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| hide_and_seek [2022-08-18 10:38] – Saeid | hide_and_seek [2022-09-11 19:49] (current) – ↷ Links adapted because of a move operation Saeid | ||
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| | **Hide and Seek** {{hide_and_seek.jpg|Title Card}} || | | **Hide and Seek** {{hide_and_seek.jpg|Title Card}} || | ||
| ^ Episode Number | 1.6 | | ^ Episode Number | 1.6 | | ||
| - | ^ Directed By | [[https:// | + | ^ Directed By | [[https:// |
| - | ^ Written By | [[https:// | + | ^ Written By | [[https:// |
| ^ Premiered | ^ Premiered | ||
| ^ Runtime | ^ Runtime | ||
| Line 20: | Line 20: | ||
| > We serve Kier, you child! <WRAP attribution> | > We serve Kier, you child! <WRAP attribution> | ||
| - | [[harmony_cobel|Mrs. Selvig]], dressed in a matronly white nightie and braids, sits on an institutional-looking bed in what appears to be her basement. She makes a necklace out of a severance implant and admires it in the mirror. Her phone buzzes. It's [[Doug Graner|Graner]]. Tests on [[Peter Kilmer|Kilmer's]] chip show the console used to hack the chip has a signature that ties it back to Lumon. Graner thinks it traces back to [[regabhi|Reghabi]]. He's going to look for her. Selvig ends the call. | + | [[harmony_cobel|Mrs. Selvig]], dressed in a matronly white nightie and braids, sits on an institutional-looking bed in what appears to be her basement. She makes a necklace out of a severance implant and admires it in the mirror. Her phone buzzes. It’s [[Doug Graner|Graner]]. Tests on [[Peter Kilmer|Kilmer’s]] chip show the console used to hack the chip has a signature that ties it back to Lumon. Graner thinks it traces back to [[reghabi|Reghabi]]. He’s going to look for her. Selvig ends the call. |
| Selvig kneels at an altar illuminated by white candles and folds her hands. A framed black-and-white photograph of [[kier_eagan|Kier Eagan]] hangs centered above it. It is surrounded by numerous articles of Kier-adjacent totems and memorabilia - an original canister of [[Lumon Industries]] topical salve, a yellowed snapshot of a girl in braids standing next to the sign for the Myrtle Eagan School for Girls, and, strangely, a coiled ventilator hose labeled Charlotte Cobel, DOB 3-17-44. She begins to recite, or pray: "// | Selvig kneels at an altar illuminated by white candles and folds her hands. A framed black-and-white photograph of [[kier_eagan|Kier Eagan]] hangs centered above it. It is surrounded by numerous articles of Kier-adjacent totems and memorabilia - an original canister of [[Lumon Industries]] topical salve, a yellowed snapshot of a girl in braids standing next to the sign for the Myrtle Eagan School for Girls, and, strangely, a coiled ventilator hose labeled Charlotte Cobel, DOB 3-17-44. She begins to recite, or pray: "// | ||
| - | [[Mark]] hurries down his basement steps and digs Petey's phone out of the box. He checks it, closes it and pockets it. He gets into his car and backs out of his driveway. He reverses to get even with the trash bins. He rolls down his car window and removes the battery from the phone. He throws both pieces in the trash. | + | [[Mark]] hurries down his basement steps and digs Petey’s phone out of the box. He checks it, closes it and pockets it. He gets into his car and backs out of his driveway. He reverses to get even with the trash bins. He rolls down his car window and removes the battery from the phone. He throws both pieces in the trash. |
| - | Lumon, [[svr_d_floor|Severed floor]]. [[Irving Bailiff|Irving]] and [[Burt Goodman|Burt]] enter a room filled with greenery. Burt tells Irving he found it a while ago and sometimes visits alone. Irving thinks it's beautiful. Burt suggests it can be their secret place. They quietly discuss the loopholes in the Lumon rules on workplace romance. They face each other, hands touching. Burt goes in for a kiss. Irving can't do it; he isn't ready. He apologizes. Their foreheads meet in a kind of embrace. Burt asks Irving to stay there with him. | + | Lumon, [[svr_d_floor|Severed floor]]. [[Irving Bailiff|Irving]] and [[Burt Goodman|Burt]] enter a room filled with greenery. Burt tells Irving he found it a while ago and sometimes visits alone. Irving thinks it’s beautiful. Burt suggests it can be their secret place. They quietly discuss the loopholes in the Lumon rules on workplace romance. They face each other, hands touching. Burt goes in for a kiss. Irving can’t do it; he isn’t ready. He apologizes. Their foreheads meet in a kind of embrace. Burt asks Irving to stay there with him. |
| - | [[devon_scout-hale]] strolls through a snowy park with [[Eleanor]] strapped to her front in a carrier. Below her, in an open area, Devon spies [[Gabby Arteta|Gabby]]. She waves her hand and calls out a greeting to her. Gabby doesn't recognize Devon. Devon walks down to get closer and re-introduces herself, mentioning the coffee. Devon asks how William is. Gabby answers, a little icily, "His name's Bradley, actually." | + | [[devon_scout-hale]] strolls through a snowy park with [[Eleanor]] strapped to her front in a carrier. Below her, in an open area, Devon spies [[Gabby Arteta|Gabby]]. She waves her hand and calls out a greeting to her. Gabby doesn’t recognize Devon. Devon walks down to get closer and re-introduces herself, mentioning the coffee. Devon asks how William is. Gabby answers, a little icily, "His name’s Bradley, actually." |
| - | Mark reads // | + | Mark reads // |
| - | Assembled in the [[kitchenette|kitchenette]], | + | Assembled in the [[kitchenette|kitchenette]], |
| - | [[seth_milchick|Milchick]] walks in on Irving and Dylan ribbing Mark and asks what they're talking about. Together, trying to recover, they come up with " | + | [[seth_milchick|Milchick]] walks in on Irving and Dylan ribbing Mark and asks what they’re talking about. Together, trying to recover, they come up with " |
| - | Mark is in [[harmony_cobel|Ms. Cobel]]'s office. She sternly lectures Mark about accountability. Mark tries to defend Ms. Casey, reminding Cobel that he is the one who snuck Helly out of [[MDR]], and he should be bearing the consequences for what happened, though he covers their excursion as "just a walk." Cobel zeroes in and shows him security camera footage of Mark and Helly in the unused office. Cobel reprimands Mark for exploring the halls while MDR has still not met its quarterly quota. Mark demands to know what their actual job is for. "//We serve Kier, you child!//" | + | Mark is in [[harmony_cobel|Ms. Cobel]]’s office. She sternly lectures Mark about accountability. Mark tries to defend Ms. Casey, reminding Cobel that he is the one who snuck Helly out of [[MDR]], and he should be bearing the consequences for what happened, though he covers their excursion as "just a walk." Cobel zeroes in and shows him security camera footage of Mark and Helly in the unused office. Cobel reprimands Mark for exploring the halls while MDR has still not met its quarterly quota. Mark demands to know what their actual job is for. "//We serve Kier, you child!//" |
| - | Dylan sulks that Ms. Casey hasn't returned to MDR, saying he wore a nice shirt just for her. Helly retorts that his [[Outie]] doesn't know anything about Ms. Casey; Dylan proposes that love transcends [[Severance_procedure|Severance]]. He tries to turn the conversation to Helly and Mark, insinuating that "baby goats" is a euphemism for a tryst. Helly attempts, possibly unsuccessfully, | + | Dylan sulks that Ms. Casey hasn’t returned to MDR, saying he wore a nice shirt just for her. Helly retorts that his [[Outie]] doesn’t know anything about Ms. Casey; Dylan proposes that love transcends [[Severance_procedure|Severance]]. He tries to turn the conversation to Helly and Mark, insinuating that "baby goats" is a euphemism for a tryst. Helly attempts, possibly unsuccessfully, |
| - | Mark gets back to MDR from Cobel's. He tells Helly and Dylan that Ms. Casey is in the [[Break Room]]. Mark angrily tells them that until they meet their quota there are no more inter-departmental visits. Irving apologizes to Mark for the bad example he has set. Mark asks Irving to take them all to O&D. | + | Mark gets back to MDR from Cobel’s. He tells Helly and Dylan that Ms. Casey is in the [[Break Room]]. Mark angrily tells them that until they meet their quota there are no more inter-departmental visits. Irving apologizes to Mark for the bad example he has set. Mark asks Irving to take them all to O&D. |
| - | The four walk the hallways defiantly. Cobel sees it on her camera feed and shouts for Milchick. "I'm on it," he says. | + | The four walk the hallways defiantly. Cobel sees it on her camera feed and shouts for Milchick. "I’m on it," he says. |
| Burt takes the four to the back room of O&D. Helly and Mark are astonished by the number of people working there. Burt tries to ease the surprise to his workers. He welcomes MDR and hopes O&D would be welcome in their office as well. Burt encourages the O&D people to ask MDR a question. One woman, holding a white watering can, asks what MDR refines. Mark struggles to find an answer. Irving asks if she has a watering can. She looks at Burt searchingly; | Burt takes the four to the back room of O&D. Helly and Mark are astonished by the number of people working there. Burt tries to ease the surprise to his workers. He welcomes MDR and hopes O&D would be welcome in their office as well. Burt encourages the O&D people to ask MDR a question. One woman, holding a white watering can, asks what MDR refines. Mark struggles to find an answer. Irving asks if she has a watering can. She looks at Burt searchingly; | ||
| Line 48: | Line 48: | ||
| Mark tells everyone that they have been trying to figure out how it all fits together. He mentions the baby goat room. Burt stresses that everything they do there is important. Helly questions his statement. | Mark tells everyone that they have been trying to figure out how it all fits together. He mentions the baby goat room. Burt stresses that everything they do there is important. Helly questions his statement. | ||
| - | Mark proposes working together to try to find out more. He points out that nobody will tell them what they're doing; that they work in the dark while the Eagan philosophy is " | + | Mark proposes working together to try to find out more. He points out that nobody will tell them what they’re doing; that they work in the dark while the Eagan philosophy is " |
| - | Burt agrees with Mark's argument, adding that he and Mark should go to the goat department together and find out what they know. While Burt makes this case, Dylan strolls the room. Dylan finds a bin with [[ideographic_cards|picture cards]] stacked in it. They illustrate movements and martial-arts-esque attack stances. He takes one and pockets it. | + | Burt agrees with Mark’s argument, adding that he and Mark should go to the goat department together and find out what they know. While Burt makes this case, Dylan strolls the room. Dylan finds a bin with [[ideographic_cards|picture cards]] stacked in it. They illustrate movements and martial-arts-esque attack stances. He takes one and pockets it. |
| Milchick opens the back-room door and looks upon the scene with disappointment and accusation. He walks MDR back to their office while Mark protests. Cobel is waiting there for them. She sings [[kier_anthem|a short song in tribute to Kier]] in a loud, strong voice. After she finishes, she dresses Mark down for the breach of trust. Graner appears. Cobel tells him to take Mark to the Break Room. | Milchick opens the back-room door and looks upon the scene with disappointment and accusation. He walks MDR back to their office while Mark protests. Cobel is waiting there for them. She sings [[kier_anthem|a short song in tribute to Kier]] in a loud, strong voice. After she finishes, she dresses Mark down for the breach of trust. Graner appears. Cobel tells him to take Mark to the Break Room. | ||
| - | As Mark enters the hallway to the Break Room, the door at the other end opens and Ms. Casey comes out. They walk toward one another. Mark whispers, "I'm sorry" as they pass each other in the middle. | + | As Mark enters the hallway to the Break Room, the door at the other end opens and Ms. Casey comes out. They walk toward one another. Mark whispers, "I’m sorry" as they pass each other in the middle. |
| - | Mark and [[Alexa]] are out on another date. She notices the knuckles on his right hand are bright red. She asks what happened to it. He repeats what Lumon told him happened at work, some incident involving moving a water jug. Alexa doesn't seem completely convinced. | + | Mark and [[Alexa]] are out on another date. She notices the knuckles on his right hand are bright red. She asks what happened to it. He repeats what Lumon told him happened at work, some incident involving moving a water jug. Alexa doesn’t seem completely convinced. |
| - | They discuss Devon's need for a lactation consultant. Alexa asks if Mark and Gemma ever considered having children. Mark explains how it never really happened, and Gemma's philosophy was to accept the life she had. Alexa approves. Mark starts to relate an anecdote about how pragmatic Gemma was, and stops himself. He feels weird talking about his late wife on a date. Alexa encourages him to talk more about it, since Gemma is a part of him. She starts to say, "You can't just separate yourself..." | + | They discuss Devon’s need for a lactation consultant. Alexa asks if Mark and Gemma ever considered having children. Mark explains how it never really happened, and Gemma’s philosophy was to accept the life she had. Alexa approves. Mark starts to relate an anecdote about how pragmatic Gemma was, and stops himself. He feels weird talking about his late wife on a date. Alexa encourages him to talk more about it, since Gemma is a part of him. She starts to say, "You can’t just separate yourself..." |
| - | At Devon and Ricken's, Devon is looking up Gabby Arteta on social media. Her profile is blocked. She finds an article about Gabby's husband Angelo. He's a State Senator who was recently re-elected. She reads a news article about them in the //Reservoir Journal//. The headline refers to them as a "power couple." | + | At Devon and Ricken’s, Devon is looking up Gabby Arteta on social media. Her profile is blocked. She finds an article about Gabby’s husband Angelo. He’s a State Senator who was recently re-elected. She reads a news article about them in the //Reservoir Journal//. The headline refers to them as a "power couple." |
| - | Devon clicks on a link in the //Kier Life// article, which brings her to a news article in //The Kier Chronicle// | + | Devon clicks on a link in the //Kier Life// article, which brings her to a news article in //The Kier Chronicle// |
| As she reads, Ricken announces that the lactation consultant has arrived for an interview. Devon shuts the lid of the computer. Ricken leads the consultant in while Devon retrieves Eleanor from her bassinet. | As she reads, Ricken announces that the lactation consultant has arrived for an interview. Devon shuts the lid of the computer. Ricken leads the consultant in while Devon retrieves Eleanor from her bassinet. | ||
| - | Ms. Selvig, dressed in scrubs, comes into the room and greets Devon warmly. Ricken and Devon are aware she is Mark's neighbor. Selvig offers Devon a small gift of Shea butter salve. Ricken cautions her that they are considering a few candidates. Eleanor rouses with a little cry. Ms. Selvig offers to calm the baby; she takes her from Devon and gently hums the tune to // | + | Ms. Selvig, dressed in scrubs, comes into the room and greets Devon warmly. Ricken and Devon are aware she is Mark’s neighbor. Selvig offers Devon a small gift of Shea butter salve. Ricken cautions her that they are considering a few candidates. Eleanor rouses with a little cry. Ms. Selvig offers to calm the baby; she takes her from Devon and gently hums the tune to // |
| On a TV, a cartoon lightning bolt saws through the center a cartoon cloud. The cloud looks like a brain. A child in pajamas sits before of it, his hands covering his eyes. He is counting. " | On a TV, a cartoon lightning bolt saws through the center a cartoon cloud. The cloud looks like a brain. A child in pajamas sits before of it, his hands covering his eyes. He is counting. " | ||
| - | Dylan is in...a closet? His face changes from " | + | Dylan is in...a closet? His face changes from " |
| - | Milchick, very serious, stresses the sensitive nature of the card. He asks Dylan if someone paid him to smuggle it out of Lumon. Dylan tells him it's in the MDR restroom, second stall, behind the toilet. He had no idea what it was. Milchick thanks him for the information. At that moment, the little boy from the other room bursts into the closet, saying, " | + | Milchick, very serious, stresses the sensitive nature of the card. He asks Dylan if someone paid him to smuggle it out of Lumon. Dylan tells him it’s in the MDR restroom, second stall, behind the toilet. He had no idea what it was. Milchick thanks him for the information. At that moment, the little boy from the other room bursts into the closet, saying, " |
| "//End it//," Milchick orders into his phone. | "//End it//," Milchick orders into his phone. | ||
| - | Somewhere a switch flips and Innie Dylan is Outie Dylan again. He clutches his son. Dylan and Milchick stand up. "We good here?" Dylan asks Milchick. "We're good," says Milchick. | + | Somewhere a switch flips and Innie Dylan is Outie Dylan again. He clutches his son. Dylan and Milchick stand up. "We good here?" Dylan asks Milchick. "We’re good," says Milchick. |
| - | Mark and Alexa's date is about to end when Mark notices a flyer pasted to a wall advertising a concert by [[the_fissuremen|the Fissuremen]]. He recognizes [[June Kilmer|June]] in the band photo. The concert is happening right then. Mark asks Alexa if they can go to it, explaining he knows someone in the band. He promises they can leave if it's lame. "You mean, if it isn't as cool as we are," Alexa teases. " | + | Mark and Alexa’s date is about to end when Mark notices a flyer pasted to a wall advertising a concert by [[Fissureman]]. He recognizes [[June Kilmer|June]] in the band photo. The concert is happening right then. Mark asks Alexa if they can go to it, explaining he knows someone in the band. He promises they can leave if it’s lame. "You mean, if it isn’t as cool as we are," Alexa teases. " |
| - | It's less a venue than a dark alley. A punk show is in progress. Mark feels out of place. He gets beers for himself and Alexa. The band rips into [[fuck_you_lumon|a song about losing someone to Severance]]. The crowd chants along. "// | + | It’s less a venue than a dark alley. A punk show is in progress. Mark feels out of place. He gets beers for himself and Alexa. The band rips into [[fuck_you_lumon|a song about losing someone to Severance]]. The crowd chants along. "// |
| Mark and Alexa hang back after the show ends. June walks by and recognizes Mark. They have a stilted conversation. June radiates contempt for Mark. A fight breaks out in the alleyway and Mark and Alexis decide to leave. | Mark and Alexa hang back after the show ends. June walks by and recognizes Mark. They have a stilted conversation. June radiates contempt for Mark. A fight breaks out in the alleyway and Mark and Alexis decide to leave. | ||
| Line 86: | Line 86: | ||
| Away from the alley, Mark starts to explain how he knows June. Alexa stops his talking with a kiss. | Away from the alley, Mark starts to explain how he knows June. Alexa stops his talking with a kiss. | ||
| - | Graner raps on Selvig's front door. He refers to her by " | + | Graner raps on Selvig’s front door. He refers to her by " |
| - | Mark is in bed awake late at night, thinking of Petey's last moments. Alexa lays asleep next to him. He goes outside and fishes the phone out of his trash bin. He puts the battery back on it and waits for it to buzz, which it does almost immediately. He accepts the call this time. "Who is this?" asks a woman's voice on the other end. Mark identifies himself as a friend of Petey's. There is a long pause. The woman's voice on the phone asks if he is Mark Scout. He looks around himself nervously. Before he can respond, she asks him what Petey told him. " | + | Mark is in bed awake late at night, thinking of Petey’s last moments. Alexa lays asleep next to him. He goes outside and fishes the phone out of his trash bin. He puts the battery back on it and waits for it to buzz, which it does almost immediately. He accepts the call this time. "Who is this?" asks a woman’s voice on the other end. Mark identifies himself as a friend of Petey’s. There is a long pause. The woman’s voice on the phone asks if he is Mark Scout. He looks around himself nervously. Before he can respond, she asks him what Petey told him. " |
| A van is parked in front of the entrance to Lumon. Inside on the Severed floor, two workmen disassemble the entry to MDR. They install a sliding security door activated with badge control. | A van is parked in front of the entrance to Lumon. Inside on the Severed floor, two workmen disassemble the entry to MDR. They install a sliding security door activated with badge control. | ||
| - | Mark walks down a series of outdoor stairways in the rain. He reaches a subterranean area of a large concrete building. From the shadows a woman approaches him. She asks if he is alone. Mark says he is. He asks her who she is. Hearing a strange sound, she doesn't answer the question, but tells Mark to come with her. | + | Mark walks down a series of outdoor stairways in the rain. He reaches a subterranean area of a large concrete building. From the shadows a woman approaches him. She asks if he is alone. Mark says he is. He asks her who she is. Hearing a strange sound, she doesn’t answer the question, but tells Mark to come with her. |
| ===== Cast ===== | ===== Cast ===== | ||
| Line 110: | Line 110: | ||
| ==== Guest Starring ==== | ==== Guest Starring ==== | ||
| - | * Karen Aldridge as [[Regabhi]] | + | * Karen Aldridge as [[reghabi]] |
| * Michael Cumpsty as [[Doug Graner]] | * Michael Cumpsty as [[Doug Graner]] | ||
| * Nikki M. James as [[Alexa]] | * Nikki M. James as [[Alexa]] | ||
| Line 118: | Line 118: | ||
| * Rachel Addington as [[Elizabeth]] | * Rachel Addington as [[Elizabeth]] | ||
| - | * Michael Caiazzo as [[the_fissuremen|Lead Singer]] | + | * Michael Caiazzo as [[fissureman|Lead Singer]] |
| - | * Margaret Chardiet as [[the_fissuremen|Bass]] | + | * Margaret Chardiet as [[fissureman|Bass]] |
| * Ethan Flower as [[Angelo Arteta]] | * Ethan Flower as [[Angelo Arteta]] | ||
| * Marc Geller as [[Kier Eagan]] (credit only) | * Marc Geller as [[Kier Eagan]] (credit only) | ||
| Line 125: | Line 125: | ||
| * Jonathan Iglesias as [[Guy at Venue]] | * Jonathan Iglesias as [[Guy at Venue]] | ||
| * Cassidy Layton as [[June Kilmer]] | * Cassidy Layton as [[June Kilmer]] | ||
| - | * Tye Miller as [[the_fissuremen|Guitarist]] | + | * Tye Miller as [[fissureman|Guitarist]] |
| * Claudia Robinson as [[Felicia]] | * Claudia Robinson as [[Felicia]] | ||
| * Griffin Stanton-Ameisen as Waiter | * Griffin Stanton-Ameisen as Waiter | ||
| - | * Charles Henry Wood as [[the_fissuremen|Drummer]] | + | * Charles Henry Wood as [[fissureman|Drummer]] |
| ==== Uncredited ==== | ==== Uncredited ==== | ||
| Line 139: | Line 139: | ||
| ===== Quotes & Dialogue ===== | ===== Quotes & Dialogue ===== | ||
| - | > Irving, you know, the Lumon manual doesn't say anything about lip-to-lip contact. <WRAP attribution> | + | > Irving, you know, the Lumon manual doesn’t say anything about lip-to-lip contact. <WRAP attribution> |
| > You are sparing with the facial encouragements. <WRAP attribution> | > You are sparing with the facial encouragements. <WRAP attribution> | ||
| - | > She's //just// a wellness counselor, Mark. <WRAP attribution> | + | > She’s //just// a wellness counselor, Mark. <WRAP attribution> |
| - | > Goddamn tragedy for the ages. MDR will mourn the “will-they-won't-they” energy shared by Ms. Casey and myself. <WRAP attribution> | + | > Goddamn tragedy for the ages. MDR will mourn the “will-they-won’t-they” energy shared by Ms. Casey and myself. <WRAP attribution> |
| - | > **Dylan**: Is 'baby goats' | + | > **Dylan**: Is ’baby goats’ code for sex with Mark S.? |
| > **Helly**: No, they were actual goats. Why would we call it that? <WRAP attribution> | > **Helly**: No, they were actual goats. Why would we call it that? <WRAP attribution> | ||
| - | > It's important because it actually is or because you're saying it is? <WRAP attribution> | + | > It’s important because it actually is or because you’re saying it is? <WRAP attribution> |
| > **Mark**: If the Eagan philosophy is illumination above all… | > **Mark**: If the Eagan philosophy is illumination above all… | ||
| > **Irving**: Illumination //beyond// all. But yes. <WRAP attribution> | > **Irving**: Illumination //beyond// all. But yes. <WRAP attribution> | ||
| - | > If the Eagan philosophy is illumination above all…[...] Then why doesn't that include us? Why are we down here still working in the dark? <WRAP attribution> | + | > If the Eagan philosophy is illumination above all…[...] Then why doesn’t that include us? Why are we down here still working in the dark? <WRAP attribution> |
| > Your inefficiency and free-range chicken roaming is ultimately your responsibility. <WRAP attribution> | > Your inefficiency and free-range chicken roaming is ultimately your responsibility. <WRAP attribution> | ||
| - | > Apparently, I jammed my hand at work replenishing a watercooler. Or at least that's what they tell me. <WRAP attribution> | + | > Apparently, I jammed my hand at work replenishing a watercooler. Or at least that’s what they tell me. <WRAP attribution> |
| > She was very pragmatic. Always had a plan B. <WRAP attribution> | > She was very pragmatic. Always had a plan B. <WRAP attribution> | ||
hide_and_seek.1660819080.txt.gz · Last modified: 2022-08-18 10:38 by Saeid
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