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| <WRAP infobox> | <WRAP infobox> | ||
| - | | **The You You Are (Script)** || | + | | **The You You Are (Transcript)** || |
| ^ Episode Number | 1.4 | | ^ Episode Number | 1.4 | | ||
| - | ^ Written By | [[https:// | + | ^ Written By | [[https:// |
| - | ^ Previous | + | ^ Previous |
| - | ^ Next Script | + | ^ Next Transcript |
| </ | </ | ||
| - | ====== The You You Are (Script) ====== | + | ====== The You You Are (Transcript) ====== |
| - | This is the script | + | This is the transcript |
| - | ===== Script | + | ===== Transcript |
| <WRAP script> | <WRAP script> | ||
| - | 1 | + | < |
| - | < | + | Helly: |
| - | "All I can be is sorry, | + | |
| - | and that is all I am." | + | |
| - | 2 | + | < |
| - | < | + | Milchick: |
| - | But I'm afraid you | + | |
| - | still don't mean it. | + | |
| - | 3 | + | < |
| - | < | + | Milchick: |
| - | We'll try again in the morning. | + | |
| - | 4 | + | < |
| - | < | + | Milchick: |
| - | See you tomorrow, Helly. | + | |
| - | 5 | + | < |
| - | < | + | Helly: |
| - | Fuck me. | + | |
| - | 6 | + | < |
| - | < | + | Helly: |
| - | I read it 300 times yesterday. | + | |
| - | 7 | + | < |
| - | < | + | Milchick: |
| - | 259. Again, please. Now. | + | |
| - | 8 | + | < |
| - | < | + | Helly: |
| - | What the hell is that voice? | + | |
| - | 9 | + | < |
| - | < | + | Helly: |
| - | " | + | |
| - | I have caused this world." | + | |
| - | 10 | + | < |
| - | < | + | Helly: I really am sorry, okay? |
| - | None may atone for | + | |
| - | my actions but me. | + | |
| - | 11 | + | < |
| - | < | + | Helly: I’m sorry. |
| - | "And only in me shall | + | |
| - | their stain live on." | + | |
| - | 12 | + | < |
| - | < | + | Milchick: No paraphrasing. Again. |
| - | I really am sorry, okay? | + | |
| - | 13 | + | < |
| - | < | + | Irving: Mark? |
| - | I'm sorry. | + | Mark: Yep? |
| - | 14 | + | < |
| - | < | + | Irving: It’s past 1100, and Helly’s been in the break room since yesterday. |
| - | No paraphrasing. Again. | + | |
| - | 15 | + | < |
| - | < | + | Mark: Okay? |
| - | - Mark? | + | Irving: I wonder if, as department chief, |
| - | - Yep? | + | |
| - | 16 | + | < |
| - | < | + | Irving: you feel you should check on her progress? |
| - | It's past 1100, and Helly' | + | |
| - | in the break room since yesterday. | + | |
| - | 17 | + | < |
| - | < | + | Mark: Well… |
| - | - Okay? | + | Dylan: Mark doesn’t have that power. |
| - | - I wonder if, as department chief, | + | |
| - | 18 | + | < |
| - | < | + | Irving: Well, he can ask. |
| - | you feel you should | + | Dylan: He’s not going to. |
| - | check on her progress? | + | |
| - | 19 | + | < |
| - | < | + | Irving: He might. |
| - | - Well… | + | Mark: Okay... |
| - | - Mark doesn' | + | |
| - | 20 | + | < |
| - | < | + | Burt: Hi. I’m so sorry to interrupt. We met the other day. I’m Burt from Optics and Design. |
| - | - Well, he can ask. | + | |
| - | - He's not going to. | + | |
| - | 21 | + | < |
| - | < | + | Burt: Hi, Irving. |
| - | - He might. | + | Irving: Hi, Burt. What are you doing here? |
| - | - Okay... | + | |
| - | 22 | + | < |
| - | < | + | Dylan: Exactly how the wet fuck do you know |
| - | Hi. | + | |
| - | 23 | + | < |
| - | < | + | Dylan: where this office is? |
| - | I'm so sorry to interrupt. | + | Mark: Dylan! |
| - | 24 | + | < |
| - | < | + | Burt: My predecessor, |
| - | We met the other day. I'm | + | |
| - | Burt from Optics and Design. | + | |
| - | 25 | + | < |
| - | < | + | Burt: and she’d left directions. |
| - | - Hi, Irving. | + | Dylan: Give us them reversed. |
| - | - Hi, Burt. What are you doing here? | + | |
| - | 26 | + | < |
| - | < | + | Burt: Okay. It’s all right. |
| - | Exactly how the wet | + | |
| - | fuck do you know | + | |
| - | 27 | + | < |
| - | < | + | Mark: What can we do for you, Burt? |
| - | - where this office is? | + | |
| - | - Dylan! | + | |
| - | 28 | + | < |
| - | < | + | Burt: Thank you. Well...Irving, I kept thinking about what you said about being excited for the new handbook totes, and maybe you were kidding and teasing. |
| - | My predecessor, | + | |
| - | once when they still did the summits, | + | |
| - | 29 | + | < |
| - | < | + | Irving: No, not at all. |
| - | - and she'd left directions. | + | |
| - | - Give us them reversed. | + | |
| - | 30 | + | < |
| - | < | + | Burt: Okay, good. I’ve been fretting, though, because you mentioned the anticipation could distract from your work, which was the opposite of my intent. So I figured, heck, let’s bring them over now. That way, it won’t be on your mind. |
| - | Okay. It's all right. | + | |
| - | 31 | + | < |
| - | < | + | Irving: You brought pre-release handbook totes for us? |
| - | What can we do for you, Burt? | + | |
| - | 32 | + | < |
| - | < | + | Burt: It seemed like the right thing. I know your time is valuable. |
| - | Thank you. Well… | + | |
| - | 33 | + | < |
| - | < | + | Dylan: Okay, well, you can drop ’em on the desk. Long hike back to O&D. |
| - | Irving, I kept thinking | + | |
| - | about what you said | + | |
| - | 34 | + | < |
| - | < | + | Burt: Right. |
| - | about being excited for | + | |
| - | the new handbook totes, | + | |
| - | 35 | + | < |
| - | < | + | Burt: I also wanted to extend an invitation. Again, I know you...you work hard, so... If an informal tour of O&D ever sounds refreshing, I’d be happy to personally offer that to Irving |
| - | and maybe you were | + | |
| - | kidding | + | |
| - | 36 | + | < |
| - | < | + | Burt: Directions are in the front bag, reversed. |
| - | No, not at all. | + | |
| - | 37 | + | < |
| - | < | + | Dylan: Hard pass. |
| - | Okay, good. I've been fretting, | + | |
| - | though, because you mentioned | + | |
| - | 38 | + | < |
| - | < | + | Burt: Okay. |
| - | the anticipation could | + | |
| - | distract from your work, | + | |
| - | 39 | + | < |
| - | < | + | Irving: Thank you, Burt. |
| - | which was the | + | |
| - | opposite of my intent. | + | |
| - | 40 | + | < |
| - | < | + | Burt: Thank you. |
| - | So I figured, heck, let' | + | |
| - | bring them over now. | + | |
| - | 41 | + | < |
| - | < | + | Mark: Just seems soon to be taking him up on his offer. |
| - | That way, it won' | + | |
| - | be on your mind. | + | |
| - | 42 | + | < |
| - | < | + | Irving: It’s absurd we’ve never visited them before now. Kier’s whole original vision saw us all working together. |
| - | You brought pre-release | + | |
| - | handbook totes for us? | + | |
| - | 43 | + | < |
| - | < | + | Dylan: That was before O&D started disemboweling people’s bowels. |
| - | It seemed like the right thing. | + | |
| - | I know your time is valuable. | + | |
| - | 44 | + | < |
| - | < | + | Irving: Nonsense. I’ll be back by 1:00. |
| - | Okay, well, you can drop 'em on | + | |
| - | the desk. Long hike back to O&D. | + | |
| - | 45 | + | < |
| - | < | + | Dylan: He’s gonna die. |
| - | Right. | + | |
| - | 46 | + | < |
| - | < | + | Mark: Irv... |
| - | I also wanted to | + | |
| - | extend an invitation. | + | |
| - | 47 | + | < |
| - | < | + | Mark: How many times? |
| - | Again, I know you... | + | |
| - | you work hard, so… | + | |
| - | 48 | + | < |
| - | < | + | Helly: 1,072. |
| - | If an informal tour of O&D | + | |
| - | ever sounds refreshing, | + | |
| - | 49 | + | < |
| - | < | + | Helly: What about the voice behind the door? |
| - | I'd be happy to personally offer | + | |
| - | that to Irving and any one of you. | + | |
| - | 50 | + | < |
| - | < | + | Dylan: Crying baby, you mean? |
| - | Directions are in the | + | |
| - | front bag, reversed. | + | |
| - | 51 | + | < |
| - | < | + | Helly: No. Like, the angry, mumbly guy. |
| - | Hard pass. | + | |
| - | 52 | + | < |
| - | < | + | Mark: Guys? We’re really not supposed to talk about the break room. You know, the important thing is, you apologized correctly, and now you’re out. |
| - | Okay. | + | |
| - | 53 | + | < |
| - | < | + | Dylan: What you gotta do is trick the machine by thinking about something |
| - | Thank you, Burt. | + | |
| - | 54 | + | < |
| - | < | + | Mark: Hey. Break room sucks. But that’s why we have protocols and procedures so we don’t end up there. |
| - | Thank you. | + | |
| - | 55 | + | < |
| - | < | + | Mark: You’ll learn. I promise. |
| - | Just seems soon to be | + | |
| - | taking him up on his offer. | + | |
| - | 56 | + | < |
| - | < | + | Irving: Hello? |
| - | It's absurd we've never | + | |
| - | visited them before now. | + | |
| - | 57 | + | < |
| - | < | + | Felicia: Who’s that? |
| - | Kier's whole original vision | + | |
| - | saw us all working together. | + | |
| - | 58 | + | < |
| - | < | + | Irving: Hi. It’s Irving B. From Macrodata Refinement. We met in the hall the other day. |
| - | That was before O&D started | + | |
| - | disemboweling people' | + | |
| - | 59 | + | < |
| - | < | + | Felicia: Burt’s over there by shelf six. Don’t touch anything. |
| - | Nonsense. I'll be back by 1:00. | + | |
| - | 60 | + | < |
| - | < | + | Burt: The big envelopes can handle an appendix reissue. But, of course, we ship all the hallway pieces in-frame. |
| - | He's gonna die. | + | |
| - | 61 | + | < |
| - | < | + | Irving: So much to remember. |
| - | Irv... | + | |
| - | 62 | + | < |
| - | < | + | Burt: Felicia and I make do. I’m sure it’s easier than whatever you MDR kids get up to all day. |
| - | How many times? | + | |
| - | 63 | + | < |
| - | < | + | Irving: I can only imagine what it’s like when the new art comes in. I mean, you see it before anyone. |
| - | 1,072. | + | |
| - | 64 | + | < |
| - | < | + | Irving: It’s so dumb, but I actually cried when you guys put up The Youthful Convalescence of Kier. |
| - | What about the voice | + | |
| - | behind the door? | + | |
| - | 65 | + | < |
| - | < | + | Burt: No. |
| - | Crying baby, you mean? | + | Irving: I did. |
| - | 66 | + | < |
| - | < | + | Irving: I never thought I’d see the handbook passage depicted visually. It was only up for a month or so, but, man. What a month! |
| - | No. Like, the angry, mumbly guy. | + | |
| - | 67 | + | < |
| - | < | + | Burt: Come here. |
| - | Guys? We're really not supposed | + | |
| - | to talk about the break room. | + | |
| - | 68 | + | < |
| - | < | + | Burt: Once the hall art’s been cycled through all the departments, it ends up back here. |
| - | You know, the | + | |
| - | important thing is, | + | |
| - | 69 | + | < |
| - | < | + | Irving: Wow! |
| - | you apologized correctly, | + | |
| - | and now you're out. | + | |
| - | 70 | + | < |
| - | < | + | Irving: Where did Felicia go? |
| - | What you gotta do | + | |
| - | is trick the machine | + | |
| - | 71 | + | < |
| - | < | + | Burt: Supply run. |
| - | by thinking about something | + | |
| - | you're really sorry about,so | + | |
| - | 72 | + | < |
| - | < | + | Irving: Voilà. |
| - | I like to imagine my outie' | + | |
| - | love-made with a MILF or two, | + | |
| - | 73 | + | < |
| - | < | + | Burt: "Let not weakness live in your veins. Cherished workers, drown it inside you." |
| - | which is obviously badass, | + | |
| - | but I do pity the husbands. | + | |
| - | 74 | + | < |
| - | < | + | Irving: "Rise up from your deathbed and sally forth, more perfect for the struggle." |
| - | Hey. | + | |
| - | 75 | + | < |
| - | < | + | Burt: Exactly. |
| - | Break room sucks. | + | |
| - | 76 | + | < |
| - | < | + | Irving: I...I can’t believe you...you have this. |
| - | But that's why we have protocols and | + | |
| - | procedures so we don't end up there. | + | |
| - | 77 | + | < |
| - | < | + | Irving: I’m sorry. What time is it? I have to go. |
| - | You'll learn. I promise. | + | |
| - | 78 | + | < |
| - | < | + | Mark: Hey, Helly. |
| - | Hello? | + | |
| - | 79 | + | < |
| - | < | + | Helly: I got to 4%. |
| - | Who's that? | + | Mark: Yes! |
| - | 80 | + | < |
| - | < | + | Mark: Feels good, right? |
| - | Hi. | + | |
| - | 81 | + | < |
| - | < | + | Helly: I guess. |
| - | It's Irving B. From | + | Mark: Awesome. I’m glad you agree. |
| - | Macrodata Refinement. | + | |
| - | 82 | + | < |
| - | < | + | Mark: Great work. |
| - | We met in the hall | + | |
| - | the other day. | + | |
| - | 83 | + | < |
| - | < | + | Helly: What’s this? |
| - | Burt's over there by shelf six. | + | |
| - | 84 | + | < |
| - | < | + | Helly: Will you put that away? |
| - | Don't touch anything. | + | |
| - | 85 | + | < |
| - | < | + | Dylan: Put what away? |
| - | The big envelopes can | + | Helly: It’s a map of the hallways. |
| - | handle an appendix reissue. | + | |
| - | 86 | + | < |
| - | < | + | Mark: No, it isn’t. |
| - | But, of course, we ship all | + | |
| - | the hallway pieces in-frame. | + | |
| - | 87 | + | < |
| - | < | + | Dylan: I thought we weren’t supposed |
| - | So much to remember. | + | |
| - | 88 | + | < |
| - | < | + | Mark: We’re not. I didn’t. It’s just something I found. |
| - | Felicia and I make do. | + | |
| - | 89 | + | < |
| - | < | + | Dylan: Oh, shit. You didn’t turn it in? |
| - | I'm sure it's easier than whatever | + | |
| - | you MDR kids get up to all day. | + | |
| - | 90 | + | < |
| - | < | + | Helly: You’re such a hypocrite, lecturing me on following |
| - | I can only imagine what it's | + | |
| - | like when the new art comes in. | + | |
| - | 91 | + | < |
| - | < | + | Mark: I wasn’t lecturing |
| - | I mean, you see | + | |
| - | it before anyone. | + | |
| - | 92 | + | < |
| - | < | + | Dylan: |
| - | It's so dumb, but | + | |
| - | I actually cried | + | |
| - | 93 | + | < |
| - | < | + | Dylan: He’s got Wellness, Management, Perpetuity... Everywhere we know of. This must’ve taken him weeks. |
| - | when you guys put up The | + | |
| - | Youthful Convalescence | + | |
| - | 94 | + | < |
| - | < | + | Helly: Why aren’t we supposed to map the office? |
| - | - No. | + | |
| - | - I did. | + | |
| - | 95 | + | < |
| - | < | + | Mark: It’s an Eagan rule. " |
| - | I never thought I'd see the | + | |
| - | handbook passage depicted visually. | + | |
| - | 96 | + | < |
| - | < | + | Helly: Why? |
| - | It was only up for a month or | + | |
| - | so, but, man. What a month. | + | |
| - | 97 | + | < |
| - | < | + | Dylan: What the fuck is this? |
| - | Come here. | + | |
| - | 98 | + | < |
| - | < | + | Helly: They look like houses, right? That’s how houses look. |
| - | Once the hall art's been cycled | + | |
| - | through all the departments, | + | |
| - | 99 | + | < |
| - | < | + | Mark: Yeah, exactly, because these are random, bored doodles. |
| - | it ends up back here. | + | |
| - | 100 | + | < |
| - | < | + | Helly: Well, maybe they’re on the outside and Petey found a way to get to them. |
| - | Wow! | + | |
| - | 101 | + | < |
| - | < | + | Mark: So why would they be on a map of the severed floor? |
| - | Where did Felicia go? | + | |
| - | 102 | + | < |
| - | < | + | Helly: It could be a thing. You don’t know. |
| - | Supply run. | + | |
| - | 103 | + | < |
| - | < | + | Mark: It’s not a thing. |
| - | Voilà. | + | |
| - | 104 | + | < |
| - | < | + | Helly: Clearly he was trying to tell you something. |
| - | "Let not weakness | + | |
| - | live in your veins. | + | |
| - | 105 | + | < |
| - | < | + | Mark: No. |
| - | Cherished workers, | + | |
| - | drown it inside you." | + | |
| - | 106 | + | < |
| - | < | + | Helly: Go lick a boot, Mark. |
| - | "Rise up from your | + | |
| - | deathbed and sally forth, | + | |
| - | 107 | + | < |
| - | < | + | Helly: You’re |
| - | more perfect for the struggle." | + | |
| - | 108 | + | < |
| - | < | + | Mark: I’m loyal to how it felt around here before you showed up. |
| - | Exactly. | + | |
| - | 109 | + | < |
| - | < | + | Helly: You mean when Petey was here? |
| - | I... | + | |
| - | 110 | + | < |
| - | < | + | Mark: Yeah, because there was balance. We could have fun and work without the whole goddamn department imploding. |
| - | I can't believe you... | + | |
| - | 111 | + | < |
| - | < | + | Helly: The work is bullshit. |
| - | You have this. | + | |
| - | 112 | + | < |
| - | < | + | Mark: The work is mysterious and important. And we deal with the uncertainty |
| - | I'm sorry. What time is it? | + | |
| - | 113 | + | < |
| - | < | + | Helly: |
| - | I have to go. | + | |
| - | 114 | + | < |
| - | < | + | Helly: Your best friend left this for you, and you don’t give a shit. |
| - | Hey, Helly. | + | |
| - | 115 | + | < |
| - | < | + | Mark: You’re right. |
| - | - I got to 4%. | + | |
| - | - Yes! | + | |
| - | 116 | + | < |
| - | < | + | Helly: Mark... |
| - | Feels good, right? | + | |
| - | 117 | + | < |
| - | < | + | Mark: There. It’s gone. Thank you, Helly. Now we can get back to work. |
| - | - I guess. | + | |
| - | - Awesome. I'm glad you agree. | + | |
| - | 118 | + | < |
| - | < | + | Irving: Mark! It’s an emergency. |
| - | Great work. | + | |
| - | 119 | + | < |
| - | < | + | Mark: Okay. All right... |
| - | What's this? | + | |
| - | 120 | + | < |
| - | < | + | Irving: I was going to get Mr. Milchick, but I thought it best not to break the chain of command. |
| - | Will you put that away? | + | |
| - | 121 | + | < |
| - | < | + | Dylan: |
| - | - Put what away? | + | |
| - | - It's a map of the hallways. | + | |
| - | 122 | + | < |
| - | < | + | Irving: What do you mean? |
| - | No, it isn't. | + | Mark: It doesn’t matter. |
| - | 123 | + | < |
| - | < | + | Mark: Has anyone seen anything like this before? |
| - | I thought we weren' | + | |
| - | supposed to make maps. | + | |
| - | 124 | + | < |
| - | < | + | Irving: Passage 31, page 110. "Be content in my words, and dally not in the scholastic pursuits of lesser men." |
| - | We' | + | |
| - | just something I found. | + | |
| - | 125 | + | < |
| - | < | + | Mark: No books except the handbook. |
| - | I think Petey made it. | + | |
| - | 126 | + | < |
| - | < | + | Irving: What are you doing? |
| - | Oh, shit. You didn't turn it in? | + | |
| - | 127 | + | < |
| - | < | + | Dylan: His ego’s pissed ’cause Helly called him out for boot-licking. |
| - | You're such a hypocrite, | + | |
| - | 128 | + | < |
| - | < | + | Mark: My ego’s fine. I’m just trying to... |
| - | lecturing me on | + | Dylan: Damn. |
| - | following the rules. | + | |
| - | 129 | + | < |
| - | < | + | Irving: Mark, what is this? |
| - | I wasn't lecturing you. I'm just trying | + | |
| - | to keep you out of the break room. | + | |
| - | 130 | + | < |
| - | < | + | Dylan: Maybe it’s another |
| - | I can't believe | + | |
| - | a mapper. Let me see it. | + | |
| - | 131 | + | < |
| - | < | + | Irving: I bet it’s a loyalty test. Remember the spicy candy? |
| - | He's got wellness, management, | + | |
| - | perpetuity… Everywhere we know of. | + | |
| - | 132 | + | < |
| - | < | + | Mark: I’ll be turning this in to Milchick. |
| - | This must' | + | |
| - | 133 | + | < |
| - | < | + | Dylan: What? Why? It’s booty. It’s booty with your name on it. |
| - | Why aren't we supposed | + | |
| - | to map the office? | + | |
| - | 134 | + | < |
| - | < | + | Irving: Excellent decision, Mark. This is an idolatrous text that should be brought to him immediately. |
| - | It' | + | |
| - | not my creation in miniature." | + | |
| - | 135 | + | < |
| - | < | + | Dylan: So, what’s their space like? Stalactites and shit? |
| - | Why? | + | |
| - | 136 | + | < |
| - | < | + | Irving: No, it’s nice. Burt’s fostered a really welcoming environment. He understands |
| - | What the fuck is this? | + | |
| - | 137 | + | < |
| - | < | + | Mark: Helly? |
| - | They look like houses, right? | + | |
| - | That's how houses look. | + | |
| - | 138 | + | < |
| - | < | + | Milchick: Excuse me! Helly! |
| - | Yeah, exactly, because these | + | |
| - | are random, bored doodles. | + | |
| - | 139 | + | < |
| - | < | + | Cobel: Jesus, Helly! |
| - | Well, maybe they' | + | |
| - | and Petey found a way to get to them. | + | |
| - | 140 | + | < |
| - | < | + | Helly: I want a camera! |
| - | So why would they be on a | + | |
| - | map of the severed floor? | + | |
| - | 141 | + | < |
| - | < | + | Milchick: I am so sorry, Ms. Cobel. I will... |
| - | It could be a thing. | + | Cobel: What is happening here? |
| - | You don't know. | + | |
| - | 142 | + | < |
| - | < | + | Helly: What’s happening is, you’re going to give me a video camera so I can tape a resignation to my Outie right fucking now, or you’re going to have to explain to her why she’s missing four fingers. |
| - | It's not a thing. | + | |
| - | 143 | + | < |
| - | < | + | Cobel: Okay. Let’s just... |
| - | Clearly he was trying | + | |
| - | to tell you something. | + | |
| - | 144 | + | < |
| - | < | + | Helly: It’s Cobel, right? |
| - | No. | + | |
| - | 145 | + | < |
| - | < | + | Cobel: Yes. |
| - | Go lick a boot, Mark. | + | |
| - | 146 | + | < |
| - | < | + | Helly: Cobel, do I look like I’m fucking around right now? |
| - | You're more loyal to this | + | |
| - | place than to your friend. | + | |
| - | 147 | + | < |
| - | < | + | Cobel: No. No, you do not. |
| - | I'm loyal to how it felt around | + | |
| - | here before | + | |
| - | 148 | + | < |
| - | < | + | Mark: Helly! |
| - | You mean when Petey was here? | + | |
| - | 149 | + | < |
| - | < | + | Cobel: Hi, Mark. I’m just catching up with your trainee. |
| - | Yeah, because there was balance. | + | |
| - | 150 | + | < |
| - | < | + | Cobel: Mr. Milchick, |
| - | We could have fun and work without | + | |
| - | whole goddamn department imploding. | + | |
| - | 151 | + | < |
| - | < | + | Helly: Hey. |
| - | The work is bullshit. | + | |
| - | 152 | + | < |
| - | < | + | Helly: Well, boss. I guess this is the part where I should tell you to go to hell. Except you’re already here. |
| - | The work is mysterious | + | |
| - | and important. | + | |
| - | 153 | + | < |
| - | < | + | Helly: I was never sorry. |
| - | And we deal with the | + | |
| - | uncertainty it brings us | + | |
| - | 154 | + | < |
| - | < | + | Helly: Helly, I watched your video asking that I resign. I also received and responded to your previous request. I assumed that would resolve the issue, but now Ms. Cobel says you threatened to cut off your fingers? I understand that you’re unhappy with the life that you’ve been given. |
| - | in the way that Kier | + | |
| - | would' | + | < |
| + | Helly: But you know what? Eventually, we all have to accept reality. So, here it is. | ||
| - | 155 | + | < |
| - | < | + | Helly: I am a person. You are not. I make the decisions. You do not. |
| - | Together, as a family. | + | |
| - | 156 | + | < |
| - | < | + | Helly: And if you ever do anything |
| - | I could not, with a | + | |
| - | razor to my throat, | + | |
| - | 157 | + | < |
| - | < | + | Mark: " |
| - | be less interested | + | |
| - | in being your family. | + | |
| - | 158 | + | < |
| - | < | + | Mark: " |
| - | Your best friend left this for | + | |
| - | you, and you don't give a shit. | + | |
| - | 159 | + | < |
| - | < | + | Mark: I don’t know. It just... |
| - | You're right. | + | |
| - | don't give a shit. | + | |
| - | 160 | + | < |
| - | < | + | Mark: It looks more like a shitty ski resort than a birthing center to me, but… |
| - | Mark... | + | |
| - | 161 | + | < |
| - | < | + | Devon: Okay, sure, fine. |
| - | There. It's gone. Thank you, | + | |
| - | Helly. Now we can get back to work. | + | |
| - | 162 | + | < |
| - | < | + | Devon: But it’s gonna be awesome. And you’re gonna like it. |
| - | Mark! | + | |
| - | 163 | + | < |
| - | < | + | Mark: How much of this was Ricken’s idea, 300% or 400%? |
| - | It's an emergency. | + | |
| - | 164 | + | < |
| - | < | + | Devon: Just... Get all of your snark out now or you’re never gonna earn your uncle badge. |
| - | Okay. All right... | + | |
| - | 165 | + | < |
| - | < | + | Mark: You know what? I think I might have some more snark in me. I’m kinda tired. |
| - | I was going to get Mr. Milchick, | + | |
| - | 166 | + | < |
| - | < | + | Devon: Call you tomorrow? |
| - | but I thought it best not to | + | Mark: Okay, bye. |
| - | break the chain of command. | + | |
| - | 167 | + | < |
| - | < | + | Graner: Have you heard from the Board yet? |
| - | It's just raining | + | |
| - | contraband today. | + | |
| - | 168 | + | < |
| - | < | + | Cobel: No. |
| - | - What do you mean? | + | |
| - | - It doesn' | + | |
| - | 169 | + | < |
| - | < | + | Graner: Kilmer wasn’t your fault, and it certainly wasn’t mine. They’ll understand. |
| - | Has anyone seen anything | + | |
| - | like this before? | + | |
| - | 170 | + | < |
| - | < | + | Graner: It wasn’t your fault, Harmony. |
| - | Passage 31, page 110. | + | |
| - | 171 | + | < |
| - | < | + | Cobel: If you want a hug, go to hell and find your mother. |
| - | "Be content in my words, and dally not in | + | |
| - | the scholastic pursuits of lesser men." | + | |
| - | 172 | + | < |
| - | < | + | Graner: Jesus. |
| - | No books except the | + | |
| - | handbook. I know. | + | |
| - | 173 | + | < |
| - | < | + | Cobel: Since Petey reintegrated... |
| - | What are you doing? | + | |
| - | 174 | + | < |
| - | < | + | Graner: The Board’s never acknowledged reintegration. |
| - | His ego's pissed 'cause Helly | + | |
| - | called him out for boot-licking. | + | |
| - | 175 | + | < |
| - | < | + | Cobel: We have to get his chip. |
| - | - My ego's fine. I'm just trying | + | |
| - | - Damn. | + | |
| - | 176 | + | < |
| - | < | + | Graner: His corpse |
| - | Mark, what is this? | + | |
| - | 177 | + | < |
| - | < | + | Cobel: Vision. Verve. Wit. Cheer. Humility. Benevolence. Nimbleness. Probity. Wiles. |
| - | Maybe it's another Petey message. Flip | + | |
| - | through. See if my name's anywhere. | + | |
| - | 178 | + | < |
| - | < | + | Cobel: Wiles. |
| - | I bet it's a loyalty test. | + | |
| - | 179 | + | < |
| - | < | + | Cobel: Mark. |
| - | Remember the spicy candy? | + | |
| - | 180 | + | < |
| - | < | + | Mark: Mrs. Selvig? |
| - | I'll be turning | + | |
| - | this in to Milchick. | + | |
| - | 181 | + | < |
| - | < | + | Cobel: |
| - | What? Why? It's booty. It's | + | Mark: Wh... |
| - | booty with your name on it. | + | |
| - | 182 | + | < |
| - | < | + | Mark: I’m... You know, the news report said that he worked at Lumon, so I thought maybe I knew him. What are you doing here? |
| - | Excellent decision, Mark. | + | |
| - | 183 | + | < |
| - | < | + | Cobel: He used to come by my shop. He adored my hibiscus wrap. |
| - | This is an idolatrous text that | + | |
| - | should be brought | + | |
| - | 184 | + | < |
| - | < | + | Mark: Oh, my God. Wow, it’s a small world. |
| - | So what's their space | + | |
| - | like? Stalactites and shit? | + | |
| - | 185 | + | < |
| - | < | + | Cobel: Poor, poor man. |
| - | No, it's nice. Burt's fostered | + | |
| - | a really welcoming environment. | + | |
| - | 186 | + | < |
| - | < | + | Cobel: Well, on the upside, at least now we both have a date. |
| - | He understands | + | |
| - | spirit of Lumon. | + | |
| - | 187 | + | < |
| - | < | + | Cobel: There he is. If you’d like to go in and pay your respects, I’ll wait right here for you. |
| - | Helly? | + | |
| - | 188 | + | < |
| - | < | + | Mark: I think I might swing by the bathroom, but I’ll see you in a sec. |
| - | Excuse me! Helly! | + | |
| - | 189 | + | < |
| - | < | + | Cobel: Service is starting soon. |
| - | Jesus, Helly! | + | Mark: Yeah. |
| - | 190 | + | < |
| - | < | + | Mark: Whiskey. Rocks. |
| - | I want a camera! | + | |
| - | 191 | + | < |
| - | < | + | Bartender: It’s just wine, sir. |
| - | - I am so sorry, Ms. Cobel. I will... | + | |
| - | - What is happening here? | + | |
| - | 192 | + | < |
| - | < | + | Mark: Right. Red, please. |
| - | What's happening is, you' | + | |
| - | going to give me a video camera | + | |
| - | 193 | + | < |
| - | < | + | Cobel: Hello. Were you a friend? |
| - | so I can tape a resignation | + | |
| - | to my outie right fucking now, | + | |
| - | 194 | + | < |
| - | < | + | June: He was my dad. |
| - | or you're going to have to explain to | + | |
| - | her why she's missing four fingers. | + | |
| - | 195 | + | < |
| - | < | + | Cobel: I’m so deeply sorry. |
| - | Okay. Let's just... | + | |
| - | 196 | + | < |
| - | < | + | Cobel: I suppose you were close and everything. |
| - | It' | + | |
| - | 197 | + | < |
| - | < | + | Nina: White, please. |
| - | Yes. | + | |
| - | 198 | + | < |
| - | < | + | Nina: I’m sorry, I don’t know you. I’m Nina. |
| - | Cobel, do I look like I'm | + | |
| - | fucking around right now? | + | |
| - | 199 | + | < |
| - | < | + | Mark: Mark Scout. |
| - | No. No, you do not. | + | |
| - | 200 | + | < |
| - | < | + | Nina: I’m Peter’s ex-wife. |
| - | Helly! | + | |
| - | 201 | + | < |
| - | < | + | Mark: Oh, yeah, sure. Sorry. |
| - | Hi, Mark. I'm just catching | + | |
| - | up with your trainee. | + | |
| - | 202 | + | < |
| - | < | + | Nina: You’re from Lumon. So you didn’t even know him at all. |
| - | Mr. Milchick, | + | |
| - | 203 | + | < |
| - | < | + | Mark: I just figured I knew him, and... |
| - | could you get the | + | June: Hey, Mom. |
| - | video camera, please? | + | |
| - | 204 | + | < |
| - | < | + | June: They wanna start. |
| - | Hey. | + | |
| - | 205 | + | < |
| - | < | + | Nina: Okay, baby. |
| - | Well, boss. I guess this is the part | + | |
| - | where I should tell you to go to hell. | + | |
| - | 206 | + | < |
| - | < | + | Mark: Hi. You’re... Are you June? |
| - | Except you're already here. | + | |
| - | 207 | + | < |
| - | < | + | June: Yeah. |
| - | I was never sorry. | + | |
| - | 208 | + | < |
| - | < | + | Mark: It’s nice to meet you. |
| - | Helly, | + | |
| - | 209 | + | < |
| - | < | + | June: So you knew my dad? |
| - | I watched your video | + | |
| - | asking that I resign. | + | |
| - | 210 | + | < |
| - | < | + | Mark: Yeah. At work. |
| - | I also received and responded | + | |
| - | to your previous request. | + | |
| - | 211 | + | < |
| - | < | + | June: You’re one of those. |
| - | I assumed that would | + | |
| - | resolve the issue, | + | |
| - | 212 | + | < |
| - | < | + | June: Do you ever think that maybe the best way to deal with a fucked-up situation in your life isn’t to just shut your brain off half the time? |
| - | but now Ms. Cobel says you | + | |
| - | threatened | + | |
| - | 213 | + | < |
| - | < | + | Mark: I’m not exactly sure. |
| - | I understand that you're unhappy | + | |
| - | with the life that you've been given. | + | |
| - | 214 | + | < |
| - | < | + | Mark: I’m sorry. |
| - | But you know what? Eventually, | + | |
| - | we all have to accept reality. | + | |
| - | 215 | + | < |
| - | < | + | Petey: //We’re gonna perform something for you.// |
| - | So, here it is. | + | |
| - | 216 | + | < |
| - | < | + | Petey: //I’m glad you’re here, babe.// |
| - | I am a person. | + | |
| - | 217 | + | < |
| - | < | + | Petey: //We’re gonna play a... We’re gon... We’re gonna melt your face off.// |
| - | You are not. | + | |
| - | 218 | + | < |
| - | < | + | Petey: //We’re gonna rock to it.// |
| - | I make the decisions. | + | June: //Gonna play some rock and roll.// |
| - | 219 | + | < |
| - | < | + | Petey: //Rock show time!// |
| - | You do not. | + | |
| - | 220 | + | < |
| - | < | + | June (singing): //Say your prayers, little one.\\ Don’t forget, my son.\\ To include everyone.\\ Tuck you in, warm within.\\ Keep you free from sin.\\ Till the sandman, he comes.\\ Sleep with one eye open.\\ Gripping your pillow tight.\\ Exit light. Enter night.\\ Grain of sand.\\ We’re off to never-never land.\\ Something’s wrong, shut the light.\\ Heavy thoughts tonight And they aren’t of Snow White.\\ Dreams of war, dreams of liars.\\ Dreams of dragon’s fire.\\ And of things that will bite.\\ Sleep with one eye open.\\ Gripping your pillow tight.\\ Exit light. Enter night.\\ Take my hand.\\ We’re off to never-never land.// |
| - | And if you ever do | + | |
| - | anything | + | |
| - | 221 | + | < |
| - | < | + | Petey: //I pray the Lord my soul to keep// |
| - | know that I will keep you alive | + | |
| - | long enough | + | |
| - | 222 | + | < |
| - | < | + | June: //I pray the Lord my soul to keep.// |
| - | Your resignation | + | |
| - | request is denied. | + | |
| - | 223 | + | < |
| - | < | + | Petey: //And if I die before I wake.// |
| - | Turn it off. | + | |
| - | 224 | + | < |
| - | < | + | June: //And if I die before I wake.// |
| - | " | + | |
| - | world surrounded by nature." | + | |
| - | 225 | + | < |
| - | < | + | Petey: //I pray the Lord my soul to take// |
| - | No, thanks. | + | |
| - | 226 | + | < |
| - | < | + | June: //I pray the Lord my soul to take.// |
| - | " | + | |
| - | rustic birthing cabins." | + | |
| - | 227 | + | < |
| - | < | + | Petey (singing): //Hush, little baby, don’t say a word.\\ And never mind that noise you heard.\\ |
| - | I don't know. It just... | + | |
| - | 228 | + | < |
| - | < | + | Petey (singing): //In your closet, in your head.// |
| - | It looks more like a shitty ski resort | + | June (singing): //In your head.// |
| - | than a birthing center to me, but… | + | |
| - | 229 | + | < |
| - | < | + | June (singing): //Exit light. Enter night.\\ Grain of sand.\\ We’re off to never-never land.// |
| - | Okay, sure, fine. | + | |
| - | 230 | + | < |
| - | < | + | Petey: //No!// |
| - | But it's gonna be awesome. | + | |
| - | And you're gonna like it. | + | |
| - | 231 | + | < |
| - | < | + | Petey: //No!// |
| - | How much of this was | + | |
| - | Ricken' | + | |
| - | 232 | + | < |
| - | < | + | Petey: //What... What if you went so fast that smoke started coming out?// |
| - | Just... | + | |
| - | 233 | + | < |
| - | < | + | June: //Out of your ears.// |
| - | Get all of your snark out now or you' | + | |
| - | never gonna earn your uncle badge. | + | |
| - | 234 | + | < |
| - | < | + | Cobel: Mark, sweetheart, are you all right? I’m so sorry. |
| - | You know what? I think I might have | + | |
| - | some more snark in me. I'm kinda tired. | + | |
| - | 235 | + | < |
| - | < | + | Mark: Yeah. |
| - | - Call you tomorrow? | + | Cobel: I think I have this cystitis under... |
| - | - Okay, bye. | + | |
| - | 236 | + | < |
| - | < | + | Mark: This was a mistake. I have to go. |
| - | Have you heard | + | |
| - | from the Board yet? | + | |
| - | 237 | + | < |
| - | < | + | Cobel: Okay, well, let me come with you. |
| - | No. | + | Mark: No, that’s not necessary. |
| - | 238 | + | < |
| - | < | + | Cobel: No, I’ve paid my respects. Let’s go. |
| - | Kilmer wasn't your fault, | + | Eulogist: Let us pray. |
| - | and it certainly wasn't mine. | + | |
| - | 239 | + | < |
| - | < | + | Eulogist: Our Father, who art in heaven… |
| - | They' | + | |
| - | 240 | + | < |
| - | < | + | Cobel: So, was the funeral just too sad, or... |
| - | It wasn't your fault, Harmony. | + | |
| - | 241 | + | < |
| - | < | + | Mark: Something like that, yeah. |
| - | If you want a hug, go to | + | |
| - | hell and find your mother. | + | |
| - | 242 | + | < |
| - | < | + | Cobel: If you ever wanna talk... |
| - | Jesus. | + | |
| - | 243 | + | < |
| - | < | + | Mark: Oh, no. Thank you. I just... I’m fine. But thank you for, you know, being my funeral buddy today. |
| - | Since Petey reintegrated... | + | |
| - | 244 | + | < |
| - | < | + | Cobel: Good night. |
| - | The Board' | + | |
| - | acknowledged reintegration. | + | |
| - | 245 | + | < |
| - | < | + | Mark: Good night. |
| - | We have to get his chip. | + | |
| - | 246 | + | < |
| - | < | + | Milchick: That’s Petey? |
| - | His corpse is scheduled to | + | |
| - | be destroyed by cremation | + | |
| - | 247 | + | < |
| - | < | + | Cobel: That’s Petey. |
| - | following his funeral on Sunday. | + | |
| - | 248 | + | < |
| - | < | + | Milchick: How did you... |
| - | FYI. | + | |
| - | 249 | + | < |
| - | < | + | Cobel: Would you mind taking that up to diagnostics for me? |
| - | Vision. | + | |
| - | 250 | + | < |
| - | < | + | Cobel: Yes? |
| - | Verve. | + | |
| - | 251 | + | < |
| - | < | + | Ms. Casey: You requested me, Ms. Cobel? |
| - | Wit. | + | |
| - | 252 | + | < |
| - | < | + | Ms. Casey, I’d like you to run a special wellness session with Mark S. |
| - | Cheer. | + | |
| - | 253 | + | < |
| - | < | + | Milchick: Mark S.? What’s the problem? |
| - | Humility. | + | |
| - | 254 | + | < |
| - | < | + | Cobel: He just needs it. Trust me. |
| - | Benevolence. | + | |
| - | 255 | + | < |
| - | < | + | Irving: "Kier invites you to drink of his water." |
| - | Nimbleness. | + | |
| - | 256 | + | < |
| - | < | + | Burt: Irving. |
| - | Probity. | + | Irving: Felicia said you’d be here. |
| - | 257 | + | < |
| - | < | + | Irving: Is it awful to say I don’t care for that one? |
| - | Wiles. | + | |
| - | 258 | + | < |
| - | < | + | Burt: No. Honestly, it makes me nervous too. Such a lovely vista, but I keep thinking… |
| - | Wiles. | + | |
| - | 259 | + | < |
| - | < | + | Irving: He could slip. |
| - | Mark. | + | |
| - | 260 | + | < |
| - | < | + | Burt: It was a thrill to have someone from MDR come see us, to take an interest like you did, so... If I embarrassed myself... |
| - | Mrs. Selvig? | + | |
| - | 261 | + | < |
| - | < | + | Irving: You didn’t. Unless, |
| - | - What are you doing here? | + | |
| - | - Wh... | + | |
| - | 262 | + | < |
| - | < | + | Burt: No. |
| - | I'm... You know, the news report | + | |
| - | said that he worked at Lumon, | + | |
| - | 263 | + | < |
| - | < | + | Irving: Good. |
| - | so I thought maybe I knew | + | |
| - | him. What are you doing here? | + | |
| - | 264 | + | < |
| - | < | + | Burt: I have four more stops. Would MDR consider joining me? |
| - | He used to come by my shop. | + | |
| - | He adored my hibiscus wrap. | + | |
| - | 265 | + | < |
| - | < | + | Irving: MDR would. |
| - | Oh, my God. Wow, | + | |
| - | it's a small world. | + | |
| - | 266 | + | < |
| - | < | + | Burt: You’re crazy. I wish I could nap. I think I sleep 15 hours a night up there. |
| - | Poor, poor man. | + | |
| - | 267 | + | < |
| - | < | + | Irving: It’s |
| - | Well, on the upside, at least | + | |
| - | now we both have a date. | + | |
| - | 268 | + | < |
| - | < | + | Burt: It just means you’re a party guy, disco king. |
| - | There he is. | + | |
| - | 269 | + | < |
| - | < | + | Irving: I can’t be falling asleep, Burt. |
| - | If you'd like to go in | + | |
| - | and pay your respects, | + | |
| - | 270 | + | < |
| - | < | + | Burt: Who cares? |
| - | I'll wait right here for you. | + | Irving: The handbook cares. |
| - | 271 | + | < |
| - | < | + | Irving: "No workplace shall be repurposed for slumber." |
| - | I think I might swing by the | + | |
| - | bathroom, but I'll see you in a sec. | + | |
| - | 272 | + | < |
| - | < | + | Burt: I know the handbook, old man. I’m more of a first edition guy. |
| - | - Service is starting soon. | + | |
| - | - Yeah. | + | |
| - | 273 | + | < |
| - | < | + | Burt: The original word of Kier: "And I shall whisper to ye dutiful through the ages. In your noblest thoughts and epiphanies shall be my voice. You are my mouth, and through ye, I will whisper on when I am 10 centuries demised." |
| - | Whiskey. Rocks. | + | |
| - | 274 | + | < |
| - | < | + | Irving: I don’t understand. |
| - | It's just wine, sir. | + | |
| - | 275 | + | < |
| - | < | + | Burt: He doesn’t just speak to us through the handbook or the paintings. He finds other ways. |
| - | Right. Red, please. | + | |
| - | 276 | + | < |
| - | < | + | Mark: "You think you need your job. But I’ve lived abroad as a vagrant, abstaining from my own money to rely on the charity of strangers. Most were beggars themselves, yet they were happy. And so, for that summer, was I. Your job needs you, not the other way around." |
| - | Hello. Were you a friend? | + | |
| - | 277 | + | < |
| - | < | + | Burt: Safe travels, MDR. |
| - | He was my dad. | + | |
| - | 278 | + | < |
| - | < | + | Irving: Thanks, O&D. |
| - | I'm so deeply sorry. | + | |
| - | 279 | + | < |
| - | < | + | Ms. Casey: Mark? |
| - | I suppose you were | + | |
| - | close and everything. | + | |
| - | 280 | + | < |
| - | < | + | Helly: I’m gonna go. |
| - | White, please. | + | |
| - | 281 | + | < |
| - | < | + | Dylan: Do it. I’m working up till the bell. I think I may still crush this thing tonight. |
| - | I'm sorry, I don' | + | |
| - | know you. I'm Nina. | + | |
| - | 282 | + | < |
| - | < | + | Helly: I hope you do. |
| - | Mark Scout. | + | |
| - | 283 | + | < |
| - | < | + | Helly: See you soon. |
| - | I'm Peter' | + | |
| - | 284 | + | < |
| - | < | + | Dylan: Knew it. |
| - | Oh, yeah, sure. Sorry. | + | |
| - | 285 | + | < |
| - | < | + | Ms. Casey: Sometimes I ask people to sculpt how they feel out of clay. Would you like to do that? |
| - | You're from Lumon. | + | |
| - | 286 | + | < |
| - | < | + | Mark: All right. |
| - | So you didn't even | + | |
| - | know him at all. | + | |
| - | 287 | + | < |
| - | < | + | Dylan: " |
| - | - I just figured I knew him, and... | + | |
| - | - Hey, Mom. | + | |
| - | 288 | + | < |
| - | < | + | Mark: Hey. How are you? |
| - | They wanna start. | + | |
| - | 289 | + | < |
| - | < | + | Helly: Good. |
| - | Okay, baby. | + | |
| - | 290 | + | < |
| - | < | + | Mark: Yeah? Seems like you’re getting the hang of stuff here. |
| - | Hi. You're... Are you June? | + | |
| - | 291 | + | < |
| - | < | + | Mark: Cool. |
| - | Yeah. | + | |
| - | + | ||
| - | 292 | + | |
| - | < | + | |
| - | It's nice to meet you. | + | |
| - | + | ||
| - | 293 | + | |
| - | < | + | |
| - | So you knew my dad? | + | |
| - | + | ||
| - | 294 | + | |
| - | < | + | |
| - | Yeah. | + | |
| - | + | ||
| - | 295 | + | |
| - | < | + | |
| - | At work. | + | |
| - | + | ||
| - | 296 | + | |
| - | < | + | |
| - | You're one of those. | + | |
| - | + | ||
| - | 297 | + | |
| - | < | + | |
| - | Do you ever think that maybe | + | |
| - | + | ||
| - | 298 | + | |
| - | < | + | |
| - | the best way to deal with a | + | |
| - | fucked-up situation in your life | + | |
| - | + | ||
| - | 299 | + | |
| - | < | + | |
| - | isn't to just shut your | + | |
| - | brain off half the time? | + | |
| - | + | ||
| - | 300 | + | |
| - | < | + | |
| - | I'm not exactly sure. | + | |
| - | + | ||
| - | 301 | + | |
| - | < | + | |
| - | I'm sorry. | + | |
| - | + | ||
| - | 302 | + | |
| - | < | + | |
| - | We're gonna perform | + | |
| - | something for you. | + | |
| - | + | ||
| - | 303 | + | |
| - | < | + | |
| - | I'm glad you're here, babe. | + | |
| - | + | ||
| - | 304 | + | |
| - | < | + | |
| - | We're gonna play a... We're gon... | + | |
| - | We're gonna melt your face off. | + | |
| - | + | ||
| - | 305 | + | |
| - | < | + | |
| - | - We're gonna rock to it. | + | |
| - | - Gonna play some rock and roll. | + | |
| - | + | ||
| - | 306 | + | |
| - | < | + | |
| - | Rock show time! | + | |
| - | + | ||
| - | 307 | + | |
| - | < | + | |
| - | Say your prayers, little one. | + | |
| - | + | ||
| - | 308 | + | |
| - | < | + | |
| - | Don't forget, my son. | + | |
| - | + | ||
| - | 309 | + | |
| - | < | + | |
| - | To include everyone. | + | |
| - | + | ||
| - | 310 | + | |
| - | < | + | |
| - | Tuck you in, warm within. | + | |
| - | + | ||
| - | 311 | + | |
| - | < | + | |
| - | Keep you free from sin. | + | |
| - | + | ||
| - | 312 | + | |
| - | < | + | |
| - | Till the sandman, he comes. | + | |
| - | + | ||
| - | 313 | + | |
| - | < | + | |
| - | Sleep with one eye open. | + | |
| - | + | ||
| - | 314 | + | |
| - | < | + | |
| - | Gripping your pillow tight. | + | |
| - | + | ||
| - | 315 | + | |
| - | < | + | |
| - | Exit light. | + | |
| - | + | ||
| - | 316 | + | |
| - | < | + | |
| - | Enter night. | + | |
| - | + | ||
| - | 317 | + | |
| - | < | + | |
| - | Grain of sand. | + | |
| - | + | ||
| - | 318 | + | |
| - | < | + | |
| - | We're off to never-never land. | + | |
| - | + | ||
| - | 319 | + | |
| - | < | + | |
| - | Something' | + | |
| - | shut the light. | + | |
| - | + | ||
| - | 320 | + | |
| - | < | + | |
| - | Heavy thoughts tonight And | + | |
| - | they aren't of Snow White. | + | |
| - | + | ||
| - | 321 | + | |
| - | < | + | |
| - | Dreams of war, dreams of liars. | + | |
| - | + | ||
| - | 322 | + | |
| - | < | + | |
| - | Dreams of dragon' | + | |
| - | + | ||
| - | 323 | + | |
| - | < | + | |
| - | And of things that will bite. | + | |
| - | + | ||
| - | 324 | + | |
| - | < | + | |
| - | Sleep with one eye open. | + | |
| - | + | ||
| - | 325 | + | |
| - | < | + | |
| - | Gripping your pillow tight. | + | |
| - | + | ||
| - | 326 | + | |
| - | < | + | |
| - | Exit light. | + | |
| - | + | ||
| - | 327 | + | |
| - | < | + | |
| - | Enter night. | + | |
| - | + | ||
| - | 328 | + | |
| - | < | + | |
| - | Take my hand. | + | |
| - | + | ||
| - | 329 | + | |
| - | < | + | |
| - | We're off to never-never land. | + | |
| - | + | ||
| - | 330 | + | |
| - | < | + | |
| - | I pray the Lord my soul to keep | + | |
| - | + | ||
| - | 331 | + | |
| - | < | + | |
| - | I pray the Lord my soul to keep. | + | |
| - | + | ||
| - | 332 | + | |
| - | < | + | |
| - | And if I die before I wake. | + | |
| - | + | ||
| - | 333 | + | |
| - | < | + | |
| - | And if I die before I wake. | + | |
| - | + | ||
| - | 334 | + | |
| - | < | + | |
| - | I pray the Lord my soul to take | + | |
| - | + | ||
| - | 335 | + | |
| - | < | + | |
| - | I pray the Lord my soul to take. | + | |
| - | + | ||
| - | 336 | + | |
| - | < | + | |
| - | Hush, little baby, | + | |
| - | don't say a word. | + | |
| - | + | ||
| - | 337 | + | |
| - | < | + | |
| - | And never mind that | + | |
| - | noise you heard. | + | |
| - | + | ||
| - | 338 | + | |
| - | < | + | |
| - | It's just the monster | + | |
| - | under your bed. | + | |
| - | + | ||
| - | 339 | + | |
| - | < | + | |
| - | - In your closet, in your head. | + | |
| - | - In your head. | + | |
| - | + | ||
| - | 340 | + | |
| - | < | + | |
| - | Exit light. | + | |
| - | + | ||
| - | 341 | + | |
| - | < | + | |
| - | Enter night. | + | |
| - | + | ||
| - | 342 | + | |
| - | < | + | |
| - | Grain of sand. | + | |
| - | + | ||
| - | 343 | + | |
| - | < | + | |
| - | We're off to never-never land. | + | |
| - | + | ||
| - | 344 | + | |
| - | < | + | |
| - | No! | + | |
| - | + | ||
| - | 345 | + | |
| - | < | + | |
| - | No! | + | |
| - | + | ||
| - | 346 | + | |
| - | < | + | |
| - | What... What if you went so fast | + | |
| - | that smoke started coming out? | + | |
| - | + | ||
| - | 347 | + | |
| - | < | + | |
| - | Out of your ears. | + | |
| - | + | ||
| - | 348 | + | |
| - | < | + | |
| - | Mark, sweetheart, are you | + | |
| - | all right? I'm so sorry. | + | |
| - | + | ||
| - | 349 | + | |
| - | < | + | |
| - | - Yeah. | + | |
| - | - I think I have this cystitis under... | + | |
| - | + | ||
| - | 350 | + | |
| - | < | + | |
| - | This was a mistake. | + | |
| - | I have to go. | + | |
| - | + | ||
| - | 351 | + | |
| - | < | + | |
| - | - Okay, well, let me come with you. | + | |
| - | - No, that's not necessary. | + | |
| - | + | ||
| - | 352 | + | |
| - | < | + | |
| - | - No, I've paid my respects. Let's go. | + | |
| - | - Let us pray. | + | |
| - | + | ||
| - | 353 | + | |
| - | < | + | |
| - | Our Father, who art in heaven… | + | |
| - | + | ||
| - | 354 | + | |
| - | < | + | |
| - | So, was the funeral | + | |
| - | just too sad, or... | + | |
| - | + | ||
| - | 355 | + | |
| - | < | + | |
| - | Something like that, yeah. | + | |
| - | + | ||
| - | 356 | + | |
| - | < | + | |
| - | If you ever wanna talk... | + | |
| - | + | ||
| - | 357 | + | |
| - | < | + | |
| - | Oh, no. Thank you. | + | |
| - | I just... I'm fine. | + | |
| - | + | ||
| - | 358 | + | |
| - | < | + | |
| - | But thank you for, you know, | + | |
| - | being my funeral buddy today. | + | |
| - | + | ||
| - | 359 | + | |
| - | < | + | |
| - | Good night. | + | |
| - | + | ||
| - | 360 | + | |
| - | < | + | |
| - | Good night. | + | |
| - | + | ||
| - | 361 | + | |
| - | < | + | |
| - | That's Petey? | + | |
| - | + | ||
| - | 362 | + | |
| - | < | + | |
| - | That's Petey. | + | |
| - | + | ||
| - | 363 | + | |
| - | < | + | |
| - | How did you... | + | |
| - | + | ||
| - | 364 | + | |
| - | < | + | |
| - | Would you mind taking that | + | |
| - | up to diagnostics for me? | + | |
| - | + | ||
| - | 365 | + | |
| - | < | + | |
| - | Yes? | + | |
| - | + | ||
| - | 366 | + | |
| - | < | + | |
| - | You requested me, Ms. Cobel? | + | |
| - | + | ||
| - | 367 | + | |
| - | < | + | |
| - | Ms. Casey, I'd like you to run a | + | |
| - | special wellness session with Mark S. | + | |
| - | + | ||
| - | 368 | + | |
| - | < | + | |
| - | Mark S.? | + | |
| - | + | ||
| - | 369 | + | |
| - | < | + | |
| - | What's the problem? | + | |
| - | + | ||
| - | 370 | + | |
| - | < | + | |
| - | He just needs it. Trust me. | + | |
| - | + | ||
| - | 371 | + | |
| - | < | + | |
| - | "Kier invites you to | + | |
| - | drink of his water." | + | |
| - | + | ||
| - | 372 | + | |
| - | < | + | |
| - | - Irving. | + | |
| - | - Felicia said you'd be here. | + | |
| - | + | ||
| - | 373 | + | |
| - | < | + | |
| - | Is it awful to say I | + | |
| - | don't care for that one? | + | |
| - | + | ||
| - | 374 | + | |
| - | < | + | |
| - | No. | + | |
| - | + | ||
| - | 375 | + | |
| - | < | + | |
| - | Honestly, it makes | + | |
| - | me nervous too. | + | |
| - | + | ||
| - | 376 | + | |
| - | < | + | |
| - | Such a lovely vista, | + | |
| - | but I keep thinking… | + | |
| - | + | ||
| - | 377 | + | |
| - | < | + | |
| - | He could slip. | + | |
| - | + | ||
| - | 378 | + | |
| - | < | + | |
| - | It was a thrill to have | + | |
| - | someone from MDR come see us, | + | |
| - | + | ||
| - | 379 | + | |
| - | < | + | |
| - | to take an interest | + | |
| - | like you did, so… | + | |
| - | + | ||
| - | 380 | + | |
| - | < | + | |
| - | If I embarrassed myself... | + | |
| - | + | ||
| - | 381 | + | |
| - | < | + | |
| - | You didn' | + | |
| - | + | ||
| - | 382 | + | |
| - | < | + | |
| - | Unless, you did? | + | |
| - | + | ||
| - | 383 | + | |
| - | < | + | |
| - | Are you embarrassed? | + | |
| - | + | ||
| - | 384 | + | |
| - | < | + | |
| - | No. | + | |
| - | + | ||
| - | 385 | + | |
| - | < | + | |
| - | Good. | + | |
| - | + | ||
| - | 386 | + | |
| - | < | + | |
| - | I have four more stops. | + | |
| - | + | ||
| - | 387 | + | |
| - | < | + | |
| - | Would MDR consider joining me? | + | |
| - | + | ||
| - | 388 | + | |
| - | < | + | |
| - | MDR would. | + | |
| - | + | ||
| - | 389 | + | |
| - | < | + | |
| - | You're crazy. | + | |
| - | + | ||
| - | 390 | + | |
| - | < | + | |
| - | I wish I could nap. | + | |
| - | + | ||
| - | 391 | + | |
| - | < | + | |
| - | I think I sleep 15 | + | |
| - | hours a night up there. | + | |
| - | + | ||
| - | 392 | + | |
| - | < | + | |
| - | It's a character flaw. | + | |
| - | + | ||
| - | 393 | + | |
| - | < | + | |
| - | It just means you're a | + | |
| - | party guy, disco king. | + | |
| - | + | ||
| - | 394 | + | |
| - | < | + | |
| - | I can't be falling asleep, Burt. | + | |
| - | + | ||
| - | 395 | + | |
| - | < | + | |
| - | - Who cares? | + | |
| - | - The handbook cares. | + | |
| - | + | ||
| - | 396 | + | |
| - | < | + | |
| - | "No workplace shall be | + | |
| - | repurposed for slumber." | + | |
| - | + | ||
| - | 397 | + | |
| - | < | + | |
| - | I know the handbook, old man. | + | |
| - | I'm more of a first edition guy. | + | |
| - | + | ||
| - | 398 | + | |
| - | < | + | |
| - | The original word of Kier: "And I shall | + | |
| - | whisper to ye dutiful through the ages." | + | |
| - | + | ||
| - | 399 | + | |
| - | < | + | |
| - | In your noblest thoughts and | + | |
| - | epiphanies shall be my voice. | + | |
| - | + | ||
| - | 400 | + | |
| - | < | + | |
| - | You are my mouth, | + | |
| - | + | ||
| - | 401 | + | |
| - | < | + | |
| - | and through ye, | + | |
| - | I will whisper on | + | |
| - | + | ||
| - | 402 | + | |
| - | < | + | |
| - | "when I am 10 | + | |
| - | centuries demised." | + | |
| - | + | ||
| - | 403 | + | |
| - | < | + | |
| - | I don't understand. | + | |
| - | + | ||
| - | 404 | + | |
| - | < | + | |
| - | He doesn' | + | |
| - | the handbook or the paintings. | + | |
| - | + | ||
| - | 405 | + | |
| - | < | + | |
| - | He finds other ways. | + | |
| - | + | ||
| - | 406 | + | |
| - | < | + | |
| - | "You think you need your job." | + | |
| - | + | ||
| - | 407 | + | |
| - | < | + | |
| - | But I've lived | + | |
| - | abroad as a vagrant, | + | |
| - | + | ||
| - | 408 | + | |
| - | < | + | |
| - | abstaining from my own money to | + | |
| - | rely on the charity of strangers. | + | |
| - | + | ||
| - | 409 | + | |
| - | < | + | |
| - | Most were beggars themselves, | + | |
| - | yet they were happy. | + | |
| - | + | ||
| - | 410 | + | |
| - | < | + | |
| - | And so, for that summer, was I. | + | |
| - | + | ||
| - | 411 | + | |
| - | < | + | |
| - | Your job needs you, | + | |
| - | + | ||
| - | 412 | + | |
| - | < | + | |
| - | "not the other way around." | + | |
| - | + | ||
| - | 413 | + | |
| - | < | + | |
| - | Safe travels, MDR. | + | |
| - | + | ||
| - | 414 | + | |
| - | < | + | |
| - | Thanks, O&D. | + | |
| - | + | ||
| - | 415 | + | |
| - | < | + | |
| - | Mark? | + | |
| - | + | ||
| - | 416 | + | |
| - | < | + | |
| - | I'm gonna go. | + | |
| - | + | ||
| - | 417 | + | |
| - | < | + | |
| - | Do it. | + | |
| - | + | ||
| - | 418 | + | |
| - | < | + | |
| - | I'm working up till the bell. I think | + | |
| - | I may still crush this thing tonight. | + | |
| - | + | ||
| - | 419 | + | |
| - | < | + | |
| - | I hope you do. | + | |
| - | + | ||
| - | 420 | + | |
| - | < | + | |
| - | See you soon. | + | |
| - | + | ||
| - | 421 | + | |
| - | < | + | |
| - | Knew it. | + | |
| - | + | ||
| - | 422 | + | |
| - | < | + | |
| - | Sometimes I ask people to sculpt | + | |
| - | how they feel out of clay. | + | |
| - | + | ||
| - | 423 | + | |
| - | < | + | |
| - | Would you like to do that? | + | |
| - | + | ||
| - | 424 | + | |
| - | < | + | |
| - | All right. | + | |
| - | + | ||
| - | 425 | + | |
| - | < | + | |
| - | "' | + | |
| - | experience by the author, Ricken Hale." | + | |
| - | + | ||
| - | 426 | + | |
| - | < | + | |
| - | "D is for dreaming, | + | |
| - | the start of it all." | + | |
| - | + | ||
| - | 427 | + | |
| - | < | + | |
| - | E is for energy… | + | |
| - | + | ||
| - | 428 | + | |
| - | < | + | |
| - | Breaking down walls. | + | |
| - | + | ||
| - | 429 | + | |
| - | < | + | |
| - | S is for stewardship, | + | |
| - | + | ||
| - | 430 | + | |
| - | < | + | |
| - | of home and of earth. | + | |
| - | + | ||
| - | 431 | + | |
| - | < | + | |
| - | T is for terror, which | + | |
| - | gives us more worth. | + | |
| - | + | ||
| - | 432 | + | |
| - | < | + | |
| - | I is for eyes, | + | |
| - | + | ||
| - | 433 | + | |
| - | < | + | |
| - | which observe us with love. | + | |
| - | + | ||
| - | 434 | + | |
| - | < | + | |
| - | Until N, meaning newness, | + | |
| - | + | ||
| - | 435 | + | |
| - | < | + | |
| - | rains down from above. | + | |
| - | + | ||
| - | 436 | + | |
| - | < | + | |
| - | And Y. | + | |
| - | + | ||
| - | 437 | + | |
| - | < | + | |
| - | That's a question we | + | |
| - | needn' | + | |
| - | + | ||
| - | 438 | + | |
| - | < | + | |
| - | "For destiny, friends, | + | |
| - | shall deliver all yonder." | + | |
| - | + | ||
| - | 439 | + | |
| - | < | + | |
| - | Hey. How are you? | + | |
| - | + | ||
| - | 440 | + | |
| - | < | + | |
| - | Good. | + | |
| - | + | ||
| - | 441 | + | |
| - | < | + | |
| - | Yeah? Seems like you' | + | |
| - | getting the hang of stuff here. | + | |
| - | + | ||
| - | 442 | + | |
| - | < | + | |
| - | Cool. | + | |
| </ | </ | ||
| - | {{tag>scripts}} | + | {{tag>Transcripts}} |
the_you_you_are_transcript.1652646756.txt.gz · Last modified: 2022-05-15 20:32 by Neatnik
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