[Genevieve and Celeste (in Sabine's body) stroll through the cemetery]
GENEVIEVE: Oh, I remember this cemetery. Hmm. Hasn't changed a bit.
SABINE / CELESTE: I've been coming here over a century, wearing one face or another.
FLASHBACK--LAFAYETTE CEMETERY, 1919
[Genevieve approaches a woman kneeling in front of a tomb, praying to her ancestors]
GENEVIEVE: Clara Summerlin, will you come on? We're gonna miss everything.
[The two walk over to where a crowd of witches are standing around a bonfire, playing congo drums and watching as a witch dances around the flames. Papa Tunde walks out with an albino python around his shoulders, which he hands to his sons after clapping in order quiet the crowd]
GENEVIEVE: Told you. Every witch in the Quarter is here to see the great Papa Tunde.
PAPA TUNDE: Witches of the French Quarter, thank you for your welcome. It is good to be among people of the faith. I, too, practice ancestral magic, honoring those who walked the path before us. From them, we draw strength. And you will need strength, for a great darkness is coming. The city your forefathers left you is now overrun by pirates, beasts, and vampires.
[Papa Tunde takes the python from his sons and throws it into the fire, and many of the witches gasp in surprise and fear]
PAPA TUNDE: I practice other magic, as well. Sacrificial magic, channeling power from the lives of my offerings. I use this strength to vanquish my enemies, and I will punish your enemies for their greed. In return, you will accept my family into your coven, and me as your leader.
FLASHBACK--A MEETING ROOM, 1919
[Two men enter the room and join Elijah and a police officer at a table]
ELIJAH: Gentlemen, make yourselves at home. Mayor O'Connell appears to be running late, but there's much to discuss, so I shall begin.
KLAUS: [walks down the stairs to join them] One moment, please, brother. You know how much I enjoy these illicit, little gatherings.
ELIJAH: [to the men] Do not be troubled. Despite my brother's reputation, I can assure you, we've invited you here to broker in peace. You have my word.
KLAUS: And, lucky for you, my brother always keeps his word. You two are from the Guerrera crime family, a brutish pack of thieves and killers. And that's nothing compared to what you become on a full moon, is it?
ELIJAH: Yes, yes, yes. Of course, a bite from your kind is not lethal to an Original. Conflict between us would not end well for you at all. Let's state our proposal here. My brother and I control the ports of the city, but with Prohibition soon to be the law of the land, there'll be a certain uptick in the kind of federal presence we prefer to avoid. Therefore, I'd like to suggest a system whereby, under our supervision, of course, the Guerrera family can traffic alcohol into the city of New Orleans for a profit. We would still be in charge, but our rule would remain a secret.
[Papa Tunde walks into the room with his sons following behind him]
PAPA TUNDE: This all sounds very good, but tell me, how will it benefit the witches?
ELIJAH: I am sorry. This is a private meeting.
PAPA TUNDE: Yes, for kings of the city, but I, too, am a king, and I have rules.
KLAUS: I'm impressed. You're either quite ambitious or quite mad. What's your name, mate?
PAPA TUNDE: I am Alphonse Bellatunde Delgado, Papa Tunde to my followers, and I come to ask that the witches be granted fair tribute for allowing your existence in our city.
ELIJAH: Are you suggesting that you speak for the french quarter witches?
PAPA TUNDE: I do now, and I expect our future negotiations to go very smoothly. As a guarantee, I brought a gift. I await our next gathering.
[A small leather case is placed on the table. Papa Tunde and his sons leave. Everyone else gathers around as Klaus lifts the lid on the trunk to reveal a head inside with a symbol carved into his forehead]
KLAUS: Well, I suppose we'll need a new mayor.
PRESENT DAY--THE ABBATOIR COURTYARD
[Marcel comes down the stairs into the courtyard with a bottle of bourbon in his hand. Diego sees him enter and approaches him as Marcel walks over to sit down at a table]
DIEGO: Hey, Marcel, maybe you know what's going on. Klaus ordered us to meet here, and now he's a no-show.
MARCEL: What do you want from me? It's a new regime. Get used to it.
[Klaus enters the room with Thierry and makes an announcment]
KLAUS: Dearest brethren, your attention, please. No doubt, you're all surprised to see Thierry Vanchure, who's supposed to be rotting in the Garden for the crime of killing one of our own, and I personally decided to issue him with a pardon. I hope you'll all welcome home Thierry.
[Thierry smiles and gives Diego a hug]
DIEGO: Welcome home, man.
MARCEL: [to Klaus] You're in a good mood. You should visit Mystic Falls more often.
KLAUS: Well, as much as I might like to, I have pressing responsibilities here. [turns to address the crowd of vampires] Now, as you all know, the witch Davina is no longer with us. Without Davina, we can no longer monitor the activity of our witch neighbors. However, since their Harvest failed, their magic will soon be gone forever. Until then, I say we keep them on their toes. Diego, I wonder if you might lead a rousting in the cauldron.
[Diego smiles and starts to plan with the other vampires. Marcel grabs his bottle and goes to storm away, but Klaus stops him in the doorway]
KLAUS: Marcel, I'd hoped you would join Diego.
MARCEL: Nah. I'm gonna take a personal day. [He pushes past Klaus and leaves]
IN THE FRENCH QUARTER
[Rebekah and Elijah walk through the streets of the Quarter as they talk about recent events]
ELIJAH: Now, you may doubt him, but today, I saw Niklaus demonstrate mercy towards an enemy. Tell me that's not progress.
REBEKAH: Please, Elijah. Who do you think convinced Klaus to let Thierry out?
ELIJAH: Why would you do such a thing?
REBEKAH: Because, despite Klaus' reprieve, Thierry despises him. I like that about Thierry. I also like that he used to date a witch, so he knows about French Quarter covens. Maybe he can lead me to whoever stole off with the Harvest magic.
ELIJAH: Rebekah, we are all devastated by the outcome of this ritual.
REBEKAH: That's just it. There was no outcome. We both know that power like that doesn't just vanish. I say someone stole it. I'd like to know who, and then I'd like to make an ally out of them.
ELIJAH: To what end, exactly?
REBEKAH: I'm tired of being threatened and controlled by our tyrant brother. If you want to stop a bully, you need the power to stand up to them.
ELIJAH: I expect such behavior from Niklaus. It's so very disappointing when it comes from you, Rebekah. Do you not see that, in his way, he's making an effort here? He's invited us back into our family home. He yearns for our family to be reunited.
REBEKAH: Yes. He's in a brilliant mood now, but for how long? It's his trick, Elijah. He lulls you into a false sense of camaraderie and kinship, and then he turns on you like a snake. I fall for it every time and wind up with a dagger in my chest for my trouble. No more.
ELIJAH: I believe that he is approaching some semblance of peace here. Leadership may, in fact, be a good thing for him. Now, sister, please, I ask you, if you cannot support him, then at least do nothing to provoke him.
THE ABBATOIR COMPOUND
[Klaus enters one of the rooms of the compound and finds Marcel, still drinking alone as he sits on a couch]
KLAUS: Ugh, is this what's it's come to? I bear the full weight of our kingdom while you pout like a child.
MARCEL: You wanted to be king. Besides, you look like you got it covered.
KLAUS: If the men see you shirk your duties, they're likely to do the same.
MARCEL: I told you, I am not in the mood for vampire hijinks.
KLAUS: No. You'd rather sit wallowing in sorrow for your lost little friend.
MARCEL: [stands up and points a finger at Klaus] Don't push me right now.
KLAUS: I am sorry Davina is gone, ok? I'm sorry, but this mournful attitude is unworthy of you, and it's boring to me.
[Diego enters the room to join them, looking worried]
DIEGO: Hey, guys, we got a problem.
THE CAULDRON
[Thunder rumbles overhead as Diego leads Marcel and Klaus to the Cauldron to show them what he found]
DIEGO: We came to mess with the witches, just like you said. And these two, they went missing. Found them like this, not even staked. Just dead.
MARCEL: That's two more of my guys gone. Nice job, Captain.
[Marcel takes one look at his dead men, puts his hood up, turns around, and starts to walk away]
KLAUS: Where are you going? Someone has to account for this!
MARCEL: You want revenge, get it yourself. That mark is tied to some bad mojo. Any of y'all got any brains, you'll head back to the compound and stay the hell out of this.
[Marcel walks off. Klaus turns to Diego]
KLAUS: We're gonna find whoever did this, and I will show them what suffering is.
A WAREHOUSE AT THE DOCKS
[Thierry and Rebekah walk into a warehouse to investigate]
THIERRY: Used to run things down here for Marcel. Thought you'd like to see what I found before Klaus did.
REBEKAH: [smirks] Not a day out of the Garden, and you're already proving yourself useful.
THIERRY: We made a deal, and if it screws things for your brother, I'm all for it. Though, to be honest, this stuff makes my skin crawl. I've never seen anything like this.
[They stop in front of another salt circle on the ground with two dead vampires inside. Both are desiccated and have the same symbol carved into their foreheads]
REBEKAH: I have, a long time ago. Somebody is copycatting a very dangerous witch. They draw their power from sacrifice.
THIERRY: I just don't understand why someone would leave it here for us to find.
REBEKAH: Unless they wanted it to be found.
[Papa Tunde appears from the shadows behind them. Rebekah notices him in shock and horror]
PAPA TUNDE: Mademoiselle Mikaelson.
REBEKAH: That's not possible.
PAPA TUNDE: Sure, it is, chére. It's magic.
[Rebekah speed vamps toward him to try to kill him, but Papa Tunde simply reaches out and grabs her by the throat]
PAPA TUNDE: Symbole du masque et de l'ombre, embrace-toi. Embrace-toi. Symbole du masque et de l'ombre, embrace-toi. Embrace-toi. Symbole du masque et de l'ombre, embrace-toi. Embrace-toi. Symbole du masque et de l'ombre, embrace-toi.
[Rebekah starts to desiccate, and thick gray veins pop up all over her face and neck. Terrified, Thierry speed vamps and disappears out of the warehouse]
COMPOUND COURTYARD
[Klaus, Elijah, Diego, and many of the other vampires are congregating in the courtyard, discussing their current situation]
KLAUS: Ah! Someone will die for this.
ELIJAH: Remarkably, I don't disagree. However, I would like to know where they learned such dark magic.
KLAUS: I had hoped never to see that symbol again. I recall it is the signature of a fool who once stood against us.
ELIJAH: Clearly, some upstart witch is salvaging old tricks.
KLAUS: I'll do for him as I did the other. [turns to Diego] Diego, when night falls, I want you to gather every vampire in the Quarter. Get me the head of whoever did this and put it on a stick.
DIEGO: Yeah. That's gonna be a problem. Everyone is freaked out, man. We haven't had witches killing vampires in a long time. Marcel made sure of that.
KLAUS: Marcel has run off like a scared child. You lot are left with me. Now, who of you will fight to defend our home? [looks around to see that no one comes forward] Not a single one of you will stand with me, so afraid are you of this new threat? You should know better. I'll handle this myself.
[Klaus storms off]
ROUSSEAU'S
CAMI: [on the phone] Sophie, the restaurant is an epic disaster again. Do you think maybe you could come in today and... [the voice mail interrupts: "User's mailbox is full."]
CAMI: [annoyed] Good-bye.
MARCEL: Looks like I should've been here last night.
[Cami, startled, looks for anything she can find to use as a weapon, finally settling on an empty liquor bottle]
CAMI: Before you try anything, I'm on vervain.
MARCEL: Yeah, Klaus mentioned you broke free of his compulsion. Good for you. Sophie around? CAMI: No. Why?
MARCEL: Got a witch problem. Thought she might have answers. [he sits down] Mind if I wait? [he grabs a bottle off the bar and pours himself a drink]
CAMI: It's a little early for day drinking. Let me guess, Klaus problems. I thought you'd be on top of the world now that you have Davina back.
MARCEL: Davina is gone.
CAMI: [shocked] Was it Klaus? I told him, if he hurt her...
MARCEL: It wasn't like that. The power that she had was too much. We tried to fix her with this crazy-ass ritual, and something went wrong. Now she's...I don't know, floating in limbo, or waiting on her ancestors.
CAMI: Marcel, I'm sorry.
MARCEL: Yeah, me, too.
THE ABBATOIR--DAVINA'S OLD ROOM
[Elijah walks into the room to find Hayley looking at Davina's old sketches]
ELIJAH: There you are.
HAYLEY: Here I am.
ELIJAH: [gestures to the sketches] Davina's drawings.
HAYLEY: Yeah. Morbid, I know. I was just thinking, we never figured out why she drew those pictures of Celeste. Anyway, I'm just killing time, now that I'm on vampire lockdown.
ELIJAH: Whoever did this, we will deal with them. It won't be long.
HAYLEY: I'm not worried. Just think it's kind of funny that it took some big, supernatural threat for you to even come into the same room as me.
ELIJAH: I do apologize if you feel neglected. I have been occupied. My siblings are in some quarrel. Niklaus remains agitated. You'll recall that even our slightest interactions seem to infuriate him.
HAYLEY: So Klaus is a dick, and you want to be a good big brother. So we can't hang out. That sum it up? I get it, Elijah. It just seems like a really crappy deal.
ROUSSEAU'S
[Marcel is still sitting at the bar with Cami when his phone rings. It's Klaus. He hits the ignore button and returns to his drink]
CAMI: El presidente?
MARCEL: He likes to keep track of his people.
CAMI: Why are you loyal to him, exactly?
MARCEL: For someone who says she can't stand the guy, you sure ask a lot of questions about him.
CAMI: My interest is purely academic.
MARCEL: I know what you're doing. You're mad he used you, and you want to get back at him. Maybe you're hoping I'll let slip some chink in his armor. Friendly advice--don't do that. It won't end well. Let me tell you a story about someone who went up against Klaus.
FLASHBACK--THE ABBATOIR, 1919
[Marcel returns home in his military uniform to find a party being held at the compound. Marcel sees Rebekah sitting at a table with an unknown gentleman, and walks toward her]
MARCEL (VOICEOVER): This was right after I returned from World War I. I'd been trying to get away from New Orleans for a while. Something kept drawing me back.
KLAUS: Why don't you get me some Martinis? Thank you.
MARCEL: [to Rebekah] Aren't you gonna welcome me home?
REBEKAH: I wouldn't want you to think that I was happy to see you.
MARCEL: How long you gonna hate me?
REBEKAH: You left me in a box for fifty-two years. Twice that seems like a good start. Come on, boys.
KLAUS: [approaches Marcel] There he is. Our war hero, triumphantly returned. Oh, good to have you back, Marcellus. Welcome home. [They drink] Mm.
ELIJAH: Ha ha! The prodigal son has finally learned to hold his liquor.
MARCEL: The Army'll do that to you.
ELIJAH: Well, it's good to have you back. Niklaus was beside himself in your absence.
KLAUS: Now that you are here, perhaps you could help settle an argument. You see, you've traded a war abroad for one here in the Quarter. Some rogue witch wants a piece of the city we built, and Elijah, for reasons beyond my comprehension, insists that negotiation is our best recourse.
ELIJAH: Yes.
KLAUS: On the topic of your failed comprehension, you neglect, as a soldier, Marcel has seen not only how small the world has become and how fast news can travel, but also the very horrors of war itself. Surely, Marcel would agree with me.
ELIJAH: The best way for us to defend our home is by exercising discretion.
MARCEL: So who's the witch you want to kill?
KLAUS: His name is Papa Tunde. I think he's a charlatan.
ELIJAH: Well, Marcel shall be able to decide that for himself. You invited him here.
KLAUS: Of course. We're not savages, are we?
[Papa Tunde arrives at the party, and Klaus immediately approaches him]
KLAUS: Thank you for accepting our invitation, and welcome. I hope you'll allow me to play the role of host. If there's anything you need- Anything at all...
PAPA TUNDE: Pleasure before business, then. Ha ha ha! Ha ha ha!
PRESENT DAY--ROUSSEAU'S
MARCEL: I didn't get it at first. Klaus was the one who wanted to go to war.
CAMI: So, why was he inviting his enemy into his home? Why be so generous to someone who he's gonna have to kill?
MARCEL: But, you see, that's the thing. It was all part of Klaus' plan. He was sussing the guy out, learning his weaknesses, his strengths, getting him to let his guard down. That's how Klaus does it. Then he goes in for the kill.
CAMI: Because he's a two-faced sociopath. There's nothing enviable about what Klaus does. He is a monster.
MARCEL: We're all monsters, Cami. If you're powerful like Klaus is, you just don't have to bother hiding it.
CAMI: Davina was powerful. She wasn't a monster.
[SCENE_BREAK]
THE DOCKS
[Papa Tunde finishes doing his spell on Rebekah, who lays desiccated in a circle of salt, with his symbol carved into her forehead. He stands back and admires his work]
PAPA TUNDE: It is done. The power of the Original sister flows through me.
CELESTE: And will that be enough to make Klaus suffer?
PAPA TUNDE: I will hurt Klaus Mikaelson as he hurt me. When I am done, he will wish that he could die.
ROUSSEAU'S
MARCEL: You gonna open this place today?
CAMI: And risk you eating the clientele?
MARCEL: Oh, and here I thought you were starting to like me again. [Marcel's phone rings again. He answers it]
KLAUS: Ah, you've deigned to break your despair long enough to pick up the phone.
MARCEL: I figured you'd just keep calling.
KLAUS: I'm in the Cauldron now. You could meet me here, we could start burning passersby at the stake.
MARCEL: Sorry. I'm gonna chase down my own lead.
KLAUS: And where might that be, the bottom of a bottle of scotch?
MARCEL: I'm at Sophie Deveraux's place. I figured I'll sit here and drink 'til she shows.
KLAUS: Or, you could snap out of this funk and come and help me end this. [Marcel hangs up the the phone]
THE ALLEY
[Sophie Deveraux appears in the alley, drunk, stumbling around with her own bottle of liquor as she approaches Klaus]
SOPHIE: Big, bad Klaus Mikaelson.
KLAUS: Sophie. Just the witch I was looking to brutalize. [he speed vamps toward Sophie and grabs her in a chokehold] Perhaps you could explain the attacks on my men.
THE ABBATOIR COMPOUND
[Hayley and Elijah are in the courtyard. Hayley watches as Elijah tries to call Rebekah]
ELIJAH: Rebekah is not answering her calls.
HAYLEY: You worried about whoever killed those daywalkers still being out there?
ELIJAH: Frankly, I'm worried that she had something to do with this. She's very displeased with Niklaus, perhaps even conspiring with others.
[Elijah notices Thierry drinking alone at a table and joins him]
ELIJAH: Thierry, is it?
THIERRY: That's right.
ELIJAH: My sister is rather fond of you. Strange, she's not typically drawn to unremarkable men. Would you care to explain your sudden magnetism?
THIERRY: I don't know what you're...
[Elijah, annoyed, grabs him by the throat and pushes him against the wall]
ELIJAH: You can either tell me what you know, or I can distribute tiny pieces of you throughout the Quarter.
THIERRY: [reluctantly] She asked me to keep an eye out on witch stuff. I found something, and when I showed her, we were jumped by some guy. He desiccated her with his touch.
ELIJAH: [angry] Like a coward, you left her.
THIERRY: What was I supposed to do, fight some warlock that took out an Original?
ELIJAH: Where was this, exactly?
THIERRY: The docks, warehouse 57. I was just doing what she asked. You cannot tell Klaus about this. [Elijah throws Thierry against the wall. He's unconscious]
ELIJAH: I shall take that into consideration.
HAYLEY: [worried] I'm coming with you.
ELIJAH: No. Stay here. The compound is safe.
HAYLEY: Rebekah is in trouble. I'm going.
ELIJAH: [considers this, and sighs] Do not leave my sight. Understand?
[Hayley nods, and the two leave for the docks]
ROUSSEAU'S
MARCEL: Me calling things off with you wasn't lack of interest. I was hoping to save you from all this.
CAMI: Well, thanks, Romeo, but I'm in it. So, when are you gonna get to the good part with Klaus and that Papa guy?
FLASHBACK--1919
MARCEL (VOICEOVER): Papa Tunde said he wanted to empower the witches. Mostly, he wanted money and territory. Klaus and Elijah weren't about to give him either. He didn't like that, so he went on a rampage. [We see flashes of him sacrificing his offerings] No one was safe. Not the humans in the faction. [We see Papa Tunde killing them] Not the Guerrera werewolves. He even went after the witches who opposed him. Elijah offered a truce. He gave his word, in fact, but Klaus, being Klaus, he had another idea.
[Papa Tunde is waiting in their meeting place when he hears someone enter]
PAPA TUNDE: You're late, Elijah. It's not like the noble brother to keep me waiting.
KLAUS: I'm sorry, mate. Elijah is the brother you meet when negotiations are to be had. I'm the one you get when negotiations are closed.
PAPA TUNDE: You do not scare me. You have no idea the power I possess.
KLAUS: Oh, in fact, I made it a point to learn all about your power. I noticed how you're almost always near those twin sons of yours, how they bear your distinctive ,ark. Got me to thinking--you channel their power, don't you? Which, of course, begs the question: what would happen were that power to be taken away, if those sons whose lives you depend on were suddenly struck down? What of that power then? [Marcel brings in a box and sets it down. Papa Tunde looks into the box and sees the severed heads of his twin sons] PAPA TUNDE: [enraged] I will kill you for this. KLAUS: I cannot be killed. You, however...
[Klaus zooms over to him and presses his thumbs into Papa Tunde's eyes and in through his brain, eventually killing him]
PAPA TUNDE: Aagh!
PRESENT DAY--ROUSSEAU'S
CAMI: [horrified] That's awful!
MARCEL: Oh, to Klaus, it's just business.
CAMI: And don't you think there's something fundamentally wrong with that? Don't you worry you'll end up one of his victims or, worse, just like him?
[Papa Tunde suddenly appears in the bar]
PAPA TUNDE: Poor Marcellus. You remain always in the shadow of your father. Climb out from beneath it, will you, so you can die like a man?
MARCEL: Cami, you need to run now. Don't look back. Just go.
PAPA TUNDE: I think she should stay. I prefer an audience, and I'm about to put on quite the show.
CAMI: Marcel?
MARCEL: I said get out of here.
[Cami, terrified, hesitates in the doorway, not wanting to leave Marcel alone]
PAPA TUNDE: You cannot defeat me. I channel the power of an Original vampire. Soon, I will have all three. But first, I will take you.
THE DOCKS
[Sophie examines the abandoned desiccated vampires that Papa Tunde left for the vampires to find]
SOPHIE: It's a complex spell. Old-school stuff, rooted in sacrificial magic. Whoever did this to your guys, my guess is they were an offering to gain more power. More guys they kill, more power they have.
[Klaus' phone rings, and when he sees it's Cami, he answers it]
KLAUS: (answers his phone) I didn't expect a call from you so soon.
CAMI: You need to get to Rousseau's now. Some lunatic witch doctor is killing Marcel.
KLAUS: Get as far away from there as you can.
THE DOCKS
[Hayley and Elijah arrive to where Rebekah's body was left and immediately run toward her. Elijah is also on the phone with Sophie, who is still with the other body]
ELIJAH: Rebekah! [he goes to kneel next to her, but can't cross the barrier made by the salt]
HAYLEY: Oh, what's happening?
ELIJAH: Some kind of boundary spell. Someone is channeling her. Typically, it's a lethal process, but, because she's an Original, she can't die. Instead, she's an endless source of power.
HAYLEY: So what are we supposed to do?
ELIJAH: You have to get her out of there.
ROUSSEAU'S
PAPA TUNDE: [bends over Marcel and holds his knife to his forehead as he begins to carve in the mark] As I recall, you're one of the few people Niklaus Mikaelson ever gave a damn about. You know what he did to my family.
MARCEL: Aah!
PAPA TUNDE: The sins of the father are paid for by the son. I will take pleasure in telling Klaus how you died.
[Papa Tunde is about to kill Marcel when Klaus speed vamps into the bar and stops him]
KLAUS: I remember killing you. I rather relished it. What a joy it is to relive fond memories.
PAPA TUNDE: You're here. Good. I can crush you before the eyes of your son. Then, I will consume you both. This time, I'm stronger.
THE DOCKS
ELIJAH: You're not listening. We cannot enter the circle. There's some kind of confinement spell... If I can't remove her, we can't break the link.
SOPHIE: It's a convoluted spell. It's like a witch's recipe. You can spoil the balance by adding a more potent ingredient. A mystical binding agent. I don't know, volcanic ash, rock salt...anything up to and including eye of newt.
ELIJAH: What about the blood of a witch?
SOPHIE: [confused] Do you have the blood of a witch?
ELIJAH: [turns to Hayley] I need a favor.
HAYLEY: [immediately understands] The baby. She's a quarter witch.
[Hayley gives Elijah her wrist, and he gingerly bites it to draw blood. They walk towards the magic circle together. Elijah holds out Hayley's wrist and lets the blood fall on the magic boundary line. It starts to fizzle and deteriorate. Elijah is able to get through, and he quickly picks up Rebekah and takes her out of the circle. He reaches for Hayley's hand, and then he speed vamps out of there with Rebekah and Hayley in tow]
ROUSSEAU'S
[Papa Tunde has Klaus and is about to finish him off, when he suddenly becomes weak when his link to Rebekah is broken. Klaus is able to stun Papa Tunde long enough to run over to Marcel]
CAMI: Uhhh, is he dead?
KLAUS: Get out of here.
CAMI: Is Marcel dead? Did that guy kill him?
KLAUS: He didn't finish him off. Marcel needs blood to heal. Go. Find me someone off the street.
CAMI: I'll do it.
KLAUS: No. Not you. I don't want you involved in this.
CAMI: You don't control me anymore, remember? [She rushes over to Marcel and puts his mouth to her neck] It's ok, Marcel. It's ok. It's ok, Marcel.
[Klaus looks on the two of them with a look of jealousy]
AN ALLEY
REBEKAH: [ambushes Thierry] Ah! I should rip out your coward heart.
THIERRY: What, Rebekah? We made a deal to take out your brother, but at he end of the day, it's every man for himself.
REBEKAH: I am so sick of self-serving narcissists. Are men simply incapable of committing to an alliance?
[Elijah speed vamps up to Thierry and snaps his neck]
ELIJAH: Oh, I asked you to cease these petty moves against our family, and yet you conspire with this fool. Is this what its come to, making moves against your own blood?
REBEKAH: Don't you try and shame me. Nik grows more powerful by the day, and you do nothing but encourage him.
ELIJAH: I offer him my counsel because it's clear to me that he needs to make the city our home. Now, perhaps leading these derelicts will curb some of these impulses, grant him some degree of happiness.
REBEKAH: You always talk of Nik's happiness. Over 1,000 years, he has robbed me of any chance at my own. What about me, Elijah? Am I not a concern for you?
ELIJAH: We all make sacrifices in the name of this family, Rebekah, but know this. I will never stand against you or Niklaus.
REBEKAH: What about Hayley? Nothing I conspire to do, none of my treachery will harm this family as much as your feelings for her. You're a hypocrite, Elijah. You would choose love over family and then condemn me for doing the same.
JARDIN GRIS VOODOO SHOP
[Marcel walks into the Jardin Gris, where Rebekah is standing and waiting for him.]
REBEKAH: Fancy meeting you here
MARCEL: That symbol is already up and down the cauldron, more of them popping up everywhere.
REBEKAH: I suppose Papa Tunde is marking his territory.
MARCEL: I'm told you saw him, as well.
REBEKAH: Yeah. Brought up a lot of memories. Memories that are best left buried.
FLASHBACK--1919
REBEKAH: You're soused. Celebrating Klaus' defeat of the mad Papa Tunde?
MARCEL: Not celebrating, drowning sorrows. I'm the one who brought Tunde to town.
REBEKAH: What?
MARCEL: I made some inquiries while I was abroad, wanted the most dangerous witch anyone could find.
REBEKAH: Why on earth would you do that?
MARCEL: For you. I figured if someone as bad as Tunde comes in, maybe Klaus gets chased off. Very least, he's occupied enough that he can't stop me from trying to get you back.
REBEKAH: You mean to tell me that you would tear down everything my family built, everything you helped us build, risk your own life on the off chance that I would show you the slightest bit of affection?
MARCEL: I would. I did. I'd do it again.
REBEKAH: Klaus has killed a thousand Tundes. All his life, there's only ever been one man he has truly feared My father Mikael.
MARCEL: The vampire who hunts vampires.
REBEKAH: If he came here, Klaus would flee and never turn back. All we need is a witch who can help us find him.
THE ABBATOIR COMPOUND
[Klaus gives a speech to the crew of vampires in the compound]
KLAUS: Not long ago, you all united against me. You failed. Since then, in my benevolence, I have wiped the slate clean, yet it seems clear you think that I am the one who needs to earn your respect, your loyalty. You're mistaken. It is you who must prove yourselves to me. Our community is under attack. I require soldiers. I need warriors, not cowards. Each of you has a decision to make. You either fight alongside me or you leave now.
THIERRY: We don't owe you anything. If staying in the Quarter means living under your rule, I'd just as soon get the hell out.
[Klaus watches as a handful of vampires join Thierry and walk out of the compound. Thierry looks at Diego in hopes that he'll come along, but he gives him a pained look and stays behind. Afterwards, Marcel and Klaus talk with Sophie]
MARCEL: I got to admit, I thought you'd lose a lot more guys than that.
KLAUS: Well, good riddance to them, I say. We've no room for slackers or cowards in our kingdom. Now that you've regained your composure, let's move on to the next item of business, shall we, with a little help from our dear friend Sophie.
SOPHIE: I got no reason to help you, and I sure as hell don't have a reason to help him.
KLAUS: Now, now, don't be difficult, love. You'll only live as long as you're of use to me, and right now, your best use is to explain why a witch I killed has come back for revenge. Come on. Resurrected witches with vast power?
SOPHIE: It's the Harvest. To die and be reborn. I don't know how, but someone jacked that power, and they used it to bring back four witches, just not the right ones.
MARCEL: So there's still a chance? If we can get that power back, we can save Davina.
KLAUS: Let's concentrate on the immediate problem, shall we? Papa Tunde wants revenge. He'll continue to attack us, channeling power from the vampires he sacrifices. He kills, he grows more dangerous. So how do I end him? He needs sacrifices to gain power.
SOPHIE: Hmm. You keep him from killing any more nightwalkers, that's a start.
KLAUS: Unless he finds the one place with a load of vampires ready to be sacrificed.
[They all look at each other with a look of dawning realization]
THE GARDEN
[Klaus and Marcel arrive at the garden only to discover that they are too late. All of the vampires are dead, sacrificed by Papa Tunde]
LAFAYETTE CEMETERY
[Celeste (in Sabine's body) meets with Papa Tunde near a crypt]
CELESTE: Is it done?
PAPA TUNDE: This blade now contains all the power I harvested from the vampires. It will do things worse than death, even to an Original.
CELESTE: And are you ready for the final offering?
PAPA TUNDE: In the name of the witches of the French Quarter, it is my honor.
[he hands her the bone knife]
CELESTE: Thank you, Papa Tunde.
[she stands behind him and slits his throat with the knife]


[PREVIOUSLY_ON]
Nikki is with a girl. She's pissed off after Jenny who threw her away.
The girl: Baby, don't be sad. It's so boring.
Nikki: Get off of me! Who the hell does she think she is?! She called me, she wanted me! And then she goes all Paris and Britney on me just like: "Oh, I never liked you and it was a showmance!" Can you believe that? She f*cks me all night long and then she has the nerve to say that's a showmance! I mean, I don't even know what the f*ck that is!
An other girl: I'm googling. Oh, it's, uh...Oh, it's, uh..."Phony romance that happens during a movie or a TV show" "usually between two stars, but it can" "also be between a star and"...
Nikki: You know what? I got it, alright? Do you know how many times has she said that she loved me? She's officially a liar and I officially hate her! You know what? f*ck her, alright?! I got over 16 million on my opening week end and she can't even get in at the premiere of my next movie. She payed someone.
The first girl: God! Makes wonder who broke her heart. I can't believe she told you it wasn't you. That was so harsh! You must feel horrible.
Nikki: You know what? You are out of my 5!
The girl: Nikki, you're my best friend!
Nikki: No, get out! Right now! Get out! Everyone, get out! Everyone! You know? You and you, and you, get out! Get out! Now! Move! Jenny Schecter is a liar and a user. And trust me, you are not gonna get away with this. You are dead meat, Schecter. Dead. Credits. At the Hit Club.
Helena: And this is where we're gonna put the new DJ booth. So, if you need anything, just let us know. We'll get you all the right equipment.
The drag-queen: Oh, I'll send you a list. I love these colors.
Kit: We love them too.
Helena: We got morroconess out of "Casablanca" theme.
Kit: It's our favorite film.
The drag-queen: Oh, say no more. I love...
Kit: So, what do we have to do to get the fabulous Sunset Boulevard to come and spin at Hit?
The drag-queen: Just keeping the fabulous Kit Porter. You know you're my ultimate R&B goddess?
Kit: Oh, I don't know about the ultimate. Ooh, somebody's been working out! Not that we're the type... you know, we're, uh...We've both swore off men.
Helena: Ages of it.
The drag-queen: Good for you. You two got a good thing going here. You don't need some man in here messin' it up.
Kit: Okay, let me show you all of the textures and plans. At the Planet
Alice: Oh, I'm vanilla and fruit.
Tasha: Breakfeast burrito. Thanks.
Jenny: Excuse me. I didn't order that.
Waitress: Oh, they're from her.
Kit: Jenny, Shane wants you to know that she made them especially for you.
Jenny: Excuse me, Alice? Do you mind just mentionning to Shane that I don't want her waffles?
Alice: She doesn't want your waffles.
Tina: How much do you love the New Valley service?
Bette: Oh, my God, Helena's taking this place to a whole new level. Jenny comes with the waffles.
Tina: Oh, and waffles! Look! I know that I love waffles. I'm getting waffles. She throws it away.
Bette: Or not.
Kit: Haven't you heard that there are people starving in this world?
Jenny: I'm sure they don't want waffles, Kit.
Bette and Tina: Rock, paper, scissors, shoot!
Bette: sh1t! Okay, that's one to one.
Bette and Tina: Rock, paper, scissors, shoot!
Bette: f*ck! I always loose.
Tina: 'Cause you're always rock. Always.
Bette: Is that what it is? Have fun with the martyrs.
Tina: Have fun with the cheaters.
Tina: Wow, everyone's so industrial. What are you doing?
Tasha: Learning.
Jenny: I'm writing my new treatment.
Tina: What are you writing, Alice?
Alice: A treatment.
Jenny: A treatment for a film?
Alice: I just... I had this kinda killer idea so I thought I'll just write a great screenplay and then sell it for millions and buy a house in Malibu?
Tasha: I don't like Malibu.
Alice: You've never been to Malibu.
Tasha: I have been there.
Tina: I didn't know you wanted to be a screenwriter.
Alice: Well, I mean, you know, I never really did. Really, but I thought how hard can it be? Right? Jenny? I mean, it's like, you get paid big time.
Jenny: Well, if you, if you actually, Alice, if you would to amortize the payment of the 17 drafts that I did on "Lez Girls", you'll see that you actually don't get paid very much. So... Bette send a sms to Tina.
Bette: Alice is writing a treatment for a script. Hope we're not in it.
Shane: Amen to that.
Tina: Actually, writing a good screenplay is what's really hard. And Jenny's become a very good screenwriter.
Jenny: Thank you, Tina.
Tina: You should ask her to read your treatment.
Alice: Sure. Sure, sure, sure.
Jenny: I would love to give you notes.
Tasha: What? I need the carbs for training.
Alice: But do you need them that fast? You have them all over your suit.
Tina: Wow, you look amazing.
Tasha: Thank you.
Alice: I dressed her. Do a little spinzy, come on.
Tasha: No.
Alice: It's her first day at the police academy, so...
Tina: Excited?
Tasha: Yeah, I am, actually. All my friends had the training, it's really, it's really rough.
Alice: I tried to dress her in my morning, but she just thought she looked like a girl.
Tasha: It was inappropriate.
Alice: You looked so good in that. You know it. You just hate to look good or something.
Tasha: What the f*ck is that supposed to mean?
Alice: There is like a lack of effort.
Bette: (receive a sms) Tell me about fashion. Fashion for... I don't know.
Tina: When you guys are gonna go to therapy?
Tasha: There is a thing called privacy, Alice.
Bette: Privacy.
Alice: Well, I see you at Dan Foxworthy's at 6. There's parking on the...
Helena: Wow, look at you! You look a million dollars!
Alice: f*ck, you know? Bad vibes. You and Shane should work your sh1t out, 'cause this place is becoming like the black hole of Calcutta.
Helena: It's good to see we're still asunder; nothing like a little dyke drama to tear the place out.
Alice: That's what I'm saying. Bad vibes, man.
Jenny: Helena, why don't you come and sit with us?
Helena: No, I'm not picking sides, alright? I love you both. Going for a run.
Kit: Go Swizerland!
Tina: We have some good news.
Bette: Yeah, we have good news.
Tina: Yeah, good news. Do you wanna tell them?
Bette: Why don't you tell them?
Tina: Bette and I are registered with three different agencies and they said the chance of us getting a baby within the next six months is really good.
Alice, Shane: What?!
Jenny: Congratulations.
Bette: And we're starting construction on the second storey 'cause we need an other bedroom.
Alice: But I thought you guys were talking about selling?
Tina: We're staying.
Bette: We couldn't sell. Not now. I mean, with the poperty values, plumbing and everything. So...
Jenny: When were you gonna tell me about construction?
Tina: We're telling you now. We have to. We need a room for the baby.
Jenny: How am I supposed to write with all that noise?
Tina: I'm sorry, Jenny. We will do our best not to disturb you. But you might wanna get some earplugs.
Jenny: I have to get a new roomate. This is gonna be impossible with your racket.
Shane: Jenny, please! You don't need a new roomate! You have not spoken to me in a week. Would you just talk to me? I know we can work this out.
Jenny: Oh, right. So, you want me to forgive you because you made me waffles?
Shane: Well, why wouldn't you?
Jenny: Because you create this trail of destruction you don't take any responsibility for it. Why should you be the only one that doesn't pay?
Shane: I am paying.
Jenny: You are so full of sh1t.
Alice: The black hole. At Jenny's home.
Max: How you're doing?
Tom: Hi, Shane.
Max: So you're putting in those flower boxes Jenny wanted, huh? How many more things you're gonna do for her?
Shane: I don't know yet.
Jenny: There's something wrong with my computer and I wondered if you could fix it.
Max: You know what? I can't 'cause I'm going to my final consult today.
Shane: Good luck.
Max: Thanks. In the studio of the production of LezGirls. We are going to see a picture with a girl and a boy.
A men: Alright. Are you ready for this?
The productor: Do it. I love it. Love it.
A woman: Love it!
The men: We thought you would.
The woman: "The Girls", it's so f*cking hot. This thing is gonna make "s*x in the city" like a Disney movie.
Tina: What's "The Girls"? The movie is called "Lez Girls". "Lez".
The productor: I haven't had a chance to talk to Tina about the market research. I'll full you in in a minute. In the meantime, why don't you just give me a briefing on the release.
The woman: After the initial two weeks, we'll go wide. We have 2000 screens nation wide and select cities in here.
The men: France is gonna eat this up.
Tina: No.
The productor: No what?
Tina: No way. I am not gonna let you get away with this. I'm not gonna let you market this as some bullshit boy meets girl love story! That's not what this is!
The woman: It's more than that. It's boy meets girl, boy almost looses girl to girl...
The men: But in the end the audience wants love to prevail. That's the winner hear. The new ending tested through the roof.
Tina: What? The new...What you mean the new ending tested? When did you have a test screening?
The productor: Get on board, Tina. Train's not going to Lezzie town. At Phyllis, Bette and Jodi's work.
A woman: This is amazing. Art General uses the correlation about how she uses human emotions like pieces of scrapped metal, words like found materials.
A men: It works on so many levels. I mean, here is the Curator who told people their work wasn't worthy. The gallerist who wouldn't show an artist and now the Dean who rejects applications.
Jodi: (Tom speaks) Exactly. A woman who has stood in judgment of our art her entire career is now being thrust into the spot light as the art...
The woman: It's brilliant.
Phyllis: This kind of praise is fantastic for our program. I can guarantee that we're gonna see...
Bette: She arrives. We could use the same material throughout and...I can't talk right now. Alright. bye.
Bette: Forgive me. I had the contractors on the phone. Do you know we're doing that second storey on the house for the baby...
Jodi: Phyllis, would you mind just finishing what you were saying?
Phyllis: What I was saying was that based on C.U. associations with Jodi, I wouldn't be surprised if we see a significant increase in applicants this coming semester. Max is seeing the doctor.
Max: So one of my goals is to be able to take my shirt off at the beach within a year. That's my goal. Feel my pecs. I've been doing like 200 pushings today. Feel like I'm already bigger. That's awesome.
The doctor: Very good. That's very impressive.
Max: Yeah, I think I'm doing good with the contour. I just, I hope I grew more chest to cover the scars.
The doctor: Well, I think Dr. Stanhouse is gonna try to do the key whole procedure on you?
Max: Yeah, I'm hoping so.
The doctor: And is your schedule for surgery on wednesday?
Max: Yeah, he called me this morning and he said that as soon as he gets the lab reports we're gonna be able to...
The doctor: I'm afraid there's a problem.
Max: What's the problem?
The doctor: You're pregnant.
Max: No, I can't, I can't be pregnant. No, I've been taking testosterone.
The doctor: Have you had intercourse? Have you and Tom had unprotected s*x?
Max: Yeah, but we've been both tested for H.I.V. We've been monogamous.
The doctor: If you and Tom have had vaginal s*x. I know you might not call it that, but unfortunately, that doesn't stop it from working the same way. Taking testosterone doesn't shut down the reproductive system.
Max: What about my surgery?
The doctor: We're gonna have to postpone your surgery. We're gonna have to find out how far along you are and you're gonna have to decide what you wanna do about it.
Bette: We'll have your budget done by the end of the week. We cannot afford to have the art department last... again. Thank you.
A men: (to Jodi) Can I ask how she responded? Our Dean? How did she respond to the work?
Bette: He asks how I responded to your work.
Jodi: I don't know.
Jodi: How did you like the show?
Bette: signs See you in my office.
Jodi: But I can't. I have paints.
Bette: Can I talk to you, please?
Phyllis: Sure, let's go to my office. I hope Preston didn't bother you. He's an old fool with a... for gossip.
Bette: It wasn't really about Preston. I mean, the truth is that Jodi's behaviour was completely inappropriate... They enter in the office.
Joyce: Baby, when it comes down to it, this is all I have to offer you. And if you can't love this...
Phyllis: Joyce! Cover your junk!
Joyce: Sorry, Bette.
Bette: We reschedule?
Phyllis: Joyce, what are you doing? You can't just pop out from behind a plant butt naked. We have rules here.
Joyce: I checked first to make sure you didn't have anything. I was acting with my heart. I'm a woman in love. Please, take a lot of. Phyllis Eleonore Victoria Kroll, you are one hell of a woman. While the law in the state of California continues to acknowledge our love, I would like to ask you to take my hand in holy matrimony.
Phyllis: I don't know what to say.
Joyce: Say yes.
Phyllis: How many carats is this?
Joyce: Four! Say yes!
Phyllis: How much did you spend? This must have cost a fortune.
Joyce: I've got a friend who has a friend... Say yes, Phyllis, please.
Phyllis: But I said I never wanted to get married again.
Joyce: We'll go to San Fransisco, we'll get married on... of City Hall, Gavin said he'd marry us.
Phyllis: Gavin Newsom? The mayor of San Fransisco?
Joyce: That's right. We raised a lot of money for that guy. Say yes, Phyllis. I'm freezing.
Phyllis: Yes.
Joyce: Damn, lady! Come here, you! You've made me one happy woman. At the therapy for Alice and Tasha.
Dan: Who wants to tell me why you're here?
Alice: Oh, we're just here for a tune-up.
Dan: Does that seem like an accurate assessment to you, Tasha?
Alice: She's the one who called it that. We've just had a couple of little, little things come up lately.
Dan: What sorts of little things?
Alice: Money, I make a lot more than she does.
Dan: How's that make you feel, Tasha?
Alice: Resentful. She doesn't want me to spend this much because she can't afford it.
Dan: Is that true?
Alice: Absolutely. We couldn't even get a bigger appartment because she couldn't share the rent fifty-fifty. And I also think she resents me because I don't clean as much as she does.
Dan: Do you?
Alice: Oh, look, now she's mad. Is there anything else? Tasha broke up with me last week.
Dan: Really? Why did you break up with Alice, Tasha?
Alice: Because she thought I cheated when I didn't even kiss the girl.
Dan: Did you think about it?
Alice: Yeah, but, I mean, she wouldn't have even known if I didn't tell her. So I think that mere fact that I disclosed the information should count to something. Right?
Dan: But if you knew Tasha's feelings about the subject of cheating, why did you choose to tell her? I think we're past it. I think what we have to work...
Dan: Alice, this is called couples' therapy for a reason. Now, Tasha, this process works much more effectively if you participate. Why do you think Alice told you?
Alice: She doesn't even wanna be here.
Tasha: I think that she told me because she wanted to break up with me and bringing this woman between us was the easiest way to do that. She knew how I felt, she knew that I would break up with her and when I did, she got scared. That's why we're here. Max goes to a hospital.
Receptionist: Can I help you?
Max: Uh, yes, I have an appointment? I called in earlier? Hi, I'm Max Sweeney. I have an appointment.
Receptionist: For your girlfriend, or...
Max: No. It's for me. I need an abortion.
People: What did he say?
The receptionist: If this is your idea of a joke it's not funny.
Max: I'm not joking, alright? I'm pregnant.
The receptionist: Sir, if you don't leave now, I'm gonna have to call the security.
Max: Look, I'm a F.T.M. transsexual, alright? Yeah, that's right! Take a good look! I'm a man and I'm pregnant. It happens. Don't you read the f*cking tabloids?! Can I have my appointment now, please? Jenny is writing.
Jenny: I'm trying to write. Shane is washing Jenny's car with music. Can I have my keys?
Alice: I promise to make room in the apartment for your things.
Tasha: And um, I promise to try to see things through your point of view. And to not talk to you with so much judgment. And tomorrow when I wake up, for work, I'm gonna make you breakfeast.
Alice: I love that! It's good, right?
Tasha: Yeah, I know, it's good.
Alice: So, um, are you gonna give us more exercizes or...? I mean, maybe some homework. I think we're ready for some homework.
Tasha: Yeah. Yeah, I'm ready. Bring in on.
Dan: I'm not gonna give you homework. I don't think you two should be in therapy.
Tasha: That's what I said. See?
Alice: We rock.
Dan: You two have so little in common. I really don't think you belong together. They leave.
Alice: I mean, what the f*ck? It's like, we spent what, 55 minutes with this guy? Where is he f*cking go off?
Tasha: I told you. Therapy's bullshit.
Alice: It's bullshit, you're right.
Tasha: He knows nothing about what we do and don't have in common.
Alice: What the hell is he talking about? We don't have anything in common. Really? Dan? Tasha:I know, it's crazy. Give me my helmet.
Alice: I don't know. Tasha:Thank you.
Alice: Upsetting. I'll see you tonight?
Tasha: Come here. They make love in the car. Tom arrives to the hospital.
Tom: Hey, are you okay? Sorry, I couldn't get any sooner. Should you be op already?
Max: They wouldn't do it. I'm too far along already.
Tom: How far along?
Max: Four months.
Tom: How did this happen?
Max: How the f*ck do you think it happened?!
Tom: But, I didn't think you could. You've been...
Max: Yeah, I thought if I was seeking testosterone, I couldn't get pregnant, okay? I was wrong.
Tom: Why wouldn't your doctor tell you something like that?
Max: I don't know. Maybe because she didn't think I was stupid enough to let some faggot f*ck me!
Tom: Hey, f*ck you! Don't blame this on me!
Max: Who the hell am I supposed to blame, huh? Who the hell has his dick been inside me?
Tom: How am I supposed to know?
Max: You got me pregnant, you faggot! It was you!
Tom: I can't do this, Max. I'm not ready. At Alice's home.
Alice: Clear the desk.
Tasha: What kind of a list?
Alice: Pros and cons list. My mother used to make this all the time to kinda decide whether she's gonna divorce her ex-husbands.
Tasha: And that's the model we're gonna follow?
Alice: Well, she had very successful divorces. Pro.
Tasha: Hold on. Why con gotta be black though?
Alice: It's not a race thing. It's just... Red is happy. Red is like pro...
Tasha: No, red represents the devil.
Alice: Fine. I'm writing down "color weirdness". Tina and Bette visit a gallery.
Bette: The work is really good but the show is uneven.
Tina: This is, uh... This is weird.I think it's weird.
Bette: Hey, someone spent some money, huh?
David: Yes, she's spent a small fortune.
Bette: Really? God, I would kill to have a piece like this when I have my own gallery.
David: Me too.
Bette: Do you know who Kelly Wentworth is?
John: A rich divorcée. She walked away with 80 million dollars of Dick Wentworth's fortune.
Kelly: And decided to spend it on making herself a presence in the art world. Do you like my vanity project?
John: It's lovely.
Kelly: Thank you. Oh, it was 89 million. Bette Porter? Kelly Wentworth.
Bette: Please to meet you. It's really a spectacular space. You've been here a long time?
Kelly: You really don't remember me?
Bette: Juicy f*cking Freemont?! Jesus! Oh my God!
Kelly: I swear to f*cking God, you look better than you did in college. Bitch!
Bette: Look at that biatch! The blond looks so good on you.
Kelly: Thank you. Look at your body. Are you still a runner?
Bette: I mean, sometimes. Not, not really often. God, what the hell are you doing in L.A.? I thought you were married to New York forever.
Kelly: Well, I thought I was married to Dick Wentworth forever. Holy f*cking sh1t! I'm so, so happy to see you.
Bette: Oh my God... Oh, God, I'm sorry. This is Tina Kennard, my partner.
Tina: Hello.
Kelly: Still gay, hey, Porter?
Bette: Yeah, well, I lack of imagination in some areas. Not many. This is Kelly Frimont. The Kelly Frimont! Oh, Kelly Frimont, the college roomate!
Kelly: Right.
Tina: Well, I've heard a lot about you.
Kelly: Did you tell Tina about you and me?
Bette: Well, I told her that you let me kiss you once and were so ceased by a deep and abiding homosexual panic that you moved out of the house immadiately.
Kelly: She got over me in two minutes.
Bette: Ten.
Tina: This piece is beautiful.
Kelly: I know.
Tina: You have great taste.
Kelly: I love the tonality. I just ordered a roadster in this colour. I did!
Bette: Well, we're gonna go see the rest of the show.
Kelly: Okay, but, don't leave without saying goodbye.
Bette: I will.
Tina: We will. It was nice to meet you.
Kelly: You too.
[SCENE_BREAK]
Alice: There is way more cons than pros.
Tasha: Alright, let's say this, like "doesn't cook with pepper" ever, right? It, uh, it shouldn't be, it shouldn't count as many points as, like, "makes me wanna be a better person". Right?
Alice: It's pretty good.
Tasha: So we should do it on a point system. Like, "doesn't cook with pepper" should get what, two points, and...
Alice: Like a point system?
Tasha: Yeah, like a point system exactly. And then "is spontaneous", I just pick that one 'cause I, I really appreciate that about you.
Alice: "Likes to get spanked" you should add.
Tasha: Okay, this would get like 8 points.
Alice: Okay, that is so smart. Very smart. I mean, you're smart. You're smart. Give me this.
Tasha: How many points?
Alice: Oh, nine. You get 9. Oh yeah, the pros are so winning now.
Kelly (to a men): So, call me and we'll arrange a studio visit. To Bette and Tina: Just one of the many things I love about the art world.
Bette: Yeah, well, he's a terrible artist.
Kelly: Luckily I'm not interested in his work.Oh, you guys aren't going, are you?
Bette: Yeah, we are.
Tina: Yeah.
Kelly: Well, we have to make a plan, lunch, diner, whatever. I really wanna pick that brain of yours.
Bette: Yeah, well, the first thing I would tell you is not to sign an artist that you wanna f*ck.
Kelly: That comes from firsthand experience?
John: I read your article on the Art Journal. It was amazing.
Jodi: Oh, thank you!
John: The cover? Incredible. I loved your lips.
Bette: Do you mind?
Tina: No, I think you should.
Bette: Excuse me.
Bette: Just a second. I need to talk to you.
Jodi: I'm sorry. Just a second.Now what?
Bette: James has been trying to schedule an appointment with you and you haven't come back to him.
Jodi: I've been busy.
Bette: Do you realise that you report to me? And if I ask to see you, then you make it happen.
Jodi: I don't report to you, Bette. I don't report to anybody.
Bette: You have until tomorrow.
Jodi: Or what?
Kelly: I knew about it if I couldn't choose my T.A. I saw her. It was like one after the next, little moths to a flame. She burnt everyone of them.
Tina: Really?
Kelly: You know.
Bette: You're ready? It was really great to see you.
Kelly: You too.
Bette: Good luck with the gallery.
Kelly: Thank you. I'll see you soon.
Tina: Nice to meet you. MUSIC - At the Hit Club
Alice: Yeah, you two are a great pair. No alcohol, no s*x. It's...
Kit: Well, that's what you have to do to keep your sanity and not to mention your shirt on in this business.
Helena: But, I mean, I'm not a complete nun. I have the occasional drink. I even have s*x every now and then.
Alice: Alright, just not with people you like?
Helena: Yeah, that's my new M.O. All business, no attachment.
Alice: What the f*ck?
Helena: What?
Alice: Twelve o'clock, the female in the lesbo sandwich. Oh, you've gotta be kidding me!
Kit: Dylan, did she come out of the closet?
Tasha: That girl used to be straight?
Alice: Well, she wasn't gay back when she was f*cking Helena. Wow, looks like someone's carpet is about to get munched.
Kit: You're okay?
Helena: Of course, why wouldn't I be?
Alice: You're not freaking out?
Helena: No, there's no reason to.
Alice: But that's the woman who extorted you for sexually harassing her!
Kit: What is wrong with you?
Alice: I'm just saying. Of all the gin joints in all the world? Tom is coming back at Max's home.
Tom: I've been calling you.
Max: I know. My phone broke.
Tom: I wanted to say I'm sorry for the way I reacted. You just caught me by surprise. I... I've started to think about it. What do you think about having the baby?
Max: f*ck off!
Tom: Don't you wanna be a couple of West Hollywood fag dads?
Max: I don't know. How we're f*cking handle this?
Tom: We can handle it. We can. We both make a decent living. We love each other. We've said we want to spend our lives together. I'll have to think about it.
Max: Sorry I kicked you in the balls.
Tom: I'm sorry I knocked you up. Tina and Bette are home
Tina: Oh my God, she was so irritating. Did you hear her? "Look at your body"! "Are you still a runner"? While you were talking to Jodi, she asked me if you were still a player.
Bette: I was never a player.
Kelly: That's not what Kelly said.
Tina: She said no matter whether you're in a relationship or not, you've always had at least two other women on the side.
Bette: Kelly was too busy f*cking every male professor to pay attention to what I was doing.
Tina: Oh and another thing, she's sorry she didn't take you up on that offer 20 years ago.
Bette: Did you tell her we're exclusive?
Tina: No, I didn't, Bette. I figured if some gorgeous woman from your past come along, talking about how hot you are and how sorry she is she didn't sleep with you, I'm not gonna be the one to tell her that you're not available for a redo. But you know that I'm not. But you were flirting.
Bette: I was not flirting.
Tina: Yes, you were.
Bette: You can't help it.
Tina: What?
Bette: You never flirt?
Tina: Of course I flirt, but it's different for you. It feeds you. You feed off people wanting you. And they do want you. It's... It's like blood to a vampire.
Bette: So now, I'm a vampire?
Tina: I love you. I don't wanna deprive you of something that's so fundamental to who you are.
Bette: You need to trust that I know who I am. And I know what to do with it.
Tina: I don't know what that means.
Bette: It means that everyone else can f*ck off because I only want you. I only wanna be wanted by you. They make love. Back at the Hit Club.
A girl: Thank you. Helena:Thank you, gorgeous.
Kit: Thank you, thank you, thank you, thank you.
Alice: You're with me?
Helena: What? What are we gonna do?
Alice: Get my back.
Tasha: What did she do to Helena?
Alice: Wait a minute. Right now, I wanna tell her where she gets off messing with my friend. I'm gonna tell her. I'm so telling her.
Alice: Really...Really?
Dylan: Excuse me?
Alice: I mean, come on, the hair. The hair... and the documentaries! It's like... I'm... not... gay! Yeah, it's a good one. A good one. I got this.
Tasha: She's got it.
Dylan: You look, you look amazing. Can we talk?
Alice: Okay, so basically, that skankful Dylan Moreland almost ruined entire Helena's life. First, she pretended to be in love with her, okay? So she and her boyfriend could sue her for sexual harassment and extort million of dollars from her. Hi, we were... Sorry, dude, we just left. Can you believe it?
Helena: Get me a Pellegrino. So, are you aware that this is my club?
Dylan: No, I just came back into town and, I mean, I heard that this was the best girl club in L.A.
Helena: And you were looking for a girl club, a lesbian girl club?
Dylan: Yes, I mean, you know. Obviously, you, you helped me with that. I mean, I finally figured it out, right?
Helena: Good.
Dylan: I just... I can't begin to tell you about how sorry I am about everything, about the way I behave, the way I treated you. And I don't expect for you to care about my life at all right now. I... I certainly don't expect for you to care that I've, I've never stopped thinking about you. Ever. And wishing that I'd met you at a different time in my life. I can go if you want me to go.
Helena: No, it's fine. Look, I only came over because it would be akward for me not to say anything, especially since it's my club. Stay, stay, have a good time. Enjoy it. Be with your friends.
Alice: So, her mother get so mad she cuts Helena off, so she has to come live with me and become a cook!
Helena: I was a caterer.
Alice: Which was a disaster, and let's face it Helena is used to a certain standard of living. So she meets this shady high-roller lady. they hook up but she uses Helena and takes all her money and when Helena takes it back, and we still don't know where she buried it, she gets arrested and has to share a cell with some killer!
Helena: She was in for text fraud.
Alice: Alright. So, her mother can't take it anymore, she bails Helena out, but she doesn't wanna live under her mother's thumb anymore. So she springs Dusty from jail, they go to Tahaa which she doesn't ever want to talk about, so it couldn't have been that great, right?
Tasha: Right.
Alice: And her mother gets stung by a jellyfish, all because of this woman.
Tasha: Want me to kick her ass?
Helena: Thank you.
Tasha: You're a better person that me. I'd have to beat a bitch down if she tried to do that sh1t to me.
Alice: Are you okay?
Helena: I'm perfect.
Alice: And don't even get me started on her kids, 'cause where did they go?
Helena: I don't give a f*ck who's idea it was. You took part. You manipulated my emotions, you used me, and you humiliated me, and you've got to be f*cking insane thinking you could just prance in here act as if nothing ever happened, tell me that you're happy, tell me that you're out of the closet, tell me that you're oh so sorry for destroying my f*cking life. f*ck you!
Dylan: Thank you! Now I know you care. At Jenny's home.
Shane: I need my stuff. Open the door. Thanks.
Jenny: So that's it? You're done trying?
Shane: I'm out. I don't see the point with you anymore.
Jenny: Shane, you know that it was you, right? When I said that you broke my heart? I was talking about you. You know, when I said it I felt like my, my, my heart was breaking.
Shane: I tried to tell you all week how sorry I am. I'm not ever gonna hurt you like that again.
Jenny: I also realized that I'm in love with you.Now I'm like all those stupid girls.
Shane: Jenny
Jenny: What?! What? They kiss.


Detective Taylor: A specialist escort agency for the very rich.
Danny: Alex didn't use escorts.
Alex: I have to buy a battery for my laptop.
Danny: I stole something... from the attic. It's a locked cylinder. It needs a code.
Scottie: Which you don't know?
Danny: No. I've gone over every conversation, every word.
Scottie: Danny, you've got to figure it out, you're the only one who can.
Scottie: Did you know that I suffer from depression?! Did you know that in the past I drank?!
Claire: I didn't know Alex well personally. There are not many students who start their degree at 15.
Danny: He was murdered.
Claire: So I take it you want to speak to his professor?
Danny: Marcus Shore.
Journalist: Why did they murder him?
Danny: I don't know.
Scottie: Whatever Alex discovered, whatever it was, whatever it is, no-one wants in the open. We're not up against one intelligence agency, we're up against them all.
Danny: I need information.
Scottie: What does it mean? It means we are quite alone.
Rich: Get in the car. It's for you. Not here!
( Mobile phone rings )
Distorted voice: You're looking for answers. But are you ready for them? Get in the hotel. Room 116.
[SCENE_BREAK]
Distorted voice: The bathroom. Get in. Clothes on.
Distorted voice: Now you're clean, we can talk a little freer. Get changed. Outside.
[SCENE_BREAK]
Danny: Where are we going?
Distorted voice: Do you want to know who Alex was or not?
Distorted voice: The doors are locked, Danny. No way out. No way back. I want to take you on a journey... into Alex's past.
[SCENE_BREAK]
Distorted voice: Remember this place? Are you sure you know what really happened in there? Walk.
( Distant laughter )
Distorted voice: A reservation. For two.
( Phone beeps )
Waitress: There you go. Menu.
Doppelganger: Here I am. Alex's past.
[SCENE_BREAK]
Doppelganger: Well... this is weird. Never done anything like this before.
Danny: Like this? What is this?
Doppelganger: Being paid to tell someone how I... their boyfriend. They said you wouldn't believe me.
Danny: Who are they?
Doppelganger: Who are they? They are the people pulling my strings. I have no control over what I'm about to do. Like this... No control. Alex... ate breakfast here... almost every morning.
Danny: You can even tell me what he liked to order?
Doppelganger: What? Oh, to be convincing, you mean?
Danny: You watched him?
Doppelganger: Serving.
Danny: A waiter?
Doppelganger: Me? No. Please. I was pretending. The service... it's very expensive because the people, we... don't know that we are... escorts.
Danny: How is that possible?
Doppelganger: We pretend. We pretend to meet them by chance, we pretend to be won over by their charms... we pretend to... for pleasure... which takes some serious pretending.
Danny: Who pays you?
Doppelganger: Our clients aren't the people we... We report back. So and so... likes it like this. So and so... likes a little of this. ( He sniffs )
Danny: Blackmail?
Doppelganger: But that's not my business.
Danny: You just do the f*cking.
Doppelganger: I just do the f*cking.
[SCENE_BREAK]
( Alex gasps )
Doppelganger (O.C.): They told me to meet him... in the way you met him.
Doppelganger: I'm sorry...
Doppelganger (O.C.): An accident. They told me to be like you. They told me to act like you.
[SCENE_BREAK]
Doppelganger: In the end, Alex wasn't so tricky. He just needed to believe... he was being good... all the way up until he was being... a little bit bad. How do you seduce a good man?
Doppelganger (O.C.): My approach was simple. I told him a sad story.
Doppelganger: I tell him it's the will and last testament of my mother. And my mother, she never loved me, bitch. In her will, the bitch leaves just three things to me. Just three paintings. That's all. And Alex, listening like a puppy dog. And I tell him, heartbroken... they are the three paintings I painted for her. I'm an artist, I say... No, not yet an artist, aspiring to be.
Danny: Pretending to be.
Doppelganger: That's a true story. I am an artist.
Danny: What?
Doppelganger: What do you think? I grew up wanting to be an escort? Enough, Danny. Enough with not believing. What do you need? I'll give it to you? Hmm? You need those little details? A birthmark on the inside of his thigh? Something whispered? Something moaned? He had a thirst, I can tell you that. Like a man crawling out of the desert. Yeah? Throat dry. Lips dry. Gulping up all those missed years.
Danny: Where?
Doppelganger: My place.
Danny: Your place?
Doppelganger: My fake place.
Danny: Why did he come round?
Doppelganger: To see my paintings, of course.
[SCENE_BREAK]
Danny: What did you do?
Doppelganger (O.C.): You hate yourself for asking.
Doppelganger: So...
Doppelganger (O.C.): But you had to know.
Doppelganger: I'll be right back, OK? Give me a second.
Doppelganger (O.C.): You had to ask... what did we do?
Doppelganger: We played a game. How long can we talk without mentioning the only thing we were both thinking about? The first game lasted an hour. The second game... lasted a little longer...
( Alex pants )
[SCENE_BREAK]
Doppelganger: I rang him afterwards, but he didn't answer. The client wanted more. But Alex wasn't interested.
Danny: Why wouldn't you tell me that he kept coming back?
Doppelganger: Because I can see you're good at sniffing a lie. So, I told you the truth.
Danny: Why did they hire you?
Doppelganger: I don't know, I don't care. It's just a job.
Danny: He's dead. Your job. He was murdered. You think you're not involved? Because you seem like a loose end to me.
Doppelganger: I was told to pay for our dinner.
Danny: Hey? How else are you going to let them know what a great job you did?
Doppelganger: I can see strings on you too.
[SCENE_BREAK]
Danny: What are you thinking?
Alex: Say it again.
Danny: What are you thinking?
Alex: Nothing.
[SCENE_BREAK]
Scottie: You were Alex's first experience of love. If he enjoyed a second, would you seem less important? Could the thrill of the new replace the comfort of the old? Watergate wasn't just about bugging the opposition. They used prostitutes to collect information on rival candidates to shame them, manipulate them, destroy them. s*x has always been a means of control. In the end, your relationship became a threat to their relationship with him. He changed you, you changed him, priorities altered, loyalties altered. I noticed it in our friendship. The two of you were besotted. The rest of the world ceased to exist, but Alex was one of their most important minds. Did you imagine they'd just allow him to drift away?
Danny: I didn't think about it.
Scottie: It's all THEY would've thought about. What binds this brilliant young man to us? The Queen? Our history? His parents?
Danny: I accept that I didn't know anything about his...work. His job. The truth is, I didn't really know him as a person either. I didn't know him.
Scottie: Of all the attacks they've used, including your health, the one that has proved most effective is smut. For you, of all people.
Danny: He made a mistake, that's not it. But why didn't he tell me? Some of it? Any of it?
Scottie: Because you wanted him to be perfect. He saw that more clearly than you.
[SCENE_BREAK]
Danny: It was his funeral last week. Do you know how I found out? I heard about it on the news. He was buried at a private ceremony for... close friends and family.
Scottie: I can't count how many men I've comforted when their partners were dying and the family wouldn't allow them into the hospital, or the church where they're buried. I'm tired of it... tired of hearing about it. He wasn't close to his parents, he was close to you. Hold your own funeral, say your own goodbye.
Danny: That's what I should be doing. Saying goodbye.
[SCENE_BREAK]
Danny: What am I doing all this other stuff for? Because Alex discovered some government secret? So what? Cos they lied about a war? They spy on us? Who..? What's it got to do with me?
[SCENE_BREAK]
Danny: And you know, I don't know any code. I don't.
Danny (O.C.): So, I don't know...
Danny: Maybe, whatever those secrets are, maybe they weren't meant for me.
Scottie: Then, that's that.
[SCENE_BREAK]
( Distant seagulls )
Danny: Do you believe in soul mates?
Alex: No. Not only do I not believe in them... it's not even a nice idea.
Danny: Not a nice idea?
Alex: That there's only just one other person out there for you. What are the odds this person would be in the same country? Or the same city? That their paths would even cross? It would mean almost everyone in the world is with the wrong person. If it's a way of saying, "we're good together", why not just say... "we're good together"? But if you mean it literally...
Danny: You think there are better people out there for you?
Alex: There might be. For both of us. But since we don't know them, it's just a theoretical.
Danny: Yes. It's... a sentimental idea. The maths doesn't add up. But... we're by the fire, we're under a night sky. Couldn't you just have said "yes"?
Alex: Is that what your soul mate would've done?
[SCENE_BREAK]
Danny: Can it be opened?
Silversmith: If you know the code.
[SCENE_BREAK]
Alex: This is us.
Danny: Oh, I've done a lot of things with a lot of different people and... that's part of the reason I'm sure... that we're something special. But, for you, it... I don't want you to stay with me just because I'm the first. So, you should see other people. You should.
Alex: I don't want to.
Danny: I only meant...
Alex: I don't need to.
Alex: .. that there's only just one other person out there for you.
[SCENE_BREAK]
( Dog barks )
( Doorbell rings )
Danny: Scottie? Scottie?! Scottie?
( Faint murmuring )
Danny: Scottie?! Scottie?
Scottie: I was just remembering.
Danny: Huh?
Scottie: A place. I was remembering... a place.
Danny: Right, we need to get you to the hospital.
Scottie: Will you just listen to me, for once, Danny?!
Danny: You were remembering... a place.
Scottie: A place where no-one cares. Pathetic.
[SCENE_BREAK]
Danny: Thank you.
Scottie: My parents used to chide me. "You were such a happy child."
Danny: How long?
Scottie: Like this? Three weeks. Worse and worse each day. Now as bad as it's ever been. It can't be coincidence, can it? 30 years I've been OK and, now, like this?
Danny: Why might someone who's managed depression for 30 years suddenly suffer a relapse? For no reason?
[SCENE_BREAK]
Danny: This is what we're going to do. We'll get new pills. Real pills from a different doctor. You can keep them on you at all... Unless they switch them before they give them to you. I'll get them illegally. I know someone. He can get anything.
Scottie: On your shell. Until they find a crack. A frailty. A vulnerability. No matter how small. And then they pick away.
Scottie: How do you kill an alcoholic? With alcohol. How do you kill a drug addict? With drugs. How do you kill a depressive?
Danny: Where'd you get them?
Dealer: People tell the doctor whatever story, collect a prescription, sell it to me. They're good. It's all good. Always good from me. Do you want something else?
Danny: No. Nothing else.
[SCENE_BREAK]
Scottie: Thank you. Have you examined the contents?
Danny: We're going to need help.
Scottie: With help comes risk. The more people you involve... Look what they've done to us. That was before they knew we had this.
Danny: I can do this alone.
Scottie: There are rumours. About how the... Kremlin guarantees the loyalty of its most important citizens. Under the pretext of celebrating an election to the State Duma, the individual is treated to the finest meal Moscow has to offer. At some point during that night... this prized individual blacks out... waking in a hotel suite, on a bed, beside a terrified naked child. Before he can say anything, the FSB storm the room, arrest him, and take him to an interrogation cell in Moscow's Butyrka prison, where the individual swears he is not a paedophile. "My drink must have been spiked!" "I, I've been framed by my enemies!" He doesn't know. He can't explain. "But it is a mistake!" And, to his surprise... the FSB officer agrees that it is a mistake, but it is a mistake they will hold on record forever, a mistake no-one will ever see, unless... the individual makes a mistake of a political kind. And, with that, the man's choice is clear - privilege or disgrace. Destruction or survival. The FSB officer believes he's won. The individual believes he's lost. But those systems of oppression... as ruthless as they appear, as unbeatable as they seem, never hold, never last, never survive, for we will not live in fear. I would like to finish this particular adventure with you, Daniel Edward Holt. If you'll have me.
[SCENE_BREAK]
Scottie (O.C.): We're being watched. We will be followed. So we separate. Shake them off. And meet up at a place... where no-one can follow us without revealing themselves.
Danny: The place where no-one cares?
Scottie: I've always taken comfort from the idea that people don't care. That they have better things to think about, that there are more important matters to worry about. I like it when people walk past me and couldn't care less what I'm wearing, or whose hand I'm holding. The place where no-one cares. When I was young, I spent a lot of time searching for it, and I promised myself, if I ever found it, if it ever existed, that's where I'd make my home.
[SCENE_BREAK]
Danny: What do you think?
Scottie: Ambition. But no conviction. You skip from short stories to lyrics, from poems to sketches, hoping the world will tell you who you are. You must tell the world.
Claire: There you are.
Scottie: Well done.
Danny: You weren't followed?
Claire: Well, I hope not.
Scottie: So, will Marcus help us?
Claire: He didn't say. Keep back, and then that gives you your 'B' for 'Baritone'. Oh, I see - no, four, of course.
Scottie: Yes.
Claire: And that's got...
Danny: Where did you two meet?
Scottie: Cambridge.
Claire: We shared a flat. I was the first person he shared the secret of his sexuality with.
Scottie: At that time, it was illegal. And there were rumours.
Claire: So, then, I...agreed to play the part of...his lover. And we walked around arm in arm, and we... had picnics in the scholar's garden and... it was supposed to last about two months or so.
Scottie: It lasted two years.
Danny: Are you gay?
Claire: No.
Danny: Did you see other people?
Claire: No.
Scottie: I tried to become the man I was pretending to be. You know, I prayed for the right kind of desire? A sham romance, you might say.
Claire: No.
Scottie: No, no. We're friends. We have been ever since. We can't be sad about that. I refuse to be sad about that.
Marcus: It's all very touching.
Claire: Marcus... This is Danny, Alex's partner. And Scottie.
Marcus: Where is it?
Danny: Cheers.
Marcus: You didn't know, did you? How smart he was?
Danny: I knew.
Marcus: But not really.
Danny: Not in the way you did, no.
Marcus: His partner... without any appreciation of his intellect. Beyond some generalised idea that he was good with numbers. Love without knowledge. Popular culture might depict that as a romantic notion, I suppose.
Danny: He never spoke about his work.
Marcus: What did you talk about?
Danny: Everything else.
Marcus: I see. No, I don't. I don't see at all.
Danny: Well, what did you two talk about? Outside of work?
Marcus: We didn't. Look, try to understand, I was sure, absolutely certain that he was going to change the world in some way. Not my world. THE world. Can you imagine the enormity of that feeling? Being in the company of someone like that?
Danny: We knew different people.
Marcus: Hmm. The man I knew was exceptional. The man you knew was not.
Danny: The...
Marcus: Unless you're going to tell me how many sugars he took in his tea, or how he liked to be f*cked. Are these the details that define us?
Danny: I think that... being admired is lonely.
Marcus: You're right, I'm sure. But that was the price he had to pay. The ordinary world wasn't for him. And his flirtation with it... was always going to end badly.
Danny: Professor? I miss him, too.
Marcus: He did it. The 9/11 attackers sent e-mails using pre-arranged code words. "The Faculty Of Urban Planning" was the World Trade Center. The, uh, The Pentagon was "The Faculty Of Fine Arts". Mohammed Atta's final message to the other terrorists referred to their semesters beginning in three weeks at the faculties of Urban Planning and Fine Arts.
Two e-mails. In this one, "zoo" means zoo. In this one, it means airport. How do you tell them apart? When... people... who go to the zoo also visit... museums. They watch animated movies. Buy children's clothes. And donate... to animal charities. Convert our entire online history into numbers, and a visit to the zoo... looks... like this. A coded message looks... like this. The 9/11 terrorists used innocent words, but they didn't use them like the rest of us. We like to think of ourselves as individuals. But we're not. We're a pattern. We are... married, gay... straight, professional, rich, poor. Our online DNA, revealing... our true nature... even... when we lie. I told him he would change the world. I just didn't tell him how dangerous it would be. Alex decided to apply his concept to speech. Words don't occur in isolation. They're part of a series of actions. Your intake of breath, facial gestures, pupil dilation, hand movements. Alex theorised they formed patterns, and these patterns would be different if we were telling the truth or telling a lie.
Claire: A lie detector?
Scottie: Important lies are told by important people.
Marcus: They'd never consent to a test of any kind. Alex didn't need their consent. They've already provided all the information. The most important people in the world are also the most documented. Study every word they've ever spoken. Mundane, profound - it doesn't matter. Analyse every variable possible. Translate that information into numbers, and identify the patterns. A fingerprint... for our truths and our lies.
Claire: We'd be able to analyse every statement.
Marcus: Every political claim. Er, every case for war. Every court case verdict.
Scottie: The end of lies.
Marcus: If the four of us survive a week, I'd be very surprised.
Marcus: You're a thoroughly nice guy, aren't you, Danny? So was Alex. For all his intellect, an innocent, really. When he told me he was going to work for GCHQ, I knew it was a mistake. He didn't belong in that world. And I could feel him wanting me to tell him so.
Danny: Why didn't you say something?
Marcus: We didn't have that kind of a relationship. I take it you have some kind of plan?
Scottie: We must prove it works.
[SCENE_BREAK]
Danny: You don't have a plan, do you?
Scottie: No. He needed to believe I did. And we need him. You see? Proof - the orderly functioning of society depends on our ability to lie. Given the choice of no lies, or lies, every organization, every person of power, without exception, will choose lies.
Danny: Maybe Alex imagined a better way of doing things.
Scottie: I wonder when he began work on this project.
Danny: Why does that matter?
Scottie: Maybe he was ashamed of the lies he'd told you. Ashamed that your relationship was built on lies. Maybe on some level, he thought he was making amends.
Danny: To who?
Scottie: To you.
[SCENE_BREAK]
Scottie: Danny!
Danny: I'm to blame.
Scottie: I'm sorry.
Danny: I'm to blame.
Scottie: I never said "to blame".
Danny: He did it for me?
Scottie: It's possible.
Danny: I never asked for it.
Scottie: He knew you'd find out that he'd lied about much of his life. He must have worried that you'd end up hating him. He must have worried about that moment every day. Would you still love him if you knew? Could you still love him if you knew? Would you re-examine your love story - Alex's only love story... and decide, in the end, it was nothing but a lie?
Danny: He was never sure.
Scottie: How could he be?
Danny: I wish I could've told him. That none of it mattered. The lies, the mistakes. That I loved him, just the same. That I, I love him. Still. Now. Knowing it all. I wish he could've heard me say it.
Scottie: Yes.
Danny: He'll never know.
Scottie: No.
[SCENE_BREAK]
Danny: This is going to sound a, a bit... But...it occurred to me I'd never said it out loud before. I love you. Very much.
[SCENE_BREAK]
Detective Taylor: You're not going to be charged.
Danny: Is that it?
Detective Taylor: You're free to go.
Danny: You brought me here like this to tell me that? Will anyone be charged?
Detective Taylor: Danny... for you... this is over.
Danny: This isn't over. This isn't over.
[SCENE_BREAK]
( Applause )
( Phone rings )
Danny: Scottie?
Scottie: Danny. Danny...
Danny: Scottie?
Scottie: There will be a note.
( Applause )
( He begins to cry )