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| defiant_jazz_transcript [2022-05-15 20:39] – Neatnik | defiant_jazz_transcript [2022-09-11 19:49] (current) – Saeid | ||
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| | **Defiant Jazz (Transcript)** || | | **Defiant Jazz (Transcript)** || | ||
| ^ Episode Number | 1.7 | | ^ Episode Number | 1.7 | | ||
| - | ^ Written By | [[https:// | + | ^ Written By | [[https:// |
| ^ Previous Transcript | [[hide_and_seek_transcript]] | | ^ Previous Transcript | [[hide_and_seek_transcript]] | | ||
| ^ Next Transcript | [[what_s_for_dinner_transcript]] | | ^ Next Transcript | [[what_s_for_dinner_transcript]] | | ||
| Line 15: | Line 15: | ||
| <WRAP script> | <WRAP script> | ||
| - | 1 | + | < |
| - | < | + | Mark: Who are you? |
| - | Who are you? | + | |
| - | 2 | + | < |
| - | < | + | Reghabi: |
| - | Come with me. | + | |
| - | 3 | + | < |
| - | < | + | Reghabi: |
| - | You could've thrown away Petey's | + | |
| - | phone weeks ago. Why didn't you? | + | |
| - | 4 | + | < |
| - | < | + | Mark: I’m sorry, just... Who are you? |
| - | I'm sorry, just... Who are you? | + | |
| - | 5 | + | < |
| - | < | + | Reghabi: |
| - | I'm the one who | + | |
| - | helped your friend. | + | |
| - | 6 | + | < |
| - | < | + | Mark: Helped? You mean reintegration? |
| - | Helped? You mean | + | |
| - | reintegration? | + | |
| - | 7 | + | < |
| - | < | + | Reghabi: |
| - | The procedure didn't kill Petey. | + | |
| - | 8 | + | < |
| - | < | + | Mark: So, you... You’re a doctor? |
| - | If he had followed my | + | |
| - | post-op instructions | + | |
| - | 9 | + | < |
| - | < | + | Reghabi: I put that chip in your head, and I’m still the only one who can deactivate it. |
| - | and not simply run away at | + | |
| - | the first sign of sickness... | + | |
| - | 10 | + | < |
| - | < | + | Mark: Maybe I don’t want it deactivated. |
| - | So, you... You're a doctor? | + | |
| - | 11 | + | < |
| - | < | + | Reghabi: Right. Well, maybe your Innie does. |
| - | I put that chip in your head, | + | |
| - | 12 | + | < |
| - | < | + | Reghabi: You wonder what he thinks about all this, don’t you? You wonder if he’s happy? |
| - | and I'm still the only | + | |
| - | one who can deactivate it. | + | |
| - | 13 | + | < |
| - | < | + | Reghabi: |
| - | Maybe I don't want | + | |
| - | it deactivated. | + | |
| - | 14 | + | < |
| - | < | + | Reghabi: Then again, you’ve been severed for two years, right? So your Innie really is still just a baby. |
| - | Right. Well, maybe | + | |
| - | your innie does. | + | |
| - | 15 | + | < |
| - | < | + | Mark: My Innie lives his own life and, as a result, I get to live mine. |
| - | You wonder what he thinks about all this, | + | |
| - | don't you? You wonder if he's happy? | + | |
| - | 16 | + | < |
| - | < | + | Reghabi: But he only exists because of you. And for all intents and purposes, he is you. |
| - | I hate that term, | + | |
| - | " | + | |
| - | 17 | + | < |
| - | < | + | Reghabi: Do you really think he’s different down there? Combs his hair differently, laughs at different jokes? |
| - | Then again, | + | |
| - | severed for two years, right? | + | |
| - | 18 | + | < |
| - | < | + | Reghabi: Maybe he loves it, you’re right. But maybe he doesn’t. Maybe he dreams every day about clawing his way to the surface. |
| - | So your innie really | + | |
| - | is still just a baby. | + | |
| - | 19 | + | < |
| - | < | + | Reghabi: But you wouldn’t know. You’ll never know. |
| - | My innie lives his own life and, | + | |
| - | as a result, I get to live mine. | + | |
| - | 20 | + | < |
| - | < | + | Reghabi: You brought him into this world without his permission, based on your own desire for emotional convenience. |
| - | But he only exists | + | |
| - | because of you. | + | |
| - | 21 | + | < |
| - | < | + | Mark: I’m not a bad person. |
| - | And for all intents and | + | |
| - | purposes, he is you. | + | |
| - | 22 | + | < |
| - | < | + | Reghabi: I think you wanna do what’s right. Both of you. |
| - | Do you really | + | |
| - | different down there? | + | |
| - | 23 | + | < |
| - | < | + | Graner: Mr. Scout. |
| - | Combs his hair differently, | + | |
| - | laughs at different jokes? | + | |
| - | 24 | + | < |
| - | < | + | Mark: Do I know you? |
| - | Maybe he loves it, you're right. | + | |
| - | 25 | + | < |
| - | < | + | Graner: We work together. Down there. |
| - | But maybe he doesn' | + | |
| - | 26 | + | < |
| - | < | + | Graner: You having a chat with someone, Mark? |
| - | Maybe he dreams every day about | + | |
| - | clawing his way to the surface. | + | |
| - | 27 | + | < |
| - | < | + | Graner: It’s okay. I’m a friend. |
| - | But you wouldn' | + | |
| - | You'll never know. | + | |
| - | 28 | + | < |
| - | < | + | Mark: Shit! What the fuck are you doing? |
| - | You brought him into this | + | |
| - | world without his permission, | + | |
| - | 29 | + | < |
| - | < | + | Reghabi: Grab his arms. |
| - | based on your own desire | + | Mark: What? |
| - | for emotional convenience. | + | |
| - | 30 | + | < |
| - | < | + | Reghabi: Come here. His arms. |
| - | I'm not a bad person. | + | |
| - | 31 | + | < |
| - | < | + | Mark: Oh, my God. Oh, my God. Oh, fuck! Oh, my God. Fuck. Oh, God. |
| - | I think you wanna | + | |
| - | do what's right. | + | |
| - | 32 | + | < |
| - | < | + | Mark: I work with him. |
| - | Both of you. | + | |
| - | 33 | + | < |
| - | < | + | Graner: No, you don’t. |
| - | Mr. Scout. | + | |
| - | 34 | + | < |
| - | < | + | Reghabi: He’s Doug Graner. Head of security on the severed floor. |
| - | Do I know you? | + | |
| - | 35 | + | < |
| - | < | + | Mark: Security? Oh, my God. |
| - | We work together. Down there. | + | |
| - | 36 | + | < |
| - | < | + | Mark: Okay, I’m gonna get sick. I need to throw up. |
| - | You having a chat | + | |
| - | with someone, Mark? | + | |
| - | 37 | + | < |
| - | < | + | Mark: |
| - | It's okay. I'm a friend. | + | Reghabi: |
| - | 38 | + | < |
| - | < | + | Reghabi: Your DNA’s in that! |
| - | Shit! | + | |
| - | 39 | + | < |
| - | < | + | Reghabi: Look, Graner’s security card. Full access, and it can’t be tied to anyone. Take it to work tomorrow. He’ll know what to do. |
| - | What the fuck are you doing? | + | |
| - | 40 | + | < |
| - | < | + | Mark: Who’ll know what to do? |
| - | - Grab his arms. | + | |
| - | - What? | + | |
| - | 41 | + | < |
| - | < | + | Reghabi: You. |
| - | Come here. His arms. | + | |
| - | 42 | + | < |
| - | < | + | Reghabi: Give me the phone. Petey’s phone. Give it to me. I’ll take care of this. |
| - | Oh, my God. Oh, my God. | + | |
| - | 43 | + | < |
| - | < | + | Reghabi: Go home, get rid of your clothes. Go now. |
| - | Oh, fuck! Oh, my God. | + | |
| - | 44 | + | < |
| - | < | + | Reghabi: I’ll be in touch. It’s gonna be okay. We’ll finish what Petey started, Mark. |
| - | Fuck. Oh, God. | + | |
| - | 45 | + | < |
| - | < | + | Reghabi: Now get the fuck out of here! |
| - | I work with him. | + | |
| - | 46 | + | < |
| - | < | + | Mark: Oh, hey. |
| - | No, you don't. | + | Alexa: Hey. |
| - | 47 | + | < |
| - | < | + | Mark: Just getting some water. Do you need anything? |
| - | He's Doug Graner. Head of | + | |
| - | security on the severed floor. | + | |
| - | 48 | + | < |
| - | < | + | Alexa: Where were you? |
| - | Security? Oh, my God. | + | |
| - | 49 | + | < |
| - | < | + | Mark: Who, me? |
| - | Okay, I'm gonna get | + | |
| - | sick. I need to throw up. | + | |
| - | 50 | + | < |
| - | < | + | Alexa: Yeah. |
| - | - I'm gonna throw up right now. | + | Mark: Just... |
| - | - Don't! Don't! Don't! | + | |
| - | 51 | + | < |
| - | < | + | Alexa: I heard the car. |
| - | Your DNA's in that! | + | |
| - | 52 | + | < |
| - | < | + | Mark: You heard a car? |
| - | Look, Graner' | + | |
| - | 53 | + | < |
| - | < | + | Alexa: You’re being weird. |
| - | Full access, and it | + | |
| - | can't be tied to anyone. | + | |
| - | 54 | + | < |
| - | < | + | Mark: Maybe it was just a dream. |
| - | Take it to work tomorrow. | + | |
| - | He'll know what to do. | + | |
| - | 55 | + | < |
| - | < | + | Alexa: I’ve been up for an hour, and you weren’t here. |
| - | Who'll know what to do? | + | |
| - | 56 | + | < |
| - | < | + | Mark: Okay, just... |
| - | You. | + | |
| - | 57 | + | < |
| - | < | + | Mark: I’m sorry, I...I just needed |
| - | Give me the phone. Petey' | + | |
| - | phone. Give it to me. | + | |
| - | 58 | + | < |
| - | < | + | Alexa: Are you okay? |
| - | I'll take care of this. | + | |
| - | 59 | + | < |
| - | < | + | Mark: Well, I mean, this is kind of a big deal for me. And...I don’t know. It’s... |
| - | Go home, get rid | + | |
| - | of your clothes. | + | |
| - | 60 | + | < |
| - | < | + | Alexa: Do you want me to go? |
| - | Go now. | + | |
| - | 61 | + | < |
| - | < | + | Mark: Maybe. Maybe. |
| - | I'll be in touch. | + | |
| - | It's gonna be okay. | + | |
| - | 62 | + | < |
| - | < | + | Mark: Fucking shit. |
| - | We'll finish what | + | |
| - | Petey started, | + | |
| - | 63 | + | < |
| - | < | + | Cobel: Mark! |
| - | Now get the fuck out of here! | + | |
| - | 64 | + | < |
| - | < | + | Mark: Hey. |
| - | - Oh, hey. | + | Cobel: You’re out early in all this snowiness. |
| - | - Hey. | + | |
| - | 65 | + | < |
| - | < | + | Cobel: You usually dispose of your waste in the early afternoon. |
| - | Just getting some water. | + | |
| - | Do you need anything? | + | |
| - | 66 | + | < |
| - | < | + | Mark: Oh, well, just getting a head start on the day, I guess. |
| - | Where were you? | + | |
| - | 67 | + | < |
| - | < | + | Cobel: You look troubled, Mark. Maybe we should talk later over a nice hot cup of lavender tea? |
| - | Who, me? | + | |
| - | 68 | + | < |
| - | < | + | Mark: Yeah. I’m just gonna see how the day goes, you know? |
| - | - Yeah. | + | |
| - | - Just... | + | |
| - | 69 | + | < |
| - | < | + | Cobel: Jack Frost certainly needs some new dandruff shampoo. |
| - | I heard the car. | + | |
| - | 70 | + | < |
| - | < | + | Milchick: Burt G. |
| - | You heard a car? | + | |
| - | 71 | + | < |
| - | < | + | Burt: Mr. Milchick. Pleasure to see you, sir. |
| - | You're being weird. | + | |
| - | 72 | + | < |
| - | < | + | Burt: So early. |
| - | Maybe it was just a dream. | + | Milchick: Please, sit. |
| - | 73 | + | < |
| - | < | + | Burt: Thank you. |
| - | I've been up for an hour, | + | |
| - | and you weren' | + | |
| - | 74 | + | < |
| - | < | + | Milchick: I have something for you. |
| - | Okay, just... | + | |
| - | 75 | + | < |
| - | < | + | Burt: The missing 7199-G. Oswald will be so delighted. |
| - | I'm sorry, I… | + | |
| - | 76 | + | < |
| - | < | + | Milchick: Oh, good. Now we can focus on the final preparations. |
| - | I just needed to drive a little. | + | |
| - | 77 | + | < |
| - | < | + | Burt: That we can. |
| - | Are you okay? | + | Milchick: Without interruptions. |
| - | 78 | + | < |
| - | < | + | Burt: That we shall. |
| - | Well, I mean, this is kind | + | Milchick: Excellent. |
| - | of a big deal for me. And… | + | |
| - | 79 | + | < |
| - | < | + | Milchick: May I? |
| - | I don't know. It's... | + | Burt: Yes, of course. |
| - | 80 | + | < |
| - | < | + | Milchick: Outstanding. |
| - | Do you want me to go? | + | |
| - | 81 | + | < |
| - | < | + | Burt: Yep. |
| - | Maybe. | + | Milchick: Wow. |
| - | 82 | + | < |
| - | < | + | Milchick: You’ve been a great leader to this department, Burt G. |
| - | Maybe. | + | |
| - | 83 | + | < |
| - | < | + | Burt: Thank you. |
| - | Fucking shit. | + | |
| - | 84 | + | < |
| - | < | + | Milchick: You deserve something special. |
| - | Mark! | + | |
| - | 85 | + | < |
| - | < | + | Burt: Not... Not a trip to the break room, I hope. Yesterday was quite enough. |
| - | - Hey. | + | |
| - | - You're out early in all this snowiness. | + | |
| - | 86 | + | < |
| - | < | + | Milchick: No. No, not that. Something else. Stay tuned. |
| - | You usually dispose of your | + | |
| - | waste in the early afternoon. | + | |
| - | 87 | + | < |
| - | < | + | Milchick: Dylan G. Good morning. |
| - | Oh, well, just getting a head | + | |
| - | start on the day, I guess. | + | |
| - | 88 | + | < |
| - | < | + | Dylan: What the hell was that? |
| - | You look troubled, Mark. | + | |
| - | 89 | + | < |
| - | < | + | Milchick: Walk with me. |
| - | Maybe we should talk later over | + | |
| - | a nice hot cup of lavender tea? | + | |
| - | 90 | + | < |
| - | < | + | Milchick: What happened last night is called the Overtime Contingency. It’s a safeguard we occasionally employ to remotely awaken workers off-site. |
| - | Yeah. I'm just gonna see | + | |
| - | how the day goes, you know? | + | |
| - | 91 | + | < |
| - | < | + | Dylan: You never told us you could do that. |
| - | Jack Frost certainly needs | + | |
| - | some new dandruff shampoo. | + | |
| - | 92 | + | < |
| - | < | + | Milchick: It’s for emergency use only. And I didn’t consult Ms. Cobel because she’s been so stressed. |
| - | Burt G. | + | |
| - | 93 | + | < |
| - | < | + | Dylan: The boy. Was he... Was that my son? |
| - | Mr. Milchick. Pleasure | + | |
| - | to see you, sir. | + | |
| - | 94 | + | < |
| - | < | + | Milchick: He’d agreed to count to a thousand, which he then violated. |
| - | - So early. | + | |
| - | - Please, sit. | + | |
| - | 95 | + | < |
| - | < | + | Milchick: I really wouldn’t mention this to your colleagues, Dylan. This OTC’s pretty need-to-know. Understand? |
| - | Thank you. | + | |
| - | 96 | + | < |
| - | < | + | Dylan: Can you tell me his name? |
| - | I have something for you. | + | |
| - | 97 | + | < |
| - | < | + | Milchick: Not knowing is probably for the best. |
| - | The missing 7199-G. | + | |
| - | 98 | + | < |
| - | < | + | Milchick: Hey, I know this has been a tough quarter. I’m gonna see about rustling you up some special perks. That sound good? |
| - | Oswald will be so delighted. | + | |
| - | I, too, am delighted. | + | |
| - | 99 | + | < |
| - | < | + | Dylan: Good man, Dylan. Good man. |
| - | Oh, good. Now we can focus | + | |
| - | on the final preparations. | + | |
| - | 100 | + | < |
| - | < | + | Milchick: Mark S. Good morning. |
| - | - That we can. | + | |
| - | - Without interruptions. | + | |
| - | 101 | + | < |
| - | < | + | Mark: Good morning. |
| - | - That we shall. | + | |
| - | - Excellent. | + | |
| - | 102 | + | < |
| - | < | + | Mark: So, am I going to the... |
| - | - May I? | + | |
| - | - Yes, of course. | + | |
| - | 103 | + | < |
| - | < | + | Milchick: I’m here to escort you to your desk. |
| - | Outstanding. | + | |
| - | 104 | + | < |
| - | < | + | Milchick: New protocol. |
| - | - Yep. | + | |
| - | - Wow. | + | |
| - | 105 | + | < |
| - | < | + | Mark: Sounds good. |
| - | You've been a great leader | + | |
| - | to this department, Burt G. | + | |
| - | 106 | + | < |
| - | < | + | Milchick: Lead the way. |
| - | Thank you. | + | |
| - | 107 | + | < |
| - | < | + | Mark: Wait, we’re locked in now? |
| - | You deserve something special. | + | |
| - | 108 | + | < |
| - | < | + | Milchick: I prefer |
| - | Not... Not a trip to | + | |
| - | the break room, I hope. | + | |
| - | 109 | + | < |
| - | < | + | Milchick: These doors help us to ensure you all are tucked nicely in your work spaces. |
| - | Yesterday was quite enough. | + | |
| - | 110 | + | < |
| - | < | + | Mark: Did Mr. Graner order this? |
| - | No. No, not that. | + | |
| - | Something else. Stay tuned. | + | |
| - | 111 | + | < |
| - | < | + | Milchick: Mark S. Is here. |
| - | Dylan G. Good morning. | + | |
| - | 112 | + | < |
| - | < | + | Milchick: Have a seat. |
| - | What the hell was that? | + | |
| - | 113 | + | < |
| - | < | + | Mark: I… |
| - | Walk with me. | + | Milchick: Coffee. Black. I’ll bring it to you. |
| - | 114 | + | < |
| - | < | + | Helly: Good morning, Mark. |
| - | What happened last night is | + | |
| - | called the overtime contingency. | + | |
| - | 115 | + | < |
| - | < | + | Irving: Morning. |
| - | It's a safeguard we occasionally employ | + | Mark: Morning. |
| - | to remotely awaken workers off-site. | + | |
| - | 116 | + | < |
| - | < | + | Helly: Mark, what is this? |
| - | You never told us | + | |
| - | you could do that. | + | |
| - | 117 | + | < |
| - | < | + | Mark: How’re you doing, Irv? |
| - | It's for emergency use only. | + | |
| - | 118 | + | < |
| - | < | + | Irving: I’m well, thank you. I... The renovations are...very nice. |
| - | And I didn't consult Ms. Cobel | + | |
| - | because she's been so stressed. | + | |
| - | 119 | + | < |
| - | < | + | Mark: Yeah. Dylan, you all right? |
| - | The boy. Was he... | + | |
| - | Was that my son? | + | |
| - | 120 | + | < |
| - | < | + | Dylan: I’m fine. |
| - | He'd agreed to count to a | + | |
| - | thousand, which he then violated. | + | |
| - | 121 | + | < |
| - | < | + | Mark: That’s the best you can do? Where’s the sly, profanity-laced comeback? |
| - | I really wouldn' | + | |
| - | to your colleagues, Dylan. | + | |
| - | 122 | + | < |
| - | < | + | Milchick: Here you go. Straight from the hills of Rwanda. |
| - | This OTC's pretty | + | |
| - | need-to-know. Understand? | + | |
| - | 123 | + | < |
| - | < | + | Mark: Thanks. |
| - | Can you tell me his name? | + | |
| - | 124 | + | < |
| - | < | + | Milchick: Hey, it’s me. Don’t know if you heard, but Graner didn’t come in. Everything’s fine, just wondering where you are. |
| - | Not knowing is | + | |
| - | probably for the best. | + | |
| - | 125 | + | < |
| - | < | + | Cobel: So I lean my upper body slightly forward, while cradling the top of the neck, just so. Exhale softly. Just a whisper of a breeze. Then I do this, and this. Show the baby the areola, and we latch. Now you try. |
| - | Hey, I know this has | + | |
| - | been a tough quarter. | + | |
| - | 126 | + | < |
| - | < | + | Devon: All right. |
| - | I'm gonna see about rustling | + | |
| - | you up some special perks. | + | |
| - | 127 | + | < |
| - | < | + | Devon: You ready? You ready, buddy? |
| - | That sound good? | + | |
| - | 128 | + | < |
| - | < | + | Devon: Okay. |
| - | Good man, Dylan. Good man. | + | |
| - | 129 | + | < |
| - | < | + | Cobel: Yeah, expose the areola. Let her see it. |
| - | Mark S. Good morning. | + | Devon: Okay. |
| - | 130 | + | < |
| - | < | + | Devon: She’s... |
| - | Good morning. | + | Cobel: There she is. |
| - | 131 | + | < |
| - | < | + | Cobel: Yes, Eleanor, yes! Yes. |
| - | So, am I going to the... | + | Devon: Oh, my God. |
| - | 132 | + | < |
| - | < | + | Cobel: Baby sips, baby sips. |
| - | I'm here to escort | + | |
| - | you to your desk. | + | |
| - | 133 | + | < |
| - | < | + | Cobel: So she goes into the airport restroom to try to hand express. She gets into the stall, and she’s trying to do it in the toilet paper, but it’s just flying everywhere. |
| - | New protocol. | + | |
| - | 134 | + | < |
| - | < | + | Cobel: Yes, like an angry fire hose. |
| - | Sounds good. | + | Devon: Oh, no! |
| - | 135 | + | < |
| - | < | + | Devon: Stop. |
| - | Lead the way. | + | |
| - | 136 | + | < |
| - | < | + | Devon: Oh, God. Thank you for helping me. |
| - | Wait, we're locked in now? | + | |
| - | 137 | + | < |
| - | < | + | Devon: Did you say you need to get to the store? |
| - | I prefer | + | |
| - | " | + | |
| - | 138 | + | < |
| - | < | + | Cobel: They can do without me. I’m having fun. |
| - | These doors help us to ensure you all | + | |
| - | are tucked nicely in your work spaces. | + | |
| - | 139 | + | < |
| - | < | + | Cobel: Besides, it’s not as if you have a fleet of nannies and manservants coming to take care of you, do you? |
| - | Did Mr. Graner order this? | + | |
| - | 140 | + | < |
| - | < | + | Devon: Nope. |
| - | Mark S. Is here. | + | |
| - | 141 | + | < |
| - | < | + | Devon: I met this rich woman at the birthing retreat. I guess her husband’s |
| - | Have a seat. | + | |
| - | 142 | + | < |
| - | < | + | Cobel: Oh, wow. |
| - | - I… | + | |
| - | - Coffee. Black. I'll bring it to you. | + | |
| - | 143 | + | < |
| - | < | + | Devon: I know, but it was weird ’cause I saw her again at the park a few days later, and she 100% didn’t remember me. |
| - | Good morning, Mark. | + | |
| - | 144 | + | < |
| - | < | + | Cobel: What a snoot. |
| - | - Morning. | + | |
| - | - Morning. | + | |
| - | 145 | + | < |
| - | < | + | Devon: Yeah. Like... I don’t know. This is stupid. |
| - | Mark, what is this? | + | |
| - | 146 | + | < |
| - | < | + | Devon: Mark’s company, Lumon, they say that they only sever people for work. But I was thinking, what if someone... Like, what if you wanted a baby, but you didn’t wanna... |
| - | How' | + | |
| - | 147 | + | < |
| - | < | + | Devon: |
| - | I'm well, thank you. I... | + | |
| - | 148 | + | < |
| - | < | + | Cobel: Well, I don’t think I’d remember even Clark Gable if I’d just given birth, so… |
| - | The renovations are… very nice. | + | |
| - | 149 | + | < |
| - | < | + | Devon: |
| - | Yeah. | + | |
| - | 150 | + | < |
| - | < | + | Cobel: Severed. Why do you think Mark did it? |
| - | Dylan, | + | |
| - | 151 | + | < |
| - | < | + | Devon: Well, it was right after he lost his wife. At first, he tried to keep teaching at the college, but he couldn’t. |
| - | I'm fine. | + | |
| - | 152 | + | < |
| - | < | + | Cobel: Does he ever talk about her? |
| - | That's the best you can do? Where' | + | |
| - | the sly, profanity-laced comeback? | + | |
| - | 153 | + | < |
| - | < | + | Devon: Not as much as I’d wish. |
| - | Here you go. Straight | + | |
| - | from the hills of Rwanda. | + | |
| - | 154 | + | < |
| - | < | + | Cobel: When my husband passed, I thought I saw him everywhere. It was just so hard. |
| - | Thanks. | + | |
| - | 155 | + | < |
| - | < | + | Cobel: Does Mark ever think he sees her? |
| - | Hey, it's me. Don't know if you | + | |
| - | heard, but Graner didn't come in. | + | |
| - | 156 | + | < |
| - | < | + | Irving: Hey. |
| - | Everything' | + | |
| - | wondering where you are. | + | |
| - | 157 | + | < |
| - | < | + | Mark: Hey. |
| - | So I lean my upper | + | |
| - | body slightly forward, | + | |
| - | 158 | + | < |
| - | < | + | Irving: I was just in the bathroom. |
| - | while cradling | + | Mark: Yeah? |
| - | of the neck, just so. | + | |
| - | 159 | + | < |
| - | < | + | Irving: Yeah. Hey, what ever happened to the soap labels? |
| - | Exhale softly. Just a | + | |
| - | whisper of a breeze. | + | |
| - | 160 | + | < |
| - | < | + | Mark: The soap labels? |
| - | Then I do this, and this. | + | Irving: Yeah. |
| - | 161 | + | < |
| - | < | + | Irving: Shouldn’t there be labels on the soap dispensers saying, " |
| - | Show the baby the | + | |
| - | areola, and we latch. | + | |
| - | 162 | + | < |
| - | < | + | Mark: There’s never been that. |
| - | Now you try. | + | |
| - | 163 | + | < |
| - | < | + | Dylan: We all know it’s soap. |
| - | All right. | + | |
| - | 164 | + | < |
| - | < | + | Irving: Seems like an O&D question. |
| - | You ready? You ready, buddy? | + | |
| - | 165 | + | < |
| - | < | + | Mark: Irv, you know we can’t go anywhere. I mean, I get that you’re worried about Burt. |
| - | Okay. | + | |
| - | 166 | + | < |
| - | < | + | Irving: Suppose he’s being disciplined for our visit? |
| - | - Yeah, expose the areola. Let her see it. | + | |
| - | - Okay. | + | |
| - | 167 | + | < |
| - | < | + | Dylan: Suppose he is, thanks to you. If only someone had told you that going there was a shitty fucking idea from the jump. |
| - | - She's... | + | |
| - | - There she is. | + | |
| - | 168 | + | < |
| - | < | + | Milchick: Good day, Refiners! |
| - | - Yes, Eleanor, yes! Yes. | + | |
| - | - Oh, my God. | + | |
| - | 169 | + | < |
| - | < | + | Helly: What’s this? |
| - | Baby sips, baby sips. | + | |
| - | 170 | + | < |
| - | < | + | Mark: It’s an MDE. |
| - | So she goes into the airport | + | |
| - | restroom to try to hand express. | + | |
| - | 171 | + | < |
| - | < | + | Irving: |
| - | She gets into the stall, and she' | + | |
| - | trying | + | |
| - | 172 | + | < |
| - | < | + | Milchick: Helly R., please step forward. |
| - | but it's just flying everywhere. | + | |
| - | 173 | + | < |
| - | < | + | Helly: MDE? |
| - | - Yes, like an angry fire hose. | + | |
| - | - Oh, no! | + | |
| - | 174 | + | < |
| - | < | + | Milchick: By reaching 75% refinement on Siena, you have earned for you and your fellow refiners a five-minute Music/Dance Experience. |
| - | Stop. | + | |
| - | 175 | + | < |
| - | < | + | Irving: Mr. Milchick, she’s at 73%. |
| - | Oh, God. Thank you | + | |
| - | for helping me. | + | |
| - | 176 | + | < |
| - | < | + | Milchick: Yes, well, it’s been a tough morning on all of us. |
| - | Did you say you need | + | |
| - | to get to the store? | + | |
| - | 177 | + | < |
| - | < | + | Helly: Why for you? |
| - | They can do without | + | Milchick: And I thought a little frivolity |
| - | me. I'm having fun. | + | |
| - | 178 | + | < |
| - | < | + | Milchick: would be just what the doctor ordered. |
| - | Besides, it's not as if you have | + | |
| - | a fleet of nannies and manservants | + | |
| - | 179 | + | < |
| - | < | + | Milchick: Helly, please approach the MDE cart. You may choose one genre and one accessory. |
| - | coming to take care | + | |
| - | of you, do you? | + | |
| - | 180 | + | < |
| - | < | + | Milchick: The maraca. Excellent choice. |
| - | Nope. | + | |
| - | 181 | + | < |
| - | < | + | Irving: Should’ve gone for the castanets. |
| - | I met this rich woman | + | |
| - | at the birthing retreat. | + | |
| - | 182 | + | < |
| - | < | + | Helly: |
| - | I guess her husband' | + | |
| - | a state senator. | + | |
| - | 183 | + | < |
| - | < | + | Milchick: Though this experience is in Helly’s honor, I urge all the refiners to take advantage of the opportunity presented. |
| - | Oh, wow. | + | |
| - | 184 | + | < |
| - | < | + | Mark: Wow. |
| - | I know, but it was weird 'cause I saw | + | |
| - | her again at the park a few days later, | + | |
| - | 185 | + | < |
| - | < | + | Helly: Okay. |
| - | and she 100% didn't remember me. | + | |
| - | 186 | + | < |
| - | < | + | Milchick: Cheers. |
| - | What a snoot. | + | |
| - | 187 | + | < |
| - | < | + | Helly: I’m nervous! |
| - | Yeah. | + | |
| - | 188 | + | < |
| - | < | + | Milchick: Come on, Mark. |
| - | Like... I don' | + | |
| - | know. This is stupid. | + | |
| - | 189 | + | < |
| - | < | + | Milchick: Irving, what you got? Let’s see it. |
| - | Mark's company, Lumon, they say that | + | |
| - | they only sever people for work. | + | |
| - | 190 | + | < |
| - | < | + | Dylan’s son: Daddy. Daddy. Daddy. |
| - | But I was thinking, | + | |
| - | what if someone... | + | |
| - | 191 | + | < |
| - | < | + | Dylan: What is his name? Tell me his name! |
| - | Like, what if you wanted a | + | Milchick: Dylan! Get him off me! |
| - | baby, but you didn't wanna... | + | |
| - | 192 | + | < |
| - | < | + | Milchick: Get him off me! |
| - | I don't know. | + | |
| - | 193 | + | < |
| - | < | + | Milchick: He’s biting me! |
| - | Well, I don't think I'd | + | Mark: Dylan, what the hell! |
| - | remember even Clark Gable | + | |
| - | 194 | + | < |
| - | < | + | Mark: Jesus Christ! Dylan! Come on, Dylan! |
| - | if I'd just given birth, so… | + | Milchick: He’s biting me! |
| - | 195 | + | < |
| - | < | + | Milchick: He broke the skin. |
| - | Yeah. | + | |
| - | 196 | + | < |
| - | < | + | Irving: He needs a full tetanus toxoid panel. |
| - | Severed. | + | |
| - | 197 | + | < |
| - | < | + | Milchick: You’ve done it now, Dylan. I’m reporting this to Ms. Cobel. |
| - | Why do you think Mark did it? | + | |
| - | 198 | + | < |
| - | < | + | Dylan: Yeah, you wanna go see her together? |
| - | Well, it was right | + | |
| - | after he lost his wife. | + | |
| - | 199 | + | < |
| - | < | + | Milchick: The Music Dance Experience is officially canceled. |
| - | At first, he tried to keep teaching | + | |
| - | at the college, but he couldn' | + | |
| - | 200 | + | < |
| - | < | + | Mark: What is wrong with you? |
| - | Does he ever talk about her? | + | |
| - | 201 | + | < |
| - | < | + | Dylan: They can wake us up. |
| - | Not as much as I'd wish. | + | |
| - | 202 | + | < |
| - | < | + | Mark: What? |
| - | When my husband passed, I | + | |
| - | thought I saw him everywhere. | + | |
| - | 203 | + | < |
| - | < | + | Dylan: On the outside. |
| - | It was just so hard. | + | |
| - | 204 | + | < |
| - | < | + | Mark: What are you talking about? |
| - | Does Mark ever | + | |
| - | think he sees her? | + | |
| - | 205 | + | < |
| - | < | + | Dylan: Last night, after I went up the elevator, I woke up outside, in my house, with Milchick. |
| - | Hey. | + | |
| - | 206 | + | < |
| - | < | + | Irving: What? |
| - | Hey. | + | |
| - | 207 | + | < |
| - | < | + | Dylan: |
| - | - I was just in the bathroom. | + | |
| - | - Yeah? | + | |
| - | 208 | + | < |
| - | < | + | Dylan: And then he hugged me. He was so happy to see me. Then Milchick pulled him off, and it was over. |
| - | Yeah. Hey, what ever | + | |
| - | happened | + | |
| - | 209 | + | < |
| - | < | + | Dylan: It happened so fast, I just keep trying to remember more. |
| - | - The soap labels? | + | |
| - | - Yeah. | + | |
| - | 210 | + | < |
| - | < | + | Mark: Jesus, Dylan. That’s crazy. |
| - | Shouldn' | + | Dylan: Yeah, it’s not fair. |
| - | soap dispensers saying, " | + | |
| - | 211 | + | < |
| - | < | + | Dylan: And now I’m just supposed to have that in my head every day here. And I never get to see him again. |
| - | There' | + | |
| - | 212 | + | < |
| - | < | + | Irving: He’s not your son, Dylan. He’s your Outie’s son. |
| - | We all know it's soap. | + | |
| - | 213 | + | < |
| - | < | + | Dylan: That’s bullshit. He’s my son too. |
| - | Seems like an O&D question. | + | |
| - | 214 | + | < |
| - | < | + | Helly: This is good. We could use this. |
| - | Irv, you know we | + | |
| - | can't go anywhere. | + | |
| - | 215 | + | < |
| - | < | + | Irving: What? |
| - | I mean, I get that you' | + | |
| - | worried about Burt. | + | |
| - | 216 | + | < |
| - | < | + | Helly: If they can wake us up on the outside, what’s to stop us from doing it to ourselves? |
| - | Suppose he's being | + | |
| - | disciplined for our visit? | + | |
| - | 217 | + | < |
| - | < | + | Mark: What’s |
| - | Suppose he is, thanks | + | |
| - | 218 | + | < |
| - | < | + | Helly: We can find whatever they use to control it and, you know, commandeer it. We can all see the outside, find out who we are. |
| - | If only someone had told you | + | |
| - | 219 | + | < |
| - | < | + | Irving: But, Helly, forgive me, but that’s perverse. We’re Innies. Plus, the controls are surely somewhere we can’t access. |
| - | that going there was a shitty | + | |
| - | fucking idea from the jump. | + | |
| - | 220 | + | < |
| - | < | + | Mark: Like the Security Office? |
| - | Good day, Refiners! | + | |
| - | 221 | + | < |
| - | < | + | Irving: Is that… |
| - | What's this? | + | |
| - | 222 | + | < |
| - | < | + | Dylan: Graner’s key card? |
| - | It's an MDE. | + | |
| - | 223 | + | < |
| - | < | + | Helly: Where did you find it? |
| - | She got to 75%? | + | Mark: In my pocket |
| - | 224 | + | < |
| - | < | + | Mark: during the Music Dance Experience. I think I must’ve had it with me when I came in today. |
| - | Helly R., please step forward. | + | |
| - | 225 | + | < |
| - | < | + | Helly: Why does your Outie have the key card of our head of security? |
| - | MDE? | + | |
| - | 226 | + | < |
| - | < | + | Mark: I don’t know. |
| - | By reaching 75% refinement | + | |
| - | on Siena, you have earned | + | |
| - | 227 | + | < |
| - | < | + | Helly: I think it’s time for a field trip. |
| - | for you and your fellow refiners | + | |
| - | five-minute Music Dance Experience. | + | |
| - | 228 | + | < |
| - | < | + | Dylan: To the security office where all the security guards work? Amazing. Yeah. |
| - | Mr. Milchick, she's at 73%. | + | |
| - | 229 | + | < |
| - | < | + | Helly: Who’s to say there are security guards? I’ve only ever seen Graner. |
| - | Yes, well, it's been a | + | |
| - | tough morning on all of us. | + | |
| - | 230 | + | < |
| - | < | + | Dylan: What about Milchick? |
| - | - Why for you? | + | Helly: He can’t be everywhere at once. |
| - | - And I thought a little frivolity | + | |
| - | 231 | + | < |
| - | < | + | Irving: This whole line of con... |
| - | would be just what | + | Helly: Do you know where the office is? |
| - | the doctor ordered. | + | |
| - | 232 | + | < |
| - | < | + | Mark: Petey saw it during a fire alarm last year. He showed me. |
| - | Helly, please | + | |
| - | approach the MDE cart. | + | |
| - | 233 | + | < |
| - | < | + | Mark: We can do this. |
| - | You may choose one | + | |
| - | genre and one accessory. | + | |
| - | 234 | + | < |
| - | < | + | Mark: Look, if Milchick does show up, stall him. |
| - | The maraca. Excellent choice. | + | |
| - | 235 | + | < |
| - | < | + | Dylan: I got it. |
| - | Should' | + | Mark: Okay. |
| - | for the castanets. | + | |
| - | 236 | + | < |
| - | < | + | Mark: Hopefully this works. |
| - | I choose " | + | |
| - | 237 | + | < |
| - | < | + | Helly: No cavalry yet. |
| - | Though this experience | + | |
| - | is in Helly's honor, | + | |
| - | 238 | + | < |
| - | < | + | Mark: Okay, it’s a ways past Perpetuity, so... |
| - | I urge all the refiners to take | + | |
| - | advantage of the opportunity presented. | + | |
| - | 239 | + | < |
| - | < | + | Mark: Irving. |
| - | Wow. | + | |
| - | 240 | + | < |
| - | < | + | Irving: I’m sorry, Mark. |
| - | Okay. | + | |
| - | 241 | + | < |
| - | < | + | Mark: Where you going? |
| - | Cheers. | + | Irving: I have to make sure Burt’s okay. |
| - | 242 | + | < |
| - | < | + | Mark: What about the plan? |
| - | I'm nervous! | + | |
| - | 243 | + | < |
| - | < | + | Irving: I... I’m sorry, Mark. I can’t hear you! I’ll be back! |
| - | Come on, Mark. | + | |
| - | 244 | + | < |
| - | < | + | Mark: I mean... |
| - | Irving, what you | + | Helly: What? |
| - | got? Let's see it. | + | |
| - | 245 | + | < |
| - | < | + | Helly: Okay. |
| - | Daddy. Daddy. Daddy. | + | |
| - | 246 | + | < |
| - | < | + | Mark: It’s this one. |
| - | - What is his name? Tell me his name! | + | |
| - | - Dylan! Get him off me! | + | |
| - | 247 | + | < |
| - | < | + | Helly: This is fucking weird. |
| - | Get him off me! | + | |
| - | 248 | + | < |
| - | < | + | Helly: It’s over here. |
| - | - He's biting me! | + | |
| - | - Dylan, what the hell! | + | |
| - | 249 | + | < |
| - | < | + | Mark: Oh, my God. |
| - | - Jesus Christ! Dylan! Come on, Dylan! | + | |
| - | - He's biting me! | + | |
| - | 250 | + | < |
| - | < | + | Helly: Look, that’s us. |
| - | He broke the skin. | + | |
| - | 251 | + | < |
| - | < | + | Helly: What’s the name of that thing? The oversight something? |
| - | He needs a full | + | |
| - | tetanus toxoid panel. | + | |
| - | 252 | + | < |
| - | < | + | Mark: The overtime contingency. |
| - | You've done it now, Dylan. I'm | + | |
| - | reporting this to Ms. Cobel. | + | |
| - | 253 | + | < |
| - | < | + | Mark: Shit. |
| - | Yeah, you wanna go | + | |
| - | see her together? | + | |
| - | 254 | + | < |
| - | < | + | Mark: Shit. |
| - | The Music Dance Experience | + | Helly: What? |
| - | is officially canceled. | + | |
| - | 255 | + | < |
| - | < | + | Mark: It’s Cobel. |
| - | What is wrong with you? | + | |
| - | 256 | + | < |
| - | < | + | Helly: She won’t come here. |
| - | They can wake us up. | + | |
| - | 257 | + | < |
| - | < | + | Mark: Okay. It’s great you know that. Let’s get the fuck outta here. |
| - | What? | + | |
| - | 258 | + | < |
| - | < | + | Natalie: Harmony, I was looking for you. |
| - | On the outside. It's called | + | |
| - | the overtime contingency. | + | |
| - | 259 | + | < |
| - | < | + | Cobel: Now isn’t a good... |
| - | What are you talking about? | + | Natalie: I have the Board here. |
| - | 260 | + | < |
| - | < | + | Cobel: Right now? |
| - | Last night, after I | + | |
| - | went up the elevator, | + | |
| - | 261 | + | < |
| - | < | + | Natalie: Doug Graner is dead. |
| - | I woke up outside, in | + | |
| - | my house, with Milchick. | + | |
| - | 262 | + | < |
| - | < | + | Cobel: |
| - | What? | + | |
| - | 263 | + | < |
| - | < | + | Natalie: The Board finds this deeply troubling. The Board wants to know if you knew he was missing and if you’ve spoken to the police. |
| - | I saw my son. | + | |
| - | 264 | + | < |
| - | < | + | Cobel: Whoever killed Mr. Graner is probably the same person who reintegrated Peter Kilmer. |
| - | And then he hugged me. | + | |
| - | 265 | + | < |
| - | < | + | Natalie: The Board reminds you that reintegration is not... |
| - | He was so happy to see me. | + | |
| - | 266 | + | < |
| - | < | + | Cobel: Reintegration happened. And I have the data to prove it. And I would be happy to share my findings in person without intermediaries. |
| - | Then Milchick pulled him | + | |
| - | off, and it was over. | + | |
| - | 267 | + | < |
| - | < | + | Natalie: The Board agrees... |
| - | It happened so fast, I just | + | |
| - | keep trying to remember more. | + | |
| - | 268 | + | < |
| - | < | + | Natalie: And will be available to meet with you at the Eagan Family Gala next week to discuss this further. Details to come. |
| - | - Jesus, Dylan. That's crazy. | + | |
| - | - Yeah, it's not fair. | + | |
| - | 269 | + | < |
| - | < | + | Cobel: |
| - | And now I'm just supposed | + | |
| - | that in my head every day here. | + | |
| - | 270 | + | < |
| - | < | + | Dylan: So, no one is in there? That’s lax as fuck. |
| - | And I never get | + | |
| - | to see him again. | + | |
| - | 271 | + | < |
| - | < | + | Mark: Well, maybe it’s enough that we think we’re constantly being watched. |
| - | He's not your son, Dylan. | + | |
| - | He's your outie's son. | + | |
| - | 272 | + | < |
| - | < | + | Helly: It’s too bad nobody told you guys that everything here is bullshit. |
| - | That's bullshit. | + | |
| - | He's my son too. | + | |
| - | 273 | + | < |
| - | < | + | Mark: Is that making sense? |
| - | This is good. We could use this. | + | Helly: Yeah. |
| - | 274 | + | < |
| - | < | + | Helly: There’s a bunch of steps, but it’s actually pretty straightforward. You just engage the trackball, type the code, then it’s switch, type, flip, |
| - | What? | + | |
| - | 275 | + | < |
| - | < | + | Helly: type, hold. |
| - | If they can wake us | + | Mark: What? |
| - | up on the outside, | + | |
| - | 276 | + | < |
| - | < | + | Dylan: Trackball, type, switch, type, flip, type, hold. Boom. |
| - | what's to stop us from | + | |
| - | doing it to ourselves? | + | |
| - | 277 | + | < |
| - | < | + | Dylan: |
| - | What's to stop us? | + | |
| - | 278 | + | < |
| - | < | + | Mark: But to do this, one of us has to stay behind, right? |
| - | We can find whatever they use to | + | |
| - | control it and, you know, commandeer it. | + | |
| - | 279 | + | < |
| - | < | + | Dylan: Yeah, after work. I can do it. I’ve already been out, so it’s only fair. |
| - | We can all see the outside, | + | |
| - | find out who we are. | + | |
| - | 280 | + | < |
| - | < | + | Helly: Very noble of you, but I think it’s designed as a two-man operation. |
| - | But, Helly, forgive me, but | + | |
| - | that's perverse. We're innies. | + | |
| - | 281 | + | < |
| - | < | + | Dylan: Great. I have the strength of two men. |
| - | Plus, the controls are surely | + | |
| - | somewhere we can't access. | + | |
| - | 282 | + | < |
| - | < | + | Helly: It’s not about strength. |
| - | Like the security office? | + | |
| - | 283 | + | < |
| - | < | + | Helly: Yeah, see. There are two lever switches |
| - | Is that… | + | |
| - | 284 | + | < |
| - | < | + | Dylan: I can do it. |
| - | Graner' | + | |
| - | 285 | + | < |
| - | < | + | Milchick: Ladies and gentlemen, how about a round of applause for the man of the hour? Come and circle up! Gather round. |
| - | - Where did you find it? | + | |
| - | - In my pocket | + | |
| - | 286 | + | < |
| - | < | + | O&D designers (chanting): Burt, Burt, Burt. |
| - | during the Music | + | |
| - | Dance Experience. | + | |
| - | 287 | + | < |
| - | < | + | Milchick: Greetings, Designers...and one Refiner. We’ll have to get those doors looked at. |
| - | I think I must' | + | |
| - | with me when I came in today. | + | |
| - | 288 | + | < |
| - | < | + | Milchick: In the meantime...Burt G. This is for you. |
| - | Why does your outie have the key | + | |
| - | card of our head of security? | + | |
| - | 289 | + | < |
| - | < | + | Burt: Hello. This is kinda strange, but...a lot of things about this job are. You all know that better than me, I’m guessing. And, of course, |
| - | I don't know. | + | |
| - | 290 | + | < |
| - | < | + | Burt: I... I don’t know what they’ve been like, or what exactly I, or he, has been doing with you, but I do know how I feel every day when I come from being with you. I come home feeling tired but fulfilled. I feel satisfied. I must like you very much. And though today is my last day with you, I’m certain you will remain with me in spirit in some deep, yet completely unaccessible, |
| - | I think it's time | + | |
| - | for a field trip. | + | |
| - | 291 | + | < |
| - | < | + | Burt: The impression you’ve left on me is indelible, though I’m unaware of it on a conscious level, and...I will never forget any of you, even though sitting here right now, I have no recollection of actually ever meeting you and no idea of your names or any of your physical characteristics or even how many of you there are. |
| - | To the security office where | + | |
| - | all the security guards work? | + | |
| - | 292 | + | < |
| - | < | + | Burt: Anyway, I just wanna say, thank you, all. |
| - | Amazing. Yeah. | + | |
| - | 293 | + | < |
| - | < | + | Burt: And Burt, I see you. Congratulations. |
| - | Who's to say there are security | + | |
| - | guards? | + | |
| - | 294 | + | < |
| - | < | + | Burt: Good job, buddy. |
| - | - What about Milchick? | + | |
| - | - He can't be everywhere at once. | + | |
| - | 295 | + | < |
| - | < | + | Burt: Bon voyage. |
| - | - This whole line of con... | + | |
| - | - Do you know where the office is? | + | |
| - | 296 | + | < |
| - | < | + | Irving: You’re all just gonna stand here...and let him die? |
| - | Petey saw it during a fire | + | |
| - | alarm last year. He showed me. | + | |
| - | 297 | + | < |
| - | < | + | Burt: Irving, what? |
| - | We can do this. | + | |
| - | 298 | + | < |
| - | < | + | Irving: Are we being punished for defying the guidance of the founder? |
| - | Look, if Milchick does | + | |
| - | show up, stall him. | + | |
| - | 299 | + | < |
| - | < | + | Milchick: Burt’s Outie is retiring. It’ll happen to you too someday. |
| - | - I got it. | + | |
| - | - Okay. | + | |
| - | 300 | + | < |
| - | < | + | Irving: You smug motherfucker. |
| - | Hopefully this works. | + | |
| - | 301 | + | < |
| - | < | + | Irving: You’re not severed. You walk out of here with your memories. You carry them home with you every night. |
| - | No cavalry yet. | + | |
| - | 302 | + | < |
| - | < | + | Milchick: That’s enough! You will go back to MDR. |
| - | Okay, it's a ways | + | |
| - | past perpetuity, so... | + | |
| - | 303 | + | < |
| - | < | + | Burt: Mr. Milchick, please. It’d be so wonderful to have him here. He won’t say anything more. |
| - | Irving. | + | |
| - | 304 | + | < |
| - | < | + | Milchick: You can stay for Burt’s party and support his transition. But only if you behave in a manner that brings no shame upon yourself, the founder or his progeny. |
| - | I'm sorry, Mark. | + | |
| - | 305 | + | < |
| - | < | + | Milchick: |
| - | - Where you going? | + | |
| - | - I have to make sure Burt's okay. | + | |
| - | 306 | + | < |
| - | < | + | Irving: Yes, Mr. Milchick. |
| - | What about the plan? | + | |
| - | 307 | + | < |
| - | < | + | Milchick: Now, let’s all say goodbye to Burt. |
| - | I... I'm sorry, Mark. I | + | |
| - | can't hear you! I'll be back! | + | |
| - | 308 | + | < |
| - | < | + | Milchick: |
| - | - I mean... | + | |
| - | - What? | + | |
| - | 309 | + | < |
| - | < | + | Music Cue: //Good morning, yesterday.\\ You wake up\\ And time has slipped away.\\ And suddenly it’s hard to find.\\ The memories you left behind.\\ Remember, do you remember?\\ The laughter and the tears.\\ The shadows of misty yesteryears.\\ The good times and the bad you’ve seen.\\ And all the others in between.\\ Remember, do you remember.\\ The times of your life?\\ Do you remember?\\ Reach back for the joy and the sorrow.\\ Put them away in your mind.\\ For memories are time that you borrow.\\ To spend when you get to tomorrow.\\ Here comes the setting sun.\\ Comes the setting sun.\\ The seasons are passing one by one.\\ So gather moments while you may.\\ Collect the dreams you dream today.\\ Remember.\\ Will you remember The times of your life?// |
| - | Okay. | + | |
| - | 310 | + | < |
| - | < | + | Mark: Irving? |
| - | It's this one. | + | |
| - | 311 | + | < |
| - | < | + | Irving: Let’s burn this place to the ground. |
| - | This is fucking weird. | + | |
| - | 312 | + | < |
| - | < | + | Mark: Hey. |
| - | It's over here. | + | Alexa: Hey. |
| - | 313 | + | < |
| - | < | + | Alexa: My phone. |
| - | Oh, my God. | + | |
| - | 314 | + | < |
| - | < | + | Mark: Right, yeah. Come on in. |
| - | Look, that's us. | + | |
| - | 315 | + | < |
| - | < | + | Mark: How are you? |
| - | What's the name of that thing? | + | |
| - | The oversight something? | + | |
| - | 316 | + | < |
| - | < | + | Alexa: I’m good. How are you? |
| - | The overtime contingency. | + | Mark: That’s great. |
| - | 317 | + | < |
| - | < | + | Mark: Come on in. You know, make yourself at home. You know, I found it between the wall and the bed. |
| - | Shit. | + | |
| - | 318 | + | < |
| - | < | + | Mark: You know, I would’ve dropped it off, but I don’t know where you live. So, this is great. |
| - | - Shit. | + | |
| - | - What? | + | |
| - | 319 | + | < |
| - | < | + | Alexa: Are you okay? |
| - | It's Cobel. | + | |
| - | 320 | + | < |
| - | < | + | Mark: Yeah. I’m fine. You know, a little tired. |
| - | She won't come here. | + | |
| - | 321 | + | < |
| - | < | + | Alexa: |
| - | Okay. It's great you know that. | + | |
| - | Let's get the fuck outta here. | + | |
| - | 322 | + | < |
| - | < | + | Mark: No, no. Come on. |
| - | Harmony, I was looking for you. | + | |
| - | 323 | + | < |
| - | < | + | Alexa: Hey, look. I just don’t think you’re ready for this. |
| - | - Now isn't a good... | + | |
| - | - I have the Board here. | + | |
| - | 324 | + | < |
| - | < | + | Mark: No, I think I’m really ready for this. |
| - | Right now? | + | Alexa: No. |
| - | 325 | + | < |
| - | < | + | Alexa:I don’t think you’re ready for anything. I think you’re a mess right now. |
| - | Doug Graner is dead. | + | |
| - | 326 | + | < |
| - | < | + | Mark: Well, I’m really sorry. |
| - | What? | + | Alexa: Okay. |
| - | 327 | + | < |
| - | < | + | Mark: And I’m sorry for talking about her. |
| - | The Board finds this | + | |
| - | deeply troubling. | + | |
| - | 328 | + | < |
| - | < | + | Mark: No, it was too much. It was... |
| - | The Board wants to know | + | |
| - | if you knew he was missing | + | |
| - | 329 | + | < |
| - | < | + | Alexa: You know what? You can talk about her. You can not talk about her. |
| - | and if you've spoken | + | |
| - | to the police. | + | |
| - | 330 | + | < |
| - | < | + | Alexa: Whatever you want. |
| - | Whoever killed | + | Mark: Okay. H-Hold on. |
| - | Mr. Graner is probably | + | |
| - | 331 | + | < |
| - | < | + | Mark: Watch this. |
| - | the same person who | + | |
| - | reintegrated Peter Kilmer. | + | |
| - | 332 | + | < |
| - | < | + | Mark: See? That’s her. |
| - | The Board reminds you that | + | |
| - | reintegration is not... | + | |
| - | 333 | + | < |
| - | < | + | Mark: Gone. |
| - | Reintegration happened. And | + | |
| - | I have the data to prove it. | + | |
| - | 334 | + | < |
| - | < | + | Mark: What? |
| - | And I would be happy to | + | |
| - | share my findings in person | + | |
| - | 335 | + | < |
| - | < | + | Mark: Okay. Wow. |
| - | without intermediaries. | + | |
| - | 336 | + | < |
| - | < | + | Mark: Alexa, you know, we could... We’ll talk all about Gemma. |
| - | The Board agrees… | + | |
| - | 337 | + | < |
| - | < | + | Mark: She was great. She wa... |
| - | And will be available to meet with | + | |
| - | you at the Eagan Family Gala next week | + | |
| - | 338 | + | < |
| - | < | + | Alexa: Goodbye, Mark. |
| - | to discuss this further. | + | |
| - | Details to come. | + | |
| - | 339 | + | < |
| - | < | + | Mark: Really? |
| - | I look forward to | + | |
| - | receiving them. | + | |
| - | 340 | + | < |
| - | < | + | Mark: Oh, my... |
| - | So, no one is in there? | + | |
| - | That's lax as fuck. | + | |
| - | 341 | + | < |
| - | < | + | Mark: She was great. |
| - | Well, maybe it's enough that we | + | |
| - | think we're constantly being watched. | + | |
| - | 342 | + | < |
| - | < | + | Mark: She was extraordinary. |
| - | It's too bad nobody told you guys | + | |
| - | that everything here is bullshit. | + | |
| - | 343 | + | < |
| - | < | + | Music Cue: //I’ll be seeing you.\\ In all the old familiar places.\\ That this heart of mine embraces.\\ All day through.\\ In that small café.\\ The park across the way.\\ The children’s carousel.\\ The chestnut tree.// |
| - | - Is that making sense? | + | |
| - | - Yeah. | + | |
| - | 344 | + | < |
| - | < | + | Mark (voiceover): |
| - | There' | + | |
| - | actually pretty straightforward. | + | |
| - | 345 | + | < |
| - | < | + | Music Cue (cont.): //I’ll be seeing you.// |
| - | You just engage the | + | |
| - | trackball, type the code, | + | |
| - | 346 | + | < |
| - | < | + | Mark (voiceover): |
| - | then it's switch, type, flip, | + | |
| - | 347 | + | < |
| - | < | + | Music Cue (cont.): //In every lovely summer’s day.// |
| - | - type, hold. | + | |
| - | - What? | + | |
| - | 348 | + | < |
| - | < | + | Mark (voiceover): |
| - | Trackball, type, switch, | + | |
| - | type, flip, type, hold. Boom. | + | |
| - | 349 | + | < |
| - | < | + | Music Cue (cont.): //In everything that’s light and gay.// |
| - | What? | + | |
| - | 350 | + | < |
| - | < | + | Mark (voiceover): |
| - | I'm smart. That's why I have three | + | |
| - | times as many finger traps as you guys. | + | |
| - | 351 | + | < |
| - | < | + | Music Cue (cont.): //I’ll always think of you that way.// |
| - | But to do this, one of us | + | |
| - | has to stay behind, right? | + | |
| - | 352 | + | < |
| - | < | + | Mark (voiceover): |
| - | Yeah, after work. I can do it. I've | + | |
| - | already been out, so it's only fair. | + | |
| - | 353 | + | < |
| - | < | + | Music Cue (cont.): //I’ll find you...// |
| - | Very noble of you, but I think it's | + | |
| - | designed as a two-man operation. | + | |
| - | 354 | + | < |
| - | < | + | Mark (voiceover): |
| - | Great. | + | |
| - | strength of two men. | + | |
| - | 355 | + | < |
| - | < | + | Mark (voiceover): |
| - | It's not about strength. | + | |
| - | 356 | + | < |
| - | < | + | Music Cue (cont.): //And when the night is new\\ I’ll be looking at the moon.\\ But I’ll be seeing you.\\ I’ll be seeing you.\\ In every lovely summer’s day.\\ In everything that’s light and gay\\ I’ll always think of you that way\\ I’ll find you.\\ In the morning sun.\\ And when the night is new\\ I’ll be looking at the moon,\\ But I’ll be seeing you.// |
| - | Yeah, see. There are two lever | + | |
| - | switches that you have to hold open | + | |
| - | + | ||
| - | 357 | + | |
| - | < | + | |
| - | during the actual procedure. | + | |
| - | + | ||
| - | 358 | + | |
| - | < | + | |
| - | And they' | + | |
| - | side of the door. | + | |
| - | + | ||
| - | 359 | + | |
| - | < | + | |
| - | I can do it. | + | |
| - | + | ||
| - | 360 | + | |
| - | < | + | |
| - | Ladies and gentlemen, | + | |
| - | + | ||
| - | 361 | + | |
| - | < | + | |
| - | how about a round of applause | + | |
| - | for the man of the hour? | + | |
| - | + | ||
| - | 362 | + | |
| - | < | + | |
| - | Come and circle | + | |
| - | up! Gather round. | + | |
| - | + | ||
| - | 363 | + | |
| - | < | + | |
| - | Burt, Burt, Burt. | + | |
| - | + | ||
| - | 364 | + | |
| - | < | + | |
| - | Greetings, Designers… | + | |
| - | + | ||
| - | 365 | + | |
| - | < | + | |
| - | And one Refiner. | + | |
| - | + | ||
| - | 366 | + | |
| - | < | + | |
| - | We'll have to get | + | |
| - | those doors looked at. | + | |
| - | + | ||
| - | 367 | + | |
| - | < | + | |
| - | In the meantime… | + | |
| - | + | ||
| - | 368 | + | |
| - | < | + | |
| - | Burt G. This is for you. | + | |
| - | + | ||
| - | 369 | + | |
| - | < | + | |
| - | Hello. | + | |
| - | + | ||
| - | 370 | + | |
| - | < | + | |
| - | This is kinda strange, but… | + | |
| - | + | ||
| - | 371 | + | |
| - | < | + | |
| - | A lot of things | + | |
| - | about this job are. | + | |
| - | + | ||
| - | 372 | + | |
| - | < | + | |
| - | You all know that better | + | |
| - | than me, I'm guessing. | + | |
| - | + | ||
| - | 373 | + | |
| - | < | + | |
| - | And, of course, I don' | + | |
| - | really know any of you, | + | |
| - | + | ||
| - | 374 | + | |
| - | < | + | |
| - | but the man standing | + | |
| - | there with you now does. | + | |
| - | + | ||
| - | 375 | + | |
| - | < | + | |
| - | He's worked with you | + | |
| - | for nearly seven years, | + | |
| - | + | ||
| - | 376 | + | |
| - | < | + | |
| - | and I hope they' | + | |
| - | been good years. | + | |
| - | + | ||
| - | 377 | + | |
| - | < | + | |
| - | I... I don't know what | + | |
| - | they' | + | |
| - | + | ||
| - | 378 | + | |
| - | < | + | |
| - | or what exactly I, or he, | + | |
| - | has been doing with you, | + | |
| - | + | ||
| - | 379 | + | |
| - | < | + | |
| - | but I do know how I feel every day | + | |
| - | when I come from being with you. | + | |
| - | + | ||
| - | 380 | + | |
| - | < | + | |
| - | I come home feeling tired but | + | |
| - | fulfilled. I feel satisfied. | + | |
| - | + | ||
| - | 381 | + | |
| - | < | + | |
| - | I must like you very much. | + | |
| - | + | ||
| - | 382 | + | |
| - | < | + | |
| - | And though today is | + | |
| - | my last day with you, | + | |
| - | + | ||
| - | 383 | + | |
| - | < | + | |
| - | I'm certain you will | + | |
| - | remain with me in spirit | + | |
| - | + | ||
| - | 384 | + | |
| - | < | + | |
| - | in some deep, yet completely | + | |
| - | unaccessible, | + | |
| - | + | ||
| - | 385 | + | |
| - | < | + | |
| - | The impression you' | + | |
| - | left on me is indelible, | + | |
| - | + | ||
| - | 386 | + | |
| - | < | + | |
| - | though I'm unaware of it | + | |
| - | on a conscious level, and… | + | |
| - | + | ||
| - | 387 | + | |
| - | < | + | |
| - | I will never forget any of you, | + | |
| - | even though sitting here right now, | + | |
| - | + | ||
| - | 388 | + | |
| - | < | + | |
| - | I have no recollection of | + | |
| - | actually ever meeting you | + | |
| - | + | ||
| - | 389 | + | |
| - | < | + | |
| - | and no idea of your names | + | |
| - | + | ||
| - | 390 | + | |
| - | < | + | |
| - | or any of your physical | + | |
| - | characteristics | + | |
| - | + | ||
| - | 391 | + | |
| - | < | + | |
| - | or even how many | + | |
| - | of you there are. | + | |
| - | + | ||
| - | 392 | + | |
| - | < | + | |
| - | Anyway, I just wanna | + | |
| - | say, thank you, all. | + | |
| - | + | ||
| - | 393 | + | |
| - | < | + | |
| - | And Burt, I see you. | + | |
| - | + | ||
| - | 394 | + | |
| - | < | + | |
| - | Congratulations. | + | |
| - | + | ||
| - | 395 | + | |
| - | < | + | |
| - | Good job, buddy. | + | |
| - | + | ||
| - | 396 | + | |
| - | < | + | |
| - | Bon voyage. | + | |
| - | + | ||
| - | 397 | + | |
| - | < | + | |
| - | You're all just | + | |
| - | gonna stand here… | + | |
| - | + | ||
| - | 398 | + | |
| - | < | + | |
| - | And let him die? | + | |
| - | + | ||
| - | 399 | + | |
| - | < | + | |
| - | Irving, what? | + | |
| - | + | ||
| - | 400 | + | |
| - | < | + | |
| - | Are we being punished for defying | + | |
| - | the guidance of the founder? | + | |
| - | + | ||
| - | 401 | + | |
| - | < | + | |
| - | Burt's outie is retiring. It' | + | |
| - | happen to you too someday. | + | |
| - | + | ||
| - | 402 | + | |
| - | < | + | |
| - | You smug motherfucker. | + | |
| - | + | ||
| - | 403 | + | |
| - | < | + | |
| - | You're not severed. | + | |
| - | + | ||
| - | 404 | + | |
| - | < | + | |
| - | You walk out of here | + | |
| - | with your memories. | + | |
| - | + | ||
| - | 405 | + | |
| - | < | + | |
| - | You carry them home | + | |
| - | with you every night. | + | |
| - | + | ||
| - | 406 | + | |
| - | < | + | |
| - | No one can rip them away | + | |
| - | from you, snuff them out. | + | |
| - | + | ||
| - | 407 | + | |
| - | < | + | |
| - | Like they never existed. | + | |
| - | + | ||
| - | 408 | + | |
| - | < | + | |
| - | Like you never existed! | + | |
| - | + | ||
| - | 409 | + | |
| - | < | + | |
| - | That's enough! You | + | |
| - | will go back to MDR. | + | |
| - | + | ||
| - | 410 | + | |
| - | < | + | |
| - | Mr. Milchick, please. | + | |
| - | + | ||
| - | 411 | + | |
| - | < | + | |
| - | It'd be so wonderful | + | |
| - | to have him here. | + | |
| - | + | ||
| - | 412 | + | |
| - | < | + | |
| - | He won't say anything more. | + | |
| - | + | ||
| - | 413 | + | |
| - | < | + | |
| - | You can stay for Burt's party | + | |
| - | and support his transition. | + | |
| - | + | ||
| - | 414 | + | |
| - | < | + | |
| - | But only if you behave in a manner | + | |
| - | that brings no shame upon yourself, | + | |
| - | + | ||
| - | 415 | + | |
| - | < | + | |
| - | the founder or his progeny. | + | |
| - | + | ||
| - | 416 | + | |
| - | < | + | |
| - | I don't know what's gotten | + | |
| - | into you people today. | + | |
| - | + | ||
| - | 417 | + | |
| - | < | + | |
| - | Yes, Mr. Milchick. | + | |
| - | + | ||
| - | 418 | + | |
| - | < | + | |
| - | Now, let's all say | + | |
| - | goodbye to Burt. | + | |
| - | + | ||
| - | 419 | + | |
| - | < | + | |
| - | I hope you all will enjoy Burt G.'s | + | |
| - | innie retirement song selection. | + | |
| - | + | ||
| - | 420 | + | |
| - | < | + | |
| - | Good morning, yesterday. | + | |
| - | + | ||
| - | 421 | + | |
| - | < | + | |
| - | You wake up And time | + | |
| - | has slipped away. | + | |
| - | + | ||
| - | 422 | + | |
| - | < | + | |
| - | And suddenly it's hard to find. | + | |
| - | + | ||
| - | 423 | + | |
| - | < | + | |
| - | The memories you left behind. | + | |
| - | + | ||
| - | 424 | + | |
| - | < | + | |
| - | Remember, do you remember? | + | |
| - | + | ||
| - | 425 | + | |
| - | < | + | |
| - | The laughter and the tears. | + | |
| - | + | ||
| - | 426 | + | |
| - | < | + | |
| - | The shadows of | + | |
| - | misty yesteryears. | + | |
| - | + | ||
| - | 427 | + | |
| - | < | + | |
| - | The good times and | + | |
| - | the bad you've seen. | + | |
| - | + | ||
| - | 428 | + | |
| - | < | + | |
| - | And all the others in between. | + | |
| - | + | ||
| - | 429 | + | |
| - | < | + | |
| - | Remember, do you remember. | + | |
| - | + | ||
| - | 430 | + | |
| - | < | + | |
| - | The times of your life? | + | |
| - | + | ||
| - | 431 | + | |
| - | < | + | |
| - | Do you remember? | + | |
| - | + | ||
| - | 432 | + | |
| - | < | + | |
| - | Reach back for the | + | |
| - | joy and the sorrow. | + | |
| - | + | ||
| - | 433 | + | |
| - | < | + | |
| - | Put them away in your mind. | + | |
| - | + | ||
| - | 434 | + | |
| - | < | + | |
| - | For memories are | + | |
| - | time that you borrow. | + | |
| - | + | ||
| - | 435 | + | |
| - | < | + | |
| - | To spend when you | + | |
| - | get to tomorrow. | + | |
| - | + | ||
| - | 436 | + | |
| - | < | + | |
| - | Here comes the saddest part. | + | |
| - | + | ||
| - | 437 | + | |
| - | < | + | |
| - | Comes the saddest part. | + | |
| - | + | ||
| - | 438 | + | |
| - | < | + | |
| - | The seasons are | + | |
| - | passing one by one. | + | |
| - | + | ||
| - | 439 | + | |
| - | < | + | |
| - | So gather moments while you may. | + | |
| - | + | ||
| - | 440 | + | |
| - | < | + | |
| - | Collect the dreams | + | |
| - | you dream today. | + | |
| - | + | ||
| - | 441 | + | |
| - | < | + | |
| - | Remember. | + | |
| - | + | ||
| - | 442 | + | |
| - | < | + | |
| - | Will you remember The | + | |
| - | times of your life? | + | |
| - | + | ||
| - | 443 | + | |
| - | < | + | |
| - | Irving? | + | |
| - | + | ||
| - | 444 | + | |
| - | < | + | |
| - | Let's burn this | + | |
| - | place to the ground. | + | |
| - | + | ||
| - | 445 | + | |
| - | < | + | |
| - | - Hey. | + | |
| - | - Hey. | + | |
| - | + | ||
| - | 446 | + | |
| - | < | + | |
| - | My phone. | + | |
| - | + | ||
| - | 447 | + | |
| - | < | + | |
| - | Right, yeah. Come on in. | + | |
| - | + | ||
| - | 448 | + | |
| - | < | + | |
| - | How are you? | + | |
| - | + | ||
| - | 449 | + | |
| - | < | + | |
| - | - I'm good. How are you? | + | |
| - | - That's great. | + | |
| - | + | ||
| - | 450 | + | |
| - | < | + | |
| - | Come on in. You know, | + | |
| - | make yourself at home. | + | |
| - | + | ||
| - | 451 | + | |
| - | < | + | |
| - | You know, I found it between | + | |
| - | the wall and the bed. | + | |
| - | + | ||
| - | 452 | + | |
| - | < | + | |
| - | You know, I would' | + | |
| - | but I don't know where you live. | + | |
| - | + | ||
| - | 453 | + | |
| - | < | + | |
| - | So, this is great. | + | |
| - | + | ||
| - | 454 | + | |
| - | < | + | |
| - | Are you okay? | + | |
| - | + | ||
| - | 455 | + | |
| - | < | + | |
| - | Yeah. I'm fine. You | + | |
| - | know, a little tired. | + | |
| - | + | ||
| - | 456 | + | |
| - | < | + | |
| - | Okay. I'm gonna go. | + | |
| - | + | ||
| - | 457 | + | |
| - | < | + | |
| - | No, no. Come on. | + | |
| - | + | ||
| - | 458 | + | |
| - | < | + | |
| - | Hey, look. I just don' | + | |
| - | think you're ready for this. | + | |
| - | + | ||
| - | 459 | + | |
| - | < | + | |
| - | - No, I think I'm really ready for this. | + | |
| - | - No. | + | |
| - | + | ||
| - | 460 | + | |
| - | < | + | |
| - | I don't think you're ready for anything. | + | |
| - | I think you're a mess right now. | + | |
| - | + | ||
| - | 461 | + | |
| - | < | + | |
| - | - Well, I'm really sorry. | + | |
| - | - Okay. | + | |
| - | + | ||
| - | 462 | + | |
| - | < | + | |
| - | And I'm sorry for | + | |
| - | talking about her. | + | |
| - | + | ||
| - | 463 | + | |
| - | < | + | |
| - | No, it was too much. It was... | + | |
| - | + | ||
| - | 464 | + | |
| - | < | + | |
| - | You know what? You can talk about | + | |
| - | her. You can not talk about her. | + | |
| - | + | ||
| - | 465 | + | |
| - | < | + | |
| - | - Whatever you want. | + | |
| - | - Okay. H-Hold on. | + | |
| - | + | ||
| - | 466 | + | |
| - | < | + | |
| - | Watch this. | + | |
| - | + | ||
| - | 467 | + | |
| - | < | + | |
| - | See? That's her. | + | |
| - | + | ||
| - | 468 | + | |
| - | < | + | |
| - | Gone. | + | |
| - | + | ||
| - | 469 | + | |
| - | < | + | |
| - | What? | + | |
| - | + | ||
| - | 470 | + | |
| - | < | + | |
| - | Okay. Wow. | + | |
| - | + | ||
| - | 471 | + | |
| - | < | + | |
| - | Alexa, you know, we could... | + | |
| - | We'll talk all about Gemma. | + | |
| - | + | ||
| - | 472 | + | |
| - | < | + | |
| - | She was great. She wa... | + | |
| - | + | ||
| - | 473 | + | |
| - | < | + | |
| - | Goodbye, Mark. | + | |
| - | + | ||
| - | 474 | + | |
| - | < | + | |
| - | Really? | + | |
| - | + | ||
| - | 475 | + | |
| - | < | + | |
| - | Oh, my... | + | |
| - | + | ||
| - | 476 | + | |
| - | < | + | |
| - | She was great. | + | |
| - | + | ||
| - | 477 | + | |
| - | < | + | |
| - | She was extraordinary. | + | |
| - | + | ||
| - | 478 | + | |
| - | < | + | |
| - | I'll be seeing you. | + | |
| - | + | ||
| - | 479 | + | |
| - | < | + | |
| - | In all the old familiar places. | + | |
| - | + | ||
| - | 480 | + | |
| - | < | + | |
| - | That this heart | + | |
| - | of mine embraces. | + | |
| - | + | ||
| - | 481 | + | |
| - | < | + | |
| - | All day through. | + | |
| - | + | ||
| - | 482 | + | |
| - | < | + | |
| - | In that small café. | + | |
| - | + | ||
| - | 483 | + | |
| - | < | + | |
| - | The park across the way. | + | |
| - | + | ||
| - | 484 | + | |
| - | < | + | |
| - | The children' | + | |
| - | + | ||
| - | 485 | + | |
| - | < | + | |
| - | The chestnut tree. | + | |
| - | + | ||
| - | 486 | + | |
| - | < | + | |
| - | My wife was extraordinary. | + | |
| - | + | ||
| - | 487 | + | |
| - | < | + | |
| - | I'll be seeing you. | + | |
| - | + | ||
| - | 488 | + | |
| - | < | + | |
| - | My wife was allergic to nutmeg. | + | |
| - | + | ||
| - | 489 | + | |
| - | < | + | |
| - | In every lovely summer' | + | |
| - | + | ||
| - | 490 | + | |
| - | < | + | |
| - | And when she sneezed, | + | |
| - | she always sneezed twice. | + | |
| - | + | ||
| - | 491 | + | |
| - | < | + | |
| - | In everything that' | + | |
| - | light and gay. | + | |
| - | + | ||
| - | 492 | + | |
| - | < | + | |
| - | My wife liked other | + | |
| - | people' | + | |
| - | + | ||
| - | 493 | + | |
| - | < | + | |
| - | I'll always think | + | |
| - | of you that way. | + | |
| - | + | ||
| - | 494 | + | |
| - | < | + | |
| - | My wife thought cardigans | + | |
| - | looked ridiculous. | + | |
| - | + | ||
| - | 495 | + | |
| - | < | + | |
| - | I'll find you… | + | |
| - | + | ||
| - | 496 | + | |
| - | < | + | |
| - | I loved all these | + | |
| - | things about her… | + | |
| - | + | ||
| - | 497 | + | |
| - | < | + | |
| - | Equally. | + | |
| - | + | ||
| - | 498 | + | |
| - | < | + | |
| - | And when the night is new | + | |
| - | + | ||
| - | 499 | + | |
| - | < | + | |
| - | I'll be looking at the moon. | + | |
| - | + | ||
| - | 500 | + | |
| - | < | + | |
| - | But I'll be seeing you. | + | |
| - | + | ||
| - | 501 | + | |
| - | < | + | |
| - | I'll be seeing you. | + | |
| - | + | ||
| - | 502 | + | |
| - | < | + | |
| - | In every lovely summer's day. | + | |
| - | + | ||
| - | 503 | + | |
| - | < | + | |
| - | In everything | + | |
| - | that's light and gay | + | |
| - | + | ||
| - | 504 | + | |
| - | < | + | |
| - | I'll always think | + | |
| - | of you that way | + | |
| - | + | ||
| - | 505 | + | |
| - | < | + | |
| - | I'll find you. | + | |
| - | + | ||
| - | 506 | + | |
| - | < | + | |
| - | In the morning sun. | + | |
| - | + | ||
| - | 507 | + | |
| - | < | + | |
| - | And when the night is new | + | |
| - | + | ||
| - | 508 | + | |
| - | < | + | |
| - | I'll be looking at the moon. | + | |
| - | + | ||
| - | 509 | + | |
| - | < | + | |
| - | But I'll be seeing you | + | |
| </ | </ | ||
| - | {{tag>transcripts}} | + | {{tag>Transcripts}} |
defiant_jazz_transcript.1652647162.txt.gz · Last modified: 2022-05-15 20:39 by Neatnik
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