it was all over. We won. The w*r to end all wars, they said. And then three weeks later, you had the Second World w*r. After all that. He gets their drinks and heads back to their table. They sit down. TOMMY : Do you never wonder if we're worth saving ? The human race. TOSHIKO : Yes. I think we're worth saving. Wars and all. (He smiles at her.) What ? (He's suddenly very shy.) What ? TOMMY : I was just thinking... I'd do anything for you. Yeah, all you have to do is say, "Tommy, you're my brave, handsome hero, and I need you." He laughs. TOSHIKO : Is that all ? TOMMY : And whatever it is, I'll do it. I mean it. Anything. They're suddenly very serious. There's a small swooshing sound. Tommy grimaces from a pain in his head. TOSHIKO : What is it ? TOMMY : I dunno. I just felt something... INT. ST. TEILO'S HOSPITAL - DAY The ST. TELIO'S sign is in the dumpster. It's old and rusted from the wires. The builder takes a sledgehammer and punches a hole in the back wall. Sunlight bursts through the hole. INT. ST. TEILO'S HOSPITAL - CORRIDOR - DAY Jack and Gwen walk through the dark hallway. Jack hears something. He stops and turns around. GWEN : Jack ? Jack motions for her to be quiet as he listens. GWEN : Jack. JACK : Shh ! (He motions for her to continue on.) Go ahead. Gwen continues. Jack turns and heads back. He turns the corner and turns his flashlight on. As soon as he hears the singing, he turns and looks back. VOICE : (singing) Tick-tock, wind up the clock /I like them all... A nurse pushing a patient in a wheelchair appears at the end of the corridor. NURSE : I bet you say that to all the girls. WHEELCHAIR PATIENT : (singing) Show me a skirt, and my brain simply whirls... The nurse continues to push the wheelchair patient through the corridor. They head toward Jack and show no sign of seeing him there. NURSE : Shh ! Matron won't have singing. You'll get a good telling off if she hears you. WHEELCHAIR PATIENT : (singing) I love their dimples and curls (The nurse giggles.) /Tick-tock, wind up the clock /And I start my day over again. Jack's flashlight beam hits the nurse and the wheelchair patient. WHEELCHAIR PATIENT : (singing) Tick-tock, wind up the clock /And I start my day over again... The nurse laughs. They pass by Jack without noticing him. Jack watches them as they turn the corner. The nurse giggles. OWEN : (over comm) Jack, you see anything ? Cos I've got little mountain rises here. JACK : (to comm) Yeah, we've got a few ghosts here. Jack checks on Gwen. INT. ST. TEILO'S HOSPITAL - ANOTHER CORRIDOR - DAY - CONTINUOUS JACK : (from comm) Gwen, you okay ? Gwen is walking through a dark corridor. She doesn't have a flashlight with her. JACK : (from comm) Gwen ? GWEN : I'm fine. Gwen enters a very dark room. She turns the ceiling light on. It flickers. Gwen continues through the room. She turns to cover her own back and continues on. The lights continue to flicker. Gwen reaches the other end of the room and steps out into the hallway. She stops, her eyes wide as she sees a man sitting in a chair in the hallway, his elbows on his knees as if he's been waiting there a long time. A nurse walks past her and heads for the man in the chair. NURSE : They're ready for you now. The man gets up. The nurse turns and leaves around the corner. Gwen turns and looks around. In the background, the nurse has stepped backward and peers around the corner directly at Gwen. The nurse can see her there. Gwen hasn't noticed the nurse looking at her yet. Gwen turns and sees the nurse look directly at her. The nurse starts to head hesitantly toward Gwen. Thinking she's looking at something else, Gwen turns to see who she might be looking at. There's no one there. The lights flicker. NURSE : (to Gwen) Hello ? Gwen doesn't answer her. NURSE : (to Gwen) Hello ? The nurse continues toward Gwen. NURSE : (to Gwen) I see you. Gwen backs away from her. NURSE : Why won't you leave us alone ? You shouldn't be here ! Gwen puts her arms our in front of her as she backs away back into the room. The nurse continues toward her. GWEN : I don't mean you any harm. NURSE : You shouldn't be here ! You shouldn't be here ! GWEN : I don't mean you any harm. Shh ! The lights turn back on and the nurse is gone ! Only the echoes of her yelling is distorted through time. Gwen's arms are out in front of her and holding back nothing but air. She puts her arms down and looks around. EXT. DOCKS - DAY Tommy chases Toshiko along the wooden docks. TOMMY : I'm going to get you ! TOSHIKO : Stop, stop, no. Please, no, Tommy, no. Tommy scoops Toshiko up over his shoulders. She drops her bag. TOSHIKO : Stop ! TOMMY : It's a fireman's lift. (He carries her in a circle.) I'm not putting you down. (He laughs.) I'm putting you down. He puts her down. She drops her bag. They're smiling and looking at each other. He steps forward and kisses her quickly on the lips. Toshiko's caught off guard. TOMMY : What ? TOSHIKO : Nothing. Thanks. TOMMY : "Thanks ?" TOSHIKO : It just caught me out. It doesn't matter. TOMMY : What ? Toshiko picks up her bag and heads over to the bench. She sits down. TOSHIKO : I know it's silly... but I'm a bit older than you. TOMMY : I was born in 1894. TOSHIKO : You know what I mean. He sits down next to her. TOMMY : So I'm old enough to die for my country but I'm too young to give you a kiss ? You daft lass. What goes on in that head of yours ? She kisses him quickly on the lips. TOMMY : Thanks. TOSHIKO : You're welcome. TOMMY : I might be young, but I've seen a fair bit in my time. TOSHIKO : So what do you want to do now ? TOMMY : Well, we could go back to mine but there's only room for one and it's bloody freezing. She chuckles, but he's serious. TOSHIKO : You want to come back to my place ? TOMMY : I'm hardly rushing you. You've known me four years. TOSHIKO : Four days... They lean forward and kiss. TOSHIKO : Okay. Let's go. TOMMY : I'll race you. (He stands up and runs. Toshiko starts running after him.) Come on ! Her phone rings. Toshiko stops and answers it. TOSHIKO : (to phone) Jack. Tommy stops running and turns around. He motions to her. TOMMY : Toshiko ! Toshiko listens to phone. Her smile fades. TOSHIKO : (to phone) We're on our way. She hangs up. CUT TO : INT. HUB - CONFERENCE ROOM - DAY Jack meets with Gwen, Owen, Toshiko and Tommy. JACK : Demolishing the hospital is what triggers the time-shift. OWEN : So, don't demolish it. JACK : Too late, it's already started. GWEN : What happens next ? Tommy stares at Toshiko. She turns and glances at him. JACK : Two different times should never exist simultaneously. You want to be in 1918, or now. Not both. TOSHIKO : So when 1918 becomes fully manifest... OWEN : It's really going to screw us up. Jack picks up a single sheet of paper to demonstrate. He shows it to them. JACK : Okay... Linear time. (He crumples the paper into a ball.) Screwed up time. He throws the paper ball at Owen who catches it. JACK : Imagine your life as a straight line, from birth to death. Now, try drawing that line on the paper without straightening it out. GWEN : It's impossible. JACK : That's why we've got to stop it. Jack is on the move. He heads out. Toshiko gets up and exits the room. INT. HUB - MAIN FLOOR JACK : (shouts) Ianto ! Is that box doing anything yet ? Ianto steps out of Jack's office carrying the canister. IANTO : Still locked. Jack, Gwen, Owen, Toshiko and Tommy head for the workstations. JACK : Okay. We need to find out how fast the time-shift is happening. Get some idea when it's going to complete. Tosh, Owen, go to the hospital. We need readings. Cover the place with rift monitors. Gwen, go through the files, see if there's anything we missed. Toshiko grabs her jacket to go to the hospital. Tommy stops and looks at her. Their eyes meet. Toshiko leaves. INT. ST. TEILO'S HOSPITAL - WARD - DAY Toshiko is in the large empty ward kneeling in front of an open case. Owen walks in and puts his case down. OWEN : Need a hand ? TOSHIKO : Just a couple more. She tosses him a reader. He catches it and goes to the wall to set it up. OWEN : Listen, Tosh, I've been meaning to say... uh, just be careful. TOSHIKO : What do you mean ? OWEN : You're very close to Tommy. TOSHIKO : I've only known him for four days. OWEN : Yeah. You've fallen for him, haven't you ? TOSHIKO : I can be myself with him. I don't have to pretend. OWEN : No, I understand. I-I didn't think you had some weird fetish for defrosted men. I just, um... I don't want you to get hurt, that's all... if you have to say goodbye. Toshiko understands. GWEN : (over Owen's comm) Owen, can you hear me ? OWEN : (to comm) What is it ? GWEN : (over comm) I need you to go down into the east wing of the hospital, head for the second floor, what used to be the radiology section. INT. ST. TEILO'S HOSPITAL - EAST WING - DAY GWEN : (over comm) I think that area contains a clue to the time-shift. I read this earlier, but it didn't make any sense. INTERCUT WITH : INT. THE HUB - JACK'S OFFICE - DAY Gwen is looking through the files. GWEN : In the Torchwood 1918 field report at the hospital, they describe a certain detail of their encounter. Owen stops in the middle of the large empty room as he listens. GWEN : It reads... "Through a hole in the external wall, we hear the roar of great engines. Outside is a woman in strange armor, ripping a Union jack, perhaps some future heroine of the Empire." Owen sits on his haunches in the middle of the room as he thinks. GWEN : I mean, what does it mean ? It doesn't sound like us now, I mean - the time-shift has started, but maybe it doesn't complete until - well, years in the future. Owen gets up and goes to the back storage room. He looks around. He sees something off screen. OWEN : Got it ! Owen moves a chair to climb up the counter to look out of the hole in the back of the wall. He sees the mural on the wall on the other building. OWEN : It's, uh, it's some kind of advert. It's, uh, for car insurance. That sound they heard must have been traffic. It's not years in the future... it's now. INT. ST. TEILO'S HOSPITAL - WARD - DAY Toshiko is alone in the large empty room. The rift monitor alarms start to beep. Toshiko heads over to some of the monitors. Suddenly, the alarm blares and the lamp lights flash. Toshiko hurries out. INT. HUB - JACK'S OFFICE - DAY Jack is working at his desk, the Torchwood sealed canister on the desktop in front of him. Wisps of golden riftlight unseal the canister. Jack puts his pen down and removes the papers from the canister. He breaks the Torchwood seal, opens the envelope and removes the papers inside. He reads through the handwritten letter. Ianto steps into the office and sees Jack reading. IANTO : Instructions ? JACK : Yeah, for Tommy. He reads onto the next page and stops. JACK : And Toshiko. INT. HUB - CONFERENCE ROOM - DAY Jack meets with Toshiko, Gwen, Owen and Tommy. He has the letter and another circular object near him. JACK : In twelve hours, there'll be a brief moment when both times exist, before the time-shift completes, when Tommy can be here now, and in 1918. He needs to be in the hospital, ready to step from one time to another. GWEN : So he'd be right inside the time-shift ? JACK : And he can close the fracture that caused it. TOMMY : And when the fracture's closed ? OWEN : 1918 will be back where it belongs. TOMMY : So will I. Jack nods. TOMMY : For good ? JACK : Yeah. You're the only one who can do this. We brought you from 1918 to now, and when you go back to 1918, your life will be like a thread, stitching time back together again. TOMMY : A stitch in time. TOSHIKO : How ? Jack picks up the circular object. JACK : This is a rift manipulator. It's basically a key. Once you're inside the time-shift, you can close the door behind you. TOMMY : And that's it ? I'm gone ? Tommy turns and looks at Toshiko. Everyone is quiet. The door opens and Ianto walks in carrying large box. JACK : Tommy, stay with Ianto. Tosh, with me. Jack picks up the things and heads out. Toshiko looks at Tommy. She gets up quickly and follows Jack out. CUT TO : INT. HUB - JACK'S OFFICE - DAY Jack talks with Toshiko. TOSHIKO : What happens to him ? JACK : Three weeks after we send Tommy back, he dies. TOSHIKO : How ? JACK : He's sh*t by a f*ring squad. TOSHIKO : I don't understand. JACK : In 1918, Tommy was suffering from shell shock. That's why he was in the hospital. When Torchwood took him and froze him, they froze his most recent memories. When he returns to 1918, he'll revert back to who he was. He'll be shell-shocked and so he'll be ex*cuted by the British Army for cowardice. TOSHIKO : They can't sh**t him for that. JACK : Lots of soldiers who were shell-shocked recovered enough to be sent back to the Front. But once they were there... they broke down again. TOSHIKO : So they k*ll him ? JACK : More than three hundred of them. TOSHIKO : Then we can't send him back. JACK : We have to. TOSHIKO : I can't do that. JACK : Yes, you can. He trusts you. TOSHIKO : To send him to his death ? JACK : To help him save the future. It has to be you. Jack shows her the page of the letter - a sketch of Toshiko. CUT TO : INT. HUB - CONFERENCE ROOM Ianto opens the box. IANTO : We've kept these in the archives. You were wearing them in the hospital when Torchwood took you. Tommy takes out his jacket and looks at it. TOMMY : Good job the moths haven't got into them. He takes out his pajama bottoms. TOMMY : So I'll be saving the world in some pyjamas ? How daft is that ? INT. HUB - JACK'S OFFICE Toshiko takes the sketch. JACK : Torchwood 1918 saw you with Tommy in the hospital, telling him what to do. I know you. You're strong enough to do this. He gives her the letter. TOSHIKO : Does Tommy know what happens to him ? JACK : No. TOSHIKO : If he asks me, what do I say ? INT. HUB - WORKSTATIONS Tommy carries the box and puts it down by the couch. TOMMY : Where's Toshiko ? GWEN : Still in with Jack. TOMMY : So... tomorrow morning. (Ianto nods.) What time is it now ? Gwen checks her watch. Ianto checks his watch. IANTO : Ten to nine. TOMMY : So what do we do till then ? Everyone is very quiet and looks at each other. TOMMY : (scoffs) You don't know, do you ? GWEN : What would you like to do ? TOMMY : The night before we went over the top, we used to play cards, write letters. Have a drink, if anyone had some. He sits down. OWEN : Yeah, well, we could do that. IANTO : Yeah. Ianto turns to get it. TOMMY : But you're not coming with me. I'm going on my own. Again, everyone is quiet. Toshiko exits the office and passes them on her way to her workstation. She's very quiet. Jack lingers against the office doorframe. GWEN : We were just wondering what, um, Tommy should do tonight. TOSHIKO: He can come home with me. Everyone turns to look at Toshiko. TOSHIKO : He's not our prisoner; he doesn't have to stay here. Does he ? JACK : No. (to Tommy) If that's what you both want. Toshiko and Tommy look at each other. JACK : Tomorrow morning, 6:30. Everyone starts moving again. Tommy hands the box back to Ianto as Toshiko gets her things. Jack watches them from his office doorway. INT. TOSHIKO'S FLAT - NIGHT The apartment is dark. The lights turn on. Toshiko and Tommy enter TOSHIKO : Come in. TOMMY : You're very neat. TOSHIKO : Yes. Well, there's only me here. TOMMY : And me. Just for tonight. Then I'll be gone. TOSHIKO : I never thought it would really happen. TOMMY : I won't even be able to write to you. You're going to be so far away. TOSHIKO : I worried you'd see me getting older. Suddenly, they're kissing. It's 23:59. It's midnight. INT. HUB - JACK'S OFFICE - NIGHT Jack is in the office sorting through some papers. Behind him, Ianto comes up the stairs. JACK : This time tomorrow, he'll be back in 1918. Ianto lingers by the railing in the dark. IANTO : In his own time. Would you go back to yours ? If you could ? JACK : Why, would you miss me ? IANTO : Yep. Ianto moves in closer. JACK : I left home a long time ago. I don't really know where I really belong. Maybe that doesn't matter anymore. IANTO : I - don't you get lonely. Ianto sits on the edge of Jack's desk. JACK : Going home wouldn't fix that. Being here, I've seen things I never dreamt I'd see. Loved people I never would have known if I'd just stayed where I was. Jack and Ianto's eyes meet. JACK : And I wouldn't change that for the world. Ianto moves in and they kiss. INT. TOSHIKO'S FLAT - NIGHT Toshiko and Tommy are in bed, post-coital. Toshiko's eyes are open. She turns and looks at the clock. It's 02:00. Tommy's awake as well. TOMMY : What did he tell you ? What happens to me ? TOSHIKO : They send you back to France. TOMMY : Then what ? (She doesn't answer him.) Do they find my body ? She touches his cheek and still doesn't answer him. She nods. TOMMY : Well, that's something. He leans forward and kisses her. EXT. CARDIFF BAY (STOCK) - DAY Establish time. INT. TOSHIKO'S FLAT - DAY It's morning. Toshiko is in her white robe. She watches Tommy in bed. He wakes up and looks at her. TOSHIKO : It's time. INT. ST. TEILO'S HOSPITAL - BIG EMPTY ROOM - DAY Gwen, Owen, Jack, Toshiko and Tommy enter the ward. Gwen and Owen put the kits they're carrying down. Toshiko hands Tommy the rift manipulator. JACK : (sighs) You know we can't be here when it happens. Tommy nods. The rift alarms blare. The building shakes. Tommy tries to be brave and steps forward and away from the group. Toshiko follows him. TOSHIKO : Come on. They continue through the hospital. The others follow. INT. ST. TEILO'S HOSPITAL - CORRIDOR - DAY They're walking through the corridor. Suddenly, Tommy stops them. TOMMY : Shh ! They hear the echoing sounds of someone singing. JACK : We're safe for now. A nurse carrying a lit lamp turns the corner in front of them and walks down the hallway. Tommy starts following her. Toshiko follows him. TOSHIKO : Are you all right ? (Tommy starts running.) Tommy ! They enter the ward. INT. ST. TEILO'S HOSPITAL - WARD - DAY - CONTINUOUS Tommy looks around. The nurse is gone. TOMMY : Where is she ? Everyone is quiet as they watch him. TOMMY : In 1918 ? Tommy remembers. GERALD : (echoy, distorted, faint) Tommy, I think you'd better come with us. Don't worry. I'm Gerald, this is Harriet. We'll look after you. TOMMY : Torchwood took me. INSERT : It's night. Tommy is asleep in the ward back in 1918. Tommy is standing at the bed watching himself sleep. TOSHIKO : (faint) Tommy ? Tommy turns and sees Toshiko standing right behind him. He sees everyone there. It's too much for him. He shakes his head and runs out of the room. We note the lights in the room flickering. TOSHIKO : Tommy ! Toshiko runs after him. JACK : (to the others) Stay here. INT. ST. TEILO'S HOSPITAL - EAST WING - DAY Tommy stops in the back room. Toshiko rushes in. TOMMY : (distressed) I won't do it. I can't go back. JACK : You've got to. TOMMY : No ! I know what'll happen. They'll send me back to the Front. I'll be back in the trenches. (to Toshiko) Help me. TOSHIKO : You've got to go. TOMMY : Why me ?! He deliberately drops the rift manipulator. TOMMY : You're no better than the generals. Sitting safely behind the lines, sending us over the top. Any one of you lot could go, but you're not, are you? You're sending me. JACK : We belong here. TOSHIKO : I'm sorry. TOMMY : I've been shoved from pillar to post all my life by the Army, by Torchwood. Tommy advances toward Jack, Jack holds up his hands to stop him. JACK : Hey, hey. Tommy turns and looks at Toshiko. TOMMY : All this time I've had, it means nothing. Tommy goes to the back wall and leans against it. He slides till he sits completely on the floor, huddled against the wall. Toshiko's heart goes out to him. Jack heads over. He kneels and grabs Tommy's arm. JACK : Tommy. TOMMY : (shakes him off) Get off. JACK : Tommy, get up. TOMMY : No ! TOSHIKO : Leave us alone. Please. Jack gets up. He puts a hand on Toshiko's shoulder on his way out. JACK : You've got two minutes. Jack leaves. Toshiko picks up the rift manipulator and walks over to Tommy. She kneels and puts her hand on his shoulder. He pulls away from her. She moves in closer anyway. TOSHIKO : Listen, you're a hero. Do you know that ? (He looks at her.) Because you stop the time-shift and save everyone. You save us all. TOMMY : I can't do it. She sighs. TOSHIKO : We need you. TOMMY : I don't want to be a hero. I want to stay here with you. The Rift rumbles and an unnatural wind blows. Toshiko turns and looks behind her. The sounds get louder and louder. Tommy and Toshiko hold onto each other. A very bright light shines forcing them to cover their eyes. When the sounds subside, they look up. GERALD : (o.s.) Hello ? Gerald and Harriet are there. Toshiko looks at Tommy. TOSHIKO : (to Tommy) Tell them. GERALD : Tell us what ? TOSHIKO : (to Tommy) Tell them what to do. You're the only one who can stop this. If you don't, if you don't, it's the end of everything. Tommy doesn't move. TOSHIKO : Tommy ! He looks down at the Rift manipulator, then gets up quickly. He heads over to Gerald and Harriet. TOMMY : Take me ! I'm in there in the ward in 1918. You have to take me so I can be here now. (Gerald and Harriet don't move.) (demands) Just take me ! The Rift roaring and winds stir up again. The lights get extremely bright. When it subsides, Tommy and Toshiko are back in the future. Toshiko looks at Tommy. He's much calmer. TOMMY : I'll be gone soon. She nods. TOSHIKO : Remember... the rift key. Use it. She glances at the door, then she kisses him. TOSHIKO : You've got to get back into bed. Like you've never been away. Then use the key. Tommy ? Remember, hmm. (They again glance toward the door.) It's nearly time. They nod at each other. The crunching, roaring sounds start up again. Tommy takes the key and starts toward the door. He turns and looks back at Toshiko. An unnatural wind blows and Tommy heads for the door. The extremely bright light shines as Toshiko watches. INT. ST. TEILO'S HOSPITAL - 1918 - EAST WING - NIGHT - CONTINUOUS Tommy is in a storage room. He looks around and clutches the rift key. The nurse finds him there. NURSE : What are you doing ? You shouldn't be in here. The nurse pushes Tommy toward the door. She pulls the linen off the shelf, glances back at the room and heads out after him. INT. ST. TEILO'S HOSPITAL - CORRIDOR - DAY - PRESENT Jack, Owen, Gwen and Ianto turn the corner and start down the corridor. Toshiko runs toward them. TOSHIKO : Go, go ! Everyone turns and runs the other way. Toshiko stops and looks back. Jack grabs her arm and pulls her with him. JACK : Come on ! INT. ST. TEILO'S HOSPITAL - 1918 - WARD - NIGHT - CONTINUOUS Gerald and Harriet head back to the bed near the end of the room. Tommy is sitting up in bed. GERALD : Tommy, I think you'd better come with us. Gerald moves the covers aside. TOMMY (1918) : Why ? GERALD : Don't worry. I'm Gerald, this is Harriet. We'll look after you. TOMMY (1918) : Who are you ? GERALD : We're Torchwood. Tommy starts to get up. TOMMY (1918) : Where are we going ? GERALD : Somewhere safe. Trust me. Tommy gets out of bed and puts his jacket on. Gerald and Harriet move Tommy along. GERALD : It's all right. Keep going. At the other end of the ward, the nurse enters with Future Tommy. Gerald and Harriet quickly move Past Tommy out of the room. GERALD : Don't look back. Just before he leaves, Gerald turns and looks at Future Tommy. Gerald leaves the room. NURSE : You should be in bed. Tommy takes his jacket off. The nurse turns the blanket down. Tommy gets into bed. NURSE : Still warm, at least. Not been gone long. The nurse leaves. Tommy sits in bed looking very scared and confused. CUT TO : INT. HUB - WORKSTATIONS - DAY Everyone returns to the hub. Gwen puts her kit down as the alarm blares. GWEN : Whoa. What's happening ? Toshiko gets to work on the computers. TOSHIKO : I don't know. JACK : The time-shift hasn't stopped. Toshiko, show me the city, now ! Toshiko puts a satellite view of the city up on the monitor. White lights appear where time shifts occur. As they watch, more and more lights appear. TOSHIKO : It's spreading out from the hospital. Jack nods. GWEN : What the hell are they ? JACK : Chunks of the past erupting into the present. Owen is following on his monitor. OWEN : They're everywhere. GWEN : What about the rift key ? TOSHIKO : Tommy isn't using it. IANTO : Why not ? TOSHIKO : I don't know. Because he's just gone back to ninety years ago, because he's shell-shocked ? JACK : (to Owen) One of us will have to go back. Jack heads for the door as Owen thinks. OWEN : Jack, wait ! (Jack turns around.) You'll get stuck in 1918. I've got an idea. CUT TO : INT. HUB - AUTOPSY AREA - CONTINUOUS The alarms continue to blare. Owen moves the monitor aside. OWEN : The time-shifts are forcing the rift open. If we're quick, we can use it to our advantage. He turns and opens the refrigerator and takes out Tommy's blood samples. OWEN : (mutters) A tiny amount should do. (He hands the rack to Gwen.) We know Tommy's exact location in time. If we send an image of you through to him... Jack comes down the steps. He gets it. JACK : ...I can go into Tommy's mind. Owen preps the syringe. Everyone is moving quickly. OWEN : As a psychic projection. Yes, if we're lucky. GWEN : And Tommy will be able to see you. JACK : I can make him use the key. Jack sits in the chair, his sleeves rolled up and arm outstretched. Owen looks for a vein. TOSHIKO : Let me do it. Everyone stops and turns to look at Toshiko standing above them, leaning over the railing. TOSHIKO : He trusts me. They look at Jack. Jack looks down at the syringe mere inches from his arm. JACK : (nods) Okay. CUT TO : Toshiko is hooked up to a head monitor and in the chair Jack was just in. TOSHIKO : How long have I got ? OWEN : Minutes. JACK : You've got one sh*t, Tosh. That's all. Owen looks at Toshiko. OWEN : All right ? She nods. Owen injects her. He hands the syringe to Gwen, then monitor's Toshiko's pulse. Toshiko's eyes close. Jack has his fingers on Toshiko's neck pulse. Everyone looks at each other and waits. CUT TO : INT. ST. TEILO'S HOSPITAL - 1918 - DAY Its madness and chaos in the ward. The patients scream as the building shakes and lights flicker. Tommy sits up in bed and looks around. He looks scared. TOSHIKO : (o.s.) Tommy. Pull back to reveal Toshiko sitting on the edge of Tommy's bed. TOSHIKO : Tommy. Tommy continues to look around. INTERCUT WITH : INT. HUB - AUTOPSY AREA Toshiko is back in the hub. Jack has a hand on her shoulder and everyone surrounds her. TOSHIKO : Tommy. GWEN : (whispers) Oh, she's found him. Tommy turns and looks at Toshiko. TOSHIKO : It's me. Toshiko. TOMMY : Who ? TOSHIKO : (echoy) I'm here to help you. Tommy looks down at the rift key he's holding. He offers it to her. TOMMY : Is this yours ? TOSHIKO : No. Do you know what it is ? Tommy can barely focus. He looks at someone else near the bed. She pulls his attention back to her. TOSHIKO : Tommy, it's a key. You have to use it. Tommy looks at her, scared. Back in the hub, everyone is quiet as they wait. Jack glances at his watch. Owen continues to monitor Toshiko's pulse. In the hospital, Tommy looks at Toshiko. TOMMY : I'm scared. TOSHIKO : It's all right. TOMMY : That's why I'm here. I'm a... I'm a coward. TOSHIKO : No, you are not. TOMMY : What am I fighting for ? TOSHIKO : For the future, for me. Because you're my brave, handsome hero. (He looks at her.) Tommy, use the key. Tommy nods. He holds up the rift key and twists the latch on the side. The dial turns, opens and wisps of golden rift light escapes out from the key. He turns the latch back and it closes again. TOSHIKO : Thank you. TOMMY : Goodbye. The building shakes and roars. Extremely bright light engulfs them. INT. HUB - AUTOPSY BAY Toshiko opens her eyes and takes deep heaving gasps of breath. The sudden movement startles everyone. Owen holds onto Toshiko's wrist, no longer taking a pulse. OWEN : It's all right. Jack holds onto Toshiko's shoulder. TOSHIKO : He did it. Owen looks at Jack. There are large tears in Toshiko's eyes. CUT TO : INT. HUB - WORKSTATIONS Toshiko sits on the couch and she slowly folds Tommy's clothes - the last se of clothes he wore before going back in time. She pauses a moment, then continues folding. She puts the clothes in the box and covers it. Owen steps out from the autopsy area and watches her for a moment. He leaves as she secures the straps on the lid. Leaving the box there on the coffee table, she stands up and puts her jacket on. Jack appears in his office doorway. JACK : Hey. Toshiko looks at him. JACK : Thank you. Toshiko nods and leaves. EXT. CHURCH COURTYARD OVERLOOKING THE BAY - DAY Toshiko stands out against the railing over looking the bay. The white church is behind her. Owen rushes along the wet sidewalk and joins her at the railing. TOSHIKO : He trusted me. Right to the end... OWEN : Because you were strong. He points in a sweeping motion to the scene in front of them. OWEN : All of this... is still here because of you. TOSHIKO : (shakes her head) Because of Tommy. Let's hope we're worth it. And with that, Toshiko leaves. Owen turns and watches her go. Toshiko walks away and doesn't look back. SMASH CUT TO : ROLL END CREDITS END OF EPISODE

{"type": "series", "show": "Torchwood", "episode": "2x03 - To the Last Man"}

foreverdreaming

Opening sh*ts and series recap JACK HARKNESS : (v.o.) Torchwood. Outside the Government, beyond the police. Fighting for the future on behalf of the human race. The 21st century is when everything changes... and Torchwood is ready. INT. RHYS' CAR (TRAVELING) - DAY It's raining outside. Rhys is driving and singing along enthusiastically with the radio playing a Harwood's commercial. RADIO : Who can you trust ? /Who can you trust to transport your cars. RHYS : (singing along) Harwood's ! /You won't be sorry with a Harwood's lorry ! Rhys laughs. RADIO : (from radio) Good morning. And today sees an improvement on the weather we've been having recently. Rhys' phone rings. He looks outside and motions as he pulls over to the side of the road. Cars beep their horns and pass him by. The phone continues to ring. Rhys answers the phone. RHYS : (to phone) Yeah, Ruth ! (chuckles) Did you hear it ? I wrote the last bit. (He chuckles again, then stops as he listens.) What sort of accident ? Yeah, yeah, I know it. Yeah, I'll get over there now. Rhys hangs up and pulls back out into traffic. EXT. ROAD - DAY Rhys pulls up his car, license #CEO7FKV, to the accident site where the police have the area blocked. The accident looks very serious. Police, Dragon Rescue personnel and emergency vehicles are there. Rhys gets out of the car and heads over to the site. An officer stops him. POLICEMAN : Stay back, please. You're going to have to move your car. RHYS : Yeah, I'm Rhys Williams, I'm the manager of Harwood's Haulage. CRANE UP to show the truck knocked on its side and another smaller vehicle smashed and flipped completely over nearby. The officer is adamant. POLICEMAN : Now, you can check on the vehicle later. RHYS : Bollocks to that, mate. I know the driver. Is he... Rhys indicates the body on the gurney. The officer turns to look. POLICEMAN : Didn't make it. Sorry. (The emergency workers pull the sheet over the face of the body on the gurney.) Can you give me some details, sir ? RHYS : It's Leighton. Uh... Leighton Reynolds. POLICEMAN : Next of kin ? The emergency workers push the gurney away. RHYS : Yeah, he's got a... a wife. Jen. Just had a baby. POLICEMAN : Do you know the address ? RHYS : Uh, yeah, uh, 54 Keppoch Street, Roath. Gave him a lift to football. They put the gurney in the back of the vehicle. POLICEMAN : Thank you, sir. A siren wails as the emergency ambulance leaves the site. RHYS : Right, um, I'm going to need to arrange to move the lorry. POLICEMAN : Not yet. There's something suspicious in the back. RHYS : It's just meat. Leighton was taking it to the abattoir. OFFICER : Yeah, well, whatever. Torchwood want a look at it first. The officer turns just as the Torchwood SUV pulls up directly behind the accident site. Rhys watches as the Torchwood team gets out of the SUV. First Jack... then Gwen. He's absolutely stunned to see Gwen there. OPENING CREDITS INT. BACK OF HARWOOD'S TRUCK - DAY Jack steps in first with his flashlight on. He makes his way through the back of the truck. The others follow. Someone coughs. Jack pushes the plastic sheeting aside and finds a large clump of meat on the floor. JACK : Ugh. He presses his boot into the meat. OWEN : Oh, it stinks. Outside, sirens wail. Jack looks at the meat. JACK : No bones, just dense flesh. OWEN : It's not like any flesh I've ever seen. Owen and Gwen are still standing near the entryway. Jack looks around the truck. GWEN : What is it ? Jack kneels down for a better look at the meat. JACK : Well, as there haven't been any giant cow sightings, I suggest we take a sample back to the hub. Jack stands up. Owen turns to his kit. INTERCUT WITH : EXT. ROAD - DAY Gwen steps back out of the truck to talk with the police officer. She doesn't notice that Rhys is there in the back watching her. GWEN : We're going to need to take the contents of the van, confiscate it until we've done further investigations. Inside the truck, Owen is cutting off a piece of the meat. Outside, Jack talks with Ianto. JACK : Did you find out where it came from ? IANTO : No, but it is a Harwood's lorry, so... GWEN : Oh, um, that's Rhys's firm. Jack and Ianto look at Gwen. Way behind them, Rhys is still watching them. Inside the truck, Owen drops a slab of meat into the kit. Outside, Gwen looks at Jack and Ianto. Inside the truck, Owen picks up his kit and is on the move. He heads out. OWEN : Right, done. JACK : Let's go. Jack turns and heads for the SUV. The officer lifts the tape for him. Ianto follows. Owen rushes out and heads for the SUV. Gwen follows after them. Rhys sees them leaving and runs back to his car. Owen puts his things in the back of the SUV, license #CF06 FDU. Jack shuts the trunk door. Rhys is in his car and on the move. He continues forward through the block road with the intention of following the Torchwood SUV and Gwen. The Torchwood SUV starts and pulls away from the site. The policeman stops Rhys. POLICEMAN : Sorry, sir, you can't come this way now. The Torchwood SUV turns around and drives away. Rhys hits the steering wheel in frustration. RHYS : Argh ! CUT TO : EXT. MILLENNIUM CENTRE (STOCK) - DAY INT. HUB - AUTOPSY - DAY Owen is wearing a green disposable apron and moves around as he gives his report after testing the meat. OWEN : There is evidence of a vertebral column but its genetic makeup isn't compatible with any known animal. JACK : Any idea what it is ? Gwen is unusually quiet. OWEN : Have to scan it. But whoever's farming this meat knows it's dodgy. He holds up the label. OWEN : You see this ? Official vet stamp, "Fit for human consumption." It's fake. It's good, but it's fake. Jack walks past Gwen as he heads over toward Toshiko and Ianto by the computers. JACK : Tosh, get on to the haulage firm. Find out where that meat is from and where it's heading. Gwen follows Jack back up to the workstations. GWEN : (quietly to Jack) Why does it have to be Rhys's firm ? It's a bit too close to home. JACK : You want to stand down ? GWEN : No ! I want to find out what's going on. Ianto gives her a cup of coffee. GWEN : Thank you, Ianto. Toshiko adjusts her monitor as she waits for the Harwood's advert to finish. Everyone is drinking their cup of coffee. SONG : (speaker) Who can you trust ? / Who can you trust to transport your cars / Harwood's ! / You won't be sorry with a Harwood's lorry. Gwen stifles a smile as everyone listens to the song. IANTO : Catchy. TOSHIKO : Do you think the haulage firm might be in on it, too ? GWEN : Rhys ? No! He doesn't know what goes in the vans, he just hires them out. IANTO : Driver must have seen it loaded. GWEN : That doesn't implicate Rhys. He's the most honest man I know. TOSHIKO : Have you got his direct line ? Gwen puts her coffee cup down and takes her phone out of her jacket pocket. Jack watches her. She opens the phone to get the number. CUT TO : EXT. HARWOOD'S HAULAGE (STOCK) - DAY Establish. Building. The phone rings. INT. HARWOOD'S HAULAGE - DAY Rhys opens a binder on his way back to his desk. His secretary, Ruth, sits at her desk. The phone rings. Ruth answers it. RUTH : (to phone) Harwood's Haulage. How may I help you ? (She looks at Rhys.) It's the police. Rhys picks up the phone at his desk. RHYS : (to phone) Hello. Yeah, speaking. Yes, I'm aware of the accident. INTERCUT WITH : INT. HUB - WORKSTATIONS - DAY Rhys' voice comes out through the overhead speakers as everyone listens to the phone call. RHYS : (from phone) It's a firm called Harris & Harris. They came to us about two months back. It's a weekly contract. Ianto writes down a note. TOSHIKO : (filtered) Are they licensed ? RHYS : (to phone) Yeah, of course they're licensed ! TOSHIKO : (to phone) Could you give me their address ? Rhys checks the logs. He looks at Ruth. RHYS : (to Ruth) There's no address down here. Ruth stands up and points. RUTH : There's a pickup point. They said it was hard to find. Ianto hands the folded note up to Jack who looks at it. RHYS : No, sorry, all I've got is a service station on the A470, 15 miles from Cardiff. TOSHIKO : (to phone) Do you have their contact number ? Rhys checks the logs. He looks at Ruth. RHYS : (to phone) No, there's no contact number either. TOSHIKO : Can you tell me where your driver took the meat ? Jack hands the note to Toshiko. RHYS : Yes, he was taking it to Caerwen Abattoir. It's a processing plant, just, uh gen-a gen... general meat suppliers. TOSHIKO : (to phone) What time did the driver leave base ? Rhys checks the logs. RHYS : Uh, signed out at 10 to 1:00. Can I ask, what's this about ? TOSHIKO : (to phone) I can't release that information, sir. Thanks for your cooperation. RHYS : Yeah, but I'm the manager of... The line disconnects. Rhys slams the phone down. RHYS : Brilliant ! He sits down in the chair, frustrated. RUTH : Well, Leighton was the regular. Apart from that first booking, they just went through him. RHYS : Yes, but now, it looks like I'm hiding something, Ruth ! CUT TO : INT. HUB - IANTO'S WORK AREA - DAY Ianto is checking the traffic cams. He finds the truck. IANTO : Got him ! Everyone turns around to find Ianto watching the monitors. IANTO : There he is, coming back 40 minutes later. (He stops the monitor.) Let's say it takes 20 minutes to load. We are talking a 10-mile radius. Down in the autopsy area, Owen is studying the slab of meat. OWEN : (shouts) Jack ! JACK : Yeah. Jack and the others head over. OWEN : Scan shows it's definitely alien meat. JACK : (sighs) Where the hell would they get it from ? TOSHIKO : If it's going into the processing plant, that means it's going into pies, burgers, pasties - everything. GWEN : That means people have been eating it for months. Owen runs up the stairs to show them the readings from the monitor projected onto the wall. OWEN : Well, the DNA traces are s*ab. There are some signs of animal sedative, but no detectable diseases or residues. My guess is, it's good to eat. GWEN : Would you eat it ? Ianto runs up to them. IANTO : Pizza's arrived - presumed it would be a late one. OWEN : (sighs) What'd you get me ? IANTO : Usual...meat feast. OWEN : (deflated) Lovely. Owen stares at the slab of meat on the autopsy table. TIME CUT TO : INT. HUB - WORKSTATIONS CLOSE-UP of the pizza as Owen picks out the pepperoni and other meat. Owen and Toshiko sit with the pizza as Ianto paces with his slice of pizza and shares his findings. IANTO : I've narrowed it down to three potential areas..; only one warehouse is unoccupied. It's just outside Merthyr. OWEN : Makes sense...who knows what goes on there ? JACK : We've got to shut the operation down, neutralize whoever is doing this, and identify the alien meat. Gwen's phone jingles. She checks the text message : "Can I see you ?" JACK : (continues) Tosh, you can coordinate. GWEN : I have to slip home and check on Rhys first. JACK : Good idea. Find out how much he knows. GWEN : That's not what I meant. Gwen turns and heads out. CUT TO : INT. GWEN'S PLACE - DAY Rhys sits at the kitchen counter with his phone in his hand. He turns the phone off and puts it down. He's deep in thought. Gwen smiles at him from the entryway. GWEN : Hiya ! I got your message. You all right ? RHYS : (sighs) Uhh. Bit of a tough day. Had an accident at work... uh ... one of our lorries crashed. GWEN : Oh. Anyone hurt ? RHYS : Leighton, one of my drivers, died. GWEN : Oh, no ! RHYS : He was only 24. GWEN : Were you close ? RHYS : For God's sake, Gwen, you met him. Small, dark hair, played five-a-side with me. GWEN : Sorry, I can't, I can't place him. RHYS : Well, then I hear that the, uh... oh, that the, the police have taken the meat out the back of the van. You any idea why ? GWEN : How would I know ? RHYS : You work for them. GWEN : I don't deal in, um... traffic accidents. So... RHYS : Well, they phoned the office and, uh, they asked a load of questions... uh... the thing is, all I do is hire out the lorries, so I... He shrugs. GWEN : Then there's nothing for you to worry about, is there ? RHYS : Must be something dodgy going on, though. GWEN : Well, if there was, you weren't to know, were you ? RHYS : No, of course not. GWEN : No. There's an awkward pause between them. GWEN : I wish I didn't have to go back to work now. RHYS : Hardly worth you coming home. GWEN : Yes, it was. (Smiling, she slides over to him.) To see you. (He chuckles.) I'm sorry. (She kisses him.) I'll see you later. She looks at him. GWEN : Go and have a pint. Call Daf. RHYS : Hmm. Yeah. Yeah, maybe I will. She kisses his forehead and heads out. After a moment, Rhys picks up his phone, grabs his keys off the table and heads out after her. CUT TO : EXT. MILLENNIUM CENTRE - DAY Gwen is headed across the plaza. INTERCUT WITH : INT. RHYS' CAR (PARKED) - DAY Rhys sits in his car watching her. Gwen is headed toward the water tower. As Rhys watches, Jack steps off the concrete brick, suddenly appearing out of nowhere. Gwen heads right up to him. Rhys is spooked and is much too far away to hear their conversation. GWEN : (to Jack) Like I thought... he has no idea what's going on. Jack holds his arm out. JACK : Would you care to accompany me to the slaughterhouse ? Jack waits a b*at. Gwen takes his arm. As Rhys watches them, Gwen and Jack start walking again, this time away from the water tower. GWEN : Have you ever eaten alien meat ? JACK : Yeah. GWEN : What was it like ? JACK : (watches her) Well, he seemed to enjoy it. Wait for it... Gwen's eyes grow wide as it sinks in. Gwen and Jack both smile. She giggles as they head off. GWEN : (muffled) You're rough. Rhys can't believe what he's seeing. CUT TO : INT. RHYS' CAR (TRAVELING) - DAY Rhys is driving and tailing Jack and Gwen in the Torchwood SUV ahead of him. The Torchwood SUV takes a turn - Rhys takes a turn. CUT TO : EXT. ROAD TO SLAUGHTERHOUSE - DAY The Torchwood SUV travels along an access road. JACK : (v.o., radio filtered) Ianto, Owen, we're just on our way in. How are things looking at the slaughterhouse ? Are you in position ? IANTO: (v.o., radio filtered) Yeah, it's all quiet here. There's a deserted access road to the side, where you won't get noticed. I'll direct you in. Rhys' white car travels along the same access road. INT. JACK'S SUV - DAY JACK : Ianto, nearly there. EXT. SLAUGHTERHOUSE / WAREHOUSE SIDE ROAD - DAY The Torchwood SUV appears at the site. EXT. SLAUGHTERHOUSE / WAREHOUSE - DAY Ianto and Owen are walking along the side of the warehouse. IANTO : (to radio) Take the second turning. EXT. SLAUGHTERHOUSE / WAREHOUSE SIDE ROAD - DAY IANTO : (filtered) Park on the left. No one will see the car there. Jack takes the second turn. After a moment, Rhys' white car appears after the turn following Jack's path, except the Torchwood SUV is out of sight. Rhys is driving. He takes the first turn instead of the second. EXT. WAREHOUSE - DAY Owen checks yet another door. It's locked. He and Ianto continue to walk around the warehouse building. IANTO : (to radio) There's a main entrance at the front. It's the only one open. The rest are padlocked and alarmed. EXT. WAREHOUSE SIDE - DAY The Torchwood SUV goes over a speed bump and slows. INT. RHYS' CAR - DAY Rhys stops the car just outside the front gate to the warehouse. He looks out and sees Ianto and Owen. They turn the corner and walk out of his view. INT. JACK'S SUV - DAY Jack ad Gwen sit in the parked SUV. JACK : (to radio) How many are in there ? OWEN : (from radio) Difficult to tell. Owen and Ianto continue to walk around the building, checking the warehouse doors. OWEN : There's no windows. INTERCUT WITH : INT. HUB - WORKSTATIONS - DAY Toshiko is at her computers. TOSHIKO : I've got blueprints of the warehouse. The stock has to be in the central area. Having fun ? Owen and Ianto continue to walk around the building. IANTO : (drolly) Don't know what you're missing. OWEN : (to radio) According to the sensor, there's a heat signature across the entire building. GWEN : (quietly) That's a lot of meat. INT. RHYS' CAR (PARKED) - DAY Rhys twiddles his fingers against the steering wheel impatiently. He takes his phone out and dials. INT. TORCHWOOD SUV (PARKED) - DAY Gwen's phone rings. She checks it. It's Rhys. Rhys 07704195740 calling. She doesn't answer it and turns it off. INT. RHYS' CAR (PARKED) - DAY RHYS : Oh, answer the phone, Gwen ! He turns the phone off and puts it back in his pocket. EXT. WAREHOUSE - DAY Owen and Ianto continue around the warehouse. JACK : (from radio) You two take the sides. Gwen and I will go in the front. We don't want any casualties. We stun-g*n whoever's in there and put a stop to what they're doing. INTERCUT WITH : EXT. FRONT - DAY Rhys gets out of his car and engages the car alarm. He starts toward the building. Jack and Gwen are in the car. JACK : Let's go. Jack and Gwen get out of the SUV. They start for the front of the building. Rhys takes his phone out and dials again. His phone beeps. Jack sees someone. JACK : There's someone there. It's Rhys. GWEN : It's Rhys. It's R... What's he doing ? Ianto and Owen approach another door. IANTO : Did you bring the alarm deactivator ? Owen takes out his g*n with sil*ncer and sh**t the lock off. IANTO : Well, that's one way of doing it. A white sports car approaches the warehouse. Rhys presses some buttons on his phone and pockets it. The white car stops in front of Rhys. Jack and Gwen are too far away to hear anything said. Rhys walks over to the men in the car. JACK : He must be in on it. Gwen is too shocked. The two men get out of the car. DALE : Don't bother running, mate. Gwen shakes her head. She can't wrap her mind around Rhys being involved. GWEN : Never, no. One of the men speaks into a hand-held radio. DALE : (to radio) Greg. We've got a bit of a problem, bruv. Jack and Gwen watch. JACK : How else do you explain that ? INT. WAREHOUSE - DAY The door bursts opens. Owen and Ianto step into the doorway with their g*n out. JACK : Ianto, Owen. Stand down. Repeat: stand down. Ianto looks at Owen. Owen nods. They back out of the warehouse. Owen closes the door shut. EXT. WAREHOUSE - DAY Jack and Gwen watch Rhys with the two men. GWEN : He told me he didn't know what was going on. He wouldn't lie to me. JACK : He also said he didn't know here they were based, but he did. GWEN : There's something wrong. There has to be. Gwen starts to run out. Jack reaches for her. JACK : Gwen ! No ! He grabs her and pushes her back up against the warehouse wall. He holds her wrists, pinning her there. JACK : (firmly) No. Dale motions to Rhys. DALE : Come with me. Rhys follows Dale. They head toward the warehouse. Jack keeps Gwen pinned to the warehouse wall. GWEN : I just have to get him out ! JACK : What ? By charging in there ? What then ? You going to knock him out ? INT. WAREHOUSE - CORRIDOR - DAY Rhys walks through the dark corridor with Dale and the other man behind him. The overhead lights flicker. Greg steps out of a room and closes the door behind him. Rhys turns to Dale. RHYS : Look, lads, I don't mean any harm, honestly. Greg motions for them to continue. Dale forces Rhys to continue down the hallway with them. EXT. WAREHOUSE - DAY JACK : You can't just go in there ! (Gwen calms down.) You have to do as I say. Jack lets Gwen go. JACK : We wait until he comes out. Jack looks toward the front. He glances sideways at Gwen. INT. WAREHOUSE - DAY In the meat packing room, one of the workers is carrying a large block of raw meat. The low wailing sound of a large creature is heard. There are a couple workers in the small area and large chunks of raw meat on the rollers. Greg, Dale, Rhys and the other man enter through one door just as Vic enters through the back door. Vic looks at the workers. VIC : Boys, you should've waited for the ketamine injection before doing that. WORKER : What about the hoses ? VIC : That's only lidocaine. It's not strong enough. DALE : (scoffs to Vic) Well, if you care so much, go and work for the RSPCA. Or don't they pay as good ? GREG : (points to Rhys) Oi ! You ! Through here. Greg enters the office. Rhys starts to follow, but stops as he looks around. DALE : (loudly) Shift ! Rhys is startled and heads into the small back office. The worker they entered with puts on a yellow vest. DALE : (to worker) I want you and one of those with me, now ! Dale heads into the office. The worker picks up a cleaver off the shelf and heads into the office with them. CUT TO : INT. WAREHOUSE - BACK OFFICE - DAY - CONTINUOUS Greg and Dale talk with Rhys. The worker in the yellow vest with the cleaver stands in front of the doorway. GREG : Who sent you ? DALE : Come on, now, don't waste our time. RHYS : No one sent me. I, um... I came on my own. I'm looking for the boss. DALE : You're looking at him. GREG : Ignore my little brother. RHYS : I'm, uh..; Rhys digs into his jacket pocket and takes out a business card. He offers the card to Dale. RHYS : I'm from, um, I'm from Harwood's. Harwood's Haulage. (Dale takes the card.) Uh, Leighton... Leighton, your driver..; He, um, well, he, uh, he sort of told me what was going on. DALE : That mouthy git... He was paid to keep quiet. GREG : (motions) Shh ! RHYS : Yeah, well, he's d*ad. Greg and Dale exchange looks. RHYS : Lorry crashed. DALE : Were the goods inside ? GREG : What happened to the meat ? Did anyone see it ? RHYS : No, no, um... I, uh... I picked it all up and, uh, took it all to be incinerated. Dale gets up and hands the card to Greg. RHYS : You see, um.;; I was hoping maybe I could, uh, pick up from where he left off, boys ? Dale turns and looks at Rhys. DALE : How do we know you won't report us ? RHYS : I'm here, aren't I ? Dale scoffs. Greg stands up. GREG : So what, exactly, did he tell ? Rhys looks at them. RHYS : Uh... everything. You know, that you're, uh... Cleaning up old meat. DALE : Oh, it's a lot bigger than that. CUT TO : INT. WAREHOUSE - CORRIDOR - DAY Greg and Dale walk Rhys through a corridor. There's blood on the floors. Greg reaches the door and opens it. Rhys puts his wrist to his mouth and nose as he reacts to the stench. He gags from the smell. INT. WAREHOUSE - MAIN ROOM - DAY The creature wails - a low crying sound. The workers continue to move around. Greg stares dispassionately at the creature. Rhys, Dale and the other worker enter the main room. They close the door behind them. The creature's wails are loud and thunderous. It's cries are similar to those of a whale. RHYS : What's that noise ? Greg turns and looks at Rhys, watching his reaction. Rhys looks stunned by what he sees. We don't see the creature, just hear its sad, painful cries. Rhys steps past the men and closer to the creature. Rhys walks up to a creature he's never seen before. It's huge. He steps up to it. The creature's eye opens and looks at Rhys. It wails and moves. Rhys takes a step back. RHYS : God ! He can't believe what he's seeing. The creature is alive and suffering. RHYS : What is it, boys ? GREG : No idea. The creature moans and wails. CRANE UP on the creature filling the entire length of the warehouse. It's huge and appears shapeless. It's held in place by ropes. GREG : The beauty of it is, it just keeps growing. DALE : No matter how much we cut it. The creature wails. Rhys turns and sees the creature's flesh on the warehouse floor. A bloodied worker kicks the meat scraps with his boot. Vic, the veterinarian, pumps more drugs into the creature. The inhumanity of what he's witnessing hits Rhys. He gags, turns and throws up, vomiting on the floor. Dale chuckles. DALE : You get used to it. CUT TO : EXT. WAREHOUSE - DAY Meanwhile, Jack and Gwen are still on the side of the building as they wait for Rhys to come out of the warehouse. After a moment, they see Rhys and Dale shaking hands. They're too far away to hear what they're saying. GWEN : I don't get it. Jack shakes his head as he continues to watch. They appear to let Rhys go. Rhys heads for his car. His car alarm chirps. He waves to Dale as he gets inside. Dale waves back. It's all so friendly. Rhys starts the car engine. Jack looks at Gwen. JACK : Come on. Let's go. Jack turns and heads back to the car. Gwen follows him. CUT TO : INT. GWEN'S PLACE - DAY Rhys is home and having a beer. Gwen bursts in. GWEN : (shouts) What were you doing in that warehouse ?! RHYS : (shouts) You lied to me ! You were at that crash ! GWEN : I don't know what you're talking about. What... ? RHYS : Stop pissing me around, Gwen ! You're so used to lying and fobbing me off, like the idiot that I obviously am. GWEN : Those blokes paying you ? Why were you there ? RHYS : No, I'm asking the questions, all right ? I followed you, okay ? Yeah. So that bloke, the tall bloke in the coat, you f*cking him, or what ? She looks at him. GWEN : (quietly) All I ever asked was you trust me. RHYS : What, like you trust me ? It's a two-way street, Gwen ! GWEN : There's stuff you don't understand, Rhys. RHYS : Oh, of course not, I'm just a big, dumb animal, aren't I ? I mean, what's so secret you can't even tell your own fiancé, eh ? You know, in fact, why are you marrying me, Gwen, eh ? What am I, just a habit you can't be arsed to break ? GWEN : No. RHYS : Then tell the truth ! GWEN : All right! All right, my job... the special ops thing ? It's a lie, a cover story. RHYS : Thank you ! At last ! God, what's that taken, about a year ? That's one lie down. How many more we got to deal with, eh ? Is there anything in your life that's actually based on truth ? GWEN : Us. RHYS : Us ? Ha ha ha ! Us ? Us is crumbing, Gwen. Us is falling to shit ! GWEN : You think I enjoy keeping all this stuff to myself ? RHYS : Then why did you ? GWEN : Because I'm trying to protect you ! Have you ever stopped to think about that ? No ! No, because you prefer to blunder in without thinking or looking. Good old ham-fisted Rhys' heart, his heart is in the right place, but his brain is a million miles f*cking back ! RHYS : Come on, let's have it all, then, shall we ? What, exactly, do I need protecting from ? GWEN : I catch aliens ! RHYS : Piss off ! GWEN : No, you piss off. It's the truth. RHYS : If you're not going to take it seriously... GWEN : This is why I couldn't tell you. Because I hunt down aliens and I scavenge the stuff they leave behind. And then, sometimes I don't believe it myself. RHYS : Gwen, what's got into you ? Have you been brainwashed ? Is that it, yeah ? (Gwen sits down). 'Cause you are talking some high-grade shit here ! GWEN : Every word is the truth. Rhys. The things I have seen... (sighs) The times I have wanted to tell you... She shakes her head, exhales the breath she's been holding for the last year... and sits back in the seat as she closes her eyes. RHYS : Aliens ? (points to the window) In Cardiff ? GWEN : Have you never seen something so mad, so... extraordinary, that, just for one second, you think that there might be more out there ? RHYS : Prove it. CUT TO : EXT. CARDIFF (STOCK) - DAY Lovely view of the area. INT. HUB - NIGHT Ianto is down at the computers while Jack is a level above. They both look at each other from across the hub. Everyone is quiet. IANTO : Well, this is unprecedented, a fiancé finding out. Ianto, Toshiko and Owen are at the lounge area near the workstations. They're having something to drink. TOSHIKO : Mainly because we're all sad and single. Ianto smiles. OWEN : Speak for yourself. I am better off without that kind of hassle. Jack walks along the catwalk toward the greenhouse. From across the room, he watches Ianto. TOSHIKO : Maybe the answer is to go out with someone who knows what you do. OWEN : Look around you, Tosh... only we know what we do. Owen pushes his chair away and back toward the computers. Toshiko picks up her wine glass and remains silent. Ianto turns and sees Jack in the hot house... watching him. Ianto takes a drink. CUT TO : EXT. MILLENNIUM CENTRE - WATER TOWER - NIGHT Rhys and Gwen walk quickly across the plaza toward the invisible lift. RHYS : I saw you here earlier. With him, that bloke. He just appeared out of nowhere. GWEN : It's an invisible lift. Gwen steps up onto the concrete block. GWEN : Oh, it's too complicated to explain. Come on, trust me. She holds out her hand. Rhys takes her hand and steps up onto the block next to her. She holds onto his arm and turns him so they're both facing the same direction. GWEN : Ready ? RHYS : Yeah. The concrete block sinks down. INT. HUB - CONTINUOUS Jack walks along the catwalk as the concrete block lowers into the hub. The ceiling trap door closes above them as they continue to sink down into the Torchwood headquarters. Rhys looks up and sees the ceiling trap door close above him. RHYS : Wow ! Gwen and Rhys chuckle. RHYS : Who could've thought this was here ? Rhys looks around, taking it all in. The pterodactyl screeches and soars above his head. Rhys laughs with glee. Gwen laughs with him. RHYS : That looked so real. GWEN : It was real. RHYS : They're extinct, Gwen. Jack walks over to meet them. JACK : In your timeline, yes. Jack shakes Rhys' hand. JACK : Captain Jack Harkness. Thanks for dropping in, Rhys. Gwen steps off the block. GWEN : This is the rest of the team. Owen and Toshiko, Ianto. RHYS : Pleased to meet you. JACK : Welcome to our headquarters. RHYS : They're bigger than mine. Gwen giggles. Jack smiles. He turns to look at the other. Ianto, Toshiko - they don't smile. RHYS : So, Gwen tells me you catch aliens. JACK : That's right. OWEN : There's a rift through space and time that runs through Cardiff, Rhys, and stuff slips through it from other timelines and planets and it's our job to monitor it. Rhys steps off the block and looks at Gwen. RHYS : (mutters to Gwen) You sure they're not some weird kind of cult ? GWEN : You saw that alien in the warehouse. (nudges him) Go on. JACK : What did you see ? RHYS : Uh, it was like this huge, shapeless beast filling the space, like a mound of flesh. TOSHIKO : So it's one massive entity, as opposed to several organisms ? Gwen nods. OWEN : The latest tests reveal high levels of chloride, so it probably lives in the water. I reckon it came through the rift into the sea, and it's beached itself. JACK : Like a giant alien manatee. Owen nods. IANTO : But how did they get it there ? That warehouse must be fifty meters long. RHYS : Um... maybe it was smaller when they found it, because they said it's growing. JACK : (surprised) It's not d*ad ? RHYS : No, it's breathing. Its eye opened. OWEN : So the protein chains are regenerating despite the mutilation, so not only is it replenishing its own flesh, but it's increasing it, giving them a brand-new meat supply. GWEN : It would last them for years, then. TOSHIKO : If we understood how it worked, we could feed the world. IANTO : We could release a single... JACK : (interrupts) We're talking about dodgy pies and Merthyr, okay ? And the fact that they're cutting it up alive - (to Rhys) Which we could've put a stop to already, if it wasn't for you. RHYS : I thought my fiancée was in danger. JACK : Well, Mr. Caveman, she wasn't. She can handle herself. Gwen motions to Jack behind Rhys' back. GWEN : (warns) Jack. Jack ignores her. JACK : All you did tonight was mess things up. Now, we have to think of a way to get back in. And thanks to you, they'll have tightened security ! RHYS : Well, if you stopped and asked me exactly what I saw in there, instead of showing off round the place. JACK : (to Ianto) Do I show off ? IANTO : Just a bit. RHYS : (charged) You'd know that I got out by telling them I wanted a job as a delivery boy. So rather than cock things up, I found you a way to get in ! (gets in Jack's face) But if you can't handle that, big boy, then you can stuff it ! JACK : (to Gwen) This is quite h*m*. GWEN : No, no, no, no, Jack. He is not getting us in. JACK : (to Gwen) Team meeting. (to Rhys) You too ! Jack turns and leaves. Rhys doesn't know what that means. Ianto follows. Gwen starts after them. GWEN : Jack ! Toshiko and Owen file quietly past Rhys. After a moment, Rhys follows them, too. TIME CUT TO : INT. HUB - CONFERENCE ROOM - NIGHT The blueprints of the warehouse are spread out on the conference table. Rhys is standing as he points to the various places on it. RHYS : That's where the thing is, that's the sedatives room, that's where they hang and pack all the meat. OWEN : That's good to know. Gwen paces on the other end of the room. Everyone else is seated at the table. GWEN : Yes, that's good to know, but he is not driving us in. RHYS : They're expecting me. You lot can hide in the back of the van. GWEN : What is this, "Scooby-Doo" ? Absolutely no way is he getting involved. RHYS : Oh, where was I when you decided to get involved ? Did you give me a second thought ? Rhys and Gwen glare at each other across the table. OWEN : (mutters) Oh, joy, a domestic. JACK : Rhys is right, he's our best way in...stun g*n only. OWEN : We've handled bigger than this. Why don't we just storm in, g*n in the air and arrest them ? JACK : Those men aren't organized criminals. If we go in, g*n blazing, they'll k*ll the evidence and run. OWEN : I wasn't suggesting blazing, just waving. JACK : The last thing we need is a bloodbath. Jack stands up. OWEN : Point taken. GWEN : I know that. JACK : Once Rhys has loaded up, he can clear. (to Gwen) You don't have to come. You can stand down. TOSHIKO : It might be better. Jack looks at Gwen and points to Rhys. JACK : You love him. Makes you vulnerable. GWEN : He's not going in there without me. JACK : That's your decision. GWEN : Yes, it is. JACK : You both have to live by it. Everyone is quiet, serious. RHYS: (to Gwen) Oh, come on ! You and me, a team. GWEN : (roars) Dammit, Rhys ! This is for real. Do you understand that ? This is for real. And if you mess up, I will k*ll you ! Rhys sits down. Toshiko stands up. TOSHIKO : So, after we've stun-g*n the workers, we put the creature out of its misery. JACK : No. We're going to save it. Ianto and Owen look at each other, both surprised by Jack's position. JACK : s*ab it, wait for the rift to open, and phoom, send it back. IANTO : Guess who'll have to look after it in the meantime. TOSHIKO : Tell me exactly how are we going to use it to arm ourselves against the future ? Toshiko sits down. OWEN : We could always hide behind it. JACK : Why shouldn't we save it ? Because it's an alien ? It needs our protection. RHYS : You didn't hear its cry. Heartbreaking. IANTO : Listen to Ahab. OWEN : Jack, it's growing. JACK : Well, we'll find a way to stop it mutating. (Jack plants his hands on the table as he stands up.) We are doing this ! That's an order ! OWEN : Fine. IANTO : I'll stock up on plankton. Ianto, Owen and Toshiko leave the room. Gwen remains. GWEN : So you do have a heart. Rhys stops and looks at them. Jack turns and looks at Rhys. JACK : We see enough death. Jack leaves the room. CUT TO : INT. HUB - LAB / HOT HOUSE Owen stands in front of the computer monitors, looking at the image of a large creature. Toshiko walks up to him carrying a plate with a sandwich on it. TOSHIKO : What's that ? OWEN : Oh, it's just an idea of what it looks like. Had it made up from the genetic makeup. TOSHIKO : Looks lovely. OWEN : Hm. His back is to her. Toshiko reaches out to touch his back, but her hand never makes contact. TOSHIKO : You're just a big softy, really, aren't you ? Owen turns to another shelf. OWEN : Better get on with that report. He grabs the clipboard. TOSHIKO : I brought you some sandwiches. OWEN : Thanks, Tosh. TOSHIKO : It's okay, just cheese and pickle. (He nods and keeps writing.) I can keep you company. I'm not tired. OWEN : In that case, maybe you can do it. I'm knackered. He drops the clipboard and pen on the table and walks away leaving Toshiko stunned. Owen kneels and looks through the plant leaves over at the lounge are where Gwen and Rhys sit on the couch together. OWEN : (points) That's another big lump out of its habitat. Toshiko puts the plate of sandwiches down on the table. She watches Gwen and Rhys, too. TOSHIKO : Makes you realize. Maybe it is possible to do this job and have a relationship. OWEN : (scoffs) Yeah. He closes his kit. TOSHIKO : Do you fancy a game of pool sometime ? We're always in here, slaving away. Might be nice to, I don't know, kick back and have some fun. OWEN : Yeah, why not ? TOSHIKO : (smiles eagerly) When ? OWEN : Well, I'll check with the others. We could have a Torchwood tournament. It'd be fun. Owen picks up his kit and grabs the plate of sandwiches. Toshiko looks deflated. OWEN : Thanks for the sandwiches, Tosh. Owen leaves. INT. HUB - LOUNGE/WORKSTATIONS - CONTINUOUS Owen comes down the stairs with his kit and plate of sandwiches. Gwen and Rhys sit on the couch. RHYS : I thought you worked for anti-terrorism or something. That was bad enough. But knowing you're in this much danger/ GWEN : Yeah, you'd feel like I do now. Owen hurries past them. She waits till he leaves. GWEN : Worried sick. You don't have to do this to prove anything to me. Owen puts his things away and walks past them again. RHYS : And I'm not leaving you with all these sexy young men. GWEN : There's only one, from where I'm sitting. They kiss. Jack is in the office, standing under the light and reading a book. He turns and sees Gwen and Rhys kissing. Gwen opens her eyes and looks at Jack as she kisses Rhys. Jack turns away. CUT TO : EXT. HARWOOD'S HAULAGE (PARKING LOT) - DAY The white Harwood's Haulage truck is parked and ready. The sign info on the truck is TEL: 02920 180316 FAX: 02920 180317. The Torchwood SUV parks. Jack and Rhys get out and head for the office. JACK : You sure about this ? RHYS : Yeah. JACK : 'Cause once they ring, there's no turning back. The Torchwood SUV pulls out and drives away. Rhys and Jack head into the building. INT. HARWOOD'S HAULAGE - OFFICE - DAY Rhys and Jack walk in. RHYS : Morning ! RUTH : You just missed the advert. Rhys grabs the clipboard off the wall. RHYS : Yeah ? Just popped in for my jacket and to sign for a van. Ruth walks past Jack and heads toward Rhys. She's carrying a cup of tea and a danish. RUTH : Here's your tea, and I got you a Danish, your favorite. She puts them both down on his desk. JACK : I'm in the wrong job. RUTH : We have got job vacancies. JACK : Oh, maybe you could fit me in. RUTH : Oh, I'd be delighted to. JACK : Would I need a license for trucking ? RUTH : Yes. Takes four weeks, and then you can go long-distance. Jack chuckles and leans in close to whisper in Ruth's ear. JACK : That wouldn't be a problem. The phone rings. Ruth's eyes grow wide and she turns pink. She turns and looks at Jack just as he turns and looks at her. Rhys checks his phone. RHYS : It's them. Jack turns his attention to Rhys and the ringing phone. Rhys sits down. JACK : Okay. Rhys answers the phone. RHYS : (to phone) Yeah, hello ? CUT TO : INT. HARWOOD'S VAN (TRAVELING) - DAY Rhys is driving and eating his danish. Jack rides g*n. RHYS : Why her ? Boy, of all the women you could've chosen. JACK : She chose us. Kind of stumbled upon us. RHYS : So did I. Don't be asking me to join. JACK : We needed someone with police skills. RHYS : Could've chosen anyone. Did you ever think about us ? You know... me, her parents, people who love her, who want her safe ? JACK : No, sorry. We needed her. On her first day of work, she told me off for being too clinical. RHYS : She doesn't hold back, mate. JACK : Mnh-mnh, stubborn as hell. RHYS : Tell me about it. Yeah, she's an amazing girl. I'm a lucky man, Jack. JACK : Yeah, you said it. RHYS : I just wish you would've been uglier. They look at each other. Rhys laughs. Jack smiles. RHYS : You're not gay, by any chance, are you ? CUT TO : EXT. BUILDING LOADING ZONE - DAY Owen motions for Rhys to back up the van. The van beeps. Rhys parks. Gwen walks up to Rhys' open window. GWEN : Brought you a danish, your favorite. I know what you're like on an empty stomach. She gives him the danish. Rhys and Jack look at each other. Rhys puts it aside. RHYS : Cheers. Gwen heads for the back of the van. Jack and Rhys get out of the van. Gwen talks with Rhys. GWEN : Get out as soon as you can, remember ? RHYS : Yes, yes, yeah. Everyone is there as Rhys opens the back. Owen climbs in. He turns and helps Toshiko into the van. Ianto gets into the van. GWEN : (to Rhys) I love you. RHYS : I love you, too. She kisses him. RHYS : Now, stop fussing and get in the back of the van. Go on. Gwen climbs into the back of the van. Jack looks at Rhys, then climbs in last. Rhys closes and locks the van door. CUT TO : INT. HARWOOD'S VAN - FRONT SEAT - DAY Rhys takes a deep breath and exhales it slowly. He starts the engine. INTERCUT WITH : In the back of the van, Ianto turns a flashlight on and hands it to Toshiko. In the front, Rhys drives. In the back of the van, Gwen waits. Ianto hands Toshiko a g*n. She puts the flashlight down and checks the clip. In the front, Rhys drives. He has his clipboard and paperwork on the seat next to him. He drives up to the gate. Rhys shows the worker his clipboard and ID. The worker opens the gate and motions Rhys through. In the back of the van, Owen opens his kit. OWEN : I'll prepare an antidote to the ketamine so we can start weaning it off. JACK : Gwen, Tosh, and I will take the main area. Owen, Ianto, cover the corridors and the small rooms. Gwen is quiet. JACK : You okay ? GWEN : What do you think ? OWEN : He'll be fine. He's a good bloke. JACK : Let's go. EXT. WAREHOUSE - LOADING AREA - DAY Rhys arrives with the lorry. The worker opens the passenger side door. Rhys shows him the clipboard. RHYS : Yeah, I just need your boss to sign this, mate. I don't want any questions asked, see ? The worker leaves to get the boss. Rhys whistles. The other worker there puts the bag he's carrying down on the cart and rushes over to Rhys. RHYS : Couldn't get us a cuppa tea, could you ? WORKER : Yes. The worker leaves. Rhys unbuckles his seatbelt and gets out of the truck. He rushes to the back. He opens the door and finds it empty. He looks around, then closes the door. He sees the van's side door open. Rhys locks the side door closed. GREG : (o.s.) Where do you want my autograph ? Rhys turns and sees that the worker returned with Greg and Dale. RHYS : Uh ! He turns to get his clipboard. RHYS : Just on here, mate. Greg gives him some money. GREG : Here's a one-r for your trouble. (Dale turns and motions for the worker to load the back of the truck.) Count it if you like. Greg signs the clipboard. Rhys pockets the money. He sees the other worker return. RHYS : No, no, it's fine, mate. I trust you. Greg gives the clipboard back to Rhys. DALE : When you get tot he abattoir, ask for Graham. Him and the boys clean it up and process it. RHYS : All right. The worker pushes the cart to the back of the truck to load it. Rhys turns and puts the clipboard in the truck. CUT TO : INT. WAREHOUSE - PACKING ROOM - DAY Owen and Ianto enter the packing room where huge chunks of meat are hanging. Ianto dabs his wrist to his nose from the smell. He looks at Owen. IANTO : Mmm. They continue through the room. Ianto heads for the door at the other side of the room. INT. WAREHOUSE - MAIN ROOM - DAY Jack, Gwen and Toshiko enter into the main room. The creature lows. They walk in. GWEN : Oh, my God. Jack stops. GWEN : It's amazing. TOSHIKO : How did it get here ? CRANE UP and pull back on the massive creature. Jack hears something. JACK : Shh shh shh shh shh ! Jack turns his flashlight off and spreads his arms out wide to stop Gwen and Toshiko from moving forward. A distance away, a worker pushing a red t*nk on wheels. He passes by and doesn't notice them. Jack quickly ducks behind a container. Gwen and Toshiko also duck to the side. Jack motions to Gwen. He hurries off. Gwen takes his former position behind the container. She waits. The creature moans. The worker hacks away inside a hole in the side of the creature. With every chop of the larger meat cleaver, the creature wails. The worker reaches in and move some flesh. More hacking away at the meat. Gwen closes her eyes from the sight. After a moment, the worker carts a large block of meat in a wheelbarrow. He's headed toward Gwen. Jack suddenly steps out behind him and zaps him with his stun g*n. The man falls, his hard hat hits the floor. Jack drags his body away behind the container. Gwen and Toshiko both turn their flashlights back on. Jack steps back out and they all look at the creature. JACK : Imprisoned, chained, and drugged. Welcome to planet earth. The creature's eye opens. It keens a different sound, as if responding to Jack. Toshiko smiles. TOSHIKO : It heard you. It's sentient. Gwen looks at Jack. She's going to look around. Jack nods. Gwen starts down the side along the creature. She motions to Jack. GWEN : Jack. Jack heads over. She comes to the area where the workers have been cutting into the creature. She coughs. GWEN : Oh, that's disgusting. Jack can't believe what he's seeing. He looks absolutely horrified as he steps into the area cut into the creature. JACK : What have they done to you ? He puts his hand on the exposed flesh. JACK : What have they done to you, my poor friend ? Jack looks at the massive creature as it keens. PAN BACK over the large creature. It growls and tries to move, but the chains keep it firmly in place. CUT TO : INT. WAREHOUSE - PACKING ROOM - CONTINUOUS Owen looks through one of the side doors. He hears a sound and steps back out of view. He pulls the door partially closed to hide. A worker walks in and passes Owen. Owen steps out, grabs the worker and slams him up against the shelves. Owen pushes him down onto the packing rack and zaps him with the stun g*n. He takes the worker's g*n from him. OWEN : (to radio) Everyone, they're armed. INT. WAREHOUSE - MAIN ROOM - CONTINUOUS Gwen looks worried. GWEN : Rhys. JACK : (firmly) Gwen. Stay here. INT. WAREHOUSE - STAIRS - CONTINUOUS Ianto hurries down the stairs. He opens the door at the bottom. EXT. WAREHOUSE - LOADING AREA - DAY Vic rides in on his yellow bicycle and joins Greg and Dale with Rhys as they wait for the truck to be loaded. Rhys lingers with his cup of something to drink. DALE : Where have you been ? That injection was due ten minutes ago. VIC : I needed more ketamine. I've had to up the dose, Dale. The thing's in agony, man. DALE : It's meat. It can't feel anything. You going soft, or what ? Get inside and play nurse if you're so bothered. We got work to do. VIC : Right. Vic heads inside. Greg checks the bags in the back of the truck. GREG : Oh, whoa whoa whoa whoa, hang on. (points to the back of the van.) There's only twelve bags in here. Supposed to have three more. Come on, hurry up ! He motions to the workers to get the bags. Dale shakes his head and continues drinking his coffee. Rhys sighs and looks at his watch. INT. WAREHOUSE - SEDATIVES ROOM - DAY Owen is in the sedatives room looking at the various containers on the shelves. INT. WAREHOUSE - HALLWAY NEAR DOOR - DAY Ianto is walking and looking around. The door opens. A worker walks in and closes the door behind him. He looks surprised to see Ianto. Ianto looks surprised to see him. He waves. IANTO : Hello! I, uh, have a thing here somewhere. Ianto reaches into his jacket and pulls out his stun g*n. IANTO : (cheerfully) Hell of a day. He zaps the worker who falls into his arms. EXT. WAREHOUSE - DAY Rhys heads for his truck. RHYS : I should be getting off, mate. I have a... Rhys opens the truck door. RHYS : I've got jobs backing up, you see ? He gets inside. DALE : Well, they'll have to wait, won't they ? Rhys shuts the door. INT. WAREHOUSE - HALLWAY NEAR DOOR - DAY Ianto is dragging the worker through the hallway and doesn't see a second worker looking through the door window. WORKER : (to radio) Dale, we've got trouble. There's people in the building. The worker turns and walks away. Ianto pulls the body and drops it at the base of the stairs. He dusts his hands. EXT. WAREHOUSE - DAY Dale reaches in through the open window and smashes the g*n against Rhys' face. DALE : You want to mess with me ? RHYS : Ahh ! INT. WAREHOUSE - MAIN ROOM GWEN : (to radio) Ianto, did Rhys get away ? INT. WAREHOUSE - STAIRS IANTO : (to radio) I'll check now. Ianto closes the door. INT. WAREHOUSE - SEDATIVES ROOM - DAY Owen is busy mixing various potions into a large container. He runs to the far counter. INT. WAREHOUSE - PACKING ROOM - DAY Dale and Greg walk in through the front with Rhys in tow. Ianto walks in through the back of the room. He's stopped by Dale holding the g*n pointed at him. He sees Rhys with his mouth bleeding. DALE : Eh eh eh eh ! You looking for someone ? (steps forward) How many more of you ?! Ianto plays it cool. IANTO : Just us. DALE : You thought the two of you could take us out ? Nah. You're not that stupid. He checks Ianto and finds the stun g*n. DALE : Dave, get some ropes, tie their hands. Dave leaves to get the rope. DALE : I want every door locked, inside and out. Owen is hiding behind the shelves in the sedatives room. He ducks out of sight. DALE : Nobody leaves the building till this is sorted. (He grabs Ianto.) Move it ! OWEN : (quietly) They've got Rhys and Ianto. INT. WAREHOUSE - MAIN ROOM - CONTINUOUS Gwen starts running. Jack grabs her. JACK : Gwen ! Gwen ! Hey ! He will be okay. INT. WAREHOUSE - HALLWAY QUICK CUTS OF : Greg and Dale bolt all the doors to the main room. INT. WAREHOUSE - MAIN ROOM Toshiko and Jack try to open the door and find it locked. JACK : Locked. TOSHIKO : They must know we're here. GWEN : Check this way. Gwen turns and heads back to the main room. The creature moans throughout. She sees Ianto and the others enter through the far door and she quickly ducks behind a container. Jack and Toshiko also duck behind the containers. Gwen looks back at Jack and motions. He nods. Ianto looks at the huge creature. A worker has his g*n on Ianto. IANTO : What is it ? Dale has his g*n to the back of Rhys' neck. DALE : The lads call it the cash cow. Vic runs out. VIC : Dale, what are you doing ? DALE : Couldn't bear to see us making money, Vic. Fancy some for yourselves, huh ? Thought we'd be a pushover. Gwen looks at Jack. She points to herself and mouths something to Jack. He doesn't like it and mouths back, "No". RHYS : Mate, you're so out of your depth. DALE : Funny, I was just thinking the same about you. VIC : Dale ! Don't be an idiot. DALE : (shouts) Show yourselves or I sh**t the delivery boy ! Gwen steps out into view. Jack can't stop her. GWEN : (shouts) Okay ! Rhys doesn't like it. GWEN : There's no need to make any thr*at. Ianto can't believe he's seeing this. DALE : "Just the two of you," is it ? g*n down, kick it over here. She steps forward. GWEN : I don't have a g*n. DALE : He had one, so you must have ! Gwen pulls her g*n out from her back and holds it up. GWEN : Okay ! Okay. Okay. She puts the g*n on the ground. DALE : Any more of you ? And before you answer, have a proper think. 'Cause if you lie... (He points the g*n at Gwen.) I will sh**t you. Ianto and Rhys look at Gwen. Rhys shakes his head. GWEN : It's just me. DALE : Get against the drum. Gwen starts forward. GWEN : We can help you, Dale. DALE : Yeah. Help yourselves, more like. (He pushes Rhys toward Gwen.) Come on. Stand next to her. (to Ianto) You too ! Ianto walks slowly toward Rhys and Gwen. GREG : (shouts) Dale, two more ! Greg is up on the second floor catwalk. Gwen grabs Rhys and pushes him behind her. GREG : Far corner, they can't get out, it's locked. Dale grabs Ianto and pulls him back with his g*n pointed at Ianto's neck. DALE : Kick out your w*apon ! Stand where I can see you ! Jack is pissed. He has no choice. He steps out with his g*n and hands up in the air. Toshiko follows. DALE : Drop your w*apon. Jack tosses his g*n aside. Toshiko puts her g*n down on the ground and slides it toward them. Jack starts forward. JACK : You know what you've got here, Dale ? DALE : Shut up, now ! JACK : It's an alien, a creature from another galaxy. It came through a rift in time and space, and it was unlucky enough to find you. VIC : (freaks) No, no way. TOSHIKO : Do you really think it originated on this planet ? You ever seen anything like it before ? VIC : It can't be. Can it ? JACK : Look at it. The creature wails. It's eye open. JACK : Look at it. The more they look at the creature, the more they freak. VIC : Oh, shit ! DALE : It's just meat, that's all. While everyone is distracted, Ianto works on the ropes tied around his wrists. JACK : You're carving up a sentient creature ! And you've got to stop. DALE : And then what have I got ? I'm making money. This is my business. Vic grabs his hair, the sounds of the creature's tortured cries getting to him. DALE : For the first time n my life, I've actually got something for myself. GWEN : Dale, stop. You can still walk away from this. Ianto's hands are nearly freed. A long pause as Dale thinks about it. DALE : No. The creature cries. DALE : You lied to me. Dale points his g*n at Gwen. Rhys steps out in front of Gwen. RHYS : No ! Dale fires and hits Rhys. RHYS : Ahh ! The empty b*llet casing clinks to the floor. Ianto grabs Dale's wrist and wrestles him for the g*n. JACK : No ! The g*n fires a several times. The chains around a portion of the creature break free. Vic and Dave both run out of the main room. Ianto and Dale continue to struggle for the g*n. It goes off again. Rhys grunts from the wound and slides down to the ground. Jack gets the g*n and aims to sh**t Dale, but Dale is on the other side of Ianto as he punches him in the back several times. Jack can't get in a sh*t. He puts the g*n down. CLOSE : WIRES ATTACHED TO WALL Ianto knocks Dale to the ground. The creature rolls to the side, knocking over barrels, boxes and other stacked items. Toshiko and Jack are trapped and unable to help Ianto, the creature blocks their exit. The wires attached to the wall fray and come loose. Ianto is straddled over Dale. He punches Dale. Another wire comes loose. Jack grabs Toshiko and pulls her out just as the frayed wire whips back toward her. Dale punches Ianto and knocks him off to the side. He grabs the g*n and gets up quickly, pointing the g*n down at Ianto. DALE : Die ! Dale fires and the g*n clicks, empty. DALE : Shit ! Dale backs away and runs. Ianto is on the ground. He groans. JACK : (shouts) Ianto, go ! After them ! Ianto gets to his feet. JACK : (to comm) Owen ! Rhys has been sh*t ! (Ianto looks at the creature.) The creature's coming loose. We need that sedative, now ! Gwen cradles Rhys in her arms. GWEN : Open your eyes. Come on, you can do this. Open your eyes for me, now. INT. WAREHOUSE - SEDATIVES ROOM - CONTINUOUS Owen scrambles to get the things together. OWEN : Yeah, I'm on it. I'm on it. INT. WAREHOUSE - MAIN ROOM - CONTINUOUS The frayed wire comes loose completely. Jack looks up at the creature and holds out his hand toward Toshiko. She grabs him, her eyes on the creature. JACK : Owen, we need you ! We're trapped. The creature's breaking free. If we try and get past, we'll be crushed. Another frayed wire comes loose completely. INT. WAREHOUSE - SEDATIVES ROOM - CONTINUOUS As Owen works, Vic walks in and nearly bumps into Owen. VIC : Whoa ! Owen turns and slams Vic up against the door. VIC : It wasn't me ! I never wanted to be a part of this. Sedative won't work now. If it's got loose, you're never going to stop it. Ianto reaches into the room, presses the stun g*n muzzle against the back of Vic's neck and zaps him. Vic falls to the ground. Ianto steps into the room. IANTO : (panting) We gotta help them. It's out of control. Owen looks at the chemicals on the shelves and thinks. OWEN : Change of plan. Owen grabs a container and a huge pump-syringe. OWEN : Okay. He turns and heads out the door. INT. WAREHOUSE - BACK OFFICE - DAY Dale is emptying the safe, dumping the cash into a duffle bag. GREG : You went and sh*t him, bruv ! Dale zips up the bag. GREG : Come on ! Dale slides the duffle bag to Greg who picks it up. GREG : Fill the other one ! Dale turns to stuff another duffle bag with more cash from the safe. Greg carries the full duffle bag and heads for the door. DALE : I'm going as fast as I can. Greg reaches the door. Ianto kicks the door in, knocking Greg to the wall. Greg drops the duffle bag and staggers backward. Ianto walks in and zaps Greg with the stun g*n. GREG : Whoa ! He falls to the ground with a thud. Dale turns and reaches for the g*n on the desk. Ianto kicks the g*n out of his hand and knocks Dale back to the floor. Ianto looms over him. IANTO : Pray they survive. Ianto presses the muzzle of the stun g*n against Dale's forehead and zaps him. Dale's eyes roll to the back of his head and he hits the floor with a thud. Ianto turns and heads out. INT. WAREHOUSE - MAIN ROOM - CONTINUOUS Owen runs out with the container and pump-like syringe. He stops when he sees the massive creature. OWEN : Bloody hell ! The creature looks like a huge whale with elephant-like gray skin. It's out of its binds and brays loudly. Jack and Toshiko are still trapped on the other side of the creature. Owen sticks the pump into the container and fills it. He makes his way cautiously toward the creature. OWEN : I'm sorry. He s*ab the pump into the creature and injects it. The creature rears up and slams back down. GWEN : He's okay. JACK : Owen, you're making it worse ! The creature growls loudly. Owen goes back to the container and refills the pump. He makes his way to the creature and injects it. The creature growls, then appears to calm down. Jack makes his way around the container toward Gwen and Rhys. GWEN : (to Rhys) Open your eyes ! Jack looks at the creature. GWEN : (to Rhys) You can do it. Come on. Owen looks at the creature. OWEN : Looks like it's working. He backs away. The creature wails pitifully. OWEN : Yeah, it's working. JACK : What did you do ? OWEN : Mercy k*lling. Owen kicks the air in frustration. Jack looks sadly at the creature. This is not what he wanted. He walks toward it. GWEN : (o.s.) Rhys, Rhys, Rhys, listen to me. Rhys. Gwen cradles Rhys in her arms. Behind them, Jack walks up to the creature and puts his hand out to touch it. Toshiko watches him. GWEN : That's it. You're with me, okay ? I've got you tight. Keep your eyes nice and open. Jack closes his eyes with grief. The creature's cries are weak. JACK : Oh. Gwen looks up as Owen arrives. OWEN : (o.s.) Gwen, let me look at him. Owen takes out a clothe and puts it over Rhys' wound. OWEN : Okay. The creature cries. Gwen helps Owen. OWEN : Soft, soft, soft. Be careful. I'm going to rip this. You want to keep the pressure on, okay ? (He rips Rhys' shirt). Okay. Toshiko turns and looks at Jack. Jack looks at the creature. The creature's cries grow quieter. Owen stands up and looks at the creature, knowing it's going to die. He spreads his arms out with his hands extended toward the creature. He puts his head down and closes his eyes. OWEN : (whispers) I'm so sorry. I'm so sorry. Toshiko walks over to Owen. She puts her hand on his shoulder. He clasps her hand with his and holds on tight. PULL BACK on Jack has his palm flat on the creature. Toshiko and Owen are nearby. The creature stops wailing and is quiet. Its eye closes and it stops moving. CUT TO : EXT. CARDIFF BAY AREA (STOCK) DAY Lovely view of the area. INT. HUB – AUTOPSY / MEDICAL AREA - DAY Rhys is on the table as Owen checks his bandage. Gwen is on the other side of Rhys. Rhys moves. Owen looks at Gwen. OWEN : There he is. She smiles. Jack and Toshiko are both up above watching from the railing. TOSHIKO : Hero of the hour. Rhys opens his eyes and looks at Gwen. RHYS : Hey. GWEN : Hey. RHYS : You all right ? GWEN : I am now you are. She leans forward and kisses him. He groans. RHYS : Mmm. Ah ! She immediately pulls away. GWEN : Sorry. Ianto sits on the steps. IANTO : Next time, let her take the b*llet. RHYS : Never. What happened to the blokes ? JACK : We gave them amnesia pills. They'll remember who they are, but not what they did over the past few months. RHYS : So they got away with it ? JACK : It would never stand up in a court of law. RHYS : And the creature ? Everyone is quiet and sad. Gwen looks over at Owen who is feeling it. Toshiko watches Owen. JACK : Incinerated. RHYS : So there's nothing left. It was never there. JACK : Gwen, I need a word. Jack turns and leaves. Gwen leans forward and kisses Rhys. GWEN : Sure. She turns and heads out after Jack. INT. HUB - JACK'S OFFICE - CONTINUOUS Jack enters his office. Gwen walks in. He grabs a small box off his desk. JACK : Rhys has to forget, too, you know ? GWEN : At least let me give it to him at home. Jack stops. He takes the small white pill out of the box and without looking at her, hands it to Gwen. She takes it from him and tucks it into her back pocket. She leaves. CUT TO : EXT. MILLENNIUM CENTRE - DAY Rhys and Gwen step out of the travel cover shop. She closes the door behind them. Rhys' left arm is in a sling, but he doesn't care. He steps out into the sunlight and stops at the railing. Gwen walks over to him. He lifts his face to the sun and takes a deep breath. He appears to be in a good mood. He looks at Gwen. RHYS : Let's not go home just yet. GWEN : Rhys, you've just been sh*t. RHYS : I know. (He slides up to her and takes her hand.) Come on, let's go for an ice cream. He starts walking. She follows. TIME CUT TO : Rhys and Gwen sit on some stone graduated seats. Rhys is nearly finished with his ice cream cone while Gwen nurses a plastic cup of something to drink. He points to the generic people walking nearby. RHYS : Look around us. Nobody else knows what we've been through. Or what else is out there. The sky won't be the same to me anymore. I used to look up and think, ah, looks like rain, man. But now, oh, now, I'll... I'll look and I'll think of all the other worlds and the planets and... stuff spinning around out there. Oh ! And I got to be a part of it all. Fantastic ! Which puts worrying about unsigned dockage into perspective - I could tell you. GWEN : (points) You've got some - some ice cream on your chin. RHYS : (wipes his chin) Have I ? Gone ? I want to know about all of it. About every alien you've ever seen. He chuckles. RHYS : You could take photos, I'll keep a scrapbook. Wouldn't show no one. No way. GWEN : No, because you won't be keeping one. RHYS : And you know, (laughs) I'm even cool about Jack. Yeah, all right, yeah. He's handsome, enigmatic, saves the world and all that, but it's me you come home to at the end of it all. GWEN : And I always will. Rhys' phone rings. He digs into his pants pocket and takes it out. He answers it. RHYS : Eh. (to phone) Daf, all right ? Oh, ah, nothing much. Same old, same old. Yeah. (Rhys stands up and steps away from Gwen as he continues his conversation.) What ? No way ! Gwen looks at the small white pill. CUT TO : INT. HUB - JACK'S OFFICE - DAY Jack drinks some water. He walks over to the shelf and picks up a book. INT. HUB - WORKSTATIONS - CONTINUOUS Owen is working on the computers at his workstation. Toshiko is at her workstation. The cog door rolls open. The alarms blare. Gwen rushes in and up the steps. GWEN : I'm not doing it. I won't drug him. TOSHIKO : You have to. OWEN : We can't allow him to remember. IANTO : It's the rules. GWEN : But none of you have any partners outside of this. JACK : But we understand how you feel. GWEN : No, you don't. No, you don't, Jack. You all think it's cold and lonely out there, but it isn't for me, because I have him. He matters, and I've lied to him for long enough. What he did today was so brave. Braver than any of us, because we signed up for this, but he didn't... he did it because he loves me ! And I won't take that away from him ! I won't! And if that means I have to quit, or you retcon me or whatever, then, fine, fine. Jack tosses his water bottle to Ianto who catches it. He walks up to Gwen. JACK : You really think you could go back to your old life before Torchwood ? GWEN : I wouldn't know anything different. JACK : (hoarsely) I would. They stare each other down. JACK : Give Rhys my love and I will see you tomorrow. Gwen turns and hurries out of the hub. The alarm blares as the cog door closes. Toshiko turns and looks at Jack. Jack turns and heads back to his office. He takes the water bottle from Ianto and disappears into the office. Ianto lingers in the doorway. Owen turns back to his workstation computers. Everyone is quiet. INT. HUB - JACK'S OFFICE - CONTINUOUS Jack turns the camera monitor on as he sits at his desk. The monitor chirps and the camera overlooking the centre appears on screen. EXT. CENTRE - CONTINUOUS Gwen returns and joins Rhys. He smiles at her and they kiss. They pull apart and we see the camera high on the pole nearby. MONITOR VIEW Gwen and Rhys step out of the monitor frame. Jack takes a deep breath and exhales slowly. HOLD on Jack. END OF EPISODE END CREDITS Transcript by intrepid

{"type": "series", "show": "Torchwood", "episode": "2x04 - Meat"}

foreverdreaming

INTRODUCTION JACK HARKNESS: (v.o.) Torchwood... outside the government, beyond the police... fighting for the future on behalf of the human race. The 21st Century is when everything changes... and Torchwood is ready. INT. GWEN’S PLACE – BEDROOM – DAY Gwen giggles and laughs as Rhys holds onto her leg as she tries to get out of bed. He tries to pull her back. RHYS : Come on let’s… ! GWEN: No, I can't, I'm late as it is. He successfully pulls her back into bed and onto her back. She laughs, her shoe clutched in her hand. GWEN : Argh ! Rhys ! RHYS : You’re itching to go back to work, aren't you ? She smiles this way and that at him. RHYS : Oh, I'll take that as a "yes," then. GWEN : Having you to come home to, that's the best bit. (b*at) Aw... He doesn’t buy it. He fakes retching and they laugh. CUT TO : INT. THE HUB - WORKSTATIONS – DAY Owen sits at the workstation and looks through a file. He’s dressed in a conservative sweater and is wearing glasses. Jack rushes out of his office carrying a Torchwood locked box. JACK : Unlabeled Class D artefacts. (He puts it down on the table). Tosh, I need you to run a full check. Toshiko is walking past on her way back to her workstation. TOSHIKO : Sure. There’s another man there. JACK : Owen, you can help. OWEN : Happy to. JACK : Adam, I know how much you love audits. Owen vacates the workstation seat. ADAM : Ah, it's gotta be done. JACK : If you could... ADAM : ... go through the reports, find out when they came through the Rift. Adam sits down. JACK : You okay with that ? Gwen arrives at the workstations area. She takes her jacket off. ADAM (smiles) : I have been for the last three years. Adam’s smile fades when he sees Gwen. JACK : You're late. GWEN : Yes, Paris was lovely, thank you ! Gwen and Adam look at each other. Gwen looks at the others. GWEN : Who the hell is this ? Jack’s smile fades. Owen stands in the autopsy archway and looks at Gwen. Toshiko, who is looking very sexy in a green top unbuttoned down to her cleavage, hair up and no glasses, also looks worriedly at Gwen. Adam gets up and walks over to Gwen. ADAM : Just cause that's what I said to you on your first day... He puts his hand on her shoulder. ADAM : ... remember ? INSERT : VARIOUS FLASHBACKS Gwen sits at her workstation laughing with Adam, who is standing behind her. More flashes of Gwen and Adam laughing, making coffee at the espresso machine, and playing basketball together.Freeze Frame moment of Adam pouring Gwen a cup of coffee. GWEN : (v.o.) Make a nice strong coffee... RESUME SCENE And if she’s suddenly remembered who it was, Gwen smiles at him. GWEN : Sorry, couldn't resist. Come here, you ! (She gives him a hug. Everyone smiles and the tense moment is gone). Good to see you. Gwen moves away from Adam and smiles at Toshiko. GWEN : Hey, Tosh, you're looking good. Toshiko smiles. Hold on Adam, whose smile fades into a sneer. INT. THE HUB – WORKSTATIONS CUT TO : MONITOR Adam’s photo appears on the screen. A personnel information sheet is created for him : NAME : ADAM SMITH. Adam is typing out his information into the system. He quickly glances over his shoulder to make sure no one is watching. D.O.B. : 16/11/82. RECRUITED : 07/05/050 – 0000. He enters the information. TOSHIKO (o.s.) : Adam ? (He clears the screen back to various images). What are you doing with your personnel file ? He finishes and turns around. Toshiko is there. ADAM : Nothing, just finished updating details of rift activity. She shows him a box with intricate patterns on the side. TOSHIKO : Any idea when this came through ? It's got a low meson energy reading. He takes the box from her, looks at it, then sets it aside. ADAM : No, I'll keep looking. She looks at him for a moment. Adam touches her neck with familiarity. INSERT : VARIOUS FLASHBACKS Toshiko and Adam are at the workstations. He turns and looks at her. She turns and looks at him. She smiles. Toshiko and Adam are kissing. Freeze frame moment of Adam about to kiss Toshiko. RESUME SCENE Adam and Toshiko kiss passionately. ADAM : A year ago today. TOSHIKO : Our first kiss. ADAM : You remembered. TOSHIKO : Hmm. They continue kissing. Owen arrives at the workstations and sets the tray down loudly. Toshiko and Adam look at Owen. TOSHIKO : You okay, Owen ? OWEN : Uh, yes, yes, yes. Don't worry about me. N... no, it's just, uh... kissing in work... um, I wasn't expecting it. Owen removes his gloves and heads back down to the autopsy area. ADAM : We'll celebrate tonight. Adam kisses Toshiko again. She smiles and walks away. We linger on Adam, his smile fades. CUT TO : INT. THE HUB – THE VAULTS – DAY The door opens and Jack walks in. He hits the lights and passes by the cell with the Weevil in it. The weevil gets up, slams its hands against the glass, and growls loudly. Jack turns back and stops in front of the weevil cell. JACK : Save it ! Jack again turns and stops as he passes by the next cell. Inside in a little boy. Jack turns and looks at the boy. INSERT : FLASHBACK A child’s hand slips out of a larger hand. END FLASHBACK Jack is spooked as he looks at the little boy in the cell. GWEN : (o.s.) Jack ? Jack turns and finds Gwen standing in the doorway. When he turns back to look at the cell, the little boy is gone. Was he even there at all ? Jack heads over to Gwen. GWEN : You okay ? JACK : Yeah, fine. He laughs nervously and glances back at the cell behind him. Gwen slaps Jack on his behind. GWEN : Did you miss me ? JACK : Were you gone ? Jack reaches to grab Gwen, she turns and runs out laughing. Jack chases after her. In the doorway, he stops and turns around to look back. The weevil in the cell growls. INT. THE HUB – WORKSTATIONS Toshiko heads toward her workstation. Gwen and Ianto are sitting side-by-side on the couch. Gwen is flipping through the file while Ianto is toying with a device. TOSHIKO : Just doing a quick check. We had rift activity two days ago, but nothing seems to have come through. Adam is sitting at another workstation. A small stuffed rodent peers out from behind Toshiko’s monitor. OWEN : (o.s.) Apart from me ! Gwen smiles. Owen laughs as he squeezes the stuffed toy, making it squeak. He waves it at Toshiko. TOSHIKO : What's that ? OWEN : It's a screen-cleaner. I thought you might like it, um... Do you... do you like it ? TOSHIKO : Just what I need. A small rodent looking at me while I work. (She steps away, pauses, and looks over her shoulder). Think I'll call it Owen. Owen sighs as he clutches the folder to his chest and heads back to the autopsy area. Gwen chuckles. GWEN : He's like a little puppy, bringing her sticks. When's he gonna realize he's got no chance ? IANTO : Love's blind, apparently. He's idolized her for years now. ADAM : Oh, leave him alone. I think it's sweet. He's happy. CUT TO : EXT. CARDIFF CITY LIGHTS (STOCK) – NIGHT Lovely city night lights. INT. GWEN’S PLACE – NIGHT Gwen returns home, steps into the living room and finds the lights on. She’s puzzled by this. She takes her bag off just as Rhys steps into the room, his robe on and wiping his hair with a towel. Gwen puts her bag down. Rhys sees her, smiles and walks up to her from behind. He reaches for her to turn her around. RHYS : E-e-ey ! Gwen screams. Thinking she’s just startled, Rhys laughs. GWEN : Stop it ! Gwen steps away from him and into the kitchen. RHYS : Oh, sorry. I didn't mean to frighten you. GWEN : How did you get in ? RHYS : With a key ! Gwen picks up the large Kn*fe out of the rack. She holds it on Rhys. RHYS : What ? (Serious). This isn't funny. GWEN (eyes wide and scared) : Stay back, all right ? Stay back ! RHYS : Gwen, what's going on ? GWEN : How do you know my name ? Huh ? Gwen takes her g*n out and cocks it. She points it at Rhys. GWEN : I know how to use this. Now, who are you ? And what do you want ? RHYS : You know who I am... GWEN : Fine, if you won't tell me, fine. You stay there. She takes her phone out of her bag and dials with one hand while holding the g*n on Rhys. GWEN : Don't you move. (To phone) : Jack... yeah, someone's broken into my flat. He had a key. He knows my name. RHYS : It’s because I live here with you ! GWEN (to Rhys) : Shut it ! Shut it ! (To phone) Yeah. Can you hurry, Jack ? He's a nutter. (Hangs up and drops the phone). You have picked the wrong girl to stalk, mate. Rhys looks at Gwen. EXT. STREET OUTSIDE GWEN’S PLACE – NIGHT Jack and Adam get out of the SUV. They hurry, their g*n out. Jack jumps up to the curb, rushes toward the building, then stops and hits the intercom buzzer. INT. GWEN’S PLACE – NIGHT Rhys moves out of the way, his hands up in the air. Gwen hurries toward the door. He tries again. RHYS : Gwen ? GWEN : Stay there ! The buzzer sounds again and again as Gwen backs away toward the door. Rhys puts his hands down and looks at her with exasperation. She picks up the phone. GWEN : Jack ? INTERCUT WITH : EXT. STREET OUTSIDE GWEN’S PLACE – NIGHT JACK (to intercom) ; Gwen, it's us ! INT. GWEN’S PLACE – NIGHT Gwen drops the phone and buzzes him in. EXT. STREET OUTSIDE GWEN’S PLACE – NIGHT Jack and Adam enter the building. INT. GWEN’S PLACE – NIGHT Gwen keeps her g*n on Rhys and returns to the living room. GWEN : In here, Jack ! RHYS (quietly) : Gwen... Jack and Adam enter the room. Jack finds Gwen with her g*n on Rhys. Jack and Adam keep their g*n on Rhys, but clearly Jack is just as puzzled. JACK : What's going on ? GWEN : You tell me. Look ! She picks up a framed photo and shows it to them. GWEN : He's put photos of us up. (Rhys rolls his eyes). He must have done it while I was at work. He's deluded ! He keeps saying he's my boyfriend. JACK : He is. It's Rhys. Rhys turns and looks at Gwen. GWEN : I've never seen him before in my life ! Jack steps next to Rhys. JACK : You've been with him for years. RHYS : See ! Jack holds out his hand. JACK : Give me the g*n, Gwen. GWEN : No ! He... he grabbed me, Jack. Who knows what he was going to do ? RHYS : How can you say that ?! (To Jack) What have you done to her ? JACK : Nothing. RHYS : Oh, come on ! I know what kind of sick games you play. Pills that make you forget, is that what this is, yeah ? Are you phasing me out so you can have her all to yourself ? JACK : Hey ! Rhys grabs Jack. Jack grabs Rhys. Gwen steps forward with her g*n still on Rhys. GWEN : Stay away from him ! Jack puts a hand on Gwen’s g*n to stop her from pointing it at Rhys. JACK : Hey ! RHYS (upset) : We're engaged ! I bought you the bloody ring you're wearing ! Gwen looks at Jack. Jack nods for her to look. Gwen lifts her hand up and sees the ring. She really looks shocked. She goes back to holding the g*n. Adam steps forward. ADAM : Why don't you come with me to the Hub. RHYS (to Adam) : Who the hell are you ? JACK : He's one of us. ADAM : We can check you. Jack will stay and take care of things. JACK (softly to Gwen) : Okay. Gwen puts her g*n down. Adam leads Gwen toward the door. GWEN : Don't let him go. If he comes after me again, I'll k*ll him. Gwen and Adam leave. Jack looks at Rhys. JACK : Trust me, I didn't do this. But whatever's happened... we'll put it right. Rhys nods. CUT TO : INT. THE HUB – AUTOPSY AREA – NIGHT Owen uses a penlight and checks Gwen’s eyes as Adam watches. OWEN : Right, well, no signs of long-term damage, as far as I can see. Or alien intervention. But, I must be missing something. I'm sorry, but it's a mystery to me why you can't remember Rhys. CUT TO : INT. GWEN’S PLACE – NIGHT Jack sets a digital video recorder down on the coffee table and faces it toward Rhys. RHYS : Is this really necessary ? JACK : She needs to remember. Rhys sighs. JACK : Where did you meet ? RHYS : Er, college. Fancied her from the moment I saw her. Uh, not-not just her looks, you know, I mean, I mean she is a looker, I... oh, I... Rhys puts his head in his hands runs them back through his hair. INTERCUT WITH : INT. THE HUB - WORKSTATIONS – NIGHT Gwen is watching the video on the monitors. On the monitor, Rhys groans. JACK (o.s., from monitor) : Tell me about your first kiss. RHYS (from monitor) : Um, in the supermarket. I was going to make a spag bol... and then I realized that it’s got bloody garlic. Can't kiss a girl with garlic breath. Rhys chuckles. Adam kneels next to Gwen. RHYS (from monitor) : So, um... we were in the queue and... uh... ADAM : Do you remember that ? GWEN : Sort of. It's like I'm... RHYS (from monitor) : I said, I wanted to do something else. Something without garlic. GWEN : I'm seeing what he's saying, but... RHYS (b.g., from monitor) : So she gets pissed off. GWEN : I don't remember how I... felt. RHYS (b.g., from monitor) : Because the queues are so long. Adam cups Gwen’s cheek with the palm of his hand. ADAM : Believe me when I tell you that that is your fiancé. RHYS (b.g., from monitor) : ... and I kick off... ADAM : Your memory's just playing tricks on you, that's all. Okay. RHYS (from monitor) : ...and I end up shouting out why I'm changing the recipe. GWEN (to Adam) : Okay. INT. GWEN’S PLACE – NIGHT RHYS : She starts to laugh. INT. THE HUB – NIGHT RHYS (from monitor) : She calls me "Rhys the Rant" and then she kissed me, right there in the queue. INT. GWEN’S PLACE – NIGHT RHYS : And I, and I, and I thought then, Jack, I... (voice breaks) I thought, "I'm going to marry this bloody mad woman, even if it kills me." INT. THE HUB – NIGHT He looks at the monitor and shakes his head. Hold on Gwen, who can’t remember a thing. CUT TO : INT. THE HUB – CONFERENCE ROOM – NIGHT Owen takes the artefact box out of a scanning device. Toshiko walks in. TOSHIKO : Worked out what that thing is yet ? OWEN : No joy yet. (He puts the box on the table). But you should have a look at the detail, Tosh. It's gorgeous. She walks over to him and picks up the box. He immediately grabs the box to help her. He looks at her. OWEN : Oh, let me get that. TOSHIKO : Have you managed to open it yet ? OWEN : Uh, no, sorry. I'm not doing very well, am I ? She goes over to the laptop. TOSHIKO : It's gonna be a long night. OWEN : Yes, which is why I brought... He puts the box down and picks up a red and a blue container. OWEN : ... some sandwiches ! (He slides the red container across the table toward her). One for you... and one for me. Smoked salmon, that is your favorite, isn't it ? TOSHIKO : How d'you know that ? She looks at him. Owen can’t meet her gaze. TOSHIKO : I'm gonna need a beer. She heads toward the door. The door opens. OWEN : What ? While we're working ?! She turns and looks back over her shoulder at him. OWEN : Oh, yeah, of course. Yeah, right. Um, relax, kick back, it's a good idea. The door closes behind her. OWEN (calls out) : Er, not for me though, thanks ! The door closes shut, leaving Owen alone in the room. CUT TO : INT. GWEN’S PLACE – NIGHT Ianto walks in and looks over at Jack sitting at the counter with Rhys in the kitchen. The door closes off screen. Ianto turns and motions behind him. Gwen steps into the living room. Jack gets up and heads toward the door. As he passes Gwen, she grabs him. GWEN (desperately) : Don't leave me, Jack. He looks at her. JACK : You'll be okay. Jack sets her away from him and heads for the door. He heads out. Ianto gives Gwen a thumb’s up before following Jack out and leaving Gwen alone with Rhys. She turns and looks at Rhys, this stranger who is her fiancé. CUT TO : EXT. STREET OUTSIDE GWEN’S BUILDING – NIGHT Jack and Ianto head back to their SUV. JACK : What was that all about ? IANTO : Temporary amnesia. Owen's checking possible causes. Oh... Ianto tosses the car keys to Jack. Jack catches it, turns and unlocks the SUV. The alarm chirps. He turns and sees a young boy standing on the other side of the street. The sight of the boy freezes him. He looks as if he’s seen a ghost. IANTO : Weevil sighting by the sewer in Rockall Street. There’s no response. IANTO : Jack... Jack doesn’t answer him. He continues to stare at the boy standing across the street. IANTO : Jack ! Jack turns to Ianto. JACK : Can you see him ? IANTO : Who ? There’s a whoosh. Jack turns around and the boy is gone ! Jack is freaking out. JACK : I'll drop you off and check out the sighting. Jack opens the car door and gets inside the car. Ianto gets into the passenger side and closes the door. IANTO : I could come with you. It's been a while since we went hunting together. JACK : I'll be fine on my own. CUT TO : INT. THE HUB – CONFERENCE ROOM – NIGHT Owen is sitting in a chair at the conference table and going through a file. The door opens and closes. He looks up as Toshiko walks in carrying two beers. Her top buttons are undone, showing a daring amount of cleavage. She puts one of the beer bottles on the table in front of Owen and offers him the bottle opener. TOSHIKO : Go on. Live a little. OWEN : Well, as it's you. (He takes the bottle opener. Toshiko sits on the table and crosses her legs). Thank you. TOSHIKO : Call it a celebration. OWEN : Oh, yes ? He opens his bottle and clinks his bottle to hers. TOSHIKO : Adam and I have been together for one year today. OWEN : Right, right. TOSHIKO : A whole year. My stomach still flips when he touches me. I've never known anything like it. The two of us, we just fit. D'you know what I mean ? OWEN : Um, not sure I do, no. She puts her beer bottle down and pats his hand. TOSHIKO : Don't worry. You'll meet the right girl one day. OWEN : Yeah. Tosh... She turns and looks over her shoulder at him with a half-smile on her face. OWEN : Um... um... D'you really think I look like a rodent ? TOSHIKO : Come on, we're going to crack this box even if it kills us. INT. UNDERGROUND SEWERS – NIGHT Jack jumps down the ladder and looks around the sewers with his flashlight. JACK : Come out, come out, wherever you are. He starts down one way, then stops and turns around when he hears a faint growling. JACK : Giving me the runaround, huh ? You picked the wrong day, my friend. Jack starts down the corridor, then stops abruptly at the sight of a familiar face. FRANKLIN (VISION) : Get out ! Get out, son. JACK : Dad ? FRANKLIN (VISION) (shouts) : Run ! Jack turns and runs. EXT. - NIGHT – CONTINUOUS Jack climbs out of the hole to the sewers. He takes a few steps, freaked and panting. ADAM (o.s.) : Jack ? Jack whirls around and finds Adam standing there. ADAM : Was it down there ? The weevil ? JACK : No. How did you get here ? ADAM : Well, I came with you, Jack, remember ? Adam puts a hand on Jack’s shoulder. JACK : Yeah, of course. ADAM : Are you okay ? Jack, what did you see ? JACK : My past. INT. GWEN’S PLACE – LIVING ROOM – NIGHT Gwen and Rhys sit uncomfortably on the couch, an awkward silence around them. Gwen puts the framed photo of them down on the coffee table. She still can’t remember. GWEN : If what you say is true... RHYS : It is. We love each other. He reaches to put a hand on Gwen’s arm and she pulls away from him. GWEN : But how could I forget that ? Rhys shakes his head and stands up. He heads for the kitchen and checks the refrigerator. He shuts the refrigerator door. RHYS (sighs) : Nothing in. I was going to take you out for a meal. (He pours himself a drink). Didn't want the weekend to finish, I suppose. Gwen doesn’t say anything. She eyes the many framed photos on the counter of the two of them together and happy. EXT. BASKETBALL COURTS / PARK – NIGHT It’s raining. Jack is walking away. Adam follows. ADAM : Jack, please. Talk to me. What about the past ? Is it your childhood ? Jack stops and whirls around. Adam walks up to him. He puts a hand on Jack’s shoulder. ADAM : I've always been here for you, Jack. From the very beginning. I'm the one you can confide in, remember ? JACK : It was meant to be buried. I buried the memory over 150 years ago. Why now ? Jack turns and walks away again. ADAM : Well, maybe it's time. Maybe up until now, your subconscious was protecting you. But you can't block out the past forever. JACK : I can't afford to remember. Jack steps out onto a court. Adam follows him. ADAM : Jack, talk to me, please. JACK : Why ? ADAM : I can help. Trust me. JACK : I'm not sure I should do this. ADAM : Just tell me what you see. I can help you. That's why I'm here. Jack closes his eyes and takes a deep breath. ADAM : Where are you, Jack ? INSERT : FLASH OF Adult Jack standing on a planet and staring out at the horizon, nothing but sand, sun and heat in front of him. Jack’s eyes are closed as he remembers. INSERT : FLASH OF Young Jack standing on a planet and staring out at the horizon, nothing but sand, sun and heat in front of him. Jack is quiet as he remembers. Adam watches him. INSERT : FLASH OF A pair of young legs run up a sand hill. At the top, Young Jack looks out at the coastline, where the water meets the sand. In the horizon is a large structure built on a penninsula. From where Young Jack stands, it looks as if the structure is on the water, but it’s not. BACK TO SCENE Jack smiles as he remembers. INSERT : FLASH OF BOESHANE PENINSULA Young Jack stands on the sand hill looking at the structure, presumably his home. JACK (v.o.) : Boeshane Peninsula. My home in the 51st Century. BACK TO SCENE JACK : We lived under the thr*at of invasion. INSERT : FLASHBACKS People are running for the trees in panic. Young Jack is holding hands with his younger brother as they follow the others and run toward the trees. BACK TO SCENE JACK : They came without warning. We thought they'd pass over us, like they always did. INSERT : FLASHBACK Young Jack ducks for cover in the roots of a large tree. He’s alone. The others run past him. BACK TO SCENE JACK (achingly) : But they didn't. Not that day. ADAM : Who ? JACK : The most horrible creatures you could possibly imagine. CUE SOUND : (V.O.) Someone screams. INSERT : FLASHBACK People are running in a panic. Franklin and Young Gray are running toward Young Jack. JACK (v.o.) : Their howls traveled before them. FRANKLIN (to Young Jack) : Run. Take Gray. Keep him safe ! BACK TO SCENE Jack has his hand stretched out in front of him as he remembers. JACK : Take Gray. ADAM : Gray ? INSERT : FLASHBACK Young Jack and Young Gray run toward each other and hug. Young Jack swings Young Gray around and around in circles. It’s happier times. JACK (v.o.) : My little brother. BACK TO SCENE Jack gasps from the agonizing memory. INSERT : FLASHBACK Young Jack grabs Franklin’s sleeve as he pulls away to go back. YOUNG JACK : No, no, Dad. Come with us. FRANKLIN : No, I've got to go get your mother. (He pushes Young Jack away and shouts). Run ! Young Jack takes Gray’s hand and starts running. Franklin watches them for a moment, then turns and heads back. BACK TO SCENE JACK (distressed) : One minute, I was holding his hand. INSERT : FLASHBACK Young Jack and Gray are running. Gray trips and falls. Young Jack continues running. Gray gets up and tries to keep up. Young Jack runs and takes cover in the tree roots. BACK TO SCENE JACK : I don't know when he let go. INSERT : FLASHBACK Young Jack looks around and realizes that Gray’s not with him. YOUNG JACK : Gray ? Gray ? Young Jack steps out of his hiding place and looks around. Everyone is gone. Jack is standing in the background watching. YOUNG JACK (shouts) : Gray ! (Runs to look for Gray). Gray, where are you ? Gray ! Jack turns and continues narrating. JACK : One minute, his hand was in mine, I don't know when he let go. I don't think I noticed, I thought he was there, just behind me. He watches Young Jack running and looking for Gray. There are d*ad bodies littered in the sand. YOUNG JACK : Gray ! JACK : I retraced my steps, hoping that I'd see him again. BACK TO SCENE Jack turns to look at Adam. ADAM : Did you find him ? INSERT : FLASHBACK Young Jack runs along the shoreline toward the large buildings on the peninsula. YOUNG JACK : Gray ! JACK : I ran all the way home. YOUNG JACK : Where are you ? Gray ! BACK TO SCENE ADAM : Jack, what did you find ? Jack covers his face with his hands. INSERT : FLASHBACK Young Jack arrives at home. He finds his father d*ad, sh*t in the chest. YOUNG JACK : Dad ? No ! (He falls to his knees). Can someone help ? Please ! Young Jack looks around. Jack stands in the background watching the scene. JACK : I searched for Gray for years. BACK TO SCENE JACK : I never found the body. ADAM : It wasn't your fault. JACK : I let go of his hand ! It was the worst day of my life. It's the last thing I want to remember. Jack walks past Adam and leaves. CUT TO : INT. THE HUB – CONFERENCE ROOM – NIGHT Toshiko reads the test results as Owen examines the box. Ianto leans against the doorframe watching them. The various clocks on the walls in the conference room read various times throughout the scene, 10:35, 11:47 and 2:30. Go figure. TOSHIKO : So, according to the molecular breakdown, this potentially alien complex artefact is, in fact, made out of wood. OWEN : Well, perhaps it fell in the crate by mistake. Picked up meson energy from the other stuff. TOSHIKO (scoffs) : Yeah, right ! OWEN (mumbles) : Oh, yes, sorry, it's a stupid idea. IANTO : I think Jack brought it in. TOSHIKO : No, I'm sure Adam found it on an excavation a few months back. IANTO : I'll have a look in the diary. I like to log the interesting stuff. TOSHIKO (amused) : You write about artefacts in your diary ? IANTO : Among other things. Ianto winks at her, turns and leaves. OWEN : So, we are done for the night. TOSHIKO : I guess. OWEN : Everything all right ? TOSHIKO : Yeah, just, Adam hasn't rung yet. Toshiko walks over and picks up the box. She heads back to her laptop. OWEN : Ah. Sure he will. I know I would, if it was our anniversary. I wouldn't disappear. In fact, I would... uh... cherish you. TOSHIKO : Ah, Owen ! OWEN : Yeah, no, no... um... really, really, I would. In fact, I wouldn't let you out of my sight, Tosh... because I love you. TOSHIKO (surprised) : What ? OWEN : Yeah, there we are. I've said it. I... I love you. Yes, I always have, actually, ever since we started working together, and in fact, I actually ache for you, you know, physically. When you're in the room, I when you’re in the room I just want to reach out and touch you and... TOSHIKO (uncomfortable) : Owen ! OWEN : No, no, no, you know, I can't keep this secret any more ! My mum said to me, "Seize the day," and so I am seizing it, and you know I've got so much love to give you, Tosh, and, and you know, you won't know that unless I tell you. So here I am, telling you that I love you. You know I know there's Adam, okay, but you know, I think... In fact, I know that we would be amazing together, um... if you would only just give it a chance. (Toshiko looks away and is silent). Oh, God. Say something. TOSHIKO (bursts) : That is completely inappropriate. OWEN : Pardon ? TOSHIKO : What are you thinking of ? OWEN : I'm sorry, I just wanted you to know. TOSHIKO : How dare you! I'm with Adam. (Heads for the door) And even if I wasn't... you're not my type. Never will be. She leaves. The door shuts behind her. OWEN : Oh. CUT TO : INT. SUPERMARKET – NIGHT Rhys and Gwen are out marketing. Rhys grabs a package out of the refrigerator unit and drops it in his basket. Gwen stands on the side and watches. GWEN : Maybe I should be on my own tonight. RHYS : No way. What if you forget who you are ? GWEN : I know who I am. He walks past her. RHYS : It's not just you who's lost something. He puts his basket on the cash register counter. GWEN : But you remember. RHYS : All you know about me. The cashier’s phone rings and he answers it. RHYS : You're my girl, my best friend. CASHIER (to phone) : Hey, you all right ? What's happening ? Laughs. RHYS : Suddenly, all that's gone. The cashier walks away. CASHIER (to phone) : A stormer of a night ! What about her, mate ? Rhys watches him walk away, getting more and more pissed. RHYS : Where's he going now ? He just walked off ! He knows I'm waiting. (Loudly). Oh, fine. I'll help myself, then ! He pulls out some money and puts it on the counter. RHYS (rants) : Here you are ! Keep the change ! (Gwen starts to giggle). Buy some spot cream ! I'm not coming here again. It's overpriced. There's a £1.50 charge on the cash machine. It's a bloody disgrace. Gwen starts laughing. RHYS : Honestly, kids these days. Don't know the meaning of hard wo... He turns and stops when he sees Gwen laughing. RHYS : What ? GWEN : Rhys... Rhys the Rant. (Her smile fades, the words coming from nowhere). Always when you're in a queue, or driving, or when you're on the phone to one of those, um (she motions pushing a button), automated phone thingies... She nods and starts crying. He takes her hand. RHYS (gently) : Hey, it's okay. It's okay. Gwen holds onto Rhys’ hand as he picks up his bags. RHYS : Come on, sweetheart. They leave. CUT TO : INT. THE HUB – LOUNGE AREA – NIGHT It’s dark and quiet. Ianto sits alone on the couch reading through his diary. He flips through the pages, scanning the pages quickly and looking for something. Finally, he closes the book and looks a little freaked. He sits forward and puts the book down on the coffee table. He leans back on the couch. Reveal : Adam sitting on the other end of the couch watching him. ADAM : What's wrong ? Startled, Ianto jumps off the couch and moves away from him. Adam reaches for the diary left on the coffee table. IANTO : My diary. Adam picks up the diary and holds it up. IANTO : You're not in it. Adam opens the diary and looks through it. IANTO : Everyone else is. Adam is on his feet and approaches Ianto. He’s still looking through the diary. He looks at Ianto. IANTO : Why would I leave you out when you've been here so long ? Adam closes the diary. IANTO : Like I'm remembering a man who doesn't exist. Adam’s face scrunches up in anger. He deliberately drops the diary. The hand holding the diary flickers. Adam grabs his arm to steady it. Ianto watches. Adam’s arm solidifies. Ianto looks at Adam. IANTO : What are you ? Adam grabs Ianto and slams him up against the wall. ADAM : Cross me, and I will fill you full of fake memories until your head is on f*re, because that's how I exist. Ianto pushes Adam away from him. IANTO : Gwen ? What did you do to her ? Adam advances toward Ianto, who backs away from him. ADAM : Memory is a very delicate thing. Feeding myself in wiped other memories out. It's a side-effect of what I have to do in order to survive. IANTO : Jack has to know. Adam slams Ianto up against the wall and places his palm flat against Ianto’s forehead. Ianto gasps and chokes. ADAM : Remember this. INSERT : FAKE MEMORY It’s night. Ianto is choking a woman. He throws her onto a mattress on the ground against a wall in an alley. ADAM (v.o.) : I know you didn't mean to k*ll her. Ianto kneels in front of the woman and pushes her back down as she fights him off. ADAM (v.o.) : You just couldn't stop yourself. BACK TO SCENE Adam grabs Iantos’ forehead again. Ianto gasps and chokes. ADAM (firmly) : Remember this. INSERT : FAKE MEMORY Ianto punches the woman. BACK TO SCENE Ianto grunts from the force memory, Adam’s hand is firmly on his forehead. INSERT : FAKE MEMORY Ianto holds the woman down onto the mattress as she fights him. BACK TO SCENE Ianto groans from the forced memory. He slides down the side of the wall with Adam’s hand still on his forehead. Ianto plops down on the floor. INSERT : DISTORTED FAKE MEMORY Ianto looks at Adam. IANTO : I didn't do that. INSERT : FAKE MEMORY Adam is standing in another alley. It’s a rainy night. ADAM : Oh, yes, you did, and she wasn't the first. He turns and steps out of view. A woman runs toward the closed warehouse door. She cowers as Ianto approaches her. WOMAN : Please don't hurt me ! ADAM (v.o.) : Good old Ianto, loyal Ianto. CUT TO : Yet another night and another alleyway. Ianto follows behind a woman walking, unnoticed that he’s there. ADAM (v.o.) : Roaming the streets at night for bait.' BACK TO SCENE Ianto looks at Adam. IANTO (gasps) : My... diary! INSERT : FAKE MEMORY It’s night. Adam and Ianto are walking through an alley. Adam is holding the diary as Ianto staggers and leans on him. ADAM : All human record is a lie. Adam tosses the diary away. He hooks his elbow around Ianto’s neck. ADAM : You twist it into what you want to believe. DISTORTED FAKE MEMORY Ianto is leaning up against the warehouse door. BACK TO SCENE Ianto backs away from Adam, who is towering over him. ADAM : But we know the rot in your heart. You crave flesh. IANTO (gasps) : No. Please. Adam grabs Ianto and holds onto his head, forcing the fake memory into him. Ianto gasps. INSERT : FAKE MEMORY Adam grabs Ianto’s head. They are back in the alley. ADAM (firmly) : Remember it. IANTO (screams) : Aaargh ! VARIOUS CUTS OF : FAKE MEMORIES Ianto punches the woman in the stomach, slamming her back against the warehouse door. She gasps from fear. He grabs her face. ADAM : Remember it. Remember it ! CLOSE ON : ADAM In another alley. Up on the alley wall behind him are two shadows. The Ianto shadow slugs the woman shadow. DISTORTED FAKE MEMORY Ianto leans into the terrified woman against the warehouse door. ADAM (v.o.) : Remember it ! BACK TO SCENE Adam holds onto Ianto’s head. Ianto screams. IANTO : Aaargh ! INSERT : FAKE MEMORY Adam and Ianto are carrying the body in a rolled-up blanket between them through the alley and they dump it into a garbage bin. ADAM : I helped you dump the bodies. Adam puts a hand on Ianto’s shoulder. ADAM : It's me you call. BACK TO SCENE Adam kisses Ianto. He holds Ianto up against his chest. ADAM : You know, I forgot what a rush it is, feeding in the bad stuff. Ianto cowers and clings to Adam. Adam is through with Ianto. He pats him on the forehead and walks away. Ianto turns this way and that way. INSERT : CUTS OF BAD MEMORY Ianto is back in the rainy alley. He’s on the ground. Where is he exactly, he doesn’t know. He’s back in the hub. Ianto is sitting in the rainy alley. He turns and gasps as he sees the d*ad woman slumped against the warehouse door. He yells with fright. He curls up on the ground, hugs his knees to his chest and cries. CUT TO : EXT. BUILDING ROOFTOP – NIGHT Jack is looking out at the city below. He remembers. EXT. (BOESHANE PENINSULA) IN FRONT BUILDING – DAY – MEMORY TOP VIEW DOWN : A woman runs out of the building toward Young Jack, who is kneeling next to Franklin’s d*ad body. She kneels next to her husband’s body. JACK’S MOM : Franklin ? Franklin, wake up. (Sobs). Please ! He doesn’t stir. She bows her head and cries. YOUNG JACK (reaches out) : Mom ? She turns and hugs Young Jack. JACK’S MOM : Where's Gray ? Young Jack’s face falls. He doesn’t know and probably just realizes that Gray’s not there. JACK’S MOM : Where's Gray ? Where is he, son ? (Firmly). Where is he ? YOUNG JACK : We were running so fast. VARIOUS FLASHES OF : Youngs Jack and Gray are holding hands and running along with the other people. JACK’S MOM : No. YOUNG JACK : One moment, his hand was in mine... Young Jack and Gray are running. Gray trips and falls, breaking the contact. Young Jack continues running. JACK’S MOM : No, not my little boy ! She cries. Young Jack stands up and takes a step back as he looks at his mom. JACK’S MOM : Not my little boy ! Jack is standing just behind Young Jack. JACK : Why now ? BACK TO SCENE JACK : Why now ? Jack turns and looks out at the city. CUT TO : INT. GWEN’S PLACE – NIGHT Rhys is sitting on the edge of the bed. Gwen steps into the room wearing a pink bathrobe over her pajamas. She removes her robe, drops it on the floor and slips into bed. RHYS : Anything ? GWEN : It's still a bit of a blur, but I'm getting there. RHYS : That's all we've got, really. Memories. That's what brought us to here... to this point. GWEN : We found it before, we'll find it again. RHYS : You know, I, um... (clears throat) ... I always worried that you'd... that you'd just settled for me, you know. ‘Cause if you met me now, Gwen, with all that goes on in your life, could be that you wouldn't look twice at me. GWEN: Don't say that. He kisses her. RHYS : Do you remember that ? GWEN : No. It felt like the first time. But it was nice. Rhys smiles. He leans forward and kisses her neck. Gwen pulls away. GWEN : I like that. RHYS : I know. GWEN : Remind me some more. She nods toward the bed. They share a smile and lie down out of camera frame. CUT TO : INT. TOSHIKO’S APARTMENT – BEDROOM – NIGHT Adam and Toshiko are kissing and undressing each other. Toshiko pulls Adam’s shirt up and over his head. They’re panting and kissing heavily. She pushes him backward onto the bed. WIDE sh*t of the room shows her shoes discarded on the floor near a nearly empty bottle of wine and two partiallyfilled glasses. Toshiko crawls over Adam and kisses his chest and up to his mouth. He rolls them over as they continue to kiss. He pulls back and looks at her. She touches his lips. TOSHIKO : What's wrong ? ADAM : How far would you go for me ? She reaches for his jeans. He grabs her hand and stops her. ADAM : I need to know. She leans forward to kiss him, but he pulls back out of her reach. ADAM : Would you die for me ? TOSHIKO (nods) : Yes. They kiss. CUT TO : INT. THE HUB – NIGHT Jack returns. He heads up the stairs. IANTO (o.s., whispers) : Jack. Jack stops. He turns. JACK (smiles) : Ianto. Jack starts back down the stairs, making his way toward Ianto, who is sitting with his back to the spiral stairs in the coffee area. JACK : Hey. (As he gets closer, he sees that Ianto isn’t looking good). What's wrong ? IANTO : You'll have to put me in the vaults. Lock me up. I k*lled three girls. (Sniffles). Strangled them. JACK (doesn’t believe it) : Stop kidding around. IANTO : I'm serious. I m*rder them, in cold blood. I took their bodies, and... Ianto surges noisily to his feet. He looks around, obviously still trapped in his bad memories. Jack watches him carefully. IANTO : You have to lock me away... before I turn on you. None of you are safe. Ianto starts past Jack. Jack grabs Ianto’s arm to stop him. JACK : Hey, hey. (He grabs and turns Ianto around to look at him). Come here, come here. What's happened to you ? Jack holds Ianto. IANTO (whispers) : I'm a monster. And he truly believes it, too. TIME CUT TO : INT. THE HUB – JACK’S OFFICE – NIGHT Jack is sitting at his desk and setting up a machine with a green light pointed toward Ianto, who is sitting on the other side of the desk with his sleeves rolled up and arms on the arm rest. The machine beeps. JACK : Best lie detector on the planet. If something's untrue, the light turns red. (Flicks the switch). Go. The green light on the machine turns on and off. IANTO : My... hands on her throat. INSERT : VARIOUS FLASHES OF DISTORTED FAKE MEMORY Ianto chokes the woman in the alley. IANTO : And it felt so good. Squeezing the life out of her. Jack continues to look at the machine. The green light continues to flash. IANTO : It reads as truth. Jack looks at Ianto. JACK (firmly) : I don't believe it. Okay, tell me about the second girl. INSERT : VARIOUS FLASHES OF FAKE MEMORY It’s a rainy night. The woman runs up against the warehouse door. IANTO : She tried to get away... Distorted : Ianto chokes the woman. IANTO : ... but I was too quick. Pleading... and I... I didn't care. Something in me wants to k*ll. Jack looks at Ianto over the green light. JACK : No. This is not you. He grabs the light off the machine and it goes out. He gets to his feet and walks around the desk. JACK : Something's changed you. You're not a m*rder. He passes Ianto and puts a hand on his shoulder. JACK : I'm certain of it. INT. HUB – WORKSTATIONS – CONTINUOUS Jack is at one of the workstations. He’s typing on the keyboard, going through the CCTV security video from inside the hub. He finds something, a video of Ianto cowering on the floor. ADAM (from video) : All human record is a lie. (On the video, Ianto tries to get away). You crave flesh. Remember this. Jack can’t believe what he’s seeing. From the video, Ianto screams. Jack goes back further on the CCTV video. He finds a clip of Adam with Toshiko. ADAM (from video) : A year ago today... (He puts a hand on Toshiko’s neck). You remembered. INSERT : FLASHBACK Adam puts his hand on Toshiko’s neck. ADAM (clearer) : Do you remember that ? BACK TO SCENE On the video, they watch as Adam kisses Toshiko. Jack looks for more clips. He finds one of Gwen just entering the hub. GWEN (from video) : Who the hell is this ? Adam walks up to Gwen. ADAM (from video) : Just ‘cause that's what I said to you on your first day, remember ? On the video, Adam puts his hand on Gwen’s shoulder. Jack rewinds the video. ADAM (from video) : Remember ? FLASH TO : EARLIER Adam puts his hand on Gwen’s shoulder. Jack watches from just behind Adam. ADAM (from video) : Remember ? BACK TO SCENE Jack remembers something else. VARIOUS FLASHES OF : EARLIER ADAM (clearer) : Well, I came with you, Jack, remember ? Adam puts his hand on Jack’s shoulder. ADAM : Remember ? (Adam’s hand is on Jack’s shoulder). Remember. Jack remembers what Adam said. ADAM (v.o.) : I can help you, that's why I'm here. BACK TO SCENE Jack turns to get Ianto, who is sitting on the steps in the back. The video continues to run on the computer. ADAM (from video) : Remember this. Jack grabs Ianto’s wrist and pulls him. Ianto resists him. IANTO : No. Jack pulls him toward the workstation monitor. JACK : Come here. Come here, just look. (Points) Look. On the monitor, Adam touches Ianto’s forehead, forcing the memory into him. ADAM (from video) : Remember it. Ianto screams. ADAM (from video) : Remember it. Remember it. Remember it. Remember it. TIME CUT TO : INT. THE HUB – AUTOPSY AREA – NIGHT – CONTINUOUS Jack opens the refrigerator door, looking for the team’s blood samples. He pulls out the entire tray. He checks each vial. Jack looks at Ianto, who is sitting on the floor nearby. JACK : Where's Adam's blood sample ? Ianto gets up and goes to the workstation. He pulls up Adam’s personnel information. IANTO : Everything's in order here. JACK : When was it last updated ? IANTO : Um... (He checks). Twenty-four hours ago. The overhead lights switch on. Ianto quickly changes the monitor screen and gets up out of the chair. Jack turns away and picks up a book. He casually opens and looks at it. Owen stumbles in carrying a large bouquet of flowers. They stop and stare at each other for a b*at. Suddenly, sounds of the cog door opening are heard. Owen puts the flowers down on Toshiko’s workstation. Ianto moves quickly past him and disappears up the spiral stairs in the back. Owen looks at Jack and removes his jacket as he heads toward the autopsy area. Jack is left holding the book. TOSHIKO (o.s., giggles) : Stop it! ADAM (o.s.) : You like it. Off screen we hear Toshiko’s soft giggles. Jack turns and heads back to his office. Toshiko stops and sees the flowers on her workstation. TOSHIKO : Oh... Adam steps away. Toshiko smells the flowers and looks for a card. Owen steps up out of the autopsy area and heads toward Toshiko. TOSHIKO : Owen... OWEN : About last night... um... it was selfish of me. Adam sits in the nearby chair and watches Toshiko and Owen. Jack stands in his office and watches Adam. TOSHIKO : Owen, I think the world of you... OWEN : I know. I'm really sorry. I don't want to jeopardize our friendship. The most important thing is that you're happy. TOSHIKO : Thank you. He takes a couple of steps to leave, then stops and turns back to Toshiko. OWEN : Tosh... you are... (He turns and indicates Adam) ... you are happy with Adam, aren't you ? TOSHIKO : Completely. OWEN (nods) : Okay. Owen leaves. Adam watches him go and smirks. He looks up and sees Ianto up on the far back catwalk. Gwen walks in. GWEN : Hey. TOSHIKO : Hey, how are you today ? GWEN : Um, things are coming back slowly. (Adam gets up and heads toward them). Rhys thought I shouldn't come into work, but... ADAM (interrupts) : Hey, we'll look after you. You just have to give yourself time. (Motions). Come on, group hug. Jack watches them from his office and doesn’t move. Adam, Toshiko, Gwen and Owen share a group hug. Ianto makes his way down the spiral stairs. ADAM : Battersea, Remember that Greek place up to 3 am ? GWEN (giggles) : All those plates smashing. OWEN : (indistinct) GWEN : You try it after seven (indistinct) Ianto rolls his eyes and walks past them. ADAM : Hey Ianto, come here. Ianto stops. Adam breaks away from the group and follows Ianto. He takes his jacket off. Ianto turns around and looks at Adam. ADAM : You all right, mate ? Adam reaches for Ianto, who pulls out of his reach. ADAM (sneers) : Listen, I could m*rder a coffee. Adam heads for the workstation. Ianto takes a breath and looks away. Adam sits down at the workstation. He turns the monitor on and sits back in his chair. Just behind him, Jack cocks his g*n pointed at Adam’s head. Gwen and Owen turn around. Toshiko stops and watches. Everyone is stunned. JACK : Talk to me, Adam. If that's even your name. Adam swivels around and laughs. ADAM : What ? GWEN (chuckles nervously) : What are you doing, Jack ? JACK : He's not who you think he is. He's been feeding himself into our memories, by touch. TOSHIKO : Is this some kind of sick joke ? JACK : He didn't exist until two days ago. ADAM : Can somebody tell me what's going on, please ? OWEN : Jack, we've known him for years. He is part of the team. JACK : No. He just made you think that. ADAM : Come on, Jack. Adam reaches for Jack. JACK : Ah-ah-ah ! You don't get to me like that. Adam pulls back. ADAM : Jack, you know me. You recruited me three years ago. JACK : All I know is that when I think of my team, I see you there, but I don't feel anything for you. No pride, no warmth... You, the one who I can confide in, the one who unburied the d*ad. GWEN : Jack, maybe you've just forgotten him. Like I did with Rhys, yeah ? JACK : Oh I should have spotted it then. That wasn't stress. That was him. By making us think we know him, he disturbs our real memories. ADAM : I have no idea what you're talking about. JACK : I'm taking him to the vaults ! Jack grabs Adam by his shirt front and yanks him out of the chair. ADAM : Jack, this is ridiculous. Jack pushes Adam in front of him and they head down the stairs toward the vaults. JACK : Move ! A g*n cocks. TOSHIKO : No ! Toshiko has her g*n on Jack. Owen and Gwen both take a step toward Toshiko. GWEN : Tosh ! OWEN : Tosh ! Toshiko swings around and points her g*n at them and Ianto. OWEN : That's not gonna help. GWEN: It's fine. JACK (o.s.) : Toshiko ? Toshiko swings around and points the g*n at Jack again. JACK (quietly) : I'm just going to lock him up. Ianto is behind Toshiko, slowly inching his way closer to her. Adam looks at Toshiko. TOSHIKO : Let him go. JACK : I'm not going to harm him. TOSHIKO : Why should I believe you ? OWEN : Tosh, Tosh, we can talk about this. She looks at Owen, then swings back to Jack. TOSHIKO : Drop the g*n, Jack ! Ianto grabs the g*n from Toshiko and wrestles it out of her grip. GWEN : Shit ! Ianto keeps a firm grip on Toshiko’s wrists as she fights him. TOSHIKO (screams) : Don’t ! Get off me ! Adam ! JACK (to Adam) : This is what you've done to us. Move ! Toshiko pushes Owen and Ianto away from her. TOSHIKO (cries) : Get off ! (Screams). Adam ! TIME CUT TO : INT. THE HUB – VAULTS Adam is locked up in one of the cells. He slams his hands against the glass and pants loudly. Jack is standing outside. Again, Adam slams his hands up against the glass. ADAM : Don't k*ll me. I had to become part of your memories in order to survive. I didn't mean any harm. JACK : You've changed us. ADAM : For the better. You didn't remember who you were. I helped you. Look at Owen, all his cynicism gone. He's a different man now. Selfless, happier. And Toshiko, too; she's never been this confident. JACK : How did you come here ? Why us ? ADAM : All of you have such unique memories, especially you, Jack. All those extraordinary memories you hold, some hidden, some absent. Your singular mind. That's what drew me here. Jack puts his hand on the glass just over Adam’s hand. JACK : Good job. It's what we do best... wipe out aliens. ADAM : You can't sh**t me. (Jack turns and walks away). You made me live. And you always remember what you k*lled... Jack stops. ADAM (sneers) : Don't you, Jack ? Jack leaves. Adam leans his forehead against the glass. CUT TO : INT. THE HUB – CONFERENCE ROOM Jack stands at the head of the conference table in front of the monitor with the CCTV showing Adam in his cell. JACK : Our memories define us. Adam changed those memories... changed who we are. Now I have to help you all go back, find a memory that defines you. Rediscover who you are. If I'm wrong, he'll still be here when we've done this. Jack presses the control button and turns the CCTV camera off. He puts on a swirly video pattern. JACK (softly) : Let me take you back to before we all met... Jack presses the control button and dims the lights in the room. JACK (softly) : Feel around for anything that makes you what you are... the hidden and the forgotten. Tell me where you are. Everyone is quiet, unmoving and staring out in front of them. Voiceover thoughts intercut with actual speaking out loud. GWEN (v.o.) : The college canteen... Rhys is sitting opposite me, telling stupid jokes. RHYS (v.o.) : Where do you find a tortoise with no legs ? Where you left it. Gwen’s mouth twitches in a smile. Jack watches her. In her mind, we hear Rhys laugh. Gwen laughs out loud. OWEN (v.o.) : It's my birthday. I'm ten. Jack turns and looks at Owen. OWEN (v.o.) : Mum spends the whole day screaming, (says out loud) "I love you because you're my son... (v.o.)... but that doesn't mean I have to like you." TOSHIKO (v.o.) : Maths club. (out loud) Something so reliable about maths... (v.o.). Always the right answer. Ianto smiles. IANTO (v.o.) : Meeting Lisa. (out loud) Falling in love... (v.o.)... never felt so alive. OWEN (v.o.) : I turn 16. She packs my bags. (out loud) That is the nicest thing you've done for me in years, Mother. GWEN (v.o.) : Kissing him in the supermarket. (out loud) The look on his face. TOSHIKO (v.o.) : My first flat. (out loud) I don't have a flat-warming. (v.o.) There's no one I want to invite. IANTO (v.o.) : Losing Lisa. (out loud) Like the world had ended. Jack is looking at Ianto. GWEN (v.o.) : The way he looks at me sometimes... as if he's scared of what he feels for me, I... (out loud) ... I love him. Jack straightens. He’s not looking at her. Gwen turns and looks straight at Jack. GWEN : But not in the way I love you. Jack holds out his hand. JACK : Take this. Gwen picks up the small white pill and looks at it. TOSHIKO (v.o.) : Knowing there has to be more to life than this. Jack gently touches Gwen’s cheek and moves on. Toshiko’s face is wet with tears. TOSHIKO (v.o.) : Knowing I'm special... (out loud) ... waiting for someone to see it. Jack puts a hand on her shoulder. She turns and looks up at him. JACK (hoarsely) : I saw it. He puts the small white pill on the table in front of her and moves on. Toshiko looks down at the table. OWEN (v.o.) : You save one life, a hundred lives but it's, it’s never enough. (out loud). Who'll save me ? Jack holds Owen’s shoulder. Owen looks at him. JACK : I will. Jack puts the small white pill on the table. He moves on. IANTO (v.o.) : Coming here... (out loud) ... gave me meaning again. (Ianto looks at Jack). You. Jack tenderly kisses Ianto’s forehead. He puts the white pill on the table in front of Ianto. He goes back to the head of the table. JACK : You each have a short-tern amnesia pill. It'll make you forget Adam. We have to wipe out the last 48 hours from our memories, go back to who we were. Ianto picks up the pill and swallows it with some water. INTERCUT WITH : INT. THE HUB – VAULTS – CONTINUOUS Adam is in the cell. He breathes heavily and leans his head against the glass. INT. THE HUB – CONFERENCE ROOM Gwen takes the pill with some water. INT. THE HUB – VAULTS – CONTINUOUS Adam slams his head and hands against the glass. He blurs and pants heavily. INT. THE HUB – CONFERENCE ROOM Toshiko turns and looks at Owen. He looks back at her. Owen takes the pill and removes his geeky glasses, putting them on the table. Toshiko hesitates. She reaches for the control panel and presses the button, putting the camera in the vaults back on the monitor. Adam appears on the screen. TOSHIKO : I'm going to lose so much. JACK : None of it was real. TOSHIKO : He loved me... and I loved him. It's no different from real memory. He touches her face. JACK : He forced it on you. You have to let it go. She turns and looks at the monitor. Jack puts the pill in her hand and she sits down. She takes the pill and looks at the monitor. TOSHIKO : Goodbye, Adam. Toshiko puts her head on the table and closes her eyes. Gwen starts to fall asleep and Jack reaches for her, gently putting her head down on the table. Everyone is sleeping at the table. Jack walks out of the room. CUT TO : INT. THE HUB – VAULTS – CONTINUOUS Adam is in his cell, sitting on the concrete seat. Jack walks up to the glass. Adam lifts his head and looks at him. JACK : Just me left. ADAM : Jack, I know what it's like not to exist. Please don't send me back there. JACK : I have to. ADAM : What are you gonna do ? Jack shows him the small white pill. JACK : This will wipe out the past two days. ADAM : Well, you'll still keep the bad memories. Because they were always yours. But what about the good times, Jack ? What about the last good memory of you and your dad ? JACK : It's lost. ADAM : I can help you find it. I can take you back there. Before I die. JACK : Why would you do that ? ADAM : I was in the void for so long, the colors of this world almost blinded me, Jack. It was so beautiful after the darkness and the stench of fear. You gave me that. Let me do this for you. Come on. You want this. He does. Jack hesitates as he considers it. He closes his eyes and remembers. JACK : It's early evening... EXT. (BOESHANE PENINSULA) BEACH – DAY – MEMORY Young Jack and his father are playing baseball. The sounds of the ocean off screen. Young Jack tosses the ball, Franklin hits it and starts running for the bases. They’re laughing and having a grand time together. JACK (v.o.) : Just me and Dad. Young Jack gets the ball and dives for the base. FRANKLIN : Oh, no, you don't ! No, you don’t ! Young Jack reaches the base first with Franklin chasing after him. YOUNG JACK : You're out ! They laugh. FRANKLIN (sighs loudly) : Ah, ah, ah... You know, one day, you’re not going to want to play with your old dad any more. YOUNG JACK : Never. INT. THE HUB – VAULTS – ADAM’S CELL – CONTINUOUS ADAM : Are you there ? JACK : Yeah. EXT. (BOESHANE PENINSULA) BEACH – DAY – MEMORY Gray runs up to them. JACK (v.o.) : Me, Dad and... GRAY : Dad ! Mom said I could play too. JACK (v.o.) : ... Gray. YOUNG JACK : Hey, Gray ! Young Jack runs up to him, hugs him and swings him around and around. FRANKLIN : Hey, Gray. All right, son. One more. Franklin tosses the ball to Young Jack, who catches it. YOUNG JACK : Okay. Young Jack tosses it to Franklin. Franklin hits it and it goes flying past Young Jack. Jack is standing in the back watching the memory play out. YOUNG JACK : Whoa, I'll get it. Young Jack turns and runs after the ball. INT. THE HUB – VAULTS – ADAM’S CELL – CONTINUOUS JACK (laughs) : I'm running for the ball ! EXT. (BOESHANE PENINSULA) BEACH – DAY – MEMORY Young Jack reaches the edge of the hill where it dips downward. Someone is there holding the ball. INT. THE HUB – VAULTS – ADAM’S CELL – CONTINUOUS This part of the memory isn’t familiar with Jack and his smile fades. EXT. (BOESHANE PENINSULA) BEACH – DAY – MEMORY Young Jack runs down the side of the hill toward the boy, tossing the ball up and catching it with one hand. JACK (v.o.) : Some other boy is there. I don't know who. YOUNG ADAM : Can I play ? YOUNG JACK : Who are you ? YOUNG ADAM : My name's Adam. INT. THE HUB – VAULTS – ADAM’S CELL – CONTINUOUS Jack shakes his head. This isn’t right. Adam watches Jack, manipulating himself into Jack’s memory. ADAM : Let me play. Before it gets dark. EXT. (BOESHANE PENINSULA) BEACH – DAY – MEMORY YOUNG ADAM : There's lots of room. Young Jack pushes Young Adam down. Behind them, Franklin and Gray appear at the top of the hill. Franklin saw that. FRANKLIN : Hey ! What are you doing ? Franklin runs down the hill toward them. FRANKLIN : Are you all right ? Young Adam stands up. YOUNG ADAM : I just want to play. FRANKLIN : He can play. YOUNG JACK : No ! No, no, he doesn't belong here. I don't want him playing with us. YOUNG ADAM (offers his hand) : I'm Adam. YOUNG JACK : Don't touch my dad. Young Jack pushes Young Adam down again. FRANKLIN (to Jack) : Hey, easy ! Are you all right, Adam ? Franklin offers his hand and helps Adam back up to his feet. This time, it’s adult Adam and he’s inside Jack’s memory. ADAM : Yes, he just doesn't want to share. FRANKLIN : Right. (To Young Jack) : Well, if you're going to behave that way, we're going home. Franklin turns to leave. YOUNG JACK : No. What ?! FRANKLIN : Come on, Gray. Franklin and Gray walk away from Adult Jack, who is in his own memory. JACK : No ! We don't leave yet. We play some more, it gets dark, we light a f*re... Mum joins us. Franklin looks back at Jack deliberately. FRANKLIN (to Gray) : Come on, son. I'll race you. GRAY : Race you ! They leave Young Jack with Adult Adam. YOUNG JACK : Dad ! Young Jack turns to Adult Adam. YOUNG JACK : You did this. You spoiled it. INT. THE HUB – VAULTS – ADAM’S CELL – CONTINUOUS ADAM : I made it happen. YOUNG JACK (v.o.) : Dad ! EXT. (BOESHANE PENINSULA) BEACH – DAY – MEMORY Young Jack runs up the hill after them. YOUNG JACK : Dad, I love you. Adult Jack runs down the hill. Thunder rumbles in the distance. Dark clouds fill the sky. JACK : Dad ! Gray ! Dad ! INT. THE HUB – VAULTS – ADAM’S CELL – CONTINUOUS JACK (crying) : I want the real memory back. ADAM : Then let me live. That box you found contains my last good memory of you, your dad and Gray. You see, I'm a part of it now and I'll always live as long as you remember it. JACK : That's why you took me back ? ADAM : Wasn't it lovely ? Playing in the sand, no-one knowing what was ahead... your dad laughing. Gray, safe and happy. Jack stares back flatly at Adam. He reaches down and takes out the small white pill. ADAM : I don't want to die ! You take that pill and you will lose everything I've given you. Wipe me out now and you will lose all your memories of your father. He will cease to have existed for you. JACK : Goodbye, Adam. Jack takes the pill and bites down on it. Adam doubles over and grunts in pain. Jack staggers to the side, his hand on the wall. EXT. (BOESHANE PENINSULA) BEACH – DAY – MEMORY Adult Jack is walking along the beach against the harsh wind bl*wing. His memory is fading. JACK : Dad ! Gray ! INT. THE HUB – VAULTS – ADAM’S CELL – CONTINUOUS Adam clutches his stomach in pain. Jack waits. EXT. (BOESHANE PENINSULA) BEACH – DAY – MEMORY JACK (shouts) : Come back ! (Echoes). It wasn't like this ! INT. THE HUB – VAULTS – ADAM’S CELL – CONTINUOUS Adam looks at his hand. It blurs. Adam blurs. He flickers in and out of existence. Jack turns and leans against the wall. Adam fades out. Jack slides down the wall and sits on the floor. EXT. (BOESHANE PENINSULA) BEACH – DAY – MEMORY Jack stands on the beach against the harsh wind. INT. THE HUB – VAULTS – ADAM’S CELL – CONTINUOUS Jack coughs and slowly falls asleep. EXT. (BOESHANE PENINSULA) BEACH – DAY – MEMORY Jack is left alone on the beach in a haze of wind that obscures him from vision. The memory of that day fades quickly. JACK (shouts) : Dad ! Gray ! INT. THE HUB – VAULTS – CONTINUOUS Jack sits on the floor outside the empty cell. With one last sob, he puts his head down and sleeps. CUT TO : EXT. CARDIFF BAY (STOCK) – DAY Overhead view of the bay area. Bright sunny day over calm waters. INT. THE HUB – VAULTS – MORNING Jack is slumped on the floor, sleeping. He wakes up and looks around. He takes a deep breath. INT. THE HUB – WORKSTATIONS – DAY Owen is at his workstation. They’re in yesterday’s clothes. Toshiko is at her workstation in the back. Jack walks in. GWEN : Jack ? How have we lost two days ? JACK : What d'you mean ? IANTO : The last 48 hours. None of us can remember a thing. TOSHIKO : The system's blank, the CCTV's been wiped. What's been going on ? What've we been doing ? JACK (thinks about it) : I don't know. OWEN : Great. That's two days of my life that I'll never get back ! Jack motions to the flowers at Toshiko’s workstation. JACK : Looks like Toshiko got herself a secret admirer, though. OWEN (puts on jacket) : Oh, yeah ? TOSHIKO (reads) : To Tosh, love and apologies, Owen. (Smiles). They're from you ! OWEN (snorts) : In your dreams, Tosh. I think someone's winding you up, darling... No, I don't do flowers... (Owen takes the card from Toshiko and reads it himself). And I definitely don't do apologies. Her face falls. He gives her the card back and gives her a small smile. He turns to leave. CUT TO : INT. THE HUB – JACK’S OFFICE – DAY Jack takes out the box artefact from a plastic bag. It was on his desk. Something small falls out. He looks at it. It’s a small piece of the box. He picks it up and looks at it. Ianto walks in. IANTO : Did you, uh, call ? Jack holds up the book. JACK : Found your diary. IANTO (holds out his hand) : Yep, been looking for that. He takes the diary from Jack and turns to leave, his back to Jack. JACK : And for the record... measuring tapes never lie. IANTO (mouths silently) : Oh, f*ck. Ianto leaves the room quickly. JACK (shouts) : Hey ! Jack holds up the Torchwood plastic artefact bag. On it is written, "ADAM’S PROPERTY". Ianto pops back into the office. IANTO : Yep ? JACK : Who's Adam ? IANTO : Don't know. Ianto pops back out. Jack looks at the plastic bag, then puts it down. He looks at the small piece which could possibly be a key of sorts. He looks at the box, turning it around. He finds the pattern at the top of the box and fits the key piece into it. It snaps into place. Nothing happens. Jack puts the box down on the desk and starts for the door. The box opens. Jack stops, turns around and looks at the box. He heads back to his desk, picks up the box and looks inside. He pours out fine sand into the palm of his hand. That’s all. He puts the box down on the desk and looks at the sand as it slips out between his fingers. He stops and thinks about it. He drops the last of the sand onto the desk and we... END

{"type": "series", "show": "Torchwood", "episode": "2x05 - Adam"}

foreverdreaming

Opening credits JACK : (voiceover) Torchwood. Outside the Government, beyond the police. Fighting for the future on behalf of the human race. The 21st century is when everything changes... And Torchwood is ready. EXT NIGHT - Outside a warehouse A Weevil runs across and in. INT NIGHT - Warehouse The weevil keeps running through a bunch of… bus shelters? Owen and Tosh chase it with torches, g*n aimed. The weevil finds something and snarls at it. Owen finds weevil and gets snarled at. The something is a body. Owen examines it. OWEN : He's d*ad. EXT NIGHT - Cardiff from above Swiftly zooming to INT - Tourist Office We get a close up on the front door - very close, the outside is in a different location - with the Mayor newspaper from Boom Town blocking the little window. We’re in a pov sh*t, watching the door pushed open. Inside, the Closed sign is the first thing we see, and Ianto is lounging at the counter flicking through a magazine. There’s music on in the background – identify ? He doesn’t immediately look up. Bell jangles. IANTO : Sorry, (looks up, looks her down and up.) we're closing. (Goes back to his magazine. The clock on the wall says 1.15 - and it’s night. A bit past closing !) A hand holds out an ID card. It’s like someone pulled Ianto’s string, he’s upright and all flustered efficiency right away. IANTO : Excuse me, ma'am. He goes along the counter to where we know the door button is and gestures to the wall. POV camera shows us the secret door swinging open. INT Hub - Autopsy area Upside down naked d*ad guy head. The d*ad guy the weevil found. JACK : Documents on the body identify the victim as (Holds up a drivers licence, all filled in. 11-01-82 Wales.) Meredith Roberts. OWEN : No obvious signs of v*olence. GWEN : Are we saying it wasn't the Weevil ? OWEN : Give me a chance, Miss Cooper. I've only just started. IANTO: 'Jack, your VIP visitor is here.' (Jack runs out of the room, leaving the others to trail after). GWEN : I didn't realise we were having a visitor. INT Hub - Door area Door alarm starts going, we see Jack through the bars and then Jack’s view of the door. JACK : Suddenly, in an underground mortuary, on a wet night in Cardiff, I hear the song of a nightingale. Martha walks in, Ianto following her. JACK : Miss Martha Jones. (Oi, Jack, that’s Doctor Jones to you !) But Martha’s all smiles, and Jack smiles back at her. Opening credits INT Hub - Desk area MARTHA : Oh, it's good to see you, Jack. JACK : Toshiko, Owen, Gwen, Ianto, (Ianto raises hand.) meet Martha. OWEN : Just a casual visit or... ? MARTHA : I'm here to complete your postmortem. INT Hub - Autopsy area JACK : Dr Jones is from UNIT. GWEN : Oh, I'm sorry, sorry, I get a bit confused. Which one's UNIT ? JACK : Intelligence, military, cute red caps. The acceptable face of intelligence gathering on aliens. We're more ad hoc. But better looking. MARTHA : I identified a pattern from UNIT's data on sudden deaths. Toxic shock. Nothing to link the victims. Different ages, sexes, ethnic origins, occupations. But there was a statistically significant concentration in South Wales. She’s getting her gloves and doctor coat on. JACK : Come on, Martha, be honest. You just came all this way to see me. MARTHA : Still struggling to conquer your shyness, Jack ? OWEN : So what about this pattern, then, Dr Jones ? MARTHA : (Examines the body in odd places, starting with toes, moving on to eyeballs.) They were being written off as suicides or accidents. Look. Puncture mark. Hypodermic needle. You'll find his bloodstream was pumped full of ammonium hydroxide. OWEN : Yeah Bloodstream. That was the thing I was going to do next. MARTHA : Have you checked his medical records ? OWEN : Er, No. I was just about to. MARTHA : Well Let's give it a go. You never know, Owen, you might learn something. INT Hub - Desks Tosh on the computer. On the screen Royal Cardiff Infirmary Records, Patient Name Meredith Roberts, Date of Birth 11 01 1962. So… either these records go month / day / year or it’s 2007 for this week only. Or Owen can’t add up. Because he reckons… OWEN : One Meredith Roberts, age 45. TOSH : I know there's been a major crash on the NHS system. Wiped a shedload of files. MARTHA : Including all the victims I flagged up from the UNIT data. And now yours. TOSH : A computer crash wouldn't delete data so cleanly. This is deliberate. Let me look into it. Weird wipe to INT Hub - Jack’s office JACK : How's the family ? MARTHA : Getting better. They send their love. JACK : Give them mine. So, End of the World Survivors Club. MARTHA : God, I am so glad to see you, Jack ! JACK : See, you did come all this way just to see me. It's the jaw line. Once seen, always yearned for. (Laugh together, then pause.) Do you miss him ? MARTHA : No. I made my choice. Maybe sometimes. JACK : Ah ! MARTHA : Tiny bit. Tiny, tiny. Then I come to my senses again. Anyway, I've got plenty to occupy me. JACK : Oh, yeah, Miss Highfalutin'. What is it ? Medical officer ? MARTHA : Oh, yes. JACK : So do I have to call you ma'am ? MARTHA : No. Just follow my orders to the letter. Laughs together again. JACK : You should have called me if you were looking for a job. MARTHA : I wasn't. This woman from UNIT rang out of the blue, said I was just what they needed, that I'd come highly recommended by an impeccable source. JACK : You mean... ? Points upwards. MARTHA : Well, who else would have done it ? JACK : He must have thought he owed you a favour. Guess we all do. So Do you think you could get me one of those red caps for personal use? I’m thinking Ianto might look good in it. MARTHA : You want uniforms, get your own. Now, am I going to get the guided tour ? JACK : Yes, ma'am, whatever you say, ma'am! Huah ! MARTHA : Leave it ! INT Hub - Hot house with the plants in. JACK : So that's the hot house. Tour continues this way, ladies, please. No dawdling. They dawdle. GWEN : Um, so, you know Jack pretty well, then ? MARTHA : Oh, we were only together for... a few days. But it was pretty intense. GWEN : You mean... ? MARTHA : Oh, God, no ! No, not that sort of intense. Nothing like that. Why ? Are you and him... ? GWEN : No, no, not at all. MARTHA : We must be the only two people on the planet. GWEN : I know. What are we doing wrong ? Laugh together. JACK : Oi, you talking about me ? GWEN : No, no, we were just discussing alien flora, weren't we ? MARTHA : Oh, yeah. JACK : She's no fun. Raise your game, girls ! INT Hub - desks There’s a light box with a bit of tech lying on it. Martha, naturally, fiddles. MARTHA : You've got some well weird kit. What's this ? JACK : Be careful. It's an alien artefact. OWEN : Yeah, There's a lot of argument about this. But for my money, it's got to be a surgical instrument. MARTHA : Really ? JACK : He's guessing. Typical medic. OWEN : Hmm. Okay, right. Well, I call it a singularity scalpel. See, what it does is it concentrates energy on a tiny fixed point without damaging anything on the way. It's brilliant. MARTHA : It's amazing. GWEN : Yeah, do you remember the last time you did that, Owen... ? OWEN : Yes, yes. Right, now, all we're going to do is, we're going to vaporise this paper without even scorching the cup. JACK : This is going to end in tears. OWEN : OK. Fiddles at length, gets a clear picture of the paper on the little screen, gets a power up noise, presses the button aaaand… IANTO : Aagh ! Ianto has chosen a bad moment to walk up the stairs between the desks, tray in hand. Whatever was on it goes flying as he reacts to a small expl*si*n in his work area off behind him. It’s only hilarious if you’re not him. OWEN : Er, haven't quite got the calibration right yet. Ianto glares at Owen in quite possibly the cutest way ever. Gwen and Jack are lol. Ianto pulls himself together and walks the rest of the way up the stairs. IANTO : Jack. JACK : Mmm. IANTO : There's been another att*ck. as*ault with a hypodermic. Only this time, the victim survived. Woman, aged 27. She's in the hospital. (Jack goes to leave, others follow.) Medical records wiped, just like the others. Weird and colorful screen then EXT NIGHT - Cardiff from above looking very veiny. INT - Hospital. Martha’s drawing blood. Woman on a bed surrounded by monitors, team Torchwood gather round. MARIE : Yeah, but the doctors said they'd finished with me. MARTHA : We're a bit different. GWEN : We know this is tough on you, Marie. But did you recognise the man who att*cked you ? MARIE : I already told the police. JACK : We're different from them, too. MARIE : No, I never seen him before. GWEN : Did he say anything in the course of the att*ck ? MARIE : No. MARTHA : Open wide. Swabs her mouth. MARIE : Look, he just, he came towards me with a great big bloody needle, didn't he ? You know, my dog bit him and then I kicked him in the nuts. JACK : Respect ! INT Hub - The Hothouse being used as a bio lab. Owen and Martha are doing the dance of successful lab bench sharing. They’re helping each other with colorful chemistry and nice pretty graphics and such. Looks like fun. MUSIC : "Feel Good Inc" by Gorillaz. Indistinct muttering mostly, only words coming clear are OWEN : This is a... three four. Your basic lab montage. Then there’s a big blobby blue screen, and Owen and Martha standing next to each other staring at it. OWEN : So you and Jack go back a long way ? MARTHA : Forward and back, really. OWEN : What brought you together ? MARTHA : Let's say we were under the same doctor. Owen is puzzled. MARTHA : (Is working. Nods at screen.) These killings - why the ammonium hydroxide ? It's a weird way to k*ll someone. OWEN : Yeah, Yeah, it's gross. It's like injecting them with bleach. MARTHA : Unless the objective isn't just k*lling. OWEN : It's destroying something in the victim's bloodstream. MARTHA : It's getting rid of evidence ! INT Hub - Jack’s office Using the window as a big screen, files on Marie up on it. JACK : Locally, we've got a m*rder victim and a survivor. Both att*cked with hypodermics, both with their medical records wiped. MARTHA : And more cases across the UK. We think the point of the att*cks is to destroy evidence of their medical condition. JACK : Gwen, Ianto, pursue the criminal investigation. GWEN : OK. JACK : Martha, Owen will follow up with the medical side. OWEN : Fine. JACK : Tosh, any luck in retrieving those medical records ? TOSH : Not yet. I'm gonna have to dig down into the system memories, see if I can find any remnants of deleted or temporary files. Completely illegally, of course. JACK : Do what you have to. We're not dealing with a freak with some needle fetish. This is a conspiracy. INT Hub - Desk and door. TOSH : Ianto, the police have found another body in Heath Park. From the initial reports It's got all the hallmarks of the other att*cks. IANTO : I'll get Gwen, head out there now. EXT DAY - Cardiff from above. EXT DAY - somewhere in the park. SUV pulls up to crime scene, with tape and SOCOs and a bit of a tent. Gwen and Ianto get out, head in. GWEN : What have you got ? POLICE : Body was found early this morning. Caucasian male, early 20s. GWEN : OK, thanks. (Inside, examining body.) Who is he ? POLICE : Barry Leonard. Student. Doctor said it looked like... GWEN : Toxic shock. INT Hub - Corridor, then meeting room door GWEN : The att*ck took place in the woods, so no witnesses, no CCTV. MARTHA : Same as the others. GWEN : Yeah. Tosh just checked Barry's medical records - already wiped. MARTHA : And The puncture mark on his eyeball was identical to the other victims. I mean, Jack's right. These att*cks are not random, they're clinical. Professional. More like assassinations. GWEN : Except Barry Leonard was a student. Who'd assassinate a student ? MARTHA : Student Loans Company. GWEN : Yeah, yeah, I think you've just cracked it. (laughs together) But why delete medical records ? You know, what did all these people have in common ? MARTHA : Owen's analysing Marie's test results now. I’m hoping that will give us an indication. GWEN : So we’re still in the dark, no idea where the k*ller will strike next and the att*cks are getting more frequent. MARTHA : We keep looking, Gwen, we'll find something. IANTO : 'Martha, call from the hospital. Marie's had some sort of seizure.' INT Hub – Hothouse. MARTHA : They want us at the hospital. Marie's collapsed. OWEN : Yeah ? My money's on this stuff. From Marie's blood. It's a new one on me. MARTHA : Yeah, me too. Have you run an isoenzyme analysis on it ? OWEN : No, not yet. What are you thinking ? Parasitic infection ? MARTHA : Could be. OWEN : It's got to be down to this stuff, cause otherwise I haven't got a clue what's wrong with her. MARTHA : Yeah - no infections, no deficiencies in organ function, perfect cholesterol levels, ideal blood pressure. OWEN : Yeah, exactly. She's so normal, she's abnormal. INT DAY - Hospital MARTHA : (waving little torch light in her eyes) Marie ? Marie, can you hear me ? MARIE : Mmm, yeah. OWEN : OK, you've got something in your blood that we don't recognise, all right ? We think it's behind your current illness and we need to know what's been happening to you so we can help you. MARIE : Well, you're the doctors. You tell me. Swift set of corpse closeups to change scene. STUDENT : Barry was my best mate. INT DAY - Student flat Music in the background, just a b*at. Keep Out sign rather uselessly on the outer wall. Ianto and Gwen and the student all have mugs. STUDENT : We were doing the same course. Met him on the first day. GWEN : Was Barry doing any sort of drugs at all ? STUDENT : Well, he used to be really clean. Reckoned he had to be careful about what went into his body because of his diabetes. IANTO : Barry was diabetic ? STUDENT : Sure. But when they cured that, he was doing booze, blow... GWEN : Wait a minute. You're telling me Barry's diabetes was cured ? STUDENT : Sure. IANTO : That's impossible. STUDENT : Well, he stopped taking insulin. He was fine. IANTO : (bleeps his ear) Owen, something you should know. GWEN : So who performed this miracle cure ? STUDENT : I don’t know. He was very quiet about that. All I know is, he was suddenly flashing a load of wedge about. IANTO : Barry Leonard is said to have recovered from diabetes. INT DAY - Hospital OWEN : Thanks, Ianto. Right, Listen, Marie, you're gonna have to level with us. This could be a matter of life and death. Have you ever had a serious medical condition ? MARIE : Too good to be true. MARTHA : What do you mean ? MARIE : I had HIV. MARTHA : You're perfectly clear of antibodies. That's not medically possible. MARIE : That's the Reset. MARTHA : Reset ? What are we talking about ? A drug ? OWEN : Right, I'm not familiar with Reset, so any idea of a chemical name ? Marie laughs, then starts coughing. OWEN : Where d'you get it from, Marie ? MARIE : I got it from the Pharm. MARTHA : The farm ? What farm ? MARIE : No, P-H-A-R-M, the Pharm. It's a medical research place, all right ? OWEN : How did you get it from there ? MARIE : They gave it to me. They paid me a lot of money. They said I should to keep quiet about it cos it was part of the contract. MARTHA : Are you saying you were a clinical trial subject ? She collapses on the bed and starts twitching. MARTHA : Marie ? OWEN : Convulsing. MARTHA : Marie ! OWEN : I'll give her another 10ml. MARTHA : You're all right. Monitor flatlines. MARTHA : She's d*ad. Buzzing… Martha stares as a swarm of small bugs pour out of Marie’s mouth. Martha and Owen back away, waving them off. Owen slaps some button on the wall and an alarm starts. OWEN : Emergency ! Biohazard ! Get us out of here ! So I guess they can’t get out. They curl up small and cover up in the corner, put the little paper masks actually over their mouths… which would have been useful earlier, but they never wear them on TV anyway. Buzzing louder… then the swarm falls down, d*ad. Alarm keeps going in the background… Owen holds up one bug on the tip of his finger. INT Hub - Meeting room Nice mayfly graphic on the big screen there. MARTHA : So it's an alien larva, incubating in human bodies. OWEN : We've never seen anything like it. So it left Marie's body when she died, presumably looking for another host for its next stage of development. MARTHA : Which could have been us. OWEN : Yeah. Fortunately, when they didn't find one quickly, they died. MARTHA : I wonder what this cute little larva grows up to be ? Camera moves behind a pillar and when it moves out again they’re no longer alone in the room. Team meeting. And someone’s being really swish with the scene changes this week. OWEN : This, folks, is a molecular model of the drug that we found in Marie's blood. MARTHA : She called it Reset. IANTO : So what does it do ? OWEN : Think about when you run a virus scan through your computer, yeah ? The software works its way through the files and when it finds a Trojan or a virus or whatever, identifies it and then it deletes it. That is what this stuff does to the human body. But it's not just viruses. It's harmful bacteria, toxins, even mutant cells, you name it. It's like the body's been turned back to its factory settings. MARTHA : It's the ultimate magic b*llet. Supersedes anything and everything in the pharmacological armoury. GWEN : But That would be the greatest medical discovery in history. MARTHA : Exactly. Except, it comes bundled with a lethal alien parasite. JACK : Ah, not so good a discovery. MARTHA : The parasite needs a healthy body until it's incubated. So the parasite egg incorporates this magic b*llet, which puts everything in the system back to its factory settings. JACK : Reset. Neato. So who runs the Pharm ? IANTO : Well, the public image is innocent enough. Private-public partnership between the government and a consortium of the pharmaceutical companies. Researching and developing cutting-edge biotechnology. TOSH : Their IT systems are way more cutting-edge than they need to be. Plus, they've got seemingly unrestricted security clearance. MARTHA : Which means they'd have the capability to erase medical records if they wanted to. TOSH : Exactly. JACK : Who runs this outfit ? GWEN : Institute director is a Dr Aaron Copley. OWEN : Yeah, I know his work. He's one of the most respected research scientists in his field. IANTO : Harvard graduate. Did research at Cambridge. Last job, Harvard Professor of Molecular Pharmacology. Came to the UK to set up the Pharm. JACK : Hmm, he's kinda handsome, too. D'you think he'll like visitors ? EXT DAY - Lane leading up to the Pharm SUV pulls up at security gate, guard checks their name against a list. JACK : Torchwood. Guard nods and lets them in. Jack, surprised, looks over at an equally raised eyebrows Owen. Then on the way in notes the guards’ g*n. INT DAY - Office at the Pharm Copley sits behind his desk, looking through the Torchwood file. Jack sits in front, Owen stands at the back. COPLEY : Sorry you've had a wasted journey, Mr... Harker ? JACK : Harkness. And it's Captain, but you can call me Jack. COPLEY : Captain ? Where did you park your boat ? JACK : (laughs alone) I like a man with a sense of humour. Know any good gags about clinical trials ? COPLEY : Well, Jack, none of these faces mean anything to me. And as the institute director, I would have met them personally, had they been our trial subjects. JACK : Dr Copley... COPLEY : Professor, actually. JACK : But I can call you Aaron, right ? See, this is a little awkward. Two of these people were m*rder. Another died of a parasitic infection of alien origin and one of the victims mentioned your organisation's name shortly before she died. COPLEY : Alien origin ? That's preposterous. OWEN : Er, Professor, when I was writing my MD thesis, your published works on immunology were very helpful, so thank you. COPLEY : I’m Glad to be of service. OWEN : Now, if there was a drug that could restore the human body back to its factory settings, as it were, you would know about it. COPLEY : You're right, I would. But nothing like that exists. JACK : I had a boyfriend whose nostrils flared when he was lying. COPLEY : I'm already late for my next appointment. JACK : You go ahead. We'll have a look around. COPLEY : Well, obviously our research suites are classified, so we can't grant you access to those, but we'd be delighted to give you the PR tour. JACK : Normally, Aaron, we go where we like. COPLEY : Not here, actually. Ask Whitehall. We're fireproof. JACK : Yeah. I had a bad experience with a politician recently. I tend not to listen to Whitehall any more. COPLEY : Let me get someone to guide you back to your vehicle. EXT DAY - The Pharm Two armed guards take up position in the door as Jack and Owen leave the building and get back in their SUV. JACK : Was it me, or was he a little touchy ? OWEN : Yeah, so much for the polite approach. We need to turn this place over. JACK : (pressing buttons and beeping his wristband) Oh, yeah. According to these readings this place has the highest concentration of alien life forms this side of the Rift. (Looking at outbuildings with barbed wire. Then looking at guard.) Grey is so not her colour. EXT DAY - Cardiff - Plas from above. INT Hub - Desks TOSH : I can't hack in there, Jack. And if I keep on trying with a brute-force approach, they'll know they're under att*ck. JACK : An alien life form is preying on the humans bloodstream. I need a way in there. IANTO : Tosh, I've got the results of that research. On the screen now. Several screens of web pages, including listsings for The Pharm, South Wales. TOSH : Ianto, that's brilliant ! They're in the market for volunteers. JACK : That's understandable, given their wastage rate. GWEN : Then One of us goes in undercover. JACK : No, we don't know enough about the workings of that place. Too many things could go wrong. MARTHA : Unless you were to put a medic in there. Someone who knew what to look for. OWEN : Yeah, but I can't do it. They know me now don’t they. MARTHA : I know it's hard to believe, Owen, but I wasn't thinking of you. JACK : No way. MARTHA : Come on, Jack, I've been in worse places and you know it. JACK : (Checks around his team. Gets raised eyebrows from Gwen, a head shake from Owen but nothing from the others. Looks at Martha.) OK. INT Hub - Arch near the armoury. Jack climbing up the stairs to the other side of his office. Owen stops him. OWEN : Jack, can I have a word ? Listen, I know you're big buddies from way back whenever, but you can't just send her in like this. JACK : Trust me. She's more than capable. I'd rely on Martha if the world was ending. In fact, I did. INT Hub - Autopsy area Actually the camera starts out in the desk area looking in. There seem to be shower curtains in the doorway to the autopsy area. I had not noticed that before. Now I’m amused. IANTO : OK, these are the plans for the Pharm's buildings. From what Jack and Owen saw, they reckon that the main house contains Copley's office, medical research suites and the accommodation for the clinical trials subjects. MARTHA : What about the buildings at the rear ? IANTO : Restricted area, fenced off, armed security. Jack thinks that's where the readings of alien life forms came from. MARTHA : Cool. IANTO : But you don't need to go anywhere near there. MARTHA : Spoilsport. IANTO : The first thing you need to do is get yourself accepted as a clinical trials subject. Don't try too hard, don't draw too much attention to yourself. MARTHA : Be invisible. I can do that. IANTO : Once you're in, we need you to gain access to the Pharm's IT systems, close down the system firewalls and security protocols. That way Tosh can gain access to the files and see what they're really up to. MARTHA : Industrial espionage. It's very civilised. IANTO : Once you've done that, get out. Don't take any unnecessary risks. MARTHA : Understood. IANTO : Cool. MARTHA : So, Jack asked me if I could get you a UNIT cap to wear. IANTO : (Surprised to slight blinky.) Did he ? Well, red is my colour. (Goes up the steps opposite.) MARTHA : So am I right in thinking that you and he... ? IANTO : We... dabble. MARTHA : Yeah ? IANTO : Yeah. MARTHA : So what's his dabbling like ? IANTO : Innovative. MARTHA : Really ? IANTO : Bordering on the avant garde. MARTHA : Wow. IANTO : Oh, yeah. (Is elsewhere, in his happy place. For quite a while.) Huh. So shall we get your cover story sorted ? MARTHA : Absolutely. INT Hub - Jack’s office IANTO : Fake ID. First name Samantha. Thought the Jones would be safe. MARTHA : OK. How do I stay in touch ? TOSH : Communication's very tricky. The whole place could be wired. We don't want you chattering away to us and being overheard. JACK : But I want to monitor you at all times. MARTHA : So ? Tosh presents a box. MARTHA : I don't need contact lenses. TOSH : You need these. INT Hub - Desks Now we see on the computer screens a sort of rounded version of the area, Martha pov. OWEN : OK ? MARTHA : Oh, I'm a camera ! JACK : As Chris Isherwood once said to me when we were cruising the Kurfurstendamm. TOSH : And we... can... text. (Types “U LOOK WE C”, and it shows up on the POV sh*t). MARTHA : Wow ! TOSH : Power comes from the body heat, so they only work when you're wearing them. OWEN : Yeah, so you have to wear them everywhere. Eyebrow flash. MARTHA : Well I'll be doing some things with my eyes shut, then. JACK : In case of an emergency, we can speak directly to you. TOSH : The lens will communicate with your sensory neuroreceptors. Bypasses the auditory system. MARTHA : But can't these signals be intercepted ? IANTO : Alien technology. Which exploits a solution to the EPR paradox. MARTHA : Oh, quantum entanglement of remote particles. OK, cool. IANTO : (rather quieter) Yeah. JACK : Did I mention she was brilliant ? Flashy transition - mayfly larva graphic, couple other things, exterior of the Pharm. INT DAY - Room at the Pharm. They’re drawing blood again. Close up. Do they do it just to make me shuddery ? TESTER : It's standard procedure to take two blood tests. One of them will be analysed overnight. Thank you, Nurse. So tell us the places you've been to, Samantha. MARTHA : Well, I had a great time in North America, France and Germany, Australia... TESTER : What about the Third World ? Africa, Latin America ? TXT: “warning triangle !” MARTHA : No, but I'm sure I'll get round to it. TESTER : Travel off the beaten track can be a bit of a problem for us. If you had some exotic tropical disease, there could be unexpected side effects, and volunteers welfare is our absolute priority. MARTHA : Oh I don't think there'll be any problem with that. And of course I'm very conscious of health issues. TXT: “warning triangle !” MARTHA : My mum's a nurse. Door opens, Copley walks in. TESTER : This is Professor Copley, Samantha. Institute director. COPLEY : Hi, Sam. Nice to meet you. MARTHA : Hello. JACK : Tell her to get close/ To Copley. TXTS it. COPLEY : I see you're a postgraduate student at the moment. MARTHA : That's right. COPLEY : Studying what ? MARTHA : Creative writing. So I really need the cash. COPLEY : Well I'm sure you'll understand, Samantha, that we have a lot of applicants. JACK : Tell her not to lose him. TXTS. COPLEY : We'll let you know in due course. MARTHA : Actually, there's something I should have told you. COPLEY : Oh, yes ? MARTHA : It'll show up in the test results anyway. I did have a hepatitis infection. OWEN : No, no, no, she's bullshitting. It's her way in. MARTHA : I mean, I'm fine now, but it stays in the blood. Strictly speaking, it's incurable, right ? COPLEY : Well That puts a different complexion on things. We could use a subject with hepatitis. Are you available to start right now ? MARTHA : Well, sure. I've brought my overnight things. COPLEY : Then all we need is your signature on this confidentiality agreement. OWEN : She's in. JACK : As Chris Isherwood also said, it's not the getting in, it's the getting out. COPLEY : Thank you. MARTHA : So What sort of drugs will you want me to take ? COPLEY : We have got various products at the clinical trials stage. You'll be given a full briefing once we've finalised the programme, and of course we won't proceed unless we have your informed consent. JACK : Come on, Martha. OWEN : Let her settle in. It's gonna be a long night ahead. EXT NIGHT - Cardiff from above. INT Hub - Desks Tosh brings two mugs of coffee. TOSH : You and Martha are getting on well. OWEN : Yeah, you know me - Mr Sociable. TOSH : She's beautiful. OWEN : Is she ? TOSH : You know she is. OWEN : Yes, well, fair cop. TOSH : And a doctor. Perfect match. OWEN : No, she's only interested in work. TOSH : Do you think ? OWEN : Yeah, a bit of flirting so I'll show her the ropes. Plus, if I tried anything with her, I think Jack would have my kneecaps. (Rueful grins.) What happened to that, um, pool tournament you were organising ? TOSH : That ? It was never a tournament. OWEN : What was all that about, then ? TOSH : It was supposed to be a date. OWEN : Sorry ? TOSH : I was asking you out on a date. OWEN : A… a date ? TOSH : You didn't realise ? OWEN : You and me ? TOSH : Yeah. OWEN : I see. And... you still want that ? TOSH : Yeah. OWEN : Right. TOSH : I just thought if we spent some time together, an evening... OWEN : All right. TOSH : Sorry ? OWEN : Just do it. TOSH : Are you being sarcastic ? OWEN : No. TOSH : You're being polite. You'll stand me up. OWEN : I've just said yes, haven't I ? One date, see how it goes, which might be nowhere. TOSH : That's fine. A drink. OWEN : OK. TOSH : Yeah. OWEN : And I'm going to keep flirting with people, Ok ? Just cos of this, doesn't mean I'm going to stop flirting. TOSH : You can be king of flirts. OWEN : Ok. Right, then. TOSH : Yeah. OWEN : Good. We should, er... concentrate on Martha. TOSH : Yeah. INT NIGHT - The Pharm - Patient room. Alternating with the Hub desks whenever the Team are talking. They do that a lot. Martha is lying on the bed, then sits up. Sneaky time! Sneaky out the room into the corridor. See through the lenses back at the base. See Martha sneak some more in the corridors and find the stairs. Owen TXTS “Be Careful”, which I’d call unnecessary but later… Anyway, Jack joins Tosh and Owen at the monitors, and Martha wanders some more. Gets to the Admin door, rattles the handle. Locked. OWEN : Tosh, can you get us past this ? TOSH : Easy peasy. She just needs to get the lenses to within the EPR field. TXTS “Look Closer”. Martha moves her head closer, and the magic eyeballs now let the Hub computers figure out the numbers on the lock. Tense sequence of number guessing! Wait for the numbers to flick and decide before the guards catch up ! Is better than the lottery balls, I tell you. So, anyways, 41040 and she gets in just before the guards get there. Scary ! Then she finds the computer, sitting there waiting for a password. OWEN : Tosh, can you help her blag her way into the computer system ? TOSH : It'll take time to talk her through it. JACK : We don't have time. I want her out of that office. TOSH : Well, if I can get her to give me remote control of the computer... TXTS Instructions like : Go to network and connections and then there’s a lot of typing and hey lookit. TOSH : ...I have control. MARTHA : (Talking out loud exactly like they didn’t want her to when they gave her the lenses.) The life cycle of the parasite. They call it the Mayfly. GWEN : Wow. We've never seen a species like that before. TOSH : It's beautiful. OWEN : It's lethal. JACK : But what is Copley doing with them ? ‘Martha, now we've got control,’ we can download all of this and go through it here. Get out of there pronto. Martha, doors, corridors. Tension ! Tense music ! GWEN : Tosh Do you have that code-breaker software ? TOSH : I'm sending the patch through now. GWEN : Thank you. Lots of screens of computer stuff. Martha on stairs. Then an alarm rings. SECURITY : 'Break out in Zone A. All patrols to Zone A immediately. Breakout in Zone A. Break out in Zone A. All patrols proceed with extreme caution. The escaped creature is extremely dangerous.' Martha grins and looks out the window, watching the fun thing where the armed security guards are now scared. TXT says “Get to safety”. Naturally any companion of the Doctor’s takes this to mean ‘climb out a window and go looking for trouble’. Only on the kids show they get away with it. GWEN : Jack ? I've got the list of the clinical trials subjects here. JACK : Meredith Roberts, Marie Thomas, Barry Leonard. All the m*rder victims. Ooh, who's BD ? GWEN : Executive actions ? JACK : Old CIA terminology for assassinations. The Pharm are running their own h*t man, which is kind of unusual for a medical research facility. GWEN : Wait a minute, there's a name here that we haven't seen before. Elin Morgan ? She hasn't been reported missing or d*ad. JACK : She soon will be. Take Ianto and pull her in. EXT NIGHT - The Pharm Martha climbs down a drainpipe and dusts herself off. Alarms are still blaring. She runs, sees the fence and the wire and the lock. Voices get closer, mostly indistinct. She runs and hides behind a small bush. GUARD : Find it before it gets any further… sector 12 now… SECURITY : 'Do not attempt to approach the creature, is that understood ? Stun and sedate only, the creature is highly dangerous.' GUARD : Understood. Come on, keep moving ! The guards type the number in and go in the restricted zone. They let the gate swing closed behind them, for this is TV and they are both stupid and busy. Martha runs up and catches the gate before it closes, dodges inside. OWEN : What the hell is she doing ? If the Pharm have their own h*t man, God knows what they're capable of. JACK : Yeah, and I put her in there. Alarm, whistles, and pov with blurry edges as Martha runs around in the restricted area for no actual reason. Sorry, just… she’s doing exactly what she was warned not to do. Because she was her own boss for a year, so it makes sense to her. Just… no. So, then there’s weird noises, warbling and hissing. Martha turns and… white out. OWEN : Shit ! JACK : What was that ? TOSH : Radiation surge ? We've lost her signal ! Martha rubs her eyes, I think taking the lenses out. MARTHA : Agh ! Ah ! Eerie warbling continues, then around the corner hops a full grown Mayfly, looking about as big as a car right then. MARTHA : Agh ! Runs and hides behind a yellow wheelie bin. GUARD : There it is ! Call patrol. Creature located. Zone A, sector 12. The Mayfly goes past, and Martha steps out from behind the bin to follow it… I can only assume she’s forgotten she doesn’t have her invisibility key, for this leaves her clearly visible, and oddly enough she gets sh*t by the security guards. Sedative dart, she collapses. TOSH : I can't get her back. OWEN : We have to get her out of there. TOSH : That place is swamped in security. If we try and steam in, we'll be putting her at risk ! OWEN : We can't just leave her in there can we ? TOSH : If I can't get her signal back in 30 minutes, then we think of alternatives. OWEN : Anything could be happening to her in there. JACK : Martha can handle herself. She's been in worse situations than this. OWEN : Sure about that ? EXT NIGHT - The SUV on the road. Gwen’s getting something up on a computer map. IANTO : What's that ? GWEN : Billy Davis' mobile. He'll be at Elin's flat in three minutes. Ianto hits the accelerator and we watch the SUV speed through the streets. INT NIGHT - Elin’s bedroom BD sneaks in sneakily with the needle in one hand and a spray in the other. When Elin wakes up he sprays her and she stays still, eyes staring open. He moves in with the needle… GWEN : Hands above your head ! Up ! Gwen has a g*n and just gestures with it. That gets BD away from Elin. Then Ianto walks in and stun g*n him. He’s getting good at that. IANTO : Jack, we've got Billy Davis. He could help get you into the Pharm. INT NIGHT - The Pharm Martha is tied to a bench in a weird spread out cross shape. Very blasphemy bondage medical. MARTHA : Will you tell this gorilla to let me go ?! What is going on ?! COPLEY : (Dismisses the armed guard) Good work. MARTHA : I’m here as a clinical volunteer. You can't treat me like this ! COPLEY : You lied to us, Samantha. MARTHA : Can I just explain ? I got bored stuck in that room, so I went for a walk, and first that thing att*cked me, and then your heavies as*ault me. COPLEY : You don't owe any loyalty to Torchwood. Jack Harkness has treated you in a criminally irresponsible way. MARTHA : Who ? I really don't understand ! COPLEY : Don't bother. This is not an interrogation. Torchwood is irrelevant to us, not even a nuisance. In fact, they've done us quite a favour putting you in here. We've analysed your test results - you really are something special. INT Hub - Cells BD is tied to a chair in the gap between cells, a computer monitor screen next to him and a trolley with a bunch of Owen’s stuff in it on his other side. Owen fiddles around being vaguely medical. BD : Agh ! I got terrible guts, dunno what it is. JACK : Bad conscience, Billy. Try confessing. BD : Get stuffed. JACK : OK, let's do it the hard way. Cell door at the other end opens, and out comes a Weevil, chained at the neck. Ianto is handling it like a guard with a dog. Except it growls at him, so just a bit less friendly. But he glares at it and it turns towards BD. Runs to him, growling and snarling. The chain lets it almost all the way to BD, Ianto hanging on to keep it that little bit back. BD : Merciful Christ ! What the... ? Agh-hhh ! Weevil roars. JACK : They have a tendency to act up. IANTO : Losing him ! BD : Please ! JACK : Something to say, Billy ? BD : Yeah, yeah, whatever you want, just get it away from me ! Get it off me ! Ianto uses the Weevil spray and packs the Weevil back into its cell. Which is a bit unfair, really, since the spray apparently hurts them. Like whipping a dog that only barked when you told it to. Mind you, they’re using it for something bordering on t*rture, bit like some pics I’ve seen of US methods, so being humane isn’t their first concern. Ianto shuts it in and closes the door. JACK : OK, Billy, you've been on a k*lling spree, why ? BD : I work for the Pharm ! They'd been giving people this Reset drug. But there were these side effects - parasites or something. They were gonna die anyway, so I had to get rid of them before any weird symptoms showed up... in public. INT The Pharm - Martha’s test bench. COPLEY : Do you know what lymphocytes are, Samantha ? MARTHA : A kind of white blood cell, part of the immune system. TESTER : Well, your lymphocytes are really quite extraordinary. COPLEY : We've never seen anything like them before, not in a human being. Aliens are a different matter. MARTHA : Aliens ? I don't know what you're talking about. TESTER : Your lymphocytes and God knows what other cells have mutated. MARTHA : Mutated ? How ? COPLEY : Under the influence of radiation. Radiation that's not found in the temporally s*ab environments on Earth. MARTHA : I don't know what that means. COPLEY : We've dealt with aliens before, but we have never come across anything as exotic as you. A human being who's travelled in time and space. Tell me about it. How is that possible ? What did you see out there ? MARTHA : This is mad. I don't know what you mean. COPLEY : Fine. If that's the way you want to play it. However it happened, it means that you have a uniquely effective immune system, which is exactly what we need. We're developing a drug that's going to change the world, Sam. Incurable cancers, AIDS, all the scourges of the human race wiped out. A revolution in medicine and social welfare. Except it's still imperfect. I'd like to know what your funky lymphatic system makes of those imperfections. MARTHA : I am not taking that ! COPLEY : But you volunteered. It’s a bag of Reset, and it’s now flowing into her arm. Bad ! INT Hub - Cells JACK : OK, Billy, we're going into the Pharm and you're going to front it for us. BD : Yeah, yeah. OK. My stomach ! My stomach ! My stomach ! Agh ! Agh ! Coughs up blood. OWEN : Whoa ! JACK : Owen, we need him alive ! OWEN : Yeah, all right, I'm flying blind here, Jack ! JACK : Do something ! OWEN : Let's start with this. (Gets out the Singularity Scalpel and starts fiddling.) I think I've got it, OK ? I've got the calibrations right. I can get it out of him. Er, not quite - we have a belly burster, the bug spraying blood and guts everywhere on its way out. Nasty. ? : Whoa ! ? : God ! JACK : Owen, deal with it. JACK : Are you sure you had those calibrations right ? OWEN : I'm sorry, all right ? (Grabs a bucket and some tongs, grabs the Mayfly, which looks about as long as someone’s forearm and is all skittery and alive.) He must have breathed in larva when one of his victims died. This could have been me, or Martha. He drops it in a bucket. Torchwood has a Mayfly. INT The Pharm - Martha on the cross bench. TESTER : I've given her twice the critical dose. COPLEY : So, Mayfly larvae are incubating ? TESTER : Are you sure about this ? Her immune system's clearly reacting. There's obviously quite a fight going on inside her. COPLEY : Keep your nerve. We're making history. INT Hub - desks TOSH : Ianto, what have you done with Billy Davis' body ? IANTO : Um, I was just about to dispose of it. Why ? TOSH : I've thought of a way we can use him to get us into the Pharm. Clever, huh ? IANTO : Oh, you are warped on the inside. How do you think of these things ? TOSH : I'll take that as a compliment. EXT NIGHT - Cardiff, then the road to the Pharm. Team Torchwood are hiding in the back… BD the corpse is apparently driving, duct taped to the wheel. The gate lets him in. His car parks outside the Pharm… and he slumps forwards to headbutt the wheel. I lol and then feel vaguely guilty. JACK : Tosh, Gwen, Ianto, check out Zone A. We're going after Martha. Let's go ! INT Pharm - Martha room Martha’s looking really ill now. Jack slams the door in and comes in g*n aimed. JACK : Hands above your head ! What have you done to her ? OWEN : Tell me that's not Reset ! COPLEY : She's survived the larval stage, the only subject ever to do so. Fascinating. Turns out these bugs practice sibling cannibalism. Only the strongest individual is left now. God knows what happens next. OWEN : Put a stop to this ! COPLEY : I can't. I don't know how. EXT NIGHT - Warehouse in Zone A and INT NIGHT - Warehouse in Zone A. Doors, Team, poking around inside crowded place. Dramatic spot lighting. Things in tubes. Waving g*n and torches around. The Tester lady is changing jars on a tube. GWEN : Put your hands above your head ! Tester does. Team move in. See what is in the big tube. TOSH : Ianto. IANTO : Bloody hell. INT Pharm Now Martha going all bumpy in the middle and moving and stuff. Bugly baby ! Er, sorry. Very creepy, belly burst imminent. OWEN : Jack, this thing's k*lling her. I don't know what I can do. JACK : Owen, stay calm, there has gotta be something. Owen finds the Scalpel in his bag. Third time lucky ? Or splatter the guest star ? INT - Warehouse of tubes Nekkid Weevil ! In a tube ! Moaning. GWEN : What's happening here ? TESTER : This is what the Pharm is all about. We farm c*ptive aliens for the exotic chemical products they metabolise. IANTO : What the hell do you get from a weevil ? TESTER : Some pesticides, and a quite powerful chemical defoliant. But the weevils aren't what's going to clinch the Nobel for us. The Mayfly, our feedstock for Reset. Given time, we'll tweak the product for human use, and then it'll be bigger than penicillin. Now there’s a sad big bug in a tube. Gwen seems to relate. There’s some clever posture mirroring going on, except with more legs. IANTO : Jack, I can give you a report on Zone A. They're holding dozens of creatures c*ptive down here. They seem to be using them as test subjects. INT - Pharm with Martha. JACK : Understood, Ianto. Tell Tosh to go for total shutdown. This place is a t*rture chamber. COPLEY : I don't need to debate medical ethics with you. JACK : You abused the Mayflies, you turned them into parasites ! COPLEY : We didn't understand how the Mayflies reproduced. We tried to limit the damage. JACK : What, by m*rder people ? COPLEY : They were going to die anyway. We're on the edge of the greatest discovery in history. It gotta be worth a few sacrifices ! You must understand that, Jack, you're involved in alien research. JACK : Not like this. I'm closing this place down. COPLEY : In your dreams. This is a state of the art, official facility. JACK : Oh, I'm not going to do it by sending a memo. We're in control of your IT systems. As we speak, we're crashing your data banks, wiping your records. COPLEY : That's cyber terrorism ! JACK : And that's just for starters. We're going to trip the systems of your f*re, radiation and biohazard safety networks. The power will cut, sprinklers will be activated, and a large part of this facility will be sealed and flooded with inert gases. COPLEY : The aliens will die. JACK : They're already dying. This way they'll be put out of their misery. COPLEY : For God's sake, we're on the same side ! JACK : No. Combating hostile aliens is one thing, but this is sl*very, exploitation, a w*r crime ! Martha starts twitching, seizure time. OWEN : Jack, I need your help ! Jack runs over to her and tries to hold her down. Wasn’t she already strapped down ? Copley legs it while he’s busy. Owen ? He’s been fiddling with the Scalpel, getting the settings right… probably. JACK : What the hell are you doing to her ?! OWEN : This is the only way we'll save Martha. I think I understand how it works. JACK : You'd better be sure because it's never worked before. Owen, are you sure it's safe ? OWEN : Ok, Jack ! JACK : Owen, tell me you're sure ! You could k*ll her with that thing ! We're losing her ! Extreme close up of Owen eyes. He’s really not sure and then the screen with the wiggly bug on it. Swooshy sound of scalpel working and… MARTHA : Ah ! Martha sits up screaming… then falls back. Flatline bleep. JACK : What have you done ? Bleeeeep… and then she starts coughing. Owen’s panting so loud you can hear he only just restarted breathing too. OWEN : Oh, bloody hell, it worked. Thank God for that. JACK : Let's get her out of here. Jack picks up Martha, who kind of walks. Owen grabs his bag and puts his coat around her. EXT NIGHT - The Pharm, everyone exiting the building. Many people, indistinct voices. Maybe ‘Come on you lot, this is not a drill, come on’. Tosh walks and plays on her laptop. OWEN : I am prescribing rest and recuperation for you, madam, and a few days in bed, preferably under my supervision. MARTHA : Owen, I don't know how to break this to you : I've got a boyfriend. OWEN : Yeah, but has he saved your life like I did ? MARTHA : Um, yes, actually. OWEN : Oh. GWEN : Arms up on there. Tester at g*n point, leans on the car. JACK : Do it. Tosh hits a key, and the laptop says SHUT DOWN. Screaming and alarm starts. ANNOUNCE : 'Facility shut down in progress. All personnel must evacuate immediately. Facility shut down in progress. All personnel must evacuate immediately.' JACK : Ok, let's go ! COPLEY : Did you really think I was going to let you just walk away ? You've ruined everything I've worked for. Copley has a g*n. Owen turns, puts himself between Martha and the thr*at. Spreads his arms out, hands up. OWEN : Now, let's not be stupid. Ok ? We're both rational men, scientists. I know you don't want to sh**t that. Hell ! Owen very wrong. Copley sh*t him. Ianto jumps, reacts with shock. Owen falls, hits the ground, chest bleeding. Tosh shocked too. Jack pulls his g*n. COPLEY : You're next ! He’s talking to Martha, aiming at her… er, in classic bad guy fashion he doesn’t just pull the trigger and k*lling spree the whole team. Jack pov sh*t shows us Martha and her big hair are in his line of f*re. Tricky sh*t, worse than the Blowfish, but Jack pulls it off, and Copley goes down with a hole in his forehead. For all the good that’ll do. They rush to Owen’s side. MARTHA : Owen ! Can you hear me, Owen ?! TOSH : You've got to help him ! JACK : Owen, stay with me. Owen. Owen, look at me, look at me. Owen, look right at me. Stay with me, Owen, stay with me. Stay with me, buddy. Come on. Come on. MARTHA : Owen, speak to me ! He’s gasping for breath, big rattly noisy breath, he blinks, and then… he neither blinks nor breathes. He looked so scared and now he just looks empty. MARTHA : He's d*ad. JACK : (whispers) Owen... Team Torchwood reactions of shock and woe. Big crane sh*t from above. Owen lying there all blood soaked and broken. End.

{"type": "series", "show": "Torchwood", "episode": "2x06 - Reset"}

foreverdreaming

INTRODUCTION JACK HARKNESS : (v.o.) Torchwood. Outside the Government, beyond the police. Fighting for the future on behalf of the human race. The 21st century is when everything changes... and Torchwood is ready. INT. THE HUB – AUTOPSY AREA – NIGHT Martha pulls back the sheet covering Owen on the autopsy table. He's naked and cleaned up, ready to be autopsied. Martha adjusts the mike hanging from above. MARTHA : The time is 21.30. This is Doctor Martha Jones. Gwen, Toshiko and Ianto are up on the deck in the background. MARTHA: Autopsy on Owen Harper, Caucasian, age 27. Torchwood Officer 565. Time of death witnessed at approximately 20.30. Autopsy begins. Martha puts her mask on. She picks up the biggest Kn*fe she can find on the instrument tray and prepares to make the first cut. Ianto closes his eyes. Martha brings the Kn*fe down, the curtains in the back open. Jack steps into view. JACK : Stop ! Nobody touches him till I get back, is that clear ? Jack runs out. Everyone is surprised. Martha is left holding the Kn*fe. EXT. STREET – NIGHT The Torchwood SUV screeches to a stop in front of a large iron gate. Jack rushes out of the vehicle. INT. STAIRS – NIGHT Jack hurries down the stairs. He pounds his fist on the door. INT. BAR – NIGHT Jack hurries through the hazy room. He's bumps into a man as he moves through the room looking for someone. A large burly bodyguard dressed in back stops him in his tracks with a hand on his chest. SECURITY GUARD : Whoa. Jack stops in frustration. The little girl sitting in the booth turns around and sees Jack. LITTLE GIRL : It's all right. CLOSE-UP of a tarot card with a knight with a sword on it. The Knight looks suspiciously like Jack. LITTLE GIRL : I've been looking forward to seeing the Captain again. She shows Jack the card. Jack doesn't smile at all. CUT TO : The little girl looks at a card off the tarot deck as she talks with Jack. She puts the card back down on the top of the deck. JACK : Can you see where it is ? LITTLE GIRL : You'll owe me a favor. Jack leans forward. JACK : Well ? The little girl flips over the card on the table and shows it to him. JACK : They hid it in a church ? LITTLE GIRL : No. (She puts the card down). When the people found out what it could do, they built the church on top of it. Jack gets up and heads for the door. LITTLE GIRL : If I told you not to use it, would you listen ? Jack stops and looks back at her. JACK : Shouldn't you know the answer to that ? Jack heads out. The tarot card of Death breaks into frame as she holds it. LITTLE GIRL : I do. That's the problem. EXT. ST. MARY'S CHURCH – NIGHT View of the sign to the top of the church, a tall imposing sight. The church is dark and quiet. Jack steps into frame. He viciously kicks the sign down. It falls onto the grass. INT. ST. MARY'S CHURCH – NIGHT The door opens. The light from Jack's flashlight shines brightly in the dark church. He walks into view and makes his way slowly through the church. The place is a mess. Pews are overturned and a large heavy bell is tipped over on the floor. Something growls. Jack immediately covers his flashlight completely with his hand as he listens. Once his eyes adjust, he sees it. There in front of him, the sanctuary floor is covered with weevils. Dozens. More weevils than can count and they're sleeping. Jack closes his eyes. This isn't going to be easy, but he's determined and he slowly makes his way through the sleeping weevils. He keeps a tight hold on the light of his flashlight, using it only to get a good look at his bearings and where he needs to go. He carefully places his feet on open areas between the tightly packed bodies on the floor. It's a slow process that could be disaster for him if he doesn't do it properly. He puts his foot down to take a step. The sleeping weevil tucks its arm around his foot and holds on. Jack freezes. He carefully pulls his foot out of the sleeping weevil's grip. The weevil continues to sleep. After a pause, Jack breathes, turns and sees the wooden chest at the front of the church. CUT TO : He's there. He looks back to make sure the weevils are still sleeping, then he opens the chest.Inside are plastic doll parts. Jack takes a step back and puts his foot in some metal cans behind him. He makes a loud clatter. The weevils continue to snore. Jack digs through the dolls inside the chest. Whatever he's looking for isn't there. He looks up at the wall of junk, discarded toys and pieces of wood. Sunlight from outside filters through the holes in the junk. He looks behind the wall of junk and finds a box tucked in the back. He turns off his flashlight and reaches for it. He can't grab it. Jack climbs up and misses his footing. His leg hits the piano keyboard sending a sound loud enough to wake the weevils from their sleep. The weevils get up snarling and growling. Jack spares no time. He grabs the box. CUT TO : INT. THE HUB – WORKSTATIONS Ianto sits on the couch. Martha sits next to him. She's out of her scrubs and in regular clothes. Everyone is quiet as they wait for Jack to return. The alarm sounds and the cog door rolls open. Jack hurries into the hub carrying the box. He hurries past them toward his office. GWEN : Jack .. ? INT. THE HUB – JACK'S OFFICE Jack puts the box down on his desk and opens the box. Gwen and the others walk in. GWEN : Jack, what have you got ? Jack reaches into the box and takes out the glove. Similar in looks to the resurrection glove from episode 1X01, only this one is for the left hand. TOSHIKO : Oh, my God. GWEN : You can't use it. Not after Suzie. JACK : I'm using the glove. I'm bringing Owen back. Opening title INT. THE HUB – AUTOPSY AREA Jack hurries into the autopsy area with the glove. Gwen and the others follow him. GWEN : Are you really going to use that after what happened last time ? Jack, the gloves are dangerous. At best it'll give us two minutes. At worst... who knows what will happen ? JACK : It's not up for discussion. GWEN : I thought the glove didn't work for you. The monitor beeps off screen, probably as they hook it up to Owen. The constant drone of it flatlining is heard. JACK : Different glove, different circumstances. This time, it has to work for me. I'm not going to give it any choice. Okay, if you've got anything you need to say to Owen, now is your chance. Jack puts the glove on his left hand. Everyone is quiet. Jack cradles Owen's head in his gloved hand. He closes his eyes and looks up as he concentrates, trying to make that connection. Electricity crackles. JACK : Owen ... it's Jack. Can you hear me ? Jack opens his eyes and looks up. JACK : Owen ! Hear my voice ! Get a hold of it, let it draw you out, pull you out. Ianto watches the monitor. IANTO : I'm not getting any vital signs. JACK : Owen, it's me, Jack. (To everyone) He's coming, he's coming ! Loud electrical pulses sound. Suddenly, Owen's eyes open. He screams, loud and long. OWEN : Aahh ! MARTHA : Oh, my God ! OWEN : What happened ? Where am I ? Oh, God I'm sh*t, he sh*t me ! JACK : Owen, listen to me, we don't have long. OWEN : Where am I ? This isn't the hospital, this is the autopsy room. (Jack puts the back of his hand against Owen's cheek,mumbles). What am I doing here ? (Owen turns and sees the glove). Jack, oh, no ! What's that ? What's that ? JACK : The resurrection glove. We lost you, but I brought you back. OWEN : How long have I got ? IANTO : We're at thirty seconds and counting. OWEN : Oh, no. Jesus. Really ? JACK : Okay, team, say your goodbyes. Owen mumbles something. Jack looks at Gwen. JACK : Gwen. Gwen doesn't say anything. Ianto keeps time on the stopwatch. OWEN : Gwen, no offense, but I've only got two minutes to live ! JACK : Tosh ! Toshiko appears next to the table. TOSHIKO : I'm gonna miss you. (Leans in closer, quieter). And I love you. I always have. JACK : Owen, I need the code for the alien morgue. You're the only one who knows it. OWEN : You brought me back for that ? For that ?! JACK : Sorry ! OWEN : Oh, Jack, it's 231165. Ianto repeats the number to himself to remember it. OWEN : Okay ? JACK : Sorry, and to help you prepare. I know what death is. I want you to be ready. Jack clutches onto Owen's hand. OWEN : There's nothing. Just ... just darkness. IANTO : Two minutes. OWEN : Jack, Jack... JACK : Be brave ! Owen prepares himself. JACK : Owen ! The monitor beeps. JACK : Owen ! Jack releases his hold on Owen's head. The heart monitor flatlines. TOP VIEW DOWN : Owen on the table, his eyes closed and the heart monitor flatlining the only sound in the room. Jack is still clutching his hand. Everyone is quiet, grieving. Toshiko is crying. OWEN : (o.s.) I'm really gonna need that hand back. Jack's eyes widen. He looks at Owen to find Owen looking back at him. JACK : Owen ? Now everyone is freaked. IANTO : Two minutes, twenty. Jack stands up and backs away from Owen. The glove is still on his hand. JACK : Look, I'm not using the glove. OWEN : But I'm still here. IANTO : Oh, here we go again. Jack shudders, removes the glove and tosses it on the level near Gwen's feet. Gwen backs away from the glove. Owen sits up, panting. Everyone stares at him. OWEN : Maybe I cheated it somehow. Maybe... I wasn't meant to die so I'm being kept alive. Ah, somebody pass me my pants, please. Whoa ! Owen looks down and sees the b*llet wound in his chest. OWEN : Uhh... In the background, Jack and Ianto tend to Owen. JACK : It's okay. I hate to say it, but... you'll get used to it. CLOSE ON : The resurrection glove. Unnoticed by anyone, the fingers move. ABRUPT CUT TO : INT. THE HUB – WORKSTATIONS – CONTINUOUS Dressed now, Owen tries to listen to his own heart with a stethoscope. Jack and the others follow. OWEN : My God. No heartbeat. There's no pulse. MARTHA : Owen, you can't lead the investigation. OWEN : Why not ? MARTHA : Because you're the subject of it, and because... you're d*ad. OWEN : Are you sure about that ? MARTHA : Yes, I'm sure. Owen points to the computer monitor. Gwen, who sits in the chair, backs away from him. OWEN : Well, I'm okay. Look, there's electrical activity in my brain. MARTHA : That shouldn't be possible. OWEN : Well, I'm still here and actually, I feel amazing ! MARTHA : So, where's the power coming from ? GWEN : Suzie survived because she was draining energy from me. Owen could be doing the same to Jack. They look at Jack. JACK : I feel fine. CUT TO : Toshiko runs a hand-held monitor along Jack's arm as she scans him. Owen dabs at the remaining blood on his face and buttons up. TOSHIKO : The Philemon filter detects biochemical energy. (Martha nods). It's how we knew Suzie was draining Gwen. MARTHA : And ? TOSHIKO : Nothing. There's no connection between them. It's not... Jack. JACK : I told you. I feel fine. OWEN : So what's keeping me ticking ? The energy in my brain must be coming from somewhere. Ianto arrives carrying the glove which appears to be holding his hand. Gwen reacts as he passes by her. IANTO : This glove is different to the other one. Maybe different gloves do different things ? MARTHA : How many are there ? IANTO : Two. Well, they do tend to come in pairs. Martha rolls her eyes. IANTO : We fished the first one out of the harbor last year. MARTHA : But where does it come from, originally ? JACK : Good question. No idea. Gwen gets up from her seat and slips away. Owen looks at his own hand. JACK : Tosh, do an analysis of the glove, see you if you can find out. Ianto hands the glove to Toshiko. JACK : Owen, I don't need to tell you that you're under quarantine. OWEN : You don't, and yet, you still do. CUT TO : INT. THE HUB – SECOND FLOOR CATWALK – CONTINUOUS Gwen is sitting on the catwalk grating. She's on her phone as the line on the other end rings. INTERCUT WITH : INT. GWEN'S PLACE – NIGHT The phone rings. Rhys was sleeping. He gets up and answers it. RHYS : Hey. GWEN (quietly) : Oh, I woke you up, I'm sorry. RHYS : No, no, you didn't. So, uh, what's happened ? You coming home soon ? You know, tonight, next week ? In time for our wedding ? Gwen is quiet. RHYS : I was only teasing. GWEN (crying) : No, it's not that, it's not that. RHYS : What's happened ? What's wrong ? (He realizes she's crying, concerned). Are you all right ? Gwen ? GWEN (softly) : A tough day, a tough day. CUT TO : INT. THE HUB – AUTOPSY AREA Owen is sitting on the autopsy table. He looks at his right hand. Martha walks in looking very serious. Owen gets up. OWEN : You're kind of cute when you frown. MARTHA : The energy from the glove is spreading out through your body, changing its composition. If you keep this on, we should be able to monitor changes as they happen. She secures a monitor to his wrist. OWEN : You've stopped flirting with me. I mean, it's all right. I wouldn't flirt with me in my condition either, but... uh, is it still necrophilia if I'm conscious ? MARTHA : What was it like ? To die ? OWEN : I don't think I should say. MARTHA : Why not ? OWEN : I'm not sure the living should know... "the living..." It might change the way you live your life. MARTHA : You tell me right now, Owen. Owen walks over to the light and lifts the x-ray film up to look at it. OWEN : It's hard to describe, there aren't the words for it. It's like, er... Martha sits down and listens intently to him. MARTHA : What ? OWEN : There was a light. Tiny speck of light. And I was rushing towards it, like down a corridor. Then it glowed brighter and brighter... then suddenly there were these gates... these big pearly gates... (Martha rolls her eyes and gets up). ...and there was this old geezer and he said you've been a very naughty boy. Owen chuckles. MARTHA : Idiot ! Martha picks up the clipboard and writes on it. OWEN : There was nothing, well, not that I can remember. Suzie said it was different. MARTHA : What did she see ? OWEN : She said there was something beyond life, something in the darkness, something moving. Owen suddenly wobbles and loses his balances. He hits the tray behind him. Martha rushes over to help him. And suddenly, he falls. DARKNESS. Owen's eyes are open, but he can't see anything. He blinks. Something growls in the darkness. Owen turns this way and that, suddenly very afraid. Something is there in the darkness with him... whispering. OWEN (shouts) : Martha ! Owen turns completely around. He's alone and not alone. He gasps, afraid. OWEN (shouts) : Mar... Martha-a-a ! Owen falls on his side, his body twitching as he bats away at nothing that is attacking him. OWEN (shouts) : Ah ! Martha ! (Screams). Aahh ! JUMP CUT back to reality. Martha is helping Owen back to his feet. Owen grabs onto the metal autopsy table, clutching onto it for dear life. MARTHA (screams) : Ahh ! Jack ! Help ! I need help ! Now ! Jack rushes in. OWEN (yells) : Don't let me die ! JACK : What's happening ? He grabs Owen. Owen struggles against Jack's hold, as if still fighting the thing in the darkness. MARTHA : He just collapsed. Owen ! Owen, can you hear me ? Calm down. Owen stops struggling and just clutches onto Jack's arm. JACK : What happened ? What happened ? OWEN : I was in the darkness. There was something, something... JACK : What ? MARTHA : What did you see ? OWEN (shudders) : I don't know. It was waiting for me. Owen cries. Jack rubs his back. JACK (softly) : This way. LATER : INT. THE HUB – CONFERENCE ROOM The team meets. MARTHA : Owen's body's undergoing some kind of transformation. His cells aren't decaying, they're changing. JACK : Into what ? MARTHA : An energy I can't identify. But it's growing, all the time. He's about 40% something else. REFOCUS on the monitor with Owen's body scan on it and the bright light that's consuming the image. OWEN : I don't feel any different. JACK : We need to find out where this energy's coming from. TOSHIKO : Presumably it's the same place as the glove, which, judging from its atomic makeup, isn't anywhere local. GWEN : Owen said he went somewhere when he collapsed. Could the energy and the glove come from the same dark place ? JACK : What are we talking about ? Another dimension ? Parallel universe ? OWEN (raises his hand) : Yes, guys, I'm still here. JACK : Sorry. (To Owen) Okay, you said there was something in the darkness, waiting for you. OWEN : Yeah. I felt it; I didn't see it. JACK : Where do you think you went ? OWEN (shakes his head) : Don't know. Everyone is quiet. CUT TO : INT. THE HUB The meeting over, everyone heads back to the workstations. Gwen and Martha walk out. Owen walks out. Toshiko behind him. Jack and Ianto head back to the workstations. MARTHA : So, what now ? JACK : (o.s.) Ianto, check our internal system readings for any dimensional anomalies in the last hour. IANTO : Will do. Toshiko follows Owen. TOSHIKO : Owen ! What I said before, when I thought you were dying... OWEN : I'm not dying. I'm d*ad. I'm a headless chicken. I just haven't stopped running about yet. He turns away. She rushes to stop him. TOSHIKO : Well, when I told you I... OWEN : Yeah, you didn't mean it. I know. He nods and turns away. TOSHIKO : You do ? OWEN : Yes, uh... I mean, you didn't say anything before, and then, suddenly I'm dying, and it's like, "I love you." That's not love, Tosh. That's grief. You're losing something, so suddenly you desperately desire it, textbook response. Owen turns and starts climbing up the spiral steps. TOSHIKO : Yeah, but Owen I... don't go ! OWEN : I'm just going to the toilet, all right. (Mutters). For crying out loud ! He continues up out of view. INT. THE HUB – LAB – CONTINUOUS Alone, Owen braces his hands against the table and stops to think. VOICE (distorted, o.s.) : Melenkurion... Owen looks up. He turns around and... DARKNESS. He looks around as he hears whispering. A louder, clearer voice comes through. VOICE (distorted, o.s.) : Abatha... Owen looks around. VOICE (distorted, o.s.) : Duroc... He sees nothing. VOICE (distorted, o.s.) : Minas... Owen looks around. VOICE (distorted, o.s.) : Mill Khabaal. JUMP CUT back to reality Owen gasps for breath. He's back in the lab. He stands there for a moment. When he turns around, his eyes are black pools of oily darkness. OWEN (distorted) : Melenkurion abatha... duroc minas mill khabaal ! Owen steps up to the nearest glass to look at his reflection. His eyes are normal again. Owen blinks and hurries out. CUT TO : INT. THE HUB – AUTOPSY AREA Martha is writing on the clipboard when the hand-held monitor beeps rapidly. She puts the clipboard down and checks the monitor. Whatever she sees has her concerned. She hurries out. INT. THE HUB – JACK'S OFFICE – CONTINUOUS Jack is working at his desk when Martha rushes in with the monitor. MARTHA : Have you seen Owen ? JACK : He was with Toshiko. MARTHA : The energy in him just went off the scale. Jack jumps out of his seat. INT. THE HUB – WORKSTATIONS – CONTINUOUS JACK (shouts) : Owen ! Jack and Martha run out of the office into the workstation area. Gwen is at her computer workstation. JACK (shouts) : Owen ? TOSHIKO : He said he needed the loo. MARTHA : Owen's digestive system has shut down. He can't eat or drink... so he certainly doesn't need to pee. Ianto holds out Jack's coat for him as he puts it on. JACK : He's not answering. GWEN (checking the computer) : Well, he's not in the hub. MARTHA : So he's out there ? JACK : It's Owen, it's not like he's dangerous. The hand-held monitor beeps. MARTHA : You sure about that ? JACK : Meaning ? Jack hurries toward the cog door. MARTHA : You had the power to bring people back to life and you never told UNIT. Why ? Jack turns around. JACK : They would've wanted to use it. MARTHA : I'm on your side, Jack, but Owen's just had a surge of energy that we can't begin to understand. The cells in his body are being transformed into something else. He's about 50% human. And that 50% is d*ad. We need to stop thinking about him as Owen. JACK : I'll find him. Jack leaves. CUT TO : EXT. STREET – NIGHT Owen is out walking the streets. INT. NIGHT CLUB – NIGHT VARIOUS CUTS of Owen drinking glass after glass of alcohol. CLOSE ON : THE MONITOR over the bar with an anime grim reaper on it. Owen sits at the bar finishing off another glass of alcohol. A Hen night girl wearing a halo and angel's wings walks up to the bar. HEN NIGHT GIRL : Smile, it won't k*ll you. Owen rolls his eyes and rests his chin on his hand and elbow on the bar counter. He ignores her. The Hen Night Girl leans in close to Owen's ear. HEN NIGHT GIRL : You're gorgeous, you are. She looks away from him. Owen grabs her and kisses her. She slips her hand down the front of Owen's pants. HEN NIGHT GIRL : Don't you like me ? Owen pushes her away. OWEN : Get off me.(He turns back to the bar). No blood. Brilliant. Owen turns and pushes his way through the crowd of people on the floor in his effort to get out of the club. VOICE 1 : What ? VOICE 2: What have I... VOICE 3: Oi ! Jack steps up to him, stopping him in his tracks. OWEN : How did you find me ? Jack grabs Owen's right hand and lifts it up, showing Owen the wrist band monitor. Owen pushes Jack. Jack doesn't say anything. Owen pushes him back again. OWEN : Do you know what you've done ?! You don't care about me. You brought me back for an alarm code ! Owen turns away. Jack grabs Owen by his jacket and pulls him back. JACK : That is not why I brought you back. OWEN : Have you any idea what it means to know that your life is over ?! (Shouts).That THAT was it ?! That is Owen Harper's contribution to the world ! You idiot ! Owen takes a swing at Jack... and misses when Jack steps aside. Jack grabs Owen and slams him against the nearby bar, breaking the glass on the counter top. He holds Owen's arms behind his back. JACK : Watch it ! Two bouncers grab Jack and Owen from behind. OWEN (shouts) : Get off me ! Get off me, Jack ! Get off me ! The two bouncers pry them apart and move them toward the door to toss them out. JACK : (shouts) : Be careful with him ! EXT. STREET OUTSIDE DISCO CLUB – NIGHT – CONTINUOUS The bouncers throw Owen and Jack out of the night club. OWEN : Get off me you meat head, get off ! Owen turns to go back, but Jack stops him. The police officer gets out of the car with flashing lights just outside the club. JACK : Look, that's enough ! OWEN : Let go of me ! POLICE OFFICER : Calm down, Zoe. OWEN : Look, mate. I'm Torchwood. POLICE OFFICER : Yeah, of course you are, and I'm MI5. Owen pushes the officer. The officer grabs Owen and twists his arm behind his back. He slams him up against the brick wall. OWEN : Agh ! Ahh ! More officers arrive. OWEN : I'm Owen Harper. I work for Torchwood on special ops. JACK : Special ops ? What's he on about ? Special needs more like it ! Chuckles. One officer takes Jack to his car while the other struggles with Owen. POLICE OFFICER : Come on. Come on, that's enough ! He pushes Owen face down against the car hood. CUT TO : The officer car drives away, lights flashing and sirens wailing. A couple of weevils step into CAMERA FRAME and watch the officer car leave. The Weevil in the foreground, lifts its head and roars. CUT TO : INT. JAIL – HOLDING CELL – NIGHT Jack and Owen are in the cell together. Owen slams his hands against the door and looks out the small window. OWEN (shouts) : You call that number, you speak to Police Constable Gwen Cooper ! I want to make a complaint ! He kicks the door. Jack sits on his seat in the cell and watches him. JACK : Enough ! (Owen leans his back against the door). You're d*ad ! (Owen heads for his own seat). You break your ankle, what are the chances it'll knit back together ? You want to add a wheelchair to your prob... (Owen sits down opposite Jack. His stomach gurgles) Problems ? Owen looks down at his tummy and twists his hips. His stomach sloshes. Jack looks at him. Owen looks at Jack. CUT TO : OWEN'S POV Upside-down Jack watches him from his seat. OWEN : I forgot... my digestive system's shut down. Owen is standing on his head. OWEN : That alcohol I drank is, uh, just going to sit in my stomach, it won't go anywhere. JACK : Couldn't you just stick your fingers down your throat ? OWEN : I'm d*ad. It's just another one of those things. The gag reflex... I lost it in the process. Owen starts moving. OWEN : Hang on, hang on. If I can just... line up my esophagus, I... Owen's stomach sloshes... and gurgles... and the liquid sh**t out of his open mouth. Jack immediately pulls his legs up onto his seat. JACK : Oh ! Oh, that is the single most disgusting thing I have ever seen ! And I know disgusting. Owen stops throwing up. He brings his legs down to stand up. OWEN : Ah ! (He straightens and farts).Sorry, Jack, uh... I forgot, that goes on for a while after death. Owen farts again. JACK : For God's sake, let me out ! Owen looks out the cell window. OWEN (wistfully) : But eventually that will stop too. I will fart my last fart. God, I'm going to miss farting, and... sex. JACK : Sex more than farting, I hope. OWEN : Oh, you take these things for granted. It's only when they're slipping away that you realize how amazing they are. (He looks down at the cell floor.) This could be the last time I see those flecks or you know, feel these bricks underneath my hands. Owen rubs his hands on the brick wall. JACK : "Only in suffering do we recognize beauty". OWEN : Yeah, yeah, yeah, yeah, yeah... Who said that ? JACK : Proust. OWEN : You've read Proust ?! JACK : Yeah ! Owen sits down on the cell bed. JACK : Well, no. We dated for a while. He was really immature. Owen dabs his wrist against his chin. OWEN : You know, none of us know whether to take you seriously when you say those things. They chuckle. JACK : When you've lived as long as I have, you don't make any more up. OWEN : You've got forever. I could have seconds. Hardly seems fair. JACK : It isn't. But then, forever's overrated. OWEN : Not from where I'm sitting. Jack stands up. JACK : If you've got forever, you don't notice the flecks on the concrete... He sits down next to Owen. JACK :... or bother to touch the bricks. And you send your friends into danger, knowing the stakes aren't the same for you, that you might get them k*lled while you walk away unscathed. OWEN : Then why did you bring me back ? Guilt ? JACK : No, that's not why. OWEN : They why did you, really ? Jack puts his hand on Owen's shoulder. JACK : Because I wasn't ready to give up on you. I guess I was hoping for a miracle. (He ruffles Owen's hair). And I still am. He pushes Owen's head away. Owen smiles. Jack chuckles. JACK : Let's go home. Jack stands up and goes to the window in the cell door. He raps firmly on the door. JACK (loud voice) : Torchwood ! Authorization Harkness ! Jack ! 4-7-4-3-1-7 ! CUT TO : INT. THE HUB – WORKSTATIONS – NIGHT Toshiko is working at the computer. Gwen walks up to her. GWEN : Jack called in, he's found Owen. (Gwen sits down). They're okay, they're coming back. TOSHIKO : Is he himself ? GWEN : What do you mean, "himself ?" TOSHIKO : I wanted to know why Owen left. Actually, more if he talked to anyone about what I said, so I checked the CCTV. GWEN (amused) : That's a bit like stalking, Tosh. TOSHIKO : I know ! Only now I wish I hadn't. Look. Toshiko turns the monitor to show Owen up in the lab. He turns around to face the camera monitor. His eyes are black pools of darkness. Gwen stands up. Martha watches as well. OWEN (from monitor) : Melenkurion abatha... duroc minas mill khabaal ! GWEN : Oh, my God. MARTHA : What is that ? Toshiko shakes her head. CUT TO : EXT. STREET – NIGHT Owen and Jack are walking down the street. A weevil suddenly appears between two parked cars and growls. They stop walking. The weevil turns and looks at them. More growling fills the air. They turn and see more weevils approaching from the other side. JACK : There's too many of them. They're after me. I stole the glove from them. Jack motions for Owen. JACK : Go ! Go ! Owen takes off running. Jack stays a moment. He smiles at them, his arms spread out wide in a taunt. Jack backs away, then runs in the same direction after Owen. Owen and Jack run in a small alleyway. A weevil steps out in front of them, halting them in their tracks. OWEN : Whoa ! Jack turns and continues running. Owen looks at the weevil in front of them. OWEN : They must be really pissed off with you. Jack reaches out, grabs Owen's arm and pulls him along. EXT. GARAGE – NIGHT Jack and Owen run along a parking garage. A weevil steps out in front of them and growls. Jack and Owen stop running. The weevil turns to follow them. Jack turns and runs up the stairs. EXT. GARAGE – NEXT LEVEL – NIGHT Jack runs out of the stairwell. JACK : Owen ! He glances behind him. Owen runs out of the stairwell behind him. They run across the empty parking garage. Jack and Owen stop. They look around. Jack pats Owen on the chest. JACK : Stay here. Jack walks out to the side, looking around as he goes. Owen stands still and his eyes narrow as if sensing their presence around him. He turns around to look at the parking exit. Jack continues walking across the parking garage. Owen stands still, watching. Jack reaches the end of the garage. He turns and looks up the drive. He looks around, then starts back. He takes a couple of steps and passes a column. Behind him on the other end of the garage, we see a weevil standing there, watching him. Jack turns and sees the weevil. The weevil growls. Jack starts walking back toward Owen. The weevil moves parallel to him. Jack passes another column. On the other side of the column are four more weevils. Jack runs. JACK : Owen ! The weevils run after him. EXT. PARKING GARAGE – ROOF – NIGHT Jack and Owen are running up the ramp to the roof level of the parking garage. Just one floor below are the weevils, also running in the same direction. Two floors below are more weevils running in the same direction. EXT. PARKING GARAGE – ROOF (5TH LEVEL) – NIGHT Jack and Owen are running across the parking garage rooftop. Owen glances behind him. The weevils are running after them. Jack and Owen reach the end of the rooftop. They both look down at the drop below. Jack turns and pulls out his g*n. JACK (cocks his g*n) : Owen, get behind me. OWEN : All right. Owen stands beside Jack. OWEN : Come on. Two dozen weevils fill the parking garage roof. The weevil stop. They growl, but they don't advance. Suddenly, the weevils kneel submissively before them, their heads bowed. Jack has no clue what's happening. JACK : Owen, what the hell is going on ? Reveal Owen's eyes are black pools of darkness. OWEN (distorted) : Melkurian abatha ! Duroc minas mill khabaal ! Owen turns and looks at Jack. CUT TO : INT. THE HUB – JACK'S OFFICE – NIGHT Ianto opens the secured unit. TOSHIKO : I need to know what Owen was saying. MARTHA : We all do. He takes out the translator and gives it to Toshiko. She shows it to them. TOSHIKO : This has never let us down before. INT. THE HUB Toshiko attaches the translator to her computer monitor. It beeps and flashes. TOSHIKO : We should be able to play the translation through the computer's speakers. The hand-held translator beeps wildly. TOSHIKO : It's never done that before. They look at the writing on the computer. OWEN (from monitor, translated) : I shall walk the earth and my hunger will know no bounds. The computer shows the words "hunger" and "Earth". GWEN : I've got a really bad feeling about this. The hub alarms sound and the cog door closes. JACK (o.s.) : You don't know the half of it. They turn and find Jack and Owen back in the hub. CUT TO : INT. THE HUB – CONTAINMENT CELLS – NIGHT Owen stands in front of the weevil's cell window. Inside, the weevil growls low as it inches itself toward Owen and the window. It looks at Owen, its nose twitching. In the window's reflection, we see Martha watching. Owen sticks his fingers through the airholes. The weevil gets close enough to smell his fingers. It immediately backs away from him. It lows in its throat. Jack and Martha look at each other. Even Owen appears stunned by the weevil's reaction. OWEN : So I'm King of the Weevils. The weevil huddles in the far corner, kneeling with its head bend. OWEN : Maybe even Weevil Messiah, but whichever way you look at it, it ain't good. Gwen stands on the side with a folder. She steps toward them. GWEN : No, it isn't, and I think it's happened before. She gives Jack the photos of very old wood carvings. JACK : Where did you get this ? GWEN : I found it in an article about black death and what you're looking at are the first images of the Grim Reaper. "I shall walk the Earth and my hunger will no know bounds." In legend, the person who said those words was Death himself. Owen continues to stare at the weevil in the cell. The weevil gives a low howls. MARTHA : But there's no such thing. OWEN : Yeah, I'm d*ad. I'm not Death. There is a difference. GWEN : Does he know that ? CUT TO : INT. THE HUB – CONFERENCE ROOM – NIGHT Gwen puts the wood carving photos down on the conference table. GWEN : Right, that wood-carving dates back to the 15th century, to a small parish called St.James. When they heard about the plague, they built a wall around the town. Unfortunately, that didn't prevent a little girl from dying. So the legend goes, the priest performs a miracle, brings her back to life, but she doesn't come back alone, she brought Death with her, and he walked amongst them. TOSHIKO (to Jack) : Are we seriously gonna act on something she's googled ? JACK : What was the name of the priest's church ? Gwen looks it up. GWEN : Yep, St Mary's. JACK : That's where I found the glove, which makes the parish of St. James... GWEN :... the town that five hundred years later would turn into a city called Cardiff. OWEN : What happened to the town when Death walked amongst them ? GWEN : People died. Twelve people. Death needed thirteen souls before it had a permanent hold on the Earth. JACK : How did they stop it at twelve ? GWEN : It just says Faith. MARTHA : Owen is changing. Who knows what that energy is ? What if it's making him a host, a gateway ? OWEN : I've been thinking there's something in the darkness, waiting for me to finally pass over, but I've got it wrong, okay, it's the other way around. It's trying to get here through me. Owen's wristband beeps rapidly. He holds his hand up. OWEN : What's this reading now ? Martha checks. MARTHA : Um... 80%. OWEN : What happens when it completes ? You know, we fight monsters... what happens when we turn out to be the monsters, when I do ? JACK : Even if we have to fight you, you're already d*ad. OWEN : What do we do with the d*ad ? Jack doesn't want to answer him. OWEN (shouts) : Come on, what do we do ? (b*at). You embalm them. If we inject a formaldehyde solution into my veins, it'll petrify my neural pathways and freeze dry my brain. It's the only way to be sure. CUT TO : INT. THE HUB – AUTOPSY AREA – NIGHT Owen's body scan readings are up on the wall as Martha and Jack work on the solution. It's still at 80%. They both fill syringes with the blue solution. Toshiko appears a level above them. They hook up the syringes into hypodermics. INT. THE HUB – CONFERENCE ROOM – NIGHT Owen and Gwen are in the conference room. Owen is dressed in white scrubs while Gwen puts his clothes and things in a box. They're both very quiet. GWEN : Are you sure about this ? Gwen closes the box. OWEN : The formaldehyde might irritate, but the ethanol should prevent me feeling its effect. It's a raging carcinogen, but I, uh, don't think I need to worry about that. GWEN : You know what I mean. OWEN : Yeah. I can't sleep, I can't drink and I can't shag, and they are three of my favorite things. Suddenly, Gwen rushes over and hugs Owen fiercely. GWEN : Owen ! OWEN : I'm not the same, Gwen. I came back different, hollow... like I'm missing something. And I do not want to be like this, okay ? Gwen cries. Owen has no tears to shed. OWEN : I'm ready. Gwen lets Owen go and steps back. They look at each other. Gwen gives a small nod. Owen turns and heads out. INT. THE HUB – BACK CORRIDOR – CONTINUOUS The back door opens and Owen steps out of the conference room. Gwen follows him. The door closes behind them as they make their way to the others. INT. THE HUB – CONTINUOUS Owen steps out into the main room. He looks around. He crosses the main hub toward the workstations. Ianto is waiting there. They head for the workstations. INT. THE HUB – AUTOPSY AREA – CONTINUOUS Jack and Martha are setting up the straps in the chair as Toshiko watches. The monitor beeps rapidly. Martha turns and checks it. MARTHA : Owen's at 95%. OWEN : Then let's not waste any more time. No goodbyes. Everyone is quiet. TIME CUT TO : Owen settles back in the chair. Jack straps him in. JACK : Are you ready for the first injection ? Owen nods. Martha turns to get the first hypodermic. The resurrection glove is on the tray covering the needles. It moves, startling her. MARTHA : Agh ! The glove keeps the needles under it. JACK : Someone really doesn't like needles. Suddenly, the glove flies off the tray right toward Martha. She screams and grabs it as she falls backward onto the floor. JACK : Lockdown ! Martha screams as she holds the glove inches from her face, struggling to keep it off her. MARTHA : Ahh ! Owen struggles to get the straps off him. Jack grabs the glove to help Martha. JACK : Martha just... She screams. Jack rips the glove away from her, hurling it back across the room. The glove hits the floor, its fingers still moving wildly. Martha is on the floor. The glove suddenly rights itself and uses its fingers to move itself across the floor. It heads right ward Martha. She screams as she backs away from it. She runs out of room, her back hitting the storage cabinets. Owen continues to struggle to get out of his binds. GWEN : Come on, give me your hand. Martha turns and reaches up. Gwen and Toshiko pull her up off the floor and up to the level above.) GWEN : Watch your foot. Watch your foot. Ianto walks in carrying an umbrella. Owen struggles to get the restraints off. Jack steps up to the stairs. JACK : Owen, Owen, don't move. (Owen stops moving). Everyone spread out. Everyone spreads out. Jack looks at Ianto. They lost sight of the glove. Ianto shakes his head. He doesn't know where it is. GWEN : Where'd it go ? MARTHA (points) : I think it went under the cabinet. The monitor with Owen's body scan is now at 95%. JACK : Are you all right ? MARTHA : Yeah, I think so. JACK (nods) : Good. Suddenly, they can hear the light clicking of the metal on concrete as the glove moves about. Everyone tries to locate the glove's position. GWEN : It's there. Everyone is very quiet and still. Martha peers over the pipe railing. Suddenly, the glove jumps up and grabs the railing next to her. She pushes away. The glove jumps up and clamps onto Martha's face. MARTHA : Ah ! Agh-hhh ! Martha slams back against the wall. She sinks down to the floor, trying to get the glove off her face. Jack hurries over. JACK : Hold her ! Gwen and Toshiko kneel next to Martha, trying to get the glove off her face. TOSHIKO : Jack ! Toshiko moves aside. Jack grabs the glove and tries to pry it off Martha's face. Owen struggles with his bindings. Martha raises her hand and we notice how wrinkly it is, as if the life is being sucked out of her. Using all his strength, Jack manages to get the glove off Martha's face. He struggles with it, then throws it across the room. The glove lands on a tray of supplies. The glove spasms and twitches. Owen watches it as he undoes the straps around his legs. The glove rights itself up, then jumps down to the ground. Owen is free. He gets up and pins it to the floor with his foot. Owen holds his hand out to Toshiko. OWEN : g*n ! The glove struggles. TOSHIKO : If you destroy it, the connection can be lost. Owen turns his hand toward Jack. OWEN : Jack ! Jack hesitates. OWEN (shouts) : Now ! Jack takes his g*n out and tosses it to Owen. Owen takes the g*n, steps off the glove and sh**t it. The glove explodes in a white flash. Everyone takes a deep breath of relief. Gwen turns and sees Martha. GWEN : Oh, my God. Jack turns and sees Martha. Gwen leans forward to check on her. GWEN : Martha ? She kneels down next to Martha who is now very, very old. GWEN : Martha. Jack lifts her hand. GWEN : What's happened to her ? JACK : It's the glove. It did this to her. Owen, help me with her. Owen doesn't answer him. The monitor beeps rapidly. JACK : Owen ! Ianto stares at Owen who drops the g*n. Ianto backs away from him. The Owen-scan up on the wall is now at 100%. Owen turns around, his eyes back pools of darkness. DEATH (IN OWEN) (distorted voice) : I will walk the Earth and my hunger will know no bounds. Agh-hhh-hhh-hhh ! A black gas escapes out of Owen's eyes and mouth. It rises up, gathering and growing bigger and bigger into a shapeless form above him. OWEN (screams) : Agh-hhh-hhh-hhh ! MONSTER-LIKE (growl) : Agh ! Jack rises to his feet. The black smoke gathers and grows. It shapes into something, then... in a flash, it lunges forward in an att*ck, two skeletal hands reaching forward. SMASH TO BLACK ON JACK Jack takes a deep, gasping breath and opens his eyes. When he looks around, he finds he's buckled in the... INT. TORCHWOOD SUV (PARKED) – NIGHT He unbuckles and runs out into the building. The sign reads : OUT-PATIENTS CLEIFION ALLANOL. INT. ST. HELEN'S HOSPITAL – HALLWAY – CONTINUOUS Martha is on a gurney being pushed by Gwen, Ianto and Toshiko. GWEN (shouts) : Police Officer ! I need a medic, now ! Two nurses run forward to help. A doctor waits at the end of the hallway. Back, Owen staggers around the corner. Jack runs and catches up with him. He grabs Owen's arm. JACK : Where did it go ? (Out of breath, Owen pants). Owen ! Owen continues to gasp for breath and points to the others in front of him. Jack runs to catch up with them. The gurney reaches the doctor who tends to Martha. Jack looks at the others. JACK : So what happened to that thing ? Owen catches up enough to see, but remains apart and behind the others. GWEN : It's gone. JACK : So it's out there ? LATER : In the room, Jack holds a small compact mirror in front of Martha so she can see her reflection. The others remain outside with the doctor. DOCTOR : How do you know her ? I take it you're not family. GWEN : She's a neighbour... we look in, do her shopping, collect her pension, that sort of thing, you know ? DOCTOR : Her red blood cell count is through the floor and she's massively dehydrated. All of which has placed a considerable strain on her heart. GWEN : You've got to help her. DOCTOR : We are. But you have to accept she's, what ? 80 ? GWEN : Just do what you can, please. CUT TO : Inside the room, Martha look at her aged reflection. The others enter the room. MARTHA : It must be Death, because it's stolen my life. Jack takes the mirror from her. JACK : We'll find a way to reverse this. Jack steps away to talk with Gwen. GWEN : Last time, back when Cardiff was a town, it k*lled twelve people. JACK : So ? GWEN : Why didn't it get to thirteen ? And where does this "faith" bit come into it ? Jack turns to Ianto. JACK : Ianto, we need answers. IANTO : I'm on it. Ianto turns to leave. JACK : Owen, I want you back at the hub... you're not safe. Owen is leaning, looking at Martha. OWEN : Jack, I'm free of it, I promise you, and I'm useful, I'm useful here. When it came though me, I felt it. I know what it is, I know what it wants, it's duroc. JACK : And what is that ? OWEN: Hunger. Jack turns and goes to the window. GWEN : Where do we look for it ? Where do we even start to look for it ? Jack moves the curtain aside. Outside and down below, two weevils make their way slowly up the road toward the hospital. OWEN : We won't have to go far. It's here. GWEN : Why would it follow us here ? JACK : I'm not sure it did. Maybe it senses the near-d*ad. If you were death, wouldn't you target a hospital ? Jack opens the door and hurries out. Gwen follows him. Owen remains behind. INT. ST. HELEN'S HOSPITAL – INTENSIVE CARE – CONTINUOUS MOVING LOW. An old woman sleeps in one of the beds, her heart monitor beeping steadily. We move past the bed, continuing forward. Then we see it : a heavy, black fog moving along the floor, past the bed and into camera view. The heart monitor beeps irratically. The woman in the second bed is awake. She sits up and notices the black fog rolling across the floor toward her bed. Suddenly, the heart monitor flatlines. The heart monitor for the patient in the bed next to that is also flatlining. The woman gasps. A third heart monitor suddenly flatlines. The woman looks around nervously. She reaches over for the call button, misses grabbing it and knocks it down. She turns and sees something that blocks the light as it stands in front of her, a large cloud of black smoke. Hidden inside the smoke is a living skeleton. It rises up tall and towers over her. INT. ST. HELEN'S HOSPITAL – HALLWAY – CONTINUOUS Gwen and Jack turn the corner. Jack is on his comm. JACK (briskly, to comm) : This is Captain Jack Harkness, Torchwood. You need to evacuate St Helen's Hospital immediately. INT. ST. HELEN'S HOSPITAL – HALLWAY – CONTINUOUS Gwen turns the corner. GWEN (announces) : Ladies and gentlemen, this is Torchwood. If you can move as quickly and as safely as possible to your nearest exit, thank you. The overhead alarm rings. The nurses start moving. INT. ST. HELEN'S HOSPITAL – CHILDREN'S WARD – CONTINUOUS The nurse pushes the doors open. NURSE (shouts) : Can I have a hand in here, please ? The nurse claps her hands briskly. The overhead lights switch on, the children wake up and more nurses enter the room. NURSE : All right, wake up ! Dressing gowns on ! It's not a drill. Can you listen to me carefully, please ? The nurses help the children get up and out of bed. One bed is empty. INT. ST. HELEN'S HOSPITAL – BATHROOM – CONTINUOUS People move quickly past the door. Inside the bathroom and hiding in a stall, Jamie Burton is playing his hand-held video game with his earphones on. He doesn't notice the bustling outside. INT. ST. HELEN'S HOSPITAL – STAIRWAY – CONTINUOUS The evacuation continues. Jack and Gwen hurry up the stairs. JACK : Ladies and gentlemen, this is not a drill. Please make your way to the assembly point in car park one. They reach the next level. JACK (to comm) : Ianto, I need you to crack into the hospital communication system. INTERCUT WITH : INT. ST. HELEN'S HOSPITAL – MARTHA'S ROOM – CONTINUOUS Ianto is working on the computer as the doctor checks Martha. IANTO (to comm) : Already done it. They've got multiple code four's in intensive care. JACK (to comm) : Which floor is that ? IANTO (to comm) : Sixth. Jack and Gwen hurry up the stairs. JACK (to Gwen) : What's a Code Four ? GWEN : Heart att*ck. JACK : We need to do a body count. Let me know if we get to twelve. INT. ST. HELEN'S HOSPITAL – HALLWAY – CONTINUOUS A nurse looks around. Nurse 2 is walking a girl slowly out with her IV stand. NURSE 1 : Have you seen Jamie ? NURSE 2 (looks back) : No. NURSE 1 : I'll catch you up. The nurse looks around. The floor is very quiet now that everyone's left. She turns to leave, when she hears a swirling, squirming movement coming from behind her. She turns to look. nThen, she heads over to Jamie's empty bed to check. NURSE : Jamie ? Jamie, is that you under there ? The nurse kneels to check under the bed. The black cloud of death rises up behind her. INT. ST. HELEN'S HOSPITAL – INTENSIVE CARE – CONTINUOUS In the foreground is a d*ad woman, barely skin over bones. In the b.g., Jack and Gwen are looking around. He counts the number of d*ad bodies in the room. JACK (to comm) : Owen, Tosh, we're on the sixth floor. There's fatalities. Seven of them. INTERCUT WITH : INT. ELEVATOR – CONTINUOUS Owen and Toshiko are in the elevator. Owen points to the map on the wall. GWEN (from comm) : I'm hearing of a fatality during a routine operation. JACK : Let's count that as eight. That leaves five to go. (Realizes something). Oh. GWEN : What ? JACK : There's five of us. INTERCUT WITH : OWEN & TOSHIKO exit the elevator. OWEN : Jack, it was last seen on the sixth, did it go up or down from there ? Toshiko tries the door. JACK : Most of the upper floors are evacuated, so if it's still hungry, I would guess that it's going to... OWEN : We're on the eighth. We'll make our way down. Owen heads off; Toshiko hurries to follow him. TOSHIKO : Jack, we still have no idea what to do if we find it. JACK : Ianto ? INTERCUT WITH : INT. ST. HELEN'S HOSPITAL – MARTHA'S ROOM – CONTINUOUS IANTO (to comm) : I have searched for the phrase "I shall walk the Earth and my hunger will know no bounds", but I keep getting redirected to Weight Watchers. The ambulance man in green hurries in and gets the doctor. They both leave. Ianto and Martha remain in the room. GWEN : It was a medical journal, History of Medicine. Try under Tavistock or Wellcome. (Welkin?) Jack and Gwen head out. INT. ST. HELEN'S HOSPITAL – SEVENTH FLOOR – CONTINUOUS Owen and Toshiko turn the corner and hurry through the hallway. TOSHIKO : We're on the seventh floor. The overhead lights shut off. They stop walking. OWEN : It's here, I can feel it. TOSHIKO : Owen, you're scaring me. OWEN: I'm not exactly reassuring myself. Come on. Owen heads forward. INT. ST. HELEN'S HOSPITAL – CONTINUOUS Jamie Burton steps out into the dark hallway and finds it empty. No one's there. He turns and heads back to his room. INT. ST. HELEN'S HOSPITAL – CHILDREN'S WARD – CONTINUOUS He pushes the doors open and enters. He walks across the room toward his bed at the end. On his way there, the individual curtains are closed. Jamie continues to head for his bed. He gasps, scared and he looks around. He reaches his bed and pulls the curtain open. It's empty. He sighs with relief. He turns and drops his video game. The sound of the plastic hitting the floor is very loud. He gasps and goes to get it. He pushes the curtain aside and finds a d*ad body hidden under the bed. He quickly backs out and gets up. Death is behind the curtain which is darker than the others. We hear the sounds of clicking as Death unfurls. Jamie turns and runs out of the room... and through the hallway... and around the corner. Sounds of a man wailing is heard. Jamie glances behind him, but keeps on running. He heads for the double doors in front of him. He runs. He reaches the doors and finds them locked. He slams his hands on the door. There's no where else to run. Jamie turns around. DEATH (whispering) : Melenkurion abatha... He reaches another door and finds it locked. He slams his palms against the door. DEATH (whispering) : ... duroc minas mill khabaal. Black smoke reaches the corner and spills out into the hallway. The smoke gathers and rises. Trapped, Jamie slumps to the floor, his back to the door. Death, nearly in a visible skeleton form, heads toward Jamie. It gets closer and closer. Suddenly, the door next to Jamie opens and Owen steps out between Jamie and Death. Owen motions to Jamie. OWEN : Take my hand. Jamie doesn't move. Death is nearly upon Owen. OWEN (shouts) : Come on ! Jamie gets up and grabs Owen's hand. Owen pulls him out of the hallway. INT. ST. HELEN'S HOSPITAL – HALLWAY (FIFTH FLOOR) – CONTINUOUS The door opens. Owen and Jamie burst out. Toshiko is right behind them. They run. INT. ST. HELEN'S HOSPITAL – SECOND FLOOR – CONTINUOUS Jack and Gwen are walking. GWEN : I'm getting reports of twelve people d*ad. JACK : So ? They exit through the doors. GWEN : The legend says, when Death took thirteen souls, its power would be unstoppable. It'd roam the earth forever, Jack. It only needs to k*ll once more. JACK : That's twelve... we're running out of time. INT. ST. HELEN'S HOSPITAL – FIRST FLOOR – CONTINUOUS Owen, Jamie and Toshiko are hurrying down the stairs through the lobby. OWEN : I think we lost it. Owen reaches the glass doors and finds them locked. OWEN : Maybe not. Toshiko uses her hand-held monitor and works on the doors. TOSHIKO : If I can access the correct frequency... OWEN : What's your name ? JAMIE : Jamie Burton. OWEN: Right, Jamie. I'm Owen, this is Toshiko, we're going to get you out of here, mate. (As Toshiko works, Owen looks around). What are you in for ? JAMIE: Leukemia. OWEN : Right. TOSHIKO : Jamie, you're going to be fine. I'll have this door open in a second. OWEN : Jamie, they, uh, got you in for a round of chemo, have they ? JAMIE : Had that. It didn't work. OWEN : So why are you here ? JAMIE : They're trying to make me have it again. It didn't work, though. The cancer just comes back. It just makes my hair fall out. I'm gonna die. I might as well do it with eyebrows. INTERCUT WITH: JACK (from comm) : Ianto, what have we got ? Ianto reads the information off the website. IANTO (to comm) : Back in 1479, the priest discovered that Death needed thirteen souls to walk the earth for eternity. Jack is continuing down the steps. JACK : He stopped Death at twelve... IANTO : It was Faith. JACK (from comm) : I know ! IANTO: No, the little girl who was brought back to life. Her name was Faith. She stopped it. JACK : Well, how ? IANTO : It doesn't say. OWEN (mutters, realizes) : Faith didn't have anything to lose. She was already d*ad. Owen takes Jamie and pulls him aside. They sit at the tables. OWEN : Jamie. Jamie, you're scared, of course, you are. The last lot of chemo didn't work and you can't bear the thought of going through all that pain again, and I understand that, mate, I really do. But let me tell you that not everyone dies of this disease, and the ones with the best chance of making it are the ones who believe that they can b*at death. And sometimes, just sometimes, you can. So watch and learn, Jamie Burton. JAMIE : Watch what ? OWEN : Watch me b*at death. Toshiko's monitor beeps. The doors open. TOSHIKO : Come on ! OWEN : Okay, go ! Owen and Jamie get up and run for the doors. OWEN : Come on, Jamie. (To Toshiko) Take him. Okay. Owen turns and heads back inside. TOSHIKO : Owen, I am not leaving you to face that thing on your own. OWEN : I know what to do. TOSHIKO : You don't know what we're dealing with. Owen grabs Toshiko and kisses her. He reaches down and... He steps back. The hand-held monitor chirps. OWEN : You're so gonna hate me for this. The doors close between them. On the other side of the doors, Owen lifts up Toshiko's monitor and shows it to her. TOSHIKO : Owen ! (Pounds on the doors). Owen, no ! Open the door ! Owen works on the monitor. TOSHIKO : What the hell are you doing ?! Owen, Owen ! Suddenly, they hear it. They turn around and they see Death's smokey figure walking down the steps. Owen turns around. OWEN : How long ?! He drops the monitor on the floor. OWEN : How long can you last here with only twelve victims ? (Shouts). There's nothing here for you ! Owen starts toward Death. OWEN : Owen Harper's soul has left the building ! Toshiko and Jamie watch helplessly on the other side of the glass door. OWEN : There's nobody here but us d*ad men. Owen stops at the base of the stairs and waits. TOSHIKO (screams) : No ! (Pounds on the glass). Owen ! JAMIE (pounds on the glass) : Owen ! TOSHIKO : Owen ! Death reaches its bony hand toward Owen. He grabs its wrist and holds on tight. OWEN : What else have you got ? Death reaches for Owen. The two struggle. Toshiko moves to the next glass door and pounds. TOSHIKO : Owen ! OWEN : What else can you do to the d*ad ?! Owen and Death struggle. TOSHIKO (to comm) : Jack ! Jack ! Up on the level above, Jack reaches the glass doors. TOSHIKO (o.s.) : Jack ! He pounds on the glass. JACK : Owen ! Down below, he sees Owen struggling with Death. JACK : Owen ! GWEN : Owen ! Jack and Gwen leave to find another way down there. Owen hangs on to Death and doesn't let go. OWEN (taunts) : Is that all you've got ?! See this ? TOSHIKO (sobbing) : Owen ! Death struggles to get away from Owen, but Owen keeps a firm hold on him. OWEN : Agh ! Death starts to dissipate, its bones emulsified in bright light and white smoke, the black smog around it vanishing. Jack and Gwen run in through the back. Jack stops Gwen from getting any closer. JACK : No, no, no. And Death vanishes. Toshiko watches. Gwen clutches Jack's arm as they wait. Owen sits up on his knees. Jack and Gwen walk up to him from behind. Jack puts a hand on his shoulder. The computer beeps and the glass doors open. Toshiko walks in. She stops in front of Owen. INTERCUT WITH : Ianto is in Martha's room. IANTO (from comm) : Jack ? There's no answer. IANTO (to comm) : Jack ? (Pause). Gwen ? (Pause). Anyone ? Martha suddenly grabs Ianto's shoulder and surges up with a loud gasp. Martha's young again. IANTO (startled) : Agh ! Ianto laughs nervously. Martha gives him a weak smile.) CUT TO : EXT. CARDIFF CITY LIGHTS (STOCK) – NIGHT Cardiff city at night. INT. THE HUB – AUTOPSY AREA – NIGHT Owen and Martha sit side-by-side on the autopsy table. OWEN : So tell me, Doctor, is it worth starting w*r and Peace ? She gives a mirthless chuckles. OWEN : I'm sorry that you got hurt. That... I got you hurt. MARTHA : It's not me that I'm worried about. You soaked up a colossal amount of energy, but... (She turns to look at the monitor)... it's dissipating now. OWEN : It doesn't sound good. MARTHA : I don't know anything about its properties. None of us do. It could take thirty years for it to die out completely. OWEN : Or thirty minutes. Jack walks past the entryway. OWEN : Jack ? Jack stops. Owen stands up. OWEN : People died because you brought me back. We owe them, you and me. I'm still a doctor. Let's put me to work. See if we can't even that score. JACK : We'll see. Owen nods. INT. THE HUB – WORKSTATIONS – CONTINUOUS Jack walks up to Toshiko. TOSHIKO : Did he really b*at death ? JACK : Oh, you can never really b*at death, never escape it... it's always in the shadows, waiting. TOSHIKO : So what do we do now ? Before he can answer her, a movement catches their eyes and they're both startled silent. They turn. It's Owen. HOLD on Owen. FADE OUT END

{"type": "series", "show": "Torchwood", "episode": "2x07 - d*ad Man Walking"}

foreverdreaming

Opening credits JACK HARKNESS (v.o.) : Torchwood. Outside the government, beyond the police. Fighting for the future on behalf of the human race. The 21st Century is when everything changes... and Torchwood is ready. EXT. MALL – DAY Owen stands in the middle of the walkway. The world around him moves... backward. In rewind. Everyone is walking quickly backwards. OWEN (v.o.) : My name is Dr. Owen Harper and this is my life. MONTAGE OF CUTS : Owen is running. OWEN (v.o.) : A life that is full of action... CUT TO : Owen pulls out his g*n with a sil*ncer attached and sh**t the lock off the door. Ianto turns around. OWEN (v.o.) : ... and v*olence... CUT TO : Owen is in the autopsy area back in the hub. He's holding a syringe and looks at the needle as Jack sits behind him and waits. OWEN (v.o.) : ... and work,... CUT TO : Owen looking at the slab of meat. OWEN (v.o.) : ... wonder. CUT TO : Owen sprays on some alien pheromone at the bar. The blonde woman grabs him and kisses him. OWEN (v.o.) : Secrets, sex... CUT TO : Owen dances with Diane. OWEN (v.o.) : ... and love and heartbreak... CUT TO : Owen is sh*t. He hits the ground. OWEN (v.o.) : ... and death. CUT TO : Owen is on the table. Martha pulls back the sheet covering him as she prepares to do his autopsy. OWEN (v.o.) : My death. Owen sits up suddenly, panting. OWEN (v.o.) : The death I survived. EXT. MALL – DAY Owen stands in the middle of the walkway. The world around him moves on past him. Everyone is walking past him as life continues. OWEN (v.o.) : The death I am now living through. INT. OWEN'S PLACE REVERSE VIEW : OWEN'S REFRIGERATOR Owen opens the refrigerator door and reaches for a bottle of something to drink. OWEN (v.o.) : Except... this isn't living. Then, he remembers that he can't drink anything. He puts it back. OWEN (v.o.) : Every day it's the same. THE NEXT DAY : Owen opens the refrigerator door and looks at the bottles of things he can't consume. CUT TO : In the bathroom, Owen lathers up some shaving foam in his hands. OWEN (v.o.) : I get up, get ready for work the same as everyone else. Then, he remembers that he no longer has facial hair to shave. He looks at his reflection in the mirror and swallows. INT. THE HUB – CONTAINMENT CELLS Owen stands in front of the weevil cage. OWEN (v.o.) : The thing is, I'm not the same. The weevil cowers in the darkness, lifts its head and howls. WEEVIL : Aaaahh ! INT. THE HUB - OUTSIDE THE COG DOOR Owen stands outside the cog door. OWEN (v.o.) : I get to work and everyone's doing the same old thing. The lights flash and the door rolls open. He turns to go inside. Jack, Toshiko and Gwen are up at the workstations. OWEN (v.o.) : Babbling away about aliens and weddings. He enters the hub. INT. UNDER WATER – DAY Owen is under water. OWEN (v.o.) : I'm not real. Three days ago, I died. He looks at his hand. OWEN (v.o.) : And they think I'm fine,... but they're wrong. Owen screams. CUT TO : EXT. BUILDINGS – NIGHT (PRESENT) PULL UP to the tallest building where we find Owen and a blonde-haired woman sitting side-by-side on the edge, their legs dangling off the side. OWEN : So, are you ready to jump ? Opening credits EXT. ROOFTOP – NIGHT (PRESENT) Owen and Maggie sit side-by-side on the edge, their legs dangling off the side. MAGGIE : Would you just piss off. Get off my roof. OWEN : Your roof ? MAGGIE : I'm going to jump, so just leave me alone. OWEN (sighs) : Look, darlin', you know, I'm not here to stop you. Seriously. (He unzips his jacket). You think you've got problems ? (Scoffs). What, did your man dump you ? MAGGIE : Sorry, love, are you talking to me ? It's just, you know, I'm a bit busy right now. I'm not really interested in listen... (She stops when she sees his b*llet wound in his chest). What is that ? OWEN : I got sh*t. MAGGIE : Yeah, right. He looks at her, half smiles and nods. She sticks her finger in his b*llet wound. Now, she's freaking. MAGGIE : Oh, my God. She climbs down from her perch on the wall and steps back just to put some distance between them. MAGGIE : What the hell are you ? Owen climbs down off the wall. Maggie is still backing away from him. OWEN : I'm d*ad. MAGGIE : That's not... Look, you can't be d*ad, you're... you're standing here. You're talking. You're moving. You're... you're not d*ad. Wha... ? You're... You're d*ad ? OWEN : Yeah, I was brought back... like Jesus really, but without the beard, you know. (Realizes). Shit, I'm never gonna have a beard. Not that I wanted one you understand, but you know, one day I... MAGGIE : Yeah. Okay. Okay. You're d*ad and that's... that's clearly a bit shit and I'm sorry and everything but, if you are d*ad, then why are you here ? You can't be wanting to jump. You can't die twice. OWEN : Sorry, are you an expert ? MAGGIE : Sorry, are you an idiot ? OWEN : Yeah. I'm a d*ad idiot. MAGGIE : So, come on then, what's it like ? She sticks a cigarette in her mouth and lights it. OWEN : What ? MAGGIE : Well, being d*ad. What delights have I got to look forward to ? OWEN : Darkness. Nothing. MAGGIE : Cheery, thanks. Look, why are you here ? Owen looks at her. JACK (PRE-LAP, v.o.) : Dr. Owen Harper, Torchwood Officer 565, I'm relieving you of your position. INT. THE HUB – JACK'S OFFICE – NIGHT (EARLIER) Jack is at his desk as he delivers the bad news to Owen. Ianto is near the doorway. OWEN : Bollocks. I'm sorry, Jack, this is bollocks ! JACK : Hand in your w*apon and your security pass. OWEN : But why ? I'm fine. JACK : Three days ago, you died. We need to examine you. We need to find out what you are. We need to be certain you're okay. OWEN : Yeah, well it almost sounds as if you care, well done. JACK : Until I'm confident you're fit for duty, Martha Jones will replace you as Torchwood's new medical officer. OWEN : She's doing all right out of this, isn't she ? JACK (stands up) : She's worked out a series of tests and examinations. OWEN : And what if I refuse ? JACK : You'll be confined to the cells, the tests will be done, and if the results show that you're a danger to the team, appropriate steps will be taken. Ianto steps in closer. Jack also steps in closer to Owen. JACK : I'm asking you, Owen. Please, let us help you. Let us make sure you're safe. Owen doesn't look at him. IANTO : I'm gonna need your g*n. Owen turns and looks at him. He takes his g*n out and reluctantly gives it to Ianto. IANTO : And your security pass. (Owen looks at Ianto). Please... Just behind them and through the glass in the wall, Martha is in the workstations. He glances at her, then takes his security pass out and gives it to Ianto. OWEN : And how long are Dr. Jones' tests going to take ? JACK : As long as they need to. OWEN : And what the hell am I supposed to do in the meantime ? JACK : We always need someone to make coffee. OWEN : Oh, no. CUT TO : CLOSE-UP : COFFEE MACHINE Ianto is at his area at the base of the spiral stairs as he fills up the coffee cup. Owen sits in the chair nearby. IANTO : Voila. Fresh and strong. (He smells it appreciatively). Mmmm. Owen gets up. Ianto steps aside and hands the cup to Owen. OWEN : And, uh... we couldn't just have a jar of instant, no ? IANTO : I thought you liked your coffee. OWEN : Have you seen what happens when I drink these days ? IANTO : Yeah. Thank you, Owen. Ianto takes the cup away from him. IANTO : Do you want a go ? OWEN : Ooh, please. Owen turns to try his hand at the machine. Owen grabs the handle. The cups rattle as he tries to get it to work, but it doesn't. OWEN : Come on. What's wrong with this ? IANTO : You, um... Owen grabs both handles and shakes it. The cups and dishes rattle loudly. Some sound as if they break. He turns and sees Jack and Martha on the stairs watching him. He rests his chin on the machine in humiliation. IANTO (quietly) : You okay ? OWEN (sighs and turns around) : What do you think ? I bet you're loving this, aren't you ? It's like you've finally won. IANTO : I didn't realize we were in competition. OWEN : Oh, come on ! Even Tosh had more of a life than you used to. And now you're always out on missions, you're shagging Jack and I'm stuck here making the coffee. IANTO : It's not like that. Me and Jack. Ianto goes to the machine and fixes a cup of coffee. OWEN : Yeah, yeah... You and Jack. Gwen's getting married. Martha's got her bloke. God, even Tosh had Tommy. This is really shit ! Ianto goes about his business. IANTO : We've all gone through shit. I've seen you dissect alien corpses. I've seen you save so many lives. Are you really going to let this b*at you ? He leaves Owen with that. CUT TO : INT. THE HUB – AUTOPSY AREA Owen is on the treadmill. His image is up on the monitor as Martha tests him. The machine beeps. Owen stops it. He smiles. OWEN : So, you're choosing me over the boyfriend ? Owen steps off the treadmill and picks up the barbells. He starts lifting them. Martha goes to the treadmill to check the readings. MARTHA : Yeah, that's it. You really don't need to worry, you know, I don't want your job. OWEN : Yes, I know. You just find me irresistible. MARTHA (rolls her eyes) : Oh, yeah, that's it. Every morning I wake up and think of ways to get you alone like this. (She goes back to the computer). There is no sign of any muscle decay. You're in great shape, as ever. OWEN : Hmm, no use coming onto me, Jones. I'm a changed man. MARTHA : And... um, no stiffening anywhere ? OWEN : Well... MARTHA : Just answer the question. OWEN : No, no signs of rigor mortis. Owen puts the barbells down. OWEN : So, if I keep up the exercise, I won't atrophy ? She appears with the hand-held monitor and scans him. MARTHA : Yep. And bonus, definitely looks like you're not going to age either. There's no further sign of cell mutation. You're a hundred percent human. (She turns the monitor off). A hundred percent Owen. Owen nods. The intercom beeps. GWEN (from speaker) : Hi, Martha. Meeting in the boardroom. Can you come down ? OWEN : You'd better go... Doctor. MARTHA : What about you ? OWEN : Cappuccino with chocolate sprinkles. MARTHA (smiles, confused) : What ? OWEN : That's what you drink, isn't it ? Suddenly, it's very awkward. Martha turns and leaves. Owen's smile fades. CUT TO : INT. THE HUB – CONFERENCE ROOM Everyone except Owen is there. JACK : Henry John Parker. He used to be a looker. Now he's 80-odd and even I have my limits. The door opens. Owen walks in with a tray of coffee. JACK : Your basic millionaire collector of alien hoo-hah. OWEN (quietly) : Didn't we file him in the "mostly harmless" category ? He puts a cup down in front of Ianto. MARTHA : So, what's the problem ? Owen continues setting coffee cups down on the table. TOSHIKO : I detected this at 5:17 this morning. Parker's house. There's an energy spike coming from it. I've never seen anything like it before. GWEN : Okay. So, the big question is, what's our Mr. Parker gone and found this time ? Gwen and Ianto quietly switch coffee cups as Owen heads to the back of the room. MARTHA : Why ? Do you think he's a thr*at ? GWEN : Well, he hasn't been up until now. (Owen wipes his tray as he listens). He's a bit Howard Hughes. We know he's there, we know he's not a thr*at. But as the story goes, he hasn't left the house since his wife died. Nobody's seen him since 1986. OWEN : We've been monitoring Parker for ages. There's nothing to be scared of is there ? Owen quickly sits down at the table with the others. There's a brief awkwardness with him being there when he's not supposed to. IANTO : Unlike, say, Tintin ? OWEN : Okay ! I never liked Tintin. What ? He's weird. He's got a funny face and his hair is just, he's horrible. IANTO : I always loved Tintin. OWEN : Yeah, well you would. And he never had a girlfriend did he, just the dog. Yeah, so I reckon he was actually shagging the dog. GWEN (interrupts) : Okay, meanwhile, back at Torchwood. Alien energy pulse. (to Jack) We've got to check this Parker out, okay ? (Jack nods. Gwen gets to her feet). Tosh, can you get me a complete schematic of the house ? Ianto, find out exactly what he's got. Get me an inventory of everything that he's bought over the last ten years. Martha, can you get a hold of his medical history ? MARTHA : Sure. GWEN : Okay, let's get to it, guys. As everyone gets to their feet, Jack levels a look at Owen. He then gets to his feet to leave as well. Owen is left sitting at the table. JACK (o.s.) : Hey, Gwen, any news on Banana Boat ? GWEN : Can you believe it ? Best Man, arrested in Lanzarote. JACK : What for ? GWEN : Ah, dodgy Cds. OWEN (PRE-LAP v.o.) : Worldwide, nearly a million people k*ll themselves each year. The door closes behind them. CUT TO : EXT. ROOFTOP – NIGHT (PRESENT) OWEN : That's almost three times the population of Cardiff. Makes you think. MAGGIE : What are you ? Some sort of su1c1de geek ? OWEN : No, just a doctor. In fact, I'm not just a doctor. I'm a bloody brilliant doctor. MARTHA (PRE-LAP, v.o.) : I know you are. INT. THE HUB – AUTOPSY AREA (EARLIER) Owen sits on the table while Martha is working on the computer. OWEN : So why are you doing my job ? He absently plays with a scalpel, flipping it and catching it. Martha turns to look at him. MARTHA : Because Gwen asked me to. OWEN : That's not what I mean. MARTHA : Because you died. And because you need help. That's not a bad thing. Well, it's a bad thing that you died obviously, but it's not bad that you need help. If you know what I mean. OWEN : You're kinda cute when you babble. MARTHA : And you're kinda cute when you're not chucking a scalpel about. OWEN : But I'm making the sodding coffee ! (He stands up. Martha goes back to typing on the computer). I mean, come on, won't your bloke be missing you ? How about Jack ! Has he seen Jack ? They always get jealous when they meet Jack. MARTHA (irritated) : Owen, I don't want your job. I just want to do mine. OWEN : Okay, I'm d*ad, but I am one hundred percent human. I'm fine. MARTHA : You've sliced your hand open. Owen drops the scalpel as he opens his hand. It clatters on the floor. He is sufficiently freaked. TIME CUT TO : Owen sits on the table as Martha tends to his hand. MARTHA : The wound's not going to heal, so, you're going to have to re-stitch it every week or so. At least you don't need anesthetic. OWEN : Yeah, can't feel anything. I can't feel the needle or thread. I can't feel your hands on mine. Yet, I can touch things. I can hold 'em, I know they're there. But I just... can't feel anything. I'm numb. MARTHA : Do you see why Jack's worried ? Bruises won't heal. Bones won't mend. You're... fragile. Owen takes a breath. OWEN : Yeah, well, I'd better get used to doing things myself. He takes the needle and thread from her to stitch up his own hand. MAGGIE (PRE-LAP, v.o.) : So she offers to help you and you push her away ? Charming. EXT. ROOFTOP – NIGHT (PRESENT) Maggie takes another cigarette out of the box. OWEN : Yeah, hole in the chest. Sorry if I don't follow social niceties any more. Owen climbs up on the wall to take his seat next to her. MAGGIE : You mean you did before ? She lights the cigarette. OWEN : God, you're a pain in the arse, aren't you ? Is that why your man dumped you ? (She looks at him). Ooh, I h*t a nerve ? What, did you get your heart broken ? MAGGIE : No, actually. He died. OWEN : I'm sorry. MAGGIE : No you're not. You couldn't care less about me and I don't care about you. Just because we're both planning on jumping, it doesn't mean we have some sort of special connection. OWEN : You don't know the half of it. INT. THE HUB – WORKSTATIONS / JACK'S OFFICE (EARLIER) Gwen is at her workstation going through some papers. Owen walks up to her and puts her cup down. His hand is bandaged up. She glances at him. CUT TO : Owen talks with Jack. OWEN : Give me something to do. JACK : You know I can't. Rules and regulations. Owen takes Jack's cup and plate. OWEN : Fine. I might as well go home then. JACK : Okay. Owen turns toward the door. He turns back. OWEN : What exactly do I do when I get there ? JACK : Watch TV... chill. OWEN : Jack, I'm d*ad. I'm permanently chilled. You know, you get to live forever. I get to die forever. It's funny that. Owen turns and leaves. CUT TO : INT. OWEN'S PLACE – DAY Owen is back at home, sitting on the sofa with the television set on. MAN 1 (from tv) : I'll look into it myself. MAN 2 (from tv) : Can I arrange something for later ? RANDOM MAN (from tv) : Yep. HOST (from tv) : Oh, hello ! And welcome to To Buy Or Not To Buy, the property show that lets you indulge in your... Owen turns the sound off. He sits on the sofa for a moment, puts the remote down and rubs his eyes. He gets up and looks at his place. He picks up a large trash bag, walks over to the refrigerator, turns the iPod on and opens the refrigerator. He clears out the food inside. CUT TO : In the bathroom, he throws away the toilet tissue. He opens the medicine cabinet and tosses all the shaving and grooming products on the bottom shelf. CUT BACK TO : Owen clears off the items on the refrigerator door. CUT BACK TO : In the bathroom, Owen tosses all the products on the top shelf in the medicine cabinet. CUT TO : Owen takes the garbage bag and closes the refrigerator door. He picks up the brand new loaf of bread on the table and looks at it. He tosses it in the garbage bag. He then throws away all the food on the table. He throws away the food on the counter, including a bowl of fresh fruit... and a handful of rotting bananas. He stops. CUT TO : Owen is back to sitting on the couch. VARIOUS CUTS OF OWEN BEING BORED He stands in the bathroom. He looks at his empty refrigerator.) More Owen being bored. His eyes drift shut. Suddenly, his doorbell is ringing. It takes him a moment to realize that his doorbell is ringing. Owen opens the door and finds Toshiko there. She smiles at him. CUT TO : Toshiko bursts in. She's carrying a box of pizza. TOSHIKO : Do you mind if I eat, I'm starving ? She heads into the kitchen. OWEN : No, help yourself. So, Jack asked you to come round did he ? "Talk to Owen. Get him to open up, g*dd*mn it". He sits at the counter. TOSHIKO : You haven't changed, have you ? It's all about Owen. (She grabs her bottle of drink and looks around). I've had a hell of a morning, you know. Do you have a... ? She motions opening the bottle. OWEN (points) : Top drawer. She turns to get the bottle opener. TOSHIKO : So, Jack calls me in at 5:00 this morning. (She opens the bottle). He could've waited until I got in, but no, strange energy spike, and it's "Let's get Tosh in." Oh, and when Gwen got in, first thing she did ? Say sorry for not asking me to be bridesmaid. (voice fades) I mean, me, a bridesmaid ? Toshiko eats and continues talking. Owen drowns her out, not paying attention to her. MAGGIE (v.o.) : You sound like an old married couple. EXT. ROOFTOP – NIGHT – PRESENT Owen and Maggie talk. MAGGIE : Brian used to say I talked too much. OWEN : Tell me about him. MAGGIE : Today's my wedding anniversary. Quick flashes of : Maggie exiting the church in her white wedding dress. She and her husband leave. MAGGIE (whispers) : My perfect day... Quick flashes of : Maggie is walking along the road, her white dress drenched red with blood. She staggers, then sits on the side of the grassy hill. MAGGIE : It was an accident. Quick flash of : Maggie in her blood-stained wedding dress. She heads toward the overturned car. She sits on the grass and touches her d*ad husband's hand. She looks around for help. MAGGIE : We'd been married less than an hour. Quick flash of : Maggie climbs up the grassy hill to the road. Her face is cut. She makes her way along the empty road. MAGGIE : I was picking confetti out of my hair when it happens. OWEN : Shit. I'm... MAGGIE : Sorry, yeah. I know. OWEN : You've waited until your wedding anniversary to k*ll yourself ? Why ? MAGGIE : Does it matter ? OWEN : Why have you waited ? MAGGIE : Because I believe people. I... I believe them when they said it would get better. So, what do you think, Doctor ? Do you... do you really think it's going to get any better ? They lapse into silence. Maggie inhales from her cigarette, then tosses it off the side of the building. CUT TO : INT. OWEN'S PLACE – DAY (EARLIER) Owen is in his kitchen, staring at nothing. He closes his eyes. PAN slowly around Owen to REVEAL that Toshiko is still there and talking. We can't hear a word she's saying as Owen has tuned her out. Owen's brows furrow as something occurs to him. We hear Toshiko's voice now, mid-conversation. TOSHIKO (fades in) : ... bounced a message from the stars. Guess what... It's Croatian. I ran it through the language translator and it's flipping Croatian. OWEN (interrupts) : Why are you here, Tosh ? TOSHIKO : I want to help you. He nods. OWEN : And how are you going to do that ? How are you going to help me ? I mean, am I going to be a new special project ? TOSHIKO : Come on, Owen, I just... OWEN : That's not why you're here is it ? For some reason you want me. You know I don't know why, but you always have... always looking at me, watching me screw all those other women, your heart breaking and now it's different. Because I'm safe now, aren't I ? And it's all cozy and it's romantic and isn't it beautiful ? TOSHIKO : You can say what you like. I'm not leaving you. OWEN : Of course, not. This is it, isn't it ? This is the date that we were talking babout. You've got your beer, you've got pizza, you and me. It's just how you wanted it. All we need now is a sodding pool table. TOSHIKO : Stop it ! What's wrong with you ? OWEN : I'm broken, Tosh ! I don't work. I've got no heartbeat, no feelings, no tears ! I have got nothing to give you ! I... Do you understand that ? Maybe that's what you want ! Maybe you want somebody who's as screwed up as you ! Who's twisted and screwed up like you are. (He holds up his bandaged right hand). You want to see broken ? (He grabs his pinky finger). Do you want to see broken, Tosh ? He bends it backward till the bones crack. TOSHIKO : Owen ! Stop it ! What are you doing ?! He bends it all the way back. Toshiko stares at him. Owen sees the look on her face and can't take it any more. He runs out. The door slams shut behind him. EXT. OUTSIDE – DAY Owen runs... across the green grass... and past people watching. He runs as fast as he can. Owen turns and runs along the wooden pier. He runs to the end of the pier... and jumps into the water. Owen plunges into the water. He closes his eyes and all the bubbles clear. He opens his eyes and drifts in the water. CUT TO : Owen puts a hand on the wooden pier and pulls himself up. He rests there a moment. Jack steps up to him and checks his wristband. JACK : Thirty-six minutes. Not bad. OWEN : You were watching ? JACK : Skinny guy in tight jeans runs into water ? I was taking pictures. Jack starts walking away. Owen quickly gets up. He's dripping. Jack stops and turns around. JACK : How long is this going to go on for, Owen ? Jack turns and walks away from him. CUT TO : INT. THE HUB – CONFERENCE ROOM Gwen leads the meeting with Jack, Ianto and Martha sitting at the table. GWEN : Ianto, what have you found out about Parker ? IANTO : I've identified some of the things he's purchased over the past year. We've got a Dogon eye. A pair of Myakian wings, some meteorites. An Arcateenian translation of James Herbert's The Fog. But there are a few things we've never seen before. GWEN : So one of these is causing the energy spikes ? IANTO : Looks like it. And they're getting bigger, dangerously bigger. GWEN : Well, okay we need to get in there. Gwen reaches across the table to hand Ianto a file. Ianto stands and leans over the table to get it. GWEN : Parker employs a Mr. Philip Farrington to run security. There's at least six guards, CCTV everywhere, all of which we can bring down by taking out the generator. But then there's these... (they turn to look at the monitor) heat sensors. MARTHA : As in body heat ? GWEN : Yep. Solar-powered. There's one on every doorway, every window. IANTO : So, how do we get past them ? OWEN (o.s.) : Sounds like you need a d*ad man. They turn and find Owen standing in the doorway, a towel draped around his neck, his hair still damp. His pinky finger is bandaged up as well. OWEN : Someone with no body heat. He walks into the room. OWEN : What have you got to lose ? He looks at Jack. Jack looks at him, measuring him. He motions to Ianto. Ianto offers Owen his g*n back. Owen takes it. Jack nods. Footsteps approach. It's Toshiko. Owen turns around. OWEN : Tosh ? She offers his keys back to him. TOSHIKO : I turned your telly off. She leaves the keys with him and she walks away. CUT TO : EXT. ROOFTOP – NIGHT (PRESENT) Maggie and Owen talk. Maggie sits on the roof wall, her back to the edge as she faces Owen. MAGGIE : You screamed at her, you said all those things, and that's it ? OWEN : That's Tosh. Always the professional. She hops off the roof wall. MAGGIE : I don't care. I'm not interested in you, in old men or, or alien meteors. I came here because my husband died. I just want to jump. Owen looks at her and nods. Suddenly, he grabs her and rushes toward the edge of the roof. OWEN : Let's get on with it ! MAGGIE (shouts) : Get off me ! He lets her go. OWEN : You, you're too scared. MAGGIE : Aren't you ? (Owen doesn't answer her). How did... how did you get from that to here ? The sirens wail below. She looks at him. MAGGIE : What happened ? CUT TO : EXT. OUTSIDE PARKER RESIDENCE – NIGHT (EARLIER) Martha talks with Owen. Jack watches behind her with the monitors they've set up. Owen is wearing a jacket with the hood over his head. MARTHA : If you hurt yourself, you will not recover. Like I said... any bruises you get, they're not going to heal. Do not engage in physical combat... one punch you're gone. Be careful. OWEN : I understand, I'm made of glass. Owen turns to head out. MARTHA : Owen ? He stops and looks at her. MARTHA : Just take care. He nods, then turns to head out when Jack stops him. JACK : Oh, and... uh ... you'll need this. Jack tosses a white cloth to him. Owen looks at Jack. Owen nods, then turns to go. He runs down the path along the bushes. CUT TO : TOP VIEW DOWN on the estate pool. A security guard walks along the edge of the pool. PULL BACK to show the large wall bordering the estate and Owen making his way on the outside of the wall. Owen stops outside the gate and looks in. He presses his back to the stone wall. TOSHIKO (from comm) : Owen ? Owen turns his comm on. OWEN (quietly to comm) : Yeah... Hi, Tosh. TOSHIKO (from comm) : Okay, the power in the house is supplied from one private electrical generator. There's a backup unit but take the main one down and you've got one minute, twenty of blackout time. The security guard walks past the gate. OWEN : Can you get rid of one of the blokes here ? IANTO : It might look a bit suspicious if there were two phone calls. OWEN : Try and make it the big one, okay ? The two guards circle around the pool in a routine manner. Something shrieks in the night. One of the guards turns and looks. A cell phone rings. The guard turns and looks at the other guard. Owen also turns and quickly glances at the guard nearest the gate whose phone is ringing. The smaller guard answers his phone. OWEN (quiet) : Arse. BEN TAYLOR (GUARD) (to phone) : Hello ? INTERCUT WITH : INT. THE HUB – WORKSTATIONS Gwen is on the speakerphone. GWEN (to phone) : Mr. Taylor ? BEN TAYLOR (to phone) : Yeah, that's right. Who's this ? GWEN (to phone) : I'm calling from St. Helen's Hospital. Mrs. Christine Taylor was brought in an hour ago. She's been involved in a car accident. The other guard approaches Ben Taylor. BEN TAYLOR (to phone) : Is she hurt ? GWEN : She's going to be fine, but she's asking to see you. BEN TAYLOR : Of course, I'm on my way. He hangs up. GUARD 2 : You all right ? BEN TAYLOR : It's Chrissie, she's been in an accident. Look, I've got to go. GUARD 2 : Yeah, of course. Ben leaves. Owen quickly moves to the other side of the gate. The remaining guard looksaround. GUARD 2 (to radio) : Mr. Farrington ? Ben's had to go. His wife's been in an accident. The guard walks out of the pool area through the gate. He passes Owen without seeing him. Owen runs in through the gate, passes the pool and quickly up the lawn. Owen makes his way cautiously along the wall of the greenhouse building. He reaches the main lawn and stops for a moment, then continues toward the electrical box. OWEN (quietly, to comm) : Okay, guys, I'm here. He opens the electrical box. The hinges squeak. A guard walks up to him from behind. GUARD : Move away from there. Startled, Owen turns around to find the guard walking up to him. GUARD (grabs Owen) : I said ! Owen kicks the guard. The guard falls to the ground. Owen takes out the white cloth Jack gave him. He looks at it and sees it's a t-shirt complete with toon boy and dog : Tintin. OWEN (groans) : Yeah, okay, guys. Very funny. Owen wraps the shirt around his hand just as the guard starts to get up. GUARD : Argh ! Owen pulls his g*n out and the guard stops. OWEN : No, no, no. Do you want to see what I can do ? GUARD : What ? Owen turns and sticks his shirt-wrapped hand in the electrical box and shorts it out. The lights in the house flash. Owen grins. OWEN : Woo ! Owen pulls out the main cable. The power goes out completely. OWEN : I'm d*ad already, mate. FARRINGTON (over radio) : Webb ? Dave, are you there ? Before he can answer, Owen kicks him and knocks him out. GUARD : Oh ! TOSHIKO (from comm) : One minute, twenty until the backup generator comes online. Owen turns and runs toward the main house. FARRINGTON (from radio) : This is Farrington to all units. The backup generator will be running in 45 seconds. Stay at your posts, please. INT. MAIN HOUSE – FRONT DOORS / FOYER – NIGHT Owen reaches the front doors and kneels in front of the glass. FARRINGTON (from radio) : Mr. Parker's personal generator is unaffected. TOSHIKO (from comm) : Sorry, Owen, they've obviously had some work done. He pushes the front doors open and steps cautiously into the house. As he walks in, he notices the green sensor lights on the floor. OWEN : Heat sensors. He waves his arm direction in its path. Nothing. He looks at his hand. OWEN : I am literally too cool for school. He turns his flashlight on and looks around. He makes his way into the house. INT. MAIN HOUSE – FIRST FLOOR HALLWAY – CONTINUOUS Owen makes his way through the hallway. OWEN : Right, I'm in. TOSHIKO (from comm) : Okay, the energy reading seems to be coming from the first floor. A room at the back of the house. OWEN : Can you give me anything else ? TOSHIKO (from comm) : No, the energy source is playing havoc with the system, sorry. OWEN : No worries. I'm getting used to being in the dark. Owen reaches a room that looks like the kitchen. The power switches on and the lights power up. Owen runs. INT. MAIN HOUSE – STAIRS – CONTINUOUS Owen starts up the stairs. A security guard appears at the top of the steps behind Owen. SECURITY GUARD : Hold it there. Owen stops. He pushes his hood back and looks at the security guard at the top of the stairs, measuring him. OWEN : Evenin'. Nice place you've got here. (Starts up slowly). Love what you've done with the pictures. SECURITY GUARD : Who are you ? Why aren't the sensors picking you up ? There are sensors at each corner of the window Owen is walking past. The guard starts getting nervous. Owen continues up the stairs. SECURITY GUARD : Okay, stop ! Stop or I'll sh**t. OWEN : No, you won't. You're a security guard. Come on, that g*n's just for show, innit ? Owen continues up the stairs. OWEN : Do you know what a b*llet does to a living person ? It's not like a Kn*fe through butter, no, no, no, no. It rotates, tears into the flesh and the gooey stuff behind... it rips into the organs, and, ooh, it's not nice. Owen is nearly to the top of the stairs. OWEN : But anyway, I haven't got any body heat. You must know what that means ? You can't k*ll a d*ad man. SECURITY GUARD : What are you ? OWEN : I'm wrong. SECURITY GUARD : What are you ?! Owen shows him his broken left hand. OWEN : I'm broken. I'm Dr Owen Harper. Owen grabs the g*n away from the security guard. OWEN : And I'm having one hell of a day. Owen smashes the g*n into the security guard's face, knocking him out. Owen steps over the guard, drops the security guard's g*n near him and takes his own g*n out. The cartridge clicks as he snaps it in place. INT. MAIN HOUSE – HALLWAY – CONTINUOUS Owen starts down the hallway, his g*n held out in front of him. EXT. OUTSIDE PROPERTY Jack and Martha wait. INT. THE HUB – NIGHT Ianto and Gwen wait. INT. MAIN HOUSE – ROOM – CONTINUOUS Owen continues through the hallway. He checks the first door, then continues. Owen reaches the end of the hallway. He opens the door and enters the room. In the room is a shelf with various items on display. Owen looks at the items. Whatever he's looking for isn't there. He turns and looks at a second shelf with more items on display. Again, not there. Owen lifts his g*n and heads for the door at the back of the room. INT. MAIN HOUSE – PARKER'S BEDROOM – CONTINUOUS Owen opens the door and finds Parker's bedroom, a large mosquito net-covered bed in the middle of the room with various medical equipment and monitors around it. Owen walks in. Henry Parker is on the bed, seemingly asleep. Owen turns to look at some items on display on a shelf. HENRY PARKER : Yes ? Owen is startled. He turns and finds Henry Parker awake. A heart monitor beeps steadily. OWEN : It's okay, mate. I'm not going to hurt you. I'm a doctor. HENRY PARKER : You're a very violent doctor. I've been watching you. Parker lifts his hand and indicates the security monitors set up nearby. Owen pushes the netting aside to look at the old man. OWEN : Henry Parker, yeah ? HENRY PARKER : You're Torchwood, yes ? INTERCUT WITH : Outside, Jack and Martha listen. HENRY PARKER (from Owen's comm) : Did the American send you ? Martha turns and looks at Jack. Jack looks at Martha. OWEN : Yeah, he sent me. How do you know so much about us ? HENRY PARKER : They could've sent that Japanese girl, I like her. INTERCUT WITH : In the hub, Toshiko listens and is surprised. OWEN : Yeah, well, I'm sorry. You got me. HENRY PARKER : Is she... uh... on your phone thing ? That earpiece ? OWEN : Yeah. HENRY PARKER (to Toshiko) : Hello ! Just to say you've got very lovely legs. (Toshiko smiles). You should show them off more. Parker coughs. OWEN : What's wrong with you ? HENRY PARKER : Three heart att*cks and a failed bypass. But I'm fine, because I have this. Parker takes out the alien device hidden under his covers. It looks like a large shell. It glows, pulses with light and emits a hollow sound. HENRY PARKER : It's called "the Pulse". OWEN : You know what it is ? Owen takes his backpack off and opens it. HENRY PARKER : I named it. It's keeping me alive. (Owen takes his hand-held device out to measure the energy readings). No ! You're not taking it. Owen takes his readings. OWEN : It could be dangerous. We've been detecting massive energy readings. HENRY PARKER : I don't care. All I know is, it works. OWEN : Well, I'm sorry, it doesn't. HENRY PARKER : What ? OWEN : The energy isn't going into you. The power's just building up inside that thing, that's what we've been detecting but... it isn't actually doing anything for you. HENRY PARKER : You're wrong. I can feel it. No, no. I'm not going to die. OWEN : Listen, please. Listen to me. There are loads of people's lives at risk. If that explodes, then we don't know what the fallout will be. HENRY PARKER : You're young. You don't understand what dying feels like. OWEN : Believe me, I do. I really do. HENRY PARKER : There's nothing there ! OWEN : Where ? HENRY PARKER : On the other side, nothing. I'm dying. Take away my Pulse and I'm gone, my body decomposing. OWEN : You can't stop it, Mr. Parker. I'm sorry, but it's going to happen one day. Owen pulls up a chair and sits down next to the bed. HENRY PARKER : It'll be dark and I'll be alone. OWEN : Where are you now ? It's dark and you're all alone, so what's the difference ? HENRY PARKER : I don't understand what's keeping me here. Parker coughs. The monitor alarm beeps. Owen puts the oxygen mask on Parker and lets him breathe in deep. After he's calmed down and the monitor alarm stops, Owen removes the oxygen mask. OWEN : It's hope. That thing... it's just hope. Do you really think all this is better than death ? HENRY PARKER : It's got to be. It is better ! OWEN : You're just scared of the darkness. Join the club. Trust me. I know how shit everything can be. HENRY PARKER : Eh... Don't you sit there pontificating, you're just a boy. What do you know about anything ? I've traveled the world. I fought in the w*r. Started my own business. I made a fortune. Married. Widowed. My collection, all of it. I've done so much and this is where I ended up. Alone. Lying in my own piss and do you know what I want ? OWEN : Clean sheets ? HENRY PARKER : I want a steak. Medium rare. Black pepper sauce. Look at me ! Fed through a tube. I might as well be d*ad already. (The Pulse keens. Softly). I might as well be d*ad. Why don't you take it ? Parker lifts the Pulse and offers it to Owen. HENRY PARKER (softly) : Take it. Owen takes it from him and sets it aside on the bed. OWEN : Well ? HENRY PARKER : Oh, Christ, it's dark, I'm alone, I'm so alone. Owen reaches for his hand and holds it. OWEN : It's all right, I'm here with you. HENRY PARKER : Uh. I'm still stuck here, though. In this bed, in the dark. OWEN : You know what ? I'm going to come back. You and me. We're going to face all of this together. I'm going to help you. HENRY PARKER : Torchwood, if you come back, you can tell me all about it. Tell me what it's like. I want to hear about the aliens and everything ! I need... I need to know that there's more out there. That this isn't all there is. (Off Owen's hesitant look). Oh, come on ! I'm dying, who am I going to tell, the Angel Gabriel ? If you come back, I won't tell the Japanese girl that you're still holding my hand. OWEN : Well, maybe. Parker smiles. He starts coughing and the heart monitor flatlines. Owen turns and reaches for the oxygen mask. He puts it on Parker's face. OWEN : Deep breath. Owen turns and presses the buttons on the machine. OWEN : Mr. Parker ? The heart monitor flatlines. Parker doesn't respond. Owen sets the oxygen mask aside. OWEN : Henry ? Still no response. Owen gets to work. He turns and checks the monitors. He checks Parker for a pulse and removes the pillow from behind his head. He starts chest compressions and leans in to give him mouth-to-mouth when he stops. He has no breath to give him. He lifts his hand to his mouth. No breath. Owen hits the bed in frustration. OWEN : I'm sorry. I'm so sorry ! Owen puts his head down in frustration and despair. OWEN (PRE-LAP, v.o.) : I couldn't save him. EXT. ROOFTOP – NIGHT – PRESENT OWEN : He needed to give him air but I couldn't. I've got no breath ! Everything I've seen, everything that's out there and it was an old man dying of a heart att*ck. It was just another person dying because of me. (Owen climbs up on the wall and stands up). Everything that's happened and that was the final straw. Because at that moment I just wanted it all to end. TOSHIKO (PRE-LAP, from comm.) : Owen. Owen closes his eyes. INT. MAIN HOUSE – PARKER'S BEDROOM – CONTINUOUS Owen's head is down on Parker's chest. The Pulse is glowing dangerously bright next to him. TOSHIKO (from comm.) : Owen, can you hear me ? Owen doesn't respond. INTERCUT WITH : INT. THE HUB TOSHIKO (firmly) : Owen, come in ! Owen stirs. OWEN (mumbles) : Yeah, yeah, I'm here. TOSHIKO : The device ? Is it doing anything ? (Owen glances at the Pulse). Because the energy levels coming from it are... Owen ? It's going off the screen. INTERCUT WITH : The bright light on Toshiko's monitor grows brighter and brighter with waves of energy emitting from the source. TOSHIKO : It's going to explode ! INTERCUT WITH : JACK : Tosh ? What can we do ? TOSHIKO : Nothing ! There's nothing ! Gwen and Ianto head toward Toshiko. Owen reaches for the Pulse. He's strangely calm about it. OWEN : It's okay. I'm going to hold it. JACK : Owen, what are you doing ? OWEN (from comm) : See if I can absorb it. TOSHIKO : Owen, the energy reading's off the scale. You won't survive. Owen tucks the Pulse in the crook of his arm and cradles it close to his body. OWEN : It's okay. These things happen. MARTHA : There must be something we can do. OWEN (from comm) : Martha, Martha. MARTHA : Owen ? OWEN : If it destroys me, they're going to need a new doctor. You've got all the credentials : medical skills, a cracking arse. Toshiko, Gwen and Ianto listen. Everyone is quiet. He means it. OWEN : Jack ? If you even attempt to bring me back again. Gwen, Ianto, it was fun. Honestly, thank you. Tosh ? (Silence) Tosh ? Come on, answer me. TOSHIKO : Owen. OWEN : I'm sorry. b*at. TOSHIKO : I love you. Waves of colored light float out of the Pulse as it grows and ribbons out... reaching. Owen closes his eyes and holds onto the Pulse. The light continues to grow and reach out past Owen. EXT. ROOFTOP – NIGHT – PRESENT Owen and Maggie are up on the roof. MAGGIE : What happened ? OWEN : We all assume life's going to be shit, don't we ? That it's all just darkness. But you know what ? Sometimes, it's not. Owen gets off the wall. He kneels and opens his backpack on the ground. He takes out the Pulse. Bursts of ribbons of light continue to fluctuate out from the device. He turns and shows it to Maggie. She kneels to look at it, enraptured by it. MAGGIE : What is it ? OWEN : Do you remember in the '70s, NASA sent messages into space ? A map of our solar system, pictures of what we look like. It had images and voices, music. Even a bit of Chuck Berry. Well, this is a reply, not that we know who from. MAGGIE : What does it do ? OWEN : It sang to me. He holds it up to her. A ribbon of light reaches out from the device. It floats and waves back and forth between them. OWEN : It's a glimmer of light in the darkness. See ? Sometimes it does get better. They take a moment and watch the light. CUT TO : EXT. CARDIFF CITY LIGHTS (STOCK) – NIGHT EXT. THE PLAZA – NIGHT Jack, Owen and Martha get out of the SUV. Gwen and Ianto join them. Owen turns and helps Martha out of the back seat. OWEN : Well, I'm sorry, Dr. Jones. No vacancies in Cardiff just yet. MARTHA : That's okay. I reckon you're... I was going to say "fine", but you're a hell of a lot more than that. OWEN : Thank you. For everything. Owen kisses Martha on the cheek. He gives her a hug. JACK (interrupts) : Oi ! Jack smiles. MARTHA : That's what I'm here for. Martha goes over to Gwen, who gives her a hug. GWEN : You take care. MARTHA : Okay. Martha gives Ianto a kiss on the cheek. She turns to Jack. MARTHA : Well, it's been... interesting. JACK : Oh, it's been fun. (Soft) You know it has. Martha surprises Jack and kisses him. She steps back and he looks at her curiously. MARTHA (chuckles) : Well, everyone else has had a go. He cups her cheek and looks at her seriously. JACK : You can so come back anytime. MARTHA : Well, maybe I will. One day. She taps her fingers to her forehead in a salute. Jack salutes her. Martha walks away with her bag and case. INT. THE HUB – NIGHT Toshiko and Owen sit on the couch and talk. TOSHIKO : Promise me something. OWEN : What's that ? TOSHIKO : No more locking it all away. You tell me when it's bad. Share it with me. Okay ? OWEN (nods) : Okay. Tosh, I'm scared. I'm scared that if I close my eyes I'll get trapped, in the darkness. She holds onto his arm. TOSHIKO : I'm here. Owen thinks about it for a moment, then puts his hand on hers. She puts her other hand on his. CUT TO : EXT. SIDEWALK – NIGHT Owen is walking along the sidewalk. As he walks, something flutters to the ground right in front of him. He picks it up and finds that it's a folded photo of a man and woman. He thinks about it for a moment. Where could it have come from? He looks up and sees a young woman on the edge of the rooftop. OWEN (v.o.) : And that's when I saw you. EXT. ROOFTOP – NIGHT – PRESENT MAGGIE : I thought you came here to jump ? OWEN : No, I came here to help. He returns her folded photo back to her. She takes it and opens it. MAGGIE : What do I do now ? OWEN : You've got a choice. If you think that the darkness is too much, then go for it. But if there is a chance, just some hope. It could be having a cigarette, or that first sip of hot tea on a cold morning, or it could be your mates, if there's even a tiny glimmer of light then don't you think that's worth taking a chance ? Maggie's quiet. OWEN : What's your name ? MAGGIE : Maggie. Maggie Hopley. With his free hand, Owen holds Maggie's hand. In his other hand, he's holding the Pulse which has now blossomed with even more ribbons of light. OWEN : Well, Maggie, it's up to you. Your choice. (Owen looks at the Pulse). Do you still want to jump ? They stand there together. OWEN (v.o.) : My name is Owen Harper and this is my life. The ribbons of light reach out and grow from the Pulse. It zooms out, twists, curls and reaches out toward the city. END

{"type": "series", "show": "Torchwood", "episode": "2x08 - A Day In The Death"}

foreverdreaming

JACK HARKNESS (v.o.) : Torchwood. Outside the government, beyond the police. Fighting for the future on behalf of the human race. The 21st Century is when everything changes... and Torchwood is ready. FLASH TO : PREVIOUSLY ON INT. THE HUB – BACK CORRIDOR Jack runs his thumb along the engagement ring on Gwen's finger. He lifts her hand up. JACK : What's this ? GWEN : That's an engagement ring, that is. JACK : You're getting married ? GWEN : Yes, Rhys asked. JACK : And you said yes ? GWEN : Well, no one else will have me. I need s*ab, Jack, someone I can rely on. INT. BAR / CLUB – NIGHT LEGEND : FRIDAY NIGHT Music : "Filthy Gorgeous," by Scissor Sisters. Music pulses through the crowded club. A group of three women in red shirts and pink furry cowboy hats are holding their drinks and moving to the music. CARRIE (glancing at her watch) : Oh, it's the service she's meant to be late for, not her hen do. Where is she ? Gwen walks into the club across the room. TRINA (points) : Here she is ! GIRLFRIENDS (sing loudly) : Here comes the bride, looking for a ride. Here comes the bride, and she'll take it up the aisle ! CARRIE : Ey, thought you'd bottled it. GWEN : No, I had a lot on at work. CARRIE : Oh. CUT TO : EXT. STREET – NIGHT (EARLIER) LEGEND : 2 HOURS EARLIER Gwen is running on the sidewalk. OWEN (from radio) : Careful, Gwen... INTERCUT WITH : INT. HUB – WORKSTATIONS – NIGHT (EARLIER) Owen is at the computer. OWEN :... this thing eats people. EXT. STREET – NIGHT (EARLIER) Gwen has her g*n out and starts down the substation stairs. INT. BATHROOM – NIGHT (EARLIER) She makes her way down the stairs and enters the bathroom. She starts between the stalls, kicking the doors open to check each one. An older man in a suit steps out of one of the first stalls, startling Gwen. He's strangely calm. Gwen has her g*n on him. She puts her g*n down. GWEN : Oh, sorry, love, on your way. The man's eyes are red and he snarls at her, baring his pointed, blackened teeth. He holds his hands up as claws and starts toward her. Gwen fires multiple times, hitting him square in the chest. The man turns and runs out. Gwen starts after him. EXT. STREET – NIGHT (EARLIER) The shape-shifter runs out of the substation bathrooms. He's no longer the older man, but a young man. GWEN (v.o.) : Jack, it's a shape-shifter ! Gwen exits the substation bathrooms. GWEN (v.o.) : He could look like anyone now, but he's leaving a trail of black blood. She looks around. The shape-shifter is running down the sidewalk, his hand clutched to the wound in his side. GWEN (to mic) : He's changed but it's definitely him. He's heading towards Trinity Street. Gwen runs after him. INT. BAR – NIGHT Gwen is in her red shirt and pink fuzzy cowboy hat. She's munching on a bag of chips. GWEN : So, is there anything to eat tonight, or is it just booze all the way ? TRINA : Booze, blokes, bopping and booze ! The brunette girlfriend signals to someone behind Gwen. OFFICER (STRIPPER) (o.s.) : Gwen Cooper... Gwen turns around. A stripper dressed as an officer steps up to her and tosses his hat aside. OFFICER (STRIPPER) :... you're nicked. GWEN (eyes wide) : Oh, no. As the girlfriends laugh, the stripper rips his shirt and pants off revealing a red dildo peering out of hot pink Speedos. CUT TO : EXT. STREET – NIGHT (EARLIER) Gwen runs up the steps and exits the sidewalk through an open iron gate. She slows, her g*n out. MAN (o.s.) : All alone ? Gwen whirls around. MAN (o.s.) : Quick, through here. She looks behind her, doing a 180-degree turn. Suddenly, the shape-shifter bursts out through the bushes. He's younger and dark-haired, red-eyed and rotten teeth, and snarling at her. He grabs her, catching her off guard and tackles her down to the bags of trash and boxes behind her. GWEN : Ahh ! A cat screeches off screen. The shape-shifter is above her. She grabs his neck, pushing him back. He snarls and screeches above her. With one hand, she reaches blindly for the g*n near her head. INT. BAR – BATHROOM – NIGHT Gwen and her girlfriends are in the bathroom, giggling and washing their hands. GWEN : This is such a bad idea. I'm getting married in... like, what, what... thirteen hours ! She lifts up her left arm to look at her watch. We note that her forearm is wrapped in a fresh bandage, there are a couple of splotches of blood already seeping through the gauze. The girls burst into more giggles and laughter. Gwen looks at herself in the mirror. GWEN : Oh, look at me ! Hot. She dabs her forehead with her wrist. CARRIE : Oh, you're gorgeous. Rhys is so lucky. TRINA : Oh, I know. (She looks at the brunette girlfriend). I've heard about his cock ! The two girlfriends burst into laughter. Gwen stares at them with wide eyes. CARRIE : What have you done to your arm ? She nods to the bandage on Gwen's arm. EXT. STREET – NIGHT (EARLIER) The shape-shifter grabs Gwen's left arm and bites down hard on her forearm. GWEN : Ahh ! Ahh ! Get off ! Gwen screams and pushes him away from her. She grabs her injured arm. The shape-shifter slams back against the wire gate. He's sh*t multiple times in the chest. Gwen looks behind her and sees Jack. The shape-shifter screeches and falls to the ground. Jack runs up to Gwen. She holds her right hand out to him and he helps her to her feet. JACK : You all right ? GWEN : Yeah. He looks at her injured arm. JACK : Owen should take a look at that. INT. BAR – BATHROOM – NIGHT Gwen looks down at her injured arm. GWEN : Um... nothing, it's just a scratch. Gwen smiles at Carrie, who smiles back. CUT TO : INT. GWEN'S PLACE - MORNING CUT TO : CLOCK. It's 7:00. The alarm beeps and radio switches on. Gwen gets up with a start. She slams the alarm off. LEGEND : SATURDAY MORNING Gwen groans and rubs her aching head. GWEN : Aw... Gwen. GWEN'S BLURRY POV She looks at her wedding dress hanging on the closet door and FOCUSES on the dress. Gwen smiles and clasps her hands together in glee. It's her wedding day ! RADIO (softly in b.g.) : For you and as the time's flying by I just pray to God... Gwen flings the covers aside and sits up on the edge of the bed. She stops and turns slowly to look at her reflection in the mirror. She stands up and shows her protruding and very pregnant belly. Her jaw drops and eyes open wide... GWEN : Oh... Opening credits INT. GWEN'S PLACE – BEDROOM – MORNING Owen is examining Gwen's protruding and very pregnant belly with his stethoscope. OWEN : Gwen ? GWEN : Hm ? OWEN : You're pregnant. Almost full term. GWEN : Pregnant ? (Owen nods). That's not possible. The front door slams shut. Jack appears in the bedroom doorway. Owen quickly removes his stethoscope. JACK : How you doing, Gwen ? GWEN : Jack, will you tell me what's going on ? Owen says I'm pregnant. A device Owen's holding is beeping. JACK : Oh, you think ? GWEN : Jesus Christ ! What with ? OWEN : It's an exo-biological insemination. JACK : That alien last night. GWEN : Oh, get off ! She pushes Owen away from her and surges to her feet. She's moving past Jack and out the bedroom door. GWEN : It bit me, Jack. That's all. Owen turns to look at Jack. Jack rolls his eyes. GWEN (o.s.) : Ugh ! They both leave the room and follow Gwen. INT. GWEN'S PLACE – LIVING ROOM – CONTINUOUS Gwen is in the kitchen pouring herself a glass of water. Jack and Owen walk in. JACK : Passed the eggs on in the bite. Some species do that. A kind of sneaky way of keeping the bloodline going. Boy, would Darwin have a field day if he'd made it to space. GWEN : Mmm. Yeah. Great. OWEN : Listen, Gwen, you are going to be fine, I promise, okay ? If there was any biological incompatibility you would be d*ad. Gwen opens the refrigerator and reaches for something to eat. Owen takes out his scanner. Now, according to this scan you're carrying a non-sentient blastopheric mass. GWEN : A what ?! She opens the jar of pickles and starts eating. OWEN : It's a kind of alien egg. But don't worry... I'm going to look after you, I promise. We've got procedures for this situation. GWEN : You mean, this has happened before ? JACK : You've heard of immaculate conception, haven't you ? Well... OWEN : Right, we take you back to the hub. You lie back, I run a bio-xenic microtron, a couple of days off your feet, and you'll be right as rain. GWEN : Whoa, a "couple of days" ? In five hours I'm walking down the aisle, Owen ! JACK : No, you're not. OWEN : Gwen, I hate to say this, but you're going to have to postpone the wedding. GWEN : No ! N-no way. Have you any idea how much a wedding costs ? JACK : Listen, Gwen, you are not carrying the baby Jesus in there. GWEN : I don't care ! All right ? I can't put Rhys through this. He's had to put up with enough as it is, okay ? So I'm not postponing the wedding. JACK : You are not thinking straight. GWEN (shouts) : Do not bring my bloody hormones into this, Mr. Jack Harkness ! Points. JACK : Okay, calm down. GWEN : Owen has said if this wasn't safe, I would know about it by now, right ? OWEN : As far as I know, yeah... GWEN : Okay, so I am good until after the wedding. And then I'll do whatever I have to do. Once I'm Mrs. Williams. Not before. CUT TO : INT. THE BACHELOR PAD – MORNING Rhys's phone is on the floor as it rings. Rhys reaches for the phone. He's on the couch and still sleeping. RHYS (to phone) : Hello ? INTERCUT WITH : INT. GWEN'S PLACE – BEDROOM – CONTINUOUS Gwen is on the phone as she paces the floor. GWEN (to phone) : Rhys ? RHYS (to phone) : Gwen ! (Sits up, chuckles). Morning, lovely. Don't worry... (Throws a stuffed animal, hitting Banana Boat on the head and waking him up. Rhys stands up). Banana... Boat's on the, on the phone to the florist right now, checking the button holes. GWEN (to phone) : Oh, he showed up, then ? RHYS (to phone) : Uh, yeah, yeah. Uh, Lanzarote cops let him go with a warning. GWEN (to phone) : Rhys, I need to see you. RHYS (to phone) : It's bad luck before the wedding. Rhys looks at his reflection in the mirror and his smile and good cheer fade quickly. RHYS (flatly) : What's happened ? CUT TO : INT. THE HUB – WORKSTATIONS – MORNING The hub alarms sound and door closes. Jack and Owen return. Toshiko is at her workstation. TOSHIKO : How is she ? OWEN : She's going ahead with the wedding. JACK : Which is fine, as long as she doesn't go into labor at the altar. (Ianto enters). Rhys might forgive her going down the aisle pregnant, but not giving birth to a razor-toothed monster that eats half his family. IANTO : Could that happen ? OWEN : Well, look, the pregnancy's advanced and we're not familiar with the species. JACK : Which is why you, Owen, need to open up the guy with the teeth and make sure there's no surprises. OWEN : I'm on it. Owen heads out. JACK : Tosh, you've got an early pass to the wedding. (Toshiko smiles). Keep an eye on Gwen. Ianto... IANTO : Jack ? JACK : Gwen's going to need a new wedding dress. Bigger. Ianto turns and heads out. CUT TO : INT. GWEN'S PLACE – LIVING ROOM Gwen waits in the kitchen for Rhys to arrive. Off screen, the front door slams shut. RHYS : Gwen ?! (Rushes through the hallway). What is it ? You've got me going out of my head. (Enters living room). Don't tell me you're having second thoughts. GWEN : No, I'm not. Gwen shows him her very pregnant belly. Rhys is speechless. Gwen points to her belly and shakes her head. CUT TO : INT. BRIDAL SHOP – DAY Ianto looks through the wedding dresses on the rack. He removes one and holds it up against himself as he looks at his reflection in the mirror. The shop assistant walks up to him. SHOP ASSISTANT : Can I help you ? IANTO : Yeah, I'm looking for a wedding dress for a friend. SHOP ASSISTANT : Of course you are, sir. You'd be surprised, we're quite used to men buying for their... "friends". CUT TO : INT. GWEN'S PLACE – LIVING ROOM RHYS : Bastard Torchwood ! GWEN : I know. RHYS : Bastard Torchwood ! GWEN : I know. RHYS : Pregnant ! (Shouts). You're pregnant ! GWEN : Sorry, out of everything that could have screwed things up... I really don't know what to say. RHYS (shouts) : You don't have to say anything, all right ! Gwen stares at him. RHYS (quiet) : Sorry. It's not your fault. (Riled up again). It's them ! It's Jack ! It's not like he didn't know you were getting married today ! Why the hell did he have to send you out last night ?!GWEN (shouts) : Because it's my job ! RHYS : Well, are you going to be all right ? GWEN : I'll be fine. They'll take me to the hub. Owen's got this... uh... big machine... thing. RHYS : Good. GWEN : Yes. RHYS : Right, um... look, I'll... uh... I'll get Banana to start ringing people. Um, we'll tell everybody you're ill. Uh, appendicitis or something... GWEN : We're not postponing the wedding. No way. RHYS : Forget the money, I want you where they can look after you, right ? (Voice quivers). Getting married today doesn't matter. GWEN : It matters to me ! It's not about the money, Rhys. I want to marry you ! Today. Whatever happens. If the skies are suddenly fill full of spaceships, or an army of weevils climb out of the drains on St. Mary's Street, you fool ! (She hits him with the dish cloth).Do you not understand what I'm saying, Rhys Williams ? All I want to do today is marry you,that's all I want to do. Touched, Rhys hugs Gwen and holds her tight. GWEN (gasps) : Ooh, uh... CUT TO : INT. HUB – AUTOPSY AREA – DAY Owen opens the white body bag and exposes the sharp-toothed shape-changer inside. Toshiko walks in and pauses on the steps. TOSHIKO : Um, Owen ? OWEN : Woot-woo. Look at you. She's in a purple dress with hair up and ready to go to the wedding. TOSHIKO : Do you like it ? OWEN : Drop-d*ad gorgeous, Tosh, and I think I speak with some authority. He turns to get forceps. Toshiko walks down the steps into the area. TOSHIKO : I don't really get a chance to dress up much. What are you wearing ? OWEN : The truth is, Tosh, weddings have never really been me, either. Love 'em and leave 'em. That was me. TOSHIKO : Owen, you should come, could be fun. OWEN : Have you ever seen a d*ad man dance ? TOSHIKO : I've seen Fred Astaire in Easter Parade. Twice. Late night TV. OWEN : God, you need a date, don't you ? Which this isn't, is it ? TOSHIKO : No, Owen, it isn't. I just want you to come to the wedding. Please. OWEN : Oh, all right, I'll... dig out my dancing shoes. She smiles and heads out. Owen turns his attention to the body. CUT TO : INT. GWEN'S PLACE – DAY Gwen talks with her parents, Geraint and Mary Cooper. GERAINT COOPER : I know it's been a while, duckling, but, um,... we... uh... never dreamed this. GWEN : Rhys and I wanted it to be a surprise for you. MARY COOPER : You're always full of them, but, well, this beats them all. GERAINT : Is this why you haven't come to see us ? All those cancelled visits ? GWEN : No. No, Dad, don't be silly. It's my job. MARY : This mysterious job. All the same, Swansea's not another planet. GWEN : Mmm. GERAINT : You could have phoned, duckling. GWEN : I'm sorry. MARY : Oh, don't be sorry, Gwen. I can't wait to see the look on Rhys's mum's face. (She laughs as she gets up and gives Gwen a hug). It's wonderful news, Gwen ! Your dad's been going blue, holding his breath, waiting for a little grandchild. CUT TO : EXT. CARDIFF BAY AREA (STOCK) – DAY Clear skies, lovely view. Perfect day for a wedding. EXT. HOTEL (STOCK) – DAY Large hotel out in the country. EXT. HOTEL – FRONT – DAY The car pulls up front and stops. The door opens and Geraint Cooper gets out. He holds the back door open as Gwen gets out of the back seat. CUT TO : Gwen and her mother head for the hotel as Geraint helps unload the back of the car. CUT TO : INT. HOTEL – LOBBY – DAY – CONTINUOUS Gwen signs the registration book at the front desk. Geraint and Mary stand in the back of the room behind Gwen. GERAINT COOPER (whispers to Mary) : I was with Rhys and his mates all night last night. (Gwen removes her jacket). No one said anything about Gwen being pregnant. MARY COOPER : Well, Rhys was probably under orders. Gwen knows how to control her men. GERAINT COOPER : Studied under the mistress. Mary looks at him and they share a smile and soft laugh. The front door slams closed. Brenda and Barry Williams enter. MARY COOPER : Oh, there's Rhys's mum and dad. GERAINT COOPER : Brenda. Brenda nods to them. Gwen turns away as they enter. BRENDA WILLIAMS : Geraint. GERAINT COOPER : Barry. BARRY WILLIAMS : Hello. MARY COOPER (hugs and faux kisses Brenda) : Lovely to see you, Brenda. BRENDA WILLIAMS : What a lovely outfit. Such a brave choice for you. MARY : And you were so made for green. GERAINT : Big day at last. BARRY : How's the bride ? GERAINT : Well... They turn to look at the front desk and find Gwen gone. They look around. Gwen's nowhere to be seen. Mary looks at Geraint. GERAINT : Um, maybe there's something we should... uh... talk about... BRENDA : Oh ? CUT TO : INT. HOTEL – RHYS'S ROOM – DAY Rhys opens the door and finds Gwen standing out in the hallway. RHYS : Gwen ! She walks in. GWEN : This isn't going to work, Rhys ! He closes the door behind her. GWEN : We haven't thought this through properly. I mean, what about after the wedding ? RHYS (sighs) : I've been thinking the same. GWEN : My mum and dad think that they are getting a grandchild. (Rhys nods). Your mum and dad are going to be thinking the same thing. They're going to be excited, they're going to be planning things. I can't tell them I've lost a baby. They'll be devastated. RHYS (reaches for her hand) : We could tell them the truth. GWEN (backs away) : Whoa... talk sense now, Rhys. RHYS : Well, the lies don't work, Gwen. Remember ? You tried it. GWEN : What do you think the truth will do to them ? We've seen what comes through the rift. I don't want my mum and dad living in fear of what's prowling around in the sewers ! Gwen's phone rings. GWEN : I'm sorry. She answers it and steps away from Rhys. GWEN (to phone) : Hey, Jack. INTERCUT WITH : INT. THE HUB – JACK'S OFFICE – DAY JACK (to phone, smiles) : Hey. How are you doing ? Gwen sits on the bed. GWEN (to phone) : Oh, you know, so far so good. JACK (to phone) : Look, I just wanted to let you know Tosh will be with you anytime. Call it moral support. GWEN (to phone) : I don't need a baby-sitter. Rhys holds out his hand for the phone. RHYS : Give it here. He snaps his fingers and takes the phone from her. RHYS (to phone) : We don't need you at all, Jack ! You've already done plenty to mess up today. Do us both a favor and keep well out of it, yeah ? JACK : Yeah, I hear you, Rhys. Look, still, congratulations... Rhys hangs up. The line disconnects. Jack pulls the phone away from his ear and looks at it before closing it. Rhys closes the phone. GWEN : It's not his fault. Rhys is silent and still fuming. CUT TO : INT. HOTEL – LOBBY – DAY A blonde-haired woman dressed in black walks down the main stairs and turns to exit to the left. The bridal party walks in through the front door. CARRIE : Oh, this is nice, isn't it, Trina ? TRINA : Class on toast. Eh, you should get a brochure, Mervyn. If some poor girl ever gets drunk enough to marry you. Trina and Carrie laugh. MERVYN : Uh, yeah, that's, that's funny. I tell you what, it's going to take more than a swanky hotel to get a catch like me down the aisle. Banana Boat comes down the main stairs and joins them. The women turn to sign in at the front desk. BANANA BOAT : And here's mad Mervyn, the Minister of Sound ! MERVYN : Well, the Duke of Disco, the Regent of Rock and the Lord of Love. BANANA BOAT : Whatever you say, mate. Listen, do you want a hand with the decks and the lights ? MERVYN : Aye, but, uh... (Looks at the women signing in). I tell you what, reckon I'm up for a bit of a Mervyn sandwich later, huh. Banana Boat chuckles. Mervyn leaves. Banana Boat turns and promptly loses his ability to speak as he sees Toshiko walk in carrying a large dress box. BANANA BOAT : Woah. All right, love ? You've got a big box. Do you want a hand with that ? TOSHIKO : Uh. No, thank you. I'm fine. Toshiko makes her way toward the front desk. BANANA BOAT : Are you going to the wedding ? TOSHIKO : I'm a friend of Gwen's. BANANA BOAT : Well, I'm Banana. I suppose you can tell why. TOSHIKO : You come up in spots and go soft quickly ? She puts the dress box down on the front desk. BANANA BOAT : I'm actually the best man. TOSHIKO : Evolution is full of surprises. BANANA BOAT : I get to check everything personally, right. Uh, the disco, cake, flowers, seating. TOSHIKO (to front desk) : Bridal suite ? FRONT DESK (o.s.) : First floor, on your left. BANANA BOAT : So do you fancy a little drink later ? Toshiko picks up her box and heads up the main stairs. Banana doesn't follow her. TOSHIKO : Sorry, I'm intolerant to vasoactive amines. BANANA BOAT : Huh ? TOSHIKO : Bananas make me vomit. Toshiko walks up the stairs. Banana puts his hands in his pockets and walks off to the left. INT. HOTEL – BAR – CONTINUOUS Banana Boat enters the bar area, walking up to Mervyn, who is hanging his jacket on the back of the chair. He turns and looks at the blonde-haired woman in black at the bar. She looks back at him. Mervyn turns and eyes Banana Boat. Mervyn rubs his hands together and walks up to the woman in black. MERVYN : Now, a looker like you must be on the bride's side. I don't think they've got your sort of style in Rhys's family. WOMAN IN BLACK : I like to put on a show. CUT TO : INT. HOTEL – HALLWAY / BRIDAL SUITE Gwen opens the door and finds Toshiko and the large dress box out in the hallway. TOSHIKO : Hi. GWEN : Hi. TOSHIKO : Jack sent me over with this. CUT TO : Gwen opens the dress box and finds the wedding dress inside. Toshiko sits in the nearby chair watching her. GWEN : It's beautiful. TOSHIKO : And, I don't blame you for telling Jack and Owen to stick a postponement. I think it's wonderful you're getting married, whatever. GWEN : Tosh, thank you. TOSHIKO : Very lucky. GWEN : Yes. Gwen looks at Toshiko and sees her looking down, sad. GWEN : You know, Tosh, it'll happen for you, one day. There's always Owen... TOSHIKO : I don't think so. "In sickness and in health, till death do us part" ? That's going to sound like a bad joke, isn't it ? Toshiko stands up. TOSHIKO : Um, I'll let you get on. If you need me, I'll be downstairs. Good luck. GWEN : Thank you. She heads out. Gwen turns back and looks at the dress. TOSHIKO (o.s.) : Thanks. CUT TO : INT. THE HUB – JACK'S OFFICE Jack flips through the booklet with dresses in it. He sees one he likes. JACK : No, I like that one. (He turns to Ianto, who is looking over his shoulder). Good choice. IANTO : I estimated Gwen's size from the hub security laser scans. (Jack nods). As you know, my dad was a master tailor. He could size a man's inside leg measurement by his stride across the shop threshold. JACK : Ah, the family eye. Remind me to test it some time. IANTO : Well, if... uh... later on... Owen bursts into the office. OWEN : Jack. IANTO : Yeah, brilliant, like that one. OWEN : We've got a problem. CUT TO : INT. THE HUB – AUTOPSY AREA Owen pulls out a large gland covered in black stickiness from the metal pan. He shows it to Jack and Ianto. OWEN : Look what our friend was hiding. IANTO : And that is ? OWEN : A proteus gland. The shape-shifting organ of a Nostrovite. IANTO : And what is that, exactly ? JACK : Trouble. Owen drops the gland back into the pan. It sticks to his fingers. JACK : Big trouble. CUT TO : INT. HOTEL – BAR – DAY Mervyn is putting a red corsage on the blonde woman's black dress. MERVYN : No good-looking woman should be at a wedding without a flower. He accidentally sticks her with the pin. WOMAN IN BLACK : Ouch ! MERVYN : Oh. Bugger. Sorry. The woman dabs at the cut with her bar napkin. MERVYN : Can I get you another drink ? WOMAN IN BLACK : Actually, do you feel like getting a bite ? She smiles at him. He smiles as she takes him by the hand and leads him out of the bar. Toshiko watches them leave. She gets up and goes to the bar with her empty glass. TOSHIKO (to the bartender) : Another spritzer, please. As she waits for her refill, she looks down at the bar napkin. It's spotted with black blood. She rushes out of the bar. CUT TO : INT. HOTEL – BRIDAL SUITE – DAY Gwen is sitting cross-legged on the bed. There's a knock at the door. She opens the door and finds her two bridesmaids, Trina and Carrie, there. GWEN (smiles) : Hey, oh. Trina pushes the door open to get a good look at Gwen's pregnant belly. She gasps. GIRLFRIEND (o.s.) : My God ! It's true ! Gwen whistles. There's no hiding it now. GIRLFRIEND (o.s.) : But how ? CUT TO : INT. HOTEL – MERVYN'S ROOM – DAY Mervyn is on the bed. The Woman in Black is on Mervyn. They're laughing. The Woman in Black pushes Mervyn roughly backward on the bed. She rips his shirt open, pushes it up and works on undoing his belt. MERVYN : Steady on, girl. I'm on stage later. The Woman in Black puts her head down. INTERCUT WITH : INT. HOTEL – HALLWAY OUTSIDE MERVYN'S ROOM – CONTINUOUS Toshiko makes her way down the hallway. She pauses by one of the room doors and listens. At the other end of the hallway, Banana Boat sees her. BANANA BOAT : Hey, baby, if you're looking for my room, you just passed it, mind. TOSHIKO (quietly) : I'm not. And don't call me "baby". She walks past him. He turns and follows her. BANANA BOAT : So what shall I call you, then ? "Beautiful" ? She quickly turns, grabs his arm, twists it behind him as she slams him up against the wall. He grunts. TOSHIKO (irritated) : Don't call me anything. Don't say anything. INT. HOTEL – MERVYN'S ROOM – DAY Mervyn is lying back on the bed with a huge smile on his face as the Woman in Black is all over him. She snarls and reaches a monstrous-clawed hand up toward his mouth. She bites down hard on him. Bones crunch. Mervyn screams. She continues to bite down on him. INT. HOTEL – HALLWAY OUTSIDE MERVYN'S ROOM – CONTINUOUS Toshiko hears the screams. She lets Banana Boat go and takes out her g*n. She cocks it and backs away from him toward Mervyn's room. Banana Boat raises his hands. TOSHIKO : Don't move ! He turns to face the wall as Toshiko turns the corner. INT. HOTEL – MERVYN'S ROOM – DAY The Woman in Black is applying fresh lipstick. Toshiko kicks the door in, her g*n up and pointed at the Woman in Black. She sees there's a lot of blood on the bed. TOSHIKO : What have you done with him ? She takes a couple of steps into the room and sees the remains of the body on the other side of the bed. Banana Boat enters the room behind Toshiko. BANANA BOAT : What the hell is going on ? She turns around, distracted. The Woman in Black gets up and punches Toshiko in the face, knocking her down. She grabs Banana Boat's neck and pushes him up against the open door. WOMAN IN BLACK (NOSTROVITE) : You're lucky, I'm watching my figure. But maybe I'll keep you for tea. She pulls him into the room. INT. HUB – JACK'S OFFICE Jack walks into his office. Ianto and Owen follow. JACK : A Nostrovite is a shape-shifting carnivore with a taste for human flesh. It's intelligent and sneaky and... dammit, I should have seen this before. Ianto opens the desk drawer and takes out Jack's holster and g*n. OWEN : That's it with shape-shifters, innit ? You never know what you're looking at. IANTO : What's the big deal ? It's d*ad. OWEN : Yeah. This one is. IANTO : Oh, does there have to be more ? Owen takes his lab coat off. OWEN : Nostrovites mate for life. You know, like swans and penguins. Ianto helps Jack with his jacket. JACK : Yeah, except you don't find Nostrovites on greetings cards. OWEN : Right, and then the male Nostrovite carries the fertilized eggs in a sac in its mouth and passes it on to a host with a bite. Jack heads for the door. JACK : Gwen. IANTO : And where does the mother come in ? OWEN : Well, she tracks down the host, and rips it open. JACK : That's Nostrovite childbirth. And momma's out there right now, looking for Gwen. Come on. Jack, Ianto and Owen head out. CUT TO : INT. HOTEL – LOBBY – DAY Gwen crosses the lobby floor just as the Woman in Black, the female Nostrovite, comes down the main stairs. We hear the sounds of a heartbeat. Gwen heads up the stairs. As she approaches the Woman in Black, she gasps and doubles over. GWEN : Oh ! WOMAN IN BLACK : Are you all right ? GWEN : Oh, yeah, yeah. It was just a twinge. WOMAN IN BLACK : He'll be flexing his muscles. Not long to go now. Gwen continues up the stairs. The Woman in Black watches her go. CUT TO : EXT. MILLENNIUM CENTRE – WATER TOWER – DAY Jack stands in front of the water tower, probably on the chameleon block and waits as the Torchwood SUV drives up to him. Owen comes running with a backpack just as Ianto pulls up in front of Jack. Jack steps down and opens the door. JACK : Tosh isn't responding. OWEN : Then let's get going. Owen opens the back door. JACK : Sure you're ready for this, Owen ? You know what a Nostrovite can do... you think you got it covered a hundred feet away, and it's already chewing on your liver. OWEN (checks a syringe) : I don't need my liver. You need me, Jack. Owen opens his backpack and Jack sees the singularity scalpel inside. JACK : Whoa-whoa-whoa-whoa ! The singularity scalpel ? Where are you going with that ? Owen zips up his backpack. OWEN : Right. We need to get to Gwen before the Nostrovite does. We might not have a chance to get back to the hub and the microtron weighs about two tons. IANTO : Uh, that thing kills people. OWEN : I saved Martha with it. JACK : Lucky sh*t. OWEN : Listen, you two, you'd better start trusting me, okay ? I've been working on it, and I reckon I've got it sussed. Besides, with that Nostrovite around, we really don't have too many options. IANTO : He's got a point. JACK (to Ianto) : What is it with you ? Ever since Owen died, all you ever do is agree with him. Jack and Owen get into the SUV. IANTO : I was brought up never to speak ill of the d*ad, even if they still do most of the talking for themselves. JACK : Okay, Owen. But you better be sure you know what you're doing. The SUV drives away. CUT TO : EXT. HOTEL GROUNDS – DAY Lovely day. Beautiful gardens. INT. HOTEL – CHAPEL – DAY TRINA : Camouflage dressing ? I'm having her dressmaker's number. No way did Gwen look pregnant last night. The two bridesmaids walk down the aisle as they leave the ballroom. CARRIE : Oh, we must have had way too much to drink. TRINA : She was late, wasn't she ? CARRIE : Hmm. TRINA : We must have been out of our heads by the time she showed up. CARRIE : Oh, must have been, not to notice she was pregnant. Great night, or what ? INT. HOTEL – BRIDAL SUITE – DAY Mary Cooper adjusts the hem of Gwen's gown. She stands up and looks at Gwen's reflection in the mirror. MARY : You look like an angel. Gwen turns and looks at her mum. GWEN : Mum, I'm so sorry about this. MARY : Gwen, it's a baby. It's God's blessing. (She hugs Gwen). You will be a good wife, and a wonderful mother. And me and your dad, we'll always be there for you, and for our grandchild. (She gives Gwen an air kiss). I'll see you downstairs. I love you. She turns to leave. GWEN : Mum ? MARY (turns around) : Hmm ? GWEN (whispers emotionally) : I love you, too. Mary smiles at her. She turns toward the bathroom door as Gwen turns to look at her sideways reflection in the mirror. MARY : Hurry up, Geraint. And make sure you don't leave a wet patch ! Mary leaves. The toilet flushes and the bathroom door opens. The basin water runs. Gwen runs her hands over her large belly as she continues to stare forlornly at her reflection. She starts crying. Geraint steps out of the bathroom and looks at Gwen. GERAINT : Gwen ? What is it ? GWEN : I can't do this. I can't. (She turns around and looks at her dad). I can't lie to you and Mum, Dad. Dad, this baby isn't Rhys's. CUT TO : EXT. HOTEL GROUNDS – DAY Rhys is outside dialing on his cell phone. He's dressed for the wedding when his father, Barry, walks up to him. BARRY WILLIAMS : There's still no sign of Banana Boat ! RHYS : He'll be fine, Dad. BARRY : Listen, Rhys. Your mother says this wedding is becoming a nightmare. As if Gwen showing up pregnant wasn't bad enough. Now you are sure it's yours, aren't you ? RHYS : Dad ! I'm marrying her ! I love Gwen. Every atom of me loves Gwen, has done since the first time I laid eyes on her, okay ? BARRY : You loved Cerys Morgan once. RHYS : I was twelve years old ! BARRY : Still no Banana Boat. Rhys shakes his head. CUT TO : INT. HOTEL – MERVYN'S ROOM – DAY Toshiko stirs. Squishy sounds ensue with every movement she makes. She groans and it looks as if she's fused to Banana Boat; his head is on her shoulder. TOSHIKO : Get away from me. Banana Boat is awake and he's just as stuck to her as she's stuck to him. They're both wrapped tightly in black stuff. BANANA BOAT : Well, I wish I could, love. Toshiko struggles and looks around. BANANA BOAT : Don't bother, I've tried. We're stuck fast. The thick black stuff is wrapped tightly around them, over the bed and to the bedposts. TOSHIKO : I can't believe it. Can you at least move your hand ? b*at. TOSHIKO : Away ! CUT TO : INT. HOTEL – BRIDAL SUITE – DAY Gwen talks with her father. GERAINT COOPER : If there's another man, if you don't want to go through with the wedding, it's... it's all right. We'll sort things out. GWEN : There isn't another man. GERAINT : But you said. GWEN : Please listen. (She takes his hand). Cardiff is in the middle of a space-time rift. GERAINT : A what ? GWEN : I work for an organization that controls what comes through it. GERAINT : Comes from where ? GWEN : Other planets. Other dimensions. (Kneels in front of him). Aliens, Dad. I'm talking about aliens. That's what I do, Torchwood. We're called Torchwood. We hunt down aliens that come through the rift. She nods at him, waiting for a reaction. GERAINT (gasps) : Oh, my God. She shows him her bandaged arm. GWEN : Look, one bit me last night, don't ask me to explain, I can't. I'm pregnant. Rhys isn't the father. It's an alien. She points to her belly. GWEN : It's an alien. He looks at Gwen. CUT TO : INT. HOTEL – CHAPEL – DAY Children are laughing and running around. Geraint heads back to join Mary, who is talking with a man. GERAINT : Hi. The man excuses himself. Mary turns to look at Geraint. GERAINT : Poor girl, this wedding's got her stressed to pieces. Thinks that baby of hers is an alien from outer space. MARY COOPER : What ? GERAINT : It'll be all right. Once we get through today. Brenda walks up join them. BRENDA WILLIAMS : Gwen seems to be taking her time. MARY : You remember how it is, Brenda. The bride likes to make an entrance. BRENDA : Maybe, but I wasn't late for my wedding. MARY : No. Barry might have got away. Mary walks away. Geraint discretely turns and leaves. CUT TO : INT. HOTEL – MERVYN'S ROOM – DAY Banana Boat and Toshiko are still stuck together on the bed. BANANA BOAT : If it comes back, it's going to k*ll us, innit ? TOSHIKO : Calm down. I've got friends. They'll find us. BANANA BOAT : Yeah, but what if they don't ? What if it comes back ? I mean, we're it's bloody pack lunch, in't we ? (Shouts). Help ! Help ! TOSHIKO : Shut up ! BANANA BOAT (ignores her) : Help ! Someone help ! TOSHIKO : If it hears you screaming, it'll come and shut you up... permanently ! BANANA BOAT (shouts) : Help ! Someone ! Help. Toshiko grabs him. BANANA BOAT : Oh-ohh ! TOSHIKO : That's enough, unless you want to start singing in falsetto. BANANA BOAT : Ah. Ow ! That really hurt. CUT TO : EXT. OUTSIDE – DAY The organ music plays, "Here Comes the Bride". INT. HOTEL – CHAPEL – DAY The audience stands up. The Woman in Black is seated in the audience. She turns and watches as Geraint and Gwen walk down the aisle. As Gwen passes by her, a heartbeat sound gets louder and louder. The audience gasps as they realize that Gwen is very, very pregnant. Brenda gets a good look at Gwen's belly and gasps. Mary smiles smugly. Geraint and Gwen reach the front with Rhys. Geraint stops and lifts her veil and kisses her on the cheek before taking his seat next to Mary. Gwen and Rhys smile at each other. The audience sits. Gwen and Rhys hold hands. REGISTRAR : Friends and family of Rhys and Gwen, we're here today to celebrate the marriage of two people... The heartbeat grows louder and louder as we hold on the Woman in Black. REGISTRAR :... a ceremony binding in law... CUT TO : INT. TORCHWOOD SUV (MOVING) – DAY Owen sits in the back seat as he fiddles with the singularity scalpel. OWEN : How much further ? IANTO : A few minutes. JACK : What I don't understand is, if people are going to make such a big deal about getting married, why come all the way out into the middle of nowhere, where no one can find you, to do it ? That, to me, suggests inner conflict. IANTO : It's because the happy couple want everything to be perfect. OWEN : An alien egg in your belly and its mother coming to rip you open. Yeah, perfect..; CUT TO : INT. HOTEL – CHAPEL – DAY The ceremony continues. REGISTRAR : Rhys and Gwen have chosen to solemnize their commitment before you... Pause on the Woman in Black. Heartbeat sounds grow louder and louder. REGISTRAR : But first the law requires me to ask of you all, if there is anyone here... The heartbeat sounds quicken. REGISTRAR :... who knows of any reason why these two may not marry ? Pause. JACK (o.s.) : Stop ! The door at the back of the room bursts open. The audience gasps and turns around. Gwen turns around. Rhys turns around. JACK : Stop it ! Jack runs into the chapel. JACK : Stop the wedding ! Jack runs up the aisle toward Gwen and Rhys. JACK : Hold on ! GWEN : Jack ? JACK : Gwen, believe me, I'm sorry. But this has to stop now. BRENDA (stands up) : I just knew that baby wasn't Rhys's ! RHYS (whispers) : What the hell are you doing here ? GWEN : Jack, I've told you, I am marrying Rhys ! JACK : Not now. You can't. RHYS : Butt out, Jack ! You've screwed things up enough between me and Gwen. You are not going to mess up our wedding ! JACK : Listen, I am trying to save Gwen's life. Yours, too. GWEN : What's going on, Jack ? CUT TO : INT. HOTEL – HALLWAY / MERVYN'S ROOM – DAY Owen rushes down the hallway, his g*n up. He cocks it and reaches the corner. Something beeps. He turns and checks around the corner. It's clear. IANTO : Shh. I've got a fix on Tosh's comms. Ianto is in front of him with the scanner. They start toward Mervyn's room. The scanner beeps. Ianto kicks the door in, his g*n out as he steps into the room. Owen is right behind him. They find Toshiko and Banana Boat tied together on the bed. Owen heads toward them. OWEN : Tosh ! Are you okay ? TOSHIKO : Just get me out of here ! Ianto checks out the rest of the room. BANANA BOAT : All right, mate ? I'm Banana. TOSHIKO : More like a gooseberry. IANTO (o.s.) : Owen. Owen sees the d*ad remains on the floor on the other side of the bed. OWEN : Oh, Jesus. That's disgusting. Owen and Ianto swap places. Owen goes to check out the remains while Ianto tries to free Toshiko. IANTO : I'll get you out of here. CUT TO : INT. HOTEL – BRIDAL SUITE – DAY The door opens. Gwen, Rhys and Jack walk in. GWEN : There were two of them ? JACK : Ma and Pa Nostrovite. They hunt in pairs. But childbirth is more of a... three-way. He finds and impregnates a host. She then comes in like the midwife from hell, hanging around, watching, waiting, until the time is right. Then it gets messy. Rhys closes the door. RHYS : So you think it's near ? JACK : She's a shape-shifter, Rhys. She could be out there making small talk with your mom and dad. CUT TO : EXT. HOTEL – GARDENS – DAY Trina and Carrie have a drink and walk through the gardens. TRINA : You reckon it's all over, then ? CARRIE : Some good-looking guy sweeps up the aisle and tells you to hold off on the confetti. What are you going to do, marry Rhys ? TRINA : So the baby's his, is it ? CARRIE : Didn't you see the look on her face when he showed up ? TRINA (nods) : Mmm. Carrie finishes her drink. CARRIE : Anyway, I'd better go and find Mervyn. Tell him not to bother getting George Michael out the back of the van. Carrie heads for the hotel. As she walks, she passes the Woman in Black, standing on the edge of the garden, waiting and watching the hotel. CUT TO : INT. HOTEL – BRIDAL SUITE – DAY Gwen is sitting on the bed as she talks with Jack. Rhys listens nearby. GWEN : We're not stopping the wedding. JACK : Gwen, there isn't a choice here. GWEN : Ever since I've met you, Jack, all Rhys has had to put up with, with me, is crap. The lies. The danger. The complications. But he's stood by me. Who else would do that ? (She stands up). Who else would marry me knowing that I am carrying some kind of monster inside me ? I love him, and I'm going to marry him, today. RHYS : Thanks. But it is my wedding, too. Don't I get a say ? Before Jack can answer, a woman screams. Jack runs out of the room. INT. HOTEL – MERVYN'S ROOM – CONTINUOUS Carrie is screaming at the sight of Mervyn's bloody remains on the floor. OWEN : That's all we need. Owen hurries over to the remains and removes his backpack as he kneels down next to it. Carrie continues screaming. She turns and runs out of the hotel room as Ianto and Toshiko watch. Jack runs into the hotel room through the open door. JACK : Ianto, after the girl. I need this contained. Rhys and Gwen enter the room as Ianto tries to get out. OWEN : Jack ! Rhys sees the remains and panics. RHYS : Oh, God ! I want Gwen out of here now, Jack ! TOSHIKO : Jack, I've seen the shape-shifter. It's a woman. She's in black. CUT TO : INT. HOTEL – CHAPEL – DAY The Woman in Black calmly walks down the aisle. Brenda turns to talk with Mary. BRENDA WILLIAMS : Do you know what's going on ? MARY COOPER : I'm in the dark, too, Brenda. BRENDA : The problem seems to be an American with no sense of timing or fashion. And your daughter ! Carrie screams as she runs in to the chapel entrance. Ianto runs in after her. CARRIE : Call the police ! Mervyn's been m*rder ! IANTO (to comm) : Jack, I'm afraid the situation is uncontained. INTERCUT WITH : INT. HOTEL – MERVYN'S ROOM – DAY JACK (to comm) : Okay, Ianto, get to the SUV, jam the phone lines. The last thing we need is someone calling the police. (To Toshiko) Tosh, you're with me. We'll find that woman in black. Gwen, Owen needs to operate, now. RHYS : I want Gwen safe Jack, now ! JACK : I want her safe, too, Rhys. So we do what I say ! GWEN : Rhys, Jack knows what he's doing, darling, okay ? JACK : Look, if we run, the Nostrovite will be waiting for us. And we're running out of time. GWEN : What's the plan, Jack ? Owen holds up his backpack. OWEN : I've got an idea. RHYS : Then I'm staying here, okay ? JACK : Fine ! Tosh, with me. Jack and Toshiko rush out of the hotel room. CUT TO : INT. HOTEL – CHAPEL – DAY Barry gets a busy signal on his cell phone. BARRY WILLIAMS : What the hell's going on here ? Geraint also has no success with his phone. GERAINT COOPER : I had a signal before. The wedding guests wait. The Woman in Black is seated back in her chair. JACK (shouts, o.s.) : Move ! Jack and Toshiko run into the room. JACK (loudly) : I need everyone to stay calm and do exactly as I tell you. BARRY : And who the hell are you ? JACK : Torchwood. GERAINT : Gwen's Torchwood ? You mean you're real ?! Toshiko looks around the audience and finds the Woman in Black. Toshiko's g*n is out. TOSHIKO : Jack ! There she is ! JACK (shouts) : Everybody down ! Jack cocks and raises his g*n. The female Nostrovite stands and turns, her eyes red and sharp teeth bared. Everyone screams and runs to get out of the way. Jack and Toshiko f*re. The female Nostrovite turns and jumps out through the window, shattering the glass and landing outside on the gravel. She runs out into the gardens. Jack jumps out of the window and chases after her. Toshiko follows. Geraint and Mary Cooper slowly get up. GERAINT : My God..! EXT. HOTEL – GARDENS – DAY – CONTINUOUS Jack and Toshiko run out through the other end of the gardens. They've lost sight of her. JACK : Damn, that thing's fast ! TOSHIKO : But it won't have gone far. JACK : Not without what it came for. Come on. They turn and head back. CUT TO : INT. HOTEL – BRIDAL SUITE – DAY Owen takes the singularity scalpel out of his backpack and starts fiddling with it as Gwen freaks. GWEN : That ? The singularity scalpel ? That is your idea ? OWEN : Gwen, it's cool. Believe me, okay ? I've done a lot of work on it since the whole mayfly business. RHYS : What is it ? GWEN : Alien medical apparatus... so Owen thinks. The machine hums. RHYS : Thinks ? There's a knock at the door. Owen moves quickly, standing up and taking his g*n out. He points it a the door. BRENDA (through door) : Rhys ? GWEN : That's his mother. That's Rhys's mother. BRENDA (through door) : Rhys, are you in there, Rhys ? Gwen picks up her bouquet and stands in front of the bed. Rhys goes to answer the door and Owen puts his g*n away. He nods to Rhys. Everyone looks clam. OWEN : Okay. Rhys opens the door and lets Brenda in. RHYS : Hiya. BRENDA : There's... there's a monster, Rhys. That American and the Japanese girl, they went after it. Owen heads out. OWEN (to Rhys and Gwen) : Stay here. Rhys closes the door. Brenda turns and looks at Gwen. CUT TO : INT. HOTEL – HALLWAY – CONTINUOUS Owen takes his g*n out and starts through the hallway. OWEN (to comm) : Jack, everything okay ? INTERCUT WITH : EXT. HOTEL – GARDENS – DAY Jack and Toshiko are headed back to the building. JACK (to comm) : It got away Owen. How's the patient ? OWEN (from comm) : Rhys and his mum are with her. Toshiko looks around and sees Rhys's mum talking with Mary. TOSHIKO : Jack ! (Jack turns around). That's Rhys's mum, there ! JACK : Come on. Jack and Toshiko hurry. Owen turns around and heads back to the bridal suite. CUT TO : INT. HOTEL – BRIDAL SUITE – DAY Gwen talks with Brenda as Rhys paces behind them. GWEN : This isn't Rhys's baby, Brenda. It's an alien. She moves her bouquet aside to indicate her belly. The door bursts open. Jack, Owen, Toshiko and Ianto step into the room with their g*n on Brenda. JACK : Get back, you ugly bitch ! RHYS : What the hell do you think you're doing ? That's my mother ! JACK : No. It's the alien. BRENDA WILLIAMS : I'm not an alien ! JACK : Oh, you're good, I'll give you that. BRENDA : But I'm not ! JACK : Yeah, and the Lone Ranger didn't have a thing with Tonto. GWEN : Jack, does the shape-shifter copy smell too ? OWEN : No, just physical. GWEN : Well, I'd recognize that bloody awful perfume anywhere. It's Brenda, Jack. It's... it's Brenda. Jack's jaw drops. He puts his g*n down just as Rhys swings and hits him square in the jaw. JACK : Oh ! RHYS : That's for calling my mother an ugly bitch ! JACK (nursing his jaw) : Ah ! TOSHIKO : If that's Rhys's mum, then who's that outside ? Right. They turn and run outside. JACK : Oh ! CUT TO : EXT. HOTEL – GARDENS – DAY Ianto, Owen, Toshiko, Jack, Rhys and Gwen run out into the gardens. JACK : Move ! Everyone spreads out. OWEN : There she is ! Jack yells. The Nostrovite shrieks, her eyes turn red, teeth are blackened and sharp. Her hands turn into monstrous claws. Mary doesn't notice until the Nostrovite turns and grabs her by the neck. GWEN : Mum ! JACK : Don't sh**t. Everyone stops. The Nostrovite has Mary in her claws. Gwen stands in the middle with Rhys, her bouquet clutched to her. Jack and the others have their g*n on the Nostrovite. GWEN (quiet) : That's my mum, Jack... JACK : Halt ! GWEN : Mum. NOSTROVITE (AS BRENDA) : The bond between mother and child is a wonderful thing. GWEN : Let her go, okay ? NOSTROVITE (AS BRENDA) : Your mother for my child. JACK : No deal. NOSTROVITE (AS BRENDA) : You don't have a say. MARY COOPER : Don't listen to it, Gwen. GWEN : It's okay, Mum, I'll make sure you're safe. It won't k*ll you, you'll be okay. RHYS : You can't do this. GWEN : It's my Mum, Rhys. RHYS : Gwen, I can't... GWEN : Jack... JACK : Rhys ! Rhys steps away. Gwen, dressed in her white wedding dress and bouquet clutched in front of her, starts moving calmly toward the Nostrovite and Mary. GWEN (softly) : Okay, Mum... MARY (whimpers) : Gwen... GWEN :... you're going to be okay. It's okay, Mum. Sounds of a heartbeat grow louder and louder as Gwen moves in closer toward the Nostrovite. GWEN : Stay calm, still. NOSTROVITE (AS BRENDA) : Come to Momma ! The Nostrovite pushes Mary away from her and turns to bare her claws at Gwen. From under her bouquet, Gwen fires her a*t*matic multiple times, hitting the Nostrovite square in the chest and pushing her backward. The Nostrovite screeches, turns and runs into the building. Owen and Jack run toward the building to make sure it's not lingering. Mary goes to Gwen. OWEN : That's the kind of daughter every mother must dream of. Cool as ice, packing an a*t*matic. GUEST : Oh, my God ! Mary and Geraint hug Gwen. Jack and Owen head back to Gwen. GERAINT (to Jack) : Gwen told me about you, but I didn't believe her. JACK : It'll be back. Owen, get Gwen ready. I want that thing dealt with now. CUT TO : INT. HOTEL – HALLWAY / BRIDAL SUITE – DAY Owen helps Gwen as they head back to the bridal suite. Rhys is behind them. OWEN : Listen, Gwen. I'll be with you in a minute. I need to talk to Rhys. GWEN : What about ? OWEN : Just something of nothing. Trust me. RHYS : What ? What ? Gwen heads back to the bridal suite as Owen pulls Rhys aside to talk with him. Owen puts his bag down and unzips it. OWEN : Listen, Rhys, the singularity scalpel, thing is, the last time I used it, I had two good mitts. Owen shows Rhys his bandaged hand. RHYS : So you're telling me, you can't operate ? OWEN : What I'm saying is that I know you'd be more happy that whoever had Gwen's life in their hands could... well, rely on both of them. Now I thought I could ask Jack, but... RHYS : No, no, no. Um, show me what to do. Owen puts the machine in Rhys's hands. OWEN : Right, it kinda works itself. Let's try this... Owen pulls Rhys aside to show and explain what to do. CUT TO : INT. HOTEL – BRIDAL SUITE – DAY Gwen is standing in front of the mirror when the door opens. Jack walks in. He closes the door behind him. GWEN : Hello, Jack. Not quite the blushing bride, am I ? (He walks up to her and puts his hands on her shoulders). But... um... I'd given up on things going to plan a long time ago. NOSTROVITE (AS JACK) : If life always turned out the way we expected, what would be the point of living ? She takes his hand. GWEN : I didn't expect to meet someone like you. If I hadn't, I'd be married by now. NOSTROVITE (AS JACK) : You're not the only one who met somebody that knocked their world out of kilter. She turns and looks at him. GWEN : Rhys has always been there for me. Through all this madness, even when I haven't even deserved it. (He touches her lips and moves in close). He's not afraid to tell me he loves me. He leans in closer toward her. The hand holding her hand, turns into claws. Gwen looks at it. Jack's eyes are red and teeth are pointed and blackened. He shrieks. Gwen head-butts the Nostrovite and knocks it backward. She turns and grabs the candleholder on the table behind her. She swings as the Nostrovite starts toward her. The door opens. Rhys and Owen walk in. OWEN : Gwen ! Rhys picks up a chair and smashes it against the Nostrovite. OWEN : Get her out of here ! Rhys grabs Gwen and they both run out of the room. Owen fires multiple times at the Nostrovite. EXT. HOTEL – GARDENS – DAY Rhys and Gwen run across the gardens and away from the main building. They can hear the g*n. Rhys helps Gwen down the steps. INT. HOTEL – BRIDAL SUITE – DAY Owen empties his clip into the Nostrovite. Finally the Nostrovite falls back onto the bed. It doesn't move. Owen moves in closer to check on it. Suddenly, the Nostrovite surges up and shrieks at Owen. It moves in very close to him. OWEN : Come on, then ! Do me a favor ! The Nostrovite looks at Owen for a long moment, then moves past him and out the room. EXT. HOTEL – GARDENS – DAY Rhys and Gwen are running down the steps. Gwen gasps. Rhys stops and turns back to help her. RHYS : Hey, you all right ? GWEN : I'm running around in a wedding dress with what feels like a keg of lager stuck up my skirt. What do you think, Rhys ? RHYS : Come on ! He helps her down the steps. INT. HOTEL – BRIDAL SUITE – DAY Jack enters the room with his g*n out just as Owen changes clips and snaps it into his g*n. JACK : Whoa ! Jack puts his g*n down. Owen keeps his g*n on Jack. Ianto and Toshiko enter the room. JACK : What happened ? (Owen pauses). Put it down, Owen. OWEN : It thought that I'd gone off. TOSHIKO : Where's Gwen and Rhys ? OWEN : They've done a runner. Listen, I emptied a clip into that thing, as did Gwen. But some mother instinct or something's making that cow unstoppable. Our g*n don't work. JACK : Then I guess we're going to need a bigger g*n. FLASH CUT TO : EXT. HOTEL – FRONT – DAY Jack and Ianto open the back of the SUV. They open two cases filled with big g*n parts. Jack starts putting the big g*n together. INT. HOTEL – BARN – DAY The door opens. Gwen and Rhys enter the barn. Gwen pants loudly. Rhys shuts the door and braces it closed with a piece of wood. Gwen falls onto the hay. GWEN : Rhys, I can't... I can't go any further ! The Nostrovite shrieks and pounds on the barn door. RHYS : It's here ! It's here ! GWEN : Ssh ! She's going to hear us ! RHYS : I don't think there's any point in keeping quiet, Gwen. Okay, lie down. She turns over to lie down in the hay. The Nostrovite shrieks. Rhys reaches for the pack with the singularity scalpel inside. He take sit out. GWEN : What the hell are you doing with that ? RHYS : Owen showed me how to use it. Gwen screams. Or was that the Nostrovite ? The Nostrovite outside pounds on the door. GWEN : Just do it ! Do it ! Rhys has the scalpel on and its seeking as he makes adjustments. GWEN : Do it ! She falls back. It powers up. The scalpel beeps : Locked. He fires. GWEN : Rhys ! And misses, hitting the counter off to the side and behind Gwen. She gasps. GWEN : Rhys ! The Nostrovite outside screams. RHYS : All right, all right. I've got it. I've got it now. He tries again and makes the adjustment. GWEN : I love you... I really love you, okay ? The scalpel powers up. Seeking. It beeps. Locked. There's a large egg on the viewscreen. The egg is zapped and disintegrates. Gwen gasps. GWEN : Oh ! There's a squishy sound and she surges upward. RHYS : Gwen ! Gwen ! Gwen falls back onto the hay. She's not moving and her eyes are open. Rhys leans over her. RHYS : Gwen ?! She moves. And they kiss. He moves aside and she checks her tummy. It's flat. The egg is gone. Outside the Nostrovite screeches and knocks the door open. She's shape-shifted into Brenda again. NOSTROVITE (AS BRENDA) : Get away from her, Rhys ! Let me have my young and I won't hurt you. Rhys moves away and grabs a handsaw. He powers it up. The motor revs. RHYS : You're too late ! It's gone ! (He advances toward the Nostrovite). And I have had a gutful of you ! (Angry). You get my girlfriend pregnant, you impersonate my mum and you ruin my wedding day ! Rhys raises the handsaw as he readies to strike. It sputters and dies. RHYS : f*ck ! NOSTROVITE : Rhys, you're a bad boy. And you know what bad boys get ? The Nostrovite explodes. Black Nostrovite guts splatter all over Rhys and Gwen. Jack is standing in the doorway carrying a big smoking g*n. JACK : How's that for a shape shift ? He chuckles and heads toward them. GWEN : Jack ? Jack pauses and looks at Rhys. JACK : Hey, that whole "Evil d*ad" thing looks pretty good on you, Rhys. Rhys pants, speechless. Jack heads over to Gwen and picks her up in his arms. JACK : Ah. You okay ? GWEN : Yeah. He carries her over to Rhys and puts her down next to him as Rhys watches. JACK : And... Jack takes Rhys's and Gwen's hands... and clasps them together. JACK :... the hero always gets the girl. Jack heads out. Gwen turns and looks at Rhys. GWEN : I am sorry. I've spoilt everything, haven't I ? Do you still want to marry me ? FADE IN FROM WHITE INT. HOTEL – CHAPEL AREA – DAY The wedding is in progress. GWEN : I call upon these persons here present to witness that I, ahem,... Gwen... (looks at her co-workers) Elizabeth... Cooper... REGISTRAR : Do take thee, Rhys Alun Williams, to be my lawful wedded husband. Gwen giggles. GWEN : Do take thee, Rhys Alun Williams, to be my lawful wedded husband. She puts the ring on his finger. GWEN : Come here. She grabs him and they kiss. The guests applaud. Gwen turns and looks at them. CUT TO : INT. HOTEL – BALLROOM – NIGHT The champagne cork pops. Banana Boat opens the bottle. BANANA BOAT : Whoa, hey ! "You Do Something to Me," by Paul Weller is playing. Gwen and Rhys are out on the floor dancing along with other couples. Owen walks up to Toshiko, who is sitting at the table with Jack. OWEN : Ah, you ready to see that d*ad man dance, Tosh? (He holds out his hand). Come on. He takes her hand and leads her to the dance floor. Jack is sitting alone at the table. LYRICS (song) : You do something to me Something deep inside. He watches Rhys and Gwen dance. RHYS : Happy, Mrs. Williams ? GWEN : Oh, yes. LYRICS (song) : I'm hanging on the wire For a love I'll never find... Jack stands up and heads for the dance floor. He puts a hand on Rhys' shoulder. JACK : Mind if I cut in ? RHYS : Why not ? I'm danced off my feet. I'm gonna find a beer. Rhys leaves Gwen to dance with Jack. LYRICS (song) : Something wonderful Then chase it all away Mixing my emotions... JACK : Enjoy the honeymoon. GWEN : I will. (He chuckles). What will you do while I'm gone ? JACK : Ooh, the usual. Pizza, Ianto... (They both laugh). ... save the world a couple of times. GWEN : Will you miss me ? JACK : Always. Rhys is a lucky man, a perfect husband. He's loyal... brave... he's got a hell of a swing on him ! (Chuckles). And best of all, he really loves you. GWEN : I know. Ianto interrupts them. IANTO : May I... erm... ? (clears throat) Ahem... Gwen and Jack step apart. GWEN : Yes. Gwen reaches for Ianto, who turns to face Jack. Gwen smiles, a little embarrassed, but steps away to leave them to dance. LYRICS (song) : ...Hanging on the wire, yeah... Said I'm waiting for the change. Jack and Ianto are dancing. Jack turns and glances over at Gwen, who goes to join Rhys. Jack goes back to dancing with Ianto. LYRICS (song) : ...I'm dancing through the f*re just to catch a flame... And feel real again... Jack and Ianto are dancing on the floor with several other couples. Toshiko and Owen are standing at the door at the back of the room and aren't dancing. CUT TO : The party has quieted down considerably. Everyone is sitting at the tables and not really moving. Ianto puts a glass of beer down in front of Rhys. IANTO : There you go. RHYS : Cheers, mate. Rhys looks at their parents sleeping and slouched on the head table. Mary is leaning on Brenda and both are sleeping quite peacefully. RHYS : You'd never think a couple of hours ago they all nearly got torn apart by some alien psycho-bitch. GWEN : It's all been a bit too much for my mum and Brenda. RHYS : I never thought I'd see that. "Tainted Love" by Soft Cell plays. Gwen looks around and pretty much notices that everyone has fallen asleep. Feedback sounds on the microphone as the deejay slumps over the player and falls asleep. The music stops. GWEN (amused) : Oookay, Jack, what's going on ? JACK : Strange thing, when you mix Level Six retcon with champagne... really makes the party go with a schwing, then you fall asleep. GWEN : You retconned our families ? Jack mock gasps and smiles. GWEN : It's probably for the best. I don't want my mum remembering what happened to her today. Rhys stares at Jack. Jack looks at Gwen. He pushes two filled champagne glasses toward them. JACK : Maybe the happy couple shouldn't either ? GWEN : No, thank you. There'll be no secrets in this marriage. Rhys smiles. OWEN : Time for bed, I think. RHYS : We'll see you after the honeymoon. Stay out of trouble. Rhys and Gwen stand up. Everyone gets to their feet. Gwen goes around the table and kisses everyone. She kisses Owen. She kisses Ianto. GWEN (to Ianto) : Thank you for the dress. It was beautiful. IANTO : Take care. GWEN : Bye-bye. Jack waves them good-bye. Gwen and Rhys leave. Toshiko sighs. TOSHIKO : Something tells me our bedtime is a long way off. JACK : That's right, guys, it's been a busy day, but we are not finished yet. We've got a lot to do. We've got a major mop-up operation. And I want your best work. Remember, it's Gwen's wedding. Everyone moves out to get to work. IANTO : That's what I love about Torchwood. By day you're chasing the scum of the universe. Come midnight, you're the Wedding Fairy. CUT TO : EXT. CARDIFF CITY (STOCK) – EARLY MORNING INT. HUB Jack waits as the hub doors open. The alarm sounds. Jack enters the hub. He sighs and pauses inside the doorway. He pulls out his hand from his pocket and blows out a palm full of confetti. He watches the pieces of paper flutter to the floor and he smiles. Jack takes his jacket off as he bounds up the stairs, heading for his office. INT. HUB – JACK'S OFFICE – CONTINUOUS Jack opens the bottom desk drawer and pulls out a rusty old tin box. He puts it on the desk and opens it. He chuckles as he looks through some very old photos of himself in different previous lifetimes. He takes out a folded piece of paper, opens it and turns very serious as he looks at an old wedding photo. His wedding. He pauses and remembers. END

{"type": "series", "show": "Torchwood", "episode": "2x09 - Something Borrowed"}

foreverdreaming

Opening credits JACK (voiceover) : Torchwood. Outside the Government, beyond the police. Fighting for the future on behalf of the human race. The 21st century is when everything changes... And Torchwood is ready. EXT NIGHT, Barrage Bridgelike thing Dark, empty. We see it in long sh*t so it's mostly bits of bridge and lights. As is traditional there's a full moon. A teenager is walking alone, lit from beneath, red lights and white, casting big shadows. Mobile phone beeps. It's the text message noise. He checks the screen. It says "UR 9 mins late! MUMxx". He grins and looks up. Long sh*t of distant figure in a window, cutting to closeup of Nikki. INT NIGHT Nikki's flat She waves. Her left hand, a ring on her middle but not ring finger. Out in the dark he texts her back. Mobile phone beeps. Message from Jonah : Chill ! :-P NIKKI : Hm ! Cheeky bugger ! She grins and turns away. EXT NIGHT, Barrage Jonah watches her leave the window, then moves on. Wind blows an empty cup along. Signs swing in the wind, which is suddenly strong enough to buffet Jonah around. He's barely making headway. He staggers into the handrail. Whooshing electrical crackling wind roars. Flashing lights and the camera spirals in from above. Then Jonah screams, there's a flash, and his phone drops clattering on the bridge, screen still lit... and no sign of Jonah. Opening credits EXT DAY, Barrage Long sh*t again, now with the thing across the top of the screen, most of the image filled with grey water. Seagull noises, Andy starts to talk, and we're slightly closer to see Andy pacing towards Gwen with the handrail bars in front of them. ANDY : Jonah Bevan, born 15th of February 1993, son of Nikki Bevan and Paul Millet, 14 Cliffs Rise, Penarth. Disappeared walking home from football practice, been missing now for seven months and eleven days. No body, no sightings since that night. Disappeared right where we're standing. GWEN : Uh-huh. ANDY : Which is where we found this. He sent a text to his mum, she was looking out the window and they waved to each other. She's certain everywhere was deserted. GWEN : What about the investigation ? ANDY : Usual procedure, searched the home, checked the computer, spoken to all known friends and relatives, made publicity appeals, but no significant leads... And look, sorry, Is this beneath you now ? GWEN : No ! ANDY : Then what's with the attitude ? You've got a face like a slapped arse. GWEN : I'm waiting for you to tell me where you were. ANDY : Where I was when ? GWEN : At the wedding. ANDY : Rang you. I had to work. Temple changed the rota at the last minute. You know how it is. GWEN : I checked the duty logs. You weren't working. You had three days off. ANDY : What are you spying on me now ? GWEN : I thought we were mates. And you just don't turn up ! ANDY : I just thought, being as Rhys has got a problem with me... GWEN : Rhys thinks you're great ! It's you who has a problem with him ! Ever since I've known you You've always made sarky comments about his weight ! ANDY : Well He could stand to lose a couple of pounds... GWEN : Let it go ! Let it go. ANDY : Yeah, well, I can't ! All right ? I don't want to sit there and watch you pledge your stupid life to him ! I've got better things to do of a Saturday ! Happy now ? GWEN : Oh, Andy ! Nudges him. ANDY : Get off ! GWEN : I thought we'd been through all this. I mean You're a lovely fella and (indistinct)... ANDY : It's not like a bloody tap. I can't just switch it off. GWEN : But this was like what three years ago. I mean, look I didn't know... I didn't realise you still had feelings... ANDY : I don't, all right ? I just had a moment. Don't flatter yourself. GWEN : Ok ! If you want to talk about it... ANDY : I wanna talk about this kid. Jonah. GWEN : Teenagers go missing all the time. I mean, why is this one so special ? ANDY : I was the first one here. Sat with his mum all night and all the next day. Every time I tell her we've got nothing new, I see a bit of her die. GWEN : Anything strange about the case ? ANDY : Like you don't know. He turns and walks away. She looks puzzled and follows him. Close up on a police car, slightly different location. Andy and Gwen are standing at the back watching something on a screen. CCTV frames like show Jonah's jumpy progress and then... GWEN : What just happened ? ANDY : Exactly. The camera records one frame every six seconds. GWEN: He could've done a lot in six seconds, jumped over the side, hidden somewhere... ANDY : No, he's looking at something. Look, something's glowing, just out of the camera's line of sight. Like a flare, it's not there in the previous frame... or the next. GWEN : Could be one of the lights on the Barrage. ANDY : All right, stop lying. You know what happened here. Why aren't you telling me ? GWEN: What are you talking about, Andy ? ANDY : Right... 45 minutes later... (CCTV screen shows the SUV pulling up and a familiar long coated figure get out). What's your mate Mulder doing there ? GWEN : Jack ? INT HUB, Toshiko's work station TOSH : No recognisable rift activity around the Barrage on that date. GWEN : What about if you tried... ? TOSH : I ran checks for three months either side. Then extended the radius by a mile and checked again. Still nothing. GWEN : OK. Thanks. INT HUB, Jack's office He's in his dark shirt, standing behind his desk, putting his g*n in the holster and threading the belt through as he talks. JACK : When did you say this was ? GWEN : About seven months back. Were you on the Barrage that night ? JACK : They have this cute little coffee shack. I sometimes stop by there. GWEN : A boy went missing. Just under an hour before you were there. JACK : OK. GWEN : Jonah Bevan, 15 years old. I thought maybe you were out there because of him. JACK : Maybe if we'd registered rift activity. GWEN : No. I just checked with Tosh. It was all clear. JACK : Sorry. Can't help. (He walks past her to leave. He stops in the doorway and turns back to her). Want me to look into it for you ? GWEN : No, it's fine. So it was just a coincidence then ? JACK : Guess so. Gotta run. Weevil hunting with Ianto. He says it with such glee you have to wonder what Weevil Hunting actually means to them. Gwen sort of smiles after him... somewhat doubtfully. EXT NIGHT, Cardiff from above Very wooshy today, with sirens. INT NIGHT, Cheap coffee place Gwen shakes a packet of probably-sugar. Some man and a woman stagger in the door, and both Gwen and Andy watch them until they've staggered past. Then Gwen goes back to her drink. ANDY : So, you're covering it up then ? GWEN : Jack said it was a coincidence. I can't help. ANDY : Thanks a lot. Should've known. Bloody Torchwood. Fob me off, why don't you ? GWEN : No. If there was something going on, I would tell you. ANDY : Do you know what's happened to you, Gwen ? You've got hard. GWEN : Yeah ? Well, maybe I've had to. ANDY : You used to care. You used to be bothered about people. Didn't matter who they were, or what they did. And now you're talking about coincidence, like people go missing all the time. Like it's a fact of life. The old Gwen would have been up there to see Nikki Bevan in a flash. You're one of them now, aren't you ? Too busy to bother with one missing child. What is it, not major enough for you ? Not spooky enough ? Sorry to bother you. Takes his hi-vis yellow jacket and leaves. Gwen looks dismayed. EXT NIGHT, Nikki's front door Doorbell rings. Front door, wobbly glass, shape moving behind, until Nikki opens the door. GWEN : Nikki Bevan ? Gwen Cooper. I'm working with the police on Jonah's disappearance. Nikki doesn't ask for ID, just steps out the way and lets the nice lady in no recogniseable uniform late at night walk in. INT NIGHT, Nikki's flat All the curtains are closed. The TV is on. And there's video tapes on every visible surface, in scattered heaps radiating out from around the TV. NIKKI : Andy said you might be round. GWEN : Oh, he did, did he ? NIKKI : Reckons you've got a different area of expertise. What is it, forensics ? GWEN : I'm just a fresh eye. NIKKI : Sorry about the mess. GWEN : Wow, film fan, are you ? NIKKI : Crowds. GWEN : Sorry ? NIKKI : It's all crowd footage. Ever since he went. Football matches, concerts, festivals... Anywhere there's a crowd, I record it. Go through it, frame by frame, checking every face. Sometimes I think it's him, but the picture's so grainy, I spend hours looking at one corner of the screen. But then the next day, I check again and it's not. (Sighs, shrugs, but smiles). It's the hope that's k*lling me. GWEN : Even if you saw him, what would you do ? NIKKI : Find someone that was with him. If I could just let him know I saw him. He's gotta be out there somewhere. (Pause. Gwen looks away). Do you think I'm mad ? GWEN : No, I think you'd make a great policewoman. INT NIGHT, Jonah's room Posters, skeletons, and a chain of lights that look a bit like skulls. The duvet cover looks like a football team thing. GWEN : His room's as he left it ? NIKKI : I sleep in here some nights. Bury my head in the pillow. It still smells of him. Except, the more I do it, the more it smells like me. I keep his diary for him. I sit in here and imagine I'm him. What do you think I did wrong ? GWEN : Sorry ? NIKKI (sighs) : Maybe I was too nosey... or not interested enough. Maybe he felt unloved. All I've got is questions. INT NIGHT, Nikki's hallway GWEN : What about Jonah's dad ? NIKKI : We were only together about six weeks. I thought when he first went missing and was on the telly, his dad might get in touch. But no, still manages to disappoint. Oh, hang on ! Andy tried to find me a support group, but there weren't any. So I thought I'd set one up myself. It's our first meeting. Will you come ? Hands her a leaflet. Searchlight. GWEN : Oh, I dunno. NIKKI : Andy'll be there. And I'm gonna do food. Oh, come on. I don't wanna be sat there on my own. GWEN : I'll try, I've got to go. EXT NIGHT, Cardiff from above Screeches and sirens. INT NIGHT, Gwen's flat Rhys is sat on the sofa, watching TV. He turns it off as soon as Gwen comes in. GWEN : I'm sorry, I know, I'm late. RHYS : Three hours ! GWEN : It was a work thing, time just got away from me. Ooh, wine ! We can do it another time though, yeah ? RHYS : This is the fourth another time, Gwen ! You said you'd cook. GWEN : Did I ? RHYS : When are we gonna have this talk ? GWEN : Let's do it now. Come on, now's good, I'm ready. Babies. Now. RHYS : Really ? GWEN : Do you think I've changed ? RHYS : Eh ? GWEN : Since I joined Torchwood. Am I different ? RHYS : Why ? GWEN : It's just something Andy said. OK, let me just tell you this one thing, OK ? RHYS : Go on. GWEN : He still fancies me. Rhys laughs hysterically. GWEN : Don't laugh, Rhys. That's why he didn't come to the wedding. RHYS : Bloody hell. Poor sod. GWEN : Oi ! I am a very sexy lady... and you are a very lucky man ! Just remember that, OK ? Picks up wine glass... and unzips her coat. She has her husband's full attention. RHYS : We're not gonna talk about kids tonight, are we ? GWEN : We could do some practising. RHYS : Oh-ho-ho ! Exit, quickly, in direction of bedroom. INT DAY, Gwen's bedroom Gwen barges in and Rhys sits up in bed. GWEN : Tell me you love me ! RHYS : Gimme the toast. GWEN : Come on, tell me you love me first ! RHYS : Gimme the toast first ! GWEN : Tell me you love me ! Mobile phone beeps. RHYS : Whoa ! GWEN : Hey ! Answers phone. TOSH : Gwen ? GWEN : Hi, Tosh. TOSH (In the Hub) : I've dug up some new data on that night at the Barrage. I think you might wanna take a look at it. GWEN : I'll be right there. Hangs up. RHYS : Deserting me, are you ? GWEN: Yep. (Smooches him). Ugh, crumbs. Climbs off him out of bed. RHYS : Oi ! Gwen leaves. INT HUB, Toshiko's workstation GWEN : Hey, what have you got ? TOSH : It's barely a blip on the system. So insignificant, I've been ignoring it. But when I looked closer... This is what we recognise as standard rift activity. But what I've discovered is a negative rift spike that occurred at the time you're querying. Now, we've always assumed that these readings were residual rift flares. Like an aftershock. But, because this one coincided with Jonah's disappearance, I think we've been misinterpreting. GWEN : OK, so ? TOSH : So, we've always believed that things can only come through the rift one way. What if we're wrong ? What if the rift doesn't just leave stuff behind ? What if it also takes ? GWEN (long silent thinky) : Who else have you told about this ? TOSH: No-one. I called you as soon as I realised. But It could be a coincidence, or an anomaly. I can't be sure unless I can cross-reference it with other examples. GWEN : Tosh, Can we keep this to ourselves ? There's something I have to do. TOSH : Whatever you think is best. GWEN : Thank you so much, you're such a sweetheart. Gwen leaves as quickly as she came. EXT DAY, Cardiff from above, nice grey roads and stuff. EXT DAY, Somewhere greener Close up of Gwen. Close up of Searchlight poster, first meeting Monday 27th month-conveniently-covered. Andy arrives, dressed in grey with horizontal stripes, looking... well, gormless, really. ANDY : You're looking into it, then. GWEN : Still the same old me. ANDY : Thank you. GWEN : Yeah, well, I dunno why I bother, you're so rude. ANDY : How's Rhys ? Other than hungry. INT DAY, A village hall type place, with a fold out table, a tea urn, and a line of stacking chairs NIKKI : Oh. It's you two. ANDY : Oh, that's nice. NIKKI : I thought there'd be more here by now. It's gonna just be me, isn't it ? GWEN : No, I'm sure it won't. People will come. ANDY : Yeah, you know, "If you build it, they will come". Field Of Dreams ? No ? Just me, then. NIKKI : Anyway, sit down. They sit, awkwardly. Fiddle with clothes. Long sh*t shows them very small in even this small hall. ANDY (sotto voce, to Gwen) : It is gonna be just us, isn't it ? Knock on door. WOMAN WITH MAN : Hi. Um... We're looking for Nikki. NIKKI : Yeah, that's me. Come in. It's brilliant you found us. There's food there, drinks, so help yourself. Knock on door. MAN IN TURBAN : Is this missing persons ? NIKKI : Yeah. Come in. Erm, do you wanna drink ? Many, many, people come in and take chairs... all the chairs... Gwen and Andy get up to leave them chairs, people get more chairs out, this hall is full, every kind of people, all for the same reason. ANDY : Bloody hell ! How many of them are there ? EXT DAY, Same hall, grey wall blocks Andy comes out, looks around, sees Gwen and heads over to her. ANDY : You OK ? GWEN : It's getting a bit too much now. Noises from the hall, many voices, spill out behind them. ANDY : I dunno what you mean. GWEN : I said I'd help you look for one lad. What about all those people in there, what... 40, 50 ? Am I supposed to help all them, too ? ANDY : Course not. Just focus on Jonah. The rest aren't part of this investigation. GWEN (Lightbulb) : But they are. Of course they are. ANDY : No, no, they're not ! GWEN : Find a pattern. Find out what happens, we might find Jonah. ANDY : What ? GWEN : Brilliant. You're brilliant ! I've gotta go. Runs. ANDY : Where you going ? GWEN : Cross-referencing ! ANDY : Cross-referencing ? INT HUB, workstation TOSH : Cross-referencing ? GWEN : You said we need more data to be certain the rift takes people. List of all missing persons in Cardiff over the last ten years. I'll deal with the personal details, and I'm sending you dates, locations and approximate times they went missing. TOSH : And you want me to check the dates they went missing, against negative rift spikes ? GWEN : Yes, I do, and I'll dig out any CCTV footage. TOSH : What about Jack ? Do we tell him what we're doing ? GWEN : When we're sure. Tosh, if we can prove you were right, we can start looking for the people who've been taken, maybe even try and stop it from happening. Montage of research. CCTV, rift spikes, hands, bits of paper, keyboards, Gwen and Tosh looking thinky, people photos, notepads, lists, Tosh's breasts. Bits of paper, printouts, photos of missing. Jonah photo goes on wall, scream in the background. Others follow, many many others. A map goes up with little red dots going on it. Bell tolls for each dot. Forms are attached to each missing photo, saying "Rift Spike", and a red marker is used to dot each, bell tolling each time. Eventually Gwen is standing in the interrogation room with every wall covered in this stuff, missing people, mapped, with Rift spikes. Disorienting spin with chorus of screams. TOSH : Oh, my God ! There are really this many ? GWEN : Now we tell Jack. INT HUB, Meeting Room GWEN : Cardiff has an epidemic of missing persons, totally out of kilter with any other comparable city. And it's all down to the rift. IANTO : Are you sure they aren't just normal missing persons ? People do go missing for other reasons. GWEN : No. Toshiko cross-referenced the locations with the rift spikes. The people we've identified here are definitely victims of the rift. OWEN : What do we think happens to them ? JACK : Scattered through time and space, I guess. OWEN : Cheery thought, thank you. JACK : This is good work. But I don't know what you want us to do. GWEN : We Find a way to prevent it. JACK : Toshiko, can we predict when the spikes are gonna happen ? TOSH : Er, No. And they're gone in a matter of seconds. JACK : Then I don't know how we combat them. GWEN : Jack, we have a duty here. These people are victims of the rift. If they'd been att*cked by a Weevil... JACK : Weevils We can catch. If they're victims, we fix their wounds, but this, we don't know when it's gonna happen, we don't know where they end up. Seriously, Gwen. GWEN : Hm ? JACK : Practically, tell me what we should do. Pause of all stare at Gwen. GWEN : We help those left behind. Jack looks down. GWEN : Why not ? JACK : It's nothing to do with us. Move on. GWEN : Jack, you should see these people... JACK : Some things we can't fix. GWEN : So we don't even try ? OWEN : Look, Jack's right. They need counselling. Support. That is not us. GWEN : Ah, OK, is that what you all think ? We are the only ones who know the truth. We can help them. We don't have to be this hard. It's not a badge of honour... ! JACK : Close this down. Walks away. GWEN : Jack ! IANTO (gets up to follow, holds stop-hand up to Gwen) : I'll talk to him. GWEN : So, is that it, then ? We just sweep it under the carpet ? OWEN : "God Grant me the serenity to accept the things I cannot change". Holds up broken and wrapped left hand for a moment. GWEN : Oh, bollocks to serenity. OWEN : For a lovely girl, you've got a very dirty mouth. GWEN : Yes. OWEN : I'm with Jack. Gets up to leave. Ianto and Jack are talking in the halls outside. TOSH : We did our best. Gets papers and leaves. GWEN : Thanks, Tosh. Jack looks back in at Gwen, then away. His pointy finger of telling off hand gestures to Ianto say No pretty clearly. Also there's some hands on hips going on, both sides. Nobody's pleased. Jack stalks off. Ianto turns and looks at Gwen, hands still on hips... then the last image is a long sh*t of Gwen, sitting alone. EXT DAY, nice green trees place Slow pan across with a tree in front means Gwen sits apparently alone for some seconds, even as Rhys talks. RHYS : So On the one hand, you've got blokes like Mo, who swears it's the best thing he's done in his life. And then on the other, you've got Big Dave, who says it feels like his life has ended and now he's a second class citizen in his own house. Although to be fair, he said his life had ended when Susy made him ditch the bike... GWEN : Will you just stop wittering ! Thank you. God... ! RHYS : It's not wittering. It's talking. We're supposed to be talking. I've been trying to talk to you for a week but for some reason you don't want to. GWEN : Oh Wake up, Rhys ! What's the point ? We don't need a talk ! It takes two seconds' thought ! How are we supposed to have kids with my job ? Torchwood does not do maternity leave ! "Oh I'm sorry Jack, I'd love to help out with the aliens, but I can't get a babysitter ! No no no I'll sort out that b*mb once I've dropped Rhys Junior off at nursery". Stop dancing around it, it's a d*ad question ! RHYS : You know, sometimes I f*cking hate you ! I mean, look at you, caught up in your little group, like nothing else matters. Like being a hero is an end in itself. Well It's not. You save this city. Well done. You save the world, whatever. What for ? GWEN : Sorry ? RHYS : Why are you doing it ? What are you trying to protect ? What are you fighting for Gwen ? GWEN : Because if I don't, Rhys... RHYS : Shut up, I'm talking now, right ? You do it so people can live their lives. And there's nothing more important than that. Falling in love, getting married, buying flats, having kids, or not. But real life. That's what you're protecting. And if you're starting to think that your shit is more important than real life... then we're not gonna last very long here, love. GWEN : I'm sorry. There's this thing at work... RHYS : I don't care ! I don't care. When you're with me, we deal with us, right ? Our lives. You got a problem at work, you sort it at work. INT HUB, Great big keys outside the cog door Door rolls open with clunks and usual alarm sounds. Gwen walks in, door rolls closed. GWEN : Jack ? Here's something, follows it upstairs to. INT HUB, Hothouse and balcony Gwen pushes glass door open and walks in. GWEN : Jack, I... A very, very distracted Jack and Ianto are snogging, naked, and, er, vigorously engaged with hands in low places. GWEN : Oh, God ! (Laughs) I'm sorry. Walks out. Naked Jack is grinning. Naked Ianto is grabbing things and attempting to very quickly be not-naked Ianto. Your faithful transcriber rewatches carefully to be sure she gets all the details. Ianto has clothes on very quickly indeed and follows Gwen out before she's back to the stairs. IANTO : Er... Unbuttoned Ianto gets Gwen's attention. GWEN : Ianto, I'm sorry, I didn't realise. IANTO : It doesn't matter. GWEN : And I wouldn't have come in if I'd known... JACK : Always room for one more. (Jack is also unbuttoned. On Ianto it looks awkward. On Jack it's more of a challenge. He sort of strides out, shirt hanging open, while Ianto is still working on buttons. Jack poses, hand on hips, leaning on the railing). We could've used you an hour ago for naked hide-and-seek. IANTO : He cheats. He always cheats. And Ianto looks really rather happy about that. JACK : Was there something you wanted ? GWEN : Jonah Bevan. The missing boy. I'll make it my own special project, my responsibility, nothing to do with anyone else. I'm not letting it go. JACK : No. GWEN : What ? JACK : I don't know how I can be any clearer. GWEN : Oh, well... Tosh has her projects, so does Ianto. (Currently involving doing his belt up). Why can't I ? JACK : Leave it alone. GWEN : I can't. Staring competition. Gwen doesn't back down. Jack stares back, then just switches attention to Ianto. JACK : Coming back in ? Work to do. IANTO : Yup. GWEN : Jack ! We're not finished ! JACK (walking back into the Hothouse) : Yes, we are. Closes the door behind him. IANTO (turns just at the closed door) : Er... There's a package on your desk. Nods and goes back in. Naked Jack is just visible through the glass. Yes, work to do indeed... INT HUB, Gwen's desk Gwen finds package. Gwen gets small electronics box out. INT, Somewhere with coffee Andy in his day glo on his phone. Phone rings. GWEN : Hello ? ANDY : You still working ? GWEN : Sort of. ANDY : Thought so. There's a cup of tea here with your name on it. INT NIGHT, Coffee and tables again They sit at a table. Andy fiddles with the newly acquired electronics. ANDY : And you think this will help us with the Jonah Bevan case ? GWEN : Andy Just leave it will you, this is high tech stuff. ANDY : Sorry, no. It's GPS. GWEN : What ? ANDY : Global Positioning System. About as high tech as... oh, my mobile phone. What you've got here is a glorified map. Ooh, X marks the spot, eh ? X being the middle of the Bristol Channel. Oh, no, hang on, sorry, no. Flat Holm Island. Who's sending you out there then ? That's just deserted scrubland. GWEN : Couldn't get us a refill could you ? ANDY : While you bask in my technical brilliance ? He leaves, she phones home. INT HUB, Ianto's coffee station Phone rings, bubbly burbley electronic thing, and Ianto picks up, shoving it on his shoulder so he can do drinks. IANTO: Hello ? GWEN : You left me that package, didn't you ? JACK (from off screen) : Ianto ? IANTO : I dunno what you mean. GWEN : Ianto What's going on ? JACK (still unseen, much louder) : Ianto ! IANTO (looking up in Hothouse direction, hangs up) : Night, Gwen. GWEN : Ianto Don't you... It hangs up and she hisses. ANDY : Right, so first thing in the morning, we hire a boat. I know a couple of boat skippers who owe me a favour. So we'll head out to Flat Holm, poke around, see if we can't sort this out. GWEN : Or even better, you get me the boat and I'll tell you what I find. ANDY : No boat trip, no boat. I'm part of this. GWEN : Ok. ANDY : Brilliant ! GWEN : But you do as I say. ANDY : Yeah, course. Listen, I was going to ask - promise me you won't laugh, have you got any vacancies coming up ? You know, with Torchwood. Cos I was thinking, I'm great to work with. You know you could tip them the wink. GWEN : Maybe. Yeah. INT NIGHT, Gwen's flat Gwen, keys, lets herself in. There's framed designs on the wall, one has little hearts in two quarters. It's dark and doors are closed. She goes to go in the bedroom... and finds bedding in front of the door. So that's a night on the sofa then. She sighs, scoops them up, and heads off. EXT DAY, distant water and a boat SELLER : What can I get you, lads ? DAYGLO GUYS : Two burgers and two cheeseburgers... EXT DAY, closer to the boat Gwen runs up as Andy shakes hands with boat guy. ANDY : Fifty quid. GWEN : That's a bit steep, innit ? Offer him 35. ANDY : Gwen, I'm not being funny, if you wanna haggle, go to Morocco. GWEN : All right, 50 quid. ANDY : Open waves, here we come. GWEN : Get us a couple of teas before we go. ANDY : You're kidding ? You're not kidding. I dunno... And he actually does head off for the nearby seller. Gwen watches him go and goes over to the boat guy. GWEN : Do this for me and I'll give you 100 quid. Engine starts. Andy, tea in each hand, looks up. ANDY : Oi ! Runs after them, but no chance. Boat's gone. GWEN : I'm sorry, Andy ! ANDY : Yeah, right ! GWEN : I'm sorry ! Grumpy Andy is left with only tea. EXT DAY, water and boat called Chara Travel in boat Gwen has lifejacket. Water has greyness. Gwen has wind in hair. It's trying to look pretty and being very British about it. EXT DAY, Flat Holm island Boat drops Gwen off and goes away again. Clever, Gwen, you walking home then ? But she waves it off and gets the GPS out. It beeps. She puts it away and goes looking. There's rock. And some island. And a lighthouse. So she goes to look in the lighthouse. Curvy spiral staircase. And a light. So she's up in the light bit and there's pretty distorted images of her and then some Staring Soulfully Out. Three people, two wearing red trousers, one with a blanket over their head, walk past on the island below. And walking behind them is Jack. They're heading for some clumpy concrete block buildings, dug in to the ground. Gwen runs down the stairs to follow them. There's a lot of stairs. And then a path. So she's a bit behind then. Down some steps, into a building, and it's. INT DAY, apparently abandoned building She gets her torch out and goes down. There's a buzzing, electrical sound. She follows it to a box. Opens that, sees a red light and a plastic thing with a button. Pushes the button to make a louder buzz. And again. FEMALE VOICE : All right ! Who are you ? GWEN : Torchwood, access code 474317432. I'm with Jack Harkness. FEMALE VOICE : He's supposed to warn us about visitors. GWEN : Law unto himself, isn't he ? Static hisses. Metallic thud. A door opens. Behind it is light, and a woman wearing red. HELEN : And he knows we'll always forgive him. She nods and gestures. Gwen hesitates, then follows. INT DAY, Ratty corridor The infrastructure is only slightly less abandoned looking in here. But there's a lot more signs of life. Door slams. Music plays. Someone coughs. At the end of the corridor someone in a wheelchair is pushed along. On the doors are chalk boards, with names. Jules. Alice's room. There's distant screaming. Gwen stops and looks in a room. It's pretty dark in there, but there's chairs and a TV in a cage, and some absent looking people. One woman has scars on one side of her face. When she sees Gwen looking in she pulls her hair to cover them and leaves quickly. TV BLARES : In the bush, those that stand out can become immediate targets for predators. At late February the population has reached its former strength... Gwen is staring. Stares at the woman as she goes back to her room. Helen watches Gwen. HELEN : This your first time ? We all find it difficult at first. Are you looking for anyone in particular ? GWEN : Yes. How many people are down here ? More chalked names : Earl, Saeed. HELEN : Didn't he tell you ? Sobbing. GWEN : What's that ? Gwen goes to look in one of the rooms. Sobbing continues. A man with his head in his hands is crying. GWEN : Is he OK ? HELEN : We do our best to help him. GWEN (sees another chalk board, whispers the name) : Caroline... (Goes around corner after Helen, calls out after her). Sorry, but why are they... ? Interrupted by flashback. "Have you seen Caroline", Caroline Hall. Gwen puts her hands to her mouth, face of oh no. Earl has a picture. Saeed Taufiq. Alice Devlin. And the penny drops. HELEN : Are you all right ? GWEN : Oh, my God... They're here. What are you doing to them ? What's going on here ? Tell me ! JACK : I'll take it from here, Helen. It was Ianto, wasn't it ? GWEN : What are you doing ? JACK : I can explain. Walks forward. GWEN : Nooo, no, no, no. You stay away from me ! Backs away, pointing at him. JACK : Gwen Let's go outside and talk... GWEN : These are the people taken by the rift ! What are they doing here ? What have you done ? And another name plate, Jonah's room. JACK : Gwen, listen to me. GWEN : He's here. He's been here all along. JACK : It's not that simple. GWEN : Open it ! JACK : Gwen, before I... GWEN : Now ! Staring match. Of doom, this time. Silent and unhappy. Jack walks past and around behind her, never takes his eyes off her. Then he opens the door with a key card. Gwen goes in. INT DAY, Jonah's room GWEN : Hello ? Jonah ? He breathes heavily, wheezing. GWEN : I'm looking for Jonah. JONAH : Why ? GWEN : Am I in the right room ? JONAH : Yes. I'm Jonah. He steps forwards. He's a grown man, and he has scars everywhere we can see. GWEN : Erm... I'm sorry. I must be in the wrong room. The Jonah Bevan I'm looking for is 15 years old and he went missing from the Barrage. JONAH : That was me. Who are you ? GWEN : My name is Gwen Cooper... and I'm with Torchwood. What... What's happened to you ? JONAH : I was walking home. There was a light. I woke up and the land was on f*re, there were flames, for miles on end. A man pulled me from the flames. Took me to a building, where they tried to work on the burns. I thought I was going to die. I don't remember when the ground started shaking, and then I realised it wasn't a building after all. It was a rescue craft. The last off a burning planet. (Close up of hands of nervous rubbing). We watched the Solar System burn. It was so beautiful. GWEN : I am so sorry for what's happened to you ? JONAH : Can I trust you to tell the truth ? GWEN (she takes his hands) : Of course. JONAH : Am I really home ? GWEN : Yes. You're home. JONAH : Thank you. GWEN : Jonah, I've come because your mother is still looking for you. JONAH : She's still alive ? GWEN : You've only been gone for seven months. She never stopped looking. JONAH : I tried so hard to come home. I was lost so long. GWEN : You're safe now, you are safe. JONAH : Can I see her ? Can you bring her here ? GWEN : Is that what you want ? He nods. EXT DAY, Flat Holm island, with a big view of empty water Gwen is sitting on the edge, staring out. Jack comes up from behind and joins her. JACK : When I took over Torchwood, there were two, just like Jonah. Ravaged from falling through the rift. Being kept in the vaults, neglected. I wanted them looked after. I set this place up. Told the staff these were experiments that had gone wrong. GWEN : How many are there ? JACK: Seventeen, last count. It's increased over the last year. Like the rift is trying to correct its mistakes. GWEN : But not all the missing return. JACK : No. GWEN : You can't keep them hidden. They have families who deserve to know... JACK : Gwen, they're sick. In ways you could never imagine. We can't fix them. We just care for them. GWEN : Jonah's asked me to bring Nikki here. JACK : No. GWEN : She has a right to know. JACK : No way. GWEN : She said not knowing is the worst part. JACK : How are you going to tell her her child has aged 40 years in the last seven months ? That he's scarred, that he cannot look after himself... GWEN : We don't have the right to hide it from her ! JACK : If you tell her, you have to tell her about the rift and Torchwood. GWEN : Then I will. JACK : What if she doesn't believe you ? GWEN : I have to try. We owe her the truth. Jack, if you'd lost someone, wouldn't you want to know ? Gray's theme, pensive look away. GWEN : Let me try. (Puts her hand on his). Please. He looks back at her. EXT DAY, boat back, windswept Gwen EXT DAY, Nikki's Flat outside the window, turn to look over the Barrage INT DAY, Nikki's Flat Nikki, staring out the window, turns to talk to Gwen. NIKKI : We've got another meeting on Tuesday. Will you come to that, or... ? You're not here for small talk. GWEN : I've found Jonah. NIKKI : Is he d*ad ? GWEN : No. NIKKI : Is he hurt ? GWEN : We're looking after him. NIKKI : Where ? Can I see him ? She sobs. GWEN: Yes. NIKKI (looks down, trying not to cry. Gwen comes over and takes her hands. Nikki looks at her) : Sorry. GWEN : Nikki There are things I have to tell you first. And all I'm asking is you trust me. INT DAY, Police station Phone rings. Andy gets it out, checks who, does a sort of whole head eyeroll, and answers. GWEN : Andy, I know you hate me right now. ANDY : I'm hanging up. GWEN : No, please don't. It's about Nikki. I found Jonah. ANDY : Where ? GWEN : I can't tell you that. ANDY : Oh, here we go again ! Piss off, why don't you ? GWEN : I've got Nikki with me. I've told her about Torchwood and about what we do. I need you to confirm to her that I'm not mad or dangerous or a liar. ANDY : You used me, Gwen. GWEN : I'm sorry. ANDY : That's how you see me, isn't it ? Occasionally useful. Worth stringing along, in case I can ever help you. GWEN : Andy... ANDY : You'd never recommend for me to join Torchwood, would you ? GWEN : No. ANDY : Thank you. GWEN : I want to take Nikki to see Jonah. But you've got to tell her she can trust me. We can fix this, Andy. We can make it right. ANDY : Put her on. GWEN (hands phone across) : Nikki... NIKKI : Andy ? EXT DAY, pretty boat on shiny water. Nikki and Gwen are inside. Nikki sighs big. Gwen goes to stand outside looking all windswept again. INT DAY corridor at Flat Holm Different people in the corridor today. Still lots of red dressed people looking after people. Helen escorts Nikki and Gwen to the door. Nikki looks around, sees the people and the laundry bags and dire need of new paint and lightbulbs. NIKKI : Ok... where is he ? Jonah's Room. Helen uses the card. GWEN : Remember what I said. You're not going to recognise him at first. NIKKI : I know. GWEN : He's aged. He's been injured... NIKKI : I just want to see him. GWEN : You understand what I've told you now, Nikki. He's not a child, any more. NIKKI : It doesn't matter. I have to see him. Let me see him. GWEN : Ok. INT DAY, Jonah's room Close up on Jonah, the most scarred side, breathing with heavy wheezing. Behind him figures come into view. NIKKI : Hello ? Jonah ? JONAH : Yes ? NIKKI : I can't see you. Jonah ? JONAH : Mum ? NIKKI : No. No ! She backs up. JONAH : It's OK, Mum, it's me, it's OK. NIKKI (Gwen catches hold of her but it looks like she wants to run) : Stay away ! JONAH : I'm sorry, I'm really, really sorry. NIKKI : What're you doing ? What have you done to me ? GWEN : Nikki, I promise, this is Jonah. NIKKI : That is not my son ! (She points at him. He bows his head and curls in on himself. She turns away). Get me out, I want to get out of here. GWEN : Will you listen ? This is him. NIKKI : You are sick ! GWEN : Listen... NIKKI : All of you ! JONAH : Did you fix my wardrobe door ? We bought it flat-pack, made it together. The bottom left hinge keeps coming loose. You said you'd sort it. NIKKI : No. JONAH : Every evening you buy a bottle of beer. You let me sneak one sip. Just the one. Don't want to get a habit, right ? NIKKI : Stop it ! JONAH : You've two alarms cos you always sleep through the first. NIKKI : Make him stop ! JONAH : You talk about the day when you can earn decent money and afford yourself some decent make-up. NIKKI : I'm not hearing this ! JONAH : You won't buy me a double bed cos you don't understand what I need it for. NIKKI : Shut up ! JONAH : When I ask why you haven't got married, you say, "I'll never be lonely, cos I've always got you". It's me, Mum. It's me. NIKKI : Jonah ? Finally smiles through tears and goes over to him slowly. JONAH : I feel so lost. I've walked for years, trying to get home. I'm sorry. NIKKI : Why ? JONAH : That night. I was late. I'm sorry. Nikki makes an "oh" sort of face, like no he should never think that. She reaches, slowly, and touches the scars. He grabs her and they hug. JONAH (sobs) : The sights I've seen, Mum. NIKKI : It's fine ! JONAH : It'll take time. NIKKI : Look... It'll be OK. It's happy hugs now, she's rubbing his back and smiling. But Helen has come in behind them. HELEN : You have to leave Jonah now. NIKKI : What ? JONAH : Helen, I'm fine. HELEN : It's for your own benefit. NIKKI : No. I'm taking him home now. GWEN : Nikki, stop for a second. You can't just take him out of here. Jonah sits back down behind them. NIKKI : I know how to look after my child. I'll tell them he's my father. I can take care of him... ! HELEN : We can't allow that. NIKKI : He's my son, I say what's allowed ! GWEN : Jonah ? JONAH : It's started again. NIKKI : What's happening ? HELEN : He's starting the downswing. GWEN : What's a downswing ? NIKKI : What is it ? Jonah ? HELEN : You've seen him in the good phase. It gets briefer every day. It really might be best if you leave. JONAH : Helen... ! HELEN : Oh, it's all right, sweetheart, I'm here. JONAH : Make it stop ! HELEN : I ever wish I could. Please, it would be better if you didn't stay. NIKKI : I'm not leaving. I'm not leaving him. GWEN : Ok. HELEN : Then you should move away. GWEN : Why ? Will you tell me why ?! Jonah splutters, then screams. Really loud, and not stopping. EVERYONE : Oh... ! Hands over ears, backing away. Gwen is last to leave but can't stay in there. GWEN (voiceover) : I'd never heard a sound like it. This primal howl. The scream lasts 20 hours every day. EXT DAY, Boat and water again Gwen looking thinky. GWEN (voiceover) : Before the rift returned him, Jonah had looked into the heart of a dark star. What he'd seen had driven him mad. Nikki looking devastated. Gwen looking sad. FADE TO BLACK One week later. INT DAY, Nikki's flat Nikki, all dressed in grey, closes the door and wanders in, arms crossed. Gwen follows. GWEN : They say you can visit... whenever you like. When he's in a good phase. NIKKI : Promise me you won't do this to anyone else. Before, I had the memory. Whenever I thought of him, I'd see him laughing with his mates, playing football, scoffing his breakfast. And now I just hear that... that terrible noise. GWEN : I thought you wanted to know what happened to him. NIKKI : I did. I was wrong. It was better when I didn't know. Before you... I had hope. Gwen just walks out. Nikki looks down. INT HUB Interrogation room mixed with INT DAY, Nikki's flat Gwen gets a step ladder and takes down all the notes on the missing. They've been up there a week ? Can't have many people to interrogate at Torchwood then. Nikki, bag in hand, starts clearing out the video tapes. All of them useless to her now. Then she gets Jonah's diary and a box and starts packing up his room. They both pause on something of Jonah's, Gwen with his file, Nikki with some clothes of his. Nikki pauses to smell them. Gwen touches the photograph's face. Nikki sobs and holds the clothes close. She sits on the bed and cries. Gwen pushes the file drawer closed. Jack watches her through an archway. Gwen walks away past him without stopping or seeming to notice. Jack looks at the file cabinet : Missing. Then he walks away. INT NIGHT, Gwen's flat Gwen lights a match and then a candle. A door closes behind her and Rhys walks in. She's got candles and wine and flowers. RHYS : Apology, is it ? GWEN: Tonight, we talk about what you want. Kids... the future, anything you want. RHYS : Are you all right ? (He walks over to her. She's sniffing and trying not to cry). Hey, come here. Big hugs. GWEN (Sobs) : I'm sorry... ! RHYS : Do you want to sit down ? GWEN (softly) : OK. They sit on the sofa. Gwen cuddles into Rhys and he holds her and kisses her forehead. RHYS : Now then... you tell me everything. From the beginning. GWEN : There's this woman, Nikki. She had a son... Jonah. He went missing seven months ago... FADE TO BLACK END

{"type": "series", "show": "Torchwood", "episode": "2x11 - Adrift"}

foreverdreaming

JACK (voiceover) : Torchwood. Outside the Government, beyond the police. Fighting for the future on behalf of the human race. The 21st century is when everything changes... And Torchwood is ready. EXT DAY outside a building We get a long arty moment where only a particularly spiky bit of plant life is in focus, leading us to wonder if we're meant to draw anything symbolic for this or if the director just got tired of the SUV. Then the SUV pulls up, all black and wheely. Doors open, people get out, we get closeups of feet and then hands with g*n. Team Torchwood, minus one, do the power walk, four of them in a line with Jack forward, Ianto, Jack, Owen, and Tosh. Ianto and Jack framed as a pair, Owen and Tosh likewise. Ianto has a cellphone. Tosh has her blue box of knowing things. Owen has a bandaged left hand. IANTO : Gwen, we've texted you the location, we're querying four or five signs of life, definitely non-human. Get here as soon as you can. OWEN : So, sure they're not Weevils ? He's looking to Jack, but that's not who answers. TOSH : Don't think so, different energy patterns, can't make sense of it. Not a species we've encountered before. OWEN : Well Let's hope they're friendly then. JACK : Owen, Ianto, take the other side of the building, check the upper floors. (They jog off in front.) Toshiko with me. INT DAY inside a building Yes, watch me get real specific with the settings. Okay, watch Jack and Tosh explore the building, it's more fun. Actually, they're being tense and action-hero here. They aren't just wandering around. Jack has his g*n out, Aimed... not quite right at the camera. Tosh, similarly armed, aiming off to the sides. There's pillars obscuring our view so we get a sense of both a very large space and a closed in one. Anything could be in here. Jack and Tosh have their backs to the pillars, look to each other to check. JACK : OK ? Go ! They move around quickly. Pillars, actually more like small brick walls, obscure the view for a moment. Then we're out the other side, and Jack and Tosh are doing the point and worry with a new set of windows lighting them. Tosh pays more attention to her blue box. TOSH : I'm getting mirror readings on both floors. (Now Tosh is aiming at the camera, while Jack aims the other way.) One creature at either end of the building. JACK : Toshiko, split up. Elsewhere in the same building, same light, same walls, Owen and Ianto are exploring, also armed and tense. We see the walls blocking their view too, see them behind them through gaps. JACK : Y'know, these creatures are very quiet. OWEN : Maybe they're sleeping. IANTO : Or hatching. TOSH (Sees the camera... er, sees something that grabs her full attention, while looking into and aiming at the camera) : Or maybe they aren't creatures at all. Pan down, reveal little silvery box. Jack swings around a wall to see something on the floor too. Aims at it then looks up with face of oh-hell. JACK : Just expl*sive devices. Ianto seen looking down and reacting to another silver box. He closes his eyes. OWEN (Swings around wall, and sees...) : Snap. Countdown reaches 01, one last glimpse of Jack face, then BOOM. Cut to : Opening credits INT DAY Gwen's bedroom Start with medium close view of her phone, glowing and making see-me noises. Longer sh*t of her and Rhys stretched out in bed with the sun shining in. Then close on Gwen as she suddenly wakes up, scruffy and quite likely naked under the sheets. GWEN : Shit. PHONE : You have one message. IANTO (Message) : Gwen, we've texted you the location, we're querying four or five signs of life definitely not human. GWEN : Shit. INT DAY Building gone boom Slow track through the rubble, lots of clattering and things falling down. Long sh*t of Jack, start a slow zoom in while stuff falls down, then cut to close up of him lying in the rubble rather squished. 1,392 deaths earlier. EXT DAY an alley, long ago Close up of Jack... with sideburns. He wakes up with the back to life gasp and starts yelling. JACK : Oh, not again. There's some nearly screaming as he looks down and finds a green glass bottle sticking out of a messy blood soaked stomach. He's dressed in white shirt and braces under a grey long coat, but it's not his RAF coat. Mise en scene as well as knowledge from other episodes indicates it's way earlier than that. Jack moans as he pulls the bottle out and throws it away. Then he looks up and we see two women, in very old fashioned clothes. One of them in a big skirt, the other in big... puffy trouser things ? Both wearing brown, with hats and gloves. One has her hand in her jacket. JACK : Ladies. Torso of steel, shilling a feel. Any takers ? (Gets up, groaning). Bar fight, got a little out of control. Flesh wound. (Pointing at the gaping great hole in his stomach. Yup, that's believable. And then he sags a bit, has to hold on to the wall). Whoa ! Whoa ! Still not used to... these hangovers. The two women start to walk forward. They're silent. But with ominous theme music. JACK : Captain Jack Harkness. How long have you been there ? Silent types. That's OK. I used to date a guy with no mouth. Surprisingly creative. One woman punches him in the stomach, then knees him in the head when he doubles over. The other kneels on him, pinning him down. His face between her knees, Jack responds predictably. JACK : Listen, you only had to ask. Can we get a room though ? She pulls out a handkerchief and holds it over his mouth and nose until we fade to black. INT HUB, slightly older than usual Still in flashback land, Jack still has his sideburns. He's awoken by a bucket of water in the face. JACK : When I said about getting a room, I meant somewhere with linen. Bucket the second. Jack shakes it off. He's tied to a chair in what we recognize as the Hub cell block... but with bars instead of clear walls. One woman, the trousered one, probably the boss, website calls her Mrs Emily Holroyd, tears Jack's shirt open and sticks a couple of bits of metal to his chest. JACK : Time was, electrodes to the nipples meant the start of a good night. She goes over to a brass and wood machine with a handle. She turns it and there's glowing and buzzy noises. Jack's screaming. And laughing. EMILY : Full power charge and still breathing. JACK : Pretty advanced piece of equipment you got there. You ladies are ahead of yourselves. Now where the hell am I ? The woman in the skirt, the website suggests this one is Alice Guppy, turns and picks up a g*n. She aims at Jack. JACK : Put that down before somebody gets... POV sh*t of the end of the g*n and fade quickly to black. Screech and gasp, same setting, Jack back again. ALICE : Why aren't you d*ad yet ? JACK : Been trying to figure that out myself. EMILY : We've been monitoring you. You've been k*lled 14 times in the last six months. JACK : Feels like more than that. EMILY : Who's the Doctor ? JACK : No idea. ALICE : "The Doctor, he'll be able to fix me". "When the Doctor turns up, it'll all be put right". "You wait till I see the Doctor. First I'm going to kiss him, then I'm going to k*ll him." Transcripts of your conversations with strangers, in various drinking dens, since you first came to our attention. JACK : Y'know, no-one likes a smart-ass. ALICE : Tell us where he is and we'll release you. JACK : Why do you wanna know ? EMILY : You're in Torchwood, Cardiff. The Torchwood Institute was created to combat the thr*at posed by the Doctor and other phantasmagoria. JACK (laughs) : He's not a thr*at. The Doctor's the one who'll save you from your phantasmahoojits. EMILY (Puts her hand on the handle again) : Just tell us his location. JACK (very quickly) : I don't know ! (Pulls against his bonds, looks more like frustration than escape). He left me behind. I came here to find him. He refuels from that rift you have. Hoping if I stayed here long enough, we'd find each other. Now, can I go ? ALICE : No. JACK : You can't keep me here ! EMILY : Oh, we can. Unless... ALICE : Yes. Unless. JACK : Unless what ? EMILY : There are opportunities here. With the Institute. JACK : I'm not for hire. ALICE : You're going to need currency. JACK (looks at them, looks down at where he's tied to the chair) : What's the assignment ? ALICE : Missing person. EMILY : Well, when we say person... EXT DAY alley Jack shoves someone and they fall. It's another blowfish head guy wearing a suit. TEEN BLOWFISH : I haven't done anything ! JACK : 12 Burglaries, joyriding a horse and carriage, 7 cases of pick-pocketing, 24 instances of consuming food without paying for it. It's like an addiction with your species, isn't it ? TEEN BLOWFISH : I'll make it up, I promise ! JACK : Ah, too late. TEEN BLOWFISH : It's just a bit of fun. JACK : This planet's a century away from official first contact with alien life. You're upsetting the schedule. TEEN BLOWFISH : Who are you ? JACK : I'm Torchwood. INT HUB, cells Jack throws the fish dude into a cell. He's much more crudely violent than later in his timeline, big movements, not so much controlled. TEEN BLOWFISH : I said sorry ! You can't lock me up ! JACK : He's just a kid. Send him back to where he came from. ALICE : If only we could. The rift only goes one way. JACK : What do you do ? Observe and profile the species and then transfer them to long term storage ? She brings her right hand around : g*n. It's quicker than Jack, he grabs her only after the damage is done. Fish head is d*ad. JACK : Why ? ALICE : It was a thr*at to the Empire. JACK : Like me ? ALICE : You're our ally now. She pulls free and turns to face him. INT HUB, office It's the familiar distinctive window, but not the familiar view. Some big, big big, construction is going on outside, and there's no glass in it yet. The blonde probable-boss lady is sitting behind a desk, counting out some big bank notes. Jack sits slumped in a seat in front of her. Camera moves around to give us a view of the altered office, including a potted fern, a fireplace with a pretty sort of cover, and on the desk an old-but-not-that-old-surely rotary telephone. She finishes counting the money out. Jack looks unimpressed. EMILY : If you don't want it... Jack goes to grab it... not quite snatching. He stands. She gets a folded piece of paper out. EMILY : Your next assignment. JACK : No. I'm through with you people. EMILY : Your liberty is at our discretion. (Jack was leaving, but he stops and turns to face her. Alice comes in, through a quite different office door). Work for us, you assist the Empire. Sever that tie, you become a thr*at. ALICE : And you've seen how we deal with thr*at. EMILY : It's good money, Captain. How else are you going to earn ? Jack goes back to the desk. He takes the folded paper, with the T in a hexagon seal. She smiles. Then he flicks it back onto the desk and walks away. EMILY : See what you think in the morning. Jack leaves. Alice watches him go. ALICE : He's pretty. But you're prettier. Blonde smiles, pleased. Random evil lesbians FTW ! Er, sort of. EXT NIGHT, somewhere with booze There's laughing and drinking. Jack is not laughing, but he's very definitely drinking. The whole "water" thing is a more recent development then. A girl appears, with her own somewhat creepy theme music. Yes, it's the spooky girl from 2-07. Looking just the same. SPOOKY GIRL : Can I read your cards ? JACK : No, thank you. (She pushes cups and bottles off the table to make space.) No, really. SPOOKY GIRL (Ignores him and sets cards out. A very pretty deck, anyone know it ? One of them has Jack in armour. First three cards : Tower, Jack-the-Knight, 3 of swords sticking through a heart). He's coming. The one you're looking for. (Next three cards. Top one is the Ace of Cups, fountains flowing out a big cup. Next is a face in a circle with pointy bits, moon ? Sun ? Star ?). But the century will turn twice before you find each other again. JACK : Oooh ! Are you for real ? (She looks at him. At the camera actually, there's a lot of POV in this section. He stops laughing and his face falls. He picks up the Jack of swords). You mean I have to wait 100 years to find him ? What'll I do in the meantime ? Montage of Torchwood History He goes back to the two women and gets his folded next order. Uncontracted agent Jack Harkness, says a folder with his picture pinned to it. Hand written. Then it goes to typewriter, and now they're calling him Captain. More pinned photos, and we're up to computers with clacky keyboards and some dot matrix printout label. EXT NIGHT, Cardiff millennium party A little countdown in the corner tells us how many seconds to midnight. Some parts of the world have already welcomed in the New Year. Our cameras, of course, have been out in force across the UK tonight. Let's take you first to Cardiff. INT HUB, central section looking almost as we know it Jack opens a door and comes in... it's not the big cog wheel door, it's some red lit doorway that clunks instead. He has his familiar coat, but when he takes it off there's an unfamiliar waistcoat of many pockets. His earpiece looks like the silver one he had for much of season 1. JACK : Hey, when you joked about the Millennium Bug, I didn't realise it was gonna have 18 legs stacked with poison. Anyone home ? Hey! You know you're supposed to party like it's... (Stops, looking down. Dramatic music. Wobbly camera. Then he dashes forward and we see a man's body on the floor, blood on the forehead, as Jack checks for a pulse. He has his g*n out and he's looking for thr*at. Next body is a woman, bleeding from the gut. Camera is still handheld, wobbly, whooshing with blur rather than smooth pan or cuts. Whooshes to see a man sitting on a barrel, watching the TV. JACK (Whispers) : Alex ? ALEX : Jack ! Just in time. JACK : Alex what happened ? Who did this ? ALEX : Me. JACK : What ? Why ? ALEX : We got it wrong, Jack. (Opens his hand to reveal a silver locket, like a lady's necklace). We thought we could control the stuff we found. And what's it brought us ? (Third d*ad body dangling from second floor balcony. Jack aims his g*n at Alex). So much death. JACK : What happened to them ? ALEX : It's good you're here. Always did have great timing. This place, it's yours. Torchwood Three, my gift to you, Jack, for a century of service as field operative. Give this place a purpose. Before it's too late. Please. JACK : Alex, listen, it's gonna be OK. ALEX : No. It's not. It's really not. I looked inside. (Locket. He closes his fist on it). It showed me what's coming. They were mercy killings. It was the kindest thing I could do. So none of us see the storm. I'm sorry I can't do the same for you. (TV crowd countdown and fireworks 5, 4, 3, 2, 1...). 21st century, Jack. Everything's gonna change. And we're not ready. g*n to forehead. JACK : Alex ! Bang and blood spatters on Jack's shocked face. Fireworks in the background, Jack looks like he's about to cry. Then cut to. INT DAY, building gone boom Gasping back to life, Jack grabs for the hands grabbing him. Screams a bit. Gwen hushes and reassures, but Rhys is a bit less than cool with this. RHYS : He was d*ad. I checked his pulse ! He was d*ad ! GWEN : All right ! Sh ! Jack, what has happened ? Where are the others ? JACK : What is he doing here ? GWEN : Look, I was late, OK. He gave me a lift. You OK ? JACK : Toshiko. She went the other way. INT DAY, more building gone boom. More bits of building fall down. Distant voices yell "Tosh" and "Toshiko", indistinctly. Camera looks around until we find Tosh, under a girder and a lot of bricks. Creaks and groans and more falling. Tosh Screams. 5 years earlier. INT NIGHT, Office A man locks an office, walks past dark windows to where a computer still clacks keys. BOSS : Never thought I'd say this to anyone here, but you work too hard. TOSH : Another hour and I'm done. BOSS : Wish the rest of them thought like you. Half past five, they're out of here like a pack of dogs. TOSH : You have a good evening, sir. BOSS : I doubt it. He leaves. Tosh, in cardigan and glasses, takes off the specs to become Action Tosh ! Able to leap small... heaps of paper... er, wrong genre. Okays, long action sequence. Tosh goes to her desk draw, overturns a desk tidy and grabs a key from underneath. Now the boss is gone she's all hurry. She rushes into his office, the one we saw him lock, and goes to his computer. Boots up. MoD desktop background. Gets the password of the day up. Memorises it, shuts down again. Checks on the CCTV monitor where the security guard is, then checks her watch. Runs. Dark corridors have the lights switch on around her. Run down stairs. Get to corridor... pause while the camera turns away. Run for a particular door and type in the number and get inside before the camera turns back. Pause to pant and look scared inside the door. Walk along shelves looking for something in particular. Anyway, untie a bag, grab some plans, stick them up her jumper. Put bag back. Go to door, guard walks past as she opens it ! Checks her watch again, and slowly out the door... as camera turns again. Then she's downstairs in her coat and leaving, chatting to the security guard on the way out. INT NIGHT, office lobby GEORGE : Another late one, Miss Sato. TOSH : You know me, George. Married to the job. GEORGE : When you gonna let me whisk you away from all this ? TOSH : As soon as you clear it with your wife and grandchildren. GEORGE : Always an excuse. Take care. TOSH : Goodnight, George. He watches her leave. Cut to EXT sh*t with a big sign, Lodmoor Research Facility, a Division of the Ministry of Defence, with that MoD logo again. Tosh walks past and leaves. INT NIGHT, Tosh flat Very busy, very cluttered, lots of bits of wire and things on a table. Tosh gets the plans out, then her glasses. Checks plans and starts selecting components. Montage of building something techy with cool music. Er, the montage has music, not the tech. Tech is merely shiny with wires. Tosh is careful and clever with computers and tools that glow. EXT NIGHT, a street, to INT NIGHT, a room. TOSH : I've got it. BADGUY : Get in. Tosh goes inside, bad guy clunks door closed behind her. Room of many computers, and some flatscreen monitors and a noticeboard and stuff. Also there's a lady wearing glasses looking sour. TOSH : I want to see my mother. I want to know she's safe. Now. BAD LADY : Show me the piece. (Tosh gets out tech she just built). Oh, it's beautiful. Perfect sonic modulator. Toshiko, you've done so well. MUM OF TOSH : Toshiko ! TOSH (Says mum in Japanese) : You've got what you want. Now let her go. BAD LADY : Except now you're the victim of your own success. Perfectly situated, proven ability. You can give us so much more. MUM OF TOSH : ? TOSH : And what if I refuse ? BAD LADY : Then your mother stays with us. And your brilliance is used against her. (Puts on big headphones). Like this. TOSH : No, don't ! Sonic modulator makes the picture throbby. Tosh and her mum fall down. Screaming. Hands on ears. The bad lady tosses another set of headphones on the floor, but when Tosh reaches for them she gets stomped on. TOSH : Please ! Toshiko's mum starts bleeding from her head, the exact pattern from 1x13. UNIT SOLDIERS (Burst in from all directions, armed and serious) : Turn it off ! Turn it off ! Sonic off, Tosh arrested, everyone arrested. Tosh dragged out quickly. TOSH : My mother ! Is she all right ? Is she all right ? INT DAY, a cell LED EYE IN CEILING (Feminine yet computer distorted voice, a bit like the London Underground station announce but creepier) : This is a UNIT facility. Your rights as a citizen have been withdrawn. You will be held here indefinitely. We are not required to provide you with legal representation. Anything you say will be recorded. You will be allowed no communication with any person or organisation outside this facility. There is no right of appeal. If you fail to comply with the rules, we are authorised to discipline you. TOSH : Is my mother safe ? LED EYE IN CEILING : We cannot supply you with that information. Montage of waiting and misery, lots of cuts with the camera in the exact same place. The cell don't change except as the light from the window moves across it. The light crosses it at least twice. Two sweeping movements while Tosh stays still, and then other sequences where the light stays still and Tosh moves. Tis temporally disorientating. Tosh leans against the wall or curls up, it's too small to stretch out, barely wide enough for a full size door. Sometimes there's a food tray. There's no toilet though. Maybe that's why they get led out in rows sometimes. Plural prisoners in matching jumpsuits. Then Tosh back in her cell again. LED EYE IN CEILING : Prisoner Sato. Inspection. TOSH : What for ? LED EYE IN CEILING : Prepare for inspection. Tosh stands up, with much leaning on the wall, and waits. Door swings open for dramatic reveal of The Coat. And the Captain. Being all well lit and heroic. INT DAY warehouse Jack and Tosh sit opposite each other at a table in the middle of a big big dark empty room, spotlit with a light through a window. JACK : Catering's as lousy as they say, huh ? TOSH : Where's my mother ? JACK : She's safe. She won't remember being kidnapped. I wiped it from her memory. I hope you don't mind. TOSH : You did what ?! JACK : Really, just a little pill. She'll never have known. TOSH : Who are you ? JACK : Nobody. I don't exist. And for a man with my charisma, that is quite an achievement. TOSH : Are you a lawyer ? JACK : Do I look like a lawyer ? They're gonna make an example of you. Stealing official secrets, in today's climate... They're going to keep you here without charge. Forever. TOSH : They can't do that. JACK : They're never going to release you. I'm sorry. (Gets sonic modulator out). You made this, right ? TOSH : I just followed the plans. JACK : Yeah, kinda. But first you had to grasp the concept of what a sonic modulator does. Most people would struggle with that. And another thing... the plans don't work. TOSH : What ? JACK : The technical plans you followed, they were wrong. They had mistakes in them. That's why the plans were shelved. But you, Toshiko Sato, you automatically fixed things as you went along... What I'm trying to say is... oh baby, you're good. I mean, you're good now. Imagine what you'd be like with a little training. Oh! Shame you're gonna be locked up for so long. TOSH : You've got to get me out of here. JACK : If... you come work for me. TOSH : Really ? JACK : Give me five years, I'll get them to wipe your record clean. They owe me a few favours. TOSH : What do you do ? JACK : Protect people. Least, that's what I'm aiming for. It's kind of a work in progress. TOSH : What about my mother ? JACK : Limited contact only. You can send her postcards. So what d'you say ? TOSH : Why would you trust me ? JACK : Instinct. It's going to be dangerous. Think you can bear a little danger ? INT DAY, building gone boom Tosh screaming. GWEN : Stop ! Stop ! Stop ! Stop. Tosh, Tosh are you OK ? TOSH : You're making it worse. It's pushing down even more now. I think I've broken my arm. Gwen ? GWEN : Yeah ? TOSH : If this pillar shifts down even more, it'll crush me. RHYS : It's no good Gwen. We're gonna need more strength. GWEN : Look, Jack has gone to find Owen and Ianto. You're gonna be fine darling, all right. You're going to be fine. TOSH : You've got to hurry, please. RHYS : Go help Jack. I'll stay here. GWEN : Are you sure ? RHYS : Yep. GWEN : I'm going to come back for you darling, all right ? You're going to be OK. Crawls then stands, leaving. Rhys stops her. RHYS : Gwen, this could've been you, couldn't it ? If you hadn't been late. GWEN : Look, Rhys, I haven't got time for this now, okay. I've got to go try and find the others. INT DAY, building gone boom still but another bit Bricks move and rubble is clawed at. Ianto's knuckles are black and red. He tries to pull himself out from under but Ianto screams. He's trapped. He doesn't stop trying but he's not moving so much as an inch. JACK : Ianto ! Ianto ! Ianto hears, looks up. Fade to black and 21 months earlier. EXT NIGHT, woods Jack, familiar coat and old silver earpiece, is thrown back against a tree. Growling and roaring, he's in a fight with a weevil. He's not noticeably winning. He holds the spray out but it knocks it away, and then it's a real struggle, until the weevil gets its teeth into his neck ! Luckily thud a stick whacks the weevil on the back. Myserious stranger in tight jeans, Ianto to the rescue ! Weevil wrestling ensues. He's not really winning either. Then Jack charges in, knocks the weevil down, and finally uses the spray. Soon as it's subdued he puts a black bag over its head, then gets out an injector and sedates it. Ianto throws his stick away. Jack winces and checks his own neck. Ianto watches, looking a bit nervous. Once Jack looks at him, Ianto speaks. IANTO : Thanks. Leaning casually against a tree. JACK : No, thank you. And you are ? IANTO (Stands up again) : Jones, Ianto Jones. JACK : Nice to meet you, Jones, Ianto Jones. (Shake hands). Cap'n Jack Harkness. IANTO : Lucky escape. JACK : I had it under control. IANTO : You think so ? It looked pretty vicious. You're, um... (Reaches for his neck, but Jack backs away). You were bleeding. JACK : Had worse from shaving. IANTO : Looked like a Weevil to me. JACK : I've no idea what you're talking about. (Ianto gives him the "yeah, right" face of smug, and there's some staring. Jack turns away and gives him the shoulder). I'll take him from here. (Bends down, picks up weevil over his shoulders). Thanks for the assistance. IANTO : Anytime. By the way, love the coat. Jack shakes his head as he leaves. EXT DAY Cardiff Bay from above but we're still in flashback, cause it goes to EXT DAY Outside the tourist office Ianto is waiting as Jack comes out the door. The day's outfit is also noteable, still with the jeans and dark jacket but now with open neck shirt and a necklace showing. IANTO : Morning. Coffee ? Ianto holds out a mug, not a bought paper thing, a proper mug. Jack takes it, sniffs. Ianto looks nervous. Jack takes a sip. JACK : Wow ! Hands it back to Ianto. IANTO : I want to work for you. JACK : Sorry. No vacancies. IANTO : Look, let me tell you about myself. JACK : Ianto Jones, born August 19th 1983. (Walks off, talking). Able student but not exceptional, one minor conviction for shoplifting in your teens. Number of temporary jobs, mainly a drifter, until two years ago you join the Torchwood Institute in London. Junior researcher. Girlfriend, Lisa Hallett. IANTO : Deceased. JACK : I'm sorry. IANTO : Look, (gets in front and puts out a hand to stop Jack) you checked me out. JACK : You knew what a Weevil was. Thought I was gonna have to come deal with you. IANTO : But instead you could see I have the right qualifications for the job. JACK : There is no job. We're nothing to do with Torchwood London. I severed all links. Walks off again. IANTO : Yet when it b*rned, (gets in front and stops him again, physically with a hand out) two members of your team scavenged the ruins. JACK (takes hold of his hand with finger and thumb and removes it from his person) : Don't want the equipment getting into the wrong hands. IANTO : And you're the right hands, are you ? Trial period, three months. JACK : No. IANTO : Three weeks. Three days. Let me prove myself to you. I'll work for nothing. JACK: No. Walks off again. IANTO : I saw what they did at Canary Wharf. (Grabs Jack by the shoulder and pulls him back, gets in front again). What am I supposed to do with those memories ? JACK : You are not my responsibility. And we're not hiring. (Walks off again. You know this bit could only work outside that door, they've got that long stretch where there's wall on one side and water on the other. IANTO : Same time tomorrow then. JACK (keeps walking) : There is no job for you here and there never will be. IANTO : I really like that coat. Raises eyebrow and keeps going. EXT NIGHT – Cardiff from above Still back before, because it zooms in and goes to EXT NIGHT – SUV on dark road And look who Jack is talking to. JACK : Toshiko, see if you can decode those hieroglyphics. TOSH : Already on it. JACK : Owen, take a cross section of the paramedic's brain, check it against the list of chemical agents. OWEN : Will do. JACK : Susie, we're going to need to dredge the reservoir. See if you can find the other half. Man steps out in front of car, crotch in front of the headlights, SUV screeches to a halt. Ianto Jones, in a suit, not such a nice one as we're used to, in the middle of the road. Jack climbs out, slams door. JACK : OK, this has to stop. IANTO : No, listen to me. JACK : I don't have time for this. Look, I don't care what your problem is, I want you out of this city by sunrise. There is no place for you here. Go back to London, find yourself another life. Keep stalking me, I'll wipe your memory. IANTO : No, but the thing is... JACK : Any conversation between us, no matter what the subject, is over ! Finished ! Done ! Forever ! I'm getting back behind the wheel of that car and if you're still standing in the road, I'm going to drive through you. Turns and stalks off. IANTO : You're not gonna help me catch this pterodactyl then ? Jack spins around and stares at him. EXT NIGHT outside some building made of corrugated metal Jack is screwing together a really big syringe. He's stripped down to that waistcoat of many pockets, ready for action. IANTO : OK, that is the only special equipment you've got ? JACK : Yeah, cos I keep dinosaur nets in the back of the SUV. IANTO : Torchwood London would've. Jack glares at Ianto and runs for the warehouse door. INT NIGHT same building, big and empty Jack bursts in, Ianto right beside him. Pterodactyl is flying around in the big empty space with the cool lighting, screeching. Dives for the two of them in the door. IANTO : Nope. (?) Jack and Ianto dive back out the door, and slam it behind them. EXT NIGHT that empty building They're side by side with their back to the door. Which says f*re Exit. On the side they're on. JACK : How did you find it ? IANTO : Rift activity locator. JACK : Torchwood London. IANTO : See, quality kit. JACK : Yeah, it's quite excitable. IANTO : Must be your aftershave. JACK : Never wear any. IANTO : You smell like that naturally ? JACK : 51st century pheromones. You people have no idea. Ready for another go ? IANTO : I'm game if you are. JACK : Three, two, one... INT NIGHT Empty building They dive back through the door and this time close it behind them. The pterodactyl is loud, screeching and diving at them. JACK : Split up ! They run in opposite directions. It lands near the door. Ianto catches up with Jack on the other side. Jack grabs him and holds him back, starts moving forward. JACK : We're not gonna harm you. You can't stay here. Come back with me. I've got somewhere nice and big where you can fly around. IANTO : OK, so you'll let the pterodactyl in and not me. JACK : We need a guard dog. IANTO : I can be that. Like a receptionist. Building maintenance, food and drink, dry cleaning even. That coat of yours must take a battering. Like a butler, I could be a butler. JACK : We don't need a butler. IANTO (grabs his arm and points) : Excuse me, dried egg on your collar. JACK : It was a busy week. IANTO (pulls him back) : What exactly is your plan ? Jack pulls free. The pterodactyl flares its wings and screeches some more. JACK : I'm going to be the decoy. IANTO : And it will rip you to shreds. JACK : Dinosaurs ? Had 'em for breakfast. Had to, only source of pre-k*lled food protein after the asteroid crashed. Long story. Here you go. (Hands him the syringe). One injection to the central nervous cortex. I'll keep it occupied. (Thumps him in the chest). Move. IANTO : No. JACK : What ? Looks at Ianto, for pretty much the first time since they got in here. He'd been staring at the pterodactyl, but now Ianto is more interesting. Ianto gives the syringe back. IANTO : It knows me. I'll be a better decoy. JACK : No, way too dangerous. IANTO : No, I've got a secret w*apon. Chocolate. Preferably dark. Ianto walks away without waiting for the word. Jack has face of huh ?! Then he moves too. IANTO (whistles) : I got your favourite, yeah. Ianto walks around and keeps the pterodactyl's attention. We see Jack behind it, syringe in hand. Ianto tosses the chocolate bar. Pterodactyl looks between Ianto and chocolate. IANTO : It's good for your serotonin levels. If you've got serotonin levels. Now the bar is on the floor pterodactyl pecks at it... and then turns around. Sees Jack ! Jack runs forwards with syringe, pterodactyl takes off, Jack grabs. IANTO : Whoa ! JACK : Aagh ! Whoah ! Ianto ! Flying around with Jack hanging on by one hand ! Ianto watches, worried. Jack gets the needle in, then drops. Ianto catches ! JACK : Sorry ! Pterodactyl flying, crashing ! Ianto rolls, Ianto and Jack keep rolling, pterodactyl crashes beside them. Jack and Ianto happy. Laughing. With Ianto on top. There is moment of near nose rubs and lips in close proximity, with significant looking. Hello sexual tension. IANTO : I should go. Pause, then gets up, off him, goes to leave. Jack rolls to his feet. JACK : Hey ! Report for work first thing tomorrow. (Ianto pauses, looking back over his shoulder. Then walks away). Like the suit, by the way. Ianto's face crumples to misery, and we who have watched 1-04 remember the happy romantic comedy thing is really not the story back then. But as with Jack's walking away reactions, framed very similar, only the camera gets to see this one, so Jack has no clue. INT DAY, building gone boom Jack in the coat, his legs in view and Ianto still under rubble. Jack is throwing bits aside to get at Ianto. JACK : Ready ? Three. One, two three... Come on. Ianto arrgh noises, and Jack hauls him out the rubble. Gwen helps. More and louder argh. JACK : You OK ? IANTO : My shoulder. I think it's dislocated. JACK : Can you take this ? IANTO : Yeah. JACK : Take a deep breath. IANTO (crunching and screaming. And then he puffs a bit and it's back to work) : Where are the others ? JACK : We need your help to get Toshiko out. IANTO : Owen ? GWEN : No sign yet. IANTO : If anything happens he can't repair himself. GWEN : Of course, he can't heal, can he ? JACK : OK, we'll help Rhys with Toshiko. Let us know when you find Owen. And be careful. OK ? (He hand flat on Ianto's chest, over his heart, checks again). OK ? All right ? INT DAY, building still gone boom at this end too Owen is lying in the rubble. His head is a bit sideways, and he's looking out the corner of his eyes at the camera. Creaking from overhead. Camera pulls back and we see a whacking great chunk of window frame, glass broken and jagged. It's swinging a bit, and Owen is watching it with complete attention. He's under bits of rubble, awkwardly. He pulls his right arm out with great care, goes to reach for more bricks, the window falls ! He makes a gasp that's just short of a scream, and his look of fear upgrades to terror. Good thing he's all corpsified really or he'd be in need of new trousers for sure. He stays very, very still. Fade to black. 4 years earlier INT DAY, a bedroom Owen and a blonde woman are on a double bed together. There's papers scattered on it. The covers are sort of pink, the walls sort of orange, and there's clutter and textiles and a picture on the wall. It all looks very warm and there's sunlight falling on the bed. Very different than Owen's current style. Also, Owen is wearing a shirt and tie, albeit scruffy and partly undone. KATIE : Oh, go on, please, please, please, please, please ! OWEN : No, you don't even like her, ever since she didn't pay for her share of the Chinese in Leicester. KATIE : Yeah, but we want Julia to come and it'll look odd if we invite one without the other. OWEN : Oh, God, help me please, help me God ! KATIE : Three tables done. Nine more to go. You wanna back out ? It's still not too late. OWEN : Listen, I'm marrying you even if it kills me. OK ? Some very sweet snuggly kissing. KATIE : Good. Do you want a cup of tea ? OWEN : Yeah, I'll make one. KATIE : I think I can manage. She gets up and leaves. I didn't notice first time through, but look at the look on Owen's face right then. INT DAY, a kitchen Same warm colors and sunlight coming in. You can see the bedroom door off behind Owen when he comes in. It's almost one big room, with a sofa bit in the middle. Barely a two room flat then. But full of clutter and living stuff. Katie is standing there, teabag in one hand, mug in the other, staring into space. OWEN : Katie. KATIE : Yeah ? OWEN : Um, water. KATIE : Yeah. Goes to the kitchen tap. OWEN : From the kettle. (She gets it, pours, goes to drink. Owen adds softly). Milk. KATIE : Stop nagging me ! I don't want to have milk. I've never liked milk. I want to have... (big long pause). OWEN: Tea. KATIE : I wanna have tea without... Looks upset and snaps fingers. OWEN : Milk. KATIE : Tea without milk. Turns, puts cup down, slaps the worktop repeatedly, really really upset now. OWEN (goes over, turns her around, hugs her) : Darling, it's all right. It's all right. Holds her close. First words of next scene heard over that hug. INT with a window DAY, hospital office with a garden outside Invitation mentioned, we see Owen standing in a window, suit and tie and arms crossed, the blinds forming bars in front of him. On "still" we switch pov to look out from Owen's place, now the bars are in front of Katie, standing in the garden. JIM : I got your invitation. Still going ahead ? OWEN : I promised her a summer wedding. JIM : Before all this. Cuts to an office, brain scans on a lightbox on the wall. All this is medical. Nice little sequence there. OWEN : This changes nothing. JIM : Owen, it will change everything. OWEN : You don't know for certain. JIM : We've been through Kate's test results more times than any patient in my whole career. You've looked through them yourself. All the evidence suggests she has early onset Alzheimer's. OWEN : The youngest case in medical history. JIM : It doesn't mean we're wrong. OWEN : Please... run more tests. Let's just try one more MRI scan. JIM : An MRI isn't going to make any difference. OWEN : You don't know that. Now You have said yourself that this is unlike any case that you've seen, and maybe you've missed something. JIM : Owen... OWEN : You don't understand, Jim, OK. One day she's fine, she's perfect memory, the old Katie, and the next there's nothing, she's blank. Now, I am losing her and I don't know what to do about that, OK ? So please. What's the point of me doing this job if I can't help my own fiancée ? JIM : I'll see what I can do. OWEN : Thank you, Jim. Turns and smiles out at Katie, who smiles back, glass and bars still between them. INT NIGHT their bedroom Owen is sitting up watching her sleep. He's dressed, stripy pyjamas, and he's just watching her. INT Close up on Katie with a red laser line traveling down her head Getting the MRI then INT Room full of brain scans Owen watches through the window, blinds again, horizontal bars this time, blocking more of the view. He turns to look at what the computer is doing. More brain scans on another light box behind him. INT DAY Hospital corridor Owen and Katie sit together. KATIE : It's like being lost, in a place you know really well, but you can't get your bearings. Sometimes it comes back to you. And sometimes... I'm sorry, Owen. OWEN : What've you got to be sorry for ? KATIE : I don't want to put you through this. Last night, I dreamt that you left me. OWEN : Oh, come on. Nobody's leaving anyone. He kisses her and holds her. Their doctor appears at the end of the corridor, file folder in hand. Close up on Owen holding Katie, stroking her face. INT DAY Hospital office Owen and Katie sit on the far side of the desk, Owen holding Katie's hand in her lap. The doctor sits the other, pinstriped back to the camera. Very little sun shines in. OWEN : How is that possible ? JIM : We don't know. I've never seen anything like it. It's not the brain deteriorating. It's a clear physical tumour. OWEN : That wasn't there last week ? JIM : Not that we saw. You were right to ask for another scan. OWEN : So what do we do now ? JIM : We have to view this as good news. Katie, we need to take you into surgery, soon as possible, and remove the tumour. OWEN : D'you understand ? Katie. KATIE (she looks at him, just staring) : I can't remember your name. INT Hospital corridor Theatre in Use light on. Owen in his same suit standing outside a double door, the brain doctor in scrubs with his gloved hands up. There's a window in the door, but again there's bars, and this time darker. OWEN : Are you sure she's up to this ? JIM : We're going to do everything we can for her. Montage of time passing as Owen worries and waits. Camera stays still as Owen is in different places, always moving, tapping with worry. Then he's standing outside the door and there's a thud. Jack steps up behind him. JACK : I'm sorry. OWEN : Who the hell are you ? JACK : I tried to tell them You should prepare for the worst. Goes past Owen to go in. Owen grabs and stops him. OWEN : No, you can't go in there. Jack looks at him, then pushes past. Opens door and goes in. INT Hospital operating room Lots of people in scrubs lying d*ad, including the brain doctor. OWEN : Oh, my God ! Katie. (Owen runs in, runs over to her... sees her brain sticking out, and something waving a tentacle out of her brain). What is it ? JACK : I'm sorry. I tried to stop them. She's d*ad. That thing in her head is an alien life form. It incubates in the brain, disrupting the shape and functions. When it's att*cked or thr*at, it emits a toxic gas that's fatal to humans. It clears pretty quickly. OWEN : She can't be d*ad. She can't be d*ad. I'm calling, calling the police. JACK : Tell them that Torchwood is already here and dealing with it. That'll save them a call-out. I need to take her brain back with me. OWEN (starts whispered gets loud) : Don't touch her ! Don't touch her ! Don't touch her ! They struggle, and Jack uses a cloth on Owen's mouth to knock him out. Fade to fuzzy, then unfuzz to next scene. INT Hospital ward Owen wakes up in a hospital bed. He's wearing hospital clothes, propped up on a pillow. More fuzzy pov sh*ts. Owen has an IV in his hand and pulls it out. NURSE : How are you feeling ? OWEN : Where is she ? NURSE : Where's who ? OWEN : Katie. Katie Russell, she's a junior doctor, she works here, we're about to get married. NURSE : Let's get you back into bed. OWEN : Get off me. Where is she ? Where is she ? Where is she ?! Where is she ?! He's struggling to get up, they're keeping him pinned down. INT Hospital, different office There's still brain pictures up but they aren't shiny high tech ones. We start with a closeup of a hand taking notes. Owen is wearing a dark blue bathrobe over hospital pattern shirt. The effect couldn't be more different than the suit. No more armour. OWEN : He was wearing a military uniform. He had an American accent. PSHRINK : I promise. We have checked all the security footage. There was no such man. OWEN : Jim Garrett was poisoned by some alien toxin, by some... PSHRINK : Jim Garrett was in a car accident. OWEN : The American said that he wanted her brain, that there was... alien creature, or... This happened, OK ? This is not some trauma or delayed grief or whatever you're scribbling down. PSHRINK : Katie's tumour was inoperable. There was nothing anyone could have done. OWEN : This is just, (breaking down, near crying) this is wrong. PSHRINK : I'm giving you three months prescribed rest. Don't come into work. OWEN (angry now, gets up in Pshrink's face, hands on desk) : Yeah ! Storms out. Which don't work so well in the bathrobe, but he manages. INT Security office (?) Suit again, looking at stuff on computer monitors. Turns out to be CCTV footage. OWEN : This isn't right. He was there. It wasn't just me. He was there too. That is not what happened ! That is... not what happened. Breaking down crying again. EXT DAY cemetery Rows of gravestones, then Katie's grave with only the temporary wooden marker and some bunches of flowers. Owen, in suit and black tie, kneels and checks flowers. Then rubs his eyes. Sees Jack across the graveyard. Runs after him. Jack just stands there and waits. Owen punches him. Knocks him down. Climbs on top and starts to b*at the shit out of him. Jack only tries to stop him after four or five good ones. OWEN : You ! You could've saved her ! You could've saved her ! You could've...saved her ! Starts strangling Jack... then stops, and breaks down crying on his chest. Jack holds him. JACK : I couldn't. I really couldn't. Same cemetery, different sh*t. Long sh*t of them walking between graves. With the trees around the edges and the way the view is blocked it's a big space, but it's only full of the d*ad. OWEN : If you're not a figment of my imagination, then I don't know what's happening any more. Maybe this is... what a mental breakdown feels like. JACK : You're fine. It's the rest of the world that's delusional. Keep telling yourself that Jack... sh*t goes medium close, both of them from the waist up. Owen's seriously done a number on Jack's face. OWEN : Why her ? JACK : There's no reason. Your life doesn't end with her. What are you gonna do now ? Go back to work ? See echoes of her in every corridor ? You need a purpose. I'm building something. I need a medic. OWEN : And you want me ? JACK : You made them take more scans. You kept trying to track me down. You don't give up easily. (Hand on Owen's shoulder). I need someone like that to work with me in Cardiff. OWEN : To fight aliens. JACK : Exactly. OWEN : Look... I dunno what happened to Katie and I dunno who you really are, but there is no such thing as aliens. JACK : You think ? INT HUB, just inside the cog door OWEN : I'm having a breakdown. Mental collapse. JACK : Owen, why did you become a doctor ? OWEN : I thought if I could save one life, mine would be worthwhile. But you save one... and there's another. And another. All clawing at you, demanding to be saved. And even if you do succeed, you can never save enough. JACK (from behind Owen, hands on both his shoulders) : Maybe here you can. INT DAY, building gone boom Close up on Owen's fear face. He gulps. Which given the state of his squishy systems has to be pure habit. Then he looks to the other side, and the camera pulls back to show Gwen arriving. OWEN : How are the others ? GWEN : All right. OWEN : Careful ! If that falls... GWEN : OK, it's not going to fall... (short sharp fall, broken edges gleaming. Bit of screaming). OK. OWEN : Just be very careful. GWEN : OK, all right, all right. We're gonna get you out. OK, this one ? Moves some blocks. OWEN : Look, if you do it very, very gently... GWEN : OK. It isn't going to drop on you. OWEN : Whoah ! GWEN : Quiet. OWEN : OK, sorry. GWEN : I'm going to do this as quickly as possible. Listen to me. I'm going to get you out of this. Look at me, trust me. One particular huge jagged bit of glass falls some more. GWEN : OK, hold my hands. OWEN : Sorry. GWEN : Hold my hands ! Pulls him up and out and the big bit falls right down where he was. EXT DAY Outside the boomed building Jack, Ianto, Rhys and Tosh emerge from the near door, Owen and Gwen run in from the far end. JACK : You OK ? OWEN : You all right ? Tosh, what happened ? TOSH : Broken arm, bruised ribs, about an inch away from being crushed by a girder. OWEN : You were lucky. IANTO : We all were. GWEN : Jack, who's done this ? IANTO : And where's the SUV ? Bleeping, Jack checks his wrist strap. Hologram ! IANTO : Oh, no. GWEN : Jack, what does he want ? JOHN HART : Oh, deja vu ! Or did I say that already ? Hey, team. Course, there might be a few less of you by now. Don't know if you liked my little gift. Course, you can't die. And with all that life, all that time, you can't spare any for me. Oh! Say hi to the family. Hologram John's wrist strap makes a second hologram which shows up in the hologram. JACK : No...it can't be. JOHN : Been a while since you've seen your brother, eh, Jack. JACK : Gray ? JOHN : OK, here's what's going to happen. Everything you love, everything you treasure, will die. I'm going to tear your world apart, Captain Jack Harkness, piece by piece. Starting now. Maybe now you'll wanna spend some time with me. Gray blinks out, John blinks out, Jack looks grim. END

{"type": "series", "show": "Torchwood", "episode": "2x12 - Fragments"}

foreverdreaming

Opening credits JACK (voiceover) : Torchwood. Outside the Government, beyond the police. Fighting for the future on behalf of the human race. The 21st century is when everything changes... And Torchwood is ready. INT DAY Building gone boom Flashback to last week, blue tinted. JACK : The expl*sive devices... OWEN : Snap ! Boom. GWEN : Jack, who's done this ? JOHN : Captain John Hart. GWEN : Jack, what does he want ? JOHN : Say hi to the family. JACK : No, it can't be. JOHN : Been a while since you've seen your brother, eh, Jack ? JACK : Gray ?! EXT DAY Outside the building Actually they went outside in the flashback, but we pick up where we left off, outside the exploded building. The team, plus Rhys, are heading for building 3 and Rhys' car. Tosh is supported by Owen. Tosh and Ianto are looking at the blue bleepy boxes of info. OWEN : Bastard John's taken our SUV. IANTO : Looks like He's driven it back to Torchwood. TOSH : I'm getting readings of rift activity all over the city. Major rift flares at St Helen's Hospital, the Police Headquarters and the Central IT Server Station. Phone rings. Gwen gets her mobile out and checks name before answering. GWEN : Hey, Andy ? ANDY (walking down stairs in the police station, blood on the walls behind him) : Gwen, you've gotta get here right now ! I'm serious, we need you. GWEN : Ok, I'm on my way, all right ? This is him, isn't it ? This Captain John, or whatever he likes to call himself. JACK : Rhys, drop Owen at the hospital. Tosh, Ianto cover the central server building. Gwen, the police station. Then take me to Torchwood. RHYS : You think we're all gonna fit in here ? JACK : Yeah, we're gonna have to. TOSH : Jack, These are traps. JACK : So be careful. You know what he's capable of. GWEN : What about you ? JACK : I'm gonna go reason with him ! OWEN : He just tried to k*ll us. JACK : I was the only one who could ever control him. That's why the Time Agency partnered us. RHYS : Did you just say Time Agency ? Don't tell me that's based in Cardiff too ?! Jack does a sort of eyeroll shrug, and everyone climbs in the car. Rhys is driving. Apparently the Law of Owner Drives overrules the thing where some of the others might have extra training to go real fast. Or, possibly they're tooling around at those speeds with no training. They drive off and we get some voiceover. OWEN : Why's he doing this Jack ? What does he want ? JACK : That's what I'm going to go ask. EXT DAY Cardiff bay from above New angles I think, lovely view of the fountain and some twirly zoom down, then cut to INT HUB, main area Well, starts outside the cog door. Jack walks into sh*t, takes a deep breath, waits as the door rolls open. Clattering and banging. MUSIC : "I Lost My Heart To A Starship Trooper", by Sarah Brightman. JOHN (is standing on the upper level waving a scarf above his head, grinning manically) : Come on ! Sing along ! It's our song ! JACK (the look on his face is priceless and entire sentences on it's own) : We don't have a song. And if we did have a song, it wouldn't be this song. JOHN (scarf droop, pouty face) : You're no fun ! Raises his hand and flips open his wrist band. We get our first glimpse of the ring he's wearing. Bleeps, and the music stops. JACK : Thank you. JOHN : I've been here quite a while, what kept you ? Starts down the spiral stairs. JACK : We all survived. You know, if you're gonna set an expl*si*n, you need to be more efficient. JOHN : Oh, them, they were just prototypes, had to test out a theory. How are they all, the little team ? JACK : What do you want ? JOHN : I want you to know that I love you. JACK : Funny way of showing it. JOHN : No, seriously. You have to understand. (Turns away, face in close up). I really do love you. (Swings around, machine g*n in each hand, and sh**t the hell out of Jack. Jack falls, off the walkway, into the wet. John walks over to look down at him). Because this... is gonna get nasty. Opening credits EXT DAY Cardiff from above Cardiff City Police HQ. 5.27pm. INT DAY Police station Police coming down the stairs, a corpse on the steps, blood everywhere. Two more in the hall. SOCO examining them, taking photos. GWEN : Andy ! ANDY : They just appeared out of nowhere, across the whole building. They weren't human, least not like any human I've ever seen. The whole station's in shock. Four most senior officers, m*rder. Everyone's running round like headless chickens. Woah, woah, woah. Rhys, what you doing here ? This is a crime scene, and a confidential crime scene at that. If it gets out what happened here, there'll be a citywide panic. GWEN : Rhys isn't gonna go blabbing. RHYS : I'm keeping more secrets than you'd ever believe. ANDY : Like what ? RHYS : Like a Time Agency. Based in Cardiff ! GWEN : Oh, it's not based in Cardiff. ANDY : Brilliant secret. I ask, you tell, well done. INT DAY Police cells Gwen looks through a peephole. Inside, Weevils growl and snarl. There's many in the one cell, bouncing off the walls. One snarls right in Gwen's face. RHYS : Bloody hell. What are they ? GWEN : Weevils, they live in the sewers. RHYS : Tell me you're joking. GWEN : Don't mind if I subdue them, do you ? Pulls a canister of Weevil spray. ANDY : Be my guest. GWEN (pulls the top off, tosses it through the hatch like a gas grenade. It hisses and spews smoke). Okay. (Checks peephole again). They k*lled the four most senior officers. ANDY : Almost like it was targeted. EXT DAY Cardiff from above, stadium and big building with a round thing on top Team on comms. GWEN : Tosh, report where you are. TOSH : Just entering the Central Server. No sign of rift activity yet. Central Server Building. 5.36pm. INT Central Server Building Stacks of computers and normal office lighting, but only Tosh and Ianto wandering around. TOSH : This building houses servers for the military, police, NHS, even looks after the server systems for the nuclear station at Turnmill. IANTO : What problem did they report ? TOSH : Ghosts in these server stacks. IANTO : How's the arm ? TOSH : Owen gave me industrial strength painkillers, seems to be doing the trick. Ghostly howl. TOSH : Ianto. IANTO (turns to look. There's three dudes in monks robes carrying scythes) : Huh. SPOOKY VOICE : Devils ! Blasphemers ! Pray to your heathen God. While in the Lord's name, we cast you out ! Tosh and Ianto look at each other, look at advancing reapers, pull g*n, f*re g*n, watch the bad guys fall down d*ad. IANTO : There we are then. TOSH : Sorted. EXT DAY Cardiff from above, the Hospital Team on comms. GWEN : Owen, do you have anything to report ? OWEN : We've got some activity in the basement. St Helen's Hospital. 5.39pm. INT Hospital Basement Owen and doctorAngela Connolly. CONOLLY : Coming back from a f*g break, saw the door open and there it is ! Chewing through the cables. So I locked it in. Someone taps fingers on the door. From inside there's metallic rattling. Then scary teethy thing. CONOLLY : What the hell is it ? OWEN : Short answer ? It's an alien. CONOLLY : Alien ?! OWEN : Yeah. It's called a Hoix. The only profile we have is that it lives to eat, doesn't matter what. Caught one in Barry last year in a kebab shop, it went through seven doner sticks in 20 minutes. Now, have you got the keys ? CONOLLY : What's that ? OWEN : All species sedative. Now, food. You got anything it can eat ? CONOLLY : Only these. Holds up cigarettes. OWEN (takes them) : Right, perfect ! Wish me luck. Through the door, into a dark room. OWEN : Hoixie, where are you ? Come on, porkie. Come out, come out, wherever you are. Creature snarls, visible in the far distance, it comes closer as Owen tosses it cigarettes. OWEN : There you are. Look what I've got. They're actually very tasty. Get a load of one of these. That's it, good boy, come to me. Come on, that's it, try one of these. (s*ab it in the back of the neck with the sedative). You really are quite stupid, aren't you ? EXT DAY Cardiff from above, the fountain Torchwood Hub. 6.03pm. INT HUB, main area Jack is chained up by his wrists, hanging on a wall in the Hub. John's been redecorating then. Metal shackles, chains, feet hanging loose, arms stretched in a Y above his head. Jack wakes with the usual gasp but panics more. There's screaming and thrashing around a bit and pulling on chains. John looks on with mild interest. Jack looks way upset. And also wet. John comes down the stairs from the desk area. JOHN : Comms and w*apon have been removed, in case you're wondering, so no chance of rescue. JACK : This is a little extreme, don't you think ? JOHN : Oh, what, suddenly you're anti bondage ? John grabs him somewhere personal. Jack growls, not amused. JACK : Why are you here ? JOHN : Well, see... Now you're interested in me. It's always the same, nobody cares until you tie them up. Number of reasons, actually. First of all, you were very rude to me. Goes back to working on computers. JACK : What ?! JOHN : Very rude indeed. In front of people who barely knew me. You belittled me. Can't let that go. JACK : You're serious ? JOHN : Second : you have all of time. Eternity, essentially. And you still refused to spend time with me. After all we've been through together, after all I've done for you. JACK : Where's Gray ? What've you done with my brother ? Pause of significant staring. JOHN : You don't realise. Actions, ramifications, ripples in the pond. It's beyond my control. JACK : Beyond your control ? Please ! JOHN : It is. You need to understand that. So, localise the rift storms, a few short sharp shocks... JACK : Don't touch those controls ! JOHN : Oi, I'm working here ! Taps control on his wrist. Jack cries out as buzzy noises and little lights indicate his wrist band has been turned into a t*rture device. JOHN : If you don't want that again, keep quiet. JACK : No. JOHN: So, I think we're ready to find a vantage point. Bit more power. Plugs a cable into a different hole on the rift manipulator, and the column starts moving. JACK : Hey ! JOHN : And we're all set. JACK : Whatever you're planning, we're gonna stop you. JOHN : Oh. Ok. (Comes around to stand in front of the computers). Go on, then. Stop me. I hope you can, really. (Jack struggles, helpless). No ? All right, let's go get ourselves a good view. EXT NIGHT Cardiff streets from above City Centre. 6.28pm. EXT NIGHT Castle John drags Jack up behind a wall. JACK : What the hell are we doing here ? JOHN : This is a good view. JACK (tries to go for him, then cries out again, zapped again. JOHN : I told you, no struggling. JACK : I can make things right with you. JOHN : You don't understand. You can't ever make this right. (Bleeps his wristband). Attention... Torchwood employees ! (sh*ts of each of them in their separate locations). Evening all ! Now, stop what you're doing. GWEN : Jack, what's going on, are you OK ? JOHN : Jack can't come to the comms right now. But if you leave a message, I'll be sure and pass it along. GWEN : What've you done to him ? JOHN : No, no, wrong question. You should be asking, what am I about to do to you ? sh*ts of each of them thinking about it... except Owen's on the roof already, which is a blink and you'll miss it continuity error. IANTO : Put Jack on right now ! JOHN : Eye Candy ! That was so masterful, so bossy, so basically powerless. (Ianto eyeroll). Get up to the roofs of your buildings. Quickly now, spit spot. Ianto goes. OWEN : Why ? Runs out the basement door, into corridor, past doctor. CONOLLY : Owen ! JOHN : 'Cos if you don't, you'll miss all the fun. Hold on a minute, do I mean fun or do I mean carnage ? I get them confused. Are you running yet ? No dawdling now ! In the police station Gwen legs it. RHYS : Gwen ! ANDY : Where's she going ?! Back on the roof John gets a blinky box out. JACK : What're you doing ? JOHN : I'm sorry. John talks over sh*ts of everyone getting up to their separate roofs to look over the darkened city. Rhys and Andy follow Gwen, Owen is on the roof, Ianto and Tosh too. Jack gets up to look. JOHN : Now...Cardiff ! Isn't it pretty ? Doesn't it twinkle so ? Take a good look. Remember this... because it all goes so quick. Somewhere between 9 and 12 expl*si*n, some close together, some moments apart. Huge great kabooms. All over Cardiff, distant fires and expl*si*n, some of them close enough to rock Team Torchwood. Ianto falls. GWEN : Oh, my God... ANDY : Gwen ? GWEN : Oh, God... Sirens wail, alarms sound, and the team looks out over the burning wreckage, all back on their feet but looking shell shocked. JACK : You've destroyed the city. JOHN : Jack, hold me. Goes up to Jack and hugs him, which Jack pretty much ignores. On her roof Gwen and Andy survey the damage. GWEN (whispering, stuck on repeat) : Oh, my God, my God. ANDY : Oh shit. Oh my God. What do we do, what do we do ? GWEN : OK, keep everyone calm, tell them to get every officer in. Run ! Back at the castle. JACK : What've you done ? JOHN : It's OK. It's all gonna be OK. Gold glow grows behind them, riftglow. Jack starts to struggle. JACK : Stop ! Get off me ! And then they disappear. A flash of gold light, a long sh*t of the castle, and nothing. Meanwhile on Gwen's roof, we get use of jumpcuts to convey disorientation. GWEN : Jack ? Jack ? Jack, can you hear me ? Are you there ? Jack ! TOSH : I'm tracking a huge rift flare over at the castle. It's been generated by the rift manipulator at Torchwood. GWEN : Tosh, Ianto, Owen...are you, er, are you OK ? TOSH : Yeah, we're fine. IANTO : Still here. OWEN : Me too. GWEN : Good, OK, good. Tosh, do we have the scale of the damage on the city ? INT Server room, now redlit TOSH : Fifteen major expl*si*n, at strategic points across the city. There's currently a surge in traffic trying to leave the city but the expl*si*n have cut off all major routes in and out. Landlines, mobile phones and IT networks all down, TV and radio off air. He's completely crippled us Gwen. GWEN (still on her roof, whispers) : Shit. IANTO : Not wanting to be the harbinger of doom but the systems which serve the Turnmill nuclear plant have all gone off-line. GWEN : Right, Tosh, Ianto, you have to s*ab the nuclear power station, make that a priority. Owen, what's it like at the hospital ? INT NIGHT Hospital OWEN : Lost all power. The backup generators gave out in the blast. Every single machine in this hospital is down. It's a disaster. GWEN (still on her roof) : OK, all of you, listen to me. We're gonna fix this, We're gonna put this city back together, we're gonna find Jack and we're gonna punish John. Now, I need you to be careful. OK ? (Reaction sh*ts). Where are you, Jack ? Where are you ? EXT DAY Close up on Jack's face. Pull back to crane sh*t, watch him getting up, shield his face from sunlight, look around. Big grassy field, some trees, very middle of nowhere. Cardiff. 27AD. JOHN (walks out from trees) : We're safe. Now, before you do anything rash, you have to hear... JACK (punch in the face interruption) : Take us back now ! JOHN : No way. We have to be this far to escape the trigger signal ! JACK : What ? JOHN : Look at it ! Go on. It's bonded to my skin. I can't get it off. Open it. JACK : Whoa. JOHN : Ninth generation detonator. JACK (lets go, backs off, points with both hands) : You're a walking b*mb ! JOHN : Add to that a surveillance circuit, to monitor my every word and action, and he has me doing anything I'm told. Cos if I don't... boom ! I'm not my own man. I thought you'd see that. But oh, no, you're so self-obsessed you thought I'd want to blow up your stupid city ! When I could be experiencing 17 simultaneous pleasures in the Lotus Nebula ! (Peers behind Jack). Uh-oh... just run. JACK : Oh, please, that is the oldest trick in the book. GRAY : Jack ? The man from last week's hologram walks towards them across the field. We get Gray's theme on the music and lots of little flashback images from 1-05 that are going to be a pain to write out clearly. JACK : Gray ?! GRAY : I never stopped believing. I always knew we'd find each other again. Big hug. JACK : I'm sorry. GRAY : Sorry's not good enough. (Big s*ab. Jack falls, still reaching for Gray, who just s*ab him. Lies twitching with sword in chest. Dies, while John and Gray watch. Gray tells John,) Get a shovel. INT NIGHT Police HQ entrance hall Cardiff Police HQ. 7:39pm. GWEN : This was a targeted att*ck, designed to cause maximum panic. Usual emergency procedures won't cover what's happened here. This is where we find out how good we really are. Cover the whole city, knock on doors, check on people, tell people that they are safe and that it is being dealt with. Get out there and do your jobs. RHYS : Bloody impressive, man. ANDY : She is that, yeah. Lucky sod. Rhys has the grin of one who knows that. Gwen is busy telling police what to do. INT Server place, red lit still Central Server Building. 8:01pm. IANTO (torch held in mouth, fiddling with wires) : Go ! TOSH : It won't work ! IANTO : Nothing, sorry. TOSH : We need to re-start the Turnmill servers. IANTO : What if you can't ? TOSH : Then the reactor goes into meltdown. IANTO : Then I'm going up there. TOSH : What ? Ianto ! IANTO : Look, if we can't fix the remote servers, there must be something I can do on-site to prevent nuclear meltdown. TOSH : That could be su1c1de. IANTO : Are we gonna discuss it, or are we gonna do it ? TOSH : Ok, but we both go. EXT DAY A field Shackles close around Jack's ankles with a bleep. We see he's standing next to a freshly dug grave. Gray walks off, John fixes the handcuffs on. Jack pretty much ignores him, talking to Gray's back. JACK : I looked for you. I searched for you for years. You were my first thought, every day. GRAY : What are you expecting, mm ? A loving reunion ? Absolution ? Me to say, "It's OK, brother, I forgive you". FLASHBACK VOICE : Take Gray and keep him safe. (To flashback from 2-05). I got to go get your mother. Run ! Young Jack and baby Gray run away. GRAY : Those creatures, (flashback) they lived to t*rture. They kept us just on the verge of life. I'd lie there, hemmed in by corpses, praying to become one. Because you... let go... of my hand, remember ? JACK : If I could swap with you, I would. FLASHBACK VOICE : Gray. (assorted FB images of different people calling). Gray ! Where's Gray ? Where is he, son ? Where is he ? Gray ! GRAY : Remember it again. FLASHBACK VOICE : Gray, where are you ? GRAY : I believed you'd come, but you never did. How long before you gave up, hm ? Months ? Years ? Decades ? JACK : What do you want from me ? GRAY : I want you to suffer. I want your life. This is Cardiff. 27AD. The city will be built here, over the next 2,000 years. Your grave will be the city's foundations. Your blessing of life becomes a curse. (Reaction from John, looking considerable upset). Each time you revive, with a throatful of earth, each time it chokes you afresh, and you thrash on the edge of death, you think of me. JOHN : All right, calling a halt now I can't let you do this. Walks towards Gray, but Gray shoves Jack back and he falls. POV sh*t up from the hole. GRAY : Fill the grave. JOHN : No way. GRAY : Then the detonator on your arm gets activated. Conversation in eye contact happens. John, unhappy, looks down at Jack. Jack is zen. John is puzzled. Jack nods. John twitches half a smile. Then John takes his ring off, kisses it. Jack lets out a breath and relaxes some. John tosses it down onto Jack's chest. GRAY : What's that ? JOHN : It's, er, sentimental value. John goes to work with the shovel. Jack closes his eyes and gets dirt thrown on him. Gray stares down at them. Fade to black. Buried. Fade in again. INT HUB The cells Torchwood Vaults. 9:07pm. Rift flare, gold, and Gray steps out. He turns and looks in a cell. Inside are three Weevils together. INT NIGHT Police station Rhys walks in. Gwen is on the floor, sitting scrunched up behind the desk. RHYS : Skulking, is it ? GWEN : Still no word from Jack. RHYS : Hey, it's gonna be fine. GWEN : What if it's not ? What if this is how it all ends ? I can't do this, Rhys. I'm not up to it. RHYS : Rubbish. Those coppers are out there now, because of you. Even if you don't believe in yourself, they did. And I do. You're a bloody hero, Gwen. So you keep going, cos we need you. GWEN : Will you marry me again ? TOSH : Gwen... Cut to EXT NIGHT in the middle of a sentence, Tosh with Ianto in an alley somewhere. TOSH : ...I've got a rift alert from inside the Hub, mirroring the pattern from earlier when Jack disappeared. GWEN : D'you think it could be him ? TOSH : I can't check it out, I've got to get the Turnmill servers back online. GWEN : Tosh, I can't leave the police station. RHYS : Yes, you can. If they need you. We'll be fine. GWEN : Are you sure ? RHYS : I'll see you when it's all over. (She twitches a smile at him. He nods to the door). Go ! INT HUB Door Cog rolls back to reveal Gwen with her g*n out and down. She raises it and heads in, looking very competent and focused. Checks out different angles, searches room visually. Steps out slowly along the walkway. John steps out behind her somehow. JOHN : You took your time. GWEN (spins, aims) : On your knees ! JOHN: Honestly, it's just sex, sex, sex with you people ! GWEN (pumps the g*n) : Now ! (John raises an eyebrow and complies, casual and slow). Hands behind your head ! I'm gonna need a really good reason not to sh**t you within the next 20 seconds. JOHN : I know where Jack is. GWEN : You're lying. JOHN : He's buried alive, somewhere beneath this city. I came back to help you. GWEN : You b*mb this city ! JOHN : Listen to me ! You have to believe me. It's Gray, Jack's brother, that's been doing all this. GWEN : Don't talk rubbish. JOHN : He placed a b*mb on me, molecularly bonded the detonator to my skin, I had to do what he wanted. (Gets up and walks towards Gwen, who lets him). Look ! He forced me to bury Jack and then he freed me, he told me I could go anywhere I wanted. I could've run, but I chose to come back here. GWEN : Why should I trust you ? JOHN (pause where he looks down and takes two starting-breaths before he can actually start). They were separated as children. Gray was abducted. When I found him he was chained to the ruins of a city on the Bedlam Outlands... surrounded by corpses. He was the only one left. The creatures had long since gone. Dunno how long he'd been there. He thought I was the rescuing hero. (b*at). So, it took me too long to realise he'd learned terrible things watching those creatures. He let me trust him... Argh ! The molecules are unbonding. Just like he promised. (Sticky squishy noises and John starts undoing his wrist strap. It comes off, sort of. So does quite a lot of skin, by the sticky stretchy look. John laughs and scream). Aargh ! Oh, God. (Pulls it free with such force his arms spread wide). See ? Free man. Apparently. (Pause of deep breaths). I didn't have to come back here. I could've run. GWEN : You find Jack, I'll let you live. But you'd better be quick. JOHN : Fine. Toshiko. I need you to run a trace for an etheric particle signal NME transmitting at 200 betacycles. TOSH : Gwen, where are you ? What's he doing ? Where's Jack ? JOHN : Trace that signal, we'll find him. GWEN : It's OK, Tosh. I've got him covered. Just do as he says. TOSH : No signals even vaguely resembling that. JOHN : Uh, no, There must be. That transmitter was guaranteed for five millennia through three ecological permalayers, it has to still be transmitting. If not, we'll never find him. He'll be buried... forever. Piercing tone sounds, and sounds very much like a f*re or smoke alarm, so making me jump a lot. Gwen and John flinch, scream, and cover their ears. Big loudness of noise. And not just in the Hub, Ianto and Tosh react too. GWEN : What the hell is that ? Out in the city, Weevils emerge from the sewers. Many weevils. And in the church from 2-08 too. Many, many. They're out in residential streets. Screaming and snarls and they att*ck civilians. In the Hub cells too, they wake up, get up, and snarl. CLOSE UP on a time agent wrist strap, Gray's. His finger on the button, he watches the doors open and weevils escape. They don't att*ck him, run past. Up in the main Hub we see the computer monitors, with internal security cams showing. GWEN : Oh, there's weevils loose in the lower corridors. (Gwen must know this psychically, cause she hasn't got to the screens yet. Says to John, moving around him). Stay there, stay there. (Sees more and more weevils). Oh, my God, what's going on, how did they get out ? JOHN : It's Gray. He must be here in the city, he said he was gonna take Jack's life, destroy it from the inside out. A weevil wake-up call could be just the beginning. EXT NIGHT, alley behind Jubilee Pizza. You can tell cause there's signs up. Tosh and Ianto flatten themselves against a door, look worried. IANTO (whispers) : Stay there. POV sh*t of the street, lots and lots and lots of weevils. Some come towards them... run past. Ianto taps his comm. IANTO : Owen, Gwen, can you hear me ? The streets are flooded with weevils, they came out of nowhere. There's no chance we'll get to the nuclear power station in time. INT NIGHT Hospital, dark Nurses with torches are dealing with patients while Owen runs around handing stuff out. OWEN : Manual life support, get them round the hospital. Ianto, leave it to me. I can get there. IANTO : How ? OWEN : King of the Weevils, remember ? EXT NIGHT Street full of Weevils Weevils growl, Owen runs out... they back down and kneel just like before. Owen runs through and past. INT NIGHT Police station Weevils at the door on one side, humans on the other. Rhys closest and lowest, trying to get it closed. RHYS : Push, will you ! Have none of you ever been in a scrum ! They all push together, get it closed enough, push the bolt home. RHYS : Bloody hell, how many were there ? It's like Fort Apache the Bronx in here. ANDY : Apart from the fact that the surrounding forces are savage aliens and we could all die, it's almost exactly the same, yeah. Thanks for that. Weevil growls. Andy looks O.O at door and takes hand off quickly. Leaves. INT HUB, Computers GWEN : I am telling you I have run every scan possible, there is no signal traceable. JOHN : Then try it again, it's got to be there. Oi, I'm talking to you. (Gwen and John back up, backs together. g*n are now the other side of Weevils). You know you've got a real pest problem around here. Bang and more bang ! Tosh and Ianto appear from around the fountain, presumably via invisible lift or the door in the armoury that leads to the SUV park. Good timing either way. They sh**t, Weevils go down. GWEN : Oh, God, I'm so pleased to see you ! Ianto strides forwards, focused but not on her, raises g*n, aims at John, Gwen grabs and pushes arm up. JOHN : Don't start, I'll make things right, Eye Candy. TOSH : Then start by getting those Weevils down the vaults before they recover. It takes more than a b*llet to stop them. Tosh starts tapping computers one handed, the other three comply. INT HUB Cells The three drag three Weevils in through three separate solid cell doors. IANTO : You did what ?! GWEN : Ianto ! JOHN : I didn't have a choice! IANTO : There's always a choice. GWEN : Okay can we just get these Weevils into the cells please ! IANTO : If we don't find him, I'll k*ll you. (Gets weevil settled, presses against glass looking out). Very slowly. Doors slam behind them. GWEN : Whoa ! What's happening ? Tosh ? Tosh ! Ianto, my comms are d*ad. JOHN : Gwen ? GRAY (outside John's cell) : I let you go. I gave you one trip, you could have gone anywhere. JOHN : Question of honour. GWEN : Gray ? You're Gray, right ? There's no need for this, we can help you. Just tell us where Jack is. GRAY : His life's mine now. Walks past Ianto's cell and away. IANTO : Where's Jack ? What've you done with him ? What've you done with him ?! EXT NIGHT, square well lit building with a chimney Turnmill Nuclear Power Station. 9:42pm. INT Control Room Red light of doom and frantic beeping of alarms. Owen runs in and finds someone working. NIRA : What are you doing ? Get the hell out of here ! OWEN : What the hell are you doing here, more like ! The systems going into meltdown. NIRA : A soldier never leaves her post. OWEN : OK, Well you can now, OK ? I'm with Torchwood and we're dealing with this. NIRA : Yeah ? What d'you know about nuclear containment structure ? OWEN : Well, you know, I'm only a layman, but I'm presuming if you've run out of power, then the containment structure's over pressurised. The containment spray and cooling systems aren't working so the fuel probably can't be cooled down, it's overheating. So sooner rather than later there'll be a meltdown and radioactive material will be released into the atmosphere. Yeah ? Roughly ? NIRA : Roughly. OWEN : Right, you need to go. Be careful, there are creatures out there on the loose. Take this, it's a kind of mace. NIRA : It sounds more dangerous out there than in here. OWEN : Yeah, I'd say it's pretty much even. Go. NIRA: Thank you. She leaves. Owen taps his comm and goes to look at screens. OWEN : Tosh, you're going to have to help me out here, I haven't got a bloody clue what I'm doing. TOSH : OK, I don't want you to panic, but the reactor's already h*t the critical point. OWEN : You're telling me it's going into meltdown, aren't you ? And I'm at the eye of the storm. TOSH : Yes. Sorry. OWEN : Right, can you fix it ? TOSH : Of course I can, I'm brilliant ! OWEN : Yeah. TOSH : I'm gonna try and divert power from the auxiliary source back to Turnmill. If that works, I can talk you through restoring the coolant system. (Picks up glowy blue box of knowings). Right. Now... Muffled bang. Tosh pain face and gasp. OWEN : Tosh ! Gray lowers his g*n. Owen taps his comm twice. In the Hub, Tosh looks down. Hand pressed to stomach wound, bleeding. She falls. TOSH : Help me... Please. OWEN : Tosh ! Can you hear me, are you there ? GRAY (pulls wires out of all sorts of things on the way past. Computers go dark) : I've heard people say death is such a waste. I imagine it more as a relief. OWEN : Tosh ! Can you hear me ? Tosh ! GRAY : What's it like ? How does it feel ? (Throws box away into autopsy area). Are you afraid ? Are you sad ? (Touches her face). You can tell me. The battle's done. Thudding noise fills the Hub. GRAY : What's that ? The noise continues. He looks around and then leaves. Tosh looks at her stomach wound, keeps her hand pressed on it, turns over. OWEN : Tosh, talk to me. I need your help here, babe. She starts to crawl after the box. INT HUB Cells We see Gwen and John and Ianto react as the noise continue. IANTO : What's that banging ? GWEN : Something's wrong. JOHN : Never mind that, I've got an idea. He fiddles with some gadget box he happened to have on him. INT HUB Main area There's a blood trail from where Tosh was lying, a thick one. Tosh rolls down the steps, grunting in pain. The scanner box is half a dozen steps below. Seems a long way. The thudding continues. INT HUB Morgue Thuds louder and more persistent. Gray walks through corridors and into the morgue. Drawer 003 is glowing gold. Gray opens it, pulls the cryo t*nk out. It slides open and... JACK : I forgive you. GRAY : How did you survive ? Jack sits up, laughing. Screenwipe to INT HUB Old office Torchwood Hub 1901. The woman from 2-12 and a new to us black man are bending over something on a desk. Alice Guppy and Charles Gaskell, says the end credits. CHARLES : How long since you first discovered it ? ALICE: Three days now. Just one signal, regular as clockwork. But I haven't told you the best bit, I can track it to a physical location. CHARLES : Where ? EXT DAY Grass beside buildings She leads him to a particular patch. ALICE : It's here. 20 feet down, but it's definitely here, start digging ! INT HUB Office again Still in the past. Jack looks all dirty. And is wearing the stuff he got buried in. 1900 years later. Neat trick. JACK : Please, can we just stop with the questions ? ALICE : We found you in a 20-foot grave ! Do you want us to just accept that ? JACK : Yes, I do. CHARLES : You're supposed to be out there working for us ! Who gave you this ring. JACK : I've crossed my own timeline. I can't be allowed to meet myself, a lot of lives depend on this. You'll be protecting the future. That's what you're here for, isn't it ? And now I need you to put me in the morgue. Freeze me, set the alarm to defrost in 107 years time. INT HUB Morgue Jack, now standing, faces Gray. JACK : I forgive you, Gray. GRAY : Don't you walk away from me. Don't you walk away from me ! INT HUB Tunnels GRAY : Stop ! Stop ! JACK : I've forgiven you, I gave you absolution, now do the same for me ! GRAY : I prayed for death. Those creatures, the things they did to us, because of you, the favourite son, the one who lived, who'll always live. The only strength I have is my hatred for you. JACK (goes to hold Gray, but he pulls away and shrugs him off) : I didn't know. I didn't realise until it was too late. GRAY : I begrudge you everything. I want to rip it all from you, to leave you screaming in the dark. I will never absolve you. All of it, it's your fault. JACK (reaches out tentatively, and this time is allowed. Pulls him close. Big hug. Whispers to him, probably "sorry". And... cloth over mouth, knocks Gray out). I know. I know, Gray. Holds him and rocks. INT HUB Cells Close up of John's tech toy, him fiddling with it. JOHN : Got it ! Loud noise like the weevil signal. JOHN : Sorry ! GWEN : (?) JOHN : Recall signal. Time for all the pets to return home. Which worryingly involves twitchy cellmates... but then weevils in the street climb down the sewers again. EXT NIGHT Police station roof Rhys and Andy look down. RHYS : What happened ? Where have they all gone ? ANDY : Abergavenney ? INT Red nuclear power place and INT Autopsy room Owen in the red light waiting for Tosh. Stairs in the Autopsy bay covered in blood, big pools of it. Tosh on the floor with the scanner box... and a big pond of her own blood. She's fiddling with the scanner. OWEN : Tosh, come on girl. (Lights come up, normal white). Here we go. Right, you've done it Tosh, you've got power ! Are you OK ? TOSH : Yeah, I'm fine. Now she reaches for medical stuff, pulls a tray of syringes down. OWEN : Right, what's going on there ? TOSH : Just a... machine malfunction. OWEN : Are you hurt ? TOSH : Who, me ? No ! I'm fine, it's just my arm. OWEN : OK. TOSH : I'm sorting out another painkiller. OWEN : Good. TOSH (s*ab painkiller into her thigh with a gasp, then throws the empty aside) : OK. OWEN : Come on, let's do this together. TOSH : Right... okay... (Bleeping, and she looks up at the screen). Oh god. Owen... OWEN : What's the matter ? TOSH : There's no way to stop the meltdown. It's too far gone. OWEN : OK, OK, that is not good, is it ? But come on, Tosh, there's got to be something, there's always something. Come on. TOSH : The only option is to vent the flow channels internally. OWEN : Vent them where ? TOSH : The area you're in is the containment building. OWEN : Yeah ? TOSH : You need to set up a time-delay programme, channel the fuel into that bunker and instigate permanent lockdown. Seal the building and the meltdown will be contained within. And, obviously, remember to get out. OWEN : Yeah, I think I can remember that bit. TOSH : I'll open the system protocol, you just need to enter the timeframe and authorise, OK ? OWEN : OK, Tosh. Let's do this thing. And, Tosh, thank you. TOSH : That's what I'm here for. She looks down at her stomach wound and then up again. Face of oh no. Bites lip. INT HUB Cells Jack strides in, on his way through... no, looking, he looks in the little cell window. GWEN : Jack ! Handy wrist strap of opening gets it done. GWEN : Oh God. (pouncehugs Jack). Oh, thank God ! IANTO (walks up more wearily) : I thought we'd lost you. JACK : Never. (Grabs Ianto and hugs him in to the side Gwen isn't covering. Ianto turns his face in to Jack's shoulder. Snuggle time). Never. JOHN : Quite a queue for the hugs. Ianto un-hugs, turns and gets behind Jack's shoulder, keeps his eyes on John. JACK : Always has been, always will be. Nice use of the ring. JOHN : Thank you. Least I could do. Listen, Gray's in the Hub. JACK : I know. It's done. INT Nuclear power place, all lit up and working Screens say something about flow channels diverted, as per plan. OWEN : Yes ! Rock and roll ! Tosh smiles... then computers start beeping. TOSH : Oh no... Owen, get out of there ! (He looks up and looks at dials for about the next ten seconds). There's a power surge in the system ! When that hits, it'll trigger an emergency lockdown ! Red lights flash, alarms happen, the door starts to close, and Owen starts running. Too late. OWEN : No ! No ! Tosh ! Toshiko ! I can't get out ! Not like this. Not like this ! I'm not going yet. Get me out of here, Tosh ! Get me out of here ! I've died once, I'm not doing it again ! Where's Jack ? Where's Gwen, Ianto, John ? You want to watch the d*ad man die again ? TOSH : Owen, just stay calm. OWEN : Oh, why should I do that ? Where's the fun in that ? I'm gonna rage my way to oblivion. Starts screaming. TOSH : Please stop. OWEN : Why ? Give me one good bloody reason why, one good reason why I shouldn't keep screaming. TOSH : Because you're breaking my heart. Pause of panting and sliding down cabinets. OWEN : I'm sorry. TOSH : It's my fault. OWEN : No, no, no, it isn't. No, it isn't. Don't you dare go there, Tosh. I'm really sorry. Pause of Tosh panting now. OWEN : What's gonna happen to me, Tosh ? TOSH : I can't. OWEN : Please. OK, I need to know. TOSH (long pause) : The containment chamber will be flooded with the irradiated coolant. OWEN : Ah. My body will slowly decompose, as I watch. TOSH : I should've been able to stop it. OWEN : Oh, come on, Tosh. There's no way you could've anticipated that power spike, come on. Besides, you've saved... my back so many times in the past. Right from the moment I joined. TOSH : Your second week I had to cover for you, pretend I was a medic, cos you were hung over and unreachable. OWEN : What was it, Space Pig ? TOSH : Space Pig. OWEN : Yeah. Pause of smiling. OWEN : We never did get that date, did we, you and me ? We sort of, er, missed each other. It was my fault. I didn't... didn't notice until it was too late. I'm sorry. TOSH : Me too. At the power station Coolant Venting comes up on screen and machines bleep. OWEN : It's starting. TOSH : Owen... Power plant displays start to white out, radiation damaged. OWEN : It's all right. Really, Tosh. It's all right. FADE TO WHITE TOSH : Oh, God. Owen... Owen... The little cross on the screen representing him wiggles... and goes out. Power plant fuzzed, radiation everywhere. Tosh turns away. Jack comes in to the main computer area... and sees the blood. There's only one of his unaccounted for that can bleed. He runs along the trail. JACK : Toshiko ? Toshiko ?! Gwen, I need help down here ! (He runs down to her, not down the blood smeared steps, the other ones. He reaches for her. Very softly says). Okay ? Gwen runs in, grabs a syringe and starts trying to help. John is looking down from the walkway, looking like this matters for once. Ianto comes down and looks at the screen. He sounds real upset. IANTO : The nuclear plant at Turnmill. Owen's there. TOSH : Sealed in. Re-routed the blast. (Looks to Jack). I couldn't save him. Jack looks up at the screen, or possibly at Ianto, can't figure the eyelines. Gwen looks to Jack. He looks back at Tosh. Gwen injects her with something.) JACK : Tosh ? GWEN : There you go, darling. Talk to me now, come on. Hey ! Tosh ! Tosh only looks to Jack. He holds her, smiles. She smiles. And then... face goes slack. She isn't in there any more. Jack breaks down crying. Gwen sobs. Gather round in misery. Ianto leans heavily on a cart to one side. EXT DAY Cardiff, fountain from above INT DAY Gwen's flat Rhys holds Gwen, snuggled up on the sofa. ON TV : And Cardiff city centre is today recovering from a series of devastating expl*si*n. City leaders say it's too early to account for the full scale of the damage that also saw sightings of vicious animals on the streets of the city. Gwen face of misery. INT HUB Autopsy bay John goes down the steps. Jack is bent over a cryo chamber, with Gray in it. He's fussing, touching, nothing technical, personal. JACK : My whole life I was looking for him. Now I have to lose him all over again. JOHN : You cryo-freeze him and then what ? Wake him up in a 100 years and he's miraculously better? Cos that's not gonna happen. Maybe k*lling him would be the release he needs. JACK : There has been enough death. JOHN : You didn't struggle... when I buried you. Like...you were allowing it. JACK : It was my penance. JOHN (steps closer. Speaks more softly) : It's not your fault. Jack looks at him. A long, long moment of eye conversation, Jack mostly saying pointed nothing. Then he looks down into the chamber again. He moves awkwardly, hesitantly, then goes to kiss his brother's forehead. He stands, hits controls on his wrist. The chamber seals. He steps back and closes the door on it. Crouches in front of the door a moment, hands still on it. Then stands abruptly, turns, puts his hands in his pockets and stares at John. JACK : Need help with those rift predictions ? JOHN : Lot of this planet I haven't seen. You like it so much, thought I might take a look. Maybe see you around. (Jack goes to walk past him, John stops him with a hand on his chest. There's an awkward shuffle, quite unlike their first meeting, as John goes for the kiss. Jack turns away and John kisses him on the cheek. It might even be what he'd intended. He steps back, and says sort of slow). I'm sorry for your losses. Then John walks away, leaving Jack alone in the autopsy room. INT HUB Computer desks Ianto is working a computer. From the angles, probably Toshiko's. He's done that before but now it's... different. He's changing personnel records. Owen's first. Jack is packing things away. He's got a steel suitcase and he's putting things in. Medical equipment, first. Ianto types on Owen's record : "Inactive – Deceased". Jack holds a folded coat to his chest in much the way we've seen him hold Owen before. He's crying, now. It's Owen's coat of many buttons. He slides it into a T marked bag. Computer screen says "Final logout procedure Dr Owen Harper Are you sure you want to continue ? Jack puts the coat in the box. Ianto clicks Yes. Jack has tears on his face now. He wipes them with his hand, sniffs, then closes the lid on Owen's things and seals the clasps. Deep sigh. Gwen is clearing Tosh's desk. Ianto is on to her personnel file, her final logout. Clicks yes. Gwen has to put Toshiko's glasses in the box, and she's crying now. On the computer a window pops up : Toshiko, wearing those glasses. She takes them off and faces the camera. TOSH (on camera) : OK. So... if you're seeing this, I guess it means, I'm... well, d*ad. Hope it was impressive ! Not crossing the road or an incident with a toaster. I just wanted to say... it's OK. It really is. Jack, you saved me. You showed me all the wonders of the universe and... all those possibilities. And I wouldn't have missed it for the world. Thank you. And Owen, you never knew. (All three of the others look extra sad like their insides fell again). I love you. All of you. And... I hope I did good. Gwen smiles through her tears. Computer Tosh reaches forwards and hits a key... and fades out forever. JACK : Now we carry on. GWEN : I don't think I can, not after this. JACK (hugs her) : You can. (Hugs Ianto). We all can. The end is where we start from. Camera back on crane, see the three of them standing there, together, small in the Hub. EXT DAY Cardiff Over the bay, flies away from the buildings, over the water, which fades to black. End

{"type": "series", "show": "Torchwood", "episode": "2x13 - Exit Wounds"}

foreverdreaming

CAPTION : 1965, Scotland EXT COUNTRY ROAD NIGHT A 1960s bus drives along in the gathering dark with headlights glowing. Close up on one child, blond boy. Child stares out of rain covered window. INT BUS NIGHT Child looks around into the bus. He’s silent. Kids in era appropriate clothing sit and talk to each other. GIRL (quiet under music) : Why am I talking ? EXT DARK COUNTRY NIGHT Bus stops. Children get out. Look around. Ominous music is ominous.Children walk forwards as a group. Blond boy hangs back. Bright light ! Very bright, ahead of them. They stop and look. Start walking again. Leave blond boy behind. Blond boy walks forwards, looks back, light behind him. Long sh*t : One adult figure stands in front of the bus, the light glows ahead and the children walk into it. Light flares. FADE TO WHITE OPENING CREDITS Next sequence is a lot of fast cuts and talking over different pictures. Takes longer to read than view. EXT DAY Cardiff from above Cardiff bay from the air. Millennium Centre and the Plas and all showing. Caption says : CARDIFF EXT DAY A Cardiff clock tower A location and time stamp : It is 0840. EXT DAY Cardiff city street Gwen Cooper at a cash point. Close up on Gwen, voices start out of view. MOTHER (OS) : Come on, Tyler. Tyler, just stop it. Gwen looks around. MOTHER : I haven't got time to muck around. A mother stands in front of a young boy in school uniform. He stares into space, she tells him off. Close up and he’s staring straight forward, not responding to anything. MOTHER : Tyler ! All right, I'll just leave you there. Gwen at the cash point grins. MOTHER : Is that what you want ? If I just leave you ? In the middle of town ? FATHER : Suzette ! Suzette. We're going to be late. Gwen looks in the opposite direction. Different parent and child there, exact same reactions, angry parent and frozen child. MOTHER (VO) : Come on then, come on. FATHER : Suzette ! Stop it, you're just looking silly, d'you want other people to see you, looking silly ? INT DAY Davies house Laundry basket fills screen, then Rhiannon carries it past to kitchen, busy. She hasn’t noticed yet : Two children, blue school uniforms, boy David and girl Mica, sit staring straight ahead and unresponsive. Kitchen table, plastic cover, breakfast food, Coco Pops ad with the monkey showing, nobody moving to eat. RHIANNON DAVIES : If he gives you any more trouble, your dad's going round his house to punch his face in. I'll punch his bloody mother. Have you got that, David ? INT DAY Frobisher house Man comes down stairs talking, busy. JOHN FROBISHER : I've booked the car for 7.30, but I might have to leave it on standby. Walks into kitchen of rather more expensive décor. He talks to a woman, neither notices the kids. Two girls in green school uniforms, sitting staring and not eating. FROBISHER : If Baxter starts talking, he never stops, so I can't guarantee what time. I'll tell you what, I'll send you a text when I'm on the motorway. He walks past and two girls seen clearly, along with orange juice, coffee, teapot, jam, bowl of fruit. They pay no attention to any of it, stare. Close up, not blinking. INT DAY Carter house Woman walks in background, camera goes close up on child, red uniform, staring straight ahead. ALICE CARTER : Steven ! If you leave the front door open, those cats are going to get in. Silent staring. ALICE : Darling, don't just stand there, you're gonna be late. He’s standing in the front doorway, not moving. ALICE : Steven. Nothing. ALICE : Steven ? EXT DAY Cardiff street at school crossing Still kids stand in front of a truck. Middle of the road. RHYS WILLIAMS : Stop playing games ! Get out of the way ! Rhys in the truck. Kids in the road. And the pavement. Lollipop lady outside a school, and every kid in sight is still, every adult baffled. Car horns blare. RHYS : Oi ! I said bloody shift, man ! EXT DAY Davies house Council house establishing sh*t. RHIANNON (VO) : David ? Are you listening to me ? INT DAY Davies house Kids still staring. RHIANNON : Mica ? Oi, you two ! Look at me ! Rhiannon looks but no response. INT DAY Carter house Same freeze… then blink. Kid starts moving. STEVEN CARTER : See ya then ! EXT DAY Cardiff street school crossing Everyone moves again. Run to cross road. Rhys does incredulous : Ha ! INT DAY Davies house Kids unfreeze, Rhiannon goes back to laundry. DAVID DAVIES : And you can shut up an' all, you were the one crying, you were like a baby, I seen you. MICA DAVIES : Was not. DAVID : Was. MICA : Was not. INT DAY Frobisher house ANNA FROBISHER : You two, you're gonna be late. HOLLY FROBISHER : We're going ! Look ! LILLY FROBISHER : I'm going round to Polly's later, see ya, bye ! EXT DAY Cardiff street with the cash point again TYLER : What ? MOTHER : You are pushing it, you are, young man. Come on ! They walk off. Back of Gwen’s stylish black leather jacket. She’s walking off. Suzette and her father walk past. Gwen looks back. Close on Suzette’s hair. After this the credits are over and it calms down, not so many cuts. EXT DAY Cardiff bay outside the tourist door Gwen walking along on the water level, talking to a bloke up at the railing level. GWEN : All right, Glyn ? What's occurring ? GLYN : I've been watching the bay. No sea monsters. GWEN : Ah, still early. Gwen goes in the Tourist office door. INT HUB Main area Dark. Only light comes through the cog door as it rolls open or up through red emergency lights or alien whatsits. GWEN : Anyone in ? Goes to switch near cog cage, lights on. Wide sh*t reveal of the Hub. Looking good. Lots of levels, mysterious windows, Torchwood on the wall. GWEN : You two having shenanigans in the dark ? Jack ? Gwen goes to her desk. There’s a picture of Tosh and Owen, well worn, taped to her desk. She touches Owen’s nose and greets them. GWEN : Morning. Computer makes noises. Searching : Children. Search progress bar, fastest you’ve ever seen. Says Crimint. Emergency services. Government information network. Hospital records. Local Authorities. INT DAY Hospital A&E Busy running doctors. RUPESH PATANJALI : Clear ! And again ! MALE VOICE : Charging 200. RUPESH : Clear ! Monitor Flatlines. RUPESH : I think we should call it, everyone agree ? OK. Time of death, 09.17. Sally, I can leave it with you, yeah ? I'll go and tell them. Follow him to a different area of the hospital. Familiar backs ! Captain coat and stylish suit. RUPESH : I'm sorry. Jack and Ianto turn around. Anxious face ! RUPESH : We did everything we could, but he didn't make it. JACK : Oh, that's a shame. IANTO : Very sad. JACK : Poor old Mr Williams. IANTO : Very sad indeed. RUPESH : There'll have to be an autopsy, but I'd say his heart gave out. IANTO : Brave old heart. RUPESH : You were neighbours, is that right ? JACK : We live next door. IANTO : He's got no family to speak of. All on his own. We'd just keep an eye on him, you know. RUPESH : Well, I'm sure he appreciated it. If only there were more like (pause) you two in the world. JACK : I know it's an imposition, but with us being such good neighbours... Can we see the body ? INT DAY Hospital Different bit, curtain drawn aside, d*ad dude under a sheet. JACK : Bless him. IANTO : God rest his soul. JACK : Say, d'you think we could, er... ? Just on our own, um... RUPESH : Course you can. Just come and find me, once you're done. And I'm sorry for your loss. JACK : Thank you. Curtain closes... and sad faces vanish. Springing into sneaky action ! Actions not matching words. Ianto having relationship talk while Jack uncovers the corpse and Ianto unpacks the toolkit. IANTO : He thought we were together. Like a couple. He said, "You two". The way he said it, huh. "You two". JACK : Well, we are. Does it matter ? IANTO : I dunno, it's all a bit new to me, that's all. Laser saw. JACK : Thank you. Shudder inducing laser cut into the guy’s abdomen. With gaping wound. JACK : Tongs. IANTO : Tongs. Jack sticks tongs in a d*ad guy. JACK : Almost... Ianto looks around. JACK : ...got it. Curtains whip open. RUPESH : Sorry, one more th... The look on Ianto’s face is priceless. RUPESH : ...ing... Jack whips out a gross blobby organic sack thing. JACK : There ! RUPESH : What ? Shock face ! JACK : Now, look at it, that's not human, is it, does that look human ? No, it does not. It's just a hitchhiker he picked up, it didn't k*ll him. IANTO : Some say they're positively beneficial, they release endorphins into the bloodstream. He died a happy man. And I've got Tupperware. JACK : And we're very considerate, we don't leave any mess. Laser saw uncuts, seals up the gaping great wound. JACK : Thank you very much. Whoosh past and away. IANTO : We'll just get out of your way. Leaves, past still frozen with his mouth open Dr. Patanjali. RUPESH : Wait a minute, wait a minute ! EXT DAY Cardiff outside hospital Dr Rupesh is running after them still in hospital scrubs. Jack and Ianto stride off unworried. RUPESH : Whatever it was, that was mutilation, I should report you. JACK : Then why don't you ? RUPESH : But that thing, what the hell was it, that hitchhiker ? SUV unlocked. JACK : Try putting it into a report. RUPESH : You're Torchwood ? JACK : Never heard of 'em. While climbing into the Torchwood branded SUV with "Torchwood" written on it in big letter. Jack slams car door. Rupesh runs up and shouts through window. RUPESH : There are bodies going missing ! Jack winds window down. JACK : How many ? RUPESH : This whole city talks about you. JACK : What bodies, where ? RUPESH : It started two months ago. Bodies, taken down to the mortuary, then the records just stop. Five of them. Five in two months. And none of them white. One of West Indian decent, one African, three Chinese, all male. JACK : What was your name again ? RUPESH : Rupesh. Rupesh Patanjali. JACK : What d'you think ? IANTO : NHS. JACK : Yeah. Too much red tape. Sorry. But good luck with it ! And SUV drives off. RUPESH : Don't ! Look, wait a minute ! Dr Patanjali left standing in the car park. EXT DAY London from above The Houses of Parliament and surrounds. EXT DAY London street Black car drives around a corner. Big red bus pulls up behind little red bus. Not in that American "look it’s a double decker !" way but roughly the same effect. Lois Habiba gets off the bus. She’s doing that half-run of I can’t sprint in these heels but I need to hurry. Down the street. Black car pulls ahead. Black car pulls up outside of Impressive Doors. A black man holds the car door open and Frobisher gets out. FROBISHER : See you. DRIVER : Yes sir. Frobisher strolls in to the doors. Hi vis security jacket, police ? standing up straight outside. Lois Habiba hurrying fast. Goes in. INT DAY Office corridors Carpet floors, b*at up wood panel walls and doors. Shiny black shoes on Frobisher as he strides along. Lois and her pointy shoes and skirt shorter than her coat hurry hurries behind him. Frobisher walks off to his right. Lois hurries off to her left... wait, back again, right. INT DAY Office with desks Frobisher walks in and sees a man in military uniform. FROBISHER : Oh, Christ. BRIDGET SPEARS : Good morning, sir. FROBISHER : Morning. COLONEL ODUYA : Morning to you, too. BRIDGET : Colonel Oduya for you, sir. Unscheduled. I'd remind you, you've got the Category Meeting at quarter past. FROBISHER : You'd better come through. ODUYA : Thank you. Leads him into glass and blinds wall office, doors close. LOIS HABIBA : I'm late ! I'm sorry ! Oh, my God, I'm really, really sorry ! BRIDGET : Good morning. Bridget Spears. LOIS : Lois Habiba. BRIDGET : Right. This will be your desk. INT DAY Frobisher’s office Has a big arch and squares window in the back. Cage effect. Frobisher talks before he sits down. FROBISHER : Just tell me it's something small. Tell me it's a... It's a meteorite ! Or a shadow on the moon. Just for once, tell me it's easy. ODUYA : Might be nothing, sir. But it's my job to inform the Government, even if it turns out to be a false alarm. FROBISHER : Then what is it ? ODUYA : Children, sir. It's the children. INT HUB Cog door Ianto and Jack walk in, cheerful and joking. IANTO : You are gonna get us k*lled ! JACK : No, you get k*lled, not me. You'd die like a dog, like an ugly dog ! The Torchwood sense of humour at its most refined there. GWEN : Oi, Chuckle Brothers. I found something. JACK : Yeah well I want a check on St Helen's Hospital specifically the morgue. GWEN : Well There's a computer, do it yourself. Ianto chuckles. Jack takes his coat off and hands it to Ianto as Gwen talks. GWEN : Meanwhile I've been getting reports this morning of 17 road traffic accidents, happening right across the country, all the way from Glasgow to St Ives. JACK : Is that above average ? Jack goes to a computer and works. GWEN : Well, they all occurred between 8.40 and 8.41. 17 road traffic accidents happening in exactly the same minute ? And every single one of them involving children. Ianto at his computer. There’s three in a row now. IANTO : That'll be the school run. GWEN : All of them were just standing in the road. Not crossing the road, just standing. I saw it myself, Jack. Two kids on Market Street. Well, they just stopped. INT DAY Frobisher’s office ODUYA : But the accidents are just one part of a picture. Because every other child stopped at the same time. And not just in Britain. IANTO (VO) : Same reports from France. INT HUB Computer area IANTO : 15 road traffic accidents. All timed around 9.40. They're an hour ahead, so it was simultaneous. GWEN : All involving children ? IANTO : Yup. Hold on. Still Cross-referencing. Here we go. Reports coming in, RTAs in Norway. Sweden. Denmark. Luxembourg. INT DAY Frobisher’s office ODUYA : Germany. India. Egypt. Guyana. INT HUB Computer area IANTO : Spain. Portugal. Bosnia. Tokyo. INT DAY Frobisher’s office ODUYA : Singapore. At 8.40 GMT, most of America was asleep, but even there, we're beginning to get reports. I think we can assume it's all of them, sir. As far as we can tell, at 8.40 this morning, every single child in the world stopped. INT HUB Computer area GWEN : Seen anything like this before, Jack ? JACK : No way. Kids ? INT DAY Frobisher’s office ODUYA : Until we receive further information, we don't know if it's extraterrestrial in origin. Though the United Nations has taken UNIT up to yellow alert, just in case. FROBISHER : Bloody hell. Knock on door. Door opens. Lois walks in. Frobisher hurriedly changes tracks. FROBISHER : And Colonel Mace ? How is... How is he getting on ? ODUYA : He's fine. Lois is bringing coffee. ODUYA : Wouldn't mind a post in Vancouver myself. Wonderful countryside, so they say. FROBISHER : Nice for some. Pause. Stare at Lois. LOIS : Sorry. My name's Lois, Lois Habiba. Just started today. I'm helping out Miss Spears while they introduce the new computer system. FROBISHER : Thank you. LOIS : Oh right. And now she leaves. INT DAY Desks outside Frobisher’s office LOIS : All done. What's his uniform ? That's not British Army, is it ? BRIDGET : If you could start transferring the names and addresses. Told. Lois goes to her desk. INT DAY Frobisher’s office ODUYA : You have two daughters, is that right ? FROBISHER : Yeah. Maybe I should get them home from school. ODUYA : I'd be careful, sir. I wouldn't do anything to draw any attention. Right now, this thing's random enough to go unnoticed, and if anyone files a news report, we'll be crushing it. But, so far, we're the only ones with the software clever enough to piece this all together. Well, us and Torchwood. FROBISHER : D'you want me to talk to them ? They're a pain in the backside, but they can be helpful. ODUYA : We're on to them, right now. INT HUB Jack’s office Jack, seen through his window, on the phone. JACK : OK, find out anything, let me know immediately. Lowers phone as Gwen walks in. JACK : Of all the times for Martha Jones to go on holiday. I get Sergeant Grunt. I'm talking to a sergeant ! GWEN : Don't you dare phone her, she's on her honeymoon. What did they say ? JACK : UNIT base in Washington has run some tests on a couple of kids. Ianto, out at his computer, grins and runs to Jack’s office. JACK : Brain scans, blood sugar, checking for radiation. Nothing. IANTO : You were right ! He's back ! JACK : Ha ! Ha ! I said so ! Jack gets up and goes to look at the computers. Gwen trails after. GWEN : Who's back ? Someone wearing dark trousers, tall, skinny, and a doctor. Rupesh, on the monitor, wandering the Plas. JACK : What's he doing ? IANTO : Waiting. Just like you said. He's been there 20 minutes. JACK : Persistent. IANTO : Good sign. JACK : Dogmatic. IANTO : Always a plus. GWEN : Oh, Christ, never work with a couple, you two talk like twins ! Now tell me who he is. IANTO : Rupesh Patanjali. He saw the hitchhiker, he's the bodies-going-missing man. JACK : Dr Patanjali. We need a doctor. GWEN : What you let just him follow you ? IANTO : Ask about Torchwood, and most people point towards the Bay. GWEN : Oh. Rupesh still wandering around out there. GWEN : You bastards, that's exactly what you did to me the first time we met ! Well, sod that, I'm promoting myself to recruitment officer ! Gwen walks off. Jack and Ianto sort of reorient so they’re standing together. Camera goes further away. IANTO : She's calling us a couple now. JACK : What's your problem ? IANTO : Just saying. JACK : I hate the word "couple". Walks off. IANTO : Me too. Woobie face of lying his arse off. Sounds like Jack shuts himself in his office. Ianto looks at the monitor again. Rupesh still there. EXT DAY Plas Roald Dahl GWEN : Hey. Rupesh, isn't it ? RUPESH : Yeah. GWEN : Gwen Cooper. I'm Torchwood. EXT DAY Plas near the fountain Gwen and Rupesh seated at tables. GWEN : Three of the bodies were Chinese ? Were they related ? RUPESH : No, one was 27-years-old and the other two were in their 50s. But not from the same family. GWEN : Bit odd, though, statistically. In a city this small. RUPESH : That's what I thought. Mind you. Nothing compared to that hitchhiker. GWEN : Freak you out ? RUPESH : Oh, yeah ! GWEN : Yeah, me too. Apparently, anyone could have one. (Pause). Don't ! I know ! RUPESH : This place ! Ever since I moved here, it's just weird. GWEN : Where you from then ? RUPESH : Me ? I'm from Chesterfield. Came down here, 18 months back. GWEN : Enjoying it ? RUPESH : Very much, yeah. GWEN : I bet it doesn't pay you much though. RUPESH : Not at first. Could be worse. GWEN : Torchwood's paid by the Crown. First pay cheque, I almost fell over. Had to hide it from my boyfriend. I was buying clothes, had to stash them under the bed. RUPESH : What's it like, inside Torchwood, I mean, what do you do ? GWEN : Why are you so interested ? RUPESH : Well. From what I've heard, just sounds... I dunno. GWEN : Exciting ? RUPESH : I suppose. GWEN : Glamorous ? RUPESH : No, more, sort of... The thing is, we've all seen it now, the past few years. Alien life. Even though half the world's still denying it. For me... OK. It's the suicides. The past few years, su1c1de rates have doubled, and that's ever since the first alien. My first case, my first death, was a su1c1de. D'you know why she did it ? Cos she'd written all these letters, she'd been a Christian all her life, and then alien life appears. She wrote this bit, she said, "It's like science has won". GWEN : Lost her faith. RUPESH : More than that. She said she saw her place in the universe, and it was tiny. She died because she thought she was nothing. GWEN : I went through that. Even now, I get terrified. But at the same time, it is brilliant, and, and beautiful, and completely bloody magic. It's bigger, y'know ? It's like... It's like the whole wide world is bigger. My life is bigger. She grins at him, then looks past. A mother tugs on the arm of a child, who stands stock still. GWEN : Shit ! Gwen gets up and runs over. Rupesh grabs his files and follows her. MOTHER 2 : Sasha, love, come on, look, I haven't got time. I've got to be in work. GWEN (into phone but still yelling) : Jack ! Get up here ! Right now ! It's happening again ! The children ! INT HUB Computer area Jack, in coat, heads out. JACK : They're doing it again ! Ianto falls in behind him. EXT DAY Plas GWEN : Are you all right ? MOTHER 2 : We're fine, she's just playing a game. GWEN : OK. MOTHER 2 : Now come on, sweetheart, people are staring at you ! Sasha, stop it. Rupesh breathes hard and stares. EXT DAY Assorted Schools Children in blue uniform tops with a tower block behind them stand still in the playground. Children in red blazers with school buildings behind stand very still. Including Steven. Children at a road crossing stand still and stare. CHILDREN High-pitched screaming. EXT DAY Plas Jack and Ianto run in. JACK : What's she doing ? What’s that noise ? GWEN : I don't know ! MOTHER 2 : Sasha ! Stop it ! Sasha ! Please help her ! RUPESH : There's another one ! Two kids in yet another different uniform, grey jumpers this time. RUPESH : It's all right, it's all right, I'm a doctor. Ianto starts filming the kids. As you would. Screaming stops. EXT DAY Red blazers kids STEVEN / CHILDREN : We... We... We... EXT DAY Red tops kids CHILDREN : We... We... We... We... We... We... EXT DAY Plas IANTO : Whoa ! CHILDREN : We are. We are. EXT DAY Red blazers kids STEVEN / CHILDREN : We are. We are. We are. EXT DAY Blue tops kids CHILDREN : We are coming. EXT DAY Plas CHILDREN : We are coming. GWEN : Oh, my God ! EXT DAY Red blazers CHILDREN : We are coming. We are coming. We are coming. INT DAY Frobisher’s office / desks outside FROBISHER : Who's got children ? Find me a kid, find me a bloody kid, now ! INT DAY Mental hospital corridors Hospital people running. Chanting is an emergency apparently. EXT DAY Mental hospital NURSE : He won't stop, he keeps saying the same thing, over and over. CLEMENT MAC DONALD as Timothy White : We are coming. We are coming. A nurse starts filming him. CLEMENT : We are coming. We are coming. We are coming. We are coming. EXT DAY Plas CHILDREN : We are coming. We are coming. We are coming. MOTHER 2 : Sasha, please, my God ! GWEN : Who are you ? Who's coming ? Silence... Kid blinks. SASHA : Come on then. EXT DAY Blue school Kids playing again. EXT DAY Plas Ianto and Rupesh watching. BOY : Why is that man filming us ? Are we gonna be on telly ? EXT DAY Mental hospital Clement, uniquely, collapses after the chanting stops. NURSE : You all right ? CLEMENT : They've found me. EXT DAY Water outside tourist office Jack, Gwen and Ianto make dramatic dash for the office. Followed by Rupesh. JACK : Gwen, I'll get on to the Home Office. This thing has gone public. They're gonna need us. Whoa, whoa, whoa, whoa, whoa ! Where'd you think you're going ? RUPESH : Um. I dunno. I could help. JACK : Doing what ? GWEN : You're bleeping. RUPESH : Shit, yeah, sorry. JACK : Whole city's coming to a standstill, they're gonna need you in A&E. GWEN : We'll get back to you, I promise. RUPESH : What's in there ? GWEN : Big science-fiction superbase. Honestly ! See ya. All in to the tourist office, door swings closed. Rupesh on his own seen through bars. He reluctantly turns and hurries away. EXT DAY London from above Establishing sh*t of that building opposite the London Eye that probably has a name. INT DAY Desks outside Frobisher office Everyone on phones. More phones ringing. There’s a mass phones thing going on. Frobisher walking and being talked at. BRIDGET : I'm sorry, we've got no comment. Can we leave it for now ? LOIS : I'm sorry, he's not seeing anyone at the moment. WOMAN : The Home Secretary's demanding information, sir... and he’ll liaise with UNIT. LOIS : No, I'm sorry I don't know who that is. I'm new. FROBISHER : Anyone else, just tell them no, Bridget. No more calls. He goes in to his office. Closes the door behind him. Bridget is being talked at by several people. BRIDGET : Yes, yes, yes, yes, yes. INT DAY Frobisher office He sits down and throws a folder down in front of him. And sits there staring. INT DAY Desks outside Frobisher office Bridget gets up from her desk and goes over to Lois with a post-it. BRIDGET : I'll have to abandon the press list, can you set up an autoreply ? You'll have to get into my account, that's the username, spears, password Hastings, capital H, rest of it lower case. LOIS : Right. Through the office window Frobisher is doing facepalm with a possibility of headdesk. He has worried. Dekker walks in head up and confident. He interrupts at least two people clustered around Bridget’s desk. Mr DEKKER : Bridget, I want to see Mr Frobisher. Conversation stops. Pause. Bridget gets up. BRIDGET : Will you excuse me, please. Knocks, opens office door. INT DAY Frobisher's office BRIDGET : Sir ? He doesn’t even look up. FROBISHER : I said, no-one. BRIDGET : Mr Dekker, sir. She gets out the way, Dekker walks in. He sits down. Frobisher only slowly looks at him. DEKKER : Four, five, six. Frobisher face of frozen. DEKKER : I warned you. INT HUB Computer area JACK : Just Tell him it's Captain Jack Harkness, he'll take the call. INT DAY Desks outside Frobisher’s office LOIS (on phone) : I'm sorry, I can't. If you could just leave your number or... JACK (on phone) : Tell him it's Torchwood. LOIS (on phone) : Right, and how do you spell that ? INT HUB Computer area JACK (on phone) : You’re working for the Home Office and you've never heard of Torchwood ? INT DAY Desks outside Frobisher’s office LOIS (on phone) : I'm new. Started today. INT HUB Computer area to Jack’s office JACK (on phone) : Just what I need ! Sorry. Not your fault. You picked a hell of a day. Listen. INT DAY Desks outside Frobisher’s office JACK (on phone) : Just tell him Torchwood, w-o-o-d. INT HUB Jack’s office JACK (on phone) : We might be able to help, OK ? What was your name ? INT DAY Desks outside Frobisher’s office LOIS (on phone) : Lois, Lois Habiba. INT HUB Jack’s office JACK (on phone) : Good luck to you, Lois Habiba. Jack bleeps phone off. INT DAY Desks outside Frobisher’s office Lois looks at the phone and puts it down. Turns to computer call log system. Types in Name Captain Jack Harkness, Company Torchwood. Red flag ! Click flag : Classified Security Level Two. Post it note of convenient security breach. Lois looks at Bridget… decides to go for it. Username and password. Office door opens, Bridget looks up. Dekker leaves and Frobisher follows. Bridget looks down. Pause. Back to work. BRIDGET : Right. Too many people here... Lois gets on with her espionage. Displayed on her monitor : Government Information Network. Torchwood. Founded by HRH Queen Victoria in 1879 its prime purpose is to defend the Earth against extraterrestrial thr*at. Initially established as an institute to investigate matters of the paranormal and extraterrestrial, the organisation has developed over the years in both activity and constitution and is currently operating as a remote team working from Torchwood 3, Cardiff. Funded directly and independently by the Crown, Torchwood was established by order of decree. Torchwood is not beyond the Government however, with her Majesty stating that : "Torchwood is also to administer to the Government thereof in our name, and generally to act in our name and on our behalf, subject to such orders and regulations as Torchwood shall, from time to time, receive from us through one of our Principal Secretaries of state". The Torchwood Charter, Dec 31st 1879. Lois looks shocked. Screen zoom right in on "extraterrestrial thr*at". In case we missed that. EXT DAY London street Same black car as earlier, BP08 XGF, probably a different corner. Frobisher driven across London. Drives past a big building on a roundabout. INT DAY Underground car park with security door Frobisher’s car drives in. Police with an actual g*n goes to stand in the door while it closes. INT DAY Corridor Thames House Dekker and Frobisher walk down an ordinary modern corridor. DEKKER : Been a while since we had visitors down here. Thought you'd forgotten about us. It's hardly the glamorous side of Thames House, my little domain. INT DAY Dekker’s Domain Thames House Crowded with equipment, Dekker leads Frobisher to a particular area. DEKKER : We converted the readings onto digital, years ago, but I kept the original equipment. Call it nostalgia. Then this morning it woke up. 8.40, and again at 10.30, transmitting on the 456. (Dekker presses a button on the nostalgic equipment. Whooshing and whirring). Just five seconds in duration. But that's enough. FROBISHER : What's it saying ? DEKKER : Well, I think it's a burst of compressed information. I'm running it through the translators, might take a while. More alien noise. DEKKER : But the point is, the 456 was open. FROBISHER : But why would they change ? DEKKER : That's your job, to find out. FROBISHER : I'll have to tell the Prime Minister. DEKKER : Elected officials ?! They just come and go. The 456 was here before him, it'll be here long after he's gone. And so will we. The Civil Service, John, the cockroaches of government. FROBISHER : Have you got kids ? DEKKER : Too busy working. Turns out to be a Godsend. INT HUB Computer area JACK : So I think it's a transmission, a pulse, a broadcast. IANTO : Like the Mosquito alarm, the one that only kids can hear. JACK : Something unique to prepubescents. IANTO : Maybe testosterone interferes with the signal, and oestrogen... GWEN : Oh, no, no, no, hold on. We're being dumbos, we're missing the bleedin' obvious here, look. TAIWANESE CHILD (on computer) : We are coming. We are coming. GWEN : Recorded in Taiwan. The point being, anyone ? TAIWANESE CHILD (on computer) : We are coming. We are coming. JACK : It's English. IANTO : They're speaking English. GWEN : Exactly ! And all the footage is the same. So every single child in the whole wide world is speaking English, so why's that ? JACK : I guess if you scanned the Earth from the outside, you'd register English as the dominant language. IANTO : Actually that would be Chinese, well, Mandarin. There's about a billion people speaking Mandarin. That's three times more than English. GWEN : Oh, my God. JACK : What ? GWEN : OK, ready ? So every single child in the world is talking in unison, yeah ? JACK : Yeah. IANTO : Yup. GWEN : Every single child... And one man. CLEMENT (on computer) : We are coming. We are coming. JACK : What the hell ? Who's he ? GWEN : Name's Timothy White. He's a patient in a psychiatric ward at the Duke Of York Hospital, East Grinstead. JACK : How did you get this footage ? GWEN : Staff e-mailed it to the police. But every police force is swamped with mums and dads going absolutely mental, so it's just waiting in line. I reckon no-one else has noticed him yet. IANTO : East Grinstead. JACK : That's what, two hours ? GWEN : I'm on it ! EXT DAY Garden of a swish house Rhys is on the phone, standing in front of a Frost Lynch Estate Agents Grange Farm Road Cardiff CF9 6YY FOR SALE sign. Alternates between there and Gwen’s location. GWEN (on phone) : I know I promised, shut up. Change of plan. RHYS (on phone) : Oh, s'all right, I thought you'd be busy. "We are coming !" EXT DAY Car on a motorway Gwen is driving, in the fast lane, other cars swish past going t’other way. GWEN (on phone) : Eh, but what's it like ? RHYS (on phone) : The estate agent hasn't turned up. (Rhys goes in the gate to have a poke around). Fair dos, she's probably got kids. So, what do you think's causing it ? GWEN (on phone) : I can't say. Top secret. RHYS (on phone) : You haven't got a clue, have you ? GWEN (on phone) : No idea. RHYS (on phone) : Tell you what, it looks nice from the outside. And I reckon we could knock ten grand off the asking price. Three bedrooms. One could be a nursery. GWEN (on phone) : Oh, stop it ! RHYS (on phone) : One day ! GWEN (on phone) : You can adopt a Filipino and get her to clean the chimneys. RHYS (on phone) : Thing is I was thinking though, right ? Those kids went off at 8.40, when everyone's on their way to school, then at 10.30, that's break time. It's like it was timed. You know ? So you'd get maximum kids out in the open, visible to everyone. GWEN (on phone) : Suppose. RHYS (on phone) : Yeah, but that means it's timed around Britain. Specific British hours, yeah ? It might be worldwide, but I reckon someone's looking right at us. GWEN (on phone) : That's brilliant. That is brilliant, you're not bad, you, are you ? RHYS (on phone) : I'm bloody superb. GWEN (on phone) : Oh, my God, Severn Bridge ! I'm going into England ! Farewell forever ! RHYS (on phone) : Good luck ! Have you got currency ? GWEN (on phone) : Yes, and I've had my injections ! See ya ! EXT DAY Plas in front of a building Jack and Ianto sit on really big steps. Right next to each other with big empty all around them. JACK : Lunch time. This place should be buzzing with kids. IANTO : Everyone's taken them home. JACK : We need a child. Close on Ianto’s face JACK : Cos we need to test those frequencies. Find the right frequency, and we can find out who's transmitting. IANTO : Where d'you get a child, though ? I could find you lasers and weevils and hitchhikers. But kids... Pause. Jack has think face. Jack stands. JACK : See you later. IANTO : Where are you going ? JACK : Now who's a couple ? Ianto a bit woob faced again. Looks away and down. INT DAY Prime Minister’s Office All books and wood and leather. Globe near the camera, very old and yellowed. Prime Minister, older man in glasses, reads a file.Track across, and Frobisher is sitting in one of the leather chairs. He perches. On the front edge. Waiting. Prime Minister reads. Frobisher looks tense. Big Ben strikes ? Clock music, then bongs between sentences. Prime Minister as Brian Green : When I was a kid, it was the b*mb. Iron Curtain. Reds under the bed. It was all so bloody simple. Now it comes raining down from the skies. Made of metal, stinking green and God knows what. I find myself running a country under siege from above. FROBISHER : What d'you recommend that we do ? Prime Minister : You tell me. FROBISHER : Given that this is now worldwide, Prime Minister, it might be best if certain historical events were taken off the record. Prime Minister : So Britain gets a clean sheet ? FROBISHER : Yes, sir. PRIME MINISTER : How do we know if these... what do we call them ? FROBISHER : The 456. They never gave a name. We just called them the 456 after the frequency allocation. PRIME MINISTER : Then how do we know that the 456 will keep quiet ? FROBISHER : We don't. All we can do is hope to cover ourselves. Prime Minister looks away. Not a happy bunny. FROBISHER : You'll have to issue a Blank Page. PRIME MINISTER (sharply) / No. FROBISHER (pause) / Then, what do we do ? PRIME MINISTER : I'm not having my name on this. You never told me. I was never a part of it. I never knew. Is that understood ? FROBISHER : Yes, sir. Then I take it that that leaves the Blank Page with me ? PRIME MINISTER (b*at) / Just don't tell me about it. INT DAY Carter's house Front hall with pretty stained glass. Doorbell rings. Alice walks up talking over her shoulder. ALICE : Tell her it's in the bottom drawer, I put them there yesterday, yeah ? She opens the door. Smiling Jack ! ALICE : Oh, I thought so. JACK : Good to see you. How's things ? ALICE : Terrifying. STEVEN : Uncle Jack ! Boy runs in, Jack scoops him up and holds him so he’s taller than Jack. JACK : Steven ! Hey, soldier, how you doing ? Jack carries Steven in. STEVEN : I was talking like an alien ! Everyone was ! It was brilliant ! ALICE : You'd better come in. Eyeroll and swings her door closed. EXT DAY Davies's house Ianto gets out the SUV. Closes door and bleeps it locked. Car alarm beeps. Ianto walks up the path past abandoned bikes to... is it a semi detached or an end of terrace ? There’s a terrace behind them. And a lot of city. There’s rubbish bags around a lamp post and only one other car in sight, silver grey, parked right in front of Ianto. INT DAY Davies's house, kitchen Close up on Rhiannon packing "Lose a stone in 21 days !" leaflets into envelopes. Rhiannon is pink and leaflets are pink and something plastic looking in a bowl on the table is pink and there’s a whole pink theme. Messy is another theme. Stacks and boxes. Again starting in close up with Rhiannon with her hands full and busy. IANTO (out of sight) : Only me. So he’s a just walk in visitor. RHIANNON : Oh, bloody hell. We must be in trouble. Or is it Christmas ? Mica is on the games machine playing something loud. Ianto in his suit oddly matches the curtains. And lampshade. But only in color, the style is his own. IANTO : How are they ? RHIANNON : Yeah, it was a bit of a scare. I brought them home, just in case. Ianto walks over and gets his wallet out. As Rhiannon talks he extracts a £10 and hands it over, Mica takes it without comment. RHIANNON : But I reckon it's that group hysteria thing, like when lots of girls all faint at the same time. Did you say thanks to your uncle ? MICA (already back to her game) : I did. RHIANNON : David ! Your Uncle Ianto's here ! Ianto has another £10 out ready. IANTO : I was thinking. I missed Mica's birthday. I thought I could take her to McDonald's or something. David runs in, grabs the £10, runs out, all without interrupting Ianto’s sentence. RHIANNON : That's all of £3.95, you big spender. IANTO : All right, cinema. RHIANNON : Yeah, that'd be nice. You'd like that, wouldn't you, Mica ? Mica nods. IANTO : I thought maybe this afternoon. RHIANNON : No chance. What about Saturday ? IANTO : I'm kind of busy on Saturday. RHIANNON : You're a civil servant, they don't work weekends. They invented weekends. And I'm not having her going out, not today, not with all that voice thing. I want 'em where I can see them. IANTO : But she'll be with me. RHIANNON : She's staying put. IANTO : Right. Fine. Just an idea. I won't bother you. Pause. Rhiannon looks up at him all big eyes. RHIANNON : Oh, that's it, is it ? You're just gonna go now ? Oh, sit down, you daft sod. I've got some of that spinach dip. And you and me, well, ahem, we've got things to talk about. IANTO : What things ? RHIANNON : You've been seen. Ianto makes think face. INT DAY Carter's house, kitchen Jack and Alice are in the kitchen. Jack sits, Alice busies. ALICE : They said on the news that we should send them back to school tomorrow. D'you think it's safe ? JACK : Well, I don't know any more than you. ALICE : Oh, come on. JACK : I don't. Pause of disbelief and pouring the tea. JACK : Any word from Joe ? ALICE : In Italy. With her. They finally got married. But he, er... He phones every now and then, and sends Steven postcards. Remembers his birthday. There are worse fathers. Pause of awkward. JACK : How are you off for money ? ALICE : Don't worry about that. You give me enough. Kind of easy, writing cheques, huh ? JACK : Alice, you're the one who asked me to stay away. I'd come round here every week, if you wanted me to. Every day. ALICE : Yeah. Pause of not looking at him. ALICE : I just can't stand it, Dad. I look older than you do and it's never gonna stop. I get older and older and you stay the same. One day, you're gonna be standing at my funeral. Looking just like you did when you were standing at Mum's. No wonder she was so furious. You make us feel old. Pause of long and not looking at each other. JACK : Actually, I found a grey hair. ALICE : Oh ! Well, that is the end of the world. Jack laughs. He looks out the window. Steven is playing in the garden, wearing a red coat. JACK : You ever gonna tell him ? ALICE : What do I say ? That you're his grandfather ? JACK : He's too young to notice, right now. That I don't age. But one day, he's gonna realise. ALICE : And that's another reason for you to stay away. JACK : I suppose. I could make the most of it while he's still young. Take him out. Buy him stuff. Me and him, sort of thing. ALICE : You mean today ? JACK : While I'm here, may as well. ALICE : Ah You bastard. Something happens to kids, and you want to spend time with him on the same day. You are not experimenting on that boy, Dad. Not ever. That's why I want you to stay away, because you're dangerous. INT DAY Hospital Rupesh runs through corridor and gets to a counter with a phone. Phones where his pager tells him. RUPESH : Dr Patanjali. You were paging me ? EXT DAY Carter's house Jack closes the door behind him, he was phoning before he even left, and strides into the street. JACK : Rupesh ! Captain Jack Harkness. You've got a children's ward, haven't you ? I need a kid. INT DAY Davies's house, kitchen Rhiannon and Ianto at the table opposite each other. RHIANNON : Susan on the corner was in town and it was her anniversary, so they went to that posh French place in town by the memorial, and there was you. IANTO : So... ? RHIANNON : There was you, having dinner with a man. IANTO : So ? RHIANNON : Having dinner, with a man, in a restaurant. IANTO : So ? You have dinner with Tina. RHIANNON : Not in town. Susan said he was gorgeous. Like a film star. Like an escort. IANTO : He's my boss. RHIANNON : She said it was intimate. I said, "Well, he's had girlfriends," and she said, "Well, no girl was getting her feet round that table, no chance." Have you gone bender ? IANTO : Mica's hearing this. RHIANNON : She's not bothered. Her friend Sian's got two mothers. Pause of awkward and Ianto looking down away. RHIANNON : Go on. Pause of Ianto making deer headlight eyes at Rhiannon. RHIANNON : You never tell me anything these days. Dad died, that was it, you were off. You couldn't wait. Like I did something wrong. I didn't, did I ? IANTO : It's not that. It's my job, it's difficult, it's... (exhale, closed eyes. Open eyes look at her). He is very handsome. RHIANNON : No ! IANTO : Now stop it. RHIANNON : You're kidding me ! Really, though ? Really ? Ianto is not keeping eye contact and is looking round more nervously than he did while extracting body organs. RHIANNON : Christ almighty ! He's nice, though ? Is he ? Ianto biting his lip. RHIANNON : Is he ? Oh, my God. I mean, since when ? IANTO : It's weird. It's just different. It's not... men. It's... it’s just him. It's only him. And I don't even know what it is, really. So... So I'm not broadcasting it. RHIANNON : Oh, no, honest, I won't say. If you want it kept quiet, I swear, I won't say a word, I promise. Door closes behind them. Johnny Davies walks in. JOHNNY DAVIES : Aye aye, gay boy, she says you're taking it up the arse. The look on Ianto’s face is priceless. JOHNNY : Mica, will you get off that thing. Rhiannon rubs her nose hide a bit of a grin. IANTO (quietly) : Thanks. JOHNNY : How've you been then, you smart bastard ? Ianto gets up. Johnny grabs and bear hugs him. Ianto stands up straight and tries not to make argh noise. Johnny holds him at arms length. Car alarm wails. JOHNNY : Eh, whose car is that outside then, is that you ? Black thing ? IANTO : Oh, that’s the... That's the company car. JOHNNY : You want to watch it on this estate, boy. IANTO : No, it's fine, top of the range, it's got a triple-deadlock. JOHNNY : Oh, aye, sounds like it. Ianto turns. Big eyes. Pushes past Johnny and runs ! Car alarm and tyres screeching. EXT DAY Davies's house Ianto runs outside. More oh noes ! IANTO : Oh ! (Hands on head). But it's got a triple deadlock, they can't have ! JOHNNY (collecting loose bricks) : Nah cause what they do is see they drive round the block, then they come back for a lap of honour. The victory parade ! We get ‘em. Brings bricks for Ianto. IANTO : Uh, we should phone the police. JOHNNY : Nah It's more fun this way. Car horn. JOHNNY : Right, here they come ! Get ready ! SUV comes around the corner. Someone moons them out the window. They’re yelling stuff, probably rude. Johnny shouts and chucks a brick. DAVID (from upstairs window) : Yay ! RHIANNON : David ! Get inside ! Now ! IANTO : That's my car ! RHIANNON : Close the window I'm not telling you again, get inside. I'll take your computer off you, get in. IANTO : That's my car. INT DAY Mental hospital, office Gwen and a uniformed lady nurse are watching Clement on a monitor. NURSE : Timothy White. 52 years old. He's been with us three months. But he's got a history of being in and out of care all his life. GWEN : Timothy White's. My mum used to shop there. NURSE : Well If he's got a different name, he's never said. He spent 40 years living in Leeds, that's where he first came on record. Found homeless, living on the streets, at the age of 11. GWEN : 11, bloody hell. NURSE : No-one ever reported him missing. Apparently though, he did have a Scottish accent, back then. Gone now, but he was a long way lost. INT DAY Mental hospital, interview room on camera First a view through the security camera, Clement looking over his shoulder, seated at a table. Then Gwen and Clement opposite sides of that table. There’s pauses between most sentences, Gwen leaving room for Clement. He sits sideways on his chair and don’t look at her except out the corner of his eye. GWEN : Can you remember the voice ? You said, "We are coming." Can you remember why ? D'you know what I think it was ? Aliens. Clement reacts, looks at her. Looks away fast. Gwen tries to keep eye contact. CLEMENT : There's no such thing. GWEN : Those days are gone. I don't mean to scare you, because you're perfectly safe, but I think aliens are using you to speak. What d'you think ? CLEMENT : No such thing. Isn't it, isn't it ? GWEN : I've met aliens. It's part of my job. But I'm not the authorities, or the police, or the army. So anything you say is just between me and you. And I will believe you. CLEMENT : Give me your hand. Uncertain Gwen tries showing her hands above the table, empty. Pulls them back. Then offers one. Clem grabs, puts his face to it, sniffs loud and repeated. Gwen pulls her hand back but he follows across the table. Lets her go. Sits back down. CLEMENT (surprised) : You're telling the truth. GWEN : How can you tell ? CLEMENT : I can smell it. You've... met them ? GWEN : Dozens of them. CLEMENT : Still not safe. Isn't it, isn't it ? They're watching. Looks to blinking light on security camera. CCTV in the nurse office monitor. Nurse in her office reading something. Then back to Gwen, looking at that camera. GWEN : Well, I can do something about that. Pulls something from her pocket. GWEN (finger on lips) : Shh, shh. Her shiny pen thing makes the CCTV break. CLEMENT : What's that thing ? GWEN : The technical name is a gizmo. He laughs. And then some more. A bit too much. CLEMENT : Isn't it ? GWEN : I think you've seen aliens too. What's your name ? What's your real name ? When did you last say your name ? CLEMENT : Never. GWEN : Then tell me. CLEMENT : I was a kid. GWEN : What happened ? CLEMENT : They took us out. In the night. In the dark. Isn't it ? Isn't it ? They told us, they said we were going to a new home. GWEN : Who did, who said ? CLEMENT : The staff. GWEN : A care home ? CLEMENT : They drove us away for miles and miles. Flashback image, blond boy on the bus from the teaser : Clement. HIGH-PITCHED GIGGLING Bus in the dark, boy at the window. CLEMENT : They were there. In the sky. GWEN : What did they look like ? CLEM : Light. White bright, flashback to the kids walking into the light. CLEM : The light... took them. GWEN : Took who ? CLEMENT : My friends. GWEN : But not you ? CLEMENT : I ran. There was something, there was people, there was... Flash : Soldier g*n in the dark. CLEM : Isn't it, isn't it, isn't it, isn't it ? GWEN : You're all right, you're safe. OK ? You're safe now. CLEMENT : But they're coming back. I've been smelling them for months. In the air. Long time coming. GWEN : Tim, I can help. Look at me. I can help. If kids went missing, something's got to be written down and I will find it. But to do that, I need to know your name. Cute hands fingers game conversation going on while she says that. He knocks hands back. CLEMENT : I was Clem. Clement MacDonald. GWEN : Hi, Clem. Shakes hands. CLEM : Hi. GWEN : Where were you from ? It was somewhere in Scotland, do you remember ? CLEM : Holly Tree. GWEN : Holly Tree, now then is that a town, or a place, or... ? CLEM : The Holly Tree. GWEN : The Holly Tree is that where it happened ? Clem ? Was it ? What was the Holly Tree ? What was the Holly Tree ? Sniff, loud. CLEM : You're pregnant. Gwen nods sympathy then... freeze. GWEN : Sorry ? CLEM : Yes, you are. GWEN : No, I don't think so. CLEM : Yes. I can smell it. Three weeks. Run feet door slam open quick. NURSE : Oh... Bloody hell, I've been running. That camera's gone off, it just went d*ad ! Still. No harm done, eh ? (Pause). Everything all right ? GWEN : Yes. I'm fine, thank you. NURSE : Right, well, I think you've had long enough. Time for your meds, isn't it, Tim ? If you don't mind. GWEN : No. (whisper). Not at all. CLEM : Congratulations. She turns and leaves. EXT DAY Mental hospital car park Gwen walks out with phone pressed to ear. GWEN : Ianto, I need a search on Clement MacDonald, could be M-C or M-A-C, and try the words "Holly Tree" and Scotland. We're looking at the 1960s, got that ? INT HUB Computer area Ianto hurries to computer and starts typing. IANTO : Yeah. GWEN : Then try the words Timothy White, with the option of Timothy White's, apostrophe S, like the shop. IANTO : I lost the car. EXT DAY Mental hospital car park Gwen striding uninterrupted by actual listening. GWEN : Yeah, and if you find anything, let me know straight away, don't wait for me to get back. IANTO : These kids nicked it. GWEN : Yeah, I'll see you later. She stares big eyed blankly and opens her car door. He puts his phone away and does deep breaths. Computer screens doing squiggly lines. INT DAY Mystery call centre, Ashton Control Bloke in black with a headset sits at a computer desk; we always see him through a Greater London Map made of clear plastic and black print. OPERATIVE : I've got a red flag on a Torchwood intercept, the name Clement MacDonald, can you trace it ? MALE VOICE : Roger, Ashton, control initiating trace now. EXT DAY London again Closer on big building windows this time. INT DAY Desks outside Frobisher’s office Lois looks suspiciously at stuff. Through the glass and blinds Bridget is meeting with Frobisher, her standing in front of his desk, him seated. Lois narrows eyes. She’s probably trying to lip-read. Staring. INT DAY Frobisher’s office FROBISHER : You'll find the names under 456. BRIDGET : And what d'you want me to do ? He has a beige folder and hands it over. She opens it. Ominous music ! Ominous blank piece of paper ! In a Classified folder. Bridget looks up. Looks at Frobisher. Mouth firm. Sharp nod. Closes folder and goes out. He stares straight ahead for a long time. Then he picks up his pen and caps it. Presumably from not writing on that blank page. INT DAY Desks outside Frobisher’s office Bridget sits down and types some stuff. Two fingered. Lois watches. Bridget finger s*ab the enter button decisively. Gets up and walks away. Curious Lois still has post it of we’re all getting fired for computer security. Logs in as Bridget. Gets her emails. Sent messages and really tense music. Subject : Blank Page. To : (?) ORDER TO k*ll : Colonel Michael Sanders (ret.d). Ellen Hunt. Captain Andrew Staines. Captain Jack Harkness (active). EXT DAY Hospital car park Pretty blue sports car with no lid. Jack swooshes in to a parking space. Climbs out. Rupesh runs to meet him. Jack starts the conversation loudly in the car park. JACK : I promise, we can zap these kid's memories so they won't remember a thing, no side effects. RUPESH : But There's been another death. INT DAY Hospital corridor with metal cage thingies for storing stuff in. Rupesh briefs Jack as they walk. RUPESH : Mr Chow Lee Jee, chinese again. He came in with a nosebleed that wouldn't stop. Next thing you know, it's been diagnosed as a brain haemorrhage, he died at 16.25. INT DAY Mortuary room with stylish plastic curtains A black man in a hospital uniform steps up to stop them. RUPESH : Sorry, he's with me. Dr Patanjali, A&E. We just need to check Mr Chow Lee Jee. JACK : Well, he hasn't gone missing. RUPESH : I can see that. JACK : Need to run a toxicology scan. Not on the NHS, we've got much better equipment. Pupil's blown, that corresponds with a brain haemorrhage, though it could be induced artificially. No sign of trauma to the skin, apart from bruising, but that’s... Rupesh with g*n and g*n. Sudden Jack death. Jack falls onto the other d*ad guy, then slumps to the floor. Close up of g*n. Rupesh’s hand is shaking a lot. He lowers the g*n. Breathing heavy. RUPESH : Get them in. Seal off the area. Black man in uniform leaves through plastic. A lot of black clothed men with w*apon and helmets run in. They carry lights and biohazard tape to seal the place. Some pick up d*ad Jack and put him on the newly vacated morgue table. RADIO VOICE : Mission move out. INT DAY Ashton Control Headset guy is watching his screens again. HIGHER RADIO VOICE : All units. OPERATIVE : The name Clement MacDonald hasn't been active for 44 years, but here he is. Torchwood's found him under the name of Timothy White. INT DAY Hospital corridor A woman equipped like the men but without the big g*n and helmet walks with a soldier man on each side. She holds the front of her jacket to speak to Ashton Control. JOHNSON : That's way beyond coincidence. Bring him in. INT DAY Mental hospital Clem sniffs. Significantly. Sniff, sniff, sniff. INT DAY Hospital mortuary Johnson swishes through the plastic curtains. Many black uniforms are standing on guard with their big g*n. Rupesh is slumped against the wall with his little one. He sees her, stands, follows her in. Hands his g*n off to a soldier. RUPESH : Who changed the plan ? I spent months researching that. And they believed me ! Perfect infiltration, I thought you wanted me inside Torchwood to see what they've got in there. JOHNSON : Who k*lled the Chinese man ? RUPESH : I did, I had to, it was perfect timing, he just fitted the story. JOHNSON : Then get off your high horse, yeah ? Any sign yet ? RUPESH : Not so far. D'you think it's true ? What they say about him ? Jack revival ! Jack’s dramatic timing great as ever. Johnson draws and fires before Jack’s finished his second breath. Cold. RUPESH : He was d*ad. JOHNSON : Now he's d*ad again. And we'll keep k*lling him till he's ready. Get him prepared. HOSPITAL UNIFORM : Yes, Ma'am. RUPESH : How the hell does he do it ? Close-up. Unbutton Jack’s shirt from the trouser line up. JOHNSON : No-one knows. Theory would suggest it's connected to the Torchwood Hub. That Rift thing. Which makes the whole place a target. Jack shirt being pushed up, belly on display. RUPESH : What changed the orders ? JOHNSON : The children. She gets out a laser saw and has a go at Jack’s abdomen. Great big gaping slice. EXT NIGHT Mental hospital Black jeeps with blue lights pull up outside. Pretty clock tower above. On my screen resolution I can’t tell if it’s 8pm or midnight. INT NIGHT Mental hospital Clem sniffs. Stands up. Looks up into camera directly above him. EXT NIGHT Mental hospital Police get out the black jeeps, putting their uniform hats on. INT NIGHT Mental hospital Clem twitches and stares up and is very worried. Run ! A Nurse in uniform leads the two police in to a room with only people who are not Clem. EXT NIGHT Mental hospital Reckon it’s the back way cause there’s a wheelchair ramp. Clem escapes through the clever expedient of running away. INT NIGHT Hospital mortuary Jack still pretty d*ad. JOHNSON : Sealing him up. Laser saw blue does the party trick uncutting again. JOHNSON : Closing down. Hands saw to a soldier. JOHNSON : Everybody out ! Put him back where he was. Busy yet coordinated action, everyone leaving. RUPESH : He’s gonna wonder where I've gone. How are we gonna cover that ? JOHNSON : How d'you mean ? RUPESH : Well, he's gonna try and trace me. JOHNSON : You're not disappearing. RUPESH : Yeah, but I've got to, he's gonna... Face of "oh shit" as Rupesh slowly realises. Stare at each other. Rupesh is Scared. Runs ! Out through the plastic ! Johnson turns around unhurried. INT NIGHT Hospital corridor Rupesh legs it, towards soldiers. Johnson steps out and gets her g*n. JOHNSON : Sides ! Soldiers step to sides smartly. Johnson aims, fires. d*ad Rupesh. g*n down. g*n away. INT NIGHT Hospital mortuary Soldiers carry Rupesh back in and dump him next to Jack. Chinese man is back on the table. Neat and tidy. Soldiers leave fast, Jack’s eyelids twitching. Jack gasp back to life. INT NIGHT Hospital corridor Soldiers take the biohazard tape down. Johnson leaves last. All neat and efficient, quick march. INT NIGHT Hospital mortuary Jack, panting, turns over : d*ad Rupesh. INT NIGHT Hospital corridor Johnson takes one last look back. INT NIGHT Hospital mortuary Jack checks for pulse. JACK : Oh, no. Gets up, runs out. INT HUB Computer area Gwen walks in. Ianto is at his computer. IANTO : Result ! There was a Holly Tree Lodge just outside Arbroath. It's a hotel now, but, up until 1965, it was a state-run orphanage. And they had a Clement MacDonald ! Gwen has walked straight past Ianto without a speck of attention paid. She heads for the autopsy bay. Ianto just keeps talking. She gets equipment out. IANTO : He was taken into care, april 1965, after his mother died. No father on record. In november 1965, he was transferred, along with... Oh. EXT NIGHT Outside the tourist office entrance Jack goes down steps heading for the door. A man leaning on the railing watches. And talks to his watch. RAILING MAN : Over to control. Harkness now approaching door one, over. EXT NIGHT Black jeep full of Johnson Johnson in passenger seat. JOHNSON : He's inside ! We don't know how deep that place goes. Give it five. Over. INT HUB Autopsy bay Gwen is very focused on medical equipment. Gwen puts her hand on a flatbed scanner. The light bar goes across. It is magic and can see her whole body that way. Gwen does headtilt. On the wall projection there’s a little red blip. A little red blip in the pelvic region. INT HUB Cog door Jack comes in. JACK : We need damage control at St Helen's. One body. Dr Rupesh Patanjali. sh*t in the back. IANTO : What happened ? JACK : I don't know. He was just left there right beside me. Like someone's gloating. IANTO : Did they k*ll you ? JACK : Yeah. Ianto moves in for Awkward manly hug with back patting. JACK : Maybe we're being targeted. Whether it was him or me, we should be careful, better tell Gwen. IANTO : She's back, she's in the lab. JACK : Gwen ! INT HUB Autopsy bay Jack walks in. JACK : Boy, have I had a day. Blinky shock face. Joining Gwen’s big eyed shock face. Hand still on the scanner, little red blip clearly in the hip type place on a female figure on the wall projection. JACK : Oh, my God. Is that... ? Gwen takes her hand off the scanner. She’s still staring at the wall. Jack comes down the steps to her. She looks round at him with seriously big eyes. JACK : How long ? GWEN : Three weeks. Turn together to look at the wall again. JACK : That's good, isn't it ? Her flat mouth and big eyes of shock are not an obvious good yet. Looking at each other and back, checking. JACK : From where I'm standing it... looks good to me. GWEN : Yeah. Bloody hell. It's brilliant ! Smiles break out ! Big Jack smiles ! JACK : Ianto ! We're having a baby ! Ianto runs in all happy too. JACK : Have you told Rhys ? GWEN : I've only just found out myself. JACK : Oh, you told me before you told him, he is gonna love that. IANTO : Congratulations. Gwen still staring with puzzle face and happy. IANTO : Would now be a good time to tell you I lost the car ? JACK : You did what ?! GWEN : That is just bloody spectacular ! But what about this place, and my job ? Jack puts reassuring hand on Gwen’s on the scanner. JACK : We'll manage. We always do. Scanner scans. Siren. GWEN : What the hell is that ? Big red death star in Jack’s hips... it’s that or go for a big red balls joke… Sirens and alert on the screen. JACK : Oh, my God. IANTO : There's a b*mb, there's a b*mb inside your stomach. Everyone there can see that, but I guess some announcements just need saying. JACK : Get out. GWEN : No ! JACK : Both of you. GWEN : No ! JACK : Right now ! IANTO : It has a blast radius of one mile ! JACK : Right now ! Get out ! GWEN : Look there must be something we can do. Look We can stop it. We can fix this OK, we can rip it out of you. JACK : I'm telling you. Get out ! IANTO : It's active. Two minutes ! GWEN : I can't just run, Jack. JACK : You're pregnant. She stares, steps back, and just runs. INT NIGHT Frobisher's house Kids in matching girly pink bathrobes now. Mum Anna and dad Frobisher do Worry. HOLLY / LILLY : We are coming. We are coming. ANNA : John ! John ! HOLLY / LILLY : We are coming. We are coming. INT NIGHT Carter's house Steven stares. Alice is worried. STEVEN : We are coming. We are coming. INT NIGHT Davies's house Concerned Rhiannon and Johnny watch David. DAVID : We are coming. We are coming. We are coming. INT HUB Computers Ianto typing away. RECORDED VOICE : Lockdown. JACK : Ianto, you're going to get locked inside. COMPUTER VOICE : Torchwood lockdown. Big cog door Made in Wales rolls closed solidly. JACK : Ianto ! Then you... Jack grabs Ianto and drags him. Both desperate. IANTO : There must be a way to override the mechanism. JACK : For God's sake, get out ! IANTO : There'll be nothing left of you ! JACK : I can survive anything. Bundles him onto the invisible lift. As he swings round Ianto grabs and kisses. Serious intense kiss with grabbing. But fast. Jack lets go and backs away. Hits buttons. Invisible lift rises. They keep eye contact all the way up. Ianto rises up towards the complicated roof mechanism. RECORDED VOICE : Torchwood lockdown. Torchwood lockdown. JACK : I'll come back. I always do. INT NIGHT Carter's house ALICE : Stop it, Steven. Stop it. CHILDREN : We are coming. INT NIGHT Frobisher's house FROBISHER : Stop it ! CHILDREN : We are coming. We are coming. We are coming. FROBISHER : Stop it ! Stop it ! Frobisher collapses to his knees, frantic and frightened. EXT NIGHT Tourist entrance Gwen is out and running. Heavy breathing. INT HUB Lift Jack looks up, Ianto rises. Ianto reaches down to him. Jack has his hand on his wrist strap. Long longing sort of look. Jack looks down, to the computer. 00:04. 00:03. Jack closes his eyes. EXT NIGHT Cardiff Gwen runs in the night. BOOM ! Really giant exploding ! Gwen flies forward and falls ! Lands, gasping, f*re around her. INT NIGHT Frobisher's house CHILDREN : We are coming... back. END

{"type": "series", "show": "Torchwood", "episode": "3x01 - Children of Earth, \"Day One\""}

foreverdreaming

Opening credits EXT NIGHT Plas Gorgeous crane sh*t, from really high up. Just enough of the familiar to recognise, like the light pillars at one end and a half circle opposite the invisible lift. But the lift fountain is blown to an outline of girders, and there’s a bloody great crater where everything else used to be. Broken rocks, depths, and f*re. Off at the back, one ambulance parking. Gwen lies curled up face down amidst f*re and wreckage. She crawls to her knees. Sits up, shaky. POV sh*t of smoke and f*re, all the sound muted, Gwen after the Bang. Wider sh*t again, Gwen in front of the light pillars, Millennium Centre off in the background with the lettering lit red. Flames and rubble everywhere. Close again. Gwen on her feet, staggering in front of the bridge. Hands to her head. POV, more flames and rubble, mute sound. Gwen running, heading to the crater, rubble, flames. Two paramedics, running in to intercept her. AMBULANCE GUY : Whoa ! Whoa ! You can't go back there, love. No, no, no, it's too dangerous. GWEN : Yeah my friend's still in there. My friends are in there ! AMBULANCE GUY : Go back to the ambulance. Walk as quick as you can, now. GWEN : Let me go and get him. Let me go ! Let me go ! No ! (Screams) No ! Ambulance guys pick her up and carry her to the ambulance. She struggles and screams. AMBULANCE GUY : Hold her down ! Control said no survivors. GWEN : Aaagh ! White guy pins Gwen to a stretcher while black guy gets a syringe out and taps it. Gwen gets the man’s arm into her mouth and bites. He screams and releases her. With blood on her mouth Gwen punches one guy in the nuts, sits up, grabs the f*re extinguisher, clangs both of them with it. They’re both down and knocked out. Gwen sits hard and takes a deep breath. She grabs their g*n, shoulder holsters under paramedic uniform. On a nearby roof a red laser sight draws our attention to a sn*per. There’s a dot on Gwen’s jacket. She looks up, dot lines up with her eye. Gwen dives and sh**t two handed ! sn*per sh**t but only hits the white ambulance guy ! Gwen sits up, fires. sn*per ducks. Gwen gets up and runs behind the ambulance. She climbs in the driver’s seat, dumps g*n on the passenger seat, and puts her foot down. d*ad ambulance guy falls out the back. Back at the crater... Twisted metal, rubble. Ianto clambers and staggers and emerges with suit intact, albeit dusty. The sh*t from above the crater leaves you wondering how he survived the fall, let alone the expl*si*n. Ianto gets to the top... and sees red laser through smoke ! Dramatic getting trapped time instead. Ianto sprint in another direction. sn*per continues to miss him. Even with a little dot to show him where it’s pointed. He keeps hitting lamp posts and sparking dramatically off the floor instead. Ianto runs away. Gwen with blood mouth drives away. In an ambulance with the back doors open. Dramatic red and black and neat metal shapes and black clad soldier... sn*per r*fle in hand, soldier is running down the stairs. Ianto runs away more, sn*per on the corner behind him. He aims. He fires. Ianto skips and the b*ll*ts miss. Ianto runs around a corner and stops. Sirens ! Starts running again ! INT NIGHT Frobisher's house Anna gets mugs of something for Holly and Lilly. They’re still in pink bathrobes. They’ve stopped chanting then. Phone rings. FROBISHER : Sorry, I've got to take this. ANNA : Work ? After what just happened ? FROBISHER : Because of it. They're OK now. Get yourselves to bed, girls. And don't worry. Hello. EXT NIGHT Plas crater Johnson in the boots standing over the burning crater talking to a cell phone. JOHNSON : Target one's eliminated. Two and three have escaped, but we're in pursuit. INT NIGHT Frobisher's house Alternates with crater. On phone. FROBISHER : What went wrong ? JOHNSON : They got lucky. But they won't get far. FROBISHER : We can't have witnesses. ‘Call me when you've got them. And make it quick ! Ends at his house, and as he hangs up... Knock on door. Freeze, then opens door. Mr Dekker. Peers past. Frobisher turns. Girls going past on the stairs. FROBISHER : Off to bed. Turns back to Dekker. DEKKER : I've got the translations. Nods and lets him in. INT NIGHT Frobisher's house, different room The two men sit at a table, fancier chairs, not the kitchen. Photo in a frame behind them. Pot plant in foreground. Formal domestic. Dekker gets a big set of papers out. DEKKER : Instructions. Specifications for something they want us to build. And we haven't got much time to do it in. Frobisher reads. Pages and pages of dense type, complicated stuff. FROBISHER : When they can communicate like this, in this kind of detail, why do the thing with the children ? DEKKER : Because they can. And because they want to scare us. EXT NIGHT Cardiff Millennium stadium Gwen pulls up, grabs the g*n, gets out. In the back the remaining ambulance guy, awake, hunts around for his syringe. Finds and conceals it. He’s sitting in front of a poster that says "NO EXCUSE". An ambulance crew is as*ault every day in London. Gwen gets to the back door and climbs in talking. GWEN : Who do you work for ? Silence. She points a g*n at his head. GWEN : Who do you work for ? AMBULANCE GUY : The NHS. Shift aim, f*re, aim for his eye, all in a single motion. GWEN : Who do you work for ?! You tried to k*ll me. My friends could be d*ad. So don't think I won't use this. AMBULANCE GUY : Government. I'm working for the government. I just follow orders, that's all. GWEN : We're on the same side. Puzzled Gwen, guy pounces, tries to get her with the syringe. Struggle ! Gwen sh**t him in the foot. AMBULANCE GUY : Aaaargh ! GWEN : Why would the government want to destroy Torchwood ? Why ? AMBULANCE GUY : I just do as I'm told. I'm just following orders, that's all. Sirens zoom past outside. RADIO : Please come in. Gwen looks at the radio, at the man. g*n pressed between his eyes. Then she turns and backs out the ambulance, keeps her g*n on him as she climbs down; he’s terrified. Gwen wipes the blood from her face and runs. EXT NIGHT Plas crater Many emergency vehicles there now, f*re trucks, ambulance. Lots of hi vis jackets. From ground level it’s still pretty impressive. Destruction. People running in with equipment. JOHNSON (OS) : Jackson, keep the police back. Johnson is openly in charge. PC Andy spots her giving orders. JOHNSON : You, come with me. PC ANDY : If she's anti-t*rror1st, I would not mind being Uncle t*rror1st. JOHNSON : Get some back up. Two escaped suspects. Ianto Jones, Gwen Cooper. Armed and dangerous. PC ANDY : I know Gwen Cooper. She's an ex-police officer, she's not a t*rror1st. JOHNSON : Haven't you got tape to tie ? PC ANDY : Fine, I'm just saying. You're barking up the wrong tree, that's all. JOHNSON : I want their homes raided. PC ANDY : Gwen Cooper is not a t*rror1st. JOHNSON : You must know where she lives. INT NIGHT Cooper-Williams's house Rhys is in bed snoring with a book on his chest. Gwen slams the door open, g*n in hand. RHYS : Yerh ! Noise of startle and jumping. Gwen gets the light on and moves while snapping orders. GWEN : Get up ! Now ! We've got to go ! RHYS : Bloody hell, Gwen ! GWEN : Get up, get dressed. We've to get out of here. RHYS : What's going on, man ? GWEN : Listen, someone is trying to k*ll me. And if they're after me, they're going to come after you. Now get up, and get dressed ! RHYS : What ? Naked Rhys is not swift but trying his best. Gwen is packing a backpack. She grabs a contact lens case off the bedside table, next to a white rose in a glass stand, sweet, and some other stuff. Rhys has his underpants on. GWEN : Faster Rhys, faster, faster ! Rhys has jeans on, and is going for shoes. RHYS : All right, all right. EXT NIGHT Cardiff road Black jeep travels, blue light and siren going. Andy is sitting in the middle of it. Four armed black clad soldiers around him, one hi vis police officer with sticky out ears stuck between. Johnson in the passenger seat. PC ANDY : Down to the bottom, take a left. (Pause of look around at the dodgy ops team). I mean, shouldn't there be some sort of briefing first ? Like a risk assessment ? Not that Gwen's a risk. INT NIGHT Cooper-Williams's house Gwen sorts things frantic. For a moment it looks like she’s desperate to stock up on booze for the journey. GWEN : Rhys, car keys ? He’s doing his trousers up. Speedy ! RHYS : Try the top of the fridge, I think. Gwen bangs on the wiggly glass partition between their bedroom and front room. Rhys is still mostly pink Rhys skin. GWEN : I've tried on the top of the bloody fridge, man ! Come on ! If you put the keys in the same place all the time we wouldn't have to go through this time and time again ! Gwen is putting all the urgency into it. Rhys trundles out still half naked, with his phone and his book in hand. GWEN : What are you doing ? RHYS : Packing. GWEN : You're not going to have time to read ! And they can trace us with that ! Throws book and phone over shoulder. RHYS : Well, I don’t know, I've not gone into hiding before have I ! EXT NIGHT Cardiff street phone box Ianto has found a phone box. EXT NIGHT Cardiff street with Jeep Sirens and lights and jeep driving. PC ANDY : So, er, you lot are some sort of specialists from London. Am I right ? I mean, I totally respect that. Really I do. But sometimes, there's no substitute for a little bit of local knowledge. And let me tell you, Gwen'll be absolutely no bother. (Pause of looking shifty eyes erk at all the w*apon). We're not going in there all g*n blazing, are we ? JOHNSON : How far is it ? PC ANDY : Two minutes. Everyone gets their g*n ready. Andy’s eyes could possibly get bigger if he got outside equipment. He sits very still. EXT NIGHT Cardiff street phone box IANTO : Come on, come on... Come on. INT NIGHT Cooper-Williams's house Gwen is at the window peering out. Phone rings. GWEN : No ! Rhys ! Rhys ! Rhys, still topless, answers the phone. RHYS : Hello. GWEN (hisses) : Jesus Christ, Rhys ! RHYS : It's Ianto, right ? Hands phone over. GWEN : Christ's sake, man ! (Takes phone) Ianto, are you OK ? EXT NIGHT Cardiff street phone box Alternates with Gwen’s location. IANTO : Yeah, have you heard from Jack ? GWEN : No. No I haven't. Sorry, hang on. (Tangled in unaccustomed phone wire). Do you think he survived ? IANTO : He usually does. Who was it ? Any idea ? GWEN : Yeah I had a run-in with one of them. Said he was working for the government. IANTO : That doesn't make sense. GWEN : How did they get close enough to plant it inside him, Ianto ? IANTO : It was him, that Dr Rupesh guy. He was sh*t and k*lled in the hospital earlier tonight. It must've been then. Rhys has found the keys, they’re in the sofa. And he’s even dressed. RHYS : Let's go. GWEN : Yeah (Snaps fingers) Take the bag. Get the car ready. Rhys runs out. GWEN : Er, where shall we meet, Ianto ? IANTO : Your phone could be bugged. EXT NIGHT Outside Cooper-Williams's house Rhys runs for car. Alternates now with phone conversation. GWEN : Erm, right... Er... Rhys in the drivers seat, bag in the back seat. GWEN : Remember the last time we had ice cream together ? IANTO : No. GWEN : Yeah, you do. After the Grand Slam. IANTO : I don't like ice cream. It gives me a headache. Gwen sees out window. Car horn. GWEN : I've got to go. She runs. Rhys sees the jeep out the back window and keeps leaning on the horn. RHYS : Gwen ! Car full of soldiers and Andy. Street full of Gwen, she takes aim. Passengers duck as she fires precisely four times. Gwen dives into the car. PC Andy is really not amused. GWEN : Go ! Rhys does dramatic escape driving with tyre screech. Andy in the car is still sort of ducked. JOHNSON : Now do you believe she's a t*rror1st ? Jeep rolls forward... ka clunk, ka clunk... flat tyres all round. PC ANDY : She sh*t the wheels. What kind of t*rror1st sh**t your wheels ? JOHNSON : A clever one. EXT NIGHT Cardiff somewhere else There’s something a bit industrial at the end of the street and possibly houses all around. Rhys drives up and pulls up. RHYS : Right. I think...we made it. GWEN (out the car like a bunny) : Let's go. RHYS : Where ? Still fumbling his belt. Gwen with her g*n out moving quickly, gets the backpack from the back. RHYS : Can't we just take a minute ? Just to... GWEN : Number plate recognition. They can trace us. We need to ditch it. RHYS : It's a brand new car Gwen ! GWEN : It's no good to us now, OK ? We need to keep moving. RHYS : Well Wouldn't it be better if we gave ourselves up ? You know, like, tell somebody what happened. GWEN : When I know what's happened, I'll tell someone. Until then, we're going underground. RHYS : Well Let me carry the bag. GWEN : Huh ? RHYS : You want your trigger finger free, don't you ? Bag and a quick smooch, g*n still in hand. INT NIGHT Davies's house Soldiers bash the door open. Rhi is almost down the stairs, stops and yelps when the g*n men come in. SOLDIERS : We're looking for Ianto Jones. Men both ways from the front door, g*n up and ready, torches the only light. Upstairs, breaking into Mica’s room, make her scream, all tiny in her pink bed. SOLDIERS : Don't move ! Don't move ! Kick the door in on the master bedroom, rush in, pull the blankets back. SOLDIER : We're looking for Ianto Jones. JOHNNY (naked in the bed) Well, you won't find him in my bed, will you ?! I'm a married man. EXT NIGHT Cardiff street near clock Ianto, dusty suit and smudges, walks along an old street. He looks around behind at shadowy figures walking away. Clock behind him says 3:10. Mysterious ominous van trundles along street slowly behind him. Pulls up. He turns, looks... It’s delivering a stack of newspapers. He runs a hand through his hair and turns away, stays like that til the lights pass, then jogs back to grab the news. Newspaper "Sun and raincloud pic. Max 21C, min 8C. Wednesday September 2009 timesonline.co.uk No. 69400 Message to the World : “We are coming”. Big pic of seaside and British flag". Ianto looks around and walks away. EXT DAY London. View from sky again EXT DAY Frobisher's house It’s big, detached, really impressive doorway, all yellows and green grass with topiary box hedges. INT DAY Frobisher's house Nice bright yellow kitchen, green school uniform. Frobisher walks in, sees his kids at breakfast eating cereal... from Tupperware not boxes... and looks sort of. LILLY : What ? FROBISHER : Keep your phones on today. LILLY : Why ? FROBISHER : I want to be able to speak to you. HOLLY : Since when ? LILLY : Since we were possessed by the Devil. FROBISHER : I'm serious. HOLLY : If they go off during a lesson, we can't get them back till friday. FROBISHER : Keep them on mute. Frobisher walks out. Anna, who has been having a conversation with frown face throughout, follows him. ANNA : Every suspicious phone call, every mystery meeting, every time you come home late, you hide behind the Official Secrets Act. And I put up with it. FROBISHER : Don't start on this. Not now. ANNA : I accept it. But this is different. When it affects my kids, in my house. FROBISHER : There is nothing to worry about. ANNA : I saw how scared you were last night. FROBISHER : I know. It's frightening to see it first hand, there's no lasting damage. It's quickly over. ANNA : This isn't a hula hoop craze. It happened to Brian and Wendy's kids and they live in Canada. You don't think this is over any more than I do. FROBISHER : Just make sure they keep their phones on. (Whispers) And don't let them come home on their own. Leaves, past Anna, back to kitchen. FROBISHER : I'm off now, girls. I'll see you. LILLY : Goodbye kisses, it must be serious. FROBISHER : If you could get out of bed at a proper time, you'd get plenty of kisses. (Kisses wife too) Have a good day. LILLY : Dad ? FROBISHER : What ? HOLLY / LILLY : We want a pony. We want a pony. We want a pony. FROBISHER : See ? Nothing to worry about. EXT DAY Frobisher's house Black car BP08 XGF pulls out of the driveway. Frobisher off to work. EXT DAY A street somewhere Clement, in his cardigan, wandering down the street, behind parked cars. Shifty eyes, staring at everyone who goes past him. Gets a newspaper. DAILY VOICE : In your free Daily Newspaper Today : Where to go, What to do, Sports Action. We are coming back. A whole bunch of stuff might be readable off a HD screencap. But it doesn’t linger, it’s just for the headlines. Clem looks up at the sky, whimpers, and hurries off. INT DAY Carter's house In the kitchen, Steven at the centre island, Alice behind him folding laundry. TV : Latest headlines. Further reports are coming in about the expl*si*n in Cardiff last night. No organisation has yet claimed responsibility for the expl*si*n, which went off in the Bay area of the city. So far casualties are said to be low. STEVEN : Isn't that where uncle Jack lives ? ALICE : It's a big place Cardiff. Shh ! TV : With only two people reported missing. Although seventeen people from... INT DAY Desks outside Frobisher’s office Lois walks in, new outfit for a new work day. There’s a big Confidential sign on one of the filing cabinets and another one says HI. Waves back at the people who make sets. TV : Residents in Cardiff are reacting with shock and outrage. The entire bay area... LOIS : Morning. Lois stares at the TV monitor a while. Ambulance, f*re engine, people in hi vis uniforms, and people climbing on rubble. Then Lois goes to her desk. TV: ...has been closed off and witnesses say the effects of the expl*si*n last night could be felt five miles away. No-one can say for sure why this area was the site of such an unexpected att*ck, and the Prime Minister's office has refused to speculate until more details are known. Fortunately, the timing of the device last night meant very few people were around... TV fades under the music while Loïs gets her coat off, blue jumper today, and gets to work. The post-it of security fail is probably not necessary any more since she has a memory. So now she’s logged in as Bridget Spears and looked up Torchwood again. Classified Information : Authorised Personnel Only. Log in ID : Bridget Spears. "Torchwood Organisation. History. Archive. Personnel : Case Files organisation originally established at the MacLeish Estate in Aberdeenshire some 130 years ago, the organisation has since found homes in Glasgow, London and Cardiff although Torchwood 2 in Glasgow is thought to have disbanded and Torchwood 1 in London is now defunct following the Battle of Canary Wharf, during which the base was subject to an alien confrontation in which most of its agents perished. Torchwood 3, located in Cardiff Bay is thought to be the last operational Torchwood post although there are still some private acquisitions which Queen Victoria herself made that are unbeknownst to us." Picture : Very distinctive building, big porch and lots of steps. Lois looks at TV. Shock : very distinctive building, big porch and all. Cardiff Bay devastated by b*mb. Police seal off area. BBC NEWS : Are evacuating residents within a two mile radius of Cardiff Bay as... Lois can add that together. Bridget Spears, in Frobisher’s office, hangs up the phone and comes out. Lois has mastered the art of the leisurely window change. She clicks. We see her screen briefly : "File//Torchwood>>092977. File//Torchwood>>092972. File//Torchwood>>092969. File//Torchwood>>092965. File//Torchwood>>092944." And many others flicking past fast on a countdown, file numbers longer and cut off by screen edge. Lois looks up something with Jack’s picture, and then we see again "Order to k*ll". "Personnel Active. Captain Jack Harkness. Position : Captain Jack Harkness is the Torchwood responsible for the organ. (?) Biography : File//Torchwood : Captain. Ianto Jones. Position : Senior Torchwood operative". "Order to k*ll : Colonel Michael Sanders (ret). Ellen Hunt. Captain Andrew Staines. Captain Jack Harkness (active)." That’s the image as Frobisher starts to speak. FROBISHER (VO) : As you know, Harkness is a difficult man to k*ll. INT DAY Prime Minister’s Office Close up on Frobisher. FROBISHER : Current theories suggest that his longevity is connected in some way to the Torchwood Hub. Which necessitated taking out the entire operation. PRIME MINISTER : He can't still be alive, after that. FROBISHER : As I said, awaiting results. PRIME MINISTER : What about these, er... these specifications ? From the 456 ? I could barely understand a word of them. FROBISHER : Nor me. But I'm told the translations are excellent. And they've started work. Dekker's called in the damage control team, they're working as fast as they can. Early reports are looking, well, lets say promising. PRIME MINISTER : Can we see it ? FROBISHER : They'll be ready to show us work in progress by 1600 hours. PRIME MINISTER : We're building something and we don't even know what it is. FROBISHER : Can I ask ? Did the 456 contact any other country ? PRIME MINISTER : Intel's been listening. No chatter on the wires. Seems like it's only Britain. FROBISHER : And how long can we keep it secret ? Given the children's last statement, "We are coming back". That's what everyone seems to be asking? when were they here before ? PRIME MINISTER : Yes. Well, if that's everything... FROBISHER : Sir. (Rises, walks two steps, stops and turns). Sir, I'd just, um... I just um wanted to say how... grateful I am, sir. PRIME MINISTER : What for ? FROBISHER : Well. I know that I'm something of a middleman in these affairs, but um... I just wanted to thank you, for trusting me with the responsibility. PRIME MINISTER : All I've done is put you on the front line. That's what the front line's for, John. First to fall. FROBISHER: Yes, sir. Yes, sir. Frobisher exits through office door, hesitates, looks back, goes. Door close behind him. Prime Minister never looks up. EXT DAY Wreckage and f*re at the Plas Close up on rubble and flames. Daylight but still burning. EMERGENCY WORKER : Come on, check the gas is turned off. A man in a dark red uniform with hi vis stripes, wearing a yellow helmet, is being lowered into the crater, past girders and towards flames. Above, Johnson looks down past more rubble, similar uniformed emergency workers around her, recognisable bits of landmarks behind her. Wrecked metal frames in the half circle fountain shape lie next to a patch of f*re. Emergency workers are down there now. There’s job chatter happening. EMERGENCY WORKER 1 : Get some breathing equipment down here. EMERGENCY WORKER 2 : Hang on ! Stop ! I've got something ! A human hand sticks out of the rubble. Mud and blood but in the pink. Left hand, left wrist, no strap. EMERGENCY WORKER : Hello ? If you can hear me, clench your hand. Pause, looking. EMERGENCY WORKER : It's not a body. It's just the arm. Johnson does satisfied head tilt back. INT DAY Carter's house Close up on phone. Purple phone and purple nail varnish. Names I-L selected : Jack. 0770900578. Alice, all color coordinated and purple today, uses her cellphone to call Jack, with worried finger not quite biting going on. EXT DAY Wreckage Plas We see the emergency workers and f*re while we hear the phone ring. Johnson presides over it all, striding around casually. ANSWER PHONE : This is Jack Harkness. Leave a message and I'll get back to you. INT DAY Carter's house Alice through stair bars, fingers on mouth of worried. ALICE : It's me. Call me. When you get a chance. Her voice is only a little worried. Her curl up and lean on fist is a lot worried. Long sh*t of her sitting small half way up the stairs like that. STEVEN (OS) : Mum, there's no toothpaste. Up and back to the grown up job then. INT DAY Desks outside Frobisher’s office Lois hides the Torchwood files again as the door opens. Looking shifty and a bit worried there. BRIDGET : Everything OK ? LOIS : Yeah. They're expecting us, the car's waiting. BRIDGET : Well, come on then. Lois gets up. Frobisher walks past, busy. His phone rings. FROBISHER : Hello ? JOHNSON : We thought there was a body, but we've got an arm, a shoulder and the remains of a head. It's almost a waste of a body bag. She’s still with the emergency crews. The body bag, curled up with just a couple of lumps in the top, is carried past on a stretcher. FROBISHER : Is it Harkness ? In the office Lois looks up at that name. JOHNSON : Presumably. FROBISHER : Take him to Ashton Down. Keep him under surveillance. He walks off and pockets the phone. Lois hurries after, into the corridors. LOIS : Sorry, sir, I couldn't help hearing. That name. Harkness. Is that Captain Jack Harkness ? From Torchwood ? Only he was trying to contact you yesterday. I did mark it in the log. Said he could help. FROBISHER : Not now, he can't. LOIS : Are you sure ? He was very insistent. He told me his team were the experts at dealing with things like the children thing. FROBISHER : He told you that ? Over the phone ? LOIS : Yes. BRIDGET : He always was an arrogant sod. LOIS : So, he can't help ? He's not really the expert ? FROBISHER : That b*mb in Cardiff last night. He was the one at the centre of it. It tore him to shreds. Frobisher walks off. Lois talks to Bridget. LOIS : Does that mean whoever's behind the b*mb's behind the children thing ? Like they wanted him out of the way or something ? BRIDGET : Lois, your job, you don't overhear phone calls. You speak when you're spoken to. OK ? LOIS : Sorry. EXT DAY Wreckage Plas Emergency workers with their sad bundle of body bag. Johnson looking serious. Camera changes focus to Ianto on the roof behind them, watching it all. Balls of steel, dude. Ianto is worried. Body bag is loaded into the back of a black van. Doors slam. "Private ambulance. Please leave a minimum of 3m/10ft clearance at rear of vehicle for stretcher access. NK03 0XR". He writes the car number plate on the back of his hand. Then he leaves the roof. Johnson is still looking tough. And oblivious. EXT DAY Davies's house Kid on a bike with a hi vis satchel, newspaper delivery boy, pedals slowly up hill and goes up to the Davies’ door. Car in the foreground shows fuzzy people in the mirrors. Johnny is fixing his door. In the car one black man has a camera, snaps Johnny and the delivery, while a white man sits and watches in the passenger seat. JOHNNY : Thanks, mate. PAPERBOY : There you go. Click goes the camera. Johnny sees them, makes a face like he’s starting to say a rude word, turns and goes back in. Black car just keeps sitting there. INT DAY Davies's house Johnny slams the front door and starts reading the paper. As it unfolds, something falls out. Johnny bends to pick it up as his kid David comes down stairs. Johnny looks puzzled, David goes up close and takes a look. DAVID : It'll be from uncle Ianto. Ssh ! We're probably bugged. EXT DAY Surveillance car White bloke, no camera, has an earpiece. He is getting an earful. INT DAY Davies's house In the kitchen, Rhiannon has the letter, Johnny is ranting loudly at the ceiling. JOHNNY : Innocent kids, fast asleep at home, and a g*ng of uniformed thugs break in and point g*n at their head ? It's no wonder they're traumatised. It's no wonder our poor David pissed the bed. DAVID : I didn't. MICA : Ha, you big baby ! JOHNNY : It's the police state to blame, and I'm going to rinse the bastards for every penny they've got ! RHIANNON : Oh, shut up, Johnny ! Rhiannon rushes out. Silent staring reaction. David shrugs and goes back to his computer game. INT DAY Davies's house main bedroom Rhiannon gnaws on a thumbnail and reads the card. « Where dad broke my leg, at noon. Bring laptop, I. ». Johnny comes in and sits next to her. RHIANNON : What's he done ? Why's he bringing it to our door ? JOHNNY : Hey, hey. We're the only family he's got. Forehead touching hugs. EXT DAY Some buildings with lots of empty around them. Ashton Down From the air again. INT DAY Ashton Down corridor of cells Johnson waits in front of an open cell, standing straight with hands behind back. Soldiers wheel in the bits in a bodybag. JOHNSON : Put it in here. Though the bag is unrolled now there’s still only Stuff in one end of it. Two of them carry it very easily. Johnson watches. INT DAY Carter's house Alice tries the phone again. INT DAY Ashton Down corridor of cells Johnson stares looking impassive. EXT DAY Cardiff cashpoint Rhys and Gwen at a green cashpoint. Gwen has the bag. Rhys is trying to work the money machine. The cashpoint has one of those eyes in a circle "Who’s looking over you" signs meant to make you not give your pin away. INT DAY Ashton Control Computer screens zoom in and the operative gets a good look. Location with a big red blip. EXT DAY Cardiff cashpoint RHYS : Come on, come on ! Gwen watches a CCTV camera swinging round towards them. INT DAY Ashton Control But the camera they have to worry about is in the machine, looking up at Rhys. His name comes up, and a wiggle looks like a voice match. EXT DAY Cardiff cashpoint RHYS : No. They've frozen mine, as well ! GWEN : Shit ! RHYS : What now ? How're we going to manage without money, Gwen ? GWEN : We need to get to London. RHYS : London ? Everything's dearer in London ! GWEN : That's where all the decisions are made. Whoever wants us d*ad, that's where they'll be. RHYS : Right. So where we should be is John O'Groats ! GWEN : I need to speak to people, but I haven't got anybody's numbers any more. So we've got to go there, OK ? We’ve got to go. These things are all linked up. Soon as you put your card in, bells start ringing somewhere. Come on. EXT DAY London roundabout with the building with the columns in the front INT DAY Thames House Lobby, stairwell, Frobisher and Bridget lead, Lois follows. Behind them there’s a metal desk, barriers before you can get in, and armed police at the barriers. INT DAY Ashton Down A bloke in a beret is staring at monitors, hands behind head. Obviously taking it seriously. Johnson walks up on him. JOHNSON : Any change ? BERET : No. Complete waste of time. The body next door, Rupesh Patanjali, London wants to know if it's OK to release him to the family. But Johnson is staring at the screens with her mouth a bit open. CCTV images on a 4 way split. CD02 and CD04 on the left are the familiar corridor, RM06 and RM03 on the right have body bags. One of these is still and full as expected. The other... In RM03 the body bag is filling out. Beret bloke straightens up, shocked. Zoom in on RM03. That’s movement. INT DAY RM03 In the cell it’s even more noticeable. The bag of bits is now a bag of moving bits. INT DAY Ashton Down Corridor Beret and Johnson, feet hurrying... hurry to the cell, Beret getting his keys out. He’s also got a big g*n. Unlock the door, open the cell, both go in. INT DAY RM03 Johnson looks at the bag. JOHNSON : Zip it open. Beret looks erk at it, but does so. Zip and from the dark bag... Skeleton with nose and eyes... They peel the bag back and very briefly we see a really nasty anatomically incomplete but sticky red skeleton. Beret bloke thinks it’s gross too. Johnson does deep breath as she starts talking. JOHNSON : It was a bag of bits when it came in. And I asked you to keep an eye on it. Get it out of that thing and cuff it to the wall. She turns and leaves less composed than she’s been thus far, bit of a stumble on her, trying to get something out her pocket. Beret bloke really clearly doesn’t like this idea any more than I would, arm over mouth of about to puke... but he starts unzipping it. There’s a big ring and chains right convenient for the job. INT DAY Ashton Down Corridor Johnson has her phone out. EXT DAY Thames House with the columns INT DAY Thames House in the lift 13 floors outlined in red ding past slowly. Bridget, Lois and Frobisher inside. Frobisher answers his phone. Conversation alternates locations. FROBISHER : Hello. JOHNSON : The good news is, we don't have to wait for the DNA tests. This is definitely Jack Harkness. FROBISHER : And what's the bad news ? JOHNSON : His Lazarus qualities remain undiminished. FROBISHER : Jesus Christ ! JOHNSON : If he can survive that, what can't he survive ? Lift arrives. INT DAY Thames House corridor on 13 Frobisher, Bridget, Lois, exit the lift. Dekker hands Frobisher a hard hat. Two men with big g*n guard the lift. FROBISHER : I haven't got time to worry about this, Johnson. I've got more important things in my in-tray. What about Cooper and Jones ? JOHNSON : No sign of him yet.’We've had a sighting of her at a Cardiff ATM. FROBISHER : We need that whole team out of the way by tonight. Get it done. Listening Lois watches as they all walk. They arrive at a plastic sheeted doorway. Dekker puts his hard hat on, Frobisher following. BRIDGET (to Lois) : Wait out here. Bridget has a hat too. Lois does not. And one of the men with the big g*n on this doorway heard her being told to wait. Lois waits. And peers through. Inside, construction is happening, with welding and flashing lights. EXT DAY Cardiff lorry stop Rhys is undoing what turns out to be the side fastenings on a big red soft side lorry. RHYS : Now me, I use an electronic seal, see. Even the driver doesn't know the code. So No-one gets in until it reaches it's destination. But this clown... Gwen is on lookout, staring at a food place opposite. GWEN : You Sure he's going to London ? RHYS : I don't question how you defend the world against extra terrestrial infiltration. Don't you question my knowledge of the haulage industry right. GWEN : Sorry. RHYS : It's a small company, Gwen. Cardiff to London. Piss poor security. And best of all, guaranteed food cargo. I'm absolutely bloody starving. Rhys gets it open enough and Gwen climbs up under the edge. RHYS : The smell from Tony's is driving me crackers. Rhys follows her in. INT DAY Lorry Gwen and Rhys clamber in, Warfdale Produce bags all over the place. GWEN : There is food. I can't fault you on that. I've got the smell of bacon in my nostrils, and I'm looking at a lorry-load of raw spuds. EXT DAY Lorry stop A bloke comes over to the lorry. RHYS : It mightn’t only be spuds. There might be other things at the back. INT DAY Lorry Rhys helps Gwen climb up on the potato stacks. They slide in on top back into the lorry. RHYS : Come on. EXT DAY Lorry stop Driver reaches the lorry, sees the loose straps, looks in. Nope, only potato here, nothing to see. He ducks his head out again. INT DAY Lorry Sighs of relief. RHYS : Have you got your pen Kn*fe ? GWEN : Rhys, you are not eating uncooked potatoes ! RHYS : We'll need it to cut our way out. Lorry starts up with horrible screechy sounds, jolts Gwen and Rhys around. EXT DAY Lorry stop Lorry drives off. EXT DAY Davies's house, surveillance car Johnny leads a delegation, mostly young male, mostly in hoodies, a little kid in pink at the back. Surveillance car people look nervous. Car is surrounded. Johnny leans to talk in the window, half down and rain covered. JOHNNY : What kind of snoops are you ? Dibble or dole ? SURVEILLANCE DUDE : Dunno what you're talking about. JOHNNY : Aha so you're perverts, then ? Rhiannon sneaks out the Davies's house, laptop under one arm. SURVEILLANCE DUDE : Dunno what you're talking about. JOHNNY : Is it you making them do all the weird talking shit ? Everyone look, a couple of paedos on the estate ! Get em ! The whole crowd surrounding the car join in bouncing the thing around, thumping into it, yelling. More adults join them, wave hands of bugger off at it. Behind that Rhiannon gets in the car. Surveillance dude with the earpiece talks into his wrist, presumably going "aagh aagh bloody kids". Crowd continues annoyed. Surveillance guys worried now. Rhiannon drives off. INT DAY Ashton Down Beret bloke at his desk talking to Johnson standing over him. MALE VOICE (OS) : Charlie Uniform Five. FEMALE VOICE (OS) : We have observations in place. Same split on the monitors, Ashton Down Block 003 Security Facilities 002010-AD809 CD02, CD04, RM06, RM03. RM03 has now not a skeleton but a recognisable human. Bloody and missing bits but mostly there. Its head moves. Johnson leans in to stare at the screen. INT DAY RM03 Bright red burn covered body shifts, breathes, and screams. INT DAY Ashton Down CCTV watches. He’s thrashing now, pulling against the chains, and still screaming. Johnson and Beret looking shocked. BERET : He'd have been better off staying d*ad. INT DAY RM03 One close-up of burnt face, screaming, and very white teeth the only parts looking right. EXT DAY Road Red sides lorry driving. CN51 ZHP. INT DAY Lorry Gwen and Rhys both lie on their fronts on the top level. Gwen has her chin propped in both hands. Rhys has his arms crossed. RHYS : Oh, God, this is uncomfortable. Bloody t*rture, man ! He moves some potatoes. His wedding ring is visible. Close up on Gwen and her wedding and engagement rings are showing too. RHYS : How are you, love ? GWEN : My best friend's belly had a b*mb go off in it last night. Someone's been trying to k*ll us ever since. I'm travelling at 70 miles an hour on top of a bed of potatoes, and I think I'm going to be sick. RHYS : Travel sick, is it ? GWEN : When have you ever known me to be travel sick ? RHYS : Well, when have you ever travelled like this ? On an empty stomach. Gwen has a secret grin at that. Gwen has a secret and it’s a happy grin. RHYS : What ? What ? GWEN : You know some announcements, you... rehearse in your head ? RHYS : Hm. GWEN : Yeah. And this wasn't... quite what I had in mind. RHYS : What do you mean, announcements ? Gwen has happy big eyes, bites lip, looks sideways at him. They have a little conversation in expressions. She grins. RHYS : Oh, God, no ! GWEN : Yes. RHYS : Bloody hell, no ! GWEN : Yes. RHYS : Oh, come here. Oh, my God ! I don't believe it. Grins and back patting. RHYS : Hang on... The b*mb, the g*n, the car-chase, The hiding from the law. God ! What am I like ? Letting you do all that in your condition ! GWEN : Well You carried my bag. RHYS : I'm serious. This changes everything. GWEN : No No, it doesn't. We're up the same creek, and we still need a paddle. RHYS : Yeah, but three of us in the boat. EXT DAY Road Lorry zooms past and honks. EXT DAY Park bench and playground Rhiannon, with closed laptop, sits at the park bench and taps on the sides of the computer. Kids play on the playground. Ianto walks up quickly to the park bench, looking around everywhere, checking. IANTO : Hey. RHIANNON : Oh, my God ! What happened to you ? IANTO : I'm not sure yet. RHIANNON : I wasn't followed. Sit down. IANTO : You worked out my little code, then ? RHIANNON : Dad didn't break your leg on purpose, you know. IANTO : He pushed me too hard. He always did. RHIANNON : Well, you should've held on tighter. Seriously. How did you get in that state ? IANTO : That b*mb. It was meant for me and the people I work with. RHIANNON : My God ! Why ? IANTO : I don't know. RHIANNON : What sort of civil servants are you ? IANTO : Unappreciated ones. RHIANNON : Are they OK ? The people you work with ? IANTO : I don't know. Gwen's alive, but there’s no way of contacting her. I'm not sure about Jack. RHIANNON : Is he your boss ? The one Susan saw you with ? IANTO : He'll be OK. They won't get rid of him that easy. I just need to find him. He looks around, still keeping an eye out. Rhiannon looks straight ahead and says nothing. Sudden silence. Kids on the playground are staring straight ahead. EXT DAY Red blazer school Kids in uniform same as Steven’s stand and stare. Church building in the background and great big houses. Orange leaves fallen off trees in drifts against the square wire mesh. Kids inside the cage-like. A ball bounces abandoned. EXT DAY Blue jumper school David and Mica’s uniform, green trees, tower blocks. Kids standing still and staring. INT DAY Lorry Now Gwen is leaning on Rhys’ middle. Bet that’s a squishy comfy pillow. RHYS : If it's a boy, Edward. GWEN : Edward ? RHYS : Yeah. After the king. Potato. King Edward is a variety. Lorry brakes sharply. Brake squeal horns honk. EXT DAY Road Red lorry visible through bike spokes. Kid in the foreground, stock still, middle of the road. DRIVER : Come on ! Out of the way ! Come on ! Little convoy of kids, standing still. Cars stopped around them. EXT DAY Red blazer school Steven stands and stares. EXT DAY Park with bench Ianto gets up, can see what’s going on. Staring. EXT DAY Blue jumper school Still kids, moving teacher. CHILDREN : We are coming tomorrow. EXT DAY Red blazer school CHILDREN : We are coming tomorrow. STEVEN / CHILDREN : We are coming tomorrow. Computer screen : Government Information Network. Classified Information : Authorised Personnel Only. Log in ID : Bridget Spears. News Wire. Urgent Breaking News. Children speaking in unison : urgent. Terror Alert : Severe Specific. Emergencies Services on standby. Risk group : children. New message across UK : “We are coming tomorrow”.Urgent Breaking News. Cardiff Bay b*mb. Casualties are low as rescue workers continue to search the wreckage. As yet no group has come forward to take responsibility. £220 million pound overspend. The national Audit Office report on the Department of Transport IT overspend criticises tendering process and... BRIDGET (OS) : OK, I'll tell him. INT DAY Desks and Frobisher’s office Bridget puts phone down and goes in to Frobisher’s office. BRIDGET : It's happened again. FROBISHER : Shit. (Grabs phone) What did they say ? BRIDGET : "We are coming tomorrow". He speed dials. Lois, on the phone, watches through the window. EXT DAY Blue jumper playground MICA / CHILDREN : We are coming tomorrow. We are coming... INT DAY Pub Clem is standing at the bar in a pub. CLEM : ...Tomorrow. We are coming tomorrow... Lady behind bar and other bloke look at each other and shake heads. EXT DAY Park bench playground Kids Ianto can see, chanting. CHILDREN : We are coming tomorrow. We are coming tomorrow. IANTO : This has something to do with it. It must do. When they tried to blow us up, this is what we were working on. CHILDREN : We are coming tomorrow. EXT DAY Blue jumper school Still chanting... and kids back to playing. Run and jump and laugh. And in playground. And in red blazer school. INT DAY Pub Clem puzzled. CLEM : Tomorrow ? BARLADY : Over and over again. CLEM : Are you sure ? BARLADY : Positive. Upset sniffing Clem. CLEM : Can you smell that ? EXT DAY Pub Hereford Arms. Clem runs into the street and shouts. CLEM : They're coming ! I can smell them. They're coming ! Tomorrow, and they'll be here. He sniffs, he shouts, people walk past giving him the sideways stare. EXT DAY Park bench and playground Ianto runs in to the kids area to try and talk to a kid. IANTO : Hey, hey, hello. What did it feel like ? Just then ? MOTHER 3 : Leave her alone ! Go away ! RHIANNON : They said the same thing here. MOTHER 3 : Leave her alone. Piss off, you perv ! RHIANNON : Yeah, OK, bye. It happened to David and Mica. What is it ? What is it ? IANTO : I don't know. But this is what we do. We deal with things like this. RHIANNON : So deal with it. Stop it. IANTO : I need to find Jack. Give me that. Takes laptop. RHIANNON : How will this help ? IANTO : I took the number of the van they put him in. You can track any vehicle with the right computer programmes. RHIANNON : Really ? IANTO : Yeah. Give me the car keys. RHIANNON : Oh, Johnny'll do his nut ! IANTO : Please ! We don't have time to spare. Takes keys and jogs off. Rhiannon chases. RHIANNON : A "thank you" would be nice ! IANTO : Look, I'm sorry. I've got to go. Thanks for all this. Gets into car. RHIANNON : Be careful ! Ianto screeches away. P149 YWN. EXT DAY London opposite the Eye again Sky eyes see. LOIS (OS) : Hold the line, please. BRIDGET (OS) : Hello, I'll put you on hold if that's all right. Mr Frobisher will be back in a moment. INT DAY Frobisher's office desks LOIS : I'll have to put you on hold... Hello ? TV : “We are coming tomorrow”, repeated in total 38 times. LOIS : I’m Sorry, it's a bit chaotic here at the moment with the children thing... TV : Reports from all around the world confirm that every single child said the same thing. LOIS : Can you spell that please ? Give me the name and I'll look into it, and get back to you now. FROBISHER (to Bridget) : Get my daughters on the phone. Ring the school office if you have to. Drag them out of their lessons. I want to speak to them. Then get me the Prime Minister. LOIS : There's a call waiting, sir. FROBISHER : Take a message ! LOIS : It's the Home Secretary. And your wife wants you to call her. FROBISHER : OK. LOIS : Hello. John Frobisher's office. EXT DAY London street Gwen in a phone box. One of the old fashioned red ones. Conversation alternates locations. GWEN : Can I speak to Mr Frobisher, please ? LOIS : He's not available at the moment. Can I take a message ? GWEN : It's Gwen Cooper from Torchwood. I need to see him urgently. Can you set up a meeting ? "Personnel : Gwen Cooper. Status : Active. Date of Birth : 16/08/1978. Height : 5’8”. Hair Colour : Brown. Eye Colour : Green. Last Known Address : 138b Pentre Ro. Next of Kin : Rhys Williams, Husband. Position : Senior Torchwood operative. Expert. Former Police Officer. Has stron Force and an excellent understanding of." LOIS : Erm... I'm not sure. GWEN : Just put me straight through, then. LOIS : He's very busy. GWEN : Yeah, he would be ! Who is this ? LOIS : Lois. Lois Habiba. GWEN : What happened to Bridget Spears ? LOIS : She's on another line. GWEN : Do you know what Torchwood is, Lois ? LOIS : Yes. GWEN : Then you should know that right now you lot need us. The whole world needs us. We can help. But someone's trying to k*ll us. Someone who claims to be working for the government. LOIS : Why would the government want to k*ll people who can help ? EXT DAY London street In view of houses of parliament, two red phone boxes showing with a distinct Crown mark on top and some landmark in the back. Rhys is looking around and carrying a backpack. Still alternates. GWEN : Exactly, that’s what I have to find out. That's why I need to see him ! Look, I know all this sounds mad, but you have to believe me. INT DAY Frobisher’s office desks LOIS : I do. I do believe you. Frobisher opens the door to talk to her and Lois quickly flips windows and voice tones. LOIS : Hold the line, please. FROBISHER : Call my wife. I'm in a meeting with the Prime Minister. I'll ring as soon as I can. BRIDGET : I'm putting the school through. FROBISHER : Ah ! EXT DAY London Gwen not best pleased. GWEN : If you're tracing this call... LOIS : I'm not. GWEN : So you can set up a meeting, then ? INT DAY Frobisher's office Lois stares. Frobisher is on the phone. FROBISHER : Lilly, is Holly there ? They're both all right ? Are you sure ? LOIS (to Gwen) : Yes. Gwen does fist of yaay to Rhys and then open hand of wait. Bridget walks in to Frobisher’s office. BRIDGET : The Prime Minister's on his way. He'll be there in ten minutes. FROBISHER : OK, thanks. Ring ahead, let them know we're coming. BRIDGET : Right. FROBISHER : Simon, we're going back to Thames House. Lois, left at her desk, bites a thumbnail and worries. INT DAY Café Christmassy lights in the window, nice chairs, some squishy armchairs, ketchup and HP in their bottles on the table. Gwen has the chair with the view of the door. Rhys twitches to look over his shoulder when the door opens. Just some balding bloke. Back to talking to Gwen. RHYS : Can we trust this guy ? GWEN : He's our man in the government. If we can't, we really are in trouble. RHYS : Gwen, we really are in trouble ! GWEN : Yeah we've got to trust someone, Rhys, OK ? Lois walks in. Gwen looks out from under her fringe. Lois walks over. LOIS : Hi. I'm Lois. GWEN : Where's Frobisher ? LOIS : He's not coming. GWEN : Why not ? LOIS : Oh, God, this is probably the worst mistake of my life. I've read your files. Some of the stuff you've done, you're like unsung national heroes. GWEN : Listen, I don't do autographs and I don't want to be rude, but why am I talking to you and not your boss ? LOIS : Because if he knew you were here you'd be d*ad. He gave the order to have Jack Harkness k*lled. GWEN : Are you sure ? LOIS : I've seen it with my own eyes. RHYS : We really are in trouble. LOIS : Do you know a Captain Andrew Staines ? GWEN : No. LOIS : A Colonel Michael Sanders ? Ellen Hunt ? GWEN : No. LOIS : They're all d*ad. They were k*lled on the same day as Jack Harkness. I didn't sign the Official Secrets Act to cover up m*rder. But then, I didn't take the job to commit treason on my second day. What am I doing here ? GWEN : You tell me, Lois. LOIS : If you're the bad guys, why doesn't it say that on your file ? And if you're the good guys, who am I working for, and why do they want you d*ad ? RHYS : Listen, this a lot to talk about. And we're going to arouse suspicion. And we haven't ordered. When we went on the run, we didn't have any money, see ? We put the last of the coins into the phone box to get through to you. So If there's any chance you could, er... Gwen looks just short of facepalm. Lois looks a bit put out. But she pulls out money. Purple note money, lots. RHYS : Thank you. Oh, great. Thanks. That's magic. GWEN : I'll have steak pie and chips. And a cup of tea. LOIS : Just a latte for me. RHYS : OK, I won't be a sec. I'll leave you to it. GWEN : Thanks, we owe you one. A big one. LOIS : Everyone in the office seems to think what's happening with the kids is all to do with aliens. And that they'll be here tomorrow. And there's something big being built on the top floor of the MI5 building. GWEN : OK, what do you mean something ? LOIS : I don't know. But it's like they're getting ready. And if you lot... Torchwood... if you're the alien experts, and they really are coming tomorrow, why does Mr Frobisher want you out of the way all of a sudden ? GWEN : I've no idea. But I'm going to find out. Can you tell me anything about Jack Harkness ? Or Ianto Jones ? LOIS : Jones is missing. I've been told Captain Harkness is d*ad. GWEN : Well, that can't be true. LOIS : Well, that's what I thought. I overheard Mr Frobisher say to keep him under surveillance. I mean Why do that to a d*ad person ? EXT DAY Ashton Down Sky establishing sh*t. Jack shouts. INT DAY RM03 Close up on camera in a red dome. JACK (OS) : Come on ! Who's the genius behind the camera ? 4 way split CCTV again, Jack on lower right, RM03. 002010. ADB09. Active. A----X is across the screen, with the X where it provides the world’s smallest figleaf. Between that and the streaky CCTV effect naked Jack is sort of... boring. JACK : Come on, come on out and take your bow ! Show yourself ! INT DAY Ashton Down Beret bloke sits up and watches. INT DAY RM03 Jack chained to the wall naked from about the armpits up. Angry and struggling. JACK : Face me like a man ! Round hatch in the ceiling opens. Worried Jack. Calm Johnson steps into view in the daylight above. JOHNSON : I'm not a man. JACK : Who are you ? What's all this about ? JOHNSON : Apparently you can't die, so it would be foolish to tell you anything. But I will say this. If I can't k*ll you... I can contain you. Johnson steps aside. Jack struggles lots with his arm muscles showing. A hose is lowered into the ceiling hatch. Jack is covered in the nasty grey stuff, liquid pouring everywhere, filling the cell. Jack screams. EXT DAY Outside Ashton Down Ianto has binoculars, a good view, and a very worried woob face. GWEN (VO) : Do you know where they're keeping him ? INT DAY Cafe LOIS : I've got a floor plan in my bag. Gwen smiles. Lois gets the file out. WAITRESS : Steak pie and chips, twice ? RHYS : Oh, lovely, thank you. Rhys and Gwen take food and tuck in. Lois briefs them as soon as the waitress is gone. LOIS : It's, um... it's a military compound. GWEN : Are you sure ? LOIS : That's where Mr Frobisher told them to take him. Salt ? GWEN : Thanks. This is brilliant work, Lois. RHYS : Can you ? (HP passed) Oh, thanks. GWEN : The only problem is, how do we get inside ? LOIS : Well, Mr Frobisher's just authorised the release of a body from Ashton Down. This is Rupesh Patanjali. GWEN : They must have thought he was one of us. LOIS : Well the undertaker's name is Richard Rossiter and he's got an appointment to pick him up at 5.30 today. I was thinking, access to a funeral director would be easier than access to a secure military compound. So... He'd have to pass through here at some time between 5 and 5.15 to get to Ashton Down for 5.30, and there'd be no witnesses. The name of the contact at the compound is a Corporal Camara. His number's on there, and he'll be expecting you. Sugar ? Gwen has a look just short of "damn, already married". And Rhys too. LOIS : I'm a PA. It's what I do. GWEN : When this is all over, and you want a job, come and see me. Lois grins. Dear, check the life expectancy first. EXT DAY Road with a coffin The coffin is not a permanent feature. Car X186 DAA a big black van is parked at the side of a leafy road, and Rhys is backing up holding the head end of a coffin, Gwen helping him on the feet end. Muffled shouts from the bloke inside, stripped to his shorts, tied up, and gagged. GWEN : I'm sorry. I don't suppose you'll believe it. But this is all in the national interest. They dump him there, with the lid off beside him, and go for the car. Get his funeral suit out the back, go to the front. Gwen slams the doors and they drive off. EXT DAY London Thames House Roundabout from a different angle. INT DAY Thames House car park The underground car park with scary security again, two cars driving in together. INT DAY Thames House Floor 13 corridor Lift opens, ding. Two security guards with big g*n still. Frobisher and Bridget wait with red hard hats in hand. FROBISHER : Prime Minister. Hands him a hard hat. PRIME MINISTER : Ready ? FROBISHER : Let's go. PRIME MINISTER : Have they sent us any further information ? FROBISHER : Not since they sent us the designs for this thing. INT DAY Thames House Floor 13 Under construction. They push through plastic to find metal and sparks. FROBISHER : I've got two radio operators working round the clock. We're sending out continuous messages on the 456 wavelength, but we're getting nothing back. PRIME MINISTER : Carry on. Don't mind me. This is his way of ignoring Dekker. He turns away and talks to Frobisher. PRIME MINISTER : What's the latest from Jodrell Bank ? Any signs of their approach ? FROBISHER : No. But then there wasn't last time. Prime Minister sees something, reacts with shock. PRIME MINISTER : What's that for ? Big glass t*nk, heavy frame, half hid by plastic still. FROBISHER : It's for them. EXT DAY Ashton Down Gate Nice brick pillars, serious spiked plain gate. Propped open. Black van, Rhys and Gwen arrive. Pull up and wait for the sentry. GWEN : Hi, we're here to pick up a body. 5.30 appointment. Corporal Camara ? SENTRY : Kodak's d*ad !? When did that happen ? GWEN : No, he's the contact. The name of the deceased is Patanjali. Rupesh Patanjali. SENTRY : Jesus ! Shit meself then ! He owes me money. Sorry. I'll have to look in the back. INT DAY Ashton Down 4 way split CCTV, CD02, CD04, AR04, GT01. The van is G01, the corridors are where they’re about to go, and I think AR is the outside. Beret is watching the screens. SENTRY (VO) : Kodak, got a couple of body-snatchers down at the gate for you, over. EXT DAY Ashton Down A building, some construction looking vehicle in the foreground, Corporal Camara answering the sentry. KODAK : OK, let 'em in. Over. Rhys and Gwen drive in. The gate is up the back with a building, then there’s a bar to lift and they drive over a cattle grid, then past a parked mixer lorry and a 30 speed limit sign. CCTV on a stick is watching them. 4 way screen, CD02, GT04, AR04, CD04. The GT04 screen has the gate bar falling now. Rhys and Gwen arrive at the building with Corporal Camara. There’s stacks of green barrels and lots of blokes in black armour and helmets. RHYS : We're not going to get away with this. GWEN : You really shouldn't be here, Rhys. RHYS : I shouldn't ?! Hello ?! (Eye flick at her belly). If Jack needs carrying, you're going to need me here. Gwen has grin of aw I married that ! Rhys winds the window down as the Corporal gets there. KODAK : See that f*re exit ? Do you wanna back up to that ? Save you having to wheel him round the block. RHYS : OK. The building has a lot of sealed up windows and one broken one near a door. Rhys drives where he’s told. Camera on a stick still watching. AR03 shows Rhys backing up. Is the gate bar, CD04 empty corridor, CD03 has Gwen and Camara walking. INT DAY Ashton Down corridor CD03 Gwen and Camara walking. KODAK : So there's an upside to this place being turned into a mortuary all of a sudden. GWEN : So you don't get many bodies, then ? KODAK : Not usually. But we've got in three at the moment. (Pause walk stare). Do I know you ? GWEN : No, I don't think so. CD02 empty RM06 body bag CD03 which was a corridor a minute ago... Is showing Rhys getting the body trolley out the back of the van. CD04 has Camara walking. KODAK : You don't look like an undertaker. If more undertaker's looked like you, there'd be more of a demand for bereavement. Ooh, ooh, hang on. I'm just going to open the f*re door for your mate. AR03 is Rhys with the car now. RM06 body bag. CD04 empty and CD03 with Gwen and Camara below. It’s a very quick way to show a mobile story. KODAK (VO) : Corporal Camara at the west corridor. I'm just opening the f*re door for the body-snatchers. OK ? BERET (at his CCTV watching seat) : OK. Kodak and his big g*n are following Gwen along the corridor with a big grin. Gwen looks heavenward. Rhys rolls the trolley in behind them. KODAK : She's shy, isn't she ? GWEN : I just prefer the company of d*ad people. KODAK : Is she seeing anyone ? RHYS : She's married. Married and pregnant, so you can forget it, mate, right ? Gwen has Urgent Hands Conversation of waving No. Rhys has oops face. Gwen does pleasant work smile. Kodak looks suspiciously between the two... KODAK : You're a couple, aren't you ? Gwen nod and little squeak of agreement. Kodak sighs and turns to unlock the cell door. Gwen makes with the hands talk again, yap, yap, zip it. Rhys replies with eyebrows. Kodak, oblivious, unlocks the door. CD02 and CD04 are the corridor outside the cells, RM06 and RM05 both have body bags. RM05 is in the lower right quarter like Jack was. But he was in RM03. Cell door open, Gwen and Kodak go in, CCTV swings around to watch them. KODAK: No offence. You can't blame a man for trying. On the split screen Gwen stares directly into the CCTV lens. Good thing nobody on the other end is hunting her or anything. KODAK : Do you want to check this is the right one ? He unzips Rupesh. Gwen, clipboard ready, gets out her "pen" : the gizmo. GWEN : Yeah. On the split screen RM06 fuzzes out. BERET : Corporal Camara ? KODAK : Yeah. BERET : Everything OK ? The camera's not working. KODAK : Yeah. Just checking the paperwork. No problem. Gwen thwacks him one, Kodak goes down. Rhys sort of ducks and makes the most amusing face. He checks the corridor. Gwen grabs the keys. She comes out and hands them to him, closing RM06 cell door. Rhys unlocks the next one as Gwen gizmos the corridor camera. GWEN : Oh come on. BERET : What's going there ? I've lost two cameras now. GWEN : That's the one. Come on. Rhys gets the cell unlocked. On CCTV Gwen walks in, turns, aims gizmo, zaps the camera. Beret bloke hits the alarm and grabs a phone. Alarm. Gwen unzips the bag, but it’s a stranger. BERET (VO) : Intruders. Two of, west corridor. Intruders, two of, west corridor. GWEN : Shit. Rhys runs for the next door, keys ready. GWEN : Leave it, Rhys. Out the way ! She pulls a g*n and sh**t the lock. Because clearly that’s more reliable and quicker than using the actual key and doesn’t use up your limited a*mo supply at all and you don’t have to worry about ricochets. Open door and… wall of concrete. GWEN : What the hell is that ? Well it’s grey, solid, concrete looking, and kind of wall like. SOLDIERS : Move ! Move ! Move ! Positions. Soldiers run in. Gwen and Rhys hide behind the big metal door. b*ll*ts fly and clang. Gwen sh**t back. RHYS : We'll have to surrender. Gwen leans around the door again to sh**t some more. Soldiers walk up behind them and point big g*n. Johnson, not even with her g*n out, walks up between them. Gwen aims, fires... No b*ll*ts. Johnson is unfazed. JOHNSON : I'd lay down your w*apon, if I were you. You're as trapped and helpless as the man in the concrete cell. Gwen has two g*n. Only the top one went click. Will she f*re ? Steps forward, with menace. JOHNSON : Put the g*n down ! Johnson has four armoured men with fully a*t*matic big g*n around her. Stands still with menace. Tense standoff. Gwen puts the g*n up. Hands in the air. GWEN : OK. Bends slowly, lowering g*n to the floor. Rather cutely, Rhys drops the keys too. Because clearly he is dangerous with those. g*n almost down and... EXT DAY Ashton Down A forklift truck has just nicked the whole damn cell. Inside bits of building fall down on soldiers. Outside Ianto, in builder hat and hi vis but with his tie done up and showing, drives the forklift. To the rescue. Gwen and Rhys duck falling rubble. GWEN : Run ! And follow the cell out, Gwen taking one more sh*t as they leave. SOLDIERS : Positions. Come on ! Positions. IANTO : Come on, get on. Grin of win. GWEN : Ah, Ianto. You took your time. RHYS : Come on. Rhys climbs on and helps Gwen up. She’s left mostly outside, g*n hand free. Inside still in disarray, falling ceiling, lots of shouting, soldiers in a mess. SOLDIERS : I can’t see. Come on ! Gwen rides the forklift. SOLDIERS : Move it ! JOHNSON : Take your positions. Soldiers sh**t, Gwen hangs on and sh**t back at them, great big forklift speeds away. Rhys flinches with every sh*t but keeps hold of his wife. Soldiers in pursuit. RHYS : They're going to catch up. GWEN : Rhys, get out and move that truck. It’s the truck near the entrance cattle grid. He does. IANTO : Hold on tight. Soldiers run for their black jeeps. Forklift rattles over the grid. Soldiers start the cars moving. Rhys rolls the truck forwards. Jeeps come round the corner. Gwen gets off the forklift and Rhys runs out the truck. GWEN : Move, Rhys ! He runs, he ducks, she sh**t, the truck goes up in a bloody great Boom ! Soldiers stuck behind the f*re. GWEN : Come on. Team Torchwood, even the concrete encased member, all back on the forklift, making their daring getaway. JOHNSON (to phone) : We've got a problem. Cooper and Jones stalled us at a roadblock. INT DAY Thames House Frobisher on the phone with a beige wall behind him. Locations alternate. FROBISHER : How did that happen ? JOHNSON : I'm sorry. There's a chopper on the way, but they've got a head start on us now. FROBISHER : If he talks, we're in deep, deep shit. I'll have to call you back. Johnson lowers phone. Flames in the foreground. EXT DAY Quarry Close up on forklift, Ianto driving. RHYS : Where the hell are you taking us, Ianto ? It’s a quarry. Being a quarry, this time. Great big forklift loaded with Team turns in and pulls up. GWEN : What are we doing ? Ianto clicks some buttons and the forklift starts doing a Transformer bit, growing feet and stuff. IANTO : You'll see in a moment. Get the car started ! We've only got a few minutes. Come on ! Gwen and Rhys hop off and head for the car. Ianto plays expertly with forklift controls and starts extending the big concrete block. IANTO (mutters) : Come on, come on, come on. Big block stuck out over big drop. And further. Long way down and drops. Tumble... fall... Ianto jumps out the forklift and gets into the car, which drives off fast. Down to the floor of the quarry and... Concrete wreckage, moving, pink... skin... Jack ! Jack gasps back to life. He stands up. Still wearing the chains. Staggers out the mess, face grimy, but hair remarkably in one piece. Car full of team arrive. X794 CEP. Jack has frown face until they pull up and get out. Check out Ianto’s grin there. JACK : Told you I'd be back. IANTO : With a little help from us. JACK : What the hell is going on ? Gwen holds out a hand to Rhys, who gets his coat off and passes it to her. GWEN : Dunno yet, but the latest from the kids is that it's happening tomorrow. JACK : I'm just in time, then. Walks forwards. GWEN : Get in the car. Come on, we've got work to do. Holds out coat to him, head turned aside. Naked Jack takes the coat, throws it over one shoulder. He walks past Ianto, heading for the car. Ianto turns only once Jack is past. Everyone gets in. EXT NIGHT London from above Evening, Big Ben glowing and lights making towers pretty. TV voiceover while stuff happens. Thames house from above. TV (VO) : ...United Nations has issued a statement asking parents and guardians of children... TV (VO) : ...the question still remains why every child in the world is giving their statements in the English language... TV (VO) : ...no theories as to why and how... INT DAY Thames House Floor 13 corridor Frobisher, Bridget, a couple of unnamed women, walking corridors past armed men. TV (VO) : The focus now is on tomorrow. With every child in the world claiming that tomorrow is the day, the world is left wondering. INT DAY Thames House Floor 13 Frobisher leads the way, pushing doors open. The construction mess from before is gone. The last bits of plastic being removed. DEKKER : Mr Frobisher, sir. Frobisher, Bridget, and Dekker, come to a halt standing in front of the Big Glass t*nk. DEKKER : Seals locked and... release. LAB TECH : Sir. Billowy whitish gas pours into the Big Glass t*nk. DEKKER : As per the 456 instructions. A combination of 25% nitrosyl chloride, 22% hydrogen chloride, 20% nitrogen, 12% fluorine, 9% hydrogen cyanide, 6% acetone, 6% phosgene. In short... poison. I'd hold on to your nose, Bridget ! Though, come to think of it, you've been doing that for years. FROBISHER : And that's what they breathe ? DEKKER : Breathe ? Eat ? Fart ? We know nothing about them ! BRIDGET : Excuse me, if we know the composition of that gas, can't we work out what sort of creature could live inside it ? DEKKER : Could do. If we had all the time in the world ! FROBISHER : So they arrive... and then what ? DEKKER : The whole room's laid out, according to 456 instructions. Something of an ambassadorial suite, I'd say. Or a throne room. Who knows, maybe a slaughterhouse. BRIDGET : But if they arrive tomorrow, then how ? How do they arrive inside that ? DEKKER : No idea. BRIDGET : Who else knows about this ? FROBISHER : For all we know, they've sent the same instructions to every country in the world. We've said nothing, maybe everyone else is keeping quiet, too. DEKKER : Oh, I don't think so. Whoever they are, they're coming for Britain. BRIDGET : Well, why ? DEKKER : Exactly. Why is that, Mr Frobisher ? Frobisher looks shifty and walks out. Bridget follows him. Dekker, with worrying music, takes his glasses off, goes over to the Big Glass t*nk, and hugs it. And sniffs. Then huffs a breath onto the glass. Last image, him spread out, the Big t*nk swirling full of gas. END

{"type": "series", "show": "Torchwood", "episode": "3x02 - Children of Earth, \"Day Two\""}

foreverdreaming

Opening credits EXT DAY London from the sky with lots of bridges EXT DAY Big warehouses next to train tracks and car park from the sky INT DAY Warehouse Close up of crowbar getting rid of a padlock. Door slides open. Ianto leading the way into a really big empty wet concrete and corrugated metal place. He’s all proud. IANTO : This is us. This is Torchwood. This is home. Gwen, cross armed, is not impressed, but attempts to twitch a smile. TV SCREEN TV NEWS : The children promised tomorrow and tomorrow is here. Our correspondents have been measuring the situation in Australia where so far... FRENCH TV NEWS: Le President a déclaré avoir ordonné la fermeture de nos écoles. USA TV NEWS : The Senate have pointed out that we are now living in fear of our children. In fear of what they will say next. In fear of who or what is speaking through them. INT DAY Warehouse Close up on lighter. Click, click, whoosh, flamey. RHYS : Whoa ! Almost lost my eyebrows ! Still, I'm good for something, see ? Old Boy scout ! Ianto and Jack are at opposite ends of what’s left of a sofa. Gwen is standing, rubbing hands together. GWEN: I'm freezing. RHYS : Is anyone gonna see us in here ? You know with all this firelighting stuff ? IANTO : It was abandoned in the '90s. Used to be a Torchwood holding facility, Torchwood one. JACK : Been rusting away for years. GWEN : So what do we do ? Just sit here ? JACK : Worse than that, do I have to stay in these clothes ? I mean, come on. Tracksuit bottoms. Not a good look. GWEN : Jack, they're arriving today. That alien voice-thing said today and we're stuck in the back end of beyond. JACK (slaps sofa seat) : Yeah. But we're together. The old team. We're down, but not out, yeah ? (Gwen sits in the middle). We've survived worse than this. GWEN : Yeah. JACK : Besides, I don't know how much fighting you should do, in your condition. Gwen raised eyebrows, Ianto looking sideways at Rhys, and Rhys... RHYS : What does that mean ? GWEN (whispers) : Christ. Jack ! RHYS : He knows you're pregnant ? You told him before me, didn't you ? GWEN : Rhys, he happened to be there, and it happened really, really fast. RHYS : Last to know ! Last to bloody know ! Well, thank you very much ! He stomps off. Gwen gets up to follow him. GWEN : Don't be stupid, man. Hey, don't be so... (to Jack) Couldn't you just keep it shut ? Jack smirks. IANTO : All together. The old team. TV SCREEN TV NEWS : Tension is mounting as the population of the entire planet waits for the next incident. FRENCH TV NEWS: Le Parlement Europeen semble figé au regard de ces... US TV NEWS : We've been given no answers, no hope, no assurance that our children will come first if... TV NEWS : The Government has refused to speculate about the origin of the voice or the importance of the word "tomorrow". Let's take you live now to Downing Street. INT DAY Prime Minister’s Office Prime Minister talking to camera, but without the TV Screen pixels effect. Behind him looks mostly red. PRIME MINISTER : In light of what's happening with our children, we've temporarily closed the schools. As a further precaution, we have introduced a temporary curfew for everyone under the age of 18. Camera moves sideways, we see the first picture was on a monitor and he’s revealed behind that. Background looks mostly yellow and green. And you can see a camera and a dude with a microphone on a stick and someone with paper and pen. INT DAY Frobisher house Holly and Lilly at a table playing on small computer games. Anna watching the TV, where the Prime Minister continues. PRIME MINISTER (VO) : Keep your children at home, where they'll be safe. The curfew takes effect immediately... INT DAY PRIME MINISTER’s Office Prime Minister from the side. PRIME MINISTER : ...and will continue until further notice. TV SCREEN PRIME MINISTER : But rest assured. INT DAY Frobisher sitting somewhere Close up on Frobisher looking worried. PRIME MINISTER : We are doing everything in our power. INT DAY Davies house Rhiannon, very bright pink, in the kitchen watching the news past a ton of kids. PRIME MINISTER : To find out what's going on, to safeguard our children. INT DAY Bridget staring in close up Just her face looking stern, then looking down and away. PRIME MINISTER : And all the people of this nation. INT DAY Somewhere with lots of people Assortment of people, many black, some white, and Lois Habiba looking "yeah right" at the TV. PRIME MINISTER : In the meantime, we are asking everyone to stay calm, and to go about your lives as normal. There's nothing to suggest we are in any danger, and as soon as we find out anything more; INT DAY Frobisher close up again John is worried. PRIME MINISTER : The public will be informed. Worried John looks down at the floor. PRIME MINNISTER : And as always... TV SCREEN Wonky close up on his eyes. PRIME MINISTER : I thank you, for your trust, and for your faith. INT DAY with Lois Her reaction sh*t is last, with strings sting of worry now. INT DAY warehouse Jack wanders past the f*re bin, still in his tracksuit bottoms. Ianto, near camera sitting on stairs, watches him. A whole yellow and black with hints of grey and brown sort of theme to the location. Ianto on his cellphone. IANTO : Yeah, it's me, listen, I can't talk, just give her the thumbs up. She'll know what it means. EXT DAY Davies estate Johnny walking in front of some houses. Whistle. Johnny looks up, a black man on a balcony gives him the thumbs up. Johnny gives thumbs up back. JOHNNY : Oh, brilliant ! Thanks, Mac ! INT DAY Davies's house kitchen Rhiannon is feeding many small children. There’s cola in cans and a stock of sandwiches. Many, many children, and loudness, and chaos. JOHNNY : Mac says, thumbs up, Ianto's alive ! RHIANNON : Is that it ? You daft sod, well where is he, what's he doing ? JOHNNY : Thumbs up, that was all. This is Eliza, and she's lactose intolerant, so no milk. RHIANNON : Oh, right. You take your coat off, you go in there and play, all right ? That's it now, Johnny. No more kids ! I'm full to bursting. JOHNNY : It's a public service ! The schools are closed, people still got to work. Life goes on ! RHIANNON : Yeah, with you making a profit. JOHNNY : Ten quid a kid. Look, that could be our slogan, ten quid a kid ! INT DAY Carter house Steven with hand over mouth staring watching TV, Alice on her phone again. The TV is some kids game thing. Phone ringing. JACK (VO) : This is Jack Harkness, leave a message and I'll get back to you. Alice hangs up and stares at phone. Then bites nails and stares at TV, spinning phone around still in her hand. INT DAY warehouse Table of awesome equipment stash. Messy table. Unawesome equipment. JACK : So, we've got... g*n, OK, and a pen Kn*fe. Laptop, now d*ad. Credit cards and a phone, which they can trace. Lemsip. Book of stamps. Pair of contact lenses. And fifteen quid. GWEN : Plus 25p. And some bloody alien thing turning up today. IANTO : We've still got some of the Torchwood software though. We've lost the Hub, but the software still exists on the server. Trouble is we're gonna need some more equipment, not to mention electricity. RHYS : And how are we gonna manage that, hidden away like criminals. GWEN : Well that's it. Brilliant ! RHYS : What ? GWEN : Criminals. Thieves. Us. Well, they're treating us like criminals, let's be criminals. Listen, I trained with the police, I know every trick in the book ! I've seen the lot ! Come on, boys. You're gonna learn some tricks ! EXT DAY Café Montage of lets be bad guys. Two people sitting at outside café table, one reading a newspaper. "They’re coming today" "Authorities prepare for arrival". And a bunch of other stuff. Ianto, jacket and tie off, sleeves rolled up, white towel over one arm, comes up to the table. IANTO : Everything all right ? CUSTOMER : Oh, yeah, fine, thanks very much. IANTO : That'll be £15.50, please. The bloke hands over his credit card. Ianto turns away, ditches the towel, and runs. EXT DAY bench on street Gwen chats to some bloke on a bench. We don’t hear what they’re saying. Rhys walks up, picks up the man’s laptop case, and legs it. It’s sort of cute how obvious he’s being. EXT DAY Café Jack’s turn to run the credit card con. EXT DAY Bench Rhys and Ianto "fight", getting the attention of everyone. Gwen walks up and walks off with another expensive looking laptop shaped bag. EXT DAY Some street A bloke is on the phone and fiddling with some machine. Jack is sneaky. Run jump steal the car. Swish speedy car. No longer. A DRIVER : Hey, come back, that's my car. INT DAY Carter's house Phone again. Alice not happy. She puts the phone down, then picks up the bowl and juice glass Steven is finished with and goes to tidy away. Stops. Puts them down again. ALICE : I'm just going to pop over the road. I won't be a minute, OK ? He leans on his hand some more. EXT DAY Carter's house She walks out into shiny sun. Sees someone across the road with their phone out. ALICE : Excuse me, could I borrow your phone ? I just want to make a call to my sister, she's a bit worried. It's all this stuff with the kids. And my mobile's not working. Is that OK ? GIRL : Yeah, sure. ALICE : I won't be long. Brilliant, thanks. She takes it and walks away. Dials. Rings. POLICE LADY : Hello, Cardiff Bay police station. ALICE (lots of ums and hesitations, but fast) : Yeah, I'm trying to contact Captain Jack Harkness, he works for Torchwood. I know it's not your department, but... New tone (bleep, bleep, bleep). INT DAY Ashton Down The Operative behind his map is now listening. ALICE : I think he was might have been in that expl*si*n, and I can't get in touch with him. He's got this private number and he always answers it but... As she talks his computer is getting photos of Jack and a photo of the girl Alice borrowed the phone from. MALE VOICE : I'll need your name and address. EXT DAY Carter house street Alice on phone. ALICE : I just want to know where he is. INT DAY Ashton Down Computer screen close up. "LOCATION CONFIRMED : 2809,165.99’ Zoom in on maps. MALE VOICE : I'll need your name and address. EXT DAY Carter house street Alice lowers the phone. MALE VOICE : Name and address, please. She slides it closed. ALICE : Lovely, thank you very much. Thanks. She gives the phone back and runs back into her house. Ominous CCTV camera is Ominous. INT DAY Ashton Down Still on the blue map. Zooming in more. And more. CCTV of Alice on the phone. Johnson stares through reflected computer screens. CCTV gives them Langham House 27. By the time Johnson walks across the room to hear his report the operative has all this. OPERATIVE : Name's Alice Carter, maiden name Alice Sangster, parents James and Mary Sangster, which is significant because James and Mary Sangster never really existed. They were placeholder names, used in the early '70s, for personnel that went into deep cover or witness relocation. In other words, the whole ID's a fake. Computer screen says a lot of stuff. Picture of Alice, picture of her house, lots of writing. Alice Carter (nee Sangster), d.o.b. 05/08/1975. Parents James Sangster, d.o.b. 29/01/1939; Mary Sangster, d.o.b. 09/03/1948. Dependent(s) Steven Carter, d.o.b. 4/10/99. 27 Cromer Road. JOHNSON : Can you find out who she is ? OPERATIVE : I'm on to it. INT DAY warehouse Probably day. It is dark. You can tell from the lanterns next to the laptop. On the laptop screen there’s the National Grid and the edges of a wallpaper of women in lingerie. Jack is typing. JACK : Let there be light ! Subtle thematic reminder of Jack playing god. Oh, and the lights go on. GWEN : Oh, yes ! Britain's most wanted ! RHYS : Hey, how about that ? Rhys has wiped dirt off the rusty wall until it says HUB2 in big letters. JACK : Guess that makes you an official member of the team. RHYS : You can stick it, mate. Get on those computers, and get me home, yeah ? IANTO (OS) : I see we've got a new car outside. (Walks in with maximum possible bags in hand, wearing a new suit). Nice, very smart. JACK : Where've you been ?! We thought you'd got arrested. IANTO : Just buying essentials. Technology's one thing, but let's not forget the creature comforts. Coffee, obviously. Got some do da... Toilet paper. GWEN : Thank God. IANTO : And more importantly... I didn't know your exact sizes, but I reckon I've got a good eye. GWEN : Oh, brilliant, I am stinking ! RHYS : Nice one ! IANTO : And for you, sir... Army surplus special. JACK : Oh, you are kidding me ! Jack and stirring music, start with his feet, the boots, the uniform trousers, and most importantly, The Coat. JACK : I'm back ! Four stripes on the shoulders and all. Everyone has happy and applause. The camera angle has Jack standing in the f*re in the foreground. EXT DAY Street with red post box and lots of railings A woman stops at the Wait box on a crossing. Clem jogs up beside her. Her purse is sticking out her handbag. Clem looks around and sneaks it out. The road crossing beeps, she crosses, he jogs off along the pavement. INT DAY Pub Same pub as Day Two. Clem unpacking the purse on the bar. As he does so the barmaid sees the family photos and the pink beads and goes in back, suspicious faced. CLEM : Such a long time ago. But it's all coming back. Isn't it ? Cos of that smell... Closer and closer. Happens today, well, it's always today, isn't it ? Same as yesterday. Today and yesterday. I knew they'd come back. Bastards always come back. (Sniffs) I can smell them. Just like last time, isn't it ? Clem now mixes with flashbacks, children walking, those children walking towards the light. CLEM : Stop. Stop. Stop. Stop. Stop. Stop. Stop ! Stop ! Stop ! Stop ! STOP ! STOP ! He screws up his eyes and it stops flashing back. BARMAID (OS) : That's him... Clem turns. Sees Barmaid behind two uniformed police officers. Run into pub. With tables. Ineffectual run. CLEM : No. Oh, no, don't take me, they'll get me. POLICE : Hold on. CLEM : No, don't take me, get out of the way ! POLICE : That's it. Come on... you're making it worse. CLEM : Stop ! Stop ! Stop ! They'll get me, they'll get me. INT DAY warehouse Jack on the laptop, with the women in lingerie showing. He types, women go all wiggly and the whirly blue Torchwood background appears. JACK : And we're in ! Jack is in shirt and braces, sleeves rolled up. IANTO : Just like the old days ! GWEN : I'll patch into the new channels, see what's happening. This is Torchwood speak for "I will look at the BBC News website"."World Still Waiting". "Prime Minster Brian Green has announced the closure of all schools, and put into place a curfew of all under 18s." "In a statement to the nation he said :We are doing everything in our power to find out what’s going. And then there’s some more". RHYS : Black, no sugar, yeah ? JACK : That's the one. GWEN : No sign of anything. Empty skies. IANTO : Right, where do we start, what are we looking for ? GWEN : Run a check on that Clement MacDonald. See if there’s any change. And those names Lois said, Captain Andrew Staines. Was it Ellen Hunt ? Michael something. All assassinated the same time they tried to k*ll Jack. IANTO : Andrew Staines, Ellen Hunt, Michael Sanders, mean anything to you ? JACK : No, nothing. GWEN : We need to get inside Whitehall. Pause of Jack has no ideas. Gwen is the boss, Jack looks good in the coat. GWEN : Have you got the I5 software, Ianto ? IANTO : Yeah, it's still on the site, why ? GWEN : Download it onto the laptop... cos these are not just contact lenses. These are Torchwood contact lenses. IANTO : But what do we use them for ? Who's gonna wear them ? GWEN : Well, there's only one person still talking to us. INT DAY Coffee place A bloke makes coffee. Phone rings. COFFEE BLOKE : Hello... Is there a Lois in here ? Lois Habiba ? LOIS : That's me. COFFEE BLOKE : We're not a call centre, hurry up. LOIS : Hello ? GWEN: Lois, look to your right. She does. Out the window and across the road Gwen is on the phone and carrying a laptop case. GWEN : Don't hang up. Don't hang up. I need five minutes. Just five minutes. Lois stares at Gwen. Gwen looks all Gwen-y back. The eyes work. They’re sat at a table together. LOIS : I've helped you once. And that's enough. If anybody finds out what I'm doing... It's treason. It's literally treason. Offences like this can be tried without a jury. They could do anything to me. GWEN : I know but You said they're building something at Thames House. And we need to find out what it is. LOIS : That's the most secure building in the whole country. I can't exactly smuggle you in ! GWEN : You don't have to. You just... Sudden silence as someone walks past. Wait. Then Gwen, laptop already on the table, turns it around so Lois will see. GWEN : Just keep your eyes open. Like this. Gwen opens the laptop lid. It is already working.. The I5 software is up, giving the view with the round border. Lois sees herself looking down at the laptop. LOIS : But... where's that coming from ? That's not a webcam, that's you. GWEN : And to the right. And to the left. And back. LOIS : Where's the camera ? On your jacket ? GWEN : In my eyes. LOIS : Oh, my God. GWEN : When you wear these, they'll transmit a picture so we can see what's going on. And more than that, we've got lip-reading software. Just look at someone when they're speaking, and it'll translate it. Press enter on that. Go on. (She does). Now it's working. Say something. LOIS : Like what ? COMPUTER : Like what ? LOIS : Oh, my God, that's weird. COMPUTER : Oh, my God, that's weird. GWEN : And we can send messages to you. Type something. Go on, anything. Round edges screen says "Hello Gwen". GWEN : Hello Lois. LOIS : You can see that ? In your eyes ? Gwen takes them out. GWEN : It's good, isn't it ? (Closes laptop lid). If you wear these, we can find out what's going on. And then, we can help. LOIS : But I can't. What if they... I don't know, scan for bugs, or something ? GWEN : Yeah they will but they won't register. I promise. LOIS : I can't, though. Getting you information’s one thing, but that's putting me right on the front line. GWEN : You're the only friend we've got left. LOIS : Even if I get into Thames House, I can't get on to Floor 13, that’s where they're building this thing, but Frobisher only takes miss Spears with him, I'm just the office girl ! GWEN : Well, you'll have to find a way inside. LOIS : But how ?! GWEN : I don't know, you'll have to think of something. LOIS : I can't ! I'm sorry, I've got to go. Lois gets up and starts leaving. GWEN : Just take them with you, I am begging you, just think about it. She grabs Lois and stands. LOIS : I've really got to go. GWEN : Please, Lois. Close on their hands gripping. LOIS : I can't. GWEN : Please. Gwen transfers the lens box to Lois. Closes her hand over it and presses. Lois looks grim and runs off. Gwen sits again, all bite fingers. INT DAY warehouse Jack and Ianto on laptops in foreground, f*re between, Rhys behind facing away cooking. JACK : Frobisher's the key to this. He's just a civil servant, he's nothing. What makes him start authorising executions ? Long pause, Ianto very thinky. IANTO : What did it feel like ? I mean, getting blown up. JACK : It wasn't the best of days. IANTO : No, but... did you feel it ? Or did everything just go black ? JACK : I felt it. IANTO : Shit. JACK : Yeah. IANTO : D'you ever think that, one day, your luck'll run out ? That you won't come back. JACK : I'm a fixed point in time and space. That's what the Doctor says. I think that means it's forever. IANTO : So... one day, you'll see me die of old age. And just keep going. JACK : Yeah. IANTO : We better make the most of it, then. Jack grin a lot. JACK : Suppose. Jack turns back to type on his computer. Ianto looks him down and up. IANTO : Like right now ? JACK : Ianto, the world could be ending. IANTO : World's always ending. And I have missed that coat. Jack very happy grin, half laugh. He turns around, yells to Rhys. JACK : Rhys, d'you wanna take the car and go to those shops, down by the Wharf ? We need some disks for these things. Should take about... 20 minutes ? IANTO : 30 minutes. JACK : 30. RHYS : I'll go later, the beans are almost done ! JACK : The beans are almost done. IANTO : Bloody beans. And turns back to his computer. There’s a picture of Clem up and the computer scans it and some databases and has progress bars. IANTO : Whoa, that's nice, look at that... face recognition software. And... arrested two hours ago in London. He wouldn't give his name, but that is Clement MacDonald. JACK : That’s the man from the hospital. IANTO : Could be useful. His phone rings. IANTO : Gwen ? EXT DAY A street Gwen walks and talks on the phone, laptop bag back over her shoulder. Conversation alternates with Hub2. GWEN : I've given her the contacts, but God knows, I think she's too scared. IANTO : No we've got a little ? New mission for you. That Clem's turned up, in Camden police station of all places, arrested for theft and minor affray. Could you get him out ? GWEN : How am I supposed do that ?! IANTO : You were a policewoman. GWEN : Oh, OK. Bloody hell, anything else while I'm at it ? IANTO : Fillet steak would be nice. GWEN : Yeah, don't push it, see you later. INT DAY warehouse Jack still looking at Clem photo. JACK : So Ianto, what's his story ? IANTO : Well, according to Gwen, it was your classic alien abduction, back when he was a kid. 1965. He was living ten miles outside Arbroath, the Holly Tree Lodge, it was an orphanage. Jack reacts, and so does the music. Tense little tap tap and a really annoying string drone. We should all be worried then. IANTO : I looked up the files, the kids were taken away in november 1965, the Lodge was closing down, they were being taken to a second care home called Harbour Heights in Plymouth. Except, that's where the records stopped, there's no trace of them arriving. I mean it was the '60s, a lot of the paperwork's gone missing. But if what he's saying is true, maybe they never got there. Jack gets up and goes over to watch over Ianto’s shoulder. JACK : Show me those people. IANTO : What people ? JACK : Andrew Staines, Ellen Hunt, Michael Sanders. The ones that were k*lled the same day as me. IANTO : Why, d'you think there's a connection ? JACK : Show me ! Ianto brings up pictures of old people. JACK : No, no, give me their history, show me them 40 years ago. IANTO : What for ? JACK : Just do it ! And now there’s young photos. In uniform. Jack has open mouth of "oh noes !" IANTO : Who are they, Jack ? Did you know them ? JACK : I never knew their names. IANTO : Who were they ? Jack, tell me. Did you know them ? Jack runs to grab his coat and runs away. IANTO : Jack ! RHYS : Oi ! The beans are ready ! EXT DAY Ashton Down Shows the place from above. INT DAY Ashton Down Shows computer screens and wiggly lines. Picture of Alice. OPERATIVE : Alice Carter. I've broken the security wall. You're gonna love this. More on computer screen. "Alice Carter - Classified. Mother : Lucia Moretti. Torchwood Operative, 1968-1975. Date of birth : 18/06/1945. Date of death : 23/11/2006. Heart Disease. One daughter. Melissa Moretti. Father Captain Jack Harkness. Freelance Torchwood Operative INT DAY Frobisher office corridors Frobisher walking. Conversation alternates with Ashton Down. Phone rings. FROBISHER : What is it ? Any sign of Harkness ? JOHNSON : Sins of the past. Did you know that he's got a daughter ? FROBISHER : Since when ? JOHNSON : Alice Carter. She was put into deep cover way back in 1977, at the request of her mother. Seeking to distance herself from the life of Captain Jack, can hardly blame her. More on computer screen : "Application to enter daughter into deep cover approved 14/02/1977. Entered deep cover as Alice Carter". FROBISHER : Who was the mother ? JOHNSON : Woman called Lucia Moretti. Italian, Torchwood staff, 1968 to 1977. Deceased, heart disease, 2006. Natural causes, that's rare for Torchwood. And now, Alice Carter's got a child of her own, his grandson. Could be useful, what d'you want me to do ? FROBISHER : Bring her in. JOHNSON : Just the answer I wanted. Johnson hangs up, Frobisher does. He’s walked all the way to his office. INT DAY Frobisher's office desks outside Bridget and Lois at their desks, Frobisher talks to Bridget. FROBISHER : Nothing from Jodrell Bank, but we might as well get ready. Bridget, get everything you need, we'll transfer to Thames House. LOIS : What d'you want me to do ? BRIDGET : Exactly what you're doing now. Just answer the phones. LOIS : Well... I could come with you to Thames House. I could help. BRIDGET : I don't think so. LOIS : The thing is... Mr Frobisher asked me to come. BRIDGET : When was that ? LOIS : He said he wanted me. At his side. BRIDGET : What for ? Why on earth would he need you ? LOIS : It was a... private conversation. Bridget face falls and she lowers the folder she’s holding. Then she slaps it down into her briefcase. Frobisher comes out of his office and walks past. Lois and Bridget go back to their own desks until he’s through. Bridget follows after him a couple of steps, then stops. She turns to Lois. BRIDGET : You're not the first, you know. Don't go thinking you're the first. LOIS : Then I can come ? BRIDGET : Apparently so. INT DAY Cardiff Police Station PC Andy, s*ab proof Police vest on, working at a desk with a glass screen in front. Poster behind him says "Fine-dodgers : we’re coming to collect". Phone rings. ANDY : Andy Davidson. GWEN : Andy, listen. ANDY : You're alive ? GWEN : Yes, I'm still alive you idiot. EXT DAY Camden street Gwen walking, looking around. On cellphone. Conversation alternates. GWEN : Now shut up, I need some help. ANDY : We need you ! All those kids saying, we are coming. And that's today ! I mean What's it gonna be ? Like a spaceship ? GWEN : Aw, Andy. ANDY : Godzilla ? GWEN : Just listen, I need you to release a prisoner from Camden police station. The address is Albany Street. ANDY : What are you doing in Camden ?! GWEN : Does it matter ?! ANDY : It does to me, I aye... GWEN : Yes. I know, I'm sorry. Look, just listen, I've got no ID, so I need you to vouch for me, he's only on minor charges so I can stand bail. You need to phone them, and fax a WC242A. Don't use my name, use Lynda's, I'll say I'm Lynda. Can you do that for me please ? ANDY : OK. GWEN : Like now ? She has reached the police station and is going in even as they speak. INT DAY Camden police station Close up of police dude unlocking a metal gate. Also of handcuffs and, pepper spray(?) attached to his belt. Door swings open. Massive and subtle poster at the end of the corridor and several points along it : "Do you have a drug problem ? Ask to see a drug worker." Gwen and the policeman go to Clem’s cell. Policeman opens the door. Clem is inside, upset. GWEN : Clem ? Do you remember me ? CLEM (Sniffs. Recognition and reaching out) : Oh ! Gwen goes in and hugs him. GWEN : It's all right. I've got you. He sobs. INT DAY Carter's house Alice goes down stairs with a big basket of laundry. Steven is in the kitchen watching TV. We can see the Kn*fe block on the counter. STEVEN : It's boring. I want to see aliens. ALICE : Yeah. Be careful what you wish for. Put some cartoons on. Opens the back door, goes outside. Dog barking. Stops, whines. Alice stops too. Listening. Birds chirp. She leaves the door wide open, drops the laundry basket, and jogs quickly to the front door. Looks out there. Silence. Absolutely nothing is happening. Apparently it is a scary nothing, for she runs back in and grabs coats. ALICE : Steven, come on, we're going out, quickly now. STEVEN : But the telly said we've got to stay inside. She gets him into his coat. ALICE : Never mind that, now listen to me. We're going to go out, and you're gonna be quiet, OK ? Don't make a sound. Just like those games your gran taught you, d’you remember ? STEVEN : We in trouble ? Gran always said, there'd be trouble. Alice gets a kitchen Kn*fe out, and grabs a chopping block. ALICE : Then do exactly what she said. Just like the games. Nice and quiet. And don't let me out of your sight. Come on. She runs out the back door... just as soldiers burst in the front ! Black uniforms, helmets, and big g*n. Alice runs, Steven behind her, but Soldiers still searching house. SOLDIERS : Clear ! Clear ! EXT DAY Carter's house garden and neighbourhood Alice and Steven head for the way out their garden just as a soldier comes out the house. Alice reaches the outer wall and stops just by the gate, swinging Steven round against the wall. Soldier chases. Chopping block to the face. Alice splats the soldier, steals his g*n, grabs her kid and runs again. Along the street, groups of soldiers at both ends. She ducks sideways into an alley. They all follow. EXT DAY Alley Alice runs, soldiers follow : Johnson steps out in front. Trapped ! Alice stops and raises her g*n. Johnson, perfectly calm, surrounded by armed soldiers with their g*n up, just stands still. ALICE : Get out of the way. JOHNSON : Go on then. sh**t. Let's see what happens. Are you as immortal as your father ? Is the boy ? We can put it to the test. ALICE : Take me. Let him go. JOHNSON : No. ALICE : He's only a child. JOHNSON: So ? Alice. If we wanted you d*ad, we'd have opened f*re by now. Just put down the g*n. ALICE : Who are you ? JOHNSON : Put down the g*n. ALICE : If you harm him. I will k*ll you. JOHNSON : Understood. Alice lowers the g*n and crouches to put it on the ground, keeping her eyes on Johnson. JOHNSON : And the Kn*fe. Certainly your father's daughter, I'll give you that. ALICE : Come on, sweetheart. She turns but Steven isn’t paying attention. He’s standing perfectly still, pointing at the sky. ALICE : Steven, what is it, what are you doing ? Steven, what is it ? JOHNSON : What's he pointing at ? ALICE : Steven, stop it. Please stop it ! Steven Look at me. Steven, stop it ! JOHNSON (turns, looks at the sky) : It's them. EXT DAY London from above Dome on the right, tall buildings, river. Then "gherkin" building on the right and Tower Bridge in the middle. INT DAY Davies's house Rhiannon hands in the sink. Kids shout. RHIANNON : I charge extra for cleaning, tell your mum, it's another two quid. Silence. The noisy kids stop. They’re all pointing the same way, past the kitchen and slightly up. Rhiannon turns and sees them, little Mica included. RHIANNON : What is it ? Stop it. They just point and stare. Rhiannon throws the kitchen towel down and hurries away. INT DAY Frobisher house Holly, the little one, pointing. Lilly, the older one, also pointing, though her mum has hands on her face. ANNA : Can you hear me ? Lilly, it's Mum. Just look at me. Just look at me ! EXT DAY London from above again Bunches of buildings. EXT DAY London street Clem is standing pointing. Gwen looks puzzled. GWEN : What is it ? Clem ? She looks that direction. He just stares. INT DAY warehouse Ianto at the computer, Rhys hurrying over. IANTO : It's them, it's all of them, the kids. RHYS : What are they saying ? IANTO : I don't know, just pointing. News : China : Children point to the heavens. EXT DAY A street Car pulls up, swish one Jack nicked. Jack climbs out. NEWS (VO) : Yet again, every child has stopped... ON TV SCREEN NEWS : Every single child in the world. There seems to be no reports of speech. Only that they seem to be indicating something in the sky. EXT DAY Davies estate Rhiannon runs out. JOHNNY : It's on the news, they're pointing. RHIANNON : I know, but they're pointing over there. What's over there ? INT DAY warehouse Computer screen writes basically what Ianto says out loud. IANTO : It says, all the children in America are pointing east. And all the children in Europe are pointing west. RHYS : It's us. They're pointing at us. EXT DAY Davies estate Looking out across houses and electric pylons. RHIANNON : If you go far enough in that direction that's London. They're pointing at London. EXT DAY London flying again, London Eye, lots of buildings TV : According to reports, children in London are all pointing towards the centre of the city. To repeat, children in London all seem to be pointing towards the centre. INT DAY Warehouse still staring at computer screen. IANTO : They're pointing at Thames House. Come on ! Ianto runs, Rhys follows. EXT DAY London Roofs and buildings and river. Thames House. INT DAY Thames House In the lobby alarms sound, a bloke, Lois and Frobisher are there. BLOKE : It's happening ! Alarm sounds. All run for the stairs. INT DAY warehouse Hub2 Rhys and Ianto running up stairs. Mixes with Thames house. EXT DAY Warehouse Hub 2 Roof Ianto and Rhys reach the roof and stare out over London. EXT DAY London Column of f*re descends from cloud covered sky, punching a blue hole in the clouds. INT DAY Thames House Frobisher reaches the lift. Others still steps behind. FROBISHER : Sorry, you stay here. BLOKE : Mr Frobisher, you haven't got the authorisation. Alarm continues to blare. Lois at the back watching the fuss. Frobisher leaves them. EXT DAY Thames House Flag flying from the roof, column of f*re descending slowly. EXT DAY London street Clem is pointing. Gwen stares where he is pointing. INT DAY Thames House corridor outside Floor 13 Frobisher emerges from the lift, grabs a chair, and puts it in the lift door to keep it there. There’s blinky red lights as well as loud alarms. Frobisher runs. INT DAY Thames House lobby Lots of people run. Lois and Bridget stand in the middle of the stairs. Bridget seems to be holding at least three briefcases. Shaky camera of doom. Roar of descending alien column of f*re. Everyone runs. INT DAY Thames House Floor 13 Frobisher runs in. Dekker is there already, staring. They stare together. More shaky camera of doom. Column of f*re descends through the ceiling. Pour down and into the Scary Smoke Box. Light so bright the camera has to turn away. Frobisher and Dekker have to hide their eyes. Frobisher peers under his hand, trying to see despite the light. Scary Smoke Box is scary f*re box and on the glass on the windows is printed the number 456. EXT looking at INT DAY PM in an office Prime Minister stands in the window staring. In the reflection there’s column of f*re going into Thames House. EXT DAY London A different angle, lots more water, and still a column of f*re. Column of f*re shrinks down into Thames House and goes out. Cloud cover and hole in the clouds remains. INT DAY Thames House Floor 13 Frobisher stares into it... and it fades. Frobisher stares into... The Scary Smoke Box. Looking like a box full of smoke. And sadly, this is what it will continue to look like from now on. Frobisher and Dekker look at each other. And look back at the smoke again. Slow roll in towards the glass. Frobisher stares some more. INT DAY Davies's house Lots of kids all pointing. CHILDREN : We are here. Children laugh and giggle. They unfreeze and are back to normal. Rhiannon and Johnny are the only ones looking worried there. EXT DAY London street Clem talks to Gwen. Lots of people in the background are on their phones. CLEM : It's them. They're back. GWEN : Come on. You're connected to them, we need to find out how. Loads Clem into the car. INT DAY Thames House Floor 13 Frobisher and Dekker stare at the Scary Smoke Box. Frobisher steps forwards very slowly. Smoke. Frobisher and Dekker stare. 456 snarling and hissing. Frobisher scared and jumpy. 456 SYNTHESISED VOICE : Speak. FROBISHER : My name is John Frobisher. Permanent Secretary to the Home Office, of the United Kingdom and Northern Ireland. Earth. On behalf of the Human Race... 456 snarling and banging. It pukes on the glass. It does that a lot. Something wormy slams against the puke and glass and spreads it about a bit. FROBISHER : Is there something wrong ? Box of smoke looks smokey and puke green now. FROBISHER : Do you want me to continue ? 456 growling. FROBISHER : Then... if I could request, for the purpose of communication... We've no name for your species. What are you called ? 456: You call us 4 5 6. FROBISHER : That's correct. 456 : Then that is our name. 456 snarling and puke. It’s a scary box of smoke and green puke. FROBISHER : If I could request, on behalf of my government, what is it that you want ? Silence. FROBISHER : Can you hear me ? I'm sorry, but I need to know, before I approach my superiors, what exactly do you want ? Hissing and growling. FROBISHER : I must ask the 456, officially, your purpose in visiting... 456 : Speak. FROBISHER : I am speaking ! 456 : We would speak. FROBISHER : With who ? 456 : The world. FROBISHER : Why ? 456 : We would speak. FROBISHER : Well, perhaps we do things differently here. But we would consider this to be a diplomatic liaison. Does that make sense ? We are both, in a sense, ambassadors. And according to protocol, ambassadorial procedure is not made public. You wouldn't be speaking to the entire population, but to their elected representatives. That's, that's, that's how it works. That's all I can offer. Is that acceptable ? 456 : Yes. FROBISHER : Good. Thank you. 456 : Bring them. FROBISHER : Thank you. (Walks closer slowly). I have one condition. (Right up to the glass now). Does that make sense, d'you understand that ? A condition ? The 456 have made contact with this country before. Many years ago. It would be better if... I mean, given the nature of that meeting... It would ensure the smooth-running of diplomatic relations between Earth and the 456 if that previous encounter was kept off the record. By off the record, I mean, private. Between us. Can you do that ? 456 : Yes. FROBISHER : Thank you. 456 : Soon. FROBISHER : I'm sorry ? 456 : Return. Soon. FROBISHER : I will. Thank you. He backs up and leaves. Dekker goes diagonal after him. INT DAY Thames House corridor outside Floor 13 Frobisher gets out into the corridor, turns so his back is against the wall, slumps, and slithers. He ends up on the floor with a thump. Face of complete argh freeze. Dekker joins him in the corridor. They stare at each other. Frobisher tries to pull himself together. ON TV TV : The area around Thames House is being cordoned off while the Government has... INT DAY warehouse Hub 2 Ianto and Rhys stare at the screen. IANTO : It is all kicking off now. Just when we need Jack. TV : "Breaking News. Pillar of f*re descends over London. Eyes of the world on Thames House. TV : ...at Downing Street. These images are from five minutes ago. That's been identified as Colonel Oduya of the Unified Intelligence Task Force and this is coming live that's General Austin Pierce, representing the American Armed Forces, he's heading inside Downing Street right now. INT DAY Downing Street Meeting Prime Minister on one side of the table, military men on the other. GENERAL PIERCE : I have been asked to convey, from the President of the United States, his absolute fury. Is that understood ? PRIME MINISTER : Very much so. GENERAL PIERCE : That landing wasn't spontaneous. It was planned, it was prepared, by you. And don't go calling this diplomacy, Mr Green... you have established a court. The sovereign court of Great Britain. In direct contradiction of the statutes of the United Nations. PRIME MINISTER : We were acting under orders. COLONEL ODUYA : Did they thr*at you ? PRIME MINISTER : I think we can say, the mere existence of the 456 is a thr*at. Oduya’s raised eyebrow of "shyeah" is win. GENERAL PIERCE : Nevertheless, you have an alien ambassador, on British soil. LADY IN SUIT : It has to be said, that Britain has claimed no rights of territory or ownership over species 456. PIERCE : But it's here ! You've damned well got it, right here ! ODUYA : And at every stage of these negotiations, you have excluded UNIT. When we're specially trained to deal with these situations. PRIME MINISTER : And I apologise. But the President's welcome to enter Floor 13, as is every other leader of the free world, I'd be honoured. ODUYA : Except that's impossible. PIERCE : And you know it. We will not move the President into a location that's had no security screening. That would take days to organise, weeks ! PRIME MINISTER : Then I offer to withdraw. PIERCE : What does that mean ? PRIME MINISTER : I won't usurp the United States, or any other nation. I suggest that dialogue with the 456 is taken out of my hands. And conducted by the civil service. PIERCE : They're still British. PRIME MINISTER : But not elected, with no authority of State. And that's exactly what we need. Middle men. John Frobisher's already spoken to the 456, I suggest he continues. ODUYA : I'd suggest that UNIT steps in. PRIME MINISTER : I wish it were so. But the 456 chose Britain. They designated the location. It's out of my control. What d'you want to do, anger them ? Look..; John Frobisher's a good man. And better than that, he's expendable. So what d'you say ? PIERCE : Do we have your absolute guarantee that you won't enter the room ? PRIME MINISTER : My absolute guarantee. PIERCE : Then that's agreed. ODUYA : Agreed. Prime Minister smiles. INT DAY Thames House Lobby Lois, Frobisher, Bridget, and a bloke sit in a row on a bench. Frobisher is all thinker posed but with more facepalm. Phone ring. PRIME MINISTER : John ? FROBISHER : Prime MinIster, Sir. Gets up and walks. Other three do meerkat pop to watch him walk. PRIME MINISTER : We've consulted with the military, they've demanded that from now on you become our spokesperson in all negotiations with the 456. Simon can give you a security briefing, thank you. Hangs up, phone lowered slowly. FROBISHER : Shit. INT DAY Frobisher4S house Anna on the phone talking and carrying stuff. Kids around. ANNA : Oh, but I'm the last to know. My own husband, and he won't tell me what's going on. She walks into the kitchen. Straight past Jack. You can tell Jack is hiding, only his coat and his face sticks out and he’s all out of focus. ANNA : I've got the girls, pointing at the sky, and he won't say ! No, there's nothing, I've been flicking through the news channels, no-one's saying anything..; Yeah, yeah I know. If I hear anything, I'll let you know. Jack is hiding even less now. And more in focus. She still doesn’t notice. ANNA : OK. Bye. Hangs up. Puts phone down. Girls giggle and ow. GIRLS : Careful that thing will rock. ANNA : Lilly ! (Walks off screen). Downstairs, please, I want you where I can see you. Jack walks out and picks her phone up. Pockets it. Leaves through the garden window door. TV (OS) : The so-called pillar of f*re has brought central London to a halt. Jack closes the door carefully. TV SCREEN TV : All roads leading to the river have been closed off, as a result all major thoroughfares have ground to a standstill. Motorists are being asked to stay out of the city centre except for emergencies. EXT DAY Motorists in the city centre Gridlocked Gwen is on the phone. GWEN : Oh, that's so bloody Jack, you should've stopped him ! Well, I don't know ! We're gonna be ages, it's gridlock. Bloody London ! Clem starts having flashbacks. Flashbacks screech apparently. GWEN : Half the people are panicking and trying to get out, the other half is trying to get in. Look, I'm going to have to go, OK ? Bye. Ey, it's all right, Clem. You're safe. You're with me. You're all right, you're safe. CLEM : I keep remembering more. It's not just them, up there. It's the man. He's come back. After all these years. I can smell him. GWEN : What man ? Who is he ? CLEM : The same man. I knew he'd come back for me. GWEN : All right. It's time I got you a nice cup of tea. And a hot dog. D'you like hot dogs ? I bloody love 'em. Gridlocked Road, but not Gridlocked Gwen any more. She puts the car in gear and drives up on the pavement. Obligatory cardboard boxes and really light rubbish. Bystanders facepalm. EXT DAY Thames House from above It’s very pretty. The roof is glass. The roof isn’t glass on Floor 13 though. BLOKE (VO) : I'm recommending we start at 19.00. INT DAY Thames House lobby Bloke is looking at his watch. BLOKE : That Gives us another two hours. Now this is Louise. (OS) She can advise on international diplomatic protocols, same goes for Samuel... Lois and Bridget sit on the sofas and look over the back at Frobisher. BRIDGET : There's a creature in that room. It's powerful, and it's toxic, and it's capable of God knows what. I bet you're glad to be trotting after John Frobisher now. BLOKE : Stuart's the linguistics expert, he can help out, if there's a problem with translation. Phone rings. Says Anna. FROBISHER : Excuse me, I'd better take this. I was gonna phone you. God, I wish I was home right now. Look, just tell the girls that there's nothing to worry about. EXT DAY Street Jack, leaning on swish car LT56 ZMU. Conversation alternates locations. JACK : Oh, I'll tell them that, Johnny boy. I'll tell them that their father tried to have me k*lled, how about that ? FROBISHER : That's my wife's phone, how did you get my wife's phone ? JACK : This is 1965, isn't it ? All of this, because of 1965. Frobisher, tell me, is it them ? Have they come back ? FROBISHER : Yes. JACK : That's why you tried to have me k*lled. Along with Andrew Staines and Ellen Hunt and Michael Sanders. All of us d*ad, so no-one could say anything, is that it ? FROBISHER : I had no choice. JACK : Well, I've got a choice... D'you want to hear my choice ? I could blow this thing sky-high. I could tell the world ! Unless you get me into Thames House. I demand to talk to the 456 myself. Think about it. The fact that they've come back proves that they can't be trusted. You need me. FROBISHER : Captain, we have your daughter and grandson, Alice and Steven Carter in our custody. JACK : You wha t?! FROBISHER : I promise, nothing will happen to them. My absolute promise. So long as you agree to say nothing. JACK : Well, how about I go back into that house, right now, and get your wife ? And your children ? FROBISHER : Except you won't, cos you're a better man than me. I'm sorry, Jack. Frobisher hangs up and goes back to the briefings. Jack has Frown Face. He hangs up and broods over the car roof. EXT NIGHT London Dark, view of the London Eye, everything lit up very pretty. If this is 1900 it’s a time of year that’s dark by 1900. Sunset times for London September 2009 say it’s only just sunset by 7pm on the 22nd. So probably later in the month not early. TV : The world is still waiting for any news from Thames House. So far, the British Government is maintaining a policy of absolute silence. And the waiting continues. INT NIGHT Warehouse Hub 2 Clem is eating a hotdog. Gwen and Rhys kiss, casual smooch as Gwen passes. She’s got her hands full of mug. Coffee for Clem. GWEN : There you go. RHYS : Save some for the rest of us, mate ! CLEM : He's your husband ? GWEN : Yes. Yes, my beloved. CLEM : Nice house, isn't it ? RHYS : Well, we do our best ! It's got shower facilities. Just stand under the skylight. CLEM (Laughs) : I've stayed in worse. (With eew voice) And who's the q*eer ? IANTO (yells) : Oi ! He glares, everyone stares, awkward silence is awkward. IANTO : It's not 1965 any more. CLEM : He's q*eer. I can smell it. Lots of exchange of looks. Gwen and Rhys get casual smooches when Ianto and Jack get plot necessity smooches. Ianto gets called names. EXT NIGHT London Some lights on, some off, London Eye up fairly close with a whole lot of people in it. INT NIGHT Thames House Lobby Lots of people start moving. BLOKE : If the support staff could take the stairs, the lift is reserved for Mr Frobisher and his personal staff. Fast as you can. Best of luck, sir. Frobisher, Bridget, and Lois are left at the foot of the stairs. FROBISHER : Big moment. History. Focus on Lois at the back looking worried. INT NIGHT warehouse Hub 2 Clem lurks, Ianto watches the computers. RHYS (OS) : What d'you think's in there ? GWEN (OS) : God knows. That's why we need Lois. IANTO : No sign of her. Lenses inactive. They can read that on the computer screen, but Ianto is informative out loud anyway. Gwen is seated at the laptop and Rhys is reading over her shoulder, Ianto watching over the other shoulder. Looks like they’re in a cage cause there’s random yellow grid. INT NIGHT Thames House lobby Bloke who just ran up the stairs swings around the top to tell them time. BLOKE : Two minutes ! Frobisher psychs himself up and walks. Bridget follows. LOIS : Um. I'm just gonna... Pay a visit. Bridget sighs. INT NIGHT Thames House toilets Cause we go all the classy places on Torchwood..., black marble, and bar soap. Old fashioned radiator. Lois walks in looking sneaky and looking for people over her shoulder. She checks the stalls. No one there. She goes to the sinks and the mirrors. Contact lens box. Unscrews the Right side and gets the lens out. Very carefully puts it in her left eye. There’s close ups. Lens goes on. INT NIGHT warehouse Hub 2 Computer makes noises and Lois is on screen. IANTO : Online ! She's doing it ! GWEN : Oh, good girl ! RHYS : I knew she would ! INT NIGHT Thames House toilets Lois once again with the contact lens. Warehouse Gwen types something. EyeCam Lois gets the message "Thanks !" LOIS : Oh, God ! Don't do too much of that. INT NIGHT warehouse Hub 2 GWEN : Sorry. RHYS : She can't hear you. GWEN : I know. Lois on screen, computer lip reads. COMPUTER VOICE : Is that you, Gwen ? GWEN : Yes it's me. Screws lid back on lens box. LOIS : Right then. Good luck. Ianto leans in and types left handed. GWEN : Oh, don't do that, I hate smileys. Proper yellow smiley goes ":-)" ":-)". Lois gets her bag together and leaves the bathroom. RHYS : Took me a while to get used to those things. IANTO : What, you've used the lenses ? RHYS : Yeah. That's why Gwen had them. GWEN : I just took them home for a bit of fun. IANTO : Fun ? GWEN : Yeah. RHYS : Y'know. Fun. IANTO : Yeah, well been there, done that. It is fun. RHYS / GWEN : Yeah. INT Thames House lift Lois in first, then Bridget and Frobisher, so Lois ends up at the back. INT NIGHT warehouse Hub 2 IANTO : That's him, that's John Frobisher. RHYS : Bastard ! Fat lot of good that is, back of his head, how do we know if he's saying anything. INT NIGHT Thames House lift View from the lift shaft looking up. One wonders why. Frobisher and Bridget at the front of the lift talking with Lois watching. FROBISHER : I suppose it's an honour. Given this position. BRIDGET : Then again the Prime Minister has guaranteed that diplomatically, he can't enter Floor 13, so whatever happens in there, whatever goes wrong... history will say that it wasn't his fault. FROBISHER : D'you mean he's using me ? BRIDGET : You don't get to be Prime Minister by accident. INT NIGHT Thames House corridor on floor 13 Frobisher, Bridget, Lois get out of the lift. There’s scary black wearing guards with g*n around. Dekker leads and a bazillion other people line up waiting to follow. Many people. Lois has shifty eyes. EyeCam of Scary Smoke Box. INT NIGHT warehouse Hub 2 Gwen, Ianto, Rhys and Clem are in the warehouse to talk and everyone else is where they belong or it’ll take forever to type this. Or to put it another way "alternates locations". RHYS : What the hell is that ? GWEN : Some sort of t*nk. There's something inside the smoke. INT NIGHT Thames House Floor 13 Everyone going in stares at the t*nk. Because clearly that’s good diplomatic protocol, stare with mouth slightly open at the ambassador. Frobisher and Bridget set up at the main desk. Lois gets a seat at the back. Lois gets her notepad out. EyeCam sees it. Gwen types "Get closer". Lois and the eyecam shake their head. GWEN : Clem, come and see this. Oh, come on. Don't be scared, it's miles away. What d'you think ? He sniffs. GWEN : Anything you've seen before ? CLEM : Can't smell it from here. Is that what tried to take me ? GWEN : Yeah, I think so. Everyone has a seat or place to stand now. Frobisher gets papers in order and stands up. Eyecam shows him walking out to the middle of the floor. In the room Frobisher sees a cameraman focus on him. A monitor shows two views of the room, focus on the Smoke and on the middle of the floor. Live Feed 1 and 2. INT NIGHT Downing Street Meeting Military on one side of the table, Prime Minister and suit people on the other, all stare at the monitor. PRIME MINISTER : Seen anything like it before ? ODUYA : Never. INT NIGHT Thames House Floor 13 Frobisher is neatly in the middle of the room, reading from his papers. The camera watches all the different rooms watching Frobisher, Prime Minister and Hub both. FROBISHER : Thank you If I might bring into session, the first diplomatic congress between the representatives of Planet Earth, and the representatives of the 456. I bring you formal greetings from the United States of America, from the People's Republic of China... INT NIGHT warehouse Hub 2 They watch the silent screen with Frobisher standing in front of a box of smoke. It’s the boringest view ever. IANTO : He's got his back to us ! GWEN : Yeah, I can see that ! Types. It comes up on Eyecam. "Need his moth." FROBISHER : ...from the Holy See of Vatican City... RHYS : Need his moth ? GWEN : Shut up ! FROBISHER : ...from the Russian Federation and associated... Gwen types again "Need his mouth." FROBISHER : ...of Australia, from the provinces and territories... Tense reading over the shoulder at Hub2. FROBISHER : ...and Japan, and the Hellenic Republic, from the Islamic Republic of Iran and the Republic of Iraq, from the Kingdom of Saudi Arabia and it must be stated on the record that any country not named herein does not indicate their withdrawal from this... Lois, nervously, starts moving around the room to get a view of his moth. Nobody stops her. GWEN : That's it. Come on, good girl. FROBISHER : ...reflects only the time span within which this summit has been declared. CLEM : You've got eyes. You've got eyes in the room. IANTO : Software's not so good in profile. FROBISHER : And according to the rules of protocol, as established... Hub2 Eyecam echoes. ON PC : And according to the rules of protocol, as established... GWEN : It's not too bad. IANTO : It's working. ON PC : 1960 1968 established by the 1968. It’s working in that stuttery way that’s not. But near enough. ":-)". RHYS : You hate smileys. GWEN : Shut up. FROBISHER : I must ask you to state whether these greetings are accepted. Spooky noises only. FROBISHER : Do you understand me ? ON PC : Do you understand me ? Eyecam stares at the smoke box. FROBISHER : I repeat, according to the rules of protocol, as established by the United Nations in the directives of... 456 : Yes. Raised eyebrows and tense glances in the Prime Minister’s meeting. FROBISHER : Then I thank you on behalf of... ON PC : Then I thank you on behalf of the United Kingdom. RHYS : Did it speak ?! GWEN : It hasn't got a mouth, it's got bloody speakers ! CLEM : It hasn't got a mouth ! Gwen types. FROBISHER : The Russian Federation, the Commonwealth of Australia, the Citizens and territories of Canada and Japan and the Hellenic Republic, the Islamic Republic of Iran and the Republic of Iraq... Eyecam message :"Can't hear alien.". Lois writes something squiggly on the notepad. RHYS : It's bloody shorthand ! IANTO : No, I can read it, it says "yes". GWEN : This is a nightmare ! FROBISHER : ...and the Kingdom of Saudi Arabia. It might be easier if we take those names as read from now on, don't you ? 456 snarling and banging and puking some more too. Wormy things bang against the glass some more. A woman runs out with her hand over her mouth. PIERCE : What's it doing ? ODUYA : I don't know. Lois writes something. It looks a lot like the same squiggle as the first time. But Ianto has mad keen reading skillz. IANTO : What's it doing ? RHYS : What, is that what it said ? IANTO : No, that's Lois, saying that ! Gwen types "God knows". FROBISHER : Are you all right ? I'm sorry, but I can't help being concerned, is there a problem ? 456 : I'm sorry, but I can't help being concerned, is there a problem ? FROBISHER : Do you want me to continue ? 456 : Yes. IANTO : Yes. ON PC : Right, then. In the spirit of co-operation... FROBISHER : We have a formal request to make. We ask you not to use our children for communication. In case certain parties or territories might consider that a violation. Is that acceptable ? Big long pause. 456 : Yes. IANTO : Yes. ON PC : Thank you. PIERCE : Ask it, why it came to Britain. PRIME MINISTER : Hardly top of the agenda. PIERCE : Ask the question. FROBISHER : And, as a gift, and as welcome to this world, we've prepared a document summarising our culture and history. This document can be made available to you immediately. Though its format remains undetermined. Said format remains of your choosing, though this does not constitute a request for information on, or transfer of, specific 456 technology. While Frobisher was saying all that a note was being passed in the back of the room. It reaches Frobisher and he reads. FROBISHER : I have been given a request for specific information. It has been asked... why the 456 chose Great Britain as its chosen point of embarkation. 456 : We came here... Squiggle writing. The first three lines look a lot like they say the same thing. But the last line is longer. IANTO : We came here... GWEN : Because ? IANTO : That's all it's said ! 456 : You have no significance. You are middle men. Military chuckle. IANTO : You have no significance, you are middle men. GWEN : That's a lie, cos it's been here before that's why it's here now. Why... Why is it lying ? IANTO : It's Frobisher. He's got that thing to lie. They're on the same side. Whatever happened in the past, they're hiding it. Clem straightens up and sniffs. Outside in the dark Jack in the swish car wooshes around a corner. He parks. And turns the lights out. The 456 are still in a puke green smoke box. 456 : We have a request. FROBISHER : By all means. 456 : We want a gift. FROBISHER : Of course. But... what nature of gift... ON PC : What nature of gift exactly ? IANTO : A gift. FROBISHER : Gladly. But what d'you want ? 456 (Growling) : We want... your children. We will take your children. Hissing and banging and puking. ODUYA : What does it mean, children ?! IANTO : We will take your children. RHYS : What the hell for ? FROBISHER : I’m, I'm sorry, I think that there might be a problem, with the translation. Clem is pacing, upset. CLEM : They want to take them, like they did before. Like the man did. (He sniffs). He's coming back. He's coming back. GWEN : Not now Clem, just wait. CLEM : He's coming, he's coming. He's coming. He's coming. He's coming. He's coming. He's coming. He's coming. He's coming. He's coming. He's coming. He's coming. He's coming. f*re burning in the foreground. Flashbacks on every "He’s coming". Jack, in the coat, right there in 1965. And through the f*re in 2009 a figure becomes clearer. Jack. Jack walks out of the shadows. FROBISHER : By children, you mean... ? 456 : Your descendants. The offspring of the Human Race. FROBISHER : How many ? 456 : 10%. We want 10%. We want 10% of the children of this world. Shocked faces and a slow zoom on a puke covered box of smoke. INT NIGHT warehouse Hub2 Clem is shocked, Gwen is trying to calm him. Jack is impassive, standing straight, almost to attention. CLEM : He hasn't changed. He's the same. He's the same. He's the same. All those years. How can he be the same ? GWEN : What's he talking about, Jack ? JACK : Clement MacDonald. Just another name. It was easier, if you didn't know the names. GWEN : You were there ? In 1965. Flashbacks clearer. JACK : Walk into the light. Go on. CLEM : He was the man ! GWEN : No, no, this is what he does, you see, he fights them. He fights aliens, isn't that right, Jack ? JACK : No. GWEN : Then what were you doing there ? JACK : I gave them the kids. 1965, I gave them 12 children. GWEN : What for ? JACK : As a gift. END Credits

{"type": "series", "show": "Torchwood", "episode": "3x03 - Children of Earth, \"Day Three\""}

foreverdreaming

Previously... EXT. SCHOOLYARD CHILDREN : We are coming. We are coming. INT. LONDON CAFÉ sh*t of Lois through the spy contacts. LOIS : Where’s the camera ? Close-up on Gwen. GWEN : In my eyes. When you wear these, they’ll transmit a picture back to us and we’ll see what’s going on. More than that, we’ve got lip-reading software. LOIS : If anybody finds out what I’m doing, it’s treason. INT. ALICE’S HOUSE STEVEN : Grandma always said there’d be trouble. Alice pulls out a massive butcher Kn*fe from a Kn*fe block. INT. AGENT JOHNSON’S HQ Johnson is on the phone, speaker to Frobisher. JOHNSON : Do you know he’s got a daughter ? INT. FROBISHER’S OFFICE JOHNSON : And now, Alice Carter’s got a child of her own. His grandson. FROBISHER : Bring her in. EXT. ALICE’S HOUSE Soldiers rush towards Alice and Steven, she knocks one of them out with a cutting board. EXT. LONDON STREET Clem stands frozen, pointing at the column of f*re descending from the sky. INT. THAMES HOUSE Frobisher and Mr. Dekker shield their eyes as the fiery column descends through the ceiling and into the glass t*nk. INT. RHIANNON’S HOUSE A group of children pointing together in one direction, speaking in unison. CHILDREN : We are here. INT. THAMES HOUSE FROBISHER : But what do you want ? 456 : We want ten percent of the children of this world. INT. Warehouse Hub 2 CLEM : They want to take them, like they did before, like the man did. EXT. SCOTLAND, 1965 The orphans walk into the light, Jack visible behind them in his greatcoat. INT. Warehouse Hub 2 Gwen looks horrified, Clem looks frightened and disgusted. GWEN : You were there ? JACK : 1965... I gave them twelve children. EXT. SCOTLAND, 1965 Clem, left alone, turns around and disappears in the glaring lights. OPENING CREDITS EXT. SCOTLAND, 1965 A dark night, a car comes up a lonely road to meet a military convoy. A woman wearing a scarf around her head (Venessa) stands away from the other groups of soldiers. Jack stops the truck, climbs out, and walks over to meet her. VENESSA : This is the location they specified. A set of instructions coming through on the wavelength combination designated “456.” JACK : Did the give a name ? VENESSA : All we’ve got is that number, 456. INT. TRUCK, SCOTLAND, 1965 VENESSA : According to our alien friends, in four months’ time, the virus will mutate. It’s a brand-new strain of Indonesian Flu. They claim it could k*ll up to 25 million people. All our research seems to back up their figures. In 1918, the Spanish Flu outbreak k*lled something like 5 percent of the human race. JACK : I know, I was there. VENESSA : Well, this time we’re being offered a cure. It starts to rain outside. VENESSA : They’ll send the anti-virus, in exchange... JACK : How many children do they want ? VENESSA : Twelve. It’s like a sacrifice to the ancient gods. Twelve virgins. JACK : Just twelve... it sounds like a good deal. What do they want them for ? VENESSA : They say they’ll live forever. Jack laughs harshly. JACK : Sure. Why do you need me ? VENESSA : Assuming twelve children can be found, we need someone to deliver them. JACK : What, in case the aliens are hostile, you need someone who can’t die ? VENESSA : Actually, we need someone who doesn’t care. INT. Warehouse Hub 2, present day JACK : 1965, I gave them twelve children. Gwen looks horrified, wide-eyed. Clem cowers. GWEN : You just... handed them over and hoped for the best ? Quick cut to Clem, who flashes back to : EXT. SCOTLAND 1965 Jack, with 1960s slicked-back hair, is smiling charmingly. JACK : You just come with uncle Jack. INT. Warehouse Hub 2, present day Close-up on Clem, who is seeing the subject of all of his nightmares in the flesh. EXT. SCOTLAND 1965 The bus of children is winding its way through hills during the night. JACK : We’re... we’re going to go on an adventure, yeah ? We see young Clem, looking out a rain-spattered window. INT. BUS, SCOTLAND, 1965 sh*ts of young Scottish children, chattering excitedly. Clem does not talk to anyone. The bus stops in the middle of nowhere, a bunch of tiny pinpricks of light in the pitch-black hills. sh*t of Jack, who is driving the bus. JACK : Everyone off. INT. Warehouse Hub 2, present day A sh*t of Clem’s face. He looks horrified, remembering the laughter of his doomed friends. EXT. BUS, SCOTLAND, 1965 The children file off the bus. Soldiers gesture at them to stand in front of it. A few of them exchange uncertain, frightened looks. Jack stands in front of them, still smiling reassuringly. JACK : Here we go. All right, children, you follow me. Adventure. A sh*t of a few of the children, looking up at Jack admiringly. They follow him away from the bus obediently. A huge light appears in the sky. The children’s faces go blank and they stop walking. JACK : Okay, children, walk into the light. Do as I say. Looking hypnotized, the children process forward into the light. Clem stays behind, and Jack puts his arm around Clem’s shoulder. He looks up at Jack questioningly. YOUNG CLEM : What’s it do ? What is it ? JACK : Just go. YOUNG CLEM : It’s safe though, isn’t it ? INT. Warehouse Hub 2, present day Close-up on Clem. CLEM : Isn’t it ? Isn’t it ? EXT. SCOTLAND, 1965 Jack runs his hand comfortingly through Clem’s hair. JACK : Yeah. It’s safe. He pushes Clem towards the light. Clem turns back after a few steps. JACK : Keep going. You don’t want to be left out, do you ? Clem continues into the light, disappearing. Jack finally drops the unconvincingly charming façade, looking stricken. The children march in a group towards the light, Clem behind them. The light flares. Jack and the soldiers in the background all flinch. Cut to Clem running through a field alone, having escaped his friends’ fate. He stumbles and falls. Jack standing in front of the bus, the lights now off, turns around. JACK : Everyone okay ? SOLDIER : Yes, sir ! Jack stares at the road, now empty and dark, before turning and walking away. He meets up with Venessa again. She is listening to a radio. VENESSA : The information’s coming through now on the 456. It’s the anti-virus, just as they promised. JACK : Good night’s work. VENESSA : Maybe the gods were kind. maybe they are in paradise. JACK : No such thing. Cut to Clem, still running through the dark field, terrified. INT. Warehouse Hub 2, present day CLEM : You are in every nightmare I’ve ever had. JACK : I’m sorry. I’m really sorry. I... Clem surges forward, grabbing Gwen’s g*n. He sh**t Jack in the chest, and then looks horrified by what he’s done. Ianto rushes towards Jack, pulling his body into his arms, while Gwen tries to calm Clem down. GWEN : Okay, so... Clem brandishes the g*n at her. CLEM : Stay away ! GWEN : Give me the g*n, Clem. Come on. CLEM : You’re on his side. GWEN : Give it to me. CLEM : And he’s on their side. You’re all involved ! RHYS : Gwen, get away from him, he’s dangerous ! CLEM : I’m not dangerous ! GWEN : We know ! We know you’re not. We know that. CLEM : But that’s a lie. Isn’t it ? Isn’t it ? We both know. I... k*lled a man. I am dangerous. GWEN : Can I take that ? Clem surrenders the g*n to her, and she passes it off to Rhys before hugging Clem. Clem stares at Jack’s body. CLEM : But it wasn’t my fault... there is something up there. They want children. That man held my hand and took me to them. Jack gasps back to life, gripping Ianto tightly. GWEN : This is normal, this is what he does. Ianto knew it was going to be okay. CLEM : No ! Clem flees the scene, running to a different part of the warehouse. Gwen chases after him. GWEN : Clem ! Clem, it’s all right ! INT. Warehouse Hub 2, AWAY FROM MAIN AREA CLEM : Oh, it’s too much. Too much, isn’t it ? GWEN : You get to sh**t first, and ask questions later. How good is that ? CLEM : This is too much. Isn’t it. isn’t it ? Gwen holds her hand out to Clem. He takes it, and she leads him away from the shelf he’d been standing behind. GWEN : Watch your head. INT. Warehouse Hub 2, MAIN AREA Jack sits down next to Ianto. IANTO : I can’t believe you didn’t mention this before. JACK : They didn’t speak through kids back then. I didn’t recognize the signs at first. IANTO : That’s not what I meant. Rhys comes into the area. RHYS : They’re coming back. Clem and Gwen enter, Gwen with an arm around Clem. CLEM : The man who sent me and my friends to die can’t die himself ! INT. MILITARY PRISON Agent Johnson strides in, followed by Alice and Steven, followed by two armed guards. STEVEN : This is to do with uncle Jack, isn’t it ? ALICE : It’s a mistake. We’ll get us out soon. STEVEN : Will he get us out ? ALICE : Yeah. Steven is lead into a cell. Alice and Johnson hover just outside. JOHNSON : He doesn’t think Harkness is his grandfather ? ALICE : No. JOHNSON : I suppose it would take some explaining, when mum looks older than granddad. ALICE : I can only assume you’re holding me here as insurance against my father. But let me warn you, if you’ve angered him, God help you. JOHNSON : This from the woman who spent her life running away from him ? ALICE : And why do you think I did that ? A man who can’t die has got nothing to fear. So you watch it. And you keep watching. Alice goes into the cell. Johnson closes and locks the door. INT. Warehouse HUB 2 GWEN : It was a protection, right ? You knew they’d be back. JACK : I knew it was a possibility. GWEN : But you still gave them the payoff. JACK : We had no choice. CLEM : Why us ? JACK : You wouldn’t be missed. Everybody looks uncomfortable. CLEM : I can see that. JACK : All of this time, the one consolation I had was that... the deal seemed to work. Gwen shakes her head in disbelief. RHYS : It worked for forty-four years. That’s not bad for breathing space. CLEM : Why was I left behind ? What’s wrong with me ? GWEN : We know they only want pre-pubescent kids. Maybe it’s got something to do with that. Maybe you were just on the cusp of puberty, not quite adult, not quite child... RHYS : Saved by your hormones. Noise starts to come from the laptop, still hooked up to the special contacts Lois is wearing. GWEN : Is this still recording, Ianto ? I need every second of this. IANTO : Yeah. INT. THAMES HOUSE, FLOOR 13 Office personnel and officials file into the room, casting nervous glances at the 456’s t*nk. Frobisher, Bridget Spears, and Lois are in the lead. A cameraman films the t*nk. Frobisher steps forward to address the 456. Throughout Frobisher’s talk, we are shown sh*ts of different members of team Torchwood, looking onto the scene from the makeshift Hub. FROBISHER : Hello again. Before we consider your request, I’ve been asked for a point of clarification. Before we even discuss your... your request, we need to know exactly what it is you intend to do with the children. 456 : Somebody is watching. Some remnant. INT. Warehouse HUB 2 CLEM : It knows I’m here. INT. THAMES HOUSE The 456 spits goo and bangs against the walls of the t*nk, making an eerie shrieking noise. Everyone in the room takes a step back from the t*nk. INT. Warehouse HUB 2 CLEM : It knows ! INT. THAMES HOUSE The 456 has quieted. Lois begins to write in shorthand on her notepad. INT. Warehouse HUB 2 Ianto reads what Lois writes. IANTO : Somebody is watching. CLEM : I told you it knows, turn it off ! GWEN : It’s talking about the other camera, it doesn’t know about us. Shush. INT. THAMES HOUSE FROBISHER : The Prime Minister, the leader of this country, of the United Kingdom, is watching through this camera here. And he needs to know what would happen to our children if we were to hand them over to you. INT. GOVERNMENT BOARD ROOM The various government officials are gathered around a table, watching the dialogue between Frobisher and the alien. 456 : It is “off the record.” INT. THAMES HOUSE Frobisher looks shocked by what the 456 revealed. He approaches the t*nk. FROBISHER : Yes. 456 : Come in. INT. Warehouse HUB 2 IANTO : Come in. INT. THAMES HOUSE FROBISHER : In there ? 456 : With the camera. Come in. INT. GOVERNMENT BOARD ROOM The officials all looked shocked. INT. Warehouse HUB 2 CLEM : It’s hiding something. INT. THAMES HOUSE One man (Cameraman) is being prepared to be sent into the t*nk by being put into a red jumpsuit. He is being helped by Mr. Dekker and some doctors. MR. DEKKER: Right, is that okay ? CAMERAMAN : Yeah. MR. DEKKER: Okay, you’ll be able to hear us, and we can hear anything you say. Okay, I need a mouthpiece. There you go. Don’t take it off until the light in the airlock goes green. CAMERAMAN : Yes, sir. MR. DEKKER : Camera. The Cameraman is handed a camera. MR. DEKKER : I’ll be monitering you throughout. BRIDGET SPEARS : Good luck. CAMERAMAN : Thank you, ma’am. He proceeds into the t*nk. INT. GOVERNMENT BOARD ROOM The officials continue to watch in silence. INT. AIRLOCK The airlock is closed and flooded with the same thick fog that fills the 456’s t*nk. INT. THAMES HOUSE Mr. Dekker monitor’s the cameraman’s heart rate and blood pressure from outside the t*nk. INT. AIRLOCK MR. DEKKER : Air contact s*ab. The cameraman proceeds into the main part of the 456’s t*nk. INT. 456 t*nk It is blue and foggy. Nothing is visible. INT. GOVERNMENT BOARD ROOM The officials continue to watch, the broadcast from inside the t*nk dissolving into static every now and then. INT. 456 t*nk The cameraman aims the camera at the 456. It is dripping with green snot-like goo. We do not see the alien clearly, and can only make out that it has three vulture-like heads. INT. THAMES HOUSE MR. DEKKER : I’m getting three heartbeats. FROBISHER : It’s got three heads. MR. DEKKER : No, listen, there’s three distinct forms of life in there. Frobisher moves to speak into the communicator to the cameraman. FROBISHER : Get closer. INT. 456 t*nk The cameraman is on the verge of panic, breathing heavily and quickly, while aiming the camera at one of the 456’s heads. He finally discovers the child hooked up to the 456, and lowers the camera in horror. INT. THAMES HOUSE Close up on Frobisher, who looks alarmed. INT. GOVERNMENT BOARD ROOM sh*t of Prime Minister, Brian Green, who looks shocked. INT. Warehouse HUB 2 CLEM : No, no, no, no ! Clem is sobbing. Gwen covers her mouth in horror. INT. GOVERNMENT BOARD ROOM GENERAL PIERCE : Is that a child ? Where did it get him from ? Prime Minister looks very nervous. INT. Warehouse HUB 2 GWEN : It’s all of the kids from 1965. Cut to sh*t of Ianto and Rhys. Ianto starts to sniffle, looking away from the screen, while Rhys closes his eyes. Gwen makes a face of pure disgust. JACK : He’s still just a child. Jack walks away, sitting down apart from the rest of the group. RHYS : Do you think he knows ? Is he conscious ? INT. 456 t*nk Close up of the child, who is bald, grimy, and staring blindly with overly-huge eyes. He has something almost like a gasmask over the lower half of his face, a tube protruding from where his mouth should be. INT. THAMES HOUSE Lois has tears streaming down her face. INT. Warehouse HUB 2 The picture from the contacts starts to blur. CLEM : Wh-what’s happening ? GWEN : It’s Lois. She’s crying. INT. THAMES HOUSE FROBISHER : What have you done to him ?! INT. 456 t*nk The 456 spits snot at the walls and bangs against them. The cameraman gets covered in snot and starts trying to escape. INT. THAMES HOUSE Frobisher runs towards the t*nk. FROBISHER : Get him out of there ! Get him out of there ! The 456 begins to repeat the bargain Frobisher struck with it earlier in the series. It comes out in Frobisher’s voice, but garbled, as if it’s playing on a scratched CD. 456 : You will ensure the diplomatic relations between Earth and the 456. That previous encounter will be kept off the record. INT. GOVERNMENT BOARD ROOM GENERAL PIERCE : That’s John Frobisher’s voice. What’s off the record ? INT. THAMES HOUSE The cameraman has escaped the t*nk and is pulling off the snot-covered jumpsuit. Frobisher stares at the t*nk. The cameraman continues to pull off his clothes in panic. FROBISHER : This is unacceptable. 456 : We do not harm the children. They feel no pain. Lois records this on her notepad. INT. Warehouse HUB 2 Ianto reads Lois’s notes again. IANTO : We do not harm the children. They feel no pain. They live long beyond their years. Gwen seems numb. GWEN : Well, that’s okay then. JACK : But we still don’t know. What does it do with them ? What does it want them for ? RHYS : Bit late to ask now. IANTO : We have answered your question. You have one day to select and deliver the ten percent. INT. THAMES HOUSE FROBISHER : And if we refuse ? 456 : We will wipe out your entire species. INT. GOVERNMENT BOARD ROOM Everyone blinks in disbelief, taking a few deeps breaths in an attempt to settle themselves. The American General looks at Prime Minister accusingly, speaking coldly and furiously. GENERAL PIERCE : Am I to understand that this country has had dealings with these creatures before ? PRIME MINISTER : Apparently so. I would point out that I was only a child myself in 1965. GENERAL PIERCE : Nonetheless, you made the decision only this week, sir, to keep those previous negotiations secret ?! PRIME MINISTER : It could be said that perhaps it was... convenient for the moment... until further consideration. The general looks at him in utter disbelief, and then stands up from the table. GENERAL PIERCE : You’ll give us all files on 1965 immediately. And the United Nations will decide what measures to take against you, Mr. Green. The American general exits the room. INT. HUB 2, IN FRONT OF SOME WINDOWS Jack is standing alone, looking pensive. Ianto approaches, looking serious, but he addresses Jack sympathetically. Jack doesn’t look at him or show any emotion throughout much of this scene. IANTO : This must have been eating away at you. Jack is silent. IANTO : Why didn’t you tell me ? I could’ve helped. Jack shakes his head. JACK : No, you couldn’t. IANTO : I tell you everything. Jack finally looks at him. JACK : Ianto, tell me, what should I have done ? IANTO : Stood up to them. Jack looks away again. IANTO : The Jack I know would’ve stood up to them. I’ve only just scraped the surface, haven’t I ? JACK : Ianto, that’s all there is. IANTO : No. You pretend that’s all there is. JACK : I have lived a long time... I have done a lot of things. Ianto regards him sadly, rolling his eyes a little bit when Jack starts to charge off again. JACK : I’ve got to go, I won’t be long. Ianto turns around towards Jack. IANTO : You’re doing it again. Speak to me, Jack. Where are you going ? Jack turns around to face him again, getting angry. JACK : To call Frobisher. I can’t call him from here, cause they’d be able to trace it. Is that okay ? IANTO : You’re the boss. JACK : And just so you know, I have a daughter called Alice and a grandson called Steven, and Frobisher took them hostage yesterday. Jack turns and exits, leaving Ianto alone by the windows. EXT. Warehouse HUB 2 Jack walks toward a car alone, pulling on his coat and putting his hands in his pockets. INT. THAMES HOUSE Bridget Spears, Lois, and Frobisher sit on a bench, looking exhausted. FROBISHER : You two should get a couple hours of sleep while you can. BRIDGET SPEARS : So should you. Frobisher’s mobile rings. FROBISHER : It’s Harkness. (He mutters something indecipherable to Bridget about tracking a location of the call). Strong coffee, loads of. Lois leaves to get Frobisher coffee. During Jack and Frobisher’s phone call, there are quick cuts between Jack’s face in front of a brick wall in an unknown location, and the Thames House hallway where Frobisher and Bridget are. We eventually see sh*ts of the baldheaded secret agent who’s been tracking Jack for Agent Johnson, too. FROBISHER : Hello ? EXT. LONDON STREET JACK : Have you thought about what I said ? INT. THAMES HOUSE FROBISHER : Bit busy, to be honest. JACK : Let me put this right. Release my family and we can work together. FROBISHER : Give yourself up and they won’t be harmed. INT. AGENT JOHNSON’S HEADQUARTERS The agents are listening in on Jack and Frobisher’s telephone conversation. JACK : I wish I could believe that. FROBISHER : You can. JACK : You’ve spoken to the 456, haven’t you ? They want more children. INT. THAMES HOUSE FROBISHER : What makes you think that ? JACK : It doesn’t take a genius. Bridget is on the phone with Johnson’s special ops g*ng. BRIDGET SPEARS : They’re on to it now. EXT. LONDON STREET JACK : With them going so public this time, I think they want a lot more. Millions, even. If I have to stop you, then I’ll tell the world what’s really going on. There’s too much at stake not to. Jack hangs up. INT. THAMES HOUSE Frobisher hangs up, looking worried. INT. AGENT JOHNSON’S HEADQUARTERS Our baldheaded agent seems to have tracked down Jack, using the computer system to pinpoint a location, until it grinds to a halt, flashing the message "Trace failed". BALD AGENT : Lost him. I’ll try the satellite data. It’s going to take some time. INT. THAMES HOUSE Bridget Spears hangs up the phone. BRIDGET SPEARS : They’ll let us know when they get a location. Frobisher rubs his eyes, exhausted. FROBISHER : He’ll be gone by then. BRIDGET SPEARS : Why don’t you get your head down on the couch for an hour ? Lois hurries in. LOIS : Sorry, but the Prime Minister wants to see you. Frobisher looks to Bridget Spears, looking even wearier. She rolls her eyes. INT. GOLD COMMAND BOARD ROOM The politicians file back in. sh*t of Lois following closely on Bridget’s heels, Bridget instructing her. BRIDGET SPEARS : ...make sure it’ll run smoothly. Most important thing is to blend into the background, nobody should know you’re there. sh*t of the back of Frobisher’s head going into the board room, framed by the blue gridding of the special contact lenses. INT. Warehouse HUB 2 Gwen reads from the laptop screen, Clem seated beside her. GWEN : Cabinet office briefing, room A : Cobra. Where all the emergency planning takes place. IANTO : Gold Command meeting’s about to start ! The rest of the team converges around Gwen and Clem. CLEM : They’ll sell us out, just like they did last time. GWEN : I’m sorry to hear about your family, by the way. We’ll get them out. JACK : I know we will. On-screen, the politicians begin to talk. PRIME MINISTER : Ladies and gentlemen, it’s been decided that we’re going to make the 456 an offer. INT. GOLD COMMAND BOARD ROOM PRIME MINISTER : A realistic number, something we can manage, and then we see what happens. DENISE RILEY : You mean we’re going to haggle ? What about the military option ? DEFENCE SECRETARY : There’s nothing to take action against. Evidently, the 456 must have some sort of base of operations in orbit, but our satellites are showing nothing. Whatever’s up there is beyond or technology. DENISE RILEY : There’s a target sat in Thames House. DEFENCE SECRETARY : Taking that out would be a declaration of w*r. RICK YATES : A w*r we can’t win. PRIME MINISTER : That’s why I’ve invited John to address Gold. In terms of managing the figures, what could we offer and get away with ? INT. Warehouse HUB 2 The Prime Minister’s voice echoes around. Jack closes his eyes, guilty. His voice continues, distorted through the speakers, while Clem twitches. CLEM : Isn’t it, isn’t it ? It’s happening again. GWEN : Oh my God, they’re really going to do this. INT. GOLD COMMAND BOARD ROOM DENISE RILEY : Look, this won’t just be Britain, will it ? PRIME MINSISTER : The idea is that every country makes a camoflaugible contribution. FROBISHER : Can you pass me the FAS file, please ? INT. Warehouse HUB 2 RHYS : That’s it, now you’re talking. INT. GOLD COMMAND BOARD ROOM FROBISHER : Right, well, for a sstart, there are 21 children in Oakenton right now... 21 units, unaccompanied asylum-seekers awaiting deportation. INT. Warehouse HUB 2 GWEN : FAS... failed asylum seekers. Orphans in '65, asylum seekers today. There’s progress for you. INT. GOLD COMMAND BOARD ROOM RICK YATES : And no one would miss them. A pause, Prime Minister and Denise Riley exchange looks. RICK YATES : We need more. Can you bump the numbers up to sixty ? FROBSIHER : I... I think so. We can have them in from Oakenton first thing tomorrow. PRIME MINISTER : Thank you, John. Now go back to Thames House and consult with the 456. Make them an offer of sixty units, and no more. INT. FROBISHER’S CAR Frobisher sits in the backseat as he cruises to Thames House, looking contemplative and stressed. We see a sh*t of the car pulling up to the building. INT. FROBISHER’S HOUSE The phone rings. Mrs. Frobisher hurries to pick it up. ANNA FROBISHER : Hello ? FROBISHER : It’s me. ANNA FROBISHER: Well, h-how did it go ? INT. THAMES HOUSE Frobisher hurries up a flight of stairs while trying to reassure his wife. FROBISHER : All you need to know is there’s nothing to worry about. I’m sorry, I can’t explain, but trust me, don’t worry. INT. FROBISHER’S HOUSE ANNA FROBISHER : Well, have you slept yet ? INT. THAMES HOUSE Frobisher scoffs tiredly. ANNA FROBISHER : Well, are you on your way home ? FROBISHER : No time for that sweetheart, I’m afraid it’s a matter of utmost national security. INT. FROBISHER’S HOUSE A sh*t of Anna Frobisher, looking upset. ANNA FROBISHER : Are you safe ? INT. THAMES HOUSE FROBISHER : Of course I’m safe. You know where I am, just pushing papers about. I just need to make sure all of the documentation’s in place. INT. FROBISHER’S HOUSE Anna Frobisher grows more and more worried as Frobisher speaks. INT. THAMES HOUSE ELEVATOR Frobisher enters the elevator alone, pushing a button. FROBISHER : Did the bodyguards show up ? INT. FROBISHER’S HOUSE Anna Frobisher has progressed to numb with horror. ANNA FROBISHER : Yeah, they’re outside. FROBISHER : Good, good... good. INT. THAMES HOUSE ELEVATOR FROBISHER : I just wanted to say I love you, and I love the girls. INT. FROBISHER’S HOUSE Anna Frobisher listens to her husband, tears running down her face, but speaks steadily. ANNA FROBISHER : When will you be home ? INT. THAMES HOUSE ELEVATOR FROBISHER : Soon. Look, I’ve got to go. INT. FROBISHER’S HOUSE Anna Frobisher looks terrified. FROBISHER : I love you. She closes her eyes. INT. THAMES HOUSE ELEVATOR The elevator dings, Frobisher has arrived on floor thirteen. He hangs up the phone. INT. FROBISHER’S HOUSE Anna Frobisher has her eyes closed, and speaks after he’s already gone. ANNA FROBISHER : I love you, too. She dissolves into tears. INT. THAMES HOUSE, FLOOR THIRTEEN Mr. Dekker and Frobisher enter, standing in front of the 456’s t*nk. INT. GOLD COMMAND BOARD ROOM We see the entire Gold Command regarding the happenings on Floor Thirteen from afar. INT. FLOOR THIRTEEN FROBISHER : I’m sorry, but we’ve discussed your demands. We’ve arrived at a solution that might satisfy both parties. I’ve been authorized to offer you one child for every million people on planet earth. That’s about 6,700 in total; 62 from the UK alone. 456 : That is not acceptable. FROBISHER : 6,700. 6, 7, 0, 0. That’s our final offer, it’s more than generous. I’ll give you some time to think about it. INT. GOLD COMMAND BOARD ROOM We see the live feed of Frobisher stalking away from the 456’s t*nk. INT. FLOOR THIRTEEN 456 : 3, 2, 5, 0, 0, 0. 3, 2, 5, 0, 0, 0. EXT. RHIANNON’S HOUSE RHIANNON (voiceover) : You are turning this house into a bloody playschool. INT. RHIANNON’S HOUSE Rhiannon’s living room is full of children, she bustles around while Johnny reads a magazine. JOHNNY : Ten quid a kid is more like a charity. RHIANNON : And who’s doing all the work ? I don’t see you lifting a bloody finger ! The children all begin to chant in unison. CHILDREN : 3, 2, 5, 0, 0, 0. RHIANNON : Oh my God, they’re doing it again ! Mica, where’s Mica ? Mica ! CHILDREN : 3, 2, 5, 0, 0, 0. Close up on David’s face, staring blankly as he chants eerily with the other kids. Rhiannon finds Mica in her bedroom, speaking in unison with the rest. CHILDREN : 3, 2, 5, 0, 0, 0. JOHNNY : What is it ? CHILDREN : 3, 2, 5, 0, 0, 0. JOHNNY : What are you going on about ?! CHILDREN : 3, 2, 5, 0, 0, 0. JOHNNY : Lottery numbers, or what ? INT. FROBISHER HOUSEHOLD Frobisher’s children are frozen, chanting just like the others. Their mother sobs silently in the foreground. CHILDREN : 3, 2, 5, 0, 0, 0. INT. Warehouse HUB 2 Clem speaks with the children, too. CLEM : 3, 2, 5, 0, 0, 0. Gwen types the number that he’s been repeating into her computer. RHYS : Coordinates ? Grid reference, maybe ? CLEM : 3, 2, 5, 0, 0, 0. INT. TV Different reporters on different television stations report the 456’s shenanigans with the children. All of them have the numbers chanted in their countries beneath them in text boxes. BRITISH REPORTER : Children in different countries are saying different numbers. FRENCH REPORTER : Ici en France, le nombre est 4, 4, 8, 0, 0, 0. AMERICAN REPORTER : The children of America are saying 2, 3, 4, 0, 0, 0, 0. BRITISH REPORTER : What is the meaning of 3, 2, 5, 0, 0, 0 ? INT. GOLD COMMAND ROOM RICK YATES : It’s confirmed. 325,000 is ten percent of the children... uh, units in this country. Every country is saying a different number, which in each case amounts to ten percent. PRIME MINISTER : I think it’s fair to say that our final offer has just been rejected. Everyone sits in silence for a moment. PRIME MINISTER : Okay, thanks everyone, let’s take a break. All of the bureaucrats start to leave the table. Yates stands to leave, addressing the Prime Minister as he gathers his things. RICK YATES : It’s worth considering, sir. The world’s population will be nine billion by 2050. That’s a two-and-a-half billion rise. The UK will go from 66 million to 71, every one of them needing food, water, a home, transport, fuel, t.v.s and fridges... PRIME MINISTER : Rick, Rick, Rick... what are you suggesting, a cull of ten percent would do us good ? RICK YATES : I’m just saying, if we need to spin this to the public, and God knows at the moment that spin is all we can do, then in an age when we’re terrified by the planet’s dwindling resources, a reduction in the population could possibly, just possibly, if presented in the right way, be seen as... good, sir. INT. AGENT JOHNSON’S HQ AGENT JOHNSON : Anything ? BALD AGENT : It’s all gone quiet. All our usual sources from the government... the Army, White Hall... have all gone silent. Whatever’s happening in London, no one’s breathing a word. AGENT JOHNSON : It’s time I found out what’s going on. I’m taking a squad to London. Are the roads still blocked ? BALD AGENT : Only in the city. AGENT JOHNSON : Then patch me through a clear route, and keep watching for Harkness. If it’s happening in London, then that’s where he’ll be. She moves quickly out the door. INT. GOLD COMMAND BOARD ROOM PRIME MINISTER : With regrets, ladies and gentlemen, I have to tell you that we’re now facing the worst-case scenario. And right now we don’t have time for a discussion on ethics, I’m afraid hand-wringing will have to wait. All we can do at the moment is address a number of vital and practical questions. RICK YATES : Namely, how do we select the ten percent ? Who would go ? How would we transport them ? And, how could we sell it to the voters ? PRIME MINISTER : John ? FROBISHER : Well, the selection’s not down to me. PRIME MINISTER : Nevertheless. Practical solutions, please. FROBISHER : Once the selection has been made, then my department can arrange to bus all the children to the rendezvous points together, school by school. My staff are compiling various school databases. As the politicians speak, Lois takes notes in shorthand. INT. Warehouse HUB 2 Gwen and Clem on the laptop as Lois takes notes on what’s being said. Ianto reads aloud. IANTO : You just need to decide what criteria you’d use for selection. INT. GOLD COMMAND BOARD ROOM FROBISHER : Which is out of my hands. Over to you, sir. The Prime Minister contemplates this for a moment, before turning to look at the other people sitting at the table. PRIME MINISTER : Anyone ? Nobody answers, all of them refusing to make eye contact with the Prime Minister or each other. PRIME MINISTER : Might I remind you, the clock is ticking. DEFENCE SECRETARY : It would have to be random. DENISE RILEY : Nobody would believe it was random, not when they’re waiting at school gates for empty buses to return. DEFENCE SECRETARY : Well, if the system we use is demonstrably fair and reasonably random, at least we can defend ourselves. DENISE RILEY : You’re willing to risk your kids to make it look fair ? DEFENCE SECRETARY : Then how else can we choose ? RICK YATES : We could do it alphabetically. DENISE RILEY : Oh, yes, thanks Mr. Yates. RICK YATES : I didn’t mean... I’ve got no kids, I wasn’t trying to... DENISE RILEY : Yes, no kids, and no consequences. She turns to the Prime Minister. DENISE RILEY : And yours are already grown up. PRIME MINISTER : Let’s keep this civil, Denise. DENISE RILEY : Oh, yes ! Let’s discuss the loss of millions of innocent children, and let’s be civilized about it. PRIME MINISTER : If you wouldn’t mind, yes. DEFENCE SECRETARY : Could we limit it to one loss per family ? Second born child ? FROBISHER : That would take more time, more organization; time we don’t have. DEFENCE SECRETARY : So, it would have to be one school at a time ? DENISE RILEY : Look, I’m going to say what everyone else is thinking. If this lottery takes place, my kids aren’t in it. INT. Warehouse HUB 2 The voice of Prime Minister echoes through the laptop to where Team Torchwood is listening. PRIME MINSITER : I’m sure the families of Gold Command will be exempted anyway. CLEM : That bastard. Isn’t it. DEFENCE SECRETARY : ...our children get protection. GWEN : Of course they bloody do. INT. GOLD COMMAND BOARD ROOM DEFENCE SECRETARY : So, we could have a show of hands. I hate to be crass, but under these circumstances... DENISE RILEY : Well, who votes ? Those with kids, or those with no interest to declare ? PRIME MINISTER : No one votes. It’s down to me to make an executive decision. RICK YATES : Do you need some time ? PRIME MINISTER : Nope. Whatever happens, the children and grandchildren of everyone around this table will be exempt. Frobisher closes his eyes in relief. DENISE RILEY : What about nieces and nephews ? PRIME MINISTER : Don’t push your luck. DENISE RILEY : You seriously expect me to look my brother in the eye... DEFENCE SECRETARY : We need to limit the number of people... They all begin to talk over each other. DENISE RILEY : ...to look him in the eye and what, just give him a condolence card ? PRIME MINISTER : That’s the responsibility of government, Denise. DENISE RILEY : No, the first responsibility is to protect the best interests of this country, right ? Then let’s say it. In a national emergency, a country must plan for the future, and must discriminate between those who are vital to continued s*ab and those who are not. And now that we’ve established that our kids are exempt, the whole principle of random selection is d*ad in the water anyway... DEFENCE SECRETARY : Only so far as... DENISE RILEY : Let me finish. Now look, on the one hand, you’ve got the schools, and I don’t just mean those producing graduates. I mean the pupils that will go on to staff our hospitals, our offices, our factories; the workforce of the future. We need them. Accepted, yes ? So, set against that, you’ve got the failing schools; full of the less able, the less socially useful. Those destined to spend a lifetime on benefits, occupying places on the dole queue, and, frankly, the prisons. Now, look, should we treat them equally ? God knows we’ve tried and we’ve failed, and now the time comes to choose. And if we can’t identify the lowest achieving ten percent of this country’s children, then what are the school league tables for ? There is silence around the table. PRIME MINISTER : Anyone want to speak against that ? Frobisher looks disgusted, Yates looks at his lap. The other politicians do not make eye contact with anybody around the table. PRIME MINISTER : Then there we have it. John, you have your criteria. We’ve selected the ten percent. INT. Warehouse HUB 2 GWEN : We’ve got enough evidence recorded here to destroy every person in that room. JACK : And we can use it to force our way into Thames House, finally get face-to-face with this thing. GWEN : And get your family released. Jack breathes deeply, then starts giving out orders. JACK : Right, everyone know what they’re doing ? GWEN : What if I can’t get Lois to agree to this, Jack ? JACK : She hasn’t let us down yet. Rhys, you ready ? Ianto rushes forward, he and Jack load their g*n. Jack looks Ianto in the face as he speaks. JACK : Let’s go stand up to them. IANTO : Yes, sir. They exit the warehouse, concealing their w*apon. EXT. Warehouse HUB 2 Jack and Ianto climb into the sports car they nicked from a londoner in Day Two. They buckle up and zoom off, Jack behind the wheel. INT. LADIES’ ROOM Lois splashes water on her face, and looks into the mirror. Gwen types her a message : GWEN : We can stop this, but we need your help. INT. TV BRITISH REPORTER : The government has yet to give a reason why the children have stated a number that is equal to ten percent of the child population of each country. FRENCH REPORTER : (French words to the same effect of those of the British Reporter) ...a demandé à la Grande-Bretagne qu’elle fasse une declaration... AMERICAN REPORTER : All eyes are now turning toward the United Kingdom as we ask what exactly they are hiding. BRITISH REPORTER : London remains gridlocked in the city center. EXT. LONDON STREET Jack and Ianto speed up in the flashy car, only to get stuck in traffic. They jump out, intending to complete the journey to Thames House on foot. Ianto pulls out his mobile to call Rhiannon. INT. RHIANNON’S HOUSE Children run around, laughing and screaming. The phone rings, and Rhiannon moves to pounce on it. RHIANNON : Quiet, you lot, now, shut up ! Hello ? IANTO : It’s me. RHIANNON : Oh, I... I thought you couldn’t call here. Is it all over ? INT. AGENT JOHNSON’S HEADQUARTERS The bald agent is listening in on Rhiannon and Ianto’s phone call. IANTO : It’s only just beginning. INT. RHIANNON’S HOUSE Johnny enters. RHIANNON : It’s Ianto. JOHNNY : Tell him I want my in one piece. EXT. LONDON STREET Jack and Ianto are still making their way through the mass of traffic and people on their way to Thames House. IANTO : Listen, that column of f*re over London, did you see it on the telly ? RHIANNON : No, I was watching the other side. Of course I did, you dumbo. What’s happening ? The kids said “we are coming”, but who’s they ? Who is it ? INT. AGENT JOHNSON’S HEADQUARTERS As Rhiannon speaks, our bald agent pulls up coordinates of London in an attempt to track Ianto’s location. EXT. LONDON STREET IANTO : Just stop a minute and listen. INT. RHIANNON’S HOUSE RHIANNON : Ianto, just tell me, who are they ? EXT. LONDON STREET IANTO : They’re from another planet. INT. RHIANNON’S HOUSE Rhiannon looks horrified, and perhaps a little disbelieving. IANTO : They want children, that’s why they’re here. RHIANNON : They what ? INT. AGENT JOHNSON’S HEADQUARTERS The baldheaded agent listens in on his headset with interest, a look of concern coming over his face. IANTO : They want kids, millions of them. INT. RHIANNON’S HOUSE RHIANNON : Why ? IANTO : I’m not sure. EXT. LONDON STREET IANTO : But for the next few days, don’t let anyone take David or Mica away from you, for whatever reason. This goes for you people listening in on the wire, too. Forget the Official Secrets Act. If you’ve got children or grandchildren you need to hear this, and you need to tell every parent you know. INT. AGENT JOHNSON’S HEADQUARTERS BALD AGENT : I’ve found Jones. We can assume Harkness is nearby. INT. SQUAD CAR AGENT JOHNSON : Okay. Let’s go. INT. RHIANNON’S HOUSE Rhiannon is listening, rapt, to Ianto, with her face full of concern for her little brother. IANTO : Look, I’ve got to go. I love you. Don’t let the kids out of your sight. I love them, too. I’m even warming to Johnny a bit. Rhiannon smiles. RHIANNON : We love you too. The line goes d*ad. RHIANNON : Ianto ? Ianto, are you there ? Rhiannon hangs up the phone and walks to her daughter, pulling her into a hug. JOHNNY : What is it ? What did he say ? Come on, Rhi, what did he say ? Rhiannon doesn’t respond. INT. Warehouse HUB 2 Gwen hands a laptop to Rhys, clearly in the process of packing him up so that he can get out. GWEN : You’ve got to go now. RHYS : You’re just getting me off of your hands, aren’t you ? You don’t think I can hack in. GWEN : You’re the most important part of this whole plan. She kisses Rhys. GWEN : Now go, you’ve got a job to do, there isn’t much time. Rhys starts to amble off, and she motions at him to go faster. He leaves the warehouse at a run. EXT. LONDON STREET Agent Johnson and her squad show up where Jack and Ianto had been walking a few moments previously, but the street’s deserted now. She talks to her bald agent on her headset. AGENT JOHNSON : Long gone. Move out. BALD AGENT : I’ve done a sweep of the surrounding area : two miles south there’s a warehouse area in Battersea. It used to be an old holding facility for Torchwood One, back in the nineties. Could be significant; Ianto Jones worked for Torchwood One. Johnson climbs back into the car. AGENT JOHNSON : Can you pinpoint the location ? BALD AGENT : I’m onto it now. The squad speeds off. INT. GOLD COMMAND BOARD ROOM FROBISHER : We need a cover story to explain why the operation is happening, and to encourage participation. So the suggestion is we announce the children will be given some sort of inoculation; a jab to stop them speaking in unison. We stress that there’s no immediate danger, that everyone will be seen in due course. Then when it goes wrong and the children disappear, we blame the aliens. Claiming innocence, we face the music. DEFENCE SECRETARY : We say the 456 double-crossed us ? INT. Warehouse HUB 2 Gwen watches the proceedings on the laptop, appalled. Her mobile rings. EXT. LONDON STREET Jack and Ianto are still on their march through London. Ianto speaks to Gwen. IANTO : Okay, Gwen, we’re here. GWEN : Take care. INT. Warehouse HUB 2 Gwen hangs up the phone. INT. AGENT JOHNSON’S HEADQUARTERS We see a "location confirmed" message pop across the bald agent’s screen, pinpointing Gwen’s location to the suspected Torchwood One warehouse from earlier. BALD AGENT : Positive ID, Gwen Cooper, Torchwood warehouse. INT. Warehouse HUB 2 Gwen is still at the laptop, typing to Lois. GWEN : Jack is in position. Let’s do it. INT. GOLD COMMAND BOARD ROOM Lois is watching the politicians attempt to wash their hands of the blood of millions of innocent children. RICK YATES : It is the aliens’ fault, and that’s where the blame should lie, not with us. FROBISHER : We play the part of naive dupes rather than willing accomplices. PRIME MINISTER : We’re not willing. No one in this room is a willing accomplice. EXT. SQUAD CAR Agent Johnson and co. are rushing to get to the makeshift Hub to find Gwen. The bald agent speaks to her over the radio. BALD AGENT : Right, all clear. ETA Torchwood warehouse, 88 seconds. EXT. LONDON STREET Jack and Ianto continue to stride purposefully. INT. Warehouse HUB 2 Gwen is typing to Lois. GWEN : Jack is in position. Do it now. INT. GOLD COMMAND BOARD ROOM PRIME MINISTER : Thank you, gentlemen. Comments ? Anyone ? Lois begins to raise her hand, a bit timidly, ignored by the politicians. RICK YATES : This is going to take a hell of a lot of organization. We’re going to have to tell the police to stand down and put the army in their place. We barely have time to talk, we need to get this thing moving. The Prime Minister takes off his glasses, preparing to leave. Nobody has noticed Lois raising her hand. PRIME MINISTER : Then, shall we reconvene at 1800 ? LOIS : Excuse me ? The Prime Minister looks directly at her. BRIDGET SPEARS : Lois, stop it. LOIS : I have something to say. Frobisher turns to look at her now, as well. The Prime Minister speaks dismissively to her. PRIME MINISTER : Really. Well, it’s nice that you want to make a contribution, what was your name ? LOIS : Lois. Lois Habiba, sir. As she says her name, Lois stands up. PRIME MINISTER : Well, thank you for your hard work, Lois, it’s much appreciated, but this really isn’t the best time. LOIS : I’m sorry, sir, I know I’m only supposed to be here to take notes, but, um, I am a voter. RICK YATES : Listen, love, this isn’t a referendum. Bridget Spears rises from her seat as well, looking deeply displeased with Lois’s display of impropriety. BRIDGET SPEARS : Lois, could I have a word outside ? Lois looks resolved now, nervousness gone. LOIS : No, it needs saying. FROBISHER : Lois, seriously, not now. LOIS : And I’m not just speaking on my own behalf. Yates heaves a sigh of exasperation. RICK YATES : Oh, just what we need, a revolutionary. LOIS : If you like, sir, that’s what I am. RICK YATES : Oh yeah ? You and whose army ? LOIS : Torchwood. This finally gets the attention of the politicians. PRIME MINSTER : What ? FROBISHER : Don’t be ridiculous. INT. Warehouse HUB 2 Gwen’s face shifts from nervous to triumphant. GWEN : I think she’s doing it... good girl ! INT. GOLD COMMAND BOARD ROOM LOIS : But Torchwood has been recording all these meetings, and everything that’s been said around this table, every single word spoken by every single one of oyu will be made public, unless you do exactly what Torchwood says. EXT. Warehouse HUB 2 Agent Johnson and her squad cars zoom up to the exterior of the warehouse where the makeshift Hub is housed. The agents leap out of the car dressed in full riot gear, sprinting to get into place. INT. Warehouse HUB 2 Gwen and Clem are seated, intently regarding the proceedings with the politicians. The agents burst in, training their g*n on Clem and Gwen. Clem gets up in fear, but Gwen remains seated, her expression cool. CLEM : Whoah. INT. THAMES HOUSE Jack and Ianto have finally reached their destination. They enter Thames House, walking past the security guards, who have drawn their w*apon, with their g*n raised above their heads. JACK : Jack Harkness, Ianto Jones. We’re Torchwood. They slam their g*n onto the security desk in unison. INT. Warehouse HUB 2 Gwen turns away from the laptop to look at Agent Johnson. She’s still smiling serenely. GWEN : We’ve been expecting you. AGENT JOHNSON : On the floor ! Face down, hands on your head ! Clem obeys. Gwen remains seated. GWEN : You traced Ianto’s calls, did you ? AGENT JOHNSON : On the floor ! Johnson is angry, Gwen is still forceful but totally calm. GWEN : And now that you’re here, you can take me to Alice and Steven Carter. AGENT JOHNSON : You’ll be in the very next cell. On second thought, maybe I’ll just have you sh*t while resisting arrest. GWEN : That would me a mistake. AGENT JOHNSON : Why ? GWEN : Take a look at what we’ve been recording. At the sound of Prime Minister’s voice starts to echo out of the laptop. Johnson lowers her g*n and moves forward ever so slightly. INT. GOLD COMMAND BOARD ROOM PRIME MINISTER : And how exactly are you going to make us do this ? Torchwood’s been destroyed. LOIS : I’m afraid not, sir. Right now, Captain Jack Harkness, head of the Torchwood Institute, is in the MI5 building. So you’re going to stand aside, and let him do his job, and deal with the 456, immediately. And, uh... I think that’s it. INT. Warehouse HUB 2 GWEN : What she’s telling them is my gorgeous husband has recordings of them all secretly agreeing to sacrifice millions of innocent children to the aliens. Now, him and his laptop, at this very moment, are in a secret location. And he’s ready to press send and tell the whole world what’s been going on, unless you do exactly as we say. There is a pause, and Agent Johnson’s face softens slightly. GWEN : Take a seat, maybe you’ll learn something about the people you’ve been working for. Come on, Clem. Gwen reaches down to Clem, who was cowering on the floor in the face of the agents’ g*n. INT. THAMES HOUSE ELEVATOR Jack and Ianto get up to floor thirteen, rushing out as soon as the doors ding open. There are some guards there, too. Jack addresses Mr. Dekker. JACK : I want to feed the live TV pictures directly to this number, can you do that ? Mr DEKKER : I can do that. They move purposefully down the hall to the room where the 456 is being housed. INT. FLOOR THIRTEEN Jack and Ianto stand directly in front of the t*nk, side-by-side, facing the 456. Jack wastes no time in addressing the alien. JACK : I’m Captain Jack Harkness. I’ve dealt with you lot before. I’m here to explain why this time, you’re not getting what you want. 456 : You yielded in the past. INT. GOLD COMMAND BOARD ROOM The politicians are watching Jack and Ianto converse with the 456. As Jack owns up to the fact that he was involved in the 1965, the Prime Minister and Frobisher exchange a glance. JACK : And don’t I know it. I was there. In 1965, I was part of that trade, and that’s why I’m never going to let it happen again. INT. FLOOR THIRTEEN 456 : Explain. JACK : There’s a saying here on Earth, a very old, very wise friend of mine taught me it : an injury to one is an injury to all. And when people act according to that philosophy, the human race is the finest species in the Universe. IANTO : Never mind the philosophy. What he’s saying is you’re not getting one solitary, single child. The deal is off. JACK : Uh, I like the philosophy. IANTO : I gathered. 456 : You yielded in the past. You will do so, again. JACK : In the past, the numbers were so small they could be kept secret, but this time, that is not going to happen. INT. Warehouse HUB 2 Clem, Gwen and agent Johnson are watching the proceedings in Thames House as well. JACK : Because we’ve recorded everything. All the negotiations. INT. GOLD COMMAND BOARD ROOM JACK : Everything the politicians said. Everything that happened in this room. And those tapes will be released to the public. Denise Riley, the Prime Minister and the others look startled. INT. FLOOR THIRTEEN JACK : Unless you leave this planet for good. 456 : You yielded in the past. You will do so again. JACK : When people find out the truth, you will have over six billion angry human beings taking up arms to fight you. That might be a fight you think you can win, but at the end of it, the human race in defense of its children will fight to the death. And if I have to lead them in to battle, I will. IANTO : You’ve got enough information on this planet. Check your records. His name is Captain Jack Harkness. Go back a hundred and fifty years and see what you’re facing. 456 : This is fascinating, isn’t it ? INT. Warehouse HUB 2 Clem twitches at the 456’s statement. CLEM : Isn’t it, isn’t it ? It knows I’m watching. INT. FLOOR THIRTEEN 456 : The human infant mortality rate is 29,158 deaths per day. Every three seconds, child dies. The human response is to accept, and adapt. JACK : We’re adapting right now, and we’re amking this a w*r. 456 :Then the fight begins. JACK : We’re wating for your reply. 456 : Action has been taken. Alarms blare; Thames House goes lockdown. JACK : What have you done ? 456: You wanted a demonstration of w*r. A virus has been released. It will k*ll everyone in the building. INT. Warehouse HUB 2 AGENT JOHNSON : Can we override it ? GWEN : I don’t know. INT. GOLD COMMAND BOARD ROOM FROBISHER : The building’s designed to withstand chemical and biological att*ck. Nothing or no one can get in or out. PRIME MINISTER : Ugh. Happy now ? INT. THAMES HOUSE Office persons rush out of the elevator, screaming and panicking. Some of them are already starting to collapse, and are trampled by the others. INT. FLOOR THIRTEEN HALLWAY Jack runs in, addressing the guards from earlier. JACK : The air’s poison. Call someone. Shut down the air conditioning, block every air vent. Get gas masks, hazard suits, oxygen cylinders. INT. THAMES HOUSE STAIRWELL Well-dressed bureaucrats continue to trample each other in their futile attempt to escape the virus. Mr. Dekker is among them. INT. FLOOR THIRTEEN Ianto cocks his g*n and aims it at the 456’s t*nk, but is totally calm as he speaks. IANTO : If there’s a virus, then there must be an antivirus. Release it now, or I’ll blow a hole in that t*nk, and we’ll all die together. Jack runs back in, frantic. Panic is obvious in his voice. JACK : You made your point, now stop this and we can talk. 456 : You are dying, even now. Jack and Ianto f*re at the t*nk. The b*ll*ts ricochet off the glass, leaving no holes or even scratches. They lower their g*n as the 456 lets out a piercing screech. The dial on the front of its t*nk fluctuates wildly. JACK : What’s that noise ? What’s it doing ? Green mucus splatters against the t*nk wall as the alien continues to shriek eerily, banging its creepy claws against the glass. INT. Warehouse HUB 2 Clem screams in agony, holding his head in his hands. The 456’s screams can be heard here. Gwen gets up and rushes over to him. GWEN : Turn it off, turn it off ! Johnson switches off the laptop, but Clem continues to cry out. Gwen pulls him into her arms; blood is coming out of his ears. INT. FLOOR THIRTEEN Jack turns to Ianto, putting his hands on his shoulders so that they’re in an embrace that mirrors Gwen and Clem’s. Jack’s eyes are already filling with tears. JACK : We’ve got to get you out of here. I can survive anything, but you can’t ! IANTO : Too late. I’ve breathed the air. JACK : There’s got to be something... there’s got to be an antidote ! Ianto is already visibly weakening. 456 : You said you would fight. Jack lets go of Ianto, turns to shout helplessly at the 456’s t*nk. JACK : Then I take it back, alright ? I take it all back... but not him ! Ianto falls to his knees, Jack sinks down with him in a futile attempt to keep him up. JACK : No ! No, no, no, no, no, no, no... no ! No. Ianto. No, no, no... Ianto is sprawled on the floor, Jack cradles him and cries. INT. Warehouse HUB 2 Clem is having a much more violent death than Ianto... he’s flailing around and screaming while Gwen tries to hold on to him. Agent Johnson looks on in horror. Blood runs from Clem’s nose and ears. INT. FLOOR THIRTEEN 456 : The remnant will be disconnected. The dial on the t*nk twitches like mad, then falls still. INT. Warehouse HUB 2 Clem stops screaming with a groan. Gwen continues to hold him for a moment before she realizes what has happened. She lays him gently down on the bench. Gwen and Johnson are wearing the same expression, for once: shock. GWEN : He’s d*ad. What about Thames house ? AGENT JOHNSON : They can’t get out. Gwen buries her face in her hands, slumped over in defeat. GWEN: ...d*ad. INT. THAMES HOUSE There is no sound in this montage, only the music. Mr. Dekker runs down a hallway alone, to where his equipment for monitoring the 456 was stored in Day One. People in business attire still run about frantically, toppling over and trampling each other in their desperate bid for escape. Mr. Dekker makes it to a hazard suit. He flings off his shoes and pulls it on. Guards use hammers to attempt to break the doors, but it’s of no use : nobody can get out. We see an exterior sh*t of the front door of Thames House... people are banging on the doors. They begin to sink to the floor, almost as one. Mr. Dekker breathes in his suit, his breath fogging his safety helmet just as the others’ breath fogged the front doors. INT. FLOOR THIRTEEN JACK : It’s all my fault. IANTO : No it’s not. JACK : Don’t speak, save your breath. Ianto begins to sob a bit. IANTO : I love you. Jack shakes his head. JACK : Don’t. Ianto’s eyes fall closed... Jack shakes him a little in desperation, his voice breaking during the next line. JACK : Ianto. Ianto ? Ianto, stay with me. Ianto, stay with me please... stay with me, stay with me, please ! Ianto opens his eyes again, and looks up at Jack. Jack is crying. They’re both trying to be strong for each other but it’s of no use. IANTO : Hey. It was... good, yeah ? JACK : Yeah. IANTO : Don’t forget me. Jack smiles. JACK : Never could. IANTO : A thousand years’ time... you won’t remember me. JACK : Yes I will. I promise, I will. Ianto gasps a bit, finally dying. JACK : Ianto. Ianto ? Don’t go. Don’t leave me, please. Please, don’t... 456 : You will die. And tomorrow, your people will deliver the children. Jack looks up at the 456, the picture of tragedy: he has tears running down his face and is clutching Ianto’s body. He places a gentle kiss on Ianto’s lips and falls beside him. INT. GOLD COMMAND BOARD ROOM They were watching Jack and Ianto’s doomed stand: there is utter silence in the room. PRIME MINISTER : What now ? RICK YATES : Two choices : eigher we go to w*r against an enemy we can’t b*at, or we go to w*r against our own people, for their own good. DENISE RILEY : An injury to one is not an injury to all. We can’t go to w*r, we have to surrender. PRIME MINISTER : Thirty-five million children. DENISE RILEY : Or 6.75 billion people. The Prime Minister addresses Frobisher. PRIME MINISTER : Start putting your plan into action. INT. MORGUE Gwen follows two soldiers down an aisle among rows and rows of bodies covered in blood red tarps. One points off screen for her, directing her to her fallen comrades. SOLDIER : 13, 14. Gwen stands, steeling herself for a moment. She slowly moves forward, her boots clicking loudly in the d*ad silent room. She kneels down between the bodies labeled 13 and 14. She pulls the cover off of the first body, revealing Jack. Looking down at his body, she smiles tenderly. A dark look comes over her face as she glances down at the other body. She remains still for a moment before she pulls back the cloth to look at Ianto. Unlike Jack, he’s pale and obviously will not be coming back. Jack gasps to life, but softly, unlike his usual huge intake of breath. He sits up, looks forward, glances to his side, and then stares at his lap, unable to look at Gwen and Ianto beside him. Gwen begins to cry softly. Jack comes up behind her and puts his arms around her, and together they look down at Ianto. GWEN : There’s nothing we can do. END

{"type": "series", "show": "Torchwood", "episode": "3x04 - Children of Earth, \"Day Four\""}

foreverdreaming

Previously... sh*t of children in schoolyard, stopped. CHILDREN (voice-over) : We are coming. CUT to : Children in Rhiannon Davies' home, all standing and pointing in the same direction. CHILDREN (voice-over) : We are coming. CUT to : The pillar of f*re cutting down through the clouds over Thames House. CUT to : Floor 13, where Frobisher and Dekker recoil from the light. CHILDREN (voice-over) : We are coming. CUT to : sh*t of the fiery descent of the 456 into the t*nk. CHILDREN (voice-over) : We are coming. Quick CUT to : 456 flippers and snot hitting the glass. Quick CUT to : Clem screaming and holding hands over bloody ears, Gwen holding him. Quick CUT to : People in Thames House screaming, fleeing for their lives. Quick CUT to : The 456 behind the glass of their t*nk. 456 : We want ten percent of the children of this world. CUT to : The child attached to the 456, as seen in Day Four. FROBISHER (voice-over) : And if we refuse ? CUT to : More panicking people running down the steps, trying to get out of Thames House. 456 (voice-over) : We will wipe out your entire species. CUT to : A sh*t of a door closing in a vent shaft. CUT to : Jack and Ianto in the Hub, from Day One. JACK : I can survive anything but you can't. CUT to : A sh*t of gas filling the t*nk, from Day Three. CUT to : Ianto abruptly collapsing, from Day Four. JACK : No, no, no, no, no, no, not him ! CUT to : A sh*t of the people in Thames House beating themselves futilely against the sealed, shatterproof outer doors. They begin to sag and collapse, already dying. 456 (voice-over) : And tomorrow your people will deliver the children. CUT to : Jack leaning to place one last kiss on Ianto's lips. Opening credits A moment of snow and static fills the screen, like the tracking on a videotape; then Gwen, facing straight into the camera, shadow covering her lower face. Her voice sounds tinny, as if we're watching a recording. GWEN : There's always one thing I meant to ask Jack, back in the old days. I wanted to know about that Doctor of his. The man who appears out of nowhere and saves the world, except sometimes he doesn't. As she speaks, images flash onto the screen, also looking as if they're playing on a screen : children being torn from their mothers' arms by soldiers; children crying on buses, being driven off; mothers raging, shouting in protest. GWEN : All those times in history when there was no sign of him. I wanted to know why not. But I don't need to ask anymore. I know the answer now. Sometimes the Doctor must look at this planet and turn away in shame. I'm recording this in case anyone ever finds it, so you can see... you can see how the world ended. The picture blurs and goes to static. CUT to : A sh*t of London, overlooking the Thames River. CUT to : A closer sh*t of Downing Street. PRIME MINISTER (voice-over) : Today we're taking steps to safeguard your children. The schools are being opened again. CUT to : A sh*t of the Prime Minister on a television screen as his speech continues. PRIME MINISTER : And we urge all of you to send your children back to their classes straightaway. We see the Davies family all sitting together on the couch, watching the Prime Minister's speech. PRIME MINISTER : Government representatives will be visiting certain schools to discuss a series of inoculations. DAVID (over the ongoing speech) : What's inoculations ? RHIANNON : Injections. DAVID : I don't wanna go to school. RHIANNON : You're not goin', either. You're stayin' put. Just like your uncle Ianto said, don't trust any of 'em. MICA : But the man said we got to go. RHIANNON : And I know for a fact he's lyin'. PRIME MINISTER : These inoculations are to protect your children. CUT to : Frobisher's wife and daughters watching the speech. PRIME MINISTER : These inoculations are safe. These inoculations will guarantee no repeat of the problems of the past four days. CUT to : The Davies living room. RHIANNON : David, on your feet. Go to the Baxters' opposite, then go to Sally's and go to Mrs. Singh. Tell 'em we'll have the kids, only free of charge. JOHNNY : It's ten quid a kid ! RHIANNON : Shut it, you. (To David) And run ! CUT to : Johnny hurrying out of the house. Rhiannon comes out of the open door behind him. RHIANNON : Tell them my brother works for the government, he said it's not safe. DAVID : Yes, mum ! CUT to : Green's office, with videocamera and lights, a teleprompter running as the speech goes on. General Pierce stands beside his desk, out of the camera's view. PRIME MINISTER : So I ask of you now, to cooperate, to send your children back to school, and to resume your lives as normal. CUT to : Frobisher's house. HOLLY : We'd better get ready for school then. FROBISHER'S WIFE : No, darling. Your father said stay at home with me. HOLLY : Why ? What's so different about us ? PRIME MINISTER (voice-over) : And as ever, I thank you for your patience, your understanding, and your faith. CUT to : The conference room in Downing Street. It is a hive of activity. Denise Riley approaches Prime Minster with a folder. DENISE RILEY : We've isolated two thousand, six hundred primary schools, sir. GENERAL PIERCE : I'm sorry, but you address me in all matters concerning this operation. DENISE RILEY : This information is for Mr Green. GENERAL PIERCE : You and Mr Green, and this government, have proven yourselves incapable of handling this crisis. All decisions will now go through me. You were saying ? After a moment, Denise Riley turns away from Green and faces the table. General Pierce seats himself as she speaks. DENISE RILEY : We have two thousand, six hundred primary schools listed here. We are mobilizing transport. At 1200 hours, the British Army will take the children from their schools to the designated rendezvous points. PRIME MINISTER : What if they refuse, the soldiers ? We could have a mutiny on our hands. GENERAL PIERCE : They've been told. Any soldier refusing to do his duty will make his own family liable. DENISE RILEY : So we take them to the rendez-vous points, but what then ? GENERAL PIERCE : We're about to find out. They're entering Thames House right now. CUT to : An overhead sh*t of Thames House. The sh*t moves in quickly on the building. CUT to : Colonel Oduya, taking a deep breath in the lift. It opens, and waiting for him is Dekker. Oduya walks up to him, looking distracted, and sniffs deeply. DEKKER : Disinfectant doesn't work. You can still smell it. There were bodies lying ten deep around those doors. They both glance at the still-open lift. COLONEL ODUYA : Mr. Dekker, I take it. You managed to survive. DEKKER : Well, I just stood back, sir. A strategy that's worked all my life. Now then. Best not keep it waiting. They proceed down the hall and into the main room of Floor 13. Armed guards flank the door and stand at points throughout the room. CUT to : A close sh*t of the murky, blue-lit t*nk. Colonel Oduya hands his cap to one of the guards and enters the room. The 456 make some low noise. COLONEL ODUYA : I seek audience with the 456. My name is Colonel Augustus Oduya of the Unified Intelligence Taskforce. If I might speak... The 456 interrupt by making violent screeching sounds, hurling flippers against the t*nk's inner walls, and spewing snot. Colonel Oduya is visibly disturbed by this display. CUT to : The conference room in Downing Street, still wired in to view the t*nk. Prime Minister watches the split-screen view of Colonel Oduya approaching the t*nk. CUT to : Floor 13 as Colonel Oduya squares himself in front of the t*nk. COLONEL ODUYA : We have no choice but to initiate your plan, may God help me. But I need to ask. We have designated rendez-vous points, selected Army bases in all participating countries. But once the children are assembled, what then ? How do you... collect them ? 456 : As we arrived. Observe. Colonel Oduya shifts his attention to the monitor. It displays an image of the pillar of f*re that descended into Thames House. CUT to : The Downing Street conference room. All there are watching the same image on their main monitor. GENERAL PIERCE : Some sort of transportation device taking them God knows where. CUT to : Floor 13. COLONEL ODUYA : Then let me ask, not as a representative. As a father. You need these children. We've seen you hooked up to that boy, but why ? Are they keeping you alive ? 456 : No. COLONEL ODUYA : Then what are they for ? 456 : The h*t. COLONEL ODUYA : I don't understand. 456 : The h*t. They create chemicals. The chemicals are good. COLONEL ODUYA : Good in what way ? 456 : We feel. Good. The chemicals are good. COLONEL ODUYA : They're like drugs. The 456 react with another violent outburst. CUT to : The Downing Street conference room; shocked looks show on the faces of those listening. PRIME MINISTER : They're trading in drugs. CUT to : Floor 13. COLONEL ODUYA : You're sh**ting up... on children. Our children. The 456 react even more violently, banging and spewing. CUT to : The Downing Street conference room. GENERAL PIERCE : Let's not forget your government started this trade. You opened the market over forty years ago. Are the troops on standby ? DENISE RILEY : Yes, sir. GENERAL PIERCE : Then we begin. A clock shows the time : 08:50, ticking over to 08:51 in digital numbers. CUT to : An overhead sh*t of a primary school. Children can be seen running around in the playground. CUT to : The British news anchor. BRITISH NEWS : The government claims it's Britain back to normal. Schools across the country are being reopened, and parents are being allowed to return their children to a normal routine. As she speaks, images play : children walking to school, being dropped off by parents, and playing in their uniforms. BRITISH NEWS : The inoculation program will begin at midday and the World Health Organization has issued a statement guaranteeing the safety and beneficial effects of the treatments. Critics are still demanding more information but the government is simply asking for trust. CUT to : Jack and Gwen, sitting together in an cafeteria of some kind. They watch Frobisher and Bridget Spears walk up to them. CUT to : A sh*t of bodies laid out in the hall further down from the cafeteria, covered by tarpaulin; soldiers walk among them. It appears to be a school building, emptied for the purpose of housing the d*ad of Thames House. Frobisher and Spears sit down at the table. There is a long silence. Jack looks daggers at Frobisher. GWEN : The thr*at still stands. FROBISHER : Haven't we gone past that... GWEN : My husband is still out there with everything you've done recorded on his laptop. One word from me and he will release that information to the public. FROBISHER : What do you think Torchwood is now ? Do you think you're still players ? GWEN : We can try. FROBISHER : We're at a tipping point right now. Civilization's about to fall into hell. You want to start that descent a little earlier, go ahead. JACK : He's right. Look what happened. Phone Rhys. Tell him we've lost. Gwen gets up and walks away from the table. CUT to : A panoramic sh*t of a park with a very tall tower in the background. On a bench in the middle of the park sits Rhys. His mobile rings and he answers. RHYS : Hello ? Yeah, I'm here, I'm bloody freezin'. Where are you ? CUT to : Gwen in the school building. Tears run down her face. RHYS (voice-over) : You all right ? Do you want me to send the files ? GWEN : It's too late, sweetheart. They've k*lled him. Not just Clem, they've... they've k*lled Ianto. Her voice breaks on Ianto's name. CUT to : Rhys, looking stunned, mouthing the word "no". GWEN (voice-over) : He's d*ad. CUT back to : Jack, carrying on the conversation with Frobisher. JACK : What about Lois ? FROBISHER : I'm afraid Miss Habiba is in police custody, charged with espionage. JACK : Then what about my daughter and her son ? FROBISHER : They're free to go. Jack swallows and takes a breath before going on. JACK : Ianto Jones, he's got family back in South Wales, a sister. Has she been told ? FROBISHER : We're not releasing any of the names, not yet. JACK : Then let Gwen tell her. You said yourself, the world is going to hell any second. Before it does... give us a moment of grace. Just take Gwen home, please. Frobisher looks to be giving it some thought. CUT to : A sh*t of Gwen sitting with her back to a wall, her knees drawn up and her head fallen forward as she cries. JACK : I can't look at her anymore. CUT to : The spinning blades of a helicopter. On the helipad, Jack turns from Rhys to Gwen. He draws her into his arms and holds her for a moment, then lets her go. Gwen, Rhys, and the pilot run to the helicopter. One of the soldiers flanking him proceeds to handcuff Jack, who offers no resistance. He looks completely devastated. As she steps into the helicopter, Gwen turns to look back at Jack. He watches as the helicopter lifts off, taking Gwen and Rhys away from London. CUT to : A wider sh*t of the helipad. CUT to : A wider sh*t, showing the pad set on the bank of the Thames. CUT to : An even wider sh*t of the city. CUT to : A holding facility of some kind. A policeman unlocks a cell door; Jack and other policemen follow him. POLICEMAN : Cell M-3, Captain Harkness, 9:50 a.m. In the cell opposite, Lois Habiba overhears this. She gets up and goes to the tiny round hole in her door to see what's happening. LOIS : Captain, is that you ? Captain Harkness, it's me, it's Lois ! In Jack's cell, the policeman is removing his cuffs. Jack turns when he hears her, but doesn't answer. LOIS : It's Lois ! The policeman shuts Jack's cell door with a thunderous clang. LOIS : Captain ?! What are they doing, what's happening out there ? Can you hear me ? In his cell, Jack sinks to the bench. His face is empty. LOIS : What do we do ? Captain ? Jack does not respond. He closes his eyes and drops his head. CUT to : Ashton Downs. Johnson goes to a holding cell with a set of keys and unlocks the door. She opens it, revealing Alice and Steven inside. CUT to : The control room. Johnson leads Alice and Steven into an office. JOHNSON : You might want to take a look at this. The monitor is showing the footage from the cameraman who went into the 456's t*nk, specifically the child hooked up to it. As soon as she sees it, Alice turns Steven away. ALICE : Steven, come on. STEVEN : But I want to see ! Alice is gently pushing Steven out of the room. ALICE : Not now, darling, this is for grownups. JOHNSON : Suzanne, get him a Coke or something. Suzanne takes Steven into the adjacent office. FEMALE VOICE (distant) : Received and confirmed. Alice goes back into Johnson's office. JOHNSON : It's inside Thames House. An incredulous Alice watches the footage what was captured through the contacts worn by Lois, so the image of the child in the t*nk is on a screen going staticky. JOHNSON : All recorded by Torchwood. They're inventive, I'll give them that. That's a child, abducted in 1965. Now they want more, millions more. And in two hours' time, the government is handing them over. The image of the child's face fades to snow. CUT to : An overhead sh*t of Downing Street. CUT inside As Frobisher walks through outer offices, approaching the Prime Minister's office. He chafes his hands for a moment before knocking. PRIME MINISTER : Yes ? Frobisher enters the office. FROBISHER : You asked to see me, sir. He shuts the door behind him. Green's attention is on the document in front of him; he's writing, and his attitude is one of distraction. PRIME MINISTER : Take a seat. Frobisher sits down before the desk. FROBISHER : Terrible day. There is a long moment of silence, Green is unresponsive. FROBISHER : Sir, I was wondering... PRIME MINISTER : Your name was chosen, John. FROBISHER : Right. Good. In what way chosen ? PRIME MINISTER : The inoculation story seems to have gained some currency. He looks up at Frobisher for the first time. PRIME MINISTER : Might even be called popular. FROBISHER : Indeed. And, ah, what's that got to do with me ? PRIME MINISTER : Your children will be inoculated. FROBISHER (hesitant) : I see. PRIME MINISTER : In two hours there will be selected news media at your house. You will be seen to offer your children for treatment, this will be broadcast on every network channel at twelve o'clock midday. FROBISHER : But there is no inoculation. PRIME MINISTER : This action will help the public and show them no cause for unrest. FROBISHER : You mean I pretend they're going to be inoculated. Green suddenly returns his attention to the document on his desk. PRIME MINISTER : Your children will then be taken to one of the designated rendez-vous points, and they'll become part of the... the process. It's our duty now to think beyond this, this terrible day. And once it's over, the government must be seen as victims of the 456. We must be seen to have lost. FROBISHER : You put me on camera, I will tell people the truth. PRIME MINISTER : Then your daughters would know where they're going. Best not. Frobisher has been unravelling through this, now he stands up, shouting at Green. FROBISHER : I can't do it, I won't ! You can't make me ! PRIME MINISTER : In which case your children will be taken without you. FROBISHER : But you've seen what they do to them ! I... They're just girls, sir ! They're just girls ! They're not, they're not that... they're not... The tears can be heard in his voice, making his words hard to understand. Green won't meet Frobisher's eyes. PRIME MINISTER : I'm sorry, John. Frobisher just stares at Green in horror and disgust. PRIME MINISTER : I'm really, I'm really very sorry. Green finally looks up at Frobisher, then down at his paperwork again. PRIME MINISTER : And I'm really very busy. CUT to : Outside the office. Frobisher closes the door behind himself and stands in the deep doorway, then begins to walk forward, looking dazed, his eyes wet. CUT to : An outer hallway. Frobisher emerges from a doorway. Bridget Spears stands from the bench where she's been seated, waiting for him, and approaches him. BRIDGET : What did he want ? FROBISHER : Bridget, I need a Requisition 31. BRIDGET : What for ? Frobisher wipes his nose hurriedly with his hand. FROBISHER : Quick as you can. BRIDGET : But what for, sir ? FROBISHER : Requisition 31, thank you. She looks at him for a moment longer, then goes into the doors he just came out of. He stands there composing himself, then takes a few steps to the bench, resting his hand on the back of it to hold himself upright. He turns himself and sinks down slowly. BRIDGET (voice-over) : Requisition 31. CUT to : Bridget, at a counter with a small window. The uniformed man on the other side of the window places a clipboard before her. SECURITY GUARD : Just sign there. He turns away as Bridget signs the document on the clipboard. CUT to : The outer hallway. Bridget emerges from the doors, a small rectangular metal box in her hands. She crosses to the bench where Frobisher sits and offers the box to him. After a moment, he takes it, getting to his feet. He starts to walk past Bridget, then stops, turns, and faces her, then he leans in and gives her a swift kiss on the cheek. His footsteps can be heard as he departs, but the camera stays on Bridget's face as she absorbs the impact of that kiss. CUT to : Cardiff : an overhead sh*t of the Millenium Stadium. CUT to : An helicopter touching down on a landing pad. A police constable in the typical neon-yellow coat is standing by a police car as Gwen gets out of the helicopter, aided by the pilot. A closer sh*t reveals that the man waiting is PC Andy Davidson. Gwen and Rhys run up to him. ANDY : Croeso I Gymru. Which is Welsh for "Welcome to Wales". Gwen takes Andy in for a huge hug. CUT to : The police car heading down a street. ANDY : Everyone's on standby. It's red alert, riot gear and everything, all ready to mobilise, except no one's saying why. What's going on ? GWEN : I can't tell you. ANDY : I am the police... GWEN : Right now, Andy, I need you to drive this car, and if I told you... She trails off. ANDY : What ? Well, come on then, what ? Don't you bloody hate people who don't finish their sentences. RHYS : Hey, she's pregnant. GWEN : Thank you. Who's she when she's at home ? ANDY : Bloody hellfire. Who's the father ? RHYS : Oh, I'm slappin' you, yeah ? The car is now on the street overlooking the Cromwell Estates. GWEN : It's Torchwood. That's what did it. They give you Retcon, and chemicals, and radiation and God knows what. Bloody Pill didn't stand a chance. That's what Torchwood does, you see. It ruins your life. RHYS : How's it ruined ? GWEN : You wanna have kids in a world like this, Rhys. RHYS : You're not gettin' rid of it. GWEN : Is that right ? Rhys looks out the window, swallowing. GWEN : Take the next left. Ianto's sister lives at the Cromwell Estate. CUT to : The conference room. At least four people are typing on laptops; the room is busy and tense. The digital clock ticks over from 10:59 to 11:00. DENISE RILEY : Eleven o'clock, one hour to go. GENERAL PIERCE : Are we in position ? DENISE RILEY : The troops are moving in, sir. CUT to : A military base, where men in uniform are loading into troop carrier vehicles. They carry g*n. CUT back to : The conference room, where the activity has stepped up a notch. A map on a monitor shows the text : STAGE 3 ACTIVE. It has a map of London and the following additional information : London 80.2%. Whittington Road Primary School. Longitude: -0.14561, Latitude: 51.47617. Headteacher: Nora Shariff. Gender : Mixed. Age Range : 3-11. Number of pupils on roll : 1218. Religious character non-denominational. Specialist status not applicable. Key Stage 2 Average 22.1. The image of the map on the monitor zooms in to show a live satellite image of the school. CUT to : An overhead image of the school. We hear schoolchildren at a lesson, chanting in unison. CHILDREN : Two, four, six, eight, ten... CUT to : A sh*t of the children in their classroom. The teacher stands at the front of the room, holding up a painted ruler and moving her finger along it to indicate what number they're on as the children count along in time. CHILDREN : Twelve, fourteen, sixteen, eighteen, twenty, eighteen, sixteen... The counting continues in voice-over as we CUT to : The troop carrier vehicles rolling out. The music rises, obscuring some of the numbers chanted aloud. CHILDREN (voice-over) : Fourteen, twelve, ten, eight. Twenty, eighteen, sixteen, fourteen, twelve, ten, eight... CUT to : The children counting. CUT to : The vehicles driving out from the military base, gate raised to let them pass, barbed wire at the foreground of the sh*t. CHILDREN (voice-over) : Six, four, two, zero. CUT to : A black car pulling into the driveway of a house. Reporters gathered outside immediately begin taking pictures. Policemen can be seen holding the reporters back as the camera shows Frobisher in the back seat of the car. The car passes the press and moves on. CUT to : The holding facility where Jack and Lois are being detained. A guard opens the barred door at the end of the hallway, admitting Bridget Spears. He ushers her in, closes the door behind her, and then unlocks one of the cell doors. Inside, Lois sits on the bench, legs drawn up to her body and arms folded on them; she looks up warily. Bridget enters the room; Lois watches as the guard sets down a chair for her. BRIDGET : Thank you. As the door closes behind him, Bridget sits in the chair, facing Lois, who is still drawn up into herself. Bridget lets out a breath. BRIDGET : I've come to tell you how we met. LOIS : Who ? BRIDGET : How I met John Frobisher. It was thirty years ago. You weren't even born. I was on attachment to the civil service, only for six months. Her speech continues in voice-over. CUT to : The driver holding the car door open as Frobisher emerges, walking down the front path into the house. The reporters continue to call from beyond the low garden wall, though the policemen urges them off, as he lets himself in and shuts the door behind himself. Quiet music plays under Bridget's words. From this point, there is no volume for any of Frobisher's scenes. BRIDGET (voice-over) : And just down the corridor, there he was. You wouldn't think it to look at him now, but he was a clumsy thing, always losing his key. Mr Swales never thought he'd amount to much, but I thought, well. In the house, Frobisher greets his daughters as they run up to him, hugging them tight. CUT back to : Bridget, looking off as if into memory. BRIDGET : Keep an eye on that one. And all the others came and went, the high flyers, they burnt out or went on to something better. And do you know what John Frobisher did ? CUT to : Frobisher talking to his daughters, his wife behind them. We cannot hear what he is saying, but it must be a command, as they give him mildly resentful looks, then walk past him. His wife still looks confused. The girls climb the stairs. CUT back to Bridget BRIDGET : He kept working. Head down, worked hard, all his life. It was another ten years before we actually worked in the same office. He asked for me. CUT to : Frobisher moving in to kiss his wife on each cheek and hug her tightly. BRIDGET (voice-over) : I didn't think he even knew my name. CUT back to Bridget BRIDGET : And we made quite the team. I'm not saying he was perfect. You know that, better than me. But he worked hard, he always worked hard, I don't think that's valued enough these days, hard work. CUT to : Frobisher, apparently now telling his wife the same thing he told the girls. She's reluctant, there appears to be a minor argument, but then she climbs the stairs too, looking back at him. As soon as she's gone, he turns away. He lays his briefcase on the kitchen table. CUT to Bridget BRIDGET : He was a good man. I want you to know that. John Frobisher was a good man. CUT to : Frobisher. He has the metal box from before on top of his briefcase, and he opens the hinged lid to take out a g*n. His hand trembles violently. BRIDGET (voice-over) : Because when the history of this is written, they'll talk about the ministers, and the soldiers, and the things with numbers for names... CUT back to Bridget BRIDGET : And I think people will forget how very good he was. She has to take a moment to compose herself. CUT back to : Frobisher as he climbs the stairs, holding the g*n behind his back. BRIDGET (voice-over) : I want you to remember him like that. CUT back to Bridget BRIDGET : If ever you think of John Frobisher, just remember that it wasn't his fault. CUT to : Frobisher, ascending the stairs. The film is slowed down now, so that he moves gracefully. The girls are on the bed, wrestling with pillows, their mother sits beside them. Frobisher enters the room, reaching for the door with his free hand, and shuts it behind himself. The music continues to play as the camera pulls back from the door, and then, in quick succession, three g*n ring out, startlingly loud. Moments later, a fourth follows. CUT to : Bridget, watching Lois. BRIDGET : Now. I think I should get back to work. The guard lets her out of Lois's cell, and Lois walks back down to the entrance of the corridor, waiting while the guard unlocks the door to let them out. CUT to : The Cromwell Estate. Andy, Gwen and Rhys get out of the car. GWEN : Rhys, you stay here. Give us a shout if anything happens. ANDY : Like what ? GWEN : Just keep an eye out, yeah ? Rhys stays by the car while Gwen and Andy start down the walk, talking as they approach the building. ANDY : You know Ianto ? GWEN : Mm-hmm. ANDY : Was he gay ? GWEN : Shut up. ANDY : They might not know ! GWEN : Well, in which case, do not say ! ANDY : Well, that proves my point. GWEN : Look, listen, there's a lot more going on. You've just got to trust me. OK, she's got two kids, we need to find out where they are. That's why we need a car. We might have to pick them up from school and take them back to mine, OK ? ANDY : Back to yours ? What for ? GWEN : Andy, we've gotta look after these kids, just do what I say. Andy rings the doorbell, giving Gwen a dismayed look. GWEN : Please. He sighs and seems to acknowledge this as they turn toward the door. Rhiannon opens it a moment later, looking from Gwen to Andy. ANDY : Hello, I'm Police Constable Andy... RHIANNON : You're not shutting me down. We've got food, we've got drinks, proper drinks, and I got permission off their parents. Come on ! Have a look, I'm not apologising. Defiantly, she waves them into the house. After a moment, Andy follows, then Gwen. Rhys is left waiting by the car. Inside, the house is full of children, while Johnny plays on the video game system. Rhiannon leads Gwen and Andy into the chaotic main room. RHIANNON : Johnny. JOHNNY (on seeing Andy) : Ugh, go and do a proper job. RHIANNON : I know I need a licence for a creche, I'm not thick. This is emergency circumstances, right ? I'm not trusting the telly. The camera pans around the room, taking in the youngers crowding it. ANDY : If we could have a word in private. RHIANNON : They're not even paying, so it can't be illegal, right ? ANDY : No, I know, it's not about the kids, just need a word if we could. GWEN : How many are there ? JOHNNY : Nineteen. GWEN : What are they doing here ? JOHNNY : Well, they're not going to go to school, no way. If they want 'em, they'll have to come and get 'em. ANDY : I just need a word. Gwen's gaze sweeps around the room as we're briefly taken back into her memory of leaving Jack at the helicopter pad in England. Jack embraces her, and as he does, he whispers in her ear. JACK : They've got kids. Ianto's niece and nephew. Save them. Back in the present moment, Gwen continues to look for the children. In the conference room, the digital clock ticks over from 11:59 to 12:00. DENISE RILEY : Do we begin ? PRIME MINISTER : We've got no choice. GENERAL PIERCE : You don't give the orders, Mr Green. Stage One. Mobilise. The monitor shows a map of England with a close-up of London to the left, the text "Target Schools" beneath it. Several locations are marked on the map by green dots. CUT to : An overhead sh*t of a school. A troop carrier rolls up before it, then another. The vehicles stop and soldiers jump out of the back. Next, a tall yellow bus drives in, then another. The soldiers run across the empty concrete playground, apparently surrounding the school. Inside, with soldiers lining the hall, children are led out in a line as a schoolteacher protests. TEACHER : I don't care who you are, you haven't got the authority to just march in here and... Mr Patel ! They, they can't just... Further down the hall, a man in a suit, presumably Mr Patel, simply nods to the teacher as if, in fact, the soldiers have every authority. TEACHER : They said inoculations, not... Where are you taking them ? Excuse me, where are you taking them ?! Outside, the children are being marched into a yellow bus. Among the onlookers is a mother of one of the children; she runs up to one of the soldiers. CHRISTOPHER'S MOTHER : What's going on, what are you doing ? SOLDIER : Stay on the other side of the road, thank you. CHRISTOPHER'S MOTHER : But my boy's in there ! The schoolteacher is outside now, still yelling at the soldiers, increasingly strident. TEACHER : Taking them off the school premises, you just can't ! Where are you taking them ?! One of the children, the son of the woman who protested, makes a break for it. CHRISTOPHER'S MOTHER : Christopher ! Christopher ! The soldier physically restrains the woman as another soldier catches up to the boy and carries him back. CHRISTOPHER'S MOTHER : That's my son ! That's my bloody son ! TEACHER : You can't take them off the school premises ! As soon as the bus is full, it is driven off, with the children seated inside visibly crying. Christopher's mother shouts and screams, but her protests, and those of the other parents, fall on deaf ears. Some of the parents, including Christopher's mother, give chase to the bus. CUT to : Rhiannon and Johnny's house. In a small storage closet, Rhiannon cries while Johnny holds her, rubbing her back. JOHNNY : It's OK, it's OK, let it out. Gwen and Andy watch as Rhiannon cries. JOHNNY : He didn't say anything about my car, did he ? GWEN : No. ANDY : Sorry. GWEN : No, and there's something else. Something he wanted me to tell you, and I'm sorry, it's going to hurt you... RHIANNON : You can get out. GWEN : I knew Ianto properly, I've worked with him for years. JOHNNY : Come on. GWEN : No. JOHNNY : Leave her alone. GWEN : I did, I really, I did. We were a team, we did all these things together. And he'd always be fussing about his bloody coffee, yeah ? RHIANNON : Yeah. GWEN : And he'd be talking about you, all the time, you and the kids. And his dad. That's Ianto, he was always so proud of his dad. RHIANNON : What did he say about him ? GWEN : About his job and things. RHIANNON : What job was that ? GWEN : He said he was a master tailor. RHIANNON : He worked in Debenhams ! If Ianto gave you that old shit then you didn't know him at all ! Off of Gwen's betrayed look, CUT to : Ashton Down. In a large, empty room, some of the soldiers are entertaining Steven with an improvised game of footie. Alice watches from her seat on a nearby crate, smiling. Johnson approaches her, offering a styrofoam cup. JOHNSON : Here you go. ALICE : Thanks. She sips at the beverage. JOHNSON : It's started. Alice lowers the cup, looking up at Johnson. ALICE : Jesus. She turns to look at Steven again. CUT to : The conference room. GENERAL PIERCE : Numbers ? DENISE RILEY : We're looking at an uptake of about sixty percent. As predicted, a lot of the children in the target area have stayed at home. GENERAL PIERCE : Then we'd better go and get them. Stage Two. Mobilise. CUT to : The Cromwell Estate. A troop carrier drives into sh*t, turning onto the road of the estate, followed by another. A sh*t of Andy's car shows Rhys noticing this activity. The trucks come to a stop in the middle of the road, next to each other, and soldiers pour out of them. Rhys goes running to the Davies house. Inside the house, Gwen approaches Rhiannon and Johnny. GWEN : I swear on my life you have got to get those kids out of this house. Is there anywhere you can take them ? I don't know, anywhere safe ? ANDY : Gwen, now, come on. GWEN : What ? Behind them is the sound of a door opening. Rhys appears behind them. RHYS : They're here. Outside, the soldiers continue to emerge from one carrier as another rolls past. They're carrying riot gear. Gwen, Andy, Rhys, Johnny, and Rhiannon come out of the house's front door to see this. GWEN : Oh, God. Look, I haven't got time to explain, OK ? But they're coming for your kids, I swear. JOHNNY : Don't be stupid. GWEN : Shut up. They're going to come into your house, and they're going to take your kids, and I'm sorry, but you've got to believe me. That's why Ianto died, OK ? He was trying to stop them. They're gonna come and they're gonna take your kids. You'll never see them again. Never. CUT to : Ashton Down and the ongoing footie game. STEVEN : Hey. SOLDIER : Hey ! JOHNSON : He'll be fine. The nice kids are safe. If you're gonna get rid of ten percent, then take the ten percent you don't want. All those kids on street corners, we've finally got rid of them. ALICE : While everyone else just stays indoors ? Ninety percent just hugging their kids, not making a sound, just like they did before. I don't even know your name. JOHNSON : I protect the state. I was brought up to believe in and protect the state. ALICE : Not much good now, are you ? Even if ninety percent look the other way, what sort of world are you leaving behind ? I swear to you, if your duty is to protect the state above and beyond any other authority, then the one person you need right now is Jack Harkness. CUT to : The holding facility where Jack and Lois are being kept. The guard opens the hatch in the door of Jack's cell. He sits with his head bowed and fingers interlaced, thumbs pressed to the bridge of his nose. The guard closes the hatch again and goes to the opposite cell to look into the window of Lois's door. Suddenly, a group of armed men in black burst into the hallway at both ends, shouting at the guard. SOLDIER : On the floor ! On the floor ! Hearing the commotion, Jack leaps to his feet, going to the door to try and see what's happening. SOLDIER : Stay down ! One of the armed men knocks the guard to the floor. In her cell, Lois goes to the window in the door. The men open Jack's door. JACK : What's going on ? Hey ! SOLDIER : Move. They drag him out of the cell and rush him down the hall. LOIS : Captain ! SOLDIER : Go ! Go ! LOIS : What's happening ? She bangs on her door. LOIS : Captain Harkness ! Captain Harkness ! The soldiers scurry out, closing the barred door behind them as the guard gets to his feet. CUT to : An helicopter flying over London. The view of the city focuses in on a tall tower with a helipad on top. As the sh*t moves in closer, Jack can be seen with four of the armed men in black. He is still handcuffed. The helicopter comes to a landing. CUT to : The storeroom where Dekker kept the original equipment from the 1965 visit. Other men in black are loading everything they can into wire baskets. Outside the room, Dekker approaches, removing his coat and opening the door, apparently unaware of the intruders; he enters the room to see them rifling through his things. DEKKER : Here, what are you doing ? One of them neatly clocks him with the butt of a r*fle, knocking him out. CUT to : The Cromwell Estate. Soldiers are moving around on the road. GWEN (voice-over) : Yeah, they're spies. Hush now, darling. Nice and quiet. CUT inside the Davies house Gwen is putting a pink coat on a little girl. GWEN : Don't make a sound, that's right, like a game, yeah ? ANDY (into the radio on his jacket) : Alpha one-eight-six to Control. Is anyone there ? GWEN : Fingers on lips. She puts her finger to her lips and the little girl imitates her. RHIANNON : Now, you don't make a noise until we get there, OK ? You stay nice and quiet, and I'll get you some sweets, yeah ? RHYS : Where is this place ? RHIANNON : It's down by the field, it's all boarded up. GWEN : Right, look. We've gotta go, right now. RhiANNON : OK. Come on, everyone. She continues the same general encouraging words under Andy's next line. ANDY : Alpha one-eight-six to Control. Can you hear me ? RHIANNON : Come on, everyone, we're like spies. We're playing spies. Now, come on. That's it, no one makes a sound. She and Rhys begin to herd the children out the back door in a line. GWEN : Are you coming ? Andy ? Andy, looking mutinous, goes out the front door. Gwen looks back at him, but she can't wait any longer, she follows the others out the back. Andy emerges from the front, hat in hand, as a line of soldiers run up to a nearby door. ANDY : Control, this is Alpha one-eight-six. What's going on ? In back, Gwen and Rhys begin to lead the kids out. From the back, one of the troop carriers and some of the soldiers standing by it can be plainly seen. Rhys lifts the first girl into his arms. RHYS : Take it easy. Take it easy, come on. He leads them along. Rhiannon is further down the line. RHYS : Hurry, come on. Come on. Keep tight, yeah. JOHNNY : Rhi ! More soldiers run up to another house and bang on the door. Inside, a woman can be heard shouting. WOMAN : What the hell are you doing ? Johnny comes out of the house next, jogging up to Rhiannon. JOHNNY : You take them. I'm going out the front. Somebody's gotta stop them. RHIANNON : No, Johnny, don't be stupid. JOHNNY : It's not just us, you daft sod. He kisses Rhiannon briefly, then goes. Soldiers are breaking into the houses now, and Gwen exhorts the children to move faster. They run along behind a low wall. Johnny's out front, running down the street to some other men who are standing on a corner. JOHNNY : Danno ! Where's Richie ? Go get him, get Sammy, get all the boys. MAN 1 : What's happening ? MAN 2 : What is it ? Another man, presumably Danno, starts off. MEN : What's wrong, what's wrong ? JOHNNY : All that stuff on the news, all that inoculation stuff, it's bollocks, right ? The government has sold us out. They're coming to get our kids, and we're not getting them back, boys, right ? We got to stop them ? Another man runs up during this speech, into which the other men interject exclamations. Andy can be seen nearby as the soldiers move from one house to the next. JOHNNY : We got to stop them... The music is rising and Johnny's words become lost in the shouting. A line of soldiers forms up with clear riot shields and sticks. Johnny continues to shout, urging the other men on, and together the group, now larger, begins to march toward the soldiers. Other soldiers are carrying children screaming out of a house. At this sight, the crowd breaks and runs toward the soldiers, throwing bricks as they come. The children are running in a line now, around a long brick wall and out of sight, as Johnny's mob engages with the soldiers. Another soldier continues to carry a screaming girl toward a troop carrier. Two other soldiers restrain the girl's father. Gwen, Rhys, and their charges run down and across a street, away from the v*olence. Johnny punches one soldier, then goes for another. Across the street, Andy looks on, his eyes angry. The soldiers are bearing Johnny down. Another child is taken from a nearby house, his mother in pursuit and stopped by more soldiers. WOMAN : No ! Give him back ! Give him back ! Suddenly, Andy's had all he can take. He tears off the police jacket and the flak jacket underneath, undoing his belt, and wades into the fray. The children with Gwen, Rhys and Rhiannon continue to run. Andy belts one soldier. Another pushes Johnny down and holds him with his stick to Johnny's neck. Andy's punched in the stomach by another soldier, who pushes him down to the pavement, getting the stick against the back of Andy's neck. Rhys is leading the children away from the estate, past a fence, down a gravel road to a couple of sheds; all are running as fast as they can go. Rhys puts down the little girl so that he can kick in a piece of corrugated-tin siding, and he ducks inside, holding it to let everyone in and directing them to go further in. Gwen is the last, and Rhys shifts the piece of siding to cover the opening again. DAVID : Oh, it's stinking ! RHIANNON (whispering) : Keep your voice down. The children all find places to sit, and Gwen kneels to talk to them. GWEN : Yeah, what I need you to do is to be as quiet as you possibly can, like mice. CUT to : Ashton Down, where Dekker is being escorted down a hallway by four of the men in black. Further down the hall, Alice sits with Steven. As the group passes them, Alice stands, and then Steven does as well when he sees who's coming next. STEVEN : Uncle Jack ! He runs at Jack, who also has an escort (which includes Johnson) and who is still handcuffed. JACK : Hey, soldier ! Steven hugs Jack, grinning. JOHNSON : We haven't got time ! JACK : Listen, stay with your mom, OK ? Steven goes back to Alice, and Jack and his escort continue down the hallway. Jack looks at Alice as he goes by, but they have no time to talk. Suzanne is behind them, and Alice approaches her. ALICE : Sorry, would you... She bends to kiss Steven on the cheek. ALICE : I'll be back. She hurries after Jack. Suzanne leads Steven away. Dekker and Jack are brought into the big open area previously used for footie. Dekker's equipment has been brought here as well, and lights are set up to illuminate the empty space. Dekker and Jack are led into the center of the circle of equipment; their cuffs are undone. JOHNSON : This should be everything you need. And if it's not, we'll find it. JACK : For what ? JOHNSON : Wavelengths. The 456 are named after a wavelength, and that's got to be the key to fighting back. DEKKER : You're wasting your time. There's nothing you can do. I've analysed those transmissions for forty years and never broke 'em. Without batting an eyelash, Johnson turns, draws, and fires. Dekker shouts in pain and collapses to the floor. She reholsters her g*n and returns her attention to Jack. JOHNSON : What do you think, Captain ? She told me you were good. Was she right ? At "she", she nods slightly to Alice, who's standing back a bit behind Jack. Jack turns to look at Alice, and for the first time in quite a while, a smile comes to Jack's face. JACK : Let's get to work. He takes off his coat and walks off to get started. Johnson begins to smile. Over the classic Torchwood music, Jack starts to it, going to a keyboard. JACK : Get me access to the Torchwood software. He goes to a laptop and starts typing. JACK : Log on to the servers and... A computer-generated sound almost like a voice comes up as Jack gets into the server. JACK : Welcome back. Dekker's behind him, leaning on a crate, his injured leg wrapped with a bandage. DEKKER : It still won't work. There's nothing on there. It's useless. JACK : We've got technology way beyond you. DEKKER : We hacked into Torchwood years ago, you idiot. There's nothing. JOHNSON : Bring him over here. ALICE : Dad, come and look at this. She's at another laptop. Dekker groans as two of the soldiers lift him to his feet. Jack joins Alice at her laptop. ALICE : It's some sort of pirate station. They're trying to get the story out to the public. But they're taking the kids. On the laptop, we see video of the school busses rolling by, one after another, each full of children. WOMAN : We're broadcasting this on digital one four one. It's the kids ! Tell everyone to tune in to one four one. The sh*t cuts to an image of a bus disappearing behind chickenwire fencing. CUT to : A troop carrier leaving an army base, followed by school bus after school bus. The busses are driven up to a line of soldiers standing in wait. The children inside are let out and guided away in lines. CUT to : The shed where Gwen, Rhys, Rhiannon, and the children are hiding. The children fidget nervously, but are generally quiet. The wind can be heard, rattling the tin of the building. Gwen is holding the small girl who was carried by Rhys earlier, and the camera pans up to her face, revealing that she's in the middle of the speech shown at the beginning of the episode. Rhys holds the camera. GWEN : There's one thing I always meant to ask Jack. Back in the old days. I wanted to know about that Doctor of his. All those times in history when there's no sign of him, I wanted to know why not. But I don't need to ask anymore. I know the answer now. Sometimes the Doctor must look at this planet and turn away in shame. I'm recording this in case anyone... in case anyone ever finds it. So you can see... you can see how the world ended. Slowly, Rhys lowers the camera. He has to wipe a tear from his face; then he looks up at Gwen again. RHYS : Y-y-y-you didn't mean it, did you ? About... getting rid of it ? GWEN : No, of course I didn't. RHYS : OK. GWEN : I would never... Rhys crosses the gap between them and hugs her. GWEN : Never. I wouldn't do that to you, sweetheart. No, I wouldn't, and I'm sorry. He sits back again, wiping under his eye and sniffing hard. GWEN : I'm sorry. All right, darling ? She smooths the little girl's hair absently. CUT to : The conference room. GENERAL PIERCE : Illegal broadast on digital one four one. Close it down. And take out the whole network if you have to. DENISE RILEY : We're up to eighty percent. The people are starting to fight back. General Pierce presses a button on the phone in the middle of the table. GENERAL PIERCE : Colonel, we're predicting eighty percent. Is that acceptable ? CUT to : Floor 13. The 456 gurgle ominously in their t*nk. COLONEL ODUYA : We have up to eighty percent of the designated children. Is that enough ? The 456 are silent for a long moment. 456 : All of them. All of the designated to us. CUT to : The conference room, as General Pierce absorbs this. COLONEL ODUYA (on the phone) : Not acceptable, sir. Denise Riley and General Pierce exchange looks. GENERAL PIERCE : We need the rest. Authorising maximum force. Bridget Spears enters the room with a folder. BRIDGET : The latest report from Germany. Old-fashioned hard copy, I'm afraid. The system's gone into meltdown. DENISE RILEY : You don't have to be here. BRIDGET : It's what he would have wanted. DENISE RILEY : Do you think so ? I can't imagine anyone wanting to be in this bloody room. She walks past Bridget, who turns her gaze on Prime Minister, seated at the head of the table. He seems to have nothing to do; he is watching others work. WOMAN (on phone) : Yes. Yes. The sh*t closes in on a tight focus of Bridget's eyes. CUT to : Ashton Down. Jack talks with Johnson. JACK : If we cycle the wavelength back at them... DEKKER : I know what you're trying to do. A constructive wave. Jack watches him warily. DEKKER : Do you think people aren't working on that all over the world ? But it's never gonna work. The effect would be like shouting at the 456, that's all. Just shouting. JACK : Why did Clem die ? JOHNSON : It was the 456 that k*lled him. CUT to : The image from Day Four, Clem clutching his ears and screaming in pain as Gwen holds him. JACK : But how did they do it ? Why did they do it ? JOHNSON : We've got the recording here. JACK : His mind must have synced to the 456 back when he was a child. But they didn't need to k*ll him. He wasn't any thr*at. Unless maybe that connection hurt them. JOHNSON : This is the 456 at the moment of his death. We've lifted the sound from the Thames House link. Dekker gets up to listen as the sound of the 456 screeching plays on Jack's laptop. It shows on the screen as a waveform. JACK : That sound, Mr Dekker, what's that sound ? DEKKER : I don't know, it's new. JACK : Exactly. It's new. He's starting to look more hopeful. CUT to : An army base, where soldiers herd children into a large circle : one of the designated rendez-vous points. The men stand around the children to corral them in place. Another bus comes in, then another, bringing more children. Soon the larged paved area is completely full of children below puberty. CUT to : Ashton Down. Alice has taken interest in the discussion now. JACK : We don't have to analyse the wavelength, just copy it. Turn it into a constructive wave. But we've got no way of transmitting. DEKKER : Of course you have. JACK : Shut up. DEKKER : Same way as them. JACK : I'll find something else. JOHNSON : What does he mean ? JACK : Don't listen to him. JOHNSON : Dekker, tell me. DEKKER : The 456 used children. To establish the resonance. JOHNSON : Meaning what ? DEKKER : We need a child. ALICE : What do you mean ? DEKKER : Centre of the resonance. Hoo ! That child's gonna fry. He chuckles. Jack is quiet, his eyes dark as he seeks solutions. Alice's face begins to grow scared. ALICE : No, Dad. No, tell them no. JOHNSON : One child or millions. ALICE : Dad, no. Dad, tell them no ! JOHNSON : We're running out of time. ALICE : Dad, no ! No, Dad ! JOHNSON : Captain ! His face blank, Jack quickly nods. Alice's eyes are round with fright and she goes running. ALICE : Steven ! CUT to : The shed behind the estate. David is peeking out the opening. He sees soldiers running up to a woman on the street, who points in the direction of the shed. DAVID : Rhys. Quick. Rhys leaves Gwen to go look. When he peers out, he sees several soldiers jogging toward the shed. RHYS : Incoming ! Everybody out ! Quick ! Everybody out ! At his shout, everyone gets to their feet, heading for the far end of the shed. RHYS : Quick ! Come on ! Let's go ! Outside, the soldiers approach. RHYS : Quick ! Come on ! Quick ! Come on. Quick, out. He helps rush the children along. They have to climb up a ladder. Behind another ladder, a girl has hidden herself, crying. GWEN : Come on, quick, quick, quick, quick, quick. At the top, Rhys pushes out a piece of plywood closing up the entrance and hops out, leading the kids, grabbing at a little girl's hand. The soldiers kick in the tin blocking the front entrance and enter the shed. They shout directions to each other. The little girl behind the ladder shrinks, trying to not be seen. It's no good; one of the soldiers picks her up. GIRL : Get away ! Get away ! She screams as she's taken. The other soldiers run out the back way, pursuing the others. ALICE (voice-over) : Steven ! Steven ! Steven ! CUT to : Ashton Down. Alice is pelting down a hallway, three of the men in black in pursuit. One of them manages to stop her; another hikes Steven over his shoulder. STEVEN : Mummy ! ALICE : No ! Steven ! STEVEN : Mummy ! The men take Steven past Alice while she's held to the wall, unable to stop them. STEVEN : Mummy ! ALICE : My baby ! STEVEN : Mummy ! Mummy ! ALICE : Steven, run away ! CUT to : The estate. The children scream as they run across wet, muddy ground, away from the pursuing soldiers. Gwen carries the little girl she was holding before; she lags behind the others. The images are blurred and jolted; much of the screaming is lost in the music overlaying these scenes. GWEN : Run ! Run ! CUT to : Ashton Down. Jack sets up the necessary equipment as Steven is brought into the circle. He's set down on a stand in the middle of it. STEVEN : What are we doing, uncle Jack ? Jack doesn't respond, going from one laptop to another. STEVEN : What's happening ? What do you want me to do ? Alice, in the hallway, continues to scream. ALICE : Steven, get away ! She finally manages to tear away from the soldiers holding her and goes running. CUT to : The estate. The soldiers are catching up, nearly on the group of children, Rhys, Gwen, and Rhiannon. They descend, grabbing at coats to stop the children. One grabs David, another gets Rhiannon as a third starts to carry off Mica. RHIANNON : No ! Her other shouts are indistinguishable over the music. Rhys is forced to the ground by another soldier. Gwen keeps running with her burdern. CUT to : Ashton Down. Alice runs back to the big room, but the door is locked and she can't get in. ALICE : Steven ! Steven ! Jack's work has become fast-paced and frantic now. CUT to : The estate, as soldiers continue to pursue Gwen. CUT to Ashton Down ALICE : Run ! Run ! Jack has completed his work. Steven stands in the center of the circle, confused. He looks around. CUT to the estate Gwen is still running. CUT to : Ashton Down. Jack stands before the laptop, his eyes swimming with unshed tears. Then he s*ab a single key. A humming, buzzing sound begins to emerge from the equipment. Behind Dekker, screens show sound waveforms moving on a graph. Steven suddenly goes still. Jack types another command on the laptop, presumably copying the wavelength. Then he stands back. Steven begins to make the shrill sound first given out by the children in Day One, the sound of attunement. On the other side of the reinforced glass, Alice can only watch in terror. CUT to : The army base. Every child on the pavement opens their mouth and begins to make the same shrill sound. CUT to : The estate. Gwen has set down the girl she was carrying as she, too, begins to make the sound. CUT to : An overhead sh*t of Thames House. Inside, on floor 13, Colonel Oduya still stands before the t*nk. He can hear the sound, and so can the other UNIT soldiers in the room. And so can the 456. They begin to groan. Colonel Oduya watches in interest. CUT to : The army base. The children are all giving the sound in the exact same note. CUT to : Ashton Down. Steven begins to twitch as he makes the sound. His body jerks more and more violently as seconds pass. Alice hammers on the glass. ALICE : Steven ! Steven's body moves so quickly it becomes a blur to the eye. Blood trickles from his nose and down onto his shirt. CUT to : Floor 13. The 456 react more violently. CUT to : The army base. The children make the same sound. Cut to : Floor 13. One of the UNIT soldiers trains his g*n on the t*nk as the 456 flail in earnest, slapping their flippers on the glass and screeching. Then, instead of snot, blood splashes on the inside of the t*nk. Colonel Oduya covers his face instinctively. The 456 slam the t*nk hard. CUT to : Ashton Down. Steven's jerking and shaking grows more violent. Johnson has to look away. Only Jack remains witness, his face wet. Outside, Alice sobs, barely able to see through the glass through the condensation of her breath.The cuts are very fast now. Floor 13 : the 456 writhing. The army base, the children continuing. Floor 13 to the army base to floor 13. Ashton Down : Steven's spasms are enormous and both nostrils leak dark blood. Tears slide down Johnson's face. Jack suppresses some show of emotion, his eyes shining. Suddenly, the sound stops. On floor 13, another violent gout of blood splashes the inner wall of the t*nk, followed by several smaller ones on every inner surface. Then the whole inside of the t*nk lights up in flames, startling Colonel Oduya and the UNIT soldiers, who shield their eyes. As they watch, the transportation process reverses, the f*re sh**ting upward through the ceiling and into the sky, much faster than when it descended. The clouds close over the hole made in them and then disappear altogether. CUT to : The conference room. All that can be seen on the video feeds for floor 13 is static. GENERAL PIERCE : Colonel, do we have a report ? The room is completely silent. GENERAL PIERCE : Colonel, what happened ? CUT to : Floor 13. Colonel Oduya is still processing the events he just witnessed. GENERAL PIERCE (on phone) : Colonel ! COLONEL ODUYA : It's gone, sir. The 456 has gone. He walks slowly toward the t*nk, which is now completely empty, the inside walls clean, the atmosphere also apparently taken in the f*re that removed the 456. CUT to : The estate, where Rhys has joined Gwen with the little girl. GWEN : What did you do, clever girl ? What did you do ? She hugs the girl tight and sinks back. GWEN : What did you go ? RHYS : Hey ! Now that the thr*at has passed, the soldiers have released the children. Rhiannon sinks to her knees as Mica runs to her. CUT to : Ashton Down. Alice is still pressed to the glass. JOHNSON : Let her in. A buzzer sounds, and the door unlocks. Alice darts inside and runs straight through the circle to Steven, who lays limp on the stand in the middle of the equipment. Dried blood crusts his ears as well as his nose. Alice sits and pulls him into her lap, smoothing his hair, sobbing. ALICE : No, no, no, no, no ! She turns her grieving face on her father as she gathers Steven's body to her. ALICE : No ! No ! Somebody help him ! Help him ! Jack stands passively, letting the tears fall, as the camera pulls away from his face. Alice's sobs echo in the room and she rocks Steven's body in her arms. ALICE : No, please, no. Why ? Why ? Oh, please. CUT to : The conference room. The last of the officials are leaving the room. General Pierce stands at one end of the room, facing Prime Minister, who's still seated at the head of the table, while Denise Riley arranges some folders on the table and Bridget Spears stands nearby. GENERAL PIERCE : Prime Minister. He salutes, then turns and leaves the room. Once the Americans are all gone, Denise Riley turns to the Prime Minister. DENISE RILEY : The public will be wanting a statement, sir. Green inhales deeply. PRIME MINISTER : I suppose you could say we were lucky. DENISE RILEY : A bit soon to tell. We don't know exactly what happened yet. PRIME MINISTER : Lucky with the Americans, I mean. General Pierce took charge without ratification from the United Nations. We can say that today's events were in American hands. BRIDGET : And do you think that's lucky ? PRIME MINISTER (laughing) : Yes, I, I do, rather. BRIDGET : Your first thought now is to save your own skin. In which case, you might like to know, I paid a visit this morning, sir. I went to see Lois Habiba. You might remember her. I sat with her a while. We had a number of things to discuss. And while I was there, I used the emergency protocols to sign out a particular piece of evidence. CUT to : A flashback, showing Bridget signing a piece of paper while a policeman removes something from a plastic bag. POLICEMAN : Thank you. Bridget takes the item : a contact lens case. CUT to the present BRIDGET : Contact lenses, sir. The Torchwood contact lenses. And Lois was very helpful. She told me how they worked. CUT to : A flashback of Lois talking. No sound can be heard, but she seems to be illustrating the use of the lenses. CUT to the present moment BRIDGET : I can hardly feel them, sir. We see a sh*t of the Prime Minister through the lenses. BRIDGET : But everything that happened in this room has been recorded, sir. All waiting to be made public by me. Including your statement just now that after the events of today you feel, as you said in your very own words, sir, "lucky". PRIME MINISTER : You wouldn't dare. I can have you arrested. DENISE RILEY : I don't think so. Thank you, Bridget, you're free to go. And Miss Habiba will be released, I'll see to it myself. I think I'll be taking charge of very many things in the days to come. Is that all, sir ? The Prime Minister looks dazed, trying to form words but then giving up. CUT to : Ashton Down. Jack sits on a narrow bench in a long hallway. His silhouette is dark in the hall, with sunlight on the wall just beyond him, at the far end is a set of double doors. One of the doors opens, and Alice steps out, Jack's head turns when he hears the door open. Alice stops as the door swings shut behind her. She catches sight of Jack and goes still. Jack sits on the bench, his hands folded and expression guarded. After a moment, Alice steps backward, leaning on the door to press it open, and turns, walking away. Jack continues to sit for a moment as, very faintly, dialogue from earlier plays. STEVEN : Uncle Jack ! JACK : Hey, soldier. Finally, Jack takes a deep breath and stands, walking down the hall in the opposite direction from Alice. He pushes open the double doors leading outside and exits into light. CUT to : Six months later. A dirt road, wet, overhung with trees and greenery. A car's headlights show and come closer as the title card comes up. As the car approaches, the occupants are revealed : Gwen and Rhys. Rhys is driving. He pulls the car off to the side of the road and cuts the engine. Both unbuckle their seatbelts, and Rhys gets out, coming around to open Gwen's door for her. Her smile is fond. RHYS : There's no more road. We'll have to walk from now on. You all right ? Out of the car, Gwen's huge belly is revealed. GWEN : You fuss over me one more time... RHYS : I'm just saying. GWEN : Well, don't. Rhys locks the car with a little beep from the remote, and they start to walk, smiling at each other. The view from the top of the hill shows Cardiff spread out below them, lights marking the roads and buildings. Gwen and Rhys hold hands as they climb to the top. They pause part of the way there, seeing something, and the camera turns to reveal Jack standing at the top of the hill, his coat buckled around him. Gwen chuckles, holding her belly, and she and Rhys finish walking up to meet him. GWEN : Couldn't have just chosen a pub, could you ? RHYS : It's bloody freezing. My feet. JACK : Oh, I missed that, the Welsh complaining. You look good. GWEN : I look huge. RHYS : She's bloody gorgeous. Jack smiles at that, and Gwen approaches him. GWEN : You OK ? JACK : Yeah. She touches his collar as if to neaten it. GWEN : Did it work ? JACK : Travelled all sorts of places. This planet is too small. The whole world is like a graveyard. GWEN : Come back with us. JACK : Haven't travelled far enough yet. Got a lot of dirt to shake off my shoes. And right now, there's a cold-fusion cruiser surfing the ion reefs just at the edge of the solar system, just waiting to open its transport dock. As he speaks, he looks up, and a light winks in the sky high above. Then he returns his gaze to Gwen. JACK : I just need to send a signal. Gwen holds up a finger : "one second". She digs in her pocket and produces Jack's wriststrap. GWEN : They found it in the wreckage. Indestructible. Like its owner. She gives it to him, and he places it on his wrist. GWEN : I, eh, put on a new strap for you. RHYS : Cost me fifty quid, that. JACK : Bill me ! GWEN : Are you ever coming back, Jack ? JACK : What for ? GWEN: Me. Gwen begins to get teary. GWEN : It wasn't your fault. JACK : I think it was. GWEN : No. JACK : Steven and Ianto and Owen and Tosh and Suzie and... All of them. Because of me. GWEN : But you, you saved us. Didn't you ? JACK : I began to like it. And look what I became. Still. I have lived so many lives. It's time to find another one. He steps back from Gwen and lifts his wriststrap (which, despite the claim of having a new leather band, still has the old marks of use). He presses a button and it begins to send a continuous beep. GWEN : Th-they died, and I am sorry, Jack, but you cannot just run away. You cannot run away. The teleportation field begins to shimmer over Jack. JACK : Oh, yes, I can. Just watch me. He's gone in a shimmering ball of light that sh**t upward. A moment later, a light shines brightly from the sky, then winks out. Gwen stands, looking up and crying, as Rhys walks up behind her. Gwen puts her face in her hands and sobs. Gently, Rhys leans in. RHYS : Let's go home, yeah ? Gwen turns to Rhys, still crying. GWEN : Yeah. Yeah. She looks up again, her hands still folded, and then turns and walks away with him, his arm around her shoulders. She looks back, once, but then continues walking with Rhys, leaning on him and patting his back as they make their way down the hill. END CREDITS

{"type": "series", "show": "Torchwood", "episode": "3x05 - Children of Earth, \"Day Five\""}

foreverdreaming

[ EXT. Montrose Hill State Penitentiary ] ( Action Six News are showing helicopter footage of a United States penitentiary in Jacksonville, Kentucky. The caption reads: 'Breaking news, Oswald Danes to be ex*cuted at 6AM.' ) Newsreader: 6AM is the appointed time of death as laid down by the state of Kentucky. Oswald Danes faces his last moments on this earth. Members of the public have gathered outside the Montrose Hill state penitentiary, but the planned protests against the death sentence have failed to appear, which isn't surprising given the nature of the offence... ( A fair haired man in an orange prison outfit stares into space. This is Danes. ) Newsreader: A former schoolteacher convicted in 2006 convicted of the r*pe and m*rder of 12 year old Susie Cabina, Dane will be remembered for his infamous line of defence. Upon his arrest, he told the police "She shoulda run faster." [ Execution chamber ] ( There are lots of crazy camera angles as we take in the glassed off public gallery, the microphone in the ceiling, the young cop attending Danes and Officer Cole, an older white man with a walrus moustache. ) Cole: The condemned is permitted to make a final statement. D'you have anything to say? [ CIA Analysts Office / Car ] ( Dane is lying on the bed. He lifts his head from the pillow to make eye contact with a short haired woman in the public gallery. This is Susie Cabina's mother. He says nothing. Cole leaves the room and we see plungers being depressed in close-up as the lethal injection makes its pale green way along the tube to Dane's body. For a moment, it looks peaceful, then his head jerks back violently. He makes choking noises and starts pulling against his restraints. A moment later he has pulled an entire armrest off the table in his frenzy. The cops return to the room. Cole restrains Dane while the younger cop pulls a curtain across the window, blocking the view from the public gallery. We cut to a close up of a woman's mouth ) Esther: Did you ever hear of Torchwood? ( A black man is driving a car through extremely heavy rain. This is Rex Matheson of the CIA. ) Matheson: Never mind that. Guess what I just heard. You know Steve Reynolds? Well it turns out his wife is sick. She has leukemia or something like that. Whatever it is, it sounded long term. ( Back to Esther, a twenty-something CIA employee with her blonde hair in a ponytail. She is staring at a computer screen. In the background we can see her colleagues at their workstations. Everybody looks busy. ) Esther: It's British. The Torchwood Institute. Matheson: Hello? Are you listening? Y'see if Steve's got to come home, that leaves a space in Venezuela and I spent 18 months working out the Maricaibo routes. So it's mine! Ha ha ha! I get promoted. Esther: Congratulations. Matheson: Thank you. Esther: ( Chiding ) Steve's only been married six months. Matheson: What do you want from me? It's a tragedy. Esther: All the same this might be worth following. ( On her screen we can see a single email containing the word 'Torchwood' in a big font. A search results screen on the right lists headlines: "Cardiff Mass Hysteria", "f*re In The Sky Over London Eye", "Government Denies Torchwood Cover Up". She opens the news stories and reads. ) Esther: The word Torchwood has just been emailed to every East Coast section chief completely bypassing security. Just one word: Torchwood. ( The analyst on the next desk is a young black man named Noah Vickers. He tries to get Esther's attention. From the desk behind him we can hear an older, blonde agent names Charlotte Wills on the phone. ) Noah: Following up this Torchwood incident, just wondering if you can access the EU files? Charlotte: No it's not Touchwood, it's Torchwood. Tee, oh, are, see, aitch double you-- Matheson: So what is Torchwood anyway? Esther: I've looked it up. There's some pretty freaky stuff, I'll send it to you now. ( She pulls up a dialogue box. "Sending to: R Matheson" but when she hits send, she gets a security alert. ) Matheson: Well it sounds more like intelligence, not clandestine. Noah: Are you getting this? ( Computers start failing all over the room. ) Matheson: And if it's got the title Institute that means it's been officially sanctioned by the UK government, which is a big hassle, because as we all know, that administration is like kindergarten. Esther: It's gone. It just got wiped, like a virus. It just vanished. Matheson: Okay, well I guess that's that. Now go ask around about Steve's wife. Get a proper diagnosis. We need a timeline on this. And pass that Torchwood thing onto somebody else, it has absolutely nothing to do with me. ( An huge lorry is speeding through the rain, then brakes suddenly. We see the wheels judder around as it comes to a stop and four metal poles are flung from the back of the truck and through Matheson's windshield. Three miss him, but we see the fourth come out the back of his seat red with blood. ) Matheson: Eeyargh! Esther: Rex? Rex? ( And as Rex stares at the pole sticking through his chest in disbelief, we cut to Gwen waking up in a darkened room in Wales. ) [ Bedroom ] ( She sits up with a gasp and looks around wild eyed for a moment. Rhys is lying beside her still half asleep and doesn't open his eyes. ) Rhys: You okay? Gwen: Yeah. Yeah. Dunno. Just... bad dream. Rhys: What about? Gwen: Oh, what d'you think? ( She flops back down onto the bed. ) Gwen: Torchwood. Season 4 Episode 1 The New World Original air date: July 14, 2011 [ City General Hospital in Washington, DC. ] ( Two male paramedics are pushing a gurney. Lying on his side on the gurney is Matheson. He has to lie on his side because the iron bar is still sticking out on either side of his torso, although it's been cut down so that there are now only six inches either side. He's wearing an oxygen mask and is covered in blood. ) Paramedic: His pulse is fast and weak. Systolic BP of seventy. Beats me how he's still alive. ( Matheson is still conscious and does not look comforted by this comment. A Latina doctor joins the team with the gurney. This is Doctor Vera Juarez. ) Vera: Rex, my name is Doctor Juarez, okay? We're taking you straight into surgery. Do you understand? ( Esther appears behind the gurney. ) Esther: Is he okay? His name is Rex Matheson. Vera:Are you family? Esther: No I'm just a colleague. We work in the same department. Vera: Family only. ( Esther is left behind as they head into surgery. ) Vera: He's the second one tonight, DOAs who just won't die. Paramedic: We had a jumper this afternoon. Twenty two floors. Everything pulverised. Pneumothorax, both sides. Same thing. Just wouldn't die. ( Matheson stares up at the bright lights in the operating theatre. The white overwhelms the screen. Further credits play over the next section. ) [ Welsh Farm ] ( We come back in on ariel footage of a craggy coastline on a grey day. You can tell from the weather that it's Wales. We move in on an isolated cottage. Gwen and Rhys are in the garden. Rhys is raking. Gwen is watching the helicopter flying overhead. ) Rhys: Don't be so suspicious. Gwen: What they flying past for? Rhys: Because they can. It's a free country. Just looking. Now stop it. ( A title credit informs us that this is Wales, UK, 8AM. ) [ INT. Farmhouse ] ( Gwen is feeding a baby and talking to her. ) Gwen: So I went outside all on my own. Twas midnight. Not a sound to be heard. And I looked up and a woman came out out of the sky. Ah. Shining she was like moonlight. Her eyes were white. blazing white. And then she started to sing like a thousand choirs. One woman with a thousand voices and it was beautiful. ( Rhys enters behind her ) Rhys: That's enough don't you think? Gwen: Who's being paranoid now? Rhys: You promised me you'd keep her away from this stuff. Gwen: Yeah, well. Be fair. She's too young. She thinks it's all jut a fairy tale. Rhys: It was a nightmare, Gwen. Your life back then was a living nightmare love. ( There is a knock at the door. They both tense instantly. ) Rhys: ( whispering ) There's somebody at the door. Gwen: Ssh! Rhys: ( whispering ) What do we... Gwen: ( whispering ) You and... ( There is some frantic pointing as they silently communicate their plans. Then there is another knock and they spring into action as dramatic music plays. They both move quickly towards wardrobes that have been converted into w*apon stores. Gwen grabs and loads a p*stol. Rhys picks up a g*n. The baby watches all this with interest. Rhys stands to one side of the doorway with the r*fle at the ready and smiles at the baby. ) Rhys: Ssh. ( Gwen opens the door with the p*stol held behind her back. It's a couple of elderly ramblers in bobble hats and sensible shoes. ) Ramblers: Hi. Hello. Sorry. ( Unseen by the hikers Rhys rolls his eyes and exhales. ) Male rambler: Hope we're not disturbing you. Just wondering. if we're going back to the village is it quicker to go back across the beach or will we get cut off at this time of day? Better to ask I thought just in case. Female hiker: We have got proper shoes. We can get across nice and quickly. Gwen: It's private property. I'm busy. ( She closes the door on them. And goes to watch from the window as they leave. ) Rhys: ( putting on a west country accent ) Get off my land! Gwen: Shh. Oh my god, I could have sh*t them. Rhys: Hey, hey. We're safe sweetheart. No one knows we're here. All that stuff's long since gone. No more Torchwood, right? Gwen: Yeah okay. Rhys: It's gone. Forgotten, eh? Gwen: Yeah, all right. Sorry okay. Rhys: Come here. ( He kisses her. At the bottom of the drive, the ramblers look back up at the cottage. We hear another helicopter as we cut to ariel footage of the capitol building at night, making the title card saying "Washington DC, USA, 3AM" at least partly redundant. ) [ Hospital ] ( Esther is sitting in a darkened waiting room with her head in her hands. Juarez appears in the doorway. ) Vera: Popular man, Rex Matheson. We've had three different station chiefs on the phone. No sign of his family? Esther: We only have a number for his father. I left a message, but nobody's called back. Is he..? Vera: No. No, he made it. He's alive. Esther: God, I... Thank you, I... The paramedics said he didn't stand a chance. Vera: Well, looks like sombody's changed the rules. Miracles got... easy. ( They walk through the hospital together ) Vera: It's not only Rex who's still alive. So is everyone else. Esther: Sorry, I don't get you. Vera: It started last night. First I knew, they called up from the morgue, they were laughing. They said 'What's happening up there, you on strike?' Turns out no one had died. 24 hours since this hospital had a death. Not one. Not from old age, not from injury, not from sickness. All day long. Esther: Just a coincidence I suppose. Vera: That's what I said, yeah. Then I was on a call to St Jude's in Chicago. And they said 'Well, here's a funny thing: Past 24 hours, we've registered no deaths, not one.' So I called my ex-husband. He's at Cedarbrook. Same story. All day, no deaths. I tried London. I have this friend at the Royal Free Hospital. I called her, she said 'That's weird. It's the same thing over here.' Twenty four hours. No one's died. What do you think of that? Hmm? One lucky day. AWM Reporter: The survival of Oswald Danes turns out to be the first incident in a much bigger story breaking live this morning. Male Anchor: When the Kentucky Medical Authority made a chance comment that it hadn't recorded a single death over twenty four hours... Senior male anchor: Seventeen more authorities immediately reported the same thing. The story exploded on social network sites. ( Speaking Spanish ) AWM Reporter: .. miracle trending as the number one topic. From Maine to California, the story is the same. Male Anchor: For the past thirty six hours... Both: .. no fatalities have been reported. Reporter: No one has died. Male anchor 2: Not one person in the United States... Male Anchor: Not a single death. All: Miracle Day. Senior male anchor: Miracle Day. That's what's being called. Male Anchor: Miracle Day. [ Montrose Hill State Penitentiary visiting room ] ( Buzzer sounds ) Peterssen: Mister Danes, I'm Alexander Peterssen representing the governor's office. Danes: What, I don't get a personal visit? Peterssen: I'm afraid not, given the circumstances. But the governor's office would like to offer its condolences without an admission of liability for any physical distress caused by events beyond its control. Danes: Condolences? He can't just say sorry? Peterssen: You have to respect his position. You're a convicted pedophile, sir, and a convicted m*rder. By your own admission, you took the life of a twelve year old girl, so the governor's apology is always gonna be within certain limits. Danes: When are you gonna let me go? Peterssen: Well, I don't think that's possible. Danes: I've served my sentence. Peterssen: Granted, the execution was flawed, but that doesn't defer the sentence. With respect, you don't reprieve a man you failed to hang because the rope snapped. Danes: Indeed. And with respect, that particular aphorism applies only for an execution which has failed. Peterssen: And that's you. Danes: On the contrary, I would maintain, and my lawyers would maintain, my sentence was carried out successfully. Nothing went wrong absolutely nothing. The fact that life and the laws of life on this Earth have changed is hardly my fault. Peterssen: Society is full of out there laws, Mister Danes. Nonetheless, they still apply. Danes: That's right, Mister Peterssen. And when considering the persistence of the law, then the Eighth Amendment clearly forbids the application of cruel and unusual punishment such as mine alongside the Fifth Amendment and I quote, "Nor shall any person be subject for the same offense twice." The Founding Fathers practically had me in mind when they wrote the Constitution. Don't you think though? Don't you think? Because I can guarantee, Mister Peterssen, that when I talk of lawyers, I mean the team who will be suing the governor and I mean the governor himself. Not his office, but the actual man. They will be suing him for wrongful imprisonment. And I promise you that they will sue his ass to high heaven till angels sing songs of him in their laments. Is that clear? Peterssen: Perfectly. Danes: Then go tell him, because with every passing second that's a million dollars more. Mister Peterssen, thank you. Thank you very much. [ CIA Analysts Office ] Charlotte: Hey. Heard about Rex. Is he okay? Esther: Yeah. Thought it was a miracle, turns out it's everyone. Did you get any more on that Torchwood thing? Charlotte: No, it's been shut down. Orders of Brian Friedkin? Goes through his office only. Case closed. Esther: But what was it? 'Cause the way those files disappeared... Charlotte: The world changed overnight, yeah? Some old British thing is not on the top of the list. Esther: Torchwood. If that wasn't a virus, it's got to be some sort of malware. Noah: It's like nothing I've ever seen. The word Torchwood is vanished. It's been eradicated. If you search for Torchwood, you get no results. Nothing gets no results. Esther: Then there's got to be something on paper. Noah: The shelves are bare. It's all gone to Friedkin. I asked Yvonne. ( Clears throat ) She said it was classified under the 456 regulations. She said you want to stay away. Esther: Why? Noah: They all died. So the story goes. Anyone that worked for Torchwood was k*lled in action. And they died young. [ Hospital room ] Nurse: Seen the TV? ( Gulps ) It's not just you. ( TV turns on ) Woman on TV: This goes beyond America. It's worldwide. You've got the same reports from Europe, from Asia, from Africa. Man: Every death is different. You can't suspend death like it's a fixed concept. This goes against the fundamental rules of life on Earth. They sh*t him! They sh*t my brother like bam, bam, bam, but you know, he's still alive and his heart's still going. He reached out. WNKW: Whether it's a disease or an experiment or a project gone wrong, it's obvious we're the victims now. We're the lab rats. Angry nurse (on TV): These people are d*ad. That's what they are. d*ad people sitting up in bed. They terrify me. I'm not touching them. I'm sorry, but they should be corpses. That's what they are, living corpses. ( Velcro rips ) ( Groans ) ( Beeping ) ( Groans ) ( Beeping faster ) ( Sobbing ) Vera: The metal missed the spine, but the pericardium was lacerated and a coronary artery was crushed and thrombosed. That's the one in your leg. I had to transplant a section of vein from your thigh. Rex: But how did I survive? Vera: I... don't know. But even when your heart stopped beating, the process continued. The process of life, the viability of the flesh, the transfer of oxygen. It just didn't stop. Rex: But do I get better? Do I heal? Or do I just hurt for the rest of my life? Because if this thing keeps going, the rest of my life is forever, right? Vera: Rex, now listen to me. 'Cause you might want to take something under consideration. That maybe you were lucky. ( Scoffs ) You should've died last night, but when this thing happened, the miracle, it gave me time to fix you. Without the miracle, you'd be d*ad. Rex: It's like someone cast a spell over the whole world. But what happens when it stops, huh? What happens to me then? Do I die? [ Farmhouse ] Rhys: Oh, you are so cheating. ( Laughs ) Gwen: Cheating? How can I cheat painting a wall? Only a man could turn this into a competition. Rhys: You just went whoosh. Gwen: Well, look, whoosh. Rhys: With one stroke. That's hardly a coat. ( Phone rings ) Gwen: Oh, bollocks. Oh bollocks, bollocks. Rhys: It might be nothing. Gwen: There's only one reason why that phone could ring. Look, where have you put it? Where have you put it? Rhys: It's in here, it's in here. Gwen: What is it? What is happened? [ Cardiff ] Andy: This is Sergeant Davison with a phone-in report of one suspect, male, in the vicinity of Saint Helen's Hospital, Cardiff City. Suggest rendezvous at 02:00 hours in the agreed position. ( Beeps ) [ Farmhouse ] Gwen: It's my dad. He's in hospital. Uh, I've got to see him. I'm sorry, Rhys. We've got to go back. [ CIA Archive ] Archivist: Friedkin's office took all the Torchwood files, cleared us out. Esther: I know. He sent me the double check. 'Cause files get left behind, and especially if there's a hard copy inside an associated pile. That sort of thing always gets missed. Just need to check on all the associations. Archivist: Okay. Esther: Not sure where to begin. Archivist: Better find out then. Esther: Right. Okay. Thanks. ( Sighs ) ( Rips ) Esther: ( Softly ) 456. 456. 456. 456! ( Rips ) Jack: Come with me. ( Gurgles ) ( Clangs ) Jack: Down! ( Groaning ) Esther: Oh, my God. Is he gonna die? Jack: Don't worry about it. No one dies these days. Assassin: You want to bet? ( Pants ) ( Coughing ) Jack: Whoa. Anyway, Captain Jack Harkness. Nice to meet you. [ Outside the CIA Archive ] ( Sirens blaring ) Jack: Here you go. Esther: That man... Jack: He was after me, not you. Esther: Why? Why would he want you d*ad? Jack: On the very day that no one's dying? Wish I knew. And what got you so involved? Esther: I'm not even authorized for this, but this friend of mine, I was telling him about Torchwood and he crashed his car while I was talking to him. And I can't help but thinking that it's all my fault. Jack: I know the feeling. Esther: So what is Torchwood? ( Sighs ) Jack: Torchwood no longer exists. Esther: Then what was it? Because there were photos in that file of a man who looked just like you, but it said 1939, then 1925. Is he your father? Jack: I suppose it must be. Esther: Are you all right? Jack: Yeah. I hurt my arm. Esther: Considering what we just went through, I would say that was a miracle. Jack: Yeah, another one. The Torchwood Institute was set up by the British royal family in 1879 to defend the realm of Great Britain by investigating the unusual, the strange and the alien. Esther: I'm kind of guessing "alien" doesn't mean foreign. Jack: Alien as in extraterrestrial. Esther: Oh, my God. Jack: This whole situation worldwide, that's exactly the kind of thing we used to investigate. Esther: Torchwood, they said that people died, but there was that other photo. Gwen Cooper. There was no date of death. Jack: She's still alive. The last one left. And I'm gonna keep her safe, which means making sure that the Institute stays d*ad and buried. Esther: So that first email last night, the one that just said Torchwood? Jack: Wasn't me. God knows who it was. But that was enough to call me back, and I got to work releasing the malware, destroying hard copies, removing all traces of the word, using Retcon. What's Retcon? Esther: What's Retcon? Jack: It's a smart drug. Selective amnesia. Esther: No. Jack: You won't remember a thing. Nice to meet you, Esther. [ Hospital room / Corridor ] WVBS Reporter: The f*re at the CIA archive is now under control... Rex: An expl*si*n right at our doorstep. It's a gift. Now take a look at the victims. Are they d*ad or not? Vera: You're not the first to think of it, Mister Matheson. Now, you can stop running the case from a hospital bed. Rex: Wait, wait, wait, what are you talking about? Who else is there? Vera: I really can't talk. Rex: Who else is onto this? Vera: I'll check the Ringmain. Rex: The what? Hello? Jack: FBI. [ Hospital room ] Rex: Hey, my man, what the hell is the Ringmain? Male Nurse: It's the internal cameras. Security system, that's all. ( Huffs ) ( Phone keys beep ) ( Groans ) Rex: Yeah. Yeah, this is Rex Matheson with the CIA. Put me on with your chief of security. Yeah, right now. [ Mortuary ] Santini: Session begins supervised by attending surgeon Professor Victor Louis Santini and witnesses to be listed in the hospital register. The purpose of this enquiry is to determine. Well, as you'll see, following the expl*si*n at the CIA archive... [ Hospital room ] Rex: Got it. [ Mortuary ] Santini: One of the victims has been... ( Man groaning ) ( Squishing ) Santini: Yes, I think we can. I'm sorry. They brought me in as an expert, but I don't know what the hell this is. Santini: We think this man was right at the centre of the blast, and yet he's still alive. Clearly, the skin is burnt. He's not indestructible, just undying. ( Groans ) Everliving. We're going to need a new vocabulary. But we're getting the same results from all over the world. Vera: Is that actual consciousness? It seems like he's still aware. Jack: Excuse me, I was wondering. Owen Harper, FBI. But what if you detach the head? I mean, would he stay alive without his head? Santini: I suggest we find out. Vera: Excuse me. you can't do that. I mean you literally can't. This man is not d*ad. He's our patient. Santini: Your comments have been noted, Doctor Juarez. Now, shall we begin? Vera: ( Whispers ) Oh my God. Santini: Don't tell me this is a virus or evolution or whatever. This is deliberate intervention. I mean, all of us have been changed by design. Vera: But how? Who could do this? Santini: Well, who's got the technology? Simple answer: No one on this Earth. [ Cardiff ] ( Sirens blaring distantly ) ( People speaking softly ) Gwen: What the hell? Andy: Long time no see. Gwen: Oh, my God. Hey. Andy: And you, big lunk. Daddy Day Care. Look at her. So your father had a mild heart att*ck on Saturday night and then a second on the Sunday, and that was quite bad, to be honest. But he's s*ab now. He's out of ICU. Funny thing is, if you're gonna get sick, he didn't half choose the right day. Gwen: What do you mean? Andy: Look at them. They're all gathering around the hospitals like they're the new churches. I'm not kidding. We've had doctors being worshipped since Miracle Day. Gwen: What's Miracle Day? Andy: Are you kidding me? Haven't you heard? Gwen: Heard what? Andy: Come on. It started two nights ago. People stopped dying. They still get hurt, sick, they just won't die. [ Cardiff hospital room ] Mary: Oh, you silly girl. I said stay away. Gwen: How could I do that, Mam? Mary: What if someone sees you? It's not safe. You told me. What if someone's watching? Mary: Oh, look at her. Come here. ( Chuckles ) Oh, good God, she's enormous. Rhys: That's your grandma, remember? Mary: How could she? Never sees me, does she? Not since the day she was born. ( Fussing ) Oh, hey, come see your granddad. Gwen: Hi, Dad. Hey. It's me. Hello. Geraint: You shouldn't have. Gwen: Well, there we are, then. Tough. ( Chuckles ) And you can stop all this nonsense, okay? I want you up and out this bed, lazy old thing. ( Laughs ) ( Baby coos ) Geraint: Ah, there she is. Princess. Mary: Look at her though. She's huge. Gwen: She's perfectly normal, Mam. Mary: I thought you were being frugal. What are you feeding her, lard? Gwen: Yes, Mam. I'm feeding her lard. Keep telling her that, and by the time she's thirteen, she'll have a complete psychological complex. Rhys: Stop it now, you two. Mary: Sorry. Gwen: It's okay. Mary: What do you think it is, Gwen? What happened to us? This never-ending life, what is it? Geraint: Should I be d*ad, sweetheart? Gwen: I don't know, Dad. Geraint: It's the sort of thing your lot used to tackle. Gwen: Yeah, but Torchwood's gone, Dad. There's no one else left on Earth, just me. ( Sobs ) Okay? And I'm sorry, ( weeping ) because I don't know what to do. I don't know what to do, Dad. [ Nurse's station ] Gwen: It's all over the world the world. Look. Look at this. Somalia has stopped fighting. Andy: Warfare is even worse when the bodies refuse to die. But take a look at North Korea. Huh, spoiling for a fight. They've got a lot of soldiers who think they're immortal. Gwen: But this miracle, it's specifically human. I mean, it's got to be. This website says if insects stopped dying, we'd be overrun within forty eight hours flat. And that hasn't happened. So this thing is being targeted at us. Andy: Have a look-see. Budge over. I've missed all this. Gwen: I haven't. Andy: It's quiet without you. Gwen: Oh, tch. Andy: Here we go, look. Planet Earth. On average, three hundred thousand people die every day. So if they stop dying, that's an extra what, million people in just over three days. Add to that five hundred thousand people born every day. Gwen: That's another million every two days plus the first million. Bloody hell. Andy: That's the fastest population boom in history. Gwen: We're gonna run out of room. Andy: We'll run out of food first. A guy on the telly was saying we've got four months like this. Just four months, and then that's it, society just collapses. Everyone fighting each other for food, like animals. Rhys: Oi, what are you two doing? Andy: Uh, I was just asking for some advice. Rhys: Yeah, don't you start. Gwen? Gwen: Yes? Rhys: No more investigations. You promised. We're here to see your Dad. That's it, yeah? Gwen: Do you want to come and have a look? Come on, bright eyes, follow me. [ Hospital basement ] Gwen: Look, intensive care overflow. They've got twelve beds with seventeen patients already. What's gonna happen tomorrow? And the day after that? And the day after that? And the day... Rhys: Listen, now. Every time you investigate something, you end up in danger, Gwen. Gwen: 'Cause I can help. Rhys: Don't you dare. Gwen: So you just... Rhys: I said don't you dare! Have you got that? Don't you bloody dare, Gwen! ( Panting ) See, the thing is, right, if you think Miracle Day is like a Torchwood case, others are going to think the same, aren't they? They're gonna come looking for you with g*n like they did the old days. Gwen: I suppose, yeah. Rhys: We shouldn't even be in the city. There are cameras everywhere, man. And it's different now. You've got a daughter, and you can't go putting her into danger. That is why we live in the back of beyond, to keep her safe. We've got to go back. Gwen: My dad is sick. Rhys: Oh, think about it! People aren't dying. He's gonna survive. Gwen: Shush, now. Shush. Rhys: Think about Anwen. ( Laughs ) Maybe our daughter's going to live forever. Gwen: Don't, okay? Don't make her part of this this thing, okay? Don't. Do you think she could? Rhys: Possible, yeah. See, maybe you should let this happen for once. Gwen: Let's go home. Rhys: Yes. Gwen: Let's go home. ( Laughs softly ) [ Esther's apartment ] ( Groans ) ( Groans ) ( Coughs, grunts ) ( Exhales ) ( Groaning ) ( Gasps ) Esther: ( Whispers ) What the hell? [ CIA Analysts Office ] TV Reporter: The search or suspects continues after last night's massive expl*si*n at the CIA archives... Charlotte: Nice for some, having the morning off? Esther: Yeah, I, er had things to do. Missed all this. ( Clears throat ) Noah: You owe me. Yasmin works in Friedkin's office. She got me the last remaining copy of the Torchwood file. Now you can take me to dinner. ( Phone rings ) Esther: Esther Drummond. Hello. [ Hospital room / CIA Analysts Office ] Rex: Is there a database correlating mortality rates from every single hospital in the world? Esther: Are you on your cell phone? Because you're not allowed to be using it. Rex: And is anyone talking to morticians? Because, I mean, they've got to be the first to notice, right? Esther: There's nothing. There's no news. The whole thing, it's kind of intangible. How do you investigate something not happening? And all that Torchwood stuff that's gone up to Friedkin. Rex: Oh, yeah? ( Pants ) So what's Torchwood got to do with it? Esther: I don't know. It's sort of connected, isn't it? Rex: No. No, it's not. It's a completely different case. Esther: Sure. Of course it is. Rex: Then why'd you mention it? Esther: Don't know. I suppose it just happened at the same time? Rex: So what is Torchwood, anyway? Esther: Er, some kind of British intervention agency. Closed down. Used to specialise in 456 cases and above. Rex: So that first email with Torchwood, you know, the security breach, when did that come through? Esther: Sunday night, 22:36. Rex: ( Groans ) 22:36, huh? Esther: Yep. Rex: ( Softly ) 22:36. 22:36 was the last reported death. The last death on planet Earth. Esther: Well, that's disputable. They said that the last death was on Monday. Rex: No, no, no. Monday in Shanghai. ( Beeping ) At 11:36. Washington, D.C. is 13 hours behind at 22:36. Both those things happened at the same time. Don't you see? You were right. ( Grunts ) It's all connected. Torchwood's the key to this whole thing. Nurse: Rex, I've warned you. You're gonna k*ll yourself! Rex: I can't. That's the point. ( Grunts ) All right, so give me those names again. Esther: Captain Jack Harkness and Gwen Cooper. Zero information on him and no sightings of Cooper for the last twelve months. It's like she's gone underground. Rex: Yeah, that's them. Esther: The case details have been censored by UNIT Headquarters. This file's got referrals going all the way to Geneva and above. It's way beyond top secret. Rex: Yeah, yeah, yeah. CIA. Move out of my way. Doctor: You can't take them. Vera: Rex, what do you think you're doing? Rex: Sorry, Doc, I'm too busy. Vera: You are in no condition to leave. Rex: Oh, I'm not just leaving. ( Grunts ) I'm flying all the way to the United Kingdom. Esther, book me a flight. ( Grunts ) Hey, CIA. I'm taking that cab. Move the hell out of the way. Move! ( Pants ) Now, make sure you get a hold of supplies, because I'm gonna need a requisition fifteen. Esther: ( Softly ) What do you need that for? Rex: You do know what a requisition fifteen is, right? Esther: Of course I do. It's clearance to take a g*n on a plane. Rex: Well then, I'm taking a g*n on a plane. Now book that flight. [ CIA Analysts Office / Airport ] Esther: Okay, your flight departs at oh two hundred hours, but your requisition has been refused. Rosita: Tengo tu pasaporte. Rex: If requisitions won't move, then get me a g*n from UK security. Esther: How am I supposed to do that? ( Speaks Spanish ) Rex: Shush! Get me the g*n. Rosita, Rosita, here. I don't know when I'm coming back, all right? I don't want you letting your husband into my house. You got that? No husbando. ( Speaks Spanish ) No husbando. [ Aeroplane / Esther's apartment ] ( Dings ) Attendant on P.A.: Good evening, ladies and gentlemen, and welcome to your flight to London Heathrow. Rex: All right, now concentrate. The life of Gwen Cooper. What do we know? Esther: Ex-police. It says that she joined the Torchwood Institute in October 2006. Rex: All right, now hold on, hold on. Go through her police records. Find out everyone she worked with, everyone she trained with. Attendant: I'm sorry, sir. I have to ask you to turn your phone off now. Rex: CIA, and I'm sick. Gwen Cooper. Find out everything. Esther: I can't get into the database. I'll need your password. ( Phone clicks ) Esther: Rex! ( Sighs ) [ Heathrow Airport / Esther's apartment ] Rex: Hi. So where the hell was I? Right. The password's "Madrid 6-6-2-1-1." That's "Madrid" with a capital "M." Now go through that list and scan through their records using a level one filter. You should highlight anything with a red flag or a caution pertaining to Homeland Security. Esther: I've got one positive response. Police Sergeant Andrew Davison, Cardiff resident. There's a note in his file says he was Gwen Cooper's unofficial liaison. I can access his private calls. [ Car / Esther's apartment ] Esther: ( Sighs ) I've got to filter this through Whitehall. Rex: How long's it gonna take? Esther: Any minute now. Rex: And what the hell is this bridge? The Severn Bridge? Esther: It connects England to Wales. Rex: What, you mean Wales is separate? ( Pants ) It's like the British equivalent of New Jersey. Esther: Hold on, hold on. I think I've got something. Sergeant Davison made one call on Tuesday at seventeen oh eight to a number that's on the UK Hickman register. That's a list of cell numbers allocated to witness protection schemes. Rex: That's it then, we've got her. Esther: I can request that through MI5. Rex: Now what is this? Wait a minute, I've got to pay for this bridge? ( Sighs ) g*dd*mn Wales. Esther: I've traced the handset. Sending you the coordinates... ( Keyboard keys click ) ...Now. It's at 51°, 34'N; 4°, 17'W. Rex: I got it. [ Welsh Farm ] ( Groaning ) ( g*n cock ) Rex: CIA! Gwen: Yeah? So what? ( Coughing, wheezing ) KCNU: Extraordinary scenes in Kentucky as the governor's office releases Oswald Danes on parole. The charity Freedom and Liberty has employed a force majeure ruling to define Danes' survival as an act of God, with liability now on the state to prove otherwise. ( Angry clamoring ) ( Engine starts ) ( Buzzer sounds ) ( Clamoring continues ) ( Pounding on car ) [ Farmhouse ] Gwen: Right, we're off. We're gonna get a good head start and phone you an ambulance. Don't follow us. Don't even try. We just want to be left alone, okay? ( Grunting ) ( Groans ) Gwen: Hold it right there, mate. So much for tying him up. Rhys: I've never tied up a person. Gwen: Men are good at knots. How many times have you told me that? Rhys: Yeah, at Christmas. Rex: Hey! Hey, hey, hey, hey, hey. I had a pole through my chest. I was d*ad, then I wasn't. I had to pay for this Bridge and now I want to know what the hell is going on, all right? ( Helicopter whirring ) Because I was d*ad and now I'm not. And if that has anything to do with Torchwood or you or anyone, then I need. ( Whirring intensifies ) Rex: You know, it would really help if could hear myself think. What the hell is he doing? Rhys: It's a tourist thing. Gwen: No. No, I don't think it is. ( Whispers ) Sweetheart. Gwen: Get back! Gwen: Get in the car. Come on! Jack: Can't leave you alone for a minute. Rex: It's you. [ Flashback ] Rex: Gwen Cooper. Find out everything. ( Grunts ) ( Beeps ) Jack: She said to turn off the phone. [ End Flashback ] Jack: Never annoy me again. ( Helicopter approaching ) Now get in. [ Land Rover ] Jack: Duck! Rhys: Jack, for God's sake, there's a kid here! Jack: I got a present for you in the back. Rhys: Give her to me, Gwen, the baby. Jack: You there, CIA, do something useful. Rex: Wales is insane. Get down! Rex: Who the hell are you people? Gwen: Torchwood. [ Roald Dahl Plass ] ( expl*si*n ) ( Panting ) ( Phone rings ) Gwen: Right, so that's sorted. Rhys, take Anwen to my mother's and keep her safe and sound. Jack, if you've got access to any w*apon, what else have we got? I've still got the old Eye 5s, but everything else is gone. Rhys: I knew it though. Didn't I say? First sign of trouble, you go running off with Captain Jack Bollocks. Gwen: What choice have I got? I mean, they rebuilt to the tower, now we're rebuilding Torchwood. Isn't that right, Jack? You even listening to me? Jack: I cut my arm. Gwen: Okay. Can't help but thinking there's more important things to be worrying about here. Jack: No. I cut my arm. Look at it. It's not healing. Gwen: Do you mean... Jack: I'm staying hurt. Gwen: Oh, my God. Jack: I know. Gwen: Seriously, though. Rhys: It's only a cut. Gwen: But it's Jack. Don't you see? The whole world becomes immortal... Jack: And I mortal. I don't mend. I'm normal again. I'm plain old human. Rex: You're what? Jack: Doesn't concern you. Rex: ( Scoffs ) You talk some crazy shit, you know that? Gwen: You should get that seen to. Rex: Yeah, any minute now. ( Sirens blaring ) Ah, here comes my ride. Gwen: Andy, you can't do this. Andy: Orders from above. I'm sorry. He's in charge. Jack: Since when? Rhys: He can't arrest us. He's American. Rex: I hate to bust up your sweet little tea party, but this isn't an arrest. This is a rendition. And on behalf of the CIA, under the 456 amendments to US code 3184, I'm extraditing this so-called Torchwood team to the United States of America. Now, get me out of here. Take me home. ( Theme music playing )

{"type": "series", "show": "Torchwood", "episode": "4x01 - The New World"}

foreverdreaming

[sound of coughing] Ricky: We're going to make some good f*cking money here boys. Julian: Let's just f*cking get this over with, Rick. Ricky: My f*ck, this is a good time boys. Tell me that's not the best f*cking dope you ever smoked Bubbs. Bubbles: Should I be getting baked for this, boys? Ricky: Yes, Bubbles, get high, this is fun. Bubbles: Walkie check Ricky. Ricky: Good check. Bubbles: That water bong's so smooth, you don't realize how high you're getting until it's too late. Ricky: Bubbles, you're breaking up. Switch to channel two, okay. Just turn on the radio and relax, everything's fine. Bubbles: Channel Two? VHF, what's that now? [sound of music from radio] Bubbles: [singing] Bubbles: [singing through PA system] Ricky: I know I'm baked but, doesn't that sound like it's coming through the PA? Julian: f*ck, it sounds like it man. [sound of Bubbles singing through PA system] Ricky: Bubbles, everything you say is coming over the PA right now. Bubbles: Ricky, I am f*cked up out here. I don't mean to interrupt your meat-stealing operation there boys but I need to keep talking to you til you get back. I'm freaking out a little bit. Ricky: Bubbles, every f*cking word you're saying is coming over the PA. Julian: He must have his finger on the button man, he can't hear us. Bubbles: [singing] Bubbles: [singing over PA system] Ricky: f*ck! Meat dicks, meat dicks. Julian: These are just birthday presents. You have no right to look in them. We're going to leave now. Rick, let's leave, calmly, come on. Bubbles: Oh, I'm f*cking high! [music] Bubbles: Where do I know that big cocksucker from? Ricky: Don't even f*ck the mind who that is? Phil: What are you doing? Ricky: Get the f*ck out of the way with your stupid fish and your hockey stick! Bubbles: Ricky, I'm not selling meat in the liquor store parking lot again. I don't want anybody I know to see me. It's embarrassing. Ricky: Bubbles, just smoke some of this home made blender hash, alright, and relax. Julian: Corey and Trevor should be doing this greasy shit, not us. Ricky: f*cking Corey and Trevor. Corey and Trevor just vanished. No idea where the f*ck they went. Just ran away on me. Disappeared about six months ago and left a stupid note saying they're ever, never coming back. Thanks guys. Now I'm in a liquor store parking lot selling f*cking meat instead of Corey and Trevor. What the f*ck are you looking at? Phil: What are you doing here man? This is my parking lot! I sell mackerel and blueberries. Bubbles: [coughing] Great, Phil Collins is here. Phil: Hey, hey. Bubbles, Julian. How are you guys doing? Selling stolen meat eh? Wanna buy some trout? Julian: Phil, would you get the f*ck out of here. Here, here, take this thing. Phil: Yeah, well alright, Julian. Ah, geez. Bubbles: Here Julian. Julian: f*ck! Bubbles: [singing] I am high! High, high. Woman: Julian? Don't you remember me Julian? Julian: Ah? Woman: Oh my, Bubbles. Is that you? It's me. Your grade three teacher, Mrs. Anderson. Bubbles: [coughing] Hi, hi Mrs. Anderson. Ricky: Oh my god, I'm so god-damned high. Bubbles: Ricky, no Ricky. Mrs. Anderson: I better be going guys. You know, it's never too late to change the path you're going down in life, boys. Julian: Thanks, Mrs. Anderson. Bubbles: Let's get the f*ck out of here, Julian. Ricky: Forty-two bucks already today boys. I can't believe it. Where the f*ck are you going, Julian? Julian: I'm not stealing meat anymore man, it's f*cked. Ricky: Man, what the f*ck are you talking about? You're giving up seventeen, eighteen bucks a day. Julian: I gotta get a job or something man. Ricky: A job? Julian, we don't work. You know us. Bubbles: Ricky, think about what you just said. Maybe we should work. Getting a good job is a good idea Julian. Julian: Listen, if I don't start making some cash soon, I'm going to lose my f*cking trailer man. Seventeen bucks a day, not cutting it. Ricky: Why is he so f*cking worried about his trailer getting repositioned? We're doing good here man. More money for us buddy. See buddy, now this is what I'm talking about. Business. Jim Lahey: Hey Rick. Open for business? Ricky: How's it going Sir? What can I get for you? Jim Lahey: What do you got that's fresh? Ricky: Jim, we both know you came over here for more than just a box of meat. Jim Lahey: Well Ricky, I was hoping to get a few grams for Randy. But he, look, he doesn't want to pay twelve bucks a gram anymore. He's smoking a lot of dope Rick. He's a good customer. How about ten? Six grams, sixty bucks? Ricky: Oh my f*ck, Cheryl! What are you doing? I told you to stay off the counter. Look, you can have this but that's it alright. Now take that and get the f*ck out. Ricky: My father grazed me to that, that other things like animals that live or like I that live and I'm supposed to be the same to them and try to treat them good but I've got f*cking insects now coming to my trailer and frogs and f*cking these things that look like cats but they got these long beaky nose things. They're all attracted to my dope. I can't sell my f*cking things coming in like crows. I nicknamed this one crow Cheryl and she's pretty cool but I have to give her a peanut butter sandwich so she'll stop stealing my f*cking weed and it's just, it's making me lose my f*cking mind. I'm sick of all this shit. I gotta sell this f*cking dope soon or I'm going to snap. Ricky: I'm getting pretty sick of you and Randy showing up here offering me ten or eight or anything else. You know what, if you cops started doing your job and you busted some growers I wouldn't have problem. Nobody gives a f*ck about good dope. I'm sick of this shit Jim. Look let me spelt it out for you. See what that says? Twelve bucks a gram, firms. Jim Lahey: Are you selling any of this dope, Ricky? Ricky: I sold a little bit. Jim Lahey: Well, I refuse to pay twelve bucks a gram when you can get it for six down at the mall. Ricky: Well, you know what Jim? Go down to the f*cking mall and get the shitty mall dope. You only get f*cking one joint out of a gram, it's shit. Jim Lahey: Okay, okay, okay, okay. Look, I'll take one gram. Bubbles: Hey Ray. What, are you redoing your plumbing? Ray: f*ck no. Son of a f*cking whore. [crashing sound] Ray: f*cking, I don't use this as plumbing Bubbles, you know that. f*cking selling it as scrap metal. You know, get my liquor money buddy. Bubbles: Ray! Ripping the plumbing out of your walls for liquor money is f*cked! Ray: No, Bubbs. Bubbles: Ray, do you ever wonder if you've chosen the right path in life? [pipes clanging] Ray: What do you mean, like, if your rig is on the right road? Bubbles: Yeah, that type of thing. Ray: f*ck yeah, buddy. You kidding me. I think about that shit all the time. Every f*cking day I think about that. You know, I'll be, I'll be perfectly honest with you buddy. I'm sick of working with Randy, running this park. Bubbles: Ray, all you really do is get drunk and drive around waving at people. Ray: Yeah, I know but I'd give it all up in a second buddy. If there was just some f*cking way back on the road. Like that's ever going to happen. Bubbles: Hey, do you think you can work with Ricky tonight? I just don't think I can. Ray: Why, are you guys having a problem or something? Bubbles: Ray, I love those guys like brothers, you know that. But, I just can't do this greasy small-time crime shit anymore. Ray: I know what you're saying Bubbles. It's a young man's game. That's why I got out of it. So here, if I were you, I'd do it one more time and then get the f*ck out of it. You know, get me five pounds of bacon and a half pound of regular beef too while you're at it, would you? Bubbles: You know what Ray? I think maybe I should be doing my own jobs that I plan. I think it would be less stressful. Ray: You need a hobby like mine Bubbs. Bubbles: Hobby? What's your hobby, Ray? Ray: Drinking. Hey buddy, want a beer. Bubbles: I'd love a beer. Ray: Here, go ahead. Bubbles: Do you think I could get in on this scrap metal bullshit with you? I have connections in the cart world. Ray: f*ck yes. I could use a hand buddy. Bubbles: Alright, let's do it. Ray: Let's do it. Bubbles: Want to keep it on the downsie though. Ray: Alright, no problem. Jacob: I can't believe we're working together. This is awesome. Julian: Yeah, thanks for the job Jacob. Jacob: Oh my god, Julian. Is this your car? Julian: Yup. Jacob: Monte Carlo. What a cool car. Is it an '86? Julian: '87. Jacob: f*ck, it's in great shape man. Julian: Thanks man. Jacob: Can you light her up? Julian: I'll see what I can do. [tires squealing] Jacob: Yeah, light it up! BAM! See you later Julian. [knocking sound] Sam: Julian? Julian: Oh my f*ck. Sam: You're delivering pizzas now? Julian: No man, my cousin's car broke down and I Sam: Your cousin, yeah. Julian: Twenty-two bucks. Sam: Your cousin? Julian: Twenty-two bucks Sam. Sam: Yeah, okay. I got it right here. Uh, I got most of it. Julian: What do you mean? Sam: I got, twenty-one fifty. Julian: Sam, this is coming out of my own pocket, come on! Sam: I'm not made of money man. Come on, twenty-one fifty. Take it or leave it. Julian: [sighs] Police Officer George: Alright, next item. Harvey, Bern, all this luggage disappearing at the airport. What leads have you got? Nothing? You're off the case. Ted and I will take this one over. Hodgson, Chambers, want you to start laying down some muscle on this meat stealing ring. I mean, come on guys, they're stealing meat. How hard can this possibly be? It's getting embarrassing. Alright, that's it. Don't f*ck around out there. Jim Lahey: Hey George, what about me? Police Officer George: Actually, you know what, hold up everyone! You know, Jim, there is something you can do for us. Jim Lahey: What's that George? Police Officer George: Take a run up to Horton's for the boys. [laughter] Jim Lahey: Every f*cking day. Police Officer Ted: Guess you thought being back in the force would be more exciting. Double double decaf, Boston cream. Jim Lahey: Double double. Triple single. That's only seventy five cents, Terry. For f*ck's sakes. Ricky: Hey. Lucy: Hello. How are you? Ricky: Hey Trin. Sarah: Nice cooler Ricky. Is that yours? Ricky: Yeah. Sarah: Yeah? How can you tell? Ricky: What are you book learning Trin? Trinity: Ah, mammals and stuff. Ricky: Cool. Trinity: Birds. Ricky: How's the little bottle of joy doing? Lucy: Fine. Ricky: Well, I got you some meat. Lots of meat. You got a bunch of pork chops and ground beef. And bacon and this stuff, couple of those things. Lucy: You know what dude, as great as it is that you got all this stuff and I know that you're trying, you know what we really need? Some money. Ricky: Lucy, don't tell me you're going to start busting my cock too. You know what I'm going through right now. And Julian quit working for me today. Lucy: Uh-huh. Ricky: I'm trying to sell this friggin dope. What do you do when guys are selling dope down at the mall for six bucks a gram, even though it's shit, but people are buying it. I'm f*cking trying here Lucy. Lucy: Would you like a piece of licorice Sarah? Sarah: Sure. Lucy: There you go. Enjoy. Chew on that. Sarah: Uh-huh. Ricky: I'm not trying to freak out. I'm sorry. Lucy: Uh-huh. Ricky: You got another baby on the way and that got me learning that I gotta become better. For the person that's going to be born. You know that I always become a better person when the person that gets born is born. I'll do whatever it takes Lucy. That's what I'm talking about here. You think I want to be stealing f*cking meat, I'm doing it for you guys. Lucy: What happened to the guy I made love with in the bathroom of Kentucky Fried Chicken? What happened? Where is that guy, huh? Ricky: Lucy, please. We all know this is all Corey and Trevor's fault. I f*cking know you know where they are Sarah. I know you do. And if I ever see those guys again, it's f*cking on, big time! Sarah: That's right, Ricky. Ricky: You got one of those Corey and Trevor things on your arm? Sarah: Yeah I did. I did, because I miss them, because I loved them. You drove them out of here. You know and you blame everything on them. Ricky: I drove them out of here? I gave them opportunities Sarah to grow dope. You know what they did? They couldn't handle it and they had to run away. Sarah: I don't know where Corey and Trevor are Ricky. If I did, I wouldn't tell you. But I don't know where they are. Corey and Trevor are in a mental institution in an undisclosed location. Ricky had them so overworked last year growing dope that they had complete nervous breakdowns. Ricky: f*ck Corey and Trevor. I mean, I was always there for those guys. I helped them. I taught them how to steal cars, how to steal gas. Showed them how to grow dope. I cared for them. I fed them. I was as good a friend to Corey and Trevor as anybody was. I was basically like their f*cking dad. Nobody showed those guys more love than me. Knock knock boys. Trevor: Who's there? Julian: So, we're cool? Trevor: Yeah man. [g*n sh*ts] Ricky: Let's go, smokes. You're f*cking lucky. Corey: f*cking snakes dude. f*ck no. [music] Sarah: The doctors strongly recommend that Corey and Trevor never come back to Sunnyvale again, not even for a visit. And they're d*ad set against them ever talking to Ricky again or they say they could lose their minds completely. Ray: Hey buddy. Ricky: Where the f*ck are you guys coming from? Ray: Just up at Shitty Bills. Bubbles: Are you hungry? Ricky: Yeah. I am f*cking hungry. Ray: Are you hungry enough to blow 23 bucks on pizzas with the old man buddy? Ricky: Where the f*ck did you get that kind of money? Ray: I'm telling you Rick, you should rip the plumbing out of your place too. You would not believe the f*cking money I make in scrap metal, look at that. Ricky: It's crazy. Ray: Crazy? Better than delivering pizzas like f*cking Julian, Ill tell you that. Ricky: What are you talking about? Ray: He didn't tell you? Ray: He's delivering pizzas. Ricky: Is that true Bubbs? Julian's delivering f*cking pizzas? That's his new job? Bubbles: Ricky, don't be teasing him. J-Roc: Hey pizza boy. Jules? What you doing here dawg? Julian: What are you guys doing here? Cleaning floors J-Roc? J-Roc: No you man, just filling in for some ma-f*ck. What you doing here? Julian: Just, it's uh, this charity thing I'm, it's a pizza run, it's, for the kids, it's uh, you know. Tyrone: Charity pizza run? Julian: Yeah, charity. J-Roc: What are you talking about, you man? Last I heard, you were stealing meat, you know what I'm saying. Which is already whack. Not to mention it was with that snuffleupagus, walrus-ass manatee Phil Collins. But now you delivering pizza B? Eh, you want a pipe? Julian: J- Roc, twenty-nine dollars. Bubbles: Alright, look. Here's the meat pre-list. 15 rib roasts, 30 ten pound bags of hamburger, 12 turkeys, 40 chickens, 50 sirloin steaks, 2 dozen pot roasts and 20 LOLs, otherwise known as legso lamb. Can we pull this off? That's theft over a thousand? Ricky: Bubbles, don't worry about it. I promise you. We're not going to go to jail. All we gotta do is order some pizza. Bubbles: Got me Ricky. Walkie check, walkie check. You got me now? Ricky: Yeah, that's a lot better Bubbs. You're clear. Bubbles: Let's get this bullshit over with. Ricky: Alright, see you in five or ten minutes man. This is the most meat we've ever stealen in one time so the trick is, go to a specialtilization meat store and get a man on the inside. So basically Bubbs is the man on the inside. He goes in and sneaks in the freezer, waits til th close, and comes and opens the door, and we take all the f*cking meat we want, it's perfect. Bubbles: Alright Ricky, I'm in the freezer. Hurry up, I don't like being cold. Ricky: Just hang in there man. I'll have some warm stuff for you when you get out. Hot chocolate, whatever. Bubbles: Is the clerk leaving yet or what? Ricky: Open 9 til 9. What the f*ck! Uh, Bubbles, bit of a problem. It seems like they're open later than they used to be. I don't know what happened. I thought I checked it but you're going to have to be in there for a little bit longer than expected. Not that bad, not that much longer though okay? Bubbles: Define a little bit longer! Ricky: Hopefully only like twenty minutes. I don't know yet. Bubbles: That doesn't make any sense Ricky. That means they'ren til 6:20? Nobody closes at 6:20. Ricky: It's not that bad. It's just, you know, it's like being in a freezer I guess. It's cold, or draw some things in the frost. Pretend it's winter time, you're building a snow man out of meat and cats are running around playing. And Bubbles: Ricky! Do you realize what you just said to me? Ricky: Bubbs, let me tell you a little story. When I was twelve years old, me and my dad were stealing meat. I was in the f*cking freezer for seven hours. He couldn't get me out and the locks were all different and Bubbles: Ricky, I don't care how long you were in a meat freezer! Ricky: I did seven f*cking hours buddy. You can do three. The first two hours are going to suck, I'll tell you right now. But after that, it's really not that bad. Jacob, where the f*ck is that pizza man? I ordered it forty-five minutes ago. Julian: Did you order a pizza? Ricky: Hey, pizza guy. Over here. Julian: [sighs] What the f*ck is wrong with you? Ricky: What are you talking about? Julian: Do you think it's some kind of a joke that I'm working here Ricky? Ricky: Julian, you're playing pizza games. I got a better offer for you. We can make two thousand dollars in meat tonight. Two grand. Bubbles, it's okay to come out now man. Come on out. Bubbles? f*ck, he must not hear me. Julian: How long's he been in there? Ricky: Not that long, ten, twenty minutes. Well, yeah, close to three hours, I guess. Julian: Three hours? [glass smashing] Ricky: Alright Bubbles, start gathering up the meat. We're inside. Hey buddy. Aw, f*ck! God, Bubbles can you hear me? Bubbles: Yeah, I can hear you's boys. Little disappointed in yas. Julian: Help me get him out of here Ricky. Ricky: We're not leaving here without meat. Julian: f*ck the meat! Go find a coat or a blanket or something, we gotta warm him up Ricky. Bubbles: Very cold, very cold. Oh, yes. Oh, yes. That bread feels wonderful Ricky. Wonderful. [moaning] Ricky: I'm so f*cking sorry, what happened tonight. Take tonight off and we'll get back at her tomorrow, alright? Bubbles: Back at her? f*ck that Ricky. I'm not working with you and Julian anymore. Sorry, but that's it. I'm done. I gotta go to sleep boys. Just sleepy times. Julian: Two pounds. What a f*cking waste. Ricky: Holy f*ck! Raykins. That's what those furry little bitches are Julian that are f*cking you over, raykins. On top of the mold, I'm going to snap man, I can't deal with this shit. Two pounds of dope going up because of mold. Great. Man, I hate to keep blaming Corey and Trevor, it's their f*cking fault. They should be here dealing with this shit, not me. Julian: Sounds like you miss them Rick. Rick: Yeah, maybe I do f*cking miss them Julian. I f*cking miss Corey and Trevor alright, I said it. Julian: Get over it, cause they're never coming back. Listen, we're going to sell this dope. But we have to be patient and sit on it. Wait for the right person to smoke it okay? And Ricky, we gotta lower the price to ten bucks a gram. Ricky: Oh f*ck! Alright, I'll go to ten, but no lower than ten. It's still f*cking twelve for Lahey and Randy.

{"type": "series", "show": "Trailer Park Boys", "episode": "07x01 - I f*ck' Miss Cory & Trevor"}

foreverdreaming

J-Roc: What's crackin', y'all. Let me be the first to officially welcome y'all ma-f*ck to my brand new joint. Scrilla Villa. A-ight y'all, check it out. Let me explain something to you, you know what I'm saying. Me and T had to get things set up, you know what I'm saying. With the babies on the way, with the family, you know what I mean. So we had to start working. That's when I realized that the airport has some unique job opportunities, dawg. Tyrone: That's right. We had to seize the mother f*ck. J-Roc: Carpe dizum, you know what I'm saying? That's why we started gankin' luggage. This is all the shit we ganked from overseas, you know what I'm saying. It's all from Europe. It's tight. Ma-f*ck come back with some crazy ass shit, dawg. You want a box for your bling? Ten ma-f*ck. It's tight, cheap and dope. I'm out. And this here room's what I call liquors of the world, dawg. You know what I'm saying? Look at all the shit the ma-f*ck bring back. It's your passport to getting drunk. Glug, glug. [making guitar noises] Real snake. What?! I'm saying. We so busy now, you know what I mean, I even had to hire employees. That's Lucy right there, you know what I mean. Lucy, one of my employees. That little ma-f*ck ain't though. I ain't paying for that ma-f*ck. Lucy: I had to go back to work when I found out that I was pregnant. I knew that Ricky was never going to get his shit together and I'm going to be taking care of this baby on my own, so this seems like an honest gig. J-Roc: Lucy, you ready to do this family portrait? Lucy: Yeah, yeah. I just gotta figure out this, how it works. J-Roc: Like to introduce my family dawg. I ain't saying they both mine, I ain't saying they ain't. Who knows about my ancestry, you know what I mean. But me and T decided we too close to go through all that DNA bullish, so we just going to be co-daddies to these two little pimps right here. Lucy: Smile. [camera clicks] [music] Bubbles: Hey Ray. Ah, for f*ck's sakes. Ray: What's up man? Bubbles: What's going on? Ray: Hey bud, how are you doing? Bubbles: You gotta come see it. I got it set up. Is it ever decent. Ray: Oh yeah? Bubbles: Check it out, you head up on the deck. Ray: Alright. Bubbles: Alright. Look at that. Look at the detail. Ray: Awesome buddy. Bubbles: Eh? This is awesome! Ray: So what's going on with you and Rick and Julian. You guys cool or what? Bubbles: Yeah, we're cool. I'm just not hanging out with them anymore, ever since Ricky almost froze me to death. You know, I have a hobby now and that's what I'm going to do from now on. My hobby is trains and just like your hobby's drinking. Ray: It's drinking buddy. Hey, Shitty! There's Shitty bud. Shitty! Shitty: Hey boys. Ray: Hey Shitty. Bubbles: Hey Shitty. How you doing? There's a load there so get her loaded up. Ricky: Hey Shitty. Bubbs, how's it going buddy? Bubbles: Oh not bad Ricky. At least I'm not freezing to death. Ricky: I'm sorry about that. Look, I really need to talk to you. And Dad, can I talk to you too about some pretty serious stuff. Ray: Of course buddy, what's up? Ricky: Let's get away from Shitty. It's pretty private. What the hell is all this shit. What are you guys doing? Bubbles: Nothing Ricky. Nothing you'd be interested in. Ricky: I know what's going on. Better not f*ck with any of my stuff Shitty, just leave it where it's at. Ricky: Is there any way that Lucy could have gotten pregnant without my bird doing stuff to her? Ray: [laughs] You're joking right Rick? Ricky: No actually, I'm pretty serious Dad. Ray: f*ck, um. Ricky: But there must be another way. I mean, we have done some stuff but, me and Lucy haven't banged in seven months and she's six months pregnant so, does that work out? Ray: Bubbles, answer that. I gotta rock a piss off bud. Bubbles: Ray? Look Ricky, just think of this train engine as Lucy right. If you put fuel into it, it'll go. But if you don't, it doesn't. Ricky: So you're saying that, what? Bubbles: Ricky, a train will only go if there's fuel in it right. So if it wasn't your nozzle that was putting fuel into Lucy, someone else's nozzle must have been. You know? Ricky: You sure? Bubbles: Yeah. Randy: So let me get this straight? Mr. Lahey gets one night off and you guys don't even include me? Barb Lahey: Well, maybe if you weren't so high all the time Randy. Randy: [grunting] Oh, moose balls! Barb Lahey: [laughs] Randy: My pants! Barb Lahey: [laughs] Randy: It's not funny Barb. Jim Lahey: Randy. Randy: [yelling and banging] Barb Lahey: Randy! Randy: My best pants. Jim Lahey: Randy?! Randy: This is friggin [banging] Barb Lahey: Randy! [Gentle music] Julian: Hey. I heard about Lucy man. I'm sorry man, that sucks. You okay? Ricky: Yup. Check it out Julian. The rankins are getting a lot bigger, huh? Julian: Yeah, he's cute. So, are you coming to the airport with me or not? Cause I gotta get going. Ricky: No, I'm not working for J-Roc man. It's against my vice principles. I'm a dope dealer. I'm not going to steal luggage. I understand if you want to I guess, but I'm not. Julian: I've got no choice man, I have to. Trailer's re-mortgaged. If I don't come up with a payment, I'm going to lose it. Two hundred and forty-five dollars. Where the f*ck am I going to come up with that kind of money? Anyway, I gotta get going, but listen to me, you are handling this well okay. So keep it up, don't do anything crazy alright. Ricky: I'm good. Julian: Alright. We'll get drunk when I get back or something. Ricky: What's going on here? Big black Cadillac. J-Roc? Lucy is f*cking banging J-Roc? I can't believe it. J-Roc borned my baby. f*ck! [sound of airplane] Police Officer George: We good to go? Police Officer Ted: Yeah. Police Officer George: Focus. Police Officer Ted: Yeah, the focus is fine. Police Officer George: Alright, just a waiting game now. Oh yeah, look at that. Hey look, check it out. Jamie, Tyler and the rest of the g*ng. Think they might be, oh I don't know, stealing luggage. Police Officer Ted: You think Jamie's smart enough to master mind that? No, I don't know about that. But, Julian sure as hell is. [car brakes squealing] Police Officer George: This is going to get interesting. J-Roc: All luggage look the same nowadays, you know what I mean? Give me a kiss mother-f*ck. J-Roc: Bye Suzanne, lovely to see you. Ricky: Wait right there Lucy! J-Roc: Suzanne, you go to the car. A- ight Suzanne, I'll see you in a minute. Ricky: Lucy, wait right there. I need to talk to you. J-Roc: Suzanne, go to the car. Suzanne. Ricky: What the f*ck!? You banged Lucy and gave her a baby? J-Roc: I never banged Lucy, dawg, or Suzanne, what I'm saying. I tried to h*t her a couple of times you know what I'm saying, but she wasn't feeling me dawg. T tried too. But we didn't. Ricky: Oh, so it's f*cking T. What's the deal man, you got nothing better to do. Couldn't help yourself, take a little something something from Lucy? Tyrone: I didn't do nothing man. Relax yourself man. You know the rule, bros before hos man. Come on, Ricky, you know that shit man. Julian: Would you calm down? Ricky: I got a question. Why the f*ck were you kissing her then? J-Roc: I got a question too. Can I ask you somethin'?! Would you calm down mother- f*ck? Ricky: I just want to know why you were kissing her. I wasn't kissing her, we was actin'. Saying? Ricky: Actin? J-Roc: We was just actin'. Me and Lucy was pretending to be married cause we taking luggage and we don't want f*ck to find out dawg. Julian: We're trying to work here. Alright. Go home, we'll deal with this later back at the park. Not here. J-Roc: That's right. Know what I'm saying. Ricky: Fine then guys. Let the little luggage bandits do their little thing here. J-Roc: There ain't no luggage bandits here. Ricky: I'm going to f*cking find out who banged Lucy and gave her a baby. I am. J-Roc: It wasn't me. There ain't no luggage bandits here. Ricky: I'm going to find out. I'll tell you that J-Roc. Jim Lahey: God-damn, George and Ted are making me pull their shift at the liquor store today. Barb Lahey: Oh Jim, you promised. Jim Lahey: What can I do Barb? Barb Lahey: Oh, we are going to get so far behind at line dancing. How are, oh. Oh, never mind. Maybe we can do a little bit of horizontal line dancing at home, eh? [laughter] [Banging at door] Barb Lahey: Oh hang on. Ha? Jim Lahey: What's that? Barb Lahey: I don't know. Barb, ever since I seen you, you are the sun that lights up my world. Jim Lahey: Sounds like Randy when he's high. Barb Lahey: Yeah, when isn't he high? Jim Lahey: Barb, I think you should lighten up on Randy. At least he's trying. You gotta admit, it's pretty special for him to send you those. Ray: Alright buddy, think about what I said. Come over for supper tonight bud. Newfoundland steak and mashed potatoes buddy, whaddya think? Bubbles: Oh, count me in Ray. I'd love some. Is that my Model Train Magazine? Ray: Yeah, f*cking right buddy. Bubbles: Can I have it? Ray: Wait a sec, hold it. Got a problem. Need a boost buddy. Car won't start. Bubbles: Well, I can't boost it. Give me my magazine. Ray: Bubbles, work before play. That's exactly what I taught Ricky. We gotta figure out this problem before we do anything. I need a boost, go get me your lawn mower or something. Bubbles: Just let me get this straight, you're holding my magazine ransom? Til I give you a boost. I got nothing I can boost you with. Ray: I'm not holding this ransom, I'm saying we gotta do work before we do pleasure. That's the way it always is in life Bubbs. Bubbles: Well, what am I going to boost it with? All I got is a go cart. Ray: Your lawn mower. Get your lawn mower. Bubbles: Ray, you know how jumping the things starts. You hook two of the pinchers to your battery and two of the pinchers to another battery, and if I don't have a battery then there's nothing to hook it too. Now give me my magazine! Ray: If I had to do this myself, I wouldn't have even asked you. I need you help, I'm asking for your help. Bubbles: There's nowhere to hook it! Ray: I've got your magazine. Ricky: Lucy! Where the f*ck are ya? I need to talk to you. Sarah: Ricky? Ricky, what are you doing? Ricky: I want to find out who brought this baby by Lucy. Is what I'm f*cking doing, until these idiots got in my god damned way. Sarah: Ricky! Ricky: Lucy, where is you at? Sarah: What the f*ck are you doing? Are you guys okay? f*ck. You can't just come in here and push people over and eat my f*cking bread Ricky. Ricky: Well, Lucy had a baby borned by somebody. I'd like to find out who the f*ck it is. Where is she? Bubbles: Alright Benjamin Franklin. You should me where to hook this. Ray: You see the red thing in your hand there Bubbles, that goes Julian: Guys, guys, guys. [everyone talking at once] Julian: Where's Ricky at? Ray: I don't know where Ricky is. I haven't seen him all day. Just, put that on the red thing. Red on red. Julian: What are you trying to do? You can't boost a car with a go cart Ray. Come on, get in there, I'll give you a boost. Ray: I can do it. You could've done it. Bubbles: Give me my magazine. Ray: You could have done it Bubbles, you just didn't try. Julian: Oh Ray, number one, you got a loose terminal here bud. That's not going to do anything. Bubbles: Decent! Julian, check this out. Look. 10th Annual Bangor International Model Train Convention. Look who's hosting. Sebastian Bach, Skid Row. My god, trains from all over the world. This year featuring the Swayze Express. Julian: Swayze Express? Patrick Swayze. Bubbles: Julian's always been really sensitive about the whole Patrick Swayze thing because when we were kids in school, the other kids used to tease him and call him Patrick Swayze but Julian was really into Dirty Dancing. I remember one time me and Ricky were coming over to get Julian to go ride bikes and we walked in the trailer and Julian was dressed up like him, pretending he was in the movie Dirty Dancing. Ricky told everyone in school and then from then on they teased him, Patrick Swayze. Julian: Are you f*cking with me here Bubbs, cause it's not funny man. Bubbles: No Julian, not that Patrick Swayze, not the actor, Patrick Swayze. That's a different one. Ricky: f*ck! Ray: Finally someone who knows what the f*ck they're doing. Ricky: Julian, where the f*ck is Lucy? Julian: How should I know? Ricky: You're a cole-worker. Julian: Actually, I quit Ricky. Last I saw, she was heading back home. Ricky: Here she comes right now. Julian: Don't do anything stupid Ricky. Ricky: Why the f*ck not Julian. Ray: Ricky, I need a boost. Give me a boost buddy. Ricky: Dad, I don't got time for boosts right now. Lucy's banging J-Roc. I gotta go deal with this right now. Ray: Ricky, I need a f*cking boost! And I need it now! Alright. Bubbles, get this f*cking go cart out of my way. Julian, get that black piece of shit out of here and down the road. I don't ever want to see it around my car again. Ricky, I want you to bring your car from there to here, hook up those cables to your car, get me the f*ck started so I can get out of here, okay? Ricky: Alright. Does anyone know how the f*ck these things go on. Bubbles: Yes, I know how they work! Ray: You don't know how they work. That's what started this problem Bubbles. You don't know how they work. You said you did Bubbles: I do Ray! Ray: but you don't! You couldn't even hook them up to your go cart Bubbles. Bubbles: I'm not getting involved Ray: I don't want to argue about this anymore. Julian: Red on positive, black on negative. Ray: I just want to get home. Cook supper for me and Bubbles, you're still coming over for supper, aren't ya? Bubbles: Yes! I'm coming for supper. Ray: Alright, mashed potatoes and Newfoundland steak. Lucy: The navy is really good. I actually can't see your underwear for once. Sarah: Yeah, they look really good Randy. They are a big improvement. Randy: They're so comfortable. My other ones were so tight. Sarah: Yeah, they're only one size bigger too. Randy! Randy: Sorry, Sarah. Ricky: Lucy, get the f*ck out here. Tell me what's going on. Nice pants Randy. You still look f*cking stupid. Lucy, I'm serious - get out here and talk to me. Randy: Why don't you just calm down Ricky. Ricky: f*ck off, what do you want? Who is it Luce? That stupid f*cking idiot, dumbi-cop George Green? Cause it can't be me Lucy, I checked. Lucy: Okay, you know what Ricky. Don't be stupid. Ricky: You look me right in the eyes, right now. Tell me I'm the father of the yet to be unborn baby. Lucy: Okay, you're getting way Ricky: See, you can't. You can't do it. Lucy: We can't talk about this right now. You have to chill the f*ck out. Alright, I'll talk to you later. Ricky: Lucy! Lucy! Police Officer George: What a shame. Another baby that's going to be born in jail. Police Officer Ted: You tagged her at the Cheeseburger Picnic didn't you George? Police Officer George: It was one time Ted. I was drunk and high, doesn't count. Ricky: Yeah, yeah. You think you're so f*cking tough, smoking that big mall dope eh? Randy: It's good dope. Ricky: Nice new pants. Good price? How's got the best dope in town? Randy: You do Ricky. You get to the best frigging dope. But you charge too much. Lucy: Oh Ricky, leave him f*cking alone. Ricky: I'm going to spit on you right now Randy. Randy: Don't you dare spit on my pants Ricky. Ricky: f*cking stupid those pants are. [spitting] Randy: How dare you! [spitting] Ricky: You just f*cking spit on me! Randy: Good! Good, yeah. Ricky: I'm going to wipe it all over your body. Police Officer George: Well, we got all the evidence we need. We also have four hours of paperwork now, so I don't think we're doing Chippendale's tonight. Police Officer Ted: I'm not going to miss that. Police Officer George: Actually, we have someone who can do all that. He's working at the LC right now. Police Officer Ted: Right. Lucy: Ricky, leave Randy alone. Randy: Ow! Ricky: Lucy, I will make you have a uternity test if I have to. Just tell me who it was, please. Lucy: No, I can't tell you. Come on. Are you alright bud. Ricky: Randy, I'm sorry man. I'm just really stressed out. Are you alright? Randy: Yeah, I'm okay Ricky. Ricky: Get the f*ck out of here. Lucy, will you please just tell me. Lucy: Fine, I can't take this anymore. Do you remember the second weekend that you and your father spent in the drunk t*nk? [Gentle music] Lucy: Well, I had a moment of weakness. Come on, it just happened one time, I swear. Okay. I'm really sorry. Ricky: Lucy, Who did you bang the weekend me and my dad went to the drunk t*nk? The second time? Tell me who it was. Lucy: Okay, it was Randy. There I said it. Ricky: Randy? Lucy: I banged Randy. Randy: It's true. We made love a couple of times that Saturday night. Ricky: You're the father of my baby? Oh my f*ck! Jim Lahey: No thanks, don't drink. Sam: Jim? I hardly recognize you. You're sober. Jim Lahey: Very funny Sam. Can I see some I.D. please? Sam: I.D., what are you crazy? I'm f*cking 49, get the f*ck out of Jim Lahey: Newsflash shit-glasses, you're going back to your cave. Sam: Oh, I see what's going on here. It's because I used to date Barb, isn't it? I don't deserve this man, it's not fair. Jim Lahey: Life's not fair same. This is real time, not cave time. Sam: Hang on, hang on, I've got to give the kids back their money. Jim Lahey: Move it Sam. You got a shower in this rig. Sam: Of course I do. It's just not working. Jim Lahey: Surprise, surprise. Why don't you scuffle off to your antediluvian world, find some water and hose yourself down? Sam: Don't think I haven't noticed those sly cave man references, Lahey. George: Hey Jim, how's the liquor store treating you these days bud. Jim Lahey: Good George, good. Ted: Had any relapses? Jim Lahey: How the mighty have fallen. Ted: What's that supposed to mean? Jim Lahey: Birds of a shit feather, Ted. George: Well, speaking of shit Jim, we need you to file the paperwork on this warrant. For your friends down at the trailer park. Jim Lahey: George, I'm pulling a double shift now. If I have to do this, I'll be up til four a.m. George: Well, we're going to be up until 4 in the morning too Jim. Ted: Getting drunk, doing security for the Chippendale's. George: Get it done. Jim Lahey: f*ck! Barb Lahey: So what do you want to talk about Randy. Or do you need to be high first? Randy: Barb, there's no real easy way of saying this. I frigged up. Barb Lahey: What are you talking about? Randy: Basically I banged Lucy and knocked her up. No big deal. Barb Lahey: Oh my god. That was you? Oh, greasy. Do you know the whole park is talking about that. Jim Lahey: You cheated on me Randy? You cheated on us? You cheated on us. Randy: Well, Mr. Lahey. I want to make this work. If we stay together, we can help Lucy raise our baby. Barb Lahey: Our baby. No, I don't think so Randy. That'd be your baby. Randy: Oh cinnamon cocks. Jim Lahey: Randy, it pains me to say this, but I think it would be better if you moved on alone. Barb Lahey: And now that we've established that, I'd like you out of this trailer, now. Randy: You don't expect me to go live in the supervisor trailer with Ray do you? Barb Lahey: No, I don't expect you to go live there Randy, because you're fired. Randy: What? What am I going to do? Barb Lahey: Well, you could go back to mowing lawns. I mean, they don't mind you doing that when you're stoned. Jim Lahey: Barb. Barb Lahey: Jim? Jim Lahey: Randy. Randy: Mr. Lahey. Barb Lahey: Jim! So that's a hundred and seventy six ninety-two. Now would you like me to give it to you or should I give it direct to your drug dealer? Jim Lahey: Barb. Randy: Look, you guys have a good time frig dancing. And Barb, your scalloped potatoes are f*cked. Jim Lahey: They're fantastic Barb. Ray: I'm not knocking Shitty buddy. But he's just a middle man. You should be making twice as much money. Bubbles: Well I know Ray, but Shitty drives a hard bargain. Ricky: Hey boys. Whoo. Hey boys. I plan on having a few drinks tonight. You guys want to get drunk with me? Julian: Bubbs. Bubbles: Ricky. Ricky: Hey buddy. f*ck, Lucy's baby is not going to be mine, cause she's being borned by Randy Dad. Ray: I know. Ricky: Love you buddy. Drinks tonight? Ray: Okay buddy. Ricky: f*ck, I almost forgot. I almost forgot. I sold some dope down at the bowling alley man. Don't tell anybody, alright. I got that for your mortgage payment. Julian: Ricky, I can't take this. Bubbles: Oh, he's down. He's down. Ricky: Dad, I love you buddy. Oh, I'm getting drunk tonight, I tell ya. [music]

{"type": "series", "show": "Trailer Park Boys", "episode": "07x02 - I Banged Lucy and Knocked Her Up... No Big Deal"}

foreverdreaming

Man's Voice yelling: Who in the f*ck stole my good clothes? [crow cawing] [crow cawing] Phil Collins: Hey Rand! Randy: Hey Phil. Phil Collins: Don't know if I ever introduced you, but this is my son Jacob. Randy: He's your son? Jacob: Randy, it's good to meet you. Randy: Good to meet ya. Phil Collins: Go see Ray man and get the water and the power hooked up. Aren't ya glad to be here? Jacob: Yeah, is Julian around? Phil Collins: Don't worry about that now. Get going. Kids. Come on, I want to show you something. Have I got a business proposition for you buddy. Randy: Nice. Phil Collins: And this baby is going to do it for us. It'll make us a fortune. Let me show you inside. Randy: Nice camper, Phil. Phil Collins: Man, this is what I'm talking about. I'm going to open my own chip wagon. We're going to be partners. Burgers, cheeseburgers. Randy: What the frig's going on in there? [yelling] Phil Collins: Why are they busting Lahey's cock? Randy: What the frig's going on here, Ted? Ted: Randy. It's okay, Lahey just had a few drinks. It's not what it looks like. Randy: A few drinks? George: It's okay Randy. We just want to talk for a minute, okay? [sound of groaning] George: Geez, the stink of barbeque sauce in this Phil Collins: [burping loudly] George: Shut your, shut up Randy! Randy: Mr. Lahey! Mr. Lahey! Phil Collins: Cocksuckers. George: Awful fat now, isn't it? Ted: George, what the f*ck are we doing? George: Taking care of business Ted. Phone books don't leave any marks. Ted: Shit. Ted: George, what are you doing? Haven't we done enough? George: You want to do some time, Ted? Come on, we're ending this, right now. Ted: I don't believe this. [music] [sound of go cart] Bubbles: Cock-knuckles. Oh, for f*ck's sakes. [sound of sniffing] Hello? Mr. Lahey, is everything alright in there? [coughing] Boys! Phil! Phil, wake up. Randy! Randy! Lahey! My god! Crazy liquor and cheeseburger party. Ray: You got any problems with anything, just don't f*cking call me, alright? Cause I don't, I just don't want to deal with anything [sound of crash] [sound of dog barking] Man: Have another drink Ray! Ray: Just gonna set you up here buddy. Here's your water and your power hook up. Sorry Jacob, listen buddy, welcome to the park. You and Phil Collins. I'm sure you're going to be very happy here. Jacob: Well thanks Ray. Ray: Okay buddy. Can you give me a hand with this f*cking door would ya buddy. Just push down on her, yeah, that's all you have to do. Jacob: Where does Julian live around here? Ray: He's over there somewhere buddy. Take a walk around, make yourself at home. Remember what I said. What did I say? Jacob: Don't call you if there's any problems. Ray: Got it. Julian: We've got to start making some money so I can pay some bills man. Ricky: No shit. Julian: I've got an idea. I don't want you freaking out. We can move a lot of dope at the bowling alley in the mall. A lot Ricky. Ricky: The bowling alley again? Julian: Yeah. Ricky: Julian, it sells for six bucks a gram. Julian: I know, I know, I know. But you can buy kush off the cops for nine bucks a gram. Kush Ricky, that's primo weed. We got to at least lower the price or something man. Ricky: I don't care about all these fancy dopes. My dope's as good as that stuff. I'm not going less than ten. You're lucky I want to do ten. Ten is being more than fair here. Bubbles: Boys! Boys! Come on, I need your help. 9-1-1! 9-1-1! Ricky: Bubbles, what is going on? We can't understand you. Come in here. Bubbles: Julian, three men, liquor party. Gone awry barbeque. Burgers, god-damned greasy horror show. Burgers. Liquor everywhere. Come on. [coughing] Ricky: What the f*ck went on in here? Bubbles: Some kind of a crazy liquor cheeseburger party Ricky. Julian: Let's get them outside boys, come on! Phil Collins: [very loud burp] Julian: Bubbles, you gotta get Randy out of the way. Come on! Bubbles: He's too fat. Ricky: Can you guys give me a f*cking hand in here? Come on, f*cking help me. Phil Collins: [loud burp] Ricky: Watch out. He's got methadone gases, he's going to blow up. Phil Collins: [loud burping] Ricky: Jesus, the smell of liquor and barbeque sauce boys, f*ck, I can't take it. Bubbles: Boys, they breathed in a lot of carbon monoxide. We're going to have to give them mouth to mouth. Ricky: I'm not f*cking kissing these guys. Julian: Ricky, it's not kissing them. It's saving their lives. We gotta do this. Ricky: I'm not doing it here in the open where people can see. Let's get the f*cking wheelbarrow and move them somewhere. Julian: Alright, we'll take them back to your place. But let's hurry up, we're wasting time. Bubbles: Let's load em up! Bubbles: Okay, who gets who in here? Ricky: I'll tell you right now, there's no way I'm doing that shit on Phil Collins. Julian: Alright, we'll draw cigarettes then. Ricky: Those are my cigarettes. Julian: Shut up Ricky! Bubbles: How does this work Julian? Julian: Okay, the short one gets Phil. Ricky: Oh, thank f*ck! Bubbles: Oh dear. Oh, for f*ck's sake. I can't do it on Phil. He smells like mackerel. Julian: Do you want Randy or Lahey? Ricky: f*cking take Lahey, I guess. Bubbles: Idea boys. Here. Take the tin foil. Poke a hole in it. Put it over their mouth, that way there's no lip to lip contact. Ricky: Great idea Bubbles, great idea. Bubbles: Okay boys, look. Pinch the nose, tilt the head back, muckle on and start bl*wing air into them. Lucy: Oh my god, what happened? Ricky: Crazy cheeseburger party got out of hand Lucy. Call an ambulance right now. Bubbles: You gotta keep driving the air out of them boys. Phil Collins: [very loud burp] Bubbles: Jesus Christ! Phil exploded. [sound of coughing] Ricky: What a stink! Oh my f*ck, it worked. Get some fresh air you f*cking dummies. What were you doing barbequing? Bubbles: Come on Phil, you big gurgling bastard! Ricky: Come on Lahey. Bubbles: My f*ck! Ricky, do I got mackerel juice on me? Jim Lahey: Thanks Ricky. Julian: Here, have a drink Jim. Jim Lahey: Thanks Julian but no thanks. Julian: So what the hell happened to you guys? Jim Lahey: The last thing I remember was Ted and George attacking me with phone books. They are going to pay dearly for this one. Randy: I was wondering what they were doing with those phone books. Jim Lahey: Randy, it's an old police tactic. Phone books don't leave a bruise. Lucy: But Jim, why would Ted and George want to b*at you up? Jim Lahey: Cause I was supposed to do some paperwork for them last night and I didn't. Julian: Paperwork? Jim Lahey: Guys, they're on to you at the airport. They wanted me to process search warrants for your trailer, for J-Roc's and Lucy's. But I tore them up to protect you. Julian: Jesus Jim. Bubbles: Mr. Lahey, why would you go have a crazy cheeseburger liquor party and barbeque inside? It doesn't make sense. Jim Lahey: I wasn't barbequing inside Bubbles. Bubbles: Yes you were. The barbeque was laying right in the middle of the living room. Ricky: Look at your f*cking robe. There's still burn marks from the charcoal. Jim Lahey: Oh my god. They tried to k*ll me. Phil Collins: They tried to k*ll us Jimmy. They did. They're dirty f*cking cops. Jim Lahey: Jesus, shut the f*ck up Phil. And they tried to make it look like an accident. Bubbles: My god. Jim Lahey: Time to put on the gloves boys. We got two shiny shit badges to get rid of. And it's going to get messy. Bubbles: Excuse me, should I be treated too? I inhaled nebulized mackerel juice. Ricky: I cannot f*cking believe Officers Cock-knuckles and Dickwad. When can they get another warrant? Jim Lahey: Tomorrow morning. Well boys, there is something we can do. But I'll be honest with you. It'd be dangerous. Perhaps even life thr*at. Problem is, we need someone to put it on the line. Someone with nothing to lose. Someone with absolutely no hope. Ray: Jesus Jimmy. What the hell happened here buddy? Jacob: Dad, you're a good man. Why would the police try to k*ll you? Phil Collins: Those dirty cops didn't want any witnesses. Dirty pricks. Not all cops are like that though son. Julian: Hey, you got a hair cut didn't you? Jacob: Oh yeah. Julian: Looks cool man. Jim Lahey: Look, we got a lot of work to do here. We can talk about Jacob's hair later. We need evidence of George and Ted beating someone up. We gotta frame them. It's the only way. That's where you come in Ray. Ray: What do you mean, Jimmy? Jim Lahey: Ray, you're going to have to let Ted and George b*at you up. Ricky: I'm not going to let my dad get beatened up. Jim Lahey: Listen, trust me, it's not going to hurt. Ray: Just a second now Rick. Just uh, let's hear him out. Uh, Jimmy, I'll tell ya one thing though. I'm not doing anything unless I get a bottle of liquor in front of me. I don't care what happens. Jim Lahey: Already thought of that Ray. Randy: That was my idea, Mr. Jim Lahey: Randy! Lucy: Jim! Randy: Lucy, let it go. Jim Lahey: Well? Ray: Well, I don't know if it's worth it for just a free bit of liquor Jim. Ricky: It's not Dad, it's stupid. Bubbles: Mr. Lahey, do you have access to Ray's drinking and driving records down at the police station there? Jim Lahey: Where you going with this Bubbs? Bubbles: One second. Ray, Shitty knows a lot of people. If we delete those records, he could probably get you a rig, we could get you on the road, Ray. This is a no-brainer. Ray: I don't know what you're talking about Bubbs. Bubbles: [whispering] Scrap metal. Mr. Lahey? Jim Lahey: Yes Bubbs. Bubbles: Well, I'm just thinking you know, you can delete those drinking and driving records for Ray, you got yourself a dealio! Jim Lahey: That's a pretty tall order Bubbles. Bubbles: Yeah, it's a tall order but if anyone can do it, you can. You're a powerful, powerful man, Mr. Lahey. Jim Lahey: You phone George. He'll believe it coming from you. You say Ray found our three bodies, he's drunk, and he's saying he saw stuff. He'll come for sure then. Lucy: Okay. Ricky: f*ck, you got sweat all over me, you f*cking sweaty beach ball. Randy: Frig off Ricky. Ricky: Frig off Randy. Jacob: How much can you bench press Julian? Julian: A lot Jacob. Ricky: Look, f*cking Randy's getting high again. Jim Lahey: Randy. Maybe you could lay off the dope for a couple of minutes. I need two aluminum bats. Randy: There's two under Jim Lahey: Randy, go get em! Bubbles: Lahey! Do you even care your f*cking trailer is smoldering in here? Jim Lahey: Phil? Phil: Jacob, stop staring at Julian and make sure that f*re is out. Jacob: Dad! Phil: Go, boy, go. Jim Lahey: Phil, I want you to go in there and make sure everything is exactly the same as when and Ted and George, now get the f*ck in there. Ray, when Ted and George get here, I want you to hint that you saw something. Now they're not going to do anything til they're sure what you know. Then, you take em up here, anywhere in this area in front of the car. Anywhere in here. And that's when you tell them that you have a back spasm. You got it? Ray: Uh-huh. Jim Lahey: Good. Ray: Okay bud. Lucy: They're never going to fall for that. Jim Lahey: Of course they will Lucy. It's George Green. Think about it. Ricky: You banged him, so you know how dumb he is. You bang the stupidest guys, I don't get it. f*cking Randy and George. Jim Lahey: Here Bubbs. I need you to crouch down. They can't see you. When you hear Ted and George hitting Ray, you're going to press record. Bubbles: Right there. Jim Lahey: You got it? Bubbles: Yes. Jim Lahey: Good. Bubbles: Alright. Jim Lahey: Alright. Ricky, Julian, Lucy. You're going to be watching from behind the trailer. You're going to come out and help me make the arrest. Got it? Jacob: The f*re's out, what should I do next Mr. Lahey? Jim Lahey: I'm sorry Jacob. I got nothing for you on this one. Jacob: Is it okay if I just hang out by Julian? Jim Lahey: Yeah, it's okay if you f*cking hang out by Julian, I don't give a shit. Phil Collins: What don't you just f*cking lighten up Jimmy? Jim Lahey: What are you talking about, you dumb gurgling Ricky: f*ck. Why do you keep f*cking getting up in everybody's face? Just stay out of this. Everyone shut the f*ck up. Jim Lahey: I need control on this one. We gotta f*cking work together on this. Randy: Are those bats Jim Lahey: Randy. Ray look. They're kids' bats. Light as a feather. They're aluminum. Ray: Jim, come on. They're hard as rock buddy. Come on. Ricky: Dad, they make beer cans out of it. It's not that bad. We've crushed those on our head before. Jim Lahey: Right. Let's get Ray some liquor and do this. Ray, what do you need? Another forty. Ray: Two Jimmy. Jim Lahey: Good man. Ricky: Dad, I promise you, I'm not going to let you get hurt. You'll be okay. Ray: You think it's going to be alright? Ricky: I sort of trust Lahey now. I think it's yeah. Ray: Trust my son, I trust you buddy. Ricky: I trust you too Dad. Lucy: You've got to get the f*ck over here. There's an emergency. Ray's sh**ting off, saying that he saw a bunch of stuff and great, thanks. They'll be right over. Jim Lahey: Great work, Luce. You ready Ray? Drunk enough? Ray: Feeling no pain, Jimmy. Jim Lahey: Alright boys, take your positions. D-day. Ricky: Okay Dad? Ray: Not feeling good buddy. Ricky: Alright, love ya. Ray: Love you man. Jacob: Hey, is that real gold? Julian: Fourteen carats buddy. Come on, let's go. [siren] Police Officer Ted: What's going on here Ray? Ray: Terrible accident Teddie. Three good men are d*ad. Police Officer Ted: Yup, we've seen this kind of thing before. Police Officer George: What a tragedy. Crazy liquor and cheeseburger party gone out of control. Look what happens. God damned shame. Ray: Don't blame this on the liquor boys. Police Officer Ted: What do you mean by that Ray? Ray: Just what I said Ted. Police Officer George: So did you actually see what happened Ray? Ray: Hard to say exactly boys. Had a couple of drinks, saw a couple of things. Police Officer George: Was there something on your mind? Maybe something you'd like to share with us. Ray: There's something on my mind. Police Officer George: Well let's hear it. Ray: Alright. You boys want a drink. Police Officer George: Ah, no, we're good. Ray: Yeah? Police Officer George: You got something to say. Ray: Oh. Jesus boys, oh. Police Officer George: What's wrong? Ray: Oh f*ck. It's my back. Just a second, whoa f*ck, Jesus. Just a second. I gotta work this out boys. Oh f*ck. Jesus, George. Take this bat buddy. You gotta do me a favour. You gotta h*t me on the back with that bat. Teddy, grab that bat. Police Officer Ted: You sure? Ray: Oh yeah, f*ck yeah boys, come on. Police Officer George: Ray, we still need that statement. Ray: It's the only way to get rid of the spasms George. f*ck! Police Officer Ted: Like this? Ray: No boys. Come on to me. You gotta really come on to me there. Oh! Oh! Jim Lahey: Did you get it Bubbles? Hands in the air boys, you're under arrest for police brutality. Police Officer George: You, what the f*ck? Ricky? Ricky: Yeah, that's right. Police Officer George: What the f*ck is going on here? Jim, take that w*apon off us right now. Jim Lahey: Bring them inside boys. Police Officer Ted: Let go of me. Julian: Try to k*ll my f*cking friends. Jacob: BAM! Phil Collins: Peanut butter and jaaaaaaam! Jim Lahey: What the f*ck are you doing Phil? Police Officer Ted: What makes you think that you're going to get away with this? Jim Lahey: Hey, we'll take our chances. [shouting and groaning] Ricky: Hey Dad. How you feeling? Jim Lahey: f*ck! Ricky: Lahey, what the f*ck are you doing? Ray: Jimmy? You alright there Jimmy? Right on. Thanks buddy. Jim Lahey: Ray, we got a problem. Ray: What's that? Jim Lahey: You're looking too good. Ray: I don't feel so good buddy. I feel like a piece of shit, to be honest with you. Jim Lahey: Listen buddy. I'm going to have to h*t you in the face, fifteen or twenty times. It's your choice Ray. I understand if you don't want to do it. Ray: I'm going to do it. I want that rig boys. I just don't want you to h*t me Jimmy. I want my boy to h*t me. Ricky: Dad, I'm not going to h*t you in the face, okay? Ray: I want you to do it. Go ahead, give me one of your best sh*ts. Ricky: I'm not hitting you Dad. Ray: Rick, we gotta do it bud. Go ahead. Ricky: Well, I mean. If you did get back on the road, what kind of a rig do you think you'd be driving. Ray: Oh f*ck man, I know exactly what I want. A f*cking Western Star [groan] Jesus. Ricky: I'm sorry. I'm sorry I gotta do this. It's only going to take a few minutes. [shouting and groaning] Jim Lahey: You're a good man Ray. Ray: Oh man. Ricky: You're my Dad, right? You're my Dad. Ray: Yeah, oh f*ck, yeah. [mumbling] Ricky: I feel bad. I understand if you want to give me one sh*t. Ray: No f*ck. Buddy, I'm not like that, I'm not like that. Come on, you know I'm not like that. Seriously, bygones. f*cking, you suckered me buddy. Come on, what's with that? Lawyer: Let me see if I understand what counsel is saying and correct me if I'm wrong. Jump in at any point. Officers Green and Johnson were lured to the Sunnyvale Trailer Park. Where they were tricked into beating up a defenseless man with baseball bats because he had back spasms. And then later on, to help sell what we clearly see are very real injuries on Ray's body, Ray had his friends b*at him for real while he was drunk. Is that basically it? He staged a beating of himself. Bubbles: Preposterous. Ricky: Yeah, I mean, I'm not in college, but you guys got books and stuff to see that this is obviously a little f*ck. Lawyer: Why don't we watch the video and see if it supports that theory. [groaning] Ray: Your honour, I, can we please turn that shit off. I can't watch it anymore. Ricky: Please shut it off. I mean, the beating is one thing but now my dad's got all this psycho-piss-a-logical stuff in his head. Because of the beating, these guys can't be on the streets anymore. Phil Collins: [loud burp] [groans from everyone] Bubbles: Ricky, there's onion ring fragments on me. Get them off. Ricky: I'm not touching those. Bubbles: Get them off! Lucy: Here. Phil Collins: I'm sorry your honour. Lawyer: The Crown rests My Lord. Judge: Okay, well under the circumstances, I think I've heard enough. Officers Green and Johnson, please stand. You both had so much promise. Officers Green and Johnson, you will spend the next five years in prison thinking about your actions. Effective immediately. Police Officer Green: Five years! Congratulations Jim. I didn't think you had it in you. Jim Lahey: You crossed the line George. You crossed the shit line. Bubbles: You fooled them Ray. Fooled everyone. Ray: It was unbelievable today in that courtroom. I mean, they believed everything we f*cking did. Bubbles: It was great. Ray: What the hell was Phil eating anyway? Chicken wings? Bubbles: Onion rings. Ray: I had a piece of f*cking chicken wing on the back of my neck Bubbles: Ray, listen! I gotta tell you something. I got you a rig. Ray: Ah, Bubbles, come on, don't f*ck with me. Bubbles: I'm not f*cking with you! I worked out a deal with Shitty Ray. We got a rig for thirty days, hauling scrap metal. Ray: You got me a rig? Bubbles: Yeah. Ray: Me. For to drive? Bubbles: You're a trucker again Ray! Ray: Buddy, I don't know what to f*cking say. Bubbles: Don't say anything Ray. You're back on the road, but I'm in charge. Ray: Oh f*ck yeah!

{"type": "series", "show": "Trailer Park Boys", "episode": "07x03 - Three Good Men are d*ad"}

foreverdreaming

Ray: Hey buddy. Isn't she something? Bubbles: Ray, you're two hours late. Ray: Had to do a couple of things bud. Bubbles: Ah! There's ladies up in my seat. Ray: You know, they needed a ride to Maine. I don't see it's any big deal. It's not going to slow us up. Bubbles: They're ladies of the evening! Ray: Friends of the road, buddy. Bubbles: Open it up. I'll load the carts on. No really, Ray, I'll get em. Don't worry about it. Ray: Come on, you got her bud. Good work Bubbs. [Clapping] Good work buddy. Bubbles: I was joking! I could use some help. [music] Julian: [shouting] Ricky, wake up! Rick! Ricky! Get up! [banging on door] Ricky: Hey man. Little early, isn't it? Julian: I gotta show you something. Ricky: Watch where you step man, there's f*cking frogs in here again. Julian: Here, check that out. Ricky: [reading] Dear boys, Ray is driving me Julian: Here, give me that. [reading] Ray is driving me to Maine to make a little money on scrap and I'm going to that train convention I told you about. I need you to feed Shitrock and the Purr-monster. Back in a few days, Bubbles. Ricky: Well, don't worry about it. I mean, he's with my dad. He'll be alright. Woman 1: Want a beer, Ray? Ray: Oh god, yes. Thanks baby. Mandy: How's that feel Ray? Ray: Oh Mandy, that's perfect. Bubbles: Ray! Ray: Bubbs, way of the road buddy. Way of the road. Bubbles: Yeah, well the way of Bubbles is that I'm not missing this train convention [whispering] cause you're doing greasy stuff. Ray: Geez, buddy, come on. Bubbles: What time did Shitty say to meet him? Ray: Eight o'clock in Skowhegan, buddy. Bubbles: Eight in Skowhegan. Well listen Ray, you get drunk tonight and do your thing. First thing in the morning, we're back on the road. I'm not missing Sebastian, he's on at four. Ray: Hey, Bubbs. Bubbles: Hot hamburg sandwiches! Ray: Equals hot "pull the f*ck over". I'm starving. Hot hamburg sandwiches, girls. Okay. That was great. Mandy thanks. You're wonderful. Hey Bubbs, hey buddy. Can you get a picture of both you and me in front of the American flag there? Bubbs: Yeah Ray. Yeah, alright. I'll wind her up here. Ray: Got her? In America buddy. Bubbles: America! Ray: Got the flag? Bubbles: I think so. Smile. Ray, these pictures turned out excellent. Ray: Well that's a great sh*t Bubbs, love that one. Hey, I like those guys. Who are those girls? Bubbles: I was taking a picture of the truck Ray. Ray, look, I checked stainless steel this morning. It's going through the roof. I mean, even after we take out rig rental, gas money, food and liquor and Shitty's cut, four grand each! Ray: Hi! Paradise: Hi. Ray: I'm Ray. Paradise: Paradise. This is Sandy Mason. Ray: Hey Sandy, Hey Paradise. Nice meeting you. I've got the big black rig out front, S&B on the side. Paradise: Right, I saw it out there. You got a, you got a mattress in there? Ray: In the back, of course, yeah. Bubbles: We're just passing through. We don't have time to talk. Nice to meet ya's though. Very nice. Ray! Ray: Paradise! Bubbles: Back off! Do we gotta take somebody with us every time we leave? Ray: It's way of the road Bubbs. You meet people. That's what happens when you are on the road. Bubbles: Well, can't it just be the two of us driving alone instead of ladies of the evening? Ray: They're friends of the road Bubbs, and they're not going to be there the whole time. Come on, Bubbs, be hospitable. Bubbles: Ray, I didn't want to have to say this. It's awkward and uncomfortable. Ray, that f*cking gravy? Unbelievable! Ray: Best gravy in all of Maine, down here buddy. Bubbles: I don't know how they make it, it's so thick. Ray: Oh, it's a lot of hamburger shit, and chicken shit. They put it all together. Oh f*ck Bubbles, listen. Can you go back and get Shitty a twelve pack of beer. I forgot. Would you mind? Woman: Hey there, do you boys like to party? Bubbles: No actually, we don't like to party. We like to get back on the road. Ray: Actually I, I like to party. Come on. Okay, well listen, you're going to have to be quick cause Bubbles is going to be back here any minute, okay? Um, let me just um f*cking get rid of this. Um. Woman: Hon, you gotta pay up front. Ray: Yeah, yeah, okay. Let's do it. What the f*ck is this? Woman: You're under arrest for soliciting prostitution. Ray: What! Soliciting prostitution. That's prostitution. What do you think that money was for? That? No, who the hell are you? You're not even a real cop. This is bullshit. Ack! What are you guys doing. Something else. Bastards. Bubbles: [Humming] [sound of Ray shouting] You guys are going to hear about this. I am a Canadian citizen. This is an illegal arrest in the United States of America. I want to drive back to Canada. You guys are, you are going to have a lot of explaining to do. You want to start explaining now, cause it's, there's going to be a lot of trouble. My government. Bubbles: [groaning] [shouting] No, I'm not going. I didn't do anything wrong. That's horseshit and you know it. I want your name. You're going to be hearing from my government. I'm a citizen of the government of Canada Bubbles: f*ck! Ray: I'm in a lot of shit. Bubbles: Bubbles. [sound of phone ringing] Julian: Hello? Bubbles: Julian, oh my f*ck. Ray f*cked up. He's busted. I got no money. I'm at a truck stop right off of airline route number Julian: Bubbles, Bubbles, Bubbles, slow down. Slow down. Relax. Bubbles: I'm in Bangor Maine, Julian. I don't know it's a truck stop. Highway 301 or something. I have no money. I'm scared shitless. I don't know what to do. You gotta come and get me. That's all there is to it. You take the new ferry Julian, you'll be here in less than seven hours. Please, I'm scared. Get Lucy to look after Shitrock and the Purr-monster. Julian: Alright, alright, I promise I'll look after Shitrock and the Purr-monster. Just don't move where you're at okay. Just stay right there. Bubbles: I'm f*cking scared Julian. Hurry up. Julian: Just don't move from where you're at, okay? Bubbles: Holy f*ck! [moaning] Ricky: Only two miles from the border. Julian: Pull over. Ricky: Why? Julian: Ricky, just pull over. Okay, get out. I'm driving. Ricky: Why, what are you talking about? Julian: Rick, we're crossing into the US, we gotta make sure there's no dope in this car. Ricky: They're not going to search up there. Julian: They're going to search everything Ricky. Ricky: f*ck! Julian: That would have landed us in jail for ten years. That's not good. Keep looking. Ricky: Are they really that f*cked down there? Julian: They're f*cked. Bubbles: Shitty! Shitty, it's Bubbles. Yeah listen, bud. The rig got seized. Ray got busted. Yeah, whores. I think he's in deep shit Shitty. I'm f*cking here all alone. I don't know what I'm going to do. Just tell Rusty in Skowhegan, we're not going to be there. The deal's off. I'm sorry. Alright, you too Shitty. Thanks bud. Ricky: Oh man, are they ever getting f*cked over. You're supposed to throw your dope away before you get to the border. You f*cked up. [barking sound] Shut the f*ck up. Julian: Ricky, are you sure there's no dope in here? Ricky: I'm pretty sure Julian. There's a couple of cracks and stuff, I think I got rid of all of it. Julian: Pretty sure? Rick, you've got to be a hundred percent. Border Guard: What's your business in the US? Julian: Shopping at the factory outlets in Calais. What? Border Guard: Go ahead. Julian: Are you sure? Border Guard: You want me to pull you over and search your car? Julian: No, no, that's fine. Border Guard: Go! Julian: Alright, thank you Officer. Ricky: That's f*cking it? You made me throw my dope away for that? Now we got no f*cking dope down here. Voice over telephone: In the movie Meatballs, who played the crazy camp counselor? One, Marlon Brando. Two, Bill Murray, or Three, Tom Hanks. [sound of phone beeping] Voice over telephone: You're absolutely right. Bill Murray. Bubbles: Ah, no kidding! That was easy. Whoooo! Ricky: f*ck, I hope he didn't leave. Where the f*ck is he? Julian: There's a phone booth. Ricky: Holy f*ck, that's him. He's in the phone booth. Julian: Bubbles. [fingers snapping] Bubbles, are you okay? Bubbs, it's us! Bubbles: [shouting] Ricky: Bubbs, it's us. It's okay. We're not going to hurt you. Julian: You're just in shock man. Bubbles: Train convention. Julian: Yeah, yeah, train convention, remember that? Ricky: Julian, keep talking about the trains. Snap him out of it. I'll get the car, alright. Bubbles: Holy f*ck Julian. I'm tired. I haven't slept in like twenty- five hours. Trains. Julian: Lay down Bubbles, get some sleep. Bubbles: I can't sleep Julian. Ricky: Julian, we're not really going to this f*cking train convention are we? Julian: Yes. Ricky: I got no dope. I can't deal with f*cking training modeling with no dope. Julian: Rick, we're doing this for Bubbles. I'm worried about him. He needs us. He needs to relax. Let's just try to have some fun and stop worrying about dope. Ricky: Fine, I'll f*cking go, but I gotta find some f*cking dope, Julian. He is f*cking banged up. Julian: Hey Bubbs. Bubbs, wake up. Bubbles: Reindeer, reindeer. Julian: Wake up, buddy. We're here. Bubbles: What? Where are we? Where's Ray? Julian: We're at the convention. Bubbles: Oh, let's rock some beers. Julian: Let's go check out some trains, come on man. Ricky: Well, let's set up camp first while we still got the light. [loud music] [crowd cheering] Sebastian Bach: Hey guys! What the f*ck's going on! Sebastian's Handler: Sebastian please, no swearing. Sebastian Bach: Hey, who here loves trains? I'll get ya inside. What's up dude? Hey how's it going? How long am I going to do this? Sebastian's Handler: Hour, hour and a half tops. Sebastian Bach: That's all I'm giving you. You better get me some f*cking Sebastian's Handler: I'll get you some f*cking weed. Don't I always hook you up? Ricky: Two bucks a pack? In jail? f*ck, I should get arrested, come in and hang out with you. No, I know. Alright. Well you take care of yourself in there buddy. Love you dad. Okay, see you. Bubbles: How's Ray doing? Ricky: Not too bad. He got three months, which is pretty good for whores. Just needs some cigarette money, he's going to meet us back at the park. Do you guys know how f*cking cheap cigarettes are here? It's ridiculous. Bubbles: Ricky, let's go in and look at some trains now. Come on. [music] Announcer: Tyson Trains is proud to present our competitive model train world champion, Sebastian Bach. [loud music and cheering] Sebastian Bach: You know, I was told that I wasn't supposed to swear in here tonight. But I know, I just know, that there is some great f*cking trains here in Bangor. Bubbles: Oh, boys, check it out! Decent. Ricky: Hey, got any dope? Hey, do you guys smoke dope? Got any hash, bottle tokes? Smoke dope, got a roach around here? Who's got dope around here? Julian: Smarten the f*ck up. Bubbles: Boy, check out the train sets. Look at the f*cking detail. Little cars, little people. Amazing! Holy f*ck, boys. Sebastian Bach is on stage. That is him! Little girl: How'd you get into model railroading Sebastian. Sebastian Bach: Great question. Couple of tours back, me and the guys woke up one morning. We'd stolen a model train from somewhere the night before. Crazy f*cking night. I don't know, we didn't really remember but we set it up and geez, before we even knew it, we weren't even drinking in the daytime any more. We were just playing with that train. I f*cking love model train railroading man. That's how I became a champion. Little boy: Yeah. Who holds first place in weight pull this year? Sebastian Bach: That would be Patrick Swayzie. Little boy: Damn right! Bubbles: Well Sebastian Bach and Patrick Swayzie, those guys have a rivalry going on hard and, I mean, the gossip is that Sebastian is very jealous of Swayzie's train and you can't blame him. It's a f*cking nice train. Little boy: Is it true that you backed down from a fight with him last year? Bubbles: Apparently Sebastian got fed up last year at the World Championships in Copenhagen, and he told Patrick Swayzie to f*ck off. [laughing] Swayzie wouldn't f*ck off though, he challenged him to a fight right in front of everybody. Sebastian Bach: As I told everybody, I was sick with the f*cking flu. I didn't back down from shit! Little boy: Bullshit you had the flu, you had the "I'm afraid of Patrick Swayzie". Bubbles: You know what, Patrick Swayzie uses illegal parts. That's why he's winning all the time. Maybe you should stop hurting people's feelings. Sebastian Bach: Guys, if you want to talk about Patrick Swayzie all f*cking night, then it's over for here for me right now. Sebastian's handler: Sebastian, dude, you gotta chill with this Swayzie shit, alright? Sebastian Bach: Dude, I'm kind of busy with chicks. Alright? Alright? What are you, my mum? Sebastian's handler: I'm glad you cheered up a little bit. Sebastian Bach: Well, what else can we do to cheer up tonight? Julian: Let's go check out the Swayzie Express man, come on. Ricky: I'm just going to go to the bathroom. Really nice to meet you. Sebastian Bach: Hey, you know what, tell your buddy I said thanks for sticking up for me out there. Ricky: I will, and you know what? He was wondering if you know where to get some weed. We're from Canada and can't find nothing. We're just dying for a toke. Sebastian Bach: I don't do drugs. Ricky: Yes, you do. I saw you on the cover of High Times. I know you smoke dope. Sebastian Bach: I'll meet you in the parking lot, alright. I'll see you there in about an hour or so. Ricky: f*cking awesome. Sebastian Bach: Here you go. Ricky: No, I'm good thanks. Sebastian Bach: [laughing] Yes! Announcer: Ladies and gentlemen, gather round. And witness the fantastic, the international red ribbon finalist, the custom-built, incredible Swayzie Express. Bubbles: Trains. Announcer: The only one in the world. The personal train of Julian: Bubbs, you okay man? Announcer: Patrick Swayzie. Bubbles: Fine, Julian. Ricky: Oh Julian, if I don't find some dope soon, man, I'm going to start to go crazy. There's got to be some dope in here somewhere, fell down through the vents or something over the years. Dirty old f*cking roach. Bubbles: Hey boys? Ricky: f*ck! Bubbles: I think I'm going to go stretch my legs. Ricky: Okay Bubbs. f*cking, f*cking coming off. Oh, where'd it go, yes! [loud music] Sebastian Bach: What's going on with you freaks? Ricky: f*ck, he showed up! My f*ck he's cool Julian. Cool f*cking car man! Sebastian Bach: Sorry it took so long dude. Julian: Good to meet you man. Sebastian Bach: Nice to meet you too. Ricky: f*ck, we didn't think you were coming. I ripped my whole f*cking dash out looking for dope. Sebastian Bach: Dude, I got some dope but it's like half a f*cking gram of shit mall weed from the f*cking arcade. Ricky: f*ck, well I found some great dope. Sebastian Bach: For real? Ricky: Yeah. I grew this myself man. This is good f*cking Canadian dope, it'll blow your head off. Sebastian Bach: Well dude, did you not notice that there's like gum and hair on it. Ricky: I know, but it's awesome, trust me. Sebastian Bach: Alright. Cool. Where's your buddy? That cool guy with the glasses? Ricky: I think he went to rock a piss. Ricky: f*ck, I can't believe you paid twelve bucks a gram for this shitty arcade dope. I'm going to smoke some more of mine. Sebastian Bach: Righteous. f*ck, I haven't had a dope like this in years. f*cking years! You grew this? Ricky: Yeah man. Sebastian Bach: I haven't had dope like this since I was touring Europe in '88 with Scorpions. [shouting] Hello California! You are crazy! We are Scorpions! Rock you like a Hurricane!!! Sebastian's Handler: Sebastian! Sebastian Bach: What the f*ck! Sebastian's Handler: f*ck! Sebastian Bach: Dude, this weed kicks my ass man. Julian: We've got tons of that stuff back home man, here. Sebastian Bach: Not to be a pain, but is there any chance I can buy just what you have here? It's so hard to get good dope here these days. Dude, there's f*cking greasy old bees on this one. Am I paying for the bees too? What is this, f*cking honey oil? Ricky: It was in the f*cking dash man. Sorry. Bubbles: Hey guys. Sebastian Bach: Oh dude. Thank you so much for sticking up for me out there. Bubbles: No problem, I mean. Train guys know the real deal. It's all about respect, Mr. Bach. Sebastian Bach: Geez, hang on a sec. f*ck, I gotta get going man. My wife is going to f*cking k*ll. I really really appreciate the dope guys. Ricky: No problem. Sebastian Bach: You know what, it was really nice meeting you cocksuckers. Ricky: Nice meeting you too man. Sebastian Bach: Right on dude. Listen, take my card alright, I want you guys to give me a call, but be super cool on the phone, alright? Bubbles: Got another one of those? Sebastian Bach: Yeah dude, right on. Bubbles: Decent. Sebastian Bach: I think I'm too f*cking baked man. Sebastian's Handler: Give me the keys. Sebastian Bach: You're driving. Bubbles: Boys, you know what, f*ck camping here. Let's, let's get outta here. Ricky: Bubbles, chill out. We're having a good time here. Bubbles: No boys, pack it up. Let's go. Julian: What the f*ck's wrong man? Bubbles: Just get in the car! Let's go! Bubbles: Ricky, Julian. Wake up, we're home. Boys, wake up. I gotta show you guys something. It's going to freak you out. Boys, I don't know exactly what came over me but I just couldn't stop myself. I had to have it. The personal train of Patrick Swayzie. Ricky: Bubbles, have you lost your f*cking mind? Bubbles: No Ricky. I'm fine.

{"type": "series", "show": "Trailer Park Boys", "episode": "07x04 - Friends of the Road"}

foreverdreaming

Julian: I'm working on a plan right now. It's going to be perfect. Nobody's going to get caught. It's going to be smooth. Ricky: My god Bubbles, the size of this thing. Bubbles: Oh I know Ricky, look at it. You know though, I've gone over it top to bottom like a bunch of times and I can't find any illegal parts on this thing. You know what I think is going on? Sebastian Bach is Mr. Jealousy Pants. He's jealous of Patrick Swayzie. He made all that shit up. Ricky: Well, he was sh**ting off pretty hard at that train convention Bubbles. Julian: How is Axel doing? Right on. Rob Thomas? Well eleven bucks, you can't go wrong man. Bubbles: Look at the speed it's got. Ricky: f*cking cool! Bubbles: The personal train of Patrick Swayzie. De-ee-ecent! Julian: Can't talk to you on the phone about it okay. Bubbles: I don't condone crime you know that but thank you for stealing this train for me. Ricky: Bubbles? You stole the train man. We had nothing to do with it. Bubbles: Ricky, you cannot tell anybody that we have that train. Promise me. Ricky: Sure man, yeah. I promise. Whatever. Got a great f*cking idea though. I'm gonna sit over there, you stay here. Get the f*cking bong, put it in one of the cars right here and we can ship bong tokes back and forth to each other. Bubbles: Decent. [laughter] Julian: I think I just figured it out. I can get the dope to you. Yeah, no problem. Ricky: I'm telling you Bubbles. Smoking dope, playing with model trains is a good f*cking time man. [music] Phil: What are you doing anyway? Jacob: Nothing Dad. Phil: Well, what's with all the dye and the beard and the weights and, you look like, what are you trying to look like? Jacob: Nothing Dad, just leave me alone. Phil: Listen boy, while you're under my roof, it's my rules. And burgers is all about them rules. Burgers were good to me, they're good to you. Jacob: Dad, what are you talking about? Ricky: Eleven bucks a gram boys, that's what I'm talking about. That's what my dope's worth. I'm glad we waited. So when's whats-his-f*ck, Sebastian, coming to pick it up? Julian: Oh, he's not coming here Rick. Bubbles: What? What do you mean he's not coming here? Julian: We're going to smuggle it to him, into Maine. Think about it. At eleven bucks a gram, that's almost five thousand bucks a pound. We got a hundred pounds, do the bath buddy. Cause we're set up, man. Ricky: Fifty thousand dollars. Bubbles: No Ricky, that's five hundred thousand dollars. Ricky: So how the f*ck are we going to get it there? Julian: With this. We're going to run a track through the woods, across the border. and load the weed onto the freight cars. It's going to be easy. Ricky: Oh, I get it yeah. Using the train. Bubbles: Julian. Do you have any idea how much track we'd have to lay to get a train like this into the US undetected? Julian: Oh yeah, I know. It'd be a lot. Probably a world record Bubbs. But you'd be in charge of it man. Bubbles: World record. That hadn't crossed my mind Julian. Ricky: Boys, who are we kidding, I mean. No man, no train has ever done anything like that. Swayzie Express is not powerful enough to pull all that dope. Bubbles: Ricky, you don't have to try to trick me. We are going to run this train into the US, and make no mistake about it. That world record will be mine. Ricky: Beer, Bubbles? Bubbles: Oh, you read my mind, Ricky. [Muffler rattling] Mr. Lahey: Check it out boys. My new office. It's a real good chance I'm going to make Staff Sergeant. It's looking real good. How can I help you guys? Julian: We need detailed topographical maps of the New Brunswick border. We need to know how many forest rangers are out there, where they're at, what they drive, any kind of information you can get us. Mr. Lahey: Step into the office boys. Look, if I'm going to be promoted here, you're going to have to chill out. I've been real good to you guys, but we're going to have to put an end to this shit. Ricky: We're all friends. You helped my dad get his rig license back and we took out George and Ted for you. Julian: Jim. I know shit about you, you know shit about me. That makes us shit brothers. Come on, we're shit brothers. Bubbles: Don't forget, you signed a peace treaty with us Mr. Lahey. Mr. Lahey: What's going down here? Julian: Listen, the less you know, the better okay. That's all we can tell you. Ricky: Yeah Lahey, just get us our f*cking topa, toper, grack, f*cking land papers Jim, just get us the f*cking land papers a.s.a.t. Put them in the mailbox. Don't be a f*ck. Julian: Thanks Jim. Julian: All we need now is some jail cover to take a little scout to Maine for us, today. I know just where to find these dicks. Ricky: f*ck, is that who I f*cking think it is? Bubbles: Oh my god, that's Jacob Collins. Julian, he's rocking your look hard. Ricky: What the f*ck is he wearing? Bubbles: He's got a back T-shirt, a black goatee, and he's rocking a goofy little drink. Ricky: Did he dye his f*cking hair? He did! Bubbles: He looks like you Julian. Without any muscles. Look at the drink, Ricky. It's one of those old mustard glasses, with the diamond and clubs on it. Julian: Bubbs, lay off Jacob alright. [Jacob talking] Ricky: Holy f*ck, look who he's talking too. Isn't that meat store dicks. f*ck, remember how stupid those guys were? They'd be perfect jail cover. Well, I'll tell you right now, we're not going to find any people dumber than those guys. Bubbles: They are dumb. My goodness. Ricky: Let's get them. Bubbles: A mustard glass. Jacob: Hey guys. Hey Julian. Julian: Hey Jacob. Ricky: Changed the look a little bit have you Jacob? Lower your f*cking drink in front of Julian, respect. Bubbles: Chaining too Jacob? What are you rocking there? Is that a mustard glass? Jacob: Yeah. Bubbles: That's hard core. Julian: Jacob, you want to hang out with us today. Jacob: Oh yeah, totally. Ricky: Julian, get the other two dummies too. We're going to need them alright? Julian: You and your two friends. Jacob: Yeah, okay. Yeah. Julian: Come here for a second. Are you in charge of those guys? Jacob: Um, yeah, yeah. Those are my boys. Julian: Alright then, take charge, get them in the f*cking car now. Jacob: Okay. Hey boys, let's get in the car. Let's f*cking go. Ricky: Are you f*cking talking to me Jacob? Julian: No, he's talking to the guys Ricky. Ricky: Oh. Well, you want to learn how to do it? Hey, cock-a-doodle, f*cking Ketchup chips. Yo-yo dick, get in the f*cking car. Let's go, in the f*cking car now. The trunk. Julian: Alright, you sit in the back seat. Let's go. Ricky: You guys shut the f*ck up. Let the big boys talk. You say anything, you're f*cking d*ad. Understand? Jacob: What are you going to do to us? Julian: We're making you part of our crew. Our team of friends. This is the big time now which means you guys can hang out with us. Ricky: But right now, you're f*cking nothing. Out of the car, on the grass. Jacob: Move it guys. Ricky: We're not friends yet. You're nothing. And you're nothing until we say you aren't nothing. And until then, I'm going to be really, really f*cking hard on you guys. Especially you with your f*cking rooster bald headed little, I don't even know what the f*ck that is. Julian: Ricky! Ricky: Don't talk to me like f*cking Lahey talks to Randy Julian. I'm serious. Bubbles: Ricky look, I know these guys are f*cked but maybe you should lighten up on them. Remember what happened to Cory and Trevor. Jacob: What happened to Cory and Trevor? Bubbles: Oh nothing. Ricky: You guys will never, ever be a Cory and Trevor, alright. Cory and Trevor meant the world to me. Julian: Now I know how much you like the Monte Carlo, so here. Take it for the weekend and have a good time, alright. All expenses paid. Just top up the gas before you give it back to me. Jacob: I've got an exam next week. Ricky: What the f*ck are you getting learned that's so important? Jacob: Hotel/motel management. Ricky: Motel/motel dumbagement. Give me the f*cking drink. Julian: Rick. Ricky: You're drinking f*cking pop? Pop? Julian: Don't worry about it. You can study along the way, okay? Let's load up the car guys. Okay, here's the map. We got lots of food for you. Bubbles; There's two bags of Shreddies and three bags of licorice boys. That should do ya just fine. Julian: And this is where I want you to drive to, to do a little recon. for me okay, I mean us. Your friends, alright? Ricky: What are you still doing here? Get the f*ck over to Bubbles shed for more instructions. Jacob: Boys, get the f*ck going. Bubbles: Alright fellows, listen up. I'm the engineer here. And I don't like to repeat myself. Take this camera. You're going to record every road, every bridge, every friggin slope of the land. All the directions are in here. Pay particular attention to the section on leveling the track. If the track's not on level ground, you guys f*cked up. Jacob: What track? Ricky: The f*cking train track. That's what this test is all about. To see if you guys are really our friends or not. Bubbles: This is the track here Jacob. It snaps together like that. Make sure the copper connectors are touching. Jacob: Okay, that's easy. Julian: Ready to get behind the wheel of a Monte Carlo? Okay, put it in park. Nice job man. Ricky: Get out of the f*cking car. You guys somehow manage to pull this off, we're going to be friends, I promise, alright. We even come to vocational school, have lunch with you guys sometimes and take my car to the final exam for all I give a f*ck. We're going to be friends guys if you pull this off. Bubbles: Gentlemen, there's where you pick up the remainder of the track. It's off Exit 14. There'll be a gentleman named Shitty Bill awaiting your arrival. Julian: Jacob, come here. If the cops pull you over, we don't know you. We know nothing about what's going on. We'll have to say you stole the car. If it comes down to that, blame it on your dummies. Jacob: Yeah, totally. Julian: Friends? Jacob: Forever. Ricky: See this? [g*n] Ricky: Get the f*ck back here! Protect Julian's car at all costs. Protect the train stuff. Then protect yourselves, once all the other stuff is protected. Jacob: Protect from what? Ricky: You're going to a remote area. There might be bears. Might. Or, could be some weird shit we don't even know about. Safety's off. Julian: You've got three days. Just don't forget. That car is my life, okay? Three days boys. Jacob: We can do this. [Randy coughing] Randy: Hey Phil, are those cheeseburgers done yet? Phil: Randy, my son is missing. And all you can worry about is drugs and f*cking cheeseburgers? Come on, let's get the rest of these posters out and up. Randy: Geez, Phil, you gotta stop thinking about this. It's going to drive you crazy. Let's talk about something else, like the restaurant. Let's talk about the Dirty Burger. Jacob's going to be okay. Phil: Let's get these f*cking posters out if you're not too f*cking high! Randy: Phil, you better relax! Shit, who's this guy in the sexy jeans? Phil: Please Randy, this is my son Thomas. Randy: This is your son? Wow. Phil: [laughing] Tommy! Oh, I'm glad you're here. Oh, ho, ho, it's good to see you. Thomas: Dad, let me go. Hey, hi how's it going Okay, so what's going on with Jacob. I saw the posters up. What are the police doing about it. We have to take this seriously. Phil: I called a cop by the name of Jim Lahey and he hasn't gotten back to me yet. Thomas: They haven't called back? They haven't gotten back to you? The police haven't gotten back. What's going on here? Phil: I don't know what the f*ck is going on. I don't know son, but god-damn. My son is missing. Thomas: Help me out here? What the f*ck? [Phil yelling] Thomas: Calm down! Calm down right now. I want you to cool off. Cool off. Okay. Talk to me. Phil: Son, I just thought he could have been into drugs so I didn't push it with the police. Thomas: Who, Jacob? You think Jacob is into drugs? After all you taught us Dad? Jacob isn't messing around with dope or dope dealers. Ricky: I guarantee you Jacob is as high as f*ck right now, him and those two mutants and they're f*cking up our chance to sell the dope. Julian: Just keep ripping the posters down and shut up please Ricky. Come on. Bubbles: Did you guys ever think maybe that Jacob and those two twiggy alien bastards might have got eaten by bears? I mean, this could be Cory and Trevor all over again boys. Somebody's going to go insane off this, you watch. Ricky: look at you f*cking go. Him and those two f*cking weird looking dicks are probably just partying somewhere. They stole your car man, they f*cked us. Julian: We just have to find out if there's any police reports or missing persons reports. We've got to talk to Lahey. Thomas: What are you guys doing? What are you? Ricky: Who the f*ck are you, and what the f*ck do you want? Nice clothes. Phil: This is my son Thomas Collins, Jacob's brother. Ricky: And Timmy or Tommy or whatever the f*ck his son's name is shows up here and he looks like he's adopted, he doesn't look anything like him, but he's clearly not. They're both out of their f*cking god- damned minds. Thomas: You guys know Jacob? Do you know where he is right now? Ricky: It wasn't us. Thomas: It wasn't you guys. Those guys know where Jacob is. They're lying. Phil: What are you not telling us? What the f*ck do you know about this, you dirty prick. Julian: Hey, hey, hey. f*ck off Phil. Ricky: Phil Collins is f*cking out of his mind these days. I don't know what's going on with him? Phil: My sons and the Dirty Burger is all I got. f*ck them. What about you four-eyes? Ricky: Holy f*ck! Bubbles: f*cking, did you just call me four-eyes? You big mustard tiger. All I did was call him a mustard tiger. I mean, he had a big tiger and he was all covered in mustard, and I thought it was, you know, a pretty cute little name and all of the sudden he snaps and starts smashing Ricky's car up with a ladder. [shouting] Ricky: Will someone f*cking help me here? [shouting] Ricky: You big f*cking weird looking walrus f*ck. Put the f*cking ladder down. [Phil shouting] Bubbles: Calm down! Put the ladder down Phil, that's not fair. Julian: Sorry I didn't tell you this, but Jacob and his buddies went studying somewhere cause you were going on about the god- damned Dirty Burger so much, okay? You were distracting him. He borrowed my car. He told me not to tell you. Phil: Not tell the old man. Ricky: I'm sick of you talking about f*cking cheeseburgers, we all are. Isn't that right there, sweaty bobany. Thomas: If you've done something, if you've done something to Jacob, I'll find out and you'll regret the day you ever messed with Philadelphia Collins' sons. Got me? Julian: f*ck off! Ricky: Philadelphia? Thomas: Yeah, Philadelphia Collins. Bubbles: He looks like he ate Philadelphia. Julian: Let me deal with this okay. He's studying. Everything's cool Phil. Thomas: We just gotta walk away. We've got to walk away. Let's go. Bubbles: Yeah, walk away. Ricky: You're paying for the f*cking damage to that car too. Phil: You should pay me for doing a job for you. Randy: Why don't you find Jacob? Bubbles: Get going, Lord of the onion rings. Nice socks Randy. Ricky: Big f*cking surprise you're all hanging out together. You're all f*cked in the head. f*cking Jesus, scratches on my f*cking car. [bang] DJ: We like to remind one and all, five cent wings tonight. All night tonight, you can't go wrong. [laughter] Barb Lahey: Oh, excellent, thank you very much. Mr. Lahey: Hey B. Two more. Barb Lahey: And one more. Mr. Lahey: Thank you. That's good. Get me some water. Barb Lahey: Oh my god. Jim, it's Sam! I had no idea he was singing here. Mr. Lahey: Greasy bastard. Barb Lahey: Oh my god. Mr. Lahey: We can go somewhere else if you like. Barb Lahey: No actually, I like this song. Oh go, is he coming over? Is he? Mr. Lahey: No. Just ignore him, he'll go away Barb. Slow down a bit honey. Barb Lahey: Well, that's not fast. Four. [Sam singing] Sam: Barb Lahey: Hi Sam. [Sam singing] Mr. Lahey: Sam. Barb: Just one second. [Sam singing] Bubbles: He looks like one of those guys, serial k*ller week on the TV. He looks crazy. [Sam singing] Julian: Jim? Mr. Lahey: What are you boys doing here? Julian: You know Jacob right? Mr. Lahey: Has he shown up yet? Julian: We need you to block any missing persons reports. This is important Jim. You gotta do this. Mr. Lahey: Julian, Phil keeps calling me all the time about this. You're putting me in an awkward position here. [Sam singing and Barb laughing] Ricky: Hey, pay attention, we're serious. Mr. Lahey: Oh shit. Oh f*ck. Ricky: f*ck! Barb Lahey: [groaning] Mr. Lahey: Get your hands off her, cave man. Sam: She just needs a little air Jim. Mr. Lahey: Sam, you stay away from Barb or you'll feel the heat. Remember heat, quest for f*re? Sam: Enough of the caveman comments. Julian: Are you starting shit here? Outside Sam, let's go. Sam: f*ck! Watch the way you talk to me. All of you. Bubbles; Sam, check your beard. You got a big, big piece of chicken in there. Mr. Lahey: Thanks Julian. I owe you one bud. Julian: Block the missing persons reports. Mr. Lahey: You're almost home Barb. Barb Lahey: [groaning] Mr. Lahey: Hey guys, give me a hand here please. Come on Barb. Bed time. Bubbles: Mr. Lahey. Mr. Lahey: Yeah Bubbs? Bubbles: What would happen if Phil Collins reported Jacob missing and said the last time he was seen was in Julian's car? Mr. Lahey: There's no question Bubbs. You'd be investigated. I can't stop that. I can hold off the missing persons report for another day, day and a half on the outside. Come on, let's go. Barb Lahey: Oh Bubbles, I love you. Bubbles: Oh, I love you too Barb. Banged your noodle. Mr. Lahey: Take it easy guys. Come on Julian, give us a hand. Julian: Jim, Jim, You gotta help us out on this okay? We can't get the police involved now. We got too much crazy shit on the go Jim. Barb Lahey: Oh Julian, such big muscles. Mr. Lahey: Julian, come here bud. This is the kind of shit I'm talking about. You gotta find those guys real fast or I'm going to have to get involved in this officially. And you're not going to like that, are you Julian? Julian: Let's get out of here. Mr. Lahey: Thanks for your help, boys. Ricky: Those little book nerds. Man, they ripped us off. They stole your f*cking car Julian. They probably sold that and spent it on drugs or f*cking fried chicken and shit. Bubbles: We should go looking for them, shouldn't we? Tomorrow? I mean, they could be lost or there's the distinct possibility that they've been f*cked by bears. Ricky: f*cked by bears? Julian: I'm starting to think something went terribly wrong. Bubbles: That's what I'm saying. Maybe they got f*cked by bears. Julian: No, something worse. Bubbles: What's worse than getting f*cked by bears!? [Crickets]

{"type": "series", "show": "Trailer Park Boys", "episode": "07x05 - The Mustard Tiger"}

foreverdreaming

Meat Shop Guy 1: Is that thing running? Jacob: Stop f*cking around guys. Stay focused here. f*ck. I'm stopping to rock a piss guys. If you want to film something, film the river. [music] Jacob: Are you filming me pissing. f*ck off! f*ck, put it in Park, put it in Park. Jesus! Ricky: What the f*ck is this shit? You guys are too close. I'm serious. Stay the f*ck out of our way. Julian: Boys, we gotta hurry up and get there as soon as we can. Shitty called around and some other guys seen them driving in the woods a few days ago, so they might be okay. Ricky: Or they might be f*cked, and this is a big f*cking waste of time. Julian: Don't be thinking like that, we gotta stay positive man. Bubbles: Julian, for the record, I do not f*cking trust lumberjacks. Julian: Bubbles, it's going to be fine. Come on, we're wasting time here boys. Let's go. Ricky: f*ck, we got a lot of food boys. I can't wait to eat. Bubbles: Put it in here Ricky? Ricky: It works like a vaporizer. We'll get stoned through the vents on the way there. Bubbles: That's f*cked. [music] Bubbles: Are you sure this is the right road Julian? Ricky: It's the only f*cking road around. Julian: This is it. That's Great Bear River right there Bubbs. Bubbles: It's a big sassy river, isn't it? What's that boys? Look, up on the road. Julian: Wait. Stop the car. Bubbles: Oh no, those are the good good whole wheat Shreddies I gave them. Ricky: Those guys are dumb. Like, why would they leave their f*cking Shreddies right here? Bubbles: They might be starving out here boys. Julian: They've got lots of licorice. They'll be fine Bubbles. Oh, oh my god. Bubbles: Oh my god. Jacob and the dumb guys. Ricky: Forget about those f*cking dicks. Julian man, look at your car. Bubbles: What are we going to do? Julian: f*ck! Alright, we gotta call the cops and tell them what happened, so we're not wrapped up in some kind of a m*rder case. Bubbles: Yup. Julian: We've got no choice. This is our fault Ricky. Ricky: No. No way boys. I mean, it's a bit of a shame but, they were just too f*cking stupid to survive. Happens all the time in the animal kingdom when you think about it. Dumb rakins, stupid birds, crazy squirrels, porquipicks that get h*t by cars. Helps over control the population of the things that are f*cking stupid. Bubbles: Ricky! Ricky: I mean, those guys basically just cocked themselves over and f*cked up. It's not our problem. Survival of the fitness boys. Bubbles: Can you see them in there, Ricky? Ricky: I don't know. It's pretty slippery down here boys, be careful. Bubbles: Julian, there's no bodies. There's no sign of them. Ricky: This is f*cking weird man. Your upholstery is ripped to shit. There's nothing left in there for upholstery. Trailer, totally empty. Julian: Maybe they ripped the seats apart for survival reasons. Bubbles: Yeah, that's a possibility Julian. You know what else is a possibility? Grizzly cocksuckers mighta ate them. Ricky: f*cking hillybillies. Boys, I am f*cking scared to death of dirty hillybillies. Bubbles: Me too Ricky. Hillybillies and rickshitty bears. Julian: If all the tracks gone, I guarantee you those guys are still out there setting it up. Stop wasting time man! Come on. Bubbles: I'm trying my best there Mister f*cking drypants. Julian: Come on Bubbs. Ricky: My f*cking good track pants man. If those guys are alive, they're buying me some new f*cking track pants. [sound of rain and thunder] Jacob: Keep it together boys. I'm going to record a message for Julian. If anyone finds this tape, can they please give Julian from the Sunnyvale Trailer Park a message. Tell him, tell him, tell him we did our best. And thanks for the dope Ricky. Thanks a lot. Total respect Julian. Ricky: You dry yet Bubbles? Bubbles: Yeah, I'm totally dry. Turn the f*cking heat down, will you? Boys, my legs are all jinkitty- janked. Julian: They gotta be out there somewhere. There's nothing else out here. So they should be okay. Bubbles: Julian, no offence, but you don't know what's in these woods. They could be full of f*cking grizzly whores or stupid drunk lumber cocksuckers for all you know. Ricky: What to the f*ck do them clothes them doing there? Why the f*ck would those guys take their clothes off in the middle of the woods. Bubbles: Oh, I don't know, but some one or some thing made them take their clothes off. Jacob: We made these car seats ponchos to help keep the boys warm. Yeah, I'm doing okay. We're down to our last few Shreddies and pieces of licorice. I'm going to turn it off boys, save the battery. Bubbles: I mean, who knows boys. If they're high on Ricky's dope and they're out here gallivanting around in the woods, maybe the cops busted them for being naked. Julian: Bubbs, there's no cops out here. There's only forest rangers. Ricky: Well, the chances of getting run into forest rangers out here is zer-low so they should be fine. Jacob: What the f*ck is that? Quick boys, we gotta hide. Get down behind this tree. Stay down boys. Forest Ranger 1: Hello? Hello, is there someone out here? Hello? Forest Ranger 1: Licorice and Shreddies. Forest Ranger 2: Shreddies? Forest Ranger 1: Yeah, licorice and Shreddies. There's someone out here. I know it. Back in the Argo, let's go. Bubbles: I'm really worried about these guys still Ricky. I mean, they very well could be d*ad you know. What if they're f*cking this whole thing up? Ricky: They're certainly wasting my time. Julian: It's still warm. Which means they're close. See, I told you Jacob wouldn't give up Ricky. Bubbles: Yeah, but how do we know that's their f*re. Anybody could have had that f*re going. Ricky: Look at this. Smells like my dope. It is my dope, it is them. Bubbles: Yes! Alright, they're alive. Jacob. Ricky: f*ck, goofs! Julian: Jacob, where are you buddy? Bubbles: Ricky, do they answer to f*ck goofs? Ricky: Oh yeah. Bubbles: f*ck goofs. Julian: Jacob! Bubbles: Listen, listen. Ricky: Oh, it's just a peasant cuckooling Bubbles. Bubbles: We're going to find them boys. Julian: Alright, back in the car, let's go. Jacob: Okay. We got all the track from the car. It took four trips. The boys have been setting it up and doing a really good job. Over there, across the river, that's Maine and this side's Canada and the border is right down the middle. USA, Canada. Mm, thank god for this dope Ricky. It's the only thing keeping us alive right now. f*cking flies. We started in the rain last night so we need an energy boost. We're so f*cking hungry. We found some salamanders. Hopefully they taste not too bad. Here, give me one. Are they done? Yeah, it's not, it's not so good. Bubbles: Do you take lemons and caper Ricky with your smoked salmon. Ricky: Bubbles, I don't want any rich peopleman's food. I want some f*cking meat that's cooked. Bubbles: Smoked salmon is delicious. Julian, smoked salmon? Earth to Julian, come in Julian. Julian: Bubbs, would you get back on track? Have you figured out where we're at yet? Bubbles: Well, unless I got it all f*cked up, I think they're right around here boys. They have to be. Ricky: Or, they could be in f*cking Dumbland, where people f*cking do dumb stuff and dumb everything up Bubbles. Julian: Wait now. What's that over there, boys? Bubbles: What? Julian: Right there on the tree. Bubbles: It's a note pinned to the tree. Deedly-dee. It's a note alright. We can't call people without wings angels so we call them friends. You may think I'm crazy but the forest is alive. Alive I tell you. Something's been stealing our track. Something's been f*cking with us. I thought things were okay until last night but there are angry monsters in the woods and in the water and the trees are following me. What? We may not make it. Help us please. Your friend forever, Jacob Collins. What's he talking about? The trees are following him? Jacob: We just finished studying. It's the only thing keeping us sane right now. But I just came down to the river to wash up and noticed something odd. Check this out. Someone or something threw a bunch of our track, the last of our track, into this giant pile of shit down there in the river. [noise] Jacob: What the f*ck is that? Another one of these ghost trees. Holy f*ck boys, did you see that? I got that one on film. Alright, we gotta get the track out of that pile down there guys. Okay, get down there. Get down there, you're going to get it out. Go boys, go. [screaming] Julian: Okay, that's Great Bear River there. The US is on the other side. This is the most level place boys. I mean, the bridge should be built right around this area. Ricky: They f*cked us. Big surprise Julian. No f*cking bridge. Julian: Maybe I was wrong. Bubbles: No actually, there isn't a bridge Ricky. But you know what there is? There's a f*cking tunnel. Right here. Julian: Oh my god, I can't believe it. Bubbles: Look at that. Ricky: They did it boys. Did they ever f*cking do it! That is f*cking perfect. It's going to work. Now, can we please f*cking eat before I die? Julian: Rick, we're not eating yet,O.K. We got some work to do. Jacob: The boys finished laying the track. They took a terrible beating from the water monsters last night. Check that shit out. We're so hungry now and we're lost too. f*cking flies. f*ck! Julian, I'm really losing it here man. Julian: Do you got any bug dope? Thanks. Bubbles: Oh yeah, oh yeah. Check it out. Look at this boys. Ooh, ooh, ooh. There's the start of the track right there. That's where we load the dope, go to the US. Look at this. It's all cleared out. Road's right there. This is pretty good. Julian: This is perfect. Ricky: Whippity f*ck. Alright, we don't need those guys anymore. So can we please, please get something to eat. Julian: Ricky, these guys aren't disposable. They're our friends man. Look what they did for us. We gotta go find them. Ricky: What did you just call them? Julian: They're our friends. Ricky: Do you feel that way too Bubbs? Bubbles: What was the question? Ricky: Look boys, Cory and Trevor were kind of our friends. These guys are just jail cover dummies. You're getting too f*cking close to your jail cover. You're still upset we sent Cory and Trevor to the insane place aren't you? Julian: No. Ricky: You Bubbs. Bubbles: No. Ricky: Me either. Anyway, let's go set up camp before it gets dark. Cook the shit out of some meat. Cook bacon. I mean, they're going to smell bacon cooking if they're starving. Just tell me we can please f*cking go eat. Julian: Alright, let's go eat. Ricky: Thinking about getting drunk tonight boys. Really f*cking drunk. What about you guys? Julian: Yeah, I'll have a couple of drinks Rick. Ricky: You Bubbs? Bubbles: No f*cking way, Ricky. I'm not getting drunk way out here. Ricky: Why not? Bubbles: I'm just not. Ricky: For f*ck's sakes. Stupid pants. Bubbles: Ricky. Ricky: Oh f*ck! There's f*cking milk all over the tenderloins. It's alright though boys, we got lots of food. Bubbles: Come here, just pull your pants up. Ricky: Give me a hand with these Bubbs. I've gotta get the f*cking barbeque going. We still got a lot of food. Shishkabits, pork chops, burgers, hot dogs, what do you guys want to start with? Bubbles: Ricky! Ricky: Got a f*cking nice roast in here too. Bubbs, what's going on here, come on. Bubbles: I'm trying to. Ricky: f*cking things. They're never going to be the same. After that f*cking swamp. Bubbles: Well, you can't just give up on them. Ricky: Well, this snap doesn't work here. It's f*cked. You gotta use this one. Look. Bubbles: I know, but they're your pants. Ricky: Let's f*cking eat, come on. Bubbles: Oh my god, I'm stuffed boys. What's wrong Julian. Julian: Nothing Bubbs. Ricky: How were the steaks boys? They we're over cooked were they? Julian: They were perfect Rick. Bubbles: Ricky, that Caesar salad was miraculous. Pork chops, unbelievable. Ricky: You're f*cking burgers were fantastic Bubbles. I can't believe it. Everything is gone. We f*cking ate it all. Bubbles: We ate all the meat Ricky? Ricky: Well, there's three hot dogs left. You may as well get them in ya. Julian: I'm done Rick. Ricky: Got room for one dog, come on. Bubbles: Come on, Julian. One more,and then we can say we ate all of it. Ricky: f*ck, I love meat. Jacob: Julian, we're so hungry we thought about eating our text books, but we can't. Cause really, we gotta pass our exam. It's the only thing we're doing right now. Just studying. Trying to f*cking get through this but, I don't know what we're going to do. [sniffing] What's that smell? What is that? Do you guys smell that? Julian: Well, I'm shutting it down boys. I'm going to bed. Ricky: What are you talking about? What the f*ck's wrong with you? Julian: Rick, don't you have any compassion? Those guys put their lives on the line setting up that track and if they're still alive, I'm going to find them. Ricky: Well, you're not going to find them tonight. Let's get drunk, do drugs and get her going on the Mitchell. Bubbs, please talk some sense to him. I want to get drunk man. We're f*cking camping here, let's party. Bubbles: Julian, Ricky has a point. We're not going to find them tonight and you know, to be honest, I'm a little nervous out here in the woods. Couple of drinks and a little bit of dope might take the edge off, you know. I'll help you find them in the morning. We'll find them. Julian: You promise? Bubbles: Yes, I promise. Ricky: Here. Take a little toot off that. Bubbles: Boys, I gotta rock a piss. Ricky: Alright, you rock a piss. I'm going to rock some Mitchell. [loud music] Ricky: Whooo! f*ck, we're getting drunk tonight. Want some more drugs Bubbs? Want hash or weed buddy. Bubbles: Little bit of both Ricky. Combo. Jacob: Where's it coming from boys? [sniffling sounds] Jacob: I think it's this way. Ricky: Whooo! [music] Ricky: Oh, f*ck yeah. Bubbles: Holy f*ck boys! Boys, I just saw three bears down in the woods. Three bears Ricky. [music] Ricky: You f*cking sure? Bubbles: Three big dirty ass bears right down there. [music] [music] Bubbles: Boys, the thing about bears is to just make noise and scare them away. [banging on a pot] [music] Bubbles: They ran up there Julian. Julian: Where? Bubbles: Up there. f*re some warning sh*ts or something. [g*n] Ricky: That's not bears. It's f*cking hillybillies. f*ck you you greasy hillybillies? Jacob: Ricky, is that you? Julian: Jacob?! Jacob: Julian! Julian: Jacob! Ricky: Oh my f*ck! Julian: Oh my god man. I can't believe you guys are still alive. Jacob: How did you? What are you doing here? Bubbles: Boys, you're alive. Julian: We're here looking for you man. Jacob: You came to find us. I knew you'd come to find us Julian. Julian: Alright. Jacob: I knew you would. Julian: You don't need to hug and kiss boys. It's okay. Ricky: What the f*ck were you doing sh**ting at us? Jacob: We were starving, we, we thought you were campers. We didn't know. We were going to come and try to steal some food. Julian: Ricky, grab them some food. Ricky: There's nothing left man. Maybe a few gummy worms and some pizza crusts on the floor of the car but it's f*cking old. Jacob: What day is it today boys? Bubbles: Thursday Jacob, the fifteenth. Jacob: Oh f*ck. Julian: What. Jacob: Our hotel/motel management exam is today. We missed it. Dad's going to k*ll me. We missed our exam boys. Julian: Get in the car, we're leaving boys. Ricky: What the f*ck are you talking about? What about all the drinking and the drugs and the Mitchell? Julian: We got enough time to make it back for their exam. It's the least we can do for these guys, come on. Ricky: f*ck's sakes. Fine, get in the car. You guys in the f*cking trunk. Nice one Jacob, thanks a lot. Cause of your stupid hotel/motel booking shit!

{"type": "series", "show": "Trailer Park Boys", "episode": "07x06 - We Can't Call People Without Wings Angels\u2026 So We Call Them Friends"}

foreverdreaming

[music] Phil Collins: I've always wanted to run my own business and now the dream is real. Me and Randy are having the grand opening of the Dirty Burger today. Randy's a hustler baby! Whoo. Look at these dirty things here cooking up nice. Whoa baby! [laughter] Sarah: I'm really happy for Randy with this business venture. I think him and Phil doing something that they obviously are really passionate about is just fantastic. Randy: Philly! Need some help here bud. Phil: What was that old buddy? Randy: I need you to take over. I've got to start practicing for the big jump! Phil: Oh, don't worry Randy. You'll make her buddy. You might want to lighten up on the dope though a bit eh. Our asses are on the line here. Sarah: Well, everybody in the park's talking about Randy and his big plan to jump over the cheeseburger. You know, I think it's a great idea, although he's probably not going to make it. Of course he's not. But who cares. Lucy: You know, I really believe in Randy. He's confident, he's smart, he's sexy. He's kind of sweatier than usual, but that's okay. He's working so hard to make sure that things work out with this stunt for me, for Trin and for whoever this guy is going to be, you know. Randy: Dirty balls! Lucy: Oh my god, hon, are you okay? Randy: Yeah, I'm fine. Yup. Lucy: Here. Randy: Ah! Ah, rooster nuts. My back! I just gotta h*t the ramp a bit quicker Luce. Lucy: Well, you know what they say. Practice makes perfect right? Here, let me. I'll help you with this. Randy: Yeah right. Thanks. Ah! Frozen mixed vegetable cocks! [music] Sarah: Poor Jacob got dysentery from eating salamanders in the woods. He's dehydrated and pretty sick. Ricky and Julian almost k*lled him. I've been taking care of him for a few days. Phil: Hey Sarah. How is he? Sarah: He's good. He's still sleeping. Phil: Okay. Tom Collins: Hey Jacob. Jacob. Wake up little buddy. We gotta get some food into you. Phil: It's time to kiss the burgers. Jacob: Sarah? Sarah, is that okay? Sarah: Yeah, just one small bite. Jacob: Okay. Tom: Right here Jacob, come on. Sit up. That's it. Phil: How are they? They're too spicy. They're too damned spicy. Tom: Dad, they're amazing! They're amazing! Phil: I put in too much spice. Tom: Shhhh! Phil: How is it son? Jacob: Better than the restaurant. Phil: Baaaaaaaaaaaam! Jacob: Baaaaaaaaaam! Phil: Come on son, let's hear a baaaaam! Tom: Not doing it Dad. Phil: Ah. I got my boys, I got my burgers. That's all I got. I need to hear a baaaaam! Jacob: Just do it, Thomas. Phil: Thomas. Jacob: Please. Tom: Bam! Phil: Like you mean it. Please. Tom: Dad, you know I don't like saying bam, you guys always. It's not my style. Phil: It doesn't matter. It's for Jacob. Tom: It bothers me. Phil: Just do it! Tom: Dad, you are f*cked! Sarah: How are you doing, sweetie? Good? Are you going to be okay by yourself if I go out with your Dad and your brother for a bit? Jacob: Yeah, yeah, fine. Has Julian been asking about me? Sarah: Do you want to take that? Tom: Jacob. This Julian stuff. It's weird. It has to stop okay. Phil: It's f*cked up. It's f*cked up. Lay off the Julian stuff. [knock] Barb Lahey: [reading] Barb, my burning desire for your love can't not be extinguished like f*re. Meet me at the White Rose Inn on the Lake for all to get revealed. Your secret admirer. Hah! Mr. Lahey: You looking at Julian's bum, Barb? Barb: Don't be foolish, Jim. Lighten up, eh. Julian: Hey Shitty. Shitty Bill: Hi there. Bubbles: What do you think Julian? Julian: Bubbles, we can't use this piece of shit. We'll get pulled over man. Ricky: Boys, check it out. What the f*ck! Jacob: Hey guys. Julian: How you feeling buddy? Jacob: Good. I was wondering if I could work for you guys again. Julian: Are you sure you got your strength back? Jacob: I'm still feeling pretty weak, but I could mix drinks for you or get stuff. Julian: Alright, well you can start working again, but just small stuff for now. I don't want to see you getting f*cked over like you did in the woods, alright. Jacob: Oh man, that sounds like Thomas. [music] Tom: What are you doing out of bed? Jacob: I just came to see my friends. Is that okay? Bubbles: Oh, nice job there, son of the mustard tiger. Tom: My Dad is not a mustard tiger. Bubbles: Oh, okay. Tom: Why are you still dressed up like Julian with the goatie and the black T-shirt? It's embarrassing. Jacob: Thomas. Ricky: What's wrong with trying to dress like Julian, huh? You with your big muscular car and you don't have any muscles. Bubbles: Ricky! Ricky: f*ck! Tom: Sixteen years of positive thinking and education have manifested themselves in a mint condition 1967 RS Camaro. Ca-ma-ro! Come on Jacob, let's get out of here right now. We're going right now. [glass breaking] Jacob: Thomas! Tom: It's okay. It's okay. Jacob: Why are you embarrassing me in front of my friends. Julian: Jacob, go spend the day with your Dad, okay? Jacob: Are you sure Julian? Julian: Yeah, go for it. Ricky: Tell your god-damned walrus daddy and Randy good luck with their stupid jump the cheeseburger horseshit. It's f*cking dumb! Bubbles: That guy is intense! Mr. Lahey: Well, if you hadn't driven him away by busting his cock over every little thing, Randy would still be very much part of our lives Barb. Barb: Busting his, oh my god. Jim, you are still in love with him, aren't you? That's why you're going to this stupid burger jump with the greasy Phil Collins, isn't it? Mr. Lahey: Like I already told you, I'm only doing crowd control Barb. Just doing my job. Don't be ridiculous. Barb: Oh ridiculous. You haven't got time to take me line dancing but you've got loads of time to go and watch Randy on some bike, stoned, jump over some inflatable cheeseburger to promote his new restaurant. Mr. Lahey: I'm not just doing it for Randy, Barb. Barb: No, well why are you wearing cologne then? Mr. Lahey: Why are you wearing cowboy boots from some unknown admirer? Barb: Oh, oh, so now you're busting my dink for having a secret admirer? Now what am I supposed to do about that Jim, huh? What? Mr. Lahey: Look Barb, all I'm saying here is that if anybody should be mad, it's me. Barb Lahey: Oh well, at least somebody is paying attention to me for a change. Mr. Lahey: Oh, that's all that matters, isn't it? The princess has to be paid attention to. Look at me, I'm Miss Spoiled Rich Girl whose family owns the trailer park. And I go to university. Barb: Oh, very good impression Jim. But you know what? You neglected to add one or two points like [speaking through megaphone] I am in a relationship with a man who is in love with another man who eats fifteen cheeseburgers a day and rides around the park, high on marijuana cigarettes. Mr. Lahey: Barb, maybe you should lay off the alcohol just for a couple? Barb: Oh, do you think? Do you think Jim? Because you know what, I'm going to be totally honest with you and it's, you know, it's a bit ironic actually but, since you stopped drinking, you are not half as much fun. Mr. Lahey: Barb, I'm doing my best here. Barb: Jim, I wish you'd start drinking again! Lucy: Oh Randy, are you okay? Randy: Oh, sweet and sour chicken balls. I think I sprained it Luce. Lucy: Is it bad? Randy: Yeah, it hurts. Oh, coat of arse cocks. Lucy: Okay, you know what, we're going to go back to my place, put some ice on this. You are going to be fine. This is not a problem. Couple of hours max. Randy: Alfred Hitchcock! Lucy: Randy, enough with the cocks. Alright, let's just go. You know, you'll just walk it off. Randy, everyone's, you know, depending on you. Randy: I don't know if I can do this. Lucy: Horseshit. Oh course you're going to do it. Randy: Why can't your Dad do it? Tom: Randy, think about it. He's not an athlete like you are. He can't jump over cheeseburgers on a bike. He'll be making the burgers. Come on, Randy. It has to be you. Lucy: Thomas is absolutely right. You can do it man. The Randy Man can! Julian: Guys, guess what these are? Ricky: Milk cartons. Julian: Nope. Bubbles: Box cars for dope probably. Julian: You got her man! Things are looking good boys. Barb: Yeah, I'll say things are looking good. Can I, can I have a little word with you Julian please? They fit perfectly. Julian: Okay? Barb: So, thank you very very very much. Julian: Thank you? Barb: Oh come on, Julian. I think that we can put an end to this little charade. Ricky: What the f*ck are they talking about? Bubbles: Greasy stuff I'd say. Ricky: I think they might be banging. Look at them. Julian: How much have you had to drink today? Barb: Enough to know that I am finished with Jim and I can finally go with you to the White Rose Inn on the Lake, sexy. Julian: What are you talking about? Barb: Oh Julian, come on. I know. I know, that you are my secret admirer. Ricky: Well that's quite a step up in the world from banging Randy and Lahey to banging Julian, isn't it? Bubbles: That's a weird thought Ricky. Julian: There must be some kind of misunderstanding Barb. I have no idea what you are talking about. Barb: Well, right. Well. [laughter] Thank goodness for that. That would have been weird. [mumbling] Julian: Don't get me wrong. I'm flattered and everything okay. But love is going to come when you least expect it. Don't worry, it's going to happen. Sam: Surprise Phil. Found you. I'm here for my seventy-five dollars. Rent's due. Phil: Sam what are you doing here today, man? I told you tomorrow. I'm opening up here today, I can make seventy-five bucks easy. Sam: No Phil. Today. Phil: This is my opening day. Don't f*ck it up. Sam: I don't give a shit. Seventy- five dollars. Phil: It's only seventy-five bucks Sam. Sam: Seventy-five dollars, seventy- five cents, I don't give a f*ck. It's mine, I want it, I want it now. Or Plan B for you big guy. Phil: Yeah well the whole Plan B means you brushing your cave teeth with a log. Sam: Cave teeth? Cave teeth! It's f*cking on, Phil. It's f*cking on. Phil: [yelling] Sam: Why do you gotta make this get f*cking ugly Phil? Just give me my seventy-five dollars. Phil: Shouldn't you be at a water buffalo lodge meeting or something? Sam: Did you not hear me, pseu- pseudio? [g*n sh*ts] Ricky: f*ck! Sam: Now get behind the f*cking wheel. The cave man's in charge. We're going to an instant teller. Bubbles: Ricky, are you alright? Ricky: A f*cking lot better than the person who sh*t me is going to be when I f*cking find them! [g*n sh*ts] Ricky: Who the f*ck sh*t me? [g*n sh*ts] Sam: f*ck! Tell him, tell him, f*ck, I don't know. Tell him to go f*ck himself. Phil: Rick, go, go f*ck yourself buddy. Ricky: Did you f*cking sh**t me Phil? Huh? Sam: Drive us the f*ck out of here! Phil: Please Sam, I need this RV. It's the only thing I got man. I'll pay you back tomorrow, I promise. Sam: f*ck your stupid Dirty Burgers. Drive! Nice f*ck up Phil. Phil: Shut up Flintstone. I'm under a lot of pressure here. f*ck off. Mr. Lahey: Everybody get back. Phil, you in there? What's going on bud? Phil: It's Sam. He's holding me hostage. I need your help Jimmy boy. Sam: Shut the f*ck up! Mr. Lahey: Yeah, shut up Phil. Sam, Jim Lahey. Sam: What! Mr. Lahey: Officer Jim Lahey. Sam: So! Mr. Lahey: Listen, I want you to talk to me. What's going on bud? What do you want this time? Sam: I just want you all to f*ck off! Mr. Lahey: Sam, it's gone a bit far for that. We're going to have to take this downtown. Look, I'm putting my g*n away bud. Put down your w*apon. Put your hands up and come on out. I'll count to ten. One Lucy: Ricky, are you alright? Ricky: Yeah, I'm fine. Randy: Back off Lucy. Ricky: f*ck off Randy. Bubbles: Julian, don't wipe Randy's old dirty sweat on me. Sam: f*ck downtown. Let's get the f*ck out of here. Drive, easy lover, drive! Lucy: Oh my god! [yelling] Mr. Lahey: You're making a big mistake, Sam. [yelling] Sarah: He better not f*cking h*t our trailer. Man's voice: Stop Phil! [yelling] Ricky: That's what happens when you kidnap a dinosaur you f*cking cave dwelling prick. Sam: Barb? Barb: Will you get out of the way with the stupid Dirty Burger? Let me out of the park! Sam: Move it Phil. Mr. Lahey: Stand back everyone. They're coming out. Barb: Sam, what are you doing, running around the park, waving a g*n again? Sam: Nobody f*cking move! I'm searching for lost love Barb. How do you like the boots? Yes. This isn't how I wanted to tell you Barb, but I'm your secret admirer. I love you baby. Barb: So all the gifts were from you? Sam: Every one. Mr. Lahey: Let Phil Collins go, Sam. Sam: Not til I get my money. Mr. Lahey: Right now. Sam: Seventy-five dollars. Tom: Seventy-five dollars? Here's one hundred. Does that settle it? Does that settle it? What's wrong with you? Sam: None of you f*cking guys know who I'm in for. None of you, none of you. Mr. Lahey: Sam, it's time to take a little trip downtown. Barb: No, Jim, Jim, Jim. Let, let, let him say what's on his mind. Ricky: f*cking caves and rocks. Cars with no floors, swinging from f*cking vines. You sh*t me, you prick Sam: Barb. Barb. Barb. I've banged, made love to a lot of women in my life. And a couple of dudes too, but that's not important. What's important is, I can't not live with no woman but you. I love you baby. Just you. Barb: Sam, I, I might be drunk but that is the sweetest thing anybody's ever said to me. Sam: Come away with this old cave man Barb. To the White Rose Inn. They got a great muffin there baby. Barb: Yeah. Yeah, yeah. Yeah, I, I will. So Jim, are you going to try and stop me. Randy: You deserve better, Mr. Lahey. Mr. Lahey: Well, if that's what you want Barb. Sam: Thanks Jim. Let's go. Ricky: Will somebody please try to explain what the f*ck just happened here? Sam: Cave man always gets the girl Ricky. Phil: Boys, I can't go through with this opening. Tom: Dad! Phil: The Dirty Burger almost k*lled me, boys. f*ck it! To hell with it. Tom: Come on Dad. Give me a bam! Come on Dad. Phil: No, not now son. Not now. Jacob and Tom: Bammmmmmm! Phil: Boys, I can't give you a bam, but I can give you a green eggs and hammmmmmm! All: ammmmmmmmmm! Phil: We can do this! [laughter] Thanks girls. That's great. Just line em up here. Lots for the customers. [Cheering] Randy: How are you doing, Mr. Lahey? Mr. Lahey: Randy, I'm begging you. Please don't do this. I can't take it. I'm this close to going back to drinking bud. Randy: It wouldn't be my fault Mr. Lahey. Listen, you got any dope on ya? Mr. Lahey: No I don't Randy. Are you sure you can do this without k*lling yourself? Randy: Thanks for the vote of confidence Mr. Lahey. Phil: Hey Rand, come over and get your gear on buddy. Ricky: Are you going to do this thing or what Randy? Randy: Geez guys, my ankle's a little sore. I don't know if I can do this. Phil: Randy, make this jump, you'll be a living legend. No telling how far the Dirty Burger'll go, huh? Randy: I don't know if I can do it guys. I really don't know. Phil: Man, it'll look great. Don't you worry about it. Let's get this gear on. Tom: [through megaphone] Ladies and Gentlemen. The moment you've all been waiting for. Randy will jump the cheeseburger. Ricky: You look f*cking stupid with all that padding and shit on Randy, you dummy. [applause] Ricky: Come on Randy! What's that?! Bubbles: Oh, nice jump Randy. Whoo! Randy: I can't do this guys. I can't do it unless I'm stoned. Phil: Come on man, it's the Dirty Burger. You've got to. There's no choice in the matter. Randy: I've gotta be high. I'm not doing it. Phil: Randy Jesus! You've got to f*cking do it man. [yelling] Tom: Dad, take it easy! [yelling] Randy: Frig off. Tom: Dad! Dad, you're losing it. [yelling] Ricky: That whole family is so f*cked! Tom: Dad, please take it easy! Randy: You're taking this Dirty Burger thing way too seriously Phil. If I had some dope, I'd do this. Phil: Well go see your precious Julian and get him some dope. Tom: Dad, he can't be on drugs when he does the jump. Phil: He's got to be. We have no choice. Tom: Drugs are wrong. Phil: Any other time but we gotta do it up. Just f*cking do it! Jacob: Let me see if I can hook us up Thomas. Ricky: What the f*ck do you want toughie? Tom: I'm not here to fight, okay? Randy will not make that jump unless he's high on marijuana. Ricky: High on marijuana. Big f*cking surprise! Well, you're not getting it from me cause this is my personal stock. From the captain's cupboard, alright. It's my best stuff and I'm not giving it to Randy. Jacob: Come on, it's an emergency guys. We just need a bud. Please Julian. Julian: Ricky, just give him a h*t off this thing so we can get this jump underway please! Ricky: Randy, are you going to do this or are you too f*cking scared? Randy: Ricky, I just need to get high. Ricky: f*ck you're sweating. Randy: No shit. Ricky: Yeah man, that's why I'm here. Be careful with that. It's my personal stuff. It's kick ass. You only need a little tiny bit. Randy: Thanks a lot Ricky. This is awesome. You saved the day. Ricky: Alright, that's good. That's all you need man. I'm serious. Get the f*ck out there and don't let us down. We're all high as f*ck. Good luck. Randy: Thanks Rick. Ricky: Alright, he's going to do it. Bubbles: Look at him. He looks like a hairy robot. [applause] Ricky: He's pretty f*cking high. [cheering] Bubbles: Oh my god, he's down. Lucy: Somebody call an ambulance. Mr. Lahey: Randy. Randy, are you okay? Phil: This is drugs. See what drugs did. Ricky: f*ck, don't f*cking shove me. Can't you see I've been sh*t here you f*cking walrus. [yelling] Randy: We did it Phil. Phil: We sure did Randy. We sure did. Bubbles: Hang in there Randy. Lucy: Take it easy honey. Get well, soon. Bubbles: Poor Randy.

{"type": "series", "show": "Trailer Park Boys", "episode": "07x07 - Jump the Cheeseburger"}

foreverdreaming

[music] Bubbles: How long have you guys been in here? Can you get the f*ck out of my shed, please? I got a letter from Ray. [reading] Dear Bubbles. Hope you are well. I'm really sorry I f*cked everything up. I'm doing okay. This US jail is really luxury. Good food, nice cell, lots of liquor and the guards are stupider as f*ck. [laughter] Don't mean to scare you buddy, but this is on the cover of the Bangor Daily News. Bubbles: Oh my f*ck! [reading] Janitor witness in Swayzie Express robbery. Janitor saw "greasy looking" Canadians in parking lot on drugs. Swayzie offers $50,000 reward for return of prize model train. Swayzie! [music] Randy: Ah! Sugarcocks! Lucy: Hey Randy. How's the cooking going? Randy: It's going okay. It's hard to flip with this hand. Friggin cast. Lucy: Yeah, but they're so cute. Randy: Yeah, they are eh? I'm going to add them to the menu, I'm going to call them Baby Dirty Burgers. Lucy: Cute. Hey listen, Randy. I've got something [loud bird cry] Randy: Did you hear that? Lucy: Did I hear what? Randy: The chickadees, Luce. It sounds like they're saying cheeeeeseburger. [loud bird cry] Lucy: Okay, that's cool. Listen babe, I want to talk to you about something. Here, I got this for you. Randy: Thanks Luce. Lucy: Anyway, you know. Things with you and Phil Collins are going so awesome and the whole Dirty Burger thing and we are having a baby soon right. So I was thinking that [bird cry] Randy: There it goes again. Lucy: You know what, f*ck it. Forget it. This is a really bad idea. Randy: What Lucy? Lucy? Lucy: This doesn't matter. Randy: Lucy, I'm sorry. Lucy: Randy, will you marry me? I mean, I know that seems kind of sudden and everything but we're having a baby together and I love you Randy. I don't care about your gut, I don't care about all the cheeseburgers, I don't care about all the dope. I love all of you. [bird cry] [sound of answering machine beep] Randy: [recorded message] Mr. Lahey, it's Randy. Guess who asked me to marry her? Lucy. I said yes Mr. Lahey. [beep] Randy: Pants are really tight Lucy. Lucy: Okay, well you know what? Let me just, let's just try this on. Put your up. There you go. Um, they might be a little tight, but maybe we can get some Lycra, I don't know. We'll see. Randy: It's nice fabric. Lucy: It is really nice fabric but you know, I don't even know if they're going to take it out, you know, it's just. Bubbles: [clearing his throat] Lucy: Hey Bubbles. Randy: Hey Bubbles. Bubbles: Randy. J Roc: What's cracking Bubbles? Bubbles: Nothing. Nothing Lucy I think. Could you set me up with some new clothes. Something really different? Lucy: Sure. Sure, um. J Roc: Bubbles, you aight? You seem baked or some shit, dawg. Bubbles: No, I'm not baked. Tyrone: It's alright man, we're all stoned. Bubbles: Look, I'm not stoned. I just need a whole new get up. Something different. Lucy: Yeah, okay. Okay, you know what. No idea, you're up for anything? Bubbles: Just, where people will go, who's that guy? Never saw him before. J Roc: Bubbles, I got it B. You should roll in a suit. You know what I'm saying. Could be tight. That's me and T roll now, you know how I mean. Even un-skinny bop's rocking a gudexo. Luce set this ma-f*ck up with a suit. Solid tight. Randy what's that? [slap] Lucy: Um, we don't have any suits right now Bubbles, but you know what we do have? We've got a bunch of new shirts. What about this? Bubbles: Next. Ricky: I'm going to be honest. It is taking me a long f*cking time to accept that Randy is going to be the father of mine and Lucy's baby. But it's one of those things you can't change so I guess I gotta accept it. Be happy for Lucy. I mean, I am happy for Lucy. Right now, I just gotta concentrate on my f*cking job and finally sell this f*cking dope. I gotta make sure nothing get's f*cked up because this is the chance of a lifetime. So please for once, I can't let this get f*cked up. Ricky: Nice, you got all the wheels on. Alright, pay attention. These go on here like this, okay. So that's just f*cking dumb. I mean, you gotta cut this off, jam it in, tape it shut and then tape these to the box cars. And don't use too much tape. It's my good f*cking tape okay? Jacob: That is nice tape. Julian: Here you go buddy. Jacob: Oh, thanks man. Ricky: Jam those things full Jacob. We don't have many. What the f*ck?! Julian: It's Bubbles. Ricky: What the f*ck's going on with his head? Julian: I don't know. Wait here man. Bubbles: [whispering] Boys, it's me. Julian: We know man. Bubbs, what's going on? Bubbles: From now on, my name is Scorpion. Can we go talk in private somewhere? Julian: Let's go. Ricky: You okay? Bubbles: I don't know. Ricky: Holy f*ck. That is definitely you. Bubbles: I know Ricky, but I mean, I'm looking pretty different now, aren't I? Julian: That wig's freaking me out. Don't you think you're overreacting a little bit. Ricky: Don't worry about this train shit. Patrick Swayzie is not after you man. We're in Canada. We're safe. And if anything does go down, just blame it on Jacob and the alien Trevors. So, disguise's working, sit down and relax. Bubbles: I'm relaxed boys. No problem. [humming] Julian: Are you okay? Bubbles: Who? Julian: You. Bubbles: I'm fine. Julian: Well Bubbs, you can talk to us if there's something wrong, you know. Bubbles: There's nothing wrong Julian. [phone ringing] Julian: Right on. That must be Sebastian. Hello? Hey, Sebastian, what's up man? Right on, just, just one second. Bubbs, where you going? Bubbles: I've got to split. Julian: We've got a conference call. Bubbles: I know. That's what I'm saying. Julian: Well get back here. Sorry about that man. Just a sec. Gotta switch to the speakerphone. Okay, can you hear me? It's Julian. Sebastian Bach: [on speakerphone] What the f*ck's going on? Ricky: You got Ricky and Bubbles here too. How's it going? Sebastian: I'm getting nervous about this bullshit man. There's a f*cking forest f*re spreading just south of the train track. I'm thinking about shutting this down. Bubbles: Oh excellent news Julian. A forest f*re! Julian: Okay, that's not going to be a problem okay. We're professionals. We're leaving with the dope today. Everything's all set up. I'll give you a call as soon as we're on the road, alright. Sebastian: Alright. f*ck! I've gotta go. My wife's coming. Later boys. Julian: See ya man. f*ck, we got a lot of work to do Rick. Bubbles: [sighs] [humming] Ricky: Bubbles, where you going now? Bubbles: I gotta go Ricky. I just need to have a drink, be by myself, and think about things. Maybe down at the swamp or something. I just need a little break from all the crazy stuff that's all. I mean, this train thing can be very dangerous. A lot of things can go wrong. Could get b*rned up in a forest f*re. An operation this size, you don't know who's after you. Could be the FBI, A*F, f*cking Patrick Swayzie. Who knows. Lahey's off the f*cking rails so. You know, I just need a little break, that's all. Randy: What do you want, Mr. Lahey? Mr. Lahey: Randy. Randy: What are you doing? Mr. Lahey: I just gotta talk to you for a second Randy. Randy: No. Mr. Lahey. Mr. Lahey: Randy, come with me. Randy, listen buddy. Listen Randy, this is very important bud. You gotta come. I got a lot to talk to you about. Randy: My arm, Mr. Lahey. Mr. Lahey: Sorry about your arm Randy. Come on. Come on buddy. It's a red letter day. Randy: Mr. Lahey, what the hell are you doing? Mr. Lahey: Listen, it's just a matter of time before this all goes to shit Randy man. I think it might just be better to end her, bud. Randy: You can't end it Mr. Lahey. Who'd look after the park. Look, let's just get out of the car Mr. Lahey. Have a couple drinks, talk about this. Worst mistake I ever made was getting together with Lucy. Mr. Lahey: I'll drink to that bud. Randy: Mr. Lahey, the car! Mr. Lahey: Ah shit! f*cked her, bud. Let's go down and see what liquor we can salvage. Wanna get drunk tonight Rand? Randy: Yeah Mr. Lahey. Mr. Lahey: Where do we go from here, Banny- Ran? You're engaged. Randy: It's pretty frigging complicated. Mr. Lahey: We can work through this Rand. [smashing sound] Mr. Lahey: Through just about anything bud. Just think of the history we have together. Don't marry her, Rand. Randy: I said yes. I mean, what am I going to do? Mr. Lahey: I don't know Randy. But I know I can't handle this. Go and talk to her. Randy: What am I going to say, Mr. Lahey? Mr. Lahey: I don't know Randy. Use your imagination. Then you come back and we'll have a little barbeque and we'll have some liquor and mustard and we have a lot of good times Randy, what'dya say? Randy: Burgers? Lucy: Hey Randy. Hi. Randy: Hey Lucy. Look, we really gotta figure out this engagement stuff. Lucy: Yes. Have you been drinking? Randy: No, couple drinks. [smash] Lucy: He's wasted out of his mind. Randy: No he's not. Lucy: Did you get drunk with him? Randy: No, couple of drinks. Lucy: Randy, stay the f*ck away from Jim Lahey. Okay, you and he are done and I don't want anyone, especially him, f*cking this shit up. I love you Rand. See you later. Randy: Where you going, Luce? Lucy: Oh, J Roc is picking me up. He and T are taking me to work at the airport. Julian: Hey, I think I just saw him sneaking behind the trailer. Ricky: What the f*ck is he doing? Julian: f*ck knows man. I told ya. He's f*cking losing it. Bubbles! Come here. What's up buddy? What are you doing? Bubbles: Nothing. Ricky: What's up buddy? Julian: Bubbs, slow down. What are you doing man? Bubbles: What? I'm just out for a walk boys. Ricky: I saw that shit in the paper. It's no big deal man. You couldn't even tell it was you. Julian: Listen, we'll return the Swayzie Express as soon as we're finished using it, okay? Bubbles: Yeah, that's fine Julian. Why don't you guys get the dope loaded up. I'm just kinda getting myself together here. Julian: You okay man? Bubbles: Yup. Ricky: He's f*cked. Randy: Mr. Lahey. Mr. Lahey: Hi Randy. How'd it go with Lucy? Randy: Mr. Lahey, I still have strong feelings for you Mr. Lahey. I don't know why. But I do. Look, I tried to break up with Lucy, she wouldn't let me. I'm scared of her Mr. Lahey. Mr. Lahey: Randy, we're going to have to do something about Lucy. Randy: What Mr. Lahey? Mr. Lahey: I don't know Randy. Maybe these things have a way of working themselves out. I'm going to let the liquor do the thinking. Have a drink. Mr. Lahey: All units, all units. Hold your positions. Suspects are in possession of stolen luggage and are loading as we speak. As soon as they're complete, we'll move in and take them over. Have your pepper spray ready. Watch your backgrounds. Let's move. [sirens] Tyrone: Okay man, you got me. J Roc: Hey, you know what I'm saying. Sarah: Get your hands off me. You can't just grab me. J Roc: Hey, we don't even know them crazy bitches dawg. They just jumped in the car down at Burger King, dawg. Lucy: f*ck you. Lahey, how dare you? Try to get Randy k*lled, drunk and then try to get us arrested. You're not ruining my f*cking wedding day. No f*cking way. Mr. Lahey: Jesus, Lucy. Lucy, don't make me use this pepper spray on you. Lucy: You cannot f*cking spray me because I'm pregnant. So f*ck you! J Roc: In hindsight, it's kind of suspicious that they had all that luggage, you know what I'm saying, but we didn't think to ask them. You try to help some ma-f*ck out. Look what happened. [yelling] [sound of pepper spray] Sarah: Get your hands off me. Mr. Lahey: Lucy, you're under arrest. Lucy: f*cking dick! J Roc: We surrendering in peace dawg. And I would like to file charges too against them two ladies, you know what I'm saying. For car jumping inery. Mr. Lahey: Oh shit. Randy: I got here as fast as I could Mr. Lahey. Mr. Lahey: Randy, good to see you. Randy: Is Lucy going to be okay? Mr. Lahey: Yeah, she'll be fine. Sort of big shit storm take down by the cops Rand. I tried to stop it but, maybe this is fate telling you what to do. You want to go visit Lucy in jail or maybe you want to come with me to the liquor store? Randy: I want to go with you to the liquor store. Mr. Lahey: Good decision. Randy: Holy frig Mr. Lahey. That looks just like Bubbles. Mr. Lahey: That is Bubbles. He's wanted in the United States for stealing a model train from Bangor, Maine. Fifty thousand dollar reward. Randy: That's a lot of money, Mr. Lahey. Mr. Lahey: Fifty thousand dollars Rand. Maybe our luck's changing? I sense a shit derailment coming. Randy: Shit derailment. That's a good one, Mr. Lahey. Mr. Lahey: Randy. Ricky: Hey Bubbles. Bubbles: [gasp] Ricky: What the f*ck happened to you? You fall down? Bubbles: No. Yes. I was being chased by dogs. Ricky, I need some space here. Ricky: Anyway Bubbles, look. We could really use you on this one man. We could really f*cking use your help. Julian: This is almost over. We can't finish this without you. You're the engineer Bubbs. You. Without an engineer, we can't do this. Come on. Who's the engineer buddy? Bubbles: I'm the engineer Julian. Julian: So what do you say? Bubbles: Yeah, let's do it. You know, we gotta race that forest f*re though and let's get rid of this thing. It's making me a bit crazy or something. Let's do it. Julian: Alright, we gotta load up the dope tonight. We gotta get the f*ck out of the park. Ricky: Alright, no problem. Ricky: What the f*ck? Who the f*ck put locks [sound of g*n cocking] Mr. Lahey: Hands up gentlemen. Don't move. Ricky: Lahey, what the f*ck are you doing? Oh my god, you're drinking again, are ya? Mr. Lahey: Maybe I am Rick. Maybe I'm not. Who knows. Who's your little shit friend in the f*cking wig? Nice disguise Bubbs. You might be able to fool the FBI, but you can't fool the FB- Me. Bubbles: [using high pitched voice] Huh, I'm not Bubbles. I just moved here from the desert. My name's The Scorpion. I need some, hold on, Jesus Murphy. Julian: Jim, what's going on here? What about our peace treaty? Mr. Lahey: Liquor's more powerful than a peace treaty Julian. You know that. You know that Julian. Ricky: So we can't have our dope back cause you're drinking again? Mr. Lahey: Oh Rickles. This isn't about the dope. This is about the Swayzie Express. Ricky: How the f*ck did he find out about that? Mr. Lahey: Listen, I don't, I don't, I don't, I don't Ricky: What the f*ck are you trying to say? I can't understand you. Randy: Concentrate Mr. Lahey. Mr. Lahey: I don't care why you stole it Ricky. I don't want to hear about it. I just want the train. With the fifty thousand dollar reward money, me and Bo-Bandy are flying off the Mexico. Randy: Yeah, we're going to Mr. Lahey: Randy! Ricky: Flying off to f*ck-Off-Ico. What about Lucy Randy? Randy: You didn't hear? She's in jail Ricky. Ricky: She is in what?! Mr. Lahey: That's right, Rick. You're little Lucy-Goosey's in jail. Guess what boys. This trailer is now mine. I don't get that train by ten o'clock liquor store opening tomorrow morning and I'm going to burn this f*cking shit box to the ground and I'm going to call the FBI on your little buddy Bubbles. And I'm still going to collect the fifty thousand dollars reward money. So, either way you look at it gentlemen, I win! Julian: The liquor's going to let you down Jim. Mr. Lahey: The liquor's going to let me down Julian? Ricky: Haven't you got learned any lessons about you drinking and dealing with us. It's going to come down to one big god-damned f*cking horror show Lahey. And it is on now. Bubbles: His little glasses. My friend Conky, he was a little ventriloquist puppet I had when I was a little guy. My grandfather left it to me apparently. He was a vaudeville ventriloquist and you know, the other kids would start teasing me and calling me names and what not, I would have Conky to defend me. He'd jump right in and tell the other kids to f*ck off and, you know, piss off, things like that. It was great for me, cause then it wasn't me doing it, it was Conky. I didn't have to deal with it. Conky: You just remember, I call the sh*ts here Bubbles. You got it? Bubbles: Yes Conky. Conky: Good. Bubbles: But maybe last time I had him, he got a little carried away. You know, he was really giving it to Ricky and Julian and eventually Julian had enough and he pulled out his g*n and he blew Conky's head off. Conky: f*cking Dirty Dancing! [g*n sh*t] Bubbles: Yeah, that was the end of him. And then he went back in the swamp and he's been there ever since. Until now.

{"type": "series", "show": "Trailer Park Boys", "episode": "07x08 - Let The Liquor Do The Thinking"}

foreverdreaming

Julian: Okay, Randy's passed out hard boys. Wait now. Alright, he's down. He's out boys. I knew they'd f*ck up. Alright, let's move. Be quiet. Bubbles: Get down, dickweed. Ricky: Get the f*ck out of the way. Julian: Rick, Rick, Rick. Bubbles: Julian? Bubbles: Put the stick in and twist it. Use the propeller technique. Ricky: Got him. We f*cking got you now, don't we Lahey and Randy. You f*cking tunas. Bubbles; Torque the f*ck. Mr. Lahey: You idiots are messing with an officer of the law. Ricky: More like an officer of the drunk. Mr. Lahey: f*ck off, Ricky. Ricky: Looks good on you, f*ck. Julian: Guess you should have been sleeping in shifts, eh Jim. There's something you forgot about. The liquor works for both sides buddy. Mr. Lahey: You might be sexy Julian, but you can't teach me anything about liquor. Julian: Cheers Jimmy. Randy: Mr. Lahey. Mr. Lahey: Randy. [music] Bubbles: Hey, Julian. Ricky, bring her in. Park her right here. Julian, I think I'm going to go maybe grab the Swayzie Express. Julian: Alright man. Hey Jacob. Good job, man. Jacob: Oh thanks Julian. Julian: As soon as I get back, I'm going to throw a huge barbeque party. Make sure you invite your boys, okay? Jacob: Julian, me and the boys have been talking and this whole thing's been really cool you know, we had your back in the woods, setting up the track and stuff and Julian: So what are you trying to say? Jacob: Me and the boys want to come with you guys. You know, we want to be there to finish this thing. Friends? Julian: Jacob, to be honest with ya, I felt pretty bad seeing you walking around with that I.V. okay so no, it's not going to happen. It's way too dangerous man. Ricky: You know what Julian, you're getting too attached. I know what it's f*cking like when guys start f*cking dressing like you and hanging out and think you're cool. Believe me, I know exactly what it is like. But those guys out there are idiots. They're f*cking jail cover and that's it. Julian: Rick, they're good kids alright. They're students. Ricky: Julian, don't get soft on me here. We're almost near the end. Those guys are f*cking jail cover, that's it. You want to go to jail here? Cause you better make a f*cking decision. You gonna take that tape or not. Cause I'm not going to jail. Those three idiots out there are. Alright you alien skinny giraffe chickens. I got some good news. You three f*cking dummies are coming with us. Get in there, pack these box cars full of weed just like this okay? Jacob: Okay. Ricky: Jacob, you're in control Don't let them f*ck up. Jacob: Okay boys, this is it. Let's f*cking move it. Bubbles: Boys, I got the Swayzie Express. Julian: Good, load it into the car. We gotta hook up with Sebastian in six hours. Mr. Lahey: The whole world's searching for that train, you idiots. You won't even make it to shitville. You're going down Ricky. Randy? Ricky: Knock knock. Who's there? Mr. Lahey: Randy? Ricky: I'll tell you who's f*cking there. A drunk washed up police officer who arrested Lucy. Put pepper all over her when she's pregnant, which is f*cked. And now he's got nothing better to do than to scam reward money from some stupid Dirty Dancing f*cking train. All to win the love of a half naked Chia Pet gut who likes to steal other people's girlfriends and knock them up, isn't that right, Randy? You're both dumb as f*ck. You're drunk again Jim, big time. And you both f*cking lose and it feels great. Randy: Doesn't feel that bad Ricky. Mr. Lahey: Randy. Ricky: Want some more. Want some more Randy. Mr. Lahey: Knock knock Randy. Ricky: Who's there Randy? Who's f*cking there? Water? I can keep going all day there here guys. Actually we can't cause I gotta go make a f*cking drug deal and become rich. Mr. Lahey: Who's there bouncing the ball? Phil Collins: It's me. Philadelphia Collins. Mr. Lahey: Phil, get the f*ck over here. Phil Collins: Jimmy, have you seen my boy? He's missing again. Mr. Lahey: Yeah, he left with Julian, Bubbles, and Ricky. Phil Collins: Oh, sweet Jesus. The drug dealers got him again. The god-damned drug dealers. Jimmy, go find my boy. Bring him back. My boys are all I got. Mr. Lahey: Don't worry Phil. Jacob's as important to me as he is to you. Come on Randy man. We got stops to make and then we're going to h*t the road. Mr. Lahey: Suspect's are driving a 1975 Chrysler New Yorker, faded black and green. Front passenger door missing. Shouldn't be difficult to spot. This is an A.P.B. All Points Bulletin for all units. Please locate vehicle and await further instructions. Over. Ricky: Toke Jacob. Jacob: Thanks buddy. Julian: Ricky, boys. Jacob, put the f*cking joint out. Empty the drinks into the carpet. Ricky: Oh f*ck. Mr. Lahey: Excuse me. Police Radio: Three double niner, come in, over. Mr. Lahey: This is three double niner. Come in, come in. Police Radio: Suspect's spotted heading north on highway 102. Awaiting further instruction. Over. Mr. Lahey: Three double niner, we're on our way. Keep them in sight. Over and out. Police Radio: Copy that. Ricky: We're just on our way to a wedding. I'm Cory, we've got Trevor right here. Police Officer: Yeah Cory, who, which one of you is Jacob Collins? You? Alright, step out of the vehicle. Let's go now. Ricky: f*ck Jacob. Police Officer: Alright, come around here. Keep your hands up. Ricky: Didn't we used to play hockey together? Police Officer: Yeah, didn't we used to play shut the f*ck up, hands in the air. Keep them up there. Give me that. Jacob: [whispering] It's just pop. Police Officer: Yeah right. Let's go. Ricky: Look, he's not with us. If he had drugs or alcohol on him. Don't even know him. Police Officer: Right. Bubbles: Boys, what in the f*ck is going on? Julian: Just stay calm. It's probably just Phil Collins looking for Jacob. Police Officer: Jim, are you sure you don't want me to take in the rest of these guys? It's towing an illegal trailer, the vehicle has no license plate. Most of these guys have alcohol and I can smell marijuana. Permission to search. Over. Mr. Lahey: Just Jacob Collins. Let the vehicle proceed. Do not tip them off. I repeat, do not tip them off. This is a top secret, undercover operation. Over and out. Bubbles: Julian, that is clearly an alcoholic beverage. Put it down. Julian: Bubbles, I said, I'm cool. Bubbles: Put it down please. Julian, I'm freaking out. I'm freaking out. Julian: He's pulling away. Jacob: What's going on boys? I'm scared. I'm scared Julian. Ricky: Thanks officer. Didn't know who he was. What the f*ck is going on with Jacob. f*cking walrus f*ck Phil Collins. Bubbles: [in Conky's voice] Hello Richard. Ricky: What the f*ck, Julian! Is that who I think it is? Julian: Yup. Ricky: What do we do here? Julian: I don't know. Bubbles? Bubbles: Yes Julian. Julian: Are you okay? Bubbles: I'm perfectly fine, Julian. [laughing] I'm very excited about getting this train fired up boys. We are very excited. Ricky: Give me a hand Julian. Alright you dummies, it's time for lunch. Bubbles, are you okay? You and uh, Conky? Can I get you something? Chips and bar? Pop? Julian: Conky's being awfully quiet Bubbs. Bubbles: Conky, excuse me for one second. Julian, he's still pretty upset about what happened. He doesn't have much to say, but I think he learned his lesson. He's not going to taunt anybody. Julian: There he is. Sebastian: I'm meeting him right now. You're totally right. I love you. Come on. Okay, okay, I love you babe. Thanks. Alright bye. Geez. Guys, guys, guys, guys, guys. I got a little bad news. I wasn't able to come up with all the cash quite in time. No, no, no, no. My wife found out and f*cking freaked. I got in some much f*cking shit. Ricky: Man, I've been selling drugs since grade seven. At this point in our lives, wives don't cancel my f*cking drug deals, alright. Sebastian: No, no, no, no, no. I figured out a way around it. Cigarettes. [Conky mummbles] Bubbles: Quiet. Sebastian: Relax, think about it man. I got about two hundred and fifty grand US in smokes that I got from another deal. Straight trade. Smokes for dope. Think about it. You sell the smokes in Canada, you're money ends up being laundered, you end up making way more money. Cigarettes are better than cash. Ricky: You rock stars are all the f*cking same. Dumb. I mean I see you on stage, I'm thinking, hey f*ck, he looks pretty cool. Leather pants f*cking strings in the crotch, but you're not. You're f*cking dumb. Cigarettes for f*cking dope, trade? No, f*ck. Julian: Whoa, whoa. Listen Rick. This might even be better man. This is making sense to me. Are the cigarettes ready to go? Sebastian: I got a truck waiting right now. Okay, this is perfect man. It's great for both of us. You send me the dope, I send you the smokes. It's f*cking bang, f*ck-ooo. Ricky: Yeah? Well what if we're in the woods and the train doesn't f*cking show up with any cigarettes and you f*ck us over. Sebastian: Dude, do you think I'm making up some big story if I'm about to rip you off. I guarantee you I will not f*ck you around. Julian: What about the god-damned forest f*re? Sebastian: No, it's cool. It's still a ways away. But listen, this needs to go down today. What's it going to be. Bubbles: [Conky voice] Your hair is gorgeous and beautiful. Sebastian: What in the f*ck is that! Ricky: It's nothing. Sebastian: Dude, what is that? Ricky: It's cool man. Sebastian: Isn't that my buddy? The guy with the glasses. Ricky: Yeah, it's a long f*cking story. Sebastian: Dude, is there something wrong with my hair. Ricky: No man, you're hair is f*cking awesome. Sebastian: Seriously? Ricky: Julian. Julian: Listen, we had a bit of a situation with our friend, he's all f*cked up on drugs and alcohol. You know how it goes man. Alright, the train's going to be there in about two hours. I want you to be ready for it and no more f*ck ups okay? Sebastian: Dude, it is on. Julian: Alright! Yes. Bubbles: Why did you have to say that to him? Bubbles: [Conky voice] He deserved it. Randy: You are f*cked. Do you know how f*cked you are? You are really f*cked. Mr. Lahey: Randy! Randy: You are in trouble. Jim Lahey: Thanks a lot for your help. Can't explain this, undercover. Police Officer: Oh, okay Jim. Mr. Lahey: Jacob, friendship. Is that what you think it is with these guys. You know what you are? Jail cover. That means you go to jail and they don't. Talk to me boy. Jacob: I'm not ratting on my friends, no way. Mr. Lahey: Randy, take off Jacob's cuffs and put him in the back. He'll talk. Jacob, all we want is the Swayzie Express. We know Bubbles stole it and we know you know about it. You help us and I'll make sure that the courts go easy on your old man. He's been buying stolen meat Jacob. Stolen meat. [Conky clears his throat] Bubbles: We did all the calculations here and everything here Rick but Conky'd like to run one more test you know, a balance check, make sure the loads don't shift. Julian: Bubbles, do you really need Conky for this? Bubbles; Julian, I know what you're thinking alright, but forget that. It's not going to be like that this time. Conky's not going to f*ck with you guys. Alright boys, it all comes down to this remote now. I hope this f*ck's wired right. Let's do it. Yes, yes! Ricky: f*ck yeah, Bubbles! This is going to work. Bubbles: Just wait now. Other direction. Julian: Good job buddy. It was perfect Bubbs. Bubbles: Well, it wasn't all me Julian. Conky helped too. Guess what else he did? Bubbles: [Conky voice] I got us some steaks, corn on the cob, jumbo shrimp, Caesar salad. Why don't we all just go down to the river, and you guys get a f*re going and we'll have a great time. Ricky: Awesome, thanks Conky. f*ck Conky's being cool man. Plus all that food. Julian: Rick, Conky didn't buy us the food. Bubbles bought us the food. Don't get wrapped up in all this Conky bullshit. Ricky: I know, I'm good. Julian: Set up camp down at the river. Jacob: Ow! Why do I have to wear a wire? Mr. Lahey: Jacob, it's for your own safety bud. Listen, don't trust these guys for a f*cking minute. Jacob, why did they need a model train this f*cking close to the border bud. Jacob: I don't know. Mr. Lahey: Are they using the train to smuggle dope across the border? Yes or no question. Jacob: I, I have no idea. Bubbles: Conky's got to use it boys. [sound of an engine] Ricky: What the f*ck is that? Julian: Looks like two forest rangers. Ricky: Can they f*cking do anything to us? Julian: I don't think so man. Put out a f*re maybe. Ricky: Julian, we got a lot of f*cking dope here man. Julian: Ricky, you just gotta stay cool alright. We're camping. Ricky: Alright. What the f*ck are they driving? Julian: Just stay cool, alright. Let's handle it. Bubbles: I was rocking a piss and I heard this some kind of motorized weird vehicle coming up the river there and two guys get out of it. Forest rangers I guess. And one of them looked just like G.I. Joe Tom Selleck. Forest Ranger: What in the hell are you boys doing out here? Do you not see this smoke. In these parts boys, we call that a forest f*re. Now pack up your stuff, you got to leave. Ricky: We're not leaving. We're camping getting high and drunk. Right now I'm so f*cking baked, I ain't scared of f*re. f*ck f*re. Julian: Smarten up Ricky. Forest Ranger: Did you call him Ricky? Did you call him Ricky? Amanda, get the stuff out of the Argo. Funny thing is, we found garbage and a cooler with Ricky on it. Now you wouldn't know anything about that would you Ricky? Or maybe, maybe it's another Ricky, 250 miles from the middle of nowhere. Ricky: Oh that company's f*cked. You know what. These two guys came through here, they were thr*at us and doing all the crazy shit, dancing around the woods right over there. And they had that f*cking cooler with them. I guess the guy's name was Ricky, I don't know. But we.. Forest Ranger: Funny guy, funny guy. Look at this. This is not a campground where you can have a party and litter. This is a protected wild life sanctuary. There are more beavers living here than anywhere else naturally in the world. What's wrong with you guys? Look at this. You're under arrest. All of you. Amanda. Ricky: Under arrest. He said you can't arrest us. Forest Ranger: Get up. Get up. Ricky: But this stuff here. Those same two guys. Forest Ranger: You, down there. Amanda, take him. In the Argo, let's go. Ricky: Well I'm taking this beer and this joint. Where are you guys take us? Bubbles: [Conky voice] Excuse me. Mr. Selleck? Tom Selleck? Forest Ranger: What did you call me? Bubbles: [Conky voice] You sir are a US Forest Ranger. With a beautiful moustache I might add. But you're standing on Canadian soil. Which means you don't have any jurisdiction over us right now. That river right there forms the border for you and your precious American beavers. Forest Ranger: They're not American beavers or Canadian beavers. They're beavers. Do I make myself clear? Bubbles: [Conky voice] Give us a kissy. Forest Ranger: As for you two, you stay out of the States or I will take you down so fast, it, it, it won't even be funny. Ricky: But we're not in the States. See, this is Canada. Forest Ranger: Get out of my way. Ricky: Just like the puppet said. That's the US over there. Forest Ranger: Get out of my way, or I will take you to the States. Out of the way. Ricky: Well, appreciate you guys talking to us. If you need some good dope, we're right here. Forest Ranger: Let's go Amanda. [sound of bottles clinking together] Bubbles: [Conky voice] I have to say Julian, pretty impressive little operation you pulled together here. Jacob: Hey guys, what's up. No don't sh**t. It's me. It's Jacob. Ricky: What the f*ck do you mean, what's up? What was with the cops man? Did they follow you here? How the f*ck did you get here? Jacob: I, uh, hitchhiked. The cops, there's no cops. My Dad called them because he didn't want me hanging out with you guys, but I told him to f*ck off and that you're my friends. That's how I roll now. Ricky: You're so full of shit! Julian: Ricky, knock it off. Jacob, come here. Mr. Lahey: He made it in bud. Julian: Welcome back to the team, buddy. Jacob: Thanks. Julian: You okay? Jacob: Yeah I'm fine. Julian: Looks like you need a drink. Jacob: Definitely. Julian: You sure you're okay? There's nothing else you want to tell me here? Jacob: Yeah, I'm fine. I just really need a drink, that's all. Julian: Good, go mix yourself up a drink. Get ready to send the train out. Jacob: Oh awesome. Bubbles: Alright boys. You guys ready? You do the honours Conky. Bubbles: [Conky voice] Three, two, one. Julian: Hey Sebastian. The turkey just went in the oven, okay. Get ready to pick it up. The bits and pieces you ordered are on their way. Ricky: The f*cking drugs are coming over the border right now. Be ready to send back the cigarettes okay? If there's any cops listening, go f*ck yourselves. Julian: Bubbles. Could I have a word with Conky for a minute? I just want to speak to Conky. Bubbles: Yeah, sure Julian. Julian: Not with you, just with Conky in private. Just for a minute. Ricky: Here Bubbs, have a beer. Bubbles: Are you alright with that Conky? Bubbles: [Conky's voice] Uh, yeah sure, I guess so. Bubbles: Alright, I'll be right here. Just him. Julian: So how you feeling Conky? Bubbles: [Conky voice] Um, pretty good Julian. Like good. Why do you ask? Julian: I'm just a little worried about Bubbles. I'm just hoping you could help me out here. Bubbles: [Conky's voice] Well? Julian: When Bubbles gets stressed out, he doesn't know how to deal with it sometimes. Okay? So, I just wanted you to know that we're his real friends and could you just tell him that we're there for him no matter what? Bubbles: Really? Cause I thought he was Bubbles: [Conky's voice] I mean, I thought he was kind of on his own. Uh, that's good to know then Julian. I think we're done here. [kissing noise] Bubbles: [in Conky's voice] Sorry to interrupt Ricky, but Bubbles has to get some sleep now. Bubbles: Conky, I'm not done talking to Ricky. Bubbles: [Conky's voice] Bubbles. Bubbles, no. Bubbles: [Conky's voice] Don't talk back to me. Bubbles: But Bubbles: [Conky's voice] Bubbles listen, we're going to bed right now. Bubbles: Alright. I'm going to get some sleep alright boys? Julian: Have a good sleep buddy. Bubbles: Alright. Ricky: Did you deal with that Conky stuff? Me and Bubbles just talked about hockey. Julian: I don't know man. He kind of, there was, he kind of snapped there for you know, a second. I... Ricky: It's pretty f*cking weird. Julian: You're telling me. Bubbles: [Conky's voice] Hello operator. Yes, I was wondering if you could dial a couple of numbers for me. I don't have the use of my arms. Yes, I'm looking for the Federal Bureau of Investigation, the DEA and the A*F. Oh yes, I'll hold.

{"type": "series", "show": "Trailer Park Boys", "episode": "07x09 - Going Off the Rails on the Swayzie Train"}

foreverdreaming

(Dog barks, truck rumbles) Ricky: how the f*ck are you so stupid, jacob? Turn it around so the cock-shaped thing's At the back, you f*cking idiot! Sorry, ricky, if you're gonna yell at somebody, Yell at your own f*cking employee, not mine. Ricky: jacob, get the f*ck down here. Holy f*ck! You're stupid, corey. This is the stupidest you've ever f*cking been. Bubbles: jesus christ, ricky, When you said you were getting ac unit, I thought you were buying one. Not getting the one they use to cool down The whole f*cking store. Yeah, man, I got the one off the f*cking roof. Clint set me up big time. I traded a half pound of weed. It's perfect though. I got a shit tonne of weed. I've got to keep it cool, bubs, or it goes bad. Oh f*ck. What in the f*ck? No, no, no, not a f*cking chance. You guys can f*ck off with the cameras. Swearnet's this internet company That approached us with contracts, Wanting to follow us around with video cameras again. So they throw the contracts on the table, Ricky grabs them, signs it immediately, And the guy can't even f*cking read. Bubbles: ricky! No! Swearnet, those assholes, Tricked us into taking nine f*cking grand. Supposed to be ninety. And where's the lifetime supply Of f*cking cigarettes and booze, huh? Where the f*ck is that? Did you forget about that? Think that'll just be water out of the f*cking fridge? The money's gone! This contract is nullted. Nulled and f*cking void. (g*n) f*cking calm down! f*cking g*n's hot, ricky! ♪♪ ♪♪ ♪♪ (Cat meows) ♪♪ You negotiated the contract and we signed it, And by law, these f*ck are allowed to follow us now. Yeah? You stay the f*ck out of my way, Or I swear to f*ck I'll blast your cocks right off your body. (Loud, splintering crash) Ricky: jesus christ! Bubbles: f*ck, she snapped! Oh my f*ck! Aw, great! Corey, you get back here! Jacob, you f*ck nerd, you're paying for this. So are you, julian! That was jacob's f*ck-up right there. Jacob's been working for julian for a while now, And julian's been getting pretty f*cking cocky about it, So it was pretty cool when corey showed back up at the park. Been running him full-time for about six months now, He's been helping me out with my retirement. And it sucks having one dummy around instead of two, But hopefully f*cking trevor comes back someday. Nobody knows where that alien-looking, Cinnamon-twist f*ck chicken even is. When me and trevor got released from the asylum, We didn't wanna come to sunnyvale right away, So we started hitchhiking and we went everywhere, dude. It's like, we went to china, we worked in a rice field. We went to australia And made money playing didgeridoo on the street, And then we went to new york And we were gonna go see a backstreet boys concert 'Cause they were having a reunion, And we wanted to see the subway because, you know, it's cool. It's like famous. We got on, And the door shut before I got on behind trevor And... The train just left. Oh my f*ck, boys! Oh god, orangey! Orangey, are you okay? Orangey is ricky's goldfish. You know, when lucy and trinity were moving out of the park To go live with george, Ricky was pretty upset. So, you know, trinity gave the fish to ricky And he's become very attached to it. Very attached to it. (Cat meowing) Gary laser eyes likes him, too, don't you, gary? Here, look. (Gary meows) here is is. Hang on, ricky, here! Jam him in here. Ricky: good thinking, bubbles. Oh, thank f*ck. Oh, you like it in that little water bong? You okay, little buddy? Sam: I don't give two shits what you heard, barb! I did not f*cking bang him! Barb: well, the person who just told me Seemed to know an awful lot of details, So I think you did effing bang him, sam. f*ck! Did she just say, "I believe you effing banged him?" Yup. Julian: for f*ck's sake, marvin! You gotta pace yourself, man! I always wanted one of those bars Like that tv show "cheers" - You know, where everybody knows your name - And now I have one. Julian's sports bar and gym, and this place f*cking rocks. I mean, look at this place, the detail. Sarah designed it. Busy as f*ck. But the best part about the whole thing Was that bubbles found a loophole With the liquor licence - I don't need one. All I've gotta do is give away free drinks, Collect donations - money goes in there, Right into my pocket, tax free. And I hired trin, She's one of my best workers, unlike her dad. I've had a really good couple of years And basically every wall, the ceiling, And my entire trailer - All insulated with bales of weed. And then I drywalled over it so you can't really tell. It's f*cking awesome. And it's my retirement, So I mean to keep weed the longest, You gotta keep it at a constant four degrees celsnius, And since it is my retirement that's what I have to do. (Loud crash) f*ck! I've been taking the weed and making honey oil out of it. It's a pain in the f*cking ass to make. I mean that right there took awhile, But it's worth a lot of money And I've been selling it to high-end clients. And, you know, I am making over $1500 dollars a month right now Through these clients. I'm basically retired. Things are going pretty damn good for me. I'm all set up here Right in between ricky and julian. I've got a great big double-wide lot here Because I've got a business about to start up: Bubbles shed-n-breakfast. Look at that, I come up with the whole concept myself, Made the sign. I think it's gonna be a f*cking gold mine myself, 'Cause it caters to the millions of people out there That wanna have a nice resort-style vacation, But they wanna be able to bring their kitties with them. Those places don't exist, so I'm gonna provide that. I've got four pads there waiting for sheds. It's gonna be f*cking awesome. They're all gonna have power, air conditioning, High speed internet. All the f*cking amenities you can imagine. And on top of it, I'm gonna be serving pancakes With all-you-can-eat homemade maple f*cking syrup. I've been collecting the shit out of this stuff. Basically you just filter out all the bugs and the nitre. Boil the dirty whore off and she's ready to go. There's all this shit And then you just got pure maple syrup left in there, And it is gonna be f*cking scrump-dilly. Only problem with this process is It makes me really have to use it. No, gotta use it. Gotta use it. (Urinating) Can you turn off the f*cking camera? Hey, boys, Listen, I'll got all the f*cking hoses and electrical hooked up. Cool. I'll have her ready when you get back. There's the money for the sheds. Shit. I still don't know why you're wasting your money When you don't f*cking have to. Bubbles, you need to f*cking learn to see money For what it really is. Here you go, orangey. So one night I'm laying awake in the car And I can't f*cking sleep 'Cause I've got all these thinks and thoughts Roamin' around my brain compartments And brain departments, And this f*cking flash lightning went off, or on, Or whatever the f*ck it does. And my brain speakled out to me and said, "Why the f*ck am I trying to grow dope To make money to buy shit, you know, When, pretty much, the people that have all the shit I need Smoke dope?" So I got rid of the middle land And I started making my own f*cking money out of hash. It's perfect. I mean, with a pocket full of ten, One, two, five gram hash coins, You can buy whatever the f*ck you need. So I don't need money anymore. Money can suck my cock! Bubbles: f*ck off, ricky! Ricky: f*ck! Bubbles: we're doing this legit, ricky. I wanna get my stuff the old-fashioned honest way. That system might work for you, but I'm not doing that. Ricky: great. Bubbles: look! Bubbles: it's old pissy paws himself. Randy: what the hell's with the g*n, ricky, you idiot? Ricky: wasn't us. What in the frig is that big thing? Actually, it's a f*ck-off machine, randy. You never seen one before? Who the f*ck is this weirdo? He's gonna be the new assistant trailer park supervisor, ricky. He moves in tomorrow, all right? You better treat him with some respect. I sure hope you got the permits And necessary documentation to hook that thing up. I hope you got the necessary doguments And f*cking permutations to suck on my shaved balls, Do you, randy? Nice slippers. What happened to your brand new fancy shoes? Ha-ha. Very funny, ricky. I know you're the one that pissed in my new shoes. Don't think I'm gonna forget about it either. Come on, donald, let's go. Wasn't me, randy. I don't piss. Gentlemen. (Engine rumbles) Bubbles: anyway, boys, get to the f*cking hardware store, The big blowout sale that's happening Right in the parking lot. Just promise me no f*cking shady horse cockery. Julian: bubs, don't worry, we're gonna get your sheds, okay? And then we're gonna come back here and celebrate. Boys, look around. Look what we've f*cking accomplished here. That's great except for the big f*cking massive hole In the roof of my car. What the f*ck am I supposed to do If it ever f*cking rains again? f*ck! Jim: today is my last day as supervisor Of sunnyvale trailer park. I haven't been getting along that well With my ex-wife, barb, lately, Ever since she married that loser, sam losco. Anyway, she didn't think it was appropriate To renew my contract. Nineteen years. Not even a g*dd*mn thank you. Whatever. Oh, and guess who's the new supervisor? (Vehicle rumbles) So this is where I live, donald. Donald: lovely. Don't pay much attention to mr. Lahey If he's a little standoffish towards you. He's not in the best of mood about having to retire today. Oh, and he's a little uneasy About me hiring a new assistant, too, Especially one as handy and toned as you are. Thank you. Mr. Lahey, we've got some company here. Mr. Lahey, what in the frig are you doing? You said you weren't going to drink Until after you were officially retired. Randy! It's just orange juice? Wow. I might have a little drink To celebrate my retirement tonight, randy, But then again I might not. I haven't decided yet, bud. I'm in control. Maybe more in control Than I ever been in my whole life, bud. (Shoe brush drops) You must be donald. Donald: yes, sir. It's a pleasure to be graced by your presence. You have intense eyes. Beautiful. What brings you two by? Ricky's installing this big friggin' thing On top of his trailer, And he's got no permits. I thought you might wanna take him down As trailer park supervisor, one last time. Ah, leave him alone, randy. Randy: mr. Lahey, why have you been backing down from ricky lately? I haven't been backing down. There's more at play than meets the eye here, bud. Yeah, like ricky pissing in my brand new shoes. You didn't back me up on that one either. Comme ca, comme ci. Fine! I'll look after this myself. I washed those frigging shoes three times In tomato juice and vinegar, And they still smell like piss. (Sighs) Ricky: there you go, dale. I'll give you two tenners and a five, man. Thanks. I'll have her back in half an hour. Bubbles: f*ck, boys, I'm so f*cking excited. Thanks again for doing this. One more month of good cart business And I'll have enough money To put the interiors in those f*cking sheds. Get this f*cking thing lit up! Ricky: it's gonna be awesome, man. About f*cking time! Bubbles: f*ck, I love that car. (Hip hop music blasts from car) Where have you guys been? Never mind where we been, man, we're here now, You know what I'm sayin'? What up, b? All: hey, j-roc. How you feelin', dawg? What's up, t? What's up, y'all? What's goin' on, man? You too. Rascal, right? What's up, fellas? Did I get you, julian? J-roc: hey! What's up, man? Julian: where's the stuff? J-roc: I got the stuff wit us. Well, the stuff should be in the bar. Well, the stuff's in my trunk Till we talk about some shit first. J-roc, we've been through this before, okay? I don't need a f*cking bar partner right now. This shit's running perfectly. Ask yourself why it's running perfect. It's because of my shit, you man. This here's roc vodka, you know what I'm sayin'? J-roc: can I get a zhyeah? All: zhyeah! Comes in four delicious flavours, You know what I'm sayin'? Blueberry, ban-orange, pazamagranate, And apple cizinnamon, y'all. Delicious and tight as piss, you know what I'm sayin'? J-roc: can I get a rra-rra? All: rra-rra! Cut me in, bwoy. We can be partners, dawg, I'll make it some next level bullshit, You know what I'm sayin'? But you gotta trus. The two of us. I went as far as I could in the rap game, y'all. Got accolades, had shorties pushin' up on my junk, You know what I'm sayin'? Then I was like, There's gotta be more to liz-ife, You know what I'm sayin'? I looked 'em up. I was like my homeboys j and fitty, And all them ma'f*ck, they got briz-and, dawg. You know what I mean? So I wanna be a business ma'f*ck. I wanna be a business ma'f*ck. Now I just need one thing, And that's for julian to cut me in On a little ear-a ear-a, iggita-iggita ear-a Azh-brap zha-brap ear-a ear-a iggita zlam! Peace! You gotta think about this. All right, I'll think about it. We'll talk about this later. J-roc: let's talk about it now you- No, let's talk about it later. A'ight! Let's talk about it later, But I can take this shit next level, b. I know. You gotta trus! I know, man, I trust you. Promise. I'll talk to you later about this. A'ight. I'm busy. Mr. Green, kajijojiji... Julian: just unload the shit. J-roc: rascal. You know what I'm sayin'? Mr. Finch, mr. Green, Unload that shit, y'all. (Jars clank) Bubbles: is that a new flavour? J-roc: yeah, right. Pound that in your word hole And tell me it ain't the birth of christ. (Sniffing) Berry flavoured. Berry delicious, ain't it? It's dope! Julian: hey, man, just park in front of these sheds. Rick: it's coconut and talk-o. Julian: rick, we don't have time to talk to coconut and talk-o. Rick: I just wanna give talk-o a little piece of weed. He f*cking loves it. I love that f*cking bird. What the f*ck's going on, coconut, You spicy son of a whore. Parrot: agg! Spicy son of a whore? Talk-o! Coconut: told you, man, watch the language around me bird, man. Me have customers. Talk-o likes weed. Parrot: agg! Talk-o likes weed. Ricky: you like that, don't you? Coconut: ricky, come on, man. Tongue my balls! Tongue my balls! Coconut: come on, ricky, man. Julian: come on. Let's go buy these sheds. Parrot: finger my ass. Suck my cock. Bawk! Ricky: bubbles hasn't thought this out very well, if you ask me. We can get those f*cking sheds for free, okay, And then sarah can take that money. We're not stealing the sheds. But she could take the money And get the interiors all decked out, Then he's set up like we are. Look at those two, it'd be a f*cking joke. What're you thinking? Hey, coconut, Can I borrow your f*cking lights for a minute? (Car rumbles) Hey, bubbles, I need to see the permit for this thing? Are you even qualified to be doing this? Bubbles: what? I don't have f*cking permits for this, randy. Well, I've got to ask you to cease work immediately. I'm sorry, but I know this has got something to do With ricky growing dope. No, it doesn't have anything to do with growing dope, I swear on jehovah's nutsack. That's just an air conditioner. We all needed one for the businesses And we thought if we just got one biggie and shared it. You know, I'm gonna have it all hooked up to code And everything, I promise. Please, randy? Please? It does make a lot of sense, randall. I can feel the sincerity. Your soul is pure. Pure. Randy: if I find out ricky's growing, I'm shutting it down. Jim: (over walkie-talkie) randy, there's a big shitstorm going down at barb's. Meet me there! Come on, don. Don: and away we go. (Truck rumbles) Ricky: on the ground! Undercover intercontinental insect enforcement agency. Julian: get down! Ricky: hands where I can f*cking see them! Do not f*cking move! People are f*cking stupid, especially college peoples. You show up with a flashing light and hand g*n And use a bunch of big words, And you basically get whatever the f*ck you want for free. This is worse than we thought, officer lahey. Totally infested with the afnican Hellimenium-eating zulu petes. Julian: oh, jesus christ. Ricky: we gotta burn all these right now, All these new ones. Let's go, on your feet! Let's go! Get up! On your feet! Give us a hand. We gotta take all these away right now. Julian: oh, jesus, rick, we got a pisser. Ricky: oh my god, did you piss yourself? Kid: you f*cking scared me. Ricky: oh, you're lucky we got here when we did. They spread across the country in two weeks, They bang like crazy. It's a good thing. Come on, let's go! Let's go! Let's go! Let's go! You know, I feel bad. Here's a couple hash coins, okay? I got these from the last bust. Don't tell your f*cking boss. Let's get these going quick before he comes out here. These things are gonna f*cking spread everywhere. Move it, move it. Holy f*ck, college peoples are stupid. Do not say a f*cking word to bubbles about this either, You assholes. Barb: I don't care! Sam: barbie! Barbie! Barb: I don't care! I want you out of my life! Sam, I want you out of my life and out of this trailer park! Jim: barb! Go back inside. I'll deal with this. I don't know why I keep ending up with men Who turn out to be something other Than what I think they are. Don't you tell me what to do, jim lahey! I want you off my property, too! Just go, both of you! Sam: you can't kick me off this park! I own half this f*cking sh*thole! You don't own half of sunnyvale, sam, 'Cause I own one percent. So calm the f*ck down! Calm down?! Don't you f*cking tell me to calm down, lahey! Jim: randy? Sam: if I want any lip from you at all, I'll wave my dick at you. Barb: oh! Just go! Sam: yeah. Jim: b*at it, sam! Just go! You are a f*cking... You're a cheating bi-sexual- Don't say it! Barb: cavemaaaaaan! You had to f*cking say it, didn't ya? Let me show you a f*cking caveman. Here! Here! Here's your caveman right here. Right here. Yeah, you want some caveman? You want some caveman? Oogah f*cking oogah! There's your caveman! (Sobbing) anyway, that is that, And I have to sell the park to split the assets with sam, And I will take my half And I will buy some cute little place Down south where it's warm, And, um... And I will never look back. Ricky: where in the nuclear fiddlecocks is my f*cking car? Corey took it to get it fixed, ricky. He actually felt pretty bad about this morning. Ricky: good! He f*cking should. Bottle kids! (Bottles smash, kids laugh) Bubs, come check out your shed, man. Bubbles: this is amazing! Amazing, boys. You did it! Oh my f*ck, you even got the oil t*nk. Ricky: f*cking right! I paid a bunch of hash coins towards everything, man. Saved you a tonne of f*cking money. Ricky? Look me in the eye. You guys stole them. You stole the f*cking sheds. Not exactly, bubs. Julian, I can't believe this! I've been working my nuts to the bone, day and night, Hauling shopping carts, Just so I can live a clean, respectable life, And this is what you f*cking do. (Sobs) But now you have enough money you can open up immediately, man. We did it for you! It's awesome! Julian: the people at the store had no idea we were stealin' them. They thought we were doing them a favour by getting rid of them. Julian, f*cking listen to yourself, "They thought you were doing them a favour." Maybe you could do me a favour once in a while Without turning it into a g*dd*mn crime spree. Do you think you could do that? (Sobbing) I'm going up to haul more shopping carts. When I get back, these dirty stolen sheds Better be off my property. Who's got your belly? You get your f*cking hands off my belly! Holy f*ck. Cocksucker! (Sobbing) Julian: nice going. What the f*ck are we gonna do now? Let's get high as f*ck and build some sheds. Bubbles: ...f*cking do this my way! People f*cking it up on me. Agh! What the f*ck! (Shopping carts rattle) (Sobbing) (Car alarm blares) (Three g*n pop) Hey, we're almost done here, guys. Julian: nice! Great work today, everybody. Good hustle. Cheers! Least we could do for a ma'f, you know what I mean? (Siren wails) five-o, y'all. Woop! Ricky: f*cking pussies. We businessmen. We don't play five-o, bitches. Ricky: f*cking joke. Good evening, officer highcock, Beautiful night out there tonight. This new cop shows up to the trailer park With his pants pulled up to his tits. He looked like a f*cking idiot. He was an idiot. I don't know what j-roc and t And the roc power are so worried about. The guy's f*cking dumb. Probably dumber than george green. Officer highcock can f*ck right off. I'm not scared of him. Officer daniels: it's officer daniels, to you. I've heard a lot about you guys. Ricky: oh good. Then you probably heard that you can (coughs) suck (Coughs) our cocks. Officer daniels: what was that? You want to repeat that, son? Ricky: no, nothing. Just coughing. So what can we do for ya? Where did you get the sheds, boys? We actually found them in the classified ads, Got a really, really f*cking good deal on them. So those 4 sheds weren't stolen from the hardware store today? Because the description of the two idiots that took 'em Matches you two unemployed dumbasses. Lucky for you, there were no cameras On that side of the building. Ricky: some sheds got stolen? Man, that sucks! What colour were they? We can keep our eyes open for them. We know a lot of people. Officer daniels: oh yeah, you don't think I know that you painted them? Ricky: oh, so you think we did it. Okay, so we stole the sheds and then we painted them, And wired them up with electricity, Put air conditioning in, Did all the insides, decorated them, And got drunk in one f*cking day. (Laughs) That's quite a f*cking theorny you got there, eisenstein. You know I've met a lot of dumb shits just like you in my time, And every single one of them ended up in jail. Just a matter of time. See ya around, boys. Ricky: love your pants. Sarah: bye, officer! Ricky: f*ck off. You stole those sheds?! You guys promised. It was the only way, sarah, to get 'em open this quick. It's always the only way with you, ricky. Julian: I think I hear bubbles coming. (Shopping carts rattle) Wobbly son of a whore! Looks like you got a pretty good haul there, bubs. What, you're not gonna talk to me now? Bubbles: no. Julian: listen, man, I'm sorry. I gotta show you something. Bubbles: well, I don't wanna see anything. Julian: well, I'm gonna stand right here until you change your mind then. Oh, is that right? Well, I'm not gonna change my mind, So it's gonna be a long night. Fine then. I'm gonna sit right here Until you change your mind then. Well, it's gonna be a long night, julian. Hope you got lots in your drink. Julian: certainly do. Hope you don't gotta piss. No, I already pissed. I'm good for about eight hours, bud. Julian: sure you don't wanna come see what I wanna show you? Bubbles: no, I'm perfectly fine standing here 'til the morning. Julian: so am i. Bubbles: set your alarm clock. Bubbles and julian are two of the most stuvern people I know. I've seen them get into f*cking mexicali stand-ons That can last for 3 or 4 hours. It's f*cked. Bubbles: (imitates a blaring alarm clock) Can't turn off my honker, julian. (Imitates blaring alarm clock) Jesus christ, this is getting ridiculous. I got a deal for you. You come see what I wanna show you, You win. I win? Yes. I wanna hear you say, "all right, bubbles, you win." All right, bubbles, you win. All right, let's go then. Winner. Hey, sarah, they're coming! They're coming! Julian: okay, keep those eyes closed, bubs. Bubbles: I got them closed. Quit bossing me around. Julian: bubs, we spent all day working on this, all right? Okay. On the count of one, open those eyes. Three, two, one, open. (Cheering) Bubbles: oh my god! Sarah: do you like it, bubbles? Bubbles: do I like it? Look at this! It's unbelievable! My god, it looks like a norman rockwell painting. Did you decorate them up, sarah? Sarah: well, everybody helped. They're f*cking amazing! Look at the little kitty signs over the beds. I know, barb donated those. She made them especially for you. Look, I have to tell you something. I'm so sorry. Nobody told me that these sheds were stolen. Yeah, sorry, man. It's all right. They were just trying to do a nice thing for me. Julian: well, everything's gonna be legit And running smooth from now on, I promise, okay? Julian: no more crime, buddy. Bubbles: (sighs) all right. Girl: congratulations, bubbles! Bubbles: is that a cake for me? Ricky: congrats, buddy. Bubbles: (laughs) look at that. "Congrats, ma'f*ck." J-roc must have put the icing on. (Blows out candles) I'm so proud of you, bubbles. Bubbles: well, I did have some help from my friends. (Laughs) Bubbles: is it ice cream cake? Ricky: no, man, it's frozen. My f*ck' trailer's outta control. Are you sure you hooked that thing up right? It's f*cking freezing in there; it's on the lowest setting. Bubbles: ricky, that was meant to cool down A 20,000 square foot f*cking department store, Not a trailer packed full of weed. (Car rumbles) Ricky, I am so sorry about what happened today, But check it out. Corey, you know that's a f*cking house window You put in there, right? What're you thinking? Ricky: oh, I know what he was thinking. I get it. A f*cking sun roof! Great f*cking encore! You fixed jacob's mistake. Corey: case of pepperoni and smokes, dude. Ricky: good work, corey. Corey: thanks, dude. Barb's selling the park, what's up with that? Ricky: what? Bubbles: what? Well, lahey's out front putting a for sale sign up. Ricky: what the f*ck are you talking about? (Hammering) Ricky: what the f*ck do you think you're doing, You f*cking assh*le? Jim: I'm just doing my job, ricky. You should get one sometime. Ricky: oh, yeah? What, you're retiring, So you're gonna f*ck with us one last time By trying to sell the trailer park? That's bullshit. Jim: I'm not trying to sell the trailer park. Barb and sam are, to split the assets, ricky. Julian: what the f*ck are you talking about? Jim: well, apparently someone made an anonymous phone call To barb today And barb and sam's marriage came to an abrupt and shitty end. Jesus christ. Great. This is gonna totally f*ck everything up. We gotta get a hold of barb. Maybe we can help her buy out sam or something. It'd be great if it were that simple, julian, But unlike she did with me, Barb didn't have sam sign a pre-nup And now they own equal shares of the park. So what does that matter? Well, one of them needs a majority To buy the other one out. It's true; it's a g*n clause. Jim: and there's only one other person Who owns a share in this park! One percent to be exact. And who's that? Oh, f*ck. You called barb. What are you talking about? That's crazy talk. (Watch alarm beeps) Oh, look, I'm officially retired, boys. Ta-da! Bubbles: oh my god, he's on the f*cking liquor. Ricky: we're f*cked.

{"type": "series", "show": "Trailer Park Boys", "episode": "08x01 - Money Can Suck My Cock"}

foreverdreaming

Scene 1 opens with a teenage couple in a car -- speeding down a dark country lane. The music is blaring and the driver glances over at her sleeping date. Grinning wickedly she reaches over toward his lap. He quickly wakes up. Brad: (smiling): Wha' the hell you doing? Kelly: I'm bored. Brad: You get bored pretty easily. Kelly: (grinning): Only with you, darling. They continue to play around when the boy sees a lit sign on the side of the road. Brad: Holy <snip>! V! Stop! The car screeches to a halt just past a sign reading "WE HAVE TRU BLOOD". They back up and park in the Grabb it Kwik mart parking lot. The scene cuts to inside the store and the television screen. Nan Flanagan, a spokesperson for the American Vampire League is a guest on the Bill Maher show. Nan Flanagan: We're citizens. We pay taxes.We deserve basic civil rights, just like everyone else. Bill Maher: Yeah but... come on. Doesn't your race have a rather sordid history of exploiting and feeding off innocent people? ... For centuries? Nan Flanagan: Three points: Number one, show me documentation. It doesn't exist. Number two, doesn't your race have a history of exploitation? We never owned slaves, Bill, or ... detonated nuclear w*apon. And most importantly, point number three, now that the Japanese have perfected synthetic blood which satisfies all of our nutritional needs, there is no reason for anyone to fear us. The clerk behind the counter turns as a stocky man comes in and goes over to the refrigerated case. The clerk looks foreboding -- dressed in black, long black hair, tattoos, wearing a satanic-type necklace and a skeleton ring. Nan Flanagan: I can assure you that every member of our community is now drinking synthetic blood. That's why we decided to make our existence known. We just want to be part of mainstream society. (applause) The entry doorbell sounds -- Kelly and Brad (laughing) enter the store. The clerk stands up behind the counter and stares at them menacingly. Kelly: Hi. Y'all have Tru Blood ...for real. Brad: You get vamps in here? I didn't even think we had any in Louisiana. Clerk(cheesy Dracula accent): You didn't know that New Orleans is a Mecca for the vampire? Brad: Seriously? I mean, New Orleans? Even after Katrina? Didn't they all drown? Clerk: Vampires cannot drown ... because we do not breathe. Kelly and Brad draw back in fright. Brad: Dude, no harm intended. We're just a little drunk. Clerk: Nice. I could uuuse a cocktail! Kelly starts to whimper and cling to Brad, who's scared speechless. Clerk (laughing): Score! I totally had you guys! Kelly (indignant): That wasn't funny. Clerk: Yeah, it was. Brad (grinning) : No, Kelly, that was pretty funny. Stocky Man: I didn't think it was funny. Brad: What? Brad turns quickly around and faces the stocky man who has come up behind them. Brad: We don't care what you think. (turning back to the clerk) Dude, you know where we can score any V-juice? Kelly: Gross! Brad, no! Clerk: How much you need? Kelly: I knew a girl who knew this girl, who did vamp blood during Greek Week ... she like ... clawed her own face off! Brad: Seriously, I can pay good money. Stocky Man: OK ... You two need to leave. Irritated, Brad tuns around and faces the man behind him. Brad: All right. <snip> you, Billy Bob! Stocky Man: <snip> me? I'll <snip> you, boy. I'll <snip> you, and then I'll eat you. Suddenly, the stocky man's fangs snap into view as he stares angrily at Brad and Kelly. Brad quickly grabs Kelly and races out of the store. The vampire turns his attention on the clerk. As he slowly approaches the counter, the clerk backs up in fear. The vampire sets a 4-pack of Tru Blood on the counter and digs out his wallet. Vampire (stocky man): You ever pretend to be one of us again, and I'll k*ll you. Got it? Clerk: Got it. The vampire grabs his 4-pack, grins and starts to leave. Vampire (stocky man): Have a nice day, now. Cut to opening credits to the tune of "Bad Things" by Jace Everett Scene 2 -- It's night when an old truck drives up to Merlotte's Bar and Grill. Inside Sookie, a waitress, picks up her customer's order and a glass of beer. Lafayette(off-screen): John, check the catfish! As Sookie walks toward a table, we hear what she hears. Man (off-screen): Thank you, baby.You know daddy loves you. Woman (off-screen): I'm sittin' down here, OK? I'm by myself. Sookie sets the beer down at a table where a middle-aged balding man sits alone. Balding Man (thinking) : Just let me have just one beer tonight, Jesus. One beer, that's all I need. And if you just give me the strength to say no to beer number two, then I swear... Sookie moves over to a table where a man and a heavy-set woman are eating and sets down a bottle of ketchup. Heavy-set woman (thinking): ...without a second thought. No sir! Don't you dare gripe about me eatin' fries ...not after what I did for you last night in the bedroom. Which, by the way, was disgusting! Although I kind of enjoyed it. Sookie walks over to another table where a couple and their teenage son are seated. Teenage boy (thinking): Who are these people? ... and what the hell is this music? I feel like I'm trapped in some hillbilly's OxyContin nightmare. I cannot wait to get the hell out of this Podunk town. Sookie(after setting a hamburger platter in front of the teen-aged boy --speaking): Make sure you do, and before it's too late, because every year you wait, you just get more and more stuck here. Believe me, I know. Teenage boy (thinking): How'd she know what I was thinking? That's weird. Did she hear my thoughts? Sookie I'll get y'all some ketchup. Sookie realizes that the couple and teen are looking at her strangely, so she tells them she'll get them some ketchup and walks away. After a few steps, she stops while the combined voices of everyone's thoughts fight to be heard. Closing her eyes in concentration the voices begin to fade away and then eventually stop. Sam is watching her from behind the bar as she smiles and then continues back to the kitchen. Scene 3 -- Super Save-A-Bunch store -- Tara, an employee, is seated in a chair, one leg sprawled over the chair arm, reading a book. A heavy-set woman wearing a loud purple pantsuit walks up to her. Tara: Welcome to Super Save-A-Bunch. Woman:Hi. I'm looking for that thick,translucent plastic sheeting ... the kind they hang in front of the doors of walk-in refrigerators. Tara: Uh ... we don't sell that here. You could try Home Depot. Woman: I tried them already. They sent me here. Tara (sighing): Oh Woman: Now, I cannot believe you don't have that stuff. Oh, I don't even know what it's called! Tara: Sorry. Woman: Well, you're supposed to have everything! Tara: Well, we don't have that stuff ... that you don't even know what it's called! Woman: Your website says that this is the most well-stocked store in five parishes! Now, I just drove over an hour from Marthaville ... Tara closes her book and puts it down. She gets up out of the chair and places her hands on her hips. Tara (snickering): Does our website have a phone number? Woman: Well, I suppose it does, but... Tara: So ... it never occurred to you, before you drove an hour, to pick up the phone and call us, to see if we stocked whatever the hell it is that you're looking for? Woman: Well, I think that if a business chooses to classify itself as ... Tara(raising her voice): Why didn't you just find it on-line and have it delivered to your house? Or were you just looking for an excuse to wear them ugly-ass clothes? Woman (angry): I would like to speak to your manager. Tara: Fine. Tara(screams): Waylon! Tara: Trust me, you are not gettin' me fired! I am quittin'! You were just the <snip> catalyst! ... and for that, I ought to thank you! Woman: You are a very rude young woman! Tara: Oh, this ain't rude. This is uppity! Waylon, Tara's boss, has joined them and was listening to the conversation. Tara hauls off and slaps Waylon across the face. Tara: That's for pattin' my ass too much! I'm goin' get my baby daddy, who just got out of prison, to come and kick your teef in! Waylon: Jesus, Tara. Please don't do any... Tara: Oh, my God! I'm not serious, you pathetic r*cist! I don't have a baby! Damn! I know y'all have to be stupid, but do you have to be that stupid?! <snip>! <snip> this job! Tara grabs her book and leaves the store. Scene 4 Merlotte's Bar and Grill --Sam is behind the bar and answers the phone. Sam: Evening, Merlotte's. Silence Sam: Hey, Tara. Silence Sam: Yeah, she's right here.(Sam hands the phone to Sookie, who is standing at the end of the bar.) Sookie (hand covering phone): I'm so sorry, Sam. She knows not to call me at work. Sam: Sookie, it's OK. You don't abuse a privilege like Arlene does. Arlene (passing by with a tray): Hey! I heard that. Sam(raises voice): Well, I wish you would hear that! Arlene: Please, Sam. I have kids! Sookie (on phone): This had better be an emergency. Tara (in Super-Save-A-Bunch parking lot):I just quit my job. Sookie: Again? Tara: I can't work for <snip>. Sookie: I'm glad you can afford to be so picky, Miss Say-Hello-To-The-Rest-Of-Us. Tara: Oh! Shut up! Sam is not an <snip> and he's totally in love with you. Sookie: Tara, he is my boss. Tara: Jesus Sookie! You need to lighten up. Sookie: You know I hate it when you use the J word... now I gotta go. Tara: I'm comin' over. I need a margarita ... a big one! Sookie: Bye. Sookie hands the phone back to Sam as Dawn (another waitress) walks up to the bar. Dawn: Mack and Denise Rattray are just about to sit down in your section. Sookie whirls around and sees the couple near a booth. Denise adjusts the bodice of her top while Mack smacks her on the butt. Denise Rattray: What the <snip>?! Sam (addressing Sookie): Don't let 'em get to you, chère. They're not worth it. (Sookie turns and walks toward the booth.) Dawn: Two Tecates, Sam. Mack Rattray (thinking): Hell, there ain't nothing on this menu ain't gonna give me the runs. Damn son of a... Sookie: What can I do for y'all tonight? Mack Rattray (thinking): You can wrap your sweet lips around my slim reaper, that's what you can do. Mack Rattray (speaking): Why don't we just start out with a pitcher of Bud? Mack Rattray (thinking): You can hop aboard the Mack express and ride it all the way to heaven. Sookie: Alrighty. Anything else? Denise Rattray (thinking): What the hell is wrong with her? Denise Rattray (speaking): Onion Rings ... with mustard. Denise Rattray (thinking):God! She's pathetic like a dog that's been kicked too many times,and keeps coming back for more. Sookie:Coming right up. Denise Rattray (speaking to Mack): I think she's ret*rd. Arlene (at the bar on the phone): Honey, if René tells you you're too young to watch a scary movie on HBO, then I'm siding with him. (Sam walks up behind her, Arlene turns and catches his perturbed look.) Arlene:I know he's not your daddy, but your daddy does not want to live with us anymore. Remember? Sookie (at the kitchen order counter): Onion rings. And if you drop a few of them on the floor ... that's fine with me. Lafayette: Got it. (Lafayette looks over toward Sookie.) Lafayette: Ooh! Sookie! Chicka-chicka-bow-wow! You look like a p*rn star with that tan and pink lipstick. You got a date? Sookie: No! When I wear makeup, I get bigger tips! Lafayette(laughing): Yes, girl, that's it. These damn rednecks are suckers for packaging. Sookie: And I get even bigger tips when I act like I don't have a brain in my head, but ... if I don't ... they're all scared of me. Lafayette: They ain't scared of you, honey child. They scared of what's between your legs. Sookie: Lafayette! That's nasty talk! I won't listen to that! Arlene (now at the counter with an order -- laughing -- ): Do you even know what's between a woman's legs, Lafayette? Lafayette: I know every man, whether straight, gay, or George <snip> Bush is terrified of the <snip>. Sookie: Lafayette! Dawn (walking up to the counter): Ooh! What are we talking about? Lafayette: <snip>. Arlene (laughing): Hey! Listen, not everybody is gay! OK? Not everybody wants to have sex with you. Lafayette: You would be surprised, Arlene -- people you know. That's all I'm sayin'. Dawn: Well, I don't wanna have sex with you. Arlene: Uh uh ...me neither. Lafayette: <snip>! Y'all bitches don't know what you're missin'. I got six gears on these hips. Dawn: No, baby. You don't know what you're missing.You can watch her walk away ... make you wanna slap it? You wanna slap it? (Dawn turns and slaps her butt as she walks away.) Lafayette: Everybody knows that. Everybody been there. Ain't that right? John's been there! Arlene(backing away -- hands under her breasts): Take these, baby. Peaches and cream. Lafayette: I'll give you a little cocoa. Arlene: Peaches and cream. Lafayette: Little cocoa. Ain't that right, John? <snip>. Scene 5 Maudette Pickens' living room. Jason Stackhouse and Maudette are present -- both are naked. Maudette is seated on the sofa, facing the television. Jason is kneeling in front of her. (Seen and heard on TV -- Young man and woman in front seat of vehicle) Man: Look, I'm a pretty nice guy, but I have, like, a little bit of an edge to me. Woman(Balloon window on screen showing what she's thinking): Can we have fun now? Man: Got started at a young age ... started getting into fights... Woman: Really? Man: Used to get into a lot of trouble ... got kicked out of a couple schools, type of thing. Woman: Wow! Man: Yeah, started partying in ... um... high school. Jason (noticing a couple of marks on Maudette's inner thigh): What the <snip> is this?! Maudette: Oh ...it's... just a ... mosquito bite. Jason: You had sex with a vampire?! Maudette: OK ... once! I went to that vampire bar down in Shreveport. Look. I was broke and he paid me a lot of money. Jason (drawing away and sitting down): You a hooker, Maudette? 'Cause I don't pay for it! Never have -- never will! Maudette: Well, I don't charge for it, neither! He offered me a thousand dollars to bite me! What was I gonna do? Say no to a thousand bucks?! Jason: What was it like? Maudette: Scary. Jason: You know, I read in Hustler ... everybody should have sex with a vampire at least once before they die. Maudette: Once was enough for me. He was way too rough! I mean, I like to be rough ... sometimes. But ... Jason: You like it rough? Maudette: Yeah ... why not? You know, it's not like it's gonna k*ll me ... and if it does? Well, then, I won't care ... will I? Jason (making a move to get dressed and leave): Right. Well...uh ... Maudette (quickly leaning forward): I videotaped it. Jason: What? Maudette (grins): With the vampire. You wanna watch? Hmm? (Jason grins and tosses his pants aside.) Scene 6 Merlotte's Bar and Grill -- Tara is sitting at the bar, staring into her margarita. Sookie walks up and sets down a tray. Tara: My life sucks. Sookie: Tara, don't you be feeling sorry for yourself. That's just lazy. Tara: Why can't I keep a job? Sookie: Maybe because you can't keep your mouth shut. Tara: Bitch, who asked you?! (Then Tara winks at Sookie and smiles.) Sam (walking over to Tara and Sookie): How you doing, Sookie? Sookie: I've had better nights. Sam: Anything I can do to improve this one for you? Sookie opens her eyes wide and stares at Sam. In the awkward silence that follows, Sookie's attention is drawn away from Sam and Tara. She turns and watches a dark-haired stranger walk toward a booth backing up to the Rattray's booth. He sits down and then raises his eyes toward Sookie. They stare at each other for what seems like a long time and then Sookie quickly turns back around toward Sam and Tara. Sookie(excited): Oh, my God! I think Merlotte's just got its first vampire! Sam: I think you're right. Sookie: Can you believe it?! Right here, in Bon Temps?! I've been waiting for this to happen since they came out of the coffin two years ago! (Sookie hurries over to the stranger's booth.) Sookie(grinning):Hi, and what... what can I get for you tonight? Bill: Do you have any of that synthetic bottled blood? Sookie: No, I'm ... I'm so sorry. Sam got some a year ago, but nobody ever ordered it, so it went bad ... you're our first ... (whispers) vampire. (Mack Rattray, seated directly behind Bill, turns his head at the mention of "vampire" and starts eavesdropping.) Bill: Am I that obvious? Sookie: I knew the minute you came in. (Sookie turns around and then back to Bill) I can't believe nobody else around here seems to. Bill (nods toward Sam): He does. Sookie (glances back, sees Sam nod, then she looks back at Bill): Oh! Don't worry about Sam! He's cool. I know for a fact he supports the Vampire Rights Amendment. Bill: How progressive of him. Sookie: Well ... anything else ... you drink? Bill: Actually, no. But you can get me a glass of red wine so I have a reason to be here. Sookie: Well ... whatever the reason ... I'm glad you are. Mack Rattray (turns and gets up): Don't mind Sookie none, mister. She's crazy as a bedbug. Sookie: I'll just get your wine for you. (Sookie gives Mack Rattray a scathing look, then starts back to the bar.) Mack Rattray: My name's Mack Rattray and this here's my wife, Denise. Denise Rattray: Hello! Bill: Good evening. Scene 7 Maudette Pickens living room -- Both Maudette and Jason are naked. Jason is sitting on the sofa, facing the TV and Maudette is kneeling in front of him. The video of Maudette and a tattooed, bald-headed vampire, having sex is playing on the TV. Jason rears back against the sofa and looking up at the ceiling, sees the hook chained to a rafter that Maudette's upraised arms were tied to in the video. Scene 8 Merlotte's Bar and Grill -- Denise Rattray is pressed up next to Bill (more or less throwing herself at him) and Mack Rattray is sitting across from them. Sookie is watching them as she stands next to Tara at the bar. Sam is behind the bar, and listening in on Tara and Sookie's conversation. Sookie: What a bitch! You ... really think that ... she's gonna let him bite her? Tara: You know how many people are having sex with vampires these days? Sometimes those people ... disappear. Sookie: No. He's not like that. Tara: OK, OK, you spoke to him for, like, a minute! You don't know how many people he sucked the blood out over the last however many centuries he's been alive! Sookie: But he's so not scary. Tara: Sweet Jesus in heaven, Sookie! He is a vampire! Sookie: Yeah, but the synthetic blood has everything... Sam: Are you willing to pass up all your favorite foods and spend the rest of your life drinking Slim-Fast? (Sookie rolls her eyes at Tara. Over at Bill's table Denise Rattray is rubbing Bill's shoulder, while he just stares straight ahead with an dark look on his face.) Denise Rattray: I mean, people have always discriminated against me. Mack Rattray (laughing): Oh, boy, have they ever. Denise Rattray: And just because I never felt like being what society wanted me to be, you know? Mack Rattray: Me neither ... me neither. Denise Rattray: So we know what it's been like for you. Sookie (arriving back at the booth): Can I get y'all anything else? Denise Rattray (thinking): He's not that big but he's still probably got 11 or 12 pints in him. Holy<snip>! That's almost 200 ounces! I bet we could get 500 an ounce in Dallas. <snip> me! That's $10,000! Sweet Jesus! Sookie: I'm gonna bring y'all a free round of beer, OK?! Mack Rattray (thinking): What the hell is your problem, dimwitted... Sookie (to Bill): Don't you go anywhere! Mack Rattray (thinking): I guess you are ret*rd! Just like everybody says you are. (Sookie hurries back to the hallway and grabs Tara's arm.) Sookie: Tara! Tara, we have to stop them! Tara: Stop who? Why? Sookie: The Rattrays! They're gonna drain him and sell his blood! We have to stop them! Tara(pulling her arm away): No, we do not! We don't have to get anywhere near that vampire! Sookie: Tara, I am very disappointed in you and your small-mindedness. Sam: Sookie! Vampire can take care of himself. I promise you. Sookie (turning around and seeing the empty booth): <snip>! (Sookie drops her apron and runs outside.) Sam:Tara, you know how to tend bar? Tara: No. Sam(hands Tara his bar apron on his way out): Fake it. Tara: <snip>! Sookie runs outside and into the parking lot. She looks around but sees no one. Standing very still, she closes her eyes and concentrates. Soon she begins to hear voices. Denise Rattray: Look at this. This is so thick. Damn, this is gonna bring a pretty penny! We should keep some for ourselves. If Mack freaks out on me again, I am so through with him. Opening her eyes, Sookie looks down the road and begins to move toward the sound of Denise Rattray's "voice". She spies a heavy chain in the back of a truck and quietly picks it up. Then she moves slowly forward. Scene 9 Maudette Pickens house -- Maudette's wrists are bound and tethered to the hook, chained to the rafters. Jason and Maudette engage in sex which appears to be a re-enactment of Maudette's session with the tattooed and bald vampire. There's a video camera discreetly placed on the bookshelf. Jason: You like this? Jason: Being punished? Jason: You're a sick little vampire <snip>! Jason: You like that, Pickens? Jason: You look at me. Jason: You let a d*ad man <snip> you? Jason: <snip> disgust me! Jason: It's too bad I don't have fangs, huh? Jason: Rip your <snip> throat out. (Jason's hands close around Maudette's neck. She struggles to breathe as his grip gets tighter.) Scene 10 The Rattrays have Bill down on the side of the road. He's being restrained while Denise, using a needle and blood pouches, drains him of his vampire blood. Mack Rattray: Hurry! Denise Rattray: We should've taken him home! Mack Rattray: Too dangerous. Where are we gonna hide a d*ad vampire in our trailer? Denise Rattray: Well, at least we wouldn't be out in the <snip> open like this! Mack Rattray: I just need some V-juice and I need it bad! My body is starting to hurt and I just need to get it in me! Denise Rattray: <snip> it, Mack, you're a <snip> drug addict, do you know that? Mack Rattray: Woman, would you just shut the <snip> up?! Sometimes, when you talk, this is what I hear: A-yada-yada-yada... (Sookie has quietly approached behind Mack and hits him hard on the back with the chain. He cries out in pain and falls to the ground. He gets up and draws a Kn*fe.) Mack Rattray: You crazy bitch! Sookie dodges as Mack lunges at her with his Kn*fe. Seizing an opening, Sookie lashes out with the chain and wraps it around Mack's throat. Gasping for air and clutching at the chain, Mack sinks down to the ground. Sookie quickly picks up the Kn*fe as Denise starts for her. Holding the Kn*fe out in front of her, Sookie stops Denise in her tracks. Denise Rattray: This ain't your business, you stupid <snip>! Sookie: Now, see, that just proves how low-rent you really are. Denise Rattray: You have any idea who you're messing with? You don't wanna be on my bad side! Sookie: I'm not so sure you even have another side, you no-account, backwoods trash! (Denise backs off, then rushes over to Bill to get the bags of blood.) Sookie(thr*at with the Kn*fe) : Do not even think about taking that blood! Denise Rattray: I will k*ll you for this. Sookie: Get out! (Sookie takes a step forward and thrusts the Kn*fe toward Denise.) Sookie: Now! Denise Rattray: Come on, Mack. (Denise grabs Mack and pulls him along.) Denise Rattray: This ain't over! Denise Rattray (to Mack): Come on. Get up, Mack! Why can't you take that <snip> thing off? I ain't got time for a <snip> cripple! ...because I'm getting out of here one way or the other. Mack Rattray (as he staggers after Denise): Wait! ... You... how else am I gonna... Sookie quickly moves over to Bill and kneels down beside him. She gently removes the silver chain that restrains him. As the silver chain is lifted, it painfully takes Bill's skin with it. Sookie watches in amazement as Bill's wounds heal in front of her eyes. Sookie: Shut ... up! (Suddenly a car barrels down on them, Sookie grabs Bill under the arms and yells, "Quick with your feet!" Bill manages to move his legs as Sookie pulls him from the road!) Denise Rattray (from the passing car): I'm gonna get you, bitch! (Sookie manages to drag Bill further into the trees and leans him back against a broad sturdy trunk) Sookie: Oh, bless your heart. I am so sorry I didn't get here faster. You'll be OK in a minute, right? (Bill just stares at her.) Sookie: Do you want me to leave? Bill: No. They might come back and I can't fight yet. (A dog begins to bark and runs up to Sookie.) Sookie: Oh! Hey, there, dog. (Sookie giggles as the dog licks her face. Then it barks at Bill several times before running off into the woods.) Bill: He's checkin' on you. Sookie: That's just some old dog that hangs around the bar sometimes. He must live nearby. Bill: Oh, no doubt. (Sookie starts to remove the thin plastic tubing wrapped around Bill's arm, but he quickly pulls his arm away.) Sookie: I reckon you're not too happy about being rescued by a woman. Bill(removing the tourniquet): Thank you. Sookie (after attempting to hear Bill's thoughts): I can't hear you. Bill(louder): Thank you. (Excited, Sookie kneels down in front of Bill and holds his head between her hands.) Sookie: No, no, no. I can hear you, but I can't... Sookie(softly in wonder): Oh, my stars. Bill: Aren't you afraid to be out here alone with a hungry vampire? Sookie: No. Bill:Vampires often turn on those who trust them, you know. We don't have human values like you. Sookie(getting up and moving a few steps away): A lot of humans turn on those who trust them too. (Sookie removes the long silver chain from her pocket and drapes it around her neck and shoulders.) Sookie: I'm not a total fool. Bill: Oh, but you have other very juicy arteries. There's one in the groin that's a particular favorite of mine. Sookie: Hey! You just shut your nasty mouth, mister! You might be a vampire, but when you talk to me, you will talk to me like the lady that I am! Bill: You wanna drink the blood they collected? Sookie: No! Bill: I understand it makes humans feel more healthy ... improves their sex life. Sookie: I'm as healthy as a horse. And I have no sex life to speak of, so... You can just keep it. Bill:You could always sell it. Sookie: I wouldn't touch it. (With lightning speed, Bill gets up, moves over toward Sookie, and kneels down in front of her, face within inches of Sookie's.) Bill: What are you? Sookie: Well ... I'm ... I'm ... I'm Sookie Stackhouse and I'm a waitress. What's your name? Bill: Bill Sookie(laughing): Bill? I thought it might be Antoine or Basil or... or, heh... or, like, Langford, maybe... but ... Bill? ... Vampire Bill! Oh, my! Sookie (growing more serious): So...silver, huh? I thought that only affected werewolves. I... I... I'm not implying that werewolves exist. I mean, that's just what you always see in the movies. Bill: I'd appreciate it if you didn't share this information with anyone. We don't like for our weaknesses to be made public knowledge. Sookie(nods): Oh! OK. (Sookie stirs and both she and Bill stand up.) Sookie: Well ... see ya, Bill. I gotta get back to work. (Sookie walks back through the parking lot to Merlotte's.) Sam: Sookie! Thank God! You OK? Sookie: I'm fine. And, for your information, not all vampires can take care of themselves. Sookie walks away and enters the restaurant, leaving Sam to stare into the the dark night. Scene 11 Inside Merlotte's Bar and Grill Arlene(sighs): Night, Sam. Sam(back to Arlene): Night. Arlene: Night, Tara. Tara: Night. Sam (joins Tara at the bar):Thanks for helping me out tonight, Tara. Tara: How much you gonna pay me? Sam: Uh ... 20 bucks? Tara: Sam, ... how do you expect me to work here for 20 bucks a night? Sam: I don't expect you to work here and you only covered tonight for what, an hour at the most? Tara: Yeah, but Sam. If I did work here ... Sam: It'd be a matter of time before you went off on somebody. I don't wanna drive my customers away. Tara: I only go off on stupid people. Sam: Most of my customers are stupid people. Tara: Yeah, but...I could help you keep an eye on Sookie. You see the way she was looking at that vampire? That is just trouble looking for a place to happen. She means too much to both of us to let anything happen to her. Sam: Be here tomorrow at 6. And learn this on your own! I don't have time to train you. (Sam hands Tara a bar-tending book.) Tara: Sam, I was mixing whiskey sours for my mama when I was in first grade. It's just like ridin' a bicycle. Sam: That's <snip> up. Tara: You think? ... my mama crazy. Sam: Damn, girl. (Jason Stackhouse enters the bar.) Jason: Hey, Sam, is my sister here? Sam (walking away): No, Sookie already went home. Tara (as Jason sits down in front of her): Hi Jason. Jason: Hey. Tara: Uh ... My name is Tara. I've been your sister's best friend since kindergarten? I used to sleep over at your house for, like, years. Jason: I know who you are. Tara: You better know who I am! (Dawn walks over toward the bar.) Dawn: Hello, stranger (Jason turns around and sees Dawn.) Jason: Hey! Dawn ... come here. (They put their arms around each other as a not-too-happy Tara looks on.) Jason: Look at you. You look great. How you been? Dawn: Fine. Partyin'. Jason: So you ain't mad at me? Dawn: Why would I be mad at you? Jason: Well, for not calling. You know ... the usual. Dawn: Jason! Baby! I ain't got no expectations of you. I'm not an idiot. Jason: Hey, what time do you get off work? Dawn: Well, I don't know. Oh ... right now. Jason: You want to go somewhere? Dawn: Well, yeah, I do. I want to go home. (Dawn starts laughing, turns and walks toward the door.) Dawn: Good night, Tara. Tara: Oh, my God. You are a gigantic parody of yourself and you don't even know it! Jason (Jason drops money on the bar and takes off after Dawn): Great seeing you, Tara, good luck. Tara: "Good luck"?! Good luck with what?! <snip>! Scene 12 -- The home of Adele (Hale) Stackhouse aka "Gran" -- Sookie and Jason's grandmother. Sookie arrives home and finds her grandmother waiting up for her. Gran is sitting at the kitchen table, reading a book and holding Sookie's pet cat, Tina. Sookie: Hey, Gran. Gran: Hi, honey. Sookie: Guess what happened tonight? Gran: You got a date! Sookie: Um ... no. A vampire came into the bar! Gran (gasps): Did he have fangs? Sookie: Yeah, but most of the time they stayed put away. Gran: Did he bite anybody? Sookie: No. Uh ... he just had a glass of wine. Well, he ordered it, but didn't drink it. I think he just wanted some company. Gran: Did you like him? Sookie: He was ... real interesting. (Gran gives Sookie a knowing look.) Sookie: I'll let you get to bed. Gran: OK, honey, I just ... stayed up until you got here. Sookie: Come on, Tina. (Gran laughs as the cat meows and follows Sookie.) Later that night, Sookie is sleeping. A dog barks in the distance and wakes Sookie. The continued barking draws her to the open bedroom window. She gazes down at Bill, standing there, staring up at her window. Sookie puts on her robe and hurries out of the house to meet up with Bill. She runs to the side of the house, but doesn't see Bill anywhere. She turns completely around and suddenly, there he is right behind her! She whirls around and faces him. Sookie (breathlessly): Hello. (Bill doesn't say a word, he just starts unbuttoning his shirt.) Sookie: I never thought I would be having sex with you. (Bill removes his shirt.) Sookie: At least ... not so fast. (Sookie starts to remove her robe.) Bill: Who said anything about sex? (Then Bill opens his mouth revealing his fangs!) (Sookie wakes with a start! She sits up in bed, thinks briefly, then flops back down on her pillow.) Scene 13 -- The home of Adele (Hale) Stackhouse aka "Gran" and Sookie, her granddaughter. Sookie is sunbathing when her brother, Jason, pulls up in his pick-up truck. He quickly gets out and strides over to Sookie. Jason: Hey! How come you didn't tell me you b*at up the Rattrays last night? Sookie: I haven't even seen you since then. Jason: Where's Gran? Sookie: Hanging the laundry out back -- and you keep your voice down. I don't want her to know about any of this. Jason: Fortenberry couldn't wait till I got to work this morning to tell me all about it! Sookie: Hoyt Fortenberry? How the heck does he know? Jason: He went over to the Rats last night to buy some weed. And Denise drove up like she wanted to k*ll somebody she was so mad. The only way she would sell him any weed was if he would drive Mack to the hospital in Monroe. Sookie: Uh huh! Well, did Hoyt tell you that Mack came after me with a Kn*fe? Jason: <snip>! You want me to kick his ass? Sookie: I already took care of that, thank you. Jason: What are you doing messing with him anyway? Sookie: Well, did you know that in addition to dealing drugs, that the Rats also happen to be vampire drainers?! Yep! One of my customers last night was a vampire, and they were draining him out in the parking lot. I couldn't have that. Jason: Sookie, you do not want to get mixed up with vampires. Trust me! Sookie: Oh, shut up! Even if you hate vampires, you can't let trash like the Rats go and drain them. It's not like siphoning gas out of a car. They would have left him in the woods to die. Jason: Who <snip> cares? He's already d*ad. Sookie: That's not his fault. Jason: What did he look like? Sookie: Handsome ... in a sort of... sort of old-fashioned, like from a movie on TCM. Jason: Was he bald-headed? Sookie: No. He had really nice hair. Jason: Tattoos? Sookie: None that I could see. Gran (carrying a laundry basket walks toward Jason and Sookie): Jason! Jason: Gran! Gran: Sakes alive, boy, where have you been keeping yourself? You get on over here and hug my neck. Jason: You get here, Gran. How's my girl? Gran: You're all sweaty. Jason: I know. Gran: You want some ice tea? Jason: I would love some ice tea. Gran laughs Jason (off-camera): Here, I got it. Scene 14 -- The home of Adele (Hale) Stackhouse aka "Gran" and Sookie, her granddaughter. Jason and Sookie are sitting at the kitchen table, finishing lunch. Gran is in the other room on the telephone. Jason (as he spears some food on Sookie's plate): Want the rest of that? Sookie: Yes! Jason: Thank you. If you're gonna wear that suit, you might want to start watchin' what you eat. (Sookie laughs at Jason's teasing) Jason: You look nice. Gran: That was Evalee Mason. Guess who was found strangled to death in her apartment. Maudette Pickens! Sookie: Oh, my Lord. Gran: She didn't show up for work ... wasn't answering her phone and so her boss called Bud Dearborne. He rode over, got the manager to let him in, and they found her. Sookie: I went to high school with Maudette. Gran: Can you believe it? A m*rder in Bon Temps. Jason: Well, why are you surprised? ... now that we got ourselves a vampire. Sookie: Just because he's a vampire doesn't mean he's a m*rder! Jason: Ah come on! Fang-bangers go missing all the time in Shreveport ... New Orleans! They never find them but everybody knows the vampires are k*lling them and disposing of the bodies! Gran: What's a fang-banger? Sookie: A vampire groupie. Men and women who like to get bitten. Gran: My stars! Sookie: Maudette was a fang-banger?! How do you know that? Jason (upset): I don't know, Sookie! ... the way that you just know things sometimes! (Jason slams his fist on the table and then gets up and crosses over to the sink and places his dishes down.) Jason (calmer): There's also ... hookers ... who specialize in vampires. They drink Tru Blood to keep their supply up, and they keep a bodyguard there in case the vamp gets a little too frisky. (Gran and Sookie stare at him in stunned silence.) Jason (shrugging): I read that in a magazine. Gran: Wonder how much one would charge for something like that?! Jason: A thousand bucks. Sookie: See, now that just makes me sick. Gran: I know. What kind of cheap woman could ever do something like that? Sookie: No, it makes me sick that they're gettin' a thousand bucks to lay there and do nothin' while I bust my ass for 10 bucks an hour plus tips. Jason: Oh, I don't think they just ... lay there. I think they're expected to ... you know, participate. Sookie: Ewww! Jason: Well, um ... thanks for lunch, Gran. (Jason leaves the kitchen. Sookie runs after him and grabs his shoulders, turning him around to face her.) Jason: What? (Silence) Jason: What?! (Sookie takes Jason's head between her hands and stares at him intently.) Jason (thinking): This can't be happening to me! How could I lose control like that?! How come she... Jason (speaking): Don't try that with me, <snip> it! I'm your brother! Jason (under his breath as he leaves): Back to work. Scene 15 -- Jason is back at work at a construction site. He's sitting in a lounge chair on the phone while the crew is working on the road. Lafayette, Hoyt and René are among his fellow workers. Jason: Please? (Silence) Jason: Come on, Dawn, I'm having a really bad day. Dawn (shaving her legs in her bathroom): That is not my responsibility. Jason (over the phone): Didn't we have a good time? Jason (at work): And don't you want to have that again? Dawn: I'm sorry to break it to you, baby ... but you are not my only source for a good time. Jason: No, but ... I ... am ... the best one. Dawn: Oh, my God, you're so full of <snip>! Jason (over the phone - laughing) : But I'm hot. Dawn: So am I. Jason: Yeah, I know, I know. (Jason glances over at a police car pulling up to the site.) Jason: That's why I'm on the phone with you. Dawn: Oh, all right, I give up. You can meet me after work. Jason: I gotta go. I'll call you back. (Jason hangs up the phone as Sheriff Bud Dearborne and Andy Bellefleur approach him.) Jason (standing up): Hey! Sheriff Dearborne. Jason (patting Andy Bellefleur on the shoulder): Andy! Sheriff Bud Dearborne: Afternoon, Jason. Jason: There something I can help you with? Sheriff Bud Dearborne: You know Maudette Pickens? Jason: Yeah, sure, I know her. I buy stuff at the Grabbit Kwik. She works there during the day. Andy Bellefleur: How would you characterize your relationship with Maudette? Jason: Relationship? I didn't have a relationship with her. I barely even knew her. Sheriff Bud Dearborne: So you're aware she was m*rder last night? Jason: Uh ... no. Wow! ... I mean ... yeah! ... yeah ... I did know that. My grandmother told me at lunch. Somebody called her. (The scene switches over to the men working -- Lafayette watching in the background.) René (to Hoyt): Hey, what's up with Jason and the law? Hoyt: Maybe they think he knows something about Maudette. (Back to Jason and the law) Andy Bellefleur: You ever visit Maudette at her apartment? Jason: Me? No. Sheriff Bud Dearborne: Ever?! Jason: No! Boys, I could do a lot better than Maudette Pickens, believe me. (All three men laugh.) Andy Bellefleur: You weren't there last night? Jason: Last night ... uh ... (Jason stares off in space as if deep in thought.) Jason: OK, yeah! I was there last night. Andy Bellefleur: Yeah. Then why didn't you say so? Jason: What? Andy Bellefleur: Then why didn't you say so?! Jason: Because I know she got k*lled, and I thought it would look bad me having been at her place. Sheriff Bud Dearborne: Well, it does look bad, Jason. Andy Bellefleur: It looks real bad. Jason: OK, look. I hooked up with Maudette last night, we had sex. That's all! Andy Bellefleur: How would you characterize the sex? Jason: Uh ... it was OK. Andy Bellefleur: Nothing out of the ordinary? Jason: Well ... uh ... Andy Bellefleur: Because we've already seen the videotape! (There's a long silence as Jason closes his eyes.) Andy Bellefleur: You didn't know she was taping it? Jason: No ... but I should have. Sheriff Bud Dearborne: You need to come with us, Jason. Jason: Um ... just let me tell René to take over. I'll be right back. (Jason walks away.) Andy Bellefleur (under his breath to Sheriff Dearborne): I hate that little <snip>. Jason: Hey René! I gotta go into town for a while. You'll take over? René: Yeah, yeah. Everything all right? Jason: Yeah! No, it's nothing to worry about. Every thing's fine. Don't ... tell my sister. OK? Hoyt (as Jason walks away): Hey ... what'd you do, Jason? (Jason hesitates as if to turn around and answer Hoyt, but decides against it and continues on over to the Sheriff and Andy) René: What the <snip>, huh? Scene 16 -- Sookie's bedroom at Gran and Sookie's house -- Sookie is sitting in front of her vanity putting make-up on when Gran knocks on the door and comes in. Sookie: What's up, Gran? Gran (sighs and sits down next to Sookie): Oh ... I was just wonderin' how old you think the vampire is -- the one you met last night. Sookie: I have no idea. Why? Gran: You think he might remember the w*r? Sookie: The Civil w*r? (Gran nods) Sookie: Could be. Gran: Oh! If he does, I would love to have him come speak to the Descendants of the Glorious d*ad. You think he might want to? Sookie: I think he might have a hard time showing up at the public library at noon on a Thursday. Gran: Oh! We could have a special meeting at night, or he could just come talk to me and I could tape his recollections. I am sure the other members would find it so interesting. Sookie: I'll ask him next time he comes in to Merlotte's. If he comes in. (Gran is thrilled and gives Sookie a kiss.) Scene 17 Merlotte's Bar and Grill -- René and Hoyt are sh**ting pool, while Arlene (off of work) is cheering them on. René is taking his sh*t. Hoyt: For all the beans! (René misses and stares solemnly at the table.) Arlene: Oh, baby! Hoyt (laughing):Oh, baby! Arlene (laughing):You can do better than that. Hoyt (as he gets up for his turn): Oh, baby. Tara is sitting at the bar with one leg propped up on it, reading a book. A big old man in a muscle shirt and overalls sits down at the bar and looks expectantly at Tara, who ignores him and continues reading her book. Lafayette (getting a drink from the bar) : Hey! Koo ... Koo. How you doin'? What you doin' here? Tara: I work here. Lafayette: Oh no the hell you don't! Tara: Oh yes, the hell I do too, you ugly bitch. You need to make peace with that. Lafayette: <snip>! Sam must have lost his damn mind, because you should not be allowed to work in no situation where you actually got to interact with people. Tara: That is so not true. (The good old boy in the muscle shirt and overalls snaps his fingers and gestures for a drink.) Tara (angry-jumps up): Uh uh! You do not snap at me! I have a name! And that name is Tara. (Tara glances at Lafayette and laughs.) Tara (to the good old boy): And isn't that funny? Black girl being named after a plantation. (Good old boy laughs.) Tara: No, I don't think it's funny at all. In fact, it really <snip> me off that my mama was either stupid or just plain mean! Which is why you better be nice if you plan on getting a drink tonight. Good old boy: Sorry, ma'am. Tara: OK (Tara gets the good old boy a drink.) Lafayette: Hey! Do you know if Sookie found out anything about her brother getting arrested this afternoon? Tara: Jason got arrested? For what? Lafayette: I ain't sure, but Maudette Pickens did get found m*rder. Tara: Are you serious? Jason couldn't k*ll anybody. And he can do a hell of a lot better than Maudette Pickens. Lafayette: Look at you. You still got a thing for him. Tara: I do not. That boy's too damn stuck-up for me. Lafayette: That boy is sex on a stick. I don't give a good damn how stuck-up he is. Lafayette (to the good old boy): How you doin'? Tara: Look at you ... scaring that white boy. Lafayette: Ain't nobody scaring him. He too big to be scared. I likes a big man. Look at that belly. Tara: Don't you have something to fry? Lafayette (to the good old boy): You can be my Santa Claus. Lafayette (leaving on his way to the kitchen): I'll see you later. I'm in the phone book. Scene 18 Merlotte's Bar and Grill -- Sookie is in the back room talking to Dawn when Lafayette walks in. Sookie: Arrested?! For what?! Dawn: I don't know. Lafayette: Sook ... sorry about your brother. Sookie: How come everybody knew about this before I did? Lafayette: Well, I was there, baby girl. I saw him get carted away. Dawn: And I was complaining to Arlene about Jason hanging up on me when we were making a date, not calling me back, and that's when she told me. Sookie: Arlene? How does she know? Dawn: Well, I guess René told her. Besides, we figured you'd just... Sookie: I just what? Dawn: Sweetie, didn't you just know already? Sookie: I am not... psychic! (Sookie storms out of the back room on her way over to the pool table.) Hoyt: Damn! You suck, René. René: Quiet you. Arlene (laughing): I cannot believe I am here on my night off. Just pourin' my hard earned money back into Sam Merlotte's pocket. Sookie (arriving): What happened to my brother, René?! René: Ahhh ... ah hell! I promised him I wasn't going to tell ya-you. Sookie: What happened? Hoyt: Oh ... uh ... well ... ah ... Bud Dearborne and Andy Bellefleur, uh... they asked him some questions, and then they just threw him in the back of the squad car. Sookie: So you don't even know for a fact that they arrested him? René: Well they ... they didn't cuff him or nothin'. Arlene: Sookie, I am so sorry. Sookie: For what?! Y'all are already actin' like Jason's been convicted of killin' Maudette, and we don't even know what they were talkin' to him about. Bud Dearborne just made a mistake! That's all. Hoyt: Yeah, yeah it has to be, because Jason's a real stand-up guy. Sookie: No, he's not, Hoyt. He is selfish, egotistical, and a complete horn-dog, but he is not a k*ller! Sookie looks a little puzzled and seems to feel something. She slowly turns her head and looks back. Bill is standing quietly next to a table in the dining section. Bill slowly sits down. Sookie and Bill lock eyes as Sookie begins to slowly walk toward him. As she walks across the room, she hears the babble of other customer's thoughts, some of which rise to the surface. Tara (thinking): Now, just look at that, like she's walking down the aisle on her <snip> wedding day. Honey, just 'cause a guy... Arlene (speaking): It's that vampire. Sam (thinking): He's got her in his sights. I need to protect her. Woman in booth (thinking): That's that vampire she saved last night. Unknown voice (thinking): Sookie, please do not... Bill (speaking): Good evening, Miss Stackhouse. Older man with glasses (thinking): It ain't right, him being here with normal people. I hope she ... (Sookie sits down at the table with Bill.) Woman customer (thinking): I always thought she was nice, but I just wonder what kind of a good Christian girl would even look at a vampire... Man in booth (thinking): I don't think he looks that kind of scary to me. Lafayette (thinking): Looks like she likes 'em tall, dark, and d*ad... Dawn (thinking as she sees Bill and Sookie): Who is that? ... and why isn't he talking to me? Unseen man (thinking): Stackhouse family ain't nothing but trash. Bill extends his hand. Sookie slowly places her hand in his. As Bill closes his fingers around Sookie's hand, all the voices stop and a soothing silence wraps itself around Sookie. She closes her eyes and silently revels in the silence. She opens her eyes and smiles at Bill. Sookie: Your hand is cool. Bill: Yes... uh ... I'm afraid I'm not as warm as the men that you must be accustomed to. Sookie (laughing softly): What men? (Sookie slowly withdraws her hand from Bill's. ) Sookie: What can I get for you tonight? Bill (in wonder): What are you? Sookie: I told you. I'm a waitress. Bill: No ... you're something more'n that. You're something more than human. Sookie: I beg your pardon? Bill: Sookie ... that's an unusual name ... Sookie. Is it short for something else? Sookie: Nope. Just ... just plain Sookie. Bill: May I call on you sometime? Sookie: Call on me? Bill: Um ... may I come and visit with you at your home? Sookie: Sure. My grandmother would love to meet you. Oh! That reminds me. Can I talk to you after work? I have a favor to ask you. Bill (withdraws a little): Of course. After all, I am in your debt. Sookie: Not a favor for me -- for my grandmother. If, if you'll be up... well, I guess you will be. Would you mind meetin' me around the back of the bar when I get off at... probably around 1:30? Bill: I'd be delighted. Do you realize that every person in this establishment is staring at us right now? (Sookie looks slowly around and sees that everyone is indeed staring silently at them.) Sookie: Oh, they're just starin' at me because... my brother's in some kind of trouble with the police. Uh ...but Bill, did you know Maudette Pickens? Bill: I did not. They are staring at us because I am a vampire. And you... are mortal. Sookie: Who cares what they think? Bill: Well, I want to make this town my home, so... I do. I'll see you at 1:30. (Bill gets up and leaves. As she stares after him, the thoughts of the other customers once again find their way to Sookie.) Arlene (thinking): Run away as fast as your legs can take you. Man drinking beer (thinking): I guess... this is wrong. It's wrong. I shouldn't be feeling like this. I just want to watch them do it. Damn! Woman customer (thinking): He hypnotized her. I heard they can do that just by looking at you. Female voice (thinking): I wonder if she's gonna let him bite her? I'm telling Reverend... (As Tara watches, Sam rushes over to the table and grabbing Sookie by the arm, leads her into the "employee only" area. Dawn follows them.) Sam: Sookie, You're being a very stupid girl! Sookie: Who asked you?! I, I can take care of myself! Sam: I don't think so! Mack could have cut you up last night! Sookie: How do you know what he'd have done?! (Sam pushes Sookie into his office and closes the door.) Sam: Now, you settin' up a date with a vampire?! What do you have, a death wish?! Sookie: No, I don't have a death wish! I just happen to think judging an entire group of people based on the actions of a few individuals within that group is morally wrong! Sam: Well, I will not let you put yourself or this bar in danger! I won't! Sookie: Am, am I fired? Sam: No! But next time you think somebody's being harmed in the parking lot, pick up the phone and call the police! Do not go out there alone like a <snip> vigilante! Sam (sighs) : Oh, chère. (Sookie starts to cry and Sam takes her in his arms to comfort her.) Sam: Don't you know I couldn't stand to lose you? Sam (thinking): Feels so warm, I can't help it. I want you. Damn! You smell so good. I love the way you smell. I love you Sookie and I always have. I want to tell you the truth... (Hearing these thoughts, Sookie slowly draws back from Sam's embrace just as Tara barges into the room.) Tara: Are you out of your ever-loving mind?! That vampire wants you for dinner. Sookie: I just ... Tara: Well, I won't let you just walk into his trap! No ma'am! -- over my d*ad body! You mean too much to me. Tara(thinking): Don't you look at me like that when I'm only looking out for you. I never noticed how much, you and Jason have the same eyes. Such sweet eyes. He could never k*ll anybody. Sookie: Oh, for heaven's sakes,Tara! Jason is never going to care about you the way you care about him! Tara: What the <snip> you...? You made a promise! You stay out of my head! (Sam and Tara's thoughts start coming at Sookie at the same time.) Sam (thinking): Sookie ... I know how hard for her it's got to be... Tara (thinking): Promise me you never do that again ... maybe Jason will get shook up by this whole Maudette business ... Sookie (shouting): Oh just shut up, the both of you, and stop bossing me around! I am a grown woman and I am the one who decides what I do, not either one of you. (Sookie pushes past both of them and leaves the room. Tara starts to go after her but Sam pulls her back.) Scene 19 Merlotte's Bar and Grill Parking Lot -- It's closing time as Merlotte's light goes off. Sookie comes out the door and looks around. She doesn't see Bill. Sam leaves the building by another door and walks over to Sookie. Sam: Sookie. Sookie: Sam Sam: You want me to wait with you until... Sookie (smiling): Go home, Sam. Sam: Good night. Sam walks over to his trailer, turns and watches Sookie walk towards her car. Then he unlocks the door and enters his house. As she unlocks her car, Sookie hears a sound and walks further into the deserted parking lot. She stops and looks, but sees no one. Suddenly, she's pushed from behind and falls face-first to the ground! Before she can recover, two people start viciously kicking her! It's Mack and Denise Rattray! They kick her over and over again! One blow catches her face and she reels back, blood splattering around. A gurgling noise starts in her throat. Sookie trys to raise up but Mack Rattray kicks her in the head. End To Be Continued ~~>

{"type": "series", "show": "True Blood", "episode": "01x01 - Strange Love"}

foreverdreaming

Scene 1 -- The Old Compton House -- Sookie is standing on the porch. A woman vampire (Diane) and a male vampire (Malcolm) are standing in the doorway, showing their fangs and snarling at Sookie. There's a bald, tattooed vampire (Liam) standing behind Sookie doing the same thing. Malcolm (speaking slowly): Maybe you ought to come on inside. Sookie: Are you trying to glamour me? Malcolm: Yes! Sookie: That doesn't work on me. Liam: Why not? Sookie: I don't know. It just doesn't. Is Bill available? Bill (not seen): Let her in. (Diane and Malcolm block Sookie's way and stare at her menacingly.) Bill (not seen): Diane! Let her in. Diane (sighs): Oh, <snip> him. Malcolm: You have. (Diane and Malcolm draw apart, leaving a passageway between them for Sookie to enter the house. Sookie slowly walks by them and into the living room. There's a young man (Jerry), seated on one of the sofas and a woman (Janella), laying on the other sofa. Bill is seated in a corner of the room facing Sookie. The other three vampires follow Sookie into the room.) Sookie (to the three vampires): If y'all excuse me and Bill a minute, we have some business to attend to. Diane (to Bill about Sookie): Where'd you find this? Liam: Damn. She smells <snip> sweet! Malcolm: And to think just five minutes ago you were telling us how you were living mainly on synthetic blood. You big poseur. Diane: I don't know, Malcolm. She looks like a virgin to me. Sookie: That's none of your damn business, you nosy bitch! Diane: It is my business, cupcake. You wanna know why? Because virgin blood ... is the best-tasting blood ... there is. Well, second best. The best would be... Liam: Baby's blood. (Fast as lightning, Liam grabs Sookie and draws her close to him.) Liam: I get <snip> just thinking about it. (Liam pushes Sookie's head to one side, exposing her neck.) Liam: Ladies first. (As Diane draws near to Sookie's throat, Bill quickly gets up out of the chair.) Bill: Stop! Sookie is mine. Cut to opening credits to the tune of "Bad Things" by Jace Everett Scene 1 continued Malcolm: Well! If you're Bill's, I certainly don't want to do anything to disturb your little arrangement. That's why I always bring Jerry with me ... wherever I go. He's like mad money. Liam: Somebody needs to get down on <snip>. (As Malcolm and Diane sit down on the sofa near Jerry, Janella gets up and crosses over to Liam.) Diane (laughing and looking at Sookie): Aw ... She's innocent. Bill: She's mine. Diane: Yeah, yeah, we got it. Diane (to Sookie): So, why aren't you over there taking care of your master, human? Can't you see how hungry he is? Malcolm: Uh ... Bill, if you're hungry you're more than welcome to have some of Jerry. (Jerry gets up and crosses over to the opposite sofa and sits down in front of Bill. Jerry bends his head and exposes his neck for Bill.) Liam (not seen): Come on, <snip> it. (Bill stares at Jerry's neck. Then, glancing at Sookie, Bill's fangs descend. Bill struggles to resist but finds he cannot. He starts to draw close to Jerry's neck.) Jerry (thinking): Stick them in already! Get infected, you <snip> vampire <snip>! Come on, do it! Let's see how you like hep D. You <snip> ain't be able to move for like a year. Sookie: Stop, he has hep D! (The room is suddenly quiet as everyone looks at Sookie.) Sookie: What is hep D? (Jerry gets up and rushes at Sookie. He grabs her around the throat and starts choking her!) Jerry (thinking): <snip> bitch! How does she know?! There's no way! I didn't tell a soul ... Jerry (speaking): These <snip> k*lled Marcus! Jerry (thinking): If he hadn't gotten hooked on V, he never would have left me. We would've been... (Suddenly, Bill grabs Jerry's arm, forcing him away from Sookie. With one swift movement, Bill breaks Jerry's arm and propels him across the room back to the sofa. Malcolm quickly crosses over to Jerry as Bill kneels down next to Sookie and gently cradles her head with his hands.) Malcolm: Well, this has all been very ... illuminating. But we've got a long ride back to Monroe, and I'm sure we'll all wanna have a little talk with Jerry ... when he wakes up. (Malcolm grabs Jerry and throws him over his shoulder.) Liam: Out, Janella. We're being evicted. Diane: Hey! ... Isn't anyone even the slightest bit interested in how this little bitch knew about Jerry? Bill (to Sookie): You can't speak yet, can you, sweetheart? (Diane quickly moves over to Sookie and stares into her face.) Diane: I could make her talk. Bill: Diane ... You forget. Diane: Yeah, yeah ... She's yours. Whatever. Malcolm: Jerry, you stupid bitch. Nobody <snip> with me and gets away with it. (The three vampires exit, Jerry slung over Malcolm's shoulder and Janella walking with Liam. Bill gently raises Sookie into a sitting position. She quickly turns her back on him. Bill slowly gets up and walks across the room.) Bill: I'm sorry you had to witness that. Their visit was unexpected. Sookie: What's hep D? Bill: Hepatitis D is the only blood-borne pathogen to which we are susceptible. Malcolm must be furious. Sookie: Hepatitis? Bill: A mutation. Relatively harmless to humans, oddly enough. Sookie: I've never even heard of it. Bill: That's because we've kept it out of the media. Sookie: And it makes you sick for a year? Bill: No ... just makes us weak for about a month or so. The biggest danger to us from hep D is being captured and staked during that time. Sookie: Yeah ... you don't want your weaknesses to be public knowledge. Bill: Precisely. Sookie: And what the hell did you mean, "Sookie is mine"?! Bill: I was communicating to the others that you were my human, and therefore I was the only one who could feed on you. Sookie: You most certainly cannot feed on me! Bill: Of course I can't, Sookie! But had they known that, they'd have considered you fair game, and I wouldn't have been able to stop them from attacking you. It'd be three against one, and Malcolm is much older than I am and quite strong. Sookie: And you and Diane dated? Bill: We... had sex once ... just after she was made a vampire, back in the late 1930s. Sookie: What? Gross. Bill ... she's so ... they're all so mean ... so... Bill: Evil. Yes, they are. They share a nest -- and when vampires live in nests they become more cruel, more vicious. They become laws unto themselves. Whereas vampires such as I, who live alone, much more likely to hang onto some semblance of our former humanity. Sookie: Here. Contact info for two electrical contractors. They're willing to come out at night and give you quotes. Bill: Thank you. Sookie: I have to go. Bill: May I kiss you goodnight? Sookie: No! I couldn't stand it after them. (Bill stares after Sookie as she leaves the house.) Scene 2 -- Merlotte's Bar and Grill -- Sam and Tara are cleaning up after hours. Sam carries a case of beer to the refrigerator behind the bar and starts stocking it. Tara stands at the bar cleaning glasses. Sam: Why you still here? Tara: I don't wanna go home. Sam: OK. (Dawn walks by on her way out the door.) Dawn: Night, y'all. Sam: Night, Dawn. Tara: Night. Tara (to Sam): Can I have one of those? Sam: Uh ... I guess ... long as you're not on the clock. (Sam grabs two beers, hands one to Tara and after setting his aside, goes back to stocking the refrigerator.) Tara: Sam, you think Sookie's gettin' serious about that vampire? Sam: I think she's gettin' to know him. And once she does, I don't think she'll be gettin' too serious about him. Tara: I think he's gettin' pretty damn serious about her. (Sam quickly looks over at Tara.) Sam: How so? Tara: I was over at the Stackhouses' last night. He came over to call on Sookie ... all cleaned up and smellin' nice ... lookin' like he just stepped out of some piece of <snip> movie about plantations and <snip>. Do you know he actually owned slaves? Least he could've done was apologize to me. Sam: How did Miss Stackhouse seem to feel about a vampire being in her house, interested in her granddaughter? Tara: Sam, she seemed like she was in seventh heaven. It was <snip> weird. (Sam sighs and then returns his attention to stocking the refrigerator.) Tara: You know you don't have anybody to blame but yourself. It's obvious you're carrying a big one for Sookie. I've known it ever since I met you. Sam: That's really not any of your business, now, is it? Tara: She's always been ... well ... peculiar around men. I mean, she's not gonna make the first move. Sam: Do I have to remind you that I'm your boss? Tara: Oh come on, Sam! Don't even try to pull any of that "workin' for the man" <snip> with me. You should've said somethin', and you know it. How come you never have? Sam: How come you never said anything to Jason? Tara: Because I'm comfortable with him being right where he is, which is unattainable. Which is part of my whole <snip> thing -- low self-esteem, childhood trauma, blah-blah, snore. What's your excuse? Sam: You know ... not everybody likes to lay their guts out on the table like that, Tara. Tara: Yeah, they might not like it, but they all dream about finding somebody they can do it with. Sam (sighs) : You know, the funny thing is? I kind of did let Sookie know for the first time night before last ... not even a minute before that vampire walked through my front door. Tara: Well, if I were you, I would get in there right now while you still got a sh*t. Sam: No, you wouldn't. You just said so yourself. (Tara and Sam each take a drink of their beers. Sam thinks for a minute and then looks back at Tara.) Sam: She can't hear his thoughts. Tara: For real?! Well hell, that explains everything. Sam: I told her she can listen to my thoughts whenever she wanted to. Tara: No, see, she doesn't wanna listen to any body's thoughts. She wants to not hear 'em. But that requires constant work on her part. And now she's met somebody and she can drop all that effort and just relax... Oh, man, you don't stand a chance. I'm really sorry, but you don't. Sam: You know, you can go home anytime you want, Tara. Tara: No, I can't. Really. Scene 3 -- Dawn arrives home after work. She laughs as she hurries into the house thinking of Jason tied to the headboard of the bed. Arriving at the bedroom, she flips the light on -- smile fading as she stares at the empty bed. Suddenly, someone att*cks her from behind and wraps an arm around her neck! Attacker(wearing a hood -- voice low and menacing): You kept me waiting. Dawn (as she struggles): Oh, God. Attacker : I don't like to wait. I need to taste you again. (Dawn continues to struggle but she doesn't appear as frightened any more.) Dawn: Come on, Jason. Attacker: I probably should've told you I've got a highly addictive nature. I'm ... I'm gonna get some more of that sweet stuff out of you. I guess you don't have too much of a problem with that. (The attacker throws Dawn on the bed and looms over her. Dawn is struggling and the fear has returned.) Attacker: Don't fight me. Because I will hurt you. What are you to me? Just another idiot <snip> who puts out for vampires. Here we go. I know you liked it. (Dawn raises up but the attacker pushes her back down.) Attacker: Slow down. I'm in no hurry. I just drained that poor <snip> you left tied up to the bed. Very considerate of you, by the way. Dawn: Oh, God! Where is he? Oh, no! (Dawn starts screaming again and renews her frantic struggle.) Attacker: Which part of him? Dawn: This isn't happening! This isn't happening! Attacker: What do you expect me to do? You lay him out like an all-you-can-eat buffet ... although he did put up quite a fight. (Dawn desperately reaches for something on the nightstand. While her back is turned, the attacker rips his hood off -- revealing Jason! He flips her back around. Dawn screams and then grows quiet as she sees Jason's face. Jason laughs, raises up and does a few dance moves. ) Dawn (slapping Jason's face): You! Jason (laughs): Oh yeah! (Dawn begins to b*at Jason with her fists.) Dawn: That is not funny. That is not funny! You... Jason: Yes! Yes! Yes! (Jason grabs Dawn and holds her until she stops hitting him.) Jason: Just think of it as foreplay, baby. (Dawn slaps Jason's face twice.) Jason: Do it again. Do it again. Give me some of that sweet stuff. (Jason roars, Dawn starts laughing, then they fall back onto the bed.) Scene 4 -- Gran and Sookie's house -- Sookie drives up to the house and parks. She stares at the house, takes a deep breath and wipes the tears from her eyes. Once composed, she begins to approach the porch. She glances down to put her keys away and is startled when she looks up and finds Bill standing in front of her. Sookie: <snip> damn it, Bill! How many times do I have to tell you, do not do that?! Bill: I'm sorry. It wasn't intentional. I just got here. I wanted to make sure that you were safe. (Bill descends the porch steps. Then he and Sookie stare at each other in silence.) Sookie: Why can't I hear your thoughts? Do you even have any thoughts? Bill: Oh, I have thoughts ... many lifetimes of thoughts. Sookie: So why can't I hear them? Bill: I don't know. Perhaps it's 'cause I don't have brain waves. Sookie: Why not? Bill: Because I'm d*ad. Sookie: No, you're not. You're standin' here, talkin' to me. Bill: I have no heartbeat. I have no need to breathe. There are no electrical impulses in my body. What animates you no longer animates me. Sookie: What does animate you, then? Blood? How do you digest it if nothing works? Bill: Magic. Sookie: Oh, come on, Bill! I may look naive, but I'm not! And you ... you need to remember that. Bill: You think that it's not magic that keeps you alive? Just 'cause you understand the mechanics of how something works doesn't make it any less of a miracle, which is just another word for magic. We're all kept alive by magic, Sookie. My magic's just a little different from yours, that's all. Sookie: I think we need to stop seein' each other. (Sookie turns and runs up the porch steps.) Bill: Why?! Sookie (standing on the porch): Because you don't breathe! You don't have any electrical whatever-it-is! Your friends would like nothin' more than to rip my throat out! And because vampires k*lled that preacher from the Fellowship of the Sun church and his wife and baby! You look me in the eye and tell me they didn't do it! Bill: Humans have k*lled millions upon millions in senseless wars. I do not hold you responsible for that. Sookie: Bill, night before last, I had to bury my bloody clothes because I didn't want my grandmother to find out I was almost k*lled. And tonight, I was almost k*lled again! Why on earth would I continue seeing you? (Bill walks up the steps and stands facing Sookie.) Bill: Because you will never find a human man you can be yourself with. (Sookie shakes her head and turns to go into the house.) Bill (grabbing her arm): Sookie! (Sookie pushes his hand away.) Sookie: Do not touch me! Just go, please. (Sookie goes into the house and closes the door.) Scene 5 -- Sam's house trailer -- Tara is sitting on Sam's front porch. Sam exits the trailer and hands Tara a drink. Tara: Thanks. Sam: So... Can I ask you a personal question? Tara: Sure. Sam: Why is it you don't wanna go home? Tara (Tara holds up her drink): This right here. My mama's a drunk. Not just a slurs-her-words drunk, a ... waking-up-in-her-own-vomit kind of drunk. Sam: I'm sorry. Tara: I just can't be around her when she's gone like that. Sam: Yeah. Tara: I know she may end up dying ... lighting herself on f*re with a lit cigarette, but ... I can't. I won't. So, see, not only is the whole situation horrible, my guilt about it just makes it that much worse. Sam: Why don't you get your own place? Tara: Why don't you give me a raise? Sam: Had she ever tried AA? Tara: She doesn't need AA, Sam. She's got Jesus. Tara: Can I ... ask you a personal question? Sam: Hold on. (Sam takes a drink from his glass.) Sam(smiling): All right. Tara: Are you lonely? Sam: Yes ... I am. I am very... very lonely. Tara: How come you don't have a girlfriend? Plenty of women in this town will go for you. Sam: I don't know if that's true. Tara: You're hot -- you have a job -- you're not a serial k*ller ... Sam (laughing): Yeah! Who could resist that? Tara: Well ... Sam: Why don't you have a boyfriend? Tara: Uh ... we're not talking about me right now. Sam: Yeah, well... I just have a hard time opening up, that's all. Tara: Oh, please. What have you got to hide that's so <snip> bad in this <snip> town? Sam: No, Tara. I said I have a hard time opening up, and I meant it. I'm not gonna do it. Tara: Don't you ever get <snip>? Sam: Sure. Tara: How long has it been since you've had sex? Sam: A few months. Tara: That sucks. Sam: How about you? Tara: Eight months, three weeks. Sam: That sucks. Tara: You don't know! Ah ... well ... well, I guess you do. (They both laugh at that.) Sam: Hey, you want another one? Tara: Are you kidding? I'm an adult child of an alcoholic. I'll need at least three more. Sam: All right. I'll be right back. Tara: OK. (Sam goes back into the trailer, leaving Tara alone with her thoughts. She lets her hair down and glances over at the door to the trailer. A minute later, she's opening that door and going inside.) Tara: So maybe you and I should sleep together. Sam (laughs): Yeah, right. Tara: No, I mean, we're grownups ... no strings ... friends with benefits. Sam: Tara, you're my employee. Tara: Sam ... aren't you sick of not getting laid? I know I am. Sam: Yeah, but that doesn't mean we ... Tara: You have condoms? Sam: Tara ... that's a terrible idea. Tara: All right ... whatever! I mean, I am not lookin' for a boyfriend -- especially one who could f*re me. (Tara takes her drink from Sam and then stretches out on the sofa.) Tara: This would strictly be a one-time deal. We never even have to mention it again. Sam: No! Tara: Suit yourself. Sam (after thinking for a minute): You really think you'd be able to forget about it and not let it affect our working relationship? Tara: I've had to do much harder things than that in my life, believe me. Sam: Because if it got weird, I'd probably have to let you go. Tara: Big deal! Didn't even wanna hire me in the first place. Sam: OK. Tara: Yeah?! Great. (Sam puts his drink down and joins Tara on the sofa.) Sam: You feel nice. Tara: Yeah, I know I do. Scene 6 -- Dawn's house -- Jason and Dawn are having sex. At one point, Jason looks down at Dawn and imagines seeing the bald -- tattooed vampire (Liam) in her place. He closes his eyes but can't get the picture out of his head. Jason turns away from Dawn and lays down -- no longer interested in sex. Dawn: What's wrong? Jason, baby. What is it? Jason: I hate that you've been with vampires. Dawn: And how exactly is that any of your business? Jason: They're <snip> up, Dawn. They're freaks. They're <snip> d*ad! What's wrong with you, letting something nasty like that even touch you? Dawn: For your information, that was the best sex I ever had in my life. And who are you to judge?! You <snip> anything with a space between its legs.! Jason: You're lyin' "that was the best sex you ever had"! You told me I was the best sex you ever had! Dawn: And then you stopped callin' ... and comin' to Merlotte's ... and then ... I met that vampire. Jason: Which vampire? Bald-headed, tattoos, crazy? Dawn(laughing): No, actually, he had a lot of hair. I met him in Shreveport at the vampire bar. Jason: And you just let him bite you? Dawn: Yeah, and I'm not... I'm not ashamed of that. Jason: Yeah, you ought to be. Dawn: You ought to get off your high horse. Jason: Is that who you thought I was tonight? When you started rubbin' up against me like a cat in heat? Dawn: No, baby, I knew all along it was you. Jason: You're a lying sack of <snip>. You would <snip> that vampire and let him bite you if he showed up tonight. Dawn: All right! Now this ... is getting boring! And I think you should leave. Jason(laughs): And you gonna throw me out? I don't think so. Dawn: This is my house! Jason: And I ain't goin' nowhere. Dawn (getting dressed): God, just because you lost your hard-on doesn't mean you have to have a <snip> meltdown! Believe it or not,Jason -- the world does not revolve around your <snip>! Jason: Where are you goin' ? (Dawn goes into the other room -- continuing to talk.) Dawn: To get a cigarette! It isn't like I don't know that you're a great <snip>. It happens to every guy at some point or another. (Jason removes his condom and throws it down toward the nightstand.) Jason: Would you stop talking about it, please?! (Dawn returns to the bedroom with a g*n! She points it directly at Jason.) Dawn: Every guy except for vampires. (Jason starts laughing and points his finger at Dawn.) Dawn: Does it look like I'm laughing? Jason (still laughing): Ah, you should be. (Jason pulls out some dental floss and starts flossing his teeth.) Dawn: You do not own me, Jason Stackhouse. And if I want you out of my house, you better get your sorry ass out of here! Jason: I ain't goin' nowhere. Dawn: Oh, yes, you are. (Dawn fires the g*n toward the floor! Jason is startled and starts fumbling around with the blanket, trying to get up out of the bed. g*n raised and pointed toward Jason, Dawn starts walking toward the bed.) Dawn: You are obnoxious and full of yourself and dumber than a box of hair -- and now you can't even get it up? There's no reason why I should be seeing you anymore. Jason: You're <snip> crazy. Dawn: You bet your sweet ass I am. Now get the <snip> out of my house! Jason: Let me get my pants on. Dawn: Hmm... I don't think I feel like waiting. (Dawn fires the g*n toward the floor again!) Dawn: Get the <snip> out! Jason: <snip> damn it, woman! (Jason runs out of the house. Dawn comes running out after him and throws the rest of his clothes at him.) Dawn: That's right, you get the <snip> out of my house! Limp <snip> <snip>! Why don't you go try and <snip> your grandmother with that limp <snip>! (Dawn goes back into the house as Jason rushes back up to the porch. He stands yelling at the door.) Jason: Bitch! I can get it up! Bitch! (Jason starts to leave the porch when the next door neighbor -- an older woman -- comes out to see what all the noise is about.) Jason (to the neighbor): Yeah, you heard me. Your neighbor's a crazy bitch! (The neighbor goes back into the house and Jason gets into his truck.) Jason: <snip> damn bloodsuckers! <snip>! Scene 7 -- Bill Compton's house -- Bill is sitting in the living room reading a book. There are numerous kerosene lanterns lit and casting a soft glow on the room. Suddenly, feeling a presence, Bill bolts up and turns around, fangs bared. Bill: Sookie, don't ever sneak up on a vampire. What are you doing here? Sookie (in nightgown): All right, here's the deal ... and this is a little embarrassin'. I've never been with a man intimately, for all the reasons I told you about. But ... I feel things when I'm with you that make me think and ... I know this could be a huge mistake -- one I will regret forever ... but it feels like you're the one that I'm supposed to, you know ... do it with. And ... I'm really nervous about that ... and frankly -- I'm scared to death of you. So can we just get it out of the way already so I can relax and get a good night's sleep? (Bill draws close to kiss Sookie.) Sookie: Just ... just don't bite me, OK? (Bill and Sookie slowly begin to kiss each other. Bill gently slips Sookie's nightgown off. As their passion begins to build the scene shifts to Sookie in her own bed -- dreaming. Slowly she wakes up and her eyes wander over to her cat, Tina, who is purring as she watches Sookie. Sookie, suddenly wide awake, removes her hand from under the blanket.) Sookie (loud whisper to Tina): Stop that! Scene 8 -- Sam Merlotte's house trailer -- A dog barks. Tara lays in the bed next to Sam, who is sleeping. Tara raises up and looks at Sam as he moans and growls in his sleep. Scene 9 -- Jason's house -- Jason drives up and goes inside his house. After turning on the light, he tosses his clothes and keys down and then gets a beer from the refrigerator. He sits down and uses the remote to turn on the television. The first program is an old black and white horror classic and Basil Rathbone is staking a woman vampire. Jason : You gotta be kiddin' me! (Jason changes channels and the next program is a talk show. There are three people seated and talking to each other -- the late Reverend Newlin's son, a man in a white suit, a big-haired blond with a lot of make-up.) Rev. Newlin's son: ... but the vampires assassinated my father, because of his campaign against the vampire agenda. White suit guy: Theodore Newlin is a hero -- first casualty in World w*r III. Big-Haired Blond: Amen. Rev. Newlin's son: It's Armageddon. Big-Haired Blond: Amen! (Jason (raising his beer): Amen!) Rev. Newlin's son: ... I intend to continue my father's work because ... (Jason switches channels again. This program is on bats.) Narrator: Vampire bats are bats that feed on blood, feeding on the blood of animals like cows, pigs and horses. The vampire bat requires about two tablespoons ... Jason (turning off the TV): Damn it! Scene 10 -- The home of vampires, Malcolm, Diane and Liam (in Monroe?). The three vampires are in the living room. There's a few lamps on and many lit candles scattered throughout on the tables. Diane: Oh, Malcolm. Come on, baby. Malcolm: Damn. I really liked Jerry. Diane: Don't worry. We'll find you another hot little blood bank. Liam: Let's go down to LSU tomorrow night and raid us a frat house. Diane: Ooh yes! I'm in the mood for something dumb, thick and juicy. (Someone knocks on the door. With lightning speed Malcolm gets up and opens the door. Bill Compton silently walks in.) Liam: What luck. Malcolm: Everyone's favorite buzz-k*ll. Diane: Hey, baby. Liam: Yo, Mr. Main Street. Thirsty? (Liam offers Bill a glass of blood.) Bill: No. Diane: Hungry for something else? I remember you having a very sizable ... appetite. (Bill throws Diane across the room! Everyone's fangs come out as she recovers and strides back to Bill.) Bill: The three of you will stay away from me and Sookie from now on. Malcolm: I'm your elder. You have no authority here. Bill: There are higher authorities. Malcolm: I'm not afraid of Eric. Bill: Higher than him. Malcolm: Well, then, she can speak to me. Diane: She can suck on sunlight for all I care. Bill: You know, you're doing nothing to help our cause. Diane: Not everyone wants to dress up and play human, Bill. Liam: Yeah! Not everybody wants to live off that Japanese <snip> they call blood, either -- as if we could. Bill: We have to moderate our behavior now that we are out in the open. Malcolm: Not everybody thinks it was such a great idea. And not everybody intends to tow the party line. Honey, if we can't k*ll people, what's the point of being a vampire? Bill: Where's Jerry? Malcolm: We left him on the side of I-20. Well, most of him, anyway. I kept a souvenir or two. Liam: Janella felt so bad about what Jerry did, she made the ultimate sacrifice. (Bill walks to another room. There he sees Janella, hanging upside down -- her blood dripping into a bucket beneath her.) Bill: You know, you all make me sick. Diane: You used to be fun. This all on account of that little blond breather? Bill: If you insist on flaunting your ways in front of mortals, there will be consequences. (With vampire speed, Bill exits the house, closing the door behind him.) Malcolm: <snip>! Scene 11 Sam's house trailer. -- It's early morning as Sam wakes up. The bed beside him is empty. Sam looks around but doesn't see Tara anywhere. Scene 12 -- Tara and Lettie Mae's home -- Tara drives up to her house and parks her car. She slips through the front door but doesn't make it all the way in, when her mother hits her over the head with a big heavy book! Tara cries out in pain and holding her head, stumbles across the room. Lettie Mae: Where the hell you been, you dirty whore?! Tara: Mama! Lettie Mae: Out all night doing all kinds of God-know-what! You the devil, child! You ain't no child of mine! (Lettie Mae takes another swing at Tara with the book, but misses when Tara avoids the blow. The force of her swing causes Lettie Mae to fall to her knees -- hands landing on the coffee table.) Tara: Oh, Jesus! Lettie Mae: Jesus ain't gonna help you! Tara: Yeah, that's been clear for quite some time. Lettie Mae: You sass the Lord and I will kick your skinny ass, you hear me?! Tara: You can't even stand up ... you pathetic, ugly old bitch! (Lettie Mae, now sitting on the floor, looks up at Tara, grabs her chest and begins to cry.) Tara(softly): <snip>. Oh, mama. (Tara goes over to help her crying mother.) Lettie Mae: I ain't ugly! Tara: Mama, why do you wanna do this to yourself? Lettie Mae: If Jesus was here, he'd take one look at you and he'd apologize for giving me such a spiteful child! Tara: You kidding? Jesus wouldn't even set foot inside this house, not with the way you smell. Now, let's just go and take a shower. OK? I'm gonna help you up. (As Tara is helping her mother up, Lettie Mae grabs a liquor bottle and bashes it against the side of Tara's head.) Lettie Mae (screams): Who's ugly now?! Tara: All right. You may have carried me ... and nursed me ... but obviously you are now set on k*lling me! And if I'm forced to choose between you and me, guess what? You lose. (Tara grabs her keys and starts for the door.) Lettie Mae: You get back here! You help me up! Tara (crying): You on your own, old woman! Scene 13 -- Gran and Sookie's house -- Sookie is mowing the lawn. Gran: Sookie! (Sookie hears Gran calling her name. She stops the mower and looks over at her grandmother.) Gran: You're gonna faint out here in this heat, honey! It's barely 9:00 and already 80 degrees. Here. I made you some lemonade. Fresh-squeezed. Sookie: Thanks, Gran. Gran: Goodness, what has got into you? Sookie: I just need to stay busy right now, that's all. Gran: What? How long have you been... Sookie: I started uh ... when the sun came up. But I was up much earlier than that. I just stayed inside. Gran: Are you concerned about the vampire? Sookie, has he done something untoward? Sookie: No! No! Not at all. Well, I'm just thinking ... What I'm thinking is ... is stay away, but ... what I'm feeling... what I'm feeling ... with my whole body is ... somethin' else entirely and I don't know whether to trust my ... my head or... Gran (nodding wisely): Heart. Sookie: Yes. Gran: Well, that is a dilemma. Why don't you come on inside, and let me make you something to eat? If you're gonna be out workin' like a horse, you ought to at least to have somethin' in your stomach. Sookie: Oh no, thanks. I'm not hungry. Gran: I didn't ask ... if you were hungry. (Sookie looks at her grandmother and then follows her into the house. Back by an old tree, a silent collie stands and watches. After Sookie and Gran go into the house, the dogs races away.) Scene 14 -- Lafayette's house -- Someone is banging on his front door. Lafayette: I'm coming! Hell! Beating on my <snip> door! Damn! (Lafayette parts the blinds and sees that it's Tara. He unlocks the door and lets her in.) Tara: She h*t me with a <snip> liquor bottle! My head is bleeding! Lafayette: Will you stop yelling? I got a guest. Tara: Oh, <snip>. Lafayette: He in the shower. Tara: Do you think I'll need stitches? Lafayette: Let me see. No! You're gonna put some peroxide on that ... then take two Vicodin with a big glass of red wine ... then smoke some bad-ass ganja, baby. By the time you wake up... all healed. Here -- one, two. Tara: Mind if I stay here for a while? Lafayette: Does it matter if I'm around? Tara: No Lafayette: Then do you. Tara: Damn. After, everything I've done for that woman. Lafayette: Poor baby. Here. (Lafayette passes a joint to Tara.) Lafayette: Suck on this. It'll make you feel lots better. (Lafayette's guest enters the living room. As he tucks in his shirt, he notices Tara.) Man: Uh ... hi. Lafayette: This is my cousin Tara. Tara, this is... Man: Duke... Duke Smith. Lafayette (laughing): Boyfriend, you are so not a duke. Man: Ah ... I left the uh ... in the ... uh ... Lafayette: Excellent ... excellent. (The man starts to leave, but Lafayette stops him pointing at the pot Tara is smoking.) Lafayette: For the road? Man: All right. (The man takes a h*t and then smiles at Lafayette.) Man: Thank you. Call me when the ... comes in. Lafayette: I will. Ta-ta. Take care ... Duke. (The man leaves Lafayette's house.) Tara: What the hell was that? Lafayette: That was a state senator. Tara: You're a prost*tute now?! Lafayette: I'm an entrepreneur. (Tara gives Lafayette a disbelieving look.) Lafayette: What? I'm supposed to be satisfied being a <snip> short-order cook and workin' on the road crew? Which is basically one step from the chain g*ng. But I ain't complainin', baby. No I ain't, 'cause it gives me this body. And this body's gonna be my <snip> ticket out. Yes, it is! How else am I gonna get ahead in this Podunk town? Already got a website. Shows due. Tara: What's wrong with us, Lafayette? You're a state-senator <snip> prost*tute and I'm a bartender in a redneck bar who <snip> her boss ... who's in love with her best friend. Lafayette: Here just take another h*t off this. Wait a minute, you slept with Sam. Tara: You know what? He barks in his sleep. Lafayette: Damn, white folks just all <snip> up. Tara: Yeah, that's what I said. Scene 15 -- Sam Merlotte's house trailer. Sam is sitting on the front steps, reading the newspaper. A collie barks and comes running up to him. Sam (pets dog): Hey! What's up, my brother? Sam (reading from the paper): Aw, hell! Starbucks comin' to Marthaville. I wonder if I just break down and get a <snip> damn cappuccino machine. (The dog starts whimpering. Sam starts petting him again.) Sam: Hey! You know what I really wish would come to Marthaville? Huh? Buffy ... a Blade ... or any one of those bad-ass vampire K*llers to take care of Mr. Compton. That's what I wish. You don't care about my problems at all, do you? You just want to play. Huh? One-track mind. (Sam grabs a ball and gets down off the steps. The dog starts barking and getting excited.) Sam: Ready? Ready? Go! Go get it! (Sam throws the ball and the dog takes off after it. Sam runs a few steps and watches the dog speed away.) Scene 16 -- Gran and Sookie's house. -- Gran is cooking breakfast while Sookie sits at the table. Sookie: Marthaville's gettin' a Starbucks. Gran: I cannot for the life of me see why anybody would spend $3 on a cup of coffee with too much milk. Sookie: Arlene told me, that people are less calcium-deficient than they used to be because of all the fancy coffee they drink nowadays. Gran: You know, I never thought of that, but it does make sense. (Gran sets her plate down on the table and then sits down to join Sookie for breakfast.) Sookie: Hey, Gran. Do you think I should continue seeing Bill? Gran: Sookie, I can't tell you that. I can tell you that I think he is a smart, handsome and very polite young man, but of course he's gonna show his best side to me so that I won't stand in the way of his courtin' you. Sookie: He scares me. Gran: Well, it is scary ... opening your heart up to somebody. Sookie: I think it's a little scarier ... the vampire then... the regular guy? Gran: I suppose. Bill is the first vampire I ever met ... that I know of. Sookie: Not scared that he would ever hurt me ... scared because ... I don't know what he's thinking. Gran: I would imagine that, that wouldn't be such a bad thing for you with your... ability. (Sookie gets up and takes her plate to the sink. Gran sighs and thinks about something -- seeming to make a decision.) Gran: You know, your grandfather used to know things. (Sookie straightens up over the sink with her back to Gran.) Sookie: What things? Gran: If somebody was having money problems -- running around behind their wife's back -- sick ... that kind of thing. Personal things they never would have told anybody about. Sookie (turning to face Gran): See, that's exactly it. If I don't stop myself from it, I hear everybody's deepest, darkest secrets. I'm sorry. That's just too much information! Gran: But then Earl's brother, your Great-Uncle Francis, came back from Korea in real bad shape -- all torn up from the things he'd seen. Earl knew he was thinking about k*lling himself. He went over there in the middle of the night one night. Francis was just about to kick the chair out from underneath him -- already had the noose around his neck. But Earl talked him out of it. I just think there is a purpose for everything that God creates, whether it's a unique ability or a cup of overpriced coffee with too much milk ... or a vampire. God will reveal that purpose when the time is right. (Sookie walks over, kisses Gran on the cheek and then starts going up the back stairs to the second floor. She stops mid-stride, and goes back down to the kitchen.) Sookie: Wait. I thought Great-Uncle Francis did k*ll himself, with a g*n. Gran: Oh, yes, he did, but that was years later. Scene 17 -- Lafayette's house -- Someone is knocking at the door. Lafayette: Hold on, <snip> damn it! <snip>! What the damn <snip>?! (Lafayette opens the door and finds Jason standing there.) Lafayette: Well, hello ... hotness. Jason: Lafayette, I need your help. Lafayette: I am so glad you finally recognized that truth. Jason: You're wearing gold pants. (Lafayette turns on some music, then sits next to Jason on his sofa.) Lafayette: So, what you need? Jason: I ... Do you have any ... Viagra? Lafayette: What? Jason: Viagra. Do you have any Viagra? Lafayette (laughing): No. Jason: Seriously? I thought you had everything. Lafayette: Jason ... puppy dog ... Viagra is legal. You can buy it in the drugstore. Jason: Yeah, I know, but I need it now. Don't you have anything that would... Lafayette: Give you <snip> a saw couldn't cut through it? Jason: Yeah, that sounds good. I think. Lafayette: Yeah! I do. But it's very expensive. Jason: Well, how much? Lafayette: Six hundred a quarter of an ounce. Jason: Get the <snip> out of here! What in the hell's worth that kind of money?! (Lafayette opens up a small concealed refrigerator and gets out of vial of blood. He sits back down next to Jason, and holds up the vial.) Jason: When'd you start dealing V? Lafayette: When I realized there was a market for it. Now, I don't want this getting out, <snip>. Do you understand me? Jason: Yeah, yeah. Lafayette: The vamps don't take kindly to the juice dispenser. Jason: Where'd you get it? Lafayette: Let's just say I have an arrangement with a certain life-challenged individual who appreciate my multi-faceted talents. Jason: <snip> damn. Is there anybody who isn't <snip> vampires these days? Lafayette: Tell me something, lover. Do you wanna <snip> and have the best sex you have ever had for both you and your lady friend? Jason: Yes, yes, yes, yes! Lafayette: Take one, maybe two drops of this. No more. Any more and things might get a little intense, and I don't mean in a good way. Jason: Thanks, man. Appreciate it. (Jason starts to get up to leave, but Lafayette pulls him back down.) Lafayette: Ain't nothin' free in my world. Jason: Oh ... can I pay you later? I need to run to the bank. Lafayette: <snip>, who you think I am? (Lafayette gets up and locks the door.) Lafayette: I don't run a layaway program and I ain't interested in institutin' one. Jason: Aw come on, Lafayette. Isn't there some way you can let me pay you this afternoon? (Lafayette and Jason are now in another room. Jason has removed all of his clothes except his BVD's and watch. He's standing in front of a video camera that Lafayette has placed on a tripod.) Jason: <snip> damn it! I hate video cameras. Lafayette: You know how much you could make if you had your own website? Queens all over this world would pay good money just to watch you <snip>. Jason: Hey! You said all I had to do was dance! Lafayette: OK (Lafayette takes a remote out, presses it and the music starts.) Lafayette: Dance. Jason: Is anybody gonna see this who knows me? Lafayette: Probably. There's a lot of pervs in this town. Jason: OK, No way! That's not cool, man! (Jason picks up his clothes as Lafayette picks up a mask and holds it out to Jason.) Lafayette: Look, do you want the V or not? Jason: Give me the <snip> mask. Lafayette: That's my Jason. (As Jason puts on the mask, Tara comes up behind a curtain and sees Jason and Lafayette.) Tara (softly): What the <snip>? Lafayette: I like what you're working with. (Jason starts dancing.) Lafayette: Shake that ass. Ooh lover, you gonna make me clutch my pearls. Scene 18 -- Bill Compton's house. Sookie walks up the steps to the porch and looks through a window. The inside is dark and still. She sits down on the steps and looks around. The trees and sky shimmer and take on a brighter colors. As Sookie looks around she becomes aroused and then her cell phone rings. Sookie: Hello. Sam: Hey Sookie, it's Sam. Could you do me a favor? Sookie: Um ... sure ... maybe. Sam: Listen, I'm set to open for lunch in about 20 minutes, and Dawn still hasn't shown up for her shift. Sookie: Aw Sam, I really need my day off! Sam: No, no, I'm not asking you to come in. I just need you to run by Dawn's and wake her up. She probably just overslept. Sookie: OK (Sookie drives over to Dawn's house and starts knocking on the door.) Sookie: Dawn ... it's me, Sookie. Honey, you overslept. (Sookie opens the screen door and knocks on the inner door. Not getting any answer, Sookie tries the door handle and the door opens.) Sookie (entering): Dawn! Are you here? (Sookie walks through to the bedroom. The alarm is going off and there looks like there's been a struggle. Dawn is laying on the bed, eyes open. Sookie calls her name a few times but then realizes that Dawn will not be answering. Then Sookie screams.) End End

{"type": "series", "show": "True Blood", "episode": "01x03 - Mine"}

foreverdreaming

Scene 1: Sookie is in Dawn's bedroom. Dawn's alarm clock is buzzing. Sookie (screaming): Help! Someone, please! (Sookie moves to Dawn's body, lying in bed.) Sookie: Sweetie. What did you get yourself into? (Sookie pulls the sheet over Dawn's face. Cut to a vase falling to the floor and shattering. Sookie turns around, and Jason enters the room and stares at Dawn's body.) Sookie: Oh my God, Jason. (Sookie moves toward Jason, and hugs him.) Sookie: Oh, my God. Jason: It's OK. Sookie (screaming, beating on Jason with her open hands): Like hell it is! Look at her! She is definitely not...okay! Jason: Bangin' on me ain't gonna change anything none. Miss Lefebvre (off-camera): Dawn? I heard yelling. (Dawn's neighbor, Miss Lefebvre, enters the room, looks at Sookie and Jason, and sees Dawn's body in bed.) Miss Lefebvre: Sweet Lord in heaven. No. (Miss Lefebvre makes the Sign of the Cross on herself, walks to Dawn's bed and looks at the body.) Miss Lefebvre (turning to Jason, angry): What did you do? Jason: Me? Sookie: I found her, Miss Lefebvre. He...just got here. Miss Lefebvre: I saw you last night, Jason Stackhouse. I heard y'all fightin', then she took a sh*t at you, and you ran off. And now she's d*ad. Sookie: Jason? Jason: Yeah. We had a fight. But I came here to apologize. (Jason holds up a small bouquet of flowers.) Sookie: She fired a g*n at you, and you come back to apologize? Jason: Sook...I didn't do this! You gotta believe me. Miss Lefebvre: Well, I'm calling the police. (Miss Lefebvre leaves the room.) Jason: Well, call 'em! (Jason throws the bouquet across the room.) Jason: I had nothing to do with this. (Jason leaves the bedroom, then violently swings open the front door of Dawn's apartment (# 5044), sits on the porch, and looks over his left shoulder, frightened.) Cut to opening credits to the tune of "Bad Things" by Jace Everett Scene 2: A crowd has gathered outside of Dawn's apartment. Sookie's car is parked directly in front. Hoyt: I don't get it. She was so pretty. Arlene: Well, maybe...it was just her time. René: Ahhhhhh...she was only twen'y-t'ree years old. Ain't no twen'y-t'ree-year-old in the world whose time has come. (Mrs. Fortenberry, holding a leaf fan, joins them.) Mrs. Fortenberry: Hey, y'all. What'd I miss? Hoyt: Dawn's d*ad, Mama. Mrs. Fortenberry: I know. What a shame. Who they got in there? Arlene: Jason and Sookie Stackhouse. She found the body, but it sounds like they think he might have done it. Hoyt: Well, he didn't! Mrs. Fortenberry: Then who did? Arlene: I don't know. Hoyt: Probably the same person that k*lled Maudette. René: I tell you one t'ing, man. We too small a town to be losin' girls one after ta udder like this.Whoever it is, I hope they fry the <snip>. Arlene: René! René (turns to Mrs. Fortenberry): Uh, pardon my language, Miss Maxine. Mrs. Fortenberry: No need to apologize, René. We're all excited. Mmm, mmm! To be a fly on the wall in that apartment right now! Scene 3: Close-up of Dawn's face, now uncovered. A fly has landed on her lower lip. Sheriff Bud Dearborne and Detective Andy Bellefleur are speaking with Sookie and Jason in Dawn's living room. Sheriff Bud Dearborne (to Sookie): Now, I realize you've been through a lot. And you're scared. But I need you to try and remember when you got here. Was the door open? Or just unlocked? Sookie: Uh...o-open, I think. (Bud writes "k*ller HAD KEY?" on a memo pad as Sookie begins hearing the thoughts of others in the apartment.) Andy Bellefleur (thinking): It <snip> me off the way she keeps callin' me "Andy." Everyone calls Bud "sheriff." Why can't they call me "detective," <snip> damn it? When am I gonna get some respect around here? I'm a detective - [unintelligible] Unnamed Police Officer in Dawn's bedroom (thinking): Would you look at that? A fine pair of perfect, natural breasts. I'd have laid down money that they were fake. Well done, God. Now and then, not so well done, letting her die like You did. Jason (thinking): <snip>. <snip>. <snip> am I gonna do? I already got out of this once. No way they gonna let me walk again. And I'm too damned pretty to go to prison. Sheriff Bud Dearborne: Sookie! (Sookie is startled.) Sookie: Sorry... um, what was the question? Sheriff Bud Dearborne: Is that the exact position you found her in? Sookie: Well, I covered her up with a sheet, but I don't think I touched her. Sheriff Bud Dearborne: I wish you hadn't o' done that. Sookie: Next time I find a friend of mine d*ad, I'll try to remember that. Scene 4: The crowd outside Dawn's apartment. Mrs. Fortenberry (fanning herself): Uhh! I keep waiting for this heat to break, but it won't. Arlene: Uhh! It's the stubbornest summer we're having. Mrs. Fortenberry: Oh, I know. I feel like a cat on a hot tin roof. That's from a play. (Hoyt snorts and winces.) René: Well, I sho could use a beer right now in me. Y'all want some? (René walks toward (his/Arlene's/his and Arlene's, maybe?) apartment (# 5048).) Hoyt: Yeah, if you're getting one. Mrs. Fortenberry: Bring me one, wouldja? Arlene: While you're in there, would you mind rustlin' up a bucket of ice? And some of those nice plastic cups we got at the Super Save-A-Bunch last weekend? René: Yeah. Arlene: And maybe some paper doilies? René: Lord, woman, what's wit'choo and them doilies? Doilies are to protect the table. We outside. Arlene: They might wanna put 'em down on the car or something. Just bring the doilies, please. René: Fine. (René goes inside.) Arlene (to Mrs. Fortenberry): If all our conversations end with them saying "fine," why do they bother putting up a fight? (Arlene and Mrs. Fortenberry chuckle.) Scene 5: Detective Andy Bellefleur and Miss Lefebvre are seated in Dawn's living room. Andy questions her. Andy Bellefleur: So this fight you heard Dawn and Jason havin': Were you able to make any of it out? Miss Lefebvre: Just the tail end, right before the g*n. He called her... (An off-camera male voice is heard in the background, ostensibly coming from Dawn's bedroom. The commentary is very difficult to understand clearly, and continues for the duration of this scene.) Miss Lefebvre: ...a very bad word. Andy Bellefleur: Uh, huh. And what was that word? (The male voice is heard saying "I found her underwear".) Miss Lefebvre: Well...it starts with, uh...a "B". Andy Bellefleur: I see. (Andy writes "Bitch --> g*n" on his memo pad. The male voice is heard saying "sh*t".) Andy Bellefleur: OK. That'll be all. Thank you, Miss Lefebvre. Miss Lefebvre: Oh...you're welcome, Andy, dear. (Miss Lefebvre smiles, pats Andy on the hand, gets up and leaves the apartment. Andy does a slow burn. The male voice is heard saying "How undignified, dyin' without your underwear on.") Scene 6: Outside Dawn's apartment. Jason is handcuffed as Andy leads him to the police car, purposely bumping Jason into it. After opening the left rear door, Andy throws Jason into the car as Sookie watches from the front porch. Andy shuts the door, and Jason raises himself up to a seated position. Jason: Ai...ai...it's hot. (Jason tries to roll down the window. There is no handle inside the police car for him to do that.) Jason (screaming to Andy, who is still outside): Hey. Hey! Hey! You gonna make me wait in the car, can you at least turn on the A.C.? I know you can hear me! (Andy puts on his sunglasses, pretending not to notice Jason.) Jason: <snip>. [heavy sigh] Oh, <snip>. (Jason takes out the vial of V-juice from his jeans pocket, looks around, uncaps the vial, and drinks the V-juice. Jason places the empty vial in the space between the right rear passenger side back and seat cushions just before Andy gets in the car.) Jason: Couldn't hear me yellin'? Car's hotter than hell. Andy Bellefleur: Shut up. (An older-model sport-utility vehicle approaches, driven by Sam Merlotte. He is wearing sunglasses. Sookie is still standing on the front porch as Bud leaves the apartment.) Sheriff Bud Dearborne: Thank you, Sookie. We'll be in touch. Andy Bellefleur (shouting) Bud! Let's roll before I melt in here! Hoyt: Stop it, Mama! I don't need any sunblock. (Mrs. Fortenberry is applying sunblock to Hoyt's bare arms and face as Arlene watches.) Mrs. Fortenberry: Oh, please Hoyt. If anyone needs sunblock, it's you. Your skin's whiter than Desitin. Hoyt: Mama, I'm gonna move out. I swear it, I will. (Sam has exited his SUV and walks past the Fortenberrys toward Dawn's apartment.) Mrs. Fortenberry: No, you won't! Now get down, so I can get your neck! (Mrs. Fortenberry continues applying sunblock to Hoyt. Sam passes Bud as he enters the front passenger side of the police car. Andy starts the engine, sounds the siren, and the sound of the car leaving can be heard. Sookie is sitting down on the porch now, and looks up to see Sam, not wearing sunglasses.) Sam: Came as soon as I heard. (Sam sits down next to Sookie. He is holding his sunglasses in his left hand.) Sam: I'm sorry you had to be the one to find her. Sookie: It was gonna be somebody, right? Sam: I guess. Oh, I tell you, Sook. Sometimes I don't even recognize this world we're livin' in. I mean, <snip> damn it! Sookie: Be careful, now! God didn't do this. (Sam chuckles quietly and smiles at Sookie.) Sam: You think maybe I should...shut down the bar for the day? Sookie: All that'd do is deny people a good, stiff drink on the day they could use it the most. Sam: Yeah, but... Sookie: I know it's supposed to be my day off and all, but the last thing I need right now is time alone with my thoughts. Sam: All right, then. We'll open. Sookie: I may be late, though. I gotta swing by home and tell Gran what's goin' on. Sam: It's Bon Temps. She already knows. Sookie: Still, with...Jason and everything... Unnamed police officer (off-camera): Excuse me, are you Mr. Merlotte? (Sam and Sookie turn around to see an Unnamed Police Officer behind them.) Sam: Yes: Unnamed Police Officer: Detective in charge tells me you're the landlord. Sam: That's right. Unnamed Police Officer: We need to get in the victim's storage unit, but we don't have a key. If you could find one, it'd be a big help right about now. (Sam stands up to take some keys on a key ring out of his pocket. He bends over, kisses Sookie on the top of her head. Sookie stares downward.) Neil Jones (off-camera): Uhh, Miss? (Sookie turns her head to the front door to see Neil Jones, wearing a navy blue work vest with "CORONER" in gray letters across the back shoulders, and a navy blue ball-cap with "CORONER" across the front, trying to exit the front door.) Neil Jones: Could you please let us by? (Sookie moves to allow Neil Jones and the Coroner, Mike Spencer, by. Mike Spencer is wearing the same type of vest and ball-cap Neil Jones is wearing. The two are carrying what is probably Dawn's body in a black plastic bag. They move awkwardly along the narrow porch.) Mike Spencer (to Sookie): Neil Jones, my new apprentice. (The top half of Neil Jones's face is obscured by the brim of the ball-cap he is wearing. He is Caucasian with brown hair.) Mike Spencer: He's from Kentucky. Neil Jones: Hi. Sookie: Uh...hi. Mike Spencer: Lift, kid. Come on, lift. Ugh! (Sookie watches as Mike Spencer and Neil Jones take Dawn's body to a sport-utility vehicle.) Mike Spencer: You don't have to be too careful. (small chuckle) Ain't gonna hurt her. Neil Jones: OK. (Mike Spencer and Neil Jones load the body into the back of the sport-utility vehicle. Sookie watches them, and we hear the rear doors of the sport-utility vehicle close.) Scene 7: The police station inside Bon Temps Town Hall. Bud and Andy are sitting on the same side of a desk, and Jason sits on the opposite side. There is a cassette recorder in front of Bud and Andy. There is a microphone on a stand in front of Jason, as is an opened cellophane wrapper. Bud is chewing on an unlit cigar. Andy Bellefleur: So you had a fight. (Jason licks his fingers.) Andy Bellefleur: She took a sh*t at you with a g*n, and you just left? Didn't see her again till you showed up with booze and flowers and found her d*ad this mornin'? Jason: That's my story, and it ain't gonna change. Andy Bellefleur: Except it just did change. You just admitted you're the one who found her, not Sookie. Jason: Uh, no I didn't. Uh, you're tryin' to trick me! It don't count if I get tricked. Does it? (Bud takes the cigar from his mouth.) Andy Bellefleur: Make you hot, Jason? k*lling girls and stickin' it to 'em? (Jason fidgets.) Jason: No. Andy Bellefleur: See, I think it does. I think it turns you on. Jason: Sounds to me like it turns you on. (Bud laughs. Andy looks at him with an angry look on his face.) Andy Bellefleur: Tell me, is that how you do it? k*ll 'em then <snip> 'em? Or do you <snip> 'em and then k*ll 'em? Or I know... (Andy stands up at looks down at Jason.) Andy Bellefleur: You strangle 'em as you're <snip>' 'em, don't you, you sick <snip>? (We see Jason's crotch from underneath the desk, and something is coming up for Jason. Something very hard for him to ignore. Jason looks down at his crotch, and crosses his hands over his lap.) Andy Bellefleur: How many other women you done this to besides Dawn and Maudette? Jason: Maudette? I...I didn't...I gotta use the bathroom. (Jason turns to get up from his chair. He leaves the room, and Andy starts to follow him, but is grabbed by Bud.) Sheriff Bud Dearborne: Man's gotta pee, Andy. (Jason is walking very quickly past some cubicles, trying to find the bathroom.) Jason (to anyone in the cubicles within earshot): Bathroom? Bathroom? (An Unnamed Cubicle sl*ve stands up and points to the bathroom.) Unnamed Cubicle sl*ve: It's over there. (Jason makes his way to the bathroom in the lobby of the police station. He winces in pain as he pushes open the door to the bathroom. He wanders to the sink and bends down over it. He unbuttons the front button of his jeans.) Jason: Ahh. <snip>! Andy Bellefleur (off-camera): You shouldn't have laughed. (Bud and Andy are sitting at the desk, waiting for Jason to return.) Sheriff Bud Dearborne: What are you talking about? Andy Bellefleur: When he came back at me with that crack about me bein' the one getting' turned on, you shouldn'ta laughed. Sheriff Bud Dearborne: I guess it just struck me as funny, 'cause you were working so hard on him, and I don't think he did it. (Jason is still in the bathroom, looking downward.) Jason (whispering): What the <snip>? (Jason struggles to undo his jeans. Bud and Andy continue their discussion.) Andy Bellefleur: Bud, we got two d*ad girls, and this dumb<snip> admits to sleepin' with both of 'em within hours before they were k*lled. Sheriff Bud Dearborne: Yeah, and both our d*ad girls got bit by vampires too. Far as I can tell, Stackhouse don't have fangs. (Jason is still at the sink in the bathroom trying to undo his jeans. He screams in agony. Bud and Andy hear Jason's scream at the desk. Jason falls against a wall and to the floor of the men's room, his right hand tucked into the front of his jeans. Bud and Andy get up from the desk to see what the matter is. When they get to the bathroom door, they find it is locked. Andy beats on the door with his open left hand. Jason looks as if he's about to cry, and hears Andy.) Andy Bellefleur: What the hell you doing in there, Stackhouse? Jason: I...I'll be out in a minute! (Jason looks around.) Jason: What the <snip> was that? (Bud and Andy try to unlock the bathroom door, marked with a blue circular sign with pictographs for "man" and "woman" in white directly above the word "RESTROOM" in white letters. Jason uses the sink to raise himself slightly off the floor. Jason tries to get some paper towels from the dispenser next to the sink, but it seems to be empty.) Jason: <snip>, you gotta be <snip> me! (Jason turns to his right and unrolls a length of toilet paper, tears it up, and seems to stuff it in his jeans. Tara has arrived at a building marked "Bon Temps Town Hall" on its exterior, parking her car in front of it. She exits the car, slams the car door, and quickly walks to the glass front door, surrounded by glass on either side and at the top. In the lobby, above the entry doors, see the numbers 4440 are seen in reverse. Tara is opening the front door as Bud and Andy are still trying to open the bathroom door.) Jason (from inside the men's room): I said, hold on. I'll be there. (Tara enters the lobby and approaches Bud and Andy.) Tara: Sheriff Dearborne. Andy. (Bud and Andy turn toward Tara.) Tara: I hear you guys brought Jason in. (The words "City of Bon Temps" is seen in reverse on the glass entry door as it closes behind Tara.) Andy Bellefleur: So? Tara: You chargin' him with anything? Sheriff Bud Dearborne: Not yet. Andy Bellefleur: Just askin' him some questions. Tara: I assume he's been properly Mirandized, then. (Bud and Andy exercise their right to remain silent.) Tara: Please tell me you informed him he has a right to have an attorney present. Andy Bellefleur: Maybe. Doesn't matter though, 'cause he's got you here now. (Andy snorts) Tara: Is that funny 'cause I'm a woman or 'cause I'm a black woman? Andy Bellefleur: I thought it was funny, you know, just 'cause you can talk like a lawyer, but you ain't one. Sheriff Bud Dearborne: How do you know all this anyway? You been takin' night classes? Tara: School is just for white people looking for other white people to read to 'em. I figure I save my money and read to myself. (Jason opens the bathroom door, somewhat sweaty, nods slightly at Bud and Andy, and looks at Tara.) Jason: Tara... Tara: I'm gettin' you out of here. Andy Bellefleur: Like hell you are. Tara: You chargin' him with anything? (Jason walks between Bud and Andy toward Tara.) Sheriff Bud Dearborne (to Andy): She's right. We can't hold him. Andy Bellefleur: He can't say where he was last night. The least he coulda done was make some <snip> up. Jason: Listen, I told you where I was. I was... home alone. Sleepin'. Andy Bellefleur: You never sleep alone, Stackhouse, and you know it! Tara: Guys, he was wit' me. Sheriff Bud Dearborne (off-camera): What's this, now? Andy Bellefleur: If y'all were together last night, how come he don't seem to know it? Tara: Because I asked him not to tell anybody about us. And he's just surprised to hear me bein' the one blabbin' about it. Aren't you, baby? Jason: Umm... (Jason looks at Andy.) Jason: ...yeah. Andy Bellefleur: Wha...? (Andy snickers.) Andy Bellefleur (to Bud): You buyin' this? (Tara looks directly at Bud and Andy as Jason looks at the floor.) Tara: People think just because we got vampires out in the open now, race isn't the issue no more. But you ever see the way folks look at mixed couples in this town? Race may not be the hot-button issue it once was, but it's still a button you can push on people. Sheriff Bud Dearborne: Would you be willin' to go on record with this? Tara: Yes. Sheriff Bud Dearborne: Understandin' you're lyin', you'd be guilty... Tara: Perjury. (nods) I know. You got a Bible? I'll swear on it right here. Jason and I were together last night and it was a beautiful thing. (Tara looks lovingly at Jason and moves closer to him. Jason looks at Tara, smiles, and nods. Bud and Andy look at one another in disbelief.) Sheriff Bud Dearborne: OK. You're free to go. Andy Bellefleur: Ohh...Jesus! Tara (to Jason): Come on, baby. Let's take you home. Jason: OK, baby. (Jason nods at Bud and Andy, shoves open the door and leaves the Town Hall with Tara, flashing a "peace" sign as he walks away.) Scene 8: The kitchen of Gran's and Sookie's house. Gran is walking to the kitchen sink when Sookie walks in from the dining room. Sookie: Hey, Gran. (Gran looks up from the sink at Sookie.) Gran: I heard. Sookie: About Jason too? Gran: Um, hmm. He didn't do it, you know. Sookie: I know. Gran: Jason may be many things, but he's not a m*rder. Sookie: I know... (Sookie takes a step toward Gran.) Gran: The thing is though, Sookie...in all the years that I've lived in Bon Temps, I can't recall but...two, maybe three m*rder, and now there are two in one week. People are not gonna stand for it. And if the police can't find the person who did it, they're gonna find Jason. He needs your help. Sookie: Gran, how am I supposed to... Gran: You use the gift God gave you. Listen in on people, keep your ears open. You're bound to hear somethin'. Sookie: It's got nothing to do with my ears. Gran: Whatever it is you use to listen, use it. He is your brother, Sookie. (Sookie nods.) Sookie: OK. Gran: Good girl! (Gran hugs Sookie. Sookie smiles and nods, then leaves.) Scene 9: Evening. The parking lot of Merlotte's looks full. Inside, Sookie is taking an order from the kitchen to a table. Lafayette (off-camera): Come and pick up your <snip> orders out the window... (Sookie looks around, hearing thoughts. She sees a man with a mustache sitting at a booth with a blond woman.) Man With Mustache (thinking): Who k*lled Dawn? I wonder if he had sex with her or not. Seems like a waste if he didn't. She sure was pretty. Never even looked at me. Older blond woman in blue shirt (thinking; off-camera): Can't get that letter in Cosmo out of my head. (Sookie sees an older blond woman in a blue shirt at a different table.) Older blond woman in blue shirt (thinking): How much better could an orgasm with a vampire be? I wonder, is it that much better? (Sookie notices a good ol' boy sitting elsewhere in the restaurant.) Good ol' boy (thinking): What the hell is this world coming to? d*ad <snip> s, <snip> s, and regular folk all livin' together. If God wanted it like this, he'd have made us look the same. It ain't good. Maybe these really are the end times. Large woman (thinking; off-camera): I don't know what everybody's so upset about... (Sookie notices a large woman with curly hair sitting at a booth, licking her fingers.) Large woman with curly hair (thinking): If you ask me, these whores had it comin', hangin' out in vampire bars. That ain't natural, and it ain't safe. (Sookie takes the order to her customer, an older large woman with short, straight hair, resting her head on her left hand.) Sookie's Customer (thinking): You seem sad that girl is d*ad. I wonder if y'all were friends. And if you were, that means you're probably next. <snip> fang-bangers... (Sookie places the plates of food on the table. The customer smiles slightly at Sookie.) Sookie's Customer: Thank you. Sookie's Customer (thinking) ... crazy, every last one of you. Just like those women who write love letters to serial K*llers... (Sookie leaves her customer's booth when her customer looks at her order.) Sookie's Customer: Hey...hey! I asked for ranch dressing with these fries. (Sookie and Arlene approach the bar simultaneously. Arlene places her tray on the bar, and the bartender places a draft beer in a mug on it.) Arlene (to the bartender): Two margaritas. Arlene (to Sookie): That Dawn sure left us high and dry, didn't she? (Arlene adjusts her apron.) Sookie: It's not like she meant not to be here. Arlene: I know, but if she didn't spend her nights off at that vamp bar in Shreveport, she still would be. Sookie: Did I just hear you right, Arlene? You ought to be ashamed of yourself. Arlene: Oh, please. Ain't there even a part of you think she had it comin'? Sookie: No! Not a single part. And I'm takin' your ranch. (Sookie takes a small bowl of ranch dressing off Arlene's tray and walks away as the bartender places two margaritas on the tray.) Arlene: Hey! (Tara walks into Merlotte's. As the camera follows her, Sam is revealed to be tending bar.) Sam: You're late. Tara: Sorry, boss. (Tara ties an apron around her waist.) Sam: Hey, listen. We should probably talk. About last night. Tara: What about last night? Sam: You're gonna make this hard on me, aren't you? Tara: Actually, no, I'm gonna make it very, very easy. Nothing happened between us last night. And if anybody asks, you didn't see me at all, OK? I'm tellin' people I spent the night with Jason. Sam: Jason Stackhouse? Tara: Yes. I was with Jason Stackhouse last night, and if you say different, they're gonna haul both our asses into jail. Sam: You lied to the police for him? <snip>, Tara. I know you carry a torch for the guy, but... I don't get it, I really don't. Tara: There's more to Jason than meets than eye. Deep down he is a very good person. (Tara walks away from Sam.) Scene 10: Jason's house. He is sitting down, shirtless, a hand towel draped over his shoulders, drinking beer from a bottle and pleasuring himself while watching p*rn on TV. After he finishes the task at hand, he looks downward, seemingly upset. Jason: <snip>! Go <snip> down. (Frustrated, Jason begins pleasuring himself again. He seems to be somewhat impatient.) Jason: Oh, come on. (The video ends, the TV screen goes blue, then displays a news show on TBBN. Part of the caption reads "v*olence in the Middle East".) News Announcer (off-screen): In Iraq today, 10 U.S. Marines were k*lled when a... (Jason is reclining on his bed, with a painful expression on his face. He looks at his right hand. There is a large blister between his thumb and index finger.) Jason (whispering): Ahh...<snip>! (Jason looks down toward his crotch, and begins to cry.) Jason (whispering): Oh, baby. My sweet, sweet baby! Scene 11: Merlotte's. Sookie walks past some men playing pool. She has two mugs of beer on her tray. She sets one down on a shelf on a wall near the pool table, and as she walks away, she hears thoughts from a large older man sitting at a booth with a large older blond woman. Large Older Man (thinking): Sure is too bad about Dawn. I already miss the way her butt used to hang out of the bottom of her shorts. Large Older Blond Woman (thinking; looking at Sookie): Sookie Stackhouse, I hope that brother of yours gets what he deserves and he fries for what he's done. They were trash. (Sookie looks around, and sees Hoyt.) Hoyt (thinking): Crying shame is what it is. This place ain't gonna be the same without Dawn. She had the prettiest, nicest smile. Why was I so scared to talk to her? I'll never know what her voice sounded like. I bet it sounded like angels and parakeets mixed together. (Sookie turns to Hoyt and approaches him.) Sookie: Hoyt Fortenberry. (Hoyt turns around, looks nervously at Sookie.) Sookie: I just wanted to say thank you. Hoyt: For...uhh...for what? (Sookie gets up on her tiptoes and kisses Hoyt on his left cheek. He beams, and laughs.) Hoyt: OK. Umm...all right then. (Sookie leaves Hoyt and walks over to Jason.) Sookie: Jason, you look me in the eye and you tell me the truth: did you k*ll Dawn? Jason: What? No. Jesus, Sook. Look, when Maudette died, I thought I might'a done it. And it turned out I didn't. With Dawn, I don't even think I might'a done it, so I know I didn't. Sookie: You swear? Jason: But the way you're actin', it seems like you want it to be me. Sookie: Sorry. Gr..Gran asked me to listen in on folks, see if I can't clear your name. And sometimes it's hard... Jason: Yih-yih-yih...I gotta stop you, because it sounds like you're revvin' up for a long one. And I really need to see Lafayette. Talk to you later. (Jason leaves Sookie and goes to the kitchen of Merlotte's, where Lafayette is chopping green, yellow, and red peppers. Jason opens the door to the kitchen.) Jason: What the <snip>, Lafayette? (Lafayette, wearing a tight green t-shirt, a white apron, and a magenta babushka, doesn't look at Jason.) Lafayette: I'm busy. What's your problem? Jason: My problem is my <snip>! (Lafayette looks over at Jason.) Jason: It's been hard since three o'clock! Now, somethin' went wrong with that vamp... (Lafayette stops chopping.) Lafayette: Will you shut the <snip> up? Jason: Sorry. (Lafayette looks around to see if anyone heard, then looks over at Jason.) Lafayette: It's your loud ass. And ain't nothing wrong with the <snip> I sold you. Jason: What the hell is it? Lafayette: How much you take? Jason: The whole thing. (Lafayette looks down, and laughs.) Lafayette: You took the whole thing? You a dizzy <snip>. I said one drop, two max, and you took the whole thing? Jason: I was in the back seat of a cop car, I had it on me, and I panicked, OK? Now, just give me somethin' to make it go away, I don't care what it costs. Lafayette: Ain't no antidote to V, boyfriend. (Lafayette chuckles.) Jason: When my grandpa was alive, he had gout. And he said just the weight of a sheet on his big toe was too much to bear. So help me God, that's exactly what this feels like. Lafayette: Maybe you should try rubbin' one out. Jason: Were you listenin' to me? (yelling) I got gout of the <snip>! Scene 12: Bill enters Merlotte's and acknowledges Tara behind the bar, who takes a step back. Bill walks to find a place to sit. Unknown Female Voice: Vampires. (The men who were playing pool stare at Bill. Bill finds an empty booth and sits down. Arlene looks around and sees Sookie waiting on other customers.) Sookie: Any fries for you? (Arlene walks to Bill's booth. Tara has her arms folded, and has a mean look on her face as she looks at Bill. Arlene proceeds to take Bill's order.) Arlene: What you want? Bill: May I have a bottle of O Negative, please? (Sookie looks around to see Arlene waiting on Bill.) Arlene: Um, A Negative's all we got. Bill: A Negative then. (Arlene writes down Bill's order, as Bill attempts some small talk with her.) Bill: Pretty crowded in here tonight. Something going on? (Arlene walks away without answering Bill. Bill looks around and sees Sookie, who's looking at him. Arlene turns in her order to Tara.) Tara: Sam just bought a case. We got O Neg and A Neg, plenty o' each. Arlene (making a face): <snip> him. I'm giving him A. And don't microwave it neither. He can have it cold. Tara: You are so bad. (Tara gets a bottle of Tru:Blood from the cooler, and places it on Arlene's tray. Sookie approaches Arlene and confronts her.) Sookie: Are we out of O? Arlene: Blood is blood. What difference does it make? Sookie: He prefers O. I'll take it to him if you like. Arlene: Well, good. He gives me the creeps. (Arlene walks away, and Sookie takes the Tru:Blood and a cocktail napkin to Bill. After placing the napkin and bottle on the table, Sookie grabs Bill's right arm.) Sookie: Come on. Bill: Where are we going? (Bill stands up, taking his Tru:Blood with him, and goes to the customer parking lot with Sookie as Sam watches.) Sookie. You know my friend who works here? Dawn? Someone k*lled her last night. Bill: How? Sookie: Say you're sorry. Bill: Excuse me? Sookie: You wanna learn to fit in with people? You gotta say you're sorry. You don't even have to mean it. Lord knows they don't most of the time. Bill: I am sorry. Sookie: Thank you. Anyway, I'm the one who found her. Strangled. Cops think it was my brother. Bill: Was it? Sookie: No, he's not capable of it. Bill: I've been around long enough to know just about anyone is capable of just about anything. Sookie: He didn't do it. (Bill nods.) Sookie: So I've been listening in on people's thoughts, hopin' I might hear something to clear him. And apparently there's this vampire bar where Maudette and Dawn used to hang out at in Shreveport. You know it? Bill: Fangtasia. Sookie: Fang-tay-sha? Bill: You have to remember that most vampires are very old. Puns used to be the highest form of humor. Sookie: Well, I was thinkin' if I went there, I could do some sniffin' around. You think maybe you could take me? Bill: How about tonight? Sookie: The sooner the better. I just gotta tell Sam I'm leavin', then run home and change. Bill: Meet you there. Sookie (smiling): Thank you. Bill, I'm askin' you this as a friend, OK? This is not a date. Bill: Fine. Sookie (grinning): It's not a date. I'm serious. Bill: As am I. (Bill watches Sookie as she returns to Merlotte's.) Scene 13: Sookie opens a door marked "PRIVATE". It is Sam's office. Sam is sitting in front of his computer, his back to Sookie. Sookie: Hey, Sam? (Sam turns around to look at Sookie.) Sookie: Is it all right if I take the rest of the night off? Sam: Why? Sookie: I need to go to that vampire bar in Shreveport so I can snoop around and see if I can clear my brother's name, and Mr. Compton was kind enough to agree to take me. Sam: Mr. Compton. Oh, Jesus. Sookie, you gonna get yourself k*lled, you know that? Sookie: I'll be fine. Sam: Hey, the fact that you think you'll be fine only proves just how not fine you're gonna be. Vampires think about one thing, and one thing only: drinking your blood. Sookie: Oh, like humans aren't bloodthirsty? All those people out there want to see my brother hang for a crime he didn't commit. Is that what you want? Sam: No. I'm not saying don't help your brother... Sookie: And frankly, Sam, I'm surprised at you. I thought you were for the Vampire Rights Amendment. Sam: Well, I think they should have their own bars. I just don't think people ought to go there. Sookie: So you wanna return to the days of "separate but equal"? Sam: I don't give a <snip> about equal. We can give 'em more than we got. Just so long as everything's separate. Sookie: Well, I'm sorry you feel that way, but...I'm goin'. Sam: I can't stop you. Sookie: No. You can't. (Sookie turns and leaves Sam's office, not closing the door. Sam rocks back in his chair and strokes his chin.) Scene 14: A car is driving on a road. Inside, Sookie is seated on the passenger side while Bill drives. Sookie is wearing a red and white dress with shoulder straps, and her hair is not in a ponytail. Music plays on the car stereo. Sookie looks at Bill. Sookie: Penny for your thoughts. Bill: I thought you liked not knowing my thoughts. Sookie: Most of the time I do. Bill: You won't care for it. Sookie: That doesn't mean I don't wanna know. Bill (looking at Sookie): You look like vampire bait. Sookie (laughing): What's that supposed to mean? Bill: I promised your grandmother no harm would come to you at Fangtasia tonight. I'm not sure I'm gonna be able to keep that promise with you dressed like this. Sookie: So are you saying you think I look nice? Bill: Doesn't matter what I think. This isn't a date, remember? Scene 15: The kitchen at Merlotte's. Tara is carrying a crate of tomatoes to the walk-in. She opens the door of the walk-in, and passes through thick, translucent plastic sheeting, the same type a woman asked Tara about at Super Save-A-Bunch in S1E1. Tara: This ain't a part of my job description, <snip> damn it. Jason: Don't turn around! (Tara turns around.) Tara: What? (Jason is sitting on the floor of the walk-in, with his jeans around his ankles and a raw steak on his crotch.) Jason: I said don't look at me. Tara: What the hell are you doin'? Jason: I think I might'a OD'd. Tara: Oh, my God. On what? (Tara moves toward Jason and places the crate of tomatoes on the floor.) Jason: V. Tara (irritated): You're doin' V now? Jason: It was my first time. Tara: Where on earth did you come across V in this town? Jason: Lafayette. Tara: My cousin is dealin' vampire blood now? <snip> damn idiot. Well, at least that explains why I walked in on you dancin' around in that Laura Bush mask yesterday, 'cause I gotta tell you, without a reason, that was some <snip> up <snip>. (Jason laughs nervously.) Tara: All right, let me see it. Jason (looking up at Tara): Huh? Tara: How long have you had the erection? Jason: Well, how do you know? Tara: Um, I read. You're not the first vain-ass, body-conscious ex-jock to overdo the V and wind up with an acute case of priapism. Jason: Pie what? Tara: Priapism. Now lift the rib-eye and let me see what we're dealin' wit'. (Jason removes the steak from his crotch.) Tara: Oh, Jason, that's... Jason: Yeah, it's bad, ain't it? Tara: Sweetie, we gotta get you to a hospital now. Jason: No. No. No hospitals. No way. Tara: Do you want to keep your <snip> or not? Scene 16: The door at Fangtasia. There's a bouncer in a black t-shirt with his arms crossed. Bill, Sookie, and others approach the door. Sookie and Bill are holding hands, and walk into the club, its red walls dimly lit. A disco version of "Don't Fear the Reaper" plays. Pam: Bill. Haven't seen you in a while. (Pam's hair is pulled back. She's wearing a black bustier and a necklace. She does not smile.) Bill: I'm mainstreamin'. Pam: Good for you. Who's the doll? Bill: Pam, this is Sookie. Sookie, this is Pam. Sookie (smiling): Pleased to meet you. (Sookie extends her hand to Pam, who looks disdainfully at it. Sookie makes a puzzled look with her face, then looks at Bill.) Pam (to Sookie): Can I see your ID? Sookie(smiling): Oh. Sure. How funny. Who'd have thought? Getting' carded at a vampire bar. Pam: I can no longer tell human ages. We must be careful we serve no minors...in any capacity. Twenty-five, huh? How sweet it is. (Bill and Sookie leave Pam.) Sookie: This feels a little bit like what a vampire bar would look like if it were a...a ride at Disney World. Bill: Well, don't get too comfortable. It tends to get more authentic as the night wears on. (Bill and Sookie approach the bar.) Bill: Can I get you somethin' to drink? Sookie: Uh, please. (Longshadow, a tattooed vampire with long, black hair, shirtless but wearing a black leather vest and a necklace, is tending bar. He does not smile as he greets Bill.) Longshadow: How's it goin', Bill? Bill: Very well. Longshadow: I'll say it is. (Looking at Sookie) This your meal for tonight? Bill: This is my friend Sookie. Sookie, Longshadow. Sookie: Nice to meet you. (Longshadow stares at Sookie.) Sookie: I'll have a gin and tonic, please. Bill: And I'll have a bottle of O Negative. (Bill notices a young male vampire dressed in a black leather vest and shorts, looking at Bill and dancing seductively. Bill seems uneasy.) Bill: Longshadow, Sookie here would like to know if she could ask you a few questions. Would this be acceptable? (Sookie takes a couple of photographs from her purse and hands them to Longshadow.) Sookie: I just have a couple of pictures I'd love you to take a look at. You recognize either of these women? Longshadow: Yeah, I seen 'em both here before. Sookie: Great, thank you. And do you also happen to remember who they hung around with? Longshadow: That's something we don't notice here. You won't either. Sookie: OK, then. Thank you. I appreciate you taking the time. Longshadow (holding up a vertically oriented picture, presumably of Maudette): This one. She wanted to die. Sookie: How do you know? Longshadow: Everyone who comes here does, in their own way. That's who we are: Death. (Longshadow hands the pictures back to Sookie, and Bill takes the O Negative and the gin and tonic, and he and Sookie leave to find a table. The young male vampire dancer has caught the eye of several other young males. Bill and Sookie sit down at an unoccupied cocktail table near a red and white "Red Wolf" neon sign. Sookie looks around, and hears a stray thought.) Bald man with mustache (thinking): Oh, my God. He's so powerful. So beautiful. The closer I step, the more beautiful he gets. (A blond male with pale skin is dressed in black and seated in a large chair on a small stage. His face is visible, but his eyes are hidden in shadow.) Bald man with mustache (walking and looking at the blond male; thinking): You can do this. Just walk up there and offer yourself to him... Bill: How's your drink? Sookie: A gin and tonic's pretty much a gin and tonic no matter where you drink it. Bill: I know exactly what you mean. (Sookie looks at the blond male.) Sookie: Who's that? Bill: Oh, you noticed him, did you? Sookie: No, it's not like that. I just.. Bill: Everyone does. That's Eric. He's the oldest thing in this bar. (Eric is still seated in the large chair on the stage, not looking at the bald man with a mustache who is kneeling in front of him. When the bald man touches Eric's knee, Eric kicks him away. The bald man flies halfway across the club, and lands on the floor, bleeding from a cut above his right temple. As the bald man tries to get up, he is approached by a young-looking female vampire with her short hair in a bob, and dressed in a black leather dress and long black leather gloves) Taryn: Hi. (The bald man looks up at her in fear.) Taryn: I'm Taryn. (Taryn helps up the bald man and leads him away.) Bill (to Sookie): Still think you're in Disney World? Scene 17: The hospital. A doctor is examining Jason's eyes with a flashlight. The doctor wears round, wire-framed glasses. Tara is in the examination room with them. Doctor: You say that this has never happened to you before? Jason: No, sir. Doctor: Well, no sign of hypertension. Huhn. (The doctor turns off the flashlight.) Doctor: I'm gonna ask a question, son. And I'm gonna need you to be honest with me. (The doctor is sitting at a small desk with cabinets. His glasses are now in his left hand.) Doctor: Have you taken any drugs today? (Jason is shown sitting on the examination table, wearing a brown t-shirt with "Big Jim's Tavern" on the chest. Despite being covered with a blue sheet from the waist down, Jason's predicament is obvious.) Jason: No. No, that's a negative. Doctor: So no marijuana, then? (Jason shakes his head "no"). Doctor: How about cocaine? (Jason shakes his head "no"). Doctor: Meth? Jason: No. Doctor: Vampire blood? Jason: What? Hell, that's sick. I mean, to even suggest that is... Doctor: Yeah, yeah, you'd never do anything like that. All right. (The doctor puts his glasses on.) Doctor: Let's have a look. (The doctor lifts up the blue sheet and gasps.) Doctor: Oh, boy. Sure glad I'm not you. That looks kind of like an eggplant, what with that color and the way it's all swole up at the end... (Jason pulls the blue sheet down to cover himself.) Jason: Can you fix it? Doctor: Ordinarily we like to treat this in stages. First and least radical being an injection of anti-inflammatory drugs into the penis. Jason: A needle in my <snip>? That's the least radical thing you can do? Doctor: It is, yes. But you've progressed to the point where I don't think you'd benefit from that treatment at all. In my opinion, we need to aspirate. (Jason looks at the doctor with a puzzled look on his face.) Doctor: I need to drain the blood out of your penis. (Jason looks scared. A baby is crying in the background. The doctor takes the cap off the needle of a syringe) Tara: OK, I'll leave you to it. (Tara picks up her purse, and Jason grabs her left arm, still keeping his eyes on the syringe in the doctor's hand.) Jason: Where are you goin'? Tara: Look, I will admit to sometimes having a sick curiosity about medical <snip>, but I ain't that <snip> curious. Jason (looking at Tara): Tara, stay with me? Tara: I ain't never gonna be the same after this. Jason: Uh, you're not? Doctor: Are you ready, son? (The doctor, seated on a stool with casters, rolls over to Jason.) Jason: Whoa, whoa...ain't you gonna put me out or somethin'? Doctor: Oh, I don't think we can afford the time it would take to sedate you. Besides, without knowing what other substances you've taken, I don't wanna risk a drug interaction. Now, just lean on back there for me. (Jason leans back, looking at Tara.) Doctor: There you go. Jason: Tara...? Tara: It's... it's gonna be OK. You gotta breathe, though. (Jason grabs Tara's left hand and breathes heavily.) Doctor: All right, then. You're gonna feel a stick in three, two... (Jason screams.) Scene 18: Merlotte's at closing time. Sam is behind the bar. Arlene: Sam? I hate to ask, but would you mind walkin' me to my car tonight? Sam: No problem. Arlene...don't hate to ask. Not with what's been goin' on. Arlene: Well, I ain't never been with no vampire. But still...y'know, you can't be too...safe, you know? Sam: Um, hmm. Get the lights for me, would you? Arlene: OK. (The lights are turned off. Sam puts something in his right front jeans pocket and turns off a small electronic device with a blue display screen. The camera focuses a picture of Dawn with Sam on the wall behind some glasses.) Arlene (off-screen): I'm used to livin' in a small town and knowin' everybody in it. You knew you were safe. It's a new day now. Sam (off-screen): Don't I know it. Scene 19: Fangtasia. The club is in full swing. Dance music plays in the background. Unknown male #1 (thinking): How come no one <snip> me? I got a dog collar too. Unknown male #2 (thinking): Hey, Morticia. How'd you like me to rip that tape off your <snip>? Unknown male #3 (thinking): It ain't gay if a guy's a vampire, is he? Unknown clean-cut youthful male (thinking): I'm gonna get in a fight if I don't <snip> a vampire tonight. (Bill and Sookie are still sitting at the cocktail table.) Bill: You able to pick up anything? Sookie: All anyone's thinkin' about here is sex, sex, sex. Bill (smiling): One needn't be telepathic to pick up on that. (Eric is still seated in his large chair on the stage. Pam whispers in his ear. Eric looks in the direction of Bill and Sookie.) Bill: Uh, oh. Sookie: Don't say "uh-oh." Vampires are not supposed to say "uh-oh." (Eric and Pam are looking directly at Bill.) Bill: It's Eric. He's scanned you twice. He's goin' to summon us. Sookie: He can do that? Bill: Yeah. (Eric raises his right hand and motions to Bill. Bill takes Sookie's hand. They leave their table and join Eric, still seated, and Pam, standing next to him.) Eric: Bill Compton. It has been a while. Bill: Yes, well...I've been... Eric: Mainstreaming. I heard. I see that is... (Eric looks at Sookie.) Eric: ...going well for you. Bill: Yes, of course. Uh, sorry. Eric, this is my friend... Eric: Sookie Stackhouse. Sookie: How do you know my name? Pam: I never forget a pretty face. (Pointing to her forehead) You're in my vault. Sookie (to Pam): Great. That's just great. Sookie (to Eric): It's nice to meet you. Eric (apparently unmoved): Well, aren't you sweet. Sookie: Not really. (Eric turns to Pam, and mutters something to her in an unknown language.) Pam (also in an unknown language): Yah vee-INN. Eric: Miss Stackhouse, I understand you've been asking questions about some of my customers. Sookie: Yes, I have. Eric: If you have anything to ask, you should ask it of me. Sookie: All rightie. (Sookie hands the photos of Maudette and Dawn to Eric.) Sookie: You recognize either one of these girls? (Eric looks at the pictures. Pam looks at them over his shoulder.) Eric: Hmm...(pointing to the vertically-oriented picture of Maudette) well, this one offered herself to me. But I found her too pathetic for my attentions. Now, this one, however...(pointing to the other photograph, presumably of Dawn) I have tasted. (Sookie looks nervous.) Pam: I remember 'em both. Sookie: On account of the vault? (Bill tightly grasps Sookie's right hand with his left hand. Eric looks hard at Sookie.) Pam: Never had either of them, though. They weren't really my type. Sookie: Well...(grabbing the photos from Eric's hand) thank you very much. That is all your time I need to take. Eric: I'm not finished with you yet! (Eric smiles.) Eric: Please. Sit. (Sookie sits to the right of Eric and Pam. Bill remains standing in front of Eric.) Eric (looking at Sookie): So, Bill. Are you quite attached to your friend? Bill: She is mine! Sookie: Yes. I am his. Eric: What a pity. For me. (Eric scopes out Sookie.) Eric (to Bill): Sit with us. We have catching up to do, you and I. It has been too long. Bill (hesitantly): Yes. (Bill sits at Eric's left. Eric continues to look at Sookie with some interest. Sookie begins hearing the thoughts of an undercover cop wearing a shirt with mesh sleeves and a trucker's cap with "--something--RIDGE LOUNGE" on the front of it. He's with a young-looking woman.) Undercover cop (thinking): Where the <snip> are they? My backup was supposed to be here 15 minutes ago. I can't handle a raid on my own. These <snip> vampires... Sookie: We have to get out of here. Bill: Sookie... Sookie: Eric, the cops are coming. There's gonna be a raid... (Eric and Pam look at Sookie.) Eric: You're not an undercover cop, are... Sookie: I'm not, but that man in the hat is. Eric: Even if you're right, we do nothing illegal here. (Sookie catches the image of the bald man with a mustache and Taryn in a bathroom stall. Taryn is cradling his head, and licking the blood from the cut on his head. She raises up her head with her mouth open, lips and chin covered with his blood, her fangs exposed.) Bald man with a mustache (thinking): Go ahead and do it. Open me up. I don't care. Make me feel something. (Taryn bites the bald man.) Sookie: There's a vampire named Taryn in the ladies' room with that man you kicked before. She's feeding on him. Pam: How do you know this? (Eric and Bill look at Sookie.) Unnamed Police Officer #2 (off-camera): Freeze! (Eric, Pam, the Undercover Cop and the young-looking woman he's with turn their heads in the direction of the voice.) Unnamed Police Officer #2: Police! Freeze! Don't move! (The crowd moves anyway as police officers, dressed in combat gear, enter the club.) Eric: Follow me. (Pam, Bill and Sookie follow Eric as the police conduct their raid. Eric shoves open a door at the back of the club leading outside, and all quickly exit the building. Bill picks up Sookie in his arms. Eric and Pam move away, as if they're hovering instead of walking. And as they do, Eric turns his head to Sookie.) Eric: I enjoyed meeting you, Miss Stackhouse. You will come again. (Eric and Pam seem to move away very quickly. Bill runs with Sookie in his arms.) Scene 20: Jason is sleeping in the front passenger seat as Tara drives, remembering a time when she was a little girl, running down a dirt road. Lettie Mae (off-camera): Tara? (A younger Lettie Mae stumbles as she chases her daughter to the Stackhouse home.) Lettie Mae: Tara? (Young Tara runs up to the porch, opens the screen door and knocks on the front door.) Young Tara: Sookie! (Lettie Mae stops a short distance away from the house, and seems to have difficulty standing.) Lettie Mae: Get your ugly self down here! (Young Tara pounds the door furiously. A little boy opens the door. It is Jason.) Young Jason: Hey, Tara. Sookie ain't home. Young Tara: No, just please let me in, OK? (Lettie Mae chases Young Tara, who runs into the house.) Lettie Mae: I'm gonna crack you in a way you'll never forget! Young Tara: Don't let her in! (Young Jason remains at the door.) Young Jason (to Lettie Mae): Is there a problem here? (Lettie Mae runs to the door.) Lettie Mae: You bet your tiny white ass there's a problem. Little bitch hid my Captain Morgan. Young Tara (angry): I didn't hide it, Mama. I threw it out. (Lettie Mae makes a fist.) Young Jason (to Lettie Mae): Look, my Gran's at the market and I ain't supposed to let anyone in while she's gone. Lettie Mae: You let her in. Young Jason: Well, I know her. (Lettie Mae grabs Young Jason by the shirt and raises her fist to him.) Young Tara: Mama, let him go! Young Jason (looking up at Lettie Mae): Maybe I should call Sheriff Dearborne, so he can come out here and throw you in jail where I guarantee ain't no Captain Morgan gonna be waiting for you. (Lettie Mae starts to cry, and lets go of Young Jason. They stare each other down.) Lettie Mae: This ain't over. (Lettie Mae turns to go away, and Young Jason shuts the door. Back in the present time, Tara is still driving, and smiles at the memory of Jason protecting her, and standing up to her mother.) Scene 21: A different car, one driven by Bill. Sixties-style music is playing on the stereo, but it isn't being sung in English. Sookie: Can we turn this down? (Bill turns down the stereo.) Sookie: What language are they speaking, anyhow? Bill: Cambodian. You don't like it? (Sookie turns off the stereo.) Sookie: You think we can pull over for a minute? I need things to stop. Bill: Sure. (Bill pulls the car off the road and turns off the engine.) Sookie: I just need a couple minutes of quiet and then we can go. Bill: Well, I'm in no hurry. You take your time. Sookie: I'm sorry I've got you into any trouble tonight. Bill: Don't apologize. (Bill looks directly at Sookie.) Bill: We vampires are always in some kind of trouble. I prefer to be in it with you. (Bill and Sookie look into each other's eyes, and are about to kiss when a police siren sounds. Sookie and Bill look through the rear window to see red and blue lights flashing.) Sookie: Oh, this can't be happening. (Bill and Sookie turn to face the windshield and remain still. The police car is directly behind Bill's car. A state trooper knocks on Bill's window and shines a flashlight into Bill's car.) State Trooper: Open up. Sookie: Open the window and let me do the talkin', OK? (Bill rolls down the power window of his car.) Sookie: Hello, officer. State Trooper: Evenin', miss. What are you two doin' out this late? Sookie: Drivin' home from a date. State Trooper: Uh, huh. We were raidin' a bar not too far from here. Y'all comin' from there by any chance? Sookie: No. Not us. State Trooper: Uhn-uhn. It's called Fangtasia. That ring any bells? (The policeman looks at Bill. Bill seems irritated.) State Trooper: How about you, son? You seem awful quiet. Don't you talk? Bill: I'm a man of few words. State Trooper: A man of few words. I like that. (To Sookie) Let me shine this light here on your neck, miss, if you don't mind. (Bill looks at Sookie, opens his mouth and exposes his fangs. Sookie pulls her hair away to expose her neck.) Sookie: N-not at all. (Bill is still looking at Sookie.) Bill (to the state trooper): Why don't you ask her if you can shine it between her legs? State Trooper: Excuse me! Sookie: Bill! Bill: Vampires sometimes like to feed from the femoral artery. The blood flows more freely down there so one doesn't have to suck as hard... (Bill turns to face the state trooper, who is still shining his flashlight into Bill's car. The flashlight illuminates the lower half of Bill's face. His fangs are still exposed as he looks directly at the state trooper.) Bill: ...or so I've been told. (The state trooper is motionless and silent.) Bill: I like your g*n. It's a beautiful w*apon. State Trooper: Thank you. Bill: May I have it? Sookie: Bill, I want you to stop this right now. State Trooper: Sure. I guess. (The state trooper holds his g*n out to Bill, who removes it from the state trooper's hand. Bill's eyes remain fixed on the policeman's eyes.) Bill: Nice. It's heavier than I imagined. Is it loaded? State Trooper: Well, yes. Yes, it is. Yeah. Sookie: Bill, you are freaking me out. (Bill points the g*n at the state trooper's face.) Bill: Now, you listen to me, officer. I do not take kindly to you shining your light in the eyes of my female companion. And as I have more than 100 years on you, I do not take kindly you to calling me "son." So the next time you pull somebody over on suspicion of bein' a vampire, you better pray to God that you're wrong. Because that vampire may not be as kind to you as I'm about to be. I'm not gonna k*ll you. But I am gonna keep your g*n. Does that sound fair? State Trooper: Yes. Bill: Yes, what? State Trooper: Yes, sir. Bill: There you go. (Bill pulls the g*n away from the state trooper's face, still staring the state trooper in the eyes.) Bill: Now, you have a nice night. (Bill looks at Sookie, starts the car's engine, and drives away from the state trooper, who wets himself and sobs as soon as they leave.) Scene 22: Someone wearing latex gloves removes a piece of yellow "POLICE LINE DO NOT CROSS" tape from the door of Dawn's apartment, opens the screen door and unlocks the front door, and goes inside. From Dawn's bedroom, we see a light from another area of the apartment. Sam walks into Dawn's bedroom. He smells the air, then her bedsheets, then her pillow. Still wearing the latex gloves, he caresses the pillow and buries his face in it. He curls up with her pillow and smells the bed-sheet again, taking a deep breath as he rolls onto his back while holding the sheet up to his nose and writhes on the bed. End

{"type": "series", "show": "True Blood", "episode": "01x04 - Escape from Dragon House"}

foreverdreaming

SCENE 1: The Stackhouse front door. Strange music plays. The camera pulls out to reveal Bill's BMW pulling up to the door, and the strange music is coming from Bill's car stereo. Bill and Sookie are inside the car, returning from Fangtasia. Bill turns off the car's headlights and engine. They remain in the car. Bill: We've had a difficult relationship with law enforcement for many years. The man provoked me. I coulda done much worse. Sookie: I'm sure you could have. And if I wasn't there watchin', you prob'ly would have k*lled that man. Bill: Hardly. Sookie: Would you have bit him? (Bill stares at Sookie.) Sookie: You see? That's just crazy! You would have fed on him and tossed him aside like an old chicken bone! And don't tell me "that's what vampires do"! (Sookie starts to get out of the car. By the time she finds the door handle, Bill is already outside the car, opening the car door for her.) Bill: I'm doin' my best to mainstream... (Sookie gets out of Bill's car.) Sookie: Suckin' the blood from a police officer is not mainstreaming. (Bill closes the car door.) Sookie: Neither is hosting orgies or listening to crazy Chinese gargling. Bill: It's Tuvan throat singin'. Sookie: Whatever. Tuvan? I don't even know where that is! (Sookie turns and starts to walk away.) Bill: Sookie? You cannot be frightened of everythin' you don't know in this world. Sookie: Well my world's openin' up mighty fast! And what I got here may be boring, but it's safe! And after the past couple of nights, safe sounds good about now. (Bill starts to walk to the door with Sookie.) Sookie: No...thank you. I can get this door myself. (Sookie walks up the stairs of the porch.) Bill: I won't call on you again. (Sookie fishes the house key from her purse and opens the screen door as Bill turns and walks to his car. A dog is in the bushes nearby.) Cut to opening credits to the tune of "Bad Things" by Jace Everett SCENE 2: Lafayette's apartment. Someone is knocking impatiently on a door. Lafayette, dressed in a gold robe and a black babushka, turns on the lights, grabs an aluminum baseball bat, peers through the mini-blinds covering the window of his front door, and unlocks and opens the door. Tara storms inside. Lafayette (whispered): Aw, gee... (Tara picks up three items from Lafayette's mantle and throws them at him.) Tara: Stupid! <snip>! Bitch! (Lafayette swings the bat at the last item, a Troll doll with bright green hair, and hits it with the bat.) Lafayette: Bring it on, hooka! I was All-Parish in high school. Tara: Boy, I knew there was some stupid genes in our family, but you musta gotten 'em all! When did you start dealin' V? Lafayette: You want some? You can use it. Tara: Oh, you makin' jokes about it? You gonna get your ass k*lled, you dumb <snip>! (Lafayette puts down the baseball bat.) Lafayette: Is this because I'm sellin' V, or 'cause I sold it to your sweet Jason Stackhouse? (Lafayette sits down in a chair.) Tara: Givin' vampire blood to Jason Stackhouse is like givin' Ho-Ho's to a diabetic! You know he can't control himself! Lafayette: I was very clear on how to use it. It ain't my fault he ain't listen. Tara: I had to take him to the E.R.! They drained his penis with a needle the size of an ice pick! Twice! It was the most disturbing <snip> I've ever seen in my entire life. And I've seen some pretty disturbin' <snip>! Lafayette: OK. Tara: He suffered Lafayette... Lafayette: OK. Tara: ...bad! Lafayette: OK, OK! I'm sorry. I...I go and check in on him in the mornin'. And I know he mean a lot to you and everything, but how is comin' up in my joint at three A.M., throwin' my <snip> around gonna make anything better? (Tara picks up two red objects from the mantle and throws them at Lafayette. One of them breaks.) Tara: It makes me feel better! Lafayette: Oh! Hooker...! (Lafayette lights a cigarette.) SCENE 3: The next morning, at the Stackhouse home. Gran is frying eggs and listening to an irate female caller on a cordless telephone. Irate Female Caller (off-camera): Shame on you, Adele Stackhouse! Shame on you! Gran: Who is this? Irate Female Caller (off-camera): A vam-purr is a perversion of humanity. And you, vamp-urr lover, are pollutin' our community by bringin' one into the open! Gran: I suggest that you hear what he has to say before you take to lynchin' him. Irate Female Caller (off-camera): Well, I don't care what sort of wretches you keep in your own home, but when you bring freaks and abominations into our churches... (Sookie enters the kitchen, dressed in a short purple nightshirt, with her hair in a ponytail.) Irate Female Caller (off-camera): ...in front of our children, you will have... Gran (looking at Sookie): Well...I will be at the church early... (Sookie sits down at the breakfast table. In front of her are a plate with a sausage patty, and a carafe of orange juice.) Gran: ...if you would like to like to stop by and say hi. Mr. Compton's talk starts at eight. Irate Female Caller (off-camera): You will go to hell for this! Gran: All right! Same to you! Bye now! (Gran hangs up the phone.) Sookie: Phone's been ringin' early today. Gran: Oh. Oh! (Sookie sips some orange juice as Gran takes the pan of eggs to the table.) Gran: Everyone is excited about meetin' the town vampire tonight. (She smiles at Sookie as she serves the eggs.) Gran: I didn't hear ya come in last night. Sookie: You went to bed early. You didn't wanna hear me come in. Gran: Well... (Gran chuckles and returns to the stove.) Gran: I just thought I'd give you two a little privacy, is all. Sookie: Am I really that much of a lost cause that you gotta pin all your hopes for me on a vampire? (Gran returns to the table with the phone in her hand and sits down.) Gran: But he really seems like a very nice man. Sookie: Well, he's not. Gran: He's not nice? Sookie: Or a man. Gran: Oh, goodness! Did you two have a fight? Sookie: No. Kinda. I don't think Bill and I have very much in common. He doesn't think like we do, he doesn't the way we do, if he...feels at all. (Sookie pierces a piece of sausage and eats it.) Gran: Well, I know that, if I had a chance to know somebody who'd experienced the world differently, I'd see it as a blessing and not somethin' to be scared of. Or hate. (Gran is holding the phone up to her chest. It rings.) Sookie (shaking her head): I don't hate him. I just don't want to be his girlfriend. (The phone continues ringing.) Sookie: Uh...the phone's ringin'. Gran: Umm...machine'll pick it up. (Gran smiles broadly at Sookie.) SCENE 4: Jason's kitchen. The pointed end of a meat thermometer is being speared into the large end of a carrot as Lafayette watches. The thermometer is shoved all the way in to the carrot. Lafayette: Damn! (Lafayette, wearing a black t*nk top and gold turban, is seated at Jason's breakfast bar. Jason is standing.) Jason: Yeah. Just like that. And no an-er-stay-sher, either! First, I get hauled in by the cops. Then... (Jason holds up the impaled carrot.) Jason: ...I gotta let a dude drain my <snip>. That's the <snip> of the day! Lafayette: Sounds like it. (Lafayette pours himself a cup of coffee.) Lafayette: Jason, you ain't tell nobody where you get the V at, did you? Jason: Do I look stupid? (Lafayette cocks his head as he sips the coffee.) Jason: I didn't even let on I was takin' anythin'. You're my dog. Lafayette: Well, I love you right back. Jason: But listen: You gotta stop sellin' V, man! That <snip> people up. I mean, <snip>, now Sheriff Dearborne thinks I'm some kind of sex maniac... (Jason goes to the refrigerator and opens it.) Jason: ... and hell if I know if I'll ever, ever be able to look Tara in the face again. (Jason bends over, looks for something in the refrigerator.) Lafayette: Well, she'll get over it. The girl's been lost in love wit'choo... (Lafayette sniffs a pint-sized carton of coffee creamer, and pours some into his coffee.) Lafayette: ...since she was 8. (Jason looks up from the refrigerator in disbelief.) Jason: No <snip>? Lafayette: No <snip>. Jason: Oh, man. That's even worse! I had no idea! (Jason shuts the refrigerator door.) Jason: My life sucks so much ass. And it's all because of your <snip> V. Lafayette: Listen, don't blame the Ferrari just 'cause your ass can't drive. You're gonna have to learn how to ride the high, boyfriend. Jason: <snip> that, I am done with V. Go <snip> some other people up with that <snip>. You broke me. Lafayette: No, man. If you can learn to control it, V will open up your mind to everything you missin' around you. That's what's gonna snap you out of all this <snip>. (Jason walks up to the table, his arms folded.) Jason: More V? Lafayette: If done right. I got some in my car... (Lafayette sips his coffee.) Lafayette: ...if you want me to show you. (Jason stares at Lafayette, then looks down at the floor. Then, in Jason's living room, on top of a round glass-top table, we see four small squares that look as if they were cut from a paper towel. The room is fairly dark, save for some sunlight coming in through a window. Lafayette places a cigarette case and a green and white plastic 6-pack cooler on the table. Lafayette is kneeling on the opposite side of the table from Jason.) Lafayette: Now, I ain't showin' you no whole vial till you learn how to use this <snip> right. You get me? (Jason is sitting on the sofa, cuddling a throw pillow, staring at Lafayette. He gestures acknowledgment with his left hand, still staring at Lafayette. Lafayette raises himself, still kneeling on the floor.) Lafayette: This... (Lafayette holds up a vial of red liquid.) Lafayette: ...is the life force of a vampire. They're just blood in a skin casing. (Lafayette puts the cooler on the floor.) Lafayette: Ain't a whole lot different between a vampire and a boudin sausage except... (Lafayette sticks an eyedropper into the vial and extracts some of the V, tapping the dropper on the vial two times.) Lafayette: ...for the blood. Our blood sustains life, this blood... (Lafayette waves the eyedropper under his nose, sniffing it.) Lafayette: ...is life. One drop... (Lafayette places one drop of V on one of the paper squares.) Lafayette: ...that's all you need. Can't be greedy. (Lafayette places one drop on each of the remaining paper squares.) Lafayette: Billions of molecules of pure, undiluted, twenty-fo' karat life. You take this in and you take in a piece of the vampire it came from. The trick is...(whispering) you have to let it take you deep. Follow it. Soak it in. (Lafayette takes the last paper square he dabbed with V and places it in his mouth. He closes his eyes, and exhales. Jason, no longer cuddling the throw pillow, moves closer.) Jason: What kind of vampire is that? (Lafayette opens his eyes.) Lafayette: He's new. So the blood is still a little wild. I can feel him in my muscles makin' me strong. (Jason chuckles nervously, still staring at Lafayette.) Lafayette: But you might get another side of him. The same V could affect you in a whole 'nother way. But I guarantee you'll see the world with new eyes. (Lafayette slides a paper square with his right index finger to Jason's side of the glass-top table. With his left hand, Jason picks up the square, He looks at it and hesitates slightly before placing it on his tongue. He closes his mouth and his eyes, and exhales deeply.) Jason: Christ, I can't believe I'm doin' this again. Lafayette: Oh, no, man. You doin' it for the first time. SCENE 5: The bar at Merlotte's after the lunch crowd. Sookie and Arlene are tending to their end-of-shift duties. Four people are sitting at the other end of the bar eating their meals, including Detective Andy Bellefleur, who sits at the corner. Sookie, her hair in pigtails, has spilled some ketchup on her left hand. She grabs a towel to wipe off the ketchup. Arlene and Sam are behind the bar. A man is playing a video slots machine near the front door. Arlene: That vampire Bill would get a rise out of that. Sookie: You'll have to ask him yourself. Arlene: Vamp club not all it was made out to be, huh? A lot of freaks, I hear. And people from Arkansas. Sookie: It was fine. (Sookie continues pouring the remainder of a bottle of ketchup into another.) Arlene: So what, then? Did that vampire get all handsy with you? Sookie: I can take care of myself. And no, I won't be goin' out with him again. (Arlene looks incredulously at Sam, who cracks a small smile. Sookie stops pouring ketchup.) Sookie: OK, that place was kinda freaky, but how are you ever gonna know until you go see for yourself. Sam: I said my piece yesterday. (Sookie picks up the bottles of ketchup and continues pouring.) Arlene: I'm sorry it didn't turn out like you'd hoped, but better it happens now than before you end up hurt, or d*ad. (Sookie looks silently at Arlene. Arlene walks away. Sam approaches Sookie.) Sam: I hope you're not too flipped out to miss the Descendants of the Glorious d*ad tonight. Sookie: No, I gotta go. Gran spent all week on it. Sam: Good, 'cause...I was gonna ask if you wanna go with me. (Andy Bellefleur and the other three diners stop eating and look at Sam and Sookie.) Sam: Maybe we'll go grab a cup of coffee or somethin' after. (Sookie stares at Sam for a few seconds, and puts down the bottles of ketchup.) Sookie: Are you askin' me out? (Sam smiles nervously.) Sam: Yeah, I am. (Sam looks downward.) Sam: That's pretty much how I do it. (Sam looks at Sookie again.) Sam: Sometimes they even say yes. (Arlene is now watching Sam and Sookie with the four diners. Sookie looks at the diners, then at Sam.) Sookie: Everyone's lookin' at us. Sam: I know. You better say yes. (Silence between Sookie and Sam, as Arlene cranes her neck to watch them from the other end of the bar. Sookie smiles.) Sookie: sh**t. Why not? Sam: Good. (Sam looks at the diners and Arlene.) Sam: Eyes back on your food, people. (Sam leaves, Sookie looking at him with a confused smile. Shortly, Andy Bellefleur is the only one left sitting at the bar, wiping his mouth with a napkin. Sookie brings him a refilled bottle of ketchup and places it in front of him.) Sookie: Sorry about that. They were all kind of watery. Andy Bellefleur: No sweat. Love is in the air, huh? Sookie: Uh, I guess? Andy Bellefleur: Even that brother of yours. He gettin' serious with Tara? Sookie: Tara who? Tara Tara? Andy Bellefleur: I thought you knew. Sookie: If there was any truth to it, I would. Andy Bellefleur (thinking): There you go, right there. I knew it. Tara ain't bangin' Stackhouse. Bitch lied to me. Sookie: Watch your mouth, Andy Bellefleur. Andy Bellefleur: I didn't say anything. (Looking directly at Sookie; thinking) I know I didn't say anything, but I did think it. And you heard it, that means it's true. You can hear what people think. Sookie: Let me get you a refill on that tea. (Sookie picks up the red plastic tumbler in front of Andy Bellefleur and walks behind him to his left. He looks to where Sookie has walked. Sookie enters the service area of Merlotte's. Sam is drying a tumbler.) Sookie (to Sam): Need a sweet tea. (Sookie places the tumbler she took from Andy Bellefleur on a stainless steel tabletop by Sam.) Sookie: Tara here yet? Sam: She just came in. She's in the ladies' room. (Sookie turns and storms to the ladies' room, where Tara is fixing her hair in front of a mirror. Sookie opens the door, and Tara turns to face her.) Tara: Why didn't you tell me you were goin' out with Sam? Sookie: Because it...just happened. And how did you know? Tara: Arlene, she works fast. Sookie: All's he did was ask me to the DGD tonight. It's in a church, for cryin' out loud. (Sookie looks out into the service area at Sam through the open door of the ladies' room, then looks back at Tara.) Sookie: And why shouldn't I? He's perfectly nice, and he's got a good job, and he's not a vampire, and...oh, why...why do I have to justify this to you? Tara: Wha...I'm entitled to know what my girl's up to, ain't I? Sookie: Yeah, about that... (Sookie closes the door to the ladies' room as Sam watches from the service area.) Sookie: Why does Andy Bellefleur think you're seein' my brother? Tara: I went down to the sheriff's and gave Jason an alibi. Sookie: What'd you do that for? Tara: Because I know he's innocent and so do you. And we both know the more time he spends with the police the more he's gonna talk himself into trouble. (Tara looks rather evasive.) Sookie: Is there something' else you're not tellin' me? Tara: No. Tara (thinking): La la la la la la la la la la la la la la la la la la la la la la la la la la la la la ... Sookie: What are you doin'? Tara: Not every detail of everyone's personal life is your business, OK? (Tara opens the door to the ladies' room and walks into the service area, passing Sam.) Tara (shouting): Keep that girl away from me! (Sookie leaves the ladies' room, walks into the service area, and picks up a red plastic tumbler.) Sam: Is everything OK? (Sookie leaves the service area, and takes the red plastic tumbler to Andy Bellefleur, resting his chin on his wrists. She places the tumbler on the bar in front of him as he sits up.) Sookie: Here you go. Hey...now that I think of it, my brother and Tara have kind of been sneakin' around lately. It's a shame they feel they gotta keep it quiet. Andy Bellefleur (looking directly at Sookie; thinking): She must think I'm an idiot, like I don't know now she's coverin' for him too. <snip>, don't look her in the eye. (Andy Bellefleur looks away from Sookie.) Sookie: If you're gonna accuse me of lyin', be a man and say it out loud, for Pete's sake. (Andy Bellefleur looks at Sookie again.) Sookie: Either way, I'm gonna hear you whether you look me in the eye or not. Let's face it, there's not a whole lot of ideas in there. Like mice in a cage. (Andy Bellefleur is still looking at Sookie.) Sookie: I know you're graspin' at straws, but don't drag my brother down with you. (Sookie turns around, and heads toward the other end of the bar as Andy Bellefleur watches, pouting.) SCENE 6: The Church just before 8:00 PM. It is dark, and people are entering the church. Hoyt Fortenberry is inside, handing flyers to seated attendees. Hoyt: Here you go. Mrs. Fortenberry: Hoyt! (Hoyt turns his head to see his mother gesturing "come here". She is standing in the chancel, trying to remove a large brass cross on a pedestal above and behind the altar. Hoyt and walks up to the altar rail.) Hoyt: Ah, ah, ah! Mama! What are you doin'? Mrs. Fortenberry (whispering): Help Mama get this thing down! Hoyt: Get it...? (Hoyt looks at the gathering, then back at his mother, with a concerned look on his face.) Mrs. Fortenberry (whispering): Our guest of honor is a vampire. Adele plum forgot that little fact when she booked the church for tonight. What do you think's gonna happen when he comes out and sees a giant cross? Hoyt: I don't know. Mrs. Fortenberry (whispering): Well, I don't either. But if he sizzles up like fatback bacon in front of everybody, there's not gonna be much of a meetin', now, is there? (Hoyt shakes his head.) Mrs. Fortenberry (whispering): Now come on, make yourself useful. (Mrs. Fortenberry reattempts to remove the cross, as Hoyt goes to help her.) Hoyt: Quit jerkin' on it. (Gran, dressed in white and wearing a red corsage, is also handing out flyers, and greets René, Arlene, and Arlene's children Coby and Lisa near the front doors of the church. Gran chuckles.) Gran (to the children): Hi, there, munchkins! I reckon you're the youngest history buffs we've had at the DGD. René: Yeah, well, they wouldn't stay home for nuttin'. The minute they heard "vampire", they hadda come. Arlene: Yeah. (Arlene pats Gran on the shoulder as she, René and the children enter the church. Mayor Norris approaches Gran.) Gran: Well, hello there, Mayor Norris. Mayor Norris: Evenin', Adele. Quite a turnout. (Mayor Norris's wife, Myra, joins them. She doesn't look happy as she looks at Mayor Norris and folds her arms.) Myra: Isn't it? Mayor Norris: Good thing Myra made extra ambrosia. Gran(to Myra): Oh...Andy Bellefleur will like that. He's with the Dearbornes. (Gran points to her left, and we see Sheriff Dearborne taking a chair beside Andy Bellefleur. Several women are fanning themselves with leaf fans.) Gran (off-camera): Look, Lord know why Bud insisted on wearing his uniform. (Myra looks around a bit nervously.) Mayor Norris (off-camera): Is our vampire friend here? Gran: In the kitchen waitin'. (Bill, dressed in a khaki-colored suit and striped blue shirt, sits alone at the end of a table in the church kitchen. The kitchen is unlit, save for some dim light coming through a window behind him. On the table are various food dishes covered in plastic wrap, and an open bottle of Tru:Blood next to Bill. The camera closes in on the bottle and Bill seems to be staring into space.) Gran (off-camera): I left him with a bottle of that Tru:Blood they like. Mayor Norris (off-camera): Adele? Do you think we've taken enough precautions? (Gran and Mayor Norris are still talking in the nave. Gran: Against what?) Mayor Norris: Well, to make sure...everybody's safe. (The Mayor sighs.) Mayor Norris: Ordinarily I wouldn't pay no mind, but there's young folks here. (Gran's smile disappears.) Gran: Sterling, we don't have anythin' to be frightened of, Mr. Compton...is a perfect gentleman. (Gran resumes handing out flyers to incoming attendees.) Gran: Frankly I am more worried about what we might do to him. (Gran pats Mayor Norris on the back of his shoulders as he and Myra walk into the nave. Hoyt has climbed up onto the altar and is trying to remove the heavy, brass cross from view.) Hoyt: Hoooohhh! (Hoyt gives up.) Hoyt: Mama, this ain't gonna budge without a jackhammer or a blowtorch. Mrs. Fortenberry (whispering): Get down from there. I got a better idea. (Sookie, her hair worn down, enters the church. Sam walks just behind her. Sookie greets Gran.) Sookie: Wow! Gran, look at all the people! (Sookie gives Gran a hug and a kiss on the cheek.) Gran: Isn't it excitin'? (Sam joins Gran and Sookie.) Gran: Well, Sam Merlotte, what a nice surprise. (Bill is still sitting at the table in the church kitchen and still staring off into emptiness.) Sam (off-camera): When she told me she was comin' here alone tonight, I thought it would be a shame if she came without an escort. Gran (off-camera): How very gentlemanly of you. (Sam laughs (off-camera).) Sookie: (off-camera): OK, we're sittin' down now. (In the church, two older men place a Confederate flag onto a pedestal base, as Tara (perhaps the only African-American in attendance) watches wide-eyed, saying nothing. There is an empty seat to her right, and more on her left. Sam and Sookie make their way down the row of chairs.) Sookie (to Tara): Hey, girl. Can we join you? (Sam and Sookie approach Tara.) Sam: Hi, Tara. Tara (laughing nervously): Sure, come on in. (Sam sits at Tara's left, and Sookie sits at Sam's left.) Tara (to herself): Could always use more white people. (Tara elbows Sam and he jumps. Outside the church, as more people walk inside, Jason approaches alone. Instead of going inside, he looks up at a magnolia tree, which seems to glow as Jason remembers what Lafayette said to him that morning.) Lafayette (off-camera): If you can learn to control it, V will open up your mind... (Jason sees sparks fly out of the blooms of the magnolia tree.) Lafayette (off-camera): ...to everything you missin' around you. (Jason gazes upward at the sparkling magnolia blooms, and his expression changes from one of awe to a smile. He looks around, wipes his eyes with his hands and his hands on the front of his shirt. Inside the church, three rednecks, Wayne (wearing a blue denim jacket), Royce (wearing a camo t-shirt) and Chuck (wearing an unbuttoned plaid shirt) are walking around, looking for seats.) Wayne: There's nothing but old people. Man, I thought we were here for a vam-purr, not zombies. Chuck: Yeah, more like "Descendants of the Walking d*ad." (The rednecks find seats. Wayne sits to the right of Chuck, who sits at the right of Royce, who has an aisle seat.) Royce (whispering): Hey! You <snip> didn't leave the <snip> in the pick 'em-up, did you? (Wayne pats the front pocket on the left side of his jacket. Tara is fanning herself with a Jesus fan as Jason walks in from behind and looks at the crowd in the church. Jason takes a deep breath. He makes his way slowly to Tara. Despite the blades of the ceiling fan of the church beating the air rapidly, Jason hears a slow, heavy beating sound. He sees a bead of perspiration as it rolls down the back of Tara's neck, and he hears a small waterfall. Jason greets Tara from the right, smiling.) Jason: Hey. (Tara looks up at Jason while Sookie and Sam turn their heads toward him.) Jason: Mind if I sit with you? Tara: Uh...sure, have a seat. (Jason takes the empty aisle seat at Tara's right, and notices Sam and Sookie next to her.) Jason (to Sam and Sookie): Hey, guys. Tara (to Jason): How you feelin'? Jason: Oh, strong! Alive. (Jason stares at the altar and smiles like a brain-d*ad game show prize model.) Jason: Yep! (Sookie is sitting forward in her chair.) Sam (to Sookie, whispering): Hey, sit back. It's OK. Relax. Sookie: I thought I was relaxed. Sam: I don't think you know how. (Sookie sits back in her chair somewhat uneasily. Mrs. Fortenberry's concern with the cross has been successfully addressed, the cross now draped from view with an American flag. Gran walks to the front of the nave. Most of the crowd is sitting; some are standing.) Gran (to the crowd): Welcome. It certainly is a pleasure to see so many new faces here this month. But Mayor Norris assures me that there will be enough ambrosia and tipsy cake for everyone. (The crowd gives a collective, polite laugh, save for Andy Bellefleur, who fidgets.) Gran: Now, our guest tonight is a gentleman who, despite what you might have heard, is one of us. (As we look at the crowd, it becomes evident that there are no pews in this church; only chairs.) Gran: His family was among the first to settle in Bon Temps and he bravely fought for Louisiana in the w*r for Southern independence. Let us welcome one of the original sons of Bon Temps back to the town that he helped build. I give you First Lieutenant William Thomas Compton. (Gran steps aside and Bill opens a door near the pulpit, entering to some scattered applause. The door closes behind him. Bill steps up to the pulpit and looks at the crowd.) Bill: Thank you, Mrs. Stackhouse. If you'll pardon me for a moment... (Bill steps down from the pulpit and walks to the flag-covered cross and removes the flag from it. The crowd gasps. Bill takes a flagpole from the altar and reattaches the flag to it. Upon finishing, Bill looks up at the flag, then at the crowd.) Bill: As a patriot of this great nation, I wouldn't dream of puttin' myself before Old Glory. (Bill places the flag and flagpole in a pedestal stand beside the altar, returns to the pulpit, and speaks into the microphone.) Bill (smiling slightly): As you can see, I did not burst into flames. (Bill's smile broadens, and some laughter is heard from the crowd.) Bill: We vampires are not minions of the Devil. We can stand before a cross, or a Bible, or in a church, just as readily as any other creature of God. Mrs. Fortenberry (to Hoyt; whispering): Wha...how was I supposed to know? Bill: I am honored to stand before you tonight. Vampires have traditionally been very private, perhaps to our detriment. But I believe, if we reach out to one another, that we can coexist... (Bill looks at Sookie.) Bill: ...and even thrive together. (Sookie looks down at the floor. Bill smiles anyway.) Bill: I served in the 28th Louisiana infantry, formed in Monroe in 1862, under Colonel Henry Gray. It was there that we learned the value of human life, and the ease with which it can be extinguished. (Bill continues speaking.) Sheriff Bud Dearborne (to Andy Bellefleur): That son of buck's been killin' since the 1860's. Why stop now? Andy Bellefleur: That don't prove anything. (Sheriff Dearborne looks at Andy Bellefleur, who looks at Terry Bellefleur across the aisle from them.) Andy Bellefleur: My cousin Terry k*lled 20 Iraqis in Fallujah. You sayin' we should lock him up? Sheriff Bud Dearborne: Your cousin Terry should be locked up. Bill: Uneducated as we were, we knew little of the political or ideological conflicts that had led to this point. (Coby leans over René to Arlene.) Coby (whispering): Mama, he's so white! Arlene: No, darlin'. We're white. He's d*ad. (René chuckles quietly.) Bill: But goin' to w*r was not a choice for us. We believed to a man.. (Jason stares intently at Bill. Jason's heart pumps furiously. Bill's voice echoes in Jason's ears.) Bill: ...that we had a calling to fulfill. A destiny handed down to us from above. (We see Bill from the POV of someone sitting on the right-hand side of the church. The echoing is no longer present.) Bill: God forbid should any of our men become wounded or injured. Often the only recourse for a serious injury was amputation. (Royce laughs to himself as Bill continues speaking.) Bill (off-camera): More times than I care to remember, I had to hold down one of my fellow soldiers while the medic took a saw to his arm or leg. We had no anesthesia at the time. Apart from a bit of whiskey. (Sookie turns her head over her right shoulder, and sees Wayne taking a garlic press from inside his jacket and handing to Chuck, who opens it.) Royce (to Chuck; whispering): Load it up! (Sookie gives the rednecks a disapproving look as Chuck hands the garlic press to Royce.) Bill (off-camera): It often seemed that the man bein' operated upon suffered more from his surgery than he did from his original wound. Even if he survived the amputation, the chance of subsequent infection was high. (While remaining seated, Royce holds the garlic press in view of Bill and squeezes it, garlic coming out through the tiny holes.) Royce (semi-whispering, to Bill): <snip>! (Bill, non-plussed, glances at Royce as the three rednecks giggle amongst themselves like children.) Unknown Female Voice (whispered): Keep it down! Bill: In the winter months, the nights could grow bitter cold. (Bill continues speaking as Hoyt, in the church kitchen, takes items from the refrigerator and places them on a table. Upon removing a cake, Hoyt finds a bottle of Tru:Blood, picks it up, looks at it, and opens it. He sniffs the uncapped bottle, puts the cap back on, and places the bottle back in the refrigerator. In the nave of the church, an elderly DGD member stands up from the audience and speaks to Bill.) Elderly DGD Member: My great-grandfather was in the 28th. (The audience turn and look at him.) Elderly DGD Member: I wonder if you might have known him. His name was Tolliver Humphries. Bill: Tolliver Humphries. Elderly DGD Member: Um-hmm. Bill: Yes. I knew him very well. We fought together. Tolliver Humphries was my friend. He was a brave man, perhaps to a fault. I dare say it contributed to his death. Elderly DGD Member: What happened? Were you there? Bill: I was. Flashback to the American Civil w*r b*ttlefield. A Confederate flag rests on the ground. A Confederate soldier lays wounded and coughing in the arms of another Confederate soldier. Other soldiers lay on the ground and two more, Bill and a young Tolliver Humphries, sit against a large tree. (Bill (narrating; off-camera): We were about 20 miles north of where I stand now. The Federals outnumbered us five to one. And they had better firepower as well. We'd spent much of the afternoon recovering the bodies of those we'd lost.) Wounded Boy Soldier (off-camera): Help me, please! (Bill (narrating; off-camera): There was a boy in our troop, no more than 13 or 14, who lay wounded in the middle of a field under poor cover.) The wounded boy soldier lays on the ground some distance away from the rest, calling to the men. (Bill (narrating; off-camera): He called to us all day. He begged us to help him.) Bill turns around and aims his r*fle at the wounded boy solder. (Bill(narrating; off-camera): He knew he would die if we didn't. I admit I considered sh**t' the boy myself just to shut him up. But Tolliver convinced me that would be an act of m*rder, not w*r.) Tolliver pulls the r*fle away from Bill. Tolliver Humphries (shouting): He's one of us! Tolliver and Bill sit behind the large tree. (Bill (narrating; off-camera): He told me God wanted him to rescue that boy.) Tolliver Humphries: I'll go get him. Tolliver takes the r*fle and runs to the wounded boy soldier. Bill: No. Tolliver...(screaming) Tolliver, please...! (Bill(narrating; off-camera): I pleaded with him not to go. To think of his wife and children back home. He ran into that field like it was a cool spring day.) Bill watches as Tolliver is sh*t multiple times and falls. (Bill (narrating; off-camera): They sh*t him just as he reached the boy.) Bill, behind the tree, slumps down. (Bill (narrating; off-camera): It was obvious to us that he was beyond help. And then, after a while, the boy started screamin' again.) Tolliver lies d*ad beside the wounded boy soldier, who screams. (Jason is jolted out of whatever V-induced state he was enjoying. Nervously, Jason looks around at the crowd. All eyes are on Bill.) Mrs. Fortenberry: What happened to the boy? Bill: He lived. He survived the day... (Terry Bellefleur seems as if he's about to explode.) Bill: ... and then under cover of darkness we retrieved him later that night, along with the body of Tolliver Humphries. But it seems that Tolliver was right. God did look after his descendants. Yes? Mayor Norris. (Mayor Norris stands up. With the aid of a cane, he slowly walks up to Bill.) Mayor Norris: I've been digging in the archives this week... and I found this old tintype. (Mayor Norris holds up the tintype, in a folding picture frame, to Bill.) Mayor Norris: The inscription on the back says, "Mr. W.T. Compton and family." Can you tell us if this is a picture of you? (Bill takes the tintype from Mayor Norris, opens the frame, and looks at the black-and-white image of himself standing behind a little girl. A woman is sitting down next to them, holding an infant (their son) in her arms. Bills tries not to be emotional.) Bill: This... this is a remarkable photograph. I remember the day we gathered to have this taken. Mrs. Fortenberry: When was the last time you were with them? Bill: When I..I went to w*r in 1862. I...my human life ended before I had a chance to come back home. René: But'choo became a...a vampire after that, right? Couldn'tcha go back to your family then? Bill: No. No. That wouldn't have been possible. (Bill closes the picture frame, and dabs his eyes with a handkerchief.) Bill: I apologize. This is not a subject I'm very comfortable speaking about. But thank you for the photograph, Mayor. Brings back many memories for me. (The Mayor returns to his seat as Bill returns to the pulpit.) Bill: Any other questions? (Bill clenches his handkerchief in his right fist by his side. It's stained with a drop of blood.) SCENE 7: The church's fellowship hall. Tiny Confederate flags decorate the tables at which people are enjoying food and conversation. Piano music is in the background. Gran and Bill are standing, talking with a blond woman dressed in blue. Gran: Thanks for coming, dear. (Gran and Bill smile, and the blond woman leaves. Terry Bellefleur approaches Bill. Terry shakes his head, then hugs Bill.) Terry: They don't understand, man. None of them will ever understand. (Bill nods.) Terry: You stay sharp, brother. Bill: All right. (Bill watches Terry as Terry leaves. Bill and Gran are then approached by Mrs. Fortenberry.) Mrs. Fortenberry: Could I...? (Hoyt joins the three.) Mrs. Fortenberry: Would it be possible to take a picture with you? Bill: Of course. Mrs. Fortenberry: You won't vanish in the photo? Bill: That's just a myth. And it's one I'd be happy to disprove. (Mrs. Fortenberry hands a camera to Gran.) Bill (to Mrs. Fortenberry): Come around. (Bill has his right arm across Mrs. Fortenberry's shoulders, and Hoyt has his right hand on Bill's left shoulder. It seems Bill is taller than Mrs. Fortenberry, and Hoyt is taller than Bill. The three smile, and Hoyt gives a thumbs-up signal to Gran, who snaps a picture and returns the camera to Mrs. Fortenberry.) Gran (smiling): Here you are. Mrs. Fortenberry: Thanks so much, Adele. (Bill smiles at Mrs. Fortenberry and Hoyt as they walk away. Sookie approaches Gran and Bill.) Sookie (to Bill): Hey! Great job tonight! (Sam joins the three.) Gran: Wasn't he just marvelous? Sam (somewhat less than cordial): Yeah, that was...that was quite a show. Sookie: Bill, you remember Sam, right? (Sookie and Sam look at one another briefly.) Bill: Yes, you're Sookie's employer. Sam: Not when we're off-duty. (Sam puts his arm around Sookie.) Bill: No, legally you still are. (Sam gives Bill a hard look.) Sam: Well, I just wanted to congratulate you. Seems like you've won everybody over. Bill (looking directly at Sookie): Well, some, I hope. Sam: Well, we better get going. We're gonna grab a cup of coffee before we call it a night. Bill (to Sam, somewhat coldly): Coffee. Sounds delightful. (Sookie hugs Gran.) Sookie: Good night, Gran. I'll see ya later. (Gran nods. Sookie and Sam leave Bill with Gran.) Bill (half-heartedly): He seems nice. Gran: Hmm... SCENE 8: Merlotte's that evening. Tara is serving drinks at the bar. A blond woman in a red floral print top and a miniskirt made from an old pair of jeans walks past a table where Jason, Hoyt, and René are sitting. There's an empty clear plastic beer pitcher on their table. Arlene is dressed in her Merlotte's uniform, taking an order from a nearby table. Hoyt: Man, this place is crawlin' with hot chicks and we're just sittin' here like our <snip> are stuck together. René: Don't look at me. My chère is right there. (René looks over his right shoulder at Arlene. Jason unbuttons his shirt and rubs the table with his hands.) René (to Hoyt): You want a girl so bad, you get one yourself. You... (Arlene runs her fingers through René's hair as she walks past their table.) Jason: Want another round? René: Yeah...? Hoyt: Hey...maybe we should order up a couple of those Tru:Bloods. (René makes an ugly face.) Hoyt: After meetin' a vampire tonight, don't you wanna try it and see what it's like? René: I go to the dog races. You see me eating Alpo? (Jason turns his head over his left shoulder in the direction of the bar area.) Hoyt: I just thought he was pretty cool, was all. Another Dixie Draft? Jason? (Jason has tuned out the crowd. At the other end of Merlotte's, he sees a woman wearing a leaf garland in her long brown hair and a purple dress. She is reclining on her side on a rock by a waterfall, pouring water from an amphora, and surrounded by greenery. It is Tara, and she is smiling at Jason.) Hoyt: Jason! (Jason returns to reality and turns around.) Hoyt: Dixie Draft? Jason: Yeah. I'll get it. (Jason picks up the empty beer pitcher and stands up.) Jason: I love you guys. Hoyt: I know. (Jason leaves the table as Hoyt and René look at one another, seemingly concerned about Jason's behavior. Jason walks up to Tara at the bar. Tara is not smiling at Jason as he hands her the empty pitcher.) Tara: Another Dixie Draft? (Jason grabs Tara's arm with his left hand and caresses it.) Jason (looking at Tara's arm): Whoa! You feel that? Every hair on your arm sh**ting sparks into my hand. (Tara looks at Jason as if he's lost his mind.) Jason: You know those 'lectric fences they use to pen horses? It feels like I just pissed on one. Tara: Oh, my God, you are still high. I'm gonna k*ll Lafayette. (Tara places the empty pitcher behind the bar.) Jason: No, don't. I'm not high. (Tara looks at Jason with disbelief.) Jason: OK, I am high. But that don't mean that what I'm feeling ain't real. For the first time, I can see clear. All these years, I was blinded by the <snip> that keeps people apart. It's you, Tara. It's been you all along. Tara: Who you think you're talking to? I've known you since I was 6 years old. Jason: And it's taken me all this time to admit it. Come here. (Jason leans over to Tara, and she giggles.) Jason: This bar might be full of beautiful women, but you're the one who took care of me when I needed it. You showed me love, Tara. And that's the most beautiful thing of all. (Jason and Tara look at one another. Tara isn't giggling anymore.) Tara: Come to me when you're sober. Then we can talk serious. (Jason interlaces the fingers of his left hand with Tara's.) Jason: Just give me a chance, I'll prove it to you. Everythin' I'm feelin'... (Jason has cupped his right hand over their hands.) Jason: ... I want to feel it with ya. One chance. (Jason lightly kisses Tara's hand.) Jason: That's all I'm askin'. (Tara is shaken and walks away.) SCENE 9: Sam and Sookie are having coffee and sharing a slice of pie at another restaurant. A small piece of pie remains on the plate as Sookie puts down her dessert fork. Sookie (smiling at Sam): Last bite's yours. Sam: No, you go ahead. Sookie: Here, we'll split it. (Sookie picks up her fork and cuts the piece of pie in two. Sookie eats one piece as Sam sips his coffee.) Sam: Well, I guess you saw this comin', huh? Sookie: What? Tonight? What makes you say that? Sam: Well, I said you could listen in. Hear what I'm thinkin' if you wanted. Have you ever even tried? Sookie: No, I have, and to be honest, it's a little weird. You don't think the way others do. Most people, it's whole sentences or images. With you, sometimes there's words, but other times, I just get these sounds. Like, waves of emotions. Sam: I guess I'm just a freak. Sookie: I was gonna say mysterious. (Sam looks at Sookie, and takes another sip of his coffee.) Sookie: How come nobody knows anything about you? I never hear you talk about where you're from, or your family, or anything. Sam: The place I'm from, the people who raised me, got nothin' to do with who I am. And I ended up pretty much raisin' myself. Sookie: Is that why you spend so much time alone? Sam: Naw. I think that's just 'cause I don't like people. (Sookie laughs.) Sookie: Come on, no one goes and opens a bar if they don't like people. Sam: Well...maybe I wanted to meet some pretty waitresses. Sookie: Too bad you got yourself a couple of crazy ones in the bargain. Sam: Sookie? There's nothin' wrong with you. I can't understand why you'd wanna fix or change or hide anything. I wouldn't want ya any other way. Sookie: You're just tryin' to get on my good side. Sam: How am I doin'? (Sookie chuckles and looks at the dessert plate.) Sookie: Finish it. (Sam cuts the tiny piece of pie in two, and eats one of the pieces.) Sam: That's yours. (Sookie eats the last piece.) SCENE 10: Merlotte's, the same evening. Lafayette is in the kitchen mixing something with a spoon. He is wearing the same black t*nk top and turban as he did that morning. Arlene comes to the service window, returning a hamburger. Lafayette: Is there a problem with my burger? Arlene: Just a couple of drunk rednecks, that's all. Lafayette: Well, what's they problem? Arlene: Oh, come on, now. It's not worth it. Lafayette: What did they say? (Lafayette looks from the service window of the kitchen into the restaurant. Royce, Wayne, and Chuck are sitting in a booth, looking at him.) Arlene: He said the burger... (Lafayette slams the spoon down.) Lafayette (angry): What did they say, Arlene? Arlene: He said the burger might have AIDS. (Lafayette cocks his head and removes his earrings.) Arlene: Lafayette? (Lafayette removes his apron and leaves the kitchen with the hamburger. Arlene clasps her hands behind her head, looking worried.) Arlene: Oh, fudge. (Lafayette walks to the rednecks' booth with the burger.) Lafayette: 'Scue me...Who ordered the hamburger... (Lafayette places the burger on the table in front of the three.) Lafayette: ...with AIDS? (Wayne and Chuck laugh.) Royce: I ordered the hamburger deluxe. Lafayette: In this restaurant, a hamburger deluxe come with fren' fries, lettuce, tomato and mayo...(yelling) and AIDS! (Lafayette looks around.) Lafayette (shouting): Do anybody got a problem with that? Royce: Yeah! I'm an American. And I got a say in who makes my food. Lafayette: Well baby, it's too late for that. <snip> been breedin' your cows, raising your chickens, even brewin' your beer long before I walked my sexy ass up in this <snip>. Everything on your <snip> damn table got AIDS. Royce (angry): You still ain't makin' me eat no AIDS burger. Lafayette (leaning over closer to Royce): Well, all you gotta do is say "hold the AIDS." Here... (Lafayette takes the top bun off the burger, licks the mayonnaise off it, and crams it into Royce's face.) Lafayette: ...eat it! (Lafayette shoves the bun onto Royce's face. Wayne and Chuck get up to h*t Lafayette, but he decks each of them. Royce tries to h*t him, but Lafayette gut-punches him and fells him with a right uppercut to the jaw. Lafayette picks up the plate and looks at the three.) Lafayette (shouting): Bitch, you come in my house, you gonna eat my food the way I <snip> make it! Do you understand me? (Lafayette drops the plate onto Royce's lap. Royce looks hard at Lafayette, and knocks the plate off his lap.) Lafayette: Tip your waitress! (Lafayette turns around, walks past Jason. Jason holds out his left hand and slaps Lafayette's left palm with it. Jason, Hoyt, and René look at Royce, Wayne and Chuck, and laugh at them.) SCENE 11: The brick exterior of the restaurant where Sookie and Sam shared dessert and coffee. There is a glass door with a green frame and a white lace curtain behind the glass, cinched with a green band in the center. On the upper part of the door, an OPEN sign is displayed, and the words "FRESH FISH" and "OPEN 7 DAYS A WEEK" are painted on the glass below the sign. A bell rings as the door is opened. Sookie and Sam exit. The bell rings again as Sam closes the door behind them. Sam: I, for one, am thankful you can't hear all my thoughts. Sookie: Why's that? (Sam grabs Sookie by the hips and smiles.) Sam: 'Cause then you'd know what's comin'. (Sam backs Sookie up against his sport-utility vehicle and kisses her passionately on the lips. Sookie returns the kiss, then backs off.) Sam: You OK? Are we goin' too fast? Sookie: No. Uh..n-no. Uh...maybe? Sam: I don't wanna make you do anything you don't wanna do. Sookie: No, I do, I do, I do. Trust me. I..I want to. It's just...kinda... too much right now, and a little too soon since... Sam: Since what? Oh, <snip> damn it, Sookie! (Sam turns away from Sookie.) Sookie: I'm sorry. I'm not used to this. Sam: Should never have gone to see that damn vampire. Sookie: It's not him! It's just ...just stop it! I just can't go jumpin' from kissin' one man to the next so quickly. Sam: You kissed him? Sookie: That's none of your business. Sam: What else did you do? Sookie: That's really none of your business. Is this a contest for you? Whatever he did, you have to top it? Sam: Come on, be fair. Sookie: You know what's unfair, is you waitin' for someone else shows an interest before you decide to kiss me! Sam: Sookie! You have no future with a vampire! Sookie: They don't die. I've got nothing but a future with one. Sam: Oh, just like Dawn had a future? Like Maudette Pickens had a future? Sookie: Bill did not k*ll those women. Sam: Listen, there's nothing that I will not do to keep that thing from hurting you. They're not like us. They could turn on you. Sookie: And people can't? You're doin' pretty good right now. (Sam calms down.) Sam: All right, I think I best take you home. (Sookie walks to the restaurant door.) Sookie: You go ahead. I'll call a cab. (Sookie goes inside, the bell ringing as she opens the door.) Sam (yelling): Aw...for cryin' out loud, don't be stupid, Sookie! Get in! (The restaurant door closes.) Sam: Sookie! (Sam slams the passenger-side door of his sport-utility vehicle. There is green sign hanging above the restaurant door. It is rectangular, hung horizontally, with concave sides. In cursive lettering reads "Crawdad's" and in smaller printed letters below that "[illegible] RESTAURANT". Next door to Crawdad's is a white sign with reddish letters reading "[illegible] ICE CREAM". Sam walks to the driver's door of his SUV, opens it, and climbs in.) SCENE 12: Back at Merlotte's, the blond woman in the red floral print t*nk top and blue jean miniskirt is dancing by herself between the bar and the billiards area. She seems to have had one too many. Jason seems to be encouraging Hoyt as Hoyt leaves their table to talk to her. Jason (to Hoyt, shaking his fist as if using a whip): Whip it! Whip it! (Hoyt approaches the dancing woman, who turns to face him. Hoyt smiles, and waves his right index finger in the air and trying to dance.) Randi Sue: What you doin', baby? Hoyt: Aw. You know, keeping it real. Partyin'. Randi Sue: Me too. I'm celebratin'! (Hoyt chuckles.) Hoyt: Oh, yeah? What's the occasion? Randi Sue: My divorce went through today! Yee-haaaaaa! (Randi Sue throws her arms up in the air, high-fives Hoyt, and spins around.) Hoyt: Whoa-ho! That's great. (Randi Sue stares glassy-eyed at Hoyt.) Randi Sue: He was a jerk. He sh*t my car. (Hoyt closes his eyes and shakes his head.) Hoyt: Hmm...sorry to hear that. Randi Sue: Yeah? (René and Jason watch Hoyt and Randi Sue from their table. René seems to be rather tipsy, too.) René: It's like watchin' Animal Planet, yeah? Any second, she gonna bite his head off, I swear. (Randi Sue rubs her back up against Hoyt's front.) Randi Sue: So...you wanna help me forget all about him? (Hoyt has rejoined René and Jason at their table.) Hoyt: She asked me to come home with her. René: So, what are you doin' here, you? Hoyt: I said I'd think about it. René: Aight...yeah, you a lost cause. (René drinks his beer.) Hoyt: What? I just didn't feel that..that spark! (René and Jason chuckle as Tara comes to their table.) Tara: Another Dixie Draft? (Tara places a fresh pitcher of beer on the table.) Tara: Tru:Blood, O Negative. (Tara places a cocktail napkin and a bottle of Tru:Blood in front of Hoyt.) Tara: No refunds on that, Hoyt. (Hoyt picks up the bottle of Tru:Blood.) Hoyt: It's... It's hot. Tara: That's the way it's served: Ninety-eight point six. (Tara walks to Jason, stops, and looks at him. Jason smiles at Tara. Tara walks away. Jason turns his head over his left shoulder, watching Tara walk away. Hoyt sips his Tru:Blood, wipes his mouth with his left hand, making a face.) Hoyt: Ohhhhhh! That <snip> is nasty. René: Yeah, what'd you expect? Is s'pose taste like blood. (Jason is bouncing in his chair.) Hoyt: I thought it was supposed to be some sort of life-force or somethin'. Jason: Tru:Blood don't do nothin'. The real life-force... is V. Hoyt: V? René: Vampire blood. It's illegal. (René puts a cigarette in his mouth and lights it.) Jason: All our blood belongs to the universe. They take some from us, we take a little from them. René: I just say no to drugs, merci. (René puffs on his cigarette and drinks his beer.) Jason(to Hoyt): It might give you the will to seal the deal with that girl. (Randi Sue is standing where she was dancing earlier, looking at Hoyt.) Jason (to Hoyt) Only thing holdin' you back... (Jason snaps his fingers.) Jason: ...is you. (Hoyt makes a g*n with his fingers and "sh**t" at Jason. Jason and René raise a toast with their beers. Smiling, Hoyt lifts his bottle of Tru:Blood, kisses the bottom part of it, and joins in the toast, holding the bottle of Tru:Blood high in the air. Randi Sue's smile disappears, as does Hoyt's.) Hoyt: Ah, <snip>! (René and Jason double over laughing.) SCENE 13: The Old Compton House. No lights are on. Crickets chirp as Bill walks up the front lawn. He looks at the porch of the house, and stops, and stares at the porch, now dimly lit by four lanterns. He sees his family, circa mid-1860's. His daughter rocks in a chair to her mother's left, who also rocks in a chair, holding her and Bill's son, who is no longer an infant. Bill's son: Look. Bill's Wife: What do you see there, son? Bill continues to stare at the strange scene, until he is jolted back into reality by the Sheriff. Sheriff Bud Dearborne (off-camera): Mr. Compton? (Bill turns his head over his left shoulder, his family gone from the porch.) Sheriff Bud Dearborne (off-camera): I'm Bud Dearborne... (Sheriff Dearborne and Andy Bellefleur are standing behind Bill.) Sheriff Bud Dearborne: ...Sheriff of Renard Parish. This here's Detective Andy Bellefleur. Bill: Bellefleur? (Bill looks at Andy Bellefleur oddly.) Bill: What can I do for you gentlemen? Andy Bellefleur: We'd like to ask you a few questions pertaining to an investigation, if you don't mind. Bill: Of course. Won't you come on in? Sheriff Bud Dearborne: In to the house? (Bill turns and walks toward the house. Inside, Bill is stoking a f*re in the fireplace in the parlor. Leaning against the right side of the fireplace is a strange, pronged implement. Bill stands up, turns around, and looks at the Sheriff and Andy Bellefleur, who stand in the front hall.) Bill: Please, make yourselves at home. (Bill smiles. The Sheriff and Andy Bellefleur slowly walk into the parlor, illuminated only by a few dimly-lit wall sconces and the f*re in the fireplace.) Bill: May I offer you a drink? Sheriff Bud Dearborne: No, thank you. Bill: I have Frescas. Andy Bellefleur: You do? Bill: For guests. Andy Bellefleur: Well, I'll have a Fresca. (Bill leaves to get the Fresca, and he Sheriff and Andy Bellefleur sit on the sofa.) Sheriff Bud Dearborne (whispering): What the hell are you doin'? Andy Bellefleur (whispering): He offered. Sheriff Bud Dearborne (whispering): He's a suspect. Andy Bellefleur (whispering): Maybe to you. We got no evidence. Sheriff Bud Dearborne (whispering): He's a... (Sheriff Dearborne makes a pair of fangs with his index fingers and holds them in front of his face.) Sheriff Bud Dearborne (whispering more softly): ...vampire! (Andy Bellefleur sighs, stands up, and walks to the fireplace. He looks up at the mantle, then down at the fireplace, and notices the strange, pronged implement. He picks it up and makes an expression of confusion with his face. The sound of a soft drink can being opened is heard. The Sheriff turns his head to the left, and sees Bill beside the sofa, opening a can of Fresca.) Bill (looking at Andy Bellefleur): It's a toaster. For bread. You put the slices in the end and then you cook them over the hearth. I don't use it anymore, as I no longer eat. (Andy Bellefleur returns the toaster to its place, walks to Bill, accepts the Fresca from him, and sits back down on the sofa. Bill sits in a chair near the sofa, crossing his left leg over his right.) Bill: You said you had some questions for me. Andy Bellefleur: We're investigating a couple of homicides that took place locally in the past week. Bill: I've heard. Andy Bellefleur: Were you familiar with either of the victims? Maudette Pickens or Dawn Green? Bill: Miss Pickens, no, but Miss Green...I believe she worked over at Sam Merlotte's place. We never spoke, but I saw her. Sheriff Bud Dearborne: Were you aware that both had sexual contact with vampires? Bill: I was not. But it's more common than you would think. Sheriff Bud Dearborne: You have anybody that can vouch for your whereabouts on the night of the 23rd and the 27th? Bill: Tell me, Sheriff: were either of these unfortunate women exsanguinated when you found them? (The Sheriff and Andy Bellefleur look somewhat confused.) Bill: Drained of their blood? If you don't mind my askin'. Andy Bellefleur: Uh...that's not information we're at liberty to share. (Bill sighs.) Bill: Because a fresh corpse...full of blood...Detective, that's something no vampire could resist. I dare say, not even I. Andy Bellefleur: Good thing you weren't there. Bill: And nor was any other vampire. (Andy Bellefleur takes a sip of his Fresca.) Bill: A vampire would have drained those girls of every last drop. How's your Fresca? Andy Bellefleur: It's a little warm. Bill: I apologize. (smiling) I don't own a refrigerator. (Outside the Old Compton House, the Sheriff and Andy Bellefleur are walking to the police car parked in front.) Andy Bellefleur: Oh, sh**t. I think I forgot my pen. Sheriff Bud Dearborne: Leave it. (The Sheriff and Andy Bellefleur get into the police car as Bill watches them from the parlor window, taking off his suit jacket, and tossing it on the arm of the sofa. We hear the police car's engine starting, and the car driving away. Bill walks to the fireplace, picks up the toaster, and looks at it.) Flashback to a night in 1865. Bill, r*fle in hand, is breathing heavily. He climbs to the top of a hill and comes upon a small house and knocks on its door. Bill: Is there anyone inside? I require help. (somewhat desperately) I'm a soldier of the 28th Louisiana Infantry. (more desperately) I require food and water. Is there anyone who can help me? (The door of the house is cracked open, but is shut with either a rope or a leather strap [the scene does not make it clear which]. Bill takes out a large Kn*fe, cuts the rope (or leather strap), goes inside, and finds the barrel of a g*n is pointed at his head.) Lorena: Do not move. I will sh**t you! (Bill is in Lorena's house, sitting at a table, gulping water from a cup. Lorena is cooking food over the hearth, and brings some to Bill. Several candles and lanterns provide some light.) Lorena: I wasn't... even aware we surrendered. Bill: Word came two weeks ago. Yeah. We disbanded immediately. Most of the men marched back to Monroe, but I chose to take a shortcut home by...by way of these trails. I overestimated my knowledge of the land. (Lorena returns to the hearth and kneels to pick up the toaster.) Lorena: You're not far off. (Lorena picks up the toaster, with a slice of bread between its prongs, and brings it to Bill.) Lorena: A lake is 10 miles southwest of here... (Bill snatches up the slice of toast from the prongs of the toaster.) Lorena: ...Bon Temps is 10 miles south of that. (Bill tears off a piece from the slice as Lorena returns to the hearth. Bill tears off a piece from the piece he tore off, and eats. In the light, we see blood on the right sleeve and left breast of his shirt. Lorena kneels in front of the hearth, and turns her head over her left shoulder.) Lorena: My husband was in the 13th Infantry, under Colonel Gibson. He fought at Shiloh. (Lorena stands up.) Lorena: He used to write to me every few weeks, but I haven't heard from him in nearly seven months. (Lorena places a basin on the table, next to Bill.) Bill: Many of the postal routes have been disrupted. I'm sure your letter simply got lost. (Lorena pours water from a blue pitcher into the basin.) Lorena: That's kind of you. But I've considered myself a widow for some time now. (Lorena dips a cloth into the water and kneels beside Bill to wash his face while he eats. Bill's face, though dirty, has a ruddy complexion, while Lorena appears quite pale.) Lorena: Still have quite a lot of blood on you. You're a lucky man, lieutenant. I doubt you would've survived another day without food. Bill: I'm in debt to you for taking pity on me. Lorena: I think...for your sake...you best spend the night here...with me. (Lorena tries to kiss Bill's lips, and for a moment, it seems as if he wants to kiss her, too. However, he stops.) Bill: I'm sorry. I apologize if I misled you, but I have a wife and two small children waitin' for me. And if Bon Temps's as close as you say it is, then I'll see them soon, and I do not wish to sully our reunion. (Bill wipes his mouth with a napkin.) Lorena: You are an honorable man. The others have not always been so. (Lorena stands up.) Bill: There's been others? Lorena: From time to time. Deserters, mostly. I offered them a crust of bread and a place to rest, and they help appease my loneliness. It may not be moral, lieutenant, but these are times of w*r. (Lorena kneels and tries again to kiss Bill. He moves away from her, and stands up.) Bill: I do not judge you. Your choices are your own, as are mine. I wish to continue on my way home. You have my gratitude for your hospitality. I will not soon forget it. (Bill turns and walks in the opposite direction from Lorena. But, with lightning speed, she moves in front of Bill. Her mouth is open. And her fangs are exposed. She throws Bill to the floor, jumps on top of him, and bites him on the neck. Bill does not put up a fight. Later, Bill is in bed, dressed, motionless, his eyes closed. Lorena stands beside him, watching him. Bill's eyes open, and he sees a d*ad body, seemingly hung from a rope, dressed in a bloody shirt, its face pale, its eyes closed, its mouth open. Bill sees the face of another body, not as pale as the first, with d*ad eyes and its mouth twisted in agony. Bill stares in fright at Lorena.) Bill: The others? Lorena: They all presented themselves as gentlemen. Can blame the w*r if you like. They proved to be no more than savages once I let them into my home. They deserve no better. Bill: Uhn...Have they all died? Lorena: Oh, yes. But I'm not keen to let you go quite so easily. (Lorena climbs on top of Bill, still motionless in the bed.) Lorena: I've waited a long time for a man such as you. (Lorena takes the blade of a Kn*fe and cuts the jugular vein on the right side of her neck, the blood dripping around Bill's mouth as he writhes in horror.) Lorena(whispering): Drink! (in normal voice) If you do not drink, you will die. Certain as I'm speakin' to you right now. Do you wish to see your family again? Your wife? Your children? (Bill licks some of the blood from around his mouth.) Lorena: You must drink from me! (Lorena presses the open wound on her neck to Bill's mouth, and he drinks desperately.) Lorena: Take me in you! Feel me in you! We are together William, forever! You...are mine! (Lorena smiles and exposes her fangs.) (The Old Compton House. Crickets chirp as Bill walks up the front lawn. He looks at the porch of the house, and stops, and stares at the porch, dimly lit by four lanterns. He sees his family. His daughter rocks in a chair to her mother's left, who also rocks in a chair, holding her and Bill's son, who is no longer an infant..) Bill's son: Look. Bill's Wife: What do you see there, son? (Bill watches silently. Lorena is behind him, and speaks to him coldly, and unsympathetically.) Lorena: You know you can never enter. Do you wish to see them grow old? Grow feeble and die, while you remain the same year after year? Bill: They are my family. Lorena: They are as good as d*ad...if they are found harborin' a vampire. Bill looks longingly at his wife, daughter, and son. Lorena: I've brought you here, and now it's time for us to go. (A tear of blood falls from Bill's right eye. Lorena strokes Bill's left shoulder, unmoved by the scene.) Lorena: Come! (Lorena turns and walks off into the distance. Bill remains for one last look at his family, then turns to join Lorena.) (In the present, Bill is still holding the toaster by his fireplace. Angrily, he swings it like a baseball bat against the andirons a few times. Holding it up, he sees the toaster is still intact, still unharmed. Bill swings it twice more against the andirons.) SCENE 14: Behind Merlotte's. Tara is taking a bag of garbage to the Dumpster when she hears people having sex on the other side of the Dumpster. Instead of putting the garbage in the Dumpster, Tara takes it with her as she walks to the other side, and sees Jason having sex with Randi Sue. Both are still clothed. Tara: You gotta be kiddin' me! (Jason continues going after Randi Sue.) Jason: Uh...hey! Hey Tara! This is Randi Sue. Oh...come...join us! It's beautiful! (Jason, still going at it with Randi Sue, reaches out with open arms to Tara, who instead empties the bag of garbage on Jason and Randi Sue, and walks away.) Tara (yelling): <snip> you, Stackhouse! Randi Sue (to Tara, yelling): Bitch! Don't <snip> with my hair! (to Jason, yelling): Don't you dare stop! (Jason and Randi Sue continue making love in the garbage.) SCENE 15: A dark blue taxi with a yellow top drives up. In white letters below the right passenger-side window is "RADIO DISPATCHED", and in a larger font below that, "KC-579". In smaller text, in Brush Script font, is "Service Anywhere". Sookie is inside the taxi, paying the driver. She exits, and walks into the Stackhouse home from the back covered porch, where she removes her shoes. She then opens the door to the kitchen, puts her shoes and purse down, and slips on the floor, but does not fall. We can hear Tina, Sookie's pet cat, meowing. Sookie turns on the lights, looks down, and sees blood on the kitchen floor. Sookie turns her head and sees Gran lying in a large pool of blood. END

{"type": "series", "show": "True Blood", "episode": "01x05 - Sparks Fly Out"}

foreverdreaming

SCENE 1: The kitchen of the Stackhouse home. Blood streaks the white walls as Gran's body lies in a pool of blood on the floor. Tina, Sookie's pet cat, licks up some of the drops of blood on the floor. Barefooted, Sookie stands in blood, staring at her grandmother's body. Sookie gasps, pounds the air with her fists, and falls to her knees at Gran's feet. A door creaks as Sookie, still staring at Gran's body, is frightened when someone grabs her from behind. Bill: Sookie! It's me. Sookie. Sookie, it's me! (Bill turns Sookie around to face him. Sookie, in shock, stares blankly at him.) Sookie: Bill. Bill: You all right? (Sookie's eyes widen. She gasps deeply.) Bill: C'mere. (Bill hugs her, and she holds him tightly.) (POV of someone approaching the open front door of the Stackhouse home. Footsteps fall on the leaves in the yard, and the steps leading to the wooden front porch. A board creaks. In the kitchen, Bill is still comforting Sookie, and hears the creak. He looks up and toward where the sound came from. He frowns. A hand is on the front door, and Bill exposes his fangs. With lightning speed, Bill grabs the intruder by the throat with his right hand and pushes him against a wall in the doorway between the parlor and the dining room. Bill looks at the intruder with a hard, mean look. It is Sam.) Sam (shouting): Get your <snip> hands off of me! (Bill does not loosen his grip on Sam's neck. He glowers at Sam.) Bill (shouting): What are you doin' here? Sam: I was makin' sure that Sookie got home safe. The door was open. What are you doin' here? (Sookie appears.) Sookie: Bill, it's OK! Let him go! (Bill slowly retracts his fangs, still staring at Sam, and removes his hand from Sam's neck.) Sam: Sookie? (Sam looks over at Sookie and sees blood on her hands and legs. Sam looks wild-eyed at Bill.) Sam: What happened? Cut to opening credits to the tune of "Bad Things" by Jace Everett SCENE 2: The dining room of the Stackhouse home. Sookie sits alone, still in shock. Sheriff Bud Dearborn, Detective Andy Bellefleur, Coroner Mike Spencer and his apprentice Neil Jones are in the kitchen. Sheriff Dearborn (off-camera): Did you get any prints off that drawer? Andy Bellefleur (off-camera): Nothing plain. Think we got a partial one on the sink. (Sam places a blanket over Sookie's shoulders.) Sam: Hey. (Sam sits across from Sookie, leaning forward.) Sam: Why don't you go upstairs and lie down? They're gonna be in there a while. (Sookie looks at Sam, but says nothing.) Sam: As soon as we find anything out, I'll let you know. (Sookie looks down and hears the intermingled thoughts of Neil Jones (whose face is barely visible), Andy Bellefleur, Mike Spencer, and Sheriff Dearborn.) Neil Jones (thinking): <snip> I got blood on my boots. So much blood, I'm gonna be sick. Andy Bellefleur (thinking): Pull it together, pull the <snip> together <snip>! Do your job. No wonder they don't respect you. Mike Spencer (thinking): ...cut her up real good. Must be 30 s*ab. The throat's wide open. Holy hell, we got ourselves a serial k*ller here. Sheriff Dearborn (thinking): ...Lynn and the grandkids to the lake for the weekend... Andy Bellefleur (thinking): Poor woman, stuck raising these bad-<snip> crazy Stackhouse kids didn't deserve this. Sam: Sookie?! (Sookie looks up at Sam.) Sookie: Maybe I could...use a little air. (Sookie stands up, with the blanket still around her shoulders, walks to the front door, goes outside, and sits on the porch, straight up with her legs together, seemingly staring into space. Her legs still have Gran's blood on them. Sam comes out onto the porch, leaving the door slightly ajar. He slowly walks up to where Sookie sits. The sounds of crickets chirping and a police radio are heard in the background. Sam sits next to Sookie.) Sam: Listen. I should never have left you alone, I lost my temper, and I shouldn't have. (Sookie faces Sam.) Sookie: Do you think you could apologize to me some other time?! Sam: I just... (Sam grasps Sookie's hand in her lap, and looks at her.) Sam: Whatever you need, anything I can do, you know, I'm right here. Sookie (unemotionally): I know. Thank you. Sam (thinking): ... hold you, make it better. I'm the one. I'm so sorry. Sorrowful. Soft skin. (Sookie takes her hand away from Sam.) Sookie: I said another time, Sam. Sam: OK. (Sookie and Sam look away from one another and are silent for a while.) Sookie: What happened to Bill? (Sam makes a sour look with his face, and growls.) Sam: I'll go get him. (Sookie nods, and looks toward Sam as he goes inside the house.) Sookie: Thank you. (Inside the Stackhouse home, Bill is looking out through a window in Sookie's dimly-lit bedroom upstairs as Sam walks into the room. Bill turns slightly toward Sam.) Sam: She's askin' for you. (Bill takes a few steps toward Sam.) Bill: Is there somethin' you wanna say to me? (Sam looks to his left, then his right, and approaches Bill from Bill's left.) Sam: I want you to stay away from her. (Bill and Sam lock stares.) Bill: You know, Sookie doesn't take kindly to people makin' decisions for her. Sam: You don't need to tell me who Sookie is. (Sam resumes pacing the room behind Bill.) Sam: I know who she is. I've known a long time. (Bill turns to face Sam.) Bill: Then you also know that this is neither the time nor the place for you to...mark your territory. (From the window, it seems daylight is approaching.) Sam: There's a woman lyin' d*ad downstairs. She wouldn't be there if it weren't for you. (Sam steps closer to Bill.) Sam: Anything happens to Sookie, I promise...I'll be sharpening a stake with your name on it! (Sam and Bill stare at one another, and Sam leaves Sookie's bedroom. Bill returns to the window, opens it, and places his hand through a hole in the screen window. SCENE 3: The kitchen of the Stackhouse home. Mike Spencer and Neil Jones are kneeling beside Gran's body. Neil's face is more visible now. He is brunet, with an emo hairstyle. Mike Spencer: Looks like she put up a hell of a fight. See those defensive cuts on her hand? Straight to the bone? Neil Jones: Uhm. Hardcore. (Sheriff Dearborn and Andy Bellefleur are in the doorway of the kitchen.) Andy Bellefleur: Psycho son of a bitch. Goin' after her all the way that way...just about the sickest thing I ever seen. (Sheriff Dearborn chuckles. The sound of a zipper is heard.) Sheriff Dearborn: Nah. I've seen worse. (Sheriff Dearborn turns to face Andy.) Sheriff Dearborn: There was a m*rder about six years ago. Lady snapped. Blew her husband's head off while he was watching the game. Big chunks of the brain all over the TV. Andy Bellefleur: Why'd she do it? Sheriff Dearborn: I guess she wanted to watch somethin' else. How the hell would I know, Andy?! People don't m*rder because they're right in the head. (Unintelligible speech is heard from a police radio.) Andy Bellefleur (frowning): I told you we never should have released Jason Stackhouse. Sheriff Dearborn: Now, come on. This is his grandma we're talkin' about. Andy Bellefleur: Do you think that little pervert ain't capable? Sheriff Dearborn: Well, Adele did bring the fanger into a church. Sure that ruffled more than a few feathers...if he didn't do it himself. Andy Bellefleur: But vampire Bill said that... Sheriff Dearborn: Vampire Bill? You're on a first-name basis with that bloodsucker now? These things are crafty. They've been killin' long enough to know how to cover their tracks. (Bill enters the kitchen.) Bill: Am I interruptin'? Andy Bellefleur: Whoa! Mr. Compton, this is...an official crime scene. You can't be in here! Sheriff Dearborn: It's all right Andy. (looking at Bill) I suspect vampire Bill's been around a d*ad body or two before. Isn't that right, sir? (Bill stares at Sheriff Dearborn.) Sheriff Dearborn: Friend of yours, wasn't she? (Bill looks toward the floor.) Bill: Yes, I suppose she was. (Sheriff Dearborn removes his hat.) Sheriff Dearborn: Well...we got a couple more questions for you. You mind? Bill: No, not at all. (Sheriff Dearborn, Bill, and Andy Bellefleur walk to the parlor. Bill's arms are folded.) Andy Bellefleur: Sookie tells you were here when she found the body. Is that right? Bill: I arrived a few moments after. Sheriff Dearborn: Kind of late to be making house calls. (Bill stares at Sheriff Dearborn.) Sheriff Dearborn: All right. I guess you don't sleep, huh? Andy Bellefleur: They sleep, just not at night. Sheriff Dearborn (to Bill, who is off-camera): So you make a habit of visitin' Miss Stackhouse in the middle of the night? Bill (unfolding his arms): We had certain personal matters to discuss. After you left my home, I was waitin' for her to return from her engagement. When I heard her car in the drive, I came across the cemetery. Andy Bellefleur: You're saying, you heard a car comin' from clean across the cemetery? Bill: Heightened senses are a common side effect of our condition. Andy Bellefleur: But you didn't see or hear any other vehicles comin' from the house? Somethin' like a truck, maybe? Bill: No. Sheriff Dearborn: A lot of folks would not be too keen on a vampire movin' in next door. But Adele Stackhouse, she welcomed you with open arms, didn't she? Bill: She was very gracious, yes. Sheriff Dearborn: So...Maudette Pickens, Dawn Green, Adele Stackhouse, they were all very gracious to your, uh...people. That's just about the one thing they had in common. (Sheriff Dearborn smiles smugly.) Sheriff Dearborn: Now, is that one hell of a plus-size coincidence or what? Bill: I don't believe so, no. Andy Bellefleur: Excuse me? Bill: I suspect whoever did this is targeting women who associate with vampires. Andy Bellefleur: You can't be serious. Adele Stackhouse and a vamp? Bill: Oh, I don't think Sookie's grandmother was the intended victim. (Sookie is still sitting on the porch with the blanket wrapped around her. Sam is sitting next to her. They are not looking at one another. A voice is heard on a police radio. The speech is unintelligible. Sookie turns to Sam.) Sookie: I should probably call Jason. (Sam faces Sookie.) Sam: Aw, I can do it if you like. (Sookie nods.) Sookie: Thank you. (Sam takes his cell phone out, stands up, and walks away. Cut to Jason's bedroom. Empty green Dos Equis bottles are on the carpeted floor, as are a yellow Playtex glove and a blue g-string with white stars, and the spilled contents of a black purse. Jason snores in bed, a woman's arm draped over his back. Jason's cell phone rings and vibrates on the nightstand. Jason slowly turns to grab it, and throws the phone to the bedroom window, breaking a louvered window shutter. In his bed, Jason is shown naked with Randi Sue.) (Sam is a few steps away from the Stackhouse front porch, with his cell phone up to his ear. Sookie is still sitting on the steps with the blanket wrapped around her.) Jason (via pre-recorded voice mail message): This is Stackhouse. You know what to do. (Bill comes out of the house, and Sookie stands and turns and walks toward him. Sam turns around to see Bill.) Generic pre-recorded female voice-mail voice: To leave a voice message... (Sam closes his cell phone and walks up to the porch.) Sookie: Bill, what's going on? Bill: They're about to move your grandmother. (Bill puts his arm around Sookie and they walk to one side of the porch. Sam walks up the steps to the porch. Andy Bellefleur opens the screen door, followed by Sheriff Dearborn, and Bill and Sookie turn to face them.) Andy Bellefleur: Sookie, you might wanna go sleep...at a friend's. Someplace less isolated. Sookie: I'm not goin' anywhere. Bill: Uh, Sookie, perhaps... (Sookie turns to Bill.) Sookie: No! This is my house. I'm stayin' right here. Mike Spencer (off-camera): ...turn her there! All right! Comin' through! (Sheriff Dearborn and Andy Bellefleur turn to see Mike Spencer and Neil Jones come through the front door with Gran's body on a wheeled gurney. Sam looks at Sookie from across the porch and she returns the look before returning her attention to Mike Spencer and Neil Jones. Neil Jones looks at Sookie as he passes her, and Sookie hears his thoughts.) Neil Jones (thinking): Please, God. Hope she didn't recognize me at the vampire bar. (Sookie catches a glimpse of Neil Jones, wearing makeup, a black half-t*nk, and a wild hairstyle, as he appeared at Fangtasia in S01E04, scene 16, after Bill says "Well, don't get too comfortable. It tends to get more authentic as the night wears on.") Neil Jones (thinking): I look different, it was dark, and she was fang-bangin'.. Sheriff Dearborn (looking at Sookie; thinking): ...dumb luck you're not in that bag right now, <snip>' that vampire. (Sookie stares at Sheriff Dearborn.) Sheriff Dearborn (thinking): You could be next. Sheriff Dearborn: I'm truly sorry about your grandmother. Sookie: Are y'all done in there, 'cause I'd like to clean up? If that's all right? Sheriff Dearborn: All right, then. You call us at the first sign of anything. (The Sheriff and Andy Bellefleur turn and walk away.) Andy Bellefleur (to Sam): Keep an eye on her. Sam: I will. Bill (to Sookie): They are right. You should not stay here. Sam: I agree. You can have my trailer. I'll sleep at the bar. Sookie (to both): I'm as safe here as anywhere. Besides, I've got both of you to protect me, haven't I? Bill: Sookie...I have to go. (Sookie nods.) Sookie: Of course. It's almost dawn. (Bill nods slightly.) Bill: I will come back later. (Sam approaches Bill.) Sam: I can take it from here. (Sam and Bill stare intently at one another.) Sookie (to Bill): Don't worry about me. Go. (Sookie watches Bill as he walk away. Sam and Sookie share a bit of silence.) Sookie: Uh, there's an extra mop 'round back. Would y'mind gettin' it for me? Sam: Sookie... Sookie: Gran took a lot of pride in her home. She wouldn't want anyone to see it like this. (Sookie walks inside the house, leaving Sam looking confused.) SCENE 4: Sookie is on her knees in the kitchen at the spot where Gran's body was found. Blood is on the floor. Sookie is wearing the same dress as earlier, plus blue Playtex gloves. A small wash tub is on the floor near her. She picks up a rag from the wash tub and wrings water from it. She washes the blood from the floor. SCENE 5: The next day at the Stackhouse home. POV of someone bearing a covered dish as Sam opens the front door. Sam: Aw, hey, that looks great. Why don't you... why don't you put it in the kitchen. (Sam points the way to the kitchen, En route to the kitchen, we see and hear a number of visitors inside, mostly older people, both white and African-American, talking amongst themselves, still from the POV of the Bearer of the Covered Dish.) Unknown Female Visitor #1: It was so sad. Unknown Male Visitor #1: That Stackhouse girl hasn't come out of the kitchen. Unknown Female Visitor #2: I heard she hasn't cried a single tear. Unknown Female Visitor #3: You know she's been goin' around with that vampire. (Still from the POV of the Bearer of the Covered Dish, we enter the kitchen. Sookie is sitting at the breakfast table, her back toward us. Tara walks into the kitchen from the small back stairwell of the kitchen. Sookie turns to greet the Bearer of the Covered Dish, who is revealed to be Maxine Fortenberry, dressed in bright pink.) Sookie: Oh, uh...Mrs. Fortenberry, you shouldn't have. Mrs. Fortenberry (somewhat melodramatically): You poor child. I am so sorry for your loss. (Sookie shakes her head.) Sookie: That's very kind of you. Um...Gran often talked about you, so... (Tara takes the covered dish from Mrs. Fortenberry and walks to another part of the house.) Sookie: ...thank you. (Tara is joined by Lafayette, wearing a purple tie-dye pullover shirt and black babushka.) Tara: Yeah, 'cause nothing says "I'm sorry" like a tuna cheese casserole. Lafayette: Another one? (Lafayette looks over his shoulder.) Lafayette: I ain't seen Jason. Is he here yet? Tara: How the hell should I know? I ain't his keeper. (Tara turns away from Lafayette.) Lafayette: Bitch. (Mrs. Fortenberry is still talking with Sookie at the breakfast table.) Mrs. Fortenberry: Adele was an angel sent from Heaven, too good for this world. We're all gonna miss her so much. Mrs. Fortenberry (thinking): Heard they almost cut off her head. I don't see any blood. I should have gotten here sooner. Maybe I should have brought my red velvet cake instead. (Sookie stands up.) Sookie: Excuse me? (Sookie walks away from Mrs. Fortenberry, and is almost immediately hugged by Arlene, who is crying.) Arlene: Oh, Sookie? I just can't believe it. Are you all right? Sookie: I'm fine, Arlene. Thanks for comin'. Arlene: Of course...It's the least I could do. Oh...you poor thing. I can't imagine what you're goin' through. (Arlene offers a shy chuckle, and becomes serious again.) Arlene: Now, if you need help with moving or anything at all... (Sookie looks surprised.) Sookie: Uh, I'm... am I movin'? I'm not movin'. (Arlene looks disgusted.) Arlene: But honey. With it happenin'... right here. Sookie: I have far more good memories of this kitchen than bad ones. Arlene (smiling): Oh, what a good way to look at it. You know, you really are smarter than anyone gives you credit for. (Sookie gives Arlene a "no you just didn't" look.) Arlene: Oh, sweetie. I didn't mean it like that! (The refrigerator door is opened and Sookie and Arlene turn toward it to see Mrs. Fortenberry with a pie in her hands, peeling the plastic wrap from it.) Sookie (shouting): Maxine Fortenberry! You put that pie down right now! Unknown Male Visitor #2 (off-camera): What's goin' on over there? Unknown Female Visitor #4 (off-camera): Come here, she's losin' it. (Sookie storms toward Mrs. Fortenberry and takes the pie from Mrs. Fortenberry. Astonished visitors, including Sam, peer into the kitchen from the dining room.) Sookie (yelling): This is Gran's pie! Mrs. Fortenberry: Well, I'm sorry. I was just makin' some room... (Sookie has a crazed look on her face, and hears some thoughts.) Mrs. Fortenberry (off-camera; thinking): Poor girl is crazy as a bedbug. Unknown Male Visitor #3 (off-camera; thinking): We all know you k*lled your grandmother. Mrs. Fortenberry (thinking): After I spent all morning making this casserole... Unknown Male Visitor #4 (off-camera; thinking): ...that she would even show her face in front of everybody... (Tara walks from the sink to where Sookie stands and escorts Sookie from the kitchen.) Tara: If you all'll excuse us...I need Sookie upstairs. (Tara and Sookie pass the onlooking visitors.) Tara (to Sam): Just give us a little girl-time. (Tara and Sookie approach the front stairwell.) Tara: Come on, Lafayette! (Tara, Sookie, and Lafayette go upstairs. Mrs. Fortenberry watches from the kitchen, and makes a puzzled look at Arlene, who is scratching her head.) Arlene: Ooommph! SCENE 6: Sookie's bedroom. On Sookie's bed sits the half-finished pecan pie in a glass pie plate, wrapped in plastic. Sookie and Tara are sitting on one side of Sookie's bed; Lafayette reclines on the other. Sookie: I shouldn't have lost it like that. Tara: Don't feel sorry for yelling at that snoopy old bitch. She's been stickin' her nose where it don't belong for years. Lafayette: Say it. I mean, if she talked any more <snip> she'd be shaped like a toilet. (Tara and Lafayette look at one another and laugh. Sookie looks at them with no discernible emotion.) Lafayette: I'm sorry. Sookie: Gran's gone. (Tara and Lafayette quiet down.) Sookie: She's really gone. (Tara and Lafayette look downward.) Tara: Yeah, she is. (Sookie shakes her head. A train sounds in the background.) Sookie: I don't know what I'm supposed to do. Can't even think straight. Tara: Of course you can't! How can you, with all these circling buzzards? Lafayette (quietly): Um, hmm. Tara: You know, you're not their entertainment. You don't have to dance for 'em. You just gotta feel whatever you're feelin'. Sookie: I'm not sure I'm...feelin' anything. I'm just numb. Tara: Numb is good. Lafayette: Yeah. Tara: "Numb" is probably what you need right now. Lafayette: Umm. Tara: Stop worryin' about being so damn appropriate. This is not an "appropriate" event. (The sounds of birds chirping and insects, as well as muffled voices coming from downstairs, are heard through the silence.) Sookie: Thank you for gettin' me out of there. Haven't had a single minute of silence. Can't seem to...block anything out right now. Tara: You want me to tell 'em all to shut the hell up? Sookie: I wish it were that easy. Lafayette: It is. Your wish... (Lafayette pulls out a plastic bag of pills from his pants pocket.) Lafayette: ...is my command. Sookie: Oh, no. I don't do drugs. Lafayette: Sook. Relax! This is not drugs. This...is just a Valium. (Lafayette holds one of the pills up. Tara chuckles. Sookie says nothing.) Lafayette: Well, I tell you what: Put in on your nightstand... (Sookie takes the pill from Lafayette.) Lafayette: ...just in case you change your mind. I'm gonna go and check on the circlin' buzzards. (Lafayette gets up off the bed. Sookie has the pie in her hand.) Sookie: Lafayette? Lafayette: Yes, ma'am. (Sookie hands the pie to Lafayette.) Sookie: Would you mind... taking this downstairs for me? (Lafayette takes the pie from Sookie.) Lafayette: I will guard it with my life. (Lafayette leaves the bedroom.) SCENE 7: Jason is driving his pickup truck, traveling at a high rate of speed. Loud music comes from the truck's stereo. A siren is heard in the background. Jason looks at his watch, worn on his right hand. He approaches an intersection where a road crew is working. The tires squeal as he turns the corner. He parks his truck nearby. He cuts off the engine, and the music shuts off. René (off-camera): Holy <snip>. This ain't no good. (Jason gets out of his truck. The daylight seems to be a bit too bright for him as he walks to the road crew.) Jason: Yeah I know, I know. I'm late. (Daylight seems to flash brightly in Jason's eyes, perhaps an aftereffect of the V-juice he used the previous day, as he approaches René and Hoyt.) Jason: My alarm broke and I couldn't find my phone. René: Jason...Jason. Jason: Yeah. René: What...are you doin' here? Jason: My job. (Jason chuckles.) René: Aww...<snip>! (to Hoyt): He don't know, then? (Hoyt, wide-eyed, turns to Jason. Jason look at Hoyt and René.) Hoyt: Man, I am so sorry. (Hoyt pats Jason on the left shoulder. Jason looks puzzled.) Jason: About what? SCENE 8: Sookie's bedroom. Tara and Sookie are laying on their fronts across the bed. Tara's arms are folded under her head, and Sookie holds a pillow. Soft music plays in the background. Tara: Do you want me to call anyone? Your cousin Hadley? (Sookie is seated on the edge of her bed.) Sookie: No one has heard from her for in over a year, since she ran away from that rehab Gran paid for. I don't even know how to get hold of her. Tara: What about Bill? You wanna invite him? Sookie: Tara, he can't go. Tara: Oh. Right. Sookie: It's not like you've...known a lot of vampires. It kinda takes gettin' used to. Tara: I'm not sure I'll ever get used to it. (Sookie stares at Tara.) Tara: What? Not everyone is as open-minded as you. sh**t me. You should hear the things people are sayin'. Sookie (slightly louder than before): I do. (Tara looks at Sookie wide-eyed.) Sookie: Bill did not k*ll my grandmother! Tara: Don't you get all mad at me. Nobody's blamin' Bill...exactly. But didn't you tell me he had scary-ass friends? Sookie: Not all the vampires are like that. Tara: I'd <snip> lose it if anything happened to you. You know that, right? Sookie: Tara, last night was so horrible. I don't know how I would've gotten through it if it weren't for Bill. I don't know how to explain it exactly, but... (The sound of a truck approaching at a high rate of speed and screeching to a stop is heard.) Sookie: ...it's like I almost feel normal. (The sound of a truck door being slammed shut is heard.) (Downstairs, Jason throws open the front door of the Stackhouse home. The visitors turn to him, shocked at his sudden appearance. Jason looks around, then runs upstairs. He throws open the door to Sookie's bedroom. Sookie stands up.) Sookie: Jason... (Jason slaps Sookie across her face with his right hand, knocking her down to the bed. Tara runs to Jason.) Tara (screaming): What the <snip>? Jason (to Sookie, yelling): It's your fault! (Jason points his left index finger at Sookie.) Jason: Gran is d*ad 'cause o' you. (Sookie sits up on the bed, her left hand to her left cheek. She frowns at Jason.) Jason (yelling): It should have been you! (Jason lunges at Sookie, but Tara grabs him.) Tara (yelling): Don't you lay your hands on her! (Jason looks at Sookie.) Jason: She's <snip> a vampire, Tara... (Jason walks to Sookie's bed.) Jason (shouting): A <snip> vampire! (Tara gets between Jason and Sookie and faces Jason.) Tara (shouting): Yeah, and that vampire was here for her when you weren't! (Jason stares wildly at Sookie.) Tara (shouting): You oughta be ashamed of yourself! Is that how you grandmother raised you? To b*at on your own sister? Look at you! I don't even recognize you anymore! Get the hell out of here! (Tara pushes Jason away.) Tara: Get out! Get out! (Tara pushes Jason out of the bedroom and closes the door. She turns and walks over to Sookie, who begins sobbing.) Tara: You OK? (Tara sits on the bed and takes a look at Sookie's cheek. Sookie reaches to the nightstand for the blue Valium pill she took from Lafayette, and puts it in her mouth.) SCENE 9: Outside the Stackhouse home. Jason walks out from the house onto the porch, down the steps, and walks to his truck, where Detective Andy Bellefleur stands waiting for him. Andy Bellefleur: Stackhouse? Need to ask you a few questions. Jason: Not now, Andy. (Andy Bellefleur places his hand on Jason's chest and stops him.) Andy Bellefleur: Where were you last night? Jason: I don't know. I was with a girl. Andy Bellefleur: Tara Thornton? (Jason looks up at Andy Bellefleur.) Jason: What? No. Andy Bellefleur: Yeah, I didn't think so. What's this one's name? (A few visitors to the Stackhouse home, including Lafayette, walk onto the porch to witness the confrontation.) Jason: I don't remember her name, OK? Uh, I got a number. I don't know what I did with it, though. Andy Bellefleur: Why, ain't that convenient. (Jason shakes his head.) Jason: What the hell is that supposed to mean, Andy? Andy Bellefleur: It's "Detective Bellefleur." And what the <snip> you think it means? (Jason snarls at Andy Bellefleur.) Jason: Are you sayin' I k*lled my grandmother? (With great force, Jason pushes Andy Bellefleur up against the passenger side of the truck, setting off the truck's alarm. Andy falls to the ground. Jason turns toward the house and notices the onlookers. Jason walks around to the other side of his truck and silences the alarm. Andy briefly winces in pain.) Lafayette (to himself): You's a stupid bitch, Jason Stackhouse. (Jason drives away as Andy tries to get up.) SCENE 10: In the kitchen of the Stackhouse home, Mrs. Fortenberry and Arlene are talking, each holding a glass of iced tea. Mrs. Fortenberry: Jason Stackhouse tossed Andy Bellefleur like he was nothin' but a rag doll. Arlene: René makes me watch that Friday Night Smackdown with him. Those men are built thicker than walls, but I ain't never seen one of them do that. (Lafayette approaches Arlene and Mrs. Fortenberry with a glass pitcher of iced tea and refills their glasses.) Lafayette: Well, you know Jason? He work out a lot. He real strong. (Arlene looks at Lafayette and nods.) Arlene (sarcastically): Um, hmm. (Lafayette walks away, and Tara walks down the stairwell, stops, and turns to address the visitors downstairs.) Tara: All right everybody! Sookie needs her rest. It's time for y'all to go now. (The crowd, including Sam and Arlene, quiet down.) Tara (shouting): What the hell are you all starring? You heard me! The sideshow's over. Now git! Let's go, let's go! (The crowd begins to leave.) Tara: We appreciate y'all comin' out. We love y'all. Come on, let's go. Let's go. Thank you. (The visitors leave, but Sam stands still. He looks at Tara.) Tara: That means you too, Sam. (Sam hesitates before he walks up to Tara.) Tara: Look, I get it. But right now, she needs to be alone. Sam: Well, if there's anything I can do, you call me. Tara: You're a good friend. Now get the <snip> out of here. Please. Sam (whispering): All right. (Sam leaves. Tara looks over at Arlene.) Tara: Don't make me throw y'all out myself, 'cause you know I will. (Arlene, an unknown female, and Mrs. Fortenberry leave. Arlene glares at Tara as she passes her.) Arlene: I heard you, Tara. (Mrs. Fortenberry and Tara exchange glares.) SCENE 11: The dining room of the Stackhouse home. Lafayette and Tara are looking at the dishes of food, brought (and half-eaten) by visitors. Lafayette: What the <snip> is it with white people and Jell-O? I don't understand. Tara (exhales deeply): What the hell are we gonna do with all of this? Lafayette: Toss it. Sookie don't need no bad juju cookin'. Tara: Bad juju? Lafayette: Way to a man's heart is through his stomach. That <snip> true as gold. You put some love in your food and folk can taste it. Smell this. You can smell the...the fear and nastiness comin' off that kern bread. (Lafayette hands a glass bread pan with corn bread in it to Tara. Tara eats a pinch of it.) Tara: Tastes just fine to me. Lafayette: See, bitch, you gonna wish you ain't did that. Watch. (Sookie is asleep, laying fully-clothed on her back, on top of her bed. A gentle breeze blows through the window. A creaking sound is heard. Two hands appear and grab Sookie around her throat, waking her. She coughs as she is being choked.) Sookie (in a choked whisper): Bill! (Bill's eyes open in darkness, and we pass away from him through stone and wood and into his house's entry hall. We hear the glass components of his chandelier tinkling and insects chirping. Through the long, narrow glass windows on either side of his front door, we see that it is sunset. We see Bill laying fully-clothed on his back as he turns on a small light and looks at the analog watch on his left wrist. The time reads 5:49.) Bill (screaming, yet restrained): No! (Bill is laying fully-clothed on his back, underneath his house, trying to move, but he seems unable to. He tries to get up, but cannot, and exhales in exasperation.) SCENE 12: The Stackhouse front porch at sunset. Birds and insects chirp, then dark clouds hide the sun. It is night. Sookie's car is parked in front of the house. Inside, Lafayette sweeps the living room floor and Tara is looking out through a window. She turns, picks up some plates, and approaches Lafayette. Tara: Maybe I should go check on Sookie. Lafayette: Trust me. That child is d*ad to the world right now. (The front door bursts open and Bill runs upstairs with lightning speed. Tara puts down the plates she picked up, looks toward the stairwell.) Tara: What the <snip>...? (Tara and Lafayette run upstairs. Bill rushes to Sookie's side. Sookie is laying on her bed, motionless. Her bedroom is unlit, save for a hurricane lamp on a bedside table.) Bill: Sookie. Sookie! (Tara and Lafayette enter Sookie's bedroom.) Tara: What the hell are you doin'? (Bill shakes Sookie.) Bill: Sookie! Sookie! Sookie! Sookie! (Sookie opens her eyes.) Bill: Soo... (Bill and Sookie look at one another silently for a short while.) Sookie: Bill, what's wrong? (Bill exhales deeply.) Bill: I thought...(smiling)...I had a dream. That's all. You go back to sleep. Sookie: But I... Bill: Don't worry. I'm not goin' anywhere. (Bill and Sookie look at one another.) Bill: Go on. (Sookie turns her head and closes her eyes. She turns over onto her right side, facing away from Bill, who has his left arm around her waist. He removes his arm and kneels at the side of her bed, watching her. Downstairs, Lafayette sits in the living room while Tara stands with her arms folded, looking out through a window at Bill, who stands in the front lawn holding a bottle of Tru:Blood in his hand.) Tara: You think they're capable of lovin' a person? (Lafayette stands up and joins Tara by the window.) Lafayette: Who knows what they're capable of. (As Bill takes a sip from the bottle of Tru:Blood, a dog resembling a border collie runs up and sits near Bill, focusing its attention on the Stackhouse home. Bill looks at the dog, then looks up toward where the dog is looking. Bill takes another drink of Tru:Blood and the dog lets out a quiet bark.) SCENE 13: The iron filigree gate reads "BONTEMPS CEMETERY" across its arch. It is a sunny day for Gran's graveside service. Crows caw in the background. A woman sings the hymn "Softly And Tenderly" a capella. Female singer (off-camera): ...tenderly, Jesus is calling, calling, 'O sinner, come home!' (The service is well-attended. Several mourners fan themselves. Sookie, dressed in black with her hair pulled back into a bun, sits in the front row. Tara, also dressed in black, sits at Sookie's right. To Tara's right sits Lafayette, in a black suit, purple shirt and tie, and no babushka; he is bald. Behind Tara and Lafayette sits Hoyt Fortenberry and his mother, Maxine. At Sookie's left sits Jason, wearing a navy blue suit, with his arms folded. Jason's maroon tie is loosened and his white shirt is unbuttoned at the neck. Part of Jason's shirt collar hangs outside of his suit jacket. Jason's legs bounce up and down nervously. Behind Jason sit René and Arlene. Blue, pink, purple, and white flowers rest on top of Gran's closed casket. A blue bow bears the words "Beloved Grandmother". The singer has her eyes closed as she sings from a podium near the casket.) Female singer: Softly and tenderly, Jesus is calling, calling for you and for me. See, on the portal... (Sam is sitting behind Jason, next to Arlene, and looks off into the distance.) Female singer: ...He's waiting and watching... (Terry Bellefleur weeps. His cousin, Detective Andy Bellefleur, scowls as he looks away from Terry. In front of Andy is Sheriff Dearborn). Female singer: ...calling, 'O sinner, come home!' (The singer closes her hymnal and steps down from the podium. A robed minister takes her place. Jason wipes his face with his tie.) Minister: Lord, we gather here today to remember the life of Adele Stackhouse. To celebrate the time that she enjoyed here on earth. (Sookie notices someone in a wheelchair being pushed along a path.) Minister (off-camera): And to thank you for each precious moment... (Sookie squeezes Tara's left hand tightly.) Tara (quietly): Ow! Sookie, my hand. (Sookie looks startled.) Sookie: Sorry... sorry. (An elderly man is in the wheelchair. He is being pushed by Neil Jones, who pushes the wheelchair up to the left of Sam.) Minister (off-camera): ...the family, the friends, the community. But even as we grieve, we shall be comforted, knowing that she is in peace now in Lord's kingdom. (Sookie stares at the elderly man. Jason greets him with a pat on the knee. Neil leaves.) Minister (off-camera): And there shall not be more death... (Sookie looks at the elderly man with a stern look on her face.) Sookie: Uncle Bartlett, what are you doing here?! (Uncle Bartlett nods.) Uncle Bartlett: She was my sister. Sookie: You haven't been part of this family in a long time. (Sookie and Uncle Bartlett exchange glares.) Jason: Sook, come on. Give the guy a break. Minister (off-camera): ...Sookie Stackhouse has prepared a few words. (Sookie stares sternly at Jason.) Minister (off-camera): Honey? (Sookie realizes the minister is speaking to her.) Minister: You wanted to say a few words? (Sookie grabs her handbag, and stands up.) Tara: Sookie, you OK? (Sookie walks past Jason, Sam, and Uncle Bartlett to the podium. She takes a folded piece of paper from her handbag. She unfolds the piece of paper, and addresses the mourners.) Sookie: Adele Stackhouse was...everything to me. She wasn't just my grandmother. She was...my parent, my teacher, and my best friend. (Sookie picks up some intermingled thoughts from the mourners.) Unknown female mourner #1 (thinking): Oh, please! If it weren't for you, she would be alive. Unknown male mourner #1 (thinking): What's this world comin' to? A vampire lover givin' a eulogy... Unknown female mourner #2 (thinking): I thought she was a good girl. I guess you can never know. Unknown male mourner #2 (thinking): You oughta be in that grave. And you will be... (Sookie looks at the mourners and continues.) Sookie: To say she'll be missed...just dudn't cut it, 'cause...I can't even imagine a world without her in. She was always there, with a kind word, and a hot meal, and a shoulder to cry on. Not just for me, but... Uncle Bartlett (off-camera; thinking): Forgive me, Adele, please forgive me. Sookie: ...for everyone who knew her. Uncle Bartlett (thinking): I never meant to hurt no one. I couldn't help myself. I'm sorry... Unknown female mourner #1 (thinking): Poor pathetic thing. Can't even pretend she's not as nuts as nuts can be... Sheriff Dearborn (thinking): You're sleepin' with your grandmother's k*ller. Unknown female mourner #3 (thinking): Your grandmother's d*ad because of you. Sookie (shouting): Shut up! All of you, just shut the <snip> up! (The crowd mumble among themselves.) Unknown female mourner #4 (thinking): Look at her, cursing...[/i] Unknown male mourner #4 (thinking): This whole world's just plain crazy... Sam (thinking): ...freak accident, oh my God... Andy Bellefleur (off-camera; thinking): ...oughta just lock her up and throw away the key. (Sookie grabs her handbag and runs away from the service. Jason runs after her.) Minister: Well...ahem. Is there anyone else who'd care to share a few words? (The mourners mumble, but are otherwise speechless.) Lettie Mae: I got something to say. (The crowd turns to see Lettie Mae Thornton standing up from behind Hoyt and walking up to the front.) Lafayette (to Tara): What is she doin'? (Tara grabs Lettie Mae's arm as she walks past.) Tara: No, Momma. (Lettie Mae breaks free and continues walking to the podium.) Lafayette: Oh my <snip> God, girl. This is about to get ugly. (The minister steps aside as Lettie Mae approaches the podium. She seems slightly unsteady on her feet as she addresses the crowd.) Lettie Mae: I didn't know Miss Stackhouse like a lot of you did. But the few times I did meet her...she was nuttin' but kind to me. She was a good, God-fearin' woman. And when I was going through some bad things, my daughter'd go stay with her, and I always knew she would be just fine. Adele Stackhouse took care of my baby when I couldn't. An' I'll always be grateful for that. (Lettie Mae steps away from the podium.) SCENE 14: Sookie continues running through the cemetery. Jason (off-camera): Sookie! (Jason is still running after Sookie.) Jason: Sookie, just hold on a sec. (Sookie stops running and turns to face Jason, who also stops running, stopping a short distance from her.) Sookie: Why? So you can h*t me again? Go ahead, tell me it's all my fault. Tell me how you wish it were me in that coffin. I deserve it. Jason: I'm sorry. (Jason tries to catch his breath. He walks up to Sookie as if to hug her.) Jason: I'm so sorry. Sookie: Don't touch me! Jason: Now, I didn't mean to hurt you. You gotta know that. Sookie: You invited Uncle Bartlett! How could you do that? Jason: He has a right to be here! Look, I know he and Gran had their problems, but whatever they were, it don't matter no more. 'Cause that's what family does. We forgive each other. Sookie: You have no idea of what you're talking about! Jason: Sookie, please? I mean, we're all we've got. Sookie: We've got nothin'. (Sookie turns and runs away from Jason. Jason looks around at the gravestones, seemingly confused, and runs in a different direction.) SCENE 15: Gran's graveside service has ended Some mourners are leaving, others stand talking amongst themselves, while some others remain seated. Maxine Fortenberry has some sort of hand-held electrical device buzzing in her hand (Norelco razor? Cell phone?), puts it in her purse, then turns and waves her hand to get the attention of Lettie Mae. Mrs. Fortenberry (whispering): Hey! (Lettie Mae turns around leans toward Mrs. Fortenberry.) Mrs. Fortenberry: I was moved. Very moved. You know, you should come to our next Descendants of the Glorious d*ad's meetin'. Lettie Mae: Is that some kind of support group thang? I went to one of those AA meetin's once. They were nothin' but a cult. (Tara grabs Lettie Mae's arm from behind, looking angry at her. Lettie Mae turns to face Tara and smiles.) Lettie Mae: Hi, baby! (Lettie Mae turns to Mrs. Fortenberry.) Lettie Mae: This is my precious daughter, Tara. Tara (to Lettie Mae): We've met, like, a hundred times too many. (to Mrs. Fortenberry) Excuse us. (Tara grabs Lettie Mae's arm and pulls her up out of her chair and away from Mrs. Fortenberry.) Tara: What the hell are you doing? Lettie Mae: Just talkin' to that nice lady. Let go my arm, you're hurtin' me! Tara: Oh, I'm hurtin' you. That's funny. 'Cause the last time I saw you, you were beatin' my head in with a bottle. Lettie Mae: Oh, sweet Jesus! You poor child. I am so sorry. (Tara rolls her eyes as Lettie Mae hugs her neck. After a few seconds, Tara takes Lettie Mae's arm from around her and confronts her.) Tara: You had no right to speak for that woman! She was more of a mother to me than you ever were. She took care of me. And she fed me. She put clothes on me. She called social services on you twice! You hated her guts! Lettie Mae (whispering): No. I didn't. Tara: Yes you did. You used to call her a white devil bitch. Lettie Mae: No, Tara. That wasn't me. That wasn't me that said those things. Tara: Just 'cause you were too drunk to remember don't mean it never happened! Lettie Mae: Please, baby. Just listen. All those terrible things I did to you? It wasn't me who did them. I have a demon inside o' me. Tara: Whut? Lettie Mae: A demon. Livin' and breathin' inside me, eatin' me up. (Tara is silent for a second, then laughs out loud.) Lettie Mae: Don't you laugh at the devil, Tara Mae! 'Cause he's as serious as cancer! Tara: I'm sorry. I'm sorry, you have a demon inside you? Aw, <snip> me, that's too good! (Tara resumes laughing.) Lettie Mae: It ain't funny! You have no idea what I go through, wrestlin'...with this demon! (Tara stops laughing.) Lettie Mae: I try and do right. I try so hard... but it breaks me down. (Tara looks away from Lettie Mae.) Lettie Mae: It poisons everything. I want to be the momma you deserve. I can make up for everything. I can! It's not too late! But I can't do this alone. Tara: You do what? Lettie Mae: I gotta get it outta me. And it's very expensive. (Tara stares at Lettie Mae.) Tara: Then that's why you came to this woman's funeral? 'Cause you want money? Lettie Mae: I had nowhere else to go. (Tara starts to leave, but Lettie Mae grabs her.) Lettie Mae: Tara! Tara, please! Don't walk away from me! I am still you momma. (Tara gives Lettie Mae a hateful stare and pulls her arm away from Lettie Mae and walks away.) Lettie Mae: I need you! (Lettie Mae appears unsteady on her feet as Tara walks away.) Lettie Mae: You're all I got! (Lettie Mae begins to sob.) SCENE 16: Sookie is walking alone through the wooded sun-lit cemetery. Birds sing in the background. She comes upon a small grave marker on the ground. It is partly covered by ivy, and has a lengthwise crack. Sookie kneels in front of it, and brushes away some of the ivy. She rears back upon reading the inscription: WILLIAM THOMAS / COMPTON / BELOVED HUSBAND / ... BRAVE SOLDIER. SCENE 17: Jacket off, Jason seems sweaty as he leans against the iron filigree gate of the cemetery. Mourners say their good-byes to him. Unknown male mourner #5 (off-camera): Everything OK? Unknown male mourner #6 (patting Jason's hand): I'm so sorry. (As mourners file past Jason, the sunlight seems to flash in Jason's eyes as it did the day before. Their voices intermingle and echo in his ears.) Unknown male mourner #7: I'm sorry for your loss. (Andy Bellefleur approaches Jason and gets in his face, frowning.) Andy Bellefleur: We're not done, Stackhouse. (As Andy Bellefleur walks away, Jason breathes heavily and clutches his chest.) Jason (thinking to himself): Oh, <snip>! (Jason walks to his truck. He tosses the suit jacket into the truck through the open driver's-side window, and opens the door. He sits behind the steering wheel of the truck, closes the door, and grimaces in pain as he loosens his already-loosened tie and unbuttons another button of his shirt. His breathing is still heavy as he opens the glove compartment, takes out a plastic bag, and opens it. He takes out a small paper square stained with a red droplet, a dose of V. He starts to put it on his tongue, but hesitates. He throws the dose of V out of the truck onto the ground. He grabs hold of the steering wheel and pulls on it to sit up, wincing, and bucks in his seat.) Jason: <snip>! <snip>! (As Jason opens the door of the truck, the "key in ignition" buzzer sounds, and after Jason gets out of the truck, it shuts off as he slams the door closed. He begins looking for the dose of V on the ground.) Jason (thinking to himself, panicking): <snip>! Seemingly failing in his mission to find the dose of V, Jason looks wild-eyed as he sits rigidly in his truck. SCENE 18: Sookie stands rigidly at Gran's grave-site as Gran's casket, with a spray of pink and purple flowers on its lid, is lowered into the ground. Sam walks up behind her to her right. Sam: Hey. (Sookie does not turn her head. Her eyes remain on Gran's casket.) Sookie: Hey. Sam: I was lookin' for ya. Sookie: Well...you found me. Sam: I liked your speech. What I heard of it, anyway. (Sookie turns her head to Sam. He looks at her. She returns her attention to Gran's casket.) Sam: I especially liked the part when you told the whole town to shut the <snip> up. Sookie: Yeah. I'm a real crowd-pleaser. (Gran's casket has been lowered about halfway down into the grave.) Sam: I'll walk you home. (Sookie looks at Sam, and he holds out his left arm for her. She looks at his arm for a moment, then takes it. They continue watching as Gran's casket is lowered for a short while, then turn and walk away. Sookie and Sam walk up to the front door of the Stackhouse home. Sookie's yellow car and another g*n-colored car are parked to the side of the house. Sookie takes her keys from her handbag.) Sam: Listen, how 'bout you take a bath, and I find us some stupid movie on TV. Somethin' with aliens. (Sookie stares at Sam.) Sam: Romantic comedy, then? Sookie: Sam, not now. I just...I need to be alone. (Sam looks down and nods, then looks at Sookie. Sookie opens the screen door and turns to Sam.) Sookie: Thanks. (Sookie turns from Sam, unlocks the door and enters the house, leaving Sam alone on the porch. Sam exhales deeply as the sound of the front door closing is heard. Sam walks along the dirt driveway away from the house as Tara walks up to him.) Sam: She said she wants to be alone. Tara: Well, I don't. Sam: Me either. (Sam and Tara look at one another silently.) SCENE 19: Sookie walks slowly into the kitchen of the Stackhouse home. The ticking of a clock is heard. The song "Take Me Home" by Lisbeth Scott plays for the duration of the scene. "In the sweet light of the valley... (Sookie opens the refrigerator door and takes out the pecan pie made by Gran.) "...when the sun falls upon the pine... (Sookie places the pie on the breakfast table and sits down.) "...I shall lay down all of my troubles... (Sookie removes the plastic wrap from the pie.) "...and then lift up this heart of mine. (Sookie picks up a fork.) "Take me home, Lord. Oh, take me home... (Sookie scoops a small bite of pie onto the fork.) "...O'er the hillside and o'er the sea... (Sookie eats the small bite of pie.) "...to the soft grass of the valley/Where Your Grace shall set me free. (Sookie seems to sob as she chews the piece of pie.) "Through the shadows of the darkness/Through the storms that lead me astray... (Sookie scoops a pecan onto the fork. Her sobbing becomes more noticeable.) "...I shall travel forever knowing/In Your Light I will always stay. So take me home, Lord. Oh, take me home... (Sookie scoops a third bite of pie onto the fork.) "...o'er the hillside and o'er the sea... (Sookie begins crying as she eats the third bite of pie.) "...To the soft grass of the valley/where Your Grace shall set me free." (Sookie scoops another bite of pie onto the fork.) SCENE 20: Tara drives her red 1970s AMC Gremlin up to the office of a motel. Sam sits in the passenger seat. Roger, the manager of the motel, is sitting on a plastic pre-formed chair by a table on the front porch of the motel, eating a meal. A woman sits opposite him, and in the parking area, one child sits on a bike as another sits on a short stone wall next to her bike. Roger: ...won't ever give you enough of this <snip> damn chicken. (Tara gets out of her car and closes the door.) Roger: Hey. Tara: Hey, Roger. Child's voice (off-camera): Lady, I want the legs. (Sam is now out of the car and has joined Tara as they walk up to the porch of the motel. A couple is heard arguing from one of the motel rooms they pass.) Unknown argumentative woman (off-camera; shouting): Piece of <snip>! (The sound of glass breaking is heard coming from the couple's room, while strains of death metal seem to come from a different room.) Unknown argumentative woman (off-camera; shouting): I'll <snip> k*ll you! Unknown argumentative man (off-camera): [laughs] (Tara and Sam walk along the porch as Tara fishes the key from her purse.) Tara: Don't worry. She says that all the time. (Sam looks around, seemingly unsure of his surroundings. Tara opens the door to her motel room, and they enter. The arguing couple is still heard in the background, as well as the death metal as Sam closes the door and Tara places her purse next to a paper grocery sack on a small table just to the left of the door. There is a pale yellow floral-print love-seat positioned diagonally in a corner directly opposite from the door. The love-seat's right arm abuts a window with orange drapes, and by its left arm is a bed. Tara kicks off her shoes. Sam takes a look at the sparsely-furnished room, and Tara chuckles and smiles.) Tara: Come on, you gotta admit it has a certain charm! (Sam leans with his left shoulder up against the wall across from the bed.) Sam: You live here? Tara: Uh-huh. (Sam looks out though a window.) Tara: You want a beer? They're warm. (Tara walks to the paper grocery sack on the small table and reaches inside.) Sam: Uhn...sure. (Sam turns to face Tara as she him a bottle of beer. She also has one for herself. They twist off the bottle caps.) Sam: Is this really where you live? (Sam places the bottle up to his lips and drinks. Tara bounces slightly as she sits on the bed. She isn't smiling anymore. ) Tara: Yes, Sam. This is really where I live. You tryin' to make me feel bad? (Tara drinks from her bottle.) Sam: No, no! It's just that... I thought you were stayin' with Lafayette. Tara: I was. Didja know that he has a web-cam in his bathroom? No way I'm lettin' a bunch of perverts watch me pee. (Sam chuckles, then walks over to Tara and sits beside her on the bed.) Sam: You shoulda told me you needed somewhere to stay. Tara: Why? So you can ride up on your white horse and save me? (Sam rolls his eyes and turns his head away from Tara and back to her.) Sam: Why do you do that? Tara: Do what? Sam: Try and turn everything into a fight. And why is it so hard to just let someone be nice to you? Tara: I don't know, Sam. You think maybe I have bad self-esteem? Maybe it's the only way I know to express my real feelin's. (Tara drinks. Sam just looks at her, then stands up.) Sam: Listen. I should go. Tara: Would you relax? I was only teasin'! (Tara gets up to follow Sam, who is headed for the door.) Sam: Maybe I'm sick of bein' teased. Tara: Stay! (Sam opens the door, and Tara shuts it.) Tara: Please. Sam: What for? Tara: "Cause I want you to. (Sam turns to face Tara.) Sam: Well, I don't wanna play games. I don't want no strings. I just...I want somethin' real in my life. (Tara cradles Sam's cheeks with her hands.) Tara: And you think I don't? (Tara loosely hugs Sam's neck. They look into each other's eyes.) Sam: If we do this...we really did this. (Tara nods, and they kiss.) SCENE 21: The kitchen of the Stackhouse home. The empty glass pie plate sits on the kitchen table with a fork resting in it. Sookie stands up and walks, stops, turns toward the table, and turns and walks away. Upstairs in her bedroom, Sookie looks at herself in her vanity mirror. She takes her hair down and changes into a white nightgown. She walks to her window and watches the sunset. Suddenly, Sookie runs out through the front door of the house and down the driveway. At his house, Bill opens the double front doors and looks from his porch. Sookie is running through the cemetery. Bill closes his eyes. Sookie continues running. Bill opens his eyes and looks up to his left. Sookie runs up Bill's front lawn and Bill runs to greet her. They embrace and kiss one another passionately. Bill picks up Sookie in his arms and walks back to his house. SCENE 22: Tara's motel room, that same night. Tara, wearing a purple bra, falls back on her bed, and screams. Tara: Holy <snip>! (Tara smiles broadly as Sam, shirtless and smiling broadly, enters into view above her. Both are breathing heavily.) Sam: I'll take that as a compliment! Tara: I guess I really needed that. Sam: Me too. Let's do it again. (As Sam and Tara kiss, they notice the sound of a door opening in another room and the voices of the argumentative couple from earlier in the day.) Unknown argumentative woman (off-camera): Come back. Unknown argumentative man (off-camera): I had to, baby. I'm sorry. I love you. Unknown argumentative woman (off-camera): I love you too. I need you. I need you so <snip> much. You're all I've got. (The sound of the arguing couple's door closing is heard.) Sam: I guess they made up. (Tara stops smiling.) Tara: Yeah. Sam: Yeah. (Sam kisses Tara's cheek, and Tara gets up out of bed.) Tara: Listen... I gotta go. Sam: Whoa. What? (Tara puts her dress on, not facing Sam, who is still in bed.) Sam: It's the middle of the night. Tara, what just happened? Did I do somethin'? Tara: It's not about you. (Tara zips up her dress, and turns to face Sam.) Tara: I'm sorry. (Tara bends down, picks up Sam's jeans, and tosses them to him.) Tara: I'll see you at work, OK? (Tara turns and leaves the motel room as Sam watches, confused.) SCENE 23: Somewhere else that same evening, Randi Sue is naked, bouncing up and down. She seems to be enjoying herself. Randi Sue: This feels so good! Oh, God! I love you. I love you! (Randi Sue is revealed to be riding Jason, naked on his back, in his bed. Randi Sue is facing away from Jason, who appears to be in some sort of pain.) SCENE 24: Sookie, still dressed in her white nightgown, is sitting with Bill on his parlor floor in front of his fireplace. She unbuttons his shirt. He places his left arm around her. They kiss. He removes her nightgown. They kiss again. She leans back as he approaches her. He kisses her neck. She touches his lips with her thumb. He kisses her thumb, then stops and grunts. He faces downward. Sookie: Is...is something wrong? (Bill raises his head with a sorrowful look on his face, revealing his fangs. Sookie reaches for him, and pulls him toward her, and they kiss.) SCENE 25: Lettie Mae's house that same evening. The moon is full as Tara enters the living room. Lettie Mae is asleep on the sofa. Tara (softly): Hi, Momma. (Lettie Mae opens her eyes.) Lettie Mae: I knew you'd come. (Lettie Mae reaches out to Tara, and Tara bends down to hug her.) SCENE 26: Bill's house. Bill and Sookie are naked in front of the f*re. Bill is kissing Sookie's neck. Sookie: Do it. (Bill's fangs are exposed as he looks in Sookie's eyes.) Sookie: I want you to. (Sookie bends her head back and to the right to expose the left part of her neck even more. She closes her eyes. Bill bites her neck.) Sookie: Ahhh! (Bill licks up the blood from Sookie's neck.) END

{"type": "series", "show": "True Blood", "episode": "01x06 - Cold Ground"}

foreverdreaming

SCENE 1: Bill feeds on Sookie's blood as they make love by the fireplace in the parlor of his house. Cut to opening credits to the tune of "Bad Things" by Jace Everett SCENE 2: Bill wipes the fog from his bathroom mirror. He is clearly reflected in it, as is Sookie, who is in the bathtub. Sookie: Wait a minute. I thought you were supposed to be invisible in a mirror. Bill: We started most of the myths about ourselves many centuries ago. (Bill walks toward the bathtub, which is surrounded by lit candles.) Bill: If humans thought that we couldn't be seen in a mirror, it was another way for us to prove that we weren't vampires. And that way, we could stay hid. (Bill steps into the bathtub.) Sookie: So what about holy water? (Bill splashes some bathwater with his left hand. Bill: Just water.) Sookie: Crucifixes? Bill: Geometry. Sookie: Garlic? Bill: It's irritating, but that's pretty much it. Sookie: Whoa. I feel a little weak. Bill: Of course you do. I fed on your blood. You should take some vitamin B-12 to replenish. Sookie: Will I need to do that every day? Bill: If you don't mind, yes. And no garlic. (Sookie chuckles slightly.) Sookie: Is it always like this? Bill: No, it is not. Sookie: I never thought I'd be able...to... Bill: I am honored that you chose me. (Sookie and Bill look into each others' eyes. Sookie's smile has disappeared as she experiences a flashback to her childhood.) Flashback Uncle Bartlett (thinking): Her tiny little legs. Flexible and smooth. (Young Sookie is dressed in a purple top and hair-band. She looks up to see Uncle Bartlett sitting in a chair.) Uncle Bartlett: How's the homework comin'? (Young Sookie sits on a sofa opposite Uncle Bartlett. She has an open book on her lap, and a pencil in her right hand.) Young Sookie: I hate math. Gran usually helps me. Uncle Bartlett: Maybe I can help. Uncle Bartlett (smiling; thinking): Her skin is perfect. So soft. Uncle Bartlett: Come sit on my lap so I can see you better. (Young Sookie seems unsure, but she gets up and, bringing her book and pencil with her, sits on Uncle Bartlett's lap. He holds her around her waist as she climbs onto his lap, and he lets go of her once she's settled. Young Sookie begins writing in her book, holding her pencil with her right hand.) Uncle Bartlett: I'm good at this. It's easier than you think. Uncle Bartlett (thinking): No hair anywhere on her body. (Uncle Bartlett pulls young Sookie's hair away from her neck as she continues with her homework.) Uncle Bartlett (thinking): Oh my. Uncle Bartlett: Uncle Bartlett loves you, sweetie. (The flashback ends. Sookie and Bill are still in Bill's bathtub.) Sookie: It was just...touching. Wasn't nearly as bad as what happens to some girls. Bill: Did you tell anyone? Sookie: Gran. She ran him off and never spoke to him again. Her own brother. Bill: It wasn't your fault. Sookie: I know that. But...here I am. I mean...just had one of the most important experiences...in a girl's life. And... It was so, so perfect. Great. I hate that...I can't...not...think about him. (Bill pulls Sookie to him and pulls her toward him, with her back up to his chest, and holds her. They lean back.) Bill: You think about whatever you think about. It's OK. You're safe with me. SCENE 3: The lower half of Lafayette's face is seen through the black-and-white viewfinder of a video camera. Dance music plays in the background. Lafayette: You <snip> gonna have to be...patient. (Lafayette steps away from the video camera. He is wearing a hooded jacket. He unzips it and removes it. He is shirtless.) Lafayette: There's good things comin' your way. (POV of an observer in Lafayette's living room. The video camera is on a tripod. Lafayette is wearing a gold lamé baseball cap. His jeans, around which is a large gold belt, sag enough to reveal a gold lamé whale tail.) Lafayette: This ain't Christmas morning... (Lafayette begins dancing suggestively in front of the video camera.) Lafayette: ...and you're all jacked up on caffeine, rippin' off that cheap Wal-Mart paper to get your...blender. Naw... (Someone opens Lafayette's front door as his back is turned.) Lafayette: Whole lot of creativity went into this package and I want you to... (Jason, sweaty and dressed in a gray undershirt and a dark blue ball-cap worn backwards, enters Lafayette's living room and watches Lafayette as he unintentionally gives Jason a prime sh*t as he slides his pants down, revealing his butt.) Lafayette: ...enjoy. Jason: Whoa! (Startled, Lafayette hikes his pants up and turns around. Jason turns and starts to leave.) Lafayette: <snip>. Jason: Back up the truck, man. (Lafayette has picked up a wine bottle by its neck with his right hand, and points it at Jason.) Lafayette: Don't <snip> creep, bitch. You're <snip> creepin'. What the <snip> you doin' here? Jason: I just need to get some more V. (Lafayette tosses the bottle aside. It does not break.) Lafayette: I need you to run your ass out of my <snip> damn doorway, 'cause I'm <snip> workin'. Jason: Come on, buddy. I just need a little. Lafayette: I told you not to take too much. Jason: Yeah, I know. Lafayette: Uh, huh. And you wind up in the hospital. I said keep quiet about where it came from, and you <snip> ran off at the mouth to Tara. Then you got vamped up and <snip> threw a cop around. You can't handle the <snip>...(sarcastically) buddy! Jason: Look, I'll pay however you want. I'll even show my wiener on your website. Lafayette: You can take your little stumpy white <snip> and get the <snip> up out my joint. That's what I want. (Jason and Lafayette stare at one another.) Jason: And what you gonna do? Hmm? You gonna call the law? (Jason sneers at Lafayette, and bends down to open the door of an end table. Lafayette grabs Jason in a full nelson and pulls him away from the end table.) Jason: <snip>. What'cha got? Lafayette: Don't <snip> <snip> me, <snip>. Hear me? 'Cause I will <snip> your ass up. You get me? Jason: Yeah. OK. (Lafayette releases Jason from the full nelson.) Lafayette: Get the <snip> up outta here. (Jason stumbles to the front door, opens it, and exits, then pops his head through the door.) Jason: Oh, can you at least tell me where I can find some more? Lafayette: Go to the <snip> morgue, 'cause that's where you're goin'. Get the <snip> outta here. (Lafayette slams the door and peers through the mini-blinds over a window in the door.) Lafayette: Bitch. SCENE 4: The Old Compton House. Bill, wearing a white long-sleeved henley shirt, presses a panel on a wall that is actually a door to a small room. Sookie is with him, wearing the striped blue shirt Bill wore when he spoke to the Descendants of the Glorious d*ad. He kneels down, and opens a trap door with a gold-fringed rug attached to it. Bill: This is where I spend my days. Sookie: Does anyone ever get in there with you? Bill: This is not a place for you. Sookie: So we can never sleep beside each other. Bill: No one else knows where I rest. (Bill and Sookie kiss. He steps into the empty space under the trap door and closes it.) SCENE 5: Lettie Mae's kitchen. Lettie Mae pours a cup of coffee into a chipped yellow mug with a crudely drawn pink pig and the word "PARTY" on it. An unknown announcer preaches the Gospel over either the TV or a radio and plays in the background for the duration of the scene. Unknown Announcer (off-camera): What does it mean to accept Jesus as your personal savior? Tara (off-camera): We'll write a check for the electric and put it in the water envelope, then stick the check for the water bill in the electric envelope. (Lettie Mae pours some vodka into the chipped coffee mug.) Unknown Announcer (off-camera): Say the words "I accept Jesus as my personal savior..." Tara (off-camera): They'll both think it was a mistake and call about it. Then we'll be in the clear for another month. (Lettie Mae walks into the living room with her coffee and vodka. Tara is already sitting on the sofa.) Lettie Mae: I need four hundred and forty-five dollars. Tara: No way, Momma. We are broke. (Lettie Mae walks toward an older, cracked leather chair and sits in it. The living room, lit by the morning sun through the windows, seems clean, yet bottles of various shapes and sizes are on the coffee table. A pack of cigarettes lays next to a large ashtray with several cigarette butts in it.) Lettie Mae: I need it to exorcise the demon that's livin' inside of me. (Lettie Mae sips her coffee cocktail.) Tara: You need to do what normal people do. Stop drinkin' and go to AA meetin's. Lettie Mae: I'm not a group person, and the demon knows that. Tara: Does the demon know you spike your coffee? I can smell it from here. Lettie Mae: I can't help it. The demon told me to finish off everything in the house today. (Tara stands up and walks to to the kitchen, grabs something, walks back to the living room and sits on the sofa.) Lettie Mae: It doesn't want me to get exorcised. Tara: Yeah, next time you and your demon have a little chat, you can tell it to go out and get a damn job. Lettie Mae: The demon has a job. Going after people that are weak but still have faith. It's a jealous demon and it knows how close I am to Jesus. That's why it picked me. Tara: Oh, my God. Lettie Mae: Don't you dare take the Lord's name in vain! (Lettie Mae and Tara share the silence, then Lettie Mae leans toward Tara.) Lettie Mae: Tara, honey...I know I wasn't the best mother. I <snip> up a lot and I'm sorry. I want to do this for the both of us. That's why I talked her down fifty dollars. Please help me with this. Please. Tara: Momma. Put down that coffee and look at me. Lettie Mae: It's the demon drinkin', not me. Tara: Gimme that! (Tara stands up and tries to grab the coffee mug from Lettie Mae.) Lettie Mae: What the...? Don't spill it! Tara: Momma! (The coffee cocktail spills onto Lettie Mae, and she sucks up whatever amount has spilled onto her.) Lettie Mae: It's the demon! It's the demon! SCENE 6: The Stackhouse home. Sookie opens the front door of the house, still dressed in Bill's striped blue shirt, and her white nightgown is draped over her left arm. She closes the door, and hears noises coming from one of the rooms. She turns toward the living room and walks in the direction of the noises, and sees Jason carrying a paper grocery sack and two silver candlesticks. He is sweaty, and seems surprised to see her. Sookie: Jason! Jason: <snip>. Sookie: What are you doin'? Jason: Huh? Nothin'. Nothin'. (Sookie tosses her nightgown aside. Jason walks up to Sookie and notices the fang marks on her neck.) Jason: Huhhhh. You went ahead and did it, huh? My own sister. Nothin' but a damn fang-banger. Now, you saved it all these years for a <snip> vampire? Sookie: Bill is a gentleman. Jason: He bit you! Sookie: He doesn't h*t me, which is more than I can say for you! Jason: I tried to apologize for that, but you wouldn't let me! Sookie: What are you doin' with that Gran's candlesticks? Jason: I'm just, uh...takin' half o' what's mine. Sookie: It were her wedding present from her mother. Jason: Yeah, well, I need the money. Sookie: For what? You have a job and a house! Jason: Sook, it's none of your business! Sookie: Uhn-uh! Gran might have spoiled you rotten, but I won't! This is my house now! You put those things down and get out! (Jason looks at Sookie and walks around her, still holding the paper sack and candlesticks. Sookie tries to take the sack from him, and the sack tears open, spilling onto the hardwood floor other silver items, and a pearl necklace.) Sookie: You were gonna sell her jewelry? (Empty-handed, Jason opens the front door and leaves.) SCENE 7: A dog resembling a collie lays on the dirt in front of Sam Merlotte's house trailer as Tara approaches off-camera. Tara (off-camera): Hey, dawg! (Inside the trailer, Sam is trying to make some repairs underneath a counter. The screwdriver he's using slips, cutting his hand in the process, and he bleeds.) Sam:<snip> damn son of a bitchin' <snip> <snip> trailer! (As Sam rocks back and forth, Tara walks in and leans over the counter, looking down toward him. He looks up at her.) Sam:What are...what are you doin' comin' in here like you own the place? (Tara walks back to the door and knocks on it.) Tara: Better? (Smiling) Or you want me to call? (Tara walks back toward the counter.) Tara: "Hi, Sam, it's me, the girl you've been <snip>. Mind if I drop by to interrupt your cussin' spell, say 'hi' to you and your cute little dawg?" Sam:Yeah, I do mind. Last time I saw you, you left me high and dry in some fleabag motel in the middle of the night. Tara: I had to... Sam: That wasn't the first time. I don't have time for that kind of <snip>! Tara: Well maybe I'm not in that big a hurry to get somethin' goin' with my boss. Sam:Then why the hell are you here? And it was your big idea to have sex, not mine. Tara (yelling): Don't act like you didn't want it! Sam (yelling): I hired you after you got fired from every other place in town! Now, you throw bein' your boss in my face? Don't treat me like I'm some kind of <snip>! Tara: Did you honestly think I'd sleep with you if I thought that? (Sam comes out from under the counter and stands up. He is wearing a watch on his left wrist.) Sam:I have no idea what the <snip> you think, Tara, but I'll tell you what I think: I think you better give me one good reason not to throw you outta right now! Tara: I'm no good at this. Sam:Try harder. Tara: Sam...I'm sorry. I don't know how to be with somebody. I never...maybe I'm un-boyfriend-able. (Sam looks at Tara, and shakes his head.) Sam:Aw, I'm just in a <snip> mood. Tara (off-camera): 'Cause o' me? I don't want that. (Sam walks away from the counter and from Tara toward a window.) Sam:No, it's not you. It's just...this trailer's fallin' down around me. Tara: Well, at least you're not livin' wit'cher mother. (Sam turns to face Tara.) Tara: Hey, do your folks ever ask you for money for some stupid-ass <snip> they dreamed up that you think is crazy? Sam:My family's not close. (Sam goes beneath the counter and resumes his repairs.) Tara: You're lucky. You need a Robertson screwdriver. Sam:How would you know somethin' like that? Tara: No daddy and a drunk mom. All the fixin' fell to me. (Tara looks around Sam's trailer.) Tara: Place would look good with a...with a little work. (Tara and Sam exchange looks. Tara's cell phone rings, and she answers it.) Tara: Hello? [pause] Speakin', who is this? [pause] What? SCENE 8: The bank. Lettie Mae is wearing a dress, her hair with strands sticking out in several directions, and is seated at a desk. Behind the desk is Gus, a suited older white male loan officer. On his desk is a small sign with "CONSUMER LOANS" engraved on it. Gus: Well, I'm sorry, Mizz-rizz Thornton, but it is against bank policy to extend a loan for an exorcism. Lettie Mae: We both know what's goin' on here. You won't give me a loan 'cause you're a bigot. Gus: Many of our clients are African-American. Lettie Mae: You sayin' that just proves my point! I ain't talkin' about the color of my skin, but you is. Gus: W...well, now that is simply not the case. We have recently accepted a client who is a vampire-American. Lettie Mae: I don't care who give loans to if not Lettie Mae Thornton. You are prejudiced against me because I am a Christian. Gus: What? No, I teach Sunday school. (Lettie Mae gets up and leans over the desk.) Lettie Mae: Uh, huh! Then you know what I'm talkin' about! The whole world is against us! They even try and take away Christmas! This is your chance to stop that persecution in its tracks! Show Jesus you have a charitable nature! Gus: Well, a bank is not a charity. Lettie Mae: Maybe Mister Gus...just don't...like women, is that it? (Lettie Mae walks behind the desk. The left shoulder of her dress has slipped down quite a bit, exposing her shoulder, as well as her left bra strap and the very upper part of her left bra cup.) Gus: No, what...I mean, yes! I... Lettie Mae: Then let's you and me work somethin' out. My landlord don't mind if a get a little... (Lettie Mae attempts to sit on the loan officer's lap.) Lettie Mae: ...behind in my rent. (Two bank tellers and a customer notice Lettie Mae as Gus protests.) Gus: Oh...I think we need to terminate this conversation. Lettie Mae: There may be snow on the mountaintop, but there's f*re in the valley! (Tara bursts in through the bank's door.) Tara: What the hell, momma? (Lettie Mae walks in the direction of Tara, but walks by her toward the tellers and customers. Gus stands up.) Lettie Mae (to the tellers and customers; yelling): This white devil tried to sexual harass me! I'm gonna sue his narrow ass! (Lettie Mae turns to face Gus and Tara.) Gus: I assure you, ma'am, I... Tara: What are you doin' here? Lettie Mae (yelling): Tryin' to borrow money, 'cause I got a daughter who want me to live with a demon inside of me! Tara: Momma, there is no demon. You just have an addiction. Lettie Mae (yelling): I can feel it in me right now! (to the others in the bank) Nobody believes me?! (Lettie Mae faces Tara, shifting her weight from one foot to the other.) Lettie Mae (yelling): I do not want to live like this no more! (Lettie Mae looks at Tara, and seems ready to cry.) Lettie Mae: I can't! (Tara looks at Lettie Mae, and also seems ready to cry.) SCENE 9: Lettie Mae's house. Tara opens the door, and she and Lettie Mae walk inside. Lettie Mae seems unsteady on her feet. Lettie Mae: I gotta go lay down. That demon is gnawin' at me somethin' awful. (Lettie Mae and Tara walk through the hall into the kitchen.) Tara: You need to drink some water. (Tara stops at the sink, filled with dirty dishes, as Lettie Mae continues walking. Tara heaves a soft sigh, and fills the sink with water. Tara stoops down to open the cabinet below the sink, and pulls out a large Brillo box. Tara opens the Brillo box and pulls out a scrubbing pad, then some cash.) SCENE 10: Merlotte's Bar & Grill. Sookie is wearing a green scarf tied around her neck, its knot on the right side of her neck, as she grabs an order from the kitchen and takes it away. Sam is behind the bar, and Lafayette is cooking as Royce, Wayne, and Chuck, the three rednecks Lafayette b*at up in S01E05, walk in. Lafayette, wearing a black bandanna on his head and a gray t*nk top underneath his white apron, takes notice of the three as they sit themselves down at a table. Lafayette leaves the kitchen and enters the dining area, and Sam walks up to Lafayette and stops him. Sam:Oh, whoa, whoa, whoa, whoa! I'm payin' you to cook, not b*at on customers. Lafayette: Then I want a <snip> raise. (Lafayette looks at the the three rednecks as Sam replies.) Sam:I'll think about it, but 'til then, no trouble, OK? We're gettin' busy. (Terry Bellefleur, wearing a light blue shirt and carrying a red bus tub, walks up to Sam.) Terry: Tara called. She ain't comin' in. (Terry Bellefleur leaves.) Sam:What? Aww...hell, we're already short a waitress. (Sookie returns, walking quickly past Sam up to the kitchen window.) Sookie: Don't worry, Sam. We'll make it work. (Sam leaves, and Lafayette turns toward Sookie.) Lafayette: Well, <snip> damn! Look at'chew! All p*rn-a-licious. What kind of crazy mix you done and got yourself into? (Sookie has turned to face Lafayette. She smiles broadly.) Sookie: Can't I just be in a good mood without it bein' a big deal? It's a pretty night outside, and I'm glad to be enjoyin' it with my friends. (Sookie takes another order from the window and walks past Lafayette.) Lafayette: Um, hmm. (Sookie walks past Sam, whose head turns as Sookie walks with the food into the dining area.) (Randi Sue, dressed in a multi-colored sleeveless top and Daisy Dukes, sits by a public telephone next to a green door at Merlotte's. She is talking with Jason, and has a bottle of Corona beer in her hand.) Jason (off-camera): Yeah? Randi Sue: Hey. It's me. (Jason, still dressed in his sweaty gray t*nk top and backward-worn ball-cap, walks into his house, closes the door, and walks to the kitchen.) Jason: Hey. Who's me? Randi Sue: Randi Sue. Like you don't knooooooooooow. (Jason has his cell phone cradled to his right ear as he puts something in his left jeans pocket.) Jason: Oh, hey, hey! How's it goin'? (Jason washes his face in the kitchen sink.) Randi Sue (off-camera): Well, I'm at Merlotte's... (Randi Sue crosses her legs.) Randi Sue: ...and I'm just waitin' for you to come on down and, um...buy me a drink. (Jason walks across his living room, removing his ball-cap and tossing it onto the floor. He begins to remove his shirt.) Jason: Oh well, uh...I ain't comin' to Merlotte's tonight. Randi Sue: You ain't avoidin' me, are you? 'Cause that's <snip> not gonna fly, cowboy. Not after the other night! (Jason has removed his shirt. He has a small towel draped over his left shoulder as he walks back to the kitchen.) Jason: I know, of course not. It's just that I'm goin' into Shreveport tonight, that's all. (Jason sprays anti-perspirant under his arms.) Randi Sue: Can I come? Jason: Sure. Um, I was thinkin' about goin' to that vampire bar. You know where it's at? (Jason grabs a slice of pizza from a pizza box on the breakfast bar. Randi Sue is silent as she leans forward and back at the public phone.) Jason (off-camera): Hello? Randi Sue: Uh, uhn. I may not know much, but I do know better than to associate... (Jason walks from the kitchen to the door, with the slice of pizza clenched between his teeth.) Randi Sue (off-camera): ...myself with people of low moral character. (Jason does not remove the pizza from his mouth as he replies.) Jason: Uh, huh. OK. (Jason opens the door and leaves his house.) Randi Sue (off-camera): I hope you enjoy spendin'... (Randi Sue is standing up by the public phone.) Randi Sue: ...eternity in hell! (Randi Sue grabs her purse.) Randi Sue: <snip>! (Randi Sue hangs up the phone, adjusts the front of her top, picks up her Corona, and walks away.) (The bowl of a spoon is being heated in an open flame over the stove at Merlotte's. A heavy black glove is worn on the hand that holds the spoon.) Lafayette (off-camera): Ahh! (Lafayette takes the spoon and places it in a bowl of soup sitting in the kitchen window. The heat of the spoon produces a small sizzle, and a small puff of smoke rises from the bowl of gumbo. Terry Bellefleur, his watch on his left wrist, is next to the kitchen window, but is facing away from it. Upon hearing the sizzle, Terry Bellefleur then turns to see Lafayette at the kitchen window, removing the black glove from his right hand.) Lafayette: Terry. Can you run that to them crackers, please? (Terry Bellefleur approaches the kitchen window and takes the bowl away.) Terry: Sure thing. Lafayette: Thank you so much. (Arlene is placing two mugs of beer on her tray. She wears a pink watch on her left wrist.) Sookie (off-camera): Don't you look nice tonight. (Arlene looks over her left shoulder at Sookie and smiles. Sookie seems quite perky this evening.) Sookie: I love how you did your hair. Arlene: Well, thank you! Honey...that scarf is double cute! (Sookie smiles.) Arlene: There's somethin' different about you. You need to tell me what is goin' on. Is it a man? Sookie: I'm not really comfortable discussin' my personal business. Especially not here. Arlene: Well, everyone else's personal life is open to you. (Arlene chuckles. Sookie's broad smile is downgraded to just a smile.) Arlene: I forgive you 'cause I know you can't help that, but it does make being your friend kinda lop-sided. (Arlene's jaw drops.) Arlene: Please tell me it was Sam, not that vampire. (Sookie smiles broadly again.) Sookie: Yes, it was Bill! And I think I might be in love with him. Oh, don't tell anybody, OK? (Royce has been b*rned by the heated spoon in his gumbo. He drops the spoon onto the floor.) Royce: Ahh! <snip> damn it! <snip>! (Lafayette, watching from the kitchen window, does not appear to gloat.) Lafayette: Sook, order up. (Sookie walks to the kitchen window. Arlene takes the tray with the beers, and walks over to René, who is sitting at the bar, resting his head on his right hand, staring upward.) Arlene: Sookie has been with that vampire! (René looks briefly at Arlene, then returns his attention upward.) René: Aw...that's jus' bar talk. Arlene: She told me herself. (Sam, behind the bar, looks at Arlene and Arlene looks at Sam.) Arlene: Oh my Lord! Suppose she gets pregnant. How in the world can she nurse a baby with fangs? (Sam looks upset.) René: You jus' be her friend. She need one now more than ever. (Sookie is delivering an order to a customer at one of her tables.) Sookie: There you go. You're gonna love that okra special. It's so fresh, it'll hop right off your plate! (Sookie turns and walks away from the table and Sam approaches her.) Sookie: Oh, don't go anywhere. I need two more pitchers of Bud. (Sam rips the green scarf from Sookie's neck, exposing her fang marks.) Sookie: Hey, you keep your hands to yourself, Sam Merlotte! (Sookie hits Sam with her open hand and pushes him away from her.) Sookie: You have no right to touch me! Sam:You're a damn fool, you know that? (Lafayette watches the scene between Sookie and Sam from the kitchen window as diners, including Chuck, watch from their seats.) Sookie: What I do on my own time is no concern of yours...(looking at the diners)...or any of y'all's. Yes! I had sex with Bill, and since every one of y'all's too chicken to ask, it was great! I enjoyed every second of it. And if you don't like that, you can just f*re me! (Sookie slams her tray onto Sam's chest and walks away). SCENE 11: The parking lot of Fangtasia. A few people talk to one another near a parked car. Jason walks quickly to the door. Outside the door is a red velvet rope, separating him from Pam, dressed in black, her arms akimbo, her hair down around her shoulders. Jason is dressed in a dark blue short-sleeved shirt, unbuttoned halfway, and looks around nervously before speaking to Pam. Jason (quietly): Hey. Pam: Your momma know you're out in the big city? Jason: Well, my momma's d*ad. Pam (unmoved): So am I. Let me see some ID. (Jason pulls out his ID and hands it to Pam. She looks at it, and looks somewhat quizzically at Jason, still keeping her cool exterior.) Pam: Jason Stackhouse from Bon Temps? Jason: Uh, huh. Pam: You related to Sookie by any chance? Jason: Uh, yeah. She's my sister. Well, how do you know her? Pam: She stands out. Do you? Jason (nervously): Uh, no. (smiling shyly) Maybe. In other...ways. (Pam gives the ID back to Jason.) Pam: Why are you here? Jason (looking around nervously): Why? Well, you know, I was...I heard it was cool. I wanted to...check it out, see what's up. I'm one of those open-minded kind of guys. Yeah. (Jason seems to be caught in a trance as Pam stares into his eyes and glamours him.) Pam: Tell me why you came here. Jason: I want some vampire blood. (Pam raises her left eyebrow.) Jason: What time do you get off work? Pam: You came for my blood? (Pam chuckles slightly.) Pam: Yeah, you're right. You're nothin' like your sister. (Jason seems puzzled as Pam's glamouring ends and she exposes her fangs to him.) Pam: Go on in. (Jason walks around Pam to the door.) Pam (in Jason's right ear as he passes her): And good luck gettin' out. SCENE 12: Uncle Bartlett is putting some trash into a garbage can behind his old, white house at night. Insects chirp in the background. A single light illuminates the area where the garbage cans are, at the foot of a wheelchair ramp leading up to the back door. With effort, he turns his wheelchair around and slowly pushes himself up the ramp. On the wall at the left of the top of the ramp seems to be a sign with "NO SMOKING" in red letters. Uncle Bartlett continues pushing himself, and he looks up and sees Bill standing before him, and stops. Uncle Bartlett: I don't keep cash in the house. (A full moon is visible behind Bill as he stares at Uncle Bartlett.) Bill: Oh, I'm not here for money... (Uncle Bartlett allows his wheelchair to roll backwards to escape from Bill, but Bill is already behind him, and stops Uncle Bartlett's wheelchair.) Bill: ...I'm here for Sookie! (Bill exposes his fangs and he bends around to bite Uncle Bartlett from behind.) SCENE 13: Tara and Lettie Mae are walking on an unlit road at night. Tara: Damn! I'm gettin' eaten alive out here! Lettie Mae: You want to meet the devil, you wait at the crossroad. Tara: Yeah. That was a mile back. Lettie Mae: For Miss Jeanette, you gotta go past where the devil's at. Tara: That is the biggest load of <snip> I ever heard. You're gettin' as bad off as Lafayette and his juju. Lettie Mae: My poor sister. I pity havin' to raise a sexual deviant. (A dark figure, hunched over, leaning on a cane, comes out from the bushes along the road, to the left of Tara and Lettie Mae.) Lettie Mae: That runs in families, you know, like demons. Old Crone: You showed up. (Tara and Lettie Mae stop walking, and turn their heads toward the voice. They see an old crone holding a lit lantern in her right hand.) Old Crone: I figured that demon o' yours wouldn't let'cha. (Tara and Lettie Mae walk toward the old crone.) Old Crone: You must be Tara. I'm Miss Jeanette. You ready? Fully prepared, body and soul, for this exorcism? (Tara and Lettie Mae stop within a few feet of Miss Jeanette.) Lettie Mae: I ain't ate anything all day, like you said. Miss Jeanette: Have you made your peace? Lettie Mae: Is it gonna hurt? Miss Jeanette: Of course it's gonna hurt. It's like childbirth. Except the demon don't wanna come out. And it ain'cher body that could get ripped up. It's your soul. Tara: Uh... Miss Jeanette: In olden days, folks paid my grandmama usin' tobacco and livestock. But today it's cash. In advance. (Tara takes money from her purse and hands it to Miss Jeanette, who counts it, and puts it in her purse. Miss Jeanette's hair is closely cropped to the shape of her head.) Miss Jeanette: That demon...will not inhabit you after tonight. Tara: Let's get this <snip> over wit'. (Miss Jeanette stares at Tara, then turns around, lifts the lantern, and walks into the woods. Tara and Lettie Mae follow her. Insects chirp loudly as Miss Jeanette shows them to an old bus, the inside of which is dark, illuminated only by candles. Tara enters first, looks around and notices various bottles, plates, and plants inside the bus, as well as an antique metal bathtub, and some shelves with jars. She also sees a cot with a pillow and blanket, on which rest six small stones. Tara turns around to see Lettie Mae has entered the bus, with Miss Jeanette behind her.) Miss Jeanette: Lettie Mae, you're gonna need to undress now. (Lettie Mae hands her purse to Tara and begins to undress.) SCENE 14: Merlotte's. Sookie has regained her perkiness, but not her scarf. She is talking to Lafayette at the kitchen window. Sookie: It felt like...it felt like every single care or worry or sadness I ever had was just...flowin' out of me into him. And, yeah, that hurt at first, but...then when I relaxed, it didn't hurt at all. Lafayette: I was always too scared to let 'em bite me. I don't know, Sook. I just think that, when there's blood involved, a line been crossed. Sookie: Oh, I definitely crossed a line, but...I'm glad I did. (Sookie takes into her hands an order from the window.) Lafayette: Well, you go on ahead, hooker, with your bad ass! Good for you! It ain't possible to live unless you crossin' somebody's line. (Sookie chuckles and leaves the kitchen window with the food order.) Lafayette: Skank. SCENE 15: Fangtasia. Eric sits in his large chair on the stage as his customers enjoy their evening. Eric is looking at his Blackberry as a blond woman in a black shirt approaches him. Blond Woman: Excuse me? (Eric looks up from his Blackberry.) Blond Woman: May I take a picture of you? (A male vampire with tattoos on his arms and long black hair is behind and to the right of the blond woman. Eric puts down the small devise and faces the blond woman. He spreads the fingers of his hands and touches the fingertips to one another in front of him, and exposes his fangs.) Eric: You may. (The blond woman takes a pink camera phone from her purse, opens it, and points it at Eric to take his picture. With lightning speed, the long-haired vampire grabs the blond woman's camera phone and smashes it to pieces against a nearby table to her left, glaring at the blond woman, not exposing his fangs.) Long-haired Vampire: No pictures! Blond Woman: He said I could take it. Eric: I did not say you could keep it. (Eric and the long-haired vampire smile and laugh at the blond woman, and she walks away.) (A blond female vampire dressed in black rubber is dancing in one area of the club, as Jason turns his head away from a male vampire dancing in another area. Jason sits alone at the bar. He seems sweaty and nervous.) Jason: Pretty good dancer. (Longshadow, the bartender, approaches Jason.) Longshadow: Can I get you another? (Jason finishes the last of his bottle of beer.) Jason: No. But I will have somethin' stronger. (A young brunette carrying a large purse is walking behind where Jason sits and turns her head toward him as Jason says "stronger." Longshadow leans toward Jason for clarification of his drink order.) Jason: Not Tru:Blood, but really strong. You know what I'm sayin'? Longshadow: We've got Kentucky straight bourbon, whiskey. Hundred proof. It'll turn the lining right off your stomach. Jason: Uh, yeah. Somethin' stronger than that. But you know, a different color? (The young brunette looks around.) Longshadow: Just tell me what the <snip> you want, little boy! Jason: Somethin' closer to the color of the walls in here. (The young brunette walks up to Jason.) Young Brunette: There you are, hon! Jason (to Longshadow): You know what I'm sayin'. (The young brunette grabs Jason by his left arm.) Young Brunette: Come sit with me. Jason (to the young brunette): No. Young Brunette: Come sit with me! Jason: I don't want you. Hold on a minute? (The young brunette pulls Jason away from his seat at the bar.) Young Brunette: I know what you're looking for. (The young brunette leads Jason to a table away from the bar.) Jason: <snip> damn. (The young brunette and Jason sit at the table.) Jason: It's hotter'n hell in here. Young Brunette: No, it's an icebox. You're sweating for another reason, aren't you?. Jason: I could use some V... (The young brunette looks around.) Young Brunette: Hey, V8! I don't think that they serve that here. (The young brunette looks at Jason with a stern look.) Jason: Why the <snip> would I want V8? (The young brunette grabs Jason's face with her left hand and looks him in the eye.) Young Brunette: Hey, shut up! Listen: they can hear really well, all right? So, let's talk about it later. All right? (Jason stares at the young brunette as she releases her grip.) Young Brunette: C'mon. Let's get out of here before you get us both k*lled. Jason: I ain't goin' nowhere until I get what I came for. Young Brunette: Hey! (The young brunette pats her purse and gives a knowing look to Jason. Jason points at her purse.) Jason (whispering): Purse? (louder) Let's do it. The young brunette and Jason get up and leave. SCENE 16: Merlotte's. Sookie is taking a pitcher of beer to Royce, Wayne, and Chuck's table. A purple, yellow, and green neon sign behind her reads "ABITA BEER". Royce (thinking):What kind of stupid bitch would go and do something like that? Sookie: Something like what, Royce? Royce: <snip> a vampire. Wayne: <snip> a vampire? Hell, no! I like my meat alive. (Wayne, Royce and Chuck smile and laugh. A "whoosh" sound is heard, and Diane, Liam and Malcolm, the three vampire "nesters", enter Merlotte's. Everyone in Merlotte's notices. Diane approaches a young man seated with a woman at a booth and leans over him as the woman cowers.) Diane: Well, hey there, sugar. SCENE 17: A lake. Someone is opening the trunk of a car in the darkness. The car is parked not too far from a dock to the lake, seen in the foreground. The trunk lid is opened, revealing the body of Uncle Bartlett. He is bleeding from the right side of his neck. We see Bill standing, looking at Uncle Bartlett's body. Bill leans over into the trunk. SCENE 18: Merlotte's. Sookie looks worried, and Sam walks into the dining area, where the three vampires are. Malcolm: Get us three Tru:Bloods. Sam:Y'all need to go somewhere else. This is a family place. Locals only. Malcolm: Well, we just closed on a place up the road, so that makes us official citizens of Renard Parish. We're the new locals. Sam:My place, my rules. Malcolm: Discrimination against vampires is punishable by law in the great state of Louisiana. Personally, I don't give a <snip>... (Malcolm looks around the dining area, and sneers.) Malcolm: ...but I ...am...thirsty. Sam:You...are...not...welcome here. (Diane chuckles. She is still at the booth, running her fingers through the young man's hair.) Diane: That <snip> only works in a private home. Malcolm: Oh! How nice to see you again, Sookie! (Malcolm walks toward Sookie. Diane frowns, pushes the young man aside, and leaves the booth.) Malcolm: You are looking delectable as always. Sam (to Sookie): You know them? (Sookie looks directly at Malcolm as she replies to Sam.) Sookie: We've met. Malcolm: Well, well! (Malcolm notices the fang marks on Sookie's neck.) Malcolm: It looks like Little Miss Holdout has given up the goods. Brava! Did he leave enough for the rest of us? Sookie: I am his. Malcolm: Well, he is not here, is he? And while Bill's away, Malcolm will always play. (Malcolm exposes his fangs to Sookie. She gulps.) At the lake, Bill is on the dock and looks downward as he drops Uncle Bartlett's body into the lake. Suddenly, he looks up, and runs away with lightning speed. Back at Merlotte's, Sookie's confrontation with Malcolm continues as she pushes him away from her. Sookie: Don't you think for one second I'd ever have anything to do with you! I'm sure you were trash while you were alive, and now you're just d*ad trash! Malcolm: I'm gonna drain you so slowly, you're gonna beg me to k*ll you. (Terry Bellefleur runs from a booth in the back toward Malcolm, screaming.) Terry: Jihad this, <snip>! (With lightning speed, Diane grabs Terry and throws him across the room. Terry lands at the pool table in the gaming area. Sam breaks a pool cue in half over his leg, and points the thick part of it toward Malcolm.) Malcolm: You are a d*ad man. Sam:Maybe. But I'm gonna take one of y'all with me. Sookie: Sam! (Sam runs toward Malcolm with the pool cue as Liam takes the makeshift stake from Sam, hurling it like a javelin to the stack of glasses behind the bar. A woman screams. Liam has Sam on his back over the bar, his right hand around Sam's jaw.) Liam: I'm gonna reach down your throat and yank you inside out by your <snip>. Sookie: Please! Leave him alone! (With lightning speed, Bill runs into Merlotte's and walks toward Malcolm, Diane, and Sookie.) Bill: Stop this! Now! (Liam releases his grip on Sam.) Bill: You're here for me, not them! Malcolm: We had to get your attention, and I do believe it worked. Bill: What do you want? Malcolm: You never call me back. Now, if I remembered what feelings were, mine might be hurt. (Diane rushes to Bill with lightning speed, and strokes his cheek with her hand.) Diane: Join our nest, Bill. Forget these blood sacks. Liam: Yeah, mainstreamin's for <snip>. (Diane puts her arm around Bill and runs her fingers through his hair.) Diane: Let's party like we used to, huh? We used to have so much fun. (Sookie looks sadly at Bill and Diane. Bill looks at Sookie, downcast.) Bill: All right. Let's go. Sookie: What the hell are you doing? Bill: I should be with my own. Sookie: But you're not like them. You're better than they'll ever be! Bill: I am not human, Sookie. I am vampire. (Bill and Sookie exchange a long stare. Liam and Diane leave Merlotte's, followed by Bill and Malcolm. Royce points to the door.) Royce: Well, that ain't right, him comin' in here like that! Ain't right them things even exist. Unknown male voice #1: Well, it is a full moon tonight. SCENE 19: A gas station. Jason is pumping gas into his truck. Suddenly, he turns around. Jason: Let's take the V and go to a roadhouse. (The young brunette Jason left Fangtasia with is standing outside his truck with him. She smiles.) Young Brunette: Not so fast, dude. The setting is crucial. Y'know, just breathe deep. Think about somethin' that you like. Sunrise on the gulf. Jason: I never get up that early. Young Brunette: Well, something beautiful then. You know, whatever you think is relaxing...and nice. Jason: How about you? Young Brunette: I'm Amy Burley. Pleased to meet you. Jason: Jason Stackhouse. Where you from? Amy: Storrs, Connecticut, originally. You know, I knew that you'd drive a truck. I knew it. I bet you work outside, too, huh?. Jason: Maybe. Or maybe I run a store at the mall. Naw...no, really, I'm a doctor. Amy: Ah! What's your specialty? Jason: Legs. I'm a leg doctor. Amy: Well, doc, I love this truck. I do. It's authentic. You know, it's how a truck should be. None of that stupid extended-cab-four-wheel-drive-just-to-go-to-the-mall crap. Jason: Yeah. How much V you got? Amy: How far to your place? Jason: Get in. (Jason and Amy leave the gas station in Jason's truck.) Jason (from inside the truck): Yee-haa! (The truck speeds away.) SCENE 20: Miss Jeanette's bus. Lettie Mae's exorcism is underway. Miss Jeanette is arranging small stones in a pattern on Lettie Mae, who is laying on her back on the cot, naked except for her bra and slip. Tara watches Miss Jeanette from behind, her arms folded. Tara (off-camera): Where'd you learn how to do this? Miss Jeanette: I learned from my momma. And she learned from hers and so on, going back a thousand years. Miss Jeanette: Now, we're gonna lure this demon out! And then... Tara: Lure it out? With a bunch of rocks? Uh, huh. Don't you need a Ouija board and some chicken bones? Lettie Mae: Tara, shut up! Tara: It's my money! Lettie Mae: But it's my demon! Miss Jeanette: Look! Miss Jeanette: (to Lettie Mae) I know you love your daughter...(to Tara) and I know you love your momma, or else you wouldn't be here. (Miss Jeanette redirects her attention to setting the scene.) Miss Jeanette: But this is a serious situation. For all of us. (Miss Jeanette sprinkles some powder over Lettie Mae.) Miss Jeanette: Demons can k*ll. And this one will, given half a chance. Tara: Aw, hell... (Miss Jeanette turns to face Tara.) Miss Jeanette: Y'all need to calm down! (Tara sits down and folds her arms, staring at Miss Jeanette. Miss Jeanette returns the stare, then continues with her preparations, picking up a flat, nearly triangular-shaped, stone with two round holes of different sizes in it, and a smaller hole that does not appear to go all the way through the stone.) Miss Jeanette: The sacred Crone Stone. It's been in my family since Africa. My generation was twelve kids. But the stone chose me. (Miss Jeanette turns around to a table behind her and removes a cloth covering from a cage. An opossum is inside the cage.) Tara: Aw, hell no!. You ain't puttin' that thing on my momma. (Tara gets up and moves toward Miss Jeanette, who turns to face Tara and stops her with her arm.) Miss Jeanette: Soon as that demon leaves your mother, it'll be lookin' for a new place to stay! Come on! (Miss Jeanette makes Tara sit down.) Miss Jeanette: We all gonna have to be still. Don't even breathe! Let it find the 'possum. (Miss Jeanette places the Crone Stone on Lettie Mae's stomach, and Lettie Mae gasps as the Stone touches her. Miss Jeanette hums in monotone as she picks up a native-looking bongo drum and beats slowly on it. Her tempo increases and slows.) Miss Jeanette: Sing a Crone Stone Song. Sing what land made me. Dream tinker is my drum. I hold the power of the Stone. The Water. The Leaf. The Dirt. Stone. Water. Leaf. Dirt. Sing a demon song. Sing the night who made you dark and wet, hungry and cold, trapped in darkness forever, lonely for the light. (Lettie Mae begins convulsing and screaming. The Crone Stone, as well as the smaller stones, remain on her body.) Miss Jeanette: You are safe here. Safe and welcome. Safe and welcome. By the power of the stone, I bid you depart and join the world of light! (Lettie Mae continues her convulsing and screaming, as Miss Jeanette utters words from an indeterminable tongue. The opossum squeals. Miss Jeanette turns to fetch the cage, and pushes the cage (with the opossum still inside), into the metal bathtub, filled with water. The opossum, not fully submerged, thrashes in its cage, but Miss Jeanette grabs a stick and forces the cage underwater. Lettie Mae's convulsing and screaming have stopped as well. SCENE 21: Terry Bellefleur is sitting on the floor in a room in the back of Merlotte's. Arlene kneels in front of him. Terry seems shell-shocked as he speaks to her. Terry: I froze up. I let everybody down. I didn't do nothin'. Arlene: This ain't Baghdad, Terry. It's Merlotte's, OK? Ain't nothin' anybody coulda done. Terry: I'm supposed to. (Terry appears to be choking back tears.) Arlene: Shhhh. (Terry's eyes are closed, and he nods slightly.) (Meanwhile, in the dining area, Royce is standing up at his table, with half of the broken pool cue in his hand, talking with Wayne and Chuck. Behind him, at the bar, is Sookie.) Royce: I know where that house they bought is at. About four miles away. Right at the edge of town. (Sookie brings a pitcher of beer to Royce's table.) Royce: It'd be easy to sneak up on 'em. Sookie: If you think you can sneak up on a vampire, then y'all are dumber in the head than a hog is in the butt. Wayne: <snip> a vampire don't make you no expert. Royce: You're contaminated from normal people. Sookie: What would you know about normal people? Royce: I know they don't <snip> d*ad things. (Wayne and Chuck laugh.) Sookie: You mess with Bill Compton, I promise: you will be a d*ad thing. (Sookie looks hard at Royce, and walks to the bar. Sam is behind the bar, and Arlene is looking at tickets.) Sookie: Sam, we gotta do somethin'. These rednecks are gettin' riled up. They're talkin' about going after the vampires. Sam: That's not my problem. Arlene: I hope they k*ll 'em all. Sookie: Bill is not like them. Sam: He went with 'em. Sookie: To get them away from here. Sam: Doesn't matter. He belongs with his own kind. Sookie: Oh my God, are you listening to yourself? Sam: Whatever goes on between you and him's your business, but I do not want him in my bar. (Sookie walks away from the bar and hears Royce's thoughts.) Royce (thinking): Weren't for little Stackhouse bitch, there wouldn't be no vampires comin' around here at all. Round 'em all up at daybreak and sh**t the sunlight into 'em. (Sookie walks to the back of Merlotte's.) SCENE 22: Jason's house. Rice Krispies and Cocoa Puffs are on the counter beside Jason's refrigerator. Jason opens the refrigerator and takes out two beers. Jason twists off the top of one of the bottles and hands it to Amy. Amy: I went to Wellesley. I was supposed to do pre-law but I said "screw it". I studied philosophy instead and that <snip> the parental units off big time, as if the meaning of life's just irrelevant, right? (Jason twists the top off the other bottle, as Amy drinks from hers.) Jason: I got two years at vo-tech studyin', um...landscape technology. (Jason leans his back against the refrigerator and takes a swig of beer as Amy walks to his sofa.) Amy: Finally I couldn't take anymore of that artificial lockjaw lifestyle, so I h*t the road. Jason: Lockjaw? Like, rabies? (Amy sits down on the sofa and sits her beer on the coffee table. Jason sits beside her, with his beer in his left hand. Jason realizes he's sitting on a football, removes it, and holds it in his right hand. Amy grabs a box of matches from the coffee table, strikes a match against its side, and lights a pillar candle on Jason's coffee table.) Amy: No, it's talking with your teeth clenched together so you don't get lines in your face. [talking with her teeth clenched] "Amy, please tell me you're not having sex with that dis-GUS-ting man." Jason: Well, people who talk that way 'round here don't want anyone to know they got their teeth knocked out. Amy: Where are your CDs? Jason: They're over there. (Jason points to the left of the back door.) Jason: Where's the V at? (Amy walks to Jason's stereo.) Amy: God, I love your place, man. It's very un-self-conscious. So off-the-grid. Jason: It was my parents' house. Haven't really done much with the place since they passed. (Amy has selected a CD.) Amy: That's even better. I mean, this place goes back to like a more legitimate time, you know, before everything got totally out of whack. (Amy places the CD in the stereo.) Amy: Your parents are part of Gaea. You know what Gaea is, right? Theory of Gaea? Jason: Yeah! (Music sounds from the stereo. It is not loud.) Amy: The earth is a living organism. Makes weather, which is good for us. Plants give us the chemicals we need. Everything is connected. But you know that. (Amy walks back to the sofa, and sits down.) Jason: Yeah, I don't like how they keep takin' stuff away. Like Pluto's not a planet anymore and a brontosaurus stopped being a dinosaur. You can't say somethin' stopped being what it's always been. (Amy smiles at Jason.) Amy: Do you live by yourself? Jason: Yeah. Come on, let's do the V's. (Amy opens her purse.) Amy: Slow down, baby. Do you even know how this stuff works? (Amy pulls out a purple bag from her purse. Jason shakes his head.) Jason (softly): No. (Amy scoots off the sofa and kneels in front of the coffee table.) Amy: It's blood. It carries oxygen to our organs, right? That's what makes them function. So it keeps us goin'. (Amy takes out a small plate from the bag and places it on the coffee table.) Amy: It's like gas in a car engine. Jason: OK. Amy: Vampires, they don't need oxygen. Everything just runs directly off the blood. (Amy takes out a prescription pill bottle, and a mortar.) Jason: Ah, like those cars that run on corn. (Amy holds up a vial of V and looks at it.) Amy: I've had this blood for like...forever, so we're gonna need to take some steps to keep it from coagulating. (Amy places the vial of V on the coffee table and takes other items from the small purple bag, also placing them on the coffee table.) Jason (whispering): Coagulating...! (Amy holds up a small round jar.) Amy: Aspirin. Thins it. (Amy opens the jar of aspirin, and places two in the mortar.) Amy: We'll get the full effect faster, and more intense. (Amy opens the vial of V, puts a dropper in it, and withdraws some of the V. Jason gets off the sofa and kneels beside Amy as she places a single drop of V onto each of the white aspirin pills. The V quickly turns each pill blood red.) Amy: You just know this is what Holy Communion is symbolic of. This is the real deal here. None of that lame-ass empty ritual. This is nature's greatest gift. (Jason smiles as he watches Amy grind the V-soaked aspirin pills with a pestle.) Jason: I thought they'd get all mushy. Amy: No. See, the V adapts. It wants to be in us. (Amy scrapes the red powder from the mortar with a blunt Kn*fe, and places the powder in two small doses on the small plate. Amy bows her head and prays.) Amy: We honor Gaea, and seek the deepest relationship to her. (Amy looks at Jason, who wasn't praying. Jason bows his head, and Amy does likewise.) Jason: Uh, yeah. Me too. And Pluto can start bein' a planet again, connected to stuff. (Amy still prays.) Amy: By taking the blood of the night into our bodies, we water the flowers of our souls. (Amy opens her eyes and turns her head to Jason.) Amy: Nothing is real. Everything is permitted. (Jason nods. Amy takes a small red straw and snorts one of the doses of V. She raises her head. Jason takes the straw and snorts the other dose of V, and looks at Amy looking at him. They smile. The sounds of birds and insects chirping are quite loud as Jason's living room becomes a red blur, with Amy coming in and out of focus. Amy kisses Jason's lips.) SCENE 23: Sookie is outside Merlotte's on her cell phone. Sookie (to herself, quietly): Dammit, Bill. Please pick up. Bill's pre-recorded voice greeting: Bill Compton. Generic pre-recorded female voice mail message: To leave a voice message, press "one" or just wait for the tone. (The tone sounds.) Sookie: Bill, this is the third time I've called. A lynch mob is going after those vampires. You gotta get outta there. Call me back, now! Generic pre-recorded female voice mail message: When you finish recording, you may hang up or press 'pound' for more options. (Sookie looks at her phone, and closes it.) SCENE 24: Jason is shirtless, staring directly in front of himself. He raises his arm and looks at the back of his hand and its outstretched fingers, then the palm side. He notices his reflection in the mirror on his door. It does not reflect Jason's surroundings, showing instead the bright, sunshiny outdoors. His reflection seems to lean toward us, and he suddenly turns his head around, looking around his bedroom from his seated position on his bed. Amy enters from behind, and kisses his neck as he looks upward. Jason falls back on his bed, Amy climbs on top of him and kisses his lips. Amy raises herself up, and lifts her left hand, her palm facing Jason. He places his right palm to her palm, and he looks at their hands, seeing sparks flying. They clasp their hands together. Jason: Whoa. (Amy has noticed the effect as well.) Amy: I know, right. (They look into Jason's dresser mirror, and sparks fly between Jason's and Amy's bodies.) SCENE 25: Tara is already outside of Miss Jeanette's bus as Miss Jeanette and Lettie Mae step out. Tara: I can't believe I spent four hundred dollars to watch you drown a damn possum. You better not have done anything bad to my momma. (Lettie Mae walks slowly toward Tara.) Lettie Mae: Is my demon gone forever? Miss Jeanette: That one is. Lettie Mae: I got another one? Miss Jeanette: No. You belong to yourself now. But we're gonna have to do somethin' about your daughter. Tara: You ain't gonna do nothin' for me. Miss Jeanette: Your demon...isn't the same kind as your mother's. But it's definitely livin' in you. Tara: Now you think I got a <snip> demon? Bitch, you as <snip> up as your bus. Miss Jeanette: That's that demon talkin' right now. And deep down inside, you know it's true. Tara: No, I do not. Miss Jeanette: I can help you. Tara: I don't want help. I don't need it. And I sure as hell can't afford it. (Miss Jeanette slowly walks up to Tara.) Miss Jeanette: Do you have many friends? Do you have trouble keeping a job? You have your own place? You have a boyfriend? How long have you ever been with the same man? (Tara doesn't look at Miss Jeanette, nor does she answer her.) Miss Jeanette: Um, hmm. (Miss Jeanette turns and walks toward the bus.) Miss Jeanette: Find me when you're ready. Tara: Let's go. Come on, Momma. (Tara grabs Lettie Mae's arm and they walk away.) SCENE 26: Bill Compton's house. Sookie enters through the front door, still in her Merlotte's uniform. The house is unlit. Sookie: Bill? (Sookie closes the door behind her.) Sookie: Bill? (Sookie walks to a paneled wall, just off the front hall. She presses the panel, and a door opens, revealing the space leading to Bill's sleeping place. She enters the small space, kneels, and opens the carpet-covered trap door, finding nothing. She walks into the parlor. Books with snuffed candles on them are on the coffee table. The blanket, on which Sookie and Bill made love, remains in front of the fireplace. Sookie sits on the sofa.) SCENE 27: The next morning. From a wooded area, Royce, Wayne and Chuck approach a lone house with a veranda and a red car parked in the dirt driveway. The three stop, and crouch in the wooded area. The three are wearing the same clothes they did the night before at Merlotte's. All are armed with unlit Molotov cocktails. Royce adds some pieces of a Styrofoam cup to his. Chuck: What are you doin'? Royce: Turnin' this <snip> into napalm. I ain't takin' no chances. (Chuck smiles.) Royce: All right, boys. I'm gonna take the front porch. You boys go around back to the back windows. Chuck: Which windows? Wayne: Don't matter, <snip>! (Wayne hits Chuck on his upper left arm, and Chuck falls.) Chuck: Hey! You'll <snip> spill it! Royce: Hey, hey! You wait 'til you hear me break the glass. All right? (Wayne nods. The three run toward the house with the homemade b*mb.) Royce: Go! Go! (Wayne and Chuck run to the back of the house. Royce lights his b*mb and throws it through the glass of the front door of the house. Royce runs to to the back of the house as Wayne lights his b*mb.) Wayne (turning toward Chuck, who is off-camera): Hurry up! (Royce runs to Chuck just as Chuck has ignited his b*mb and prepares to throw it.) Royce: Go! (The next sh*t shows Royce with Wayne (wearing a ball cap, unlike Chuck or Royce), as Wayne throws his b*mb through a back window. Now, Chuck is again preparing to throw his b*mb, and as he does so, the rag fuse of the b*mb ignites his right arm.) Chuck: <snip>! (The three run away from the house, Chuck holding his right arm out away from him.) Royce: Stop running, dip<snip>! (Wayne tackles Chuck and they roll on the ground. Royce keeps running. Wayne smothers the f*re on Chuck's arm, and they run away from the house. Flames and a thick black smoke rise upward into the dark blue sky, and odd, otherworldly screams are heard.) SCENE 28: A peaceful lake. Cousins Andy and Terry Bellefleur are fishing in a bass boat. Andy Bellefleur: Bet you didn't do much fishin' in Eye-rack. Terry: No fish in the sandbox. Andy Bellefleur: No wonder they're so <snip> off at us. We got channel cats and Shreveport <snip>. (Terry seems to have noticed something onshore.) Andy Bellefleur: I miss this. (Terry stands up in the boat.) Andy Bellefleur (off-camera): Gettin' up before dawn like when we were kids... (Terry makes the military clenched-fist gesture for "freeze".) Andy Bellefleur: ...watch the sun comin' up... (Andy notices Terry's fist still in the air, as Terry places his left index and middle fingers to his nose and then moves his left hand horizontally to his left. Terry nods once, lowers his left hand, and continues looking toward shore. Andy looks in the same direction now. A man runs naked along the lake's shore.) Andy Bellefleur: That was Sam Merlotte! (His fist lowered, Terry sits down.) Terry: Yup, I done that before. Andy Bellefleur: Where the <snip> was he goin'? Terry: Where has he been? Nobody cares. (A ring-tone similar to the theme from "Hawaii Five-O" sounds, and Andy takes out his cell phone.) Andy Bellefleur: Detective Bellefleur...aw, <snip>! SCENE 29: The tintype of Bill with his wife and children during his pre-Civil w*r life is in the foreground. Sookie rises from her sleep on Bill's sofa as a siren sounds in the distance. Sunlight streams through the foyer as she runs to Bill's sleeping place, the secret door still open. But she does not find Bill. Cut to a sh*t of red and blue flashers flashing on top of a police car. A f*re engine is nearby. Police and firefighters walk or stand around the b*rned, smoking remains of Malcolm, Diane, and Liam's house. Sheriff Dearborn is speaking with a firefighter. Firefighter: As soon as we complete our portion, you can get in there and start investigatin'. It's probably arson, I'll say that. Sheriff Dearborn: Now we know one way to get rid of 'em. (A car honks off-camera, and Sheriff Dearborn turns in its direction. Sookie is driving her yellow early 1980s Honda Civic up to the scene. Some onlookers are present, as is a news crew (white van, with the number "3" and the letters "WQM" visible). A police officer walks down from the house.) Unnamed Police Officer #1: Special of the day: Country-fried Vampire. (Sookie, now out of her car, makes her way to the b*rned house.) Unnamed Police Officer #2: This'll take the heat off of them having to find out who's killin' those women. (The two police officers continue talking as Sookie runs past them to Sheriff Dearborn and Andy Bellefleur.) Sookie: Is Bill in there? (Sookie passes between the sheriff and detective and stares at the house.) Sheriff Dearborn: No way of knowin'. They're awful messy... (Two firefighters unload a charred coffin from the house.) Andy Bellefleur: ...but there was four of 'em. (The two firefighters place the charred coffin next to three other charred coffins.) END

{"type": "series", "show": "True Blood", "episode": "01x07 - Burning House of Love"}

foreverdreaming

SCENE 1: Four charred coffins are beside one another outside of the house b*rned by Royce, Wayne, and Chuck. One of the coffins is partly opened. Various emergency personnel perform their duties as Sookie looks at the scene from a short distance. She is approached by Sheriff Bud Dearborn. Sheriff Dearborn: Sookie, are you okay? You want some water? Sookie: Four? (Sookie turns to face Detective Andy Bellefleur.) Sookie: You're sure you found four bodies? Andy Bellefleur: We shouldn't even be tellin' ya this. Sookie: Andy, not now! Not with me. Andy Bellefleur: [sigh] There's four sets of remains inside four coffins. Sookie: Oh, my God! (Sookie starts toward the house, but is pulled away by Andy.) Andy Bellefleur: We can't let you go in there! Sookie: Andy, if you don't take your hands off me right now, I swear to God, I will k*ll you! (Sookie breaks free of Andy's grip, and runs up the small hill toward the house, but is met by an unidentified young man in a blue jacket with something illegible printed in white letters on the back of it. There is another man present, wearing a black ball-cap and a black vest with "CORONER" in silver/white letters on the back of his.) Unidentified Young Man In Blue Jacket: No, no, sweetheart, you don't wanna come up here... (The unidentified young man looks at the contents of one of the b*rned coffins. There are no bones, only a slurry of slightly bubbling blood.) Unidentified Young Man In Blue Jacket: Jiminy Christmas. That's what happens to vampires? Unidentified Man in Ball-cap: (off-camera): Evidently. Plus, we got three more. (Sookie looks down at the blood soup with a worried look on her face.) Unidentified Man in Ball-cap (to the young man in the blue jacket): I hope you skipped breakfast. [chuckle] Unidentified Man In Blue Jacket: Sookie, did Bud send you up here to make an ID? 'Cause... (Sookie lets out a small gasp, turns around, and runs away, passing Andy and Bud.) Andy Bellefleur: Sookie, you okay? Cut to opening credits to the tune of "Bad Things" by Jace Everett SCENE 2: Sookie walks into her house from the back door, still in her Merlotte's uniform. She sits at the breakfast table, opens her cell phone, and dials a number. Bill's pre-recorded voice greeting: Bill Compton. Generic pre-recorded female voice mail message: To leave a voice message, press "one" or just wait... (Sookie closes the cell phone and stares into space, then notices a set of muddy footprints on the kitchen floor. With her shoes now removed, Sookie is on her hands and knees as she scrubs the footprints off the floor, and has a flashback from the previous week, when she scrubbed the blood off the floor after Gran's m*rder. Fighting the painful memory, she continues to scrub, her face tensing up as she hurls the washrag across the room.) Sookie: <snip>! SCENE 3: Behind the Thornton house. Lettie Mae is taking out the garbage. Putting on a robe, Tara approaches her. Tara: Momma, it's not even eight! Lettie Mae: Good morning, baby. Did I wake you? I'm almost done. Just a couple more loads. (Tara bends over and picks up a liquor bottle.) Tara: Well, these are half full! Lettie Mae: Useless to me. Just fuel for demon f*re. (Lettie Mae takes the bottle from Tara and tosses it in a box with other bottles.) Lettie Mae: The bottle kept him alive for forty years. (Lettie Mae places the box in a garbage can.) Lettie Mae: As long as I keep the stuff out of my house, he ain't never coming back. Tara: Huh. Well, let's see how long you can keep it up. (Lettie Mae places the lid on the garbage can.) Lettie Mae: Forever. Gotta be. I'm down to my last chance. (Tara looks at Lettie Mae quizzically.) Tara: You didn't have a drink today? Lettie Mae: Uh-uhn. Didn't need one. Didn't even want one. (Tara gets close to Lettie Mae's face and sniffs her breath. Tara's eyes open wider.) Tara: Is that maple syrup? Lettie Mae: Check the kitchen. I made hoecakes. (Tara's jaw opens. She turns and walks toward the kitchen door at the side of the house, and Lettie Mae follows her. There is a bicycle leaning against the house, as well as two white pre-formed plastic chairs. A stairway leads from the outside to an upper floor of the house. Tara opens the door to the kitchen and they walk inside. The morning sun streams into the small, white kitchen, which seems cluttered, but looks quite clean, and the breakfast table is set.) Tara: Are you serious? I haven't had hoecakes since... Lettie Mae: Since your Grandma-ma was alive. I always could make 'em. Just never did. The demon never let me. (Tara sits down and pierces one of the hoecakes with a fork and nibbles the corner of it as it drips with syrupy goodness.) Tara: Mmm! You made these with bacon grease. Lettie Mae: It's the only way! (Tara smiles and places more hoecakes on the plate before her. Lettie Mae allows a short, happy laugh.) Lettie Mae: You eat, baby girl! (Lettie Mae kisses Tara on top of the head.) Lettie Mae: I got me some more devil juice to take out. (Lettie Mae leaves the kitchen and picks up some more bottles along the way, as Tara looks up and watches in astonishment.) SCENE 4: Jason's bedroom. He and Amy are topless, laying on their backs in his bed. Jason: <snip> damn. You...huh. You are not like anybody I ever met! Amy: I was just gonna say the same thing. Jesus. Jason: It felt like the whole world came together. Me, you, the bed, the house. We were all one big giant... Amy: Organism. (Jason stretches and smiles broadly.) Jason: Yeah! Mine was huge! (Amy chuckles.) Jason: I never knew vamp blood could do somethin' like this to ya. Amy: You know what? Neither did I. I mean... (Amy turns over to face Jason.) Amy: ...I've had V partners before, but this was...on a totally different planet. You're an extraordinary being. (Jason looks confused at Amy.) Jason: Well, what's that supposed to mean? Amy: I mean, in some ways, we barely know each other, right? But you felt that. Uh, tell me that that wasn't just me, and we tapped into each other. (Jason raises himself up.) Jason: Oh, no, no, no. I felt it. We tapped. Amy: There's something old and good and wise deep down in you. I have to know that person. Jason: Come on, cut it out. Nobody who knows me has ever called me wise. Amy: Then nobody really knows you. (Jason's smile leaves his face. He turns over and cups his hands over his face as Amy puts her left arm over his shoulders.) Amy: Are you blushing? (Jason lifts his face up from his hands and smiles briefly as he looks at Amy, then becomes serious.) Jason: I don't want you to go. (Jason and Amy both smile as they look at one another.) Amy: Well, I was planning on just burning through, but if you have a place for me to crash... (Amy pulls Jason on top of her.) Amy: ...then for you, I might just stick around... (Jason begins kissing Amy.) Jason: Stay. Amy: ...for a little bit. Jason: Stay with me. I don't wanna ever leave this bed. Let's just screw and do V until we starve. (Amy chuckles as Jason kisses her again.) Amy: Sure. But, I mean, let's hold off on the screwing. I'm a respectable girl. (Jason stops kissing Amy.) Jason: What? Oh, did I hurt you? (Jason moves off of Amy.) Jason: I'm sorry if I got carried away, it was just so amazing. Amy: No, no, Jason. We didn't have sex. Jason: Well, what do you call what we been doin' for the past six hours? Amy: We were together on V, and deeper than I've ever felt with anybody ever before. But physically, we barely touched. (Jason looks at Amy with a slight grin on his face.) Jason: No?! Amy: No, I promise... Jason: No, that's not possible! Amy: Look... (Amy lifts up the black satin sheet.) Amy: Panties still on. Jason: Whoa! Whoa, whoa! (Jason looks in utter amazement at Amy, then places the sheet back on her.) Jason: What... the <snip>? Amy: I told you. It's better than sex. (Jason looks stunned as he lays his head on Amy's chest and giggles.) SCENE 5: Sookie's kitchen. Sookie, wearing a blue shirt, is on her knees with her head in the stove as Tara comes to the back door and runs to Sookie. Tara: Jesus Christ, what the hell are you doing? (Tara pulls Sookie out of the stove. Sookie is wearing a paper filter over her nose and mouth. She does not look happy.) Sookie: Stop with the J.C.! (Sookie removes the filter.) Sookie: I'm cleanin'! What does it look like? Watch your feet! I just waxed! Tara: I hope you mean the floor. (Sookie sighs and walks to the sink.) Sookie: Can I help you? I'm up to my elbows in Easy-Off. Tara: My momma made me hoecakes this morning. Sookie: So? Tara: She cooked me breakfast! (Sookie walks back to the stove.) Tara: When's the last time you saw my momma lift a finger before noon for anything besides Mad Dog 20/20? (Sookie stares at Tara.) Tara: We went into the woods to get a four hundred forty-five dollar hoodoo exorcism last night, and you do not wanna get me started on that! Sookie: My grandmother's d*ad! At least you got someone to make breakfast for you. You ever stop thinkin' about what's happenin' with others before you barge in on them? Tara: Sorry. I didn't mean... (Sookie turns to clean the top of the stove, and Tara notices the bite on Sookie's neck.) Tara: Oh, my God, are those fang marks? (Sookie holds the collar of her shirt away from her neck to expose the marks fully.) Sookie: So what? It means someone cared for me when everyone else left me high and dry! Tara: No wonder you're crazy. You let a vampire make a meal of you! Sookie (yelling): Why am I the only person that doesn't think vampires are monsters? Tara (yelling): They drink our blood! What's to say Bill won't leave you once he's had his fill? (Sookie gets in Tara's face.) Sookie (yelling): Do you have any idea what I've been through today? A friend would ask! Tara: Don't tell me how to be your friend. I'm the only one you got, <snip> damn it! Sookie (whispering): Lord's name in vain. Tara (yelling): Oh, <snip> off! Sookie (shouting): Get out of my house! I've gotten very good at losing people lately, and you are only making it easier for me! Tara (yelling): Bitch, I don't even wanna be here! If you are hell-bent on bein' alone in this world, I ain't gonna stop you! (Tara turns and leaves the house. Sookie slams the oven door, which bounces open before she turns to slam it shut. She places her hands on her head as she closes her eyes.) SCENE 6: Jason's kitchen. Shirtless, but wearing jeans, Jason takes a pizza box from the refrigerator and takes it with him to the living room, where Amy, wearing her dress, is admiring some curios in a wood display rack on the wall over the sofa. Jason: Huhn. Man, I wanna not have sex with you again so bad, you don't even know. Amy: I think I got some idea. (Amy walks away.) Amy: But that V that we did was the last I had. (Jason plops himself into the sofa, pizza box still in hand.) Jason: Where do we score some more? (Amy looks at one of Jason's Cd's, near a large console TV set with a smaller, newer flat-screen TV on top of it.) Amy: When we need more, we'll go out and get it. (Jason looks despondent, but Amy gives him a reassuring smile.) Amy: Don't be greedy. We'll be okay for a while. Just eat your breakfast. (Jason opens the pizza box. Half a pizza is in it.) Jason: You sure you don't want some? Pepperoni and sausage. Amy: No, thank you. I only eat organic. The cleaner my body is, the more intensely I feel the V. (Jason eats a slice of pizza.) Amy: Uh, why do you have two televisions in the same room? Jason: The bottom one's busted. I just keep it 'cause it was my parents'. Amy: Can I ask you how they died? Jason: Yeah. I don't like to talk about it. Amy: Okay. Jason: It was a flash flood. They were caught on the bridge down by the parish road and got swept out in the river. My little sister and I...were staying at our Gran's while they went out. They didn't think I could look after Sookie by myself, even though I was almost eleven. Sometimes I think, if I was a better kid, they wouldn't have had to drop us off at Gran's. Then they wouldn't have been on the bridge at the exact point when... (Jason puts the slice of cold pizza in the pizza box.) Amy: So your grandma raised you after that? Jason: Yeah, I moved back here... (Jason closes the pizza box and sits up.) Jason: ...when I was eighteen, even though Gran woulda rather kept an eye on me. Then, she passed too. Last week. Amy: Oh, God! I'm so sorry. (Jason's head is in his hands.) Jason: <snip> damn. I don't mean to be spillin'. I never do this. Amy: You never talk about things with anybody? You don't talk to your sister? Jason: Least of all her. She brings out the worst in me. We had this big fight after Gran died and I h*t her. I tell you: I am...the worst brother in the world. Amy: That's ridiculous. (Amy kneels beside Jason and places her hand on his left shoulder.) Amy: I've seen who you are inside. I've been there. (Amy gently turns Jason's head toward her with her left hand.) Amy: And you're good. Jason. Do you hear me? (Amy wipes a tear from Jason's right eye. She kisses his lips, and he kisses her and smiles.) SCENE 7: The tailgate of a pickup truck is opened, revealing an alligator head on a box, between a box of Rolling Rock beer and another box. Terry: She's a beauty. (Terry Bellefleur lifts the alligator head from the truck, parked near a red Dumpster. Terry wears his watch on his left wrist. Sam Merlotte stands beside the truck.) Terry: You want it for your office? (Terry walks with the alligator head toward the back entrance of Merlotte's.) Sam: Nah. (Sam takes the box of Rolling Rock from the truck and follows Terry.) Sam: We'll put it over the bar. Drunks like talkin' to the animals. (Terry puts down the alligator head in a green pre-formed plastic chair, and pulls out something from underneath his shirt collar.) Terry: Hey! Check it out! 'Possum <snip>. (Terry holds out a dried, slender forked object, tied to a cord around his neck, and shows it to Sam.) Sam: Ohhh! Where'd you get that? Terry: sh*t one last week. I was gonna stuff it but I left it back out, and it got to rainin', then three days later, ain't nothing left but 'possum sludge and bones. I saved this, though. 'Possums have a two-pronged penis. Sam: Uh, huh. Terry: It's supposed to bring good luck. Sam: Uh, Terry, let's keep that story between us. The girls might get the wrong idea. (Sam walks away as Terry tucks the severed member underneath his shirt and follows Sam to the truck.) Terry: Hey Sam? What was you doin' out this morning? Sam: Why? Terry: You wouldn't happened to have been runnin' through the woods without no clothes on, would ya? Sam: [chuckles] Why would I do that? Terry: I don't know. That's why I'm askin'. (Sam and Terry unload more boxes from the truck and walk to the back door of Merlotte's.) Terry: I was out fishin' and I coulda swore I saw you blazin' butt-nekkid through the trees. (Sam sets his box down on the stoop in front of the back door.) Sam: Nah, it wasn't me. I...was working on my car. Terry: It looked an awful lot like you. Except you wear clothes. (Sam and Terry chuckle. Sam unloads another box from the truck.) Terry: I don't know. Maybe I'm seein' things again. Except, usually when I see people who ain't there, it's...it's... Sam: The insurgents. Terry: Yeah, yeah. Only this fella I saw, he didn't look like no insurgent. Sam: But you said he was runnin', though? Plenty of cover in the trees. How could you tell for sure? And, hey...I believe you saw what you saw. I just don't know why anyone would be runnin' naked through the woods in broad daylight. Terry: Yeah. [chuckle] Maybe you're right. <snip>. I hate bein' this way, Sam. (Sam pats Terry on his left arm.) Sam: It's all right, buddy. Come on. (Sam and Terry walk to the back door of Merlotte's.) Sam: We're a long way from Fallujah. SCENE 8: Nighttime. It is raining. Sookie sits with a quilt over her shoulders on the front porch of her house. She walks inside and strikes a match to light a small red candle in the darkened house. She is wearing a yellow and white dress with spaghetti straps. She picks up some flowers, and places the lit candle in a window sill. The rain has stopped. She walks through the cemetery and kneels in front of Bill's grave marker and cries. She stands up, and walks away. She is barefooted. As she walks, a hand reaches up from the ground, grabs her leg, and pulls her down. She screams and tries to escape. A naked male figure is pulling her toward his spot in the ground. Bill: Sookie! (Sookie looks at Bill. Despite the fact he is covered in dirt, they kiss and make love on the ground in the cemetery. The sound of Bill's fangs being exposed is heard.) Sookie: No. Not the neck. (Bill's fangs are exposed. He looks at her and bites her on the shoulder instead.) SCENE 9: Merlotte's Bar & Grill at lunch. Arlene: Where the hell is Sookie today? (Terry Bellefleur puts one last plate on a tray, and Arlene takes the tray to her table. Lafayette is also cooking in the kitchen.) Arlene: Here you go, honey. Sorry it took so long. (Jason and Amy walk into Merlotte's through the front door. Amy looks around the place, which is packed with customers.) Amy: Intense. All these animals on the wall, it's like a natural history museum. Jason: Huh? I never noticed 'em. Amy: How could you not? Every one of these animals lived a life full of experiences that we can't even imagine. Jason: Does it weird you out? We could go someplace else. Amy: No, no. I mean, everyone has to eat, right? We're all links on the universal food chain. See? Squirrel eats nuts... (Amy points to a squirrel skin, mounted on a post by the bar.) Amy: ...snake eats the squirrel... (We see a non-living snake, either of the stuffed variety or the rubber variety, over some glasses behind the bar.) Amy: ... gator eats the snake. (The alligator head that Terry Bellefleur gave to Sam is above the bar, over a sign that reads "NO CHECKS CASHED.") Amy: And we can eat pretty much anything we want. It's the circle of life. Jason: Jesus Christ. I wanna lick your mind. Amy: Let's have lunch first. (Amy and Jason look for a table, passing Arlene at the bar, whose back is turned to them. A busboy wears a dark green Merlotte's t-shirt (in contrast to the white Merlotte's t-shirts worn by the wait staff) as he walks to the kitchen window.) Terry: Order up! (The busboy walks into the service area, where Sam, also wearing a dark green Merlotte's t-shirt, is working. Sookie, dressed in her Merlotte's uniform, runs in from the back.) Sookie: I'm sorry, I'm sorry, I'm sorry. I know I'm late. (Sam turns to Sookie.) Sam: Sookie, listen: I heard about the f*re. I'm real, real sorry. How you holdin' up? (Sookie can barely contain herself. Sookie: He's alive!) Sam: What? Sookie: Bill. They said there were four bodies, and I thought for sure Bill was one of 'em. Sam: He wasn't? Sookie: No! He's fine. In fact...he's wonderful! Sam: Well, that must be quite a relief for you. Sookie: You have no idea! Anyways, no need to worry about me. I'm great! (Sookie walks to the bar, where Arlene is writing something on one of her tickets.) Arlene: Sweetie, where you been? I'm up to my eyeballs in tickets. Sookie: Arlene, you look so beautiful today. (Arlene looks quizzically at Sookie.) Sookie: I love you, even if you are a bigot sometimes. (Sookie hugs Arlene. Arlene seems confused. Sookie runs off to another area of the restaurant, giggling, as Sam walks behind the bar.) Arlene: What's with her? Sam: Bill's alive. Arlene: What? But I thought... Sam: I know. So did I. (We see Terry Bellefleur behind the kitchen window, with quite a number of orders to be delivered.) Terry: Order up! (Sookie is talking to Hoyt Fortenberry and René Lenier, seated at a booth across from one another. Both are dressed in maroon t-shirts.) Sookie (to Terry): I'm comin'. Hold your horses. Sookie (to Hoyt and René): He got my message that something bad might be brewin', so he figured he spent the night in the graveyard. Hoyt: Doesn't it get cold out there? Sookie: No, he was in the ground. So, after I couldn't find him at his place, then hearin' about those four bodies at that burnt-up house, you can imagine what I was goin' through. Hoyt: Oh, I mean, that must have been somethin' terrible. Sookie: Oh, you don't know. René: Sookie, they said there was only t'ree vampires that come in here da udder night. Who...who's the fourth body? Sookie: Some poor fang-banger, they're saying now. Some vampires like to keep a human around for sex...and blood. (Sookie smiles broadly.) Sookie: I'll get your Cokes. (Sookie turns and walks to the kitchen window. The orders that had piled up in the window are gone.) Sookie: I thought you said "order up". Terry: I did. New girl took 'em. Sookie: New girl? (Sookie walks to the dining area and looks around.) Amy (off-camera): BLT, cheeseburger, well-done, fried egg on white, hot wings... (Sookie sees Amy serving tables.) Amy: ...smoked sausage, tuna melt, and the chicken-fried steak must be for you. Thank you. (yelling) We've got a four-top open. (Jason smiles as he walks up to Sookie, who's at the bar. Sookie doesn't look happy.) Jason: Isn't she something? Sookie: She's with you? Jason: I know you're <snip> at me, but...I really want you to like her. (Amy approaches Jason and Sookie.) Amy: Sorry about that. You looked really swamped and the natives were gettin' restless so... You're Jason's sister, right? It's...I've heard so much about you. (Arlene has joined the small group, looking less happy than Sookie does.) Arlene: Who are you? Amy: My name's Amy. Amy Burley. I'm with Jason. Jason: With me. (Jason smiles slightly and puts his right arm around Amy's shoulders.) Amy: And you must be Arlene with the beautiful red hair. It's so nice to meet you. Arlene: How'd you know all the table numbers? Amy: Well, I waited tables in college, so I just assumed clockwise. You know, table one, two, three, four, five. I think the guys at table five like you, 'cause they left you a really nice tip. (Amy hands the tip to Arlene. Arlene takes the tip, then turns around to Sam.) Arlene: Sam, I think we might have found a replacement for Dawn. Sookie (looking at Jason): Looks like you did too. (Sookie walks away, as Jason kisses Amy on her top of her head.) SCENE 10: Behind the Thornton home. Church bells ring in the background. Freshly-washed laundry is hanging on clotheslines as Tara walks outside and looks at the scene. Tara: What the...? (Lettie Mae walks into the backyard, wearing a nice dress and a hat. She is accompanied by Mabel Simpkins, who is dressed similarly.) Lettie Mae: Don't you touch that, sweetie pie. Momma'll take care of the laundry. Mabel Simpkins: Oh, my goodness! Lettie Mae! Ain't she the spittin' image of you?! (to Tara) That's a compliment! Lettie Mae: Tara Mae, you remember Mabel Simpkins, don't you? Tara: Yeah. From the church. Mabel Simpkins: That's right. And why don't we see your smiling face there no more? Tara: Uh, 'cause I stopped goin'. Mabel Simpkins: Oh, well. It's never too late to come back. Lettie Mae left us for two years and we welcomed her back today like she had never gone. Lettie Mae: I heard the call! The good Lord said, "Lettie Mae, you been away too long. Your church needs you. " Mabel Simpkins: Oh, you should have heard her testify. The entire congregation was filled with the Spirit. Tara: Yeah, I bet she was full of it. Mabel Simpkins: Your momma's an inspiration to us all. Lettie Mae: Glory to God! Mabel Simpkins: Amen! (to Tara) Girl, why don't you come to Bible group on Tuesday? Got plenty of nice young men and fruit punch. Lettie Mae: A little religion do you a world of good, baby girl. Tara: <snip>. Are you even listening to what you're sayin'? You can lie to yourself and everyone else but when you go to bed, you are just as <snip> up and miserable as I am. And goin' to church and wearing a crazy-ass hat ain't gonna make you a better person. (Tara walks away.) Lettie Mae: She got a demon in her. Mabel Simpkins: My granddaughter had a demon in her. They everywhere! SCENE 11: Merlotte's. Arlene is on the phone behind the bar. Arlene: No, sure...I understand...no, it's no problem...okay, baby. Bye-bye. (Arlene hangs up the phone and heaves a sigh, and turns to Terry.) Arlene: Every time I get a night off, my babysitter falls through on me. (Terry walks up to Arlene.) Terry: You know, I like kids, Arlene. Doughnuts, too. Arlene: Maybe. If you brought a lady friend along. Lisa likes a female in the house. (Terry gets a bit closer to Arlene.) Terry: I ain't had a lady friend since I come home. Arlene: Well, that's some bad luck for you, I guess. Did something happen there that you been...keepin' to yourself? 'Cause you could talk to me, you know, if you're wantin' to. Terry: No, I...I...I'd just as soon sit here and listen at you. I like your voice. (Arlene smiles.) Terry: And your clavicles. (Arlene giggles.) SCENE 12: Sookie and Amy are cleaning tables in the dining area. Sookie: I've been admiring your necklace all day. Amy: Oh, thanks, it's a lariat. I made it. Sookie: You make jewelry? Amy: It's a easy way to earn extra money. I can make you one, if you want. Sookie: Thanks, but I don't think my boyfriend much likes silver. (Sookie moves her bus tub to another table.) Sookie: You know my brother's a dog, don't you? Amy: I'm sorry? Sookie: He's all charm and smiles in the beginning, but the second he gets tired o' you, he's gonna stop callin'. Before you know it, he's off with some other floozy. Not... not that you are one. But trust me, it's as regular as the seasons. You seem like a sweet girl. I don't want you to get hurt. Amy: You know...I don't think Jason's realized even half of what he's going to be. I wouldn't be so quick to judge. You might be surprised at what he's capable of. (Amy picks up her bus tub and walks away as Arlene walks up to Sookie.) Arlene: Hey, Sookie. I've been meanin' to talk to you. Sookie: What's the matter? Arlene: I've just been a mess lately. You know, with the kids and the double shifts and René and everything, it's been awful hard, and I've probably said some things that I don't mean, but that's the pressure talkin'. I love you like my own sister. And you know that, right? Sookie: I appreciate that. Thank you. (Arlene and Sookie hug each other.) Sookie: And sure, I'll babysit your kids tonight. Arlene: I...I didn't... Sookie: I heard you talkin' to Terry. I'm a better choice. Arlene: We'll drop 'em off at eight. René's taking me to Ruston to see that Oak Ridge Boys tribute band. Sookie: Ooh. Fun! (Arlene leaves.) SCENE 13: Merlotte's, that evening. Sam is pouring a bottle of Tru:Blood down the drain at the sink behind the bar. Tara is clearing a table, and walks to a booth where Hoyt, dressed in a dark blue shirt, is sitting. Sam watches. Hoyt: You look mighty pretty tonight, Tara. That's a nice color on you. Tara: <snip> you. (Tara walks to the bar.) Hoyt: I'm sorry, w...was that sexist? (Tara is at the bar. Sam is not happy.) Sam: May I have a word with you? In my office. (Tara follows Sam to his office.) Tara: Hey, I get it. You said yourself hirin' me might not work out. I <snip> people off. If you wanna f*re me, f*re me. I totally understand. Sam: No. You and I are the only ones who get it. (Sam grabs Tara by her arms and pushes her up against the closed door of his office.) Sam: It's everybody else who's <snip> themselves up. (Sam kisses Tara on the lips, and she kisses him.) SCENE 14: Sookie and Bill are in her bed. Her head is on his left shoulder. He plays with her hair and looks directly upward. Sookie: Doesn't it get old...for you? I mean, you've been doin' it for over a hundred years. Doesn't it get predictable? Bill: Not with you, it doesn't. You're entirely different. And the beauty and the tragedy of it is...is that you don't know just how different you are. Sookie: Please tell me if I'm doin' somethin' wrong. Bill: There's nothin' more natural than the act of makin' love. Who am I to try to change what comes naturally to you? Sookie: But if you could change somethin'... (Bill raises his head and looks at Sookie.) Bill: I wouldn't change a thing. (Bill kisses Sookie.) Sookie: What's it like to sleep in the ground? (Sookie giggles quietly.) Bill: It's not exactly comfortable. But it is safe. Which, if I recall, is what the three voice mails required of me that night. (The doorbell chimes, and Sookie gasps.) Sookie: Oh, crap. Arlene. I forgot, I told her I'd babysit the kids. Bill: Shall I go? Sookie: No. Stay. It'll be good for her. You can put some pants on, though. (Sookie kisses Bill and gets out of bed to answer the door. She is wearing a pink nightie. Bill remains in bed. Sookie goes downstairs, opens the front door, and greets Arlene, her daughter Lisa, her son Coby, and René. Coby is playing with a Nintendo Game Boy.) Sookie: Hi! Arlene: Sookie. What's wrong? What took you so long? Sookie: I was out back in the yard. Coby: In your nightie? Bill: The cat got out. (Bill is dressed, and walks into view.) Bill: Made friends with a squirrel. Lisa: Mommy, look, it's a vampire! (Lisa and Coby smile and run to Bill, but are stopped by Arlene.) Arlene: Uh, Sookie. You didn't mention...that you had company. Sookie: I didn't think I had to. Arlene: Well, I got a right to know who's lookin' after my children. Sookie: Well, here we are. Is there a problem? (Lisa and Coby continue to look at Bill. Lisa smiles, while Coby looks in wonderment.) René: Ahh, take it easy, chère. Mr. Compton raised a couple of them little ones himself if I remember, yeah? Bill: That's quite right. (Arlene removes two silver bangle bracelets, and places them on Lisa's and Coby's wrists. Coby's Game Boy is firmly closed.) Arlene: Keep these on you, you hear? And, um...stay close to your Aunt Sookie. (Coby is now playing with his Game Boy.) Sookie: They'll be fine, I promise. (to Lisa and Coby) Who wants pizza? Coby: Me! Lisa: Me! Sookie: That's good, 'cause that's what we're havin'. (Sookie reaches out to Coby and Lisa and they go up to her.) René: You can eat pizza? Bill: Well, unfortunately, no, but I understand it's delicious. (Bill smiles. Sookie giggles.) SCENE 15: Sam Merlotte's trailer, that same evening. Sam is sharing some time with Tara in his bedroom. Tara: You know what's good about sex that people never mention? Sam: Hmm. Tara: For anywhere between five minutes to an hour, you forget your own <snip> life. Sam: Hmm. Only if it's good. If it's not, it reminds you just how bad your life really is. Tara: Then I guess you're pretty good. Sam: Thanks, you're not bad yourself. Tara: Easy on the praise, honey. Sam: What? No, you're good. Tara: But? Sam: Nothin'. It's good. You're good. Tara: Uh-huh. What am I doin' wrong? Sam: Nothin'. I... it's...it's so minor, it doesn't matter. Tara: Sam, what is it? Sam: Don't do this to me. Tara: Spit it out! Sam: Sometimes...you grunt. Tara: I what? Sam: It's... it's natural. Nothin' to get worked up over. It's just a sound. Tara: A gruntin' sound? Like a farm animal? Sam: No. No. It's... it's...it's... it's athletic. Like tennis players when they serve. Tara: You mean like Serena? (Sam opens his mouth to say something, but the words just aren't there.) Tara: What, because I'm Black, I sound like Serena Williams? Sam: That's not what I said! Tara: You r*cist son of a bitch! (Tara gets out of Sam's bed.) Sam: How can I be r*cist? I just had sex with you! Tara: You <snip>! (Tara puts on her top.) Tara: Why'd you have to go and take the only good ten minutes of my entire day and ruin it like that? Sam: Well, I think it was more than ten minutes. (Tara puts on her pants.) Tara: Oh, <snip> you! <snip> you all! Sam: All who? Tara: Everybody. <snip> everybody! (Sam looks puzzled, and a door slams.) SCENE 16: The kitchen of Sookie's house. Sookie, Coby and Lisa are sitting at the table. Ice cream glasses are in front of Coby, Lisa, and Sookie, as is a tub of Blue Bell ice cream. Bill brings a white plastic tub of Cool Whip to them. Bill: Whipped cream! (Bill spoons a dollop of Cool Whip onto their ice cream.) Coby: Yeah! Lisa: Me, too! Bill: I hope you can finish this before your mother comes back. Coby: No problem. I ate a whole jar of mayonnaise once. Lisa: I had to watch. Coby: Bill, how come you can't have ice cream? Bill: Hmm...you might say that I'm...lactose intolerant. Coby: Just like my Aunt Fern. Except she don't tolerate Mexicans. Lisa: Aunt Sookie, is Bill your boyfriend? Sookie: Well... (Sookie turns to Bill, who sits beside her now.) Sookie: ...would you say that you're my boyfriend? Bill: Well, I suppose I'd have to ask permission from Coby and Lisa. (to Coby and Lisa) Would it be all right with you if I was Aunt Sookie's boyfriend? Lisa: Do you buy her flowers? Bill: Why, no, I...I haven't yet. Lisa: You better. René buys flowers for momma all the time. Bill: Then I will have to mend my ways. Lisa: You do that. Then we'll talk. Coby: Can we see your fangs? Sookie: I don't think that's gonna be possible. Bill: Why, certainly. (Bill, still seated, turns away, then turns to face Coby and Lisa with a set of obviously fake vampire fangs with fake blood on them, his hands up in the air with the fingers bent slightly, as if he's about to grab them.) Bill: Urrrrrrrrrrrr! (Coby, Lisa, and Sookie laugh.) SCENE 17: Nighttime. A truck is stopped on a dark road, and its headlights are turned off. René (off-camera): Aww. I t'ink we got a flat tire. (inside the truck, we see René in the driver's seat, and Arlene in the passenger seat.) Arlene: Come on, baby, the kids are waitin' on us. I don't wanna leave them with that vampire longer than I have to. René: Okay, okay, okay, okay. I'm gettin' to it, woman. (René leaves the truck and closes the door.) René: Bébé! Arlene: What? René: Pass me that Maglite, will you? (Arlene opens the glove compartment and retrieves a silver Maglite. She opens the door, steps onto the dark road, and walks to the other side of the truck, trying to turn on the Maglite, which does not turn on. René, squatting beside one of the wheels, waits for her.) Arlene: Crap, it's burnt out. René: Are you sho'? You better check it. I just put some fresh batt'ries in there. (Arlene unscrews the cap on the tail end of the Maglite. Something falls to the ground as the cap is removed. Arlene looks around her for the object, but René has found it already. He moves closer to her, holding the object, a ring, up to her.) René: Arlene Fowler? (Arlene gasps.) René: Would you do me da honor...o' bein' my wife? (Arlene cries and smiles as René slides the ring onto her finger. As he does so, we see that he wears his watch on his left wrist. After the ring is on Arlene's finger, René stands up, and they kiss.) Arlene: Why didn't you say anything at the Red Lobster? (Arlene and René hug each other.) SCENE 18: Sookie's kitchen. Arlene, René, Bill and Sookie are sitting at the table. Arlene is showing Sookie her engagement ring. Arlene: I know I've done it four other times, but it never gets old! Sookie: Oh, I'm so thrilled for you two! Arlene: Would you be a bridesmaid for me again? Sookie: Why, of course! You hardly have to ask! Arlene: Oh, honey, I love you so much! (Arlene and Sookie hug each other and giggle.) René (to Bill): Maybe you two are next, huh? (Sookie and Arlene stop giggling.) René: Well, I mean, when it becomes legal. (Lisa walks into the kitchen, rubbing her eyes.) Lisa: Mommy, what's going on? (Arlene turns to Lisa.) Arlene: Sweetie, you're gonna be my flower girl! (Arlene and Lisa squeal with delight. Lisa smiles broadly and hugs Arlene. Sookie smiles, as does Bill.) SCENE 19: Morning at the Stackhouse home. The sun shines brightly and birds chirp. In the kitchen, Bill sits at the table, reading the newspaper, The Bon Temps Bugle. The table is set, and breakfast is ready. Sookie walks in. Bill: Mornin', dear. Sookie: Bill. Did you make all this? Bill: I borrowed some of your grandmother's old recipes... (Bill and Sookie kiss.) Bill: ...but the handiwork is all mine. (Bill returns to his newspaper. Sookie walks around him, looking at the meal he has prepared.) Sookie: I don't even know where to begin. Bill: Well, I would start with the biscuits. [points to biscuits] They just came out of the oven. (The morning sun streams into the kitchen from the window above the kitchen sink, directly behind Bill. He smiles at Sookie as she sits down, and Bill looks up from his newspaper.) Bill: Gonna be clear skies all day. Sookie: Wait, Bill, it's light out. (Bill turns to the window behind him. His face is immediately b*rned.) Bill: Yes, I suppose it is. (Bill turns to face Sookie, and ignites in flames.) (Sookie's eyes open, and she jumps up. She is in bed. Daylight streams through her bedroom window. A black cat meows beside her.) SCENE 20: Coroner Mike Spencer's office. Mike is on the phone, and looks as if he's been crying. Mike Spencer: Yeah...yeah, okay...No. No, I'll make the call...His momma passed a couple years back, but he had some family in Kentucky. (Sheriff Bud Dearborn sits in the passenger seat of a patrol car, talking on his cell phone. Detective Andy Bellefleur sits in the driver's seat. The patrol car is parked.) Sheriff Dearborn: His dentist confirmed the match just a bit ago. I thought you should be the first to know. (Mike becomes more visibly emotional.) Mike Spencer: God dang it. Why Neil? He was such a quiet kid. I'd have never thought he'd get mixed up with fangers. Damn. To have nothing left of you to ID but teeth. Sheriff Dearborn: You wanna maybe let one of the homes in Monroe handle him? Mike Spencer: No. No. He worked for me. I owe it to him. Gimme a couple hours, I'll come over and claim him, okay? Sheriff Dearborn: Okay. Thanks, Mike. Mike Spencer: Yeah. (Mike hangs up the phone. He wears a wedding band on his left ring finger.) Andy Bellefleur: Pretty tore up? Sheriff Dearborn: Blind-sided him. Had no idea Neil was a fang-banger. Andy Bellefleur: Jesus, Bud. The kid was creepy. What nineteen-year-old goes to work for a funeral home? Sheriff Dearborn: I worked in a slaughterhouse when I was fifteen. They made me clean chitlins. (Andy looks away from Bud.) Andy Bellefleur: Speakin' of freaks... (Sam is walking nearby. Bud and Andy exit the patrol car. It is revealed that their patrol car has been parked outside Merlotte's Bar & Grill. Sookie's yellow Honda is parked nearby. Sam walks toward the back of the restaurant, followed by Bud and Andy.) Sam (off-camera): And that's it. (Sam is sitting on the arm of his sofa in his trailer as Sheriff Dearborn and Andy Bellefleur question him.) Sam: I got no control over what people do after they leave the bar. Sheriff Dearborn: You remember anyone being unusually angry over what those vampires did to your bar? Sam: Yeah. Everyone. We were all angry. Heck, you might as well interrogate the whole town. Between you and me, I wouldn't be heartbroken if you didn't find who did it. You know what I'm sayin'? Old Mrs. Stackhouse, on the other hand, now that's a real tragedy. Her and Dawn and Maudette Pickens, one right after the other. You fellas got any leads on that? Andy Bellefleur: We're workin' on some right now. Sam: Good. I'm pullin' for you guys. Sheriff Dearborn: Okay. You remember anything else, we'll be havin' a burger inside. (Bud puts an unlit cigar in his mouth.) Sheriff Dearborn: Come on, Andy. (Bud and Andy turn and walk to the door. Bud opens the door, and he and Andy go outside. Neither one closes the door.) Andy Bellefleur (off-camera): Hey, Sam! (Andy walks back inside of Sam's trailer.) Andy Bellefleur: One other thing. You recall spendin' any time out in the woods lately? Sam: Yeah. Some. But you knew that already, didn't you? (Andy folds his arms.) Sam: Oh, Andy. If...if I tell you...you have to keep this a secret. All right, nobody in town knows. But, uh...I come from a family of naturists. Andy Bellefleur: Like bird watchers? Sam: No. No, not naturalists. Naturists. Naturists believe in a...a freer, clothing-optional kind of lifestyle. Andy Bellefleur: You're a nudist? Sam: No. No. Good Lord, no. But my folks were, I'm embarrassed to say. They spent most of their lives at a nudist colony. Andy Bellefleur: Oh, yeah? Around here? Sam: No, in Texas, just outside Beaumont. But, uh...ever since they passed, I honor their memory once a year by takin' a run through the woods the way they used to. It's...it's my private way of mourning. I'm sorry if anybody had to see it. Andy Bellefleur: Hrmph. SCENE 21: Merlotte's Bar & Grill. Lafayette puts some green vegetables on a plate with some fried food. Amy, now wearing a white Merlotte's t-shirt, stands at the kitchen window loading plates onto a tray. Lafayette is giggling quietly as he takes the plate to Amy. Tara is in the kitchen with him. Tara: What? Lafayette: Hooker, you done got took. (Amy take her tray away. Lafayette walks over to Tara.) Lafayette: That was no damn exorcism. That was a straight-up con job! Tara: You know what the <snip> up thing is? Lafayette: What? Tara: It worked! It was like aliens beamed down and switched out her brain or somethin'. Lafayette: Then that was fo' fo'ty-five well-spent. <snip>. Happy dance. (Lafayette does a little dance as he pours liquid (from what looks like a Patrón tequila bottle) into a coffee mug.) Lafayette: You should be glad to be rid of that...that's your momma. I ain't gonna say it. Tara: <snip> that. All that <snip> you've built up your whole life doesn't go away because a hoodoo woman moves some rocks around on your belly. Lafayette: I thought you said it worked. Tara: I thought you said it was a con job. Lafayette: Heifer, it's not a con job if you got your money's worth. Hell. And who knows? It might do you some good too. Tara: I don't have another four forty-five to waste on <snip>. Lafayette: You just sayin' that 'cause you don't understand it. (Lafayette places the mug next to the kitchen stove.) Lafayette: And trust me, this world is filled with things we will never understand. Compared to a lifetime of Zoloft, four forty-five's a bargain. (Lafayette resumes cooking.) (In another part of Merlotte's (possibly Sam's office), Sookie is taking a vitamin as Sam walks in.) Sam: Hey, what'cha doin'? Sookie: Vitamin. Sam: I've never seen you take a vitamin before. Sookie: So what? You've never seen me put on deodorant or wash my hair or feed my cat, have you? But I do all those things. I don't need a permission slip from you. (Sookie chuckles slightly and walks away. Sam walks to where she was standing. He picks up a bottle of vitamin B-12 and crushes it against the stone fireplace.) Sam: Christ. (Sam sits down, and begins picking up the broken pieces.) SCENE 22: Afternoon. Amy is leaving Merlotte's, walking quickly. She approaches Jason's truck. Jason is in the driver's seat. She gets in on the passenger side. Jason: Good day? (Amy closes the passenger door and heaves a sigh, not looking at Jason.) Amy: I need V. (Amy turns to Jason and he looks puzzled at her.) Jason: What? I thought you said you didn't need any again until...you needed it again. Amy: Well, I need it. Okay? Jason: Okay. Amy: Look me in the eye. Tell me that you don't want it too. Jason: Yeah. Of course I do. But Lafayette won't sell it to me. (Amy looks at Jason and she rocks slightly.) SCENE 23: The Old Compton House. Crickets chirp as Bill opens the door and walks inside with clothes in plastic bags on hangers. He closes the door, and notices lights are on in the foyer. Soft music plays in the background now. He hangs the clothes on the newel of the staircase and, with lightning speed, he runs upstairs. He creeps along the hallway, following the sounds of music, which is louder now. He sees light through the crack between a door and the floor, and opens the door, which leads to his bathroom. Eric is relaxing in Bill's bathtub. A portable stereo is beside the tub, and candles are lit, as is a small lamp beside the door. Eric: I texted you three times. Why didn't you reply? Bill: I hate usin' the number keys to type. What are you listenin' to? Eric: From my younger days. It's really quite beautiful if you know Old Swedish. I have a favor to ask of you. Bill: A favor or an order? (Bill folds his arms. Eric turns his head slowly to Bill.) Eric: Depends on how you look at it. Honestly, did you think you could keep her to yourself? SCENE 24: Nighttime. Jason and Amy are in Jason's truck, parked outside someone's home. A dog barks in the background. Jason: It feels a little like stalkin, don't it? (Amy rocks slightly in her seat. She seems nervous.) Amy: It's the most natural thing in the world. The hunt. People used to do this all the time, y'know, before we got complacent with cloned beef and pre-packaged dinners. (The house door opens and Lafayette exits. He is dressed in a t*nk top, jeans, and ball cap, and carrying a green and white plastic beverage cooler. He walks to his car, a convertible with its top down. He places the cooler in the back seat, takes off his ball cap, gets into the driver's seat, starts the car, and drives away as Jason and Amy watch from their distance. Jason prepares to start the truck.) Amy: Headlights off. Jason: You done this before? Amy: Stay five lengths behind, ten if we get on the parish road. Elsewhere, an older, slightly overweight Caucasian man walks downstairs and lights a couple of candles in the living room. Soft elevator-type music plays in the background. A knock is heard from his front door. He opens the door. Lafayette: Well, hey there, sweetness. You ready to party? (The older man smiles, revealing fangs.) Lafayette: I'll take that as a yes. (Lafayette runs his finger along the vampire's chest as he walks inside.) Lafayette: Nasty. (A "whoosh" sound accompanies the closing of the front door. In the kitchen, the vampire uncorks a bottle of wine as Lafayette turns down the volume on the vampire's stereo. The vampire brings the opened bottle and a single glass into the living room.) Vampire: I bought this 'specially for you. (Lafayette sits down.) Vampire: I remember you said you go for merlot. Lafayette: I said I worked at Merlotte's. But whatever. Po' me some anyhow. (The vampire walks to where Lafayette is sitting, places the glass on the coffee table, and pours some merlot into it. Lafayette's green and white cooler is also on the coffee table. The vampire picks up the glass and offers it to Lafayette, who sniffs it and looks at it, but does not immediately drink it. The vampire sits beside Lafayette, and nuzzles against Lafayette's bare shoulder. Lafayette sips the wine and, with his head turned, discreetly spits the wine back into the glass. The vampire continues his amorous overtures, but Lafayette nudges his elbow softly into the vampire's abdomen.) Lafayette: All right, baby. Eddie juice first... (The vampire kisses Lafayette's shoulder.) Lafayette: ...then we play. (Eddie sits back on the sofa as Lafayette removes his ball cap, opens the cooler, and withdraws a syringe from it. Eddie offers his right arm. Lafayette licks and kisses the area on Eddie's arm where the needle will be stuck, and the vein suddenly pops into view directly underneath Eddie's skin.) Lafayette: Oh, there it is. (Lafayette sticks the needle into the vein, and Eddie lets out a small gasp.) Eddie: I always look forward to Monday nights. First Heroes, then...you. Lafayette: Eddie, what fun is it bein' a vampire if all you do is watch TV? Eddie: Well, I like TV. Lafayette: Umm. I'm just sayin' you should try the bars. I know you like gettin' laid too. Eddie: Why should I go to the bars? I got this. (Eddie looks toward the ceiling and inhales deeply as Lafayette's attention is focused on the syringe in Eddie's arm.) Eddie: You like me, don't you, Lafayette? (Lafayette removes a vial of Eddie's blood from the syringe.) Lafayette: Sure, I like you. Eddie: I mean...even if I wasn't helping out with the blood, you'd still...want me, right? Lafayette: Why you even got to aks me that? Eddie: I'd hate to think it's just...bidness for you when you come over. Lafayette: Of course not. What, you think I fool around with all my business associates? (Eddie chuckles quietly.) Lafayette: Ah, there we go. (Lafayette removes another vial of Eddie's blood, then removes the needle from Eddie's arm. He places the vial and the needle in the green and white cooler.) Lafayette: Now show me what a dirty old vampire you is. (Eddie and Lafayette kiss one another on the lips.) Eddie: I want you so bad. I ache. (Lafayette grabs Eddie's hair, then stands up. Lafayette holds Eddie's hands and pulls Eddie up off the sofa.) Lafayette: Well, come on, baby. I take care of you. SCENE 25:A car pulls into the parking lot of Fangtasia. A sign reads CLOSED on the black leather-padded front door, but the red neon FANGTASIA sign is lit. Bill (off-camera): You said you wanted to go out tonight. (Inside the car, Bill is in the driver's seat, with Sookie as his passenger. She is holding some red and white roses.) Sookie: I did not mean Fangtasia! I mean, really, all those pathetic people who come here looking for sex with vampires? (Bill turns and looks directly at Sookie.) Bill: I know. It's despicable. Sookie: You know what I mean! So, what, five, ten minutes? Bill: As long as Eric requires us. Sookie: You mean as long as he requires me. Didn't even have the decency to ask me himself. Bill: You are mine. He didn't need to ask your permission. Sookie: He cannot check me out like a library book! Bill: Unfortunately, Sookie, he can. Eric is sheriff of Area Five. Sookie: Sheriff? Bill: It's a position of great power among our kind. We do not wanna anger him! As long as the requests are reasonable, we should accede to his wishes. (Sookie looks away from Bill, and sniffs the roses. She puts the roses down, and she and Bill get out of the car.) Sookie: I had this crazy dream this morning. We were sitting, eating breakfast, and all of a sudden the sunlight set you on f*re. (Bill is quiet for a moment.) Bill: It wouldn't happen quite that way. The sunlight would severely weaken me and eventually, of course, I would die. But I wouldn't burst into flames. Not right away, at least. (Bill walks away.) Sookie: So I guess we'll never have breakfast together. SCENE 26: The exterior of Miss Jeanette's bus in the woods. Crickets chirp and an owl hoots in the background. It is night. Tara walks up from behind some trees and slowly approaches the bus. A twig snaps. Startled, Tara turns her head to find Miss Jeanette standing directly behind her. Miss Jeanette: I knew you'd come. (Miss Jeanette has a small smile on her face. Tara continues to stare at her.) Miss Jeanette: Let's go inside. (Tara turns and steps into the bus, as Miss Jeanette follows.) SCENE 27: Andy Bellefleur sits at his computer, talking on the phone. Naturist Community Employee: No, I'm quite certain. (Cut to a sh*t of the office of the Naturist Community. A nude male stands behind a conveniently-opened file cabinet drawer and goes through some files as he talks on the phone with Andy. Behind him are various naturists, visible through the office window.) Naturist Community Employee: We keep extensive records here. All the way back to, uh...1958. Never had anybody by the name of Merlotte here. Andy Bellefleur: And you're sure you're the only nudist colony in the Beaumont area? Naturist Community Employee: Naturist community. We're the first, finest and only clothin'-optional sanctuary in all of Jefferson County. Andy Bellefleur: All right. Thanks very much. Naturist Community Employee: You come visit us, you hear? Got a barbecue every month. (Andy hangs up the phone, and looks puzzled.) SCENE 28: The bar at Fangtasia. Sookie sits at a cocktail table as Pam leans against the bar, her arms folded. Eric walks into view. Eric: Pam, Longshadow and I are partners in this club. (Eric circles Sookie as he walks. Bill is leaning against the bar on the opposite side of the well from Pam.) Eric: And we recently noticed that sixty-thousand dollars has gone missing from our books. And Bruce... (Eric stops walking. The camera moves down to reveal Bruce, a bespectacled older Caucasian male. He looks quite scared.) Eric: ...is our accountant. Perhaps you can start by listening to him. (Bruce is sitting at the same cocktail table as Sookie.) Sookie: He's not saying anything. Eric: Don't be coy. (Longshadow, behind the bar, passes his hand over the open flame of a cigarette lighter.) Eric: It's humbling enough to turn to a human for assistance. We know what you can do. Sookie: And I know what you can do too. Why don't you just glamour him? Eric: Now, don't you think we might have tried everything before summoning you? (Sookie stares at Eric.) Eric: So...it would be a great favor to me and to Mr. Compton if you help us. Sookie: If I find out who did it, then what? Longshadow: We'll turn that person over to police and let the authorities handle it from there. Sookie (facing Longshadow): Hundreds of years old and you're still a terrible liar. Come on. (Sookie turns around in her chair to face Eric.) Sookie: I'll make you a deal: If you promise to hand over the person who did this to the police, I'll agree to help you any time you want. Eric: All right. Why not? (Sookie grabs Bruce's hand and listens to his thoughts.) Bruce (thinking): <snip>, what's this crazy bitch doing? Why did I agree to work for vampires? <snip> damn it, I knew it was a bad idea. I've been nothin' but straight with these <snip> s. Gotta be a <snip> idiot to steal from them. Jesus Christ, I was the one who reported it! (Sookie stops listening to Bruce's thoughts.) Sookie: Bruce, it's okay. Take a deep breath. Did you steal their money? Bruce: No, no. You gotta believe me. I didn't do it. I swear to... Sookie: Shhhh. Do you know who did? Bruce: No. Bruce (thinking): No, I wish. I would turn that <snip> in. Who was it? Couldn't have been Ginger. She's too <snip> dumb. Although she's hot as <snip>. I'd <snip> her if I could. (Sookie looks up to Eric.) Sookie: He's tellin' the truth. Longshadow (to Eric): You trust the skinny human to clear the fat one? Eric: Bring the next one in. (A look of relief falls over Bruce's face, and he cries. A wedding band is visible on his left ring finger.) SCENE 29: Outside of Eddie's house at night. Amy listens to Johnny Cash's song "The Fourth Man In The f*re" in Jason's truck as Lafayette leaves Eddie's townhouse. Lafayette places the cooler in the back seat of his car (an ivory-colored Mercedes), takes off his ball cap, gets into the car, and drives away. Jason's truck turns the corner and pulls into Eddie's driveway. Jason cuts off the engine as Amy rummages through her purse. Jason: You got cash? Are you buying? Amy: Just remember your lines, that's all I need from you. I'll handle the rest. Jason: Hey, I'm not gonna have to have sex with him, am I? Amy: I said that I will handle it. (Amy glares at Jason.) Jason: Okay. (Jason slumps down in the driver's seat as Amy removes her lariat necklace and wraps it around her fist.) Jason: Okay, I know you probably don't think I'm all that smart, but I do know that that vampire can k*ll us both! Before we even get in the door. (Amy looks at Jason.) Jason: You'll handle it. (Jason looks at Amy, and looks downward, as if he's noticed something in her hand.) Jason: What the hell is that? (Inside the townhouse, Eddie sits in his recliner and watches TV. The Rev. Steve Newlin of the Fellowship of the Sun Church is speaking.) Steve Newlin: While the wing nuts on the left keep pushing their so-called vampire-rights legislation, I'm more concerned with basic human rights. The right for our sons and daughters to go to school without fear of molestation by a bloodthirsty predator in the playground or in the classroom. Someone has got to take a stand for public safety over permissiveness and immorality. (The TV cuts to a sh*t of a woman dressed in a purple and white dress, sitting in a room with candles lit. The letters VTV appear in red in the lower right-hand corner, and the title FANG FILES appears.) Fang Files Hostess: If you ask me, he's protesting a little too hard. Come out of the closet, Reverend Steve! I know plenty of friendly vampires who'd like to take a bite out of you! (chuckle) Oh, but truly, it's inflammatory talk from folks like Steve Newlin who make me ashamed to call myself a human. (Eddie's doorbell rings.) Fang Files Hostess: Thanks for watching. We'll be bite back. (Eddie uses the remote to turn off the TV. He gets up from the recliner, walks over to the entrance, and looks through the glass at the top of the door.) Eddie: Who is it? (Jason looks through the door's glass from the other side.) Jason: I'm a friend of Lafayette Reynolds. He sent me for you. (Jason smiles. Eddie peers downward at Jason, and opens the door. Amy rushes to the door and throws a silver hood over Eddie's head. Eddie screams and falls. It sounds as if the silver hood is burning his flesh.) Jason: Jesus Christ! Amy: Get his feet. (Amy throws a silver line to Jason and begins tying Eddie's hands with her own silver line. Smoke begins coming up from underneath the hood over Eddie's head.) Jason: Are you <snip> kiddin' me? Amy (screaming): Get his feet! Jason: Okay, okay. (Jason ties Eddie's feet with the silver line.) Eddie (screaming and crying): No, please! I'll give you anything you want. Amy (yelling): Shut up! Jason: Amy, what the hell? Amy (screaming): No names, dumb ass! Jason: I thought we were just gonna take a little blood and go. Amy: Shut the <snip> up! Jason: Jeez. Amy (yelling): Now, come on, lift! Jason: What? Amy (yelling): Lift him up! (Amy and Jason pick Eddie up and take him to Jason's truck.) Eddie (screaming): Please! No! No! I'll do anything you want! Please! (Jason and Amy put Eddie in the bed of Jason's truck, throw a blanket over him, and close the tailgate.) SCENE 30: Fangtasia. Pam leads a blond woman holding a lit cigarette to Sookie. Pam: This is the last of our humans. Ginger (to Sookie): Hmm. Yummy. (Pam seats Ginger and also puts out her cigarette.) Eric: Ginger. This woman has some questions for you. Now, be a good girl and answer them, will you? Ginger: Aye, aye, master. (Sookie reaches out for Ginger's hand, and Ginger takes her hand away.) Ginger: Don't you touch me. Eric: Hold her still. (Pam walks up behind Ginger and places her hands on Ginger's shoulders. Sookie takes Ginger's left hand into her right.) Sookie: Ginger, someone's been stealin' money from the bar. Ginger: Really? Huhn. Ginger (thinking): Don't look at me you <snip> bitch. I didn't do nothing. I'll b*at the <snip> out of you if you say I did. It wasn't me that took it. <snip>! It wasn't me (Sookie looks up toward Eric and Pam.) Sookie: She didn't do it... but she knows who did. Ginger: What? <snip> you. (thinking) <snip>. How'd she know? I didn't tell anyone, I swear. <snip>! He's gonna k*ll me! Sookie: Who? Who's gonna k*ll you? Ginger honey, what's his name? (Smoke rises from a burning cigarette. Ginger does not answer.) Sookie: It's blank, like her memory's been erased. (Ginger looks up toward Eric and Pam.) Ginger: I don't know anything, I swear. Pam: She's been glamoured. Sookie: It's a vampire. (Longshadow jumps over the bar toward Sookie and exposes his fangs.) THE END

{"type": "series", "show": "True Blood", "episode": "01x08 - Fourth Man in the f*re"}

foreverdreaming

Scene 1: Fangtasia - Longshadow, Eric, Pam, Bill, Sookie, Ginger Longshadow tries to strangle Sookie. Ginger is shouting. Pam: Ginger, enough. Eric: Thank you. Before Longshadow could bite Sookie, Bill kills him. Ginger screams and vomit. Eric: Humans. Honestly, Bill, I don't know what you see in them. Credit Scene 2: In the toilets of Fangtasia - Sookie Sookie cleans up. Scene 3: Fangtasia - Pam, Ginger, Eric, Bill Ginger is cleaning the floor. Ginger: How did I end up with you people? Jesus. Mother Mary in heaven. I'm so sorry, Mama. I'm so sorry. Eric: When Ginger is finished, glamour her for me. Pam: Are you sure? She's been glamoured one too many times already. Who knows how much of her is left. Eric: It's either that or turn her. You want her? Pam: Please, I'm not that desperate. Glamour it is. Eric: Excellent. (To Bill) Come. I'll buy you a Blood. Scene 4: Fangtasia, in Eric's office - Eric, Bill Eric gives a bottle of True Blood to Bill. Bill: Thank you. Eric: How do you stomach that stuff? Don't you find it metallic and vile? Bill: I don't think about it. It's sustenance, that's all. (Eric laughs) What? Eric: If you're their poster boy, the mainstreaming movement is in very deep trouble. Tru Blood. It keeps you alive, but it will bore you to death. Bill: Let's cut to the chase, shall we? Eric: You k*lled a vampire, Bill. For a human. What are we gonna do about this? Bill: What do you have un mind? Eric: I'll take the girl. Bill: No. You can have anyone. Why do you want her? Eric: Why do you want her? You're not in live with her, are you? Bill: Sookie must be protected. Eric: That sounds like an edict. But it couldn't be, because I would know about that. Admit it. You love her. Bill: If I hadn't done what I did, would you have let his disloyalty stand? Eric: Whatever I did to Longshadow, I would not have done in front of witnesses. Especially not vampire witnesses. Not smart, Bill. Not smart at all. Scene 5: In Jason's truck - Jason, Amy, Eddie Jason: All I'm saying is, Lafayette didn't have to kidnap him. And I'm pretty sure he left with some V. Amy: Hey. If you wanna make the same arrangement with Eddie Lafayette's done, have at it. This is just the only thing I could think of to get you bl*wing your first vampire. Jason: You done this before, haven't you? Amy: Done what? Jason: This. Kidnapping vampires. Jesus. I should have known something wasn't right the second you walked into my life carrying that big bag of crazy. Any woman with a purse that big's bound to have something in it I don't wanna know about. Amy: Jason. Baby, you're sweet, but you've gotta mellow out. She turns the radio on. Jason: The f*ck is this hippie music? Amy: Shh. Scene 6: In the toilet of Fangtasia - Sookie, Pam, Ginger Sookie continues to clean up. Pam arrives and gives her clothes. Pam: Put these on. Sookie: Oh, thank you, but I'm fine, really. I'm just gonna dry out my hair and be on my way. Pam: You're not going anywhere. Eric and your boyfriend aren't nearly done talking just yet. Sookie: Os Bill in some kind of trouble? Pam: That's for the boys to figure out. Right now, what you need to do is change out of your clothes. There's vampire in your cleavage. Sookie: Okay. Pam: Allow me. Pam removes the peace of vampire of Sookie's cleavage. Sookie: Thank you. Pam: I'm beginning to understand the fuss everyone's making over you. Ginger enters. Ginger: Oh, hey there, Pam. Oh, who's your new friend? Pam: Ginger, Sookie. Sookie, Ginger. Ginger: Nice to meet you, Sookie. Sookie: Right. Nice to meet you too. Ginger: Oh, you don't have to be so scared. They're really very nice here. Scene 7: At Jason's basement - Jason, Amy, Eddie Jason: You got him? Amy: Yeah. Tape the windows shut. Here. Clear this out. We gotta clear all this shit out. Jason: Lift his legs. Amy: Ready? Jason: How's this gonna go? Amy: Tie his arm there. (She finds an oxygen masque) What? Jason: I guess I got a little paranoid after 9/!!. Amy: No, because after New York and D.C., t*rrorists were gonna come to Bon Temps. Jason: And I said I was paranoid. Amy: Get his feet. Eddie: What are you gonna do to me? Jason: Yeah, I was kind of wondering that myself. Amy: We're gonna drink from him. Jason: And then what? Eddie: Yeah? Jason (to Eddie): Dude, I got this. (To Amy) What's the plan? Amy: Jason, can you please try to live in the now with me. Jason angry: I do live on the now. In fact, I've gone entire months without thinking about shit. But the truth is, right now, the now kind of sucks. And if we both can't admit that, then we are 100 percent f******. Amy takes some blood from Eddie. Amy (showing the blood she took): Who wants the first taste? Jason: I ain't doing it. Not like this. Eddie (whispering): Thank you. Jason: I said, stop talking to me. Amy: Come with me, baby. Don't let your fear get in your way. Jason: Look, it ain't fear, all right? It's just... (low so that Eddie can't listen) He's looking me right in the eye. It ain't right. Look at him. Amy: Fine. I'll see you when I get back. Jason stops her before she can swallow some blood. Jason: Wait, wait, wait. Ain't you supposed to cut it with aspirin? Amy: No, there's no risk of clotting when the V's this fresh. She swallows the blood that is in the plug. Amy: My God. Jason: You look... really happy. Amy: Come on, baby. Come with me. She gives him the plug. Eddie (to Jason): Don't. Don't do it. Jason: I said, don't talk to me. He takes the plug and drinks the rest of the blood. Scene 8: At Miss Jeanette - Miss Jeanette, Tara Tara: What exactly did you do to my mama? Miss Jeanette: You were here. You saw it. Tara: Yeah, but I wanna know exactly how and why it worked. Cause I'm already taking a monster leap of faith even considering this demon crap. Miss Jeanette: Fine, then. It's like this. Your mind, your body... it's just a physical manifestation of your soul. And your soul is sick. Tara: My soul don't wanna get ripped off. Miss Jeanette: How's your mama doing? Tara: She's doing great. But she believes in shit like this. I don't. Miss Jeanette: If you don't believe, then why did you come all the way here tonight? Tara: How much it'll cost me? Miss Jeanette: Seven-ninety-nine, ninety-five. Tara (shocked): What? Miss Jeanette: Seven-ninety-nine, ninety-five. Cup of rum's on the house. Tara: Well, my mama paid less than half that. Miss Jeanette: What I do takes varying amounts of energy and involves varying amounts of risk. Now, what you got inside you is much more powerful than what your mama had. Much more dangerous too. Tara: I'm worse than her? I once found that woman on the ground, eating her own vomit because she didn't wanna waste the alcohol she lost bringing it all up. Miss Jeanette: Think about it. But not for too long. You can't afford to keep pushing people away. Your loneliness is spreading to your eyes. It's becoming a part of who you are. Tara: You're one hell of a saleswoman, aren't you? Miss Jeanette: Next time you're alone, stand in the mirror and count backwards from 10. If you can get all the way down to zero, then I'm wrong. But if you can't stand your own company for 10 seconds, how you gonna expect to do it for the rest of your life? Scene 9: In front of Sookie's house - Bill, Sookie Sookie and Bill are walking from his car to Sookie's house. Sookie: So you're not in any trouble? Bill: A simple slap on the wrist, that's all. Sookie: You swear? Pam made it sound like... Bill (interrupting her): Pam was turned almost a hundred years ago and yet somehow still behaves as though every day were Halloween. She's all drama and theatrics. I assure you, everything's gonna be fine. They enter Sookie's house. Sookie: I'm gonna take a shower. I still feel like there's blood all over me. She turns on the light and sees blood on the wall. Bill: Don't look up. Tina is on the ventilator, d*ad. Sookie (shouting): Aaaaaaaaaaaaah! Scene 10: At Jason's - Jason, Amy, Eddie Jason and Amy are naked, kissing, under V. Amy: Wait, wait, wait. First, we have to thank the vampire for the gifts that he's bestowed upon us. (To Eddie) We are grateful... Eddie: F*** you. Amy: ... for your gift to us. (To Jason) Ignore him. Jason and Amy imagine their selves in a beautiful forest. They are swimming in the air, naked. Amy: Can you see it? Jason: Where are we? Amy: Nowhere. Everywhere. Together. Eddie look at them, and is crying blood. Scene 10: At Sookie's - Bill, Sookie They are on Sookie's bed. Bill: Aren't you tired? Sookie: Every time I close my eyes, I see her face. Bill: Your cat? Sookie: Gran. But now that you mention it, Tina's in there too. Bill: You do know that I'm not gonna let anything happen to you? That I am here for you to protect you. Sookie: And what if I don't wanna need to be protected? What if wanting to be protected makes me feel like the helpless little girls I used to be all over again? Bill: Sookie. All of the things that you need to be protected from, all of the trouble you're in, you're in because of me. So you needing to be protected has nothing to de with you or who you are. All of it is my fault. So why don't you just go to sleep and let me be the one to worry about it? Sookie: Bill, all the trouble I'm in, it's mine. I chose it. I chose it when I chose you. Bill: Yes, but... Sookie: Don't you think I wanna blame somebody else? But what I did to my Gran and now to poor Tina, it's my fault. And it's sweet of you to try to take it on for me, but if I let you, I'd be so mad at you, I'd never be able to look at you again. And right now your face is just about the only thing getting me by. So why don't you just leave it on me, okay? Bill: Very well. He kisses her. Sookie: Night, Bill. Bill: Night, Sookie. She closes her eyes and sees her Gran on the kitchen's ground, d*ad in her blood. She opens her eyes suddenly. Scene 11: At Jason's garden - Amy, Jason, Eddie Amy is in the garden, and someone is watching her. Someone: You're a f*cking d*ad woman. Amy (screaming, fainting to be scared): Oh, my God! Jason jumps and laughs. Amy (smiling): Honestly, you are like a little boy. Jason: Did I scare you? He takes off the oxygen mask and put it on his head, Jason (smiling): Yeah Amy: Come here, lie down. I wanna show you something. He lies down near her on a cover, near her, Jason: What are we looking at? Amy: The trees. But we're not just looking, we're listening too. Jason: Listening to the trees? Amy: Can you hear that? Jason: It's like the leaves are talking! Amy: They're laughing. Jason: Yeah, because they're ticklish. Amy: That's right. Jason: Amy? Amy: Yeah, baby. Jason: We still high? Amy: No, baby. Jason: Because I don't normally talk like this. Plus, I'm feeling kind of lightheaded too. Amy: You're talking like this because your mind is starting to open up. And you're lightheaded because you haven't eaten anything. So here. (She sits and gives him to eat) Have an almond, they're raw. He eats the almond. Jason: Oh, my God. These crazy good. Amy: We gotta change the way you eat. Raw foods. Nothing processed. Because the cleaner the body, the cleaner the soul, the cleaner the experience. Jason: Cleaner than last night? Amy: Much cleaner. They kiss. Eddie (shouting from the house): Amy! Amy: He'll stop. He'll stop. Eddie (shouting): Jason! Jason stops kissing Amy. Jason: Ain't you worried somebody's gonna hear him? Amy: You live in the middle of nowhere of the middle of nowhere. Jason: Yeah, I guess but... Amy (interrupting him): He isn't a person, Jason. Jason: Did I say he was? All I'm saying is... My truck, for example. It ain't a person either. But I still fill it with gas and give it oil from time to time. Amy: You're saying we should feed him now? Jason: Ain't he gonna die if we don't? Amy: Who cares? Jason: I just... I still think we should have a plan, that's all. Amy: I do have one. Jason: Oh, yeah? Amy: And here it is. Everything's gonna work out, because it has to. Jason: That ain't a plan. Amy: Because when I'm with you, what I feel... I've never felt that with anybody else ever before. And I'm a person that a lot of bad stuff has happened to in the past and so I deserve this. I love you. (Jason doesn't answer and drinks) Oh, my God. Oh, my God. I mean, why is it we all need to be loved but then when somebody finally says, "I love you", people just run scared. I love you, Jason Stackhouse, whether you like it or not. I'm not afraid to admit it. Jason: Know what? You're right. F**** it. I love you too. They kiss. Amy: Say it again. Jason: I love... Amy: Come on. Jason: You get it once, that's all. Scene 12: At Tara's house - Tara, Letti Mae, Sam Tara is in her bathroom, in front of the mirror. Tara: Ten, nine, eight, s... Letti Mae comes in. Tara (shouting): Don't you knock? What if I was doing something private? Letti Mae: I taught you that was a sin against God. If I walk in on you doing it, it's your problem. Tara: What do you want? Letti Mae: Sam Merlotte's here to see you. You ain't sleeping with him? Tara get out of the bathroom and goes in the entrance, her mother follows her. Tara: What makes you jump to that conclusion? Letti Mae: He brung flowers. Men only bring flowers if they already slept with you and looking again. That especially goes for white men, as black men are less prone to grovel. Tara opens the door. Tara: What do you want, Sam? Sam: To apologize for what I said that hurt your feelings and sort things out between you and me. Letti Mae: That's a load. It's sex he wants. Tara: Mama. Tara goes out. Sam: She drinking again? Tara: No. That's her, stone-cold sober. Look, you should go. Sam: Why? Tara: Because I'm just too f*****-up for this. Sam: You're not even the most f*****-up person in this house, much less this town. Tara: What do you think this is between us? We were clear from the beginning it was just gonna be us f******. Sam: It's too late for that. Tara: What are you, a masochist? Sam: No, not at all. But I've spent my life running away from people or pinning my hopes on somebody I can't have. I'm done with that. Like it or not, you've reminded me that I'm a social animal. I'd rather deal with your f*****-up shit than be alone. Tara: Here's some f*****-up shit for you. Do you know that right now I have myself thinking I have a demon inside me? The only way to get it out is have some lady who lives in a bus in a swamp perform 800$ exorcism on me that there's no way in hell I can afford? Sam: Waw. Tara: Yeah. So go ahead. Now tell me you still want something more with me. Sam: Not if it's gonna be like this. But I'd like it if we could... Tara: Well, we can't, all right? Look, just go, okay? Get out of here and save us both a lot of misery. Sam: All right, I'll see you at work. She goes back home and he throws the flowers on the ground. Scene 13: At Merlotte's - Amy, Arlene, Sam Amy is looking at Arlene's ring. Amy: Oh, my God, it's beautiful. Arlene: I know, right? Amy: So you guys having an engagement party or what? They are at the bar now. Arlene (loud enough so that Sam could hear them): We'd like to, but I don't know where we'd throw it. You know, our place isn't big enough. Sam: You could have it here, if you like. Arlene: Oh, thanks. But I wouldn't wanna put you out. Sam: You wouldn't be. It'd be like any night, except I'd close the place to the public for you and your dearest. Arlene: Oh, wow, Sam, that would be amazing. Except I was thinking could we do it in the warehouse next door? Or even outside? Because if we did it in here, it'd feel like work, you know? Sam: You were thinking, huh? About the party I only just now offered to throw for you? Arlene: You are a spectacular man, Sam Merlotte. Sam: And you are one hell of a conniving suck-up when you need to be. I'll cover the catering and the band. The alcohol and all the other incidentals are on you and Rene. Arlene: Got it. And I may be conniving but I still mean it. You are gonna make some woman extremely happy one day. Sam: Maybe someday I'll meet a woman willing to take that chance with me. Sookie arrives, furious. Sam: Morning, Sookie. Sookie: Ain't nothing good about this morning. Scene 14: On the road, at Jason's job - Jason, Lafayette, Rene, Hoyt Jason is eating on his truck, listening to the trees. Hoyt and Lafayette are on another truck, eating. Lafayette: "Secret Sauce"? Who you f****** kidding? Since when is it right to call mayonnaise a f****** secret? Hoyt: I don't know. I kind of like it, though. Lafayette: You can like it all you want to. It's still mayonnaise. Jason (shouting to Rene): What are you thinking? Rene: Thinking f*cking roots should learn where to grow. Jason removes his helmet. Jason: What? Rene begins to dig the root with the chain saw. Jason: What? Rene. What? (He jumps from his truck and run to stop Rene) Hey! Hey! Rene! Jason make Rene fall. Rene (shouting): The f***, man? Hoyt and Lafayette run to them. Hoyt (shouting): Shut it down. Rene: Get the f*** off me. Lafayette pushes back Jason. Lafayette (to Jason): What the f*** is wrong with you? You got a screw to loose? Rene (shouting): You could've k*lled me. Jason: I'm sorry, I know, but it ain't just some root growing out of nowhere. It's connected to that tree. Everything we see, man, it's all connected. Rene: The f*** you talking about? You some kind of treehugger now? You gonna k*ll your buddy to save a tree? Lafayette (to Rene): Chill, son. Rene (shouting): I could give a f*** if you're sorry. I'm about to get married. There are people that count on me. Lafayette (to Rene): Okay, come on, let's get you cleaned up. Rene and Lafayette go. Jason: S***. Hoyt: Hey. Is everything all right, J? Jason: t, were you on the football team? Hoyt: No. Jason (taking him by the shirt): Were you on the football team? Hoyt: No, I wasn't. Jason put him down. Jason (shouting): Then you do not call me J. you got that? Hoyt pushes him. Hoyt: Yeah. Yeah. I'm... Yeah, I'm sorry. Hoyt goes. Jason: g*dd*mn it. g*dd*mn it. Scene 15: At Merlotte's - Andy, Sookie, Amy Sookie: What can I get for you today? Andy: Your boss around? Sookie: Tell him you're looking for him. What can I get you? Andy: Don't know, I haven't decided yet. Sookie sit in front of him. Sookie: Then while you make up your mind how about I tell you what you can get for me? I would love whoever's k*lling off my family's head on a platter. Think you could arrange that for me? Andy: I don't appreciate your tone, Miss Stackhouse. Sookie: I don't appreciate officers of the law enjoying casual lunches while there's a k*ller trying to hunt me. Did you know he got into my house again last night? Andy: He did? Sookie: Yes, and he k*lled my cat. Cut her head off and took it with him. Andy: Jesus. How come you didn't call the station? Sookie: All the station would've done is send you. You'd still be here acting as though you don't know what you're gonna order even though you always wind up having the cheeseburger. Amy: Hey there, detective Bellefleur, I'll take you order. Sookie: No, it's my table. Amy: I got it. Just take a break. It'll do you some good. Sookie leaves. Amy: What can I get for you? Andy: Go with the g*dd*mn cheeseburger and fries. Scene 16: Outside the Merlotte's - Amy, Sookie Sookie is on a bench when Amy joins her. Amy: Hey, you. Listen, you all right? Sookie: Sometimes I wish I smoked, you know? So you could sneak outside without anybody knowing something's wrong with you. Amy: Okay. I'm really sorry about your cat. Sookie: Maybe I shouldn't have come in today. Amy: Yeah, I was gonna say, why did you? Sookie: I don't know. Maybe because lately it seems like if I called in sick every time somebody I loved got m*rder I'd never make it in for a day of work. Amy: Don't you think Sam would understand? Sookie: I guess. But if I went home, what would you do? Amy: Me? What's it got to do with me? Amy seats near Sookie. Sookie: With Arlene doing nothing but showing off her ring you'd be the only one waiting tables. Amy: Yeah, she is gonna be a handful, that one. Sookie: Can you imagine what she was like the first time she got married? What about you? You ever been married? Amy: Is this the part where the sister asks what the girl's intentions are with her brother? Sookie: Because right now, I am all about protecting Jason. Amy: He misses you, Sookie. Sookie: Right. Amy: No, he does. I mean, between your grandma passing and then what happened afterwards with you... Sookie: He told you about that? Amy: He couldn't not. I mean, he's a mess about it. Sookie: Well, you wouldn't know it. Amy: Look, I know what you must think of him. And I get why you're mad at him, I do. But he loves you. You still got people around you who love you. And all I can hope is that maybe one day, I can be counted in among those people. Sookie: You are way too good for him. You know that, right? Amy: Of course I know that. I'm not stupid. Scene 17: At Jason's - Jason, Eddie Jason arrives home and turns on the tv. Tv Reverend Whitley: You can call me all the names you want, but I am confident in my position that when the day comes I meet my Maker, it is I would be allowed to pass through the gates into the glory of eternity. Tv animator: Thank you, reverend Whitley. Miss Flanagan, would you like to turn the conversation back to the Vampire Rights Amendment? Jason: Shut up, shut up. TV Nan Flanagan: After the m*ssacre of three of our kind in Louisiana this week, I think the world should take notice of the fact that we have not retaliated. And we will not. Which leaves us with the question of exactly who is hunting whom out there in America tonight? TV animator: I applaud your rhetoric. That was very impressive. Eddie shouts form the basement. Jason (to Eddie): Shit the f*** up! TV Reverend Whitley: But I warn my fellow citizens that her message is false. Jason goes sown in the basement. Eddie: Thank you. Thank you. Please, I... Jason (shouting): What is it? Eddie: I need you to move me. Too much pain. This chair, it's digging into my skin. Jason: Thought y'all couldn't feel pain. Eddie: When you don't drink your body... Your whole body aches more than anything I ever felt when I was alive. Please? Jason: Well, if I move you, will you shut up? Eddie: I promise. Jason: This better not be a trick. Eddie: It's not. Jason: And don't you f****** bite me. Eddie: I don't event have the energy. Just, please? Jason begins to move him. Jason: Jesus. For a vampire, you sure are a doughy f***. Eddie: I'm sorry. Aaaaah. Jason: There. That any better? Eddie: I think so, yeah. Jason: Yeah, good, because now I'm all f*****-up. Scene 18: Merlotte's - Tara, Sam Tara enters and takes her clothes and sees an envelope full of money. Tara: What the hell? Sam is at the bar. Tara arrives. Tara: I found an envelope full of cash in my cubby. Sam: Yeah? Tara: You know anything about it? Sam: We'll talk after work. Tara: Sam, you know I can't... Sam: I said, after work, all right? Anyone needs me, I'll be in my office. Scene 19: At Bill's house - Bill, Eric, Pam, Chow Bill plays golf at the wii. Wii voice: Yes, he's done it again. Another lovely sh*t. A hole in one. The doorbell rings. Bill turns off the wii and goes to open the door. It's Eric, Pam and Chow. Bill: Eric. Pam. Eric: Bill, Chow. Chow, Bill. They enter. Chow (to Bill): Nice to meet you Pam: Chow is Longshadoow's replacement. Bill: I take it by your being here, there was no way around it, then? Eric: I can't really say. Didn't exactly look into it. Bill (to Pam): Tell me, do you enjoy living halfway up his backside the way you do? Pam: Yes, it's nice. You should try it. Bill (to Eric): We're gonna have to stop by the bar where Sookie works first. She needs to know that I'll be gone. Don't forget how this started. She came to Fangtasia to help you. Eric: Fine. Go to the bar. Pam: Might be smart to check out the competition. Eric: Yes, indeed. Chow (to Bill): What's your game? Bill: Excuse me? Chow: You were playing Wii. What's your game? Bill: Golf. Chow: What's your best score on Pebble Beach? Bill: Seven under. Chow: Mine's 11 under. Bill (to Eric): I liked Longshadow better. Scene 20: At Jason's basement - Jason, Eddie Eddie: It still hurts? Jason (doing stretching): No, that went right away. I guess that's a perk of me doing V. But this... this stretching just feels so g*dd*mn f****** good. Eddie: Another perk. Jason: Yeah. What's with the weight, dude? I thought all you vampires were supposed to be in shape. Eddie: We are what we were when we turned. I led a very sedentary life. Jason: What's sedentary? Eddie: Desk job. I was an accountant. Sat around a lot, ate a lot of junk food. Jason: Well, how's someone go from being an accountant to being a vampire? Eddie: It wasn't the straightest of lines. I always had this sense that it wasn't really my life I was leading. But I convinced myself it was the life I wanted. Then one day, about a year ago, I came home from work to find my wife crying like her whole family had just died. Turns out my son had had a fist fight at school. So one of the kids suggested to him that I might be a "f****** f*g". Jason: Well, kids are m******. Eddie: That's precisely the reaction my wife wanted me to have. And when I didn't... Jason (putting his shoes): What, she never even had a clue? Eddie: How could she, when even I didn't? Jason: I'm sorry. Eddie: Don't be. Comes a point is life when you realize everything you know about yourself, it's all just conditioning. It's the rare man who truly knows who he is. At least accomplished that. Jason: I guess it helps that you don't look all that gay. Most of the gays I've come across they look like... Eddie: You. You're what we're supposed to look like. Anyway, after she left me and took my kid I went to a gay bar, h*t on a couple of men. Got laughed at. Or pitied. Then I saw this one guy. He was even less of a looker than me and he had beautiful young men all over him. Somebody told me he was a vampire. And I guess I just thought: "Well, that's for me." After that, it was just a matter of time before I found someone willing to turn me. Jason: That's crazy. Eddie: I told you it wasn't the straightest of lines. Jason: So how did it work out for you? With the guys and everything? Eddie: Well... you tell me. Scene 21: At Merlotte's - Sookie, client, Bill, Eric, Pam, Chow, Tara, Amy Sookie (taking an order): Okay. Bill enters the bar. Client: I'll have that on the side too. Sookie: Okay, coming right up. Sookie: Bill, what's going on? Eric: This place is even more depressing than I thought it'd be. Sookie (to Bill): What are they doing here? Bill: Give me a minute, then we'll talk. Where's Sam? Sookie: I don't know. Why? Tara: He's in his office. Bill (to Eric): Try to behave yourself. Eric: Don't I always? Scene 22: In Sam's office. Sam is in his office when Bill knocks at the door. Sam: Yeah? Bill: Bill Compton. I need a minute of your time, if that's all right. Sam: It's open. Bill and Chow enter. Sam: Who's this? Bill: His name's Chow. Sam: He need to be in my office too? Bill: Yes. I have very little time, so I'll be brief. I've been called away. And I need you to watch over Sookie, protect her when I'm gone. Sam: Well, that's just priceless. Bill: Don't expect her to be too keen on the idea. Sookie hates feeling like she doesn't have independence. Sam: I'm really starting to get fed up with you telling me who Sookie is. Bill: I know. And I also know how you feel about her, and I don't like it. But I'm asking you because you're the only one I can ask. You're the only person I know of who can protect her in my absence. Will you do it? Sam: Of course I will. But I'll be doing it for her, not for you. Bill: Thank you. Bill and Chow leave. Scene 23: At Merlotte's - Eric, Pam, Sookie, Bill Bill (to everyone): So simply present this card at the door when you get to Fangtasia (Pam distribute the card) and the first round is on me. Pam: Also, Thursdays are ladies nights, so be sure to bring a date. (To a client) That is, if you can get one. A friend of this client: She got you. A client: Thanks, ma'am. Eric: Not him. He doesn't get one. Client: What gives, bro? Eric comes near him. Eric: What'd you do to your arm there... bro? (Bill comes. To Bill) I take it your business here is done? Bill: I came to talk to Sookie. Eric: I'll give you three minutes. We have a tribunal to get to. Sookie: What? Bill: Come with me. He brings her outside. Eric: Oh, before I go, a word of advice: We know when a human has wronged us. We can smell it. So do not make the mistake of letting the pretty vampire lady on television make you feel too comfortable. We may not have retaliated... yet... but we know who you are. Have a nice night. Scene 24: Out of the Merlotte's - Sookie, Bill, Eric, Pam, Chow, Tara Bill (to Sookie): I have no choice, I have to go. Sookie: Why? Bill: Because I k*lled a vampire. Sookie: I know that, I was there, remember? He was gonna k*ll mw. You were defending me. Bill: if one of you k*lled another one of you defending one of us, there would be a tribunal. Sookie: I'll come with you then. Bill: No. Sookie: I can and I'm going to. I wanna testify for you. Bill: Damn it, you can't. You can't come. And you can't testify. You will not be welcomed there. Sookie: You lied to me. You said everything was gonna be okay but it's not, is it? Bill: I honestly don't know. Eric (a little far from them): Ticktock, Bill Sookie: Bill... Bill: Just look after yourself, all right? I've asked Sam to watch over you. Sookie: Wish you hadn't have done that. Bill: Be smart, Sookie, and just let him. There's still somebody out there who wants to k*ll you. Sookie: Fine. I will. Bill: Thank you. Eric: And time. Sookie and Bill kiss. Tara arrive and sees them from far. Pam: If I had any feelings, I'd have the chills right about now. Eric: Not me. (Loud) Bill. Now. They stop kissing, and Bill goes to Eric. Sookie is crying. The vampires leave. Sookie goes to Tara. Tara: You all right? Sookie: No. Tara: Look, I'm sorry about... Sookie: Tara, right now I din't remember what it is I'm supposed to be mad at you for so why don't we just forget it, okay? Tar: Hey, that's good to me. They hug. Scene 25: At Jason's basement - Jason, Eddie Jason: It was in the flood. Eddie: A flood? Oh, my. Jason: Yep. It was the shits. But you gotta play the hand you're dealt, I guess. Eddie: And when you say you were living at your grandmother's I take it to mean your grandfather was already gone? I'm so sorry. Jason: Why? It wasn't your fault. Eddie: It's just that a boy needs a man in his life to teach him what it means to be a man. Jason: Yeah, whatever. Eddie: That's the hardest part of all this for me. My boy. He's got nothing but women around him now. He needs me. I'm not there. Jason: Well, I'm sure he'll be all right. I mean, look at me, huh? Don't you glimmer me. Amy warned me about that. Eddie: I'm too depleted to glamour you. That's something I haven't quite mastered yet, anyway. Jason: Really? You can't just do it? Eddie: Learning to be a vampire doesn't happen overnight any more than learning to be a man does. You gonna marry her? Jason: Who, Amy? I don't know. We haven't been together that long. But... just between you and me? I could really see her being the one. Eddie: She's not. Jason: What? Eddie: Don't do it. Don't marry her. Jason" None of your business. Eddie: She's a psychopath. Jason: Hey, f*** you, Eddie. Eddie: She is. She is fat more dangerous than I could ever be. Jason (shouting): That's enough. (Calmer) Look, I gotta go out and get some more beer. But while I'm gone, keep your f****** howling to a minimum. Jason leaves. Scene 26: At Merlotte's - Sam Tara Tara: Can we talk about it now? Sam: Sure. (She gives him the envelope) That's not talking about it. They go in Sam's office. Tara: I can't take it, Sam. I appreciate it, I do. But... Sam: You're keeping it. Tara: You can't tell me I'm keeping it. Sam: It's my money, so, yes, I can. Tara: You're a stubborn son of a b****. Sam: Well, that makes two of us. You really believe you have a demon in you? Tara: I think I got something inside me that is scared and pissed off and mean and Sam and Tara: F*****-up. Tara: Think it's stupid, don't you? Sam: Look, two years ago nobody even knew there was such a thing as vampires. Now we gotta deal with them every g*dd*mn day. And who knows what else is out there? Tara: 800 bucks? That's a lot of money, Sam. Sam: Yeah, well people in this town drink a lot. Well I'm doing okay. She takes back the envelope. Tara: So I guess I'm having an exorcism. Sam: You're welcome. Tara: Oh, Sam. I don't know how to ever thank... He kisses her. Scene 27: At Merlotte's - Lafayette, Sookie, Amy, Sam, Tara Lafayette is cooking in the kitchen when Sookie comes in. Lafayette: Interesting night, huh, Sook? Sookie: Yeah, I guess. Maybe a little too interesting. Lafayette: S***, ain't no such a thing as too interesting, only too dull. Sookie leaves. Lafayette (to John): So, John, how big is your d***? Sookie sees Tara and Sam kissing in Sam's office. She goes back in the kitchen. Sookie: You know what? There is such a thing as too interesting. Sookie goes at the bar. Sookie (to Amy): Where's Arlene? Amy: Well, she just left. Sookie: Of course she did. I have to get out of here. Would you mind covering the rest of my side work for me? Amy: Sure, but is that really the best idea, you going home by yourself? Sookie: I'm not. I'm going to stay at Bill's. No one'll come looking for me there. Amy: Okay, then. Sookie: Thanks, I owe you one. Sookie leaves. Amy: No worries. Sookie leaves on her car. Sam goes to the bar. Sam: Oh, hey, Amy. Amy: Hey. Sam: Hey, I just wanted to say thanks for everything you've been doing. You're fitting in great around here. Really. Amy: Well. I should be the one thanking you. Lord knows I needed this job. But you are welcome. Sam: So where are the others? Amy: Arlene had to get back to her kids and Sookie took off a couple of minutes ago. Sam: What? Amy: Yeah, I tried to stop her, but... Sam: She say where she was headed? Amy: She was going to Bill's. Amy: g*dd*mn it, Sook. Sam leaves, running. Scene 28: Outside the Merlotte's - Sam, Andy Sam is running to his car. Andy: Hey there, Sam. Turns out that story you told me the other day about growing up in a nudist colony didn't exactly check out. We need to talk. Sam: Sure, just... You know, I forgot something in the bar, but I'll be right back. Okay? He goes back inside. The dog of Merlotte's passes in front of Andy. Andy: Hey, dog. Well, screw you too. Scene 29: At Bill's - Sookie, the dog Sookie arrives at Bill's. She sees the dog in front of her. Sookie: Oh, my God. Didn't anyone ever tell you not to sneak up on people like that? What are you doing so far away from home? Why don't you come spend the night with me and I'll take you back to Merlotte's tomorrow, okay? Come on. It's night-night time. They enter Bill's house. Sookie: Come on. Come on. They are in Bill's room. Sookie: You know, if we're gonna be sleeping together we're gonna need a name to call you by. What do you think of "Dean"? Yeah, I like it too. Dean. Dean the dog. Look at you, looking away. What a gentleman. Here, would it make you more comfortable if I got under the covers? She goes under the covers. Sookie: Come on. Hop up in the bed with me. You can't sleep on the floor all night. You're gonna catch a draft. Now, hop up here. (The dog goes on the bed.) Good boy, Dean. Sweet dreams. She turns off the lights and sleeps. Scene 29: At Jason's - Jason, Eddie Jason arrives home. He goes down to the basement with Tru Blood bottles. Jason: Eddie? Eddie, wake up. Wake up. Here. Eddie: You brought me Tru Blood? Jason gives him to drink. Jason: Just drink. Scene 30: At Bill's - Sookie, Sam Sookie: Dean, you're on my feet. Dean. She opens her eyes and seats. Sookie: Sam? Sam is naked, on the bed, at Dean's place. They both scream.

{"type": "series", "show": "True Blood", "episode": "01x09 - Plaisir D-Amour"}

foreverdreaming

Scene 1: At Bill's house - Sookie, Sam Sookie and Sam are screaming. He's at Dean's place, on the bed. Sookie (shouting): What the hell are you doing here? Sam: Nothing. Sleeping. Sookie: Did you touch me? Sam: Hell no, I swear. Sookie, listen. Bill asked me to look after you while he was away. Sookie: Did he ask you to do it buck-naked? Sam: No, no. Sookie: I want you out of here. Now. Sam: Listen, listen, Sookie. I need to tell you something about me, something I've never told another person. Sookie: Oh, my God, it's you. You're the m*rder. Sam: No, no, Sookie... Sookie: Oh, my God, you k*lled my grandmother. He tries to touch her and clam her but she h*t him and run away, to the bathroom. She closes the door behind her and hinds in the shower. The door is open. Sookie sees Dean behind it. Dean becomes Sam. Sookie is stunned. Sam: I'm not the k*ller, I swear. I'm a shape-shifter. Sookie: Shut the f*** up. Credit Scene 2: In the woods - Miss Jeanette, Tara Tara and Miss Jeanette are on the ground in the woods, and Miss Jeanette prepares her stuff for the exorcism. Tara: What's that for? Miss Jeanette: Give me your hand. Tara: Why? Miss Jeanette: "Why, why, why? Why's it have to be in the woods? Why's it have to be before dawn? Why 799.95? Why, why, why?" You think knowing the answers will save you? Shut up and give me your hand. Miss Jeanette spit in Tara's hand. Tara: You nasty b****. Miss Jeanette: That's cleaner than anything you've ever touched. Hold it on the f*re. Keep it there. Angelica root and spit. A lot stronger than holy water. You got poison oozing out your pores. You live near a highway? Tara: No. Miss Jeanette: Cook with a microwave or talk on a cell phone? Tara: Who doesn't? Miss Jeanette: I don't. All that pollution and technology, that's how demons travel. That's why I stay away out here in the woods, away from civilization. Rub it on you face. Tara: Are you serious? Miss Jeanette: You make sure to get around you eyes. That's the demon's doorways. Tara rubs on her face the potion she has in her hands. Miss Jeanette gives her a small bottle. Miss Jeanette: Drink. Tara begins to drink. Tara: Jesus, what the hell is it? Miss Jeanette: Snake juice. Tara: It's made from snakes? Miss Jeanette: No. it snakes down in you, coils around that evil and rapes it out. All of it. Every last drop. Tara continues to drink. Scene 3: Jason's basement - Amy, Eddie Amy takes blood from Eddie. Eddie (asleep): Jason? Amy: If I were you, I'd get my filthy mind off of him. What is it that you vampires say? "Jason is mine." Eddie: It's not like that. He's a good person. Amy: Are you implying that I'm not? Eddie: Well Jason isn't planning to k*ll me after I'm no longer any use to him. Amy: h*m* year of college, I walked away from an academic scholarship so I could go to this Guatemalan village, help build their first irrigation system so they could have fresh water, crops that didn't give them dysentery. So don't you dare get morally superior on me. I am an organic vegan, and my carbon footprint is miniscule. Because I know that, ultimately, we're all just a single living being. But you are not. She beats him on the shoulder. Eddie: What the hell? Amy: You got a clop forming. She beats him again. Eddie shouts. Amy: Here. Okay, I need tape to keep it at that angle. She opens a drawer and finds empty bottles of Tru Blood. Amy: Jason, Jason, Jason. Eddie: I was half d*ad. He only tried to help. Amy: He shouldn't told me about this. Why wouldn't he tell me about this? Eddie: I won't tell him if you won't. Amy: Withholding is tantamount to lying, and I can't have that in our relationship. This is so beneath us. Eddie: Jason lives you. He never cared about anyone before. He even thinks that you might be the one. Amy: You talk about me with him? And he said that? He said that he thinks that I might be the one? Eddie: Amy, if I die here, Jason will never forgive you even if he wanted to. He's not as evolved as you are. Amy: I know. Scene 4: Outside Bill's house - Sookie, Sam Sookie: A shape-shifter? Sam: Most of us refer to ourselves simply as shifters. Sookie: Well, how many of you are there? Sam: Thousands, tend of thousands, maybe. We don't exactly have a newsletter. Sookie: Do you come from, like, a family of shifters or something? Sam: It's hereditary, so yeah, I suppose. But... I was adopted. And the family that took me in... we just never talked about it. Sookie: Can you turn into anything, like cats, birds? Sam: Cats, sure. Yeah, I can do bird, but flying's hard. Dog's the easiest for me. People like dogs. Most other animals leave you alone. Sookie: I used to scratch your belly in the parking lot at the bar. Sam: That wasn't me, that was a real dog. I need a live animal in order to shift. You know, as a model. Kind like an imprint. Sookie: Can you turn into another person? Sam: Humans are too complex. Despite what you might see at the bar. Sookie: Can you do it any time, or what? Sam: Yeah. Yeah, but it wears off if I fall asleep. And on a full moon, I can't stop the shift. Sookie: Like a werewolf. Sam: We're not werewolves. Hey, werewolves are dangerous, nasty creatures. Do not call me a werewolf. Sookie: Werewolves exist too? What else is there? Sam: More than you could imagine. Sookie goes and seats on the stairs. Sam follows her. Sookie: I can't... Life is getting too weird, too fast. Could a werewolf have k*lled Gran? Sam: I suppose it's possible. Sookie: Oh, my God. Bill's been dragged off by vampires and now I find out you're something I never even knew existed. (She cries. Sam seats beside her and put his hand on her shoulder) Don't! Sam: I thought you would understand. Sookie (shouting): Why? Because I'm dating a vampire? Sam: You know what' it's like to live with a secret. Sookie: I don't hide who I am. She goes in front of the door. Sam (shouting): I wanted to tell you for years. Sookie (shouting): I kissed you. And I know you wanted to do more than that. Were you gonna tell me before or after? She enters in the house. Scene 5: In the woods - Tara, Miss Jeanette Miss Jeanette: Spit, smoke, root. Cleanse the body. Cleanse the soul. Snake, seek, search, find. Bring it to the light. The light. Tara: F***, my stomach. Miss Jeanette: It's angry. It's digging its claws so it can hold on. Don't you fight back. Let your body be the battleground. You let that demon destroy itself. Tara: I feel sock. Miss Jeanette: Let it go, let it go. Let it go. Let go of all that sickness, all that rage, all that anger, all that hate, all that self-pity. It's just fuel for the demon inside of you. Tara: F***. Tara vomits. Miss Jeanette: Come forth, demon. Leave this child in peace. Come into the light. Show yourself. Tara sees a small girl in the woods. Tara: That ain't real. Miss Jeanette: What's there? Tell me what you see. Tara: It's me standing right over there. It's me. Miss Jeanette: The demon will take on any form to stay alive. It knows your weaknesses. It preys on your fears. (She gives Tara a dagger) Only you can destroy it. Tara gets up and goes to the girl. Miss Jeanette: Don't let it fool you, Tara Mae. You stand up to that demon. Little Tara (to Tara): No, Mama, please, don't hurt me. Miss Jeanette (to Tara): One of you must die. Tara kills little Tara with the dagger. Little Tara disappears. Tara sees blood on the dagger. She cries. Miss Jeanette (coming to her): Good girl. Good girl, good girl. Good girl. It's all over now. That demon is gone forever. Scene 6: In Jason's bathroom - Jason, Amy Jason is in the bathroom, looking in the mirror when Amy comes. Amy: You spend more time on your hair than any man I've ever met. Jason: The trick is to make it look like you didn't do nothing. It's harder than it might seem. Amy: I don't think you need any help looking good, you know it. Jason: I think I might have had one too many beers last night. I feel like I been sh*t at and missed, shit at and h*t. Amy sits on the cabinet. Amy: We need to talk about Eddie. Jason: Okay. Amy: Well, I've been thinking. The way that we've been treating him, it's just really uncivilized, you know? Jason: Yeah. I do know. Amy: We can't let him go, of course but we can try to make things just a little bit more comfortable for him. Do you know what Stockholm syndrome is? Jason: It's a disease. Amy: Not exactly. It's something that happens to people who are kidnapped. It's like, over time, they start to get closer to their kidnappers. It's kind of like being part of a family. Jason: Really? Amy: All we need to do is make Eddie love us. And he already loves you. And eventually, we wouldn't have to keep him locked up. He could just be in the house with us like he's... Jason: Like a pet. Amy: Yeah. And we could travel with him. Jason: Yeah. Amy: We could sell his blood when we need money. And just live out of backpacks and see the whole world. We just need boots and a map. Jason: I ain't never seen snow. Amy: Tibet. We can climb the Himalayas. We can visit the Dalai Lama. Jason: And snowboard naked. Amy: Right, I gotta go to the store. I wanna get Eddie some Tru Bloods. Jason: Really? She kisses him. Amy: I love you. He kisses her. Jason: I love you too. Amy: I love you more. She leaves. Jason (looking in the mirror): Oh, my God. You are even better looking than you were yesterday. Scene 7: At Tara's house - Tara, Letti Mae Letti Mae is sleeping on the sofa when Tara comes home. Tara: Mama. Mama, wake up. Letti Mae: Baby, where you been? I've been so worried. Tara: I had the exorcism. Letti Mae: Tara, are you...? Tara: It worked, Mama. It worked. Letti Mae: Jesus answered my prayers. We're saved. They hug. Letti Mae: Both if us, saved. You did a brave thing, Tara Mae. I am so proud of you, my baby. Tara: My whole life, I thought you didn't... I thought... Letti Mae: I forgive you. Tara: get dressed. I'm taking you out to celebrate. Letti Mae: Anywhere you wanna go. How about Mamaw's Mudbugs over in Keachi? That too far to drive to? Tara: Are you kidding? I'd drive anywhere for you. Scene 8: Outside the Merlotte's - Sam, Sookie, Terry, Arlene Sam is putting the lanterns. Sam (to Sookie): Sookie, could you reach me up another box of lanterns? Sookie: I'm kind of busy right now setting up your bar. (To Terry) Thank you, Terry. You are so sweet and reliable. I always know what to expect from you. No nasty surprises. Terry: That's just because you don't know me very well. Arlene arrives. Arlene (to Sam): Oh, Sam. These lanterns are just precious. But they ought to alternate colors. Like boy-girl seating. Sam: But they're already in place. Arlene: Oh, it won't tale a minute to change. Sam: All right, Arlene. Arlene: Don't you think they should hang in little scallops, like a gingerbread house? It'll be more romantic that way, not like some hick barn dance. Sam: What do you want it to look like? Terry: A debutante ball. Arlene: Hug your neck. You know exactly what I'm talking about. I'll be right back. Thank you, Sam. She goes in. Sam: How did you know what she wanted? Terry: My cousin Portia was a deb in Shreveport when she turned 18. Every Bellefleur woman's been doing it since they started having them before the revolutionary w*r. Sam: It must be nice to come from such an old family. Terry: All families are old, Sam. Some just keep better records. Flash back: Sam is on the sofa, in his house, and there's a dog barking. Sam's mother: Sam, hush that dog up. What are you doing to get him so riled up? Sam is shaking, he falls down on the floor. Mother: Mitch, there's something wrong with Sam. Sam runs to the kitchen, then goes out, remove his shirt. Mother: Lord in heaven. He becomes a dog, in front of his parents, and leaves. End flash back. Arlene: Sam. Sam. Don't put the red ones next to the green ones. This ain't Christmas. (She begins to go. To everyone) Hey, get that dog out of here. Scene 9: Lafayette's house - Lafayette Actress (tv): Don't shut me out, please. Lafayette: Georgia, your replacement just showed up. (With an other actress) Thought you said you were gonna get rid of her quick. Actor (tv): B****, I love you, you scandalous w****. Lafayette: Take you man. Take his ass. Actress: ... and company. Lafayette sees from the window the senator coming Actor: Shut up. Shut up and get upstairs. Lafayette: You better walk down them stairs like: (he walks how she should do it). Lafayette goes to open the door. Actress: Oh, I forgot to tell you, Georgia. I saw the picture... Lafayette opens the door. Lafayette: Well, this as unexpected pleasure. Senator: Hey. Lafayette: Hey. The senator comes in. Senator: I can't stay long. Lafayette: Boyfriend, I can make you stay longer than you ever thought you could. Senator: Actually, I had something else in mind. Lafayette: What? The senator gives him money. Senator: A little V-juice? Lafayette doesn't take it. Lafayette: Sold out. (he lies on the sofa) What? AIn't nothing I can do. My supplier only comes out after dark, if you know what I mean. Senator: Damn it. I have a speech tonight. Lafayette: You got the stage fright? Senator: yeah. Lafayette goes near him. Lafayette: I could help you with that. (He takes the money) You know I can. Senator: I can't mess up my clothes. Scene 10: In Tara's car - Tara, Letti Mae Letti Mae is eating and Tara drinking. Tara: I love how Mamaw's Mudbugs is exactly the same as when we used to go there when I was little. Remember? Letti Mae: Yeah, until I lost my license. First thing in the morning, I'm going down to DMV. Tara: What's wrong? Letti Mae: I don't know. Maybe one bucket was enough. Tara: I told you not to suck the heads. Letti Mae: Oh, good Lord in heaven. Tara: Hold on. I'll find us a drug store get you some Pepto. Scene 11: At a drug store - Tara, Miss Jeanette Tara arrives and asks someone who works there for help. Tara: Excuse me. What aisle's the Pepto-Bismol on? Woman working: Aisle 7. Right over there. Tara: I know you. Woman: No, I'm sure you've mistaken me for someone else. The woman begins to go but Tara follows her. Tara: Miss Jeanette. Woman: No. I'm needed up front, ma'am. Tara: No, I know your face. Don't run away from me. Tara catches her and removes her wig. Woman/Miss Jeanette: Hey! Tara: You took advantage of my mama. Miss Jeanette: Don't touch me. Tara: Don't touch you? I ought to k*ll you, b****. Miss Jeanette: I will call the police. Tara: Go ahead. Tell them how you charged me 800$ to spit in my face and poison me. You know what? I'll call them myself. Miss Jeanette: Wait, wait. Tara: What was in that shit you gave me, that snake juice? Miss Jeanette: Ipecac syrup and a small amount of peyote. It's perfectly safe. Tara: I puked my guts out. I hallucinated s*ab a little girl. What the f*** of person are you? Miss Jeanette: Look. I got a son in prison, another one in Iraq. I got a daughter with diabetes, and three grandbabies I gotta take care of. I do what I have to for my family. Same as you. Tara: I actually believed you had fixed me. Oh, my God, I am such a f*cking dumb-ass. Miss Jeanette: Listen. Just because Miss Jeanette ain't real doesn't mean she can't help people. You saw how it worked for your mama. She still sober? Tara: Once she finds out about you, she'll be drinking again. Miss Jeanette: Well, maybe she don't have to find out. Faith's a powerful thing. Tara leaves. Tara: F***, f***, f***. Tara joins her mum in the car. Letti Mae: You get something for me? Tara: They're out. Scene 12: Outside the Merlotte's Arlene and Rene are dancing. Sookie is alone, on a chair, drinking when Terry comes. Terry: I'd ask you to dance, but I don't dance. Sookie: Thanks anyhow, Terry. Sometimes, crowds makes me feel guilty for not having fun like everyone else. And then I feel guilty for feeling guilty. Terry: Guilt is a useless emotion. Or so I've heard. Sookie: I just wish Bill was here. Sookie: There's some d*ad people I wish was still around too. Scene 13: At the vampire tribunal -the Magister, Bill, Eric, Luisa, a vampire, removes one fang from the vampire. Magister: I****. You fed on a human that belonged to another. Three months of starving till your fangs grow back will teach you better manners. Brothers and sisters of the tribunal, is this fair? Is this just? The vampires: Yeah. Magister: Now, Luisa, the other one, please. From the root. She removes the other fang. Magister: Sentence passed and ex*cuted. The trial is concluded. Best of luck. Moving on. This looks interesting. Eric Northman, sheriff of Area 5. Eric: Magister. Magister: Well, then. Bring me your m*rder. Scene 14: Jason's basement - Jason, Eddie, Amy Jason helps Eddie to drink Tru Blood. Jason: It's nice not to have sneak it to you no more, ain't it? Eddie: Yeah, it is surprising. Jason: See? I told you Amy wasn't a psycho. The more time you spend with us, you'll see she's an amazing woman. Eddie: What made her change her mind? Jason: Well, she wants you to live with us, like a part of the family. I do too. Eddie: She tell you about finding the Tru Bloods you brought me? Jason: You're lying. Well, what did she say? Eddie: She said that withholding was tantamount to lying and that your relationship was better than that. Jason: F***. God, that even sounds like her. Eddie: She's playing you, Jason. Jason: No, she is not. Ain't nobody plays Jason Stackhouse. Eddie: If you don't let me go, she's going to k*ll me. Jason: She would never do that. She's a... Eddie: Psychopath? Amy's voice: Jason, we're late. Jason: Yeah, I'm coming. Amy comes down. Amy: Bye-bye, Eddie. We'll see you in a few hours. I was thinking we could bring one of the TVs down here. Does that sound good? (To Jason) Come on. She leaves. Jason: You're wrong about her. Jason leaves. Eddie's phone rings. Scene 15: At Eddie's house- Lafayette Lafayette (on the cell): Eddie, where you at? I'm at your crib. The door was wide open. This is f***** up as f***. Call me when you get this message, b****. (He closes his phone) Jason F****** Stackhouse, you bigmouth motherf*****. Scene 16: Outside the Merlotte's, at Arlene and Rene's party Arlene and Rene are dancing. Arlene: Honey, let me set a spell. I'm sweating all over this dress. Rene: What, you won't dance with me? That's a fine thing at your own fais do-do. Arlene: Go ask Sookie to dance. The poor thing's got nobody here. Everyone's afraid of her. Go on. Sookie is alone, and Rene goes to her. Rene: You look lonely as a cloud. Ain't right. Sookie: Why, thank you, Rene. Arlene is a lucky lady. They dance. Rene: Not everyone likes a coonass like me. Sookie: I do. So does Bill. Rene: I don't have nothing against vampires, you know that. But you're a good girl, Sookie. I think you deserve better. Sam: Mind if I cut in? Rene gives Sookie to Sam and leaves. Sookie and Sam dance. Sam: Okay, truce? It's not fair you being mad about something I can't help. Sookie: I'm mad that you didn't trust me enough to tell me. You hid the most important thing about yourself. Sam: So what? You're with Bill now. Sookie: Yeah, and you're with Tara. Another thing you didn't tell me. Sam: There's nothing to tell about. Sookie: Oh, does she know that? Or the fact that you can turn yourself into a dog? Sam: It's none of her business. And you know what, I didn't tell you because I knew this is how you'd react. But you're right. I didn't trust you. I trusted my instincts, and they were d*ad-on. He leaves. Jason and his friends are talking and laughing when Amy comes. Amy: I think I'll get another beer. Do you guys..? You want one? Hoyt: Oh, no. Amy: Babe? Jason: Oh, no. I'm fine. She leaves. Hoyt: I think she's my favorite girl you ever dated. Where'd you meet her at? Jason: It's kind of embarrassing. Fangtasia. Rene: What? The f*** you doing there? Hoyt: The vampire bar? Jason: The only reason I went there was because there was this band playing that I like. Rene: You one brave motherf***** going there to see them play. Jason: It's just a bunch of losers wearing black. Amy and I could tell y looking at each other we didn't belong there. The one thing sort of led to another. Never did see the band. Hoyt: Oh, Gid, I wanna be you. Rene: So this is it? She the one who's gonna take Jason Stackhouse off the market for good? Jason: I don't know. Rene: Now, what you waiting for? Life is short. You find a good one, you keep her. Jason: You're right. I never felt this way about any girl before. I think that's maybe why... (lower) I think I lost the upper hand in the relationship, you know? Hoyt: That sucks. Rene: What sucks? You take it back. Jason: Take it back? Rene: Take it back. You say "Woman, this is what I want. This is the way it's gonna be" and if she don't like it, deep down she'll respect you. She can't help ot. It's her DNA. Hoyt: Well, well, now I want to be you. Jason: F*** you. Rene: Hey, and if she don't respect you? She ain't someone that you wanna be with anyway. Okay? Rene leaves. Hoyt: He's right. Maxine comes. Maxine (to Hoyt): I've been keeping an eye on you, Hoyt. That is your third beer, and that is two too many. You set that down. Right now. Hoyt: You know, I plan on having about six more beers. And enough tequila to drown a Mexican sea captain, woman. Excuse me. Scene 16: The vampire's tribunal - Magister, Bill, Eric Bill: Longshadow was choking the girl and would have k*lled her. Magister: So you m*rder a higher life form for the sake of your pet. You broke an ancient and fundamental law. You decreased our numbers at a critical time on our history. Very bad. Very, very bad. Bill: Magister, Longshadow broke the law first. She was mine and he knew it. He would have k*lled her and fed from her. Magister: Hello, human. Irrelevant. Happens every day. Bill: He was stealing from Eric. Magister (to Eric): Sheriff? Eric: Yes, Magister, it's true. Longshadow was a thief and a liar. He was hurting my business. Magister: The business part, that is a serious offense. Bill: And it was the human who exposed Longshadow. Would you tell him, Eric? Eric: The only reason the girl was there was because I called her. Bill: To protect your wealth. Eric: To protect my wealth, yes. Magister, she is... valuable. Magister: Humans exist to serve us. That is their only value. Bill: There are those among us who think differently. Magister: Do you question my authority? I am the Magister. I was trained in the Inquisition and I am the adjudicator for every vampire territory in North America. As the humans say, the humans you love more than your own kind: Back your s*** down. Bill wants to speak. Eric: Bill. Magister: Well, you haven't bored me. That works in your favor. And you seem to be obedient to your sheriff. Eric: For the most part. When it matters, yes, he is. Magister: The usual sentence is five years in a coffin chained with silver. During which time your body will waste to leather and sticks. You'll probably go insane. However... I'm feeling a bit... creative. Scene 17: Arlene and Rene's party Hoyt, Rene and Jason are playing. Arlene, Sookie and Amy are talking, seated around a table. Arlene: You know what I live most about Rene? Aside from his fine little Cajun butt. He's good to the kids. He's good to me. All the rest were fixer-uppers. But Rene, he's solid all the way to the foundation. I can count on him. And I've never had that in all my life. Amy: I know what you mean. I mean, I never knew I could have something like what I have with Jason. I'm not about to let anything destroy that. Sookie: I don't know anyone can trust anybody these days. They're always keeping things from you. You don't even know who people are or what they are. Amy: Well, you know what I love about Jason? Everything is just right there on the surface. You never have to wonder what he's thinking. Sookie: Yeah, because he ain't thinking. Arlene laughs. Tara arrives. Tara: Hey, girlfriends, what's up? Arlene: Tara. You look... You look great. Tara: Prom night, 2000. I ain't wore it since. Amy: Well, it still fots you. Sookie: Tara, come here. They go aside. Sookie: I've never seen you like this. Is this because of Sam.? I saw you. In his office. Why didn't you tell me? Tara: It's none of your business. Sookie: I'm just not sure that dating Sam is such a good idea. Tara: Well, at least he doesn't drink my blood. Sookie leaves. Tara: Sookie, Sookie. Sam: Oh, hey, Andy. You want a beer? Andy: I don't drink. Sam: Okay. Andy: Had me a very interesting conversation with a man at the naked community over in Beaumont. That's right, I already told you. Last night. Before you ran off to avoid talking to me. What's your story, Merlotte? Who's you people? Sam: I was adopted. That's the truth. At 15, I was on my own. Andy: Fifteen, huh? Where'd you go? Who took you in? I need to know what your life was before you brought up property in Bon Temps and women started getting k*lled. Sam's Flash back: He's 15. He arrives home. The door is open. The home is empty. Sam: Mom? There's nothing in the kitchen. His room is still the same, with all his things. End flash back. Andy: Sam. Sam. Where the hell did you come from? Sam: I come from the same place everybody comes from, Andy. Andy: I been checking up on you. You got no records before you moved here. Nothing. No taxes, no social security, no credit card bills, no previous address. Tara arrives. Tara: Jesus f***, Andy. Andy: S***. Tara: Don't you ever get tired of being in everybody's way? Andy: I'm gonna have to pay for dry cleaning. Tara (to Sam): Hey, baby. She hugs him and kisses him. Sam: Whoa, hey. Look at you. Tara: Listen. I have a situation. A very serious situation. And I need your help with it. Right now. Andy: I'm here on official police business and we're in the middle of a conversation. Tara: Well, let me wrap it up for you. He doesn't know anything. He didn't do anything. And he doesn't give a s***. Come on Sam. Sam and Tara leave. They are in Sam's office. Tara kisses him but he stops her. Sam: How much have you had to drink? Tara: Quit acting like my d*** boss and just f*** me, please. Sam: Hey, did you have that exorcism? Tara: Can't you be a normal guy and go with it? Sam: Because I'm not a normal guy. Tara: Well, who the f*** cares? Sam: Damn it, Tara. I'm a person. I'm not a prop for you to use every time you need to feel better. Tara: Sam, please. I'm not right. Sam: You're not the only one with demons. Well, what the f*** do you want from me? Tara: I don't want a g*dd*mn thing from you. I don't want nothing from nobody. She leaves. Lafayette arrives to the party and goes to Jason. Lafayette: I told you to keep your g*dd*mn mouth shut. Jason: Hey. This is my good shirt. And yeah, I kept my mouth shut. Lafayette: My supplier. He gone. He f****** missing. If other vampires find out I been selling, the same s*** is gonna... You understand? The same s*** is gonna happen to me. Jason: You got nothing to worry about. Lafayette: B****, you think life is just this one f****** game that you always win no matter how many d*ad folk are piling up around you. Maudette. Dawn. Your grandma. And I tell you one f****** thing: I ain't gonna be next, b****. On my mama, motherf*****. I ain't gonna be next. F******... Lafayette leaves. Scene 18: Vampire's tribunal - Magister, Bill, a girl Magister: You have no nest. You prefer to consort with humans. You seem to have lost all sense of our priorities. William Compton, you owe us a life. Luisa let go out a girl from the trunk. Girl crying: No. Bill: No. Girl: Oh, precious Jesus, God, save me, save me. Make it all a dream. Bill: Put me on the coffin, Magister. I will go willingly. Girl: Please, it's the first time I ever snuck out. I just wanted to go to Ashley's party. I only ever get to go to youth choir and prayer group. You take me home, I won't say a word to Mama and Daddy or anybody. Please, please, just help me. Magister: There's no help for you, child. Meet your Maker. Girl (to Bill): Please. Please don't let them k*ll me. Please. I don't want to die. Scene 19: Arlene and Rene's Party Arlene: Honey, you seen Sam? We're out of ice. Sookie: I'll get it. I could use break from all this anyhow. Sookie leaves. Arlene: Well, thanks for having such a great time at my party. Sookie goes in the Merlotte's. She puts ice. The light turns off. Sookie: Hello. That's not funny. She has a vision of a woman being strangled. She's behind the bar. Someone arrives in front of her, she screams. He tries to strangle her. He throws ice on him and runs till a room and hides. He comes in. She has the vision of the woman, d*ad. He runs after her but she escapes. She arrives at the bar's door and there's Sam. Sam: Sookie, it's me. Sookie. Hey. Hey. Sookie: He's in there. He almost... Sam: What, what? He wants to go and see. Sookie: No, no, no, please, please don't leave me. Don't leave me. Please don't leave me. Sam: Okay, okay, okay, I won't. I won't. I promise. Scene 29: On the road - Tara Tara is driving, crying and drinking. She sees a woman naked and a on the road. Tara: What the f***. She makes an accident. Scene 30: Jason's basement - Jason, Amy, Eddie Amy: If you wanted to feed him, we should've talked about it first. Jason: I don't need your f****** permission. Amy: Jason, if we don't trust each other, how is he ever gonna trust us? They go down in the basement. Jason: This ain't a game. I don't want him ending up d*ad. Amy: Oh, God, Jason, come on. He's gonna k*ll us. Jason: No, he won't. I'm gonna let him go, don't even try to f****** stop me. He begins to liberate Eddie. Eddie: Jason... Amy: No, please, don't. Jason: Get out of here! g*dd*mn. Eddie: Please, hurry. Jason: Yeah, I'm coming. Eddie: Please. Jason: I'm coming. Don't tell me what I can and can't... Amy takes a wood and kills Eddie. Jason: F***. Scene 31: Vampire tribunal's - Bill, Magister, Jessica, Luisa Bill: If you want to t*rture anyone, t*rture me. Magister: t*rture? This? I don't think so. I could show you t*rture, if you like. Bill: No. no, I was wrong to speak. Magister: You can quit stalling. What you see in this cow, Mr. Compton is merely a response to stimuli. Humans are quite... primitive... incapable of feeling pain as we do. But you know that. Luisa. Luisa brings the girl to Bill. Girl crying: The Lord is my shepherd, I shall not want... I can't remember what's next. Magister: According to our records, you have never been a Maker, is that right? Bill: Yes. Magister: But you know the procedure? Bill: Yes. Magister: Then proceed. Bill seats near the girl and take her hand. Girl: Are you a Christian? Bill: I was. Girl: I'm a good girl. Jesus will take me home to heaven. Bill: What's your name? Girl: Jessica. Bill: Look at me, Jessica. You're safe now. Look in my eyes. Everything will be fine. Magister: I hate to interrupt but glamour is not permitted. Bill: She's just a girl. Magister: You are boring me. Shut up and do as you're told. Bill (to Jessica): It's all right. It's all right. Jessica: No, let go. No, no. let go of me! No! Stop it! Stop! No! Bill: Forgive me. Jessica crying: No. Bill bites her.

{"type": "series", "show": "True Blood", "episode": "01x10 - I Don't Wanna Know"}

foreverdreaming

Scene 1: In the woods - Bill, Pam, Jessica Bill is hollowing out a dig in the ground. Jessica is unconscious. Pam is looking at Jessica and playing with her dress. Bill: Would you leave her alone? Pam: It's your own fault. You and your insane affection for stupid cattle. Bill: Just go away. Pam: I wouldn't have to be here if the Magister could trust you. Bill: I fulfilled the conditions of my sentence. I m*rder this innocent girl. Pam: There was no m*rder. You drained her blood and gave her yours. Bill: I've proven my loyalty. Pam sits on a trunk. Pam: Yes. But you're romantic, you're sentimental. You just might do something to keep the little bloodbag from joining our ranks. I'll follow my orders. I won't let you stake her before she goes to ground. Bill: I'm not gonna stake her, I'm gonna set her free. Pam: You've already set her free. The same as Eric freed me. Bill: Everyone she's ever known will recoil from her. Everything she's ever loved has been stolen from her. Pam: Oh, please, there's no comparison. You've given that pathetic lump a temporary flesh... Bill: Jessica. Pam: ... the ultimate gift. You're a maker. You're a hero. Bill: I find myself doubting whether you were ever truly human. Pam: Thank you. She pushes with her foot Jessica in the whole. Bill: D*** you. Bill goes in and lay Jessica. Pam: Once she's planted in the earth, the transformation will begin. Bill: I know. Pam: I'll tuck you in. (He lays near Jessica) Tomorrow night your little girl will rise a vampire. Credit Scene 2: Sookie's house - Sam, Sookie Sam is in Sookie's saloon. He tries to call Tara. Tara voice: This is Tara. Leave a message. Easy stuff. Sam: Hey, Tara, where you at? At least let me know you're not drunk in a ditch somewhere. I'm sorry I take it back. Just call, okay? Sookie arrives. Sam: Hey. Sookie: I had to put those clothes on the wash. It felt like the k*ller was all over me. Watching me, hating me itching for a Kn*fe or a rope or my neck. Sam: You didn't get any sense of who it was? Sookie: No, just pictures. His thoughts were all red and black and snarly. But there was something familiar. Sam: Like somebody from Bon Temps? Or somebody from the bar? Sookie: No one I could recognize for sure. Sam: Look, I think we should call the police. Sookie: And what would I say? "Sheriff Dearborne, Andy Bellefleur, I saw a woman die. I just had to be in somebody else's brain at the time"? Sam: Did you get a good look at her? I mean, what was she like? Sookie: Young, pretty with an apron. Sam: Apron. You mean like a mom? Sookie: More like a waitress. Was there a nametag? Maybe. Sam: Yeah. They sit on the couch. Sam: What did it say? Sookie: I don't know. I was looking at her eyes. She was so surprised. Sam: Well, do you wanna call Bill? I mean, that might make you feel better. Sookie: No. he would've felt how scared I was.he would've known I was in danger. If he didn't show up tonight he's not coming back. Sam: Hey. Sookie: You hear from Tara? Sam: No. Sookie: Well, good night. Sam: Night. She leaves. He charges the g*n. Scene 3: On the road of the accident - Kenya, Tara Kenya: A woman. At 2 in the morning. Tara: Standing there naked, f****** with my head. Kenya: And she was with a pig? Tara: A big pig. Like, you, know, like a crazy-ass motherf****** Bunyan pig. Kenya: Tara, tell me the truth. Tara: That is the truth. Kenya, I'm an excellent driver but you can't prepare a naked lady and a hog in the middle of the road. Now, you know that. Kenya: I know you drunk, that's what I know. Tara: Drunk? I'm not drunk. One beer. Kenya: Coming from Arlene's party with an open bottle. Tara: What bottle? Kenya: The one busted in your car. Tara: That's not my bottle. Kenya: Then you wouldn't mind a sobriety test. Tara: Hell, no. Bring it. Kenya: Step away from the vehicle. Stand with your feet together. Stand with one foot in front holding the other one 6 inches off the ground, parallel to the ground. Tara: Let's try that again. Kenya: What is the matter with you? You know, you turning into Letti Mae. Tara: F*** you. Kenya: I am a sheriff's deputy now. Tara Thronton, don't you go there with me. Tara: Kenya, sister, the only place I wanna go is home. Kenya: Well, sorry, not tonight. Tara: No. It' not fair. It's not my fault. Kenya: I will cuff you. Tara: But the lady and the pig, that was real. Kenya: Yeah. Just watch your intoxicated head, please. Scene 4: Jason's basement - Jason, Amy Jason is in the basement. There are only blood and clothes left from Eddie. Amy arrives. Jason: Jesus f****** Christ. S***. F***. Amy, what did you do? Amy: I did what we had to do. Now, come on, wipe up. Here's a towel. There's more rags. Come on. Jason: Who the f*** are you? Amy: How can you say that to me? You know who I am. You know better than anybody. Jason: I thought I knew. I told you to let him go. Amy: Well, I told you not to talk to him. He was controlling your mind. Jason: B*******. Amy: Yes. Jason: No, not Eddie. He didn't know how to do that yet. He trusted me. It was gonna be all right. Amy: God, it was never gonna be all right. From the minute we took him you knew it'd end like this. You just couldn't face it. Jason: I didn't think it would f****** end like this. Amy: You wanted his blood, bad. You were with me the whole way, so don't act like this is all my falt. Now, I said to clean up, so clean up. Jason: Yankee b****. Amy: D*** f****** hillbilly. They begin to clean. Jason: God. Jason throws out. Amy goes and seats near him. Amy: Listen. It's okay. It's gonna be all right. We just gotta keep our shit together. Jason: We k*lled a man. Amy: No. Jason: Yeah. Amy: For the last time, he was already d*ad. He was not a man. He was a predator, only we got him first. So don't do this, okay? Don't let a vampire come between us. Jason: No. I guess not. Amy: Because what we have, Jason, it's beautiful. Jason: Yeah. Yeah. Scene 5: Sookie's kitchen - Sookie, Sam Sookie is reading the Yellow Pages when Sam comes. Sam: Good morning. I didn't know you were up. Sookie: Eggs and sausage, warm in the oven. Sam: Oh, thanks. You already eat? Sookie: Too busy. Tara call? Sam: Not yet. Probably still sleeping it off. Sookie: I'll tell you what, I an sick and tired of waiting around to get strangled. Sam: That's not gonna happen while I'm here. Sookie: You can't spend 24 hours a day with me for the rest of my life. Sam: Sure I can. Sookie: I wanna find that guy before he finds me again. Sam: So you're looking up K*llers in the yellow pages? Sookie: No. I remembered. In my sleep, I remembered. Sam: What? Sookie: The girl I say. Her clothes, the apron, it was a uniform. She was a waitress and there was a tag. Her name was Cindy. And the restaurant name was something about pies. Party Pies or Patty Pies. Sam: Wait, you mean Big Patty's Pie House? Sookie: Yes. Sam: Well, yeah, I know Big Patty's. it's off I-49, a way south, near Bunkie. Sookie: You don't have to come with me. Sam: Yeah, I do. Come on, eat up, you need your fuel. Sookie: I'm not hungry. Sam: Don't sass me. Sookie: You're not the boss of me. Oh, right, you are. Sam: Yeah. They eat. Scene 6: Jason's kitchen - Jason, Amy Amy: Hey, you. Going to work? Yeah, me too in a second. Look I wanted to say I'm really sorry. He puts the bottle of V in a garbage bag and throws them it on the ground. Jason: We are done with this shit, do you hear me? Done. I want every drop out of my house. And if you don't like it, you can pack your g*dd*mn bags and go. He leaves. Amy: Love you. Scene 7: Merlotte's - Lafayette, Terry Tv animator: We caught up with Senator David Finch Speaking to the Marthaville Order of Visionary Southern Gentlemen as he embarks on his campaign for the U.S. House of Representatives. The MOVSG has announced that they are... Lafayette: He has what? He didn't tell me that. He turns up the sound. Senator at the TV: Equal rights for vampires? I don't think so. Many of them are foreign immigrants. Lafayette: What the f***? Senator: Taking our jobs and our women. And their very blood turns our children into addicts, drug dealers and h*m*. No vampire and none of these vampire-loving deviants deserve any rights at all. Lafayette: You's a lying-ass motherf***. Two-faced son of a b****. Tv: ... managed his family's hardware store. Lafayette to Terry: Did you hear what he just said? Terry: I can't listen to politicians. I get a seizure. Tv animator: Senator Finch will be shaking hands tonight at the Remington Hotel in Monroe. And offering... Lafayette: That's good to know. Terry: Can we put it on my home-décor program? Amy arrives. Tv animator: Senator Finch has increased the intensity... Terry changes the tv program. Tv: But look. Just by adding shelves. This is just plain plywood... Lafayette (to Amy): Oh, darling, you looking a little used up. Jason dragging you into his bullshit? Amy: I have no idea what you mean. She leaves. Tv: Right inside. Lafayette: Terry? Terry: Yeah. Lafayette: Why is everybody telling me lies today? Terry: I got no idea. Look at that, Lafayette, theme shelves. Lafayette: Oh, that's pretty, baby. Would you work for me tonight? Scene 8: Big Patty's - Sookie, Sam, Harley, Buster Harley (Waitress): No ma'am, no, sir. I don't know any Cindy. But I can recommend the fried apple pie, the froze Hawaiian pie, the chocolate pecan praline pie, the chess pie, the seven-layer Jell-O pie. A client: They'll have the peanut butter pie and the Spunky Hollow honey pineapple pie. Please, Harley. Harley: Gotcha, Buster. Sam: We will? Buster: You won't get nothing from her. She's only been here two weeks. Comes from three generations of dumb as rocks. Hell, they named her after a motorcycle. Sookie: That's real interesting, but... Buster: If you wanna know anything about Cindy Marshall, I'll talk to you. And I'll eat that pie too. Buster Boisseau. Sookie: Sookie Stackhouse, Sam Merlotte. Hartley brings the pies and Sam and Sookie seat at the bar. Sam: Yeah. Can you tell us...? Buster: First thing first. (He eats) Sookie: You knew Cindy? Buster: A little bit. Let's see, I met her two years ago. She moved into town with her brother a couple of months before... Sam: Before what? Buster: Well, I hate to be the one to tell you, but somebody m*rder that little gal. Just choked the life right out of her. Sookie: Poor thing. Did they find out who did it? Buster: Nope. It's a mystery. Sookie: Where's her brother? Could we talk to him? Buster: Don't know how. He was gone by the time they found her body. The police thought maybe he's d*ad too or maybe he k*lled her. But there wasn't no evidence one way or the other. Sam: What was his name? Buster: Let me think on that. Nobody hardly knew him. Let's see, D something. Dave. Drew. No, Drew. Drew Marshall. Sookie: What was Cindy like? Buster: Oh, cute as a button, a little wild, fun-loving, always nice to me. But people talked, you know. Sookie: Talked about what? Buster: Vampires. They say she was carrying on with the vampires. I didn't believe her. I mean, what kind of woman would do such a thing? Harley, this is the Texas Special Sawdust pie. Nobody ordered that. Sam (to Sookie): Well, it's not much. Sookie: We got a name. Scene 9: The police station - Tara, Kenya Tara talks to her mom on the phone and Kenya is looking at her. Tara: Mama, please don't cry. It was only a little accident and I didn't get hurt much. Well, no, I wasn't drunk, but they think I was. Mama, quit yelling. All I need is bail money and a ride home. There's no reason to cry. Scene 10: On the road - Jason, Rene, Hoyt Jason: What do you mean, no? Y'all pussies? Let's go pound some beers. Hoyt: Can't. Mama's night blind and I gotta take her to a baby shower in Shreveport. Jason: Night blind, my a**. She's got these apron strings wrapped around your throat, boy. Cut her loose. Come party with the menfolk. Hoyt: I wanna go, Jay. Rene: What you gonna do at a little baby shower? Hoyt: The food's good, the games are fun. You know, like Pass the Orange? And if the ladies start screaming like they always do, I'll just go for a little walk. Jason: Well, that's just plain sad. (To Rene) It's you and me, brother. We'll play some pool, I'll buy you a po'boy. Rene: Sorry. Me and Arlene, we got a date to dance. Jason: Well, I'll come with you. Rene: You won't. It's a date, I said. Me and my woman. Jason: All right, fine. F*** it. I'll party on my own. Hoyt: What do you want with us when you got Amy? God, she's good-looking. Jason: Well, I'm gonna tell you something, but you can't say nothing to nobody. You got that? Amy likes V. Hoyt: Vampire blood? No, I don't believe that. Rene: It's not a joke? Jason: Nope. Hoyt: Then you gotta help her stop. That's it. Set her straight. Jason: I'm trying, you know, but she's hooked or something. There's only so much I can do. Hoyt: She sleeps with vampires too? Jason: She says she never did. But these days, it's hard to find a woman who ain't been bit. Hoyt: Do you love her? Jason: Yeah, but I don't like this V s***. We had a terrible fight. She might be gone already, and if she's not, maybe I ought to dump her. Hoyt: Man, don't do that. She's the kind that you keep. Rene: Look you didn't even try to work it out yet. So tomorrow night, we go out, get drunk, pass a good time. We'll figure out what to do. Jason: Yeah, that makes sense. Thanks. Rene: Okay. Hoyt: Hang in there, bro. Jason: All right. Rene: Okay. These things, they got a way of working out, you know? Jason: I hope you're right. Hoyt: All right. Night. Jason: Night. Rene and Hoyt leave. Scene 11: Police station of Bunkie - Sam, Sookie, police officer Sam: Hello? Police officer: Hold your horses. Officer thoughts: Can't call it adultery if a wife won't have sex. At least Debbie's a Christian. Sookie (to Sam): Give him a second. He doesn't think so quick. Sam: Hello? Officer: Yeah. Sookie: Hello, officer. Sir. I'm sorry to bother you. Officer: No bother. No bother at all. I was just... Police radio, voice: Tom's coming up to that T.C. on Terra Ridge, about 5 miles out. Officer: Are those vampires bites? Sam: With all due respect, sir, that's none of your business. Sookie: Sir, we're looking for information. Officer: Yeah, well, that's what the library's for. Sam: It's about Cindy Marshall's m*rder. Officer: What about it? Sam: Well, there have been m*rder like hers in Renard Parish. Bon Temps, to be exact. Hadn't you heard? Officer: Can't say. Sookie: She had a brother, Drew, I was told. Officer: Could be. Sookie: Do you have a picture of him? Officer: What for? We don't know he did it. More likely a vampire. Sookie: I don't mean to tell you your business but a vampire wouldn't k*ll by strangulation. Officer: Well, I guess you'd know. Good riddance to white trash is all I got to say. Sam: Buddy, you're out of line. Sookie: He can say whatever he wants. It doesn't bother me a bit. Just hand me a picture of Drew Marshall and I'll go away quiet. Officer: Well, that file's in storage. It's gonna take a while to get it, probably months. Sam: Come on, Sookie, he's not gonna do s*** for us. Sookie: Oh, I think he will. All right, then, we'll go to the library and I'll get your home address. Shouldn't be too hard to track down your wife. Officer: My wife? Sookie: So I can tell her you're sleeping with Debbie. Sam: Yeah, Debbie. Sookie: From church? Officer: You... how did...? Sookie: And the Vampire League of America will surely wanna know about your attitude. Officer: Now, now, hold on a minute now. Hold on now. I can't just give you the photo. What I might do is fax it on down to the sheriff in Bon Temps. Sam: Fast. Officer: Yeah. Do my best. Sookie: That's all we ask. Thank you so much for your cooperation. Scene 12: Remington Hotel - Lafayette, Senator Finch, Lurlene The senator shakes hands. Senator: My pleasure. A woman: Lurlene Butterman. You know, I cannot wait to vote for you. Senator: Well, bless your heart, Lurlene. And you know, I cannot wait to represent your views in Congress. Thanks for coming by. Lurlene: I would like to say... Lafayette: Move ahead, young woman. The senator got many admirers. Senator: Hello. Lafayette: Hello. I am so happy and proud to shake the hand of someone with your values. Too often we're governed by criminals and hypocrites, don't you agree? But I can tell you're a man of virtues. And I applaud the effort you're making against the poor and disenfranchised especially the vampires and the gays. Senator: Thank you. Next. Lafayette: So many things can happen to bring down a fine personage such as yourself. You might wanna be careful, you hear? Senator: Yes. Man: Look at the camera. Senator: No. The man takes a picture of the senator and Lafayette then Lafayette leaves. Senator: Thanks for coming by. Scene 13: Jason's - Jason, Amy Jason arrives home and the table is set for two persons. Amy: Did you have to work late? It doesn't matter. I just... Jason: No. Amy: No? Jason: I didn't wanna come home. Amy: Okay. Jason: I was afraid you might have left. Amy: No. No, this is where I wanna be. I wanna be with you. Jason: But you can't stay if... Amy: I did what you said. It was all my fault, Jason. I'm so, so sorry. Jason: Did you make dinner for me? Amy: I'd do anything for you. Jason: Come here. They hug. Amy: I'll make it right. Scene 14: In the woods - Bill, Jessica Bill waits, seated to Jessica to come out from down the ground. Jessica: Help me. She screams. Scene 15: In the car, on the way back to Bon Temps - Sam, Sookie Sookie: Why's the say home always longer than the way there? Sam: Now that'd be philosophy and I'm a simple guy. Sookie: What a load of horse pucky. Simple is one thing that you are not. Sam: I disagree. I may be a shape-shifter but I want what every man wants. You know? A good life, a good woman. Sookie: Do you love Tara? Sam: You know, I like her a lot and I care about her, for sure. I've been trying to love her, but she doesn't make it easy. Sookie: Well, she can't help it. When you've never had much love... Sam: Oh, I know. I know. Believe me, I know. But it's... it's not working. You know, we're friends, is all. I mean, I'm not so easy to love either. Sookie: You're wrong. Sam: I am? Do you love Bill? Sookie: I think I do. But where is he? If vampire politics are more important to him than me... I don't know. I'm so mad at him, I could spit. Sam: I can see where you would be. Sookie: I'm sorry you're having do drive so far. Sam: I don't mind. I love to ride in the car. Sookie: Of course you do. Go on, hang your head out the window if you feel like it. Sam: Okay, I appreciate that but it's a private pleasure. Sookie: One day when all this is over, I'm gonna save up. We'll rent a convertible, we'll take it to the gulf. Lie on the beach, bake in the sun. Sam: It's a date. Sookie: Do you know any car songs? Scene 16: Jason's - Jason, Amy Jason: Damn, woman. Where'd you learn to cook like that? Amy: From the maid. She was French. Hey, if I show you something you have to promise that you're not gonna get mad. Jason: I'm never gonna get mad at you again, never ever. Amy: Promise? Jason: Yeah, I promise. She shows him a vial of V. Amy: I saved one drop. Jason: Motherf*****! Amy: Babe, please don't flip. They go in their bedroom. Amy: We both know that we're for real. We're gonna have a life together. Jason: So, what are you doing with that? You're k*lling me. I can't trust you for a second. Amy: You can trust me totally, for always, I swear. It's just that I want symmetry. Jason: Now, what the f*** is that? Amy: Balance, harmony, beauty. Jason: Oh, for crying out loud. Amy: Baby, this vial is our past. We started with V so we should end it with V. Like just closing a circle. So we can start a new circle, our new life together. I'm through with the blood. It's only a symbol. But the circle, I mean, that's what's important to me. Never mind. I'm gonna go by myself. Jason: Well, I'm not gonna let you do that. But this is the last f****** time. Amy: Last time. Cheers to our future, baby. She drinks the V and they kiss. Scene 17: In the woods - Jessica, Bill Bill: You drank from me. Your blood was replaced with mine and then I shared my essence with you when we slept together in the ground. No, no, no, not intercourse. Jessica: You just said "intercourse". Bill: It's tradition, it's part of the process. It's magical. Even we don't fully understand how it works. Jessica: Well all I know is, staying out all night like this, my daddy's gonna whup you good. Mister, you better get me home right now. Bill: Jessica, stop. Jessica: No. Bill: Stop. Jessica: Hey. Why? Bill: Because we need to talk. Jessica: Why? Bill: There are things you must learn. Jessica: Why? Bill: Because you're no longer human. Jessica: Why? Bill: As I've been trying to explain to you at length, you have been made vampire. Jessica: Why? Bill: Because you were unlucky. Because life and death are unfair. Because of me. You cannot go home. That part of your life is over. Jessica: No more Mama and Daddy? No more little sister? Bill: I'm sorry. No. Jessica: No more belts. No more clarinets. No more home school. No more rules. I'm a vampire. Waw. Bill: No, no, no. There are rules. That's what I've been trying to teach you. Jessica: Crap your rules. Crap, crap, crap. I can say anything I want now. S***, s***, s***, d***, hell, f***. Of, "f***", that's a bad one. F***, f***, f***. Oh, what's another cussword so I can say it? I'm an d*** vampire. Bill: If you calm down, I will teach you what being a vampire means. Jessica: I'm not stupid, I can read. I know what it means. Bill: Very well, then, why don't you tell me? Jessica: It means that I don't have to sit like a lady and I can k*ll anybody I want. And there's an awful lot of people I'd like to k*ll. Bill: No, Jessica, you absolutely cannot k*ll anybody you want. Jessica: But why? Why? I wanna k*ll them. Bill: With your new powers come new responsibilities. You are gonna mainstream, like I do. You can live almost exactly the same life as you did before except you'll always be awake at night. Jessica: I wanna k*ll people. And I'm so hungry. And all you do is talk and I'm starving and you're so mean. You're supposed to take care of me, that's what you said. You suck! That's funny because you do suck. Bill: Here, drink this. It might make you feel more steady. I hope. She takes the Tru Blood he gives her. Jessica: Oh, it tastes like s***. Why are you doing this to me? Bill: It's not bad. You'll get used to it. Try a little more. Jessica: F***, no, and you can't force me. I'' report you. Bill: Oh, really. To whom? Jessica: I'll find a real vampire and he'll kick your ass. You won't let me do anything and I'm so hungry. You are the worst maker ever. She cries. Scene 18: At the police station - Tara, Kenya, Letti Mae Tara is in jail. Kenya: Tara, visitor. Letti Mae enters. Tara (happy): Mama. Letti Mae: Oh, child. Kenya: You're looking good, Letti Mae. Whatever you're doing, keep it up. Letti Mae: Thank you, Kenya. That's sweet. Could you leave us alone for a minute? Kenya: Oh, yes, ma'am. Tara: What are you saying? (To Kenya who's closing the door) Hey. Hey. Hey, get back here and let me out. Who the f*** does she think she is? (To her mom) What took you so long? Letti Mae: I called Mabel from the church and she came over to pray with me. Tara: Pray? While I'm locked up waiting? That is bulls***. Y'all can pray after you post my bail. Letti Mae: Honey, I'm not here to bail you out. Tara: Mama, I'm tired. I hurt all over. I wanna go home. Don't play with me. Letti Mae: I'm not playing. Tara: Yes, you are. You gotta be. Letti Mae: Seeing you like this, it breaks my heart. How many nights have I spent in this place? Crazy liquor, lost to myself and the Lord. Tara: Not many, because I bailed you out. Letti Mae: Well... maybe you shouldn't have. Tara: What the f*** are you talking about? Letti Mae: You can't go home. I'm not gonna let you. You're changing right in front of my eyes and I'm scared for both of us. Tara: I don't believe this. Letti Mae: I am committed to salvation and you're on the road to hell. I would save you if I could, baby. Nobody loves you more. But you're a danger to my soul and I can't have you in my house. Tara: I'm the only reason you have a house. After all the times I cleaned you up. All the times you b*at me and stole my money. Then sent me to school. Dirty. In dirty clothes. So people laughed at me and called me names. My whole life is s*** because of you. Letti Mae: I know. I know. Don't tear me up like this. I feel so bad. Tara: The first time I'm in trouble you turn your back on the one person who's always stood by you. And you call yourself a Christian. Letti Mae: I'm finally doing right by you, Tara, like a mother should. You'll see that when the clouds roll away. Tara: F*** you. You're not my mother. Get out of my sight, you evil b****. Letti Mae: I love you. Tara: No, you don't. you never did. Scene 19: Jason's - Jason, Amy, the k*ller. Jason and Amy are under V. they wake up (in their dream) and it's raining. They go outside and run. Someone comes in Jason's house. They continue running. The k*ller in is their room. Jason and Amy are sleeping, holding hands. In their dream, they kiss. The k*ller strangles Amy and she's flying away from Jason, in the air. Jason wakes up. Jason: Baby. Earthquake. Hey. Did you feel...? No. No. No. Please. Please, no. (He calls the 911) Person at the phone: 911. What's your emergency? Jason: Yeah. This is Jason Stackhouse. Person: Oh, hey, Jason. It's Rosie. Jason: You all better come out here. Scene 20: Eric's office - Eric, Bill, Jessica Eric: This is your punishment, not mine. What am I supposed to do with her? Jessica: Excuse me. I can hear you, Mr. Rude. I wanna go to the bar. I wanna be one of those dancers. Oh, I'm hungry. Bill: She won't listen to me. It'll take more time than I have to teach her obedience. Jessica: I don't obey anybody. Those days are over. Eric: You can't handle one little girl, Bill? Newborns can be like this. Man up, my friend. She's not even one night old. Bill: That is not the issue. Eric (to Jessica): Want to stay with your maker, don't you? Jessica: No, he's a d***. D***, d***, d***. You're cute. Can I sit in your lap? Eric: No. Jessica: Why? Nobody lets me have any fun. F******. Eric: Sit down and shut up. Close the door. (to Bill) You have to be tough with them or they'll walk all over you. Bill: I am well aware of that, but you can see how she is. And there are urgent matters to which I must attend. Eric: Sookie Stackhouse? Haven't you done enough for her? Bill: If any harm were to come to her because of my absence, you would be... Eric: What? Bill: ... without her helpful skills. Jessica: Let me out. I wanna do something bad. Bill: I would be in your debt. I would return the favor. Eric: Oh, yes, you will. You most definitely will. (To Jessica) Jessica. Jessica: You don't have to yell at me. Eric: How would you like to learn how a real vampire feeds? Jessica: Oh, yes, sir. Please, sir. Eric (to Bill): See? It's really quite easy. Scene 21: Police station - Tara, Kenya, Woman (Maryann) Kenya: Tara, wake up. This lady paid your bail. You're free to go. Straighten up. I don't wanna see you back in here again. (To the lady) My shift's over in five minutes. There's papers to sign on the way out. You know the drill. Lady: Thank you, Kenya. Kenya leaves. Tara: Who are you? Why'd you pay my bail? Lady: My name's Maryann. Forrester. And I'd like to help you, if you'll let me. Tara: What are you, some kind of social worker? Lady: Yeah, that's about right. Kenya knows me. I'm in and out of her all the time with people in your position. Tara: My position. Maryann: DUIs, minor as*ault, public drunkenness. You know, those times when things go just a little too far. It can happen to anyone. Now, I expect you have your reasons? Tara: Yeah. I got reasons. Maryann: Well, I would be very happy to give you a ride home. Tara: No, thanks. Maryann: Well, they gave me your address. You can't walk there, it's too far. Tara: I can... I got kicked out. Maryann: You don't have anywhere to go? No family? No friends? Tara: I don't want them to see me like this. It's okay. I'll think of something. Maryann: Tara... I'm sure you've barely slept or eaten. Why don't you come to my home? Just till you get tings figured out. Tara: I don't know, I... Maryann: Oh, no, no, there's plenty of room. I do this all the time. It's sort of an informal halfway house. Tara: Doesn't seem right. Maryann: I know what you mean. But you can shower, you can wash your clothes. You can let me feed you. Then you can go on your way and my conscience will be clear. Tara: You're not a Jesus person, are you? Maryann: No. No. Nothing against religion but not a Jesus person. Okay. Well here's my card, in case you change your mind. (she gives her a card) Good luck, Tara. Tara: Wait. Scene 22: Outside the police station - Maryann, Tara, Andy Tara (seeing Maryann's car): Holy s***. What the hell kind of social worker are you? Maryann: Actually, it was a gift. Go on, climb in. what's the matter? Tara: I'm all dirty. Maryann: Oh, don't worry about that. I get dirty too. Andy: Get that car out of here. This is an official vehicle zone. Read the f****** sign. Maryann: Detective Bellefleur, is it? Andy: Move the car. Jesus Christ, you deaf? I'm surrounded by a******* and m*****. Maryann and Tara leave. Andy gets Jason out of his car. Scene 23: Sookie's house - Sookie, Sam, Bill Sam and Sookie are watching at the tv. Sookie: It sounds strange under the circumstances, but I had a good time today. Sam: It's the company. Sookie: Must be. Sam: I mean, that says something for us. We can enjoy ourselves even when we're trying to find a m*rder. Sookie: You are fun. It's one of the reasons I'm still working for you. Sam: Yeah? Sookie: It's not the tips or the high-class clientele. Sam: You know what? It was probably the best day of my life when you walked in looking for a job. Sookie: Quit. Sam: No, I mean it. Sookie: I know you do. Sam: Are you looking in my head? Sookie: I'm looking in your heart. They kiss. Bill enters, furious. He jumps on Sam. Sookie: Stop. They continue to fight, Bill tries to strangle Sam. Sookie: No! Bill! Stop fighting, you s***** men! Bill: He had his hands all over you. Sam: She's not your property. Sookie: Sam, I can speak for myself. (To Bill) You left me alone with no promise to come back. Then you att*ck the man helping keep me safe. How dare you? Bill: He's helping because I asked him to. Sookie: Get out. Bill: If you knew what I had done to return to you... Sookie: I rescind your invitation. Bill: Sookie, don't. Please. Sookie. Please. He goes out and she closes the door. Sam: Can't you see what he's really like? How can you think about being with him. Sookie: My living room's wrecked. I've got a k*ller, a vampire and a shape-shifter on my plate. Right about now, I'm not thinking about being with anybody. Scene 24: Maryann's house - Maryann, Tara Maryann and Tara arrive at Maryann's house. Tara: This is where you live? F*** me. Maryann: Come on in, Tara. Make yourself at home. Tara: If you insist. Maryann: I insist. Come on. They enter. Scene 25: At the police station - Jason, Bud, Andy Andy: I knew it was you. I knew it from the second we found Maudette. People said, "No, not Jason Stackhouse, he's too dumb." But I knew. I said, "That shifty bastard's a g*dd*mn psychopath." Jason: I ain't arguing with you, Andy. Andy: Detective. Bud: Tell us all about it, son. Andy: I'll tell you all about it. I'll tell you exactly what happened. This piece of s*** lured those poor girls onto his king-sized bed and dirty sheets to f*** them and k*ll them. Bud: Andy, he called us. Let the boy confess. Go ahead, Jason. How'd it happen? Jason: I don't know. Andy: Oh, don't even try that on. Bud, give me five minutes alone with him. I'll get you every detail. Bud: What do you mean, you don't know? Jason: I don't remember what I done. To any of them. But they keep dying all around me so I gotta be the guy, right? Bud: Let's take them one at a time. Andy: Yeah, let's start with Amy Burley. That ought to be fresh in your so-called mind. Jason: I took V. Not with the others, just with her. We both did. Bud: V? Jason, Jason. Andy: I knew it. Jason: When I woke up, Amy was... well, like she was. Andy: "d*ad" is the word you're looking for. Stone-cold d*ad. Jason: We were alone in the house. God, I must have done it. But I don't know why. Honest to God, I loved her. Andy: Bulls***. You hated Maudette. You hated Dawn. Jason: I didn't hate them. I mean, we had some pretty good times. It was f****** and fighting, like any girl. I just... I just don't understand what would have made me do it. Andy: Your grandmother knew what you were like. She guessed, she called you out. You grabbed a Kn*fe. Jason: No, I didn't k*ll Gran and you know it. You better damn well find who did. Andy: This is the worst confession I ever heard in my life. Jason: F*** you, Andy. That's all I got. Look I don't wanna hurt nobody else. Lock me up. For chrissake, lock me up. Andy: Not before we get some solid facts. We'll waterboard you if that's what it takes. Bud: Andy. Andy: What? Bud: Lock him up. Andy: Come on, now. About time you found the law. The receptionist receives a fax with the photo of Drew Marshall. Receptionist at the phone: Hey, you. Wake up. I know it's early, but I gotta tell you... Wait. Somebody's coming. Andy brings Jason in jail. Receptionist: Girl, guess what? Jason Stackhouse is the m*rder. Yes, I swear. He's looking all crazy in a hot way, you know him. But they're throwing him in a cell right now. We are so lucky he didn't k*ll us. She puts a file on the fax.

{"type": "series", "show": "True Blood", "episode": "01x11 - To Love To Bury"}

foreverdreaming

Scene 1: At the police station; in jail - Jason, Rene, Sookie, Andy Jason: You know that old leather jacket I wear sometimes? The brown one? Well, make sure it goes to Hoyt. I told him it was lucky. It ain't. But he don't know that. Sookie will get the house, my bank account. But I want you to have my truck. Rene: Really? Jason: You've been a good friend, Rene. Rene: Hell, thanks, men. I'm giving it back, though, soon as they let you go. Jason: They ain't never letting me go, Rene. There's something inside of me that's just... it's wrong. Rene: Oh, come on, now. Ain't like you went and k*lled a bunch of innocent women. Jason: What? Rene: They were fangbangers. If you hadn't done it, it was just a matter of time... Jason: You calling my grandma a fangbanger? Rene: No. Now, don't you get your back all up, you. I'm just saying you must have had your reasons, that's all. Jason: There ain't no good reason for what I did. Rene: Man, suppose you're right. Sookie (to a policeman): I'm going in, whether you like it or not. He's my brother. Policeman: He's only allowed one visitor at a time. Sookie: Either let me by or throw me in there with him, but I'm gonna see my brother. She goes in front of the jail door. Sookie: Jason. Jason: I'm sorry, Sookie. I'm so sorry. Sookie: You have nothing to be sorry for. I just wish I got here before you confessed to something you didn't do. Jason: I don't even remember doing any of it. I just know I did. Sookie: Jason, you need to shut up, okay? Because I'm real close to finding out who the real k*ller is. Credit It continues with Sookie talking to Jason, and Rene looking and listening at them. Sookie: His name's Drew Marshall. He head a sister named Cindy, and I think he k*lled her. Strangled her just like Maudette and Dawn and Amy. Rene voice off: If she knows all this then how come she hasn't gone to the cops? Sookie (to Rene): I tried that. So far the cops have done diddlysquat to protect me and my family. Besides, I don't have evidence. I don't even know what Drew Marshall looks like. Rene: So you can't really be sure he's the k*ller. Sookie: I've seen what's inside his head. Rene voice off: I never believed that about her, but it's true. There's all kinds of strangeness in this world. Jason: Sookie, I know you wanna help me but that's only because you can't accept the truth. I'm a m*rder, and I'm going to hell plain and simple. Sookie: You aren't hearing me. I think I know who the k*ller is. All we gotta do is find him. Jason: Andy. Sookie: Listen to me. Don't be stupid. Jason: Andy! Andy (arriving): What's your problem? Jason: Make her go away. Andy: Am I your f****** butler? Amy: Jason. Jason: Please, just get her out of here. Andy: All right, you heard him. Zoo's closed. Jason: Did you get the fax from the Bunkie police about Drew Marshall the man who's probably the real k*ller? Andy: Never heard of no fax from no Bunkie P.D. or Drew whoever but I'll tell you one thing: The real k*ller is right there where he belongs. Sookie: You are one hell of a sorry excuse for a cop and a human being, Andy Bellefleur. And it's just a matter of time before everyone knows it. Sookie leaves. Scene 2: Maryann's house - Tara, Maryann, Carl Tara wakes up in a big bed, in her room, at Maryann's house. She goes outside. Carl serves the breakfast. Tara: Hi, I'm Tara. Tara takes a seat and Maryann arrives. Maryann: Oh, good morning. Tara: Good morning. Maryann: Thought you might be hungry. Tara: Okay, this isn't food. This is a sculpture. And this place... You're not really just a social worker are you? Maryann: I'm a lot of things, just like you. Coffee? Tara: Sure. Maryann: I mean, you're not just a drunk-driving bartender, are you? You're also intelligent, resourceful, strong. A survivor. Tara: I don't feel like any of those things right now. I didn't just wreck my car, I totaled my whole life. All of it. Maryann: Well, I suppose that's one way of looking at it. Personally, I see your situation as an opportunity. Tara: I just got a fake exorcism and a DUI. I probably lost my job, all of my friends and my mother disowned me. I'm sorry, but I don't get how that's an opportunity. Maryann: Maybe life has just cleared out all the things that weren't working for you. Now you've got room to rebuild decide exactly what you want your life to look like and make that happen. What do you want, Tara? What do you want your life to be? Tara: I don't know. I guess I've never really let myself want anything. Maryann: Oh, that breaks my heart. Tara: Yeah, well, there are people a lot worse off than me, I'm sure. I should probably let you get back to helping them instead of watching me cry all over your nice breakfast. I appreciate everything you've done for me. And I promise to pay back the bail as soon as I can... Maryann: Tara, sit down. You haven't touched your food, your dress isn't dry and I think we both know you've got nowhere to go. Please. I know it's hard for you to trust me, but I really do just wanna help. Even if that means just giving you a place to stay until you figure things out. Tara: Why would you do that? Maryann: Because it's what I do. It's what I want my life to be, helping people. Not because I feel sorry for you and not because I want anything back from you. Tara: Then why? Maryann: Because you deserve a chance. And I'm in a position to give you one. Carl is doing Tara's bed. Her phone rings; it's Sam. Carl puts the phone in his pocket. Scene 3: Sam's office - Sam, Sookie Sam (on the phone, leaving Tara a message): Fine, you wanna end this? That's fine. The least you could do is call and tell me where you are so I can stop worrying about you. (Sookie comes in) Thanks a lot. I'll talk to you later. Bye. (To Sookie) Sookie, what are you doing here? Sookie: I've got the lunch shift. Sam: Yeah, but with everything going on with Jason, I figured you'd take the day off. Sookie: I'm not staying home and hiding, having people think I'm ashamed of my brother. Besides, I'm gonna need all the money I can get to hire a private investigator. Drew Marshall is in town. Who knows how many times he's sat in one of these booths, looks me right in the eye, and ordered a burger and fries? Sam: Wouldn't you have heard him? Sookie: Wouldn't you have smelled him? I ain't a shortwave radio. I spend most of my time trying not to listen to people. Sam: Sorry, I didn't mean... Sookie: It's okay. I'd better start my prep. Scene 4: In jail - Jason, a policeman, a man (Orry Dawson) Policeman: You only have five minutes with him. Five minutes. Man: Mr. Stackhouse? Jason: Yeah? Man: My name is Orry Dawson. Jason: Oh, I told them I don't need no lawyer. Orry: I'm not a lawyer. I'm here on behalf of the Fellowship of the Sun. Jason: What, that anti-vampire church? Orry: We are a religious organization dedicated to the preservation and salvation of the human race. Jason: Oh, good, because I thought you just hated vampires. And I used to, but then I got to know one and he was a pretty decent guy. Until I got him k*lled. Orry: You see, that's where you're wrong. What you did, it was a service to your race and to Jesus. And you should be proud of that. Jason: Yeah. Orry: You know, last year there were over 800 reported vampire-related att*cks in Louisiana alone, and the raw won't do nothing about it. They are too busy respecting those fiends and their civil rights. Well, what about our rights? Our rights to be safe on our own neighborhoods, our rights to our own blood. Jason: I don't know nothing about that. Orry: Look... officially the Church can't condone what you did. You took the lives of four women, women who had tainted themselves and their race but still, human women. Hey. But we do recognize that even though your methods may have been flawed, your intentions were pure. Jason: I got no idea what you're talking about. Orry: That's smart. Don't admit to anything. The Church has started up a fund fir your defense. In the meantime (he gives Jason a prospectus) here's something to help you pass the time. You are a brave soldier, Jason Stackhouse. Jason: Okay. Orry: God lives you. You will be saved. Scene 5: Maryann's - Tara, Eggs Tara goes swimming in the pool. She comes in the house and listens someone playing guitar. Tara: I didn't mean to interrupt you. I was looking for Maryann. Man: She'll be right back. You must be Tara. Come on in. I'm Eggs. Tara: Eggs? Eggs: Yeah, well, it's actually Benedict. Benedict Talley, so... Tara: Eggs Benedict. Eggs: Yeah. Tara: Oh, s***. I'm sorry, I shouldn't have laughed. My name's screwed up too. Eggs: Tara's a pretty name. Suits you. Tara: Maryann didn't tell me she had a boyfriend. Eggs: Oh, no, no, no. I'm just staying here till I get back on my feet, jut like you. Tara: So collecting stray black people, that some kind of hobby of hers? Eggs: She was right about you, you are funny. Tara: Oh, yeah? What else she tell you about me? Eggs: Oh, she said you crashed your car with a gallon of whiskey in your lap. Tara: Yeah. It was vodka. Really cheap vodka. Eggs: Hey, I'm not judging you, believe me. When Maryann found me, I was... well, let's just say I was a hell of a lot worse off than you. She's a miracle worker. You'll see. Tara: Yeah, well, I won't be sticking around that long. Eggs: That's too bad. Tara: Well... my mama when she thought something was too good to be true she's say, "Satan in a Sunday hat". That's exactly what this is. Eggs: You know, it took me a long time to stop looking over my shoulder too. But there are good people in this world. Sometimes good d*** happens. He plays guitar. Scene 6: Merlotte's - Rene, Andy, Sookie, Bud, Rosie, Sam Rene is in his car, singing. He leaves his home and goes to Merlotte's. Andy: Treating him like he don't remember doing it, like he had amnesia or something. Rene: Hey, Sookie. Andy: He knows. Sookie: Hey. Andy: I ain't buying it. Sookie (to her clients): Holler of y'all need anything, okay? Andy: He's just sitting there, looking like a dog that lost his bone. And then he says: "I did it. I k*lled those women. You were right all along." Bud: He didn't exactly say that. Andy: Should've seen the look in his eyes. Ice-cold, like he was talking about roadkill. Bud: Excuse me. Bud leaves. Rosie: Well, thank God you got him, Detective Bellefleur. Can I buy you a beer, show my appreciation? Andy: That's alright, Rosie, I was just doing my job. Man voice off: Whole family full of freaks and K*llers. Woman voice off: Ought to be ashamed to show her face after what her brother did. Other man voice off: Sleazy little man-s*** Jason Stackhouse, a g*dd*mn m*rder. Other man voice off: I'd pay good money to watch that boy fry. Other woman voice off: He was so cute for a m*rder. Wonder why he never h*t on me. Guess I'm lucky. Other woman voice off: She knew about him all along. Sam comes to Sookie. Sam: Hey, what's going on? Sookie: You're right, I shouldn't have come in today. Sam: Go to my trailer and lie down. Sookie: I need to get out of here. Sam: Sookie, it's not safe. Sookie: I'm just gonna drive around. I'll keep my doors locked. I won't even get out of the car. Sam: No, Sookie. Sookie: I need some time alone. I'm... I gotta get these thoughts out of my head. Sam: All right. All right, all right. Yeah. I got your tables. Sookie: Thank you, Sam. For everything. Man voice off: I don't wanna go to the can right now. I'm gonna see where this goes. Scene 7: In the parking of the Merlotte's - Sookie, Rene, Terry Sookie is in her car. It doesn't turn on. Sookie: Please, Jesus, don't do this to me. sh**t! Darn it! Son of a mother... Fudge! Rene: Sookie. Everything all right? Sookie: Just a little car trouble, that's all. Rene: Want me to take a look? (After some time) Well, don't tell nobody, but I don't know much about cars. Sorry. Sookie: Thanks for trying. I guess I should call a tow. Rene: Well, why don't you let me give you a ride home. I'll get my buddy Hank down at Auto Haven to take a look on my way back. Sookie: I can't be alone. Rene: Course you can't. How about I give you a ride, stay with you till Sam gets off? Sookie: I couldn't put you out like that. Rene: No, no, no. Your brother's been real good friend to me. Least I could do. Sookie: That's so kind of you, Rene. Terry: Hey, Sookie, Rene. I just wanna say, I told Andy, I've known K*llers, and Jason ain't one. Sookie: Thank you, Terry. Terry: Nobody ever listens to me. But they should. He goes. Rene: Ready? Scene 8: In Rene's car - Rene, Sookie Sookie: I can't believe Jason gave you his truck. He lives this truck. Rene: I know, right? I tried talking him out of it. He wasn't hearing it, though. Buckle up, now. Sookie: Thanks. Rene: Is it really true? You can hear what I'm thinking right now? Rene voice off: What do I think about? Think about nothing, nothing, nothing. Think about nothing. Sookie: Don't bother. Thinking about nothing ain't possible. Trust me, everyone's tried it around me. Sooner or later, you'll think about something. You know, what's kind of funny is that your thoughts don't have an accent. Rene: That must be hard on you, living with that. Sookie: It is hard, sometimes. You have no idea how sick and twisted some people are. Rene: Oh, Lord, I can believe that. Yes, ma'am. Sookie: It's one thing when they think horrible stuff about me. I mean, I'm kind of used to it. But, well, when it's about my brother... he's all I've got left. I mean, I've lost everyone. He gives her a Kleenex. Sookie: Thanks. Rene: You know, I've lost people too. It don't ever get ant easier but you find ways to cope. Scene 9: Arlene's house - Arlene, her two kids The kids are in the saloon, watching a video. It's Maudette and Malcolm's video sex tape. Arlene: Coby, Lisa. (She comes) I thought I told you kids to take out the garbage. What the hell are you watching? Oh, my Lord. Where'd you get this? Coby. Lisa, you answer me right now. Lisa: It's Rene's. We found it in the garage. Arlene: Go to your room. Scene 10: Sookie's house - Sookie, Rene Rene: It's hotter in here than hell on a Sunday. Sookie: Yeah, Gran used to leave the windows open all day but I haven't felt safe doing that in a while. Have a sear. I'll fix us some iced teas. Rene: Sounds good. Scene 11: Merlotte's - Sam, Terry, Lafayette Lafayette cleans the tables. Lafayette: These f******' palates are as backwoods as their brains. Sam, Rene left his vest. Sam: Put it in lost and found. Sam smells the vest. Flash back: Sam is on his bed and smells the blanket. End flash back. He runs outside. Sam (To Terry): Hey, where's Sookie? Did you see her? Terry: Yep. Sam: Where'd she go? Terry: She left with Rene about 20, 23 minutes ago. Sam leaves, running. Scene 12: Sookie's house - Sookie, Rene, Bill, Sam, Tara, Lafayette, Arlene Sookie is in the kitchen, preparing the iced teas. Sookie (loud): Rene, you take it sweet? Rene: Yes, ma'am. He's surprises her, being in the kitchen. Sookie: You scared me. Rene: Did I? Sorry about that. Rene voice off: Don't think about it. Blood, blood, blood. So much. She wasn't supposed to be here. Shut up! Flash back. Adele is in the kitchen when Rene comes in. Adele: Rene? Rene: How come Sookie ain't here? He kills her with a Kn*fe. Rene: You weren't supposed to be here. End flash back. Rene: Sookie. You all right? Sookie: I'm so jumpy these days. Rene: Let me help you with that. Sookie: No. I'm gonna go get a mop. She goes in the saloon and he follows her. She takes the shut g*n. Rene: What do you think you're doing? Sookie: Stay away. Rene: You're not gonna sh**t me. (She tries) Told you. Rene voice off: She deserves it, needs it, wants to die. That's why she f**** them fangers. She beats him with the g*n and runs out. Rene: F***. g*dd*mn it! He runs after her. Rene: Get back here, you f****** b****! Sookie sees in Rene's mind, when he k*lled his sister. Cindy: Dang it. Rene: Ain't nothing that'll cover what you done. Cindy: You watching me now? You freak. End of the vision. Rene: Sookie! In Rene's vision: Rene: But you're the freak, Cindy. You're the damn freak. F****** freak. F***! Spread your legs for a d*ad man? Mama would roll in her grave. Cindy: Get the f*** out of here. End of the vision. Rene: Sookie! Sookie, I'm gonna get you, you b****! In Rene's vision: Cindy: No, no. What are you doing? Get away from me! No! He strangles his sister. Rene: Get out! F***! End of the vision. Rene: I can feel you in my head. In Rene's vision: Maudette: I thought you were Jason. He strangles her. Now he kills Dawn. Rene (while k*lling her): Die, fang-f*****! He remembers when he kills Amy. End of the visions. Rene: Stay the f*** out of my head! F***! Sookie continues to run in the woods. She's now in the cemetery. Bill wakes up. Sam arrives at Sookie's house. Sam: Sookie! Sookie! He sees Rene's belt and blood on the floor. He runs and goes in the woods. Bill goes out too. Rene: Sookie. Come in, Sookie, let's be... let's be friends. I'm sorry. I didn't mean to scare you. Sookie, I was just playing. Sookie? Seriously, I was just kidding. Rene voice off: You f****** hear me, you filthy f****** c**t? I'm gonna tear out your g*dd*mn throat with my hands and f*** your d*ad face. S***. g*dd*mn it, I must have lost her. Could be hiding in the woods. I'd better go back and check. S***. Sookie gets out of her hiding place, and Rene's behind her. He beats her. Rene: Mind-reading, vampire-f****** freak b****! He begins to strangle her. Bill is walking. Rene: You think you're so smart? You smart now? A dog (Sam) comes and bits Rene. Rene beats the dog. Rene: F****** with me. The dog transforms in Sam. Rene: F***. (He beats him) What the f*** are you? What the f***? Bill is now in the cemetery. Bill: Sookie. Sookie wakes up. Rene: F*** you, you f****** freak f***! F****** sick f***. Die, you f****** freak of nature! Die. Before Rene could k*ll Sam, Sookie betas him on the head. Rene (to Sookie): F****** b****. She kills him. Sam comes behind her. Sam: Sookie. She sees Bill, on the ground, burning. She goes to him. Bill: I am sorry. Sookie (crying): No. No, Bill, please. Sam: We gotta get him out of the light. Sam buries Bill in Sookie's hiding place. Sookie is on the sofa. She wakes up. Tara: Sookie? Sookie: Tara. You look so pretty. Like someone turned a light on under your skin. Sam: Hospital gave her pain meds. She's a little loopy. Tara: Didn't you listen when I said I'd lose my s*** if anything ever happened to you? Sookie: Don't loose your s***. I'm fine. Did Sam tell you that he saved my life? He turned into a dog and bit Rene. Lafayette: Oh, s***. I'm gonna need some of them drugs they gave you. Sam: Hey, you guys, we should let her rest. Sookie: Sam... you need to let people see the real you because you're kind and brave. There's nothing there not to love. Sam: Right back at you. Arlene comes. Scene 13: The police station - Andy, Bud, Jason Bud (on the phone): All right, then. Thanks. (He hangs up. To Andy) DA's dropping the charges. Andy: No. no f****** way. He confessed. Bud: The marks on Amy Burley's neck match Rene's belt. Or Drew Marshall. Whatever the hell his name is, he near about put Sookie in a body bag. We got no reason to hold Stackhouse. Andy: That's horses***! Bud: Get ahold of yourself, Andy. I don't need you screwing things up worse. Andy: So, what, we're just gonna let him go? Bud: Not "we". You brought him in. you let him go. Right now, Andy. Andy goes to let go Jason. Jason: Oh, hey, Andy. Is there some way I can get a magazine? This s***'s putting me to sleep. What are you doing? Andy: Get out of here. Jason: What? Andy: You heard me, get the f*** out of here. Jason: Is this some kind of trick or something? Andy: No, you stupid s***. It ain't a trick. It's a f****** miracle. Scene 14: Sookie's house - Sookie, Arlene, Lafayette, Tara, Sam, Maryann, Jason Arlene: Oh, sweet Jesus, please forgive me. I had no ideas, Sookie, I swear. Sookie: Course you didn't. Arlene: I brought him around my kids. I slept in the bed with him every night, and all that time it was nothing but lies. I mean, his name, his accent... God, you think you know someone. How could I not know? Sookie: None if us did. Don't blame yourself, honey. Arlene: I can't help it. I told you to stay out of my thoughts. Isn't that why you didn't listen in on Rene? Sookie: It's like he kept that part of himself locked away in some dark corner of his mind. Arlene: Oh, God. Sookie. I'm so sorry. I want you to promise me something, okay? Sookie: Okay. Arlene: Someday, if I ever find another man, I want you to look inside his head and tell me everything that's in there. Sookie: Arlene, it doesn't really work that way. Arlene: Just promise me, okay? Because I have the worst taste in men. Is Bill gonna be okay? Sookie: I don't think so. No. Arlene: Oh, honey. Oh, sweet baby. Tara, Lafayette and Sam are outside. Lafayette: Well, I'm gonna head on over the bar. Make sure Terry ain't PTSD'ind all over my clam chowder. Sam: Hey, thanks, Lafayette. Appreciate you holding down the fort. Lafayette: Oh, no worries, boyfriend. I'm gonna h*t your ass up for a raise as soon as they pull them stitches out your forehead. (To Tara) Call me later, T. Lafayette leaves. Sam: Where have you been? I left you like five messages. Tara: I didn't get any messages. Sam: What? Tara: Look, we don't have to talk about this now. Sookie almost died. And she would have if you hadn't have been there so I'm glad you were, okay? Sam: Yeah. I was worried about you. Tara: I'm sure you were. You worry about everybody. Because Sookie's right, you're an amazing guy. You deserve to get everything you want. And so do I. Maryann arrives in her car. Sam: What does that mean? Sam: Take care of her. Sam: Wait, Tara... Tara: Maryann, this is my friend Sam. Sam, this is Maryann. Maryann: Sam, it's so nice to meet you. (To Tara) You ready to go? Tara gets in the car. Sam: What the hell are you doing here? Maryann: Did you think I wasn't gonna find you? You silly, silly dog. Arlene: I should've known. Because there were things he liked to do in bed that no normal man ever does. Jason arrives. Sookie: Jason. Jason: I've never been happier to see you in my life. Sookie: That's nice, but, sweetie, I'm black and blue all over and you're squeezing me. Jason: Oh, sorry. S***. Look what that son of a b**** did to you. I can't believe I gave him my truck. If he was still alive right now, I'd f****** k*ll him again. Arlene: Excuse me. She leaves, crying. Jason: Me and my mouth. Sookie: She'll be all right. Eventually. Jason: You know, I was sitting in that jail and I just kept thinking about all the stupid stuff I'd done. Sookie: That must have kept you busy. Jason: And I know it seems like all I ever think is myself and drinking and chasing women. But that's only because I thought that's all I was good at. Sookie: That's not true. You were good at football. Jason: Not good enough for a scholarship. I ain't never been good enough for anything or anybody. Well, except maybe Amy. But she's gone, so... so I was in there, waiting to die too and I realized my life wasn't worth nothing. I've never done nothing worth being proud of. All I could think to do was to end it. Sookie: Jason... Jason: No, it's okay, because then something happened. Sook, I was saved. I was given a second chance. And now I know that all this bad stuff that happened, it happened for a reason. Sookie: What's that? Jason: I ain't sure yet, but I do know I'm meant to do something important with my life. And as soon as I find out what that is, I ain't gonna f*** it up. Sookie: That's good, I guess. Jason: Yeah. I love you, Sook. And I'm gonna take good care of you from now on, I promise. Sookie: How about you just take care of yourself and stay out of trouble. Jason: No, you don't have to worry about me no more. I'm good. He leaves. Scene 15: Outside the Merlotte's - Lafayette Lafayette goes outside. Lafayette: Why is all the f****** garbage on the side of the garbage can? Nasty motherf******. Got no g*dd*mn home-training. He throws the garbage. Lafayette: You motherf****** s***. Oh my God. Scene 16: Sookie's house - Sookie, Bill Tv: Daddy. Oh, Daddy, I missed you. I found you, I found you. They said you were d*ad, but I knew you weren't. Oh, Daddy. Hold me close. You won't ever go away again, will you? The doorbell rings. Sookie opens the door; it's Bill. Sookie: You're alive. Bill: Well, technically, no. but I am healed. I fed. Sookie: Would you like to come in? Bill: Yes. He comes in. Sookie: No. Bill: Without my blood, it'll take weeks for you to heal. Sookie: I don't care. After everything, I just need to feel human right now. Bill: I failed you. Sookie: You were willing to sacrifice yourself to save me. Bill: But if I had just been... Sookie: My life is too short for all that. Two weeks later. Scene 17: Merlotte's - Sam, Sookie, Tara, Arlene, Terry Tv: Yesterday the Vermont supreme court ruled that limiting marriage between only human men and woman is unconstitutional effectively legalizing vampire marriage in the state. Courthouses still be staying open to accommodate hundreds of couples all over America. Arlene: Oh, my God, Sookie, you know what this means? Now you and Bill can get married. Sookie: Stop it, Arlene. This isn't Vermont. Besides, he hasn't asked me yet and I don't know what I'd say if he did. Sam: I think you should marry Bill. Hell, I'll even throw you a party. It won't even break the bank. All you need is a couple kegs of Tru Blood, seeing as how they don't eat or drink. Bet there's even a vampire band and vampire wedding decorations. Our Arlene's party to shame. Sookie goes. Tara (to Sam): You know, you're about as subtle as a flying brick. Maryann says if you want something you don't wait for it to come, you demand it. Sam: Do me a favor, don't quote Maryann to me. Tara: Well, excuse me for giving a damn. Sam: You heard from your cousin, by any chance? Because I'm about to give away his job. Tara: But one time Lafayette went to Marthaville for the night. He ended up go-go in Palm Beach for like eight months. Sam: Fantastic. He leaves. Tara: Okay. Arlene and Terry are at the other side of the bar. Terry: People disappear all the time, but they're never really gone. The good part of them always stay put. Arlene: I hope you're right about that, Terry. Terry: Your hair's like a sunset after a b*mb went off. Pretty. Scene 18: At the church - Jason, Steve Steve: And God said, "Let there be light," and there was light. And even though we stand in darkness today, we shall not fear for God has given us the ultimate w*apon, the ultimate salvation: The sun. And he has placed in front of us a daunting but righteous task. We will not falter. We will not rest until we have brought God's holy light down on each and every bloodsucking abomination. A man: Hallelujah, brother! Jason: Hallelujah! Steve: Amen. Jason: Praise Jesus! Steve: Amen. Scene 19: Merlotte's - Tara, Andy, Sookie, Hoyt Tara: Time to pack it up, Andy. Andy: My family used to own this whole damn town, the land this rat hole stands on included. Tara: You don't own this rat hole no more so I'm cutting you off. Andy: Join the club. One minute you're a hero, next you can't get a f****** drink. Tara: Well, I ain't never seen a bird fly so high it don't have to come down sometime. Andy: What's that for? Tara: It's your pity party. Only one you're getting from me, so suck it up. Andy: Thanks. Tara: Don't thank me. It's just easier for me not to hate you. Hating takes a lot of energy. I'm saving mine up for all the good s*** that's coming my way. Because I am a good person, and I deserve good s*** in my life. Andy: Yeah, yeah, put it on a bumper sticker. Sookie brings to Hoyt his Burger and fries. Hoyt: Thank you, Sookie. Hey, where's Vampire Bill at tonight? Is he out celebrating at some sort of vampire party? Sookie: Actually, we're celebrating together later. Hoyt: Well, just tell him congratulations from me. I mean, I don't care what nobody says if I met a nice vampire girl, I'd be proud to have her on my arm. Sookie: I'd love to see your mama's face if you brought her for dinner. Hoyt: Yeah, me too. You know, yeah, I mean... well, does Bill know anybody my age? Seriously. Scene 20: Bill's house - Bill, Eric, Jessica, Pam Bill is playing piano when Jessica comes. Jessica: Hi, Daddy. Eric and Pam come in too. Bill: What is this? Eric: There are favors and there are favors. Pam: She is extremely annoying. Bill: You can't do this. We had a deal. Eric: Well, now the terms have changed. She's yours. Unless you wanna give me Sookie. It's just a suggestion. Though a few nights with this one may change your mind. Pam: Good luck. Pam and Eric leave. Jessica: So who's good to eat around here? Scene 21: Merlotte's - Tara, Sookie, Andy, Sam Tara (to Sookie): He ain't listening to me. Good luck. Sookie: We're closing. Give me your keys. Andy: I ain't giving you s***, Stackhouse. Andy voice off: I'm a failure, a pathetic f****** loser and everybody knows it, just like she said. But she's real happy with herself. Sookie: It don't ever make me happy to see someone in pain. I'm gonna call your sister to come pick you up... Detective Bellefleur. Sam is in his office and he puts money in a garbage bag. Tara, Andy and Sookie are outside. Andy: Where's my car? Tara: Andy, the only thing you're driving tonight is us crazy. Sookie: Portia said she's on her way to pick you up. Give me your keys. Andy: I don't have them. Left them in the car. Right here, underneath this light. Some son of a b**** stole my car. Sookie: You sure this is where you parked it? Andy: This whole town's gone to s***. Nobody used to m*rder each other, stealing cars. That's what happens when you don't let a good cop do his job. Tara: Ain't that it over there? Andy: That ain't where I parked. What the hell? He opens one of his car's doors. A black foot with red fingernail comes out. Andy: That ain't mine, I swear. Sookie and Tara scream.

{"type": "series", "show": "True Blood", "episode": "01x12 - You'll Be The Death of Me"}

foreverdreaming

Sam throws something away outside in containers. He hears people who are afraid. A body is in a car. Andy: Will you two shut up? I can't think. Sookie: Andy, what the hell did you do? There's someone inside. Sam: What happened? Andy: Step back! I got it. Sam: Andy's got it. Andy: Don't touch anything. Sookie: We were out trying to find Andy's car. Andy: Someone f*cking moved it. Sookie: Suddenly, there's this... Person in there... : We need an ambulance. Call the cops. Sam: What? Andy: I am the cops. : Oh, my God. Please tell me it's not Lafayette, please. Sookie: Check for a pulse. Andy: Forget it. There ain't no pulse. Sam: What? Why? Andy: Because there ain't no heart. Sick f*ck. Sam: It's not him. It's not Lafayette. Who the heck is that? We are seeing Miss Jeannette who is talking about Demon with Tara; Miss Jeanette : Demon! Credits. The policemen think: World's going to shit. No respect. Wonder if she even knows. Poor sorry girl. think: Miss Jeanette. They'll find out I knew her, that I went to her. Find out everything. f*ck, I pushed her. I cussed her out. Now look at her. Shit. The policewoman: Is there something else you ain't telling me, Tara? : No. I have never seen that woman before. A policeman: Careful here, son. Her leg will break off like a chicken wing if you hold her like that. Andy think: What kind of sick f*ck would throw a body in a detective's car. Shit.I just got it detailed too. Bud: Andy, Over here. Andy: Body's in full rigor mortis, Bud. Which is consistent with the vic being k*lled elsewhere then brought here into the scene sometime in the past four hours, since that's when I... drove over here. Bud: Andy, why don't you call it a night? Your sister's waiting on you. Andy: Now? We've got a m*rder investigation, Bud, you need your best detective on this. Bud: I know, Andy, but you clocked in at 8 a.m. You're overworked. You're also drunk. Andy: What? I am not overworked. Sam: I don't know about you, but... I think I've seen enough d*ad bodies to last me a lifetime. Sookie: Except this one, I just don't get... With everyone Rene k*lled, you could see his rage. But this...Cutting out that poor woman's heart...Someone just wanted to see her suffer. Every time I think I know what's what it turns out I don't know anything. : Hey, I'm good to close up and go home if you are. Sookie: Sweetie, how did you know the woman that got k*lled? Tara: Sookie, I told you, I nev...That was...That was the woman who gave me and my mamma the exorcism. Sookie: I'm so sorry. I had no idea. You're gonna have to tell the police about it. You know that. : Shit. I'll probably have to spend all night answering questions. My mamma's gonna fall to pieces when she finds out. Sam: Listen, you go home. Sookie and I will close up. Tara: Kenya. I remembered something. Bill's house. Bill: Your bedtime will be at 4 a.m.and not a minute later. Jessica: Whatever. Bill: And whilst you are under my roof, hunting is completely forbidden. Jessica: Like I'd know where to find people in this f*ck town. Are we even in a town? Bill: We also recycle in this house. Tru Blood and other glass items go in the blue container. And paper products go in the white container. The phone of Bill is ringing. Jessica: Can I have one of those? Bill: No. Hello? Sookie: It's me. I'm gonna be a little late. Something real awful happened out here. I'll tell you all about it. Bill: Do you need me? I can meet you at the bar. Sookie: I always need you. But... You just stay there, It'll give me something to look forward to. Bill: Take your time. Jessica, I'm gonna have a guest coming over shortly, Jessica: Can we eat her? Bill: You may not. Jessica: Well, who is she? Is she your girlfriend? Bill: Yes. Jessica: Is she a vampire? Bill: No. Jessica: Do I have to be nice to her? Bill: I need you to go upstairs and get cleaned up. Remove your makeup and make yourself presentable. I will not have you looking like a slattern. Jessica: A what? Bill: A lady of the evening. Jessica: Awesome! Jason's room. Jason: "The Acts of the Apostles, chapter 26, verse 18. "Jesus informed Paul of his purpose, "to open people's eyes, "to turn them from darkness to light, "and from the power of Satan unto God. "If God is light, then Satan is darkness. "If we human beings are the children of God, "then creatures of darkness are undoubtedly... the children of Satan." Jason thinks about Amy again. Tara is at the police's office. The policewoman: An exorcism? Last time it was a pig in the middle of the road. Crazy ass f*ck Paul Bunyan pig, if memory serves. Plus, a naked woman. Andy: What the f*ck? Tara: That's what I saw. The policewoman: You've got quite an imagination. Bud: As far as we know, her name's Nancy Levoir. And she's been a cashier at De Soto's pharmacy in Keachi for almost 20 years. : The woman's got a voodoo bus out in the middle of the woods. Andy: Any particular place in the woods? Or just the middle of the woods in general? Bud: Andy, sit down. Andy: Help us out, Tara. You're the only one who knows her, and she ended up d*ad outside your workplace. : In your car. Andy: While you were there keeping me inside, pouring me drink after drink after drink. What was it you didn't want me to see? Bud: Andy, A word with you in private. Andy: Don't go nowhere. I know you're pulling something. Bud: You're done for the night. Andy: I know what I'm doing. I got it under control. Bud: At best, you're a material witness to a homicide. At worst, you could be a suspect. Andy: That is bullshit. Bud: You can't be sticking your nose... 's mother: Lord, sheriff. What did they do to Miss Jeannette? Tell me! What did they do to her? : I told you not to call her up. The policewoman: It's a m*rder investigation. Tara's mother: Tara, baby. Is it true? Is it Miss Jeanette? She saved my life. : Mama. There was no Miss Jeannette. She was just some woman who worked in a pharmacy. All that stuff on the bus, it wasn't real. 's mother: Don't you lie to me. : She told me so herself. 's mother: You don't know what you're talking about. She's just saying all this 'cause she's still angry with me. : No... I mean, yes, but no, it's true. She gave me ipecac and peyote and made me think I was k*lling my demon. 's mother: It is a sin to speak ill of the d*ad like that. She was a good woman. : It was a scam. She stole from you and from me. I'm so sorry. 's mother: But she cured me. She cured me. I'm all right now, ain't I? Ain't I still right? Weird place in the dark at the Fangtasia. A man: Bucket. Bucket. A man is coming. This man: Please, I didn't do anything! I don't know anything! I swear! Please, don't k*ll me. What do you want from me? Tell me! What the f*ck? Hey, where the hell are you going? The man: You? Holy shit. What the hell are you doing here? The man is the one who didn't like "the gay burger with AIDS" of Lafayette (see the 1st season). Then, someone is coming and is taking away one person who is here. : I wish I knew. The man: Where the hell are we? Who...? Who are these people? What the f*ck is going on? : Will you shut your mouth, you f*cking inbreed. The man: Where... Where are they taking that guy? : I don't know. But sometimes there are screams. The man: Jesus f*cking Christ. How long have you been here? : I ain't got no idea. Bill's house. Sookie: They tore out that poor woman's heart. I have never seen so much fear on someone's face. Bill: I'm sorry you had to see that. Sookie: I couldn't keep the voices out, I was in too much shock to resist. There's just so...So much noise. This is the first quiet I've had all night. Bill: I need to tell you something. Sookie: Please, just...Shut up. Kiss me. Just make it go away for just a little while. Jessica: Well, hi, there. You must be Sookie. Oh Bill I love your shower. Back near the police's office. : Mama, I'm sorry. I didn't wanna have to tell youall that stuff. 'Cause in spite of everything you've done, there's some sick, sick part of me that can't bear to see you suffer. And I thought if you found out she was a fraud... 's mother: No, girl. There wasn't no fraud. I am living, breathing, thriving proof there wasn't no fraud. I'm still healed. Healed stronger than ever. : You are? 's mother: The Lord tested our faith by taking Miss Jeannette away from us. I stay true. I wish I could say the same about you, baby. I'll pray for you. : Don't. I'm actually doing better than I have in a long time. Tara's mother: Well, let's pray for Miss Jeannette, then. There's something evil out there, and it wanted her soul. If you're not careful, it's gonna come for yours too. : Maryann. Maryann: I came as soon as I heard. Are you all right, sweetheart? : Yeah. That's my mother. Maryann: Miss Thornton. Maryann Forrester. I've heard all about you. What a rare opportunity this is. I've always wondered what it would be like to gaze into the eyes of someone so devoid of human compassion, that you would abandon your own child when she needed you most. 's mother: What? Maryann: Just as I thought. Emptiness. Nothing inside. It's always something out there that gets all the blame or the credit. Wether it's Jesus or Jeannette. 's mother: Who are you? Maryann: What I can't believe is that your daughter still manages to feel any love for you. Since you've abused, betrayed and forsaken her love since the moment she could feel. That's extraordinary. She's a hell of a girl. Come on. Let's get you home. Back at Bill's house. Sookie: You k*lled her? Bill: Not entirely, no. Sookie: Well, you obviously did something to this...This...Now, how old are you? Jessica: Seventeen. Sookie: Oh, my God. Where are your parents? Jessica: Is she always like this? Sookie: So what then, you...bit her? Bill: Yes. Sookie: You drained her? Bill: Yes. Sookie: Did you have sex with her? Bill: No. Jessica: Old. Bill: Jessica was brought to me as a condition of my punishment. I had to create a vampire as reparation for the one I destroyed to save you. Jessica: So this is all your fault. Bill: Jessica, I need you to retire for the morning. My sleeping quarters are beneath the stairs. And you may stay there until we make other arrangements. Jessica: But I'm not tired... Bill: Go! Jessica: Compared to Fangtasia, this blows. Bill: We can't turn her out. Not yet. She's a very young vampire. At her age, with her impulses, she could be dangerous. Sookie: Where has she been tonight? Bill: Here with me, and before that, with Eric and Pam. Sookie: So there's no way she could have anything to do with the woman with her heart missing? Bill: Probably not. Sookie: Two weeks and...you never said anything. I've laid in bed for hours, talking about my laugh, your laugh, the weather, rules of football, and not once did you mention that you slept with and k*lled... Bill: I did not. Sookie: a 17-year-old girl. Bill: For a century and a half, I never turned a human because I couldn't bear to inflict the suffering I felt when I was turned. The pain of that is not an easy thing to share. Sookie: If I'm with you, and she's with you, then she is with me. And I'm sure as heck sharing in that. Bill: If I withheld anything, it was only to protect you. Sookie: If she'd stayed with Eric I still wouldn't know. That's not protecting me, that's lying to me. How am I supposed to ever trust you if you keep something like that from me? What else are you keeping from me? Bill: Nothing. Sookie: I can't stay. Not tonight. Bill: Sookie. Sookie: I've shared every dark, horrible corner of my life with you. What made you think I couldn't handle every bit of yours? I'm a lot stronger than you think. At the TV. Reverend Newlin: The vampires as a group have cheated death. And when death has no meaning, then life has no meaning. And when life has no meaning, it is very, very easy to k*ll. Miss Flanagan (Vampire at the TV): Not true, Reverend Newlin, life has great meaning for us. We've all known the joy of human life. And as several of your kind demonstrated in Louisiana three weeks ago, we most certainly can die. Your assertion is little more than a veiled incitement for your supporters to come k*ll us. Reverend Newlin: No amount of political grandstanding can hide the fact that you know who k*lled my family. Their blood is on your hands. Miss Flanagan: That's an outrageous accusation. The journalist: Can you back that up, reverend? Reverend Newlin: My father's death was an assassination, pure and simple. A k*lling meticulously planned, ruthlessly ex*cuted. From there, all we have to ask is who stands the most to gain. The journalist: We're running out of time. Last word, Miss Flanagan? Miss Flanagan: Clearly, Rev. Newlin's grief over the loss of his father hasn't hindered him from some political grandstanding himself. Reverend Newlin: It's a beautiful, sunny morning in America, Miss Flanagan. I wish you were here. Miss Flanagan: Give me 12 hours, reverend. I'll be right there. The journalist: All right, thank you, Nan Flanagan and Reverend Steve Newlin. Reverend Newlin: May His holy light shine upon you, Sharon. Reverend Newlin's wife: I'll be right back. A boy: Okay. Reverend Newlin's wife: You're so handsome. You're getting good at this. Reverend Newlin: Getting better. I have a long way to go. Any notes? Reverend Newlin's wife: Well, sometimes you can sound a little too much like a preacher. Reverend Newlin: Well... Reverend Newlin's wife: I'm just thinking ahead, darling. You could be governor of Texas if you play your cards right. You know, you had her cornered. I thought those fangs were gonna come out any second. Reverend Newlin: I wish they would. That'd be a sight. Let the world see what she really is. They arrive in a big room with some people inside. Good morning, everybody, how'd I do? Thanks so much. The cooker: Good. You were good. Reverend Newlin: Can you get some pineapple out here? Thanks. A men: Hi. How are you doing? Wish my dad was here to see you. A women: Thank you so much, reverend. Reverend Newlin: Have a good time. Jason is coming. Reverend: Orry Dawson. You son of a g*n. Come here. Orry: Oh, reverend. Ah. Mrs. Newlin. I have someone I'd like you to meet. This here is Jason Stackhouse from down the road of peace in Bon Temps. Jason: You're, like, the most famous person I've met. Reverend: We're all equals here. Miss Newlin: Wait. Bon Temps. Weren't you the poor soul they were accusing of these m*rder? Jason: Yeah. I was. But I was saved. Just like Orry said I would be. And for the first time in my life I feel like God has a purpose for me. Miss Newlin: Well, he does. He does for us all. This here's God's purpose for me. Jason: I've been reading your father's book, and it's really making me, think about things. Reverend: Well, then you realize, his true message is love. Despite of what all those liberal wing nuts say about him. It's like he says. "I'm coming from the darkness into the light." Orry: Jason's a newcomer to our flock, but he's been most enthusiastic about the message. He's got great potential. Reverend: That's a praise, coming from Orry. He was one of my father's closest advisors. Orry: You know, I think Jason would make a fine candidate for the Light of Day Institute. Steven and Sarah run a leadership conference in Texas, where they train the best and brightest to spread our gospel. Reverend: Think of it as a springboard for fulfilling your destiny. Jason: A leadership conference? Orry: It is a terrific program, Jason. Now, if you have the time and money, it is a once in a lifetime opportunity. Jason: How much does it cost? Reverend: Well, now, I don't handle the money myself... Sarah (Miss Newlin): 2 000 dollars. We cover room, board and transportation and you just pay for your class fees. Jason: I don't know if I can afford that. Reverend: I know it's a hardship, but there's no price for salvation. Sarah: Why don't you pray on it? God'll give you a sign. Jason: I'll pray on it. God'll give me a sign. Reverend: May his holy light shine upon you. At Maryann's house. The employed: She was expecting you last night. Sam: Yeah, there was a bit of a... a m*rder in my parking lot. The employed: We heard. I'll see if Maryann is available. Sam takes a something (like an object of art) in the living room and sees the past again. We are seeing him as a dog. He's coming in Maryann's house. He is 17 years old. Maryann: How did you get in here? If you'd broken it, I'd be really angry Sam: I'll just Go. Maryann: In this weather? Where are your clothes? Sam: I don't know. Maryann: You are very interesting. How old are you? Sam: Seventeen. Back to the reality. The employed: It's a beauty, isn't it? Mycenaean, I'm told. Maryann's still asleep. Is there a message I may pass along? Sam: Tell her I have something for her. Sookie's house. Sookie is thinking about her grand-mother. That's rings at the door. Sookie: Have a seat, Mr. Lancaster. Mr Lancaster: Thank you. Sookie: Is there a problem with my grandmother's papers? I know you've asked for a copy of the deed to the house. Mr Lancaster: Oh, no, no, that's all okay. I have some terrible news, I'm afraid. Your great-uncle Bartlett has passed on. I know it's so soon after your grandmother. This must be quite a shock. Sookie: Tell me what happened. Mr Lancaster: Well...The Lincoln Parish f*re Department found him a few miles south of Simsboro. He washed up on the shore. Sookie: How did he get all the way down there? Mr Lancaster: The Walnut Creek runs behind his house. Sheriff's guessing he got too close and fell in. They're calling it an accident officially. There's no sign of burglary or forced entry at the house, and he was such a sweet old man that there'd be no reason to hurt him, anyway. Sookie: There were no marks, or anything on his body? Mr Lancaster: Well, there's gators and fish in the water. And he'd been there for a few weeks, so... There's not much of a body to speak of. Sookie: Oh, my God. Mr Lancaster: I can't tell you how sorry I am. He was truly a kind, giving man. I was proud to call him my friend. The one consolation, Sookie, is that your great-uncle Bartlett cared for you deeply. He stated in his will hat he wished for you to inherit all his financial assets. It's not much, $11,000 near abouts. But it's a token of how special you were to him. Go ahead. Take it. It's yours. At Maryann's house. Maryann: Stunning, isn't it? It's the god Panand his human lover. : And she doesn't have a name? Maryann: She could be any of us, couldn't she? The Greeks knew there is the flimsiestveil between us and the divine. They didn't see the gods as being unaccessible as everyone does today. : Except for my mama. She thinks she's got a direct line to Jesus. Maryann: You have an uncanny talentv for connecting everything back to your mother. : Don't get me wrong. She deserved everything you gave her, but still... Maryann: If you took care of yourself for once instead of protecting her, she'd still be your mother. You'd just be happier. I could use more papaya. Eggs: Doesn't it seem like she's got an endless supply of tropical fruit? : And pot. Eggs: Now, that I didn't notice. I've been smoking pot since I was 10. My first kumqwat, three months ago. : I thought I was bad. Sneaking cigarettes when I was 12. Eggs: God, if you think that's bad, I don't even wanna tell you the other shit I've done. : Have you ever...With Maryann? Eggs: You must be high. I mean, she's so far beyond me, it's like she's on another plane. I'm starting to get her more every day, but I think the main idea is, we're all luckier than we can imagine. : Maybe you are. You didn't just see your first d*ad body last night. Eggs: You're lucky you made it this far before seeing one. Trust me, I've seen more than I care to. : And you're okay with that? Eggs: Sure. It's lucky I wasn't one of them. And I'm also lucky you haven't moved my hand yet. (They are going to kiss each other.) The employed: Fresh towels. They're Egyptian. Tara & Eggs: Thanks. : I should... I should really get changed for work. Maryann: Karl. Nobody needed towels. (She's hitting her employed). At Jason's place of work. Jason: Yeah, I guess I do miss that son of a bitch. He was my best friend. (about Rene). Hoyt: Yeah, mine too. Jason: But then I think, how could that be the same f*ck you... Hoyt: We never knew who Rene really was. Jason: All those innocent people he k*lled. You know what I can't believe? That God would let him die for no reason. You know what I... When I was in jail, the Fellowship of the Sun, they came to visit me. Hoyt: The vampire haters? Jason: No, it turns out they are about a lot more than just vampires. If I'm ever going to find answers, that's where it's gonna be. Hoyt: Why does it gotta be with them, I mean, we got a church right here. Jason: And what does that backass church give you? Hoyt: They teach me to be a Christian, for one. And not hate vampires, or hate anybody else. Jason: So you're hung up on the hating. The Fellowship, it's bigger than that. When I'm there, I feel like I'm meant to be a part of it, like I got a calling from Jesus. Or from Steve Newlin himself. Sookie is coming. Hoyt: I heard about the...At Merlotte's. I'm sorry. Sookie: Thanks, Hoyt, that's sweet of you. Sidney Matt Lancaster came by a bit ago. He had some bad news. Uncle Bartlett passed away. Jason: What happened? Sookie: They're saying it was an accident. He fell into the Walnut Creek. Behind his house. There's something else. He left us an inheritance. He left me the inheritance. But I don't want it. Here. Jason: Wait. Why did he leave it to you? I was the one who used to mow his lawn every Sunday. Sookie: I don't know. He was old. It's yours now. Come on, now. Jason: Maybe we should split. Sookie: I do not want it. I gotta get to work. It's good to see you, Hoyt. Jason: Thank you. (At the sky). Back in the past of Sam. Maryann and Sam having sex when he's 17. Maryann: Is this what you imagined it would feel like? All right, you stay with me. And we will do things... that you cannot possibly imagine. Sam: What's wrong? Maryann: Don't stop. Don't stop. Sam: What are you? Maryann: Baby boy, you're not the only one who's special in this world. At the Merlott's. Arlene: I ignore when you're hiring another waitress, but me and Sookie are fixing to drop d*ad from exhaustion. I mean, look here. Nine out of ten broken. Sam: I'm sorry. I've been meaning to put an ad out. Arlene: That's why Daphne's here. She came in looking for work. I think you owe it to yourself to at least give her an interview. Daphne: I used to work at the cr*cker Barrel in Alexandria. Sam: Yeah, sure. Come on in. Arlene: Thank you. Can I start parking over near your trailer? Instead of, you know, where the... Sam: You go ahead. Arlene: I love you. Nine out of ten. Sam: I'm Sam Merlotte. Daphne, right? I like the name. Daphne: I think it's French. My mama is half Cajun. Sam: So, cr*cker Barrel, huh? Back to the Fangtasia. The man that used to laugh at Lafayette: Some people think I'm an assh*le. It's true. I pick fights with strangers, I've cussed out old ladies. I even pissed in my boss' coffee once. : You do not need to be telling me this shit. The man: What else do we have to do down here? I mean, don't you talk to the others? : Most of the time I just keep to my f*cking self. And think. The man: Like about how to get out of here? : No. About why I'm here to begin with. All the shit I've done in my life. The drugs, the sex, the website. I did it so my life wouldn't be a d*ad end and this is where I end up. What kind of punchline is that? The man: See, that's why we gotta talk. We have to tell each other all the shit we've done. That way, if one of us gets out, he can tell the world about both of us. I just hope it's me. : Whatever. If it make you feel any better, keep talking. The man: All right. When I was 20, my cousin Rufus, he was going out with this girl who claimed she could crush a beer can, with her tits. And one night, when we were alone, I asked her to show me. One beer can lead to another, and before you knew it, she was crushing my head with her tits. Rufus came home, and he was so mad he threw me out of the window. My hip shattered into a million pieces, and they replaced it with metal. My ass is magnetic now. : I pray to God you ain't the last f*ck I meet before I die. The man: Come on, come on. What about you? You must've done all kinds of shit you regret. : Well, I got in trouble with my boss once for punching out three stupid rednecks at the bar. The man: You regret that? : Hell, no, you f*cking deserved it. The man: I'm sorry I hassled you for being gay. I was an assh*le about it. : At least I got through to you. The man: If it makes you feel any better, when I was 15, at Safety Patrol Camp, I let my bunk mate blow me. At the Merlott's. Andy: The name Nancy Levoir ring a ding? How about Miss Jeannette? Sookie: Pitcher of Abida light. Tara: Not the usual Dixie draught? Sookie: No, Jason's not drinking, and Hoyt says his mama wants him to watch his weight. Arlene: Please, she's one to talk. That woman's got more chins than a Chinese phone book. A girl: Come on, have a drink with me. Jason: I don't drink no more. I don't do nothing that can screw me up. Them days are over. The girl: You don't gotta be drunk to bang my brains out, do ya? Jason: I appreciate the offer, darling, but I'm happy hanging with my buddy tonight. The girl: Are you two like, gay together? Jason: No. Just turning over a new leaf. The girl: Your loss, baby. How about you? Do you wanna party? Never mind. Time's up. I don't teach. I absorb. Jason: I'd rather stay pure for that leadership conference, but if you wanna h*t that, man, I'm cool. Hoyt: No, I'm not much of a hitter, you know. I like 'em nicer than that. Andy: Durastrong, 40-gallon trashliners. Found one at the scene. They sell them at club stores. You know anybody who uses them, call me. The couple: All right. A woman: I was just out back, and you can smell the blood out there. The woman in the couple: What kind of sick animal would keep a poor woman's heart? The other woman: You know Rene Lenier, or Marshall, whatever his name was? I heard that the American Vampire League, they wanted to teach him a lesson. So they dug him up, and they turned him into one of their own. The woman in the couple: So he could've k*lled that woman. The other: Better be careful. Rene Marshall might still get you. Arlene: Don't you people have any shame? His name was Drew Marshall. And he's d*ad, and he's buried, and he ain't never coming back. Terry: That's for your drinks, now you all need to leave. Up. Shake a leg. Out! Go! The people: Come on. Let's get out of here. Terry: Keep walking. Don't eyeball me. The people: He's such a nutball. rlene: You didn't have to do that. Sookie: Leadership conference, huh? What church? Jason: Marlboro. Baptist. In Baton Rouge. It's only for a week.Just give me a chance to get away from everything. Sookie: I wish I could take a week off. I finally started cleaning out Gran's room today. I couldn't even bear to pack away a single thing. Jason: Yeah, I know. I miss her too. And I'm hoping maybe God'll tell me why he had to take good people away. Like Gran and Amy. Sookie: Jason, Amy was a V addict. Jason: Yeah, that don't mean she deserved to die. I can't help it, Sook, I loved her. And when you love someone you've got to love it all. Otherwise it ain't love. Andy: There you are, Stackhouse. Got a couple of questions for ya. Sookie: Humour him, he's toasted. Have a good time at church camp. Some people are coming: Here we go! We won, we won! There you go, darling. One more time. Sookie: Tara, you know where Sam is? : Out back. He's being a little weird tonight. I heard about your uncle Bartlett. I'm sorry. Sookie: Thanks. I think I'll be fine. I wish people would stop dying around here. At Bill's house. Bill: Try the A negative. Jessica: Less like ass than the A positive, but more like ass than the B negative. Bill: You have to keep your strength. Two thirds of new vampires never survive the first year. Jessica: I can't help it if I don't like it. You know, Eric let me feed on a guy with tattoos, and nipple piercings. Bill: I'm not Eric. Jessica: You are so not Eric. Back to the Merlott's. Sookie: Hardly seen you all night. Sam: Well, haven't had the best day. Sookie: The woman in the parking lot or something else? Sam: Don't feel much like talking. Sookie: It's slowing down pretty good in there, so I was... Sam: You wanna cut out early and go see Bill? Sookie: I wouldn't ask you if it wasn't important, but we had a fight, and there's... Sam: I don't need to hear every last detail of your life. Sookie: I guess I've owed you an apology for a while now. I never meant to hurt you, Sam. You know how much I care about... Sam: Don't it seem like you're always either apoligizing or yelling at me? Don't you get sick of it? 'Cause I sure do. I can't be whatever you want whenever you want anymore. I'm tired of charring my ass on your back burner. I will need you in early to make up for lost hours. Andy: In Keachi! You didn't get a prescription filled out there? Don't lie to me. You sure about that? To Bud: What? I'm working. Clearing my name, since I'm a suspect, allegedly. Now, if you don't mind, I'll just do-si-do round here. Bud: You're embarrassing yourself. I'm taking you off the case. For your own sake. Andy: I'm a good cop. I can close the case, let me show people that, please. Bud: Can't you go do something else? Andy: I don't do anything else. This is it. Bud: I'm sorry, Andy. Sam is dreaming again. He is stealing things to Maryann's House and then he wakes up. Maryann is here. Maryann: You have something of mine. Karl said you stopped by with a gift. I do love presents. Sam: I don't know how you found me, but... I assume this is what you came for. I'm sorry I was...young and scared at the time. Maryann: I remember. Money. My, you're a sweet thing. It's not your money I want. Sam: Listen, If you think you can get back at me by luring Tara... Maryann: Get back at you? How in the world did you get the impression that this was about you? Eggs: What? Maryann said she was coming down and she wanted to see you. Tara: Still? You're either dumber than I thought, or you're way too good for me. Eggs: Cut it out. I just wanted to see where you work. Is that so bad? Tara: You are a lucky man. And since the bartender likes you, drinks are on the house. What'll it be? Eggs: Give me something sweet. Tara: I can ma you a rum and Coke. A margarita, or a white russ... He kiss her. Eggs: That's more like it. Back at Bill's house. Jessica: All right, I guess that's not so gross. Bill: Two parts O negative, to one part B positive. Remember that. Sookie: I need to talk to you. Alone. Bill: Don't know if we can, with... Sookie: Jess, I feel like we got off to a bad start. And it's totally my fault. I never got a chance to hear your side of things, find out what you're like, none of that. Can you forgive me? Jessica: You really wanna get to know me? Sookie: Of course I do. You deserve that. And, frankly, I'm curious about you. I've just got one huge favor to ask. Give me tonight with my boyfriend, and we'll have all night tomorrow to ourselves. Just us girls. Jessica: Sure. I guess I have nothing but time now, right? Sookie: Good night. Bill: I must say I'm impressed. It's almost like you glamoured her... Sookie: Did you have anything to do with Uncle Bartlett's death? Bill: He hurt you. Sookie: My God. Is it that easy for you to k*ll? Does human life mean so little you can just k*ll on command, toss someone in the water? I cannot have people dying every time I confide in you. I never felt more inhuman than when I had to k*ll Rene. It still haunts me. And now you've made me feel like I k*lled another person. I feel sick. I always thought, as different as we are, somehow... we could still be together. And now I don't know. I don't know anything. Please. Say something, Bill. Bill: I cannot, and I will not lose you. For all the ways I have dismayed, aggrieved, or failed you, I swear, I will atone. But I am not sorry. I refuse to appologize for what you have awakened in me. You are my miracle, Sookie. For the first time in 140 years, I felt something, I thought had been lost to me forever. I love you. And for that, I shall never feel sorry. Sookie: Damn you, Bill Compton. I love you. They make love. Back to the Fangtasia. The man: I got a plan. I'm busting us out. : Don't be an idiot. The man: I'll come back for you. Promise. : Shut up. Eric is coming down. Eric: Shushing won't do you any good, sweetheart. We hear everything. Since you made me come all the way down here, I'm gonna take out some of the garbage. Royce Allen Williams, we have a few questions for you, with regard to a f*re which k*lled three of our kind. The man: No f*cking way, man. I don't know anything. Eric: Crimes against vampires are on the rise. We even lost a sheriff just days ago. We seek answers. The man: Die, you d*ad f*ck! End! See you at the next episode !

{"type": "series", "show": "True Blood", "episode": "02x01 - Nothing but the Blood"}

foreverdreaming

At the Fangtasia. Eric has k*lled the man. (See the 201). Eric: Die...If you have any silver on you, now would be the time to reveal it. : No way. I ain't that stupid. Eric: Yes, you are. Is there blood in my hair? : What? Eric: Is there blood in my hair? : I don't know, I can't see in this light. Eric: How about now? : Yeah, there's a little bit of blood there. Eric: This is bad. Pam is gonna k*ll me. : Who the f*ck is Pam? Eric: Why, do you wanna meet her? : No. No. I'm good. Eric: You're going to. : Where are you taking me? Eric: To find out what you know. I wouldn't try anything rash if I were you. I'm still hungry. Credits. Bill's room. Sookie: Another first. Bill: How do you mean? Sookie: We've never had make-up sex before. Bill: How does it compare to "You thought I was d*ad" sex? Sookie: That was pretty great too, but I wouldn't want to go through that again. I hate the feeling I can lost you. Bill: And yet you like fighting with me. Sookie: I don't like it. It's just... Bill: Let's not get too used to it then. We don't want to be one of those couples. Sookie: Yeah, right. Holy! I am so embarrassed I could die. Bill: What is it? Sookie: Jessica, I completely forgot she was here.Think she heard us? Bill: No. If she had, she'd have no compunction about letting us know it. Sookie: You know, you might want to try going a little easier on her. It's hard enough being a teenage girl without... Bill: She is a vampire, Sookie. Sookie: So are you. And yet parts of your former self are still in there, right? I wouldn't be with you if they weren't. Bill: But I've had to work extremely hard at finding my way back to my humanity. Fragile as it may be. When a vampire's as new as Jessica is, she has no humanity. She's in the grips of an overwhelming number of transformations. There will be times when she cannot control even a single impulse. Believe me, she has many. Sookie: How is that any different from being a teenage girl? No humanity, check. In the grips of overwhelming transformations, check. Cannot control impulses, check. All right. How is that different? Bill: All right, so, what do you suggest I do? Just spoil the girl? Give in to her every whim and desire? After all, that is what every teenage girl wants, isn't it? Sookie: You don't have to be sarcastic with me, Bill Compton. And you should at least think about what I'm saying, if for no other reason than what you're doing right now isn't working out so hot. Kind of ironic. We promised each other we weren't gonna fight anymore, and yet here we are. Bill: This isn't a fight. Sookie: Yes, it is. Bill: Prepare to be made up to. Back to the Fangtasia. Pam: This is a disaster. We'll have to go much shorter than I planned. Eric: Yeah, well, I said I was sorry, Pam. But he took silver to me. You were there. You saw it. Defend me. : I don't know what it is you wanna know, but point me in the direction, and I give to you. Eric: I've seen your website. It's quite, low rent. But your clients miss you. They're wondering if you're ever coming back. Lafayette: Am I? Look, I'm here because of the V, right? How'bout I give you the names of everybody I ever sold to? Pam: And all this time I thought prost*tute were good at keeping secrets. : Don't get it twisted, honeycomb, I'm a survivor first, a capitalist second, and a whole bunch of other shit after that. But a hooker, d*ad last. So if I got even a Jew at an al Qaeda pep rally sh*t at getting my black ass up out this f*ck, I'm taking it. Now, what you wanna know? Eric: The vampire you had your little arrangement with. Eddie Fournier. What happened to him? : I don't know. I swear to God I don't. Last time I saw him he was doing real good. But I think he may have been taken by somebody. Eric: By whom? : I don't know. I mean I ain't sure. Eric: That's not very forthcoming of you. Chow, you're up. Layette: No, chill out. Shit. I think it... I think it was... Jason Stackhouse. Eric: Jason Stackhouse? Pam: Sookie's brother. Could be fun. Eric: Fun, but also stupid. Sookie is too important for us now. Pam: That's true. Eric: Sadly, this information is of no use to me. Not now, anyway. I understand dealers of vampire blood sometimes trade product with one another across state lines. Any buyers in the Dallas area? : One. He never gave me his name though. I have an e-mail address. pussylover9(a)shemail.com Eric: A friend of mine in the Dallas area, his name is Godrick, has gone missing. Now, while the circumstances of his disappearance are unclear, it stands to reason his blood would be very valuable, as he's over twice my age and ten times the vampire I will ever be. Pam: Eric, you don't do humble well. Eric: I was not being humble. This happens to be true. Your associate, this "pussylover". Has he or she mentioned any new product coming on the market? : No, no. And I would tell you. You know that. Eric: Take our guest and lock him back out, will you? : f*ck, I ain't going back down there. I gave you... Eric: You gave me nothing! : I'm not going back. Eric: Chow, now. : I gave you every... I gave you everything! I ain't going back down! Jason is in the bus with some people of the Friendship of the Sun. Luke: Luke McDonald. No relation to the restaurant Jason: Any relation to the farm? Luke: What farm? Jason: Never mind. Jason Stackhouse. Nice to meet you. Luke: You play ball? What position? Jason: QB one, actually. Luke: Tight end. Second team all-American. Jason: I don't doubt it, man. Look at you. You'd make one hell of a target. I'd have liked throwing to you. Luke: You would have. Blew my knee out. Freshman year at college. Texas A&M. Jason: You had the scholarship and everything? Luke: Everything happens for a reason. If it weren't for my knee, I'd have never found my true calling. And it might have taken me three solid years of Bible study and abstinence and applying and reapplying to do it, but it was all worth it. It all led me to this moment, right here, getting on this here bus. How about you? When'd you set your heart on going to leadership conference? Jason: Two days ago. Luke: Two days ago. Jason: I didn't know about it till then. I was having breakfast with Steve and Sarah, and they asked me if I wanted to come. Luke: You had breakfast with Steve and Sarah? Jason: What? Luke: I'll tell you what. With luck like yours, maybe some of it will rub off on me. You wanna bunk together? Jason: Shit, yeah. Luke: Don't say "shit". Jason: Shit? Oh, no. Luke: It's okay. Jason: Right. Luke: It's okay. Forgive yourself. Let's sing. At Maryann's house. Eggs: I was wondering when you would wake up. : Come here. Eggs: What? : You smell nasty and nice, all at the same time. So, as I was trying to sleep last night, I realized I don't know that much about you. And I'd kind of like to, or... When it comes to men, I've got a long history of putting the cart so far out in front that the horse can't see it. So now I'm just trying to get it right. Eggs: You like me, Tara. No, I know you do. : Of course I like you. Take a shower in your sweat, if I could. Eggs: I mean, we've known each other for what now, couple weeks? I mean, people usually take years unloading their baggage, so I'm trying to figure out what's the rush? : The rush is I was just curious. Now I see how bad you want to avoid it, I ain't just curious anymore. I'm worried. Eggs: I don't have a job. : I already figured that out. Get to the good stuff. Eggs: The day we met, remember I told you I was worse off than you when Maryann found me? The truth is I was... living under a freeway overpass without a penny in my pocket. And that's a penny I still don't have today, by the way. : I don't care about money. Eggs: I've spent some time in prison. : What for? Eggs: Drugs. : Possession or dealing? Eggs: I gotta pick one? : Colorful. Eggs: And I also served some time for armed robbery and as*ault. But I got out early on the as*ault charge for good behavior, so... : That's a plus. Eggs: You oughta know. Sookie's house. On the TV: Our own Mary Simmons spoke to the parents at their home in Shreveport earlier today If anyone has seen our daughter or even if you're the person who took her she's our first-born And she's a goodhearted smart girl who's never done anything to harm anybody So please just bring her home. We just want to see our baby again. Another harrowing appeal from young Jessica Hamby's mother... Camp at the Light of Day. Sarah: And so it is with open arms that Steve and I welcome all of you to the Light of Day leadership conference. Tomorrow's leaders today. Amanda will be coming around with your ring of honesty. Your ring symbolizes the promise... Amanda: Welcome. Sarah: ... to us... Jason: Thank you. Sarah: ... and to yourselves. That you will always be completely honest and open while here on this campus. Also, bear in mind, that your ring is made out of real silver. So protect it with all your heart. And maybe one day, your ring will protect you. A man: Die, fangers! Sarah: Now, some of you already have friends here, but most of you probably don't. And this is nothing to worry about. Because you will all be fast friends, as you all have one thing in common. Because for every one of you, today is the day His Holy Light begins to shine on you. People: Amen, brother! Steve: Amen. People: That's right. Whoopsy daisy. At the Merlott's. Sam: You'll get the hang of it. Daphne: Sure. Sam: You're late. (to Tara who is coming). : Sorry. Maryann: How about me? Am I on time? : I'm gonna go punch you in. Maryann: I was in and out of here fast last night I barely got a look at the place. It's... It's so... Vibrant. Sam: Thanks for your concern, but there's a big rodeo on Monroe today. So that's why we slow. Maryann: Tara says the food here is wonderful, so let's see what I'm in the mood for. Daphne: It's my first table. Wish me luck. Sam: I got this one. Daphne: Are you sure? Sam: You just focus on one thing at a time. Sam: Stop f*cking with me. Maryann: Tableside visit from the owner himself. I must be important. Sam: I want you to leave. Maryann: You're not really gonna refuse me service, are you? I mean after I forgave you a hundred thousand dollar loan, the least you could do is let me buy myself some lunch. Sam: What can I get you? Maryann: I think I will go with the stuffed snapper with the crawfish topping, the blackened rib eye, the red beans and rice, the fried catfish, and... dear, now, would it be possible to get the smothered pork chops for lunch, even though it's here on the dinner entrées? Now, how are your...? Back to the conference. They are playing a game outside. Jason: That's how you capture the flag. Luke: Capture that. Steve: All right, show us your muscles. I wanna see the flag you captured. Here comes Stackhouse. He's back. I see you. Nice hair. That's what I'm talking about right there. Sookie is coming at the Merlott's. : What are you doing here? I thought it was your day off. Sookie: It is. : How many times do I tell you that coming in to work when you don't have to is pathetic? It's like going back to school and visiting your teachers. Sookie: I didn't come to see them. I came to see you. So come on. Take a break. : Sam will be pissed. Sookie: He's always pissed. Terry: I'm losing it, Sam. Sam: Terry, come on. What is this? Terry: It ain't my fault. How the hell am I supposed to read her writing? Sam: Daphne, Daphne! Back to the Fangtasia. : f*ck. He has seen something in the leg of the man who has been k*lled at the beginning. With that he "can be free" and is going to find a solution to save himself. At the Merlott's. : So, basically, you're like a stepmother to a vampire? Sookie: Okay, you did not just call me that. What about you? How've you been? : I'm confused. Sookie: About what? : I've been living over at Maryann's for the last couple weeks? Sookie: I do. : In a lot of ways, I don't ever wanna leave. I mean, everything is taken care of for me there. My bed gets made, my laundry gets done, there's breakfast on the patio served to you by a chef. Sookie: Can I move in? : Seriously, right? But it scares me too. And maybe that's just 'cause I'm not used to taking and not giving, but something inside me says, "This is weird, Tara. "Don't trust it. " What do you think? Does all this sound too good to be true to you? Sookie: I think before I answer that, I have to tell you I may have a conflict of interest in all this. : Conflict of interest? Sookie: The main reason I came to see you today was... Tara Thornton, would you like to move in with me? : Really? Are you serious? Sookie: Of course I'm serious. It would be so much fun. And we know we get along. When we were kids, you slept over more often than you didn't, and we never wanted to pull each other's hair out or anything. : That's where you're wrong. I was always jealous of your long blond hair. More than once I thought about cutting it. Sookie: You did not. : Yes, I did. Sookie: So, what do you think? 'Cause I've been trying to get my act together, to move into Gran's room for the past couple weeks, and your moving in might be the kick in the butt I need to do it. They heard a noise. Sam: That's right on my feet. How am I supposed to ignore that? Daphne: I'm sorry. : If you wanna make it to Bill's tonight, you better get out of here before Sam asks you to stay. Sookie: You're probably right. Maryann: Is this the infamous Sookie? Sookie: It's nice to meet you. Maryann: Oh, likewise. You're very special, you know. I mean, to have been through everything you have in your life, not to mention the last few weeks and to emerge through all of it walking, let alone smiling. It's simply astonishing. Maryann thinks: I see what you mean about her, Tara. She has an old soul, doesn't she? Sookie: Sorry. I'm usually good at placing people's accents, but yours I can't get a handle on. Where are you from? Maryann: Cape Cod. Best potato chips in the world. Sookie: I'd love to stay and chat, but I'm running late. Let me know what you decide about moving in, all right? 'Cause... I think it'd be really great. Maryann: She asked you to move in with her? That was awfully nice. : Yeah, but...I don't know wha'm doing, so. To the Fangtasia. Lafayette is going up to the bar. Ginger: Who the f*ck are you? : Shit. Ginger: Well? : It's daytime. Thank you, Jesus. Thank you, God. You're human, right? Ginger: Kind of. But I ain't letting you go. If that's what you're thinking. : Look at you. Not only is you sexy, but you can read minds too. That getting me all riled up in my nether regions. Ginger: Don't you try and flirt with me. They told me to pay special attention to the f*g drag queen in the basement. : Skank ass bitch, you gonna let me up outta here! Ginger: I do that, I'm good as d*ad. And you know it. Don't you move. : You ain't gonna sh**t me, not with them shaky-ass hands. You ain't got the stomach for it. She sh**t. Bitch. Ginger: Holy f*ck. I'm sorry. I'm so f*cking sorry. I hate g*n! : I'm the one who got sh*t. Will you quit screaming and go get me a doc before I bleed the f*ck out? g*dd*mn. Hurry up. f*ck. Ginger: These are all dirty. : Just give me the f*cking towel. Back to the camp. There are some concerts. The band: Jesus, everybody. Honesty. Jason: Honesty, babe! Steve: Let's hear it again for our very own Amanda James! You did very good, honey. People: Definitely. Honesty. Steve: That was "Jesus Asked Me Out Today", and it's on her new album, which drops next Tuesday, is that right? Amanda: Look for it at Wal-Mart, Target, Cosco, and of course the single's already available for download on iTunes. So check it out. Steve: I love you, Amanda! You hate to have to follow that. All right. Go on, go on, sit down. Now finally tonight, we're gonna wind things down with a little game, which, while fun, should also be instructive. Because as each of you heads out into the world, at some point, you will be faced with real life encounters with vampire sympathizers. And we want to make sure that you're ready. So, Sarah, honey, can you come on up here, please? Now, I'm gonna ask my beautiful bride to play the part of a sympathizer. Sarah: Oh, come on, y'all, it's just pretend. Steve: And... Jason Stackhouse. Why don't you come on up and play the part of the good guy? Jason: Me? Steve: You captured the flag, didn't you? People: You the man, Jason! Go, Shreve, go! At Bill's home. Jessica: I just saw my parents on TV. Sookie: Oh, no. I'm sorry. Jessica: I finally get why they never wanted me to watch it in the first place. It's horrible. Sookie: Where's Bill? Jessica: I have no idea. All he told me was, "Jessica, I have errands to run. "Errands which do not require your presence. "So remain here and do your best to stay out of trouble while I'm gone." And I hate it here. I hate it so much. I... I think I miss them. Sookie: Your parents? Jessica: And my little sister. I was always totally horrible to her. I was just such a brat... What's wrong? Sookie: Sweetie, vampires don't cry regular tears. So when you cry, you're gonna cry blood from now on. Jessica: Why do you know that and I don't? Don't you think I should know this about myself? Sookie: Bill should probably have told you. Jessica: Jeez, you think? Sookie: Here's some tissue. Look, I don't know if it helps at all, but I think I kind of know how you feel. At least a little. Jessica: No, you don't. Sookie: I'm not saying it's the same, but I lost my gran a few weeks ago, and she was everything to me. Everything I knew, and now she's gone. Jessica: But grandparents are supposed to die, and you're still alive. I mean, with me, I'm the one that's d*ad. Sookie: It doesn't really matter who's d*ad. When people love each other, and then suddenly one of them isn't there anymore, it's the distance that hurts. And the distance is the same no matter who's doing the leaving. Jessica: What do you do when you feel so far away you can't stand it? Sookie: Well, sometimes I'll go into her room and just sit there a spell. Jessica: That helps? Sookie: I don't know why, but just being someplace where she's been, it makes me feel better, at least a little bit. Jessica: You think you could drive me to my parents' so... Sookie: Okay, I did not mean to... You know I can't do that. Jessica: Please. I would just sit in the car. I swear. All I'm asking is to sit across the street and catch a glimpse of them through the window. Just so I can say goodbye. Sookie: I'm sorry. It's just not my place. But if you explained it to Bill the same way you just explained it to me, I'm sure he'd take you. Jessica: Are you really sure about that? 'Cause I'm not so sure he would. Sookie: Ok. Jessica:. Really? Sookie: But we're just driving by and that's it. And we should swing by my place and get you a change of clothes, because I am not taking you out in public dressed like that. Jessica: Thank you, Sookie. Thank you so, so, much. Sookie: Don't mention it. To Bill. Ever. Bill is doing some shopping. A woman is coming to him. A seller: You look positively lost. Bill: Yes, I do feel a little... at sea. The seller: I can help you pick something out if you'd like. You're looking for your daughter? Bill: My daughter, Jessica. The seller: Such a pretty name. What do you think of this? Bill: It's very nice, but I don't think so. The seller: My, we are conservative, aren't we? Bill: No, not really. Just old-fashioned. The seller: Don't be silly. You don't look old enough to be old-fashioned. Not by a long sh*t. Bill: You'd be surprised. The seller: You're funny. And cold. Well, you're not... Bill: I am vampire. Yes. The seller: Tell you what. Why don't you come with me to the dressing room and I could model this for you? Bill: That's very kind of you, but no thank you. The seller: You sure, now? Bill: I am. Eric: Good evening, old sport. Bill: Eric ? Eric: It's the new me. You like? Bill: I do. Very much. The seller: Oh Okay. (She thinks that Bill is gay). Eric: We need to talk. Back to the camp. Jason: Listen, lady, if you're gonna give them all the rights that normal people have, then how am I supposed to protect my sweet little girl from any vampire who wants to just fly on in and marry her? Sarah: You have a daughter? Jason: Well, I was a pretty bad boy up until the Light of Day leadership conference. So yeah. It's entirely possible that I could. Sarah: Well, I don't give a hoot about your daughter. In fact, nothing you say about vampire rights is gonna change my mind. Because... I am a vampire. Jason: I'm so sorry. Sarah: It's okay. Steve: You all right? Sarah: It's okay. To the Merlott's. Terry: I got another deluxe, I can't guarantee that it's cooked. Arlene: Honey, you are sweating like a ice-water pitcher. Terry: I'm feeling the pressure, Arlene. I don't like feeling the pressure. Arlene: When was your last break? Terry: I ain't taking one. Arlene: I'm coming around there. Daphne! Order up! Terry: f*cking... Arlene: Give me your tongs. Terry: I'm fine. Arlene: Give me your tongs. Taking a break. Be a doll, take that out to table four. Daphne: Which one's table four again? Well, I... I'll find it. I'll find it. She ain't working out. Terry: Nope. It's funny. Most of these orders are going out to table four. What the hell's going on at table four? Maryann: Miss! Miss? I think you're looking for me. Daphne: I'd have stood there all night if you hadn't noticed me. So, thanks. Maryann: Are you new here? Daphne: How could you tell? Maryann: Because you care about doing good. Now you just keep on caring and one day you'll be the best at what you do. That's my advice. Sam: Don't you think you've had enough? Andy: I know what you're thinking. Nine years sober. Why give it all up? Well, what I got to say to that is: why the hell not? Sam: Lots of people in this town don't need to see you this way. Andy: The people in this town don't see me. Not for what I really am. Sam: Well, how about you quit feeling sorry for yourself and suck it up? You want respect from people, start by respecting yourself. Andy: Bud took me off a case, Sam. I don't know about you, but in my book that's a capital D motion. Sam: I'm sorry, I didn't know that. Andy: I'll get back on the right path tomorrow but tonight... Don't cut me off, all right? Sam: No problem. Sam: One of the things I set out to do when I opened up here, was to have a place where you could come, get a drink, and nobody would bother you to dance. Sam: I am with you there. I hate to dance. This one time, I was in a club in Shreveport, and I actually had a woman tell me I looked like an epileptic on meth. Never again, Sam. Never again. Maryann makes dance some people. At the shop. Eric: The sheriff of Area 9 in Texas has gone missing. Have you heard about that? Bill: I hadn't, but I know the vampire of whom we speak. His name is Godrick, correct? Eric: Indeed. Now it goes without saying he needs to be found. Which is where Sookie comes in. As she's yours, I'm asking your permission to take her with me to Dallas. Bill: Eric, you can do whatever you want with me, but I am not putting her in this position anymore. I cannot and I will not allow you to bring her into these matters. Eric: We made a deal, your human and I. That if I didn't k*ll, she would work for me as often as I like. Now, you remember this, don't you? You were there. Bill: Taking her cross state lines is a far cry from taking her to Fangtasia for the evening. I'm only asking your permission out of respect. If I want her, I can simply take her. Is "no" your final answer? Bill: It is. Eric: Poorly played, Bill. Jessica & Sookie. Jessica: Here, this is it. Across the street. My daddy won't be home yet, but my mama and sister should be there. Sookie: I'm sorry. Jessica: Well, why are you crying? Sookie: Because I did this to you. If Bill hadn't... I took your life away, and I know there's no way you'll ever be able to forgive me. It's not even right to ask. But I had no idea it was gonna lead to this. Jessica: I don't blame you, Sookie. Sookie: How's that even possible? Jessica: There's my sister. Sookie: Get back in the car! You promised. We heard: Fault front door. Jessica: Mom? Sookie: Don't cry. Jessica's sister: Where were you? Jessica's mother: It doesn't matter. Just call your father. And... And tell him that Jessica's home. Jessica: Momma, I'd like to introduce you to my... my friend. This is Sookie. Jessica's mother: Thank you so much for bringing her back. Sookie: You're welcome. Jessica: Aren't you gonna invite us in? Sookie: What?! No, no. We can't stay. Jessica's mother: Honey, your arm's like ice. Come on in and I'll make you some tea. Come on. Back to the Merlott's. A woman: What just walked through that door? : Trouble. Eggs, I'm working. Eggs: I know. I'm sorry. I got something to say, and I want you to hear me out, all right? The woman: I'll hear you out. : Jane Bodenhouse. You are a crazy-ass drunk, but normally you wait for some loser to h*t on you. What the hell has gotten into you? Jane: I don't know. : What? Eggs: All right. Listen. My dad left us when I was a little kid. So I don't remember shitabout him except this: he used to always say, "You can't get what you want in life, "so in order to get it, you have to appear not to want it." Well, I say f*ck that. I wanna be with you, Tara, and I refuse to pretend I don't. Maryann: Detective Bellefleur, you come dance with me. Andy: I don't dance. Maryann: With me you do. Come on! Come on! Andy: What the hell! It's my last night drinking. At the camp. Luke: Think you walk on water, don't you? Jason: I'm pretty sure that was Moses. Luke: No, it was Jesus. Moses parted the Red Sea. And what was the deal with you snapping the American flag in half like you some Muslim Buffy with a dick? That's all kinds of messed up. Jason: I'm sorry you didn't like it, Mac, but everyone else... Luke: Your being here is a joke, Stackhouse. They may not see it now, but they will. Day one might have went to you. Day two belongs to the Luke-inator. Jason sees pictures in his head and hears again: Die, fangers! Jason Stackhouse, you're a tool of Satan. He probably tripled it. Traitor. Just drink. They may not see it now, but they will. g*dd*mn it. At the Merlott's. Sam is taking Maryann in his office. Sam: What the f*ck is going on out there? Maryann: What you're talking about. Sam: The dancing and the gyrating and the people nearly having sex on the pool table? Maryann: I don't know what to tell you. People came back in a good mood. Sam: Damn it, Maryann, this is my bar, these are my people. This is my town! Don't do that. I've seen you do that before. Stop it. (He's becoming a dog). Maryann: What I just did to you, I can do anytime, anywhere. So unless you want your customers to know your little secret, you better think twice before you thr*at me ever again. Do we understand each other? Back to Jessica's home. Sookie: I don't normally cuss, but you have completely f*cked me. Jessica: I know and I'm sorry, but I swear it was like it wasn't even me doing it. It must be those new vampire impulse control issues. Sookie: f*ck your impulse control issues. Jessica's sister: Here some sandwiches, Mom's making tea. Jessica: Oh, thanks, Eden. Sookie: Thank you. Jessica's mother: Eden, You already had dinner. Don't touch those sandwiches. Jessica's sister: You're pretty. Sookie: Why, that's awful nice of you. And you're very pretty yourself. Jessica's siter: I'm not. Got a problem with hair. We heard: Fault: front door. Jessica's father: How could you do this? Jessica: Daddy. Jessica's father: Do you have any idea what you put your mother through? Why, Jessica? You tell me why? Sookie: Mr. Hamby! Jessica's father: Or I will make you tell me! Jessica: Go ahead, Daddy. Get your belt. But this time, I'll be ready for you. To the Fangtasia. Chow: How much blood do you think he's lost? Pam: Oh, I still think he has something to offer. Chow: I hate to let it all go to waste like this. Seems a shame we have to wait for him. Pam: Maybe one day you'll be sheriff and you can make the rules. Chow: I doubt that. Pam: Me too. Eric: Sorry to keep you waiting for so long. How's the leg? : Shitty. Thanks for asking. Eric: After all your proclamations about what a model prisoner you were going to be, you had to try to escape. : You were going to k*ll me anyway, right? Eric: Now you'll never know. So, what's it gonna be, Lafayette? Would you like the leg to k*ll you, or would you prefer us to do it? : I'm gonna go with plan C. Eric: There's a plan C? : Make me a vampire. Eric: I beg your pardon? : And you can put me to work in the bar. I'm a good dancer. You seen it on my site. Shit, I get up there and move Earth and heaven, go-go style. Eric: You are aware there's a gaping hole in your leg? You're damaged goods. : Not if you turn me. I'll be good as ever. Look, I... I'm already a person of poor moral character, so I'll h*t the ground running. And I damn near glamour people already. Give me what y'all got, and it's on me, cr*cker. Not only will I be a badass vampire, but I'll be your badass vampire. Eric: Interesting. I'll take it under advisement. Pam? Chow? Showtime. Back to Jessica's home. Jessica's father: How could you let some bloodsucker bite you like that? Jessica: I didn't let anybody do anything me. But, am I glad he did. 'Cause now, I get to homeschool you in what it's like to be scared. Sookie: Jessica! Jessica: Jesus Christ, Sookie. Would you shut the f*ck up? Jessica's sister: You okay? Jessica's mother: Baby, please. This isn't you. Jessica: You don't know anything about me. You're too dumb to know anything. Sookie: Jessica! Jessica: What? She is dumb. She's dumber than a sack full of hammers, and he's as mean as a snake. And that's the way it's always gonna be around here. So I am ending it. Right here, right now. And I am doing it with your belt. Jessica's sister: Daddy? Jessica's father: It's okay, baby. Jessica: Don't worry. This will only hurt for a minute. Bill: Jessica, let him go. Jessica: But... Bill: As your maker I command you. Jessica's mother: God help us. Sookie: Thank God you're here. Bill: Shut up. Now, someone who lives here must invite me in. Jessica's father: Don't, he's one of them. He'll k*ll us all. Sookie: He won't. He's not like that. Bill: You. Little girl. Come here. Jessica's father: Come back here! Jessica's mother: Eden, don't. Bill: Good girl. Now, you listen to me. I'm here to protect you. You and your mother and your father. I am your friend. So you just invite me in and I can make everything stop. Jessica's sister: You can? Won't you please come in, sir? Sookie: I'm sorry. Bill: Get the hell outta here. So I can clean up your mess. Sookie: Please don't k*ll them. Bill: This is your fault. Now get the hell outta here. End of the episode.

{"type": "series", "show": "True Blood", "episode": "02x02 - Keep This Party Going"}

foreverdreaming

Scene 1: In the car, on the road - Bill, Sookie, Jessica Bill drives very fast. Sookie: Bill, slow down, please. Stop this. You're scaring me. Bill stops the car on the side of the road. Jessica is crying. Sookie: I'm sorry. She promised she was just gonna look in the window. I know I made a mistake, but they're her family. Bill: She is a vampire. She has no family. Jessica: I'm a monster, and I'm gonna be alone because of you. I hate you si f****** much. Bill: Be quiet. Jessica: Easy s***. Bill: I said be quiet! (To Sookie) You undermined my authority as her maker. You risked those people's safety and your own. If I had not glamoured them within an inch of their sanity, all of our lives would have been shattered. Sookie: I know. I'm sorry. Bill: You keep saying that! And I am expected to what? Forget this ever happened? Sookie: What else would you like me to say? I knew when she asked me to take her I should say no but all I could think about was Gran and what I'd get to see her again. Bill: That does not give you license to behave like an irresponsible child. She is a loaded g*n, Sookie. Not a doll for you to dress up and play with. (Sookie opens the car's door) What are you doing? Sookie: Walking! She goes out of the car. Bill goes out too. Bill: Don't be ridiculous. Bon Temps is nearly 20 miles away. Sookie: I'd rather walk all night than spend another second in that car with you. She goes in the woods. Bill gets back in the car. Jessica: She wants you to go after her. And she wants you to go after her and kiss her and tell her that you love her. Bill: She will come back. When she calms down, she will come back. Sookie walks in the wood. She hears a noise. Sookie: Bill? Bill if you're trying to scare me so I get back in that car with you, it isn't gonna work. She looks back and sees a creature coming through her. Sookie: What the...? Sookie begins to run and the creature runs too. She scratches Sookie's back. Sookie falls on the floor. Bill goes out of the car. Credit Bill sees Sookie, laying on the floor. Bill: Sookie! Sookie! Sookie! He takes her in his arms. Bill: What did this to you? Sookie: Bull... Human... I couldn't see... Bill, I can't move. Sookie drinks Bill's blood but she begins to cough and shake and come white liquid comes out of her mouth. Bill: Sookie! Jessica arrives. Jessica: Oh, gross. Bill (to Jessica): Get the car, now! Scene 2: Fangtasia - Bill, Sookie, Jessica Bill, Sookie and Jessica arrive at Fangtasia. They are in the car; Jessica is driving. Bill (to Jessica): Drive straight home. Jessica: But I wanna go with you. Bill: As your maker, I command you. Jessica leaves. Bill is carrying Sookie. Scene 3: Merlotte's - Sam, Daphne, Tara Sam is in his office. Daphne arrives. Daphne: Sam? Sam: Yeah? Daphne: I'm short. I went over it three times. I don't know what happened... Sam: How much? Daphne: 64 dollars and, like, 8 cent. Sam: God dammit, Daphne, you're gonna have to pay for it. I'm sorry, but this is a business. Daphne puts some money on the table. Daphne: There. That's all the tips that I made tonight, so I'm just gonna have to owe you the rest. She leaves. Sam: F***. Tara arrives. Tara: You can't expect her to learn of you don't give her any positive reinforcement. Sam: Tara, not now. Tara: I'm serious. Nobody succeeds at anything in life unless somebody leads them. Sam: Let me guess. Maryann say that? Tara: What is it with you and Maryann? What's she ever done to you, other than just drop almost 300 dollars in your bar tonight? Sam: I don't want her in here anymore. And if I were you, I'd stay the hell away from her. Tara: You don't even know this person. Sam: Neither do you. He leaves his office. Scene 4: Fangtasia - Sookie, Bill, Eric, Dr Ludwig, Pam, Chow Sookie is on a table. She has scars with blood on her back. Sookie (to Dr Ludwig): What kind of doctor are you? Dr Ludwig: The healing kind. I'm doctor Ludwig, what's your... Sookie screams when the doctor touches her back. Sookie: I'm Sookie Stackhouse. Am I dying? Dr Ludwig: Yes. Bill: No. she cannot die. You will save her. Dr Ludwig: Back off vampire, let me do my job. Eric: Forgive him. Bill is abnormally attached to this human. Dr Ludwig: Well, we don't have a lot of choices, she's been poisoned. You ever heard of Komodo dragons? Their mouths are teeming with bacteria. After one has bitten you, it will track you for hours, days, just waiting for the toxins to slowly eat away at your nervous system till you're good and helpless. Then it will devour you alive. Sookie: I was scratch by a dragon? Dr Ludwig: No. But this poison is similar but way more efficient. I think I've seen it before but it's hard to tell without testing, and we don't have that kind of time. Give us some privacy. I need to remove her clothing. Bill (to Sookie): I will be just outside. I am so sorry. Dr Ludwig: She's running out of time, Mr. Compton. Eric and Bill are in Eric's office Eric: Head of a bull. Bill: That's what she said. It was dark. It all happened in seconds. Eric: So you didn't see this bull man? Bill: No. Eric: And you gave her your blood? Bill: It didn't work. You ever heard of anything like this? Eric: Surprisingly, no. I though in over a thousand years I'd seen everything there was to see. Pam and Chow come in. Eric: Search the woods around highway 71. Pam: He can do it. I'm wearing my favorite pumps. Pam and Chow leave. Eric: She is extremely lazy. But loyal. How's yours? Jessica? Bill: Petulant. Dangerous. Afraid. Eric: I'm glad to see you two are bonding. Being a good maker is very rewarding. Bill: I have to get back to Sookie. Eric: Oh, relax. Dr Ludwig treated one of Pam's humans when it was mauled by a werewolf. Lost an eye, but otherwise he's fine. Sookie is screaming when Dr Ludwig puts some liquid on her scars. Bill and Eric come. Bill: What are you doing to her? Dr Ludwig: Hold her down! Or let her die, your choice. Bill holds Sookie hands. Sookie: No! No! Scene 5: At the Fellowship of the Sun - Jason, Luc, Eddie Jason wakes up, screaming. Eddie: You're so warm. And I'm so cold. Eddie is near him, in his bed. Jason: Eddie? Eddie: What are you doing here, Jason? I thought we were friends. Jason: You're f****** d*ad. I saw you die. This ain't real. This ain't real. Eddie caresses Jason. Eddie: Does this feel real? He bites Jason with his fangs. Jason screams. It's just a dream. Jason wakes up screaming. Jason: Dear God, you gotta help me out, because, I don't know what's right and wrong no more. Maybe I never did. Just, God, please. Please. Give me another sign. Because... I'm lost. I'm so f****** lost. Luc throws a pillow on Jason. Luc: There's your sign. Now, shut up. Someone's trying to sleep in here. Scene 6: Fangtasia - Sookie, Dr Ludwig, Bill, Eric, Pam, Chow Dr Ludwig (to Bill): You can give her blood now. Her body should accept it. Eric stops Bill when he begin to bite his arm. Eric: Mine is much stronger, allow me. Bill: Never. (To Sookie) Sookie, can you hear me? You must drink. He bites his arm and Sookie drinks his blood. Dr Ludwig (to Eric): I'll expect my payment by the end of the week. Eric: It's always a pleasure doing business with you, Dr. Ludwig. She leaves. Bill: Clearly the pleasure was one-sided. Eric: Well, she's no fan of the fang. She tolerates us, because our blood is of such great value to healers. Be careful. You'll overcook her. Sookie stops drinking Bill's blood. Bill: All right. Sookie: Thank you. Pam and Chow arrive. Pam: The area has been scanned. Chow: Tracks were human, but the smell was distinctly animal. Eric: What kind? Pam: A filthy one. Chow: We didn't recognize it. Eric: How intriguing. Send an alert through the appropriate channels. Find out what the neighbors know. And Pam. Those were great pumps. Pam and Chow leave. Bill (to Eric): I don't wanna move her. Eric: Of course not. I'll make sure she's take care of. Bill: I'm not leaving her. Eric: Longshadow kept a coffin in back. He liked to feed before resting, so it might be a bit messy, but you're welcome to it. Bill: I wanna thank you for your hospitality. And for saving Sookie's life. Eric: I'm sure there's a way she can repay me. Scene 7: Sookie's home - Maryann, Tara, Carl Carl is cooking Daphne's heart. Maryann tastes the sausage. Maryann: That's delicious Carl. Could use a little more juniper, don't you think? Carl: Yes, yes, of course. You're right. Tara (coming in the kitchen): What's all this? Maryann: I'm having a few people over. Tara: How many people? Maryann: You know, I don't remember. Sit, Carl will make you some breakfast. Tara: That's okay. I'm more of a breakfast-for-lunch kind of girl. But coffee's great. Thanks, Carl. She sits with Maryann and has some coffee. Tara: I don't think I'll ever get used to people just doing things for me without me even asking. Maryann: Well, Carl knows that if he wants to find real fulfillment in life, he needs to learn to be of service, so everything he does for us is really a selfish act. Tara: Maryann, why does Sam hate you? Maryann: Sam hates me? Tara: Practically jumped down my throat after you left last night. Kept saying I need to stay away from you, why would he say that? Maryann: Well... I mean, I barely know the man, but if I had to guess, I'd say jealousy. You two have a history. Tara: Yeah, but we're better as friends than we ever were at sleeping together. We both know that. Maryann: Tara, still not valuing yourself. You are a fantastic woman. Sam lost you. He's just looking for someone to blame. Tara: But why you? Maryann: Because you've moved on. And hopefully I've been a part of making that happen. Sam seems like a sensitive, wonderful guy, but all my instincts scream, "unevolved." Tara: You're right. That man has way too many issues. Maryann: And there are not your problem. Unlike Carl, you've done enough taking care of people to last a lifetime. Tara: Holy s***, that's beautiful. It's even got a filter? Maryann: Little technique I picked up in Ibiza. Adorable, isn't it? Tara: F*** it. I don't have to be at work till 4:00. Scene 8: Sam's trailer - Sam, Terry Sam puts things in his car when Terry arrives. Sam: Hey Terry. Thanks for coming. Terry: Taking a trip? Sam: Something like that. Terry: Where to? Sam: Not sure yet. Terry: Well, I ain't been a lot of places, but better here than all the places I've been. Sam: Yeah. So listen, I was hoping you'd take care of the bar for me. You know, just till I get back. Terry: Yeah. I don't know, Sam. I like cooking. It's quiet back there and... I ain't so good with people. If I were you, I wouldn't be my first choice. Sam: Well, actually, you're not. I can't reach Sookie. And who knows where the hell Lafayette is, Arlene's got enough on her plate, and Tara... Tara's... Terry: Don't like feeling the pressure. Sam: She's going through some personal stuff right now. So you're all I got. You do it for me, buddy? Terry: Well, I guess I ain't got no choice. Sam: I appreciate it. Appreciate it, I'll get you a set of keys after closing. Terry: So you're just gonna cut and run? Just like that. Sam: I'm not running. Terry: Remind me never to get stuck on a foxhole with you. Coward. Terry leaves. Scene 9: Fellowship of the sun - Jason, Sarah, the members A woman has bites on her body. Woman: He used me up. Till he got bored. And then he left me to die. I thought he loved me, but I was nothing, but his living,, breathing, snack machine. Sarah: Thank you for sharing your story, Missy. That was very brave. May his holy light shine on you. The members: Praise the light. Jason: Praise... the light. Sarah: Jason. There's something you'd like to share? Jason: No, thank you. I ain't much of a sharing kind of guy. Sarah: Remember, we all signed a vow of honesty. Are you wearing your honesty ring? Jason: Yeah. All right, but, you ain't gonna like it. Pretty much against everything you all been saying. Sarah: You're safe here. Jason: I ain't a vampire victim. The fact is they have never done nothing against me. My sister's dating one, and from everything I can tell, he seems to treat her pretty decent. Well, except for the biting, but I think she likes that.. Man: Huh. Sarah: No, please. Jason: What? Sarah: Go on. Jason: My girlfriend, she staked a vampire right in front of me. His name was Eddie, and... he was gay, but he was a real nice person. Sarah: He wasn't a person, Jason. A person wouldn't do that. Would they? Jason: Well, my Gran and my girlfriend were k*lled by my best friend just because he had a problem with vampires. And he was a person. Look, I'm only here because I thought God wanted me to be. Thought maybe he had a purpose for me. Some s*** like that. Beginning to see that was just wishful thinking. He leaves the room. Sarah: No, Jason, wait. Becky, take over for a second. Becky: Sure. Let's pray. Sarah joins Jason outside. Sarah: Hey, Jason. Just talk to me. Jason: There ain't nothing to talk about. Sarah: The forst time I laid eyes on you, I knew there was something special about this one. I knew the Lord had sent you to me, but until today that I knew why. Jason: Why? Sarah: Because we're so much alike. Jason: Sarah... Sarah: No, but... we wanna see the best in others so badly, that sometimes we overlook the worst. Jason: That kind of does sound like me. Sarah: When the vampires came out of the coffin, I went with my big sister Amber to march for their equal rights. Jason: Really? Sarah: Two months later, Amber disappeared. Got hooked on V. I know they k*lled her. Got rid of her body in whatever way they do. Jason: I'm sorry. Sarah: They stole my sister, Jason. The same way they stole your girlfriend and your grandmother. And I know you believe Eddie was your friend, but think about it. If his kind never existed, the people you love would still be alive. Jason: You're saying... if I hadn't been too messed up to protect them, that they'd still be here? Sarah: No, you're just human, but vampires... everything they are, down to their very blood, is seductive. Jason: I should have done something. Could have saved Gran, Amy... all of them. He cries. Sarah: I know how much it hurts. Trust me, that's why... if we can protect even one family from this kind of suffering, then all the loved ones we've lost, their deaths won't have been for nothing. Jason: You know, sometimes... I wish I was d*ad too. Sarah: But you're not. God needs you. You don't have to carry this alone anymore. Give yourself to His light. Let him carry this pain for you. Pray with me? Jason: Okay. Sarah: Heavenly Father, bless Jason, and protect his sister, and all those who are still out there lost in the darkness. Scene 10: Fangtasia - Sookie, Ginger, Lafayette Sookie is sleeping. She wakes up. She goes to see her back in the mirrors; the scares are gone. Ginger: You're awake. I made you a two-top sandwich. Peanut butter and chocolate syrup. Sookie: That's very... thoughtful, Ginger. Ginger: That's the thing about being with vamps, ain't it? You always forget to eat. I've lost 37 pounds since I got this job. Way better than a fat farm. Sookie: Did Bill leave? Ginger: He's resting in back, I think. Sookie: Do they make you stay here every day? Ginger: Well, sometimes I just come in for deliveries, but these days I've been coming in for... Never mind all that. You just finish up your sandwich and go back to sleep. Ginger voice off: I almost told her about her friend Lafayette, in the basement. Eric says I can't tell her. Sookie: Lafayette? Why would Eric have Lafayette in the basement? Ginger: I just work here. Ginger voice off: Please don't make me use that g*n under the cash register. Sookie takes the g*n. Sookie: Take me to him! Now! The go down on the basement. Lafayette is there. Sookie: Oh, my God. Lafayette. Lafayette. Lafayette: Sookie. Is that really you? Sookie: What have they done to you? Lafayette: Do I look like a vampire? Sookie: You look awful. Lafayette: I feel f****** worse. I guess that means I ain't a vampire then, wich is good. Sookie (to Ginger): Uncuff him. Ginger: I don't have that key. I swear. Ginger voice off: Eric's gonna be so mad at me. Jesus have mercy. Sookie: I'm gonna get you outta here. I promise. Scene 11: Maryann's house - Eggs, Tara, people Eggs is playing guitar and other people are listening at him. When he finishes, Tara goes to him. Tara: That's a new song? Eggs: Yeah, well, I didn't get serious about this till recently, so I got a lot to learn. Tara: Sounding pretty good to me. Eggs: Nice, I just, you know, I love music, I just wasted most of my life trying to avoid doing the shit I love the most. Tara: Why? Eggs: I guess u just felt like... if I was good at something, it's probably just a waste of time, and if it felt good I probably didn't deserve it. You know, a couple days after Maryann took me in, she put this guitar in my hands, and I cried like a f****** baby. It was the first time in my life anybody's actually ever encouraged me to do anything. So... I'm sorry, I... Tara: Don't apologize. Only thing my mama ever encouraged me how to learn was how to pour whiskey. Oh, f*** me. Eggs: What? She looks at the time. Tara: I was supposed to be at work 45 minutes ago. They laugh. Eggs: I can give you a ride, now. Tara: How many of those have you had? Four? I think one DUI between us is enough, don't you? Besides, I am way too f***** up to deal with Sam Merlotte right now. Eggs: Well, is he gonna f*re you? Tara: Maybe, but it's just a job. And I got through those about as fast as I go through relationships. Eggs: Maybe you haven't found the right one yet. Tara: I've had a lot of jobs. Eggs: I ain't talking about that s***. They kiss. Scene 12: Fangtasia - Bill, Eric, Sookie Bill comes in the bar. He takes Sookie in his arms. Bill: You still angry about our fight? Sookie, none of that matters anymore. Sookie: You're right. I'm alive and in one piece, unlike my friend Lafayette who Eric chained up like an animal and left to bleed to death. Bill: What? Sookie: You better not have known anything about this Bill Compton, because if you did, I don't think I could ever forgive you. Bill: I have no idea what you're talking about. Eric: She's referring to the human in my basement. The human that traded sexual services with a vampire in order to sell his blood. Which, as you know, is a grave offense. Sookie: His name is Lafayette and you ought to be ashamed for what you've done to him. Sookie slaps Eric. Bill: Sookie! Eric: I'm glad you're feeling better. And may I add, that color suits you very well. Sookie: Go to hell. Bill: Sookie, enough. Sookie: It's not nearly enough. They've tortured him and bitten him and sh*t him and kept him down there in his own filth for weeks. Bill (to Eric): Is this true? Eric: There are others who would have done far worse and you know it. Sookie: You're gonna let him go right now, or I swear I'm going to the police. Eric: I do not respond well to thr*at. But perhaps we can come to some sort of arrangement. Please. Scene 13: Merlotte's - Terry, Sam, Arlene Terry is doing the service. Sam on the phone: Hey, Tara. So I guess you're not coming in tonight. I get it. You're pissed at me for what I said about Maryann. Look. Tara, I know you're smart and tough and you can take care of yourself, and that's all I'm asking you to do. Okay? Just keep your eyes open. And take a good look at the people around you. And be careful, okay? Just be careful. Arlene arrives. Arlene: I know. I know I'm late, I'm sorry, but Lisa decided to give Coby a nose piercing. Like she saw on America's Next Top Model. Well, now he's got an infection... Sam: It's okay, Arlene. Just go ahead and get changed Arlene: Is everything alright with you Sam? Sam: Yeah. Yeah, everything's fine. I thought, Sookie's supposed to be working tonight. Arlene: Oh, yeah, she was. She called and asked me to cover for her. Lord knows I owe her one after... You know. Nice and understanding looks good on you, Sam. Scene 14: Bill's home - Jessica Jessica gets out of the place where she sleeps. Jessica: Hello. Anybody home? Bill? Sookie... Scene 15: Merlotte's - Jessica, Hoyt Jessica comes at Merlotte's. She looks at two clients. Client (to his friend): Chick, two o'clock. She sees Hoyt. She takes places at a table in front of him and reads the menu. Hoyt goes to her. Hoyt: Hi. Jessica: Hi. Hoyt: You mind if I join you? I mean, if you're alone. Jessica: I'm alone. Hoyt: I'm Hoyt. Jessica: Jessica. Hoyt: So this might sound kind of funny, but I was just sitting there, thinking, "How come you don't ever meet a nice girl, Hoyt?" and the you just walked right in. Jessica: How do you know I'm a nice girl? Hoyt: Because of you smile, I guess. You can tell a lot about someone by the way they smile, and you know, I watch people all the time. You see, like that. That's beautiful. I could just... I could stare at that all day long. Jessica: Day? Yeah, right. Hoyt: Did I say something wrong? No, course not. Hoyt: Okay, good, because I don't wanna scare you away... Would you like a drink or someth... or food? You hungry? You should try the chicken fried steak, because it's... it's like a chicken and a steak got together and made a baby. It's delicious. Crispy, baby, and... Jessica: I'll just have a bottle of Tru Blood. B positive. Hoyt: You're a vampire? For real? Waw. That is awesome. A bottle of Tru Blood. Coming right up. He goes to order. Jessica smiles. Scene 16: Fangtasia, Eric's office - Eric, Sookie, Bill, Lafayette, Pam Sookie: So if I agree to go to Dallas to help look for this missing vampire, you'll let Lafayette go? Bill: No, you nearly died last night. You are not going to Dallas. Sookie: Bill, I can make up my own mind. Eric: I will pay all of your expenses, of course, and yes, I will release your friend. Sookie: And I want 5000$ (To Bill) I've missed a lot of work and I need a driveway. Eric: Your human is getting cocky. Bill: She will take $10000 and I will escort her. Eric: I don't think so, no. Sookie: Yes. Ten thousand and Bill comes with me or it's a deal breaker. Eric: You surprise me. That is a rare quality in a breather. Sookie: You disgust me. Eric: Perhaps I'll grow on you. Sookie: I'd prefer cancer. Eric: You need to leave immediately. Bill: I will make the travel arrangements, but I will need your credit card number. Pam opens the door and throws Lafayette on the ground. Pam: Such a shame. I was hoping I could convince Eric to let me keep you. Eric: No, you already have enough pets. Lafayette: No offense, but you ain't exactly my type, b****. Pam: Can I kick him? Bill: You can try. Eric: Enough. Have Chow fetch their car. Pam leaves. Eric (to Lafayette): I'll see you around, I'm sure. Lafayette: Don't bet on it, baby. I'm retiring. I'm done with you crazy-ass f******. Done. Bill caries Lafayette and they leave with Sookie. Scene 17: Maryann's house - Carl, Andy, Tara, Eggs, Maryann Carl serves to eat. Woman: Best soup I have ever had. Andy sees all the people dancing and half naked. Tara and Eggs are in the pool. Tara: Right when I thought this party couldn't get any f****** weirder, look who shows up. Thinking Andy Bellefleur got better d*** to do, like, I don't know, solve a m*rder. Eggs: You know what they say about all work and no play. Seems like you're pretty familiar with the idea. Tara: It was your fault I missed work in the first place. You're just too damn distracting. Andy passes near Mike Spencer and Jane Bodehouse. Andy: Mike Spenser. Mike: Howdy, Andy. Great party, huh? Jane: Less talking. More dancing! Mike: Jane Bokowsi, you are one fiery little hellcat. Andy continues to walk in the garden. He sees a pig. Andy: What you doing in there, pig? Maryann: Detective Bellefleur? I'm so glad you made it. Andy: Actually, I'm here because there have been some complaints about the noise. Maryann: Oh. And they sent their best detective to deal with it? Well, I am flattered. But sheriff Dearborne should really put your talents to better use. I'll go turn off that music right away. Andy: Hate to be a party pooper, but you got a livestock permit for that pig? Maryann: What pig? Andy: That pig. Maryann: I don't know what you're talking about. The pig is not where Andy saw it. Andy: It was there a second ago. Maryann: Have you been drinking? Andy: No, dammit. I know what I saw. I know what I saw, I'm a good cop. Maryann: Of course you are. Everybody knows that. Here. Why don't you stay and relax a little bit? Andy: Just one. I am on the clock. Maryann: Come on. Yes, God is love. Scene 18: Newlin's house - Steve, Sarah, Jason Steve and Jason are sitting around a table, having diner. Steve: He's the force of love, but how do we respond to forces that block, undermine, and destroy love? Well, you cannot love evil. You have to hate it. So hating evil is really... loving good. Jason: Good. I never really thought about it that way. Steve: Hate isn't just natural, Jason. We need it in order to survive. My father dedicated his life to God. To protecting the human race. And they m*rder him, his wife and my baby sister in cold blood. They're baby-K*llers. That's what they're capable of. Now, if I didn't hate vampires, and do everything in my power to avenge my family's death, what kind if man would I be? Jason: A pretty bad one. Steve: And what's going on out there is a w*r. Not right now, Jason, but in general. And we all gotta choose sides. Now, you're either on the side of darkness, or the side of life. Jason: Light. Steve: There's no in between. Sarah arrives with some more food. Sarah: Hope you boys saved room for some banana pudding. Steve: Oh, thanks, honey. Sarah's pudding is a little slice of heaven. Sarah: Don't go bragging on me in front of the company. Steve: Well, you stop being such an angel and maybe I will. Sarah: I'm gonna go get the whipped cream. She leaves. Steve: You know, my wife must think you're pretty special. Jason: Really? Steve: Sarah doesn't whip out her pudding for just anybody. God's got great things in store for you, Jason Stackhouse. Can you feel it? Jason: Yeah. Yeah, I feel it. Scene 19: Bill's home - Hoyt, Jessica Hoyt and Jessica enter in the house. Hoyt: I always wanted to see the inside of Vampire Bill's house. You get to live here? It's pretty cool. Jessica: Not really. I mean, it's full of his creepy old stuff. And he makes me sleep in a hole. Hoyt: Yeah, my mama keeps her doll collection in my closet. You got a Wii? Jessica: A what? Hoyt: You never played a Wii? You'll love it. She sits near him on the couch. Hoyt: Yeah, so you can race cars, or you can play tennis, or... you can dance. Or you can sh**t people. Jessica: I've never done any of that. Hoyt: Here, I'll show you. So... may I? Ok, so these are the controllers. You just hold that like that. Jessica kisses Hoyt. They continue to kiss but her fangs go out. Hoyt: No, no. Don't do that. You don't have to hide that from me, that's natural. Jessica: How can you say that? I mean, I have fangs, and they just come out and I can't control them. This is so embarrassing. I'd die if I wasn't already d*ad. Hoyt: Don't be embarrassed about what you are. Because what you are... is great. Jessica: You think I'm great? Hoyt: I like you. I like you a lot. And that's why I think we ought to wait, you know, before we do anything else. Jessica: I've waited too long already. Scene 20: In Bill's car - Lafayette, Bill, Sookie They arrive in front of Lafayette's home. Sookie: You sure we can't take you to the hospital? Lafayette: Three jobs and I still ain't go no health insurance. Besides, the b*llet went strait through, I'll get my uncle stitch it up in the morning. Sookie: You uncle the veterinarian? Lafayette: He chops off steer nuts for a living, I think he can handle the few stitches. Don't worry Sook, I'm fine. Sookie: You don't look fine. Lafayette: Far as I'm concerned, I spent the last two weeks at Club Med. Drinking a margarita and getting my chest waxed. (To Bill) And I appreciate it if you tell your friends that's how I remember it. Bill: That would be wise. Sookie: At least let Bill help you inside. Lafayette: No, Sook, I said I'm fine. Lafayette enters in his home and locks the door. He lays on a couch and cries. Sookie and Bill are in the car. Sookie: I used to get so mad when people judged vampires just for being different. It's like they were judging me too. I told myself their fear was nothing but small-mindedness, but maybe that's just what I wanted to believe, because the more open my mind gets, the more evil I see. Bill: Sookie. Most of us, vampire, human, or otherwise, are capable of both good and evil. Often simultaneously. Sookie: You can't expect me to believe that Eric's capable of anything good. Not after how he tortured Lafayette. Bill: I have had worse sheriffs. Sookie: I don't understand how you can defend him. Bill: He saved your life. Sookie: I can still hate him. Bill: I hate that he may be putting you in harm's way once again. For his own selfish reasons. And I hate that he has shown you the barbarousness that we call justice. If I could glamour it away for you, I would. Sookie: I'm glad you can't. I'm sick of things sneaking up on me. Rene and whatever the hell that was that att*cked me last night. If I'm never gonna be safe, I'd rather know what to be afraid of. Bill: Well, after last night, I hope that that doesn't include me. Sookie: I know there's darkness in you. I know there is. And it scares the life out of me. But you're right. There's goodness in you too. And when I look in your eyes, that's what I see. Scene 21: Maryann's - Tara, Eggs, a woman Tara: I feel so unbelievably f****** good right now. Eggs: That's how you feel to me too, baby. They kiss. A woman comes. Woman: Got room for one more? She comes in the pool. Woman: You guys are so beautiful. I'm a licensed massage therapist. Who wants to go first? (She takes Eggs) You got a big knot right there. Tara gets out of the pool angry. Eggs: Tara. Oh, come on, Tara. He runs after her in the house. Eggs: Tara. Hey, come on. That girl in the tub was drunk, I don't even know who she was. Tara: Looked like you wanted to know her a lot better. Eggs: I just got carried away, that's all. Tara: Yeah, you and everybody else out there. Is this what Maryann's about? Are you in the lifestyle? Eggs: Lifestyle? Tara, that's just a bunch of drunk-ass people trying to let loose, have a good time. That's got nothing to do with us. Tara: I don't give a crap what people do with their own body parts, but there's no us of this is your scene. She goes upstairs. Eggs: God dammit. Scene 22: Sam's - Sam, Dean Sam is packing when he sees Dean. Sam: Hell. I wasn't gonna run off without saying goodbye to you. I'm sure gonna miss you, buddy. All right. One last time. Let's go. Come on. You can't keep up with me. They run through the woods. Scene 23: Bill's house - Bill, Sookie, Jessica, Hoyt Bill and Sookie are in front of the house. Sookie: I knew it. Underneath that tough vampire exterior, you're nothing but a big softie. Bill: Don't tell anybody. Sookie: Waw, that's a lot of pink, Bill. I'm sure Jessica will live it. Bill: Yes, well, I remember when ladies' clothing stores sold petticoats. Sookie: That's just weird. Bill: Actually, I kind of miss them at times. They left something to the imagination. Unfastening them required a certain skill. Sookie: I think there's a Halloween store around here that might still have some. Bill: You are such a tease. They enter, kissing. They see Jessica on a man on the couch. Bill runs and pushes Jessica away from Hoyt. Jessica: I wasn't doing anything, I wasn't gonna bite him, I swear. Hoyt: It's okay. Sookie Bill, don't. Scene 24: In the woods - Sam, Dean, Daphne Sam (the dog) and Dean run in the woods. Sam jumps in the water and becomes a human. Sam: What's your problem? Come on in, the water's warm. Fine. Suit yourself. Dean leaves and Daphne comes. Daphne: Were you just talking to that dog? Sam: Daphne, what are you doing out here in the middle of the night? Daphne: Same as you, I guess. Just trying to cool off. And I can't sleep. See, I have this hard-ass boss, who really laid into me this week. Sam: Sounds like a jerk. Daphne: He's not all bad. He can be real nice. To dogs. Sam: Listen, I'm sorry. I've had a lot on my mind. I know how hard you're trying, and I think you're starting to get the hang of it. I really do. Daphne: You're even worse at lying than you are at being a boss, Sam Merlotte, but I'll take what I can get, so thanks. This water really warm or you lying about that too? Sam: No, it's great. Nothing like a midnight swim to wash away the troubles. You should try it sometime. Daphne: Yeah, I think I will. Sam: You mean now? Daphne: It's a big lake, Sam, I think there's a room for both of us, ain't there? Sam: Yeah. Guess so. Come on in. She removes her tee shirt. She has scares on her back.

{"type": "series", "show": "True Blood", "episode": "02x03 - Scratches"}

foreverdreaming

Jason comes in his room and sees all the people who are lying on the floor, full of blood. Someone comes and put him on the ground. The man : I can smell that hot blood just under your skin, and, cowboy, you smell awesome. Jason : f*ck you. The man : That can be arranged. But I'm gonna k*ll you first. It was a joke. Jason has believed it was a vampire. Luke : Teacher's pet was scared. People : You got him. Jason : I was scared. Vampires are scary. Luke : How's that lip? Jason : It's okay. How's your nose? Jason hits Luke. Vampires are not a joke! There's a w*r going on. And you're either on the dark side or you're on the side of the light. And there ain't no in-between. Luke : I think you broke my nose. Bill and Jessica are in the living room. Bill and Sookie arrive. Hoyt : I'm so sorry, okay, Bill? I know how this must look. Bill : Get out of my house. Sookie : Bill, do not hurt him. Hoyt : I swear, I wouldn't let it go any further. Bill : I said, get out of my house. Jessica : It's my house too. Bill : Jessica, upstairs. Sookie : Okay, let's all just try to calm down. Hoyt : Good idea. Bill : Are you gonna leave, or am I gonna have to throw you out through a window that is closed? Sookie : Bill, that is just rude. Bill : Sookie, I've got this. Hoyt : I'm going. I'm going. I wasn't gonna do nothing. Bill : It's not her that I'm protecting Hoyt : I don't believe him for a minute. Bill : We established there was to be no hunting in this house. Jessica : Look, I know you feel like shit because you had to make me, and you should feel like shit. But guess what. I'd never even kissed a boy before that. Meeting Hoyt's the only good thing that's happened to me since my whole new life started. Now, I'm not ready for anything to happen too fast. I'd have been happy just to go on kissing him all night long. Now, is it my fault my fangs come out when I get turned on? Sookie : I think I'm going to like her. Bill : Do not make the mistake of thinking you two can be girlfriends. She is... Sookie : Yeah, I get it. She's a vampire. Believe me I learned my lesson about that. But, Bill, I think we should take her with us to Dallas. I think it would be good for you, because I think, deep down, you don't like vampires even though you are one. Bill : So? Sookie : Hating yourself is a bad thing. Bill : I am a vampire. I am supposed to be tormented. Sookie : You're not just a vampire. Jessica doesn't have to be either. You can teach her how to walk that line between vampire and human. Bill : Yes, because I have mastered that. Sookie : Okay, so you can teach each other. Bill : It's so different for her. When I was made, one had no choice but to live completely outside the human world as an outlaw. A hunter. Humans were prey and nothing else. I envy her. I'll need to call the airline to arrange for two travel coffins instead of just one. Sookie : Isn't it exciting? Our first trip together. Oh, come on, Bill. I was almost k*lled last night. Again. At least give me this. Daphne and Sam are in the see. Daphne : Do you do this a lot? Sam : Swim? Daphne : night. Sam : Actually, I do. Daphne : I love when it's dark. You have to focus\Non all your other senses. It's amazing what we can feel when you take away the "looking at things" part. You know? Sam : I think it's also because there's no people here. Ain't no boats, no car stereos blasting crap music, nobody saying stupid things way too loud because they're drunk. Daphne : Just the world. Like it was when it was brand-spanking-new. Sam : It is kind of paradise, Bon Temps. Daphne : This little old hick town? Sam : Why not? Daphne : There's not a whole hell of a lot to do, for one thing. Sam : So there's less to distract you from just being where you are when you're there. Daphne : What about the aggressively ignorant people that live here? Sam : Who are very loyal clientele. Once they decide they like a place, they stop looking for anywhere else to go. And they like to drink. Daphne : What are you, president of the JCs? Sam : I'm just a guy who likes where he lives. Daphne : Home sweet home, huh? Sam : I thought it was. I don't know I might be heading off soon. Daphne : Where to? Sam : Someplace probably a lot like this. Daphne : You ain't never lived in the city? Sam : Cities bring out the worst in people. They loose touch with nature. Daphne : It's where they come from do that here too. Sam : Not in the same way. Daphne : My fingertips are turning into raisins, and I feel like pancakes. There's a 24-hour truck stop out on I-20 toward Arcadia, makes the best... Sam : Sweet potato pancakes. Daphne : You know it? Do you wanna come with me? Sam : I'm not really that hungry. Daphne : You're worried about me seeing you naked. I have seen boy parts before. Water ain't exactly opaque. Daphne is getting out of the water. Sam sees big wounds on her back. Tara : I promise I'll start looking for my own place as soon as I... Sookie : I asked you to move in, not crash for a few days. You're family. A limo is picking me up at 5 today, so.. : .I'm on my way. Love you the most. Sookie : Love you more. Maryann : Who do you love the most? What do you have planned today? :I think I'm gonna be taking off. Maryann : For taking off work? Fabulous. Tara : No, I'm gonna go live with Sookie. Maryann : I'm very sorry to hear that. : I mean, me being here was always supposed to be temporary. Maryann : Everything's temporary, Tara. Tara : I don't really wanna dance right now, okay? Maryann : Of course. What happened? You fit so well here, and you seemed to be having so much fun last night. Tara : I think everybody was having a little too much fun last night. Will you tell Eggs I left? Maryann : Sure. I'm gonna miss you. Tara : Thank you so much for everything. Maryann : I'm sure you'd do the same for me. Go. Flourish. And don't every say no to yourself. Jason : I don't know who Lazarus was, but he sure as hell was not the first vampire. Everybody knows it was Dracula. Luke : It's in the Bible, moron. Jesus brought Lazarus back from the d*ad. Jason : So Jesus made the first vampire? Maybe Jesus was the first vampire. I mean, he rose from the d*ad too. And he told people, Hey, y'all, drink my blood. It'll give you special powers. Luke : Jesus never said that. An other guy : No, the first vampire was Cain. Being a vampire is the mark of Cain. It's God's punishment for bringing the first evil into the world by k*lling his brother. Luke : The first evil was Eve eating the apple. That's why they call it "evil". Jason : That wasn't evil. That was just skirting the rules. Evil is making the "premedicated" choice to be a dick. We heard : Jason Stackhouse, please meet Reverend Newlin outside the administration offices. Luke : There's one thing you can count on: God will make sure evil gets punished. Jason : Then explain Europe to me. Reverend Newlin : Morning. Ain't she a beauty? Let's you and me take a little trip together. Jason : Am I in trouble? Newlin : We're all in trouble, Jason, as long as there are vampires in the world. Sookie : I still haven't moved into Gran's room, but you go ahead and take mine. And when I get back, we'll celebrate properly. Until then, happy birthday, I miss her so much. : I know. I do too. So why'd y'all pick Dallas for your trip? Sookie : Bill has some business there. Tara :Hell, do those vampires wanna use your mind-reading again? Sookie : I have Bill there to protect me. Tara : Why are you even with this guy if he makes you do these things? The sex can'be that good. Sookie : It's pretty good. And I love him. Tara : Well, yeah, but... Sookie : You can't just sit around saving your heart for some perfect idea of a man who's never gonna come along. Life is too damn short. Besides, Bill's not making me do anything. I agreed to this to save your fool cousin, thank you very much. Tara : He didn't tell you? Tell me what? I didn't even know he was back. Is he okay? In the doctor's office. Miss Jeanette (d*ad) is lying on a table. The doctor : I heard there's been panther sightings in Nakatosh. Bud : There are too wide for a panther. The doctor : I can tell you this: There's some nasty poison in that wound. My guess is it paralyzed her. She was alive when they took the heart, and that's what k*lled her. The policewoman : So it was an animal? The doctor : That did that, definitely. The chest was carved with a Kn*fe though. Yeah, I got real clear incisions, so unless you can think of an animal that can wield a hunting Kn*fe... Bud : We are looking at a human/animal collaboration. The policewoman : Bud, that doesn't make any sense. Bud : I was making what people with actual sense of humor refer to as a joke. The policewoman : I'm sorry. A black woman is paralyzed and then butchered to death in the town where I live. I didn't realize that was funny. Andy is coming. Andy : I wanna ask about the pig. I seen in this report you wrote up after Tara Thornton's car wreck. Bud : Andy, what are you doing looking through those files? The doctor : I'm going to the gym. Been spending some time with my shirt off recently. So, you guys lock up after me. Okay? Andy : Did you get a good look at that pig? The policewoman : There wasn't any pig. Tara was so drunk she drove off the road. She was making up shit to hide it. Andy : Was it brown? Because I've seen that pig in a dollhouse. Bud : Andy, you're drunk. On the job. Andy : I ain't drunk. Like you never had a beer in the middle of the day. Bud : I'm not an alcoholic. Andy : You're just a dumb old man who don't know anything about nothing who doesn't wanna learn. The policewoman : That's not cool, Andy. Andy : I know. I'm sorry, Bud. Bud : I know you are. But I need to be able to count on you in this job, and I can't do that if you're drinking. me your badge. Andy : Hell, no. : I know you in there, even if you won't pick up the phone. : Damn, hooker, shit. Tara : How come I have to hear about you being back from Sookie? Lafayette : What else she tell you? Tara : That you got sh*t and fed on and chained up in some vampire dungeon. Lafayette : Sookie need to keeper mouth shut, and so do you. Tara : you been to the hospital? Lafayette : What you think gonna happen if I show up to the ER with a g*n wound? I don't need the police up in my business. Tara : You need to see a doctor. Lafayette : For what? So they can give me drugs I already got? I don't left a message on Uncle Cyrus' voicemail. I'm gonna be okay. Tara : I'm gonna stay here and make sure you're taken care of. Lafayette : Oh, no, you're not. Tara : It's my birthday. Lafayette : Hooker, look. I'm not in the partying mood right now, okay? Tara : You don't have to do anything.I'll sit here and watch TV with you. Lafayette : Bitch, look, You know I love you, all right? But I just spent two and a half weeks thinking I'm gonna die at any second. I ain't got it in me to take care of you tonight. All right? Tara : If you die, I'm gonna be really pissed. Lafayette : That makes the two of us. At the Merlott's Terry : I thought you were leaving. Sam : Haven't left yet. Terry : That mean you ain't leaving? Sam : Nope, it means I haven't left yet. Terry : So you are leaving? Sam : Haven't left yet. Terry : Dumbass. Sookie : Are there any lunch specials? Terry : I think I got everything I need to make Jailhouse Chili. Sookie : Are you sure? Because last time, you forgot the corn chips. Terry : Shit! Right. We'll just call whatever this turns out to be Terry's Scramble. Scrambled Terry's Scramble. Sookie : Hush. Terry : I just don't know if I can do it, Sookie. Sookie: Do what? Terry : Run this place when Sam leaves town. It's too much pressure. Sookie : Sam's leaving town? Terry : He's supposed to be this morning. Sookie: Sam, were you gonna tell me you were leaving? Sam: You weren't here. Sookie : Where are you going? Oh, for Pete's sake, Sam. I know it seems like I led you on, but cut me some slack. My grandmother had just been m*rder. Rene was after me. I didn't think Bill was coming back. Sam : Jesus Christ, I really don't have time for this. Sookie : If you care about our friendship I suggest you make time for it. Sam : Look, I got serious shit that I'm dealing with right now. Making you feel better is not high on my list. Sookie : I get serious shit that I'm dealing with too. And because of some of that shit, I'm gonna...need to take off a couple days. Sam : Fine. I probably won't be here when you get back. Sookie : Is that really how you want to leave things? Sam : What other way is there? Sookie : I don't know, but throwing away years of friendship seems pretty damn stupid to me. Back with Jason and Reverend Newlin. They are playing at a game that consist in k*lling vampires (in picture). Newlin : All right! Here, aim this! Here we go! Jason : Mr. Vampire. You're gone! How do you like me now, you scary-ass f*ck? Sorry. Newlin : You are one hell of a sh*t, boy. We ought to give you wooden b*ll*ts instead of silver ones. Jason : Silver b*ll*ts are way cooler. Newlin : Silver b*ll*ts won't k*ll a vampire, they'll just bring him down so he can be staked. But if you sh**t a Fanger straight in the heart with a wooden b*llet, you are staking him right there. Makes them explode. So I hear. Jason : They just kind of fall apart. It's like a water balloon. Newlin : You've seen it? Damn, I'm jealous. That's got to be a sight watching God's awesome power just obliterate evil right in front of your eyes. One day. One day soon. Tara is watching TV at home. " For young Rafael Cordova, it was the beginning of the longest day of his life. Rafael first ran with the Pamplona bulls the week after he turned 18 following in the footsteps of his two older brothers, and had run five consecutive runs without a scratch." Eggs, Maryann etc : Surprise! Maryann : Did we scare you? Oh, my God! Tara : What are y'all ? Maryann : Nobody should spend their birthday alone. Tara : How'd you even know? The employed of Maryann : Kitchen? Tara : It's through there. Maryann : It's this way. Eggs : What were you crying about? Tara : I always cry on my birthday. It's always the worst day. No matter what I do I end up crying, because my birthday always sucks. Eggs : This is the year that changes. I promise you that. Maryann : We have been planning this party for days, but you threw a major monkey wrench into things by moving out. Tara : Is that a wedding cake? Maryann : What's the difference? It's all about casting off the empty shell of what's d*ad and embracing the mysteries of what is yet to come. We are gonna have a wicked good time tonight. I can feel it in my bones. I've been on the phone all day calling all your friends. Tara : What friends? At the Light of the Day. Reverend Newlin : Honey? Two Buds, please. Mrs Newlin : Two beers? Reverend Newlin : Is that good? That's why we need the day off, so we can have a beer and relax now and then. Mrs Newlin : All right. One, two. Reverend Newlin : It's really good. Here, cheers! So how's it going? You having fun? Jason : No, this is just great. Reverend Newlin : Do you like country music? Jason : I can't get enough of it. Reverend Newlin : Mostly I listen to... Jason stars to dream about Mrs Newlin. Reverend Newlin : ... I really like to hunt, and I'd go hunting caribous. Jason : Really? Reverend Newlin : Would you believe that Sarah used to be a vegetarian? Jason : I know. Reverend Newlin : Really? She told you that? Mrs Newlin : I hope you boys are ready for some true Southern decadence. Reverend Newlin : You don't really eat Sarah's ribs. It's more like you take a bath in them. Hang on a sec. Mrs Newlin : Here let me. Let's see. Jason : Thank you. Thank you. Mrs Newlin : Is that good? Reverend Newlin : That smells good. Mrs Newlin : All right, smooth that right there. Jason : Feels good. Mrs Newlin : Steve, I think Jason has the makings of a true soldier of God. Reverend : I was just thinking the same thing. Jason : No, I got a long way to go. Reverend : Not as long as you might think. God has chosen you... Mrs Newlin : Amen. Reverend : for His most glorious mission. Mrs Newlin : Praise His light. Reverend : We are forming an elite spiritual army called the Soldiers of the Sun. And Jason, we need you. God needs you. Mrs Newlin : What a blessing. Jason : All right. At the Merlott's Daphne : Another Scotch and Coke. Sam : I'll take care of him. Arlène : It's a slow night. Lucky for you. Sam : I thought you quit drinking. Andy :I thought I did too. Sam : Well, I don't want your sister giving me grief if you wreck her car. So I'm cutting you off. Andy : f*ck you, Merlotte. Sam : I know that's the Scotch talking otherwise I might need to say, "Go f*ck yourself". Andy : I ain't even got an office anymore. Bud took my badge. Sam : You'll get it back when you sober up and you know it. Now, go home. Andy : So my tight-ass sister and even tighter-ass grandmamma can look at me like I'm a big loser? No, thanks. Sam : No more drinks for Andy. Arlène : He's the only one in here. No one else has come in for over an hour. Sam : Your point? Arlène : Let's close up early, I want to go to Tara's party. Sam : Tara's having a party? Arlène : Yeah. At Sookie's. For her birthday. You know that real elegant woman that Tara's friends with? She's throwing it, and I heard she knows how to throw a party. Andy : She sure does. I can tell you that. Fantastic food. Now I need to ask Tara about a pig. Arlène : So can we go? Daphne : Go where? Arlène : Home. Andy : Party at the old Stackhouse place. Daphne : Party? Well, you can count me in. I've been working hard enough for one day. You going? Sam : I don't think so. Daphne : I hope you change your mind. Miss Thornton arrive (Tara's mother). Sam : Hey, Miss Thornton. Tara's mother : Tara here? Sam : No, she's off today. To the girls : Y'all go ahead. Go ahead, I'll close up. 's mother : How is she? Sam : She's okay. As far as I can tell. 's mother : Y'all ain't together no more? Sam : Good night, Arlene. Tara's mother : Today's Tara's birthday. Twenty-six years old. Would you give this to her? I don't know who else to ask. Sam : Of course. 's mother : Thank you. "Anubis Airlines welcomes you to Dallas, the most vampire-friendly destination in the great state of Texas." Sookie : That's me! I've always loved these. They're like booze for dolls. They gave me 10. You tell I was late. The driver : Supposed to be here before sundown. Sookie : We got delayed for take-off. The driver : Why don't you go and wait in the limo. I got the A.C. cranked up. Sookie : No, thanks. I'm fine. The driver : Oh, go on. There's Cokes in there. He thinks: Just get in the g*dd*mn limo, you stupid bitch. Sookie : Get your hands off me! Bill arrives in his "box" with Jessica. Bill : Make a noise and it will be your last. Jessica : How the hell does this thing open? Somebody help get me out of here. Help! At Tara's party. Sam arrives. Maryann : A present? For me? I love presents. Sam : It's for Tara. From her mom. Maryann : Gift table is in the dining room. Well, I have to say, I'm impressed by your showing up. Sam : Okay, listen. Go ahead and turn me, but you will also reveal yourself in the process. Maryann : Reveal myself as what? Sam : As whatever the hell you are. I don't know what you're doing here, but these are people I care about. And I will not stand by if you try to hurt any of them. Maryann : Even when they've dumped you or chosen a d*ad man over you? You're really not an Alpha, are you? Tara : Who are all these people? Eggs : I don't see any other people. Tara : Because you only got eyes for me. Eggs : Yeah, you don't like that one bit, do you? Tara : Seriously, who are all these people? And why are they bringing me presents? Not that I'm complaining. Eggs : I like the way you move. Tara : I love to dance. I can't even remember the last time I did. Eggs : That's just wrong. Anybody that dances like you should dance every f*cking day. Everyone is dancing. Maryann takes the present of Tara's mother et throws it away. Back at the Dallas's airport. In the car of the man who was angry with Sookie. Bill hypnotise him. Bill : Tell me your name. The man : Leon. Bill : All right, Leon. No one is going to hurt you. Would you like to try? Jessica : Could I? Bill : Here. Lean in close so you can catch his gaze. And just let everything go. Let yourself be d*ad. You feel it? You are empty. A vacuum. Now you can pull his mind into yours. Jessica : Everything's gonna be okay. There's nothing to fear. Sookie (to Bill) : Don't you worry about a thing. It's gonna be all right. You were very sweet with her. Bill : Sookie, he was sent to abduct you. Jessica : It's gonna be just fine. Bill : Which means somebody\Nknew you were coming. Sookie : Who do you think's behind it? Vampires? Bill : Too sloppy. Maybe that church. Sookie : Bill, they may be crazy, but they're still a church. They're not gonna kidnap anybody. Bill : Churches have done much, much worse throughout history. Jessica : Just trust me. Back with Jason. Luke : What's the dork face about? Jason : I'm moving out. I'm gonna be a Soldier of the Sun. Luke : Really? Jason : You heard of it? Luke : Of course I've heard of it, it's why I came here. I guess you feel pretty special. Jason : Ain't nothing wrong with feeling good when you achieve something. I guess you wouldn't know. Luke : So you think you were the only one they would choose to promote? The only one of this whole camp? Jason : It is what it is. Luke : It's 14 other guys is what it is. Including me. An other man : Yeah, even four girls. Jason : That's great. Congratulations. You gonna bunk at the Newlin's too? Luke : I get it. Preacher's wife needs something to play with. Jason : What? The other man : She wants your hot beef injection. Luke : I can't believe. I didn't see it sooner. Jason : That ain't true. And you shouldn't talk about. Sarah that way. Luke : You work fast. Jason : I ain't working. She's married. Luke : Go for it. She's hot. Jason : She ain't like that. I earned this. Luke : I'm sure you did. Jason : f*ck you. In Dallas. Hotel. The receptionist : I have you down for a room with no bed? Sookie : No, we need a bed. The receptionist : Of course. I do have a light-lockable room with a king-sized bed. It's a suite. Double soundproofed. Bill : With an adjoining room for my... What should I call her? Sookie : Isn't there a vampire word? Bill : Progeny. Sookie : Call her your ward. You have a ward, like Bruce Wayne. Jessica is still with Leon. Jessica : you give me your cell phone? Thank you, Leon. Everything's OK. Actually, everything's not okay. All your worst fears are about to come true. Unless you scream at the top of your lungs: ... She whispers at his hear. Bill : These accommodations are being covered by a third party, right? The receptionist : Yes, sir, it's all been taking care of by a Mr. Northman. Leon : Becky Eubanks is a stuck-up whore, who let Chase finger her in the church. Bill : She's new. In Bon Temps, Maryann makes a dance and Eggs and Tara are going in a room to make love. Eric is going the Lafayette's home. Eric : Good evening, Lafayette. Lafayette : You can't come into my house unless I invite you in and I ain't nowhere near that crazy. Eric : You have to come out eventually. I have all the time in the world. Lafayette : You let me go! Eric :I gave you a very generous gift. The gift of not k*lling you. And I'm here to give you something else. The healing elixir that is my 1000-year-old blood. Lafayette : I don't think that's a good idea. Eric :Your leg's already infected. I can smell it. If you don't get that taken care of, you can lose it. Lafayette : Why do you want to give me your blood? Eric : I like you. Lafayette : Bullshit. You want to be able to keep track of me. Why? Eric : You obviously mean something to Sookie. And what Sookie finds meaningful, I find curious. You really have no choice, Lafayette. You know it. Lafayette : f*ck. Back in Dallas. Bill : Leon, look at me. Look at me, Leon. Everything is going to be okay. Leon : No, it's not. My worst nightmares. Bill : What on earth did you do to him? Jessica : I'm on the phone. Sookie : Maybe if you put your hand on his shoulder. Sometimes touching helps me hear their thoughts better. Bill : Who sent you? Leon : Fellowship of the Sun. Bill : Are you a member? Leon : No, they hired me. Bill : Who specifically? Leon : I'm not sure. It was over the phone. Money was put in a locker for me at a Greyhound station. Bill : And they hired you to do what exactly? Leon : Abduct a human with the Compton party and bring her to the church. Sookie : Do you know my name? Leon :No, ma'am. I didn't even know you were gonna be a woman. All I know is a vampire's using a human to find a vampire Godric. Sookie : Do you know where he is? Leon :No, ma'am, I do not. Bill : You did very well. I'm sure your employers will be pleased. Leon : Think so? Bill : Of course. What could you do? We never arrived. It's not your fault. Leon : Flight never arrived. Bill : We just weren't on it. Leon : I got so nervous for nothing. Eric (to Lafayette who sucks his harm) : That's enough. Don't be greedy. Eric at the phone : You were supposed to call me when you arrived. Bill : We were ambushed at the airport. Eric : By whom? Bill : You know exactly by whom, Eric. The Fellowship of the Sun. Why didn't you tell me they were involved? Eric : I didn't know for sure. Now I do. Bill : You could've shared your suspicions with me. Eric : I could've, but I didn't. You should remember that I am your sheriff, Bill. We are not equal. And if that displeases you, take it up with a majestor. Or the queen. Lafayette : Get that shit. There you go. Get that shit. f*ck it, get it. Eric : How's your leg? Lafayette : Shit, I just want to f*cking dance. h*t this. Eric : How nice for you. Lafayette : Come on, come on. Eric : Well, I must fly. Lafayette : Vegas, baby. Vegas, baby, Vegas, baby. Jason in his new room at Newlin's house. Mrs Newlin : You getting situated okay? Jason : Thank you, ma'am. Mrs Newlin : Sure was fun today. Jason : Yeah, it was. Mrs Newlin : Are you nervous? Jason : A little. Mrs Newlin : Why? Jason : Well, it's just that, uh...,I ain't never been in a place this nice before. It's all too much. Mrs Newlin : Aren't you sweet. I am so proud of you. Jason : Come on. Mrs Newlin : So... proud. Jason : Can I ask you a question? Am I the only one staying here, in your house? Mrs Newlin : We had a special dorm for the soldiers, but it only sleeps 14. And you're number 15. Jason : Good. Good. Mrs Newlin : and you're also the best. I mean, the one that we have the highest hopes for. Jason : I'm going to try not to disappoint you. Mrs Newlin : You do that. Jason : Okay. Mrs Newlin : And, let me know if you need anything, because we're just at the end of the hall. Big double doors. Sookie and Bill are together in the hotel room. Eric : Eric. You wanted to talk. Bill : This is important. Eric : Meet me at the bar. Sookie : Fudge. Eric : I admire you, Bill. It takes a real vampire to admit the cannot protect his human. Bill : And it takes a true monster to not care about anyone or anything other than himself. Eric : I care about others. Bill : You care about Godric. You have no obligations to Dallas or Texas. This is personal for you. Why? Eric : I hope you'll enjoy your blood substitute, which is costing me $45. Bill :I have no intention of drinking it, I just want you to pay for it. Eric : You're so mature. Bill : Answer the question. Why this allegiance to Godric? Eric : He's much beloved by his subjects. Bill : Only kings and queens have subjects, Eric, not sheriffs. Eric : Godric could have been king of Texas had he wanted. He could have been king of any vampire territory anywhere. He is twice as old as I am and very powerful. There are none above him in the new world. Bill : Well, if he's so powerful, how could they abduct him? Eric : Now, that is what worries me. If one such as he can be taken by humans, then none of us is safe. Bill : What can I give you to release Sookie from her agreement? Eric : Nothing, since you like humans so much, I think you would want to protect them. The vampires here, they're like cowboys, if they don't get Godric back, they'll want justice. They'll start attacking people. Bill : Open aggression against humans? That's insane. Eric : Well, it's Texas. At Sookie's house. Daphne and Sam. Sam : Jesus. Daphne : Here. Daphne : I've been wanting to do that since you showed up tonight. (They kiss). Sam : I'm wondering if this is a good idea. Daphne : It's a great idea. You're sweet as hell and adorable and scruffy with that little grey in your hair and that hot little nose. And, damn, boy, do you know how to wear a pair of pants. What's wrong? Sam : Listen, I need to tell you something. Daphne : No, you don't. Sam : Yes. Yes, I do. Daphne : No. You don't. I know what you are. Sookie : Who is it? Jessica : I ordered something. Is that okay? The waiter : Male. Straight. B-negative. Travis : Hi, I'm Travis. Jessica : That's for me. Sookie thinks : What am I supposed to do? I know Bill doesn't want her to do this. How old is he anyway? He looks barely legal. The waiter : He's 21. Sookie thinks : That's weird. Almost like you read my mind. The waiter thinks : I did read your mind. f*ck, Barry. Just smile and act like it's a coincidence. Keep your stupid mouth shut. Sookie (says) : But it's not a coincidence, Barry. Barry, wait. End of the episode.

{"type": "series", "show": "True Blood", "episode": "02x04 - Shake and Fingerpop"}

foreverdreaming

Scene 1: Maryann's party - Sam, Daphne, Terry, Arlene Sam and Daphne are in the woods. Sam: What did you say? Daphne: OH, you heard me. Come on. Keep up, slowpoke. Sam: Well, hey, I don't know what you're talking about. Daphne: You're so lonesome, Sam. I saw it in your eyes last night at the lake. Sam: What? It was dark, you did not. Daphne: Did too. You're carrying that secret like a 2-ton sack of feed on your back. It doesn't have to be that way. Sam: Secret. What secret? Daphne: Fibber. Sam: I ain't in the mood tonight, little girl. Daphne? Daphne? Daphne has disappeared. Sam sees a doe. Sam: Weel, hey. The animal becomes Daphne; she's a shape shifter. Daphne: Hey, your own self. Credit Sam: Jesus Christ! Jesus Christ, you... you... you... you're... Daphne: Shape shifter, and proud of it. Sam: How'd you...? How did you find out about me? Daphne: Last night in the woods? I watched a dog jump in the water and it came up you. Isn't this great? Sam: Yeah. Yeah, it's... it's pretty great. Daphne: You're not alone anymore. They kiss. Arlene and Terry arrive. Daphne: Oh, crap. Hand me my drawers. Sam: Hey, Terry. Arlene. Terry: Hey, Sam. Arlene: Daphne. Daphne: Hey. Terry: Good party. Sam: Yup. Daphne: Um, later, darling. Mwah. Sam: Oh, wait...wait. Ashley leaves, running. Arlene: It's in the air, I guess. Sam: Yeah, looks like it. Terry: See you at work. Sam: Right. Terry: Come on, special lady. Terry and Arlene leave. Sam: Daphne? Scene 2: Carmilla's hotel - Barry, Sookie Sookie: Wait! Barry (voice off): Oh, s***, she's following me. Oh, s***, oh, s***. What the f*** are you? Go away, just don't hurt me. Sookie: I am the last person you should be afraid of. And I'm so pleased to make your acquaintance. Sookie Stackhouse. Barry: Gotta go. Sookie: We have to talk about this. Barry: No, we don't. (A man walks in front of them) Have a good evening, sir. Sookie: Well, excuse you. Barry: Don't do that. Sookie: He didn't hear. He's glamoured, can't you tell? Listen. His mind's full of fog and disco music. By the way, they can't glamour me. Can they glamour you? Barry: No, but I fake it. Sookie voice off: You ever hear any vampire thoughts? Barry: God, no. don't even say that out loud. Sookie: Uh, I didn't. Barry: Listen, I don't know what little fried corn-on-the-cob town you're from, or what candy-ass vampires you're with, but this is Dallas, baby. Sookie: You watch your tone of voice. And don't you call me "baby". Barry: Dallas vamps are serious and scary as s***. Sookie: Mine are too, thank you very much. I had to learn pretty quick how to handle myself around them. Barry: If they knew what we could do, they'd suck us dry. Sookie: They'd do worse than that. You think I don't know? That's why we need to swap stories. We can help each other. Barry: I don't want any help. Just forget about it. You can't tell anybody about me, please. Barry leaves. Scene 3: Bill's hotel room - Bill, Jessica, Sookie, Hoyt, Maxine Bill: Jessica, we discussed this. Jessica: All I did was order him off the menu. You didn't say not to order off the menu. Bill: I would no more allow you to feed on that young man than to watch the p*rn on television. Sookie comes in the room. Jessica: p*rn? Bill: Jessica... Jessica: Hey, Sookie, there's dirty movies on TV. Sookie: I know. Yuck. Bill (to Jessica): To your room, please. Tru Blood. Jessica: You are going to be sorry when I get an eating disorder. Private! Keep out! Jessica goes in her room. Bill: Sookie, where have you been? Sookie: I was asking the bellboy, if there's a candy machine, what's a continental breakfast...? Bill: You cannot wander off on your own. The situation is more complicated than we thought. We don't know nearly enough about the Dallas vampires. Sookie: They can't touch me. I'm yours. Every single part of me. Completely and totally yours. Bill: I don't think it matters to them, sweetheart. Sookie: As long as it matters to you. Bill: Sookie, Sookie, Sookie. Tell me you understand. Promise me you'll do as I say, not because I say it, but for your own sake. Sookie: Bill, I've known since the airport that we're up to our necks in a big old vampire mess again. I don't want to get b*at up or d*ad, I'm not gonna do anything stupid. Is this room secure, do you think? Bill: Yeah, I believe so. But... Sookie: Then, honey, for a little while, let's not worry. We have something to be happy about. Bill: I don't think so. Sookie: Yes, we do. We're in a vampire hotel. It's light-tight. For the very first time, you don't have to leave me alone in bed at dawn. Bill: I forgot about that. Sookie: I didn't. Bill: My only desire is to keep you safe. Sookie: Your only desire? Bill: Well... no. They kiss. Hoyt is in his room, reading. His cell phone rings. Hoyt: Your'e talking to the man. Jessica: Hoyt? Hoyt Fortenberry? Hoyt: Yeah, who's this? Jessica is on her bed. Jessica: Jessica Hamby. Maybe you don't remember me. Hoyt: Jessica. Oh, my Lord. I remember you, all right. I can't stop thinking about you. Jessica: Really? I mean, really-really? Hoyt: Really-really, and then some more. Maxine enters in Hoyt's bedroom. Maxine: Hoyt! Hoyt: Can you hang on? Maxine: Who the heck is calling you at this time of night? It's a girl, isn't it? I know it's a girl. Well, you tell her it's not decent or ladylike to... (Hoyt closes his door) How dare you lock the door on me in my own house? Hoyt (to Jessica): So where were we? Jessica: Well, you were telling me how you couldn't stop thinking about me, and, well, I can't stop thinking about you. And I'm all bored here in Dallas. Hoyt: You want to watch TV together long-distance? Or I could tell you about my comic book. Jessica: Well, we could do both. I mean, I would just love that. Hoyt: Okay. So it's called Space Tomb. And this time they're on the planet Historion and Sea Leopard's just pitching a fit. Scene 4: Lord of the Day Institute - Gabe, Jason, Sarah, Luke Jason is sleeping in his room when enters. Gabe: Get up! Get up! Get up! I said get up. Put on your sweats. Jason: What's happening? Gabe: Come on, let's haul your butt outside, you pansy fangbanger. Let's go! Jason: God! Gabe: My God, that's right. Rise and shine for God! Come on, let's go. Move, move, move! They are all outside. Gabe: Stand up straight. Make a line you can be proud of. Let's go. You're supposed to be leadership material. Mrs. Newlin? Sarah: I know you're wondering what this is all about. Well, God needs your obedience, God needs your will and your faith. And in due time, all will be revealed to you. Jason: Uh, could somebody reveal a bathroom? Because I really need one. Sarah: Sorry, not till you've earned it. Gabe: Jumping jacks, everyone. Let's go. Maximum effort. (To Jason) You too goof this, Stackhouse? I'm telling you right now, I want to see a change in your attitude. I want to see command presence. You don't want to do the Lord's work? You feel like walking away? Go ahead. You stay, you drop and give me 30. I said give me 30! Luke laughs. Gabe: I'll tell you when you can laugh, you puissant little sinner. Give me 50. Start pushing. Anyone else? That the best you ladies can do? You disgust me, all of you! Pitiful! I pray Jesus isn't watching this crap today. Scene 5: Sookie's house - Tara, Eggs Tara wakes up. Eggs is still sleeping. He wakes up too. Eggs: Hey, come back. Tara: I'm here. I'm right here with you. I was just thinking about Sookie's gran. She was like my mom. Such a good person. Truly good, through and through. Eggs: What would she think of me? Tara: Oh, she'd like you. She did appreciate a handsome man. Eggs: Well, I wish I could've met her. Tara: Me too. She made this house the one place in the world I felt safe. And now I'm gonna live here. Eggs: Happy day after your birthday. Tara: It was the only good one I ever had, because of you. Eggs: The first of many, Tara Mae. Scene 6: Hotel Carmilla - Sookie, Bill, Barry, a woman Sookie wakes up. Bill is still sleeping. She goes downstairs. Sookie: This is the continental breakfast? Barry: What's wrong with it? Sookie: I just thought it would be more... continental. Barry: Well, the danishes are Danish. And they're free. Sookie: Free? I didn't know that. Would it be all right if i...? Barry: Yeah, whatever. Sookie: Now, Barry, let's get to it. Barry: Why won't you just leave me alone? Sookie: Because I've never met another telepath, have you? Barry: No. And don't say that word. Sookie: It's what you are. Nobody else knows what it's like to be us. We need to stick together. It's nothing to be ashamed of. Barry: Yes, it is. My life is s***. I can't do anything normal people do. If I'm not around a bunch of vampires, I can't hardly think. Sookie: I used to feel exactly the same. Like I had a disability. Barry: More like a curse. Sookie: But lately, since I met my boyfriend, it seems like telepathy can come in handy sometimes. You can even make a little money. I'm starting to see it in a whole new way. Barry: Then you're even crazier than I am. Woman voice off: Ow, Brazilian wax. Feels like that b**** ripped out my female organs. Get a vamp to pay for laser. Somebody bite me. Sookie voice off: Concentrate. Shut her out. Concentrate so hard your hair hurts, till everything goes quiet. Concentrate... Barry: Quit! Woman: Do you know if Hotel Carmilla's hiring? There wasn't anybody at the desk. Barry: No, ma'am, we're fully staffed, but you can fill out an application we'll keep it on file. Come with me. Sookie: You can control it. Barry: I wish it was true. Sookie: Barry, it is. I can teach you how. Barry: There's enough people in my brain already. You're on your own. (to the woman) Right this way. She goes back to her room. Bill: I dreamed you were gone. Sookie: You did? That's funny, because I was. Bill: Sookie... Sookie: It was only for a few minutes. I had to. Bill, it's the most amazing thing. I met another telepath. He's not very nice and he's not very good at it. But, oh, it's wonderful knowing there's somebody besides me. Bill: You made him aware of your gift after everything I've said? Sookie: Not on purpose. We were in each other's heads before we knew it. I thought you'd be happy for me. Bill: The more people know what you do, the harder it is for me to protect you. Sookie: He can't even admit what he is to himself. He's not gonna do any talking about me. Bill: You can't be sure. Sookie: Yes, I can. I'm good at this. Look, if all I'm supposed to do in Dallas is shut up and take orders, I might as well be slinging beers at Merlotte's. You're the one who told me I was more than a waitress. Bill: You are. But... Sookie: What? Bill: Never mind. Sookie: Talk to me. Lean on me. I've leaned on you plenty. Bill: Well, here I am, responsible for you and Jessica, and yet no decisions are mine and it makes me feel... Sookie: Like a human? Bill: Like a waitress. Sookie: You're walking on my shoes and it's giving you blisters. Bill: Eric is strangely intense about all this. It's not like him. I don't trust it. Sookie: Don't you worry about Eric. We'll do the job and go home. A deal's a deal. Bill: Sookie, you know what he's like. What's it take him to break a contract with a girl? Sookie: A woman. He needs me. He won't want to make me mad. Bill: I can't lose you. Sookie: You never will. Scene 7: Merlotte's - Arlene, Daphne, Terry, Sam, Lafayette Daphne: Hope you're enjoying that Co-Cola, Arlene. Arlene: Well, thank you, Daphne, I am. Because unlike you, I actually did my closing prep last night. Daphne: I'd appreciate it if you gave me a hand, just for today. Arlene: Then you'll never learn. Now, some people around here might let you slide on by, but I'm thinking about your future as a server. Daphne: That's real generous. Arlene: Don't forget to make the iced tea. (Terry arrives) Hey, good-looking. Terry: Hey... you. Daphne: Terry, could you make the iced tea for me, please? Terry: Uh... Arlene: Don't you do it. Daphne: Please? Terry: Uh... Arlene: You better not. (He leaves) See what you did. Arlene runs after Terry. Daphne: Mean old freckle-face redheaded witch. Sam arrives. Sam: Good morning, Daphne. Daphne: Back at you, boss. Sam: Hey, why'd you take off last night? I looked everywhere for you. Daphne: I just went for a little run. You know, I always seem to need one after a shift. Sam: Hey, me too. Daphne: I reckon you had all you could handle for one night anyway. Sam: I reckon you underestimate me. Daphne: Guess we'll find out. Sam: When? Daphne: Soon. Sam: Better be. Daphne leaves. Arlene: Lafayette! Oh! Terry, Lafayette's back! Terry: Thank God, brother. Thank God. Lafayette (to Sam): Can we talk? Sam and Lafayette go in Sam's office. Sam: Where the f*** have you been? Couldn't pick up a damn phone? Lafayette: Sorry. Sam: Well, sorry's not good enough. Not only did you leave us high and dry, but there are people here who give a s*** about you. We didn't know if you were alive or d*ad. Hey, ordinarily, uh, right about now, you'd be telling me to f*** off in some colorful and creative way. Well, you want to talk, do some talking. Lafayette: Sam... all I want to know is, can I have my job back? Sam: I ought to tell you to f*** off. All that pressure in the kitchen just about put Terry back in the VA hospital. Yeah, of course you can have your job back. The place ain't the same without you. Lafayette: Thank you, Sam. Sam: Hey, Lafayette. What happened to you? Lafayette leaves. Scene 8: The LODI - Jason, Gabe, Sarah, Luke Gabe: It's midnight. You're out of a*mo. You got five hungry vampires snapping at your ass. What are you gonna do? What are you gonna do? Soldiers: Run. Gabe: Run fast. A soldier falls down. Jason: Whoa, whoa, get up. You gotta keep going. You have five hungry, snapping vampires. Soldier: F*** it, I hate this, I just want to be a bank teller again. Luke: That's fine, dude. Let the vampires chew you up. You're not good enough to lead for the Lord. That's how you do it, Stackhouse. Jason: You better pace yourself. Luke (running): This is my pace. Whoo! Jason: A******. Scene 9: Sookie's house - Maryann, Tara, Eggs Tara: Are you still here? Or did you come back? Maryann: Karl and I slept over. Don't you remember? Maybe not. You were having a very nice time. Tara: Maybe not. What's all this? Maryann: Oh, looks like we need a place to stay. Tara: Stay today? Stay tonight? Maryann: Uh... little while. Tara: But you have your own home. Maryann: That's not mine. Tara: What? Maryann: It belongs to one of my clients. He was out of the country, but he's back this morning. I'm sure I told you, no? Tara: No. you... you didn't. Maryann: Hm. Tara: Look, I... I hate to tell you this, but this isn't gonna work. Maryann: But I assumed... and we've all been so happy living together, that you'd want to have us close. Tara: Maryann, I'm a guest here myself. I can't be having a houseful of people Sookie doesn't even know. Maryann: She wouldn't mind. You explain how much we mean to you. Tara: Don't get me wrong, I couldn't be more grateful for everything you've done. But I don't feel right about this. You can't move in. I'm sorry. Maryann: Oh. I see. Okay. Maryann leaves. Tara goes in the saloon where Eggs is. Tara: Did you know Maryann want us all to be roommates here? Eggs: No, cool. I guess that other guy came back from Peru. Tara: No, not cool. Not gonna happen. I just moved in. Eggs: Okay, fine, we can go somewhere else, if that's how you feel. Tara: That's all you got to say? Eggs: Relax, it's no big deal. Tara: What are you...? What are you, nomads? F****** Bedouins? Eggs: We move around a little bit. Nothing wrong with that. Tara: Nothing except I didn't know. You could've told me. Eggs: Who cares? I mean, what matters is being with the people you love. Tara: Well, other things matter too. Like knowing the truth about people you love. So while we're on the subject, what exactly is your thing with Maryann? Eggs: Well, when I was ready to lay down and die, she lifted me up, same as she did you. Tara: Now you follow her whenever she goes? Eggs: I'm not her dog, if that's what you're trying to say. And why all of a sudden are you so paranoid about Maryann? Tara: Because I'm trying not to be a fool. Eggs: You know what this is really about? Your history's so f***** up, you have no clue what family is. Tara: That's not fair. I do have a clue. Sort of. Kind of. Eggs: Who gives a damn about a house? Maryann, Karl and me, we take care of each other. We took care of you. That's family, Tara. He leaves. Scene 10: LODI - Gabe, Luke, Jason, Sarah Gabe: How are we gonna work on our defensive tactics if we can't even climb a fence? Let's go. Next, come on. Come on. (It's Luke's turn) Get up there, get up there. Let's go, come on. Come on. (Luke falls down) You should have paced yourself. If you're laying down, you better be d*ad. Stand up. Come on. Why do you embarrass me? Why do you straight-out embarrass me? What's your name, failure? Jason: Luke. It's Luke. Gabe: Well, Luke, your entire family has been ambushed by vampires, and they're bleeding to death on the other side of this fence. Luke: No. Gabe: Yeah. Yeah, they are. Your mama and daddy are drowning in buckets of their own blood calling your name. it's gonna be over in 30 seconds. Let's go. (Luke cries) Nice work, Luke. They're gone. Massacred. You'll never see them again and it's your own damn fault. Stay right there. Luke: I tried. Gabe to the soldiers: Now what are you gonna do? He's a big fat loser. He's brought shame on himself, shame on you and shame on his religion. What's a real leader gonna do? Luke: Just get rid of me. Just leave me. Gabe: Up to you. Jason goes to help Luke. Jason: Luke, look at me. Hey. It's only a damn fence. Come on. Come on. I got you, brother. It's not too late. You're gonna save your family. Gabe: Now that's a freaking soldier of God. Good job. Sarah: Good job, Jason. Jason: Praise his light. Sarah: Whoo! Whoo! Godd work! Gabe: Next! Let's go, let's go. Sarah: Come on, guys. Scene 11: Godric's house - Eric, Bill, Isabel, Sookie, Stan Stan: You should have told me Eric hired a f****** human, Isabel. Sookie: Now, wait just a minute. Bill: Respect her. Sookie: Thank you. Isabel: I couldn't tell you, Stan. You've been off on your own for days. Eric: Are you certain Godric was abducted by the FotS? Stan: Yes. Isabel: No. Stan: They're the only ones with the organization and manpower. Isabel: But they're amateurs. It doesn't make any sense. This is Godric we're talking about, 2000 years old. Stan: Old don't make you smart. Isabel: Besides, there's no proof. Sookie: If they've got him, I'll hear it. That's my job. Stan: There's no reason to wait. We need to take these fanatics down. Full-out att*ck. Exterminate them like the vermin they are, leave no trace. Isabel: Hum, vampire-hating church annihilated. Wonder who did it? F****** brilliant. Bill: I doubt the King of Texas would approve the destruction of our international political agenda. Stan: F*** that. The great revelation is the biggest mistake we ever made. Isabel: Don't use Godric to make your own little power play. Eric: You're completely incompetent! What's happened to Godric is that he surrounds himself with clowns. Isabel: We invited you as a courtesy. This is not your territory. You have no voice here. Stan: Yeah, sheriff. Why don't you run o back down to Louisiana. We don't need you or your puppets. Eric: Oh, I'm not going anywhere. Sookie: And I'm nobody's puppet. Bill: What we need is a plan. Stan: I have a plan. Isabel: It's not a plan, it's a movie. Stan: It's not a movie, it's a w*r. Eric: Idiots. Scene 12: The Newlin's - Sarah, Steve, Gabe, Jason. Sarah and Steve are talking. Steve: I'm in the middle of something... Sarah: I know. Steve: ... you can't come in here in front of my people. Sarah: Well, I want to talk to you about it. Steve: I've got to het them to respect me... Sarah: Steve. Steve, we are supposed to be partners. Steve: We are partners. Sarah: Then why does Gabe always know more than I do? Steve: I don't have time for this. Sarah: You mean you don't have time for me. Steve (to Gabe): this is very valuable information, Gabe. It's excellent work. Sarah: I told both of you, I don't care for this. You're going too darn far. Gabe: Thank you, Reverend Newlin. I'll, uh, put things in motion. Steve: Thanks. Gabe leaves. Sarah: You don't listen to me at all anymore. Steve: What? Jason arrives. Sarah: Jason! Jason: Oh, uh, you wanted me? Sarah: Yes! You were fantastic today. Steve, he was such a warrior. Steve: So you said. I'm impressed. You're rising to the next level recruit. Jason: I am? What's that? Steve: Come take a little walk with me. Sarah: I'll go too. Steve: We got it, honey. I'm going to show you something that very few people have seen. Steve and Jason are on the stairs. Steve: Man to man? Sometimes I almost understand why some people believe in divorce. Jason: But you got Sarah. Steve: Yeah. I got her even when I don't want her. Oh, you know I'm just kidding. All right, you ready? Jason: Yes, sir. Steve (opening a door): Light of Day Institute Research and Development. Jason: Holy sh... Holiness! Steve: Yeah. We're not exactly sure yet of all the ways to take them out. At first we just focused on the g*n, but then we thought, well, hey, what's a wooden arrow? Jason: Well, it's an itty-bitty stake. Steve: That's right, Jason. An itty-bitty stake to drive through a vampire's d*ad, rotten heart at 324 feet per second. Jason: And that's all she wrote. Steve: I got silver b*ll*ts, silver b*ll*ts with holy water, wooden b*ll*ts. We talked about those. Jason: Yes, sir. Steve: A flamethrower. Jason: Whoa, man! Steve: Silver throwing stars. Jason: Now, that I wouldn't have thought of. Ho-wah! Steve: Decapitation might work, so we got a guillotine on order, just in case. Jason: What...? Steve: Oh, that's, uh... machine like a giant razor. Cuts the heads right off. Jason: Yeah, I bet that'd do it, all right. Steve: There's one good thing about having these hell beasts among us, we'll find better ways to k*ll the... Amen. Jason: Amen. Scene 13: Merlotte's - Maryann, Karl, Arlene Maryann and Karl are in the car, in the parking. They stop in front of the Merlotte's. Maryann: Keep it running. We're not going in. In the restaurant: Arlene: You wanna give me your order, please? Client: We already gave our orders to that other girl, twice. Arlene: Sorry, she sucks. Client 2: And what's wrong with that fool bartender? Where's our beers? Arlene: Tara! Client: You don't need any beers. Your butt's as big as a barn. Client 2: Well, you look like you're pregnant. Sam: Nice of you to show up for work tonight. Tara: I said I was sorry. Arlene: I would have got fired. Lucky you slept with the boss. Tara: Arlene! Sam: Tara, step up your game. We're way behind. Arlene, don't make me f*re you for talking trash. Terry: You be nice to her, Sam. It's Tara's fault, anyway. Tara: What's my fault? Terry: Sleeping where you eat. Tara: Jesus Christ, Terry, what'd I ever do to you? Arlene: You leave him alone and give me my beers! Tara: You know what? Here they are. F*** you very much. Arlene: F*** you too. Daphne: Okay, I'm gonna go just get my... Oh! Son of a... Arlene: Go, Daphne. Daphne: ... b****! Oh, congratulations, Arlene. You're Merlotte's Best Waitress for life. Quite frankly, I aim a little higher. Arlene: Well, aim the plates for the tables, that's all I ask. Daphne: I hope I'm nicer to the people when I'm your age. Tara, how freaking long do I have to wait for my 7 and 7, diet and rum, two scotches and a screwdriver? Tara: You never gave me that order. Daphne: Yes, I did. You just weren't paying attention. Tara: No, you weren't and yes, I was. Lafayette: Cos, what's the holdup on my tequila? Tara: You never asked me for a tequil... Daphne: You know I think Tara's on drugs. Sam: Tara, you high? Tara: Okay, I wish I was, that way everybody's dogging me. Sam: Tara. Daphne: Tara. Terry: Tara. Arlene: Tara. Tara: F*** all y'all! Maryann: We're done. Scene 14: In the bathroom - Jason, Sarah. Jason is taking a bath when someone comes in. Jason: Get on outta here. Bathtub's occupied. Sarah: I know. Jason: Sarah? Did I stay too long? Do you want me to leave? Sarah: Please don't. I'll help you. Mary Magdalene washed the feet of Jesus and dried them with her hair. Isn't that lovely? Jason: Yeah... but wasn't she, like... a hooker? Sarah: She was not. Everybody thinks so, but that's not in the Bible. She admired Jesus, she loved him, and she wanted to show him. Jason: No. Sarah: You don't mean it. Jason: No, I don't, but I ought to. Sarah: Do you know what I think? I think that after all your trials, heartache and pain, God wants you to have a reward. Jason: Are you sure? Sarah: Let me reward you, Jason. Let me help you find your way back to joy. Jason: Oh. Scene 15: Godric's - Stan, Isabel, Bill, Sookie, Eric Stan: We take them all out at once. Pre-empty strike. Isabel: Of course, so the federal government can b*mb us back to the Middle Ages. Stan: Things were better then. Isabel: Then go to Romania and live on a cave, you ranchero poser. Eric: Godric has protected you, made you rich, and you stand here spitting and scratching like infants. Bill: Don't any of you care that there's a traitor in your midst? Stan: No. Isabel: Impossible. Sookie: Somebody tried to kidnap me from the airport. Bill: You were the only ones that knew she was coming. Eric: Explain. Stan: Unless it was you... Isabel: Unless it was you. Sookie: Look,, if y'all argue any more, I'll either fall asleep or start screaming, so this is what we're gonna do: I will infiltrate the Fellowship of the Sun. Bill: Absolutely not. Eric: Let her speak. Sookie: Since Bill glamoured the kidnapper, no one knows who I am. I'll pretend to join the church, and check out their thoughts. Bill: No. During the day, none of us can help you. Sookie: It'll only take a little while. Really, Bill. It's simple. Stan: Waste of time, when we could drink them all. I want no part of this. He leaves. Isabel: There's no easier way to find out if they're involved. Eric: If it leads us to Godric, we'll do it. The decision is made. Bill: A few words. Eric and Bill go in a corner. Isabel: So tell me, how goes your human-vampire relationship? Bill: You knew it would come to this. She was just clawed and poisoned by a creature we don't know and we can't find, and now, in Dallas, you're playing with her life. Eric: It's no game to me. Bill: All this for a colleague? For the Sheriff of Area Nine? Why? Flash back Eric: Eric (to the soldiers): Go on. I'm' finished. Go on. Soldier one: No. Soldier two: Eric... you saved our lives a hundred times. We won't leave you to be eaten by wolves. Soldier one: We'll wait for the end by your side. We'll give you a hero's farewell. The gods wait for you in Valhalla. Soldier two: There will be a party with meat... and gold... and beer. Soldier one: And women? Will there be women? Eric: Wherever I am... there will always be women. They take him to another place. Soldier two: All will be well. Don't be afraid. Eric: I'm not afraid. I'm pissed off. Soldier one: Who's there? Show yourself! Someone kills the two soldiers. Eric: Are you death? Godric: I am. Eric: But you're just a little boy. Godric: I'm not. Eric: My men... Godric: d*ad. Eric: You swine. Godric: I watched you on the b*ttlefield last night. I never saw anyone fight like you. Eric: I would fight you now if I could. Godric: I know. It's beautiful. Eric: What are you waiting for? k*ll me. Godric: Could you be a companion of Death? Could you walk with me through the world... through the dark? I'll teach you all I know. I'll be your father, your brother, your child. Eric: What's in it for me? Godric: What you live most: Life. Eric: Life. Godric bites Eric. End flash back. Eric: Godric is my maker. Scene 16: Merlotte's - Sam, Daphne Sam: Thanks for helping me close. Daphne: Oh, yeah. I broke a lotta things today, it's the least I can do. Sam: I'm sure you'll make it up to me. Daphne: I'm sure I will. Mm, nice, you run a little hot. Sam: Yeah. Everybody else is 98.6 but I'm always around 100, 101. Daphne: Me too. It's a shifter thing. Sam: Yeah? I never knew. Daphne: I can't believe I'm the first one you've ever met. I mean, we're not common, but we are out there. Sam: Ran into a few werewolves... but nobody like us. Daphne: What's it feel like when you change? Sam: Like sparks running all over my skin. Used to scare the shit out of me. Daphne: Uh-huh, me too. But now it just feels awesome. Sam: Yeah, and there's... there's sort of a build. Like, a pressure. Daphne: Where does it start? Here? Maybe...? Maybe here? Probably here, because that... that's where it hits me. Sam: Yeah, that's it. Right about there. And sparks start flying inside too. Daphne: And you feel all lit up like a broke power cable. Sam: Or a Christmas tree. Daphne: And then things just explode. Sam: Well, are you gonna say or should i? Daphne: Say what? Sam: Nice rack. Daphne: Nice balls. They begin to make love. Scene 17: Hotel Carmilla - Sookie, Bill, Receptionist Sookie: I have to ask a question. Human stuff. Bill: I'll wait for you at the elevator. Sookie: Excuse me, is Barry the bellboy working tonight? Receptionist: No, I'm sorry, Barry quit today. Sookie: What? Oh, sh**t. Thanks. Scene 18: Sookie's house - Tara, Maryann, Eggs Maryann is in the kitchen and Tara arrives. Tara: Are you waiting up for me? Maryann: I guess I am. Rough night? Tara: Really rough. Maryann: We looked at houses today. We didn't find anything, but don't worry, we'll be out by morning. I filled the fridge with your favorite things and I made you dinner. Tara: Don't go. I'll call Sookie. I want you to stay. You're so good to me. Maryann: You know why I'm good to you? Because you need it so much. And because it makes you bloom like a flower. Eggs is in the bedroom, Tara arrives. Tara: Look at you. The King of Sheba. Eggs: Hey, baby. Scene 19: Hotel Carmilla - Sookie, Bill Sookie and Bill are in the bed. Bill: You saw them in the lair tonight. Despicable. Vicious, petty, vile creatures. Sookie: You're different. You're not like them. Bill you're not. You have a heart, whether it beats or not. You can love. There wasn't one other vampire there that could say the same. Bill: Let's slip away back to Bon Temps right now. Let them devour each other and leave us alone. Sookie: You know we can't do that. Stan's as nutty as a fruitcake and I gave my word to Eric. Bill: If anything happens to you in that church... Sookie: Don't say it. Don't even think it. I'll be in and out, easy-peasy. Oh, Bill. Bill: It's been a long night. Don't feel like you have to... Sookie: Quit talking crazy. Bill: I just meant I would be satisfied to simply hold you. Sookie: Well, I would not be satisfied. Not one bit. Bill: Then what do you want, Sookie? Say it. Sookie: I want you. Every which way. I just... want you. They begin to make love. A woman is walking through their room. Sookie: Oh, Bill. The woman is a vampire.

{"type": "series", "show": "True Blood", "episode": "02x05 - Never Let Me Go"}

foreverdreaming

Scene 1: Hotel Carmilla - Eric, woman, Lorena, Sookie, Bill Eric is drinking blood from a woman. Woman: That's it, baby. Eric: "Baby"? I'm over a thousand years old. Woman: Are you not having a good time? Eric: There's just not much trill left in feeding on the willing. Woman: Then should I try pretending not to want it? Eric: Only if you are very, very good at it. Woman: Get off me. You sick... bloodsucking bastard. Eric: Off you go. Tell your manager you were magnificent. I'll back up your story if he calls. She leaves. Eric: I was beginning to think you weren't going to accept my invitation, Lorena. Lorena: For a vampire, you're a terrible liar. Credit Sookie and Bill are in their hotel room. Someone knocks at the door. Sookie: Tell them to go away. Bill: It could be anyone. He goes to open the door. Bill: Who is there? Voice: Isabel, from the summit. He opens the door. Bill: And who is this? Isabel: His name is Hugo. He is mine. Bill brings some Tru Blood. Isabel: I could see how worried you were about Sookie infiltrating the Fellowship, and I thought Hugo could help. Bill: And why would you want to help us? Isabel: Because Godric is my sheriff, not yours. It would be criminal of me to let you take this risk without my at least offering. Bill: And why would you want to help us? Hugo: I would do anything for Isabel. Hugo's thoughts: Forever, and not just my forever, your forever. And forever and forever... Sookie: It's true, he would. He loves her. You. He loves you. Very much. Isabel: And I him. Consider my offer. If nothing else, with Hugo there, Sookie will be less likely to arouse suspicion. People of the church, they have a way of not trusting woman when she's absent a man. Sookie: Bill, I have to say, as a woman who's been absent a man most of her life, that could not be more true. In the lobby, Eric and Lorena are having a conversation. Eric: I considered booking you in the room adjoining theirs, but I thought that might be a bit... over the top. Lorena: Why I am here, Mr. Northman? Eric: We want the same thing, you and I. Okay, Bill has something that I want, and he's in the way. Lorena: His human? Eric: No, she's something more than human. Lorena: What is she? Eric: That I do not know, but whatever she is... he loves her. Lorena: What makes you think I want him back? That I'd even take him? Eric: Because you didn't come all this way just to see me. Lorena: I haven't seen Bill Compton in over 70 years. Surely you can't think I have any pull over him whatsoever. Eric: I haven't seen my maker for much longer than that, and yet I am still loyal to him. Fiercely loyal. Lorena: Shame I didn't turn you. Then again, you're not really my type. Flash Back: Chicago, 1026 Bill is playing piano and singing. Lorena is near him. She goes to speak to a couple. Lorena: Enjoying the entertainment? Man: Yes, very much. Woman: Yes. He's wonderful. Just wonderful. Lorena: He is. Quite wonderful. I love your necklace, it's extraordinary. Woman: Thank you. I love it too. It was a gift from Sydney. Sydney: Yeah, it cost me a pretty penny, but... got me out of a whopper of a fight. Right, doll? Where;d you say you two were all... from again, Miss...? Lorena: Olivier. Faviana Olivier. And we are from Europe. France. Sydney: I'm hoping to hop over the pond some time soon, take this one woth me. Woman: I've always wanted to see Europe. Lorena: You would like it. And it would certainly like you. You seem European already. Most Americans these days are so... puritanical. Sydney: F*** prohibition. Woman: Sydney! He's so crass. Lorena: But he's right. F*** prohibition. If you'd like, after your other guests leave, Guillaume and I could stay and we could all f*** prohibition somewhat further. Sydney: Absolutely. Woman: Ok. Bill (Guillaume) finishes to sing and goes to Lorena. Bill: Bonsoir. Sydney: Bonsoir. Bill: I am Guillaume. Enchanté. End Flashback. Scene 2: Merlotte's - Daphne, Sam They are on the pool table. Sam: Hey, what happened here? (her back) baby, if you don't want to tell me... Daphne: It's all right...when I take my clothes off, it's all anybody ever sees. The answer is I don't know what happened. Sam: You mean, you don't remember? Daphne: I remember. Heck, I'll never forget it. I just never got a look at who, or what, it was that jumped me. Sam: Jesus. Where were you? Daphne: In the woods. Running. And then whatever it was, it was on me. It slashed me. And then I was sick, real sick, for weeks. The doctors couldn't figure it out. What it was. They told me I was lucky to be alive and I should count my blessings. And I still do, every single day of my life. Sam: You're the most amazing person I've ever met. Daphne: You're just saying that because I'm the first honest sex you've ever had. Sam: No, that's not true. Daphne: Have you told anybody else what you are? Sam: Yeah, my friend Sookie. She knows. Daphne: And have you slept with her? Sam: No. Daphne: Well, I rest my case. Seriously, though, Sam. You shouldn't be ashamed of what you are. Sam: I'm not ashamed. I just don't go around advertising it. Daphne: Well, neither do I, but the people that I know, the people that i love, i don't keep it a secret from them. How come you do? Sam: I guess because it's dangerous out there. It's, like, why take the risk? Daphne: Because not taking the risk is riskier. Sam: That's just wordplay. Daphne: No. No, it's not. The way I look at it, if you're gonna take the danger out of getting to know someone, you might as well not bother with 'em at all. You got to share this life with people. It's what we were put on this big ol' round ball to do. And people, they need to know you. You're just too damned special for 'em not to. Sam: Where the f*** did you come from? Scene 3: Sookie's house - Tara, Eggs, Maryann, man on the phone, Karl Tara (on the phone): I'm looking for a pump for an A.O. Smith water heater. Man on the phone: Can you hold on? Tara (on the phone): Yeah, I'll hold. Eggs: Shit. Tara: Want me to take a look and you can hold the line? Eggs: That was some spiteful shit, what you said right there. I got this. I am the man of the house. No offense, Karl. Karl: None taken. (To Maryann) How's your coffee? Maryann: Colder than that ridiculous excuse for a shower. Tara: I don't know what to tell you. I wish I had a fancier crib for you to squat in, but I don't. Maryann: Tara. You may not know this about me, but without a hot shower in the morning, I have no tolerance for sarcasm. Tara: Sorry. Man on the phone: You still there? Tara on the phone: Yeah. Yeah, I'm here. Man: Yeah, we got one. Tara on the phone: You do? Great. We'll be there as soon as we can. Tara: hardware shop in Ferriday's got the part we need. Maryann: Ferriday is over two hours away. Tara: It's an old water heater, Maryann, and I called everyone I could within 150 mile radius, and this guy is the only one who's got a recalculating pump that'll fit it. So do you want somebody to go get it or not? Maryann: Drive like the wind. Tara: Maybe Eggs ought to come...? Maryann: No, I want him here working on the water heater. See if he can jury-rigsometh take some semblance of a shower before you get back. Tara: Maryann, I think you're overestimating your plumber. Besides, if I have to drive a car and look at a map at the same time, I'll crash your Jag. I know I will. Maryann (to Eggs): You can go. Go, go! Scene 4: Fellowship of the Sun - Jason, Luke, Steve, Sarah Jason and Luke are walking. Luke: Where you been, we're 10 minutes late. Jason: Didn't they say what they wanted us for? Luke: All they said was to grab you and get our butts down to the sanctuary lawn. Why, you think it's something bad? Jason: It can't be good. Sarah: Good morning. Steve: Think you can handle it? Jason: Yeah. It's just a... well, it's a platform with a cross on top of it. Seems pretty straightforward. Steve: Good. Good, good. Jason: Look, I'm sorry, but the rest of the group... they're back at camp, training, right? Shouldn't we be with them? I mean, we ain't being punished for something, are we? Steve: Jason Stackhouse, of all things. Now, what would we be punishing you for? Jason: Nothing. Nothing at all. Sarah: Well, then, how about you stop sulking and try to be a little thankful for the job you've been given? I shouldn't have to remind you, but Jesus was a carpenter. Steve: Oh, my golly. I didn't even think about the parallels. Should we tell them? Sarah: I'm not sure that's such a good... Steve: They're the best of the best, they deserve to know. Now, can you boys keep a secret? Jason: I hope so, yeah. Luke: I'll take it to the grave. Steve: This platform we're having you build? It's for a ceremony. Have either of you ever heard the expression, "Meet the Sun"? Steve: Are you for real? Sarah: Steve! Steve: Sara, I'm talking. Luke, you want to do the honors? Luke: Well, if it's what I read about on the internet, meeting the sun is when you take a vampire and you chain him on the cross before dawn. And when the sun comes up, the congregation gets to watch from the bleachers as the vampire ignites and is sent to his fiery grave once and for all. Jason: Jesus Christ. Steve: Well, yes, him, but the sun too. Good work, boys. Scene 5: Hotel Carmilla - Sookie, Hugo They are iin the lobby. Hugo: You should probably wear this. Sookie: Oh, Hugo. Yes. Yes, a thousand times yes. Hugo: And also... just so that they believe we're a couple about to get married, it'd probably be best if you let me do most of the talking. Sookie: I'll just shut up and look pretty. Hugo: That's not what I meant. Sookie: Yes, it was. It's okay. It'll be easier for me to listen in on others if I don't have to worry about carrying on a conversation. Hugo: Good, good. But if they do ask you any questions, are you sure you're going to be able to say the kinds of things about vampires that they're going to want to hear? Sookie: Hugo, I don't just hear the things hateful people say. I hear the things that are so hateful that hateful people don't even want to say them out loud. Don't you worry about me. I got plenty of materials to work with. I'll be fine. Hugo: Good. Sookie: It's funny, I don't even know you really, but you're the only other person I've met who's dated a vampire... Hugo: What do you want to know? Sookie: Everything. Like, do you and Isabel ever fight? Hugo: We fight like crazy. But I've been with women I didn't fight with before, and with every one of them, I found that the reason that we never fought was because I didn't care enough to bother. Sookie: Oh, Hugo, that is messed up. Hugo: Well, maybe. But it's also true. Sookie: It's funny, but whenever Bill and me fight, even as I'm screaming and I'm so mad I don't think I'm ever going to stop, somehow, in the middle of all that, I know we're both fighting for our relationship. For each other. We're fighting to stay together. Hugo: Do you... never mind. Sookie: What? Hugo: Lately... the thing Isabel and I have been fighting about the most is whenever I bring up the subject of her turning me, she just shuts down. She won't even discuss it. Sookie: Is that a thing that actually people do? Because it's never even occurred to me. Hugo: How could it not? Right now it's all well and good, but in 50 years when they're still what they are, but we're in our '70s and '80s and we're hunched over and frail and using walkers? Come on. How could they still love us? Sookie: We should go. Hugo: Listen, I'm so sorry. I shouldn't have told you that... Sookie: It's okay. Really. Besides, now if I die today, who cares? At least I'll never have to feel old and unloved, and unwanted. Scene 6: In the car - Tara, Eggs Tara: Bitches, don't you know that sarcasm and cold water do not mix? Eggs: All right, so next thing you want to do is hop on the 165 South. Tara: Excellent. You're a hell of a navigator. Eggs? Eggs: There's going to be a diner that's built out of an old red barn coming from around the next bend. Tara: You been here before? Eggs: No. Never. Why the f*** did I know that? Tara: All right, you're freaking me out. You better not be f****** with me. Eggs: Turn right here. Tara: Eggs, tell me what's going on. Eggs: Tara, I don't know. Please, just turn right here. Come on. Tara: S***. Tara stops the car and Eggs goes out. Tara follows him. Tara: Where you going, Eggs? Scene 7: Merlotte's - Arlene, Terry, Lafayette, Andy, Maxine, Maxine's friend, Hoyt, Sam, Daphne, Arlene: You still up for doing something after work tonight? Terry: Yeah, sure. Arlene: Good, because I just got off the phone, and I got a surprise lined up for you. Terry: I don't like surprises, Arlene. Arlene: Well, that's too bad, because I just happen to be an extremely mysterious woman. Daphne: Can I get y'all anything else? Maxine Fortenberry: How about the iced tea I ordered over five minutes ago? Daphne: Oh, my gosh, I am so sorry. I'll be right back with that. Maxine: And some Worcester? Daphne goes. Any chance I'll get it? Her friend: Zero. She's about the worst I've ever seen. Maxine: Maybe it's for the best. Lately if you're too good a waitress around here, someone's gonna come along and k*ll you. Her friend: You are so bad, Maxine. Andy: Hey, there, Sam. Lafayette here? Sam: In the kitchen. Andy: I've been noticing some strange things about you lately. Lafayette: Like? Andy: Like the fact that you just up and vanished for over two weeks, and like the fact that now that you are back, you seem to have lost some of your pizzazz. Lafayette: My pizzazz? Andy: That's right. Now, in case you didn't hear, Lafayette, a woman's d*ad. Woman just so happened to have ripped of your cousin and you antie. So for the record, where were you all that time? Lafayette: I was on a cruise. Andy: A cruise, huh? What kind of cruise? Lafayette: A gay one. Andy, why don't you tell me what you're accusing me... Terry comes in the kitchen. Andy: You weren't on a gay cruise, if you were, you would have come back with more pizzazz, not less. So how about you and I go down to the station, I lock you up. Leave you in a cell to rot until you confess, or you can just tell me now. (Lafayette sees Eric at Andy's place) I already know what you were doing. You were hiding out. Lying in wait. You k*lled that woman and cut her heart out. Now, tell me I'm not right. Terry: Leave him alone, cuz. Andy (his face): Terry, you need to shut up. (To Lafayette) And you need to get up. Think I will take you down to the station. I said get the f*** up! Terry: What the hell, Andy? Back when we were kods playing cops and robbers in Me-maw and Pa-po's backyard, you always used to make you arrests with dignity. This ain't the kind of cop you set out to be. And by the way, everybody know that you ain't even a cop anymore. Get the hell out of here. Andy: But he's a suspect. Terry: No, he ain't. And even if he was, does he look like he's about to run, to you? Andy: All right, you're right. I'm sorry, Mr. Reynolds. Andy leaves. Terry: Okay. Okay, buddy. Come here. Come here. Come here. Close your eyes. Close 'em. Close 'em. That's good. Now, I want you to imagine a golden glowing ball radiating warmth and safety. That's good. Hoyt arrives at Merlotte's. Hoyt: Activation required. Maxine: Hoyt, you remember Bonita Lou Morris. Hoyt: Nice to see you again, Miss Morris. I paid that bill last week. I want to know why my phone is telling me "activation required". Maxine: Because I canceled it. Hoyt: Goddang it Mama. Now Jessica's gonna think I'm like those guys that never text back. Maxine: Good. Girls who call boys at all hours of the night like that are looking for one thing: money. Hoyt: We don't have any money. Maxine: That's not true. We're very comfortable. I told you I would let you date a girl like that over my d*ad body, and I meant it. This is only the first step. Hoyt: Reactivate it or the next step's gonna be all mine. And one last thing about my girlfriend that I think both of y'all need to know. The reason that Jessica calls me all late like she does is that she's a vampire. He leaves. Sam: I can't work. Daphne: And why is that? Sam: Because, when I look at that pool table, I keep seeing you on it, and then I can't think about anything else. What do you say we get outta here? Daphne: And go where? Sam: Well, we'll sneak out the back and shift and run and play. Do it out under the sun. Daphne: I would love to, but if I left work right now, my boss would k*ll me. Sam: Don't you go and slap me with a harassment suit for this, nut if you don't go out back right now and take off all your clothes, I will f*re you. Daphne: Well, we wouldn't want that. Sam: No, we wouldn't. Daphne: I'll meet you out back in two. Sam: Make it one. Scene 8: FotS - Luke, Jason, Sarah, Steve, Sookie, Hugos Luke is singing. Luke: Help me out, Stackhouse. What should go there? Jason: God, son of a... Luke: You all right? Jason: Yeah, I'm fine. Just... stupid. Luke: No, you're just preoccupied. So come on now, out with it. And I hope I don't have to remind you you're wearing your ring of honesty. Jason: Yeah, I don't know, man. I just... remember what you said the other day about... me only being sent up on... on account of Sarah wanting my... my Johnson? Luke: Man, that's just me being jealous. Even as it was coming out of my mouth, I knew God was frowning on me. Because not only do you deserve everything coming your way, but Sarah, if she ain't the holiest person I know, then I don't know who is. Jason: Luke, the day that we met, you said... you said that you'd been abstinent for the last three years. Luke: That's right. Jason: How come? Luke: Because sex outside of marriage is a sin. Jason: You really believe that? Luke: It ain't what I believe. It's what God believes, but some sins are bigger than others. Jason: Like what? Luke: Well, let's say you're gonna do it out of wedlock, gotta make sure the girl you do it ain't married either. Jason: Right, because adultery's bad. Luke: One of the worst. Right up there with incest and bestiality. Jason: What the f... Luke: But all of 'em put together ain't half as bad as if you fo it to a vampire. Or to a dude. Or a vampire dude, and that's like crème de la crème of sins. Ain't no repentance for that. Straight to hell, baby. Jason: But everything else you can repent from. Luke: Sure. God's a... he's an open-minded guy. To a point. Jason: Jason Stackhouse, abstinent. Luke: Sounds good, don't it? Jason: Not really. Went to the sun to fry. Luke: What? Jason: The big ol'scray vampire went to the sun to fry. Luke: That is awesome, Stackhouse. Jason: Be here all day. Sookie and Hugo are in the car, arriving at the FotS. Sarah's waiting for them. Sookie: Why do I recognize her? Hugo: Because she's on TV all the time. That's Sarah Newlin. She's the reverend's wife. Sookie: Oh, right. You know, in person, she looks like vanilla pudding. They go down from the car. Sarah: Hi, there. I just happened to be looking out the window as you were driving up, and I thought I'd come on out and greet you myself. I'm Sarah Newlin. And you all are? Sookie: Hi. Holly Simpson. I cannot believe I'm meeting you in person. You are cute as a button. Sarah: Thank you, Holly. And you're like a cool breeze on a hot summer day. Sookie: Quit. Sarah: And you are? Hugo: I'm... Sookie: Silly me. This is Rufus Dobson, my fiancé, I love saying that word. In fact, sometimes I love it so much, I don't even want to get married, just so I can keep on calling him it. But we're going to. Get married, that is. Which is why we're looking for a church. Sarah: Well, excellence. And I'm pleased to meet you, Rufus. Hugo: It's an honor. Sarah: The honor's mine. Now, how about you all follow me in and we'll see if Steve is available. I'm sure he'd love to meet you both. Sookie: For real? Reverend Newlin himself? Oh, that would be just super. Sarah: Well, come on. Hugo (low voice): I thought I would do the talking. Sookie: When I get nervous, sometimes I talk too much. In Steve's office. Sookie: Well, funny thing is, Rufus and I actually met in church, but we both left, like, a month later when we realized that our pastor was... a little iffy. Steve: He was a h*m*. Sookie: We don't know. He might have been, but what became all too clear was that... he was... a sympathizer. Steve: See, that really ticks me off. I mean, how can you claim to be a God-loving person and then love something that God detests? Sookie: It's upsetting. Hugo: It is. It is upsetting, but that's why my fiancée and I are here. We want to make this our new home. Sarah: We are thrilled that you've chosen us. Steve voice off: Wonder how that platform's coming. I can't wait to bring that vampire from the basement and watch the sun do him the justice that 2000 years of living couldn't. Sookie: it'll be amazing to finally b amongst like-minded people. I don't care what anyone says about vampires being able to control themselves. I know better. I know that every single one of them is a vicious, bloodthirsty k*ller. Scene 9: Hotel Carmilla - Lorena, Bill Lorena is on her bed. Flash Back Lorena, Bill, Sydney and his woman are at Sydney's home. Bill: You have a lovely home. Sydney: Thank you. Bill: You're we-we-we-welcome. We'll enjoy living in it. Lorena: Put him in the armchair. Face it toward the bed so he can watch. Sydney: What? Watch what? Bill: Say "au revoir." Say it! Au revoir. Woman: Why are you doing this? Bill: Because we can. Bill feeds from the woman. Lorena kills Sydney. Bill: Wait. Lorena: What is it? Bill takes the necklace of the woman and gives it to Lorena. Bill: I want you to have this. Lorena: You are so thoughtful and generous. I love you, William Compton. They make love while the woman is dying. End flash back. Lorena has the necklace around her neck. Scene 10: In the woods - Tara, Eggs Tara: We've been walking for over 45 minutes, and you still haven't told me where we're going. Eggs: I did. I said I don't know. Tara: "I don't know" ain't a place, Eggs. It's a state of mind I don't like being in. Eggs: What the f***? Tara: Eggs. Eggs: I've been here before. Tara: I thought you said... Eggs: I know what I said... so I guess I haven't, but I have. I don't... oh Tara. Now, something happened here. Something horrible happened. Tara: That's pretty f****** obvious. Eggs: You think this is funny? Tara: No, but it don't make any sense, and when shit don't make sense, it means there's a logical explanation you just haven't thought of yet. Maybe it's from when you were a kid. Maybe somebody brought you here. Eggs: I... Tara, I grew up in foster homes in Memphis, and when you grow up like that, people ain't trying to take you on f****** vacations. Now, I know one thing. I've been here before. I just don't even... There's blood on a rock. Tara: S***. Is that blood? Eggs: We must have walked a mile and a half, maybe two miles, and I had no idea where we were going... but then we end up right here looking at this? Tara, this ain't no f****** coincidence. He's crying. Tara: Come on, let's get you home. Take it slow. Scene 11: FotS - Steve, Sarah, Sookie, Hugo, Gabe Steve (on the phone): See you soon. He hangs up. Careful now. Hugo: Careful? About what? Steve: Sometimes when we open these doors, so much love comes flowing out that it'll knock you down if you're not ready for it. Sookie: We'll be sure to brace ourselves. Steve and Sarah open the doors of the church. Sookie: Oh, my gosh. Sarah: I know. I just love it in here. The way it glows like it does. Particularly in the late afternoon. Steve: It's inspiring, isn't it? Sookie: It really is. Hugo: Yessirree. This is where we're getting married. I can't wait to see you walk down this aisle. Sookie: Me either. Steve: Have either of you ever been to a lock-in? Sookie: A lock-in? Steve voice off: Course she hasn't. She's no Christian. Steve: Oh, yeah, it's loads of fun. Everybody brings their sleeping bags... Sarah voice off: Come on Steve. Don't bring the girl into this. She's probably so scared, she doesn't want to do this. Those vampires made her do it. Steve voice off: They say she can hear me. I wonder if that fang-lover freak can hear me right now. She sure don't look normal. Sookie: That lock-in does sound like fun. Rufus, we gotta go home and get our sleeping bags now. Hugo: But honey, the tour's not even over yet. Sookie: I know, honey, but I think we really ought to go so we can come back for the lockdown. Steve: There's plenty of time to get ready. The lock-in is not until tomorrow night. Gabe: You wanted to see me? Steve: Oh good. Holly, Rufus, I'd like you to meet an aide of mine. This is Gabe. Hugo: Pleased to meet you. Sookie: Hi. Gabe voice off: Nice, very nice. She's got the perfect amount of titties showing. Steve: Gabe here is gonna be joining us for the rest of the tour. Scene 12: On the road/in the woods - Andy, Daphne, Sam Andy is driving and drinking. He sees a dog and a pig pass on the road. Andy: I know that pig. He stops the car and goes down. He runs after them. Andy: Pig! Hey, pig! Wait up, pig! He falls down; the animals are gone. Andy: Stupid f****** pig. Daphne: How amazingly exhilarating was that? Sam: My heart's still pounding. Daphne: I know. Mine too. Sam: Hey, why'd you become a pig? Because I was expecting to see you become a doe again. Daphne: Pig is my go-to shift. Sam: It almost seemed like Andy recognized you. You know? The way he was yelling at you, like, "Pig!" "Pig!" Daphne: Isn't "pig" exactly what you would call a pig that you didn't know? Sam: Yeah, but still, it's... it's weird. Daphne: Hush. Scene 13: Merlotte's - Lafayette, Pam Lafayette is working when Pam arrives in the kitchen. Pam: Remember me? Lafayette: Oh, s***. Pam: You do. How's life? Lafayette: Not so good. Is you real? Pam: This is nice. I could sleep here in a pinch. Lafayette: What is you doing here? I ain't said nothing to nobody. Pam: And I knew you wouldn't. Lafayette: Why didn't the f*** y'all just glamour me, huh? Pam: Poor thing. We would have, but then you wouldn't remember that you owed us. Lafayette: Owe you? Pam: Eric sent me with a request. You're back in business. Lafayette: Oh, no, I ain't. I'm out of that shit. Pam: So sorry, but you're very much back in this shit. Lafayette: You locked me up and tortured me for damn near three motherf****** weeks because you caught me selling V. and now...? Pam: Now what? Lafayette: What the f*** is vampires doing selling V anyway? Pam: We're not, you are. Get to work. Scene 14: FotS - Steve, Sarah, Sookie, Hugo, Gabe Steve: Now I'd like to take you all to see a very special part if the church. Sookie: There's more? Steve: Yes. My father's tomb. It's on the lower level. Sarah: Honey, are you sure? Steve: Absolutely, darling. Sarah: Steve, I just don't see why we need to take 'em down there. Steve: You can feel the presence of his spirit. Sookie: It's okay, we don't need to see it. Steve: Oh, I insist. Our church was built on, much like St. Peter's tomb in the Catholic Church, only without being polluted by evil. Did you know that there was actually a vampire pope back in the Middle Ages? Steve opens the door. Sookie: Rufus. Steve: What's the matter? Rufus: It's no big deal. She just has a tiny little case of claustrophobia. We both do, actually. Steve: Well, at least take a quick little look-see, in that way you can say you saw the whole church and you make informed discussions. Sarah: Steve. Steve: It's all right, Sarah. This is something they need to see. Sookie: But we've already decided that we're getting married here, so how about we go back to our apartment, we'll look at a calendar and we'll call you on the phone to set the date. Steve: No.Gabe. Steve and Gabe take them and bring them down. Sookie: Get off me! Scene 15: Hotel Carmilla - Bill, Lorena Bill hears Sookie screaming. He's on his bed; he wakes up. Lorena: Is something happening to your human? Bill: Lorena! Scene 16: FotS: Sookie, Steve, Sarah Sookie: Let go of me! Steve: Come on! A little help here, Gabe! Pretty sure the banger's on V, the f****** c**t! Sarah: Steve! Sookie: Help! Scene 17: Hotel Carmilla - Bill, Lorena Lorena holds Bill and is on him. Lorena: I made you. Your blood knows mine. You will never physically overpower me. Scene 18: FotS - Sookie, Steve, Gabe, Sarah Gabe: I got her! Sarah: I'm sorry. Steve: Stop fighting me! Scene 19: Sookie's home - Eggs, Tara Eggs and Tara arrive home. There are bottles of beer, plates and glasses on the floor. Tara: What the hell? Eggs: Just when I thought today couldn't get any f****** freakier. Tara: People are pigs. Eggs: You got that right. There are clothes too on the floor. Tara: Here. Take this joint. They go out of the house, from the other side, following the clothes. Eggs: Shouldn't have smoked that joint, because this is really freaking my shit out. Tara: I feel like that kid in E.T. except instead of following Reese's Pieces, we following clothes. Eggs: I ain't never seen E.T. but Reese's Pieces sound real good. Tara: Don't they though? They hear voices and go there. They see people making love in the garden and Maryann in the middle. They all have black eyes. Scene 20: Hotel Carmilla - Jessica, Hoyt Jessica wakes up. She begins to empty the bottle of Tru Blood when someone knocks on the door. Jessica: Who is it? Hoyt: It's... it's Hoyt. Jessica: Hoyt! Hoyt: Come on, open up. I know you must be mad at me. I'm so sorry. My mama canceled my cell service and I had no way to get in touch. I got here as fast as I could. She opens the door. Hoyt: I'm so sorry, Jessica. Jessica: I can't believe it. You came all this way? Hoyt: You're not mad at me? Jessica: No. I'm so happy, I could cry, but I don't want to because it's really gross when I do. Hoyt: And I'm sorry about the flowers too. I got 'em in Bon Temps before I left and it was just really hot in my car. Jessica: They're beautiful. They kiss. Scene 21: FoTs - Jason, Sarah Jason comes in the church. Jason: Hello. Steve? Sarah? Anyone? Sarah: I'm up here. Up here on the balcony. Steve: I just wanted to tell you that uh, Luke and me, we're done with the... the platform. Sarah: Great. Thank you. Jason: Are you crying? He goes up on the balcony. Sarah: I'm sorry. You're not supposed to see me like this. Jason: That's okay. Really. What's the matter? Sarah: It's Steve. He's not the man I thought he was. Jason: Sarah. Your husband is a great man. And I feel bad about what we did last night too, but we can't try to make it easier on ourselves by... by blaming the victim. Sarah: Jason, you and Luke and all the others, you're not being trained to defend us. He wants to use you to start a w*r. Does that sound like a great man to you? Jason: What? Sarah: Well, he's not one. And I thought he was, but lately I've been seeing a side of him I never did before. He's vicious and he's cruel and he uses the C-word. And he lies to me, Jason. Our marriage has always been a partnership, but now he's shutting me out. Jason: Come on, now. Here. Don't... don't cry. Now, all gone. (She tries to kiss him) I should go. Sarah: When I was a little girl, I realized that I had a calling. And I was put here on this Earth to be that great woman behind her great man. And when Steve came into my life, I thought he was that man. But now I see it clear as day. I'm supposed to be with you. Jason: Hey, hey. We can't. it's wrong. You're married. Sarah: Not in my heart. Not anymore. And how can this be wrong if it's what God's commanding me to do. Jason: Think God really wants this? Sarah: Yes. Jason: You talk to him? Sarah: Every single day of my life. And he wants this, Jason. Oh, God, I promise. They kiss and make love. Scene 22: Outside Sookie's house - Daphne, Sam Sam and Daphne are walking in the woods. Sam: Where are you taking me? Daphne: Don't be such a nervous Nellie. It's a surprise. What? You don't like drums? Sam: It's just that in my experience, no good can come from drum music. Follow it and all it ever leads you to is hippies and cults. Daphne: Not this time. People come and hold Sam. Sam: Daphne. Daphne: Sorry, Sam. They bring him somewhere. Sam: What the hell's going on? They arrive at Maryann's orgy. Sam: What the f*** is this? Daphne: It's the end of the road. Daphne takes the Taurus' head and put it on Maryann. Sam screams.

{"type": "series", "show": "True Blood", "episode": "02x06 - Hard-Hearted Hannah"}

foreverdreaming

Scene 1: In the woods - Andy Andy: Pig! Scene 2: Outside Sookie's house - Sam, Daphne, Maryann, Eggs, Tara, Terry Tara: Just give in. It feels so good. Sam: What's she done to you? Andy arrives. Andy: What the... ? Daphne: Stop. Sam kicks Daphne and runs. They all shout. Maryann runs after him. Maryann: I'm here, Sam. You're gonna be the one. Sam transforms in an owl and disappears. Maryann takes his tee-shirt. Credit Back at the party: Andy: Nobody move! (he has a g*n) I said don't f*****' move! Terry? What the hell are you doin'? put on some g*dd*mn pants. What the hell? Scene 3: The FotS's basement - Sookie, Hugo Sookie: Godric. Godric, can you hear me? Isabel and Eric sent us. Godric! I know he's down here somewhere. I heard the awful things they're plannin' to do to him. Hugo: Remember how I said I was claustrophobic? I wasn't makin' that part up. It's bad. Okay, I can't take elevators, walk-in closets. You know, hotels where they tuck the sheets in all tight? Just thinkin' about that makes me want to scream. Sookie: Jesus Christ, Vampire Exterminator? Silver and Stakes? Send'Em Back to Hell? So sick teachin' kids to hate like this. Hugo: Sookie, I don't have time for games right now. I need to get out of here. Sookie: Take a deep breath. Look at me. It's gonna be okay. We're gonna figure this out, all right? Hugo: Okay, I'm okay. Sookie: So the Newlins knew who we were the minute we walked in. Same way they knew to come after me at the airport. 'Cause someone at the nest is a traitor. Hugo: You think a vampire's siding with the Fellowship to get Godric out of the way? Sookie: Stan? 'Cause he wants to be sheriff? I've heard of ambitious, but that's just plain crazy. Hugo: You've met him. I mean, he would rip our throats out for lookin' at his sideways. Sookie: It's true, Bill and Eric could do a lot worse to him when they find out. Bill had to have sensed my fear. He's gonna come storming through this church any second. Hugo: And you don't seem happy about that because? Sookie: These fanatics are about to barbecue a 2000-year-old vampire in front of the entire congregation. Who knows what else they're capable of? Scene 4: Bill's hotel room - Bill, Lorena Bill: Get out of my way! Lorena: But we have so much catchin' up to do. Bill: Move now! I will not ask again. Lorena: You smell like her. Sweet. And cheap. William Compton, you're still so sensitive. Some might say it's a weakness, but I've always found it oddly cute. We can play this game all night, but we both know I am stronger and faster, so really, what's the point? Bill: What are you doin' here? Lorena: I've missed you. It's been so long. Flash back: Los Angeles, 1935 Bill is on a chair, reading. Bill: You're back early. Lorena: I loathe musicals. They're always so desperately cheerful, aren't they? I brought you a present. (A woman arrives) Frances, this is Alfred. Alfred, Frances. Frances: Hello. Lorena: Frances is in this chorus. She has real talent. Show him. Frances: Right here? Bill: That will not be necessary. Lorena: Don't mind him. He's in one of his moods. Again. But I'm sure we can find a way to... cheer him up. Bill: I meant what I said. No more. Lorena: You can't starve yourself, darling. Just taste her. She smells like... apricots. Remember those? Bill stops before biting Frances. Bill: Leave now. Frances leaves. Lorena: You are such a wer blanker. I don't know why I keep bothering with you. Bill: Why do you? I can't stand the sight of you. Lorena: So dramatic. Perhaps we should head back South. This town's a cultural desert. It's no wonder we are so depressed. Bill: I'm not depressed. I'm seeing clearly for the first time in years. I won't do this any longer. It's over. No more innocent lives and bloody beds and cruelty for sport. Lorena: You are a vampire. They are food. That's your nature. Bill: No. it is your nature. You have lost your humanity, and you have stolen mine, made me into a monster. I forgot myself, and I will have to live with the things we've done for an eternity. Lorena: I sometimes forget how young you are. This conscience of yours, you will outgrow it. Trust me. We will get through this together. Lorena: I will never again be what you want me to be. End flash back. Bill: If Sookie is hurt in any way because of you, I will not stop until I drive a stake through whatever semblance of a heart you have left. Lorena: It's true. You're in love... with a human. That's so tragic it's funny. Scene 5: FotS - Eric, Isabel, Jason, Sarah Eric: You have got to be joking me. This is the Fellowship of the Sun? That's their army? Scared little boys with bibles and crossbows. Isabel: Don't underestimate them. Support fir their movement is growing. Their leadership camps are overflowing with self-righteous extremists, all willing and ready to die for their cause. Eric: That can be arranged quite easily. Isabel: Not until we know for sure the Fellowship of has Godric. Eric: What about your boy Hugo, and Sookie? They've been in there too long. Isabel: There's no sign of alarm. And if Hugo were in serious danger, I would know it. I felt something earlier, but it passed. He's okay now. Eric: Tell me, what is it that you find so fulfilling about human companionship? Isabel: They feel much more strongly than we do. Everything is urgent, exciting. Maybe because their lives are so temporary. Eric: Yes, they certainly don't keep well. Don't you find the prospect of him growing old, sickly, crippled, somewhat, repulsive? Isabel: No. I find it curious. Like a science project. How does Bill Compton feel about your interest in Sookie? Eric: I'm not interested in Sookie. And even less in how Bill Compton feels. My only interest is finding Godric. Isabel: Of course. Eric: Don't look at me like that. Do you really believe these fools could overpower a vampire such as Godric and hold him for weeks? Isabel: Stan is sure of it. But I have known Godric a long time. It's hard to imagine anything could overpower him. Eric: Not anything human. Jason and Sarah are in the church. Jason: It just don't make sense. How somethin' wrong could feel that right. Hey, ain't that a song? Don't cry. It's my fault. If anyone's goin' to hell, it's gonna be me. Sarah: I waned this every bit as much as you did. And the strange this is, I don't even feel guilty about it. Jason: So you're cryin' 'cause...? Sarah: Because I'm so happy. Oh, Jason, I thought I loved Steve, but I never even knew what love was until you just showed me. Jason: Waw. That's... intense, huh? Sarah: I know. Right now, here with you, I feel closer to God than I ever have. Come on, we have to go. Jason: Yeah. I gotta get ready for training. Sarah: No, forget trainin'. We have to go tell Steve. Jason: What? Sarah: Vow of honesty, Jason. Just 'cause I broke my vows to my husband doesn't mean I'm ready to throw all my beliefs out the window. Jason: Hold on a sec. We just can't walk in there and tell him. Sarah: No, we have to. Somehow, someday, God will forgive us. It's the only way we can have a future together. Jason: Let's just think about this for a second. A: Steve has g*n. Then there's the lockdown tomorrow night. And secondly, we're gonna be locked in this church with Steve and his g*n all night. Sarah: Oh my Lord, the lock-in. the morning ceremony. You're right. We have to put God's interests before our own. Jason: That's right. God comes first. Sarah: But I promise you, when I am standin' up there next to Steve, all I'm gonna be thinking about is you. Jason: Yup. Yeah, me too. Sarah: And the minute it's over, we'll tell him, right? Jason: Absolutely. I can't wait. Sarah: Me either. Scene 6: Hotel Carmilla - Hoyt, Jessica, Eric, Stan, Isabel Hoyt and Jessica are on the bed, kissing. Hoyt: There's somethin' I have to tell you. I haven't... I ain't never told nobody before. Not even my best friend. Hell, especially not my best friend. I ain't never done it. With a girl, I mean. Jessica: What have you done it with? Hoyt: Just myself. Jessica: So you're a virgin. Well big whoop. So am I. Hoyt: You are? Jessica: Well, just 'cause I'm a vampire, you think I'm a slut? Hoyt: Of course not. I don't think you could ever be a slut. I don't think anybody is, really. Some people, they just want somebody to be with. Jessica: Well, I totally would have been a slut if I could've gotten away with it. Me and my friend Laurie, we had this bet since eight grade over who'd lose it first. I mean, she was like pregnant before I even got my first kiss. Man, my dad was such a dickhead. So what's your excuse? Hoyt: I was gonna wait, you know, till I met the right one. But the right one just never showed up, and by then I'd waited for so long, I figured I can't just give it away to anybody. So now I'm 28. And most girls probably think I'm like some kind of bisexual gay or somethin'. Not that I got any kind of problem with them. But I'm not. Jessica: Well, I'm not most girls. I'm not even a girl, technically. But if you're okay with that, I'd be your first. Hoyt: You would? Now? Jessica: No, silly. No, not tonight. It's gonna be dawn. I get sick if I don't rest during the day. Hoyt: It's no problem. That's great. Jessica: But, we can cuddle if you like. Just don't freak out if I look a little... d*ad. Eric, Stan and Isabel are in the corridor. Stan: Maybe the little rats run off. Joined the Fellowship themselves. Isabel: Careful. Hugo is mine. Stan: Oh, please. If you cared about him so much, we'd have been in that church hours ago. Isabel: With no plan, no exit strategy. That's why you'll never be sheriff Stan. You don't think. Stan: And you're too chicken shit to act. That's why we been getting' Godric's coffee for the last 40 years. (To Eric) And you, Fellowship has your maker and your telepath, and still you do nothin'. Eric: Are you questioning my loyalty Stan? Stan: Just trying to return Godric to his rightful position. Eric: Really? 'Cause I think maybe you have another agenda. Maybe you think starting a w*r with the Fellowship will distract us from the truth... that you're so starved for power, you m*rder Godric for his title. Stan: That is a lie. How dare you accuse me? Isabel: Eric. We don't know this. There's no proof. Eric: Not yet. But I will find it. And when I do, there will be no mercy. In the meantime, you two can stand here and quibble over his position, or run into that church and k*ll them all. I no longer care. If Godric is gone, nothing will bring back what I have lost. Scene 7: Sookie's house - Tara, Eggs Tara and Eggs are sleeping on the couch. Tara wakes up. Tara: Eggs, wake up. Eggs: Hey, gorgeous. Tara: What are we doing on the couch? How'd we get here? Eggs: I have no idea. Tara: Last thing I remember was followin' those Reese's Pieces clothes into the woods. I don't even remember coming back here. Eggs: Me neither. I guess that joint must have knocked us out cold. Tara: That's never happened to me before, at least not from smokin' one joint. Eggs: t's happened to me a couple times. Maryann's weed is some serious shit. Tara: Yesterday, that weird place you took me to with the blood, you couldn't... Eggs: I got no idea what that is, but I'm pretty sure it's got nothin' to do with us gettin' high and passin' out, ok? Tara: Maybe we been smokin' too much. Maybe we need to sober up. Eggs: Hey. That's okay. I'm high enough just bein' with you. Listen. Just because you got a little too stoned, that don't make you your mama. Tara: You're right. Sometimes it's like you're Sookie. Like you can read my mind or somethin'. Eggs: I just get you, that's all. Scene 8: Merlotte's - Sam Sam arrives at Merlotte's. He enters in his office and takes a g*n. Scene 9: Fellowship - Sookie, Hugo, Steve, Gabe Steve: Mornin'. Refreshments? How did y'all sleep? Sookie: They're coming for us, you know? Steve: Yeah, well, that's what I thought. Figured a pretty girl like you'd have a vamp running off to her rescue. Actually, we were kinda hopin' for it, weren't we Gabe? Gabe: Yes, sir. Bring it on. Steve: Yeah, we're ready for him. We've been ready for a long time. Sookie: You're gonna get yourself k*lled. That's not a thr*at, it's a fact. Steve: They've got you all twisted up, haven't they, with their... with their glamoring and their empty promises and their evil blood. Sookie: You're the ones who are twisted. You call yourself Christians? Jesus would be ashamed of you. Steve: Oh, I guess we're just gonna have to agree to disagree on that one. Now, things got a little out of hand last night, and I apologize for that. I'm not the monster that the vampire-lovin' media makes me out to be. Sookie: Yeah, right. Steve: All I want from you is a couple of answers, and then I'll be more than happy to feed you a nice hot breakfast and send you on your way. Hugo: What do you want to know? Sookie: Shut up. Hugo: Sookie, we need to get out of here. Just tell them what they want to know. Her name is Sookie Stackhouse, and I'm Hugo Ayers. Sookie: Hugo, no. Hugo: We were sent here by the vampires of Area Nine to find their sheriff. Steve: Sookie Stackhouse. From Bon Temps? Sookie: How do you know where I'm from? Steve: You're Jason Stackhouse's... sister. Am I right? Sookie: You know Jason? He's got nothin' to do with this. Steve: Come on, Gabe. Sookie: How do you know my brother? Steve and Gabe leave. Sookie: Nice work. Hugo: We sat down here all night waiting for your boyfriend to show up. You can go on and ply damsel in distress all you want, but one way or another, I'm getting' us out of here. Sookie: Hugo, do me a favor, please. Just shut the f*ck up. Sookie (in her head): Barry. Barry, can you hear me? You've got to help me. I need you to go to the hotel and find Bill Compton and tell him I'm at the Fellowship of the Sun Church in the basement. The sheriff is here somewhere and I'm in big trouble. Please, don't ignore me. This is a life or death situation. Please. Scene 10: Hotel Carmilla, Bill's room - Bill, Lorena Bill: We need to rest. Lorena: So the minute I shut my eyes, you can run into the sunlight and destroy yourself to save her? Care about you too much to allow that. Bill: I may love her, but I am not suicidal. Lorena: I know better than anyone what you are capable of. Bill: Lorena, this is foolish. We are getting weaker. The bleeds have g*n. You may be able to keep me here awake for a day, maybe two, but not forever. Lorena: You're right. Forever is a long time. Then again, I'm very patient. Lorena takes the phone. Lorena: And who were you going to call? Bill: If you will not let me go to her, at least let me find someone who will. I am begging you. Let me call and wake up Eric Northman. He is the reason that Sookie's in danger. Lorena: He is also the reason I'm here. He wants the girl, William. Just let him have her. Scene 11: FotS - Jason, a man, Steve, Gabe Jason is walking, carrying his suitcases. Jason: f*ck, f*ck, f*ck. Man running: Hey, Stackhouse. Jason: How's it goin'? Lookin' good? Steve is in his car, driving through Jason. Steve: Hey, where you off to, Jason? Jason: Oh, just takin' a walk. Steve: With your suitcase? Jason: Yeah. Steve stops the car. Gabe come down. Gabe: Get in the car, Stackhouse. Get in the f*cking car. Jason: Okay, okay. Gabe: Now. Go. Scene 12: Police station - Andy, Bud Andy: With a bull mask and these giant claws. Bud: Claws? Andy: And the whole town had these big black-saucer eyes like zombies. Scene 13: Sookie's house - Tara, Eggs, Maryann Tara and Eggs are watching the TV when someone enters; it's Maryann. Maryann: Good morning. Tara: Maryann, you okay? Maryann: Oh, I am fantastic. I slept outside last night and I communed with my animal nature. Eggs: No shit. Maryann: This little fella hopped by, and I thought, "Yummy. Rabbit stew." Tara: Poor bunny. Maryann: Feeling sorry for things is just an excuse not to celebrate your own happiness. Speaking of... you two look positively glowy. What did you do last night? Tara: We just crashed out, I guess. Did you throw a party here while we were gone? 'Cause when we got home, the place looked like a frat house. Maryann: I had a few people over for drinks. That a problem? Tara: It's Sookie's house, and she can come home anytime. Maryann: And when she does, I'm sure she'll be grateful that you fixed that nasty old water heater and you took care of the place. You're such a good friend. Carl. Maryann leaves. Tara: She is so f*ck' weird. Eggs: I know. Isn't it great? Scene 14: FotS - Jason, Gabe, Steve Steve: You know what burns me the most, is that I brought you into my home. I treated you like family. Jason: I know, and I'm so sorry. It's just that, uh, I'm weak. Steve: Yes, you are. I gave you a chance at salvation, a chance to live in His holy light, and you chose them? Jason: I know it was wrong. I... Wait. Who are "them"? Steve: Oh, please, cut the act. I know who you are and who you're workin' for. Jason: The road crew? Steve: That's funny. Oh, boy, I didn't think that you were the sharpest tool in the shed. Good at takin' orders, but not too bright. But boy, was I wrong. You are snakier than a snake in the grass. Jason: Steve. Buddy. You're making a mistake, okay. You're confusin' me with... with somebody else or somethin'. Steve: Say a prayer. You are going to hell. And you are going there today. Jason: Steve. Steve: Take care of him. Gabe: Yes, sir. Start walkin', vampire lover. Come on. Scene 15: At the river - Daphne, Sam Daphne is at the river. Sam arrives and points a g*n on her. Daphne: Hello Sam. Sam: Been lookin' for you. Daphne: Figured you would be. Now, what's that for? Sam: Come any closer, you'll find out. Daphne: You think I'm scared of dyin'? Sam: I know you're scared of Maryann. Those scars on your back, that how she got you to be her whore? Daphne: It ain't whorin' of you do it for love. Sam: You can stop pretending you ever gave a shit about me. Daphne: Honey, I ain't talkin' 'bout you. We had fun, but... Sam: We had fun? I f*cking trusted you! I shared parts of myself I never shared with anyone. How can you do this to your own kind? Daphne: Sam, I used to be scared and stupid, full of shame, just like you. She could've k*lled me. I deserved it. But she saw something in me, and she saved me. Gave me a whole new life. No fear, no limits, just love. Sam: k*lling people, cuttin' out their hearts, that ain't love. Daphne: You know what you are next to Maryann? An ant. No, a flea. It's kinda perfect. Sam: If I'm so f*cking insignificant, why is she going through all this trouble trying to get me? Daphne: 'Cause you got away from her once. She can't control you. See those funny big black-eyes folks we were all runnin' around with actin' all crazy? That's Maryann's energy inside if them. She is drivin' them like tiny little remote control airplanes. Sam: But that don't work on us 'cause we're shifters? Daphne: All supernatural's, we got a natural resistance. And she can force our shifts and other stuff with other supes, but she can't get inside us. We gotta go to her on our own free will, and she just loves a challenge. Sam: I'm not a challenge, I'm a person. Daphne: Well, not exactly. I'm sweatin' like a pig. God. You want to get wet with me one last time, Sammy? Daphne removes her dress and jump in the water. Sam: What is she? What the f*ck is she? Daphne: She's God, dumb-dumb. Scene 16: FotS - Hugo, Sookie Hugo: Hey! Hey, I need to use the bathroom. Hey! Come on, let me out of here! Sookie (she gives him a bottle of water): Here. I'll turn my back. Hugo: I don't need that. I need to get the gell out of here. Sookie: Hugo, this is not helping. Just sit down. Try to relax. Sookie touches Hugo's hand and sees a flash back. Steve, Hugo and Sarah are in the church: Steve: Praise his light. Open your hearts. Hugo listens Sookie speaking with the vampires at the Hotel Carmilla: Sookie: I'll infiltrate the Fellowship of the Sun. Bill: Absolutely not. Eric: Let her speak. Hugo (on the phone): They're sending her in a spy tomorrow. I'll be with her. Sookie removes her hand. Sookie: You. You're the traitor. Scene 17: At the river - Sam, Daphne Sam: Maryann is not God. Daphne: Well, she's as close to God as we'll ever get. People call her all kinds of things. Kali, Lilith, !sis, Gaia. But what she really is, is a maenad. Sam: What the f*ck is that? Daphne: According to the Greeks, maenads were handmaidens of Dionysus. But they're really a lot more than that. Sam: Dionysus, the god of wine? Daphne: Maybe if you own a bar I suppose it makes sense that you would know that one. But guess what else they called him? The Horned God. Sound familiar? Sam: Satan? Daphne: Dionysus, Satan. It's really just a kind of energy. Wild energy, like... lust, anger, excess, v*olence. Basically, all the fun stuff. Maryann brings it out in people. She channels it, controls it. She's immortal, Sam. She never wasn't here, so there ain't no point in fightin' her. You see, you'll never win. Sam: I'm not gonna let her k*ll me. Daphne: Bein' a part of something divine is worth dying a thousand times. You'll see. Sam: If I give myself up, will she go away, leave everyone alone? Daphne: I wouldn't bet on that. She's havin' too much fun, and this town's full of crazies ripe for the pickin'. She's like a pyro in a room full of matches. Just go to her, Sam. Play nice. She might even let you live. Sam: Stay the f*ck away from me. Sam leaves. Scene 18: FotS - Hugo, Sookie, Sarah, Steve, Jason, Gabe In the basement: Sookie and Hugo Hugo: I used to be just like you. Thought I was a real emancipated thinker, especially when Isabel took me to bed, and the sex was... amazing. The best I ev... well, you know. It's addictive, isn't it? To be desired by something that powerful. Sookie: I'm no addict. Hugo: Nah. I guess you wouldn't know how your life changes to suit them. You start missin' work, can't get up in the morning, can't stand to leave them after dark. Before you know it, you're somebody you don't even recognize. Sookie: So you went to the Fellowship because you can't control yourself? Hugo: I begged her to turn me. It was the only way we could be together as equals. But see, they don't want us to be equals. No, she's just been using me. The same way that Bill's been using you. Sookie: You don't know Bill. Hugo: I know he and his friends are having you do their dirty work. I mean, a telepath's gotta be a real trophy for a vampire. Sookie: Shut up. Hugo: All they care about is their own kind. That's why I joined the Fellowship. Sookie: So if the Newlins care so much about you, how come you're still in here? Face it, Hugo. You're nothin' but a fangbangin' traitor to them. Hugo: Gabe. Gabe, she knows everything. You can let me out now. Hey. Anybody. Come on, let me out! Sookie: Yep. You're so all-fired important to them, aren't ya? Outside the church, Sarah welcomes the people Sarah: Welcome. So glad you're here. Praise His light. Cute pajamas. Simon, Julia. This is your first lock-in, right? I'm excited too. Amen. Steve arrives. Steve: hey, darlin'. Looking good. Sarah: You too. Well, I told you that suit was a winner. Steve: I need to talk to you in private. It's about Jason Stackhouse. Sarah: Of course. In the woods, Jason and Gabe Jason: I'm a good soldier for Christ, and I'm tellin' you, man, there's been some kind of mistake. Gabe: You're damn right there's been a mistake, boy. And it started the minute your mama spread her legs and pushed out you and your whore of a sister. Jason: Don't ever... talk about my sister. Gabe: That the best you can do, sister f*ck? They fight. Jason: That's the best I can do, dick brain. Jason runs away. Scene 19: Merlotte's - Lafayette, a girl, Tara, Eggs, Arlene, Andy, Sam Lafayette is in the bathroom. Lafayette (on the phone): Forget what I said last week. Live in the now, baby doll. Girl on the phone: I don't know. Lafayette: 'Cause I'm back and I'm packin' somethin' wild. Girl: I got out of rehab. Lafayette: So yes or no, sweetness? 'Cause this shit is goin' faster than fritters at a fat farm. Girl: I can do half a vial. Lafayette: Well, okay. Tara and Eggs are kissing over the bar. Arlene arrives. Arlene: Eggs, Tara, y'all seen Sam? Tara: He ain't here. Blew off the whole day with little Miss Employee of the Month. Arlene: Thank you, Jesus, Santa Claus and Hare Krishna. I need to borrow her a minute. Tara (to Eggs): Wait for me. Eggs: Okay. Tara and Arlene come in the bathroom. Lafayette is in there. Arlene: Excuse you. It says "ladies" on that door. Lafayette: So what you skank ho's doin' in here? Tara: Watch yourself, bitch. Lafayette: I am. And I's is gorgeous. Tara: How's your leg? Lafayette: Great. What? I got a powerful immune system. Tara: You got a powerful death wish is what you got. And we're gonna talk about this later. He leaves. Arlene: Oh, Tara. Oh God, I think I might have done somethin' bad, somethin' real bad. Tara: Comin' out of your mouth, that's scary. Arlene: So Terry and I, we've been, you know... Tara: f*ck'. Arlene: No. Well, Lord knows I've been pullin' out all the stops. My hot oils, my nasty lingerie, but you know every time we get cosier than first base, he goes runnin' like somebody lit a f*re in his whiteys. Tara: Okay, cut to the real bad part. Arlene: So last night, I thought I'd try getting', a few drinks in him, loosen him up and, seemed like it was workin' pretty good. Till I blacked out. Tara: You blacked out? Arlene: Hadn't happened to me since junior prom. The thing is... I think I might have had my way... with him a little bit, kinda against his will, maybe? Tara: Are you telling me you date-r*ped Terry Bellefleur? How's that even possible? Arlene: God, I don't know. But he was just... he was acting so weird when we woke up. I mean, weirder than usual. And... there were certain telltale signs that we'd... you know? Tara: And you don't remember anything? Arlene: No. At the bar, Lafayette and Eggs. Lafayette: Now, see, that just ain't f*ck fair. Eggs: Excuse me? Lafayette: The first time in my g*dd*mn life I ain't chasin' after trouble... and it just keep walkin' in my f*ck' door. Look at you. Damn. Ain't nothin' good can come out of somethin' so pretty. Eggs: You must be Lafayette. I'm Eggs. Lafayette: Tara's Eggs? Tara (arriving): You know that just don't sound right. Your name's Benedict. Why don't people call you Ben? Lafayette: Or Dict. Tara: Behave. Lafayette: Satan in a Sunday hat, girl. I'm trying to tell you, Satan in a beautiful f*ck' Sunday hat. Andy arrives, drunk. Andy: Terry. Terry Bellefleur. Get out here. I'm gonna kick your ass so hard, you'll be shittin' boots. Tara: Andy, what happened to your arm? Andy: I ain't talkin' to you, devil worshiper. I saw you last night. I saw all of you. Tara: You...? You saw us what? Andy: Go ahead, deny it. Laugh at the crazy drunk guy, but I know what I saw. Terry. Arlene: He ain't here, Andy. You want me to go call him? Andy: f*ck you, zombie woman. f*ck all y'all devil zombies. Turnin' this town into a orgy from hell. I'll stop ya. I will stop ya if it's the last thing I ever do. He leaves. Sam is walking in the bar. Arlene: Oh my God. Did you smell him? Eggs: At least it never gets boring around here. Pick you up later? Hey Sam. Eggs leaves. Arlene: Sam. You look like you just saw a ghost. Scene 20: Hotel Carmilla - Hoyt, Jessica Hoyt: Hey. I was just... decoratin'. I got these at the gift store downstairs. Blood scented. But to me, they just smelled like soup. You like 'em? Jessica: They're perfect. Hoyt: That's what I was goin' for. 'Cause you're perfect, and I want your first tome to be as perfect as you are. Jessica: Hoyt. Just, take off your pants. Hoyt: Okay. Scene 21: FotS - Jason, Sarah Jason runs in the woods. A car arrives through him. Jason: f*ck. Shit! Sarah: Jason! Jason: Sarah? The car stops. Sarah comes down. Jason: Thank God it's you. Been runnin' for hours. Steve and Gabe, they've gone crazy. They tried to k*ll me. Oh Sarah. No. She sh*ts him. Jason falls down. Scene 22: At the river - Daphne, Maryann, Eggs Daphne is at the river. Maryann arrives. Daphne: Finally. I've missed you. Maryann: Thank you for your service. Eggs arrives, he has black eyes. He kills her with a dagger. Scene 23: FotS - Sookie, Hugo, Gabe In the basement, Gabe comes in. Hugo: Gabe. What happened to your face? Listen, she knows everything, which never would have happened if you hadn't kept me locked down with a g*dd*mn mind reader. I hope the reverend knows that I'm gonna need protection now. Gabe punches Hugo. Gabe: You want protection, you fangbangin' sack of shit? How's that for protection, huh? Here's a little more protection dor ya. Sookie: Stop it! Gabe: You and your moron brother think you can make an assh*le out of me? That's what you think, huh? Sookie: Get your filthy hands off me! Gabe: What's wrong? Your own kind not good enough for you? How about if I show you what you've been missin'? Scene 24: Hotel Carmilla - Bill, Lorena, Barry, Eric Bill feels Sookie is in danger. Lorena: ... and a decade or so in Miami. The beaches are gorgeous at night, and the German tourists are delicious. Open that door and I will end you. Flash back: Lorena: I've given you everything. Everything! And you threw it away moanin' over what you've lost. You disgust me. Bill: Then let me go. Lorena: No. I made you, and you are mine. Bill: You know I don't love you. Lorena: You have never tried. Bill: I have spent decades tryin'! I despise myself for what I did for you. God help me, I k*lled innocent people to prove to you that I loved you. But it was pure nihilism. I do not, I cannot, I will never love you. Lorena: Men have readily laid down their lives to spend just one night with me. What more can I give? Then what is it that you want from me? Bill: Choice. Let me go. Lorena: Without me, you would me alone... forever. Bill: You're the one that's afraid of that. You are the saddest, loneliest creature I have ever know. Lorena: How dare you! You hate me that much? Bill: Let me go. Lorena: I cannot live without you. Bill: You'll have to. Lorena: No, don't. As your maker... I release you. End flash back. Bill: You released me. There was nothing left between us. What could you possibly have to gain from this? Lorena: You're making a fool of yourself with that girl. You have no future with her. Everyone knows it but you. Someday, you'll see this for what it is, an act of love. Someone knocks at the door. Lorena: Yes? Barry: I have a message for Bill Compton. He there? Lorena: I'm sorry, he's tied up right now. I'll be happy to pass it along. Barry: Tell him Sookie Stackhouse is in the basement of the Fellowship of the Sun Church. She said the sheriff's there and she's in some kind of trouble. Eric listens and leaves his room. Barry (in his head): Sookie you hear me? This is the last tome I'm doin' you and your vampire buddies a favor, so don't even... Someone gets him in the room. Scene 25: FotS - Sookie, Hugo, Gabe, Godric Gabe: Yeah, show me how you scream for that big fat vampire cock. Scream for me, baby. Someone take Gabe and pushes him away from Sookie. Sookie: Godric?

{"type": "series", "show": "True Blood", "episode": "02x07 - Release Me"}

foreverdreaming

Scene 1: FoS - Sookie, Gabe, Godric, Eric, Jason, Sarah, Steve, Brent, Kyle Sookie, Gabe, Godric and Hugo are in the basement. Sookie is rebuttoning her dress while Godric is taking care of Gabe. Gabe: Godric, it's me! Godric kills the man. Godric [To Sookie]: You should not have come. They both hear screams. Sookie: Bill! Godric: No.[Closing his eyes] I'm here my child. Down here. Eric appears. Eric: Godric. He kneels down. Godric: You were a fool for sending humans after me. Eric: I had no other choice. These savages they... they seek to destroy you. Godric: I'm aware of what they've planned. [Pointing Hugo] This one betrayed you. Sookie: He's with the fellowship. They set a trap for us. Eric: How long has it been since you've fed? Godric: I require very little blood anymore. The alarms start. Godric: Save the human. [To Sookie] Go with him. Eric: I'm not leaving your side until you are... Godric: I can take care of myself. Sookie: Come on! We have to go. Godric: Spill no blood on the way out. Go! Eric and Sookie leave the room. Credits Jason is lying on the ground and notices the red stain on his chest. Jason: I'm alive. He stares at Sarah. Jason: Holy shit. God saved me. I'm safe. Sarah Newlin: Oh for Heaven's sake grow a brain cell! [Showing the g*n] Paintballs! Jason: What... You crazy bitch! Sarah Newlin: I let you into my house, into my bed and into my heart. All I stood for, all I believed in, I violated to be with you! Jason: Okay. Sarah Newlin: I gave you everything for a lie. You're worse than Judas. Jason: Why, what did he do to you? Sarah Newlin: Ugh. f*ck you! [sh**t him again, in the groin] Jason: OOHH OHHH SWEET JESUS. OK, I'm sorry OK? Just, tell me what you want me to say, don't sh**t me again... Sarah Newlin: You came to prey on me; to ruin the sacred vow I made to my husband then like a coward you ran! Jason: No, I didn't... Okay, I ran. But it wasn't from you. It was from your husband and his crazy w*apon collection. Why'd you have to go and tell him? Sarah Newlin: Tell him? I didn't tell him anything. He's the one who told me! Jason: [standing] Wait, wait, wait, wait. Told you what? Sarah Newlin: There are wolves in our hen house. We must defend our flock. Jason: [confused] What's that got to do with- Sarah Newlin: We have your sister! Jason: Sookie's in the church? Sarah Newlin: She came in yesterday, spouting the same lies you told! Jason: Now you listen to me. She's got nothing to do with this. Sarah Newlin: You Stackhouses... you're nothing but a bunch of heartless, two-faced vampire f*ck! Jason: [grabbing the paint g*n and pushing her down] Don't you ever talk about my sister like that! If I find out any of you so much has touched her, I'm gonna come back here...and it won't be with no f*ck' PAINT g*n! Jason takes the car and leaves. Back to the FoS Church, people are running away. Steve one Loudspeaker: Brothers and sisters, we are on lockdown. Women with children, please take them to our classroom buildings. Men, and able-bodied women, security personnel will provide you with stakes and silver just outside the chapel. Our Soldiers of the Sun are on their way to protect our church, but safely evacuate the building now. Brothers and sisters, the hour is upon us! Eric and Sookie are watching them getting out of the church. Eric: I could have you out in seconds. Sookie: There are kids out there. Eric: All those humans wouldn't think twice about hurting us. Sookie: Why didn't you bring Bill with you? Eric: His attachment to you is irrational. It clouds his judgment. He would k*ll every child in this church to save you. Sookie: Why aren't you? Eric: I'm following Godric's orders and getting you out, that's all. Sookie: He's your maker isn't he? Eric: Don't use words you don't understand. Sookie: You have a lot of love for him. Eric: Don't use word I don't understand... Eric looks furtively at the entrance door. Kyle: Let's lock it up! Keep quiet! Alright lock it up, nobody comes through here... Eric walks out toward the members of the fellowship. Sookie: Eric, no! He turns back and leans down to Sookie. Eric: Trust me. He walks toward out the entrance door. Kyle: Is it locked? Did you check on... did you... Eric: [Taking a cheerful happy-go-lucky voice] Oh Hey y'all! How's it going? Steve sent me over there to man the exit here. Think I can take it from here. Kyle: By yourself? Eric: Ha... Yeah! Kyle: You're big and all but there's a vampire on the loose. Eric: Oooh... Brent: Where's your stake? Eric: Oh [laughing] Dang! I forgot! Kyle gives Eric a suspicious look. Eric: Maybe I could borrow yours if... if that's okay. Another guy looks at him suspiciously. Brent: I can't do that... Get your own. Eric:[Back to his usual voice] I'd very much like to borrow your stake. Brent: Yeah, yeah that'd be okay I guess. Brent hands Eric the stake while Kyle is about to stake Eric. Sookie: STAKE! Eric turns and punches Kyle and Brent down. As Rich goes to stake him, Eric grabs him by the throat and points the stake to Rich's neck, Sookie rushes over. Sookie: Eric! You don't have to k*ll him. He lets go of Rich. Eric:[Opening the door] Come on! People are rushing over. Rich: Those arrows are wood. You'll never make it through. Sookie: Eric, through the sanctuary. They enter the sanctuary. Eric: Where's the exit? Sookie: Back that way. Steve: There are several exits, actually. For you, the easiest one takes you straight to hell. Members of the FotS enter the room. Sookie: Let us leave. [To the members] Save yourselves. No one has to die. Steven: The w*r has g*n you evil whore of Satan. You vampires cast the first stone by k*lling my family. The lines have been drawn. You're either with us, or against us. We are prepared for Armageddon. Sookie: The vampire you're holding prisoner got away. He's a sheriff. He's bound to send for help. Steve: I'm not concerned with Godric. Any vampire would do for our grand celebration, and we got one right here. He points to Eric. Sookie looks at Eric, and he looks her back. Eric: I'll be fine. He walks toward the altar. Steve: Brothers and sisters, there will be a holy bonfire at dawn [laughing]. Scene 2: Hotel Carmilla - Bill, Barry, Lorena, Hoyt, Jessica In Bill's room: Lorena: [Pushing Barry against the door] Look dear, room service sent a gift for us. Barry: No. No I don't do any... Lorena takes Barry by his throat. Lorena: Aaah... Heart's pounding. It's so much tastier. How considered of you. Bill suddenly turns his head. Bill: Sookie! Lorena: [Looking annoyed] That bothersome human. Just like an alarm o'clock you can't switch off. Bla bla bla bla... and ten minutes later bla. [Softly touching Barry's throat] I give you first bite. Bill: I am NOT hungry. Lorena: Oh! Come now. As I recall, you appetite was always... insatiable. This human attitude for your girlfriend is charming and all but we both know better. [Turning to Barry] Don't we? Barry: Please... I don't wanna die. Bill: [Angry] Let him go! Lorena: [Laughing] I will... soon. Barry: No! Lorena gets her fangs out and bites Barry, who's screaming. Bill's looking away. She ends the biting part, looking oddly at Barry's throat. Lorena: This one's different. I've never tasted... [Holding Barry's chin] What are you? [Sound of something being torn] Lorena turns to see Bill throwing a TV in her face. She lands on the floor. Bill smashes her head with the TV and throws it away. He takes Barry with him and they leave the room. In Hoyt and Jessica's room. Hoyt and Jess are still making love. Hoyt: ...okay? Are you okay? I'm not hurting you? Jessica: No... Not anymore... Goodness shut up. Keep going. Bill suddenly enters the room. Jessica screams while Bill is embarrassed and looks away. Hoyt: I... I don't know what you heard but... those were screams of pleasure. [To Jessica] Right? Jessica: [Hiding her face with her hands] Oh my god... Bill: If you truly care for her, you will take her to your car this very moment and drive her back to Bon Temps before the sun comes up. Hoyt: Now? Bill: Now! Bill leaves. Scene 3: Merlotte's - Lafayette, Tara, Eggs Lafayette: [Putting down a tarot card] Lovers... Oh shit hooker... Tara: What? Isn't the Lovers good? Lafayette: Not for you. In this position it calls for a sacrifice in matters of the heart. You're going to have to make a choice. Tara: But it might turn out well, right? Lafayette: You wanna see your future? A door is being opened, Lafayette is about to turn the card. Eggs: Tara, help me. The card is the Justice. Lafayette looks at Tara and then at Eggs. Eggs: I need to, talk, to you. Tara: Huh... y-yeah, sure. Lafayette picks up his cards. Lafayette: I'm gonna go and clean a grill or some... [Leaving the table]. Tara: [While Eggs is sitting where Lafayette was a moment ago] Say something, you're freaking me out. Eggs: What time is it? Tara: What... Eggs: What TIME is it? Tara: It's... ten past twelve. We just closed, why? Eggs: Look...It happened again, I've lost the last couple of hours. Tara: Are you sure? Eggs: Yeah. Tara: You don't remember anything? Eggs: I mean, after I left you, I got in my car and, baby, next thing I know I'm over... past Parish Road and I'm over by the lake. And I wake up on the ground. It's freezing cold. And I don't even know how I got there. Tara, what the hell is wrong with me? Tara: It's okay. It's okay. I'm here. Lafayette, you okay to close up? Lafayette: Yeah... yeah y'all go on ahead. Tara: Come on, let's get you home. Tara and Eggs leave the Merlotte's. Scene 4: FotS - Jason, a guy Jason is coming back to the camp. Guy: Hey hey, who are you? Jason: It's okay. I'm with the fellowship. You gotta let me in. Guy: Sorry bro, we're in lockdown. There's a vamper inside. Jason: Yeah. That's why they sent for me. I'm a cadet with the light of day institute. Came strapped. [Pointing his ring] Honesty. Guy: Dude, Honesty. Come on! Jason: Let's move. They enter the church. Guy: Now, we got the vamper surrounded. He's got some having fangbanger chick with him. I'm gonna take you to Steve. Jason: No. I go it. Guy: No he needs you to... hey... Is that a paintball g*n? Jason: Uh oh... [Punching the guy with the paintball g*n]. Yeah. It is. Scene 5: Merlotte's- Sam, officer, lady on the phone Back to Bon Temps. Sam is sleeping in his car until the ringing of the phone. The phone call comes from the Merlotte's. Sam: Who is this? [The other person hangs up]. Sam opens the door of the Merlotte's. Sam: Hello? He notices the light in the storeroom. He takes a look and finds Daphne lying against the wall, a bloody hole at the place where her heart should be. Sam: Oh! Jesus Christ! He gets out and looks for garbage's bags; he puts it on the bottom of Daphne's body and gets out. He calls for the police. Lady on the phone: Renard Parish sheriff's department. What's your emergency? Right after hearing a voice he sees the blue lights of the police's cars. Officer: Sherrif's department. Anyone in there? Lady on the phone: Is anyone there? This is the sherrif's department. May I help you? [Sam looks around, panicked]. Hello? Scene 6: Sookie's House - Maryann Maryann is singing while cooking. She starts cutting a heart and adds the pieces in the frying pan. Scene 7: FotS - Eric, Steve, Bill, Sookie, Jason, Stan, Godric Eric is groaning in pain, strapped to the altar with silver. Steve: You see? Justice as our Lord our Savior was betrayed for 30 pieces of silver, a few ounces of silver can betray a child of Satan to the world! Sookie: That doesn't make any sense. How can you people listen to him? Eric: I... I offer myself in exchange for Godric's freedom. And the girl's as well. Steve: That's noble. But she's just as culpable as you are. She's a traitor to her race. The human race. She hardly deserves our mercy. [To Eric] Maybe we should tie her to you so you can meet the sun together. [Walking toward Sookie] Hope this marshmallow will roast up nicely. Everyone turns around when hearing the doors being opened. Bill: Sookie! She smiles while Bill's rushing over. Steve: [Pointing a g*n against Sookie] One more step, vampire, and the girl dies. Bill: If you sh**t her, everybody here will die! Let her go now. Steve: [To Sookie, annoyed] Honestly, what do they see in you? [To the FotS members] Soldiers, some silver chains for our friend here. Sookie: Don't, he's done nothing to you. Bill: Sookie, I'll be fine. Jason: NEWLIN! He sh*ts Steve's hand, the g*n falls down. Jason: Let her go, f*ck. Jason who sh*ts in Steve's head. (Green sh*t) Steve: AH... AOUH! Bill rushes and kicks down the guys holding Sookie. Meanwhile Jason is being as*ault by 2 members of the FotS. Steve: Son of a bitch! [Still groaning in pain] Sookie goes to Eric, to help him. Bill: Sookie! She takes off the silver chains. Sookie: Let's go! Eric goes straight away to Steve, takes him by the throat and pushes him down. Sookie: Do not k*ll him! Jason: k*ll HIM! k*ll the f*ck! Steve: Go ahead. m*rder us. m*rder us before God. We are willing to die. All the members look at him, shocked. A bunch of vampires enter the room. Stan: Steve Newlin! You have pushed us too far. You expect us to sit on our thumbs while you round up your men to come lynch us? We'll k*ll you first. Same way we did your father. Sookie: Oh God no... Steve: [Screaming out of anger] m*rder! Stan: Destroy them. All of them. Stan gets his fangs out and all the vampires zoom through the room ready to k*ll. Sookie: Bill, Eric stop them! Bill: We have to go now! Godric: Enough! Everyone stops. Godric: [Standing in the hall] You came for me I assume. Underling. Stan: Yes sheriff. Godric: These people have not harmed me. You see ? We can coexist. Mr. Newlin, I do not wish to create bloodshed when none is called for. Help me set an example. If we leave you in peace, will you do the same? Steve: I will not negotiate with subhumans! k*ll me. Woman: No! Steve: Do it. Jesus will protect me. Godric: I am actually older than your Jesus. I wish I could have known him, but I missed it. [To the FotS Members] Good people, who of you is willing to die for this man's madness? [The room remains silent] That's what I thought. Stand down, everyone. People, go home. It's over now. Sookie: Oh thank god, Bill. Bill: It's all right, you're safe now. You're safe. Steve: Please don't leave me. Godric: [To Steve] I daresay my faith in humankind is stronger than yours. Come. Stan: Sir. After what these humans have done to you. Has it. Come. Eric: [To Sookie] Are you sure you're okay? Bill: [Angry] She's fine! Go with your maker. Jason: Sookie... Sook... come here [Holding her]. Ah I'm so sorry. Can you please forgive me? Sookie: What were you doing with those people? Are you out of your mind? Jason: Yeah I was. Just [Looking at Steve] that son of a bitch, it's like he sucked out my brain and planted all his own babies in there. Steve: You know nothing. On the final day of reckoning, we'll see who goes to Heaven, and who goes to Hell. Jason: [Smiling, almost laughing] I reckon I've already been to Heaven. It was inside your wife. [Punches Steve]. Bill goes to Jason. Sookie: Jason, come on! Bill pushes Jason away from Steve. Sookie: Come on! Jason: Take your ring! Honesty my ass, shityhead. White suit motherfu... Go home preaching ... They leave. Scene 8: Merlotte's - Bud, Sam, Kenya, Andy Bud: Come on Sam, we can't tell you that. That's why it's called an anonymous tip. We can't tell you who phoned it in. Sam: They wanted you to find me! Why would I keep a body in my own refrigerator? It... It was a woman's voice? Bud: Sam! Kenya: There's a rumor saying you were having a relationship with the deceased, is that true? Sam: Yeah. Kenya: And you don't seem too b*at up about it. Sam: I guess we kind of broke up. Kenya: Were you angry? Bud: That must leave some hurt feelings. Sam: Listen, y'all have to trust me. This is bigger and crazier than you can even imagine. Kenya: I'll say... This is the second time in 2 weeks a woman's been found in your bar with her heart missing. Bud: And the third time a waitresses of yours has ended up d*ad. Sam: Oh Come on! That was Rene Lenier! You can't use that against me! Come on Bud, Kenya, listen to yourselves. You know me. Bud: I'm not sure we do. You got no birth records, no social security number; we can't even find where you went to High School. Sam: It's hard to explain. Bud: Save it son. Nothing about your past ever checks out. Won't you just tell us what happened tonight? Andy: What the... Oh oh! Hold up, Bud. You don't think it's Sam, do you? Kenya: Let me get him. Bud: Hold on Kenya. [To Andy] You're on suspension. How did you hear about this? Andy: Still got my radio. I'm not here as a cop okay, I'm a witness. You have the wrong guy. Bud: What? Andy: Sam's not the one you want, he's the victim. I saw him nearly get k*lled last night. Bud: By who? Andy: The bull! Kenya: The what? Bud: Oh, Andy. He thinks he saw some kind of bull. Andy: With claws. A bull... in a dress... with claws [Mimicking the claws]. Bud: Ok Andy. You're babbling again... Kenya: I could shut him up. Andy: And your vic, the victim down there, she's part of this whole group of crazy people who was trying to get him [Pointing Sam]. I tried to fight them all but... [Showing his arm] w*r wound. I'm corroborating here, Sam. Tell them, help me. Sam: If I told you that's what happened, would you believe me? Kenya and Bud looks at Andy. Andy: Oh, Shit! Scene 9: Sookie's house - Tara, Eggs, Maryann Tara: [To Eggs] But you're not the only one. I blacked out last night, Arlene blacked out. Maybe there's some kind of gas leak or something. Eggs: But what about Andy Bellefleur. He... he said he saw all of us. Tara: Andy is the only one we know that is out of his mind. Eggs: Tara, I had this sick feeling I did some real bad. Maryann: Knock knock. Hope I'm not interrupting. Eggs: No, just trying to piece together everything we've been doing in the past couple of days. Maryann: Hum... sounds like somebody's been enjoying himself a bit too much. Tell you what! Why don't ease up on the parties, for a little while? Take it easy. Hey! Snack's ready. They go to the kitchen. Maryann: Ho ho... Hope you're hungry. Tara: Oh my god! That looks amazing, what is it? Maryann: Hunter's soufflé. Eggs: I didn't know hunters make soufflés. Maryann: Most don't. Dig in. Tara digs in the soufflé which "red sauce" is flowing over. Eggs gives Tara a bite. Tara: Wow yeah! What is in that? Is that the rabbit you caught? Maryann: [Smiling] Among other things. Tara licks her hand. Tara: [To Eggs] You have got to try this. Eggs: Hmm. Oh my god. Maryann laughs. Tara and Eggs keep eating. Scene 10: At Godric's Party - Stan, Jason, a woman, Godric, Eric, Bill, Sookie Woman: [To Godric] Thank you sir. Stan: Welcome home sheriff. We are all very relieved. [Godric nods] Jason: I just want to say I'm real sorryfort what the fellowship put you through. Godric: You helped save many lives today, Mr. Stackhouse. Please know you have friends in this area whenever you visit. Jason: Thanks man but I don't know if I'll be wanting to come back any time soon. Jason leaves and meets Eric. Eric: Hail the conquering hero. Jason: Oh no. I'm no hero. Eric: Well you are in this town. But in my area, we know you well as a buyer and user of vampire blood. And that's a very grave offense. Jason: Yeah, listen, I don't do that anymore. Eric: All things considered however, we'll call it even. But you won't be doing it again. Jason: Yes... no, no... got it! Eric: Good boy. Run along. Jason leaves... Eric smiles. Sookie: [To Isabel] Thanks this is great. [To Bill] You've avoided being alone with me all night. Bill: Nonsense. With all this commotion there's hardly been time... Sookie: Bill. I was in that basement for 2 days, you don't even wanna know what almost happened to me down there. Where were you? Bill: Sookie it's... Sookie: "It's complicated" is not an answer. Every time I've need you, you've... always come running even in broad daylight. What kept you? Bill: hum... I was held. Sookie: Held? Like kidnapped? By who? By Eric? Eric: Hmmm heard my name... I hope you were speaking well of me. Sookie: Why should I? You let me walk into a trap. Eric: I regret that. If I had known it was possible... Sookie: You did know. But because it was Godric, you'd risk anything. Eric: The bond between a vampire and his maker is stronger than you can imagine. Perhaps one day you'll find out. Bill glares at Eric. Sookie looks at Bill, then Eric, and the last one looks at Bill while smiling. Scene 11: Compton House - Hoyt, Jessica Jessica and Hoyt enter the house, kissing deeply. Hoyt: [Laughing] Wow wow wow... Jessica: [Laughing] What's the matter? What, you don't love me anymore? Hoyt: I just don't think... Bill might not like us doing this stuff in his house. Jessica: He'll never know. Come on, you drove so fast, I know you want to again. Besides, we got two hours before dawn. I can't believe I waited so long. We are gonna do it every single night whether you want to or not. You still want to, don't you? Hoyt: Well, sure, yeah. It's just that Sookie and Bill might come in any minute. Jessica: We got the house to ourselves. I promise. I've never wanted anything so bad in my life. Make love to me again. Please. Do me. Now. (They begin to make love) Wait, stop, stop. Hoyt: Sorry. What happened? Jessica: I don't know. It just... I mean, it's felt like... Hoyt: Is that blood again? Jessica: Oh, my God. No, no, no, no, no. Hoyt: What, Jessica, what? Jessica: It grew back. Hoyt: It? What? Jessica: My... it f*cking grew back. I should have known. I mean, everything heals when you're a g*dd*mn vampire. Hoyt: Okay, come on. Come on. It's gonna be beautiful. Every time will be like our first time. Jessica: It'll hurt like hell. I'm a f*cking deformity of nature. I'm gonna be a virgin forever. Scene 12: At Godric's party - Godric, Eric, Sookie, Bill, Isabel, Hugo, Jason, Stan Eric (to Bill): I don't like being touched. Bill: Believe me, I do not like touching you. Your contact with Sookie will cease from this moment. Eric: That's hardly your decision. Bill: Calling in my maker because you couldn't win Sookie for yourself is feeble and desperate even for you. Eric: Are you picking a fight? I'd like to see you try. Bill: She will never be yours. And there is nothing you can do. In this you are powerless. Accept it. Isabel comes in with Hugo. She brings him to Godric. Isabel: This is the one who betrayed us. Godric: Hugo. He's your human, is he not? Isabel: Yes, he is. Godric: Do you love him? Isabel: I... I thought I did. Godric: It appears you love him still. Isabel: I do. I'm sorry. But you are my sheriff. Do with him as you please. Godric: You are free to go. Stan: What? Godric: The human is free to go. And do not return. I fear it is not safe for you here. Stan: This is a travesty. Godric: This is my verdict. Eric, escort them out. Make sure he leaves unharmed. Eric: Yes Godric. Isabel: Thank you. Thank you, sheriff. Sookie: What was that about? Bill: Godric is sheriff and he has the authority to... Sookie: I mean, with Eric. Why are you talking to him if he kidnapped you? Bill: It wasn't Eric. Sookie: Then who was it? Jason: Mister Compton. Hey Sook. Is there some place we can talk in private? Sookie: Jason, this really isn't the time... Jason: Look, if I don't say this now, I never will. Look, please, it'll only take a minute. Bill: Let's go out back. Jason: Thanks. Scene 13: In Jail - Bud, Kenya, Sam, Jane, Mike Sam: I know everyone says it but I'm really not the guy you want. Bud: If it's like you said, that there's something out there that's fixing to get you, then jail's just about the safest place to spend the night. Now, come on. Jane: Hey, Sam. Join the party. Sam: What the f...? Jane: I'd come down and give you a hug, but I lost my pants. Kenya: Yeah, it's been a hell of a night. Must be a full moon. Sam: Pretty sure it's not. Mike? What'd they arrest you for? Mike: Sodomy. Sam: What? Mike: Yea, they say I... I sodomized a pine tree. Sam: What'd you do that for? Mike: I don't know. Must have blacked out, but it's true. My pecker's got all kinds of scratches on. Jane: Don't worry, Mikey. It'll heal. Mike: What are you in for? Worse than me? Bud: Leave him alone, Mike. Mike: Sam? Scene 14: Godric's party - Bill, Jason, Eric, Godric Bill: What is it? Jason: I need you to forgive me. Bill: What? Jason: You love my sister, and... there ain't no reason why you shouldn't be able to. All this time, I let my own stupid ignorance stand in the way. Bill: Thank you. But I am also in your debt for helping rescue Sookie. Jason: After all I did to f*ck everything up, that's the least I can do. I'm just sorry it took me so long to wake up to it. Bill: Well, you did. Just in time. Jason hugs Bill. Jason: Well, was that okay for you? Bill: It was fine. In the house: Eric: Hugo's been dispatched. I told him not t stop driving until he reaches the Mexican border. I've arranged for and AB-negative human for you. Extremely rare. Godric: Thank you. I'm not hungry. Eric: You have to feed eventually. I doubt the Fellowship had anything to offer. Why wouldn't you leave when I first came for you? Godric: They didn't treat me badly. You'd be shocked at how ordinary most of them are. Eric: They do nothing but fan the flames of hatred for us. Godric: Let's be honest. We are frightening. After thousands of years, we haven't evolved. We've only grown more brutal, more predatory. I don't see the danger in treating humans as equals. The Fellowship of the Sun arose because we never did so. Eric: Is that why you wouldn't fight when they took you? Godric: I could have k*lled every last of them within minutes. And what would that have proven? Scene 15: Sookie's house - Tara, Eggs, Maryann Tara: Oh, my God. I inhaled that f*ck. You know what? I didn't think it was possible, but this is better than her pie. Eggs: Way better. Maryann listens to them. Tara: I gotta learn how to cook. Eggs: You know, I feel like a superhero. I mean... Tara: You look like one. Eggs: Yeah? How about now? I mean, I feel invincible, you know? Like nobody could even hurt me. Tara: Yeah? I hate you. I f*cking hate your guts. Eggs: You f*cking bitch. I fucjing hate you too. You're not even trying, are you? Tara slaps Eggs. Eggs: More. She slaps him again. Eggs: Is that all you got? I mean... She kicks him. Eggs (he has black eyes): Now, that feels so f*cking good. He slaps her. Tara: Dams, boy. Do it again. He slaps her again. Her eyes are now black like his. Tara: f*ck, I want you so bad. They make love on the floor. Scene 16: At the Party - Sookie, Lorena Someone parks outside and goes through the house. Lorena arrives at the party. She goes through Sookie. Sookie: That's great. Me too. Lorena: Hello, there. I'm Lorena. Sookie: Nice to meet you. I'm Sookie. Lorena: Yes. You are what all the fuss is about. Sookie: Excuse me? Lorena: Aren't you a morsel. Sookie: I'm sorry. Who are you? Lorena: Well, we have a mutual friend. Sookie: Bill? Lorena: That's right. Funny he never mentioned me. I practically made him what he is today. Bill is arriving. Bill: Lorena. Lorena: Oh, hello, darling. I was just getting to know your plaything. You always did like to prey on the innocent. Sookie: Bill, is this your maker? Bill: She released me years ago. She no longer has any hold over me. Lorena: I wouldn't say that. We had two marvelous nights in your hotel room. Sookie: What? Lorena: Did you know your boyfriend h*t me over the head with a 52-inch plasma television earlier tonight? Everyone says they're so thin and light, but let me tell you, when wielded properly, it's quite a w*apon. Sookie (to Bill): You did? Bill (to Lorena): Lorena, you need to leave. Lorena: I hope he doesn't pull the same shenanigans with you. There's no excuse for domestic v*olence. Bill: What she has failed to mention is that she was holding me prisoner. Lorena: Pshaw. We were just catching up is all. You must have been worried sick, wondering where he was. I admit it. It got a bit heated. But you know how old lovers can get sometimes. Sookie: Do not touch him. Lorena: My, we're feisty too. You're no more than a blood bag. You cannot win this. Sookie: I've already won. Bill chose me. And yet you still won't give up. Don't you have any shame? Bill: Sookie, stop. Lorena: I'd listen to him. Run away, little girl. William and I love each other. Bill: You've gone mad. Now get out now. Sookie: Maybe you do love him. Who am I to guess? But he doesn't love you. He never has, and that we both know. Lorena: Take those words back or they shall be your last. Bill: We're leaving! Sookie: Go find someone else, you f*cking bitch! You've lost this one! Lorena is about to bite Sookie when Godric stops her. Godric: Retract... your... fangs. Now. I neither know nor care who you are. But in this area and certainly in this nest, I am the authority. Do you understand? Lorena: Yes, sheriff. Godric: This human has proven herself to be a courageous and loyal friend to our kind. And yet you treat her like a child does a dragonfly, pulling off wings for sport. No wonder they hate us. Lorena: She provoked me. Godric: And you provoked me. You disrupted the peace in my own home. I could snap you like a twig. Yet I haven't. Now, why is that? Lorena: It's... your choice. Godric: Indeed it is. You're an old vampire. I can tell. You've had hundreds of years to better yourself, yet you haven't. you are still a savage, and I fear for all of us, humans and vampires, if this behavior persists. (To Bill) You. You seem to know her. Bill: Yes, sheriff. Godric: Escort her from the nest. Sookie: Go ahead, I'm fine. I wish you out of my area before dawn. Bill and Lorena are outside. Lorena crying: I don't know how it got this way. I can't help it that I still love you. You know I do. But now it's become nothing but a constant humiliation. Bill: The pain that you suffer you've inflicted upon yourself. Lorena: When will we see each other again? Bill: Never. Lorena: We're immortal. Our paths are bound to cross eventually. Back inside: A vampire (to Stan): I have him by the neck, shaking... Jason (to a girl): But... and funny you say that because... The man arrives at the party; it's Luke. Jason: Luke? What the f*ck, man? Jason goes through Luke. Luke: Stay away from me, Stackhouse. Got nothing to say to you. Jason: What the hell you doing? Luke: Just go. (He speaks loud) Excuse me, everyone. If I could have your attention. My name is Luke McDonald. I'm a member of the Fellowship of the Sun. And I have a message for you all from Reverend Steve Newlin. He opens his jacket; there's a b*mb and chains around him. He presses on the button.

{"type": "series", "show": "True Blood", "episode": "02x08 - b*mb"}

foreverdreaming

Scene 1: Godric's Party - Luke, Jason, Sookie, Bill, Eric, Godric, Isabel, humans Luke: Stay away from me, Stackhouse. Got nothing to say to you. Jason: Man, what the hell you...? Luke: Just go. (He speaks loud) Excuse me, everyone. If I could have your attention please. Outside the house: Bill and Lorena Bill: It doesn't matter if we ever meet again. You may be immortal, Lorena, but you are d*ad to me. Lorena: I wish you hadn't said that. She leaves. Back in the house: Luke: I have a message for you all from Reverend Steve Newlin. He opens his jacket; there's a b*mb and chains around him. He presses on the button. Bill runs in the house. Bill: Sookie? Sookie? Sookie is on the floor, Eric on her. Sookie: Bill. Eric: I've covered her, she's only stunned. Get the humans. Two humans try to escape. They run through their car. Man 1: Get in, get in. Come on. Let's go. Go! Go. Come on. Get in. Come on. Go. Go. Go. Bill appears and pushes the first human. Man 2: We didn't think he'd really do it. Bill: Too late. Bill bites him. Credit In the house: Isabel removes something from the leg of a man. Isabel: Ugh. Sookie (to Eric): I can't breathe, you weigh a ton. Jason? Jason? Sookie pushes Eric away from her. Jason is alive. Jason: Yeah, okay. Sookie (looking at Eric): Uh-oh. Eric: Had to shield you. Sookie: Well, hurry and heal yourself, what are you waiting for. Eric: Can't. Silver. Sookie: I'll go get Godric. Eric: No time. Suck it out. Sookie: Eric, I can't, it's too gross and it's you. Eric: I... Dying... Sookie: Oh, son of a mother. (She removes a silver from his neck) Got it. Eric: The other one. Sookie: You're kidding me. Ugh. (She removes another one) Man 2: Oh, God, oh, God. Bill: You tell the cowards who lead you, the cowards who send children to do their k*lling, that a vampire showed mercy where they had none. The man leaves. In the house: Jason: Luke. Godric: Who's d*ad? Isabel: Stan, Paolo, Catherine, two human companions. Someone: Well, it looks like it wasn't a very good b*mb. Bill arrives and sees Sookie drinking from Eric. Bill: What are you doing? Sookie: I sucked silver out Eric's chest and saved his life, even though I really didn't want to. Eric: She was superb. Bill: Eric was in no danger. Sookie: He... what? Eric: A tiny falsehood. Bill: He was already healing. The b*ll*ts would have pushed themselves out. This way, he's forced you to drink his blood. Sookie: No. No, no. Bill: You're connected. He'll be able to sense your emotions. Sookie (to Eric): You big lying A-hole. Eric: Bill, you're right, I believe I can sense her emotions. Sweet. Sookie: I'll never do anything for you again. Monster. Bill: It's not your fault. Eric: I think I'm gonna cry. Isabel (loud): Everyone, please. Jason: Hey. Y'all listen up. Godric: They may come back. Go to the Hotel Carmilla, they've been alerted, security is in place. Someone: Help me. They all begin to leave. Someone: Almost there... Scene 2: Hotel Carmilla - Sookie, Bill Sookie: I could kick myself. I'm so stupid, I wasn't thinking. Bill: He did take b*ll*ts for you. At least we both came out alive. Sookie: I know better than to believe one word out of that man's mouth. I sucked his chest. What is wrong with me? Bill: Eric has had a thousand years practicing deceit. He lied to prove his power to me. He counted on your goodness, there's no shame in that. Sookie: But his blood, Bill. I tried to spit it all out, really, but some of it must have gone down. Bill: It only takes a drop or two. Sookie: He'll always know where I am and how I feel, always. That's the worst of all. Bill: No, not the worst. Sookie: What do you mean? Bill: Don't be surprised if you feel some attraction to him. Sexual. Sookie: To Eric? That's impossible, I I can't stand him. Bill: It is possible. It's another consequence of the blood. It would have happened sooner or later. He was determined to form this bond with you. Sookie: I could k*ll him. Bill: I concur. Scene 3: Bill's house - Jessica, Hoyt Jessica: Maybe I'll get used to it. Or maybe there's an operation. I can't be the only vampire virgin. Hoyt: You know, intercourse isn't the only way to have sex. Jessica: Hmm, but I want to have intercourse. Hoyt: Well, sure. We could do everything, when we figure out how. Jessica: You should break up with me. Hoyt: Hell, no. That thing that grows back, it's just a thing. I ain't perfect either. I'm a guy that people laugh at. Even my friends, but you never have. I don't ever wanna hear you talk about breaking up. Jessica: I won't, I promise. Hoyt: In fact, you mean so much to me, I want you to meet my mama. Jessica: You mean it? Oh, Hoyt. Hoyt: Yeah. Jessica: Hoyt, nobody ever wants me to meet anybody. Hoyt: No, don't get too excited. Look, she hates vampires and she's gonna as you all kind of personal questions or she may not talk to you at all, which then you'd be lucky. Jessica: Well, I don't care what she does. You're introducing me to your family, I never even hoped for that. Hoyt: I'm proud that you're my girl. Whoa. Jessica: Ohh, the sun's coming up. I guess it's time for that damn cubby hole. Hoyt: I'll go in with you. Jessica: No, please, its'... it's not very comfortable. Hoyt: I'll have to build us a tricked-out doublewide. Jessica: That is so romantic. Hoyt: But, ah, for now, I'll sit right here till you fall asleep. Jessica: You are the sweetest boy in the world. And you're too good to me. Hoyt: There ain't no such thing. Jessica: Good night. Hoyt: Good night. I'll sing to you so you know I'm... I'm right here. She leaves in her hole. Hoyt (singing): My sweet vampire Scene 4: Sookie's house - Tara, Eggs, Maryann Maryann: Oh, my goodness, how much did you drink this time? Tara: Nothing, as far as I recall. Eggs: same for me. Maryann: You must have dropped a little acid, it was floating around. Hippies. Eggs: That's not funny. Tara: It's embarrassing, is what it is. Maryann: I will never understand that. Why be embarrassed about pleasure and laughter? Why be ashamed of letting go? Tara: Because I've never been this out of control. Maryann: Ugh. Control. Control is just a cage this stupid culture uses to lock up who we really are. We need to be out of control. We crave it. Tara: But there's gotta be some kind of control or things would be chaos. Maryann: Sounds good. Eggs: I... I do like a little chaos. Maryann: Of course you do. Everybody does. They just can't admit it. Tara: I don't wanna be blacking out. Maryann: Is that what you think it is? Because I have a little theory about blacking out. Maybe you rose to a higher state of consciousness. Tara: We're all bashed up. There's nothing higher about that except for we must have been high. My mama blacked out for months at a time, I'm a blackout expert. Maryann: Are you? Tara: Certified. Maryann: What about the saints of India? What about the mystics of every religion? Eggs: What about them? Maryann: They would black out. Run and dance through the streets, levitate, act like monkeys, run around naked. Everybody thought they were crazy. Tara: They were crazy. Maryann: No, Tara. They were ecstatic. All that fake civilization bullshit just fell away so they could dissolve into the infinite, so they could lose themselves and unite with their god. Tara: Oh. Maryann: Look at you. A few bumps and bruises. That's a small price to pay for bliss. Bloody Mary, anyone? Scene 5: The police station (in prison) - Sam, Mike Spencer, Bud, Jane Bodehouse Mike: Come on now, Bud. Cut us loose. Jane: All I did was loose my pants, there's no law against that. Bud: I only got your word for it I was mating with a pine tree. Jane: None of us did anything. Let us out of here. Sam: You got no evidence, Bud. You got no right to keep me locked up. Scene 6: Hotel Carmilla - Sookie, Jason, Steve, Sarah, Nan Flanagan Bill is sleeping. Sookie is in her bed. She goes to Jason's room. Jason: Oh. Sookie: I can't sleep. Jason: Join the club. (They are on the bed) Well, they made me think I was worth something. Sookie: You were a star in Bon Temps. I was the throwaway. Everybody always thought you hung the moon. Jason: No, that ain't true. Well, they like my athletics and my good looks, my sex abilities, but they don't like me for me. And Steve and Sarah, well, they acted like they did, before they tried to k*ll me. They stopped my mind from going around and around thinking about... well, other stuff. Sookie: What other stuff? But Soldiers of the Sun? My Lord. Didn't you for one second think what Gran would say? g*n and su1c1de b*mb... Jason: Don't... don't talk about Gran. I won't talk about her. I can't. Sookie: Why? Jason: Because I don't... because I don't wanna feel anything. Sookie: But we have to talk about her. We can't stop remembering her or loving her because it hurts too much. She'd never stop loving us, would she? Jason: No. Sookie: We'll keep her alive in our hearts and our prayers and that's the way it's gotta be. Jason: And Mama and Daddy. Sookie: That's right. Mama and Daddy and Gran. Jason: Our hole family's gone, Sook. Everybody who counts. We're all alone. We're all that's left. Sookie: So you know that we gotta do? We gotta grow up, we gotta stick together and we gotta be good to each other or we're letting them down. Jason: Yeah. Hey. So, Sook, I'm sorry about, ah, everything I ever done to you. I'm a dumbass f*ck-up. Sookie: Yeah, but you wouldn't be if you used your brain instead if just letting it take up space in your skull. That's not dumb, that's lazy. Jason: You think so? Well, i... I could try, I guess. Sookie: I'm sorry too. I always live you, Jason, even when I wanna stick your head in a bucket and kick it around the yard. Jason: And I love you, even though I wish you'd cook for me more and you were normal with a normal boyfriend. Sookie: I didn't have any say about being normal. We were born the way we are. Huh. Jason: Ahh. I'm all wore out now. Sookie: Me too. Sookie turns on the tv. There's an emission with Steve and Sarah Steve: May his holy light Shine upon you... Jason: Can you believe, they're on already. Nan: You kidnapped a prominent member of our community. Sarah: He volunteered. Sookie: Did he? Jason: I don't even know he was there. Steve: ... that's no crime. Sarah: He came to us. Nan: Because everybody wants to be b*rned at the stake. You use your texe-exempt religious institution as an anti-vampire t*rror1st enclave. Steve: The Constitution gives us the right to defend ourselves. Nan: You att*cked us. Steve: You m*rder my father. Nan: That's an allegation. This is a fact - you and your church armed a su1c1de b*mb that k*lled vampires and humans. Sarah: We are fighting for God's green earth and daytime and Christmas and Easter eggs and all that's sacred and good. We are fighting for... Steve: Human rights. Human rights. Sarah: May I finish my thought? Steve: What, you were done. Sarah: If he's not the center of attention, he just flips out. Sookie: They are cuckoo. Nan: How can you have a dialogue with these people? Steve: You need to read some Saint Paul, missy. Sarah: I hate your hair. Jason: There's a witch and a son of a bitch. f*ck you, Newlins. Sookie: Yeah. Scene 7: Merlotte's - Arlene, Clients, Lafayette, Terry, Eggs, Tara Client 1: Now can we see the freezer? Arlene: Why? Client 1: Where they found that woman with her heart cut out. Arlene: It was the walk-in refrigeretor and you are one sick buzzard. Go find some roadkill, because you ain't eating here. Arlene takes the plates of the clients back. Arlene: Ah. What do you want? Client 2: A Kn*fe, a fork and a spoon, if that's not too much trouble. Arlene: They're in the back, go get them yourself. I could use some help out here. (She picks up the phone) Merlotte's, hurry up. Lisa, lunch is your job, you got a microwave, that's all you need. Oh, come on, Coby'll eat cat food if you put mayo on it. Mama's gotta work. (She hungs up. Lafayette arrives) Whoo, I'll tell you what, I am shit scared. Daphne, oh, my God. She was clumsy, stupid and mean, but I wouldn't wich that kind of death on a possum. Plus that poor soul out in the parking lot? Lafayette: Yeah. Arlene: What if there's a curse flying around out there? Lafayette: I'll look out for you if you look out for me. Arlene: When's it gonna stop? Terry: Order up. I think. Arlene goes to take them. Arlene: Terry. Terry, please quit being so much more peculiar than you usually are. Please talk to me. I mean, if what we did was so terrible... Terry: No, no, Arlene, don't cry. I didn't mean to be peculiar at you. I just don't know what we did. Arlene: Well, we had sex. Didn't we? Terry: Did we? Arlene: Y-You can't remember? Terry: Don't take this the wrong way but nope. Arlene: Oh. Oh, baby, me neither. I mean, not for sure. Terry: Is that good? Arlene: Oh, I don't know and I don't care as long as you're not mad at me. Terry: Well, to tell you the truth, I can't remember the last time I had sex with anybody. Arlene: Oh. Gimme some sugar? Client 3 shouting: Where's my corn? Come on now, the wait's forever. Arlene (To Terry): Okay. See you later. Client 3: I want my damn corn. Eggs and Tara come in the Merlotte's. Eggs: I got it. Tara: Oh. (To Lafayette) I know, I'm late. Eggs: Lafayette. Tara (to Eggs): Go ahead, order lunch on me. Eggs: All right, baby. Lafayette comes through them and touches Tara's face. Tara: Stop. Lafayette: What the f*ck is this? Tara: He didn't do it. I don't know what happened. Lafayette: What you mean you don't know what the f*ck happened? Don't gimme that bullshit. What did you do to her? Eggs: Don't accuse me. I don't hurt women. Tara: It was an accident. Lafayette: You put your f*cking hands on my cousin? I'm gonna show you how it feels to get your ass b*at. Eggs: You might take those eyelashes out first. Tara: Lafayette stop. Lafayette: You been kicked and punched your whole life then you go and het this f*ck. He's poison. He ain't never gonna change. And he may wind up k*lling you. Eggs: f*ck that, you f*ck... Tara: Enough. Stop. Lafayette: I ought to b*at your... Eggs: Please do so. Tara: Let's go. Eggs: Do it! Tara: Eggs, enough! Tara and Eggs leave. Client 4: Way to go, son. Lafayette: What the f*ck you all looking at, you ugly0ass necks. Huh? Scene 8: The Fortenberry's house - Maxine, Hoyt Maxine: My Hoyt would never run off to Dallas without a word with m*rder all over the place. My Hoyt would never have left me worried sick thinking he was d*ad. Or worse. Hoyt: With a vampire. Go ahead, speak your mind. Maxine: See what I mean? All of a sudden, you're a different person. Hoyt: Well, I sure do wanna be. Maxine: What do you think your daddy would say? Hoyt: I don't have any idea, because the only time that you ever mention him is when you're trying to make me do something that I don't wanna do. So while we're at it, let's talk about that. Maxine: I want my sweet child back. I haven't done anything to deserve this. What are your doing with vampires anyway? They are wrong, wrong, wrong. They are devils. Hoyt: Why do you have so much hate in you? Maxine: I don't. Hoyt: That's a flat lie. Maxine: Who do you think you're talking to? Hoyt: My mama. Who hates Methodists. Maxine: I got my reasons. Hoyt: And Catholics. Maxine: Just priests and nuns. Hoyt: African-Americans. Maxine: Hush, that's a secret. Hoyt: People who don't tale care of their gardens. People who park their trucks up on their lawn. And ladies who wear red shoes. Maxine: It looks cheap. Hoyt: Families with lots of kids. And checkered curtains and cats and dogs, and bait, every girl that I ever liked. And the more that I like them, the more that you hate them. Maxine: I simply object to a girlfriend who will k*ll you and eat you. I think that's reasonable. Hoyt: You don't even know her. Full of hate. I see you now. Maxine: Well, it's not my fault, it's the way I was raised up. Hoyt: Jessica may be a vampire, but she is the one for me. And you don't have any say over that. Maxine: You are breaking my heart. Hoyt: You know, I've let your run me around because I didn't wanna hurt your feelings, but those days are over. Now, I want you to meet her, but if you can't be nice, then I will leave this house and never come back. And don't think that I won't. Maxine: Hoyt, please, you're my one son. Hoyt: I'm not yours, Mama, I'm mine. Maxine: You're my baby boy. Hoyt: I'm not a baby, I'm a grown-ass man. He leaves the house. Scene 9: Hotel Carmilla - Bill, Sookie, Eric, Lorena Sookie and Bill are sleeping in their bed. Sookie turns. A hand caresses her arm. When she turns back, she sees Eric. Eric: Finish your sentence. Sookie: What was I saying? Eric: You were telling me why you'd be a terrible vampire and I was disagreeing. Sookie: Well, I don't feel right without a tan. It's true. And I'd rather be alive than undead and then y'all are always k*lling. Eric: You've k*lled a man. Sookie: But that was for self-defense, not for lunch. Eric: Oh, you'd adapt, like we all do. Trade the sun for moon and stars. Sookie: Uh-uh. Not me. I want them all. Eric: Oh, greedy. Sookie: Yeah, I am. Eric: I love it. You have the right temperament for a vampire. Sookie: What, I'm high-maintenance, bloodthirsty and old as dirt? Eric: Ah, bloodthirsty, yes. Sookie: I am not. Eric: Everybody thinks you're a darling, don't they. Sookie: I am a darling. Eric: Yeah, but you're ruthless when it comes to people you love. You'll do anything for them. Your brother, your friends. Me. Lorena: Bill. Sookie: Bill? Where is Bill? Lorena is on a chair. Lorena: What do you care? You've already abandoned him. Sookie: I have not. I love Bill. Eric: I used to think you had no sense of humor. Sookie: I used to think you were made of cold hard stone, and empty inside. Eric: And now? Sookie: You're a big faker. You're deep. You feel. There's love in you. Eric: Only for Sookie. They kiss. Lorena: You don't want Bill. He means nothing to you. Sookie: No. Eric: This is just the beginning. Sookie: Ahh. Sookie wakes up; it was just a dream. Scene 10: Police station - Maryann, Bud, People, Jane, Mike Maryann is coming to the police station. A woman sees her. Woman: Hey, there she is. She's come to get us out. Man: That she is. Maryann: Hey. We had a good time, didn't we? Woman: Oh, yeah, we did. Maryann: Hello. Sheriff Dearborne? In jail: Bud: None of y'all is going anywhere till you simmer down. Don't make me tell you again. Maryann's voice: Sherrif Bud Dearborne? Mike: Is that Maryann? Maryann! Hey, the party's back here. Sure is. Bud: Sit down and shut up. Mike: Come on, Bud. It sinks in here. Jane: Now, Bud, come on. Mike: Come on, Bud. Bud is in the entrance with Maryann. Bud: There's coffee if you want. Maryann: Sheriff, you look exhausted. What's going on around here? Bud: Hell if I know. Seems every person in Bon Temps is getting arrested, but they don't know what they done. Kenya's out in the wagon collecting some more. We been up all night. Maryann: A major crime wave. Bud: Misdemeanors, crazy things I never say in over 40 years. Maryann: Ah, misdemeanors, that's not so bad. Maybe you could let a few of them go, save yourself the work.. Bud: I'm about ready to, but they're all riled up, might still do some damage. Maryann: Hmm. Let me help, I'll talk them down. It's my best thing. Bud: I'd be grateful, can't hardly keep my eyes open. Oh. Now, what can I do for you? Maryann: I heard Sam Merlotte is here, I couldn't believe it. A fine upstanding businessman. I have a lot of respect for him and I'd like to help him out. Bud: Well, I'm not prepared to let him go, he's a suspect in a homicide. Maryann: That can't be. Bud: But I'll show you where he's at. Maryann: I- I know the way. Sit. Have a little rest. There. Maryann makes something on Bud and he has black eyes. Maryann: Oh, that went fast. Stay. She takes the keys and goes in jail. Jane: Can we come over to your house and play? Maryann: I want Sam Merlotte. Mike: He's right there. Sam's jail is empty. There's only his clothes. Maryann: Now I am really irritated. She opens the other jail's doors. Someone: Free. Scene 11: Merlotte's - Maxine, Hoyt, Jessica Jessica: I never thought you'd be so pretty, Ms. Fortenberry. And I can't tell you how grateful I am that you came. Hoyt: Even if you were 20 minutes late. Maxine: I couldn't decide what to wear. Jessica: Yeah, I know what that's like. Sure. You try this on, or try that on. You know, is it the black shoes or the red shoes or the... Maxine: Then there were people in the road. They wouldn't budge till I practically ran over them. I could have been k*lled. Jessica: Well, them, too, huh. Hoyt: Let's get you some dinner, Mama. Maxine: I'm not hungry. Hoyt: You want some more sweet tea? Maxine: I'm not thirsty. Hoyt is a very, very, very good boy. Mostly. Jessica: You don't need to tell me that. Hoyt: You're as good as I am. Better. Jessica: No. No, you are. Hoyt: Uh-uh. Jessica: You are. Maxine: I surely wish I could meet your people, see what your family's like. Hoyt: Mama. Jessica: Somebody made me a vampire against my will, Ms Fortenberry. I don't have a family anymore, except your wonderful son. Maxine: I'm sorry for you. That wasn't fair. But Hoyt has a bright future ahead of him. And by bright, I mean in the sun. if you think I'm gonna let him wander around all hours of the night for the rest of his life with an orphan vampire, you got another think coming. Hoyt: Oh. Jessica: I believe that's up to Hoyt. Hoyt: Y'all don't. Maxine: Well, I will fight for what's best for my boy. Hoyt: So will i. and I can give him everything that a human could. Maxine: Not hardly. Jessica: Like what? Maxine: Babies. Hoyt: Oh. Jessica cries. She leaves. Hoyt: Jessica. (to his mom) Well, now you did it. You happy? Maxine: You'll thank me one day. Hoyt: Not today. Maxine: When are you coming home? Hoyt: Never. Jessica and Hoyt leave. Maxine: I gonna need another one of these. Scene 12: Sookie's house - Tara, Eggs, Maryann, Lafayette, Letti Mae Tara: All right, let's do this f*ck. Ha. You can't do that. Eggs: That's against the rules. Come on. Maryann: Hey, we play by my rules, that means no rules. Tara: Okay, then. Maryann: Uh-oh. Yes. Come in, it's open. Deal. Deal. Eggs: Deal what? Whatever. Lafayette and Letti Mae come in. Tara: Well, lookie here. Aliens. Maryann: Oh, who's that? Tara/Lafayette: Lafayette. Maryann: Ooh, Lafayette. Ms. Thornton, welcome, join us. Lafayette: No, we good. Letti Mae: We're taking my daughter away from you. Tara: Is that right? Lafayette: Yeah, that's right. Letti Mae: Tara, listen to me this one time for your own good. Maryann: Don't be ridiculous, take a load off, we're in the middle of a game. Eggs: Yeah, strip poker. Tara: Strip poker. Maryann: Ms. Thornton, what's your drink? Tara: Vodka. Whiskey. Hairspray. Antifreeze. Eggs: Damn, Lafayette: What the f*ck is wrong with you Tara? Is you even in there? Maryann: All yours. Look, the bottle's sweating. Icy cold, thick, pours like oil. Lafayette: I don't know what you is, but I'm feeling you and you is a soulless bitch. Maryann: Ouch. That almost hurt. Tara: Oh. Letti Mae: I am clean and sober, as you well know. I'll never take nothing from you except my girl. Lafayette: Tara, let's go. Tara: f*ck off. Eggs: She's my girlfriend, why don't you talk to me? Letti Mae: Tara Mae. Lafayette: Because you ain't a boyfriend, you're a domestically violent sick f*ck. Now, Tara, get up, I't playing. Let's go. Eggs: She's not going anywhere. Lafayette: Oh, she's not? Letti Mae: Please, I'm begging you, don't let them do you this like this. We'll keep you safe. Tara has back eyes. Tara: Well, it would be the first f*cking time. Letti Mae: Your eyes. What'd you do to her? Lafayette: Jesus Christ. Tara: Throw a bible at me now. Egg's eyes become black. Letti Mae: Stop, Tara! Tara: Pull my hair, scratch my face, break my head with a bottle. h*t me back. Letti Mae: I won't h*t you back. Go ahead and k*ll me, I'll never strike you again. Letti Mae and Tara are fighting and Lafayette and Eggs are too. Tara (to Lafayette): Leave him alone. Lafayette caries Tara. Eggs: No. Tara: No. Lafayette, Letti Mae and Tara are outside. Letti Mae (t0 Lafayette): Move, move. Hurry up. Eggs: Tara! Maryann: Don't bother. Go on, run, you fools. Lafayette (to Letti Mae who's driving): Go. Go. Go. Maryann: She'll come back and she'll bring them with her. Come on. Scene 13: Hotel Carmilla - Nan, Godric, Eric, Bill, Sookie, Isabel Nan: Do you have any f*cking idea of the PR mess you've made? And who f*cking has to clean that shit up? Me. Not you, me. I should drain every one of you bastards. Eric: Stan went after the church on his own. None of us knew anything about it. Nan: Oh, really. Because everyone who met Stan in the last 300 years knew he had a kink about slaughtering humans. But you, his nest mates, his sheriff, had no clue. Isabel: And how were we supposed to know that this time he meant it? Nan: Not my problem. (to Godric) Yours. Eric: Don't talk to him that way. Nan: Don't talk to me that way. Let's get to the point. How did they manage to abduct you? Godric: They would have taken one of us sooner or later. I offered myself. Nan: Why? Godric: Why not? Nan: They wanted you to meet the sun and you were willing? Godric: What do you think? Nan: I think you're out of your mind. And then I hear about a traitor. Godric: Irrelevant. Only a rumor, I'll take full responsibility. Nan: You bet you will. Eric: You cold bitch. Nan: Listen, this is a national vampire disaster and nobody at the top has any sympathy for any of you. Sheriff, you f*cked up. You're fired. Godric: I agree. Of course, Isabel should take over. She had no part in my disgrace. Isabel: Godric, fight back. Eric: What are you saying? She's a bureaucrat, you don't have to take shit from her. Nan: You wanna lose your area, Viking? Eric: You don't have that kind of power. Nan: hey, I'm on TV. Try me. Isabel: I'm to blame. I should have contained Stan the second Godric went missing. Godric: Isabel. I remove myself from all positions of authority. Nan: Works for me. Bill: Sookie, Sookie. Sookie: I owe him. Ms Flanagan, Godric rescued me from a really large r*pist who probably would've k*lled me too. Nan: That's nice. Sookie: No, listen... Nan: Moving on. Sookie: And then he rescued humans in that church plus a whole lot of vampires. You think it's a PR mess now, it could have been a hundred, a million times worse. You should thank him. Nan: For getting kidnapped? For attracting a su1c1de b*mb? For piss-poor judgment? I think not. Eric is up. Isabel stops him. Isabel: Don't. Godric: Eric, it doesn't matter. Nan: Tell me about the b*mb, please. Every single detail. Godric: A boy walked in the lair. I thought he was someone's human companion. Scene 14: Merlotte's - Maxine, Maryann, Arlene, Terry Maxine: I sacrificed everything for that child without a thought for myself. He doesn't notice. He doesn't care. He isn't grateful. He's running wild now, he's headed straight for hell. Maryann comes in the bar. Maryann: The God Who Comes demands his sacrifice. Where is Sam Merlotte? Arlene (her eyes are black): he ain't been here all day. Maryann: Well, find him and bring him to me. They all have black eyes. Terry: A while back he was planning to leave. Maryann: Bring him to me. Scene 15: Andy's hotel room - Andy, Sam TV: ... watch him, grab him, oh, he almost got you, Mike. He almost got you. I mean, come on. It's the 21st century. There's gotta be a way... crap. That is one nutty ostrich. Hey, come on, Mike, come on, now, grab his hand... Andy goes to open the door. It's Sam; he's naked. Sam: I heard you were here. Scene 16: Hotel Carmilla - Nan, Godric, Eric, Bill, Sookie, Isabel Nan: What a f*cking fiasco. You're lucky I don't send you all to the Magister. Godric, come to my suite to fill out the forms. Godric: Soon. First I have something to say. I'm sorry. I apologize for all the harm I've caused, for all our lost ones, human and vampire. I will make amends, I swear it. Nan: Take it easy, it's just a few signatures. Nan and two other vampires leave. Eric: No. Godric: Look in my heart. Eric: You have to listen to me. Godric: There's nothing to say. Eric: There is. Godric: On the roof. Godric leaves. Bill: We have a score to settle. Eric: Not now. Bill: Yes, now. Bill punches him. Bill: have I made my point? Eric: It's done. I'm part of her now. Get out of the way. Eric leaves. Sookie: I'm going to find Godric. Bill: None of this has anything to do with us. Godric is not your concern. Sookie: If it weren't for him, I wouldn't be standing here. He's in pain, he's suffering. I gotta do something. Bill: Don't you think we've done enough for Dallas. Sookie: You of all people should understand how he feels. What if it were you, Bill? What if in 1800 years, you were Godric? Bill: All right, but I'm coming with you. Sookie: I wish you could, but it'll be dawn in a little while. Bill: If we don't stay long, I'll heal. Sookie: I will not let you take that chance. With Godric there, you don't have to worry about me. Bill: You are so tender-hearted, you feel obligated, I can see that. But, Sookie, in all honesty, what can you do for him? Sookie: I don't know. I just gotta be there. It doesn't make sense but you understand? Bill: I do. On the roof: Godric: Two thousand years is enough. Eric: I can't accept this, it's insanity. Godric: Our existence is insanity. We don't belong here. Eric: But we are here. Godric: It's not right. We're not right. Eric: You thought me there is no right or wrong, only survival or death. Godric: I told a lie, as it turns out. Eric: I will keep you alive by force. Godric: Even if you could, why would you be so cruel? Eric (in a foreign language): Godric, don't do it. Godric (in the same language): There are centuries of faith and love between us. Eric (in this language, crying): Please. Please. Please. Godric. Godric: Father. Brother. Son. Let me go. Eric: I won't let you die alone. Godric: Yes, you will. As your Maker I command you. Sookie (to Eric): I'll stay with him. As long as it takes. Eric leaves. Godric: It won't take long. Not at my age. Sookie: You know, it wasn't very smart. The Fellowship oh the Sun part. Godric: I know. I thought it might fix everything somehow. But I don't think like a vampire any more. Do you believe in God? Sookie: Yes. Godric: If you're right, how will he punish me? Sookie: God doesn't punish, God forgives. Godric: I don't deserve it. But I hope for it. Sookie: We all do. Godric: You'll care for him? Eric. Sookie: I'm not sure, you know how he is. Godric: I can take the blame for that too. Sookie: Maybe not. Eric's pretty much himself. Are you very afraid? Godric: No. No, I'm full of joy. Sookie: But the pain... Godric: I want to burn. Sookie: Well, I'm afraid for you. Godric: A human with me at the end, and human tears. Two thousand years, and I can still be surprised. In this, I see God. Sookie: Goodbye, Godric. Godric burns. He's gone.

{"type": "series", "show": "True Blood", "episode": "02x09 - I Will Rise Up"}

foreverdreaming

Scene 1: Hotel Carmilla/Bon Temps - Sookie, Eric, Jason, driver, man, woman Sookie walks in the corridor. She enters in Eric's room. He's crying. Sookie: Eric. Eric: Godric is gone. Sookie: I know. I'm so sorry. They kiss. He bites her. Suddenly Sookie wakes up; it was just a dream. Sookie is in a car. Jason: What are you dreaming about? Sookie: Bill. Jason: This kind of reminds me that bus ride back from All-State. Nothing looks exactly the way I left it. Know what I mean? Sookie: I've never been away before. Seems like something's different to me tough. Jason: Yeah. (Looking outside) What the hell? Look at this guy. Man outside to a woman: Let go! The two people fall on the car. Driver: They just ran in front of me. Jason, Sookie and the driver go to check on them. Sookie: Are you all right? They have black eyes. Jason: What the hell's wrong with your eyes? Man: Let's go. Jason: Wait, wait, where you going? Woman: We gotta find Sam! Man: It's almost time, man. They leave Credit Scene 2: Sookie's house - Eggs, Maryann, Carl Maryann and Eggs decorate a tree. Maryann: What do you think? Eggs: I think you've outdone yourself. Carl arrives with a d*ad bird. Maryann: Feathers. Perfection. I'm thinking more meat. Carl: Five more pounds of ground chuck? Maryann: Think about who this is for. Let's aim higher. Carl: Corn-fed Kobe it is. Maryann: You're finally getting it, Karl. I want the two of you to bring me the most expensive meat. Organs, kidneys, livers, anything you can find. Eggs (he has black eyes): You want us to go k*ll something so it's extra fresh? Maryann: No, don't worry. I have other people bringing us something living to sacrifice. Scene 3: Andy's hotel room - Sam, Andy, Arlene Sam is hiding in the room when someone comes in; it's Andy. Sam: Any sign of anybody outside? Andy: No. No bug-eyes here. Just a hangover. Sam: Thanks for going over there. Andy: Station was totally empty. Cells were all wide open. They think I'm a bad cop. You should see the square. Looks like New York City or something. People banging their heads on posts. Graffiti everywhere. People pissing all over the sidewalk. This whole town's going down the crapper. Sam: Yeah, trust me, I know. Sam changes his clothes. Sam: I got no idea how we're going to deal with a g*dd*mn maenad. Andy: A mae-what? Sam: Wait, you don't remember any of what I told you last night, before you passed out and spent the whole f*cking day in bed, sleeping off your bender? Andy: You said... Maryann Forrester was to blame for all of this. The bug-eyes and the craziness. Sam: Yeah, and the people showing up d*ad with their hearts cut out. In the back seat of your car? Andy: She did that? Sam: Yeah. She k*lled Daphne too. Andy: f*ck me. We got another serial k*ller. Sam: Listen. She is a supernatural creature. She is immortal. She has powers. And she's not leaving till she gets what she wants, which I think is me. Andy: What's she want you for? Sam: I think to cut my heart out while a bunch of naked people watch, all for... Dionysus or Satan, or some God who has horns. Andy: People thought I was crazy because I thought I saw a pig. Sam: Well, you did see a pig. And you were right. That pig was a part of all this. That pig was... doing some of Maryann's dirty work for her. Andy: Well, if what you say is true, we need to k*ll that bitch. Sam: She don't die, remember? The phone rings. Sam: Hey Arlene. Arlene (on the phone): Sam, you gotta come to Merlotte's. Sam: Calm down. Tell me what's wrong. Arlene: There's a mob. They've got Terry and they are coming for me next. Sam: Arlene, I've already seen you all caught up in Maryann's weirdness. Arlene: Oh, Jesus, I know, but she's after us now, and she's crazy. I mean, she is Hannibal Lecter crazy! And I'm scared she's gonna get my kids! And nobody's even picking up the phone at the sheriff's office. Sam: All right. All right, I'll be right there. She hang up. Scene 4: Bill's house - Jason, Sookie, driver, Bill, Maxine, Hoyt, Jessica Jason (on the phone): This is Jason Stackhouse. Just want to let y'all know a couple of folks got h*t by a car up on the square. But they... they ran off. Sookie: Ask them what the heck's going on all over town. Jason (on the phone): And if somebody could call me back and tell me if we've been att*cked by t*rrorists or what. (To Sookie) f*cking answering machine at the sheriff's office. Sookie: Bill. There's something seriously wrong going on in Bon Temps. I can feel it. Maxine (going out of the bathroom): Well, if it ain't the vamper and his vamper lover. Jason: There's those f*cking eyes again. Hoyt: Mother, come back here. Jessica: Oh, thank God you're home. She's gone, like, totally batshit. Bill: What the devil...? Jessica: I had nothing to do with it, I swear! Hoyt: At first I thought maybe it was just a bad reaction to her new diet pills... Maxine: Get out of my way. Hoyt: ... but then we saw practically the whole town's got these eyes. Bill: How long has she been like this? Jessica: Since last night. Maxine: And I will be, for as long as it takes for him to get his offering. Jason: That sounds f*cking f*cked-up. Hoyt: She's been on about Sam Merlotte and how they're gonna offer him to God. Maxine: Why don't you offer yourself up to me, Jason Stackhouse. You... dirty... little... monkey. Hoyt: Mama! Bill: Does she ever calm down? Hoyt: Playing Wii gets her to focus. But I wouldn't call it calm. Maxine now plays at the Wii. Maxine: I'm gonna crack open our f*cking skull, bitch! Bill: So she says God is coming? Hoyt: Yes sir, and that everybody's waiting at Merlotte's so they can catch Sam and they can take him over to Maryann's. Sookie: Maryann's? Where's that? Hoyt: Well, it's your house. Sookie: What? Maxine: They're gonna rip that boy open and serve him up like barbecue! Sookie: Hoyt, has anyone been att*cked by something with claws? Hoyt: Well, I heard Arlene say that that poor woman you found in Andy's car had her back scratched up pretty bad. And then I also heard somebody say that Daphne had some kind of weird scar on her back. Sookie: The new waitress at Merlotte's? Jason: There's a new waitress at Merlotte's? Bill: We should talk to her. Hoyt: She's d*ad. She had her heart cut out just like the other one. Sookie: Fudge! Jason: I'm going to Merlotte's and find out what the hell is happening on my turf. Bill: Jason, if this is the same creature we think it might be, you do not want to go anywhere near it, trust me. Jason: Mr. Compton, I ain't about to sit back and let monsters destroy my town. Sookie: Jason, this would be one of those times to use your head. Jason: Oh, I am. I ain't never been so clear in my whole life. This here is the w*r I've been training for. Sookie: Jason! Bill: He can take care of himself. We've seen that. Sookie: Be careful, you hear? Drive straight up to Merlotte's, get inside as fast as you can, and do not go into the woods by yourself. Jason: I won't. Sookie: I mean it. Jason: I know. Come here. Jason leaves. Sookie: And where is Tara? Hoyt: She's been partying pretty hard over at Mary... it's just something that people say. "Party over at Maryann's." Sookie: I gotta get over there. Bill: After you. Sookie and Bill leave. Hoyt: Should I have gone with them? Jessica: And leave me alone here with her? No f*cking way. Scene 5: Merlotte's - Sam, Andy, Arlene, Terry, Jane, people Sam and Andy arrive at Merlotte's; it's empty. Sam: Arlene? You here? Andy: Empty. Like the sheriff's office. Sam: No, there's people here. I can smell them. Arlene? Arlene: Sam? Ph thank you, Sam, for coming so fast. I know how much punctuality means to you. Sam: Are you all right? Arlene: I am now. Because soon he'll be getting what's his. People come all around Sam and Andy. Sam: Shit. Andy: Not this shit again. They all have black eyes. Arlene (to Terry): At least sh**t the cheap liquor! Bottom shelf, bottom shelf! Terry: We call this move "stress inoculation." f*ck. Sam (to Andy): Come on. Back door. Arlene: They're getting away! Terry: Go get him! Sam: Follow me! A man: I'll get you, Sam Merlotte! Sam: Hard! Another man: Cut his feet off! Andy: Freaks! A woman: f*ck! Sam (to Andy): In here! In here! Andy and Sam go in the big refrigerator. Sam: Damn it, this door don't lock from the inside! Andy: I can't hold it! Sam locks it with something. Sam: Here. Okay, that'll do it. Terry: Hold up a second. We have our EPW right where we want him. And there ain't no place for him to go. Jane: And what does that mean? Terry: It means we have secured the target. Mission accomplished! Bodenhouse. Go call Maryann and tell her she can come pick him up. Andy (to Sam): We are f*cked. Sam: We're still alive. Andy: For now. What are we gonna do? Are we gonna have to k*ll them all? Sam: Even if we could, these are our friends and neighbors. Andy: And cousins. Sam: Right. We can't k*ll them. Andy: We are f*cked. Sam: Yes, we are. Man on the phone: Hello. Jane (on the phone): Hi. Peanut? Man: You sound nice. Scene 6: Lafayette's house - Lafayette, Tara, Letti Mae Tara: It burns where I'm tied up. It burns like f*re, Mama. Letti Mae: Tying her up's not making her better. Lafayette: I done told you, it's for her own good. Ours too. Letti Mae: Tara, Tara, baby. Tell your mama what you need. Tara has black eyes. Lafayette: Tara, you strong than whatever this is and you know it. Now, get the f*ck up out of there! Letti Mae: If only Miss Jeanette were still alive. Lafayette: She don't need no damn backwoods witch. She need Thorazine and a padded cell. Letti Mae: "Bless the Lord, O my soul, and all that is within me, bless his holy name. and forget not all his benefits. Who forgives all your iniquities." Lafayette: "Who heals all your diseases, who redeems your life from destruction. Hallelujah, God." Jesus and I agreed to see other people. But that don't mean we don't still don't talk from time to time. Lafayette: You've been good to my Tara. If I hadn't left such a hole in this girl, maybe whatever's in there wouldn't have crawled in. Lafayette: I kicked her out on her birthday. I was feeling all poor, pitiful me because of the shit I had brought on myself. If I wasn't acting like a stupid little bitch, I would have seen trouble coming after her a mile away and I would have handled that shit. Tara: He's coming. He's on his way. And he's gonna k*ll us all. Scene 7: Sookie's house - Sookie, Bill, Lafayette, Maryann Sookie and Bill arrive at Sookie's house. Bill: What in God's name...? Sookie: Whatever the hell it is, it reeks. They enter the house. Sookie: Tara? Tara? Hell cell phone rings. Sookie: Lafayette, where is Tara? Lafayette (on the phone): She with me. I need to know when you gonna be back on town. Sookie: I'm here in what used to be my living room. Lafayette: Sook, you gonna have to get up out that house now. Sookie: Is Tara okay? Lafayette: I ain't half as worried about her as I am about you up in that f*cking house. Get out. Run! Sookie: Be right there. She hangs up. Sookie (to Bill): Come on. Maryann: What are you doing in my house? Sookie: This is not your house. Maryann: It is now. Bill: I strongly suggest you remove yourself immediately. Maryann: My, you found yourself quite a specimen. Though I daresay there's nothing stopping him from one day leaving you cold. Sookie: You don't scare me. Bill: Sookie, go now. Bill bites Maryann. Maryann: yes. Ravage me! Ravage me! Sookie: Bill! Bill! What did you do to him? Maryann: What are you? Sookie: None of our business! Bill, let's get out of here. Maryann: That was fun! What are you? Sookie and Bill leave. Scene 8: Merlotte's - Sam, Andy, Jason, Terry, Arlene, people Andy: Aren't you glad I didn't take your advice and quit drinking? This could save our lives. Sam: And if I'd left this town when I wanted to, nobody'd be in this situation. Andy: Don't b*at yourself up, Sam. You've been real good to this town. Even if you're a sometimes-nudist. Sam: What if Terry had sh*t that guy in the head instead of the shoulder? The people are gonna start dying soon. Andy: People are already dying. Nancy Levoir, Daphne... hell, I never even knew her last name. Sam: Landry. Daphne Landry. If that was even her real name. Andy: I heard y'all was close. I'm real sorry. Sam: Thanks. Andy: When I was growing up I had a nanny. Her name was Annie. Annie the nanny. She used to say to me that... in the country of the blind, the one-eyed man was king. I think she told me that because she thought I was... one of the blind. But you... you got the burden of being the one-eyed man. I envy that. Sam: I have no idea what you're talking about. Andy: I don't either. Jason arrives at Merlotte's. Jane: Sam? Do you know anybody named Peanut Burch? I wish I could remember. I know there's something I was supposed to do. In the diner: A woman (to a man): Harder! Harder! assh*le. Jason: Oh, mama. A man: That's good. Jason: All right! This party's over! Come on! What the hell is wrong with you people? Piece of shit! Let's go! A man: Hey, assh*le! Jason: Hey, Terry. Arlen: Terry! Jason: Come here. Terry: Ambush! Jason: Okay, stay chill. Nobody needs to get hurt. A woman: Yeah! Nail her! Terry: Wait, stop! Don't hurt my special lady. Arlene: Do it! I need a haircut anyway, baby. Terry: No. Jason: Yeah, I'm gonna do it! Terry: Timeout. Time the f*ck out! All right, Stackhouse. Name your demands. Jason: Okay. Here's how it's gonna be. Y'all go and leave, every last one of you. Leave us alone and then you can have her. Terry: All right. The order is to retreat. Immediately. God damn it! When I give an order, you follow it. Now get on out of here. We will f*ck this situation at a later date. Move it! Fall out! Out! Out! Left, right, left! Come on, then! Double-time. Let's go! All right, Stackhouse. You gonna hand her over. Jason: Keep moving. Move! The faster you move, the quicker you get her. Everybody's out. Jason gives Arlene to Terry. Arlene: My hero. I love it when you get all military like that. Where's your g*n? Jason closes the door. Scene 9: In Sookie's car - Sookie, Bill Sookie: Bill? Bill: I'm all right. Sookie: No, you are not all right. None of this is all right. I'm calling Eric. Bill: I will not turn to Eric. Sookie: I gotta get you to Dr. Ludwig! Bill: Sookie, what happened back there? What did you do to her? Sookie: I don't know. I swear. It was Maryann that att*cked me in the woods. Even though I don't have a scar, I could feel her there on my back when she was touching me. Bill: I will k*ll her. Sookie: Good. How? Bill: Tara has been under Maryann's influence. Maybe she can be of some help to us. Give me your wrist si I can heal. Bill feeds from Sookie. Scene 10: Merlotte's - Jason, Sam, Andy, Terry, Mike Jason: Sam, it's Stackhouse. You can come on out. They're gone. Look, I got rid of all them saucer-eyed f*ck. Andy: Bullshit. Jason: I swear on my gran's grave. They open the refrigerator's door. Jason: Oh, Andy, hey. Andy: Let's see your eyes. Jason: My eyes? Oh. Now get out here. I locked all the doors. Sam: Hey, thanks, Jason. But... I don't think they're gonna let up till they get me. Andy: How the hell did you get them out? Jason: I thr*at to sh**t a bunch of nails into Arlene's brain. But guys, come here. If we gonna get out of here, we gonna need even a bigger divergence. Terry (who came in Merlotte's): There's Sam Merlotte! Get him! Jason: That ain't exactly what I was talking about, but you work with what you got. Go! Everyone is now back at Merlotte's around Sam, Andy and Jason. Terry: Sam Merlotte. There is no escaping, Sam Merlotte. The God Who Comes always gets what he comes for. And as for you, Jason Stackhouse. Not cool. Jason: There ain't no moral god gonna come nowhere near you people. Mike: And God ain't gonna be happy with you, Jason. I bet he'll eat you. I always wanted to know what human flesh tastes like. Sam: Guys. You guys, you gotta save yourselves. Andy: We'll get you out of here, Sam. Sam: Then what? She's not gonna let up. Ever. No, I'm ending this. Andy: No f*cking way! Sam: Maybe this'll all stop with me. Sam goes to the people and they take him. Andy: No! Scene 11: Lafayette's house - Tara, Lafayette, Letti Mae, Sookie, Bill, a girl Lafayette: Tara. Tara, would you snap the f*ck out of it! He slaps her. Letti Mae: Lafayette! Lafayette: This has got to be the worst f*ck intervention in history. Someone knocks at the door. Lafayette: Oh, thank God. Sook. Lafayette opens the door; it's a girl. Girl: Hey. How's it going? Lafayette: Never been better in my whole g*dd*mn life. Come back later. Girl: There's no such thing as later during finals week. Calc so blows. Lafayette: Excuse me. Excuse me. I ain't selling tonight, Cream Cheese. Okay? Girl: Come on, I'll pay extra. Lafayette: You ain't hearing me. Girl: Well, I ain't leaving till I get the V. Bill arrives and grabs the girl. Bill: Oh, you are leaving. She leaves running. Lafayette: Slow your row. It ain't even me. Talk to your boy, Eric. He the one got me pushing the shit. Sookie (arriving): Where is she? Lafayette: You can come on in. Sookie: Tara. What's happened to you? Tara: Get me the f*ck out, you c**t, or I will k*ll you. Lafayette: We are loosing her, Sook. Sookie: It's all... dark. Nithing. Letti Mae: You see into her head? Tara: Stop trying to r*pe my brain. Sookie: I can't see or hear anything. It's not her. It's... she's gone. Lafayette: Don't say that Sook. She in there. Just... just keep trying. Sookie: I know, but what am I supposed to do? Bill: You have to go further into her mind than you ever have before. Sookie puts her hands on Tara. Tara: You try and k*ll yourself? I don't blame you, with your f*cked-up life. Sookie sees the orgies. Sookie: There's something I can't... I can't cross. An abyss. Bill: I will glamour her. Letti Mae: What? Bill: It may help. Sookie: I don't want to hurt her. Bill: If we leave her like this, who knows what harm may come to her. Or us. Bill: Tara. You can feel my influence, can't you, Tara? Don't fight it. Let me in, Tara. Let me in. Scene 11: Merlotte's - Arlene, Jason, Sam, Andy, Terry They are all outside Merlotte's. Sam is attached on the top of a car. Arlene: Thank you, Sam. Thank you for giving us all this gift so that he can come into the world. A voice: Silence! It is me, the God Who Comes. (We see Jason as a God) I have come, and now I am here. Mike: You're the God Who Comes? Andy (to Jason): Horns. You need horns. Jason: Well, go get them. (To everyone) Sam Merlotte, you are my offering! People, your work here is done. Go home. Jane: Really? Jason: Oh, yes. He is the best offering ever. You will all have... great weather and... good crops. Now leave. Terry: Bullshit. God has horns. Andy puts branches behind Jason's head. People see them as hornes. A man: Is that really god? Sam: Lord. Lord. Smite me. Jason (to Andy): What's he saying? I can't hear. Andy: I don't know. Sam: Smite me, Lord. Jason (to Sam): I don't even know what you saying, man. Sam: Smite me, f*ck. Jason: I smite thee, Sam Merlotte! Die! Sam disappears. Andy: What the f*ck just happened? Jason (to Andy): I got no f*cking idea. Jason: There. Happy? Terry: Well? Yeah. Jason: Tell your leader I am very pleased with my offering. Jane: Thank you, God. Jason: You are welcome. You're all blessed. Now go. Terry: Squad. Report to Maryann for debriefing. Jane: Anybody who wants to de-brief me can do so right now. They all leave. There's only Jason and Andy left. Andy: What the hell happened to Sam? Andy: I don't know, man. I don't know. Sam appears. Sam: I'll explain later. Just help me put these f*cking flares out before they start a f*re. Andy: That's the last drink I will ever take. Scene 12: Lafayette's house - Bill, Tara, Sookie, Lafayette, Letti Mae Bill: Tara, let Sookie in. Sookie: It's not working. Bill: Tara, you are safe here. You have to do exactly as I say. Tara: I am not your f*cking sl*ve girl. Lafayette: If ever there was a time to listen to a white-man Tara, this would be it. Letti Mae: Jesus, please, Jesus. Bill: Let Sookie in. Sookie, now. Sookie sees the orgies and other scenes. Tara's eyes become normal again. Tara: Oh, my God. I'm crazy. I'm really crazy. Sookie: No. No, it wasn't you. It's not you. Tara: Mama! I'm sorr... I'm sorry. I'm sorry, Mama. Letti Mae: I knew it wasn't you, baby girl. I knew it wasn't you. (To Sookie) Thank you. Sookie: I need some air. Sookie and Bill go out. Tara: Eggs. I gotta go get Eggs. Lafayette: No. Sookie: I've known Tara my whole life, and every trace of her was gone. Replaced. And I thought vampires were the only ones who could hypnotize people. Bill: No offense, Sookie, but humans are shockingly susceptible to about every form of thought manipulation. Sookie: It's all coming from Maryann. All of it. They eat people's hearts. But she wants more. She wants their souls. And that chant. Bill: Chant? Sookie tells the chant. Bill: Bacchus. Sookie: Bill. I've seen that look on your face before and I don't like it. Bill: I read about some ancient creatures many years ago. But I always assumed it was just a myth. But I believe Maryann might be one. Sookie: What is she, and more importantly, how do we k*ll her? Bill: I do not know how to defeat her, but I know one vampire who might. Might. But if I'm gonna make it by daylight, I must leave now. Sookie: Let's go. Bill: I must do this alone. But I'll be back by morning. And Jason and Sam, Tara and Lafayette... you can do more good for them here. Sookie: You're right. I left everybody before and look what happened. Bill: Can you do... whatever it was that you did to Maryann...? You do that again? Sookie: I don't know. I don't even know what it was that I did. Bill: All right. You keep your friends safe, and by all means, you stay away from your home. Promise me. Sookie: Promise. Bill leaves. Scene 13: Bill's house - Maxine, Hoyt, Jessica Maxine: But I never get to go to the party! You know how many invitations I've passed up to stay home with my crybaby son? Hoyt: No, you always go, and you always drag me along with you. Maxine: Oh, you selfish little shit. Hoyt: You can spew as much venom as you want, mama. I'm not letting you get anywhere near Merlotte's. Maxine: You could come with me, maybe meet a nice girl instead of that devil slut. Jessica: I'm getting tired of this shit. Hoyt: Treat Jess with respect, or I'm gonna lock your ass up in that cubbyhole until Vampire Bill get home. Maxine: Oh, you're Dirty Harry now, huh? Because you're dipping your penguin dick in that vamper tramp? You are cut from the same cloth as your daddy. You are both half-men. Jessica: Miss Fortenberry... Hoyt (to Jessica): Just calm down. Maxine: A half-man and a d*ad whore. Who else would have either of you? Hoyt: Jess, don't. Jessica: Look, lady. You have no idea how little control I have over my actions. You also don't know that I haven't eaten in days. Hoyt: Seriously? Wait. Jessica: You give me one good reason why I shouldn't drain you dry. Maxine: I don't gotta give you nothing. Jessica bites Maxine. Hoyt: f*ck, no! Scene 14: The queen's place - Bill, security man, the queen Security man: Welcome, Mr. Compton. The queen is expecting you. Bill enters in the house. Bill: Your Majesty.

{"type": "series", "show": "True Blood", "episode": "02x10 - New World in My View"}

foreverdreaming

Scene 1: The queen's place - Bill, Sophie-Anne, hadley Bill: Your majesty. Is this a bad time? The queen is feeding on Hadley. Sophie-Anne: A bad time? There's no such thing as bad. Or time, for that matter. Want to join me? Scene 2: Bill's house - Jessica, Hoyt, Maxine Hoyt: Get up! Have you lost your mind? Jessica: Didn't you hear all the nasty things she said about you? And me. Hoyt: She's my mama! She gets to! The hell are you from? Mama? Jessica: I'm sorry. Hoyt: Mama, you all right? Maxine: Oh, yeah. Jessica: Hoyt? Hoyt: I should have listened to vampire Bill when he warned me about you. (To Maxine) Now, come on. Come on, mama. Maxine: Do we have to? I think I actually enjoyed that. Hoyt: You see what you did to her? Come on. Hoyt leaves with Maxine. Jessica cries and screams. Scene 3: The queen's place - Bill, Sophie-Anne Sophie-Anne: What gives you the right to say no to the femoral blood of a good woman? You know what your problem is, William? You are a snob. I hate snobs. Tiny, tiny souls, or penises. Or both. (To Hadley) Get out. (To Bill) Have you eaten? Bill: Not tonight, but... Sophie-Anne: I have several new members of court. A Latvian boy. Has to be tasted to be believed. Not polluted like most humans. Tastes exactly the way they used to taste just after I was turned, before the Industrial Revolution f*cked everything to hell. Should I summon him? Bill: No, thank you. There are a pressing matters at hand I need your help with. I need to know how to k*ll a maenad. Sophie-Anne: A maenad? In Bon Temps? That's random. Bill: Yes. She seems to have caused some sort of mass hypnosis. The whole town has devolved a primitive state in a matter of days. Sophie-Anne: Oh, my, she's an old one. Well, they're all old. Relics. Bill: Ancient Greece, correct? Sophie-Anne: before that even. Orgies, sacrifice? Bill: Yes. Sophie-Anne: Cannibalism? Bill: We suspect. Sophie-Anne: Fun. Bill: So how do I k*ll it? Sophie-Anne: You can't. She's convinced herself she's immortal and so she is. William, surely you know that everything that exists imagined itself into existence. Bill: I'm not entirely familiar with that theory, no. Sophie-Anne: Well, think about it. You're a wild young girl who's married to some jerk who treats you like property and is also f*cking some 14-year-old boy. And along comes this religion, which encourages you to get hammered, run naked through the woods, have sex with whoever, or whatever, and it's all part of getting closer to God. Bill: I could see how that would have its appeal, especially to humans with their tendency towards Puritanism. Sophie-Anne: Exactly. So you're f*cking everybody in the dirt. Why not k*ll something and eat it raw? Hey, you're super extra pious. There's nothing you can't do, and each time you do it just brings you one step closer to the divine. Bill: Isn't that delusional? Sophie-Anne: Never underestimate the power of blind faith. It can manifest in ways that bend the laws of physics or break them entirely. Bill: I bit her and it poisoned me. Sophie-Anne: Of course it did. We can only drink human blood, and she's no longer even remotely human. Bill: But she started out as human. Sophie-Anne: Hello. Evolution? We started out that way too. Less than two hours till dawn. Shall we have sex? Kidding. I haven't enjoyed sex with men since the Eisenhower administration. Bill: I really ought to get back to... Sophie-Anne: Nonsense. Sookie's not in any trouble. You would know it. Bill: But I... Sophie-Anne: Spend the day and leave tomorrow. Bill: I really would l... Sophie-Anne: I insist. By the way, you haven't told me what you think of my new day room. Bill: It's lovely. Scene 4: Lafayette's house - Sookie, Lafayette, Tara, Letti Mae Sookie: Tara, stop pacin'. You need to get some sleep. Tara: We have to go get him. Sookie: And we will as soon as Bill gets back. He might have some information about how to deal with Maryann. Tara: He might have some information? He might not. And Eggs needs to get out now. Sookie: Tara, it's just too dangerous. Tara: How many times have you put yourself in danger for the man you love? How come you get that option and I don't? Letti Mae: Baby girl, it's better this way. They hear people screaming outside. Lafayette: Oh shit, she coming for you. Tara: I finally found a strong, beautiful, good man who loves me, and you want to keep me from saving him 'cause you're afraid I might get hurt? How hurt you think I'm gonna be if we wait and something happens to him? Lafayette: I ain't lettin' you go back to somebody who beats you. Letti Mae: He b*at her? Tara: No, it... it wasn't him. It was Maryann. Her influence. Lafayette: She didn't throw the punches herself, did she? No. Now sit down and shut the f*ck up. Sookie, my back pocket, get them handcuffs. Tara: No. Sookie: These are fur. Lafayette: Give me your hand. Give me your g*dd*mn hand. Tara: I will never forgive you for this. Never. You're just jealous 'cause I found love and you know you never will, you f*ck' freak. Letti Mae: Baby, it's for your own good. Tara: You too. You don't want me to be happy 'cause you never were. Letti Mae: I only want you to be happy. Tara: And you had to settle for a d*ad man. Sookie: That's supposed to get me on your side? Lafayette: I'm goin' on the front porch to make sure that devil woman don't try to come up in here. Sookie: You think she will? Lafayette: All I know is if it's supernatural and it wants you, it ain't gonna wait for you to come to it. Lafayette goes outside. Sookie follows him. Letti Mae cries. Tara: You are kiddin' me. This ain't happenin' to you. Scene 5: Merlotte's - Andy, Jason, Sam, Coby, Lisa Jason: Seriously? You can become any animal anytime? Sam: Yeah, as long as I've imprinted on it. Jason: That is f*ck' cool, man. Andy: Yeah, well, as cool as that may be, we still got a maenad we gotta deal with before it takes our wholes town out. Sam: Listen, you can't deal with it. All right, your best bet's to leave while you still can. Jason: Shouldn't we think about getting the law involved? Andy: I am involved. Jason: Well, I meant Sheriff Dearborne, Kenya, that other guy, the squirrelly one. Andy: Sheriff's station was wide open and empty. They ain't gonna help. Jason: Then we have got to be the law. Guys, I read a book about this. This is Armageddon. This is the Oral History of the Zombie w*r. We need w*apon, lots of them. Sam: I hate to break it to you, but g*n aren't gonna do jack shit to Maryann. And you can't sh**t anybody else. These are our friends, this is our town. Jason: Well, sometimes you need to destroy somethin' to save it. That's in the Bible. Or the Constitution. Voice of a child: Is she in there? Lisa and Coby are looking from the window. They run when Sam see them. Sam goes after them. Sam: Who's out there? No need to be afraid. Just come on out so we can see each other. Coby? Coby: Is our mama here? Sam: No, no. not right now. Lisa: Good. Will you help us hide? Coby: And will you make us lunch? Lisa: We haven't eaten since the day before yesterday. Jason: Sam. Andy and I are taking off. Sam: Where are you going? Andy: Sheriff's office. Jason: We gotta arm ourselves. Hey, Coby, Lise. Sam: Jason, no. You... You... You're walkin' into something bigger and more dangerous than you can even imagine. Jason: Sam, I gotta do this. Sam: You're gonna get yourself k*lled. And probably a lot of other people as well. Just think this through. Jason: Time for thinking is over. It's time for action. Andy: Maybe Sam's right. Jason: Has he been to Leadership Conference? Has he had paramilitary training? Sam: You're a damn fool, Jason. (To Coby and Lisa) Come on. Let's go inside, get you kids somethin' to eat. Come on. You're a damn fool, Jason. Jason: By the way, you're welcome for me saving your life! Sam go back in Merlotte's with Coby and Lisa. Jason and Andy leave in Jason's truck. Jason: Can you believe that? What an assh*le. Andy: Welcome to my world, Jason. Scene 6: Lafayette's house - Lafayette, Sookie, Tara, Letti Mae Lafayette and Sookie are outside. Sookie: Don't you at least want to sit down? Lafayette: Nope. Sookie's cell phone rings. Sookie: It's a text from Bill. From five hours ago. Damn it. I'm getting a new phone as soon as Eric pays me. Lafayette: You're working for Eric? Sookie: Mhm. Great. Bill's not coming back until tomorrow. Lafayette: Well, then I guess we better not plan on him saving us. Tara and Letti Mae are in the house. Tara: Mama, you gotta let me go. You keep me here and anything happens to Eggs, you will have destroyed my one chance at true love. Letti Mae: Girl, you don't want true love. True love will rip you open. It'll tear you up. Tara: I will forgive you. For everything. Everything. You know that is a lot. And this is a one-time-only offer. Letti Mae: I can't, baby. I can't. Tara: If you don't, God will judge you. Letti Mae: It's God telling me not to. Tara: It is Satan. That's Satan in your f*ck' Sunday hat. Satan has been telling you he is God for a long time, and you've fallen for it hook, line, and sinker. Letti Mae: That ain't true. Tara: Yes, it is. I see it in your eyes, and it's looking right back at me. Like it has ever since I was born. God, you've never been a real woman of God. You never stepped outside your own ignorance and fear and done something selfless for me or for anybody. Well, God is knocking on your door right now, Mama. It couldn't be more loud and clear. Are you gonna let him in? Letti Mae: Lord God, I take refuge in you. Save and deliver me from all those who pursue me, or they will tear at me like a lion and rip me to pieces and there will be no one to rescue me. Lafayette: What was it like inside Tara's head? Tara: Like there was no limit, like anything could happen and it probably will. And you can feel your insides expanding, but there's also this... this emptying out of everything right at the very center of your being, and you don't want that to ever stop. Ever. Lafayette: Damn, that sound nice. Scene 7: Merlotte's - Sam, Coby, Lisa Sam: Here you go. And more where that came from. Lisa: What's wrong with our mama? Sam: I'm not sure. But I think she's sick. Lisa: Is she blond? Sam: Well, she might be sometimes, but not always. Lisa: Is she gonna die? Sam: No. Not anytime soon. Now listen, has she... has she been sick in front of you a lot? Lisa: She doesn't seem sick. Coby: She seems crazy. Lisa: Is she crazy? Sam: Everybody gets a little crazy every now and then. Lisa: She's always kissin' Terry and doin' other gross stuff when her eyes get weird. Coby: Can we get her a doctor? Lisa: Or someone to make her like she used to be? Coby: Like a vampire. I bet a vampire would know what to do. Lisa: Where's vampire Bill? Sam: I don't know. I think he's... he's still in Dallas. Coby: Don't you know any other vampires? Scene 8: Lafayette's house - Lafayette, Sookie, Tara, Letti Mae Sookie: How's your leg? Lafayette: Better than ever. Sookie: How'd that happen? Lafayette: Eric made me drink his f*ck' blood is how that happened. Sookie: Me too. He tricked me. Lafayette: Somebody need to slap that bitch. Sookie: I have. Lafayette: Look at you. Sookie: Have you had... any dreams... about him? Lafayette: Now, Sook, how would you know that? Sookie: What kind of dreams? Lafayette: It's like he's always in my head. And sex dreams, all kind of nasty and... fantastic. Which freaks me the f*ck out because I hates that f*ck more than you'll ever know. Letti Mae goes outside, crying. Lafayette: hell. What now? What? Letti Mae: I can't stay in there with her, sayin' those things that break my heart. I will keep guard while one of you goes to sit with her. She can't hurt you like me. Sookie: Oh yes, she can. Lafayette: You ain't gonna sh**t yourself. Letti Mae: Show me some respect, boy. I taught you how to sh**t a g*n. When those white boys from your scholl was givin' you trouble. Lafayette: Yeah, but auntie, that was a BB g*n you used to sh**t cats with. Sookie: You sh*t cats? Letti Mae: Only when they went to the bathroom in my yard. Lafayette: All right now. Lafayette gives her the g*n. She points it on him. Lafayette: What you doin'? Letti Mae: Tara, baby, I got the g*n! Sookie: You are not really doing this. Letti Mae: Go unlock the handcuffs. Lafayette: No. Letti Mae: Go! She sh**t in the air. Sookie: Miss Thornton, Lafayette was recently sh*t. He's been... Letti Mae: You go unlock Tara. Sookie: So she can go back to Maryann? You've seen what it's like in there. You've seen that evil. You're sending Tara back in the wood? Letti Mae: I got a chance to win my baby back for real. The Lord works in mysterious ways. Sookie (to Lafayette): Keys? Lafayette: It's... it's in my pocket, but I can't move. Sookie takes the keys and go in the house. Letti Mae: I pity you. Lafayette looks at Letti Mae and sees Eric. Letti Mae (with Eric's face and body): I don't hate you like your mama does. You can't help what you are. But I cannot let you keep me and Tara apart. (Eric's voice) And that's why I'm gonna have to k*ll you. I thought you wanted to be a vampire. You know how you feel with my blood inside you? Well, being a vampire is like that... times a million. Goodbye, sweetheart. We see Letti Mae's face and body again. Tara and Sookie come out. Sookie: What the hell did you do to him? Letti Mae: Nothing. Tara, baby, go! And don't you ever forget I did this for you! Tara: Sookie. I need the keys. Sookie: You are being a f*ck' idiot. Sookie gives her the keys. Tara leaves. Scene 9: In the car - Jason, Andy Jason: You think Sam's ever turned into a dog and then had sex with a lady dog? Andy: Jesus, Jason, you're talkin' about bestiality. Jason: No, it ain't bestiality if there ain't a human involved. Then it's just nature. They arrive in front of the police station. A woman is in her underwear, running and shouting. Andy: Sure don't seem like nature to me. Jason: What the f*ck? Andy: That was Everly Mason. Jason: We gotta fix things, Andy. I ain't lettin' weird shit like this take over my town. No f*ck' way. Scene 10: The police station - Rosie, Jason, Andy, Bud Rosie (on the phone): Really? You dialed 911 and you got me? Oh, honey, you are f*cked. Gotta go. Good luck. Andy and Jason arrive. Rosie: Hey there, Detective Bellefleur. I missed you. Don't you remember me? We almost had sex once. Hey Jason. Jason: Hi Rosie. Rosie: How would you like to get f*cked every which way but north? Andy: Hey. Jason: It's okay, Andy. I got this. You just go get the heat. Andy: Stackhouse! This is a serious operation. Ain't about you getting' your pole wet. Jason: Dude, do not cockblock me. It'll keep her from telling anyone else we're here. Now go. Rosie: I'm gonna turn you inside out, boy. Jason: That sounds like it's gonna hurt. Andy is in another piece. He opens a cupboard. Andy: Jackpot. He takes b*ll*ts. Someone sh*ts in the air behind him; it's Bud. He has black eyes. Bud: Hey Andy. Come dance with me. Come on. (He sings) Andy: Damn it, Bud! You know I hate to dance! Andy takes Bud's arm. Andy: Cut it out! Bud: I gotta take a dump. He leaves laughing. Scene 11: Lafayette's house - Sookie, Lafayette, Letti Mae Letti Mae: Why you shakin' like that? Sookie: Because he is traumatized. Letti Mae: Well, so am i. Sookie (in Lafayette's ear): I'm gonna do something and I'll need you to move fast. Grab the g*n when she drops it. Can you do that? (At loud voice) It's all right. She ain't gonna sh**t you. (To Letti Mae) Would you please at least lower that g*n, Miss Thornton? He is freakin' out. Sookie takes an object and throws it on Letti Mae. Sookie: Run! (Lafayette takes the p*stol) Let's go get Tara. Letti Mae: It's not my fault! She forgave me! Let her go! Sookie and Lafayette leave in Lafayette's car. Scene 12: Fangtasia - Sam, Coby, Lisa Sam, Coby and Lisa are in Sam's car, in front of the Fangtasia. Lisa: Sam, did you know my daddy? Sam: I did not. Your mom... she split up with him before I came to town. I heard about him, though. Lisa: What did you hear? Sam: That... he was... he was a bit of a wild card, with a big personality. Lisa: I don't even know what he looks like. Mama cut him out of all the picture she had. All I know is his name's Duane, and he tattooed Mama's name on his stomach. Sam: Well, he must have loved her a lot, because you know that hurt. Ginger goes to the Fangtasia. Sam goes to her. Sam: Excuse me. (she screams) Nothin' to be afraid of. Just here to see Eric. Ginger: He won't be here till after dark. Sam: Well, obviously. I have two kids with me. Can we wait inside? Ginger: No. I can't let anyone in without his permission. Sam: Not even for a... hundred dollars? Scene 13: In the car - Sookie, Lafayette Sookie: I can hold that for you if you like. Might make it a little easier for you to drive. Lafayette: Ain't nobody gonna point this p*stol but me. Ain't personal. Sookie: Are you okay? Lafayette: Nope. Sookie: Lafayette, I need you to suck it up. I cannot do this alone. Lafayette: I know. Sookie: We just need to get in, get Tara and get the hell out. Lafayette: Yep. Sookie: And if Maryann gives us any trouble, you have to sh**t her. Lafayette: I will. Sookie: I mean it. sh**t her in the head. Scene 14: Sookie's house - Tara, Eggs, Maryann, Arlene, Terry, Jane, Mike Tara arrives. Eggs is in the kitchen, alone. Tara: Eggs? He has black eyes. Eggs: baby. Where you been? I was so scared. Don't you ever leave me again, okay? Tara: I won't. I promise. I love you. We gotta get you out of here, okay? Let's go somewhere else, please. Listen to me. Maryann: But everything you want... is right here. I knew you'd come. Tara: No. I don't know what you are, but I want out. Maryann: It's too late for that. Tara: You made me eat somebody's heart. Maryann: And you loved it. Admit it. Tara: you don't want us. You want Sam. We ain't got nothing to do with it. Maryann: Nothing to do with it? You... summoned me. Tara: What? Maryann: That night in the woods with that unfortunate pharmacist. You saw me. Well, you saw you through me. Flash back Tara in the woods: Tara baby: Mama, please. Don't hurt me. Miss Jeanette: One of you must die. End flash back. Tara: But Miss Jeanette was a fake. She scammed people by making up crazy rituals. Maryann: Ritual is a powerful thing. And calling forth that kind of energy... has consequences. Tara: So... she was real. Maryann: Sadly, no. She wasn't the vessel, but you have to try every option, you know. Tara: Please, just let us go. That doesn't work on me anymore. Maryann slaps Tara. Tara has black eyes. Maryann: That's more like it. Tara and Eggs go upstairs. People come in the kitchen. Someone: Get on in there. Terry: He came. Maryann: What? Arlene: The God Who Comes. Jane: He came! Terry: Yeah, and he smoked old Sam Merlotte but good. Maryann: What are you talking about? Mike: He had horns. And he took Sam Merlotte and he smote him. And then Sam disappeared. Just boom. Gone. Arlene: And then... and Sam's clothes just fell to the ground. Empty. Maryann: You f*cking morons! Out! Get out! They all leave. Maryann: Must I do everything myself? Scene 15: Police station - Jason, Rosie, Kevin, Andy Jason: You ain't got nothin' like grenades, flamethrowers? Rosie: I'll tell you. If you let me blow you. Jason: Rosie, I ain't never taken advantage of someone while she was f*cked up. Rosie: What a liar! I know that Patsy Lyle passed out in the middle of having sex with you. Jason: She was fine when it started. Rosie: Come on. I'm real good at it. Jason: I just wouldn't feel right about it, darlin'. Kevin: Would you feel right about it now? Kevin points his arm on Jason's head. Rosie: sh**t him. I want to see what happens to his head. Jason: No. Kevin: What's the game with the one b*llet in the g*n and you don't know if it'll go off or not? That Chinese f*re drill? Jason: Russian roulette. Kevin: Yeah, that's it. Kevin sh**t but there's no b*llet. Andy arrives. Andy" Kevin, drop it. Now Kevin sh**t on Andy but there's a b*llet. Jason takes the arm from Kevin. Andy (before Jason sh**t): Jason. It's okay. Kevlar. Jason: Cool you get one for me? Andy: Only got the one. Jason: Well, that sucks. Scene 16: The Fortenberry's house - Hoyt, Maxine Television: You know how big this match is. Not only are both of these men champions of their respective brand, I mean, you know... Maxine: Damn. I should have frozen these Snickers bars first. What the hell. It's all gonna melt when I cook it. Maybe I'll freeze it then. Hoyt: Mama, what the heck are you doin'? Maxine: Hot sauce. Hoyt: Oh, God. Nobody's gonna eat that. Maxine: He will. And he is gonna love it. We have to hurry. Hoyt: We ain't goin' nowhere. Maxine: Maryann will remember this day for the rest of her life. I don't have the heart to tell her it's all downhill from here. Hoyt: What the hell are you talkin' about? Maxine: 'Cause there ain't a woman alive who'd go through with it if she knew the truth. Oh Hoyt, you can go ahead and pack that box of chardonnay in the car. Hoyt: Mama. We ain't goin'. Maxine: You are not keepin' me from this. Hoyt: When Daddy died, I promised you I would take of you. Maxine: You were ten. Let it go. Hoyt: I've already let too much bad happen to you. Maxine: You haven't let enough bad happen to me. You know how much times I wanted to go down to Merlotte's and drink myself silly and find some dumb redneck to take to my bed? But no. I had to take care of you. Hoyt: You ain't yourself right now. Maxine: Lordy, boy, you are every bit as big a pansy as your daddy. Hoyt: Daddy was a hero. Maxine: Daddy... was a secret drinker. You want to know what I really think? A closet h*m*. That man just liked to dance more than a normal man should. Hoyt: Yeah, I don't want to hear this. It's just mean. He died protecting me and you from a burglar. Maxine: Daddy put a b*llet in his own head, 'cause he was too weak to handle his responsibilities. I lied and said it was a burglar, 'cause otherwise we'd have never gotten that life insurance money, dumb ass. Scene 17: In the woods - Sookie, Lafayette, Arlene, Terry Sookie: My Gran lived and died in that house, and now it's like people who are the exact opposite of everything she was are... defiling her. I almost got r*ped in Dallas, but this is so much worse. Sookie and Lafayette are in the woods in front of Sookie's house. Lafayette: Don't take it personal, Sook. They ain't themselves, and they're not doin' it on purpose. Sookie: The first time I met Maryann, I knew there was something seriously off about her. She was thinking creepy foreign stuff, and I could tell it wasn't good. Lafayette: You couldn't have stopped her. Sookie: How come there's so much wrong in the world, Lafayette? How come so many people are willing to do bad things and hurt other people? Lafayette: Because they're weak. Sookie: Well, I am not weak, and I am not afraid. I am gonna kick that bitch's evil ass out of my Gran's house and then you are gonna sh**t her. Lafayette: In the f*ck' head. Sookie: Right. Arlene: Hey. Y'all trespassin'. You're gonna have to pay a fine. Arlene and Terry are on the tree. Terry: Yeah. Or go to the brig. They come down. Arlene: The fine is a hundred million dollars and your pants. Terry: I'll take that g*n. Lafayette: Hey, about drugs? Would you take some drugs? Arlene: No, I do not take drugs, thank you. Terry: What do you got? Lafayette: MDMA. Pharmaceutical grade. Terry: You ain't got no oxy? Arlene: Drugs are for losers, baby. Terry: It'll make sex real nice. Arlene: Okay. Give me. Lafayette: How much you want? Terry: All of'em. Arlene: Yeah. 'Cause if a job ain't worth doin' all out, then why order a hamburger unless there's steak at home or somethin' like that, right? Sookie: I don't wait anymore. I'm gonna go in through the back porch. Lafayette: I'll be right behind, soon as I get done with these bugeyed freaks. Arlene: I got a yellow one. Sookie runs through the house. Lafayette: Here, chickie chickie. Here, chickie chickie. Scene 18: Fangtasia - Sam, Eric, Pam, Coby, Lisa Eric: Why should I help you, shifter? Sam: Because I need your help. We need it. And hopefully someday I might be able to give you somethin' you need. Eric: Can you give me Sookie Stackhouse? Sam: No. Eric: That's a shame. That would be a tribute I would not soon forget. Sam: I'm not here to give you tribute, Eric. Eric: No, you're here to request my help based on a hypothetical future in which you return the favor. But you are known to not be friendly toward those like me. Why should I trust you? Sam: Because until somebody starts trusting somebody, we're all single targets just ripe for the picking. Eric: I have no knowledge of this maenad creature, although I suspect it's the bullheaded beast that passed through recently. Right? Pam: That thing owes me a pair of shoes. Sam: So can you help us or not? Eric: I do know someone who might me able to offer something useful. Might... be able to. Coby: Can we see your fangs? Eric: Don't you like vampires, little girl? Sam: Eric! Lisa: Our almost stepdaddy hated vampires, but we don't. Coby: He went on a vacation with Jesus. Pam: You make me so happy I never had any of you. Eric: Oh, come on, Pam. They're funny. They're like humans, but miniature. Teacup humans. Pam (in a foreign language): I hate them. They're so stupid. Eric (in the same language): But delicious. Sam: So can you call this other person who might be able to... Eric: Better yet, I'll go see her. But I must leave right away. Sam: No problem. Eric: I'll walk you out. Pam (in the foreign language): Please get those horrible things out of here. I'll be smelling them for a week. On the parking. Sam: You have my cell phone number. Eric: I'll let you know if I learn anything of use to you. Good night tiny humans. Eric flies. Coby: Wow, he can fly! Sam: Come on, Coby. Let's get you two back to Bon Temps. Come on, get in. let's go. They leave. Scene 19: Sookie's house - Jane, Sookie, Mike Jane is singing. Sookie comes in, in silence. Jane (to herself): Here we go. All done. (She sees Sookie) Lookie here. It's a present. (Jane shows Sookie her finger that she just cut) He loves presents. Sookie goes in the house. There's a young man in her kitchen. Mike Spencer is on the floor. He touches her foot. Mike: Remember when your Gran was layin' here... all bloody and d*ad? Sookie: Of course I do. Mike: Come on down here with me. Mike, Jane and the other man scream. Sookie: It's okay. Sh. It's okay. It's okay. Stop. Mike: Come on. Sookie lies on the floor, next to Mike. Mike: You smell good. Sookie: You don't. Not at all. Mike: Makes me feel more alive bein' in the presence of death, don't it? Well, I guess you'd know that. Sookie: Not as much as you. Mike: How come you let him put his d*ad pecker inside you? It ain't natural and I ain't right. Sookie: I don't think you're in any position to talk about what's natural and right. Scene 20: The queen's house - Sophie-Anne, Bill, Ludis Sophie-Anne: What are you in the mood for? Bill: Nothin' for me, thank you. Sophie-Anne: William, you have to eat before we play Yahtzee. I need you to play your best game. Bill: I only feed from Sookie. Sophie-Anne: Why on Earth would you do that? Bill: Your Majesty, I implore you. If you've told me everything about maenads, then give me leave to return to Bon Temps. Sophie-Anne: Oh, dear. Ludis. Ludis: Your Majesty. Sophie-Anne: Ludis, this is my good friend Bill Compton. Would you allow him to feed from you? Ludis: Yes, of course. Bill: I appreciate the offer, but the... Sophie-Anne: William, you have to at least try him. I insist. Ludis: I will have a sex with you. Bill: That will not be necessary. Bill feeds from Ludis. Sophie-Anne: I love watching two men together. Scene 21: In front of Sookie's house - Lafayette, Maryann, Karl Maryann: Can I help you? Horse nettle. Also known as bull nettle, the Devil's tomato, and my personal favorite, the apple of Sodom. It's quite poisonous. But in the tiniest of doses, a savory addition to any wine-based sauce. Gives it a pungent hint of madness. A little touch of total abandon. Lafayette: Stop! Maryann: And I can tell that you are no stranger... Lafayette: Bitch, I said stop! Maryann: ...to total abandon. Lafayette sh**t but Maryann raises her hand and the b*llet hits Karl and kills him. Maryann: Oh, poor Karl. You didn't really advance much in this lifetime. You cook, don't you? Scene 22: The queen's house - Sophie-Anne, Bill, Hadley, Eric They play with a fourth guy at Yahtzee. Sophie-Anne: I hate threes. Bill: Your Majesty, I really need to leave. Bill stands and begins to leave. Sophie-Anne: Maenads are sad silly things. The world changed centuries ago and they're still waiting for the God Who Comes. Bill: Does he ever come? Sophie-Anne: Of course not. Gods never actually show up. They only exist in human's minds, like money and morality. Bill: If I can't k*ll her, how do I get her to leave Bon Temps? Sophie-Anne: She has to believe that she's successfully summoned forth Dionysus... in hope that he will ravish her, quite literally devour her, until she's lost into oblivion. Bill: So she seeks... death... the true death. The one thing she's evolved beyond. Sophie-Anne: Ironic, isn't it? You know, they're really not that smart, these maenads. Bill: So how does she summon this nonexistent god of hers? Sophie-Anne: I never said he was nonexistent. I just said he never comes. She believes if she finds the perfect vessel, sacrifices and devours part of him or her while surrounded by the magic of her familiars, then her mad god will appear. At that point, when she willingly surrenders herself to him... Bill: That's the only point she can be k*lled. Sophie-Anne (about Bill): He was the smartest boy in class. Bill: The perfect vessel... human? Sophie-Anne: They prefer supernatural beings. Bill: The two-natured? Sophie-Anne: Shifters, yes. And Weres. Fortunately, they show little interest in us. Something about our hearts not beating. But they'll try any other being that straddles the two worlds. Bill: As long as it has a beating heart. Sophie-Anne: You have to remember, they've been trying for centuries. They're constantly improvising their recipes in hopes of finding that one magic element that will make it all happen. Idiots. Excuse me. Hadley, keep our guests entertained, won't you? Sophie-Anne goes to speak to a guard. Sophie-Anne: Really? How interesting. Hadley: How's my cousin Sookie? Bill: She's good. Hadley: Be sure and tell her I said hey. Bill: I don't know. Hadley: How's Gran? I'd love to talk to her sometime, but I owe her so much money. Bill: I think it's best that you are not in touch. Hadley: Oh, I know. There's no place for me in that world anymore. Still think about'em, though. Sophie-Anne: That'll be all. She comes back at the table. Sophie-Anne: Well, seems your friend Mr. Northman is here. Bill: Then it's definitely time for me to go. Sophie-Anne: This alpha male posturing, you two really should just f*ck each other and get it over with. I could watch. Bill: Thank you for seeing me. Sophie-Anne: Enjoy your restricted diet. I do look forward to meeting her. Bill leaves. Sophie-Anne: Yahtzee. On the entry: Bill: What are you doing here? Eric: Hoping the queen can tell me how to kick a maenad's ass. Bill: Now why would you want to do that? So that you'll look like a hero to Sookie? Eric: Oh, Bill. This paranoia, it's really quite unbecoming. Has she... mentioned me? Bill: No. That was really quite desperate of you, tricking her into drinking your blood so that she became attracted to you. Eric: Unlike you who fed her your own blood the very night you met. Bill: How do you know that? Eric: So you're not denying it? Bill: I was saving her life. Eric: Isn't that convenient? Bill: You stay away from Sookie, Eric. Or I will tell the queen that you're forcing humans to sell vampire blood for you. Eric: You wouldn't. Bill: I won't, as long as you never come close to Sookie ever again. Eric: I don't like thr*at, Bill. Bill: Neither do I. Bill leaves. Scene 23: In the truck - Jason, Andy Andy: Why are we parking so far away? Jason: So we can sneak up on them. Element of surprise. Carbs. Load up. You think Sam... could turn into a chicken and lay his own egg? Wouldn't that be weird eating something that just came out of you? Andy: What kind of a perverted brain would even think of something like that? Jason: Why ain't you never liked me, Andy? Is it because how much p*ssy I get? Andy: No. Jason: Because I ain't taking any p*ssy away from you. There is more than enough p*ssy to go around. Andy: It ain't about p*ssy. I just think you've had everything too easy. Jason: What have I ever had that was easy? Andy: You were all-state quarterback. Jason: You think that was easy? I'm starting to have knee issues and I ain't even 30 yet. What else? Andy: Well, yeah, women do just throw themselves at you. You don't even have to do anything. Jason: Yeah, well, actually I do. I work out like a f*ck, and I watch a lot of p*rn to learn stuff. What else? Well, my best friend k*lled my grandma and my girlfriend. I come from no money. My mama, my daddy: died when I was 11. Andy: So did mine. Jason: Your daddy died in Vietnam, but your mama ran off with some Yankee race car driver. You may hate me, Andy Bellefleur. You may think you're better than me, and maybe you are, but you and me are the ones who have received the calling to save this town. So obviously God wants us to bury the hatchet. Andy: It's all up to us, ain't it? Jason: It is. And we can't f*ck it up. Andy: We won't f*ck it up. Jason: Because this town might be full of crazy rednecks and dumbasses, but they're still Americans, Andy. Andy: And that used to mean something. It still does. They go down of the truck. Jason: g*n. Bandoleer. Let's go. Scene 24: Sam's house - Sam, Bill Sam is outside, alone when someone appears in front of him. It's Bill. Scene 25: Sookie's house - Sookie, Mike Mike: Funny thing is, I've always hated blood. Yeah, I never wanted to be a coroner or a undertaker. I wanted to be a DJ or a boat captain. Sookie: Mike, enough with the foreplay. Let's just... let's just do it already. On one condition. I have to be on top. Mike: Fine by me. That's better for my back, anyway. Sookie sits on Mike and hits him then run away. She goes upstairs. Voice of a man: I want me some of that. Show me how you cam shale your moneymaker. That's it. Sookie opens a room's door. Sookie: Tara? There's a man wearing her dress. Man: Too much? She closes the door. Sookie: Way too much. She enters in another room. Tara and Eggs are breaking everything. Sookie: Stop! What are you doing? Eggs: Oh, tear it up. It's paid for. Sookie: That's Gran's! Tara: No, I need it for the nest. There's a giant egg on the middle of the bed. Someone put his hand on Sookie's shoulder. It's Lafayette. Lafayette: Where you been at? (He have black eyes) I was looking for you. Sookie screams.

{"type": "series", "show": "True Blood", "episode": "02x11 - Frenzy"}

foreverdreaming

Scene 1 : In the woods - Bill, Cooter, Russell, Louie Louie: My ear. My f*cking ear. Bill: You're next. A man arrives on a white horse; it's Russel Edington. Russell: Heel. Bill: Your Majesty. Russell: I said escort him, not hunt him like an animal. Cooter: He is a g*dd*mn animal. He k*lled three of us, ripped off Louie's ear. You're about to get d*ader, d*ad-ass f*ck. Russell: Cooter. Back off. Bill: Cooter? Heh-heh. Seriously? Cooter: Call me that again. I f*cking dare you. Russell: Coot can be a little sensitive about his name and the evisceration of his friends. For future reference, Coot, I'm not a fan of improvisation. When I give you an order, I expect it to be followed exactly. You understand? Cooter: Mm. Bill: These wolves do your bidding? Russell: Well, unfortunately, not as well as I'd hoped. I'm terribly sorry, Mr. Compton. Bill: You're sorry? Your Majesty, you've had me abducted by werewolves. Dragged across state lines. They took silver to me, fed on my blood. Russell: You drank from my guest? Mr. Compton, join me at my home. I will explain everything. That was an order. Scene 2: Lafayette's house - Lafayette, Tara, Letti Mae Lafayette: Tara, what--? What are you doing? Open your mouth. Open up your g*dd*mn mouth. I ain't playing. Open your mouth. Spit it out. Spit it out. Letti Mae: What are you doing to her? Lafayette: Saving her life. Letti Mae: Sweet Jesus. Lafayette: You're too busy praising Jesus to realize your daughter trying to move in with him. Letti Mae: Tara Mae, no. You can go to hell for this, baby. Please, Lord, forgive her. Lafayette: Oh, will you move the f*ck back? Get out of the way. With a mother like you, it's a miracle she ain't tried this years ago. Letti Mae: Where are you taking her? Tara No. Let me go. Letti Mae: I'm going with you. Lafayette: You failed this girl for the last time, you hear me? Now get the f*ck up out my way. Scene 3: Fangtasia : Eric, Sookie, Pam, Jessica, Godric Sookie: It stands for Operation Werewolf, some kind of secret n*zi commando force from World w*r II. Eric: You found this branded on a d*ad man's neck? Sookie: Bill summoned Jessica there. He was trying to show us who kidnapped him. Jessica: Yeah, n*zi werewolves. Sookie: That d*ad guy was strong and fast enough to take Bill. He had to be something supernatural. I was hoping you could tell us more. Eric: Never seen it before. Sorry. Sookie: Why do I get the feeling you're bl*wing me off? Eric: He speaks in a foreign language to Pam. Pam: Let's go to the lad*es' room and stare at ourselves in the mirror. Pam and Jessica leave. Eric: Here's what I know about werewolves: There's a reason their existence has remained a myth to humans for thousands of years. They're territorial, vicious, pathologically secretive. Sookie: Boy, does that sound familiar. Eric: And here's what I know about you: You're so blinded by your obsession with Bill Compton, you're likely to run through the streets screaming "werewolf bait," alerting whoever has Bill that we're onto them or getting yourself k*lled. Sookie: You think I'm that stupid? Eric: No, I think you're human. Sookie: Don't underestimate me. Eric: Don't underestimate yourself. Your life is too valuable to throw away. In the bathroom: Jessica: So, Pam, when you're feeding on someone, how do you not k*ll 'em? Pam: Bill didn't teach you that? Jessica: Bill doesn't want me to feed on people. And now he's gone and... Pam: It's in the heartbeat. You feel it in the blood. Jessica: Yeah? Pam: And when it slows, you stop. Jessica: Yeah, but how do you stop? Pam: I think about crying children with soggy diapers. Also maggots. Jessica: Well, let's say... that you did k*ll somebody by accident. What would you do with the body? Back to Sookie and Eric. Eric: You have no connections in the were community. They're not gonna answer your questions. They don't even want youto know they exist. Sookie: Bill's out there somewhere in danger. I can't just go on with life like that's not happening. You know that, maybe better than anyone. When Godric went miss— Eric: Bill Compton is no Godric. Sookie: But he's everything to me. Sookie begins to cry. Eric: Please don't do that. It makes me feel disturbingly human. Sookie: I risked my life to help you find Godric, and I don't expect you to do the same for Bill, but at the very least, I hope you'll help me if you can. Jessica: Sookie, you gotta get me home before dawn. Sookie, Pam and Jessica leave. Eric remembers a night with Godric in Germany in 1945: Eric (in Swedish): It's here Godric. I feel it. Godric (in Swedish): Wait. A sold*er comes in. He finds a naked girl crying. Girl (in german): Help me. Sold*er: It's going to be all right. I won't hurt you. She turns into a wolf and k*lls him. Eric and Godric come down. Girl (in German): We're on the same side you fools. Eric sees the mark of Operation Wewolf on her neck. Eric (in German): No, we're not. Back to reality. Scene 3: Russell's mansion - Russell, Talbot, Bill Talbot: You're late. Russell: Talbot. William Compton. Talbot: Welcome to Mississippi, Bill. Sorry I'm not dressed, but we were expecting you last night. Russell: There were complications with his escort. Talbot: f*cking werewolves. Let's show you to your room, get you all cleaned up, huh? Bill: My room? Your Majesty, you promised me an explanation. Russell: And I have no intention of letting you leave without one. Talbot: I just redecorated the guest room. Wait till you see the bed, Bill. It's marvellous. It once belonged to Countess Elizabeth Bathory, Hungary's legendary serial k*ller. Rumour has it that she loved to t*rture virgins and bathe in their blood. Now, be careful at the door, Bill. It's 100 percent sterling silver from Morocco. It's light-tight, of course. Bathtub's through there. And if you need anything, anything at all, someone will always be right outside of your door. Just ring the little bell. Bill: You're only making matters worse for yourself by holding me c*ptive. Russell: Oh, no one's holding anyone c*ptive. We're, uh-- We're conducting business. You're a guest in my home. Bill: Guests are invited. Guests can leave of their own accord. Russell: And once you've heard my proposal, so can you, if you choose. Talbot: Enough business. Time to rest. You had the bleeds twice this week. Russell: We'll talk over dinner. Talbot: So nice to meet you, Bill. Enjoy the bed. Talbot and Russel leave. Talbot: He's a challenge. Russell: I think I'm gonna have to bring in the girl. Talbot: Hm. Scene 4: Lafayette's car - Tara, Lafayette Tara: I threw up all the pills. I'm okay. I don't need to go to the hospital. Just pull over, please. Lafayette: Bitch, you tried to k*ll yourself. Tara: I didn't plan it. I just saw the bottles, and I thought, "Enough." I deserve some peace. Lafayette: And I deserve to plan your f*cking funeral? Spend the rest of my g*dd*mn life blaming myself? Tara: I'm sorry. If you take me to the hospital, they're gonna lock me in a padded room pump me full of drugs, and force me to tell them what happened. Lordy. And if I tell them about Eggs and Maryann, they'll throw away the key. Lafayette: Eggs would want you to live, Tara. Tara: Eggs doesn't want shit. Eggs is d*ad. The one time in my entire life I thought I was happy, I was a f*cking zombie. What the hell is wrong with me, Lafayette? Lafayette: Life ain't not having problems, Tara. It's about being able to deal with the ones you got. Tara: Well, obviously, I can't. Lafayette: You can and you will, if I gotta drag your narrow ass through this world kicking and screaming. Look, the Buddhists weren't lying when they said life is suffering. It don't mean you get to check out early and leave me here. Tara: What are you doing? Lafayette: First I'm gonna get some food in you. Second, there's something you need to see. Scene 5: Bill's house - Jessica, Sookie, Hoyt Sookie: You want me to stay here? I feel weird leaving you all alone. Jessica: I'm a vampire, Sookie. I don't need-- (She sees Hoyt) I don't need a babysitter. Sookie: Of course you don't. Jessica: Be gentle with him. And if you feel anything from Bill-- Jessica: I'll call you. Sookie leaves. Jessica: What are you doing here? It's almost dawn. Hoyt: B-positive. Thought you might be hungry. Jessica: Hoyt, you can't keep showing up, leaving stuff at my door. Hoyt: Now, listen to me.If there's one thing that I learned from this whole thing with my mama, it's that I gotta take better care of you. You couldn't control yourself. Be like if I hadn't eaten and people were walking around with hamburgers on their necks. Jessica: No. That's not what it's like at all. You don't know what it's like. You never will. Biting people, getting so mad that I do bad things by accident, that's in my-- It's in my nature. Hoyt: Wanna know what's in my nature? Running back to my mama and doing anything that she tells me for the rest of my life. I ain't gonna do it. We can fight our natures together. Jessica: It's too late. Hoyt: Don't say that, Jessica. I-- She goes in the house. Behind the door, she cries. Hoyt cries too and leaves, angry and sad. Scene 6: Sookie's house - Sookie, Jason Sookie arrives home. There's someone in the kitchen. Sookie: So gross. Jason: Oh! God. Unh! My family junk. Oh, Jesus. Sookie: Oh, Jason. I'm sorry. I-It's 5 a.m. What are you doing eating my chicken in the dark? Jason: I couldn't sleep. And, um, well, I just kept thinking about how Gran would be doing handstands in her grave if she saw her-- Ugh. Her house like this. So I thought I'd come and clean up, and-- And then I got hungry. I figured you'd be with Bill. (Sookie begins to cry) What did I say? Later in the morning: Jason: There's werewolves? Sookie: Yes. Jason: Holy shit. Bigfoot? Is he real too? Sookie: I don't know. I guess it's possible. Jason: Santa? Sookie: Jason, focus. Jason: Uh, yeah, sorry. Well, what can I do to help? Sookie: Nothing. Apparently, that's what I'm supposed to do too, which is totally impossible. Every sound I hear, every time the phone rings, every shadow, I think it's Bill. I keep expecting him to come through the door and say, "Sookie." Jason: Let me talk to Andy. I won't tell him the whole werewolf part but maybe there's something he could do to help. Sookie: Andy Bellefleur? Jason: Yeah, we went through some pretty intense shit together during the whole Maryann thing. Sookie: What kind of shit? Jason: I don't know. I don't remember half of it. And don't even think about reading my mind, because I just wanna put all that behind me. You heard about Eggs. Sookie: I helped him remember things. That's why he went after Andy and got himself k*lled. Jason: Yeah, that wasn't your fault, believe me. Sookie: Well, tell that to Tara. I don't think she's ever gonna forgive me. Maybe I deserve that. Jason: Well, you were just trying to help. It's the thought that counts. And, uh, Tara's tough. She'll get through it. Sookie, you just need some sleep. Let me worry about Bill for a while. Sookie: Thanks, Jason. Jason: It's just you and me now. Well, you're gonna marry Bill, and now it's you, me and Bill. Scene 7: The Mickens - Sam, Tommy, Joe Lee, Melinda Sam in sleeping in his car when Tommy points a g*n at him. Tommy: Don't move. Get out of the car. Sam: Which is it? Don't move or get out of the car? Tommy: Come on. They go on the house. Tommy: Hey, Mama! Joe Lee. Melinda: Oh. Quit hollering. Melinda: It's too dang early. Who the hell are you? Joe Lee: Who the hell is he? Sam: My name's, uh, Sam Merlotte. Tommy: That's the guy I told you about, the one asking all the questions. Found him spying outside. Sam: Spying? I was sleeping. All right? Put the g*n down. I'm not here to hurt nobody. Joe Lee: You from Collections? Because I put that check in the mail yesterday. Melinda: Merlotte. That name's familiar. We met before? Sam: Thirty-four years ago. Melinda: Tommy, put the g*n down. Tommy: What? Melinda: Put the g*n down. (To Sam) It's you. Sam: Yeah. Melinda: It's really you. Tommy: It's really who? Who is he, Mama? Scene 8: Merlotte's - Sookie, Terry, a man Sookie arrives and parks in the parking. She hears a man's voice. Man: Grab her, knock her out. Be back in time to watch Let's Make a Deal. Sookie sees a man in the woods. Terry arrives. Terry: Morning, Sook. You okay? Sookie: Did you just see someone here? Terry: No. Usually when I see things other people don't it's because I ain't taking my medication and I... The man disappeared. Sookie: Come on out, you big coward. What have you done with Bill? Terry and Sookie are in the woods where the man stood. Terry: Motorcycle boot. Size 10. Now, that's just weird. Sookie: What? Terry: Tracks end here. Which don't make a lick of sense unless he turned himself into a bird and flew away. Sookie: Or a wolf. Terry: Yeah. Panther or coyote maybe, but I ain't never seen no wolves in these parts. Sookie: Until now. Scene 8: Meadowglde Clinic - Tara, Lafayette, Ruby Jean, Jesus Tara: Jesus Christ. Lafayette: Tara, calm down. Tara: What the f*ck, Lafayette? You drive me two and a half hours to show me something and you take me to a f*cking nuthouse. How could you, Lafayette? You can't commit me against my will. Lafayette: Ain't nobody f*cking committing you, but if you don't chill out quick, somebody might change their mind. (To the person at the front desk) Hi. Um... We're here to see Ruby Jean Reynolds, please. Woman: Let me check. In a room: Jesus: Just one bite. Come on. Come on, Ruby. You come on. You gotta eat something. Come on, give me some. Why do you always do this? Lafayette and Tara arrive. Jesus: Can I help you? Ruby: Oh, that's just my son, Lafayette. Lafayette: Hi, Mama. Jesus: You told me your son passed away. Ruby: He did. God k*lled him because he's a f*g. But he keep coming back. Ruby: Hey. Ruby: This is Jesus. He's a Mexican, but he ain't r*ped me yet. Lafayette: I'm sorry. Jesus: Don't worry. I'm used to it. Nice to meet you Lafayette: Lafayette. This is my cousin, Tara. Jesus: Hi, Tara. Tara: Hi. Jesus: I'm glad you're here. I've been taking care of your mother for six months. I think you're the first visitor she's had. Ruby: Don't listen to him. People just keep coming and going. They coming and going, baby. What you want with me, Lafayette? Wish to hell they'd leave me alone. Jesus: Listen, if you can get her to eat something, you'd be my hero. Ruby: He spits in my food through them rotten-cheese teeth. w*tback. Lafayette: Oh, my f*cking-- Jesus: Nice to meet you. Jesus leaves. Lafayette: Mama, you remember Tara. Ruby: God k*lled you too. Tara: Almost. Scene 8: Police Station - Andy, Jason, Journalists, Bud Andy: Well, that's my job. I was just doing what I had to to protect myself, but I ain't no hero. Journalist: Detective Bellefleur, in addition to being s*ab, the victims were also clawed by an animal. What kind of animal was that? Andy: Well, that's a good question. (Jason arrives) And, uh, I'm sure Sheriff Dearborne would love to answer it for you. Journalist 2: Detective... Can I get one other question? Bud: Ahem. Uh... We're still working on that. We're not sure if the suspect trained the animal. Andy: Hey, what are you doing here, Stackhouse? Jason: Wow. All these reporters, they're here for you? Is this because of Eggs? Andy: No, it's because of me winning the Miss America Pageant. Thought I told you to lay low. Jason: I need your help with something. Andy: Ain't I done enough for you already? Jason: Hey, I was trying to save your life. Andy: Now I'm trying to save yours. Jason: Listen, I'm sorry. I know I shouldn't be here, but Sookie, she's trying to blame herself for k*lling Eggs. Andy, we gotta make this right. We gotta make it right. Andy: Okay. Journalist: Yeah, but, sheriff... Andy: Hey, how about a second lunch? Scene 9: Merlotte's - Sookie, Terry, Arlene Terry: Won't he come looking for his clothes? Sookie: I'll bet he'll come looking for more than that. Terry: I'd feel a lot better if you let me call Andy. Sookie: I've already got somebody on it. He's a sheriff and a vampire. Listen, Terry. You can't tell anyone about this. Okay? Arlene's voice: Could I get help here? Sookie: This guy is my one sh*t at finding Bill. Terry: I'm not so good with secrets. Sookie: I think you're a lot better at things than you give yourself credit for. Arlene arrives. Arlene: I've been out there hollering for help for 10 minutes. Terry: I'm sorry, darling. I didn't hear you. Let me get that. Arlene: No. I can do it all by myself. Just like I do everything else. Arlene leaves. Terry: Would you mind telling Arlene how I'm good at things and all? Sookie: Sure. But if you want my advice, tell her yourself. You wait to tell people how you feel about 'em, you never know what can happen. Terry: Sookie, hold up. You know how to use one of these? Sookie: I ain't that blond. Thanks, Terry. Terry: I... I've always liked you, and I'd miss you if you got k*lled. Just so you know. Scene 9: Micken's house - Sam, Tommy, Melinda, Joe Lee Melinda: I was 16. Your daddy was doing 12 years in prison. Joe Lee: For a crime I didn't commit. Your mama didn't even tell me about you till after she gave you away. Melinda: I didn't know what else to do. The Merlottes seemed like good people. They had money and a big house. They said they could give you a better life. Did they? Did you have a good life, Sam? Sam: Till I was 15. Tommy: What happened when you were 15? Sam: I think y'all know. Was that the real reason you gave me away? Because of what I am? Melinda: I knew there was a chance, but your daddy's regular. And I prayed and I prayed that you'd turn out like him. Joe Lee: Why would you pray for that? What you are is special, son. You got something extra in you. You should be proud of that. Sam: Is that right? Because what, uh, being special has meant to me is walking this world alone, not knowing what the hell I am, why I am this way. Melinda: Sam, Joe Lee may be married to a shifter and raising another, but there ain't no way he can understand what it's like to be one. I am so, so sorry you had to go through that all alone. Sam: I am too. Tommy: What about no one telling me my whole damn life I had a brother? Anybody f*cking sorry about that? Joe Lee: Boy, don't use that tone with us! Melinda: Joe Lee, calm down. Tommy: Welcome to the family. You can have them. Scene 10: Clinic - Tara, Lafayette Tara: Why didn't you tell me? Lafayette: She made me promise not to. Didn't want nobody seeing her like this. Tara: But six months, Lafayette? Alone in this place? Even she don't deserve that. She don't deserve it. Lafayette: You know how much it costs keeping her here? More than two legal jobs' worth, that's how much. I mean, the only reason why I'm paying, because I hate her raggedy ass so much, I don't wanna take care of her my g*dd*mn self. Tara: If that were true, you would've left her to the state, or on the street where you found her. You think I can end up like her. Lafayette: There's some darkness in this family, Tara. My mama, your mama. But they ain't strong enough to b*at it. We are. We've been f*cking fighting tooth and nail to survive this bullshit our whole life, and I ain't letting you give up now. Tara: Okay. I get it. Lafayette: You promise? Tara: Promise. Lafayette: All right, now let's get the f*ck up out of here. It stink in here. But, hooker, if you ever try to pull the shit you pulled last night again, I swear, your ass is gonna get a room next to Ruby Jean. And I'm gonna make sure the f*ck spooning your peas ain't half as hot as Jesus. Is you feeling me? Tara: Yeah, I'm feeling you. Lafayette: And we clear? Tara: We clear. Lafayette: We got it. Tara: We got it. Lafayette: All right, now. Scene 11: Micken's - Tommy, Sam Sam: 1958 Plymouth Fury. You know that's the same car they used in Christine? Stephen King? Horror movie? Tommy: Yeah, you think I don't know that? Probably think I can't even read. Sam: Hey, I didn't say that. Tommy: I bet they sent you to one of them fancy f*ck schools, didn't they? I'd give anything to be adopted, grow up with rich, normal parents instead of these freaks. Sam: Would you, now? Tommy: Yeah. Sam: Well, they weren't rich, and they weren't so normal either. When they saw what I was, they walked out on me. Tommy: I'm supposed to feel sorry for you now? At least you had 15 good years. Sam: Did you know you were gonna shift? Did they tell you what to expect? Yeah. Would've much rather had that than what I got. Tommy: Oh, you've known them a couple hours, and all they did was coo on you and cry. You got no idea what you're talking about. Sam: Well, I didn't realize this was a "whose life is more f*cked?" contest. If it means that much to you, you win. Look, I got no idea how to deal with this whole family thing. Never imagined I had a brother, something like that was even possible. All right, I'm not here to take anything away from you. Tommy: Yeah, well, good, because I ain't got nothing to take. I need to run, cool down. Sam: Care if I join you? Tommy: No. Don't care. I used to get in a lot of fights. After you. Scene 12: Bill's house - Jessica, Woman on the phone Woman on the phone: Bon Temps Hardware. Jessica: Hi. Do you carry chain saws? Woman: Yep. Jessica: Yeah? How much are those, huh? Woman: Two sixty-eight twenty-two. Jessica: How much? Woman: Two hundred and sixty-eight dollars and twenty-two cents. Jessica: Uh, can I rent one of those for the night? Woman: Uh-huh. Forty-nine ninety-five. Jessica: Awesome. Thanks. Thank you. Scene 13: Russel's Mansion - Talbot, Russell, Bill Talbot: Chilled carbonated blood. It's cruelty-free, all willingly donated. Note the citrusy finish. This one ate only tangerinesfor weeks. Russell: Mr. Compton, thank you. It is an honor to have you in my kingdom again. Bill: Your Majesty has been very hospitable. Perhaps my queen will take this into consideration before she has you staked. Russell: If staking vampire royalty were a viable option trust me, you would not be sitting here. Bill: Why am I? Russell: I wanna make you sheriff of Mississippi Area 2. The world's only cactus plantation. Bill: You didn't kidnap me and drag me across state lines just to offer me a job. Russell: Oh, you're too hung up on state lines. Those lines will soon cease to exist. Bill: You're waging w*r against the queen of Louisiana? Russell: w*r? Heh. How barbaric. Look, vampire politics may be med*eval, but I'm not. Talbot: Excuse me, gentlemen. I need to drain the second course. Carlo, bring me that Thai boy. Talbot leaves. Russell: I mean Sophie Anne no harm. In fact, just the opposite. I intend to marry her. For the moment, she says no. But a queen is entitled to change her mind. Bill: And how will you make that happen? Russell: With your help, of course. Scene 14: Merlotte's - Andy, Jason, Man, Reporter Andy (on tv): Well, that's my job. I was just doing what I had to protect myself, but I ain't no hero. Reporter: The citizens of Bon Temps may beg to differ. Jason: Andy. Man: TV star. Jason: I mean, detective. Detective Bellefleur, you are a real-life, honest-to-Jesus hero. You're the wind beneath my wings, man. Andy: Stop it. You are embarrassing me. Jason: Well, you got nothing to be embarrassed about. You sh*t the bad guy. Right in the head. Everybody loves you. Andy: Well, what do you want me to do? Stand up and tell them all the truth? You'll go to jail. Jason: Maybe that's where I belong. I keep trying to do good all the time, but all I ever end up doing is just hurting people. Andy: You're a good guy, Stackhouse. You got a lot of heart. You're prettier than most girls. If you just applied yourself right, you could accomplish almost anything. Jason: You really think so? Andy: Why else would I be babysitting your drunken ass, making sure you don't piss your entire future away? Jason: I love you, Andy. You're my best friend. Andy: Now, that's just sad. Scene 15: In the woods - Tommy and Sam The are running in their animal form. A car hits Sam. Tommy leaves him alone naked. Scene 16: Bill's house Somone goes to Bill's house and finds a file that contains information on Sookie and her family. Scene 17: Sookie's house - Sookie, Eric, Godric, Woman Sookie is in her house when she hears noise from outside. Eric: Hello, Sookie. She opens the door. Eric: They came for you. Sookie: Just one. This morning. He took off before I could get anything out of him. That why you're here? Or do you know something about Bill? Eric: I lied to you. Flash back in 1945: Eric (in German): Who is your master? Who is your master? Woman (in German): Give me your blood. I will tell you. Godric (in Swedish): The blood is sacred. Eric gives her blood. Eric (in German): Who is your master? Woman (in German): He is one of you. She jumps on Eric and tries to k*ll him but Godric stops her and k*lls her. Godric (in Swedish): A vampire is never at the mercy of his emotions. He dominates them. We will find him. Patience. End flash back. Sookie: You and Godric were in the SS? Eric: We posed as whatever would help us in our search. Sookie: But you were hunting the n*zi werewolves? Eric: The symbol is runic. This, uh, pack dates back a lot farther than the n*zi Party. Sookie: So they aren't n*zi? Eric: No, they're much more than that. These are not ordinary werewolves. They're organized, well-funded, highly trained, and fuelled by vampire blood. Sookie: Why didn't you tell me last night? Eric: The big question is why am I risking everything to tell you now? My loyalty is not to Bill. In fact, it would advantageous for me in numerous ways if he were never found. But... Sookie: But? Eric: Now they're coming for you, and I owe you. Sookie: When you say you were risking everything to tell me, what did that mean? Eric: The goal tonight was to keep you out of danger, not put you in more of it. Sookie: Eric, you can't just say something like that and then leave. Eric: Oh, I'm not leaving. You're going to invite me in so I can protect you. Or have passionate primal sex with you. How about both? Sookie: You're not gonna distract me by talking nasty. Eric: I already have. Eric: So... are you going to invite me in? Sookie: I'm still Bill's. Eric: So you are. Scene 17: Russel's mansion - Talbot, Russell, Bill Talbot: Warm blood bisque infused with rose petals. Russell: Mm. There's a lot of natural gas to be had in Louisiana. I enjoy the music. Frankly, I've outgrown my sandbox. Sophie Anne is a delightful eccentric. Talbot: Please, she's as madas a monkey on a trike, and she has been for centuries. Russell: Talbot. We don't need to say everything we think. For a number of reasons, she's incapable of managing her queendom. Take you, for example. She has one of the most promising young vampires in the country under her command, and she sends you to where? Bon Temps. What a waste of talent. Bill: She didn't send me to Bon Temps. It was my home before I was made. After the Great Revelation, I chose to go there to mainstream. Russell: You expect me to believe she'd allow you to move to a tiny town in the middle of a swamp and date a waitress? I know you're still working for her and I know she has secrets, and I wanna know what they are. In return, I'll make you sheriff of Area 2. Bill: Perhaps Your Majesty is using werewolves to gather his intelligence as well. Talbot: Ouch. Bill: There's clearly been mistake. I am not the vampire you are looking for. I am not privy to the queen's secrets, nor do I have any interest in being your sheriff. I'm sorry to waste your time. Russell: Poor Sookie. Such a shame she has to pay the price for your stubbornness. Bill: You leave Sookie out of this. Russell: You're in my house, Mr. Compton. Put your fangs away. Scene 17: Merlotte's - Tara, Lafayette, Terry, Arlene, Franklin Lafayette: I'm sorry if it's hard on you being here, but I gotta work, and I am not leaving you alone. Tara: It's hard being anywhere right now. Might as well be here. Lafayette: Love you. Arlene: How long you been standing there? Terry: Little while. You sick? Because of my shrimp again? Arlene: No. Terry: Good. Now, I know Coby and Lisa are part of you, and maybe you think I'm not the kind of person you want around them. But-- But I made a list. Arlene: A list of what? Terry: Ten reasons why you can trust me with your kids. Number one: I'm a nurturer. I found a baby armadillo by the side of the road and I nursed it. Now it sleeps under my bed, and its name is Felix. Number two: I have a diploma from anger management, where I learned talking about your feelings is the manly thing to do. Number three - - Number three: I never k*lled nothing by accident. Arlene wants to vomit. She goes back to the bathroom. Terry: Number four... At the bar: Franklin: Busy night? You the only waitress? Tara: Actually, I'm a bartender, and I ain't working tonight. Franklin: Then what are you doing here? Tara: Honestly? Trying not to k*ll myself. Franklin: And how is that going for you? Tara: Well, I'm still alive. Franklin: Makes one of us. You got any of those Tru Bloods? Tara: We only got the B-positive, and the microwave's busted. You a friend of Bill Compton's? Franklin: No. Are you? Tara: Not really. Scene 18: Bill's house - Jessica Jessica arrives. She opens the trap where she sleeps but Hank's not there. Jessica: What the f*ck? Holy shit. f*ck. Scene 19: Merlotte's parking lot - Andy, Jason, Rosie, Kenya, Kevin, Calvin, Crystal Jason: Andy, I'm telling you, I can walk in a straight line. Look. Andy: Mm-hm. Like a f*cking arrow. I ain't letting you drive like that. Get in. Jason: Well, this is fun. I ain't never been in the front seat before. Rosie (over the radio): Detective Bellefleur, we've got a 586 in progress in Hotsh*t. Andy: Uh, Rosie, you realize a 586 means illegal parking? Over. Rosie: Oh. I could have sworn that's what Kenya said. Anyway, they're busting a meth lab, whatever the code is for that. Over. Andy: Wanna take a drive? They arrive at Hotsh*t. Jason: Huh. I ain't never been to Hotsh*t. Andy: Nothing to write home about. Kenya: Andy, you ain't even on duty. What are you doing here? But more importantly, what is Jason Stackhouse doing here? Kenya: Take two, one-- Andy: Stop it. You stay in the car. Jason: Staying in the car. Andy: This is my town, Kenya. And whatever happens in my town concerns me. Kenya: Quit speechifying. There ain't no cameras here, you damn fool. Kevin: You sure did sound smart on the TV, Andy. Calvin: There a problem here, officers? Kenya: Calvin Norris, we got a warrant to search your property. Calvin: What for? Andy: Kenya. Calvin: Get off my land, you f*cking pigs! Kevin: Stand back, sir. Calvin: Don't tell me what to do. You got no right to be here. Kevin: Calm down, Mr. Norris. Calvin: f*ck you. Kevin: I'm an officer of the law, and you are not allowed to say that to an officer of the law. That's the law. Andy: In there. Inside. I see him. Kenya: Stop. Andy. Andy! Jason sees a woman in the woods. Jason: Hey. Are you all right? Andy: g*dd*mn it, stop! Sheriff's Department. Stop! She leaves. Andy sees a man escaping; he stops him. Jason: Hey, I got one. I got me a drug dealer. Scene 20: Merlotte's parking lot - Tara, two man, Franklin Man 1: Whoo. Big night. Whoo! Man 2: Hey, hey. Just ride on that shit. f*ck that shit. Man 1: I'll ride that shit like a pony. Hey, this is where it happened, dude. Andy put that serial-k*ller n*gg*r down right here. Man 2: Oh, shit. Hey! Shit. It's the freak's girlfriend. Tara: His name was Eggs, you r*cist piece of shit. Man 1: Well, you're the one who went and f*cked a k*ller, bitch. Franklin: Apologize to the lady. Man 2: Serial k*ller weren't enough for you? Now you gotta go f*ck a g*dd*mn vamper too? Franklin: I said, apologize to the lady. Man 2: f*ck you. Scene 21: Russell's Mansion - Talbot, Russell, Bill, Lorena Talbot: Blood gelato. Bill: Sookie has nothing to do with this. She's innocent. Russell: We know that you love her, that you've k*lled for her. And from the look in your eye, I can see you'd do it again if you thought that would save her. Talbot: So romantic. Lorena: It's not romantic, it's delusional. Russell: Lorena. Oh, good*e. Talbot: I'm just in time for dessert. Bill throws a light on Lorena. She burns. Scene 22: Sookie's house - Sookie, Eric EricL To have and to hold, to love and to cherish, to blah, blah, blah, blah, blah, until d*ath do you part. Doesn't bother you that you'll be the only one dying? Sookie: I'm not gonna talk about this with you. Eric: Okay. So you'd really rather stay out here all night than invite me in? Sookie: One minute you lie to me, the next minute you ask me to trust you. You do something generous and selfless, and then you follow that up with something nasty or downright cruel. Eric: Invite me in. Sookie: You can't bully your way into-- Eric: Invite me in now. Sookie: Mr. Northman, will you please come in? They are in the house. There's a wolf. Sookie sh*ts.

{"type": "series", "show": "True Blood", "episode": "03x02 - Beautifully Broken"}

foreverdreaming

Scene 1: Sookie's house - Sookie, Eric, biker Sookie sh**t on the wolf but Eric receives the ball. Sookie: Eric! Wolf in his head: Holy shit. V. Eric: Stay back, Sookie. Don't sh**t him. He knows. Sookie: He knows what? Eric: Who do you work for? Biker: Give me a taste, f*ck. Come on. Eric: Who sent you? Biker: I-I can't--I can't talk. Eric: For the last time: Who is your master? Biker in his head: Think you can mad-dog me, you f*cking fanger? You got nothing on Jackson. Biker: If I tell you, I'm as d*ad as you are. You might as well k*ll me now. Eric: As you wish. (To Sookie) Oh. I got your rug all wet. Heh. Scene 2: Russell's house - Russell, Talbot, Lorena, Bill Russell: Oh, Lorena, Lorena. Oh, dear. I'm so sorry. Lorena: I'm fine. Russell: Come here. Lorena: I'll heal in a minute. Talbot: The Celtic tapestry was a gift from the lord of Glyndyfrdwy in 1387. Russell: We'll find a way to clean it up. Talbot: Hm. Russell: Or we'll put a planter or two in front of it and we'll hide the burn marks. Really, it's like Armageddon in here anytime someone chips a dessert glass. Okay, now if everyone could please leave me alone with Mr. Compton. We could all use a moment to let, um, cooler heads prevail. They all leave. Russell: This may be difficult for a Louisianan to understand, but in the kingdom of Mississippi, our appetite for unprovoked v*olence is nil. Fangs. You know, it was Miss Krasiki who recommended you. If we are to be working together, I suggest you learn to get along. Bill: You do Lorena's bidding now? Russell: Oh, that's what she thinks. But given your privileged standing with Queen Sophie Anne I'd rather have you for my own. Bill: Whatever lies Lorena has told you, she has motives of her own. Russell: I am well aware. She really is quite unsophisticated for someone so old. Do you know that she wanted me to make you watch while she k*lled your human? And speaking of, vampire to vampire... how much do you really love that human of yours? Why not turn her, as I turned Talbot centuries ago? Spend eternity together. Mm. That's a commitment. Bill: That is impossible. Russell: Well, the alternative is to subject her to the vicissitudes of mortality and to the mercy of forces, such as, for instance, me. Bill: Your Majesty, that is no choice. Russell: Of course it is. Is it your human's welfare you value or your own desire? You are a fraction of my age. One day you'll see you can't have both. Well, we're all a little frazzled by the worries of the day. Why don't you, uh... sleep on it? Fresh graves are ideal for disposing of an unwanted body. Scene 3: Cemetery - Sookie, Eric Eric: The ground's already disturbed, so no one would think to dig again. Sookie: So much for keeping him alive so we could question him. Eric: Well, that's what I was planning. Sookie: But then you saw his brand. Eric: Brings back many memories. Unpleasant ones. Sookie: If you'd given me a chance to listen to his thoughts-- Eric: You have no concept of how dangerous werewolves are.They're virtually silent. They have no fear of death. And when they've had a bit of our blood, their strength can be a challenge. Even for me. Sookie: Like I said, thanks for saving my life. How's your b*llet wound? Eric: Well, it would have healed a lot faster if you had-- Sookie: I will never fall for that again. Eric: Maybe the next time you sh**t me. I'll walk you back. Sookie: Do you know anyone named Jackson? It's the only thing I could make out. Maybe that's the person he's working for. Eric: Jackson is where he lives. He had a Mississippi accent. Can't you people tell the difference? Sookie: Oh, my God, he's from Jackson? Do you think that's where Bill is? Eric, we have to go, like yesterday. Eric: I can't. Not yet. The problems of the world consist of more than finding your missing boyfriend. You shouldn't go by yourself, either. These werewolves are looking for you. You're no good to Bill or to me if you're d*ad. Sookie: How can you expect me to sit around when we have a lead? Eric: It'll be morning by the time you get to Jackson. If you're planning on rescuing a vampire during daylight I have seriously overestimated your intelligence. At least take the day to think it over. Sookie: Fine. I'll leave tomorrow. But I have to go. Bill would do it for me. I don't expect you to understand. Eric: I understand very well. Sookie: If I do get into some kind of trouble, you'll feel it, right? How fast can you get to Mississippi? Eric: Probably not fast enough. Stay out of trouble, Miss Stackhouse. It'll do us both a favor. Scene 4: Motel room - Tara, Franklin Tara: Go, go. Go ahead. Bite me. Go on, f*cking do it. (He doesn't bite her) What the hell? I said you could bite me. Franklin: No. Tara: Why not? Franklin: Because you want me to. Scene 5: Micken's house - Tommy, Joe Lee, Sam, Melinda TV: Okay, here we go. Final table at Festa al Lago about to get under way. We started five days ago with 368 players. We are down to our final six. The winner today is gonna take home over $1 million. Sam comes in. Joe Lee: Whoa. Hey there. Uh. Wasn't expecting company. Tommy said you split. Oh, he told you that? Sam: He must have misheard. I'm not the kind to skip out on his own blood kin. Joe Lee: Course you ain't. Hey, Lindy. Sam's back. I'll go get her. Mama? Sam: I don't appreciate you trying to get me k*lled. Tommy: I don't appreciate you coming into my house like you belong here. I figured since we're related, you could keep up, but... Joe Lee: How the hell should I know? We never have guests. Melinda: Pull them off the bed. Come on. Melinda and Joe Lee come. Sam: Well, now, hold on, hold on, now. I just came over to say goodbye. I wasn't gonna stay the night. Melinda: We ain't letting you spend your money on no motel. Tommy: Mama, if he wants to stay in a motel, let him. Sam: No, I gotta get back to Bon Temps. Melinda: At this time of night? Sam: Yeah, well, I got my life back here just like you got yours here. I don't wanna intrude any more than I already have. Melinda: Joe Lee, down the sink. Joe Lee: Dadgum, I just cracked it open. Melinda: Down the sink. Jesus H. You ain't seen your son in over 30 years, and you can't cork it for one night? We ain't alcoholics. Joe Lee: Don't ever get married, Sam. The second you do, that's when they start to woman you. Melinda: I know it may not look like it, but we are just so, so proud of you, and what all you done with yourself. I just-- I just wish we were the kind of people that could make you proud of us. Sam: All right, listen. Stop worrying about what I think. Okay? Start with them. Okay? Now, come on. Take care of your mama. Joe Lee: All right. Lindy. Lindy, come on. Tommy: We'll see each other again. Joe Lee: Lindy. You best get going before she climbs in the trunk with you. Sam (to Tommy): You forgot these. You must have dropped them when you were changing... the oil. Scene 6: Jason's house - Jason, Hoyt Hoyt: You? Jason: Yeah. Hoyt: A cop? Jason: Oh, I wish you were there. Tonight, boom, the universe showed me my destiny. And for me, that's to protect and serve the citizens of Renard Parish. Police work just ain't about tackling people. There's marksmanship, paramilitary training. I got all that now. And let's face it, would you feel safe with me patrolling the streets or Andy Bellefleur? Yeah, that's what I thought. That's what I thought. Scene 7: Motel room - Tara, Franklin Tara: Oh, my God. What the hell just happened? Franklin: You lost yourself to the void. I'd claim it was a gift, but actually, it's common to most vampires. Tara: I-- I never do this. Franklin: What, one-night stands? Cheap motels? Vampires? Tara: None of it. No offense. Actually, the cheap motel, yes. But only once. Come to think of it, why do you need a motel room? Don't y'all sleep in the ground? Franklin: It's nice to have a place to shower, shave, and ravage you. Tara: f*ck. Did this all happen because we b*at the crap out of a couple rednecks tonight? Franklin: You did. You would've k*lled them if I hadn't have stopped you. Tara: Wanted to. Franklin: Where does all that come from? Tara: No. You don't wanna poke that. Franklin: Oh, I'm entitled to a little bit of curiosity. I hardly know a thing about you. I don't know if you have a husband or a boyfriend. Tara: Listen, this was great and all-- Okay, mind-bl*wing. But let's not make it into something that it wasn't. Just take me home. Franklin: Well, can I at least ask your name? Tara: Oh, even better, I-I'll walk. Franklin: My name is Franklin. Tara: Please give it up. Knowing my name isn't gonna make you feel any less dirty, or me any less... Thanks, Franklin. Scene 8: Fangtasia - Pam, Yvetta, Jessica Pam is with Yvetta when the phone rings. Pam: Fangtasia. This better be good. Jessica: Oh, hi. Pam, it's Jessica Hamby. We talked yesterday. I'm the one who-- Pam: I remember you perfectly. What is it? Jessica: Um... Well, I really desperately need your help. I don't know where Bill is, and, gosh, you guys are the only other vampires I know-- Pam: Spit it out, cupcake. I'm in the middle of something. Jessica: Right. Um... You remember how I was asking how you would--? You know, what you would do if you, like, k*lled somebody by accident? Pam: Did you call the hypothetical hardware store and buy a theoretical chain saw? Jessica: Yes. And that's just the problem. I went to get the chain saw, and now he's gone. Pam: What? Jessica: I left for, like, 15 minutes and he just disappeared. Pam: So the problem you have is that there is no d*ad body in your house? Jessica: Yeah. Pam: Doesn't sound like a problem to me. Gotta run. (She hangs up) Babies, they're all the same. Now, where were we? Oh, right. Lie back, sweetheart, and think of Estonia. Scene 9: Merlotte's - Sookie, Sam Sookie: Oh, my God, you have a brother? Sam: Yeah. News to me too. Sookie: What are they like? Sam: Well, I'm more at home with the folks here. Sookie: Speaking of which, you heard about the...? Sam: Hm? Yeah. Jesus Christ. And Andy sh*t him? Sookie: Welcome back, huh? Sam: Good thing this town doesn't have many other bar options. So how long should I expect you gone for this time? Sookie: Two, maybe three days at the most. If I leave by 4, I can get there by sundown. Sam, how can you expect me to stay here and do nothing when Bill might be in Jackson? You know me. Sam: I know you well enough not to argue. You need anyone to--? Sookie: If you really wanna help, I'm kind of leaving Jessica here on her own while I'm gone. Do you think you could make sure she doesn't do anything horrible? Sam: How? Sookie: I don't know. Give her a job? Just kidding. Can you imagine? Arlene would freak. Sam: You don't get back, she's getting your job. Sookie: I'll be fine. Sam: Nice ring. Soookie: Thanks. Scene 10 : Jason's house - Jason, Hoyt Hoyt: What is the rank between a sergeant and a captain in the Louisiana State Police? Jason: Skip. Hoyt: The legal blood-alcohol limit in the state of Louisiana is? Jason: When you're drunk? Hoyt: Uh, no. Jason: Next one. Hoyt: Jessica says it's too late for us to be together. What do you think she means by that? Jason: Wait, that's on the test? Hoyt: No, I'm asking you. Jason: Look, come on, man. Not now. You're quizzing me. I'm in the zone. Hoyt: Yeah, you're 0 for 22. At least this you could help me with. Jason: All right, listen. I've heard every breakup excuse from "You're a son of a bitch, Stackhouse" to "You're a f*cking assh*le, Jason." And you know what? They're all saying the same thing. They can't handle the heat you're packing. Hoyt: So Jessica is having trouble handling my heat? Jason: The only thing to do is to move on to someone who can. That's why every girlfriend I've had has been hotter than the last. Hoyt: I don't know how I'll find someone better than Jessica. Jason: Man, there are two kinds of people in this world: people who got no dreams, people who got dreams and don't do nothing about it, and people who go out and fulfill their dreams. I'm the third kind. So you gonna help me out or not? Hoyt: I'm trying to help you, but look, the website says you have to pass the written exam. Jason: You think Andy Bellefleur knows half of this shit? There's gotta be an easier way. Look, I'm ready now. You know? I know between good and evil. I'm like a ninja-level marksman. I got all the training I need. Hoyt: You wanna know what that blood-alcohol limit is? Jason: I don't need to know it. If it's on the sample test, it's not on the real thing. Everybody knows that. Scene 11: Doctor's - Arlene, Doctor Arlene: Well, him and me, we haven't even talked about kids, but, well, maybe this is the good Lord telling me that this man's a keeper. Right? I mean, don't you think? You know, children being a blessing and all. Doctor: Pardon, dear. Need to adjust the probe. Oh, yeah, that's better. Yup, there's the critter, see? Arlene: That's my baby? Doctor: It ain't much more than a head and a heart right now, but that's all you need, don't you? Arlene: Oh, my. Doctor: This one a bit of a surprise? Arlene: Uh, a little, I guess. My boyfriend and me, we haven't been together for very long. Doctor: Well, at least two, three months by the looks of it. Arlene: Excuse me? Doctor: Twenty-five millimeters from crown to rump. Yeah, I'd say the tadpole's at least nine weeks on. Arlene: Nine weeks? Are you sure? Doctor: Maybe ten. Scene 12: Merlotte's - Tara, Terry, Mike Tara: Terry, phone! I'm wiping. Terry: I'm frying! Tara: Merlotte's, this is Tara. Mike: Hey, Tara. I'm glad I caught you. It's Mike Spencer. How are you? Tara: Uh, I-I'm at work. How are you? Mike: Heh-heh. You know, same old. Uh, well, um, I don't know if you heard, but the Talley funeral's today. Tara: The what? Uh, you know, Eggs. We're down at the cemetery. Thought you might wanna come over, say goodbye. Tara: Thanks, Mike. I'm leaving now. Don't start without me. Scene 13: Cemetery - Tara, Mike, Sookie, Pastor Tara: Where is everyone? Mike: Just us. He didn't have any people, as far as I could find. Didn't know who else to call. Tara: Well, I'm not-- I'm not blaming you. It's just at a funeral, you expect, you know, people. Loved ones. Mike: Well, you're here. Tara: If I'm the only one here, who paid for all this? Sookie: I did. I understand if you don't want me here, but I thought at the very least Eggs deserved a real funeral. Tara: No, come on. The casket's nice. You didn't have to. Sookie: None of this makes me feel better about anything. But maybe it might help you. Tara: It doesn't. I know you mean well. You always have. But there ain't anything anyone can do right now. Well, at least you got somewhere to come see him now. Might not seem like much, but I like having a place to go when I wanna see Gran. Every time I visit her, it hurts a little bit less. Will you come back home? It's okay if you're still angry with me. I'll be in Jackson for a couple days. I got a lead on Bill. You can have the house to yourself. Tara: Lafayette's making me so crazy I wanna eat the wallpaper. Sookie: I think this is everybody. Friends, we have gathered to pay our final respects to Benedict Talley. Your presence here assures that his memory will not be forgotten, as Christ assures that his soul will not be forsaken. Let us pray that he will find eternal peace and comfort in the arms of our Lord. Scene 13: Cemetery back in 1868 - Bill, Caroline, Loren Bill arrives in front of his house when a woman opens the door. Woman: Who's there? Good God in heaven. Bill: Caroline, my dearest. Caroline: The w*r ended three years ago.I was sure you had perished. Bill: I'm home now. Caroline: I haven't slept an hour since you left. I prayed for you. I pleaded with God for your return. Especially in these last few days. Bill: Is it Sarah? Thomas? Both? Caroline: William... Come. I sent Sarah away to Tennessee. Thomas, he was too young. I tried to protect him. Bill: You did all anyone could. I heard many children were taken. I feared the worst. Caroline: No one will come for him. Undertakers won't touch anyone with the pox. I resolved to bury him myself tomorrow. Bill: Thomas? It's your papa. I've come to see you off. Caroline: Oh, William. You're as cold as the earth. She sees his blood tears. Bill: No. No. Do not be afraid. Caroline: Are you afflicted? Bill: I am. I was... My human life was taken from me. Caroline: Are you a ghost? Bill: I am here to bury our son. Caroline: Uh... Bill: I cannot be infected. Caroline: What are you? What are you? What are you? Demon? The devil? You've taken my husband. I will not let you take my son. Bill: Caroline, no. Listen. Caroline: Stay back! Stay--! She sh**t him but he heals. She goes out. Lorena's there. Bill: Caroline. Lorena: This is your doing, I assume? Bill: Unhand her. She is my wife. Lorena: In her condition, she's hardly more human than animal. Except for her blood, of course. Bill: I will die before I allow you to harm her. Caroline? Caroline: No, no, no. Bill: Look at me. Look at me. Caroline: No, no, no. Bill: Caroline. Look at me. Caroline. Caroline: k*ll me! I can't bear this anymore! Do what you will with my body. My soul will be safe. My soul will be... Lorena: William, stop. Darling. Darling Caroline. I'm so sorry to have to do this to you. End of the flash back. Bill wakes up in his bead. Scene 14: Jason's work - Jason, Bud, Lafayette, Hoyt Jason passes his exam in a classroom. Bud: Can I help you, son? Jason: Uh. Yeah, Bud. Um... Can I get another test paper? There's something wrong with this one. Bud: I'd say there's something wrong with you. Jason has no pants on him. Everyone laughs. Bud: Jason, wake the f*ck up. It was just a dream. Jason is in his truck. Lafayette: Jason. Yeah. Yeah? Jason: Oh, yeah, what's up? I was just getting my gloves. Lafayette: I need your authorization on this PWE form before we, us, over yonder working, can do the other side of the road, supervisor. Jason: Yeah, I know what you're thinking. But I got a lot on my mind lately. Lafayette: That must feel new. Try spending every waking moment mopping up your cousin's tears and keeping her away from pointy objects. See how much sleep you get then. Hoyt: Holy shit. Hey! Hey! Lafayette, Jason, anybody! Come on, help! Help! Jason: I'm coming. They found a body. Hoyt: It's... It's d*ad. Got no head. It's got no head, man. It's got no head. Scene 14: Sookie's house - Sookie, Alcide Man's thought: That must be her. Said blond and pretty. No wonder the girl's a magnet for trouble. Sookie runs to her house. Man: Hey. Hold on. Hey. Sookie: Get your g*dd*mn hands off me! Man: I ain't trying to hurt you. Sookie: You're a werewolf. I've had vampire blood. I'll kick your ass. Man: Listen. Eric Northman's the one who sent me. My name's Alcide Herveaux. I'm here to look after you. Scene 15: Merlotte's - Sam, Tommy, Joe Lee, Tommy Joe Lee: Holy crap. Look at this layout. Hey. Melinda: Sam. Sam: Hey, what's going on? Melinda: This all yours? Sam: Yeah. Something the matter or...? Melinda: No, no. After you left, we just got to wondering what kind of life you got down here. Joe Lee: We figured we ain't got nothing else to do today, let's go see for ourselves. Didn't have to do much looking around to find you. Sam: Uh-huh. Tommy: Never thought any son of mine would have a place like this, though. Sam: Yeah. Well, I thought, uh, I thought we agreed, uh-- Agreed to wait a piece, uh, you know, before getting back together again. Melinda: Ain't you happy to see us? Sam: Well, no, I didn't, uh, I didn't say that. I-I just don't do well with surprises. Tommy: Mama, he doesn't want us here. Sam: Hey, no. That's not true. That's...Y'all, uh-- Y'all came all this way, and I'm buying you lunch. All right? Joe Lee: All right! Oh, good. Sam: Whatever you want. Right. Okay? Come on. Joe Lee: Always dreamed of having my own chicken shack. Right. I would call it Mickens' Chicken and Chitlins. Tommy: Yeah, that'll happen. Scene 16: Jason's work - Bud, Kenya, Andy, Mike Kenya: Mr. Fortenberry states he was clearing the ditch to replace a drainage pipe when he located the victim. Andy: The head and hands are missing, but there's no blood, so he probably bled out before being brought to the scene. Muscle tissue shows signs of tearing rather than cutting, so it looks like our unsub just tore his head clean off. Only thing I know can do that's a vampire. Mike: That would explain why there's no blood. Bud: I quit. Andy: Hey, Bud, wait up. Where you going? Bud: Did you hear me? I quit. I've had it with this shit. Every time we clear one m*rder, two more spring up. It's like crabgrass. Kenya: We need you to sign the report. Bud: You sign it. Or you. I don't care. Take this crap. All of it. Forty-three years and what have I got to show for it? Gaps in my brain and polyps in my ass. I don't need this horseshit! Scene 17: Sookie's house - Sookie, Alcide Sookie: The house is in no shape for guests, I know. It's a long story. I'll tell you about it in the car. Alcide in his head: I hear you read minds.That true? Sookie: Yes, it is. Alcide in his head: Son of a bitch. So we could have a whole conversation with me sitting here clamped shut? Sookie: Well, it's kind of rude with just the two of us, but in a room full of strangers, it might come in handy. Alcide: I'll keep that in mind. What I don't understand is if you had Eric Northman's blood and all, why he can't look after you himself. Sookie: It's not like that. I'm not his. How'd he rope you into taking me to Jackson? Alcide: My old man, he's got a construction company in Caddo Parish. Came up a little short on a project. Went to Northman for a loan. Sookie: Wouldn't be my first choice. Alcide: Yeah, you take what you can get. Only reason I'm here is to help him get out of debt. I don't do favors for vamps. Plus, I know the pack is sniffing around. You ain't getting nowhere without an in. Sookie: Are you friends with them? Alcide: I wouldn't call them friends exactly. My ex is banging their leader. Sookie: Sorry. Alcide: That pack is a cancer to our kind. Weres have lived in Jackson for almost 200 years without a single human knowing it. Now these sons of bitches come to town, there's a crime streak a mile wide. Not to say the rest of us are above v*olence, but you shut the barn door behind you. Sookie: One of them came after me last night, in here. Alcide: Yeah, Northman mentioned that. Looks like a hell of a fight. You gonna be ready for more of that in Jackson? Sookie: They took someone I love from me. I don't know about you, but I was raised to fight back. Alcide: Great. You'll get us both k*lled. Sookie: I'll pack light. Scene 17: Russell's house - Lorena, Bill, Caroline, Russell, Talbot, Cooter Bill's flash back: Caroline: What is she? Is she your--? Your wife? Bill: No, she is not. Caroline: Will she k*ll me? Bill: I will not allow her to hurt you. Lorena: You've hurt her enough for two lifetimes, William. I warned you. There's our world and theirs. Between lies only suffering. Caroline: If you can k*ll me... please, I beg you, do it now. Lorena: Make her forget. Go on. You brought this upon her. You must undo it. Bill: Caroline. We can never be together. I was never here. Bill and Lorena are in the cemetery in front if Thomas' grave. Lorena: Goodbye, young Thomas. The only way to show your love for a human is to stay away. Forever. Do you understand now? End of the flash back. Bill wakes up. In another room: Cooter: Johnson's my best g*dd*mn man. Russell: They're all dumber than a box of rocks. Cooter: Sir, that's unfair. Talbot: To boxes maybe. Or rocks. Russell: Talbot, dear, we forgot to offer Cooter a refreshment. Could you? Talbot: Of course. Zima, correct? Cooter: Sir, it's been 24 hours, and still no sign of him or the waitress. Russell: Can your pack of imbeciles do nothing right? Cooter: Somebody got him. Lorena: Eric Northman. Russell: Who? Lorena: He's a sheriff under Sophie Anne. He has a perverse interest in that waitress. I'm sure he's been watching over her. Bill arrives. Russell: Ah, Mr. Compton. Good day's rest? Bill: I've considered your offer. My service to Queen Sophie Anne has brought only suffering to me and the humans that I have lived amongst. I recognize that now. For their safety and also for mine... I hereby renounce my fealty to the kingdom of Louisiana... and I humbly pledge my loyalty to Your Majesty. Russell: Wonderful. Ah. Wonderful. We don't need the girl after all. Lorena: You're letting her go? But you gave me your word. Russell: I have given my word. To Mr. Compton. And I intend to keep it. Scene 18: Merlotte's - Jason, Tara Jason: Hey. It's good to see you working and all. Tara: It's my job. Jason: No, I know. It's just, you know, after everything... it's good to see you're okay. I mean, you seem okay. Are you okay? Tara: I'm getting there. Little by little. Jason: Well, you know, I lost a lot of people I love too. Loved a lot. And if you ever wanna talk or whatever... Because you and Sookie are like sisters, and Sookie is my sister, so we're like family. Even though we ain't been that close lately. Tara: Thanks. You're a good friend. Jason: Yeah. Could be better. I should be there for you. Tara: Wish I had you there the night that shit happened. Jason: Yeah, but I wasn't there. I mean, the-- I'm sorry I wasn't there, and I'm sorry it happened. Tara: Jason, what's with you? You didn't do anything. Jason sees a hole on Tara's forehead. Jason: Uh, Jesus. You know what, you're right. I shouldn't b*at myself up over it. If you need me, I'm gonna be over here. Tara: What--? Jason. Jason leaves. Scene 19: Lafayette's house - Lafayette, Eric Lafayette: God-- This f*ck. Eric: Hello, sweetheart. Hop in. Lafayette: Listen. Listen, I moved what I could. I mean, even at half off, the shit is still expensive. I'm gonna need some more time. Eric: Relax. You'll ruin your new ride. Lafayette: Huh? Eric: Pam's been a bit harsh lately. She's under a lot of pressure. I thought it would be a good time for a small gift to my, uh, top salesman. Lafayette: What's the catch? Eric: Well, you'll have to pay the insurance. I'm not an idiot. And I'm gonna have to sell you the car for $1 to avoid that pesky gift tax. Mind you, it may look a little, uh, out of place parked outside of that strange plywood hut you live in. Lafayette: No, I ain't taking on no more of your shit. Eric: You have great value, Lafayette. You're discreet, efficient, and you have a network of loyal customers with enormous disposable income. You could become quite wealthy if you wanted to. Lafayette: I don't need no more money. Eric: No? I never thought of you as lacking in ambition. But perhaps you're content with moth-eaten afghans and secondhand furniture. Lafayette: I'll think about it. Eric: Don't make me wait too long. You can owe me the dollar. Scene 20: Merlotte's - Terry, Arlene, Sam, Tommy, Melinda, Joe Lee In the kitchen: Terry: Spit it out, baby. You're breaking up with me. Arlene: No. No, it's not-- It's not-- Terry: "It's not you, it's me." If I had a nickel for every time-- I'd have 15 cents. Arlen: No, it is me. It is. I'm... I'm... I got me a baby coming. Terry: What? Arlene: And I didn't wanna tell you because-- Because it-- Terry: Oh, my God. We're gonna have a baby? Arlene: Yes, we are. You're gonna be a daddy. Only let's not tell anybody just yet. Terry: Oh. Uh, uh... Thank you. Thank you, baby. I never dreamed in my life I could be so happy. Thank you for making my life mean something. At the restaurant: Joe Lee: Thank you, darling. Sam: Hey. Whoa. How many has he had? Joe Lee: The boy can hold his liquor. Go on, k*ll it. Sam: Well, I don't care. He's underage. Tommy: I'm right here, dick. Joe Lee: He'll be 20 next April. What's the difference? Sam: It makes a big difference to me if I lose my liquor license. What are you doing feeding him sh*ts anyhow? Joe Lee: Listen, I've known my son a lot longer than you have. I suggest you don't tell me how to raise him. Melinda: Joe Lee. Sam: I suggest you follow the rules in my bar. Joe Lee: You talk to me like I'm some kind of drunk. Sam: Well, you are drunk. Tommy: Dude, you throw a punch, you are so one of us. Melinda: Okay, that's enough. God almighty, y'all sure know how to piss all over a perfectly fine reunion. Sam: You should call it a night. Melinda: Come on. Don't take it personal, Sam. Joe Lee ain't got a bad bone in him when he's sober. We'll go. I don't wanna embarrass ourselves any more than we already have. Sam: Just make sure they get home safe. Melinda: Get in the van, boys. We'll see you soon? Sam: Sure. Scene 21: Bill's house - Jessica, Franklin Franklin knocks on Bill's door. Franklin: Good evening, miss. Are you home alone tonight? Jessica: Listen, buddy, I don't know what you have in mind, but you are messing with the wrong girl. (He comes in without an invitation) Hey, vampires can't enter a home without an invitation. Franklin: A human home. And, uh, the last human owner of this house died a year ago. Jessica: f*ck. How come nobody tells me any of this? Franklin: Come, Miss Hamby, sit down. I just wanna talk. Jessica: So how do you know my name? Franklin: It's my job. I find things. Jessica: Yeah, well, what sort of things? Franklin: Anything that needs finding. Do you have anything like that? Jessica: Well, um, Bill Compton. He owns this place. He's been gone a couple days. I can't even reach him on his phone. Yes, him too, but, um, I was thinking of somebody else. Think hard. Has anyone else gone missing lately? Maybe this will jog your memory. (He shows her Hank's head) So you do know him. Jessica: No. It's a head. How do you expect me to react? Franklin: Come on. Tell me, where'd you meet this handsome devil? Hm? Who broke the ice? I'm guessing him. "You've sure got some pretty lips, girlfriend." Mwah. Jessica: Stop. Just put it-- Put it down. Franklin: The important part is that he's no longer a problem. See? I help you, you help me a little in return. Now... why don't you tell me everything you know about Bill Compton? Scene 21: Jason's house - Jason Jason finds a paper on his table. He burns it. Scene 22: Merlotte's - Sam Sam wakes up and goes in his office. He finds a bird. Sam: Hey! Get back here! (Someone searched in his office and left his clothes) Shit! Scene 23: Lou Pine's - Sookie, Alcide, men at the club Alcide: Might not look like much, but Lou Pine's, it's the oldest were bar in Mississippi. Man1: Alcide. It's nice to see a face from the old pack. I figured the new wolves are drinking enough for all of us. Mm-hm. Who's the civilian? Alcide: She's cool. She's a friend. Sookie: Am I not dressed properly? Man1: You look like dinner. Alcide: I'll keep an eye on her, Hollis. Gonna have to split off. See you with me, they ain't gonna talk. Sookie: Where are you gonna be? Alcide: With my guys. I'll be watching you. You make it quick, for your own sake. Sookie: Hey, boys. Oh, my God, I am so stupid. I left my wallet in the car, but I am parched. Any of you guys mind buying a girl a cosmo? Man2: You here alone, cream puff? Oh, you are stupid. Sookie: Oh, I've been to much tougher places than this. Any of you heard of a place in Louisiana called Fangtasia? Man2: You're a fangbanger? Sookie: There's nothing meaner or stronger than a vampire. What's not to like? Man4: You'd be surprised. Man4 in his head: If you knew we kicked the shit out of one a couple nights ago, you'd be on your knees right quick. Sookie: Why don't you tell me about it? She sees Bill in the car when he's been kidnapped. Man4: Let's talk about it in private Sookie: Sure. Why not? Men: Yeah! Whoo! Yeah! Man4: Me first or you? Sookie: You know a vampire? Can you take me to him? Man4: Like a three-way sort of deal? Sookie: Come on, where is he? Man4: Shut the f*ck up. I got more vampire blood in me than you think. Alcide: Hey, assh*le. The two men fight. Men: Hey. What the f*ck you doing? h*t him. Get him. Yeah. Kick his ass. Yeah. Come on. Hollis: g*dd*mn! I'm gonna run out of bats if he keeps this up. Now get him out of here. Now! Men: Get him out of here. Let's go. Come on, let's go. Hollis: Come on, man. She ain't worth it. Alcide: I barely even know her. Hollis: I mean Debbie. Alcide: What about Debbie? Hollis: Oh, shit. Um... Debbie's getting engaged to Coot. Alcide: Come on, Hollis, stop it. Hollis: The party's tomorrow night. Here. I'm sorry I gotta be the one to break it to you. Scene 24: Sookie's house - Tara, Franklin Franklin: Good evening, Tara. Tara: Who told you my name? Franklin: I met a delightful baby vampire tonight. Actually, no, she was irritating as all get-out, but she did tell me a great many things, such as your name and the fact that you live in a house owned by the human companion of Mr. Bill Compton. Tara: Why is that important to you? Who do you work for? Franklin: Well, now who's interested in getting to know me all of a sudden? Mind if I, uh, come in? Tara: Hell no. I got a terrible track record with letting people into this house. Franklin: Oh, don't be that way, Tara. Tara. That is such a beautiful name. Tara: As far as you're concerned, my name is: "That girl from Bon Temps, huh? Wonder how she's doing. Too bad I can't get a hold of her anymore." Franklin: Actually, I can get a hold of you any time I want. Isn't that right, Tara? Tara: Yeah. You wanted to come in? Franklin: If you insist. Tara: Come in. Please. Scene 25: Bill's room - Lorena, Bill Lorena: Most impressive. You won the trust of Russell Edgington himself. A bravura performance. Bill: I don't care what you believe. My only loyalty is to my king. Lorena: Your only loyalty is to your own sentiment. It's your great failing. A century ago, it was to your human wife. Now it's that ridiculous waitress. You'll say anything to save her. Bill: We can never love humans without bringing suffering upon them. You taught me that... and I will never forgive you for it. Lorena: It's an essential truth, one you refused to face because you clung to the illusion of humanity. Lorena: You are right. Is that what you wish to hear? You proved it to me once and now I've learned it again. You have won. You've deprived me of my freedom... and my home... my humanity. But I will never, ever love you. Never! Never! Lorena: Yes. Make love to me. Bill: Never. I will never. Lorena: Oh, William. They have sexe. Lorena: I so love you.

{"type": "series", "show": "True Blood", "episode": "03x03 - It Hurts Me Too"}

foreverdreaming

Scene 1: Alcide's house - Sookie, Alcide, Bill, Lorena Sookie: Don't take it personally. The Were you were fighting had vampire blood in him. Bill's, in fact, so I know it's strong. Alcide: Werewolves doing V? Goes against everything we stand for. The rest of the pack into that shit? Sookie: The ones who took Bill, at least. Alcide: Like I need more reasons to hate them. Ow! Sookie: Sorry. Is Debbie your ex-girlfriend? Alcide: She's my fiancée. She moved out a month ago. Sookie: A month? And you still haven't got new furniture? Alcide: I don't have time for it. Sookie: You ever hear from her? Alcide: My sister, Janice, does. She runs a beauty parlor. Debbie still goes in to get her hair done up. Sookie: Almost done. Her phone rings. Sookie: Hello? Hello? Bill? Bill: Yes. Sookie: Are you hurt? I know the werewolves have you. Bill: Nobody has me. I have left my life in Bon Temps. And I am leaving you. Sookie: Shut the f*ck up. Bill: Sookie. Sookie: The last time I saw you, you asked me to marry you. Bill: You did us both a favor by not saying yes. Sookie: You have to say that. Someone's listening. Bill: Lorena, actually, to whom I have just made love. Lorena: Ca va, Sookie? Bill: We f*cked like only two vampires can. I didn't hold back for fear of hurting her like I do with you. Sookie: Bill. Bill: Look at your life since I entered it. I've only caused you pain. Sookie: That's not true. Bill: I am death. I will bring you only suffering. Our worlds are too different. Our natures too. We were doomed from the start. Sookie: I don't believe you. Bill: Believe what you want. You are no longer of concern to me. Do not try to find me. I do not wish to be found. He hangs up. Credit Sookie: What does he mean, he doesn't wanna be found? Alcide: I'm pretty sure it means he doesn't wanna see you anymore. Sookie: That isn't what he said. Alcide: Well, what do you think he said? Sookie: I don't know what he said. I just know that isn't the man I love. Alcide: Well, maybe the man you love never existed except in your head. Sookie: Is that supposed to be making me feel better? Alcide: No matter how well you think you know somebody, they can still turn around and kick you right in the nut sac. Sookie: I don't have a nut sac, and Bill... he's risked everything for me. Our love is way bigger than him breaking up with me over the phone. Alcide: How many relationships you been in? Sookie: What does that matter? Alcide: Well, all I'm saying is there's no nice way of getting out of these things. Come here. Sookie: Oh, my God, you're so warm. Alcide: Sorry. Sookie: It's okay, I'm just not used to it. Alcide: It's a Were thing. We run hot. Sookie: I thought maybe you were coming down with the flu. Alcide: No. You probably want some privacy. Sookie: That's the last thing I want. Alcide: At least let me go put on a shirt. Scene 2: Merlotte's - Sam, Melinda, Joe Lee Sam runs out after Tommy. Sam: Tommy! Get back here, you little shit! He finds a truck and his parents in it. Sam: Were you sleeping in my parking lot? Melinda: Oh. We hadn't left yet because, uh, well, we got nowhere to go. We're a little behind in rent. Plus, our landlord got foreclosed on. Sam: Oh, so that's why you came here. To eat my food and steal from me. Tommy tried to break into my safe. Melinda: Shit. Sometimes I think that boy's cheese done slid right off his cr*cker. He does desperate things when we fall on hard times. Sam: When you fall? How often does this happen? Melinda: Well... Sam: Wait, I don't wanna know. This is not my f*cking problem. Melinda: I know it ain't. Just please don't take it out on Tommy. Joe Lee: Tommy? Tom. What happened now? Melinda: No, no. No one's hurt. Sam caught Tommy stealing. Joe Lee: Oh, that boy makes my ass itch. Melinda: I ain't asking for your sympathy. Sam: I can't have you living in my parking lot. Melinda: No, we'll be gone the second he gets back. He's just off somewhere being himself up. Won't be long. Sam: It better not be. Scene 3: Sookie's house - Tara, Franklin Franklin: Tell me everything you know about Bill and Sookie. Tara: She says it was love at first sight. Franklin: You don't believe that? Tara: In love? Hell, no. People just get what they want and leave. Franklin: And what does Sookie want? Tara: Quiet. Being a telepath gets real noisy, and she can't hear Bill. Franklin: Her brother, is he a telepath too? Tara: Jason barely knows what he's thinking, let alone anyone else. Franklin: If you keep smiling like that, I'm gonna get jealous. Tara: I thought I loved him for a long time but he never loved me back. Franklin: Then he is an idiot. Where is Sookie now? Tara: Jackson, Mississippi. Franklin: Where in Jackson? Tara: I don't know. Franklin: Find out. Sookie is on the bed. Her phone rings. Sookie: Hi, Tara. Tara: Sookie, you sound awful. Sookie: Bill... broke up with me. Tara: Oh, my God. What an assh*le. Tell me where you are. I'm coming to get you. Sookie: No, I just need to cry my eyes out for about a week. Tara: What you need is your best friend, right now. Give me your address. Sookie: After all you've been through? I don't want you getting mixed up in my mess. Tara: You'd do it for me. I'm getting in the car right now. Address. Sookie: I'm exhausted. I'll call you tomorrow, I promise. Sookie hangs up. Tara: Sookie. Tara: What do you want from Sookie? Franklin: Oh, you should be more concerned with what I want from you. Tara: Let me go. Franklin: Not gonna happen. Scene 4: Bill's room - Lorena, Bill Lorena: Well. That was the best sex I've had in decades. Bill: At least somebody enjoyed it. Lorena: There was true passion between you and I tonight. Bill: Any passion you felt was me k*lling my love for Sookie. It had nothing to do with you. It's been a long night, and I need to sleep. Now get the f*ck out. Lorena: Oh, William. I'm happy. You're with me. And you're not going anywhere. Even if it takes 40 years, I know you will love me again. You can't help but love. Scene 5: Fangtasia - Sookie, Eric, Yvetta Eric appears in front of the window of Alcide's room. Sookie: Cheese and rice.You scared me half to death. What the hell are you doing out there? Eric: Waiting for you to invite me in. Sookie: Can all vampires fly? Eric: Can all humans sing? Sookie: Are you kidding? Couldn't carry a tune in a bucket with a lid on it. Come on in. Eric: So, um, how goes the search? Sookie: Turns out, he's not who I was looking for. You smell like the ocean in winter. How is that possible? Bill doesn't smell like anything. Eric: That's not possible. Sookie: You played by the North Sea as a child. Eric: Yes. How did you know? Sookie: I'm smelling your memories. Eric: Not even you can do that. Sookie: Oh. I got skills you can't even dream of, cowboy. You want more? Eric: Huh? It was just a dream. Eric is at Fangtasia and Yvetta is dancing for him. Yvetta: You want more? Or I boring you? Eric: That'll be all. Scene 5: Alcide's kitchen - Sookie, Alcide Radio: The Vampire Rights Amendment's impending passing has left many up in arms, but perhaps none so much... Alcide: What time you wanna head back to Bon Temps? Since you're not looking for that assh*le anymore. Sookie: Oh, I still plan on finding him. Alcide: Okay, doormat. Sookie: I'm not a doormat. I just want him to say it to my face. Alcide: What, he didn't hurt you enough? Sookie: I think he's in trouble. Maybe I'm wrong, but if he can look me in the eye and tell me it's over, then I'll leave him here to rot. Alcide: You looking for closure? Just let it go, move on. Sookie: Says the man cooking breakfast in a wok because he's too sad to buy a new frying pan. I need more information. Take me to that engagement party tonight. Alcide: No f*cking way. I paid my debt to Eric Northman. Sookie: I know you're still hurting over Debbie. Seeing her with those creeps might help you get over her. Alcide: Are you insane? Either one of us showing up after last night is just asking to get our asses kicked. You go if you gotta. Don't put your shit on me. Scene 6: Lafayette in his car - Lafayette He speaks on the phone. Lafayette: Ring, ring, hooker. Ring, ring. Now, I know you holing up at Sookie's, but long story short, I gots me a six-figure bucket seat cradling my black ass right the f*ck now. And you got yourself my old ride. That's right, Buddha done did us a 180, he did. Now, why don't you calls a f*ck back, please? He hangs up. Shit. Scene 7: Sookie's house - Tara Tara is tied on the bathroom chair. She sees she has a voicemail but can't reach her phone. Scene 8: Alcide's house - Sookie, Janice Sookie: You must be Janice. Janice: And you're Sookie Stackhouse? Thank you, Jesus. I'd have settled for a two-bit hooker to get my brother's mind off that bitch Debbie Pelt, but you are cute and sweet. You're just what he needs. Sookie: Thanks for coming over. Janice: When you called, I was checking my horoscope. Do you know what it said? "Things are looking up for somebody close to you." Nailed it. Sookie: Don't get too excited. Alcide and I are just working together. Janice: You don't look like you work construction to me. Sookie: No. Someone I care about's gone missing, and Alcide has inside information about the folks I think have him. I called you because I need to get into Lou Pine's without standing out. You need to look the part. Janice: Well, that is my specialty. How deep do you wanna go? Sookie: I wanna look like I could kick some serious ass. Which I can. Janice: All right, let's pick out some temporary tattoos. No chance of anything more between you and my baby brother? Sookie: I'm not really looking, and he's still hung up on his ex. Finding out about her engagement party tonight did not help matters. Janice: Yeah, right, engagement party. Sookie: Excuse me? Janice: Oh. No, right. That's right, engagement party. Janice's thoughts: That bitch Debbie's actually getting herself initiated into that nasty pack of freaks. Janice: How did Al find out about it? Sookie: Hollis told him last night at Lou Pine's. Janice's thoughts: f*cking Hollis and his big mouth. I'm glad he didn't say nothing about her being hooked on V. Sookie: But if Alcide still loves Debbie don't you think he should go and try to talk her out of it? Janice: No, he should not. My psychic told him if he stayed with her, he would get himself k*lled. Did he listen? No. She ended up dumping his ass. Sookie: Why'd he stay with her so long? Janice: She was his first love, he never met anybody so alive, all that shit. But how many b*ll*ts are you gonna take for somebody? How many bad things gotta happen to you and the ones you love before you realize feeling alive ain't enough? I am just glad he made it out alive. Scene 7: Merlotte's - Sam, Arlene, Jason, Hoyt, Andy, Bud, Kitch, Tammy, Kenya, Kevin Jason: Oh. Arlene, what's happening, baby? I'm just trying to buy my crew here a round after a long day. Arlene: A long day? It's lunch, okay? And I'm the only waitress working, as usual. You'll get your beer when you get it. Jason: Where's she takin' it? Man 1: Hey, right here. QB 1 gets the first beer. Jason: I wanna see this. Man 2: Here you go. Man 1: About time. Jason: Who's that cocky little shit? Man 1: It was 18 yards deep. It was sick. Hoyt: You're just mad because he's about to break your passing record. He's close. Say he's got the best arm of any kid in Bon Temps since... Well, since you. Jason: What's his name? Hoyt: Kitch Maynard. Kitch: Don't even think about finishing that pitcher. That's QB 1's. f*cking winning name. Andy: Get on up here, Bud. Get up here, young man. I'm gonna keep it short. Everything I learned about being a good cop, I learned from you. You always been a hell of a sheriff, Bud, and I'm gonna miss you. Kevin. Kevin: We figured, since you hung up your hat for good, it's time you put on your new dancing shoes. Woman: Put them on now, Bud. Bud: Thank you. They're beautiful. It's been a great honor serving this community. Woman: Yeah, baby! Bud: And it's an even greater honor having served with such fine men. And woman. And it is in that spirit that I announce to you your new acting sheriff... Man: Kitch! Kitch! Bud: Andy Bellefleur. Man: Go, Andy! Congratulations. Men: Kitch! Kitch! Kitch! Andy: Thank you. Thank you. Man: That's how you drink a beer. Andy: Ooh, boy. That's a surprise. And a hell of an honor. All I've ever wanted to be was a good cop. Jason: It's Kitch, right? Kitch: Well, around here they call me QB 1. But you probably can't remember that far back, can you, Stackhouse? Jason: What's your name? Woman: Tammy. Jason: Tammy. Phew. You are smoking. You got all them dimples. I'd have made out with you, but unfortunately for you, you're with a disrespectful f*ck... Man: Whoa, whoa. Jason: ... who's causing a ruckus when a fine, upstanding citizen is getting all commemorated. You think you're a rock star, don't you? World at your feet, folks serving you beer underage. Girls sucking your cock whenever you say go. No offense, Tammy. You ain't nothing, boy. You'll find that out soon enough. Kitch: Yeah, well, come end of season, they'll be shouting my name, and they'll forget you ever existed. Man: Yeah. Jason: But 10 years from now, there's gonna be a version of you, 10 years younger, doing the same thing to you. And then who you gonna be? Kitch: What? Jason: Yeah, that's right. You heard me. Hoyt: Touchdown. Kenya: Well, I guess the only way to get a promotion in this town is to drink like a fish, hallucinate farm animals, and k*ll a black man. Hey, promotion. Heh-heh. Pig! Arlene: Oh, shit! Sam: Here, let me help you. Arlene: God, you wanna help me? How about doing your job, boss? Right now I'm a hostess, waitress, bartender, busboy, because everybody you hire comes to work whenever they f*cking feel like it or ends up d*ad. And I've got enough on my plate without... Sam: I'll get someone else in here soon enough, okay? Arlene: You have got to start looking out for your own, Sam. Scène 8 : Alcide's house - Sookie, Alcide Alcide: Sookie. Sookie: In here. Alcide: Wow. I guess my sister took to you. Sookie: Debbie's getting initiated into Coot's pack, and she's addicted to V. Alcide: Shut the f*cking door. Debbie's a bloodhead? How'd you find out? Sookie: I was poking around in Janice's brain. She didn't tell you because she's trying to protect you. Alcide: Why don't you let her? Sookie: Because I know you care about Debbie. No matter what she did to you. I figured you'd wanna know if she were in danger. Alcide: She's gonna let those f*cking mongrels brand her. V's the only reason. It's gotta be. Sookie: Of course it is. Maybe it's not too late for you to get through to her. Stop her from ruining her life. Alcide: f*ck! Sookie: That mean you're coming with me? I probably won't get in otherwise. Alcide: Fine. We're gonna have to go in separate, though. You might be able to fool some with that get up. They're just gonna b*at the shit out of me, again. Scene 9: Russel's house - Russell, Bill Russell: How long did you work for Sophie Anne? Bill: Thirty-five years. Russell: As? Bill: I was a procurer. Russell: Were you any good? Bill: I received no complaints. Russell: And then you started sampling the local flavor in Bon Temps. Bill: No. I was on sabbatical. Russell: Well, now you're playing coy, William. So which is it you doubt, my intentions or my power? Bill: Can you assure me that you will be able to usurp her territory? Russell: Well, that depends on the quality of your information, now, doesn't it? Bill: No. Russell: I insist. "A woman is only a woman, but a good cigar is a smoke." Rudyard Kipling. No Shakespeare, but less impetuous. And he never stole spoons. Bill: Your Majesty, if I am going to sign my own death warrant I will need something in return. When I have fulfilled my duties, I want Lorena gone. Russell: Gone? Bill: Yes. Russell: It is a punishable offense to k*ll another vampire. Bill: Not if no one reports it. Russell: Hm. Bill: Eric Northman, the queen's sheriff of Area 5, has been selling vampire blood, and I believe it is at her behest. Russell: If the Magister finds out, he'll put her on trial. He's been itching for another inquisition for centuries. Why on earth would she be so stupid? Bill: The Great Revelation. She's close to losing her fortune now that we're being taxed by the IRS. Russell: Hm. Russell: Tug on the purse strings, you'll find a lady's heart. That's very nice, Bill. Very nice. I feel like celebrating. Scene 10: Sookie's house - Tara, Franklin Franklin: Missed you. You miss me? Did you miss me? I can't stop thinking about you. Something about you is just so... What's the word? Tara: Aah! f*ck. Franklin: Magical. We have so much ahead of us. Scene 11: Merlotte's - Sam, Jessica, Arlene, Terry Sam: When people come in, first thing, count how many of them there are. More than two always gets a table, never the bar. So say there's three. Pull out one, two, three menus and walk them to their table. Jessica: Well, what about the waitressing part? Sam: You gotta be 18 to serve alcohol in Louisiana. Jessica: That is so not fair. I'm never gonna be 18. And I used to be the best server at our church pancake night. Sam: Think you can handle it? Jessica: I'm a vampire, not a f*cking idiot. (To the clients) Uh, hi, welcome to Merlotte's. Table 5's available. If you'll just follow me right this way. Arlene: A hostess ain't gonna help me with my workload. And she sure as heck ain't helping herself to my tips. Sam: Calm down. I put an ad in the Pennysaver for another waitress. No one said anything about Jessica getting tips. Arlene: People love giving redheads tips. And I've always been the only redhead at Merlotte's, Sam. You know that. Sorry, Sam. Ah, I get a little emotional when I'm... When I see people taking advantage of you. Sam: What are you talking about? Arlene: Well, you let in every stray, Sam. I mean, first that old dog, and then your folks, and now Jessica. I mean, it's your business. It's not a charity. Sam: I can take care of myself. My folks won't be coming around anymore. Terry: You sure they know that? Because they're grilling in the parking lot. One thing's for sure: we'll never be as bad of parents as they are. Jessica: Well, your server will be right with you, all right? Oh, excuse me. Sorry. Man: Jessica? Jessica Hamby? Jessica: Um... No, you've got me confused, I think. Man: Jessica, it's Chip from Bible study. Jessica: Hi. Oh, my God. Chip: I can't believe you're alive. Your folks are gonna be so happy. My God, it's a miracle. Jessica: Yeah, I guess so. Chip: Oh, praise Jesus. Praise him. Scene 12: Hotshot - Calvin, Crystal, Lafayette, Eric Calvin: You sh1tting me? My little brother just got busted dealing dope. Lafayette: You won't find a better product. Calvin: You a cop? Lafayette: No, sir. Look, I know your boy's a lean, mean selling machine. I'm just here to up your game. Help you step up in the world, clean some shit up. Crystal: I'll go grab the Dirt Devil from Felton. Calvin: See if he's hungry too. Crystal: I ain't his mama. Lafayette: What do you say? You feel me? Nothing this hot will cost you this little and earn you so much. Calvin: We're not getting in business with people like you. Lafayette: People like me? Look... Calvin: No, you look, son. Polite's in short supply around here. It's time you get your ass home. Some men are in front of Lafayette's new car. Man: Let's get these tires off. Lafayette: Hey! Hey! Get the f*ck up out my ride. Man 1: How about no? Lafayette: How about I whup your f*cking ass? Man 1: f*g. Calvin: I told you we ain't so polite around here. Scene 13: Merlotte's - Hoyt, Jessica, Chip Hoyt parks his car. He sees Jessica and Chip outside. Jessica: How'd you end up in Bon Temps tonight? Chip: I was just on my way home back from picketing the baby-k*ller factory up in Birmingham. Stopped for a bite. Jessica: No. You wanted to stop for a bite but you decided it was too late, so you drove straight home. Chip: It is late. Jessica: Mm-hm. Then you got a little lost on the 165, and that's why you got home a little late and a little hungry. And you never even saw me. Chip: I hate being hungry before bed. Scene 14: Hotshot - Eric, Lafayette, Calvin Man: Take that. Calvin: Get your f*cking hands off me, d*ad man. Eric: Take the deal. Calvin: You'll have to k*ll me first. Eric: No, I think I'll k*ll all your brother-cousins first. How does that sound, Lafayette? Lafayette: Oh, that... That sounds good. Eric: Excellent. Calvin: Unh! We'll sell. Aah! Just let me f*cking go. Eric: And that's called closing the deal. Let's go, RuPaul. Lafayette: Get the f*ck up out of here. Scene 15: In the car - Tara, Franklin Tara: What do you want with Sookie and Bill? Franklin: Nothing. My employer's interested in them. Him, mostly. Tara: That where we're going? To your employer? Franklin: "Slappy's Snack Shack, five miles. Persimmons and cherries." If there is one thing that I miss more than sunshine, it is good fruit. Tara: Where are you taking me? Franklin: Here I am trying to make pleasant conversation, and you wanna ruin all my surprises. Tara: There ain't nothing pleasant about being bitten and tied up. Franklin: You're tough. I could taste it in your blood. I'm not a bad guy, Tara. I just wanna make sure that we have a chance. Tara: Untie my hands. I'll give you whatever chance you want. Franklin: Are you like this with your other boyfriends? Tara: This is kidnapping. Franklin: This is opportunity. My job supports my financial needs. My emotional ones. It's just there's so much I wanna tell you. Tara: Then tell me where we're going. Franklin: I've been so lonely. But now you're mine... all that's changed. Scene 16: In the woods - Sam, Tommy Sam: I figured the sooner you left Bon Temps, the happier you'd be. Unless you plan on stealing from me more. Tommy: You don't know shit about me. Sam: Well, I know you got a pretty raw deal with your folks. I know you think I got off easy. Tommy: Why'd you even look us up, anyway? Sam: Well, when I was your age... I had no example. And everything I did... Shit that was worse than stealing, by the way... I did blind. And I survived, but it caught up with me so bad, sometimes I wished I hadn't. Guess I wanted to see how different it could have been. Tommy: And now that you have? Sam: I see that I can't get back what I lost. But you're still young, and you don't have to make the same mistakes. And you could stay with me. I could set you up at the bar. Tommy: You don't get it. My folks are f*cked up, but they can't get by without me. Sam: Now, I know it feels like that, but they're not your problem. Tommy: That's all they are. I ditch them tomorrow, they end up in the gutter by the end of next week. You think I can live with that? I won't be free of these people until the day they die. Scene 17: Lafayette's car/Fangtasia - Lafayette, Eric, Pam, Magister Eric: Well, I have to say I'm a little disappointed, Lafayette. I pegged you as a professional, but clearly, you lack the necessary artistry. Lafayette: Bossman, have you seen this face? It ain't nothing but art. Eric: Well, you walk into every situation all flash and f*re. You expect them to adapt to you. That's not salesmanship. It's ego. Eric's cell phone rings. Eric: What? Pam: We're being raided. Eric in Swedish: So? Call the American Vampire League, they'll get their lawyers on it. I'm busy. Pam in Swedish: It's not the police... the magister. Eric in Swedish: I'm coming there now. Pam in Swedish: Don't be stupid. Leave while you still can. They're looking for the V, Eric. The Queen set you up. She hangs up. Magister: Come out, come out, wherever you are. Pam: Magister. What a pleasant surprise. Magister: Oh, there's nothing pleasant about this. This is blasphemy. Take her. Lafayette: I know I ain't got no fangs, and I know I can't talk whatever language that is you talk in, but I can move your shit. Oh, hell. How am I supposed to deal with this f*cked-up-ness? Scene 18: Merlotte's - Andy, Jason Jason: Hey, Andy. I wanna be a cop. A real one. Andy: That's good, Stackhouse. Jason: Yeah. I've been old Jason long enough. Andy: Well, apply yourself like I told you. Someday you might make a good one. Jason: No, I don't think you're hearing me. You see, I'm not doing them fake ride-alongs and filling out forms. I'm thinking there's gotta be an easier way. Andy: Ah, you've been thinking that way your whole life, Stackhouse. Where's it gotten you? Jason: You're gonna make me a cop, and you're gonna make me one now. Andy: Jason, even if I wanted to, I couldn't. There's rules. Jason: There any rules about taking TV interviews and promotions for not sh**ting a k*ller d*ad when I'm the one who's gotta live with doing it? Any rules about that? Andy: I push this, it'll blow up for the both of us. Jason: You know, I read something in all that cop homework about when you make up stories about m*rder and crimes. What do they call that again? Andy: Falsifying evidence. Jason: Yeah, falsifying the evidence. Last few days, sh**ting a known k*ller, tackling a drug dealer in Hotshot. I'm already the best cop you got, Sheriff Andy Bellefleur. Oh. Shit. Scene 19: In the woods - Melinda, Sam, Tommy, Joe Lee Melinda: Uh-huh. These dogs plumping up real good. There you are. Joe Lee: Boy, I'll whup you. Sam: Now, here's what's gonna happen. I'm gonna give you a place to stay for now till you get back on your feet. No more stealing, no more drinking, or the deal's off. Melinda: I think we can manage that. Joe Lee: Don't see why not. Tommy? Think you can fly straight from now on? Supposed to be a joke. Tommy: Maybe I can. Scene 20: Russell's mansion - Talbot, Franklin, Tara Talbot: No. No, no, no, not you. Franklin: Russell's expecting me. Talbot: He's out. He'll be a while. Franklin: We'll wait. Talbot: Is this for me? It's skinny. Scene 21: Lou Pine's - Alcide, Sookie, Debbie, Gus Alcide's thought: It's a private party. Hollis ain't here. We're on our own. Man1: Yeah. Man 2: Yeah. Gus: sh**t it. Sookie: No, thanks. Gus's thoughts: She looks familiar. Did I bang her? Sookie: I mean, f*ck, yeah! Men: Yeah! Gus: Again. Man: Again. Gus: One more. Third time's the charm. Man: Oh, go, go, go! Go, go, go! Woman: Yeah! Debbie: Who the f*ck are you? Alcide: She's with me, Debbie. Scene 22: In a car - Russell, Lorena, Bill Russell: In the mood for anything in particular? Lorena: Someone smoky. Not too fatty. Russell: See, I was thinking... ethnic. Lorena: Mm. Russell: You said you were a procurer? Procure. Bill: As you wish. Scene 23: Fangtasia - Pam, Eric, Magister Eric: Let her go! I am who you want. But I have been framed. Magister: "Oh, you've got the wrong man." "My dog ate my homework." "I saw Goody Osburn with the devil." Excuses are one thing I can assure you do not get better with age. Do you deny the blood was being sold in your area? Eric: Not on my orders. Magister: Then on whose? Your queen's? What shall it be, sheriff? Desecration of the blood or treason against your regent? Both among the most dire of crimes. Pam: It was Bill Compton! Eric: It's true. He... He's gone missing. You've seen yourself how easily he betrays our kind for personal gain. I believe he is behind this, and I am gathering evidence to bring him to you. Now let me finish my work. Magister: They say the loss of a child is the deepest of despair. Two days, Mr. Northman, or she dies. A true death. Scene 24: Lou Pine's - Coot, Debbie, Sookie, Alcide Debbie: You thought this knight-on-a-white-horse shit would work? With me? Alcide: What have you done to yourself? Debbie: I finally got free of you. And I never been happier in my life. Alcide: I still care about you. You go through with this, the pack will never let you back in. Debbie: I don't need your p*ssy pack. And I was f*cking Coot when I was still with you. Alcide: This isn't about us. Debbie: Like hell. You came here and brought this skank just to make me jealous. Sookie: Skank? Well, coming from you, that's just funny. Alcide: Sookie. Debbie: You did not just say that to me at my own f*cking party. Sookie: Alcide came here despite every good reason in the world not to because he believes the woman he fell in love with still lives inside you somewhere. He's willing to risk his life to make sure you hold on to her, even if he doesn't get to. Alcide: It isn't too late. We can get out of here right now. Coot: What the f*ck is this? Alcide: It's just a conversation, Coot. Coot: Well, she's all done with you, Herveaux. She went and found herself a real wolf. Come on. Let's do this shit! Man: Yeah! Debbie: Leave him alone, Coot. Let him stay. Coot: No way in hell. Debbie: He needs to see this. He ain't never gonna let us be baby, till he understands I'm with you for good. Coot: Okay. Men: Yeah. Yeah! Yeah! Sookie: Coot. He's one of the ones who took Bill. Scene 25: In a car - Russell, Lorena Russell: I have an errand to attend to. If I'm not back before Mr. Compton returns with our dinner, you feel free to start without me. Scene 26: Strip club - Bill, Bill is in the strip club. He looks at the ladies. Scene 27: Lou Pine's - Sookie, Alcide, Debbie, Russell Sookie: Who's that? Alcide: Russell Edgington. He's a rich antiques dealer here. People: Yeah! Yeah! Russell in german: Now... shall you drink... the dark wine of our ancestors. Sookie: What's a vampire doing in a wolf den? Alcide: Why are they submitting to this fanger? Sookie: Oh, my God. He supplies them. Alcide: Holy shit. Russell: Oh. Not tonight, pumpkin. Otherwise your brand don't last. Tonight... you continue the grand tradition of expanding our pack. My contribution is but a small token of gratitude for our collaboration throughout the ages. Sookie: The ages? Russell: Drink. Man: Yep. Russell: Now I leave you amongst your own to celebrate. Scene 28: Strip Club - Bill, Ann Bill: All yours. Striper: Shy? Bill: Perhaps. Striper: I'll take good care of you. Bill: What's your name? Striper: Destiny. Bill: What is your real name? Striper: Camilla. He glamour her. Bill: What is your name? Striper: Ann. Bill: What does your husband think about your profession? Ann: No husband. Bill: Children? Ann: Never wanted any. World's too f*cked up. Bill: And your family? Ann: Told me I wasn't worth nothing. I figured they ain't worth knowing. Bill: Perhaps you're right about that. Ann: No point anyway. Bill: What? Ann: Loving anyone, anything. Feels good at first, but it always turns to crap. I know the truth about life. It's a hell I'll never get out of alive. Bill: No one does. Scene 29: Lou Pine's - Alcide, Sookie, Debbie, Coot Coot: Yeah! Man: Debbie, you dumb bitch. Men: Yeah! Yeah! Yeah! Alcide: This is so f*cking wrong. Men: Yeah! Sookie: What's happening? Are they all shifting? Alcide: You need to get out of here. Sookie, run. Run! Scene 30: In the car - Lorena, Bill, Russell, Ann Russell: Well, what have we got here? Ann: So, what kind of party we having? Russell: Yeah. Well. Well. Ladies first. Lorena: Why, thank you, Russell. Russell: Please join us. The three vampires feed from Ann.

{"type": "series", "show": "True Blood", "episode": "03x04 - 9 Crimes"}

foreverdreaming

Scene 1: Russell's mansion - Talbot, Tara, Franklin, Russell, Bill, Lorena Talbot: Mm, spicy. Who's a pretty girl? Huh? You're a pretty girl. You're pretty. Yes, you are. Franklin: Piss off. Talbot: I know it's not too good to be all matchy-matchy, but you and your... Dusky little bloodbeast are totally at odds with my decor. Your... Franklin: Well, nobody cares what you think about anything. Shut up. Tara: I'm awful sorry. Franklin: No, you're not. Talbot: Oh, good girl. Franklin: Just ignore him. He's the cleaning lady. Talbot: Psycho fugly thug. Russell, Bill and Lorena arrives. Tara: Bill? Credit Lorena: You know him? Tara: I thought I did. Bill: Why is she here? Russell: Why is she here? Franklin: She wants to be with me. Talbot: Hence the restraints. Talbot: She's mine. Lorena: Relax. Nobody wants her. Bill: Certainly not I. Talbot: Why is he here? Franklin: Because I have a present for you, sir. Russell: Please. Talbot: You're not supposed to bring work home. Russell: Darling, king. Franklin, you never disappoint. Shall we retire to the study? Russell and Franklin leave. Tara: What is going on here? What's wrong with you? Lorena: Yes, Bill. Your behavior is somewhat erratic. Tara: Help me. Bill: No. Bill and Lorena leave. In Russell's desk room: Russell: As always, the deposit will go to your trust account. Franklin: But I want cash. Russell: Last time you had any real money you ended up at the slots in Biloxi, slaughtering a group of elderly women. Franklin: They wouldn't let me have a turn. Russell: Why are you dragging another girl around? So sloppy. I'm tired of cleaning up after you. Franklin: This is one is spectacularly different. Russell: Hm. Franklin: She's such a f*cking disaster. We could be twins. The attraction is electric. Russell: Franklin, you're a huge freak. But I like your work. Bill Compton is lying to me. Franklin: Yes, sir. Russell: Who keeps a dossier on his human? Why would he care about her family tree? Sophie Anne's overstated perfume is all over this. Franklin: That's what I thought. Russell: She's already escaped us once, this barmaid. Franklin: Send a wolf, what'd you expect? Russell: Maybe I should send you back to Bon Temps to acquire Sookie Stackhouse. Franklin: I don't have to go anywhere. She's in Jackson. In the corridor: Lorena: I'll let you play your little game of hard to get. You're gonna be that mh sweeter when you're mine again. Bill: You know, Russell was right. You're not very smart. You played yourself into a corner, you tiresome cow. Scene 2: Alcide's car - Sookie, Alcide Sookie: What happened back there? Why were they all shifting? You almost shifted. Alcide: Couldn't help it. When that energy starts rolling, it takes you over. We're lucky we got out of there alive. f*ck! Sookie: I know it was terrible... Alcide: You don't know anything. Sookie: If you don't slow down, you're gonna k*ll us. And I am not gonna die because of your shitty girlfriend and a Mississippi pothole! I had to be mean to make you listen. I'm sorry. Alcide: She wasn't always shitty. We were great together. When she wasn't drinking or cheating. She used to play horseshoes with my dad, help my mom plant tomatoes. Sookie: But tonight she was half-naked in a wolf skin, getting branded. Tell me more about Russell Edgington. Alcide: He's just some rich vampire. That's all I knew till tonight. Sookie: I gotta talk to him. Alcide: Are you out of your f*cking mind? Sookie: The brand, the blood, the vampire. He knows where Bill is, or he knows who knows. Alcide: I promised Eric I'd keep you out of trouble. You ain't going near him, Sookie. Scene 3: Russell's mansion - Talbot, Eric, Bill Eric: This is completely unnecessary. I told you I come in peace. Talbot: Hello. Have we met? Eric: Eric Northman, sheriff, Louisiana Area 5. I've come to see the king. Talbot: Talbot, royal consort. Permit me to facilitate. Russell! Let him go, you idiots. Eric: Thank you. In the dining room: Eric: I humbly request permission to hunt your territory for the vampire missing from my area. Russell: I appreciate your courtesy, Eric. It's very old-world. Talbot: Nobody has manners anymore. It was all so beautiful once. Russell: Your fugitive, what's his name again? Eric: Bill Compton. I'm responsible for him, and, uh, I'm ashamed to admit it, but he's wanted for selling vampire blood. Russell: Oh, no, no. That's heinous. Are you sure? Let's ask him. Talbot: Voilà. He's not missing, and he's way too square to deal V. Bill: You tried to pin that on me? Russell: We all know it's your queen behind this, Northman. Bill: And that you did the selling for her. Russell: You see, Mr. Compton has accepted a position in my court and therefore keeps nothing from me. Eric: Oh... You're here of your own accord. Which means... Bill: Sookie is no longer mine. Eric: Oh. Russell: A king in front of them, a queen behind them, and they're talking about a human girl. Talbot: Men. Eric: Your Majesty... I confess. I sold the blood at my queen's command and accused Bill to protect her. So, what do I do now? Unless I give the Magister Compton, he'll m*rder my progeny. Talbot: Darling, so sad. Russell: The Magister is a nasty little... Anachronistic toad, a ridiculous remnant of the Middle Ages. The only power he has over us is the power we give him. There may be a way to solve all our problems. Sleep here. Talbot: You're more than welcome. Eric: How can I refuse? Scene 4: Alcide's house - Alcide, Debbie, Sookie Alcide: You can't just walk back in here. Give me my key. Debbie: Shut up! Don't tell me what to do! It's my f*cking key, and I'll use it whenever I want! Alcide: You walked out on me. You got no right. Debbie: We'd still be together if you weren't so weak! Alcide: Keep it down. Debbie: Don't tell me to keep it down! Because I don't give a shit about the neighbors! I'm here to save your f*cking life. Alcide: Liar. You drug addict. You sold your soul to a vamp. I saw you. Debbie: He's more than a vamp. Oh, you ignorant redneck. If he knew what you saw... Alcide: f*ck him. Debbie: I'm warning you... If anybody finds out what went on at Lou Pine's... (Sookie arrives) That's your neighbor? Oh, hell, no. Alcide: She got nothing to do with this. Debbie: You're f*cking my wolf, bitch. In my house. Debbie's thoughts: Like I did with Coot and Roy and Bobby and Travis. Sookie: Like you did with Coot and Roy and Bobby and Travis. Debbie: What'd you say to me, whore? Alcide: I'm still strong enough to throw you out, blood or no blood. Sookie: No, I'm not sleeping with him. But you traded this good person who loves you for a sh*t of V, that burn on your back, and a dumb biker who's half the man and half the wolf that Alcide is. Debbie: I will f*ck you up! I will cut you! Alcide: Sookie, back off. Sookie: Where is Bill Compton? Debbie's thought: Who the hell is Bill Compton? Scene 5: Franklin's room in Russell's mansion - Franklin, Tara Franklin: Do you like your new gown? Tara: Oh, yes. Franklin: I picked it out especially for my lover. Tara: Thank you so much. Franklin: Even when I'm away from you, I can feel your flesh molded to me. That's how close we are now. Tara: That's really sweet. Franklin: I know. Almost forgot. You have a text message. "Bitch, where are you?" You said no boyfriends. Who is he? Who's Lafayette? I'll rip your throat out. Tara: He's my cousin. And he's... And he's gay. Franklin: Oh. Well, how do I get rid of him? How about, um, "I'm busy, bitch"? No, "bitch." He wrote "bitch." Too many "bitches." "Hooker"? In his other messages, he calls you "hooker." "Hooker." No, "hookah." That's a water pipe. Tara: T-T-Tell him I'm okay. Say, "Trust me, f*ck." Franklin: Tr... "Trust me, f*ck." Brilliant. Hey, Tara, watch how fast I type "f*ck." It's cool, right? Tara: Yeah. A-Amazing. Franklin: I'll delete it so you can watch again. Look. Look at me. Love you. Scene 6: Police station - Kevin, Kenya, Jason, Andy Kevin: I'm a fan of the regular mulch, myself. Kenya: Oh, that's good for everyday, but I love that red mulch. Yeah. I use it in all my flowerbeds. It would look so good by your wishing well. Kevin: I don't know. That seems kind of wild. Jason arrives. Jason: Oh. Morning, Kenya. Morning, Kevin. Kenya: Morning. Kevin: Morning. What you doing here? Jason: What am I doing? I'm here to work. Kevin: Really? Jason: Mm-HM. Chomping at the bit. Point me at the crime scene and let's go get her. Kenya: Acting Sheriff Andy Bellefleur, would you come out here, please? Andy: Can it wait? I was just going to the restroom. Andy: Morning, boss. I'm ready for my first day. Kevin: I guess this means you find my performance inadequate. Andy: I will if you don't get out there to the corner and cross them little kids to school. Kenya: What's going on, Andy? Why does Jason Stackhouse need a desk in the Sheriff's Department? Andy: Nobody else is using it. What do you care? Why don't you run those folders in the conference room over to the courthouse? Please, Deputy Jones. Jason: I don't want a desk. I wanna be out in the field, where it's real. That's where I shine. Andy: This ain't magic, Jason. You gotta learn the ropes. Trust me, I'm pushing you through fast as I can. Now, Rosie's home with female pains, so for now, you're in charge of the phones. Jason: Can I at least have a uniform? Andy: Let me get right on that. Scene 7: On the road - Joe Lee, Sam, Tommy, Melinda, Terry, Arlene Sam: Easy. Joe Lee: He's just showing me how strong he is. Makes me proud. Tommy: Yeah. Sam: Hey, watch it. That's your damn father. Tommy: I know exactly who he is. Melinda: Oh, it's nothing. It's a little game they ought to play in private. Joe Lee: He'll make it up to me. Won't you, boy? Sam: Maybe you need to talk amongst yourselves, all right? Melinda: Y'all listen to Sam. He's always got the good ideas. Joe Lee: No. Tommy: It's all been said. Terry: Hey, Sam. Sam. Sam: Hey. Look at you. You doing what I think you're doing? Terry: Yup. Yes, sir. Me, Terry Bellefleur... I'm moving in with Arlene Fowler. Sam: Ha. Congratulations. You're cracking my ribs, buddy. Hey, hey. Hey, now, it's gonna be okay. I mean, sure, it's scary. She's a little crazy, but so are... Is everybody, you know? Don't worry. Terry: I ain't worried. I've never been so not worried. This is what normal people do, Sam. They fall in love. They make each other laugh. And they move in together. They raise kids. They fight over money. They get old and fat together, and it's normal. And it's happening to me. I can't believe it. Sam: Well, I can. Nobody deserves it more. Arlene: Baby? I don't feel too good today, okay? I ain't cleaned nothing, I ain't cleared nothing out. Terry: I'm the luckiest man in the world. Coming, honey. Man: You be careful with that. Arlene: Oh, no, no. We can't be kissing right now. Just put that in the living room. Sam: Happy for you, Arlene. Arlene: Thank you, Sam. Oh, God. I never thought it would happen again. And again. And again. And that other time too. But especially now. Oh. Oh, sweet Jesus, I am a hurting gator. Sam: Hey, you know, uh... Hey, Joe Lee. I got these tenants here. You could be my on-site handyman. Arlene: Handyman? Oh, I got a list as long as my leg. Joe Lee: Well, if it don't hurt my back. Melinda: He'd love to. Sam: Time for work, bro. Joe Lee: Have a great day, Sam. Scene 8: Franklin's room - Tara, Franklin Franklin is sleeping. Tara is trying to cut her cord. Scene 9: Alcide's house - Alcide, Sookie Alcide's thoughts: It's gone too far and it's picking up speed. I gotta tell the packmaster everything. Alcide: Gonna run errands. Won't take long. Sookie: What's a packmaster? Alcide: g*dd*mn it. Sookie: I gotta do what I gotta do. Alcide: This is Were business. It's against all our laws to tell you anything. Sookie: I've been listening to dark, private thoughts since I was a little girl. Keeping secrets is how I survive, Alcide. Alcide: No. Sookie: Then I'll have to dig it out of your head, and I really don't like to do that. Alcide: Pack isn't a democracy. Most Weres don't have much sense. You saw. They're all teeth and fight and sex. Packmaster's our Alpha. He makes the big decisions, keeps the rest of us in line. Sookie: How much does your packmaster know about last night? Alcide: That's what I have to find out. Then he'll tell us what to do. Sookie: I'm coming along. Alcide: I am not breaking any more rules for you. Sookie: Then you might as well invite Debbie over to tear me up, 'cause that's what she's gonna try to do. Work with me, Alcide. It gets easier. Scene 10: Police station - Jason, Kevin, Kenya Kevin: I'll take the car accident on Euclid. Kenya: I'll take the vandalism over at the High School. Jason: What do I do? Kenya: File that for me, will you, babe? Andy: Stackhouse! You're driving me nuts. Jason: I can't work a desk no more, Andy. It's sucking the life out of me. I need a cold case. I need a special assignment. I need some f*cking thing to do right f*cking now or I'll blow up like a M80 and take this whole place with me. Andy: Don't worry. I'll give you just what you need. Scene 11: Russell's mansion - Tara, Coot Tara gets out of the house. She runs in the woods but a werewolf stops her; it's Coot. Scene 12: Merlotte's - Lafayette, Tommy, Jesus Lafayette: Suck on that thing. Don't play with it. There you go. Now, this here cigarillo is called a Macanudo Ascot. But my personal favorite, boyfriend, is the Schimmelpenninck panatella. Tommy: I don't care what they call it. It tastes like shit. Lafayette: p*ssy. Jesus: Lafayette. Lafayette: Tommy, can you go inside for me, please? Tommy: I got five more minutes. Lafayette: Get, please. Tommy go at Merlotte's. Jesus: How you doing? Lafayette: What happened to her? Jesus: Excuse me? Lafayette: You ain't got to be gentle, Jesus. She hated me and I hated her. Just tell me how she died. Jesus: What, your mom? Lafayette: Yeah. Jesus: Oh, God, man, no, no, no. Of course you'd think that. I'm such a...idiot. I should have told you from the start. She's good. She, uh... She threw her breakfast in my face yesterday. Lafayette: Well, th-that's good, I guess. It's her style, for sure. So, what are you doing here at Merlotte's? Jesus: Uh... I came by to see you. Lafayette: Somebody been talking to you? You heard a conversation with my name in it? Because whatever was said, it ain't f*cking true. And you best not tell nobody for your own f*cking sake, you feel me? Huh? Jesus: Look, man, it's... It's my day off. I just thought that maybe you'd like to go watch a movie or something. Lafayette: Me? Jesus: Yeah. You don't want to. You know what? Forget about it. I don't even know why... It's a bad idea anyway. Lafayette: No, no. It's just that I-I'm working. Jesus: Till when? Lafayette: Eleven. Jesus: Eleven. Lafayette: I would go with you, but, um... Jesus: No, I get it. Lafayette: I'm going inside now. Jesus: Okay. Lafayette: What are you doing? Jesus: I'll hang. It's only nine hours. Nothing else to do. After you. Lafayette: Oh, Lordy. Scene 13: On the road - Sookie, Alcide, packmaster (the colonel) Alcide: Colonel Flood, if these were ordinary Were junkies scoring on the street, I wouldn't be here, but they're organized and drinking from the source. Sookie was there. She can back me up. Colonel: You'll be disciplined for exposing us to a human, Alcide. Alcide; Yes, sir. Sookie: It's not his fault. We only wanted to tell you what we saw. Colonel: I already know all about it. Sookie: Then you have a plan? Alcide: Whatever it is, I support you, sir, a hundred percent. Colonel: Do nothing, tell no one. Alcide: How's that help the pack? Sookie: Russell Edgington... Colonel: There's nothing I can do about him. He's the g*dd*mn vampire king of Mississippi. Sookie: Bill. Alcide: Colonel Flood, that g*ng is recruiting. We can't just sit back and let some f anger pick us off one by one. Colonel: Edgington is ancient. He's had a pack of Weres serving him for centuries all over the world. Now he's on our doorstep. We gonna be smart. Let him do what he wants to do until he goes away. Alcide: If he's part of our history, you should have told us about him. Colonel: I am saving us from extinction. Alcide: I'd rather be extinct than sl*ve to a d*ad man. Colonel's thoughts: He'll k*ll us all. Maybe I'll just leave town. I'm scared shitless. Show no rear. Colonel: Don't question your packmaster, boy. Alcide: Colonel Flood, we gotta do something. Sookie: Let him go. He can't help. He's afraid. Sookie: Bullshit. Alcide, obey. Sookie: It wasn't bullshit. Alcide: I know. I trust you. Scene 14: On the road - Jason, Crystal Jason washes the police cars. Jason: I'll give you what you need. g*dd*mn piece of shit. He sees Crytal pass in a car. He follows her. Jason: Son of a bitch. Now what? License and registration. Crystal: What for? What'd I do? Jason: We can discuss that further at a point in time according to regulations. License, registration and your insurance card. Crystal: I don't think so. Jason: Oh, you'd better. I'm a cop. Crystal: I don't think you are a cop. Jason: Are you resisting me? Because if you are please observe the official police vehicle where I came out of. Crystal: Where's your badge? Where's your g*n? Where's your shirt? Jason: Yeah, all right, all rig. It's no secret. I'm a deputy sheriff liaison, which means I'm in training. But I'll be a cop real soon. Real soon. So give me your ID. Crystal: Nope. Jason: Please? Crystal: You don't give up, do you? Jason: No, ma'am, I don't. Why were you crying the first time I saw you? Crystal: I wasn't crying. I never cry. Jason: I'm Jason Stackhouse, and I wanna know you. Crystal: Yeah. Uh-huh. But since you're not gonna write me a ticket, because you're a fake policeman, and I got milk and mayonnaise in the back, well... Jason: Well, at least tell me your name. Crystal: Crystal. Jason: Crystal. Well... A-And your phone number. Crystal: No phone. Jason: Everybody has a phone. Crystal: I don't. Jason: Meet me tonight at Merlotte's. Crystal: Can't do it. Jason: I'll be there, Crystal. Scene 15: Merlotte's - Sam, Jessica, Arlene, Tommy, Hoyt, Summer Client: Excuse me, can you hand me them peanuts? Thanks. Jessica: Hey, how's your first night going? Tommy: I'd rather carry crap than change tires. Jessica: Well, that's great. Hey, looks like it's fixing to be a busy night. Arlene: Well, it's always a busy night when you're the only waitress in Merlotte's. Jessica: Arlene. Arlene: Yes? Jessica: How come you never look me in the eye? Arlene: Because I do not care to be hypnotized. Which is apparently what you walking d*ad people like to do. Jessica: Hi there. Welcome to Merlotte's. I have a very romantic red vinyl booth for the two of you right over there, and... (She hypnotizes them) And whatever happens... Do not tip your waitress. Do not. Alrighty, then, let's go. Hoyt and Summer arrive. Hoyt: So you been here before? Summer: Not since my daddy joined AA. But it sure does feel good to be back, especially with you. Hoyt: Well, you feel free to order anything that you want. Doesn't matter how much it costs. Summer: Thank you. I don't eat much. I don't wanna get fat like my mama. At least not until I had a baby or two. Hoyt: Mm-hm. Summer: I can't wait to have babies. I'm real excited about it. I mean, probably in like another two years or so, but... Tommy: What's the matter? Jessica: Um... My ex. Summer: I make a mean tuna casserole. Tommy: What, him? For real? He took like he got b*mb by radiation on his way to middle school. That's a giant sixth-grade boy right there. Jessica: No, you don't know him. Summer: Get ready for this. Jessica: He's really very sweet. Tommy: Come on. He's Little League. You're a smoking-hot vampire. You're the majors. Jessica: No. Tommy: Yeah. And a "hell, yeah" too. Sam: Hey, Tommy. Joe Lee. Tommy: What? Joe Lee on the phone: Tommy, get your ass home now. Tommy: No, I'm not gonna. I got a job now. Joe Lee on the phone: I don't give a shit about no job. Do what I say when I say it. You hear me, you little shit? Scene 16 : Franklin's room at Russell's mansion - Tara, Franklin Franklin: Why? Tara, why? Tara: I-I was afraid. Franklin: Of me? You were afraid of me? That's insane. Tara: But you tied me up. Franklin: To keep you safe. Oh, my God, what other reason could there be? You have no idea how much you've hurt me. I feel like I've been staked. Tara: I'm sorry, Franklin. It's my fault. My head is all confused. Can you forgive me? It's not you I'm afraid of, it's this place. All the other vampires... They're the ones who scare me. Franklin: I'll never let them touch you. There's only you. They don't exist. There's only you. Scene 17: Russell's mansion - Russell, Bill, Coot Russell: Hm. You've circled certain names here. I wonder why. Bill: You're joking. Russell: Am I? Bill: I never saw this before you showed it to me. I don't even know what it is. Where did it come from? Russell: Oh, Franklin Mott found that, in your house. Bill: With all due respect, why would you believe him? It's my word against his. Russell: Well, exactly. He's an old friend. I'd trust him with, uh... Bill: Your genealogy? Russell: My... My genealogy. Earl Stackhouse, Sookie Stackhouse. Oh, those are the circled ones. I have a theory, Bill. Do you know what I think? Bill: No, but I-I'm fascinated. Russell: I think telepathy runs in this family. I think you've been playing Track the Telepath. You are trying to discover the origins and the meaning of your human's curious mental condition, because somehow, somewhere, there is a payoff. Bill: It's a theory beautifully built, of air and imagination. But it has nothing to do with me, sir. Russell: Oh, Bill. Oh, Bill. Coot: Excuse me, sir, can I talk to you? In private? Russell: Guard! Scene 18: Merlotte's - Andy, Jason, Lafayette, Jesus, Sam, Tommy Andy: Buddy. Jason: Hey, Andy. Andy: I deserve more a welcome than that, the news I got for you. Jason: Sorry, I'm just kind of waiting on somebody. Andy: I pulled every string in my collection on your behalf today. Jason: I'm a deputy? Andy: Pretty damn close. They'll wave everything but the physical. Jason: Oh, boy, I'm in. Andy: And the written exam. Jason: Wait, we talked about this. I can't take no test. Andy: Well, you gotta. Come on, it's easy. You just shove all that stuff in your head, write your answers, and forget it all the next day, learn on the job, like everybody else. Come on, get your head up off the floor. You'll do great. Who's the girl? Got a new one? Jason: Don't matter. She ain't coming. Lafayette: You gonna break? Jesus: Ha, ha. No. You break. Lafayette: Or I will. Jesus: Whatever you want. Lafayette: Uh-huh. You drove all this way and waited all day and most of the night so...? Jesus: It was fun. You know? Drinking beers, talking to people. Watching you do your thing. Lafayette: My thing? That? Oh, no. No, no, that is not my thing. Jesus: No. Still got to look at you. Did you look at me? Lafayette: I can't be looking at folk with all that grease flying around the kitchen. Jesus: Right. Lafayette: But I saw you. Every now and again. Jesus: So we gonna play? Lafayette: I'll play. And I'll break. I don't want you coming in here running the table, making me look bad. Jesus: I don't think that's possible. Lafayette: Listen at you talking all that bullshit to me. Tommy: Hey, Sam. Sam: Yeah? Tommy: Can I stay with you tonight? Sam: How come? Tommy: You know, uh, brother time. Sam: Okay. You tell your folks, though. Tommy: Yeah, I will. Sam: I mean it. Tommy: Yeah, I said I would, and I will. Sam: You're lying, and that puts me right in the middle of the Mickens, which is exactly where I don't wanna be. Something's going on with you all. I feel it. I know it. What does Joe Lee want from you? Tommy: Nothing. He's just... He's just a prick. Sam: You can talk to me, Tom. Tommy: Sure. Scene 19: Bill's room in Russell's mansion - Bill, Coot Coot: You're a little edgy, bat boy. Bill: Get out. Coot: What are you gonna do? Tell the king? He's off you, bro. You're on his shit list. Everybody knows it. Bill: Even his dirty little lapdog. Coot: Mm. You know what else I hear? And this is sexy good news, Bill. You're gonna love this. I know I loved it. Your Bon Temps piece of country ass, your little blond ho is f*cking a werewolf right here in Jackson. Suck that Dick. Bill: Where? Where is Sookie? Bill escapes from his room. Scene 20: Outside the Merlotte's - Jason, Crystal Jason: Hey. Thought you stood me up. Crystal: I didn't. I tried to go in there a couple times. It was... It was too, uh... This ain't right. I shouldn't be here. I... I shouldn't be anywhere near you. Jason: Why? Crystal: It's the way it is. Jason: Crystal... Crystal: You don't understand, and I can't explain. Jason: Listen, don't go. Crystal: I gotta. Jason: Take a walk with me. Just a little walk. (They kiss in the woods) You're an outdoor girl. I'll tell you that for nothing. You're happy here in the woods. Crystal: Maybe so. Jason: I'm that way too. Crystal: We got that in common. Jason: Something's happening to us. Crystal: Shh. I don't wanna jinx it. Jason: Those things you can't explain. I don't care about 'em. Crystal: That's what you say now. Jason: No, I'm pretty sure I mean it. And I just might mean it forever. Crystal: There is no forever for us. It's only now. Jason: Well, that ain't true. It couldn't be. Crystal: It is true. Now is everything. Now is perfect. I've never been happier in my whole life than I am right now with you. Jason: If you don't want me to touch you more, if you want me to stop here... I'm gonna have to step away, because I'm... I'm all upset. Crystal: We got that in common too. Scene 21: Russell's mansion - Eric, Russell, Lorena, Talbot Eric: Sir. Russell: Sheriff. Please accept my apologies. There's a matter to which I must attend. Eric: Trouble? Russell: Not really. More of an experiment. Eric: Perhaps I can be of service. Russell: Huh. Indulge my boy Talbot, will you? Let him give you the full tour. Makes him positively blithe. Eric: Sir, I have a child of my own in the Magister's bony hands. If you could help as soon as poss... Russell: All in good time, Eric. Russell leaves and Lorena arrives. Lorena: You. Eric: You. Talbot arrives too. Talbot: Boys only. Eric: Show me everything. Scene 22: Sam's house - Tommy, Sam, Joe Lee Sam: Man. That's a call, right there. Someone knocks at the door. Tommy: Don't open it. Sam: What do you mean, don't open it? f*ck. Joe Lee: You sneaky shifter piece of shit. Give me back my boy. Tommy, get over here. I'll b*at you blind. Sam: Breaking down my door? Who the hell do you think you are? Huh? Go home. Joe Lee: I ain't leaving without my son. Sam: He ain't going anywhere with you. Joe Lee: You don't get it, you dumb f*ck. I own him, head to tail. Sam: f*ck you, you broke-down bastard. You don't own shit. You live in a house I own. You wanna keep it, get out, before I throw your ass in the parking lot! Oh, you don't think I'll do it? Huh? I'll do it. I'd love to do it. Joe Lee: Sorry. I'm liquored up. I can't even think straight. He's gotta... To learn responsibility. It'll all be better in the morning. Joe Lee leaves. Sam: What the f*ck was that? Scene 23: Russell's mansion - Tara, Franklin, Eric, Talbot, Eric's parents, Russell Franklin: What's the matter? Who made you cry? I'll k*ll him. Tara: Nobody. It's only I'm hungry, and they brought me this. And I can't eat day lilies. Franklin: Tell Talbot we don't want his f*cking flowers! And don't come back! She wants to be with me! God, you are sexy. Tara: We need to talk. Franklin: Don't say that. Women say that, everything goes black, and I wake up surrounded by body parts. Tara: Baby, no, no, it's okay. That's not where I'm going at all. Franklin, I'm into you. I mean, really into you. Franklin: Tara. Oh, Tara. Tara: But if we're gonna be together, you have to remember that I'm alive. I have needs, like food. Franklin: You're right. I'm ashamed. Tara: No, baby, it's just a thing. I'll remind you. Franklin: I can do better. Let me take you somewhere special for dinner. Tara: I would love that. Franklin: There's, uh, Shoney's in Vicksburg. Tara: Uh, great. Franklin: We'll celebrate your last night as a human. Tara: What? Franklin: I'm proposing. I'm gonna turn you. Will you be my vampire bride? Eric: Ooh... And what is this? Talbot: Japanese vampire erotica from the 16th century. Exquisite detail. Eric: You learn any tricks? Talbot: Eric, you know as well as I there's nothing new except someone new. Eric: Well, it's an eclectic collection. Talbot: Oh, you should see what we have in storage. Russell's a greedy little boy. He wants what he wants and he takes it. He's the same way about people. Watch out. Eric: And this? Talbot: Some random tribal crown. He must have a hundred of them. Uh, this one's, uh, Scythian, I think. Eric: Viking. Eric's flashback in the 1880's Eric's mother in Swedish: Hand me your sister. Eric's dad in Swedish: My son, it's time you were betrothed. Eric in Swedish: Soon. Eric's mother in Swedish: The sooner the better. Eric's dad in Swedish: Where were you all day? I never saw you. Eric's mother in Swedish: He was in the barn with the redhead who feeds the goats. Eric in Swedish: It's not wrong to enjoy my life. Eric's dad in Swedish: You have no sense of responsibility. Eric in Swedish: Can we talk about this later? Eric's father in Swedish: Eric, grow up. You can't spend your life between a woman's legs. Eric in Swedish: I can try. Eric's dad in Swedish: Get back here. Your place is with me! Eric in Swedish: All you want me to do is follow you around! Eric's dad in Swedish: I want you to learn to be king! Eric in Swedish: I will! Tomorrow! Eric leaves. Eric's dad in Swedish: Who's at the door? Eric is making love with a woman when he hears her mother screaming. A wolf is attacking his father. The guards, his sister and his mother are d*ad. Eric is Swedish: Mother...? Eric's father in Swedish: Eric, behind you! Eric and his father fight against the werewolves. Eric sees on the arm of a werewolf the sign of Operation Werwolf. Russell: Bring me the crown. Don't be a hero, Viking. Eric's father is dying. Eric in Swedish: Father. Look at me! Eric's father in Swedish: You are king. Eric in Swedish: No. I won't allow it. Help! Eric's dad in Swedish: You know what to do. Eric in Swedish: Yes. Eric's dad in Swedish: Vengeance... Eric in Swedish: Vengeance. End flash back. Eric: It's beautiful. Talbot: Quite. Scene 24: Alcide's house - Alcide, Sookie, Bill, Coot, Russell Alcide: Sookie? Sookie: Bill. Bill. Bill: Sookie... You have to go now. Sookie: Is that all you have to say to me? Bill: There's no time. You must take her away. Sookie: Wherever I'm going, you're coming too. Bill: It's too late. There's no hope for me. Please, you've gotta get her out of Jackson as fast as you can. Alcide: I believe him Sookie. Sookie: What do you mean, there's no hope? Bill: You have to leave now. Sookie: I will, but tell me what I'm running from. Coot: Come on in. (To Alcide) That's for Debbie, f*ck. Russell: Grab the girl, you imbecile. Coot: Uncle Coot is gonna get you. Yeah. Sookie: Maybe not! No! Russell: Fantastic!

{"type": "series", "show": "True Blood", "episode": "03x05 - Trouble"}

foreverdreaming

Scene 1: Russell's mansion - Russell, Talbot, Bill, Lorena, Sookie, Eric Russell: Well, guess who turned out to be completely unworthy of our trust. Talbot: No. Russell: Hm. Lorena: Why? What's happened? Russell: He's been hiding something very interesting from us all. Bill kills the guard and tries to k*ll Russell but the king is stronger than him. Sookie: Bill! Russell: Are you serious? I am almost 3000 years old. Bill: Eric, get her out of here, please. Sookie: Eric, what are you doing? Eric: I wouldn't let go of this if I were you. I don't know what it is, but I do know it's quite valuable. Credit Sookie: Eric, what the f*ck? Eric: I've not had the pleasure of tasting it, but all my instincts say it would be quite extraordinary. Sookie: I will never, ever forgive you for this. Eric: Mm. It thinks we're equals. Russell: Oh, but it's wrong. Isn't it? Eric: Indeed. Talbot: Do you care nothing about our home? Russell: Talbot, not now. Talbot: When? Lorena: What are you going to do with our Mr. Compton, if I may ask? Russell: Marco, Klaus, take Mr. Compton to the sl*ve quarters. There, my dear, you will k*ll him. Sookie: No! Lorena: But what's...? Russell: Do not defy me! I am your king! Eric: Your Majesty. Russell: Take Miss Stackhouse into the library, Eric. I wanna ask her a few questions after I repair the state of affairs of my marriage. Russell leaves. Sookie: Bill, I will get you out of here. Bill: Eric, you save her, I beg you. They take Bill. Sookie: If you do k*ll him... I will k*ll you. Lorena: Oh, please. Please try. Without that sanctimonious little prick, Godric, to save you, I would just love to rip you open and wear your rib cage as a hat. Lorena leaves. Sookie: Please tell me you were just doing that for the king's benefit. Eric: I don't think anyone plays the king of Mississippi and gets away with it. I certainly have no intentions of trying. Sookie: Why are you even here? I thought you had other things to deal with. Eric: Yeah, I do, and I need to think. So please don't take this the wrong way, but shut up. Sookie: Eric, please, I'm begging you... Eric: Thank you. Scene 2: Merlotte's - Jessica, Arlene, a client, Lafayette, Jesus Client: And what is your vegetable of the day? Arlene: That would be the peas. Client: Hm. And how are those prepared? Arlene: Those are dumped out of a can into a big pot and heated up. I mean, where do you think you are, lady, Red Lobster? Client: Hey, I am paying good money to eat here. You wanna keep any of that cheap dyed hair you better stop mouthing off to me. Lafayette: Tap the titty. Jesus: Oh, come on. Lafayette: Well, that sucked. And not in a good way. Oh. Arlene: Lafayette, I got an order. Lafayette: What? Sam and Tommy already done gone. Ain't we closed yet? Arlene: Nope. Curlers over there wants the chicken fried steak, extra gravy on the side, extra mash, no veggies. Lafayette: Hell, no. Jesus: You want me to help? Lafayette: Can you cook? Jesus: I can do a lot of things. Lafayette: Oh, Lordy. Arlene: "And I want a freshly cut lemon in my iced tea, not some dried-out thing that's been sitting around all day." Aah! Dagnabbit. Look what I just did. Oh, I got lemon juice on it too. Jessica: No, sorry. Arlene, sometimes it just happens. Arlene: Please don't k*ll me. I'm pregnant. That probably just makes you wanna eat me even more. Oh, God. This is why people hate y'all. Jessica: I just haven't eaten in days. Scene 3: In the woods - Crystal, Jason Jason: I love how warm you are. Crystal: I feel like I'm on f*re. Jason: Yeah. Me too. That's because we are... on f*re. Crystal: I ain't no virgin. Jason: Me neither. But you make me feel like one. Crystal: Not me. You make me feel like 110 percent woman. Jason: Whoa. Oh. Don't hurt me. Or do. I don't care. Crystal: What the hell's that supposed to mean? Jason: Huh? Crystal: I ain't into any pervert stuff. Jason: What? I didn't mean it like that. Crystal: Then what in blazes was it you did mean? Jason: I meant... Um... Don't break my heart. What did I say? Crystal: This ain't right. It ain't I wanted to just get a taste of something I could remember forever, but... g*dd*mn it, I ain't gonna let you see me cry. Jason: Hey. Hey, there's no reason for you to cry. Not when you're with me. I'll take care of you. What? Crystal: I gotta go. Jason: No. Crystal. Crystal: Keep it down. Jason: Hey. I ain't letting you go. Crystal: Ain't nobody owns me. Jason: Well, when am I gonna see you again? Crystal: Never. This can't happen. It's too dangerous. Jason: Dangerous? Why? Crystal: Just forget me, for both our sakes. Crystal leaves. Scene 4: Russell's mansion - Sookie, Eric, Russell Sookie: So all that stuff about caring about me, that was just crap? Eric: I never said I cared about you. Maybe you dreamt it. Sookie: You big phony. Big hat, no cattle. Eric: Do you mind? I'm trying to think here. Sookie: I thought you said my life was too valuable to throw away. Eric: You are valuable, that's very clear. I'm just not sure why. Sookie: "Sookie, I'm risking everything to tell you this, because you mean so much to me. You make me feel almost human." Eric: You mean nothing to me, understand? Nothing. I'm close to getting something I've wanted since I was still human. Do not get in my way. Sookie: I hate your f*cking guts, Eric Northman. I promise I will pay you back for this. Russell: Sorry to have kept you waiting. A husband's work is never done. Leave us. Eric: As you wish. Eric leaves. Russell: Now, tell me what you are. Sookie: I'm a waitress. Russell: Yes, and I am Marie of Romania. I'm a very patient man, Miss Stackhouse. One can afford to be when one is immortal. But my patience is not without limits. Scene 5: Merlotte's - Jessica, Arlene, Client Arlene: Oh, God, I hate leaving the kids with Terry this long. He's always so frazzled when I get home. Uh, where's Lafayette? Jessica: He and that Jesus guy left. Said to tell you to lock up before you leave. Arlene: Okay. But just so you know, this necklace is pure silver, and I take garlic supplements too. Jessica: Arlene, just because my fangs popped out, doesn't mean I'm gonna use 'em on you. Arlene: I just wish this awful night was over. You know every single one of my customers stiffed me? Jessica: Well, let me take care of her for you. Arlene: Um... Don't... Don't k*ll her or anything. Jessica goes to the client's table. Jessica: Excuse me, ma'am? She hypnotizez her. You're not hungry anymore. Now, I want you take all the money you have and leave it on the table then head to the ladies', alrighty? Jessica returns next to Arlene. Jessica: She'll be gone soon. The client puts her money on the table and goes to the ladies room. Jessica is in there and feeds from her. Arlene: Ma'am? You okay in the? Ma'am? The client goes out. Client: Thank you so much. You are the best waitress I've ever had. Jessica: Hey. Arlene: Hi. Jessica: Not such a bad night after all, huh? You got a nice tip and nobody got k*lled. See you tomorrow. Scene 6: Lafayette's car - Lafayette, Jesus Jesus: No f*cking way. Lafayette: So what? I was born here. Jesus: You never wanted to leave? Lafayette: Ever since the day I was born. I've been places, I just never stayed. I've always come back here. Jesus: You're not done with this place. Lafayette: Mm. Feels like it's not done with me. So where you from? Jesus: Uh... I was born in Catemaco. Lafayette: Catemaco. Jesus: Mm-hm. But mi mami dragged me all over the f*cking globe. Texas, Uruguay... Heh. Portugal, you name it. Lafayette: No pop? Jesus: No, I've got one. It's just nobody knows who he is. Mami was r*ped. Lafayette: Get the f*ck out. Jesus: Yeah. Makes all those jokes your mom cracks about me raping her that much funnier. Lafayette: Maybe I was wrong about you. Maybe I actually can relate to you. Jesus: Why would you think that you couldn't? Lafayette: Does term "Satan in a Sunday hat" mean anything to you? Jesus: Bitch, my name is Jesus, bro. I am the polar opposite of Satan. Lafayette: You'd better be. Jesus: Can I kiss you? f*ck me. I shouldn't have asked. I should have just done it, right? Lafayette: Uh... I have a rule, though. Jesus: Mm-hm. No sex on the first date. Lafayette: Okay. Jesus: Sometimes I have a hard time keeping that rule. Lafayette: I think... I think we should follow that rule. Jesus: Give us somewhere to go. Lafayette: Yeah, right. Sure. Unless... Jesus: Yeah. Lafayette: Because I'm feeling something all kind of intense with you. Jesus: Are you? Lafayette: Yeah. I'm not sure I should trust it. Jesus: I'm getting kind of hard just looking at you. Lafayette: Damn. Scene 7: Russell's mansion - Russell, Sookie, Lorena, Bill, Talbot, Eric, Franklin, Tara Sookie: Isn't it warm out for a f*re? Russell: I suppose it is. I love a good f*re. There's something primal about it. Always makes things more dramatic. Now... it's time for you to answer my questions, Miss Stackhouse. Sookie: Fine. I have some questions for you too. Russell: Heh. Oh, honey. There's a fine line between feisty and delusional. You're not really in any position to bargain. Sookie: You don't know that. Russell: Oh, now it's getting interesting. Sookie: So I'll answer one of your questions and you'll answer one of mine? Russell: Heh-heh. Who goes first? Sookie: Are you the king of all vampires? Russell: Heavens no, my dear girl. I am merely the king of Mississippi. Sookie: Do you have a crown? Russell: I have several. That's two questions. My turn. What are you? You're definitely not human. Sookie: My parents were human. Russell: How do you know? And how do you know they were your parents, for that matter? Sookie: My grandfather was like me. Russell: Which is? Sookie: I can hear people's thoughts. And shifters', werewolves'. Not vampires'. Russell: How dreadful that must be. Sookie: Oh, you have no idea. Russell: I mean, who cares what anyone else is thinking? Sookie: My turn. Is Lorena gonna k*ll Bill? Russell: If she knows what's good for her. But she'll take her time. He's been her drug of choice for centuries now. She's gonna have a hard time letting go. Sookie: Please. You can stop her. Russell: Why would you want me to? Are you aware that your noble Mr. Compton... has been keeping a secret file on you? On your family? Sookie: What the...? Russell: My turn. What are you besides a telepath? And what on Earth makes that light come out of your hands? Oh. Don't make me force it out of you. Sookie: I don't know. I never even knew I could do it until recently, and I don't know what I am. Maybe I'm an alien. All I know is it's something big, so if I were you I wouldn't hurt me or anyone I care about. Russell: Are there other powers? Sookie; It's my turn. Russell: Are there other powers? Sookie: Once I threw a chain at somebody and it wrapped around his neck by itself, like that face-crab thing from Alien. That's all. Russell: Well. No wonder the queen is so... fascinated by you. Sookie: There's a queen? Russell: Oh, sweetheart. You really don't know anything at all, do you? Lorena: I do miss the 1930s. Such style, elegance. People knew how to behave and what was expected of them. They knew how to avoid creating tragedies for the people they loved. I may not be able to make you feel anything for me, but... I will make you feel. Bill: You have always so enjoyed making others suffer. Lorena: And there's nothing wrong with that. Especially having been made to suffer as I have been. Bill: You haven't suffered at the hands of others for a very long time. Lorena: I am suffering now. Bill: Please... do it quickly. Lorena: Even as you face the true death... I will be inside you. Not Sookie, me. Bill: I wish I had known you before you were made, before you turned hard. I would've liked to have seen you smile with light in your eyes... instead of darkness. That would have been something. Lorena: I have no choice. William. Tara is alone in the room when Franklin arrives. Tara: Where you been? Franklin: Tara, I will not be policed. Tara: Of course not. I'm not pol... I just really missed you, Franklin. Couldn't wait for you to get back. Franklin: Really? I find that hard to believe. You haven't even noticed that I've shaved. I wanted to... I wanted to look nice for you. It's our wedding night tomorrow. By the way, your friend Sookie, she's been brought here. Tara: What is Russell gonna do to her? Franklin: So that means my work for Russell is officially over, which means you've got me all to yourself. Tara: Don't promise me something you can't deliver, now. Untie me. Two hands are better than none. Franklin: Why, you wicked little strumpet. Tara: I'm gonna drink your blood tomorrow night. Franklin: Oh, yes, you are. Tara: I want it now. I wanna experience being high on you while making love to you. Knowing it's my last act as human, I wanna have the most amazing sex any human can have before I give myself to you... in death. Franklin: Kinky. Tara: Yeah. f*cked up. Crazy. Franklin: I'll go there. Tara: I bet you will. Franklin: Will you? Franklin: Bring it. Bite me. Bite into my flesh. Taste my blood, my sinew, my bones. Open me up. Taste me, drink me, feed on me. Tara: You don't have to ask me twice. Franklin: Oh! f*ck, yeah! k*ll me. k*ll me hard. k*ll me. Eric: Hey, wait a minute. That's not how you play Kaiserspiel. Talbot: Kaiserspiel? We're playing Karnoffel. Eric: Oh. I'm sorry. Wow. I haven't played this game in centuries. Talbot: Russell taught me this game when I was still human. Eric: How long have you been together? Talbot: Uh, just shy of 700 years. Although sometimes it feels like 7 million. Eric: Well, I hope he knows just how lucky he is. Talbot: Oh, believe me... he knows. Sookie: Get your hands off me! Russell: Carlo! Take this. Sookie: Let go of me. Russell: And have Timothy bring the car around. Sookie: Let me go! Talbot: Where are you going now? Russell: I have business. Talbot: Again? Russell: Yes. Sookie: Eric! Please, save Bill! Russell: Mr. Northman, would you accompany me this evening? Eric: It would be an honor. Talbot: You never take me anywhere. Because you prefer to be in the company of sycophants. Deep down, my darling, you're a very weak character. Talbot leaves. Russell: He's in one of his moods. Well, never mind. We have much more pressing matters at hand. We're gonna see an old friend of yours. Eric: Hm. Sookie: Get your creepy hands off me! I have powers! I'll use them, I will! Bill! The guard locks Sookie in a room. Tara's thoughts: Sookie. Sookie. Don't worry, Sookie, I'm gonna get you out. Wait until the sun comes up. I'll find you. Be ready. Sookie: Tara? Tara's thoughts: Because we're gonna need all the luck in the world, but I'm gonna get us out of here. I'm not giving up without a fight. Franklin: You have no idea what awaits you on the other side, my beautiful bride. No more pain. No more fear. No more rules. Scene 8: In the car - Eric, Russell Russell: Tell me, Eric... May I call you Eric? Eric: Certainly. Russell: What exactly is your Relationship with Miss Stackhouse? Eric: Well, her lover, Bill Compton, is, um... Was a constituent of mine. I'd keep an eye on that because I knew she was of interest to my queen. Russell: So no personal attachments? Eric: I do not get attached to humans. Russell: Still, you have to admit, she is quite delectable. Eric: My tastes lie elsewhere. Russell: Lorena thinks you k*lled one of my werewolves. Eric: I k*lled a werewolf. I was not aware it belonged to you. Russell: To save Sookie? Eric: To save myself. I was at her house to question her regarding Bill's disappearance, and it att*cked me. Russell: Only a very young and very foolish vampire could be k*lled by a werewolf. You are neither. Eric: Only a vampire with no self-respect would allow a werewolf who att*cked him to remain alive. They are base, primitive creatures, and I will freely admit that I despise them. You're the first vampire I met who didn't feel the same way. Russell: Of course I do. They're more dog than man. Stupider than dogs, actually. But it seems beneficial to me to use them rather than destroy them. Eric: How exactly do you use them? Russell: I give them the blood. Oh, come, now. I know that you yourself have been dealing, so don't pretend to be a vampire fundamentalist. If all the supernatural's would stop squabbling among themselves and unite, we could conquer humans in a matter of days. Eric: This is your plan? Russell: I prefer to call it my dream. Eric: Well, I like this dream. Russell: Throughout history, I have aligned myself with or destroyed those humans in power, hoping to make a dent in mankind's race to oblivion. What other creature actively destroys its own habitat? Eric: Hey, you're preaching to the choir. Russell: I mean, do you remember how the air used to smell? How humans used to smell? How they used to taste? Eric: I remember everything. Russell: Preening little fool that he was, Adolf was right about one thing. There is a master race. It's just not the human race. Eric: Should we have taken the I-12 exit? Eric: Oh, we're not going to Shreveport. Oh, don't worry. We'll deal with your Magister problem in time. Scene 9: Lafayette's house - Lafayette, Jesus, Felton Norris, two men Lafayette: Well, this is my, uh, humble abode. Jesus: Wow. It's amazing. Lafayette: You think so? Jesus: And that... That is beautiful. That's my girl. Tonantzin. Lafayette: No, that's the Virgin Mary. Jesus: Yeah, but it's also... Eleggua and Chango. These guys are pretty f*cking hard-core, dude. What do you offer them? Lafayette: Huh? Jesus: Lafayette, man, these guys, they have to be appeased, bro, or else they will f*ck you up. Seriously, I sing for Eleggua. I put out sh*ts of tequila for Chango. Lafayette: He drink 'em? Jesus: No, smart-ass. He blesses 'em, and then I drink them. Lafayette: Well, maybe I should put out a couple of sh*ts for him right now. Jesus: Or... we could offer him something else. They kiss. They hear man screaming outside and go out. Felton: Evening, f*g. Man2: Ha-ha! Lafayette: Bitch. Felton: First your f*cking non-American car, f*g. We gonna f*ck you up, cocksucker. Man3: Yeah, f*ck. Felton: Shit. Lafayette: Last time you f*ck with me. Dumb-ass hillbilly. Man3: Shit. Lafayette: Make no mistake, cr*cker. You're gonna get my f*cking ride fixed. Felton: How the hell am I supposed...? Lafayette: Ain't my f*cking problem. Felton: Why don't you just sell all that shit I dropped by your house? I ain't selling no vampire blood. It's evil. Lafayette: And crystal meth ain't? Jesus: Lafayette! Lafayette! Lafayette. Calm down, man. You got him. Lafayette: Get the f*ck out of here. Go tell your mama two f*g whupped your ass, bitch! Jesus: Come on. Are you a drug dealer? Lafayette: Yeah. Jesus: Huh. And V? Man, that shit's so intense, it ruins most people's lives. You know what, man? Just take me back to my car. Lafayette: Whatever you want, bitch. Scene 10: Sophie-Anne's house - Sophie-Anne, Russell, Eric Sophie-Anne: Ah. Ludis! Another hundred dollars. Hadley, Ludis, go down to the Circle K. Get me a couple hundred more Deuces Wild tickets. Mama's feeling lucky tonight. Russell: Mama couldn't be more wrong. Sophie-Anne: You k*lled my guards. Russell: Only a handful. The rest were surprisingly unwilling to die for you and have defected. Sophie-Anne: Hadley? Russell: Oh. Your human is safe. I'm not here to needlessly slaughter. Sophie-Anne: What do you want? Russell: You, my darling Sophie Anne. I want you to accept my proposal of marriage. Sophie-Anne: I've turned you down countless times. Why would I accept now? Russell: Because in addition to never touching you, I will settle all your debts. Oh, come on. The Magister will eventually determine it was you who was selling our blood. Sophie-Anne: I've already pinned it on Eric Northman. Is that really all you've got? Russell: Well, uh, ooh, there's the IRS. The American Vampire League will let them put you in prison, make an example of you, assuage the right wing's fears about vampires running Wall Street. Sophie-Anne: They have no dominion over me. I'm a queen. Russell: Please. I have known some of the finest queens who've ever lived. You, my dear girl, are no queen. Sophie-Anne: Go f*ck yourself. Russell: Mm. Eric: No, sweetheart. You go f*ck yourself. Oh, I am older and stronger than you. I only submitted to you in the past because of respect. But you framed me. So I renounce any and all allegiance to you. I am his now. Sophie-Anne: I refuse to grant you... Eric: I will rip your head off and throw it in the pool. And I will have fun doing it. Russell: Huh. Eric: Your call. Very well, then. Russell: Eric. So yes or no? Sophie-Anne: g*dd*mn it. Russell: Oh, splendid. Hm. Sun will be up soon. We'll spend the day here. We'll stop by Fangtasia on our way back to Jackson. Eric: As you wish. I hope I didn't overstep any boundaries just now. Russell: No, I, uh... I quite enjoyed that. Thank you. Eric: It is my honor and my duty... my king. I'll make sure your betrothed is properly restrained. Sophie-Anne: Hadley! I want my Hadley! Hadley! Scene 11: Russell's mansion - Lorena, Bill, Debbie, Coot Bill: You should go to ground. Lorena: And not be with you when the life flows out of you? I cannot. Bill: And what will you do then? Find another man that you deem honorable? So that you can turn him into a violent, hateful thing like yourself, destroying whatever it was you loved about him to begin with? Lorena: Yes, it's all my fault, isn't it? You never enjoyed k*lling those humans, writhing naked in their blood, making love to me as the light died in their eyes. Oh, no. I forced you to do all that. Bill: No. You did not. Lorena: Be a man... and admit you liked it. Bill: Just as you liked enticing all those starving men with your flesh, luring them into your maker's clutches so that he could m*rder them, and defile their bodies in unspeakable ways as you watched. Lorena: I am not István. Bill: Really? He made you his mirror, just as you tried to make me yours. He is the reason that a girl who once marveled in the beauty of all life, now delights in bringing pain and horror to every moment. Lorena: You never embraced our nature. Bill: Your nature was never mine. I welcome death. Because only then will I be truly free of the disease that is you. Coot and Debbie enter. Lorena: Aah! Coot: Come on, Peaches. We gotta get us some. Oh, sorry, ma'am. We kind of thought you would've retired for the day. Lorena: Aren't you supposed to be patrolling the grounds? Coot: Yeah, well, we was just gonna keep an eye on your prisoner for you, make sure he didn't get away. Lorena: Really? And I suppose feasting on his blood never crossed your minds. Debbie: It's my fault, ma'am. I begged Coot to let me get some. Coot: And I got a bone to pick with this assh*le. He jumped me last night, k*lled three of my wolves last week. Debbie: Come on. Let us just have a little taste. It's just going to waste all over the floor like that. Lorena: Of course. Suck whatever's left right out of him. Debbie: f*ck, yeah! Drink directly from the source, right? Oh, f*ck. Coot: This is for Louie, fanger. And Darryl. And Jimmy. This is just 'cause I f*cking feel like it. Debbie: You mind? I'm trying to eat here. Coot: Oh, come on, baby. Let's turn this here d*ad man into a f*cking raisin. Debbie: Yeah. Scene 12: Sam's trailer - Nan, Sam, Tommy, Melinda, Finch Nan: That is simply not true. Finch: You can't hypnotize away the facts, Miss Flanagan. Ratification would send a bad message to our nation's children. It would be tantamount to full-on government endorsement of deviant vampiric behavior. Nan: The American people are too smart for this fear-mongering. Flinch: It's not fear-mongering. Nan: Please. We have all seen that leaked fundraising presentation which outlines an aggressive strategy that's designed to capitalize on fear and misinformation. Finch: Oh, yeah. Uh-huh. It's all a vast right-wing conspiracy. Nan: It's no accident at claims of how we intend to prey on America's children... Tommy: Thanks for letting me crash here last night. Sam: You gonna tell me what the hell's going on between you and Joe Lee? Why he came after you last night? You scared of him? Tommy: I ain't scared of him. I just hate him. He's a drunk. Gambles away any money we ever get. f*ck him. Sam: He the one scarred you up? Tommy: He wishes. Sam: Don't lie to me, Tommy. Tommy: I ain't lying. He ain't never laid a hand on me. He knows better. Sam: Well, there's something messed up between you and him. Now, you may not wanna talk about it, but we're gonna talk about it. Tommy: Okay. But I'll talk about it when I'm ready. Sam: Fair enough, long as it's today. Melinda arrives. Melinda: Good morning. I brought y'all a mess of my secret-recipe corn fritters fried in bacon grease. You ain't had good till you've had these, Sam. Sam: Oh, well, thank you, Melinda. Melinda: When you gonna start calling me Mama? Sam: Well, soon as it starts to feel comfortable. Melinda: Well, you take your time, darling. We got a lot of road to cover, you and me. You mind if I have a little heart-to-heart with my youngest? Sam: Um... Tommy: It's okay. Sam: I'll just take these fritters with me. Put 'em on the lunch menu. Melinda: You wait and see. Folks will be lining up for them, Sam. Sam leaves. Melinda: "It's okay"? It's okay for your own mama to talk to you? Tommy: He's just looking out for me. Melinda: Yeah? Well, who the hell's looking out for me and for Joe Lee? Tommy: I don't give a shit who's looking out for him. Melinda: List to me, little boy. You wouldn't be here if it weren't for him. I was ready to end my pregnancy because it would take me off the circuit for too long. It was Joe Lee who said I ought to go ahead and have you, case you turned out to be a shifter like me. Tommy: Wow. What a saint. He wanted to use me just like he'd been using you. Melinda: That man ain't never let me no matter what, and he could've. Tommy: You're the one that never left. He ain't leaving because we're his g*dd*mn meal ticket. Melinda: Yeah? And what would we do without him, huh? You ever think about that? My back's done sh*t from all the years I spent in the ring. I ain't able to work now. You wanna just leave me to rot in an alley somewhere? Tommy: Course no, Mama. I did it till I couldn't do it anymore, and now it's your turn. It ain't right. Melinda: The world ain't right, you selfish little shit. Without you, we ain't gonna survive. We can't do it. Tommy: Yeah, but maybe with Sam's help... Melinda: You can't trust Sam. He may be blood, but he ain't family. And he ain't never gonna be. He looks down on us. Thinks he's better than us. Tommy: Yeah, well, maybe he is. Melinda: Yeah, well, maybe the f*ck he is. But you think he's willing to take care of us over the long haul once he knows the truth? Uh-uh. Me and Joe Lee's all you got, son, all you ever will have. And in your bones, you know that to be true. Tommy: f*ck. Scene 13: Russell's mansion - Tara, Franklin Franklin is asleep. Tara wakes up and with a w*apon, she kicks him on the head. Scene 14: Hotshot - Jason, Crystal, Man Man: Who the hell are you? Jason: Ahem. I'm here to see Crystal. Man: What for? Jason: That's between me and Crystal. Man: Is that so? All right. Babe. Somebody here to see you. Jason: Hey. Crystal: Who the hell are you? Jason: What? Crystal, it's me, Jason. Crystal: What is this, some kind of joke? I ain't never laid eyes on you. Jason: But... Crystal: I don't know who put you up to this or why, but I don't think it's funny. And I'd appreciate it if you'd leave and my fiancé alone. Jason: Fiancé? Man: You heard the lady, assh*le. Now, why don't you get off our land before we kick you off? Crystal: Yeah, dumb-ass. What's taking so long? Man: Yeah. Hey, bitch already said she ain't know you. Jason: Sorry, ma'am. Must have confused you with somebody else. Man: Mm-hm. (TO Crystal) You showed him. Crystal: Whoever the hell he was. Scene 15: Russell's mansion - Tara, Guard, Sookie Tara: Hi. You got that little blond girl in there? Guard: What's it to you? Tara: Talbot's serving her blood for dinner, and she's only supposed to be eating almonds. That's what it is to me. Guard: Nobody told me about almonds. Tara: If she ain't eating almonds, Talbot ain't gonna be happy. If Talbot ain't happy, Russell ain't happy. If Russell ain't happy, you dogs ain't getting any vampire blood. Now open up the g*dd*mn door. Great. You fell asleep and let her escape? Guard: No. Tara: Come on. Sookie: What the hell are you doing? k*lling vampires and saving your ass. I'll fill you in later. Now let's get the hell out of here. They escape. Scene 16: Merlotte's - Arlene, Lafayette, Sam Arlene: Eggs over easy, sausage, white toast. And he wants them eggs runny, not... Lafayette: I know what over easy mean, g*dd*mn it. Arlene: Well, you're in a sorry mood today. Lafayette: That's right, I am in a f*cking sorry-ass mood. You got a f*cking problem with that? Arlene: No. Sam: Hey, Arlene, have you seen Tommy? Arlene: No, and I got two tables need busing. Oh, and, Sam? I thought you had a no-pet policy on those apartments. Sam: I do. Arlene: Oh, I see. Unless it's your kinfolk? I don't appreciate you letting them have that dog when Coby and Lisa can't have a hamster. Sam: What dog? Arlene: That mean-ass looking pit bull that your mama and daddy brought out and piled into their van this morning. Like you don't know. I got kids, Sam. I can't be having some k*ller dog... Damn, everybody's ignoring me today. Sam runs out. Sam: Tommy? Tommy? g*dd*mn it. Scene 17: Russell's mansion - Tara, Sookie Tara: He's got werewolves patrolling the grounds by day. But if we can get to one of his cars, hotwire it... Sookie: I've gotta find Bill. Tara: What? He was covered in blood. He was gonna let them k*ll me. I ain't risking my life to save his d*ad ass, and neither should you. Sookie: He may not be d*ad, and they forced him to do that. That's not who he is. I am not leaving here without him. Tara: Then you're a f*cking idiot. Sookie: Just find us a way out of here. Scene 18: Merlotte's - Sam, Andy, Jason, Kitch, a girl Sam: Thanks for getting here so fast. Andy: What the hell's the g*dd*mn emergency? Sam: Well, listen. I need to know if there is any dogfighting in Renard Parish. Andy: Hell, no. We don't allow that. Sam: What about nearby? Andy: I can't share official intra-parish intelligence with civilians. Sam: Andy, lives are at stake. And speaking of, I already saved your sorry ass once, so you owe me. Andy: I heard about some raids over in Union Parish recently, down towards the north end of Bernice. Sam: Okay, thanks, buddy. Hey, Arlene, get the sheriff anything he wants for breakfast, on the house. Sam leaves. Jason arrives in his truck at Merlotte's parking lot. Jason: Where the hell'd you learn to drive, Sam Merlotte? Jason sees two young in a car making love. Jason: Get out of the vehicle, please. Kitch: What? Jason: Get out of the f*cking vehicle, boy. Don't make me say it again. Girl: Hey, you can't... Jason: Ma'am, nobody's talking to you. I'm gonna give you one last chance to get out of the vehicle before I start to get mad. Kitch: What the f*ck, dude? Jason: I'll tell you what the f*ck! Girl: Oh, my God. Hey. Jason: Ma'am, you wanna keep it quiet? Kitch: Careful, that's my throwing arm. Jason: You should have thought about that before you decided to engage in lewd behavior in public, which, in case you didn't know, is against the law. Kitch: You ain't no f*cking cop, man. Jason: Not yet, but I'm gonna be one real soon. And I got my eye on you. Kitch: I ain't doing nothing you never did yourself. Jason: Yeah? But here's the difference between you and me. Something about you is wrong. And when I find out what that is, I'm gonna f*ck you up good, boy. You got it? Kitch: I got it. f*ck. Jason: Good. Now get the f*ck out of here. Kitch: f*cking freak. Jason: You got that right. Scene 19: Russell's mansion - Sookie, Debbie, Coot, Tara, Alcide, Lorena Debbie: This is f*cking intense. Coot: This is how it's always gonna be with me, baby. Debbie: Oh, yeah. Oh, God. You taste like f*cking life itself. Coot: I would do anything for you. Debbie: Will you take me to 4-Ever Young and buy me anything I want? Coot: Better. I'll steal it for you. Debbie: I love you, you f*cking lunatic. Coot: Not more than I love you, you hot bitch. Hotter than hell. Hottest bitch in town, and I f*cking own you. Sookie: Trash. Debbie and Coot leave. Sookie goes to the place Bill is held. Tara runs in the garden when she sees a werewolf; it's Alcide. Tara: f*ck. Aah! Alcide: Hey. Don't be afraid. I'm not one of them, I swear. I'm a good guy. Tara: What do you want? Alcide; I'm looking for Sookie Stackhouse. Tara: You got a car? Alcide: Yeah. Sookie enters and sees Bill on the floor, covered with blood. Sookie: Bill? Please, say something. Bill? Please, don't be d*ad. Not after everything we've been through. I won't let you go, I won't. Bill: Sookie. Sookie: I'm gonna get you out of here. I'm gonna make you well if it's the last thing I ever do. Because I love you, Bill Compton, and I am not about to let you go. Lorena: Well, isn't that heartwarming? This is all your fault. Lorena bites Sookie.

{"type": "series", "show": "True Blood", "episode": "03x06 - I Gotta a Right to Sing the Blues"}

foreverdreaming

Scene 1: Russell's mansion - Lorena, Bill, Sookie, Tara, Alcide Lorena: No wonder Bill was drawn to you. You're delicious. Sookie: f*ck you. Lorena: I've never tasted anything like you. What are you? Sookie: I'm the bitch that's gonna k*ll you. Lorena: Let me go. Bill: Sookie. Do it. Sookie: But... Bill: Do it. Lorena: William. I love you. Sookie: You wouldn't know love if it kicked you in the fangs. (She kills Lorena) Bill? Bill? Help! Help! Credit Alcide and Tara arrive. Tara: Sookie. Sookie: Shut the door. She had to have the key to the manacles. Tara: Is he d*ad? Sookie: No. He's in real bad shape, but he's... Tara: You sure? Because he looks d*ad. Sookie: He isn't d*ad! When vampires are d*ad, this is what they look like. Tara: Jesus Christ. Alcide: We've got to get out of here. There's wolves all over. Sookie: I know. Alcide: It's only a matter of time before they come. Sookie: I said, I know. Please, help me wrap him up. Tara: What? We ain't got that kind of... Sookie: I am not leaving here without him. Alcide: f*ck. Let's wrap him up in the tarp. Debbie: Oh, shouldn't have. Vampire burrito? For me? Scene 2: In the woods - Sam, a man Sam is driving in the woods. He stops in front of a man with a g*n. Man: What can I do you for? Sam: Here for the fights. Man: What fights? There ain't no fights here. Sam: No? I was told there was gonna be some dogfighting here, and I was hoping to get in on the action. Man: You was told, huh? By who? Sam: Man didn't give me his name. Told him I had money. He told me where I could go to spend it. Man: Now, you don't strike me as the dogfighting type. Sam: Well, you got me all wrong, because I love me some high-stakes gambling, and dogfighting's the ultimate sport for me. And once you done it, you realize cards are for pussies. Man: Well, like I already told you, ain't no fights here. Sam: Look, I got money to burn. I'll give you some. Man: Don't you even think about it. You a cop? Sam No, no, no. I swear. Man: Show me your g*n. If you are a cop, you sure as shit ain't carrying a cop's g*n. Sam: I told you, I ain't a cop. Man: Turn your shit around and go. Sam: But... Man: Do it and I will let you live. Sam: All right. All right, easy. All right. Easy. Scene 3: Russell's mansion - Alcide, Debbie, Sookie, Tara, Coot Alcide: Debbie, just let everybody else go, take the vamp with them. You and me, we can talk. Debbie: f*ck you. I'm the one with the f*cking g*n. Ain't no one going nowhere. Alcide: Sweetheart... Debbie: I ain't your sweetheart no more. Now give me a minute to think. Debbie's thoughts: I didn't want to do this. Calm down, Debbie. Pull it together. f*ck, I can't I need some more V. Maybe this vamp still has some blood left in him. Sookie: Don't even think about it, bitch. Debbie: Oh, you sure picked a dumb-ass time to call me bitch, bitch. Tara: Hey now, Sook. Don't do that. Alcide: Sookie, I got this. Debbie: You ain't got shit. Alcide: Ain't no way you're pulling that trigger. This ain't you. Debbie's thoughts: These people k*lled my packmates. Alcide: It's that V talking. This isn't who you are. It's an eye for an eye. Debbie's thought: Only way they can pay us back is with their lives. Sookie: Alcide, I've been listening in and she ain't exactly misrepresenting herself. Debbie: Okay, freak. Your mind-reading shit's getting real f*cking old. Alcide: Debbie. Debbie, look at me. Look at me. You loved me once. I know you did. Debbie: I'd have given up everything for you, but you wouldn't even give me a baby. Alcide: Sorry. Debbie: Oh, you're sorry? What happened to, "I won't bring one of our kind in the world"? It's too f*cking late for you to be sorry. Alcide: It's never too late. You want to talk about it, we can talk about it. Debbie: Back off. Tara's thoughts: Listen to me, Sook. I'll take her out when she ain't looking. Sookie: Tara, don't. Debbie: There ain't no going back. This is who I am now. Alcide: No, baby. It's just a scar. We all got scars. Tara's thoughts: If she sh**t him, we're next, and I'm not gonna die here. Alcide: Give me the g*n. Debbie: That was your last step. You ain't getting another. Alcide: Debbie. Tara's thoughts: I don't care what you do, Sook. Just distract her for me. Sookie screams. Tara pushes Debbie. Alcide takes the g*n. Debbie: f*ck you. Bitch, I'll k*ll you. Tara: Go ahead and try. Debbie: Get off of me. Coot: What the hell is going on in here? Alcide sh**t on Coot. Debbie: f*ck! He kills him. Debbie: Oh, my God! Oh, my f*cking God! Alcide: Sorry, Debbie. He didn't leave me any choice. Debbie: You... You had a choice. And you picked the f*cking fangbanger over one of your own? Alcide: Go on. Get him in the van. I'll be right out. Sookie: Tara, keep the ends wrapped up tight. Debbie: So, what's it gonna be... sweetheart? You gonna k*ll me too? You f*cking better, because if you don't, I'll sniff you out. I will. I will come after you, and I will hunt you down. Alcide: I believe you. Alcide leaves. Sookie: You got him? Tara: All the V I got in me is making me strong. Plus, the f*cking fanger's lost a lot of weight in blood, so... Sookie: Is the V making you insensitive as well or is that just you? Tara: He left me for d*ad. Sookie: Well, two wrongs don't make a right. Alcide: Come on. Sookie: Close the door. I'm riding in the back. Tara: He ain't gonna make it. Don't do this to yourself. Sookie: Close the door! Alcide: All right, let's go. We got company. Tara: Oh, shit. (They leave but there are wolves behind them.) You need a faster van. Did you just...? Alcide: Yeah. Man: f*ck! Scene 4: Jason's house - Jason, Hoyt, Summer Hoyt: You all right? Jason: No, it's just funny. Never really thought I was smart enough to get depressed, but here I am. Hoyt: Is this still about Crystal? Jason: Just got all these questions spinning around in my head. I don't know what to do with them. Hoyt: Like? Jason: Well, like why is it that I barely know her, but I already love her? And who the f*ck is that dick she's living with? And why would someone like her put up with that shit? And also, do you think she's named after the champagne? Because I'm thinking she was. Hoyt: J, she's from Hotshot. Jason: Yeah. Hoyt: She's probably named after that drug that keeps the town afloat. Jason: No, no way. Hoyt: I'll bet you 100-to-1 her middle name's "Meth." Jason: You're a Christian, Hoyt. That ain't cool, to judge. Hoyt: I know. I'm sorry. Look, I'm just trying to snap you out of it. That's all. Jason: And I appreciate it, but it ain't gonna work. Hoyt: Hey, you remember that dealer that you took down last week at the bust? Jason: I just told you, it ain't gonna work. Reminding me of last week's glory ain't gonna change the fact that this week ain't done shit for me yet. Hoyt: Well, you think they still got him down at the jail? Jason: I think so, yeah. Hoyt: Well, why don't you go down there and talk to him? He's the best sh*t you got at getting answers about Crystal, and he's just sitting down there at the jail locked up waiting for you. Jason: That's genius is what that is. Oh, bubba. I knew you and me being roommates wasn't gonna suck forever. Whoo! Ha-ha! Someone knocks at the door. Summer: May I come in? Hoyt: Summer. Summer: I'm just kidding. I'm not a vampire like your last girlfriend. Hoyt: Girlfriend? Scene 5: In the woods - Sam Sam parks in the woods. He gets out of the car and transforms in a dog. Scene 6: Jason's house - Summer, Hoyt, Jason Summer: I baked biscuits. My great-gram's recipe, still warm from the oven, butter churned by hand, and homemade strawberry preserves I picked myself from the church-house garden. Hoyt: Hm. Summer: This place could use some sprucing up, huh? What? Hoyt: Oh, no, nothing. I just wasn't expecting you, that's all. Summer: I know, and maybe I should have called first. But, Hoyt Fortenberry, I had the most amazing time with you the other night, and then yesterday, I sat by the phone waiting for you to call, and you didn't. Hoyt: Yeah. I got off of work late, and I should have. Summer: Because I woke up this morning, it h*t me. "Summer," I said, "why play games?" And then I decided that I was gonna declare my feelings for you, and let the chips fall where they may. And if you don't feel the same way about me, well, then that will be your loss. So here it goes. I like you, Hoyt. I wanna be your girlfriend, and I really want you to taste my biscuits. Hoyt: Uh... Jason: Those biscuits? Summer: Mm-hm. Jason: Oh, mama. Hey, are you Summer? Summer: You told your roommate about me? Jason: Summer, these are... I'm telling you, this one here, she's gonna make a great grandmama one day. She's a keeper. Mm, mm, mm. Summer: Thanks for your vote. Jason: Oh, you earned it. Jason leaves. Summer: You eat, I'll spruce. Scene 7: Sophie-Anne's house - Eric, Hadley, Sophie-Anne Sophie-Anne: Hadley. Hadley: Your Majesty. Sophie-Anne: I wish you didn't have to see me like this. Eric: The reason your human is trembling, is because I've let her in on my plan. Sophie-Anne: Which is? Eric: Which is to sink my fangs into her and drink until you tell me what it is about Sookie Stackhouse that has so obviously piqued your interest. Sophie-Anne: Sookie Stackhouse? I have no interest in her. Eric: And if I drink too much, well, so be it. Sophie-Anne: Fine. So be it. Eric: Really? You've kept this one around a long time. Must be some reason for that. Sophie-Anne: Why do you care about Sookie? Eric: Because you do. And because my king does. Sophie-Anne: Your king? Russell Edgington is the most duplicitous vampire in the Americas, maybe the world. You honestly think you can trust him? Eric: Like I can trust you? The only vampire a vampire can trust is the vampire he made. Mm, mm, mm. I give her three stars. What do you know about Sookie? Sophie-Anne: Nothing. Hadley: Stop. I'll tell you. Sophie-Anne: Hadley, don't. Eric: The queen's confided in you? Hadley: Some. But also... Sookie's my... My cous... Cousin. Eric: Tell me. Sophie-Anne: Hadley. Eric: Tell me, tell me. (She wispers something) Well, I certainly wasn't expecting that. Scene 8: In the woods - Sam, men Man: Git, git. Man: Hey, looks like we got a runner. He belong to any of y'all? Man: Ain't mine. Man: Look at the size of the balls on that son of a bitch. Man 2: We can't have dogs running around on the loose. Hey, you. That's right, you little f*ck. Who the hell let you out? Huh? Man: Go get him, Bobby. Man 2: Look at you, sitting all nice and pretty for me. Heh-heh. Tell you what. You ain't gonna stand a chance in that ring. No, you're not. He takes Sam the dog. Scene 9: Alcide's truck - Sookie, Bill, Tara, Alcide Sookie: Bill? Bill. No. Give me some kind of sign if you're still with me. Oh, no. If you make it through this, you owe me. Come on, baby. Drink. Please. Oh, thank you. Oh, God, thank you so much. Easy. Come on. Oh, my God. Cut it out, Bill! Alcide: You need to try and relax. Tara: Relax? I ain't even breathed for a week. Alcide: Then try to. Take a breath. You need it. Scene 10: Police station - Jason, T-Dub, Andu Jason: Greetings, T-Dub. Remember me? T-Dub: Of course I do. You're the son of a bitch who put me in here. Jason: I'm a cop. T-Dub: That's not what I hear. Jason: I'm almost a cop. And I'm here to interrogate you. T-Dub: Do I look like a rat to you? Jason: Ain't nobody asking nobody to rat nobody out. I just... Could you stop pacing like that? T-Dub: No! Jason: Look, man, all I wanna know about is Crystal. T-Dub: My cousin? Jason: She's your cousin? Then you must know who that assh*le she's living with is. T-Dub: That assh*le is my... Oh, you're smart. Well, I ain't saying another word. Jason: Listen, T-Dub. I don't know Crystal very well, but the little bit I do know her tells me she is a good person in a bad situation. And I think she deserves better, don't you? I mean, you're family. T-Dub: I'm gonna tell you what you wanna know. But you have got to bring me some meth. Jason: What the f*ck? I-I can't do that, man. T-Dub: I've been in here without it for almost a week and I cannot f*cking take it no more. Andy: What the hell, Stackhouse? You ain't supposed to be back here. Jason: Well, I'm just sweeping, you know? Andy: Yeah? Where's your broom? Jason: That's a good point. Andy: Those squad cars need washing again. Jason: I'm on it, boss. Jason leaves. Andy: Shit. Jason f*cking Stackhouse. What the f*ck am I gonna do? T-Dub: My heart bleeds for you. Andy: Why don't you what you do best and shut up. Scene 11: Alcide's truck - Alcide, Tara, Sookie, Bill Alcide: I'll be quick. Tara: Cool. I'm just gonna check on Sook. Hey, Sook. Sook, you all right back there? Shit. Alcide: She ain't answering? Alcide comes back. Hey. It's still light out. You open that, you're gonna... Tara: You think I give a f*ck? Bill: What happened? Tara: You're f*cking asking me? Alcide: We have to get her to a hospital. Tara: Get out. Bill: But I can help. Tara: Get out! Don't you f*cking die on me, Sookie. Do not f*cking die. Bill: Damn. They leave without Bill. Scene 12: In the camp in the woods - Man, Sam Man: Boy, you look mean. You sure do mind good. You're gonna roll right onto your back and take it like a little girl later on, ain't you? I'm betting against you. All right, then. Slide on in here, teddy bear. Sam is in his human form. Man: What the hell? Scene 13: Hospital - Dr Sekular, nurse, Alcide, Tara Someone: Doctor Sekuler to the ER. Nurse: All right, let's go. All right, BP's dropping. She's gonna palp, let's go. Nurse to Alcide and Tara: I'm sorry. Nurse: Get ready to transfuse. Pressure's steady. Doctor: Two more in. Nurse: Line is in. Here we go. Doctor: Piggy-back it. Pressure's good. All right, I'll call the blood bank. Another four units on standby, just in case we need it. She's starting to seize. Doctor: Okay, got it. Nurse: Pressure's accelerating. Doctor: All right, let's get the cart in here. Watch that line. Doctor Sekular: Miss Thornton? Tara: How is she? Doctor: She's lost a lot of blood. Tara: How much blood? Doctor: A lot. Tara: Oh, my God. Alcide: What about a transfusion? I mean, can't... Doctor: We tried. Her body rejected it. Tara: Well, maybe you gave the wrong kind of blood? You checked her first, right? You better not have taken a f*cking guess. Doctor: Your friend doesn't have a blood type. Tara: What? Alcide: Everybody has a blood type. Doctor: Exactly. But for whatever reason, we couldn't establish hers and we are running out of time. So I put in an order for O-negative. O-neg is universal donor. But your friend... I have never seen a reaction like that before. I'm sorry. I'm afraid you're gonna have to notify the family. Scene 14: In the camp on the woods - Sam, Tommy, Melinda, Joe Lee, men Man 1: Piece of shit. Don't even die good. Man2: Bring in the next one. Melinda: Tommy, Mama loves you. Joe Lee: Get up, boy. Man: Fifty dollar riding. Joe Lee: Go, Tommy. Take it to him, Tommy. Man: Oh, boy. f*ck! Man2: Git. Go. Git. Melinda: Come on, Tommy. Let's go. Go on, git. Man2: Get out of here. Go, go, go. Ma: Hey, you owe me 500 buck Man: I don't owe you shit. Sam: Hey. Melinda: Hey, son. Sam: Don't you snarl at me. Good dog. Good, good. Now get the f*ck out of here. (To Joe Lee) Give him your clothes. Joe Lee: Don't you tell... Sam: Give him your clothes! Scene 15: Merlotte's - Jason, Lafayette, Tara Jason: Sorry. Hey, hey, Lafayette. You got a minute? Lafayette: Last time you came to me all shaky like this, you wanted to buy some V. Jason: Oh, no. I told you, that shit's behind me. I just need some meth. Lafayette: What? Jason: Well, it ain't for me, I swear. It's for this dude who we got in lockup. He's got this information I need, but he'll only give it to me if I get him some meth. Lafayette: Jason, no. I don't deal no f*cking meth. And even if I did, I wouldn't sell the shit to you. And you ought to thank me for it. Jason: g*dd*mn it, Lafayette, I'm in love. Lafayette: With the dude in jail? Jason: No. With his cousin. (He answers his phone) Hello? Tara: It's me. Jason: Tara? You found her? Where's she at? Tara: It's Sookie. Jason: What about her? Tara? Say something. You're starting to freak me out. Tara: We're at the hospital in Ruston. Sook's in a coma, Jason. You need to get here. You need to get here now. Jason: Sook's in the hospital. Sook's in the f*cking hospital. Scene 16: In the camp on the wood - Sam, Joe Lee, Melinda, Tommy Melinda: You warm now, son? Tommy: Little better, yeah. Sam: Well, now you give a shit. I thought Tara had a shitty mother, but you take the cake. Joe Lee: Don't talk that way. Sam: Don't talk to me that way. Like making people scared? Think you're good at it? I can't understand the power you got over them, because I see you for what you are. You're just a scared man in saggy underpants with no discernable life skills whatsoever. Come on, Tommy. Melinda: Where are you going? Sam: Taking him with me. Melinda: What? I can't. Sam: You can, Tommy. You can be free of them. Melinda: He's my son. You can't do this to me. Sam: Oh, yes, I can, and so can he. I thought the Merlottes were the worst people I'd ever met. The two of you Mickens make them look like a coup Dalai Lamas. You really f*cking do. Melinda: I'm sorry, Sam. I know we let you down... Sam: You're sorry. Great. Duly noted. Come on, Tommy. You coming with me? Tommy, I can't promise you a perfect life, but I can promise you it'll be better than this one. Tommy: Yeah, I'm coming. Sam: All right. Come on, let's do this. Joe Lee: Don't you worry, Lindy. We'll get him back. Melinda: I hate you! I hate your f*cking guts. Scene 17: Hospital - Jason, woman, Lafayette, Alcide, Tara, Sookie, Claudine, Bill Woman: I understand that this is hard, but as the responsible party here, there's certain decisions that you might have to make. Jason: No. No. I ain't responsible. Woman: But you are the next of kin. Jason: Maybe, but I ain't responsible. I mean, I can't be. Woman: I understand your position, but in the event your sister... Lafayette: Just leave him alone, please. Woman: But I... Lafayette: I said, leave him alone. Go find somebody else's organs to harvest or some shit. Woman: I'm sorry. Alcide: I'll smooth it over. Jason: Thank you. Lafayette: Listen to me. f*ck her. This shit ain't over. Tara: Just don't make no sense. How can Sookie not have a blood type? You got one? Jason: AB-negative. I only know it because I'm always cutting myself with power tools and whatnot. But Sook, she ain't never really been sick before. Definitely never stayed in a hospital. Wasn't even born in one. Tara: I didn't know that. Jason: Yeah, our mama was always waiting till the last minute to do everything. And Sook, she was coming out real fast, so there wasn't any time. Our daddy had to deliver her on the dining-room table. Saw more of it than I cared to. You think it's all this vampire blood she's had that did this to her? Tara: It ain't the blood she drank that did this. It's the piece of shit vampire she drank it from. Jason: You really kicked him out in the sun? Tara: Mm-hm. And he's nothing but f*cking ash now, and good riddance. Jason: Hey, Sook. Don't you do this to me. I wasn't playing before when I said you're all I got. I f*cking need you. So come on back. Tara: And I f*cking need you too. Lafayette: Come on, y'all. Stop cussing at her. We're gonna figure this thing out. Sookie dreams. She wakes up in her room in a dress. She gets out and there's a woman. Sookie: Where am I? Claudine: Sookie. You're in the hospital. You can't seem to stay out of trouble, can you? Sookie: I don't... Do you know me? Claudine: Come. Sookie: Who are you? Claudine: I'm Claudine. Oh, dear. Your cup is empty. We can't have that, can we? They enter in the fairy world. Sookie: Oh, Claudine. Claudine: I know. It's beautiful. Drink. Sookie: My God. It's the most amazing thing I've ever tasted. Claudine: You've had it before. Sookie: Okay, but where did she come from? Claudine: Oh, don't be fooled. That pond is bigger and deeper than you think. Sookie: Can we dance? Claudine: We can always dance. Sookie: I knew you were gonna say that. Claudine: And I knew you were going to say that. Come. Back at the hospital. Lafayette: I think over again my small adventures, my fears, those small ones that seemed so big. For all the vital things I had to get and reach, and yet there is only one great thing, the only thing, to live to see the great day that dawns and the light that fills the world. Jason: That's beautiful. Lafayette: That's because that shit is Inuit. And we all is used to lesser religions. Back in the fairy world Sookie: I'm gonna have to sit this one out. I guess I don't have the endurance that you all have. Claudine: Oh, not to worry. You will one day. Sookie: You promise? Claudine: I do. Oh, Sookie. Don't go back. Come with us. Sookie: Come with you where? Claudine: Our home. It's more beautiful than anything you can imagine. Sookie: How do you get there? Claudine: Swim. Come. Sookie:'s thoughts: Hate deep water. Mama and Daddy were k*lled by water. Don't. Can't swim. Sookie: I can't. See, I never learned to swim. Claudine's thoughts: Do not fear the water. It wasn't the water that k*lled them. Sookie: What? If it wasn't the water that k*lled them, then what did? Claudine: The dark approaches. The dark approaches. Back at the hospital. Bill: How is she? Tara: f*ck. Bill: She's dying. Tara: Thanks to you. Bill: I can help. Lafayette: The f*ck you c. Tara: Oh, hell, no. He's the one who did this. Jason: Shit. Bill: Jason, there is no time. My blood can save her. In the fairy world. Claudine: Hurry. I will see you all at home. Woman: I've never seen a vampire before. Claudine: I promise. You don't want to. Sookie: Bill's not like that. Claudine: I don't have time to explain why you're wrong. You have to come with us, Sookie. It's not safe for you anymore. Sookie: Why? Claudine: He will steal your light. Sookie: What light? Claudine: Sookie. Sookie: No. I'm not going with you. I don't know you. Claudine: Do not let him take it from you. Promise me. Sookie: How do I get back from here? Claudine? Claudine! Back at the hospital. Jason: Do it. Tara: Jason! Jason: Tara, it's my call. Do it. Come on, Sookie. Scene 18: Sam's car - Sam, Tommy Sam drives. They are silent. Scene 19: Fangtasia - Magister, Pam, Eric, Sophie-Anne, Russell Magister: I come bearing gifts because I want you to know how rotten I feel about the way I've been treating you. I sent one of my minions to Tiffany's to pick up a little something for you. Pam: How'd you know I was a Tiffany's girl? Magister: Hm. Most women are. And those who aren't just think they're not. Pam: They're beautiful. Magister: Mm. They're sterling silver. Pam: Excellent. They'll match my chains. Magister: Unfortunately, seeing you now I realize your ears are already pierced. Would you object to my piercing your eyelids? Pam: Not at all. Magister: Very well. Hm. Eric: Enough. Pam: Eric. Magister: Mr. Northman. It's only enough if Bill Compton is with you. Is he? Eric: No, Magister. But the queen of Louisiana is. Magister: Our deal was... Eric: I'll confess that you were correct before in suspecting me, but everything I did was at her behest. Magister: You realize, of course, you're committing treason, throwing your queen under the bus as you are. Eric: Oh, but she's no longer my queen. My loyalty is to Mississippi now. Russell: And Mississippi's proud to claim Mr. Northman as one of her own. Love the place. Love your vibe. We must talk franchising later. Magister: Russell Edgington. Russell: You may call me King. Magister: Is it true what Northman says? Sophie-Anne: Yes, Magister. Magister: Then I'm afraid I'm going to have to arrest you. By the powers vested in me by the authority... Russell: The authority? Magister: ... I hereby... Russell: Are you serious? Who are the authority? What gave them the authority? Nothing. No one. Eric: You okay? Russell: They took it, as I am taking it today. I no longer recognize the authority. Magister: You are aware... (to Eric) She stays on the table! You are aware that just saying that is a cardinal sin. Russell: I am aware of just what a tough little boat I'm putting you in. Honestly, it is kind of fun. Magister: You know I'm beholden by duty to convey your blasphemy to the authority... Russell: To the authority? Well, that won't be happening. But enough about you. In exchange for the money she owes the IRS, Queen Sophie Anne, mwah, has kindly accepted my marriage proposal. Sophie-Anne: I had no choice. Magister: Your Majesty... Russell: Yes, my loyal subject? Oh, we would be delighted if you would officiate the wedding for us. Magister: I am forbidden to conduct any rights of alignment unless specifically authori... Russell: Unless specifically authorized to do so by the authority. Yes, well, perhaps you have not quite grasped the subtext of our earlier exchange, but there's a new f*cking authority in town. Magister: I swear fealty now and always to the one true vampire authority in whose wisdom and justice I... You pathetic fool. Russell: Blindly doing the bidding of others, just like humans. It's vampires like you who've been holding the rest of us back for centuries. Scene 20: Hospital -Bill, Sookie Everyone is sleeping in the room. Sookie wakes up. When she sees Bill who's smiling at her, she screams. Scene 21: Fangtasia - Magister, Russell, Eric, Sophie-Anne, Pam Pam: You can dish it out, but you sure can't take it, can you, Magister Eric: Let's see how this plays out, Pam. You can always taunt later. Sophie-Anne: Can we hurry this along? I'm getting cold feet. Russell: Of course, my little pudding. This could be so much less painful if you just said the f*cking words! Magister: I am bound by duty to uphold the sacred laws of... Russell: Ah, ah, ah. Your call. Magister: I hereby pronounce you... husband and wife. Russell: Thank you. Sophie-Anne: Yes, thanks. So happy I could bleed. Eric: Congratulations, Your Majesties. Pam: Yes, congrats. Magister: You realize, of course, the authority will never recognize... Russell: Its own irrelevancy? That's where you and I differ, Magister. I truly believe they will, and soon. Andalusia, the Iberian Peninsula. Mm. Later 9th century, no? Well, whatever. It's a long enough time for you to have outgrown your blind allegiance to the authority and their rule of law. There is only one law: The law of nature, the survival of the fittest. And we need to take this world back from the humans, not placate them with billboards and PR campaigns while they destroy it. That is not authority. That is abdicating authority. Eric: Your Majesty. Shall we? Russell: We shall. Actually, no. Say hello to the true death. Russell kills the Magister.

{"type": "series", "show": "True Blood", "episode": "03x07 - Let the Bodies h*t the Floor"}

foreverdreaming

[At Fangtasia. Eric and Pam] ERIC: We need a sanctuary. PAM: Oh my god, what did you done. ERIC: I slayed a vampire, lover's Russel Edgington. PAM: Are you insane? ERIC: WHERE CAN WE GO? PAM: A human home would be safe. We both have been invited in the Sookie's. ERIC: It's out of the question. PAM: You never panic. Should I panicked? [Ginger arrives.] ERIC: Ginger, dear, where do you live? GINGER: Across the river, in Bossier. Why? PAM: We need your house. Now. GINGER: It's because of the V-faid's? [Nan Flanagan is in the Fangtasia, with officiers.] ERIC: Sorry Miss Flanagan. The bar is closed. NAN: Thank you, I already ate. Tru Blood only, of course. You can't stay out of trouble, can you? The V.R.A is two states away from ratification. I should be kissing asses in the Oregon, not cleaning up after you in f*ck' Louisiana. ERIC: I promise that there nothing is missing in my area. NAN: Shut up. You're making my head hurt. Officers. Silver him. [Eric gets hurt. Ginger screams.] Credits [Russel arrives on his castle running.] RUSSEL: Where is he? GARD: In the office, sir. [He discovers what's left of Talbot.] RUSSEL: Talbot. My love. Hahh! [Stackhouse's house. Sookie and Bill are together on the shower. Then Sookie see a were-wolf d*ad boby in her living-room.] BILL: Yeah, I suppose I should have mentioned that. SOOKIE: There is an old tarpaulin that back. Normal couples do not do this, Bill Compton. BILL: Don't you giving up on being like a normal couple? What would you rather to be doing? Sit on the sofa, watching television. SOOKIE: I uses to be excited like that, you know. You spoiled me. Just once, I'd like to not find a d*ad body in my house. Is that asking too much? BILL: Sookie, he was sent to k*ll you. If I didn't k*ll him, he would have come back for you. You have to trust me. Don't you? SOOKIE: I do... I mean... I try to, but these are things like... BILL: Like? SOOKIE: Like that secret file you got on me. You know, the one Russel Edgington showed me. Birth certificates, family trees, newspapers about me. He said it's yours. BILL: It's true. I gathered these information to find out why Eric Northman was such unusual entrusting you. I assume this has to do with what you are. SOOKIE: Do you know what I am? BILL: Truly, I do not. And I'll doing my best to find out. SOOKIE: Okay, see, I don't know how you did things in 1800. But keep a file on the woman you love, it's... creepy. BILL: I have to know what you are, or else I can't protect you. SOOKIE: But you have to trust me. And stop to thinking of me as a thing to be protected. I'd take care of Debbie by my-self. I'm not afraid to spoon long blood anymore. Much you such want to be human. I think I meet the halfway to vampire. [New scene. Lafayette is sitting on his sofa. Jesus arrives.] JESUS: What? LAFAYETTE: Usually, this is when I come out an excuse to get you the f*ck out of here. JESUS: Like "I've got to get work early. "Or "I think I've got food poisoning. Or "Would you mind help me to clean up the lice out of my bed?" LAFAYETTE: I go with ticks. JESUS: And which is it this time? LAFAYETTE: I guess you can stay. JESUS: Good answer. LAFAYETTE: Really? JESUS: Very good answer. LAFAYETTE: I like your ink. JESUS: Seems the Olmeques and the Mayas used to worship jaguar. He is strong and elusive. He hold the power over the universe. LAFAYETTE: Is that what you think of your-self. JESUS: Okay, my high school was the Jaguars. LAFAYETTE: That's more like it. But it's pretty anyhow. [New scene. Jason's house.] CRYSTAL: I told you, he is not here. FELTON: So where the f*ck is he? And why he didn't chained you up? CRYSTAL: I don't know! Stop! I can't think! JASON: Keep quiet! Hands on your head! FELTON: You're a cop? JASON: Shut up! FELTON: Is he a cop? JASON: Don't answer that! CRYSTAL: Not really. FELTON: What do you asking? A ransom? We ain't got much. JASON: A ransom? CRYSTAL: He wants some money! JASON: What the hell are you talking about? FELTON: I don't leaving you baby. You are promised me since you were four. JASON: She is a woman, she can do what she wants! FELTON: You're the one who f*ck' kidnapped! JASON: What?! She came to me! FELTON: What? Is that true? I swear I'll got to kick your ass if you ran away! JASON: Don't talk to her like that! FELTON: Don't make me h*t you. You know I hate when you make me h*t! JASON: Dude! I've got the g*n! Shut the f*ck up! Why is he think I kidnapped you? CRYSTAL: He r*ped me too! JASON: What?! FELTON: That is my girl! JASON: I didn't r*pe no one! FELTON: Gimme the g*n baby! Bitch! Why the f*ck did you h*t me! JASON: Give me that! Could you now make me a rapers? CRYSTAL: I'm sorry! It was the best I could think of! We better tie him up before he comes to. He is a lot stronger than he looks! JASON: Alright, I've got my handcuffs. CRYSTAL: Oh no! He can escape handcuffs. JASON: What? What is he? A magician? CRYSTAL: Just... A rope. Trust me. Bring me a rope. [She finds V on the Felton's pocket. New scene. At Fangtasia.] NAN: The downstairs is clean. ERIC: I told you there was nothing. NAN: It's been white. ERIC: Well, I'm a Virgo. I like to be neat. NAN: Your screaming fangcrush of the barmaid. Who's been glamored so much that she can't even remember her own last name, does know, that no one never goes down with so much than a mop and a promise. Suddenly, it's as sterile than an operating room. ERIC: Doesn't prove anything. NAN: If only we have a Magister to decide that. Relax. It's not like you k*lled someone. I just need your official statement. That's all. Webcams, for the Authorities. Members of the Authorities, it's Nan. Can you hear me? Good. As regards to the matters of the disappearance of our Magister. Last know where about: this dumping at Shreveport, Louisiana. You have before you Eric Northman, sheriff of area 5. Smile to the cameras Eric. [New scene. Sam' house. Tara is crying.] SAM: I spiced it a little. Looks like you could use it. Hey, listen. What you went through seems like more than a person can endure. TARA: You're here. SAM: Yeah, but I'm don't think I'm doing to much good. You have you... thought about... TARA: I'm not gonna consult a shrink. Pour my guts ahead a stranger it's the last thing I need. SAM: Just tell me you'll think about it. [The phone rings.] SAM: I got it. Arlene? TERRY: You're lucky, it's just me. But Arlene is fixed for throw some Molotov in your little brother's window if you don't get down here. SAM: Why? What's going on? TERRY: There's all kind of noises, Sam. Girl noises. Ordinarily, I don't keep anybody to enjoying him-self. ARLENE: Enjoying? She sounds like she is being m*rder. TERRY: Listen, I've got my two kids who had schools in the morning and a pregnant woman who says she need at least nine hours to sleep. ARLENE: It's for the baby! TERRY: I'd try knocking on the door, but they ain't answer. I know it's late for you too, but if you could... SAM: No, it's alright. I'll be right over... five minutes, okay? TOMMY: Yeah! Lean up! Go on! SAM: Hey, I've got... I've got to run over to the apartments. Do you wanna... ? [At Fangtasia] ERIC: There is a pattern. The Turks told have found shapeshifty jackals at the fall of Constantinople. The Azteques were decimed by a disease from Conquistadores's were-dogs. Each times there's been wolves full by vampire blood. I never leave find him in Augsbourg, in 1945. His wolves were in the service of the Wehrmacht. He disappeared at the end of the w*r and I... Thought he was finally met the true death. Now he is return. NAN: Do you know why? ERIC: In time of conflict, Russel Edgington insert him-self into the affaires of man. NAN: To what end? ERIC: He claim it's supervising human from destroying planet, and them-selves, those our food source. NAN: But the Tru Blood changed all that. They were no longer food for us. The Grand Revelation... ERIC: Russel Edgington opposed the Grand Revelation, he doesn't want to coexiste with humans. He wants to subjugate them. NAN: The Authorities will not... ERIC: "I f*ck The Authorities!". Russel's words. Repeated. NAN: This is why he k*lled the Magister? ERIC: No, he k*lled the Magister, because the Magister defied him. He kidnapped the Queen Sophie-Anne because she refused to him. And now, if The Authorities or the L.V.A standing his way. Well... NAN: These is treason elocutions. Why did you report this? ERIC: I should have. But The Authorities has existed for only a few hundred years. My history with Russel Edgington goes back in nearly a thousand. My family was massacred. All of them... by wolves. I managed to k*ll one. And I'd watching him change into a man at the end of my sword. And these wolves, they are the same. Sweeden... Germany, here. With all respect, I did not report Russel Edgington to you, it's because I want him to die at my own hands. I've waiting a thousand years for this. NAN: Yes. Yes, I understand. I'm flying immediately to Portland. Thank you. ERIC: What? Is that it? NAN: The Authorities will review your statement against the franquely strong possibility that I've lost an entire night of spends hearing time to promoting the V.R.A, and also listened to a lot of bullshit. But some do believe in a fair hearing. Americans... ERIC: Miss Flanagan, Russel Edgington is a treat to our very existence. NAN: But he is a king. One who's just donned an half million dollars to the same Vampire American League then you say he is trying to break down. Weird, Um? Bring it up a couple of coffins for Sheriff Northman and his... What ever you are. You are locked down, to the Authority makes his ruling. [Nan Flanagan goes away, leaving Eric and Pam alone. New scene, Tommy's apartment, Sam arrives.] SAM: Jesus, put on some clothes. TOMMY: Sorry, can't hear you. I'll put on some clothes. GIRL: Hey! Oh, you're the guy from the bar. SAM: Yeah. TOMMY: Hey Sam, this is Nicole. NATALIE: It's Natalie! It's okay, we ain't got much talk. SAM: You're h*t? TOMMY: No! NATALIE: But I am, You wanna some? SAM: No, no. NATALIE: Do you wanna me to go? I don't wanna get you in trouble. TOMMY: No, no! He is gonna go. He is just stuck in trouble and he wanna drag me in. Seriously dude, look at your-self. I'm naked, she is naked. We are partying. And you're just standing there. SAM: Listen, how you have a good time is your business. Believe me, I've done it all, and more. TOMMY: Yeah, he says that. Where is that guy go? SAM: You can't disturbed the neighbors when they want to sleeping. TOMMY: And you tell me that as my landlord or my dad? Fine. Whatever. Yes, Sir. We'll keep it down. That all? SAM: Okay. I'll see you tomorrow in the morning. NATALIE: That is your dad? [New scene. Jason and Crystal tied Felton to a tree.] JASON: Where did you learn that shit? CRYSTAL: I used to be a rodeo champ. JASON: Really? CRYSTAL: Okay! Call! [Jason calls the police and take a weird voice.] SECRETARY: Fox County, Sheriff costume department. JASON: There is a guy tied to a tree on Jefferson road. It's about 3 miles north on I-20. He's got small bag full of vampire blood in his pocket. I think he is some kind of drug dealer! SECRETARY: Does he need some medical assistance? JASON: Hey, is he need a medical assistance? CRYSTAL: It's good enough, come on! [They get out on car. New scene. Lafayette's house.] JESUS: Oh, shit. You should let me sleep last night. I've got a twelve hours shift. Hey Ruby, almost done in there? It's time for us to go home. RUBY: You've got an excellent collection of cosmetics. I give you that. I'm ready for you now. Nothing can hurt me when I've got my w*r paint. Some is different about you. LAFAYETTE: I don't think so. RUBY: You haven't got your mask. LAFAYETTE: It's because you did spend all my stuff. RUBY: I see you. My son is shining through. And he did this to you? LAFAYETTE: No. Yeah. I guess we can say that. RUBY: I'll be damned. Maybe God loves f*g. JESUS: That sounds like a complement. Ruby, we've got to go, come you. you have to blessed the jelly before anyone can eat, come on. LAFAYETTE: Go ahead. Without my ring. Thank you. RUBY: Come see me, Lala. LAFAYETTE: Of course Miss. Eat your vegetables. JESUS: So, I'll see you? LAFAYETTE: Well I'll see you. [New scene. Jason and Crystal come in the police's office. Rosie is crying.] JASON: What happened? ANDY: Who is she? JASON: It's Crystal. She will be with me for the day. Rosie? You're okay? ANDY: One of our man were down last night. JASON: What? Which man? ANDY: Kevin! He is alive barely. His mum is at the hospital with him. JASON: What eum... What happened? ANDY: He was called on an emergency at 2 a.m. ROSIE: I thought it was a rag. Some moron called, this guy disguised his voice, saying there was a guy tied to a tree who's hold a bag bowl of vamp blood. I didn't know. ANDY: We sent a man into a trap. They smashed him up like a piñata! Crushed his trechea! He probably can't understand what they did else! JASON: Shit! CRYSTAL: That's awful! ANDY: God, damn it! Can't be loosing my adjunct for my first week! ROSIE: He is the only man I ever loved! ANDY: I've got to type my statement. JASON: Gimme one second. [Crystal see T-Bud.] JASON: Hey, listen, Andy. I'm really torn about this thing with Kev. ANDY: What do you want? A hug? I've got ulcer so big that coffee come out of my navel. JASON: That it is possible? ANDY: You've got tree seconds. JASON: I've got an idea, that who might done. Did we find a bag of V, at the scene? ANDY: Kenya put it in evidence, long with some guy had in clothes. JASON: The rumor on the street, is that a meth Lab in HotShot, deal some V now. ANDY: Where did you hear that? JASON: You want to your cops to protect their sources, don't you? ANDY: You ain't a... please go on. JASON: I was think, if we can connect the V and the f*ck guy who kick Kevin at HotShot, then we get enough factor to do a raid there again. But you probably thought to that already. ANDY: This is one of the several theories I've got. Then call at the Lab. I'll tell you what, if it turns that our V addict is from HotShot, I'll call then the F.B.I, the I.A, the A.T.F, the D.O.G and Blackwater, and I'm gonna send that shit all back on the f*ck hole they came out! JASON: Yeah, yeah, I'm behind you boss. Overway to the ends on. And if you need any muscles with Kev gone. ANDY: Go make sure Rosie hadn't drown under her desk. JASON: Yes, sir. [Andy take a bag bowl full of V from his desk. New scene. Tara come in a meeting. There is Holly.] HOLLY: Hi! Tara, right? From Merlotte's? TARA: Yeah. HOLLY: Everybody, this is my friend from my new job. We didn't have a chance to know each other, but seems we are on the boat together now. TARA: I don't know... I don't even sure why... HOLLY: Oh, come on, don't worry. We are not as scary as we look like, I promise. I better start. Hello! I'm Holly. It's been a while since I speak, but there is a lot of new face here, I figure out take it turn. I'm a r*pe survivor. It's easy for me to say that now but, it took me ages to put that words together. It was woman like you all who help me in all way. Fifteen years ago, I was locked into a room and been r*pe by my colleague-work during five and a half hours. And every day, I've to fight with my memories of that, and that part of me who... wants to feel sorry for her-self, expects the worth part of people. But that's not who I was raised to be. And I still believe that people have were trusted. And every day, that piece of me gets a tiny bit stronger, and eke out just a... tiny bit more. [Tara is crying. New scene. Sookie's house. She is looking at a old newspapers about her grand-pather. The phone rings] SOOKIE: Hello? HADLEY: It's Hadley. What are you doing in your house? I told you to leave Bon Temps! They are coming for you! SOOKIE: Well, they came, they came and the rest sh**t, and I'm still here. HADLEY: Come on, I'm begging you! You and Jason are the only family I've got left. SOOKIE: Where are you? HADLEY: Well, Sook, do you think you can come in the aquarium in Monroe? I've got someone I need you meet. [Sookie arrives at the aquarium. There is a little boy with Hadley.] SOOKIE: Hadley? HADLEY: Okay, stay right here, I'll be right back. SOOKIE: Oh, my good. Is that? HADLEY: I took him at the daycare. His dad don't know. I didn't see my son for over a year. SOOKIE: Sweet, you're gonna loose him for good if you don't bring him back. HADLEY: Did anyone follow you? SOOKIE: What? What ever you don't telling me, now it's time. HADLEY: Okay, okay. Shit. I've screwed it up. I've got involve with a vampire. SOOKIE: Okay. HADLEY: Her name is Sophie-Anne. She is the Vampire Queen of Louisiana. SOOKIE: The... ? Are you kidding me? HADLEY: I told her things. I talked about you... and powers you've got. SOOKIE: Why would you do that? HADLEY: I didn't think anything over, but then suddenly she's got interested. And now, I think Russel Edgington is interested. Shit! It's my stupid fault if all these vampires are after you! SOOKIE: What do they want with me? HADLEY: They... They don't think like regular people. I don't know the half of things they do. But just, now you have to get out of Bon Temps. Please. SOOKIE: I'll find some place to hidden. Why haven't you left? HADLEY: Hunter, sweety. Come say hi to your aunt Sookie. Sook, I need to know if he is like you. Please. If he is I've got to protect him. Hunter, come on sweety. Come on baby. HUNTER: Who is this lady? Where is dad? Why isn't he here? SOOKIE: It's okay. We don't have to talk. Which is your favorite fish in the aquarium? It's alright. No one knows. It's just us. HUNTER: The blue one. SOOKIE: The blue one is nice. I like the orange one too. You don't have to be scared. Your mum loves you very much. HUNTER: Mum is really scared too. Mum is more scared than me! HADLEY: Oh, sweet Lord! No! Come on. We have to go. HUNTER: No! No! SOOKIE: Where are you taking him? HADLEY: I've got some friends. The less you know, the better. Come on, baby. HUNTER: She knows! She knows! HADLEY: Come on! [New scene. At the Merlotte's.] ARLENE: Where is the rest? TOMMY: There's all on the table. ARLENE: What ass it is? There is two dollars! TOMMY: It sounds good to me. ARLENE: Four daughters of the Confederacy with French manicures just told me I was the best served that they ever had. Don't tell me they left me two dollars. TOMMY: That ain't my fault if they're cheap. SAM: Hey, hey, hey, hey, hey. We can hear you in the sitting room. ARLENE: Since when a four table left me a two dollars tip? TOMMY: I haven't your money. ARLENE: Turn up this little f*ck outside down and check it out of him! TOMMY: I'd like to see him trying! SAM: Calm down! ARLENE: If this little runt keep steal my tips, I've got to need a raise. TOMMY: That's good one. A raise? For what? Service that f*ck sucks? SAM: Hey, I'm taking that money out of your salary. TOMMY: Oh, nice. So your gonna take her over mine? Shit. Did you let anyone walk over you? Un-f*ck-believable! [Holly arrives and finds Arlene crying.] HOLLY: I've got two boys just like him. He will never admit he took the dollars, but he will never try to put out on you again. ARLENE: Oh God, before it was a nice place to coming work. HOLLY: I've seen worse. A lot worse. ARLENE: I'm having kids, God loves them, but coming here was the best part of my day. HOLLY: But you can see your man through the kitchen window, that is worth some, admit it. ARLENE: I don't know for how much longer. The baby coming, it ain't his. I haven't say that, until now. The daddy, he is gone. He d*ad. But that man was purely evil. I'm bringing that evil child into this world. I know I am. And soon or later, Terry will go find out. I've got a time b*mb in me. Six and a half month to fib on my-self and everybody else before the best man that I have ever encounter exposed to his miseries! How am I supposed to live with that? HOLLY: You want this baby? ARLENE: No. No, I don't. I... I can't believe I just said that! HOLLY: Do you need someone to come with you in the clinic? ARLENE: Oh, God no, no, no, no. i can't do that. It's wrong. It's very wrong. HOLLY: Okay, okay. That's your business. But you ain't a time b*mb. There is other way to resolve that. [New scene. Bill's basement. Some drop of water falls from the trap-door. Bill wake up and arrives on the garden where Sookie were.] CLAUDINE: No, it's impossible. BILL: It's day light. CLAUDINE: How did you? You k*lled her. BILL: No! Come back! CLAUDINE: No! [Bill try to att*ck her then Claudine use some light against him.] CLAUDINE: You've k*lled Sookie. BILL: I haven't. CLAUDINE: You'd take her blood. I can see it in you. BILL: I love her. CLAUDINE: You think you do. You only want her light. BILL: No. She is safe. She is alive. I swear, I never wanted to hurt her. CLAUDINE: Leave her alone, vampire. We will protect her. BILL: How have you ever protecting her? CLAUDINE: We have. Believe me. BILL: Who is "we"? CLAUDINE: Now, why would I tell you that? BILL: Sookie needs to know what she is, so that she can protect her-self. Please. What ain God the name are you? [New scene. Eric and Pam are in the Fangtasia.] PAM: Did you sleep at all? ERIC: I'm fine. PAM: The guards are still outside? ERIC: Pam, what ever the Authorities decides, I will not allowed you to take any responsibilities. PAM: You didn't k*lled the Magister. ERIC: But I do a clean scapegoat. Who is these is the pain in on. A sheriff who's incarcerated or a king, who might be anywhere? If they search at the Russel's palace, they will find the remains of his lover. PAM: What did he do to you? ERIC: Nothing. But he was the nearliest thing to the Russel Edgington's heart. He had to die. PAM: I hundred years have been with you. Why didn't you never say anything about Russel or your family? ERIC: You didn't need to know. Why could have share my pain with you? PAM: You didn't need to carry about your-self. ERIC: I am not weak. I was the sole survivor. The burden is mine alone. PAM: We've live through so much, for so long. You can't and as it quickly. ERIC: Everything ends. Even the immortal. If I can't go on, you must make a new vampire. It is your time to be a maker. [New scene. At the Merlotte's.] SUMMER: I'm so hungry, I could eat a horse. JESSICA: Two? HOYT: Hey Jess, this is... JESSICA: Follow me. HOYT: You didn't even say hi. JESSICA: You know, you could come here in the day, or the nights that I'm not working. There even other place there you can go eat. HOYT: This is my place. I have coming here for years. You didn't call at all, so why do you care? JESSICA: I don't. It's fine. HOYT: So, in that case, I'd like very much to you to meet Summer. SUMMER: Jessica, I have heard so much... JESSICA: Shit! HOYT: She didn't mean it. SUMMER: I am so pride of you. HOYT: Why? SUMMER: Because you chose life. I love vampires as much as anyone else. But they have no life in them. Look how sad she is without you. She put you into the night. I'm just so thank for you chose to come back with me. Can't do much antiquing after the dark, can we? [At the Merlotte's. Jason and Crystal.] CRYSTAL: I saw the look into the T-Bud's eye. He thinks I'm a snitch! Why else would I been in a police stagement? JASON: You don't have to worry about them. T-Bud, he is on your rear-view darling. Cause I've got hear the sheriff today. And we are gonna bust HotShot. CRYSTAL: What? JASON: We will circle them all up, and take them all down. Just lay low for a day, maybe two. CRYSTAL: Wait. What's gonna happenned for them all? JASON: They'll go to jail. CRYSTAL: But they are my... There are my kin! Oh my god. We've got to prevent them! JASON: No! You will running back to the same people you'd try to get away from them? Back to Felton? Who h*t you and almost k*lled Kev? How could he run away anyway? We tied him up like a Christmas roast! CRYSTAL: Jason, there are people there they don't touch the drugs. And the kids, they don't know nothing else. You can't send them into the system. You can't. [At the Merlotte's. Jesus and Lafayette.] JESUS: A visit from the chef! It's my lucky day! LAFAYETTE: I wanna meet the tared f*cked who order the vegetarian burger with bacon. JESUS: I was just curious to see if you'll actually do it. LAFAYETTE: Well, fine for you, i can do some kind of things who's not run with my better judgment. JESUS: that's why I'd come back. For the personnel service. LAFAYETTE: You don't finished that. So ain't got no desert. TARA: Lafayette! The nurse from Meadow Glade? Is this your thing? LAFAYETTE: If you call tree full days a "thing". For me it's a record. TARA: Well, it's still time to blew up in your face! LAFAYETTE: Well, f*ck you too. TARA: No, I didn't mean... Never mind... It's just... Forget what I said. There is a reason why you should trust him. LAFAYETTE: I told him all this shit about me, and he keeps coming back. I don't know if he is a fool or a f*ck... Miracle. TARA: I think if he can control you mama, I go with miracle. LAFAYETTE: Hallelujah! Blessed Jehova it's about f*ck time. I'm sorry, i didn't mean... TARA: No, I'm happy for you baby! LAFAYETTE: Thank you! TARA: Come here! [Hoyt and Summer.] SUMMER: I'll be right back! Guard my dolls! JESSICA: Hey... I just wanted to say I'm sorry. I didn't mean just scared your girlfriend like that. HOYT: It's alright. You can't help your-self. JESSICA: She seems... short. HOYT: Yeah, we can't all... JESSICA: She knows you hate dolls? HOYT: We don't really talk much about be. JESSICA: Does she at least make you happy? HOYT: I hate her. God help me, but I f*ck hate her. Everything is dolls and sham and cleaning stuff and she never stop talking. And I feel like it'll make me crazy, Jess. JESSICA: What are you doing with her? HOYT: It's a bit better than mope on thinking about. TOMMY: Hey, hey You OK? What the f*ck is your problem? [New scene. Russel is looking at Nan Flanagan on the Fangtasia's roof.] NAN: Is he inside? RUSSEL: Talbot. Look. The American Vampire League protect your m*rder. Probably they'd send him. They will suffer for their sins, my lover. I swear to you they will suffer. [Inside the Fangtasia.] NAN: You look like shit. ERIC: I feel fantastic. NAN: The ruling is that follows: the Authorities deny any knowledge of our interview, your statement or indead this ruling it-self. None of this never happened. ERIC: What? NAN: Missing of the Queen, death of Magister, it's a political tare, baby, no one wants to touch, not that the V.R.A is so close to ratification. ERIC: Russel will not stop k*lling. What if the human public hear of it. NAN: That's why you're gonna take care of it. Quietly, discreetly and most important off all completely out of the box. You wanted revenge. It's yours. ERIC: What resource are you gonna give me? NAN: None. We're not gonna near it. ERIC: How are you expecting me to k*ll him? He is tree times my age. NAN: Listen, you whinger little bitch. The only link between Sophie-Anne, Russel end the Magister is you. You bring this big pile of shit, and you're gonna make it do away. Bring me his fangs. Or I'll take yours. [New scene. Calvin comes in the Merlotte's.] JASON: He do it once, he will do it... Stay there baby. CALVIN: You, little two-faced bitch. JASON: Watch your manner, old man. CALVIN: Oh yeah? f*ck you! That's my daughter. You think you can turn to your own people? Who you think you are? I raised no snitch! SAM: Hey! You are not welcome here! You've got a problem, take it outside! JASON: Let's go, daddy! CALVIN: And you? You said you didn't seen her. SAM: That's true. I haven't seen the kid. CALVIN: Be a man and stop lying, f*ck p*ssy! Come on let's get the hell out of here! [Sam h*t violently Calvin.] SAM: Who's the p*ssy? Who is the f*ck p*ssy? CRYSTAL: Please! Please! It's my daddy! SAM: Go f*ck! Stand up! HOYT: Okay! Easy! [At the parking.] JESUS: He is still breathing but he is disrepair, shit. Yeah, I hold him one second. You've got him? Take his legs. Listen, find me at the emergencies in twenty minutes. Come on, get started! CRYSTAL: WAIT! WAIT! STOP! JASON: You can't f*ck go with him! That son of bitch used you. You hate him. CRYSTAL: He is my dad and he id the only one I've got. If you don't understand me, you don't think you know me at all. JASON: Crystal, I know when you'd been an idiot. You are running right back to the people who'd been controlled your life. CRYSTAL: You're right Jason. I don't need no one controlled my life. Certainly lot f*ck you. COME ON! GET STARTED! JASON: Crystal! f*ck! f*ck! [Franklin comes and presses Tara on the wall.] FRANKLIN: Don't howl, it's an ugly, ugly sound. TARA: I've k*lled you. FRANKLIN: That's everyone said but you didn't. I thought, why anyone would spill so vicious lie. Why would you k*lled someone that you loved? TARA: I do not love you. FRANKLIN: They've said that too. That I refuse to believe. I have to see for my-self. Do you wanna know what's hurts the most? You didn't mourn. If you had a shread of love, in your heart, for me, you would mourn me. I love you so much. TARA: You don't love anything. You can't. Because you are a psychopath. You violated me and terrorized me, because that's what vampires do. And you're calling that love. FRANKLIN: I'll mourn you Tara. I'll mourn you to my very bowels. But you will never see how much I'll ache. TARA: Come on! If you've got to f*ck k*ll me. k*ll me! What is taking you so long? You want to hear me beg for my life? Is that it? Cause that's the only thing that you can feel. The destruction of live, cause there's no one in you. You're a sick! Mother f*ck! I will not give you satisfaction. FRANKLIN: Why do you wanna die so much? Why do you want me to k*ll you? TARA: Because the second I'm gone, I'll be free of you forever. I'll be free and you will have nothing. FRANKLIN: Shut up! Shut up! Your heart it's beating so fast! I wanna feel it stop. JASON: Take your hands off her. FRANKLIN: This is a private conversation. It's not your concern. Run alone. JASON: Move the f*ck away. FRANKLIN: And you will sh**t me now? You do realize I'm a vampire. You can empty every b*llet on me, and I'll heal. JASON: Not if I've got wooden b*ll*ts. [Jason sh**t and Franklin blew up in blood.] [New scene. Sookie's house. Bill knocks on the door.] SOOKIE: Please, come on in. Where have you been? I have calling you for hours. BILL: I don't know how explain it. I thought that I've got left for a few minutes, and suddenly it was past eleven. SOOKIE: Mean you over slept? BILL: No, listen. SOOKIE: Where did you go? Did you've gone see the Queen? BILL: The Queen? Why would I? SOOKIE: Do you know the Queen of Louisiana? BILL: Yes, I was her subject. SOOKIE: I saw my cousin today, and she says she used to be with the Queen. And now the Queen is working out with Russel to come after me and anyone else like me. Do you know anything about that? BILL: I think I know what they want to you. SOOKIE: Why didn't you say anything? BILL: I only learnt it today. I'm not entirely sure of what it was or even how I've got there. But also it was because I drank so much of your blood. Sookie, I know what you are. [New scene. Nan Flanagan is on a plane. She is feeding from a girl.] NAN: I've got the speech here. I have to memory it all by the time we've got in Oregon. No, go ahead, I'll call. GIRL: Miss Flanagan. [Russel is on TV. He takes his sternum away from the presenter. Nan looks.] RUSSEL: Is that help you to decide, American? Do not turn off the camera! You see how quickly I can k*ll. Ladies and gentleman, my name is Russel Edgington. And I have been a vampire for near than tree thousands years. Now, the American Vampire League wish to perpetrate the idea than we are just like you, and I suppose than in a few small way we are. We are narcissistic. We care only about quite we want, no matter what's the cost. Just like you. Global warming, perpetual w*r, toxic waste, child laborer, t*rture, genocide. That's a small price to pay for your SUV and your flat at screen TV, your blood diamond and your designer jeans or your seat absurd and flashy. Futile symbols to succor your trembling and poor soul. But no. At the end, we are nothing like you. We are... immortal. Because we drink the true blood. Blood who is living, organic and human. And that is the truth. The L.V.A is just wish you to can't see. Because that's fixed, eating people is getting complicated these days. So they put on their friendly faces to pass off the V.R.A. But make no mistakes. Mine is the true face of vampires! Why would we seek equal rights? You are not our equals. We will eat you, and after we'll eat your children. Now time for the weather, Tiffany?

{"type": "series", "show": "True Blood", "episode": "03x09 - Everything is Broken"}

foreverdreaming

Scene 1: Sookie and Bill in Jason's house Sookie: I'am a fairy? How f*cking lame. Bill: Fairy is but one of the names. Sookie: What other names are there? Bill: Finodrerr. Ellyllon. The Old People. (Bill hesitates). Aliens. Sookie: God f*cking damn it. I really am an alien. Bill: Only part. You're mostly human. Apparently, a Fae coupled with one of your female ancestors. Sookie: Coupled? Bill: The Fae were known for breeding with humans. Sometimes against the human's will. Sookie: My people are rapists? How do you know all this? Bill: One of them called. Claudine told me. Sookie: Claudine? Where were you when you...? Bill: Bon Temps Cemetery. Only it... It was someplace else. And it was day. But it wasn't painful, it was beautiful. Sookie: What there a pond? Bill: Yes, that's how I got there. Sookie: I was there too. Claudine told me you would take my light. Bill: She's afraid for you, and with good reason. Sookie: What reason is that? Bill: Every supernatural I have ever met believes the Fae were wiped out of existence by vampires. Générique Scene 2: Tara and Jason in Merlotte's parking lot Jason: Oh, f*ck me (he sees the death of Eggs and Eddie) [/ i]. Whoa! (He picks up the remains of Franklin). Tara, we gotta hide this. Tara: I need you to dig. Jason: What? Tara: Dig (He begins to dig, she picks up the remains and then gives him) [/ i]. Start up the truck. Put this in back. We'll find a place to burn 'em. I got this. (Jason puts the remains of Franklin in the car. Tara covered with earth the blood and spit Franklin) [/ i]. I hope you rot in hell, you psycho piece of shit. (She joins Jason in the car and they leave). Scene 3: Crystal, Lafayette and Jesus Calvin stop in front of Lafayette's house . Lafayette gets out of the car and runs home. Crystal dans la voiture: Why are we stopping? We don't have time for this ! Crystal in the car: Man, what the hell are you doing? This guy needs a doctor. Lafayette: We're still 20 miles away from the Monroe ER. He ain't gonna make it. Bring him up on the porch and lay him out. Jesus: I'm telling you if we don't take... Lafayette: Hey ! Would you just trust me? I' m gonna make it right. Crystal: What is he doing? Jesus: I don't know, but I guess he's got a plan. Crystal gets out of the car: If he dies, you're both f*cking d*ad. Jesus: It's all right. I got you, come on. (A Crystal). Get out of my way. Crystal: Wait ! His breathings all f*cked up, he can't get no air ! Jesus: Come on, Calvin. Stay with us, buddy. Scene 4: Sam coming home It takes a bottle of alcohol to disinfect the damaged hand and starts drinking. He thinks about what he said. Several voices in his head: You f*cking p*ssy. Is there anyone you won't let walk all over you? Dumb f*ck. Rip your dick off and feed it to my hogs. You're really not an alpha, are you? Can't you just be a normal guy? I f*cking trusted you ! Memories of Sam in 2003. He enters a hotel room with a young woman. It opens a suitcase with jewelry inside. He spread on the bed. The young woman: Oh. Come on, come on. Oh. Oh, my God. Oh ! Sam: All right. (He shows two clamps to the young woman who chooses one). Yeah. The young woman: Tell me how you do it, Sam. Huh? How you keep getting into these places without setting off the alarm. Sam: A man ain't nothing without his secrets. The young woman: Tell me. Huh? Uh? Please? Sam: Maybe. One day, when we're out of this game, running a nice little bar, making babies who look like you. The young woman: Oh. You feel so good. Even warmer than usual. (Sam and the young woman are kissing when a man enters silently holding a g*n). Sam: You are so f*cking beautiful. Man menace Sam avec l'arme : Well. Thanks, honey. Feeling beautiful. Sam: What is this? Man: This would be you getting screwed. Sam, addressing the young woman: You in on this? Man: Was her idea. Probably crossed your mind, a world class piece of ass like that don't usually fall for a dumb f*ck like you. The young woman (after picking up jewelry): We're good. Man (strikes Sam with the w*apon): Well, you were right. Come on. (They dash out leaving Sam to the ground). Scene 5: Sookie and Bill in Jason's house Sookie: Why do people think they were wiped out by vampires? And if you don't tell me the truth, Bill Compton, I swear to God I will know it. Bill: According to legend, fairy blood is delectable and intoxicating to vampires. Sookie: Is it true? Bill: Yours is the most delicious blood I have ever tasted. That's all I know. I believe having your blood is what allowed me to get to whatever dream state where I met Claudine. Sookie: I'm pretty sure Claudine hated you in that other place. Why would she tell you anything at all? Bill: I told her my only intention was to protect you. Sookie: And she believed you? Bill: She did. Sookie: If... If my blood is so delicious, does that mean your feelings for me are based on...? Bill: No. Oh, it definitely drew me to you at first. But we grew into something much deeper. You must know that. You see the difference between the way I look at you and the way that Eric and Russell do. Sookie: Yes, but in the van, you almost... Bill: I was unconscious. I was fighting for survival. That wasn't me. Sookie, it is not your blood I love. I love you. Your mind, your heart, your soul. And I will forswear ever feeding on you again if that's what it takes to convince you of that. You have brought light back into my life and hope and gratitude. That is why I love you. Nothing else. Scene 6: Pam, Eric and a notary in Fangtasia Notary: « I give all my residences, subject to any mortgages or encumbrances there on, to... » Eric: My progeny, Pamela Swynford DeBeaufort. Pam (angry): Why are doing this? Eric: Because, Pam, Russell Edgington was maybe the oldest and strongest vampire on the planet, before he eviscerated a newsman live on TV. Now he's also the craziest, and his rage is directed at me. Do the math. Notary: Article four. « I give the rest of my residuary estate to... » Eric: My progeny, Pamela Swynford DeBeaufort. Pam: You're not even gonna put up a fight? Eric: Of course I am.But until I come up with a brilliant plan to b*at him, I am covering my bases and your ass. Pam: Eric... Eric: Unless you have a plan for me to defeat Russel Edgington, do not distract me. (Au notaire) Go on. Notary: Your signature requires two witnesses. But the witness cannot be the beneficiary of your estate. Eric: Yvetta ! (Yvetta arrive). Are you ment*lly competent and under no duress at this time? Yvetta: Da. Eric: Good. Watch this. (He signs and takes the Yvetta's hand to sign.) Notary: Well, congratulations. According to the State of Louisiana, should Mr. Northman meet the true death, you will become a very wealthy vampire. I'll show myself out. Yvetta in Estonian?: You're giving her everything? You promised to take care of me ! Eric in Estonian: I promised you a job and good sex. That is all. Yvetta in Estonian: So I mean nothing to you? Eric in Estonian : Less than nothing, you gold-digging whore ! (Yvetta leaves in anger). Pam: You can be a cold-hearted bastard. (she leaves). Scene 7 : Crystal, Lafayette Jesus and Calvin in front of Lafayette's house. Crystal: What the hell is that? Lafayette: Vampire blood. Crystal: Nothing's happening. Lafayette: Give it a second. Jesus: Why'd you do it? So he'd die in peace? Lafayette: Trust me, all right? Here we go. (injuries on Calvin and Calvin disappear) Jesus: What the f*ck? Crystal: Oh, my God. Oh, Daddy. Jesus: No f*cking way. Calvin gets up, he is not happy. Crystal (embraces father) : Oh. Thank you, God. Thank you. Calvin (to Crystal): You let these f*g put vampire juice in me? Crystal: They saved your life ! (Calvin and Crystal hand slap). Calvin: f*cking cock-sucking f*g. Jesus (approaching Crystal):[/b] You okay? Crystal: I can take care of myself. (She runs after her father).Daddy, wait ! Daddy ! Lafayette: Them f*ck is a whole new dimension of trash. Scene 8 : Crystal joins Calvin in the woods Crystal: Daddy ! Calvin: Your happy? This is what happens when you turn your back on your family. Crystal: I just wanted a taste of the outside. Calvin: Yeah. Well, you like what you got? A shifter kicks my f*cking ass, and those two cocksuckers give me fanger blood? (spits). How could you want to chase around some human, who would freak the f*ck out if he knew what you are? You really think you can take up with that boy? We ain't supposed to mix ! It's your duty to mate with Felton. Crystal: But I don't love Felton. Calvin: You ain't gotta love him. You lie under him, bear his kids, keep his bloodline going. Especially now that you done ruined mine. Crystal: I can't go back there. I won't. (she leaves) Calvin: You're d*ad to me, girl ! You're no daughter of mine ! Scene 9 : Sookie and Bill at Jason's. Sookie sleeping on the couch, while Bill sat beside watching. The TV is on The reporter on TV: In the aftermath of vampire t*rror1st Russel Edgington's slaughtering news anchor Jerry McCafferty on live TV, American Vampire League spokeswoman Nan Flanagan is speaking out against the anti-vampire sentiment and hate crimes sweeping the nation. (Bill rises and turns up the volume of the TV). Nan Flanagan: Look, I do not deny that this was the heinous act of a madman. Russel Edgington is an extremist and a t*rror1st, but that's not because he is a vampire. It's because he is an extremist and a t*rror1st. He is one individual, just as Jeffrey Dahmer was an individual. And I certainly don't recall protests or a call to punish all human men after his at... (Bill turns off the TV because he senses the presence of a vampire outside. The door opens and we see Eric). Bill: How did you find us? Eric: Oh, it was really not that hard. I know what Sookie is. (Bill leaves the house. They both walk) Eric: So is it true that Sookie's blood let you walk in the sunlight? (Bill stops in surprise). Oh ! Sophie-Anne never even told you why she sent you for Sookie. Bill: I returned to Bon Temps because it is my ancestral home. Eric: Oh, spare me your lies. I'll just find out on my own. Bill: Sookie is mine. Eric: She won't be if you're d*ad. Is it true? Bill: No. The blood works for a fews minutes, if that. And you burn a bit slower than you would do without it. But you still burn. Eric: Well, that's gonna disappoint Sophie-Anne. Bill: Well, I will die the true death before I let her get her hands on Sookie. Or anyone else, for that matter. Eric: Russell will come for her. Bill: Well, you should know, since you're now his butt boy. Eric: No longer. I killet Talbot. Bill: So that's why he went medieval on TV. Well, thanks, Eric. You just put our cause back a thousand years. He must be after you for that. Why are you even here? Eric: I'm trying to save Sookie. Bill: Oh, give me a break. You don't care about Sookie. You left us in Russell's house to die. What is the f*cking truth, for once? Eric: The truth? Well, why don't you tell Sookie the f*cking truth, if you really love her? Sookie (arrives at this point): What truth? Bill: The truth about what you are, which I've already told you. Sookie (to Eric): Why are you here? To pretend like you care about my safety, so you can sell me out to Russell again, or is it to the Queen this time? Eric: You really believe he is trustworthy? Sookie: All I know is I sure as hell can't trust you. And now that I know what I am and what you want from me, I can promise you will never get it. Eric: Well, do what you want. I won't be around much longer anyway. I wish you the best, Sookie Stackhouse. (Eric leaves). Scene 10: Jessica, Arlene, Tommy at Merlotte . Jessica and Tommy clean the floor. Arlene watches TV. Steve Newlin comments are attacking Russell. Steve Newlin: This heinous act of pure evil is a blessing, actually, because it finally reveals the true nature of these beasts to us all. Arlene: Mmm Steve Newlin: And if I were less of a Christian, I would say, « Told you ». But of course, I take no joy in this dark time. Tommy (to Arlene): Guess we're on our own for clean up. Arlene: I ain't filling salt shakers while innocent people are being att*cked by vampires. It was only a matter of time before one of y'all got caught on film. (Jessica gets up and brutally throws Arlene's plate against a wall). Arlene: Ah ! Jessica: Okay, we get it. You don't like vampires. Well I don't like narrow minded skinny bitches with bad dye jobs. But at least I've got the courtesy to keep my mouth shut about it. Most of the time. I suggest you do the same. Arlene: Okay. (she begins to leave) : You know, I may be skinny, but I ain't evil. And once evil, always evil ! (she leaves). Jessica: Oh, I shouldn't have done that. Tommy (approaching Jessica): Are you kidding? It gave me total wood. (Jessica covers her mouth as his teeth came out). Hey, don't cover 'em up. They're f*cking hot. Anyone ever told you that? (Jessica shakes her head). Arlene's full of shit. If that old boyfriend of yours had a problem with you... (He moves a little closer to Jessica and she walks away). Jessica: He doesn't. He should, but he tells me I shouldn't hide who I am. Tommy (returning to her) : Then why are you here with me instead of with him? Jessica: Because he's too good for me. Tommy (approaching to kiss) : Well, I'm not. (Jessica leaves). Steve Newlin On TV : ... Enough is enough. Scene 11: Summer and Hoyt Hoyt in the car. They stop. Summer: I've been thinking, Bear. Hoyt: Bear? Summer: One of them cute, cuddly ones with the big eyes and arms you could squeeze till Tuesday. You're the most special person I ever met. I know seeing Jessica's gotta hurt that big old heart of yours, but I think I know a way to fix that. (She starts to unbutton her dress) Hoyt: Summer... Summer: I can tell you're a sexual person, Hoyt Fortenberry, and if that's what it's gonna take to fill up this distance I'm feeling between us... Hoyt: You don't have to do this. Summer: I know God wants girls to wait, but I'm right about you. (She takes Hoyt's hand and puts it on her breast). It's gonna take getting used to. I mean, me being warm and all, but maybe you'll like it better. Hoyt: Summer, listen... Summer (approaching Hoyt): I'm ready, Bear. Scene 12: Sookie and Bill at Jason's house. Tara and Jason enter the house. Jason seeing Bill: Jesus. What...? Sookie (to Jason who has blood on his shirt): What happened? Jason: There was a fight at Merlotte's. Sookie: Jason. Jason: I don't wanna talk about it. How did you guys get in here? Sookie: The key on the sill. Is it okay if I stay here a couple days? Jason: You in some kind of trouble again? Tara to Bill: What'd you do to her now? Sookie: Tara. Bill: It's all right. Sookie to Bill: No, it's not all right. (à Jason) I have a few werewolves afterme, and a vampire and... Jason: Jesus. Tara: Now they're coming here. Great, thanks. Why is it wherever he goes, trouble follows? Bill: It's almost dawn. Sookie: Yeah. Bill: Don't worry about it. I'll go to ground nearby, just in case I'm needed. (He leaves beckoning Jason with him) Sookie: Tara Mae, now, I know you've been through a lot, but... Tara : Don't Sook. You're my best friend, and I love you, but no matter what you say, I'm staying the f*ck away from all of 'em. Sookie: So, what, it's you or Bill now? Tara: I'm doing whatever I gotta do to survive. I can't help it. I wish 'em all d*ad for good. Sookie: You're talking about the man I love. Tara: He's not a man. They're monsters, and Bill ain't any different from the rest of 'em. They tie you up and duct-tape you so you can't scream. They kidnap you, r*pe you, try to turn you. Sookie: That's what Franklin did to you? Tara: And the man you love didn't lift a finger to save me. (Sookie takes Tara in her arms) Sookie: I'm sorry. Scene 13 : Jason et Bill in front of Jason's house. Bill: You have a g*n in the house? Jason: I got a g*n in my truck. Bill: Werewolves are quicker, stronger than you can imagine. sh**t 'em fast, and right between the eyes. Jason: Mm-hm. Okay, I got this. Bill: Are you sure? Because I'm counting on you. Jason: Yeah, I'm good. I'm good. I'll take care of her. I promise. Bill: All right. (he leaves). Scene 14 : Jesus and Lafayette at her house. It's morning. Jesus opens a bottle of V. Jesus: Last night, that guy was as good as d*ad, but a little bit of this, and he just walks away. It's magic. You ever do it? Lafayette: Sometimes. On special occasions. Jesus: I wanna do it with you. Lafayette: Yesterday morning, you made coffee. I thought today maybe we'd graduate to juice and pancakes. Jesus: Okay, I know it's powerful. Lafayette: It's more than powerful, it's unpredictable. It affects everybody different. Jesus: How does it affect you? Lafayette: It depends. Where I am, who I'm with. Jesus: Well, you're safe with me. You gotta know that by now. Lafayette: Most folks use this for sex, but it can take you much, much deeper. Jesus: I get that. It helps you connect even more to whatever magic you're already hooked up to. Lafayette: How do you know that? Jesus: Because I care for people who live in a different reality. That takes mad intuition. Lafayette: So you more like a shaman in a Sunday hat. Jesus: It's in you too. You know that. All you need is a little push. (Jesus puts some V on his finger and put it on Lafayette's tongue, then licks fingers Lafayette: Oh, Lordy. Scene 15 : Arlene, Holly, Tommy at Merlotte. The TV is on. Reporter on TV: We've just heard that the Special Forces raid on Russell Edgington's residence in Jackson, Mississippi has turned up no clue as to the vampire t*rror1st's whereabouts. In fact, sources say the mansion was as empty as a tomb, no pun intended. As authorities continue to search for Russell Edgington... (Sam arrive). Arlene (trying to be normal): Well, hey, Sam. How are you this morning? Sam: Uh. Reason the TV is so loud? Arlene: Oh, f*ck-a-doo. I am so sorry. I will turn that off right now. Reporter on TV: ...would allow each class the opportunity to protect... (Arlene turns off the TV) Sam: I need some coffee. Tommy: More like hair of the dog, huh? (Terry gets bored). Sam: Hey, Terry. Terry: Hey, boss. Sorry I'm late. (He starts to leave for the kitchen) Sam: Shift don't start for 20 minutes. Terry (back): Oh, right. Well, sorry for being sorry. (He leaves) Sam: Okay, everybody, everybody just... You can relax. Okay? I didn't k*ll anybody. Lafayette called me this morning, and the guy is fine. So pretend you're all normal. (Holly approaches him and hands him a tube filled with capsules) Sam: Why exactly are you handing me marijuana? Holly: Black cohosh. Brings down your testosterone levels. For your rage. You obviously have a problem. Sam: Thanks. You got anything that works for nosiness and bad boundaries? Holly: Oh, I'm sorry. It's just something I do. I give people remedies. I'm a Wiccan. Sam: Hey, listen. You're new here, so you wouldn't know this, but I got two rules in my bar : no dancing, no religion. Holly: Good to know. Sam: Yeah. Tommy (approaching Sam): Dude, why'd you tell 'em that guy didn't die? You were finally getting some respect. Sam: Tommy, it's not respect when your employees think you're a psychopath. Tommy: All know is, was proud of my big brother last night. Sam: Yeah, well, you're an idiot. Scene 16 : Terry smoking behind Merlotte. Arlene arrives with a trash can. Terry: Secondhand smoke, bad. You carrying a heavy load, bad-bad. (Arlene begins to cry) Arlene? Honey, what's wrong? Arlene: Oh, Terry. Terry, this baby... Terry: Are you spotting grayish tissue, having side cramps or experiencing a dull, consistent ache in your lower back? Arlene: No, I'm fine. It's just... Terry: You're worried about me and my parenting skills, ain't you? Oh, Arlene, I promise you, I will be the best daddy to our baby... Arlene: No, Terry. This baby ain't yours. It's Rene's. It's gonna be evil, and I wanna get rid of it. (She waits for his reaction). Terry: No. I will raise that child as my own. Do you hear me, Arlene? I want to marry you and together we will surround that baby with more love than it can handle. (He takes her in his arms, she cries again). Terry: It's okay. Just let it out. Let it out. Scene 17 : Sookie and Jason at Jason's house. Jason (crying): Oh. Franklin was coming after her. And I just... I fired. One minute he was there, and the next... he was just a big old pile of... Sookie: You listen to me. Franklin hurt her worse than you and I can imagine. You saved her life. Jason: No, I didn't. Sookie: Doesn't feel like it now, but you did the right thing. Jason: No, I didn't. Sookie: Look, I know how awful it is to k*ll someone, but you have to remember... Jason: But I sh*t Eggs. He was coming after Andy with a Kn*fe. And I sh*t him. d*ad. And I didn't tell you because before I even had time to think, Andy took over, and I ran. And I didn't know which lies to tell you or Tara. So I didn't tell you any. Sookie: Tara's gotta know. People always find out, and it hurts them ten times more. Jason: Like with Eggs, huh? You told him the truth, and look what happened. Sookie: Jason. Jason: I'm good at protecting people. It's like the only thing I do right, and that's what I'm doing. Sookie: You're not protecting her. You're lying to her. Jason: And they ain't always so different. Sookie: Yes, they are. Jason: How would you know, Sook? No one can keep anything from you. Sookie: Vampires can. Scene 18 : Jesus and Lafayette. They took V and under its influence, they dance. They have hallucinations. Lafayette (seeing religious statuettes dance): Oh, check out Barbies. Look at 'em getting funky now. Mary. Go, girl. They're having fun. That got to be a good thing. f*ck. (The play revolves around them). Going round. Oh ! Your teeth is wobbling. Oh ! Hey. (They see an old woman sitting on the floor). Lafayette: You know her? Jesus: Yeah. The old woman with the voice of Jesus: She could undo very powerful spells. With those oils, she saved many people from evil. (The scene changes). Jesus and Lafayette: Whoa ! Oh ! Oh ! ho ! They see a woman lying down. Another woman and man are next to her. Jesus: Oh (He motions to the woman, who notices. She smiles. The young woman lies down) La femme (standing with the voice of Jesus): Women from all over Mexico came to her for fertility problems. Lafayette (with the voice of Jesus): The egg will draw her essence up and cleanse it. (It is surprising that Jesus could go through him to speak). Lafayette: How'd you do that? Jesus: We're connected, bro. Bye. (The scene changes again. There are two women. One of them is trying to make a powder) Jesus: Your Great-great-great-grandma Mae and her girl, Winnie. (They spread the powder around their beds). Lafayette: Never had to share their bed with their master because of that powder. Jesus (with Lafayette's voice): That's my great-great-grandmama Winnie? Lafayette (with the voice of Jesus): Yes, sir. Mae was a conjurer. Jesus: Passed that right down to Winnie. Lafayette: How come I never knew that? Jesus: You know now. Lafayette: Damn. (The scene changes again. There are stuffed animals, skulls in a voodoo style decor. A man is sat on the ground. He sticks pins in a doll) Lafayette: Your grandfather? Jesus: He practiced black arts. Lafayette: Scared the shit out of mi mami. She drug you all over the f*cking world trying to escape him? Jesus: Because he had big plans for me. The man screams. Lafayette wakes up suddenly. He is in the arms of Jesus. Jesus: It's okay. It's o... It's okay. It's okay. It's okay. Lafayette: What the f*ck was that? Jesus: That's my grandfather. A hechicero, a sorcerer. Lafayette: Shit ! Jesus: That was f*cking awesome. (Lafayette looks worried). Scene 19 : Sookie sleeping on the couch at Jason's. She sees Eric sitting in front of her. Sookie: I know this is a dream. Eric: Well, you might as well enjoy it, then. Sookie: Will your blood ever wear off? I'm tired of dreaming about you. Eric: No, it's not just the blood. You know you have feelings for me. Sookie: Ew. (Eric kisses her on the mouth). Eric: You know you like this. (He kisses her neck). And this. And you know you can't trust Bill. That's not my blood talking. It's your survival instinct. (He starts to bite, but she wakes up with a start. Jason arrives with a tray) Jason: You okay? Sookie: Yeah. (She is a little disturbed). Scene 20 : At Jason's house. He brings a tray with breakfast to Tara, who is lying in the bedroom. Jason: Still sleeping? Or you hiding out from Sook? Tara: From the world, I guess. Jason: I thought you might be hungry. (Il commence to sortir de la chambre). Tara: It's okay, you know. I'm sure it's gotta feel weird having to do what you did. Jason: Tara... Tara: You saved my life last night. You've been saving me since I was a little girl. Jason: Yeah. That's what I wanna talk to you about. See, sometimes when you... You try and save people, you end up not. It's almost like your right hand, it's not talking to your other hand. A.. And you don't know which one to listen to 'cause... 'Cause they both wanna do the right thing... Tara: Jason. I'm trying to say thank you. For last night, and letting me crash. You just get it. (Jason sits on the bed next to Tara) Jason: Tara, you know I ain't that deep. Tara: For some reason, you like pretending you're too dumb to know better, do better. But you, you're good. I can count on you. And there ain't much of that left anymore. (She cries, and Jason takes her in his arms) Jason: It's all right. Just, you know, breathe. (She kisses him). Jason: Wait. Tara: No, I'm... Jason: you don't have to be... Tara: f*cked up. I'm so totally f*cked up. (She gets up and starts to leave the room. He grabs her by the hand). Jason: I sh*t Eggs. (Tara is next door watching). Say something. Tara, please. h*t me. Call the cops. Tell me you hate me. Anything. (Tara runs out. Jason enters the room and sees that Sookie is no longer there) Oh, f*ck. (He sees a note from Sookie saying she will be back soon) f*ck ! Scene 21 : Jessica at Bill's house. She sees a flaming cross. A man's voice outside: Vampers go back to hell ! (Someone throws a stone in a window. She is worried. Bill arrives and reassures her) Jessica: I can still smell them. (She begins to leave but Bill restrains her) No, we can track them down ! Bill: It's more important than ever that we restrain ourselves. Jessica: But... Bill: Even if it is against our nature. (She nodded her agreement) Scene 22 : Sam in the woods near the Merlotte There is drinking. He sits and thinks about what it happened in 2003. It is evening, we are in the woods. The man who h*t Sam in front of a campfire in the process of counting the money. He has a g*n beside him. The young woman in the back of pick up. The young woman: How many times you gonna count it? Man: Until it stops being fun, sweetheart. Sam arrives (turned into a dog). He spies behind the trees. The young woman: It's all ours, babe. Come to bed. (He starts to join her. The dog approaches the w*apon. Sam becomes human again, he takes the g*n and thr*at the man) Sam: Surprise, assh*le. Man: What the f*ck? Sam: Give me my money. (The man gives it to him. He looks quickly at the money) Where's the rest? Man: It's in the truck. Sam to the young woman: Get it ! (to the man) Give me your pants. Give me your f*cking pants ! (The young woman looking in the pick up). What the f*ck's taking so long? The young woman: It spilled ! Just give me a sec ! Man to Sam: You know, she told me all about you. After she'd f*ck you, she'd come crawling back into bed with me. She told me you like to bark in your sleep. Freak. Sam: Yeah. Yeah, I am a freak. That makes it okay to f*ck me over? (He hits the man, who falls). Huh? Steal my money I was gonna make a new life with? I'll f*ck you over, you greedy piece of shit ! (He continues to h*t) The young woman: Stop it ! Stop it, Sam. I will sh**t you, Sam. (She pulls. The b*llet grazes Sam who pulls in return. The young woman falls affected). Sam: No. No ! (He takes her in his arms). Hey, hey. Honey, stay with me. Stay with... Oh, God, no. No, don't you f*cking die on me. No. (She dies. Sam kills the man crawling on the floor). f*ck. Scene 23 : Pam, Sookie, Eric at Fangtasia Eric is sitting in his office. Pam and Sookie enter. Pam: She insisted. Eric: She always does. (He motions to Pam out). Sookie: What did you mean, you're not gonna be around much longer? Eric: Don't pretend you care about me. This is about Bill. Deep down, you know you shouldn't trust him. Sookie: Okay. Tell me why. (Eric gets up and approaches her) Eric: Well, here's the truth. There are forces beyond even my control. If I meet the true death without having at least kissed you, Sookie Stackhouse, that would be my biggest regret. Sookie: Why does it sound like you're saying goodbye to me? Eric: Because I am. (He kisses her on the mouth. She begins to push and kisses too, then stops). Sookie: Okay, I get it. I'm irresistible and intoxicating, but keeping things from me does not exactly help your cause. Tell me why I shouldn't trust Bill. (Pam arrives). Eric: What? Pam: Blah, blah, vampire emergency, blah. (Pam and Eric leave the office). Scene 24 : Pam and Eric at Fangtasia, in the room Eric: This better be good. Pam: You're too busy signing wills and making out with the solution instead of using her. Eric: There isn't any way to use her. It won't work. Pam: We know Russell wants her. Give her to him to save your own skin. Eric: No. Pam: He's gonna get her anyway, sooner or later. Eric: No. I won't do that to her. Pam: You're cosing a human over yourself, Eric? Over me. Eric: Your lack of sentiment has always been your most admirable quality. Do not disappoint me now. Pam: You would have said and done anything to save Godric. I have no interest in inheriting your farm on Irlande. That place is a windy shit hole. If you're not gonna give him Sookie, at least figure out how to use her... and fast. (Elle part). Scene 25 : three male prost*tute on the street at night. A car arrives. A prost*tute opens the door and climbs in. The prost*tute: Hey, baby. Wasn't expecting you till later. Pull around the corner. (One of the other two prost*tute moves away a bit and pulls out a cigarette. Russell lights it for him) Man: Looking for something special tonight? Russell: Found it. (The man sees the urn containing the remains of Talbot in Russell's bag). Man: What kind of weird shit you into? Russell: I was looking to spend some quality time. Five hundred? Man: Bail costs a thousand. Russell: I'll give you more than you could ever dream of. (Russell shows his money). You got someplace we can go? Man: Yeah. (They go together). Scene 26 : Arlene and Holly in the Merlotte kitchen Holly puts food in a saucepan. Arlene arrives. Arlene: Remember when you said there are other ways of not being, uh, pregnant? (Holly nods). Can we talk about that? (Holly smiles) Scene 27 : Jessica and Tommy in the room at Merlotte There are several tables of customers. Tommy is being served at the table. He passes Jessica who is biting her nails leaning against a wall. Hoyt enters and heads towards her. Hoyt: You're a vampire who chews on her fingernails? Jessica: They grow back. Hoyt (approaching her): I love you. I wanna be with you for everything that you are. Jessica (dismissively): Oh, you're only saying that because all you see now is the quirky vampire girl who bites her nails. (Hoyt joins her). Hoyt: You're wrong. I broke up with Summer. I drove up to Caddo Lake, and I spent all day asking God to give me a reason why we can't be together. And a hush came over the water, and all the bugs stopped buzzing and it came to me. There is no reason. (Tommy stops work to listen). Jessica: Hoyt, if you knew half the shit I'd done. It's unimaginable. And I actually liked it. You don't wanna know that part of me. Hoyt: Well, if you don't wanna be with me because you don't love me, that's something else. But don't tell me what I want and what I don't want. That's my decision to make, and I want you. Tell me you don't love me. Look me straight in the eye and say it, and I'll leave you alone. (Jessica looks at him, saying nothing. Disappointed, Hoyt leaves by the front door. Tommy leaves in the other direction) A client (to his friends at a table): All right, y'all. See you later. Scene 28 : Tommy and Hoyt in front of Merlotte Tommy met Hoyt as he comes out. Tommy: Nice work in there, dude. (Hoyt punches Tommy in the face and walks away. Tommy turns into a dog and att*cks. Hoyt falls. Jessica hears the noise outside and sees Hoyt and the dog). Jessica: Hoyt. (She takes the dog and disappears in the bushes) Hoyt: Ow. (She takes Hoyt in her arms, and sees that he has a significant injury to the arm. She bites her arm and presents it to Hoyt. so he can drink her blood but he does not want it) Jessica: Oh, Hoyt. I love you too. Now, drink my blood. (He drinks the blood. Tommy looks human again). Scene 29 : Bill and Jason He goes back in the house and gets his g*n. Bill arrives quickly (vampyric). Bill (angrily): Where is she? Jason: She ain't with you? (Bill shakes his head)I've been looking everywhere, man. She's not answering her phone, nothing. She left a note. (Bill shows the note) Bill (angrily): You promised me you'd look after her ! Jason: Well, I did. But you know better than anyone, Sook's gonna do what Sook's gonna do. And ain't no man or brother's gonna stop her. Bill (edgy, facing Jason): You gave me your word, Jason. You have let me down. And now... Jason (angrily): Jesus f*ck ! (Jason takes Bill by his shirt collar and shakes him) You think I don't know that? Just shut your f*cking mouth ! And get out of my house ! (Bill looks worried) Yeah. Sookie told me how that works. I take back whatever invitation you got to come inside my f*cking house ! (Bill is forced out. Jason slams the door) f*ck ! (He hears a noise in the room and goes to investigate. He sees a black panther. It's Crystal). Oh, mama. Scene 30 : Russell and prost*tute in bed The prost*tute is sitting on the bed. Russell put his head on his chest. Russell: I'm so sorry, Talbot. The prost*tute: Tony. Russell: You're the strongest man I've ever known.You made use a home. You made us family. Tony: Yeah, it was a nice house. Russell: It was a home. Tony: Mm-hm. Russell: A haven. A refuge from all that madness. (Russell begins to cry. Tony sits on the edge of the bed and gets his pants. Russell gets a hold of him) Tony: I told you, extra 500 to bite me. (Russell pushes him against the wall. Tony is afraid). Ah ! Russell: Oh. Oh, brother. It's all my fault. I will never forgive myself that in end, you were so alone, with no one holding your hand. (He takes Tony's hand as he shows increasing fear) Your beautiful, beautiful hand. It is one thing to face eternity without you, but to have not been with you at the true death... (He takes a stake and thrusts it into Tony's torso) Talbot, you saved me from the world. From myself. I was a fool to trust him. And I am more sorry than I can ever say. (We see the face of Talbot instead of that of Tony. Russell embraces him). I'm so glad we had a chance to say our goodbye. Scene 31 : Bill in front of Sookie's house. Bill is looking for Sookie Scene 32 : Sookie and Eric at Fangtasia. Sookie turns around in Eric's office. He enters. Sookie: Where the hell have you been? Eric: I needed to think. Sookie: I'm not some kind of prisoner you can just lock up any time you feel like taking off. Eric: Actually, you are. (He takes her and puts her on his shoulder. She screams). Sookie: Let me go ! (She tries to hold on to the shelf, but Eric is stronger. At Sookie's, Bill senses Sookie's fear and leaves to find her. Eric descends to the basement with Sookie). I knew I shouldn't have trust you. Eric: You were right. Sookie: Let me go ! (He puts her down and puts a collar around her neck. She finds herself chained as Lafayette was at the beginning of season 2. Eric leaves). Sookie (screaming): Eric ! Eric ! End.

{"type": "series", "show": "True Blood", "episode": "03x10 - I Smell A Rat"}

foreverdreaming

Fresh Blood Scene 1: Fangtasia -Pam, Bill <p style="text-decoration: none;">[Bill storms into Fangtasia, looking for Sookie] Bill: Sookie! Eric! Bill: If you try to keep her from me, I will k*ll you. Pam: Get a clue, Bill. I'm not the enemy. Bill: I am older and stronger.You are no match for me. Pam : This is not just about your relationship, you infatuated tween.There's a bigger picture. Bill: Not for me. [Both grunt. Bill tosses Pam aside and make a move for the door] Bill: Sookie! Pam: Don't you want the key? [Pam sprays him in the face. Bill screams] Pam: Colloidal silver, in stock and overpriced at your neighborhood health food store. CREDITS Scene 2: Fangtasia - Sookie, Yvetta, Bill, Pam [Sookie is still in the dungeon, placed in a neck shackle. Door's slamming and somebody comes downstairs, thinking in a foreign language. It's Yvetta] Yvetta: Rush, quick. I help. Sookie: I thought you were on Eric's team. Yvetta: Him? Big, blond stupid. I hate. Sookie : Me too. He's a two-faced snaky son of a bitch. Yvetta: Bastard and bitch Pam. Sookie: You're preaching to the choir. Get me out of this hole. [Yvetta frees Sookie] [Upstairs, Bill and Pam are still fighting] Pam: You bastard! [Bill's groaning. Pam sprays him again. Bill screams] [Sookie and Yvetta enter the room. They help to secure Pam with a silver chain] Sookie [to Bill]: What did she do to you? Bill: Silver particles in water. Sookie: Your poor face. Can you see? Bill: No, but I will heal. Sookie: Not until we get it off you. Bill: Secure Pam.We can't let her call Eric. Yvetta: I secure. I secure, no kidding. Sookie: Why did Eric throw me down there? Answer me! [Sookie thr*at Pam with the silver spray:] Or I'll spray you ! Pam: You were supposed to be a gift for Edgington. Now we're all gonna die because of one freaky little human. Sookie : Good. Bill : We have to go. Eric may come back. Pam: Don't leave me alone with this idiot immigrant. Sookie : This way, honey. I got you. [Bill and Sookie leave] Yvetta [strenghtening the silver chain around Pam's neck]: Idiot? [She laughs] In Tallinn, I am a cardiologist. [Pam screams] Scene 3- Lafayette's house- Lafayette, Jésus <p style="text-decoration: none;">[Lafayette and Jesus are on the sofa, rehashing their V-trip] Jésus: Unbelievable.Unbelievable. I had no idea, man. I never thought. Is it always like that? Lafayette: Took me some f*cked-up places and showed me some crazy shit, but not like today. Jésus: It was so real.You know, so alive. I...I was telling you things that I didn't even know I knew. I mean, without fasting, without praying, without any other ritual.We time-traveled into ourselves.There were f*cking answers there. Lafayette: Downshift, boyfriend.I'm a V veteran and I know for a fact the blood can lie. Jésus: Did that feel like a lie to you? Lafayette: No. Jésus: Let's do it again. Lafayette: Just like a virgin. Jésus: Oh, come on, baby. Take me back. I want to see my people. I wanna hear what they have to say. I, I feel like... like everything that I need to learn is just one drop away. Lafayette: Well, boy, you can't control the destination.We can end up in hell or f*cking South Dakota. You don't know what you're doing. Jésus: Please? Don't make me go back alone. Lafayette: Look...[Jesus' face momentarily turns monstrous and lunges at Lafayette. Lafayette screams] Jésus: What? Lafayette: Stop! Stop ! Jésus: What is it, man? What just happened? Lafayette: Nothing. Nothing. Just sometimes on V you get a little aftershock. Jésus: What'd you see? Lafayette: Nothing. Jésus: Oh, you saw something. Lafayette: No, just a head rush of the wrong kind. Jésus: Okay. It's okay. All right, we'll just, uh...come on.We'll go to bed. All right? It's time for bed. Come on. Lafayette: You go home. Um, I... I need to rest tonight. Jésus: I'll behave. Lafayette: I won't. Go on. Let La La rest, okay? Jésus: You serious? Lafayette: I'll call you. No big thing. Good night. Jésus: All right, good night. [He leaves. The door closes] Scene 4: Jason's house-Jason, Crystal [Jason and Crystal are talking in the living room] Jason: It's like a werewolf, only a panther? Crystal: Yes. A werepanther. Well, I'm... I'm just the same as I've always been. I told you I had secrets, and you said you didn't care. Jason: I thought it was shoplifting or something. You could've given me a heads-up. Crystal: That was the only way I knew how to explain.You know, I...I thought you'd understand. I thought you'd be a man. Jason: I am a man. I was ready to sign up for a meth dealer's daughter. Crystal: Okay. I know what you think of me now. Jason: No, I didn't mean... Crystal: No, just keep blaming me for things that ain't my fault. Jason: Crystal, my brains feel like scrambled eggs. I got my ass chewed by a vampire, my sister's missing... Crystal: Oh, poor you! All I gotta do is marry my half-brother and let him breed me till I'm old or d*ad. Jason: I gotta go look for Sookie. [Jason leaves with his g*n loaded] Crystal: Wait, I ain't done talking to you ! Scene 5: Bill's house-Hoyt, Jessica [Hoyt and Jessica are on the couch] Hoyt: Hey. Hey.Why do I feel like I got muscles where I've never had muscles? Jessica [she laughs]: It's the blood. Hoyt: It's you. Jessica: Maybe a little. Hoyt: When we broke up, I felt like someone had cut off my arms and my legs. I can't do nothing without you. Jessica: I missed you so much. Hoyt: I missed you. [He tries to kiss her] Jessica: Wait, wait. Hoyt: Hey. Um...If my arms and legs did get cut off and I drank your blood, would they grow back? Jessica: We got more important things to discuss. Hoyt: I love you. I love you. That's all that's important to me. You save me. Jessica: Yeah, but you don't know. Hoyt: Don't know, don't care. Kiss me. Jessica: I k*lled a trucker. Hoyt: I'm sure that you had to. Jessica: I didn't. It was an accident. Hoyt: How? Jessica: It was after we broke up, and I got too hungry, and I drained him d*ad. But that was before I learned how to do it right. This is what you think you love. This is what I really am. I tried, but I can't live on Tru Blood. I drink human blood, and I'm not gonna stop. Hoyt [ immediately offers his own neck]: Drink me. [Jessica goes right for it. They're both moaning] Scene 6 : A Museum-Russell, Eric [Russell is watching a picture on the wall, still carrying Talbot's crystal jar. A d*ad guard is lying on the floor. Eric comes into the room] Russell: Talbot adores this one. Adored. I'm having trouble switching tenses. You understand.Why did you do it? Talbot never harmed you. Eric: You loved him more than anyone. So he had to die. Eric: I'm about to put an end to your insignificant existence. This is not the time to be obscure. Russell: A thousand years ago, you brought your wolves among the vikings to butcher a human family. My family. Apparently, you wanted my father's crown for your vast collection of meaningless shit. Russell: [Laughs] My, my ! To lose the one man I ever loved because you miss your mommy and daddy? Well, that is a kick in the pants. Eric: And there are consequences, even for Russell Edgington. Russell: Life is absurd. [Laughs] Still, I'm excited to destroy you. Eric: My loved ones are d*ad, and now Talbot is d*ad. We're even. Russell: Don't beg for mercy. It's such a bore. Eric: I couldn't help but notice you're expanding ambitions. You're after the whole world now, aren't you? Well, I can help you get it. Russell: Eric, you are nothing more than a lump of muscle with a blood grudge. You got lucky.You couldn't possibly comprehend what I'm after. We should begin.[He puts down the jar] Eric: I can offer you the sun. Russell: Oh, daywalking? Oh, the old myth. That was around when I was turned. You're pathetic. Eric: It's not a myth, not at all. There have been recent advances. It's been done. Russell: Go on. Spin your little fairy tale. Eric: I will show you how to do it. Now, tell me you don't want it. Russell: I never said I didn't want it. It's the ultimate vampire dream, isn't it? No one could stand against me. Eric: You would be invulnerable. And if I'm wrong...k*ll me tomorrow. Russell: Clever boy.[Laughing] To tempt me. [Eric's cell phone ringing jolly tune.This is Pam:] Eric: Not a good time. [Pam and Ginger are in Fangtasia. Ginger is trying to untie Pam] Pam: No shit. Bill and Sookie escaped and Yvetta cleaned out the cash. [She hangs up] Ow. Oh! Ginger: I'm so sorry. It was dug in there real good. Can I get you something to make you feel better? [Pam suddenly bites her. Ginger screams] Scene 7: Sookie's car-Bill, Sookie Bill: Why did you go to Eric? Sookie: I had to ask him a question. Bill: What question? Sookie: It doesn't matter. Bill: Look what he did to you. He's betrayed you, used you, drawn you into danger. [Sookie looks him in the face:] Yes, I've made mistakes trying to keep you safe, but I'm nothing like Eric. Sookie: Of course you're not. I love you, Bill, but after this whole Mississippi mess, I'd be a crazy woman to trust either of you. Bill: You have feelings for him? Sookie: Not "feelings" feelings. I... I drank his blood. I can't help it. Bill: It's more than that. Sookie: You weren't there on that roof with Godric. I saw a whole other side to him, and it was real. Bill: When this is over, let's begin again. We'll be new. Will we? Sookie: I don't know. I don't know if people change, even when they try. Bill: We can if we want to. Do you want to? Sookie: You know I do. Scene 8: Cemetery-Tara [Tara is weeping at Eggs' grave] Scene 9: Merlotte's- Arlene, Holly, Sam, Terry Holly: There's no 100-percent guarantee it's gonna work. Arlene: You already said that. Holly: And you can always change your mind. Arlene: Are you trying to talk me out of it? Holly: You need to know the truth, and I want you to be sure. Arlene: I'm sure, I'm sure. I just want to get it over with. Holly: Okay. After work, okay? [A drunk Sam storms into Merlotte's:] Sam: Moron! Get out of my way. Man: Sorry. Sam [to everybody]: What you looking at, huh? Mind your own g*dd*mn business! [to a woman:] Jesus Christ, you're ugly! Woman: Well, that's just rude [she leaves]. Arlene [to the woman]: Hey! Hey, you ain't paid your check. Sam: Where's my whiskey? Keep a bottle back here special for me, and all of y'all know it. Give me back my f*cking whiskey! Woman: What is his problem? Terry [trying to help]: Let's, uh, take it easy, Sam. Sam: Kiss my ass. Terry: Well, you're hurting. I can tell. Let's go out back and talk about it. Sam: Who the hell do you think you are? Terry: I'm your friend. Sam: I'm your boss. Terry: This is the liquor talking, Sam. It ain't you. Sam: No, it is me. All right, get back in the kitchen, you shell-shocked f*ck. [Arlene gasps] Arlene: Sam Merlotte. You're gonna hate yourself for saying that. You apologize to Terry right now. Sam: No. Arlene: How could you be so hateful and mean? He breaks his back for you. He looks up to you. He loves you. Sam: That ain't my problem. Holly: Look, I get that you're in a mood, but you're polluting our positive energy vibes, and it's k*lling our tips. Arlene: Quit scaring the customers off. Just go home and pass out. Sam: Hey, let's get this straight. I don't take shit from you. Okay? You work for me. This is my place. So you bitches do your job and shut the f*ck up. Arlene: Sam! Holly: Nobody talks to me that way, okay? You'll wait your own g*dd*mn tables.Come on, Arlene, let's go. Grab the salt. Arlene: Why? Holly: I forgot to bring mine. [They both leave] Scene 10: High school stadium-Jason , Kitch, Tammy and their friends [Jason tries to reach Sookie on the phone:] Sookie: Leave a message.[answering machine beeps] Jason: Sookie, where are you? [Jason walks over the field and sees Kitch practicing his throws with other football players, while a few girls look on :] Kitch: Hut![men grunting] Kitch: Hut! Hut![men grunting] Kitch: Come on, get this. Hut! Hut! Run! Hut! Hut! Tammy[to Kitch]: Kitch, you said you'd come back to the house with me and watch me try on outfits. Kitch[keeps playing, doesn't pay attention to her]: Go! Tammy: You don't quit right now, I'm going without you. Kitch [to Tammy]: Go ahead. Tammy: Dildo. Fine. I'll wait for you in the parking lot.[to the other girls:] Hurry up. Let's go. [Men grunting] Hut! 1st football player: Damn. Oh, damn! Kitch: Hut! Kitch: Go deep! 2nd football player: Dude? Kitch: Let's go, let's go! Pick it up! Practice ain't over yet! Come on. Let's go. Pick it up, pick it up! [Jason is watching them practicing and notices that Kitch has incredible arm strength] Scene 11: Ms Fortenberry's house- Maxine, Summer [There's a knock at the door. It's Summer, she's weeping] Maxine: What are you doing here at this time of night? Summer: It didn't work, Mrs. Fortenberry. Hoyt doesn't want me. Maxine: Oh, darn it all to heck. Dagnabit. Shitfire. I could ring his big old neck. How could I bring up a child so willful and dumb? Summer: I... I even offered him my virginity, and he turned me down flat. Maxine: Oh, Summer. I appreciate that. Even if you broke God's law. Summer: It's my fault. I'm not tall like her. I can't even reach stuff on my own closet shelf without a grabber. And I'm not pretty like her. Maxine: Oh, don't say such a thing. She's not even alive, and you are cute as pigs. Summer: I baked for him. I opened up my heart to him. Even showed him my best underwear. There's nothing else I could do. Maxine: You are not to blame, honey. That redheaded bloodsucker put a spell on him. Summer: I'm sorry I failed you. I'll never get over my bear. Maxine: Oh, don't you dare give up. We are not finished. Not by a long sh*t. Scene 12: Merlotte's-Sam, Tara, Tommy, Andy,Terry [Country music playing over jukebox. Sam has to wait all the tables. Tara comes in] Sam: Who had the fries?[to Tara] I could use some help here. Tara: I can see that. Too bad I ain't working tonight. Sam: Thanks a lot. [Tara heads right for the box where Andy is sitting] Andy: Hey, Tara. Tara: Mind if I sit? Andy: Well, no. I guess not. How you doing? Looks like Sam had one too many. I never saw him, uh, this way. [Tara stares at him] If you're hungry, you can eat my rings. I didn't touch 'em. My stomach ain't what it was, you know. I used to drink hot sauce straight out of the bottle. That was a good time.[She still stares at him. He seems embarrassed] I need a refill.You want anything?[he gets up] Tara: I know about Eggs.[Andy sits down again] You must think you're pretty slick. Yeah, you're the shit.Got your picture in the paper and a big promotion. Andy Bellefleur, American hero. It's all working out so good, right? But I see what you are. Liars, m*rder. [Inhales deeply] Jason k*lled him, and you covered it up.You're a dirty, dirty cop. Andy: What are you gonna do? Tara: What can I do? Nobody cares about Eggs except me. And I'll miss him for the rest of my life. But the three of us will always know he didn't deserve to die. Andy: Well, I don't feel like a hero. I never wanted nothing like this to happen. It was all Maryann. He was innocent. God help me. If I could do it again, if I could go back and just get a hold of Jason's g*n, if Eggs would have listened and put the Kn*fe down, but he... he was bound and determined to die. I couldn't stop him. Jason didn't know. I'm sorry. Tara, I'm so sorry. [In the back room. Sam asks Tommy to wait tables] Sam: Take some orders. Tommy: I ain't the waitress. Sam: You are now.[he gives him the notebook. Tommy doesn't want it] Tommy: Yeah, well, I don't need this. I'll remember it. Sam: The hell you will. The kitchen needs a g*dd*mn ticket. Do what I tell you and do it right. Tommy [throwing the notebook]: f*ck that ! Sam: Pick it up! Tommy: You pick it up! Look at yourself. Drunk and yelling. You're nothing but Joe Lee in a Sam suit. Sam: You ungrateful little punk. All I've done is help you, and all you've done's been a whiny-ass bitch! I'm through with you! You're fired! Pack up your shit. Get the f*ck out of my rental. Tommy: Wait. I lost my temper. It's... it's nothing. I'm sorry. See? See? I ain't mad anymore.[he picks up the notebook] Sam: Did you not hear me? Tommy: You're my brother, Sam. You said that you... Sam: I'm sick of you. All right? It's over now. Tommy: You're the only one I know around here. Where am I supposed to go? Sam: I don't care. [Sam goes into dining room and tells everybody:] All of you, get out of here! I want this place empty in two minutes.Merlotte's is f*cking closed, g*dd*mn it. I don't want your f*cking money. I want you gone. Now. Man: Come on, sweetheart. Woman: Grab my purse. [Tara is sitting at the bar, drinking] Sam [to Tara]: I said, go away. Tara: No. Scene 13: Sookie's car- Bill, Sookie, Russell, Eric Sookie: I tell you what. That dungeon this time did me in. Bill: Well, if you'd stayed put as I asked you to... Sookie: I know. But I was sitting there in the dark, and I thought, "I am done with this shit." Bill: That's why we need a fresh start. We'll be free of it, I promise you. Sookie: What would that be like? Who would we be if we were normal? It's hard to even picture it.Would we live in Gran's house or your house? Bill: Both. We'd be married, happily married. Sookie: And I'm not a waitress anymore. I'm... I'm going to college. No, I'm a real estate agent, and I'm really, really rich. Bill: I teach third grade and I love my job. Sookie: We'll have a...a big flower garden. Bill: We grow vegetables. Sookie: Tara comes over for dinner and sometimes we double date with Arlene and Terry. Bill: And I go fishing with Jason. Sookie: We don't even know Eric Northman. Bill: Everything is peaceful. [Suddenly, their car is stopped by Eric and Russell who are standing in the middle of the road. Tires screech and Bill and Sookie scream. Russell smiles] Scene 14: Out in the woods-Holly, Arlene [Holly performs a ritual with Arlene] Holly: We cast the circle with candles, flame of the spirit. We draw the circle with salt for protection and purity. Arlene: Amen.[Inhales deeply] Holly: Great mother, we invoke you. Blessed be.[Birds squawking. Grass rustling] Okay, she's here. You feel her? Arlene: I... I feel something. My mama passed away a couple years ago. She didn't approve of me, but we were...we were real close. Holly: My mama hated me. Guess that's what got me looking for the real thing. You sure you're totally healthy? Arlene: Gyno ran all the tests. I got the body of a tired teenager. That's for me? Holly: Oh God, no. No, no. These are oils.You'd fall over d*ad. You need a decoction. Arlene: A de-what? Holly: It's like herbal tea. I'll show you how to make it and when to take it. I wrote it down.You need to follow the directions exactly. Okay? I mean to the letter. Arlene: I will. Holly: Well, this'll be ready in a little minute. Some people like to pray before, you know, help 'em get focused. Arlene: I don't know if God's on board for this. Holly: Talk to your mother's spirit. Arlene: Uh, I can't. She'd k*ll me. Holly: Then talk to the great mother. She's God too. Oh, just don't step outside the circle. [Arlene looks to the sky :] Arlene: I never thought of God as a woman. But if you're with me tonight, maybe you are. And, mama, if you can hear me, would you listen? Really just listen for once? You gotta know this is the right thing to do. It's... it's the only way to be sure that Rene will never pass his sickness on to the world. Then... Coby and Lisa and Terry will be safe, and I won't have to live my whole life in fear. And the baby won't have to be a crazed k*ller. I don't believe in abortion. I'm doing what needs to be done. [Holly hands Arlene a glass, adding a drop of Arlene's blood before she drinks it:] Holly: First time you take it, needs a drop of blood. Arlene: Why is that? Holly: Sacrifice. Nothing's free.But if the spirit is meant to be born, it'll be born and there's nothing we can do about it. It's in the hands of the goddess now. Arlene: I understand. Holly: Four times a day for up to five days. Arlene: Sip it or sh**t it? Holly: sh**t it.[Arlene drinks it] Blessed be. Scene 15: High school stadium-Jason, Kitch Kitch[to his friends]: Tired? Wore out? Don't give me that shit. Y'all pussies get back to work. 1st player: Shut up, man. I'm going home. Kitch: Yeah, well, I'm gonna run laps.I'll see you later. 2nd player: I got nothing left, man. [They leave. Jason approaches Kitch:] Kitch: Well, grandpa Stackhouse. You come to wish me luck? Jason: You don't need luck, Kitch. You're on V. Kitch: I'm not saying I am, but if I was, so what? Jason: V's a illegal substance. That makes you a criminal, a drug abuser and a cheater.On top of which, you're already a cocky bullshit f*ck. Kitch: Is that right? Jason: I'm taking you down, boy. I'm gonna tell your coach, your mom and daddy, and your principal. Kitch: My coach is the one who gave me the V. Jason: Bullshit. Kitch: My parents are paying for it. My principal, he uses it for his sex life. They won't care what you say, and you can't prove it. There are no tests that can trace it. Jason: That ain't fair. I was an athlete out there. I didn't get help from nothing or nobody but my team.That's the way it's supposed to be. Kitch: Look at the pros. Everybody's taking something. No dope, no glory. Jason: My record stands, assh*le.You're no athlete. You never will be. Kitch: Well, that's funny. See, there's a scout from LSU coming to the game especially to hand me a scholarship.See, I won't have to stay here and join the chain g*ng like you. [Footsteps approaching] Tammy: Kitch! Kitch: I'm gonna blow your record to smithereens. Jason: It doesn't count. Kitch: Well, tell that to the newspapers. Jason: f*ck you. [Kitch laughs and leaves with Tammy] Scene 16: Lafayette's house-Lafayette [Lafayette is in his bed. He hears voices :] Voice 1: Lafayette. Voice 2: La la. Voice 1: La la. [He walks into the front room and finds all of his religious figurines moving and talking to him] Voice 3: Lafayette. Voice 4: Lafayette. Voices chattering indistinctly: Lafayette.Come with us.[Gibbering monkeys] We need you. Voice 4: Lafayette! Lafayette! Lafayette ! Scene 17: Sookie's car/Fangtasia -Sookie, Bill, Eric, Russell [Tire screech. Russell and Eric take Bill and Sookie to Fangtasia. Everybody gets out of the car:] Russell [to Sookie]: Everything as far as your deficient human eye can see will be mine. Sookie: Pride goeth before a fall. Eric[whispering, to Bill]: h*t me. Russell: Don't you see? Eric[whispering again]: h*t me. [Bill hits him.They start fighting] Russell: Your country is begging to be conquered. Sookie: You don't know much about America. Russell: Graffiti is the desperate cry of your dying reign.Your so-called society is disintegrating.[Laughs] Soon there will be anarchy, and then there will be me. [Bill and Eric grunting.Punches thudding. As they battle, Russell and Sookie enter Fangtasia. Door closes. Bill and Eric are alone now: ] Eric: I have a plan. Bill: Will it save her? Scene 18: Merlotte's- Tara, Sam [Tara and Sam drink at the Merlotte's bar] Tara: What crawled up your butt tonight? Sam: Nothing. Expressing my feelings. That a problem for you? Tara: Nope. Sam: You go off on people all the time. Cussing, fighting, raising hell. Tara: Feels good, don't it? But you notice I'm not popular. Not a lot of friends. Sam: You think I got a lot of friends? Tara: Not after tonight. Sam: Even before tonight? Tara: You had Terry before you jumped all over him. You had Arlene before you called her a bitch. Oh, yeah. I heard about it.You had Tommy before you ripped him a new assh*le. Sam: Well, it ain't true. I got nobody. Tara: You got me. Sam: Do I? Tara: I'm here, aren't I? Sam: Nobody knows me. Tara: It's not like you make it easy. Sam: Yeah, people think of Sam, as like,"Oh, yeah. Yeah, he's nice."."Yeah, I'll go ask him to do some inconvenient shitty thing and he'll do it, because he's such a good guy."Or, "Yeah, I'll... I'll treat Sam like a cow pie. He won't mind. He's so nice."[Laughs] Tara: Not one person in the world thinks that about me.[Laughs] "Don't invite Tara to the party.She'll get pissed off and b*at the cat.","Put away the wedding China. Tara's coming over." Sam: You know, the secret is... Tara: What's the secret? Sam: We're not so different. Tara: No? Sam: Mm-mm.We're not nice. Tara: I'm not nice at all. Sam: You feel like dropping by my nasty-ass trailer? Tara: Yeah. Sam: Yeah? Tara: Let's f*ck. [They head to Sam's trailer and start having sex] Scene 19: Arlene's bedroom-Arlene,Terry [Arlene is asleep, dreaming. She sees herself on the shores of a lake, fishing:] Woman's voice: Arlene? Where you at ?Arlene? Arlene: Hey, mama. I'm right here. Woman's voice : Put up that fishing pole and come home.We're waiting on you. Arlene: In a little while. Terry's voice: Arlene? Arlene? Terry: Arlene? Arlene, Jesus God, please wake up. Can you hear me? [Arlene wakes up] Arlene: Of course I can hear you. One of the kids sick? [Terry points out a mass of blood between her legs] Oh, my God. Oh, my God. Terry: I'm calling 911. Arlene: No, wait. Oh, you don't have to do that. I... I'm okay. I can tell. Um, I'll get cleaned up, and you can take me to the hospital. Can you bring me that box of pads under the bathroom sink? Terry: It looks like you're dying. Arlene: I'm not. But I'm sorry, honey. I think we're losing the baby. Terry[he starts crying]: Oh, don't tell me that. No, no, no. Arlene: Shh. Terry: no, no. Arlene: Okay, shh. Better hurry now. We'll cry later, okay? Scene 20: Jason's house-Jason, Crystal [Jason returns home to Crystal] Crystal: Did you find her? Jason: No. And I don't know where else to look or what else to do. Some f*cking cop I am. Crystal: Well, I was gonna go. Jason: I don't wanna break up. Crystal: Don't play with me. Jason: I'm not playing. I mean it. No one in this town is what they're supposed to be. So you turn into a panther.What the hell? That ain't so bad. Besides, I love you. [Crystal seems very happy] Crystal: You love a girl from Hotshot ! Jason: Not anymore. You ran away. Crystal: No, I tried, but I'm going back, and I want you to come with me.We gotta stop that raid. Jason: Why? Crystal: Because all those innocent kids. Jason: Crystal, I saw a boy there once, he was making awful noises and chewing on something d*ad. Crystal: That's my double cousin. He ain't right, but he never hurt nobody. Jason: We can't go against the de-f*cking-a. Crystal: We don't got no choice. Felton and daddy are crazy. I've heard 'em say it. They will light that whole place on f*re and everybody in it. Jason : It'll be waco all over again ? Crystal: I'm going.With or without you. Scene 21: Fangtasia-Russell, Sookie, Eric, Bill, Pam [Everybody is inside Fangtasia. Bill is tied to a post. Sookie is sitting in front of Russell] Russell: Fairies?[Chuckles]You seriously expect me to believe she's fairy? A species extinct for millennia? If they ever existed at all.Do you think I wouldn't notice if there were fairies bouncing around in the world? Eric: I didn't say she was full fairy. She's a human-fairy hybrid, which helps save her from detection.She may well be the last of her kind, your only chance to walk in the sun. Russell [skeptical]: Yeah, yeah, yeah. Eric: Drink her blood. You'll see. Sookie[exclaims]: Now, that's just nuts. Nothing in my blood is a supernatural sunscreen for y'all. Why would you even think that? Bill: Sookie, you're wrong. What Eric says is true. Sookie [upset]: No! Bill: I never told you. Eric [to Russell]: Bill's experienced it for himself. Russell: Oh, well, that's reassuring. A testimonial from the mendacious Mr. Compton. Sookie [to Bill]: A new beginning? We'll start over? Bill [to Russell]: I can't force you to believe it. You'll have to see for yourself. Sookie [to Bill]: Why are you doing this to me? Bill [to Sookie]: We've tried fighting him. We'll never win. If he develops a taste for your blood, he may let you live. Sookie: Bill, please. Eric [to Russell]: So? Russell: I'm intrigued. Eric: Excellent. Sookie [to everybody]: I hate you. I hate you all. Russell: On one condition. Eric: Whatever you like. Russell: You go first. Eric: I'd love to. Scene 22: In hospital-Arlene, Terry, Dr Robideaux Arlene [to Terry]: Please stop worrying.Hey. It's just God's way of telling us this child wasn't meant to be. Didn't you read that in some of your books? Terry: Yeah. Yeah, I did.But I never thought it would happen to us. Arlene: I know. It happens to a lot of people. Terry: You shouldn't have been working. I should've been doing every little thing for you. Arlene: Oh, shh. Life goes the way it goes, okay? We just have to accept it and... and move on.[Terry starts crying again] Oh, honey. Don't cry. Dr Robideaux [comes into the room]: The results are back. Arlene: Oh, doctor, please tell my guy everything's gonna be okay. Dr Robideaux: Yeah, it's gonna be okay. Terry: Thank the lord. Dr Robideaux: Arlene, you may need to spend a few days in bed. Arlene: Whatever you say, doc. Terry: I'll make sure she does. I don't wanna lose her too. Dr Robideaux: Oh, you haven't lost anything. The baby's still on board. Arlene [stunned]: What? Doctor Robideaux [chuckling] : You got a strong little critter in there. Terry[ thrilled]: Yeah! Oh! Dr Robideaux: Congratulations. Arlene [not so thrilled]: Yay. Scene 23: Fangtasia-Russell, Sookie, Eric, Bill, Pam [The sun has come up. Russell talks to Sookie. Pam takes Eric aside] Russell: Now, what other fairy secrets are you keeping, Miss Stackhouse? Do you have wings? Do you...? Pam [to Eric]: Don't do it. What if it doesn't work? Eric: Oh, it'll work. [Pam starts crying] Oh, come on. What's this? Pam: Nothing. It's bleeds. Eric: You know I love you more when you're cold and heartless.[He kisses Pam on the forehead before joining everybody else. Then he asks Russell:] Shall we? Russell: Do let's. Bill: One caveat, gentlemen. If you drain her completely, that's the last fairy blood you'll ever drink. Eric: Good point ! Russell: We are schooled. Onward to adventure ! Sookie [to Bill]: If this is you trying to help me, thanks for nothing. [Eric stares at Sookie, he seems hesitant] Russell: Oh, for God's sake ! [Suddenly, Russell bites Sookie's wrist, then Eric bites her neck. Russell and Eric drink from Sookie while she screams] Scene 24: Fangtasia-Eric, Russell, Sookie, Bill, Pam [Eric opens the door. He walks outside into the sun and is fine. He seems stunned. Russell and Pam watch him from the security camera. Sookie fainted, she's unconscious] Bill: Unchain me. I have to feed Sookie. Russell [to Pam.They don't pay attention to Bill]: It's fairies. f*cking fairies. Who knew? [Eric motions for them to come outside as small wisps of smoke come from his skin] Eric [talks to himself in a foreign dialect]: Don't let them see. Bill: Let me go or she'll die ! Russell [to Pam]: My hands are shaking.[Laughs] I feel like a little child. Thousands of years of night.You can't know.[He's crying] Pam: What are you waiting for? [Russell leaves the room ] Bill: I have to feed Sookie. She needs my blood now! Pam, let me go! [Russell walks outside and he is overjoyed] Russell: Oh! It's glorious. It's sublime. [He turns to Eric and sees that his face is now blistering. Eric handcuffs his arm to Russell with silver manacles] Russell: Ah! Silver.You traitor. f*cking madman! [The two fall to their knees and begin to burn. Russell screams] Eric: Be brave. We'll die together. THE END

{"type": "series", "show": "True Blood", "episode": "03x11 - Fresh Blood"}

foreverdreaming

Scene 1: Fangtasia - Eric, Russell, Godric, Sookie, Eric, Pam Eric and Russell are on the floor, outside of the Fangtasia Russell: f*cking silver. Your father deserved it, you know. Eric: Just as you deserve this. Russell: All I wanted was a couple of goats for my wolves. Eric: You slaughtered my entire family for a couple of goats. Godric (in Swedish): Forgive him Eric. End all this hate while you still can. Forgiveness is love. Love is all. Eric: No. Russell: Just shut the f*ck up and die, please. Eric: I swore to my father. Russell: Your father was a self-important, greedy little putz, and he got what was coming to him. Godric: Only peace follows death for all. Even for him. Sookie wakes up in the Fangtasia after a dream. Bill: Sookie. Sookie: You f*cking betrayed me again. Bill: I only pretended to betray you so that I could save your life again. And it worked. Russell is gone. Sookie: Where's Eric? Pam: Outside, burning. Sookie: What? Bill: He bound himself by silver to the king. Was the only way to k*ll him. Sookie: I can't let him do that. Bill: Sookie. Sookie: You do not own me. Sookie goes out. Sookie: Eric, this is just stupid. Eric: Go away. Godric: Eric. Forgive him. In the brief time you have left. Eric: No forgiveness. Sookie: I won't let you do this. Russell: Sweetie, please. Use your gift. Sookie: I don't know how. Russell: Yes, you do. Don't think about it. Don't try. I will not surrender to the true death. I will find a way to come back and k*ll your precious Viking and your brooding Mr. Compton and his unbearable progeny and anyone you ever cared about, and all because you didn't use your f*cking power! Well, it's about f*cking time. Now drag me the f*ck inside. Sookie: You watch your f*cking language. Credit Sookie and Eric are at the Fangtasia with Pam and Bill. Pam: He needs blood. Human blood. He's too weak to drop fang. Sookie: Bite me. Pam: Thank God, the key. Sookie feeds Eric. Sookie: Keep an eye on him. We both know he could lose control. Scene 2: Sam's house - Sam, Tara, Nan, Steve Nan on tv: This is all part of a concerted effort on the part of the right-wing fringe to stir up fear of vampires. Steve: Oh, was it the right wing that ripped a guy's spine out on live television? Nan: No, but it is the right wing saying that all vampires need to be wiped out of existence. Following that logic, Osama bin Laden is human, therefore all humans need to be wiped out of existence. Steve: Did you hear that? All human beings must be wiped out of existence. The vampire agenda, pure and simple. Tara: I didn't know you could cook. Sam: I never made breakfast for you? Maybe that's because you always snuck out before I woke up. Tara: Maybe that's because you always woke me up, barking in your sleep. Sam: There's a reason for that. Tara: Hoecakes? Sam: My adopted mother, in addition to being a repressed, codependent doormat, was kind of a great Southern cook. Tara: Bacon grease. Sam: It's all about the bacon grease. There's a reason why I bark in my sleep. Tara: Do not tell me you're a f*cking werewolf. Sam: No. No, no. Tara: Because there are already too many supernatural freaks in my life as it is. Sam: Tara, I'm not a werewolf. Tara: Thank you, God, for once. Sam: I'm a shape-shifter. Tara: You're a shape-sh...? Shut the f*ck up. Sam: No, I'm not gonna shut the f*ck up about it, Tara. It's what I am. It's who I am. Scene 3: Fangtasia - Eric, Sookie, Bill, Pam, Russell Bill: That's enough. Eric: Where's Russell? Sookie: Outside. Eric: We have to bring him in. Bill: Are you insane? Why? Eric: Godric appeared to me and asked me to spare Russell. Bill: You are insane. Eric: Sookie... Sookie: You want me to go get the guy who wants to k*ll us all and bring him inside? Really? Pam: Eric, do the world a favor and let that little f*ck fry. Eric: I'll go out there myself. Sookie: Oh, for the love of God. Sookie saves Russell. Sookie: I'm here to save you. Russell: Ah, thank you, Miss Stackhouse. Sookie: Shut up. Scene 4: Sam's house - Sam, Tara Tara: Don't you think being a shape-shifter is something you should tell a person before you sleep with them? Sam: Maybe. If it is, I apologize. Tara: I cannot deal with nonhumans right now. Sam: Tara, Franklin was a psychopath. Tara: I know you're not a psycho, Sam. But too many bad things have happened to me because of supernatural stuff. Sam: And humans. Tara: God. Wish I could just reboot. Be a completely new person. In a brand-new life. Without knowing any of the shit I have learned recently. Sam: You can. Be surprised how easy it is, someone smart as you. Tara: And the other you, the old you, never catches up? Sam: Well, of course it does. That's why you just gotta keep on moving. Scene 5: Fangtasia - Bill, Sookie, Eric, Pam, Russell Bill: You're a fool not to k*ll him. Russell: k*lling him won't solve anything. Sookie: No, but it would keep him from k*lling us. Eric: Oh, he won't be doing any more k*lling. Pam: Eric, who the f*ck are you right now? He k*lled your family. Rip off his f*cking head. Russell: Do not listen to them. I shall reward you handsomely. Eric: Well, that's humiliating. I'll take that. Sookie, come and hold these chains together. As tight as you can. Sookie: Don't even think about it, bitch. Russell: Are you kidding me? It's all I'll think about ever again. Eric: We should go to ground. You stay here and watch him. Sookie: I don't baby sit a psycho while you guys take a nap. Eric: He can't glamour you. Ginger's coming in later. He would glamour her in a heartbeat. Pam, make one of the guest coffins available for Mr. Compton. Bill: I'm staying out here with Sookie. Eric: Suit yourself. Sookie: Bill, you have the bleeds. Bill: I won't leave you alone with him. Sookie: I don't want to look at your face, or any of your faces, for that matter. Go crawl back into your holes, you creepy, cold freaks. Eric on the phone: It's Eric Northman. Bill: Please, be careful. Eric on the phone: I'm gonna need your van and your help tonight. Eric: Do not stake him. Scene 6: Police station - Andy, DEA agent, Jason DEA agent: Just how big a blood-demic y'all got going on around here? Andy: I wouldn't say it's an epidemic. Agent: Well, this here's blood enough for about a hundred doses. That's a lot of hard-ons, enhanced athletic performance, and spontaneous healing of physical infirmities for a town of how many? Andy: Twenty-seven hundred... and 12. Excuse me, sir. Stackhouse, why are you here? Jason: Are these the DEA guys? Agent: Who's this exactly? Jason: Oh. Ahem. I'm Stackhouse. I'm a deputy. Andy: Off-duty deputy. On leave, actually. Andy: Listen, I know all about the blood ring in Hotshot. I'm the one who cracked it. Jason: When y'all going in? Andy: My office. Jason: Get your... Andy: You ain't thinking about tipping them off, are you? I know your new girl's from there. Jason: There's all kinds of innocent people up there. Kids. Andy: So we just let 'em sell drugs? Jason: Well, if we stop 'em, somebody else is just gonna start up. Right? Andy: You just rationalized away all need for law enforcement. Jason: I don't know what that means exactly, but you gotta stop those government people out there. Please. Andy: Give me one good reason why. Jason: I would, but I swore I wouldn't tell nobody. Andy: Jason, the f*cking DEA is here and they are going in today. Jason: f*ck. Andy: You listen to me. You go warn Hotshot, you can kiss ever becoming a cop goodbye! Scene 7: Outside Sam's house - Tara Tara sees the scene when Eggs died. Tara: No. No, please. Please. Scene 8: Hoyt's work place - Hoyt, Maxine, Summer, Counselor Hoyt: What the heck? Maxine: Oh, sweet Lord. She bit him. Hoyt: Mom, what are y'all doing here? Maxine: Hoyt. You remember Mr. Rakestraw, guidance counselor over to the high school. Counselor: It sure is good to see you again, Hoyt. Uh... Want to take a seat? Hoyt: I got work to do. I-I'm supervisor when Jason's not here. Counselor: Yeah, well, I'm here for these folks who really love you. They just want you to hear 'em out. Then you can say what you want to say. Then we're done. Not a big deal. Hoyt: Heh, uh... Maxine: Sit down, Hoyt. Summer: I'll start. "Dear Hoyt. "I have known you ever since you were a safety patrol and helped me across the street every day. You always smiled and said 'hey' to me. I have watched that kind, caring boy grow into a fine, outstanding, great man. But now, instead of choosing life, you want to go back to a vampire who just wants to drink your blood, and it just breaks my heart." Counselor: Oh, well, now. Here. Mrs. Fortenberry. Maxine: "Dear Hoyt. You are my first- and only-born. And if you think I am going to sit back and watch you throw your life away on a redheaded d*ad girl you are sorely mistaken. There will be consequences." Hoyt: Yeah? Like what? Maxine: Like I will not let you back in my house. Hoyt: I already left. Maxine: I will disinherit you. Hoyt: You don't have any money anyway. Maxine: I am your mother. Hoyt: You're a mean, prejudiced old control freak. Counselor: Okay, let's just try... Hoyt: You just shut up. You're not even a real therapist. Everybody knows you got a bottle of Malibu Rum in your desk, so shut up. Now, look. I love Jessica. I'm not leaving her. If you don't like it, you can't be a part of my life. Maxine: She is a k*ller. They're all K*llers. We saw that on the TV. Hoyt: Summer. I wish you well. I wish you the best husband in the whole world. But that ain't me. Maxine: Oh. Scene 8: In front of Merlotte's - Sam, Lafayette Sam: You're early. Lafayette: I figured I'd make a couple of pots of oyster stew this morning, but I g*dd*mn ran out the house so fast, I forgot my key. Sam: No problem. Lafayette: Thank you. Sam: Mm-hm. Sam (in Lafayette's thoughts): Cross me and you're a d*ad man. Sam: Rough night? Lafayette: You could say that. Scene 9: Fangtasia - Sookie, Russell Russell: Miss Stackhouse. I'd like to propose a deal. Sookie: Oh. This ought to be good. Russell: I will give you my word that I will not harm you or anyone you love. Sookie: Stepping around the fact that your word's worth about as much as tits on a turtle, what else? Russell: One million dollars. Sookie: Five. Russell: Two. Sookie: Seven. Russell: Okay, five. Sookie: What else? Russell: I will k*ll Eric Northman. And Bill Compton. Both. Or neither. Or just one of your choosing. Sookie: Both. And your house in Mississippi. I like that house. Russell: Done. Sookie: What do I have to do in return? Russell: Release me. Sookie: No. Russell: It may not be me, but someday some vampire is gonna rip you open to get at the essence inside of you. There is no way around that. Sookie: Shut up. Russell: You don't know what it is to drink your blood. It is paradise. Arcadia. Nirvana. Who even knows what your blood is capable of? Heh. I am surprised that your Mr. Compton has showed such restraint. He is either a true gentleman or very, very smart. Sookie: Smart, why? Russell: By showing such a degree of control he's able to make the experience last that much longer. That's basic tantra. But others won't be able to stop themselves. They'll drain you dry, which is a shame, really. But the rose only blooms for a short while, I suppose. Sookie: That's enough out of you. Russell: You better hope to God I die, because I would rip you open and feed your entrails to y... Sookie: Why are you carrying this around? Russell: He was the love of my life. Sookie: This isn't him. Russell: It will be. Sookie: You think you can bring him back to life? Russell: Of course not. Sookie: Yes, you do. Somehow, involving my blood. f*ck you. Russell: No. Scene 10: Hotshot - Crystal, Jason, Calvin, Felton Jason: Maybe everybody already took off. Crystal: No, they're here. Y'all come on out! It's me, Crystal. Jason: I don't think there's anybody here. Crystal: Shh. Calvin: You brought him here? Ain't enough you polluted your family? Now you bring outsiders? I want both of y'all off my land. Crystal: Daddy, there ain't no time for this. The DEA is coming for you. Jason: And there's lots of 'em. You gotta get rid of all the V or they're gonna haul all of y'all off to jail. Calvin: We never should have agreed to sell that. f*cking fangers. Crystal: Creek, you and Eddie Boy get that cooler. Destroy that shit. Calvin: Yeah, and bring me some g*n. Gasoline too. Person: Yes, sir, Daddy. Calvin: This don't make a difference between me and you, boy. Jason: Well, don't you think it should? I'm trying to help your family out here. Calvin: Well, we don't need none of your f*cking help. We were doing fine on our own for a long time. Jason: Oh. Is that so? 'Cause, uh, I see a lot of people who look dirty and hungry and kids who probably ain't in school, and several people obviously got dental problems. Man: Here you go, Uncle Daddy Calvin. Calvin: Bufort, I want you to get all the meth and the gear. Put it in the back of the tow truck. Eddie Boy, you park it deep in the woods. I'm throwing this vamper shit in the latrine. Felton: Wouldn't do that if I were you. Man: He's got a g*n! Felton: There's way too much money to be made off that vamper juice for me to let you get d of it. Calvin: Been drinking this dirty blood? Felton: You want it all for yourself? Don't knock it. You ain't never tried it. Calvin: I ain't a little p*ssy like you. Felton: That so? Felton kills Calvin. Scene 11: In front of Terry's house - Sam, Terry Radio: It's now clear that the Vampire Rights Amendment will not achieve the majority needed to become law. This just days after the passage seemed not only possible, but li... Sam stop in front of Terry's house. Sam: Hey, buddy. Terry: Sam. Sam: Hey, uh, listen. I owe you an apology. Terry: Don't worry about it. Sam: No. No, no, no. I, uh... I treated you terrible and, uh, you don't deserve that. You're a good man, a good employee, and friend who's made a tremendous sacrifice for his... His country. And, uh, for the rest of us. Hey, hey, hey, hey. Hey, it's okay. Terry: It's more than okay. It's great. Arlene's good. Our baby's good. Coby and Lisa are good. Sam: Yeah. Terry: My armadillo Felix is good. Sam: Heh. Yeah. Terry: And now we're okay. Sam: Yup. Yup, we are. Terry: Just when I thought it couldn't get any better. I swear, sometimes I feel so lucky. Sam: Uh-huh. Right. Terry: And so grateful. Terry: And I feel it so hard, I think it's just gonna split me in half. Sam: Right. Terry: And I don't ever want it to stop. You know? Sam: Not really, but I'm happy for you. Sam is at Tommy's house. Sam: Hey, Tommy. How come you're not answering the phone? Scene 12: Police station - Andy, agent Andy: Can I hop a ride with you? Or I can follow in my own car. Agent: Sheriff, you're injured. You'd be a liability. Andy: Of course, sir. Need me to do anything on this end? Agent: Run to the store, grab me a pack of Luckies. Andy: assh*le. Scene 13: Hotshot - Felton, Jason, Crystal Felton: I ought to k*ll all you f*ck. I felt kind of bad sh**ting my own daddy. I ain't gonna feel nothing sh**ting you. Jason: Put the g*n down, Felton. Nobody needs to get hurt. Felton: Maybe I like hurting people. Jason: That's the blood talking. Look at me. I've been there, man. It's lying to you. You don't wanna hurt anybody. Felton: You don't know what I want! Jason: I know you want more V. And ain't nobody here gonna try to stop you from taking it with you. Felton: Say goodbye to my woman, 'cause she's coming with me. Jason: No, she ain't. Felton: She can either get in that truck by herself or I can sh**t you and put her in it. Her choice. Crystal: I have to. Jason: No, don't. Felton: Ten! Jason: Listen, when he sh**t me, you change and you run and you don't look back. Felton: Nine. Crystal: This is what I was born for. This is what's in store for me. Jason: You know that's not true. Felton: Who'll keep me from sh**ting him and dragging you off anyway? Crystal: Because I know you ain't all bad. I know you wouldn't do that to these women and kids. You know, with you and Daddy both gone, well, somebody gotta take care of everybody that's left. And that somebody is you. Jason: Tell me how to. Crystal: You just help 'em, however you can. If this is the last time I ever see you... Jason: I will find you. I promise. Crystal: I'm so sorry, Jason. Jason: Don't you worry about your people. You just stay safe. Crystal: I love you. Felton: She worth it? Jason: Okay. Everybody... my name is Jason. Scene 14: Letti Mae's house - Tara, Letti Mae, Reverend Daniels Tara: Mama. Letti Mae: Baby? Tara Mae? Baby? Don't come in here. Tara: Reverend Daniels? Reverend: Uh, hello. I-I spilled some lemonade on my pants. Letti Mae: Baby, it ain't what it look like. Reverend: Yeah. Your mother was just helping me with my sermon when I spilled the lemonade. Letti Mae: Tara Mae. I know this is embarrassing, but... Tara: Does his wife know? His kids? Letti Mae: He gonna tell them. Soon. Tara: Soon. Letti Mae: He loves me. He gonna leave his wife. He just needs time. I'm in love. Be happy for me. Tara: God knows I don't have any business judging anybody, but aren't you sick of this? Tara: Don't you want to change your life while you got time? Letti Mae: I am changing. I'm gonna be a minister's wife. I'm gonna be happy at last. Tara: Good luck, Mama. I really hope you will be. Scene 15: Merlotte's - Sam, Arlene, Rene, Lafayette, Terry, Jesus Sam: Tommy! Arlene: I don't know if I can put with Sam being an assh*le again today. Not after everything I've been through in the last 24 hours. Rene: I'm inside her right now. She can't get rid of me. Lafayette hearing Arlene: This is hell. We're in hell. Terry: Are you crazy? You should not be working. Arlene: We need the money. Terry: Do you wanna lose this baby? Arlene: Of course not. Lafayette: I am seeing things. Bad things. Jesus on the phone: What kind of things? Lafaytte: Blood. Ghosts. I saw a monster head on you. Jesus: Look, where are you right now? Lafayette: Merlotte's. Am I schizophrenic like my mama? Jesus: Look, I'm gonna be there as soon as I can, okay? I'm leaving right now. Lafayette: Okay. Okay. Hurry up, please. Hurry up. Scene 16: Fangtasia - Sookie, Russell, Ginger, Alcide, Eric, Pam, Bill Russell: Hear that? That's my wolves coming to rescue me. Ginger: Are you sure you're not hungry? I could make you a peanut butter and butter sandwich. No? Ah. Alcide comes in. Russell: Could you please not do that? Sookie: How did you know to come for me? Alcide: Here because Eric called me. Said he needed my help with something. Promised to settle all my dad's debts. Sookie: Oh. Alcide: Why? You in trouble again? Sookie: When am I not in trouble? Is Janice okay? Alcide: My whole family's okay, knock on wood. Debbie's gone missing, though. I've been thinking about you. A lot. Sookie: That's nice, I guess. Alcide: I even had a couple dreams about you. Sookie: Alcide. Alcide: No. I'm just saying, it sure is good to see you again. I'd have hated if we never saw each other again. Sookie: Don't, okay? Don't be such a good guy right now. Alcide: I can't help it if I'm a good guy. Russell: Yet every full moon, he turns into a wolf and kills and eats his prey. Alcide: Rabbits and squirrels, not people. Russell: Details. Eric, Pam and Bill arrive. Eric: Good, you're here. Your truck out front? Alcide: Yup. Eric: Let's go. Got a lot to do. Bill: Sookie, stay here. Pam'll protect you. Sookie: Feel safer protecting myself, since I now know I'm basically vampire crack. By the way, I rescind the invitation to my house for all vampires present. So don't even think about following me home. Eric: Get up. Russell: I do not take orders from anybody. Eric: If you two have finished eye-f*cking each other, can we go? Pam: Eric, do not bring that thing back inside this bar. Scene 17: Police station - Andy, DEA Agent, Jason Andy: That's all we need. Your so-called deputy here tipped the suspects off. Whole place was cleaned out. Nobody there except him and two d*ad guys. Jason: I told you, they was k*lled by Felton Norris, who then stole my truck, Louisiana license plate Larry-Charlie... ie-8-M-2. He took the V and his g*n with him. Agent: Now I gotta call f*cking New Orleans, tell 'em what a f*ck you got up here. Sons of bitches, backwater hicks. Where's my Luckies? Somebody bring me my Luckies. The agent leaves. Andy: Nice. Way you just f*cked yourself and me both, that's pretty impressive. And thanks f spilling the beans about Eggs to Tara. Jason: Andy, this ain't about us. There are bigger things. Andy: Like what? A girl? Jason: Like a whole lot of other people who ain't reliable to fend for themselves. Andy: Well, I hope you realize you just screwed your one chance of ever making something of yourself. Jason: Sometimes the right thing to do is the wrong thing. And I know I did the right thing. Scene 18: Merlotte's - Lafayette, Jesus Jesus: Come here, come here. It's okay, it's okay, it's okay. Lafayette: What the f*ck is happening to me, Jesus? My first memory is of my mama talking to f*ck who wasn't there. Is... ? Is that what's happening to me? Jesus: I don't think so. All right? I really don't. I think you just opened up something inside you. You're just much more sensitive now. Lafayette: I don't want to be sensitive to that shit. I want it as far away from me as it can be. Jesus: Listen to me, Lafayette. Look. When my TÃ-o Luca started teaching me magic, I was in a sweat lodge for three days, and the earth started talking to me, literally, with multiple faces. Lafayette: This shit don't make me feel better. Jesus: After, I started seeing things that people wanted to hide. But i-it wore off. Or I just got used to it, I don't know. Lafayette: Now, wait a minute. You said somebody taught you magic? Jesus: Yeah. You kind of need to be taught. Lafayette: What are you? Huh? Jesus: I'm a brujo. A witch. Lafayette: You're a witch. You're a witch who's a nurse who's a dude. Oh, well, shit, I guess I lucked out, then, huh? Scene 19: Sookie's house - Tara, Sookie Tara cuts her hair. She goes downstairs when Sookie arrives home. Sookie: Oh, my God. I love it. Tara: Really? I just needed to make a change. Sookie: Change is good. Tara: Feels like forever since we just hung out. Sookie: It has been forever. Tara: I've been such a bitch to you. Sookie: Hey, don't b*at yourself up, not after everything you've been through. I hate being mad at you. Tara: I know. You're basically my sister. We shouldn't be mad at each other. What the hell happened up in your bedroom? Sookie: You don't even wanna know. Tara: Vampire? Sookie: Werewolf. Tara: I'm gonna run over to Merlotte's for a little while. I need to see Lafayette. Sookie: Will I see you later? Tara: Yeah. I won't be gone long. Sookie: Good, 'cause I don't wanna be alone right now. Tara: Bye. Scene 20: An empty place - Alcide, Eric, Bill, Russell, Godric, a man Alcide: We're done now, right? My dad's out of debt. You leave him and my family alone. Alcide leaves. Russell: Just k*ll me, Viking. Take your f*cking revenge. Eric: That was the original plan. Then I was thinking, how do I know beyond the shadow of a doubt that you won't find some sort of peace afterwards? Russell: Heaven. Oh, dear. Godric: Everyone deserves peace, Eric. Eric: I can't bear the thought of you finding any redemption. Bill: Wrapped in silver, encased in concrete. You won't be going anywhere for at least a hundred years. Russell: A hundred years, that's nothing to me. That's a nap. Eric: That's 100 years with no escape from your grief. No escape from knowing I took what you love most and you will never get it back. Bill: A hundred years during which you will go mad. Madder even than you are now. And you are as mad as a f*cking hatter. Russell: A hundred years for me to plan exactly how I'm gonna k*ll you both! Eric: Have fun. Godric: You make me bleed, my child. So much hatred. Eric: This is who I am, Godric. This is what you made! Russell: Do you not see that he is the one who is mad? Speaking to phantoms? Bill: All I can see is how utterly powerless you are knowing that you're about to be buried alive. And honestly, it's a thing of great beauty. Russell: You will regret this. Eric: Maybe. But right now, it feels f*cking good. Bill: When fate presents one with such a grand opportunity, what else is one to do? Bill pushes Eric in a whole and makes a phone call. Man on the phone: This is Ruben. Bill: It's Northman. I want you to find my progeny, Pam, and k*ll her. Now. Scene 21: Hoyt's house - Hoyt, Jessica Hoyt: Ah. No peeking. And no using special vampire powers, either. Jessica: Okay. Hoyt: Easy, easy. I gotcha. All right. A little dip. There we go. Would you please come in? Ooh. Jessica: It smells funny. Hoyt. Hoyt: I hope you like it. I already paid the deposit. Jessica: It's totally cute. No, I mean, it could be really cute. Can you paint it? Hoyt: Oh, of course. Gonna do all kinds of stuff. But, uh, building a totally tricked-out hidey-hole for you is first on the list, though. Jessica: You wanna live together? Hoyt: I wanna marry you. Jessica: But... Uh, we can't. Hoyt: Says who? People become ministers on the Internet. So, what's to keep me from becoming a minister and marrying us myself? Jessica: I love you so much. I don't know what I'd do without you. Hoyt: Well, it's lucky for you you'll never have to find out. Scene 22: Sookie's house - Sookie, Bill, Eric Bill: We must talk. Sookie: Come in. Bill: Russell is gone. Sookie: Thank God for small favors. Bill: Eric as well. Sookie: What? Bill: I ended him. Sookie: Why? Bill: He tasted you. He knew what you are. Even if we are to go our separate ways, I will make sure that you are safe. Sookie: But Eric would never... Bill: Sookie, most vampires are not like me. Even if holding themselves back occurred to them, they would probably not be able to. I'm not taking any chances. I intend to bring the true death to all that have tasted you and know what you are. Sookie: Russell, Eric... Bill: Pam, the queen, and any who discover it in the future. I will do anything to keep you safe, even if it means me not being a part of your life. This I swear to you. I have never loved, nor will I ever love, as I have loved you. Sookie: Wait. Don't go. Eric: Did you tell her you were originally sent by the Queen of Louisiana to procure her because of what she might be? Sookie: What? Bill: I did not know why she wanted you. As I grew to know you, I purposely kept you from her. Sookie: Were you ever gonna tell me? Bill: I hoped to someday. I swear it. Eric: What about you letting two psychos b*at her within an inch of her life so you could feed her your blood the night you met? Think she'll forgive you for that? Sookie: Oh, my God. Bill: Sookie... Sookie: Is it true? Bill: Yes. Eric: He tried to silence me tonight so you would never know. He doesn't wanna protect you. He only wants to protect himself. Sookie: Get out of my house. Bill: Please! Sookie: Don't ever come here. Don't ever call me. Don't ever talk to me. Ever. You manipulated me into falling in love with you. Bill: It is who you are, Sookie, not what you are, that I love, and will love always, until I meet the true death. Sookie: Love?! You don't even get to use that word. I rescind my invitation. Bill: No! Eric: I want my phone back. Sookie: You too. Get the f*ck off my porch and out of my life. Eric: For the record, I would never have given you to Russell. Sookie: Go back to hell where you came from, you f*cking d*ad piece of shit. Eric: I'm sorry to see you suffer like this, but I thought you had the right to know. Scene 23: Fangtasia - Pam, Eric Pam: Did you k*ll him? Please tell me you k*lled him, because I will never get all the cement out of my hair. Eric: I gave him a much worse punishment. Pam: Ruben tried to k*ll me, by the way. I took him out. Eric: Oh, great. On top of everything, I'm out an assassin. Pam: I have zero patience with that shit. Scene 24: In the woods - Sam, Tommy Sam: Tommy, come back here! f*ck! Tommy: So now you're gonna sh**t me? Sam: Give my money back. Tommy: f*ck you. You came along, changed my whole life. Took away everything I knew. And now you're just throwing me away like garbage. Sam: I think I might have saved your life, you stupid little shit. Tommy: Yeah, stupid. Good, rub it in! Sam: Just give me my money. Tommy: How am I supposed to live? Sam: Get a job. Tommy: I can't f*cking read. Sam: Not my problem. Tommy: f*ck you. You ain't gonna sh**t shit. Sam sh**t on Tommy. Scene 25: Bill's house - Bill, Sophie-Anne Bill: Your Majesty. Sophie-Anne: Hm. We'll side step your recent defection. For now. Tell me, do I make a good widow? Bill: You are a vision. Sophie-Anne: Bill, don't be such a sourpuss. Aren't you the least bit excited? Russell is no more. Bill: I am pleased, yes. Sophie-Anne: Dear me. How dreary you are. All right, bring me the girl. I have waited centuries to find a true fae. I can't wait to feel the sunlight on my skin again. Maybe I'll get a yacht. Bill: Sookie is not here. Yes, I brought you here under false pretenses. But I do have another surprise for you. Only one of us will leave this house. Sophie-Anne: You dare challenge me? I'm over twice your age. Bill: Yes. But I have nothing left to lose. Scene 26: In the cemetery - Sookie, Claudine Sookie: Gran, I am so lost. I followed my heart, but it led me down a d*ad-end road. I miss you so much. I've never felt so alone. And I've spent my whole life feeling alone. Claudine: Sookie. You're not alone. Come with us.

{"type": "series", "show": "True Blood", "episode": "03x12 - Evil is Going On"}

foreverdreaming

Scene 1: in the woods - Eric, Sookie Eric just k*lled Claudine by drinking her blood. Sookie: We're sittin' ducks out here if any of Claudine's friends show up. Hurry. In the house. (Eric faint) We're headin' for the cubby. You hear me? Hey. He wakes up. Eric: Hey! More. Sookie: Quit. Eric: I want more. Sookie: You can't have any more. There isn't any more. You drink the whole faierie, and you're going to your room. Eric: Drink you up. Sookie: Eric you'll k*ll me! No! Eric: I would never harm you. Sookie: You better not. Come on, I'll tuck you in. Eric: *giggles* He pinches her bottom. Sookie: Hey! Did you just pinch my butt? Eric: Beautiful butt. Sookie: Well, thanks, but hands off. Eric: Whoo! (He does it again) Sookie: Hey! I said... What... You're drunk! Eric: Catch me. He leaves. Sookie: Get back here! (He comes back) I'm trying to help you. You can't do this. Get back in the house right now. Eric: Never. Sookie: It'll be dawn soon! Eric: I don't care. He leaves again. Sookie: Eric! Sookie runs after him. Credit Scene 2: Fangtasia - Bill, Pam Bill: Where is Eric? Pam: For the last time, I don't know. I have no idea what happened to him. Bill: Don't lie to me, Pam. It's treason. Pam: Exactly. I wouldn't take the chance. All of your subjects are learning how ruthless you are. Bill: I know the depth of your devotion. You would lie and die for your maker. Pam: And I know how much you hate him. Bill: Why didn't you call me when he went missing? Pam: Well, I was kind of thinking you sent him to those witches so they'd k*ll him. Bill: You're not supposed to think. You're supposed to follow protocol. When you hear from him, you let me know immediately. Pam: Yes, sir. (He starts leaving) You like the feel of it, don't you, Bill? That crown. He looks at her, and then leaves. Scene 3: Hot sh*t - Jason, Becky, Luther, a blond girl. Jason is being r*ped. Blond girl: Oh yeah. (Jason comes) Wait, wait. Come on now. Jason: Get off me. Blond girl: I ain't done yet. Jason: GET OFF ME! She gets off, and put her panties on, crying. Jason: I don't know why you're cryin'. I'm the one gettin' r*ped. Blond girl: My brother-husband, he just bites the back of my neck and he holds me down till it's over. You're the best I ever had. Next! She leaves, and Becky arrives. Jason: Oh, no. Hey! She's just a little girl! Luther opens the door. Luther: Never you mind! Breed, ghost daddy, breed! He closes the door. Becky: Uncle Felton says I'm old enough, and you better give me a cub. Jason: What? (She puts her panties off) Whoa, whoa, no no. Stop it! Stop it! Becky: Don't yell at me! Jason: Sorry. Becky I'm sick, and I'm - I'm getting' sicker. I can't. I can't do this no more. Becky: You gotta (She takes a Kn*fe) I'll cut your thing if you put up a fight. Jason: You ever done sex before? Becky: Sure, Lots of times. (He looks at her) No. But I ain't scared. Jason: Then this ain't the way it should be. Uh, your - your first time should be special. With a boy you really like, who brings you presents and candy. Becky: Boys do that? Jason: Oh, they sure do. And, hey, you make love with him 'cause it's the right time, not 'cause some big man shoves you in a shed and says you gotta. Becky: I don't want do this with you. I don't want to do this at all. Jason: Then cut me loose. I'm scared I'll die here. Becky: So am I. She cuts the first link and gave him the Kn*fe. Jason: Here. Becky: Be careful, Mister Jason. Jason: Well, you too. He goes outside. Luther: Hey! Jason punches Luther, who faints. Scene 4: Bill's house - Bill, Nan. Nan: I'm trying to salvage the future of equality for vampires in this country after Russell Edgington butchered a man on television, and you send Eric Northman after wiccans? Are you f*cking insane? Bill: Wiccans working death magic. Nan: Some old hippies levitated a d*ad bird, so what? Bill: Necromancy is no joke. Remember the Spanish m*ssacre? Nan: That was 400 years ago. A single powerful witch with a reason to go after vampires. Bill: It would be foolish to believe that this could not happen again. Nan: Remember Salem? We all thought it was such a thr*at, when it was just a bunch of neurotic puritanettes who needed a good lay. Bill: This is the real thing. I know it. Nan: they don't make necromancers the way they used to, Bill. Get a grip! Bill: Then where is Eric? Why has nobody heard from him? Nan: It's not my problem you can't control your sheriffs. Bill: you're making a big mistake. Nan: that is not for you to decide. I really don't know what you expect me to do. I can't take this to the Authority. Bill: I don't expect anything. I'm just keeping you informed. Nan: Fine, I'm informed. Clean it up. But don't you shed one drop of mortal blood. Bill: And what if they come... Nan: No d*ad humans! Or I will have your ass. Bill: I'll deal with it personally. Nan: Thank you. How's the execution go? Bill: Oh, very smooth. Completely justified. Nan: Aw. Poor Bill. Power's so hard. Don't f*ck this up. How many retired kings do you know? She leaves. Bill: I'll make sure you're kept in the loop. Scene 5: Goddess Emporium/ Spain (in the flashback) - Marnie, Antonia, Inquisition men. Marnie's sleeping, having flashback of Antonia's last moments. Antonia is on the stake, conjuring spirits. Antonia: Alley, Fortissian, Fortissio, Allinson, Roa. Inquisition men (in Spannish): You must burn a witch properly. First the calves, thighs... Antonia: Colpriziani offina alta nestra fuaro menut Inquisition men: ... and hands. Then the torso, forearms, and the breasts. Marnie: This is madness! (She runs into the crowd but nobody can see her) We must stop this! We - We have to save her! Inquisition men: She is not allowed to die until her face is in flames. Someone lights the stake, and Marnie's screaming. Antonia (in Spannish): You belong to me, it is you who will burn for your sins! Colpriziani offina alta nestra fuaro menut. Alley, Fortissian, Fortissio, Allinson, Roa. Antonia and Marnie: Alley, Fortissian, Fortissio, Allinson, Roa (x3) Antonia: Ahh! Antonia's burning alive. Then Marnie wakes up, a light in her eyes. Scene 6: Sookie's house - Alcide, Sookie. Alcide knocks at the door. Alcide: Sookie? Sookie comes from the back of the house. She holds a red blanket in her arms. Alcide: Sookie, where you at? Sookie: Oh, thank you for commin'. I was checking the woods out back one more time. There's no sign of him. Alcide: How can Eric be runnin' around in the daylight? He starts to undress. Sookie: It's a long, strange story. I'll tell you on the way. She looks at him, but he stops before taking off his pants. Alcide: Sookie. Sookie: Sorry (She turns away) I wasn't thinkin'. I can't tell you how much I appreciate this. Alcide: You'd help me if I need you. Sookie: I sure would. He turns into a wolf. Sookie: You got his scent? Alcide run into the woods. Sookie: Wait for me! Alcide! Damn. Scene 7: The Merlotte's - Sam, Maxine Fortenberry. Sam serves customers when Maxine Fortenberry arrives. Maxine: Sam Merlotte, what have you done to my boy? Sam: I didn't do anything to anybody. I got no idea what Hoyt's up to. [To a customer] You ready to order? Maxine: I don't mean Hoyt. He's no son of mine. Sam: Then I don't know who you're talkin' about. Maxine: Tommy Mickens? His own brother, who he sh*t? Y'all remember? Sam: And who is now fine. He takes her in a corner. Maxine: He is not fine. He didn't come home last night, and I can't find him! Now, where is he? Sam: How should I know? Tommy's a big boy. He runs his own life. Maxine: Somethin' terrible is wrong with you. There is no family feelin' in your soul. Sam: Well, I could point out that you're the one who disowned your child by blood, but maybe you're right. Maybe there is something wrong with me where family's concerned. Maxine: Oh, there's no question about that, Mister g*n-A-Blazin'. The whole town knows it. Sam: I can't help you, Maxine. Maxine: I am a lioness, and if you even laid a finger on him... Sam: I did not, hand to the lord. Maxine: ... I will punch your ticket but good, you hear me? Sam: Yes, ma'am. Maxine: Why aren't you fightin' back? Sam: Got no quarrel with you. Tommy's lucky a lioness has his back. Maxine gives him a suspicious look and leaves. Scene 8: Hotshot - Felton, Crystal, Luther, Becky Felton comes while Becky is sleeping. He wakes her up. Felton: Now, you look different. Becky: I - I do? Felton: Yep. 'Cause you ain't a virgin no more. Becky: Mmm-Hmm Felton: He do you right? Sex is kinda gross, but it feels good, don't it? Don't it? Tell uncle-daddy Felton all about it. (He catches her face) Hey! Look at me! He ran to the place where Jason is supposed to be. Felton: Luther! Luther! Crystal comes. Crystal: What are you hollerin' about? Felton smashes the door and founds Luther bounded. He screams while Crystal releases Luther. Crystal: We got Jason's seed. That's all we wanted. Felton: Hey, I'm gonna claw your pretty boy up, and string his guts from here to Shreveport! And your little sister-niece, Becky, she's next. Come on Luther! (He goes out) Bufort! Timbo! Somebody outside the screen: Yeah? Crystal: You promised you wouldn't hurt him! Felton: f*ck that shit! f*ck you! He transforms into a were-panther. Scene 9: Goddess Emporium - Jesus, Marnie, Lafayette, Tara. Jesus: Don't you know a spell that'll make him remember again? Marnie: Please, I am so tired. I have hardly slept. Lafayette: If you fully realized what f*ck' vampire you f*cked with, you would never sleep again. Marnie: He had no right to approach us. It's his fault. This is a sacred space. Tara: Nothing is sacred to them. Marnie: Well, the Goddess. She will protect us. Lafayette (to Jesus): Will you f*ck' talk some sense into her, please? Jesus: Just calm... Marnie: Go away. Just go away. People are so violent, and so perplexing. Just leave me alone with the d*ad. Jesus: Marnie, all you have to do is come with us, and reverse the spell you cast on Eric Northman. Lafayette: Or you'll be one of the d*ad. Marnie: I can't! It wasn't me. It wasn't my spell. It was her. Lafayette: Can't? "Can't" isn't a f*ck' option here! Tara: Her who? Marnie: Uh, I don't know her name. She hasn't told me. Lafayette: I tell you what. You get her ass on the g*dd*mn Goddess line, and you tell her to turn this curse a-f*ck'-round. Marnie: Spirits aren't pets. They don't come when you call. Jesus: Marnie, these vampires will k*ll everyone in our circle. Lafayette: After a whole lot of t*rture. Tara: And r*pe. Marnie: Uh, I suppose I better try somethin'. Lafayette: Thank you. Marnie and Jesus sit down face to face. Jesus: You can just tell us what to do. Marnie: Goddess, Loving souls, light our way. Reveal to us your ancient wisdom. Lafayette: Save our f*ck' asses. Marnie: In this suffering, tragic world, show us your mercy. Blessed be! Jesus: Come on. Nothing happen. Marnie: Mmm-mmm. They're just spells. Ooh, spells that restore the mind, spells that recover memory, spells that remove... (She rises) Let's turn to the books. That's bound to reveal something. She goes out of the room, followed by Tara. Scene 10: The woods - Eric, Alcide, Sookie. Sookie: So, Eric can daywalk some with the faerie blood, but it makes him drunk as a skunk. He's hammered, and who knows how long before he starts to fry. Alcide stops near the water. Sookie: There's no time to rest. We gotta keep movin'. Alcide, I know you don't like him, but if he dies, Pam'll k*ll me. Eric comes out of the water. Eric: Hey, Sookie! Where have you been? Come, come play with me. It's wonderful here. I am Aegir, god of the sea, and you are Ran, my sea goddess. Sookie: There's big gator in there, you crazy Vicking! Get on out and let's go home, before one of them chomps off your you-know-what. Eric: Leave the sun to the water? Nope. I'll just k*ll all the sea monsters! Gators, Krukodiler! Show yourselves! Cowards! Alcide transforms into his human form. Alcide: He really is different. Eric sees it and gets his fangs out. Eric: Get away from her! Alcide: f*ck you! She wants me here. Sookie: Eric, this is Alcide. He's your friend. He's gonna help you. You don't want to fight him. Eric: Yes, I do. Now prepare to die, you stinking dog. Alcide: Take your shop, you dumbshit fanger. Sookie: Grow up, you giant babies! Alcide, stop making that noise. Eric, put up thoses fangs and do what I say! Eric starts to feel the burn of the sun. Eric: Uh, uh... I don't feel so good. Sookie: Now will you listen to me? Eric: Sookie, I hurt. My blood is burning. She comes with the blanket and wraps him up. Sookie: I know. Now, come on. You gotta get. Vamps speed. Eric: I don't want to go back to the darkness. I want us, I want us... Alcide: Just keep that blanket on, and the sun at your back. Eric: Sookie, I'm... Sookie: Go. Run. We'll be right behind you. He leaves, followed by Alcide who transformed again, and Sookie. Scene 11: The woods - Jason, Felton. Jason is running away, looking at his back. He's exhausted, and suffers because of his wounds. We hear a roaring not far away. He takes off his shirt and throws it in the opposite direction, in order to fool the were-panther. He took a stick, and smears himself with dirt. Felton (in his were-panther form) arrives and sniffs Jason's smell, then goes in the direction of the shirt. Scene 12: Mickens' new place - Tommy, Melinda. Tommy's searching for his mom. Tommy: Mama? Mama! Melinda Mickens! Melinda appears behind the van. Melinda: Over here! Whoo-hoo! Over here! Oh, now! Tommy gives her a hug, making her seals of water falls. Melinda: Look what you made me done! Now I gotta walk all the way back to the well. Tommy: Well, I stole a car. I'll drive ya. Ain't you happy to see me? Melinda: I been deramin' about you for months and months. I didn't want to make you mad. Tommy: I ain't mad. Melinda: But I couldn't wait no more. I had to call. I called Merlotte's and got the busboy t give me the name of that lady you been stayin' with. Tommy: I missed you, Ma. And when you told me that... Melinda: Now, sugar, don't you cry, too. You gotta be the man. Tommy: Is it true? Did you finally leave Joe Lee? For good this time? Melinda: Well, I did. I left him. Tommy: Oh, Mama. I'm the happiest I ever been in my life! What'd you say? How'd you do it? Melinda: We'll talk about that later. I want to hear about you! Look at you, all growed up, and on your own. Tommy: I can read now. Melinda: No, you cannot! Tommy: Yeah. Melinda: Can you. Tommy: Yeah! Melinda: Oh, I'm so proud! Remember when everybody called you stupid, and I always said you wasn't? Tommy: Oh, and Sam sh*t me in the leg. Melinda: He what? Why? Tommy: 'Cause he hates me. Bang! Big old nasty hole right there. But I'm strong. I got better. Melinda: sh**t my baby, I could k*ll him. Getting' rid of that child's the best decision I ever made. Tommy: Yeah, you were right. He never cared about me. Melinda: Well, we don't care about him. You are my one and only. Gimme another hug around the neck. He hugs her again. Scene 13: Luna's house - Sam, Luna, Emma. Sam arrives in his car, goes out and comes to knock at Luna's door. Luna: Who is it? Sam: Surprise, it's Sam! Luna opens the door. Luna: What are you doin' here? Sam: I felt like sayin' hey to a beautiful girl. Luna: Oh, that, that's sweet, but... Sam: You showed up to seduce me at Merlotte's, I thought I'd return the favor. Luna: Shh, shh. It can't work that way, all right? Now's not a good time. Sam: I was, I was just followin' your lead. Uh, just to be clear, has somethin' changed? Are we still on the same page? Luna: Yeah. More or less, but you gotta call first. Sam: So only one of us can be spontaneous? Luna: Well... Emma comes at the door. Emma: Mommy! (She looks at Sam) Who are you? Sam: Who are you? You look like somebody important. Like a princess, or a cowgirl. Emma: I am. Sam: Yeah? What are you doin'? Emma: We were just playing Barbies. (To her mom) Can he play Barbies with us? Luna: Oh, I don't think so. Sam: Oh, come on. Can I? Luna: Emma, this is my friend Sam. Sam, meet my daughter. Emma: Hi. Sam: Hey, Emma. Which Barbie do I get? I hope she has a bunch of pretty dresses. Emma: Oh she does. Sam: Yeah? Luna: Come on in. Sam: Love to. They all come in the house. Scene 14: The woods - Jason. Jason is still running away in the woods. We hear the roaring, and Jason falls. Scene 15: Sookie's house - Eric, Alcide, Sookie. Alcide is upstairs, listening to Eric and Sookie who are in the hideout. Eric: I don't want to go to sleep. Sookie: You have to rest. You got all b*rned up today. Let me check (She checks if he's fine). Everything healed. Now, lay down and close your eyes. Eric: No. No. Sookie: If you stay awake, you're gonna start bleeding all over the place. Eric: I know what the bleeds are. Sookie: Fine, then you can clean it up. I'm not a maid. Eric: Stay with me. Please. Sookie: Can't. Human stuff to do. Eric: Oh. He looks away, a little sad. Sookie goes upstairs. Alcide moves away from the entrance. Alcide: This is nuts. Sookie: Hush. They're going outside. Alcide: He can't stay here. What are you thinkin'? Sookie: You saw yourself. He isn't the same. He's not for long, anyway. Alcide: He's a k*ller. Eric Northman at your house, you... You must have a death wish. We see Eric in the basement, listening to them. Sookie: Well, Debbie Pelt's still Debbie Pelt. Alcide: So? Sookie: She's an addict and an attempted m*rder, and she lives in your house, and I'm not judjing you. Alcide: So that's how you feel about her. Sookie: I don't want you hurt again. Or me. Alcide: That's what I'm saying about Eric. Sookie: All right, then we're even. Alcide: Come here. She approaches and hugs him. Alcide: I'm on your side, Sook. Whatever happens. Sookie: Same for me. (She looks at him) Friends? Alcide: Friends. Keep in touch. Sookie: You know I will. He leaves. Scene 16: The woods - Jason, Felton, Crystal. Jason is on a tree, cutting a branch. He starts falling asleep and let the Kn*fe fall. The were-panther arrives, searching for him. Jason jumps from the tree and k*ll the panther with the stick. Felton returns into his human form. Another were-panther arrives and transforms. It's Crystal. Jason takes the stick to defend himself. Crystal: So long, f*ck (she kicks Felton's corpse). Hey, baby. Jason: Stay there. Stay there. Crystal: Luther and Timbo are comin', but I can handle them. I'm big mama kitty now. Finally. Everybody gonna do what I say. Felton got you good. Let me rub some dirt on that. She approaches. Jason: Don't f*ck' touch me. Crystal: We can be together now. Like we was always meant to be. We're mates for life. Jason: We ain't nothin' but disaster. You're the worst thing that ever happened to me. Crystal: That's the fever talking. (She tries to come closer) Jason: Take one more step, I'll k*ll ya. Crystal: Bontemps ain't your home no more. You're gonna be Panther Man and Ghost Daddy to our clan. Jason: The f*ck I am. Crystal: Hotshot's the only place that'll take you in. Jason: If the next time I see you or this sh*thole is a hundred years from now, it'll still be too g*dd*mn soon. He leaves. Crystal: I'll be waitin' for ya, Jason! Full moon! Scene 17: Bellefleur's house - Bill, Portia, Andy, Caroline Bellefleur. Portia: Bill? Bill? You haven't heard a word I've said. Bill: Sorry, I'm preoccupied. Business. Portia: Hmm. I think you're worried about meetin' my grandmamma. Bill: Mmm-hmm. Portia: She's keeping you waitin' on purpose, you know. She likes to male all my gentlemen callers nervous. Someone cough. Mrs. Bellefleur comes into the room. Bill and Portia get up. Portia: Grandmama, this is my friend and client, William Compton. Mrs. Bellefleur: Caroline Bellefleur. Bill: Caroline. Well, that was my wife's name. It's an honor and a gift to make your acquaintance, Mrs. Bellefleur. Mrs. Bellefleur: Please, sit. Andy comes downstairs. Andy: G'night, back soon! Mrs. Bellefleur: Andrew. (She asks him to come) Bill: Andrew. Andy: Bill (he sits down). Portia. Mrs. Bellefleur: There's tea in the kitchen, Portia. Portia: Of course. Tru-Blood for you, Bill? Bill: That would be very kind. Andy: I'll have a Red Bull, please. Mrs. Bellefleur: No, you won't. It's vulgar. He'll have sweet tea. Andy: yes, ma'm. Mrs. Bellefleur: Tell us about your day, dear. Andy: Well, I caught that flasher from Glenville. Mrs. Bellefleur: Oh, Andy. We don't talk about that in the parlor. Andy: You asked me. That's what I did. Mrs. Bellefleur: No, no, no, no, no. I have tried, unsuccessfully, to teach my grandson the art of polite conversation. Bill: But he is a man of the law. He is bound by civic responsibility to practice the art of circumspection, which is entirely the opposite. Andy: Thanks. Mrs. Bellefleur: Mister Compton, you're good. Scene 18: Luna's house - Sam, Luna, Emma. Emma: No! Luna: Yes! We have to brush your teeth, wash your face, and put you on your PJs. Emma: I don't want to. Sam: I think you better. Unless you'd like a million little bugs playin' house in your mouth. Emma: Ew. Luna: When we're done, we can say good night to Sam. Emma: I'll do it myself. Sam, stay. Sam: Yes, ma'am. She goes to the bathroom. Sam: There is a girl who knows her mind. Luna sits on the couch ext to Sam. Luna: I want her to be strong, but sometimes she's a little too much like her father. Sam: Or maybe her mom? Luna: I want to raise her right. So many shifter kids are f*cked up. Sam: Yeah. Luna: They hate the world, they hate themselves. Sam: Hmm-mm. Luna: She goes that way, it's gonna break my heart. Sam: Mmm. But you could have told me about her. You know, I like kids. I'm not gonna run. Do I seem like that kind of guy? Luna: No. But I have to be careful. Really careful. Sam: Go on. Luna: My ex is a werewolf. Sam: Ah. Luna: I was young. He was a bad boy. Everyone said no, so I said yes. I am a cliché. Sam: No you're not. No you're not. We make choices. We don't know what they'll mean down the line. I mean, you got away from a werewolf, right? That's no cliché. Luna: Not away away. Sam: He watches you. Luna: I think he might. Drives by sometimes, comes around when I don't expect him. He loves Emma. But he's jealous, so... Sam: Uh-huh. Luna: If I get closer to somebody... Sam: Me. Luna: Yeah, you. I don't know what he'll do. That's a really good reason to run. Sam: Do I look like I'm runnin'? Emma enters the room. Emma: I'm sitting next to you. Sam: Well, I was hoping you would. Emma sits between them. Sam: Hey. Luna: (gives her the remote control) Here you go. Emma: Thanks. Sam: Mmm-hmm. Scene 19: Goddess Emporium - Jesus, Lafayette, Marnie, Tara. They are all making searches. Lafayette: What is she doing? Jesus: She's testing for energy. The right spell might give off heat. Tara: I got nothin'. Marnie: You be careful of that. It's over a hundred years old. Lafayette: This ain't workin', and we runnin' out of time. Jesus: Marnie, maybe we should try something else. Marnie: Well, I don't know what else I can do. (She casts a spell) I call upon you for the thousandth time, my faithful spirit guides. Why have you forsaken me? Tara: We're f*cked. Marnie starts to cry. A book falls from the shelf. Tara: What the... Marnie: Whoa, whoa, whoa. (She takes the book and reads) "To heal those who have drunk from the river Lethe". Tara: Huh? Marnie: It's the Greeks. It's the river in Hades, the river of forgetting. This is it. Tara: We better call Pam. Marnie: Oh, blessed be. "Draw your circle in the light of the moon of Artemis". Scene 20: Alcide's house - Alcide, Debbie. Alcide comes home. Alcide: Deb? Debbie: In the den. You said you were workin' late tonight. You weren't kiddin'. Alcide: Got behind on a couple things. Hey, darlin'. Debbie: Mmm. They kiss, and she smells him. Debbie: Did you shift today? Alcide: Yeah. Debbie: Why'd you do that? Alcide: Wasn't exactly my idea. Sookie called. Debbie: Huh. Alcide: Had to go to Bon Temps. She needed emergency wolf assistance wranglin' a vamp. Debbie: In the daylight. Alcide: Yeah. Got pretty cooked. We had to catch him and throw him underground really quick. Tool a bite out of my schedule. Debbie: Sookie's okay? Alcide: For now. But you know her. Danger on the doorstep every five minutes. Debbie: Yeah, I know. Alcide: You're not mad, are you? Debbie: Mmm. There's nothin' to be mad about. We are living a life of rigorous honesty here. I'm glad you told me about it. You're a good man to help her with her troubles. Alcide: Damn. I cannot get over how much you've grown. Debbie: Mmm. (They kiss again). You're in my bed, boy. I ain't worried about no Sookie. Scene 21: Mrs Bellefleur's house - Bill, Andy, Mrs. Bellefleur, Portia. Mrs. Bellefleur: My husband Joseph was Arthur Bellefleur's son, and Arthur was the son of James. Andy puts a glass on the table. Andy: Grandmama, I can't sit here all night bein' circumspect. I uh, have a big job, and I have big things to do. Mrs. Bellefleur: Well, go then. No one's holding you prisoner. Andy: 'Night, y'all! He leaves. Mrs. Bellefleur: He's drinkin' again. Portia: We don't know that. His work is very stressfull, and he takes it all to heart. Mrs. Bellefleur: It's a mistake to coddle men, Bill. Don't you agree? Bill: I don't. I thoroughly enjoy a good coddling. Now, your husband's grandfather was James Bellefleur. Mrs. Bellefleur: Mmm-hmm. Bill: And he was the descendant of Jedediah Bellefleur. Mrs. Bellefleur: Mmm-hmm. Bill: I knew him from the b*ttlefield. Mrs. Bellefleur: And James's father... I can't recall. Once upon a time, I could go back ten generations without giving it a thought. (To Portia) Uh, would you get the Bible for me? (Portia give it to her) Oh, thank you, dear. And a little whiskey? She opens the Bible. Mrs. Bellefleur: What a shame. It's so faded you can't read it. Bill: Would you permit me? Mrs. Bellefleur: Mmm. Portia: Vampire vision. Bill: So, Joseph Bellefleur was the son of Arthur Bellefleur, who was the son of James Bellefleur and Elizabeth Harris. Harris? Mrs. Bellefleur: Yes, she was the daughter of... You, you cannot... Bill: I understand. Please forgive me, I didn't know. Mrs. Bellefleur: I believe you. But you cannot... Bill: Of course. You have nothing to fear. Portia: What? Mrs. Bellefleur: Excuse me, I - I am... I'm really not feeling very well. She starts to leave the room. Bill: Good night. Portia: Grandmama, are you gonna be okay? Mrs. Bellefleur: Yes, dear. Yes. Portia gives him an interrogative look. Bill: I must go. Portia: Uh, tell me about it over drinks? Bill: You can't come with me. We cannot see each other anymore. Portia: Why? He goes outside, followed by Portia. Portia: Hey! Don't you walk away from me. I am a lawyer, Bill. I am a terrier. I will not let this go. Bill: Elizabeth Harris was the daughter of Lionel Harris and Sarah Compton. Portia: So? Bill: Sarah was my daughter. You're my great-great-great-great granddaughter. He leaves. Scene 22: Terry's house - Terry, Mikey, Arlene, Coby, Lisa. Terry (with Mickey in his arms) enters the living room, where Arlene:, Coby and Lisa are sleeping on the couch. Terry: You see that, Mickey? That's your family. That's your big brother and sister. And they're gonna teach you, and wrassle with you, protect you from your enemies. And that's your mama, the most beautiful mama in the whole world. And I'm your daddy, and I'm gonna teach you how to hunt and sh**t and trap and fish and... And how to take clothes out of the dryer. Terry puts Mickey on a blanket on the floor. Terry: You just stay put. I'll be right back. Lisa moves and talk during her sleep. Lisa: Mom... Somebody writes on the wall. Then Terry comes back. Terry: Daddy's back. He sees that "Baby not yours" is written on the wall. Terry: No! Arlene: wakes up. Arlene:: What? Terry: Uh. She looks at the wall and screams. Then she and Terry look at Mickey, who's holding a pen. Scene 23: Sookie's house (Hideway) - Eric, Bill, Sookie. Sookie: You've been too quiet. This isn't like you. Eric: Yes, it is. Sookie: No, it's not. The real Eric... Eric: I am real. Sookie: Yes. You are. I meant the Eric with his memories. Not much gets him down. Sure, he's a rascal and a troublemaker, and most of the time, I'd like to slap the smile off his face, but he's a happy vampire. Eric: I'll never swim in the sun again. Never feel the heat on my skin. Never see the daylight in your hair. Sookie: Well, the nighttime's not so bad. You still got the stars and the sky. Eric: Don't. I'm not a child. Sookie: I wish I knew what to say to make you feel better. Eric: You think I'm weak? Sookie: No. Eric: You want the Eric who doesn't feel. Sookie: It's not that. Eric: If you kiss me, I promise to be happy. Sookie: (after a little hesitation) No. Eric: Why? It's only a kiss. He slowly approaches her, but back up. Eric: Someone's at your door. Sookie: Don't come up. Sookie goes upstairs and opens the door to Bill. Bill: Sookie. Sookie: Bill. Bill: Are you well? You look well. Sookie: You, too. I'm great. What do you want? Bill: Eric. Sookie: He's gone. Bill: Wasn't it just the night before last that you were begging me to get him out of here? Sookie: But then he told me he was leavin' and I could stay. I thought you'd come through for me. Bill: Did he say where he was goin'? Sookie: Nope. Bill: You see, we searched his farm in Oakland, and Holland, and his apartment in Paris, and the plantation in Barbados, and, I mean, we looked everywhere. This is the one place that he owns that my guards haven't searched, so... With your permission... Sookie: Or without it? Bill: Well, I'd rather you agreed. Sookie: I'm not gonna let big g*ons with g*n stomp around my clean house. Bill: I'll only be me. Sookie: I don't care who owns it on paper. This is still my home. There's not gonna be any search. Bill: I'm sorry. He goes to the door but she stands in front of him. Sookie: No. He pushes her. Sookie: How can you. Bill: I have to. It's my responsibility. Sookie: What reason do you have not to trust me? When have I ever lied to you? Ever? He's about to coming in but doesn't. Bill: You're right. Good night. He leaves and Sookie comes in. Scene 24: A road - Jason, Hoyt, Jessica. Jason is walking along the road. He's so exhausted that he fall on the floor. Jason: Whoa! He vomit, tries to get up, but faints. A car approaches. Jessica: Hoyt, stop! There's somebody laying there. Hoyt stops the car. Hoyt: Oh my god! It's Jason. They go out of the car. Jessica: Jason? Hoyt: Stay, stay with us, J! We gotcha. Jessica gives him her blood. Jessica: Jason, drink. Jason: Mmm. Scene 25: Mickens's new place - Tommy, Melinda, Joe Lee. Melinda: If we had a book, I'd make you read it to me. Tommy: I could do it, too. You know, there's a trick you can use when you don't know the word. Melinda: Is that right? Tommy: Yeah, you sound out all the letters, and you put'em together and you listen. And then all of a sudden, you're like, "Hey, I do know that word". Melinda: I'm fixin' to bust, I'm so proud. Tommy: Yeah? Melinda: My baby's an educated man. Tommy: It's a good feelin' Tommy: Joe Lee throw you back in the ring? I can see the scars. And from the looks of your throat, you barely made it out alive. Melinda: It was a Rottie. Skinny little thing. Didn't look like much. Tommy: Mmm. Oh, man. Melinda: I thought I'd k*ll him quick, shift in the van, have a nice cold beer. But that aint't the way it went. Tommy: You never know how it's gonna go. How many times you tell me that? And you're too old to be fightin'. Melinda: f*ck' puppy had me by the throat in two seconds flat. If your daddy hadn't nailed him with a pipe, you wouldn't have a mama no more. Tommy: g*dd*mn Joe Lee. You know, I wish I could throw him in the pen with six starvin' chows, show him what it's like. Melinda: No, you got that wrong. He saved my life. Tommy: What, you left him and you're still standin' up for him? Joe Lee suddenly appears behind Tommy to wrap a chain around Tommy's neck. Tommy: Whoa! Joe Lee strangles him. Joe Lee: She will never leave me. Tommy: (to Melinda) You lied! Melinda: Honey, we missed you! We need you! We can't make it out without you. Joe Lee: Her scars are your fault! You threw us away like we was shit! Tommy: You are shit! Joes Lee strangles him harder. Joe Lee: I'm really gonna train you now. Tommy: Ahh, Blah! Melinda: Don't hurt him bad. Joe Lee: You will learn obedience. Loyalty. Family. Son, you done drew your last free breath. Scene 26: The woods - Jesus, Lafayette, Pam, Marnie, Tara. They're all in a circle made of candles. Jesus circles Marnie with salt while Tara's holding a g*n in Pam's direction. Marnie: How am I expected to repair the vampire if he isn't here? Pam: That's your problem. Reverse the spell or I'll bite your f*ck' head off. Tara: Then you'll never get Eric. Pam: If you guys are so lame you can't even turn around your own magic, he's as good as d*ad anyway. Lafayette: Well, so are you, bitch. Ain't nobody here to keep you safe, and we know where you f*ck' live at. Pam: There's always a special place in my dungeon for you, Lafayette. Jesus: This, this is the one. Marnie: I can't find my glasses. Jesus: They're right here. Marnie: Oh, thank you. Pam: Are you f*ck' ret*rd? Tara: Shut the f*ck up or we won't even try. Pam: Make her f*cking do somethin'. Marnie: Top to say "f*ck". I can't concentrate. (She starts the spell) Mmm, North, South, East, West. Noth, South, East... North, South, East, West. North, South, East... Mnemosyne, Goddess of memory, goddess of time, heal your wayward son of the underworld, Eric Northman. Bathe him in Hades, in your pool of remembrance... Pam: This is bullshit. Wind rises and Marnie lets the book fall. Pam: Listen, bitch. I don't have time for this. Fix my maker. She tries to go closer but Marnie stops her with one hand. Marnie: Moil, mortuus, moriturus! Liquefactum, et calesco putridas! Pam's face starts to rot. Pam: Oh! Oh! Marnie: (in Spanish) Corrupt, unsanctified corpse that walks... behold your true self! Pam scrams and escapes. And we can see a f*re in Marnie's eyes while she laughs.Then she faints.

{"type": "series", "show": "True Blood", "episode": "04x04 - I'm Alive and on f*re"}

foreverdreaming

Previously on Tyrant... Barry: Fauzi, it's Barry. I'm coming for my nephew's wedding. Emma: Dad doesn't want to go either. Why do you think he hasn't been back in 20 years? (g*n, men shouting) Barry: They're not my family. You're my family. Khaled: Bassam. Barry: Father. Amira: He's changed, Bassam. Jamal: Little brother. Barry: Jamal. People are always spreading rumors about Ihab. So he has no plans to blow up my son's wedding? Bassam. It's your father. It should have been you. He's gone. Now you are in charge. Aah. Jamal. We're going home. We're not even staying for Grandpa's funeral? That's good. What is this? Aah! Mr. Al Fayeed? I told you we shouldn't have come. Yes I've got them. We'll be there soon. Yes, I will. Yes, we are taking Bassam to the hospital. Right. Barry: Sammy? (sighs) I'm sorry. Yussef: Yes. I'm sure he is. Yes, I will. Okay. Bassam, I just got confirmation. Jamal's accident wasn't an accident. It was an attempt on his life. Sammy: Wait. Someone tried to k*ll Uncle Jamal? Yussef: I'm afraid so. (monitor beeping steadily) Cohen: What did he do to make her so angry? Look at this. She bit right through the pudendal vein and the circumflex artery. Ouch. Tariq: Leila. Leila: The woman who did this to my husband... who was she? Tariq: A follower of Ihab Rashid. Leila: I doubt she was working alone, General. Tariq: I've already arrested dozens of Ihab's followers. Put up checkpoints, imposed a curfew. I'm ready to impose a complete blockade. No one gets in or out of Ma'an. No food, no supplies. Leila: There will be pushback. From amnesty, the U.N. Tariq: Would you rather I wait for your husband to get out of surgery? Leila: Just find Ihab Rashid. Guard: Step over here. Guard 2: Your paperwork? I have to look inside. Woman: No. Guard: Come on, come on. Hands on the car. Man: It's like this every day. What did he do? Identification. (man shouting nearby) (trunk slams) Curfew's at sundown. (speaking in foreign language) Ihab: Mohammed. Mohammed: Ihab. Ah, thank god you're all right. Ihab: Yes, thank him. And I thank him for sending us Samira. Where is Kamal? Mohammed: They arrested him. But we cleared out his warehouse before the soldiers got there. Ihab: My uncle has arranged a safe house for us. Come on! Come. (cell phone ringing) Samira: It's my father. (line ringing) Father? Fauzi: Where are you? I've been calling you. Samira: I'm just buying food in case things get worse. Fauzi: Samira, you shouldn't be on the streets. Soldiers just k*lled three people in Filan. Samira: I'll be home soon. Ma'a salama. Fauzi: Hurry. Samira: I will, I will. Fauzi: Samira? (line clicks) Samira: I have a bad feeling. It's-it's the wrong time. You're not ready. Mohammed: Ihab? Samira: General Tariq will k*ll you. Ihab: Samira, go home. Okay? Go home. Your father needs you. You've been helpful enough already. Go. Go home. Molly: Uh, just put them anywhere. Thanks. Sammy: Uh, are we really staying here this time? 'Cause I was kind of getting used to that hotel. Yussef: That might be difficult. There are security concerns. Molly: Uh, no. He's kidding. Adolescent irony can get lost in translation. Yussef: Ah! Emma: So, how long are we staying here this time? Molly: At least until your grandfather's funeral. Yussef: In the meantime, if you're looking for something to do, we have many activities. There is a gym and a spa, putting green, bowling alley, a skeet sh**ting range... Sammy: Skeet sh**ting? Yussef: Your grandfather was an excellent sh*t. (cell phone ringing) Molly: It's your dad. Excuse me. Yussef: He once scored a perfect... Molly: Hey. How's Jamal? Barry: Uh, he went into surgery just before I got here. But, uh, I think they're expecting him to make a full recovery. Molly: Good. How are you doing? Barry: Uh, I'm, uh, I'm okay. I guess. Listen, can you, uh, can you go online and rebook our flights? The funeral's tomorrow... Molly: Come on, stop, stop. Anytime you want a seat on a plane, someone will get you a seat on a plane. They'll get you the whole damn plane if you want one. Barry: Yeah, sure. I'm just in the habit of... Molly: Barry... I know you don't want to be here. I get that. Honey, I just want to understand why. Barry: My father asked me to stay. In the hospital just before he died. He was... he was asking me to come back here and help Jamal. Molly: Help him do what? (Barry laughs) Barry: I don't know. Help him... help him start running the country or, uh... I don't know. It's crazy, it's... Molly: Honey. Your father's not here anymore. You don't need to keep running like the doors are slamming closed on you. Barry: You don't know this place, Mol, it's... it's not like back home. Listen, um, can we talk about this later? Molly: Barry... (Molly sighs) Ahmed: Don't you want to be here for my father? Hmm? Nusrat: I'm just tired, okay? That's all. I want to go home. (shushes) Ahmed: Nusrat's going back to the palace. Leila: You should take her. Your father will be in surgery for the rest of the day. Ahmed: I want to be here when he wakes up. Leila: You're a good son. And you'll make a good husband. Take Nusrat to her car. I'll be here. Go. Ahmed: Uncle. Barry: Ahmed. I'm around if you need me. Ahmed: Thanks. Barry: Duty nurse said he'd just gone into surgery. Yussef was kind of vague about his injuries, but he said there was a woman in the car with him. Leila: Jamal can tell you himself. Before he went under, he kept asking to see you. I didn't tell him you tried to run again. Barry: You know that it's hard for me to be here. Leila: Clearly. Maybe someday we can be honest with each other about why. Leila: Bassam, no. Barry: Leila! Where are you going? How did you find this place? Leila: My father. He said it's where the crusaders hid from Saladin. Barry: Okay, so they don't have this in America. Leila: You don't get this... in America. Barry: What are you...? Leila: I don't want you to go. Please, don't go. Don't go. Barry: Leila... Leila: I know, Bassam. Shut up. I know. At least you have a reason to come back. Leila: 20 years, Bassam. 20 years, and you're still running away. Barry: That's my home. That's my life now. Leila: Right. Treating overprivileged children with ear infections. Barry: Excuse me. Molly wants me to call her about Jamal. Ahmed: Sorry if I was a jerk before. Nusrat: No, you weren't a jerk. I was. Ahmed: We weren't expecting to spend our honeymoon this way. Nusrat: Your mother's right. You know what? You're a good husband. (loud popping) (tires screeching) Ahmed: Nusrat? Fahmy: Leave it! Get out. Hurry! Nusrat: Can't! It's stuck! (sirens approaching) Yahia: Fahmy, look. Fahmy: Where are you going?! Get back here! Ali: Forget it. Let's just go. Let's get out of here. We'll never get her out in time. (sirens approaching) They're coming. Shit. Emma: Pull! (g*n) I suck at this. Who's that? Sammy: Abdul. Abdul: Salaam alaikum. Sammy: Uh, walla something. Abdul:Wa alaikum as-salaam. Sammy: Right. That thing. Abdul: Hi. Sammy: Hello. Abdul, this is my sister, Emma. Emma: Hey. Abdul: Please, um, accept my condolences. Your grandfather was a great man. And a great marksman. Sammy: So we've heard. Abdul: That's why we're here. To... remember him. We're on his team. Emma: Yeah, we didn't know him very well. Actually, we didn't know him at all, so it's all pretty weird. (cell phone ringing) Sorry. My friend in the States keeps harassing me. McKenna, you'll never believe what I'm doing right now. Abdul: She seems, uh... nice, your sister. Sammy: She's okay. So, we're leaving after the funeral, and I thought maybe we could hang out before I go. Abdul: I'd be disappointed if we didn't. Leila: This is in our territory, do you understand that? Tariq: Leila, trust me. Leila: I don't need this now. Barry: Something happen with Jamal? Leila: Nusrat's car has been ambushed. They're holding her hostage. Barry: Who is? Tariq: Ihab Rashid's t*rrorists. Barry: Well, what do they want? They must have demands. Tariq: We don't negotiate with t*rrorists. Ahmed: Do you even know what they want? Leila: Ahmed. Let the General do his job. Ziad: Sir. We have to leave. Ahmed: I'm coming with you. I don't need my mother's permission. Barry: Call me when Jamal's out of surgery. I'll be at the palace. Nusrat: Let me go, and I will do everything I can to make sure you're treated fairly. Fahmy: Keep her quiet. Nusrat: Please. You're making a mistake. Fahmy: I said shut her up! Yahia: Shh. Ali: We should have run when everyone else did. When we had the chance. Fahmy: And let my brother rot in prison? Ali: He'll rot there anyway, and we'll be d*ad. Look. We're all going to die because of you. Fahmy: Then we'll die. And so will she. Molly: You're back. Barry: Yeah, Jamal will be in, uh, surgery most of the day. But, um... Nusrat is... Molly: John told me. It's awful. Barry: What do you know about what's going on? Tucker: It's what I know about the players. With your father gone, Jamal out of commission, Tariq's gonna do what Tariq does: go in hard. He doesn't have any incentive to resolve this peacefully. Molly: But he wouldn't risk Nusrat's life. Tucker: For Tariq, it's not even "consequences be damned." The consequences give him political cover that he's been looking for. Molly: Cover to do what? Tucker: Impose martial law. That's Tariq's playbook. So, these "t*rrorists" holding Nusrat, they're just a bunch of kids in over their heads. Barry: Can you, uh... can you talk to him? Tucker: Oh, he wouldn't listen to me. And I represent the U.S. government. Now, he might listen to you. Barry: Me? Tucker: You're an Al Fayeed. Barry: I have no standing here. Tucker: You're Khaled's son. You're Jamal's brother. Blood is everything in this place. You don't need me to tell you that. Molly: You could try. John just wants you to talk to him. Tucker: Listen, if it's not something that you're comfortable doing... Barry: Uh, I'm not. Tucker: I get it. Just a thought. Walid: Well... S-so how long will you be staying, Ihab? Ihab: Don't worry, uncle. We won't abuse your hospitality. Walid: No, no, no. It's just... when you asked for a place to stay, you never mentioned anything about storing w*apon, and... if trucks are seen coming and going, it could arouse suspicion, you know? Ihab: Ah. Uncle. Walid: Ah, Ihab! Ihab! Ah! Ah! Ihab: You have filled your pockets collaborating with the Al Fayeeds. The only reason I have tolerated you is because you're my father's brother. Walid: Ihab! Ihab: Uncle, the time for playing both sides is coming to an end. Walid: It pains me to hear you make such accusations when my only concern is for your safety, Ihab. Mohammed: Ihab. Ihab: Huh. Mohammed: Kamal's brother Fahmy ambushed a government car. Ihab: Fahmy? (groans) He's a child. Mohammed: He's taken a hostage. Nusrat Al Fayeed. And General Tariq is there. Barry: I came to look for you, but... Amira: John Tucker told me you refused to approach Tariq. Barry: Was it Tucker asking me or was it you? Amira: Well, what difference does it make? The situation is the situation. Barry: It didn't feel like my place to get involved. Amira: Your father is d*ad, your brother was nearly k*lled, your nephew's wife is being held hostage. What more needs to happen before you feel compelled to get involved? Barry: I'm just here to pay respects to my father. Amira: How dare you. You can't pay your respects to a man who you disrespected your whole life. Who spent his whole life waiting for his son to come home to him. He loved you, and you broke his heart. I'm only glad that he died before he had to see you run away again. Barry: I am not running away. I'm going home. Amira: Must be nice. To absolve yourself of all responsibility. To have a place where you can go. Pasadena. Where the pain of your family doesn't follow you. You think I couldn't have used a pasadena every once in a while? (sighs) Officer: Put three on position two and one on position one, two contact. (clears throat) Tariq: Bassam, what are you doing here? This is no place for you. Barry: What's the, uh, situation? Tariq: (scoffs) You think I have time to brief you? Barry: Uncle, I understand that they're children. Tariq: Who told you this? John Tucker? (chuckles) Of course. Who else? These americans... childhood in America is a different thing. t*rrorists start young here, like gymnasts. Barry: Have you offered them anything? Tariq: Yes, 20 minutes before I go in and k*ll them all. Bassam... or should I call you Barry? This is not a game. Are your men in position? Ali: They're not talking to us, Fahmy. They won't negotiate. Fahmy: Then we'll k*ll her. Ali: Don't say that. Fahmy: Why not? Why does she deserve to live any more than any of us? Ali: You're crazy. Fahmy: Because they are making us crazy! My brother did nothing, but they put him in prison. And he'll die there unless I get him out. Nusrat: You have never seen a woman's breasts before... have you? Yahia: Not in real life. I always wanted to see them. In real life. Nusrat: There's a woman out there for you somewhere. But you'll never find her; not if you stay here. They're not watching the back door. You can untie me, and we can walk out of here together. You don't deserve to die here. (soldiers talking) Ziad: sn*per team has a line of sight on one of the t*rrorists. Tariq: Take one out and move on target. Barry: Uncle... Tariq: We're done talking. Barry: No, we're not. Look, it's my niece in there. If you won't wait for my brother, then at least let me go in and talk to them. Tariq: So I can tell Jamal when he's out of surgery I let his brother get himself k*lled? Go back to the palace, Bassam. Better yet, go home. Barry: You know what? I get it. You don't even want Nusrat to get out of this, do you? Because if she lives, then you lose your excuse to crack down on Ihab and his followers. Tariq: I won't even dignify that with an answer. Barry: I'm going in there. Tariq: Bassam! Let him go. Nusrat: Please, please, please... Fahmy: Idiot. I told you don't talk with her! You need to listen to me! What the hell are you doing? Ali: I'm not waiting for them to come in here and k*ll us. Fahmy: What about my brother, huh? Ali: Get up. Fahmy: Ali! Ali: I'm walking out with her, and begging for our lives. Fahmy: Now you're the one who's crazy! You think they'll just let you go? Ali: We'll find out. Fahmy: Come on, let her go. Ali: Or what? You'll sh**t me? Fahmy: If I have to. Yahia: Guys. Fahmy: Shut up! Don't test me, Ali. Let go of her. Yahia: Look. (Nusrat groans) Barry: I'm unarmed. Fahmy: Don't come any closer. Barry: I just want to talk. Fahmy: I said don't move. Ali: Fahmy! Let's hear what he has to say. Fahmy: Fine. Slowly. Barry: You okay? Ali: Who are you? Fahmy: He asked you who you are. Barry: I'm Barry... Bassam Al Fayeed. Fahmy: Jamal's brother? Barry: And Khaled's son. Fahmy: See? He's an even better hostage than she is. They will definitely trade him for my brother. Barry: No. That's never gonna happen. But any minute now, Tariq's men are gonna come in here and k*ll all three of you. None of us has to die. Not if you listen to me. Fahmy: Why should we listen to you when no one listens to us? Ali: Let him talk. Barry: Tariq won't be satisfied with you, do you understand? He'll go after your fathers and your uncles and your cousins. But if you put your w*apon down and walk out of here with me, I promise you, I'll do everything I can to make sure you're fairly treated. Fahmy: Bullshit! Ali: Fahmy... Fahmy: He is Al Fayeed! Barry: Only an Al Fayeed can save you now. Tariq: You should have told me he was coming. I won't forget you didn't. Ziad: General. Soldier: Coming out! Ahmed: Nusrat! Soldier: Move in! (Tariq whispering) (Nusrat sobbing) Barry: Uncle. Please, let them go. Show them some mercy; they're just kids. I gave them my word. Tariq: Your word? Barry: As an Al Fayeed. (g*n) Tariq: A month from now, one of them would have turned up at a bus stop or a train station wearing a b*mb. Better their blood than ours. Yussef: Bassam, come. You saved Nusrat. If not for you, she would have been k*lled, too. Let's go. Cohen: You suffered severe lacerations and a lot of tissue damage, but we managed to repair the pudendal vein and most of the necrosis around the bulbar... Jamal: - English. Speak english. Did you fix me? Cohen: The surgery was successful. Jamal: You're not answering my question. Cohen: I'm trying, Mr. President. Jamal: Just tell me. Will it work again? Cohen: It should. Eventually. But we'll know more once you've had time to heal. (Jamal sighs) (Jamal chuckles) Jamal: You are enjoying this, aren't you? Leila: Dr. Cohen, could you please wait for me outside? Cohen: Of course. Mr. President. (door opens and closes) Leila: Jamal, your father, whom I loved very much, died the day of our son's wedding. Then, you nearly unmanned yourself and left me a widow. How could I possibly take any pleasure in this? Jamal: Did you hear what she called me? "Mr. President." Leila: Something happened while you were in surgery... Mr. President. (quiet chatter) Cohen: Thank you. Leila: My husband needs to deliver the eulogy tomorrow at his father's funeral. He needs to be on his feet. Cohen: I'm not sure that's a good idea. Leila: The president can't deliver the eulogy from a wheelchair, can he? Cohen: As long as he's careful. Leila: Good. I'd also like to remind you to keep this confidential, because if the story leaks, or it's on twitter, there will be consequences. Cohen: Don't thr*at me, Mrs. Al fayeed. Leila: Dr. Cohen... How old is your son now, Arya? Seven? I've been told he has a beautiful smile. Thank you, doctor. Barry: How is he? Leila: Still Jamal. Barry: Can I go in? Leila: Bassam. Ahmed told me what you did. Barry: Hey, hey, hey, hey, hey, hey, hey. Okay. It's okay. It's okay. It's okay. It's all right. Shh. It's okay. Shh. (Leila crying) Leila: Oh. You need to go to your brother. (Leila sighs deeply) Barry: Jamal. Easy on the morphine. Jamal: There he is. The great American hero. Barry: I doubt uncle Tariq would agree. Jamal: Tariq. Father called him "the hammer." For him, every problem is a nail. But, you know, sometimes you need a hammer. (Jamal sighs) This motherless pig, Ihab Rashid... he tried to k*ll me. And he will try again unless I k*ll him first. I need to be stronger, brother. Like father. Barry: You're ready for this, Jamal. Jamal: Of course I am. Why wouldn't I be? Khaled: Jamal, get out right now, get out. No please. Do you hear me? Please. Get out of the car. No. (g*n) Barry: There. It's done. Leave him alone. My whole life I have been getting ready. I knew this day will come. Only, some part of me believed he will live forever. I keep expecting him to walk through that door. (sighs) Angry, of course. How do you work this? Molly: Hey. You been up this whole time? Barry: I keep thinking about those boys. Molly: Oh... baby. That's not your fault. You did everything you could. Barry: Yeah. Molly: You saved Nusrat. Barry: I understand their anger... powerlessness. When I was their age, I was so ashamed. "What does your family do?" "Oh, us? We're in the oppression business." Molly: Oh, I think it was a little more complicated than that. Barry: Yeah, but... I was a teenager. I thought I only had bad choices. Live with this obscene privilege and pretend like there's no price to any of it, or protest on the streets against my own father. (Molly sighs) Fauzi could speak his mind. I couldn't. And so I ran away. Denied all of it. Watched thousands of hours of american TV so I didn't even sound like them. Molly: When I first met you, buried in your books, I knew you were hiding. I wanted to call you Bassam, remember? I thought it was a beautiful name. But you wouldn't let me. You said you were Barry now. Barry: And those arguments I made don't seem to hold up so well anymore. Not with my father gone. I'm an Al Fayeed. That means I'm a powerful man here. Even if I run away again, isn't that still on my head? Whenever Tariq acts in my brother's name, whenever Jamal is too weak to say, "no, enough," won't there be blood on my hands no matter how far away I run? Molly: Are you asking my permission to stay? Barry: I look at those boys. They died for their brother. Now what do I say to mine? ♪ ♪ Sammy: How friggin' crazy is this? Emma: How crazy is it what dad did yesterday? I mean, what the hell? Sammy: That was actually pretty cool. Emma: It was totally reckless. What, dad's some kind of action hero all of a sudden? It's dad. This... the whole weekend has been completely surreal. (man singing in arabic) Molly: Thank you. John: Thank you. Molly: You doing all right? Barry: Yeah. Jamal: Bassam. Barry: I'll be right back. Yeah? Jamal: Tell my wife I can't read this shit. Leila: You approved it. Jamal: I was medicated. This is no eulogy for a son to say over his father. These are empty words written by a flunky. Leila: These people... the entire nation... are expecting their new president to pay tribute. Barry: Let me talk to my brother. Leila: No, there is no other speech, Bassam. (Barry clears throat) Jamal: See? It's bullshit. Barry: You in pain? How much, out of ten? Jamal: Eleven. Barry: Did you take anything? Jamal: I'm eulogizing our father, Bassam. I need my wits. (singing ends) Jamal: What do you think I should say, Bassam? Barry: Forget the speech. Jamal: And say what? Barry: Hey, just tell them the truth. (Jamal exhales) Leila: Why do you have the speech? Barry: It's okay. ♪ ♪ Jamal: My family, fellow countrymen, and visiting friends. I am here... It... It wasn't always easy being my father's son. In fact, it was never easy. My father was a hard man to please. Stubborn. Demanding. But only a hard, stubborn, demanding man could have healed the deep wounds inflicted by generations of civil strife and forged a lasting peace. Only a hard, stubborn, demanding man could have summoned the strength to unite this great nation and lead it into the community of nations. Today I stand before you to remember not just the ruler, but the man. Not just the father who raised this great nation, but my father, who raised me and my brother. Who taught us that without family, we have nothing. Without family, we are nothing. Molly: You okay? (phone vibrates) Jamal: Hello. Barry: Jamal, it's, uh, it's me, Bassam. So, um... What would you think if I hung around for a while? Jamal: Oh, Bassam. Barry: Is that the vicodin talking or is that a yes? Jamal: That is a yes, yes. Thank you, little brother.

{"type": "series", "show": "Tyrant", "episode": "01x02 - State of Emergency"}

foreverdreaming

Previously on Tyrant... Barry: I'm an Al Fayeed. That means I'm a powerful man here. Molly: Are you saying you want to stay? Barry: Jamal, it's, uh, it's me, Bassam. What would you think if I hung around for a while? Jamal: Yes. I would like to make Bassam special counsel to the president. Sammy: My name's Sammy, by the way. Abdul: Abdul. Sammy: And I thought maybe we could hang out? Abdul: I'd be disappointed if we didn't. Nusrat: Ahmed. Stop. Please. Fauzi: What the hell were you doing with those men? Ihab Rashid? Samira: I was trying to make a difference. Something you wouldn't understand. Tariq: We have captured Ihab Rashid and ten of his followers. Fauzi: Well, I'm not sure if it matters to you, but you're about to execute the wrong man. Jamal: What would you have me do? Open the jails and set everyone free? Barry: Yeah. Let's start with that. (panting) (pop song playing faintly) (panting) (song playing faintly) (keys jingle) (door opens) (panting) ♪ ♪ ♪ it's my own desire ♪ ♪ it's my own remorse ♪ ♪ help me to decide ♪ ♪ help me make the most of freedom and of pleasure ♪ ♪ nothing ever lasts forever ♪ ♪ everybody wants to rule the world ♪ ♪ there's a room where the lights... ♪ (music stops) (panting) (call to prayer playing) ♪ ♪ Kazim: Allahu akbar. (whispering) Allahu akbar. ♪ ♪ Leila: It might work. Jamal: Don't talk about it. Leila: The doctor suggested... Jamal: That's talking about it. Leila: We could try again, that's all. Jamal: If we try and I fail, I will feel worse. Change the subject. Molly: You were up early. Barry: Yeah, I couldn't sleep. It's, um... it's the 23rd. Molly: I know. Barry: One anniversary that I'd like to forget. Nimaat: I saw you praying. Kazim: Is that a problem? Nimaat: Oh, not as long as you're praying for a job. Salim: I'm tired of just bread. Nimaat: Bread is what we have. Where are you going? Kazim: To see a man. Nimaat: About a job? Kazim: Yes. Soon, you will have more than bread for breakfast. You will have all the fruit... and cheese... and eggs you can eat. I promise. Good-bye, my love. Nimaat: Return with work. You'll have kisses then. Nasreen: Bye, papa. Nimaat: Eat. Molly: Plus, honey, it happened 20 years ago. Sammy: What happened? Molly: Uh... your father wants Uncle Jamal to acknowledge the anniversary of the gas att*ck in Ma'an. Emma: Yeah, that's the least you can do, considering 20,000 people were k*lled. Sammy: Yeah. Who were trying to k*ll us. Molly: Acknowledging the past is one thing, but why invite the comparison between your father and Jamal? Barry: Well, that's the point. As an Al Fayeed and as president... Emma: Unelected. Barry: He can't avoid the comparison, sitting in that chair. Emma: Don't you mean throne? Sammy: Geez, what's your problem with us being royalty? Barry: Sammy, this isn't a monarchy. You are not royalty. Emma: Right. We're just grandchildren of a w*r criminal. Molly: Emma! Emma: Reema, do people still talk about what happened in Ma'an? Reema: Not really. Sammy: Everyone knows what happened, right? Molly: Guys, don't put her on the spot. You're making her uncomfortable. I'm sorry, Reema. Man 1: We will eat when it's time for lunch. Man 2: But I am hungry. Man 1: Maybe next time your mother tells you to come for breakfast, you will come. Kazim (shouting): Never forget, Ma'an! Never forget the Al Fayeed's crime against humanity! Like father, like son! Never forget Ma'an! Never forget! Down with the tyrant! Like father, like son! Down with the tyrant! Never forget Ma'an! Never forget! (crowd murmuring) (women screaming) (people shouting) Man 1: Put that down. Put it down! Do you know what I went through to get you this job? You will lose it, or worse. That has nothing to do with us. Do your work. Do your work! (crowd shouting, screaming) (crowd chattering quietly) Woman: Thank you, sister. Ihab: Your husband was a great hero of the resistance. (Nimaat sobs) Nimaat: Don't speak as if you knew him! Ihab: You will have... glorious martyr's funeral. Nimaat: Please... just leave. Salim: I want to be great hero like my father. Nimaat: Leave here. Leave us be. Ihab: I do not pretend to have known Kazim very well. But I know how hard he worked to provide for his family. Until the Al Fayeeds replaced him with one of their cronies. But you will see, their time is coming to an end sooner than you think, and... Your husband... your husband's courageous act will be remembered as the first great act of defiance in our liberation. Peace be on you and your children. (door opens) (door closes) (Nimaat crying softly) (crying continues) Ihab (recorded): But you will see, their time is coming to an end sooner than you think, and... Jamal: So Ihab Rashid is behind all this. Tariq: A man I had in custody. Barry: For something he hadn't done. Tariq: Immaterial. He's an enemy of the state. Condemned by his own words. Mr. President, it's clear to me that we need to clear the square. Barry: It's a peaceful protest. Ziad: It is an unlawful gathering. Barry: Is there such a thing here as a lawful gathering? Tariq: Your brother is now a constitutional advisor? Jamal: Let him speak. Tariq: He has nothing to say. Jamal: General. Barry: Peaceful demonstration is a basic human right. I'm just trying to imagine what storm troopers hauling away nonviolent protestors is gonna look like when it goes viral on youtube. Jamal: Bassam, what do you suggest I do? Barry: Go down to the square. Make a statement acknowledging our father's regrettable act. Tariq: Regretted by who? Barry: It was a w*r crime. Tariq: I don't recall seeing Harry Truman in irons after Hiroshima and Nagasaki. Ziad: This, uh, so-called, uh, Ma'an m*ssacre brought peace after four years of civil w*r. Tariq: I was proud to carry out your father's order and would again without hesitation. Protests like these need to be strangled in their crib. Barry: Ihab Rashid is trying to claim the moral high ground by tying you to our father's crime, but don't let him. Go to the square and show the people that you respect their rights, that you'll rule differently... That's what this is really about. Jamal: Colonel, secure a place for me in the square to address the people. Tariq: Mr. President... Jamal: My brother is right. I am the true voice of Abbudin, not this t*rror1st pretender Ihab Rashid. Our people will thrill to their president's words. (line ringing) Abdul (recorded): This is Abdul Naqvi. Leave your name and number and I'll call you back. (beep) Sammy: Hey, Abdul, it's, uh, Sammy. Did, um... did I miss something? How-how come you're not calling me back? Ahmed: Cousin. Sammy: Hey. Ahmed: This is my trainer Anna. Sammy: Hi. Ahmed: Grandfather brought her over from east germany, back when there was an East Germany. She took bronze in the decathlon in the '88 olympics. Sammy: Impressive. Congratulations. Ahmed: I'm the one who deserves a medal. Dropping 20 pounds for my wedding. Go on, Anna. I'll meet you in the gym. So, cousin, Nusrat's been a little, um, under the weather. I've been trying to cheer her up. Anyway, I told her I wanted to take her to the club tonight with some friends. She didn't want to go. But I told her that you and Emma were coming. (both chuckle) Sammy: Um... I'll ask Emma, but I'm not really up for going out tonight. Ahmed: Trust me, you'll want to be there. The Nasr twins are flying in from Kuwait. Sammy: The, um, Nasr twins? Ahmed: Sabina and Nashina. (exhales) I made out with one once, but, uh, I never knew which. (Sammy chuckles) With them, every day is spring break. You and Abdul can each have one. Sammy: Abdul's going? Ahmed: Abdul goes where I go. Come. Bring Emma. We will show you how we party in Abbudin. (crowd chanting in Arabic) Fauzi: I've been worried sick trying to find you. You don't answer my calls, not my e-mails. Where have you been? Samira: Where I belong. Fauzi: Samira, you belong home and safe with me. Samira: So I can serve tea? While you write blog posts that no one reads? I'm done wishing for change. I'm making it happen. Fauzi: They put you in prison once already because of your association with Ihab Rashid. Samira: And I'll go back again, if that's what it takes to win our freedom. Fauzi: How can you say that? You know what they're capable of, what they did to me. Samira: Why do you think they tolerate you now? Because you don't thr*at them. Not like this. Fauzi: Samira, come home with me. Come-come... please. Samira: No. Fauzi: I'm asking you to come home with me. Samira: No, I'm not... Fauzi: Samira, I'm begging you. Man: Hey. Hey. Leave the sister be. Fauzi: I'm her father. Man: Then you should be happy. She has found the righteous path. Samira: It's okay. We are okay. Fauzi: "Righteous path"? They just want you to trade one form of subjugation for another. Samira: I'm not naive, father. I know that Ihab's way isn't perfect, but he says the brotherhood will change once they're in power. Fauzi: And you believe him? Samira: I'm willing to give him a chance. And I wish you'd give me a chance. Stay with me. (crowd chanting over TV) Reporter: From students to islamists to members of the labor party, the protestors represent many different constituencies, but all are united in their frustration at the dynastic succession that has installed Jamal Al Fayeed, the son of the so-called butcher of Abbudin, as president. (door opens) (turns off TV) Molly: Hey, Reema, uh, what are they saying about Jamal? Reema: Please don't tell them. I swear, I won't do it again. Molly: It's okay, Reema. You can have the TV on. Reema: It's not permitted. Molly: Honestly, I don't mind. Reema: It's against the law. Molly: Against the law? Reema: We can only watch what they allow us to watch. Molly: They can't arrest you for watching the news. So this morning when you said no one talks about Ma'an, it's not because they've forgotten. It's because they're afraid to say anything. Reema: Please, ma'am, I already say too much. Jamal: "This day is a chance for me to ask the people's forgiveness" "for a dark moment in our nation's history..." Leila: Why would you apologize for something your father did when you weren't even old enough to grow a beard? Jamal: Because my brother the diplomat thinks it is what the people want to hear. Barry: The reason people are following Ihab Rashid is because he's given them a voice. How else can we expect them to follow you? Leila: Your tongue is your horse. If you let it loose, it will betray you. Ihab: And that is what the Al Fayeeds want you to think. But we... we think for ourselves, and all we have to do is look and we see the security forces making it safe for Jamal Al Fayeed coming to greet you like a pharaoh. Me? I'm here as a man and a servant of Allah. Did anyone appoint me? Crowd: No! Ihab: No! Did I take this country of my birth, of my father's birth, by bloody hand? Crowd: No! Ihab: No! Who here lost someone 20 years ago in Ma'an? (crowd murmuring) I, too, lost someone. My mother. I saw the blood spill from her eyes, from her mouth. My father exiled, his scarred lungs the only reminder of... of his home. Now these Al Fayeeds, they want to give us platitudes instead of work! Instead of food! Men and women of Abbudin, we have asked for so little, and that is exactly is what we have gotten, but, inshallah, today, we are no longer asking. No, no, no, my brothers and sisters. Today we're here to tell the Al Fayeeds that their day is done! Crowd (chanting): The day is done! Their day is done! Their day is done! Their day is done! (chanting continues) Man 1: Over there! Man 2: It's the Al Fayeeds! (crowd cheering) Man: The Al Fayeeds! (chanting continues, shouting) Man: Hey! Hey! Jamal: Run them down! (horn honking) Run them down! Leila: Go! (engine revving) Go! (horn honking) (banging on car) Jamal: Tomorrow, there will be only pigeons in the square. Crowd (chanting): Their day is done! Their day is done! (dance music playing) Ahmed: Yeah. Ahmed: Yes! Guard: Good to see you, as always, Ahmed. Yeah, my man. Ahmed: There they are. Nashina, Sabina. Meet my American cousins, Sammy and Emma. Hey, darling. Ah, you look gorgeous. Nashina: You were right. Your cousin is so cute. Nusrat: Yeah, yeah, I told you. Ahmed: Allison, my favorite waitress. Allison: My favorite prince. Ahmed: Mmm. Why bother with the glass when it already comes in a bottle? Sammy: I left you, like, a dozen messages. Abdul: Yes, you should stop doing that. Sammy: What the hell? You're just gonna blow me and then blow me off? Abdul: We hooked up. It was one night. You don't do that in America? Sammy: Okay, that's not what it was. I know the difference... Abdul: Hey. Ahmed: Ah. Come, let's sit. Woman (over computer): h*t it harder. (Jamal coughs) That's good, baby. (Jamal sighs) (woman moans) (Jamal sighs) Oh, yeah. Come on, big boy. Jamal: Come on. (panting) Man (over computer): Oh, yeah. Leila: Jamal? (clicks computer off) Jamal: What? What?! I'm... about to shower. Leila: John Tucker is on the way over here. I picked up a suit for you. Jamal: Why is Tucker coming? Leila: Because I asked him to. Tomorrow, after you clear the square, you will need the Americans. (Jamal sniffles) Jamal: Need the Americans. Need them for what? Leila: Political cover from the U.N. and the E.U. and all those absurd human rights watch dogs who love to bark. Jamal: You really think the Americans will stand with us? Leila: If they want to keep their base on our lands, they'd better. Jamal: Clearing the square. It all sounds so antiseptic. People will die. Leila: And those who don't will understand how strong you are, and they will teach that lesson when they return to their homes. Now put your suit on. (lively music playing) Barry (over phone): Fauzi? It's Bassam. Fauzi: Bassam? Barry: Listen, I need to talk to you. Fauzi: It's-it's... it's really hard to hear. Arry: I said, I need to talk to you. Fauzi: Oh, I'm-I'm listening. Barry: No, not on the phone, and, uh, it's probably not a good idea for me to come to the plaza. Fauzi: There is a cafe nearby called Yahala. Barry: Okay. I'll be there in an hour. (crowd chanting, clapping) (lively music continues) (dance music playing) Nashina: You're good. Sammy: What? Nashina: You dance better than most guys. You have a girlfriend back home? Sammy: Ah... no. Ahmed: The Porsch91 is quick, but the McLaren is insane. I bought two. Emma: Why do you need two? Ahmed: Why do I need one? Because I can. You have a problem with that? Nusrat: Ahmed. Ahmed: What? Nusrat: Don't be rude to her. Ahmed: I'm asking her a question. Emma: People could just take it the wrong way. Ahmed: What people? Emma: I don't know. People that are hungry, people in the plaza. In case you haven't noticed, it's all over facebook, snapchat, twitter. Ahmed: What do I care about those people? They don't even know what a McLaren is. Emma: A man who hasn't worked in almost a year lights himself on f*re, and you're laughing about it? Ahmed: Lighten up, little cousin. You're not being very fun right now. I want to dance. What do you think, baby? You want to dance? Nusrat: Uh, no, I don't think so. Ahmed: Yeah, you do. Come on. Nusrat: Uh, I'm going to go for a cigarette with Emma. Emma: It's okay. I don't smoke. Nusrat: You can start tonight. Come on. (Ahmed sighs) Ahmed: What are you looking at? Abdul: Nothing. Ahmed: Get me another one. Abdul: Why don't you take a break? Ahmed: Why don't you get me another one? (Jamal sighs) (door opens) John: Mr. President. Jamal: Mr. Special envoy. Thank you for coming at such a late hour. John: I heard about your, uh, aborted trip to the plaza. That sounds... harrowing. Jamal: We are sending in forces at dawn to restore order. The U.S., of course, will issue a statement condemning our excessive use of force. John: How excessive? Jamal: Well... It will be what it will be. John: Oh? Jamal: Now, despite Washington's pro forma protest, I assume we'll have no real problem? John: Up to a point. Jamal: Up to a point? What is your over and under? 50 d*ad? 500? John: The wrong one could be problematic. sh**t an attractive college coed in the head, all bets are off. Jamal: Mm. This coed against your key regional naval base? Thank you for your time. John: Thank you, Mr. President. Now, one thing you might want to bear in mind. Uh, our naval base lease is with your nation, not your family personally, right? We keep Guantanamo, but Castro hates our guts. Jamal: Meaning what? John: Meaning, like all things, patience is finite. (dance music playing) Ahmed: It's not just your sister. All you Americans think everyone has the right to everything whenever they want. Am I right? But look around. There's only so much room in the VIP section. Shit! What are you doing, walking into me like that? Abdul: I'll get some napkins. I'm sorry. Ahmed: Napkins? I'm drenched in cristal up to my ass. Abdul: I'll take care of it, okay? Sammy: Cousin, cousin, it was an accident, all right? Ahmed: No. Accidents are unexpected. This assh*le told me I've had enough, and then sprays shit everywhere. Abdul: Ahmed. Sammy: Dude, come on! Ahmed: Take off your pants. Abdul: What? Ahmed: No, no, no, no, I'm not walking out of here looking like I pissed myself 'cause he can't hold his champagne. Sammy: Ahmed, Ahmed, you're shitfaced, and you need to back off. Abdul didn't do anything, all right? Abdul: It's my fault, okay? Your cousin is right. Ahmed: I'm out of here. Where the hell is my wife? Molly: (sighs) I'm a little worried about the kids. They're still out. Barry: I didn't want them to go either, but we can't keep them locked up in the palace. Molly: Where are you going? Barry: Fauzi's blogging from the square. He's with his daughter. I need to get down there and, uh, warn them before... Molly: Before what? Barry: Jamal's authorized Tariq to go in tomorrow morning. He's sending in his storm troopers. Molly: Barry? It's not safe for you to be there, especially after what happened today. Barry: It's not safe for anyone there, okay? There's no such thing as safety. If I didn't know it yesterday, I know it today. Molly: Hey, I'm not the enemy, okay? I'm on your side. Barry: Well, don't be, okay? 'Cause my side doesn't have a clue what it's supposed to be doing. I let the guy out. I pushed Jamal to release him, because I thought... I don't know what I thought. I-I didn't want my brother to be like my father, so... so let's not make the same mistake as our parents. Let's make a partner out of Ihab Rashid. Let's make peace. What's happening in the plaza tomorrow... that's my doing. I made that possible. Molly: Really? Okay. Reema, my maid... shy little Reema... You know why she's so quiet? She told me today. Because she and everyone else in this country have been living in fear for 20 years. Afraid to... to think, to read, to speak. And now they've had enough. You didn't make Ihab Rashid. Your father did. You let him out of jail because turning him into a martyr for a crime he didn't commit would have made things worse. Barry: I don't know. Ihab's just as ruthless as Tariq is. Molly: Is that really a surprise? I-I don't think you can subjugate a people for 20 years and expect Nelson Mandela to walk out of prison every time. Barry, it took almost a century to make peace in Northern Ireland. No one's done it yet in Kashmir or Israel. What do you think you're gonna do, show up like some kind of movie hero and wrap things up in a long weekend? Everyone here is scared. Everyone is broken. If you can get any one of them to come even an inch closer to trust, that's a win. Are you gonna be okay? Barry: Yeah. Yeah. (phone chimes) Sammy: I'm still hungry. Gonna see if can get something. Emma: Okay. (Sammy exhales) Abdul: Listen... I'm sorry. Sammy: What the hell's wrong with you? I don't understand anything that you're doing. Abdul: Look, my grandfather was not head of security, neither is my father. He's a security guard. Nobody. Sammy: Okay. I don't give a shit. Abdul: Because you are not me. I get invited here... and to the parties and the VIP rooms... Because people like the way I look. The way I talk, the way I dress up. But if Ahmed or anyone would find out, doors would close like that. I'm here at their pleasure. That's why Ahmed can treat me however he wants. And why... you and I... Sammy: You're afraid. Abdul: I'm not afraid. I'm ambitious. Rules don't apply to your family. If you get caught, you can always go home. Me, I have nowhere else to go. Sammy: So why didn't you just ignore me when I met you? What was the point? Why did you and I... Abdul: Because you were only visiting, and I took the chance. I'm sorry you got hurt. Barry: I ordered you espresso. Fauzi: So what's so important you couldn't tell me over the phone? Barry: I didn't want them to hear. Fauzi: Who? Barry: Tariq, Ziad, whoever it is I'm sure is listening to my phone calls. They're sending forces in at dawn, with orders to clear the plaza. Fauzi: And? Barry: You and Samira shouldn't be there. Fauzi: You came all the way here to tell me what people have been expecting since this all began? (Barry scoffs) Barry: You're not hearing me I'm commiting a possibly treasonous breach of security to warn my friend to get out of harm's way. People are gonna die tomorrow. Fauzi: Go to hell, Bassam. (Barry scoffs) Barry: Where's that coming from? Fauzi: You're telling me to leave the plaza when that's where you should be. Barry: Yeah, I tried. Your freedom lovers tried to lynch me. Fauzi: You-you came there in a government limo... flanked by palace security, instead of walking in as a citizen of Abbudin. As a man. Barry: To do what? Tell me... what-what is it you want me to do? Fauzi: I want you to get your hands dirty. To go against your family. Barry: Oh, and-and get behind Ihab? 'Cause I'm pretty sure he's not the answer. Fauzi: Bassam, I have no illusions about Ihab. One thing he does understand, though, is that the people are done being told how to live their lives. My daughter, all she really wants !sis the freedom to speak her mind, to read what she wants to read. All she wants is to have a say in her own future... to be heard, to be listened to. Barry: She's risking her life. Fauzi: Well, she's willing to take that chance. Barry: And you're okay with that? Fauzi: Whatever happens, Bassam, I will be standing next to her. Barry: Fauzi. Wait. (knocking) Molly: How was the club? Glad you're home. Emma: Me, too. Molly: Did something happen? Emma: No. Molly: That doesn't sound very convincing. Tell me what happened. Emma: It's nothing. Molly: Baby... tell me. Emma: Mom, I just want to go home. Molly: Sweetheart, it's okay. Emma: No, it's not. There's something seriously, seriously wrong with this place. Molly: Come here, come here. Tariq (over phone): We'll be ready to move at dawn. Jamal: The initial stage? Tariq: The usual. Tear gas, rubber b*ll*ts, water cannons. Jamal: And if that proves insufficient? Tariq: Live amm*nit*on. Jamal: A bloodbath. Tariq: It usually doesn't take that many corpses to discourage idealists. (iPad chimes) There would have been less blood if we had done this when I first suggested. Mr. President? Jamal: General, I need to call you back. Tariq: Mr. President. Jamal: Why did you send me this? Barry: To show you your future. 'Cause you're gonna get what Qaddafi got if you send Tariq into the square. Jamal: And you know before these animals put a b*llet in Qaddafi's brain, they sodomized him with a bayonet. I will k*ll 50, 100,000 before I let them do that to me. Barry: You know why that happened to him and not our father? Because 20 years later, the world won't look the other way anymore. Your friends, the Americans, won't. Qaddafi was on his way to commit mass slaughter in Benghazi when NATO intervened. Look, even if Tariq clears the plaza today, twice as many people will come back, and they will keep coming back until they're outside the palace. Maybe not tomorrow or next week, but it will happen. And sooner than you think. So, I'm not saying don't use v*olence because it's wrong, I'm saying don't use v*olence because it doesn't work. Jamal: Tell me what will work, not what won't. Barry: I asked Fauzi Nidal to set up a meeting with Ihab Rashid. Jamal: The man who would have all our heads? Barry: He's willing to meet me. Let me go and see him and find out what he wants. Maybe it's things we can agree to... a new constitution or a more transparent economy... things that maybe aren't worth massacring people over. The people are willing to die to be heard, so unless you're prepared to k*ll every last one of them... This is the only way. You can go down in history as one more brutal dictator. Or you can be remembered as the leader who had the courage to listen to his people. Who do you want to be?

{"type": "series", "show": "Tyrant", "episode": "01x04 - Sins of the Father"}

foreverdreaming

Previously on Tyrant... Ihab: This act will be remembered as the first great act of defiance. (crowd chanting) Jamal: Ihab Rashid is behind all this. Samira: I'm done wishing for change. I am making it happen. Jamal: The wedding night is very special. It's important to be pure. Molly: It's not safe for you to be there. Barry: It's not safe for anyone there. (thumping) Jamal: Run them down! Leila: Go! Jamal: Tomorrow, there will be only pigeons in the square. Barry: What is it you want me to do? Fauzi: I want you to get your hands dirty, to go against your family. Barry: I asked Fauzi Nidal to set up a meeting with Ihab Rashid. Jamal: The man who would have all our heads? Barry: You can go down in history as one more brutal dictator, or you can be remembered as the leader who had the courage to listen to his people. Who do you want to be? Ihab: Jamal has asked me to gather you, the leaders of the various factions who fill the Plaza, to meet with his American brother. This is the second time the Palace has come to me. The agitation in the Plaza, the galvanizing of the people, ooh, has them running scared. It's poker. Right now we have the winning hand. Why negotiate? Hmm? Nobody negotiated with Mubarak. No, no, no, no, no, no. When this Amriki walks in, I'm going to tell him exactly what it will take for us to clear the Plaza: his brother's resignation. Jamal Al Fayeed... he can, uh, take his blood money, go to... go to Paris. (laughter) Or go to London. Spend the rest of his days writing his memoirs. Farah: But what if he's actually willing to offer us something? Ihab: No. His father betrayed my father. I'm not about to let him do the same thing to me. The only offer we will take is for Jamal Al Fayeed to leave Abbudin. Fauzi: You sure about this? Barry: I'm sure of one thing. A narcissist with a messiah complex is not about to negotiate with me. Look, I'm betting Ihab told everyone in earshot that an Al Fayeed asked to sit down with him. He said yes so quickly, 'cause he wants to tell me where to go in front of an audience, but now he's gonna have to explain why he's sitting at the table alone. For my plan to work, I have to take him down a notch. Make the call. Samira: Father, where are you? Everyone's here, and they're... Okay. Okay. It's my father. Ihab: You are late. What do you mean you are not coming?! That is bullshit! (chuckles) (engine stops) (Barry sighs) Barry: Thank you, my friend. Fauzi: You know, I'm worried for you, Bassam. Barry: (chuckles) Been a while since anyone called me that. Fauzi: You know this game you're playing, it's a dangerous game. Barry: I don't see another option. I have to clear the Plaza before Tariq does. John: The garage meet. Classic. This is insane. Why set a meet with Ihab so you can stand him up? Barry: Ihab's having his moment. He was never gonna bargain. So I had to take the wind out of his sails. Ihab's a boy. I want to see his father, the man who almost made peace with my father. I was here, Tucker, okay? I saw it. The people adored him. I need an hour with Sheik Rashid. John: So, you want to use Sheik Rashid to do an end run around Ihab? I mean, what... what happened to the nice family doctor from Pasadena? Barry: Don't screw me around, John. The U.S. brokered Sheik Rashid's asylum 20 years ago. I need to talk to him, and you know where he is. John: Does your brother even know you're here? Barry: I didn't say anything, because he'd never give me this much rope. John: Well, if you want to hang yourself with it, be my guest. Don't expect me to build the gallows. Barry: Tucker, I'm just trying to keep America's ass from landing on the wrong side of history. John: Uh-huh. Which doesn't involve turning you into another Daniel Pearl. My job is to protect American citizens, not serve them up. You end up d*ad in the desert in a trail that leads back to the U.S. Embassy... Barry: What do you want? In return, what do you want? An inside seat? A heads up on what's happening as it happens? (John sighs) John: Are you offering to spy on your brother? Barry: I have 24 hours. You have less. Tariq: I need to speak to the president. Secretary: Uh... But he-he isn't... Shall I leave him a, um, message? Leila: Who drowned your puppy? Tariq: Have you seen your husband? Leila: I'm not his keeper. Tariq: At least tell me why he ordered me to stand down. I was about to send two brigades to the Plaza, and all of a sudden, he changes his mind with no explanation. He won't take my calls. He's cancelled his meetings for the day. Leila: The president isn't required to consult with his wife on every decision he makes. Tariq: But as his wife, you should know. If Jamal isn't prepared to defend the regime, there are others who will. Leila: I hope, for your sake, you're not thr*at my husband. Tariq: On the contrary, I'm trying to protect him. (crowd clamoring over video) (rapid g*n over video) Ihab: Now these Al Fayeeds, they want to give us platitudes. Leila: He's a parrot. His mouth moves, but other people's words come out. La Boétie, Guevara and his father, the Sheik. Ihab: As men and women of... Leila: But you, you are in the position to make your own history. Jamal: Start with a compliment, end with an ask. What do you want? Leila: Yesterday in the Plaza, they nearly k*lled you. Jamal: You exaggerate. Leila: No, I was there, Jamal. Three weeks, and the people are already questioning your leadership. Now is the time to be firm, to show them that you are in control. Why are you holding back Tariq? Jamal: Why? For you. Leila: For me? Jamal: If I move against the Plaza, ten times as many will rise up against me, against my family. This is certain, Leila. So what do I do? I wait until tomorrow. Maybe these clouds will bring a storm. Or maybe something will happen to clear them. Leila: Is this you talking? Or is it Bassam? Maybe Ihab is not the only parrot in this country. Jamal: Don't make the mistake of getting between me and my brother. Molly: Reema, what are you doing? Reema: I was just straightening up. Molly: Hold on. Let me see what's in your pocket. Reema: I'll be in the servants' quarters until the police arrive. Molly: Just wait. First tell me why you need Vicodin. Reema: Not me. My brother Salam. Molly: What's wrong with him? Reema... Reema: He broke his arm. He was fixing the roof and he fell. Molly: Well, if his arm is broken, he needs a doctor to set it. You have to take him to the hospital. Reema: No hospital. Molly: Why not? Reema: Please, ma'am. Molly: Okay, tell you what... You take me to see your brother, and this stays between us. Reema: You will tell no one? Molly: No. Ahmed: Where's the f*re? Nusrat: You smell like tequila. I have to help your grandma with seating arrangements, okay? Ahmed: Baby, it's been a month and we still haven't... I didn't get married to take care of my own needs! (door slams) Jamal: Mother, this is really beautiful. Amira: Not nearly as beautiful as your daughter-in-law. Jamal: Yes, Ahmed is a lucky man. Is this my grandson I feel in there? Bassam is waiting for me. Amira: Your father would be so happy to see his two sons working together like this. Jamal: He would have been. Amira: Are you all right, Nusrat? The ambassador is deaf in his left ear, so I'm going to put you on his right side. Jamal: So... when am I sitting down with this assh*le? Barry: I'm still working out the details. Jamal: What details? He shows up when and where we say! Barry: Yeah, it's not... it's not quite as simple as that. Jamal: It is simple. Who's the president, me or him? (groans) What aren't you telling me? Barry: Nothing. He's just, uh... the guy's playing hard to get. Jamal: Hard to get? Maybe he will play nicer with electrodes on his balls. Barry: Can you please just give me a little more time? Jamal: How much time do you think I have? I've already got Leila crawling up my ass. While you are out buying flowers for this shitball, I'm starting to look like some p*ssy who can't pull the trigger. Barry: Jamal, I'm working on it. Jamal: Working on it? Well, stop working on it and get it done. (crowd clamoring) Ihab: Abbudin! Crowd: Abbudin! Ihab: He humiliated me. Mohammed: Relax, relax. Ihab: No, no, no, no, no! I'm not going to relax. He can't do this. It makes me look like a fool. That was the point, wasn't it? Mohammed: Take the mic, paint him as the liar he is! Ihab: Oh, and look like a child who dropped his ice cream, huh? No, no, no, no, no, no, no. What is the game he's playing? Samira: Same game as you are. You were only there to tell him off to his face. Ihab: You... you knew all along Bassam was going to blow me off. Samira: What?! No! No! Ihab: You set the location, set the time. Samira: Ihab, stop! You're letting your anger get the best of you at a time when the people need your leadership. People are trusting you with their lives. People I know! My friends! Ihab: You don't think I know that, little girl? Hmm? I am not here by accident. Crowd (chanting): Free Abbudin! Free Abbudin! Free Abbudin! Free Abbudin! Ihab: Abbudin! Barry: Jamal's given me 24 hours to see if I can clear the Plaza peacefully. Molly: What are you gonna do? Barry: Tucker is reaching out to Ihab's father, the Sheik, to try and arrange a meeting. Before my father launched the att*ck on Ma'an, he and the Sheik sat down for peace talks. Rashid was prepared to negotiate a peaceful solution. Molly: Yeah, and then he b*mb the Palace. Barry: An army barracks. And it was his followers, not him. Look, 20 years ago, Rashid was prepared to negotiate with my father. Despite what happened, me sitting down with him now is the only hope we have to stop this bl*wing up in our faces. Molly: Who's going with you? Barry: I don't know all the details yet, okay? Tucker's gonna call me back. Until then, I'm going to go for a run, okay? Molly: So it's a su1c1de mission. Barry: That's bl*wing it out of proportion. And Molly, really, I don't have another choice here. Molly: Of course you have another choice. You also have two kids and a wife. I mean... you're gonna get yourself k*lled, Barry. Barry: Honey, we're not at home listening to this on NPR, we're in it. And I can do something my father couldn't... I can end this peacefully. Molly: That's Jamal's job, not yours. Why are you putting your life on this line for this? Barry: 'Cause my name's not Smith or Jones! (Molly scoffs) Molly: If I didn't know you better, I'd say you were starting to get off on this. Ahmed: Hakim, I know Nusrat is here. Hakim: Now is not a good time. She's upset. Ahmed: Which is why she should be with her husband and not run to her parents like a child! We had a thing this morning, now she's not returning my calls. Hakim: I swear I'll talk sense into her. You have my word. Do have any idea what position you are putting our family in? Everything we have, it's all from Al Fayeeds! Nusrat: I want a divorce. Hakim: Don't be stupid. Why did you agree to marry Ahmed if you don't love him? Sofia: Tell him. Hakim: Tell me what? Tell me what? Nusrat: It's not Ahmed. It's Jamal. (phone vibrating) Barry: Yeah. John: Barry, it's Tucker. The person you wanted me to reach out to agreed to meet. Barry: Okay. I'll go back and tell Molly... John: You can call Molly from the road. I'm about to jump in the car. Meet me outside the gate. Barry: I'm on my way. All right, guys, that's it for the day. John: Thank you for arranging this meeting with your father. Namir Rashid... Bassam Al Fayeed. Namir: Okay, come with me. Oh, no, no... you stay here. John: No, no, no, no, that wasn't the arrangement. Namir: I told my father we should k*ll him right here, but this is his wish. Turn around, Al Fayeed. Barry: It's okay. Namir: Do it. Ihab (recorded): When this, uh, Amriki walks in here, I'm going to tell him exactly what it will take for us to clear the Plaza: his brother's resignation. Tariq: Our security forces track Ihab Rashid's movements. Imagine their surprise and my embarrassment upon learning he was meeting with your brother. Jamal: Bassam is working for me. He is meeting Ihab Rashid on my orders. Tariq: Bassam's been nowhere near Ihab in the last 24 hours. Jamal: That is wrong. That is wrong! I spoke to Bassam right after their meeting. He looked me in the eyes and told me they are ironing out details. Tariq: Then he lied to you! He's had no contact with Ihab. As a matter of fact, Bassam ditched his security. He is nowhere to be found. Leila: This is why you refuse to clear the Plaza? Bassam... doesn't keep his promises. Jamal: How the hell would you know? Barry (recorded): Hi, you've reached Barry Al Fayeed. Please leave your name and... Tariq: Sir, at least allow me to move my forces into position. (Jamal sighs) Jamal: Fine. But they stand down until I give the order. (coughing) Sheik Rashid: My lungs... (clears throat) A souvenir of the day your father gassed Ma'an. You met my son, Namir. Barry: Yeah, he, uh... he drove me from the border. The hood kind of limited the conversation. Sheik Rashid: You understand our precautions. Barry: Yes. Sheik Rashid: I have always been curious about Khaled's American son. (g*n) Man: Death to the Al Fayeed! (grunts) Death to the Al Fayeed! Death to the Al Fayeeds! Sheik Rashid: I apologize for his actions, but his anger is understandable. His family was wiped out by yours. Bassam Al Fayeed, yesterday you were my enemy, but today you are my guest. Barry: Sheik Rashid, I need to talk to you about... Sheik Rashid: That's not the way it's done. First, we eat. Hakim: Mr. President, you are too kind, taking time away from important issues of state to deal with a personal matter. Leila: To what do we owe this pleasure? Hakim: Marriage... it's a complicated proposition, and Nusrat has always been... fragile. Overly emotional. My wife and I are to blame. We coddled her. Jamal: Cut to the chase. Hakim: We ask for nothing, just a quick and quiet dissolution of the marriage. Leila: Divorce? On what grounds? Tell me, Hakim. We have welcomed your daughter to this family as one of our own. Ahmed is my son. I demand to know what this is about. Hakim: Please, ma'am, are the details really important? (Jamal groans) Jamal: Will you wait for me outside? Hakim: Sure. (door closes) Jamal: I will fix this. Leila: You'd better. We can't afford another humiliation. Jamal: I said I will fix this. (g*n) Your turn. Hakim: I'm no match for you. Jamal (chuckles): Yeah. That's true. So, tell me, Hakim, what is this nonsense about a divorce? Your daughter has everything a woman could want. Why you don't talk sense to her? Hakim: Believe me, Mr. President, I have tried. Jamal: "Tried." Well, not hard enough. My father gave you the telecommunication franchise in this country. Now, your family has everything it has because my family gave it to you. Hakim: And I'm forever in your debt. Jamal: Then act like it. Hakim: Please, I beg you. There is no talking sense with a sleepwalker. She's in a doctor's care. He prescribes therapy, medication. My daughter is weak, and your son did his best. Jamal: "Did his best"? Are you saying this is Ahmed's fault? Hakim: No, of course not. Jamal: Then what are you saying? What reason did she give? (chuckles) Hakim: I swear, she will go to the grave with her secret. Jamal: Tell me what she told you. Hakim: Uh, it doesn't matter. Jamal: You know what, you are right. It doesn't matter. (muffled screaming) There will be no divorce, Hakim. (Hakim groaning) Your whore of a daughter is going to crawl back into my son's bed! She will bear him children. As many as he wants. Hakim: Mr. President, please! Please, sir! (g*n) (screaming) Molly: It's not just his arm. He fractured multiple ribs when he fell. His pulse is racing and weak. He's anxious. (sighs) Reema, with this kind of injury, he could be bleeding on the inside. It's okay, it's okay. We're gonna get you to a hospital. Reema: I said no hospital. Molly: He wasn't fixing a roof, was he? Reema: He was in the Plaza. When the president's motorcade came, people, they start pushing. He is innocent, but the camera, they saw him. If he seeks help now, they'll arrest him. Molly: He'll die if he doesn't. Reema: Better to die here than live through what they will do to him. His friends in the Plaza, they tagged a street sign with "free Abbudin" and were arrested. When their father went to the police, begged for his children, he was told to make new ones. Salam is my only family. Please, help us. Emt: What's his name? (indistinct radio transmission) Reema: Salam. Salam Halabi. Molly: Radial fracture, multiple broken ribs, suspected hemothorax from intercostal hemorrhaging. We need to throw in a chest tube. Emt: I'm sorry, but you can't take this man. He is wanted by the authorities. We have to alert the police... Molly: He'll die if you wait. Emt: Before we admit him to the hospital. Then he'll die. Molly: No, he won't. I won't let him. Emt: And who are you? Molly: Dr. Molly Al Fayeed. Emt: We were just following the law. A thousand pardons. Molly: You don't... you don't need to apologize to me. Just get him to the hospital. You know what, why don't I come with you and make sure no one else makes the same mistake. Namir: Bless Allah for protecting us and for all that we have. Sheik Rashid: Alhamdulillah. All: Alhamdulillah. Sheik Rashid: I see you are anxious to talk. Barry: Yes. Sheik Rashid: Walk with me. (Sheik Rashid coughs) You made a long trip to avoid the more obvious choice. Barry: Ihab doesn't want to talk. He wants his turn, and that's not going to happen. (Sheik Rashid laughs) Sheik Rashid: You must be worried. Otherwise, you are not here. Barry: I'm worried about the price we'll have to pay for either side to win. There's a book I-I read about apartheid in South Africa. A white man says about the blacks, "my greatest fear" "is that by the time we have come to love," "they will have come to hate." Sheik Rashid: Have you come to love? Barry: I've come to talk. You and I have more in common than anyone else in this. We're both exiled... for different reasons... by force or by choice. But we both have the advantage of an outsider's perspective. Sheik Rashid: You came back. Why? Barry: To try and keep my brother from making my father's mistakes. Finish with my brother what you started with my father. Negotiate a political solution. Sheik Rashid: This is a young man's fight. Barry: And I need an old man to be my partner. Someone who wants nothing for himself. Sheik Rashid: You think that's me? Barry: Well, I think we both have a second chance here to make this right. You and I both know history. If we don't try, then your son or my brother and so many people along with them will be consumed by this. Imprisoned, exiled... or d*ad within a year. Sheik Rashid: Death doesn't scare me... Bassam Al Fayeed. I've seen too much of it. (Sheik Rashid coughs) Barry: I don't believe you. w After 20 years, you're still alive. I'm a doctor. I believe that life itself is hope. And I think that you do, too. ♪ ♪ John: You didn't close the deal. Barry: Thought it was going in the right direction. He... just said he needed to sleep on it. But when he woke up... John: Well, you may have failed, but, uh, the reach... It was impressive. Get in. I'll take you back to the Palace. (crowd clamoring over video) (rapid g*n over video) Jamal: General... (sighs) Clear the Plaza. (crowd clamoring) (whistle bl*wing) Ihab: They're moving into the Plaza. Mohammed: After your speech, there's a van waiting for you. Samira: Ihab. So, when they start sh**ting, you won't be standing with the people? (whistle bl*wing) Crowd (chanting): Free Abbudin! Free Abbudin! (chanting, clamoring continues) (helicopter hovering overhead) Fauzi: Samira. Let's go before it's too late. Samira: I'm not leaving. Fauzi: You would die for him? Samira: Ihab may be trying to replace one tyranny with another. But the people... they won't let him. And I'm standing here with them. Fauzi: I'll stand with you. Leila: Thank you for coming. Sofia: How can you do this? You're feeding her to the wolves. Hakim: It's not like we have a choice. Sofia: She's our daughter. Amira: Hakim. What happened to you? Hakim: It's nothing. A hunting accident. Amira: And yet you're here. What one does for family. Nusrat. Leila: Beautiful as ever. It's all for you. Everything here... Is all for you. Ahmed: Nusrat. Nusrat: Everything's going to be okay. Ahmed: Come. Let's greet everyone. Nusrat: Okay. Leila: Enjoy the party. (Jamal sighs) Jamal: Look at the newlyweds. Leila: What a persuasive man. (both sighing) Barry: You were right. Why did I think I could come here and do something my father couldn't? Thank you... for putting your life on hold for me. Being here with me. Molly: I think I really needed to hear that. Crowd (chanting): Free Abbudin! Free Abbudin! Ihab: Raise your phones! Record this moment in history! As long as we have a camera, the revolution continues! (crowd cheering) And if... if we are the first martyrs to liberate Abbudin, then so be it! (crowd cheering) I stand with you, my brothers and sisters. Crowd (chanting): Free Abbudin! Ihab: I stand with you, united... united... unite... (crowd quiets) ♪ ♪ (applause) Sheik Rashid: Brothers... and sisters. 20 years in exile, but I have come home. (crowd cheering) Tariq: Your brother is back. Jamal: Excuse me. Liar. You told me you were going to meet Ihab Rashid. I trusted you. You are my blood, and you betrayed me. Molly: Jamal. Jamal: No, Molly. If your husband is a traitor, I need to know. Molly: He's not a traitor. Tariq: He deceived the president. thr*at our national security. John: Mr. President. General. Uh, you need to see something. Sheik Rashid: Willing to put aside the atrocities of the past, to join our cause. I demand to sit down with president Jamal Al Fayeed. (crowd cheering) Jamal: He demands? Sheik Rashid: Free Abbudin! Crowd: Free Abbudin! Free Abbudin! Free Abbudin! (chanting continues) Barry: This is it. You can finish something our father couldn't. Pardon the Sheik and sit down with him. Tariq: This is insane. Our soldiers are in place, awaiting your order. Barry: Then stand them down. Jamal, you can end this without f*ring a sh*t. This is what you wanted. Jamal: Is it? (breathes deeply) (chanting continues over TV) General, tell your men to stand down. Tariq: But, Mr. President...

{"type": "series", "show": "Tyrant", "episode": "01x05 - Hail Mary"}

foreverdreaming

Barry: I need an hour with Sheik Rashid. John: So, you want to use Sheik Rashid to do an end run around Ihab? Does your brother even know you're here? Sheik Rashid: You understand our precautions? Yesterday you were my enemy. But today you are my guest. Jamal: He is meeting Ihab Rashid on my orders. Tariq: Bassam's been nowhere near Ihab in the last 24 hours. Jamal: That is wrong. Leila: We could try again, that's all. Jamal: We try and I fail... I will feel worse. Change the subject. I trusted you; You are my blood and you betrayed me. John: Uh... you need to see something. (Smacks lips) Sheik Rashid: I demand to sit down with President Jamal Al Fayeed! Jamal: He demands? Barry: Jamal. You can end this... Without f*ring a sh*t. This is what you wanted. (Audience cheering over TV) Jamal: Is it? General, tell your men to stand down. Tariq: But, Mr. President? Jamal: You lied to me. Barry: Failed to inform you of my every move, yes. Jamal: No, you didn't fail to inform, you lied, and right now you are lying again to me. For God's sake, I'm your brother. Your blood. Barry: Jamal, can't we just talk about the result? It's the result that ultimately matters. Jamal: Why do you want to talk about the result? (Barry sighs) The result sickens me. You were supposed to offer one tribal monkey the opportunity to talk to me, and instead tribal monkey's father demands to talk to me. (Sighs) I'm not a fool. But you are making me look like a fool. Barry: You won't look like a fool. Yes, it-it would have been nice if things had happened the way we wanted, but the net-net is the same. The President of Abbudin is sitting down with the legendary patriarch of the opposition. Do you have any how huge that is? How great that is? Jamal: Yeah, for him. Commentator: Meanwhile, in the country of Abbudin... Citizens continue to overrun founder's Plaza with calls for everything from students' rights to the complete overthrow of the ruling Al Fayeed family. The elderly Sheik Rashid continues to attract enormous crowds. Today's estimates placed the number at upwards of 15,000. Up significantly from yesterday's 12,000. Barry: This makes no sense. We have a wonderfully elegant way out of this. Jamal: Yes. We simply bend over and try not to think about what is happening. Barry: You just offered the Sheik the same package you offered Ihab three days ago. Jamal, these are your deal points. Jamal: Why doesn't it rain? Anything, something to drive the people out of the Plaza. Barry: Hey, you know what? I'm gonna call Tariq. They have a mole in the Rashid camp; Maybe they can tell us what it is he's looking for. Jamal (Laughs): Yes, it's a good idea. Tariq only wants to be of help. He's a big fan of the Sheik. Barry (Laughs): Yeah. Yeah, you're right. Well, what about Ziad? Maybe if he got some presidential love, he'd be willing to play ball. My point is, I'm gonna try and have all of the deal points locked down before you even walk into the room, okay? So, just, just sit with him; that's all you have to do. In return, he'll tell everyone in the Plaza to go home, that they're part of the process now. And do you know who's gonna get the credit? You will, President Jamal Al Fayeed, for being willing to sit down with him and for being willing to listen. Jamal (Sighs): Bargaining with sheep herders. Barry: Look... I know it's hard, but sometimes you have to give something to get something, and I think what we get is huge. Please, just... Just sit with the man. (Jamal sighs) It'll be you, me and Yussef. We'll do it in the council chambers and I've told them they can bring two delegates if they want to. (Jamal grunts) Jamal: And... What if I don't like what he has to say? Barry: It's not an issue. If he asks for anything that you're not prepared to give, you just say, "let me take that under advisement." Jamal: Nice one. Let me... let me take that under advisement. Let me... let me... Let me take that under advisement. (Groans) (Laughs) Leila: If someone would have told me that the first visitor I'd be receiving in my capacity as first lady would be the sworn enemy of your father, I would have roared with laughter. (Jamal smacks lips) Jamal: The Sheik is going to clear the Plaza. Leila: He is going to clear the Plaza? It's not his Plaza, it's not his country. Why are you so frightened of him? Jamal: Frightened? Do I look like a frightened person? (Sighs): You are naive. You have some idea in your mind, that all a person has to do is mow down his enemies, that that is all there is to being a leader. Call your cousin in Egypt. It's not so simple anymore. Everybody has a camera, everybody's on YouTube. You just be sure... You just be sure... That you smile when he walks through the door. You are welcome. (Sighs) Molly: I'm proud of you, by the way. Barry: Proud of a grown doctor who can't tie his own tie? Molly (Laughs): Proud of you for getting people who thought they'd never be in the same country together, much less the same room... To talk about how they can move forward. Barry: Well, tell me that at the end of the day when it's actually happened. I keep feeling we're about an inch from this whole thing falling apart. (Sighs) (Sirens wailing) (Sheik Rashid coughs) (Sheik Rashid clears throat) Sheik Rashid: Are you certain you can do this? Everything that's happening here is ultimately for you. For your brothers. For your children. I'm an old man, I am not long for this world. I only ask you show the President the same respect he's showing us by inviting us here. Ihab: He didn't invite us. You demanded an audience, shamed him into it. Sheik Rashid: I took the same invitation he offered you and turned it into a demand. The point is, we are now facing our enemy across a table instead of a b*ttlefield. And the world thinks it was our doing. Now we must present ourselves accordingly. As statesmen, as civilized human beings. No b*mb, no f*re, just an eagerness to get things done. Can you help me? ♪ (Sheik Rashid coughing) Walid: Sheik. Come. (Cameras shuttering) Sheik Rashid: Walid. Walid: Yes, my brother. Sheik Rashid: I know you wanted to accompany me here today and now you have. The pictures have been taken. Now get back in the car and go home. Walid (Laughs): E-excuse me? I came here to assist you... In these negotiations. (Laughs): I've been working with the Al Fayeeds for over a decade now. I know how they think. Sheik Rashid: You've made yourself a friend to the very people who drove me from my home. Get back to the car and leave. (Car door closes) (Water fountain running) Yussef: Salaam alaikum. Sheik Rashid: Salaam alaikum. Yussef: Wa alaikum as-salaam. Barry: Sheik Rashid. Sheik Rashid: Bassam. Barry: My wife Molly. Molly: Hi. Sheik Rashid: How are you? Molly: Good. Leila: Welcome. Amira: Sheik. Salaam alaikum. Barry: All set? Jamal: I just heard Ihab is here. Barry: Yeah, he's part of the delegation. Apparently, it all happened at the last minute. Jamal: Here's hoping nothing else happens at the last minute. Tell me, Ziad is sure about these bargaining points? Barry: Well, I asked him about 100 times. Jamal: That Ihab so much as looks at me cross-eyed and I'll throw him back in the prison. Barry: What about the Sheik? He can't help but look at you cross-eyed. (Yussef and Barry chuckle) Guard: Mr. President. Secretary: Welcome, sir. Sheik Rashid: Mr. President. Jamal: Sheik Rashid. Please. (Sheik Rashid coughing) (Gagging) (Choking) Namir: Excuse me, have you a toilet? His mouth's full of phlegm. Barry: Yeah, of course. (Sheik Rashid retching) (Violently coughing) (Groaning) Jamal (Sighs): Well, gentlemen, this is a meeting decades in the making. Where should we start? Taxation? Representation on the council? Perhaps it's even time to rethink the nationalization of some of Ma'an's natural resources. Sheik Rashid: You are very generous, President. And very astute. I know you very much want the founder's Plaza returned to normal. People back in their homes. Businesses able to receive customers. I believe I can make all that happen. There is really just one thing I want in return. Jamal: Tell me what is on your mind. Sheik Rashid: I would like to ask, now that your father has passed, that you allow there to be open and free elections for the office of President of Abbudin, monitored by the u.N., open to any candidate, no matter their political or religious affiliation. Jamal: Let me take that... Under advisement. Sheik Rashid: Very well. Barry: Sheik Rashid, can we now rely upon you to clear the founder's Plaza? Sheik Rashid: Let me take that... under advisement. (Sheik Rashid clears throat softly) Nothing to fear... just gravity. (Door closes) Jamal: He wants elections?! Is he out of his mind? I'm not begging the people for my right to lead them. These talks were a horrible idea. Barry: The talks were not a horrible idea. Yes, he outmaneuvered us... Jamal: Yes, I would say so. (Crickets chirping) So, what do we do, Mr. advisory? What do we do, brother? It turns out he wants to be George Washington. Tariq: Typically with a crowd of this size, I believe the estimate for today is almost 20,000. The people will see your heavy armor approaching, your t*nk, and almost immediately you will lose 2,000 or 3,000. But in this particular instance, since we've been visible to the crowd for several days without an order to proceed, we may not see quite so many flee initially. But once we initiate use of the water cannons, the crowd will diminish by half. It's that remaining 10,000... The semi hard-core... That becomes a challenge to disperse. We'll begin with the rubber b*ll*ts, then conventional a*mo. All the while, the t*nk... are moving, converging on a center point. And, obviously, anyone in their path... The whole thing will take about 45 minutes. Although that's not counting the cleanup. You're going to need at least a day of scrubbing before that Plaza is once again presentable to the civilian population. Jamal: What kind of injuries can we expect? Tariq: My guesstimate? 2,000 injured. Perhaps 200 fatalities. (Jamal sighs heavily) Of course, every day you wait, every minute you wait, those numbers rise. Jamal: Any of the great minds here have any options to offer? Or is this it? We k*ll 200 today, then go to w*r with our people tomorrow. Tariq: Not to make light of it, but, uh... We're quite good at going to w*r. I have every confidence we will prevail. Jamal: I need an hour to reflect. (Sighs quietly) (Phone vibrating) Barry: Free and open elections... Exactly what the Sheik said. No, think about it, it gives you everything you want, everything you could possibly hope for. Jamal: Um, what does it give me? Barry: Options. And all of them are good. The first thing it gives you is, the Plaza will be empty. What can the people possibly protest about when the choice of who leads them is theirs? Jamal: Mm, but then... I have to run to regain leadership. Barry: Okay. And what's the worst that can happen? Jamal (Laughs softly): Bassam... I lose. Uh... everything our father built, everything we achieved... Everything we are ceases to be. Barry: I get that. I do. But look, the days when a single family can continue to rule by sheer force of will are pretty much over, with or without elections. So if you lose... You lose. And you wake up the next day and you start living the rest of your life, except no one's hanging you, no one's shoving a bayonet up your ass, the crowd isn't calling for your head... You just go away. You move your money to Switzerland, or wherever guys like you move your money, you buy your own g*dd*mn island, and you're still one of the richest men in the world. But here's the thing. I don't think you're gonna lose. Jamal: I won't? Barry: No. These elections are a year, a year and a half away. First you got to change the constitution... That's gonna take some time... And then comes the campaign... that's a year, a year and a half... and in that time, the people are getting to know you, and when they get to know you, they're gonna love you. And while they're busy falling in love with you, you're gonna do what powerful people do... you build 20 schools, ten hospitals, a bunch of parks. And what's the Sheik gonna build? Jamal: Well... he's not going to build shit. Barry: No, he's just gonna cough and spit and... Look at people with that milky eye. (Jamal chuckles) Jamal: So... We are going to win this? Barry: I think we can. (Jamal chuckling quietly) Jamal (Sighs): Wake up. Look who's back. Leila: I'm pleased for you both. Here's hoping the two of you will be very happy together. Jamal: What's wrong with you? Leila: What's wrong with you? Bargaining away our lives. Not to mention your child's birthright. Jamal: I can't believe you are still mad about this. Three weeks and you are still mad about it. Don't you watch television? They are calling me "a beacon of hope in the middle east." Leila: Good for them. Maybe you can call them and have them play with your new friend. I'm not interested. (Birds chirping) (Phone ringing) (Sighs) Jamal: Good morning, Yussef. What can I do for you? What? 60 minutes? What is... you mean the television show? They want to do a piece about me? Newscaster: Spending a day with the Sheik is like trailing a rock star. Wherever he goes, he is besieged with requests for pictures and autographs. Barry: Jamal? Newscaster: And why wouldn't he? Jamal: Huh? (Clears throat) Barry: The, uh, council's waiting. Minister of finance: It's a wonderful thing to want to build schools and hospitals and parks. I don't think that's the office of budget management's issue. Jamal: Then... what is their issue? I'm the President. I... I want this money. I need this money. Minister of finance: The way we would normally fund these sorts of projects would be to sell bonds on the world market. And I don't think under normal circumstances that would be a problem. Jamal: Explain. Minister of finance: It's just... Ever since you announce elections... Barry: What about the elections? Minister of finance: There's concern that the debt holder might change, and might not be interested in honoring the obligations these bonds represent. Jamal: No, no, no, no, no. The debt holder is not going to change... that's the whole point. Now, we want the people to vote for me... So we need money to build things. Tariq: Why? You are the President. The constitution does not call for these elections. There's no need for these elections. We gain nothing from these elections, and in fact may have created for ourselves the mechanism of our own demise. Call them off. Barry: And what about the people? We've already told them. Tariq: I'll deal with the people. I always have. Mr. President, please. Embrace who you are and what is yours. Let's put an end to this foolishness. Jamal: 60 minutes called. Tariq: Pardon me? Jamal: Didn't Yussef tell you? 60 minutes called. They want to do a piece about me. Have they ever wanted to do a piece about you? How about you? Well... (Clears throat) I've been called... to an emergency meeting with a delegation from Norway. When I return, I want to hear that these new construction projects have been financed. I also want to hear how excited the military is about the prospects for free elections in Abbudin. Thank you, gentlemen. This meeting is adjourned. Jamal: Uh, Ziad. The Norwegian President has asked me to meet him alone. Something about a pipeline situation. No one even knows he's here, so I'll text you as soon as I am safely in the room. Woman: No hello? No "it's been a long time"? No "I missed you"? Jamal: Hello. (Clears throat) It's been a long time. And as you can see, I've missed you. (Woman laughs) (Breathing heavily) Woman: You need to come see me more often. That was like an expl*si*n. Jamal: A presidential expl*si*n? (Woman laughs) Woman: A presidential eruption. Jamal: Can I ask you something? Woman: Mm. Jamal: Do you think the people love me? Woman: Well, the people don't know you. But if they did, I am sure that they would love you. I mean, how could anyone not love you? Barry: May I? I know we, uh, we don't see eye to eye on a few things. The elections, the Sheik. Leila: If you've come here to tell me what to say or to drill me the way you've been drilling my husband and the others... Let me remind you: I've been in the public eye since I was 18. I know what to say when the cameras are on. And I know what to do when the cameras are off. Barry: Of course you do. What? Leila: You. You're so... impressed with yourself. "Look at me. Look at what I did. I'm bringing democracy to Abbudin." You really believe he can do this? Win the votes and the love of the people? Barry: Yes. Yes, I do. Leila: I guess it helps to be away from him for 20 years. Barry: Forgive the intrusion. Jamal: You cannot outrun history. One would be a fool to stick one's head in the sand and not see how change is sweeping the middle east. Change... And cell phones. Everyone has a voice, everyone has an opinion, and everyone has a camera. It simply stands to reason then, that everyone would expect to have a say about how they are governed. Amira: Well, he's my son, so of course I think he's special. And he's always seen things differently than his father, so I'm not entirely surprised that he's turning everything on its head. Trying things that have never been tried before. But the main thing is that I think he wants what's best for the country. Even if it's not him. And I think that gives you a hint at just how special he is. Jamal: I don't say these things for effect. I say them because... This is the reality. This is how I truly feel about it. We are coming to this place one way or the other. We can either be in front of it or behind it. Man: Just look at me. Here we go. You served for three decades as the head of the military for an ironfisted dictator. Now here comes the son, and he's freeing political prisoners, sitting down with opposition leaders, calling for elections. Isn't your head spinning? (Tariq laughs) Tariq: Yes and no. My nephew is a visionary. But he is also very much like his father, my brother. My brother looked at the vast desert, the warring tribes, the hostile outside forces conspiring against him and nonetheless felt that he could build a nation. Insane. And yet here we are. A nation. With abundant schools and hospitals and a vibrant economy. And now my nephew says, what if we have elections? What if we let the people choose? You think they might choose me? An old dog like me thinks... Insane. But then I remember his father. And I think crazier things have happened. Are we through? Director: All right, set. Leila: A wife always wants to believe she's her husband's greatest love. But long ago I made peace with the fact that I'm in second place. Man: I'm sorry... second place to who? Leila: To Abbudin. Man: Your opponent, Sheik Rashid, a sworn enemy of your family for over two decades, calls you either the bravest or the most foolish man on the continent. (Jamal chuckles) Jamal: That's really funny. I didn't know Sheik Rashid has that sense of humor. Uh, but, uh... I like Sheik Rashid. Uh, I would not vote for him, for sure. But I like him. Man: The people like him, too. He is leading in the polling. Jamal: It's early to say. The elections are a long way off. And I think, in time, people will realize that what they feel for the Sheik is actually what you feel for an Uncle that you haven't seen for a long time. Uh, nostalgia. But if you look around, you can see what we have built together, as a nation. And I'm sure you will say, I love that. I want more of that. I want more of the people... Of the family... that did that. Man: You sound very confident. Jamal: Uh-huh. Man: Would you be interested in hearing what the Sheik had to say about you? (On video): What do you make of this new, young President Al Fayeed? Sheik Rashid: Obviously, he marches to the b*at of his own drummer. And when you sit with him in a room, you know you are sitting with a lion. Of course, not all lions are friendly, and every so often, one will bite your head off. Man: But you have to admire his courage. He didn't have to allow these elections. He could have simply said no. Sheik Rashid: Yes. He knows wise counsel when he hears it. Man: Wise counsel? Sheik Rashid: He has a younger brother. Bassam. An American. Like I said, Jamal may be a lion. But I suspect his brother is the lion tamer. The brother who tells the lion what to do. Jamal: We are getting report that for the first time in 30 years, a significant number of young men of draft age are simply not showing up for induction. This is despite the fact they know the penalty is death or life imprisonment. Additionally, among men already serving, we are seeing a measurable uptick in deserters. Again, these men are staring at certain death, and yet... They don't care. And finally, as*ault against officers by conscripted men are up 11% compared to this same time last year. Jamal: And why do you think this is? Tariq: Shifting sands, Mr. President. The country is sensing change. And change is not good for the status quo. People don't obediently serve in a military they suspect of being disbanded. And those already serving start looking for an exit strategy. It's human nature. Jamal: Are you saying this is because I have announced elections? Tariq: Well, when you look at the latest polling... Jamal: Latest polling? Yussef: Mr. President, there is new polling. And unfortunately it shows you just with 33% of the vote, while the Sheik has 44% of the vote. Jamal: That's not perfect. But... still early. And 44 to 33 is not really terrible. Yussef: No, Mr. President. It is not. Although it is somewhat troubling that just two weeks ago, you had 37 and he 41. (Jamal exhales) Jamal: Let me think about all of that, okay? Thank you very much for your patience, for your support and encouragements. (Knocking) (Man speaks arabic) Barry: Thank you. (Door closes) Sheik Rashid: Forgive me for not getting up. Some days the legs cooperate happily. Some days they don't. (Laughs) Please. Barry: Thank you for, uh, seeing me at such short notice. Sheik Rashid: You made it sound urgent. Barry: What was urgent was my brother not having to see me for a few days after hearing what you said on 60 minutes. (Sheik Rashid chuckles) You knew exactly what you were doing. Sheik Rashid: Does it serve my interests for there to be friction between the man I'm running against and the man I've come to believe is responsible for any success he's experiencing? The answer is yes. Be flattered. You remind me of your father. Barry: Really? And is that a good thing or a bad thing? Sheik Rashid: This may shock you, but I considered your father an extraordinary statesman right up until the the moment he betrayed me. Barry: Don't you mean right up until the moment you betrayed him? You b*mb an army barracks. k*lled dozens of Abbudin soldiers without provocation. Sheik Rashid: Did I? Barry: It's what happened. You b*mb us, we gassed you. Our sin was greater, but I doubt it would have happened if you hadn't att*cked first. Sheik Rashid: I was looking for a peace with a man I believed wanted the same thing. I never struck first. I never struck at all, nor did any of my people. Barry: Then, who did? Sheik Rashid: Maybe a man who wanted to gas 20,000 people in Ma'an and needed a reason. Barry: So, you're saying my father sacrificed his own men to give himself a reason to att*ck Ma'an? Sheik Rashid: I am offering a possible scenario, no more, no less. But you didn't come here to debate history with me. Barry: I'm here to extend you an invitation. My brother would like you to be present for the signing of the motion to amend the constitution to allow free elections in Abbudin. Sheik Rashid: The motion to amend. The tiny first step. (Barry laughs airily) I mean what I say. Those days before the att*ck on Ma'an, I really thought your father was one of the most extraordinary individuals I had ever met. I disagreed with almost everything he stood for, but I admired his will to get things done, his willingness to listen to other opinions and ideas. You are... Your father's son. Jamal: I don't know why, but I can't seem to get the peoples' love. I give them elections. I free prisoners. Doesn't matter. Perhaps I'm just not lovable. Woman: Well, I find you very lovable. Jamal: Yeah, I know. I think I'm lovable, too, but, the point is, when I... When I... when I think about who actually loves me... Yeah. My father... he liked me sometimes. Sometimes, yes. Sometimes, no. My mother... you know, she's my mother. She-she loves her children no matter who they are. And my brother. My younger brother. My little brother. (Jamal sighs) I see him look at me with pity. I think he thinks that is love, but I know it's just pity. Woman: That sounds very lonely. What about your wife? (Woman sighs) Well... I love you. Jamal: Well, I know that. I... I can tell. With all your heart, right? Woman: With all my heart, Mr. President. Barry: Hey, don't jump. Screw the Sheik. Jamal: Does your boyfriend know you talk about him like that? (Both laugh) Barry: So, long time, no see. Jamal: Hmm, I've been busy. You know, it's not easy hanging onto 33% of the vote. Barry: I wanted to talk to you about that. You know these polls are only accurate to within five points, right? You know what that means? Jamal: It means I'm losing? Barry: No, it means you could have 38 points, and he could have 39, which basically means you're in a d*ad heat. Jamal: Well, tell that to my trusted council. Barry: Down the hall, there are people that have come from all over the world to see you do what you're about to do today. When you put your pen to that document, the world will be different. How many men get the chance to effect that kind of change in their lifetime? You are making history today. Jamal: Really? You sure it's not you? Molly: Wow. Look at these two. Which one do you want? Leila: Are there two? I see only one. Barry: So, we'll, uh... we'll see you guys down in the ballroom. They're setting up for some pictures with the Sheik, and then we'll move to the actual signing. (Jamal sighs) Leila: We were just out there. People seem to be very excited about what you are going to do. Jamal: Are you? Leila: I think that you have it in you to be.. A great man and do great things. But do I think this is one of them? I'm not sure. That doesn't change how I feel about you. Jamal: And how do you feel about me? Leila: Jamal, if you don't know by now... Jamal: Oh, I plead for your love, and all I get is... anger. Leila: That's not true. Jamal: Then... give me your love... here, now. Leila: Don't be ridiculous. I'll meet you down there. (Door opens) (Indistinct chatter) (Camera shutter clicking) John: Mr. President. He's a force of nature, isn't he? (Camera shutter clicking) (Jamal sighs heavily) Jamal: Excuse me. I will be right back. John: Sure. (Jamal sighs) (Door opens) Man: Right through that door, Sheik Rashid. (Sheik Rashid coughs) (Loud coughing) Sheik Rashid: So... this is where you are hiding. Jamal: Great minds think alike. (Sheik Rashid laughs) Sheik Rashid: Ah. (Sheik Rashid coughs, spits) (Sheik Rashid sighs) Jamal: You are amazing to watch. The people... they really love you. (Sheik Rashid sniffles) Sheik Rashid: Well, of course they do. I am a benign old man. What's not to love? I also love them right back. Jamal: And my brother Bassam. Do you love him? (Sheik Rashid sniffles) Sheik Rashid: I don't know about love, but he is a very clever fellow, your brother. Very wise, very principled. (Sheik Rashid sighs) I'll tell you another thing. There's not a morning I don't wake up and thank God I am not running against him. (Sheik Rashid laughs) (Both laugh) Jamal: Ah. (Sheik Rashid coughs) Sheik Rashid: Huh? (Coughing) Jamal: You're okay? (Sheik Rashid coughs) (Loud, labored coughing) That's it, cough it up. Cough it up, old man. (Loud coughing) Cough the whole lung! You want me to get Bassam to help you? You need a whack in the back. (Grunts) (Sheik Rashid groaning) Did that help? (Jamal grunts) How about that? (Jamal panting) (Sighs) You think everybody loves you? Well... forgive me. I don't.

{"type": "series", "show": "Tyrant", "episode": "01x06 - What the World Needs Now"}

foreverdreaming

Previously on "Tyrant"... Sheik Rashid: I demand to sit down with President Jamal Al Fayeed. Jamal: He demands? Barry: This is it. You can finish something our father couldn't. Jamal: Where should we start? Sheik Rashid: If you allow there to be open and free elections for the office of President of Abbudin. Tariq: The constitution does not call for these elections. And in fact, may have created for ourselves the mechanism of our own demise. Katerina: No hello? No "I missed you"? Barry: There are people that have come from all over the world to see you do what you are about to do; You are making history today. (Sheik Rashid violently coughs) (Jamal grunts) (Sheik Rashid gagging) (Jamal grunts) (Indistinct conversation) John: Well, Sheik Rashid may have been trying to stir the pot when he called you Jamal's lion tamer, but he wasn't wrong, huh? Barry: Can we all stop talking about that? John: A lot of people in this room... would've never believed that he'd go for this kind of political reform. And if you hadn't brought him to the table, I suspect some of them might have forced the issue. Barry: What do you mean, "forced the issue"? John: Jamal's lucky you're here. Let's leave it at that. Barry: Don't underestimate my brother. (Clamoring) Molly: Sheik Rashid just collapsed in the men's room... they're saying he's d*ad. Barry: Jesus. What happened? Namir: He must have fallen. He's not breathing. Ihab: No, no, no! You don't touch my father! Barry: We're both doctors. Molly: He needs help. Namir: Ihab, Ihab, please. Molly: His forehead is contused. Ihab: You, you, you saw no one coming in and out of here after my father, hmm? Security guard: No, sir. Ihab: No one?! I want full access to the security videos. Jamal: Ihab... I'll personally make sure you get everything you need. Molly: Wait, wait, I got a pulse. It's thready, but it's definitely there; He's in respiratory arrest. Barry: How far out are the EMTs? Security guard: They're coming up now. Molly: Okay, begin CPR. Someone keep his neck s*ab. Give me your phone, I'll page Dr. Mansour. He's chief of neurology at the hospital. (Jamal sighs) Emma: You're at the airport? Jenna: I'm about to make my connection in Heathrow. I almost missed my flight; saved by mechanical trouble again. How's that for dumb luck? (Panting) Sorry, it's in here somewhere. Emma: Hey, aunt Jenna's coming. Sammy: Here? When? Emma: Now. Sammy: Aw, you got to hand it to her. Emma (Sighs): The thing is, this really isn't such a good time to visit. Jenna: Oh, and, Em... Don't tell your mother. I want to surprise her. Emma: Because you know how much mom loves surprises. Jenna: Love you, guys. (Laughing): Very excited. (Phone beeps) (Ihab sighs) Ihab: Bring it to me. Because I want to see it for myself. (Phone beeps) Hmm. My people have reviewed the security video from the hotel. Namir: And? Ihab: And... father was alone... in the bathroom. (Ihab sighs) Namir: You seem disappointed. Ihab: No. Namir: Ihab. There's been no evidence of foul play. Ihab (Whispers): I don't trust the Al Fayeeds. Namir: Those Al Fayeeds just saved our father's life. (Ihab scoffs) (Jamal sniffs) (Tires screech) (Engine shuts off) (Door opens) Jamal: Are you coming? Leila: And pretend to be concerned about the sheik's well-being? Maybe this is Allah's way of telling you how foolish this election is. Jamal: You finished? Leila: Take me back to the palace. Mansour: There was significant subdural swelling, so we had to induce a coma to relieve the pressure on the brain stem, so his condition is s*ab, at least for now. Ihab: So... from everything... ...from... everything you have seen you are sure he fell? Mansour: We won't know exactly what happened until he is conscious. Usually the drugs take 24 hours to wear off and then we will get a sense of really what we are looking at here. Namir: But he will wake up? Mansour: Look, he is not young and he has preexisting medical issues. But if there are no further complications, I am reasonably hopeful that he will regain consciousness. Jamal: Out of respect for your father's condition, I have postponed the signing. If there is anything you need, anything at all, just ask. I have put the hospital staff on notice as well. Namir: Thank you. Thank you, Mr. President. Jamal: May I have a word, Bassam? (Jamal groans) So... the doctor said he could still wake up? Barry: He could, but given his age, it's, you know... Jamal: So, you don't think so? Barry: Jamal, I don't know. Jamal: If you were to guess 50-50, 60-40? Barry: Is this why you brought me in here? Jamal: I needed 100%. Barry (Scoffs): Look... Look, I want him to wake up, too, but, uh, he's an old man, so... Jamal: I need it to be 100% that he doesn't. Barry: Why? Jamal: What difference does it make? It's what I need. He just can't wake up. Who knows what he's going to say. He could lie... try and blame everything that's happened to him on me. Barry: Jamal, what did you do? Jamal: He was mocking me. Barry: Okay. So, what did you do? When the sheik wakes up, what is he going to say? Jamal: He's not going to wake up, Bassam. You're my brother; I need you to see to it. I already took care of the security video at the hotel. Barry: Oh, my God. Jamal: The sheiks trust you. They think you saved their father's life. You just slip into the room... Give him something... Finish the job. I'll sign the amendment. We'll hold the elections, just like you planned, just like you want. Barry: Do you hear yourself? Jamal: Fine. Let's just let him wake up. Tell his story, forget your precious elections. Let's have a civil w*r. This what you want? (Barry groans) Barry: You know what I want? (Sighs) I want to go home. I'm done here. Jamal: Fine. Go. Run away, Bassam, like you always do. It's all your fault anyway. These elections were a stupid idea. Barry: All the king's horses and all the king's men... (Scoffs) I finally get it, Jamal. I do. You're broken. And I can't fix you. S01E07 Preventative Medicine Leila: I'm not normally superstitious, Jamal, I don't believe in signs or symbols, but... This accident could be an omen we should heed. Jamal: Did you know we have a compound in the Maldives? Leila: Did you hear what I just said? This is an opportunity for you to call off these ridiculous elections. Jamal: It just sits there, untouched, unoccupied. Palm trees... Swaying in the wind. I was 11 the last time I was there. I spent the whole day... making this. That's the last time I felt completely free. We should go. Tonight. Leila: To the Maldives? (Jamal sighs) Jamal: We can lay on the beach naked. No one will even know who we are. We'll be anonymous. Leila: Why would you want to be anonymous? You are an Al Fayeed. Jamal: In my lifetime, I have k*lled seven people. Did you know that? Seven. Six... on the field of battle. One in a bar in Tangiers. One of my own men called my father an exterminator. I crushed his skull with a table leg. Leila: Why are you telling me this? Jamal: Because I want you to know I... know how to k*ll a man. I know what death feels like when it's present. I think I must have confused the smell of old age... of infirmity... with death. When I heard the sound his skull made against the tile, I was sure he was d*ad. (Sighs) Apparently I... I was wrong. It wasn't even something I planned. Leila: Oh, my God, Jamal. Jamal: If he wakes up, everyone will know this horrible thing I did. Leila: It's not horrible. It's beautiful. That man? That is the man I married. Jamal doesn't give power. He takes power. And if the people rise up, you'll bring them down. And if the world hates us, you'll just build a beautiful new hospital. Jamal: Bassam says I'm broken. Leila: Bassam has been poisoning your mind with foolish ideas. We don't need him. We can do anything together. Jamal: Well... let's go to the Maldives. Tonight. I'll call for the plane. Where's the telephone? Leila: Jamal. What's wrong with you? We are in the middle of a crisis, we can't just leave. Jamal: Why not? You just said we can do anything we want. Leila: I need to prepare a draft for the speech when the sheik dies or... for when he doesn't. You had enough. (Phone rings) Barry: Hey. I'm, uh, sorry I ran away without saying good-bye. Molly: I understand. Honey, uh, the sheik seems to have s*ab a bit. Brain swelling's down slightly. So that's good news. Barry: Yeah. Yeah, good news. Molly: Listen, we're shorthanded. I'm probably pulling an all-nighter, if you can believe it. Barry: Sure, uh, we'll talk tomorrow. Molly: Okay. Hey, Barry? It's gonna be okay. I love you. Barry: I love you, too. Amira: Molly? (Barry sighs deeply) You look tired. Barry: It's, uh... It's been a bad day. Amira: What happened to Sheik Rashid? Are we absolutely sure that there was no foul play? Barry: What are you talking about? Amira: Do you think what happened today was an accident? Barry: Why would you ask me that? Amira: 20 years ago, your father tried to sit down with Sheik Rashid to end a civil w*r. Just as you are doing now. And just as happened to you, fate intervened. (Barry laughs) Barry: What do you mean, fate intervened? The Rashids b*mb an army barracks and my father responded by gassing his own people. Is that what you call fate? Amira: That's not what happened. (Barry scoffs) Really? History is almost never the story of what actually happened, Bassam. It wasn't sheik Rashid or his followers who b*mb our soldiers. Barry: Then, who was it? Amira: Your Uncle Tariq. He b*mb his own barracks and blamed the sheik. All in order to scuttle the peace talks. Barry: I don't believe you. Amira: And when your father refused to take the bait, Tariq gassed Ma'an without your father's consent. Barry: You knew this whole time... and you didn't tell me? I have spent my entire life ashamed of my father. Hating him for something you now say he didn't do. Amira: Bassam. Barry: I-I always knew that the Al Fayeeds had a special talent for cruelty, but this... Amira: Your father forbade me. And he was afraid that knowing the truth would put you in danger. Tariq is the most dangerous man you know. It is entirely within the realm of possibility that he tried to k*ll the sheik. (Barry laughing) Barry: Tariq didn't k*ll the sheik, mother. Amira: How can you be sure? Barry: Because the sheik would be d*ad. Does Jamal know? Amira: No. Barry: Besides you and Tariq, who else knows the truth about Ma'an? Yussef: I understand. Don't worry. He's here now. Barry: My mother? Yussef: Bassam... Barry: How-how did you work alongside my Uncle all these years? H-how does he say something about the weather or-or what you had for lunch and you smile? Yussef: To survive, you do what you have to do. Barry: So... so it turns out that my-my father was the soft one. The man of peace. Yussef: So far as he could be. So far as this place would allow. I'm so sorry, Bassam. Barry: He died knowing that I hated him. Yussef: Maybe you can finally come to terms with him. Barry: No. No, he-he makes even less sense to me now than he did before. He was... he was cold, he was cruel, he was distant. He humiliated Jamal. And look how well my brother learned from him. He put a g*n in my hand when I was ten years old. Yussef: As I recall, you picked up the g*n yourself. Barry: To save my brother. Now, h-how does a man that works for peace make his child into a m*rder? Yussef: To prepare you for the world you were born into. To teach you the rules. Those who are feared make peace; those who are not get k*lled. That's why your father and your Uncle could work together, even after the betrayal. Your father could be kind because your Uncle was cruel. Barry: No. No, it's... Yussef: No, what? It's not neat? It's not simple? Here nothing is black and white. Nothing! Barry: So this makes sense to you, does it? Yussef: In its way, yes. Barry: And the man I k*lled, how do I make sense of that? Malik Hassad. That was the name of the man I sh*t. Yussef: I remember. Barry: I want you to get me the address of his family. Katerina: Hey, you. I thought our date was Tuesday. Jamal: I needed a vacation. Katerina: Well, I'm glad that I was home. Jamal: I had to get away from everyone who expects something from me. Katerina: Well, you can hide inside me. (Chuckles) Jenna: Shut... the front... door. Shut the solid gold, ivory-inlaid front... this is so much nicer than my studio. Though I do have a great view of a bus stop. Sammy: Yeah, I guess it takes some getting used to. Jenna: It's funny. I never thought your dad was that great of a catch. Emma: Not that you're the best judge. Jenna: That is so true. So where's your mom? Sammy: The hospital. Started working there a couple weeks ago. Jenna: Of course she did. You know what I just realized? I've never been the guest of a dictator before. (Moaning, grunting) (Panting) Katerina: That was something. Jamal: (Sighs) No. Katerina: What, you don't think so? (Sighs) Whatever demons you're exorcizing, I wish they haunted you every time. Jamal: If I... weren't president... would you say that? Katerina: What? Jamal: Would you flatter me? Would I be here, with you, like this, if I wasn't the president? Katerina: What kind of a question is that? Would you be here with me if I wasn't pretty? I mean, we are who we are. I don't know. Jamal: So it matters to you. Katerina: That you're the president? I couldn't care less. In here, you're just a man that I love being with. Jamal: That's good. Because I don't really like being president. I don't think it's good for me. (Sighs) I'm not very good at it. I would walk away from all of this in a heartbeat and never look back. Have you ever been to the Maldives? Katerina: The Maldives? Jamal: They are islands in the middle of the Indian Ocean... Katerina: Mm-hmm. Jamal:...with the most beautiful beaches you've ever seen. Miles, Katerina, miles of white sand, gentle waves. (Chuckles) Would you come with me? Katerina: Stop teasing me. Jamal: I'm not teasing you. Katerina: Mmm? Jamal: I show you something. (Grunts, sniffs) (Katerina chuckles) (Jamal chuckles) I made this when I was... 11 years old. Katerina: It's beautiful. Jamal: What if we went there together and never came back? Katerina: Mmm. (Both chuckle) Jamal: What would you miss? Katerina: Um, I'd miss my cat. Jamal: Okay. (Katerina chuckles) Ask me what I would miss. The country? The people? I wouldn't miss them. Not for a second. Katerina: That can't be true. Jamal: You know what I miss? I miss me. I miss me being happy. Katerina: Well, how do you know the Maldives would make you happy? (Jamal Sighs) Because that's the last time I was happy. I'm still the president. Say yes. Malik: Please, I have a family. No, please. No. (g*n) Please. (g*n) Barry: Hi, uh, I'm sorry to bother you. I'm looking for the family of Malik Hassad. Woman: Oh, they don't live here anymore. Not for a long time. Barry: Do you know what happened to them? Woman: You know the father was sh*t for being a traitor? Barry: Yeah. Yeah, I heard, um... What about his wife and children? Woman: Uh, they moved away. Afraid the government would come looking for them. Barry: Right. Woman: The family that moved in after were all k*lled in the gas att*ck. All around here, all these houses. Everyone died. But not the Hassads. They escaped. (Man praying in arabic) (Fauzi chuckles) Barry: Don't say it. I know. Fauzi: I thought I was seeing things. Barry: It's been a long time. Fauzi: It feels good, doesn't it? Why are you here, Bassam? Why today? Barry: I finally reached my tipping point. Fauzi: You know, I... I heard about the sheik. I know how much you invested in this. Barry: You think you get a handle on this place, you... you think you know how to get from point "a" to point "b." And then it punishes you for your arrogance. It is an unwinnable game. Fauzi: Oh, you don't know that. This game is not over yet. Bassam, this place is messy. And I don't know how tomorrow will be, and... and when the sun goes down, it will set on a thousand things that I could never have predicted. But since you came home, my friend, I'm looking forward to it. Tomorrow. With hope. (Short laugh) For the first time in 20 years, I have hope. Barry: Oh, don't say that. Fauzi: It's true. Forget about certainty. Hope is enough. Jenna: This place is amazing. Your life is amazing. Molly: It's very complicated. Jenna: Everyone's life is complicated. Mine's complicated and boring. Complicated and intermittently depressing. You should get some perspective. Molly: I know, I have perspective. Jenna: Emma and Sammy told me all about what you're doing. You're hardly just a doctor, sis. All the work with the world health organization. And Barry's political stuff. You were always way too modest. Molly: I'm actually really happy to see your face. It feels a little bit like home. It hasn't been easy here these past couple months. I mean, I thought I was coming here on vacation, you know? For a week. Well, it's going a lot better now. I think we found our footing, all of us, and... it'll be good for Sammy and Emma that you're here. Jenna: I'd like to stay. Molly: Yeah, of course. I'm not gonna put you in a hotel. We have plenty of room. Plenty of rooms. Jenna: No, I'd like to... stay. Molly: How long... what about your job? Jenna: I can't work at a place that doesn't respect me. Molly: You could try. Jenna: My boss came on to me, and when I told him no, he fired me. Molly: Well, you should sue him, then. Jenna: And we had an affair in between and I broke up his marriage and then I thought that was a mistake. I'm not in love with this guy. So... I need some time to clear my head. Mol. Please? You always end up on your feet. And I end up on my ass. You can afford to pick me up, every once in a while. Molly: I always pick you up. I got to get back to work. Barry: Namir. Any change? Namir: No. Which Dr. Mansour says is a good thing. Barry: Would you mind if I... if I spent a few minutes with your father? There's something I want to say to him. Namir: Sure, please. Barry: Thank you. Ihab: Hey, Amriki. I, um... I've lived my whole life hating your family. Barry: I understand. More than you know. Ihab: Hmm. I still believe that the time for your family's rule, it is coming to an end. But... I am grateful to you for bringing my father back to me. Please. (Pulls chair) Barry: I don't know if you can hear me. There's something I need to tell you. It wasn't my father who ordered the gas att*ck on ma'an. Who betrayed you and sabotaged the peace process. It was my Uncle. (Short laugh) Probably makes no difference to you, you... you probably think that one Al Fayeed is pretty much interchangeable with another, but, um... But to me it makes all the difference. Because it means... That my father meant what he said to you 20 years ago. He wanted to make peace. I have a chance... to finish what he started. To do what you and I talked about when we walked in your garden that night. But I know you're the only one in the way of making that happen. I know I have no right to take what I'm taking. And I have racked my brain trying to think of any other way. But the worst thing about evil... is that it forces you to become evil in return. (Exhales) It won't happen right away. It may take a few hours. But you won't feel any pain. If you can hear me... I hope you can forgive me. Or at least understand why I'm doing this. (Sniffles) I want you to know that you're dying as you lived... for the people of Ma'an. (Exhales) (Sighs) (Phone vibrating) (Beep) Jamal: Hello? Barry: Jamal. It's me. Jamal: Yeah. Barry: That, um... situation that you wanted me to handle... It's done. Jamal: What do you mean, "done"? Barry: I mean the man that you were worried about... He's gone. Or will be in the next few hours. Jamal: You... You did it, Bassam? Barry: Yes. Jamal: For me? (Sighs) Barry: Yes. (Exhales, chuckles) Jamal: Oh, Bassam. I... I thought you'd leave again. Barry: I know I said that, but, um... Jamal: You love me. Barry: We're brothers. Are-are you at the palace? Jamal: No. Why? Barry: Because when this happens, you're gonna need to make a statement. About how much you admired him. And about how much he will be missed. Jamal: Yeah. Of course. I'll be there soon. Listen, Bassam... I love you. Thank you. Katerina: Was that the pilot? They getting the plane ready? No one's ever left anyone for me before much less a whole country. (Chuckles) (Exhales) I was just dreaming that we were in the Maldives. I swear, it was so real. I could... hear the waves and... feel the sand on my feet. It was the most beautiful place I've ever been. (Muffled shout) (Grunting) (Muffled shouting) Barry: One more. Man: Right away. Barry: You know what, forget it. Just-just bring me the bottle. (Phone rings) Barry: Hey. Um, sorry I didn't call you back. I've been... uh, dealing with some things. Molly: I know. So, guess who rolled into town on her train of disaster. Barry: Molly, let's-let's talk about it later, okay? Molly: Yeah. Barry... (Alarm beeping) Doctor: He's coding! Load an amp of epi. Come on! (Beeping faster) Doctor: Keep trying. (Flatline tone) Molly: I got this. I'll take over. I'll take over. (Flatline continues) (Line ringing) John: Hello? Barry: Tucker. Listen, I need you to meet me in the Plaza. John: It's 4:00 in the morning. Barry: Yesterday at the signing you said there were people who didn't think my brother was up to the job. I need their names. John: Why? Barry, what's going on? Barry: Jamal can't run this country. I know that now.

{"type": "series", "show": "Tyrant", "episode": "01x07 - Preventative Medicine"}

foreverdreaming

Previously on Tyrant... Jamal: And my brother, Bassam... do you love him? Sheik Rashid: There is not a morning I don't wake up and thank god I am not running against him. (both laugh) (Sheik Rashid coughs) Jamal: You're okay? Do you want me to get Bassam to help you? (Jamal grunts) You think everybody loves you. Forgive me, I don't. Sheik Rashid just collapsed in the men's room. They're saying he's d*ad. Barry: What happened? Ihab: No, no, no, you don't touch my father. Barry: We're both doctors. Namir: Ihab, Ihab. Molly: Wait, wait. I got a pulse. Barry: How far out are the EMTs? Jamal: The doctor said he could still wake up. Barry: I want him to wake up, too, but, uh, he's an old man. Jamal: If you were to guess... 50/50, 60/40? Barry: Is this why you brought me in here? Jamal: I need it to be 100% that he doesn't. Barry: Jamal, what did you do? My father meant what he said to you 20 years ago. I have a chance to finish what he started, but I know you're the only one in the way of making that happen. Situation that you wanted me to handle. It's done. Tucker, I need you to meet me in the Plaza. John: What's going on? Barry: Jamal can't run this country. (horns honking) John: So, uh, Jamal k*lled him? That's what you're telling me? Barry: I tried to help him, but he's... It doesn't matter. I... I can't get him through this. He's not capable. At some point... in a... in a day or a week or a month... he'll snap. And-and never mind your elections. There will be no peace in Abbudin with my brother in power. He has to be removed. John: So, you want to have a coup, oust your own brother? The U.S. is not in the business of regime change. Barry: Say that again with a straight face. John: You don't want to be doing this, Barry. Trust me. Barry: You're right. You are right. This is the last thing I want to be doing. But there's no going back now. Tucker, you're not... you're not blind. You've heard the stories. And if you thought I was full of shit, I know you wouldn't still be standing here. John: And who do you think is going to replace your brother? Barry: I have spent many years running away from it, but I am an Al Fayeed. John: You're a g*dd*mn pediatrician. And you're drunk. Go home, sleep it off. Barry: I am home, John, okay? So make no mistake about what this means to me. I am the one that got the Sheik to sit down at that table. Do you understand? I am the one that kept the t*nk out of this Plaza. I can hold this country together until elections. Or you can go back to Washington and you can say, "I had a chance to save this country" "and I didn't take it." It's up to you. John: We didn't just have this conversation. Until you hear from me, you don't repeat any of what you just said to a soul. Not your wife, not Khaled's ghost. Nobody. (sighs) Barry: Morning. Jenna, welcome. Have a nice flight? Jenna: Enough Xanax and any flight's nice. Barry: Hi. Jenna: Mmm. Single malt? Barry: Charming as always. Molly: Hey. Are you okay? I've been trying to call you all night. Barry: Yeah, I, uh, just, um, needed a little time. I'm sorry. I should have called. Molly (quietly): Do you want to talk about this? Barry: You know what, um... I'm just gonna get a couple of hours' sleep. Uh, there's a mourning service for the Sheik later on. Please make sure I'm up. Molly: Yeah. Emma: Feel better, dad. Jamal: How long will you punish me, Bassam? Just tell me, so I know. I'm doing everything I can to make it up to you. I'm dedicating a football pitch tomorrow to keep children off the street. And I'll do better. Just give me a chance. So sorry for your loss. Walid: My brother has gone home. Jamal: So sorry for your loss. Namir: Thank you. Jamal: Your father was a great man. Ihab: Thank you. Jamal: But when Malak al-Maut calls, every man must heed. Barry: My deepest condolences for your loss. Ihab: Mmm. Barry: I, um... We know what it's like to lose a father. I sincerely hope that we, the Rashids and the Al Fayeeds, can... can continue with the process that your father helped begin. Ihab: We will see. Namir: My brother doesn't realize that the work left to be done is the ultimate tribute. Walid: Namir. Namir: Yeah. Excuse me. Barry: When the time is right, I would like to continue a dialogue. Ihab: Oh, really? Last time you wanted to talk, well, I guess you got held up. Barry: Different circumstances. We're not adversaries now. We're partners in a political process. Ihab: Ah, the election. It's two years from now. Mmm, global warming, MERS, earthquakes. The world may not even be here in two years. Barry: What are you saying? Ihab: I'm saying six months would be better. (chuckles) For a country that's never had an open election, it's gonna take a year, at least. Nine months. The time from conception to birth. We owe it to your father to do this right. Leila: They don't just give out the Nobel Peace Prize for simply having elections. Elections are no guarantee of peace. And nine months from now? (sighs) A little presumptuous of your brother, abridging the law you signed. Jamal: I could run a week from now, a decade from now. Who's left to oppose me? Leila: Bassam caving in to the Rashid demands only makes you look weak. I only want what's best for you. Can you truly say the same thing about Bassam? Jamal: What you know about Bassam is shit. You want to know about my brother? About his love for me? I put the Sheik to sleep. Bassam, my brother, he made sure he didn't wake up. Leila: He... Bassam did that? Jamal: Yes. He is a gentle man. A healer. He went against his own nature to save his brother. So tell me what the hell you know about my brother and me. Molly: You expecting a call? Barry: Yeah. Molly: From who? Barry: (grunts) Uh... Well, there's just a lot going on. Molly: Honey, you've worked really hard to get this far. You'll see it through. It's gonna pay off. Why don't you come to bed? Barry: Yeah, be right there. Molly: Okay. (sighs) (birds chirping) (TV playing) (door opens) Ahmed: Hey, baby. My father's dedicating a field for the poor kids today. He's a politician now. Crazy. Come with me. Cheer your man. Nusrat: I'm taking a nap. Ahmed: You just woke up. (turns TV off) (Ahmed sighs) Why are you taking this shit? Baby? Nusrat: I'm here, Ahmed. What else do you want from me? Barry: You want me to turn on the A/C? Yussef: I'm fine. Barry: Are you sure this is the way to the soccer pitch? Why are we stopping? Yussef? Yussef, what are you doing? Yussef: You asked John Tucker who in the government had concerns about Jamal. Barry: You? Yussef: Many of us have watched, waited, dreaded the day your brother took power. Your father tried as you have tried, but Jamal is Jamal. Don't be surprised, Bassam. You think you went to America, ate a hot dog, and discovered democracy all by yourself? Barry: What is this place? John: Just a haven for weary travelers. Barry: How did you get your bosses to sign off on this? John: Well, don't get ahead of yourself, Barry. It's a process. Lea: Oh, he's here. Let me get back to you. Yeah. Lea Exley. Barry: You're with the state department? Lea: Oh, whatever helps you sleep nights. So, John told me about your brother and the Sheik. Needless to say, we weren't surprised, but something tells me you weren't, either. On the Hare psychopathy checklist, Jamal scored a click below Jeffrey Dahmer. Barry: He's still my brother. If we're gonna do this, Jamal gets complete immunity from prosecution. Him and Leila keep their money and their dignity. We find a way to spin it that stepping down was his choice. Lea: That's a big ask. Barry: It's non-negotiable. Lea: So, where are we on the M&M's? John: Yussef's working his angle. Barry: What's M&M's? John: Executing a coup requires three things... Military, media and money. You don't have 'em, it can't be done. Yussef: But this M&M's... It's also a candy, yes? Lea: Yes, it's also a candy. John: The military's number one. We don't have the critical mass inside the military, the whole thing shits the bed. Barry: Well, Tariq's not gonna stand by while I take over from Jamal. Lea: Which is why we need to remove Tariq before we remove Jamal. Barry: Even my father was afraid of taking on Tariq. He has 200 officers in his elite guard loyal only to him. Lea: Not all. He's made some enemies over the years inside his own camp. John: We're working a few leads, seeing if we can't exploit the cracks in his power base. Barry: And what about the money and the media? John: Hakim Bata. Barry: Nusrat's father? John: He owns the country's largest satellite and cable concern. Barry: Because of my family. He's not gonna risk all that to go against Jamal. Yussef: I believe he would. The night of the wedding, Jamal went to Nusrat, told her the Al Fayeed family must be certain of her... purity. I'll spare you the details. Fill in what horrors you will. Hakim's wife, Sofia... she is my cousin. We are close. I'll ask her to ask him. Barry: And you're sure he won't say anything? Yussef: Hakim has already lost a daughter. He won't risk losing his wife. Lea: So, there's a lot of moving parts here. If we're lucky, this thing happens fast. A coup's got about a week between inception and execution. That's about as long as people can keep a secret. John: You'll have to come up with a credible reason to send Molly and the kids back to the States before this goes down. And, uh, until then, best to keep her in the dark. Lea: Your wife the understanding sort, Barry? Barry: Leave my family to me. (man shouting, cheering) (shouting, applause, cheering) Reporter: Mr. President, can you make a comment? Jamal: In six months' time, this dirt will be replaced by a soccer pitch with no rival outside a stadium. Free to all. Except this fellow. He got past my guard. (laughter) (camera shutter clicking) I will see you all again in a few months when I cut the ribbon. Thank you. Go play. (applause) Bassam, come on. Smile a little, at least for the cameras. Don't stay mad at me. Barry: I'm not mad. This is, uh... this is good. Jamal: Good. (Jamal sighs) Come on, man. How long has it been since we've kicked the ball around? Barry: Long time. Jamal: Long time. I've missed this. You and me being brothers. Remember our fishing trips? Barry: Tasbani river? Dogfish practically jumped on our hooks. (laughter) Jamal: We will go again soon like the old days. Barry: Yussef. Got an election to organize. Ahmed: Heads up. Jamal: Aah. I passed it right to you. What, you want me to put it in a box and tie it with a bow? Ah, come on, Ahmed. I'm sorry. Ahmed: No, it's... it's not you. Nusrat. I don't get it. We were completely in love, and now she... Jamal: She went through a lot. Ahmed: She said that, too. Jamal: It's good she's talking about it. What does she say? Ahmed: That she was violated. By that little boy. Jamal: We can't judge these things or her. Ahmed: We were in love, and then we got married, and... Now she doesn't want to be around me, close to me. (Ahmed snaps his fingers) Like that. What did I do to make her fall out of love with me? Jamal: Give it time, Ahmed. Things will work out. Tariq: Your idiot nephew, Ihab... he's going back to the Plaza? Walid: He's through with that. He thinks he's outgrown it. Tariq: Ah. So he believes Bassam's elections make him the logical successor to the presidency. Many countries have elections. Syria, Iran. They're easy enough to manage. In the interest of national security, of course Ihab's party must be outlawed. Problem with that? Walid: They are known t*rrorists. I've tried talking to him, but he think he's Che Guevara, so... Tariq: To win this game, we need to appear to be playing it, which requires an opponent. And the people seem to like the Rashid name. Walid: Namir, the Sheik's other son. Ziad: Too idealistic. No stomach for a political campaign. Tariq: Walid, serve your country. In the name of democracy. Walid: Me? Sir, I have no political aspirations. Tariq: Don't worry. You won't win. But you will help us present to the world our commitment to this bullshit. Campaign for six months, make some promises, whatever. After the election, we have another talk. One that shows you how we value your service to the cause. Walid: Whatever I can do to serve the house of Al Fayeed. Molly: We sent another MERS case home today, which was huge. You can't imagine. To actually have someone survive. Barry: Yeah, I bet. Molly: What about you? How was your soccer field dedication? Barry: Good. Uh, Jamal shook some hands, kissed some babies, you know. (Molly laughs) We, uh... we moved up the election to nine months, so I'm gonna start getting busy. I was... I was thinking, before it gets impossible, I might, uh, organize a trip home. Molly: Really? Barry: Yeah, just-just for a week so the kids can see their friends, you can visit your mom and dad. Uh, if-if we don't do it now, we might not get back for a while. Molly: Yeah, it's a great plan. Let's do it. Barry: Okay. Uh, how about a week from today? Molly: Oh, honey. (chuckles) I'm gonna need a little more time than that. I mean, I have a bunch of things to do at the hospital next week, and the kids are in school. Uh, you know, Jenna just got here. Barry: Yeah, I know. Molly: Why don't we give ourselves a couple weeks just to sort it out, and then...? Barry: Because this election is bearing down on me, honey. We just cut our lead-in time by over a year to stop Ihab from backing out on us. And if-if I don't take the time now, then I don't know when I'm gonna. Molly: Okay, okay. We can figure this out. Uh, how about right after next week? Barry: Can you ever just say yes to me? Molly: What's going on with you? Barry: Nothing. Nothing. But every day, Molly, every day, I compromise. I compromise and negotiate, and just once, just one time, I would like you to say, "yes." "Yes, Barry, let's do whatever you want." "Let's do that." Molly: Oh, yeah, Barry, because I had such a say in moving here. Leaving our lives behind, that was a real negotiation. You know what... That's fine. I can rearrange things. If it makes you happy to leave next week, we can leave next week. Barry: Thank you. Sofia: Hakim has many virtues. Bravery is not one of them. Yussef: Does he love his daughter? Sofia: Of course he does. Yussef: Then how can he abide her living beside a monster? How can you? Sofia: We could be hanged for even having this discussion. Yussef: I'm taking the same risk. Promise me you'll talk to him. Sofia: If I promise, will you leave? (plates clinking) Jenna: Good, right? Emma: Amazing. Jenna: Sumac. Never cooked with it before. Molly: Is it poisonous? Jenna: Can't be any worse for us than eating hot dogs with pita buns. Sammy: You know, there are people who would like to do this for us. Jenna: Don't you miss doing things for yourself? Sammy: Yeah, that, um... That was the life. Molly: Funny you should mention that. How would you guys feel about a week-long, all-expenses-paid trip to a place where you can cook your own food and do your own laundry? We're going home for a week. Sammy: What? Why? Molly: Don't you miss your home, your stuff? Emma: Wait, we're really going back? Molly: Yeah, your father feels like if we don't go now, we may not get back for another year. Emma: When are we going home? Please tell me you're not lying. Molly: Six days. Jenna: I just got here. I'm barely over my jet lag. Sammy: And Ahmed is taking me to Formula One next week in Dubai. Jenna: Sammy and I can hang out here, no problem. Molly: Enough. We're all going back as a family starting next monday. All of us. Sammy: Why? Molly: Because, Sammy, it's what your father wants. Sammy: Well, that sounds like bullshit. I'll talk to dad. It's fine. Molly: He's made his decision. Jenna: How very Abbudin of him. Molly: Seriously, knock it off. Barry: That's right. Coach is fine. LAX. Five tickets. Yeah. And you can confirm by e-mail. Come in. Okay. Thank you. Leila: Am I interrupting? Barry: No, no. I was, uh... I was just, um... Please, sit down. Leila: I know what you did for Jamal. Please, Jamal told me. Only me. I know how hard it must have been for you to go against everything you are. I want for us to work together. We both love Jamal. He needs us. Barry: He'll, um... he'll grow into the job. Leila: No. He won't. He's not you. I blamed you for a long time. For leaving me with all of this. With him. Barry: I know. I know. And I'm sorry. Leila: No, don't be. I just don't want to be angry anymore. (knocking) Barry: Come in. Yussef: Oh. I came to review the amendment. But I can come back. Leila: It's okay. I'll leave you both to work. Yussef: My cousin Sofia spoke to Hakim. She tried to convince him, but... he's too afraid. Barry: Of Jamal? Yussef: Tariq. Barry: We can't do this without Hakim. You made that clear. Yussef: She begged him, but he refused. I'm-I'm sorry. Barry: Shit. Yussef: There is nothing to be done. (TV playing) (knocking) Jamal: May I? Nusrat: It's your home. (TV shuts off) Ahmed is out. Jamal: Yes, I know. There seems to be a misunderstanding. Between us. Nusrat: A misunderstanding? Jamal: Yes. Um... Anything I may have done... was for the benefit of my son and my family. (clears throat) The Al Fayeed name, it must be protected. But... I could see how my actions... Nusrat: Your actions... Jamal: Yes, on... the night... of the wedding. Nusrat: My wedding. To your son. Jamal: Yes, I could see how they could be misconstrued. (clears throat) And... For that I apologize. So it's done. I have apologized. There's no need to be petulant with Ahmed. It was something between us, and here it ends. You love him, yes? Nusrat: When I look at him, all I see is you. Jamal: We are Al Fayeeds. We, each one of us, have our obligations. The father, to ensure the purity of his son's wife. The wife, to be a wife. And you will be a wife for him. A good wife. You can... feel it. Or you can act it, if you have to. But make him believe it. This will be best for all parties. Both our families have suffered enough, yes? (chuckles) Young lady... Nusrat: Whatever you say, we both know this is what you really want. Jamal: No, I told you... Nusrat: What? That you apologize? That you were doing your duty? That you're a better man? Jamal: Yes. Nusrat: Do other people believe you when you say that? Jamal: Yes. Nusrat: So only I know what you really want. To take everything from me. From your son. Finish it. (indistinct chatter) Barry: I used to come here as a kid. Hakim: Yeah. It's very popular. With the locals. Barry: You know why I'm here. Hakim: As I told my wife... Barry: Now tell me. Hakim (quietly): I won't say anything about your plans. I promise. I have no desire to endanger my family further. Barry: You're a good father. You want to protect your daughter. Now, the best way you can do that is to help me. Hakim: This is what I got for trying to protect my family. Barry: My brother's not well. But things can be different here. Will be different. But not without you. Hakim: Why are you doing this? You are an Al Fayeed. Jamal is your brother. Barry: And it kills me to betray him, but, from where I'm standing, I don't have a choice. And neither do you. Sooner or later, my brother's gonna panic. And then he's gonna lash out and when he does, the whole country is gonna meet the man that you and Nusrat know. And that'll mean civil w*r. Hakim: Maybe. Barry: Right. Maybe. And maybe when the mob comes, they won't come for you. And string you up to a lamp post and throw your wife and your daughter in jail. Because you're all family. Hakim: Okay, look... Barry: You think that you can play it safe by hitching your wagon to Jamal, don't you? You think that you can stay on the sidelines. There are no sidelines. Only sides. So, tell me... do you really want to bet your family and your country on my brother? Colonel. Ziad: The shwarma over there... is it good? It's supposed to be the best in the city. Barry: Why are you following me? Ziad: It's dangerous for you. There are many enemies of the state. Barry: I can look after myself. Ziad: Still, it would be best if you came with me. Barry: Sure, just let me call my brother first. Ziad: And tell him that you plan to overthrow him? Tucker sent me. To make sure you don't do things like walk out of meetings such as the one you just had, in broad daylight, with no cover. Listen... Tariq's finished. He's old. His iron fist bullshit is gonna get all of us k*lled. The things I had to do for Tariq... and your brother... It sickens me. If you really do have a way forward for us, we have to try. John: Huh, okay. Well, that's good. Wait to hear from us. Well, golden boy did it. Lea: He flipped Hakim? John: And with no exposure. I'm starting to think he's got a knack for this. Lea: Look, I know you got a boner for Barry, but don't get too attached. John: Meaning what? Lea: Meaning don't get too attached. John: Well, he's the only game in town. Jamal can't do it. One day he croaks the Sheik, next week he tells us to take our base and go home. Plus, our fingerprints aren't on it, it's homegrown. It's a good plan. Lea: Mike Tyson used to say, "everybody's got a plan until they get h*t in the face." Barry: All right, stop here. Molly: Hey. Barry: How was your day? Molly: It's been a day. I took care of the passports, by the way. Barry: Good. Molly: Uh, except for Jenna's. She's gonna stay. Barry: What? Molly: Yeah, she was bitching about the flying, saying she needs some s*ab in her life. Anyway, I don't want to lose my heart rate. Barry: Wait, wait, wait, wait. Jenna can't stay here, okay? She has to come with us. Molly: Why? She doesn't want to go, let her stay... she'd just bitch the whole trip. Barry: Molly, I don't need you to ask me why, I just need you to make this happen. Molly: I'm not doing this again. This isn't how you and I work. We talk to each other. Or we used to. Barry, none of this is making any sense to me. Just tell me what's going on. Barry: Walk with me. You told me everything was fine. You said every day things were getting better. Barry: I thought they were. But I was wrong. Molly: So... Then we all just go back? Barry: Just you, Jenna and the kids. Molly: What? No, we're not going without you. Why would you stay here if Jamal won't even be president? There's nothing you can do. Barry: I have to stay. Molly, I'm taking his place. Molly: No. Bullshit, Barry. You f... you feel responsible, he's your brother, and you couldn't fix him. But it's not your job to fix this place. Staying here, doing this. You don't belong here. Barry, come on. Listen to me, we're gonna go home. Together, okay? Before it's too late. Barry: I can't. Molly: Why not? Barry: Because I can't. Molly: How dare you put me... our kids in this position, Barry? Barry: This is why you have to leave. Molly: And then what? I mean, what do we come back to... you're the president? That's the life we're coming back to? Barry: Interim president. Just until the elections. Molly: Wait, are you running? (Barry sighs) What the hell do you know about running a country? Barry: Do you think I want this? Molly: I don't know. If you're asking whether I think you get off on the power... The-the prodigal son returns to the throne... I don't know. Barry: Too much has happened, Molly, okay? The Sheik... everything that we worked for. His death... has to count for something. Molly: They hang people in this part of the world for this shit, Barry. Worse. Barry: That's not going to happen, Molly, I can't do this without you. Molly: No, you don't get to play that card again. You already played that when you told me... You lied to me and our family. You remember? "Just a few months, Molly." "Just until Jamal gets on his feet." You ripped us from our lives, Barry. For what? Barry: Molly, listen to me, Molly. Molly: No. You made me promise. You made me promise we'd go home. Barry: Molly. Molly: I guess you made liars out of both of us, huh? Barry: Listen to me. Molly: I'll tell whatever lies you want. To your brother. And your kids. I'll make sure Jenna comes home with us. I'm taking my family home. (silverware clinking) Barry: Honey, can you pass me the, um... Thank you. Jenna: Seeing as how it's been decreed that we're leaving next week... Permission to go shopping? Barry: With, uh, what money, Jenna? Man: Mr. Al Fayeed? Your brother would like to see you. Barry: I'm having breakfast with my family, I'll, uh... Man 2: This is best done in person. Barry: Be right back. Jamal, what's up? Jamal: When you were gone, I used to imagine what you must have been doing in Pasadena, California. Surfing? Blondes everywhere. So far away. I grew my hair out, dyed it like David Lee Roth. I thought that was what my American brother looked like. Did you? Barry: No, I didn't. (Jamal exclaims) Jamal: Leila made fun of me. I can't blame her. (laughs) I missed us so much. Barry: I'm, um, I'm back now. Jamal: That is right. Brother. Barry: So, uh... Wha-what are you doing down here? Jamal: Looking at a boat. Barry: Which one? Jamal: This one. Yours. Barry: Jamal, uh... I can't. Jamal: We can't go fishing in my boat. That's ostentatious. Beautiful here.

{"type": "series", "show": "Tyrant", "episode": "01x08 - Meet the New Boss"}

foreverdreaming

MAN: For over a century, I have lived in secret; hiding in the shadows, alone in the world. Until now. I am a vampire. And this is my story. [A man and a girl in a car, on the road.] MAN: An hour's drive to hear that crap. You know, it wasn't even a band. A guy with a guitar. An hour each way. GIRL: He wasn't that bad. MAN: He sounded like James Blunt. GIRL: What's wrong with that? MAN: We already have a James Blunt. One's all we need. GIRL: So why did you come? MAN: Because I love you. GIRL: Nicely done. What's with all the fog? MAN: It'll clear in a second. GIRL: Watch out! [They collide a man.] MAN: Are you ok?! GIRL: We just h*t someone! Oh, my god! MAN: Call for help. GIRL: Come on, come on! MAN: Please be alive! Oh, my god. [The man wakes up and bites him into the neck.] GIRL: There's no signal! Darren! Darren? [New scene. Morning. A Man.] STEFAN: I shouldn't have come home. I know the risk. But I had no choice. I have to know her. [Other scene. A girl writes in her diarie.] ELENA: Dear diary, today will be different. It has to be. I will smile, and it will be believable. My smile was saying "I'm fine, thank you." "Yes, I feel much better." I will no longer be the sad little girl who lost her parents. I will start fresh, be someone new. It's the only way I'll make it through. [In the kitchen.] JENNA: Toast. I can make toast. ELENA: It's all about the coffee, aunt Jenna. JEREMY: Is there coffee? JENNA: Your first day of school and I'm totally unprepared. Lunch money? ELENA: I'm good. JENNA: Anything else? A number two pencil? What am I missing? ELENA: Don't you have a big presentation today? JENNA: I'm meeting with my thesis advisor at...now. Crap! ELENA: Then go. We'll be fine. You ok? JEREMY: Don't start. [In Bonnie's car.] BONNIE: So grams is telling me I'm psychic. Our ancestors were from salem, which isn't all that, I know, crazy, but she's going on and on about it, and I'm like, put this woman in a home already! But then I started thinking, I predicted Obama and I predicted Heath Ledger, and I still think Florida will break off and turn into little resort islands... Elena! Back in the car. ELENA: I did it again, didn't I? I--I'm sorry, Bonnie. You were telling me that... BONNIE: That I'm psychic now. ELENA: Right. Ok, then predict something. About me. BONNIE: I see... [They collide a black bird.] BONNIE: What was that?! Oh, my god! Elena, are you ok? ELENA: It's ok. I'm fine. BONNIE: It was like a bird or something. It came out of nowhere. ELENA: Really, I can't be freaked out by cars for the rest of my life. BONNIE: I predict this year is going to be kick ass. And I predict all the sad and dark times are over and you are going to be beyond happy. [At the school.] BONNIE: Major lack of male real estate. Look at the shower curtain on Kelly bitch. She looks a hot-- Can I still say "tr*nny mess"? ELENA: No, that's over. BONNIE: Ahh, find a man, coin a phrase. It's a busy year. [They look at Matt.] ELENA: He hates me. BONNIE: That's not hate. That's "you dumped me, but I'm too cool to show it, but secretly I'm listening to air supply's greatest hits." CAROLINE: Elena. Oh, my god. How are you? Oh, it's so good to see you. How is she? Is she good? ELENA : Caroline, I'm right here. And I'm fine. Thank you. CAROLINE: Really? ELENA: Yes. Much better. CAROLINE: Oh, you poor thing. ELENA: Ok, Caroline. CAROLINE: Oh! Ok, see you guys later? BONNIE: Ok! Bye. ELENA: No comment. BONNIE: I'm not going to say anything. [Jeremy and Vicki.] JEREMY: Don't take more than two in a six-Hour window. TYLER: Hey, Vicki. I knew I'd find you here with the crackheads. VICKI: Hey. TYLER: Hey, Pete Wentz called. He wants his nail polish back. JEREMY: Pete Wentz, huh? How old school T.R.L. of you. Carson Daly fan? VICKI: Oh, Ty, be nice. Be nice. That's Elena's little brother. TYLER: I know who he is. I'll still kick his ass. [Bonnie and Elena behind the office.] BONNIE: Hold up. Who's this? ELENA: All I see is back. BONNIE: It's a hot back. [In the office.] SECRETARY: your records are incomplete. You're missing immunization records, and we do insist on transcripts. STEFAN: Please look again. I'm sure everything you need is there. SECRETARY: Well, you're right. So it is. BONNIE: I'm sensing seattle, and he plays the guitar. ELENA: You're really going to run this whole psychic thing into the ground, huh? BONNIE: Pretty much. MAN: Jeremy, good batch, man. ELENA: I'll be right back. BONNIE: Please be hot. [Elena in the boy's toilets.] BOY: Whoa! Pants down, chick! ELENA: Great. It's the first day of school and you're stoned. JEREMY: No, I'm not. ELENA: Where is it? Is it on you? JEREMY: Stop, all right?! You need to chill yourself, all right? ELENA: Chill myself? What is that, Stoner talk? Dude, you are so cool. JEREMY: Look, stop! I don't have anything on me. Are you crazy? ELENA: You haven't seen crazy, Jeremy! I gave you a summer pass, but I am done watching you destroy yourself. No, no, no, you know what? Go ahead. Keep it up. But just know that I am going to be there to ruin your buzz every time, you got it? Jeremy, I know who you are. And it's not this person. So don't be this person. JEREMY: I don't need this. [Bonnie looks Stefan.] STEFAN: Thank you. SECRETARY: You're welcome. [Elena goes out and meets Stefan.] STEFAN: Uh, pardon me. Um... Is this the men's room? ELENA: Yes. Um, I was just, Um--I was just-- It's a long story. Just... Thank you. [History's class.] TEACHER: Once our home state of virginia joined confederacy in 1861, it created a tremendous amount of tension within the state. People in virginia's northwest region Had different ideals than those from the traditional deep south. Then Virginia divided in 1863 with the northwest region joining the union. Texto to Bonnie from Elena : HAWT-E. STARING @ U. [On a cemetery.] ELENA: Dear diary, I made it through the day. I must have said, "I'm fine, thanks," at least 37 times. And I didn't mean it once. But no one noticed. When someone asks, "how are you?" They really don't want an answer. [A bird is on the tomb.] ELENA: Ok. Hi, bird. That's not creepy or anything. Shoo! That's what I thought. [Bird is always here. The mist is all around her.] ELENA: Ahh! [She runs and falls ... She sees Stefan.] STEFAN: You ok? ELENA: Were you following me? STEFAN: No, I, uh, I just-- I saw you fall. ELENA: Uh-Huh, and you just happened to be hanging out in a cemetery. STEFAN: I'm visiting. I have family here. ELENA: Oh. Wow. Tactless. I'm sorry. It's the fog, It's making me foggy. And then back there, there was this bird, and it was all very hitchcock for a second. That is the bird movie, right, the hitchcock? I'm Elena. STEFAN: I'm Stefan. ELENA: I know. We have history together. STEFAN: And english and french. ELENA: Right. STEFAN: Oh. ELENA: Thanks. Nice ring. STEFAN: Oh. Um, It's a family ring, yeah. I'm kinda stuck with it. It's weird, huh? ELENA: No, no. It's just, I mean, there are rings and then there's that. STEFAN: Did you hurt yourself? ELENA: Hmm? STEFAN: Did you hurt yourself? ELENA: Oh, uh, I don't know. Oh! Look at that. That is not pretty. You ok? STEFAN: You should go. Take care of that. ELENA: Really, it's nothing. She turns around but Stefan disappeared. [Stefan's home. He writes on a diarie.] STEFAN: I lost control today. Everything I've kept buried inside came rushing to the surface. I'm simply not able to resist her. [Mystic Grill. Vicki works as a waitress.] JEREMY: Hey. VICKI: Working. [She arrives at Matt and Tyler's table.] MATT: Thanks, vick. VICKI: Do you need another refill? TYLER: I'd love one. MATT: Please tell me you're not hooking up with my sister. TYLER: I'm not hooking up with your sister. MATT: You're such a dick. JEREMY: Hey, what's your deal? I mean, summer you act one way and then school starts and you can't be bothered. VICKI: Look, Jeremy, I really appreciate all the pharmaceuticals, but you can't keep following me around like a lost puppy. JEREMY: When's the last time you had sex with a puppy? VICKI: Hey, keep it down. I don't want to tell the whole world I deflowered Elena's kid brother. JEREMY: Yeah, and deflowered and deflowered. VICKI: We hooked up a few times in a drug haze. It's over. You gotta back off between you ruin things between me and Tyler. JEREMY: Oh, come on, the guy's a total douche. He only wants you for your ass. VICKI: Yeah? What do you want me for? [Caroline and Bonnie enter.] CAROLINE: His name is Stefan Salvatore. He lives with uncle up at the old Salvatore boarding house. He hasn't lived here since he was a kid. Military family, so they moved around a lot. He's a gemini, and his favorite color is blue. BONNIE: You got all of that in one day? CAROLINE: Oh, please, I got all that between third and fourth period. We're planning a june wedding. [Elena's home.] ELENA: I'm meeting Bonnie at the grill. JENNA: Ok, have fun. Wait, I got this. Don't stay out late, it's a school night. ELENA: Well done, aunt Jenna. [She oppens the door.] ELENA: Oh. STEFAN: Sorry, I was about to knock. I wanted to apologize for my disappearing act earlier. I know it was... Strange. ELENA: No worries. I get it, blood makes you squeamish. STEFAN: Um, something like that. How's your leg? ELENA: Oh, it's fine. Just a scratch, barely. How did you know where I lived? STEFAN: It's a small town. I asked the first person I saw. Um, I thought you might want this back. ELENA: Oh, I must have dropped it. I-- Thank you. STEFAN: Don't worry, I didn't...read it. ELENA: No? Why not? Most people would have. STEFAN: Well, I wouldn't want anyone to read mine. ELENA: You keep a journal? STEFAN: Yeah, if I don't write it down, I forget it. Memories are too important. ELENA: Yeah. I'm just gonna, Um, you don't have to stay out there. STEFAN: I'm fine. Sorry, were you going somewhere? ELENA: Yeah, I'm meeting a friend. Do you want to come? [Mystic Grill.] MATTt:How's Elena doing? BONNIE: Her mom and dad died. How do you think? She's putting on a good face, but it's only been four months. MATT: Has she said anything about me? BONNIE: Oh, no. So not getting in the middle. You pick up the phone and call her. MATT: I feel weird calling her. She broke up with me. BONNIE: Give it more time, Matt. [Elena enters, with Stefan.] MATT: More time, huh? MATT: Hey, I'm Matt, nice to meet you. STEFAN: Hi. Stefan. ELENA: Hey. MATT: Hey. [Later.] CAROLINE: So, you were born in mystic falls? STEFAN: Mm-Hmm. And moved when I was still young. BONNIE: Parents? STEFAN: My parents passed away. ELENA: I'm sorry. Any siblings? STEFAN: None that I talk to. I live with my uncle. CAROLINE: So, Stefan, if you're new, then you don't know about the party tomorrow. BONNIE: It's a back to school thing at the falls. STEFAN (to Elena): Are you going? BONNIE: Of course she is. [Stefan's home.] ZACH: You promised. STEFAN: This was an animal att*ck. ZACH: Don't give me that. I know the game. You tear them up enough, they always suspect an animal att*ck. You said you had it under control. STEFAN: And I do. ZACH: Please, uncle Stefan. Mystic Falls is a different place now. It's been quiet for years, but there are people who still remember. And you being here, It's just going to stir things up. STEFAN: It's not my intention. ZACH: Then what is? Why did you come back? After all this time, why now? STEFAN: I don't have to explain myself. ZACH: I know that you can't change what you are. But you don't belong here anymore. STEFAN: Where do I belong? ZACH: I can't tell you what to do. But coming back here was a mistake. [History's class.] TEACHER: The battle of willow creek took place right at the end of the w*r in our very own Mystic Falls. How many casualties resulted in this battle? Ms. Bennett? BONNIE: Um...a lot? I'm not sure. Like a whole lot. TEACHER: Cute becomes dumb in an instant, Ms. Bennett. Mr. Donovan. Would you like to take this opportunity to overcome your embedded jock stereotype? MATT: It's ok, Mr Tanner, I'm cool with it. TANNER: Hmm. Elena? Surely you can enlighten us about one of the town's most significantly historical events? ELENA: I'm sorry, I-- I don't know. TANNER:I was willing to be lenient last year for obvious reasons, Elena. But the personal excuses ended with summer break. STEFAN: There were 346 casualties, Unless you're counting local civilians. TANNER: That's correct. Mister... STEFAN: Salvatore. TANNER: Salvatore. Any relation to the original settlers here at mystic falls? STEFAN: Distant. TANNER: Well, very good. Except, of course, there were no civilian casualties in this battle. STEFAN: Actually, there were 27, sir. Confederate soldiers, they fired on the church, believing it to be housing w*apon. They were wrong. It was a night of great loss. The founder's archives are, uh, stored in civil hall if you'd like to brush up on your facts. Mr. Tanner. TANNER: hmm. [Stefan arrives to the party.] ELENA: People look up to me. I have to set an example. BONNIE: Just admit it, Elena. ELENA: Oh, ok, so he's a little pretty. BONNIE: He has that romance novel stare. ELENA: Stefan looked deep into her eyes, piercing her very soul. CAROLINE: Hey! You made it! STEFAN: I did. CAROLINE: Well, let's get you a drink. STEFAN: Well, I'm-- CAROLINE: Oh, come on. BONNIE: So where is he? ELENA: I don't know. You tell me, you're the psychic one. BONNIE: Right, I forgot. Ok, so give me a sec. Grams says I have to concentrate. ELENA: Wait, you need a crystal ball. [She gives her a bottle. Bonnie takes it and touches Elena's hand.] BONNIE: Ahh. ELENA: What? BONNIE: That was weird. When I touched you, I saw a crow. ELENA: What? BONNIE: A crow. There was fog, a man. I'm drunk. It's the drinking. There's nothing psychic about it. Yeah? Ok, I'm gonna get a refill. [Bonnie leaves Elena alone.] ELENA: Ok. Bonnie! STEFAN: Hi. ELENA: Hi. STEFAN: I did it again, didn't it? ELENA: Yeah. STEFAN: I'm sorry. You're upset about something. ELENA: Oh, uh, no, it's Bonnie. She's... You know what? Never mind. You're...here. STEFAN: I'm here. ELENA: You know, you're kind of the talk of the town. STEFAN: Am I? ELENA: Mm-Hmm. Mysterious new guy, oh, yeah. STEFAN: Well, you have the mysterious thing going, too. Twinged in sadness. ELENA: What makes you think that I'm sad? STEFAN: Well, we did meet in a graveyard. ELENA: Right. Well, no, technically we met in the men's room. You don't want to know, it's... It's not exactly party chit-Chat. STEFAN: Well, I've never really been very good at, uh, Chit-chat. ELENA: Last spring... My parents' car drove off of a bridge into the lake. And I was in the backseat and I survived, but... They didn't. So that's my story. STEFAN: You won't be sad forever, Elena. [Vicki and Tyler in the forest.] VICKI: No, Ty. I'm not having sex against a tree. TYLER: Oh, come on, it would be hot. VICKI: For who? No, it's not going to happen. It's not going to happen, not here, not like this. No. I said no. I said no! Ow, that hurts! JEREMY: Hey, leave her alone. TYLER: You know, you're starting to get on my nerves, Gilbert. VICKI: Just go, Tyler, get the hell away from me. TYLER: Wow. Vicki donovan says no. That's a first. VICKI: I didn't need your help. JEREMY: It seems like you did. VICKI: He was just drunk. JEREMY: I'm drunk. Am I throwing myself at you? VICKI: No, you're worse. You want to talk to me, get to know me, see into my soul and screw and screw and screw until you're done with me. JEREMY: Is that what you think? VICKI: That's what I know. [Elena and Stefan, on a little bridge.] STEFAN: I like Bonnie, she seems like a good friend. ELENA: Best friend in the world. STEFAN: And Matt, he can't seem to, uh, take his eyes off of us. ELENA: Matt's that friend since childhood that you start dating because you owe it to yourselves to see if you can be more. STEFAN: And? ELENA: And then my parents died, and everything changes. Anyway, Matt and I, together we just, I don't know, It wasn't, um... It wasn't... STEFAN: Passionate. ELENA: No. No, it wasn't passionate... Hey, um, are you ok? Um, Your eye, it just, it's-- STEFAN: Oh, um... Yeah, no. It's, um, it's nothing. Um, are you thirsty? I'm gonna get us a drink. [Vicki is alone in the forest. She hears a noise.] VICKI: Jeremy? Is that you? Jeremy? The fog is everywhere around her. Someone att*ck her. [Elena waits Stefan.] MATT: Looking for someone? ELENA: Hey. MATT: When you broke up with me, you said it was because you needed some time alone. You don't look so alone to me. ELENA: Matt, you don't understand. It's-- MATT: That's ok, Elena. You do what you have to do. I just want to let you know that... I still believe in us. And I'm not giving up on that. ELENA: Matt... [Stefan comes back.] CAROLINE: Hey! There you are. Have you been down to the falls yet? Because they are really cool at night. And I can show you. If you want. STEFAN: I think you've had too much to drink. CAROLINE: Well, of course I have. So-- STEFAN: Caroline. You and me, it's not gonna happen. Sorry. ELENA: I was wondering who abducted you, but now I know. STEFAN: Is she like that with, uh, all the guys? ELENA: No. You're fresh meat. She'll back off eventually. Hmm. God, you gotta be kidding me! STEFAN: What is it? ELENA: My brother. STEFAN: The drunk one? ELENA: That would be the one. Excuse me. STEFAN: Need some help? ELENA: Trust me, you're not going to want to witness this. Jeremy! Jeremy! [She follows Jeremy in the forest.] ELENA: Jeremy, where the hell are you going? JEREMY: I don't want to hear it! ELENA: Yeah, well, too bad! [Jeremy falls on Vicki, who is hurt.] JEREMY: Vicki? No! Oh, my god, it's Vicki! ELENA: Oh, my god! JEREMY: No! [They return at the party, Vicki is in Jeremy's arms.] ELENA: Somebody help! MATT: Vicki? Vicki, what the hell?! TYLER: What happened to her? MATT: Somebody, call an ambulance! TYLER: Everybody back up, give her some space! ELENA: It's her neck. Something bit her. She's losing a lot of blood. SOMEONE: Put this on her neck. MATT: Vicki, Vicki, come on, open your eyes, look at me. [Stefan's house.] ZACH: What's going on? STEFAN: Someone else was att*cked tonight, Zach, and it wasn't me. [Stefan goes in his bedroom.] STEFAN: Damon. [A boy appears behind the window.] DAMON: Hello, brother. STEFAN: Crow's a bit much, don't you think? DAMON: Wait till you see what I can do with the fog. STEFAN: When'd you get here? DAMON: Well, I couldn't miss your first day at school. Your hair's different. I like it. STEFAN: It's been 15 years, Damon. DAMON: Thank god. I couldn't take another day of the nineties. That horrible grunge look? Did not suit you. Remember, Stefan, it's important to stay away from fads. STEFAN: Why are you here? DAMON: I miss my little brother. STEFAN: You hate small towns. It's boring. There's nothing for you to do. DAMON: I've managed to keep myself busy. STEFAN: You know, you left that girl alive tonight. That's very clumsy of you. DAMON: Ah. That can be a problem... for you. STEFAN: Why are you here now? DAMON: I could ask you the same question. However, I'm fairly certain your answer can be summed up all into one little word... Elena. [Elena watches Matt going in the Emergency's car with his sister.] BONNIE: Hey. We're gonna go mainline coffee, wait for news. ELENA: I gotta take Jeremy home. BONNIE: Elena, there's no way I'm psychic. I know that. But whatever I saw, or I think I saw, I have this feeling... ELENA: Bonnie, what? BONNIE: That it's just the beginning. [Stefan's bedroom.] DAMON: She took my breath away. Elena. She's a d*ad ringer for Katherine. Is it working, Stefan? Being around her, being in her world? Does it make you feel alive? STEFAN: She's not Katherine. DAMON: Well, let's hope not. We both know how that ended. Tell me something, when's the last time you had something stronger than a squirrel? STEFAN: I know what you're doing, Damon. It's not gonna work. DAMON: Yeah? Come on. Don't you crave a little? STEFAN: Stop it. DAMON: Let's do it. Together. I saw a couple girls out there. Or just, let's just cut to the chase, let's just go straight for Elena! STEFAN: Stop it! DAMON: Imagine what her blood tastes like! [Stefan's transformation starts.] DAMON: I can. STEFAN: I said stop! [They fall through the window.] DAMON: I was impressed. I give it a six. Missing style, but I was pleasantly surprised. Very good with the whole face--- thing. It was good. STEFAN: You know, it's all fun and games, Damon, huh? But wherever you go, people die. DAMON: That's a given. STEFAN: Not here. I won't allow it. DAMON: I take that as an invitation. STEFAN: Damon, please. After all these years, can't we just give it a rest? DAMON: I promised you an eternity of misery, so I'm just keeping my word. STEFAN: Just stay away from Elena. DAMON: Where's your ring? Oh, yeah, sun's coming up in a couple of hours, and, poof, ashes to ashes. Relax. It's right here. [Damon takes Stefan by his T-shirt and projected him against the wall.] DAMON: You should know better than to think you're stronger than me. You lost that fight when you stopped feeding on people. I wouldn't try it again. I think we woke Zach up. Hmm. Sorry, Zach. [Jeremy is drinking a beer. Elena arrives.] ELENA: You ok? I called Jenna, she's on her way. Those people in uniforms, last time I checked, they're the police. ELENA: People are going to stop giving you breaks, Jer. They just don't care anymore. They don't remember that our parents are d*ad, because they've got their own lives to deal with. The rest of the world has moved on. You should try, too. JEREMY: I've seen you in the cemetery writing in your diary. Is that--Is that supposed to be you moving on? ELENA: Mom and dad wouldn't have wanted this. [Caroline and Bonnie at Mystic Grill.] BONNIE: Are you sober yet? CAROLINE: No. BONNIE: Keep drinking. I gotta get you home. I gotta get me home. CAROLINE: Why didn't he go for me? You know, how come the guys that I want never want me? BONNIE: I'm not touching that. CAROLINE: I'm inappropriate. I always say the wrong thing. And... Elena always says the right thing. She doesn't even try! And he just picks her. And she's always the one that everyone picks, for everything. And I try so hard, and... I'm never the one. BONNIE: It's not a competition, Caroline. CAROLINE: Yeah, it is. [Matt is at the hospital. Vicky opens her eyes.] MATT: Vicki... Hey. Hey, it's ok. You're gonna be ok. VICKI: Matt-- MATT: Hey, don't try to talk, ok? You're fine. VICKI: Vampire. [Elena's house. / Stefan's house.] ELENA: Dear diary, I couldn't have been more wrong. I thought that I could smile, nod my way through it; pretend like it would all be ok. STEFAN: I had a plan. I wanted to change who I was; create a life as someone new, someone without the past. ELENA: Without the pain. ELENA & STEFAN: Someone alive. [Jeremy watches his parent's photography.] ELENA: But it's not that easy. The bad things stay with you. STEFAN: They follow you. [Caroline is lonely at the table. Damon looks at her.] STEFAN: You can't escape them, as much as you want to. [Damon smiles to Caroline.] ELENA: All you can do is be ready for the good. So when it comes, you invite it in, because you need it. I need it. [Elena sees Stefan across the window.] STEFAN: I know it's late. But, uh... I needed to know that you were ok. ELENA: You know, for months, that's all anyone's wondered about me. If I'll be ok. STEFAN: What do you tell them? ELENA: That I'll be fine. STEFAN: Do you ever mean it? ELENA: Ask me tomorrow. It's warmer in the house. We can talk. Would you like to come in? STEFAN: Yes. [Stefan enters in Elena's house.]

{"type": "series", "show": "The Vampire Diaries", "episode": "01x01 - Pilot"}

foreverdreaming

[A boy and a girl, in a tent, in a forest.] GIRL: Hey. Did you hear that? BOY: Hear what? GIRL: I heard thunder. BOY: There's no thunder. GIRL: Are you sure? Because if it rains, then we won't be able to see the comet. BOY: It's not gonna rain. Listen, i... Got you a little something. It's back in the car. Don't you move. GIRL: Stay dry. BOY: It's not gonna rain. She hears a noise. GIRL: I knew it! I told you it was gonna rain! The boy disappeared. She hears a noise and watches blood on the tent. She runs at the car. GIRL: Open! No! Please! Someone k*ll her. [Elena's bedroom. / Stefan's bedroom.] ELENA: Dear diary, this morning is... different. There is change. I can sense it, feel it. STEFAN: I'm awake. For the first time in a long time, I feel completely and undeniably wide awake. ELENA: For once, I don't regret the day before it begins. STEFAN: I welcome the day... STEFAN/ELENA: Because I know... STEFAN: I will see her again. ELENA: I will see him again. For the first time in a long time, I feel good. Elena goes out of her bedroom. JENNA: Do I look adult? As in respectfully parental? ELENA: Depends where you're going. JENNA: Jeremy's parent-teacher conference. Hair up or down? ELENA: Sexy stewardess. Boozy housewife. JENNA: Up it is. You're feisty today. ELENA: I feel good, which is rare. So I've decided to go with it. Fly free, walk on sunshine, and all that stuff. Where is Jeremy? JENNA: He left early. Something about getting to wood shop early to finish a birdhouse. There is no wood shop, is there? ELENA: No. JENNA: Yeah. [At the hospital. Vicki's bedroom.] NURSE: You can't be in here, hon. Visiting hours don't start till 9:00. JEREMY: I just... How is she? NURSE: She's lost a lot of blood. JEREMY: Yeah, but she's gonna be ok, right? NURSE: She needs her rest. So you come back later. Come on. [History's class.] TANNER: Originally discovered nearly 5 centuries ago, it hasn't been over Mystic Falls in over 145 years. Now, the comet will be its brightest right after dusk during tomorrow's celebration. Are we bothering you, Mr. Salvatore? Ms. Gilbert? [In the corridor.] STEFAN: I brought it. Told you. ELENA: "Wuthering Heights" by Ellis Bell. You know, I can't believe she didn't use her real name. STEFAN: All the Bronte sisters used pseudonyms. It was the time. Female writers weren't very accepted then. ELENA: Where did you get it? STEFAN: Uh, it was passed down. Through the family. ELENA: Ah. STEFAN: I have lots of books. Go ahead. Keep it. ELENA: Oh, no. I... But I would like to read it again. I promise I'll give it back. STEFAN: Ok. CAROLINE: I'm confused. Are you psychic or clairvoyant? BONNIE: Technically, grams says I'm a witch. My ancestors were these really cool Salem witch chicks or something.Grams tried to explain it all, but she was looped on the liquor so I kinda tuned out. Crazy family, yes. Witches? I don't think so. CAROLINE: Yeah, well, feel free to conjure up the name and number of that guy from last night. BONNIE: I didn't see him, you did. Why didn't you just talk to him? CAROLINE: I don't know. I was drunk. [Jeremy is going to see Tyler and his friends.] JEREMY: Hey, Tyler. Hey, I'm sorry to interrupt. I was just wondering how Vicki's doing, since you guys are so close. Is she ok? TYLER: She's fine. Now get out of here. JEREMY: How bad is she? Do they know what att*cked her? Is she going to make a full recovery? Was she happy to see you? What room number was she in? TYLER: I'm going to kick your ass. JEREMY: Yeah, you keep saying that, but when are you actually going to do it? Huh? 'Cause I vote for right here and right now. TYLER: Walk away, Gilbert. It's your final warning. JEREMY: No, this is your final warning, dick. I'm sick of watching you play Vicki. You hurt herne more time, I swear to God, I will k*ll you. TYLER: Damn, that was like a death thr*at. Did you hear that? [Matt and Elena talk about Vicki. Stefan sits on a table and listens to the conversation. ] MATT: They're keeping her overnight to make sure there's no infection, but she should be able to come home tomorrow. ELENA: That's good news. MATT: Yeah. ELENA: Did you get in touch with your mom? MATT: Called and left a message. She's in Virginia Beach with her boyfriend, so... we'll see how long it takes her to come rushing home. ELENA: Vicki's lucky that she's ok. MATT: I know, and now there's talk of some missing campers. ELENA: Did she say what kind of animal it was that att*cked her? MATT: She said it was a vampire. ELENA: What? MATT: Yeah, she wakes up last night and mutters "vampire" and then passes out. ELENA: Ok, that is weird. MATT: I think she was drunk. So what's up with you and the new guy? ELENA: Matt, the last thing that I want to do is hurt you. MATT: You know, I'm... I'm actually gonna go back to the hospital. I want to be there when Vickie wakes up, get the real story about last night. ELENA: Ok. Stefan disappeared. [Jenna with Mr Tanner.] TANNER: As Jeremy's teacher, I'm concerned. All right? It's the third day of school and he's skipped six of his classes. JENNA: Mr. Tanner, are you aware that Jeremy and Elena's parents died? TANNER: Four months ago, a great loss. Car accident. Wickery bridge, if I remember correctly. And you're related to the family how? The, uh, mother's kid sister? JENNA: Younger sister. TANNER: Right. JENNA: Yes. Six classes? Are you sure? I mean, that's kind of hard to do. TANNER: Not when you're on drugs. It's his attempt at coping, Ms. Summers. And the signs are there. He's moody, withdrawn, argumentative, hungover. Are there any other relatives in the picture? JENNA: I'm their sole guardian. TANNER: Uh-huh. Could there be? JENNA: What are you suggesting, exactly? TANNER: It's an impossible job, isn't it, raising two teens? JENNA: It's been tough, but, no, it's not. TANNER: Wrong answer. It is an extremely impossible job, and anything less and you're not doing it properly. [Matt at the hospital.] MATT: Whoa! Vick. Vicki, hey. Vick, it's Matt. Hey, what's wrong? VICKI: No! No! Get off! No! No! No! Matt is going to search doctors. Stefan enters. STEFAN: It was an animal that att*cked you. It came out of the night and jumped you. You blacked out. It's all you remember. VICKI: It's all I remember. STEFAN: An animal att*cked you. You blacked out. It's all you remember. It's all I remember. MATT: Nurse! I need help! It's my sister. NURSE: She seems fine. Vicki is sleeping. Matt believes to see Stefan, he follows him but doesn't find him. [The girls sit outside.] BONNIE: Well, I was talking to grams, and she said the comet is a sign of impending doom. The last time it passed over Mystic Falls, there was lots of death. So much blood and carnage, it created a bed of paranormal activity. CAROLINE: Yeah, and then you poured grams another sh*t and she told you about the aliens. So then what? ELENA: So then nothing. CAROLINE: You and Stefan talked all night? There was no sloppy first kiss or touchy feely of any kind? ELENA: Nope. We didn't go there. CAROLINE: Not even a handshake? I mean, Elena, we are your friends. Ok? You are supposed to share the smut. ELENA: We just talked for hours. CAROLINE: Ok, what is with the blockage? Just jump his bones already! Ok, it's easy. Boy likes girl, girl likes boy, sex. ELENA: Profound. BONNIE: Where are you going? ELENA: Caroline's right. It is easy. If I sit here long enough, I'll end up talking myself out of it instead of doing what I started the day saying I was going to do. [Elena's house.] JENNA: I picked up dinner. Tacos. I had an urge for guacamole. JEREMY: No, I'm good, thanks. JENNA: Eat anyway. It's a ruse. I want to talk. Hey, you! Come. Sit. Back in school, freshman year, I could eat my weight in nachos, with extra cheese. It was my munchie food whenever I got stoned. JEREMY: You get high? JENNA: Did. Past tense. But, yeah. Loved it. Anything to get a little distraction from life... reality. And it worked. For a while. Never lasts, though. Hey, I'm not saying I wouldn't love to rail back and kick it, but with a thesis looming and a waistline expanding... Jeremy is going. [Matt is sleeping on a chair. Vicki is woken. She throws an apple on Matt.] MATT: What the... VICKI: Finally you're awake. MATT: Hey. How are you feeling? You look better. I was worried before. You really had me freaked out with all that screaming. VICKI: Wait, what are you talking about? MATT: You don't remember? VICKI: I feel fine. MATT: Good, good. Doctor said you could come home tomorrow. Vick, what att*cked you in the woods? VICKI: An animal. What else could it have been? Jeremy arrives. JEREMY: Hey. How do you feel? VICKI: I'm ok. MATT: I... I'm gonna... I'm gonna go grab a coffee. Hey, Jer. VICKI: Why are you here? JEREMY: I just wanted to see how you were doing. VICKI: Did you see that look on Matt's face? That was suspicion. I don't want people to find out about us, Jeremy. JEREMY: Well, you gotta get over that. VICKI: Tyler is finally showing some interest. JEREMY: You have to get over that, too. Do you see Mr. Concerned? Tyler? Are you under there? No. VICKI: It's not cool for people to know. Ok? I'm older than you, and Matt and Elena would freak. JEREMY: No one's going to suspect anything. Why wouldn't I check on you? I mean, I'm the one who found you. VICKI: You are? JEREMY: Yeah, I carried you out of the woods. VICKI: Thank you. JEREMY: Yeah, you're welcome. [Elena arrives to Stefan's house. The door is open, she enters.] ELENA: Stefan? Stefan? Damon suddenly appears in front of her. ELENA: I... I'm sorry for barging in. The door was... Open. DAMON: You must be Elena. I'm Damon, Stefan's brother. ELENA: He didn't tell me he had a brother. DAMON: Well, Stefan's not one to brag. Please, come. I'm sure Stefan will be along any second. ELENA: Wow. This is your living room? DAMON: Living room, parlor, Sotheby's auction. It's a little kitschy for my taste. I see why my brother's so smitten. It's about time. For a while there, I never thought he'd get over the last one. Nearly destroyed him. ELENA: The last one? DAMON: Yeah. Katherine, his girlfriend? Oh, you two haven't had the awkward exes conversation yet. ELENA: Nope. DAMON: Oops. Well, I'm sure it'll come up now. Or maybe he didn't want to tell you because he didn't want you to think he was on the rebound. We all know how those relationships end. ELENA: You say it like every relationship is doomed to end. DAMON: I'm a fatalist. Hello, Stefan. STEFAN: Elena. I didn't know you were coming over. ELENA: I know. I should have called, I just... DAMON: Oh, don't be silly. You're welcome any time. Isn't she, Stefan? You know, I should break out the family photo albums or some home movies. But... I have to warn you. He wasn't always such a looker. STEFAN: Thank you for stopping by, Elena. Nice to see you. ELENA: Yeah, I should probably go. It was nice to meet you, Damon. DAMON: Great meeting you, too, Elena. ELENA: Stefan? Stefan? Elena leaves the house. DAMON: Great gal. Whoo. She's got spunk. You, on the other hand, look pooped. Did you over-exert yourself today? Let me guess... hospital. STEFAN: Someone had to clean up your mess. DAMON: Well, were you successful? Did the powers of persuasion work? Remember, if you don't feed properly, none of those little tricks work right. STEFAN: How long was Elena here? DAMON: Were you worried, Stefan? Scared we may be doomed to repeat the past? Isn't that why you play your little game, "I'm a high school human"? STEFAN: I'm not playing any game. DAMON: Of course you are. We both know the closest you'll ever get to humanity is when you rip it open and feed on it. STEFAN: What kind of game are you playing... Damon? DAMON: Guess you'll just have to wait and see, won't you? [Elena's house.] ELENA: He's on the rebound and has raging family issues. JENNA: Well, at least it's an ex-girlfriend. Wait till you date a guy with mommy issues or cheating issues. Or amphetamine issues. Jeremy? Jeremy, where were you? JEREMY: More stoner stories? Look, Jenna, I get it, you were cool. And so that's... that's cool. JENNA: Oh, no, no, no! Jenna throws an apple on Jeremy. JEREMY: Ow! Why? Why... why did you do that? JENNA: Listen up! Quit ditching class or you're grounded. No discussion. JEREMY: Parental authority, I like it. Sleep tight. [Vicki at the hopsital. Matt is sleeping. She's going to the bathroom. She believes to see Damon. ] VICKI: Matt. Mattie? It's not Matt but Damon. In fact, it's just a nightmare. [In the street of Mystic Fall. Bonnie and Elena distribute The night of the comet's progam.] BONNIE: Tonight, night of the comet. ELENA: Would you like a program? BONNIE: He didn't call, huh? ELENA: Or text. But I realized we never even exchanged that stuff. We've never gotten to the texting part. BONNIE: That's an important milestone in any relationship. ELENA: Isn't it? The timing is wrong, anyway. BONNIE: When is it ever right? ELENA: I'm not ready, Bonnie. BONNIE: Who is? ELENA: At least I put myself out there. BONNIE: Is that what you're calling it? ELENA: What do you mean? BONNIE: All I'm hearing is reasons why you can't. Caroline believes to see Damon but when she approaches there is anybody. [Stefan's house.] ZACH: What is Damon doing here? Why did he come home? STEFAN: 'Cause I came home. He wants to make my life miserable. That's how he enjoys his. ZACH: Well, he's putting us all at risk. This girl in the hospital could talk. STEFAN: She won't. I took care of her. ZACH: You're sure? STEFAN: I'm not sure, Zach. I don't know how well it worked. I'm not as strong as Damon. ZACH: So what happens if it doesn't work? STEFAN: I don't know. I'll deal with it. ZACH: Is she worth it? Uncle Stefan, this girl you came back for. [At the Grill.] JEREMY: Vicki, what are you doing here? VICKI: Fighting with Robert about my schedule. You'd think getting ripped up by a rabid animal would merit an extra sick day. JEREMY: Are you feeling ok? VICKI: I hurt. JEREMY: Well, the doctor gave you something, right? VICKI: The kid stuff. Nothing with an "o" in it. I think they were onto me. JEREMY: Here. Knock yourself out, literally. VICKI: Thanks, Jer. JEREMY: So you gonna, uh, watch the comet later? VICKI: I hadn't really thought about it. But I could be talked into it. I'll meet you out there in a few. TYLER: Hey, Vick. How you feeling? VICKI: Like you care. TYLER: What are you lookin' at, Gilbert? [Behind the Grill.] CAROLINE: Hey, I got some candles. ELENA: Hi. Hey. MATT: Hey. ELENA: Thank you. MATT: You're welcome. STEFAN: Thank you. STEFAN: Hi. ELENA: Hi. STEFAN: You know, that comet... it's been traveling across space for thousands of years. All alone. ELENA: Yeah, Bonnie says it's a harbinger of evil. STEFAN: I think it's just a ball of... snow and ice, trapped on a path that it can't escape. And once every 145 years, it gets to come home. I'm sorry about yesterday. I wasn't myself. ELENA: You seem to spend a lot of time apologizing. STEFAN: Well, I have a lot to apologize for. Yesterday, that wasn't about you, ok? ELENA: You didn't tell me that you had a brother. STEFAN: We're not close. It's, uh... it's complicated. ELENA: Always. He told me about your ex, Katherine. STEFAN: What did he say? ELENA: That she broke your heart. STEFAN: That was a long time ago. ELENA: When you lose someone, it stays with you, always reminding you of how easy it is to get hurt. STEFAN: Elena... ELENA: It's ok, Stefan. I get it. You have no idea how much I get it. Complicated brother? Check. Complicated ex? Check. Too complicated to even contemplate dating, double check. It's ok. We met, and we talked, and it was epic, but... then the sun came up and reality set in so... She's going. [At the Grill. Vicki sees Damon.] VICKI: I know you. DAMON: Well, that's unfortunate. VICKI: Um... I don't... I don't know how, but... your face. Excuse me. Sorry. She's going at the toilets. In the mirror, she sees Damon. She shout. JEREMY: Hey, has anyone seen Vickie? TYLER: You're her stalker. You tell us. JEREMY: I can't find her. TYLER: She probably found somebody else to party with. Sorry, pill pusher, I guess you've been replaced. ELENA: What's with the pill pusher? TYLER: Ask him. JEREMY: You wanna do this right now? ELENA: Are you dealing? TYLER: She's never gonna go for you. JEREMY: She already did. Over and over and over again. TYLER: Yeah, right. CAROLINE: You slept with Vickie Donovan? I mean, Vickie Donovan slept with you? TYLER: There's no way. JEREMY: And I didn't even have to force her into it. MATT: What the hell is he talking about, Todd? TYLER: Nothing, man, just ignore him, he's a punk. MATT: You know what, how about all of you shut up and help me find my sister? BONNIE: We'll check the back. MATT: I'll check the square. JEREMY: I'll come with you. ELENA: Oh, no, no, no. You are coming with me. So that's your game now, dealing? JEREMY: I'm not dealing. ELENA: Look, I'm sick of the tough love speech, Jer. It's really having no impact. JEREMY: You and Jenna, between the two of you... ELENA: We can stop if you want. Send you to a therapist where you'll be forced to deal with it or to rehab where you'll sit in group and tell some stranger how you let your life fall apart. Or you could talk to me. JEREMY: I vote for none of the above. In the street. MATT: Hey. STEFAN: Hey. MATT: Have you seen my sister? STEFAN: No, sorry. MATT: I can't find her. She's missing. STEFAN: I'll keep an eye out for her. MATT: Hey. I saw you at the hospital yesterday. STEFAN: Did you? MATT: What were you doing there? STEFAN: Visiting. MATT: Visiting? You know, Elena and I, we've known each other for a long time. We might not be together right now, but I look out for her. And I'll always look out for her. Stefan hears voices coming from the roof. DAMON: You really have to stop screaming. VICKI: No, please, stop. Don't... Shh. I got you. STEFAN: Excuse me. Stefan sees Damon and Vicki. He jumps on the roof. VICKI: No! No! DAMON: I gotta do it. I'm not gonna drop you. Not bad. Have you been eating bunnies? STEFAN: Let her go. DAMON: Shh. really? Ok. VICKI: No! No, no, no! DAMON: Uhh! Relax. VICKI: What's happening? DAMON: I don't need her to be d*ad, but... you might. What att*cked you the other night? VICKI: I don't know. An animal. DAMON: Are you sure about that? Think. Think about it. Think really hard. What att*cked you? VICKI: A vampire. DAMON: Who did this to you? VICKI: You did! DAMON: Wrong! STEFAN: Don't. DAMON: It was Stefan. STEFAN: Don't. DAMON: Come here. Stefan Salvatore did this to you. VICKI: Stefan Salvatore did this to me. DAMON: He's a vampire. A vicious, m*rder monster. STEFAN: Please, Damon. Please don't do this. DAMON: If you couldn't fix it before, I don't know what you can do now. VICKI: Aah! DAMON: Uhh! Your choice of lifestyle has made you weak. A couple of vampire parlor tricks is nothing compared to the power that you cod have, that you now need. But you can change that. Human blood gives you that. VICKI: No! DAMON: You have two choices. You can feed and make her forget. Or you can let her run, screaming "vampire" through the town square. STEFAN: That's what this is about? You want to expose me? DAMON: No! I want you to remember who you are! STEFAN: Why? So what, so I'll feed? So I'll k*ll? So I'll remember what it's like to be brothers again? You know what, let her go. Let her tell everyone that vampires have returned to Mystic Falls. Let them chain me up, and let them drive a stake through my heart, because at least I'll be free of you. DAMON: Huh. Huh. Wow. Come here, sweetheart. VICKI: No! DAMON: It's ok. VICKI: What happened? Where am I? Oh, I ripped my stitches open. Ah... STEFAN: You ok? VICKI: I took some pills, man. I'm good. DAMON: It's good to be home. Think I might stay a while. This town could use a bit of a wake-up call, don't you think? STEFAN: What are you up to, Damon? DAMON: That's for me to know and for you to... dot dot dot. Give Elena my best. [At the Grill.] MATT: She said you found her wandering around. STEFAN: Yeah. MATT: So, um, thanks. CAROLINE: Uhh, it's just so much drama. Ever notice how the druggies are the biggest attention whores? BONNIE: Yeah. STEFAN: Excuse me. hi. BONNIE: Hi. STEFAN: Um, have you guys seen Elena? BONNIE: I think she went home. I'm gonna give you Elena's cell number and her email. She is big on texting, and you can tell her... "I said so". STEFAN: Thank you. The hands contact and Bonnie has a vision. STEFAN: You ok? BONNIE: What happened to you? That's so rude. I'm sorry. Excuse me. CAROLINE: Yeah, she kind of wigs out. It's like her thing. [Elena's house. Jeremy's bedroom.] ELENA: Jer? JENNA: No, it's me, the hypocrite patrol. ELENA: What are you doing? JENNA: I've become my worst nightmare. The authority figure who has to violate a 15-year-old's privacy. Jackpot. I see the hiding places ven't gotten any more creative. ELENA: What brought this on? JENNA: Your ass-hat of a history teacher shamed me good yesterday. ELENA: You got tannered. Been there. JENNA: "Discover the impossible, Ms. Summers." Got it. Thanks. Like I didn't know I was screwing up. ELENA: You're not screwing up, aunt Jenna. JENNA: Yes, I am. You know why? Because I'm not her. She made everything look so easy. You know, high school, marriage, having you. I can't do it. I'm gonna say or do the wrong thing, and he's gonna get worse, and it's gonna be my fault. It's impossible. ELENA: This is just the fear talking. You're a little scared, that's all. We all are. I have to go do something. But are you going to be ok? [At the Grill. Vicki and Tyler are kissing, Jeremy watches the scene.] [Caroline on the car park. She hears noises.] CAROLINE: Oh... whoo. DAMON: Sorry. Didn't mean to scare you. CAROLINE: No, it's fine. Um... I was hoping I'd see you again. DAMON: I know. CAROLINE: Cocky much? DAMON: Very much. [Stefan's house.] STEFAN: Hi. ELENA: Hey. STEFAN: Would you like to come in? ELENA: The comet's actually this way. Sorry for barging in. Especially after earlier. STEFAN: No, no. I'm glad you're here. The way we left things... I didn't like it. ELENA: See, the thing is, I got home tonight planning on doing what I always do, write in my diary, like I have been since my mom gave me one when I was 10. It's where I get everything out, everything I'm feeling. It all goes in this little book that I hide on the second shelf behind this really hideous ceramic mermaid. But then I realized that I'd just be writing things that I should probably be telling you. STEFAN: What would you write? ELENA: I would write... "Dear diary, today I convinced myself it was ok to give up. Don't take risks. Stick with the status quo. No drama, now is just not the time. But my reasons aren't reasons, they're excuses. All I'm doing is hiding from the truth, and the truth is that..." I'm scared, Stefan. I'm scared that if I let myself be happy for even one moment that... the world's just going to come crashing down, and I... I don't know if I can survive that. STEFAN: Do you want to know what I would write? "I met a girl. We talked. It was epic. But then the sun came up and reality set in. Well, this is reality.Right here." They kiss each other. [Damon and Caroline are having sex. Damon bites her.] CAROLINE: Aah!

{"type": "series", "show": "The Vampire Diaries", "episode": "01x02 - Night of the comet"}

foreverdreaming

[Caroline wakes up. Her blow is covered with blood. Damon sleeps in her bed. She gets up and tries to leave the room, but Damon wakes up too.] DAMON: Good morning. CAROLINE: Please... Don't. DAMON: Don't do that. Ah, ah, ah. CAROLINE: No! No! No! Get away from me! No! DAMON: This could have gone a completely different way. [Front of the school.] BONNIE: I'm not saying don't date the guy. I'm just saying take it slow. ELENA: You were the one who said to go for it. BONNIE: Now I'm saying take it slow. ELENA: Why the about-face? BONNIE: It's not an about-face. You're single for the first time in your entire high school career. It's the perfect time to play the field. ELENA: Oh, because I'm so that girl. Seriously, what are you not saying? BONNIE: It's stupid. ELENA: Bonnie... BONNIE: What? ELENA: Spit it out. BONNIE: I accidentally touched Stefan. And got a really bad feeling. ELENA: Is that it? Bonnie. BONNIE: It was bad bad! ELENA: Is the whole witch mojo thing again? BONNIE: You know what? I'm just concerned. This is me expressing concern about my best friend's new boyfriend. ELENA: And I love you for it, I do. But I feel good. It's been a hard year, and I'm starting to kind of feel like things are getting back to normal again. And you know what? Stefan is a big part of that. VICKI: I rock. I scored 2 tickets to the Posers Saturday night. They're playing at the Rat. JEREMY: You and Tyler have fun. VICKI: Don't be like that. Come on. I want you to go. JEREMY: You're not worried everyone's going to know you're screwing the stoner geek? Oh, wait... everyone already knows. VICKI: Yeah. But it's not like that anymore, so now we can be friends and just hang. JEREMY: Tell me something, was it the drugs? Were you sleeping with me because of the drugs? VICKI: Screw you. JEREMY: No, if there's another reason, please, I'm all ears. STEFAN: Good morning, Elena. Good morning, Bonnie. BONNIE: Hey, um, I gotta find Caroline. She's not answering her phone. So I'll see you guys later. ELENA: Bonnie, wait... STEFAN: She doesn't like me very much. ELENA: She doesn't know you. She's my best friend. She's just looking out for me. But when she does, she will love you. TYLER: Look... there's Elena and her new boyfriend. Now, what are they doing? Oh, they're walking, walking, walking. Yep. Right into the sunset. MATT: You're a dick. TYLER: While you just stand there looking like one of those little yard trolls. MATT: Gnomes. ELENA: Here's what we're going to do. Are you free tonight? STEFAN: Yes. ELENA: Perfect. Dinner, my house. 8:00. You, me, and Bonnie. You two will spend some quality time and she'll get to see what a great guy you are. Mission accomplished. MATT: Hey, what am I supposed to do, Ty? She made her choice. TYLER: Let her know she made the wrong one. MATT: What are you doing? Ty, don't. Ty, don't! Ty! Don't! Tyler throws the ball on Stefan, but Stefan catches it with an impresionnante speed. He throws the ball to Tyler who moves back under the shock. ELENA: That throw was insane. I didn't know you played football. STEFAN: I used to. It was a long time ago. ELENA: So why don't you try out for the team? STEFAN: Yeah, I don't think so. ELENA: So you don't like football? STEFAN: No, I love football. I think it's a great sport. But in this case, I don't think football likes me. You saw Tyler over there, and we both know how Matt feels. ELENA: They don't know you. To them, you're mysterious loner guy. Wouldn't hurt to be part of. Make some friends. STEFAN: Says the girl who spends her alone time writing in a cemetery. ELENA: Hey, come on. There's more to me than just gloomy graveyard girl. There's a whole other Elena that you have yet to meet. She was into everything, very busy. STEFAN: Well, I look forward to meeting her. And when will that be? ELENA: Soon. She's working on it. [In History's class. Bonnie is writing numbers on her book. "8", "14", "22".] TANNER: World w*r II ended in... Anyone got anything? Miss Juan? 1945. ELENA: Psst. Fyi... Our team sucks. They could use you. STEFAN: Can't. TANNER: Pearl Harbor. STEFAN: I'm a loner. TANNER: Miss Gilbert? ELENA: Hmm? Pearl Harbor? TANNER: Um... STEFAN: December 7, 1941. TANNER: Thank you, Miss Gilbert. STEFAN: Anytime. TANNER: Very well. The fall of the Berlin wall. STEFAN: 1989. I'm good with dates, sir. TANNER: Are you? How good? Keep it to the year. Civil Rights Act. STEFAN: 1964. TANNER: John F. Kennedy assassination. STEFAN: 1963. TANNER: Martin luther King. STEFAN: '68. TANNER: Lincoln. STEFAN: 1865. TANNER: Roe vs. Wade. STEFAN: 1973. TANNER: Brown vs. Board. STEFAN: 1954. TANNER: The battle of Gettysburg. STEFAN: 1863. TANNER: Korean w*r. STEFAN: 1950 to 1953. TANNER: Ha! It ended in '52. STEFAN: Uh, actually, sir, it was '53. TANNER: Look it up, somebody. Quickly. STUDENT: It was 19... 53. ELENA: How did you know all of that? STEFAN: Years and years of crossword puzzles. It's a loner thing. [The Soccer field. Stefn looks the team. Elena is with the cheerleaders.] MATT: Nice job! Nice job! TANNER: Mr. Lockwood, is there anything you're good at? 'Cause it isn't history, and it sure as hell isn't defending the ball! TYLER: Yes, coach. TANNER: Now do it again! BONNIE: Oh, my God! You're here! ELENA: Yep. I can't be sad girl forever. The only way to get things back to the way they were are to do things that were. Oh, and you're coming to dinner tonight. BONNIE: I am? ELENA: Mm-hmm. You, me and Stefan. You have to give him a chance. BONNIE: Tonight's no good. Have you seen Caroline? I texted her like a hundred times. ELENA: Don't change the subject, Bonnie Bennett. You're going to be there. BONNIE: Fine. I'll go. ELENA: Good. TANNER: Varsity trials were last spring, Mr. Salvatore. STEFAN: I wasn't here then, sir. TANNER: And you're not here now, as far as I'm concerned. STEFAN: Mr. Tanner, I realize that you and I didn't get off to the best start, And I want to apologize for that. I've played football before. Wide receiver, mostly, and I'm pretty good. TANNER: Well, I won't be asking you who won the super bowl in '71. STEFAN: '71 was the... Sorry. I... I understand that, sir. TANNER: Just to see you get knocked on your ass. Borrow some gear. Go! Before I change my mind. Let's run it again! MATT: First my girlfriend, now the team? TYLER: Dude, this is an opportunity. Football's a contact sport. Sometimes people get hurt. Whoo! Ha ha! BONNIE: Seriously, where is Caroline? ELENA: I don't know. It's not like her. Try her again. Caroline arrives in Damon's car. ELENA: Uh... BONNIE: Oh, my God. That must be the mystery guy from the grill. ELENA: That's not a mystery guy. That's Damon Salvatore. BONNIE: Salvatore, as in Stefan? CAROLINE: I got the other brother. Hope you don't mind. Sorry I'm late, girls. I, uh, was busy. All right, let's start with the double pike herkey hurdler, what do you say? And 5, 6, 7, 8. 1, 2, 3, 4, 5, 6, 7, 8. 1, 2, 3, 4, 5, 6, 7, 8. Elena, sweetie, why don't you just observe today? Ok? Keep going! Ok. Do it again from the top. And 5, 6, 7, 8. 1, 2, 3, 4, 5, 6, 7, 8. MATT: Blue lady! Blue lady! Set, hut! Go! Come on, Tyler, cover it! Let's do it. TANNER: Get it. MATT: Line up! MATT: I hate to say it, but he's got skills. TYLER: I think he needs a buddy pass. MATT: Really? You don't get to walk on the field and act like you own the place after 5 minutes. TYLER: Just hang one up there and I'll take care of the rest. TANNER: Do it again. MATT: All right, let's huddle up. Set, hut! TYLER: Oh! Whoo! Welcome to the team, buddy. TANNER: You gonna live, Salvatore? STEFAN: Yeah. TANNER: Walk it off, son. MATT: Hey. That was my bad. STEFAN: It's all right. MATT: Hey. TANNER: All right. [Stefan's bedroom.] DAMON: How were tryouts? Did you make the team? Very Emerson, the way you reveal your soul with so many... Adjectives. STEFAN: What are you doing here? DAMON: I've come to apologize. I've been doing some thinking, some soul searching, and... I want us to start over. We need to put the past behind us. You're my little brother, and if you want to live a normal, happy human life, then I want that for you. Maybe I can do it, too. That I can learn to be a non-living living person. Maybe there's hope for both of us. STEFAN: You know, it doesn't have to be this way, Damon. DAMON: Of course it doesn't. I saw Elena today, btw. That means "by the way." She was at cheerleading practice. She looked so perky in her little short shorts. Just... simmer down, I didn't even go near her. I've got my own cheerleader now. Ooh, that reminds me... I gotta run. I have a date. Sweaty palms. Wish me luck. [Elena's kitchen.] BONNIE: You explain it. Last night, I'm watching Nine-o, a commercial breaks come on and I'm like, I bet it's that phone commercial. And sure enough, it's that guy and the girl with the bench, he flies to Paris and he flies back. They take a picture. ELENA: Oh, come on. That commercial's on a constant loop. BONNIE: Fine. Well, how about this? Today I'm obsessed with numbers. 3 numbers. I keep seeing 8, 14, and 22. How weird is that? ELENA: Maybe we should play the lottery. Have you talked to your grams? BONNIE: She's just gonna say it's because I'm a witch. I don't want to be a witch. Do you want to be a witch? ELENA: I don't want to be a witch. BONNIE: And putting it in a nice bowl isn't fooling anybody. ELENA: Ok, serving spoons. Where are the serving spoons? BONNIE: Little drawer on your left. ELENA: Ok, so you've been in this kitchen like a thousand times. BONNIE: Yeah, that's it. They hear the doorbell. ELENA: Ok, he's here. Don't be nervous. Just be your normal loving self. Bonnie stays alone in the kitchen. BONNIE: Birthday candles. She opens a drawer and find the candles [Elena's living room.] ELENA: Did Tanner give you a hard time today? STEFAN: Well, he let me on the team, so I must have done something right. ELENA: Bonnie, you should have seen Stefan today. Tyler threw a ball right at him, and... BONNIE: Yeah, I heard. ELENA: Why don't you tell Stefan about your family? BONNIE: Um, divorced. No mom. Live with my dad. Hmm. ELENA: No, about the witches. Bonnie's family has a lineage of witches. It's really cool. BONNIE: Cool isn't the word I'd use. STEFAN: Well, it's certainly interesting. I'm not too versed, but I do know that there's a history of celtic druids that migrated here in the 1800s. BONNIE: My family came by way of Salem. STEFAN: Really? Salem witches? BONNIE: Yeah. STEFAN: I would say that's pretty cool. BONNIE: Really? Why? STEFAN: Salem witches are heroic examples of individualism and nonconformity. BONNIE: Yeah, they are. They hear the doorbelln, again. ELENA: I wonder who that could be. CAROLINE: Surprise! Bonnie said you were doing dinner, so we brought dessert. ELENA: Oh. DAMON: Hope you don't mind. STEFAN: What are you doing here? DAMON: Waiting for Elena to invite me in. ELENA: Oh, yeah, you can... STEFAN: No, no, no. He can't, uh... he can't stay. Can you, Damon? CAROLINE: Get in here. STEFAN: We're just... finishing up. ELENA: It's fine. Just come on in. DAMON: You have a beautiful home, Elena. ELENA: Thank you. CAROLINE: I cannot believe that Mr. Tanner let you on the team. Tyler must be ceiling. But good for you. Go for it. DAMON: That's what I always tell him. You have to engage. You can't just sit there and wait for life to come to you. You have to go get it. CAROLINE: Yeah, Elena wasn't so lucky today. It's only because you missed summer camp. God, I don't know how you're ever going to learn the routines. BONNIE: I'll work with her. She'll get it. CAROLINE: I guess we can put her in the back. DAMON: You know, you don't seem like the cheerleader type, Elena. CAROLINE: Oh, it's just 'cause her parents died. Yeah, I mean, she's just totally going through a blah phase. She used to be way more fun. And I say that with complete sensitivity. DAMON: I'm sorry, Elena. I know what it's like to lose both your parents. In fact, Stefan and I have watched almost every single person we've ever cared about die. STEFAN: We don't need to get into that right now, Damon. DAMON: Oh, you know what, you're right, Stef. I'm sorry. The last thing I wanted to do was bring her up. Mmm. [At the grill.] VICKI: Don't do that. Not while I'm working. I'll see you later. TYLER: I'll be right back. MATT: She's my sister and I love her, but sometimes she can really make you work for it. JEREMY: I find it pretty easy. JERMEY: All right, I get it. Hitting me to impress her. That's... That's real nice. TYLER: I don't need to impress her. I already won. Now you're d*ad. JEREMY: Am I? 'Cause it seems like I'm standing here waiting for you to man up. MATT: Ty, don't! TYLER: The next time I see you, Gilbert... JEREMY: No, next time I see you. MATT: What are you doin', Vick? [Elena's kitchen.] DAMON: One more. ELENA: Oh, thank you. Nice save. DAMON: I like you. You know how to laugh. And you make Stefan smile, which is something I haven't seen in a very long time. ELENA: Earlier, did you mean... Katherine? DAMON: Mm-hmm. ELENA: How did she die? DAMON: In a f*re. Tragic f*re. ELENA: Recently? DAMON: Well, it seems like it was yesterday. ELENA: What was she like? DAMON: She was beautiful. A lot like you in that department. She was just very complicated and selfish and at times not very kind, but very sexy and seductive. ELENA: So which one of you dated her first? DAMON: Nicely deduced. Ask Stefan. I'm sure his answer differs from mine. I'd quit cheerleading if I were you. ELENA: Why do you say that? DAMON: Oh, I saw you at practice. You looked miserable. ELENA: You saw that? DAMON: Uh-huh. ELENA: I used to love it. It was fun. Things are different this year. Everything that used to matter doesn't anymore. DAMON: So don't let it. Quit, move on. Problem solved. Ta-da. ELENA: Some things could matter again. DAMON: Maybe. But... seems a little unrealistic to me. ELENA: I'm sorry. About Katherine. You lost her, too. BONNIE: Hey. Need some help? DAMON: Sure, why not? [Elena's living room.] CAROLINE: Matt tries, but he's just having a really hard time. You have to understand that they were each other's first. You know, like, from the sandbox. STEFAN: That's a really nice scarf. CAROLINE: Mm. Thank you, it's new. STEFAN: Can I see it? I mean, would you mind taking it off? CAROLINE: Oh, I can't. STEFAN: Why not? You ok? CAROLINE: Um... All I know is that I can't take it off. DAMON: What are you two kids talking about? STEFAN: I was just commenting on her scarf. DAMON: Hmm. Hey, you know, um, Elena and Bonnie are finishing up the dishes. Why don't you go see if you can help? CAROLINE: Does it look like I do dishes? DAMON: For me? CAROLINE: Hmm... I don't think so. DAMON: Go see if Elena needs help in the kitchen. CAROLINE: You know what? I'm gonna go see if Elena needs some help in the kitchen. DAMON: Great. STEFAN: They are people, Damon. She's not a puppet. She doesn't exist for your amusement, for you to feed on whenever you want to. DAMON: Sure she does. They all do. They're whatever I want them to be. They're mine for the taking. STEFAN: All right, you've had your fun. You used Caroline, you got to me and Elena, good for you. Now it's time for you to go. DAMON: That's not a problem. Because... I've been invited in, and I'll come back tomorrow night and the following night and I'll do with your little cheerleader whatever I want to do. Because that is what is normal to me. [Elena's bedroom.] ELENA: Tonight wasn't so bad. I had fun. STEFAN: Hmm. That makes one of us. ELENA: Come on. Your brother isn't as bad as you make him out to be... Stefan kisses her. When he removes his shirt, he turns into Damon. Elena screams. She wakes up, it was a nightmare. There was a crow at the window [Stefan's bedroom. He is writing on his diarie.] STEFAN: There must be a shred of humanity left inside my brother. Somewhere. I keep hoping. But how do I make him see it? And how do I protect her? [Later. The Soccer game.] ELENA: Ooh. Look at you. You look hot in your jersey. STEFAN: What happened? No more cheerleader? ELENA: I quit. I'm a quitter. STEFAN: No, hey, you're not a quitter. You suffered a great loss. You're not the same person. You should be looking ahead. You should be starting over. Ok? I hope you don't think this is too soon or too weird, but... I, uh, I wanted you to have this. ELENA: Oh, my God, it's beautiful. STEFAN: It's something that I've had forever, and, uh, I've never wanted to give it to anyone until now. I'd very much like it if you'd wear it for me, for... good luck. ELENA: Is that rose that I smell? STEFAN: No, it's, uh... it's an herb. It's nice, huh? ELENA: I love it. STEFAN: And, uh, I wanted to thank you for pushing me to try out for the team. It feels really good. ELENA: We're a pair. I quit, you start. STEFAN: Right. We're a work in progress. We'll figure it out. Elena kisses him. CAROLINE: And you're not in uniform because... [Later.] TANNER: Wait, wait, wait, Wait, wait, wait, wait, wait, wait, wait. Wait. Let's be honest here. In the past, we used to let other teams come into our town and roll right over us! But that is about to change. We've got some great new talent tonight starting on the offensive line, and I'm gonna tell you right now, it has been a long time since I have seen a kid like this with hands like these. TYLER: This blows. He can't start the guy. He just got here. TANNER: That have been waiting for us to put a check in the win column, I have only one thing to say to you... Your Timberwolves are hungry. VICKI: Hey, you. What's wrong? TYLER: Nothing. TANNER: And the central high lions are what's for dinner! TYLER: Is that Jeremy? VICKI: Wait, no! Ty! No. TYLER: Oh, what do you care? Don't look so down. You can have her when I'm done. Jeremy strikes him. The two boys begin to fight. VICKI: Tyler, stop it! Tyler! Tyler, stop! Stop it! Stop, you're hurting him! Tyler! Tyler, stop! Tyler! Stop it! Tyler, stop! STEFAN: Hey, he's down! Enough! ELENA: Jeremy, no! MATT: Get off me! Stop! ELENA: What the hell, Jeremy? Put your head up, you're bleeding. JEREMY: I'm fine! ELENA: Yeah, you smell fine. JEREMY: Just stop, ok? MATT: Come on, man. Come on. ELENA: Oh, my God, your hand. STEFAN: No, no, no, it's fine. ELENA: Is it deep? How bad is it? Come on! Stefan's hand hasn't scar. ELENA: But... I saw it, it was... STEFAN: He missed. It's not my blood. See? I'm fine. ELENA: No, no, no. I... I saw it. The glass cut your hand. It was... STEFAN: It's ok. I'm ok. It's almost kick-off time, all right? So, um, I'll, uh, I'll see you after the game. CAROLINE: Hey, Tiki, it's all wobbly. Can you stand straight, please? Could someone please help Tiki? BONNIE: Hey! Where you been? ELENA: Can I ask you a question and you give me a really serious no-joke response? BONNIE: Of course. What is it? ELENA: The bad mojo. When you touched Stefan and you had that reaction... BONNIE: You know what, forget I said that. Your little dinner party plot totally won me over. ELENA: No, Bonnie, seriously. What was it? Did you see something, Or... BONNIE: It wasn't clear like a picture. Like today, I keep seeing those same numbers I told you about... 8, 14, 22. ELENA: Yeah? BONNIE: When I touched Stefan, it was a feeling. And it vibrated through me, and it was cold, and it... ELENA: And what? BONNIE: It was death. It's what I imagine death to be like. Elena goes to her car. ELENA: You scared me. What are you doing here? DAMON: I'm hiding from Caroline. ELENA: And why is that? DAMON: I needed a break. She talks more than I can listen. ELENA: That could be a sign. DAMON: Well, she's awfully young. ELENA: Not much younger than you are. DAMON: I don't see it going anywhere in the bigger picture. I think she'd drive me crazy. ELENA: Caroline does have some really annoying traits, but we've been friends since the first grade and that means something to me. DAMON: Duly noted. I'm sorry if I make you uncomfortable. That's not my intention. ELENA: Yes, it is. Otherwise you wouldn't put an alternate meaning behind everything you say. DAMON: You're right. I do have other intentions, but so do you. ELENA: Really? DAMON: Mm-hmm. I see 'em. You want me. ELENA: Excuse me? DAMON: I get to you. You find yourself drawn to me. You think about me even when you don't want to think about me. I bet you even dreamed about me. And right now... You want to kiss me. She strikes him. ELENA: What the hell? I don't know what game you're trying to play with Stefan here, but I don't want to be part of it. And I don't know what happened in the past, but let's get one thing straight... I am not Katherine. [Later.] MATT: You gonna be able to play? STEFAN: Oh, yeah, I'm good. MATT: Uh, what you did back there... you had Jeremy's back. STEFAN: Ah, he's a messed-up kid. Somebody's gotta look out for him. MATT: I know. This week at practice I was a dick. STEFAN: Had your reasons. MATT: No excuse. Good luck tonight. We're lucky to have you. DAMON: Isn't that nice? Stefan joins a team, makes a friend. It's all so, "rah, rah, go team, yeah!" STEFAN: Not tonight. I'm done with you. DAMON: Nice trick with Elena. Let me guess... vervain in the necklace? I admit, I was a bit surprised. It's been a while since anyone could resist my compulsion. Where'd you get it? STEFAN: Does it matter? DAMON: Guess I could just seduce her the old-fashioned way. Or I could just... eat her. STEFAN: No. You're not gonna hurt her, Damon. DAMON: No? STEFAN: Because deep down inside, there is a part of you that feels for her. I was worried that you had no humanity left inside of you, that you may have actually become the monster that you pretend to be. DAMON: Who's pretending? STEFAN: Then k*ll me. DAMON: Well, I'm... I'm tempted. STEFAN: No, you're not. You've had lifetimes to do it, and yet, here I am. I'm still alive. And there you are. You're still haunting me. After 145 years. Katherine is d*ad. And you hate me because you loved her, and you t*rture me because you still do. And that, my brother, is your humanity. TANNER: Salvatore! What the hell? We've got a game to play! DAMON: If that's my humanity... then what's this? Damon bites Tanner. TANNER: Aah! STEFAN: No! DAMON: Anyone, anytime, any place. [In the locker room.] TYLER: Tanner's M.I.A. I think he had a little bit too much beer. MATT: Don't talk to me right now, all right? I'm pissed at you. TYLER: What's your problem? MATT: What's my... You're my problem, all right? You're a bully. A freakin' 12-year-old bully, man. And I'm sick of it. I mean, what was that about tonight? What's beating up the new guy going to prove? Or screwing with my sister or pummeling my girlfriend's kid brother. TYLER: Girlfriend? Look, I don't know how to tell you this, but she dumped your ass. Are you for real?! You want to h*t me? I'm on your team. MATT: This was over the line. Even for you. Matt discovers Tanner's body. MATT: Somebody help! The police arrived. Bonnie looks at the scene. She sees a pennons "BLDG 8", the immatricualtion's car is "FHT 14" and on the ground, the number 22. Bonnie is afraid. [The Soccer field. Jeremy is sitting on the floor.] VICKI: It wasn't just for the drugs. [The cars park.] ELENA: What kind of animal could be doing all this? Why would it come out of the woods and att*ck someone in the middle of town? STEFAN: I don't know. I don't know. ELENA: I was so sure that you cut your hand. I saw it. STEFAN: I'm gonna be fine. I'm gonna be fine, ok? We're fine. That's what matters. [Stefan's bedroom. He's writing in his diarie.] STEFAN: I thought there was hope that somewhere deep inside, something in Damon was still human, normal. But I was wrong. There's nothing human left in Damon. No good, no kindness. No love. Only a monster Who must be stopped. [Damon is in Elena's bedroom. He looks at her.]

{"type": "series", "show": "The Vampire Diaries", "episode": "01x03 - Friday night bites"}

foreverdreaming

[Elena's house.] Elena wakes up. She hears a noise. ELENA: Hello? Jeremy? Hello? MAN ON TV: This is Logan Fell coming to you live from the streets of Mystic Falls with breaking news of another deadly animal att*ck. The wild animal terrorizing the citizens of Mystic Falls has claimed another victim, local high school student Elena Gilbert. Police are certain that forensic eviden will confirm that this is the same animal responsible for recent att*cks. DAMON: You know it's coming next. She runs. Damon beats her. [Stefan's bedroom.] Stefan wakes up. STEFAN: Ah! DAMON: Bad dream? STEFAN: Ah. DAMON: Do you know how easy it was to get into your head just now? You really need some human blood. It might even the playing field. Football reference. Too soon. Stefan launches a Kn*fe on Damon. DAMON: All right, I deserved that. But I just wanted to let you know, they caught the culprit. The animal responsible for k*lling coach tanner and all those people. STEFAN: What are you talking about? DAMON: It was a mountain lion. Really big one. It att*cked a hunter this morning. It's all over the news. "Deadly beast captured. All's well in Mystic Falls." STEFAN: Why would you cover your tracks? DAMON: I've decided to stay a while. I'm just having way too much fun here with you and Elena. STEFAN: Can't touch her now. DAMON: Well, the vervain keeps me out of her head. Maybe that's not my target. Believe it or not, Stefan, some girls don't need my persuasion. Some girls just can't resist my good looks, my style and my charm and my unflinching ability to listen to Taylor Swift. Damon plant the Kn*fe in Stefan's belly. DAMON: This is John Varvatos, dude. Dick move. [Stefan's house.] Stefan is writing is diary. SHERIF ON TV: I can confirm that a 12-Foot puma mountain lion att*cked a hunter and was subsequently sh*t and k*lled. The hunter is in s*ab condition. STEFAN: The real animal is still out there, waiting for me, challenging me to fight back, to stop him. But how do I stop a monster without becoming one myself? [Elena's house.] MAN ON TV: To repeat, the animal terrorizing Mystic Falls has been caught. JENNA: Scum ball. Scum bucket. ELENA: Who are you talking to? JENNA: Him. The news guy, also known as Logan "Scum" Fell. Did your mom ever tell you why I moved away from Mystic Falls? ELENA: Oh, no way. You and him? He's cute. JENNA: He is not cute. There's nothing cute about him. What are you doing with that? ELENA: I went yesterday and got it from the safe deposit box. Mom had told Mrs. Lockwood she would loan it to the founder's council for their heritage display. Is that grandma beth's wedding ring? ELENA: Originally it was great-Great-Grandma mary's wedding ring. JEREMY: How much do you think this stuff is worth? You know, like on ebay? ELENA: You're not gonna find out. JEREMY: That stuff is mom and dad's. You can't just give it away. ELENA: I'm not giving it away. It's called a loan, Jeremy. Doorbell rings. STEFAN: Hi. She kisses him. ELENA: Hi. [Elena's bedroom.] Stefan is kissing Elena. But he sees in the mirror he begins to transform. He stops kiss her. ELENA: Are you ok? STEFAN: I'm good. Sorry. ELENA: Maybe we should press pause. STEFAN: Yeah, you're probably right. That was getting a bit... ELENA: Yeah. STEFAN: Yeah. ELENA: How do you look in a suit? STEFAN: I can pull one off. ELENA: How about tomorrow night? Will you be my date to the founder's party? STEFAN: They still do that? ELENA: Have you been before? STEFAN: No, the Salvatores don't get invited anymore. ELENA: Well, this year, there's this heritage project that meant a lot to my mom. She was really involved in the founder's council, and it was her favorite party. I know it sounds really boring, but-- STEFAN: I would be honored to accompany you, Miss Gilbert. ELENA: The pleasure is all mine, Mr. Salvatore. [Caroline's bedroom.] DAMON: No yellow. Jaundice. Go for the blue. CAROLINE: I don't like the blue. DAMON: Well, I do. And if I'm gonna be your date-- CAROLINE: You cannot be my date. My mother is going to be there, and she is a very proud g*n owner. DAMON: I went through a lot of trouble to make sure this party wasn't cancelled. It's very important I be there. Please take me. CAROLINE: You should come to the founder's party with me. DAMON: Not if you're wearing that dress. At's so special about this Bella girl? Edward's so whipped. CAROLINE: You gotta read the first book first. It won't make sense if you don't. DAMON: Ah, I miss Anne Rice. She was so on it. CAROLINE: How come you don't sparkle? DAMON: Because I live in the real world, where vampires burn in the sun. CAROLINE: Yeah, but you go in the sun. DAMON: I have a ring. It protects me. Long story. CAROLINE: These bites turn me into a vampire? DAMON: It's more complicated than that. You'd have to feed on my blood, then die, then feed on a human's, whole ordeal. This book, by thwawa has it all wrong. CAROLINE: You can be very sweet when you want to be. DAMON: Yes, I can be sweet. CAROLINE: Are you going to k*ll me? DAMON: Mm-Hmm. But not yet. CAROLINE: Why not? DAMON: Because there's something I need you to do for me. CAROLINE: Anything. DAMON: How good are you at getting this little nose Where it doesn't belong? CAROLINE: Oh, I'm excellent. DAMON: Mmm. [Mystic Grill.] Tyler is eating with his parents. MR LOCKWOOD: So what happens with the season? One big forfeit? Are they looking for a new coach? TYLER: I don't know, dad. I doubt anybody's thinking about that right now. MRS LOCKWOOD: Charles, founder's party, focus. VICKI: How are y'all doing over here? MR LOCKWOOD: Ah, we're doing great, sweetheart. VICKI: Is there anything else I can get you? TYLER: We're fine, thanks. MR LOCKWOOD: Just the check, honey. VICKI: Here you go, Mayor Lockwood. MR LOCKWOOD: Thanks. Caroline arrives with Bonnie. BONNIE: You're taking Damon to the founder's party? What about me? CAROLINE: Go with Elena. BONNIE: She's asking Stefan. CAROLINE: Ok, go by yourself. BONNIE: Gee, thanks. What about your mom? Is she ok with you bringing Damon? CAROLINE: And I'm supposed to care why? BONNIE: He's older sexy danger guy. CAROLINE: Older sexy danger guy? Is that an official witch twitter tweet? BONNIE: No more witch jokes, ok? At whole Mr. Tanner prediction thing has me freaked. CAROLINE: Ok. And Damon's not dangerous. You know, he just has a lot of issues with his brother. You know, like major, deep-Rooted drama. BONNIE: Like...? CAROLINE: I'm not really supposed to say anything. BONNIE: Caroline Forbes, when have you ever kept a secret in your life? CAROLINE: Ok. But you can't tell Elena. BONNIE: No. TYLER: So what you gonna buy me? VICKI: Ugh, some class. Oh, your parents are gone. I guess can bebclose now. TYLER: What the hell does that mean? VICKI: You treat me like trash. I'm sick of it. TYLER: I don't think you're trash. VICKI: Really? Then who are you taking to the founder's party? TYLER: Vicki Donovan. Do you want me to ask you to the founder's party? VICKI: No. It'll be stupid and lame. TYLER: True. But it'll be less stupid and lame if you were there. JEREMY: You realize you had to ask him to ask you, right? You figure if you dress up like a respectable young lady, he'll finally treat you like one? VICKI: Screw you, jeremy. JEREMY: You know you're making the wrong choice, yet you make it anyway. It's sad. [Salvatore's House.] ZACH: I didn't know you were here. DAMON: Just going through Stefan's homework. Boy, this country sure has dumbed down in the last hundred years. Why he wants to go to high school is beyond me. I mean, in the seventies, he went Ivy League. Harvard, I understood. Actually, no. I didn't get that either. Go ahead, purge. Get it out. What's on your mind? ZACH: Why are you here, Damon? DAMON: To spend time with you, Zach. Family's important. ZACH: I know you. You always have a motive. So tell me, what is it this time? DAMON: You are in no position to question me. ZACH: I didn't mean to upset you. DAMON: This is not upset, Zach. STEFAN: What's going on? DAMON: Having a family moment, Stefan. Spending some quality time. STEFAN: Hey, are you ok? ZACH: No, I'm not. And neither are you. How many more people have to die before you see that? STEFAN: I see it. All right, Zach, I see it. ZACH: Then why aren't you doing anything about it? STEFAN: I can't, Zach. I can't. It would take human blood. It's the only way that I could stop him, and I can't do that. ZACH: The vervain could weaken him if he ingested it. It would help get you the upper hand. STEFAN: Vervain hasn't grown here since 1865. Damon saw to that. The little I had, I gave to Elena. What? Stefan and Zach down in the cellar. STEFAN: You've been growing it. ZACH: It's just something that's been passed down through the generations. Blood only runs so deep when you're related to vampires. Damon would k*ll me if he knew that I had it. STEFAN: But you're telling me. Why? ZACH: Because I trust you. And you're gonna need it if you want to get rid of him. [Elena's house.] TYLER: I'm here for my mom. I was supposed to pick up a box of stuff. ELENA: Right here. Please be careful. JEREMY: Yeah, careful with it, dick. ELENA: Hey! Not now, ok, guys? Please? TYLER: I'm fine. He's just being a punk. JEREMY: I got your punk. ELENA: Look, Tyler, maybe you should go. Tell your mom that I'll see her tonight. TYLER: Hey. Would it make a difference if I told you I actually like Vicki? JEREMY: Not even if you meant it. BONNIE: Delicate flower vs. Naughty vixen. ELENA: Tough call. Can we mix them? BONNIE: Look at you, getting all pretty for your date. You seem happy-Ish. ELENA: I am...ish. Tonight's going to be a good night. But don't let that stop you from telling me whatever it is you wanted to tell me as soon as you walked in the door. BONNIE: What if I tell you in the morning? I don't want to ruin the night. ELENA: Bonnie, out with it. BONNIE: Ok, but it has to go in the vault, because Caroline will k*ll me if it gets back to Damon that she squealed. Apparently Stefan has a very interesting back story. ELENA: Uh-Huh. BONNIE: Do you know what happened with his ex-girlfriend Katherine? ELENA: I know that they both dated her and that's why they have issues. BONNIE: Yeah, they both dated her, only she chose Damon. And that drove Stefan mad, he did horrible things to try and break them up. He manipulated Katherine. He filled her head with all these lies until finally it worked, and she turned against Damon. ELENA: That sounds like one person's side of the story, meaning Damon's. BONNIE: I just wanted you to know. ELENA: Anyway, his past relationships are none of my business. BONNIE: Unless he's a calculating, manipulative liar. That is your business. ELENA: Stefan is none of those things. BONNIE: Yeah? How do you know? [Stefan's House.] DAMON: Do they still wear ties at this thing? STEFAN: Why are you even going? DAMON: It's only fitting. We were at the very first one, remember? STEFAN: I think it's better if we don't draw attention to ourselves. DAMON: So you should stay here. I'll see to it Elena has a good time. STEFAN: My goodness, I've driven you to drink. Can't seem to rid myself of you. What else am I supposed to do, besides go about living my life? DAMON: Go about living my life. See, therein lies your eternal struggle. You're d*ad, dude. Get over it. STEFAN: What do you think? [Elena's house.] ELENA: Hello? Hi, Mrs Lockwood. What do you mean? It is? Are you sure? 'Cause I saw it. Let me check. Mm-Hmm. I will find it and bring it. Ok. Bye. BONNIE: What's wrong? JEREMY: Ahh! God, what now? ELENA: The pocket watch. Where is it? JEREMY: What watch? ELENA: The one you stole from mom's box. Look, Mrs Lockwood just called me, freaking out. It was on the list, Jeremy. And she can't find it, and she thinks she's the one who lost it. JEREMY: Maybe she did. Maybe Tyler took it. ELENA: Don't even play that card. Jeremy, you took it. If I go online, am I going to find it on ebay? Is that how you pay for your pot? JEREMY: Screw you. I would never sell this, ok? ELENA: Then why did you take it? JEREMY: Because it's supposed to be mine. Dad said it goes to the firstborn son. His father gave it to him, and now what? ELENA: And he was going to give it to you. JEREMY: Yeah. ELENA: Look, Jeremy, it's still yours, ok? Mom promised Mrs Lockwood. What do you want me to do? JEREMY: Just take it and get out. [Salvatore's house.] DAMON: It's cool not growing old. I like being the eternal stud. STEFAN: Yes, being a 150-Year-Old teenager Has been the height of my happiness. DAMON: You cracked a funny, Stefan. I should have a drink to celebrate. 1864. You and Katherine were the perfect couple. It was hell watching you dance with her. STEFAN: My happiness was short-Lived, as you well know. DAMON: I remember. I left the party early, I was waiting for her. The night you dropped her off, I was waiting just inside. You were such a gentleman, gave her a kiss on the cheek. And what she really wanted was... Oh, well. Here's to history repeating itself, huh? He drops the glass. DAMON: I admire your effort, Stefan. Pouring yourself a drink then spiking the bottle with vervain. STEFAN: I'm not some drunk sorority chick. You can't roofie me. But I can't help but feel a little used. I thought we were having a moment. I have to go to the party angry. Who knows what I'll do? [At the founder's party.] VICKI: Hi. How are you? TYLER: Uh, let's go this way. VICKI: Why? TYLER: Line's too long. We can go around back. Come on, party's in the back. [Salvatore's House.] ZACH: That was his favorite scotch. I'm sorry, I thought it would work. STEFAN: I wasn't counting on it. ZACH: You knew it would fail? STEFAN: Did what I wanted. It lowered his guard. You won't expect me to try again so soon. ZACH: I doubled what I put in the scotch. Elena makes the watch to Jeremy. [At the founder's party.] MRS LOCKWOOD: Caroline! You look smashing. CAROLINE: Thank you, Mrs Lockwood. This is my boyfriend Damon. MRS LOCKWOOD: Oh, well, come on in. DAMON: Lovely to meet you. I've been looking forward to this party for quite a while. MRS LOCKWOOD: Well, enjoy. CAROLINE: Wait here. CAROLINE: Really, you couldn't even change out of the badge for this? SHERIF FORBES: I'm working, honey. Who's the date you just tried to sneak past me? CAROLINE: Just some guy. SHERIF FORBES: He's a little old for you, don't you think? CAROLINE: Oh, 'cause otherwise you'd approve. Yeah, I doubt that. ELENA: Hi, mayor Lockwood. MR LOCKWOOD: Hey. Hey, guys, on in. STEFAN: Thank you. SHERIF FORBES: Where's your dad? CAROLINE: Memphis. SHERIF FORBES: Good. CAROLINE: With Stephen. Elena is watchin her parents' wedding Ring. STEFAN: Your parents? ELENA: There's a lot of history here. Jenna is drinking. LOGAN: Jenna. JENNA: Hello Logan. LOGAN: It's good to see you. JENNA: I thought I might see you here. LOGAN: You knew it. JENNA: I dreaded. LOGAN: But were secretely hoping. JENNA: And now that I have... LOGAN: Whoa, hey, not so fast. I know you. You have a lot more insults in you, I can tell. JENNA: Your hairline's receding. LOGAN: No, it's not. You want to have lunch? JENNA: Nope. LOGAN: You haven't changed a bit. JENNA: Oh, yes, I have. I'm meaner now. Elena is reading the first registry. ELENA: "The founding families in Mystic Falls welcomes you to the inaugural founder's council celebration." Wow, look, it's the original guest registry. Look at all these familiar names-- Sheriff William Forbes, Mayor Benjamin lockwood. Is that Damon Salvatore? And, look, Stefan Salvatore. DAMON: The original Salvatore brothers. Our ancestors. Tragic story, actually. STEFAN: We don't need to bore them with stories of the past. ELENA: It's not boring, Stefan. I'd love to hear more about your family. CAROLINE: Well, I'm bored. I want to dance. And Damon won't dance with me. DAMON: Mm-Mmm. CAROLINE: Could I just borrow your date? ELENA: Oh, uh... STEFAN: I don't really dance. DAMON: Oh, sure he does. You should see him. Waltz, the jitterbug, the moonwalk. He does it all. CAROLINE: You wouldn't mind, would you, Elena? ELENA: It's up to Stefan. They are going to dance. DAMON: I want to apologize to you for being such a world-Class jerk the other night when I tried to kiss you. There's no excuse. My therapist says I'm... Acting out, trying to punish Stefan. ELENA: For what? DAMON: It's all in the past. I don't even want to bring it up. Let's just say that the men in the Salvatore family have been cursed with sibling rivalry. And it all started with the original Salvatore brothers. STEFAN: Damon told you to ask me to dance. Didn't he? CAROLINE: Now why would he do that? STEFAN: Would you like one? CAROLINE: Ok, just tell me if you see my mom. DAMON: The Salvatore name was practically royalty in this town. Until the w*r. There was a battle here-- ELENA: The battle of willow creek. DAMON: Right. ELENA: I know, we talked about it in class. Confederate soldiers fired on a church with civilians inside. DAMON: What the history books left out was the people that were k*lled. They weren't there by accident. They were believed to be union sympathizers. So some of the founders on the confederacy side back then wanted them rounded up and b*rned alive. Stefan and Damon had someone they loved very much in that church. And when they went to rescue them, they were sh*t. m*rder in cold blood. ELENA: Who was in the church that they wanted to save? DAMON: A woman, I guess. Doesn't it always come down to the love of a woman? ELENA: Look, I'm sorry that you and Stefan have this thing between you, but I can't get in the middle of it, Damon. I just... I hope you two can work it out. DAMON: I hope so, too. Vicki and Tyler on a bench, away from the party. VICKI: So you want to dance? TYLER: Me dancing? Not pretty. VICKI: Maybe you could show me around. I mean, this place is amazing. TYLER: Yeah, if you like living in a museum. VICKI: Maybe I should just strip naked and give pastor bill a lap dance. I mean, that's why we're hiding in a corner all night, isn't it? You're scared of how I'm going to act? You afraid of what your parents are going to think about your date from the wrong side of the tracks? TYLER: I don't care about what they think. VICKI: Great. Let's go say hi. TYLER: Knock it off, vick. VICKI: Or we could just, you know, sneak up to your bedroom. As long as nobody sees us, right? TYLER: Vicki, I swear... VICKI: What's a matter, Ty? You scared to stand up to your mommy? It's pretty pathetic. TYLER: Let go! MRS LOCKWOOD: Tyler... We didn't get a chance to say hello earlier. It's Vicki, right? Matt's sister. VICKI: Yes, madame. MRS LOCKWOOD: You'll have to forgive my son's rudeness. He gets it from his father. VICKI: Well, that's ok, Mrs Lockwood. Tyler and I were just saying good night. MRS LOCKWOOD: That's what you get when you bring the trash into the party. A candle shuts. Bonnie lights it just by looking. Damon and Elena return with Stefan and Caroline. DAMON: What'd we miss? CAROLINE: We were just chatting. STEFAN: Drink, Damon? DAMON: No, thanks, I'll pass. ELENA: Stefan, do you have another dance in you? STEFAN: Absolutely. CAROLINE: They look so cute together. DAMON: Don't talk, please. LOGAN: Don't sh**t! I'm going to need a refill. JENNA: sh**ting implies caring. LOGAN: Feigned indifference. I like it. JENNA: I'm over the banter, Logan. I'd really rather you just left me alone. LOGAN: I'm sorry, Jenna. About your sister. JENNA: Thank you. LOGAN: Came to the funeral. JENNA: I know. I saw you. LOGAN: Yeah, I didn't want to push my way in, but I wanted to be there for you. And when I heard you were staying in Mystic Falls, I thought maybe... Well, maybe I could have a second chance to make things right. JENNA: Her name was Monica, wasn't it? STEFAN: I hope Damon didn't drive you too crazy. ELENA: No, actually, he was on good behavior. He even apologized and explained why he is the way he is. And it all goes back to Katherine. STEFAN: Hmm. ELENA: So tell me about her. What happened? STEFAN: It's not something I like to talk about. ELENA: I get that. I do. I just want you to know that you can. I mean, I burden you with all of my drama, and I want you to do the same. STEFAN: I know. Thank you. ELENA: The truth is, Stefan... I don't really know that much about you, and I'd really love it if you would open up to me. STEFAN: Damon said something, didn't he? He likes to play games and cause trouble, Elena. ELENA: This isn't about Damon, it's about me trying to get to know you. Look, you're the mystery guy, and I like that. But with mystery comes secrets, and this thing with Katherine. STEFAN: Let it go. I don't want to talk about it. ELENA: Well, then, say something about yourself. Anything. Otherwise, I'm left with nothing but what other people tell me. STEFAN: Don't you see what Damon has done here? He's trying to get you to turn against me. ELENA: Well, then I guess it's working. BONNIE: This is my fault. I planted doubt. I'm a doubt planter. ELENA: It's not your fault. I just-- I feel terrible because I said that I wouldn't get in the middle of it, and that's exactly what I did. I got all snotty. MRS LOCKWOOD: Elena, honey, there you are. I notice the watch still isn't in the collection. ELENA: Oh, um, I'm sorry, Mrs. Lockwood. I, um, I couldn't find it. I guess it's still packed up in my parents' stuff somewhere. MRS LOCKWOOD: I see. Well, please let me know if you do find it. ELENA: Ok. CAROLINE: Where have you been? DAMON: Ah. Looking for you. CAROLINE: Your brother barely danced with me for five minutes-- DAMON: Ok, just a minute. Stand right...there. CAROLINE: Um, you're not supposed to touch. What is that? DAMON: It's a very important crystal. CAROLINE: Well, how did you know that it was there? DAMON: Because I put it there. CAROLINE: When? DAMON: A long time ago. Tonight, I'm taking it back, thanks to you. CAROLINE: Well, what's it for? DAMON: Never you mind. CAROLINE: You can't just steal it. DAMON: It's not stealing if it's mine. Come on. Well... At the bar. LOGAN: Vodka tonic. Ok, I know that this is probably going to be strike 3, but I hope you can see it for what it is. JENNA: And what is it? LOGAN: Persistence. Groveling, commitment. Take your pick. JENNA: I fled town because of you. Fled. LOGAN: I was young and stupid, and then things changed. Life got...real. You'd know that better than anyone. JENNA: Hypothetically speaking, if allowed, how would you make things right? LOGAN: Well, more groveling, of course. A recap of the past few years spent soul searching. Cheese fries. JENNA: Obvious. LOGAN: I know my audience. JENNA: Yes to lunch. Call me. In the living room. MRS LOCKWOOD: Look around. What's missing? The flames, the candles. Why aren't they lit? There's matches in the kitchen. BONNIE: Bitch. ELENA: Hey. CAROLINE: Hey. So how are things with Stefan? ELENA: Great. Just great. CAROLINE: Really? Well, my radar must be off, 'cause I was getting all sorts of other vibes... ELENA: What is that? CAROLINE: Hmm? Don't! ELENA: Oh god, Caroline, what happened? CAROLINE: Nothing, ok?! That is nothing. ELENA: Did somebody hurt you? CAROLINE: No, ok, nothing. It just... My mom would k*ll me. ELENA: Did Damon hurt you? CAROLINE: No! Of course not! Just leave me alone, ok, Elena?! She goes out, and sees Damon. ELENA: God! There is something seriously wrong with you. You stay away from Caroline or I will go straight to her mother, the sheriff. You got it? Stay away from her. ELENA: I'm sorry. I take it all back. You're completely right about Damon. STEFAN: What did he do? ELENA: There are bruises all over Caroline's body. Bite marks, and he has her all confused and messed up in the head. You don't look surprised. STEFAN: Um... I'm handling it. ELENA: Handling it? Stefan, you should be having him arrested. STEFAN: Elena, please. I... I don't expect you to understand. ELENA: I don't understand anything, Stefan. So why don't you just clear it up for me? STEFAN: Look, there are things that you don't know, ok? Things that I want to tell you, but I can't. And I may never be able to. And I just need you to trust me. ELENA: Trust is earned. I can't justagically hand it over. STEFAN: I'm so sorry. I have to go. [Elena's House.] Dorbell rings. It's Vicki. JEREMY: You look amazing. What are you doing here? VICKI: I was thinking maybe I could make one more wrong choice today. I still have 17 minutes. Vicki kisses him. [At the founder's party.] CAROLINE: Don't! She took it off and I got flustered, ok?! I didn't know what to say. But I swear, ok, I did not tell her. I just told her that you didn't mean to hurt me. DAMON: You make me crazy, you know that? CAROLINE: It's ok. I forgive you. I swear I didn't say-- DAMON: Shh, shh, shh. Unfortunately... I am so over you now. He beats her. But he falls on the floor. DAMON: What the hell? STEFAN: You know, I couldn't spike your drink... So I spiked hers. [Later. Caroline wakes up. She founds Damon's crystal. Elena arrives.] ELENA: Caroline? There you are. I've been looking everywhere for you. Are you ok? CAROLINE: Yeah. I'm fine. ELENA: Caroline, what happened? CAROLINE: I'm fine. ELENA: No. You're shaking. Caroline--What-- CAROLINE: I'm fine! ELENA: Caroline, come here, come here. [Stefan's house.] STEFAN: I did what I had to do... To protect Elena, to protect everyone. Yes, Damon, the headline reads "Deadly beast captured. All is well in Mystic Falls." [At the founder's party. Counsil room] MR LOCKWOOD: Thank you for staying so late. SHERIF FORBES: Did you get the Gilbert watch? MRS LOCKWOOD: She claims it's packed away in her parents' things. LOGAN: I can get it. SHERIF FORBES: Good. We're going to need it. MR LOCKWOOD: Are you sure? SHERIF FORBES: 5 bodies all drained of blood? I'm certain. LOGAN: They've come back.

{"type": "series", "show": "The Vampire Diaries", "episode": "01x04 - Family ties"}

foreverdreaming

[Salvatore's cellar.] DAMON: Where is my ring? STEFAN: Won't be needing it anymore. DAMON: How long have I been here? STEFAN: Three days. DAMON: What are you doing? STEFAN: During the dark ages when a vampire's actions thr*at to expose or bring harm upon the entire race, they would face judgment. They sought to reeducate them rather than to punish them. DAMON: You know what will happen if i don't... Feed on blood. STEFAN: You'll grow weaker and weaker. Eventually you won't be able to move or speak. In a week your skin will desiccate, and you'll mummify. A living corpse. Unable to hurt anyone. Ever. DAMON: So what, you're just going to leave me in the basement, forever? STEFAN: I've injected you with enough vervain to keep you weak. Once your circulation stops, I'll move you to the family crypt, and then in 50 years, we can reevaluate. DAMON: I'm stronger than you think. STEFAN: You always have been. But you're not stronger than the vervain. And we both know it. I'm sorry. Didn't have to be this way. [Elena's house.] Elena is waking up and going to the bathroom. She meets Vicki. VICKI: I--i'm sorry, i'm almost done. ELENA: It's--it's ok. Take your time. VICKI: I think you might be in trouble. JEREMY: What did you do? VICKI: Oh, she saw me. JEREMY: I'm a drug-using delinquent. A girl in bed doesn't really rank. ELENA: Jenna! Are you aware of what's going on upstairs? JENNA: Uh-huh. ELENA: And you have no objection? JENNA: He could be craftier about it, at least make an effort to sneak her in and out. Oh, and just so you know, I won't be home for dinner. ELENA: Oh, so you're actually going to do it. You're gonna go out with Logan. JENNA: I'm going to show up and t*rture him, yes. And have you heard from Stefan? ELENA: Not since that very vague message three days ago. "Hi, um, Elena, I, um, have something I have to do. I'll, uh, explain in a few days." JENNA: Haven't you called him? ELENA: Nope. Not going to, either. JENNA: And you're ok with everything? ELENA: No, I'm not ok with any of it. But I'm not gonna cry about it, either. You know, I was going to write in my diary this morning and then I thought, what am I going to write? Honestly, i'm not gonna be onee of those pathetic girls whose world stops spinning because of some guy. JENNA: Ok, then. ELENA: I'll be fine. [Salvatore's house.] STEFAN: He's awake. He's aweak, but it's probably best to stay out of the basement. He's Damon. I'm not sure how dangerous he still might be. ZACH: You're going to school? STEFAN: Came here to live a life. It's about time i get back to that. And Elena, if she's still speaking to me. ZACH: Why haven't you called her? STEFAN: Am suppose to do, feed her another lie? I hate lying to her, Zach. I'm not good at it. She already thinks I'm hiding something. ZACH: What choice do you have? You came here because you wanted to live as normal a life as you could. You knew this was going to be a part of it. [Caroline's bedroom. ] CAROLINE: I remember the party. Damon came up behind me, and he was kissing my neck, or biting my neck. I passed out. It's like there's holes in my memory lately. It's just weird. Maybe I let him bite me. BONNIE: Why would you do that? CAROLINE: Can we just not talk about it, ok? Don't want to talk about Damon. I don't want to talk about any of it. Just want to go back to normal. What are you doing with that candle? BONNIE: Um... Nothing. What's this? CAROLINE: Damon gave it to me. Or he was going to give it to me. All i know is, it's mine now. BONNIE: It's ugly. CAROLINE: Well, get your hands off it. [At school.] CAROLINE: The sexy suds car wash is tomorrow. The football team and the band have committed. Well, not all the band. Just the ones who could pull off the bikini. I want, in your face, sexy. I mean, it's a fund raiser, for god's sake. ELENA: Unbelievable. It's like nothing happened. BONNIE: Lies and denial. STEFAN: Hey. BONNIE: Hey. You know, I gotta go. Be somewhere right now. STEFAN: I'm so sorry I haven't called. ELENA: No worries. I'll live. STEFAN: I was dealing with Damon. ELENA: And did you... deal with Damon? STEFAN: Yes. Yeah. ELENA: For four days? STEFAN: You have every right to be upset with me. But can I explain it all to you? Please. ELENA: Sure. When? STEFAN: I gotta be home after school, but The Grill, on four o'clock? ELENA: Ok. STEFAN: Thanks. CAROLINE: Stefan, where is Damon? He has some serious apologizing to do. STEFAN: He's gone, Caroline. CAROLINE: When is he coming back? STEFAN: He's not coming back. I'm sorry. ELENA: This is a good thing, Caroline. CAROLINE: I know that. [At Mystic Grill.] ELENA: Hey, Matt, um, have you seen Stefan? MATT: Nope. If you want to k*ll some time, um, you can rack. Come on. We haven't played in forever. I'll let you brick. [Salvatore's house. Zach is going to the cellar.] ZACH: I'm full of vervain. I've been putting it in my coffee for 16 years. My blood will only make you worse. Damon? DAMON: So it was your vervain. Good for you. Good for you. Family only runs so deep. ZACH: We're not family, Damon. Only in the most dysfunctional sense. In fact, I avoided having a living, breathing, loving family because of you. DAMON: I don't guess I could talk you into bringing me a rabbit or something? I'd settle for Stefan's diet at this point. ZACH: You know i can't do that. DAMON: You succeeded, Zach. I'm shutting down. You're like your grandfather. He didn't like it when I came to visit, either. ZACH: But you don't visit, Damon. You appear, unannounced, reminding me that this isn't my house; that you're just permitting me to live here. Hell, that you're permitting me to live. DAMON: Someone had to mow the lawn. ZACH: I came to say good-bye, Damon. DAMON: Unlock it. Unlock the door, Zach. STEFAN: Keep it up, Damon. The more energy you expend, the faster you'll go. [At Mystic Grill.] ELENA: And there's Vicki, all nonchalant in the bathroom like it's no big deal that they're hooking up. MATT: Yeah, I'm not gonna lie. Your brother and my sister, that's weird. ELENA: Yeah. MATT: How late is he? ELENA: Hitting the hour mark. Hope there's nothing wrong. Which means I'm not talking boy problems with you. MATT: Good. I mean, it's not like we were ever best friends or anything. ELENA: Ok. Here goes-- What do you think of Stefan? Is he a good guy? MATT: Why? what's he done? ELENA: Not any one thing. He's just so secretive all the time. I think there's something that he doesn't want me to know, which makes me want to know all the more. MATT: Like what? like that he's a serial k*ller and he keeps a clown suit in his trunk? ELENA: No, of course not. But what do we know about him, really? MATT: He's great at football. A little bit of a loner. And as much as I hate saying it, he might be a nice guy. ELENA: So you think I'm just being paranoid? MATT: I think you should talk to him. STEFAN: talk to who? I'm so sorry that I'm late. ELENA: What happened? STEFAN: I got held up. ELENA: Is everything ok? STEFAN: There was this thing with my uncle. ELENA: And you couldn't call and tell me that you were going to be an hour late? MATT: Ok. You two have fun. STEFAN: I'm really sorry. It was unavoidable. ELENA: What was unavoidable? Ok. STEFAN: Oh, uh, Elena, please... ELENA: No, Stefan, don't you get it? Every question gets a vague non-answer. What is so awful that you're afraid to tell me? OLD MAN: I know you. My god. STEFAN: I'm sorry? OLD MAN: I know you. How can it be? STEFAN: I think you have the wrong person, sir. OLD MAN: You haven't aged a day. STEFAN: I'm sorry. excuse me. Hey, can we-- can i take you home and we can talk about it? Is that ok? ELENA: Wait, what was that? STEFAN: I--i don't know. uh, nothing. ELENA: Right, nothing. Ok, um... I gotta go, Stefan. Excuse me. [Elena's bedroom.] ELENA: I tried. I want so much to make things right, but every instinct in my body is telling me to be careful. What you don't know can hurt you. [At Mystic Grill.] LOGAN: Evening, Sheriff. Anything? SHERIFF FORBES: We went over the entire west side of the lake. All the caverns by the falls were clean, no signs of habitat. LOGAN: Well, they're staying in town. SHERIFF FORBES: We canvassed all abandoned buildings and warehouses. LOGAN: There has to be a private residence. SHERIFF FORBES: And that much harder to locate, if not impossible. These creatures are smart. they know how to go undetected. LOGAN: Well, someone who only comes out at night should eventually become obvious. SHERIFF FORBES: What about the watch? LOGAN: I'm working on it. SHERIFF FORBES: I knew the Gilberts. That watch is passed down to the men in the family. I'd start with Jeremy. JENNA: Hey, Logan. LOGAN: I can't believe you really came. JENNA: You have an hour. LOGAN: Make it count. [Elena's house.] JEREMY: You ok? ELENA: Is Vicki in there? JEREMY: Don't answer a question with another question. Maybe. What's wrong with you? ELENA: I'm miserable. JEREMY: Well, you should go get something to eat. ELENA: Jenna? Jenna? Stefan? What are you doing here? STEFAN: Dinner. Jeremy told me that chicken parmesan is one of your favorites, and I happen to be a good cook. The italian roots demand it. I can even make my own homemade mozzarella. Only tonight, it is unfortunately storboht. Sorry. ELENA: I don't know what you're trying to accomplish. STEFAN: You want to know me, right? Well, I figure if you're going to dump me, you should at least, um, know who you're dumping. So let's start with Katherine. ELENA: Stefan... STEFAN: She was... the most beautiful girl that I had ever met. She had this perfect olive skin. And she had this laugh. It was ridiculous. I mean, her laugh made you laugh. And she was fun. She knew how to have a good time. But Katherine was also very impatient and entitled and selfish, and, um, and impulsive. Enter Damon. He claims that he was with her first. I don't know. I do know that I did some things that...i'm not proud of. And my biggest regret... Is not being able to make it right before she died. I miss her, but... I'm no longer crippled by her loss. VICKI: It was very nice what you did for Stefan. Very romantic. JEREMY: Well, I was feeling romantic. VICKI: Look what i found. "Elena Gilbert, take one tablet every 4 to 6 hours, as needed for pain." JEREMY: Those are left over from the car accident. VICKI: So she won't miss them. JEREMY: No not with that, that's an antique. I feel like we're always getting high. VICKI: That's the beauty of choice. JEREMY: Well, then let's choose not to. I mean, we don't have to be high all the time, right? VICKI: I really hope you're not one of those guys who, now that we're together, tries to change everything about me. JEREMY: No. VICKI: Good. STEFAN: I'm an avid reader, a huge fitzgerald fan, "The great gatsby", his masterpiece.But I'm no snob. I love some good Grisham. I think Seinfeld is the best american television show for the past 50 years, but i love Lucy is all-time. "The loving cup" episode was the best, I think. Huge Scorsese fan. I can watch Taxi Driver over and over again. ELENA: Here, let me. STEFAN: As far as music, it's pretty much across the board. Um, Dylan, Hendrix, Patsy, Willie. Oh, Kanye. You know what, i even like that one miley song. Easy. ELENA: I didn't say anything. Hey, this is for the garlic bread, right? Because I'm not eating garlic unless you agree to, too. STEFAN: Are you kidding? I love garlic. Elena is cut with the Kn*fe. ELENA: Ow! ahh. STEFAN: You ok? um... ELENA: Yeah. Think so. Your face... STEFAN: I--i, uh, I think i got something in my eye. ELENA: Stefan. Hey. Stefan! Um, I think that my paranoia has turned into full-blown hallucinations. STEFAN: Part of your charm. [Caroline's bedroom. Caroline is calling someone.] DAMON: Caroline. Caroline. CAROLINE: No, Tiki, do not do the one-piece, ok? I've seen it on you. trust me. Yeah, but you're going for stripper pole vibe this year. DAMON: Caroline. CAROLINE: Yeah, maybe we should wash the cars in slow motion. No. DAMON: Caroline. CAROLINE: What? oh, um, no, sorry. Um, so i'll just see you tomorrow. Two-piece. Ok, bye. A crow is at her window. CAROLINE: Shoo, shoo! Shoo! God! [Salvatore's cellar.] DAMON: I bet you're feeling pretty good about yourself, aren't you? STEFAN: Not particularly. DAMON: You won. You got the bad guy. Now nothing could come between you and Elena. Except the truth. The lies will catch up to you, Stefan. As long as you keep lying to yourself about what you are. STEFAN: The beauty of you in there and me out here... Is that i can walk away. [At the sexy suds carwash.] CAROLINE: No friend discounts. No freebies. No pay ya laters. We are not running a charity here. No, we are not. STEFAN: Hi. ELENA: Hey! CAROLINE: The event is called sexy suds, you know. STEFAN: Did we just get scolded? ELENA: And judged, yeah. STEFAN: Wow. ELENA: I'm sorry, but i guess you're going to have to take that off. STEFAN: I think you have to go first. ELENA: Ok. Ok, um--sorry, So not sexy. Ugh. STEFAN: I disagree. BONNIE: uh-uh, no. None of that tortured pining stuff. MATT: I'm just observing. BONNIE: Mm-hmm. Oh. Tiki. this one's yours. TIKI: Why do i always get the homely os? Just to be clear, your car's a p.o.s. I mean, we can wash it, but it's still a p.o.s. BONNIE: You don't have to be rude. TIKI: Rude is uglying up the road with that junk. Bonnie uses her powers to water Ticki. TIKI: Whoa! What the hell ? MATT: Wet and wild, Tik. LOGAN: All proceeds are going to the school's athletic department still healing from the tragic death of their football coach William Tanner. The citizens of Mystic Falls coming together in support of one of their own. Cut it. JENNA: Classy. LOGAN: Thank you. JENNA: But you're still going to video the girls in bikinis, right? LOGAN: We, 53% of americans watch the news with the sound off. JENNA: Thank you for dinner. I had a nice time. LOGAN: Do you remember the last time we were in the school parking lot? JENNA: Nope. Doesn't ring a bell. LOGAN: Really? JENNA: Nada. Especially not having sex in the minivan. LOGAN: That was a good day. What? ELENA: You're getting soap in that. STEFAN: Oh, it's fine. ELENA: I noticed at Damon has one, too. Is there a story behind it? STEFAN: Yeah, it's the family crest from the italian renaissance. ELENA: Hmm. What's the stone? STEFAN: It's called lapus lazuli. ELENA: Oh. You should really take it off. I could put it in my bag. STEFAN: No, it's-- it's fine, really. Thanks, though. ELENA: Ok. I'm gonna get some towels. STEFAN: Ok. ELENA: Hey, we're out of towels and those shimmy things. CAROLINE: I'll go get some more. Mind the money. DAMON: Caroline. Caroline, help me. Caroline. Help me. Help me. ELENA: That'll be $20. I saw you last night. You were talking to a friend of mine, At the grill? OLD MAN: Well, i--i thought it was somebody i knew. ELENA: Stefan Salvatore. OLD MAN: Nah, it can't be. It's just my mind ELENA: Playing tricks on me. Where do you think you'd seen him before? OLD MAN: When i first moved here, I stayed at the Salvatore boarding house. ELENA: Oh. OLD MAN: Stefan was just passing through to visit his uncle. I mean, none of us knew he was even here until the att*ck. ELENA: The att*ck? OLD MAN: His uncle got k*lled. Mauled by an animal in the woods. ELENA: His uncle, Zach? OLD MAN: Mm-mmm. Joseph. ELENA: I'm sorry, sir. I don't think I'm familiar with the story. OLD MAN: Oh, how could you? I mean, this happened years ago. TIKI: Grandpa, you gotta go. mom wants you home. Ok? OLD MAN: Ah. TIKI: He wasn't bugging you, was he? He's a little alzy-heimer. ELENA: No, he was sweet. Hey, sir, I'm sorry. Um, are you sure that the man that you saw, that you knew, his name was Stefan Salvatore? MAN: Yes. I remember his ring and his brother-- ELENA: Damon? MAN: Yeah. Stefan and Damon Salvatore. ELENA: When was this? MAN: It was early June, 1953. Yeah. June, 1953. STEFAN: Caroline finally freed you, huh? ELENA: Uh, i don't know where she went. She abandoned me. Hey, I realized earlier, I had no idea that your family was from italy. STEFAN: No? Last name Salvatore didn't do it for you? ELENA: Right. Duh. Are there any other Salvatores in Mystic Falls? STEFAN: My uncle Zach. ELENA: Where did everyone else go? STEFAN: Kinda just spread out. ELENA: Hmm. STEFAN: Why? ELENA: I'm just trying to learn more about you. STEFAN: Hmm. [In the wood.] JEREMY: Where are you taking me? VICKI: We can't hide out in your room all the time. Welcome to my other favorite party place. JEREMY: What, a cemetery? VICKI: Yeah. It's cool, huh? BOY: Yo, Vick! VICKI: What's up, Jared? BOY: You baby-sitting, Donovan? VICKI: This is Jeremy. he's cool. BOY: Smoke up. [At the sexy suds carwash.] JENNA: Your car was done an hour ago. You're saying that out loud why? LOGAN: Hi. Elena, right? I think i met you once when you were 9. ELENA: Oh. JENNA: Your emotional maturity level when we were together. LOGAN: Ouch. Here i thought we were making progress. ELENA: Is he enough in your good graces that i can ask him for a favor? LOGAN: If i do her a favor, will i get back in your good graces? JENNA: Uh, a very reluctant maybe to both. LOGAN: Done. Wait. One condition. Dinner, tonight, your house. JENNA: Fine. But you're eating leftovers. LOGAN: Ooh. What do you need? ELENA: Do you have access to old news stories, say, fifties? LOGAN: Yeah, at the station. Between the ariveses and the internet, we pretty much have everything. ELENA: I have this report way past due. It'd be a life saver. LOGAN: Heading there now. Let's go. ELENA: If anyone asks, you don't know where I went. I don't want Caroline to know that i left. [Salvatore's house. Caroline enters and goes in the cellar.] DAMON: Caroline, help me. Caroline. Help me. CAROLINE: Damon? Damon? Damon? Oh, my god! What is this? How did i know that you were here? DAMON: Because I wanted you to. Very, very badly. Let me out of here. Please. CAROLINE: You bit me. DAMON: You liked it. Remember? CAROLINE: Why do I keep remembering the same things, but in different ways? DAMON: You remember what I want you to remember. And now that the vervain has passed out of your system, you won't remember what you're about to do. CAROLINE: What am I about to do? DAMON: You're gonna open the door. You're gonna open the door. ZACH: No! No! Get out of here. Run! Run! Caroline runs. Damon kills Zach. Damon tries to catch Caroline, but the sun burns him. [At the sexy suds carwash.] TIKI: Sweeper duty. BONNIE: What? TIKI: We have to clean the pavement. BONNIE: It's a car wash. By definition, the pavement's clean. TIKI: But not dry. BONNIE: And I'm doing this why? TIKI: Caroline bailed, so that leaves me in charge. Fabulous. With her powers, Bonnie causes f*re and Tiki's car burns. STEFAN: Bonnie! Bonnie! Bonnie! Hey. BONNIE: What just happened? STEFAN: You were in some kind of a trance. BONNIE: Did I do this? STEFAN: I think so, yes. BONNIE: Nobody else saw, did they? Don't tell anybody. Please. [At the station.] LOGAN: We digitized all our archives last year. You can pull all the remote footage right up on screen. What is it exactly you're looking for? ELENA: An incident from 1953, If it even happened-- At the old Salvatore boarding house. Logan's cell phone rings. LOGAN: Sorry, one second. Yeah? All right, be right there. I gotta go. You believe there's actual news to cover in this town? All right, use keywords to search the database. It's pretty easy to navigate. And Brady down in tech will help you out with anything you need. ELENA: Ok. LOGAN: All right? Oh, hey. Could you put in a good word for me with Jenna? ELENA: You got it. LOGAN: All right. Good luck. [At the cemetery.] VICKI: What? JEREMY; I'm stoned in a cemetery. VICKI: They don't mind, they're d*ad. Let me take this up a notch. Hey, Tony. TONY: Oh! Nice. Vickies from vicki. Ha! GIRL: Well, thank you, Elena Gilbert, whoever you are. JEREMY: You took those from the house? VICKI: She wasn't hung it. JEREMY: She's gonna notice if they're gone. That's not cool. VICKI: It's no big deal, Jer. JEREMY: Yeah, it kinda is, Vick. BOY: Damn, dude. TONY: Vicki brought the party police. VICKI: Shut up, Tony. I'm sorry. I didn't mean to make you mad. JEREMY: Well, what are we doing, partying in a cemetery with a bunch of losers? VICKI: Those are my friends. JEREMY: They're waste of space small-town lifers. VICKI: Yeah? What am i? JEREMY: You're different, Vick. VICKI: No, you are. You're the kid with the big house who's acting out because his parents died. Guess what-- You'll get over it. You will pull yourself together, move on, and one day tell your kids stories about your dark period growing up. And i'll still be here, waiting tables at the grill, partying at the cemetery with a bunch of waste of space small-town lifers. JEREMY: Look-- VICKI: Go home, Jeremy. If i want to feel like crap about myself, I'll just go back to Tyler. [At the sexy suds carwash.] STEFAN: Hey, have you seen Elena? MATT: No, not for a while. STEFAN: You think she went home? MATT: Not sure. STEFAN: Thanks. MATT: Hey. I'm not saying this for you. I'm saying it for her. But she's big on trust. So whatever you're holding back from her, the more you try to hide it, the more she won't stop till she figures it out. [At the station. Elena looks a documentary.] VOICE: This is Michael Fell reporting to you from the salvatore boarding house, where a brutal animal att*ck has ended in tragedy. Ok, they're bringing out the bodies. See if you can get closer. Is that the nephew? At the background, she sees Stefan. [Caroline's bedroom.] MRS FORBES: I didn't see you at the car wash. CAROLINE: Left early. MRS FORBES: Honey, are you ok? Anything you want to talk about? Is it a boy thing? CAROLINE: Mom, if i want to talk boys, i'll call dad. At least he's successfully dating one. [Salvatore's house.] STEFAN: Zach! Oh, no, Zach... [Caroline's bedroom.] ELENA: Dear diary, I'm not a believer. People are born, they grow old, and then they die. That's the world we live in. There's no magic, no mysticism, no immortality. There's nothing that defies rational thought. [Bonnie goes to her grandmother.] BONNIE: I don't know what's happening to me. GRAMS: I know, dear. [Elena's house. Logan steals Jeremy's watch.] JENNA: Logan? Logan? ELENA: People are supposed to be who they say they are. And not lie or hide their true selves. JEREMY: What are you doing here? LOGAN: Oh, hey, man. Just looking for the bathroom. ELENA: It's not possible. I'm not a believer, i can't be. But how can i deny what's right in front of me? Someone who never grows old... FLASHBACK OLD MAN: June, 1953. ELENA: Never gets hurt... FLASHBACK ELENA: Oh, my god, your hand! Is it deep? How bad is it? ELENA: Someone who changes in ways that can't be explained... FLASHBACK ELENA: Hey, um, are you ok? Your eye. Your face. ELENA: Girls bitten... FLASHBACK: ELENA: What is that? Oh, my god, what happened to you? CAROLINE: It's nothing! ELENA: Bodies drained of blood... FLASHBACK ELENA: Did she say what kind of animal it was? MATT: She said it was a vampire. [At the cemetery. Music stops.] BOY: Donovan? VICKI: No, i'm good. GUYS: Not it. Not it. Not it. Ah, Vicki. Vicki goes to the car. Damon is here, coughing, groaning. VICKI: Hey, man, you ok? DAMON: Come here. Come here. VICKI: You don't look good. DAMON: Come closer. I have something-- That I have to tell you. VICKI: Whoa, whoa, whoa. I got you, i got you. It's ok. it's ok. Damon bits her. [Salvatore's house.] Elena arrives and meet Stefan. ELENA: What are you?

{"type": "series", "show": "The Vampire Diaries", "episode": "01x05 - You're undead to me"}

foreverdreaming

FLASHBACK Mystic Falls, Virginia, 1864. Stefan waiting on the doorstep. A carriage arrives. Katherine goes down. STEFAN: You must be Miss Pierce. KATHERINE: Please, call me Katherine. [Salvatore's House. Stefan and Elena.] ELENA: What are you? What are you? STEFAN: You know. ELENA: No, I don't. STEFAN: Yes, you do, or you wouldn't be here. ELENA: It's not possible. It can't be. STEFAN: Everything you know... And every believe that you have is about to change. Are you ready for that? ELENA: What are you? STEFAN: I'm a vampire. ELENA: I shouldn't have come. STEFAN: No. Please. ELENA: No. No. How did you do that? STEFAN: Please don't be afraid of me. ELENA: Let me go. STEFAN: No. Elena, there's things that you have to know and understand. ELENA: Let me go! STEFAN: Elena, please. [Elena's house.] STEFAN: Elena. I would never hurt you. You're safe with me. ELENA: All those animal att*cks, those people who died-- STEFAN: No. That was damon. ELENA: Damon? STEFAN: Yes. I don't drink human blood. That's not how I choose to survive, but Damon does. I'll explain everything to you, but I beg you, Elena, do not tell anybody. ELENA: How can you ask me that? STEFAN: Because you knowing this is dangerous for so many reasons. You can hate me, but I need you to trust me. ELENA: Just go. Just go, please. Go. If you mean me no harm, then just go. STEFAN: I never wanted this. ELENA: Mmm. [At the cemetery, Damon burns the boodies.] Cell phone rings. STEFAN: Hello. DAMON: I want my ring. STEFAN: Where are you? DAMON: I'm at the sizzler. I had the buffet. Where's my ring? STEFAN: I don't have it. Where are you? What have you done? DAMON: No, what have you done? You're the one that locked me in the basement and starved me, so whatever I've done, whoever i've sucked dry is on you, buddy. STEFAN: You're being careless. How many more animal att*cks is this town gonna believe, huh? DAMON: I know how to cover my tracks, stefan. Where's my ring? STEFAN: I gave it to Zach to hide. Probably shouldn't have k*lled him. DAMON: Ah, you almost got me. Where is it? STEFAN: I'll get it back, but I need time. DAMON: What, did you fedex it to Rome? Where is it? I want my ring, Stefan, or my next stop's Elena's. STEFAN: I already want you d*ad. Don't give me another reason to make it happen. DAMON: Don't give me another reason to rip you apart. STEFAN: Yeah? Is that gonna be before or after you get your ring back? DAMON: Just get it. [Coffee place. Elena joined Stefan.] ELENA: You just don't wanna die, do you? You said you would explain everything. That's why I asked you to meet me here. When you google "vampire," you get a world of fiction. What's the reality? STEFAN: I can tell you whatever you wanna know. ELENA: I know you eat garlic. STEFAN: Yes. ELENA: And somehow, sunlight's not an issue. WOMEN: Here's your drinks. ELENA: Thank you. STEFAN: We have rings that protect us. ELENA: Crucifixes? STEFAN: Decorative. ELENA: Holy water? STEFAN: Drinkable. ELENA: Mirrors? STEFAN: Myth. ELENA: You said you don't k*ll to survive. STEFAN: Animal blood keeps me alive, but not as strong as Damon. It can be very powerful. ELENA: And yet you let him get involved with Caroline? STEFAN: Forcing Damon not to do something is much more dangerous, believe me. ELENA: He was hurting her. STEFAN: He was feeding on her. He was able to take away her memories of being bitten using a form of mind compulsion. She never knew what was happening to her. If he wanted to k*ll her, he would have. ELENA: Is that supposed to make it ok? STEFAN: No. no, none of this is ok, Elena. I know that. ELENA: Are there any others, aside from you and Damon? STEFAN: Not in Mystic falls, not anymore. ELENA: Not anymore? STEFAN: There was a time when this town was... Very much aware of vampires, and it didn't end well for anybody. That's why it's important that you don'tell anyone. ELENA: I can't promise that. STEFAN: Elena... Give me today. I will answer any questions that you have, and when it's over, you can decide for yourself what you wanna do with what you know. It'll be your choice. [At the cemetery.] LOGAN: Never smelled one this bad before. SHERIFF: It tried to cover its tracks. LOGAN: Are you sure? SHERIFF: I'm positive. You only burn a corpse to try to hide cause of death, and there are no shell casings. LOGAN: We know who they are? SHERIFF: Doc'll have to check their dental records. LOGAN: What story should i run? SHEIFF: Drug deal gone bad. It's not too big a stretch. LOGAN: I got the Gilbert watch. SGERIFF: Good. POLICEMAN: Found this in the brush about 10 yards away. SHERIFF: Vicki Donovan. LOGAN: You know her? SHERIFF: I went to high school with her mother. LOGAN: Think she's one of these? SHERIFF: I hope not. [At the Salvatore's House. Vicki is on a sofa.] DAMON: Where are you, Stefan? I'm trapped at the house, and I'm getting really bored and really impatient, and I don't do bored and impatient. Bring me my ring. Damn it. Aw, don't get blood on the couch. Please. VICKI: I got you good, didn't i? DAMON: Well, you're not gonna be any fun today. I'm so gonna regret this. Drink up. Drink it up. Don't drip. There you go. Good girl. That's it. [Elena's car.] STEFAN: Stop here. ELENA: What are we doing here? STEFAN: I want to show you something. ELENA: In the middle of nowhere? STEFAN: This... Didn't used to be nowhere. Used to be my home. ELENA: It looks so... STEFAN: Old? It's because they are. ELENA: Wait. How long have you... STEFAN: I've been 17 years old since 1864. ELENA: Oh, my god. STEFAN: You said you wanted to know. I'm not gonna hold anything back. Half century beforethe boardinghouse was even built, this was my family's home. Damon and I... We were both born here. The Salvatore brothers, best of friends. FLASHBACK Mystic Falls, Virginie, 1864. STEFAN: Wait. Where did you learn this game? DAMON: Camp outside Atlanta. One of the officers picked it up at Harvard. Catch. STEFAN: Wait a minute. Wait a minute. What are the rules? What are the rules? KATHERINE: Who needs rules? Mind if I join you? STEFAN: Uh, well, you could, uh-- you could get hurt. My brother likes to play rough. KATHERINE: Somehow, I think that you play rougher. DAMON: Why are you just standing there? That is a girl who clearly wants to be chased. If you don't do it, I will. [The old Salvatore's field.] ELENA: You knew Katherine in 1864? Damon made it seem like... STEFAN: Damon was trying to make you think that... I was still heartbroken. He saw that I was happy with you, and he wanted to ruin it. ELENA: All because you loved the same girl 145 years ago? STEFAN: She wasn't just any girl. FLASHBACK Mystic Falls, Virginie, 1864. KATHERINE: Ha! I win. What's my prize? DAMON: What would you like it to be? STEFAN: They extended your leave? DAMON: I was simply having too much fun to return to battle. STEFAN: Your commitment to the confederacy is inspiring. KATHERINE: Well, this works out wonderfully for me. DAMON: How's that, miss Katherine? KATHERINE: Now i'll have both of you here to keep me entertained. First and foremost, I'll need someone to escort me to the founder's ball. DAMON/STEFAN: With pleasure. I would be honored. KATHERINE: The smart and kind Salvatore brothers both coming to my rescue. How will I ever choose? [The old Salvatore's field.] STEFAN: She chose me. I escorted her to the ball at the original Lockwood mansion. ELENA: The first founder's party... Where you signed the registry. STEFAN: I didn't care that I had gotten something that my brother wanted. I didn't even care if it hurt him. I only knew that I wanted her. DAMON: So he was upset. STEFAN: That's the thing about Damon. He doesn't get mad. He just gets even. [At the Salvatore's house.] VICKI: Oh, man. That shower was so great. Music playing. VICKI: What did you give me? DAMON: Some blood. You loved it. VICKI: I did? Wait. I'm confused. How did we get here? DAMON: We was in the woods. You were drunk. I att*cked you. Then i k*lled all of your friends and brought you here, gave you same blood. you loved it. And now we're gonna party till the sun goes down. VICKI: Ok. Um, but first, can i have another h*t? That blood was so good. DAMON: Only if I can. [The old Salvatore's field.] STEFAN: What Damon wants, Damon usually gets. I didn't know it at the time, but... Turns out that night... Katherine was with him, too. ELENA: So he stole her from you, not the other way around? STEFAN: Turns out she wasn't ours to steal. FLASHBACK Mystic Falls, Virginie, 1864. Stefan in Katherine's bedroom. STEFAN: I will love you forever. KATHERINE: Forever is a very long time, you know. STEFAN: Not long enough. She bits him. KATHERINE: Good morning. Clear the room, please. You're upset. STEFAN: Your face, it was like a demon. KATHERINE: But you're not afraid. STEFAN: Get away from me. Get away. KATHERINE: It doesn't change the way you feel about me. You will not tell anyone. STEFAN: I-- KATHERINE: shh. We will go on exactly as we have. STEFAN: Yes. We will go on. KATHERINE: You have no idea of the future I have planned for us, Stefan-- You, me, and Damon. No rules. [The old Salvatore's field.] STEFAN: She could controlmy mind and Damon's. She compelled each of us to keep the secret from the other. She wanted all of us to be together forever. Didn't work out that way, but... Damon and i, looks like we're stuck with each other... Like it or not. ELENA: Is that Damon's ring? STEFAN: I took it from him, but i have to give it back. ELENA: No. don't, Stefan. keep it hidden. STEFAN: Elena, if i don't give it to him, he'll retaliate in the only way that he knows he can hurt me. ELENA: And how is that? STEFAN: By hurting you. [Lockwood's house.] SHERIFF: We're working on the burn bodies. MR LOCKWOOD: Doc i.d. the bodies? SHERIFF: A few townies. Notorious druggies. MR LOCKWOOD: I suppose that'll make it easy for people to buy the story. And Vicki Donovan? SHERIFF: She's not one of the deceased. MR LOCKWOOD: Where the hell is she? SHERIFF: I wish I knew. LOGAN: Sorry i'm late. MR LOCKWOOD: You have the watch? It's ready. LOGAN: That's it? MR LOCKWOOD: Yes. That's it. He gives him a compass. [The Salvatore's house.] Vicki is dancing. VICKI: I am so over Tyler, so over him. I knew from the beginning that i was only a piece of ass to him, but i thought maybe if he got to know me better, he might see something more. But no. Now, Jeremy, on the other hand, that's all he's ever seen in me is something more, and i like that. DAMON: Jeremy, huh? Elena's brother? VICKI: Yeah. yeah. So, Elena used to date my brother, and they were always together, so jeremy would always be hanging around and crushing on me and-- Hey, why don't you have a girlfriend? You're, like, totally cool and so hot. DAMON: I know. VICKI: Don't you wanna be in love? DAMON: I've been in love. It's painful and pointless and overrated. Except when it isn't. No more talking. Let's dance. VICKI: My mom spends most of her time in Virginia beach with Pete. He drives trucks. I don't remember my dad, bufrom what i gather, he's not worth remembering. DAMON: Your life is so pathetic. VICKI: Yeah. I mean, I'm the screwed-up one. Matt's got it so easy. he's the golden boy. I mean, he's gonna get a football scholarship and marry Elena and have a lawn mower and some babies, and when i think of my future, i just come up blank. DAMON: You are so damaged. VICKI: Yep. DAMON: I mean, you don't have one hint of self-esteem. VICKI: Nope, none. DAMON: I think I know what can help you. VICKI: So what's that? DAMON: Death. He k*ll her. After few minutes, Vicki wakes up. VICKI: What happened? DAMON: We were dancing, and then-- then I k*lled you. VICKI: What? DAMON: You're d*ad. VICKI: I'm d*ad? DAMON: Yeah, well, let's not make a big deal out of it. Drank my blood, i k*lled you, and now you have to feed in order to complete the process. You're wasted. You don't wanna be out there all alone. You're about to get really freaky. VICKI: Ok, I had a really good time. I just wanna go home. DAMON: You're gonna start craving blood, and until you get it, you're gonna feel very out of it. You have to be careful. VICKI: Come on, move. DAMON: See? you're already starting to fall apart. VICKI: And i'm going home now. DAMON: Ok, fine. I'm just warning you. Actually, you know what? You should go. In fact, if i were you, I would stop by your boyfriend Jeremy's house. VICKI: Yeah, whatever. DAMON: Bye. Tell Elena I said hi. and if you see Stefan, tell him to call me. [In the wood.] SHERIFF: I got Stanley on the Moore street entrance. The rest of us'll cover other access points. Call him or call me if that thing goes off. Don't use the radio. Cellphones only. LOGAN: Got it. SHERIFF: You've got 8 rounds. Remember, wood b*ll*ts won't k*ll him, but it'll wound him enough for you to get close and stake him. You sure you can handle this? LOGAN: Of course I can. SHERIFF: You ever staked a vampire before? LOGAN: Have you? [Elena's House.] Doorbell ringing. JEREMY: Coming! VICKI: Hey. The sun is k*lling me. my eyes are on f*re. JEREMY: Where have you been? VICKI: It's good. everything's good. JEREMY: Did something happen? VICKI: I'm hungry. What do you got to eat? JEREMY: You're high? Vicki, it's the middle of the day. VICKI: Could you just not talk so loud? My head, it hurts. I need quiet. [Old Salvatore's field.] ELENA: The mind control... You said Katherine used. Do you ever do that to me? STEFAN: No. That necklace, it contains an herb called vervain. It protects you from being compelled. I wanted to protect you from Damon's influence. But i also wanted to... Protect you from me. All right, n n you should never take that necklace off... Because no matter what happens after today, no matter how you feel about me... You'll know that you were free to make your own choice. [Elena's house.] MATT: Where is she? JEREMY: Come this way. MATT: What's she on? JEREMY: ---I don't know. MATT: Hey, Vic. How you doin'? VICKI: Not good, Mattie. I hurt. MATT: Ok, where's it hurt? VICKI: My gums. My jaw hurts. My gum--there's something in my gums, and it hurts. MATT: Ok, well-- VICKI: No. Just leave me alone. MATT: Come on, Vic. Don't be like that. Let's get you home. VICKI: Just turn it off! JEREMY: Turn what off? VICKI: The talking, the chatter, just turn it off. TV sound is inaudible. VOICE: ...horribly. 3 bodies were found d*ad in what is believed to be a drug deal gone awry. The bodies have yet to be identified. They were discovered earlier today over at the old Mystic Falls cemetery. JEREMY: That's where we were last night. MATT: What happened, Vic? VOICE: ..homicide, and are fast under way looking for suspects. They're asking anyone with information... MATT: I'm calling the cops. VICKI: No. Don't. JEREMY: What happened after I left last night, Vick? MATT: Dude, are you ok ? JEREMY: I'm fine. i'm fine. MATT: Damn, Vick. ELENA: What's going on? MATT: She's really messed up. STEFAN: Elena, back up. Vicki, look at me. Focus. You're gonna be fine. Everything's gonna be fine. Guys, take her up to bed. Shut the blinds. She's gonna be ok. Come on. Come on. ELENA: You know what's wrong with her? STEFAN: Yeah. ELENA: What is it? STEFAN: She's transitioning. ELENA: Transitioning to what? STEFAN: A vampire. ELENA: What? STEFAN: Damon must have gotten to her. She's new. She hasn't completed her transformation yet. ELENA: H-how does she do that? STEFAN: She has to feed on human blood. ELENA: And what if she doesn't? STEFAN: She'll die. She may only have a few hours. ELENA: She's upstairs with him right now. STEFAN: It's ok. She doesn't know what's happening to her yet. ELENA: So when is she gonna know? STEFAN: Right now, she doesn't remember anything. A part of her is still human, but slowly, the deeper she gets into the transition, the memories will start to come back, and then she'll know she has to make the choice. ELENA: The same choice you made? [In the bedroom.] VICKI: I'm sorry I'm so much trouble. JEREMY: Aw, you just--you need to sleep it off, ok? VICKI: No. MATT: Vick. Vick! JEREMY: She was fine, and then she just-- she just freaked out. MATT: I'm gonna go look for her. Call me if you hear anything. STEFAN: I can track her. ELENA: Go. [In the wood.] Cellphone rings. SHERIFF: Yeah. LOGAN: I think I got something. It's pointing towards the old cemetery. SHERIFF: Headed your way. [Elena's house.] JEREMY: Maybe we should check in with Matt. ELENA: He'll call when he finds her. JEREMY: Well, what are we supposed to do? ELENA: We wait. We're supposed to wait. JEREMY: I don't know what's wrong with her. ELENA: She'll be fine. It'll all be fine. Doorbell rings. It's Damon. ELENA: Jeremy, go upstairs. DAMON: You're afraid of me. I'm gonna go out on a limb here and guess. Stefan finally fessed up. ELENA: Stay away from me. DAMON: Hey, there's no need to be rude. I'm just looking for Stefan. May I come in? Oh, wait. Of course I can. I've been invited. We can cut to the chase if you want. I'm not gonna k*ll you right now. That wouldn't serve my greater agenda. So... Where's stefan? ELENA: He's out looking for Vicki. DAMON: Don't look at me with those judgey little eyes. Girl's gonna thank me for what I did to her. ELENA: Did you thank Katherine? DAMON: Mmm. Got the whole life story, huh? ELENA: I got enough. DAMON: Oh, I doubt that. Tell my brother i'm looking for him. Oh, tip for later, be careful who you invite in the house. [At the cemetery.] STEFAN: Vicki. VICKI: I'm starting to remember things, what he is, what he said. I remember you. The hospital, the--the rooftop, it's all coming back. STEFAN: I'm so sorry. Damon had no right to do this to you. VICKI: He said that I need to feed. What will happen if i don't? STEFAN: You'll fade quickly... And then it'll all just be over. VICKI: I'll be d*ad. STEFAN: Hey. VICKI: I don't want this. STEFAN: I know. It'll be ok. You're gonna be ok. I can help you. VICKI: Is it better? Is it better? Will I be better? I wanna go home. Will you take me home? STEFAN: Ok. g*n. Stefan is hurts. STEFAN: Ahh! VICKI: No! Damon bits Logan. DAMON: It's wood. They know. If anyone's gonna k*ll you, it's gonna be me. My ring. Vicki is drinking Logan's blood. STEFAN: No! No! Vicki! VICKI: I'm sorry. DAMON: Oops. Sheriff Forbes finds Logan. SHERIFF: My god... The watch. Find the watch. [Front of Elena's house.] ELENA: You're bleeding. STEFAN: No, it's ok. It's ok. I'm ok. STEFAN: I couldn't stop her. I tried. ELENA: What does that mean? STEFAN: She fed, and then I lost her. ELENA: Oh, my god. STEFAN: I'll take care of it. I'll find her, and i will show her that she can live like I do. I will make sure that she does not hurt anybody, Elena. I promise you. ELENA: What do i tell my brother and-- and Matt? STEFAN: We'll come up with a story. ELENA: You mean we'll come up with a lie. STEFAN: I'm so sorry. ELENA: I gave you today just like you asked. And I understand that you would never do anything to hurt me, and I promise I will keep your secret, but... I can't be with you, Stefan. I'm sorry. I- I just can't... She enters in her house. She cries.

{"type": "series", "show": "The Vampire Diaries", "episode": "01x06 - Lost Girls"}

foreverdreaming

[Jenna's house] Jenna: Why are you here Logan? Logan: I missed you. I was out of town. Jenna: yeah, I got the email! Logan: you got an email? Jenna: You didn't send an email? Logan: I can explain. Just invite me in and I tell you everything. Jenna: I'm not gonna invite you in. Forget it! Logan: come on Jenna. It's me! Jenna: the answer is no! Logan: I know you. You're always one step from "maybe", tidy nasty "yes" Jenna: you've just pointed it out that I've no self-control. Clever strategy! [Jenna closes the door and Logan is on the street] A neighbor: Good evening! [Logan looks at him then a woman passes] The woman: hey, you're the guy from the news, Logan Fell. I watch you every night. Oh, I used to, I mean. You've been missing from my TV. Logan: I took some time off. The woman: I noticed. I'm Daphne. Logan: hey you know something, Daphne? The woman: No, what? [Logan bites her] [House- Jeremy is reading the book of his father] "I live in fear. It consumes me. In the early evening that I see the sun begins the fade; the fear comes because I know that the night brings death." [Elena and Jenna are in the hall of their houses and talk] Elena: Jeremy is gonna sketch pad note. Jenna: You're kidding? Elena: Nope but don't say word. The minute we encourage him, he'll put it away. Jenna: psychology major. Check that! Jenna: You and Stefan? Update? Elena: He knows how I feel and works and I know where he stands and it doesn't matter. He's leaving, moving away. Jenna: Where is he going? Elena: I stopped asking questions. The answers get scary. [Out of the house] Jenna: your leaves, mine returns. Elena: Logan? Jenna: He's back. I didn't let him pass my door. Elena: Hope you slam down his face Jenna: yes, medium Elena: three cycles, Jenna. Not even watch the news! Jenna: exactly! No more Logan slam Fell [Salvatore's house: living room] Stefan: so any ideas where you go? Damon: I don't know. London, maybe! See some friends. Stefan: You don't have any friends, Damon. Damon: you're right Stefan. I only have you. So, where we're going? Stefan: WE are not going anywhere. I'm gonna live my life as far away from you as possible. Damon: but we're team! We could travel the world together. We can try "The Amazing race" Stefan: That's fine! Seriously, where you're going because we are not staying in this town. [Someone rings at the door] Sheriff: I'm here to see Damon Stefan: Sure, OK. Damon: sheriff, what surprise! Sheriff: sorry to bother you but we need to talk Damon: come in. [Damon and the sheriff go in the garden] Damon: I hope you understand the secrecy. Stef doesn't know about this yet and I'd like to keep it that way. Sheriff: of course, kids are too young to be brought into this. Damon: so, what you need? Sheriff: there's been another att*ck. A female victim, throat tore out, completely drained of blood. If it's repeater… Damon: I'm sorry I don't understand. I thought we solved that problem when…. I staked the blond one Sheriff: I think that she must have turned someone, a multiple someone. I don't know. The story for the town is another animal att*ck but I'm not sure how long we can keep lying to them. The council is on up board. We thought we were passed this. Damon: and so, what we do? Sheriff: you're the only one who has never taken on a vampire. We were hoping you could tell us. [School] Matt: and the bally dance and the Krumper of salsa Caroline: I was awake for that way Matt: oh I don't know when you feel asleep. Hum, did you see the Celine Dion waltz about cancer? Caroline: those always make me cry! Matt: and then the judge can screaming and I can take it so I turned it off Caroline: I saw ‘the family guy', so you hold me [School: Elena & Bonnie] Elena: did I miss something? Bonnie: they've been hanging out Elena: kind of weird, don't you think? Bonnie: she needs someone nice like him as opposed to a vampire like Damon. Elena: yeah, how are you doing with all that? Bonnie: I'm freak out. Damon att*cked me and I could be death right now but I'm also grateful. Elena: hum? Bonnie: to Stefan. He saved my life, and… Have you seen him? Elena: No since he's used he's leaving. For all I know, he's probably gone. Bonnie: He wouldn't leave without saying goodbye. Elena: yes, he will. He thinks he's protecting me: a clean break and all that. Bonnie: so what're gonna do? Elena: what am I supposed to do? I've already beg to don't go. If I ask him, I'm being self-fish. It is what it is. Bonnie: maybe, it's for the best! Elena: what? Why? Bonnie: I mean what kind of future could you have with him even if he stayed? Elena: did you… Bonnie: no, I swear. [Salvatore's house] Damon: Thank you for stepping by. Sheriff: let me know if you come on this Damon: Absolutely [Sheriff leaves] Stefan: what's wrong with you? You k*lled somebody? Damon: get off of me! A) Don't touch me B) If I had, I would not be so obvious about it C) There is another vampire in town. Stefan: that's impossible. Damon: obviously not! Stefan: who could it be? Damon: what do we care? We're leaving anyway, right? Stefan: no, I can't leave now and you know that. How are we supposed to find this person? Damon: don't handle with this stuffs [Front of school] A girl: see you later, ok. Bye. Elena: bye. Stefan: Hi. We need to talk. [School-Basketball terrain] Tyler: So what's up with you and Forbes? Matt: nothing about Tyler: I saw you in the hall today. Don't even try denied, bro. You type her. Matt: no, it's not like that! Tyler: never is until it comes "we" Matt: "we" people? Tyler: yeah, "we can make to the party"; "we never miss a game"; "we don't like the color red" Matt: we are not like twice Tyler: like I said "we" [Front of school] Elena: so you have no idea who it could be? Stefan: none, but it must somebody now because leaving a body like that….rather sloppy or he tries to send a message. Elena: are you sure it's not Damon? Stefan: I'm never sure about Damon, but he's been trying to keep low profile so it's just doesn't make any sense to me. Elena: so what are you gonna do? Stefan: Damon is tracking now, right now. Look I promise you the truth so I wanna to tell you. I want you to be careful. Elena: when I saw you, I thought you were coming to say goodbye. Stefan: not yet! [At Jeremy's: living room] Jeremy: hey what do you think? Jenna: creepy Jeremy: I found this old journal in dad's stuffs, Jonathan Gilbert from the 1800. It's kind of a freak show. He wrote about demons and all of these people getting slaughter and… Jenna: yeah, he was a writer… short stories, horror stuffs. Jeremy: he wrote fictions? Think he was just a limited or a drunk. Jenna: he was a Gilbert, probably a little bite of both. [Front of a warehouse] Caroline: So what we do now? Damon: Just wait. I'll be there in a… Caroline: can you hurry? I've things to do. Damon: can you give me then? Caroline: so what did you need me to do this? Damon: Because I interfere the signal Caroline: Can I go now? This is b*rned out the half of my day. Damon: you do that! Take your car and go home. And forget me to ask you to do this! Caroline: ok, bye now Damon: bye [In the warehouse] Logan: I've tons of these wood boots so nothing funky Damon: you don't wanna do this, trust me. Logan: that's what you get Damon: for what? Logan: you make me like this! Damon: I k*lled you. I didn't turn you. Logan: See I know you and your brother are. I've watching the 2 of you. I knew you appear and I glad that you did because I've some questions. Damon: me first. Who turns you? Logan: how should I know? Last thing I remember, it's about to stake your brother and then you crapped me. That's it! Until I wake up in the ground behind a used car dealership on highway 4. Somebody buried me. Damon: It happens. Logan: you bite me. It had to be you! Damon: Lift a vampire blood system when you died. I didn't do that! Some other vampires find you, give you them blood. Logan: who? Damon: that's what I wanna know Logan: dude, it's like the welcome wagon was waiting with a pancake and a handbook. It's been a learning huge go process. One minute, I'm a small town on the rise news guy and next thing I know, I can't get into my house because my full bulk don't go through the door. Damon: you have to be invited in. Logan: I know. I leave alone. Damon: Oh, That sucks! Logan: so now, I am at the Ramada, watching papers view all day, eating everything inside including house-keeping Damon: it could be worst! Logan: all I can think about its blood and k*lling people. I can't stop k*lling people, I can keep k*lling and I like it. I'm conflicted. Damon: welcome to the club. Wait! Cobs found one body. Logan: I left one. I was tired but I've hidden the rest of bodies. There were back there. Damon: you're kidding? Logan: they pile up. [School] Maier: so what do we know? Sheriff: nothing in the report again. My highly reliable deputies are on their work but if you feel the need to be more proactive by all means perhaps a stake and have them. Maier: What cautions college is it gonna take? Sheriff: for right now, there is no more safe in the crowded public place and for once, actually, we know where our kids are. [School: Tyler & Jeremy] Tyler: what do you want? Jeremy: hey, I'm just surprise to see you here. Art usually implies culture and culture implies, eh, not you. Tyler: go the hell! [School] Elena: Still wanna be an astronaut? Matt: I can't believe you remember that. Elena: I can remember the tinfoil you wore on your head. Matt: I was eight Elena: how are you doing? Matt: it has been easier. You? I heard some times. So it's true than you and Stefan… Elena: yes, it is. What about you, Matt Donovan? I heard about Caroline. Matt: oh men, not you too. We're friends. It's not a big deal. Elena: No? Matt: No. [Warehouse] Logan: why am I so overly emotional? I can think about my ex-girlfriend. I wanna be with her and bite her and stuff. Damon: you may probably love her. Anything you felt before will be magnified now. You've to learn how to control that! Logan: what about walking on the sun? I'm a morning person. You can walk on the sun which is by the way, is pretty cool. The council will never suspect you. That's not in the journals. Damon: the journals? Logan: yeah, the founding fathers said pass out journals to the kids. Come on men, you get to tell me. How can you walk around in the sun? Damon: who turned you? Logan: how do you walk in the sun? Damon: who turned you? Logan: you know, I've been really nice so far but I will k*ll you! Damon: and you never know. You don't answer my question! Logan: you first! Damon: it seems we have been in an impasse then, doesn't it? Logan: I've things to do, people to k*ll. Guess I have been a longer length start. [At school] Elena: I'm guessing you're not here to plan future. You're looking out for me Stefan: hope that's ok. You know I wanted to be a doctor before it happened, but I couldn't Elena: the blood Stefan: yeah, I've dubbed thing, fun of different things so. Elena: you didn't love anything enough to sleep to it. Stefan: no I loved that all. It's just…I had to move on before anybody can notice that I wasn't getting any older. Elena: how long before that would happen? Stefan: few years, usually. Sometimes shorter Elena: and you always left Stefan: I haven't the choice. So, what about, what about you? Any plan for the future? Elena: I don't wanna talk about my future Stefan because everything you're saying is making a perfect life where you're not gonna be in. Stefan: Elena, it's not that I don't wanna be in Elena: you can't, I get it! I've heard you the first time and the second time and I appreciate you're looking out for me but please, if you're gone leave, then just go. Jenna: hide me. Elena: what's going on? Jenna: this scum Fell has landed. Elena: Logan's here? Stefan: wait, Logan Fell? [Stefan goes in the hall of the school] Elena: Stefan, what's going on? Logan: Jenna, you're dodging me! Jenna: it's a form of self-preservation. Stefan: Elena, why you and Jenna don't go somewhere else? Elena: let's go. [Elena & Jenna leave] Stefan: what are you doing here? Logan: you know, your brother asked me the same thing. In fact, why don't we just keep pass the all leg who turned me stuff to get the answer that I want? How can I turn into a day walker? Stefan: Damon and I are the only keepers that know it. Logan: But you both are cagey on the how which tells me that there is a way. You know. In case that you haven't noticed, I'm quite a celebrity in this town. It would be very, very easy for me to expose you. Stefan: you wanna know how you can walk around in the sun? Logan: I do Stefan: You can't. Don't ever thr*at me again! [Jenna & Elena] Elena: when Logan came to the house, what did he say? Jenna: fake flattery and stupid deepen grin, puppy dog eyes. Elena: I'm serious Jenna. How did he act? What did he say? Jenna: he's usual Logan, charming, a little more maniac than usual. He kept try to convince me to let him in. What? Elena: Ok, listen to me very carefully. Do not, in any circumstances, talk to him again. I'm serious, Jenna, look ever! Alaric: hey Elena. Jenna Elena: Hey Mister Saltzman. Alaric: I hoped to see you again. Jenna: carrier's night is the new bowling. Elena: ok, excuse me. [Elena leaves] [Out of the school – Damon & Stefan – conversation on the phone] Damon: Logan Fell is a vampire and when I found him again, I'm gonna destroy him limb by limb. Stefan: What happened? Do you ok? Damon: no, I'm not ok! I was embellished; I was sh*t. Now, I'm vengable. Just got to find them. Stefan: there is no need. He's here in school. Damon: you're kidding me? Why the hell is he there? Stefan: he's working crowd. Damon: well, I'll be right there. [Out of school] Elena (to Stefan): so, anything you'd like to share? [School] Sheriff: what are you doing? Caroline: I'm founding my future. There it is. Sheriff: broadcast journalism? Caroline: yes! Broadcast journalism. Why are you looking at me like that? Sheriff: you don't even read paper. [Caroline leaves] Logan: Liz Sheriff: Logan Logan: what you're gonna do: Stake me; bury me in another shallow grave? What the email say this time? Sheriff: I've not the choice. Logan: you…Bitch! I died for you, for this town. You've known me since I was 6 and you swept me under the rock like dirt. Sheriff: You know where you're getting it. Logan: I was one of you Sheriff: now, you're one of them. Logan: watch your back, sheriff! [Logan leaves – Sheriff is on the phone] Sheriff: Get a backup team at the school immediately. Keep it within the circle. It's a V5. [School hall] Jeremy: I didn't know you drew Tyler: it's an elective. Jeremy: because it's good stuffs. You like graphics? Because…it's kind of my thing. Tyler: oh, what you doing? Jeremy: that's just something else we have in common. Tyler: what's the other thing? Vicki? Let's hang up because we dated the same chip. Go be friends with one of the many other guys that she screwed, there is no short gentleman. [Fight between both] Alaric: ok working out guys. Maier: you two, follow me! Alaric: excuse me, Maier. Where're you taking them? Maier: I'm gonna talk to them. All fights should end with an handshake, don't you think? [Out of school] Caroline: Bonnie, where are you? I'm ready to go. I'll be in the outside. Logan: hey, lady on distress, need a ride? Caroline: oh my god. Logan Fell, channel 9, that's you? Logan: I used to be seen Caroline Forbes. Don't mock me! Caroline: oh, I was supposed to go home with Bonnie but I can't find her. Logan: that's not a problem, really. It's on the way. Caroline: this is fate. Logan: and why Is that? Caroline: because I'm interested in broadcast journalism. So can I ask you a couple questions? Logan: anything you want. First, buckle up. Caroline: ok [School] Elena: have you seen Logan Fell, the news guy? Matt: yeah, he's just taken Caroline by home. Stefan: stay here! [Out of school] Maier: ok, let's get keep its old used system. Go ahead, Fight! Jeremy: you wanna us to what? Tyler: I'm not gonna fight dad. Jeremy: I don't think so, Sir. Maier: you fight here like pansies. You take it outside, fight your battles like men and move on! That's les my dad talking. So let's seld! Fight! Tyler: come on, dad. Jeremy: that is not gonna happen. Maier: I said fight! Alaric: what's going on here? Maier: let's these two kids working out. We're good here. Go back inside! Alaric: I don't wanna go back inside. I wanna want is an answer to my question. What's going on here? Maier: what do you think you're talking to? Do I look a student? Alaric: no! You look like a fall ground half-man duce back. Maier: don't talk to me like that! I get every job like this! Alaric, ah you do that. It will be you and me on this parking lot, working things on. You cool with that? Maier: just watch yourself. Alaric: ok [Maier and Tyler leave] Alaric (to Jeremy): you're alright? [Sheriff in her car – phone calling] Sheriff: where are you? Logan: your daughter has expressed interest in journalism. I think it's important to force young minds. Sheriff: what do you want? Logan: the satisfaction turning your daughter into a vampire. [In the street] Damon: payback is a bitch, is it? Get her out of here. Sheriff (on the phone): Logan, what happened? Damon (phone): Sheriff, yeah, it's Damon. Sheriff (phone): Where is Caroline? Damon (phone): she's ok. I'm on Elm Street. [Damon & Logan] Damon: I try this one more time. Who turned you? Logan: I told you I don't know. Demon: this tire iron here take your head cleans off. So, it's your final answer? Logan: how can you be in the same side of them? Damon: I'm on the side of anyone. You pissed me off. I wanna you death. Who turned you? Logan: I don't know! Damon: oh well, you screwed! Logan: wait. I do know! Damon: you're lying. Logan: you think you're the only one of us to get in that tomb in the navy old church? Damon: If you lie me, I'll end you. Logan: I'm not lying. There is another way to break the spell. We can help you. Meet me at the old church. Damon: take me off. Makes look crap. Makes it look real! [Sheriff arrives – Logan leaves] Sheriff: where is she? Damon: she's ok. My brother takes her home. I'm sorry, sheriff. I wasn't stronger. [At school] Elena: Caroline? Stefan: she‘s ok. I took her home, she was shaked. All she knows It's Logan att*cked her. Elena: Where is Logan? Stefan: Damon … is dealing with him. Elena: as in… Stefan: you saw what happened tonight. You may understand why we can be together. You see? Elena: yes, I'm seeing a lot of things, Stefan. Come on. I'll give you a ride Stefan: I can get home Elena: I know Stefan: Right, it would be nice [Out of school] Jeremy: yeah. Tyler: what do you want? Jeremy: I don't know. I thought that it was weird with your dad, what he did. Is he like that all the time? Is that…Is that what you go through? Men I get it. I get it. What's your problem? Tyler: I don't need your pie. Jeremy: seriously you don't have to be like that. Tyler: just go! Jeremy: What is your problem, men? Tyler: I don't know. Ok. I don't know. [In front of Salvatore's house] Elena: what I said before your leaving, it was harch. Stefan: no, you've every right. Elena: you asked me what I want it my future to be. I wanted to be a writer. My mum, a sort of push me in that direction from the time I was able to read. She's supported me, encouraged me, bought my first journal, and then she died. And I can't see myself being a writer anymore. That was something that we shared. I know you think you put all of these bad stuffs in my life but my life already had it. I was barred in it. Stefan: this is different. Elena: it doesn't make any less painful. Stefan: I know that it's hard to understand but I'm doing this for you. Elena: No, you don't get to make the decision for me. If you walk away, it's for you because I know what I want. Stefan, I love you. [They kissed each other then go inside the house] Elena: don't Stefan: Elena, I can't Elena: yes, you can. Don't hide from me. [In front of the warehouse] Logan: who are you? Alaric: a friend of Jenna Logan: Jenna sends you? Alaric: No, I came on my own. Logan: ah, I get it. Well, body, I know you think it makes you brave. But actually it makes you pretty stupid. Alaric: By the way, here I am Logan: what do you want? Alaric: Jenna is a good person. She deserves the best. I make sure she gets it Logan: is that supposed to be a thr*at? Could you throat punch? Maybe provoke me a little? Alaric: I'm a violent guy by design. Logan: you're not a very smart one neither Alaric: How's that? Logan: because you've no idea who you're talking to [School- parking lot] Tyler: I need a ride Matt: sure. Look, I like Caroline. She's got this thing….this way butter….and I like her ok? I'm not gonna defending or apologize about. Tyler: ok Matt: so stop your little romance bitch act. Tyler: ok [Sheriff is in Caroline's room and got a call] Sheriff: yeah, I'll be right there. [Stefan's room] Elena: I've never been in your room before. Stefan: it hasn't changed much over years. Elena: do you leave everything here when you come and go? Stefan: it's the only place that…that remains constant. This room holds all the memories that I left was important enough to hold on to. Elena: lot of memories Stefan: yeah. Are you dirty or anything? Elena: a little. You? Stefan: I' m fine. I'm getting you some drink ok? Elena: ok [Demon & The sheriff on the phone] Damon: hallo Sheriff: I just wanna to say thank you. I don't know how you did it. Damon: hum, not following. Sheriff: we found Logan's body up by the old fair warehouse. It has been disposed of. It was crowding victims, innocents' victims. Damon: what? Sheriff: town holds you so much. So do I. [Stefan's room] Stefan: Elena? [Elena's driving. She's accident and she hurts someone]

{"type": "series", "show": "The Vampire Diaries", "episode": "01x10 - The Turning Points"}

foreverdreaming

[Elena's car.] STEFAN (PHONE): Elena. It's Stefan. I know that picture must have confused you. But I can explain. I need to explain. Please, when you get this, call me. Elena has an accident. She collided a man. Her car is back to front but Elena has nothing. She sees the man getting up. ELENA: Aah! Aah! Aah! The man disappears. DAMON: How ya doing in there? ELENA: Damon? DAMON: You look stuck. ELENA: My seat lt. DAMON: Let me get you out of there. I want you to put your hands on the roof. Just like that. You ready? ...2, 3. I got you. Are you ok? Can you stand? Anything broken? ELENA: Uh-uh. DAMON: Whoa, you're fading fast, Elena. Elena, look at me. Focus. Look at me. Ok. ELENA: I look like her. DAMON: What? Upsy-daisy. Damon leaves with Elena in his arms. [Alaric's House.] ALARIC: I found one. After years of reseah and study, there it was right in front of me. I was terrified. As I stared it in the eyes, I drove a stake through its heart. I was right about Mystic Falls. There is evil here. I can sense it. Feel it. It's everywhere. He is watching a photography of a youg woman, probably his girlfirend. [Flashback.] ALARIC'S GIRLFRIEND: Mmm. It's not even 7:00 yet. ALARIC: Which means you shouldn't be awake for at least 6 hours. ALARIC'S GIRLFRIEND: I hate morning people. ALARIC: I'm going to be home te tonight. ALARIC'S GIRLFRIEND: Mm love you. ALARIC: And I love you too. [Damon's car. Elena wakes up] DAMON: Morning. ELENA: Where are we? DAMON: Georgia. ELENA: Georgia? No, no. No, we're not. Seriously, Damon. Where are we? DAMON: Seriously, we're-- we're in Georgia. How ya feeling? ELENA: I--I-- DAMON: There's broken bones. I checked. ELENA: But my car. There was a man. I h*t a man. But then he got up and--who was that? DAMON: That's what I would like to know. ELENA: Where is my phone? Ok. We really need to go back. Nobody knows where I am. Pull over. I mean it, damon. Pull over! Stop the car! DAMON: Oh you were so much more fun when you were asleep. He stops the car. DAMON: Hey. ELENA: I'm fine. We have to go back. DAMON: Oh come on. Look. We've already come this far. ELENA: Why are you doing this? I can't be in Georgia. I wrecked my car. I have to go home. This is kidnapping. DAMON: That's a little melodramatic, don'you think? ELENA: You're not funny. You can't do this. I'm not going to Georgia. DAMON: You're in georgia. Without your magical necklace I might add. I can very easily make you...Agreeable. ELENA: What are you trying to prove? [Elena's cell phone rings.] ELENA: That's my phone. DAMON: Mmm. It's your boyfriend. I'll take it. Elena's phone. STEFAN: Where is she? Why do you have her phone? Is she ok? DAMON: Elena? She's right here. And, yes, she's fine. STEFAN: Where are you? Let me speak to her. DAMON: He wants to talk to you. ELENA: Uh-uh. DAMON: Yeah. I don't-- I don't think she wants to talk to you right now. STEFAN: Damon, I swear to god, if you touch her-- DAMON: You have a good day. Mm-hmm. Bye-now. STEFAN: Argh! ELENA: Look. No one knows where I am. Can we please just go back? DAMON: We're almost there. ELENA: Where is there?! DAMON: A little place right outside of Atlanta. Oh, come on, Elena. You don't wanna go back right now. Do you? What's the rush? Time-out. Trust me. Your problems are still going to be there when you get home. Look. Step away from your life for 5 minutes. ELENA: 5 minutes. Am I going to be safe with you? DAMON: Yes. ELENA: Will you promise not to do that mind control thing with me? DAMON: Yes. ELENA: Can I trust you? DAMON: Get in the car. Come on. [Jeremy and Alaric.] JEREMY: Hey, Mr. Saltzman. ALARIC: Hey, Jeremy. I, uh--can't find my ring. I took it off for the gym and thought I put it-- there it is. JEREMY: Losing family heirlooms-- bad. ALARIC: How's your extra credit coming? You pick a topic yet? JEREMY: Mystic Falls, the cil w*r era. ALARIC: What's the angle? JEREMY: My family-- I found a journal of an anstor who lived in the 1800s. And the Gilberts were one of the original founding families of Mystic Falls. So... ALARIC: That sounds good. [Stefan and Bonnie.] STEFAN: Bonnie. BONNIE: Stefan STEFAN: Hey. BONNIE: Hi. STEFAN: I haven't seen you lately. How are you doing with everything? BONNIE: I'm fine. It's all fine. STEFAN: Good. Yeah BONNIE: Are you back in school? STEFAN: No. Actually I came here to find you. I s hoping you could help me with something. A spell. BONNIE: Stefan, look, I know Elena's ok with all of this, and I appreciate what you did to help me. But I'm not really ready to dive into it with you just yet. STEFAN: I understand. But I need your help. It's Elena. She's with Damon. I have Elena's necklace. I was just hoping you could use this to make some sort of a connection. I just need to know that she's ok. BONNIE: How do you know I can do this? STEFAN: Because I've known a few witches over the years. I've seen what they can do. BONNIE: I'm still new at it. STEFAN: It's ok. Give it a sh*t. BONNIE: Ok. All right. She tries to feel something with the necklace. BONNIE: There's nothing. Nothing's happening. Usually there's an image or... Tell me if anyone's looking. STEFAN: Ok. BONNIE: All right. She takes a leaf and tries to fly it. STEFAN: What is it? BONNIE: Something's wrong. STEFAN: With Elena? BONNIE: With me. There's something wrong with me. I have to go. I'm sorry, Stefan. I can't help you. [Damon's car.] ELENA: So, where's my car? DAMON: I pulled it off on the side of the road. I don't think anyone will bother it. ELENA: At about that man in the road? Was he a...? DAMON: From what I could tell. Yeah. ELENA: You don't know him? DAMON: If I've never met him, I wouldn't know him. I mean, it's not like we all hang out together at the vamp bar and grill. He stops the car in front of a bar. ELENA: You brought me to a bar? Damon, I'm not old enough. They're not going to let me in. DAMON: Sure they will. WOMAN: No. No, it can't be. Damon. My honey pie. She kisses Damon. WOMAN: Listen up everybody! Here's to the man that broke my heart, crushed my soul, destroyed my life, and ruined any and all chances of happiness! Drink up! Ahh. Whoo! WOMAN: So, how'd he rope you in? ELENA: I'm not roped in. Actually, I'm dating his-- WOMAN: Honey, if you're not roped, you're whipped. Either way, just enjoy the ride. ELENA: Ok. So, how did you two meet? WOMAN: College. ELENA: You went to college? DAMON: I've been on a college campus, yes. WOMAN: About 20 years ago, when I was just a sweet, young freshman I met this butiful man, and fell in love. And then he told me about his littleecret, made me love him more. Because, you see, I had a little secret of my own that I was dying to share with somebody. DAMON: She's a witch. WOMAN: Changed my world. DAMON: I rocked your world. WOMAN: He is good in the sack, isn't he? But mostly he's just a walkawayoe. So, what is it that you want? [Jeremy in a library.] He looks at books when some books fall him above. A girl arrives. GIRL: Oh my god. I am so sorry. There was this one book wedged between the other. And I pulled and then kaplunk, kaboom. Are you ok? JEREMY: Yeah, I'm fine. GIRL: Ohh! I'm Anna. JEREMY: I'm Jeremy. [Grams' house.] BONNIE: Thank god you're back. GRAMS: And hello to you, too. What's the matter? BONNIE: Powers are gone, Grams. I can't do anything, even when I concentrate. And there's nothing in in any of these books that can tell me how to get them back. GRAMS: Hang on, now. Just calm down. Tell me what happened. BONNIE: I can't. GRAMS: We keeping secrets now? BONNIE: I have to. I'm sorry. I promised. Please help me. GRAMS: Well, first of all, there's nothing in any of these that's gonna help you. If you're blocked, it's in here. You gotta clear it out, then you're back in business. BONNIE: Clear what out? GRAMS: Whatever's got you so scared. [Elena phones.] ELENA: Hi, Jenna. I'm so sorry. JENNA: Where are you? Why didn't you call? ELENA: I was so tired last night. I fell asleep at Bonnie's. And then this morning, I just wanted to get to school. JENNA: Are you ok? ELENA: You know, Stefan and stuff. DAMON: Come on, there's gotta be another way. WOMAN: After all these years, it's still only Katherine. How do you even know she's still alive? DAMON: Well, you help me get into that tomb and we'll find out. WOMAN: I already did. 20 years ago. Remember? 3 easy steps-- Comet. Crystal. Spell. DAMON: There's a little problem with number 2. I don't have the crystal. WOMAN: That's it, damon. There is no other way. It's Emily's spell. DAMON: What about a new spell with a new crystal that overrides Emily's spell? WOMAN: It doesn't work that way, baby. Emily's spell is absolute. You can't get into that tomb. [Bonnie in the wood.] BONNIE: Hello? Anybody here?! Aah! Bonnie falls. [Front of the bar. Elena's cellphone ringing.] STEFAN: Elena, is th you? ELENA: I'm here. STEFAN: Where are you? ELENA: You lied. STEFAN: Not until I explain, please. ELENA: So, you didn't lie? STEFAN: Just tell me where you are. So that I can comeet you. ELENA: How am I connected to Katherine, stefan? STEFAN: I honestly don't know. ELENA: And I'm supposed to believe that? STEFAN: It's the truth. I-- Listen-- She hangs up. Damon is behind her. DAMON: You ok? ELENA: Don't pretend to care. I know you're gloating inside. Damon's friend phones. WOMAN: Hey, it's Bree. You'll never gonna guess who walked into my bar. [Bonnie, in the tomb.] BONNIE: Oww. Hello?! Anybody?! Ahh! [Grams' house. Stefan is knocking.] STEFAN: Hi. GRAMS: Can I help you? STEFAN: I'm Stefan. I'm a friend of Bonnie's. Her dad told me that she might be here. GRAMS: She was. Not anymore. STEFAN: Do you know where she went? GRAMS: No. But you do. STEFAN: I'm sorry? GRAMS: I told her to face down her fear. And I'm sensing now that you know exactly why she was scared. You know what I am. And yet you offered me your hand, which means you wanted me to see that I can trust you. STEFAN: Can you? GRAMS: I just you'll keep her safe. You'd better be on your way, then. I'm not going to invite you in. I'm sure you understand why. [At the library.] ANNA: This aisle is local and state history. And civil w*r is one over. What do you need? JEREMY: Local. 1860s. Do you work here? ANNA: Nope. You want reference. This way. Uh, home-schooled. I study here for a moc school environment. Ah, here we go. Original settlers, town archives, founders stuff. It's all here. So, what's your topic ? JEREMY: The town's fear and hysteria surrounding the w*r and how it influenced certain writers of the time. ANNA: You might want to focus that. JEREMY: The origin of local folklore and myths. ANNA: You mean the vampires? [At the bar.] ELENA: Let's just say that I'm descended from Katherine-- Does that make me part vampire? DAMON: Vampires can't procreate. But we love to try. No. If you are related, it would mean Katherine had a child before she was turned. ELENA: Did Stefan think that he could use me to replace her? DAMON: Kinda creepy if you ask me. Come on, what? You don't like pickl? What's wrong with you? ELENA: How can you even eat? If technically you're supposed to be... DAMON: d*ad. It's not such a bad word. As long as I keep a healthy diet of blood in my system, our body functions pretty normally. ELENA: This nice act. Is any of it real? BREE: Here you go, honey. DAMON: Thank you. ELENA: I'll have one too. DAMON: Hmm? ELENA: Time out, remember? For 5 minutes? Yeah, well that 5 minutes is going to need a beer. BREE: There you go. [In the library.] JEREMY: You're kidding me, right? There's no such thing as vampires. ANNA: Well, there's not a lot of documentation but the stories have been told since the civil w*r. My granddad used to tell me all these creepy stories when I was little. And he said that his granddad told them to him. JEREMY: Yeah. That would be folklore. Vampires are a metaphor for the demons of the day. ANNA: Which are? JEREMY: The union soldiers. I've read the stories myself. They talk about the enemy, the demons that att*ck night. ANNA: That sounds like vampires to me. JEREMY: Allegorical vampires. Which is what it is. Creative expression during a very volatile time. I mean, a couny at w*r doesn't want realism. They want fantasy. Thus, vampire fiction. ANNA: Man, you're smart. I gotta give it to you. When I first saw you, I missed it. JEREMY: Yeah. I've had a rough go of it lately. But I'm just now getting back to my old self. ANNA: Well, good luck on the paper. I gotta get home. You know, my great grandfather actually showed me a journal once of an ancestor and he had written all of this creepy stuff about vampires. It was actually really believable. JEREMY: Wait. A journal? ANNA: Yeah? Why? JEREMY: Are you sure you have to go? [In the Tomb.] Bonnie tries to phone. BONNIE: Come on, phone! Great! Great. Someone arrives behind her. STEFAN: Bonnie! BONNIE: Get away from me! STEFAN: It's me. It's stefan. BONNIE: Stefan. The ground gave way and I fell. STEFAN: It's ok. It's ok. Calm down. Come on, let's get you out of here. BONNIE: How? STEFAN: Just close your eyes. Trust . He jumps. STEFAN: You can open your eyes now. BONNIE: Whoa. STEFAN: I didn't want to scare you. BONNIE: How did you know where I was? STEFAN: Well, your grandmother told me what you were doing. I guessed the where. BONNIE: I heard them. Down there. Behind the door. Are they in pain? STEFAN: In the beginning--yes. But not anymore. They've been starved to the point of dessication. BONNIE: But if they have blood-- STEFAN: That's not going to happen, Bonnie. They can't get out. Emily saw to that when she had you destroy the crystal. You're safe. [In the bar.] DAMON: Ready... BREE: Go! They drink. ELENA: That's 3. Do you need a bib? DAMON: Sorry I can't unhinge my jaw like a snake to consume alcohol. ELENA: Whatever. All right. Who's next? Another round, Bree. GIRL: Honey, you should be on the floor. ELENA: I am not even drunk. My tolerance is, like, way up here. BREE: All right. Here you go. [At Mystic Grill.] JEREMY: So, you have no idea where the journal is? ANNA: Nope. Gramps died. And all the kids split his stuff. I can ask. JEREMY: I just find it weird that our ancestors kept the same kind of journal. It's crazy. ANNA: Maybe it's based in some partial reality. JEREMY: No. It's gotta be a metaphorical. My ancestor wrote short stories. ANNA: So, that's why you're hung up on the fiction of it all. JEREMY: No, I'm hung up on fiction of it all because I've seen "the lost boys" and "near dark," like, 50 times. ANNA: Are those movies? Hey. I've never seen them. Maybe we can have a fright night and rent a whole bunch of vampire movies. JEREMY: Uh, yeah, sure. ANNA: Why does that sound like a no way in hell? Sorry, I'm blunt. JEREMY: No, it's--I don't want you to get the wrong idea. I just recently got out of something. It's a little too soon, you know? ANNA: Oh please, sure. No worries. I meant as friends. Yeah. Look, I really gotta go. Nice meeting you, Jeremy. [In the bar.] [Elena's cell phone ringing] ELENA: Hello? JENNA: Elena ? ELENA: Jenna? Hold on, it's loud in here. JENNA: Elena, where are you ? Are you ok ? ELENA: Huh? Yeah. No, I'm good. Eveything's fine. Hold on. I can't hear you. Elena falls. ELENA: Hello ? Someone arrives behind her and kidnaps her. BREE: Hey, where's your girl? DAMON: Hmm. BREE: She was right back there. Damon goes out of the bar. He finds Elena's cellphone on the ground. He goes behind sheds. ELENA: Damon, no. A man att*ck him. DAMON: What the hell?! ELENA: No! He beats Damon. DAMON: Who are you? MAN: That's perfect. You have no idea. ELENA: What are you talking about? What did he do? MAN: He k*lled my girlfriend. What did she do to you, huh? What did she do to you?! Nothing. ELENA: I don't understand. MAN: My girlfriend went to visit Stefan, and Damon k*lled her. Got it? He beats Damon. DAMON: Ugh! ELENA: Lexi? Lexi was your girlfriend? She told me about you. She said you were human. MAN: I was. ELENA: Lexi turned you? MAN: If you want to be with someone forever, you have to live forever. ELENA: She loved you. She said, "when it's real, you can't walk away." MAN: Well, that's a choice you're not going to have to make. ELENA: Don't. Don't, please, don't hurt him-- MAN: I'm doing you a favor. ELENA: Lexi loved you. And she was good. That means you're good too. Be better than him. Don't do this. I'm begging you! Please. Lexi's boyfriend stop to b*at Damon. ELENA: Thank you. MAN: It wasn't for you. [Gram's house.] GRAMS: Well, now, look who's returned from battle. Can I talk to your friend for minute? BONNIE: Thank you. GRAMS: I appreciate your help, Stefan. STEFAN: You're welcome, Sheila. GRAMS: I wasn't sure you remembered. STEFAN: October 1969. GRAMS: I was barely a teenager. STEFAN: And you were leading what was probably the only anti-w*r sit-in within miles of Mystic Falls. GRAMS: Hmm. STEFAN: You know when you spoke, people were mesmerized. I know I was. GRAMS: Until the cops showed up. You took a big risk coming to see me earlier. Letting me read you, realize who you were. It could have gone a completely different way. STEFAN: Your family has a very long history of keeping my secret. I knew that I could trust you if you believed I waworthy of your trust. GRAMS: Bonnie knows, doesn't she? STEFAN: Yes. GRAMS: Please understand, our loyalty can only extend so far. This town won't be easy on any of us if they figure it out. And I'll protect my own before anybody else. STEFAN: I know that. GRAMS: As long as we're clear, goodnight, then. STEFAN: Goodnight, Sheila. [In the bar.] DAMON: We were just leaving, and I wanted to sagood bye. BREE: Good to see you again, Damon. DAMON: No kiss? BREE: I'm full of vervain. I put it in everything I drink. DAMON: And you're telling me this why? BREE: Lexi was my friend. How could you? The tomb can be opened. DAMON: You're lying! BREE: Emily's grimoire, her spellbook. If you know how she closed the tomb the reversal process will be in her book. You can open that tomb. DAMON: Where is this book? BREE: I--I-- DAMON: You have no idea. BREE: No. I'm telling you the truth. DAMON: And I believe you. My dear, sweet Bree. That's why I'm almost sorry. BREE: Ugh! He kills her. [In Damon's car.] ELENA: So, why did you bring me with you? DAMON: Well you're not the worst company in the world, Elena. You could give yourself more credit. ELENA: Seriously? DAMON: You were there in the road. All damsel in distress-like. And I knew it would piss off Stefan. And... U're not the worst company in the world, Elena. ELENA: I used to be more fun. DAMON: You did ok. ELENA: I saved your life. DAMON: I know. ELENA: And don't you forget it. [Salvatore's House.] ELENA: Hi. STEFAN: Hi. ELENA: You could have told me. STEFAN: I wanted to tell you. ELENA: You said no more lies. Only the truth. I can handle the truth, Stefan. As crazy as it is, I can handle the fact that you are a vampire. And you have a vampire brother. And that my best friend is a witch. I can accept the fact that the world is much more mysterious place than I ever thought possible. But this--this lie, I can't take. What am I to you? Who am I to you? STEFAN: You are not Katherine. You are the opposite everything that she was. ELENA: And when did you figure that out? Before you kissed me? Before we slept together? STEFAN: Before I met you. ELENA: What? STEFAN: The first day of school. We when met. It wasn't for the first time, Elena. ELENA: Then when was it? STEFAN: May 23, 2009. ELENA: But that was-- STEFAN: That was the day your parents' car went off the bridge. ELENA: You were the? STEFAN: Every couple of years that I come back here to see Zach and see my home. Last spring, I was out in the woods, by old wickery bridge. And I heard the accident. All of it. I was fast getting there, but not fast enough. The car was already submerged. Your dad was still- he was still conscious. I was able to get to him, but he wouldn't let me help him, until I helped you. ELENA: Oh my god. When I woke up in the hospital, nobody could figure out how I got out of the car. They said it was a miracle. STEFAN: I went back for them. But it was too late. I couldn't-- I couldn't save them. When I pulled you out, I looked at your face. You looked like Katherine. I couldn't believe the resemblance. After that, I spent months making sure th you weren't her. I watched you. I learned everythi that I could about you. And I saw that you were nothing like Katherine. And I wanted to leave town, but, Elena, I couldn't. I couldn't leave without knowing you. I'm so sorry that I didn't tell you. I wanted to. But you were so sad. ELENA: Why do I look like her? STEFAN: Elena, you've been through so much. ELENA: Why do I look like her, Stefan? What are you not telling me? STEFAN: It didn't make any sense to me. You were a Gilbert. She was a Pierce. But the resemblance was too similar. And then I learned the truth. You were adopted, Elena. [In the library.] ANNA: There you are. JEREMY: Hey. ANNA: Hi. Ok, look. I know I don't know you, so don't ask me why I did this. I just, sometimes-- mostly all the time- I have this need to be right. So I googled and... JEREMY: What is it? ANNA: Proof. Sort of. JEREMY: What does this mean? ANNA: Well, I only went as far back as 1942, and found that there's been a string of animal att*cks periodically in and around this town for the past 75 years. It's consistent. In '62, 5 boes found. In '53, 4 people k*lled. In '74, 3 people d*ad. And there's been 5 this year. All att*cked. All suffered major blood loss, as in drained of blood. [Stefan's bedroom.] ELENA: How do you know that? STEFAN: Your birth certificate from the city records. It says Elena Gilbert. Mystic falls general. But there's no record of your mother ever being admitted.There's no record of her ever being pregnant. ELENA: What else do you know? STEFAN: For me to go any further, I would've had to look into the Pierce family, and I couldn't do that. It's too much of a risk. If someone found out I was asking about Katherine-- Listen to me, it doesn't matter. You are the woman that I love. I love you. Elena kiss him. [Elena's house.] JENNA: I don't set a lot of rules, Elena. Not with you. I trust you to tell me the truth. Where were you? Why would you lie to me about it? I thought that we were closer than that. ELENA: Now is not the time you want to talk to me about lies. JENNA: Don't do that. Don't turn this back on me. I didn't do anything. ELENA: Ok, question-- am I adopted? I trust you to tell me the truth too, Jenna. How could you not tell me? I thought we were closer than that. JENNA: Elena, didn't-- they asked me not to. ELENA: I don't want to hear it! [At Mystic Grill. Alaric sees Damon.] [Flashback.] ALARIC'S GIRLFRIEND: I love you. ALARIC: I'm going to be late tonight. Later. Alaric returns at home. He sees Damon drink the blood of his girlfriend. [Reality.] Alaric understands Damon is the vampire which k*lled her girlfriend.

{"type": "series", "show": "The Vampire Diaries", "episode": "01x11 - Bloodlines"}

foreverdreaming

[Stefan's bedroom.] ELENA: Stefan, who was that man in the road? STEFAN: I don't know. Do you remember anything else about him? ELENA: I wish. I never really saw his face. He was wearing a hoodie. All I can remember is that there was these black boots coming towards me. STEFAN: I brought some vervain for, um-- for you and jenna. And, um, I made this bracelet for Jeremy, few extra on for friends. You can put it in jewelry, or you can even put it in food or drink, but as long as it's in you or on you, a vampire cannot control you. ELENA: Wow. So much to remember. STEFAN: I know, but there's another vampire in town. So until we find out who it is and what he wants, we have to be careful. [Elena's house.] Dorbell rings. MAN: Hey. It's gonna be $22. JEREMY: Elena, I need the money! Uh, here. Come in. Just put it on the table. ELENA: Hi. Um, keep the change. MAN: Thanks. And you have yourself a good night. [Salvatores's house] Noises: books falling. STEFAN: What are you lookin' for, Damon? DAMON: Not your concern. STEFAN: No, but putting Elena in harm's way, That is my concern. Heh heh. DAMON: What are you talking about? STEFAN: I'm talking about Atlanta. DAMON: Oh, yeah. Elena and I had blast. STEFAN: I get it. You're just bitter because one of us gets to be with the person that we love, and poor katherine is just out of reach. Unless there's another way for you to get into that tomb. Is that what Bree said? DAMON: You're pathetic when you're fishing. STEFAN: You're transparent when you're deflecting. DAMON: Don't you have school? [History class.] Alaric gives to Jeremy his essay. He has an "A". ALARIC: Surprised? It's a good essay. Your thoughts are clear, and your argument is well laid out. It's just, uh, you don't actually think there are vampires in mystic falls. JEREMY: No. I mean, I think statistically there's been more animal att*cks, mystious deaths, uh, people gone missing, more than any other place in the whole commonwealth of Virginia. ALARIC: It's conjecture, but creative, which is why you got the "a." I just wouldn't get too, uh, caught up in the whole conspiracy theory of it all. JEREMY: Ah, I won't. ALARIC: All right. Oh, uh, Jeremy,the source that you cited for the 1860s info, uh, jonathan Gilbert... JEREMY: Uh, my ancestor's journal? ALARIC: I'd really like to see that sometime. JEREMY: Really? ALARIC: A first-person account of the civil w*r? That's like, uh, p*rn for a history teacher. JEREMY: You think my essay's creative, wait till you get a load of this thing. ALARIC: Thank you. [Front of the school.] CAROLINE: It's so pretty. ELENA: Thank you. CAROLINE: God, it'll go with, like, everything. What's the occasion? ELENA: No occasion. Just a little friend gift. CAROLINE: Lesbian friend necklace? 'cause we're freaky like that? ELENA: Your friendship is important to me. CAROLINE: Why are you being so mushy? ELENA: Because you've been avoiding me, and I wanted you to know that whatever is going on with you and Matt, it's ok. CAROLINE: I was gonna talk to you about that. I was, but there's just not much to say. We've hung out a couple times. That's it, but... I just feel like we've peed as friends. This is weird. I shouldn't be talking to you about this. It's weird. It's weird, right? ELENA: It's a little weird, but--heh. If it's what you and Matt want, then it's not about me. CAROLINE: But it's all about you. Matt's not over you, and we all know it. ELENA: I'm with Stefan now. Matt understands that. He knows he has to move on. [Mystic Grill.] BOYS: Matt Donovan. What do you know? MATT: Ben McKittrick. What's up, man? BEN: Rough season, bud. MATT: Yeah. It's kind of hard to recover when you have to forfeit half your games. BEN: You gonna be workin' here? MATT: Yep, followin' in your footsteps, minus the late championship. BEN: Well, can't all be football gods. MATT: Yeah. BEN: So what's the plan? Cook line? MATT: Busboy. BONNIE: I can't believe you're adopted. ELENA: I never saw that coming. And it gets weirder. I looked at my birth certificate. It lists Miranda and Grayson Gilbert as my birthparents. None oit makes any sense. BONNIE: Which is why you should ask Jenna. First of all, the Elena I know would always want the real truth, good or bad. ELENA: And second of all? BONNIE: You just found out your boyfriend is a vampire, so unless your birthparents are aliens... How bad could it be? ELENA: Ah, ok, look, I have to go to the store. My outfit for the dance is severely lacking accessories. BONNIE: Ok, I'll pay the bill. ELENA: Ok. Bye. BONNIE: Bye. Damon arrives. BONNIE: What do you want from me? DAMON: I think we need a fresh start. BONNIE: You tried to k*ll me. DAMON: But I didn't, and if I wanted to, I would have. Does that not count for anything? BONNIE: You know, I can start fires with my mind. Fires k*ll vampires, right? Just stay the hell away from me. BEN: Everything ok over here? DAMON: Yeah, we're fine. BEN: I wasn't talkin' to you. BONNIE: Thank you. BEN: Anytime, Bonnie. BONNIE: Wait. You remember me? BEN: I didn't graduate that long ago. You're makin' me feel old. BONNIE: Sorry. I didn't-- I didn't mean that. I just-- I didn't know you knew me. BEN: I always know a pretty face. [Front of the Mystic Grill. Elena's cell phone rings.] ELENA: Hello. MAN: Hello, Elena. ELENA: Hey, who's this? MAN: You h*t me with your car. Is that a new one? ELENA: You got away from me. You won't next time. Elena sees the man in front of her. She rises in her car and leaves. [Salvatore's House.] ELENA: Why me? What does he want with me, a-and if he's trying to k*ll me, then why call first? STEFAN: That's because we're predators, Elena. We hunt. We stalk. It's often as exciting as the k*ll. I want you to take this. ELENA: This is Jeremy's pocket watch. How did you get it? STEFAN: I took it from Damon, who took it from Logan, who must have taken it from you. ELENA: What happened to it? STEFAN: Well, it's n just a watch. It's a-- it's a sort of compass, But it points to vampires. ELENA: Why did my father have it? STEFAN: Gilberts were one of the founding families, and back in 1864, th were among those who sought to eradicate the vampires. The compass was used to find us. ELENA: Did you know them? STEFAN: Yes. I want you to keep this. That way, you'll know if you're ever in danger. [Matt and Caroline are painting a banner.] MATT: I've nevereen you such a mess. CAROLINE: Don't talk smack. MATT: I mean, I just thought that you told everyone else what to do. CAROLINE: Well, I do that, too, but if you want something done right, you gotta do it yourself. You know, I just like that we're hanging out. Who knew--you and me? MATT: Well, who knew you could be fun? CAROLINE: So what are you wearing to this dumb dance, anyway? Should we color-coordinate? MATT: Uh, I'm not goin'. CAROLINE: Why not? MATT: I gotta work, bussin' tables at the grill. CAROLINE: Since when are you a busboy? MATT: It's a job. You know, some of us have to work, Caroline. With our mom in and out, things are tight, so... CAROLINE: I didn't mean it like that. I just meant that I didn't know you had a job. MATT: Well, I do. I gotta go. [Mystic Grill.] ANNA: Hey. How'd it go? JEREMY: What? ANNA: The paper. JEREMY: Oh. I got an "a." Thanks for the artles. They really helped. ANNA: Cool. So what'd he say about the vampir? Did he believe it? JEREMY: I don't even believe it. It's just a paper, Anna. Anyways, I, uh-- I gotta get goin'. ANNA: Uh, hey, um... D-do you wanna do something later, maybe? JEREMY: Uh, sorry. I'm stuck on punch duty at the school dance. ANNA: Oh. How'd you get stuck with that? JEREMY: Well, I'm failin' english, so I copped a plea. ANNA: Maybe, you know, tomorrow or something. I'm being pushy again, aren't I? Heh. JEREMY: Well, thanks for the help. I'll-- I'll see you around. [Elena's house.] JENNA: Spoke to the insurance company. Car's totaled. You can keep using mine for now. ELENA: So you're coming to the dance? JENNA: Alaric asked me to help chaperone. ELENA: Why didn't you tell me, Jenna? JENNA: Your mom was gonna do it eventually. I never thought I'd have to. ELENA: If my mom were here right now and I asked, she'd tell me the truth. JENNA: Your dad was about to leave the office one night when this girl showed up. She was 16, a runaway, and about to give birth. He delivered her baby, and he gave her a place to stay, but a few days later, she disappeared. And there you were. Your parents were trying so hard to have a baby. I-it just wasn't happening. All Miranda ever wanted was to be a mom. ELENA: Well, why were my parents' names on the birth certicate? JENNA: Your dad was a doctor, Elena. He took care of it. They didn't wanna lose you, so they kept it quiet, told as fepeople as possible, But if anyone ever wanted proof, they had documtation. ELENA: What else do you know about her? The girl. Just her name. Isabelle. [Salvatore's house.] DAMON: You got the hair right. Why are you bringing me dad's journal ? STEFAN 'cause you were looking for it. DAMON: Why would I want it? STEFAN: Gee, I don't know, Damon. Maybe you wanna do a little bit of posthumous bonding. Go ahead. Enjoy it. Read it. I have. Nowhere in it does it say anything about Katherine or the tomb or how to open it. DAMON: I'm not surprised. Man could rely spell his own name. STEFAN: I'm really sorry that it won't be of any help with your diabolical plan, the sequel. You know, I could help you. DAMON: You, help me? Aw, I don't know. Seems a little unnatural. STEFAN: I'll do anythingo get you out of this town, even release Katherine. DAMON: What about the other 26 vampires? STEFAN: No, no, no. They can't come. They have to stay put, but Katherine, DAMON: I would consider that. What are you doin'? Hmm? What's your angle? STEFAN: Think about it. DAMON: Why would I trust you? STEFAN: See that's your problem, Damon. You apply all of your shortcomings to everybody else. If history's any indication, there's only one liar among us. [Elena's bedroom.] Noises. ELENA: Jenna? Jeremy? Compass whirring [Salvatore's house.] DAMON: Stefan's phone. How may I help you? ELENA: Where is he? DAMON: He's on his way to you, Forgot is phone. ELENA: Thank god. This compass was spinning. Stefan must be here. Thank you. DAMON: You're welcome. [Elana's lounge.] A vampire att*cks her but Stefan arrives. STEFAN: Are you ok? Are you ok? DAMON: How did he get in? ELENA: He was invited in. STEFAN: He posed as a pizza delivery guy last night. DAMON: Well, he gets points fothat. Did he say what he wanted? ELENA: No. He was too busy trying to k*ll me. STEFAN: And you have no idea who this is? DAMON: No. Don't look at me like that. I told you we had company. ELENA: You think there's more than one? DAMON: We don't know. STEFAN: Damon, he was invited in. DAMON: Then we go get him tonight. STEFAN: You up for it? ELENA: What do I have to do? DAMON: Let your boyfriend take you to the dance. Well see who shows up. STEFAN: That's a bad idea. DAMON: Till we get him, this house isn't safe. For anyone who lives in it. It's worth a sh*t. ELENA: I'll do it. I'll be with the two of you. I'll be safe. [At the party.] JENNA: Alaric. ALARIC: Hey, look at you. JENNA: I figured I'd stand out less if I dressed up. ALARIC: Heh heh. Liar. JENNA: Ok, I'm a sucker for the decade dance. I went to school here, you know. They do the sixts and seventies, too, fyi. ALARIC: Oh. Can't wait. Can I get you a drink? I hear the punch is real boss. ELENA: Having fun? CAROLINE: No, but this took about 2 hours, so I'm at least staying half of that. BONNIE: What's Damon doing here? ELENA: He wanted to come. I promise. He'll behave. CAROLINE: So what is this, like, a threesome now, you and the Salvatore brothers? ELENA: No, but if I'm gonna be with Stefan, then I have to learn to tolerate Damon. It's not like I can k*ll him. BONNIE: There's a thought. CAROLINE: Mmm. I'll help. JENNA: I'm really starting to see a change in Jeremy. Finally. ALARIC: Uh, losing someone you love so suddenly, the, uh--the trauma and the grief ther are some of the tougher things 'll face in life. JENNA: From someone who knows. You have no idea what happened? ALARIC: That's the hard part, not knowing. JENNA: Is it ok to talk about your wife? ALARIC: Heh. There's not much to talk about. JENNA: That must be impossible to deal with, not having any answers. ALARIC: I'd be lying to you if I told you it didn't keep me up at night. Wondering why, by who. JENNA: Maybe one day. ALARIC: Hope so. Hope so. DAMON: Hi, Bonnie. Wanna dance? BONNIE: I'm out of here. DAMON: Please give me another chance. CAROLINE: Back off, Damon. ELENA: Where did they go? DAMON: I don't know. STEFAN: What did you say to them? DAMON: I was perfectly polite. Elena... Would you like to dance? ELENA: I would love to. (To Stefan) May I have is dance? ELENA: Shouldn't you guys be able to sense each other or something? STEFAN: No. Doesn't work that way. See him anywhere? ELENA: Not unless he has a pompadour. STEFAN: Heh. Wow. Was not one of the better fashion trends. ELENA: Come on. I'm sure you looked great back then. Are there pictures? STEFAN: No. b*rned. Buried. ELENA: Seriously, what was it like, the fifties? 'cause in my mind, I have this picture of somewhere between "American bandstand," "Grease." It's all varsity sweaters and milkshakes. STEFAN: Well, that and, you know, mccarthyism and segregation and nuclear arms race. ELENA: Ok, but there were poodle skirts. STEFAN: There were poodle skirts. ELENA: You're so teaching me how to do the hand jive. STEFAN: No. That's not gonna happen. ELENA: Ooh! ANNA: You neglected to mention this was a theme party. JEREMY: What are you doing here? ANNA: Well, seeing you also neglected to invite me, I took matters into my own hands. JEREMY: You're doin' that thing again. ANNA: What thing would that be? JEREMY: That thing where you pretend we're dating, Even though we're not. ANNA: Oh, you mean stalking. Yeah. Heh. Get over yourself. Come on. I've never been to a school dance before. Humor me. [Mystic Grill.] BONNIE: Let's sit up there. CAROLINE: Be a little more obvious, Bonnie. BONNIE: Don't rain on my hot-guy parade. CAROLINE: What? It's just a drizzle. Ben McKittrick? Really? BONNIE: He's hot. CAROLINE: He's a washed-up jock who pours drinks for a living. You could do way better. Hi. MATT: What's up? [At the party.] ALARIC: Yeah, I don't recognize you. How'd you get roped into chaperoning? Alaric Saltzman. I'm the new history teacher. DAMON: Ah, the, uh, cursed faculty position. ALARIC: So I've been told. DAMON: Damon. Salvatore. ALARIC: Salvatore, as in, uh, Stefan? DAMON: He's my little brother I'm his legal guardian, hence the chaperoning. ALARIC: I hear he's very bright, not that I've had a chance to see for myself. DAMON: Well, his attendance record's a little spotty. Family drama. ALARIC: Parents? DAMON: Mm, it's just the two of us now. ALARIC: You, uh--you live here your whole life? DAMON: On and off. Travel a bit. ALARIC: Really? Where? DAMON: Around the States? Heh. I'm sorry. I'm nosy. I--I don't mn to pry. Look, it was nice meeting you. DAMON: You, too. ALARIC: Enjoy the rest of the dance. [Mystic Grill.] CAROLINE: Tonight was so much better on paper. BONNIE: Ah, you're just feeling sorry for yourself. Go and talk to him. Be bold and fearless. CAROLINE: Yeah, this coming from the girl who's been eye stalking the bartender. BONNIE: You're right. BONNIE: Hi. BEN: Twice in one day. Lucky me. BONNIE: I'm proving something to my friend. BEN: Oh, yeah? What's that? BONNIE: That you don't have to sit around and wait for a guy to come up to you. BEN: Does that mean that you're asking me out on a date? BONNIE: Does that mean you want me to? BEN: Well, what did you have in mind? BONNIE: Do you like karaoke? BEN: No. But I would really like to go on a date with you. CAROLINE: Seriously? MATT: Is that for me? CAROLINE: Do you see anyone else in the vicinity? MATT: Do you need something? CAROLINE: Are you mad at me or something? MATT: No, care. I'm not mad. I-- CAROLINE: Well, then why are you being so weird? MATT: I'm not. I'm working. CAROLINE: You're avoiding. MATT: No. I have a table to clean. You know, that's the kind of thing that washed-up jocks do to make a living. [At the party.] JEREMY: You don't go to school here. You know, you don't have to help. ANNA: Oh, I don't mind. It's fun. Oh, um, yeah. Before I forget, can I borrow your anctor's journal? JEREMY: Why? ANNA: You said I could read it. JEREMY: Uh, I don't have it. ANNA: Oh. Well, obviously you didn't bring it here, Uh, but I can walk you home. JEREMY: No. I mean, I gave it to my history teacher. ANNA: Wait. Why did you give it to him? JEREMY: Because he wanted to read it. ANNA: You know, you shouldn't be giving that to just anybody. JEREMY: But I should give it to you? ANNA: Loan. Loan it to me. JEREMY: Well, I loaned it to Mr. Saltzman. ANNA: Maybe he's in his classroom. We can get it back. JEREMY: What's the big deal with the stupid journal? Your eye. ANNA: Um, there's something in it. Forget it. I gotta go. ELENA: Maybe he's not gonna show. STEFAN: You mean we did all this dancing for nothing? ELENA: Ahh. The horror. STEFAN: I'm really sorry for all this. ELENA: It's my choice. I decided to be here. I officially signed up for it, wo I don't wanna hear you apologizing anymore. Show me how it's done in the fifties. STEFAN: Uh, no. ELENA: Come on. One move? Stefan makes Elena dance. STEFAN: Now you remember that, because it's never gonna happen again. [In the corridor.] MAN: What a you doing here? ANNA: Trying to get the journal, as in sticking to the plan, something you're not doing. Leave the girl alone. MAN: I like her. She looks like Katherine. ANNA: She's not Katherine. Ok, Katherine is in the tomb. MAN: I know, but until we open that tomb, I got her to play with. ANNA: Dot be stupid. That girl is with the Salvatore brothers. MAN: They don't scare me. They never have. ANNA: Please, no. Don't do this. You're gonna ruin everything. MAN: You got noth' to worry about.I'm not gonna let anything happen to you. You will get what you came for. Just let me have my fun. She looks like Katherine. [At the party.] ELENA: You really can't take him anywhere, can you? STEFAN: Uh, no. ELENA: Stefan, the back corner. STEFAN: Get Damon. Stefan fights the boy. BOY: What did I do? STEFAN: Where is he? BOY: I was getting a soda, and then this guy gave me his hoodie. Elena is searching Damon. Her cell phone rings. MAN: Hello, elena. Here's what you're going to do. There's an exit door behind you. You have 5 seconds. ELENA: No. MAN: Or your brother dies. I can snap his neck so fast I bet there's not even a witness. Start walking. MAN: Don't you dare touch him. Keep walking. Through the door. Elena is running, but the vampire att*cks her. She tries to defend herself. ELENA: Ahh! Stefan and Damon arrives. DAMON: Hey, dickhead. Nobody wants to k*ll you. Just wanna talk. STEFAN: Now you feel like talkin'? MAN: Screw you. STEFAN: Wrong answer. Why are you doing this? MAN: Cause it's fun. STEFAN: What do you want with Elena? MAN: She looks like Katherine. DAMON: You knew Katherine? MAN: Oh. You thought you were the only ones. You don't even remember me. DAMON: Tell me how to get in the tomb. Hmm? MAN: No. MAN: The grimoire. DAMON: Where is it? MAN: Check the journal. The journal. Jonathan gilbert's. STEFAN: Who else is working with you? DAMON: Who else is the? MAN: No. You're gonna have to k*ll me. ELENA: What do we--how are you gonna find the others now? DAMON: He had to die. ELENA: But... STEFAN: Elena, he's been invited in. Alaric arrives. STEFAN: Go. I got this. ALARIC: Hey. DAMON: What were you doing? ALARIC: Looking for Ms. Hilden. DAMON: Why are you in Mystic Falls? AMARIC: I got a job as a teacher. DAMON: Do you know what I am? ALARIC: You're my student's brother. DAMON: Is everything you're telling me the truth? ALARIC: Yes. DAMON: Then forget we had this conversation. Alaric had vervain in his hand. DAMON: There's no way that idiot was workin' alone. STEFAN: You are. So the grimoire... That was Emily's, right? That's what you need to reverse the spell. When the founding families b*rned her, they took her things, and you were hoping that dad's journal would tell you where it is. DAMON: Look at you puttin' the pieces together. Good for you. I was half-right. Well, it's out there now. Let the games begin. STEFAN: My offer still stands. DAMON: Yeah, with some hidden caveats, no doubt. STEFAN: No. Nothing hidden about it. No lies. No deception. I'm there when you open up that tomb, you and Katherine go, And the other 26 vampires die. DAMON: If I agree? STEFAN: I'll help you. DAMON: Why should I trust you? STEFAN: Because I'm your brother. DAMON: No, that's not gonna cut it. STEFAN: Because I want you gone. DAMON: Ok. [Mystic Grill.] CAROLINE: Look I said something stupid. I'm sorry, but I wasn't even taing about you. MATT: Yes, you were, Caroline. Ben could easily be me. We're just alike. CAROLINE: That's not true. Are you seriouy mad about this? Matt, you know me. Ok, I say stupid things without thinking, and then I have to apologize and take it back, and... I'm a terrible, awful person, but I'm rking on it. MATT: Look, can we just not do this right now? CAROLINE: Ok. When do you get off? MATT: Look, this thing we've got, it's nice, and it feels really good, and I know you want take the next step. CAROLINE: How do you know that? Have you even asked me? MATT: I'm--I'm not over elena. I mean, I don't know if I am, but if we go there, then it could mess things up, and we might lose this, and this is the only good this I've got going for me right now. So if it doesn't work, I'll just disappoint you and hurt you, and I don't wanna do that. CAROLINE: Well, big problem, Matt, because you took the next step all by yourself, and you played the whole thing out in your head, and you decided to bail before even giving it a sh*t. So this really great thing that we have, don't worry about losing it, 'cause it's already gone. [Elena's house.] JENNA: Thank you. I needed that. ALARIC: Well, thank you for--for coming. I--I really appreciate it. You made the evening much more... Well, you made it, period. JENNA: I'm glad I could help. ALARIC: And thank you for puttinup with all that wife talk. I--I gotta stop doin' that. It doesn't bode well for dating. JENNA: Is that what this was, a date? ALARIC: No, definitely not a date. JENNA: Oh. ALARIC: But Friday... You, me, and dinner and a movie, that could be a date. How about it? JENNA: Works for me. Heh. Uh, you can talk about your wife all you want. It's gonna take time to heal. We should just be ourselves. ALARIC: Still, I think I'll keep the Isabelle talk to a minimum. JENNA: Isabelle? ALARIC: Yeah. That was her name. JENNA: Where was Isabelle from? ALARIC: From Virginia. I mean, not too- -not too far from here, actually. [On the road.] MATT: Caroline! Care, get in the truck. CAROLINE: What? Matt kiss her. MATT: This'll never work. [Elena's house.] STEFAN: Doing ok? ELENA: Is it weird if I say yes? STEFAN: Is it true? ELENA: I should feel more upset or scared or something, but I... Feel kind of exhilarated. STEFAN: It's the adrenaline. You'll crash soon enough. ELENA: Yeah, I guess. I fought back tonight. It felt good. STEFAN: I wish you didn't have to fight at all. ELENA: Still... STEFAN: I need to tell you something, And I don't know how you're gonna feel about it. ELENA: What? STEFAN: I told Damon that I'd help him get into that tomb to get Katherine back. But it was a lie. I let him believe that he could trust me. ELENA: Well, then why would you be worried about telling me? STEFAN: Because he can be very persuasive, and you two have bonded lately. ELENA: That doesn't mean I trust him. It's gonna take a lot more than just a road trip and a rescue for me to forget who Damon is and everytng he's done. STEFAN: I don't wanna be his enemy, Rlena, but I can't let him do it. ELENA: Then don't, and I'll help you, whatever it takes. Ok? STEFAN: Ok. Come here. [Front of the Mystic Grill.] Anna and Ben are vampires. BEN: Don't sneak up on me. ANNA: You love it. BEN: Where's Noah? ANNA: His obsession got the best of him, and so did the salvatore brothers. BEN: They k*lled him? ANNA: Tortured and staked. BEN: You're not very upset. ANNA: I warned him, Ben, and he was just gonna screw everythingp anyway. Let's be honest. He wasn't exactlan asset. How do you do? BEN: Oh, the witch is totally crushing on me. Did you get the journal? ANNA: No, but I know where it is, and I'll get it. She kisses him.

{"type": "series", "show": "The Vampire Diaries", "episode": "01x12 - Unpleasantville"}

foreverdreaming

[Miss Gibbon's House] (Anna is going down the stairs) Anna: Hey Beth-Anne Anna: what are you guys watching? You guys have been watching the same thing the whole time? There are over one hundred and fifty channels. It's called a remote control. This button changes the channel. Hold it like this. (Anna is going into the dining room and finds Frederick feeding on Miss Gibbons) Miss gibbons: Did you get enough sweetheart? Frederick: For now Miss Gibbons: Anna, are you hungry? Did you want a little? Anna: No, thank you misses Gibbons. Why don't you lie down for a while and get some rest? Frederick: She's fine. Aren't you Miss Gibbons? (Frederick raises his eyes into Miss Gibbon's eyes) Miss Gibbons: Off course I am. I'm fine. (Miss Gibbons is leaving. Anna and Frederick exchange looks) [Matt's house] Matt: Hey mom! Mom? (Matt is knocking on his mother's room door) Matt: hey mom? (Kelly opens the door) Kelly: what? I'm trying to sleep. Matt: I was just making sure you're alive. Kelly: I'm sorry sweety. It was a late night. My head is throbbing Matt: I would appreciate it if you wouldn't bring the party home. And I'm pretty sure the neighbors would appreciate it too. Kelly: it wasn't a party, it was one guy, don't be so judgy. Matt: well, I talked to Roberta at the grill and there's still a bartending position open if you want to … get a job. Kelly: I figured she'd still be pissed about the last time I went there. Matt: I think she's desperate. Kelly: I'll check it out. Matt: Yeah? Kelly: Don't look so surprise. Matt: Well, I mean… I didn't know how long you planned on staking around. Kelly: Well, there's background due Matt: he's back everything mom. Kelly: Like I said, I'll check it out. (Someone is knocking on the door) Kelly: who's that? Matt: It's Caroline (Kelly is making a face) Matt: Easy (Kelly raises her eyebrows) Matt: Yeah come in! (Caroline opens the door and enters in the kitchen) Caroline: Hello misses Donovan (Kelly gets up and leaves the room) Matt: Hey, ok. Well we're going to be late. So let's get going. (Matt is going towards Caroline) Caroline: yeah Matt: Hey Caroline: hey Matt: How are you? Caroline: Good [Mystic Falls high school] Stefan: Damon hasn't said a word to me. Every time I try to talk to him he shuts me down Elena: Do you think he's still trying to find Katherine? Stefan: I don't know. He waited a hundred and forty five years only to find out that Katherine could not care less. And he's got hurt right? Elena: And it couldn't have happened to a nicer guy. Stefan: You have every reason to be upset of him. Have you thought any more about what you're going to do? Elena: About what? Isobel, my vampire birth mother, who's related to my vampire ancestor Katherine, who screwed over your vampire brother? Nah… I haven't thought about it at all Stefan: I'm sorry I brought it up Elena: it'd just be nice if we could get through one day without having to deal with any of it. No vampire mother or brother Stefan: no vampires at all? Elena: no vampire, but you. I just want to get us back to normal stuff like school and homework and here the thought: fun Stefan: ooh, that sounds good to me, when do we start? (They laugh and leave) Matt: We can watch a movie at my place Caroline: With your mom and a six pack? Matt: You know… you don't really help the situation. You could at least try to be nice Caroline: Oh… I'm sorry. It's hard for me to show kindness to people that hate me. I'm not that evolved. (Matt raises his head and look at Elena and Stefan. They kiss each other. Caroline turns her head and look at them too. And turns her head to look at Matt) Caroline: So, a movie tonight? Matt: Wherever you want to do it's good for me but I'm late and I got to go ok? Caroline: ok (She moves in for a kiss but he leaves) [Miss Gibbons house] Pearl: The keypad is for texting which is what to do when you want to avoid talking to someone (Harper pushes a button and we can hear a message from Jeremy. Anna rushes towards the phone) Harper: I didn't break it I swear Pearl: I was just showing harper what you taught me. What a marvelous device! Harper: Who was that? Anna: Jeremy Gilbert Harper: Is that your boyfriend? Pearl: off course not (Pearl gets up and looks at Anna) Pearl: What do you think? Anna: Very respectable Pearl: That's the goal. I can't say that I miss corsets Anna: Susie Sunshine gave me her car keys and her credit card Pearl: what's that? Anna: I'll explain later (Frederick waits outside the room. Anna and Pearl leaves the room) Frederick: Where are you going? Pearl: We have some business in town. We'll be back as soon as we can. I trust that you'll keep an eye on things Frederick: So, I'm the baby sitter now? Pearl: Frederick, if this is going to work we have to cooperate with one another Frederick: So you saying Harper: I'll watch things miss Pearl Pearl: Thank you Harper (Anna and Pearl leaves the room. Harper and Frederick exchange looks) [Mystic Falls high school] Caroline: I'm thinking nothing huge, just a dinner at the grill maybe a late movie Stefan: You mean a double date? Caroline: Two pairs out on a Friday night coupled. Yeah a double date Elena: Do you think that's a good idea? Caroline: Why not? We all haven't gone out together before and I don't want it to be uncomfortable for us. Look the couple dynamics have changed and there's been a little awkwardness between you Matt and me and I just think it's important that we get over it Elena: I don't know Stefan: I think that's sound like a great idea Elena: you do? Stefan: yeah. A nice evening out with friends. Sounds fun, like in "fun" Elena: A double date it is Caroline: ok. So, we will see you tonight Elena: ok [Salvatore's house] (Damon enters in the house. Anna and Pearl are waiting for him) Pearl: Hello Damon Damon: Ever hear of knocking? Pearl: An invitation wasn't necessary. I'm surprised that no living person resides here. Is it just you and your brother? Anna: yeah. How do you keep out unwelcome vampires? Damon: I k*ll them (Damon runs towards Pearl and tries to strangle her. Pearl twists his wrist and push him on the floor) Pearl: Have a sit Damon. I was hoping we could have a word Damon: Sure [Jeremy's bedroom] (Jeremy is on his computer chatting on a vampire's website) Jeremy: "How do you become a vampire?" Talker: "Brad Pitt changed me" Talker: "Go to Vegas ask for Wayne Newton" Jeremy: "How do you k*ll a vampire?" Talker: "The blood of Paula Abdul" Jeremy: "Serious answers only please" Talker: "Stake in the heart always works" Jeremy: "You're a believer?" Talker: "Aren't you?" [Salvatore's house] Pearl: we've taken a residence at a farmhouse just outside the town. It'll suffice for now. Damon: All 25 vampires? Pearl: Not all, some. I imagine that a few have already left town. Others are probably still in the woods or like us acclimating. (Damon looks at Pearl and Anna) Damon: How did they get out of the tomb? Anna: I think the witches screwed up that part of the occus pocus Pearl: I understand from Anna that the founding families still have a secret council? Anna: And you're a part of it Damon: That's ridiculous Anna: I've been in Mystic Falls since the comet, Damon. I'm up to speed. Pearl: And so I'm I. And now that you've infiltrated the council, I need to know everything they know. Starting with a listing names of all the council members and their families Anna: And everyone you've supplied with verveine Pearl: That will have to stop immediately Damon: What exactly are you trying to achieve? Pearl: Mystic Falls is our home, Damon. They took that from us. Our land, our home. It's time we rebuild Damon: what, are you crazy? It was 1864. Wake up woman. The world has moved on Pearl: As a reward for your help I'm willing to give you what you want most Damon: I want nothing Pearl: Katherine Damon: You won't even know where she was. You've been on the ground for the last century and a half Pearl: Katherine and I were best friends long before we came to Mystic Falls, Damon. I know how she thinks, I know her patterns, I know where to find her Damon: I no longer had any desire to see Katherine ever again. And there's no way in hell I'm gonna play the role of your little minion (Pearl gets up and pushes Damon on the couch) Pearl: I'm not asking for your help Damon. Finding Katherine was just a mere gesture of kindness. The rest in not negotiable (She puts her fingers in Damon's eyes and pushes him on the floor) Pearl: I have four hundred years on you, little boy. I'll rip you from limb to limb without even blinking and you know it. I'll be in touch. (Pearl and Anna leaves the house) [Elena's house] (Stefan in knocking on the door. Elena opens it) Elena: You got me flowers Stefan: I figured it's a date, I wanted to do things right. I would have driven too but you're the one with the car Elena: You know, you think that for someone who was around when the car was invented you should have one Stefan: oh, I have one. I just never drive it Elena: You know, it's not too late to cancel Stefan: Why we would do that? Elena: I don't know, it just seems surreal. Like we weren't meant to get to the normal part Stefan: That's exactly why we're going to do it. We're going to go out, have some fun and try to remember that we don't have to be so serious. Listen, when I decided to stay here and get to know you, it so that I could do things like this. Bring my girlfriend flowers, to go out on a date, and try to be normal Elena: "Have you ever even been on a double date before?" Stefan: Oh, absolutely. '72, Hef and the twins. Elena: What? Stefan: Yeah... playmates. I got Miss June. Elena: Are you serious? [Somewhere in Mystic Falls] (Jenna is waiting for Anna and Pearl in front of her brother in law's office) Pearl: Miss Sommers? Jenna: Yes. Hi Pearl Pearl: Hi. This is my Daughter Annabelle Jenna: Of course, Jeremy's friend Anna: Nice to see you Miss Sommers Jenna: oh, Jenna, please. This property was in my brother in law's family for generations. It's one of the originals structure in Mystic Falls. It used to be one of those old fashioned drugstore Pearl: An apothecary? Jenna: Yeah Pearl: You don't say (Anna sees Jeremy) Jenna: Sorry if it's a little musty (Anna is watching Jeremy walking) Jenna: No one has been here for months Pearl: I'll use my imagination (Anna is still watching Jeremy) Pearl: Annabelle? Anna: I'm coming mother (They are entering the office. Jenna is holding the door) [Mystic Grill] (Kelly is at the bar. Damon sits down next to her. He wears sunglasses) Kelly: What's with the glasses inside? Damon: My eyes were a little sensible today Kelly: You're new around here Damon: On the contrary, I'm very old (Talking to the bartender) Damon: Bourbon, neat Kelly: I haven't been gone that long. I would remember someone who looks like you Damon: Yeah. Where did you go? Kelly: Around, about Damon: I've been there Kelly: I love to see a man drawn his sorrows. It's so sexy Damon: It's more like nursing my wounds. And you? Kelly: I was supposed interviewing for the bartender job but I think the manager blew me off Damon: Well, that's not very nice Kelly: Yeah. Last time I was in town I slept with her boyfriend Damon: That's not very nice either Kelly: It happens Damon: Yes it does (Jenna arrives) Jenna: Kelly? Kelly Donovan Kelly: Jenna! (They hug each other) Jenna: I heard you were back in town. (To Damon) She used to Babysits me Kelly: And then I used to party with her Jenna: This woman is crazy Kelly: Not as crazy as you Jenna: I'm not anymore Kelly: Well sit, drink! Jenna: I shouldn't. I'm responsible now. Haven't you heard? Kelly: Well, take a night off its good for the soul Damon: Great for the soul (Jenna sits down with Kelly and Jenna) Jenna: This is not going to end well Damon: Can't wait (They raise their glasses and clink their glasses) [Miss Gibbons House] Frederick: I hate this house Beth-Anne: It's better than the tomb Frederick: I didn't stay locked for a hundred and forty five years to end up locked here Harper: Maybe you should quit complaining (Frederick gets up and walks toward Harper) Frederick: You're going to stop me? Beth-Anne: Let it be Frederick. You heard what Pearl said Frederick: I don't care what Pearl said. (To Harper) What you got boy? (Harper gets up and pushes Frederick on the couch. Frederick pushes Harper against the wall) Frederick: Try it again (Pearl arrives and strangles Frederick) Pearl: Back off. We don't fight each other. There are other rules Frederick: And I'm tired of your rules. I want to go out of this house. Why can't we go out on the town? Pearl: Eventually. But for now we have to keep a low profile. Frederick: No one knows who I am Pearl: The Salvatore's brothers do Frederick: And I wish to hell that I can run into them. There are the reason we were caught in the first place [Mystic Grill] Elena: So, Matt, How do you like working here? Matt: It's not that bad. Wait staff is pretty good and they can't keep a bartender to save their lives. I actually put my mom off to a job. Elena: How it has been? Having Kelly back? Matt: You know, same old Kelly. She's trying, sort of. Elena: Kelly and my mom were best friends growing up. That's how Matt and I first met, we shared a crib together Stefan: You're kidding? Matt: No, we have known each other our all lives (Elena and Matt look each other. Caroline sighs. Everyone turn his head and watch Damon, Kelly an Jenna drinking together) Matt: You got to be kidding me [Miss Gibbons house] (Frederick and Beth-Anne are going out the house. Harper caught them) Harper: Where are you going? Frederick: Beth-Anne and I are going out for a bit. h*t the town, kick up our heels Harper: We're not supposed to leave. Miss Pearl made that very clear Frederick: You're going to stop me? I didn't think so (Harper watches them while they leave the house) [Gilbert's house] (Someone is knocking on the door. Jeremy goes down the stairs and opens the door. It's Anna) Jeremy: Anna? Anna: surprised? Jeremy: I thought you and your mom were leaving town Anna: Change of plans. Sorry, I thought you'd be psyched Jeremy: No, no, no. I mean… I am. Of course I am Anna: Alright then, step aside (Anna enters in the house) [Mystic Grill] Jenna: Don't be grumpy. It can't be that bad. Damon: You'd be surprised. My primary reason for existence has abandoned me and after today's events, the remains of the shakey ground that I walk on are about to go kaboom. Let's get hammered. Kelly: Lets (They clink their glasses) (Caroline, Elena, Stefan and Matt are at the pool table. They're watching Damon, Kelly and Jenna) Caroline: At least they're having fun Elena: They're drunk Matt: Remember when Elena's parents busted us here after the homecoming? Caroline (laughing): Oh my god yes! Elena: Well, we were wasted; there was the first time I ever got drunk. I blame Matt Matt: her parents got seats at the next booth Elena: And Matt and I were pretended that I was choking so we can get away Matt: Except that her dad was a doctor so he jumped out to save her Elena: And I ran, slipped on the wet floor and b*at it in front of everyone. Do you remember that? 3 stitches, a hangover for days and I was grounded from seeing this one (She looks at matt) for a week (Matt and Elena look at each other and laugh) Caroline: I'm gonna go to the restroom. Elena? (Jenna sees them) Jenna: Hide. We're not here. Kelly: Why? Where'd we go? Jenna: Children under our care. Five o'clock. This is not good (Kelly turns her head and sees them) Kelly: Damn! [Gilbert's house] Jeremy: What made you and your mom decide to stay in town? Anna: She got this business opportunity; she's going to open up a little store. It has always been her dream. So yeah we're staying. And I'm thinking to going back to high school, so you'll be seeing a little more of me. Jeremy: Yeah? Anna: Enough of homeschooling. I'd like to be a normal teen for once. But I have to ask my mom first, she'll have an opinion Jeremy: well, I wish you were there now. I actually have to write another paper. I was thinking about squeezing one more add on "the vampire in Mystic Falls". Anna: Really? Haven't you exhausted the subject? Jeremy: No, I want to go deeper you know. I want to understand why people reliable those vampires back in the day. I mean, maybe there's such a thing has vampires, they're just different from the way we always thought they were. Anna: what do you mean? Jeremy: Well, maybe they're normal and good, just outsiders you know? Um, misunderstood. Anna: You're kidding right? Jeremy: Don't you think it could be possible? You did give me all that info Anna: Jeremy, I made it up ok? You were cute and floppy and I wanted to make a good impression [Mystic Grill] Matt: Is there anything you're not good at? Stefan: Double dating. This is all kind of new to me. I usually keep to myself. I don't always fit in. Matt: That's because you're that guy Stefan: What guy? Matt: The guy who seems like he has everything, so the people that don't, kind of run the other way Stefan: Is that what I seem like? Matt: Pretty much Stefan: Hmm... What a dick! [Mystic grill's restroom] (Elena is washing her hands. Caroline is sitting behind her) Caroline: So hum, what are you doing? Elena: What? Caroline: Well the point of this was to show him how much you care about Stefan. You don't have to talk about your past Elena: I was just trying to make conversation Caroline: Try less (Caroline leaves the restroom, Elena run after her) [Mystic Grill] (Elena is walking after Caroline, she passes next to Frederick. He sees her and catches her arm) Frederick: Katherine? Elena: I'm sorry, you have the wrong person (Caroline waitin for Elena) Caroline: Elena, come on! Frederick: My mistake (She's returning at the pool table with Matt and Stefan. Frederick looks at her) Elena: How's everything going? Stefan: Matt's cheating Matt: No need, I'm awesome Frederick (watching them): Stefan Salvatore Stefan (to Elena): Everything's okay? Elena: Everything's great (She writes him a text message and shows it to him) Elena: "That man over there just called me Katherine" (He walks toward them but they're already gone) [Salvatore's house] (Elena parks her car. She discusses with Stefan) Stefan: So, you didn't recognize, you haven't seen him before? Elena: No, there was nothing familiar about him at all Stefan: Right, let's cut off the night. Ok? Sent Matt and Caroline home? Elena: No, the whole point of the night was to not have to deal with this stuff. We need to get through one night. One normal night. Stefan: You're sure? Elena: No I'm not sure, but I don't know what else to do. Look, if there's another vampire in town, he'll still be here tomorrow. We'll deal with it tomorrow Stefan: Ok (Matt and Caroline arrive. Matt parks his car) Stefan: It's them. Come here (They look at each other and then Stefan approaches and kiss Elena) [Salvatore's House] (Caroline, Matt, Stefan and Elena are going into the living room) Caroline: This is much better than watching Damon visit cougar town. (To Matt) No offence Matt: Don't remind me. (To Stefan): Men I've always wanted to see how it looks like in this place Stefan: Yeah, it's uh… a little bit too much Matt: Yeah, my entire house could fit in it like twice Caroline: It's like I've been here before. It's weird (Elena is uncomfortable and changes the subject) Elena: Do you guys want to watch a movie or something? Matt: Whoa; these are great! (He's going towards Stefan's miniature cars collection) Stefan: This is uh… a little hobby of mine Matt: I did the entire Mustang series when I was 9 Stefan: You like cars? Matt: It's an understatement Stefan: Come with me [Mystic Grill] (Damon is playing with a cherry) Damon: So, the thing about cherries, you have to… (Kelly puts her finger on Damon's lips. She puts a cherry on her mouth) Damon: Oh my goodness (He takes the cherry on Kelly's mouth with his mouth) Damon: That's amazing, you were fast Jenna: That would be my queue Kelly (looking at Damon): You're given up already? Jenna: Oh yeah (She leaves the bar) Jenna: See you guys [Salvatore's Garage] (Stefan opens the garage door) Stefan: Prepare yourself my friend (He removes a tarpaulin from a car) Matt: Wait, how do you have this? Stefan: She was passed down through the family (He opens the car's door) Matt: Why don't you… I mean… Why don't you drive it? Stefan: Well, it doesn't run. I mean, it's not that I could figure out Caroline: Why would you keep a car that doesn't run? Matt: Be more of a girl right now (Caroline laugh) Stefan (to Matt): Hey, want to come take a look at this for me? Matt: Elena, remember the old Camaro you're dad used to have? Elena: Of course Matt: I built and rebuilt that engine 20 times Stefan: wow Caroline: I don't like sports cars; they're too hard to make out in Matt (looking at Elena): It wasn't that bad (Elena and Matt look at each other, uncomfortable. Caroline leaves the garage. Elena goes after her) Matt (to Stefan): I'm sorry men Stefan: No, no, no. Don't worry about it. You and Elena, you guys have an history and ignore it doesn't do anybody any good Matt: She's good with you. You know I wasn't sure but she's happy and I'm glad (They look at each other) Matt: Alright, just take a look at this [Mystic Grill] (Jenna is going out. She breaks her heel. Frederick looks at her) Frederick: Need some help? Jenna: Damn it! Stupid shoe Frederick: I'll pick up the other foot (He breaks the other heel and gives it to Jenna) Jenna: Thanks, I think Frederick: Was it Damon Salvatore you were with? Jenna: The one and only. You know him? Frederick: we go way back. He still lives at Miller Lane? Jenna: He lives in the old boarding house by Wickery Bridge. He's still in there if you want to say hi Frederick: I prefer to stay here and talk to you Jenna: Oh, nice. Very smooth with the shoe and the flirt. But, I'm a little drunk and a guy plus drunk me equals very bad things (Frederick touches her face and try to compel her) Frederick: I'm pretty sure you'd like it (She laughs) Jenna: Sorry. This was a seriously lame pick up. Frederick: This is a nice scent you wear. What is it? Jenna: I don't know (she laughs) it was a gift. And that is a cab so… (She leaves. Frederick looks at her. Beth-Anne arrives behind him) Frederick: Vervain... making it hard to find something to eat in this town [Salvatore's house] (Elena arrives to talk to Caroline) Elena: Caroline… Caroline: I don't want to talk about it Elena: You're being ridiculous Caroline: And insecure and stupid. But that doesn't change the fact that Matt's always gonna be in love with you and I'm always gonna be the back up Elena: You're not the back up Caroline: Yes I'm. I'm Matt's Elena back up; I'm your Bonnie back up Elena: Now it's about me and Bonnie? Caroline: You don't get it. Why would you? You're everyone's first choice (They look at each other. Stefan and Matt are going out the garage with the car. They're going out the car) Matt: Piece of cake! (Matt looks at Caroline) Stefan: You know what? Why don't you guys go ahead and take a first spin? Matt: Really? Stefan: Yeah (Matt and Caroline are going into the car. Stefan and Elena look at them. Stefan embraces Elena) Stefan: You're alright? Elena: If it's not vampires its girlfriends (They embrace each other) [Gilbert's house] (Jeremy and Anna are in the kitchen) Jeremy: alright. Rosbief, turkey, what do you want? Anna: Let's do the works. Pile at high Jeremy: Ok, I like your style. Would you get the bread for me? Anna: ok (She turns and goes take the bread. Jeremy looks at her and cut himself) Anna: What are you doing? Jeremy: It's just a cut. Can you bring me that towel? (She looks uncomfortable) Anna: I can't Jeremy: You have a problem with blood Anna? (He shows her his bloody hand and goes toward her) Jeremy: What's the matter? It's just blood Anna (He's still going toward her. She strangles him and push him against the fridge) Anna: What are you doing? (Her face is changing) Jeremy: I knew it. (He shows her his hand) go for it (She takes his hand and begins to drink. Jenna enters in the house. Jeremy rushes towards her) Jeremy: Jenna! Hey, what's up? Jenna: Regrets. Make sure you lock that up (She's going up the stairs. Jeremy returns to the kitchen, Anna is gone. He looks at his hand and smile) [Stefan's car] Matt: Did I pass the driveway? Caroline: Uh… I think it's up there Matt: This is an amazing car. Did I pass? (Caroline doesn't understand) Matt: The whole double date thing was obviously a test to see how I do around Elena Caroline: I don't know. You were reminiscing about the Elena years the whole night so… Matt: Caroline that has come before. That cannot just go away Caroline: I know that okay? Matt: No you don't. Because, Elena turns you in a crazy person. Look it's my fault. I made it pretty clear earlier that Elena still means something to me. But all that talk, that was just two old friends with some memories. Tonight wasn't about me and Elena. I was there because I wanted to be with you. And I don't know what this means or what we are but I do know that you are the only person I want to be in this car with right know. And I don't know if that makes sense because I'm not really that good at expressing myself Caroline: No, no. I think you're doing just fine (They laugh and kiss each other. Caroline hurts herself) Caroline: Sports cars… (They kiss each other again) [Salvatore's house] (Damon drinks and gives his glass at Kelly) Kelly: Know that you've brought me here. (She drinks) What are you gonna do with me? Damon: I'm going to… going to do this (He kisses her. He pushes her against the wall. They kiss each other. Caroline and Matt arrives and interrupt them) Matt: Mom?! Caroline: Damon?! Kelly: Oh my god matt! Oh my god (She takes her things and leaves. Elena and Stefan arrive) Matt: I got to… Caroline: It's fine, just go Elena (to Matt): I'll take her home (Matt gives the key to Stefan and leaves. Caroline, Elena and Stefan look at Damon. He drinks) [Miss Gibbon's house] (Anna is going into the house. She tries to be discreet. Pearl arrives) Pearl: Where have you been? Anna: I needed some air Pear: For Three hours? Tell me, where have you been? Anna: Out, I was out Pearl: Annabelle, don't do this. I can't fight you too. What? Anna: I'm sorry (Pearl embraces her) [Salvatore's house] Elena: Sorry I'm bailing Stefan: Just wish you let me drive you home Elena: Normal people don't have chaperons, bodyguards or baby-sitters. We're normal tonight remember? Stefan: I know, I just get so worry about you Elena: Stefan, I can't live every minute afraid that someone is gonna come after me. I won't, it's not living Stefan: Okay. Call me when you get home safe (He takes her face and kisses her. She's going into the car) Caroline: By Stefan (He closes the car's door. He watches them leave and goes home. Frederick watches him while he closes the door) [Salvatore's house] (Damon is in the living room. Stefan arrives and looks at him) Damon: Don't look at me like that Stefan: Are you crazy? Damon: Save the lecture. Look… (Frederick arrives through the window, jump into Stefan and put a piece of glass in his body. Damon arrives and begins to fight with him. Stefan removes the piece of glass. Beth-Anne arrives and begins to fight with Stefan. She pushes him on the floor, he takes a stake puts h*t into her heart. Damon sends Frederick through the living room. Frederick looks at Damon and Stefan and then looks at Beth-Anne. He leaves. Stefan looks at Damon) Stefan: I remember them from 1864. They were in the tomb. Damon: Yeah... About that. (They look at each other) [Matt's house] (Matt is going into the living room. Kelly goes after him) Kelly: Matt… Matt: I don't want to hear it mom Kelly: Matty please… Matt: Do you know what I was doing tonight, Mom? I was having fun, you know, trying to forget about all the crap that I have to deal with every day. Just enjoying a night with my friends. And then, there you are, wasted at the bar, where I work, by the way, to pay the bills that you don't pay. And then you're off acting like a freakin' kid, hooking up with some guy half your age. I'm the kid, Mom. You're supposed to be responsible for me. Kelly: I know Matt (He looks at her and leaves) [Gilbert's house] (Elena is in the bathroom, she brushes her teeth. Jeremy arrives) Elena: How was your night? Jeremy: Ah... Same old. Same old... You? Elena: Yep [Miss Gibbon's house] (Pearl is taking a bottle of blood in the fridge. Frederick arrives) Pearl: So, where is Beth-Anne? Frederick: She won't be coming back Pearl: What happened? Where is she? Frederick: Well, you were right.(He looks at Anna) We shouldn't have left Pearl: No. Hungry? (Frederick is still looking at Anna. Pearl is pouring blood in a glass. She takes the glass and wooden spoon. She holds the glass to Frederick and puts the spoon in his body. She puts down the glass and throws the spoon in the sink. She sits down and pours blood in a glass) Pearl: Next time you'll listen to me. (Anna smiles and looks at Frederick) [Gilbert's house] (Elena is at the phone with Stefan) Elena: I'm home, teeth brushed, and ready for bed. Save and sour Stefan: Good good. I'm glad Elena: Is everything alright? You sound serious Stefan: No, no, no. Not tonight, you still have a few minutes left in normal. I'll tell you tomorrow okay? Elena: I had a really nice time in our date tonight Stefan: Such a liar Elena: No, I'm serious. In a way it was exactly how it was supposed to be Stefan: I had a really nice time too (Elena hangs up) [Salvatore's house] (Damon is putting Beth-Anne on the chimney) Damon (to Stefan): Could you help me out a little bit? [Gilbert's house] (Jeremy enters his bedroom. Anna arrive, Jeremy is scared) Jeremy: What the hell? Anna: I could have k*lled you! Jeremy: Yeah, but you didn't Anna: I should have Jeremy: But you didn't Anna: How did you know? Jeremy: I knew this girl. Vicki. She was att*cked by an animal, a bite to the neck. She started acting crazy, weird, and it seemed like drugs, but then you showed me those articles. And then I saw your face and how it changed the night in the cemetery when I kissed you. Anna: You know you can't tell anyone, right? Jeremy: Who would believe me? Anna: You'd be surprised Jeremy: Why didn't you k*ll me? Anna: I don't know. Maybe I'm a sucker for guys like you Jeremy: Like what? Anna: Lost. Why would you confront me about it? Why would you risk it? Jeremy: Because if it was true, maybe it's true about Vicki. And also because I want you to turn me.

{"type": "series", "show": "The Vampire Diaries", "episode": "01x16 - There goes the neighborhood"}

foreverdreaming

PREVIOUSLY ON ''THE VAMPIRE DIARIES'' STEFAN: For over a century, I have lived in secret until now. I know the risk. But I have to know her. DAMON: There's a tomb underneath the church. A spell sealed Katherine in that tomb, protecting her. I'm gonna bring her back. DAMON: She's not there! STEFAN: You saved everyone in the church? PEARL: We've taken up residence in a farmhouse just outside of town. DAMON: All 25 vampires? PEARL: Some. FREDERICK: I hate this house. I didn't stay locked up for 145 years to end up locked up here. PEARL: So, where's Bethanne? FREDERICK: She won't be coming back. ALARIC: My wife Isobel spent her life researching paranormal activity in this area. What have you done to my wife? DAMON: I turned her. JEREMY: Maybe there is such a thing as vampires. They're just different from the way we always thought they were. JEREMY: Aah! You got a problem with blood, Anna? Ahh! JEREMY: I knew this girl Vicki. She was att*cked by an animal, a bite to the neck. And then I saw your face. ANNA: Why would you confront me about it? JEREMY: Because maybe it's true about Vicki. And also because I want you to turn me. GILBERT'S HOUSE Elena sleeps whereas, outside it makes a violent one storm. Suddenly, it awakes in start because her window opens brutally. It rises and will close again it shocked. On their side, Jeremy in his room, sitting on his bed whereas Anna looks at outside. ANNA: I love storms. JEREMY: Is that a vampire thing? 'cause I read vampires don't like running water. ANNA: It's only Dracula. Yeah. He was a complete wuss. Never showered. Very smelly. JEREMY: Seriously? ANNA: First rule about vampires, don't believe anything you read. JEREMY: You gotta tell me more. I gotta know. ANNA: No, you don't. 'cause you're not gonna be one. JEREMY: Come on, you can't keep saying "no" To me. ANNA: Look, I'm not gonna turn someone who learned everything he knows about vampires from Netflix. JEREMY: That's not true, and you know it. ANNA: Why do you even want this? Give me one good reason. JEREMY: 'cause I... ANNA: Hmm. Let me know when you can finish that sentence. (Elena returns in the room, Anna left) ELENA: Hey, you're still up. JEREMY: Hey, what's up? ELENA: Looks like the there's a big storm rolling in. Can you help make sure all the windows are closed? JEREMY: Yeah. Yeah. Sure. MLLE GIBBONS' HOUSE Pearl comes to talks with Frederick. FREDERICK: We're running low on blood. You might wanna send Anna to the hospital for some more. PEARL: I'll send her out for some tomorrow. FREDERICK: Maybe I could go with her. If the storm keeps it dark enough, I might be able to go out during the day, no sun and all. PEARL: I'm afraid not. Not after your stunt at the Salvatore house tonight. FREDERICK: He and his brother deserved it. PEARL: And where did that get you? Your girlfriend Bethanne is d*ad. And you have no one to blame but yourself. We cannot live our lives about revenge. We have to have better control of our emotions. FREDERICK: I understand, miss Pearl. I just wish I knew what you were up to. PEARL: I'm going to make an exploratory visit into town tomorrow to assess who's under the influence of vervain and who isn't. Anna tells me that the players haven't changed much. It's still the Lockwoods, the Forbes, the Fells... FREDERICK: We should k*ll every last one of them. PEARL: We are smarter than that, Frederick. These people are not our enemies. We don't hold grudges and resentments. We'll get our town back. We just have to have patience. FREDERICK: You heard her. No revenge. Patience. Self-control. She seems to have it all figured out, doesn't she? THE VAMPIRE DIARIES SALVATORE'S HOUSE Damon stopping the hole of the window with a board while Stefan and Elena look at him. DAMON: I say we go to Pearl's, bust down the door, and annihilate the idiot that att*cked us last night. STEFAN: Yeah. And then what? We turn to the rest of that house of vampires and say, "Oops. Sorry?" ELENA: I can't believe you made a deal with her. DAMON: It was more like a helpful exchange of information. And it's not like a choice. She's... scary. Besides, she's gonna help me get Katherine back. ELENA: Of course she is. Damon gets what he wants, as usual. No matter who he hurts in the process. DAMON: You don't have to be snarky about it. ELENA: I woke up this morning to learn that all the vampires have been released from the tomb. I've earned snarky. DAMON: How long are you going to blame me for turning your birth mother into a vampire? ELENA: I'm not blaming you, Damon. I've accepted the fact that you're a self-serving psychopath with no redeeming qualities. DAMON: Ouch. STEFAN: This isn't being very productive. We're gonna figure out a way to deal with Pearl and the vampires. Yeah? Hmm. (Damon goes out) ELENA: I'm sorry. He just makes me so cranky. STEFAN: I know. He makes everybody cranky. ELENA: So, what are we going to do? STEFAN: Damon and I are gonna handle everything, I promise. ELENA: Well, what about me? I can't just sit here and do nothing. STEFAN: That's exactly what you're gonna do, because that's what going to keep you safe. ELENA: Which means nothing if you're not safe, too. STEFAN: What do you mean? I'm perfectly safe. I have Damon, the self-serving psychopath on my side. ELENA: Well, that's comforting. MISTIC GRILL Jeremy talks with Anna. ANNA: Ok. We have some time. I'm not meeting my mom until later. JEREMY: Wait. Does your mom know you're a... ANNA: The fact that you would even think it's possible to keep something like that a secret from your own family is just further proof that you're not ready. JEREMY: "Not ready" Is a step up from "No." ANNA: And a million steps down from "Maybe." I like your bracelet. JEREMY: Thanks. My sister got it for me. ANNA: Can I see it? JEREMY: Yeah. Yeah. ANNA: Your sister doesn't know you're hanging out with me, does she? JEREMY: No. No. But I don't see why it would be a problem. It's not like she knows what you are. ANNA: I'd rather keep it our little secret. JEREMY: You know, why don't you...why don't you keep this? ANNA: Why would you give this to me? JEREMY: Because. You like it. And I like you. ANNA: You only like me because of what you want from me. JEREMY: No. I...I like you. ANNA: Um... You know, you should wear it. It looks better on you anyway. Matt talks with Caroline. MATT: I yelled at my mom last night. You know, I feel like the parent and the screwed-up kid. CAROLINE: Maybe she needed to hear it. MATT: Yeah, but just... I worry that if I push too hard, then she will take off again. 'cause that's her M.O. Just like Vicki, who I haven't heard from since she left. CAROLINE: Well, you can't control your mom, Matt, any more than you can control your sister. MATT: I wish that she would just try a little. You know? If she would just try to try, that'd be ok. CAROLINE: Maybe she'll surprise you. People have a tendency to do that. I should go before the roads get even worse from the storm. MATT: Yeah. Are you sure you should be driving right now? CAROLINE: I have to. It's my dad's boyfriend's daughter's birthday. We have a non-traditional traditional ritual. MATT: Well, buckle up. Don't speed. Stay off your cell phone. And call me when you get there. CAROLINE: Got it. Anything else? MATT: Yes. CAROLINE: Bye. MATT: Bye. SALVATORE'S HOUSE Damon putting the clock per hour while Stefan between in a hurry. DAMON: Hunting party? STEFAN: That guy did a number on me last night when he s*ab me. I gotta get my strength back up. DAMON: I've got 2 liters of soccer mom in the fridge. No? STEFAN: We'll talk when I get back? DAMON: All right. Give my regards to the squirrels. DRILL Stefan, under the beating rain, drives out. Suddenly, it stops bus of the vampires are behind him. It is turned over. But Frederick is pointed in front of him and inserts a pile in the body to him. STEFAN: Aah! GILBERT'S HOUSE The telephone of Elena sounds, she takes it but notes that it is Damon. She is unaware of the call. A few seconds later, somebody sounds. She will open, it is Damon which enters. DAMON: You're ignoring me ELENA: The 6 missed calls? Sorry. My phone is d*ad. DAMON: Is Stefan here? ELENA: No. Why? Something wrong? DAMON: He went out to the woods and didn't come back. I can't get him on his phone. I figured he was here with you. ELENA: It's going straight to voice-mail. Where could he be? DAMON: You're not going to like what I'm thinking. MLLE GIBBONS' HOUSE Damon knocks on the door. DAMON: Pearl! Open this door. I swear to God I'll bust through and rip your head off. FREDERICK: Pearl's not home. Hmm. Beautiful weather. Not a ray of sun in the sky. DAMON: Where's my brother? FREDERICK: Billy. (Two vampires appear trailing failing Stefan) DAMON: You're d*ad. FREDERICK: Whoa. I'm sorry. You haven't been invited in. Miss Gibbons? (She comes in) GIBBONS: Yes, Frederick honey? FREDERICK: Never let this bad man in. GIBBONS: I'll never let him in. STEFAN: Ugh! FREDERICK: 145 years left starving in a tomb, thanks to Katherine's infatuation with you and your brother. First few weeks, every single nerve in your body screams with f*re. The kind of pain that can drive a person mad. Well... I thought your brother might've wanted to get a taste of that before I k*lled him. Billy. STEFAN: Uhh! Aah! FREDERICK: You have a nice day. GRILL Elena asks to Damon what it's happened. ELENA: What happened? Where is he? DAMON: They have him. I can't get in. ELENA: Why not? DAMON: Because the woman that owns the house is compelled to not let me in. ELENA: I can get in. DAMON: You're not going in there. ELENA: I'm going! DAMON: You're not going there. ELENA: Why are they doing this? What do they want with him? DAMON: Revenge. They want revenge. ELENA: We gotta do something. DAMON: I know. ELENA: We can't let them hurt him. We gotta get him out of there. DAMON: I know. Elena, I know. But I don't know how to get him out. MLLE GIBBONS'S HOUSE Vampires connecting Stefan with cords covered with vervain in the cave. FREDERICK: Vervain on the ropes. STEFAN: Aah! Unh! FREDERICK: That's gotta sting. Speaking of... STEFAN: Aah! (Harper comes in) HARPER: This isn't right! FREDERICK: He k*lled Bethanne. One of us, Harper. And don't you think for a second he wouldn't k*ll you if he had the chance. Pearl says we're not here for revenge, right? I say that's exactly what we're here for. Starting with this. STEFAN: Aah! Aah! FREDERICK: And then his brother. And anyone else that gets in our way. HARPER: This isn't right! FREDERICK: You're gonna want to let go of me! HARPER: Miss Pearl will be home soon. FREDERICK: Miss Pearl is no longer in charge. Tie him up! And then stake him down. HIGH SCHOOL Alaric going in his class when he crosses Damon. They are fixed. DAMON: Well, don't you look... alive? ALARIC: You can't hurt me. DAMON: Oh, I can hurt you, all right. ELENA: Mr. Saltzman. We need your help. They enter in the classroom. ELENA: Stefan's in the house. Damon's a vampire. He can't get in. We need you. I would go, but... DAMON: Your life is valuable. Yours, on the other hand... ELENA: Stefan told me about your ring. ALARIC: What about it? DAMON: Let me recap...You tried to k*ll me. I defended myself. You died. Then according to my brother, your ring brought you back to life. Am I leaving anything out? ALARIC: Yeah. The part where I try and k*ll you again. Only this time, I don't miss. ELENA: Mr. Saltzman. Please. It's Stefan. ALARIC: I'm sorry, Elena. But it's not my problem. DAMON: That's a shame. Because the woman in charge of the crowd can help you find your wife. ALARIC: You're lying. DAMON: Am I? Why don't you ask her yourself? Coward. Come on, Elena. ALARIC: All right! Wait. I'll go. MYSTIC GRILL Jeremy gives his answer to Anna asks him. JEREMY: So, I have an answer. ANNA: To what? JEREMY: Why you should turn me. ANNA: We're back to that? JEREMY: Look, I wake up every day, and I feel ok, but there's something missing. Like a...like a hole. Some people, they fit... in life, or whatever. I... I don't. ANNA: So, you want a pity-turn? I don't think so. JEREMY: You should turn me because I don't have anything else. ANNA: Do you even know why we turn other people? It's not to give someone a one-way ticket out of loner-hood. Ok? One--we need someone to do our dirty work. Two, revenge. Three, boredom... but, you know, that never turns out well. And then you know there's the obvious one. You love someone so much that you would do anything to spend all of eternity with them. Ahem. I'm sorry, but you don't fit any of those categories yet. (Anna sees her mother to enter in the grill) ANNA: So, yeah. Just make sure your thesis is clear, and she'll love it. See you later. (She joins her) ANNA: Mom, hey. PEARL: Did you get everything? ANNA: Yeah, the blood-bank was understaffed because of the rain. I was in and out. PEARL: Who's that you were talking to? ANNA: A friend from the library. PEARL: Let's get home. M. Lockwood and Tyler enter in the grill. M. LOCKWOOD: Hey, you're not going out in that, are ya? The roads are dangerous. Route 5 is completely flooded. PEARL: We'll make do. WAITRESS: Mayor Lockwood, we have your table ready. TYLER: Great. PEARL: Mayor... Lockwood, is it? I suppose it is treacherous outside. My name is Pearl. M. LOOKWOOD: Hi. PEARL: This is my daughter Anna. We've just recently moved to town. M. LOOKWOOD: Welcome. Richard Lockwood. This is my son Tyler. Please--please, join us. PEARL: It would be a pleasure. TYLER: Be more creepy, dad. Not like your son is standing right here. M. LOOKWOOD: Grow up. Elections are coming. She's a constituent. And a rich one, from the looks of it. TYLER: You can tell all that by looking at her ass? Awesome. I'm gonna go sh**t some pool. ALARIC'S CLASSROOM Alaric shows his w*apon to fight vampires. DAMON: Teacher by day, vampire hunter by night. ALARIC: I've you to thank for that. ELENA: What are these? ALARIC: Those are tranquilizer darts filled with vervain. DAMON: Just get me in. I'll get Stefan out. ELENA: That's your plan? You're just gonna take them all on yourself? DAMON: Well, I'll be a little stealthier than that, hopefully. ALARIC: Whoa. What are you doing? ELENA: I'm going with you guys. DAMON: No. No. No. No. No way. ELENA: You need me. I'll get in. You could distract them, and then I'll get Stefan out. DAMON: You'll get yourself k*lled. You're not going in there. ELENA: I'm going. DAMON: So, when you get me in, get out as quickly as you can. I know how to sneak around where they can't hear me. You'll basically just be in the way. ELENA: Damon, now is not the time to be the lone ranger. DAMON: Fine. Elena, you can drive the getaway car. You're not going in the house. ELENA: You can't stop me. It's Stefan we're talking about here. You don't understand. DAMON: Oh, I understand. I understand. He's the reason you live. His love lifts you up where you belong. I get it. ELENA: Can you just not joke around for 2 seconds? DAMON: I can't protect you, Elena. I don't know how many vampires there are in there. That's how long it takes you to get your head ripped off. I have to be able to get in and get out. I can't be distracted with your safety. Or this will end up a bloodbath that none of us walk away from...Including Stefan. I know. I get it. I understand. ALARIC: If we're gonna go, let's go. MYSTIC GRILL/CAROLINE'S CAR Matt calls to Caroline. MATT: Where are you? I can barely hear you. CAROLINE: Storm washed out Route 5. Now I'm detoured on some random backwoods path to hell. MATT: Well, you shouldn't be talking while you're driving. CAROLINE: I know, right? I need one of those bluetooth thingies. MATT: Look, you're breaking up. Just turn around and go back the same way you came. And watch the road. Ok? CAROLINE: Ok. DRILL The car of Caroline was inserted in mud. CAROLINE: God. Ohh. Ohh. Seriously. MLLE GIBBONS'S HOUSE Alaric makes pretense require of the assistance. ALARIC: Oh, good, someone's home. Uh, could I use your phone? My car broke down a few miles up the road. This was the first house I saw. FREDERICK: Well, lucky you. ALARIC: Yeah. Lucky me. It's no trouble, is it? FREDERICK: Not the slightest. ALARIC: Great. Whew. (Alaric enters in the house) ALARIC: Hey, man, I really appreciate it. It's rough out there. FREDERICK: Billy, show our visitor where the phone is in the kitchen. And get me something to drink. BILLY: Yeah. Sure thing. Billy asks to Mme Gibbons if Alaric can use her phone. BILLY: Hey, miss Gibbons, this guy wants to use your phone. MLLE GIBBONS: Oh, sure, honey. It's right there. ALARIC: Thanks. (Alaric will take of the telephone but Billy follows it with a Kn*fe. Alaric is turned over quickly and planted the Kn*fe in the belly of Billy) BILLY: Aah! (Alaric opens the tap and lights the mixer so that nobody notices something) MLLE GIBBONS: What's happening? ALARIC: I'm really sorry. But you're gonna need to invite a friend of mine inside. (Alaric opens the door to let Damon to enter) MLLE GIBBONS: Oh, I'm sorry. He's not allowed in the house. ALARIC: I know that. But you gotta make an exception. DAMON: Get her out of the house. Now! Miss Gibbons, tell me the truth. Are you married? MLLE GIBBONS: No. DAMON: Parents, children, anyone else who lives on this property? MLLE GIBBONS: No. It's just me. DAMON: Good. ALARIC: You were supposed to compel her. DAMON: It doesn't work that way... ALARIC: She is human. DAMON: And I'm not! So, I don't care. Now, get out of here. And get rid of the body! DAMON'S CAR Elena waits in the car. it finds a vervain syringe in a bag. MYSTIC GRILL Pearl discusses with the mayor. PEARL: I'm in the process of obtaining some property. I understand that your family is the largest property owner in town. RICHARD: Well, yes we are. Dating all the way back to the town's original charter. PEARL: Your family came into a lot of new property in 1864. RICHARD: You know your history. PEARL: It's a passion of mine. Tyler talks with Matt. TYLER: Guy's not even subtle about it. MATT: Who is that? TYLER: It's not my mother. Jeremy sees Anna playing darts, he will join her but Anna does not want. Her mother sees that Jeremy wanted to approach. PEARL: I'm sorry, Mayor. Do you know that boy over there? RICHARD: Yeah it's Jeremy Gilbert. PEARL: You don't say. MLLE GIBBONS'S HOUSE Frederick realizes that Billy did not return. he sends another sees where he is. FREDERICK: Billy, what's the holdup?! (The man enters the kitchen and Damon gives him a blow on the head) JACOB: Aah! DAMON' CAR Alaric turns over to the car and discovers that Elena is not there any more. It sets out again with the bag filled with w*apon. ALARIC: Damn it, Elena! MLLE GIBBONS'S HOUSE Elena is in front of the main door. She wants to pass but she hears Frederick. FREDERICK: Billy, Jacob, get back in here! Then, she goes towards the driving staircase to the cellar. She goes down, opens a grid. She sees a vampire which keeps the cellar. Damon arrives of another staircase and injects vervain with the vampire. Damon sees her. DAMON: Are you insane? DRILL Caroline leaves her car to try to have network in order to call somebody. While going in the sheets too close to the river, she stumbles. While wanting to be raised, she discovers a death in decomposition. CAROLINE: Aah! Aah! MYSTIC GRILL Pearl talks with her daughter. PEARL: Jeremy Gilbert? Is that what you've been up to? ANNA: He's my friend. What's the big deal? PEARL: His family is the reason I was stuck in a tomb for over a century. ANNA: That doesn't mean he'll make the same choices. PEARL: I want you to stop seeing him. ANNA: I've been on my own for a long time, mother. I can make my own decisions. PEARL: Then stop acting like a child! As soon as Jeremy finds out what you really are, he will turn on... ANNA: He already knows. PEARL: What did you just say? ANNA: Jeremy knows. ANNA: He likes it. And he likes me. (Pearl gives her a slap) MLLE GIBBONS'S HOUSE Stefan and Trevor are locked up in the cellar. They discuss. STEFAN: Uhh. Thank you. For trying to help me. TREVOR: They just needed somebody to blame. Someone to punish. (Elena ans Damon enter in the cellar) STEFAN: Elena...You shouldn't be here... DAMON: She was supposed to stay in the car. STEFAN: Unh! No. No. No. Not him. DAMON: Whatever. Let's get you down. STEFAN: There's vervain on the ropes. DAMON: Elena, pull that. STEFAN: Unh! DAMON: All right, let's go. Clothes on. STEFAN: Wait. DAMON: What? Guys, come on. We have to get out of here. STEFAN: Uhh! DAMON: Come on, we gotta go. STEFAN: The other one. TREVOR: Uhh! DAMON: Can you get him in the car? ELENA: Yeah. DAMON: All right, go. ELENA: What about you? DAMON: You rescue, I'll distract. Go. Frederick suspects that it does without something abnormal. FREDERICK: Turn that down. It's too quiet. Spread out. Now. You two, back of the house. Go. Check out both rooms. Cellar, now. IN WOOD Elena takes along Stefan to the car. STEFAN: Uhh. ELENA: Can you make it? STEFAN: Uhh! Unh. (They fall down) STEFAN: Ohh. You ok? ELENA: Yeah. Come on, we gotta keep going. Come on. STEFAN: Ugh. MLLE GIBBONS'S HOUSE Damon is thrown on Frederick by surprise. FREDERICK: Aah! Ugh! DAMON: Aah! Aah! (Damon and Frederick fight but vampires come in reinforcement to help Frederick. Damon is able to be released and Alaric plants a pile in the heart of the vampires) ALARIC: I'm going after Frederick! IN WOOD Elena and Stefan arrived in front of the car. ELENA: Come on, it's right over here. (Elena wants to start but the key is not any more on the contact) ELENA: Stefan... (Frederick takes Stefan by surprise) FREDERICK: Aah! STEFAN: Ugh! Uhh... FREDERICK: This is for Bethanne. STEFAN: Aah! FREDERICK: And this is for the tomb. ELENA: No! (Elena plants the syringe in the back to him) FREDERICK: Ugh! Unh! ELENA: Stefan... STEFAN: Unh. Uhh. ELENA: Stefan...Stefan... No, Stefan. Stefan, Stefan. Stefan! Stefan! MLLE GIBBONS'S HOUSE Damon did not find Frederick in the house. DAMON: Frederick is gone. ALARIC: Let's get out of here. DAMON: I'm gonna k*ll him. (Damon and Alaric leave, they see an army of vampires approaching them) DAMON: How many of those vervain darts you have left? ALARIC: One. DAMON: Not gonna be enough. DOVONAN'S HOUSE Matt's mother prepares diner. MATT: Hey, mom. What's going on? MATT'S MOTHER: What's it look like? MATT: Honestly, I wouldn't know. I've never seen it before. MATT'S MOTHER: Well, sit down. You might wanna order pizza. I'm out of practice. MATT: Mmm. Mystery casserole. Yum. MATT'S MOTHER: Yeah. Some people aren't meant for the kitchen. MATT: What? MATT'S MOTHER: Uh, I know it's been rough. But I'm gonna try. I mean, really try this time. You just have to bear with me, ok? MATT: Ok. MATT'S MOTHER: Ok. Good. MATT: You know I got it. MATT'S MOTHER: That bad, huh? (Somebody sounds with the door, Matt will open. It is Caroline with her mother) MATT: What happened to you? SHERIF: Hey, Matt. MATT: Hey. What's going on? SHERIF: Is your mom home? MYSTIC GRILL Richard is informed of the news. M. LOOKWOOD: Alright, give me 10 minutes. And keep it out of the news till I get there. Grab your stuff. We gotta go. TYLER: Kinda got half a burger left. M. LOOKWOOD: They found Vicki Donovan. TYLER: Are you serious? Where was she? M. LOOKWOOD: Storm unearthed the grave off county road. They just brought her body down to the morgue. JEREMY: Wait. She's d*ad? M. LOOKWOOD: Come on, we gotta go. IN WOOD Elena tries to help Stefan. ELENA: Stefan, please. Stefan! Oh, Stefan, please get up. Get up, Stefan. Stefan. Here. STEFAN: Elena, please run. ELENA: No. STEFAN: Please. ELENA: Stefan. My wrist. Here. Take my wrist. You need more blood. STEFAN: Go, Elena. Run. Run... ELENA: No. STEFAN: I trust you. MLLE GIBBONS'S HOUSE Pearl and Anna come home. ALARIC: So, what you said to get me to do this, about my wife. It was a lie, wasn't it? DAMON: Yep. PEARL: Stop. What's going on here? What did you do? DAMON: Me? Your merry little band of vampires spent the day torturing my brother. PEARL: Trust me. The parties responsible for this will be dealt with. DAMON: Our little arrangement doesn't work unless you learn to control them PEARL: This wasn't supposed to happen. DAMON: Well, it did. If I had a good side...Not a way to get on it. IN WOOD Frederick wants to k*ll Stefan but this one is able to be raised and to push him against a tree in order to complete him with a piece of branch. STEFAN: Argh! Ahh! Aah! Aah! ELENA:Stefan! STEFAN: Argh! SALVATORE'S HOUSE Stefan talks with Elena. ELENA: How are you doing? STEFAN: I'm ok. The wounds have mostly healed. ELENA: Good. STEFAN: Elena... ELENA: Yeah? STEFAN: What you did today, coming to help me...You could have been k*lled. ELENA: I know. STEFAN: And what I did, I'm sorry that...I'm sorry that you had to see it. ELENA: I've just never...You were like this other person. And it's my fault. I made you... STEFAN: What, no. no. no. You didn't make me do anything. You were saving my life. And I was saving yours. Everything's gonna be ok. (Elena's phone rings, Elena answers) ELENA(at phone): Hey, Jer...What--what's going on? Oh, no. DOVONAN'S HOUSE Everyone is there, Caroline brings coffee to Matt. CAROLINE: I made you some coffee. MATT: Thanks. CAROLINE: Are you is there anything I can do? MATT: I just, uh...I need to be alone right now. (Elena is here, she intertwines Matt) ELENA: Matt... MYSTIC GRILL Damon join Alaric with the bar. DAMON: That was fun. Oh, don't look at me like that. I know you hate me. Guess what? Everyone hates me. But you can't deny it. We were bad-ass. (Alaric gives him a punch) DAMON: Uhh. Happens. GILBERT'S HOUSE Elena and Jeremy return at home. ELENA: Jer... Are you ok? JEREMY: I'm gonna go get some sleep. Jeremy goes up in its room, Anna is there. ANNA: What are you doing? JEREMY: My...my friend Vicki... She's...She's d*ad. ANNA: Vicki? The one you thought was a... JEREMY: Yep. Turns out she's been d*ad all along. ANNA: She's the reason you wanted to turn? You wanted to be with her? JEREMY: Look, I'm sorry. SALVATORE'S HOUSE Damon enters a part and sees perfusion of blood with their pipes emptied. Then one sees Stefan sitting by ground drinking one of them. End of the episode.

{"type": "series", "show": "The Vampire Diaries", "episode": "01x17 - Let the right one in"}

foreverdreaming

[Salvatore's house] (Stefan is doing exercises in his bedroom. Damon enters with a glass of blood in his hands) Damon: You can turn it out a little bit? It's not annoying yet Stefan: Sorry (Damon switches off the music) Damon: When are you going back to school? Stefan: Soon (Stefan is on the floor, making push-ups) Damon: Oh come on. Just drink already. Come on, this self-detox is not natural (He puts the glass next to Stefan) Stefan: You can get that away from me please? Damon: How long have you take to wing yourself of the last time you've yield off? (Stefan is still doing exercises) Damon: It's not good Stefan: I'll be fine; it just takes a little bit of time Damon: I don't get it; you know, you don't have to k*ll to survive. That's what blood banks are for. I haven't hunt in a human in… God way too long Stefan: Oh I'm impressed Damon: It's completely self-serving. I'm trying to get the town off the trail of vampires which is not very easy considering that there is an entire tomb of them running around Stefan: What are we planning on doing about that? Damon: We are not going to do much of anything if you don't restrength. There's nothing wrong with part taking in a healthy diet of human blood from a blood bank. You're not actually k*lling anyone Stefan: I have my reasons Damon: What are those holly little reasons? We never actually discuss that. You know, I'll love to hear this story (Damon is sitting down on the couch) Stefan: You're really enjoying this aren't you? Just watching me struggle? Damon: Very much Stefan: I hate to break into you Damon but… I actually have it under complete control Damon: You do? Well, then you should just carry on, making the rest of us vampires look bad (He gets up) Damon: Have a great day Stefan (He leaves and let the glass on the table. Stefan goes toward the glass, he seems uncomfortable. Damon returns) Damon: oh, hey, I almost forgot. Oops (He takes the glass and leaves. He drinks and looks at Stefan with a smile. Stefan looks upset and uncomfortable) [Gilbert's house] (Elena and Jenna are in the Hall. They are hurry) Elena: Come on Jeremy, we have school! Walking at the door now! Jenna: Forgot his (She gives her a thermos) Elena: Thank you (She opens the door, John is here, he was about to knock) John (with a smile): Elena! Elena: Uncle John! Hi John (looking at Jenna): Jenna Jenna: John, you made it John: I said I'll be here by nine (He enters in the house) Jenna: Oh what you say and what you do are typically two very different things (Jeremy goes down the stairs) Jeremy: Uncle John, what's up? John: Hey! (Jeremy slaps him on the shoulder and leaves) John: I had some business in town; I thought that a visit was in order Elena: How long are you staying? John: I don't know yet Elena: ok, I've got to go to school, I see you later (She leaves; Jenna looks at her and closes the door) John: So what's up with Jeremy? Jenna: He just lost a friend, so try to be sensitive John (laughing): I'm always sensitive Jenna: Right, so really how long are you staying? John: Can you at least pretend that you're happy to see me? Jenna (joking): oh my god John! It's so good to see you. How have you been? (She becomes serious again): No, I can't John: Do you really think that I was just gonna sign the papers and send them back? Jenna: Actually I did John: I'm not going to let you sell my brother's office Jenna: It's not up to you or me; it belongs to Jeremy and Elena John: Yeah but they're minors, so I get the final say, I have to deal with it [Mystic Fall's high school) (Matt and Elena are in the hallway) Elena: He said his trip is open ended Matt: Uncle John, I never really liked that guy Elena: Does anyone? Matt: I'm here for moral support if you need me Elena: Thanks, I think I'll suffer this one alone; you've been through enough Matt: Thank you by the way, for just… for everything you did at Vicki's funeral. I couldn't have done it without you Elena: Of course Matt (Long pause, they look at each other) Elena: So, was Caroline still baking for you guys, around the clock? Caroline: She finally went to her dad, which is a good thing because my mom was going to strangle her if she dropped out for more lasagna (He closes his locker and they leave) (Jeremy is outside, is sitting on a couch, listening to music. Tyler arrives and sits down with him. He offers him a cigarette) Jeremy: No thanks Tyler: What's your problem? Jeremy: I just don't want any Tyler: Okay; they say she OD Jeremy: That's what I don't get, she was doing okay Tyler: Apparently not Jeremy: How did she end up buried in the woods? That's what I don't understand Tyler: By whoever was with her when she OD Jeremy: Yeah but when you leave her there you don't take the time to bury her Tyler: Maybe she saw something and… Hell man, I don't know [Founder's hall] (Damon arrives and meets the rest of the council for a reunion) Sheriff Forbes: The coroner office has officially ruled Vicky's Donovan's death a drug overdose. Her family has been notified, the truth will stay in this room and we can put this behind us Mayor Lockwood: Thank you Sheriff. And on to a more pressing issue, John Gilbert has asked to say a few words (Damon seems surprised) Mayor Lockwood: Welcome back John, it's good to see you John: Hello everyone, it's wonderful to see you, I wished it were on better circumstances. As a founding family member I found it's my duty to report some very distressing news (Damon speaking discretely to the Sheriff) Damon: He's a Gilbert? Sheriff Forbes: Elena's uncle. His name is John but I call him Jackass John: A hospital blood bank in the neighboring county of Amherst has reported several breakings over the past two weeks. 7 hunters, 4 campers and 2 states employees have been reported missing as well. All of this was in a 75 miles radius of Mystic Falls (Mayor Lockwood interrupts him) Mayor Lockwood: Okay okay, no need to get alarmed right at this moment Sheriff Forbes (To Damon): Mean he doesn't want to cancel the founders' day kickoff party John: You think all of your problems are over but I'm here to tell you, nothing's been solved (Damon seems uncomfortable) [Mystic Fall's high school] (Alaric is in his classroom with Elena) Alaric: I made a copy of a paper Jeremy wrote for me. I think you should take a look at it (He gives the paper to Elena. She reads the title: fact or fiction: The truth about vampires in Mystic Falls) Elena: Jeremy wrote this? Alaric: It's very clear that he didn't think it was real Elena: I really hope you're right because I've done so much to protect him from all of this (She gives him back the paper) Alaric: So, how do you deal with it? Elena: What do you mean? Alaric: With all the lies and the secrets. You have to lie to everyone who's important to you Elena: It's not safe for them to know the truth. So yes I keep it from them, but it's only because I love them (Long pause) Alaric: I think Stefan is a good guy. But at the end of the day he's still a vampire Elena: I know it's hard to understand but Stefan is different. He'll never do anything to hurt me [Gilbert's house] (John and Jeremy are eating in the kitchen. Jenna is here too) Jeremy: I've no interest in the founder's day kickoff party John: Sure you do its tradition Jenna: It will be our role to break the tradition John: The Gilberts have been a part of this town for a hundred and fifty years. We're one of the founding families and with that distinction comes certain obligations including going to the party. One day, when you'll can appreciate the significance I'll tell you all about your heritage Jenna: Hmm, the Gilbert's family legacy. I forgot how secret it was. I'm not a Gilbert so I was never cool enough to hear it Jeremy (To John): Why did she hate you? John: We used to sleep together (Jenna throws him something) Jenna: I'm standing right here (Elena is in her bedroom with Stefan) Elena: Why would he write a report on vampires? Do you think he's trying to remember? Stefan: Damon took away those memories for good, you don't have to worry about that. I tell you what: why don't you just ask him? Elena: I… I can't Stefan: Why not? I mean if he doesn't know anything this is just an innocent question Elena: I don't even know how to talk to him anymore. I mean, we used to be a lot more open with each other. But now, with all these secrets just pilling up… You know, I haven't even told him that I am adopted yet Stefan: Maybe it's time you start open up to him again. I'm not saying you should tell him everything but just try to find out what he does know and be prepared for it (She touches his face) Elena: What about you, how are you doing? Stefan: Much, much better. I'm still, you know… a little jittery, a little bit on edge but I'm gonna be okay Elena: I've been really worried about you and I missed you Stefan: I just needed to let it go for a while and let my body rejust. It's only been a few days Elena: It feels like a lifetime (They kiss each other) Stefan: I've missed you too (They kiss again and begin to lay on the bed. Elena goes on him and kisses him. Stefan pushes her and goes on her and kisses her but it seems that he's not okay) Elena: Stefan what's wrong? Stefan? (His face is changing. He rushes himself against the wall, he breaks a lamp. He tries to control himself. Elena seems afraid) (Someone knock on the door. Elena opens, it's Damon) Elena: Oh god you're here Damon: You ask I come. I'm easy like that (Elena tells him to shut and shows him that Jeremy is eating cereals in the kitchen. She asks him to follow her upstairs) Damon (loud): No Elena I will not go to your bedroom with you (She catches his arm. He laughs and go upstairs with her. Jeremy looks at them. Elena and Damon enter in her bedroom) Damon: Oh, just like I remember Elena: Stop messing around (He lays on her bed and takes the teddy bear with him) Damon: Did you know that your uncle has been kicking at the founder council? Elena: What? Damon: Yep Elena: Perfect, we'll just add it to the list of how everything is falling apart (Damon looks at the broken lamp) Damon: What happened right there? Elena: Uh… nothing (She seems uncomfortable. He looks at her) Elena: Look Damon, I'm worried about Stefan. He says that everything's okay but he's clearly struggling. How long it is gonna take before he's going back to normal? Damon: A few days. Give or take Elena: It's been a few days Damon: Give then, I don't know. What's the big deal? (He gets up and gives her the teddy bear) Elena: He's not himself Damon (Damon is going toward the piece of furniture, opens the drawer and looks in it) Damon: Well, maybe his problem is that he has spent too long not being himself (He takes a bra from the drawer. Elena takes it from him and put it back in the drawer) Elena: Please don't make me sorry for asking you (He takes a picture from the mirror; she tries to take it back) Damon: It is what it is Elena. The Stefan you know was "good behavior Stefan", ‘under control Stefan", "Fight his nature into an annoying excessive level Stefan" but if you think there isn't another part to this then you have not been paying attention (Elena recuperates the picture) Elena: He's not you, not even close Damon: Because he doesn't want to be me. That doesn't mean that deep down he's not (He gets closer to her, looks at her and leaves) [Salvatore's house] (Stefan is looking for a book. He seems to be stressed. He drinks a glass of scotch) [Gilbert's house] (Jeremy is in his bedroom. Someone knock on the door. It's Elena) Elena: Hey Jeremy: What's up? Elena: Do you have some time to talk? Jeremy: Uh, yeah, sure Elena: Not here. Come on; let's get out of the house [A lake] (Elena and Jeremy are walking) Jeremy: I just can't believe mom and dad never told you that you were adopted Elena: Sure they would have eventually Jeremy: Why were you worried about what I'll think? Elena: Because… I don't know it's weird. Going you're whole lives thinking you're related by blood to someone Jeremy: Does it bother you we're not? Elena: No, Jer… you're my brother that's all that matters (He smiles) Elena: So, Mr. Saltzman said you've been doing great in history now Jeremy: Yeah yeah is has really been helping me out. He gave me some extra credits and stuff Elena: He loved your vampire paper Jeremy: He thought I had a clever angle Elena: What drew you to that subject matter? Jeremy: I don't know, boredom or maybe I'm just as nuts as long line of Gilbert crazies Elena: Gilberts aren't crazy Jeremy: Easy for you to say, you're not one (She stops) Elena: Ouch (She hits him with her shoulder and run after him) [Founder's hall] (Founder's day 150 anniversary kick-off party) (Stefan and Damon are arriving) Stefan: Oh god! I shouldn't be here Damon: Come on, don't be a darner, it's a party for the founding families! That would be us. That would be rude to skip it Stefan: You know, I really liked you a lot better when you hated everybody Damon: Oh I still do. I just love that they love me (He laughs and looks at Stefan) Damon: How are you feeling? Stefan: I'm good, I'm fine Damon: No cravings? No urges? Is that whisky you've been drinking all day doing his job? (Stefan laughs) Damon: We are who we are Stefan. Nothing's gonna change that Stefan: Ah! Nothing will make you happier to just see me given up hein Damon? Damon: Whatever, it's inevitable Stefan: Well, I'm gonna find Elena (He leaves) Damon: Don't embarrass me young man! (Stefan takes a glass of whisky and drinks it) (Mayor Lockwood and Tyler are talking with Matt and Kelly) Mayor Lockwood: I'm so glad you can join us tonight Kelly: It was nice of you to reach out to us Mayor Lockwood: This town is one big family, when we lose a member we all have to come together (He takes their hands) Mayor Lockwood: Matt Matt: Mayor (Mayor Lockwood looks at his son and leaves, he leaves too) Kelly: Well I guess d*ad kid rate a special greeting from the mayor Matt: God mom! Kelly: I need a drink (She leaves. Tyler arrives with a bottle of alcohol) Tyler: check this out! Matt: Your dad is going to b*at you down if he catches you Tyler: Yeah. I'll love if he tries Matt: screw him! (He takes the bottle and drinks) (Stefan is at the bar drinking. Elena arrives. He sees her, put the glass on the bar and shakes his arm) Elena: Hey! Stefan: Hey. How are you (He kisses her on the cheek) Elena: Are you drunk? Stefan: Okay, I know it's a little weird but it's really helping me. The alcohol takes the edge off Elena: You're totally that drunken high school guy that parties sneaking booze Stefan: I totally am yeah Elena: How worried do I need to be? Stefan: Oh no! you don't need to be worried. It's just until the cravings go away. Listen, I think we should enjoy it while it lasts. Would you like to dance with me? Elena: You hate dancing. I usually have to beg you Stefan: No, no, no you have to beg sober me. The drunk me there is no begging necessary (She looks at the dance floor) Elena: There's no one dancing Stefan: That's because they need something better to dance to. I'll be right back (He leaves and Kelly arrives) Kelly: Yeah… That's not gonna work. I already tried to buy the guy with 20 box and a date. He said Carol Lockwood has complete control over the music choices) (Elena looks at Stefan. He is compelling the DJ) Elena: You'd be surprised by what Stefan can accomplish when he puts his mind to it (The music change) Kelly: Thank god! (Kelly is dancing with Stefan. Damon rejoins Elena at the bar and looks at Stefan) Damon: Have I entered an alternate universe where Stefan is fun? Elena: Is he gonna be okay? Damon: Eventually. One way or another (They look at each other, and then they're watching Stefan. Damon smiles) (Elena and Jenna are laughing together. Elena sees Alaric) Elena: History teacher at three o' clock Jenna: How do I look? Elena: Beautiful (Alaric rejoins them) Alaric (to Jenna): I was looking for you Jenna: Here I am. I haven't seen you in a while Alaric: Well uh… (He looks at Elena) Things have been a little crazy but I'm here now. Do you want to get a drink? Jenna: Sure Alaric: Okay cool (They look at Elena and leave. Matt arrives) Matt: When did this happen? Elena: DJ had a change of heart Matt: Do you want to dance? Elena: I don't know Matt: Yes Elena: Matt! (He catches her waist and makes her dance) (Damon is walking and rejoins the Sheriff) Damon: You know I love a woman in uniform but I have to sigh with this one. You look… you look smashing (She laughs) Sheriff Forbes: thank you Damon. Cheers! I needed that. You know I had my doubts about you at first but like everyone else in the council you've won me over Damon: Thanks Liz. It's really nice how welcoming the council has been. I like my life here in Mystic Falls. Sort of feel like home again Sheriff Forbes: Well, you're not gonna like what I have to tell you. Jonathan Gilbert's claims check out. Blood bank, the missing people, all is true. We might have a problem (Jeremy arrives and interrupts them) Jeremy: Excuse me Sheriff. I was curious if there's been any more information about what happened to Vicky Donovan? Sheriff Forbes: It was an overdose Jeremy Jeremy: Yeah but her body was buried. Somebody must have done that (Damon is really uncomfortable) Sheriff Forbes: We're aware of that. The investigation is ongoing but there's nothing more I can tell you at this time. I'm sorry Jeremy: It's okay (Elena and Matt are dancing. He leaves. Elena falls into Stefan) Stefan: Please dance with your alcoholic vampire boyfriend (They dance and Elena pushes a man) The man: Wow! Watch it! Elena: I'm sorry, my fault, I'm clumsy The man: Then get off the dance floor Elena: Excuse me? Stefan: It's not a way to talk to a lady The man: Whatever (He leaves but Stefan catches his arm and compels him) Stefan: I think you need to apologize The man: I'm sorry Stefan: Now say it like you mean it The man: I'm really, really sorry Elena: Stefan its fine Stefan: Now walk away (He pushes him. The man leaves. Elena seems upset) (Damon is at the bar. Elena rejoins him) Elena: Have you noticed what your brother has been up to? Damon: No, I have been too preoccupied with yours (She looks at him) Damon: Jeremy has been asking questions about Vicky Donovan's death Elena: He knows that her death was ruled by an overdose Damon: Really? "Oh but sheriff, someone buried her. Who would do that?" I know I know! Me! I may compel him but he's wearing vervain Elena: No, I don't want you to compel him Damon: If he keeps asking questions… Elena: Damon no I'm serious. I'm not going to do that to him again. I handle it (Damon takes a rose and gives it to her) Damon: okay. Don't say I didn't warned you (She takes the rose, they look at each other and he leaves) (Kelly finishes her drink and puts the glass in a plant. Tyler looks at her) Tyler: I saw that Kelly: Shut! We keep that between you and me. Where is the lady's room? Tyler: This way, I show you Kelly (watching his glass): Is that soda? (She takes his glass and drinks) Kelly: Vodka. Thank god! (Damon in on the balcony. John rejoins him) John: Damon right? Damon: John John: We didn't get the chance to meet at the council meeting Damon: Yeah. That's a pleasure. Are you enjoying the kick-off? John: Oh yeah. I forgot how much fun these small town celebrations can be Damon: Yeah. When was the last time you were here? John: Hasn't been that long, my brother's funeral. How long have you been in town? Damon: Well, not long at all John: So what do you think Damon? You know this vampire problem is real right? It's a potential blood bath Damon: I would not overreact John John: Oh, I think it's like 1864 all over again, vampires running a mock. I guess we just gonna have to hunt them down, throw them in a church and burn them to ache Damon: This is the story hein? John: Part of the story, yeah Damon: Oh, there's more? John: Oh there's lot more. See, it seems there was a tomb under the church, where vampires were hidden, waiting for someone to come along and set them free. But you already knew that didn't you? (Damon doesn't look at him. He's uncomfortable) John: Because you're the one that did it Damon: And you're telling me this why? John: I just thought we get the introduction out of the way Damon: You know that I could rip your throat out before anyone would notice? John: Yeah Damon: Yeah, okay. But you probably ingested vervain so… John: Why don't you take a bite to find out? Damon (smiling): This not worth my time (They look at each other and smile. Damon leaves but he rushes on John with his power. He breaks John's neck and throws him over the balcony. He smiles and leaves) (Jeremy is sitting on a couch. Elena rejoins him) Elena: Jer? I heard about your conversation with Sheriff Forbes Jeremy: No one is trying to figure out what happened to her. They all want to believe that she ODED Elena: Coroner's office confirmed it. If that's what they say happened then… Jeremy: Is that what you believe? Elena: What do you think happened? Jeremy: I think that somebody k*lled her and buried her body and I don't think we should write it off just ‘cause it's easy Elena: They're just doing what they can to move on Jeremy: The truth is the only thing that gonna help people to move on Elena: Jer, just let it go okay? Whatever it was she's gone now Jeremy: Whatever it was? So you don't think it was an overdose? Elena: Yes… I do Jeremy: Is there something you're not telling me? (Elena is really uncomfortable) Jeremy: Why aren't you looking at me? Elena: Sorry, that doesn't mean anything Jeremy: If there was something else you'd telling me right? (Long pause) Elena: Of course I would (Jeremy looks at her, suspicious) (Kelly and Tyler are outside. They laugh and are a little bit drunk) Kelly: Oh god! I can't even walk Tyler: know, me neither Kelly: Oh my god, Matt is going to k*ll me Tyler: He won't even notice. I think he's actually having some fun for once Kelly: Yeah, I know I just should be on my best behavior because of Vicky but I don't want to think about it. I can't, because if I do… Tyler: Yeah, I was a dick to her, I was really bad. That's what I hate is I can't make any of it right. It's like I don't deserve to even miss her (Kelly touches him) Kelly: You're nice to talk to me. I don't have anyone to talk to (Long pause during which they are looking each other) Tyler: I don't have anyone to talk to either (They are closer, and smile) (Elena is walking and falls into Matt) Matt: Who knew I've been missing all the fun at the founder's parties? Elena: This is rare believe me Matt: Is it bad that I'm enjoying myself? Elena: No it's great that you are enjoying yourself. Thanks for making me dance Matt: Hey, it's normal (They embrace each other) Matt: Air, I need some air. Come with me? (Elena looks at Stefan. He's drinking) Elena: Sure Matt: You haven't seen my mom have you? Elena: No, not in a while (She looks at Stefan again. They go out. Elena sees Kelly and Tyler) Elena: Oh my god (Kelly and Tyler are kissing. Matt rushes over them and catches Tyler) Matt: What are you doing man? Kelly: Matt?! Matt (screaming): Mom! Tyler: Whoa dude calm down (Matt hits Tyler on the face. They begin to fight and in the fight they push Kelly on the floor. Tyler hits Matt again and again and again. Alaric arrives and catches Tyler) Alaric: What the hell is that? (Elena is going toward Matt. The Mayor arrives) Mayor Lockwood: I'll take it from here; I'll take it from here (To Tyler): Are you hurt? Go to clean up its okay (Tyler leaves) Mayor Lockwood: Everything is fine. Come on everybody let's get back to the party let's go. Come on, have a good time! (Elena is with Matt, he is bleeding a lot) Elena: Are you okay? Matt: Where is she? Elena: I don't know. Put your head up (She looks at his face) (Stefan is still drinking, Damon arrives) Damon: You want to hear the bad news or the really bad news? Stefan: Actually I don't want any news Damon Damon: Alright, let me rephrase. Do you want to hear how the council is back at vampire move or how I just k*lled Uncle John Gilbert? Stefan: What? Damon: Great party by the way hein? (He smiles and leaves. Stefan is going after him but he's hearing someone crying and a heart beating, he smells blood to. He sees Kelly crying. She's bleeding on the forehead) Stefan: Is everything alright? Kelly: No. I ruined it, I always ruin it. What is wrong with me? (Stefan is really weird; he can't take his eyes away from Kelly's forehead. He touches the blood on her forehead) Kelly: What are you doing? (He finally control himself) Stefan: Uh, I'm sorry (He gets up and leaves) (Stefan is going outside. He has blood on his fingers. He finally sucks his fingers with blood on it) (Damon is inside, dancing and looking everywhere. Suddenly he sees John Gilbert entering) Damon: You got to be kidding me (Mayor Lockwood is talking to the crowd) Mayor Lockwood: Thank you all, thank you very much, thank you. Thank you all for joining us tonight in just a few minutes we will officially begin the countdown for our upcoming founders' day celebration and it's a very special one this year. The one hundred fiftieth birthday of our town and I would like to welcome back one of our town favorite's sons to do the honors of ringing our official bell. John Gilbert, would you please join me up here? (John Gilbert applause and rejoins the mayor. Damon is looking at him) John: One hundred and fifty years of community, prosperity, family. We take care of each other, we look after each other, and we protect each other (He looks at Damon); it's good to be home (Everyone applause, Damon rejoins Alaric) Damon: Look at his right hand Alaric: Who? Damon: Town favorite's son. Look at his ring (John ring the bell, he wears the same ring that Alaric wears) Alaric: Well, it looks like mine Damon: Yeah, and that would be a big coincidence if he didn't just came back from the death 5 minutes ago. Where the hell did you get that ring? Alaric: Isobel, my wife Damon: Who gave birth to Elena, under the medical care of the esteem DR Grayson Gilbert, John's brother! (They look at John) Alaric: Do you think John knew Isobel? Damon: I think John knows a lot of things (Stefan is in the parking lot. He leaves but he falls into the man he compelled earlier. The man pushes him) The man: Sorry about that man. I really am terribly sorry Stefan: You don't want to do this man (The man pushes him again) The man: I'm sorry about that too. All I can do is apologizing. What's that about? Stefan: Get out of my way please The man: No girl to show off for now? I see what this is (He tries to h*t Stefan but Stefan catches his hand and pushes the man on the floor. His face has changed. The man is afraid and hurt) The man: What are you man? [Gilbert's house] (Jeremy goes up the stairs and goes in Elena's bedroom, he looks everywhere but he doesn't find what he is looking for. He finally looks besides the painting and find Elena's diaries and begins to read it) [Founder's hall] (Stefan is above the man, looking at him. The man is on the floor, unconscious. Elena arrives and calls Stefan, he leaves. She rushes on the man) Elena: Hey! Are you okay? What happened? (The man gets up) The man: My arm. I lost my balance and fell. I'm clumsy (Tyler is alone, the mayor arrives) Mayor Lockwood: Let's go Tyler: Dad I'm sorry. I don't even know what happened. I was drinking and… I lost control. I can't explain it (The mayor slaps him on the face) Mayor Lockwood: It is the last time you ever embarrass this family [Matt's house] (Matt is doing his mother's suitcase. Kelly arrives) Kelly: What are you doing? Matt don't Matt: I can't do it anymore mom so just go alright? You've done it before so much time that I don't even count Kelly: I'm not leaving you. Matty! Matt (screaming): Mom! Don't you get it? I'm better off without you (She cries) Kelly: No, tonight was… god I'm so sorry. I know I failed you and I failed Vicky but I won't do it to you again. I promise I'll get it together Matt: I want you out of the house and my life by morning (Matt leaves. Kelly is crying) [Founder's hall] (John is going outside. Damon and Alaric follow him) Damon: Going somewhere? John: I've never liked to be the last one to leave a party. It's too desperate. You're going to k*ll me again or you're gonna let Mr. Saltzman do your dirty work? Alaric: Okay, you obviously know who I am John: I do. Alaric Saltzman, a high school history teacher with a secret Damon: Sure you know a lot for someone who just got to town John: More than you can imagine, Damon. My knowledge of this town goes beyond anything that you (He looks at Damon) or you (He looks at Alaric) or the council knows. So, if you're planning on some clever high speed snatch ring vampire k*ll move, know that if I die, everything I know goes to the council including the fascinating little tale of the originals Salvatore's brothers and their present day return to Mystic Falls. (Damon is surprised and doesn't know what to say) Alaric: How did you get that ring? John: I had herrited one, my brother gray the other. This was his (He shows his ring to them) and I wouldn't give mine to Isobel if I had known she'll handed over to another guy Damon: So you did know her John: Who do you think send her on your way which wants to become a vampire? Damon: You send her? John: Guilty. Why, did you think someone else send her? Maybe Katherine Pierce? Damon: How do you know about Katherine? John: How do I know anything Damon? Damon: What do you want? John: So many questions. It was a pleasure meeting you Rick. I heard so much about you (John leaves. Damon and Alaric look at each other and watch him) [Gilbert's house] (Jenna and Elena are going up the stairs) Jenna: No so excited that we have another month oh these founder's day events Elena: Don't tell me about it (She goes into Jeremy's bedroom) Elena: Are you okay? Jeremy: Fine Elena: Are you sure? Jeremy: I'm fine Elena (She leaves and goes into her bedroom. Stefan is here) Elena: Oh my god you scared me! Stefan: Sorry. I'm sorry I ran off earlier Elena: What happened? Is everything okay? Stefan: Uh, no Elena: Talk to me (She clothes the bathroom's door and rejoins Stefan) Elena: Stefan tell me Stefan: I tried so hard to keep together tonight and it was working, it was working but then Matt's mom, she got hurt and she was bleeding and I had her blood on my hands Elena: And then what happened? Stefan: And then that guy on the parking lot, I wanted to feed on him and it took everything inside of me not to do it Elena: But you didn't? Stefan: No, but I wanted to. Oh my god. Elena, my head is pounding. I feel like my skin is on f*re. I have this hunger inside of me that I've never felt before in my entire life and all I keep thinking about is how I promised that I would never keep anything from you, and so I'm telling you this Elena: That's okay; I need you to tell me these things Stefan: But I don't want you to see me like this, I don't want you to know that this side of me exists Elena: Stefan, you're gonna get through this. I'm gonna help you go through. It's gonna be okay, you're gonna be okay (She takes his face between her hands but he rejects her and gets up) Stefan: Sorry, I can't, I'm afraid of what I could do to you Elena: I'm not (She goes towards him and takes again his face between her hands) Elena: Stefan, I'm not (She looks into his eyes and kisses him) Elena: I'm not, okay? (They embrace each other) Stefan: I love you so much Elena: Oh, I love you too [Salvatore's house] (Damon is on the couch, in front of the chimney, a glass in his hand. Stefan arrives) Damon: We have a problem Stefan and when I say problem I mean global crisis. It seems that Uncle John… (He looks at Stefan, he's not okay) Damon: You don't look so good. Its different this time isn't it? The need is too strong. Of course it would be after all these years (He puts the glass of blood on the table, looks at Stefan and gets up. He touches his shoulder and looks at him) Damon: Have a good night brother (He leaves. Stefan looks at the glass; he takes it and drinks the blood) THE END

{"type": "series", "show": "The Vampire Diaries", "episode": "01x18 - Under Control"}

foreverdreaming

[Mystic Fall's high school] (Stefan is parking his car; Elena sees him and rejoins him) Elena: Nice car Stefan: That was a waste to leaves it in the garage (She smiles, they kiss) Elena: I didn't know we were coming back today Stefan: You know, I woke up this morning and I was feeling great and I figured it was time for me to get back in the things Elena: Is that mean you're okay now, with all the cravings? Stefan: Yeah, I mean the worst part is over so… now what I want to do is just spent as much time with you as possible Elena: I'm okay with that (They kiss) Stefan: Hey, thank you for helping me get through the rough patch Elena: You're welcome (pause, they look each other). We are going to be late Stefan: Okay, uh, you know what? I'll catch up with you, I'm gonna grab my stuff. I'll be right behind you Elena: Okay (She leaves; he goes to the trunk and opens it. There's a lot of blood pouch from mystic falls hospital. He grabs his stuff and clothes the trunk) [Founders hall] (Damon, John and Sheriff Forbes are talking) Sheriff Forbes: There was a disturbance at the hospital blood bank last night; some of the supply was compromised Damon: Compromised? You mean stolen? Sheriff Forbes: We almost missed it. The inventory records were altered but when the night manager was questioned he had no recollection of changing them John: That means that the vampire who stole the blood used mind control to hide the theft Damon (looking at John): I know what you meant Sheriff Forbes: We wouldn't noticed if John hadn't alerted us to recent discrepancies in other hospital blood banks in the county Damon: How lucky for us, we have John (He looks at John) Sheriff Forbes: We're stepping up security at the hospital, giving the guard vervain to prevent this from happening again John: Sheriff, may I offer a suggestion? Why don't Damon and I put our hands together? We can track down whoever is doing this Sheriff Forbes: Truthfully I can use the extra hands. Is that something you would be willing to do? Damon: of course, I mean if it'll help John: I think we could make a good team, don't you think Damon? (He looks at Damon) Damon: John, whenever I can do to help keep this town safe; even if it means spending time with you (He looks at John and smiles, John smiles too) [Mystic Fall's high school] (Alaric History Class) Alaric: Okay, this week we're gonna set outside the regular curriculum for a lesson on local history as we approach founder's day. Apparently the community lead feels it's more important that world w*r 2 but hey what do I know? (Bonnie interrupts him and enters the classroom) Bonnie: Sorry I'm late Alaric: Well, its lake we will be on full occupancy today. Welcome home Bonnie (Bonnie sits down and smiles at Elena but when she looks at Stefan she doesn't anymore smile and seems upset. Stefan smiles at her but she tries not to look and him and turns her head. Elena and Stefan don't understand, they look at each other) [Salvatore's house] (Someone is ringing the bell, Damon opens the door: it's Anna) Damon: I suppose I should be grateful, you learned how to use the bell Anna: I'm here on behalf of my mother (She enters) Damon: On behalf of or in spite of? Anna: I'm sorry about what the other vampires did to Stefan. Undocked him, tortured him… It wasn't supposed to go down like that Damon: You're plain house of half of a tomb of really pissed of vampires. What do you think was going to happen? Anna: My mom is devastated; they tried to over throw her Damon: Why isn't she here telling me this? Anna: She doesn't really do apology Damon: Well, it's a coincidence, ‘cause I don't do forgiveness. Let just roll long. And if you're going continue playing house with these little vampires pets, you might wanna stop rubbing the blood bank dry because they're onto it Anna: I haven't been to the local blood bank in at least a week Damon: Then it's one of you others Anna: The others are gone Damon Damon: Well, where did they go? Anna: They were cut off of this town. After what happened with your brother my mom kicked them out and they took off. It's just us and Harper now (Damon is surprised; he doesn't know what to think) [Mystic Fall's high school] (Bonnie is walking, reading papers; Elena is running after her) Elena: Bonnie! Bonnie: Hey Elena: Hey, i tried to grab you after class but you already taken off. How are you? How's your family? Bonnie: We're dealing, it's been hard Elena: Everyone here really missed you Bonnie: Yeah, I just had so much to deal with after Grams' funeral and, honestly after you told me the tomb spell failed I just didn't really want to come back Elena: I hope you'll understand why I called… I wanted you to know before you came home Bonnie: I understand why. I just… shouldn't know (Long pause, they look at each other) Elena: I know it's been really hard… (Caroline interrupts them) Caroline: Bonnie! Bonnie! Thank god you're home! (She embraces Bonnie) Caroline: I know we talked everyday but I missed you (Elena looks at them, she seems sad) Caroline: How are you doing? Bonnie: Better. You know, glad to be back and trying to keep myself busy Caroline: Well, I can help with that. Major wardrobe problem. You need to help me pick up the perfect dress for the founder's court Elena: The founder's court? Did I miss something? Caroline: The founder's court! You know, Miss Mystic Falls. They announced it today and you and I are both on it Elena: Oh my god! We signed for this so long ago… I completely forgot Caroline: So, are you dropping out then? Elena: I can't (She looks at Bonnie) Caroline: No? Bonnie: Her mom is the one who wanted her into this [Salvatore's house] (Stefan is back from school. Damon was waiting for him) Damon: How was school? Stefan: Fine Damon: Yeah? Same old, same old? Nothing new? No stories to bring home? Stefan: You make it small talk, why? Damon: You seemed off the ship lately, less dump and glum, more peps in you steps Stefan: And you think it's because I drank human blood again Damon: I don't want to brag but I would definitely take responsibility for this new and improved you Stefan: Well, I hate to push the bubble but I'm clean Damon: Yeah, not possible Stefan: Not only isn't possible but it is quite true Damon: Stefan, just be serious for a second. You spent the last century and a half being a poster child for Prozac and now you expect me to believe that this new you has nothing to do with human blood. Nothing Stefan: I'm clean Damon: You're lying! Stefan: Believe what you want (Stefan leaves, Damon seems suspicious) [Gilbert's house/Salvatore's house] (Elena is in the kitchen; she opens the fridge and takes a bottle of water. She's on the phone with Stefan) Elena: I'm sorry for the short notice; I didn't even know that the contest was coming up much as less that I will be in it Stefan: I will be happy to escort you anyway Elena: My mom was really into this founder's day stuff. She was even Miss Mystic in her day. I want to do it for her Stefan: It'll be great, we'll have fun Elena: Okay, I'll see you tomorrow, I love you Stefan: I love you too (He hangs up. He has a blood pouch in his hands. He opens a drawer and hides the blood pouch in it. He goes in the basement and opens a fridge. There's a lot of blood pouch in it, he looks at it but Damon is looking at him in the shadow) Damon: Well well, he's a liar and a thief. So, when are you gonna share? Stefan: Go ahead, help yourself Damon: No, no, no I'm talking about the fact that you have a closet blood junkie Stefan: So, I'm drinking blood again. You're the one that shoved it on me, what's your problem? I have it under control Damon: Under control? You've robbed the hospital! Stefan: So, what's your point? Damon: Fine, whatever man, drink up. Just remember, we're trying to keep a low profile. Why don't you just walk up to Sheriff Forbes and ask her to tap a vein? Stefan: Have my actions negatively impacted you? I can't imagine what that must feel like Damon: Yeah, what Elena thinks about the new… you? Stefan: Nothing's changed; I'm still the same person Damon: Clearly Stefan: Elena doesn't need to know anything yet Damon: You've been out the human stuff for years Stefan. If you're having problems controlling… Stefan: I don't have any problems Damon: Who do you think you're talking to? I know what it's like. The Jekyll and Hyde feeling, that switch, sometime you goes off and snap. Right now is not a good time for me to be worried about you snapping Stefan: I know that it pains you to see this but I'm fine okay? I'm fine (He takes a pouch from the fridge) Stefan: So please, do me a favor and back off (He closes the fridge and leaves) [Founder's hall] (Carol Lockwood and two others woman are interviewing the girls who are in the Miss Mystic Falls pageant) Carol Lockwood: This year's queen will have the special honor of taking stage at the one hundred fiftieth founder's day gala. Before we crown a winner, we'd like to get to know a bit more about each of you Caroline: I'm on the MF beautification comity; I volunteered the poor soup kitchen Elena: I recognize that I haven't been as involved this year that I used to be Caroline: I implemented this year's go green campaign at school Elena: I've been distracted and I let a lot of things aside One of the girls: I don't think it's wrong for me to win two years in a row Amber: I was surprised to have been selected since I'm not one of the founding families Elena: But I'm aware of what an honor this is and I want you to know that I take it seriously Caroline: I worked for the recycling program and was in charge for the police's this year raffle Tina Fell: Just because my D.U.I. made my community service mandatory doesn't mean that I was any less committed Elena: This was really important to my mother. She believed in community, family, honor and loyalty. It's the legacy she'd left for me [Salvatore's house] (Someone is ringing the bell, Damon opens the door it's John. He enters in the house) John: Hey partner! Damon: What do you want? John: You haven't return any of my calls Damon: Most people take it has a hint John: Where do we start looking for vampires? Damon: How do you act John? You obviously don't care about catching vampires, you're here talking to me John: Actually, I care very much Damon: What Isobel says about that? I mean, considering that she is one John: Isobel and I share a mutual interest. The original Jonathan Gilbert has an invention and it was stolen by a vampire. That vampire was then b*rned alive in Fell's church, that's what Jonathan thought and the invention was lost forever. But then the vampires weren't k*lled, were they? They were trapped and now they're free, thanks to you which means the invention is retrieval Damon: What is it? John: The only thing that matter is that I want it back and you're going to help me if you want your secret safe Damon: Why bring me into it John? I mean, I don't know what you are talking about much less who has it John: Oh come on Damon! You were around back then, you know what this people are, what they look like. He was friendly with a woman who turned out to be a vampire. Her name was Pearl. Is that ring a bell? (Long pause, they look at each other) Damon: I'm not playing anymore. Get out John: I beg your pardon? Damon: You know, I only entertain this whole blackmail skin thing of yours because I thought you and Isobel could lead me to Katherine but see, now I know you've no idea where Katherine is, because if you did you would know that Katherine and Pearl were best friends. See, you don't know everything did you? John: I'll tell the entire council what you are Damon: Go for it! I'll k*ll every last one of them. Then I'll sever your hand, pull your ring off, and I'll k*ll you too. Do you understand that? [Mystic Fall's high school] (Carol Lockwood is teaching dance moves to the girls who are in the Mystic Falls pageant and their partners) Carol Lockwood: Stay focus, right hand around. Flirt with your eyes (Elena and Stefan are laughing) Left hand around Elena: This is ridiculous Stefan: You're only saying that because you don't know how to do it Elena: Sorry. Only one of us was around when the dance was invented Stefan: Ouch! (He catches her arm and makes her turn around herself) Mrs. Lockwood: No! No! There's no touching during this part. It's about the simple intimacy of the near touch Stefan: If you ask me, the 'near touch' is overrated Elena: You seem to be in a good mood Stefan: Is that a bad thing? Would you prefer me to be burring and tortured? Elena: Hey, I'm not complaining (They dance) (Caroline is in the hallway with Bonnie) Caroline: The Fell cousins don't have a sh*t and Amber Bradley is only on the court so the pageant doesn't look like its founding families only which of course it is. So that leaves Elena which totally has a simply vote since her parents died. How can I compete with that? Bonnie: Very nice, very sensitive Caroline: Oh I'm sorry, this must sound really unimportant Bonnie: It's okay, I get it, you want to win Caroline: Well, my grandmother was Miss Mystic and both of my ants. My mom is the only one who didn't get the gene and I want this. I actually deserve this (They leave, Bonnie falls into Elena and Stefan, and she's uncomfortable) Elena: Hey Stefan: Hey, how are you? (She doesn't answer, Elena and Stefan feel that there's a problem) Caroline: I begged Bonnie to have filled in for Matt, he had to work today (Elena looks at Bonnie) Elena: Bonnie, do you have a minute? Bonnie: we only have 30 minutes for rehearsal Elena: It'll only take a minute, please? (They are going apart) Elena: Bonnie you have to tell me what's wrong Bonnie: It not worth talking about Elena: What do you mean don't worth it? You barely said ten words to me and you won't even look at Stefan. Is that what it is? Is it Stefan? Bonnie: Look, Elena, I can't just pretend that everything's okay. Everything my grams did was to protect us from those vampires from the tomb. And now they're out which means she died for nothing Elena: I'm so sorry Bonnie, What can I do to make it better? Bonnie: That just did, there's nothing you can do. I blame him Elena, him and Damon and I'm not gonna put you in a situation where you have to choose sides. I'm just having a hard time with it okay? (Stefan is listening to them) (Stefan is walking on the campus, one of the basketball players is hurt, he is bleeding. Stefan is not okay. Alaric arrives and touches him. Stefan strangles him) Alaric: Are you okay? Stefan: Yes, I'm sorry. I was just… feeling sick (He leaves, Alaric watches him) [Gilbert's house] (Elena goes down the stairs; she has her dress on the arm. Someone knocks at the door: it's Alaric) Elena: Hey Stefan: Hi Elena: I heard you're driving Alaric: Yeah I'm. Let me get that for you (He takes the dress) Alaric: Thanks (He enters the house and closes the door) Alaric: How… how is Stefan? Elena: What do you mean? Alaric: You know, he seems on edge Elena: He went through a lot, he was in bad shape for a while but he's back now (They look at each other, John arrives) John: Alaric. Hey buddy what are you doing here? Alaric: I'm the chauffeur John: I thought I was driving (Jenna goes down the stairs) Jenna: No need, we go with Rick Elena: Are we ready? Jenna: Jeremy can drive with you [Founder's hall] (Anna arrives, she goes outside. Damon rejoins her) Damon: n the running for Miss Mystic Falls? Anna: Sometimes you have to wear uncomfortable heals to blend in. I remember this event from 1864, I was supposed to honor before everything happened Damon: Ah, nostalgia's a bitch Anna: If you're just gonna mock me can you move along please? Damon: John Gilbert thinks your mom stole an aterfact from Jonathan senior, senior back in 1864 Anna: What are you, his errant boy? Damon: I don't know what it is but I don't want him to have it Anna: I could ask her but you know, you've made it pretty clear that you don't trust us so why should I even bother? Damon: Because you want to stay in Mystic Falls and John Gilbert's in town, making that impossible. Find out where it is. He leaves and you can buy your welcome mat (The girls are putting their make up on. Jenna is arranging Elena's hair) Elena: Thanks for helping me Jenna: Don't thank me until you're sure your hair isn't gonna burn off Elena: You know I remember when my mom and I were first planning for this, she was excited Jenna: So were you if I recall Elena: I was. She's made it sounded like something so much fun. Lots of things changed then Jenna: I hate to brake it to you but its little late for cold feet Elena: I don't have cold feet. It's just… I think I'd be enjoying a lot more if she was here (Long pause) Jenna: Well I tell you one thing, your hair would had better chance if she was Elena: Okay, I should go put my dress on. Be careful with that thing, don't hurt anybody (She gets up and leaves, Caroline looks at her, she seems sad) (Jeremy is outside, alone, John rejoins him) John: You look miserable Jeremy: Are they really a whole month of these events that I'm supposed to show up at? John: You could fight it if you want but it's part of being a Gilbert Jeremy: Yeah, you mentioned you know a lot about the family. You know anything about our ancestor Jonathan Gilbert? John: Prolific writer, crazy inventor. Why do you ask? Jeremy: Well, I read his journal John: Is that right? Jeremy: Yeah, I actually found it in all dads' stuff John: Well, it's surprising. Most of them are locked away Jeremy: There are more of them? John: Jonathan Gilbert journaled his whole life. Right down his bedroom, insane, drunk and mad. The guy had a lot of demons Jeremy: And did you read them? John: Leafed through, yeah Jeremy: What did you think about what he wrote? John: Crazy ramblings of a mad man of course (Long pause; He turns his head and sees Anna, he looks at her) John: She's very pretty (She looks at him and leaves) Jeremy: Yeah, uh she's a friend of mine. Excuse me (He leaves) (Elena enters in a room to put her dress. Amber is already here, she's stressed) Elena: Are you okay Amber? Amber: I hate being the center of attention, I get panic att*cks Elena: You need some privacy so you can change? Amber: Actually I'm gonna go get some air (She leaves and clothes the door. Elena takes her dress, she sees Damon in the mirror) Elena: Hey, you can't be back here Damon: We need to talk Elena: It has to be right now? Damon: Normally I would have a completely different outlook of what I'm about to tell you but since it's really inconvenient to me, I'll squib Elena: What are you talking about? Damon: Stefan's still drinking human blood Elena: What?! Damon: Yeah, a month ago I would have ajoiced but with the council back on the alert, it is not a good time for Stefan to lose his mind Elena: I know he's been a little edgy but he said that was normal Damon: He has a fridge full of stolen blood bank contraband in the house (She sits down on the couch) Elena: Oh my god Damon: He has no idea where normal is, his entire existence isn't normal. Normal to a vampire is drinking human blood but he spent all the time fighting it when he should have learn to control it and now it's controlling him instead Elena: I can't believe it. I mean, it's Stefan that we're talking about here Damon: Stefan on human blood Elena; he'll do anything, he'll say anything because is not gonna want to stop. Trust me (Jeremy is running after Anna) Jeremy: Anna! Anna: What is it? Jeremy: Come on, don't be like that Anna: Why not? You were basically using me to turn you into a vampire so you can be with someone else Jeremy: No, I wasn't using you Anna: Really? And how would you like to define it? Jeremy: Look, I don't think it's any worse of becoming friends with me so you can give to your mother my blood Anna: How do you know that? Jeremy: It's not important Anna: Seriously Jeremy, what do you know? Jeremy: Everything, I know everything (Elena is still talking to Damon) Elena: This is all my fault; I'm the one who fed him to blood in the first place (Stefan enters, interrupting them) Stefan: What's going on in here? Damon: I was just filling Elena on your extra-curricular activities Stefan (laughing): What are you talking about? Elena: know about the blood Stefan Damon: I'll be downstairs, drinking (He leaves Stefan smiles) Stefan: I was going to tell you Elena: When? Stefan: I'm fine. I'm fine, the blood, it doesn't change anything Elena: It's changing you Stefan: Why? Because I kept a secret from you? Come on Elena, look, giving the way you're reacting right now, can you really blame me for doing that? Elena: Are you hearing yourself right now? You've been stealing blood and lying and you say that everything's fine? Everything's not fine Stefan! Stefan: So what's you and Damon all the sudden have everything figured out then? Elena: it‘s not about Damon. It's about what's happening to you Stefan: I know and I'm telling you that I'm fine. I'm fine. Please come on. Elena I thought you… I thought you believed in me (Someone is knocking on the door. It's Carole Lockwood) Carole Lockwood: Elena, let's go. The line up's starting Elena: I just… I need a minute Carole Lockwood: You're not even dressed yet. Escorts wait downstairs Stefan (He looks at Elena and leaves) (Stefan goes into the bathroom and slams the door. He's angry. He puts his fist into the mirror and breaks it. Amber enters in the bathroom) Amber: Oh my god, sorry! (Stefan's face has changed; he goes towards her) (The escorts, the mayor and a crowd of people are waiting for the girls) Mayor Lockwood: Miss Tina Fell, escorted by Bartholomew Whitmore (Tina goes down the stairs. Upstairs Caroline and Elena are waiting) Caroline Lockwood: Has anyone seen Amber? Elena (looking if she sees Stefan downstairs): Do you see Stefan down there? (Caroline look above the balcony) Caroline: Nope, just my boring fill in escort Elena: What happened to Matt? Caroline: They wouldn't let him out of work and what happened to Stefan? Elena: I don't know, he just disappeared somewhere, I don't know. What am I doing? I never should have gone through this Caroline: What do you mean? Elena: I need to find Stefan, this isn't me, I'm not this person anymore Caroline: No, no, no way, no. You had your chance to drop out and believe me I was of for it because there was no way that I could b*at you. Elena, you're doing this because it was important to your mom Mayor Lockwood: Miss Caroline Forbes and her escort Jeffrey Lockwood Hamilton (She looks at Elena and goes down the stairs) Carol Lockwood: Elena, you're next (Jeremy is still talking with Anna) Anna: You're missing Elena's introduction Jeremy: I don't care Anna: So, she has no idea you read her journal? Jeremy: She keeps things from me, I'm gonna keep things from her Anna: What are you gonna do now? Now that you know everything she's been hiding from you? Jeremy: I don't know. There's a part of me that's so angry, you know, she has covered up what happened to Vicky and raised my memory but there's this other part of me that's glad. I… I don't want to remember Vicky like that Anna: As a monster? Jeremy: No, as someone who wanted to hurt me Anna: When I met you, you were just a part of my plan to get my mother back but then things changed… All the time we spent together… I would never do anything to hurt you, not now. You know that right? Jeremy: Yeah I know that (They look at each other and smile. John is a behind them, he's heard everything) (Stefan is in the parking lot with Amber; he holds her arm and makes her following him) Amber: Where are we going? Stefan: I don't know Amber: I'm in the ceremony (He pushes her against his car) Stefan: No, now you're not (He compels her) Stefan: You're standing in the parking lot with me Amber: I'm on the parking lot with you Stefan: I'm sorry. I'm not very good to be around right now, I'm a little bit on the edge. I've been drinking the human stuff and it's screwing with my head. She knows now. God! She wasn't supposed to found out, I didn't want her to found out, now everything's ruined Amber: You seem sad (He laughs) Stefan: I'm not sad. I'm freaking hungry! (Elena is waiting upstairs) Mayor Lockwood: Miss Elena Gilbert, escorted by Mister Stefan Salvatore (Damon looks for Stefan. Elena goes down the stairs and looks for Stefan but she doesn't see him. Damon takes Stefan's place to escort Elena. She smiles and rejoins him) Elena: Where is Stefan? Damon: I don't know (He takes her hand and they rejoins the others girls and their escorts outside) Jenna: What is she doing with Damon? Alaric: I have no idea (The girls and their escorts begin to dance. Elena and Damon dance, they look at each other and smile. The dance end) (Stefan is still on the parking lot with Amber) Stefan: I don't hurt people, I don't do that, I'm the good brother Amber: Do you want to hurt me? (He looks at her) Stefan: I want to k*ll you, I want to rip into your skin and I want to feel on your blood (He touches her hair and looks at her neck) Stefan: Under your skin, pulsating, floating (He touches her neck) Stefan: Your carotid artery right here. If you punch right you can control the blood flow. It takes practice but it doesn't have to make a mess, you don't have to waste any Amber: What's stopping you? Stefan (still touching amber's face): If I do this, if I give in, there's no going back Amber: Then don't Stefan: I just want one taste; all I need is just one more taste (His face change) Amber: One taste? (He finally bites her and drinks her blood) (The girls are on the stage, the mayor arrives) Caroline: Where is Amber? Elena: I don't know Mayor Lockwood: Before I crown a winner, I'd like to offer a personal thank you to all of these young ladies for their efforts to better our community (Everyone applause) Mayor Lockwood: So, without further due it is my honor to announce our very own Miss Mystic Falls, Miss Caroline Forbes! (She is surprised. She and Elena are laughing) Elena: Congratulations Caroline: I actually won (They embrace each other; the mayor puts the scar on her shoulder) (John and Sheriff Forbes are in the bathroom where Stefan was earlier) John: There is blood on the glass (They look at each other) Sheriff Forbes: Get me Stefan Salvatore (Stefan is still on the parking lot with Amber) Stefan: I can't do this Amber: What's the matter? Stefan: I can't do this Amber: It's okay, doesn't hurt that much, just not so hard next time Stefan: Oh god oh god oh god! I can't stop (He touches her face) Stefan: Why aren't you afraid of me? Amber: You told me not to be Stefan: What? What's your name? Amber: Amber Stefan: Listen to me Amber. I need you to be afraid of me. I need to run like hell do you understand me? Run, run now! (She runs) (Damon is waiting for Elena, she rejoins him) Elena: What is it, did you find him? Damon: They were signs of struggling on the upstairs bathroom (Bonnie is looking at them) Damon: There was blood and that Amber girl is missing Elena: Oh my god! He wouldn't hurt her, he won't! Damon: Let's just find him okay? Let's get your coat come on! (They leave, Bonnie follows them) (Amber is running but she falls into Stefan) Amber: You said to run! Stefan: I changed my mind (She screams and he bites her. Elena, Damon and Bonnie arrive) Elena: Stefan! (He releases her) Damon: Stefan, come on get control. It's okay, come on. Breath through a bit (Stefan catches Damon and throws him against a tree. Damon gets up) Elena: Stefan stop it! (All the sudden Stefan holds his head, it hurts him. Bonnie is doing it to calm down Stefan. He looks at everybody) Damon: It's okay Stefan (Stefan runs and leaves) (The police is here. Damon, Bonnie and Elena are still here) Sheriff Forbes: She doesn't remember what happened Damon: It's a good thing the girls got here before I did, she lost lot of blood Sheriff Forbes (to Bonnie and Elena): You didn't see anything? (Long pause, Elena and Damon look at Bonnie) Elena: No, we just found her and called Damon Bonnie: Is she gonna be okay? Sheriff Forbes: It looks like it yeah. Why do you girls don't get back to the party? Damon and I can take it from here Elena: Okay (Elena and Bonnie leave; Damon stays with the Sheriff) Sheriff Forbes: They didn't see the bite mark? Damon: No, I got here before they got too close. There was too much blood, they couldn't see it clearly (They look at each other) (Bonnie goes to her car, Elena follows her) Elena: Bonnie, can we talk about this? Bonnie: There's nothing to talk about Elena: Bonnie please Bonnie: I told you I wasn't gonna make you choose but I need to make the choice for myself. Please just leave me alone (She goes into her car, Elena looks sad) (Jeremy is still talking to Anna. Jenna calls him) Jenna: Jer, are you ready? Jeremy: Just a sec (She leaves and falls into John) John: Who's that girl with Jeremy? Jenna: His friend Anna John: What's her story? Jenna: why so nosy? John: I'm just curious; he really seems to like her Jenna: She's new in town I think. She and her mom Pearl, the family you're so rudely you try to prevent from buying Grayson's building John (looking at Anna and Jeremy): Her mother's name is Pearl? Jenna: Yes, so? John: Well, I believe I already know all about her (Alaric goes out, Elena is waiting for him) Alaric: Good, there you are. Jenna wants me to get the car (He looks at Elena, she's not okay) Alaric: What happened? [Salvatore's house] (Damon is going home but Anna is waiting for him) Damon: Anna, this is getting weird Anna: We're here to talk (Pearl arrives) Damon: Not in the mood, today's been a no good, very bad day Pearl: Annabelle tells me you're looking for something I took from Jonathan Gilbert Damon: ‘m listening (She gives him the device) Damon: What is it? Pearl: Jonathan was passionate by his inventions. He confided in me that he had created a detection device meant to track down the town's vampire element Damon: It was a pocket watch Pearl: That's what it turned out to be yes. But that's not what I stole. I discovered my mistake when I saw the watch in Jonathan's hand, the night he took us, its stile pointed in me (Damon looks at the device) Damon: So what is this? Pearl: I have no idea but now it's yours Damon: What's the catch? Pearl: There is no catch. My daughter wants to stay here, I want to stay here. You refused to trust us and for good reasons. Consider this an apology (He looks at them and leaves) (Stefan enters in his bedroom, he tries to calm down. Elena arrives) Stefan: You shouldn't be here Elena: I know Stefan: Now you know Elena: That wasn't you Stefan: oh, it was absolutely me. A monster, a predator, that's who I am Elena Elena: That's what the blood makes you Stefan: The blood brings out what's inside of me and if you think any differently then you're an idiot Elena: I know this isn't you Stefan Stefan: I wanted to drain every ounce of blood from that girl's body Elena: No Stefan: It's who I am Elena Elena: No, you can't scare me off Stefan: Why would you risk it? Why would you come here? Elena: Because I did this, this is my fault; I'm the one who made you drink the blood Stefan: All you did was expose me to who I really am Elena: It isn't you Stefan (screaming): Stop saying that! (She begins to get closer to him) Stefan: Don't get any closer to me Elena: I'm not gonna let this happen to you Stefan: Stop Elena: Stefan, I'm not gonna give up on you! I believe in you! Stefan: Stop! (He pushes her against the wall) Stefan: Stop! (He hits the wall next to her head. She's afraid; he looks at her) Stefan: I'm so sorry Elena: It's okay (He puts his head on her shoulder; He begins to cry) Stefan: I don't know what's happening to me Elena: It's okay Stefan shut. Its okay, you're gonna be okay (She takes a vervain dart and puts it in his body. He falls and Damon enters in the room, she looks at him) Damon: Sure you want to do this? Elena: I'm sure (They put him in a jail in the basement. He closes the door) Damon: There's no guarantee it's going to work Elena: It has to Damon: Coming? Elena: I'm gonna stay here (She sits down; Damon looks at her and sits down too. She looks at him) THE END

{"type": "series", "show": "The Vampire Diaries", "episode": "01x19 - Miss Mystic Falls"}

foreverdreaming

PREVIOUSLY ON "THE VAMPIRE DIARIES" STEFAN: For over a century, I have lived in secret. Until now. I know the risk. But I have to know her. DAMON: Elena, she's a d*ad ringer for Katherine. STEFAN: I want you all to myself. KATHERINE: Just as he wants me, but I'm the one. Who gets to make all the rules. GIUSEPPE: Go get the sheriff. We have a vampire. STEFAN: No. Don't take her! GIUSEPPE: You'll be k*lled along with them. DAMON: Then let me be k*lled. STEFAN: Damn it. We'll get her back. DAMON: Don't you think that you've done enough? DAMON: Stefan's still drinking human blood. GIRL: Aah! ELENA: Stefan! DAMON: Stefan. STEFAN: Blood brings out what's inside of me. ELENA: I'm not gonna give up on you, Stefan. I believe in you. STEFAN: Stop! Stop! Stop! I'm so sorry. ELENA: It's ok. You're gonna be ok. SALVATORE'S HOUSE Stefan, locked up at the cellar, laid down covered of sweats due to the lack, dreaming. FLASH-BACK, WOODS IN 1864 Men seek vampires, Jonathan Gilbert at the head with his watch. STEFAN: (to Damon)We have to get to the church. They're waiting. Circle around that way. I'll distract them. Go. (to men)Over here! There's another one! Quick! Help me! JONATHAN: Arm yourselves. The barouche remains under the guard of only one man. When, Damon, suddenly, strikes him. Then, he steals the keys of the cage and opens when Stefan joined him. STEFAN: We don't have long. DAMON: Katherine. Katherine. STEFAN: We're gonna get you out of here. Damon, hurry. Hurry. (Damon is made drawn top) DAMON: Aah! STEFAN: No! No. Damon. Oh... MEN: Come on. Let's go. STEFAN: Uhh! (Stefan is also made drawn top) SALVATORE'S HOUSE/WOODS IN 1864 Stefan confuses reality with his memories. DAMON: Stefan. ELENA: Stefan. KATHERINE/ELENA: I love you, Stefan. THE VAMPIRE DIARIES SALVATORE'S HOUSE Elena looks at Stefan locked up in the cellar. Damon joined her. ELENA: It's so hard to see him locked up like this. DAMON: You're the one who locked him up. ELENA: You helped. DAMON: I couldn't have him running around chewing on people. While the town was looking for vampires, now, could I? ELENA: It had nothing to do with you actually caring about him. DAMON: Your thing, not mine. FLASH-BACK, QUARRY IN 1864 Stefan awakes in start, it is always in life and any more a scar with he does not have received the ball. He sees that he has a special ring with the finger. Emilie comes towards him. EMILIE: Katherine had me make that for you weeks ago. STEFAN: Where am I? EMILIE: The quarry just north of town. My brother and I brought you here last night. We found you d*ad in the woods. STEFAN: Where's Damon? Am I... Am I a... EMILIE: Not yet. You're in transition. STEFAN: But how? I... EMILIE: You had Katherine's blood in your system when you died. STEFAN: No. I never... EMILIE: She's been compelling you to drink it for weeks, Stefan. STEFAN: And Damon? EMILIE: No compulsion was necessary. He drank from her willingly. Stefan joined Damon close to the river. DAMON: I woke up last night. I didn't know where I was. I went to the church. And I watched them drag her inside. Then they set f*re to it. And the whole church went up into flames. They k*lled her, Stefan. She's gone. SALVATORE'S HOUSE Damon looks at the object which Pearl gave him, Elena enters the living room. ELENA: Did you ever figure out what that is? DAMON: Nope. Whatever it is, it doesn't work. ELENA: Pearl didn't say anything else about it? DAMON: She thought she was stealing his vampire compass, but it was a pocket watch. That Johnathan Gilbert was a crazy scientist. Have you spoken to your uncle lately? ELENA: I've been avoiding him, actually. That, and I've been here most nights. DAMON: So, you'll be here again tonight? ELENA: Is that a problem? DAMON: Yes. You're a complete nuisance. ELENA: Heh. See you later. HIGH SCHOOL Jeremy goes to go in class, Anna joined him. ANNA: Hey. Surprise. JEREMY: What are you doing here? ANNA: Picking up this. JEREMY: A class schedule? ANNA: Starting tomorrow, I'm officially a student here. JEREMY: You're kidding me, right? ANNA: No. I finally b*at my mom down. JEREMY: Heh. But why would you want to go to high school? It blows. ANNA: Do I really need to answer that? JEREMY: You'd suffer through all this just to hang out with me? ANNA: Yeah. I would. JEREMY: That's, um... ANNA: Stupid? Pathetic? Old lurky me? JEREMY: It's awesome. It's awesome. SALVATORE'S HOUSE Damon looks at Stefan locked up and a bottle of blood shows him. DAMON: Brought you something to eat...100% Stefan diet approved. You know what will happen if you don't eat. You'll get all rotting and crusty. STEFAN: I'm not hungry. DAMON: Of course you are. We're eternally hungry. Take it. The human blood should be gone by now. You want to explain why you're still in here. Feeling sorry for yourself? Come on. Drink up. Fine. Starve. What do I care? Damon turns over in the living room and somebody calls him. DAMON(at phone): Hello? ALARIC(at phone): Hey, it's Alaric Saltzman. DAMON(at phone): Before I hang up, how did you get this number? ALARIC(at phone): Ah, it's a mystery. Listen, I've, uh, been doing some digging on Elena's uncle. You interested? DAMON(at phone): What kind of digging? ALARIC(at phone): I've got an old friend from Duke. Who studied criminology when we were there together. Let's just say he's become a very proficient digger. DAMON(at phone): Well, did he find anything, by chance? ALARIC(at phone): Well, I had him run a track on John's cell records. He was getting a call from a number... The same number that Elena dialed to get Isobel. And then the number was disconnected. Isobel knows John. DAMON(at phone): Whatever. We knew that. ALARIC(at phone): Right. Well, after that, he started getting calls from a new number. And I had my friend run a geotrack. Got the address. It's...It's an apartment in Grove Hill. DAMON(at phone): Isobel's in Grove Hill? ALARIC(at phone): I don't know. I thought we could take a look and see what we find. DAMON(at phone): Perfect. Give me the address. ALARIC(at phone): Oh, so you can go without me? No. I don't think so. DAOMN(at phone): I'm not going with you. You tried to k*ll me. ALARIC(at phone): Yeah, well, you did k*ll me. DAMON(at phone): Hold on. (Damon receive an other call) DAMON(at phone): What? ELENA(at phone): I'm just grabbing some clothes, and then I'll be right over. How's Stefan? DAMON(at phone): Extra broody. Hold on. (to Alaric)You drive. Pick me up in an hour. ALARIC(at phone): Done. DAMON(at phone): He won't eat anything. ELENA(at phone): He has to ea what's his favorite... Kind of, um... DAMON(at phone): His favorite kind of what? ELENA(at phone): Type of animal blood that he prefers? DAMON(at phone): Ew. Gross. ELENA(at phone): Heh. Your joking doesn't help. DAMON(at phone): Helps me. Now, hurry up. I can't baby-sit all night. I have things to do. ELENA(at phone): I would say, "drop d*ad," but... DAMON(at phone): Ha ha. Stefan likes... Puppy blood... Little golden retriever puppies with cute, fluffy ears. That's his favorite. GILBERT'S HOUSE Elena leaves its room, it sees her uncle. He heard her conversation with Damon. JOHN: Sorry. ELENA: Uncle John. I didn't see you there. JOHN: I thought we could talk. We haven't had a chance to catch up. ELENA: I'm actually just heading out, so... JOHN: Well, it won't take long. ELENA: What did you want to talk about? JOHN: Well...I know you know. ELENA: Know what? JOHN: It's really silly to keep pretending. What do you think your mother would say. If she knew you were dating a vampire? ELENA: Which mother? SALVATORE'S HOUSE Stefan, sitting, meditates vis-a-vis its bottle. FLASH-BACK, QUARRY Damon sat at the edge of water whereas Stefan brings back a water bucket. STEFAN: I bet Johnathan Gilbert has told father by now. Wonder how he took the news that we're d*ad. DAMON: As if he cares. He betrayed us. STEFAN: He thought he was protecting us, Damon. He thought he was protecting this town. DAMON: God. This sun hurts my eyes. STEFAN: It's part of it. The muscle aches, the sick feeling...Emily says it's our bods pushing us to feed, to complete the transition. DAMON: That's not gonna happen. STEFAN: Is that your choice, then? To die instead? DAMON: Isn't it yours? This was all to be with Katherine. But she's gone. I want it over. SALVATORE'S HOUSE Elena is coming to see Stefan. ELENA: How you feelin'? Damon says you need to drink that. You need it, Stefan. Can't survive without it. STEFAN: I don't want to survive. ELENA: What? No, don't say that. STEFAN: I'm sorry, Elena. No more. After what I've done, it has to end. I just want it over. Elena joins Damon in the living-room. DAMON: He's just being dramatic. He's not gonna starve himself. ELENA: Why would he say that? DAMON: He feels bad about hurting that girl. It's a very typical step of martyr stuff. It will pass. ELENA: Will it? Because he seemed to be in lot of pain. DAMON: Yeah. Well, that will pass, too, once he eats. ELENA: I didn't mean physical pain. DAMON: I know what you meant. Look, are you gonna be ok here if run out? I have to go to an errand with the teacher. ELENA: The teacher? Alaric? Are you two friends now? DAMON: I don't have any friends, Elena. ELENA: Right. DAMON: You should, um, you should stay up here. You shouldn't be down there by yourself. ELENA: I'll be fine. DAMON: You know... You're very trusting of him, given the circumstances. ELENA: So are you. Otherwise, you wouldn't be leaving. DAMON: I won't be long. MYSTIC GRILL Pearl joins John in the table. PEARL: Hello, Mr. Gilbert. JOHN: Pearl. What a pleasure. I must admit, I'm surprised that you came. PEARL: Jenna tells me that you wanted to discuss the sale of the building in person. JOHN: Still, revealing yourself to me like this, it took quite a risk. PEARL: I'm not stupid, Mr. Gilbert. You knew who I was when you requested the meeting. So, Damon tells me that you're looking for the device I took from Johnathan. I'm sure you realize I have no intention of giving it to you. JOHN: That's why I wanted to meet you. I'm planning on changing your mind. PEARL: Really? How so? JOHN: With my Gilbert charm. I know that you have a weakness for it. May I buy you a drink? GILBERT'S HOUSE Jeremy and Anna talk in his bedroom. JEREMY: So, your mother was in love with Johnathan Gilbert, and he betrayed her? ANNA: Yup. JEREMY: And now my uncle John wants this invention-device thing that she gave to Damon. ANNA: That's pretty much it. JEREMY: John mentioned there were more Gilbert journals. I bet that's how he knows everything. ANNA: Do we have to talk about ts all night? I've told you everything. I probably shouldn't have, 'cause that could get us both in a lot of trouble. JEREMY: I'm not gonna say anything. ANNA: Your uncle John wants us d*ad. JEREMY: Oh, you don't know that. ANNA: Yes, I do. He's a hater, Jeremy. JEREMY: Well, I'm not. ANNA: No. You're something else entirely. JEREMY: Oh, yeah? What would that be? ANNA: My weakness. JEREMY: I don't want Jenna to walk in on us. ANNA: Jenna's in the kitchen. She just opened the refrigerator. JEREMY: Wait. You can hear that? That is so cool. HOUSE IN GROVE HILL Damon and Alaric are inside of the house. ALARIC: This is the one here. The records show is was paid 3 months in advance. DAMON: This is where it gets tricky. I may or may not be able to get in. ALARIC: Yeah, how does that work? You always have to be invited in? DAMON: By the owner or the person of entitlement. Short-term rentals and hotels are a bit of a gray area. You kind of gotta play it by ear. ALARIC: Heh. Could we not k*ll anyone tonight, please? DAMON: You mean, you just brought me along for my company? ALARIC: It doesn't look like anyone's home. Yeah. I'm good. No permanent resident, apparently. DAMON: Uh, Rick, we have company. (A man jumps on Alaric. Damon tries to retain him) DAMON: Boys, boys, that's enough. I know you. HENRY: Damon? DAMON: Your name is Henry. You were in the tomb. HENRY: Yes, sir. What are you doing here? FLASH-BACK, SALVATORE'S HOUSE IN 1864 Jonathan and Giuseppe talk to the situation. GIUSEPPE: May I offer you a drink, Mr. Gilbert? JONATHAN: Thank you, Mr. Salvatore. GIUSEPPE: This won't take much longer. JONATHAN: I want to make sure the founder's archives are accurate. GIUSEPPE: Be sure you document the loss of civilian life in the church. JONATHAN: They were hardly civilians, . Salvatore. GIUSEPPE: As far as anyone needs to know, they were. As the record keeper for the council, what you write will be passed down through generations. Certain details should be kept only between you and me. JONATHAN: For example? GIUSEPPE: My sons. They will be remembered the innocent victims of the battle of willow creek, not for their shame. JONATHAN: Certainly, Mr. Salvatore. SALVATORE HOUSE Elena is inside of the cellar where is Stefan. STEFAN: You know, Damon hasn't fed me vervain in a while. I could be at those bars in flash, and you'd be d*ad. ELENA: Yeah, you could. But you won't. STEFAN: Please just go away. I don't want you here. (Elena enters in the cellar) STEFAN: What are you doing? Get out of here. ELENA: No. STEFAN: You're taking a stupid risk. I could hurt you. ELENA: Then I'm stupid. You need to drink this. STEFAN: Elena, get out of here, or you'll regret it. ELENA: Drink. STEFAN: I said get out! ELENA: No. HOUSE IN GROVE HILL Damon and Alaric talk with Henry. HENRY: So, how do you know John Gilbert? DAMON: Well, I've known him for years. He's a good friend. How do you know him? HENRY: I met him right after I got out of the tomb. He's been helping me out. ALARIC: Helping you out how? HENRY: Adapting. It's a whole new world... Cars, computers, match.com. There's so much to learn. He helped me get this place. ALARIC: So, do you live here alone or is there someone else here? DAMON: That's my friend's very...Passive-aggressive way of asking, uh, do you know a woman named Isobel? HENRY: Uh, no. No, I don't know an Isobel. I know John. He's my only real friend. He really showed me the ropes... how to use a microwave, separate my whites. ALARIC: What else do you do for him? HENRY: I help keep an eye on things...You know, with the others. DAMON: The others? HENRY: From the tomb. They're still pissed at the founding families for trying to burn them alive. I'm cool, but those tomb boys, they want revenge. ALARIC: What does John want with them? HENRY: He's just keeping an eye on them, you know? Trying to make sure they stay out of trouble. DAMON: Well, that's John. Heh. He's such a do-gooder. (Henry receive an call) HENRY: Heh. That's John now. DAMON: Oh. Hey, let me talk to him. All right. HENRY: Yeah. Are you gonna answer that? DAMON: Am I gonna... answer that? HENRY: What's going on? (Henry wants to run away himself and tries to k*ll Alaric, but Damon retains him and Alaric kills him) HENRY: Uhh! Uhh! Aah! DAMON: "Let's not not k*ll anyone tonight." Your words. Just pointing that out. MYSTIC GRILL John returns at the table. JOHN: My apologies. PEARL: No apologies necessary. So, tell me, Mr. Gilbert, why should I let you have the device? JOHN: Because I can help you. I'm connected around here. The town council's eating out of my land. They do whatever I say. And I know that you just want to live your life. Complete with a white picket fence, and I can help you do that. PEARL: But the device doesn't work. Why would you even want it? JOHN: It's a family heirloom. Call me sentimental. PEARL: Johnathan was ahead of his time. JOHN: I read his journals. They're very extensive. He actually wrote about you. You were his one regret. He loved you, and he hated himself for what he did to you. PEARL: You're lying. JOHN: No. On his last days, he wrote how sorry he was. You were the only woman he ever loved. Good God. You vampires... you're so emotional. Johnathan Gilbert hated you. His only regret was that he didn't drive a stake through your heart himself. PEARL: I gave it to Damon. JOHN: What? PEARL: I gave your device to Damon. Why don't you ask him for it yourself? I'm sure he'd be delighted to give it to you. And then, Mr. Gilbert, may you rot in hell. SALVATORE'S HOUSE Elena is in the cellar with Stefan but he doesn't want to talk. ELENA: Talk to me, Stefan. Why are you doing this? STEFAN: I'm making the decision I should have made years ago. ELENA: What are you talking about? STEFAN: You have to feed in order to complete the transition. ELENA: I know that. STEFAN: It was a choice I shouldn't have made. FLASH-BACK, SALVATORE'S HOUSE IN 1864 Stefan enters in the office of his father. GIUSEPPE: Dear God. STEFAN: Even in our death, you only feel shame? GIUSEPPE: You're one of them now. STEFAN: No. Father, I came to say good-bye. GIUSEPPE: I watched you die. STEFAN: You were there when we were sh*t? GIUSEPPE: I pulled the trigger myself. STEFAN: You k*lled your own sons? GIUSEPPE: You were both d*ad to me the moment you sided with the vampires. I only thank God that your mother isn't alive to see the disgrace you've become. STEFAN: I haven't turned yet. I don't want to. I'm going to let myself die, father. Please. GIUSEPPE: Yes, you are. (Giuseppe wants to k*ll his son by inserting a pile in the heart to him. Stefan defends and sends his father to the other end the part and he receives the pile in full heart) GIUSEPPE: Uhh! STEFAN: Father, I didn't mean to. GIUSEPPE: Get away from me. STEFAN: No, let me help you. Please. (Stefan removes the pile in the heart. He is attracted by blood and tastes some a little. He starts to change) GIUSEPPE: Ohh. Ohh. STEFAN: Uhh. Uhh! Oh, God. What's happening to me? SALVATORE'S HOUSE Stefan decides to talk with Elena. STEFAN: How can you even look at me right now? ELENA: You need to be able talk about these things, Stefan. I need to hear them. Come upstairs. We can talk about it more, and we'll keep talking as long as you need. STEFAN: You're so sure I'm ready. And when you feel the same way... I'll be upstairs. HOUSE IN GROVE HILL Damon empties the hematomas. DAMON: Find anything yet? ALARIC: No, I looked everywhere. The place is...The place is clean. DAMON: Well, I found this. Behind the blood in the fridge. ALARIC: Oh, man, this was a real d*ad-end. DAMON: I wouldn't b*at myself up over it, man. What did you think you were gonna find, huh? Isobel with a cigar and slippers? ALARIC: Oh, man. I...I gotta stop this. I can't...I can't keep searching for her. DAMON: Really? After only 2 years? That's actually...Moderately healthy. ALARIC: What are you going on? 146? DAMON: Well, I figure the 200 mark is probably a good stopping point. ALARIC: Ahh. I mean, no answer is enough. I keep thinking I wanna kn why, when, you know, the precise moment. When my wife decided life with me wasn't enough. DAMON: She charmed me, your wife Isobel. She talked a good game, man. She was smart. She had this excitement in her eyes. I probably should have known there was something different about her, some tie to Katherine. There had to be some reason I didn't k*ll her. ALARIC: That's enough, Damon. I don't wanna hear anymore. I just don't want to waste any more of my life. Searching for answers that I really don't want. I'm through with Isobel. I...I'm done with all of this. Yeah. PEARL'S HOUSE Anna enters and notes that her mother made the luggage. ANNA: Hey. What's the matter? PEARL: I need you to pack your things. We're leaving. ANNA: What? No. PEARL: I was wrong to think that we could make a home here. It's time for us to move on. ANNA: But I don't want to move on. I want to stay. PEARL: We can't stay. There's too many people here who know the truth... Too much history. ANNA: So, what, you're just gonna give up, pack us up, and move us out? PEARL: It's not safe here. You know that. ANNA: Please. PEARL: This is about Jeremy. ANNA: No. It's about me. Finally getting to build a life for myself. Please, mama. PEARL: You gave me my life back. I am just trying to protect yours. I can't force you. It's your decision. SALVATORE'S HOUSE Elena draws in the catch, Damon enters in the living-room. DAMON: Ugh. God. You're still here? ELENA: Were you expecting anything else? DAMON: No. Ahh. ELENA: So, how was the "errand"? DAMON: Futile. Although, I think I witnessed the teacher having an existential crisis. Has Stefan eaten yet? ELENA: I thought you didn't care. DAMON: Chalk it up to morbid curiosity. ELENA: I think he's getting there. But he's got a lot of guilt that he has to deal with. And it doesn't help that you've spent the last 145 years punishing him for Katherine getting caught. DAMON: This is my fault now? ELENA: No, it's no one's fault, Damon. I'm just... saying you're not exactly innocent. You've made it your life's mission to make him miserable. DAMON: Let me ask you a question. In all this important soul-searching and cleansing of the demons of Stefan's past, did you ever manage to get e rest of the story? ELENA: He said there was more. DAMON: Yeah. That's an understatement. ELENA: Damon...Damon. Tell me. FLASH-BACK, QUARRY IN 1864 Stefan comes back with a beautiful girl. DAMON: What are you doing? Who is that? STEFAN: I brought her for you. She's a gift. Have a seat, please. DAMON: What have you done, Stefan? STEFAN: Damon, I've been to see father. He came at me. I didn't know my own strength. There was blood everywhere. He was dying, and the blood was too strong. I needed it. I had to have it. DAMON: You fed. STEFAN: Yes. And it's incredible. My body is exploding with power, Damon. DAMON: No. STEFAN: I can hear things from far away. I can see through the darkness. I can move, like it's magic. And the guilt, the pain...Damon, I can turn it off. Like a switch. Katherine was right. It's a whole another world out there, Damon. DAMON: Katherine is d*ad, Stefan. There's no world without her. STEFAN: No. You can turn that off, too. You don't have to feel that pain anymore. DAMON: I don't want it. STEFAN: You're weak. You'll be d*ad soon. You need this. DAMON: No. STEFAN: You'll die. DAMON: No. I can't. STEFAN: Please. I won't let you die. DAMON: No. I can't. STEFAN: Don't fight it. We can do this... together. (Damon drinks blood of the girl) SALVATORE'S HOUSE Damon finishes to tell her. DAMON: From the moment Stefan had his first taste of human blood, he was a different person. I suppose I should thank him. It's been a hell of a ride. Heh. ELENA: Oh, my God. He said he wanted to die. That's why he wot feed. Now I understand why, but... DAMON: His choice. If he's stupid enough to make it, so be it. ELENA: Don't do that. Ok? Don't pretend like you don't care. DAMON: Where are you going? (Elena goes to the cellar, Stefan is not here) GILBERT'S HOUSE Jeremy sleeps in his bed, Anna joins him. JEREMY: Hey. ANNA: It's getting impossible to sneak up on you. JEREMY: Nice try, though. ANNA: Sorry I woke you. JEREMY: That's ok. You only woke me halfway. ANNA: So, listen. I... JEREMY: That feels good. (She kisses him) ANNA: Good-bye. QUARRY Stefan is coming back in the place where they were. FLASH-BACK, QUARRY IN 1864 Stefan and Damon are become two new vampires. STEFAN: How do you feel? DAMON: You were right. It is a whole new world. STEFAN: We can explore it together. DAMON: You got what you wanted...You and me for all eternity. But here it is, brother. I will make it an eternity of misery for you. STEFAN: Damon! Damon goes away, Emilie comes in. EMILIE: You've transitioned. STEFAN: You'd have rather found me d*ad? EMILIE: Katherine saved my life once. I owed her. That doesn't mean I'd wish her curse on anyone. STEFAN: It feels more like a gift. EMILIE: That will change. STEFAN: Why is that? EMILIE: Because even in death, your heart is pure, Stefan. I sense that about you. That will be your curse. STEFAN: Emily, wait. QUARRY Stefan takes again his spirits when Elena calls him. ELENA: Stefan. Damon told me the rest of the story. I thought I might find you here. STEFAN: I should have died that night, just like I had chosen. I should have let Damon die, too. ELENA: But you didn't. And if you die now, it's not gonna change what happened. STEFAN: Every single person that's been hurt...Every single life that's been lost, it's because of me. ELENA: The night that my parents died...I blew off family night so that I could go off to some party. I ended up getting stranded, and they had to come pick me up. That's why we ended up in the car at Wickery bridge. And that's why they died. Our actions are what set things in motion. But we have to live with that. STEFAN: I made a choice, Elena. And because of that choice, a lot of people were hurt. ELENA: You also made a choice to stop, to reject the person that the blood made you. You made a choice to be good, Stefan. STEFAN: No. Please don't do that. ELENA: That's the person who jumped in the water to save the family whose car had driven off the bridge. STEFAN: Please. Don't make this all ok. ELENA: That's the person who saved my life. STEFAN: You don't understand, Elena. ELENA: Then tell me. STEFAN: It hurts me. It hurts me, knowing what I've done, and that pain...That pain is with me all the time. And every day, I think that if I just...If just give myself over to the blood, I can make that pain stop. It would be that easy, and every day, I fight that. And I am so terrified that one day, I'm not gonna want to fight that anymore, Elena. And the next time I hurt somebody...It could be you. ELENA: There will be no next time. STEFAN: You don't know that. ELENA: Maybe I don't. But what I do know. Is that you can take this, throw it in the quarry, and let the sun rise. Or you could take this ring and put it on and keep fighting. (Elena gives to him his ring and she kisses him) ELENA: It's your choice. STEFAN: Elena. (Stefan puts his ring and kisses Elena) PEARL'S HOUSE Harper prepared the luggage of Pearl. PEARL: Thank you, Harper. HARPER: You're welcome PEARL: Annabelle should be back in a minute. You know, you don't have to come with us if you don't want to. HARPER: This was never my home, miss pearl. I was just a soldier who was left to die. You saved me. I'm coming with you. PEARL: Let me help you with these. (Pearl opens the main door and receives a pile in the heart) SALVATORE'S HOUSE Elena brings back Stefan to the house. ELENA: I'll be upstairs, OK? STEFAN: Ok. ELENA: Good night, Damon. (Elena goes away) STEFAN: Thank you. DAMON: No, Stefan, thank you. You're back on Bambi blood, and I'm the big badass brother again. All is right in the world. STEFAN: I mean it. Thank you. For... helping her take care of me. DAMON: You brood too much. Everything on this planet is not your fault. My actions, what I do, it's not your fault. I own them. They belong to me. You are not allowed to feel my guilt. STEFAN: Do you feel guilt? DAMON: If I wanted to, it's there. Emily waited till after I turned to tell me she'd been successful in protecting Katherine with her spell. She didn't want me to know about the tomb. She thought it would impact my decision. STEFAN: She didn't want either one of us to turn. She said it was a curse. DAMON: Witches...Judgy little things. STEFAN: Why didn't you tell me? DAMON: 'Cause I didn't want you to know. 'Cause I hated you, and I still do. STEFAN: I know. DAMON: But not because you forced me to turn. STEFAN: Then why? DAMON: Because she turned you. It was just supposed to be me, Stefan... Just me. PEARL'S HOUSE Anna enters the house and discovers her mother and Harper with a pile in the heart. ANNA I'm back. Oh! Mom! Mama! Uhh! Please don't leave me again. No. Please wake up. You have to wake up. No. WOODS John calls everyone. JOHN(at phone): Sheriff Forbes, John Gilbert. Sorry to call so late. I have an update about the vampires. MYSTIC GRILL Alaric, sited with the bar, drinks to drown his disappointment. A woman approaches him. ISOBEL: Hello, Rick. ALARIC: Isobel. End of the episode.

{"type": "series", "show": "The Vampire Diaries", "episode": "01x20 - Blood Brothers"}

foreverdreaming

[Mystic Grill] (Isobel and Alaric are standing at the bar) Isobel: It's good to see you. You look good. I hear that you're a high school history teacher? How is that? Alaric: Where have you been, Isobel? Isobel: I don't have any reasons that are gonna comfort you. I don't have any explanations that are gonna satisfy you. I wanted this Alaric: It's that simple? Isobel: Yeah. You were supposed to mourn me, and move on Alaric: You were my wife, and I loved you. How could I not search for you? Isobel: Because I wasn't lost, Ric (She takes a paper and writes something) Isobel: I understand that you know my daughter Elena and I hear that she's been looking for me. So… (She gives the paper to Alaric) Isobel: I want you to arrange for a meeting with us (Alaric looks at the paper) Alaric: You want me to deliver a message? Isobel (she smiles): yeah (Alaric throws the paper) Alaric: Screw you. You selfish bitch! (He gets up and leaves) [Mystic Grill's parking lot] (Alaric is going to his car. Isobel arrives behind him) Alaric: What do you want from me? Isobel: I told you Alaric: I'm not gonna do anything for you (She strangles him and pushes him against his car) Isobel: You better tell Elena that I want to meet or I'm gonna start k*lling the citizens of this town one by one and I'm gonna start with your history students. Got it? (She throws him on the floor and gives him the paper. He gets up and looks at the paper) [Gilbert's house] (Elena is on the phone with Damon) Elena: I'm supposed to help build the Miss Mystic falls float for the founder's day parade. If I don't I get the rad with Caroline but I wanted to check in first Damon: I'm doing great, thanks for asking Elena: Checking on Stefan Damon: Oh him? He's terrible Elena: What's the matter? Damon: He's just back to boring, straight-laced, off the junk. You've successfully cured him of anything that was interesting about his personality Elena: Don't forget who helped me Damon: I hate myself. Did uncle john mention anything about my field trip with the history teacher? Elena: No. I'm still avoiding him. Why? What's he up to? Damon: I don't know. But I'd love if you could find out for me Elena: I've got to go I'm late Damon: Have fun with the mystic queen, I know I did (Elena hangs up) [Salvatore's house] (Damon hangs up. He gets up and gives the phone to Stefan) Damon: Elena called (He smiles and leaves the room. Stefan looks at him and then at his phone) [Mystic Falls High School] (At the Cafeteria, Alaric is giving papers to students) Alaric: So these are the expects from the history department. For the founder's day float we'll be recreating the battle of willow creek. Tyler has been nominated at the head of the production design Tyler: By whom? Alaric: By me. I've seen your sketches and they're good Tyler: I'm not really into the… Alaric: Well, you just pick your team, be creative and… (He sees Elena and Stefan) don't screw up (Alaric is going towards Elena and Stefan) Tyler: Great! (To Matt): You want to help me out with this? Matt: Not really no Elena: Hey mister Saltzman Alaric: Come with me. We need to talk (Stefan and Elena are going with him and look at each other) Bonnie: Alright show me Caroline: Let's reference last year Miss Mystic float (She writes on her computer) Caroline: This is what they did last year (She turns her computer and sow a picture to Bonnie) and this is exactly what we don't want to do Bonnie: So, what are we doing? Caroline: Southern classic elegance Bonnie: Gone with the Wind? Caroline: How'd you know? Bonnie: You channel Scarlett, daily Caroline: So true! (They laugh. Caroline is looking around) Caroline: Where's Elena? She's supposed to be helping Bonnie: I don't know Caroline: Okay, what's the deal? Bonnie: What do you mean? Caroline: Don't play dumb. You and Elena are fighting. Spill! Bonnie: It's nothing Caroline: It's not nothing. You know this whole float is supposed to be about friends creating something together and everyone is fighting. Matt and Tyler hate each other, you and Elena are on the out and I don't like it! And I can't fix it if I don't know what's wrong Bonnie: I can't talk about it. Caroline I'm sorry (They look at each other) [Alaric's class room] (Damon enters) Alaric: Damon, thanks for coming Damon: Sorry I'm late. My dog ate my uh… never mind. (He looks at Stefan and Elena) Damon: What are all the frown brows? Alaric: I saw Isobel last night Damon: Isobel is here? In town? (He turns to Elena and looks at her) [Isobel's house] (John parks his car and enters in the house. He's going into a room. A men and a women are dancing. Isobel is watching them) Isobel: You're late John: I didn't realize there was a schedule. What's with the side show? Isobel: Cherie is a little jazz singer that I picked up in a blues bar in Brooklyn. And I got the cow boy in a gay rodeo in Amarillo John: He's gay? Isobel: Not right now, he's really good to me (To the men and the women) Hey Cherie? Cassez vous! (They leave) Isobel: I'm teaching them French. Oh! I can smell the judgment coming out of you John: Well, they're people Isobel and you're treating them like dolls Isobel: If we're gonna be partners you really have to stop being such a hater John: We're in a partnership together because we share a mutual goal. Don't ever confuse that for an acceptance of your lifestyle Isobel: My lifestyle? So, I assume that you still don't have the invention John: I'll get it. I said I would Isobel: uh, you thr*at to expose Damon Salvatore that didn't work. You k*lled that Pearl lady, still no invention. I really don't think that you're plan is working John John: Well, you being here is not going to help anything (She slaps him. He falls) Isobel: You failed john. I'm gonna take care from here [Alaric's class room] Damon: Did you ask her about Uncle John? Are they working together? Alaric: No Damon: No they're not? Alaric: No I didn't ask Damon: What about the invention? Alaric: Didn't ask Damon: Did she know about the tomb vampires? Alaric: I don't know Damon: Did words completely escape you? Alaric: No, I was a little too distracted by my d*ad vampire wife to ask any questions (Damon turns to Elena) Damon: What did she want? Elena: She wants to see me, Damon (He looks at her) Stefan: Alaric is supposed to arrange a meeting. We don't know why or what she wants Damon (still looking at Elena): You don't have to see her if you don't want to (Stefan looks at Damon and then at Elena) Elena: I don't really have choice Alaric: She's thr*at to going k*lling spree Damon: Oh! I take that's not okay with you guys Elena: I want to do it. I want to meet her. If I don't I know I'll regret it (Damon and Elena look at each other) [Mystic Grill] (Elena is sitting alone. Stefan is standing at the pool table. He watches after Elena) Elena: Can you hear me? Thanks for coming, I'm nervous (Stefan smiles at her) Elena: I'm happy that you're here. I love you (Stefan moves his lips and tells her "I love you" Isobel arrives and sits down with her) Isobel: Hello Elena. You look just like her, that's eerie Elena: You've met Katherine? Isobel: She found me after I turned. Genetic curiosity I suppose. She would be fascinated by you (Elena looks at Isobel's necklace) Elena: Is that how you can walk in the day? Isobel: Katherine helped me obtain that Elena: Who's my father? Isobel: Not important. He was a teenage waste of space Elena: A name would be nice Isobel: It would, wouldn't it? You ask a lot of questions Elena: Why did you compel that man to k*ll himself? Right after he told me to stop looking for you Isobel: Dramatic impact. I wish it would be more effective Elena: Human life means that little to you? Isobel: Means nothing to me. It's just a part of being what I am Elena: No it's not. I know other vampires, that's not true Isobel: Your new boyfriend over there by the pool table? Stefan Salvatore. Why Stefan? Why you didn't go for Damon? Or are you enjoying them both like Katherine did? (Elena looks at Stefan. He looks uncomfortable) [In front of the Mystic Grill] Damon: We should be in there Alaric: No, Isobel made it clear we're going to step a foot inside Damon: I'm not going to k*ll her in a crowd restaurant Alaric: You're not going to k*ll her period! Damon: She ruined your life and you still want to protect her? Alaric: She's my wife (Damon looks at him) was my wife. I looked for the woman I married but she wasn't there. The woman over there is just cold and unattached Damon: Yeah, she's just given up her humanity Alaric: you see I don't get that. Stefan has his humanity, he's a good guy. And you're a dick and you k*ll people but I still see something in you. But with her there was… nothing. Damon: You can turn it off, like a button you can press. I mean, Stefan's different. He wants the whole human experience. He wants to feel every episode of How I Met Your Mother, so he shuts his feelings out. The problem is, as a vampire, your instinct is not to feel. Isobel chose the easier road — no guilt, no shame, no regret. I mean, come on, if you could turn it off, wouldn't you? Alaric: You haven't Damon: Of course I have Rick. It's why it's so fun to be around [Mystic Grill] Elena: Why did you want to meet me? Can't be just to catch up Isobel: Because I was curious about you. But the real reason is: I want what you're uncle wants. Jonathan Gilbert's invention. Elena: How did you know my uncle? Isobel: I used to spend a lot of time here when I was younger. John had a crush on me for years. He was the first one that told me about vampires Elena: So what made you want to be one? Isobel: A very long list of reasons Elena. All of it I'm sure you've thought about Elena: No Isobel: That was your first lie. It's inevitable, you're going to get old Stefan won't. (Elena looks at Stefan. He seems sad).Forever doesn't last very long when you're human Elena: I'm sorry but I don't have what you're looking for (She gets up but Isobel catches her arm and forces her to sit down) Isobel: Sit down (Stefan is going towards them) and tell your boyfriend to walk away. I want the invention Elena: I don't have it Isobel: I know that but Damon does and you're going get it for me Elena: He's not going to give it to me Isobel: Then the blood will be on your hands (She gets up and leaves) Isobel: It was nice meeting you Elena (Elena cries. Stefan is going toward her. Bonnie arrives; Elena gets up and looks at her. Stefan arrives behind Elena. Elena looks at him and then looks at Bonnie. Bonnie looks at Stefan and leaves. [Gilbert's house] (Jeremy is on the phone with Anna) Jeremy: Hey Anna. Where are you? What's up? Uh… Give me a call when you get this (Jeremy hangs up the phone) Jenna: How is Anna? I like that girl, she has f*re Jeremy: I don't know. She won't return my call (John enters in the kitchen) John: Girls trouble? Jeremy: No, no trouble. Anna just owes me a call, that's all John: Is that the girl that I show you at the founder's pageant? You two are getting hot and heavy. When was the last time you saw her? Jeremy: Why? John: I was just making conversation. No one else in this house likes me. At least I can talk to you especially if you need someone to talk to about girls Jenna: Oh please! I'm eating (Jenna leaves the kitchen) John: So seriously, how well do you know Anna? Jeremy: I know Anna extremely well John: I want you to know that you can talk to me about anything. I'm here to answer any questions that you have, to help you in any way I can Jeremy: Why? John: Because your dad would want me too Jeremy: I'm good (Jeremy leaves the kitchen) [Isobel's house] (Damon is shirtless. His playing strip poker with Cherie) Damon: Oh Oh Cherie, you won again. I hope I'm wearing my good underwear (Damon gets up and begins to remove his belt. Isobel arrives) Isobel: And it's just one blast from the past after another. No, no, no (Damon closes his fly) Isobel: Degage Cherie (Cherie gets up and leaves the room) Damon: It's good to see you Isobel. I was just having fun with your little mignon Isobel: How did you find me? (Damon comes towards Isobel) Damon: Search for the neighborhood bank closures and found the most expensive one Isobel: Oh I should have known. You're the one who taught me that. What are you really doing here? Damon: Well you caused quite a stub when you blew into town. So, everyone except me were a little hurt Isobel: I'm so sorry. Did you bring the device? Damon: What are you doing with John Gilbert? Isobel: We dated a few times when we were young. He was a little bit in love with me Damon: I'm sure. One of the many. Now, this little invention what do you want with it? Isobel: Oh, me personally? I don't want anything with it. I'm just doing what I'm told. You know Damon we are one the same side (Damon takes Isobel's face in his hands) Damon: Oh yeah? What side is that? Isobel: Katherine's. she wants John Gilbert to have the device and I think that you know that she's not happy when she doesn't get what she wants Damon: Why are you doing her dirty work? Isobel: Don't k*ll the messenger. We both know that you can't control Katherine. She does what she wants Damon: So do I Isobel: Oh really Damon? You do? What we should do know? (They begin to kiss each other. Damon slams her on the floor) Damon: Now that I have your attention, listen up. You do not come into my town; thr*at the people I care about. Going after Elena? Bad move. You leave her alone or I will rip you to bits because I do believe in k*lling the messenger. You know why? Because it sends a message. Katherine wants something from me? You tell that little bitch to come get it herself [Gilbert's house] (Elena is going down the stairs. Someone is knocking on the door. She opens the door. It's Bonnie) Elena: Hey Bonnie: Hey. I couldn't sleep last night. You were obviously upset about something and I just walked away. It's not me. That can't be us. You're my friend Elena. If you need me I'm here for you and I'm sorry I couldn't show you that yesterday Elena: I met my birth mother Bonnie: Oh. Was it... Are you okay? (Elena cries. Bonnie embraces her) [Mystic Fall's high school] (Matt is building the float. Tyler arrives) Tyler: Hey man. So Caroline told me you've been on your own for the past two weeks. Is everything okay? Matt: You're asking me about my mom. Seriously? Look, why don't you just give her a call to know when she goes back to town? Tyler: Dude, that's not what I meant okay? I'm just trying to… I don't know what to say Matt: Good men, don't say anything. You're a dick, end of the story Tyler: I know (Matt leaves) whatever [Mystic fall's high school class room] (Bonnie is leafing through Emily's spell book. Elena enters the room) Bonnie: Hey! Thanks for meeting me. I wanted you to see this Elena: Is that Emily's spell book? Bonnie: I've been going through it since grams died. Check this out (Bonnie shows her the book) Elena: That's the vampire compass Bonnie: Yeah, according to Emily, Jonathan Gilbert never actually succeeded in inventing anything. Emily secretly spelled them all with magic. Compass, rings and the mystery device you told me about (She shows her a page from the book. The device is designed) Elena: Yeah that's it. Well, a part of it. Damon only has one piece Bonnie: Emily preached her loyalty to Katherine. But she couldn't stand by and watch innocent people get k*lled. This was the only way she could think of to help. To let Jonathan Gilbert believe that he'd actually invented these devices Elena: That it say what it does? (Bonnie reads the page) Bonnie: Are you sure this is what Isobel wants? Elena: Yeah I'm sure. Why? Bonnie: This is a w*apon against vampires (Elena is surprised) [Mystic Fall's high school] (Jeremy is walking and sees Elena) Jeremy: Elena! Elena: Hey, have you seen Stefan? I need to find him Jeremy: No, not lately. Listen, do you have a second? Elena: Yeah. What's up? What's going on? Jeremy: Well, it's Anna. I've left her all this messages but she hasn't answer back to me, not even a text Elena: Anna? I didn't know that you guys were still friends Jeremy: We're more than friends. Look, something could be seriously wrong and if you know anything you've got to tell me Elena: I haven't talk to her, Jer Jeremy: Are you lying to me right now? Elena: Why do you say that? Jeremy: ‘Cause that's what you do. Lying. You lie about everything. I know what Anna is and I know that you know. So tell me, do you have any idea where she is? Elena: No, but Jer… Jeremy wait! (She turns out and falls into Isobel) Elena: Isobel. What are you doing here? Isobel: I'm your mother Elena. I want to be more involved in your life Elena: I don't want you in my life Isobel: I understand that. You've already have a lot of people that you care about but I've been studying. Let's see if I got this right. (She looks at bonnie) Isobel: There is the witchy best friend, Bonnie. Gonna stay away from that one (She looks at Jeremy) Isobel: oh… sad little brother Jeremy (She watches Caroline) Isobel: And there's Caroline… upknocious Caroline. I got all of my info from her by the way. She had no idea who I was and she wouldn't stop piping. Oh… (She looks at Matt) Isobel: And there's Matt, friend, ex piapy future ex. Lots of connection there Elena: Matt is not involved in this Isobel: He's involved with you isn't he? Elena: Look, you shouldn't be here. You need to leave Isobel: No, I have some friends here too. Look, you see that man over here, standing next to Matt by the Float? His name is frank, he's very handsome and he's also quite handy and he'd noticed that the aces are rusted which is very dangerous. So, all you have to do is apply a little bit of pressure and… Elena: No! (Frank jumps on the trailer above Matt. Matt Is stucked) Matt: get this trailer! Come on guys help me! (Tyler rushes to help him with some friends. They try to remove the trailer. Stefan arrives to help. They remove the trailer. Matt can go out. Caroline rushes to see Matt) Stefan: Caroline, call an ambulance Elena: Why are you doing this? Isobel: I show you how easy it is to hurt the people that you care about Elena: And you're doing this just because Jonathan Gilbert's invention? Isobel: End it over and all we'll be stop Elena: I told you, Damon is not giving it to me Isobel: I think that you underestimate how much Damon cares about you Elena: He'll k*ll you before he gives it up Isobel: Is that before or after I k*ll your brother Jeremy? (Elena turns to see Jeremy. He has disappeared) Elena: Jeremy? (Stefan looks at her) Elena: Jeremy?! (Elena looks everywhere. Isobel is gone too) Caroline: The ambulance is saying in 15-20 minutes Tyler: I have my car. I can take him to the hospital Matt: Caroline can take me Caroline: I didn't drive Matt: I'll wait. Its fine Caroline: You will not wait okay?! You need to see a doctor, Tyler is driving. End of story Tyler: I'll get my car (Matt looks at Caroline) [Isobel's house] (John arrives. He enters in the house. There's a lot of suitcase in the entry) John: I see you're packing. It's a good sign Isobel: It won't be long now John: Did you get the missing piece? Where is it? Isobel: I don't have it yet John: Then, why did you call me there? (Isobel is going in another room. John follows her) Isobel: Because I have the next best thing (Isobel enters the room. Jeremy is in the room. Cherie and Franc are around him) John: What the hell are you doing? Isobel: Getting what I want John: Yeah but he is my nephew and you're going let him go right this second! Isobel: That goddy ring on your finger, comes off John: Come on Isobel, I know you okay? It's me John. You can't hurt a kid Isobel: I'll k*ll him to prove you're wrong John: Really? Are you that far gone? Look, I know you've changed but the old Isobel is somewhere in there isn't she? Come on let him go Isobel (to her mignons): Faites le souffrir (Cherie and Franck b*at him and throw him on the floor. Isobel catch his hand and remove his ring) Isobel: Nice try. We'll see how you do without this (Isobel leaves the room. Jeremy look at John, he's on the floor, bleeding) [Alaric's class room] Bonnie: Where is the device? Stefan: Damon has it. He's going to be difficult to resonate Elena: We'll go to him, I'll talk to him Stefan: He's not just gonna end it over, especially if it's harm for the vampires Elena: What if it's not? (Elena, Bonnie and Stefan look at each other) [Salvatore's house] Damon: Absolutely not Elena: Hear me out Damon: I'm not gonna give the device to Isobel so she could give it to John who is going to turn it to k*ll me. I like being a living d*ad person Elena: But it would be useless, Bonnie can take its power away Damon: I don't trust her Bonnie: I can remove the original spell Elena: Jenna and Isobel will never know Damon: No, I'll get Jeremy in my own way Stefan: Really? How are you going to do that? Because Isobel is a vampire and Jeremy could be d*ad the second you walk in the door Damon (to Bonnie): Are you even up for this? I mean no offense, you're not Emily Bennet. Emily knew what she was doing Bonnie: I've been practicing Damon: It's not piano lessons honey Bonnie: What's your favorite book? Damon: What? Bonnie: Name a book, any book Damon: Name a book… How about "Call of the wild" Jack London (Bonnie turns and looks at the library. A book flies and land in Stefan's hands. Damon looks at the book) Damon: Jack London Elena: We're doing this Damon. I'm gonna do it in my way. Now give me the device. We're wasting time! Damon (To Bonnie): I don't trust you, I tried to k*ll you Bonnie: You're right, you can't trust me Elena: But you can trust me (Damon looks at her. Stefan looks at them. Damon gives her the device. Stefan looks at him) Elena: Thank you [Isobel's house] (John is lying on the ground. Jeremy comes towards him with a towel) Jeremy: Here you go (He gives him the towel) John: Thank you Jeremy: What is she after? John: Your ancestor invented a w*apon, a device that is extremely harmful to the vampires and we've been trying to get it Jeremy: Why? John: Because there's a group of vampires from a long time ago and they want revenge on this town Jeremy: But why would a vampire help you k*ll other vampires? John: She has her own reasons for wanting them d*ad. Look Jeremy, no one ever thought vampires would return to this town. Not in modern times, but they have and we have to destroy them Jeremy: All of them? No, there are some good ones out there John: They're not such things Jeremy: I don't believe that John: Well, your dad did. And has his son that should mean something to you Jeremy: How does my father knew about all this? John: Who do you think told me about the family history? [Salvatore's house] (Emily spell book is open. The device is next to it. Bonnie begins the spell. Damon, Elena and Stefan look at her) Bonnie: Done (Bonnie gives the device to Elena) Damon: Great, now what? Elena: Now we give it to Isobel [Mystic Falls square] (Elena is waiting for Isobel. She arrives behind her) Isobel: Where is the device? Elena: Where is my brother? Isobel: This is not a negotiation. Where is the invention? Elena: where is my brother? Isobel: Do you really think that I came alone? (Franck and Cherie arrives behind Elena) Elena: Do you think that I came alone? (Damon and Stefan arrive behind Isobel. She looks at them) Isobel: For god sakes call home Elena: What? Isobel: Call home and ask to speak to your brother Jeremy (Elena takes her phone and call home) Jeremy: allo? Elena: Jeremy, are you okay? Jeremy: yeah yeah I'm fine, Uncle John h*t his head. It was an accident Jenna: We're all laughing Jeremy: But yeah I'm okay Elena: I'll be home soon alright? Jeremy: Yeah (He hangs up the phone and looks at his uncle) Elena: You would never gonna hurt him Isobel: No, I was going to k*ll him Isobel: Don't look for any redeeming qualities in me. I don't have any Elena: But you took a risk with Damon. How did you know that he was gonna give it to me? Isobel: Because he's in love with you (Damon looks at Stefan, he looks uncomfortable. Stefan seems upset. Elena gives the device to Isobel) Elena (long pause): Thank you Isobel: For what? Elena: For being such a monumental disappointment. It keeps the memory of my real mother perfectly intact Isobel: Goodbye, Elena. As long as you have a Salvatore on each arm, you're doomed. Katherine was smart. She got out. But we all know that you're not Katherine (Isobel looks at her and leaves. Stefan embraces her. She looks at Damon. Then, Stefan looks at Damon. He cast down and leaves. Stefan looks at him) [Gilbert's house] (Jeremy left a vocal message to Anna. Elena enters in Jeremy's room) Elena: Jeremy we need to talk about all this Jeremy: No, we really don't Elena: I don't know what Anna told you but there things you need to know Jeremy: Yeah? Because I'm pretty sure that your journal covered it Elena: you read my journal? Jeremy: And save me the speech about invasion of privacy because I read a section about Damon racing my memory about what happened to Vicky Elena: Jeremy, please, you don't understand. The night that Vicky died, it was like mom and dad died all over again. It was all over your face and it hurt so much to see you like this. I just wanted to take away your pain. I'm so sorry Jeremy: Get out! Elena: No Jeremy Jeremy: Elena! Just get out! Please (She leaves and then she turns) Elena: Jeremy, please… (He closes the door on her face) [Mystic Fall's high school] (Alaric is in an empty school hallway. Isobel is waiting for him) Alaric: What do you want? Isobel: I totally get it, you, here as an history teacher. It's good Alaric: What the hell are you doing? You act like you don't care but yet you're here hunting me down Isobel: I'm leaving. I just thought I said goodbye Alaric: It haven't bother you the first time so why now? Isobel: You hate me. Good Alaric: Does it make it easier for you? I mean what is the whole point of this exercise? Isobel: What did you expect? You spent all this time trying to track me down. What do you think you would find? Alaric: The woman who gave me this (He shows her the ring). I mean you act like you don't care but you care enough to protect me after you're left Isobel: I was a different person back then Alaric: Right! And that person is gone. The woman that I married, the woman I loved, she's just… she's gone (He removes his ring and throws it to her) Alaric: You expect me to believe that? (He throws the vervain on the floor) Isobel: What are you doing? Alaric: Well, I'm ring free, I'm vervain free. So, k*ll me or compel me because I don't believe it. Not for a second (Isobel pushes him against the wall) Isobel: I wanted this, I needed this and I'm going to regret it forever. This was my mistake, not yours (She compels him) Isobel: You're not going to remember this. I left you, I did and when I'm think about what I gave up it hurts. But now your heart is free of me, it's easier this way. Goodbye Rick (She puts the ring on his finger. She touches his face and leaves) [Gilbert's house] (Jeremy is going to bed. Anna appears) Jeremy: Anna? What are you doing here? Anna (crying): my mother. She's d*ad Jeremy: What? Anna: She was k*lled Jeremy: Oh my god Anna. Hey I'm so sorry Anna: I know I'm not supposed to be here but I don't have anywhere else to go (He embraces her) Jeremy: It's okay [Salvatore's house] (Damon is pouring himself a glass of scotch. Stefan arrives) Damon: Would you like one? Say it, whatever I is purge, get it out Stefan: It's about what Isobel said Damon: What about? Stefan: Well, I know Elena and you have bounded and I know she cares about you and… I know you care about her Damon: Well, this is going in an interesting direction Stefan: I'm just concerned about Elena being hurt. She considers you a friend Damon: Same here, Elena is a very good friend. Actually, she might qualifies my only… friend. Is that a problem? Stefan: So, at the risk of sounding like uh… like a jealous boyfriend Damon: Oh, there's no risk, you do Stefan: History won't be repeating itself where Elena is concerned. Do you understand what I'm saying? Damon: Sure (Stefan runs toward him) Stefan: Do you understand? Damon: Whatever you say man, I mean we're just friends and as a friend I wasn't looking forward to tell her the truth anyway so I let you do it Stefan: What truth? Damon: About John. Because I know you guys don't like to keep secrets from each other Stefan: What are you talking about? Damon: Am I the only one around here who has the ability to put everything together? Isobel! Hello? She dated John when she was 15; she gets pregnant and ends up in the doctor's office of John's brother. Now, what do you think John's role is in all this? I mean, go ahead, and think about it, I'm waiting. Did you get it? Is there in? Stefan: So you think that John is Elena's father? Damon: Ding, ding, ding! Stefan: what proof do you have? Damon: I don't need any proof, that's a DNA test for John, Elena and the crazy one to do it but I know how well you deal with these b*mb so… Sleep sight (He leaves the room) Damon: Oh and when you do tell Elena and she needs a friend to talk to about anything, I'm here for her (He leaves, Stefan looks at him) [Gilbert's house] (John is on the couch, hi phone rings. It(s Isobel) John: Allo? Isobel: On your doorstep you'll find what you're looking for John: And my ring? Isobel: Don't screw this up. You know what you have to do, John (He opens the door and pick up the envelope) John: I got it. I won't fail (He opens the envelope) Isobel: You better not. Katherine wants all of those tomb vampires d*ad, and I want to add two more to that list (He retrieves his ring and puts it on his finger) John: Let me guess Isobel: Stefan and Damon. I don't want this life for her John: That was always part of the plan. Consider them gone Isobel: She's our daughter, John. We owe that to her John: I know (He hangs up the phone) [Mystic Grill] Caroline: So you're not going to tell me what happened? Bonnie: I did something bad, Caroline, and I lied about it Caroline: To who? Bonnie: To Elena. I pretended to do something I didn't really do Caroline: What are you talking about? Bonnie: I couldn't do what she wanted me to do. It wasn't right. Grams would have never done it, so I couldn't either. But when Elena finds out, she's never gonna forgive me THE END

{"type": "series", "show": "The Vampire Diaries", "episode": "01x21 - Isobel"}

foreverdreaming

[Gilbert's house/Salvatore's house] (Elena and Stefan are preparing themselves for founder's day. She puts her necklace. Jenna helps Elena putting her dress) Elena: Ouch, this dress hurts Jenna: Suck it in baby [Mystic Falls' high school] (Everybody is preparing founder's day. Carol Lockwood is supervising everything) Carol Lockwood: No, no, no, no, no! It's all wrong! The marching band should be in front at the historic society. Matt get up on the float. Boys, I asked you to put chairs on the founder's float (Stefan is standing alone, waiting. Damon arrives) Damon: Look at you, all retro Stefan: What are you doing here? Damon: Why wouldn't I be here? Bonnie deactivated the gilbert invention, Isobel is gone and it's founder's day! I'm here to pick candy and steal your girl Stefan: Don't start with me Damon Damon: Oh, you started this Stefan with that whole ‘I'm insecure, leave Elena alone" speech. I'm enjoying that Stefan: As long as you heard it Damon: What? You've no sense of humor Stefan Stefan: Actually I've no sense of Damon humor Damon: Damon humor… Hey look, I get it, I get it. I'm the better, hotter, superior choice and you're scared, now that Katherine is out of the picture, that I'm turning all my attention to Elena. But don't worry, Elena is not Katherine Stefan: You're right, she's not (Damon looks at something, he looks surprised; Stefan turns his head, they both look at Elena. She looks exactly like Katherine. She looks at them and smiles) [Gilbert's house] (Jeremy is in his bedroom, putting his clothes on for founder's day. Anna arrives) Jeremy: Anna Anna: Look at you Jeremy: I know it's stupid uh? I'm part of the parade but how are you? I've been so worried and I feel awful Anna: Why? You didn't k*ll my mother, you uncle did Jeremy: Are you sure it was him? Anna: Who else would have done it? John: He doesn't understand Anna, it's who he is. He hates all vampires. He's just doing what's he thinks is right Anna: Are you defending him? Jeremy: No, no way. It's just… I do understand where he's coming from. He's convinced all the tomb vampires want revenge on this town and he's just… trying to protect it Anna: They do want revenge or at least they did but that's why we separated from them. My mom wasn't after revenge; she just wanted her life back. I have to get out of this town Jeremy Jeremy: You're leaving? Anna: I've been thinking, you can come with me, I could turn you. I mean, you said you wanted me to. There (She gives him a flask with her blood) Anna: It's my blood. If you die with it in your system you'll come back Jeremy: Anna… Anna: I know you, what it's like for you… being alone, always feeling empty inside, no one to understand. But when you're a vampire you don't have to feel that way, you can shut it off. I can show you how Jeremy: I wanted to, I did. (He turns himself to not have to look at Anna. She looks sad) Jeremy: But I don't think I can. Sorry (He looks at the flask. He looks at his bedroom, Anna is gone) [Mystic Falls' high school] (Elena and Stefan are talking) Elena: John?! Is that even possible? Stefan: There is no proof but he dated Isobel when she was a teenager and he was the one who brought her to your dad's office for the delivery Elena: My whole life I've never like this man. I… Stefan: Sorry, I'm sorry. I just… I wanted to tell you before Damon drop it on you on some typically inappropriate way Elena: No, I'm happy that you told me I just… I really hope that it's not true. What I am supposed to do? Do I just… confront him and say "are you my biological father?" Stefan: Yes when you're ready Elena: I'm never gonna be ready. Stefan, I have enough problems with the family that I actually care about. Jeremy hates me and why wouldn't he? My journal gave him every single reason to Stefan: He's just hurt, he's confused Elena: He's never going to forgive me for Vicky, for taking away his memory, for lying to him. Stefan: He's your brother, he'll forgive you. Just give him some time (Caroline is taking pictures with Matt) Bonnie: Say cheese! Caroline (to Matt): Oh wait! Hide your cast, it's not era appropriate Matt: Seriously? Caroline: Yes Matt: Okay, fine (Bonnie takes the picture, Tyler arrives) Caroline: I want one with Bonnie now Tyler: Here, I can take it (Matt looks at him) Matt: I'll be on the float (Tyler looks at Caroline and smile) Tyler: I said I was sorry Caroline: You made out with his mother and then you b*at him to a plop. You're gonna have to do a little bit better than sorry (She looks at him and leaves) (Elena is running after Jeremy) Elena: Jeremy! I was wondering where you were. You look great and you did a really great job on the float Jeremy: Go away Elena Elena: Jeremy come on please! I don't want it to be like this between us Jeremy: Why don't you have Damon raise my memory again? Then I could go back to be your inner dark little brother Elena: Jer, please Jeremy: Just don't! You can't fix this that easily; something like this doesn't just get fixed (He looks at her and leaves) (The floats are parading. Carol Lockwood comments everything) Carol Lockwood: Let's get a big applause to the Mystic Fall's high school Marching Band! (The marching band and the cheerleaders parade, everyone applause and scream) Carol Lockwood: And for a little local history, Mr. Saltzman students have recreated Virginia's battle of Little Creek (The float arrives in the street. Jeremy and Tyler are in it, they say hi to everyone) Carol Lockwood: Ladies and gentlemen please welcome our stunning Miss Mystic Falls court and their handsome escort (Elena, Stefan, Caroline and Matt are on the float; they laugh and say hi to everyone) Carol Lockwood: This is Caroline Forbes, Miss Mystic Falls. Aren't they beautiful? (Bonnie is in the crowd. She smiles and says hi to Elena. Elena smiles and says hi to Bonnie. Damon arrives and smiles and says hi to Elena. She looks a little uncomfortable and she doesn't looks at him. She looks at Stefan and says hi to the rest of the crowd. Damon turns himself and sees Bonnie) Bonnie: What do you want? Damon: Just watching the parade (She begins to leave) Damon: Where are you going? Bonnie: Away from you Damon: I wanted to say something to you Bonnie: Just leave me alone Damon: Thank you. The device that Emily spelled could have k*lled me. I don't take what you did lightly so… thank you Bonnie: I did it for Elena Damon: I know that but I'm still very grateful and… I owe you (They look at each other for a while) Damon: Enjoy the parade (He leaves) Carol Lockwood: Let's cheer for the Mystic Fall's high school football team. Alright! Let's show them our support everybody! (The float and the cheerleaders arrives) [Grayson's Gilbert's office] (John is with Mayor Lockwood, he's preparing the device) John: This is the key. Once inserted, the device will be activated. It will work only once for an estimated time of 5 minutes Mayor Lockwood: Yes, how does it work? John: It's a high pitch frequency that humans can't hear. Any vampires in a five block radius will be incapacitated, exposing them. At that time the sheriff V5 DPTS will inject them with vervain and bring them here, when we will finish them all Mayor Lockwood: And you're certain they're attacking tonight? John: I had a source. One of the vampires from the tomb confirmed the att*ck [A building] (The vampires from the tomb are doing a meeting. Their chief is speaking) The chief: Everybody listen up! Plan stays the same. We wait until the firework start, until then we blend in. Stay apart of the celebration; they'll never see us coming [Grayson Gilbert's office] John: They want revenge for what our ancestors did in 1864. It makes us their target [A building] (The chief is showing the others vampires a plan of the Mystic Fall's square) The chief: This area here is the stage. This were the founding families are gonna be. Any questions? [Grayson Gilbert's office] Mayor Lockwood: We're taking an enormous risk. We're talking about our families John! [A building] (Anna arrives) The chief: Anna? What are you doing here? [Grayson Gilbert's office] John: This is the only way to drew all them out and k*ll them… all of them [Mystic Grill] (Damon is standing alone, Elena arrives, and he looks at her. Elena has changed her clothe) Damon: I like you better like this. Period look, it… didn't suit you Elena: Is that an insult? Damon: Actually Elena, it is a compliment of the highest order Elena: Look, o know Stefan is worried about our… friendship Damon: Did he mention that to you too? Elena: No, did he mention something to you? Damon: No, nothing worth repeating Elena: So, I think you should stop with the flirty little comments and that eye thing that you do Damon (smiling): What eye thing? Elena: Don't make me regret being your friend okay? (He seems hurt. Elena looks at Jeremy who's siting alone. She looks at him and goes toward Jeremy. Damon looks at them) Elena: I don't believe that we can't fix this. I lied, I was wrong but you're my brother Jer and I love you and I have to fix it. So just tell me, what can I do? Jeremy: You can to hell Elena (He gets up and leaves. Damon looks at him) [Mystic Falls' square] (Jeremy is walking, Damon walks behind him) Damon (mocking at Jeremy): "I have so many emotions, but I don't have any way to express them. Being a teenager is so hard!" Jeremy: You dick! Damon: You do not talk to me like that! I'm not your sister. And for now on (He catches his arm) don't talk to your sister that way Jeremy: So, you're going to k*ll me just ‘cause I hurt Elena's feelings? Damon: Got her some snack Jeremy: She raised my memory Damon: No, I did! She was protecting you Jeremy: It wasn't her call to make (He tries to live but Damon holds his arm) Jeremy: let go of me before I call a scene Damon: You'll be unconscious before you even got a word out (Stefan arrives) Stefan: Let him go (Damon releases him. Stefan puts himself between them and looks at Jeremy) Stefan: Are you alright? Jeremy: Yeah Stefan (looking at Damon): What my brother is trying to say is don't blame Elena for this. Damon turned Vicky, I k*lled her. She was a thr*at to you and she was a thr*at to your sister. I'm sorry that it happened, I wish that it hadn't (Damon looks at Stefan) Jeremy: She won't have me forget (He leaves) Damon: Good cab, bad cab, I like it Stefan: What are you doing? Damon: He's been a punk Stefan: Elena's relationship with her brother is not even your business. Stay out of it! Damon: Oh, there's only one "too good here" role available. My bad I'm sorry (He laughs) Stefan: Get over yourself. We both know you're not doing this for the right reasons Damon: You see, there you go with that jealousy act again. What are the right reasons Stefan? In light me please! Stefan: Well, see Damon, it's only real when it comes from your desire to do the right thing for nothing in return and I know that it is an entirely foreign concept to you. I completely understand that you wouldn't get it (He looks at him and leaves) [Sheriff's office] (Sheriff Forbes is talking with John and Mayor Lockwood) Sheriff Forbes: You want to use our town as bait? It's too dangerous, too insane (She closes the door) Mayor Lockwood: You've got over the plans with you DPDS, they're all on board Sheriff Forbes: You've gone behind me? Mayor Lockwood: Yeah because we know this is exactly how you'd react Sheriff Forbes: Our children are here John: Liz, we need to do this. We have no choice; this is the reason for the secret council. Our founding fathers created the secret council for just this purpose (Long pause. They look at each other) Sheriff Forbes: I'm the Sheriff, it's my call and I say no John: Richard, let me speak to the Sheriff alone (He looks at them and leaves) Sheriff Forbes: John, you're not thinking clearly, I'm not gonna change my mind about this (She turns her back and goes toward her desk. John hits her behind the head; she's unconscious. He removes her g*n and attaches her with her handcuffs. He looks at her and leaves) [Mystic Falls' square] (Its night, Damon is looking everywhere, walking when he falls into Anna) Damon: You're still around? Anna: There's something you need to know. The vampires from the tomb are planning an att*ck tonight Damon: How do you know this? Anna: I went to them. They think I'm with them but I'm not. They want the founding families d*ad Damon: When is it supposed to happen? Anna: When the firework start (Long pause) Damon: John Gilbert wants to use that invention on them Anna: Then we can't be here Damon: It doesn't work, it's deactivated Anna: Well, then a lot of people are gonna die Damon: Where are they right now? Anna: They're already here Damon (The tomb vampires doing a meeting in front of a building) The chief: Remember, we don't know which of them injects vervain. It's not about the feed, it's about the k*ll. You know what to do (They go in the crowd) (Damon is walking toward Alaric) Damon: Rick! Alaric: Yeah? Damon: You keep those naughty little vampires darts in the car? Alaric: Yeah, why do you ask? Damon: Because this square is crawling with tomb vampires. I think we might need a stake or two Alaric: Yeah, got it (Alaric leaves, Damon sees Stefan and Elena. He goes toward them and takes Elena's hand) Elena: What are you doing? Damon: Saving your life. Fifteen words or less… Tomb vamps are here, founding families are their target. (To Stefan) Get her out of here, now! (Damon starts to leave) Stefan: Wait, where are you going? Damon: It's more than fifteen words Stefan (He leaves) Elena: Wait, Jeremy is out here somewhere Stefan: Let's go find him, come on! [Mystic Grill] (Tyler is at the pool table. Matt and Caroline are sitting at a table, they look at him) Caroline: There this time, freshman year, when Bonnie and I were in a fight and we swore that you would never talk again Matt: Caroline, give it a rest (Mayor Lockwood arrives at the Mystic Grill. He goes toward Tyler) Mayor Lockwood: What are you doing here? I told you to go home Tyler: I decided not to Mayor Lockwood: If I tell you to do something you do it! (He catches Tyler's arm and begins to scream) Tyler: Let go of me! (Caroline arrives) Caroline: Mayor, is everything okay? (Matt arrives too; the mayor looks at them) Mayor Lockwood: Please Tyler; I need you to go home, now. Take your friends with you Matt: why? What's going on? Mayor Lockwood: I can't explain. All of you need to get home, now. Please Tyler: Yeah, okay (The mayor gives him his car's keys) Mayor Lockwood: Here, take my car, it's on back. Caroline, Matt go with him (They look at him and leave) (Jeremy is in front of the restrooms. Anna goes toward him) Jeremy: Anna what are you doing here? My uncle could see you Anna: I don't care about that. I needed to find you. Come here (They go in the restrooms) [Mystic Falls' square] (Mayor Lockwood is doing his speech) Mayor Lockwood: For one hundred and fifty years, Mystic Falls has been the kind of town that everybody want to call home, safe, prospers, welcoming. And we have the founders to thank for that. That's why I'd like to dedicate this evening's firework display to their legacy (Everyone applause, the tomb vampires on in the crowd, looking at the Mayor. He looks at one of the DPDS) [Grayson Gilbert's office] (John is waiting for the signal. One of the DPDS is with him) John: Get position (The DPD goes out. John goes toward the device and looks at it) [Mystic Falls' square] Mayor Lockwood: Enjoy the show! (The firework starts. Mayor Lockwood and his wife are leaving. Tomb vampires are following them. Bonnie falls into one of them) The chief: Excuse me, I'm sorry Bonnie: I'm sorry (He leaves, she looks at him. She understands what she is and follows him) [Grayson Gilbert's office] (John is preparing the device, Damon arrives) Damon: Do you have any idea of what you've done? John: Yeah, as a matter of fact I do (Damon goes toward him, John activates the device. Damon falls, he holds his head and screams) [Mystic falls' square] (Stefan falls) Elena: Stefan, what's going on? What's happening? Stefan: My head Elena: What? Stefan: My head [Grayson Gilbert's office] (Damon is on the floor, holding his head and screaming. John is preparing a syringe with vervain) [Mystic Grill] (Anna and Jeremy are in the restrooms. Anna holds her head and begins to scream) Jeremy: Anna what's wrong? Anna: Please make it stop! (We see a succession of images: Stefan is holding his head, Damon is holding his head. Anna is in Jeremy's arms screaming. The tomb vampires' chief falls, one of the DPDS injects him vervain. John injects vervain to Damon) [Mystic Falls] (Tyler is driving when he suddenly heard the device) Tyler: What the hell is that? Caroline: What's the matter? Tyler: That noise Matt: Wait, what noise? (Tyler holds his head and begins to scream) Caroline: Tyler! Tyler! (He loses the control of the car) Matt: Caroline, the wheel! (She tries to hold the wheel, Tyler screams. The car crashes against a wall) [Mystic Falls' square] (Stefan is on the floor, holding his head. Elena's with him. A DPDS runs toward him but Alaric arrives and talks to him) Alaric: Hey, I got this one. There's one over there. Take this, go! (The DPD leaves. Alaric goes toward them and helps Stefan to get up. They go toward the stairs) Elena: I don't know what happened, he just dropped Alaric: Yeah, he's not the only one. The cabs have gotten everyone who's gone down, they injected them vervain Elena: What? (Long pause, they look at Stefan) Elena: They're running up the vampires (Carol Lockwood is with her husband. He's on the floor) Carol Lockwood: Please help him, he just went down (The DPDS inject him vervain) [Mystic Grill] (Anna and Jeremy are still in the restrooms) Anna: ahhhhhhhh my head! (She screams. One of the DPDS enters) DPD (to the radio): I got one (They inject her vervain, the other holds Jeremy) Jeremy: Hey, what are you doing? What are you doing? Hey, leave her alone! (The DPD takes her, the other stays with Jeremy) Jeremy: Leave her alone! Anna! [Grayson Gilbert's office] (The device is stopped. John takes everything back and goes in the basement. Damon is on the floor, unconscious. DPDS are bringing more vampires) John: The device is done; the only thing that keeps them down is vervain. We don't have much time, let's finish this. (Damon begins to wake up; one of the DPDS is putting gasoline everywhere. John begins to leave but Anna catches his leg. She's on the floor. He looks at her) John: Anna (Damon turns his head and looks at them) John (to the DPD): You can head up; I'll take it from here (The DPD leaves, Anna tries to get up, Damon is still looking at them. John takes a stake from his back) Anna: Please…no! (He stakes her, Damon looks at him. John puts more gasoline. He goes up the stairs and puts gasoline on them. He goes out the basement and put the f*re. Some of the vampires begin to burn. Damon looks at them) [Mystic Falls' square] (Stefan is better, he's talking with Elena) Elena: Are you okay? Stefan: It's like needles were piercing my skull and it just stopped (Alaric arrives) Alaric: I saw at least 5 vampires go down. They're taking them to your old family's building Stefan: It's the Gilbert's device. It has to be Elena: But how did he get it to work? Bonnie in spelled it Alaric: Maybe she didn't Elena: She did, we saw her do it Stefan: No, no, no he's right. Think about it. We asked Bonnie to deactivate a device that could protect people against vampires Elena: So we could protect you Stefan: And Damon. Vampires. Where is Damon? Alaric: I don't know. I haven't seen him since this started Elena: Can you get my brother, take him home? Alaric: Of course Elena: Let's go [Sheriff's office] (Sheriff Forbes is still attached to the radiator. Carol Lockwood arrives) Carol Lockwood: Liz, are you okay? Sheriff Forbes: There's a key on my… Carol Lockwood: What's going on?! Sheriff Forbes: There's a key in my belt, I need you to take it (She takes the key) Carol Lockwood: I've been looking everywhere for you, something happened to Richard. They took him Sheriff Forbes: who took him? Carol Lockwood: Your DPDS. I don't understand, he's not a vampire (Sheriff Forbes opens her handcuffs and gets up) Sheriff Forbes: Let's go [Grayson Gilbert's office] (The basement is on f*re. Damon looks around him and sees the mayor) Damon: Mayor. Is that you? Mayor Lockwood: What are you doing here? Damon: I'm a vampire. What's your excuse? No, really. The vervain doesn't affect you, you're not a vampire, what the hell are you? (The mayor goes back; he tries to get away from Damon. He falls into the tomb vampires' chief) The chief: Mayor Lockwood! (He kills him) [Mystic Falls] (Matt and Caroline are out of the car; an ambulance is here, Tyler is on the floor, unconscious) Matt: Hey, are you okay? Caroline: I'm fine, I'm fine Matt: No, they need to check you out Caroline: No, I'm fine I'm fine. They're helping Tyler (The doctors are examining Tyler. One of the doctors opens one of his eyes, he is black, red, yellow and orange) Doctor 1: What the hell?! Matt: What's wrong? Doctor 1: His eyes (They look at him when suddenly Tyler wakes up) Tyler: What happened? Matt: Dude, don't scare me like that (Matt turns his head, Caroline is on the floor, unconscious) Matt: Caroline! Guys over here! Caroline wake up! [Mystic Falls' square] (Elena and Damon are walking when suddenly Stefan hear the f*re) Stefan: Wait, wait, wait, I can hear them. The building is on f*re Elena: What? [Grayson Gilbert's office] (The building is still on f*re. Damon tries to gets up but a beam falls on his head) [Mystic Falls' square] (Elena and Stefan go toward John, talking to him) Elena: Where is Damon? John: With the rest of them where he should be. It's over for Damon Elena: You're crazy John: Why? Because I'm doing what should have been done a hundred and fifty five years ago? This is the right thing Elena (Stefan is looking at the building. John looks at him) John: Go ahead, you won't make it out. It'll save me the trouble of k*lling you myself (Stefan looks at Elena) Stefan: You now the building well, is there another entrance in? Elena: The emergency door, she's on the side (He goes toward the building, Elena follows him but John catches her arm) John: You take one more step and I tell those DPDS that they missed a vampire Elena: I'm asking you not to John: That doesn't mean anything to me Elena: As my father it should (Long pause, they look at each other) John: You know Elena: I wasn't sure but now I am (She looks at him and goes toward the building) [Grayson Gilbert's office] (Stefan runs on the emergency door but Bonnie arrives) Bonnie: Hey, you can't go in there! (Stefan opens the door) Bonnie: f*re will take you out Stefan: He's my brother Bonnie (He goes into the building, he tries to open the basement's door but the doorknob is too hot. Bonnie is looking at the building when Elena arrives) Elena: Stefan! Bonnie: Elena, you can't go in there! Elena: Bonnie, what are you doing? Bonnie: I'm sorry I lied to you (She catches Elena's arm, closes her eyes and begins to recite a spell) Elena: Bonnie I've got to get in there! (Bonnie is still reciting the spell. In the building, Stefan can finally open the door but the f*re is too big. Suddenly the flames diminish, thanks to Bonnie's spell. Stefan goes into the basement and finds Damon) Stefan: Damon! Come on, hurry (He catches him and they go out of the basement. Outside bonnie finishes her spell and looks at Elena) Elena: Bonnie… Bonnie what is it? Are they gonna be okay? (Stefan and Damon go out of the building, Elena runs toward them) Elena: Oh my god! [Mystic Grill] (Elena is standing alone, Stefan rejoins her) Elena: The f*re is out. Story is that building's old wirings caused it Stefan: Did you see where Damon went? Elena: No, he just kind of disappeared (She embraces him) Elena: I'm so glad you're okay Stefan: I try so hard… to hate him. Now I guess it's just pointless Elena: You care about him, so do I but I love you Stefan and I know that you are worried about that Stefan: I just… you know, I know my brother Elena: But I love you Stefan Stefan: I know the trouble he can cause (She takes his face in her hands) Elena: I love you Stefan, you! (They look at each other and she kisses him) Elena: You have nothing to worry about okay? (She kisses him again) Elena: Jenna called, Jeremy's home, I'm just gonna run over the school to pick up my dress, my clothe and the rest of my stuff and then I'll check on him [Gilbert's house] (Jeremy is on his bed; he looks at the flask, gets up and puts it in his drawer. He turns his head: Damon is here) Jeremy: What are you doing here? Damon: Anna's d*ad Jeremy: I figured that once they took her away Damon: I know you cared about her Jeremy: Yeah I did Damon: I saw her k*lled. I was watching and all I could think about was… I wanted to help her but I couldn't Jeremy: Why are you telling me all this? Damon: I took away your suffering once before, I can do it again but it's your choice Jeremy: Look, I know you think you took it away but it's still there. Even if I can't remember why I still feel empty, alone and making me forget won't fix it. It won't fix what's really wrong Damon: What I did to Vicky was wrong. Sorry for my part Jeremy: Anna said that don't have to feel pain; that they could turn it off if they shut out their humanity Damon: It's very true. Jeremy: Is it easier that way? Damon: Is what easier? Jeremy: Life Damon: Life sucks either way Jeremy but at least if you're a vampire you don't have to feel bad about it if you don't want to Jeremy: Is that what you did? Damon: I did it for a… I did it for a very long time and life was a lot easier (He looks at Jeremy and leaves) [Mystic Falls' hospital] (Matt is sitting alone, Tyler rejoins him) Tyler: Hey man. I'm so sorry. Look, I don't even know what happened Matt: It's okay man (Tyler sits down with him, sheriff Forbes arrives. Matt gets up) Matt: What's happening, is she alright? Sheriff Forbes: There was some internal bleeding; they're taking her to surgery Matt: What else did they say? Is she gonna be okay? Sheriff Forbes: They're gonna do everything they can (He looks at her and sits down) Sheriff Forbes: Tyler, have you talk to your mom? Tyler: I left a message telling I was here Sheriff Forbes: You need to call her Tyler: What is it? Sheriff Forbes: it's your dad [Gilbert's house] (Jeremy is in the bathroom, looking in the mirror. He has the flask in his hand. He opens it and drinks the blood. He finds pills and looks at them) [Mystic grill] (Stefan goes out, Bonnie arrives) Stefan: oh hey Bonnie: Hey Stefan: You… you just missed Elena Bonnie: I was looking for you actually Stefan: Oh Bonnie: Elena is my best friend and because she loves you I couldn't let you and Damon die in that f*re Stefan: I'm very grateful Bonnie, I hope you know that Bonnie: I do but I hope you know that things have to change. Damon has to change Stefan: We both want the same thing Bonnie: We both want to protect the people we care about. The difference is, for you Damon is one of them. You saw what I was able to do tonight, I know who I am now and if Damon spills so much as one drop of innocent blood, I'll take him down even if I have to take you with him Stefan: Let's hope it doesn't come to that Bonnie: Let's hope it doesn't [Gilbert's house] (Damon goes out of the house. Elena arrives, she's holding her dress) Elena: What are you doing here? Damon: Failed and feeble attempt of doing the right thing Elena: which was…? Damon: It's not important. Let me take this for you (He takes the dress) Elena: Thank you Damon: You know, I came in this town wanting to destroy it. Tonight I found myself wanting to protect it. How does that happen? I'm not a hero, Elena. I don't do good. It's not in me Elena: Maybe it is Damon: No. Nah, it's reserved for my brother, and you…and Bonnie... Even though she has every reason to hate me, still helped Stefan save me Elena: Why do you sound so surprised? Damon: Because she did it for you. Which means that somewhere along the way you decided that I was worth saving. And I wanted to thank you for that Elena: You're welcome (He kisses her on the cheek; they look at each other, he hesitates and then he kisses her. They kiss each other and then Jenna opens the door and interrupts them. They stop and Damon tries to hide himself) Elena: Hi Jenna: It's late, you should probably come inside (She looks at Damon, grabs her dress and goes into the house. Jenna closes the door) Jenna: What are you doing? Elena: I don't want to talk about it (Outside, Damon looks at the house, touches his lips and leaves) (Jeremy is in the bathroom, he's taken all the pills. He goes in his bedroom, lays on the bed and closes his eyes) (John is in the kitchen, he opens the fridge and when he closes it Elena is here) John: You scared me Elena: Sorry John: You know, I first met Isobel when I was a teenager. I fall in love with her instantly although I'm pretty sure she never loved me. She was special. A part why I hate the vampires so much is because of what she became, how it ruined her and I never would have sent her to Damon if I had known she wanted to turn. (She looks at him) John: It's my fault. I'm telling you this because I hoped maybe you'd understand Elena: Thank you John: Can I help? (She looks at his ring) Elena: Sure (She cuts his fingers with a Kn*fe and pushes him against the sick .John screams) John: Katherine?! Katherine: Hello, John. Goodbye, John (Her face changes; she s*ab him) (Elena opens the door; she's on the phone with Stefan) Elena: I looked everywhere. Yeah, someone definitely took my stuff. I'm just gonna check on Jeremy before I'll go to the hospital. Can you meet me there? Okay, I love you Stefan (She enters the house to check on Jeremy) Elena: Jeremy?! Are you up? (She hears noise coming from the kitchen. She goes toward the kitchen) THE END

{"type": "series", "show": "The Vampire Diaries", "episode": "01x22 - Founder's Day"}

foreverdreaming

[Gilbert's house] (John is in the kitchen, he closes the fridge. Katherine is here, she poses as Elena) John: You scared me Katherine: Sorry John: Is Jenna home? Katherine: She had to meet the f*re chief about the building. She doesn't know the truth, they had covered that up John: Yeah I know, how's Jeremy? Katherine: Hold up in his room (We see Jeremy on his bed, he's unconscious) (Elena is on the porch, she's at the phone with Stefan) Elena: I looked everywhere Stefan: What do you think, someone stole it? Elena: Yeah, someone definitely took my stuff (Katherine and John are in the kitchen) John: Can I help? Katherine: Sure (Elena is still on the porch, at the phone with Stefan) Stefan: You want me to pick you out? Elena: I'm just gonna check on Jeremy before I go to the hospital, can you meet me there? Stefan: You bet Elena: Ok, I love you Stefan Stefan: I love you too (Katherine cuts John's fingers and pushes him against the sick) John: Katherine? (Her face changes) Katherine: Hello John, Goodbye John (She s*ab him) (Elena enters the house) Elena: Jeremy? Are you up? (She hears noise in the kitchen and goes toward it. She sees John on the floor; he's alive but very hurt. She rushes over him. She calls 911 but Katherine is behind her) Elena: Hi I need an ambulance to 2104 Maple Street John: Behind you Elena: What? John: Behind you (She turns herself but Katherine's not behind her anymore. She takes the Kn*fe and goes in the hallway. Katherine passes behind her with super speed. Elena turns herself. Katherine is behind her again. She rushes on the door with super speed and gets out of the house. Elena is scared) Elena: Jeremy (She rushes over the stairs and goes in Jeremy's bedroom) Elena: Jeremy! Jeremy! (She finds him unconscious on his bed) Elena: Jeremy please wake up (He opens his eyes) (The police and the ambulance are here. They took John. Stefan arrives. They go in Jeremy's bedroom) Stefan: What happened? Elena: He said that Anna gave him her blood and then he took this pills and now… I mean he looks fine but so do you. I just… I don't know (Stefan looks at Jeremy and takes his face between his hands) Stefan: Look at me Jeremy: I'm fine okay? I feel exactly the same Elena: Should I call a paramedic? What should I do? (Stefan looks at Jeremy's eyes) Stefan: No, he's fine Jeremy: You mean I'm not a vampire? Damn it! Elena: Don't say that Jeremy! Jer, what do you want that? Jeremy: Did you hear about Anna, what happened to her tonight? She's d*ad Stefan: Jeremy, Jeremy. Come here, sit down (Jeremy sits down on the bed) Stefan: I'm sorry about Anne but it's very important that you listen to me right now. Every passing moment Anna's blood is leaving your system. If you try to k*ll yourself right now, you could really die (He slaps him) Stefan: Hey! Do you understand me? Elena: Stefan… Jeremy: Yeah, I understand Stefan: Good Elena: What about the pills that he took? Stefan: He didn't take enough to die so Anna's blood actually hilled him about (A policemen arrives) Policemen: Miss Gilbert? Elena: I'll be right there Stefan: You need to be at the hospital Elena: But… Stefan: No, no, no, I'll stay here with Jeremy Jeremy: No, I don't need a babysitter Elena: Yes, you do [Mystic Falls' hospital] (Matt is sitting alone, Bonnie arrives) Bonnie: How is Caroline? Matt: She's not good Bon Bonnie: What happened? Matt: We were driving and Tyler heard this noise and he got… Bonnie: A noise? Matt: He got this migraine or something and he lost control of the car and… I thought Caroline was fine and then… and then she wasn't so… (Sheriff Forbes is alone, Damon arrives) Damon: Liz, I came as soon as I get the message. Is she okay? Sheriff Forbes: She's in surgery, it's … they're doing everything they can. I need your help Damon Damon: Sure, anything Liz Sheriff Forbes: Mayor Lockwood is d*ad. They thought he was a vampire. They put him in the basement Damon: Mayor Lockwood is a vampire? Sheriff Forbes: No, no. A mistake was made, they said he drops like the others when John's device when off but he… he couldn't have been a vampire, I've known him my whole life and know Carol Lockwood is gonna want answers and all I can think of right now is Caroline and… (She begins to cry) Damon: It's okay (He embraces her) (Elena arrives at the hospital, she's with Bonnie) Elena: How's Caroline? Bonnie: She's weak. They don't know if she's going to make it Elena: What? (Bonnie embraces Elena. Damon is near her, he looks at them) Elena: Is there something that we can do? Like a spell or something? Damon: She doesn't know how, do you? Bonnie: No, I don't Damon: No, you don't because it took Emily years to learn a spell like that Bonnie: Now I can take down a vampire, this spell was easy to learn Damon: I can give Caroline some blood Elena: No, no way Damon: No, just enough to heal her, she will be safe in the hospital and it will be out of her system in a day, she will be better Elena Elena: It's too risky, I can't agree to that Bonnie: Do it. This is Caroline. We can't let her die. Do it Damon: If I do this, you and me, call truce? Bonnie: No but you'll do it anyway, for Elena (Bonnie leaves. Elena and Damon are alone) Damon: I know this is probably the last thing you want to do right now but we should talk about what happened tonight Elena: Yeah, one of the tomb vampires has got into to house and almost k*lled John Damon: What? When? What are you talking about? After I left? Elena: You were there? Damon: Come on Elena you know I was Elena: When were you at the house? Damon: Really? Earlier, on the porch, we were talking, exposed our feelings, come on, we kissed Elena! Elena: Okay, I don't have time for this Damon Damon: If you want to forget what happened fine but I can't (Jenna arrives. Damon is going apart from them but listen) Jenna: Elena, I came as soon as I get you message. How is John? Elena: Where have you been? Jenna: At the f*re department, I deferred a report. I told you earlier Elena: No, you didn't Jenna: Yes I did Elena: No, Jenna, you didn't Jenna: Yes I did (Damon understands that it was Katherine) Damon: Oh, you got to be kidding me [Gilbert's house] (Stefan is looking after Jeremy. He hears the front door. It's Katherine still posing as Elena. He goes down the stairs) Stefan: Hey! How was Caroline? Katherine: Not good (He embraces her) Katherine: Just what I needed (She tries to kiss him but he understands that it's not Elena? He throws her on the couch) Stefan: Katherine Katherine: I least I fooled one of you (He rushes over her and pushes her against the wall) Katherine: Feeling better? (He pushes her against another wall but someone is opening the front door. Katherine takes his arms and throws him on the floor and leaves. Elena and Damon enter the house. Stefan is on the floor but stands up immediately) Elena: Stefan? Stefan: What happened? Damon: Katherine happened (Damon and Stefan are in the kitchen) Damon: Did she say what she wanted? Stefan: No Damon: This women certainly knows how to make an entrance Stefan: She said she fooled one of us at least. What is that mean? Damon: She pretended to be Elena too when I showed up earlier tonight (Elena arrives) Elena: I told Jeremy, I can't lie to him anymore Stefan: Are you alright? Elena: No, I'm not alright. I thought that with all the tomb vampires gone things were getting better Stefan: I know, we all did Elena: Katherine was in this house, that means she's been invited in, what are we gonna do? Damon: Move Elena: Very helpful, thank you Damon: Katherine wants you d*ad, there's zero you can do about it, you will be d*ad but you're not. So clearly she has other plans Stefan: Right and we need to find out what those other plans are and not provoke her in the process. What happened tonight when you thought she was Elena? Damon: To risk another front line encroaching on your very crowded forehead … We… kissed Elena: And you thought it was me? Stefan: What do you mean you kissed? Damon: You know, when two lips pucker and then (He feigns a kiss. Stefan rushes over him with his super speed but Damon is faster) Damon: Don't be obvious Stefan (Stefan goes toward him but Elena puts herself between them) Elena: Stefan wait, he kissed Katherine, not me (She looks at Damon) Elena: I wouldn't do that. We don't have time for this guys Stefan: Later Elena: John must know something. It has to be a reason why Katherine tried to k*ll him Damon: She's Katherine, she loves to play games and you're fooling yourself if you think you're going to find out what she's been up to before she wants you to know Stefan: No, actually Elena's right, John could know something threw Isobel. You mother, she was in touch with Katherine so maybe we can go to the hospital and talk Damon: I've got a better idea Elena: What's that? Damon: I'm just gonna ignore the bitch. See you Elena: Is that smart? Damon: If Katherine thinks she's been ignored it will low her out, she'll make a move Stefan: Yeah? And then what? Damon: Stake her; rip her head off, something poetic. We'll see [Mystic Falls' hospital] (Bonnie is talking with Matt) Bonnie: You've been here all night? Matt: Yeah, with the sheriff Bonnie: No one else? Matt: Stefan's brother Damon stopped by late last night Bonnie: How is Caroline today? Matt: See for yourself (They go on Caroline's room) Caroline: Jersey Shore's on (Bonnie embraces her) Caroline: Careful, still a little sore Bonnie: Sorry Caroline: its okay but they say I'm healing very quick Matt: My turn (He kisses her. Bonnie's crying) Caroline: Why are you crying? Bonnie: I'm just happy you're okay Caroline: I love you guys Bonnie: We love you (They embrace each other) [Lockwood's mansion] (Carol Lockwood is talking with Sheriff Forbes and Damon) Carol Lockwood: I want to know exactly who's responsible for k*lling my husband Sheriff Forbes: I'm looking into it but you have to be straight. Is there any reason Richard was affected by the vampire device? Carol Lockwood: Are you implying that he was one of them? Damon: No, no one's implying that Carol Lockwood: Your deputies screwed up, plain and simple which makes you responsible Damon: Carol… Sheriff Forbes: Your husband is the one who helped John Gilbert execute his idiot plan in the first place Damon: Liz… Carol Lockwood: Someone got my husband k*lled Damon: We're all in edge here, you've suffer a great loss, the whole town has. We have to stick together okay? Trust each other, we're gonna get through this (Tyler is outside, a man arrives) Tyler: So the black sheep returns Mason: Tyler? Tyler: Yeah Mason: What happened to you? In my mind you were twelve years old Tyler: Then that's two years older than the last time you saw me, Uncle Mason (They embrace each other) Mason: Good to see you again Tyler: It's good to see you too. Come on inside [Mystic Falls' hospital] (Stefan and Elena are going to see John) Stefan: Ready for this? (They enter in the room) Elena: John? (He opens his eyes and gets scared when he sees Elena) Elena: I'm Elena, I'm not Katherine Stefan: We know she did this to you Elena: We need to know why John: Where is she? Stefan: You tell us John: I don't know (He tries to sit down but Stefan stops him) Stefan: You're a little too weak to play tough guy, I want you to sit back and answer a few questions (Elena gives him his magical ring) Elena: Please, tell us why she's here. What does she want? Stefan: She'll try again; we can't help you if you don't confide in us John: In you? Stefan: In your daughter then John: My daughter should have put you a stake to your heart by now (He looks at Elena) John: I never spoke to her directly, she never trusted me (He looks at Stefan) John: So either k*ll me or get out because I can't stand the sight of you with my daughter Elena: You see the problem with such hatred? It's gonna get you k*lled (She goes out of the room. Stefan is alone with John. He rushes over John and strangles him) Stefan: You may be okay with dying but I have a better plan for you (He cuts his wrist and puts it in John's mouth and makes him drink his blood) Stefan: You know, with my blood in your system all I have to do is k*ll you. Now take my advice… Leave town, Elena doesn't want you here. You've got about 24 hours before the blood leaves your system, that's enough time to disappear or I swear to god I will turn you into a vampire and I will watch you hate yourself more than you already do (He releases him) Stefan: The clock starts now (He leaves the room) [Lockwood's mansion] (Damon is watching Mason and Carol. He talks with Sheriff Lockwood) Damon: Who's the guy with Carol? Sheriff Forbes: It's the mayor's younger brother, Mason Lockwood Damon: Is he in the council? Like John Gilbert when he rolled in? Sheriff Forbes: He's nothing like John. For one, he's not an ass. He's not a believer either. He wants nothing to do with the council. He's too preoccupied finding the perfect wave Damon: Thanks see you (Katherine arrives at the mansion. Tyler intercepts her) Tyler: Hey Elena, thanks for coming, come on in (She enters) [Mystic Falls' hospital] (Elena and Stefan are outside) Elena: Hey, I just have to swim by home to pick up Jenna and Jeremy so we can go to the Lockwood's. How did you leave him there, John? Stefan: I… I asked him to leave town Elena: Asked? You thr*at him Stefan: Yeah I thr*at him Elena: Good. I want him gone, Stefan. I know that I shouldn't feel that way but I don't want someone like that in my life or Jeremy's life Stefan: I know (They embrace each other) Elena: So what now? Stefan: Now… I need to go find Damon Elena: Please Stefan, don't fight with him Stefan: No Elena, he tried to kiss you I'm not okay with that Elena: That's not the problem, Katherine is. She's already messing with both of your heads and Damon is not s*ab when it comes to her. The last thing we need is to make things worse [Lockwood's mansion] (Damon and Bonnie are talking) Bonnie: Did you know the Gilbert device affected Tyler Lockwood? Damon: Well, I know mayor in Bonnie: Don't you want to know why? Damon: Yes Bonnie, I would love to know why. A non-vampire was tortured by the vampire t*rture device that you let John Gilbert use against us. Speaking of your guilt how is Caroline? Bonnie: Much better Damon: You're welcome Bonnie: No, you're welcome Damon: Why am I welcome? Bonnie: You live to see another day Damon: No good deal goes unpunished with you, doesn't? Bonnie: Doesn't undue the bad. I know what you are Damon, you might have Elena and the sheriff and everybody else fooled but not me. One wrong move and I'm gonna take you out Damon: Now you need to stop with the witches' brood. You're starting to believe your own press (She looks at Damon in the eyes, his head his hurting him. He holds his head) Bonnie: I'm sorry, you were saying? (She goes out and sees Elena but in reality it's Katherine posing as Elena) Bonnie: Oh my god! Damon drives me crazy. He's walking around like he's some kind of hero for healing Caroline when it's his fault all of this happened in the first place Katherine: I'm sorry Bonnie. What Damon's done is just awful Bonnie: Okay, better. Hateful Damon moment over (Bonnie touches her; she feels that it's a vampire) Bonnie: I've got to find Tyler and Give my respects. I'll be back (She goes in another room and calls Elena) Elena: Allo? Bonnie: Elena? Where are you? Elena: Bonnie, I know I'm late. I'm getting in the car now. I'll be here in 5 (She hangs up. She turns herself, Katherine is here) Katherine: We haven't officially met, I'm Katherine Bonnie: I know who you are Katherine: Of course you do. You're the best friend right? I've been putting all the pieces of Elena's life together. Isobel told me it was a bit of a puzzle. I do know who Jenna and Jeremy are and I met that delicious ex-boyfriend Matt, he was sweet on Caroline, and then there's you, the vampire-hating Bennett witch. Did I do good? (Bonnie tries to get out but Katherine is faster than her. Bonnie looks at her and tries to hurt her with her powers. Katherine feigns to be hurt) Katherine: I've been around a long time Bonnie; you have to do better than that (She catches Bonnie by the neck and pushes her against the wall. Her face changes, Bonnie open the doors with her powers) Katherine: Nice Stefan: Katherine Katherine: Stefan Stefan: Leave her alone Katherine: Okay (She releases her and leaves the room. Stefan looks at Bonnie and follows Katherine) Stefan: What are you doing here? Katherine: After the way you treated me last night, I thought that a public place would be less violent Stefan: You're taking this a little far don't you think? Elena could walk in at any moment Katherine: But that's part of the fun Stefan. Damon's here, somewhere, I've been avoiding him (Matt arrives) Matt: Hey guys Katherine: Hey Matt. I heard that Caroline is doing much better. Her recovery was practically miraculous, you must be so relieved Matt: I am. Thanks Elena (He leaves) Katherine: Oh! His eyes are so blue! Stefan: You need to leave now Katherine: You're hurting my feelings Stefan. Damon was much happier to see me but he thought I was your girlfriend so… Stefan: Katherine, I'm not doing this with you Katherine: Okay, how we don't have a couple's fight in front of all of your friends? Walk with me Stefan: Just tell me what you're doing here Katherine: Maybe I missed you. Is that an acceptable reason? Stefan: What game are you playing? Katherine: Why, you want to play with me? Stefan: I don't know, how can I play if I don't know the rules? Katherine: No rules Stefan. Don't you remember? No rules (They leave. Elena, Jenna and Jeremy arrive) Jenna: Looks like the whole town has turned out Elena: Yeah. Well he is… he was the mayor Jeremy: Why are they doing this for the funeral? Jenna: That's what people do. The Lockwood's were here for us when we went through this. It'll be quick; you drop off the food and pay respects and go Jeremy: In and out? It sounds like a plan (Elena sees Damon) Elena: You guys go ahead, I'll be right there okay? (She goes toward Damon) Elena: Hey, how are you doing? Damon: Great Elena. Walking on sunshine, thanks for asking Elena: Damon Damon: Elena Elena: We should be able to talk about this. Damon, we're close enough now. I really want to know how you are doing Damon: I kissed you; I thought you kissed me back… Doppelganger hijinks ensued… How do you think I'm doing? Elena: I think you're hurt Damon: No, I don't get hurt, Elena Elena: No, you don't admit that you get hurt. You get angry and cover that up and then you do something stupid Damon: You're scared. You think Katherine is gonna send me off the depend don't you? I don't need her for that. (He begins to leave but stops) Damon: You know… why this is such a surprise that I would kiss you? Elena: That's not a surprise. I'm surprised that you thought I would kiss you back Damon: Now I'm hurt (Bonnie arrives) Bonnie: Elena! Elena: Bonnie, what happened ? (Jeremy goes into a room. Tyler is there, drinking) Jeremy: Sorry, I was just looking for the… Tyler: Bathroom is down the hall Jeremy: Hey look… I'm sorry about your dad Tyler: Today has been a big day as sorry from people who don't really give a crap Jeremy: I remember when my dad died; I had a house full of strangers telling me how a great guy he was. Anyway, I know how hard all this is Tyler: The difference is in your case it was true. My dad was a dick Jeremy: Yeah, yeah he was Tyler: I found this on his desk (He holds the flask to Jeremy, he hesitates) Tyler: He won't mind, he's d*ad Jeremy: Yeah, you know what, sure (He takes the flask. Mason arrives) Mason: Hey, what's going on here Tyler? Tyler: Nothing, nothing (He looks at Jeremy) Mason: You don't have somewhere else to be? (Jeremy gives him the flask and leaves. Mason drinks and gives the flask to Tyler) (Katherine and Stefan are outside, walking) Katherine: The Lockwood's have a lot more land than they used to. These actions from the tomb vampires built them quite a fortune Stefan: Yeah, why did you want them d*ad? You're the one who turned most of them Katherine: There's nothing more annoying than revengeful vampire Stefan. Just ask John Gilbert Stefan: You haven't changed at all don't you? Katherine: But you have. You're stronger, meaner, sexy Stefan: Don't flirt with me Katherine. I'm not Damon; I haven't spent one hundred and forty five years obsessed with you Katherine: Yeah, based on your choice of woman I'd say otherwise. Although I admit it does bother me that you're falling in love with someone else Stefan: I was never in love with you, Katherine. You compelled me so none of my feelings were real Katherine: Believe what you want Stefan but I know the truth and deep down so do you Stefan: The truth? Well the truth is, you're the same lying, selfish, manipulative bitch that you've always been. So, whatever it is that brought you here, why don't you just get down with it and leave town? Because if you don't, I will hunt you down and I will rip your heart out Katherine: You want to know why I'm here Stefan? I came back for you Stefan: Well the problem Katherine is that I hate you (She takes an iron stem and s*ab him with it) Katherine: You hate me uh? That sound like the beginning of a love story Stefan, not the end of one (She takes off the stem and leaves) (Elena and Stefan are sitting on a bench, she's washing his wound) Elena: You're gonna be okay? Stefan: Yeah, it will heal Elena: It's not what I meant Stefan: I was trying to figure her out. I was playing along and let her get to me (Damon arrives) Damon: I tried to track her but she's gone. Ouch, cover up Fabio. You have a crazy ex on the loess (He looks at Elena) Damon: You better watch out, looks like Katherine is trying to steal your guy Stefan: it's not what's happening Damon: Isn't it? I mean it's only fair since I went after your girl Elena: I'm gonna go check on Jenna and Jeremy. Let me know when you guys are done (She leaves) Damon: So what's gonna be uh? Fight to the death? Go ahead, make your thr*at, stake your claim Stefan: I'm not gonna fight you Damon: Why? I'd fight me Stefan: Katherine is gonna try to play us against each other, you do know that right? Damon: Brother, don't you worry, our bound is unbreakable Stefan: We need to stay united against her. So yes, as much as I would like to k*ll you, I'm not gonna fight you Damon: I kissed Elena Stefan: Because you feel something for her, because you actually care and I'm not gonna let Katherine coming here and destroy that part of you that is finally, after all of this time, willing to feel something. She will try to break you, she will try to break us and how we respond to that will define us. It's our choice. So no, I'm not gonna fight you (He looks at Damon and leaves) [Gilbert's house] (John is preparing his luggage. Jeremy arrives) John: Jeremy Jeremy: What are you doing here? John: I'm packing, leaving Jeremy: So you figured you k*ll all you evil vampires and then you leave town? John: Not all but enough. For now. Can you tell Elena I say goodbye? Jeremy: Why don't you tell her yourself? John: You know Jeremy, I was taught to hate them, the vampires. That's what I know; that's what you father knew Jeremy: My father would have seen things differently John: No, he may have done things differently but there's no other way to see it Jeremy: That ring on your finger, the one's that supposed to protect you, that was my father's right? John: Yeah Jeremy: Then why didn't it protect him, why is he still d*ad? John: What happened to your parents wasn't supernatural, it was an accident. There's nothing that can save us from that Jeremy: I wonder what he'd think of all this, of me John: He would think that you're just too young. You're still finding yourself but you are a Gilbert and you've been exposed to this town's darkest secrets and with that come responsibility Jeremy: I don't believe in that family legacy stuff John: Sooner or later you'll have to [Lockwood's mansion] (Tyler is in his father's office. He looks at a picture of him and his parents and breaks it against the desk and breaks all the things on the desk. His mother arrives) Carol Lockwood: Tyler! What are you doing? Tyler: I hate him Carol Lockwood: Oh, don't say that (She touches him but he pushes her) Tyler: Let go of me! (Mason arrives rushes over him and pushes him against the floor) Tyler: Let go of me! Mason: Tyler! Hey! Tyler: I said let go of me! Mason: Tyler! Look at me, look at me. Calm down, settle down Carol Lockwood: Oh god [Salvatore's house] (He's in the living room, drinking. Katherine is here) Damon: Very brave of you to come here Katherine: I wanted to say goodbye Damon: Leaving so soon? Katherine: I know when I'm not wanted Damon: Don't pout; it's not attractive about a woman of your age Katherine: Ouch. What, no goodbyes kiss? Damon: What if I k*ll you instead? What are you doing here? Katherine: Nostalgia, curiosity etc. Damon: I like better the enigmatic Katherine. What are you up to? Katherine: Trust me Damon, when I'm up to something you'll know it. Come on, kiss me or k*ll me. Which will it be Damon? We both know that you're only capable of one (She tries to kiss him but he turns his head. She pushes him on the floor) Katherine: My sweet, innocent Damon (He strangles her and puts himself above her, on the floor. They kiss, she opens his shirt, and they kiss again) Damon: Okay, brief pause. I have a question. Answer it and its back to fireworks and rockets wire glare. Answer it right and I'll forget the last one hundred and forty five years that I spent missing you. I'll forget how much I loved you, I'll forget everything and we could start over. This could be our defining moment ‘cause we have the time, it's the beauty of eternity (He touches her face and her hair) Damon: I just need the truth, just once Katherine: Stop, I already know the question and its answer. The truth is… I've never loved you, it was always Stefan (She looks at him and leaves) [Gilbert's house] (Elena goes out of the bathroom and goes in her bedroom. Damon is sitting on her bed) Elena: Oh god, you scared me Damon: I'm just doing my part, the neighborhood watch Elena: Thanks for looking out for us, for me Damon: That's me, the trusted bodyguard, calm in crisis Elena: You've been drinking? And you're upset, that's not a good combination Damon: No I'm not upset. Upset is an emotion specific to those who care Elena: Come on Damon. That's a lie, you care Damon: You are surprise that I thought you would kiss me back? You can't imagine that I believe you would want to? Elena: Damon… Damon: No, all we've been doing here means something. You are the liar Elena. There is something going on between the two of us and you know it (He gets up and goes toward her) Damon: And you're lying to me, you're lying to Stefan and most of all you're lying to yourself. I can prove it Elena: No (He kisses her) Elena: Damon don't! What's wrong with you? Damon: Am I lying about this? Elena: Stop, you're better than this, come on! Damon: That's where you're wrong (He tries to kiss her again) Elena: No, no Damon. I care about you. Listen to me, I care about you. I do but… I love Stefan, it's always gonna be Stefan (Jeremy arrives) Jeremy: Elena, what's going on in here? Elena: Nothing Jeremy, it's okay, just go back to bed Damon: No it's not okay Elena (He looks at Jeremy and then at Elena) Damon: He wants to be a vampire (He pushes Jeremy against the wall) Elena: No Damon stop it! (Damon is strangling Jeremy) Damon: You want to turn off the pain? It's the easiest thing in the world. The part of you that cares just goes away, all you have to do is flip the switch and snatch! (He kills him) Elena: No! (She rushes over Jeremy and cries. Damon looks at her and leaves. She sees John's magical ring on Jeremy's finger) [Lockwood's mansion] (Tyler is sitting on the couch, Mason arrives) Mason: Your mom's out. I think she propped a couple of pills Tyler: I didn't mean to freak her out. I don't know why I get like this Mason: It's the curse of being a Lockwood Tyler: Is this how you get the shill gene? Mason: I didn't. I've just learned how to manage it Tyler: I don't want to be like this anymore Mason: None of us do. That's why it's a curse Ty [Gilbert's house] (Elena is on the floor with Jeremy, she has her brother in her arms. Stefan is here too) Stefan: He saw the ring that's why he did it, he knew Elena: He didn't see the ring Stefan: It's Katherine. She got on his skin, she undead everything that was good about him Elena: There's nothing good about him. Stefan, not anymore. He just decided what he wants. He just don't want to feel, he wants to be hated, it's just easier that way. He got his wish, (We see Damon, at the Salvatore's throwing a glass against the chimney) Elena: I hate him; Stefan Stefan: I know (He kisses her on the shoulder. Jeremy wakes up. Stefan takes his face and looks in his eyes) Elena: Stefan, is he okay? Stefan: He's okay Jeremy: he k*lled me, Damon k*lled me (Elena embraces him and smiles) Elena: Oh god [Mystic Falls' hospital] (Caroline is on the bed, sleeping. She wakes up and sees Katherine) Caroline: Elena? Katherine: Hey Caroline Caroline: What are you doing here? Katherine: My name is Katherine. I was hoping you could get the Salvatore's brothers a message for me Caroline: What are you talking about? What message? Katherine: Game on (She takes a pillow and puts it on Caroline's face, kills her and leaves the room) THE END

{"type": "series", "show": "The Vampire Diaries", "episode": "02x01 - The Return"}

foreverdreaming

[Mystic Falls' hospital] (She wakes up with a start and goes out of the room. The nurse is here) Caroline: Excuse me? Where is everyone? Nurse: It's the middle of the night honey Caroline: It is? Oh, uh… have you seen my mom? Nurse: She left after dinner with your boyfriend and then your friend Elena stepped by Caroline: She did? Yeah, she did but she said her name was Katherine. Can I just get something to eat? Nurse: Breakfast comes around seven Caroline: But I'm hungry Nurse: You should go back to sleep (She goes toward the room but then she stops) Caroline: What is that smell? Nurse: Back to bed (The nurse leaves but Caroline stays in the hallway. She looks everywhere and sees a blood pouch in a patient's room. She goes toward the pouch and touches it but the nurse arrives) Nurse: What are you doing in here? Caroline: I don't know Nurse: You need to go back to bed (She takes Caroline to her room and leaves. Caroline sits down on her bed and takes he blood pouch from her pocket. She drinks but she doesn't like it so she throws the pouch on the floor. She looks at the pouch on the floor and takes it. She drinks) [Mystic Falls' high school] (Everyone is preparing the carnival. Bonnie and Elena are taking care of everything) Bonnie: Katherine looked just like you, it was freakish Elena: She is my ancestor. Eh, I move the student booth into the cafeteria Bonnie: Your vampire ancestor and she didn't just resemble you like a family member would. She was you Elena: I don't know, I can't explain it. It's creepy, that's all you got Bonnie: How do you know she's not still out there pretending to be you? Elena: I don't but I could sit here and be tortured by the not-knowing or I could get these prices to the ring toss Bonnie: Have you talk to Damon since he k*lled Jeremy or tried to k*ll Jeremy? Elena: No Bonnie, I haven't and I won't and I don't want to talk about Damon or anything else that's vampire relating okay? (She gives a bag full of plush to Bonnie) Elena: I'm human. I have to do human stuff. Otherwise, I'm going to go crazy Bonnie: Okay, I'm sorry, let's focus. We have to make Caroline proud or she will k*ll us. I don't know how she does all of this Elena: Well because she's not human, obviously Bonnie: Obviously (She laughs) (Jeremy and Stefan are in the hallway against Jeremy's locker) Stefan: It's the same as the bracelet Elena gave you Jeremy: It protects me from compulsion Stefan: Vervain is toxic to vampires Jeremy: Like poison? Stefan: Yeah, it's very poisonous. It keeps them out of your head Jeremy: but why vervain? Stefan: don't know, certain natural herbs and roots and other elements are just harmful to vampires Jeremy: Like a stake to the heart? Stefan: Right but it has to be wood Jeremy: You're pretty confident in yourself telling me all the different ways I could k*ll you Stefan: Jeremy, if I thought you wanted to k*ll me we will be having a much different conversation Jeremy: Yeah, Damon is the one that deserves it Stefan: I want you to forget about Damon, all right? He's hundred times stronger than you and right now he's not s*ab. You got to try to move forward Jeremy: I was k*lled by a vampire and brought back by a magic ring. How do you move forward from that? Stefan: Right. Well, today we have a nice little distraction encouraged by the sl*ve driver Elena (Elena arrives) Stefan: Hello Elena Elena: Hey, do you… Jeremy: Yeah, yeah, I set up the golden fish toss all through hundred golden fish. It's gonna be epic! (He leaves) Stefan: He's gonna be alright, he's just been through a little bit of a whole deal Elena: I was just hoping that this carnival would wild him back into the land of a high school teenager Stefan: That was what we were doing here? Elena: Yes, we all are. We're gonna be boring high school students who live in a world where the "v" word is not ordered Stefan: Got it! Elena: Then later you're going to take me on the Ferris wheel, we're gonna ride the very top and then you're gonna kiss me and my heart will flatter like a normal high school girl. Do you see a redeem theme here? Stefan: Yeah I know, I'm seeing it and I'm liking it but I have a quick question. Uh, what do we do about Damon? Elena: Uh, no "D" word okay? That has been deleted from the list of topic that we can discuss Stefan: Unfortunately Katherine showing up has been a little bit of an odd place, little off-kidder, kind of dangerous. Who knows what he's up to? [Lockwood's mansion] (Damon is in the living room with Carol Lockwood) Carol: So I understand John Gilbert has left town. Have they found the vampire that att*cked him? Damon: Well, the sheriff has asked me to take the lead on that and I promess to you I will get to the bottom of it Carol: Which brings me to my next subject. With Richard gone, I'll be acting as interim mayor until the elections and I'm going to need someone to spill out the council. I'd like that person to be you Damon: Whatever you need Carol. As a founding family member it's something that's very close to me so I would be honored to help keep this town safe from vampires (Mason and Tyler enter the house. Carol closes the door of the living room) Damon: Is it safe to talk? Carol: It's my brother-in-law, Mason. He's still visiting. I just don't want him to hear us. He didn't want any part of the council when he lived here and I see no reason to bring him to it now (Damon is listening to their conversation with his powers) Tyler: When was that? Like seven? Mason: Six. I don't count the last one. You crawled Tyler: What? Mason: I think Grandma Lockwood actually passed you her walker Tyler: Yeah, okay. Shoes off. Mud, my mom… Mason: Yeah, yeah. (Mason sits down and removes his shoes) Mason: So all this anger and aggression you're talking about, you notices a difference when you exercise? Tyler: Dude, I play 3 varsity sports. I work out 4 times a week and run 3, I'm gonna say no Mason: Do you have episodes? What happens exactly? Tyler: Most of time normal, I get angry typically over nothing. I'm an angry guy. I know it just amplifies and I go off Mason: You black out? Tyler: Yeah, it's like I go blind with rage Mason: Is there a pattern? Like once a month, only at night? Tyler: All I know is I loose myself, you know? For that time I become something else and I hate it (Damon is still listening) Carol: More tea? Damon? Damon: Oh yes, please. Thank you Carol [Mystic Fall's hospital] (Caroline is in her room. She puts her hand in the sunlight and it burns. Matt arrives with a tray of food) Matt: Your mom said you're not eating Caroline: It's gross Matt: It's the hospital food; it's supposed to be gross (Matt goes toward her to kiss her but there's the sunlight between them) Matt: She also said you're getting released tomorrow morning Caroline: Morning? I need to get out tonight Matt: No, the carnival is going to happen without you Caroline. I know it's hard for your neurotic control freak personality to process but Bonnie and Elena have it Caroline: I'm not neurotic Matt: Yeah you are but it's cute so… Caroline: Look, it's not about the carnival okay? It's just that this place is just really depressing Matt: It's because you're sitting in the dark (He begins to open the curtains) Caroline: No don't! (Caroline goes against the wall with her powers) Matt: What the hell? Caroline: Just close it please Matt: What's wrong with you? Caroline: Close it! (He closes the curtains) Matt: I'll just come back later okay? (He leaves) [Salvatore's house] (Damon is pouring a blood pouch in a glass. Stefan arrives) Damon: Do you care for one? Stefan: No, thank you. I'm not hungry, just ate Damon: Are you worried that one day, all the forest animals are gonna band together and fight back? I mean, surely they talk Stefan: I'm just happy that's it's a blood bag and not a sorority girl supplying your dinner Damon: I like this. You, walking on eggs shores around me because you think I'm gonna explode. Very suspencible. Is Elena worried too? I bet I'm your every conversation Stefan: Have you heard from Katherine? Damon: I think the Lockwood's have a family secret because the Gilbert device affected them but vervain didn't so they're not vampires, they're something else Stefan: Is this your new obsession? Damon: You'd rather some unknown supernatural element running upon our town. Fine, I'll drop it Stefan: We haven't seen lots of Katherine, you do know that right? We have no idea what she's up to Damon: Sure we do. She came back to profess her undying eternal love for you so I'm gonna let you deal with her because I have more important things to do like explode. Shears! [Mystic Falls' hospital] (Caroline is putting her jewelry. She puts the necklace Elena gave to her but It burns her skin so she throws it on the floor. The nurse arrives and takes it) Nurse: That's pretty Caroline: Yeah, my friend gave it to me (The nurse leaves, Caroline drinks blood from a pouch. She looks at her in the mirror, her face is changing and her fangs appear. She screams, the nurse arrives) Nurse: what's wrong? (She strangles the nurse and pushes her against the wall) Caroline: You can't tell anyone, you can't tell anyone! (She compels her) Nurse: I can't tell anyone Caroline: You'll do what I say? Nurse: I'll do what you say Caroline: Good because I'm starving (She bites her) [Mystic Falls' high school] (It's the carnival. Elena is talking with Bonnie) Bonnie: The ring toss is out of Bart and Homer dolls and team Jacob teas Elena: Okay, I can grab some from the science club. Also we lost a speaker in the karaoke booth Bonnie: Hey, all good Elena, take a breath, look around. This is a huge success Elena: You mean I can give more than just freak vampire havoc? Bonnie: Good (They laugh, Elena looks at a man who is repairing one of the stands) Elena: Hey, Carter right? You're with the carnival Carter: That'll be me Elena: Okay, great (He looks at Bonnie) Carter: Wow, what do you need beautiful? Bonnie: What do you know about karaoke speakers? Carter: Why don't you show me the problem? Elena: Yeah Bonnie, show him the problem Bonnie: Okay, come on (They leave Elena smiles) [Lockwood's mansion] (Mason is in his brother office, looking for something. He searches everywhere. Tyler arrives) Tyler: What are you doing? Mason: Nothing, just k*lling time waiting for you Tyler: You're looking for something? Mason: Yeah actually. You know where I can find any family artifact stuff? Tyler: You drained your trust fund already? Mason: I did that when I was 22. No, I'm just looking for this old piece of my mom's. My dad gave it to her when they got married. It's a sentimental value. Probably passed out on your dad. It just still be in the house here somewhere Tyler: What's it look like? Mason: It's a moon stone; it's about the size of a hockey puck. Old, ugly, minimal monetary value Tyler: Yeah man, whatever. Ask my mom I guess Mason: Yeah, cool, I'll do that. You're ready? Tyler: Yeah [Mystic Fall's high school] (Jeremy is buying popcorn. Damon arrives) Damon: Jeremy, it's so good to see you alive Jeremy: Aren't you a little old for a high school carnival? Damon: A hundred and fifty years too old Jeremy: You're pretty funny cracking jokes when I could I don't know… led the hold of this thing telling by telling someone what you really are (Damon catches him and takes him apart) Damon: So please tell that was not a thr*at Jeremy: Maybe it is (He shows him the ring and Damon strangles him from behind) Damon: This is what we're not gonna do: we're not gonna walk around like we are invincible when it's this easy for me to end you (He releases him) Damon: If you want to tell people what I really am go ahead and try (Damon shows him the ring; he has it in his hand) Damon: I will sh*t this ring so far up your ass that you'll really have something to choke on (He throws the ring on his face and leaves) [Mystic Falls' hospital] (Caroline is dressed and on the phone) Caroline: The doctor said I'm good as new, he signed me out, he said that I didn't have to wait ‘til morning so call me when you get this (She hangs up; the nurse is sitting on Caroline's bed. She has a bandage on her wound on the neck) Caroline: It's dark, thank god. I'm so sorry about that (She looks at the bandage) Caroline: Okay, now what's the story? Nurse: My husband likes to get kinky Caroline: Yes, good. Okay, so I'm gonna take off. I'm in the comity chair for the carnival and I'm worried it's a complete disaster. I mean god bless Elena, she's not understand the word fabulous (She takes her bag) Caroline: Once again I'm so sorry about that and if you could just forget that I bit you that would be great because I'm going to Nurse: Forget what? Caroline: I don't know how that works but its brilliant (She leaves) [Mystic Falls' high school] (Damon is looking at Tyler, he's doing arm wrestling. Stefan arrives) Stefan: You're lurking Damon: I'm observing Stefan: It's more like obsessing (Tyler wins) Damon: He's got strength Stefan: He's a triple varsity athlete, of course he has strength. You're reaching (Mason arrives to do arm wrestling against Tyler) Mason: I bet I could b*at you Damon: Enter the uncle Stefan: That's ridiculous (Mason beats him) Tyler: Okay, he's the champ, who wants to go next? Damon: Stefan wants to go Stefan: Yeah, sure, I'll… give it a sh*t (Stefan rejoins Mason) Damon: Give him Stef! Stefan: My brother over there thinks I could b*at you Mason: Your brother's wrong (Mason beats him. Stefan rejoins Damon) Damon: You didn't put an effort at all Stefan: Yeah, actually I did Damon: Come with me (They go in the hallway) Damon: Is he…? Stefan: No, no, I wasn't that kind of strength but it was more than human, it doesn't make sense Damon: What is up with that family? They're not vampires, what the hell are they? Stefan: Maybe they're ninja turtles Damon: You're not funny Stefan: Or zombies, werewolves Damon: No comedic timing at all (Damon turns his head and sees Carter repairing something) Stefan: What? What are you up to? Damon: Since this is reality and there's no such thing as werewolves or combat turtles Stefan: Ninja turtles (Damon goes toward Carter) Damon: Hey you! Carter: I have a name Damon: Yeah I don't care (He catches his shoulders and compels him) Damon: I need you to pick a fight with someone, a kid named Tyler Lockwood Stefan: Damon, don't do this Damon: It's just an experiment. Get him mad, don't back down no matter what he does okay? Carter: I won't back down Damon: I know you won't (He releases him, Carter leaves) Stefan: Do you realize someone is going to get hurt right? Damon: No, someone is going to get mad, as in rage Stefan: What's that going to accomplish? Damon: That Tyler kid is incapable of walking away from a fight. Let's see who intervenes, maybe the ambigus, supernatural mystery uncle (Damon is walking alone is an hallway when Caroline arrives) Damon: Hey Blondie, they let you out? Caroline: I remember Damon: What do you remember? Caroline: I remember how you manipulated me, you pushed me around, abused me, erased my memories, fed on me Damon: You're crazy Caroline: Memories have been coming back, in pieces Damon: You can't remember. It's impossible, I mean unless you're becoming a… (She smiles) Caroline: have a message from Katherine, she said "Game on" Damon: Wait… (She pushes him with strength, he falls on the floor) Caroline: You suck (She leaves) (Elena is with a girl, Damon arrives) Damon: Elena Elena: What do you want Damon? Damon: I know I'm the last person you want to see right now but I need you to come with me Elena: Whatever it is I'm not interested Damon: Yeah, I need you to come with me right now, Elena (She follows him) (Tyler is going in the parking lot; Stefan follows him and hides himself to observe the scene. Carter arrives and pushes Tyler) Tyler: Watch where you are going Carter: You got a problem? Tyler: Yeah, you walked right into me Carter: What are you going to do about it? Tyler: You're kidding right? (Carter pushes him again) Tyler: You better back off (Carter pushes him) Tyler: You h*t me again, I swear to god… (Carter punches him in the face. They fight, Mason arrives. Mason pushes Carter) Mason: What the hell man? (Mason strangles him but Carter punches him on the face and pushes him against a car. Tyler makes some supernatural moves, his eyes change, and they are yellow and glow) Tyler: Your eyes (Mason Heats Carter, he falls on the floor. They leave, Stefan arrives to help Carter) Stefan: You're alright man? Carter: Why did I just do that? Stefan: You were just in the wrong place at the wrong time (Caroline rejoins Matt at the ring toss) Matt: What are you doing here? Caroline: They discharged me, I'm better Matt: How do you feel? Caroline: I feel pretty good Matt: Yeah, ‘cause earlier you were… Caroline: I'm all better (She kisses him) Caroline: All better Matt: Okay, you want to give it a sh*t? (He gives him one of the rings. She throws it on a bottle, she breaks 3 bottles) Matt: Wow, hey, nice sh*t k*ller Caroline: They must already have been broken (He embraces her. She looks at his neck) Caroline: Oh no Matt: What's wrong? Caroline: I got to go (She leaves and he follows her) Matt: Wait Caro, are you okay, I mean… Caroline: Just leave me alone! (She leaves) (Elena, Stefan and Damon are in a classroom talking about Caroline) Caroline: How did this happen? Damon: Well, I fed her blood and Katherine obviously k*lled her and a plus b equals… Elena: But why? Damon: Because Katherine is a manipulative nasty little slut Stefan: And she said "game on"? What is that even mean? Damon: It means she's playing dirty, she wants us to know Elena: But why Caroline? Damon: I don't know Stefan: Caroline must be completely out of her mind, she don't even know what's happening to her Damon: Oh I think she does. All of my compulsion from the past sort of wiring of the minute she was in transition Stefan: We have to find her Damon: Yep and k*ll her Elena: You're not gonna k*ll Caroline Damon: She knows who we are, she's officially a liability, and we've got to get rid of her Stefan: Damon, absolutely not Damon: Need I to remind you the tragic little story of a girl named Vicki Donovan? Caroline, of all people, won't not make it as a vampire. Her mother is a vampire hunter. Guys come on, we all know how this story's gonna end, just flip to the last chapter and… Elena: It's not an option Damon Damon: No? Your silence is defining, Stefan. Wait, wasn't there a school carnival the night you staked Vicki? Looks like a town where story repeats herself. You know I'm right Stefan: we're not gonna k*ll her Damon: It's the only way (Stefan and Elena leave) (Caroline is alone crying when she sees carter. He's bleeding) Carter: Hey, is everything okay? Caroline: I'm so sorry Carter: What? (She rushes over him and bites him. She drinks his blood and kills him) (Matt is talking with Bonnie) Matt: She's obviously pissed at me for something but for what, no clue Bonnie: What happened? Matt: She freaked out and she's been like that all day. Cool one minute and crazy and neurotic next Bonnie: She almost died, it's must be messing with her head. Plus, she's Caroline Matt: Yeah, I'm used to the insecurity and all that. This is who she is, love it or hate it but this seemed I don't know… different. I can't explain it (Damon is looking for Caroline; he finds a stake in the floor. He takes it. Elena and Stefan are looking for her too) Elena: You're agreed with Damon, don't you? Stefan? Stefan: Damon's right, not about what we should do but about what's gonna happen. Katherine has decided Caroline's death sentence Elena: We can't let it in that way. She's doing this to me isn't she? Stefan: No, she's doing it to me [Lockwood's mansion] (Mason and Tyler are entering the house) Tyler: Well, we're home. Safe territory, enough with the silence Mason: I told you to leave it alone Tyler: What was that move you pulled? Mason: Brazilian martial art, I took some classes a while back Tyler: Don't lie to me! Mason: I'm not lying Tyler: I saw something! Mason: You didn't see anything Tyler: I saw your eyes, they glowed Mason: Reflection of a car headlight maybe, that's all Tyler: Reflection of a car headlight… Mason: Yes Tyler: You really expect me to believe that? Mason: Tyler! You want to know what you saw? You saw me get pissed of that I had to put your delinquent ass out of a fight! (Tyler leaves) [Mystic Falls' high school] (Stefan and Elena are still looking for Caroline) Elena: Where could she be? What is it? Do you hear her? What's going on Stefan, what is it? Stefan: Blood, I smell blood (Caroline is crying next to Carter's body. Damon arrives. She has blood all over her face) Caroline: He's d*ad, I k*lled him. What's wrong with me? (She cries) Damon: Hey, hey it's okay. I can help you Caroline: You can? Damon: Yeah, I have to Caroline: What are you gonna do? Damon: The only thing I can do, I'm gonna k*ll you Caroline: Please don't! I don't want to die! Damon: Yeah but you are already d*ad Caroline: No, I'm not. Don't say that okay? Just help me! Damon: Okay Caroline: Okay? Just help me please! Please, please! Damon: Okay, okay (He embraces her and is about t k*ll her but Stefan arrives and rushes over Damon) Damon: Stefan! (Elena is with Caroline) Caroline: Get away from me! You k*lled me! Elena: No, no, no, no Caroline! That wasn't me. You know that! That was Katherine Caroline: No! Then why did she look like you?! And why, why did she do this to me? Elena: Stefan, we've got to get her inside Stefan: It's okay Caroline, come with me Damon: She'll die, it's only a matter of time Stefan: Yeah but it's not gonna happen tonight Damon: Oh yeah it is (He picks up the stake and rushes over them but Elena puts herself in front of Caroline) Elena: Damon, she's my friend Damon: Whatever happens, it's on you (Bonnie arrives) Bonnie: Caroline? Stefan: It's okay, come on Bonnie: No, you're not, it can't be (She touches her) Caroline: Bonnie? (She sees the body) Elena: Oh god! (Stefan takes Caroline) (Stefan takes Caroline to the bathroom. He washes her face) Caroline: She hates me! Bonnie hates me Stefan: No, she's just in shock, we all are Caroline: And what about Matt? (She cries) Stefan: Shut. One thing at one time, let' get this blood off, come on Caroline: I'm a m-m-m*rder. I'm a monster! Stefan: Look at me, your emotions are highing right now, it's part of the transformation, it's completely normal, I promise you okay? (Her face is changing) Caroline: Why is this keeping happening to my face? Stefan: Look at me, look at me, look at me! Caroline, Caroline! Look at me! Look at my face, look at my face! (His face has changed too) Stefan: You see that? When you feel the blood rushing, you tell yourself that you're going to get through it, that you're strong enough. Yes, yes, no matter how good it feels to get yourself over to it, you fight it off, you burry it. Watch me, watch me (His face is normal again) Stefan: It's the only way you're gonna to survive this thing. Try (She takes a few breaths, her face is normal again) Stefan: That's good Caroline: Why did Katherine do this to me? Stefan: I don't know, I wish I did. Hey, hey, I promise you I will not let anything happen to you. Come here (He embraces her) (Elena is still with Bonnie) Bonnie: I can't believe this is happening (Damon arrives with a shovel in his hands) Damon: Come on, don't pout about it, I've got a body to bury (He looks at Elena) Damon: I thought you were calling the sh*ts, no? It sucks to be you buddy (Bonnie looks at him and gives him a headache; he takes his head between his head and fall on the floor. She opens the faucet with her powers and water is going out from the hose) Bonnie: I told you what would happen if anyone else got hurt Damon: I didn't do this Elena: Bonnie, it wasn't his fault Bonnie: Everything that happens is his fault Elena Elena: Bonnie, what are you doing? (She creates a f*re, the f*re goes toward Damon) Elena: Bonnie stop it! (Damon is burning) Elena: Bonnie, stop! You're going to k*ll him? (Damon is still burning) Elena: Bonnie, stop! (She jumps through the f*re and catches Bonnie's arm. The f*re is gone) Bonnie: Why did you stop me? Elena: Because this isn't us. Bonnie, this can't be us (Elena looks at Damon and embraces Bonnie) (Elena is at her locker. Stefan arrives) Stefan: Hey. Caroline is okay for now, I'm gonna check on her later Elena: What about the guy she… Stefan: It's taking care of Elena: Damon's right, isn't he? It won't end her for her Stefan: No, I'm gonna make sure that he's wrong Elena: I just can't believe what this day has turned into Stefan: Not a normal day uh? Elena: I was stupid to think that it could be. I mean, nothing about my life is normal. My best friend is a witch, my friend is a vampire and I have a doppelgänger who wants to destroy all of us Stefan: I'm sorry Elena: No, it's not your fault, Stefan. T's no one's fault you know? It is what it is (He touches her face) Elena: I'm fine, I'm fine. It's just that… you know what? I'm fine. I'm gonna to call you tomorrow okay? Good night Stefan (She leaves) Stefan: Good night [Lockwood's mansion] (Mason is talking with Carol) Carol: I think it's good for Tyler to have you in the house Mason: I appreciate that Carol Carol: Oh, and I can see If I can dig up that stone you're looking for. It's bound to be tucked away in one of Richard's knocks and crannies (She goes up the stairs, Tyler arrives) Mason: Hey man, you're heading up? Tyler: In a minute. Good night mom Carol: Good night Tyler Mason: Hey, I'm sorry about earlier, we're all good? Tyler: yeah, we're good Mason: Alright (He lives. Tyler goes into his father's office, closes the door and open's his father's safe hiding under the carpet. He takes a box inside and opens it. There's the moon stone Mason is looking for inside. He takes it from the box and puts it in his pocket) [Salvatore's house] (Damon is taking a glass of scotch. Jeremy is here) Damon: What the hell are you doing here? Jeremy: You don't lock your front door Damon: Yeah (Damon is going to drink) Jeremy: No I wouldn't… I lasted it with vervain Damon: Why would you do that? (Jeremy has a stake in his hands) Jeremy: So I could stake you… with this (He throws the stake on the floor. Damon picks it up) Damon: You came here to k*ll me? Jeremy: It's only fair, you k*lled me first Damon: What made your eyes went up? Jeremy: My father hated vampires, my uncle too. They were absolute they knew exactly what they stood for and I figured maybe I should too. I mean, stand for something but k*lling you, what's that gonna do? Damon: Look, I don't do the big brother thing very well. Sorry, I don't have any milk and cookie stuff for you Jeremy: Dick (He lives) Damon: Wait. My fathers hated vampires too Jeremy: He did? Damon: For the same reasons your dad did. Only it was 1864, people knew how to woodle (He shows him the stake) Damon: Did you do this? Jeremy: Yeah I tried; it's harder than it looks [Caroline's house] (Caroline is laying on her bed when someone opens the window. She goes next to the window with her super speed. It's Matt) Caroline: What are you doing here? Matt: I came to see if today's bask period has expired Caroline: You know you should just go ‘cause my mom is gonna be home soon Matt: You've been dodging me all day. I mean, I'm more insecure than you are now Caroline: What do you mean? Matt: It means that… you almost died and it freaked me out and it got me thinking you know ‘cause… I'm not in a position where I can lose someone else right now. I realized, even though today I wanted to throttle you, I'm pretty sure that I'm in love with you and I it seems like you don't feel the same way (She kisses him and they embrace each other. Her face is changing so she takes a few breaths and her face becomes normal again) [Gilbert's house] (Elena is sleeping; Stefan enters the room by the window. He kisses her on the cheek, she wakes up) Elena: What time is it? Stefan: It's almost dawn. Come with me [Mystic Falls' high school] (They are at the carnival. It's empty) Elena: Stefan what are we doing here? We're going to get caught Stefan: I compelled the guard to on break so I could kiss my girlfriend at the top of the Ferris wheel Elena: Stefan… Stefan: We have to take these moments, Elena. What Katherine did to Caroline could just be the beginning and there are things with Tyler's family that we don't even understand yet and there's always a "D" word but I came back to this town to start a life with you. We can't forget to live it Elena: But Stefan, how are you going to the top? Stefan: I guess you'll just have to hold on time (She holds on and they fly to the top of the Ferris wheel and sits down. She laughs) Elena: What? Stefan: It's just so nice to see you laugh (They kiss) Elena: It's not going to get any easier, is it? Stefan: No, it's not

{"type": "series", "show": "The Vampire Diaries", "episode": "02x02 - Brave New World"}

foreverdreaming

[Salvatore's house] (Alaric arrives at the Salvatore's house) Stefan: Thanks for coming, Rick Damon: I got you something to drink? Coffee, bourbon? Bourbon into coffee? Alaric: Elena mentioned you needed my help Stefan: Yeah, we were hoping you could help sheet some light on the Lockwood family (At the Lockwood mansion we see Tyler observing at Mason. Mason is going outside the house, he's going to run) Alaric: Now, why would I know anything about the Lockwood's? Damon: Why you wouldn't? But your d*ad not d*ad vampire wife might Elena: Isobel's research from when you guys were at Duke together Stefan: You said that she has spent years researching this town Alaric: Isobel's research here in Mystic Falls rounded in folklores and legends but at the time I thought much of which was fiction Damon: Like that amazing vampire story Elena: Aside from vampires, what else Alaric: The lycanthrope Elena: Wait, like werewolves? Damon: No way, impossible, way too launchy Stefan: Is it? Damon: I've been on this planet one hundred and sixty some on years, never came across one. If werewolves exist, where the hell are they? (We see Mason running in the woods. Tyler is following him. Mason goes into ruins) Alaric: Why do you suspect the Lockwood's? Damon: Because vervein didn't affect the mayor at founder's day but the Gilbert device did and it affected his son Tyler Stefan: And at the school carnival his uncle Mason exhibited inhuman behavior when he fell into the carnival's worker (In the woods we see Mason going out from the ruins. Tyler watches him and goes in the ruins) Stefan: It suggest it's some sort of a supernatural entity Elena: We were hoping that Isobel's research could help us figure it out what it is Alaric: Well, all her things are still at Duke. I mean her office is still there, she's technically still missing Damon: So can we get access to it? (Tyler is in the ruins. He's under the earth) Damon: Rick, we don't know what we are dealing with. If this wolf men thing is true, we have seen enough movies to know it's not good. It means Mason Lockwood is a real life Lon Chaney and that Tyler punk may just very well be Lon Chaney junior which means Bella Lugosi, meaning me, is totally screwed [Caroline's house] (Matt is knocking at her door. Caroline is in the house but she can answer because of the sunlight) Matt: Caroline! (He calls her on her phone but she doesn't answer neither so he leaves a message) Matt: Hey, I thought you said you were home. Hey, Tyler is doing this whole thing at swimming hall and I want us to spend the day together. Where are you? Call me (He hangs up and leaves) [Gilbert's house] (Elena is packing for the trip to Duke. Stefan is with her) Stefan: Are you sure you want to do this? Elena: Which part? Digging through my birth mother life work or going to Duke with Damon? Stefan: Either, both Elena: Well, I'm not sure about the first part but then again Rick is a good buffer so I can bond in our anti Damon solidarity. I wish you were coming though Stefan: You know what? Maybe we should wait a couple days uh? Wait until Caroline is less of a danger and then I could go with you Elena: It's okay that I'm going, right? And be honest because if it's not then I can just stay here and we could take care of Caroline Stefan: Listen, I want you do go okay? I do. You have questions about your lineage and about Katherine and… look I'm not gonna let the fact that Damon is going keep you from an opportunity to get some answers Elena: You hate it though Stefan: I hate it but I love you Elena: love you too (She kisses him) (Jenna and Alaric are talking and waiting for Elena) Jenna: It's been a while Alaric: Well, the school has been keeping me busy Jenna: I want you to know it means a lot to me that Elena has a connection to her mother. I appreciate you bring her along today Alaric: Yeah, I figured it was time to take care of my wife's things you know. Look Jenna, I know things between you and I have been a little start and stop and I'm sorry for that but maybe once I can… Jenna: Uh…no, don't do that. Not the half maybe apology hope for the future thing (Damon is honking) Jenna: Elena?! Are you coming? (She looks at Alaric) Jenna: Do what you need to do okay? (Stefan and Elena are going down the stairs) Elena: Hey, are you okay? Jenna: Yeah, it's man and their baggage (They go outside. Damon is waiting at the car) Damon: Sorry you can't go too, Steph Stefan: Call me if you need anything Damon: Oh, I'll take really good care of her (Elena catches Stefan by the neck and kisses him in front of Damon) Damon: Okay, time to go (He goes into the car, Elena too) [Lockwood's mansion] (Tyler is talking with his mother) Tyler: Have you ever been down to those old ruins in the woods? Carol: The old Lockwood estate? Tyler: Yeah. What do you know about it? Carol: It was the original plantation house. Beautiful architecture and if it hadn't burn to the ground we'd probably living in it Tyler: What's the deal with the freaky underground cellar? Carol: We don't talk about those kinds of rooms Tyler: Why not? Carol: Well, this is the South, honey, but no one likes to reminisce about the old sl*ve days (Mason enters the room) Mason: Hey. What you guys are talking about? Tyler: We were just talking about the old Lockwood property. Taking some friends over the swim hole Carol: Well, be careful. If anything happens on the property the family is liable Tyler: Off course [Mystic Grill] (Stefan and Bonnie are sitting at a table) Bonnie: I don't know how to make a day-walking ring Stefan: Emily made mine, she made Damon's too, instructions must be in the grimoire Bonnie: That doesn't mean I can cuss the spell Stefan: Bonnie, you know how to drop vampires with a single look, okay? I think you can figure it out Bonnie: Caroline k*lled someone, Stefan. I can't make it easier for her to do it again Stefan: No, we're not making it easier for her; we're just giving her the chance to survive. Listen, every day that she's cut off from her old life: from you, from Elena, from Matt, it'll make It that much harder for her to hold on to her humanity Bonnie: And how do you know she won't hurt anyone else? Stefan: I don't but if we don't do everything we can to help her or at least trust the fact that she can keep it together, we must just stake her right now Bonnie: I don't know if I can trust her, not with this Stefan: Then trust me [Alaric's car] (Damon, Elena and Alaric are in the car, going to Duke. Damon looks at Elena) Damon: How are you doing back there? You know, this all pretending to hate me thing is getting a little silly Alaric: I don't think she's pretending. You did k*ll her brother Damon: There is a huge asterisk next to that statement: he came back to life Elena: Yeah, thanks to a ring you didn't know he was wearing Damon: Why are you so sure I didn't know? Elena: Did you? Damon: Yes Elena: You're lying Damon: Elena, I saw the ring! It's a big tacky thing, it's hard to miss [Caroline's house] (Bonnie, Caroline and Stefan are in Caroline's bedroom. Bonnie has Emily's grimoire in her hands. Caroline has the ring in her hands) Caroline: So, I don't get to choose the ring I have to wear the rest of my life? Bonnie: Hey, if you don't want it… Stefan: No, no, she wants it Caroline: Now what? Bonnie: Now is the part where I explain the rules. The witch who spells the ring has the power to dispel it so if you ever do anything to hurt anyone… Caroline: I'm not gonna hurt anyone Bonnie: You are a vampire that mean that urge to k*ll is a part of who you are. The minute you let it take over, I will stop you Caroline: Bonnie, you're supposed to be my friend Bonnie: I can't ignore what happened okay? If you want to be friends, you have to prove that the Caroline I remember isn't gone. Now put the ring on the bed (Caroline puts the ring on the bed) Caroline: Do you really think I meant to k*ll that guy at the carnival? Bonnie: He's still d*ad. Now, do you want me to cuss the spell or not? (Bonnie opens a little bit the curtain. The sun is going on the ring. Bonnie looks at the ring and closes her eyes a moment and finally opens them) Bonnie: All done (She gives the ring to Caroline. She takes the ring and puts it on her finger) Caroline: So that's it? I mean nothing witchy happened. You know, no flickering lights, no gust of wind. Have you ever done this before? Stefan: Caroline… Caroline: I just want to make sure that worked (Bonnie opens the curtain) Bonnie: It worked Caroline: What if it hadn't Bonnie ?! (Bonnie looks at Stefan) Bonnie: She's all yours (She takes the grimoire and leaves) [Duke University] (Alaric, Elena and Damon arrive at Duke) Alaric: So Isobel was officially employed by the anthropology department given that most paranormal phenomenon has rounded in folklore (They arrive at an office) Alaric: Excuse me, hi. I'm Alaric Saltzman, I called earlier Vanessa: Yes, of course. I'm Vanessa Monroe, research assistant compare to folklore (She looks strangely at Elena) Vanessa: Uh, let me just grab Isobel's keys Alaric: These are my friends Elena and Damon. I hope this isn't too much of an imposition Vanessa: Oh please, Isobel's office is right through there. Isobel's was one of my first professors. I'm a grad student, she was brilliant and one of the reasons I went to folklore. Uh I have to ask, has it been any news? Alaric: No, I'm afraid not Vanessa: It's this way (She opens Isobel's office door, they follow her and enter the room) Vanessa: I'll grab the light, feel free to look around. It's fascinating isn't it? (She leaves. Alaric, Damon and Elena are looking everywhere) Damon: Where did she go? (Vanessa comes back with a crossbow and sh*t an arrow on Elena but Damon puts himself in front of Elena to protect her. He receives the arrow on his back. Alaric catches her and pushes her against the wall) (Elena is removing the arrow from Damon's back) Damon: Put it out. I can't reach it Elena. Just put the damn thing out. It hurts (She removes the arrow) Damon: That bitch is d*ad Elena: You're not gonna k*ll her Damon: Watch me Elena: You touch her and I swear I will never speak to you again Damon: What makes you think that has any power over me? Because I took an arrow in the back for you? You're so overestimating yourself Elena: Right. I forgot that I was speaking to a psychotic mind who snaps and kills people impulsively. Fine, go ahead, do whatever you want Damon: you're trying to manipulate me Elena: If by "manipulate" you mean "tell the truth" okay, guilty (She looks at him and leaves) (Alaric is with Vanessa) Vanessa: Please! I freaked out okay? Alright, you would have done the same thing, it's not possible! Katherine Pierce can't be alive and Damon Salvatore died in 1864. Okay, I read Isobel's research Alaric: Well, you should know just how possible this is (Elena and Damon arrive) Elena: I'm Elena Gilbert, Isobel's daughter and a descendant of Katherine Pierce. And this is Damon Salvatore who you just sh*t Damon: I'd be extra nice to me right now Elena: Look, we need your help okay? We need to see all of Isobel's research, anything related to Mystic Falls [Mystic Falls' woods] (Caroline and Stefan are in the woods, hunting) Caroline: So what I do when I see the rabbit? Stefan: Chase it, catch it, feed on it Caroline: Isn't k*lling cute defenseless animals the first step of becoming a serial k*ller? Stefan: Well, you sort of skipped the serial k*ller and went straight to vampire. Caroline, if you're not serious about all of this I think you should tell me Caroline: No I am. Look, I swear that I am okay? But it's just… I haven't been in the sun for days and everyone is at the swimming hole having fun and Matt is there! And he finally told me that he loved me but I have been bl*wing him off and now you want me to eat bunnies and I'm kind of freaking out okay?! (Stefan is laughing) Caroline: And now you're laughing at me Stefan: No, no, I'm not laughing. None of this is funny, trust me. It's just that… Caroline: What?! Stefan: When someone becomes a vampire, all of their natural behaviors get sort of amplified Caroline: What do you mean? Stefan: I mean… as a human I cared deeply for people, how they felt. If they were hurting I felt their pain and I felt guilty if I was the one who caused it and as a vampire all of that got… magnified Caroline: So you're saying that now I'm basically an insecure, neurotic control freak... on crack? Stefan: Well, I wouldn't say it like that but… hey, listen, let's hunt okay? And then after that we'll go to the swimming hole Caroline: Really? Stefan: Yeah. Matt is the closest connection that you have to your humanity and I think that being around him is a good thing Caroline: Okay [Duke University] (Vanessa is bringing a box to Elena) Vanessa: This box checks Katherine's arrival to Mystic Falls in April 1864 Elena: Is that all there is about her? Vanessa: All that I'm aware of (There is vervein in the box. Elena looks at Damon and gives some of it to Vanessa) Elena: Here, take this (They are whispering. Damon is in the other room, looking for information) Vanessa: Does vervein really work? Damon: Nope, not at all Vanessa: Can he hear us? Damon: No, that would be creepy Vanessa: Can he read minds too? Damon: You know, if you want to see me naked, all you have to do is ask Elena: No, that he can't do. He is very capable of being a first grade jackass (Vanessa puts the vervein in her pocket; Damon smiles) [Mystic Falls] (Everyone is at the swimming hole) Tyler: Is it me or did Amy Bradley's ass get hot Matt: All class Tyler: Where is Forbes? Matt: I wish I knew Tyler: You guys are in the outs already? Matt: No. We're fine. I'm fine. I'm just not sure what she is (Mason arrives with is 4X4) Matt: What's your uncle doing here? (Tyler rejoins him at the car) Tyler: You're busting us or you're joining us? Mason: Neither. Hoping you can make sure everyone is out of here by dark Tyler: What happens after dark? Mason: Someone ends up wasted and d*ad at the bottom of the lake (Tyler laugh) Mason: You heard your mom. The family is liable if anything happens Tyler: Don't be a party k*ller Mason: Hey, I didn't say you had to stop partying, I just said you had to take it elsewhere Tyler: Alright, we'll be out of here (Mason leaves, he passes next to Stefan and Caroline. He looks at Stefan and Stefan looks at him) Caroline: Why are you looking at him with this serious vampire look? Stefan: My what? My "vampire serious look"? Caroline: Hum hum. I mean it's different from your worried vampire look, neither of which straight too far from your "hey-it's-Tuesday" look Stefan: I get it, okay. You think I'm… you think I'm too serious Caroline: I mean I was not gonna say it like that but… (Matt is alone, Amy Bradley rejoins him) Matt: Hey Amy Aimee: You know, you're missing all the fun in the water (He shows her his cast) Matt: No waterproof Aimee: Too bad. So, there's the full moon tonight. We're gonna light a f*re later and tells ghost stories Matt: Uh, I don't know (Caroline arrives) Caroline: Matt Matt: What the hell? I've been calling you Caroline: know, I got held up but I'm here now (She looks at Amy) Aimee: Hi Caroline (Caroline compels her) Caroline: Go find somebody single to stuck, Amy (Amy leaves) Matt: Seriously? Caroline: She was flirting with you Matt: She's harmless; you don't have to be rude Caroline: You're mad? Matt: You've been dodging my calls all day and you get to show up here and be the jealous girlfriend? It' kind of lame, Care (He looks at her and leaves. Stefan arrives) Stefan: Hey, I saw that. You compelled her Caroline: Yeah, she deserved it Stefan: Caroline, nobody deserve to have their mind mess for shallow reasons Caroline: You know, why is everyone sticking for Amy freaking Bradley? Stefan: you're letting the jealousy to get the best of you Caroline: Oh, so now I have magnified jealousy issues too. It's great Stefan: I told you this wasn't gonna be easy Caroline: Yeah, well, I would have to stay d*ad. My entire personality is k*lling me (He smiles) Caroline: Shut up [Duke University] (Elena, Damon and Alaric are still in Isobel's office, looking for information) Damon: Any luck? Elena: There's nothing in here about Katherine that we don't already know Damon: Ah, you know, it's a bummer we're not friends anymore because I could tell you what I know Elena: Now who's manipulating who? Alaric: Hey guys, check this out Vanessa: There's no record of werewolf mythology in Mystic Falls but here are some records of some the lesser known legends. Everything from Scandinavian skin walkers to Aztecs legends. (She gives them a book with drawings) Vanessa: It's translate into the "curse of the sun and the moon" Alaric: It's Native American Vanessa: Aztecs. It explains one origin of the werewolf curse traced through Virginia. The short story: 600 years ago, the Aztecs were played by werewolves and vampires. They terrorized the countryside, made farming and hunting impossible until an Aztec shaman cursed them, making vampires slaves to the sun and werewolves servants of the moon. As a result, vampires could only prowl at night and werewolves could only turn on a full moon. When the full moon is crossing the sky, who's ever unlucky enough to fall into the werewolves curse turns into a wolf. Damon: Can they control the transformation? Vanessa: If it were a choice, it wouldn't be called a curse. Werewolves will att*ck humans but instinct and centuries of rivalry have hardware them to hunt their prey's choice: vampires Damon: Well, if werewolves were hunting vampires, I would know about it Vanessa: Not if they aren't many werewolves left alive. Hundreds of years ago vampires hunted them almost to extinction Elena: Why would they do that? Vanessa: To protect themselves. According to the legend, a werewolf bite is fatal to the vampires [Mystic Falls] (It's night. Everybody is leaving the swimming hole because Tyler asked them to. Matt is alone. Stefan and Caroline are looking at him) Caroline: He's mad at me Stefan: Go talk to him. I'll wait (Stefan's phone is ringing. He answer it: it's Elena) Stefan: Hey Elena: Hi. Listen we've learn some stuff here and I know it's gonna sound crazy but I want you to know Stefan: What's up? (Caroline rejoins Matt) Caroline: Still mad? Matt: I thought we had passed all this insecurity stuff, Caroline. I told you how I felt about you, what more do you need? Caroline: Nothing. Nothing. I don't need anything else. I'm sorry Matt, I'm so sorry. I'm so, so, so, so, so sorry. Matt: I'm not kidding. I'm not gonna put up with the drama Caroline: No, no more drama. Just… I promise (She kisses him) Matt: Come on (They leave. Stefan is still on the phone with Elena) Elena: I don't know what that means nor if we should believe it but it's the full moon Stefan. After what you saw Mason Lockwood do Stefan: I'll be careful Elena: There's one more thing Stefan: What is it? Elena: According to the legend, a werewolf bite can k*ll a vampire (Stefan looks everywhere. He doesn't see Caroline or Matt) Stefan: Listen, I got to go. I'll see you when you get home okay? Elena: Okay (He hangs up and calls Caroline but she forgot her phone in her bag, in Matt's car. He goes in the woods) (Mason is chaining up himself into the Lockwood's old estate ruins but Aimee and Tyler arrive so he's forced to leave) Tyler: Not much further Aimee Aimee: Really Tyler? You drove me all the way out here? Tyler: I had to move the party so I'm moving the party Aimee: Where are we going? Tyler: It's right around this tree Aimee: Are you sure? Tyler: Oh yeah, come on Aimee: What is this place? Tyler: It's a ruin buried underneath my family's old estate. No one would know we're down here Aimee: Is everyone else coming? Tyler: Yeah, unless you rather tell them not to Aimee: You're single right? Tyler: Oh yeah Aimee: Let's go (Mason is running through the woods and tries to chaining up himself against a tree. He looks at the moon and begins to scream. He runs toward his car and enters it, screaming. He closes the door. The car is moving a lot, he screams after that we hear something growling in the car) [Duke University] (Elena is looking in a box and finds a picture of Katherine) Elena: Hey, have you done any research on doppelgangers? Vanessa: Well, the world means a lot of different things to different cultures but typically a doppelganger is a living, breathing double of oneself Elena: Did Isobel have anything that explains the link between me and Katherine? Vanessa: That's all she had on Katherine, unfortunately but I can tell you that doppelgangers usually torment the people they look like, trying to undue their lives. It's not exactly uplifting Elena: And more things we already know. Just… I want to know why we look alike Damon: Head scratcher isn't it? Elena: Do you know something or are you just being yourself? Damon: Well, if I know anything, I'm not gonna tell you with that attitude Elena: That's good, Damon and this is coming from someone who wants to be my friend but you know what? Friends don't manipulate friends, they help each other [The Lockwood's old estate ruins] (Tyler and Aimee are kissing) Aimee: Wait, wait. No, I'm sorry Tyler: What's the deal? Come on Aimee: No, no, no. Wait, wait, wait, I can't. I'm not into it Tyler: Then why did you come with me? Aimee: I don't know but I'm not even sure I was flirting with you. I like Matt Tyler: Ouch. Um… okay Aimee: ‘m gonna go Tyler: Yeah Aimee: Sorry (She leaves) (Stefan is in the woods, looking for Caroline when he hears an animal growling. He sees Mason's cars and goes toward it. He sees chains on the floor and looks into the car and sees yellow eyes. A wolf jumps through the window, falls on him and leaves.) [Duke University] (Alaric and Vanessa are outside) Alaric: I trust you're not gonna say anything about this to anyone Vanessa: Or else Damon will k*ll me in my sleep? He gave me the form but if you need anything, you can call Alaric: Hopefully I won't have to Vanessa: But if you do… Alaric: Listen, you don't want to get caught up in this. Really, it'll take over and will keep from being able to live your life Vanessa: Isobel's disappearance… is it related to her research? Alaric: Isobel became her research. She wanted to become a vampire and she got her wish Vanessa: I guess that would put a strain on the marriage Alaric: Anyway, I was wondering what it would be to come back here. It's… it's okay, it's really okay. It feels good to have her in my past. You know, it' time to move behind this (Elena is at the car. She can't open the car but Damon arrives and opens it) Damon: You're not gonna be able to hate me forever Elena: Can we just go? (He gives her a book) Damon: You didn't dig deep enough (She looks at the book and reads what's written on it) Elena: "Petrova". I saw it on the shelf Damon: Katherine originally came from Europe. Petrova was her real name. Katarina Petrova, to be exact Elena: How did you know that? Damon: Back when, I saw it graved on an old heirloom. Men snoop too, you know. Let me know what you find, I'm very curious myself (She tries to go in the car but he stops her) Damon: You have every right to hate me, I understand but you hated me before and we became friends. It would suck if that was gone forever. So, is it? Have I lost you forever? Elena: Thank you for the book, Damon (She goes into the car) [Mystic Falls' woods] (Caroline and Matt are in the woods, talking) Matt: This looks like the spot Caroline: For what? (They kiss. They hear an animal) Matt: Did you hear that? (She looks at him at kisses him. She pushes her against a tree and kisses him again but Matt hurts himself and bleed. She sucks the blood) Matt: Caroline? What are you doing? Ah! Caroline! Caroline! (Her face has changed; she stops and looks at him) Matt: Caroline! Your face! (She bites him on the neck and drinks his blood but Stefan arrives and takes her away from Matt) Stefan: Stop it! Stop! Stop! Stop! (Her face is normal again but Matt faints and fall) Caroline: Oh my god Stefan: No, no, stop. Listen to me. We need to get out of these woods now. We need to leave Caroline: What was that? Stefan: Matt, stay down. Do not move (They hear noise all around them) Stefan: You and me we're gonna run. It's going to follow us; we need to get it away from Matt. You need to run as far as you can. Do you understand me? Go, go! (They run and arrive to old ruins but Caroline stops) Caroline: Wait! What is it?! Stefan: It's a werewolf! He will try to k*ll us and he can! (Tyler arrives) Tyler: Hey! What are you two doing? Stefan: What are you doing? (The werewolf rushes into Caroline. She falls on the floor, the werewolf is on her. Stefan rushes on the werewolf with is powers and pushes him.) Tyler: No! (The werewolf looks at him and leaves) (Caroline is compelling Matt) Caroline: You're not going to remember what I did to you or what you saw me become Matt: We were just making out in the woods Caroline: And then an animal att*cked you and bite your neck Matt: It's weird; he just came out of nowhere (She looks at him and rejoins Stefan) Caroline: What are we gonna do about Tyler? Stefan: I took care of it and I will get Matt on vervein, it'll keep you from being able to compel him and also to keep you from drinking his blood Caroline: I can believe I hurt him Stefan: I know Caroline: He is the one person on this entire planet that I never wanted to hurt Stefan: It's not going to get any easier. You just have to work that much harder Caroline: I shouldn't be with him, should i? Because if there is any danger… Stefan: I'm the last person to make that kind of decision for you. If I had follow my own advice, I would walked away from Elena a long time ago Caroline: Have you ever think you should have? Stefan: I know I should have, I just can't (Tyler is in the woods. He looks at Mason's car and Mason arrives) Mason: You can pass me those? (He passes him a bag) Tyler: It was you (Mason says yes with his head) [Mystic Grill] (Matt is alone at a table, Aimee arrives and talks with him. Caroline looks at them and rejoins them) Caroline: Seriously Aimee? Aimee: We were just talking Caroline: Oh, that's how you call it? Aimee: Yeah Matt: Are you kidding me? Caroline: No, I'm not Matt. She's into you and anyone can see it Aimee: Look, I'm sorry. I didn't mean to… I'm just gonna go (She leaves) Matt: What are you doing? Caroline: This isn't my fault Matt, okay? She's after you and I shouldn't have to put up with that Matt: I thought you said no more drama? Caroline: Well, I lied Matt: Just forget it, just forget all of it Caroline: So what, are you like breaking up with me? Matt: Yeah. Yeah, I guess that's what I'm doing (He looks at her and leaves) [Gilbert's house] (Jenna is in the kitchen; Alaric arrives) Jenna: Rick, I wasn't expecting you and Elena so later (He looks at her and kisses her) Alaric: I should have done that this morning (He kisses her again) (Elena and Damon are at the porch) Damon: Road trips work well for us Elena: That doesn't mean that things are back to the way they used to be, Damon Damon: Oh come on! You know I chipped a little bit off your wall of hatred Elena: I need to know the truth. When you broke Jeremy's neck, did you that he was wearing the ring? Damon: No. No, I didn't. Katherine really pissed me off and I snapped and… I got lucky with the ring. I don't know what I would done of he wasn't wearing it. Elena, I'm sorry Elena: Thank you for being honest with me and the answer to your question, about our friendship is yes. You have lost me forever Damon: You knew that already, didn't you? You used me today Elena: You had information about Katherine that I needed to know Damon: I thought friends don't manipulate friends. You and Katherine have a lot more in common than just your looks (He looks at her and leaves) [Caroline's house] (Caroline is in her bed. She wakes up, Katherine is here) Caroline: Elena? Katherine: Nope, try again Caroline: Katherine (Katherine sits down on her bed; Caroline goes away from her) Katherine: Don't be frightened. We're going to have so much fun together

{"type": "series", "show": "The Vampire Diaries", "episode": "02x03 - Bad Moon Rising"}

foreverdreaming

Mystic Falls, 1864 [Lockwood Mansion] (Stefan and Katherine are dancing) Katherine: Look who found his dancing shoes (He tries to kiss her) Katherine: No touching Mr. Salvatore. Those are the rules Stefan: I thought you didn't believe in rules (Damon is looking at them. Stefan looks at him) Stefan: My brother is still upset that you chose me to escort you Katherine: Well, Damon needs to concede that his younger brother is a better dancer (She looks at Damon) Katherine: Looks like he found someone to occupies time (Elena is with Damon. She looks at Stefan) Stefan: Elena Katherine: Stefan don't (Elena leaves with Damon. Stefan follows them) Stefan: Elena! (He opens a door and arrives at the Mystic Grill. Elena is at the pool table) Elena: It's your turn (Stefan smiles but she was talking to Damon) Damon: Prepare to loose (He kisses Elena. Katherine is here in 1864 dress) Katherine: It hurts, doesn't it? (He looks at Elena and Damon) Katherine: Now you know how I feel. Don't fight it Stefan. You loved me once. You can love me again (He is in 1864 again, at the Lockwood Mansion) Katherine: I love you, Stefan. We'll be together again, I promise. (She kisses him) [Salvatore's house] (Nowadays. He wakes up. He's in his bed. Elena is sleeping on his chest) Elena: Hey, are you okay? Stefan: Yeah. Yes, bad dream. Get back to sleep (He gets out of the bed with his powers. It was not Elena but Katherine. She sits down on the bed) Stefan: Katherine Katherine: You have to admit I am getting better at this Katherine: It was easy to get inside of your head. Have you completely forsaken your nature? (He rushes over her but she pushes him and he falls) Katherine: Are we really gonna do this again? You both know I could rip you to shreds and do my nails at the same time Stefan: What do you want? Katherine: I wanted to see you. I missed you, Stefan. Dole me for a little while, please? Stefan: Why are you back in town? Katherine: 3 reasons: you, you and you Stefan: You see, I can't quite get that down. Just kind of… get stuck in my throat Katherine: Well, you know, it's the truth. Deep down inside that gorgeous body of yours there's the Stefan that fell in love with me too [Mystic Grill] (Elena is sitting at a table, alone. Stefan arrives) Elena: What do you want? Damon: So, this is where you spend your time when you're not s*ab people in the back Elena: I tricked you into telling me the truth that's not s*ab you in the back, it's using your own tactics against you (She gets up) Damon: Where are you going? Elena: I made myself clear, Damon. I want nothing to do with you Damon: Okay. See you at Jenna's barbecue Elena: How did you know about Jenna's barbecue? Damon: It was my idea. Jenna went to high school with Mason Lockwood so I figured a social gathering would be a good way to get to know the guy. So I told Rick to told Jenna and… Elena: Does Jenna knows that you're going to be there because she's not exactly a fan of yours (A woman arrives and gives him a box with a pie in it) Damon: Perfect. Thank you. I'm hoping this peach cobbler will pave the way Elena: What are you up to? Damon: I'm gonna put some silver into Mason Lockwood and prove he is a werewolf. See you at the barbecue (He leaves) [Lockwood Mansion] Tyler: Hey, Mason, got a second? Mason: No, men, barbecue at Jenna Sommers' house Tyler: Come on man; give me two minutes, alright? You can't keep dodging me. I'm freaking out over here! Mason: Tyler, what do you want me to say man? Yes, I turned into wolf. No, it's not gonna happen to you Tyler: How do you know that? Mason: Because you're not gonna trigger the curse. Your dad didn't know anything about any of this neither did I until it happened to me Tyler: How does it get triggered? Mason: Ignorance is a bless, trust me Tyler: You blow back into town with some supernatural family secret and you expect me not to ask questions? Mason: I can't say anything more, I'm sorry, Tyler. It's just better for you if I don't Tyler: You've found that moon stone? Mason: Do you know where it is? Tyler: What's so special about it? Mason: I told you, it was my mom's. It's sentimental. Look, just don't worry about it. Forget I even brought it up, alright? (He leaves. Tyler takes the moon stone from his pocket and looks at it) [Salvatore's house] (Katherine is in the living room, reading Stefan's journal. Stefan's arrives) Stefan: You shouldn't read someone's journal Katherine: I know. I'm sorry. It was just too tempting, all of your inner thoughts and feelings, laying there on your desk waiting for me to read (He takes the journal from Katherine's hands and gives her a glass of blood) Stefan: Damon's private stock Katherine: That's right! You don't do human, I read that. I also read about your recent werewolf siting. That must have come as a surprise Stefan: What do you know about werewolves? Katherine: I know not to pet one. Their bite kills, Stefan. It's best to stay clear during a full moon. Stefan: And… how do you know this? Katherine: Who do you think was responsible for ridding this town of vampires in 1864? Stefan: Founding families Katherine: Spearheaded by? Stefan: The Lockwood's Katherine: You remember the founder's ball, don't you? The one that you were dreaming about? Stefan: I was your escort Katherine: That was before you and Damon knew about my little secret Mystic Falls, 1864 [Lockwood Mansion] (It's the founder's ball) Damon: Everyone will you please join me and raising your glasses to my good friend George Lockwood. George, thank you for so bravely defending the south George: My honor Mr. Salvatore. After all, someone had to do it (Elena and Stefan are drinking. Henry arrives) Henry: Can we have a word Miss Katherine? Katherine: Grab a glass Henry. It's a celebration Henry: Please, Miss Katherine (They go apart) Henry: I looked about those att*cks from the other night. It wasn't vampires Katherine: That's good news, Henry. That means there's nothing to worry about Henry: I'm afraid you don't understand. Those folks were turned apart in ways I've never seen before Katherine: Then… it won't be long before the founders drop an investigation Henry: We'll leave town immediately. I'll tell the others Katherine: Relax, Henry. This town is our home and the vampires are my family. I will not let anything happen to us (She looks at George Lockwood) Nowadays [Salvatore House] Katherine: From the moment I met George, I knew he'd be a problem Stefan: So you're saying that all the Lockwood's are werewolves Katherine: The werewolf gene runs in the Lockwood family. They're not all werewolves Stefan: How many of the werewolves are out there? I mean… is it just limited to the Lockwood's? Katherine: No, there are others. Not many. They're practically instinct. They mainly exist now in books and really bad movies (She drinks and puts the glass on the table) Katherine: My turn to ask a question (She takes Stefan's journal, takes her picture from it and shows it to Stefan) Katherine: Why did you keep this picture? Why not burn it? Tear it up? You want to know why I came back. Well I have a better question: Why did you? For Elena? No. You came back here to fall in love with me all over again, didn't you? (He came toward her and touches her face) Stefan: What is it about you that make me still care? (She kisses him but he put a vervein dart in her back. She falls on the couch) (Stefan attaches Katherine with chains in a chair, in a cell in the basement) Stefan: Now, where were we? That's right; you were going to tell me why you came back to Mystic Falls, weren't you? Katherine: You don't have to do this Stefan: Answer the question Katherine: I came back for you Stefan: We are gonna play about my rules now (Stefan puts gloves, takes vervein, goes toward Katherine and puts the vervein on her cheek. Her skin burns. She screams) Stefan: Answer the question Katherine: You're going to t*rture me now? Stefan: I'll do whatever it takes to get you to tell me the truth Katherine: Later that night at the founder's ball… Stefan: I don't want to hear any more stories about the past Katherine: Yes you do, Stefan. That's exactly what you want to hear Mystic Falls, 1864 [Lockwood Mansion] (It's the founder's ball. Katherine is drinking, alone. George Lockwood rejoins her) George: She's all alone. This is mean I can finally have you all to myself? Katherine: Your father has done himself George: Knowing my father, he wants to throw a founder's party every year Katherine: I must admit I'm rather surprised that you'd come looking for me George: Because you are the rope in the Salvatore's brother's w*r? Katherine: No, because I'm a vampire who could k*ll you in your sleep George: I beg your pardon? Katherine: Relax, George. I know you know my secret George: This conversation is over (He begins to leave but she catches his arm) Katherine: And I know your secret too and I know that you are extra strong, only not as strong (She releases him and smiles) George: How do you know who I am? Katherine: You think that I will settle into a town without knowing my enemies? George: What do you want? (She smiles) Nowadays [Salvatore's house] Stefan: What did you want? (He takes a chair and sits down in front of her) [Gilbert's house] (Elena and Jenna are in the kitchen) Elena: Thanks for letting me invite Caroline. She could use a day of distraction Jenna: Well, she's not the plus that I'm worried about. Why is Damon coming? Elena: Because Alaric is a pity taker. Come on Jenna, be nice Jenna: I'll be nice when Damon learns to keep his pose of you (Mason arrives) Mason: Good news! I found the sh*t glasses! Elena: That would be my exit (She leaves) Jenna: You're here for 10 minutes and I'm already back into the bleachers of the pep rally Mason: Like old times, uh? Only I didn't swipe this bottle from my old men (Alaric arrives) Alaric: Oh, the expensive stuff! I like you already Mason: Just happy to be invited Jenna: Thank rick, that was his idea Mason: Really? Alaric: Yeah, you know, I thought it would be nice some of Jenna's high school friends. Dig up a little dirt Mason: I've got dirt. I've got dirt Jenna: I have no secrets. Only dirty shame Alaric: To dirty shame (They clink glasses. Damon arrives) Damon: Hey Jenna: Damon Alaric: You were just going sh*ts. Let me give you a sh*t glass buddy Jenna: Here. Use mine (She leaves. Alaric too) Damon: She doesn't like me very much Mason: We haven't met. Mason Lockwood Damon: Oh sure. Damon Salvatore Mason: I know. I heard great things about you Damon: Really? That's weird ‘cause I'm a dick (Elena is on the porch, alone. She calls Stefan but he doesn't answer so she leaves a message) Elena: Hey. Just checking in. Did you get my message about Jenna's barbecue? Call me when you can (Caroline arrives and sits down with her) Caroline: Is that Stefan? Elena: Yeah, he hasn't called me back. I try to decide if I should be worried Caroline: I'm sure he's fine (She eats chips) Caroline: God! I cannot stop eating. Stefan says it's a great way to sublimit the cravings. It's horrible just fighting the urge for blood every minute of every day Elena: I know that Stefan really hates that part of himself Caroline: Yeah and he hates that you're a constant temptation Elena: e said that? Caroline: The desire to rip out your jugular every time he's with you? Trust me, it's there. It's why I had to break up with Matt (Alaric arrives) Alaric: Hey! The food's ready, come get it. Caroline: Finally, I'm starving (She goes inside) [Salvatore's House] Stefan: You know, we can stay here as long as you want. And when you'll start to desiccate, there's a tomb with your name on it Katherine: I've been doing all the talking, it's your turn. Do you pretend to be human when you're with Elena? Is that the appeal? Stefan: Actually, I'm not pretending to be anything when I'm with her. That's the whole point. I get to just be myself Katherine: Does she know that you love me? Stefan: I don't Katherine: That's where you're wrong, Stefan. Don't you remember bringing me home that night? Your family had taken me in Mystic Falls, 1864 [Salvatore's house] Katherine: I had a really good time, Stefan Stefan: How long do you plan on staying in Mystic Falls? Katherine: As long as I'm wanted. Your father has been very king to give me a shelter Stefan: How can he not? Losing your family in a f*re, hopefully you made it to Atlanta Katherine: So, I gather I'm wanted? Stefan: Uh, very much so. I know… we've only known each other for a short while and I know I'm in competition for your affection but I've never met a woman quite like you. I look at and I see an angel. I touch your skin and my entire body is knits. I kiss you and I know that I'm falling in love (He kisses her) Stefan: I am in love with you Katherine: There's so much you don't know about me, Stefan Stefan: More to learn in love Katherine: I must say good night Stefan: I have upset you? Katherine: No, you haven't upset me, you've just surprised me (She goes in her bedroom. Damon is here. He goes toward her and kisses her) Katherine: What are you doing here? Damon: I told you I would come Katherine: Well, I'm tired, you should go Damon: Did my little brother confession overwarm you? Katherine: You shouldn't ears drop Damon: Is my love not enough? Katherine: I told you, I'm tired (She compels him) Katherine: I wish to be alone tonight. Please, leave Damon: Good night Katherine (He leaves. She touches her lips) Nowadays [Salvatore's house] Katherine: Go ahead Stefan. t*rture me, keep me c*ptive, drain me of my blood until my body turns to dust. It'll never change the truth. I never compelled your love. It was real and so was mine [Gilbert's house] (They are playing Pictionary. Damon is drawing a wolf with a tutu) Jenna: Dress! Ballerina! Caroline: Puppy! Puppy with a tutu! Damon: No, no Jenna: A dog! Hound-dog! Mason: "Dances with the wolves" Damon: Mason wins…again Jenna: How is that a wolf? (Elena is in the kitchen, taking the pie from the box. Damon rejoins her) Damon: Jenna is getting tipsy Elena: Will you stop playing her with alcohol? Damon: I want her to like me Elena: How is operation Lockwood? Damon: He's my new BFF (Jenna arrives) Jenna: There you are. Isn't this fun? Damon: Yes, thank you so much for inviting me Jenna: Did I have a choice? Damon: I know what you must think about me Jenna: No, you don't. You've never dated you; I have dated many you's Damon: I'm in working progress (Elena gives her a cake Kn*fe from a set. Damon sees it) Damon: These are fancy Jenna: Thanks. My mother silver set (Elena looks at Damon. He takes a Kn*fe from the set) [Salvatore's house] Katherine: Hearing the truth after a century and a half of denial must be overwhelming Stefan: It wasn't real, I remember you compelling me Katherine: Only after I showed you who I really was. You were so scared of me; I had to take away your fear Stefan: Well, whatever feelings I had back then, they all turned to hate Katherine: Love, hate, such a fine line. I can wait. Anyway, George Lockwood was causing all sorts of trouble. He used the vampires to cover up his own tracks. He told the founding families about us. But he was willing to struck a deal Stefan: What kind of a deal? Katherine: A deal to rid the town of vampires Mystic Falls, 1864 [Salvatore's house] (Katherine and George are walking in the grounds of the Salvatore estate) George: I just spoke to Giuseppe Salvatore. The round up happens tonight Katherine: Good. Insists so they do a body count before the church set up braze George: I will Katherine: 27 vampires George: Once the flames create chaos, crawl to the exit under the quire low. I'll be there to set you free Katherine: Make sure you're not followed. I need everyone to believe I perished in that f*re Nowadays [Salvatore's house] Stefan: You knew that they were gonna burn the vampires in the church? Katherine: I practically lit the match Stefan: They were your friends, they were your family and you just sold them out. Katherine: Without blinking [Gilbert's house] (Damon puts the pie on the table, with a cake Kn*fe in silver) Damon: Mason, why don't you start this off? Mason: Sure (He takes it with his hands, not with the Kn*fe) Mason: I apologize, I'm an animal Alaric: So Mason, you and Jenna never dated? Mason: She was always lost in Logan Fell land Jenna: My first mistake. Mason was a catch; girls lined up Damon: Really? I always pegged you for a lone wolf Mason: I'm sure I wasn't half the lady k*ller you were. How about a toast? To new friends (Caroline and Elena are in the living room) Elena: Would I be the worst friend in the world if i abandon you and went to Stefan's? Caroline: You want to leave? Elena: It's just that he hasn't calling back to me and I'm starting to have this bad feeling Caroline: I don't think that's a good idea, Elena Elena: Damon's got it under control here Caroline: Take it from me, there's nothing worse than a clingy girlfriend Elena: I'm not being clingy, I'm just concerned. You understand, right? Caroline: How about I drive you? Elena: Yeah, okay, that'll be great, thanks (Elena goes into Caroline's car. Caroline deflates a tire and goes into the car) [Salvatore's house] Stefan: What had George get in return? For giving you your freedom Katherine: Something he wanted desperately Stefan: So you sent 26 of your friends to their death, just to fake your own? No, you were running from something. What was it? Katherine: Everyone has a past, Stefan. Mine needed to stay far far away but thanks to you my plan nearly failed it even began. Once George told me that the round up was imminent, i made sure I could see you one last time but your father used your love for me against me, he poisoned your blood. And Damon being Damon, nearly ruined everything Stefan: We came for you, we tried to save you. Katherine: I didn't want to be saved Stefan: So then Damon and I died for nothing! For nothing! Katherine: No, you died for love [Gilbert's house] (Damon is in the kitchen, Mason arrives) Mason: Jenna just brought "Guitar Hero" Damon: Well, I just happen to like "Guitar Hero". So you my friend, are barking up the wrong treat Mason: Okay. Enough with the implies, you win, you're hilarious Damon: Thank you Mason: Come on, men. You don't think I know what this barbecue is about? Damon: How did you know about me? Your brother was completely clues Mason: It doesn't matter; I'm not your enemy, Damon Damon: You tried to k*ll my brother Mason: That was a mistake Damon: Really? Mason: I was confused; I couldn't chain myself up in time. I have no control once I shift Damon: What, no obedience school? Mason: I'm serious. Let's not spark some edge old fuel that doesn't imply us Damon: You expect me to believe that you are in Mystic Falls planting peace trees? Mason: I lost my brother, my nephew lost his father. I'm here for my family. Let's be above this (They shake their hands. Mason leaves and Damon takes a Kn*fe from the cutlery box) [Caroline's car] (Caroline is driving toward the boarding house with Elena) Elena: Thank for this, I appreciate it Caroline: Here we come, to the rescue Elena: Why are you being so snippy? Caroline: That's my own drama. I'm sure you two will b*at the odds. Not that there is any study to pull outs from. What is the ratio success vampire-human coupling? I'm guessing no Elena: Okay Caroline Caroline: Sorry (The tire bursts) [Gilbert's house] Mason: No one to take some more drinks at the grill? It's like I am with a bunch of adults here Jenna: I prefer the term "Role model" Mason: Okay. Well, thanks for having me, it was awesome. Alaric, I catch you at the game next week? Alaric: Yeah, I look forward to it Damon: You know, I should probably head out too (Mason leaves) Damon: Jenna, you are a wonderful hostess (He kisses her hand) Jenna: And you are a terrible artist Damon: is that the only thing that makes me terrible? Jenna: I'm still deciding Damon: Good enough for me. Alaric, let's not catch that game next week (He leaves) [Somewhere in the road] (Elena and Caroline are waiting for the tow truck) Elena: Are you sure the tow's coming? We've been waiting forever Caroline: I know, it's weird. They said they'd be here by now Elena: Yeah. I'm just gonna call Jenna Caroline: No! Let me call the tow people again. I gonna use my aggressive voice Elena: Can we just walk from here? Caroline: I can't just leave my car Elena: We'll come back for it Caroline: Just give me a minute, Elena Elena: Caroline, what part "I'm worried about Stefan" didn't think in? Caroline: What's the rush? Why are you hurrying to get to a relationship that will never work? Elena: Okay, look. I know that you're upset over Matt but would you stop projecting it onto me and Stefan please? Caroline: I'm not projecting anything! You're human, he's a vampire. You're gonna be 70 and in diapers and he's still gonna be smoking hot and you will never have his children, Elena! And you are too maternal to not have children! Elena: Where is this coming from? Caroline: I'm just trying to be your friend Elena: Okay, do me a favor and stop trying (The tow arrives) Elena: Here's the tow, I'm gonna walk Caroline: No, Elena, don't! (She catches Elena's arm) Elena: Caroline, you're hurting me Caroline: Don't leave me alone Elena: What's wrong with you? Tow guy: Hey there, someone called about a flat tire? Elena (looking at Caroline): She did (She leaves) [Mystic Grill] (Mason parks his car, gets out and is approached by Damon) Mason: Damon? What? More jokes? Damon: No, those got old (He s*ab Mason with the silver Kn*fe but Mason removes the Kn*fe from his chest) Mason: You know, I think it was werewolves who started this whole silver myth. Probably for moves like this Damon: Dully noted Mason: I was really looking forward the last call. Now you made an enemy [Salvatore's house] (Katherine is still attached to the chair in the cell) Stefan: Are you gonna tell me why you came back here or you're just playing another game? Katherine: Have you not heard a word that I've said? I've answered that question 5 times over now Stefan: Oh good, make it six Katherine: I want what I want, Stefan and I don't care what I have to do to get it. My list of victims is a long one and I have no problem adding one more name to that list Stefan: Come on Katherine. If you wanted Elena d*ad, you would have done it by now Katherine: Still can. If i have to, I will snap her neck like a twig and you know it (He rushes over her with a stake but he throws it) Katherine: I guess you don't hate me as much I you thought you did. I don't want you seeing Elena anymore. If you don't remove far from your life, I will k*ll everyone that she loves while she watches and then I will k*ll her while you watch (He rushes over her again and strangles her. His face has changed and he has a stake in his hands) Stefan: Don't you ever think for one moment that I will not k*ll you (She throws him against the wall and releases herself) Katherine: I have been sipping vervein every single day for the last 145 years. You got me by surprise once, I wasn't gonna let that happen again. It doesn't hurt me, Stefan Stefan: What? Why? Katherine: I told you, I missed you Stefan. I just wanted to spend some time with you (Elena enters the house. Katherine looks at Stefan, smiles and puts a stake in his leg. She leaves) (Elena is in the living room. She turns herself, Katherine is here) Katherine: You must be Elena Elena: How is this possible? How do we look exactly alike? (Katherine doesn't answer and looks at her from top to bottom. She touches her neck with one finger and goes behind her) Katherine: You're asking the wrong questions (Stefan arrives) Stefan: Elena?! (She turns her head. Katherine is not here anymore) Stefan: Are you okay? Elena: Not really. Are you okay? Stefan: Not really (They embrace each other) [Mystic Grill] (Caroline is on the bathroom. She looks in the mirror. Katherine is here) Caroline: Katherine Katherine: Cared to share how you couldn't fallow through one simple task? Caroline: I tried okay? But I couldn't exactly kidnap my best friend Katherine: Occupy her. That's all I asked Caroline: I told her that her relationship was doomed and all that mortality stuff. I think…I really think that I got to her Katherine: I hope so because let's not forget. I already k*lled you once; I can easily do it again [Lockwood Mansion] (Tyler is searching online about the moonstone as Mason arrives) Tyler: How was that barbecue? Mason: Not great. Are you still pissed? Tyler: Are you still keeping secrets? Mason: Yeah Tyler: Then I'm still pissed. Hey, you know I was thinking about that stone you were looking for. I know a couple places where it could be Mason: Do you think this is a joke? If you know where it is then tell me Tyler: Tell me all the curse's trigger Mason: If I tell you, you won't be able to think about anything else. I don't want that for you Tyler: I think I can handle knowing Mason: You think that you can handle it, tough guy? You have no idea Tyler: You want your stupid rock or not?! (Mason pushes him against the wall) Mason: Tell me where it is! Tyler: Tell me what triggers the curse! Mason: You have to k*ll somebody! Human blood! You take another person's life away from them and then the curse is yours forever! Can you handle that? [Mystic Grill] (Caroline is sitting alone at a table. Elena and Stefan enter) Caroline: Elena Elena: Hey (Stefan goes to a table while Elena talks with Caroline) Caroline: Oh my god. I am so sorry about earlier today. I don't know what came over me Elena: It okay, Caroline. Everything that you were saying was right. It's just hard for me to hear, you know? Caroline: So… you're not mad at me? Elena: You were just being good friend…in your own way Caroline: My own hand case, horrible way. Elena, I really am sorry (Elena smiles and rejoins Stefan at a table) Stefan: I'm starving Elena: Well, Spending the day with your jealous ex will do that to you Stefan: Listen, I know you're upset but we have to take her seriously. Today, was all about the links she should go to Elena: If she was going to hurt me, she would have. I was standing right in front of her Stefan: Elena, you cut off her guard. It doesn't mean that you're safe Elena: I'm not afraid of her Stefan: Well, you should be Elena: If Katherine had her way, we'll be breaking up right now Stefan: If today taught me anything, is that Katherine is used to getting her way Elena: You're not actually saying that we should what she says? Stefan: Listen, she's sadistic, okay? She thr*at you, she thr*at everyone Elena: Yeah, I know, I get it. She's dangerous. But every day that we are together, it's dangerous. Why are you giving her so much power over our relationship? Stefan: This is the reality of our situation Elena: The reality sucks (Caroline is listening to all their conversation) Elena: This is what she wants. She wants us to fight. She wants to get between us Stefan: She already has, Elena (They look at each other and she leaves. Damon is at the bar. He's heard everything) (Damon is going out the Mystic Grill. Katherine is waiting for him) Katherine: Bad day? Damon: Bad century. I heard you are on the loose Katherine: What's the matter? Jealous I spent the day with Stefan? Damon: I don't do jealous. Not with you, not anymore Katherine: Then why so pouty? Damon: I tried to k*ll a werewolf, I failed. Now I feel like I'm not living up to my best self Katherine: Well, werewolves aren't easy prey Damon: What do you know about werewolves? Katherine: Why don't you ask your brother? Don't try to be the hero, Damon. You'll end up d*ad Damon: Been there, done that. Unless this time it'll worth it [Gilbert's house] (Elena goes in her bedroom. Stefan is here) Stefan: Are you okay? (She smiles and embraces him) Elena: I hated that fight Stefan: I know me too. It felt too real (She kisses him) Elena: Did you see Caroline? Stefan: Yeah Elena: We were right. Katherine got to her. She was hanging on to every single word Stefan: It won't be long before Katherine gets a play by play Elena: I wish she was wrong but I know Caroline too well. It was so obvious that something was up today Stefan: You're not wrong. It's pure Katherine. She's always finding somebody to do her dirty work Elena: I think Damon was listening to us fight too. Are you gonna tell him that it wasn't real? Stefan: The only way Katherine is gonna believe it is if everybody believes it. That's the best way to make her think she's getting what she wants Elena: All this…just to get you back Stefan: It's not why she's here, okay? No matter what she says, I know her. Katherine doesn't care about anybody but herself, she never has. She's incapable of love. She's here for another reason [Somewhere in Mystic Falls] (Katherine is walking alone. She looks at the moon) Mystic Falls, 1864 (Katherine is in the woods. She turns her head and sees Damon and Stefan d*ad, on the floor. George Lockwood approaches) Katherine: George George: Your car is just waiting Katherine: All done, George. Thank you George: Now it's your part of the deal Katherine: If anyone learns of my escape, I will find you and I will k*ll you. Don't think that I won't (She gives him the moonstone) George: We should take each other secrets to the grave. Now, you must hurry (She runs toward Stefan's body. She touches his face and looks at him) Katherine: I love you, Stefan. We will be together again, I promise (She kisses him) Nowadays (Katherine touches her lips and smiles)

{"type": "series", "show": "The Vampire Diaries", "episode": "02x04 - Memory Lane"}

foreverdreaming

One year ago [Emerald coast, Florida] (Mason in in a bar) Mason: Alright Carlos. It's all for me (He pays and goes outside. A man follows him. Mason goes at his car. The man pushes him) Jimmy: Mason! Mason: Hey Jimmy. Easy. Let's get you home Jimmy: Screw you! (He pushes him again) Jimmy: I know about you and Marla Mason: What are you talking about? You've had too much to drink (Jimmy strangles him. Mason pushes him) Mason: Dude! What's up?! It's me, Mason! I'm not messing with Marla. You know that! (Jimmy punches Mason in the face) Mason: You don't want to do this buddy Jimmy: I'll k*ll you! (Jimmy throws Mason on the floor and kicks him in the stomach. Mason catches his arm and Pushes him. Then, he carries him and throws him on the floor. Jimmy's head h*t the floor very hard. He's d*ad) Mason: Jimmy? Nowadays [Lockwood's Mansion] Tyler: Wait, the guy died? You k*lled him? Mason: He kept coming at me. He got in his head that I was sleeping with his girlfriend Tyler: Were you? Mason: No. No. I wouldn't do that, he was my friend. He was drunk and att*cked me. It was self-defense Tyler: And it triggered the curse Mason: On every full moon, I lose control. If I don't sedate myself and chain myself, I'll k*ll anything in my path. You have to be careful. All it takes is an accident, a car wreck. Any death at your hands and you'll have a lifetime of this. You don't want it Tyler, trust me Mason: Alright. Where is the moonstone? A deal is a deal. I answered your questions Tyler: Um, yeah, I'm not sure but I'm guessing it's in here. (He goes toward his father's safe) Tyler: My dad, he was very cookie about his hiding spots but I figured most of them out over the years (He opens the safe) Tyler: It's all yours (Mason looks inside the safe but the moonstone isn't there) Tyler: Are you gonna tell me what's so important about this rock or what? Mason: I told you, it's just something I want. Sentimental value Tyler: I'm not really buying that. Why do you really want it? Mason: do you know where it is or not? Tyler: No, I figured it would be in here, man [Gilbert's house] (Elena is in the bathroom. Jeremy is here too) Jeremy: I can't believe Tyler Lockwood is a werewolf Elena: We're not sure about that yet. Anything we know for sure is that Mason Lockwood is Jeremy: It should be enough easy for us to figure it out Elena: There is no us. I said that I wouldn't keep things from you anymore. That doesn't mean that I want you involved in it Jeremy: By definition of being in this family, I'm involved Elena: This is dangerous, Jeremy. You have to stay out of it, okay? Jeremy: Alright. Just saying (He leaves. Elena opens her closet. When she closes it, Stefan is here) Stefan: Sorry, I didn't mean to scare you (She closes the door and kisses him) Elena: Hi Stefan: Hey (They embrace each other) Stefan: Are you ready for today Elena: No. I hate fighting with you, even if it's fake Stefan: I know but if Katherine thinks we were fighting, then she will think that she's winning and it keeps her from following her thr*at Elena: Yeah. Well, it doesn't make it any easier. Neither just knowing that Caroline will be there, reporting everything back to her Stefan: Hey, everything's gonna be okay. Yes we have to keep up this ruse for a little while but the best way to keep Katherine from hurting anybody, from hurting you Elena: Just promise me that she won't get her way with us. We can fake a fight, we can pretend that her thr*at are tearing us apart but none of it it's real, okay? Stefan: Okay, how about this? Today, when we're fighting, if I say "I can't do this anymore, Elena", what I really mean is that I love you Elena: And when I say "Fine Stefan, whatever" well that means I love you too Stefan: Deal (They kiss) [Caroline's house] (Liz is taking some boxes. Caroline arrives) Caroline: Are you off today? Liz: The historical society volunteer pic-nick is today. You're the one who signed me up Caroline: I know. I just assumed you'd bale Liz: No. I'm gonna spend the whole day with my daughter Caroline: You're gonna pretend to be a mother? Liz: I'll bring my g*n if it gets rough. Come on, give me one day. I've been buried in work mode, I've barely seen you Caroline: Well be warned, I'm in a mood Liz: Goody for me. What was Elena doing here so late last night? Caroline: Elena wasn't… yes um… Elena was here. She just needed to talk. Her and Stefan are going trough a rough patch Liz: Is everything okay with you? Caroline: I'm fine Liz: It's just lately you seem different Caroline: I'm not different, I'm fine Liz: I know you think I don't notice these things but I do. What's going on with you? Caroline: You know there's pretending to be a mother and there's reality. Let's not push our luck, okay? (She leaves) [Mystic Falls Public Park] (It's the Mystic Falls Historical Society Volunteer Day. Carol Lockwood is doing a speech) Carol: This all part of the historical society, continuing efforts to give that to the community. Thanks to the generous donation of the Fell family. We are now standing on the sight of our newest public park. Thank you to everyone who has shown up today to land a helping hand. Thanks. (Mason is removing boxes from his trunk. Stefan rejoins him) Mason: Stefan right? The other Salvatore Stefan: The nice one. The one offering an apology Mason: Not interested Stefan: Look, my brother acted impulsively Mason: You think? Stefan: If you and Damon keep at each other throats, somebody innocent is going to get hurt and I don't want that. You have family here so I can imagine you don't want that either. So what do you say we just quit the whole alpha male fighting things and call a truce? Mason: I made that same offer to your brother. He turned it down with a Kn*fe Stefan: He made a mistake. I'm here to make sure neither of you make another one Mason: Tell your brother to watch his back (Stefan catches Mason's arm) Stefan: Well, I'm guessing that you can only worry about that during a full moon. Otherwise you're not as strong, am I right? Or you would have k*ll Damon by now. It's one of you. There's two of us. I think you're the only one that needs to watch his back Mason: If he comes with me… Stefan: He won't (They shake their hands and Mason leaves. Damon rejoins Stefan) Damon: What are you doing? Stefan: Negotiating peace on your behalf Damon: I don't want peace Stefan: Consider it opposite day Damon: Stefan, please tell me you don't seriously think a hand shake just solve our problem Stefan: No actually I think that the first chance Mason Lockwood gets, he's gonna drive a stake through your heart and then through mine because you took upon yourself to try to k*ll him. So thank you, because we don't have enough problems (He leaves) [Mystic Grill] (Jeremy is at a table. He looks at Tyler. Sarah and Aimee are at the pool table. Sarah looks at Jeremy) Sarah: When did Jeremy Gilbert get so cute? Aimee: Oh no, stay away, that guy is damages goods (Jeremy rejoins Tyler at his table) Jeremy: Hey man, how have you been? Tyler: Since when? Jeremy: I don't know, I haven't seen you much since your father funeral. I just figured maybe you'd want… Tyler: I'm fine, Gilbert Jeremy: Yeah okay (He leaves) Tyler: Wait, hold up. I'm sorry. Bad day, bad month. Listen, you were cool that day, at the wake. Thanks for that. I felt like in a freak show Jeremy: Yeah, I know the feeling well. What are you doing here? Tyler: Distracting myself (Aimee and Sarah rejoin them) Aimee: Hey, thanks for the text. We're two Tyler: My place. My mom is gone all day. Empty house, full bar… Aimee: Margaritas? Tyler: Sure (He looks at Jeremy) Tyler: You're in? Jeremy: Yeah. Yeah, I'm in Aimee: Let's do it (They leave) [Mystic Falls' public park] (Mason is helping Liz) Liz: Oh thanks Mason Mason: Hey Sheriff, you've got a second? Liz: I'm out of uniform. Let's go with Liz Mason: Alright Liz. I was hoping to talk to you about the council Liz: I don't know what you're talking about Mason: I know you and the others founding families have a secret council Liz: If that were true then you'd know it's a secret and isn't discuss with non-council members Mason: I know I rejected all that but it's only because I wanted a life outside this town, not because I was a non-believer. Look, I now vampires exist and you have two of them living right under your nose Liz: Really? Mason: Yeah Liz: Who would they be? Mason: Damon and Stefan Salvatore Liz: That's impossible. I know Damon Salvatore. Do you know what he's done for this town? Mason: I know it's a lot to digest Liz: No. I watched him k*ll vampires. He's an ally; he's part of the council Mason: Think about it. When did the vampires att*ck begin? When Damon and Stefan Salvatore moved to town? Liz: They walk in the sun, Mason Mason: They've evolved. It's not 1864. They figured it out, Liz Liz: No. Damon Salvatore is my friend Mason: What if I can prove it to you? (They look at Stefan and Mason) (Elena and Caroline are talking) Caroline: So suddenly, she's on the running for mother of the year just when I'm trying to avoid her the most. I'm babbling, you don't want to hear all this Elena: No, sorry. Then what happened? Caroline: Well, I was a bitch but it's part of the process. So, how are things between you and Stefan? Anything? Elena: No, not since the fight. He's been pushing me away because he thinks that Katherine might get jealous enough to hurt me. I just don't know how to change his mind Caroline: You said that Katherine's dangerous. Maybe he's got a point Elena: Yeah, I know that she's dangerous and I know that he's just trying to protect me but it feels like giving up and I just… Caroline: Just what? Elena: I just thought we were stronger than that (Damon rejoins Liz) Damon: Hey, I saw you with Mason earlier. What was that about? Liz: I just asked him to help with the cleanup in the woods Damon: That's why I'm here for, put me to work. Should I go help him? Liz: Oh no. You know, he's… I'm sure he's fine Damon: Are you okay, Liz? You seem really upset Liz: It's Caroline. We had a moment Damon: Is there anything I can do? Liz: No, Damon. Thank you. It's just the horrible parental skills paying off and space (Elena is painting a wall. She looks at Stefan. He looks at her. Caroline is looking at them) Caroline: Oh, oh. Lurking looks are being exchanged Elena: I'm gonna go talk to him Caroline: No, Elena. I think it's a bad idea (Elena leaves and Damon rejoins Caroline) Damon: What's her problem? Caroline: Don't worry about it Damon: Why are you being such a bitch to your mom? Caroline: Don't worry about it (Elena rejoins Stefan) Elena: Do you still care about Katherine? Stefan: Don't be like this. Please don't turn this into something that it's not Elena: So this is not for discussion. That's what you're saying? (Damon and Caroline are listening to them) Stefan: No, I'm saying that is enough for discussion right now because we have ears on us (They look at Damon and Caroline. They both pretend that they're not listening) Elena: Okay, when? Stefan: I don't know Elena: I saw her Stefan. It's like we are the same person. How could you hate her and be in love with me? Stefan: You're reaching. I'm not… I'm not Damon Elena: How about we don't bring Damon into this right now? Stefan: You know, I can't… I can't do this anymore, Elena Elena: Fine, Stefan. Whatever (Elena leaves. Damon is still with Caroline) Damon: Relationships are about communication (Caroline leaves) [Lockwood Mansion] (Aimee and Sarah are dancing. Tyler and Jeremy are drinking. Aimee rejoins Tyler) Aimee: Where is mine? (They go toward the bar) Aimee: Thanks for having us over. I think Sarah got a thing for Jeremy Tyler: Well, good for Sarah Aimee: Look, I'm really embarrassed for slating in up that day at the swimming hole. I'm really not like that, I promise you Tyler: You don't need to apologize Aimee: Friends? Tyler: Yeah, sure (They drink) (Sarah takes Jeremy's notebook) Sarah: Can I see? Jeremy: No, no. No way Aimee: I want to see Tyler: Yeah, let's see. What's Van Gogh got going on? Jeremy: Okay, yeah. Check it out (She looks at Jeremy's drawings) Sarah: Scary demon wolf thing (Tyler seems uncomfortable. Jeremy looks at him) Tyler: What's this about? (He takes the notebook and looks at the drawings) Jeremy: just some scratches. You still draw, Tyler? Tyler: A little but not much. You know, I've got something I'm actually working on. Come on, I'll show you Jeremy: Yeah. Okay, sure (They go in the office) Tyler: It's on the desk (Jeremy looks on the desk but there's nothing. Tyler closes the door) Jeremy: I can't see anything (Tyler rushes over him, pushes him against the wall and strangles him) Tyler: What were those pictures about? Jeremy: I can't breath Tyler: Answer to me! Why? Why wolf pictures? Jeremy: Because… because I know Tyler: You know what? You know what Jeremy?! Jeremy: I know what you are [Mystic Falls' public park] (Mason's drinking lemonade. Damon rejoins him) Damon: Hello, Mason. Working hard? Mason: Doing my part Damon: I heard you talked to Stefan Mason: Nice guy Damon: Yeah, a lot nicer than me Mason: Niceness is overrated Damon: That's what I think Mason: You have a good day, Damon (He leaves. Stefan arrives) Stefan: Please tell me that you were just bounding Damon: So what's up this faux drama in your relationship? Stefan: What are you talking about? Damon: Oh come on, Stefan. You and Elena don't fight, especially not over me Stefan: Drop it, Damon Damon: With pleasure Little Girl: Would you like some lemonade? Damon: Thank you sweetie (Damon drinks lemonade but spit it. Liz looks at him) Stefan: What's wrong with you? Damon: Vervein. Vervein (Elena is alone. Caroline rejoins her) Caroline: Are you okay? Elena: No Caroline: You know, maybe it's for the best Elena: It's not for the best, Caroline. None of this is for the best. I'm sorry, okay? I… I don't mean to take it out on you. You're just being a good friend Caroline: No. I'm not. I'm not being a good friend at all (She sees her mom on the phone, leaving the park) Caroline: Is she leaving? Where is my mom going? (Liz in at the phone) Liz: Look, I can't talk here. Just get Jesse and meet me down hallow at the entrance. And bring a… yes we need it Caroline: What's wrong? Liz: Nothing. I just have something… Caroline: You mean work? You've surprised me. You last longer than 5 minutes Liz: It's important Caroline: It always is Liz: I'm sorry (She leaves. Elena rejoins Caroline) Elena: What's going on? Caroline: I don't know. Something's up (Damon is drinking water. He's very hungry) Damon: I'm gonna k*ll him Stefan: Listen to me! Sit! Sit! Damon: I'm not listening anymore of you "get peace a chance" crap. He's d*ad! Damon: Okay. I don't like it but he's making thr*at. He could expose us. We need to put him down Damon: Alright. Let's do it (He sees Mason going into the woods) Damon: Woods. Trash duty. Come on (Caroline and Elena are going into the woods) Elena: Where are you going? What's going on? Caroline: I need to be able to hear better Elena: Hear what? Caroline: Something's wrong, Elena (Mason is in the woods. Stefan and Damon arrive) Damon: Don't look so surprised. You knew this was inevitable. Go ahead, run. I give you a head start (Mason bends down. Damon and Stefan are sh*t) (Caroline has heard everything) Caroline: Oh god Elena: What is it? Caroline: Stefan and Damon Elena: What? (Stefan and Damon are on the floor. Liz and some of her deputies arrive) Liz: Thank you, Mason (She injects Damon and Stefan with vervein) [Lockwood Mansion] Tyler: How do you know about all this? Jeremy: My uncle John left this old diary lying around. It was written by a crazy Gilbert ancestor who wrote about this curse that run in your family Tyler: A curse about what? Jeremy: Werewolves. It's crazy right? But then, Matt was att*cked by a wolf under a full moon and your uncle has just gotten back to town. It was too weird. Is it true? Tyler: About my uncle? Yeah Jeremy: Bu you… you're not… Tyler: Aw wolf? I'm sorry, a werewolf? No. I mean, not yet. Just saying that out loud, i sound insane Jeremy: I don't think so but then again, I always did believe in the crazy stuff Tyler: According to my uncle, you have to trigger the curse. Somebody has to die on your hands, like a m*rder or an accident. I basically have to cause death and then boom: next full moon I'm hulling on all fours Jeremy: Is that why he came back? To tell you all this? Tyler: Yeah, right. He had to tell me. I caught him. He's not here for me (He takes the moonstone from his pocket and shows it to Jeremy) Tyler: He's here for this [The woods] (Liz, Mason and the deputies are going into the Lockwood's old estate ruins. The deputies are carrying Stefan and Damon) Mason: It's down the stairs to the left Liz: Careful. The wooden b*ll*ts and vervein won't keep them down for long. What is this place? Mason: Old sl*ve quarters from the original Lockwood house (They are in the ruins) Liz: Thank you, Mason. I appreciate all you've done. We got it from here Mason: You're gonna k*ll them right? Liz: Yes. That's why you should go. Here it's the council, not the law. You can't be a party to this. It's for your own protection Mason: Liz, I don't care about… Liz: I do and I'm not asking. Goodbye Mason Mason: Don't take any chances (He leaves) (Caroline and Elena are in the woods looking for Liz, Damon and Stefan but suddenly Caroline stops) Elena: What is it? Caroline: They've been here (She bends down and looks at a plant. There's blood on it) Elena: What? (Mason arrives) Mason: What are you two doing out here? Elena: Have you seen Stefan? Mason: Yeah Elena, I've seen him. Seen Damon too Elena: Where are they? Mason: You don't need me for that. I let your friend here sniff them out (He looks at Caroline) Mason: Does your mother know what you are? I'll happy to tell her (She goes toward him but he catches Elena and strangles her from behind) Mason: Don't be stupid! Necks snap easy around here Caroline: I can take you Mason: Wanna bet? Caroline: Yeah. I do (She rushes over him. Catches him and pushes him against a tree) Caroline: I told you (She kicks him in the leg, throws him on the floor and kicks him on the stomach with strength. He's thrown against the tree and fall on the floor) Caroline: Come on (They leave) (Damon wakes up. Liz sh*ts him on the leg) Liz: This is how it's gonna work. Answer me and you don't get sh*t, understand? How many of you are they? Damon: Please, please (She sh*ts him again. He screams) Liz: How did you fool us? How do you walk in the sun? (He doesn't answer. She sh*ts Stefan) Liz: I will drag this out painfully Damon: But you're my friend Liz: Our friendship was a lie. Answer me and I'll k*ll you fast (Elena and Caroline arrive at the ruins) Elena: What is that? (Caroline hears her mother telling to her deputies to k*ll Stefan and Damon) Elena: Caroline. Caroline, what is it? Caroline: My mom. She's k*lling them Elena: What?! We have to stop her! Caroline: No, I can't. Elena, she's gonna find out about me (Elena goes into the ruins) (Liz is still in the ruins) Liz: Let's do this. Each with a stake in the heart, then burn them both (They hear someone. One of the deputies is going to check out. Elena punches him with a plank and then goes into the cell) Liz: Elena! What are you doing? Elena: You can't k*ll them. I'm not gonna let you (They hear noise. The door closes alone) Deputy: What was that? Liz: Who else is with you? (Caroline is here. She kills one of the deputies and then punches the other one) Caroline: Hi mom (Damon and Stefan are now awake. Damon he's finding on one of the deputies and then he checks on Stefan) Damon: You need to drink some deputy blood Stefan: No. I'm gonna be fine. It's gonna take a little bit longer Caroline: Damon's right you know. If it's ever time to break your diet… Elena: He said he didn't want it, okay? Damon: This is the most unfortunate situation. Two deputies d*ad and you (He looks at Liz) Damon: What am i gonna do with you? Caroline: You won't tell anyone, will you? Mom? Mom? Please. Look, I know that we don't get along and that you hate me but I'm your daughter and you'll do this for me, right? Mom, please. He will k*ll you Liz: Then k*ll me Caroline: No! Liz: I can't take this. k*ll me now Damon: But you're gonna dry out so painfully (He catches her) Caroline: No, no, no, no, no, no, no! Stefan: Damon, don't! Elena: Damon, please! Damon: Relax guys. No one is k*lling anybody (He looks at Liz) Damon: You're my friend (He looks at the deputies) Damon: We have to clean this up [Lockwood Mansion] (Jeremy is looking at the moonstone) Jeremy: What is it? Tyler: It's a moonstone. I looked it up online. It's a natural rock but there supposed to have all sorts of supernatural legends attached to them Jeremy: Why didn't you give it to him? Tyler: Because he wants it. I'm a dick that way. It's important to him for some reason but I don't trust the guy so I'm not just gonna hand it to him (Aimee and Sarah arrive) Sarah: Found you! Aimee: Hey, you guys are missing all the drinking Sarah: Oh, I'm sorry. Were you two having a moment? Tyler: No, we're good Sarah: Hey, hey, what is that? (She takes the moonstone) Aimee: Pretty Tyler: Okay, let's not play with the rock Aimee: Well, come and get it Tyler: Look, I'll play along for a little bit but seriously, give it back Sarah: Look in here (Sarah has the stone) Sarah: Snooze, you lose (She runs, he goes after her) Tyler: You're lucky. You're cute when you're drunk Sarah: I want Jeremy to come get it Tyler: Give me a break Aimee: Sarah, don't be a bad drunk Sarah: Jeremy, come upstairs with me. See how a bad drunk I can be Jeremy: I'm good, thanks (Tyler goes on the stairs and tries to takes the moonstone from Sarah's hands. He takes it and she falls and hits her head on the floor) Jeremy: Sarah! Aimee: Sarah, oh my god! Tyler: She fell! Aimee: She's not moving. Oh my god. (Sarah opens her eyes and laugh) Sarah: I fooled you Aimee: Oh my god Sarah: You pushed me on the stairs! Jeremy: Look, he didn't mean it okay? (She gets up and leaves with Aimee) [Salvatore's house] (Caroline arrives with a luggage) Caroline: Hey, sorry that took forever. I just didn't know how long my mom was gonna be here Elena: Damon says it'll take 3 days' tops for the vervein to leave her system. Maybe even sooner (Stefan rejoins the girls) Caroline: Hey! You had some bunny in you? Stefan: Yeah, I'm feeling much better, thank you (Damon in in a cell, in the basement. Liz is on the phone) Liz: A stomach bone. Yeah, it came on fast. I'll definitely be out tomorrow (She looks at Damon) Liz: Or longer. I'll text you. Yeah. Good night (She hangs up and gives the phone to Damon) Damon: Thank you. It's not exactly the Ritz, but it's secure. I brought a good bed camp and once the vervein is worked out of your system, I will compel you, you will forget everything and you will be a free woman (Caroline, Stefan and Elena arrive at the cell and listen do the conversation) Liz: Can you keep Caroline far away from me please? I don't want to see her Damon: She's your daughter, Liz Liz: Not anymore. My daughter's gone Damon: You have no idea how wrong you are about that (He looks at Caroline. She leaves, Elena follows her. Stefan sees the fridge and opens it. He takes a blood pouch and looks at it. Elena arrives) Elena: Stefan, I think that we should… what are you doing? Stefan: Katherine took a little every day to immunize herself. I could do the same with blood. I could learn to control myself on it Elena: but you can't, Stefan. You don't have to Stefan: I almost died tonight, Elena. Because I was too weak Elena: But the last time that you drink human blood… Stefan: I told you I'll find a way to stop Katherine, didn't i? Well this is it, this is the only way because she's stronger than me. And unless I change it, I can't protect you Elena: Can we talk about this later? Stefan: He can hear us wherever we are because he drinks this. This is the only thing that can help me! Elena: Are you serious? Are you pretending to fight? Because I can't tell if… Stefan: No, this is real. No more pretend (She looks at him and leaves) (Caroline is alone in the living room. Elena rejoins her) Elena: You want me to take you home? Caroline: I can't go home Elena: Why not? Caroline: Because I'm scared Elena: Why are you scared? Caroline, you can talk to me Caroline: Katherine's gonna be there and she's gonna want me to tell her everything that happened today. She told me I had to spy on you and report back to her Elena: I know and I've been so mad at you. But then, I tried to put myself in your position so that I could understand why you would do this to me and to Stefan because he's been such a friend to you. Who did she thr*at? Caroline: Matt, she thr*at Matt and I'm so scared of her Elena! I am so scared of her Elena: And you should be. Caroline, we all should be Caroline: Why is she doing this? What does she want? Elena: That's the million dollar question (She embraces Caroline) [Lockwood Mansion] (Mason is leaving a message to Liz) Mason: Hey Sheriff, its Mason Lockwood. I just want to make sure everything wet okay today. I didn't see you later and… give me a call will you? (He hangs up. Tyler arrives) Mason: Hey Tyler: I almost k*lled a girl today Mason: What? Tyler: It was an accident. I was being stupid. She's okay though but here I was and just for a moment, for a split second, I hope she'll die. Look, whatever this is inside me, I don't want any part of it. I don't ever want to feel that way again, I won't, and I can't Mason: I know (Tyler gives him the moonstone) Mason: Thank you Tyler: Yeah [Salvatore's house] (Elena goes toward the door but Damon arrives) Elena: Caroline is sleeping on the couch Damon: I heard and you? Elena: I'm going home. What you did for Caroline's mom, that's the Damon who was my friend Damon: Hey, Stefan didn't drink the people blood if you're curious but he needs to and deep down you know that (Stefan is in the Salvatore's library. Elena rejoins him) Stefan: You can come in Elena: Do you really think that you can control it? Stefan: I don't know but if I don't try… Elena: So a little bit every day? Stefan: Yeah, just of a few drops of blood in my system. That gets worth trying Elena: So do I but I don't want you to do it alone (She takes a paper-Kn*fe) Stefan: What are you doing? (She cuts herself) Elena: It's you and me, Stefan. Always (He drinks her blood. His face change. She kisses him. His face become normal again) [The woods] (Mason is in the woods. A car is waiting for him. He goes in the car. Katherine is in the car) Katherine: I've been waiting One year ago [Emerald Coast, Florida] (Mason's eyes are yellow. Katherine arrives) Katherine: Mason? What happened? Mason: Jimmy att*cked me Katherine: What? Why? Mason: He said that I h*t on Marla Katherine: Why would he think that? (She embraces him) Mason: He's d*ad. I k*lled him (She looks at Jimmy's body and smiles) Katherine: Everything's gonna be okay Nowadays [The woods] (Mason tries to kiss Katherine but she pushes him) Katherine: What was that stunt today that you pulled with Damon and Stefan Salvatore? Mason: I thought you would be happy about that Katherine: I told you to stay away from them Mason: Why do you even care? Katherine: I don't want you to get distracted. I need you to find the moonstone (He smiles) Katherine: You got it? Mason: I got it (They kiss)

{"type": "series", "show": "The Vampire Diaries", "episode": "02x05 - k*ll or be k*lled"}

foreverdreaming

[Gilbert's house] (Elena and Stefan are in Elena's bed. Stefan is sleeping. Elena is looking at him) Stefan: You're staring Elena: I'm gazing Stefan: It's creepy Elena: It's romantic (He puts a pillow on his head. Elena removes it. They kiss) Elena: Oh, this is bad of us Stefan: Yes it is Elena: If Katherine finds out… (He kisses her) [Katherine's bedroom] (Mason and Katherine are kissing) Katherine: Shut, Miss Flowers will think I'm a floozy if I have a man in here Mason: Why are you staying here? Katherine: Because I like this little bed and breakfast, don't you? Mason: I love it (They kiss passingly) [Gilbert's House] (Elena and Stefan are still kissing and hugging) Elena: Okay, I need be in the shower Stefan: Love it, let' go! Elena: No, just me. I'm late. I'm decorating at the Lockwood charity thing Stefan: What do you know! So am i Elena: Do you thing that's really a good idea to be at their house today? Mason Lockwood tried to k*ll you [Katherine's bedroom] (Katherine and Mason are still in Katherine's bed) Katherine: Where is the moonstone? Mason: Somewhere safe Katherine: Don't you trust me? Mason: I don't trust anyone [Gilbert's house] Stefan: I don't trust Mason. I want to be there today to keep an eye on him Elena: Okay but then we can't touch or talk and no lingering stares Stefan: No, none of that Elena: What do you think will happen if Katherine founds out that we are fake fighting? [Katherine's bedroom] Katherine: Scary will k*ll you Mason: No, you won't (She kisses him on the neck and bites him) Mason: Ouch! Kat, easy! Katherine: Did I hurt you? Sorry [Gilbert's house] (Elena pricks herself with a needle) Elena: Ouch Stefan: Did it hurt? Elena: It's okay. A little bit every day to make you stronger, right? (He drinks the blood on her finger) [Katherine's bedroom] Mason: What happen once I give you the moonstone? Katherine: We'll live happily ever after. I promise Mason: I'll bring it tonight, I promise [Gilbert's house] Stefan: I promise, we're gonna get through this Elena: I love you, Stefan [Katherine's bedroom] Katherine: You know I love you Mason: I love you too (They kiss) [Salvatore's house] (Someone is knocking on the door. Damon opens it. It's Jeremy) Jeremy: I need to talk to you Damon: And why I need to talk to you? Jeremy: Tyler Lockwood has to k*ll someone to activate his curse. He's not a werewolf yet Damon: Whoa, fascinating. Not enough Jeremy: But Mason Lockwood is and he's looking for a moonstone, a special roc related to the werewolves legend. That's why is here Damon: A moonstone? Jeremy: And I know where it is Damon: And you're bringing me this why? Jeremy: Do I need a reason? Look, I just want to help, okay? Damon: What your sister say about this little discovery? (Jeremy doesn't answer) Damon: Oh, you haven't told her, have you? Jeremy: Well, Elena doesn't want me getting involved in all this Damon: And you're a Gilbert, you just can't help yourself. Whoa, your search for life's purpose is as obvious as it is tragic Jeremy: You're gonna let me in or not? (He goes into the house. Damon closes the door) [Lockwood Mansion] (Everyone is preparing for the masquerade ball. Jenna is talking with Carol) Carol: Jenna, thanks for helping rundle the volunteers Jenna: Off course, for a good cause. Plus, I have always been a sucker for the masquerade ball Carol: So was Richard. This was always his favorite party of the year (Matt and Tyler are carrying a table) Carol: Boys! Be careful with that! It's from the eighteen hundreds (She rejoins them. Jenna sees Stefan and rejoins him) Jenna: Stefan, hey! Stefan: Hey Jenna: I'm cooking dinner tonight. Rick will be there, you should come Stefan: You know, Elena and I, were kind of taking a pause Jenna: Really? That's not what it sounded like this morning. Bad sleeper. You know what? I heard nothing (She smiles and leaves) (Bonnie is carrying a box. Elena is there too) Elena: You're here Bonnie: I'm here (Bonnie is looking around her) Elena: Caroline's not coming. I told you Bonnie: Just making sure Elena: You know, eventually, you're gonna have to talk to her Bonnie: Could you make it a little less obvious you're on her side Elena: There are no sides, Bonnie Bonnie: Come on! Since Caroline became a vampire, you barely seen each other. Losing Caroline was bad enough; I didn't think I'd lose you too Elena: Come with me Bonnie: Where? Elena: Not here. Some place quiet. We have to talk (She takes Bonnie's hand and they leave) [Salvatore's house] (Liz is in her cell. Caroline arrives) Caroline: You didn't eat much. Good news: Doctor Damon said the vervein is almost out of your system. So With any luck, you'll be freshly compelled and back in your own bed by tonight (Liz doesn't answer) Caroline: Are you really just gonna pretend like I don't exist? Liz: Yes. So please go Caroline: As usual, you don't care. Got it. Just like before I was a vampire. It's not like I died or anything Liz: Are you… Are you really d*ad? Caroline: Yes, I am now Liz: How is it possible? (Alaric arrive with a box) Damon: Rick! (Alaric sees Jeremy) Alaric: What are you doing here? Jeremy: Helping Damon. I'm the one who found out about the moonstone Alaric: does Elena know you're here? Jeremy: Don't exactly Damon: What you got? Alaric: This is Isobel research's from Duke. Her assistant send it to me Damon: Vanessa, the hottie Alaric: Vanessa yes. Do you remember the old Aztecs curse she told us about? Damon: Son of the moon, bla bla bla bla Jeremy: an Aztec curse? Cool Alaric: Yeah, supposedly vampires and werewolves used to run freely until a shaman put a curse on them, limitating their power. Since then, werewolves can only turn on a full moon and vampires are weakened by the sun Damon: Most of them anyway Alaric: According to the legend, the werewolf part of the curse is sealed with a moonstone Jeremy: What do you mean sealed? Damon: It's a witch thing, whatever seals the curse is usually the key onto unsealing the curse Alaric: Maybe Mason Lockwood believes he can use the moonstone to break the curse Damon: If we start believing in some supernatural witchy mojo legend from a picture book, we're idiots. Where is the stone now? Jeremy: Tyler Damon: Can you get it? Jeremy: Yeah Damon: You see, know your life has a purpose Jeremy: So you do believe it? Damon: This is the same book that says the werewolf bite kills a vampire. Ignoring it make me an even bigger idiot. Let's go [Lockwood Mansion] (Elena and Bonnie are walking on the Lockwood property) Bonnie: I can't believe this Elena: it's a lot, I know. Katherine's gonna do everything that she can to drive me and Stefan apart and Caroline just got trapped in the middle Bonnie: It's not that you and Stefan are pretending to fight, is that I didn't even know you guys were fighting at all Elena: I'm sorry, I don't want to keep things from you but you've made it pretty clear where you stand with the whole vampire thing Bonnie: So that makes me the unman out Elena: No, Bonnie, of course not Bonnie: I know where I stand, Elena and I know where you stand but where do we stand? Elena: You're my best friend, Bonnie. I didn't mean to let this craziness with Caroline get in the way of that but she needs you too Bonnie: not yet, I just… she's a vampire, I can't. I think we should get back (Mason is carrying a box. He sees Stefan) Mason: Hey Stefan Stefan: Hey Mason (Mason is chocked) Mason: I wasn't expecting you here or anywhere Stefan: Yeah, I had this little accident but I'm fine know Mason: What did you do to Sheriff Forbes? Stefan: she's fine too but for now on you'll have to do your own dirty work Mason: Not a problem (He leaves and bumps into Bonnie. She feels something) Mason: Excuse me (Stefan understands that something's going on so he rejoins Bonnie) Stefan: What's the matter? Are you okay? Bonnie: When I touched him, I saw something Stefan: What do you mean? Like a vision? Bonnie: I saw Elena Stefan: You saw Elena? Bonnie: He was kissing her Stefan: No Bonnie. Elena wouldn't kiss… you didn't see Elena, you saw Katherine (Elena sees Stefan and Bonnie talking together. Damon rejoins her) Elena: Damon. What are you doing here? Damon: Looking for my baby bro. Speaking of… you should tell yours to stop following me around Elena: What's going on? Damon: Ask him (Jeremy arrives) Elena: Jeremy, what is he making you do? Jeremy: He's not making me do anything, Damon and i… Elena: No way, no, no, no, no. There is no "Damon and you". There's Damon and whoever Damon is using, and those people, they end up d*ad. Whatever is going on Jeremy, I want you to stay out of it Jeremy: I don't really care what you want, Elena. It's because of you that I'm in this mess in the first place so I'm sorry, you don't really get to tell me what I'm gonna do (He leaves) (Stefan is talking with Damon) Damon: Katherine's with Mason Lockwood? Stefan: You missed it. He got in the town after she did, it makes perfect sense Damon: I know but Mason Lockwood?! Werewolf thing aside, the guy is a surfer. She's got to be using him, it has to be Stefan: Using him for what? Damon: Mason Lockwood's looking for a moonstone that allegedly can break the full moon werewolf curse. Maybe Katherine wants it as well Stefan: Why? Damon: Well… no idea. This is the beauty of Katherine; she's always up to something Stefan: So how are we gonna find this moonstone? Damon: Jeremy is gonna get it from Tyler Stefan: Why would you involve Jeremy? Damon: He's playing Indiana Jones, he involved himself (Matt and Tyler are helping decorating) Matt: She's this amazing girl one minute and then this raging jealous freak the next Tyler: Look, you know what I think about Caroline Forbes. She's an insecure narcotic bitchy little twig Matt: Hey! Tyler: But the girl's got heart, she means well. You just get the mean with the best sometimes Matt: Yeah. I'm gonna go get an extra. I'll be right back (He leaves. Jeremy rejoins Tyler) Jeremy: Hey man Tyler: Hey! Jeremy: Hey, so I did a little research on that stone you showed me Tyler: What? Why? Jeremy: I don't know. Curiosity, boredom Tyler: What did it say? Jeremy: Well, it turns out that it's part of this Aztec legend but I want to make sure it's the same kind of stone. You think I could check it out again? Tyler: No. I gave it to my uncle Jeremy: Why did you do that? Tyler: Because I'm done with legends and curses. I don't want anything to do with it, okay? Jeremy: Yeah, yeah sure. It's probably… (Stefan and Damon had listened to the entire conversation. They look at each other) (Elena is texting Stefan. She asks him if everything's okay. Stefan receives it and tells her that he's with Damon and Bonnie and that he'll fill her later. Stefan and Damon rejoin Bonnie) Bonnie: Okay. This is as far as I go Damon: Okay Bonnie: What do you want? Damon: A favor Bonnie: That's not gonna happen Damon: So predictable (He looks at Stefan) Damon: that's why I brought him Stefan: I know how you feel about helping us out but since you're the one that linked Mason with Katherine, we finally have an opportunity to get an upper hand on both of them so just hear us out Damon: Pretty please Bonnie: I'm listening (Stefan's phone is ringing. It's Elena) Stefan: I have to throw Elena in on what's going on (He looks at Damon) Stefan: Can you play nice please? (He answers) Stefan: Hey, what are you doing? You shouldn't be calling me Elena: I know but I have no idea what's happening. Damon's got Jeremy into something and you've got Bonnie with you and I'm sorting stupid masquerade masks for Misses Lockwood Stefan: Alright, it's okay. Hold on (He leaves. Damon is talking to Bonnie) Damon: All you have to do is touch Mason Lockwood again to see if he gave Katherine the moonstone Bonnie: My visions don't work like that; I don't get to ask questions Damon: How inconvenient. Although, let's about that witchy mojo you do with me. You know the fun one, when my brain burst into flames? What is that? Bonnie: That's me giving you an aneurysm. Your blood vessels go pop but you heal quickly so I do it over and over again Damon: Is it vampire specific? Bonnie: It'd work on anyone with a supernatural healing ability Damon: Good. Good, good Bonnie: Damon, I'm not gonna help you hurt him Damon: Mason Lockwood's a werewolf, Katherine's evil. They're the bad guys. Really? You're gonna play morality police with me right now? Let me explain it to you another way: they're a thr*at to Elena. You witch, are gonna get over yourself and help us Stefan: Yeah, he meant that as a question with a "please" on the end Damon: Absolutely (Mason is going to his car) Mason: Hey, can you remove you van? I'm blocked in (He sees Bonnie trying to remove a table from the truck) Mason: Hey, how did you get stucked to that by yourself? Bonnie: All the guys baled. Something about draft pix, I don't know, I don't speak that language Mason: Here, let me give you a hand (He helps her with the table but she uses her powers on him. He holds his head because he's in pain and fall on the floor) Bonnie: Sorry (Damon arrives and kicks him on the face. Mason is unconscious. Bonnie goes into Mason's car. Damon and Stefan put Mason in the trunk. Damon goes into Mason's car and leaves with Bonnie.) [Salvatore's house] (Caroline is in the cell with her mother) Caroline: So I mainly drink from blood bags. It's not as good as the fresh stuff but it beats the animal blood that Stefan's been trying to get me to drink Liz: So you steal the blood from the hospital? Caroline: Damon does. I've been pilfering his supply so… Liz: As long as you have blood, you don't need to k*ll? Caroline: I want to. It's my basic nature now but on a healthy diet, I can control it. I'm getting better at it. I'm better than Stefan. He's a bit of a problem drinker, a blood-aholic Liz: I don't want this for you Caroline: I know but when life gives you lemons… Damon's home (Damon and Bonnie are in the library. Damon puts Mason in a chair) Bonnie: Here's his bag as requested Damon: Okay, grab that corner Bonnie: Why are we doing this? Damon: Because I don't want to stain the carpet Bonnie: I knew you were gonna say something like that Damon: You're judging again (They put a blanket under the chair) Bonnie: He's not gonna be out much longer (Damon takes chains from Mason's bag) Damon: Looks like this guy used to be in tied up (Bonnie takes Mason's head in her hands) Damon: What are you doing? Bonnie: You're looking for a moonstone and I'm trying to help you find it Damon: Oh good, yeah. Find out if he gave it to Katherine and find out where she is and find out what they're gonna do with it once they get it (Damon is tying Mason. Bonnie concentrates herself while she touches Mason's head) Bonnie: Somewhere small, dark, there's water Damon: Like a sewer? Bonnie: No. Like a well? That can't be right? Yeah. It's a well Damon: Why would it be in a well? Bonnie: I told you, I only get what I get (Mason catches Bonnie's wrist but Damon releases her) Bonnie: That's it. That's all I got Damon: Hey judgy! Thank you (She looks at him and leaves. He's alone with Mason) Damon: Come on. Wake up wolf boy (He punches him on the face) (Bonnie is leaving but Caroline arrives) Caroline: Hey! Bonnie: Hi. How's your mom? Elena filled me on everything Caroline: I'm gonna take her home tonight Bonnie: Caroline… don't remind, I've got to go Caroline: Did you find the moonstone thing? Bonnie: Not yet. Hey, do you remember that old well where we used to play when we were kids? Caroline: Yeah Bonnie: It's on the woods. Do you remember where? Caroline: On the edge of the old Lockwood property. Why? Bonnie: I think that's where Mason is keeping the moonstone. I got to go Caroline: Well, I can go with you Bonnie: No, it's okay (She looks at Caroline who's disappointed) Bonnie: Sure Caroline: Okay [Lockwood Mansion] (Matt and Elena are helping preparing the masquerade ball) Matt: So where's Caroline? This is like her thing. I can't believe she's not here Elena: She has something else to do Matt: Is she seeing someone? Elena: Matt, come on. No, she's not (Stefan arrives. Elena looks at him. Tyler arrives to) Tyler: Anyone's seen Mason? Stefan: He took off. He said he wasn't sure when he'd be back Tyler: It's so weird (He leaves. Stefan receives a text from Bonnie. She's telling him to look in the well, next to the old Lockwood property. Stefan looks at Elena. She goes toward him but he tells her no with his head. She's upset and looks at Matt) Matt: I'm not even gonna ask Elena: I'll be right back (She leaves) [Salvatore's house] (Mason is chained to the chair. Damon is heating up an iron bar in the chimney. Mason is screaming. Damon looks at him) Damon: Someone's feisty (Damon goes toward Mason. Mason can't stop moving. He fell on the floor with the chair) Mason: What?! (Damon puts the iron bar into Mason's chest. Mason screams) Damon: You can hurt, good to know. I was afraid you'd gonna be some beast mess with some with no affinity for pain (Damon looks at Mason's wound. It's healing) Damon: Oh, you heal quickly. Not good. I guess I'll just have to keep an applying pain (He gets back the chair. Mason screams. Damon heats up the iron bar again) Damon: So… Katherine. How do you know her? What is she up to? (Mason doesn't answer) Damon: I have all day (He puts the iron bar into Mason again) [The woods] (Stefan arrives at the well. Elena rejoins him) Elena: What's going on? Stefan: You shouldn't be here Elena: I know but I am. What's going on? Stefan: Bonnie thinks the moonstone is down here (He opens the well. He looks into it with a lamp) Elena: Hey. Be careful Stefan: I'll only be down there for a minute (He goes into the well but he's full of vervein. Stefan's skin is burning) Stefan: Elena! Elena: Stefan?! Stefan: Elena! Elena: Stefan, what's happening?! What's going on in there?! Stefan: Vervein. Oh my god! Help! Elena: Stefan! (Elena is trying to take the chains but they're too heavy. Caroline arrives) Caroline: Elena! Elena: Caroline, Stefan's down there and the chain is rusty (Caroline tries to go into the well but Elena catches her) Elena: No, no, no! You can't, it's full with vervein. Caroline, we've got to get him out. Now! (Caroline takes the chain) [Salvatore's house] Damon: When did you two meet? Did she seduce you and tell she loved you? You're supernatural so she can't compel you. I'm she used her other charms. Katherine's good that way (Jeremy arrives) Damon: I thought I told you to leave Jeremy: I found something in Rick's boxes stuff Damon: What is it? Jeremy: I did a search on my phone, it's a plant: Aconitum Vulparia. Grows in the mountain of the northern hemisphere, communally known as "Aconite", "blue rocket" and "Wolf spin" (Damon looks at the plant) Damon: What else did you read? Jeremy: Well, every source says something different. One myth says it causes lycanthropy, which sounds bogus. Another one says that it protects people and another one says, well it's toxic (Mason whimpers. Damon looks at him) Damon: I'm guessing toxic (He takes the plant and goes toward Mason) Damon: What's Katherine doing in Mystic falls? (Mason doesn't answer so Damon puts the plant on Mason's cheek. Mason's skin burn) Damon: Why is she here? Mason: She's here with me! Why are you asking? Jealous?! Damon: How rude of me. I just realize I didn't offer you anything to eat (He puts the plant in Damon's mouth) Damon: Yummy! [The woods] (Elena is chaining herself to go into the well) Caroline: I got you okay? (Bonnie arrives) Bonnie: What's going on? You took off in a blur Caroline: I heard Elena screaming. Help her, now! Are you ready? Elena: Yeah (Elena goes into the well with the help of Caroline. She arrives at the bottom of the well. She founds Stefan unconscious into the vervein. Stefan's face is scalded. She attaches Stefan with the chains) Caroline: Elena, what's going on down there? Elena: Follow up! (Caroline is pulling Stefan from the well. Elena stays in it. Bonnie unties Stefan and puts him on the floor) Caroline: Elena! Ready for you! Elena: Hold on! I need to find the stone (Elena looks everywhere) Caroline: Hurry! Elena: Hold on! I think I found it! (She finds a wooden box and takes it but a snake is on her arm. She screams. Another snake is on her. She can't stop screaming) Caroline: Elena! What's going on?! Elena: I got it. Come on, bring me up! (Caroline brings Elena up. Bonnie unties her. Elena sees Stefan) Elena: Oh god! Stefan! (She cuts herself with a rock and gives her blood to Stefan. He drinks it) Elena: I've got the stone, Stefan. Stefan, it's gonna be okay, everything's gonna be okay [Salvatore's house] (Damon is still torturing Mason) Damon: Why do you want the moonstone? Mason: Screw you! Damon: Ahhh! Wrong answer! Jeremy: If he was gonna say anything, he would have already! Damon: I'm taking your eyes now Mason: The well! You'll find it there! Damon: I know where it is. I want to know what it does and why you want it Mason: I'm getting it for Katherine Damon: Why? Mason: She's gonna use it to lift the curse Damon: Of the moon? Now, why would a vampire help a werewolf break a curse that keeps him from turning whenever they want? Mason: So I wouldn't have to turn anymore Damon: Why? Mason: Because she loves me! (Damon laughs) Damon: Now I get it. You're just stupid. Katherine doesn't love you, she using you, you moron! Mason: I'm done talking Damon: Yes you are. It's time to take a walk, Jeremy Jeremy: I'm staying Damon: No, you should go Jeremy: I'm staying, Damon. He's got enough (Mason looks at Jeremy) Mason: Just help Tyler. Don't let this happen to him Jeremy: Damon… (Damon rushes over Jeremy and strangles him) Damon: You want to be a part of this? Well, here it is! k*ll or be k*lled! The guy is a werewolf; he'll k*ll me the first chance he got so you suck it up or leave! (He releases him) Damon: He wants me to k*ll him anyway, don't you Mason? Really is a curse, isn't it? (Jeremy leaves) Damon: You now, when I look at you I see myself, less dashing and less intelligent version Mason: I love her Damon: Oh, I know! I've been where you are but Katherine will only rip your heart out. Let me do it for her (He puts his wrist in Mason's chest and kills him) [Gilbert's house] (Jenna and Alaric are in the kitchen, cooking dinner) Jenna: You're pretty handy with that thing Alaric: Yeah, uh, it's a skill (They kiss) Alaric: Where is the sea salt? Jenna: Table (They kiss again. Alaric lays the table. Elena arrives. Alaric looks at her and asks her secretively if she's okay. She nodded and goes upstairs) [Salvatore's house] (Caroline is in the cell with her mother) Caroline: So I pulled Stefan out of this well and he's all verveined and just routed but Bonnie wasn't mean to me once and I really think it's progress, you know? I just… what? I'm freaking you out Liz: It's just that you've become tis person…. Caroline: Don't… i… just starting to get along Liz: This strong, this confident person Caroline: Oh. Thank you Liz: You don't have to take my memories away. I'll keep your secret. Look, if you're worried about them, just say you compelled me. I won't tell. I'll never do anything to hurt you Caroline: Why we never talk like this? Never and today meant so much to me Liz: For me too Caroline: I know I can trust you but you're never going to trust them (She cries and compels her) Caroline: I'm going to take you home. You're going to forget that I'm a vampire Liz: I'm going to forget that you're a vampire Caroline: You'll remember you got sick with the flu, you had a fever, chills and leakiness but I made you soup and it was really salty. We beggared. You got better and then your selfish little daughter, who loves you no matter what, went right back to ignoring you and all is right in the world (Damon is putting Mason's body in the blanket. Stefan arrives and shows the moonstone to Damon) Damon: All this for that? Stefan: Yep (He throws him the moonstone) Stefan: I see you've exercised your usual restraint Damon: Had to be done (He takes Damon's phone and text Carol on behalf of Mason) Damon: "Carol, big opportunity in Florida, I'm gonna be gone for a long time. You'll send for ma things once I get settled. Much love, Mason" Stefan: Let's get rid of the body Damon: Oh, last number dialed. I wonder who that can possibly be Stefan: No, no, no! Don't provoke her! (Katherine answer, thinking its Mason) Katherine: Mason, you should have been here an hour ago Damon: Wrong boy toy Katherine: Damon, for once you surprise me. I guess Mason's with you Damon: he's right beside me although his heart he's across the room Katherine: You shouldn't have Damon: I've had a very busy day today. I k*lled a werewolf, found the moonstone. Hey, did you know that he hide the moonstone at the bottom of a well full of vervein? I guess he didn't trust you very much but he did love you. Poor guy. Hey, where are you? Because i could bring him over. Last goodbyes and all that Katherine: You have no idea what you've just done Damon: Aww, did I put a kink in your master plan? I'm so sorry Katherine: Do you honestly believe that I don't have a plan B? And if that fails a plan C, then a plan D and… you know how the alphabet works, don't you? Send my love to Stefan (She hangs up. Damon looks at Stefan) [Gilbert's house] (Elena arrive in the kitchen) Elena: Where is Jeremy? Alaric: Oh, he went straight up to his room. He said he's not hungry Elena: Who is she talking to? Alaric: I don't know. Everything go okay today? Elena: There were a few hick ups but yeah (Jenna is at the phone) Jenna: Of course, I understand. Elena, it's for you (Elena takes the phone) Elena: Who is it? Hello? Katherine: Hello Elena Elena: Katherine Katherine: Did you enjoy your little rendezvous with Stefan this morning? I will always know, Elena. I will always be one step ahead of you. When are you gonna figure that out? Do you know how easy it was to get inside of your house? To replace Aunt Jenna vervein perfume to convince her to stop drinking her special tea? Elena: No Katherine: Jenna's been my little spy for days now. Unlike you, Jenna actually listens to me so when I suggested that the world would be a much better place if she was just… (Jenna is holding a Kn*fe toward her) Elena: Jenna no! (Jenna s*ab herself. Alaric and Elena rush toward her) Katherine: Well, you got the idea (She hangs up) [Mystic Falls' hospital] (Elena rejoins Jeremy in the waiting room) Jeremy: Is she okay? Elena: The doctors told Alaric that she got lucky. She's gonna be okay Jeremy: Did she remember what happened? Elena: No, nothing. It's all bit of part of Katherine's mind compulsion Jeremy: Why would Katherine hurt Aunt Jenna? Elena: Because she's trying to send a message, that she could get to anybody (She cries) Jeremy: Hey, hey, come here (He embraces her) Jeremy: It's gonna be okay Elena: No it's not Jeremy: She's gonna pay Elena. I don't know how but she's gonna pay [Lockwood Mansion] (Tyler arrives and rejoins his mother) Tyler: It looks good Carol: Thanks. It was nice to see Matt today. He hasn't been around for a while Tyler: We've both been busy I guess. Have you seen Mason? The guy's been off all day Carol: Actually Tyler, Mason headed back to Florida Tyler: What? Carol: I'm sorry, honey. I know how much you two hinted off Tyler: So he just left Carol: I was hoping he'd stick around, I thought that with your dad gone… anyway, he's gone. So, I guess it's just you and me now [Salvatore house] (Elena rejoins Stefan in the library. He's crying) Stefan: I'm so sorry Elena: We were stupid. Sniking around, thinking that we weren't gonna get caught Stefan: I know Elena: We did this. Stefan, Jenna's in the hospital and Jeremy could be next all because we didn't listen to her, because we're together. Stefan… Stefan: I know what you're gonna say to me Elena: Then let me say it. I've been so selfish because I love you so much and I know how much you love me but it's over. Stefan, it has to be Stefan: Elena, i… (They are both crying) Elena: No, Stefan. It has to be (She kisses him and leave. Stefan is still crying. Elena goes toward the front door. Damon intercepts her) Damon: Elena. I worked Katherine out. I wasn't thinking, I didn't think! Elena: It doesn't matter, Damon. She won. Katherine won (She looks at him and leaves) [Katherine's bedroom] Katherine: I apologize if I seem rattled. The circumstances have changed suddenly and I had to adjust. Mind control is necessarily evil. You see, I need a werewolf and I've lost the one that I had. Now tell me what you're going to do to help me get a new one (She is talking to Matt) Matt: I'm going to go after Tyler Lockwood (She compels him) Katherine: And you're not going to stop Matt: And I'm not going to stop Katherine: Until? Matt: Until he kills me

{"type": "series", "show": "The Vampire Diaries", "episode": "02x06 - Plan B"}

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